First 350 words of the document:
The decline and fall of the Helmer's marriage
Pages 67-68 By making Helmer somewhat inebriated, Ibsen is able to exemplify and amplify
Helmer's attitude towards his wife more clearly than ever.
1. Stage directions revealing his sense of entitlement and ownership:
"[He leads her, in spite of her resistance, gently but firmly into the room]."
2. Language which objectifies and infantilises Nora:
"The sweet little thing"
3. Subtext suggesting Helmer's main concern is his reputation (what others think of him):
"That's what everybody at the party thought too."
Page 69 Helmer feigns chivalry but shoos Mrs Linde out of the door it's a tiny detail but reinforces
that Helmer needs to appear to do the right thing whether there is substance behind this image or
not juxtaposed with the embroidery section decoration not substance rules Helmer's decisions.
1. Phatic language with Mrs Linde disingenuous offers of chivalry use of ellipsis and
repetition of "Good night" to advance Mrs Linde's departure:
"Good night! Good night! You'll get home all right, I hope? I'd be only too pleased to... But
you haven't far to walk. Good night, good night!"
2. Possessive pronouns repeated (for sake of listening audience):
"My little skylark", "Mine and mine alone, completely and utterly mine."
3. Return of third person references:
"Treasured possession", "This loveliness"
4. Return of skylark imagery:
My little skylark"
5. Nora echoes Torvald's sentiments (she must see the world his way):
"Everything you do is right."
6. Torvald is ignorant of all truths and has not yet picked up on Rank's circumstance he is
immune to the pain of others:
"Did you notice how gay Rank was this evening?"
7. Repetition of adjective "lovely" for Nora soft consonant:
"How irresistibly lovely you are," "Loveliness"