What Is Tragic About Torvald Helmer as a Character?
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Order NowTorvald Helmerâs character is that of a typical 19th century middle class male. He offers his family financial support and is a respectable member of society. Unfortunately, it is this and his inability to see past himself and society which makes Helmer a tragic character in âA Dollâs House.â
Helmer is a tragic character because of his inability to understand the true concept of love and marriage. Throughout the play different types of love are shown through all of the characters; however it is clear that Nora and Torvald Helmerâs love isnât the type of love that ârealâ marriages are based on; their love is illusive. Nora herself comments that âbeing with Torvald is a little like being with papa,â suggesting that the relationship is more child-wife rather than wife, the equal. However, in Act Three where Nora finally realises the truth about her marriage, it is Helmer who becomes the child as he doesnât fully realise that his marriage was never real and neither was his love for Nora, as Nora points out âyou just thought it was fun to be in love with me.â It is also tragic that upon hearing and forgiving Nora of her âcrimeâ, Helmer doesnât realise that he isnât being the ideal husband when he claims that âshe has become his property in a double senseâŠnot only his wife but also his child.â
Ibsen implies that Helmer is incapable of understanding love and marriage based on equality. Helmer is also unable to see past societyâs views. Although Ibsen has set the play in the Helmerâs living room, the idea of âwhat will society thinkâ is constant throughout the play, especially where Helmer is concerned. Helmer is perceived as a tragic character because he is obsessed with reputation and fear of unfavourable public opinion, so much so that the marriage being a âshamâ becomes apparent to Nora. Helmer says âI am condemned to humiliation and ruin, simply for the weakness of a woman,â and âyou have destroyed my happiness.â Helmerâs âself-contained, self-obsessed perception of the worldâ makes him highly tragic. In effect, Helmer has ruined his own marriage, and, of more concern to him, reputation because of his obsession.
âA Dollâs Houseâ doesnât just focus on women being trapped by traditional gender roles. Helmerâs character is made more tragic by the fact that he himself is imprisoned in a traditional male role, more so because of his obsession with reputation and his inability to understand the concept of an âequal marriageâ. Helmer, in fairness, has played his part as âthe maleâ perfectly, as he says to Nora âyou whom I have carried on my hands through all the year of our marriage. Helmer has been the perfect financial provider except for when Nora had to borrow money.
However, instead of taking Noraâs act as one of love, he sees it as a crime and only cares about the effect it will have on his life. Helmer is trapped by his gender role and his reputation, as Nora says to Mrs Linde âhow painful and humiliating it would be for Torvald, with all his manly independence, to know that he owed me anything.â Helmer, upon forgiving Nora, says âI would not be a true man if your feminine helplessness did not make you doubly attractive.â Helmer is quick to pretend to try and âbe a true manâ because that is what society expects of him, but in reality Helmer is a selfish coward and Helmerâs character is seen as doubly tragic, because deep down Nora knows it too, even if he himself doesnât.
However, the most tragic suggestion around Helmerâs character is that Ibsen implies that there is no hope for him to change; he is completely caged by society. Ibsen starts to end Act three with âa hope strikes him,â implying that Helmer could change. Noraâs conversation with Helmer in Act Three suggested that because they were married they were unable to realise who they were as individuals, so couldnât treat each other as equals, and that with Nora leaving the two could learn to be first and foremost individuals and then equals. However, finality is given with âthe street door is slammed shut downstairs,â suggesting that though Nora has left and Helmer could change, he wonât; he is too trapped by social convention, gender roles and reputation.
In conclusion, Helmer is tragic as a character firstly because of his inability to understand true love and marriage and to see past society to himself. Without realising these ideas, Helmer canât change so he is trapped by social convention and his gender role. Finally, his tragedy is made definite with the street door closing. Helmerâs home should be his shelter, but for him, it ends up being a prison.