Nora's Character Analysis Essay

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.

Deborah Tannen Author of “Sex, Lies and Conversation” says “Men tend to talk less at home and this pattern is wreaking havoc with marriage” (Tannen, Sex, Lies and Conversation:1) also says “If their husbands don’t adapt, the wives may look to their friends or family for that kind of talk” (Tannen, Sex, Lies and Conversation:3). In the play we can see, Dr. Rank a close friend of Torvald visits almost every day in their house. He knows Nora never gets enough accompany from her husband and takes that advantage to get more close with her. He is the first person ever to tell Nora that there are others who can easily give up their life for her and made her to realize how important she can be. Interestingly, Nora welcomes Dr. Rank and says “I always have an hour to spare (Ibsen 870)”. In fact, her relationship with Dr. Rank helps us to understand that there definitely lies a distance between Torvald and Nora. For Nora, Dr. Rank is the only person she is able to reveal her true self. Nora feels she can speak with Dr. Rank in a way she can never speak to Torvald. She could also talk more seriously with Rank and by the same time feels so relieve around him. Dr. Rank also is the most important character for Nora's transformation who acted as an adviser for her, helps her to realize her personal feelings. On other side, Nils Krogstad, Torvald's childhood friend

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.

Even when eating macaroons, Nora assures Torvald, "You know I could never think of going against you" (A Doll’s House 1242). Nora is a doll, a helpless little "lark", a "songbird", and over the course of their relationship, Nora has been molded into thinking she must be all those and does not want Torvald to think otherwise (A Doll’s House 1242). Because helpless songbirds did not save lives on their own, Nora could not let Torvald find out about her use of forgery to obtain money, because it would hurt his "masculine pride" and "just ruin their relationship”.

Torvald would never have thought she were capable of it, since during that era it was unrealistic of women to leave their houses but rather put up with the difficulties they faced. Ibsen highlights society's domineering outlooks of marriage and the interactions of two people naïvely pretending to be in love. Throughout the play Ibsen reveals the fragile attributes of his characters to help enhance the play-like nature of their relationship, the role of women, and Nora's course of self-discovery.

It is Nora as an individual cheated of her true rights that the dramatists first depicts, for her marriage, as she discovers in the crisis, has been merely material and not that spiritual tie Ibsen insists upon as the only happy on in this relationship. (Huneker 64)

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

Later in the play, Nora’s spirit of indulgence advances to the stage that she is not afraid to ask Helen for “lots [of macaroons], just for once” for their banquet, and she does this in front of Helmer’s face. The lying about a small thing like macaroons foreshadows how she then becomes revealed as a character that lied about a major financial scandal that broke the law. Nora’s open rebellion by purchasing the macaroons was a very minor act in the start of Act 1, however her idea of freedom extends from eating sweets to freeing herself of familial obligations and going out “to see if [she] can make out who is right, the world or [herself]” (Ibsen). The macaroons were a method for Nora to escape from the miserable reality of living with Torvald, and this foreshadowed how she eventually would actually leave her world at home to escape this reality.

Ibsen utilizes the boundaries of the “inexpensively furnished” (147) room to create Nora’s symbolic cage displaying how she is physically unable to leave the confines of the room and the role in which every 19th century wife must play. In Act I, Nora plays her façade of the frivolous “funny little spendthrift” (150) in an effort to seem as defenseless as the woodland creatures Torvald finds so endearing and subsequently patronizing. Nora’s quarantine is enhanced as she is called a “squirrel…skylark, and little bird” (150) by Torvald, infantilizing her character and consequently solidifying her inability to escape the confines of her assumed womanly role. Nora readily assumes the position of a subordinate and feeble woman to protect the illusion she perceives as a complete home in addition to avoid “[being] completely alone” (154). This absolute isolation in adherence to the role in which she has been nurtured to conform to is slowly deteriorating her character, which is displayed in the increased sporadic nature of “poor little Nora’s” (152) actions and her lack of ability to focus as the play progresses. Nora’s childlike behaviors steadily become more obvious as her fixated birdcage becomes increasingly suffocating, the discomfort with her current isolation grows and as her mask of perfection slowly disintegrates.

In preparation for Nora's dance at the party, we again see Ibsen showing us Torvald's and Nora's roles. "I can't get anywhere without your help."(Ibsen 91) "Direct me. Teach me, the way you always have."(Ibsen 91) Nora's lines reflect the "costume" that Torvald expects her to wear (and which she wears obligingly), that of the meek, subservient, childlike wife.

The character of Nora goes through the dramatic transformation of a kind and loving housewife, to a desperate and bewildered woman, whom will ultimately leave her husband and everything she has known. Ibsen uses both the characters of Torvald and Nora to represent the tones and beliefs of 19th century society. By doing this, Ibsen effectively creates a dramatic argument that continues to this day; that of feminism.

 Nora took off her costume in the doll's house and left Torvald.  Nora has the opportunity to give herself value, learn about her world, and gain independence away from her husband.   She is not inferior, and Ibsen explores these inequalities effectively in the play.  

     Ibsen’s purpose for writing this piece is to entertain while pointing out an injustice. Through the events of the play, Nora becomes increasingly aware of the confines in which Torvald has placed her. He has made her a doll in her own house, one that is expected to keep happy and

First of all, Ibsen shows women’s struggle in Nora. In Act I, there’s part where Nora and Krogstad talks and he says,” When your husband was sick, you came to me for a loan of four thousand, eight hundred crowns.” (Page 1037) This was Nora’s

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.