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Change is inevitable, no matter how hard people may try to evade it, change is just around the corner, waiting. In Henrik Ibsen’s A Doll’s House, change came when she realized the reality of the situation with her, and her husband, Torvald. The novella follows the struggle of Nora Helmer as she is blackmailed of fraud, even if it was under a life or death circumstance of her husband. A Doll’s House is renowned for incorporating feminist perspectives by placing Nora’s character through specific events, which helped her to see the gravity of her situation, and how those key events sparked Nora’s decision to shape the feministic approach in the novella.
Most books follow the Hero's Journey for the main protagonist, which consists of multiple
Before, Nora had become objectified to a doll, but after she perceives herself as a human being, even exclaiming “I believe that before all else I am a reasonable human being” (Ibsen p. 78). Nora sees the way Torvald did not treat her as equal and now desires to be treated as such. Not only that but Nora’s stirrings of emotion caused her to discover that since Torvald was just like her father, she had no room to mature and become an independent woman. Ibsen explains “[if] I am to understand myself and everything about me. It is for that reason that I cannot remain with you any longer” (Ibsen p. 77). Staying with Torvald would serve no purpose to her character, so those desires became the foundation for Nora to go out and find out who she was as a human being. Nora ultimately squelches the female role within media that woman should be submissive to men by dismissing Torvald’s excuse “Are they not your duties to your husband and your children?” with a counter “Duties to myself” (Ibsen p. 78). Above all else, Nora is allowed to make her own decisions in life rather than stay chained to a man with the intent of objectifying and using her. With this feminist-like mindset, Nora estranged her family because she no longer wanted to be considered an object and to search for herself out in the
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 the 1800’s, women were considered a prize to be won, an object to show off to society. They were raised to be respectable women whose purpose was to marry into a higher social class in order to provide for their family. These women were stuck in a social system which seemed impossible to escape. Henrik Ibsen, a Norwegian playwright, saw these barriers and wrote one of the most controversial plays of his time, “A Dolls House”. In his play, Ibsen argues the importance of opposite sex equality in marriage by using his character, Nora Helmer, to bring to light how degrading the roles of women were in the 1800’s.
In Henrik Ibsen’s “A Doll’s House”, Nora Helmer portrays the Victorian English archetype of the “angel in the house”, otherwise known as the “doll” metaphor. In the Victorian age, the social construction of gender roles was much more traditional than contemporary gender roles; women had a clear role in society of which they could not escape. A major focus of social construction is to uncover the ways in which individuals and groups participate in the construction of their perceived social reality. As society is revolutionized, people individualize, freeing themselves from the constraints imposed by traditional societies. Nora Helmer represents an antecedaneous model of a feministic viewpoint in an oppressed position. Trapped in her role of the “doll”, Nora struggles to break free, her actions precipitated by her husband, Torvald’s, actions. Weintraub, in his ““Doll’s House” Metaphor Foreshadowed in Victorian Fiction” critical essay, depicts Shaw’s work and proposes the idea that the male protagonist has an immense impact on the female protagonist’s automorphism as “the doll” and the decisions she makes. In Ibsen’s “A Doll’s House,” Nora’s characterization and ultimate decision to leave can be seen as a struggle against the combination of Torvald and Society’s pressure to conform.
Patriarchy's socialization of women into servicing creatures is the major accusation in Nora's painful account to Torvald of how first her father, and then he, used her for their amusement. . . how she had no right to think for herself, only the duty to accept their opinions. Excluded from meaning anything, Nora has never been subject, only object. (Templeton 142).
During the time in which the play took place society frowned upon women asserting themselves. Women were supposed to play a role in which they supported their husbands, took care of their children, and made sure everything was perfect around the house. Work, politics, and decisions were left to the males. Nora's first secession from society was when she broke the law and decided to borrow money to pay for her husbands treatment. By doing this, she not only broke the law but she stepped away from the role society had placed on her of being totally dependent on her husband. She proved herself not to be helpless like Torvald implied: "you poor helpless little creature!"
Throughout A Doll’s House, Henrik Ibsen illustrates through an intriguing story how a once infantile-like woman gains independence and a life of her own. Ibsen creates a naturalistic drama that demonstrates how on the outside Nora and Torvald seam to have it all, but in reality their life together is empty. Instead of meaningful discussions, Torvald uses degrading pet names and meaningless talk to relate to Nora. Continuing to treat Nora like a pampered yet unimportant pet, Torvald thoroughly demonstrates how men of his era treat women as insignificant items to be possessed and shown off. While the Helmer household may have the appearance of being sociably acceptable, the marriage of Torvald and Nora was falling apart because of the lack of identity, love, and communication.
In Henry Ibsen’s play the Doll House, Torvald restraints Nora Helmer’s freedom. Torvald sees Nora as a doll and a child instead of an equal partner or wife. When Torvald does not sacrifice his reputation to save her, Nora realizes that “[she] had been living all these years with a strange man, and [she] had born him three children.” After years of having to live as a doll, Nora has an awakening that kindles her passion for freedom.
A Doll’s House illustrates two types of women. Christine is without a husband and independent at the start of the play whereas Nora is married to Torvald and dependent on him and his position at the bank. Both begin at different ends of the spectrum. In the course of the play their paths cross and by the end of the play each woman is where the other started. It appears that a woman has two choices in society; to be married and dependent on a man or unmarried and struggle in the world because she does not have a man.
Patriarchy's socialization of women into servicing creatures is the major accusation in Nora's painful account to Torvald of how first her father, and then he, used her for their amusement. . . how she had no right to think for herself, only the duty to accept their opinions. Excluded from meaning anything, Nora has never been subject, only object. (Templeton 142).
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.
When originally released and produced, Henrik Ibsen’s A Doll’s House, it forced an entire nation to reevaluate the standard of gender equality. Many accredit this work to aiding in the beginning of the Norwegian feminist movement, which began the same year the play was first seen by audiences. With its release, A Doll’s House had extreme polarizing effects on the audience members, causing some to rebel against the patriarchy and others to continue to cling to it with a vehement vigor. In this work, Ibsen addresses the question of objectification of women, and how it is degrading and demeaning towards women, through the way that both Torvald and Nora, herself, views Nora.
At the beginning of "A Doll's House", Nora seems completely happy. She responds to Torvald's teasing, relishes in the excitement of his new job, and takes pleasure in the company of her children and friends. Nora never appears to disagree with her doll-like existence, in which she is cuddled, pampered and patronized. As the play progresses, Nora's true character appears and proves that she is more than just a "silly girl" as Torvald calls her. Her understanding of the business details related to the dept she incurred in taking out a loan to help Torvald's health shows her intelligence and her abilities beyond being merely a wife. The secret labor she undertakes to pay off her dept demonstrates her determination and ambition. In addition, her willingness to break the law in order to aid her...
We see a woman who is making a bold action against gender inequality and the position society and culture has given her. As for Nora, we see in this first conversation that she seems entirely dependent on Torvald for her money, her food, and her shelter, despite the fact that she is keeping a secret. This secret is the kernel of her individuality and her escape from the doll’s house. While it is easy to paint Helmer as a tyrant and Nora as the naïve wife who suffers under his control, one must not forget that torvald is not aware of any damage he is causing. His greatest sin is perhaps his ignorance. The shock he shows at Nora’s revelation shows that he has no awareness that there is anything wrong with the status balance in his
Ibsen desires to challenge assumptions as well as rules of Norwegian life, and most importantly wants to depict society accurately, as he meticulously incorporates everyday life. Therefore, A Doll House represents a realistic drama due to the issues involving women, illnesses, and laws within the play, while conveying Ibsen’s desire for controversy and change in Norway’s society. A common woman in Norway, such as Nora, experiences a daily life of oppression, fear, and unjust authority, which exposes societal mistreatment. Society and Torvald Helmer force Nora to look pretty and happy, although “she laughs softly at herself while taking off her street things. Drawing a bag of macaroons from her pocket, she eats a couple, then steals over and listens at her husband’s door” (Ibsen I. 43), which portrays oppression.