Later, while discussing his illness with her, Dr. Rank actually comments that Nora is “deeper than…[he] thought.” He too looked at her as like a child. The climax of the story comes when Torvald learns of Nora’s forgery and yells angrily at her. He then finds the promissory note, returned by Krogstad, and realizes that no one has anything over his head any longer. During this episode, Nora realizes what has been going on: that she has become Torvald’s “doll” which plays around his “doll” house. She points out to him:

The genre of A Doll’s House is modern tragedy. Nora seeks to secure a sense of personal dignity when she decides to leave Torvald and accepts responsibility for her actions. Her husband had been treating her like a child and she wanted to break free. She reveals the tragic circumstances of the situation in the aforementioned passage at the end of the play where she explains to Torvald how both he and her father have kept her as a doll. There are also many examples of tragic irretrievability within the plot as well. These include the letter locked in the box, to which Nora cannot get; Nora’s secret loan to pay for the trip to Italy; the forged signature on the promissory note; and Torvald’s explosive scene in which he calls her a “wretched woman.” A final characteristic of modern tragedy displayed in the play is the use of everyday language instead of poetic verse or prose.

When Torvald gave me money for clothes and so on, I never spent more than half of it; I always bought the simplest things…and besides that, I made money in other ways. Last winter…I got a heap of copying to do. I shut myself up every evening and wrote far into the night…[I]t was splendid to work in that way and earn money. I almost felt as if I was a man.

es her act infantile, showing that she has no ambitions of her own. Because she had been pampered all of her life, first by her father and now by Torvald, Nora would only have to make a cute animal sound to get what she wanted from Torvald, “If your little squirrel were to ask you for something very, very, prettily” (Ibsen 34) she said. Through their everyday conversation, Nora and Torvald reveal that they have a relationship full of meaningless talk and games. “Is that my little squirrel bustling about?” (2), Torvald questions Nora. “Yes!” (2) She answers, running up to Torvald like a puppy. Because of her whimsical attitude, Torvald had assumed that Nora was always happy and carefree, so what reason would there be for meaningful conversation? Their relationship consisted of nothing truly real. Everything was fun and games and for show. Torvald scolded Nora like he would a child, “Hasn’t Mrs. Sweet Tooth been breaking rules today in town…” (4). Then, Nora would respond as a young child would facing punishment, “I should not think of going against your wishes” (4). This type of communications cannot be healthy in any relationship, and greatly hindered the relationship between the two. Finally, when Nora realized that they needed to seriously converse the timing was too late, “We have been married eight years now. Does this not occur to you that this is the first time that we two, you and I, husband and wife, have had a serious conversation?” (66) The Helmer’s didn’t communicate feeling through their relationship nor did they communicate love. Torvald did give Nora gifts of money but he d

Some topics in this essay:
Doll’s House, Dr Rank, Torvald Nora, Nora Torvald, Nora Helmer, Nora Nora, Krogstad Ellen, Nora Nora’s, Finally Nora, Christine Torvald, doll’s house, torvald nora, nora torvald, torvald father, dr rank, trip italy, tragic circumstances, torvald identity, stage production, meaningless talk,