A Dolls House, by Henry Ibsen (adapted by Frank McGuiness), centres around the controversial theme of female repression in the 1970s. It is about a middle class family, in which the wife, Nora is controlled and infantilized by her husband. Without his knowledge, she undergoes a loan, to safe his life, but by doing so she undermines all of his core familial values. She goes to every extent so that he does not find out, but in the end it is inevitable. As in many literary works, A Dolls House, contains many symbols, which play a big part in understanding more subtle thoughts. They help highlight abstract ideas and concepts, which might not be perceived by just reading the play. For example, the Christmas tree in the living room characterizes Nora and how she feels throughout the play. The macaroons show Torvalds control over his wife and his desire to mould her into a perfect housewife. The Tarantella dance symbolizes Noras agitation, and her struggle to try and cover it up, just as her costume for the dance symbolizes her pretending to enjoy life.
The Christmas tree first appears in the introductory description in Act 1. A Christmas tree is a festive object, used as pretty decoration and entertainment for children. Just as in the Helmers household, Nora is quite often seen as a plaything, which is easy to look at and adds a certain charm and comfort to the home. At the start, Nora instructs that () the children cant see [the tree] until its been decorated. (Nora, page 1). Equally, Torvald is not allowed to see Nora in her costume, Until tomorrow no one will see me in my finery. (Nora, page 70). At the start of Act 2, () the Christmas tree stands, stripped of presents, dishevelled and with the remains of burned down candles. (page 42). Nora herself is in a similar state. She is anxious and very nervous, due to Krogstad coming to the house, and threatening that he would tell her husband. She is also shocked and scared that a deceiving atmosphere will poison the childrens mind. She is terrified that her bad deeds will reflect onto them, and contaminate them: Poison my children poison my home poison them () (Nora, page 41).
The macaroons, a sweet type of cookie, are a delight to Nora and her love for them are shown early in the play, when she comes home from shopping. She sneaks them in, and eats some, before Torvald enters the room, where she () puts the bag of macaroons in her pocket and wipes her mouth. (page 2). He forbids her to eat them, and Dr. Rank is amazed when he finds out Nora is deceiving her husband: What is this? Macaroons? Arent they illegal in this house? (page 24). The use of the word illegal shows how forcefully this rule is imposed in their home and clearly shows the power Torvald has over her. His desire to control her and her actions is reflected in the regulations set for her. He wants to mould her into the perfect, beautiful housewife; someone she cannot be. One of the main reasons Torvald forbids the eating of macaroons is for aesthetic motives. ()Torvalds outlawed them. No. Hes afraid they will blacken my teeth. (Nora, page 24). This illustrates his superficiality and his wish to present her as a beautiful and entertaining object to the rest of the world. If she gains weight, or if her teeth turn black, he would not care for her as much anymore, a point made by Nora herself: Many years from now, when Ive lost my looks a little. () a time will come when Torvald is not as devoted to me () This presents to the readers a frivolous relationship between the couple, one which is based on appearance and trivial aspects. Ibsen also uses the macaroons to represent Noras blatant disobeying of her husbands orders. She deceives him, and when he questions her, she denies forcefully of any mischief. This is her way of rebelling against his control; by committing forbidden acts behind his back, just as she had done with the loan from Krogstad. It is very important for her that Torvald does not find out about the macaroons, just as she wants to keep the debts and forged signatures a secret.
On the day after Christmas, the Helmers attend a fancy dress party. Nora dresses up in a fisher girls clothes from Naples. She puts a lot of importance into this costume, as it is her cover for the night. She is extremely tense and agitated, and the outfit is a way for her to disguise this. This costume also serves to spark erotic interest in her husband, Torvald, who fantasizes about her at the party: Do you know, when I am at a party with you () Im pretending that youre my secret lover () (Torvald, page 85). This reinforces the idea that the marriage is based on superficial values; that it is Noras beauty and sensuality that attracts Torvald. When the nurse brings out the dress for the first time, it is in tatters, to which Nora responds: I wish I could rip it them into a hundred thousand pieces. (page 42). This is symbolic to the state of her marriage, and her feeling towards it. She believes it cannot be fixed, and thus she wants to destroy it. The Nanny, who is older and more mature than Nora, suggests repairing it, and Nora decides to call Mrs Linde to help her. She then helps Nora fix her costume and it is Mrs Linde who tries to convince Nora into telling Torvald the truth about her secret, to try to sort out their problems, and not give up. Nora, tell your husband everything. You have to. (Mrs Linde, page 83). Nora, on the other hand, thinks her marriage, just as the dress is beyond repair.
The Tarantella is a wild, Southern Italian dance, where it is believed that performing this dance can save you from a poisonous tarantula sting. The victims needed to dance out the poison, until the point of exhaustion. Thus, the dance might symbolize Noras will to get rid of the poison of her marriage. Torvald controls and overpowers her, so the dance is the only way for her to let go, and expel the poison. While practicing, she dances out of control, and ignores Torvalds corrections: Nora dances more and more wildly. () During the dance Helmer keeps addressing corrective comments to Nora. She does not appear to hear them. (page 72). Meanwhile, Mrs Linde walks in and is struck by the ferocity in which Nora is dancing. Torvald, who is still appalled, comments: Nora, my love, you dance as if your life depends on it. (page 72). This is true in two ways. Firstly Nora must keep on dancing, as to prevent her husband from reaching the letterbox, and reading Krogstads letter. She believes her life will end when Torvald finds out about her lies and debts. Secondly, symbolically, she is dancing the Tarantella so that she can rid herself from the poison of her marriage, which ultimately is restricting her from reaching her lifes potential.
Already have an account? Log In Now
7222