"When I lived at home with Papa, he told me all his opinions, so I had the same ones too; or if they were different I hid them, since he wouldn't have cared for that. He used to call me his doll-child, and he played with me the way I played with my dolls," (Nora, 1579).
This quotation blatantly makes the connection between Nora and a doll. Please further explore the symbol of the doll, either in relation to the story or to the time period in general.
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"And you've always been so kind to me. But our home's been nothing but a playpen. I've been your doll-wife here, just as at home I was Papa's doll-child. And in turn the children have been my dolls. I thought it was fun when you played with me, just as they thought it fun when I played with them. That's been our marriage Torvald."
In this quote, Nora continues to elaborate on the metaphor of the doll. She calls her home a "playpen," wherein she is just a doll, without substance of character or any individuality. In Nora's mind, she is but one of Torvald's playthings. One of the great ironies of the play is this comparison of Nora to a doll, as she is not another colorless, trite decoration, but an ever more individualistic woman.
Good! I really enjoy how you picked up on the element of irony, and the "colorless, trite decoration" addition was very nicely put.
During the time period in which the play is set, upper-class women were expected to be beautiful, unthinking "dolls". Women were not allowed to have their own opinions, and they were always expected to submit to their husbands. Their only job was to look beautiful and to take care of the home. In effect, women were dolls controlled by the men in their lives.
Nora defies society's condescending view of women when she leaves Torvald. Torvald has treated Nora like a doll for many years, pampering her and playing with her like a mindless toy, and she resents this treatment. She is tired of being treated like a child that requires constant supervision, so she decides to leave Torvald. When she does this, she proves that she is not an inferior "doll-child", but a capable, intelligent women who can take care of herself.
The play "A Doll's House" has a very symbolic title as it relates to the theme and plot of the story. The author uses this title mainly as a symbol of Nora's place in society and the idea of her as a doll living in her dollhouse. It is obvious to people such as her father and husband that she is not capable of doing things on her own just like a doll cannot do things on its own. In the beginning of the play, Torvald and her father act as strings attached to her and control her like a puppet. Nora is especially Torvald's "doll" in their house. He refers to her by diminutive pet names such as "little squirrel," "little spendthrift," and "singing lark." Although, we find out later on that Nora isn't going to settle with serving as a doll or "plaything" like all of the other woman of that time did. She leaves her family as an independent woman and figuratively sheds her doll dress.
I completely agree with Andrea; during this time period, women were not seen as individuals, but as possessions of their husbands. Nora is Torvald's possession as a doll. Nora knows she has been treated as a doll her entire life, as the quote John used says, "I've been your doll-wife here, just as at home I was Papa's doll-child"
Nora finally decides she no longer wants to be a doll at the end of the play. When she leaves Torvald, she boldly makes the independent and frowned on decision that she no longer wants to be a "doll-child" or "plaything".
This situation reminds me of a recent song by Priscilla Renea which states, "I tried to be a picture perfect girl, but you were in your own fantasy world, tryin' to control me like some kinda barbie, but that just aint me cause I aint a doll, this aint a dollhouse" This song quote perfectly shows how Nora has tried to please Torvald for the eight years of their marriage but was never good enough in his eyes. She has become fed up with Torvald and leaves him as a result, because she refuses to be treated like a "barbie" any longer.
Torvold views Nora as inferior in every aspect of life and he treats her like a doll as a result. He believes that she has no individualistic traits and will merely conform to his demands and beliefs. Torvold goes so far as to control what she eats, forbidding her from indulging in sweets for fear they will ruin her teeth, and therefore put their perfect public image in jeopardy. He is very concerned with outward appearances and makes sure Nora upholds her looks at all times. All women of this era were expected to maintain a pleasing physical appearance in order to fulfill their duties as a "doll." They existed to make their husbands look good to society, and their every action was controlled by the dominant men in their lives. Although Nora goes along with this lifestyle throughout the majority of the play, she finally seizes her independence as a woman at the end when she decides to leave her family altogether. This shatters the symbol of a doll because Nora is no longer viewed as a weak and indifferent woman with no intellectual power or courage. She proves herself as a strong independent character in this final action and finally leaves the doll house that suppressed her freedom for so long.
I concur, all. I think Nora makes the transition from a doll to an independent being in the final scene of the play. As opposed to their rarity today, all women(above the lower class) were considered trophy wives. They were literally dolls, to be toted around with by their husbands. They didn't contribute to their intellectual status, but to their social status. The appearance of a successful man in public was not complete without an attractive and well-dressed wife. Dolls can also be considered a symbol of conformity. Notice that dolls made by a single company all look the same(baribies, cabbage patch, american girl).Much like the dolls of the Victorian Age, there was a standard for what women should look like and act like as well. There was no ambiguity to the term "feminine", like there is today, in the Victorian age. Everything was defined in black and white. Nora stepped outside of those lines, thus many members of the first audience of Ibsen's play were upset. Rightfully so, they concluded that this action was unfathomable. A doll does not have the ability to make its own decisions; women were supposed to be the same way.
Nora is essentially a possession to Torvald. She is simply something to look at and admire, much like a doll. This type of relationship between husband and wife was not unusual during this time period. Many women were expected to act like dolls and subject themselves to a life based on male dependency. A wife’s lifestyle would just consist of pleasing her husband by turning into the mindless doll that he creates.
Torvald only loves Nora for her appeal, and nothing else. This is evident by the way that he treats her. He does not allow her to work and rarely has a worthwhile conversation with her. When they talk, Torvald simplifies his speech and uses a demeaning tone. He expects her to “look pretty” and fit his vision of the “perfect” housewife.
At the end of the play, Nora proves that she is not a doll by walking out on Torvald. She comes to the realization that her husband never really loved her and that she needs to discover her true self. She finally breaks away from her “doll-like” self.
Thanks to everyone for your commentary! All of you have drawn some insightful conclusions, especially with respect to the time period.
Let's move on to another question:
"Nora: Yes, take care of me, Torvald, please! Promise me that? Oh I'm so nervous. That big party--You must give up everything this evening for me. No business--don't even touch your pen. Yes? Dear Torvald, promise?" (1745).
In this quotation, Nora, although she has an alterior motive behind her words, seems to be fueling Torvald's perception of her as a doll. Is Nora merely responding to the way Torvald has treated her in the past, or has this become a mechanism for manipulation? Is Torvald entirely to blame for the way he treats Nora, or does she help to create this facade herself? Please elaborate on this thought and cite other examples from the play.
Throughout the story, we see Nora controlled by most of the men in her life. Krogstad controls Nora by using her debt to control her actions such as securing his job. Torvald controls Nora's private life through his actions including allotting her a certain amount of money under his control and banning sweets from Nora because of his own personal wishes.
The characters treat Nora as if she was a simple item, something brainless and opposable exactly the way a doll is. Nora, however, is not alone in receiving such treatment from the men of the Victorian society, specifically husbands.
Women of this time were though of as only knowledgeable in the domestic domain of life and that is was necessary for a husband to control that wife because of her inferiority. Ibsen plays off the time period to give his story more meaning and because of this, it is more effective.
I'm so sorry! I didn't see the new post with a different question!
Nora Helmer is shown as a childish and naive housewife with a knack for spending money. This opinion is transferred mostly through Nora's "parent - child" dialogue with her husband, Torvald. Torvald's usual characterization of Nora as an "expensive little person" with a skill of melting his money in her hands clearly illustrates Nora's relation with her husband as being strikingly similar to that of a spoiled child and his wealthy parents. However, during the course of the play, as Ibsen takes the reader through the climax of Nora's pre-liberated life, he shows how Nora develops into a wiser, more determined woman who learns to respect herself. Nora's development from a doll life to a free life is highlighted and guided with her growing courage, her direct attempts to become more equal with her husband, and her increasingly realistic attitude.
The answer to the second question: Nora's realization that her life has been full of unintentional deceit through her relations with Torvald, is what drives her to develop into a more realistic, reasonable and self-respecting woman. Her opinions and thoughts are almost fully repressed at the beginning of the play, when Nora is shown to cower in fear after eating some sweets, an action her husband dislikes. However, Nora plays very well to the facade of her society and fullfilling what Torvald believed to be a good wife by acting very flighty such as a "little song bird". Nora's simple form of manipulation is the way that she felt some respect for herself throughout their relationship.
John, superb quote to start off the doll metaphor. Loved your elegant rhetoric.
Kelsey, I like your encouragement which ties into his actual words.
Andrea, great explanation of Nora's overcoming of her societal limitations.
Channing, I love your comment of "figuratively shedding the doll dress".
Ashley, I love the song tie-in!
Kristen, strong analysis of the characters of Trovald and Nora
Coleen - I like the comment about dolls being considered a symbol of conformity.
Deidre - good job of pining down
Trovald's character
Anne Stuart - wonderful redirect with an effective quote.
Abby - nice portrait of a Victorian woman.
Alyssa, nice tracing of Nora's development.
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