A Doll’s House is a three-act play written by Henrik Ibsen with the story evolving on the main characters, spouses Nora and Torvald Helmer being set predominantly in their home . The drama that unfolded apparently happened just amidst Christmas time, specifically starting on the day before Christmas. The spouses were in excellent mood ensuing from the fortunate promotion of Torvald as Bank Manager, a position to be assumed as the New Year arrives. The current discourse hereby aims to present a characterization of the protagonist, Nora; and how she was portrayed through the events that eventually transpired.
Initially, Nora could be perceived as exuding a positive and jolly personality through being depicted as entering her home in such a happy disposition. She was noted to be “laughing to herself, as she takes off her hat and coat” ; humming; and went shopping for her loved ones. Likewise, there seemed to be some tinge of mischief and tendencies for secrecy in Nora as she apparently nibbled on macaroons; despite the alleged prohibition from her husband. In addition, in terms of physical qualities, Nora was depicted as possessing aesthetic qualities, as she mused when she was conversing with Christine: “I got it from some other admirer. When anyone is as attractive as I am” ; implying that her beauty was used to serve an imminent purpose.
Concurrently, Nora’s character eventually turned into a new light when she admitted to Christine of a secret involving borrowing a large amount of money. It was through this revelation that the audience could deduce that Nora could actually be a deceptive person for not disclosing to her husband the source of money that allegedly saved his life. There was another perceived turn of events when two new characters seem to be involved in her life: that of Dr. Rank and Nil Krogstad. Dr. Rank eventually professed admiration to Nora; while Nil Krogstad was the person who apparently loaned the money to Nora. The mysterious connection of Krogstad to Nora with a controversial dilemma added to the seemingly notorious persona that enveloped Nora’s character. Thus, despite the physical beauty and happy disposition that originally depicted Nora’s character, the association with shady characters through Dr. Rank, Krogstad, and even Christine added to an intriguing personality.
Another relevant facet of Nora’s character is her ability to persuade and be an influential factor in his spouse’s decisions. This was evident from the other character’s approaching Nora to seek her assistance in proposed courses of action that were within the control of her husband. For one, she was able to assist her friend, Christine in finding an appropriate employment as a bookkeeper for the bank where Torvald would assume the post as a manager. Likewise, Krogstad also approached Nora with the hope that she could persuade her husband not to dismiss Krogstad from a position that he assumed in the same bank where Torvald would eventually work. These characters’ acknowledgement of Nora’s influential power as a spouse to Torvald has evidently proven that she is perceived to exude charisma and the needed appeal that would be effective to serve their respective interests. From this depiction, it could be interpreted that women, especially spouses, were recognized to have some influence in terms of convincing their partners to consider relevant concerns referred by third parties, more than any other personalities within the working environment.
The climax of the play revealed another aspect of Nora’s character that was totally unexpected. From the events that transpired, the audience could detect that there was love, mutual affection, and a happy marital relationship that is shared between Nora and Torvald. This was evident from the terms of endearment that was frequently used by Torvald as he referred to his wife: ‘my little lark’, ‘my little squirrel’, ‘my little Nora’, ‘my dear Nora’, among others. From these terms it was apparent that her husband allegedly treats Nora as possessing childlike qualities and almost doll-like. The confirmation was noted when Nora confronted Torvald that she saw the way she was treated by her husband through the same way that her father treated her:
“He called me his doll-child, and he played with me just as I used to play with my dolls. And when I came to live with you-- I was simply transferred from papa's hands into yours I have existed merely to perform tricks for you, Torvald” .
As such, Nora made a decision that was totally out of the character that was originally depicted. She eventually asserted the need to be released from their matrimonial bonds as the only viable way to find the truly meaning of life and to find her true self. Apparently, at this point, the events made her realize that she was never really happy as she confessed that “No, I have never been happy. I thought I was, but it has never really been so” . Likewise, she described their marriage as analogous to play – just like in a doll-house, to wit:
“our home has been nothing but a playroom. I have been your doll-wife, just as at home I was papa's doll-child; and here the children have been my dolls. I thought it great fun when you played with me, just as they thought it great fun when I played with them. That is what our marriage has been, Torvald” .
In sum, Nora’s character evolved from assuming the happily married wife to coming into
a realization that she was actually living a doll-like existence where the people she thought were instrumental in her life were the ones who treated her like a toy, specifically a doll, to be molded according to their whims and desires.
Work Cited
Ibsen, Henrik. "A Doll's House." 13 December 2008. Project Gutenberg EBook. http://www.gutenberg.org/files/2542/2542-h/2542-h.htm. 27 December 2013.
