Henrik Ibsen 's A Doll 's House

Societal appearance and acceptance is an utmost characteristic an average individual tends to underestimate. It may seem as if individual morals go against the social appearance, but in value, individuals perceive a need for an appearance to convey a sense of belonging. Within two diverse yet similarly realist drama's, A Doll’s House and Death of a Salesman societal appearance’s stands above all else. Henrick Ibsen's A Doll's House embarks on the gender fitting and domesticity of the Victorian Era at its worse as Nora Helmer's unrealistic marriage falls within her grasps, leading to rebellion. Arthur Miller, on the other hand, sets forth the "tragedy of the common man" through the tragic hero of Willy Loman and the “American Dream” in

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 starts off the play essentially as Torvalds toy. She is obedient, she is cute, she rarely goes against his wishes, and she is nothing without her “owner”, Torvald. The reader, however, discovers early on that all is not what it seems to be. Nora is actually a very rebellious woman who enjoys going against Torvald’s wishes. There are scenarios where she does this out of the sheer enjoyment she gets. Nora loves macaroons.

In Henrik Ibsen’s play A Doll’s House, pointedly captures the reality of the Victorian Era within the play. Nora Helmer, the protagonist of the story, represents the typical women in society during that era. The audience’s first impression of Nora is a money obsessed, childish, obedient house wife to her husband, Torvald Helmer. However, as the play progresses one can see that Nora is far from being that typical ideal trophy wife, she is an impulsive liar who goes against society’s norm to be whom and what she wants. Her husband is illustrated as the stereotypical man during the 19th century, as he is the dominate breadwinner of the family, who too deserts his position as the play reaches its end. A key theme that is brought to light in A

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.

Nora serves only to entertain Torvald and does not realize Torvald sees her as nothing but a little doll to play with. Nora ironically points out: “We shall have a lovely tree—I’ll do all the things you like, Torvald, I’ll sing and dance.” Right after Nora mentions the tree, she willingly goes along with her role as a submissive female and this represents her initial characterization which will then develop to her rejection of her submissive role.

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

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 begins to take offence to the words of Torvald. He refers to her as his most “prized possession”, and continues to say that he often imagines her as though she is his mistress, and she is a temptress. Nora continues to get offended, telling Torvald she doesn’t want any of this. Nora begins

The play also does suggest that women should leave their controlling husbands or lovers in order to gain the independence they are seeking. Nora’s husband Torvald plays the dominant role in their relationship. Torvald often would degrade Nora by calling her “silly girl” referring to her not being able to make decisions on her own, so he thought. Nora plays the role of a loving mother and respectful wife, whom is all about her family. “I have been performing tricks for you, Torvald. That’s how I’ve survived.

These nicknames that Torvald adds to his wife indicate that he does not really respect Nora but she does not care about them. She only feels excited about her husband’s job promotion and extra money given to her. It seems that Nora enjoys this male-dominated relationship. She embraces traditional family values that women should obey to their husbands as“the head of a family”. However, Nora shows her different side to audiences in the following acts.

What comes to mind when the word morals is said? Whose morals should be followed, individual or group? In A Doll House, Ibsen portrays the protagonist, Nora, to follow the morals of her husband, Torvald. Four key aspects that help Nora decide to change her mind and make a decision to leave Torvald. These include the constant change of nicknames, the questioning of her own independence, the questioning of Torvald's love, and the realization that Torvald loves his reputation more then herself. As a result, Nora sets out to find her own individuality and moral beliefs.

The major theme in “A Doll’s House” was the sacrificial role of women. Ibsen plants a clear picture that even though men refuse to sacrifice their integrity hundreds of women sacrifice it every day. Nora lives a falsified life by living through the values and opinion of the two main men in her life. She lives day by day being called demeaning names such as “my little lark”, “my little squirrel” and its things like that which show how much of her integrity is being thrown out the window. In October 1878 Ibsen jotted down some 'Notes for the Modern Tragedy ', in which he observed that: 'A woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws flamed by men and with a judicial system that judges feminine conduct from a masculine

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.

Henrik Ibsen's A Doll's House questions the gender roles of women in society through its characters, namely Nora Helmer and Christina Linden, before and after marriage. What are gender roles exactly? Gender roles are the combination is specific gender stereotypes that consist of the perceptions of the society of what an ideal male/female should act like (Lindsey and Christy). This paper aims to question whether the gender roles of Nora Helmer and Christina Linden of Henrik Ibsen's A Doll's House are switched or not. The positions of both women as a daughter, a sister, an employee, a mother, a wife and a partner in the society are questioned. A Doll's House focuses on the relationship of Torvald and Nora Helmer, a