Gillian Anderson as Nora in A Doll House.
Directions: Please finish reading A Doll House, Act II. Compose a blog response using evidence from the text. Focus on characterization. What do you notice about the interactions between Nora and Dr. Rank? Why does Nora get thrown off? What about Krogstad? They talk about "that." What are they referring to? How does that create a sense of suspense and foreshadowing? What is "the most wonderful thing?"
Much like the cinematic icon, Die Hard, in the second act this christmas story keeps getting darker and more violent. This entire act revolves around death, most notably with Nora and Krogstad's discussion of “that”. My best guess is “that” is suicide, considering that it was taken into consideration as an extreme and immediate but comprehensive solution to their problems, but ultimately proved too scary to carry to completion. The fact that this solution was also considered too taboo to openly discuss in a covervet meeting about blackmail and crime means it must have been a significant act, such as suicide. Krogstad also alludes to it later in the conversation with his intimidating description of Nora’s corps and the damage it would do to her family. However, Nora asserts that she is not afraid of him and after this point strats to mention her “wonderful solution” to the problem, which would indicate the two topics are connected. Nora’s soliloquy at the end of the act “ ..Seven hours till midnight; and then four-and-twenty hours till the next midnight. Then the Tarantella will be over. Twenty-four and seven? Thirty-one hours to live,” also would indicate that she is expecting a death, probably her own. Along the same track, she begins preparing for her death by insuring that the Nurse would be able to take care of her children in her absence and reassures herself that leaving your children out of necessity is a noble act. This fits well with the overall theme of death and builds foreshadowing throughout the act, that began even before the discussion with Krogstad. When Dr. Rank had his time at the beginning of the act, he was under considerable duress because of his medical condition and seemed to have resigned to his quickly approaching death. Similar to Nora’s situation, he embarks on a mission to finish his unresolved businesses, only by confessing his love instead of resolving a debt. In doing so, Ibsen characteristically re-characterized Dr. Rank and changes his entire dynamic with Nora. He transforms from cold, sad, and unfeeling to a hopeless romantic in love with his best friend’s wife compelled to profess his love under threat of death from his genetic disease. This understandibly statrteles Nora, who seems betrayed by Rank after beginning to confide in him her troubles as a friend, only to learn he had keep his own secret from her. From then on Nora seems much more measured in her interactions with Rank, maintaining her distance but still using him to a certain extent and not completely pushing him away out of the necessity of her situation. Even though the polar opposite of what I predicted transpired in this section, I think they way so much plot and transformations of the various characters were fit into such a short section of play, confined to only a few rooms, makes for a second act that is both technically impressive and engaging to read.
ReplyDeleteI like your comparison to die hard. It is true that it escalates in that kind of manner.
DeleteIbsen carefully creates the characters throughout part 2 of A Doll’s House. Dr. Rank is Torvald and Nora’s close friend, visiting their house every day, and it seems like he suffered during his childhood from his neglectful and abusive father and this past has caused him a number of physical and emotional problems into adulthood. Mrs. Linde seems distrustful of him, questioning if he is “perfectly sincere.” Nora has already been established as being clueless at times during act 1, such as during her reunion with Mrs. Linde when she displays complete insensitivity towards her by flaunting her well-being while Mrs. Linde is going through a difficult time. She seems constantly on edge and worried that Torvald will discover her secret. When she requests that he not fire Krogstad so that Mrs. Linde can take over his position at the bank, she fears that he will guess her true motives for wanting Krogstad to keep his job. Helmer values his reputation and wishes to protect it at all costs. He does not want “to make [himself] ridiculous before [his] whole staff” by allowing his wife to influence his decisions, despite asserting earlier that his reputation is “above suspicion.” His and Nora’s relationship is much like that of a father and daughter rather than a husband and wife, Nora herself admits that “being with Torvald is a little like being with papa.”
ReplyDeleteDr. Rank seems to admire Nora since he visits her so often and Torvald seems very jealous of him. Torvald’s health complications mean that he is going to die soon and he thinks that once he dies he will be “soon forgotten” and replaced by Mrs. Linde. She initially is going to asks Dr. Rank for a favor to give her money to help pay off the loan, but she is thrown off when Dr. Rank tells her that he loves her just as much as Torvald does, and rather than being flattered, she sees him telling her this as a “horrid” and unnecessary thing to do. Nora is thrown off when Dr. Rank tells her that he loves her just as much as Torvald does, and rather than being flattered, she sees him telling her this as a “horrid” and unnecessary thing to do. She now feels bad for trying to manipulate him into giving her money since he is now being sincere with her. Krogstad is clearly upset when he hears that Nora was unable to prevent Torvald from firing him from his position at the bank. Nora insists that she did everything within her power to prevent this from happening. Krogstad is thrown off when Nora seems to still think that she can continue to repay her debt to him in the same manner that she previously had been, despite Krogstad having just lost his job at the bank. She thinks she can continue with these payments and not have her husband aware of the situation, which Krogstad believes is not possible to happen.
When Nora repeatedly talks about “that” she is referring to the fact that “[she] and she alone” illegally borrowed money from Krogstad, and that no one else should take responsibility, including her husband. This creates a sense of foreshadowing because it suggests that when Nora’s secret is finally revealed, Torvald may have to take the blame for it, and the results could be very damaging. This is why Nora asks Christine to make sure that everyone knows that “[she] alone did the whole thing” if she is to not be in her “right senses” when it happens. Nora also refers to a mysterious “wonderful thing” that is also “so terrible” that is going to happen. I believe that she is referring to her husband discovering her secret since it will reveal that she has been lying to him and deceiving him all this time, but it is also wonderful because she will no longer have to keep this enormous secret from him anymore.
Act two of A Doll House is starkly different from the first. Not only has Nora’s initial apprehension about Krogstad’s potential revelation of her forgery turned into a full blown panic, but her interactions with Doctor Rank also reveal much more about her fallacies with marriage and the like; whereas Nora compares her relationship with her husband to hers with her father - a rather disturbing anecdote in and of itself - she finds her friendship with Doctor Rank to be much more fulfilling and enjoyable. In addition to this, Doctor Rank’s willingness to do, “anything,” that Nora asks of him, and his revelation of his love for her seems to send Nora for a loop. Never before has she had a true understanding of what a real relationship should be like, and the fact that her classic games of flirting with Torvald are instead met with genuineness by Doctor Rank only further intensify her confusion with her life at the present time. In contrast to her conversation with the Doctor, hers with Krogstad is far less pleasant. While Rank is incredibly blunt with his statements about being, “in the ground,” in due time, Krogstad seems to dance around everything he is trying to say with Nora. They discuss, “that,” which is rather a hush hush way of talking about the two of them have both contemplated suicide, though Krogstad asserts that he, “hadn’t the courage,”. The two characters discuss incredibly serious topics such as this, though they seldom outrightly state what it is they are referring to; this walking on eggshells act only further adds to the suspense and foreshadowing element of act two. When Nora refers to, “a wonderful thing,” happening, it is not exactly clear what she is speaking about. Nevertheless, given the context, there is a possibility she is discussing the potential of her husband finding out about her secret, and his loving her even more dearly for her sacrifice she made for him. However, with what we have been given by Ibsen thus far, the likelihood of Torvald being appreciative of his wife borrowing money and forging a signature - no matter how well intentioned - is rather slim.
ReplyDeleteThe different interactions portrayed in Act II cast a new light on the relationship Nora has with the many characters. Rank expresses his willingness to help Nora with whatever she needs where earlier, Torvald was seen stubbornly ignoring her concerns in favor of his own reputation. Torvald has been repeatedly portrayed as causing her anxiety, from the comment about a mother’s effect on her children, to ignoring her wishes in regards to Krogstad. He still treats her like a child and needs a reason involving his own ego to offer her comfort, “I promise. This evening I will be wholly and absolutely at your service, you helpless little mortal.” When Nora meets with Krogstad again, he expresses his disappointment that he will have to go through with the blackmail. This reveals the limitations of their similar situations, and how Krogstad has to stoop to blackmail to keep his place in society but also hold his family together. When Nora brings up the idea of “that,” or suicide in their conversation, it leaves one wondering if these are the drastic measures she believes she must go to because of her limited options, her limited space to move. I found the way Krogstad responds to her interesting,“Most of us think of that at first. I did, too — but I hadn’t the courage. - No more had I.” He seems to empathize with her, relieved when she says she won’t go through with it. She is able to connect with everyone but her husband, able to talk openly about her secret and concerns surrounding it with others where she now fears her husband discovering it to the point of considering suicide. Even with the “antagonist,” Krogstad, she is able to talk openly about her feelings, and can empathize with his situation, which becomes increasingly similar to hers. She has many people who care about her wellbeing, still concerned with their own affairs as she is, yet allowing her to be heard where Torvald will only hear the positive, frivolous things she has to say about him. The “wonderful thing” could refer to Nora telling Torvald what she has done for him earlier than prepared. As she said she was going to tell him her secret once he grew tired of her, she may still hold out some hope that he will not resent her for what she’s done and rather be grateful. Still, when she says, “Thirty-one hours to live.” at the end of the act, she could be implying that she is going to commit suicide as she and Krogstad were talking about in this act. I’m not sure where the play is going at this point though Nora’s decisions and state of mind seem to be quickly spiraling out of control.
ReplyDeleteI thought it was interesting too how Krogstad has the ability to empathize with Nora while Torvald remains oblivious and devoid of concern. Ibsen is challenging the assumptions we make as readers about the characteristics of the protagonist and the antagonist.
DeleteI really like how you explored the consequences of Krogstad and Nora's 'limited space' and how they feel they must go to such drastic measures in order to keep their social standings and their lives the way they desire them to be. I certainly agree that Nora is spiraling out of control with no end in sight.
DeleteThe primary conflict of the piece becomes less about the money Nora owes and the deception she used to obtain it than the relationship between Torvald and Nora as husband and wife. The villain, Krogstad, and the scandalous Dr. Rank serve as foils for Torvald, used by Ibsen to highlight his shortcomings as a husband, and his subtle cruelty toward Nora. In fact, Krogstad and Mr. Rank show more compassion and care for Nora than her own husband. For Nora, this is cause for pause. The “most wonderful thing,” the secret, becomes the “most terrible thing” for Nora’s conscience and her relationship with her husband. The secret drives her to the point of contemplating suicide or escape. However, paradoxically, the author proves the end to Nora’s innocence, or her naivete, to be “wonderful” for Nora’s character development, and her discovery of the meaning of love and the potential of a marriage. Concerning this issue, Ibsen comments on the need for honesty in a relationship, and the power secrecy has to drive one into misery, despite the good intentions of the perpetrator. Nora is most honest with Krogstad and Dr. Rank, and therefore has better relationships with them than with Torvald. A tragic ending is the only fitting conclusion to the play, which Ibsen builds up to with each of Nora’s dialogues in a tone of increasing paranoia.
ReplyDeleteI like how you pointed out how the primary conflict has definitely changed from act 1 to act 2. I also think it's a really good thing to point out about how both Krogstad and Doctor Rank highlight Torvald's shortcomings as a husband, and how his and Nora's relationship is not as perfect nor as strong as they may think it is.
DeleteNora’s nervousness and sporadic outbursts of emotions creates a sense of tension between her and the other characters. This is an ongoing feeling because Nora is always on stage. The actress nor the audience never gets a break from her anxiety. The act begins with a conversation between Nora and the Nurse where Nora asks her how she could bear ever leaving her children. This dialogue reveals that the stress has become too overwhelming for Nora to even fathom dealing with. She is considering ending her life because of it, wondering how her children would continue without her. The Nurse tells her that she didn’t have a choice when it came to leaving her children, needing a way to support them financially. Nora seems somewhat oblivious to this fact, emphasizing her lack of empathy towards others. This lack of sympathy is shown again during her conversation with Dr. Rank. Later in the act during her interaction with Rank, he tells her that he is dying. She is upset that he tells her this because it makes it more difficult for her to ask him for money without sounding completely inconsiderate. She tells him that he will be dearly missed, but he informs her that this isn’t true. She questions this remark, so he explains that the memory of those who pass away fades from the minds touched by them simply because of the passing of time and the replacement of others. Nora then wonders if she were to die, perhaps her children would be alright, being capable of living in her absence. Nora is a complex character, contrary to the audiences initial introduction to her. She is naive and ignorant, but it is not her fault but rather the fault of her upbringing. This is revealed in her conversation with Rank. She flirts with him to try and get her way, believing that is the only way to get what she wants because that’s how it works with Torvald. Her relationship with her father seemed to be peculiar, never really talking to him, or at least talking to him for substance. This explains why she ended up marrying Torvald, having a relationship similar to that with her father. It seems like no coincidence that Ibsen made the relationship between Helmer and Nora resemble that of a father-daughter dynamic. The “wonderful thing” that Nora constantly brings up seems to reference the secret she is keeping from Torvald regarding Krogstad. The secret gives her this sense of power over her husband, the only thing that she has to control him with. If she were to be found out, her secret and her entire life would be ruined. Torvald is not a forgiving man, and his reputation is more important than the well-being of others, even his wife.
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ReplyDeleteNora is portrayed as a very nervous character. In the First Act we learned that this is because she is sitting on a major secret of a shady business transaction with Mr. Krogstad. But now with Dr. Rank, she still is very nervous but she also practices unhealthy coping mechanisms. She uses flirtation and dumbs herself down to ask him for a favor, as she usually does with her husband. We learn that this behavior stems from her childhood, as she relates Mr. Rank to the maids and her husband to her father. She says “I could steal down into the maids’ room, because they never moralized at all, and talked to each other about such entertaining things.” Dr Rank’s willingness to do her any favor and their lighthearted relationship directly contrasts the condescending nature of Torvald. Rank’s willingness to do anything, even “gladly give his life” for her really takes her back. She is used to being shown love through money but this is the first relationship where a man genuinely cares for her with unconditional love and would do anything for her. With Krogstad, he feels the necessity to blackmail her to keep his job, his family. Even he is not acting to be evil, but to protect his own. Although he is still planning to out her to her husband, he shows compassion in not telling the whole world and risking her reputation but tries to deal with it in secret. Even though he is still blackmailing her, he is still showing her a sense of compassion that Torvald seems to lack. Krogstad says “The whole thing can be arranged amicably; there is no reason why anyone should know anything about it.” But he also suspects her desperation and thoughts of suicide. He empathizes with her situation and sparks a conversation in which she is actually honest about her thoughts, something she cannot do with Torvald. By keeping Nora’s anxiety about the whole situation and escalating her lies to her husband, Ibsen is building suspense as Nora digs herself a deeper hole of secrets and lies.
The interactions between Dr. Rank and Nora within Act II of “A Doll’s House” reveal information about Nora’s relationships with other characters such as her husband, Torvald. In the beginning of Act II, Nora asks Torvald for help, for which he replies, “I should like to hear what it is, first.” Later, she has a similar interaction with Dr. Rank, asking him for help. Although these two events are parallel in terms of what is asked, the responses from Dr. Rank and Torvald are completely different. Dr. Rank says he will do anything to help her, no matter what it is. Contrastingly, Torvald will only do her a favor if he knows what it is ahead of time. This reveals that Torvald is more concerned about his own happiness and feelings rather than those of Nora. Nora recognizes this, even if only subconsciously, and realizes that her relationship with Dr. Rank is how all relationships should be. The trust and genuine joy that their relationship is built upon is clearly superior to the manipulation and control of her relationship with her husband. Not only does Doctor Rank show her the true meaning of relationships, but so does Krogstad. The closeness of their friendship is displayed when they talk about “that”, presumably suicide. The author’s mention of suicide adds greater intensity to the work as a whole. As the conversation between Krogstad and Nora continues, we begin to see similarities between their two situations, and also how serious they are to make them feel like the only way to escape is to die. At the end of Act II, Nora also mentions something she calls, “a wonderful thing”. Although she is very unclear about the true meaning of this phrase, it could be expected that she is referring to Torvald finding out her secret. Although her secret causes her much anxiety, the thought of him finally finding out and her worries being over appears to relieve her. When asked by Mrs. Linde about what she means by “a wonderful thing”, she responds by saying, “Oh, you wouldn’t understand. Go in to them. I will come in a moment. (MRS. LINDE goes into the dining-room. NORA stands still for a little while, as if to compose herself. Then she looks at her watch.) Five o’clock. Seven hours till midnight; and then four-and-twenty hours till the next midnight. Then the Tarantella will be over. Twenty-four and seven? Thirty-one hours to live.” The act ends with her counting down the hours until her suicide, a gruesome and foreshadowing end to an action-packed Act II.
ReplyDeleteThroughout the conversations in the second act, secrets are revealed and questions are asked darkening the mood and making the reader wonder what is “that”. Due to the clues dropped by Krogstad and Nora it is implied that “that” is suicide. They both state that they have thought about it and keep it a secret however they both know about each other's secrets. Although I thought that it was about Nora’s story, after Krogstad said that he “hadn’t the courage” and just form the mood of the whole conversation, I realized that they were probably talking about something much darker and serious that borrowing money. In addition, through the conversation between Doctor Rank and Nora, much is revealed about Nora’s opinions and thoughts on marriage and her relationship with her husband. She compares her relationship with her father to her relationship with her husband, signifying how she really feels nothing special towards her husband but still loves him. Nora even says that their “home has been nothing but a playroom. I have been your doll-wife, just as at home I was papa's doll-child; and here the children have been my dolls”. Ending act 2 with a sense of suspense helps set up act three for probably some kind of tragedy. It seems like act 2 moved a little away from the issue of money and more into life and death so maybe secrets will be exposed resulting in drastic actions.
ReplyDeleteIn act two of A Doll House, the story began to take a turn for the worst. One aspect we miss out on when reading this play is the facial expressions and physical actions of the characters. Even without this, Ibsen is able to effectively show the emotions of the characters. He highlights Nora’s nervousness in relation to the other characters, she’s constantly jumpy and nervously running around attempting to fix her problems. What’s most interesting to me about the depiction of Nora, is how she’s created to be the doll in the dollhouse. It’s most obvious in her interactions with Torvald, the way he dresses her up and has her perform for people. This seems to be becoming increasingly clearer to Nora, as she slowly realizes that Torvald may not actually protect her if something goes wrong with her debt. When Doctor Rank confesses his love for her and says that he’ll do any favour for her no matter how big. He even says, “Would you really make me so happy for once?”, which is very different from the reaction that Torvald has when she asks him for a favour. Nora, is thrown off by this since she spends her time flirting with the men in her life because it’s the only way she knows how to interact them. She’s surprised that this has translated into real love with someone. She seems to not have any real love from Torvald, she is simply a doll to him and she even compares their relationship to that of her and her father.
ReplyDeleteWhen it comes to Krogstad, Nora acts a lot differently. She acts in a serious manner, one where she speaks in a tone of business rather than her usual light flirting. She is shocked by him confronting her, due to the lives of her children and her being a respectable woman. In this situation, she is completely ignoring the life of Krogstad and his children which is something that he points out to her. They discuss how much her reputation would be damaged and different ways she would deal with it. They discuss the different ways she would escape the debt including running away, or even “that”, which would be suicide. She is able to connect with Krogstad as they both say that they would never have the courage to follow through with this. This still creates a sense of foreshadowing and suspense because we don’t know how she will actually deal with this problem. Will she run away or will she magically find enough money to pay off her debts? As we build to the confrontation, between Nora, Torvald and Krogstad that seems to be coming we’re left still questioning how she will solve the situation and how each character will react.
I agree that, without seeing the facial expressions of the characters, it is a bit harder to understand the characters. Still, the reader gets a sense of how the characters are feeling through the dialogue and stage directions.
DeleteThroughout Act I, it is demonstrated to the reader that Torvald repeatedly behaves condescendingly towards Nora, treating her like she is a dependable child or a doll. While during the first act Nora seems used to and even content with this treatment in their relationship, her perception of her own marriage drastically shifts in Act II. Nora is so accustomed to having to flirt with Torvald and play mind games to get her away that she is visibly shaken by Doctor Rank’s straightforwardness with his feelings towards her when she attempts to manipulate him through seduction. I really loved the newfound dynamic between Nora and Dr. Rank, as he is the only character in the play so far that doesn’t treat her like the typical dependent “doll” housewife that others have. He is completely honest with both his imminent death due to illness, and openly acknowledges his love for Nora with no expectations or hope for personal gain. Her own warped views of marriage and intimacy come to light when she reveals that she believes “being with Torvald is a little like being with papa,” i.e. a figure who takes care of her socially and financially, but doesn’t emotionally support her. Rank, on the other hand, wholly emotionally supports and reassures Nora, which is treatment she is not accustomed to.
ReplyDeleteAfter Dr. Rank leaves, Krogstad returns to the house to continue blackmailing Nora for his position at the firm back. However, a more personal side of him is shown. He reveals he doesn’t want to publicly out Nora for forging her late father’s signature, and promises that “no one who is not concerned in the matter shall have the slightest hint of it.” Furthermore, he becomes even more personal by reassuring Nora that if she pondered any “desperate resolution” to no longer be in debt to him, heavily hinting at suicide, that he relates to her feeling of hopelessness because he lost his job, but encourages her not to go to any drastic measures. In Act II, Krogstad’s character is more fully developed to reveal how human he is, rather than simply being a one-dimensional stereotypical villain character. He has a family, and only blackmails Nora to get his job back that she made him lose in the first place. This shifting dynamic leaves me questioning who I’m rooting for while Nora and Krogstad face off. With the repeated allusions to suicide and Nora’s stage directions revealing that she began “dancing more and more wildly” to distract Torvald from reading Krogstad’s letter revealing the truth, it is heavily hinted that Nora may, in fact, turn to the “thing” that her and Krogstad discussed. While I can’t tell for certain if “the most wonderful thing” Nora states is going to happen is regarding her own foreshadowed suicide or perhaps her Act I hope that Torvald would read the letter and love her more for protecting him, I believe the likelihood leans in favor of the former due to Nora’s erratic behavior and newfound inability to control and hide her anxiety.
- Ally K
DeleteI agree with your point about Torvald essentially acting as more of a father than a husband to Nora. You also make an important note of just how human Ibsen chooses to make Krogstad; should we really be rooting for Nora and Torvald at all?
DeleteThe interactions between Dr. Rank and Nora seem much more genuine than between Nora and Torvald. As Torvald treats Nora in a degrading manner brought on by a patriarchal society, dressing her up and refusing to listen to her. When Nora tries to convince Torvald to rethink firing Krogstad, Torvald threatens that the more she tries to convince the more impossible it would be for rethink his decision. Torvald seems to reject more to protect his reputation rather than his actual disagreement with Nora, “‘Is it to get about now that the new manager has changed his mind at his wife’s bidding”. In the relationship it is only but verbally abusive with him having too much pride, Torvald looking down at Nora as he believes there is no right for her to play any role besides that of a child, dressing up and dancing; Which she admittedly says, “Torvald is a little like being with papa” which is not an intimate relationship.
ReplyDeleteWith Dr. Rank he seems philosophical with a feeling of intimacy and a different level of friendship between Nora than he is with Torvald, as Dr. Rank was capable of telling Nora of his upcoming death as he trusts her more than he does Torvald. There is a rather large contrast between her relationship with Torvald and her relationship with Dr. Rank. Nora is thrown off due to Dr. Rank’s sudden confession to his love for Nora which she is shocked. However, with her flirtatious manner, it seems that it is what she is accustomed to, especially when she wants something; She consequently led on Dr. Rank as he highlights that Nora seems to have more genuineness with him than Torvald. Dr. Rank: “‘Let me have permission to do for you whatever a man may do’” which is a clear contrast between how Dr. Rank values Nora compared to how Torvald values Nora.
While reading the second act of A Doll’s House, I noticed more dimension in the characters, as well as several parallels with other plays. To begin with, Krogstad had become more prominent in the role of an antagonist. Of course, his motives are cruel, seeing how he believes “‘it will be Nils Krogstad and not Torvald Helmer who manages the bank’”. His wickedness is also shown with his threats towards Nora, where he states to her, “‘Have you forgot that it is I who have the keeping of your reputation?’”. However, this leads to a question of morality in the characters, and a conflict between who is considered a protagonist and who is an antagonist. Though Krogstad is challenging Torvald in his position, that does not equate Torvald as a hero. In fact, this act reveals that he is quite the opposite; he progressively becomes more controlling and manipulative of Nora, treating her like his doll. This is revealed when he is helping her “practice” the obscene dance he instructs her to do. Here, the stage directions describe Nora to be dancing “more and more wildly” as “Helmer gives her frequent instructions”. As mentioned in class, this connects to the title of the play, where Nora is the doll confined inside Torvald’s house and control. In addition, it can be argued that Nora is not a protagonist either. Though she is clearly oppressed, her deceit makes her seem more neutral than fully “good”. The only characters that are portrayed as “good” seem to be Rank and Ms. Linde. As I was reading this act, I began to think of Rank as a symbol for Nora’s morality. While Nora’s lies continue to escalate, Rank confesses that he has grown ill and is on the verge of death. I viewed Rank’s illness as Nora’s morality growing weaker, as well as her hope and desire to continue being with Torvald.
ReplyDeleteNaturally, I found many similarities between A Doll’s House and one of Ibsen’s other plays, Hedda Gabler. Both feature main characters who struggle to conform to Victorian Era standards--especially in the midst of sexism and manipulation from other men. As previous blog comments have mentioned, there is also a “that” that both Hedda and Nora are focused on. For both of them, that “that” seems to refer to suicide. In the end of Hedda Gabler, Hedda eventually ends her own life as her lies, lack of independence and freedom, and physical and mental confinement increase. The “that” that Nora describes throughout the act might allude to this as well. Though minor, the use of food in A Doll’s House reminded me of that in The Importance of Being Earnest. While the macaroons and extravagant foods Rank’s father are perceived in negative lights, foods such as the cucumber sandwiches and muffins in The Importance of Being Earnest have no meaning. However, that is meant to satirize similar aspects in other plays, such as A Doll’s House, where the food captures both Torvald’s control over Nora and the indulgence of the upper class.
In Act two of A Doll’s House, several ideas are revealed and clues are dropped referring to what “that” is. The interactions between Nora and Torvald when Nora is trying to save Krogstad’s job reveals the little control Nora has. Torvald actually becomes angry with Nora because she is challenging him on what he wants and disagrees with him. It seems like Torvald is trying to protect his reputation by the way he talks about Krogstad, referring to him as humiliating. Much is revealed about Nora’s marriage and her opinion about her husband in her conversations with Doctor Rank. She flirts with the doctor to try and ask for a favor but Doctor Rank expresses his feelings to Nora. Secrets are hinted at with Nora and Krogstad about “that” which is hinted to be suicide. Nora threatens it to save her name but then realizes her reputation could still be on the line after she is gone. When Nora says “something glorious is going to happen” towards the end of the act, she is referring to Krogstad's letter explaining her secret loan. This leaves the audience confused and eager to go on to Act three because of the suspense. Act two brings up many themes that display a darker, more suspenseful feeling for the audience in comparison to Act one which depicted more innocence and money issues.
ReplyDeleteAct 2 in "The Doll House" largely continues upon the established dynamics shown throughout Act 1. Interactions between Nora and Torvald remain tense as he physically asks her to dress up for a ball akin to a doll. His self-image continues to be insecure as his pride falters upon the fate of his decision regarding employing Krogstad at the bank. Unknowingly, his decision fuels the anxiety and ultimate depression of Nora but his actions are driven out of an ultimate desire to prove himself superior to a childhood friend. Also, as Jill stated, I found that many of the character dynamics orbited around Victorian Era standards which have largely dissipated in modern society or revolve around different issues
ReplyDeleteAs Nora’s storyline develops, Ibsen allows us to see more of her character. Nora appears to be extremely manipulative towards the men in her life, as seen in this act through her interactions with Torvald and Dr. Rank. She wants Torvald to give Krogstad his job back at the bank, however she must do this without explaining her intentions behind the request. In order to try and get Torvald to agree, she says “If your little squirrel were to ask you for something very, very prettily--” By referring to herself by the pet names that Torvald calls her like “little squirrel” or “your skylark” she believes that Torvald will give her what she wants, as she is putting herself in the place where Torvald thinks a proper wife should be, and degrading herself to be less than he is. Similarly, Nora tries to bribe Torvald by saying, “your skylark would chirp in every room, with her song rising and falling,” and “I would play the fairy and dance for you in the moonlight.” Once again, she is trying to get what she wants by conforming to Torvald’s belief that his wife should be like a doll in his dollhouse.
ReplyDeleteIn the same sense, Nora also tries to manipulate Dr. Rank to try and get him to help her, and attempts to flirt with him to try and get what she wants. She puts her hands on his shoulders, shows him her new stockings, and says things like “you are in a silly mood today.” However, when Dr. Rank confesses his love for her Nora immediately stops trying to manipulate him, proving she does have some sense and moral integrity.
The innocence and child-like personality of Nora in clearly evident in Act II when she is faced with many difficult conversations between herself and Dr Rank, Krogstad, Cristine, and her own husband. At the same time, she is also manipulative in a way that can get her out of a tough situation. Her first interaction was with Dr. Rank, when she started flirting with him to try and get more money. Nora is a smart woman, and she knows that when she flirts with Torvald he gives her money. She assumes that doing the same thing to her good friend Dr. Rank will allow her to get the money she needs to finish paying off her debts. After Dr. Rank leaves, Nora has a conversation with Krogstad about his dismissal. He plans to tell her husband all about the deal that they made with the money, and how Nora lied about her father’s signature. At the end of the act is where we see the intelligent side of Nora come out around her husband. She knows that Krogstad has dropped the letter in their letter box, and will do anything to prevent Torvald from reading it. She tells him that she needs to work on her dance, and she knows nothing even though she needs to perform it tomorrow. Nora knows that Torvald is obsessed with his status in society and how people view him, so she knows he will need her to look perfect for the dance they are attending. He does not realize this, and just thinks she acting like a child and actually calls her one, saying, “The child shall have her way. But tomorrow night, after you have danced-”. Nora plays her innocence off in a way that people think she is unaware of her surrounding when in reality, she is very aware of her situation, and what to do to protect herself and her husband.
ReplyDeleteIn Act Two of A Doll House I’ve grown to feel bad for Nora as she continues to be treated like a child by Torvald, while in reality she’s more mature than him. She is trying to hold their family together by negotiating the money, but her plan is unraveling in a way she did not expect. Concurrently, he speaks to her in his childish tone, commanding, “Now, you must go and play through the Tarantella and practice with your tambourine.” These interactions are what Nora is used to, so when Dr. Rank professes his love in such a genuine manner, Nora was surprised. It is sad that she considers her husband so similar to her father, while her real emotion is portrayed to Dr. Rank. She then feels wrong asking Dr. Rank for money, because he is dying and just professed his love to her. Krogstad, on the other hand, is not as occupied with Nora’s happiness. He stubbornly insists on telling Torvald the truth, despite Nora’s plea for help. The “most wonderful thing” that they are referring to is the hint of Nora’s plan for attempted suicide. Krogstad and Nora both agree that they would never have the courage to follow through with this, but readers are still hauntingly suspenseful of what is yet to come.
ReplyDeleteIn Act II of Ibsen’s “A Doll’s House,” the characters continue to reveal themselves. Ibsen is especially clever in using the interactions between the players as a vehicle for characterization. For example, Nora’s initial exchange with her husband bolsters the portrayal of her as cunning and manipulative. Despite Torvald asking her to “speak plainly,” Nora toys with her husband as she tries to get him to agree to keep Krogstad on as a clerk. She even resorts to injecting the narrative with fear and suspicion when she suggests that Krogstad could malign her husband’s good name. Torvald’s moralistic response that his reputation is “above suspicion” only reinforces Nora’s concerns should her husband find out about her forgery. In fact, as the couple continues to exchange words, Torvald discloses that he is reticent to keep Krogstad because the subordinate is “familiar” and does not show his superior the necessary respect. This is a side of Torvald’s manner that is in keeping with his serious and upright demeanor as seen in Act I. In fact, when Nora is unable to sway her husband and he sends off Krogstad’s dismissal letter, Nora is distraught and cannot believe her husband may have actually set in motion Krogstad’s retribution. And then, with the ring of a doorbell, Nora switches gears and entertains Dr. Rank, who divulges his health concerns, which are “a penalty for another man’s sin!” The doctor even suggests that “in every single family, … , some such inexorable retribution is being exacted – “ What is to be “exacted” of Nora has yet to be discovered, but the doctor’s innocent observation foreshadows that something will happen as a result of Nora’s indiscretion. Perhaps Nora’s plot to run away or “something worse,” is all “that” is required of Nora. But if Torvald bear the burden of Nora’s wrongdoing that would be a “wonderful thing” that is also “so terrible.”
ReplyDeleteIn the past, Nora once said, “sometimes the people you have fun with the most, you do not necessarily love the most”. I believe this quote was foreshadowing of the events between Dr.Rank and Nora in Act 2. When Dr. Rank discloses his love for Nora, it creates a situation that is truly awkward and Nora get thrown off as a result of this interaction. Throughout this act, it is evident that Nora is growing more apprehensive that Krogstad may reveal her forgery and that she needs to pay him back. As a result, she approaches Dr.Rank to gain the money to pay back Krogstad, but immediately gets thrown off after Dr.Rank divulges his love for her. One aspect I found peculiar about this entire debacle is the relationship Nora has with Dr. Rank versus her husband. She mentions her friendship with Dr.Rank is a fun and loving one, whereas Nora and her husband have a near father daughter relationship in regards to their condescending tone. Furthermore, in regards to “the most wonderful thing”, I believe it is referring the potential sucidie of Nora as she foreshadows that she may take her life several times in the act.
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ReplyDeleteIt's Christmas Day, Nora is still worried. She asks Anne-Marie what would happen if she disappeared (Foreshadowing). Mrs.Linde comes in and Nora tells her about Dr.Rank being ill. Nora tells Torvald to save Krogstad's job but he says it is "too embarrassing." Nora calls this reasoning "petty" and Torvald sends a letter firing Krogstad. Dr. Rank comes in and tells Nora that he thinks something bad is going to happen soon. He says he will warn her with a black cross when he is about to die. Then, Nora begins to flirt with him, in order to try to get a favor from him and he confesses that he is in love with her. Helene comes in and announces that someone is there and Nora sends Dr.Rank to keep Torvald busy. Krogstad comes in and tells her he wants a promotion and Nora says it's not possible and that she would be willing to kill herself if it meant she could keep torvald from knowing. Krogstad then leaves and leaves a letter with Nora's secret in the letterbox. Mrs.Linde re-enters and Nora lets her know what is happening and Mrs.Linde decides to go speak with Krogstad. When she returns, she says that Krogstad has left for the night but she has left a note. Nora said she had "Thirty-one hours to live" because thats how long until Torvald reads the letter. Nora says that she has Thirty-One hours to live, because that's when Torvald will read the letter. The act ends in suspense because her secret is about to be discovered.
ReplyDeleteIn this time period, women were pretty much considered property, so throughout we see that everything Nora does is to please Torvald and what she thinks society wants from her and other women. This is why she wants to hide the letter and not let him know what she has done.
In act two, it becomes even more evident that Nora’s character is extremely underdeveloped. She has a mysterious past that has left her scarred. Although readers are unaware of the exact events that transpired between Nora and her father it is clear she has always felt less than and has not been allowed to speak her mind or discover her truth. I believe the rest will be unveiled and I am excited to gain a better understanding for who these characters truly are. Because of Nora’s complicated relationship with her self it only sets her relationship with her husband and all those are around her up for failure. Dr. Rank allows for Nora to see how one is actually supposed to act and be treated, her large dialogue with him sparks her personal liberation and growth. Nora was thrown off by their interaction because she had never been treated properly by a man, her father and Torval included, until this moment. She is also shocked by the nobility and honesty of Krogstad is also something foreign to her because of the strict rules in her society. Most people in Nora’s world care too much for superficial items and their statuses in order to be as kind and forgiving as Torvald was. He is the only person in the play so far that has his values set straight and put others before himself. He doesn't care for societies perception of him and this is a new concept to Nora. She is clearly overwhelmed by all the new concepts, ideals, and values that Doctor Rank and Krogstad have allowed her to see. The suspense continues to build as we see Nora become more and more frustrated, and the secret is only becoming more difficult to see. That is why “The Most Wonderful Thing” to Nora is when it all unfolds and she doesn’t have to worry about Krogstad exposing her or Torvald’s reaction no matter if that means she will have to make scarce of herself. The dramatic irony is that we can easily predict how Torvald will react, but Nora is blind to it.
ReplyDelete-Kathryn
ReplyDeleteAct 2 opens with a darker mood than in Act 1. Nora has a conversation with the nanny where she asks if she would look after her children should she ever disappear. This immediately caught my eye as Ibsen foreshadowing. Additionally, Nora’s character is further developed when she confronts Torvald directly and voices her opinion that Krogstad should keep his position at the bank, Torvald refuses, stating that it is “embarrassing” to be on a first name basis with Krogstad because of the bad reputation he holds in the community. Nora finds this reason to be petty and she makes sure Torvald knows how she feels. This speaking back to Torvald is a challenge to his authority, showing that Nora is more than a timid housewife.
ReplyDeleteThe interaction between Nora and Torvald begins on a rather awkward note. It almost seems like Nora is trying to seduce him to get his help in keeping Krogstad employed. She begins to roll up her dress and show him her new stockings. What is disturbing about this is that Nora believes that is the only way to get something from a man. This attempted exchange reflects how Nora goes about her marriage with Torvald- she seduces him to get what she wants. Her ideas of marriage are so flawed that she sees this as normal behavior. However, Dr. Rank stops Nora in her tracks and confesses that he is in love with her. With this confession, Nora dismisses him and refuses to take the help he offers her.
The interaction between Krogstad and Nora is grim. A softer side of Krogstad is revealed, he does not seem to be a genuinely bad man. It seems that he has made a mistake and wants to get his life back on track. He reveals to Nora that “I will tell you. I want to rehabilitate myself, Mrs. Helmer; I want to get on; and in that your husband must help me.”. Krogstad wants to make real change and get his life back on track. When they talk about “that” and “the most wonderful thing” I believe they are talking about the possibility that Nora may commit suicide. She sees it as a way out of the whole messy situation she has found herself in. Although Nora and Krogstad agree they don’t see themselves having the courage to go through with it, readers are left in suspense.
- Anna Higgins