At the end of A Doll's House, Isben surprises the audience. When Torvald learns that Krogstad is no longer threatening him, he offers to forgive Nora. Most people in the audience would expect the ending to be happy and for the family to live its life as it did before. Shockingly, Nora tells Torvald that she plans on leaving him and their children. She realizes that her life has not been happy and that Torvald does not really love her. Nora has many motivations for leaving Torvald. She feels that she has been treated like a doll her whole life, and does not like being treated that way. She also decides to leave when she finds out how upset Torvald was with her. She feels as if he would not defend her. Nora also knows that Torvald will not forget what happened, and he will hold it against her for the rest of her life. When Nora decides to leave Torvald at the end of A Doll's House, many readers seemed shocked that she would do such a thing, but she has many motivations that can be seen throughout the play.
As Nora is leaving, she tells Torvald that she has been treated like a doll her whole life. Her father treated her like a doll, and Torvald treats her like a doll. He always seems to baby her and call her his "skylark". Nora tells him that in the eight years that they have been married that they never once have had a serious conversation. A relationship can not be very successful without serious conversations. It is almost as if there is no meaning to the relationship and that it is all fun and games. Nora realizes this throughout the actions of the play. When they come home from the ball on the last night, Torvald's behaviors show that he is not really mature enough to be in a marital relationship. He seems to act like a child in front of Nora, and Nora has had enough of being treated like a child her whole life. Throughout the play, she seems to get more and more upset when he treats her like this. At the end of the play, this is one of the reasons why she decides to leave Torvald.
Henrik Isben?s A Doll?s House is the story of a man and a woman who have been married for eight years but are not really in love. Although at the first of the story we see a typical family, underneath there lies a dark secret. Torvald Helmer, the husband, is a lawyer who has been unsuccessful in the past because he would not accept a shady case. This has put the couple and their children in a great financial struggle and this forces him to turn elsewhere for employment. He ends up working at a local bank, putting an end to the family struggle. At the start of the story we see Nora Helmer, his wife, coming in from town with several small wrapped packages and a Christmas tree. She is a very childish acting woman but on the same note, she is also very deceptive and cunning. Nora has kept a secret from her husband ever since they moved from their last home. Torvald was very sick and Nora was pregnant with their first child. Nora?s father was on his deathbed as well. Torvald?s doctor confided in Nora that if Torvald didn?t move south then he was going to die. Since they hadn?t the money to do so, Nora takes it upon herself to borrow the money, which was not allowed solely by a woman. In order to get the loan she and her father had to sign the papers. Seeing her father?s condition, she forged his signature. She told her husband that the money was a gift from her father so he would not feel indebted to her forever. The money that Nora borrowed is almost paid off at this point and she was excited. Then the story takes a sudden turn. According to Maurice Valency, ?Nora as yet the earnest and innocent child who was sure there could be no harm in forging her father?s signature, provided her motives were good? (253). The man from who...
Structure – The work is formatted to be a play. It has three acts, each beginning with stage directions.
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.
Throughout “A Doll’s House”, we the readers get a glimpse into the reality of Torvald and Nora’...
Henrik Ibsen was the first to introduce a new realistic mode in theater when he wrote the play A Doll’s House. The ending of the third act of this play was not accepted due to the controversy that it caused during the nineteenth century, because in this era women were not allowed to act the way Nora did, but through women’s movements society slowly started to accept it.
Weintraub, Stanley. ""Doll's House" Metaphor Foreshadowed in Victorian Fiction." Nineteenth-Century Fiction 13: 67-69. Web. 6 Jan. 2011.
In the closing scenes, Nora witnesses the final indication that she is truly regarded as Torvald’s possession. Beforehand, Torvald stated that he would protect Nora at all costs. However, as soon as he discovers the possibility of his reputation being tainted, he instantly degrades her to a point of dehumanization. As a result, Nora comprehends that true love never existed in their marriage, “You don’t understand me. And I’ve never understood you either- until tonight. No, don’t interrupt. You can just listen to what I say. We’re closing out accounts” (Ibsen 1234). Through this scene, Ibsen effectively represents Nora’s final mental awakening. The author employs sharp and decisive diction to convey Nora’s transformation. She no longer amuses Torvald with her childish antics, but speaks with a matter of fact tone. Nora had become accustomed to “pretending” her whole life, and therefore had convinced herself that she was in a loving marriage. As Sabiha Huq, English professor at Khulna University, indicates, “Nora has admonished a life living through hypocrisy and falsehood” (par. 1). It becomes evident to Nora that her whole life she has been dependent on a male figure and has never accomplished anything for herself. Subsequently, Nora feels as though her life has been meaningless, “I went from Papa’s hands into yours… it seems as if I’d lived here like a beggar--just from hand to mouth. I’ve
When attending a masquerade, a person is expected to wear a mask. In fact, it’s looked down upon if a mask isn’t worn. But, what if for some people that mask never came off? In A Doll’s House by Henrik Ibsen, each character has constructed their own metaphorical mask that they set firmly in place every morning when exiting their bed. Each character: Nora, Torvald, Kristine and Krogstad all have masks that they put in place when speaking to each other. Throughout most of the play, it is clear that all of the aforementioned characters have multiple facades that they use when speaking to one another; often switching quickly as they begin speaking to someone else. Henrik Ibsen’s use of the masquerade serves as an extended metaphor to show the masks that the characters use in their everyday lives.
Throughout both plays, each main character exhibits a decay from the norm in their social persona. In Dollhouse, Nora who at first seems a silly, childish woman, is revealed to be intelligent and motivated though the play, and, by the play's conclusion, can be seen to be a strong-willed, independent thinker. She develops an awareness for the truth about her life as Torvald's devotion to an image at the expense of the creation of true happiness becomes more and more evident to her. When Nora calls him petty and swears about the house, and when Krogstad calls him by his first name it angers Torvald notably, and this anger at what he sees to be insubordination and improper etiquette heightens her awareness of the falsities being put in place by Mr. Helmer. When it is revealed to Torvald that their life-saving trip to Italy was funded by his wife borrowing money underneath his very nose and across his authority, he becomes very angry, as he very well should if everything is to abide by the social standard of the time By the end of the play, we see that Torvald's obsession with controlling his home's appearance and his repeated suppression and denial of reality have harmed his family and his happiness irreparably and escalates Nora's need for rebellion, which inevitably results in her walking out on her husband and children to find her own independence at the conclusion of the play.
In his play, A Doll's House, Henrik Ibsen depicts a female protagonist, Nora Helmer, who dares to defy her husband and forsake her "duty" as a wife and mother to seek out her individuality. A Doll's House challenges the patriarchal view held by most people at the time that a woman's place was in the home. Many women could relate to Nora's situation. Like Nora, they felt trapped by their husbands and their fathers; however, they believed that the rules of society prevented them from stepping out of the shadows of men. Through this play, Ibsen stresses the importance of women's individuality. A Doll's House combines realistic characters, fascinating imagery, explicit stage directions, and an influential setting to develop a controversial theme.
The first character that we will look at is Nora. In the Doll’s House we are introduced to Nora who is happily married to Torvald. She responds affectionately to Torvald’s patronizing and teasing and doesn’t seem to object to her doll-like treatment. However we come to learn that Nora isn’t just the silly girl or childish woman Torvald calls her. Although Nora is well off financially, her issue lies with the way she is treated. The society at that time deems that Torvald is the dominant marriage partner, and as h...
Torvald expects Nora to agree with what he says and thinks, and commit her life to keeping the family happy by being a housewife. But Nora defies the roles that she is expected to have as being a wife, a woman, and a friend. As a wife, Nora spends Torvald’s money on macarons which are forbidden and attempts to earn her own money while going against what her husband tells her, because she wants to be an independent person with her own opinions. The trip to the south and borrowing money was all done by her, and in the end of the play Nora ultimately goes against the expectations set upon her by leaving the house to live on her own to gain knowledge and experience, but leaves behind her husband and children who she is responsible for taking care of. As a woman, she does not have the authority to disagree with her husband or try to influence his actions. Torvald says, “If it ever got around that the new manager had been talked over by his wife…” (Ibsen 42) showing that it would be a laughing matter if a woman had an idea, but Nora still makes many attempts to persuade her husband. As a friend, Nora is expected to know her role which is a listener and supporter for Mrs. Linde and just an acquaintance to Dr. Rank, but the relationship with Dr. Rank goes beyond what is acceptable. When Dr. Rank confesses his feelings for Nora she is very upset because they can no longer flirt with each other now that the feelings are real. Her role is to be a loyal wife to her husband, which she is, but Ibsen uses the flirtatious dialect between the two to show that there are mutual feelings and that confessing them brings the relationship beyond what is allowed. As Nora challenges all of these roles, she is gradually becoming more stressed and eventually breaks down and leaves her husband, which demonstrates the effect of the unrealistic expectations to uphold the roles of
Krogstad is one of the most complex characters from Ibsen’s A Doll’s House. Initially, Krogstad appears to be the villain of the play. Nora owes Krogstad a great deal of money. Krogstad uses the existence of her debt to blackmail Nora, threatening to inform her husband of her debt and her forgery if she does not use her influence to secure his position at the bank. Krogstad serves at a catalyst which brings about the central conflict of the play. However, Krogstad has other roles as well. Krogstad is a foil to Nora. He had been the exact same situation that Nora is in now. He had forged a signature to save the life of someone dear to him. Krogstad is also a foil to Torvald. Whereas Torvald continues to advance in society, Krogstad is at risk at losing his livelihood and reputation. In an unexpected twist, Krogstad becomes the hero of the play by the end. When love and hope is restored to him, he withdraws his threats against Nora and forgives her debt, saving Nora from suicide or from a life of ignominy.
Nora is the main doll in the house, but she also refers to the children as dolls. Nora states that Torvald treats her as her own father did. Caring for her but never taking her serious. They treat her as a doll kept for her looks. Although the children aren’t the main idea of the doll in “A Doll House,” Nora sees them as dolls herself.
Societal problems prevail throughout the history of the world and exist within all countries, regions, and cultures. The controversial aspects in societies are based on a large variety of subjects, and have to be identified in order to cause societal change. Therefore, Realism is the portrayal of difficulties in societies that are depicted in everyday life, which includes common situations and actions. Realism allows authors to describe and emphasize the incompetence of some aspects within communities, while enabling writers to call for societal reform. Henrik Ibsen portrays and addresses the concepts of Norway’s society in the 19th century in A Doll House, which is a tragic play translated by Rolf Fjelde. 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 of controversy and change in Norway’s society.