Mrs. Linde: Character analysis
In Henrik Ibsen's 19th century drama A Doll's House, the character of Christine Linde acts as a kind of foil for the main protagonist Nora Helmer. In most dramatic interpretations of the play (such as in the 1973 film version), to the audience, Christine appears to be dour, inhibited, and accepting of her fate in contrast with Nora's vivacity. Christine married a man she did not love out of duty to her poor family and her life has been one of unceasing toil. She believes her life is in sharp contrast with Nora's carefree existence. However, Nora, unbeknownst to Christine, has been toiling herself to repay a debt she incurred to enable her husband to take a vacation, an act which she believe saved his life. Still, Mrs. Linde never expresses female solidarity with Nora and even allows Nora's husband to find out that his wife borrowed money without his being aware of the fact. Ultimately, it is Christine's unquestioning self-sacrifice that really embodies what Ibsen believes to be the false ideal of the woman giving herself to marriage and asking nothing of her husband in return; it is brave Nora who attempts to live a more honest ideal away from the confines of this patriarchal institution.
Although she says has spent her life working, Christine has done so for others (a very feminine thing to do) and her fruits of her labor have ultimately been barren because her supposedly wealthy husband who was to provide for her and her relations died penniless. Nora comes to understand the falseness of the ideal that men can protect women; Christine never learns. "Nora…does not follow Kristine's example, does not leave the doll home to sacrifice herself for others. Hers is the more selfish and ruthless decision to re-create herself...
Nora, by the infamous slamming of the door at the end of the play, makes the decision to leave her own children so she can be fully realized as a human being, not simply live as a self-sacrificing wife.
There is an ironic contrast in regards to the value of work throughout the play as embodied by the two women. Nora appears to be the idealized angel at the hearth, or non-working wife, but it is she who is actually working like a man, unbeknownst to Torvald, as she takes on work at night to repay the loan she took to save her husband. Christine's main 'work' in life, for all of her seriousness and contempt of Nora, was to marry a man, until she was forced to take a job at Torvald's bank to support herself after her husband's death. The two women highlight together the unfairness of women's condition, the fact that society expects women to get married and offers women little real economic recourse outside of marriage to survive. Women do work in the capitalist sense but this work is not really acknowledged by society, the only 'real' work women are supposed to do is get married. Christine and Nora both work but the true cost of that work to both women is overlooked.
Christine is thus far from a feminist when contrasted with Nora. Christine could even be called the 'anti-feminist' heroine of the play, given the fact that her main romantic interest is that of Nils Krogstad, Nora's nemesis, to whom Christine gives herself unquestioningly. Krogstad attempts to blackmail Nora, demanding that Torvald give him his job back or otherwise he will expose her fraudulent signature on the loan she took out unbeknownst to Torvald. In the patriarchal world of 19th century Norway, this effectively also means disgracing Torvald, given the husband's presumed dominance over the wife's behavior. Far from censoring Krogstad, Christine in the end decides that there have been too many lies between the Helmers, even though Krogstad ultimately desires not to bring the case before the legal system and instead is…
He feels that Nora's freedom is not a reality since she couldn't possibly just leave her house and establish her own identity without money. "Nora needs money -- to put it more elegantly, it is economics which matters in the end. Freedom is certainly not something that can be bought for money. But it can be lost through lack of money." (Found in Schwarez) In short, whatever were the reasons
Doll's House" by Henrik Ibsen The Theme of Woman Empowerment in "A Doll's House" by Henrik Ibsen The play "A Doll's House" by Henrik Ibsen centers on the story of Nora Helmer, a simple housewife who is portrayed as a woman who holds a 'romanticized' picture of her family -- that is, she will do anything for her family to be happy. However, Nora tries to achieve this happiness through material
character Nora transformation Doll House play. Nora Helmer Nora Helmer is the archetypal housewife in Henrik Ibsen's "A Doll's House" and she initially seems perfectly happy with her position. She enjoys the way Torvald teases her and the fact that she is close to individuals who actually care for her. However, she slowly but surely demonstrates that she is much more than the innocent and unknowing individual that Torvald considers her
Instead of needing his help and protection, Torvald finds out that it was only Nora's role playing and really she was capable of working and doing deceptive things. Torvald's response to the letter shows that he has very little self-awareness and really thought that the "role-plays" were reality. 5. Torvald believes that marriage and family are important, and that the man or husband is in control. Torvald thinks that men
" Otherwise, Nora's interest in who is employed at the bank -- Krogstad or Mrs. Lind -- would wholly ruin Torvald's carefully constructed social reality. This, essentially, is the only way in which a woman playing the feminine role is able to bend the rules; Nora can exert her influence, but only by emphasizing her helplessness. Throughout A Doll's House there is an interesting relationship between parents and their children. Recurrently,
Yet as Goldman notes, Nora "worships her husband, believes in him implicitly, and is sure that if ever her safety should be menaced, Torvald, her idol, her god, would perform the miracle" that would set her free. It turned out that Mrs. Linde would set in motion the miracle that would set Nora free. A woman was required to help another woman escape the dolls' house, an incredible affirmation