Mrs Alving in 'Ghosts' by Ibsen

Moreover, this shift in power towards the end signifies a major disempowerment to Torvald because he is then forced to beg her to stay with him (Ibsen 1803). However, his wife is too far gone from his reach to be swayed by his attempts at begging and- later- force. This is significant to witness because it highlights the fact that Torvald is no longer able to keep control over a woman he has controlled for eight years of their relationship- the entirety of their marriage. In addition, this illustrates her increased power because she has lowered his worth in their relationship- that has become non-existent. Scholars say that Nora’s departure is accompanied with despair (Gelber 360). This is especially true in regard to Torvald; in fact, it illustrates that Torvald’s character is far more dependent upon his wife than she was of

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.

When Torvald finds her hairpin stuck in the keyhole of the letter box, Nora tells him it must have been their children trying to get into it, not willing to admit that she had tried to break into his things. Although the truth about her is about to be discovered, Nora wants to preserve the last bits of dignity that she has left, finally worrying about herself before anyone else. This last lie however, leads up to her finally speaking the truth and expressing that she no longer feels that she loves Torvald. Her husband is furious at her, insulting her, and fails to see that every lie that she told was for his sake. Realizing that Torvald can’t see her side of things and will only find fault in what she did, she comes to her decision to leave her family. Nora states that she is not happy and never really was, her marriage to Torvald was as fakes as a doll house according to her. Rather than lie, she is completely honest now and states that she wants to become her own person and learn that which she doesn’t know despite what society might think.

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

At the end of the play Torvald finds out that Nora has deceived him about borrowing money without his permission and this triggers an epiphany for Nora, who realizes she needs to finally realize the truth of her situation and recognize her desire to escape this doll house. During yet another argument, Torvalds loses it and says, “From now on, forget happiness. Now it is just about saving the remains, the wreckage, and the appearance” (1013-1014). Finally, in this moment, Nora realizes that Torvald is just a self-centered, petty man who is concerned only about keeping up the lie of marriage. It is this realization that allows Nora to appreciate the reality of her situation. “I've been performing tricks for you, Torvald, that’s how I survived. You wanted it like that. You and Papa have done me a great wrong. It’s because of you I’ve made nothing of my life” (1015). By the end of the play, Nora has emerged as a stronger, tougher and more independent individual who is determined to make her own life free from the gender roles that have been placed on her by

Nora also receives the command from her husband that she should “...make your mind at ease again, my frightened little singing bird. Be at/ rest and feel secure; I have broad wings to shelter you under”(3. 1. 543-544). After showing his whimpering self at realizing that society might find out that he owes his wife, he then receives a note promising not to reveal the truth. Torvald reacts with happiness and pretends that he did not just hurt his wife. His wife does not let this go as he rants with sexist remarks bluffing about his strengths. The pride Torvald has as a man makes him discriminate against women and what they stand for showing making the break up within this family. Also in The House on Mango Street, one of the protagonist's friends must take care of their family because she is the eldest daughter but this has only made her hope for a man to get out of here since all she has learned is that men are superior to her. This shows how dominance of a family member can make other family members want to leave, therefore breaking the family

After Torvald answers why he doesn’t like Krogstad, Nora begins to panic. She begins to panic because she learns that she committed the same crime as Krogstad. Torvald says that Krogstad never admitted his guilt, has a life full of lives, and even lies around his family. Torvald then goes on to say how living in this type of atmosphere can corrupt the whole family. Then, Torvald tells Nora that there’s no way he could work with a person like Torvald. Nora realizes that she might be corrupting her children and that she should leave them to prevent her from corrupting the children. After Torvald tells her all of this, she says that she has to get back to work on the tree so she can think.

To begin with, the plot starts when Nora saying that her and her husband have never had a serious conversation. They have never solved any problems they were having previously in their marriage. Torvard her husband, is confused and doesn’t understand what she is saying. She goes on about how he doesn’t understand her and why she feels like she’s been treated unfairly. Like the treatment that her dad would give her when she was younger. Nora never had her own thoughts or opinions and was taught to only think one way, the way that her father wanted her to think. Feeling like she is property that was passed down from her father to her husband. Torvard asked her if she is unhappy and she admits to never being happy even though he treated her nicely. Explaining to him how she wants to find herself and put herself first. The husband begs

In the story “Doll House” Nora had been previously scolded by her husband and finally informed Torvald, “I’m saying we’ve never sat down seriously and got to the bottom of things” (936 MLM). Nora was done being treated as a child by Torvald. He shielded her from the world, like her father, and would never let her form an opinion stray from his own. He wouldn’t let her talk of the serious matters in life, from morality to simple decisions with money, that had to do with being her own person with her own mind. This led Nora to leave and find herself as Torvald would not let her just be with his grown instinct that love from a husband must have a controlling nature over the wife in the marriage, not an equality between the

His promotion also chracterizes him as being increasingly pompous and seeing his wife as an object. By referring to her as his, “songbird,” and speaking to her as if she is child, Nora’s departure is well evidenced. Nora exemplifies this condescending idea further when speaking with Torvald before she leaves as the author writes, “ Doesn’t it strike you that this is the first time we two, you and I, man and wife, have talked together seriously?” By revealing this to Torvald, Nora explains why she is

Nora is treated like a child by Torvald, but she is accustomed to it and believes he loves her dearly. However, an important component of a successful and true marriage is trust, which is lacking in the Helmers’ marriage. Nora keeps a secret from Torvald while he is reluctant to trust her with money, let alone his reputation (Ibsen 2, 3, 13). When Torvald discovers that Nora has kept a secret from him, he is furious and takes away her right to raise the children without a second thought (Ibsen 83). However, while Torvald was throwing a fit, Nora comprehends that he has never loved her and that she was forcing herself to believe she loved him (Ibsen 87). Like Nora, Edna knew that she and her husband, Leonce, never loved each other; she thought he was her ticket out of her old life while he thought of her as his possession (Chopin 8, 29). Both Edna and Nora were raised to be obedient wives, but Edna, after her awakening, felt like marriage was “one of the most lamentable spectacles on earth” and did not try to save her marriage (Chopin 100). Love was sometimes not a factor that determined marriage; money and image was usually more preferred.

She refuses to reveal it because of "how painful and humiliating it would he for Torvald, with his manly self-respect, to know that he owed anything to me!" She is convinced that "It would utterly upset the relation between us; our beautiful, happy home would never again be what it is." Their relationship is also overrun with deceit as Nora tells petty lies, such as eating sweets and Torvald's new position being published in the newspaper, and she withholds the information about her forgery and loan. Torvald perceives Nora as innocent and fragile, but she is ironically the perpetrator of the crime in which he concludes that "a man can retrieve his character, if he owns his crime and takes the punishment." When speaking of Krogstad's forgery he blatantly states that "such an atmosphere of lies home life is poisoned and contaminated in every fibre." The deception in Nora and Torvald's marriage will eventually cause larger problems in their

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.

In Henrik Ibsen’s play, ‘Ghosts’, the public opinion and the moral system pollutes, deforms and corrupts each character. For instance, Mrs. Alving struggles to liberate herself from the society’s norm that stands in the way of her freedom. Ibsen believed people should not live like Mrs. Alving or in a society that deprives one from their ‘joy of living’. It could be argued the play is especially pessimistic, but actually it is not in fact Ibsen is optimistic about overcoming the restrictions that stop us from being authentic. He wants to break free of the ideas and the ‘Ghosts’, which trap us. Even, in the last scene of his play, ‘When We Dead

Her final goal was so important to her, protecting her family, she knew she had to do whatever was necessary, even if that meant not being true to her husband or society. In the end, she realizes that it was more important to her husband his reputation, than what it had meant to Nora, all she had done for the love of her family, concluding to the raw truth that her husband didn´t really love her: he loved what she represented before society, a loving, faithful wife that compelled to all his expectations. She knew that to love her children, she needed first to understand and love herself, a thought way beyond and ahead of time, for a woman in the late 1800´s.