A Doll House By Henrik Ibsen

Torvald told Nora “Don’t contradict me, Nora. Sweet Nora… Spendthrifts are sweet, but they spend an awful lot of money. You have no idea what it cost a man to feed these little birds.” (Ibsen 335). Instead of being the spendthrift that both Torvald and Christine blame her for, Nora is pretty dang thrifty. She has been secretly working odd jobs and not continually skimming cash from her allowance to pay back the loan. Later on we discover that Nora was so determined to save her spouse that she committed fraud just to do as such. This decision demonstrates that Nora is both brave and diligent. She values love over the law. When her little secret is uncovered one may realize that, underneath the silly character she plays for her spouse, there is an entire other very skilled Nora waiting to take place. This other, more competent Nora was eventually brought out away from any confining influence. The anguish of Krogstad 's blackmail begins the procedure, but yet the last blow is Torvald 's response when he figures out the truth. At the point when what Nora believes to be "the brilliant thing" doesn 't happen when Torvald

Ibsen’s character Nora in A Doll’s House, shows gradual development throughout the play to support his theme that above all else, you are human; even in marriage both parties should be given the equal opportunities, rights and respect. While Nora may at first seem happy with her life inside her “doll house”, she begins to recognize that she must find herself, and stop being a toy in the lives of men.

Firstly, Nora and Torvald have different opinions regarding money: he upholds that borrowing is never an alternative to financial problems, but acknowledges that Nora does not follow this rule. Torvald believes she cannot help her tendency of over-spending, describing it as a hereditary condition: "It is in the blood; for indeed it is true that you can inherit these things, Nora." (p 9). She has been content to maintain her secret of borrowing money from Krogstad without her husband’s consent. This allows her husband to think of her as a possession and an expense, as "One would hardly believe how expensive such little persons are." (p 8). This becomes the main source from which the play 's tension originates. This is essential, as Nora’s terror of Torvald uncovering this secret causes her to weave an increasingly unstable web of lies, which subsequently collapses around her

This is his way of letting Nora know he has his eye on her. “Some of these rules, such as no eating macaroons, are petty and demeaning” (Drama for Students 109). If Nora has macaroons every once in a while isn’t a big deal. Torvald is making a huge issue over something small and worthless. This is an example of how much control a man had over a woman. Nora wasn’t suppose to do anything without going through him. Torvald controlled Nora in everyway possible or so he thought he did. Torvald wants his wife perfect and he will except no less. Torvald also watches how much money she spends. Nora likes to spend money. She finds every excuse to get money out of Torvald. For example, she says “This year we really should let ourselves go a bit, it’s the first Christmas we haven’t had to economize” (Ibsen 1565). Torvald states “But you know we can’t go squandering” (Ibsen 1565). Torvald doesn’t like her spending so much. “Nora is enslaved by Torvald in economic terms” (Lutterbie 1639). Torvald only gives Nora want he wants her to spend. When Nora does want something and Torvald won’t give it to her, all she has to do is beg. “If she flirts and wheedles and begs, he rewards her with whatever she asks” (Drama for Students 109). Torvald likes for Nora to beg. It shows he is dominance over Nora. He knows that she is dependent on him and that she can’t survive without him. Nora also has to be perfect for her Torvald. “Nora, Nora” couldn’t act up

When Krogstad threatens to expose the truth, Nora must use her craftiness to distract Torvald and sway him into letting Krogstad keep his job. Unfortunately, she is not able to change his mind, but she does succeed in diverting his suspicions of her motives. She praises him and lulls him into a false sense of security by telling him that "[n]o one has such good taste as [he has]" and then goes on to ask him if he could "take [her] in hand and decide what [she is] to go as" for the dance. She confesses to him that she "can't do anything without [him] to help [her]". These statements lead him to believe that he is the one to "rescue" her, when it is in fact Nora who is trying to rescue him from dishonour. Later on, when Krogstad puts a letter in Torvald's mail, explaining everything that Nora has done, Nora uses her charms once more. She pretends that she has forgotten the tarantella so that Torvald will spend all his time with her and think nothing of the mail that awaits him. Nora truly believes that by deceiving her husband, she is protecting him from worry. Because of Nora's deception, the person that Torvald believes her to be is quite different from the person she actually is. He believes that she is a "spendthrift," infatuated by expensive things when in reality, she saves her money to pay back Krogstad and buys cheap clothing and gifts. Torvald

Although Nora is secretive about the crime she committed, which is forging her father’s name in order to borrow money; she does it to save her husband. During Act I when Nora is speaking to Mrs. Linde about someday revealing to Torvald about the secret loan Nora exclaims: “One day I might, yes. Many years from now, when I’ve lost my looks a little. Don’t laugh. I mean, of course, a time will come when Torvald is not as devoted to me, not quite so happy when I dance for him, and dress for him, and play with him.” (Act I, pg. 12). This quotation shows that even early on in the play Nora understands the reality of her marriage, and her existence to Torvald. Therefore, Act I is merely an introduction to the overall overarching theme of independence. Act I shows the obedient side of Nora, until later scenes when she reveals her independence. Torvald attempts to oppress his wife, but his actions do not stop Nora’s independent thoughts from forming.

Nora has always been contented with her being Torvald’s “little featherbrain.” As the play progresses, Nora eventually figures out that Torvald doesn’t genuinely love her. She expects Torvald to be her protector and stand up against people that criticise her criminal acts. Nora also assumes that Torvald would have offered to take the blame for the crime. He failed the test of love and devotion by mocking her instead of providing help. Therefore, she becomes more rebellious by using imperative speech with Torvald instead of her innocent and childlike language. As the play reaches its end, Nora becomes totally independent from Torvald and talks to him from an equal standpoint, rather than communicating as niece and grandpa or daughter and daddy. Additionally, she no longer views him as the leading person in her life because she now apprehends that she hasn’t been herself throughout their marriage. As she defends her position on her actions she states, “When I look back on it now… I lived by performing tricks for you, Torvald” (Ibsen, 1230). It is clear to her now that she has been nothing more than a means of entertainment to her husband as he would have her dance for him and perform other silly acts.

Torvald berates Nora about her physical appearance, saying, "Has my little sweet tooth been indulging herself in town today by any chance? ..." (Act 1). Nora often sneaks macaroons, because she can not eat them in front of Torvald for fear of his disapproval. Torvald is very particular about Noras figure, as he wants her to stay small, dainty, and delicate. This is Ibsen showing the “role” of the male in that society. He has to always be in control, and for Torvald, his and Nora’s image are the most important things in the world, whether it was Nora’s figure or the fact that Nora forged her father’s signature to obtain the secret loan, which angers Torvald a great deal.

Nora sacrifices her morals in order to save her husband, Torvald, from illness. She broke the law and forged her father’s signature to borrow money to go South. She has “feeling on one hand and belief in authority on the other” and she choses her feelings (Ibsen “Notes for,” 1776). She is proud of this act or crime because it saved her husband. She says, “Is a daughter

Torvald makes cruel jabs at her father’s character with mentions of his ‘public suspicious’ behaviour and he blame Nora’s father for her financial habits. It’s only mentioned until later on in the book about how her father actually treated her. His immediate reprimand whenever Nora had differing opinions from him, his choice of food was the same as her father’s, any individual quality that Nora had it was quickly washed away by her father. Due to how she was treated by Torvald and her father, it’s created within her a want of independence. She’s exercised that by her willingness to forge her father’s signature, her resourcefulness, and locking herself in a room to work tirelessly just to pay off the debt. She’s created that agreement between wanting to act independently and using that independence for the security of her family. It can be argued though that her want of independence overpowers the want of security for her family, it can also be argued that she’s done all of this to prove her worth and her ability to

It seems that Nora has had enough of Torvald’s rude and selfish remarks such as telling guests in their home that she can be “terribly stubborn” or insulting Nora’s father saying that he has a “lack of total principle” because he assumes that Nora’s character is based off of the characteristics of her father. Furthermore, he goes farther with his comments saying, “ You will remain here in my house. That is taken for granted. But you will not be allowed to raise the children. I could not trust you with them.” or, “You must rely on me. I will advise you and give you directions. I wouldn’t be a man if this female helplessness didn’t make you twice as attractive to me." I do not think there is another person who has not had enough of Torvald’s criticism towards Nora. He seems to believe that whatever comes out of his mouth is true, and in the end with Nora replying with, ““Everything you do is right, Torvald." without consideration. However, later on in this act Nora finally stands up to Torvald. In realization she says to Torvald, ““The whole reason for my existence was to perform tricks for you, Torvald. But that’s what you wanted...It is your fault that I have made nothing of my life.” She finally recognizes the manipulation Torvald has done throughout her life. Additonally she says, “I have been your doll-wife, just as at home I was Papa’s doll-child; and in this house the children have

A Doll 's House by Henrik Ibsen, is a play that has been written to withstand all time. In this play Ibsen highlights the importance of women’s rights. During the time period of the play these rights were neglected. Ibsen depicts the role of the woman was to stay at home, raise the children and attend to her husband during the 19th century. Nora is the woman in A Doll House who plays is portrayed as a victim. Michael Meyers said of Henrik Ibsen 's plays: "The common denominator in many of Ibsen 's dramas is his interest in individuals struggling for and authentic identity in the face of social conventions. This conflict often results in his characters ' being divided between a sense of duty to themselves and their responsibility to others." All of the aspects of this quote can be applied to the play A Doll House, in Nora Helmer 's character, who throughout much of the play is oppressed, presents an inauthentic identity to the audience and throughout the play attempts to discovery her authentic identity.

In preparation for Nora's dance at the party, we again see Ibsen showing us Torvald's and Nora's roles. "I can't get anywhere without your help."(Ibsen 91) "Direct me. Teach me, the way you always have."(Ibsen 91) Nora's lines reflect the "costume" that Torvald expects her to wear (and which she wears obligingly), that of the meek, subservient, childlike wife.

“I’ve been your doll-wife here, just as at home I was Papa’a doll-child” (Ibsen 1491). Henrik Ibsen’s A Doll House tells a story of scandal and deceit set in the Victorian era. Nora Helmer is married to Torvald Helmer and she feels more like his toy than his wife. Nora had to have Torvald to be able to do anything, because of when she lived. Nora borrows money behind her husband’s back (which is illegal at this time) and tries to cover up everything she has done. Ibsen employs the use of many themes and symbols in his A Doll House to show the reader just how Nora was a doll-child who evolved into a doll-wife.

Torvald also does not trust Nora with money, which exemplifies Torvald's treating Nora as a child. On the rare occasion when Torvald gives Nora some money, he is concerned that she will waste it on candy and pastry. In general, Nora’s duties are