Doll's house Flashcards
(Act 1) A quote that shows the problem of gender stereotypes through everyday things such as nicknames for Nora. This occurred in the beginning, where the issue of money also brings in to play.
HELMER.
[calls out from his room]. Is that my little lark twittering out there?
NORA.
[busy opening some of the parcels]. Yes, it is!
HELMER.
Is it my little squirrel bustling about?
NORA.
Yes!
HELMER.
When did my squirrel come home?
NORA.
Just now. [Puts the bag of macaroons into her pocket and wipes her mouth.] Come in here, Torvald, and see what I have bought.
HELMER.
Don’t disturb me. [A little later, he opens the door and looks into the room, pen in hand.] Bought, did you say? All these things? Has my little spendthrift been wasting money again?
(Act 1) A quote regarding the Children’s gifts that reinforces the gender stereotypes
NORA.
Yes, yes, it will. But come here and let me show you what I have bought. And all so cheap! Look, here is a new suit for Ivar, and a sword; and a horse and a trumpet for Bob; and a doll and dolly’s bedstead for Emmy,—they are very plain, but anyway she will soon break them in pieces. And here are dress-lengths and handkerchiefs for the maids; old Anne ought really to have something better.
(Act 1) A quote of deceit and love (still in Act 1) where Nora and Helmer spent a moment with each other, but Nora lied about sweet.
HELMER.
[wagging his finger at her]. Hasn’t Miss Sweet Tooth been breaking rules in town today?
NORA.
No; what makes you think that?
HELMER.
Hasn’t she paid a visit to the confectioner’s?
NORA.
No, I assure you, Torvald—
HELMER.
Not been nibbling sweets?
NORA.
No, certainly not.
HELMER.
Not even taken a bite at a macaroon or two?
NORA.
No, Torvald, I assure you really—
HELMER.
There, there, of course I was only joking.
NORA.
[going to the table on the right]. I should not think of going against your wishes.
HELMER.
No, I am sure of that; besides, you gave me your word— [Going up to her.] Keep your little Christmas secrets to yourself, my darling. They will all be revealed tonight when the Christmas Tree is lit, no doubt.
(Act 1) A small conversation between Nora and her good old friend Mrs. Linde who caught up, but dips into the theme of Individual vs. Society.
NORA.
[gently]. Poor Christine, you are a widow.
MRS LINDE.
Yes; it is three years ago now.
NORA.
Yes, I knew; I saw it in the papers. I assure you, Christine, I meant ever so often to write to you at the time, but I always put it off and something always prevented me.
MRS LINDE.
I quite understand, dear.
NORA.
It was very bad of me, Christine. Poor thing, how you must have suffered. And he left you nothing?
MRS LINDE.
No.
NORA.
And no children?
MRS LINDE.
No.
NORA.
Nothing at all, then.
MRS LINDE.
Not even any sorrow or grief to live upon.
NORA.
[looking incredulously at her]. But, Christine, is that possible?
MRS LINDE.
[smiles sadly and strokes her hair]. It sometimes happens, Nora.
(Act 1) This quote is a conversation between Mrs. Linde and Nora about deceiving Torvald with the money, and Nora’s feelings for working for the money.
NORA.
Well, then I have found other ways of earning money. Last winter I was lucky enough to get a lot of copying to do; so I locked myself up and sat writing every evening until quite late at night. Many a time I was desperately tired; but all the same it was a tremendous pleasure to sit there working and earning money. It was like being a man.
(Act 2) Nora frequently expresses how much Torvald enjoys watching her sing and dance, and the fact that he refers to her as his “skylark” and “songbird” and requests that she dance the Tarantella indicates that Nora “performs” her role in the marriage to some extent. The strands of Nora’s routine life are coming apart as evidenced by her observation that the previous night wasn’t as enjoyable as things usually are.
NORA.
Yes, I was passing by. As a matter of fact, it is something you could help me with. Let us sit down here on the sofa. Look here. Tomorrow evening there is to be a fancy-dress ball at the Stenborgs’, who live above us; and Torvald wants me to go as a Neapolitan fisher-girl, and dance the Tarantella that I learned at Capri.
MRS LINDE.
I see; you are going to keep up the character.
NORA.
Yes, Torvald wants me to. Look, here is the dress; Torvald had it made for me there, but now it is all so torn, and I haven’t any idea—
MRS LINDE.
We will easily put that right. It is only some of the trimming come unsewn here and there. Needle and thread? Now then, that’s all we want.
NORA.
It is nice of you.
MRS LINDE.
[sewing]. So you are going to be dressed up tomorrow Nora. I will tell you what—I shall come in for a moment and see you in your fine feathers. But I have completely forgotten to thank you for a delightful evening yesterday.
NORA.
[gets up, and crosses the stage]. Well, I don’t think yesterday was as pleasant as usual. You ought to have come to town a little earlier, Christine. Certainly Torvald does understand how to make a house dainty and attractive.
(Act 2) There was some suspicion around friendships between people of different genders, as seen by Mrs. Linde’s assumption that Nora must have borrowed the money from Dr. Rank. The degree to which Mrs. Linde’s outrage at Nora acting behind Torvald’s back persists demonstrates how socially unacceptable Nora’s actions are. Nora says that being a woman puts her out of her element and makes her feel confused and powerless, demonstrating that, at least in part, she accepts the notion that women are less capable than males.
NORA.
No, certainly not. It would never have entered into my head for a moment. Besides, he had no money to lend then; he came into his money afterwards.
MRS LINDE.
Well, I think that was lucky for you, my dear Nora.
NORA.
No, it would never have come into my head to ask Doctor Rank. Although I am quite sure that if I had asked him—
MRS LINDE.
But of course you won’t.
NORA.
Of course not. I have no reason to think it could possibly be necessary. But I am quite sure that if I told Doctor Rank—
MRS LINDE.
Behind your husband’s back?
NORA.
I must make an end of it with the other one, and that will be behind his back too. I must make an end of it with him.
MRS LINDE.
Yes, that is what I told you yesterday, but—
NORA.
[walking up and down]. A man can put a thing like that straight much easier than a woman—
MRS LINDE.
One’s husband, yes.
NORA.
Nonsense! [Standing still.] When you pay off a debt you get your bond back, don’t you?
(Act 3) Using the specific concept that moral
corruption is handed from parent to child as
an illustration, this is another instance of the
concept that parents impact children. Torvald
was right to say that he lacked “courage” and
wouldn’t defend Nora, as evidenced by the
fact that he doesn’t even consider defying
Krogstad.
HELMER.
[walking about the room]. What a horrible awakening! All these eight years—she who was my joy and pride—a hypocrite, a liar—worse, worse—a criminal! The unutterable ugliness of it all!—For shame! For shame! [NORA is silent and looks steadily at him. He stops in front of her.] I ought to have suspected that something of the sort would happen. I ought to have foreseen it. All your father’s want of principle—be silent!—all your father’s want of principle has come out in you. No religion, no morality, no sense of duty—. How I am punished for having winked at what he did! I did it for your sake, and this is how you repay me.
NORA.
Yes, that’s just it.
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!
(Act 3) A quote where Helmer receives a letter from Krogstad, this is also in the theme of love and marriage, as Nora finally gets to see who Helmer truly cares for
HELMER.
[standing by the lamp]. I scarcely have the courage to do it. It may mean ruin for both of us. No, I must know. [Tears open the letter, runs his eye over a few lines, looks at a paper enclosed, and gives a shout of joy.] Nora! [She looks at him questioningly.] Nora!—No, I must read it once again—. Yes, it is true! I am saved! Nora, I am saved!
NORA.
And I?
HELMER.
You too, of course; we are both saved, both you and I.
Stage direction that portray’s Nora’s descision
A heavy door slamming
Stage direction that portrays Nora’s life
Secretly eating Macaroons
Stage direction that
cheese
