DH.3.Changes+in+LANGUAGE

Changes in Language (Act 3)

__Conversation between Nora and Helmer (pg 218 – 232)__

Before Torvald reads the letter and finds out about Nora’s crime: l Torvald calls Nora with the pet names he has been using since the beginning of the play; shows his ‘affection’ towards Nora – “Good night, Nora – sleep well, my little songbird (219)” “Nora, darling… (219)” l Calls her name – Nora, and her pet names frequently as he tries to get close to her  After his discovery: l Now the pet names have changed into “You wretched woman… (220),” “you’re a liar, a hypocrite – even worse – a criminal! (221),” “…shiftless woman! (221)”   l Significant change: instead of calling her names/pet names, Torvald uses words with clearly negative connotations to describe her (liar, hypocrite, criminal, etc.) l Emphasis on the word – YOU through repeated use in Torvald’s lines shows that he blames everything on Nora without considering why she has done so; “**You**’ve completely wrecked my happiness, **you**’ve ruined my whole future!” “**You** wretched woman – what have **you** done? ... Here **you** shall stay until **you’ve** explained **yourself**. Do **you** realize what **you’ve** done? Answer me – do **you** realize?” (220 – 221). 1 Also emphasis on 1st person singular I/ME/MY in addition to 2nd person YOU at times "**You've** completely wrecked **my** happiness, **you've** ruined **my** whole future!...And **I'm** brought so pitifully low all because of a shiftless woman!"(221) This language conveys an idea that Nora and Torvald are opposed and exposes Torvald's concern for himself and lack of concern for Nora. l More direct, short speeches that underline his outrage and power  After reading the second letter: l The thought that his reputation will no longer be harmed greatly delights Torvald; Torvald starts calling Nora with her name and adjectives that make it look like he really cares about her and about how agonizing the past days must have been for her – “…we’re save, Nora, no one can touch you now. Oh Nora, Nora… (222),” “Oh, Nora, these three days must have been terrible for you (223),” “Poor little Nora… I shall calm your poor fluttering heart (224)” “But my dear Nora (224)” l His use of words/descriptions that imply that Nora is a poor woman whom he has to take care of (“you, poor, frightened, helpless, little darling… I’ll be both your will and your conscience (224)”) à <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;"> he has her back, he ‘possesses’ her l <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;">His lines become long again, full of elaborate descriptions that emphasize or present himself as truly concerned for his wife, responsible for taking care of her (similar to the fatherly image he had in the beginning of the play) <span style="font-family: 'Times New Roman','serif'; font-size: 12pt; margin: 0cm 0cm 0pt; text-indent: -20pt;"> <span style="font-family: 'Times New Roman','serif'; font-size: 12pt; margin: 0cm 0cm 0pt;">When Nora stands up for herself/tries to leave: l <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;">Nora’s change in her choice of words, language underlines her development into an increasingly independent woman: more frank, straightforward/direct, and confident; she speaks for herself – “But really I’ve never been happy (226).” “I’ve lived by performing tricks for you, Torvald…our home has been nothing but a play-room. I’ve been your doll-wife here… (226).” “I don’t love you anymore (229).” “I simply can’t convince myself that the law is right. That a woman shouldn’t have the right to spare her old father on his deathbed, or to save her husband’s life! (228)” à <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;"> do not care about whether her words will satisfy Toravald or not. l <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;">Lengthy speeches by Nora that clearly reflect her own voice – shows that she has finally discovered herself and identified herself as a self-reliant individual who thinks and decides for oneself. l <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;">Sense of independence, autonomy found in her speech – (even sounds like Torvald’s from the past) it shows that the speaker has power and control; “There. Now it’s all over. Here are your keys. The servants know all about running the house ... (231)” à <span style="font-family: 'Times New Roman','serif'; font-size: 12pt;"> unlike the past, now it is Nora who is giving the instructions and orders.


 * __KROGSTAD & KRISTINA (207-211)__**
 * Krogstad greets Kristina in a cold manner as a product of their bitter past
 * "Have you and I got anything more to talk about?" (207)
 * "...heartless woman throwing a man over when someone richer turns up?" (208)
 * "...you had no right to throw me over for someone else." (208)
 * This exposition reveals details about their shared history and depicts their relationship as having remained bitter.
 * Although the scene begins with hostility, Kristina is able to empathize with Krogstad...they have both experienced hardship. That and their now fully apparent romantic past, leads Krogstad to become more vulnerable and personal in this scene.
 * "When I lost you, it was just as if the ground had given way under my feet. Look at me now--a shipwrecked man clinging to a spar." (208)
 * "Thank you--Thank you, Kristina. Now I shall be able to set myself right in the eyes of the world too." (210)
 * "Kristina, this is the most marvelous thing that's ever happened to me."
 * Krogstad's catharsis enables him to face himself and his actions. To him, Kristina's understanding is what will allow him to be a good man again. His outlook has gone from bleak to positive. It is ironic, however, that after just one conversation, Krogstad seems as in love with Kristina again as ever, so suddenly all is forgiven.
 * Kristina, whose main roles in the play as a character, up till now, have been as a listener and for exposition, begins conspiring against Nora, her friend. This betrayal is for what she feels is best, that all secrecy of the Helmer household be dissolved.
 * "No, Nils, you **mustn't** ask for your letter back." (211)
 * "Helmer **must** know the whole story. This wretched secret **must** be brought out into the open so that there's a complete understanding between. That'd be impossible while there's so much concealment and subterfuge." (211)
 * Kristina is a passive character for the first two acts, one of her main roles is to listen to Nora and her discussion with Krogstad in itself is an errand for Nora in the first place. However, the use of the imperative "**must**" paints her as a much more dominating character.