In some instances, Nora wonders whether there is true love in their marriage, how important she is to Torvald and what is her role in this house. At the end, Nora leaves and shuts the door, symbolizing her role in this Doll house. The play, A Doll's House demonstrates Nora as a character who believes that partners should be willing to sacrifice for each other in a marriage. Her perception is similar to Mrs.Linden’s, however, contradicts with that of her husband, Torvald who is demonstrated as selfish, insensitive and have no respect for marriage. Nora believes that there should be true love in a marriage.
Nora had no choice but to seek a loan behind her husband’s back in o... ... middle of paper ... ...ho knows her interests. Nora’s character is great for showing women’s tough character and serves the purpose of showing women becoming more socially accepted. All of these are shown with Nora’s possession of a secret, lying life. Before her transformation, she appears as an attractive, amusing doll to Torvald and her father, but it is only when they find out of her secret letter and forgery is when they start to understand her for more than the gorgeous child that she is. After the transformation, Nora shows that she can fight for her rights, work hard, endure huge amounts of stress, and she is skilled to do things when she is strong-minded.
The best title is definitely "A Doll's House" because Nora is the only character acting in a different manner in order to please her power hungry husband, Torvald. Even if she was conniving it was all in good intentions. It takes a very loving wife to go out of her way in order to make sure that her husband isn't burdened down with the expenses of a trip that saved his life. However, Torvald doesn't really see his Nora as his wife emotionally but as his little sex pet. This is what Nora finally realizes at the end of the play when Torvald is only worried about himself and what everyone else thinks about him.
Georgina is presented as a figure that could somewhat be considered as the epitome of the beauty of a woman. Rather than viewing the birthmark as a complement to her beauty, he sees it as a flaw that he must get rid of to guarantee that she remains beautiful to him. At no point does he stop to ask her opinion on the issue showing that it did not matter what she thought. All that mattered is that as her husband he did not like the birthmark and thus she had to get rid of it to make him happy. This is a clear indication life in a society where the differences in gender are used to exploit, divide, and isolate women.
By attempting to interpret Kate’s shrewd character from the beginning with her father and sister, through the middle with her first meeting of Petruchio, to the finale will help understand why she is finally tamed and not a shrew due to happiness and good will within herself. The Taming of the Shrew portrays physiological disguise due to certain issues the characters face. Kate becomes a shrew to compensate from her feelings being hurt due to her father 's favoritism toward Bianca. Furthermore, she refuses to be set up with an unworthy husband and so assumes the role of a shrew by insulating herself from the hurtful world around her and no matter how much she may secretly wish to join in the fun. Likewise, Petruchio
Torvald Helmer, Nora’s husband, is always treating her like a child and innocent always calling her names and basically treating her like a doll. She is more likely to be an “obedient trophy-wife. They had an unhealthy marriage, Nora is just living along with Torvald’s rules, and mainly she is following the social norms. Torvald believes that he is superior to her. Nora acting like a child is making her look innocent and naïve, with a little personality of her own.
As the breadwinner he is dominant and controlling and shows such characteristics at every given opportunity. In Torvald’s opinion, to have true marriage, a husband should be the model of his wife and breadwinner as it is from the named drama piece, Nora is the Doll in the house; “Doll House”. The theme throughout the play highlight’s the idea of Nora being the doll toy owned by Torvald. This theme is repeated in words and actions that boldly is manipulation and domination as opposed to obedience, adjustment, and respect. Nora believes in self-fulfillment, and always desires what is there to be taken, but never has the interest to give anything unless it happens to be mandatory.
The Bennet women rise and fall according to the disposition and capacity for change in themselves and their matches. Mr. Wickham and Lydia maintain their bad qualities and have the audacity to continue to ask for assistance even after they are married. Mr. Collins and Charlotte are unassuming and pinned under the influence of Lady Catherine; with no complaints from Mr. Collins. Mr. Darcy and Elizabeth grow to be more understanding of each other, therefore allowing their understanding of others to expand as well. The romance and respect in the marriage for love overshadows the traditional marriages of convenience.
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).
This directly identifies a problem and source of tension from the start of the play in contrast to Ibsen’s A Doll’s House. Tensions arise in both works when the female protagonists disobey laws which they find contradictory to their values and beliefs. The protagonists stand by their beliefs throughout unlike their counter parts who continue to change their beliefs. Ibsen chooses to create and develop his characters at the same time as developing the source of the dilemma. We see the problem later on when Nora and Christine hold their first discussion.