Marriage:
A Doll’s House:
Nora & Torvald:
Hyperbolised presentation of 19cent marriage at beginning; male-dominated, Nora infantilized by Torvald.
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Rely on each other for social status/money/opportunities etc. Torvald isn’t even aware of how much he relies on Nora.
Torvald does not realise he is wearing a mask throughout; Nora becomes aware and realises she has to break out. Nora waiting for a ‘miracle’ that never came.
End of play opposes traditional 19cent marital expectations as Nora takes control and leaves.
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Mrs Linde & Krogstad:
Sacrificed love to marry for safety. Emphasis that marriage is the only way for women to be safe and have opportunities (ROSSETTI LINK – NO, THANK YOU, JOHN; WINTER: MY SECRET; FROM THE ANTIQUE).
Able to come back together as their own people, free from masks/roles. Mrs Linde has worked and sacrificed herself for others; Krogstad has made and learnt from mistakes. Do not rely on each other for anything but happiness.
Example of the possibility of non-traditional/evolving 19cent marriage; Ibsen shows happiness is possible free from society’s rigidity.
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Quotes:
Torvald: “My little songbird”, “My squirrel” – infantilizes Nora; male dominance.
Nora: “[moves over to the stove] Yes, yes, as you wish Torvald.” – subservient; playing role of housewife at stove etc.
Mrs Linde: “My mother was… bedridden and helpless. I had my two younger brothers to provide for. I didn’t really see how I could justify declining his offer.” – married for circumstance, not love (typical 19cent situation for women). Entrapment of women in societal expectations out of necessity.
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Krogstad: “Some years ago I was guilty of an imprudence… but it meant all avenues were somehow closed to me.” – rigidity of society; cannot rebuild. Emphasis on his suffering, which allowed him to break from role and be ready for marriage.
Context: