How soes Ibsen portray the three characters Torvald, Nora and Mrs. Linde thus far in the play? (initial 10 pages)
Consider: characterization, Torvald's 'righteous' nature when he was a lawyer...
---Henrik Ibsen's A Doll's House introduces three key characters in the space of 10 pages into the play, protagonists Torvald Helmer, his wife Nora and her friend Mrs. Linde (who is somewhat more of a supporting persona). Torvald is characterized as the typical patriarch of the house, however a shade too much so; instead of treasuring and treating his wife as an equal to him, he more often than not cossets Nora and almost considers her his plaything - someone to cater to his needs 'It's incredible how expensive it is for a man to keep such a pet' (4). To the modern audience, Torvald's remarks could pass as degrading and belittling towards women. however the audience of the same era may have felt that such nuances were perfectly normal. Torvald is also seen very attached to monetary matters almost to the point of considering the value of money higher than that of his wife's (not directly mentioned in the play, but definitely implied) - it comes as no surprise to the audience that he has recently switched jobs from being a barrister to a bank manager, where he can be at the company of his much loved money all day. People who 'waste money' like Nora are 'spendthrifts' to Torvald; saving up to invest in necessary goods 'spending recklessly'. From such quotes, it may not be wholly wrong to assume that Torvald's life evolves around such money matters.
Torvald treats his wife Nora as a physically fully grown version of his children. Although it is not explicitly mentioned in the play who Torvald treats his children, the audience can assume he treats his them in roughly the same manner as he does his wife. To Torvald, Nora is his 'little skylark' (1) and his 'little squirrel' (2). While his pet names of his wife may seem endearing outwardly, they are, to some extent, directly belittling; such animals are pleasing to the eyes, but their doings' hardly contribute to their surrounding environment.
Nora Helmer, on the other hand, is a character with many of her traits paralleling that of Torvald's. Superficially, she seemsfrivolous and whimsical 'But Torvald, surely this year we can spread ourselves just a little? This is the first Christmas we haven't had to go carefully' (2); such characteristics can easily beestablished just from Nora and Torvald's dialogue. Nora also seems the typical Victorian housewife, one who puts her husband's happiness firstly. Nora is faithful to Torbald, whether willingly or forcibly 'Very well, just as you say, Torvald' (3). Despite this, Nora very outwardly lies when Torvald suspects her of giving in to her one vice-'macaroons' (1). The audience actually sees Nora eating macaroons on stage, but when faced with telling the truth, Nora vehemently denies that she has done. From this action, the audience realize later on in the play that Nora Helmer is capable of lying. This may prove to be a catalyst later on in the play regarding her debt to Nils Krogstad; Nora's lies become grander in scale (although it is debatable whether or not she lies for the better).
Nora is seen every part the sweet, dedicated mother and wife. She buys Christmas presents for everyone but her in the family; she has also had to work when the family was short on money alongside her husband 'We've both had to work' (9). When her old school friend Mrs. Linde pays her a visit, Nora pities her for her lack of children and love from her husband 'So utterly alone...I have three lovely children' (8), perhaps highlighting her dedication to the household. From her remarks, Nora's more serious and mature side is hinted, possibly foreshadowing how she chooses to pursue that particular side of her as the play proceeds.
Mrs. Kristine Linde is somewhat of a supporting character throughout A Doll's House. Mrs. Linde again is a character who happens to serve as a foil to that of Nora's character - older than her years, weathered both superficially and mentally. The audience discover that she was an old schoolmate of Nora's and now a young widow 'without any baggage' as the modern saying goes, not even children or financial support from her late husband as a consolation. Despite the hardships she had to go through from her early life, she takes pride in how she has come to address such obstacles in life 'But it's true what you say: I am both proud and happy when I think of how I was able to make Mother's life a little easier towards the end' (13). When Nora reveals (falsely so) that she had to borrow her dying father's money to contribute towards the traveling funds to save Torvald's life, Mrs. Linde states frankly 'One has nobody to work for, yet one has to be on the look-out all the time. Life has to go on, and one starts thinking only of oneself.' (11) This is not something the audience would expect to hear from Nora (perhaps later on in the play, however certainly not thus far in); here, we begin to see that Mrs. Linde seems a lot more psychologically aged and mature in comparison to Nora's psyche as we know it. At this point, it may be fair to say that Mrs. Linde has emerged through her life's challenges a wiser woman. Although she seems confident and independent in her position, she does implicitly rely on Nora's help on finding a new job; she has traveled all the way to Nora's house possibly already knowing that Torvald was to be promoted, so that she can (in some ways) obtain a quasi-permanent job under Torvald's wing. This may heighten the Victorian notion that no matter how successful a woman is, she has to in one way or another be subordinate to a male, that a woman can never completely be independent.
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