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Nora's suffering in ibsen's doll's house
Nora's suffering in ibsen's doll's house
Analysis of henrik ibsen's book of a doll's house
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Reading Henrik Ibsen’s “ A doll’s house” it proves that the writer puts importance on the characters and the roles they play in the stories. The main characters in this story pretend more to be someone else than who reader would prefer them instead of being their true selves. The one person whose character highly stood out throughout the whole story and who’s role couldn’t do more justice than said in the story to point where to seems like she leads two different lives is none other than Nora.
According to her husband Torvald, Nora is childish even though she is his wife but however she is loving but little that he is aware that she’s unpredictably a strong and an independent woman. As the plays moves forward readers will highly realize that Nora’s persona shifts from that of everyday playful trophy wife seen by Torvald and friends to someone who is highly self empowering and a willing woman.
Nora’s very first impression to her readers would of a responsible, obedient, money loving and a very childish wife. In the first act of the play audience would realize that all Nora wants is money from her husband Torvald. A act was describe when the two characters finally meets in the play and there was time when Nora was showing what she got for her kids for Christmas and when she was asked what she wants for Christmas all she answered was money. It was hard to eliminate the way Torvald especially addressed Nora it seemed as if though she was a little girl or even his pet. “My little lark mustn’t droop her wings like that. What? Is my squirrel in the sulks?” (Ibsen 842).
It seems as if he is talking to a little child. And he says that as he is giving her money, which makes their interaction seem almost of a grown grandparent giving money t...
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...are aspects of society and its conventional values that she might not agree with and might possibly be wrong. Torvald then offers to teach her and she rejects him because she is conscious that she has to educate herself or at least away from him. She also points out that they never spoke of serious things, which could be the reason why she believes he isn’t right to teach her; along with the fact that he has been looking down on her since they’ve met.
Personally speaking at the end of the story I strongly felt that Nora came out as more of a strong willed and an independent woman who knew she wanted from her own life. Nora was not only Ibsen’s example to show a women’s strong side character but she actually did justice while showing that women is as equal as any other human beings. Nora also strongly have pointed the laws should be equal according that era of time.
In the play A Doll’s House by Henrik Ibsen, several literary lenses can be used to better help understand the storyline. The most prominent lens used throughout this play is gender. It plays a large role in the story A Doll’s House. Nora, the protagonist is faced with many challenges because of the normalities of 19th century society. She must overcome these difficulties throughout the play.
Nora Helmer was a delicate character and she relied on Torvald for her identity. This dependence that she had kept her from having her own personality. Yet when it is discovered that Nora only plays the part of the good typical housewife who stays at home to please her husband, it is then understandable that she is living not for herself but to please others. From early childhood Nora has always held the opinions of either her father or Torvald, hoping to please them. This mentality makes her act infantile, showing that she has no ambitions of her own. Because she had been pampered all of her life, first by her father and now by Torvald, Nora would only have to make a cute animal sound to get what she wanted from Torvald, “If your little squirrel were to ask you for something very, very, prettily” (Ibsen 34) she said.
Whereas one can see Mrs. Linde as mature and world-weary, one can easily read the character Nora as immature and childlike; one of the first examples of this immaturity and childishness can be found in the first few pages. Nora has come in from a day of shopping and in these excerpts we can see her child-like manner while interacting with her husband, Torvald:
The manner in which Torvald talks down to his wife and the apparent. unopposed acceptance of this by his wife, is evidence that, at least. Initially, power firmly rests in the grip of Nora’s husband. Nora’s language is full of indefinite, qualitative statements, demonstrated. especially when talking about Torvald's salary, however, when Torvald speaks.
This becomes one of the main driving forces of Ibsen’s play. (Quote from Torvald and the money). It immediately distinguishes the differences in gender roles and morals in Norway during the late 1800’s. While Nora is willing to give the porter twice what is owed, we assume she is full of holiday spirit; Torvald has a much more sensible outlook on financial concerns. While he jokingly calls her his little spendthrift, he asserts that her lack of understanding is a result of her gender “Nora, my Nora, that is just like a woman” (Ibsen). Torvald believes that her place in the home is simply ornamental, a trophy that serves as decoration for his home. Torvald is constantly referring to her through the use of pet names such as (quote pet names from book) and only ever refers to her by name when he is scolding her. Not only does Torvald see her as his doll, but also as her child (quote near end of story). By keeping Nora dependent and obedient to him, he plays the role of Nora’s second father. Nora eventually sees that her daughter is being treated in the same manner that she was her entire life, as a
Edvard Beyer quoted in Aderholts translation of the Henrik Ibsen play, “There is hardly a single line that does not have a demonstrable dramatic function…. And all of a sudden single everyday words take on a double meaning of foreboding undertones.” (2) Nora’s “important thing” and Mrs. Linde’s “[y]ou are a child” are just a few exhibits of Ibsen’s double meanings. “Important thing,” the misrepresentation, a secret, laid the foundation of colored building blocks of their eight years of marriage. Is this truly the start of that first lying block Nora so easily laid down? No, it started with the injustices her father played upon her; treating her as his little doll, a doll to play dress-up and present his doting daughter to others. Subsequently, it was not hard for Torvald to continue Nora’s life as a living doll; his own game within as she is a willing subject. “[Quite] right, Christine. You see, Torvald loves me so indescribably, he wants to have me all to himself, as he says.” (Act II 54) Reveals how Torvald wants his toy all to himself; all along Nora knowing this she plays along with the game. While she keeps Torvald from finding out her biggest secret, she knowingly continues to play the role of Nora the doll; helpless without direction from the puppet master. Impressively Ibsen’s suggestions are lines of double meaning and the game of manipulation between Nora and those surrounding
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
It plays an important role in character development. Nora who at the beginning of the play appears to be spoiled and submissive. But throughout the play she realizes that she is an intelligent, strong and independent woman and that she is willing to sacrifice anything for her family. “He’ll start work at the bank right after New Year’s, and he’ll get a huge salary and lots of commissions.”(Ibsen 21). This quote reflects that Nora is spoiled because it seems that she likes to brag about her life and family with all the money Torvald will bring in. One may believe that this is all an act that Nora is displaying because she wants people to think that life is all happy and wonderful. It also shows how Nora is dependant where she relies on her husband to work and bring home money, while she watches the children. Near the end of the play the audience begins to see how Nora finally starts to understand herself. She states “ I believe that before all else I am a reasonable human being just as you are…I must think over things for myself and get to understand them.”(Ibsen ). Nora now becomes an independent woman and is now, separating herself away from woman stereotypes. She then leaves her family to become a better person, by finding herself and using her own
Although in Helmer 's eyes she will always be a "Little feather brain....a thoughtless woman....[and his] doll-wife," (A Dollhouse Act 3,173-287), Nora 's accusation of Torvalds 's inadequate love and apathetic dedication in their marriage finally gave her a platform to conclude the need for a pilgrimage and to find herself with in this world. She is an interesting and growing dynamic character. Oblivious to her husbands self indulged personality in the exposition of the play, Nora put her own dignity at risk in order to save her husbands life. Her intention of helping her family lead to forgery, debt, dishonesty, and eventually the fall of her family. In return, once Torvald is aware of her the crime she committed, his response "What good is it to me if you were out of the way?" represents his carelessness of his own wife 's
Nora opens the play acting like a child, loving her financial status, and is very obedient to Torvald. In Act I, Nora only cares about Torvald’s pocketbook to receive lots of money from him. In this act, Torvald is buying gifts for the kids and Nora is completely dependent on his bank account. Christmas is the time setting of the play and holidays are a time of giving, not receiving money. This is how Nora visions it. Torvald labels his wife as “my little lark mustn’t droop her wings like that. What? Is my squirrel in the sulks?” (882). Torvald treats his wife like a money-loving child who doesn’t seem equal to him. He is like a grandfather throwing money away for his favorite money-loving grandchild. Nora acts like Torvald’s possession than an equal partner. Nora’s beginning part shows an awkward relationship between the two and certainly tells us that they are a questionably happy couple.
In the case of `A Doll's House', the marriage of Nora and Torvald is clearly representative of the struggle between individualism and the expectations of society. At the beginning of the play Nora is almost completely immersed in the roles that are set out for her by society - that of a dutiful wife and mother. In her dialogue with Mrs Linde, Nora illustrates how a woman was valued according to how well she fulfilled those two roles. Her sympathy is evident ...
Nora’s introduction in the play portrays her as a childish and immature “spendthrift” (Ibsen 44). As the story unfolds, it is discovered that Nora, in reality, is the complete opposite. Her true personality as a strong hearted and determined, intelligent woman emerges during the last scene of the play. During her opening scene, her actions, her choice of words, and the manner in which her husband...
Nora engages in a mutually dependent game with Torvald in that she gains power in the relationship by being perceived as weak, yet paradoxically she has no real power or independence because she is a slave to the social construction of her gender. Her epiphany at the end at the play realises her and her marriage as a product of society, Nora comes to understand that she has been living with a constr...
She is a heroic character for her positive development and maturation over the course of the play. Vocalizing for all the women that enjoy independence, her character describes the feeling of being trapped as the primed and proper doll of the household that wishes to break free of her societal responsibilities. In the beginning, Nora is an easily manipulated wife who is made to never dabble in her husband’s affairs. This is due to the belief that women aren’t made to interfere with male dominated business matters. She also endures his seemingly harmless pet names that are actually used as an intimidation technique to make her feel more submissive. Torvald states, “Is that my squirrel rummaging around?” (1728). His subtle technique of using unconventional animals such as squirrels to make her feel inferior, reveals his dominating nature. Torvald’s actions are not only controlling but they are also selfish. Nora, on the other hand, secretly helped save her husband’s life by borrowing money to fund a trip in order to improve his ill health. She did so without seeking recognition and to simply help her husband, which is what a true hero does. The play also outlines the fact that women tend to sacrifice more when they dedicate their whole