Relationship Between Nora And Torvald's Childhood Friend example essay topic

A Doll House is a play written in 1879 by Henrik Ibsen. The play is a journey of the character Nora's self-discovery and struggle against the oppression of her husband Torvald and the society that he represents. Ibsen uses non-verbal elements such as screen directions and setting descriptions to symbolism aspects of characters and their relationships to each other. The opening scene of A Doll House is preceded by a description of a room in the house in which the two main characters, Nora and Torvald Helmer, live. "A comfortable room, tastefully but not expensively furnished".

This description represents the Helmers' place in society. They are middle class, not extremely wealthy, but with enough money to survive comfortably on. Middle class society in Norway in this time was quite patriarchal. There were strict social edicts about a woman being a good wife and mother.

Women who tried to find independence, or were forced to work like Nora's best friend Mrs Linde, were often seen as lesser beings. This first setting description sets the scene for the entire play and supports the controversial main theme of the play, Nora's rebellion against this rigid society in her final decision to leave her husband when she realises she needs to make something of herself and find independence. Non-verbal elements are used to develop Torvald Helmer as a character. The way that Torvald treats and sees Nora is the main device in which the audience is positioned to see Torvald, as a patronising and controlling man and husband.

In Act 3 it is revealed that the mailbox is for Torvald alone to access as only he holds the key. NORA "We " re lost, the letter's in the mailbox". MRS LINDE "And your husband has the key?" NORA "Yes, always " Torvald's study is also a private room that Nora is prevented from entering. This shows that he does not perceive Nora as intellectual enough to be involved with any business or for that matter, any important matters in life.

Again Ibsen uses non-verbal elements in the play largely to construct the character of Nora. The Christmas tree, which is described in the opening scene, is a parallel with Nora's life and emotions during the play. The same as "The children mustn't get a glimpse of it (the tree) till this evening, after it's trimmed". Nora is not allowed to be seen out of the house unless she is looking beautiful and acting like a proper wife and mother. This opening message begins to convey to the audience the values of the society the play is set in. Another non-verbal element used to express Nora's helplessness in her situation is expressed in the first act when it is revealed that Nora does not even own a key to her own home.

"A bell rings in the entryway, shortly after we hear the door being unlocked, Nora comes into the room... ". In the first act, Nora buys herself a bag of macaroons that she has been prohibited to eat by Torvald. .".. Torvald had forbidden them... He's worried they " ll ruin my teeth".

This is a foreshadowing of Nora's final rebellion against Torvald. This also serves to form a connection with the two characters Mrs Linde and Dr Rank who are aware that Nora is lying to Torvald when she says, "Yes but these are some that Kristine (Mrs Linde) gave me" The Tarantella dress that Nora wears in Act 2 is perhaps one of the most powerful symbols of Nora and her relationship with Torvald. "Torvald wants me to be a Neapolitan peasant girl and dance the Tarantella that I learned in Capri". This again shows Torvald's assumed control over her on the grounds that she is his wife and therefore is his possession. By choosing her dress and asking her to dance the Tarantella he controls her sexuality. He wishes to show Nora off, as if she is a doll, to all the guests at the party they attend with the knowledge that afterwards, she will be his.

"All this evening I've longed for nothing but you... my blood was pounding till I couldn't stand it, that's why I brought you down so early". Ironically, only Nora knows, with the knowledge that she is going to commit suicide after the dance, that this dance and this night is her final chance to be a doll for Torvald. The way that she dances conveys this to the reader who knows the truth, but not to Torvald, who is completely unaware of Nora's secret plan. However, he does notice that her dancing is somewhat over exuberant, .".. the performance may have been a bit to naturalistic- I mean it rather overstepped the proprieties of art".

Furthermore, it is Nora's Tarantella costume that makes her a possession of Torvald, and makes her his doll wife. In Act 3, when Nora decides that she must leave Torvald and "stand completely alone... and discover herself and the world out there... " she changes out of her Tarantella costume and puts on her regular clothes to leave the house where she has been 'imprisoned' by Torvald for such a long time Finally, it is not only the clothes that Nora wears to dance, but also the dance itself that carries symbolic meaning. The Tarantella is a popular native dance of Southern Italy. The name Tarantella derives from the name of a poisonous spider; the Tarantula. In fact when a person is bitten by the Tarantula they begin jumping to relieve the pain and this jumping is the first step of the Tarantella dance. This dance can be compared to Nora trying to rid herself of the pain and problems of her life.

It has also been said that when the dance is stopped, the victim will die. This relates to the suicidal intentions of Nora as she plans to kill herself after this dance. The porcelain stove has very symbolic meaning throughout the play. It is portrayed as the heart of the domestic space. It is often referred to as a provider of warmth and comfort. "lets get cozy here by the stove". Additionally, the stove symbolizes Nora's place as a wife and the way society expects her to act in this role.

Whenever Nora moves towards the stove in the play she moves back to her place as a wife. For example; NORA (going towards the stove) "Yes whatever you say Torvald", and when Helmer and Krogstad are discussing "bank business" NORA (nods indifferently and begins stirring up the stove". Non-verbal elements are used in a lesser way to develop a relationship between Nora and Torvald's childhood friend, Dr Rank. The depth and complexity of this relationship is revealed to the audience through non-verbal elements such as the lamp. This serves to heighten the meaning of certain events, especially the conversation between Dr Rank and Nora when he reveals to her that he is in love with her.

The main part of the conversation takes part in very low light, conveying to the audience that it is a private and perhaps secretive exchange. When Dr Rank is on the verge of professing his love to Nora, "You know that you can trust me more than anyone else". And "Do you think (Torvald's) the only one who'd gladly give up his life for you". Nora orders the light to be brought in to bring the reality, that she is married to Rank's best friend and that Rank is dying of syphilis, back to the situation. She asks Rank, "Aren't you a little bit ashamed, now that the lamp is here". The light is again used as a symbol of information being revealed when Torvald finds out the truth about Nora's forgery and Krogstad's blackmail against him.

At the end of the final scene, when Nora leaves the house assumedly for good, the screen directions help to provide closure for the play and for the audience. Although this is still a very open ended play, and many watchers would be left wondering how Nora survives and whether she manages to change her life for the better away from the controlling influence of Torvald. "From below the sound of a door slamming " shows that she has walked out of her past life for good. In conclusion, Ibsen uses non verbal elements such as screen directions and screed descriptions to add a heightened dimension of meaning to the characters in A Doll House and their relationships throughout the play and as powerful symbols that help Ibsen to convey ideas and themes in the play.

Four Major Plays Henrik Ibsen.