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The Transformation of Nora
A Doll's House, by a Norwegian playwright, Henrik Ibsen, traces the transformation of Nora Helmer-childlike, desperation, and her awakening- in which Ibsen effectively creates a dramatic argument of feminism. The play opens on Christmas Eve and Nora learns that her husband, Torvald, has been promoted in his job. Nora is thrilled because she thinks she will finally be able to pay back the loan. She took out a loan to save Torvald's life without his knowledge. Her happiness is marred when Krogstad, the loan shark, learns he will lose his position at the bank to Mrs. Linde, an old school friend of Nora's. Krogstad blackmail's Nora because he learns she forged her father's signature to get the loan. Nora panics and becomes desperate. Torvald learns of Nora's action when Krogstad sends him a letter. Torvald is very angry and tells Nora they can live in the same home but not share the same room. Nora finally sees the truth in her relationship and leaves her family. According to Bernard Shaw, (Torvald) "Helmer is brought to his senses, and that Nora's departure is no claptrap" (Shaw 5-541).
Nora is a delicate character that has been pampered, treated like a child all of her life, by her father, and especially Torvald. It is not her fault she is the way she is; it is mostly Torvald's for spoiling her. Nora relies on Torvald for everything, much like a child that is dependent on its parents for all of its necessities. Nora never leaves the house, mostly because her husband is afraid of the way people will talk. Her carefree spirit and childlike manners are shown throughout the play with statements from Torvald such as, "Is that my little lark twittering out there?" (1166). "Is it my little squirrel bustling about?" (1166). A lark is a happy, cheerful bird, and a squirrel is quite the opposite. If you are to squirrel away something, you are hiding or storing it, like Nora and her macaroons. It seems childish that Nora must hide things from her husband, especially macaroons, but if she did not and he found out, she would be deceiving him and going against his wishes. As stated by Otto Heller, Torvald's treatment towards Nora, "fairly represents the unspecified type of femininity for the purpose of marriage" (Heller 8).
As the play continues, Nora seems to transform from her delicate little character into something much more, she becomes desperate. In the early stages of their marriage Torvald becomes ill. To save Torvald's life, Nora takes it upon herself to borrow money from Krogstad, a money lender and co-worker of Torvald. She is now a desperate criminal. It was illegal because she forged her dead father's signature on the document. Nora keeps her actions from Torvald by telling him her father gave her the money. Krogstad learns Torvald plans to fire him and he will lose his job. He blackmails Nora over her husband's issues. Nora says to Krogstad, "You don't mean that you will tell my husband that I owe you money?" (1185). Panic begins to set in and she begins to feel helpless because she has no power to do anything about the situation. According to Carol Strongin Tufts, Nora "makes use of Kristine as a confidante", since Kristine has experienced suffrage and Nora has not (Tufts 00).
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Torvald's severe and selfish reaction after learning of Nora's deception and forgery serves as the catalyst for Nora's awakening. When Krogstad sends Torvald a letter telling him of the deception, Torvald treats Nora with no respect, calls her a liar and is ready to throw away their marriage just because his name might be hurt. Nora realizes that there is a problem when a second letter arrives clearing Torvald's name. Again Torvald is only interested in his own salvation, completely forgetting about his wife. Nora becomes wise and realizes; "You never loved me. You've thought it fun to be in love with me that's all" (16). Nora's final gesture to leave Torvald and her children declares her separation from the fixed role of a wife. Upon Nora's departure, she understands that she lived her life as only an unquestioning follower or as a doll in a dollhouse. Never being able to choose or express a hope, desire, thought, or wishes, without consideration of the dominant authority in her life. Nora's awakening has transformed her into a wise woman, believing that her self worth is more important.
The story A Doll's House is realistic. It stands for every marriage where equality never took place. Nora was one of the women who knew her place and acted accordingly until she saw her name had no real value. She was not looked at as an individual, but she was seen as her father's daughter or her husband's wife. According to M.C. Bradbrook, "Ibsen said…that his people must have a fate. Nora's fate is to embrace an unknown future" (Bradbrook 6). Nora knows that there is so much more to discover and understand in the world, and until she does she will not allow another man to control her life. In Nora's transformation- childlike, desperation, and her awakening- Ibsen managed to give strength to the feminist movement.
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