Henrik Ibsen 's A Doll 's House

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.

Torvald believes that he both owns and fathers Nora, vocalizing that “if a man made her (his wife), he has given her a new life, and she has in a way become both wife and child to him” (3). Going on, Torvald questions Nora, asking her, “Why shouldn’t I look at my dearest treasure, at all of the beauty that is mine, my very own?”(3). Financially stifling Nora and placing her in positions where he can act as her savior, or father, boosts Torvald’s self-esteem

The play A Doll’s House (Henrik Ibsen) is centered around the lives of the antagonist, Torvald Helmer and his wife Nora Helmer. Torvald is deemed as the antagonist based on the belief that he is a power hungry misogynist whilst his wife naturally becomes the protagonist, as her husband does not treat her as an equal. The entire play itself is submerged in the issue of individual versus society. Women and men during the Victorian Era were known to have two separate callings known as separate spheres. The idea of separate spheres is based on the ‘natural’ characteristics of men and women. It is said that women are weaker and more moral thus they are more suited for the domestic sphere whilst men were to be the breadwinner and labour all day.” Ibsen uses interpellation in his play to allow for an even deeper insight and understanding of Torvald Helmer’s life. Interpellation is an ideology/philosophical ideal that has two forms: Repressive State Apparatuses and Ideological State Apparatuses. Repressive State Apparatus deals with persons being subject to ideologies or certain principles solely because it is seemingly the norm whilst

abide by his rules and be dependent on him. She is not supposed to think for herself and repeatedly told so by those around her. When speaking about Nora in her presence, Torvald says, “She is so terribly self-willed” (55). Nora has a conversation with Mrs. Linde, who also tells her, “Don’t be self-willed” (57). Torvald tells her, “I will advise you and direct you” (64). Nora is expected to be a dependent slave who follows her husband’s advice and directions. Women were also legally dependent upon men. The society’s laws of that time even required the male to cosign everything that a woman had to sign. Nora’s naivete in forging her father’s signature and trying to pay off the loan further emphasizes Victorian society’s assumptions about women’s inability to deal with a “man’s world.”

Torvald and Nora’s relationship is depicted as husband and wife; however, one can see that a father-daughter relationship is present. Torvald believes that his control will ensure that his family will not only maintain certain standards but also meets social expectations. Nora and Torvald’s position in the family hierarchy is one sided, favoring the dominance of Torvald. Throughout the play, Torvald would call Nora by nicknames such as “little sky lark,” “spendthrift,” and “pretty little song birds.” The names undermine Nora as an individual, depicting Torvald as more superior or higher dominance. Torvald reprimands his “little spendthrift” and speaks with Nora in a childish tone. Torvald does not let Nora engage in any financial or family affairs, making decisions by himself. Torvald

Henrick Ibsen 's A Doll House chronicles the difficulties of Nora Helmer, a housewife who is hiding a secret from her overbearing husband. In an effort to save her ailing husband 's life, Nora illegally took out a loan by forging her father 's signature on a contract. Nora kept this secret to herself for years and the only other person who knew of the scheme was the man who helped Nora obtain the loan: Nils Krogstad. The trouble for Nora began when Krogstad blackmailed her with this information in the hope of preventing Nora 's husband, who is also Krogstad 's boss, from firing him. Isn 't a man who would instill this type of burden on another person 's life a morally reprehensible human being? In reality, things are not as clear cut,

In most works of literature, we discover a character that is in a deep state of sleep, not actually asleep but more in a sense of having a naïve sort of life. Characters such as these have no worries, no pestering thoughts; they are truly at rest. But what happens when these character awaken? What makes that sudden impact? Of course, no one simply blinks his or her eyes just to find himself or herself in a higher state of awareness or consciousness. Something has to happen, but what? In Henrik Ibsen play A Doll House that character is Nora Helmer, but surely she didn’t reach a true sense of awakening without the help of her companions Christine, Dr. Rank, and Krogstad.

As the story progresses, Nora begins to view the flaws caused by society’s standards and questions the truth of their marriage and society. First, Torvald sparks the idea in Nora that she will be a bad influence on her children when he states that “Almost everyone who goes bad early in life has a mother who’s a chronic liar” (70). Since Nora has been keeping her debt a secret from Torvald and lying to cover it up, she fears that she will corrupt her own

With the amount of the money and wealth in his family, Torvald presents his controlling ability over Nora. . Even though Torvald and Nora are rich, Torvald still chastises Nora for spending too much on unnecessary things, arguing that they need to be cautious financially. “Has the little spendthrift been out throwing money around again” (44). Torvald expresses his frustration with Nora over her shopping and spending habits. She goes through money entirely too quickly, rendering the family a team of spendthrifts. Though Nora has access to their wealth, she depends on Torvald to allow her what to buy. Also this is his way of displaying his dominance over her. “Exactly the way your father was. You’re never at a loss for scaring up money; but the moment you have it, it runs right out through your finger; you never know what you’ve done with it” (46). Torvald tells Nora that he is worried that she inherited some bad financial and scrupulous traits

The first conflict the play encounters is Nora versus society. “During the time the play is written it is uncommon for one’s wife to receive a sum or loan of money without her husband’s consent” (Ibsen 1735). Nora feels like she is doing what is right to save her husband’s life, even though she knows he will disapprove such a thought. Torvald is a very smart businessman, even taking care of the family’s finances, and this would be shameful to his reputation and where he stands within the community if anyone

In Henrik Ibsen’s A Doll’s House, the play focused greatly on the relationships of people, and the marriage ideals of the time. The family of Nora and Torvald Helmer is a very typical family of the time, following all the norms and lifestyles. When Torvald was sick, and was advised by doctors to move to the south of the country, Nora took in her hands the fate of her husband, by getting a loan from an untrustworthy man from her husband’s bank, Krogstad, without telling Torvald. The drama of the play focused on the revealing of the loan’s secret Nora was hiding from Torvald. The family dynamics that is represented in the play demonstrates very poor communication skills between them, and a very ideal of a 19th century relationship. The family dynamics of Nora and Torvald Helmer reveals that all issues arise from a dishonest relationship. In the beginning of the play, Nora was misleading Torvald in regards to her grand spending of money. In addition, Nora behind her husband’s back decided to receive a loan that could ruin her family. Lastly, Nora’s dishonesty and carelessness ruined the family and broke them apart. With the play ending in the departure of Nora from her family, it proved to the viewers/ readers of the play that the family dynamics should be based on trust and honesty.

A Doll’s House is a play by Henrik Ibsen about the liberation of the protagonist, Nora, from a toxic and oppressive relationship in the Victorian Era. Based on a real friend of Ibsen, Nora portrays a seemingly childish and bubbly persona, caged by noble sacrifices and a web of innocent lies. Manipulative and careful, she works furtively to solve all of her problems independently. This contrasts the view her husband has of her as his little doll. He suppresses her freedom of speech, thought, and even the freedom to eat what she pleases. While readers may get the impression that Nora is immature, she is slowly but surely revealed as an independent and responsible woman.

A Doll 's House is a play by Henrik Ibsen. Ibsen is Norwegian playwright, and Ibsen was born in 1828 in Skien, a town in the Norway. Also, Henrik Ibsen is a famous Norwegian playwright, theatre director, and poet, and Henrik Ibsen is often considered as “the father” of modern theater and one of the founders of Modernism in the theatre. In this play, Ibsen makes many hints about the roles of society and how the female gender was treated at the time. From this play, Ibsen believed about the roles of society, equality between males and females, and the idea of feminism. In the play, the main characters pretend to be someone who others would like them to be, instead

Henrik Ibsen’s a doll’s house was one of the first works of drama to seriously take

A Doll’s House by Henrik Ibsen, is a play about a woman who realizes that she is worth more than she has been given credit. Her whole life she was treated like a little doll; too fragile to do anything serious, too frail to be troubled with real business. She was the wife, mother and homemaker. The only things she was perceived as capable of were running the home, raising the children and looking pretty. This was a common stereotype for women in the 1880’s. Women were treated as possessions, not people.