Question 3
In the play, A Doll’s House, different characters present varying characteristics that define their roles in the play. However, one of the key most impeccable characters from the play that creates some form of intrigue in terms of true identity is Nora Helmer. A review of the character projected by Nora indicates a significant shift in terms of character during the course of the play thereby highlighting some of the admirable qualities that one ought to expect from a woman in her status. In my view, the shift in terms of character projected by Nora during the course of play results from the nature of the situation that she encounters. Thus, this means that she has the role of having to shift into different characters as a way of ensuring that she is able to fit into a given role in the play.
The play portrays Nora as a loving and innocent wife to Torvald, which is a character that she only wears while playing the role of a wife (Jakovljevic 436). However, the progression of the play helps in portraying significant character shifts in Nora from the playful wife to an independent woman. From the first scene, in the play, it is evident that Nora is obedient, childish, and money-loving attributed to the position that she takes as the wife of the family. The first scene of the play highlights a situation where her only intention towards Torvald is to seek for money regardless of the fact that she is a loving and caring wife. From my perspective, I believe that she used the loving and caring approach as a way of ensuring that she is able to gain the trust and confidence of her husband with an aim of seeking for money.
In one example, Torvald asks Nora what she desires as a Christmas present, a question to which she answers ‘money.’ That portrays her character as being that a money-lover, which forms part of her true character throughout the play. On the other hand, the play also projects Nora’s character as being somewhat childish regardless of her being a fully grown woman (Törnqvist 161). One key aspect to note is that Torvald may have contributed to the formation of this particular character attributed to his decision to treat Nora in a childish manner. Largely, the play presents situations where Torvald speaks to Nora as a little girl or a pet, which results in a situation where Nora finds it hard to cope with the position of being a wife. Thus, this creates a situation where Nora would only project herself within the childish front rather than having to ensure that she is able to project herself as a wife.
In an example from the play, “my little lark mustn’t droop her wings like that. What? Is my squirrel in the sulks?” (Ibsen 842). The statement presented within the example is somewhat similar to a statement that one may utter when addressing a child or a pet. Torvald addresses Nora in a tone that portrays her position as being, that of a child, which may result in her development of a childish character. The example indicates that although Nora may intend to act as a married woman, which is part of her expectations, she finds it challenging to act as a wife due to the treatment from her husband. From my view, I believe that this is an important element to consider in understanding character formation for Nora, who is one of the key characters in the play, as it highlights that Nora only develops specific characters due to her surrounding environment.
As the play progress, another notable character about Nora is unearthed, which focuses on her abilities to engage in instances of forgery during a period in which her husband was sick. The situation from this sickness indicates that Nora has the capacity to make her own decisions as part of ensuring the safety of the people that she loves and cares about especially her close family members. Nora forged Torvald’s signature in procuring a loan from Mr. Krogstad due to the legal processes involved in the procurement of the loan thereby creating a major challenge for her in trying to repay the loan (Wang 70). The situation indicates that Nora’s character does not only focus on being shaped by the instructions accorded by her husband. Instead, this indicates that Nora is a willing and resolute woman when dealing with situations that threaten the lives of the people she loves and cares about.
On the other hand, the situation highlighted above regarding her procurement of a loan to cater for the treatment of her husband, Torvald, also helps in disowning the first impression created with regard to her being a money-lover. I support this fact as I believe that the portrayal of Nora’s character in dealing with her husband’s sickness only highlights her position as a woman and a wife with the intention of protecting her family. During the course of the play, it is evident that Nora focuses on saving half of the money that she is given by her husband with the aim of repaying a loan that her husband does not know about (DeVaull 276). In my view, the sudden shift in character for Nora creates some form of confusion among the audience due to lack of clear understanding of her true identity. To some extent, one may consider her as being a money-lover but this situation projects her as being focused on protecting her family from harm resulting from sickness.
When Torvald finds out about the debt owed by Nora to Mr. Krogstad, he is furious leading to a confrontation between Torvald and Nora. During this confrontation, the play highlights a shift in Nora’s character leading to a situation where she considers herself as being self-empowering. In one key statement, Nora states that, “When I look back on it now I lived by performing tricks for you, Torvald. But you would have it so” (Ibsen 885). The statement indicates that she understands that she only lived in trying to please her husband rather than working towards increasing pleasure in her life. In addition, the statement also indicates that Nora considers herself as being strong enough to lead a life of pretense with an aim of pleasing those she loved including her husband. That acts as a clear indication of the significant shift in character for Nora leading to her ultimate decision to leave the house and start her life as an independent woman.
In my view, Nora goes through different changes in character towards becoming an independent woman, who understands the need for her to make decisions based on her understanding of herself. Her decision to leave the house indicates that she understands what she wants from a life based on the idea that she considers her past life as being geared towards preparing her life in future. One key aspect that is evident from this shift in character is that Nora understands the need for having to maintain some level of seriousness with life, as this would bring about some form of self-achievement. Torvald and Nora had never engaged in any serious conversation during the course of their marriage thereby leading to a situation where she considered herself as being somewhat lower in terms of position (Tornqvist 56). However, her decision to leave the house and start her own future portrays Nora as being a strong willed and independent woman.
Works Cited
DeVaull, Natalie Hamm. "Nora's Final Inheritance in Henrik Ibsen's A DOLL HOUSE." The Explicator 70.4 (2012): 275-278. Print.
Ibsen, Henrik. "A Doll's House." Damrosch, David and David L Pike. The Longman Anthology of World Literature. Trans. William Archer. 2nd Edition. Vol. E. Pearson Education, 2009. 840-888. Print.
Jakovljevic, Branislav. "Shattered Back Wall: Performative Utterance of A Doll's House." Theatre Journal 54.3 (2002): 431-448. Print.
Törnqvist, Egil. "Comparative Performance Semiotics: The End of Ibsen's A Doll's House." Theatre Research International 19.02 (2004): 156-164. Print.
Tornqvist, Egil. Henrik Ibsen: A doll's house. New York, NY: Cambridge University Press, 2005. Print.
Wang, Quan. "Before Marriage, Within Marriage, and After Marriage—Kristine Linde in A DOLL HOUSE." The Explicator 74.2 (2016): 69-73. Print.
