Nora first appears as a silly, selfish and spoilt woman, Torvald's "doll-child. She has saved Torvald's life by negotiating and almost completely paying off a loan from Krogstad. The loan, which involved her forging her father's signature, enabled her to take Torvald to Italy, where he recovered.
For example, when the play begins Nora is just returning home from a shopping trip.
Previously, she made the decorations by hand, spending an entire day on the project. Now that Nora belongs to a higher social class she practically throws money away. She tells the tree delivery boy to keep the change from the crown she gave him, paying him twice what he asks.
Now that they belong to a higher social class, her responsibility has flown out the door and she cares only for her own interests. By the end of the play, however, she realizes that even if she is able to be free of her debts, she is still financially enslaved to her husband, because as a woman she is completely dependant on him.
Torvald is much more careful with money, but he too bases his outlook on life and relationships solely on money and the status it earns him. Torvald, too, equates money with freedom, and refuses to give up that freedom by borrowing money.
Torvald cares not only about money, but about his social status as well. Nora is only an afterthought when it comes to his reputation.
Their relationship is ruined because he continues to believe in money and social status as the source of happiness, while Nora comes to realize that money is not that important.
The Marxist theme can be seen in both Kristine and Krogstad as well. This is a Marxist attitude because her entire life and mind-set are a result of her economic situation at the time of her decisions. She had to leave her home and her child in order to get by. She had to give up a relationship with someone she loved, just as Kristine had to give up her love for Krogstad.
So all she can expect is to be poor her entire life, and for her financial conditions to remain stagnant. The problems that Nora, Anna-Marie and Kristine face are compounded by their gender. She was an object, his property, to whom he designed to give life; but only for his own pleasure.
When he finally addresses her by name, in Act Three, her behavior is entirely different—she becomes serious, determined, and willful. All of it is a role that Nora has been taught to play by society, the behavior expected of all women of the time.
Ibsen was even forced to change this ending in order for it to be performed. Obedience was the main trait that defined women; it was what separated them from men. So in leaving, she was in a sense denying the purpose of her existence.
Women had no other role or function in society. Kristine broke free from this traditional role by chance, because her husband died. Had he lived, she would have been stuck in the same situation as Nora for the rest of her life.Get everything you need to know about Nils Krogstad in A Doll's House.
Analysis, related quotes, timeline. A Doll's House by Henrik Ibsen. Upgrade to A + Download this Lit Guide! (PDF) Introduction. Plot Summary.
The timeline below shows where the character Nils Krogstad appears in A Doll's House. The colored dots and icons indicate. A Doll's House by Henrik Ibsen. Home / Literature / A Doll's House / Characters / Nils Krogstad ; Nils Krogstad.
BACK; NEXT ; Character Analysis Norwegian Machiavelli. Nils Krogstad, the play's antagonist, uses some seriously villainous tactics over the course of the play. He intimidates, blackmails, and threatens Nora in an effort to keep. A Marxist and Feminist Analysis of the play "A Doll House" by Henrik Ibsen.
A Marxist and Feminist Analysis of the play "A Doll House" by Henrik Ibsen. A Doll's House: Character Profiles, Free Study Guides and book notes including comprehensive chapter analysis, complete summary analysis, author biography information, character profiles, theme analysis, metaphor analysis, and top ten quotes on classic literature.
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