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Nora Helmer of Ibsen's A Doll's House, is constructed as a victim of the society in which she lives, to the extent that she is living in the male dominated 1th Century, however she breaks free and overcomes the ideas and expectations that her society place on women. She realises that '[she's] lived by performing tricks for…Torvald', not really knowing who she is. Society placed expectations on women of those times to support and love their husbands, stay within the confines of her home, obey her husband utterly and completely and to fulfill her most sacred duty, to her husband and children.This 1th Century society victimises Nora to the extent that women were not allowed to borrow money without their husband's consent, but Nora overcomes this social obstacle by forging a signature and borrowing the money anyway. When Mrs Linde asks Nora how she could afford the trip to Italy, she voices the views of her male dominated society, 'because a woman cannot borrow without her husband's consent' but when Nora replies with, 'ah, yes she can- when it's a wife with a little flair for business'. Mrs Linde, and society, admonish her, 'it's rash to do something without his knowing…' The fact that she has been able to keep Torvald from discovering her deception is another social wrong doing that fails to victimise Nora.Another expectation Nora's society placed on women, was her complete and utter obedience to her husband, instead Nora pretends to obey him throughout the entire play. However, her husband is totally unaware of her absolute disobedience and continuous deceptions until the end of the play, 'it's no good your forbidding me anything any longer.' When Torvald discovers that Nora forged a signature, he accused her a being ' a liar, a hypocrite even worse- a criminal!' she hid her biggest secret from her husband from the very beginning , as she knew he would not like it, ' you know what I think about that sort of thing. No debts, no borrowing.' Keeping Torvald from knowing her big, deceitful secret was not all she deceived him about. The first word Nora speaks is 'Hide' which immediately establishes a flaw. She then proceeds to lie about something so insignificant as buying macaroons when she had been forbidden to eat them, 'didn't Little Sweet Tooth just look in at the confectioner's? / No, honestly, Torvald.' But she doesn't stop with one denial of the purchase of macaroons but four denials. She also lies about Krogstad coming to see her and again when questioned about the lock on the letterbox, 'here's a hairpin-…it's one of yours! /perhaps the children …' But all the while she was 'infecting and poisoning the home' she was pretending to be blindly obedient to him, 'I wouldn't do anything that you don't like.'Nora is a victim in her society in that she is constantly at home, fearing to leave the comfortable yet imprisoning confines of her home, although she does eventually break free of her society in the last scene. The audience constantly sees Nora in every scene of the play, never going out to society instead society always comes to her in the form of Dr Rank, Mrs Linde and Krogstad, forcing her to stay imprisoned in her home. The one occasion where she actually wants to leave, she is kept from going out by her fear of what could happen, 'oh, if only I dared go out! If I could be sure no one would come - that nothing would happen here in the meantime…' She does leave in Act III whilst at the dance, but even then it is only upstairs, not out in society, 'the Helmers are upstairs at the dance'. When she eventually breaks free from her society, in the last scene, it is after she realises that she has been living a life that was not her own, constantly conforming not only to the views and beliefs of her husband, but the society in which she lives. At this realisation she leaves her husband and children, forsaking her 'most sacred duty'.
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In society's opinion, Nora's most sacred duty is to her husband and children but Nora believes otherwise. She believes that she has 'another duty, just as sacred… [her] duty to [herself].' When Nora realises that Torvald is not willing to save her, that her 'miracle' is not going to take place and that Torvald is 'not the man [she] thought he was', she also awakens to the belief that 'above everything else[she is] a human being.'. She can no longer 'be satisfied …with what most people say' but that she 'must think things out for [herself]' and in doing so she overcomes another social pressure of the 1th Century. When it becomes known to her that her miracle is not going to take place, when Torvald says 'no man would sacrifice his honour for the one he loves' she realises that her marriage is over, 'you don't talk or think like a man I could bind myself to.'In Nora's paternalistic society, a woman is expected to love and support her husband, but if she 'completely wrecks his happiness' he is free to act as he sees fit. When Torvald opens Krogstad's first letter he threatens to cut Nora off from her children, to exterminate their marriage to keep the 'mere façade' for society's watchful eyes, but I shall not allow you to bring up the children… I shouldn't dare trust you with them.' He led her to believe that he loved her enough to save her from the mess she had gotten herself into, 'whatever happens, when it comes to the point you can quite sure that I shall have the necessary courage and strength. You'll see that I'm man enough to take it all on myself.' So she expected a miracle but then when the time came for him to prove his love, he proved only that he was 'not the man [she] thought [he] was.' When Torvald opens the bond, along with Krogstad's second letter. When the danger to him was over, he was willing to think of it as a bad dream 'as far as you were concerned, it was just as if nothing had happened.' At this moment Nora realises that '[she] was simply [his] little songbird, [his] doll.' She overcomes the last of society's expectations of women when she decides to leave, 'that's why I'm leaving you'. The reality and finality of her decision resounds in the audience's ears as they hear the door slam, 'From below comes the noise of a door slamming.'Henrik Ibsen's, A Doll's House, set in the 1th Century, a male dominated society, Nora Helmer was a victim in many ways but she overcame and broke free from the victimizing restraints of social ideas and expectations. She overcame the obstacle of women's financial abilities, broke free from society with her disobedience towards her husband of 'eight years'. She overcomes the strong view of her society that 'above everything else [a woman] is a wife and mother'. Again, she defies society when she stops loving and supporting Torvald and than again, when she finally leaves her husband. Ibsen's A Doll's House caused an outrage when it was released in Germany, so much so that it was censured and he was forced to rewrite the ending. It was so unthinkable in the 1th Century, for a woman to leave her husband, her children, to forsake 'her most sacred duty' that the leading actress of those times refused to play the role of Nora because it was such an outrageous concept, such an unthinkable sin. Please note that this sample paper on Victimisation in Henrik Isben's PLay "A Doll's House" is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Victimisation in Henrik Isben's PLay "A Doll's House", we are here to assist you. Your cheap custom research papers on Victimisation in Henrik Isben's PLay "A Doll's House" will be written from scratch, so you do not have to worry about its originality.
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