Ibsen continues his use of stage direction, dialogue and the motif of letters to illustrate the incongruity between the audiences first impression of Helmer in comparison to his real character. In the opening scene of “A Doll’s House”, Ibsen strongly establishes that Torvald Helmer is the stereotypical man in the house of the time period, by Torvald’s reference to his wife with several degrading names such as: “little skylark” and “feather brains”, lowering Nora’s standing as a woman by calling her an animal as well referring to her intelligence to that of a bird. In addition, his desire to instruct Nora with trite, moralistic sayings, such as “A home that depends on loans and debt is not beautiful because it is not free” further cements his role as the masculine and strong character within their relationship. His stereotypical characteristics are mos

Ultimately while it is Krogstad’s first letter which brings forth the true nature of the Helmer’s relationship and exposes to Nora, Torvald’s selfishness, it is the second letter which frees Nora of her obligation to both Krogstad and Torvald, while bringing forth Torvald’s childish petty and inability to face truth, as well as leading to the eventual collapse of the marriage as Nora can no longer participate in this illusion of a happy marriage. This discovery of Helmer’s true character dismantles the melodramatic characteristics of Torvald that may have been established within the opening scene, and are replaced by a rounded character possessing flaws. In all, although Torvald is portrayed as weak and petty by the end of the novel, Ibsen portrays him as a realist character, receiving our empathy as his desires were good, although his actions are overly drastic and petty. His original motive in life was to improve his appearance to society, a human trait every three-dimensional human being possesses.

Helmer’s true characteristics however, which are later revealed in the play, do not reflect upon the melodramatic characteristics established in the opening scene. In the final act of A Doll’s House, Ibsen utilizes the motif of letters to expose Helmer’s three dimensional character, his selfishness and inability to face truth, his childish petty, and ultimately, hi

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