Ibsen, Henrik Subplots

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

Christine is an independent woman who has been out in the world and has held multiple jobs. Nora is seen as a child who does not have knowledge of how the world works because she is trapped in a “dollhouse”. Christine supports this idea when she calls Nora a child and says, “For you (Nora) know so little of the burdens and troubles of life.”(Act 1) When the reader learns what Nora did for Torvald, it shows that Nora is more intelligent than she seems which is a characteristic that Christine also possesses. In order for Nora to pay back the loan she took, Nora did repair work for extra money. Nora and Christine both had a sick parent who needed their help, which caused them to make a tough decision and they each chose the most important person to them.

Gender In ‘A Doll’s House’ And ‘The Importance Of Being Earnest’ A Doll’s House and The Importance of Being Earnest were both written in the late nineteenth century at a period in time when gender roles in society were not only significant to the structure of society but were restrictive and

Nora’s need to please her father and later her husband made her lose her true self and it is through the flow of events that she realizes that she needs to go and find her true self

         Henrik Ibsen’s play A Doll House is set in a small town in Norway during the 1870s. It revolves around a housewife named Nora and how she comes to understand that to escape her shallow life, she must leave her family and pursue her journey alone. Throughout the play,

Nora’s Character Development in Ibsen’s A Doll’s House 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.

Nora has never had the chance to grow as a person on her own, and as a result remains very erratic and irresponsible. In the very first scene, Nora pays the Porter hundred pence instead of fifty pence. Though it is not a significant amount of money, it shows how reckless and irresponsible she can be. Nora also has a disregard for others’ feelings and their welfare. An example of this is when Nora starts talking about her children, immediately after learning that Mrs. Linde did not have any children, without paying any attention to possibly hurting Mrs. Linde’s feelings. She blames Mrs. Linde for smuggling the forbidden macaroons into the house in an attempt to hide Nora’s crimes. Even though Nora insists that she had taken out the loan only for Torvald’s sake, she also says that once Torvald knows about the loan she wants him to appreciate and admire her for being more than just an ordinary housewife – which shows Nora’s actions were not as selfless as she made them appear.

Freedom Through Independence of Will In A Doll's House, Henrik Ibsen focuses on the importance of women's roles and freedom in society. Widely regarded as a feminist paean, the play features two major female characters; the most prominent of whom, Nora Helmer, shatters her position as a subservient, doll-like female when she walks out on her husband and children with a flagrant "door slam heard round the world." Nora’s evolution, though inspiring, should not overshadow another crucial woman in the play: Mrs. Kristine Linde. Both women attain freedom in a society dominated by the adherence to conservative marital roles, but do it in different ways. While Nora reaches her consciousness and slams the door on her shackling domicile, Mrs.

Nora and Krogstad’s first encounter in Act One of Henrik Ibsen’s A Doll’s House, is significant to the plot as the main source of conflict is revealed whilst the central theme of deceit is enhanced through the use of dramatic irony. Throughout their conversation, Ibsen uses language devices to explore

In Henrik Ibsen's A Doll's House, Christine Linde surprises Nora Helmer with a visit to her house. The two women were childhood friends and have not seen each other in many years. As both characters' qualities unfold during the play, it is easy to see how Mrs. Linde's character traits underscore those of Nora's. Mrs. Linde's serious, responsible nature amplifies Nora's playful, childlike personality; Mrs. Linde's taking care of her sick mother and two young brothers emphasizes Nora's abandonment of her dying father; and finally Mrs. Linde deciding to marry Krogstad heightens the ending of Nora's marriage.

Later in the play things start getting complicated for Nora. Her husband Torvald had become Mr. Krogstad boss at work, and Torvald wanted to fire Mr. Krogstad. This is when Mr. Krogstad starts to blackmail Nora. He wants Nora to stop Torvald from firing him. If she does not, Mr. Krogstad was going to tell Torvald her secret. This should have been the perfect time for Nora to tell the truth to her husband, but she believed that telling Torvald the truth will ruin their relationship. Nora says to her friend Mrs. Linde “Torvald, with all his masculine pride – how painfully humiliating for him if he ever found out he was in debt to me. That would ruin our relationship. Our beautiful, happy home would never be the same” (Iben 802)

In Henrik Ibsen’s A Doll’s House, Nora Helmer is a traditional “angel in the house” she is a human being, but first and foremost a wife and a mother who is devoted to the care of her children, and the happiness of her husband. The play is influenced by the Victorian time period when the division of men and women was evident, and each gender had their own role to conform to. Ibsen’s views on these entrenched values is what lead to the A Doll’s House becoming so controversial as the main overarching theme of A Doll’s House is the fight for independence in an otherwise patriarchal society. This theme draws attention to how women are capable in their own rights, yet do not govern their own lives due to the lack of legal entitlement and

Once read a Doll’s House by Henrik Ibsen, myself was really impressed how Ibsen embraces women equality and power in society, conveying in a general theme of freedom in social life. This play was written in 1879 furthermore it aroused great controversy at that time. Many analysis about this book, locates the spotlight on to Mrs. Nora, which her main role concludes on her leaving his husband and kids completely defying the rules of society in that time. However people and critics reduce the importance of other characters in the play, in this case Mrs. Kristine Linde. While Mrs. Linde appears like a minor character and with a slight role in Nora’s transformation, she may have a fundamental part in Nora’s conversion in the play. Nora and Mrs. Linde move in opposite paths throughout the play. Mrs. Linde or Christine, starts as being a independent women not having any family obligations; On the other hand Nora has a devoted husband and several children. Whereas Mrs. Linde had a very problematic past, Nora has had it relatively easy. So, how did Mrs. Linde affected Nora’s transformation.

The theme of power is expressed through the title of A Doll’s House, as when one plays with dolls he or she has complete control of what occurs. The relationship between a person and their doll is a direct act of subjugation, only the doll is not alive and has no choice in the matter. With the binary opposition of phylogeny versus misogyny present in the stage production, a question of the work is who is the one controlling the household. Ibsen had the character of Torvald believe he was in command of what occurred in the house; however he (Ibsen) provided more evidence that Nora was really the one who kept everything together. For example, Nora was speaking with Mrs. Linde that she obtained much needed money without consulting with Torvald first, as she lied to him saying it was given to them by her father. Mrs. Linde replied saying “a wife should not borrow without her husband’s consent” (Ibsen 88), meaning she had fallen into the belief that women are below men, which Ibsen is proved to be false in this play.

Another woman, having a different role in society, such as Nora´s friend, Christine Linde, a childless widow, that proves to be an individual capable of surviving on her own, in a society who thought that a respectable women should be married and dependent of her husband. She once had been a “doll” like Nora. She also shows that she is a resourceful woman. When Nora tells Christine what is happening with Krogstad, Christine tells Nora not to worry that she will help her dissuade Krogstad (and she does), because she was once in love with him, but didn’t marry him since she needed money to help her sick