Quotes Flashcards
1
Q
Torvald teases Nora in Act 1 for being a…
A
“spendthrift”
2
Q
Nora’s first word in the play
A
it is very significant that Nora’s first word in the play is “Hide”
numerous critics suggest that this immediately signals her secrecy and links to the facade she maintains
3
Q
Nora immediately demonstrating that she is not always sweetly compliant, she is actually happy to contradict Torvald when he claims she has inherited the bad habit of reckless overspending from her father
A
“I wish I’d inherited more of papa’s qualities”
4
Q
Torvald growing irritated at the arrival of visitors, possibly because he wants to keep Nora all to himself
A
“What a bore”
5
Q
role of money in the play, an early hint that money and debt will play a central part in the action of the play
A
Torvald says that “a home that is founded on debts and borrowing can never be a place of freedom and beauty”
6
Q
Nora enjoys working because it gives her freedom and independence
A
“working and earning money… almost like being a man”
7
Q
Nora as deceitful, manipulative and hyperaware in Act 1, she seems to be aware of her position in the marriage as a mere plaything and that once her beauty and youth fades, she will be left with nothing to interest her husband
A
she realises that a time will come when “it no longer amuses [Torvald] to see [her] dance and dress up and play the fool”
so when this time comes, she intends to keep him by revealing how she saved his life, planning to use her secret as leverage
8
Q
the macaroons symbolising Nora’s childish and greedy side, hinting that she finds self-control difficult
A
“just a little one, two at most”
9
Q
Krogstad’s determination to keep his job, he is not motivated by money, he may be blackmailing Nora but it is clear that he does this out of desperation rather than malice, all he wants is to keep his job at the bank
A
“I shall fight for my little job at the bank as I would fight for my life”
10
Q
the audience may at first sympathise with Nora, she is fragile and innocent so there is something unsettling about Krogstad manipulating and intimidating someone so naïve, however, she is not entirely sympathetic – she displays classist attitudes when she regards Krogstad as a member of an inferior class
(no clear cut heroes or villains, all characters are complex and imperfect)
A
“one of my husband’s employees”
“filthy”
“beastly”
11
Q
mirrors for Nora – while Mrs Linde shows Nora the independent and capable woman she can become, Krogstad also acts as a mirror as he and Nora have both committed the same crime and he shows her the scared and deceitful person she will become if she does not face her problems
A
“no bigger nor worse a crime than the one I once committed”
12
Q
Nora is not as naïve and unaware as she first appeared, she manipulates the conversation, weaving the topic of Krogstad in and out of discussion, she is aware of how to appeal to her husband’s ego and bends him to her will
A
she says “it all seems so stupid and meaningless”
this seems to be her attempt to begin a new conversation, perhaps she is planning to introduce wider issues and eventually mention Krogstad
13
Q
her words at the beginning of Act 2 mirror those at the end of Act 1, suggesting that she has been obsessively caught in her thoughts since then
A
“it couldn’t happen”
14
Q
Nora’s dresses and costumes seem to be acquiring some kind of symbolic significance to her, they represent her false seeming and deception as well as Torvald’s control, she seems to be tired of having to dress up as her husband’s social and sexual inferior and being treated like a doll
A
she wants to “tear them into a million pieces” because of what they have come to symbolise
15
Q
the same phrase is used to describe Nora’s costume AND decorating the Christmas tree
A
“dress up”
16
Q
Nora and Rank flirting with the silk stockings, it is quite shocking to see Nora be so crude and dominating in the conversation, contrasts to her being belittled and infantilised by Torvald
A
her remark that Rank can “look a bit higher” is shocking behaviour for a seemingly respectable, innocent wife
17
Q
Nora trying to bring Rank closer to her, Rank touching the tights, creates a sense of sensual intimacy between the pair
A
her repeated phrases of “sit down here” and “look here” seem to suggest that she is actively trying to bring Rank physically closer to her
the fact that he can tell the tights are silk implies he may be touching them
this creates a sense of sensual intimacy between the pair
18
Q
parallels between Nora’s relationship with both Rank and Torvald, she manipulates them both by reducing herself to entertainment or a sexual object for their affections
A
she says to Rank “you’ll see how beautifully I shall dance and you must imagine I’m doing it just for you”
this mirrors her promise to Torvald to “dance… in the moonlight”
19
Q
Torvald is oblivious to Nora’s manipulation and eager to become the guide and the protector in their marriage, he desires to be the powerful man and he expects Nora to be the submissive wife who constantly needs reassurance
A
he is only too happy to accept Nora’s invitation to “Correct me, lead me, the way you always do”
Nora may be being sarcastic here, she knows how to appeal to Torvald’s fragile masculinity and distract him but he is oblivious to her actions
20
Q
Krogstad’s graphic description of Nora’s corpse
A
“ugly, unrecognisable, hairless”
21
Q
Nora hints at the possibility of going mad, she is fragile and afraid at this point, she delivers a brief soliloquy here
A
“I should go out of my mind”
“Oh Torvald, Torvald! Now we’re lost”
22
Q
female hysteria, Rank and Torvald reducing Nora’s emotions to mere hysteria in the scene where Nora dances to distract Torvald, the pathologisation of female resistance, silencing of the female voice, confining what they can and can’t express without being seen as mad
A
Helmer uses the word “lunacy”
Rank asks “she isn’t… expecting?”
23
Q
Nora’s corruption of her children
A
she believes she is one of the “constitutional liars” that is “poisoning” her children
24
Q
the melodramatic convention that unbound hair implies mental disorder, Ibsen may be implying her descent into madness and the fast pace of the dance represents the fast deterioration of Nora’s mental state
A
Nora’s hair falls “over her shoulders” as she dances
25
Torvald's ironic comment that shows he has no idea that Nora is in the process of abandoning most of what has been taught to her by not only him but society as well, he is unknowingly talking about a much wider issue than just the tarantella
“You’ve forgotten everything I’ve taught you”
26
Krogstad once he knows that Christine’s feelings are genuine, Nora will be in this same position on stage at the end of the play before she prepares to leave, she will be liberated much like Krogstad
“I’ve never been so happy in my life before!”
27
sacrificial role of women, Mrs Linde understands her situation, this foreshadows Nora’s decision to leave her husband rather than sacrifice her chances of freedom and independence
“a woman who has sold herself once for the sake of others doesn’t make the same mistake again”
28
the costume Torvald has chosen for Nora, she is being infantilised and he puts her in this costume to feel above her, demonstrates his need to exert dominance and control, the costume also links to his view of her as a fantasy rather than a real person, in this costume she is not part of the real world
“capricious little Capricienne”
29
Torvald's emotional insensitivity and inability to see that her exhaustion and anxiety is real, this is also the first time that Torvald has said anything outwardly violent and sinister, he seem to expect sex seeing as she is his wife, he thinks he owns her and her body, Nora refuses but he completely ignores her
“Don’t want, don’t want? Aren’t I your husband?”
30
Nora has constantly flattered and complimented Torvald, but now we see her tone change to one of sarcasm and irony, Torvald doesn’t pick up on her frustration at all and doesn't understand her
“You’re always right, whatever you do”
31
Rank seems to understand how Torvald undervalues his wife, his respect for Nora provides a stark contrast to Torvald’s objectified and sexualised view of his wife, it seems to be becoming clear to Nora that Rank is a true companion and Torvald only values her beauty
she “need only appear as her normal, everyday self”
32
the light is symbolic and Rank recognises this when he thanks Nora, perhaps because she has brought light in the form of happiness to his last remaining days, it’s significant that Nora is an abbreviation of the name Leanora which means ‘light’
“thank you for the light”
(refers to her lighting his cigar but has a deeper symbolic meaning as the two know this is goodbye and he seems to be thanking her for the time they've spent together)
33
Torvald drunkenly claims he will make a noble sacrifice for her, Nora now seems to be eager for the secret to be revealed, perhaps she is still convincing herself that he will be willing to forgive and sacrifice himself for her
“offer my life and my blood, everything”
34
one of the cruellest ironies is Torvald's description of Nora’s behaviour in Act 3, he is criticising her for weakness but throughout the play weakness and submissiveness is exactly what he wanted from Nora
“the weakness of a woman”
35
Torvald locks the door, he traps her and confines her inside the ‘doll house’
“You’re going to stay here and explain yourself”
36
Torvald repeatedly uses the pronoun “I”, he is still thinking purely of himself and the consequences he will face, he believes this may be punishment for helping Nora’s father but still manages to blame her
“I did it for your sake. And now you reward me like this”
37
Torvald sneers at Nora and fails to realise that she intends to take her own life in order to take responsibility for her crimes, this is ironic as only a few moments ago he himself used melodramatic language in claiming he will offer his life and blood for her
he sneers at her for being “melodramatic”
"don't be so melodramatic"
38
Torvald is the only character who receives no development, he remains very two dimensional, he still thinks solely of himself and even criticises Rank, he is utterly convinced that their marriage was a happy one which suggests that he is not an evil character and genuinely thought Nora was happy, this just reinforces his emotional insensitivity and self-centred nature – he doesn’t see anyone but himself
criticises Rank by claiming that “his suffering and loneliness seemed to provide a kind of dark background to the happy sunlight of our marriage”
39
Torvald is still deeply unaware of how disillusioned she has become, he still does not see any fault within himself, believing it is Nora who needs to change and whose fault it is that she is unhappy
he believes he can solve her unhappiness by changing her with an “education” he imagines he can deliver
he is unable to grasp that he needs to change too, trying to suggest what she or “we” might do, but never just him or “I”
"Playtime is over. Now the time has come for education"
40
Nora accuses Torvald of having done her a...
“great wrong”
41
Torvald's nicknames for Nora, he repeatedly objectifies her using animal names
"skylark"
"squirrel"
"squanderbird"
42
Nora purposefully playing into the roles that she knows Torvald loves, manipulating and influencing him to get what she wants, sexualising and objectifying herself
by "playing with his coat buttons"
"turn myself into a little fairy and dance for you in the moonlight"
43
Nora growing into a mature and realistic woman, while Torvald remains delusional and unwilling to strip away the facade
Torvald suggests they should live as brother and sister (i.e. platonically) to which she replies "you know quite well that wouldn't last"
44
Torvald is not an evil character and cannot be easily categorised as a villain, he is controlling but seems to truly believe he is doing what is best for Nora and that he genuinely loves her
even when leaving Nora says "you've always been kind to me"
at the beginning of the play, he wanted to surprise her with something "to hang in gold paper" on the tree
45
Torvald being melodramatic in Act 1
"Suppose I were to borrow fifty pounds today and you spend it all over Christmas and then on New Years Eve a tile fell off a roof and on to my head"
46
Torvald is not evil or malicious, he believes he loves Nora, he is simply unaware of his controlling nature and toxic possessiveness
he says that he and her father loved her "more than anyone in the world"
when her secret is revealed he says that she is "someone I once loved so dearly - and whom I still!"
47
Torvald treats Nora like a trophy or an object to be showed off and displayed to other people, he shows her off to the neighbours at the party and then to Christine afterwards
"worth looking at, don't you think?"
48
Torvald is possessive and controlling, wanting Nora to himself
Nora tells Mrs Linde that he wants to "have me all to himself"
when Rank is dying he comments it is good now that they "only have each other"
49
Torvald being melodramatic, only moments before telling Nora to stop being so melodramatic, he is just as self-dramatising as Nora
he imagines that he'd save her from "terrible danger"
produces many cliches of melodrama ("no man can be expected to sacrifice his honour")
50
Torvald desires to be the rescuer and forgiver, he believes he is protecting her, when really he is imprisoning her, if anything he is the falcon that she needs saving from
"I shall watch over you like a hunted dove which I have snatched unharmed from the claws of the falcon"
51
Torvald stuck in his ways, he assumes that anyone who suggests change is making no sense at all, he dismisses Nora's attempts to have an adult conversation with him
"Nora, what kind of way is that to talk?"
52
Christine's love and passion for work, she is an exemplification of 'the New Woman' and offers Nora a possible identity that she can adopt and work towards
she tells Krogstad it has been her "only joy"
53
Krogstad suggests that he has been wronged too and that Nora is not the only victim, he is the first to confront her and the audience would not expect such as question from the 'villain', a question that challenges our perception of the characters
"Didn't it occur to you that you were being dishonest towards me?"
54
Torvald claiming that Krogstad is poisoning his children, Torvald ironically despises lies and deception yet he is unwilling to drop his own facade and is deeply absorbed by pretences (hypocritical), while Krogstad is the one who seems to care more for his children
"poisoning his own children with his lies and pretences"
55
Krogstad is the father presented most positively in the play, he is determined to fight for his job, which comes from a sense of responsibility he feels towards his children
"my sons are growing up: for their sake, I must try to regain what respectability I can"
repeatedly refers to his children as "my children" while Torvald speaks of "the children" or sometimes "your [Nora's] children"
56
Krogstad sympathises with Nora's thoughts about suicide, makes him a more redeemable and sympathetic character
“most of us think of that at first. I did, too—but I hadn't the courage"
57
Krogstad has been broken down by society, pushed to the outskirts and treated like a criminal, which has led him to become mistrustful and unwilling to believe he can be loved and cared for by Christine, he has suffered at the hands of society and is a victim too
"life has taught me to distrust fine words"
58
Dr Rank's fears of being forgotten after his death
he fears becoming "an empty space to be filled by the next comer"
59
Rank's love and genuine devotion to Nora, his sincerity and respect for her contrasts to Torvald's false love that is merely desire, Rank seems to truly love her whereas Torvald constantly belittles and dehumanises her
he says he would "lay down [his] life" for her
60
Nora prioritising herself and deciding that she is more than the roles that society has assigned to her as a wife and a mother, she desires to be a human being rather than a doll
"first and foremost a human being"
61
Nora desiring independence and an identity for herself
"I must stand on my own feet if I am to find out the truth about myself and about life"
62
Torvald's belief that Nora has inherited her extravagant and reckless tendencies from her father
"I suppose I must take you as you are. It's in your blood... these things are hereditary, Nora"
63
Torvald's views of Nora in the final act
"no religion, no morals, no sense of duty"
64
Rank inheriting illness and suffering from the sins of his father
"his father was a frightful creature who kept mistresses and so on"
65
Rank's comment about inheritance and heredity, children will be punished due to the sins of their parents
"in every single family... the same merciless law of retribution is at work"
66
Torvald believes that corrupt behaviour spreads like sickness and lectures Nora
lectures Nora about "mothers who are constitutional liars" that infect their children with the "germs of evil"
“An atmosphere of lies infects and poisons the whole life of a home. Each breath the children take in such a house is full of the germs of evil”
67
Rank's view of Krogstad, the first function we see Dr Rank fulfil is providing exposition on Krogstad
"moral cripple"
"suffers from a diseased moral character"
68
graphic images of death
Rank imagines his own body "rotting up there in the churchyard"
Nora intends to die in "icy black water"
Krogstad taunts Nora with the grotesque image of her "ugly, unrecognisable, hairless" corpse floating in the water
69
Nora and money, she enjoys and takes pride in her familiarity with such things and newfound knowledge of business and money
"in case you don't know, in the world of business there are things called quarterly instalments and interest"
70
Nora has numerous soliloquys, some of which are quite melodramatic, here we get a sense of time running out and frantic panic from Nora
“Seven hours till midnight. Then another twenty-four hours till midnight tomorrow... Thirty-one hours to live”
71
Nora is initially confined to a childlike persona, using expressions like...
“heaps and heaps of money”
“pooh!”
72
Nora gains independence and begins to behave logically and maturely, using balanced, articulate sentences, a vivid show of empowerment and growth
“I’ve learned that certain laws are different from what I’d imagine them to be; but I can’t accept that such laws can be right”
73
women have been turned into commodities, Nora was essentially Torvald’s reward for helping her father, she herself described her marriage as a sort of transaction
she was “passed from papa’s hands into yours” like an object
74
both Nora and Torvald perform their gender stereotypes, Nora plays the submissive wife, Torvald revels in her helplessness and enjoys being the masculine protector who is there to rescue her
Torvald says that “I would not be a true man if your feminine helplessness did not make you doubly attractive in my eyes”
he wants to protect her under his “wings"
75
in Act 1, Torvald calls her things like his "little squirrel" and his "little lark" and she doesn't seem to mind, she even seems to enjoy and play into it
"your squirrel would run about and do all her tricks if you would be nice and do what she wants"
76
Nora comes to see her position in her marriage with increasing clarity and finds the strength to free herself from her oppressive situation, she realises that she has been putting on a show throughout her marriage, pretending to be someone she is not in order to fulfil the role that Torvald, her father, and society at large have expected of her
“I have been performing tricks for you, Torvald”
77
Torvald's possessiveness
he says that Nora is "doubly his own" because she has "become both wife and child"
78
Torvald embraces the belief that a man’s role in marriage is to protect and guide his wife, he clearly enjoys the idea that Nora needs his guidance, he likes to envision himself as Nora’s saviour, ironic as his harsh and selfish reaction to Nora's crime is anything but heroic
“I’ve often wished you were facing some terrible danger so that I could risk life and limb, risk everything, for your sake”
79
Torvald is overly concerned with his place and status in society and how he appears to other people, he prioritizes his reputation over his wife’s desires
he fires Krogstad for calling him by his Christian name and allowing him to keep his job would make him “a laughing stock before the entire staff”
he says that Nora has ruined his happiness and will not be allowed to raise the children, but insists that she remain in the house to maintain “the appearance” of a happy marriage
80
Torvald is the weaker and more childlike character, Dr Rank does not tell Torvald of his illness because he feels that he must be sheltered like a child from the realities of the world and anything that may disturb him, he despises ugliness
”Torvald is so fastidious, he cannot face up to anything ugly” — Dr Rank
81
Krogstad not having evil motives, he just wants to regain his standing in the community
"I want to rehabilitate myself"
82
the hard circumstances of Krogstad's own life make us view him with some degree of sympathy, he is victimised by society too
“Even money-lenders, hacks, well, a man like me, can have a little of what you call feeling, you know”
83
Mrs Linde's hardship and suffering throughout life, contrasts to Nora's relatively privileged life in which she has been coddled and shielded from the realities of the world
"I have learned to act prudently. Life, and hard, bitter necessity have taught me that"
84
Mrs Linde is conditioned by society, she may be a capable and intelligent woman who is self-sufficient and liberated in the middle of a patriarchal Victorian Europe, but she is still conditioned by society to believe that the only way to be truly happy is to adopt the role of wife and mother
“I want to be a mother to someone, and your children need a mother. We two need each other”
85
Mrs Linde defies expectations of women by pursuing Krogstad and being the assertive party in their relationship
“How would it be if we two shipwrecked people could join forces?... Two on the same piece of wreckage would stand a better chance than each on their own”
86
Rank's most important purpose in the play is to reveal things about other characters, he highlights Torvald's child-like horror of anything remotely unattractive, statements like this show that Torvald may be the sheltered one in the Helmers' relationship
"Helmer's refined nature gives him an unconquerable disgust at everything that is ugly; I won't have him in my sick-room"
87
Torvald desires Nora all to himself, he is extremely controlling and possessive, dictating what she eats, wears and even talks about, the sacrificial role of women (she has had to sacrifice parts of her past life, such as talking about her old friends, to please Torvald)
Nora says that Torvald "used to seem almost jealous if I mentioned any of the dear folk at home, so naturally, I gave up doing so"
88
Nora is only able to reveal her true self to Rank, her relationship with him gives an insight into the distance that truly lies between the seemingly perfect Helmers
she no longer talks about her "dear folk at home" with Torvald or he'd become "jealous", but says that "I often talk about such things with Doctor Rank"
89
mirrors between Torvald and Nora's father, she has been handed from one patriarchal figure to another, controlled and treated like a doll by both men, her marriage seems to be a continuation of her childhood, being passed from one patriarchal institution (the family) to another (marriage)
Nora also admits to Rank that "being with Torvald is a little like being with papa"
90
the sacrificial role of women, Torvald values his reputation and his honor over his ‘love’ for Nora, he is not willing to make sacrifices but expects Nora to
“No man would sacrifice his honor for the one he loves”
“hundreds of thousands of women have”
91
Torvald voices the idea that one’s parents determine one’s moral character, he also refuses to allow Nora to interact with their children after he learns of her deceit, for fear that she will corrupt them
“Nearly all young criminals had lying mothers"
92
the Christmas tree is a symbol for Nora's psychological state and deteriorating mental health
"the Christmas Tree is … stripped of its ornaments and with burnt-down candle-ends on its dishevelled branches"
"[Nora] is alone in the room, walking about uneasily", she is dishevelled and so is the tree
93
Nora claims that she might consider telling Torvald of the loan when she gets older and loses her attractiveness, this is important because it shows that Nora has a sense of the true nature of her marriage, even as early as Act One, she recognizes that Torvald’s affection is based largely on her appearance, and she knows that when her looks fade, it is likely that Torvald’s interest in her will fade as well
her suggestion that in the future she may need something to hold over Torvald in order to retain his faithfulness and devotion to her reveals that Nora is not as naïve as she pretends to be, she has an insightful, intelligent, and manipulative side that acknowledges the troubling reality of her existence
“Many years from now, when I’ve lost my looks a little…. a time will come when Torvald is not as devoted to me, not quite so happy when I dance for him, and dress for him, and play with him”
94
Nora initially believes freedom will happen after she has paid off her debt to Krogstad, while describing her anticipated freedom she highlights the very factors that constrain her
she later realises that she cannot find true freedom in this traditional domestic realm, her understanding of the word “free” evolves and by the end of the play, she sees that freedom entails independence from societal constraints and the ability to explore her own personality, goals, and beliefs
“Free. To be free, absolutely free. To spend time playing with the children. To have a clean, beautiful house, the way Torvald likes it”
95
Nora's faith that when Torvald learns of the forgery and Krogstad’s blackmail he will take all the blame on himself and gloriously sacrifice his reputation in order to protect her, so when Torvald eventually indicates that he will not shoulder the blame for Nora, Nora’s faith in him is shattered
once the illusion of Torvald’s nobility is crushed, Nora’s other illusions about her married life are crushed as well
“Something glorious is going to happen”
96
Torvald is obsessed with appearing dignified and respectable to his colleagues, he is a shallow man concerned first and foremost with appearances, he states explicitly that the appearance of happiness is far more important to him than happiness itself, he is the opposite of the strong, noble man that he claims to be
“From now on, forget happiness. Now it’s just about saving the remains, the wreckage, the appearance”
97
Nora recognizes that her life has been largely a performance, with no real substance, she has acted the part of the happy, child-like wife for Torvald and, before that, she acted the part of the happy, child-like daughter for her father, she now realises that this stunted her development as an adult and as a human being, she has existed only to please men
following this realization, Nora leaves Torvald in order to make something of her life and to exist as a person independent of other people for the first time
“I have been performing tricks for you, Torvald. That’s how I’ve survived. You wanted it like that. You and Papa have done me a great wrong. It’s because of you I’ve made nothing of my life”
98
the Helmers' marriage is based on maintaining a guise of male dominance, by rescuing her husband, Nora has emasculated him, at least by the standards of the society they live in
“How painful and humiliating it would be for Torvald, with his manly independence, to know that he owed me anything! It would upset our mutual relations altogether”
99
Torvald is also easily emasculated at the thought of people knowing that he...
he is scared to seem weak and thinks he will if he listens to his wife, society has conditioned him to feel this way so perhaps he is a victim too
“changed his mind at his wife's bidding”
100
Nora's relationship with her husband is built on careful manipulation of his ego, she cleverly manipulates Torvald by taking advantage of his stereotypical views of man/woman relations and convinces him to hire Mrs Linde
“Christine…. is frightfully anxious to work under some clever man, so as to perfect herself"
101
Torvald expects Nora to do as he wishes because she is his wife, he also tells her what he believes she means
"But don't you think it is nice of me, too, to do as you wish?"
"Because you do as your husband wishes? Well, well, you little rogue, I am sure you did not mean it in that way"
102
Torvald's relationship to Nora seems to be more like a father and a daughter than a husband and wife, he treats her like a child
"The child shall have her way”
103
by the end of the play it seems that Christine and Krogstad will have the marriage of shared responsibility that the Helmers aren't able to achieve
“We two need each other"
104
in order for any relationship to be resurrected between the two, they must become equals
“Both you and I would have to be so changed that… our life together would be a real wedlock”
105
by constantly referring to Nora with pet names, Helmer seems to dehumanize his wife
“Is it my little squirrel bustling about?"
106
Torvald seems to stereotype all women as frivolous spendthrifts
“That is like a woman! … you know what I think about that. No debt, no borrowing"
107
sacrificial role of women: Christine marrying a richer man to provide for her mother and brothers, leaving a life with a man she loves
"Is it really true that you did not love your husband? Why did you marry him?"
"My mother was... bedridden and helpless, and I had to provide for my two younger brothers; so, I did not think I was justified in refusing his offer"
108
Christine seems to be fulfilled by living in service of others, a stereotypical role of women, despite being the most independent character she is still conditioned by society to fulfil gender norms, or perhaps this shows her to be a selfless character
"I only feel my life unspeakably empty. No one to live for anymore"
109
Christine is willingly stepping back into the traditional female role, which her friend Nora forsakes at the end of the play, ADH is often discussed as play that shows the imprisonment of housewives, but Christine is an example of a woman who willingly and joyfully assumes the role
"I want to be a mother to someone, and your children need a mother”
“Someone to work for and live for—a home to bring comfort into”
110
Torvald is stripping his wife of her most cherished feminine role: motherhood
"I shall not allow you to bring up the children; I dare not trust them to you”
111
Nora puts herself first, this idea was completely scandalous in Ibsen's time, the thought that a woman might have value other than being a homemaker and mother was outrageous
“Your duties to your husband and your children"
"I have other duties just as sacred…. duties to myself"
112
illusion of happiness at the beggining of the play
“We ought to be so well off, so snug and happy here in our peaceful home”
113
Nora as a doll-child and doll-wife
“Our home has been nothing but a playroom. I have been your doll-wife, just as at home I was papa's doll-child”
114
Torvald not caring or even considering the impact that his actions have on other people
"This post in the Bank was the first step up for me—and now your husband is going to kick me downstairs again into the mud"
115
Nora is a talented manipulator, when Torvald believes she is thinking of her father she thinks quickly on her feet and uses that as her argument
“Just recall to your mind what these malicious creatures wrote in the papers about papa”
116
the real reason for firing Krogstad, he is worried about his reputation and is embarrassed that Krogstad addresses him so informally, perhaps he also dislikes Krogstad because he reminds him of a time when he wasn’t the bourgeois man he is today
“But I knew him when we were boys… he thinks it gives him the right to adopt a familiar tone with me”
117
Nora's naive belief that Torvald will sacrifice eveything for her, this faith slowly decays throughout the play as she comes to realise he doesn't truly love her, when Torvald fails to do this at the end of the play, it proves to her that he doesn't love her as she thinks he should
"You know how devotedly, how inexpressibly deeply Torvald loves me; he would never for a moment hesitate to give his life for me”
118
Torvald's fantasies about Nora during the party, he constantly sexualises her and uses her as entertainment
“I make believe to myself that we are secretly in love”
119
Torvald is very self-centered and only cares about himself, even after he finds out the sacrifices that Nora has made for him and the emotional pain she has suffered as a result of the blackmail, he blames her and can see no fault in his own actions
“Now you have destroyed all my happiness. You have ruined all my future”
120
the first lie that the audience is aware of, it seems innocent to lie about cookies, but it hints at a much larger gulf in their marriage, he seems to control even what she eats
“Hasn't Miss Sweet Tooth been breaking rules in town today? … taken a bite at a macaroon or two?"
"No, Torvald"
121
the doctors did not go to Torvald about his illness because it is obvious that he cannot handle details about ‘ugly’ things like death, he is childlike, so they had to go to Nora instead
“It was necessary he should have no idea what a dangerous condition he was in. It was to me that the doctors came and said that his life was in danger”
122
ironic that Torvald is saying this in front of his wife, who has deceived him so often, he is so unaware of the cracks in his marriage and doesn’t realize the impact that his words have on Nora
“A guilty man like that has to lie… has to wear a mask in the presence of those near and dear to him"
123
Christine seems to hope that the truth will heal the Helmers' marriage, when in fact it destroys it but she understands that the marriage between them cannot survive if they are upholding their facades and hiding from the truth
“They must have a complete understanding between them, which is impossible with all this concealment and falsehood going on”
124
down to the very end, Nora lies to her husband
“What is this? Someone has been at the lock…. Here is a broken hairpin. Nora, it is one of yours"
“Then it must have been the children"
125
Torvald blaming Nora's father for passing on his immorality and recklessness to her
“All your father's want of principle has come out in you”
126
Torvald realising that Nora is not as she seems
“What a horrible awakening! All these eight years—she who was my joy and pride—a hypocrite, a liar—worse, worse—a criminal!”
127
Nora is constantly accused of wasting money when, in reality, she keeps barely anything for herself, all in an effort to pay back the loan that saved her husband's life, dehumanizing animal names for her, spendthrift is a bird but Nora is not free like birds are, she is trapped in a cage
“Bought, did you say? All these things? Has my little spendthrift been wasting money again?"
128
Nora seems to show very little sensitivity to her friend's financial problems in Act 1
“Christine! It will be splendid to have heaps of money and not need to have any anxiety, won't it?”
