The Symbol of letters in "A Doll's House"

The letter is a symbol used by Ibsen in ”A Doll’s house” for irreversible truths which occur in the play; as at first Helmer sends a letter to Krogstad, revealing the harsh reality of his notice, which in turn triggers Krogstad’s own letter which depicts Nora’s crime and secret life which is hidden from HelmerThe symbol of the letter is used to emphesize the reality of these truths which ,once stated cannot be retracted or controlled, much like sending letters. Showing the effect of the information on the characters lifestyle as it is ireverable.

In the scene we see Nora’s hope that there is “still time” for Helmer to recall the letter from Krogstad, and therefore she will escape the discovery of her secret and crime by Helmer. Nora’s fate seems to be connected to her husband and families “for my sake, for your own sake, [and] for the children’s sake”, this triad emphesises the the deep anxiety has over the effect that the unveiling of her secret will cause on their family life.

This also highlights Helmers control over the communication as he has the power to  “call…back” the letter, even though he doesn’t have the full knowledge of the consequences, while Nora does, as she borrowed the money from Krogstad, which creates dramatic irony.  As even though Helmer has power, he doesn’t understand his acts. This is shown through Helmer’s diologue as he sends the letter fire Krogstad due to his “moral failings”, however the letter triggers the revealing of Nora’s own crime and the release of her true immoral self.

The letter seems to become a major issue for Nora, she becomes paranoid and anxious about Helmer’s discovery of it “Theres no hope for us now-the letter is in the box”. She becomes completely obsessed with the idea, and we see the contrast as at first her secret life gave her power and confidence, but now it gives her constant doubt and worry “He must never see it”. Nora seems to relate her life to the length of time she has before the discovery of her secret, suggesting her loss of control of it, and emphesizing how it begins to determine how she acts around characters, “The letter! No, Torvald, no!”.

We see another dramatic shift in Nora’s character at the end of Act 3 when she tells Helmer that “[he] must read [his] letters”. Nora finally understands the importance of a life of honestly, and cant continue containing her secret which may be revealed at any moment “oh if only it were all over”. She wishes Helmer to read the letter to release her from her secret and to start a new life separate from him and from his confining personality.

When Helmer discovers the second letter from Krogstad which frees them of their debt, he “[tears] the two letters in pieces”, highlighting the end of its control over Nora and their freedom from debt and deceit, as everything is finally revealed. The symbol of letters is also used in the last lines of the play, to contrast the previous function of letters as Helmer asks whether “[he can] write to [Nora]” to maintain the connection between them. This contrasts the previous letters which were feared and which were used for unveiling truths, to simple communication between the two characters as Nora leaves his household. 

Irony of Nora and Krogstad's similarities & effect on Nora's personality in Act Two

Through Nora and Helmer’s discussion we learn that Krogstad, even though perceived as the villain in a doll’s house, has a connection with Nora and her past as they have both committed the same crime in society- to forge a signature. This shows the restricted and moral laws of society, which limit the characters in their actions, and creates a conflict between what they perceive as morally correct opposed to breaking the law. “I call him a moral outcast”. This is highlighted through Nora’s deception, as she borrows money and forges her father’s signature out of love for her husband and their lifestyle as she wishes to save his life, even though it is against the law to do so. “The journey was to save my husbands life-how could I give it up?” Her love for Helmer and moral sense of right and wrong overrules her duty to society and laws.

Helmer is associated with law and rules in the play, due to his position in society as a former lawyer and banker, therefore having encountered the dilemma between justice and injustice. However Helmer is also linked to the idea of law due to his status in their family society. Where Helmer is the head of the household and maintains power over the rest of the family- allowing him to create and control laws which he imposes on the rest of his family “no borrowing, no debt”.

The irony of Nora’s deception to Helmer is revealed through dramatic irony in their discussion, as Helmer judges and condemns the actions of Krogstad, unknowingly passing judgment on Nora by association, due to her performing the same offense. “When I’m near people like him I actually feel physically ill”. This is ironic as we know that Nora has committed the same crime as Krogstad, and that she is lying to Helmer, however he still imagines her as his “little songbird” that he loves dearly. This encourages Nora’s fear that Helmer’s perception of her will change if she reveals her secrete and that he will abandon her and stop loving her if he discovers her deception from him, as it goes against his laws of the household and her duty to him as a wife. Which is shown through past experience of the macaroons. “I would never do anything you wouldn’t like”.  However Nora is given hope that Helmer might not be so harsh with his conviction, when he says “I’m not so hard-hearted that id condemn a man outright for a single slip”. Nora clings to this opportunity that Helmer wouldn’t completely fault her for her actions and that he may understand the real reason for her action. Which leads to her idea of the “miracle” of Helmer sacrificing himself for her, as she has done with her debt. “No you wouldn’t, would you, Torvald?”

Nora seems to finally realize the gravity of her actions through their conversation, and continues to get more distressed, due to her similarity with Krogstad. Helmer describes Krogstad as “a guilty man” and “hypocrite”, since Helmer believes that one “Can redeem his character is he freely confesses his guilt and takes his punishment”. Frightening Nora as she hasn’t fully understood the ensuing consequences and hasn’t given consideration to how others would view her deed. Emphasizing her lack of knowledge of the world and laws around her as her father and Helmer have sheltered her, leading to her disregarding the rules of society. She believes that they would understand that it was all to save her husband, rather than simply as moral injustice. We see the connection between Krogstad and Nora as they both “must lie and cheat and play the hypocrite with everyone”, which is shown through Nora’s deception to Helmer and her double personality, since she cant tell Helmer of her borrowing of money.

Nora gets more flustered when the idea of her impurity of soul would “poison” and “infect” their children, her most loved possessions in the household. She discovers that by being “immoral” and deceitful she “infects and poisons the whole life of a home”. Giving her an anxiety as she blindly listens to Helmer’s advice without contradiction and applies all of his accusations to her and the life she leads. Allowing her to believe that through playing with the children, she infects them with her own “lies and deceit”, therefore causing them to become like her and ‘evil’ in their actions and thoughts.

The irony is shown in the last section of their discussion, when Helmer asks Nora to shake hands with him to “not plead his (Krogstad’s) cause”. Nora’s growing awareness of her exploits leads to her not wanting to shake, as she is similar to Krogstad and doesn’t wish to continue being a “hypocrite”. Although Helmer, oblivious to this, encourages her to do so, maintaining his perception of her as his “sweet little skylark”.

The discussion between Helmer and Nora has an effect on Nora’s appearance in Act Two of “A Doll’s House”, she appears flustered and disorganized as she believes all of which Helmer has told her, and applies it to herself, both have performed similar ‘crimes’ against society. Nora’s secrete seems to take control of her, she becomes paranoid of Krogstad and the revealing of her secrete, which she constantly considers, rather than her previous serenity and joy of the independence which it gave her. “[walks about restlessly]” . Nora is unable concentrate on her current life, the danger of her secrete and its consequences completely overpowering her. “don’t think about it- don’t think! One… two...three…four… five…six-[she screams] Ah, they’re coming!”. Throughout the scene, Nora constantly alludes to her fate in her converstation with other characters, “There are worse things then that”. Emphesizing her obsession with her secrete and the major role it plays in her life.

In the beginning of act two we also learn that Nora has isolated herself from her children as she doesn’t wish her “immorality” to  effect them and the life they lead, as she sees herself as a bad role model for them.  “I can’t be with them like I used to”.  When talking to the maid, we see that Nora plays with the idea of leaving her children, asking her that “If my babies hadn’t any other mother, I kno you’d…” showing her concern on her effects on them. “Do you think they’d forget their mamma altogether if she went away?” highlighting her flustered thoughts about her previous conversation with Helmer.