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Literature in Translation

Written Composition – First Draft

A Doll’s House by Henrik Ibsen

The development and disintegration of Torvald Helmer’s character in ‘A Doll’s House’.

A defining feature of the lifestyle in 19th century Scandinavia was the intensely patriarchal nature of society – a theme that is meticulously explored in Henrik Ibsen’s ‘A Doll’s House’ – a highly controversial play at the time of its release in late 19th century Norway. The dominance of masculinity within the household is represented in ‘A Doll’s House’ through the character of Torvald Helmer, the husband of Nora: the story’s protagonist. Torvald’s overbearing nature and domineering relationship with Nora is evident from the moment he first speaks in the play. What is striking about this behavior is that it was typical of a conventional relationship between husband and wife at the time. However, as the story progresses, Nora begins to break free of the figurative ‘shackles’ that her husband and society as a whole have placed on her. Furthermore, as several faults in Torvald’s character are exposed and the air of masculinity and dominance surrounding him slowly disintegrates, a powerful dramatic effect is created – one that highlights the fatal flaws in such a dysfunctional relationship. Through the creation of this dramatic effect, Ibsen unreservedly criticizes the standards of the society he lived in.

From the moment he first speaks in ‘A Doll’s House’, we immediately recognize that Torvald has a penchant for speaking in a patronizing manner to his wife. The names with which he refers to Nora indicate that Torvald sees his wife as a diminutive object of his affection, not unlike a small child or a beloved pet. Torvald’s first dialogue in the play comes when Nora has just returned from the Christmas shopping, where he asks: “Is that my little lark twittering out there?” Throughout the opening scene, Torvald continues to address Nora in similarly affectionate terms, at times calling her “my little squirrel” and “my dear little Nora”. Ibsen effectively uses repetition of the word “little” to emphasize that Torvald views himself as Nora’s intellectual and emotional superior and the undisputed leader of the household. Ibsen also highlights the prevalent attitude at the time, where men viewed their wives as personal possessions through the repeated use of the word “my”. By juxtaposing Nora with cute and rather helpless animals such as larks and squirrels, Ibsen implies that Torvald thought of Nora as an inferior who needed to be guided and nurtured under his caring and watchful eye. The revelation in the play startlingly contrasts the notion that Torvald is Nora’s superior and provides the first indication that not all is well in the Helmer household.

The notion that Torvald Helmer is the ultimate symbol of masculinity and patriarchy is abruptly called into question following the main exposition of the play, where Nora reveals to Mrs. Linde that she borrowed money (unheard of for a woman in that era) to save her husband’s life. Following this revelation, Nora expresses her desire to keep the loan a secret due to the reverberations that such information would have on Torvald’s status as the head of the household and his standing in society. Nora expresses these concerns when she tells Mrs. Linde “how painful and humiliating it would be for Torvald, with his manly independence, to know that he owed me anything!” This statement illustrates how Nora fears the repercussions of the noble act of saving her husband’s life. This example further illustrates how Ibsen effectively uses irony to criticize the faults of his society. It is not only ironic that Nora, the woman who Torvald imagines is a helpless child requiring his guidance, has saved Torvald’s life and thereby emasculated him – in the eyes of their society; but also that she still speaks so highly of his “manly independence” despite what has just been revealed. The play’s shocking exposition serves as a catalyst for the events that unfold in the rest of the story and shows the first cracks in the manly image that Torvald portrays.

For all of his apparent wisdom and sense of morality, Torvald is exposed by Ibsen to be far from the man he claims to be. As much as he portrays that his utmost concern is the duty of guiding his seemingly helpless wife through the perils of life, he seems to be primarily concerned with his personal image and the reputation he holds in society. This superficial attitude is conveyed when Nora pleads with Torvald to allow Krogstad to keep his job at the bank. Ibsen conveys that Torvald has a self – centered, narcissistic attitude when he asks Nora “Do you suppose I am going to make myself ridiculous before my whole staff, to let people think I am a man to be swayed by all sorts of outside influence?” This strongly suggests that Torvald is deeply affected by the standards of his society and that the need

to conform to its rigid beliefs is paramount. This can perhaps serve to explain the nature of the relationship between Torvald and Nora, which was expected at the time. The specific diction used in the quotation also creates added effect, particularly with the use of the phrase “outside influence”. The fact that his wife’s influence is referred to discreetly as an outside influence suggests that the term is almost a euphemism, an indirect way of speaking of something as ‘outrageous’ as being influenced by a woman in this deeply patriarchal society. Additionally, Ibsen further portrays Torvald as far less than the man he claims to be by exposing his petulant attitude towards insignificant matters. When informing Nora of his reasons to dismiss Krogstad, he states that the idea of Krogstad adopting a familiar tone with him and referring to him by his first name (Torvald) is something that he cannot stand. This is illustrated when he tells Nora “I assure you it is extremely painful for me”. Nora responds to this by rightfully calling him “narrow-minded”, which he strongly opposes once again. The minor confrontation that ensued between Nora and Torvald is the first indication by Ibsen that Nora is beginning to break free of Torvald’s oppressive hold, and that Torvald is far from the noble character he sets out to portray himself as.

Although Torvald Helmer’s overbearing and superficial nature does little to endear his character as a hero to the audience, his fatal flaw and most dislikeable quality is, above all, his hypocrisy. Ibsen gives an idea of the fantasies in Torvald’s mind, which seek to bolster his masculinity and the notion of protecting his helpless wife. This is conveyed when he passionately tells Nora “I have often wished that you might be threatened by some great danger, so that I might risk my life’s blood and everything for your sake.” This example shows how Torvald views himself as Nora’s savior and guardian and as the ultimate hero – the epitome of masculinity. Unfortunately, the audience does not share this view as the flaws in his character are revealed. What is even more striking about this quotation is the dramatic irony that Ibsen creates, as the audience is already aware of the imminent incident that is about to befall the Helmer household. Ibsen also effectively uses the technique of foreshadowing to hint at the events that will take place in the climax of the play. The use of these techniques creates a powerful dramatic effect, as it remains to be seen the course of action that both Torvald and Nora will take once Nora’s secret is revealed. When Torvald discovers Nora’s secret through Krogstad’s letter, his consequent reaction completely shatters any illusions of himself as the quintessential masculine hero. He melodramatically exclaims, “You have destroyed all my happiness. You have ruined all my future.” This theatrical reaction serves as a hyperbole to underline the seriousness of the situation that Torvald finds himself in. The reaction is almost comedic in that the masculinity conveyed by Torvald has now totally disintegrated. The hypocrisy is evident; because only moments earlier did Torvald tell Nora that he wished a calamity had befallen her so that he could save her. Ibsen shows that this feeling has been entirely reversed when Torvald reads Krogstad’s second letter and cries “I am saved! Nora, I am saved!” This equally melodramatic expression shows that Ibsen has, to a certain extent, reversed the traditional roles of the man and woman in this relationship, with Torvald more closely resembling the stereotypical ‘damsel in distress’ rather than Nora, who has undergone a transformation of her own.

The transformation of Torvald Helmer’s character in ‘A Doll’s House’ is staggering not only because of the enormity of the change from a domineering husband to a feeble, helpless and humiliated man but also because of the degree of change in the relationship between Nora and Torvald. In the closing scene, the roles have been reversed to such an extent that Nora instructs Torvald, altogether emasculating him in the process. In conclusion, the disintegration of Torvald’s character is used to create dramatic effect, which Ibsen uses to challenge the norms of 19th century Norwegian society.