What is the significance of the sub-plot in 'A Doll's House'; what contribution do Nils Krogstad and Kristina Linde make towards our understanding of relationships within the Helmer family?

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Muhammad M. Ismail

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English A HL

What is the significance of the sub-plot in ‘A Doll’s House’; what contribution do Nils Krogstad and Kristina Linde make towards our understanding of relationships within the Helmer family?

A Doll’s House by Henrik Ibsen presents the clever employment of climactic plot construction, in which the subplot plays a significant role in aiding our understanding. The plot revolves around relationship dilemmas within the lives of Torvald and Nora. Ibsen has incorporated a sub-plot that serves to provide a contrast with the relationship between the Helmers. The secondary characters of the play, Kristina Linde and Nils Krogstad, have a considerable impact. This essay will consider their significance and the three main aspects involved - direct influence on course of events through blackmail and the two letters; Kristina’s provision of an opportunity for Nora to reveal her secret; and the contrasting nature of the relationships – mutuality compared with dominance.

A sub-plot can enhance the main plot, and facilitate different perspectives on the central themes in a work. It is often used as a catalyst to develop the action’s build-up to the climax of the plot and bring it to the next stage. The writer involves other characters that have a lesser importance to the story in order to illustrate by comparison certain qualities of the protagonists. In this play, Ibsen has included two other important characters, Krogstad and Kristina, as a means to differentiate between the issues that the Helmers encounter and present a different paradigm of behaviour.

The relationship between these two characters constitutes much of the sub-plot. It serves as a contrast and foil to aid the audience’s understanding of the Helmers’ relationship. Kristina and Krogstad’s reunion can be seen as ironic in the context of Nora and Torvald's marriage, because, although they have both suffered their fair share of personal and moral problems, they have a better chance of a happy and true marriage than the latter, one based on mutual need, an open and truthful relationship, and emotional love. They had been in love once, but it was sacrificed by Kristina through financial necessity. Made wiser from years of ‘shipwrecked’ lives, Kristina and Krogstad show maturity and now enter a relationship on roughly equal footing, each dependent on the other.

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In comparison, the Helmers’ marriage was founded on the basis of Nora being fully dependent on Torvald. Nora has encouraged him to continue in this belief; the audience is made aware that Torvald is the economic manager, who feels that Nora is incapable and too immature to handle a matter of such importance. Despite their concern and love for each other, Torvald’s stance of superiority over Nora is evident throughout most of the play. He treats her like a child rather than a mature woman - “being with Torvald is very like being with Papa” and their level of adult ...

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