Realism In A Doll House Analysis

Written in 1879 by Norwegian playwright Henrik Ibsen (Links to an external site.)Links to an external site. (1829-1906). Though his plays suggest otherwise, Ibsen revered the state of marriage, believing that it was possible for two people to travel through life as perfect, happy equals.

The main character, Nora, in Henrik Ibsen’s play “A Doll House” is a character that had been held back and repressed by the patriarchal society she existed in. Throughout the play it can be seen that most of the issues and struggles the character, Nora, faced were created and brought on by the men who were in her life. From the very beginning it is evident that Nora is as an undermined and restrained woman. Nora’s husband, Torvald, is her overseer. Torvald treats Nora like a child. He gives her nicknames like “squirrel” as if she is a little animal that only scurries about. When Nora wants money she must ask Torvald for permission to borrow some. Torvald also calls Nora a “spendthrift” as he does not trust Nora with money and believes she just wastes it on useless things. Torvald’s little nicknames for Nora seem to dehumanize her and make her seem less than her husband. When Nora suggests to Torvald to borrow money until he gets paid, Torvald responds “how like a woman! You know what I think about that. No debts! Never borrow!” (Ibsen 884) as if to indicate all women are incompetent and don’t know how to handle money. Although Nora is a victim of a destructive patriarchal society, she is also an example of what it meant to be a part of the feminist movement. Feminism is a movement and ideology that believes in the establishment of economic, political, and social equality of the sexes. At

Realism can be defined as view in which the author tries to depict life as truthfully and accurately as possible. The use of realistic or lifelike settings described by the author or narrated by a character, add a layer of realism to the story, even if the story itself is fictitious. The characters themselves are often portrayed as believable as possible, to the point that the character being described could actually exist; they are often depicted as very average people, void of extreme wealth, influence, or astounding abilities. The reason characters and settings are often

In A Doll House, Nora finds herself subordinate to her husband as well as the rules of society. Torvald forbids her from the consumption of macarons, bestows on her an allowance as if she were a child, persuades her to do as he wishes, dance like this, not like that, and she like a “good little lark” obeys his most every will. Her act of courage and independence, illegally taking out a loan to save his life, is seen as wrong in the eyes of society, while she sees it as necessary and forgivable; it is what a good wife should do for her husband.

Nora’s marriage has been a sham ever since the start. By the standard of modern day, she has legitimate ground to leave her husband Torvald. Because Torvald only cares about his image, he treats Nora as an object rather than a wife, Nora has never been taken seriously by her husband, and Torvald only loves her for her appearance. Torvalds image is of great importance to him considering now he is a bank manager, and he will not allow anything standing in his way to ruin this image this includes his wife. All of Nora’s life has been controlled by a male figure, first her father which just transitioned to her husband. Towards the end of the play suggests he never actually loved Nora, it was in fact just an act to have more control over her, and to prevent her from leaving.

The role of being a husband in both A Doll’s House by Henrik Ibsen and Fences by August Wilson is failed to a certain extent due to the fact that they cannot meet the expectations of their wives. By failing to do so, they both damage their relationships. In Fences, we learn that Troy Maxon’s failure as a husband started when he cheated on his wife, Rose, with another woman, who soon became pregnant with his child. In A Doll’s House, Nora would do anything to save her husband, Torvald, but that that feeling wasn’t mutual, and in the end, Torvald shows Nora who he really is, someone she did not expect him to be.

   An underlying theme in A Doll's House, by Henrik Ibsen, is the rebellion against social expectations to follow what one believes in their heart. This theme is demonstrated as several of the play's characters break away from the social norms of their time and act on their own beliefs. No one character demonstrates this better than Nora.  Nora rebels against social expectations, first by breaking the law, and later by taking the drastic step of abandoning her husband and children.

Both stage directions and diction effectively provide insight into Nora's personality, which show her naive and more mature aspects. Ibsen spent so much time developing Nora's character as she would be able to make the biggest impact on the Victorian women. This is a benefit to the audience of the Victorian era as they co-relate with her situation and understand Ibsen's intent of showing the audience that marriage should be an equal relationship between two individuals. In conclusion, Ibsen uses Nora's development to illustrate his intent for more equality between men and

Ibsen’s “A Dolls House” is a story about a wife who forges her father's signature to obtain a loan that can save her authoritative husband from a life-threatening illness. Unfortunately, her husband’s co-worker Krogstad discovers the forged document and threatens to reveal her which would bring shame upon both Nora and her husband. Krogstad’s motivation to blackmail Nora begins when he finds out Mrs. Linde is now an employee at the bank. Believing Mrs. Linde was hired to replace him, Krogstad need’s Nora to influence her husband to retain his position.

Throughout A Doll’s House, the use of symbolism is present. Through Torvald’s actions, the reader develops a clear understanding of Nora and Torvald’s relationship and thus developing the role of women theme. Firstly, Torvald treats Nora as if she is a child, but Nora doesn’t act upon this until the end of the play. This symbolic action could be due to the constant reminder of Nora’s secret bank loan, which affects her attitude and interaction with her husband, along with the constant inequalities present between herself and Torvald. Secondly, although not typically considered as imagery, stage directions are very helpful to the reader as they provide visual information that the reader can use to help create the setting and act out interactions in their mind. And lastly, without prior knowledge of the play, the title seems nonsensical, but as the story unfolds, the title becomes clearly connected to the plot and the theme of the story through the use of symbolism.

Her first instinct is to feel pity for Mrs. Linde’s lack of children or husband, classifying her “utterly alone” state as “terribly sad” and inferior to the life she has with Torvald (Ibsen 8). This all changes, however, once Nora agrees to help Mrs. Linde. By binding herself to a woman instead of a man for the first time, she reaches a further state of awareness. When Mrs. Linde mentions Nora’s “lack of trouble and hardship” and calls her a child, Nora becomes defensive, alluding to her displeasure with her position in society (Ibsen 12). “You’re just like the rest of them,” she claims, “you all think I’m useless when it comes to anything really serious...” (Ibsen 12). The “them” and “you all” in Nora’s pivotal statement refers to the men who have bound Nora to the state of a useless doll in a dollhouse: dependent, incapable, and unenlightened—merely nice to play with and pretty to look at.

Playing many different characters is what Henrik Ibsen’s meant to do in A Doll House. The main characters fool people into believing they are someone other than their true selves. Nora plays her role flawlessly as she pretends to be living two different lives. Nora is Torvalds devoted and self-indulgent wife, but naively enough, she doesn’t realize she is a courageous, self-sufficient women. As the character’s progress so does Nora’s personality, she goes from a fun-loving, trophy wife that is admired by Torvalds and his friends, to a self-empowered, edger women. At first Nora is compliant, money-hungry and immature wife. Nora only acts as though she only wants money from Torvalds. She is always asking for money as a gift for her Christmas present. But littles does the audience know that this is just a role she is playing in her house. As the play progresses, Nora exhibits that she is not a “Silly Girl” (Henrik Ibsen) P. 1493 as she is always called by her husband. When Nora took out a loan from a well to do business man Krogstad to save her husband’s life threating illness, she understood the business details that involved the debt and she a smart and very skillful women she is not just a housewife. Over the years she has worked and hide money to pay back the loan she had borrowed and she would hide it from her husband and this shows that she has perseverance and drive. “They all think I am incapable of anything really serious.”

Henrik Ibsen’s A Doll’s House was a controversial play for its time because it questioned society's basic rules and norms. Multiple interpretations can be applied to the drama, which allows the reader to appreciate many different aspects of the play. This paper examines how both Feminist and Marxist analyses can be applied as literary theories in discussing Ibsen's play because both center on two important subject matters in the literary work: the roles of women in a male-dominated society, and, the power that money has over people.

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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.