Teresa Lopez English 102 Kevin Martin May 14, 2013 A doll's house By Henrik Ibsen This goes

back to the primitive years, when cavemen still existed; that men and women have been in dispute over what roles males and females must follow according to society. In the play, A Doll's House, Henrik Ibsen uses character, setting, and dialog to allow the reader to identify with Noras character, who represents all women and the struggles that they have endured throughout the years and still continue to struggle to become independent individuals in order to gain a position of status within society. In the Helmer household everything seems perfectly happy. All the characters all the characters within this household seems to have the perfect bourgeoise lifestyle. Like most households in todays time, Noras character represents most women in todays middle class families, those who conduct only the internal home duties which include playing with the children and keeping herself well manicured and polished. As for Torvald, he is the head of this household and the bread winner, thus which proves his manly-hood and complete authority of all that goes on within his seemingly perfect home. Ibsen's manipulation of the characters actions gives A Doll's House the vivification of real life struggles. Through the characters the reader beings to sympathize with each and one of their circumstances. Nora plays the good submissive wife, doing anything she can to please her husband. Ibsen writes: H: Nora, Nora how like a woman! No, but seriously, Nora you know what I think about that. No debts! Never borrow! Something of freedom's lost- and something of beauty, too- from a home that's founded on borrowing and debt. We've made a brave stand up to now, the two of us; and we'll go right on like that the little while we have to.

Lopez 2 N (going toward the stove): Yes, whatever you say, Torvald. H (following her): Now, now the little lark's wings mustnt droop. Come on, don't be a sulky squirrel. (Taking out his wallet) Nora, guess what I have here. N (turning quickly): Money! H: There, see. (Hands her some notes) Good grief, I know how costs go up in a house at Christmastime. N: Ten-twenty-thirty-forty. Oh, thank you. Torvald; I can manage no end on this. H: You really will have to. N: Oh yes, I promise I will! But come here so I can show you everything I bought. And so cheap! Look, new clothes for Ivar here-and a sword. Here a horse and a trumpet for Bob. And a doll and a doll's bed here for Emmy; they're nothing much, but she'll tear them to bits in no time anyway. And here I have dress material and handkerchiefs for the maids. Old Anne-Marie really deserves something more. H: And what's in that package there? N (with a cry): Torvald, no! You can't see that till tonight! H: I see. But tell me now, you little prodigal, what have you thought of for yourself? N: For myself? OH, I don't want anything at all. H: Of course you do. Tell me just what-within reason-you'd most like to have. N: I honestly don't know. Oh, listen, TorvaldH: Well? N: (fumbling at his coat buttons, without looking at him): If you want to give me something, then maybe you could-you couldH: Come on, out with it. N: (hurriedly): You could give me money, Torvald. No more than you think you can spare, then

Lopez 3 one of these days I'll buy something with it (Ibsen 1668). Nora has everything she could want out of her marriage, three beautiful children and a loving husband who spoils her. Critic Elaine Hoffman Baruch writes: For Much of the time she acts the part of a charming child, wheeling and cajoling,lying about not eating macaroons, and playing with her own children as if the were her dolls, thus insuring transmission of the problem to the next generation. But at the same time she is acting, she is working-sewing, crocheting, embroidering, copying, all to pay back the debt she contracted to save her husbands life. Certainly much of the problem aspect of the play hinges on women's economic dependency and men's pride. Nora has to assuage Torvaldss vulnerable ego by appearing economically as well as emotionally dependent. Women of this time are no more different than the character Nora portrays. Society has set this rule over women that at all times they must obey their husbands demands while also depending on them financially and doing everything they can to keep their husband pleased. Through the use of character, Ibsen portrays Torvald as the loving and nurturing but stern and responsible husband that every man should be. During the Nineteenth century men and women were enslaved within their gender roles, men had to be dominant and women lived believing that it was their role to be submissive and let their husbands control even their way of thinking. Ibsen writes: H: Bur Nora dear, you look exhausted. Have you practiced too hard? N: No, I haven't practiced at all yet. H: You know, it's necessaryN: Oh, it's absolutely necessary, Torvald. But I can't get anywhere without your help. I'v forgotten the whole thing completely. H: Ah, we'll soon take care of that. N: Yes, take care of me, Torvald, please! Promise me that? Oh, i'm so nervous. That big party-

Lopez 4 You must give up everything this evening for me. No business-don't even touch your pen. Yes? Dear Torvald, promise? H: It's a promise. Tonight i'm totally at your service-you little helpless thing (Ibsen 1699). Torvald takes his role as the authoritative figure when it comes to Nora and the things she does, wether it be appraisal or scrutiny. Critic Anne Marie Rekdal writes: As man and authority, Torvald Helmer rules the marital relation linked to the imaginary order. In a fatherly and didactic manner, he stays in control and explains things to Nora, the child who cannot handle money, and he flirts with her in a fatherly-authoritarian, physical manner by tugging her ear. While Torvald has the roles of both father and seducer for Nora, she finds herself in Helmer's mirror as a playful, chattering subject, as bird squirrel, and seductress. Any person, no matter if male or female, lives their whole life having another hold their hand will eventually grow up to be a useless adult. Those who let others rule their life become dependent of them unable to think for themselves or make choices without worrying about another persons approval. Ibsen uses the element of setting to allow the allow the reader to familiarize with the emotions that the people the household run through. A Doll's House takes place at the end of the year during christmas time. All of the most meaningful circumstances take place in the living room of the Helmer's home. The setting is Christmas time in the Helmer house hold and for everyone Christmas has proven to be one of the most stressful holiday season of the year. As much as one would love to give their loved ones the best of gifts available out there; sometimes that holds one back because of financial burdens one might have, but on a brighter out look one looks forward to the New Year a time which symbolizes to all a new beginning. Ibsen writes: N: Hide the tree well, Helene. The children mustn't get a glimpse of it till this evening, after it's trimmed. (To the DELIVERY BOY, taking out her purse)How much?

Lopez 5 DB: Fifty, ma'am. N: There's a crown. No, keep the change. (The BOY thanks her and leaves. NORA shuts the door. She laughs softly at herself while taking off her street things. Drawing a bag of macaroons from her pocket, she eats a couple, then steals over and listens at her husband's study door.) Yes, hes home. (Hums again as she moves to the table, right.) H (from the study): Is that my little lark twittering out there? N (busy opening some packages): Yes, it is. H: Is that my squirrel rummaging around? N: Yes! H: when did my squirrel get in? N: Just now. (Putting the macaroon bag in her pocket and wiping her mouth) Do come in, Torvald, and see what I've bought. H: Cant be disturbed. (After a moment he opens the door and peers in, pen in hand.) Bought you say? All that there? Has the little spendthrift been out throwing money around gain? N: Oh but Torvald, this year we really let ourselves go a bit. It's the first Christmas we haven't had to economize. H: But you know we cant go squandering. N: Oh yes, Torvald, we can squander a little now. Can't we? Just a tiny, wee bit. Now that youve got a big salary and are going to make piles and piles of money. H: Yes-starting New Year's. But then it's a full three months till the raise comes through (Ibsen 1667). Torvald seems to enjoy patronizing Nora, as if she were but just a joke or a childs toy for which its only reason for existence if to amuse its owner. Critic Ross Shideler writes: The opening scenes of Et dukkehjem focus on Torvald and Nora Helmer preparing for

Lopez 6 Christmas with the children. The family's economic problems establish the play's conflict, along with Torvald's position of authority, which comes both from his economic dominance and from his and Nora's joint belief in his superiority. He rules Nora and his children like a parody of a Creationist God; he creates and subjugates through the animal names, "lark;' and "squirrel," by which he designates her. For decades society has been living with the belief that a woman is just an object a man can posses. Society has given men the belief that it is acceptable to belittle a woman simply because women; according to society are to stay at home, bare children, cook and clean. Because of this society is under the impression that this is the only reason why women are at all beneficial. It is in the living room where the entirety of A Doll's House takes place and where the most important events occur. It is in the living room where Nora proudly confesses her deep buried secret to Mrs. Linde, in the past Nora illegally signed an IOU to borrow money so that her husband Torvald could take a trip to Italy in order for Torvald to regain his health. Ibsen writes: N: You're just like the others. You all think that I'm incapable of anything really seriousML: Come nowN: That Ive never had to face the raw world. ML: Nora dear, youve just been telling me all your troubles. N: Hm! Trivia! (Quietly) I havent told you the big thing. ML: Big thing? What do you mean? N: You look down on me so, Kristine, but you shouldnt. Youre proud that you worked so long and hard for your mother. ML: I don't look down on a soul. But it is true; Im proud-and happy, too-to think it was given to me to make my mother's last days almost free of care. N: And youre also proud thinking of what youve done for your brothers.

Lopez 7 ML: I feel Ive a right to be. N: I agree. But listen to this, Kristine-Ive also got something to be proud and happy for. ML: I dont doubt it. But whatever do you mean? N: Not so loud. What if Torvald heard! He mustn't, not for anything in the world. Nobody must know, Kristine, No one but you. ML: But what is it, then? N: Come here. (Drawing her down beside her on the sofa) Its true- Ive also got something to be proud and happy for. I'm the one who saved Torvald's life. Nora has disclosed to Mrs. Linde what she has done and is proud to announce that she is not just a nave silly woman and that after all she is a smart business woman. Siddall writes: At the moment Nora is full of optimism: she is proud of her achievement, and briefly annoyed that Kristine assumes she is immature. Just as Kristine has a right to be proud of working hard for her old mother, Nora claims credit for having saved Torvalds life. It was assumed that her father had given the money for his recuperative holiday in Italy, but Nora, stung by the assumption that she is fit only for leisure and charm, reveals part of the story of how she borrowed the money. She is excited at finally getting the chance to show that she was enterprising and it is a telling feature of her marriage that she has had to keep Torvald in the dark. Nora might be proud of being brave enough to break the law but she is also afraid of the damage this secret can cause to her prefect marriage. As Nora begins to think deeply about the consequences this secret may take on her marriage if Torvald comes to find out; Noras overly exaggerated blissful living situation soon begins to crumble.

Lopez 8 Works Cited Hoffman, Elaine. "A Doll's House Is a Myth for Our Time." Readings on A doll's house. By Mitchell, Hayley. R San Diego, CA: Greenhaven P, 1999. Ibsen, Henrik. A Doll's House. Literature Reading Fiction, Poetry and Drama. 6th ed. Robert Diyanni. Ed. New York: McGraw-Hill, 2006. Rekdal, Anne Marie. The Female Jouissance: An Analysis of Ibsens Et Dukkehjem Scandinavian Studies 74.2 (2002): 149-80. ProQuest. Web 22 April 2013. Shideler, Ross. "Ibsen and the Name-of-the-Father." Scandinavian Studies 69.3 (1997): 277-95. ProQuest Web. 1 May 2013. Siddall, S. H. Literature insights "A doll's house". Tirril, Penrith: Humanities-Ebooks, 2008.