A name is a powerful thing, for it is how many objects, ideas, or people are introduced. This initial approach can affect the overall interpretation, or even the sensations, this something may bring. By looking at A Doll’s House by Henrik Ibsen one can see how characterization and symbolism may play an influencial role when naming a drama, which is important due to the tools it provides to the reader to help develop a greater insight about the play; as well as foreshadowing crucial events.
At the beginning of the drama, Nora Helmer is portrayed as an ingenuous and lively woman. A woman so oblivious of the world outside the walls that constitute her house, that she unknowingly puts her and her husband’s reputation at risk. She is seen and …show more content…
His inability to acknowledge her by her name is a strong indicator of dominance, the kind of unequal superiority that can be found between a child and an adult. In reality, Nora was given no time nor opportunity to mature; she was simply handed over by her father into Torvald’s hands. Nora’s immaturity is a hot topic among the characters in the play, that is why her sudden wisdom at the end of the third scene cause complete surprise and consternation to the people around her. However, this change was not entirely unexpected to the reader. Nora often described herself as “a wife who has any head for bussiness—a wife who has the wit to be a little bit clever.” (17); in fact, she shows just how clever and resourceful she is by taking it upon herself to save her husband, and to manage …show more content…
The play never leaves the home, it is stationary and meaningful. The reason behind the lack of different settings throught the play is because it symbolizes Nora’s insufficient freedom. Nora is a housewife, and what does a wife require to be one? A house, of course; The domesticity of a home, the warmth and protection a house symbolizes. This all applies to the Helmer household, until Nora realizes the house is, in fact, a prison. This prison held Nora captive for eight years, and for eight years she slept with her warden. Not very often did Nora call her house a home, and when she did she only repeats after Torvald. Although, the object of her imprisonment also happened to house what she loves the most; her children and husband. And the though of bringing something that might befoul her household disturbed her, “Deprave my little children? Poison my home?” (39). However, the belief that her children and house could be corrupted served as another incentive to leave. As a consequence, Nora’s departure becomes strikingly
At the beginning of the drama, Nora Helmer is portrayed as an ingenuous and lively woman. A woman so oblivious of the world outside the walls that constitute her house, that she unknowingly puts her and her husband’s reputation at risk. She is seen and …show more content…
His inability to acknowledge her by her name is a strong indicator of dominance, the kind of unequal superiority that can be found between a child and an adult. In reality, Nora was given no time nor opportunity to mature; she was simply handed over by her father into Torvald’s hands. Nora’s immaturity is a hot topic among the characters in the play, that is why her sudden wisdom at the end of the third scene cause complete surprise and consternation to the people around her. However, this change was not entirely unexpected to the reader. Nora often described herself as “a wife who has any head for bussiness—a wife who has the wit to be a little bit clever.” (17); in fact, she shows just how clever and resourceful she is by taking it upon herself to save her husband, and to manage …show more content…
The play never leaves the home, it is stationary and meaningful. The reason behind the lack of different settings throught the play is because it symbolizes Nora’s insufficient freedom. Nora is a housewife, and what does a wife require to be one? A house, of course; The domesticity of a home, the warmth and protection a house symbolizes. This all applies to the Helmer household, until Nora realizes the house is, in fact, a prison. This prison held Nora captive for eight years, and for eight years she slept with her warden. Not very often did Nora call her house a home, and when she did she only repeats after Torvald. Although, the object of her imprisonment also happened to house what she loves the most; her children and husband. And the though of bringing something that might befoul her household disturbed her, “Deprave my little children? Poison my home?” (39). However, the belief that her children and house could be corrupted served as another incentive to leave. As a consequence, Nora’s departure becomes strikingly