As head of the house, he holds the purse-strings and, as such, is the only one needing to be aware of the state of the family finances. Kristine broke free from this traditional role by chance, because her husband died.
Though not for long. Yet an act is all it is, for Nora is becoming more self-aware of who she is and of her growing influence within the marriage.
For example, when the play begins Nora is just returning home from a shopping trip. She realizes that she has been living with a stranger for eight years; she becomes aware of the crippling society that she is living in. The Marxist theme can be seen in both Kristine and Krogstad as well.
He forbids her to eat macaroons; he makes her dance for him, dress up and recite for him. She is to dance the tarantelle, the Neapolitan dance that her husband has taught her.
Previously, she made the decorations by hand, spending an entire day on the project. All of it is a role that Nora has been taught to play by society, the behavior expected of all women of the time. He treats his wife not as an equal but as a foolish child, plaything and erotic fantasy-figure, as is revealed by his demeaning pet names for her "little songbird," "little skylark," "little person," etc.
It is not there. But they do not present problems, in the ordinary sense of the word, nor do they solve them. She will no longer dance while her heart is breaking.
Round and round, in frenzied, hurrying course, swifter and swifter -- laughter and chatter and flight -- till they drop dead. He used to call me his doll-child, and he played with me the way I used to play with my dolls.
Torvald is much more careful with money, but he too bases his outlook on life and relationships solely on money and the status it earns him. He tries to find it by reading deeper into the text.
Looking backward, by its light, Nora is no longer an inconsequent, impossible character. Feminism is the dominant theme, as Ibsen investigated the tragedy of being born as a bourgeoisie female in a society ruled by a patriarchal law.
When he gives her a job, he feels in control of her even outside the office. Torvald seems to love her, but also treats her like a child, calling her things like "scatterbrain" and "my little squirrel.
This object is introduced early in the action; it is wrought more or less closely into the structure of the play; and its last appearance is the climax.Ibsen’s A Doll’s House (), written while Ibsen was in Rome and Amalfi, Italy, was conceived at a time of revolution in Europe.
Charged with the fever of the European revolutions, a new modern perspective was emerging in the literary and dramatic world, challenging the romantic tradition. Get an answer for 'In A Doll's House, describe the relationship between Torvald and Nora.' and find homework help for other A Doll's House questions at eNotes.
Henrik Ibsen’s A Doll’s House was first published in It was a coming of age play that dealt with the lives and anxieties of the bourgeoisie women in Victorian Norway. Free Major Barbara papers, essays, and research papers.
An essay on the symbolism in Henrik Ibsen's A DOLL'S HOUSE. A DOLL'S HOUSE: AN ILLUSTRATION OF SYMBOLISM. An analysis of the symbolism in Henrik Ibsen's "A Doll's House".
A Marxist and Feminist Analysis of the play "A Doll House" by Henrik Ibsen.Download