Expert answer:Read a story, you can find online
Answer & Explanation:Our third essay is on Drama, to be specific the genre we experienced during the week 3 reading ofA Doll’s House.I am going to give you two choices for this essay–write either one, but just make absolutely sure you have an essay–that is to say, not a paragraph. Unless you have a complete essay, you will not generate any points of the 100 points for this assigned writing.The first choice, I suspect the most popular, will be to go to Youtube, as some of you have already done, and view the play, A Doll’s House, and then write an essay on the difference between reading the play as opposed to seeing it. As you know, a play is made to be seen, not read, so the experiences in most cases and for most people are quite different. Do not, no matter what you write, regurgitate the plot–that does not address the question and can not generate one point.The second option might be interesting, perhaps a bit more challenging, but I suspect will be addressed by some few students. Write an essay examining any similarities between A Doll’s House and Alice Walkers The Color Purple. For the comparison you may use text or film versions of either one, but you are to examine something you see as perhaps a common theme or subject. As always, if you have any questions, please email me at once.Choice one you like, and write a essay. the words Minimum Length: 750 words. I have an example essay for you.DramaEssay4 Student Sample.docx
dramaessay4_student_sample.docx
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Student 1
Good Student
Dr. Leslie Worthington
ENG 102 Essay #4
29 November 2014
An Introduction to Nora: Relationships and Individualism
Henrik Ibsen’s A Doll’s House is a play that examines the relationship dynamic between
a husband and wife in the late 1800s. The protagonist of the play, Nora Helmer, is portrayed
early in the narrative as a flighty character with little understanding of the world. As the play
progresses however, Nora evolves into a complex and intriguing individual who is shaped by the
relationships in her life. Each character in the play interacts with Nora in a different manner and
gives the audience a unique insight into her developing sense of individualism. Ibsen uses Nora’s
personality as a vehicle to advance the story and further intrigue the audience. Throughout this
play Ibsen gives the audience clues on how Nora experiences life and how relationships shape
her individuality as a wife and person. In A Doll’s House, Nora is an interesting study of a
unique character that is defined by her relationships with others in the play. Her relationship with
her husband is the primary catalyst that defines Nora as a person.
The most important relationship in the play that Ibsen uses to shape Nora is the one
between her and her husband Torvald. The first lines of Act I are where the audience is
indirectly introduced to Nora through Torvald’s dialog. Before the audience even has a chance to
see her as an individual, Torvald enters the room and begins to address Nora in a manner that
depicts her as an absentminded women interested in nothing but money. Torvald addresses Nora
different pet names such as lark, squirrel, spendthrift and featherbrain (882). Ibsen uses these
names to reinforce the idea that Torvald does not take his wife seriously. In this way, the pet
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names are used to almost declassify her as an intelligent being. To further reinforce this point,
Ibsen casts Nora almost like a child and has Torvald treat her condescendingly when she asks for
money. Torvald states “She’s a sweet little spendthrift, but she uses up a lot of money. One
would hardly believe how expensive such little creatures are!” (884). This view of women is not
necessarily at odds with how women were treated at the time the play was written, but here it
specifically reinforces Torvald’s view of his wife as being incapable of thought and reason.
When Nora points out that were Torvald to die, she would not be concerned with lenders he
states “That’s just like a woman!” (882). As the play progresses, it becomes apparent that Nora is
less interested in material worth than Torvald would leads the audience to believe. This initial
interaction between Torvald and Nora fundamentally drives how the audience views her
character as a flighty woman of little substance.
Through the progression of Act I, minor characters are introduced that begin to give the
audience more complete insight into the Nora’s true nature outside of her husband’s influence.
Her obsession with money is cunningly explained in her interaction and relationship with Mrs.
Linde. It is to Mrs. Linde who Nora divulges her secret of borrowing money (890). Only through
an interaction with another woman does Ibsen give deeper insight into Nora as she emerges from
the role of dutiful wife and transitions to that of an independent character. Nora confides to Mrs.
Linde that when Torvald was ill and needed to take a year in Italy to recover, it was Nora who
obtained the money for the trip, and that these funds were not an inheritance from her father as
otherwise perceived (890). Even Mrs. Linde who knew Nora as a child does not believe that she
is capable of obtaining money and asks if she won the lottery (890). Contrary to other character’s
perceptions, Nora used her intelligence to borrow the money for the trip even though she had
originally tried to get Torvald to borrow the money himself. When discussing the loan with Mrs.
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Linde, Nora appears more confident and even proud of what she has accomplished. It was Nora
who saved her husband despite the societal norms prohibiting women from taking out loans.
When the situation concerning her loan changes, it is only with Mrs. Linde that Nora feels
comfortable enough to discuss her impending trouble. It is through the relationship with Mrs.
Linde that allows Nora to transform from being a “spendthrift” to a proactive woman looking to
protect her family’s future.
Another relationship that Ibsen uses to define Nora’s character is the one between her and
Krogstad. Krogstad is the only person in the play whose actions imply that Nora is intelligent
and is capable of getting things accomplished. When he learns that he is about to lose his job at
the bank, it is Nora who he first goes to in order to get his job back (899). When Krogstad
blackmails Nora to try to get his job back it is because he believes she is capable of manipulating
the situation in his favor. It is important to note that contrary to the other characters in this work,
Krogstad appears to treat Nora as an intellectual equal. While he does threaten her livelihood in
order to get his job back, he never speaks down to her. Krogstad could have gone straight to her
husband with the loan information but instead gave Nora a chance to remedy the situation. Nora
and Krogstad appear to have a mutual understanding when discussing the situation. It is
Krogstad who tells Nora the law is not that simple instead of dismissing her as a featherbrain. To
Krogstad, Nora is worthy of respect because he perceives of her both a peer as well as a threat.
Krogstad is the only person in the play who sees Nora as a capable person, able to dictate the
course of her life.
As the plot reaches its theatrical climax, the relationship between Torvald and Nora
evolves more quickly. This evolution is what allows Nora to finally emerge as an individual
independent of her interactions with other characters. Before Torvald learns about the loan, he
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refers to their marriage as a united front (911). Nora then believes that Torvald would take the
blame to save her from prison. When Krogstad arrives moments later to discuss his dismissal
from the bank, he refuses to think that Torvald would willingly take the fall for his wife, “It
wouldn’t be at all like dear old Torvald Helmer to show that kind of courage” (916). When
Torvald finally learns about what Nora has done, his demeanor towards her changes abruptly. He
immediately calls her a fool and demands an explanation. Only then does Nora see how Torvald
would never take the blame to save her. As Torvald rants, she remains silent, no longer his “lark”
or “songbird.” When he discovers the Krogstad has decided to return the note, Torvald only
expresses his own self-interest by exclaiming “I am saved!” (933). Torvald does not notice
Nora’s change in demeanor. He even claims that “I have wide wings for you to take shelter
underneath” which is contradictory to what he stated merely moments before and to what the
reader has observed throughout the story (934).
It is only at the end of the play when the true Nora finally emerges. She has come to the
realization that her husband does not understand her and is incredibly self-centered. As Torvald
begins to say that he forgives her, Nora is preparing herself to leave the house. Torvald is
oblivious to the impending situation as he says he feels better for having forgiven his wife. Nora
finally sits down and forces Torvald to speak to her as a human being. Gone is her acceptance of
pet names and acting silly. When he says that he does not understand her, Nora admits that she
did not understand him either until observing his reaction (934). When Nora notes that they
never had a normal conversation, Torvald dismisses her saying he did not want to worry her
about business (935). Nora finally speaks her mind and tells Torvald that he has treated her
poorly by imposing his tastes and lifestyle upon her. Nora is no longer a featherbrained girl but a
cold and sure woman who has come to conclusions about her life. While Torvald wants to
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continue on as though nothing has changed, Nora has decided that it’s time to educate herself
about the world (936). He tries to appeal to her responsibilities as a wife and a mother which
only a few moments before he was willing to immediately dismiss. At the end of the play she
states that they do not know each other which appears to be true in the most profound and broadreaching sense. Ibsen drives this point home to remind the audience members that they do not
know Nora either, despite the assumptions they have likely built throughout the story.
In the course of A Doll’s House, the audience sees Nora as a mother, as a wife and as a
woman, with their perceptions changing as the story progresses. At the beginning of the play her
identity is defined by the relationship she has with another person. She is a doll that says and
does things in accordance to her husband’s desires. The only indication of Nora as an individual
is when she attempts to save Torvald by taking out a loan on his behalf. When Nora’s freedom is
threatened, her husband does not try to save her instead reacting selfishly and angrily towards
her. This pivotal moment is where Nora fully takes charge of her life and questions her role in
her marriage. Torvald’s reaction to her “betrayal” is what causes Nora to have a realization about
her relationship with men in general. She sees herself as someone who is always told what to do
because she does not know any better. At the end of the play a strong Nora emerges who is
determined to learn things about the world. Nora is an interesting character with depth that is
easy to dismiss upon first inspection. In the course of this play, not only does the reader come to
realize the presence of a strong, independent spirit muted by circumstance, but one that so fully
asserts her own self-worth that she ultimately questions whether or not her marriage is even
worth her efforts.
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Works Cited
Ibsen, Henrik. “A Doll’s House.” Kennedy, X. J. and Gioio, Dana. Backpack Literature: An
Intriduction to Fiction, Poetry, Drama, and Writing. Upper Saddle River: Pearson, 2012.
880-939. Print.
…
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