Throughout A Doll’s House, Henrik Ibsen illustrates through an intriguing story how a once infantile-like woman gains independence and a life of her own. Ibsen creates a naturalistic drama that demonstrates how on the outside Nora and Torvald seem to have it all, but in reality their life together is empty. From a girl confined by her husband’s rules to a woman who finally puts her own wellbeing before others, she comes into her own over the course of the play. Nora Helmer was a delicate character and she relied on Torvald for her identity. This dependence that she had kept her from having her own personality. Yet when it is discovered that Nora only plays the part of the good typical housewife who stays at home to please her husband, it is
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They serve the same function; both are ornamental and add charm to the Helmer household. She dresses up the tree just like Torvald dresses her up for the party. It is interesting to note how Nora will not allow her maid or children to look at the tree just like she won 't let Torvald look at her before she is dolled up the costume party. This is emphasizing her role as a plaything within the house role as a trophy wife for Torvald as he insists on her continual appearance as a “dream of loveliness” (1049). This symbolizes that Nora is the keep of appearances. It shows there is a contrast in appearance and reality in Nora’s marital life. Her act of hiding the true inculcates the doubt that there are secrets in her life and she does not want to disclose them before she manages them. She has borrowed money from Krogstad for the treatment of her ailing husband, but she is unable to pay it off. So she is concealing this matter by trying to convince Torvald to keep Krogstad in his job. Nora has carefully maintained appearance of the happy marriage under the encroachment of truth. The tree also shows that Nora has accepted her role in the home and that she is only valued for her beauty. However, the Christmas tree also parallels Nora’s own personal journey in the play. In the play, Ibsen soon reveals that images of perfection cannot endure. As Nora slowly recognizes Torvald’s impending discovery of the loan, the Christmas tree is described in the stage directions as “stripped of ornament, [with] burned-down candle stubs on its ragged branches” (1030). Along with this description, Nora also strips herself of her prior views and begins to understand her primary obligation; to be true to herself. She finally bares herself to Torvald and tells him what is really going
They serve the same function; both are ornamental and add charm to the Helmer household. She dresses up the tree just like Torvald dresses her up for the party. It is interesting to note how Nora will not allow her maid or children to look at the tree just like she won 't let Torvald look at her before she is dolled up the costume party. This is emphasizing her role as a plaything within the house role as a trophy wife for Torvald as he insists on her continual appearance as a “dream of loveliness” (1049). This symbolizes that Nora is the keep of appearances. It shows there is a contrast in appearance and reality in Nora’s marital life. Her act of hiding the true inculcates the doubt that there are secrets in her life and she does not want to disclose them before she manages them. She has borrowed money from Krogstad for the treatment of her ailing husband, but she is unable to pay it off. So she is concealing this matter by trying to convince Torvald to keep Krogstad in his job. Nora has carefully maintained appearance of the happy marriage under the encroachment of truth. The tree also shows that Nora has accepted her role in the home and that she is only valued for her beauty. However, the Christmas tree also parallels Nora’s own personal journey in the play. In the play, Ibsen soon reveals that images of perfection cannot endure. As Nora slowly recognizes Torvald’s impending discovery of the loan, the Christmas tree is described in the stage directions as “stripped of ornament, [with] burned-down candle stubs on its ragged branches” (1030). Along with this description, Nora also strips herself of her prior views and begins to understand her primary obligation; to be true to herself. She finally bares herself to Torvald and tells him what is really going