Dr Elham Al-Bassam Survey Of Drama 213
A
Doll House By H. Ibsen
Table of Contents :
1. Act
One : Summary and Analysis
2. Act
Two : Summary and Analysis
3. Act
Three : Summary and Analysis
4. Themes
, Metaphors ,and Symbols
Act I:
Summary:
Nora enters a late nineteenth-century living room furnished comfortably
and tastefully but not extravagantly carrying a Christmas tree and presents.
After she nibbles on a few macaroons, she begins unwrapping parcels. Torvald,
from his study (adjacent to the living room), hears her and comes out. Nora
hides her macaroons. When Torvald sees the numerous purchases Nora has made, he
chastises her for being a spendthrift. Torvald's tone is of a father talking to
a small child. Nora responds to Torvald's concerns by saying that money is not
important and that, should it become so, they will simply borrow money until
Torvald gets paid again. Torvald gently objects to the idea of being in debt.
Seeing that Nora is put out by his chastisement, Torvald offers her money for
housekeeping, much to Nora's excitement.
Nora shows him the presents she has bought. Torvald then asks Nora what
she would like for Christmas. After hesitating for a bit, Nora says that she
would most like money. Laughing, Torvald again patronizingly accuses Nora of
being a spendthrift.
Torvald then asks if Nora has been breaking rules and eating sweets. Nora
lies and denies that she has been eating macaroons, protesting that she would
never go against Torvald's wishes. Torvald believes her and they begin
discussing how much they are looking forward to Christmas. They reminisce about
the past, including how Nora locked herself up in a room in order to surprise
everyone with homemade ornaments the year before only for them to be torn up by
the cat. Nora begins to talk to Torvald about her plans for after Christmas
when the maid interrupts with news of visitors.
Torvald retreats to his study where his friend Doctor Rank has gone while
Nora receives Mrs. Linde, an old friend from school. At first, Nora does not
recognize Mrs. Linde, who she has not seen for about a decade. The two quickly
catch up on the events of their lives, including the death of Mrs. Linde's
husband. Mrs. Linde reports that she feels that she has become much older but
quickly asks Nora to tell her about herself. Nora happily shares that Torvald
has been appointed to manager of the bank and that she is relieved that they
will soon have heaps of money. Mrs. Linde, smiling, chastises Nora for fixing
on money and they reminisce about Nora being a spendthrift when they were
younger. Nora qualifies this comment by revealing that she and Torvald have
both had to work very hard to make what they have. In fact, she reports that,
early in their marriage, Torvald fell ill from overwork and they had to take a
very costly vacation to Italy, paid for by Nora's father, in order to allow
Torvald to recover. Nora laments the fact that, because she was looking after
Torvald and expecting her first child, she could not nurse her father when he
fell fatally ill just prior to their departure for Italy. Returning to the
present, Nora happily reports that Torvald has been in good health ever since
their trip.
The two women then turn to a discussion of Mrs. Linde. At Nora's request,
Mrs. Linde explains why she married her husband despite the fact that she did
not love him, reporting that the draw of his financial status was too
compelling, given her circumstances. Mrs. Linde reports that, unfortunately,
her husband died penniless and she has had to work to make ends meet and
support her relatives for the last few years. Now that her mother is dead and
her brother comfortable, Mrs. Linde says that she feels empty because she has
no one for whom to care. She slyly asks Nora if Torvald would be able to secure
some work for her. Nora agrees.
Mrs. Linde makes an off-hand remark about how little Nora has had to
worry about in life, calling Nora a child. Nora objects, challenging Mrs.
Linde's superior attitude. To prove how much she has been through, Nora shares
with Mrs. Linde that, despite what she had just told her, it was actually Nora
who, through a loan from an undivulged source, procured the money necessary to
go to Italy and save Torvald's life. Mrs. Linde wonders aloud if Nora has not
acted imprudently, having never shared this secret with her husband. Nora
rejects this view, claiming that Torvald and her marriage could not sustain the
knowledge of this secret. Mrs. Linde questions Nora as to whether Nora ever
plans to tell Torvald. Nora replies that she may some day, if her good looks
and charm wear off and she is in need of some compelling way to keep Torvald,
but not for quite a while. She then launches into a description of how hard it
has been to find the money she has needed to repay this loan and how happy she
is that she will be free of its burden thanks to Torvald's promotion.
The doorbell rings and the maid informs Nora that Krogstad desires to see
Torvald. Nora, shocked and worried that Krogstad has come to inform Torvald of
Nora's secret, questions Krogstad about his business. Krogstad assures her that
it is mere bank business and so Nora assents. Mrs. Linde reveals that she once
knew the man. When Krogstad goes into the study, Dr. Rank comes out to chat
with Nora and Mrs. Linde.
Discussing the human urge to sustain life, Dr. Rank grudgingly admits
that he does want to preserve his own despite his physical pain resulting from
a disease. He then begins to discourse on the pervasiveness of morally corrupt
characters, including Krogstad. Nora feigns ignorance and inquires about
Krogstad about whom Dr. Rank only has unflattering reports.
Nora suddenly breaks out into laughter. Avoiding a direct reply to the
questioning looks of Mrs. Linde and Dr. Rank, she asks if the employees of the
bank will be under the power of Torvald after his promotion. She revels in the
idea. Still happy, she offers a macaroon to Dr. Rank, falsely claiming that
they were a gift from an unaware Mrs. Linde after Dr. Rank expresses surprise
(knowing that they are forbidden). Nora then impulsively shares with Mrs. Linde
and Dr. Rank that there is something that she would very much like to say if
Torvald was able to hear: "I'll be damned!" Her companions' reactions
are cut short, though, by the emergence of Torvald from the study.
Hiding the macaroons, Nora introduces Torvald to Mrs. Linde after he
emerges from the study. After the initial introductions and explanation of Mrs.
Linde's situation, Torvald agrees to secure a bookkeeping job for her at the
bank. Torvald and Dr. Rank then exit followed by Mrs. Linde, who is going off
to look for a room.
As they are leaving, the nurse enters with the children. The maid leaves
for a bit and Nora proceeds to play with her children. While they are engrossed
in a game of hide-and-go-seek, Krogstad knocks and half enters the room. The
game abruptly stops when his presence is recognized. Nora sends the kids to the
Nurse and talks to Krogstad at his request.
Krogstad inquires whether Mrs. Linde has been given an appointment at the
bank. Nora confirms this and cautions Krogstad to be careful about offending
those in power since he is in a subordinate position. Krogstad then asks Nora
to use her influence to ensure that he will be able to keep his own position at
the bank. Nora is confused and explains that she has no influence on such
matters. After making a disparaging remark about Torvald, Krogstad reveals that
he is prepared to fight for his position at the bank as if for his life,
implying that he will not hesitate to reveal Nora's secret. Torvald explains
that his reputation at the bank, sullied by an indiscretion of the distant
past, is extremely important to him because it will influence the lot of his
maturing sons. Nora again replies that she has no power to influence his
status. Krogstad threatens again to reveal her secret to which Nora replies
that she is not worried; she believes that Torvald's knowledge would not bring
great harm to the family. As a last resort, Krogstad points out the fact that
Nora had committed fraud by signing her father's name for him, to which Nora
admits. Nora scoffs that surely her indiscretion was not important but Krogstad
calls that into question by comparing it to his own problem of the past and the
potential reaction of a court of law. Nora is in disbelief that what she sees
as an act of love could ever be considered illegal or wrong but is perturbed
nonetheless. Krogstad threatens her one last time with legal action and leaves.
When Krogstad leaves, Nora's children enter. Nora tells them not to
mention Krogstad's visit to Torvald and reneges on her earlier promise to play
with them, shooing them away. She then busies herself with needlework and asks
for the Christmas tree.
While Nora is dressing the tree and talking the problem out aloud to
herself, Torvald returns and questions whether Krogstad has visited. After
first denying it, Nora admits to the meeting because Torvald tells her that he
believes that she is acting out of pity for a man who has come begging her to
put a good word in for him to Torvald. Torvald reprimands her for participating
in a lie and dealing with a man of questionable character. He then dismisses
the subject.
Nora, still dressing the tree, weaves a conversation that alternates
between discussing the approaching fancy-dress ball (and asking for Torvald's
help with it) and Krogstad. Torvald finally takes the bait and reveals that he
plans to dismiss Krogstad because he despises Krogstad's character. Divulging
that Krogstad's past indiscretion had been a forgery, Torvald admits that he
would have forgiven the man had Krogstad owned up to his lie. Instead, Torvald
vigorously condemns the lie that Krogstad used to escape his problem, claiming
that Krogstad's hypocrisy is treacherous because it even infects his family;
Torvald even goes so far as to claim that each breath that Krogstad takes
necessarily pollutes his home and children. Nora mildly questions this and
Torvald replies that he has often seen this sort of thing. In fact, Torvald
claims that all children who go bad do so as a result of bad mothering (and
perhaps fathering). Telling Nora never to pled Krogstad's case again, Torvald
says that he would be unable to work with Krogstad because Torvald becomes
physically ill in his presence. Nora is agitated and comments on how hot she
is. Torvald, oblivious, goes off to his study to take care of business while
Nora whispers to herself that the situation cannot be real.
The Nurse asks if the children can come in and play, to which Nora
strongly refuses. Left alone, Nora is pale with terror and wonders if she can
really be depraving her children. As the act closes, Nora tosses her head and
states that these fears cannot be true.
Analysis:
Act I, in the tradition of the well made play in which the first act
serves as an exposition, the second an event, and the third an unraveling
(though Ibsen diverges from the traditional third act by presenting not an
unraveling, but a discussion), establishes the tensions that explode later in
the play. Ibsen sets up the Act by first introducing us to the central issue:
Nora and her relation to the exterior world (Nora entering with her packages).
Nora serves as a symbol for women of the time; women who were thought to be
content with the luxuries of modern society with no thought or care of the
world in which they lived. Indeed, there is some truth in this (the extent of
this is debatable). As the play reveals, Nora does delight in material wealth,
having been labeled a spendthrift from an early age. She projects the attitude
that money is the key to happiness. By presenting this theme of the
relationship between women and their surroundings at the beginning, Ibsen
indicates to the reader that this is the most basic and important idea at work
in the play.
However, it is also clear that Nora's simplistic approach to the world is
not entirely her fault. Torvald's treatment of Nora as a small helpless child
only contributes to Nora's isolation from reality. Just as Nora relates to the
exterior world primarily through material objects, Torvald relates to Nora as
an object to be possessed. The question becomes who is more detached from
reality? Though Torvald's attitude pervades every word he speaks to Nora, his
objectification of her is most evident in his use of animal imagery. He refers
to her as his little "lark" and "squirrel"‹small harmless
animals. Similarly, Torvald repeatedly calls Nora his "little one" or
"little girl", maintaining the approach of a father rather than
husband. Nora is fully dependent on Torvald, from money to diet (the
macaroons); and, because she is so sheltered, her perception of the world is
romanticized.
Nora's skewed vision of the world is most evident in her interactions
with Mrs. Linde. Whereas her old school friend is wizened and somber, Nora is
impetuous. Her choice to tell Mrs. Linde about her secret seems to be more of a
boast of a small child than a thoughtful adult; in fact, Nora only reveals her
secret after being called a child by Mrs. Linde. Similarly, in her talk with
Krogstad, Nora seems unable to accept that what she sees as acts of love could
be seen as illegal and wrong. She refuses to believe that she is just as guilty
as Krogstad.
However, it is apparent that Nora is at least partly aware of the
falseness of her life. When pressed as to whether she will ever tell Torvald
about the loan, she replies that she would, but only in time. For now, she
believes that it would upset the lies that have built her home: Torvald's
"manly independence" and even the basis of their marriage. This suggests
that Nora is at least vaguely aware that Torvald's position as the manly
provider and lawgiver is just as fabricated as her role as the helpless
child-wife and mother. Indeed, it is important to examine the language of the
opening scene between Nora and Torvald and realize that Nora's words can be
read as both sincere and insincere; the text suggests an ambiguity in Nora's
awareness of her situation. However, though Nora is somewhat aware, she does
not want to face the implications of this reality, believing that material
wealth will render her "free from care", allowing her to play with
her children, keep the house beautifully, and do everything the way that
Torvald likes. The lie can be preserved. Moreover, it seems that it is her lie,
her knowledge that she has done something for Torvald that keeps Nora happy.
Mrs. Linde's complaint that she feels unspeakably empty without anyone to care
for reinforces the importance of this role for women in general in the text.
Consequently, Nora is content to continue to act as a child, romping with
her children as if she is one of them. Indeed, it is clear that, just as she is
not as much a wife as a child in her marriage, she is not a mother in any real
sense either. It is the nurse who actually takes care of the children; Nora
mostly plays with them and occasionally takes on more serious responsibilities
but only because she views them as "great fun".
When Nora realizes that all may not go to plan after her talk with
Krogstad because she is unable to either influence Torvald or talk to him on a
straight level about her predicament, she begins to feel helpless. In the last
scene of the act, when Nora is trimming the tree and conversing with Torvald,
the full falseness of her situation becomes clear. Acting helpless, Nora tells
Torvald that she absolutely needs his help, even with such a trifling thing as
picking a costume for the upcoming ball. Torvald is not surprised and is even
delighted, promising to help her. When the subject turns to the more serious
matter of Torvald's views on Krogstad, it becomes apparent that Torvald is
perhaps hopelessly invested in a false and twisted image of the world in which
women are charged with the moral purity of the world, claiming that if men turn
out badly it is because of poor mothering. As a result, at the end of the
scene, when Nora reassures herself that "it must be impossible", she
is worried both about the impossibility of her position in the immediate sense
(i.e., concerning the loan) as well as the impossibility of her larger
situation‹as a participant in a marriage and family built on lies. In fact, it
is possible to view her last words of the act‹a defiance of Torvald's views on
women‹as the beginning of her rejection of the marriage altogether.
Act II:
Summary:
The second Act begins where the first left off--Nora still pacing the
living room uneasily, worried that Krogstad will expose her. Still denying the
possibility of negative repercussions, Nora is interrupted by the Nurse who brings
in Nora's ball dress. Nora asks if her children have been asking for her. The
Nurse confirms that they have and Nora, continuing to hint at negative events
yet to come, tells the Nurse that Nora will not be able to be with her children
as much as before. When the Nurse comments that the children will be able to
cope with such a loss, Nora wonders aloud if they would forget her altogether
if she were to go away. The Nurse is shocked. Nora then asks her a question she
claims to have had for a long time: how the Nurse could have felt comfortable
leaving her own children among strangers while she came to work as Nora's nurse
when Nora was little. The Nurse tells her that she was grateful for such a good
position and, given her financially unstable situation (and her dislike of her
husband), something she could not pass up. Nora further probes if the Nurse's
daughter, as a result of her absence, had forgotten the Nurse. Nurse says no.
Nora throws her arms around the Nurse, telling the Nurse what a wonderful
mother she had been for her. Nora also begins to say that she is sure that the
Nurse would also be a wonderful mother to Nora's children if they were suddenly
without a mother but dismisses her thought as silly and sends the Nurse back to
the children, turning the conversation to the ball.
While alone, Nora unsuccessfully tries to concentrate on the ball and
forget the problem of the possibility of Krogstad revealing her secret. She is
interrupted by Mrs. Linde's arrival. Happy to see her, Nora asks Mrs. Linde to
help her repair her dress for the ball the next evening. While sewing, Mrs.
Linde thanks Nora for her hospitality and begins to ask about Dr. Rank and
whether he is usually as depressing as he had been the day before. Nora reports
that, as Mrs. Linde expected, he had been particularly bad and explains to her
friend that Dr. Rank suffers from a very dangerous consumption of the spine
that he has had from childhood; Nora hints that Dr. Rank's problem is the
result of his father's sexual indiscretions (though it is unclear as to whether
Nora is really hinting and aware of the fact that they were sexual in nature).
Shocked by Nora's understanding of the matter, Mrs. Linde drops her sewing and
asks Nora how it is that she knows of such things. Nora dismisses Mrs. Linde's
inquiry by telling her that the married women friends that occasionally stop by
have a good knowledge of medical problems. Resuming her sewing, Mrs. Linde
quietly continues her probe of Nora's relationship with Dr. Rank, asking Nora
if he is often at the house. Nora replies that Dr. Rank is a good friend of
both she and Torvald and stops by the house daily. Curious about Dr. Rank's
motives as well as his familiarity with Mrs. Linde's name (and Torvald's lack
of familiarity), Mrs. Linde asks Nora to describe her relationship with the
Doctor. Nora confesses that, because of Torvald's own tastes, she does often
tell Dr. Rank things that she does not share with Torvald. Suspicious of Dr.
Rank, Mrs. Linde, citing her superior experience and knowledge of the world,
counsels Nora to end her relationship with Dr. Rank. Puzzled, Nora asks Mrs.
Linde exactly what it is that she should be ending. Mrs. Linde explains that
she is afraid that Dr. Rank is the rich admirer who Nora described the day
before as a potential source of money. Interrupting her, Nora clarifies that
such a man does not exist. Still pursuing her line of thought, Mrs. Linde calls
Dr. Rank tactless and tells Nora that it is obvious that he is the man from
whom Nora has borrowed money. Nora denies this, but muses on the potential help
that a man could bring to rectifying the situation. Sensing a change in Nora's
disposition, Mrs. Linde asks Nora what has happened in the last day. Hearing
Torvald approaching, Nora does not answer and asks Mrs. Linde to retire to
another room with her sewing, explaining that Torvald dislikes seeing
dressmaking. Mrs. Linde obliges Nora but warns her that she will not leave the
house until Nora explains what has happened.
Torvald enters and asks if it was the dressmaker who had just left. Nora
tells him that it was Mrs. Linde and replies that he must be very pleased that
she had taken his advice to ask Mrs. Linde for help. Scoffing at the idea that
he should be pleased that his wife had done his bidding, he excuses himself,
saying that she will probably want to be trying on her dress. Nora remarks that
she expects that he will retire to the study with his work. As he leaves, Nora
stops him, asking him repeatedly if he would do something for his "little squirrel"
or "skylark" if she were to act very "prettily", dancing
and singing for him. Torvald answers that, despite these promises, he would
still like to hear what the deed would be before he agrees. While Nora
continues to promise that she will act like a fairy and dance for him in the
moonlight, he abruptly asks her if she is making her request from earlier‹the
appeal to not fire Krogstad. When Nora confirms that she is, begging him to
reconsider, Torvald grows angry, observing that it is Krogstad's post that he
has promised Mrs. Linde; Torvald implies that he is annoyed that Nora seems to
think that he would change his mind simply because of Nora's promise to
Krogstad. Nora interrupts him, telling him that it is not just her promise that
makes the matter so urgent-- she is concerned that Krogstad will besmirch their
name in the newspapers. Torvald, thinking that Nora is afraid of libel because
of past experiences with her father's name being trashed in the newspapers
after his death, reassures Nora that, unlike her father, he is beyond reproach.
Nora again pleads, warning that men like Krogstad are certainly capable of
contriving things to bring harm to their happy, snug home. Torvald finally
replies that Nora's pleas make it all the more impossible for him to change his
mind; what would happen to his reputation if word got out that he had reversed
his decision simply because of his wife's entreaties? Moreover, Torvald argues
that Krogstad is not only morally corrupt, but he also takes advantage of their
early childhood friendship to speak to him in what Torvald believes to be an
inappropriately familiar manner. Torvald believes that this would make his
position as manager intolerable. Incredulous, Nora tells Torvald that he surely
must not be so narrow-minded. Angry at being called narrow-minded (which Nora
tries to qualify), Torvald orders the maid to send Krogstad his dismissal which
Torvald has already composed. Horrified, Nora begs him to call the letter back,
warning Torvald that he must do it for the sake of the marriage and family.
Torvald says it is too late and Nora agrees. Torvald then launches into a
speech on how insulting he finds Nora's alarm but concludes by telling her that
he forgives her because her worries are surely only an expression of her great
love for him. He assures her that, come what may, he will have the courage to
take upon him anything and everything that happens. Nora is particularly
intrigued and horrified by this statement and asks Torvald to clarify. He
simply repeats that he will take upon everything that comes their way. Nora
states that that will never happen. Torvald interprets her statement as a
desire to share the burdens as husband and wife and assures her that this is
what he has in mind as well. He then dismisses the whole topic, asking her if
she feels better and telling her to go back to practicing her dancing for the
next night's ball in the tone of a father figure. He also instructs her to
direct Dr. Rank to his study, leaving her for work.
Alone, Nora is bewildered with anxiety, whispering the cryptic statement:
"he was capable of doing it. He will do it. He will do it in spite of
everything. No, not that! Never, never! Anything rather than that! Oh, for some
help, some way out of it!" The doorbell interrupts her monologue. Pulling
herself together, she welcomes Dr. Rank with whom she converses while it falls
dark. Nora detains him from Torvald for a while, telling him that, unlike the
busy Torvald, she always has time for him. Dr. Rank replies that he will make
as much use of her time as possible. Confused by his statement, Nora asks him
to clarify his meaning, asking him if there is anything likely to happen
between them. Dr. Rank enigmatically answers that nothing will happen for which
he has not long been prepared, though he had not expected anything to happen so
soon. Nora, alarmed, grips her friend by the arm, demanding him to tell her
what he has found out. Sitting down, Dr. Rank reveals that he expects that he
will be dead within a month. Nora is relieved that Dr. Rank has actually been
talking about himself and not her own situation and comments on the ugliness of
the matter. Dr. Rank agrees and asks Nora to prevent Torvald from entering
Rank's sickroom once Rank knows that he is about to enter the final stages of
death because Rank does not want Torvald to witness the ugliness of the disease
since he knows that Torvald's refined nature gives Torvald an unconquerable
disgust of everything ugly. Nora, upset by his pessimistic and ugly tone,
comments that she had hoped that he would be in good spirits today. Rank scoffs
at the idea of being in good humor (pun probably not intended) when he knows
that he is dying for the sins of his father. Besides, he says, such revenge for
indiscretion is being exacted in every household. Unclear as to what Rank is
talking about, Nora comments that Rank's father must have eaten a lot of
unhealthy foods and alcohol when he was younger. The conversation (it is
unclear as to whether the two have really understood each other throughout the
exchange) peters out with Nora commenting that the biggest tragedy has been
that Dr. Rank has not been able to enjoy these pleasures himself. Dr. Rank is
intrigued by this nebulous statement and makes a small exclamation. The
conversation becomes confused and degenerates into a comment on the silly moods
that two are in. Nora, rising and placing her hands on Dr. Rank's shoulders,
comments that she and Torvald would hate to lose Dr. Rank to death. Dr. Rank
replies that those who are gone are easily forgotten, piquing Nora's interest.
Dr. Rank, explaining the matter, observes that Mrs. Linde has already begun to
replace him. Nora tells him to be quiet and promises that, if he is nice, she
will dance the next day and he will be able to imagine that it is all for him
(and, as a quick qualifier, Torvald as well). Nora, continuing (consciously or
unconsciously) to flirt with the Doctor, pulls out a pair of silk stockings to
show him. They banter a bit about how much leg Nora will have to show him for
him to form an opinion of the stockings. Dr. Rank comments on the great deal of
intimacy and comfort he has enjoyed with the Helmers and how he would like to
leave some token of appreciation for their generosity before he passes away.
Nora, interested, begins to ask him about doing her a big favor when Dr. Rank
reveals that he is in love with her and would give his life for her, saddening
Nora and deterring her from pursuing the favor. Nora, chastising Dr. Rank for
making such a comment, leaves the room to bring in a lamp. Steering the
conversation back to safer territory, Nora explains why she loves Torvald but
seems to enjoy her time with Dr. Rank more. While she is observing how similar
her relationship with Torvald is with that of her deceased father, the maid enters
with the news that Krogstad is in the house and refuses to leave until he sees
Nora. Dr. Rank, unaware of the circumstances, retires to Torvald's study,
buying Nora's explanation that she has just received a new dress about which
she would prefer Torvald not know.
Temporarily alone while the maid fetches Krogstad, Nora comments to
herself that "this dreadful thing is going to happen! It will happen in
spite of me! No, no, no it can't happen‹it shan't happen!"
When Krogstad enters, Nora tells him to speak low, warning him that
Torvald is home. Krogstad, unperturbed, asks her for an explanation of his
dismissal. Nora replies that she did her best pleading his case, but could not
sway her husband. Krogstad, assuming that Nora told him everything, comments that
Torvald must love her very little to have made such a decision. Nora informs
him that Torvald does not know anything about the matter, inspiring Krogstad to
make a few derogatory remarks about Nora's husband. Settling down a bit,
Krogstad asks Nora if she now has a clearer idea of what she has done than the
day before. Nora replies that she does indeed. In fact, she says that she
understands more than Krogstad could ever teach her and asks him what he wants
of her. Krogstad replies that, despite the words exchanged in their last
meeting, he has in fact been concerned about her and wants to know how she is
doing. He informs her that he will not make the matter public, but will keep it
between he, Nora, and Torvald. Nora protests that Torvald must not know but
Krogstad replies that, even if she did have the money to pay the outstanding
balance on the loan, he would still need to engage her husband. He also tells
her that he will still not part with the bond and counsels her not to think of
running away or committing suicide (to which Nora admits considering) because
she will not be publicly exposed. To Nora's continued protests, Krogstad
explains that he must involve Torvald because his intent is to ask Torvald not
for money but for help in rehabilitating himself. Krogstad predicts that, with
Torvald's help, he will soon replace Torvald as the manager of the bank. Nora,
horrified, threatens him not to do any such thing. Brushing off her threats, he
leaves her with the reminder that he holds her reputation in his power and the
observation that it is Torvald's actions that have forced Krogstad to act this
way again. He then exits and drops his letter to Torvald into the locked letter
box for which only Torvald has a key.
Mrs. Linde enters with the dress as Nora watches Krogstad put the letter
in the box. Nora seizes Mrs. Linde and reveals her problem, asking her friend
to be her witness in case anything should befall Nora. She insists that Mrs.
Linde tell everyone that Nora was not insane and, more importantly, was
completely responsible for everything. Mrs. Linde, confused, tells Nora that
she does not understand what Nora is talking about, prompting Nora to observe
that "How should you understand it? A wonderful thing is about to
happen," leaving Mrs. Linde even more confused. Nora elaborates,
explaining that this wonderful thing is also terrible and "musn't happen
for all the world". Mrs. Linde offers to go to Krogstad and convince him
to ask for the letter back using her old amorous connection with him as a method
of persuasion. Nora says that it is hopeless. However, while Torvald begins
knocking on the door, asking to enter, Mrs. Linde resolves to go to Krogstad
and exits quickly. As she leaves, Nora unlocks the door for Torvald and Dr.
Rank. The two men are surprised because they expected Nora to be trying on her
dress. Torvald observes that Nora looks worn out and asks her if she has been
practicing too much. Nora replies that she has not been practicing at all and,
in fact, she is incapable of practicing without Torvald because she cannot seem
to remember anything without him. Hoping to distract him long enough to solve
the letter problem, she asks him to help her all day and night until the ball.
Torvald agrees. However, before they begin to practice, he begins to go out to
the letterbox to check for mail. Nora, afraid, stops him by playing the first
bars of the Tarantella she is going to dance; she lures him to play for her and
correct her while she dances (Dr. Rank, until now an observer, eventually takes
over at the piano so Torvald can stand and correct Nora better). Her dancing is
wild, growing more so as it continues until her hair has come all undone. While
Nora is still dancing, Mrs. Linde returns and observes to Nora that she is
dancing like her life depended on it, to which Nora agrees. Torvald eventually
calls everything to a halt, chastising Nora for having forgotten everything he
has taught her. Nora replies that she has indeed forgotten everything and needs
his help to relearn the dance. She tells him that he must not think of anything
else, especially not any letters. Torvald, catching on a bit, remarks that he
can tell from her behavior that there is a letter from Krogstad waiting for
him. Nora responds that she does not know, but that there might be; she
implores him not to let anything horrible come between them until "this is
all over". Dr. Rank whispers to Torvald that Torvald must not contradict
her and Torvald takes her into his arms, calling her a child that must have her
way. He promises to work with her until after the ball but says that, after
that, he will be free (the words of Nora). They then all retire to dinner, Nora
calling for lots of macaroons. As they leave, Torvald and Dr. Rank exchange a
few words on Nora's state of mind, making it clear that they have discussed it
before. Dr. Rank, concerned, asks if Nora is expecting something, but Torvald
dismisses the concerns as evidence of childish nervousness. They exit.
Alone, Mrs. Linde tells Nora that Krogstad has gone out of town. Nora
seems unconcerned, telling Mrs. Linde that she should not have bothered because
nothing should impede the "wonderful" thing that Nora claims will
soon happen. Mrs. Linde presses Nora to explain this wonderful thing, but Nora
dismisses her questions, telling her she would not understand and sends Mrs.
Linde into the dining room. Nora alone, composes herself, and checks the time.
She observes that she has thirty-one hours to live (until after the
tarantella). Torvald's voice is then heard asking for his "little
skylark" and the Act ends with Nora going to him with outstretched arms.
Analysis:
Whereas Act I set up the initial invasion of reality into Nora's world
and the rattling of the basic underpinnings of the falseness of Nora's life
(i.e., marriage and motherhood), Act II eventually sees her set up a test that
will determine whether or not her world is false. In other words, she is
confronted with the fact that Torvald will find out about her lie but believes
that, if he is the man she thinks he is, his discovery will only strengthen
their marriage. Her reaction to Krogstad finally dropping his letter in the
letter box is the climax of the play. In the traditional well made play, this
would be followed by a unraveling and moral resolution of the dilemma set up in
the first act and brought to head in the second. However, Ibsen deviates from
this mold, turning the third act into a discussion.
At the beginning of the second Act, before the climax, Nora is still
trying to confront the fact that her world can be touched and shattered. Though
she is shaken, she still believes that her family and her material comforts
will protect her. However, she is worried enough about the matter that she has
already begun to consider the idea of both running away and committing suicide
(though she admits that she does not have the courage for this last part).
Luckily, the ball temporarily distracts her. This ball is extremely important
for Nora because, through the costumes and dance, she is able to embrace the basic
elements of the basis of her relationship with Torvald that she is still trying
to preserve; she can sing and dance for him as a lovely creature. Mrs. Linde
refers to Nora's dress as her "fine feathers" reinforcing the general
perception of Nora as a non-human entity, a creature free of cares. In fact,
the dress itself serves as a potent symbol of Nora's "character".
Like Nora, it is torn and in need of repair. However, as in real life, Nora
feels she is incapable of fixing the problem herself, giving the dress to Mrs.
Linde to mend. The idea of the dress serving as a symbol for Nora's everyday
mask is reinforced when Nora reports that Torvald dislikes seeing dressmaking
in action. In other words, Torvald enjoys the character that Nora adopts but
has no desire to see its origins, the real Nora.
Indeed, Nora tries to maintain her relationship with Torvald,
unsuccessfully attempting to manipulate him on behalf of Krogstad through
playing the part of his innocent and darling creature. One of the key turning
points of the play comes when Torvald tells her that, come what may, he will
take everything upon himself. Whereas before, Nora merely sought to find some
way to avoid this disaster, now the idea that this episode may prove the
strength of her marriage has been planted in her head. An important quotation
to look at is Nora's remarks after she is left alone that "He was capable
of doing it. He will do it. He will do it in spite of everything. No, not that!
Never, never! Anything rather than that! Oh, for some help, some way out of
it!" One way to read this is as a comment on Krogstad's actions‹that he
will reveal her after all. Another way to read this statement is as a
commentary on Torvald's decision to fire Krogstad and the problems it will
cause. Still another way to read this is as concern that Torvald will take
responsibility for her actions as he promised.
After this realization, Nora begins to act a bit more daring than before,
using her awareness of the possibility of Dr. Rank's affection to manipulate
him. When things go too far for her, however, and he admits that he is in love
with her, she can not continue, her manipulation ruined by the blatant
statement of reality. After all, Dr. Ranks' revelation that he, like Torvald,
would give his life to save Nora's ruins her belief that Torvald's position is
somehow unique.
Nora's hopes of averting disaster are dashed when she sees Krogstad drop
the letter into Torvald's box. Perhaps already aware of the inherent problems
of the relationship, she exclaims that all is lost for her and Torvald as
Krogstad deposits the letter. Nora's fear, now that she knows that there is no
turning back, is that the "wonderful thing" will happen: that Torvald
will try to take this all upon himself and that, by knowing what she has done
for him, they will become equal partners in the
marriage. Nora both fears this and wishes for it. But, Nora is not ready
to face this just yet. She wants to act out her last chance to be a creature
for Torvald, dancing the tarantella. It is only after this dancing that she
consents to letting him free. Interestingly, her last statement that she only
has thirty-one hours to live can be read two different ways. On the one hand,
it can be interpreted as saying that she plans on committing suicide in order
to free Torvald from having to take the responsibility on himself; she would
die knowing that she had once again saved his life. On the other hand, it may
be a comment only that her life as she knows it will be over and that, in
thirty-one hours, she will have to embark upon a new, radically different life
because her relationship with Torvald will be over. Act III:
Summary:
Act III opens with Mrs. Linde ostensibly trying to read in the living
room the next night. As the sounds of dance music suggest, Torvald and Nora are
upstairs at the ball. Mrs. Linde is waiting for Krogstad so that she can talk
to him about Nora's predicament. When Krogstad arrives, he and Mrs. Linde turn
almost immediately to a discussion of why Mrs. Linde jilted him for her
now-deceased husband many years ago. Mrs. Linde explains that, though she
questioned her decision many times, she had to pursue her former husband's
money given the number of people that depended on her at the time for their
livelihood. Krogstad reveals that her departure left him a shipwrecked man
clinging to wreckage. Mrs. Linde replies that, like him, she is now a
shipwrecked woman clinging to wreckage and asks if it would not be smart if
they should join forces. She tells him that he is the reason that she came to
town and that, since he believes that he could be a better man with her and she
wants a family to look after, they should be together. The music of the
tarantella is heard above and Mrs. Linde urges Krogstad to be quick. Krogstad
grows suspicious, questioning Mrs. Linde as to whether she is saying all of
this simply on behalf of Nora (i.e., to get him to take the letter back); she
denies it and he offers to take the letter back. However, she urges him not to,
admitting that this had been her original intention. She tells him that, since
her first discovery of the problem the day before, she has witnessed enough in
the house to convince her that Torvald must read the letter. Mrs. Linde
observes that, in order for a complete understanding between Nora and Torvald
(which she believes to be key to a successful marriage), all secrets must be
revealed. Krogstad leaves, promising Mrs. Linde that he will meet her in a few
minutes. Mrs. Linde, hearing Nora and Torvald coming, prepares to leave,
commenting on what a difference having people to care for makes in her life.
Still in costume (Nora as a Capri maiden and Torvald in evening wear and
a domino), Torvald brings Nora into the room, almost by force. She is trying to
get him to return to the ball for as long as possible. Torvald refuses, citing
their earlier agreement. They greet Mrs. Linde, who explains that she had
stayed up in order to see Nora in her dress. Torvald brags about how lovely
Nora looks, describing his wife's successful evening. He tells Mrs. Linde that
Nora danced the tarantella marvelously, if a bit too realistically for proper
artistic appreciation, and that he tried to make her exit (after such a
success) equally artistic by ushering her around the room for a last bow and
then disappearing into the night; he complains that Nora did not appreciate his
attempts. Torvald then goes off to light some candles and air out the house a
bit, leaving Nora the chance to ask Mrs. Linde for news from Krogstad. Mrs.
Linde tells Nora that Nora must tell Torvald everything. Nora is not shocked
and simply thanks Mrs. Linde and tells her that she now knows what she must do.
Torvald returns and gives a short speech on the merits of embroidery over
knitting to Mrs. Linde who has forgotten her knitting. Mrs. Linde soon leaves,
and Torvald exclaims that he is happy that she is finally gone, calling her a
bore. Nora then asks Torvald if he is tired, telling him that she is quite
sleepy. Torvald replies that he is in fact, quite awake; moreover, he has been
waiting to be alone with his wife all evening. He calls her beautiful and
fascinating, telling her that she is his treasure‹all his. Nora tells him that
he must speak that way to her tonight, but he only finds this more alluring,
observing that she must still have the tarantella in her blood. He then
launches into an explanation of why he pretends not to know her at parties: he
is fantasizing about meeting and seducing her for the first time; in fact,
while they are leaving, he pretends that she is his new bride about to be his
for the first time. Nora tries to push him off much to Torvald's confusion and
displeasure.
They are interrupted, however, by Dr. Rank who Torvald earlier claimed
had been in quite high spirits all night. Annoyed but pretending to be
delighted, Torvald welcomes the Doctor into the room. The three talk about the
ball and all its finery. Unknown to Torvald, Dr. Rank reveals to Nora through
his conversation that he has made his final diagnosis today and that he will
soon die. Dr. Rank elaborates on how much he has enjoyed himself this evening, telling
them how much he has indulged in the wine and sights; he also asks Torvald for
a cigar, further indulging himself. Dr. Rank eventually leaves, with Nora
wishing him a good sleep. Torvald, still unaware, comments on what he believes
to be Dr. Rank's drunkenness and begins to head out to empty the mailbox so
that the morning paper will be able to fit. Nora unsuccessfully tries to stop
him. At the mailbox, Torvald is surprised to find that someone has tried to
pick the lock with one of Nora's hairpins. Nora tells him that it must have
been one of the children and Torvald tells her to keep them away from the box.
Torvald is surprised to find two letters from Dr. Rank, one of which has
a black cross through his name. Torvald comments on the morbidity of such a
mark and Nora confirms that it is their friend's way of announcing his death.
Torvald briefly muses on the sadness of losing their friend but concludes that
it is probably better for both Dr. Rank and for he and Nora, for now he and his
wife are quite alone. Torvald embraces Nora, telling her how much he cares for
her. In fact, he says, he wishes that he could somehow save her from some great
danger so that he could risk everything for her sake. Nora disengages herself
from his embrace and tells him in a resolved tone that he must now read his
letters. Torvald replies that he would much rather be with her, but Nora
questions whether this would be appropriate given Dr. Rank's news. Torvald
assents that something ugly has come between them because of the news and that
it would be best to spend the night apart. Nora hangs on his neck and tells him
good night and Torvald goes off to read his letters in another room.
Alone, Nora prepares to rush off to commit suicide by jumping into the
icy depths of the river, throwing on Torvald's domino and her shawl. As she
bids adieu to her family and rushes out the door, Torvald hurries out of his
room and stops her, letter in hand. Torvald asks her if she knows what is in
the letter but Nora still tries to leave, telling him that he "shan't
save" her. Torvald stops her, locking the door, and continues to wonder
out loud how this could be true, dismissing her pleas that all was done out of
love and protests that he will not suffer at her hands. When Nora realizes,
however, that Torvald has no intention of taking the burden the problem upon
himself and only blames Nora for ruining his life (claiming that he should have
probably seen this coming given the character of her father), she grows still.
Torvald only continues to berate her and her character, going on about how
horrible it is that the actions of a thoughtless woman could ruin his life,
prompting Nora to only grow colder. Not allowing Nora to speak, Torvald begins
to speculate about their future, saying that they will keep up appearances but,
of course, Nora will not be allowed near the children nor will their marriage
be maintained.
He is interrupted by the maid, who is bearing a note from Krogstad to
Nora. Torvald intercepts the letter and reads it himself, learning that
Krogstad has had a change of heart and has sent back the bond. Torvald,
overjoyed, shouts, "I am saved," prompting Nora to ask whether she is
as well. Having a change of heart, Torvald replies that she is also saved.
Overcome with relief, he comments on how hard this all must have been for Nora
and tells her that he has forgiven her; he tells her that he will think of it
only as a bad dream and that, in his mind, it is all over. Realizing perhaps
that Nora is not having the same reaction, Torvald explains to her that he
knows that she did this all out of love and that he can forgive her because he
also knows that, as a woman, she is unequipped to make the proper decisions. In
fact, he tells her that her helplessness and full dependency on him make her
all the more endearing to him. Nora thanks him for his forgiveness and leaves
the room to take off her ball dress.
As she is removing her dress, Torvald stands in the doorway and muses
about the comfort of their home and how much he wants to and will protect her,
assuring her that everything will soon be as it was before. He tells her that
the helplessness of a wife makes the wife even more attractive to a husband
because she becomes both a wife and child, doubly his own. And, he continues,
when a husband forgives a wife, he gives her new life and becomes even closer
to her.
As he is promising to be her will and conscience, he notices that she has
changed not into bed clothing but into everyday clothing. Torvald is confused.
Nora explains to him that she shall not sleep tonight and asks him to sit down
with her at the table for a serious "settling of accounts". Alarmed,
Torvald tells her that he does not understand her. Nora agrees, telling him
that he has never understood her and that, before tonight, she has never
understood him. Torvald asks what she means. Rather than replying directly,
Nora points out the fact that, in their eight years of marriage, they have
never before sat down to have a serious discussion. Torvald protests that such
conversations would not have made sense, given Nora's interests. Nora tells him
that she has been greatly wrong by both her father and her husband. Shocked,
Torvald asks how this could be possible given that they are the men who have
loved her the most. Shaking her head, Nora corrects him, telling him that he
has never loved her but has only thought it pleasant to be in love with her.
She explains to him that, just as her father did, Torvald has treated her as a
doll to be played with, arranging everything to suit himself and forcing her to
live only to entertain him. As a result, she has not made anything of her life
or even ever been truly happy. Torvald agrees to this analysis, though he
qualifies it as exaggerated and strained, and tells her that, from now on, he will
stop playing with her and start educating her. Nora refuses, observing that he
is not the man to educate her; after all, only a few minutes before, he had
told her that she was unfit to raise her children. Nora tells him that she
agrees with him about her inability; she acknowledges that she first needs to
educate herself before she tries to educate the children and tells him that
this is why she is going to leave him. Torvald, shocked, jumps out of his
chair, calling her mad and trying to prevent her from leaving. She calmly
rebuffs his attempts to forbid her, telling him that she will go to her old
home tomorrow. Torvald accuses her of neglecting her "most sacred
duties" as wife and mother, refusing to acknowledge Nora's opinion that
her duty to herself as a reasonable human being is just as sacred, if not more
so. Torvald, at a loss, first appeals to her sense of religion and then
morality, both of which Nora shoots down by explaining that she has never had a
chance to examine and embrace these things on her own and, as a result, does
not know if she agrees with them. Torvald, unable to sway her, tells her that
all that he can conclude is that she does not love him. Nora, apologetic,
agrees with him, telling him that he lost her love earlier tonight and that,
because of this, she cannot stay in the house. She tells him that her love was
lost because the wonderful thing did not happen: he did not refuse Krogstad's
conditions and try to take all the blame upon himself (which Nora says she
would have refused anyway). Torvald replies that, though he would gladly work
day and night for her, he would never assent to jeopardizing his honor for a
loved one. Nora simply replies that many wives have done just that. Torvald
dismisses her words as those of a heedless child. Admitting the possibility of
this, Nora describes his selfish perspective and her own horror at earlier
realizing that she had lived with and borne children with a stranger for eight
years. Sad, Torvald observes that an abyss has opened up between them but asks
if there is not a way to fill it up. Nora refuses, telling him that they will
both be better off apart. Still trying to appease him, she tells him that she
hereby releases him from all obligations to her; she says that there must be
perfect freedom on both sides.
Resigned to her leaving, Torvald begs to stay in contact with her,
assisting her when she is in need. Nora rejects his offers, telling him that
she could never accept anything from a stranger. Torvald then asks her if he
could ever be anything more than a stranger to her. Nora replies that that
would only be possible if "the most wonderful thing in the world"
were to happen but that she no longer believed in the possibility of them.
Torvald, still hopeful, presses her for what this would be. She explains that
they would both have to be so changed that their life together would be a real
wedlock and leaves. Sinking down into a chair with his hand in his face,
Torvald moans her name. He then looks up and observes how empty the room has become
without her. The play ends with the thought of the most wonderful thing of all
flashing across Torvald's hopeful mind followed by the sound of a door shutting
below.
Analysis:
Act III is extremely important in A Doll's House. Rather than presenting
the traditional unraveling of the well made play, it confronts the reader or
viewer with a discussion of the themes presented in the first two acts. The act
is also the deciding point of Nora's life: will the "wonderful thing"
happen or not? It begins with a foil for Nora and Torvald's marriage. In fact,
Mrs. Linde and Krogstad's decision to be together can be seen as ironic in the
context of Nora and Torvald's marriage because, though Mrs. Linde and Krogstad
both suffer from significant personal and moral problems, they have a better
chance of a happy and true marriage than Nora and Torvald. Mrs. Linde advocates
revealing all to Torvald because, as her union with Krogstad suggests, she
believes that it is possible to build a relationship of mutual dependence of
unformed characters as long as both parties are fully aware of each other's
motives. Mrs. Linde hopes that, through this union, both she and Krogstad can
become the better people they know that they can be.
The extent of Torvald's investment in a fantasy world and the importance
of Nora's false characterization is revealed when he describes how, at parties,
he pretends not to know her so that he may seduce her all over again. And,
perhaps more importantly, Nora is quite candid about her understanding of all
this, telling him flatly that she knows.
It is important to notice that Nora's time at the party has been the
first time that she has left the confines of the one room in the entire play.
Moreover, she has to be dragged back in. This suggests that it is Torvald's own
desires to have Nora entertain him that necessarily forces Nora to journey into
the real world. Also, it is interesting to note that she also temporarily
leaves the room to exchange her party dress for everyday clothing, her first lone
foray from the room. This new trend is the beginning of her final departure
from the room‹a departure that ends the play, shattering the values that had
supported the walls of the house.
But, when she leaves for the final time, she is leaving for reasons other
than what she had intended at the beginning of the Act. Before Torvald
confronts her with the letter, she is on her way to commit suicide, determined
that Torvald should not have to sacrifice his life for hers. She considers this
the appropriate thing to do because she believes that he would willingly give
his life for hers as well. In this way, they have an equal relationship.
However, she is extremely disappointed to discover that he clearly has no
intention of sacrificing himself for her. Instead of refusing to abide by
Krogstad's demands and taking the blame on himself, Torvald accuses Nora of
ruining his life, telling her that she will no longer be able to see her
children or maintain their marriage except in public appearances. Nora even
asks him whether he would give his life for her and her fears are confirmed
when he answers that he would never sacrifice his honor for a loved one.
Consequently, Nora resolves to leave Torvald, aware that true wedlock is
impossible between them because neither of them loves the other, or is even
capable of doing so. Nora realizes that, before she can be a wife, she must
first discover herself through venturing out into the world. She leaves an
unformed soul, determined to become a full person rather than the doll of the
male figures in her life.
Themes/Metaphor/Symbol:
Act I:
Setting: It is important to note that the whole play takes place in one
room and that, until the last act, Nora is in every scene; she never seems to
leave the room‹everything comes to her. She is literally trapped in domestic
comfort.
Also, the first Act takes place on Christmas Eve. However, though there
is a great deal of talk about morality throughout the play, Christmas is never
presented as a religious holiday and religion as a concept is later questioned
by Nora in the third Act. In fact, it is discussed primarily as a material
experience. This emphasis is similar to the general theme of the centrality of
material goods over personal connection.
Women and Men:
This play focuses on the way that women are
seen, especially in the context of marriage and motherhood. Torvald, in
particular, has a very clear and narrow definition of a woman's role. He
believes that it is the sacred duty of a woman to be a good wife and mother.
Moreover, he tells Nora that women are responsible for the morality of their
children. In essence, he sees women as both child-like, helpless creatures
detached from reality and influential moral forces responsible for the purity
of the world through their influence in the home.
"HEL: That is like a
woman!" "NORA: It was like being a man." "HEL: Almost
everyone who has gone to the bad early in life has had a deceitful
mother." "HEL: It seems most commonly to be the mother's influence,
though naturally a bad father's would have the same result." "NORA:
Because one is a woman it does not necessarily follow that--- When anyone is in
a subordinate position, Mr. Krogstad, they should really be careful to avoid
offending anyone who-who‹"
The perception of manliness is also discussed, though in a much more subtle
way. Nora's description of Torvald suggests that she is partially aware of the
lies inherent in the male role as much as that of the female. Torvald's
conception of manliness is based on the value of total independence. He abhors
the idea of financial or moral dependence on anyone. His desire for
independence leads to the question of whether he is out of touch with reality.
"NORA: And, besides, how
painful and humiliating it would be for Torvald, with his manly independence,
to know that he owed me anything! It would upset our mutual relations
altogether; our beautiful happy home would no longer be what it is now."
"NORA: Christine is tremendously clever at bookkeeping, and she is
frightfully anxious to work under some clever man, so as to perfect
herself‹"
Tied to the discussion of men and women are the frequent references to Nora's
father. Throughout the play, there are references to Nora's father.
Furthermore, Nora is frequently equated with him, from her actions (though
people think he gave Nora and Torvald the money for their trip to Italy, it was
actually Nora) to her disposition. Quotations like the one below suggest that
Nora does wish that she were like her father and, taking that further, male.
Her desire suggests a deeper understanding of the confinement she faces than
might otherwise be apparent.
"HEL: Very like your
fatherŠ. NORA: Ah, I wish I had inherited many of Papa's qualities"
Materialism v. People:
Another central theme of this play is the importance placed on
materialism rather than people. This is particularly important for Torvald,
whose sense of manhood depends on his independence. In fact, he was an
unsuccessful barrister because he refused to take "unsavory cases".
As a result, he switched to the bank, where he primarily deals with money. In
other words, money and materialism can be seen as a way to avoid the
complications of personal contact.
Images of women:
Nora, as a symbol of woman, is called a number of names by Torvald
throughout the play. These include "little songbird",
"squirrel", "lark", "little featherhead",
"little skylark", "little person", and "little
woman". Torvald is extremely consistent about using the modifier
"little" before the names he calls Nora. These are all usually
followed by the possessive "my", signaling Torvald's belief that Nora
is his.
Torvald's chosen names for Nora reveal that he does not see her as an
equal by any means; rather, Nora is at times predictable and silly doll and at
times a captivating and exotic pet or animal, all created for Torvald.
Act II:
Setting:
This Act takes place on Christmas Day, after the magic and mystery of
Christmas Eve has passed. As in real life, all has been revealed.
Also, notice that Nora complains about not daring to leave the house. She
is still confined to the domestic world that she knows so well.
Light:
Light is used to illustrate Nora's personal journey. After the turning
point of Torvald's claim to want to take everything upon himself and while she
is talking to Dr. Rank, the light begins to grow dark, just as Nora sinks to
new levels of manipulation. When Dr. Rank reveals his affection, Nora is jolted
out of this fantasy world and into reality and insists on bringing a lamp into
the room, telling the Doctor that he must feel silly saying such things with
the light on.
The Dress:
Nora's ball dress symbolizes the character
she plays in her marriage to Torvald. Take note of when Nora is supposed to be
wearing it and for whom.
"MRS. L: I see you are
going to keep up the character NORA: Yes, Torvald wants me to."
The Tarantella:
A tarantella is a folk dance from southern
Italy that accelerates from its already quick tempo and alternates between
major and minor keys. In its constant fluctuation, it is like Nora's character.
In this Act, it serves as Nora's last chance to be Torvald's doll, to dance and
amuse him. Also, the tarantella is commonly (and falsely) known as a dance that
is supposed to rid the dancer of the bite of the tarantula. Applied to the
play, its use suggests that Nora is trying to rid herself of the deadly poison
of an outside force, however fruitlessly. Rather than alleviating the bite,
though, the music and her life only continue to accelerate and spin out of
control.
"HEL: But, my dear Nora,
you look so worn out. Have you been practicing too much? NORA: No, I have not
practiced at all. HEL: But you will need to--- NORA: Yes, indeed I shall,
Torvald. But, I can't get on a bit without you to help me; I have absolutely
forgotten the whole thing."
Women and Men:
Torvald's belief in the importance of
independence is emphasized in this Act. When confronted with Nora's pleas to
change his mind about Krogstad's dismissal, he tells her that he would hate to
appear to have been influenced by his wife.
"HEL: Do you suppose
that I am going to make myself ridiculous before my whole staff, to let people
think I am a man to be swayed by all sorts of outside influence?"
"HEL: You see I am man enough to take everything upon myself."
Nora's father continues to be mentioned in Act II, this time as a foil for
Torvald. Though Torvald has early compared Nora to her father, he insults his
character.
"HEL: My little Nora, there is an important
difference between your father and me. Your father's reputation as a public
official was not above suspicion. Mine is, and I hope it will continue to be so
as long as I hold office." "NORA: But surely you can understand that
being with Torvald is a little like being with Papa---"
Names for Nora:
Torvald continues to call Nora a number of different names, all
diminutive in nature. However, it is interesting that they are less
consistently animal and innocuous in nature. He calls her his "little
rogue", "little skylark", "little person",
"helpless little mortal", and "child".
Money v. People:
Images of monetary wealth appear throughout
the text.
"RANK: Lately I have
been taking stock of my internal economy. Bankrupt!"
Act III:
Themes:
Dr. Rank and Mrs. Linde:
The juxtaposition of their entrances at the beginning of the play (they
enter together) suggests that there is something similar about the two. In
fact, given both the theatrical standards of the time and the expectations of
women, it is easy to see that they might be considered moral forces within the
play. In fact, Dr. Rank represents the male moral figure that had been common
to plays at the time that Ibsen was writing. Dr. Rank's character usually
provided moral standards on which the other, more confused characters of the
play could depend. However, Dr. Rank subverts this role. He is both physically
and morally tainted. He is dying from a disease begotten from his father's
early sexual indiscretions, his body rotting. Additionally, though he presents himself
as a great friend to the Helmers, his motives are far from pure‹he is in love
with Nora.
Mrs. Linde, similarly, represents the hollowness of the role of wife and
mother. Left destitute and unhappy by an unloving marriage, she has derived her
livelihood from being useful to others. However, when she is left alone, she
only feels empty. Her life has been based upon appeasing material wants for
herself and for others and has had little to do with personal growth.
Both Dr. Rank and Mrs. Linde enter the play as influences on Nora and
Torvald. Dr. Rank is a foil for Torvald's unyielding sense of morality and Mrs.
Linde a foil for Nora's belief in the importance of motherhood and marriage.
Over the course of the play, the problems of both Dr. Rank and Mrs. Linde are
solved through either death or a knowing embrace of another union of
dependency. In the case of Mrs. Linde, though, it is arguable as to whether her
decision to go off with Krogstad is a positive or negative decision. On the one
hand, she will be entering the relationship on roughly equal footing with
Krogstad; they are both dependent on the other (unlike Nora and Torvald). On
the other hand, Mrs. Linde is only entering into another situation in which she
derives her livelihood from taking care of others; she still has not gone
through a real process of self-discovery (which Nora advocates at the end).
Names for Nora:
By the end of the play, Torvald seems confused as to what to think of
Nora‹is she a woman, a creature, or a small child? It is this uncertainty that
is the basis of the discussion aspect of the act; the reader or playgoer is
left to decide for him/herself. Names include: "little skylark",
"fascinating, charming little darling", "my darling wife", "my
little singing bird", "miserable creature", "a thoughtless
woman", "my frightened little singing bird", "little,
scared darling", "blind, foolish woman", and "a heedless
child".
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