The Effects of the Female Characters' Departure in both A Doll’s House and Like Water for Chocolate

Nora only achieves maturity when she leaves her husband and children. Through her abandonment she was able to receive closure on the aspect of her life that was preventing her from reaching her full potential. Prior to her leaving, Nora explains to Torvald what she must do for her best interests. "I have to try to educate myself," she says, "You can't help me with that. I've got to do it alone. And that's why I'm leaving you now" (Ibsen 192). Torvald responds by saying that she has no right to neglect her duties to her husband and children. Nora explains, "I have other duties equally sacred...Duties to myself. I believe that, before all else, I'm a human being, no less than you-or anyway, I ought to try to become one" (Ibsen 193). Nora reprioritizes her life and realizes that she needs to cater to her personal needs and establish a life of her own before she can tend to the lives of others. Ibsen is implying that the woman

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.

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.

Nora's second, and strongest, break from society's rules was shown by her decision to leave Torvald and her children.  Society demanded that she take a place under her husband.  This is shown in the way Torvald spoke down to her saying things like "worries that you couldn't possibly help me with" (Ibsen Page #), and "Nora, Nora, just like a woman" (Ibsen page #).  She is almost considered to be property of his: "Mayn't I look at my dearest treasure?  At all the beauty that belongs to no one but me - that's all my very own" (Ibsen page #)?  By walking out she takes a position equal to her husband and destroys the very foundation of society's expectations of a wife and mother.  Nora also breaks society's expectations of staying in a marriage since divorce was frowned upon during that era.  Her decision represented a break from all expectations placed upon a woman by society. Throughout the play Nora is looked down upon and treated as a possession by her husband. She is

Nora slowly built up resentment for her way of life, and how much is expected of her. Her husband Torvald is very traditional, and demanded her to act a certain way. Nora played along with the role of the perfect housewife even though she had no desire to so. Her own dreams and desires very rarely, if ever, considered and she was always expected to place her family’s needs above her own. Nora’s resentment of Torvald, and the way society viewed women in general, is very clearly stated after she decides to leave him.

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

You have ruined all my future... And I must sink to such miserable depths because of a thoughtless woman!” (Ibsen 62) Filled with anger, Torvald ridicules Nora’s father, and calls Nora a stupid hypocrite. This action is very significant for the play because we start to see Torvald’s true nature; he doesn’t care for Nora nor does he truly love her, but on the contrary

Nora was a poor wife because she was only playing the part. She didn’t truly understand her husband or the pressures he was under and it was her security in her delusion that failed her, not Torvald’s failure to meet some fantasized expectation that she had of him. She was surprised by her husband’s reaction because she didn’t understand the pressures he was faced with as a man of that time. Her failure to take responsibility and communicate her error as well as her attempts to hide it from him, like a child who’s broken something, had robbed him of any chance to intervene and Torvald was right to be upset with her.

– little Nora talking about scientific investigations” (Ibsen 256). This highlights the lack of respect Torvald gives to his wife throughout their marriage and the absence of equality there is between each other. Torvald always expects Nora to “do as [he] wishes” and he believes it is Nora’s job to follow his every command (Ibsen 253). He treats their marriage as a privilege for her to be with him. The manner in which Torvald handles Nora is a trigger that leads to her to eventually leaving him.

Thus she does want to disturb the societal order which keeps the husband at a dominant position as the master of the household, and the wife as a showpiece only to cater to his whims and fancies and be at a position no better than that of a child-bearer. As she is treated like a ‘doll’ by her father and then her husband, who spoil her with gifts and money as one does with a toy, she passes the same treatment to her own children whom she often refers to as her “dolly children”. As it is, Nora is not expected to be able to make any decisions on her own, not even insignificant ones, and she always has to be dependent on Torvald to help her out with everything. This is something that Torvald takes pride in and is often seen to be boastful of. Nora tells her husband that she “can’t get on at all without your help” and begs him to “direct me and put me right, as you used to do” (Act 2: Nora) and Torvald almost orders her to “be my own little lark again” whenever she does something “wild”. (Act 2:

Nora has never had the chance to reach her full potential due to the strict societal roles for women; however, because of her actions in the play, Nora realizes that she can rebel against these standards and accomplish so much more, leading her to walk out on her family. In the beginning, Nora acts like a loyal submissive spouse and loving mother, but the audience notices that she resists Torvald in small ways. For example, Nora eats a macaroon despite her husband 's ban on sweets. When Torvald questions her, she deceives him, saying "I should not think of going against your wishes" (7). Her lying gives her a bit of freedom from being the perfect little wife Torvald expects her to be. Nora 's major and controversial defiance is her secret loan that she takes out in order to save Torvald 's life. Yet, she does not reveal her actions to her

In “A Doll’s House,” Ibsen presents us with the drama of Torvald and Nora Helmer, a husband and wife who have been married for eight years and whose lives are controlled by the society in which they live. Their relationship, although seemingly happy, is marred by the constraints of social attitudes around them and their perceived gender roles. Creating even more conflict is the thin veil of deceit between them, which inevitably breaks them apart.

Tennessee Williams and Henrik Ibsen both beautifully illustrate their characters in their plays. Although characters Nora Helmer of A Doll’s House and Laura Wingfield of The Glass Menagerie are incredibly different, the authors used very similar techniques of creating them as convincing characters. Nora and Laura both undergo convincing character development with specific motivations behind their actions. Williams and Ibsen also use direct and indirect characterization to further develop Nora and Laura. Without such qualities, the characters would fall short of being memorable.

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.

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.