Similarities Between Nora And Krogstad In A Doll's House

Krogstad is a lawyer who went to school with Torvald. He could be the antagonist of the play due to his blackmailing to Nora. At first, he asks her to persuade Torvald to keep him at the bank, otherwise, he will spoil her secret. Additionally, his behavior toward Nora could be justified the he is fighting for his job and to provide his family.

Towards the end of Act I, Krogstad enters. Krogstad is the man whom Nora borrowed the 4,000 crowns to finance the trip to southern Italy. Nora continues to act as a child. "Shall we play? What shall we play? Hide and seek?..." (Ibsen 1577). Krogstad asks a favor of Nora. "Would you please make sure that I keep my subordinate position in the bank?" (Ibsen 1518) By doing this Krogstad tries to utilize the famine influence that women who are married to men of power often have, yet another role society demands of women.

The most important instance that shows Ibsen was labeling Nora a degenerate is when it is revealed that Nora has committed fraud by signing her father’s signature on a loan agreement with Krogstad. This is morally wrong behaviour because not only did she fraudulently sign

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.

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.

Henrik Ibsen creates a fascinating tale filled with intrigue and set of characters that make for a great story. The Helmers and Christine and Krogstad have very different perceptions of what love is. The key to any healthy relationship is to be able to work out your problems and not let anything get in the way of the love felt for the other person in the relationship. Nora and Torvald in the end weren’t meant for each other and Christine and Krogstad, after working out their differences were able to continue on happily. Nora/Torvald and Christine/Krogstad truly are two fundamentally different sets of

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)

Now that Krogstad is fired from the bank, He is blackmailing Nora for her getting a loan through signing her dying father’s signature. When Torvald finds out about Nora’s crime, She expect sympathy from Torvald about her dilemma because he said to her that he fantasizes about risking his life to save Nora’s. “Do you know, Nora, I have often wished that you might be threatened by some great danger, so that I might risk my life’s blood, and everything, for your sake” (Ibsen, 833). Once given the opportunity, however; Torvald shows no intention of sacrificing his life or anything for Nora, thinking only about his appearances. His selfishness becomes

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.

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.

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.

The Henrik Ibsen’s story revealed to us the huge predicament that Nora faced and how her husband and the society are responsible for her trouble. The man is responsible since the woman testifies that she committed the crime of forgery because of the love she had for the husband; who is depicted as a dominant character over the wife (Act Three, pg. 3). The man is responsible since the woman testifies that she committed the crime of forgery because of the love she had for the husband; who is depicted as a dominant character over the wife (Act Three, pg. 3). Thus if the man could have given the wife the freedom and opportunity to interact with the outside world, she could have known what is morally and legally wrong. However, Nora spent most of

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.

Ibsen focuses on setting up the unveiling in the final acts, in that we are introduced to the idea that the truth coming to light is inevitable, and may soon have disastrous effects. Nora is depicted as being an extremely manipulative woman in order to get her way, she is quoted on numerous occasions saying things such as; “I’ll do anything to please you Torvald, I’ll sing for you, dance for you,” and she is portrayed as an uninformed and naïve young lady. The tricks Nora is willing to perform in order to satisfy her husband provide the foundation for the idea that the two are really living an idealistic lifestyle at all, and are really caught up in a web of lies and deception. Ibsen uses a variety of techniques to portray how disguised and fake the marriage is; such as the Christmas tree which is decorated and set up, and the significance given to the clothing of Nora and her Husband. In the case of the Christmas tree, its significance is that it represents exactly what their marriage is. It is covered with decorations, appearing ideal, but has no grounds in the realm of truth. Such is similar in the heavier than normal use of wardrobe throughout the play; when, particularly Nora, is often dressed up attempting to please Torvald, she is merely playing a role. Not only is their relationship riddled with lies, but such lies seem to exist to cover up how little the two truly have in common. While they get along and act

     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