It is never to late to become a person you were meant to be. God made men and women to be different yet equal. However, throughout the centuries, women faced and struggled many challenges to be accepted as equal as men. Henrik Ibsen (1828-1906) is considered as the father of modern prose drama. Most of his major works reflect the social issues that provoked controversy in the nineteenth century. “ A Doll House” is one of the clearest portraits of women’s lives in this era in which they have to struggle with many challenges to identify themselves and to see the value of individuals. Nora, who is being suppressed in her own house and representing as a doll, a decoration. However, eventually, Nora finds out her true self and she knows that she deserves more. Throughout the play, Ibsen creates a Nora with so many faces and characteristics, nonetheless, moving from this stage to another, Nora slowly discovers her own individual and it changes her life completely.
As beginning, the play takes place in the Christmas Eve and the picture of Nora with happiness and enjoyment appears. Her child-like personality is exhibited evidently in the conversation and the way she reacts to her husband. First, she lies about having some macaroons and she denies whole-heartedly. “You know I could never think of going against you” (861). In the spousal relationship, do spouses need to lie about such things? Even though, this is only the minor detail in the first act, the viewers can easily see the overall picture in this relationship in which a wife only can do such things with her husband’s approval. Second, the way her husband calls her by such names: “little squirrel”, “little lark” or even “featherhead”, defines more about this marriage relationship. Instead of getting annoyed, Nora reacts to her husband so cheerfully and it seems like she doesn’t mind at all. Based on this interaction, the viewers can’t see the connection between a wife and a husband equally. Instead, it...
Cited: Ibsen, Henrik. A Doll House. Making Literature Matter. John Schilb and John Clifford.
New York: Bedford / St. Martins, 2009. 858-890. Print.
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