Analysis of Henrik Isbens A Dolls House :: A Dolls House Essays

lay out I AnalysisAct I, in the tradition of the well made play in which the archetypal routine serves as an exposition, the second an event, and the third an unraveling (though Ibsen diverges from the traditional third act by presenting non an unraveling, but a discussion), establishes the tensions that explode later in the play. Ibsen sets up the Act by first introducing us to the central return Nora and her relation to the exterior world (Nora entering with her packages). Nora serves as a type for women of the time women who were thought to be content with the luxuries of modern society with no thought or care of the world in which they lived. Indeed, there is close to truth in this (the extent of this is debatable). As the play reveals, Nora does delight in material wealth, having been labeled a spendthrift from an early age. She projects the attitude that property is the key to happiness. By presenting this theme of the relationship between women and their surroundings a t the beginning, Ibsen indicates to the reader that this is the most basic and important idea at fiddle in the play. However, it is also clear that Noras simplistic approach to the world is not entirely her fault. Torvalds treatment of Nora as a grim helpless pincer only contributes to Noras isolation from reality. Just as Nora relates to the exterior world in the main through material objects, Torvald relates to Nora as an object to be possessed. The question becomes who is to a greater extent detached from reality? Though Torvalds attitude pervades every word he speaks to Nora, his objectification of her is most evident in his use of animal imagery. He refers to her as his little lark and squirrelsmall harmless animals. Similarly, Torvald repeatedly calls Nora his little angiotensin converting enzyme or little girl, maintaining the approach of a father quite an than husband. Nora is fully dependent on Torvald, from money to diet (the macaroons) and, because she is so shelter ed, her perception of the world is romanticized. Noras skewed vision of the world is most evident in her interactions with Mrs. Linde. Whereas her old school friend is wizened and somber, Nora is impetuous. Her choice to tell Mrs. Linde about her mysterious seems to be more of a boast of a small child than a thoughtful adult in fact, Nora only reveals her secret after being called a child by Mrs.