In "A Doll's House," Torvald's pet names for Nora, such as "little lark" and "squirrel," imply that he views her as a childlike, dependent, and decorative possession rather than an equal partner. These names reflect his patronizing attitude and the imbalance of power in their marriage, underscoring the themes of control and subordination.

From Torvald Helmer's lines in Act III of Ibsen's A Doll's House, it can be inferred that he does not truly understand love, as he prioritizes his honor over genuine sacrifice for Nora. His willingness to work and bear sorrow for her reflects a superficial understanding of support. Torvald's view that no man would sacrifice his honor for love reveals his limited perception of both love and women's sacrifices.

Torvald’s accusation that Nora has played with him “like a puppet” is ironic because he has consistently treated her like a plaything. He claims that his anger stems from her having lied to him. Because he cherishes the role of patriarch, however, he is equally resentful that she has exerted any control in their family.

Helmer forgives Nora after reading the second letter because it nullifies the threat to his career posed by Nora's fraudulent loan with Krogstad. Initially, Helmer is furious, feeling betrayed and ruined by Nora's actions, which aimed to save him. However, when Krogstad, influenced by Mrs. Linde, forgives the debt, Helmer feels relieved and forgives Nora. Despite this, Nora decides to leave him, rejecting his condescending view that she needs his guidance.

Torvald Helmer refuses to reconsider firing Krogstad because he believes Krogstad's crime of forgery and depraved moral character make him irretrievably corrupt. He also insists that reversing his decision would harm his dignity, as it is already known at the bank. Additionally, Torvald is uncomfortable with Krogstad's overly familiar manner, which undermines his authority.

Nora is frightened by Helmer's attitude toward Krogstad because it threatens to expose her secret dealings with Krogstad, which involved borrowing money to help her husband during his illness. In a society where women were not supposed to engage in financial matters, especially with a man like Krogstad, who is Helmer's subordinate, exposure would ruin her marriage and social standing. Helmer's hostility towards Krogstad increases the risk of this scandal becoming public.

Torvald Helmer's insulting attitude toward Nora is depicted through his condescending behavior, treating her as a child or "doll" rather than an equal partner. He controls her actions, dismisses her intelligence, and values societal opinions over her well-being. His reaction to Nora's forgery reveals his self-centeredness, as he is outraged by the potential scandal rather than grateful for her sacrifice. Ultimately, Nora's realization of their unequal relationship leads her to leave him.

Torvald's reaction to the letter being hand-delivered is that he immediately sees it as containing good news for himself. He cares nothing for his wife, and he sees this as something that has saved him personally.

I do not believe that Torvald Dal, the male lead in Henrik Ibsen's play A Doll's House, demonstrates any growth or change in his character or outlook. Torvald's responses to his wife's confession: 1) He is shocked and demands that the matter be kept secret. 2) He believes Nora is lying to him and refuses to listen to her explanation. 3) When she leaves him, he realizes he must make a choice. He does not want to lose her as he loves her very much, but rather than take the blame for what happened (the "miracle of miracles,"

In Act I, Scene 1, Helmer's character in Ibsen's play is established as paternalistic in his interactions with his wife, Nora. He uses diminutive terms such as "little lark" and "little squirrel," treating her like a child rather than an equal partner. His patronizing behavior includes reprimanding her spending habits and teasing her with money, indicating a lack of respect and viewing her as needing guidance and rewards, rather than building her confidence or showing modern attitudes toward women.