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Noras acts of self assertion in a dolls house
Doll's house symbolism
Symbolism in the doll's house
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In the 1900’s women were not granted with similar privileges as men. Economic suppression, limited education, and lack of civil rights were the primary issues for women. In the play A Doll’s House, Henrik Isben creates the realization of female oppression through the creation of the character, Nora. Nora is a woman, whose whole life is ruled by either her father or husband. Nora Helmer, tries hard to perform the roles expected of a woman, which, however, has led to her sacrifice of individual ideals and fulfillment of personal freedom. Ibsen reveals Nora’s grasp of independence through his use of symbolism, irony, and development of characters. Nora’s first impression of the audience is being an obedient, money-loving, childish wife. In the first act, Nora seems to just want money from her husband, she doesn’t delay herself in asking for money. Even when asked what she would like for Christmas, money is her answer. In response Torvald addresses Nora as a little girl, or even a pet; “my little lark mustn’t droop her wings like that. What? Is my squirrel in the sulks?” (Ibsen 1166-1167). Nora’s stressed emphasis of desiring money is very much similar to that of a child. Children have no means of income resulting to ask parents and ever grandparents for money. By Nora being the child means that Torvald is the parent or grandparent. Grandparents are the most common individuals who create pet names for their favorite grandchildren similar to what Torvald does to Nora. All of which makes Nora seem more like a prized possession opposed to an equal partner in marriage. This is how Ibsen first introduces Nora to the audience and creates an image of her life before the start of the play. Ibsen first presents Nora inferiority to her h... ... middle of paper ... ...d ruining his honor. At this point, Nora realizes that everyone’s first and foremost duty is to seek out a space for her own self. It seems that she has changed from the frivolous, child-like dependent plaything at the beginning to the rational, determined spokeswoman for individual freedom at the end. In her awakening, Nora realizes that she has been made a doll that Helmer and her father want her to be. Her decision to leave Helmer shows her intense and determined passion to seek for freedom and an individual self. Her slamming of the door at the end of the play symbolizes the liberation of a woman from social roles, her triumph of individual liberty and a woman’s proper rights to personal freedom in a male chauvinistic society. As she says, ”I believe that first and foremost / I am an individual, just as much as you are or at least I’m going to try to be” (1229).
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.
Nora is perceived as a helpless women, who goes out and wastes money that was earned by her husband. To Torvald, Nora is merely a plaything, which could be what the title of the play, "A Doll House", was hinting at. He found her helplessness to be attractive, because he was the one that was in control. For instance, when they received the Bond from Krogstad, Torvolld said, "I wouldn't be a man if this feminine helplessness didn't make you twice as attractive to me" followed by "It's as if she belongs to him in two ways now: in a sense he's given her fresh ...
In Act I, it seems evident that Nora does not understand the actual value of money but she has an infatuation with luxuries such as expensive Christmas gifts and she justifies this by buying less expensive clothes, which she has confided in Mrs. Linde, her friend. Helmer, immediately labels his wife as a “little spendthrift” (Ibsen, 660). She seems to think that money can be easily borrowed and paid back.
Weintraub, Stanley. ""Doll's House" Metaphor Foreshadowed in Victorian Fiction." Nineteenth-Century Fiction 13: 67-69. Web. 6 Jan. 2011.
Once Nora reveals her deceptive act to Mrs. Linde, we begin to see Nora’s character in a whole new light. One that is much more mature and determined than previously thought. It isn’t until Mrs. Linde accuses Nora of not knowing her hard day’s work that she finally reveals her greatest secret. It is through their common experience of sacrifice that unites them and brings them closer together again. As we reach the end of act one, we begin to see Nora struggle with her new problem of guilt.
...ment about how Torvald doesn’t like for her to eat them. Nora lies and says Kristine brought them too her. As Nora’s secret side is revealed, her life seems anything but perfect. As we look at the character change in Nora, we see two different sides to her. The beginning of the play reveals a woman totally dependent on her husband for everything,. It isn’t until the end of the play that she realizes she can be herself and she doesn’t have to depend on her husband. Nora realizes “that if she wants an identity as an adult that she must leave her husband’s home” (Drama for Students 112). By examining Nora, we see from Ibsen’s theme that if we ignore all the expectations the social world has for a person, our true selves can be revealed.
...le that Nora expects and the miracle that actually happens are entirely different. Nora dreams of the day that her husband will sympathize with her and cease to be the dominating figure with the "upper hand" in their relationship. She expects him to understand her struggles with the law and to be willing to take some of the blame himself. However, when he reacts to Krogstad's letter by exhibiting more dominance and control than ever before, Nora becomes more aware of her own individual needs as a woman in society. She understands that in order to be free, she must develop her own view of the world, by setting herself apart from the control and determinism that males have over her life. Therefore, Nora's decision to leave her husband and family is ironic because it proves to be the "miracle" she is waiting for, rather than the one she originally expected. Nora becomes a feminist heroine in the play by showing what women can achieve, but rarely attempt. The determinism that many men force on their women partners in society (in forms of control, dominance, and power) restricts the women's ability to strengthen as individuals, and gain their own self-determinism.
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.
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...
Nora Helmer was a delicate character and she relied on Torvald for her identity. This dependence that she had kept her from having her own personality. Yet when it is discovered that Nora only plays the part of the good typical housewife who stays at home to please her husband, it is then understandable that she is living not for herself but to please others. From early childhood Nora has always held the opinions of either her father or Torvald, hoping to please them. This mentality makes her act infantile, showing that she has no ambitions of her own. Because she had been pampered all of her life, first by her father and now by Torvald, Nora would only have to make a cute animal sound to get what she wanted from Torvald, “If your little squirrel were to ask you for something very, very, prettily” (Ibsen 34) she said.
It is through these stage directions that Nora’s playful and slightly immature character is revealed. In Act One many of the stage directions written for Nora is her ‘shrieking’ , this overly excited, erratic behaviour is a common theme from Nora throughout the play and emphasises her immaturity and lack of sincerity, most likely stemming from not having the opportunity of independence. A slightly comical action of Nora’s in the play ‘A Doll’s House’ is when she ‘stuffs the bag of macaroons in her pocket and wipes her mouth’ . This could be compared to a child attempting to hide evidence from their parents either in guilt, or in fear of being caught doing something forbidden; for Nora this is brought about by the strict rules of Torvald. Nora also appears very whimsical and is found to be ‘lost in her own thoughts’ and ‘hums ‘. It seems as if she is blissfully unaware and oblivious of the troubles and misfortune her family is receiving and this highlights her role, not as an equal partner in the family but rather a doll on display. However it is not just the stage directions of Nora that give rise to her childish actions. A significant moment in the play that reveals why Nora acts like a child is when Torvald questions Nora about purchasing macaroons. The stage directions state that he is ‘wagging his finger at her’ , this is an action similar to one a parent would make when telling off a
At the beginning of the play, Nora and Helmer’s relationship appears to be a typical marriage in the 1800s. Helmer, as the man, is the head of the house and Nora is portrayed as the naïve, “spendthrift” wife who has no dealings with the financial situation of the family. However, as the story evolves, a different side of Nora emerges. She attempts to conform to society’s views of gender roles in order to keep her “beautiful and happy home” and fears that telling her husband about what she did will “completely upset the balance of [their] relationship” (891). ...
Henrik Ibsen paints a sad picture of the sacrificial role of women throughout all social economical classes in his play “A Doll House”. The story is set in the late 19th century and all minor female characters had to overcome adversity to the expense of love, family and self-realization, in order to lead a comfortable life. While the main female protagonist Nora struggles with her increasingly troubled marriage, she soon realizes, she needs to change her life to be happy as the play climaxes. Her journey to self-discovery is achieved by the threat of her past crime and her oppressing husband, Torvald and the society he represents. The minor female characters exemplifying Nora’s ultimate sacrifice.
The characters of this play help to support Ibsen's opinions. Nora's initial characteristics are that of a bubbly, child-like wife who is strictly dependent on her husband. This subordinate role from which Nora progresses emphasizes the need for change in society's view of women. For Nora, her inferior, doll-like nature is a facade for a deeper passion for individuality that begins to surface during the play and eventually fully emerges in the ending. An example of this deep yearning for independence is shown when Nora tells her friend, Kristina Linde about earning her own money by doing copying. Nora explains, "it was tremendous fun sitting [in her room] working and earning money. It was almost like being a man" (A Doll's House, 162). Mrs. Linde is an inspiration to Nora, because Kristina has experienced the independence that Nora longs for.
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.