A literary analysis of the character nora in a dolls house by henrik ibsen

Ibsen, however, has carefully constructed Nora so that her independence and farsightedness have always shown through her adolescent capriciousness. She asks Nora to intercede for her in asking Torvald for a job, which he is happy to give her, given that she has experience in the field.

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The title itself suggests a misogynist view, while the work mainly consists of feminist ideology, as Ibsen was a supporter of the female as an independent, rather than a dependent on a male. Torvald made Nora take on a foreign identity; Torvald used her as a doll.

It is a torch set at the apex, flaring both ways. Rank because he does not have any expectations or demands of her.

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Until she comes to the realization that her life is a sham, she spends her whole life in a dream world. MagillOnLiterature Plus. He routinely spoils Nora and claims to be in love with her, but he talks to down to her and treats her like a doll. The first clash is when Nora realizes that her rebellious actions are outside the pale of societal norms: an objective shock. She is eager to dance it well for his sake and for her own. The character is improbable, impossible; yet something in the telling of it holds one to a sense of reality. Only an innocent creature can brave the perils of the outside world to find her identity. In later plays he grows more skilful in his use of the device, but in each case the symbol of the play is some material object or event, a part of the mechanism of the piece.

The father-daughter relationship is referred to later when Nora confronts Torvald in the final act. All the movement is directed toward this symbol. He does not see his wife as his equal, but rather as his personal doll — or plaything — an owned object that can be used for his own amusement and for the admiration of others.

She is depicted as being reasonable, and capable of maintaining her sense. It is named for the tarantula, and its swift movement and dizzying rounds are measured to the victims of that poisonous sting.

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If one would understand a play, he must first understand the character about which the play circles, and he will not understand the character till he grasps the symbol that lies at the heart of it. Often the first, and most obvious, component that can be observed when reading drama is the point of view that it is written from. Her inconsequence is the essence of her nature. Nora knows that if she leaves her family, Anne Marie will take care of her children, which makes the decision less unbearable to Nora. She is depicted as being reasonable, and capable of maintaining her sense. Nora, having grown up as a manipulated tool of others, is under the impression that manipulation of others is a societal norm. Her life trajectory makes her a foil to childlike Nora, and she is the one who persuades Krogstad to recuse the accusations towards Nora. The 19th century continued the process of the demystification that began with the Enlightenment.

Rank is the one character who shows no apparent interest in what others think of him.

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Henrik Ibsen's "A Doll's House": An Illustration of Symbolism