Analysis Of Ibsen's A Doll's House Essay

Numerous individuals saw values of feminism within A Doll House, not only because of what the character, Nora, faced as a woman in society, but due to the social era of that time; woman felt they could relate to Nora’s struggles. The play was made during a time period in which women were not allowed to conduct business without the authority of a man, such as controlling money or divorce unless both partners agreed. Many saw that A Doll House presented evidence on Victorian society by displaying hypocrisy and its use of public opinion to suppress individuality, the

Torvald would never have thought she were capable of it, since during that era it was unrealistic of women to leave their houses but rather put up with the difficulties they faced. Ibsen highlights society's domineering outlooks of marriage and the interactions of two people naïvely pretending to be in love. Throughout the play Ibsen reveals the fragile attributes of his characters to help enhance the play-like nature of their relationship, the role of women, and Nora's course of self-discovery.

While Mrs. Wright lashes out against her perceived cage, her gender role, by killing Mr. Wright, Nora’s character ultimately decides to trip the latch, to fly free from the bars. Nora’s complex personality proves to be difficult to predict to the very end, when she decides to shirk her duties to her husband and children to focus on herself, to serve her own needs for individuality, a decision that was not entirely popular with readers and audiences alike. Indeed, Nora quite easily refuses to be the “doll” in Torvald’s house, and abandons her loving, though misguided husband, and her children. She feels driven to do this once she realizes that she and Torvald had never exchanged a serious word in

In A Doll House, Nora finds herself subordinate to her husband as well as the rules of society. Torvald forbids her from the consumption of macarons, bestows on her an allowance as if she were a child, persuades her to do as he wishes, dance like this, not like that, and she like a “good little lark” obeys his most every will. Her act of courage and independence, illegally taking out a loan to save his life, is seen as wrong in the eyes of society, while she sees it as necessary and forgivable; it is what a good wife should do for her husband.

When the door slams at the end of “A Doll’s House” by Henry Ibsen, No one would not believe the woman walking out of her house is the same one who appeared at the beginning of the play. The main character in this play is Nora. Nora goes through a complete transformation, changing from a child like and dependant woman to a self strong woman pushing to become independent. Ibsen portrays the roles of society in the Victorian times in this play. Throughout her whole life, Nora’s husband and father have always controlled her; she has never been able to be independent, and the treatment she receives is not equal to the males around her, and the people around her belittle and patronize her to no end. Finally it goes too far and Nora realizes

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.

In the play “A Doll’s House” Henrik Ibsen introduces us to Nora Helmer and shows us how spontanesly her design of the ideal life can change when a secret of her is revealed. Nora’s husbands promotion to Manager of the town Bank, leaves her convince she will be living a wonderful life; stress and worry free. However, Nora’s idea of a wonderful life is completely changed when her long-kept secret is revealed.

There’s a positive correlation between the two characters corrupted morality and the depth of the illness of the fictitious person. Algernon bunburied when he found out about the young lady, Cecily, who is guarded by Jack. He had the responsibility to search for a profound woman who lived in the town and is very social. Ibsen uses a different element to Wilde, since the play is only set in the Helmer’s house, Nora can only wear a mask rather than creating an alter ego for herself. Instead her mask plays the role that is expected from Torvald. “a woman judged herself and was judged by her husband, her neighbours and society could be divided into four cardinal virtues-piety, purity, submissiveness and domesticity. Put them all together and they spelled mother, daughter, sister, wife-woman.”₁. She earned money behind Torvald’s back to pay back the debt. This role is not tolerable to be performed by a woman according the expectations of the Victorian society but it is accepted when a man performs this task; a case of double standards.

In Torvald's mind, she is his delicate little creature that he must protect, and without his guidance, he believes that she would be devoured by the world she is incapable of understanding. He treats her like a doll; for example, when Nora is talking with Mrs. Linde about the masquerade party, she says:

A doll house is based on Nora understanding how she feels about her relationship with her husband Torvald. The play opens up with Nora arriving home from Christmas shopping, excited to show her husband what she has purchased. Torvald will be getting a promotion at his bank so Nora feels that she gets to splurge a little on gifts. Torvald calls Nora a child, spendthrift, and a lark for her actions on spending a lot of money. Torvald teases Nora and compares her to her father by saying the following:

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.

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.

Nora is the character in A Doll House who plays the 19th woman and is portrayed as a victim. All of the aspects of this quote can be applied to the play A Doll House, in Nora’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.

Last of all, Ibsen shows women’s desire from Nora. At first, she seemed completely happy. But as the story reaches climax, the relationship between Nora and Krogstad revealed and Torvald finds about all the things Nora lied to him. During this phase, Nora hoped and Mrs. Linde also hoped for a miracle to happen but it didn’t. To state it correctly, the miracle didn’t happen in the right time. When Torvald started to understand her and tries to take her in again, her true self awakens. In the last part of Act III, Nora says to Torvald, “You and I both would have to transform ourselves to the point that— Oh, Torvald, I’ve stopped believing in miracle,” (Page 1079) After she awakens to her true self, she finds her real desire and what her real self will do. She decides to leave Torvald and her children.

Her father owned her and made her do everything he wanted, and now her husband is playing that role. Her whole life seems to be awful, but then the plot thickens, and Nora awakens from her everyday, coma of ignorance. Nora has morphed from a housewife into a liberated woman. These changes occur throughout the three acts of A Doll’s House, and are the basis of the play.