A Doll's House Character Analysis
President John F. Kennedy once said that, “conformity is the jailer of freedom and the enemy of growth.” This concept has been seen through centuries of civil rights movements and literature by renowned authors such as Franz Kafka and Henrik Ibsen. Franz Kafka’s short story, “The Metamorphosis,” illustrates the life of traveling salesman Gregor Samsa, the breadwinner of his family who seems to face a transformation that affects his role in his house and society. This change into an unknown insect, both physical and mental, ultimately leads to his loss of humanistic characteristics and eventually death. In Henrik Ibsen’s play A Doll’s House, a young woman named Nora surpasses the bounds of a housewife when attempting to save her husband’s life.
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At the start of the play, Nora is seen as a caring mother and wife; however, this is an affectation of joy and contentment. In reality, her true character is held enslaved by her tyrannical husband. Her demeaning nicknames, “skylark” and “little song bird” truly are a metaphor for her mental and physical imprisonment to the societal roles of being a mother and wife. Nora accepts this captivity, however, evident through her own use of her nicknames throughout the story in order to pry money from her husband and follow all of his commands. At this point, the audience begins to sense superficiality and materialistic behavior from Nora, but this view soon changes as Ibsen reveals his realistic writing style. Deceit is first seen as she consumes macaroons secretively, in spite of her husband’s disapproval. She begins to reassure to Torvald that she, “should not think of going against (his) wishes’,”(Ibsen,1.4) and is dishonest once again when telling him Chritine Linde and Dr. Rank brought her the desserts. This fraudulence continues as she searches for a way to hastily pay a debt which her financially independent husband is unaware of. She hides the truth from her husband in the same manner she participates in a game of “hide-and-seek” with her
At the start of the play, Nora is seen as a caring mother and wife; however, this is an affectation of joy and contentment. In reality, her true character is held enslaved by her tyrannical husband. Her demeaning nicknames, “skylark” and “little song bird” truly are a metaphor for her mental and physical imprisonment to the societal roles of being a mother and wife. Nora accepts this captivity, however, evident through her own use of her nicknames throughout the story in order to pry money from her husband and follow all of his commands. At this point, the audience begins to sense superficiality and materialistic behavior from Nora, but this view soon changes as Ibsen reveals his realistic writing style. Deceit is first seen as she consumes macaroons secretively, in spite of her husband’s disapproval. She begins to reassure to Torvald that she, “should not think of going against (his) wishes’,”(Ibsen,1.4) and is dishonest once again when telling him Chritine Linde and Dr. Rank brought her the desserts. This fraudulence continues as she searches for a way to hastily pay a debt which her financially independent husband is unaware of. She hides the truth from her husband in the same manner she participates in a game of “hide-and-seek” with her