Nora: Don’t look at me like that Torvald Helmer: Mayn’t look at my dearest treasure? At all the beauty that belongs to no one but me – that’s all my very own? ----------- Nora: No, Torvald, go away. Leave me alone-I don’t want- Helmer: What’s all this? So my little Nora’s playing with me! ‘Don’t want’? I’m your husband, aren’t I?
In this section Torvald and Nora have arrived home from the dance and Torvald is talking about how happy he is to be alone with Nora. Torvald talks about how desirable Nora is and he says that she still has the tarantella in her blood. He explains that while at the party he imagines they are secretly engaged and does not speak to her throughout the night. Then when bringing her home imagines that they are just married and will be together in their own home for the first time. Nora asks Torvald to stop looking at her like that and to leave her alone. Torvald replies by saying that Nora must be joking and he points out to her that he is her husband. This section displays the qualities of the theme of marriage during this time as well as the development of our understanding of Nora and Helmer’s marriage specifically. From this scene we understand that the marriage between Torvald and Nora is more based around superficial and imaginary ideas. The way Torvald describes indicates that the excitement in their marriage is not centered actually on the two of them as a couple and their love for each either or on who Nora is, however more around daydreams. This is seen by using phrases such as “because I pretend” “then I imagine.” Torvald expresses his sexual desire for Nora and when dismissed he says that it must be a joke because he is her husband. Helmer’s reaction to Nora declining him displays the role of marriage during this time and what society expected of marriage. The idea of Nora refusing sex is seen as out of this world and completely ridiculous. This is shown through the use of the series of questions he asks her like “I’m your husband, aren’t I?” The way Torvald reminds her that he is her husband implies that it is expected and a criteria of a wife to not refuse sex.
Helmer: It’s so incredible that I can’t grasp it. But we must try to come to some understanding. Take off that shawl- take it off, I tell you. Somehow or other I must try to appease him- the thing must be hushed up at all costs. As for ourselves- we must go on just as before…but only in the eyes of the world of course. You will remain here in my house-that goes without saying- but I shall not allow you to bring up the children…I shouldn’t dare trust you with them. Oh, to think I should have to say this to someone I’ve loved so much- some I still…Well, that’s all over-it must be; from now on, there’ll be no question of happiness, but only of saving the ruin of it-the fragments-the mere façade…
Not only is this passage sexist and controlling but it also portrays Helmer as being purely concerned with his reputation, even over his happiness. His anger is understandable as she has lied to him but once he is done accusing her of being a “liar” and a “hypocrite” in previous lines, he is so matter-of-fact and business like with her that it becomes cold and harsh. The audience feels sympathetic towards her in this passage; however, during the time that this was being performed, his reaction would be seen as completely normal. Helmer is the authoritative figure over Nora and this is seen through his diction. For example, he says “MY house” and “take it off, I tell you” and “I shall not allow you”. The idea that it is Helmer’s house emphasise the fact that women cannot own property and that she is also his possession. The “I tell you” is condescending as well as controlling and he is putting her down and ordering her around just because of one mistake. The fact that Helmer thinks he can keep her away from her own children is the most obscene thing as they are the one thing she actually owns, they are half of her, and she has raised them. His obsession with reputation is also absolutely disgraceful. He will do anything for his image to be safe in “the eyes of the world” even if it means he is unhappy. Due to this mistake as well, the crime committed by Nora to save him, has apparently led to him no longer loving her as he couldn’t possibly love someone who lied to him. While I can understand this, he never gave her a chance to explain herself which is unfair. The audience become even more aware that Helmer is simply mad at Nora due to her effect on his reputation and not anything really to do with her when he suddenly has a change of heart later on in the Act. When he finds out that Krogstad will not expose Nora, Helmer apologises and tells her he loves her! This proves that he values his image and reputation over his wife.
Nora: …our home has been nothing but a play-room. I’ve been your doll-wife here, just as at home I was Papa’s doll-child. And the children have been my dolls in their turn. I liked it when you came and played with me, just as they liked it when I came and played with them. That’s what our marriage has been, Torvald.
This quote explains a lot about the title of the play. Here, Nora expresses the truth about her marriage, Torvald’s character and, her overall life to Torvald. She realizes that her life has been merely a performance where she has acted like a child-like wife for her husband and a child-like daughter for her father. She now finally realizes that her fatjer and Torvald compelled her to behave this way. She basically blames Torvald and her father for treating her like a child and a “doll” for their own entertainment. They just wanted her to be ignorant and thus so far shes only tried to please them so she has missed out the opportunity to educate herself. This is also the first time that the metaphor of the doll’s house becomes explicitly clear in the play. Nora’s comments about being a “doll-wife” shows that every marriage in which their husband controls the wife is comparable to a doll’s house, which at that time was a bold assertion. It’s also important how Torvald does not disagree with her and sees nothing wrong with the idea of her being his doll-wife because it reveals the extent to which such relationships were accepted and even encouraged by society as “normal” or “healthy”.
Mrs Linde: You said you were a shipwrecked man clinging on to a spar..... Krogstad: ...prompting her to sacrifice herself. (page 209)
In this section, Mrs. Linde points out that both she and Krogstad are struggling alone in bad situations. She suggests that she has “nobody to care about, and nobody to care for.” Krogstad says it was her own choice, but she insists that she had no choice. She then offers for the two of them to “join forces,” as together they would have a better chance than if they were each on their own. She suggests to Krogstad that she came to town because of him. This section shows that Mrs. Linde clearly finds a genuine and true sense of joy and purpose in being of service to others, and feels that her life is completely without meaning if she cannot do so. Thus Krogstad is correct in some ways when he accuses her of being self-sacrificing; however, what he fails to understand is that this is what Mrs. Linde truly wants. Mrs. Linde believes selfishness is not good for her; this stands in contrast to Nora’s proclamations at the end of the play that she needs to honor herself as an individual above anyone else.
“My poor old friend! Certainly I knew we should not have him very long with us. But so soon! And so he hides himself away like a wounded animal.” “He, with his sufferings and his loneliness, was like a cloudy background to our sunlit happiness”
In this passage Torvald has just seen the letter from Dr Rank with a black cross on it signifying his death. Torvald’s self centered and egotistic character is yet shown again when he refers the situation straight back to his life. For instance “his sufferings and his loneliness, was like a cloudy background to our sunlit happiness” Torvald says to Nora. This shows his ungratefulness side as well, Dr rank has died and yet he chooses to say that they would be better off without him as he brings a bad atmosphere around for being “lonely and suffering”. In addition Torvald is more concerned about his status rather than protecting his own wife. For instance Torvald says to 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.” Then later when Krogstads letter arrives his true side seems to show “But no man would sacrifice his honour for the one he loves.” Torvald knows that they have been “saved” from the letter and therefore does not try to express his love as much for Nora as when she was going to leave him for her bad reputation. It does not seem that Torvald really loves Nora he just loves the idea of having her in front of him to be his wife. In addition, towards the end Torvald goes back to calling Nora “child” as he states “Oh, you think and talk like a heedless child.” This shows his lack of respect for Nora even though he is trying to convince his love for so she won’t leave. He even says “But cant we live here like brother and sister?” His reputation is more important as it is very obvious. Even though they do not love each other any more he still wants the society around him to think they are still together to keep his higher status as he does not want to be seen as a fool.
Nora: [...] But our home has been nothing but a play-room. I've been your doll-wife here, just as at home I was papa's doll-child. And the children have been my dolls in their turn. I liked it when you came and played with me, just as they liked it when I came and played with them. That's what our marriage has been, Torvald.
In this passage, we can see that Nora has grown out - or rather, is beginning to grow out - of her child-like ways and is finally realizing the fact that Torvald and her father have been treating her like a doll, nothing more than a toy, instead of an actual person. Nora says to Torvald, "That's what our marriage has been," which suggests that she has become aware that Torvald only sees her as someone who is "enjoyable to be in love with" and is unable to put her before himself. She also blames both her father and Torvald for treating her like a "doll-wife" and a "doll-child" because now, after being treated that way for her whole life, she is still very child-like despite being an adult and needs to grow up.
Nora: You should have let things alone-not tried to stop them. After all, it's a wonderful thing to be waiting for a miracle. Mrs Linde: What is it you're expecting ? Nora: You wouldn't understand. Go in and join the others-I'll come in a minute.
I chose this passage because during the course of act 2 Nora kept talking about a miracle and she kept repeating it several times. It wasn't till act 3 did I realize that this miracle she wanted was that Torvald would be the husband she needed him to be rather than the husband he already is. She wanted Torvald to change and most like help Nora and fix the situation that she had caused. What she wants most likely is the love of Torvald and to fix it just for her. In act 2 Nora tells Mrs Linde that a "wonderful thing is going to happen ...a wonderful...but also "terrible thing". This is when I think she wants his love but it hints that it will come with a cost, the cost being his reputation. And she knows at the back of her mind that it would be the worst thing to happen for a man to lose his reputation during this time period.
Mrs Linde tries to help but in some way she instead makes the situation worse, and she tries to force the "miracle" instead of waiting patiently like Nora wants to.
pg226"[...]our home has been nothing but a play-room. I've been your doll-wife here, just as at home I was Papa's doll-child.[...] That's what our marriage has been, Torvald."
This passage was effective because this is where Nora explains her perspective of her own life by using dolls as an analogy. Dolls are toys, inanimate objects used as play things; Nora relates to her life by saying that she is a doll herself, showing that she is a play thing incapable of independence that belongs to Torvald and before him, her father. This reflects her situation well as financially she is unable to support herself without Torvald or her father, her only purpose in the house was to entertain and please Torvald and she essentially was expected to obey virtually every command Torvald makes as in this society, husbands have authority over their wives.
Also by calling her house a playroom it appears that she perceives the house as a farce. Doll houses normally have dolls within them, in which the owner creates a fictional life and story within that house. By saying this she is referring to the fact that she has created a false life that was supposed to be the ideal lifestyle that would satisfy Torvald. This life would meet the social expectation of the innocent "songbird" whose only purpose was to please the husband, when in reality this was not the case.
Helmer: ... So this is what I get for condoning his fault! I did it for your sake, and this is how you repay me! Nora: Yes - like this Helmer : You've completely wrecked my happiness, you've ruined my whole future! ... ; he can do what he likes with me - ask what he wants of me - order me aboust as he pleases, and I dare not refuse. And I'm brought so pitifully low all because of a shiftless women!
This quote is after Helmer reads the letter about what Nora has done, I chose this passage because I believe that it reveals the reason why Nora leaves and is the final tipping point she has before not being able to take anymore of Helmer. First Helmer addresses her father, insulting him on his ability to raise a child properly, insulting both her father and herself. He believes that it was his job to fix the mistake/fault that Nora is. He then says "Is This how you repay me" expecting that he should get in return instead of doing things out of love for good intentions displaying this thought of Nora as some kind of sport or item. He proceeds to insult her and then displays the biggest reason he doesn't like this and it is because of his future and his reputation that will be endangered. He doesn't talk about their future, and does not address them as a team when he says just "my" future instead of ours, keeping the focus on him and not caring the effects it may have on her.
HELMER: But you’re my wife – now, and whatever becomes of you. NORA: Listen, Torvald: I’ve heard that when a wife leaves her husband’s house as I’m doing now, he’s legally freed from all his obligations to her. Anyhow, I set you free from them. You’re not to feel yourself bound in any way, and nor shall I. We must both be perfectly free. Look, here’s your ring back – give me mine.
In this passage, Nora expresses her strong determination to leave the house and pursue independence from Torvald. Torvald, as unchanged throughout the play, once again claims his authority and ownership over her. From this I gain even greater sympathy for Nora due to the fact that Torvald shows no room for any change or any understanding of Nora - the ‘miracle’ she constantly hoped for. In the past, Nora would have accepted her inferior position and obey her husband and the regulations and expectations he had set for her. However, a great development of the character Nora is evident in this passage as she not only manages to firmly defend her ideas using factual knowledge but she also bravely declares the end of her inferior obedience and the start of her independence by saying “I set you free from them”. Just like how Torvald has treated her and spoke to her all the time she allows herself superiority, speaking in a demanding and instructive way to Torvald such as shown in “I set you free”, “you’re not to feel” and “give me mine”. This was very satisfying as Nora has made such a great step for herself despite all the limitations and emotional difficulties. However, many during the time period of in which this play was set would have felt outraged by Nora’s speech and actions towards the end of the play and make very negative criticisms on not only the character Nora but the play as a whole.
Helmer: Nora, I’d gladly work night and day for you, and endure poverty and sorrow for your sake. But no man would sacrifice his honour for the one he loves. Nora: Thousands of women have. Helmer: Oh, you’re talking and thinking like a stupid child.
In the following passage, Nora has just released feelings she has bottled up for 8 years. These feelings include a strong desire for a ‘genuine’ marriage and a ‘loving’ husband. However if we look at this passage from a cultural point of view, this desire would easily be dismissed as absurd and wishful thinking. This is because the appearances and image of a married couple were to be ‘perfect’ and no issues at home were ever to be exposed in public, in order to maintain a reputation and garner respect. Helmer has just gone to two ends of the emotional spectrum in the passage. Initially he degrades Nora verbally upon discovering what she has done. Upon discovering the news that his reputation is no longer at stake, he instantly forgives Nora and showers her with kind words. This shows that he does not care about her intentions and even only his own life. In addition to this, we really see how self centred as he constantly brings her mistake back to the impact it will have on his life. When Nora exclaims that women have sacrificed their honour for someone they love, he immediately dismisses the idea and labels her as a ‘stupid child’ only seconds after he has ‘forgiven’ her. This shows Helmer is very emotionally impulsive and further promotes his own ingenuity. As a result, I believe that this following passage not only develops the plot but also Helmer’s and Nora’s character. This is because we see Nora’s submissive behavior submerged under her honesty while Helmer’s true colours are exposed, which in turn stimulate the plot.
Helmer:- I shall advise you and guide you. I shouldn't be a proper man if your feminine helplessness didn't make you twice as attractive to me. (page. 223)
In the passage Torvald admits to his pleasure of being with a helpless woman, and throughout the act constantly mentions her pretty appearance and compliments her dancing and the way she moves. After Torvald reads the first letter that Krogstad had wrote, he starts calling Nora a liar, a hypocrite and criminal, as he releases his anger. He then describes her has 'shiftless', meaning lazy and sloth like. This makes the audience question Helmer's true love for Nora, as Nora describes later on in the act that he has never loved her, not the she loved him; "You've never loved me, you've only found it pleasant to be in love with me" Throughout the book, Torvald always describes Nora positively when talking about her appearance and dancing; while negatively to her behavior and personality. This emphasizes the fact that he talks down on her and patronizes her, as he finds that attracting in a woman. This starts to shape Torvalds true love for Nora, in the sense that there is none, the only thing he wants of her is to be his perfect little doll that he can play with and entertain him; and is mentioned several times in the play and in what the title symbolises.
Pg226. Nora: No, only gay. And you've always been so kind to me. But our home has been nothing but a play-room. I've been your doll-wife here, just as at home I was Papa's doll-child And the children have been my dolls in their turn. I liked it when you came and played with me, just as they liked it when I came and played with them. That's what our marriage has been, Torvald.
The passage I've chosen shows Nora's understanding and realisation of the position she has put in as Torval's wife. She calls herself Torvald's "doll-wife" and further explains that the reason she perceives herself as a doll is because she enjoyed the attention Torvald gave her when he played with her. This implies that Torvald doesn't treat her with love and kindness and also, he doesn't give her enough attention, which is why she enjoyed every bit of attention he gave her. This can be seen throughout the play when Torvald belittles Nora by calling her names such as "little squirrel" or "little scatterbrain", and yet she still responded like these names had no effect on her. Nora also mentions that she was "Papa's doll-child", this suggests that Nora's ability to endure being Torvald's doll is because she's used to being treated that way. The impression of being a doll tells us Nora is of little worth in the house and her purpose is to look pretty and do whatever Torvald wants her to do, it also implies that he only plays with her whenever he feels bored. Moreover, Nora realises that the children are also being treated as dolls as she seems to only play with her children whenever she has time or whenever she wants to. I feel this passage gives the readers a better understanding towards the title of the play being "A Doll's House".
Nora: When that was done, I thought - I was completely certain - that you would come forward and take all the blame - that you'd say 'I'm the guilty one' to Helmer: But to lose you - to lose you, Nora! No, no, I can't even imagine it...
I chose this passage because its where Nora finally reveals her feelings about the relationship. It is where she tells Helmer what she actually feels, instead of playing her role as the wife. I felt sort of relieved at this point because its where Helmer gets to hear Nora's opinion. She evens says that its been their first serious conversation. I felt happy for Nora since she finally gets to voice her opinion, the burden she has been holding since the beginning of the play. In this passage, we also get to see Helmer's reaction from Nora. We learn that Helmer actually needs Nora more than Nora needs him. He needs her because she gives him pride in knowing that someone needs him to survive in society. We start to see his pride fade after the illusion of Nora has disapeared. Also, getting to hear his plea for Nora gave me some satisfaction.
Nora: Don’t look at me like that Torvald
ReplyDeleteHelmer: Mayn’t look at my dearest treasure? At all the beauty that belongs to no one but me – that’s all my very own?
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Nora: No, Torvald, go away. Leave me alone-I don’t want-
Helmer: What’s all this? So my little Nora’s playing with me! ‘Don’t want’? I’m your husband, aren’t I?
In this section Torvald and Nora have arrived home from the dance and Torvald is talking about how happy he is to be alone with Nora. Torvald talks about how desirable Nora is and he says that she still has the tarantella in her blood. He explains that while at the party he imagines they are secretly engaged and does not speak to her throughout the night. Then when bringing her home imagines that they are just married and will be together in their own home for the first time. Nora asks Torvald to stop looking at her like that and to leave her alone. Torvald replies by saying that Nora must be joking and he points out to her that he is her husband. This section displays the qualities of the theme of marriage during this time as well as the development of our understanding of Nora and Helmer’s marriage specifically. From this scene we understand that the marriage between Torvald and Nora is more based around superficial and imaginary ideas. The way Torvald describes indicates that the excitement in their marriage is not centered actually on the two of them as a couple and their love for each either or on who Nora is, however more around daydreams. This is seen by using phrases such as “because I pretend” “then I imagine.” Torvald expresses his sexual desire for Nora and when dismissed he says that it must be a joke because he is her husband. Helmer’s reaction to Nora declining him displays the role of marriage during this time and what society expected of marriage. The idea of Nora refusing sex is seen as out of this world and completely ridiculous. This is shown through the use of the series of questions he asks her like “I’m your husband, aren’t I?” The way Torvald reminds her that he is her husband implies that it is expected and a criteria of a wife to not refuse sex.
Helmer: It’s so incredible that I can’t grasp it. But we must try to come to some understanding. Take off that shawl- take it off, I tell you. Somehow or other I must try to appease him- the thing must be hushed up at all costs. As for ourselves- we must go on just as before…but only in the eyes of the world of course. You will remain here in my house-that goes without saying- but I shall not allow you to bring up the children…I shouldn’t dare trust you with them. Oh, to think I should have to say this to someone I’ve loved so much- some I still…Well, that’s all over-it must be; from now on, there’ll be no question of happiness, but only of saving the ruin of it-the fragments-the mere façade…
ReplyDeleteNot only is this passage sexist and controlling but it also portrays Helmer as being purely concerned with his reputation, even over his happiness. His anger is understandable as she has lied to him but once he is done accusing her of being a “liar” and a “hypocrite” in previous lines, he is so matter-of-fact and business like with her that it becomes cold and harsh. The audience feels sympathetic towards her in this passage; however, during the time that this was being performed, his reaction would be seen as completely normal. Helmer is the authoritative figure over Nora and this is seen through his diction. For example, he says “MY house” and “take it off, I tell you” and “I shall not allow you”. The idea that it is Helmer’s house emphasise the fact that women cannot own property and that she is also his possession. The “I tell you” is condescending as well as controlling and he is putting her down and ordering her around just because of one mistake. The fact that Helmer thinks he can keep her away from her own children is the most obscene thing as they are the one thing she actually owns, they are half of her, and she has raised them. His obsession with reputation is also absolutely disgraceful. He will do anything for his image to be safe in “the eyes of the world” even if it means he is unhappy. Due to this mistake as well, the crime committed by Nora to save him, has apparently led to him no longer loving her as he couldn’t possibly love someone who lied to him. While I can understand this, he never gave her a chance to explain herself which is unfair. The audience become even more aware that Helmer is simply mad at Nora due to her effect on his reputation and not anything really to do with her when he suddenly has a change of heart later on in the Act. When he finds out that Krogstad will not expose Nora, Helmer apologises and tells her he loves her! This proves that he values his image and reputation over his wife.
Nora: …our home has been nothing but a play-room. I’ve been your doll-wife here, just as at home I was Papa’s doll-child. And the children have been my dolls in their turn. I liked it when you came and played with me, just as they liked it when I came and played with them. That’s what our marriage has been, Torvald.
ReplyDeleteThis quote explains a lot about the title of the play. Here, Nora expresses the truth about her marriage, Torvald’s character and, her overall life to Torvald. She realizes that her life has been merely a performance where she has acted like a child-like wife for her husband and a child-like daughter for her father. She now finally realizes that her fatjer and Torvald compelled her to behave this way. She basically blames Torvald and her father for treating her like a child and a “doll” for their own entertainment. They just wanted her to be ignorant and thus so far shes only tried to please them so she has missed out the opportunity to educate herself. This is also the first time that the metaphor of the doll’s house becomes explicitly clear in the play. Nora’s comments about being a “doll-wife” shows that every marriage in which their husband controls the wife is comparable to a doll’s house, which at that time was a bold assertion. It’s also important how Torvald does not disagree with her and sees nothing wrong with the idea of her being his doll-wife because it reveals the extent to which such relationships were accepted and even encouraged by society as “normal” or “healthy”.
Mrs Linde: You said you were a shipwrecked man clinging on to a spar.....
ReplyDeleteKrogstad: ...prompting her to sacrifice herself.
(page 209)
In this section, Mrs. Linde points out that both she and Krogstad are struggling alone in bad situations. She suggests that she has “nobody to care about, and nobody to care for.” Krogstad says it was her own choice, but she insists that she had no choice. She then offers for the two of them to “join forces,” as together they would have a better chance than if they were each on their own. She suggests to Krogstad that she came to town because of him. This section shows that Mrs. Linde clearly finds a genuine and true sense of joy and purpose in being of service to others, and feels that her life is completely without meaning if she cannot do so. Thus Krogstad is correct in some ways when he accuses her of being self-sacrificing; however, what he fails to understand is that this is what Mrs. Linde truly wants. Mrs. Linde believes selfishness is not good for her; this stands in contrast to Nora’s proclamations at the end of the play that she needs to honor herself as an individual above anyone else.
“My poor old friend! Certainly I knew we should not have him very long with us. But so soon! And so he hides himself away like a wounded animal.”
ReplyDelete“He, with his sufferings and his loneliness, was like a cloudy background to our sunlit happiness”
In this passage Torvald has just seen the letter from Dr Rank with a black cross on it signifying his death. Torvald’s self centered and egotistic character is yet shown again when he refers the situation straight back to his life. For instance “his sufferings and his loneliness, was like a cloudy background to our sunlit happiness” Torvald says to Nora. This shows his ungratefulness side as well, Dr rank has died and yet he chooses to say that they would be better off without him as he brings a bad atmosphere around for being “lonely and suffering”. In addition Torvald is more concerned about his status rather than protecting his own wife. For instance Torvald says to 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.” Then later when Krogstads letter arrives his true side seems to show “But no man would sacrifice his honour for the one he loves.” Torvald knows that they have been “saved” from the letter and therefore does not try to express his love as much for Nora as when she was going to leave him for her bad reputation. It does not seem that Torvald really loves Nora he just loves the idea of having her in front of him to be his wife. In addition, towards the end Torvald goes back to calling Nora “child” as he states “Oh, you think and talk like a heedless child.” This shows his lack of respect for Nora even though he is trying to convince his love for so she won’t leave. He even says “But cant we live here like brother and sister?” His reputation is more important as it is very obvious. Even though they do not love each other any more he still wants the society around him to think they are still together to keep his higher status as he does not want to be seen as a fool.
Nora: [...] But our home has been nothing but a play-room. I've been your doll-wife here, just as at home I was papa's doll-child. And the children have been my dolls in their turn. I liked it when you came and played with me, just as they liked it when I came and played with them. That's what our marriage has been, Torvald.
ReplyDeleteIn this passage, we can see that Nora has grown out - or rather, is beginning to grow out - of her child-like ways and is finally realizing the fact that Torvald and her father have been treating her like a doll, nothing more than a toy, instead of an actual person. Nora says to Torvald, "That's what our marriage has been," which suggests that she has become aware that Torvald only sees her as someone who is "enjoyable to be in love with" and is unable to put her before himself. She also blames both her father and Torvald for treating her like a "doll-wife" and a "doll-child" because now, after being treated that way for her whole life, she is still very child-like despite being an adult and needs to grow up.
Nora: You should have let things alone-not tried to stop them. After all, it's a wonderful thing to be waiting for a miracle.
ReplyDeleteMrs Linde: What is it you're expecting ?
Nora: You wouldn't understand. Go in and join the others-I'll come in a minute.
I chose this passage because during the course of act 2 Nora kept talking about a miracle and she kept repeating it several times. It wasn't till act 3 did I realize that this miracle she wanted was that Torvald would be the husband she needed him to be rather than the husband he already is. She wanted Torvald to change and most like help Nora and fix the situation that she had caused. What she wants most likely is the love of Torvald and to fix it just for her.
In act 2 Nora tells Mrs Linde that a "wonderful thing is going to happen ...a wonderful...but also "terrible thing". This is when I think she wants his love but it hints that it will come with a cost, the cost being his reputation. And she knows at the back of her mind that it would be the worst thing to happen for a man to lose his reputation during this time period.
Mrs Linde tries to help but in some way she instead makes the situation worse, and she tries to force the "miracle" instead of waiting patiently like Nora wants to.
pg226"[...]our home has been nothing but a play-room. I've been your doll-wife here, just as at home I was Papa's doll-child.[...] That's what our marriage has been, Torvald."
ReplyDeleteThis passage was effective because this is where Nora explains her perspective of her own life by using dolls as an analogy. Dolls are toys, inanimate objects used as play things; Nora relates to her life by saying that she is a doll herself, showing that she is a play thing incapable of independence that belongs to Torvald and before him, her father. This reflects her situation well as financially she is unable to support herself without Torvald or her father, her only purpose in the house was to entertain and please Torvald and she essentially was expected to obey virtually every command Torvald makes as in this society, husbands have authority over their wives.
Also by calling her house a playroom it appears that she perceives the house as a farce. Doll houses normally have dolls within them, in which the owner creates a fictional life and story within that house. By saying this she is referring to the fact that she has created a false life that was supposed to be the ideal lifestyle that would satisfy Torvald. This life would meet the social expectation of the innocent "songbird" whose only purpose was to please the husband, when in reality this was not the case.
DeleteHelmer: ... So this is what I get for condoning his fault! I did it for your sake, and this is how you repay me!
ReplyDeleteNora: Yes - like this
Helmer : You've completely wrecked my happiness, you've ruined my whole future! ... ; he can do what he likes with me - ask what he wants of me - order me aboust as he pleases, and I dare not refuse. And I'm brought so pitifully low all because of a shiftless women!
This quote is after Helmer reads the letter about what Nora has done, I chose this passage because I believe that it reveals the reason why Nora leaves and is the final tipping point she has before not being able to take anymore of Helmer. First Helmer addresses her father, insulting him on his ability to raise a child properly, insulting both her father and herself. He believes that it was his job to fix the mistake/fault that Nora is. He then says "Is This how you repay me" expecting that he should get in return instead of doing things out of love for good intentions displaying this thought of Nora as some kind of sport or item. He proceeds to insult her and then displays the biggest reason he doesn't like this and it is because of his future and his reputation that will be endangered. He doesn't talk about their future, and does not address them as a team when he says just "my" future instead of ours, keeping the focus on him and not caring the effects it may have on her.
HELMER: But you’re my wife – now, and whatever becomes of you.
ReplyDeleteNORA: Listen, Torvald: I’ve heard that when a wife leaves her husband’s house as I’m doing now, he’s legally freed from all his obligations to her. Anyhow, I set you free from them. You’re not to feel yourself bound in any way, and nor shall I. We must both be perfectly free. Look, here’s your ring back – give me mine.
In this passage, Nora expresses her strong determination to leave the house and pursue independence from Torvald. Torvald, as unchanged throughout the play, once again claims his authority and ownership over her. From this I gain even greater sympathy for Nora due to the fact that Torvald shows no room for any change or any understanding of Nora - the ‘miracle’ she constantly hoped for. In the past, Nora would have accepted her inferior position and obey her husband and the regulations and expectations he had set for her. However, a great development of the character Nora is evident in this passage as she not only manages to firmly defend her ideas using factual knowledge but she also bravely declares the end of her inferior obedience and the start of her independence by saying “I set you free from them”. Just like how Torvald has treated her and spoke to her all the time she allows herself superiority, speaking in a demanding and instructive way to Torvald such as shown in “I set you free”, “you’re not to feel” and “give me mine”. This was very satisfying as Nora has made such a great step for herself despite all the limitations and emotional difficulties. However, many during the time period of in which this play was set would have felt outraged by Nora’s speech and actions towards the end of the play and make very negative criticisms on not only the character Nora but the play as a whole.
Helmer: Nora, I’d gladly work night and day for you, and endure poverty and sorrow for your sake. But no man would sacrifice his honour for the one he loves.
ReplyDeleteNora: Thousands of women have.
Helmer: Oh, you’re talking and thinking like a stupid child.
In the following passage, Nora has just released feelings she has bottled up for 8 years. These feelings include a strong desire for a ‘genuine’ marriage and a ‘loving’ husband. However if we look at this passage from a cultural point of view, this desire would easily be dismissed as absurd and wishful thinking. This is because the appearances and image of a married couple were to be ‘perfect’ and no issues at home were ever to be exposed in public, in order to maintain a reputation and garner respect. Helmer has just gone to two ends of the emotional spectrum in the passage. Initially he degrades Nora verbally upon discovering what she has done. Upon discovering the news that his reputation is no longer at stake, he instantly forgives Nora and showers her with kind words. This shows that he does not care about her intentions and even only his own life. In addition to this, we really see how self centred as he constantly brings her mistake back to the impact it will have on his life. When Nora exclaims that women have sacrificed their honour for someone they love, he immediately dismisses the idea and labels her as a ‘stupid child’ only seconds after he has ‘forgiven’ her. This shows Helmer is very emotionally impulsive and further promotes his own ingenuity. As a result, I believe that this following passage not only develops the plot but also Helmer’s and Nora’s character. This is because we see Nora’s submissive behavior submerged under her honesty while Helmer’s true colours are exposed, which in turn stimulate the plot.
Helmer:- I shall advise you and guide you. I shouldn't be a proper man if your feminine helplessness didn't make you twice as attractive to me. (page. 223)
ReplyDeleteIn the passage Torvald admits to his pleasure of being with a helpless woman, and throughout the act constantly mentions her pretty appearance and compliments her dancing and the way she moves. After Torvald reads the first letter that Krogstad had wrote, he starts calling Nora a liar, a hypocrite and criminal, as he releases his anger. He then describes her has 'shiftless', meaning lazy and sloth like. This makes the audience question Helmer's true love for Nora, as Nora describes later on in the act that he has never loved her, not the she loved him; "You've never loved me, you've only found it pleasant to be in love with me" Throughout the book, Torvald always describes Nora positively when talking about her appearance and dancing; while negatively to her behavior and personality. This emphasizes the fact that he talks down on her and patronizes her, as he finds that attracting in a woman. This starts to shape Torvalds true love for Nora, in the sense that there is none, the only thing he wants of her is to be his perfect little doll that he can play with and entertain him; and is mentioned several times in the play and in what the title symbolises.
Pg226. Nora: No, only gay. And you've always been so kind to me. But our home has been nothing but a play-room. I've been your doll-wife here, just as at home I was Papa's doll-child And the children have been my dolls in their turn. I liked it when you came and played with me, just as they liked it when I came and played with them. That's what our marriage has been, Torvald.
ReplyDeleteThe passage I've chosen shows Nora's understanding and realisation of the position she has put in as Torval's wife. She calls herself Torvald's "doll-wife" and further explains that the reason she perceives herself as a doll is because she enjoyed the attention Torvald gave her when he played with her. This implies that Torvald doesn't treat her with love and kindness and also, he doesn't give her enough attention, which is why she enjoyed every bit of attention he gave her. This can be seen throughout the play when Torvald belittles Nora by calling her names such as "little squirrel" or "little scatterbrain", and yet she still responded like these names had no effect on her. Nora also mentions that she was "Papa's doll-child", this suggests that Nora's ability to endure being Torvald's doll is because she's used to being treated that way. The impression of being a doll tells us Nora is of little worth in the house and her purpose is to look pretty and do whatever Torvald wants her to do, it also implies that he only plays with her whenever he feels bored. Moreover, Nora realises that the children are also being treated as dolls as she seems to only play with her children whenever she has time or whenever she wants to. I feel this passage gives the readers a better understanding towards the title of the play being "A Doll's House".
Zachary's
ReplyDeleteNora: When that was done, I thought - I was completely certain - that you would come forward and take all the blame - that you'd say 'I'm the guilty one'
to
Helmer: But to lose you - to lose you, Nora! No, no, I can't even imagine it...
I chose this passage because its where Nora finally reveals her feelings about the relationship. It is where she tells Helmer what she actually feels, instead of playing her role as the wife. I felt sort of relieved at this point because its where Helmer gets to hear Nora's opinion. She evens says that its been their first serious conversation. I felt happy for Nora since she finally gets to voice her opinion, the burden she has been holding since the beginning of the play. In this passage, we also get to see Helmer's reaction from Nora. We learn that Helmer actually needs Nora more than Nora needs him. He needs her because she gives him pride in knowing that someone needs him to survive in society. We start to see his pride fade after the illusion of Nora has disapeared. Also, getting to hear his plea for Nora gave me some satisfaction.