A Doll’s House was initially written towards the nearing of the twentieth century by Henrik Ibsen. A time when time-old tradition and good social behaviors we only tolerated and the family circle was a sacred institution in which both husband and wife lived with certain codes; dignity that was the norm. As a result this play did not receive the welcome it deserved as a reflection of the reality it depicted: deceit, dissatisfaction, lust, misunderstanding; etc.
Since the play reflects society the audience can easily relate to the play and thus feel as though they are a part, therefore his writing techniques are noteworthy in relation to the effect it has. Considering the opening of the play in which we’re given the impression that they’re a happily married couple, a family of love. Both supporting one another, living an honest life where Helmer is presented as being the prefect husband and Nora the perfect wife. I believe Ibsen has been able to skillfully set about the play in a manner that makes us believe there is a somewhat a tranquil atmosphere.
This later can be contrasted against the developing sinister truths that emerge with regards their relationship; could quite possibly draw attention to the problems as dramatically and seemingly a small issue a couple that have ‘been married for eight years’ split each going their separate ways. Healthful relationships of that of a husband and a wife have certain features and characteristics and a relationship one like that of a father and a child between the couple can’t be reflective of those features and as a result can’t be good for the marriage.
With Nora from the outset pretending to be the submissive darling wife to her husband has but left the audience understanding her true nature. She’s anything but a ‘prefect’ wife and could pass of as a wife-in-training or a juvenile as she’s also seem in her husband’s eyes, but to him decorated in his eyes of lust. ‘Pops the bag of Macaroons in her pocket and wipes her mouth’, determined to get rid of all evidence from her husband that she has been secretly indulging in contraband sweet.
A grown women sharing a vaguely innocent trait as that of a child, in the same scene Helmer ‘goes over to her and takes her playfully by the ear’ it’s as if he is the dominant one, as if he’s the father and Nora the blissful child. But Nora isn’t all that green and takes advantage of his paternalism because it may seem that she enjoys being a spoiled little child who is a ‘little spendthrift. ‘ Helmer and Nora are both dominant in their relationship although one more power in their own domain, with Helmer is his capability of bringing money in the relationship, he’s the bread-winner, ‘he’s just been made vice-president of the bank…
and he’ll be getting a big salary and lots of percentages’, talking boastfully of her husband’s new found wealth Nora goes on to her friend. Therefore it quite easy to see his control over Nora financially. Nora acknowledges the fact she knows he prides himself on his achievements and capabilities as she says ‘he’s so proud of being a man it’d be so painful and humiliating to know he owed anything to me. It would completely wreck our relationship. ‘ The above claim also is indicative of the fact Nora’s behavior may be due to in keeping with her husband’s need of maintaining his egocentric self importance.
She also shows she’s not all that naive and insightful as she shows knowledge of the importance for her to feel important and the consequence ‘this life we have built together would no longer exist. ‘ This suggests their relation is superficial with not strong foundation of trust, true understating and love. Still, it’s not fair to conclude that Nora doesn’t have as much to benefit as does Helmer form the way their relationship is although it will not be long-lasting. She uses her beauty, her seductive powers in order to win over her husband.
‘Plays with his coat button; not looking at him’ and then ‘she throws her arms around his neck. Nora in this regard I believe to be very clever, her ability to fulfill her desire and want financially is incredible but it also more than that. ‘When it no longer pleases him to see me dance and dress up and play the fool for him it might be useful to have something up my sleeves. ‘ Therefore Nora is doing it for as long as it last and just trying to get her cut. And as a result she’s not hundred percent devoted to her husband never the less she still loves her family.
It’s in the third scene we starts to see a different side to both Nora and Helmer. He says of her ‘my most treasured possession’ one whom he can exploit and use seems he ‘possess’ her. ‘When I saw you dance the Tarantella like huntress a temptress my blood grew hot… I seized you and dragged you down… ‘ The feeling a child and parent like relationship is lost in his scene and strength off a woman’s sexual affinity to a man. The ‘little squirrel’ or ‘sky lark’ or ‘songbird’ was suddenly transformed right before his eyes into a ‘distractingly beautiful young women.
‘ In this act the artificial curtain of innocence is lifted and it comes under the spot light and the truth is revealed and Helmer no longer sees Nora as a child but a women. Showing he truly different love her ‘just what she represented’, beauty, fantasy and practically served as amusement, without any strings attached and trouble-free. ‘In eight whole years… we have never exchanged a serious word on a serious subject. ‘ This is when truth was revealed and their long awaited characteristics were finally defined at this climax.
And it’s after this point they have ‘their first and final talk’ at first it seemed to all fun and games now it’s serious he even dares to refer to her as a ‘wretched women. ‘ All those childlike references were gone and Helmer’s real side revealed. He believes that she should take responsibility for what she has done; he no longer wants to protect her. His good name meant more to him than his wife. ‘People may think I was behind it… I may quite easily be suspected.
‘ It’s after this point all goes bad, ‘I’m saved’ the exclaims in relief and tries to reverse the mood that destroyed an eight year old marriage. He goes back to calling her ‘poor little Nora’ moreover he says ‘lean on me’ but Nora finally ‘understands’ the truth and what she has to do. She says ‘I can no longer be married to such a man’, not out of spite for him but in order to discover herself. ‘Yes, Torvald. I’ve changed’, says Nora. This is clear Nora has grown up the little ‘skylark’; ‘little bird’ has spread her wings for the first time.
She has sudden new opinions of herself, no longer will she ‘simply [take] over [his] taste in everything’, she wants her own memory so to speak. She believes she’s ‘been your doll wife… ‘ and at the cost of sacrificing her children’s relationship to order to discover herself. Torvald is left in the middle. To conclude, it would be fair to say that their relationship has not at all developed in a posative way. And great revelations have been made with regards to the truth of twentieth century marriages.
