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Nora's struggle in a dolls house
Character and characterization in a doll's house
Nora's struggle in a dolls house
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Nora's Freedom in The Doll House
Nora is initially introduced as a macaroon-loving, naïve individual constantly trying to please her husband. However, when the audience discovers that she borrowed the funds that allowed her and her husband to travel to Italy for a year in order to save Torvald from certain harm, Nora demonstrates that she is actually a much stronger character than originally portrayed. However, the real problem lies with the way in which she burrowed the money. In order to get the cash, Nora forged her father's signature. As a result, she is in debt to the man who leant her the money, Nils Krogstad.
Within the context of modern times, Nora's crime appears almost daring and creative, rather than completely criminal (Egan 67). In comparison, Torvald's reactions to Nora's crimes seem almost cruel and unimaginative. When he scolds Nora's father for a similar failure to secure proper signatures and condemns Nils for doing the same, he appears to be an unsympathetic individual. He scolds people and judges them for their actions without considering why the may have done what they did.
Furthermore, the household in which Nora and Torvald live in is completely patriarchal, again demonstrating Torvald's limited imagination. He gives Nora very little power and very little credit, when she appears to be much more imaginative than him. Within the house's walls, all items exist for one purpose: to entertain Torvald. Also, Torvald appears to lack the understanding that other people may be interested in other things, and that there are people on this planet who should be considered within the same class as him.
The play was initially seen as an attempt to express the conflict...
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... Henrick Ibsen: A Biography. Garden City: Doubleday, 1971.
The student may wish to begin the essay with the quote below:
Good grief, can't you understand? The old man never existed; that was only something I'd dream up time and again whenever I was at my wits' end for money. But it makes no difference now; the old fossil can go where he pleases for all I care; I don't need him or his will-because now I'm free. Oh, how lovely to think of that, Kristine! Carefree! To now you're carefree, utterly carefree; to be able to romp and play with the children, ,and to keep up a beautiful, charming home-everything just the way Torvald likes it! And think, spring is coming, with big blue skies. Maybe we can travel a little then. Maybe I'll see the ocean again.. Oh yes, it is so marvelous to live and be happy!
--Nora in The Doll House.
ruinously impact a whole community, is very aptly titled. By definition, a “crucible” is “a severe test,” and the challenges faced by Miller’s characters are many. The historical events dramatized in the play reflect how core human values, including truth, justice and love, are tested under life and death conditions. The trials of the characters and the values they hold dearly come when their simple, ordered world ceases to be black and white and easily deciphered, and is turned upside down in the gray shades of ambiguity.
GIs. He uses a close up shot when, he zooms in into a man's eye and
Italy to find work in order to send money back to Italy to help feed
The Crucible is a 1953 play by Arthur Miller. Initially, it was known as The Chronicles of Sarah Good. The Crucible was set in the Puritan town of Salem, Massachusetts. It talks of McCarthyism that happened in the late 1600’s whereby the general public and people like Arthur Miller were tried and persecuted. The Crucible exemplifies persecutions during the Salem Witch Trials. The people were convicted and hung without any tangible proof of committing any crime. Persecutions were the order of the day. When a finger was pointed at any individual as a witch, the Deputy Governor Danforth never looked for evidence against them or evidence that incriminated them; he ordered them to be hanged. This can be seen through his words “Hang them high over the town! Who weeps for those, weeps for corruption!” (1273), the people were persecuted aimlessly. The four main characters in the play, John Proctor, Abigail Adams, Reverend Hale and Reverend Parris, are caught in the middle of the witchcraft panic in the religious Salem, Massachusetts in late 1690’s. Persecution is the most important theme in the Crucible, the leaders and citizens of Salem attacks and persecutes one of their own without any tangible evidence against them.
When a woman loves as Nora does, nothing else matters; least of all, social, legal or moral considerations. Therefore, when her husband's life is threatened, it is no effort, it is joy for Nora to forge her father's name to a note and borrow 800 cronen on it, in order to take her sick husband to Italy. In her eagerness to serve her husband, and in perfect innocence of the legal aspect of her act, she does not give the matter much thought, except for her anxiety to shield him from any emergency that may call upon him to perform the miracle in her behalf. She works hard, and saves every penny of her pin-money to pay back the amount she borrowed on the forged check.
Nora is presented with many choices, one of them being the option to lie to her husband, Torvald, or not to lie. Most of these tiny, white lies include when Nora tells Torvald that she has not eaten macarons. She goes about her choice to lie in a way that she believes is rational. Nora also has the foresight to weigh her options. If she lies to Torvald, they will have a happy marriage, but if Nora deceives him, everything will crumble beneath her feet. Choosing the former, Nora lives in fear that Torvald will discover her, but is happy living in falsehood. Eventually it becomes normal for Nora to lie, almost like nothing is wrong. Although, deep down inside, Nora is hiding a greater secret from Torvald, underneath all the tiny white lies. This falsehood regards a large sum of money that she borrows to save her husband 's life. Nora has acquired a lump sum from Nils Krogstad, that she knows she does not have the means to pay back in full by his set deadline. Nora’s fear of Torvald finding out weighs heavily in her decision of how to go about breaking even with
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
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).
Torvald is not only demanding mentally and physically, but also financially. He does not trust Nora with money. He feels that she is incapable and too immature to handle a matter of such importance. Torvald sees Nora as a child. She is forever his little "sparrow" or "squirrel". On the rare occasion that Torvald does give Nora some money, he worries that she will waste it on candy, pastry or something else of Childish and useless value. Nora's duties, in general, are restricted to caring for the children, doing housework, and working on her needlepoint. But overall, Nora's most important responsibility is to please Torvald. This makes her role similar to that of a slave.
A contrasting difference in the characters, are shown not in the characters themselves, but the role that they play in their marriages. These women have different relationships with their husbands. Torvald and Nora have a relationship where there is no equality. To Torvald Nora is an object. Hence, she plays the submissive role in a society where the lady plays the passive role. Her most important obligation is to please Torvald, making her role similar to a slave. He too considers himself superior to her.
Nora is greatly affected by wealth throughout the course of the play. Looking at the first act of the play when Nora confesses she borrowed money and forged her father’s signature, she falsely leads Mrs. Linde to believe she has a secret admirer that gave her the money. Because of the forged signature, and the raise in income
Gender roles are also seen in the rules Torvald for Nora to follow. Torvald is the only one in the family who works and provide for his family who needs to survive in their lifestyle. Because of this, Nora must always go and ask for money from Torvald hoping for his acceptance of her using his income. Nora also had no possessions to her name because when a woman got married, all her possessions were considered ...
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).
Nora is the beloved, adored wife of Torvald Helmer. He is well respected, and has just received a promotion to the bank manager. Torvald also obtains high moral standards but he is very controlling and materialistic. During the first scene the couple is discussing the issue of borrowing money. Torvald says to Nora "…you know what I think about that. No debts! Never borrow! Something of freedom’s lost-and something of beauty, too- from a home that’s founded on borrowings and debt. We’ve made a brave stand up to now, the two of us, and we’ll go right on like that the little way we have to."
As the play goes on, Nora seems to transform from her delicate little character into something much more. At the end of act one, Krogstad goes to Nora for the recollection of the money she had borrowed from him. "You don?t mean that you will tell my husband that I owe you money?" (21). Since Nora was wrong in doing so socially, she could not tell Torvald or anyone else about her problem. Not only would that affect their social standard but also Torvald's ego, which inevitably would happen anyway. After Krogstad threatens to expose Nora for forging her father's signature, she realizes that no matter what she does Torvald was going to know the truth. The flaw with...