Nora believes that there should be true love in a marriage. This reveals the reason as to why when Krogstad threatens Nora for her predicament, Nora expresses that “there is no hope for [them] now.”(45) In this passage, Nora shows her fear and wor... ... middle of paper ... ...mately, now she has the courage to study and learn about herself and society. The shift from thinking about the sacrifice for her husband to deciding to abandon this Doll house, reflects an expanded sense of independence and self confidence in Nora. At the end, Nora leaves the Doll house as a tenacious and courageous, independent woman who knows what she wants in life. In conclusion, the play A Doll's House depicts that Nora believes that a couple that loves each other should have the willingness to sacrifice for each other.
At the beginning of the novel, she does not mind her doll-like personality in which she is babied, spoiled, and demeaned. Towards the middle of the novel, Nora realizes that she is looked at as Torvald’s “silly girl” an... ... middle of paper ... ... Nora Helmer and Gregor Samsa practiced similar circumstances that include their physical changes, unpaid debt, and isolation from their families. Nora and Gregor were trying to escape the controlled society in which they lived in. Nora was controlled by her “flawless” husband and Gregor was attached to the responsibilities he had to fulfill in his household. Eventually, they both escape their controlling society towards the end of their novels.
As most other men during this time, Torvald believed that women were not capable of making difficult decisions, or thinking for themselves. As the play progresses, Nora faces a life changing decision to abandon her duty as a wife and mother to find her own individuality. Even though Torvald is responsible for partial deterioration in their marriage, it is Nora's feministic beliefs, passion for life, thoughtlessness, and spontaneity that stimulate her ultimate plan to break away and shatter all that remained pleasant in Torvald's “perfect little dollhouse”. Nora, the protagonist, has been treated as a "play thing" by her father and then her husband, Torvald. She is thought to be fragile and incapable of resolving any serious problems.
By using her power as an alternate parent to Anne, she in result prevents Anne from marrying him. Lady Russell's reasons for this is seemingly parallel with Austen's initial description of her as "she was a benevolent, chari... ... middle of paper ... ...d a counterpart. And rather desires to live alone in a quite home. Although it is obvious she is lonely, she helps her friend Sylvia through all her problems. But overtime Sylvia’s happiness hits an all-time low and Jocelyn determines herself to help Sylvia get back on track.
And then with the arrival of her friend Kristine Linde, who implies that Nora will have a harsh future when she finally realizes her marriage is based on deception. Kristine had married for financial security instead of her beloved Nils, yet in the end they are reunited as equals. Unlike the marriage Nora and Torvald have, allowing Nora to learn that she will never be happy unless she leaves her marriage and that she was merely a mold of someone her husband wanted her to be. Without a doubt, Ibsen’s play reveals self-determination in many of the characters. In the following paragraphs self-determination is revealed in Mrs. Linde and Krogstad.
In her struggle to keep the borrowed money from her husband’s knowledge Nora begins a transformation from dependence of Torvald, to being self-efficient, self-worthy, and self-independent—qualities women of her time lacked of—because all, such as Nora never displayed a mind of their own. At the end, when Nora’s secret is revealed to Torvald and his reaction is to condemn her for borrowing the money, Nora realizes that she no longer fears her husband’s reaction; she is no longer worried of keeping appearances of what society says she should be as a wife, and mother. The secret that Nora tries very hard to keep hidden, gives her the opportunity to discover herself as an individual, and what she is capable of doing regardless the constraints of society. In fact, Nora’s first display of self-sufficiency happened when Torvald “fell deathly ill [and] the doctors said it was essential for him to travel south” (799) At the time Nora and Torvald did not count with money to make the trip, and knowing that Torvald would never agree to borrow money, Nora “was the one who raised the money” (801) She ingeniously managed to convince her husband to travel South without having to con... ... middle of paper ... ...She listened to Torvald ramble about her wrong doings and how embarrassing is for him, while “he never understood [her]” (842) With a determined look she tells him “I’ve been wronged greatly, Torvald—first by Papa, and then by you…I went from Papa’s hands into yours…Now when I look back, it seems as if I’d lived here like a beggar—just from hand to mouth. I’ve lived by doing tricks for you, Torvald” (843) Nora now knows all that she has ever done for her husband was out of duty; she had to behave a certain way because society dictated it that way.
The exploration of Nora reveals that she is dependant upon her husband and displays no independent standing. Her progression of understanding suggests woman's future ability to comprehend their plight. Her state of shocked awareness at the end of the play is representative of the awakening of society to the changing view of the role of woman. "A Doll's House" magnificently illustrates the need f... ... middle of paper ... ...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.
Cleofilas, in the short story “Women Hollering Creek” is living a life of misery and lies. The story begins with Cleofilas recalling her own marriage, thinking back to how her father’s words “I am your father, I will never abandon you” (104) have much more meaning now that she is a parent herself. She realizes a parent’s love for ... ... middle of paper ... ...hair. She tries to escape the life she is living through anything possible. Cleofilas is unaware that this mask even exists and tries to make everything as close to how the telenovelas depict how a marriage and wife should be all while losing her true self.
The women in Susan Glaspell's “Trifles” and Henrik Ibsen's “A Doll's House” creates a complex picture of male-female relationships and their effects on women's views about reality. Nora Helmer, the main character of Ibsen's play, seems totally happy with her family and social life: she is constantly pampered and patronized by her husband and plays the role of a trivial, small girl who cannot take pertinent choices. In a similar manner, Minnie Foster, the central character of Susan Glaspell's “Trifles”, spends her life in separation and rejection, banned by her husband from realizing her purpose and aspirations. Nora and Minnie are two strong females in a male-dominated world, who choose different ways to cope with gender inequalities and protest against gendered standards and expectations of female performance. Minnie Foster and Nora Helmer are two females living in a male controlled world.
In Henrik Ibsen's A Doll's House, Christine Linde surprises Nora Helmer with a visit to her house. The two women were childhood friends and have not seen each other in many years. As both characters' qualities unfold during the play, it is easy to see how Mrs. Linde's character traits underscore those of Nora's. Mrs. Linde's serious, responsible nature amplifies Nora's playful, childlike personality; Mrs. Linde's taking care of her sick mother and two young brothers emphasizes Nora's abandonment of her dying father; and finally Mrs. Linde deciding to marry Krogstad heightens the ending of Nora's marriage. When the audience first meets Mrs. Linde, she seems to be quite a contrast to the childish Nora.