... how she saved her husband’s life previously when he became ill. Doctors had advised her to take him south for fear that he was in danger of losing his life. Wanting for him to survive, Nora acquired money, claiming it was from her father and took them to Italy. Before Torvald could find out where the money really came from, Nora’s father died. Torvald is still unaware of where the money actually came from. We soon learn that the money Torvald has been giving her as an allowance is going towards paying off the debt she accrued from borrowing the money for the trip. Kristine tries to get Nora to tell her where she got the money, but Nora refuses. Soon after this discussion we meet Krogstad, one of Torvald’s bank employees. It is obvious at his entrance that Nora dislikes him. We also see that Mrs. Linde acts peculiar towards Krogstad for some unknown reason.
In the closing scenes, Nora witnesses the final indication that she is truly regarded as Torvald’s possession. Beforehand, Torvald stated that he would protect Nora at all costs. However, as soon as he discovers the possibility of his reputation being tainted, he instantly degrades her to a point of dehumanization. As a result, Nora comprehends that true love never existed in their marriage, “You don’t understand me. And I’ve never understood you either- until tonight. No, don’t interrupt. You can just listen to what I say. We’re closing out accounts” (Ibsen 1234). Through this scene, Ibsen effectively represents Nora’s final mental awakening. The author employs sharp and decisive diction to convey Nora’s transformation. She no longer amuses Torvald with her childish antics, but speaks with a matter of fact tone. Nora had become accustomed to “pretending” her whole life, and therefore had convinced herself that she was in a loving marriage. As Sabiha Huq, English professor at Khulna University, indicates, “Nora has admonished a life living through hypocrisy and falsehood” (par. 1). It becomes evident to Nora that her whole life she has been dependent on a male figure and has never accomplished anything for herself. Subsequently, Nora feels as though her life has been meaningless, “I went from Papa’s hands into yours… it seems as if I’d lived here like a beggar--just from hand to mouth. I’ve
However, when he is fired, he details Nora’s deceit to Torvald through a letter, upon which Torvald and Nora get into a conflict. Torvald accuses Nora for bringing shame and disgrace to him. However, the arrival of Nora’s contract from Krogstad calms the situation, but Nora isn’t. The harsh words and insults of Torvald trigger Nora into a full understanding of her role in their marriage, and she makes the decision of leaving him. “As Nora awakens fully to her own needs, which are incomprehensible to her husband, she concludes that she must leave what now strikes her as a false marriage” (Shapiro 99). Eventually, she walks out of the house, despite Torvald’s persuasion, as she declares, “There is another task I must undertake first. I must try and educate myself--you are not the man to help me in that. I must do that for myself. And that is why I am going to leave you now” (Ibsen). It is evident she has to make sense of her own self and everything around
Nora this explains to Torvald with the line: “I have been your doll-wife, just as at home I was papa's doll-child; and here the children have been my dolls. I thought it great fun when you played with me, just as they thought it great fun when I played with them” (Ibsen). Nora does not discredit her position as a wife and mother but, instead, points the fact that they are all simply using one another in a kind of game within their family. Just as Nora is treated like a doll, both by her husband Torvald and by her father previously, this quote explains that she treats her children the same way that she had long been treated. She realizes that this is not a healthy relationship and has decided to make a change in her life for her own betterment. While some might argue that she should stay with her husband for her children’s sake, this is the same argument the people have used for women who have been emotionally and physically abused by their husbands for generations. While Nora has not been physically abused, as far as the reader knows, the fact that Torvald has taken no interest in her other than as she has described being used like a doll shows that he does not have her mental and emotional health in mind. As a result, this initial perspective points out that Nora should leave for her own mental state and for the benefit
expectations of her society. At the beginning of the play, Nora is still a child in many ways, listening at doors and guiltily eating forbidden sweets (macaroons) behind her husband's back. She has gone straight from her father's house to her husband's, bringing along her nursemaid to emphasize the fact that she's never been on her own. She's also never gained a sense of self. She's always accepted her father's and her husband's opinions. And she's aware that Torvald would have no use for a wife who was his equal. So she would act like a child and manipulate Torvald by pouting or by performing for him. She uses her own being as a lure for the things she wants in life. Her drive to reach her goals are far more powerful than her desire to care for the family, and life, that she created.
It is discernable as we notice, how Nora is treated by her husband, Torvald. Torvald gives no-regard to the intelligence of Nora and pictures her as an ornament that adorns his household. “…but our home has never been anything but a playroom, I`ve been your doll wife, just as I used to be papa`s doll child.” It is obvious that Nora does not have much control over her life and over any money “You might give me money Torvald…” Nora is quite intelligent and knows a thing or two about budgeting money, she has been able to pay her loan in small increments and at the same time buy things for her household. “I have had to save a little here and there, where I could, you understand.” Torvalds pride prevents her from reaching her full potential and doing something constructive in her
At the beginning of the story Nora is very happy, and everything with her family is going great. Nora responds in joy when Torvald brings up all the extra money that he will bring to the family with his new job. But as the story goes on Nora says she is not just a “silly girl” as Torvald says she is. Torvald does not agree that she understands all the business details referring to debt that she incurred to take out a loan to preserve Torvald’s health. She thinks that if she knows all these things about business that she will think that Torvald will see her as an intelligent person that knows more than just being a wife. But the fact that she is willing to break the law just to show her courage for Torvalds health.
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. Nora is the lady that sits and waits to be spoon fed by another. No matter what the circumstances are she inevitably digests all the poison and bitterness Torvald and the other characters push down her throat. Her love for money is far from normal; she demands as much money as Torvald earns. He always gives her everything she desires which explains why she never feels the need to change. All that Nora is, is not for her to be blamed, but for Torvald to be blamed. He made her who she is, being supportive and in agreement with her self-status. In contrast to further on in the play, Nora t...
Being handed down from her father to her husband Torvald, and the lack of experience in the real world, Nora feels her life is the way it’s supposed to be-the perfect wife who centers her life to being a housewife and a mother. She seems completely happy and content indulging the life of luxury without having to work. Nora projects a fully dependent wife with very little knowledge about finances and who has a knack for spending every dollar she get in her hands. When she replied,”Pooh, we can borrow money until then.” (ACT 1) shows her careless attitude towards incurring debt is similar to that of a spoiled child who squanders money from their wealthy parents. Her very child-like personality is obvious during the first part of the play when she plays along with the pet names that Torvald has for her, like “skylark” and “ little squirrel”(ACT 1). Nora also uses her coquettishness to get what she wants from Torvald by begging him for money like a child begging for candies. She hides the macaroons by the piano and lies about snacking on them. The way she acts and talks to Torvald almost seems as if she was a helpless child and needs to be coddled, pampered, and protected. She is obedient and playful in her husband’s presence, but with a little act of deception, Nora shows distinct characteristics which suggests that she is not as innocent and naive as she
Nora Helmer keeps a big secret from her husband, Torvald and she fears what will happen if he ever finds out. She secretly borrows a large amount of
Upon reading “A Doll’s House” by Henrik Ibsen, many readers may find the character Nora to be a rather frivolous spending mother of three who is more concerned about putting up a front to make others think her life is perfect, rather than finding herself. At the beginning of the play, this may be true, but as the play unfolds, you see that Nora is not only trying to pay off a secret debt, but also a woman who is merely acting as her husbands “doll” fulfilling whatever he so asks of her. Nora is not only an independent woman who took a risk, but also a woman whose marriage was more along the lines of a father-child relationship.
Through their everyday conversation, Nora and Torvald reveal that they have a relationship full of meaningless talk and games. “Is that my little squirrel bustling about?” (2), Torvald questions Nora. “Yes!” (2) She answers, running up to Torvald like a puppy. Because of her whimsical attitude, Torvald had assumed that Nora was always happy and carefree, so what reason would there be for meaningful conversation? Their relationship consisted of nothing truly real. Everything was fun and games and for show. Torvald scolded Nora like he would a child, “Hasn’t Mrs. Sweet Tooth been breaking rules today in town…” (4). Then, Nora would respond as a young child would facing punishment, “I should not think of going against your wishes” (4). This type of communications cannot be healthy in any relationship, and greatly hindered the relationship between the two.
In Henrik Ibsen’s A Doll House the main character, Nora Helmer, shows us the story of a woman who has borrow money without her husband’s consent in order to save his life. Although this noble act would be admired by most, Nora has to keep it a secret from Torvald Helmer, her husband, as he would see it as a betrayal. The measures that Nora takes in order to keep the loan a secret, create circumstances that bring Nora—whose only duty is to serve her husband— to discover that her life can be more than just being an accessory to her husband. She becomes her own self. 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.
Nora, from Ibsen’s play A Doll House, plays the main role. Both in the play itself and ironically seems to be acting throughout the whole play. It is not until the Act III that the reader sees Nora standing up, revolting against the role others have given her. It is crucial to acknowledge that the period the scene is taking place is during the late 19th century in Norway. This was a time where most residents were conservative, unlike Ibsen. Ibsen was a social revolutionary, wanting to role changing and present modern ideas of marriage. Thereby making theater more realistic such as A Doll House. Ibsen precisely used the character of Nora as a social revolutionary woman, to channel his voice, and cause dispute amongst specially couples.