With close reference to language, analyse Nora's character throughout the play
A Doll’s House by Henrik Ibsen With close reference to language, analyse Nora’s character throughout the play. (800 words) In ‘A Doll’s House’ Ibsen’s use of language reflects on the dramatic change we see in Nora’s character. Ibsen uses issues that arose during the 19th century to construct themes and most importantly build up characters, all with their own distinctive language. Nora’s character changes from the beginning of the play to the end and Ibsen does this with the use of her change in language. At the beginning of the play, Nora is still a child in many ways, listening at doors and guiltily eating forbidden sweets behind her husband's back. She has gone straight from her father's house to her husband's, bringing along her nursemaid to emphasize the fact that she's never grown up. She's also never developed a sense of self. She's always accepted her father's and her husband's opinions. And she's aware that Torvald would have no use for a wife who was his equal. But like many children, Nora knows how to manipulate Torvald by pouting or by performing for him. In the end, it is the truth about her marriage that awakens Nora. Although she may suspect that Torvald is a weak, petty man, she clings to the illusion that he's strong, that he'll protect her from the consequences of her act. But at the moment of truth, he abandons her completely. She is shocked into reality and sees what a sham their relationship has been. She becomes aware that her father and her husband have seen her as a doll to be played with, a figure without opinion or will of her own; first a doll-child, then a
doll-wife. She also realizes that she is treating her children the same way. Her whole life has been based on illusion rather than reality. When we first see Nora and Helmer together in the beginning of Act One she is Extravagant and we notice that she is financially reckless; “Oh yes, Torvald, we can be a little extravagant now can’t we? Just a tiny bit? You’re getting a big salary now, and you’re going to make lots of money”. She uses short phrases within a series of questions and exclamations: this shows her child-like behaviour. She is influenced by money, ...
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doll-wife. She also realizes that she is treating her children the same way. Her whole life has been based on illusion rather than reality. When we first see Nora and Helmer together in the beginning of Act One she is Extravagant and we notice that she is financially reckless; “Oh yes, Torvald, we can be a little extravagant now can’t we? Just a tiny bit? You’re getting a big salary now, and you’re going to make lots of money”. She uses short phrases within a series of questions and exclamations: this shows her child-like behaviour. She is influenced by money, having no independence and always relying on Helmer, she doesn’t understand the value of it. He gives her status. Nora has a Fast tempo whilst speaking; this shows her excitement and childlike behaviour, “pooh”. When talking to Helmer Nora is manipulative, she uses his nicknames on herself in order to please Helmer, “squanderbird”. She is scared of Helmer (as a father figure he may punish her), therefore accepting anything he says; “Very well, Torvald. As you say”. She is Flirtatious and ‘plays with his coat buttons’ in order to get what she wants. Nora’s domination in the conversation with Mrs Linde and her use of repetition of the word ‘I’ shows that she is in a sense showing off and trying to be superior in front of Miss Linde. We see this in Act One when she meets with Mrs Linde; “I too have done something to be happy and proud about. It was I who saved Torvald’s life”. Nora is trying to gain respect from her friend by revealing a secret that she thinks will illustrate her practical side, showing that she is a supportive wife and has also had to face troubles. “Years from now, when I am no longer pretty”, Nora keeps the secret from her husband to maintain status quo. She will tell him in the future when she is no longer pretty and she will need to gain his respect through other means than playing games and dressing up. Ibsen uses Prosodic features: fast tempo, emotional; in order for us to know that that here Nora is erratic. In Nora’s two long speeches, on pages thirty six and thirty seven we learn more about her character through her use of language. She uses rhetorical question, as she needs reassurance, she is trying to justify her actions and persuade Mrs Linde to agree with her; “What do you think of my big secret”. The use of her having long speeches show she is boasting about her secret. She is more confident as she is given the opportunity to speak for a long time; this is very different from her speeches with Helmer, as he’s in control. Nora plays the role of a doll wife, what is expected of her, she associates a man with being in control; “almost like being a man”. “If anyone should try and take the blame, and say it was all his fault”, here Nora holds a romantic view. She expects a miracle from Helmer. She assumes that her husband will act nobly to save her reputation and will take the blame on himself by falsely confessing in court that he had forged the signature. In this conversation with Mrs Linde Nora is melodramatic, a lot of exclamations are involved; “Oh yes, wait a moment-!” this shows a sense of relief/excitement. Nora is that of a very Flirtatious, daring, and flamboyant character when she’s with Dr Rank. The fact that her husband isn’t there and Dr Rank could support everything she says or does. “I’ve the most extraordinary longing to say “bloody hell”. Nora breaks free from her language conventions, this shows childlike behaviour, this phrase shows Nora’s rebellious streak. She also shows this whilst eating the macaroons and hiding it from Torvald. When Nora is talking to Dr Rank she is very playful and flirty. There are a lot of paralinguistic features that show she is flirting; ‘puts both her hands on his shoulders’. She uses provocative language with underlying meanings; “Flesh-coloured. Aren’t they beautiful?” Nora is self obsessed, she treats the news of Dr Rank’s illness coldly, she doesn’t want to focus on negative things, she does this by putting her hands over her ears, and this is a childish gesture to literally block out bad news. At this stage of the play Nora knows nothing else apart from flirting, this being the only way for her to keep her conversation going. She also manipulates Dr Rank in act two, where she is flirting to Manoeuvre for a chance to ask him to pay off debt. She is able to act differently in front of Dr Rank and Mrs Linde, as they treat her as a friend. They respect her and are not as patronising as Helmer. When we read about the first meeting with Krogstad, Nora acts very superior; “What right have you to question me? Mr Krogstad you one of my husbands subordinates”. This is due to the fact that he knows her secret and can expose her; there is a sharp focus on her words. Again, when Nora is talking to Krogstad she is courageous and feels like a hero; “Hasn’t a wife the right to save her husband’s life?” she thinks that she’s done nothing wrong, having a romantic and naive view of life. Nora is unsure of her words as she has a fast tempo. Nora can be restless, anxious and melodramatic. We see this when she is with Helmer at the end of act 1; “Corrupt my little children, poison my home, it isn’t true, it couldn’t be true”, she uses melodramatic language. She is avoiding her children as she thinks that moral corruption could be hereditary. In act two when Nora talks to Helmer about keeping Krogstad on at the bank she is very flirtatious and manipulative, “Squirrel would do lots of pretty tricks for you if you granted her wish”. In Act three when Torvald finds out the truth and Nora sees his reaction she is shocked. This causes a dramatic change in Nora’s character. She is direct, open and honest; “yes, Torvald, I’ve changed”. She doesn’t belong to Torvald anymore; she’s changed out of her fancy dress costume which symbolises that she’s not playing the role expected of her anymore. It’s time for her to face reality. Nora is now in control of the conversation, she is cold, rational, serious and determined; “Our home has never been anything but a playroom. I’ve been your doll-wife, just as I used to be papa’s doll- child”. Nora has realised that she wants to be treated as an individual. All her excepted ideas are now called into question. She uses a series of statements; she asks no questions as she no longer has any need for reassurance. Nora no longer uses her childlike expressions “pooh”. She is commanding, confidant and has no hesitation, “Sit down”. Her paralinguistic features are now different, she is no longer walking around but instead she has her bag and coat on ready to leave, this shows her determination. Nora has ‘grown up’.