The expectations imposed upon Nora were created by society and her husband. In the nineteenth century women had few alternatives to marriage; they were not expected to step beyond their roles as housewife and mother. Females were confined in every way imaginable. Women were limited by their identities as it relates to society and their husband’s expectations.
On page 1571, Mrs. Linde says to Nora ‘A wife can’t borrow money without her husband’s consent.’ Mrs. Linde expects Nora has gotten the money through other means; either the lottery or other indiscreet means. It wasn’t expected that women with a little business know-how could derive ways to earn or borrow money. Torvald treats Nora like a doll. He calls her by all manner of names: squirrel, silly child, lark, songbird. The names he uses directly relates to how Torvald feels about her at the time. He tends to treat her views and opinions as less than important or trifling. Torvald doesn’t want Nora spending too much money at Christmas. Nora wants to borrow against his upcoming promotion and subsequent raise in salary. Torvald states on page 1565 ‘Are your scatterbrains off again? What if today I borrowed a thousand crowns, and you squandered them over Christmas week.’ On the rare occasion when Torvald gives her money, he is concerned that she will waste it on candy and pastry.
Nora asks Torvald what her most sacred vows are and he responds ‘And I have to tell you that! Aren’t they duties to your husband and children?’ Later on he states Before all else, you’re a wife and mother. Torvald states that her sacrifice for him was nothing. He states on page 1611 ‘I’d gladly work day and night, Nora, and take on pain and deprivation. But there’s no one who gives up honor for love. Torvald reveals his true feelings, which put appearance, both social and physical, ahead of his wife, whom he says he loves.
Nora states on page 1611 ‘you neither think nor talk like the man I could join myself to. When your big fright was over – and it wasn’t from any threat against me, only for what might damage you – when all the danger was past, for you it was as if nothing had happened. I was exactly the same, your little lark, your little doll that you’d have to handle with double care now that I’d turned out so brittle and frail.
After she reveals the "dastardly deed" to her husband, he becomes understandably agitated; in his frustration he shares the outside world with her, the ignorance of the serious business world, and destroys her innocence and self-esteem. This disillusion marks the final destructive blow to her doll's house. Their ideal home including their marriage and parenting has been a fabrication for the sake of society. Nora's decision to leave this false life behind and discover for herself what is real is directly symbolic of woman's ultimate realization. Although she becomes aware of her supposed subordinateness, it is not because of this that she has the desire to take action. Nora is utterly confused, as suggested by Harold Clurman, "She is groping sadly in a maze of confused feeling toward a way of life and a destiny of which she is most uncertain (256)." The one thing she is aware of is her ignorance, and her desire to go out into the world is not to "prove herself" but
...ome from different worlds, yet they still share the same type of sadness and pain in their everyday lives. What Nora does is considered courageous in that time in history, where women were not treated as equals and were always looked down on and ignored. Women speaking out and taking matters into their own hands was unheard of and often risky. They want to be independent so they do what they believe is necessary to accomplish and reach their goals, so that they can once again be happy for eternity.
...y the social convention, gives Nora the strength to abandon her’s. As Pythagorous once said, “Decisions are the hinges of destiny,” and with the help from her husband and society, Nora opened her door.
Torvald is the typical husband of the time of the play. He tries to control his wife and expect her to submit to him. He manipulates her through many different ways. First, he calls her pet names such as "little lark" (3) and "squirrel" (4) and speaks to her in a condescending tone, as if she is a child. He then tries to control her habits so he will not let her eat sweets or spend too much money. In fact, all the money she gets comes from him. He demands that she is subservient and treats her as almost a dog later on in the play. At the end, when Nora's secret is out, he lashes out at her and kicks her out of the house. When he wants her back after he realizes that he will no longer get into trouble for what she did, she does not want to come back, he finally realizes that she does not love him anymore and that his manipulation of her is over. This leaves him in a pickle because he now has to take care of his children without Nora, hardly a good position for him.
...The play demonstrates this in the following lines: Helmer: Before anything else, you’re a wife and mother. Nora: I don’t believe that any more. I believe that before anything else, I’m a human being, just as much a one as you are … or at least I’m going to turn myself into one … I want to think everything out for myself and make my own decisions. Nora must be true to herself in order to participate in society in a meaningful manner. Her relationship with her children has been marred by her relationships with her father and husband; she treats her children as dolls, and they are apt to grow up in the same manner, with the same inability to be true to themselves. By the end of the play, Nora realizes that she cannot properly fulfill her duties as a mother until she learns how to become a person first. In this sense, her abandonment of her children is an act of mercy.
Nora and Torvald's relationship, on the outside appears to be a happy. Nora is treated like a child in this relationship, but as the play progresses she begins to realize how phony her marriage is. Torvald sees Nora's only role as being the subservient and loving wife. He refers to Nora as "my little squirrel" (p.1565), "my little lark" (p.1565), or "spendthrift"(1565). To him, she is only a possession. Torvald calls Nora by pet-names and speaks down to her because he thinks that she is not intelligent and that she can not think on her own.
Torvald Holmer's refusal to borrow money displays the character of a proud and controlling man. Helmer provided the financial support for his family through hard work, not depending on others for money. When Torvald's law practice did not provide financially, he sought a job at the bank. After Helmer received a promotion at the bank, Nora felt they could now afford to be extravagant for Christmas. Nora says, "This is the first Christmas that we have not needed to economize." Torvald announces that his promotion is not until ". . . after the New Year," so Nora blurts out ". . . we can borrow till then." Helmer interprets Nora's spending of money as wasteful and foolish, telling her "That is like a woman! ...There can be no freedom or beauty about a home life that depends on borrowing and debt." Obviously Torvald earns and manages the money in the house, and he attributes Nora's lack of understanding of these matters to her gender. Torvald views a woman's place to beautify the home through proper management of domestic life, behavior, and appearance. Helmer demeans Nora about spending in calling her "sweet little spendthrift, but she sure uses up a deal of money . . . " After accusing Nora of being irresponsible with money, Torvald rejoices at her dependence on him stating, ". . . Is my little squirrel out of temper? ...what do you think I have here?" Nora exclaims, "Money!" Torvald finds merriment in watching her happy reaction to him giving her money, and Nora saying, ". . . Thank you, thank you, . . . " This illustrates the helplessness of Nora and her dependence on Helmer, causing him to feel in control.
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.
Nora 's character is a little bit complicated. she is a representative of women in her time and shows how women were thought to be a content with the luxuries of modern society without worrying about men 's outside world. However, Nora proves that this idea is entirely wrong. Nora is not a spendthrift as all people think specially her husband. on the contrary, she has a business awareness and she is mature
Without love a relationship would never even begin. The basis for Nora and Torvald's relationship appears to be centered around love, but this was not exactly obtained. Torvald doesn't really love Nora in a mature way; he just looks at her as another child. He has many nicknames for his wife including "lark" and "squirrel" which are small animals and used as symbols of foreshadowing. By using these symbols, Torvald looks at his wife as being smaller than himself and therefore easy to control. He always refers to Nora as my something. "Is that my little lark twittering out there?" and "Is it my little squirrel bustling about?" (438) He emphasizes the my' which makes him think that he owns his wife and he is in control of her. Calling his wife names such as skylark', squirrel', and spendthrift', Torvald does not love his wife with the respect and sensitivity a man should. He gives Nora an allowance but thinks she spends it frivolously. "What are little people called that are always wasting money? It's a sweet little spendthrift. One would hardly believe how expensive such little persons are" (439) Here, Nora is referred to as a small subordinate creature once again. Torvald is so concerned about...
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."
She is instructed by Krogstad to “not do anything foolish” (Ibsen 45) and then attempts to keep Torvald away from any pressing matters. “[Nora]: You must not think of anything but me, either today or tomorrow; you mustn’t open a single letter-not even open the letter box” (Ibsen 49) Nora understands, by stating this, that she can keep Torvald blissfully ignorant to the reality that is, first of all, her getting a bank loan, and second of all, that she got a bank loan from none other than Krogstad himself. In fact, when the truth finally gets to Torvald, Nora seems distressed at first, but progressively her independence starts to
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
Torvald Helmer starts off the story with a new job as a bank manager. He has a wife Nora who does not have a job in the workforce since that was the man's role. Torvald even calls Nora pet names like "my sweet little lark" and "my squirrel”. These nicknames may seem to be harmless and cute, but in reality the names actually show how little he thinks of her and how he’s the one harnessing the power in the relationship. When Torvald says "my little squirrel" he is suggesting that he in fact owns Nora and that she is second-rate to him, since she is seen as little and as a squirrel which are usually frightened, non-threatening creatures. Torvald sees women as both child-like, helpless creatures detached from reality and who are responsible for taking care of the chores and children while staying inside the house.
...dlike mentality and needs to grow before she can raise her own children. Her defiance of Torvald, when he refuses to let her leave, reflects her epiphany that she isn't obligated to let Torvald dictate her actions. The height of Nora's realization comes when she tells Torvald that her duty to herself is as strong as her duty as a wife and mother. She now sees that she is a human being before she is a wife and mother and she owes herself to explore her personality, ambitions, and beliefs.