Ibsen "A Doll's House". Nora. Characteristic image, portrait of the heroine of the play by G. Ibsen "A Doll's House" "A Doll's House" characterization of the image of Nora
NORA (Norwegian Nora) - the heroine of H. Ibsen's play " Dollhouse"(1879), a young woman, wife of the lawyer Thorvald Helmer, mother of three children. The plot of the drama takes place, as it were, in two time plans in which N. lives. On the one hand, she always remembers her long-standing feat-misdemeanor (forging the signature of her deceased father in order to save her seriously ill husband). On the other hand, N. is absorbed in simple, but quite real concerns about home and family, about a prosperous and comfortable existence. The artistic power of the image lies in the fact that, finding herself in the situation of a “social heroine”, N. decisively does not fit into this role. Apparently, N. is carefully patronized by men (first by her father, then by her husband), a gentle, feminine creature, not only coquettish, but sometimes also feminine insidious.
She, for example, does not deprive herself of the pleasure of teasing Dr. Rank, who is in love with her. But the peculiarity of N. as a heroine is that, unlike, say, Hedda Gabaer, she changes right before the eyes of the viewer and reveals herself from an unexpected side. Once she had the courage to commit a crime in the name of her loved ones, and for many years she lived on the memory of her misdeed, secretly paying the amount of the debt from her husband. But with the appearance of the fatal character, traditional for Ibsen, Krogstad's "man from the outside", the past breaks into the present. And then it turns out that cozy, calm, tender woman- only visibility. Her essence will be determined gradually and become apparent when her hopes are dispelled that, once learning about everything, Helmer will become proud of her. N. understands that she has changed, and can no longer play the role of a happy, slightly frivolous hostess " doll house". This immediately alienates not only her husband, but also her children from her. Of course, N.'s drama also touched Helmer, a man in his own way, maybe decent, but sincerely not ready to understand (let alone forgive) her act. N. is feminine and fragile in appearance; the image of a squirrel doll, a small reel, cultivated by her husband, is rather an involuntary playing along on her part. In essence, she is primarily a morally oriented person. When it turned out that her ideas about life are naive, childish and wrong, she dares to draw an honest and truthful conclusion about herself: she has no right to be either a wife or a mother. She's only just beginning to be. And so N. leaves. If her departure from the family is not a hysteria, but N. is just a balanced, fast and well-acting person, then she will not return. New N. does not know this family - and not only her husband, but also her children. Of course, for Ibsen's contemporaries such an ending was impossible. The author even came up with another melodramatic denouement: N. does not leave, but in last moment stops, as if rethinking. There can be nothing more unnatural, destructive for such a heroine. However, the "bad" end did not suit not only Ibsen's contemporaries. Until now, in theaters, he is sometimes thought of as “prosperous”: N., nevertheless, at the last moment does not dare to leave the children and her “reformed” husband. An interesting continuation of the plot was proposed by the modern Danish playwright Ernst Bruun Olsen in the play Where Has Nora Gone (1967): the heroine found herself at the “bottom” of society, but, being quite wealthy and free, she lives with thieves and prostitutes, honestly working in a factory. Helmer tries to get her back.
Nori image shouting bazhannya svchuvati tsіy zhіntsі, marveling at її bezporadnosti, razumіti її dії, but not judging її, how tse boulo pіd hour the dramas appeared. Today we went far enough away in the diet of family wines, which do not lend themselves to explanation and human reasoning (how to make it better, how to make it right).
Falsity and hypocrisy permeate the home life of the birthplace of the lawyer Helmer. Charivna and lagidna, Nora, the mother of the mother and the squad, swear at the man’s fire, honed by respect, but really, for the new little lyalka and the toy. їй "not allowed" look at your mother, judgment, relish. Having honed the squad with an atmosphere of tea and salty roasts, lawyer Helmer could never speak to her seriously about it. The life of a cute and pretty woman is more complicated, but you can’t call a “governor’s” booth.
Sob to vryatuvat the person, who fell ill with tuberculosis in the first river, and bring yoga, for the joy of the doctor, to the lіkuvannya in Italy, Nora secretly lays pennies in the liquor and the price of the important work we pay. But according to the law of that hour, when I degrade a woman, she could not earn a penny without the guarantee of a person. Nora put under the promissory note "I'm my very sick father, who vouched for її platospromnost, so, from the look of the bourgeois justice, I went for the promissory note. a job in the bank, the director of some appointment is a person, in another situation I threaten to throw Nora into the "hole". Mortally afraid of vikrittya, Nora is embarrassed to have a happy woman, a cheerful little girl. Vaughn is still wondering. їі їєєє, її її chelovіk, “strong and gentry people”, vryatuє її, pіdtrimaє in bіdі. His deputy, lawyer Helmer, having won the sheet of Krogstad, is fierce, obіtsyayuchi squads are more terrible, even humiliation of life. I’ll take a look, she’s a wicked woman, she’s fighting back, she’s arguing with children, so she couldn’t “zipsuvat їx”.
The hole in Ibsen's name is not as simple as it can be. Often she plays people. I have a special role in the drama played by the doctor Rank. Chi loved Nora qiu people? It’s important to say, but you can’t take pennies as a doctor, who only got to know him at the kohanna, on the yak you won’t be able to tell. There is one more womanly image - Fru Linne. She is absolutely self-sufficient, called to self-sacrifice and an important robot woman. Vaughn sacrificially forgot about herself, threw Krogstad, like a kohal. and a wiser, lower image of Nori.
There is a marvelous verse in "Jesus Ibsen": one woman throws her beautiful children in order to know for herself, and if she already knew herself, she takes responsibility for other people's children. Yesa-discussion about the homeland, about women, for which I thank you. In the words of Nori, who left the “lyalkovy budinok”, became the basis for the food of a person: what else can change everything in their vents? “It’s necessary for someone, so that the most amazing miracle was found ... So, so that you and I changed ... So that our life together could become the life of a practical friend.”
Sheet of Krogstad, to whom I will call you, I turn my soulful jealousy only to a lawyer. Vin is calling the team again with lagid names: there is again yoga “lyalechka” and “birdie”. Nora surfs through all the flow of innocence, giving her assessment of what she sees: their hats are not a union of equal, dead people: their hats are forgiven for spiving.
Nora vvazhaє, scho, first of all, be a retinue and matir, she is guilty of becoming a person. There is a person, depriving three children.
On dokori cholovіka: “Yaka nevdyachіchі! Chi ti was not happy here, ”Nora said:“ No, only cheerful. I was here your lyalechka-druzhina, and the children were my lyalechkas. She asks a person why he didn’t protect him. Helmer is widely surprised: “But who will sacrifice the honor of navit for the sake of a kohano people?” - “Hundreds of thousands of women sacrificed,” Nora recounted and added with a sour note: “It became clear to me that all the time I lived with a strange person.”
FROKEN JULIE(Swedish Froken Julie) - the heroine of the tragedy of the Swedish playwright Yu.A. Strindberg "Miss Julie" (1888). F.J. became a kind of symbol of a new type of heroine: sometimes defined as "half-woman-half-man". We learn about only one night of the heroine's life - the last. F.J. - the daughter of the count, having remained on the festive Ivanov's night in the house with the servants, is seduced by her father's lackey Jean, and then, unable to bear the shame, commits suicide. In her hysterical throwing, the researchers see signs of a comprehensive degradation. F.J. and the truth is not ready for life. She does not know how to live, she does not want to - she is a stranger everywhere, disgusted by everyone. And most importantly, this heroine is completely incapable of seeing any future for herself. In this sense, she is close to Ibsen's heroine Gedda Gabaer. Traditionally, this image is interpreted in line with naturalistic or realistic art. At the same time, researchers (and theaters) proceed from the author's preface to the play, where Strindberg insistently and with undisguised pride claims that he managed to create a new character, whose actions are strictly, even scientifically motivated, and whose sad fate is determined by a number of socio-psychological ones, including medical reasons. If we agree with such a plot, and also accept Strindberg's version set out in the preface, then F.Zh. is certainly a bright, strong, albeit strange character. But this is not enough, if we talk about the F.J., which, regardless of the will of the author, exists in the play. The uncertainty of its origin maternal line and social insecurity, inadequate sex education , material complications in the family (“life in a carriage”), as well as special emotional and physical excitement - all this contradicts an unambiguously “realistic” interpretation. Structurally, the image of the heroine - and hence her behavior - is much closer to the late Strindberg, his "chamber pieces", created almost twenty years after "Miss Julie". The most important motive of the fate of the heroine is the motive of the fall, embodied in the obsessive dream of F.Zh. What happens to her in the play is the "real" embodiment of her dream. Sleep is generally the most important category of Strindberg's theatrical vocabulary. The heroes of his chamber plays, where in fact there are no heroes, only characters, live according to the laws of sleep. And F.Zh. - an obvious heroine - lives according to the same laws. In a sense, it is "woven from the same substance as our dreams." What is happening to her cannot be reduced to the plot of the "fall" of the Countess with the footman. The dreams of the heroine indicate that she, in fact, has nowhere to “fall” - after all, the fatal abyss that attracts her is much deeper than an affair with a footman. By the way, it is no accident that Countess F.Zh. starts talking about dreams. She dreams that she is pulled "down", as low as possible, but only something does not let her go. What "need to go down", F.J. knows by nature, hardly consciously, and therefore chooses suicide, but also suicide, as it were, “in a dream” - in a state of hypnosis. That F.J., which belongs to the world of dreams, the world of semi-fantastic, perfectly understands the inevitability of its own death. But the nature of the heroine is dual; edge of his being F.J. nevertheless, it comes into contact with what can be called the real world, with the very one in which Jean and the cook Christina, who symbolizes the aggressive stability of the real world, are so firmly established. F.J. is a fragile, unstable, mystically gifted creature, torn between what is her dream and what seems to be reality. Her whole life is a continuous absurd eccentria. The symbolic murder of a chizhik is almost an extra accent, and it is so clear that the heroine will die. The effective side of the image is expressed in excruciating agony: here is fear, and hope, and attempts to reverse events. F.J. grotesquely touching in her attempt to be sincere with Jean, who simply by his mental organization is not able to understand her. But she needs to speak out - it doesn’t matter even to whom, especially since there is no one else to talk to, besides, it is he who is used by the heroine as a “tool” for suicide. "Miss Julie" is one of Strindberg's most repertory plays. Among the outstanding actresses who created the image of F.J. are Gertrude Eyzoldt in the play by M. Reinhardt (1904), L. Pitoeva (1921). In one of the many adaptations of the play, the role of F.Zh. created by the Danish actress A. Nielsen (1922).
The image of Nora in the work "A Doll's House" personifies - a woman caring, affectionate and tender to children, men, Dr. Rank, servants. But this is only the “tip of the iceberg”, in fact, it is not so happy... The image of Nora makes you want to sympathize with this woman, be surprised at her helplessness, understand her actions, but not condemn her in any way.
"Doll's House" characterization of the image of Nora
Nora Helmer - the central character of the play "A Doll's House", the wife of the lawyer Helmer, seems to have everything necessary for happiness: her beloved husband, children, home. Having happily lived with her husband for a considerable number of years, she suddenly makes an unexpected decision to leave home. None of the family knows what caused such a decision. In addition, no one knows that behind the outward cheerfulness and playfulness of Nora, this “squirrel”, “singer-bird”, there is a huge exertion of strength and the ability to reckless self-sacrifice. As it turned out, Nora's life was not so cloudless and happy. She had to hide her unseemly act for a number of years: once Nora, in order to get money for the treatment of a dangerously ill person, forged her father's signature on the bills. Nora suffered terrible mental anguish in anticipation of that fateful moment when her secret would be revealed. And now comes the moment of recognition, the moment of testing two in the face of adversity. But the murderous egoism of man is manifested in all its fullness. Helmer fails the test. The short time of danger was enough for him to throw off his mask endlessly. loving husband and found his true face. To read the fatal letter, Helmer utters a passionate declaration of love and devotion to his wife:
“You know, Nora ... more than once I wished that you were in imminent trouble and that I could put my life and blood on the line - and everything, everything for you.”
Upon learning of Nora's guilt, her husband, in complete dismay, mutters quite the opposite: it turns out that Nora "has no religion, no morals, no sense of duty ... I, perhaps, will be suspected of knowing about your crime." But the danger is unlikely to recede, as Helmer, who recently showered his wife with images, called her "a hypocrite, a liar, a criminal", again turns into a kind and caring "adviser and leader." All these transformations fully justify Nora's desire to leave the Doll's House, this "big nursery." Nora believes that before being a wife and mother, she must become a person. She goes from a man, leaving three children. The end of the play is a dialogue between a man and a woman that explains Nora's behavior and decisions. Here is Nora's dialogue with her husband
What ingratitude! Or you were not happy here, "-" No, only cheerful. I was your doll wife here, and the children were my dolls.”
She asks her husband why he didn't protect her. Helmer is genuinely surprised:
“But who would sacrifice honor even for the sake of a loved one?” “Hundreds of thousands of women donated,” Nora objects and adds bitterly: “It became clear to me that all these eight years I lived with a stranger.”
Nothing can bring her back to her former life, so she chooses an unclear future full of dangers and difficulties, decides to live an independent life in struggle and hardship. Nora needs to go in order to "understand herself" and everything else, "educate herself." The play was perceived, first of all, as a work written in defense of women's emancipation. But for Ibsen himself, the main essence of his play was not at all in the "women's question". Using a specific example of the fate of a woman in bourgeois society, the playwright raises the central question for him about the liberation of the person in general, about the development of a complete, real person.
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The prototype of Nora from the work "A Doll's House"
The image of Nora is a very real prototype. This is the Danish-Norwegian writer Laura Killer (1849-1932). Under the influence of Ibsen's play "Brand", the 19-year-old girl wrote the book "Brand's Daughters", which was published in 1869 under a pseudonym. Ibsen met Laura and advised her to take up literature; a friendship developed between them.
Laura married for love, but her unbalanced man painfully perceived the lack of money. His wife tried to protect him from material problems and, when he fell ill, she turned to her rich father for help, but he refused his daughter. Then she, secretly from everyone, borrowed money from one of the Norwegian banks, and an influential friend vouched for her. When this money was gone, Laura borrowed again, but was unable to repay the debt on time. In desperation, the woman wanted to issue a counterfeit bill, and came to her senses in time. Subsequently, a man found out about everything, who at first sympathized with Laura, and then, under the influence of relatives, friends and acquaintances, abruptly changed his attitude towards his wife and demanded a divorce. Her children were taken away from her, and she was declared mentally ill. (Later, at the request of her husband, Laura returned both in the family and in literature.)
Nora and Laura have much in common, but there is also a significant difference: Nora herself leaves home, she opposes herself to society - this is her conscious decision.
Ibsen Henrik - The image of Nora (based on the play by G. Ibsen "A Doll's House")
The image of Nora (based on the play by G. Ibsen "A Doll's House")
Falsehood and hypocrisy permeate the home life of the lawyer Helmer's family. Sweet and meek, always lively, tender mother and wife, she seems to be adored by her husband, surrounded by worries, but in fact she is only a doll and a toy for him. She is “not allowed” to have her own views, judgments, tastes. Surrounding his wife with an atmosphere of teasing and sugary jokes, lawyer Gelmer never talks to her about anything serious. The life of this sweet and pretty woman is difficult, and she cannot be called the “mistress” of the house.
To the reproaches of her husband: “What ingratitude! Haven't you been happy here?
;, - Nora replies: “No, just cheerful. I was your doll-wife here, and the children were my dolls. She asks her husband why he didn't protect her. Gel-mer is sincerely surprised: “But who would sacrifice honor even for the sake of a loved one?” “Hundreds of thousands of women have donated,” Nora objects, and bitterly concludes: “It became clear to me that all these eight years I lived with a stranger.”
The knock of the outer door slamming shut behind Nora is heard loudly... So Ibsen and his heroine debunked the myth of a happy bourgeois family.
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Readers of our time have many questions when he reads G. Ibsen's A Doll's House. Time is different, people have changed, values have depreciated, on the one hand, on the other, it has become more difficult to recognize their reasonableness.
The image of Nora evokes a desire to sympathize with this woman, to be surprised at her helplessness, to understand her actions, but by no means to condemn her, as was the case during the appearance of the drama. Today we have gone much further in matters family relations, which defy explanation and human understanding (what is the best thing to do, what way out is right).
Falsehood and hypocrisy permeate the home life of the lawyer Helmer's family. Sweet and meek, always lively Nora, a tender mother and wife, seems to be adored by her husband, surrounded by worries, but in fact she is only a doll and a toy for him. She is “not allowed” to have her own views, judgments, tastes. Surrounding his wife with an atmosphere of teasing and sugary jokes, lawyer Gelmer never talks to her about anything serious. The life of this sweet and pretty woman is difficult, and she cannot be called the “mistress” of the house.
In order to save her husband, who fell ill with tuberculosis in the first year of marriage, and take him to Italy for treatment on the advice of a doctor, Nora secretly borrows money from a moneylender and subsequently pays it off at the cost of hard work. But according to the law of that time, which humiliated a woman, she could not borrow money without the guarantee of a man. Nora put under the bill the name of her seriously ill father, who allegedly vouched for her ability to pay, that is, from the point of view of bourgeois justice, she went for a forgery of the bill. Daughter and conjugal love pushed her to "crime" against the law. The usurer Krogstad terrorizes Nora, demands a place in the bank, of which her husband is appointed director, otherwise threatens to put Nora in jail. Mortally afraid of exposure, Nora is forced to portray happy woman, funny doll. She still hopes for a miracle. It seems to her that her husband, "a strong and noble man", will save her, support her in trouble. Instead, the lawyer Gelmer, having received Krogstad's letter, falls into a rage, predicts a terrible life full of humiliation for his wife. From his point of view, she is a criminal, he forbids her to communicate with children so that she cannot "corrupt them".
Ibsen's Nora is not at all as simple as it might seem. Often she plays along with her husband. Dr. Rank plays a special role in the drama. Did Nora love this man? It's hard to say, but she can't take money from a doctor who has just confessed his love to her, which she is unable to return. There is another female image in the play - Fru Linne. This is an absolutely independent woman, accustomed to self-sacrifice and hard work. She was forced to marry an unloved man in order to provide for her sick mother and younger brothers. After the death of her husband, she worked and supported the whole family. Having surrendered herself to self-sacrifice, she forgot about herself, abandoned Krogstad, whom she loved. Fru Linne feels a constant need to take care of someone, to think about loved ones; she returns to Krogstad to take care of him and his four motherless children. To today's reader, this image is closer and more understandable than the image of Nora.
In Ibsen's play, an amazing thing happens: one woman abandons her own children to find herself, and another, who has already found herself, takes responsibility for other people's children. It seems that Ibsen did not succeed as a fighter for the emancipation of women, but he wrote a play-discussion about the family, about women, and for this I thank him. Last words Nora, leaving the “doll house”, becomes the answer to her husband’s question: can everything still change in their relationship? “This requires the most amazing miracle to happen... One that changes you and me... So that our life together can become the life of a real married couple.”
Krogstad's letter, in which he refuses to litigate, restores peace of mind only to the lawyer. He again calls his wife affectionate names: she is again his "doll" and "bird". Nora interrupts this flow of tenderness, giving her assessment of what is happening: their marriage is not a union of equal, loving people, their marriage was a simple cohabitation.
Nora believes that before being a wife and mother, she must become a person. She leaves her husband, leaving three children. The ending of the play is a dialogue between the spouses, explaining Nora's behavior and decision.
To the reproaches of her husband: “What ingratitude! Haven't you been happy here?" Nora replies, "No, just happy. I was