Torvald And Nora's Inequality

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.

For example, Torvald refers to Nora using words such as “my skylark,” “my squirrel,” “my songbird,” and “my little spendthrift.” The word “my” indicates a possessive tone, and it suggests that women were regarded as possessions and as objects, not human beings who should be treated equally as men. Additionally, the animals that are used to describe Nora creates an imagery that makes her look frail, weak, and pretty, just like a doll - Nora is treated as if she is a small animal that can be kept in a cage. This indicates the position of a woman in the household - she was to please her husband by looking pretty and clever, while the husband was the one who could control her and give her allowances (the wife was subservient to her husband). In 19th century Norway patriarchal ideals were greatly supported by the people and women had almost no political or economic power - upon marriage, every single property a woman owned was passed on to the husband. Similar to Nora, the only job of a Victorian woman was to look after her children and the home. Furthermore, there was very little a woman could do for herself - she could not earn money without her husband’s consent, neither could she borrow any money unless she had the signature of her father or husband. The incompetence of Nora is highlighted in the stage direction on page 26 - Nora “plays with his [Torvald’s] coat buttons; not looking at him.” In order for Nora to receive money she has no choice but to appeal to Torvald her sexuality; this indicates how Nora is inferior to Torvald and that she must flirt with him to gain control. This successfully represents the life of a middle class woman in the 19th century - a married woman was not allowed to have personal possessions, neither could she write a will. She had to be dependent on her husband for money and her full

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.

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.

Nora is married to Torvald for over 6 years and they have a comfortable routine that they follow. One day Torvald takes ill and Nora takes action. In the 1870’s the man was the provider for the household. Though, with Torvald sick, Nora needs to find a way to help her husband no matter the cost. They take off to Italy and “Torvald couldn't have lived if he hadn't managed to get down there.” (180) Nora feels a sense of pride knowing that she is the one that saves her husband. Nora wishes she could tell her husband what she had done but she understands the repercussions it would have on their relationship. Torvald would feel the humiliating effect of having his wife being his protector. To Torvald, Nora is just an object that is to serve his every need. She is his entertainer, his squanderbird. Torvald believes that Nora is just his “....poor, helpless, bewildered little creature.” (226) Their marriage is only real on paper, there is no equality in their household. This is something that Nora comes to terms with. She understands that “I must stand on my own feet if I am to find out the truth about myself and about life.” (228) Nora is a person of strong will. She knows how to put on a mask when the time comes, and she plays her cards just right. Because Torvald treats her as more of a trophy wife, she does not tell him about how she was able to take him to Italy.

Nora also receives the command from her husband that she should “...make your mind at ease again, my frightened little singing bird. Be at/ rest and feel secure; I have broad wings to shelter you under”(3. 1. 543-544). After showing his whimpering self at realizing that society might find out that he owes his wife, he then receives a note promising not to reveal the truth. Torvald reacts with happiness and pretends that he did not just hurt his wife. His wife does not let this go as he rants with sexist remarks bluffing about his strengths. The pride Torvald has as a man makes him discriminate against women and what they stand for showing making the break up within this family. Also in The House on Mango Street, one of the protagonist's friends must take care of their family because she is the eldest daughter but this has only made her hope for a man to get out of here since all she has learned is that men are superior to her. This shows how dominance of a family member can make other family members want to leave, therefore breaking the family

Nora begins to take offence to the words of Torvald. He refers to her as his most “prized possession”, and continues to say that he often imagines her as though she is his mistress, and she is a temptress. Nora continues to get offended, telling Torvald she doesn’t want any of this. Nora begins

restricted to playing with the children, doing little housework, and working on her needlepoint. A problem with her responsibilities is that her most important obligation is to please Torvald, making her role similar to that of a slave. Torvald easily talks down to Nora saying things like: “…worries that you couldn’t possible help me with”, “Nora, Nora, just like a woman”, and “Mayn’t I look at my dearest treasure? At all the beauty that belongs to no one but me—that’s my very own?” as if she is considered his property.

Torvald appears to be very affectionate towards his wife, but it is obvious that he treats her more like a possession or a pet rather than a human being. This is demonstrated by the way he addresses his wife, Nora, by calling her infantilizing names such as “squirrel,” “skylark,” or “little sweet-tooth” (Ibsen ). Torvald subconsciously feels he is superior to her, and throughout the play he belittles her view and knowledge of the world. Even Nora tries to maintain this view by referring to herself with such pet names to persuade him at

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

     Through their everyday conversation, Nora and Torvald reveal that they have a relationship full of meaningless talk and games. “Is that my little squirrel rummaging around”, Torvald questions Nora. “Yes!” (1569) she answers, running up to Torvald like a puppy. Because of her childish attitude, Torvald must have assumed that Nora was always happy and carefree. What reason would there be for meaningful conversation if she never obliged? Their relationship consisted of nothing truly real. Everything they talked about or enjoyed together was fun, games, and for show. Often times Torvald would even scold Nora like he would a child and wave his finger in disapproval. “Surely my sweet tooth hasn’t been running riot in town today, has she?”(1571) Then, Nora would respond as a young child would face punishment, “You know I could never think of going against you.” Then Torvald responded, “No, I understand that; and you have given me your word” (1571). I believe much of their marriage was ruined by their childish behaviors and antics; never telling each other the truth, living lies, and playing foolish games with each other.

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 way Torvald manages parts of Nora’s life can be compared to parents controlling their kids, and oftentimes to a child, parents can be viewed as condescending. Torvald constantly is forbidding Nora from certain actions, like eating macaroons or spending any money. Throughout the play he reminds Nora how she is inferior to him by calling her a spendthrift. As if he could never stoop so low to spend money. When Nora

Torvald, Nora's husband, feels powerful by referring to Nora as different types of feeble animals. Nora realizes this and uses it to her advantage. During act II she wants a favor from Torvald so she manipulates him by calling herself the animal names that make Torvald feel dominant. She says,

Torvald calls Nora by belittling and childish “pet names,” from the beginning scenes of the play in Act I, through to the end of the play. The way in which Torvald addresses Nora as “my skylark,” “my little squirrel,” and “my little singing bird" illustrates the demeaning behavior of men toward women in those days (2-4). As these names are typically used to address small children in a rather playful way, they are indicative of Torvald’s position of authority in his relationship to Nora. These animal-based nicknames therefore convey to the audience that Nora is feeling significantly dehumanized by Torvald’s