NB : This novel is a translation and the Ibsen could have possibly used imagery only relevant to Norwegian culture and thus the translator could have chosen to leave this aspect out.
A Doll's House
Probably the most obvious image the play presents is that of a Doll's House. The imagery, though not mentioned concerning Nora until the 3rd Act,
NORA : It is perfectly true, Torvald. When I was at home with papa, he told me his opinion about everything, and so I had the same opinions; and if I differed from him I concealed the fact, because he would not have liked it. He called me his doll-child, and he played with me just as I used to play with my dolls. And when I came to live with you--
HELMER : What sort of an expression is that to use about our marriage? resonates with the audience from the start due to its title. It is obvious that Nora is nothing but a play thing of Torvald- A similar role, as Nora notices, the children are with her:
NORA :My sweet little baby doll! (Takes the baby from the MAID and dances it up and down.)
The doll could represent the following arguments:
- The authoritative, condescending nature of man over wife: Ibsen obviously believes that the "marriages" of the society he resided in were false and were controlled by the dominant male- one who was completely oblivious to the females opinion or taste; as Nora rightly puts it:
NORA :"You arranged everything according to your own taste, and so I got the same tastes as your else I pretended to...I have existed merely to perform tricks for you, Torvald" - The inhuman treatment of one's wife: not to be confused with human rights violations- though this maybe an argument further explored with modern developments in mind - but the respect one human should provide to another especially in the case of intelligence. The following quote represents their marriage, sadly, quite well. The avoidance of serious matters by Torvald are a representation of his viewpoint of her. He does not trust her with intellectual discourse and believes her to be shallow.
NORA: We have been married now eight years. Does it not occur to you that this is the first time we two, you and I, husband and wife, have had a serious conversation? - That the Doll actually controlled the House. The misconception, as some interpret it as, is that Torvald is in control but in actuality Nora gets her way. She eats macaroons (a symbol that is further assessed below) and spends money as seen by the over-tip to the porter:
NORA: How much?
PORTER : Sixpence.
NORA : There is a shilling. No, keep the change.
Furthermore during the course of the play- the action is based in one room: A room which Nora resides inis the one to which the story and the characters come to. In that expression, it is truly a Doll's House. Be aware that this interpretation is possibly a stretch as the male dominance of Torvald- through various symbols such as the furniture, clothes and his behavior, is ubiquitous.
Animals
The constant use of nicknames by Torvald, ones that relate to animals, plays a major role in our perception of Nora:
- They provide an innocent aura around her; she seems to be shallow in her actions and attitude and the innocent imagery, such as that of the little larks and squirrels.
HELMER : (calls out from his room): Is that my little lark twittering out there? - Further condescend the position of Nora as a pet of Torvald's. An animal which he merely plays with time to time and owns.
Christmas & The Tree
The very first line of the play sets the time of year.
NORA : Hide the Christmas Tree carefully
The time of Christmas and New Years is one of joy and rebirth. It foreshadows events that would lead to a new era, not only for Torvald and Nora, but for Krogstad, Mrs Linde and Dr. Rank. At first it may seem a joyful occasion in the beginning yet as the play progresses and, excuse the use of the phrase, the plot thickens the mood turns darker - yet defines new beginnings, such as Krogstad and Mrs Linde, for some
The Christmas tree was added to the set the very first Act and stays there throughout it. It can be seen as a symbol of Nora's presence in the household. Like Nora:
- It serves as a play thing - one to be decorated and cherished
- It must not be seen until it is fully dressed
NORA : Helen. Be sure the children do not see it until this evening, when it is dressed. (note the diction)
NORA : Yes, nobody is to have the chance of admiring me in my dress until tomorrow.
Macaroons & Rebellion
The macaroons are the first symbol of rebellion by Nora. It is the secret she has - something she does not share with Torvald. Ibsen provides the notion that though the man of the house dominates the scene, the woman still partakes in activities that he does not know about.
HELMER : Not even taken a bite at a macaroon or two?
NORA : No, Torvald, I assure you really--
As the play progresses- we learn more of the activities that Nora partakes in that Helmer does not know about: The loan from Krogstad and the flirting with Dr. Rank among some.
Proximity, Dialogue & Movement
Stage presence in any play is paramount and the director may chose to do the scene differently but I am assuming that the interpretation of the director of the video we watched is the orthodox one when directing the play.
Proximity, with Nora and he conversation partner, is an extremely powerful symbol.
She is frequently close to Torvald- especially in scenes where sexual tension is present. Furthermore as she is conducting the couple's first "serious talk" she sits across the table from him - symbolizing her drifting away.
When she gets excited- either she gets up and expresses her emotion through movement or she reaches in closely and speaks quickly. There was a lot of movement in the scenes- especially int he form of chasing- int he play. As Torvald chases Nora he seems to be playing with her and Nora acts similarly with the children.
Volume is also an important factor- one utilized by the character of Torvald frequently.
Oppositely Rank presents himself as calm and mannered throughout the play - even when death is imminent. Also during Nora and his conversations, especially in the video, they are extremely close and sexual tension is definitely present.
NORA : Doctor Rank, come and sit down here, and I will show you something.
RANK : (sitting down). What is it?
NORA : Just look at those!
RANK : Silk stockings.
NORA : Flesh-coloured. Aren't they lovely? It is so dark here now, but tomorrow--. No, no, no! you must only look at the feet. Oh well, you may have leave to look at the legs too.
NORA : (looks at him for a moment) : For shame! (Hits him lightly on the ear with the stockings.) That's to punish you. (Folds them up again.)
I mean come on, this is flirting if I ever read it.
Dance & Capri
The Dance was a similarly important. It was a symbol of Torvald controlling Nora and Nora seeking direction from Torvald.
HELMER : No, indeed! I took my charming little Capri maiden--my capricious little Capri maiden
Capri - an Italian island - serves as a reminder of the time when the Helmer's moved south, to Italy, for Torvald's health. The reappearance of Capri could further the importance of the trip - may it have been subconscious to him- to Torvald.
She also dances the Tarantella - "a folk dance from southern Italy that accelerates from its already quick tempo and alternates between major and minor keys"- and represents Nora's mercurial nature. The Tarantella is also commonly associated with riding oneself from the poison of the tarantula which could be interpreted as Nora riding herself of the 'poison' of Torvald.
Letters & Money
Some may argue, the catalysts of the play, both these symbols play a role in the story and plot development. Money is present from the very first scene where Nora tips the porter. She also seems to be excited of Helmer's new found wealth, from his new position, and is Helmer refers to her as the spendthrift. Money could be a representation of her freedom.
HELMER : Bought, did you say? All these things? Has my little spendthrift been wasting money again.
This is furthered by the loan. Her independant nature made her take the loan from Krogstad; a move which eventually lands her in trouble. It is also a symbol of a man's worth and honour and Torvald explicates this as he learns of the loan:
HELMER : Now you have destroyed all my happiness. You have ruined all my future. It is horrible to think of! I am in the power of an unscrupulous man; he can do what he likes with me, ask anything he likes of me, give me any orders he pleases--I dare not refuse. And I must sink to such miserable depths because of a thoughtless woman!
Letters seem the norm method of communication in Ibsen's Norway and most of the plot development occurs within pen, paper and the letterbox. Krogstad's letter, Helmer's letter of dismissal, Rank's calling card and Nora's "I owe you" are delivered through the post. And who owns the key to the box? Of course it is the man of the house. He controls the information flow in and out of the house furthering the idea of a sheltered society. One which Nora explains as:
NORA : When I look back on it, it seems to me as if I had been living here like a poor woman--just from hand to mouth.
Clothes
From the Tarantella dress, Torvald's constant well dressed appearance, Nora's silk stockings and Kristine's disheveled appearance, clothes play a role in representing the state of the character. Also in the last scene, Nora's change of clothes represent a finality in her decision to leave Torvald:
HELMER : Have you changed your things?
NORA (in everyday dress) : Yes, Torvald, I have changed my things now.
HELMER : But what for?--so late as this.
NORA : I shall not sleep tonight.
Set Design & Doors
The set is very much created in the taste of Torvald and the introduction to the setting reflects his character:
A room furnished comfortably and tastefully, but not extravagantly.
The divide between Torvald's study and the main living room represents the den of the man and the segregation of genders in society. Furthermore Torvald seems to be more comfortable in his study, often the audience finds himself in there.
The issue of Doors is best researched by Brian Johnston in Voyages with Ibsen. Here is a summary of his findings and analysis. Remember this is an opinion and could be above our level; nevertheless I found it interesting.
"The meaning behind doors, the opening of them and significance of who opens them, for instance the door which leads to Torvald’s study (on the left; from the audience’s viewpoint) with Torvald being the only one to open, this Johnston informs us represents security, authority and patriarchal power, further more he [Johnston] goes on to say, the door leading to the inner chamber of a prince in a neo- classical drama and as a result the stage left door carries significant weight.
When reading Johnston’s deciphering of the symbolism, it becomes apparent that more importance is placed on the door to the right (on the right; from the audience’s viewpoint). With this door leading to the outside world where at first only “damaged people” come through: Christine, Rank and Krogstad, these, who Johnston tells us have all been hurt by the outside world (that which exists outside the dolls house).During the last act, this is the door through which Krogstad’s letter to Torvald enters the dolls house .
This door then, is a representation of the menacing reality of the outside world. It does however; eventually become the door of liberation, for the newly awakened Nora (who Johnston describes as evolving from a mini-Nora in act one to the super-Nora we see exiting in act three) this claim is backed up further when reading Charles R.Lyons: Henrik Ibsen The Divided Consciousness; Lyons explains how each major character is given an “extremely dense” psychological nature with pasts which explain their “present conditions and actions” .
Finally another door in the right-hand wall (the door to the nursery and bedroom and the shared sexuality of Torvald and Nora) which Johnston tells us, is a world of sexual fantasy, with Nora performing childish roles imposed on her by Torvald, Templeton in Ibsen’s Women lists the names by order of use and appearance (squirrel 3 times lark 3times, featherbrain only once and spendthrift 3 times .) to keep him infatuated with her and assured of his dominance in the doll home. Nora, however, is hardly naive. She plays along with this for her own convenience, lies to and manipulates her husband. Ibsen's point is that both Nora and Torvald are damaged by the lie with which they both live by. If not, there would be no need for this ordeal of awakening. One of Nora's meanest actions, for instance, is to blame the children for tampering with lock on the mailbox (act 3). And her attitude towards the dying Dr. Rank in Act Two, in which she first flirts with him (showing the flesh colored stockings, brushing his cheek with them and then coldly rebuffing him) is a behavior that does not have a polite name. (The scene so shocked one translator, Eva le Gallienne an American actress, producer, director, that she omitted it altogether). Those who sentimentally exonerate Nora have to ignore many of the less than admirable things she does. The role-playing serves her interests until she is awakened to larger interests. If Nora were not damaged by her situation, Johnston tells us she [Nora] would not need to be shaken into adulthood."
Information pasted from: http://www.knowledgerush.com/kr/jsp/db/view.jsp?columnId=193&contentType=column
The final scene is of Nora leaving Torvald and the door represents finality in her decision and outcome.
HELMER (sinks down on a chair at the door and buries his face in his hands) : Nora! Nora! (Looks round, and rises.) Empty. She is gone. (A hope flashes across his mind.) The most wonderful thing of all--?
(The sound of a door shutting is heard from below.)
Quotes from: http://www.classicreader.com/book/2011/2/
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