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¶ … Doll's House' it appears that Nora will leave her husband. However, when one considers the events of the play, where the play ends, the reality of society and the other couple in the play, it appears more likely that Nora would return and stay with her husband.
The central events of the play revolve around Nora's struggle against her place in society and her eventual exit from these social obligations. Nora is a woman who exists as she does because of the obligations of society. She has not chosen her role, she has simply adopted it. We see that she has moved directly from her father's care to her husbands. This is emphasized by the fact that she has taken her nursemaid from her father's house to her husbands. We also see it referred to where her husband scolds her over money, saying her irresponsibility is a trait she inherited from her father. This inheritance from her father has a much greater meaning than the context in which it is used. It refers to the fact that all of Lora's beliefs and feelings toward Torvald are inherited from her father....
The fact that Lora is a product of her childhood is also emphasized by the interaction of Lora and Torvald in the opening scene. Torvald saying "Is that my little lark twittering...my squirrel rummaging... " These comments are just the sort of thing that might be expected of a father speaking to a child. Lora plotting and manipulating her husband in a playful way is also reminding of the way a child schemes to get their own way. The importance of these things is to remind us that Nora's feeling are not independently hers, they are a product of her childhood.
She has not actually grown up, she has simply accepted her husband as a new father figure. It is in the play itself that we see her grow up, when her beliefs about her husband are finally shattered and she comes to a new understanding. She then comes to see that her father and her husband have seen her as a doll to be played with and that she is not seen as someone with her own opinions or her own will.
She realizes that her whole life has been based on illusion, not reality. It is…
He feels that Nora's freedom is not a reality since she couldn't possibly just leave her house and establish her own identity without money. "Nora needs money -- to put it more elegantly, it is economics which matters in the end. Freedom is certainly not something that can be bought for money. But it can be lost through lack of money." (Found in Schwarez) In short, whatever were the reasons
" Otherwise, Nora's interest in who is employed at the bank -- Krogstad or Mrs. Lind -- would wholly ruin Torvald's carefully constructed social reality. This, essentially, is the only way in which a woman playing the feminine role is able to bend the rules; Nora can exert her influence, but only by emphasizing her helplessness. Throughout A Doll's House there is an interesting relationship between parents and their children. Recurrently,
Doll's House Henrik Ibsen's play A Doll's Housemade him the father of modern literature. His writing showed tragedy and drama in a new and rather modern way. Prior to an analysis of the story at hand, it is only relevant that the plot and main characters are discussed in detail. This story does not revolve around a whole bunch of characters and is based on only a few days. The story
DOLL'S HOUSE AND MORAL VIEWS "A Doll's House" is one of the classical social plays of all time. Written by Henrik Ibsen, the plays deals with deep-rooted social issues and confronts long held views about morality. It seeks to challenge the idea of morality that people held in late nineteenth and early 20th centuries and exposes the double-standards embedded in moral views of the society in those days. In Doll's
Rank. "But, Nora darling, you're dancing as if your life depended on it!...This is sheer madness - stop, I tell you!...I'd never have believed it - you've forgotten everything I taught you" (Ibsen 204). Torvald must now take her in hand and re-teach the wild Italian dance, the tarantella. The choice of this particular dance by Ibsen is a stroke of genius as it aptly illustrates the nature of the
"The dramatically active question of the last act is whether the "wonderful thing" will happen or not. The scene in which Nora realizes that it won't is one of the great scenes in modern drama, not only in precipitating the same mordant speeches" (Bloom, 32). Nora rapidly discovers that she cannot save Torvald and sadly leaves him as she knows that she needs change in her life and that