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significants of Nora in A Doll's House
HOW NORA IS DEPICTED IN A DOLL'S HOUSE
HOW NORA IS DEPICTED IN A DOLL'S HOUSE
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Marriage Without Love in Henrik Ibsen's A Doll's House
In his play, 'A Doll?s House,' Henrik Ibsen shows a marriage built only on appearances, and not love. Both Nora the wife, and Torvald the husband, pretend they are in love throughout the story. However, love should be patient and kind, and their love is anything but that. Nora treats her husband as a father figure. Her feelings towards Torvald are more about dependence than love. Torvald treats Nora like a child or a pet. He gets very angry and frustrated with Nora, and he does not truly love her. True love is perfect, not angry, controlling, and dependent as Nora and Torvald are to each other.
Throughout the story, Torvald is constantly angry with Nora. He also tries to control everything she does. At the beginning of the story, Torvald accuses Nora of eating sweets. He says to her, ' Surely my sweet tooth hasn't been running riot in town today has she?'(Ibsen 874). He continues to pester her after she denies it several times. Later on Nora tells Kristine, ??. Torvald had forbidden them. You see, he?s worried they?ll ruin my teeth?(Ibsen 883). If Torvald really loved Nora, he would not care about petty things like that. If he truly loved her, he would not care if her teeth were ruined. He likes Nora for her looks and beauty, not her personality or character. Not only is he controlling of Nora, but also very angry towards her. When he finds out about her taking out a loan to save his life, he explodes on her. Torvald says to her, ? Oh what an awful awakening! In all these eight years- she who was my pride and joy ? a hypocrite, a liar ? Worse, worse ? a criminal?(Ibsen 916). Torvald does not truly love Nora if he can speak to her that way. Even after he say...
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...t based on true love.
Bibliography:
Works Cited
Gosse, Edmund. ?Ibsen?s Social Dramas.? The Fortnightly Review (January 1, 1889): 107-21. Rpt. in Twentieth-Century Literary Criticism 37. Eds. Kepos. Detroit: Gale, 1991. 220-221.
Isben, Henrik. ?A Doll?s House.? Making Literature Matter. Eds. John Schilb and John Clifford. Boston: Bedford/ St. Martin?s, 2000. 872-921.
Salome, Lou. ?Ibsen?s Heroines.? Black Swan Books (1985) 42-55 Rpt. in Twentieth-Century Literary Criticism 37. Eds. Kepos. Detroit: Gale, 1991. 226-231.
Scott, Clement. ?Review of a Doll?s House.? The Theater (July 1889): 19-22 Rpt. in Twentieth-Century Literary Criticism 37. Eds. Kepos. Detroit: Gale, 1991. 221-222.
Shaw, Bernard. ?The Quintessence of Ibsenism.? B.R. Tucker (1891): 82-86 Rpt. in Twentieth-Century Literary Criticism 37. Eds. Kepos. Detroit: Gale, 1991. 225-226.
Ibsen, Henrik. A Doll House (1879). Trans. Rolf Fjelde. Rpt. in Michael Meyer, ed. The Bedford Introduction to Literature. 5th edition. Boston & New York: Bedford/St. Martin's Press, 1999. 1564-1612.
Forum 19.4 (Winter 1985): 160-162. Rpt. inTwentieth-Century Literary Criticism. Ed. Thomas J. Schoenberg and Lawrence J. Trudeau. Vol. 192. Detroit: Gale, 2008. Literature Resource Center. Web. 30 Nov. 2013.
Ibsen, Henrik. A Doll's House. Literature and the Writing Process. Elizabeth Mahan, Susan X Day, and Robert Funk. 6th ed. Upper Saddle River, NJ: Prentice, 2002. 916-966.
“There are two kinds of spiritual law, two kinds of conscience, one in man and another, altogether different, in women. They do not understand each other; but in practical life the women is judged by man’s law, as though she were not a woman but a man.” Those words were said by the great Henrik Ibsen himself. Henrik Ibsen was born on March twentieth eighteen twenty eight in Skien, Norway. He grew up in poverty following the demise of his father’s business. He was exiled to Italy, and then moved on to Germany. Ibsen wrote A Doll’s House in 1879, while in Germany. He sought to question social practices in the real world, and women’s position in society. He was commonly known as “The Father of Modern Drama”. Ibsen’s A Doll’s House was published in 1879 and first performed shortly after in the same year and month. The play turned out to be very controversial, which lead Ibsen to write an alternate ending. The play was later turned into a television show and multiple movie adaptations. (Galens 106,107 ) Ibsen creates many static and strong characters that help convey his message. Nora Helmer is the play’s protagonist and wife of Torvald Helmer. Torvald, Nora’s husband, is shown to be extremely controlling and dominating. He often treats Nora like a doll or child. There are many relevant themes in the play such as: appearance and reality, pride, honor, sexism, and the search for self-identity. Nora’s life as a married woman is overall symbolized by a doll. Henrik Ibsen’s characters Nora, Christine, and Torvald perfectly depict the marital and societal trends of the 19th century; while further explaining the choices some made leading to a more feminist and gender equal nation.
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.
Scott, Clement. "Review of 'A Doll's House." The Theatre 14.79 (July 1889): 19-22. Rpt. in Twentieth-Century Literary Criticism. Ed. Paula Kepos. Vol. 37. Detroit: Gale Research, 1991. Literature Resource Center. Web. 25 Mar. 2011.
Ibsen, Henrik. A Doll's House. Literature and Ourselves. 2nd Ed. Ed. by Gloria Henderson, Bill Day, and Sandra Waller. New York: Longman, 1997
4. Meyer, Michael. Ibsen's on file. London and New York : Methuen London Ltd., 1985.
Kennedy, X. J., and Dana Gioia. "A Doll’s House." Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing. 4th ed. New York, N.Y. Longman/Pearson, 2008. 881-939. Print
In Ibsen's "A Doll's House", there are many clues that hint at the kind of marriage Nora and Torvald have. It seems that Nora is a type of doll that is controlled by Torvald. Nora is completely dependent on Torvald. His thoughts and movements are her thoughts and movements. Nora is a puppet who is dependent on its puppet master for all of its actions.
In the play A Doll House, by Henrik Ibsen, Nora and Torvald’s marriage seems to have been torn apart by Krogstad’s extortion plot, but in reality their marriage would have ended even without the events in the play. Torvald’s obsession with his public appearance will eventually cause him to break the marriage. Nora’s need for an identity will ultimately cause her to leave Torvald even without Krogstad’s plot. Lastly the amount of deception and dishonesty between Torvald and Nora would have resulted in the same conclusion sooner or later. In this essay I will argue that Nora and Torvald’s relationship would have ended even without Krogstad’s extortion plot.
In Henrik Ibsen's "A Doll's House", the subject most important to the story is marriage. "Until death do us part" well, not always. Everywhere one looks, divorce is plaguing society. The treasured marriage vows have become nothing but a promise made to be broken. A Doll's House is a prime example of a relationship that didn't work. To keep a marriage alive and well it must hold onto certain qualities: love, communication, trust and loyalty. With these qualities, any marriage is bound to work.
Davies, H. Neville. 1982. "Not just a bang and a whimper: the inconclusiveness of Ibsen's A Doll's House." Critical Quarterly 24:33-34.
“A Doll’s House” gives the reader a firsthand view at how gender roles affected the characters actions and interactions throughout the play. The play helps to portray the different struggles women faced during the 19th century with gender roles, and how the roles affected their relationships with men as well as society. It also helps to show the luxury of being a male during this time and how their higher status socially over women affected their relationships with woman and others during this time period.
Ibsen, Henrik. A Doll's House. In Four Major Plays. Trans. James McFarlane and Jens Arup. Oxford: Oxford University Press, 1981.