Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Patriarchy in a doll house
Patriarchal idea in a doll's house
Patriarchy in a doll house
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Patriarchy in a doll house
In Henrik Ibsen’s play, A Doll’s House, the audience is viewing the life of a women that is almost not normal, or not the same as others. This women happens to be the protagonist of the novel, Nora Helmer. Nora is joined in the play mainly by her husband Torvald. These two have a relationship between each other that majority of people would find weird. The first appearance of this play was in the late nineteenth century, or in detail, 1879 in Norway. Torvald treats Nora differently compared to a normal, average husband. This treatment causes Nora to have a peculiar attitude towards her life. This diverse attitude is seen through mainly two symbols presented in the novel, the macaroons, and also money. The macaroons are seen primarily with Nora. She is seen eating these macaroons throughout the play, and is signaled essentially towards her attitude. Money is a corrupt indication of the different ways people are treated in the play, chiefly through Nora. These two symbols lead to the problem of gender roles in the play. The gender roles are managed and interpreted by the two specified symbols, money and the macaroons.
The macaroons suggest Nora’s behavior and personality throughout the play. The first aspect of the macaroons being displayed is the connection of Nora’s childish behavior, and the treatment of Nora by Torvald. When the props of the macaroons are being displayed in the play, Nora is shown to highlight her naive behavior. This statement can be allied by the type of language used by Torvald and Nora prior and after she stashes away the macaroons. “Is it the squirrel frisking around?” This quote is spoken by Torvald which indicates the commencement of Nora’s strange behavior. Nora is then heard to speak in a...
... middle of paper ...
...wed to treat Nora in any way they desire. Essentially, power contains aspects to fully control the female characters in the play by the male characters.
The gender roles in the play are shown and explained by two of the main symbols in the play, money and the macaroons. One can see that money is over the importance of the macaroons. This is because of the need of money and standard of economy in everyone’s lives. The macaroons do however show more of a creative way by Ibsen to properly convey the attitude of the gender roles in the play. Both of these symbols however are equal in the fact that they show the audience how the gender roles were truly shown in Norway in the nineteenth century. In conclusion, the gender roles are something of controversy in the play, but are easily depicted, described and explained by the two symbols of money and the macaroons.
In Henrik Ibsen’s play A Doll House, Ibsen tells a story of a wife and mother who not only has been wronged by society, but by her beloved father and husband because of her gender. Nora left her father’s house as a naïve daughter only to be passed to the hands of her husband forcing her to be naïve wife and mother, or so her husband thinks. When Nora’s husband, Torvald becomes deathly ill, she takes matters into her own hands and illegally is granted a loan that will give her the means to save her husband’s life. Her well guarded secret is later is used against her, to exort Torvald, who was clueless that his wife was or could be anything more than he made her. However, Nora has many unrecognized dimensions “Besides being lovable, Nora is selfish, frivolous, seductive, unprincipled, and deceitful” (Rosenberg and Templeton 894). Nora is a dynamic character because her father and her husband treat her as a child and do not allow her to have her own thoughts and opinions, as the play progresses she breaks free from the chains of her gender expectation to explore the world around her.
Henrik Ibsen’s A Doll House, which was written during the Victorian era, introduced a woman as having her own purposes and goals, making the play unique and contemporary. Nora, the main character, is first depicted as a doll or a puppet because she relies on her husband, Torvald Helmer, for everything, from movements to thoughts, much like a puppet who is dependent on its puppet master for all of its actions. Nora’s duties, in general, are restricted to playing with the children, doing housework, and working on her needlepoint. A problem with her responsibilities is that her most important obligation is to please Helmer. Helmer thinks of Nora as being as small, fragile, helpless animal and as childlike, unable to make rational decisions by herself. This is a problem because she has to hide the fact that she has made a decision by herself, and it was an illegal one.
In A Doll’s House, Ibsen portrays his lead character, Nora, who is a housewife in the Helmer’s family. She has undergone a transformation throughout the play that she reacts differently to her husband. Her husband, Torvald, is an example of men who are only interested in their appearance and the amount of control they have over a person. In particular, he has a very clear and narrow definition of a woman's role. At the beginning of the story, as from the title of the play, Nora symbolizes the “doll” in the house, which means that she has been treated as treats Nora like a child or doll. For example, husband called Nora ‘bird’ and it implies that husband treats her like his pet and she is his doll as the title is a doll house. In other words, her husband wanted her to be a ‘lark' or ‘songbird' so he can enjoy h...
... of equality in marriage. When Nora began to understand Helmer didn’t love her, he loved the idea of her as a pretty woman he was married to, Nora realizes how degrading her role as a woman in the household was. She saw the freedom of Mrs. Linde to be able to obtain a job in her husband’s bank, and the freedom of being a single woman to think, act, and do what she wanted to do, not what her Father wanted her to do, or her husband. Nora realized her identity was solely in her Father, and in Helmer, and the unhealthiness of this reality. Nora wanted to be treated as a human being and not as an object. To be accepted as such would be the struggle of women in the 1800’s and early 1900’s. Nora thought in leaving Helmer she was leaving the problem of feeling like an object all together. Little did she realize she was going to have to face the other Helmers in society.
Nora is a dynamic character. When the play begins Nora is viewed and presented as a playful and carefree person. She seems to be more intent on shopping for frivolous things. But, as time goes on it becomes apparent that Nora actually has a certain amount of seriousness in her decisions and actions in dealing with the debt she incurred to save Torvald’s life. Nora’s openness in her friendship with Dr. Rank changes after he professes his affections toward her. Her restraint in dealing with him shows that Nora is a mature and intelligent woman. Nora shows courage, not seen previously, by manipulating her way around Krogstad and his threats to reveal her secret. After feeling betrayed by Torvald, Nora reveals that she is leaving him. Having
Ibsen reveals many things about the bourgeoisie roles of men and women of society through the play A Doll’s House. These ideals are crucial to ones overall social status. The reader can see the characters and their roles in a figurative and literal dollhouse from the title to the end of the story. The main character Nora is the focus of performing these gender roles as she takes on the role of a doll and eventually seeks self-realization and a striving purpose. She leaves behind her family to fulfill an independent journey. Ibsen helps to point out the flaws of society’s stereotypical gender roles and gives new possibilities to men and women.
The enforcement of specific gender roles by societal standards in 19th century married life proved to be suffocating. Women were objects to perform those duties for which their gender was thought to have been created: to remain complacent, readily accept any chore and complete it “gracefully” (Ibsen 213). Contrarily, men were the absolute monarchs over their respective homes and all that dwelled within. In Henrik Ibsen’s play, A Doll’s House, Nora is subjected to moral degradation through her familial role, the consistent patronization of her husband and her own assumed subordinance. Ibsen belittles the role of the housewife through means of stage direction, diminutive pet names and through Nora’s interaction with her morally ultimate husband, Torvald. Nora parades the façade of being naïve and frivolous, deteriorating her character from being a seemingly ignorant child-wife to a desperate woman in order to preserve her illusion of the security of home and ironically her own sanity. A Doll’s House ‘s depiction of the entrapment of the average 19th century housewife and the societal pressures placed upon her displays a woman’s gradual descent into madness. Ibsen illustrates this descent through Torvald’s progressive infantilization of Nora and the pressure on Nora to adhere to societal norms. Nora is a woman pressured by 19th century societal standards and their oppressive nature result in the gradual degradation of her character that destroys all semblances of family and identity.Nora’s role in her family is initially portrayed as being background, often “laughing quietly and happily to herself” (Ibsen 148) because of her isolation in not only space, but also person. Ibsen’s character rarely ventures from the main set of the drawi...
Torvald even calls Nora pet names like "my sweet little lark" and "my squirrel”. These nicknames may seem harmless and cute, but in reality, the names actually show how little he thinks of her and how he’s the one harnessing the power in the relationship. When Torvald says "my little squirrel" he is suggesting that he in fact owns Nora and that she is second-rate to him, since she is seen as little and as a squirrel which are usually frightened, non-threatening creatures. Torvald sees women as both child-like, helpless creatures detached from reality and who are responsible for taking care of the chores and children while staying inside the house. Gender roles are also seen in the rules Torvald for Nora to follow.
Henrik Ibsen was born in 1828 to a wealthy family, however, when he was just eight years old his family went bankrupt, and they lost their status in society. Ibsen knew how the issue of money could destroy a person’s reputation in no time at all. Perhaps that is how he makes the characters in his play, A Doll's House , so believable. Nora and Mrs. Linde, the two main female characters in the play, have had the issues of money and forgery ruin their lives. Nora forged her dead father’s signature to get a loan. The play revolves around her struggle with her fear of being found out. Both women’s values change as the story moves along. At first, it appears that Nora values money and the status that it brings. Mrs. Linde values her own happiness, and eventually Nora realizes that the only way she will be able to live with what she has done is to do the same.
In Henrik Ibsen’s A Doll House, a drama written in the midst of an 1879, middle-class, suburban Europe, he boldly depicts a female protagonist. In a culture with concern for fulfilling, or more so portraying a socially acceptable image, Nora faces the restraints of being a doll in her own house and a little helpless bird. She has been said to be the most complex character of drama, and rightfully so, the pressure of strict Victorian values is the spark that ignites the play's central conflicts. Controversy is soon to arise when any social-norm is challenged, which Nora will eventually do. She evolves throughout the play, from submissive housewife to liberated woman. It seems as though what took women in America almost a century to accomplish, Nora does in a three-day drama. Ibsen challenges the stereotypical roles of men and women in a societally-pleasing marriage. He leads his readers through the journey of a woman with emerging strength and self-respect. Nora plays the typical housewife, but reveals many more dimensions that a typical woman would never portray in such a setting.
Nora was the main character with struggles. From the beginning, she had problems of being treated as an equal. Nora explains to Torvald how she has lived her life just doing what the men in her life say. She says, “When I was at home with papa, he told me his opinion about everything, and so I had the same opinions; and if I differed from him I concealed the fact, because he would not have liked it. He called me his doll-child, and he played with me just as I used to play with my dolls.” Because Nora was a woman, her opinion didn’t matter. She was treated like a doll, following whatever her father told her. When she married Torvald, things stayed the same. She went along with whatever her husband told her, and if she told her opinion, Torvald would get mad. Nora also struggled with money. When Torvald got sick, the doctor told them they needed money for a trip to Italy. It was hard for Nora to figure out a way to get money because it was illegal for women to get a loan. She had to go to Krogstad to get the money and forge the signature because she knew her dad wouldn’t let her get a loan because she was a woman. This caused her to have to cover up the lie from her husband.
Patriarchy's socialization of women into servicing creatures is the major accusation in Nora's painful account to Torvald of how first her father, and then he, used her for their amusement. . . how she had no right to think for herself, only the duty to accept their opinions. Excluded from meaning anything, Nora has never been subject, only object. (Templeton 142).
In order to explore the theme of feminism in Henrik Ibsen’s play, A Doll’s House, the following must be considered: the roles men and women are expected to have, what feminism is, the different ways that feminism can be shown in the play, and finally how feminism effects marriage. The roles that men and women are expected to have is a major contributor to the different ways that feminism is shown in the play, as well as how feminism effects marriage. Therefore, there must be a clear understanding as to what these expectations are so that the effects of following or rejecting these roles can be seen. In addition, there has to be knowledge of how following or rejecting these roles influences feminism in this play. Another thing that must be understood in order for there to be a clear viewpoint on what is being analyzed in Ibsen's work is what feminism is.
“A Doll’s House” is a play written by a Norwegian playwright, Henrik Ibsen. The play was published in 1879, and is a literary piece that triggered almost vigorous reactions from the audience. Moreover, the play was considered Ibsen’s masterpiece and he was determined to provoke a reaction from the public. His intention was to bring awareness to the problem of gender roles in the 19th century society: the role of women who were used as decorations of the household. The title this play, “A Doll’s House”, foreshadows the play’s protagonist, Nora Helmer, and her role in the household. The title of the play suggests that Nora is a doll in her own home.
Ibsen desires to challenge assumptions as well as rules of Norwegian life, and most importantly wants to depict society accurately, as he meticulously incorporates everyday life. Therefore, A Doll House represents a realistic drama due to the issues involving women, illnesses, and laws within the play, while conveying Ibsen’s desire for controversy and change in Norway’s society. A common woman in Norway, such as Nora, experiences a daily life of oppression, fear, and unjust authority, which exposes societal mistreatment. Society and Torvald Helmer force Nora to look pretty and happy, although “she laughs softly at herself while taking off her street things. Drawing a bag of macaroons from her pocket, she eats a couple, then steals over and listens at her husband’s door” (Ibsen I. 43), which portrays oppression.