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The transformation of nora in a doll's house
The transformation of nora in a doll's house
Analysis of henrik ibsens dolls house
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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.
Upon the first glance of Torvald and Nora’s relationship, Nora is returning from a day of Christmas shopping. She is acknowledged by her husband’s greetings of belittling pet names that he uses in an inconspicuous thus unnoticed form of verbal oppression and a verbal stake to claim her as his property “But if Helmer considers Nora his property, as he apparently does, Nora encourages him to do so. To him, she calls herself his little squirrel and his lark” (Dukore 121). These actions are not Nora’s fault, it appears Nora does not fight his degrading pet names because she knows no difference and also it benefits her in the ability to manipulate Torvald w...
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Ibsen, Henrik. "A Doll House." Portable Literature: Reading, Reacting, Writing. By
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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.
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...
Throughout A Doll’s House, Henrik Ibsen illustrates through an intriguing story how a once infantile-like woman gains independence and a life of her own. Ibsen creates a naturalistic drama that demonstrates how on the outside Nora and Torvald seam to have it all, but in reality their life together is empty. Instead of meaningful discussions, Torvald uses degrading pet names and meaningless talk to relate to Nora. Continuing to treat Nora like a pampered yet unimportant pet, Torvald thoroughly demonstrates how men of his era treat women as insignificant items to be possessed and shown off. While the Helmer household may have the appearance of being sociably acceptable, the marriage of Torvald and Nora was falling apart because of the lack of identity, love, and communication.
In Henry Ibsen’s play the Doll House, Torvald restraints Nora Helmer’s freedom. Torvald sees Nora as a doll and a child instead of an equal partner or wife. When Torvald does not sacrifice his reputation to save her, Nora realizes that “[she] had been living all these years with a strange man, and [she] had born him three children.” After years of having to live as a doll, Nora has an awakening that kindles her passion for freedom.
As Nora’s understanding of the people and events around her develops, Torvald’s remains stationary. He is the only character who continues to believe in the charade, probably because he is the only main character in the play that does not keep secrets or harbour any hidden complexity. Each of the other characters—Nora, Mrs. Linde, Krogstad, Dr. Rank—has at some point kept secrets, hidden a true love, or plotted for one reason or another. Nora’s use of Torvald’s pet names for her to win his cooperation is an act of manipulation on her part. She knows that calling herself his “little bird,” his “squirrel,” and his “skylark,” and thus conforming to his desired standards will make him more willingly to give in to her wishes.
For instance, Nora perceives Torvald's displays of demeaning and condescending attitude as a sign of fondness. Nora is naive enough to regard her pet names, such as "lark", "spendthrift", "obstinate little person" from Torvald as terms of endearment instead of terms to name her as the inferior. Nora is dependent on Torvald, she strives for his attention and love much like a child does to their parent. Torvald's and Nora's relationship more closely resembles a father/daughter relationship, rather than a husband/wife relationship. Nora aims "... to be able to keep the house beautifully and have everything just as Torvald likes it." To the audience it is known that Torvald is the superior but Nora is blissfully ignorant of this due to the fact
In Henrik Ibsen’s, A Doll’s House, Nora struggles to achieve justice and her rightful place as a woman, mother, and wife, despite the hardships and mistreatment of her husband Torvald and her father. Throughout Nora’s life, she has faced hardships in order to survive as a normal person because of the mistreatment she received from the two men in life she ever loved; her father and her husband. The mistreatment of Nora’s father and husband has caused Nora to become and be an extremely weak individual. Nora is fearful to live the way she wants to because she no longer has an identity of her own. Despite the hardships and mistreatment Nora encounters, she still has extreme hubris. She wants everyone to recognize and believe that she is living a joyous and wealthy life. In search for Nora’s rightful place as a wife, mother, and woman, she must also search for her quest for justice. “[… ] When her image of herself and her domestic life is shattered she does what she feels she must to become a true person.” (Clurman154) Nora encounters many struggles in achieving justice and finding her rightful place in society.
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's continual reference to Nora using bird names not only tells the reader his opinion of her, but also parallels Nora's image of herself. In the second act, Torvald calls Nora his "little featherbrain," and his "little scatterbrain" (1178). This presents an image of weak, unorganized birds and thereby defines Nora as weak, unorganized and stupid.
Her husband, Torvald is one of the main characters that can be seen as blamable for his wife's behavior. For example, he always calls Nora by pet names, such as "little sky-lark” or "little squirrel”, as though she is his daughter rather than his wife. Additionally, he almost sets rules or restraints for Nora, as a father would his young child a lot like when he told her she couldn’t eat macaroons because it will ruin her teeth. Another character, Mrs. Linde, Nora's old friend, thinks she is a spoiled brat based on
Because Torvald views Nora as an invaluable member of society as well as his household, he refuses to understand Nora’s feelings when Krogstand’s letter is revealed to him. As Torvald reads the horrid letter, he questions Nora as to the validity. Nora tries desperately to explain to Torvald that the letter is true; however, the heinous crime was committed all in the name of love for him. His reaction to her is “Oh, don’t let us have any silly excuses” (Act 3). Torvald responds to Nora in such a way that he does not believe that she could commit such a malicious act out of love for him. Torvald continues to desire answers as to why she would have acted so recklessly, however he does not stop shouting to...
In his play, A Doll 's House, Henrik Ibsen develops the character of Torvald’s wife, named Nora. Nora struggles to define her individuality as she seems to play two different characters. Partly living as Torvald 's perfect wife, while also living day by day to attempting to conceal a big secret from her husband that could potentially destroy his business. While trapped within Nora 's degrading marriage that consists of many animal names, secretly, her character develops into determined and intelligent women. It is in this secret, that Nora recognizes she must break away from her marriage and follow her dreams of being a strong independent woman.
The premodifier “little” also belittles Nora, giving her a lower status than him, and in comparing her to an animal, a wild bird, that normally flies free, something that he has tamed, Torvald normally refers to her using some sort of animal imagery such as “squirrel” or “singing bird” almost always including the premodifier “little” and/or “my”. The last word, verb, “chirruping” is synonymous with a kind of annoying wittering, inconsequential noise, he could have easily said “twittering” or
Nora Helmer was a delicate character that had been pampered all of her life, by her father, and by Torvald. She really didn't have a care in the world. She didn't even have to care for the children; the maid would usually take care of that. In every sense of the word, she was your typical housewife. Nora never left the house, mostly because her husband was afraid of the way people would talk. It really wasn't her fault she was the way she was; it was mostly Torvald's for spoiling her. Nora relies on Torvald for everything, from movements to thoughts, much like a puppet that is dependent on its puppet master for all of its actions. Her carefree spirit and somewhat childish manners are shown throughout the play with statements such as, "Is that my little lark twittering out there?" (1). "Is it my little squirrel bustling about?" (2). A lark is a happy, carefree bird, and a squirrel is quite the opposite. If you are to squirrel away something, you were hiding or storing it, kind of like what Nora was doing with her bag of macaroons. It seems childish that Nora must hide things such as macaroons from her husband, but if she didn't and he found out, she would be deceiving him and going against his wishes which would be socially wrong.