Extended Metaphors Of Nora As A Doll In Torvalds House

Ibsen created an extended metaphor of Nora as a doll in Torvald’s dollhouse to illustrate her confinement. As the title of the play implied, Nora was trapped as a doll in the house of her husband Torvald; Nora lived to please him as a doll exists to please a young child. He treated her like a doll by making her dress up: â€Å"are you trying on the dress?† (Ibsen 90). Controlling what she wore was only one way Torvald dictated Nora’s life. Nora, at first, lived to please him; her dream was â€Å"To know [she is] carefree, utterly carefree; to be able to romp and play with the children, and be able to keep up a beautiful, charming home- everything just the way Torvald likes it!† (Ibsen 56). Ibsen used this statement ironically because it is†¦show more content†¦Ibsen used Nora’s hidden indulgence in sweets, specifically macaroons, to symbolize the passions she must hide in her marriage which created her delusions. As Blanche used alcohol de al with her stressors, Nora indulged in sweets, which are banned in Torvald’s house. Even Dr. Rank knew this rule: â€Å"See here, macaroons! I thought they were contraband here† (Ibsen 58). Ibsen even used the word â€Å"contraband† to describe the macaroons because they were not just banned but an illegal good. By â€Å"putting the macaroon in her pocket and wiping her mouth† it shows how secretive Nora must be about her indulgence (Ibsen 44). She not only concealed an illicit macaroon, but she got rid of the evidence that she ever consumed it. Without this outlet to satisfy the passions she cannot fulfill from her marriage, she might never realizes what she is missing out on beyond the confinement of her home. The macaroons were a way Ibsen showed Nora there is a better, sweeter life out beyond the doll house. Nora asked for some of this passion and sweetness when she said, â€Å"And some macaroons, Helene. Heaps of them- just this once† (Ibsen 93). She did not only ask for a little, she wants â€Å"heaps†. Here, Blanche came to the realization of the lies she had been telling herself to unknowingly cope with the confinement of life with Torvald. Ibsen used peripety anagnorisis to bring Nora to her epiphany, breaking her free from Torvald’s confinement and her delusions. Peripety is aShow MoreRelatedAnalysis of A Dolls House Essay1108 Words   |  5 Pageswidely regarded work, A Dolls House, was first introduced in 1879 as a theatrical presentation of human rights. Today, Ibsens work remains as such, although often conveyed as more focused on womens rights. The Norwegian playwrights vision of a seemingly common home is quickly translated through Ibsens use of symbolism, setting, and diction. Symbolism is a key aspect in much of Ibsens writing, much of which can be dually interpreted as extended metaphors. For instance, the Christmas treeRead MoreA Doll s House And The Awakening1413 Words   |  6 Pagesthe idea that feminists hate marriage, men, motherhood, etc. In both A Doll’s House by Fredrik Ibsen and The Awakening by Kate Chopin these stereotypes are reinforced to the reader. Both A Doll’s House and The Awakening represent poor examples of feminism because the main characters rely on men for validation and also search for superiority over equality with the men in their lives. When we first meet Nora in A Doll’s House, she is a perfect wife, mother, and representation of a 19th century woman.Read MoreAttending a Masquerade in In A Doll House by Henrik Ibsen907 Words   |  4 Pagesmasquerade, a person is expected to wear a mask. In fact, it’s looked down upon if a mask isn’t worn. But, what if for some people that mask never came off? In A Doll House by Henrik Ibsen, each character has constructed their own metaphorical mask that they set firmly in place every morning when exiting their bed. Each character: Nora, Torvald, and Krogstad all have masks that they put in place when speaking to each other. Throughout most of the play, it is clear that all of the aforementioned characters