In the final moments of clarity she has at the end of the play, Nora claims that she has been “wronged greatly” by her father, who ensured that “nothing's become of [her]” because he constantly exposed her to his opinions and forced his views upon her (
In the last scene, she tells her husband she has been "greatly wronged" by his disparaging and condescending treatment of her, and his attitude towards her in their marriage – as though she were his "doll wife" — and the children in turn have become her "dolls," leading her to doubt her own qualifications to raise her ...
When Torvald accuses Nora of not loving him anymore, Nora says his claim is true. She then explains that she realized that she didn't love Torvald that evening, when her expectation that he would take the blame for her—showing his willingness to sacrifice himself for love—wasn't met.
While he thinks that such a bad character is in direct contrast to his “sweet little Nora,” we are aware that Krogstad and Nora have committed exactly the same crime—forgery.
She is both a victim of her circumstances and also at fault for actions which she committed. Nora is a victim. Throughout her entire life, she has never been taken seriously by anyone. She has been treated like a doll by both male characters in her life, her father and her husband, and has acted accordingly.
Nora is a victim of the male-dominated society of the nineteenth century. To save her husband, Torvald, she borrows money so that he might be able to recover from a life-threatening illness in a warmer climate.
Nora acknowledges that both her father and her husband have mistreated her by not considering her as an individual with her own thoughts and feelings and treating her like a possession for their own amusement, just like a doll.
Krogstad betrays Nora by failing to keep the secret about the loan he had advanced her. When Helmer is promoted to the managerial position in the bank, he threatens to fire Krogstad, who also works in the bank, claiming that he is corrupt and he describes him as morally diseased.
What secret has Nora been keeping from Torvald? She was in love with his brother before she married him.
Nora's use of Torvald's pet names for her to win his cooperation is an act of manipulation on her part. She knows that calling herself his “little bird,” his “squirrel,” and his “skylark,” and thus conforming to his desired standards will make him more willingly to give in to her wishes.
This is most apparent when Torvald bans Nora from eating macaroons, restricts her finances to an allowance, and calls her by several names.
After Krogstad rescinds his blackmail threat and returns the loan document with the signature Nora forged, Torvald is relieved and tells Nora he forgives her. However, Torvald uses his forgiveness as an additional means of objectifying and controlling Nora by saying he now owns her doubly.
After learning the scandal would be resolved secretly, Torvald is overjoyed and forgives Nora. However, Nora, who has seen Torvald's true selfish character, decides to leave. She tells Torvald that like her father, he had never known her—even she doesn't know who she really is herself.
The play was so controversial that Ibsen was forced to write a second ending that he called “a barbaric outrage” to be used only when necessary. The controversy centered around Nora's decision to abandon her children, and in the second ending she decides that the children need her more than she needs her freedom.
formal. /rɒŋ/ us. /rɑːŋ/ to treat someone in an unfair or unacceptable way: She felt deeply wronged by his accusations.
Nora Helmer once secretly borrowed a large sum of money so that her husband could recuperate from a serious illness. She never told him of this loan and has been secretly paying it back in small installments by saving from her household allowance.
Nora and Ren have been together ever since the attack on Kuroyuri which happened when they were both very young. At some point during this time, Nora began to develop feelings for Ren but is quick to dismiss any idea of them being "together-together".
Years ago, Nora Helmer committed a forgery in order to save the life of her authoritarian husband Torvald.
Writer Geoff Johns had Nora die at the hands of Barry's archnemesis, Eobard Thawne, aka Professor Zoom, aka Reverse Flash. Thawne is a time-traveler from the 25th Century who is a legendary Flash hater—so much so that he wants to destroy everything Flash stands for.
Nora's abandonment of her children can also be interpreted as an act of self- sacrifice. Despite Nora's great love for her children—manifested by her interaction with them and her great fear of corrupting them—she chooses to leave them.
In both instances of deception, Nora lies because of Torvald's unfair stereotypes about gender roles. If Torvald could accept his wife's help and didn't feel the need to have control over her every movement, Nora would not have to lie to him.
By leaving, Nora is destroying the reputation of her husband and the family she once risked everything for. She would jeopardize Torvald's new job. Nora just doesn't care anymore. That society is the same one that treated her so terribly all those years.
Helmer not only sees Nora's father's actions as the cause of her mismanagement of money, but rather, he treats any behavior he does not approve of as the result of her upbringing. Nora's father is blamed for instilling the values in her personality that lead her to seek independence and abandon her family.
In Henrik Ibsen's A Doll's House, Nora Helmer spends most of her on-stage time as a doll: a vapid, passive character with little personality of her own. Her whole life is a construct of societal norms and the expectations of others.
Nora confesses that everything Krogstad has written is true and tells Torvald she has loved him more than anything. Torvald tells her to stop talking, bemoans the ugliness of the forgery, and calls Nora a hypocrite and a liar.