A Doll's House Norms

Nora’s character development and maturity begins after Nora has been confronted by Krogstad and Torvald for being a “lying mother.” In

Lee Papageorge was one of the few that could deservedly be called a stand up guy. He was one of the few adored by everyone that knew him. It’s heartbreaking to have lost someone with so much kindness and goodwill. He never varied in his benevolence, and Westport is all the better for it. I was one of the fortunate ones on the receiving end of Lee’s gentle compassion early in my life, and I am the better for it. My heart goes out to Mary Jo, Ali, and Melissa.

Ibsen utilizes the boundaries of the “inexpensively furnished” (147) room to create Nora’s symbolic cage displaying how she is physically unable to leave the confines of the room and the role in which every 19th century wife must play. In Act I, Nora plays her façade of the frivolous “funny little spendthrift” (150) in an effort to seem as defenseless as the woodland creatures Torvald finds so endearing and subsequently patronizing. Nora’s quarantine is enhanced as she is called a “squirrel…skylark, and little bird” (150) by Torvald, infantilizing her character and consequently solidifying her inability to escape the confines of her assumed womanly role. Nora readily assumes the position of a subordinate and feeble woman to protect the illusion she perceives as a complete home in addition to avoid “[being] completely alone” (154). This absolute isolation in adherence to the role in which she has been nurtured to conform to is slowly deteriorating her character, which is displayed in the increased sporadic nature of “poor little Nora’s” (152) actions and her lack of ability to focus as the play progresses. Nora’s childlike behaviors steadily become more obvious as her fixated birdcage becomes increasingly suffocating, the discomfort with her current isolation grows and as her mask of perfection slowly disintegrates.

As he took over the role as bank director his first motion was to fire a man who had been seen as a disgrace for forging a signature. This “disgraceful” man is known as Krogstad. Krogstad is the person that allowed Nora to borrow money. Krogstad comes to find out that Nora had forged her father’s signature on the loan that allowed her to receive the money. When Krogstad finds out that Torvald is planning to relive him from the company, he notifies Nora that he will be blackmailing her if she does not sacrifices for his loss. In other words, Krogstad threatens Nora, in which he will reveal the crime Nora had committed to Torvald. If Nora cannot convince Torval to keep Krogstad at the Bank, Krogstad states that there will be consequences. Day after day, Nora continues to influence and change the perspective of Torvald. In result of Torvald seeing Nora as a “Doll” who entitles, nevertheless childlike activities, he does not take her advice to keep Krogstad. He values Nora as someone who simply means nothing in the world of knowledge. When Nora does not succeed to complete Krogstads request, he sends Torvald a letter describing Nora’s

   In his play, A Doll's House, Henrik Ibsen depicts a female protagonist, Nora Helmer, who dares to defy her husband and forsake her "duty" as a wife and mother to seek out her individuality. A Doll's House challenges the patriarchal view held by most people at the time that a woman's place was in the home. Many women could relate to Nora's situation. Like Nora, they felt trapped by their husbands and their fathers; however, they believed that the rules of society prevented them from stepping out of the shadows of men. Through this play, Ibsen stresses the importance of women's individuality. A Doll's House combines realistic characters, fascinating imagery, explicit stage directions, and

The stench of scandal is thick in the Helmer household. Upon the introduction of the family friend Dr. Rank, both Torvald and Dr. Rank excuse themselves to take care of some personal issues. Enter Mr. Krogstad, our well intentioned, cut throat. Mr. Krogstad pleas with Nora to have his new boss, Torvald, down at the bank restore his position. Wondering how she can oblige our fun loving loan shark, Nora refuses, claiming she can't sway Torvald's business decision. Then out comes this mysterious document baring Nora's signature. Mr.

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.

One afternoon after Torvald left the house, Krogstad, a man the Helmers have known for years, arrives at the door begging Nora to persuade her husband to keep him employed. Uncomfortable, Nora explains she has no influence over Torvald. However, Krogstad shows her the bond she signed years ago in order to borrow two-hundred fifty pounds. Nora grows nervous as Krogstad delves into the fact that her, “Father died on the twenty-ninth of September. But look here; your father has dated his signature the second of October”(23).

In the play “A Doll House” by Henrik Ibsen the story focuses on the gender differences between a man and woman. One way Ibsen display feminism in A Doll House is through the relationship of the two main characters Torvald and his wife Nora. Nora and Torvald to have the perfect life, however behind closed doors it isn’t as it seems. The play begins with a happily married couple and ends with a woman wanting to be her own human being. Nora has been treated like child throughout the play by Torvald, she finally decides she has other duties such as herself that are just as important as everyone else. Through the play Ibsen provides the readers with insight how society views women. During this particular generation men were much higher ranking in society than women, women were not viewed as individuals but as shadows of their men. Ibsen provides many examples throughout the play how women were treated less than men.

A Doll’s House, by Henrik Ibsen, creates a peephole into the lives of a family in the Victorian Era. The play portrays a female viewpoint in a male-dominated society. The values of the society are described using the actions of a woman, Nora, who rebels against the injustices inflicted upon her gender. Women’s equality with men was not recognized by society in the late 1800’s. Rather, a woman was considered a doll, a child, and a servant. Nora’s alienation reveals society’s assumptions and values about gender.

In “A Doll House” by Henrik Ibsen was created during 1800s time period. This play helps shine a light on the gender roles of the 1800s while also creating a twist that was uncommon for this period. During this time period, women were left home to oversee the domestic duties, while men went to commuted to work (Hughes). Men were seen as physically superior but morally inferior to women; which is also portrayed within this book (Hughes). This play marks the beginning of Henrik Ibsen’s realist period, which he explored the ordinary lives of small-town people (Kirszner and Mandell 881). This “modern tragedy” helped make Ibsen famous internationally because of the real-life story it captured (Kirszner and Mandell 882). Henrik Ibsen uses an array of literary devices to help keep the reader captivated from beginning to end. Three of the most prominent literary devices used by Henrik Ibsen are symbolism, foreshadowing, and an array of themes. These literary devices help transform a basic play into a complex story of lies and deception.

The character of Nora goes through the dramatic transformation of a kind and loving housewife, to a desperate and bewildered woman, whom will ultimately leave her husband and everything she has known. Ibsen uses both the characters of Torvald and Nora to represent the tones and beliefs of 19th century society. By doing this, Ibsen effectively creates a dramatic argument that continues to this day; that of feminism.

Just as Nora was her father’s ‘doll child,’ and her husband’s ‘doll wife’, it is seen that Torvald is a doll of society. He is just as trapped in the same facade of a happy marriage as Nora. He feigns security and support for his wife, but this quickly disintegrates when the discovery of Krogstad’s first letter threatens his social standing. Torvald’s change in demeanor in this scene is apparent immediately, as he replaces Nora’s usual pet names and says “You miserable creature— do you realize what you have done?” (80) He is obviously not acting on his previously voiced desire to protect Nora from a “great danger” that prompted her to encourage Torvald to read his letters. Upon realizing this Nora “[looks steadily at him and says with a growing look of coldness in her face] “Yes I am beginning to understand thoroughly.” (80) In this instance the seams on Nora’s role as a doll begin to unravel and the state of their marriage becomes apparent— it’s a sham. Krogstad’s blackmail and the following conflict with Torvald doesn’t change Nora’s nature; but they allow her to see her unfulfilled potential as a human being “I have been performing tricks for you, Torvald” (81), she says during their final confrontation. Nora comes to realize that in addition to her literal dancing and tricks, she had been performing throughout their marriage; filling the role that her father,

What do you envision when I say “Mental Disorder”? What kind of person do you see in your mind? A sickly old man stuck on the road? A dispirited young woman bound to her home? Whoever you’re picturing is probably a stranger; one of 450 million strangers who have a mental disorder in the world.

Mrs. Linde assumes that Dr. Rank is the person that Nora borrowed money from, but Nora denies it and doesn’t tell her who the real person is. Torvald shows up. Nora begs him to not fire Krogstad. Her begging only angers off Torvald, and he tells the maid to send Krogstad his notice. Torvald goes to his office. Nora then had a plan to ask Dr. Rank for the remainder of the money that she owes, but her plan fails when he tells her that he will be dying soon and that he is in love with her. She feels guilty and doesn’t ask. As Dr. Rank goes in to see Torvald, Krogstad comes storming in, upset that he was fired. He yelled at Nora and then put blackmail in Torvald’s mailbox on the way out. In a fret, Nora tells Mrs. Linde everything. Mrs. Linde explains that she used to have a relationship with Krogstad that maybe she could change his mind. Mrs. Linde leaves to give a note to Krogstad, while Nora has to keep Torvald from reading the letter. The next night, while the costume party was taking place, Krogstad met up with Mrs. Linde to talk. The conversation revealed that they were once both deeply in love with one another, but Mrs. Linde left him for another wealthier man. She then confesses that she wants to get back with him. He accepts. They agree that they would leave Krogstad’s letter for Torvald to read because it would be better if Krogstad knew what his wife did for him. They ran