Nora also displays a bit of self-doubt, which is largely due to her being treated like a doll all her life. Linde a beautiful and perfect picture of her life, by immediately telling her that she has three beautiful children and that her husband now has a magnificent position at the bank. At the same time, she also believes that she is not given the credit she deserves.
Nora is guilty of committing forgery, an innocent mistake she commits in her desperation to save her husband from his illness. However, this eventually leads to her being blackmailed by Krogstad. Nora presumes and dreads that once her crime is revealed, Torvald will take the blame on himself and even go to the extent of taking his own life.
This shows that Nora trusts her husband, despite his dominating and patronizing nature. Read an in-depth analysis of Nora. Torvald delights in his new position at the bank, just as he delights in his position of authority as a husband.
He treats Nora like a child, in a manner that is both kind and patronizing. He does not view Nora as an equal but rather as a plaything or doll to be teased and admired. Read an in-depth analysis of Torvald Helmer. His willingness to allow Nora to suffer is despicable, but his claims to feel sympathy for her and the hard circumstances of his own life compel us to sympathize with him to some degree.
Also, we learn that Mrs. It rings hollow, but again dislodges an uncomfortable fact. Without the liberating effects of money, the social constraints we like to believe are of the past can easily reappear. This article appears in the 26 Feb issue of the New Statesman, The death of privacy. Photo By Marc Brenner. Coming to you daily during COP Women like Nora relied on women like Anne-Marie to do the basic mothering. And Anne-Marie, like so many others, is, as she says, "a poor girl what's got into trouble and can't afford to pick and choose.
Nora: Tell me, Anne-Marie - I've so often wondered. How could you bear to give your child away - to strangers? Nurse: Oh no, indeed she hasn't. She's written to me twice, once when she got confirmed and then again when she got married.
Nora is not really thinking about Anne-Marie - she is imagining the scenario if she is forced to give up her own children. This has made her see Anne-Marie a little better. Throughout A Doll's House there are reminders that there are fates and hardships much worse than anything in the Helmer household, which is no more than a doll's house. One of Helmer's most absurd and revealing moments is when he sneers at Mrs Linde's knitting on which she depends for a living and tells her she should do embroidery - "it's much prettier".
Look - arms all huddled up - great clumsy needles going up and down - makes you look like a damned Chinaman. Nora's insensitivity is at its starkest in her conversation with Dr Rank, who has come to tell her he is dying. First she expresses "relief" when he tells her his bad news is about himself. Then when he tells her that "within a month I may be rotting up there in the churchyard", she says: "Ugh, what a nasty way to talk!
And I did hope you'd be in a good mood. Instead of which he tells her that he loves her, and her feminine ethic forbids her to ask him for the loan. It is dramatically complex and there are many ways for an actress to negotiate it, requiring more or less sympathy from the watching audience.
But the truth is - however we sympathise with the trap she is in - Nora is not a very sympathetic woman. Others - including other women made up by Ibsen - would have had more human sympathy, more capacity for imagining other people. Great tragedy asks us to care for flawed or even stupid people - Pentheus, Othello, Macbeth - but the glory of A Doll's House is that it asks us to care for a small-minded person, in the moment of her realisation of her own small-mindedness.
The moment when Nora dances the tarantella is one of the great moments of theatre. As Toril Moi points out, the stage instruction that her hair should come down indicates that she is seen as a sexual object by Rank and Helmer, the two watching men. The solo tarantella, a wild dance as opposed to the stately courtly tarantella, is associated with the "curative" tarantella, an uninhibited wild dancing, often days long, or danced until the dancer drops, which was supposed to work out the poison of the bite of the tarantula spider.
Nora can express in her body the violence of her desperation, and also her realisation that it is indeed desperation. Mrs Linde tells her that she is dancing as if her life depended on it, and Nora replies tersely, "It does. Helmer's response to her revelation of her forgery and its results is inadequate and wounding. He, too, is a person of limited imagination.
He too, I think, has a right to our sympathy, a man trapped in a doll's house. However pompous he is, however tooth-grating his cosseting of his "songbird", however much he is immersed in mauvaise foi, the play is moving because he does love her and does not understand her departure. Moi quotes the philosopher Stanley Cavell on this.
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