Analysis_of_“a_Doll’s_House”_Written_by__Henrik_Ibsen

Analysis of “A Doll’s House” Written By: Henrik Ibsen Margaret Walsh South University Online Analysis of “A Doll’s House” Written By: Henrik Ibsen Henrik Ibsen creates beautifully written characters in his play “A Doll’s House”. This play offers many insights into the realms of marriage, self-awareness, and human nature. As the first Act opens, it feels as if the cast is part of an ordinary family scene. It is not until the speech of each character in the play is heard, as in Helmer’s first line “Is that my little lark twittering out there'” (Ibsen, 2011, Act 1, p.590) that we see a new light on the meanings of their relationship. We get a direct sense of ownership in the tone of Helmer’s character. His dialect is that of one who believes he is “the man of the house”, and who deals with many frustrations. Nora appears to be somewhat of a sheltered wife from life’s troubles, a bit spoiled, and yet she is a cheerful, caring, and dotting wife. She provides this idealistic view as she replies to her husband in a discussion about spending money recklessly, “Yes, Torvald, but we can be a little more reckless now, can’t we' Just a tiny little bit! You’re going to have a big salary and you’ll be making lots and lots of money.” (Ibsen, 2011, Act 1, p.590). The speech plays a large role in the importance of the definitive moments of the play. The implications that are seen in the subtext of the characters dialogue help to form a message that many times our verbal presentation with others can create a lasting impression in the relationships we carry. The true definitive moment is foreseen as we encounter Nora’s character growing into self-awareness. After eight years of marriage she is forced to reveal a “secret” that she knows could possibly change the outcome of her life. We understand this as she whispers “Never to see him again. Never! Never! (Puts her shawl over her head.) Never to see my children again either, never again. Never! Never! Oh, the icy, black water, the bottomless depths! If only it were over!” (Ibsen, 2011, Act 1, p.590). This is an underlining moment of true understanding about self-love and love for one another. The dialogue between Helmer and Nora presents anticipation for upcoming events. It is apparent that Helmer does not feel that Nora is capable of simple money matters, and we recognize this as he refers to Nora often as, “The same little featherbrain!” (Ibsen, 2011, Act 1, p.590). This respectful chauvinistic banter creates the tone of dominance and brings the audience to assume that Nora is lacking in common sense. The simple rebuttals Nora gives to her husband, as in, “(smiling quietly and happily): You have no idea how many bills skylarks and squirrels have, Torvald.” (Ibsen, 2011, Act 1, p.590.) offer clues into the definitive moment of the play. And it is soon made aware that her lacking in money matters does not hinder her from educating herself in it, especially for the good of others. We know this to be true in the sense of her “secret” as shared with Mrs. Linde, “Come here. (Pulls her down on the sofa beside her.) Now I’ll show you that I too have something to be proud and happy about. I’m the one who saved Torvald’s life.” (Ibsen, 2011, Act 1, p.590). There is a moment of acceptance for the audience, acknowledging Nora’s ability to be concerned with and manage financial issues for the sake of her husband’s life. As the play develops the true sense of an unhealthy marriage comes to light. The dialogue reflects a parental relationship rather than a partnership in marriage. As read in passages from Helmer, “A man finds it indescribably sweet and satisfying to know that he’s forgiven his wife, freely and with all his heart. It’s as if he’s made her his own all over again. He’s given her a new life, in a way, and she’s become both wife and child to him.” (Ibsen, 2011, Act 1, p.590). This seems to give new insights to the meaning of play, as if polite criticism is not a necessary element of marriage, but rather a plague to be avoided. Nora’s final speech to Helmer, “In the whole eight years—longer than that, for the whole time we’ve known each other—we’ve never exchanged one word on any serious subject.” (Ibsen, 2011, Act 1, p.590) brings forward the importance of her character development as she expresses a feeling of being worn down from this lack of understanding and discriminative view. This feeling becomes a powerful avenue for Nora, as she finally decides to ultimately leave this life behind in order to find the truth of who she is as a woman. Not a mother or wife. The implications of dialect can offer many meanings, just as Nora soon learns that the condescending nature of her husband’s verbal skills have left her with many questions about herself, and her marriage. There is an acceptance of importance in knowing this. She finds that being human requires thinking for one self, and understanding the concepts without added interruptions, and she clarifies this moral as she states, “But I’m going to try. I’m going to see if I can figure out who’s right, me or the world.” (Ibsen, 2011, Act 1, p.590). It is a power message to be heard in regards to the nature of communication. There is an importance in how we verbally speak to one another, and how we interpret those meanings. Reference Acosta, David L. Pike and Ana (). Literature: A World of Writing Stories, Poems, Plays, and Essays VitalSource eBook for Education Management Corporation [1] (VitalSource Bookshelf), Retrieved from http://digitalbookshelf.southuniversity.edu/books/9780558711825/id/pg556 * You’re always right, Torvald. * Helmer (kissing her on the forehead): Now my little skylark is talking sense. Did you notice what a good mood Rank was in this evening' * Don’t look at me like that, Torvald. * Helmer: Why shouldn’t I look at my dearest treasure' At all the beauty that is mine, all my very own' * Nora (going to the other side of the table): I wish you wouldn’t talk that way to me tonight. * (gropes distractedly about, picks up Helmer’s domino and wraps it around her, while she says in quick, hoarse, spasmodic whispers): Never to see him again. Never! Never! (Puts her shawl over her head.) Never to see my children again either, never again. Never! Never! Oh, the icy, black water, the bottomless depths! If only it were over! He’s got it now, now he’s reading it. Goodbye, Torvald … children!(She is about to rush out through the hall when Helmer opens his door hurriedly and stands with an open letter in his hand.) * It is true. I’ve loved you more than anything else in the world. * Helmer: Don’t start with your ridiculous excuses. * Nora (taking a step towards him): Torvald! * Helmer: You little fool, do you know what you’ve done' * (walking around the room): What a horrible awakening! The woman who was my pride and joy for eight years, a hypocrite, a liar, worse than that, much worse—a criminal! The unspeakable ugliness of it all! The shame of it! The shame! * (Nora is silent and looks steadily at him. He stops in front of her.) * I should have realized that something like this was bound to happen. I should have seen it coming. Your father’s shifty nature—be quiet!—your father’s shifty nature has come out in you. No religion, no morality, no sense of duty. This is my punishment for closing my eyes to what he did! I did it for your sake, and this is how you pay me back. * Now you’ve destroyed all my happiness. You’ve ruined my whole future. It’s horrible to think about! I’m in the power of an unscrupulous man. He can do what he wants with me, ask me for anything he wants, give me any orders he wants, and I don’t dare say no. And I have to sink to such miserable depths, all because of a feather-brained woman! * Nora: When I’m out of the way, you’ll be free. * But I won’t let you bring up the children. I can’t trust them to you. * Try to calm yourself, and ease your mind again, my frightened little songbird. I want you to rest and feel secure. I have wide wings for you to take shelter underneath. (Walks up and down by the door.) A man finds it indescribably sweet and satisfying to know that he’s forgiven his wife, freely and with all his heart. It’s as if he’s made her his own all over again. He’s given her a new life, in a way, and she’s become both wife and child to him. * You don’t understand me, and I’ve never understood you either, until tonight. No, don’t interrupt me. I want you to listen to what I have to say. Torvald, I’m settling accounts with you. * We’ve been married for eight years. Doesn’t it occur to you that this is the first time the two of us, you and I, husband and wife, have had a serious conversation' * Helmer: What do you mean by serious' * Nora: In the whole eight years—longer than that, for the whole time we’ve known each other—we’ve never exchanged one word on any serious subject. * Helmer: Did you expect me to be constantly worrying you with problems that you weren’t capable of helping me deal with' *