Comparing the Truth in A Doll's House and Hedda Gabler Essay

Nora is introduced as a housewife who believes the true meaning of marriage revolving around obedience. She demonstrates the true definition of a respectful daughter, a faithful and obedient wife, and a dependable mother. It wasn’t unusual for Torvald to throw his weight around towards Nora. He attempts to limit her macaroon intake “Hasn’t nibbled some pastry,” (Ibsen 788) she replies, “You know I could never think of going against you” (Ibsen 788). In the eyes of Nora, he is considered a confident, powerful, and successful businessman since he is receiving a promotion as a bank manager after the New Year. Torvald’s sense of marriage can be summed up that he is the king of the castle “This is the way it should be my darling Nora. What-ever comes, you’ll see: when it really counts, I have strength and courage enough as a man to take the whole weight myself” (Ibsen 814). Torvald’s view is she is just a “doll” in his doll house. To him, it was important to stress there was no such thing as equality in their partnership, he

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.

Therefore, Nora seems to be a hardworking woman when she has to be, however her doll-like life has never had severe consequences and at the first sign it might, she flees. She flees after a heated argument with Torvald at night, not even giving it a night’s rest to really think about her decision further and consider other options. When Torvald askes her what about the children, she tells Torvald: “I have another duty equally sacred…my duty to myself” (Isben, 1076). It is one of the worst things a mother could do to leave her children without a caretaker, even if she was not much of one to begin with. Nora shows a lack of courage by not sticking it out since a true hero would have stayed and tried to work something out that would not be so damaging to the family.

Ibsen highlights both aspects of their relationship, comparing Torvald to “Papa”, and further commenting that Torvald’s and Nora’s relationship mirrors Nora’s and her father’s. Nora also says “You couldn’t possibly know that Torvald has forbidden them. You see, he’s afraid they’ll ruin my teeth.” (Ibsen 59). Prohibiting certain foods because they may cause cavities is an action a parent often takes to a child that does not understand how to take care of themself, not something a person would do to another of equal standings. Nora seemingly has no qualms about this probation; she does not question him, but instead chides (whoever she taking to) for not being as aware as she is. Torvalds himself even directly calls Nora a child: “The child can have her way.” (Ibsen 93). Torvald looks at Nora as a child. His actions of policing her actions show this, but actively calling Nora a child is concrete evidence of his true belief of who she is. Nora is unable to properly lead herself, as an adult should. To Torvald, Nora says: “But I can’t go anywhere without your help...Yes, take care of me, Torvald, please!” and “Torvald, I can’t get anywhere without your help.” (Ibsen 91). Nora follows the directions of Torald instead of making her own personal decisions. A friend, Mrs. Linde asks, “Really, are you giving a whole performance?” and Nora replies “Torvald says yes, I should.” (Ibsen 74). A grown woman is

In the beginning, Nora acts and speaks like a child saying things like “Pooh!”(Act 1). Ibsen showshow he thinks dependant and uneducated woman are naive and almost childlike. Nora and Torvald’s relationship is almost exactly how her and her father’s relationship had been, with the man completely controlling Nora, and Nora acting like an obedient child. Nora had not been independent with her father and when she marries Torvald she is also completely dependant on him for everything she wants or needs. Both Nora’s father and Torvald coddle Nora and treat her like a delicate doll so she is never fully is independent. At one point in the play Torvald even admits he finds Nora more attractive because of her dependence on him. Christine Linde is

restricted to playing with the children, doing little housework, and working on her needlepoint. A problem with her responsibilities is that her most important obligation is to please Torvald, making her role similar to that of a slave. Torvald easily talks down to Nora saying things like: “…worries that you couldn’t possible help me with”, “Nora, Nora, just like a woman”, and “Mayn’t I look at my dearest treasure? At all the beauty that belongs to no one but me—that’s my very own?” as if she is considered his property.

Nora's second, and strongest, break from society's rules was shown by her decision to leave Torvald and her children.  Society demanded that she take a place under her husband.  This is shown in the way Torvald spoke down to her saying things like "worries that you couldn't possibly help me with" (Ibsen Page #), and "Nora, Nora, just like a woman" (Ibsen page #).  She is almost considered to be property of his: "Mayn't I look at my dearest treasure?  At all the beauty that belongs to no one but me - that's all my very own" (Ibsen page #)?  By walking out she takes a position equal to her husband and destroys the very foundation of society's expectations of a wife and mother.  Nora also breaks society's expectations of staying in a marriage since divorce was frowned upon during that era.  Her decision represented a break from all expectations placed upon a woman by society. Throughout the play Nora is looked down upon and treated as a possession by her husband. She is

     I’ve chosen this statement for several reasons. Ibsen’s character, Hedda Gabler, represents the women of the eighteenth and nineteenth century. Hedda stands the issues of self-worth and the deflated value that each woman places upon her own importance as a result of male dominance.

Ibsen’s Hedda Gabler portrays the societal roles of gender and sex through Hedda as a character trying to break the status quo of gender relations within the Victorian era. The social conditions and principles that Ibsen presents in Hedda Gabler are of crucial importance as they “constitute the molding and tempering forces which dictate the behavior of all the play's characters” with each character part of a “tightly woven social fabric” (Kildahl). Hedda is an example of perverted femininity in a depraved society intent on sacrificing to its own self-interest and the freedom and individual expression of its members. It portrays Nineteenth Century unequal relationship problems between the sexes, with men being the independent factor and

Her first instinct is to feel pity for Mrs. Linde’s lack of children or husband, classifying her “utterly alone” state as “terribly sad” and inferior to the life she has with Torvald (Ibsen 8). This all changes, however, once Nora agrees to help Mrs. Linde. By binding herself to a woman instead of a man for the first time, she reaches a further state of awareness. When Mrs. Linde mentions Nora’s “lack of trouble and hardship” and calls her a child, Nora becomes defensive, alluding to her displeasure with her position in society (Ibsen 12). “You’re just like the rest of them,” she claims, “you all think I’m useless when it comes to anything really serious...” (Ibsen 12). The “them” and “you all” in Nora’s pivotal statement refers to the men who have bound Nora to the state of a useless doll in a dollhouse: dependent, incapable, and unenlightened—merely nice to play with and pretty to look at.

Here, Nora pulls together the tragic circumstances. She sees that she was never truly happy in the house, just content. Her father kept her as a child would a doll, and Torvald continued this when they were married. They formed her opinions for her, set expectations to which she was supposed to adhere, and wrote a vague script of how she was supposed to act. She was like a puppet, with no thoughts or actions of her own. When she finally realizes the injustice being done to her, she decides to free herself.

Hedda has been interpreted as an “unreal, as a defective woman, as vicious and manipulative in nature, as a failed New Woman, or as a woman who is afraid of sex” (Björklund 1). She also could be seen as a woman who is afraid of sex or her own sexuality because homosexuality wasn’t accepted like it is today. According to Björklund, “Hedda’s masculinity defeats the dysfunctional masculinities of Tesman and Lovborg, but, in the bathe with Brack’s hegemonic masculinity, Hedda’s female masculinity becomes absorbed into the dominant structures. Hedda desires masculinity as represented by Brack—power and control—but, in the end, that masculinity is what kills her; she shoots herself with one of her father’s pistols, and her masculinity is absorbed into the patriarchy. Hedda’s masculinity is rejected, but what it represents—power and control—is mirrored by Brack, whose masculinity is reconstructed: he is the one cock of the walk” (Björklund

When the play was written, Hedda, being a woman, did not have many rights and had to do what was expected of a

As a proponent of the woman as an individual, Ibsen used symbolism, amplification, and motifs to express his views. In addition he utilized metaphors as he compared Torvald’s view of Nora to a parent’s view of a child, or even to a “doll” (Ibsen 126). Ibsen also had Torvald refer to Nora as an

This quote helps Ibsen make statement that women need to be mature and independent before having a family of their own. Nora, ultimately, ends up packing her bags and leaving her loved ones behind to become her own independent woman. Nora states, “ I can no longer content myself with what people say, or with what is found in books. I must think over things for myself and get to understand them”(885). Nora leaving her family to start this process of maturing and gain independence begins to take hold. At the end of the play Ibsen again emphasizes that Nora as she is now she is not the wife for Torvald or a mother to her children (Ibsen 887). She says, “ Good-bye, Torvald. I won’t see the little ones. I know they are in better hands than mine. As I am now, I can be no use to them” (Ibsen 887). This, once again, a statement that women need to mature and be independent before they are ready for a family of their own. Nora is a prime example of this as she leaves her husband and children behind to begin this process.