Nora's Complexity

In the play “A Doll’s House” Henrik Ibsen introduces us to Nora Helmer and shows us how spontanesly her design of the ideal life can change when a secret of her is revealed. Nora’s husbands promotion to Manager of the town Bank, leaves her convince she will be living a wonderful life; stress and worry free. However, Nora’s idea of a wonderful life is completely changed when her long-kept secret is revealed.

Nora plays with Dr. Rank 's emotions; though by accident, she does so more than she had intended. Nora becomes desperate for money at one point and intends to use her sex appeal and subtle charm to get some from Dr. Rank. Nora is in the process of flirting

This passage from A Doll’s House, begins near the start of Act 1. It is the first interaction between Torvald and Nora, and reveals a lot about the relationship between them, as well as the social standing of women at the time. The passage starts with Torvald greeting Nora and asking, “Is that my little lark twittering around?”. Already, the audience can see the objectification of Nora, as well as his belief that Nora is just “twittering” around, and not contributing to society in any way, or doing anything useful. He goes on to call her “my little squirrel”, further suggesting her being treated not as a adult, but more of a child. She has no power, and is subject to patronisation.

The confectionery is the immediate manifestation of her desire for some form of power and control. The audience’s perception of Nora as a submissive child-like figure, established by her relationship with her husband, is quickly destroyed by the arrival of Mrs. Linde. The initial balance of power lies with Kristine in this renewed relationship, as Nora appears envious of her individuality and freedom in having no commitments to a family. Yet, when Kristine declares ‘Nora, you’re a babe in arms,’ this catalyses the first revelation of Nora’s actual power to the audience.

Ibsen uses creative, but effective, animal imagery to develop Nora's character throughout the play. He has Torvald call his wife "his little lark"(Isben) or "sulky squirrel"(Isben) or other animal names throughout the play. He uses a lot of 'bird' imagery-calling her many different bird names. The name Torvald uses directly relates to how he feels about her at the time. The animals Ibsen chooses to use are related to how Nora is acting, or how she needs to be portrayed.

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.

(Lorca 142) Likewise, Nora of Doll’s House assumes the mask of her husband Torvald’s “pretty little thing” (Ibsen 22), a “little squirrel” (Ibsen 46), and a submissive “dolly-wife.” (Ibsen 82) She does so because Torvald expects her to accept that he is right in not indulging her “little whims” (Ibsen 21) and expects her to see her “dancing” and “reciting” (Ibsen 22) as per his wishes – he expects her to be a doll under his control. So, she finds “a way [herself]” (Ibsen 21) – the way of deception – to follow her own heart.

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.

lacking free will. Throughout the play, Torvald refers to Nora as his “lark” or “little squirrel”,

are and how great it is that Torvald is getting a new job, when she

Nora plays the part of a slave in her subservience to her husband, for she is supposed to

In the Victorian society, restrictions were in effect for most married women. It is the time when sexism is very predominant. Men liked to dominantly control their wives and tell them what to do, and women didn’t have the authority to disobey their husband because they were subordinate to their husband. Henrik Ibsen, famous playwright known to be father of modern drama, wrote the play A Doll’s House. Nora, the protagonist, portrays the life of a women who is controlled by her husband Torvald.

The relationship between Torvald and Nora is based on the assumption that women are beneath men. Torvald treats Nora like a girl would treat a doll. Torvald refers to Nora as his "lark," "squirrel," and his beautiful "songbird" throughout Ibsen's play, except when he is angry; then she becomes a woman. Elaine Baruch adds insight:

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.

She cleverly manipulates the men around her while, to them, she seems to be staying in her subordinate role. In all three acts of the play Nora controls many situations and yields the most power.