Most critics around the world believe the play led to increase awareness on the need for women’s rights in all continents, on the other hand some critics opine that the play depicted women as inferior creatures and dolls who have no personality of their own. Nora Helmer the main character strives to achieve the perfect concepts of life set by the society and her husband. Nora is trapped in her home where her Torvald has built a wonderful life for his ‘doll wife’. Nora’s transformation comes when she discovers the role in doll house imposed on her by the society and her husband and she is desperate to free herself in order to discover her identity.
After eight years of marriage, what allows Nora to see that she must break free from the “Doll’s House”? “A Doll’s House” is a play written by Henrik Ibsen, set in late nineteenth century where women were expected to uphold social norms of being a submissive wife and a caring mother. In the beginning of the play, Nora is initially portrayed as a naive and obedient “doll” trapped inside of a “Doll’s House”, but towards the end of the play, Nora is able to come to the realisation that she was never happy during her eight years of marriage with Torvald, leading to her leaving Torvald and breaking free from the “Doll’s House”. This essay will explore the different factors which allows Nora to see why she must break free.
Nora, the protagonist and wife of Torvald Helmer is presented as naïve and oppressive person who doesn’t have a past experience of the outside world. Nora’s husband represents the position of authority treating his wife as no equal but rather as a child. The author was intended to incorporate the stereotype of the perfect family and their respective roles. The first act take place during Christmas Eve, as Nora Helmer enters the house to her well furnished and decorate living room, carrying some packages and a Christmas tree. Since the first act the author
At the end of the play, Nora decides to walk out on her family, leaving her husband and her children to live a life without her as she finds herself out in the real world. In the play, A “Doll House”, we are introduced to a character named Kristine Linde. Kristine is widowed women and an old friend of Nora, who is seeking the employment. Throughout the play we see many differences between
A discourse community implies all kinds of communication adding to a specific established manner of thinking employed by a particular gathering of persons who utilize, and thus assist in developing a specific discourse. In the subsequent text, I will be discussing the perspectives from two dissimilar discourse communities; an online subscription discourse community and one that is essentially academic based. I will additionally express my opinions regarding these discourse communities, how I think I am connected to them and the manner in which I can be more beneficial to them. According to the article “Protect desert land by bill – or my monument designation’’ by the editorial board for the SBSUN, Dianne Feinstein has presented a nice method
Nora is a character that will do everything that somebody tells her, she is kind of submissive regarding what Torvald says. She has to mention him at least once while she’s talking about anything, but she does have some petty forms of rebellion, like the macaroons. A larger way of her rebelling would be when she pays for the trip so that Torvald can get better. She is viewed as a child by Mrs. Linde, Christine, and is treated like one by Torvald and it seems almost like they look down on her because she is a woman and she is completely dependent on her husband. Her character, at this point, has no backbone; she is completely captivated by this life in which she perceives as
The way that Nora responds to Torvald and his many rules show again Nora’s childish nature. This is evident in how Torvald controls Nora and does not want her to eat macaroons. After realizing that Nora had in fact had some, he questions her to which she responds “No; what makes you think that?” (Ibsen 1361). Nora hides the truth from Torvald as if he is her father and is unable to stand up to him because she fears what may happen to her even though they should be equals. Although it may be frowned upon for the wife to make such decisions in this period, Nora knows that this is no way to live, and instead of making that known she buries the idea.
Torvald, however; only lusts after Nora and does not truly love her for who she is. Torvald treats Nora as an object and although he is just is a man of his time, it is still a vile and not virtuous thing to do to another human being. This play has characters that are complex, but their virtues are clearly seen. Every fault that Nora has in this play can be linked back to her being a victim of the time she was born in and the people
He rather expects her to be more compliant, loyal and wants her to follow the social and moral rules strictly, like he does. Torvald’s assertion that Nora’s lack of understanding of money matters is the result of her gender (“Nora, my Nora, that is just like a woman”) reveals his prejudiced viewpoint on gender roles. Torvald believes a wife’s role is to beautify the home, not only through proper management of domestic life but also through proper behavior and appearance. He quickly makes it known that appearances are very important to him, and that Nora is like an ornament or trophy that serves to beautify his home and his reputation. He tells Nora that he loves her so much that he has wished in the past that Nora’s life were threatened so that he could risk everything to save her.
Nora begins the play as a childlike character who is always happy and grateful; only afterwards we find out that she has a big secret that adds more maturity to the character. In a way, she shows us the span of life; you begin as a child and mature, as secrets get heavier which then causes you to figure out your personality. Nora has been manipulated, has manipulated throughout the play. The whole play was about her actions and consequences. This book shows the readers what it means to grow
However, we now see Nora showing a more adult attitude by stating “I’m a human being” in order to get across the fact that she wants to be treated as an equal and that she is done being an object and in particular a doll. Towards the end of the play we see another sense of irony which is the fact that once Nora brings out her true self and sits Torvald down to tell him the truth, he is completely new to this side of Nora and as a result is shocked. However, with Torvald still wearing his costume from the party, this is a reprsentation of the artificial world he lives in whereby `Nora is his doll, but by confronting him, he realizes that she is not the Nora he thought she was, making him realise that his world is a facade, and that just like Nora, he too, is nothing more than a doll in a pretend
As the play comes to a close, Nora exits the room by slamming the door on Torvald, showing her standing up to the patriarchy that exists in the family and in nineteenth-century Denmark. Male dominance is the key attribute to nineteenth-century marriages because women were never thought to have ways of power through the eyes of the man. When Nora slammed the door on Torvald, she was not making a stand for herself; she was making a stand for feminist equalization in
First, Nora is treated like a child by her husband Torvald. Torvald had nicknames for Nora like squirrel or skylark that was often accompanied by demenors like sweet or little. At the end of the play, Nora tells her husband that he treated her like a weak, fragile doll just like her father. Nora’s feelings about Torvald’s attitude is evident in the quote from Nora and Torvald’s conversation ”I was your little songbird just as before- your doll whom henceforth you would take particular care to protect from the world because she was so weak and fragile. ”(Pg.
During act III, Nora asked to speak to Torvald after her performance of the tarantella dance. The following conversation demonstrated her quest for autonomy and freedom, as well as Torvald’s inadequate responses to her arguments and demands; it also showed how deeply connected her unhappy situation is with society’s regulation of the relationship between the sexes. She asserts that she is “...first and foremost a human being”, and her strong conviction that her womanhood, and the expectations associated with it, are secondary, strengthens her resolve to make a radical choice: A break with both husband and, with necessity due to her legal position, her children (Ibsen, 184). During her conversation with Torvald, she proclaims, “I have other sacred duties... The duties to myself (Ibsen, 184).”
Torvald and Nora’s relationship and home can be compared to as a “doll house” because of its perfect characteristics, however it is quite the opposite, with its foundation based on lies and pretend happiness. The stage directions read “A room furnished comfortably and tastefully, but not extravagantly. At the back, a door to the right leads to the entrance-hall, another to the left leads to Helmer’s study. Near the window is a round table, arm-chairs and a small sofa. Engravings on the walls; a cabinet with china and other small objects; a small bookcase with well-bound books” (Ibsen 4).
