What kind of lies does Nora tell in A Doll's House? Do her lies indicate that she is not to be trusted, or are they signs of something else about her personality?

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Nora's lies are engineered to protect the central deception she's created in borrowing money from Krogstad under false pretences. The irony of this is that it was done solely to obtain medical treatment for her husband. He's the principal one she needs to continue deceiving—and we can see why...

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Nora's lies are engineered to protect the central deception she's created in borrowing money from Krogstad under false pretences. The irony of this is that it was done solely to obtain medical treatment for her husband. He's the principal one she needs to continue deceiving—and we can see why this is so when he goes into a rage at Nora upon learning of Krogstad's blackmail attempt.

All of this is symptomatic of the weak and dependent position of women in nineteenth-century society. Every effort Nora makes to continue hiding her past actions backfires upon her. She is forced to try persuading Torvald to promote Krogstad at the bank, although she knows Krogstad is the most untrustworthy person imaginable for this or any job.

When she suggests he is being "petty" in objecting to Krogstad's behavior, Torvald blows up, saying that "you must think I am petty." Yet even in this situation Nora's "lies" are ones of omission, not commission. The only real falsehood was the forging of her father's signature on the loan application. This doesn't indicate she's "untrustworthy" but rather that she was in desperation mode at the time, having no alternative except to let her husband die.

If it does say anything else about her personality, it might suggest that even in the context of the times, Nora is a passive-aggressive individual. Perhaps someone else could have found a different strategy than forgery, though under the circumstances it's not clear what this would have been. Ibsen deliberately withholds much of the detail concerning Torvald's illness that prompted the deception.

Without knowing all of the back-story we can't piece together the puzzle of this central event. But the main issue is that Nora, as a woman in the repressive society of the time, has been given few legitimate options to deal with a life-threatening problem.

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Lying comes almost as second nature to Nora. She doesn't mean anything by it; it's largely a way of dealing with her life as an emotionally dependent housewife. Nora has never been allowed to grow up, either by her husband or her later father, so she remains in a state of permanent childhood, in which the causal utterance of untruths becomes a way of life.

Nora's whole life is one big lie, one she's been living pretty much since day one—certainly since she got married to Torvald. As such, there's no incentive for her to be truthful. Whether it's telling little white lies about eating macaroons or telling big lies when forging her father's signature on a loan application, it's all the same to Nora. The size of the lie will depend on the situation and what she hopes to get out of it.

Strictly speaking, this makes her a throughly dishonest person. But at the same time, we shouldn't overlook the fact that Nora, to a considerable extent, is the creature of a patriarchal society which regards women as fundamentally dishonest. Given this unpropitious cultural background, one shouldn't be too harsh on Nora for her numerous lies; to some extent, she's only doing what's expected of her.

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In Ibsen's A Doll's House, Nora continuously tells lies, with their seriousness varying from that of petty "white lies" to far more serious deceptions. 

In the beginning of the play, Nora lies about relatively silly things, telling Torvald that she hadn't consumed any sweets when he asks her, "Hasn't Miss Sweet Tooth been breaking rules in town today... taken a bite at a macaroon or two?" This is a harmless lie... the kind of mistruth that an audience understands could be easily forgiven. It's a habit that seems to play an important role in the dynamic of Nora and Torvald's relationship; she bends the truth in order to avoid his gentle scolding, and the entire thing plays off as an inside joke, with Nora continuing to act as his "little featherhead," "little skylark," or "little squirrel." It's easy to write these lies off as facets of Nora's childishness or her ineptitude in understanding the big, complicated work of her husband.

In reality, however, Nora is not inept; while she may pretend to not understand their financial situation, she knows that they are in trouble. Still, Nora believes that her large lies are an act of love and necessity; she wants to protect her husband from the truth, claiming:

It was necessary he should have no idea what a dangerous condition he was in. It was to me that the doctors came and said that his life was in danger.

This hidden knowledge of the gravity of her husband's illness is what drives Nora to commit her next act of fraudulence: forging her dead father's signature in order to take out a loan to finance a trip to Italy where Torvald may properly recuperate... and lying to Torvald that she received the money directly from her father.

Torvald later chalks up this lie to a woman's child-like dependence on her husband, but it is here that Nora's true personality comes out: she is not a child and does not wish to rely on Torvald. She longs to develop her own identity, a sense of her "self," and a purpose for her life beyond marriage and motherhood. Although her larger lies were truly acts of sacrifice on her husband's behalf, she can now see that this is not the type of thing he values or appreciates, and that their marriage itself has been an act of mutual deception. 

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Broadly speaking, there are two different kinds of lies Nora tells. There are the petty, immature lies, about eating macaroons. These lies tell us about the role she plays before Helmer: his little lark, squirrel, etc.

Then there are the lies made about the big things: money, its origins, what she knows about Dr. Rank. These are signs of a much larger, deeper Nora hidden behind the bright and cheerful façade of the little lark.

Together, they indicate a clash of selves. At the play's end, the deeper Nora emerges, and the lies disappear.

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