A Doll’s House by Henrik Ibsen: Analysis Essay
A Doll House by Henrik Ibsen The main obscurity and predicament in “A Doll’s House” are apparently the character of Nora who appears to be the popular heroine in the play. Regardless of what people might say of her, there are various counter arguments or competitive interpretation that might be put forward to ascertain her revival or return. The implication of these statements is that the will of famous characters is obscure and full of ambiguity something that might surpass rational understanding. It might be reasonable enough to pick this character in the manner that has been presented to the reader as it is apparent that the characters have some of sovereignty of absurdity. Nora might be seen by many readers as a character whose behavior are totally and completely understandable in the perception of the contemporary philosophy which makes her typical as opposed to an exceptional character.
Nora is a dramatic person in the sense that her exodus is a sign of her obdurate honesty, her ardent sense of herself, her total denial to have a living where she cannot be in complete control of her activities shows it all. Her actions are rebellious and completely at liberty puts value on the worthy, given the polluted society she is refuting. The notion of such an individual behaving in such a manner might scare the reader given such behavior demands for concessions that the reader might make for the character to live in the Doll house (Ibsen 127). Such a perception of independence poses a challenge to the thoughts of what has been done and what is being done in individual’s life. The modernists who were somehow pissed off at the end of the play were being more sincere about their own emotions.
Nora is likely to return as it is revealed in the story. This can be reasoned in the perspective that Torvald who seems to be in charge and above all most liked in the community and the male head of the house is being manipulated expertly by Nora. Torvald who might seem to adopt a traditional control of the tone, in alignment with the rules concerning macaroons and money, however in real sense Nora tends to have her own method of spending the money and consuming the macaroons. As far as her wishes permit she seems to get more than what is bargained for by Torvald. Moreover, there might be a good judgment that Torvald is aware of their affiliation which calls for him to give the rules only for Nora to go against the rules. This is apparent when Nora’s lips are full of sugar that is brushed off by Torvald after Nora denial of consuming any candy.
In addition, the play staging proposes strongly that the living room where the performance takes place is Nora’s monarchy. More in this scene are dependent on the organization of stage which of course Torvald tends to be much attentive to shift to his study rather than to remain in that very room. Conversely, even if he might wish stay in his study Nora seems to have her own way of bringing him out as she wishes (Ibsen 2). Some readers might resist as to their true feelings to the disgracing animal pet names used by Torvald such as squirrel, sky lark or singing bird even though the comparison of their meanings to their contemporary similarities such as cutie pie or honey or baby might not be known for a fact. As a matter of fact, Nora finds these words as not acceptable during some occasions yet she sometimes uses them for her effective cohabitation with Torvald.
There are circumstances that might lead to her return in the sense that her predicaments as something that is fundamentally inflicted on her from the community around her. This is especially from the male dominated society which the reader might have a feeling that the play has eventually become modernized. All in all by making developmental steps and leaving the action and the subsequent events to assume a self imposed life much is easier in different ways for the men and women. Some readers might assume that Nora can get herself into self help groups, begin studying at the nearest institution and rapidly set herself in a self-supporting business. There is much that strong willed women can do if they desire to be free from the male dominated society. Nora should first free herself from the “chivalric ideal and the notion of a female mind” for her to forge a head (Ibsen 145).
Ibsen, Henrik. A Dolls House. In Four Major Plays. Trans. James McFarlane and Jens Arup. Oxford: Oxford University Press, 1981. Print.