Nora’s Relationship with Torvald
The drastic change in Nora’s relationship with Torvald that occurs during the course of the play is made quite evident by what she says and the way she delivers her speech. At the beginning of the play Nora seems completely happy with her doll-like relationship with Torvald.
She responds affectionately to Torvald’s teasing and plays along with him – “if you only knew what expenses we skylarks and squirrels have,
Torvald”. She is quite happy to be Torvald’s “little featherbrain”.
However, as the play continues, Nora starts to realise that her marriage has been a performance and that she needs her own freedom.
She becomes more rebellious, starts to use the imperative with Torvald and somewhat
…show more content…
Nora shows how girlish she is by using language often used by young children such as “heaps” and repeating “it’s wonderful” again and again. She also shows her childish character and girlish happiness with Torvald by using exclamations frequently, saying “Oh!”, getting excited about the money
Torvald gives her – “money!” – and counting it to see how much she has been given – “ten, twenty, thirty, forty” – just like a child would.
She also uses it to plead with Torvald to do things for her – “please, please do!”- very much like children do to get their parents to do something for them. She sometimes says things “squealing” because of her excitement about the surprise she is going to give to Torvald, like little children do. What she does while she speaks shows as well how childish she is. She says things “clapping her hands” and “nodding and smiling happily” when she is happy and when she doesn’t dare say to Torvald that she wants money she says it “in a rush”, “not looking at him – playing with his waistcoat buttons” as if saying it faster or distracting him would make it easier for him to accept, which is often done by children. Torvald also says things such as “my little songbird mustn’t ever do that again” “wagging a finger at her” as if she were his pet that he had to educate.
Although at the beginning of the play Nora seems very happy with her doll-like existence with Torvald, as the play continues and she becomes more frightened by
In the Bedford Introduction to Literature book, Carol Strongin Tuft wrote an article called “A Psychoanalytic Reading of Nora” there is a list of “narcissistic” qualities from the Task Force on Nomenclature and Statistics of The American Psychiatric Association (1226), to prove that someone actually is narcissistic, and these prove how Nora really is not a narcissist in any way, one of the qualities that it says is that the narcissistic person exhibits “interpersonal exploitiveness: takes advantage of others to indulge own desires for self-aggrandizement, with disregard for the personal integrity and rights of others.” So, in the play Nora begs her husband for money; which makes him think that she is a “spendthrift” (Ibsen A Doll’s House 1165),
Nora and Torvald's definition of “ being a human” are completely different. Torvalds definition of being a “human being” is trying to say that Nora is like society's human being. Society's stereotype that Torvald is trying to describe or symbolize is that she has to follow the man's ways, that the man of the house should always be right. That what the man does is what is correct for the family. Noras definition or symbol for saying “ before all else, I’m a human being” means that she is a real true human being that messes up and has dreams to become something else than a housewife.
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
Torvald doesn’t trust her with any money and with the little money that he does entrust her with he is afraid that she will spend it on Macaroons, a candy that he has forbid her to eat. He calls her his "little squirrel", "skylark", and he says she spends money very foolishly.
When Krogstad threatens to expose the truth, Nora must use her craftiness to distract Torvald and sway him into letting Krogstad keep his job. Unfortunately, she is not able to change his mind, but she does succeed in diverting his suspicions of her motives. She praises him and lulls him into a false sense of security by telling him that "[n]o one has such good taste as [he has]" and then goes on to ask him if he could "take [her] in hand and decide what [she is] to go as" for the dance. She confesses to him that she "can't do anything without [him] to help [her]". These statements lead him to believe that he is the one to "rescue" her, when it is in fact Nora who is trying to rescue him from dishonour. Later on, when Krogstad puts a letter in Torvald's mail, explaining everything that Nora has done, Nora uses her charms once more. She pretends that she has forgotten the tarantella so that Torvald will spend all his time with her and think nothing of the mail that awaits him. Nora truly believes that by deceiving her husband, she is protecting him from worry. Because of Nora's deception, the person that Torvald believes her to be is quite different from the person she actually is. He believes that she is a "spendthrift," infatuated by expensive things when in reality, she saves her money to pay back Krogstad and buys cheap clothing and gifts. Torvald
Lulu, Nora, and Carol: A Comparison Patriarchy and challenging that same patriarchy is one theme that connects three characters: Lulu from Shopping and Fucking by Mark Ravenhill, Ibsen’s Nora, and Carol in Oleanna. All of these female characters are oppressed and abused by male ideas and desires and we see them overcoming or sidestepping being objects of male desire. Lulu is asked to reveal her breasts to be considered for a job by Brian. He asks to be persuaded, he holds power over her, abusing and degrading her.
As Mrs. Linde and Nora continue with their conversation, Nora begins to question whether Torvald does love her. Nora begins to tell her story of how she was the one to raise the money for the trip to Italy and not Torvald. She reveals how she went to Krogstad and asked for a loan to help pay for the trip. When Mrs. Linde asked if Torvald knew any of this information Nora replied, "He's so strict on that subject ... with all his masculine pride how painfully humiliating for him if he ever found out he was in debt to me" (1194). Nora did not feel comfortable telling Torvald about the predicament because she did not want to offend him. Torvald is set on complying by his morals and the fact that Nora disobeyed them would dishonor her
. Another form of light is reflected light from lustrous objects. For instance, the light reflected through the gilt and gold paper creates a false sense of hope for Nora’s future and marriage. For example, Nora comments “I will wrap it up in beautiful gilt paper,” serving as a symbol for the foundation of Nora’s marriage of lies and deceit (150).
Linde and Krogstad. For instance, she lied to Ms. Linde about the money she used to go to Italy to save Torvald and said it was from her admirers; meanwhile, she told Torvald it was money from her father that she had asked for. When in
is undoubtedly symbolic of her longing to be out of the control of Torvald and
By saying all these things Nora is seemingly proving to Torvald that he has power over her. Luckily, Torvald is not incredulous and feels that Nora is being
She alludes to a child’s character when she says, “everything I think of seems so silly and insignificant” (26). Torvald replies with a condescending statement: “Does my little Nora acknowledge that at last?” (26). Torvald expects only childish talk from her. He even tells her she is “little,” like a child, and although he expects nothing more than child’s talk from her, he does expect to be obeyed.
This tone gives the statement a endearing and protective connotation. However, it illustrates how Torvald manipulates Nora to control her actions, revealing his dominating character and Nora's insecure and submissive characters are revealed. As Nora continues to be obedient, Torvald takes advantage of her; furthermore, Torvald does not want to discuss official issues with her, and teases her about her "silly and insignificant" character. The negative denotation of Torvald's diction emphasizes the abuse in the relationship. The lack of communication allows Torvald to continue abusing her. Abuse forces a person to stay in a relationship. It makes the victim feel unimportant and unloved. Open communication can bring equality and love to the relationship.
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 to look at something pretty. When the tree is stripp of its ornaments with its burnt down candle ends on it’s disheveled branches. It reflects how Nora’s is feeling stripped of her “decorations” and disheveled from Krogstead’s blackmail letter.