Mrs. Linde married a man she didn't love out of necessity; she sacrificed her true love, Krogstad, for financial security to provide for her ailing mother and younger brothers, as societal expectations for women demanded they rely on husbands for support, leaving her no choice but to marry for money to fulfill her family's needs.
Linde marries her husband for money so that she can support her sick mother and dependent younger brothers. Again and again in A Doll's House, women sacrifice their personal desires, their ambitions, and their dignity. While Nora marries for her own welfare, however, Mrs. Linde does so for the welfare of her family.
Mrs. Linde spent most of her life sacrificing for others so that they could live more comfortably. Rather than marrying for love, she married her husband for his money, so that she could aid her ailing mother and provide care for her younger brothers.
Mrs. Linde, as she is generally known to the other characters, is an old friend of Nora's. She is a woman whose marriage was loveless, and based on a need for financial security, and who doesn't have any children. She and Krogstad had been in love at the time, but he was too poor to support her family.
Mrs. Linde says that she felt the marriage was necessary for the sake of her brothers and mother but regrets having ignored her heart, which told her to stay with Krogstad. She tells Krogstad that she wants to get back together with him, to take care of him and his children.
(Sharma 106) describes the character of Krogstad and his actions in the play, claiming that Krogstad can be accepted as a negative character in the first and second acts. However, he redeems himself in the third act exactly when he gets his past love, Mrs. Linde, back.
Mrs. Linde betrays Nora by not getting Krogstad's letter back, but she does it with good intentions. She thinks the truth will improve Nora's life, and it does, in the end.
Ibsen does not explicitly reveal whether Mrs. Linde's irritation at Nora stems from envy, annoyance, or even concern.
A Doll's House Mrs. Linde Character Analysis. Mrs. Linde represents the variety of ways that women can live fulfilling lives, independent of their husbands.
At the end of A Doll's House, Nora makes the ultimate assertion of her agency and independence by walking out on her husband and her children in order to truly understand herself and learn about the world.
However, she later rejected the marriage because the bridegroom changed his mind after he saw pock-marks on her face and demanded a dowry of five thousand rupees in order to marry her. He did not even consider how much older he was than the bride. She decided to go against the marriage with that greedy and mean man.
Krogstad and Christine are alone onstage, for the Helmers and Dr. Rank are upstairs at the masquerade party. Bitterly Krogstad reproaches Christine for renouncing their betrothal, years ago, sacrificing him in order to marry a man better able to support her and her family.
Linde found it necessary to abandon Krogstad, her true—but penniless—love, and marry a richer man.
Mrs. Linde demonstrates her devotion to her family when she does not feel she has the right to reject the marriage proposal of her husband. When her sick mother and her brothers and Krogstad were taken into account, they had money. For her family's sake she married.
A Doll's House questions the traditional roles of men and women in 19th-century marriage. To many 19th-century Europeans, this was scandalous. The covenant of marriage was considered holy, and to portray it as Ibsen did was controversial.
Ibsen's emendation was written to satisfy Hedwig Niemann-Raabe, a prominent actress in the German theater, who wanted to play Nora but refused to perform the ending as first written, claiming she would never leave her children in such a manner.
Nora asks if it is really true that Mrs. Linde did not love her husband, and why she married him. Mrs. Linde explains that she had to take care of her bedridden mother and two younger brothers and therefore felt she didn't have a choice.
Mrs. Linde. Nora's childhood friend. Kristine Linde is a practical, down-to-earth woman, and her sensible worldview highlights Nora's somewhat childlike outlook on life.
As both a space and repository of domestic objects, homes are a particularly significant example of an emotional object as I have discussed in a previous post here. Dolls' houses are similar emotional artefacts, because they harness and echo strong feelings for home, especially a childhood home.
When she flirts with him by showing her stockings, it seems that she hopes to entice Dr. Rank and then persuade him to speak to Torvald about keeping Krogstad on at the bank. Yet after Dr. Rank confesses that he loves her, Nora suddenly shuts down and refuses to ask her favor.
Such is the case in a Doll House by Henrik Ibsen. Here we see Nora presented as a victim of her father and male dominated society; however she also plays the role of victimizer against her husband, family, and friends. As Nora takes both sides of the conflict we see how she is forced into both roles.
As Northam posits, “Nora now believes that she is corrupt because of her deceitfulness; she is terrified to think that she may corrupt and poison her own children” (102). She also begins to doubt Torvald's moral grounding: “Hurt my children—!
During the events of the play, Dr. Rank reveals he has come to admire and eventually love Nora. Although she already suspected it, this declaration makes her uncomfortable.
Years ago, Nora Helmer committed a forgery in order to save the life of her authoritarian husband Torvald. Now she is being blackmailed, and lives in fear of her husband finding out.
What secret has Nora been keeping from Torvald? She was in love with his brother before she married him. She borrowed the money they used to take a trip to Italy. She had an affair with Krogstad five years earlier.