But she has never told him where the money came from, as his pride would suffer.
Her whole life is a construct of societal norms and the expectations of others. Until she comes to the realization that her life is a sham, she spends her whole life in a dream world. Until her change, Nora is very childlike and whimsical.
Her first act on stage is her paying the delivery body. Though his service only costs p.
Though an additional p. She hands him the hundred and before he can thank her, she decides in the middle of the transaction that she is not patient enough to wait for change.
The fact that this seemingly mundane occurrence is presented as the first action on stage showcases the reckless attitude implied. Fiscal irresponsibility is a prominent factor in the advancement of the plot.
Another aspect of the crimewhich was not elaborated on so much, is that even if the documents were not forged, Nora did not have any means to repay the loan anyway. Nora could be excused for trusting Krogstad not to blackmail her, but not recognizing that the loan would have to be repaid is inexcusable.
Though at one point we are led to believe that whenever Nora would pry money away from Torvald, she would reserve half of it to repay the debt, when Krogstad confronts her, she confesses that she is not, in fact, in possession of the remaining balance.
An important aspect of a dream world is the suspension of cause and effect. One example of her disregard for others is when she blames Mrs. Linde1 for smuggling forbidden macaroons into the house.
Though she is just trying to hide her indiscretions, she does not care whom she hurts in the process. Another aspect of the dream world is the acquisition of material possessions; Nora is always trying to make herself happy by buying things: She has never spent serious time with her husband of nearly a decade, and is always dumping her children on the nurse rather than bonding with them herself.
This practice may have been common at the time the play was written, but Ibsen is clearly not ashamed of bold social criticism Chandler Though she is infatuated with the acquisition of possessions, she herself is a possession of Torvald.
When Torvald enters the scene, Nora's childlike behavior becomes more patent. Torvald calls her pet names "little lark", "little squirrel", and "Little Miss Extravagant".
Nora is being treated like a cute little girl and she happily accepts the epithets. Torvald finds himself having to restrain Nora with rules, much as a father would have to inhibit a child, forbidding her from pursuing candy and other temporal pleasures.
The maturity level Nora exhibits demonstrates that the relationship between Torvald and Nora is more like father and daughter than husband and wife. Ford She whines at Torvald3, exhibits poor judgment4, does not care about the consequences of her actions5, and immaturely shuts her ears to unpleasant thoughts, placing her hand on her mouth and exclaiming, "Oh!
Don't say such things!Nora Helmer. At the beginning of A Doll’s House, Nora seems completely happy. She responds affectionately to Torvald’s teasing, speaks with excitement about the extra money his new job will provide, and takes pleasure in the company of .
In "A Doll's House", Mrs.
Kristine Linde, Nora's somber, lonely friend, seems like a minor character at first, yet helps to shift the play's conflict. One of the most complex characters of 19th-century drama, Nora Helmer prances about in the first act, behaves desperately in the second, and gains a stark sense of reality during the finale of Henrik Ibsen's " A Doll's House".
Christine Linde, Nora Helmer's contemporary, serves as a direct comparison with Ibsen's heroine. By recounting how she denied her rights to love and self-determination by marrying for financial security, Christine foreshadows how Nora will confront a bitter future after learning that .
In Henrik Ibsen's A Doll's House, Nora Helmer spends most of her on-stage time as a doll: a vapid, passive character with little personality of her own.
Her whole life is a construct of societal norms and the expectations of others. Nora is by far the most interesting character in the play. Many critics have pointed out that such an immature, ignorant creature could never have attained the understanding and revolutionary qualities that Nora has at the time she leaves her home.