Is it not true that in many instances children are able to think more clearly than the adults surrounding them? Throughout "A Doll's House," the elitist Torvald constantly calls his wife a "child" or other inferior names. I was disgusted by his attitude towards his wife throughout the play, but in the final act I found that the "child" label may be fitting for Nora in a much different way than Torvald intended. Although Torvald behaves in a pompous way towards his wife, Nora almost accepts this "woman role." Nora does not seek anything beyond her role as undedicated mother and airhead wife. Through her actions in Act I and II it became clear to me that the facade Nora put on for Torvald was truly an act and the depth of her character had not been tapped into. Yet, it is clear in Act III that Nora realizes her potential as not only a woman but as a human being. Sometimes having it all, means having nothing at all.
Thus, Nora becomes a child once again. She removes the gates to her true capabilities that Torvald has carefully constructed. Nora returns herself to a childlike state, but in an optimistic sense rather than an inferior one. The mother and wife removes the shackles that have kept her isolated from her true self and sets upon a journey, much like a child does when growing up. Nora exhibits a youthful bravery that is much harder to develop as an adult. To me, Nora in Act III seems like a completely different character that Nora in Acts I and II. Ibsen thoughtfully gives the reader glimpses of a more independent thinking Nora in Acts I and II, but it is within the last few pages of the play that Nora speaks honestly about the timeless quest for self fulfillment. A story that begins with such fake words and facades concludes with searing honesty. Similar to the genuine nature of a child, Nora undergoes some sort of change that allows her to speak without fear or constraint.
Sunday, February 22, 2009
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3 comments:
Jess,
The last line of your first paragraph reminds me of the song "Crooked Teeth" by Deathcab. But that is neither here nor there. I really liked your observation that Nora undergoes a remarkable transformation during the play. I'm not totally convinced that it is as thorough as you think, because the very fact that she would sign a form that could historically only be signed by men I think shows that she is unwilling to be shackled and treated like a child. But Nora's actions in Act III certainly are nothing short of heroic. Good job!
First off, I agree that Nora was physically an adult but mentally a child, as you say. After all, Torvald couldn't have married a kid because he's not a Mormon.
There's actually really nothing I disagree with here...
Good job.
Jess,
I really like the way you explain Nora not as a silly child needing protection, but a bold child preparing to break free from an overbearing parent. Nora is a surprisingly complex character and I think you captured that idea very well. Great job!
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