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Devastating Misconceptions

Not a soul can honestly admit they haven’t told a twisted version of the truth at some

point in their life, but there are scenarios in which twisted takes on a more damaging connotation

that merely a slight fabrication of facts. Some believe that there are advantages to deceiving

ourselves, such as a boost in confidence enabling us to gain others confidence in the process, but

deception is a slippery slope no matter how one attempts to justify it. When deception is taken to

the shadowy depths of egocentric ambition, producing a spirit of impetuous survival instincts and

spontaneous suppression; many are put in harm’s way. In Tennessee William’s “The Glass

Menagerie” and Henrik Ibsen’s “A Doll House,” the reader gets a foretaste of what it looks like

when rationalizations become a reality and those entangled in the web of lies are scarred for life.

Deception has devastating consequences. The authors provide the observer with diverse

storylines that have complementary themes providing vivid reminders of how important it is to

keep one’s eyes fixed on the truth and one’s awareness anchored in the waters of authenticity.

The character of Amanda Wingfield in William’s “The Glass Menagerie” and the

character of Nora Helmer in Ibsen’s “A Doll House” are masters of trickery. Intoxicated with the

expressive fabrications these characters concoct, those closest to them get dragged into the drama

finding themselves left in the ravages of ransacked relationships and a sense of undistinguishable

self-awareness. Both women are pretending to be what they believe society expects a woman to

be. In their unyielding effort to foster this fantasy, they have erased all traces of the real women

behind the pragmatic shadows they have been hiding in.

Right from the start, we are introduced to the delusional world Amanda embraces.

Amanda nags her son Tom to the point of his expressing his frustration.

AMANDA Tom?...come to the table!...don’t push with your fingers…chew!

TOM I haven’t enjoyed one bite…It’ you…your hawk-like

attention…sickening…

AMANDA Temperament like a Metropolitan star!...you smoke too much…

(Williams 1132-1133 Act I)

She so caught up in her version of reality she is oblivious to his obvious irritation,

downplaying it as something far less inflammatory than what it truly is and quickly bouncing

back with her fusillade of berating. Tom isn’t alone in this deceptive reception. Amanda flits

from one mind to the other as she rains down sweetly seasoned undercutting comments

seasoning on Laura who is compliantly standing by awaiting her orders. “No, sister…you be the

lady…resume your seat…stay fresh and pretty…” (Williams, 1134 Act 1). Ignoring Laura’s

attempts to give voice to the conversation, she meanders into embellished reminiscing,

disparaging Laura’s present state of life. “I remember when…your mother received

seventeen…sometimes not enough chairs…I understood…knew how to entertain…my callers.”

(1134 Act 1). Unmindful of their presence, Amanda rambles through her recollections with no

regard for her children’s emotional welfare.

Nora Helmer takes on this role with more subtly, to the point where she appears to have

some foot in reality, at least at the start of the story. When the reader is introduced to Nora, she

gives off the impression of the derogatory stereotypical housewife, a woman ignorant to and
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incapable of understanding the ways of the world. It’s as if she has no mind of her own until we

get a glimpse behind the curtain of her mind.

HELMER Is that my little lark…my little squirrel…my little spendthrift…wasting

money…

NORA (…takes a bag of macaroons from her pocket and eats one or two, then

goes cautiously to the door of her husband’s study and

listens)…Yes!...Yes, but Torvald…Yes, but….Pooh! We can borrow….

(Ibsen, 1077 Act I)

MRS LINDE …you know so little…small household cares…You’re a child…

NORA …leave it to me…I’ll think of something that’ll put him a good

mood…you shouldn’t act so superior…I have something to be proud

of…No one in the world must know…

(Ibsen, 1084 Act I)

As the subversion settles in, Nora’s character develops into something entirely different

than the submissive subordinate she pretends to be. A chameleon of sorts, she inventively

manipulates her way through the chaotic clutter she has created.

Both Nora and Amanda appear to be oblivious to the damage they inflict on those around

them. Living in such extremes produces anxiety which often provides the foundation for

enticement to conceal the truth from outsiders while at the same time hiding from the truth from

ourselves. Self-deception coupled with worry create a strong bond, producing a resilient

resistance towards embracing and facing the realities surrounding circumstances. Laura and Tom
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have been conditioned to the atmosphere Amanda has formulated. They have formed unhealthy

habits in order to cope with daily life.

Driven by inward infliction, Laura has become proficient in escapism. Expressing her

pain through a world of glass figures, soothing music, being vigilant in yielding to her mother’s

every whim while suppressing the sights and sensations swirling around her. Laura has become

numb to reality, stifling her ability to think for herself. She has never been allowed to discover

her true self. Gaslighting substituted mothering, leaving Laura with a dizzying blur of instability,

insecurity and uncertainty as a guide.

LAURA …Mother, I was…(makes a nervous

gesture…)…(shakily)…mother?...why?

AMANDA Why?...I thought you were an adult…what is going to become of

us?...(Williams, 1136, Act II).

AMANDA …tell your brother his coffee is ready…are you going to do what I asked

you to do…tell them to charge it…tell your brother his coffee is getting

cold….go now…

LAURA ...don’t make mother nervous…please...going, as soon as I get my coat!

(…jerky nervous…)…going!....

(Williams, 1143-1144, Act IV)

JIM …(heartily, extending his hand)…play a little hot swing to warm you up!

LAURA …touches it hesitantly…Excuse me-I haven’t finished playing the

Victrola…
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(Williams, 1157, Act VI)

Laura has turned towards hidden places to cope, while Tom has developed reckless

behaviors and explosive reactions in his attempts to find solid ground. Persistently vying to

sustain a solid hold on reality has birthed many manic moments in Tom, which only perpetuate

Amanda’s efforts to ensnare those closest to her emotionally. Tom and Amanda are stuck on a

rollercoaster than neither can stop.

TOM What in Christ's name…Ohhh!...driven out!...Look…You had the nerve…

AMANDA Don’t you…Not in my…Have you done out of your

senses?...IDIOT!...Lower your voice!...Stop that shouting!...

(Williams, 1140, Act III)

They feed off each other’s negativity, prodding each other into erratic fits of escalating

emotions. Addicted to the drama, neither can walk away. They are not alone in this battle.

Complications follow Nora around like a lost puppy. She is like Amanda, Tom and Laura all

rolled into one. Caught up in endless efforts to preserve an outward appearance that inwardly she

despises, frustrations fester and give way to a slanted justification of compromised morals and

convictions.

NORA …it was absolutely necessary…his life was in danger...I tried…how I

came to think of a way out of the mess-…I’d meant to…Now, what do

you think…Kristine…I had to…I couldn’t let my children be shabbily

dressed…

(Ibsen, 1085-1086, Act I)

Nora was so good at deception, even when caught, those around her tolerated her deceit,

or they took advantage of it; either way, it drove Nora into intensities she couldn’t dig herself out

of. From serious to minor, Helmer is continuously turning a blind eye to Nora’s antics “Hasn't

Miss Sweet Tooth been breaking rules in town today?...taken a bite at a macaroon or two?"

(Ibsen, 1080, Act 1). “A broken hairpin. It’s one of yours…then you better break them of those

habits…” (1119, Act III). “My poor little Nora, I understand…” (1121, Act III). Mrs. Linde is

swayed towards compassion after hearing Nora’s confession. “…poor Nora…I suppose so.”

(1086, Act 1) Krogstad uses his insights to gain a stronghold with Nora when he is faced with the

possibility of losing his position at the bank. “…what if I tell him?...Listen to me, Mrs. Helmer…”

(1092, Act 1). Dr. Rank is mesmerized with the woman she pretends to be. “…I’m yours to

command, body and soul…” (1105, Act II). It’s all a game to Nora.

Both women lose in the end, neither seeing it that way. Over time, some recognize facts

while others run from them. Living a life of pretense leads to self-deception that is guaranteed to

spiral into loneliness and isolation. In Nora’s case, she convinced herself to walk away from the

life she fought so desperately to hold onto, embarking on her most damaging act, escapism under

the guise of liberty. Painting herself the martyr proves the opposite. She is leaving a legacy of

trauma to those she claims to love “…if a wife dessert her husband…he’s free…complete

freedom…” (Isben,1126, Act III). Amanda lets loose her insecurities on a monumental level as

she deludes herself into thinking she is the one sending Tom away, when in reality, the

relationship was lost long before Tom even considered walking out the door. “Go then! Go to the

moon-you selfish dreamer!” (Williams, 1175, Act VII).

Can a little bit of self-deceit truly be good for you? Whether it be the all-encompassing

multifaceted denial of Nora or the one track self-inundated delusion of Amanda, Williams and
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Ibsen provide the reader with glowing reminders that misleading oneself can have devastating

consequences.

Source:

Kennedy, X.J. and Dana Gioia. “Literature: An Introduction to Fiction, Poetry, Drama, and

Writing.” Pearson, 8th Edition. pp 1076-1176. 2016.