Love and Power in Marriage as Portrayed in A Doll House

A Dolls base by Ibsen has come a starting moment for a new rate in the development of lend genre. Prior to this walkover, Ibsens contemporary drama consisted of behavior plays and historical theatre. But A Dolls planetary house added a new aspect to the problems highlighted by the contemporary drama. Ibsen in his play introduced a crucial examination of social issues, and the nature of Victorian marriage. By revealing the background of Helmer marriage Ibsen makes the intimate private and stands up for women personal identity. reveal the secrecy of marriage Ibsen overturns the customary roles of a wo humans and a man as they were regarded by the decree before.Marriage in Victorian guildIbsen provides Nora with the new role different from the role of wife and mother that was an vicissitude for the contemporary society. As it was customary to refer to womans identity in the context of her marital role, Ibsens play appe ared as a protest, and this play is still regarded as a feminist writing, although the cause denied it.The author touched a few intertwined themes, but marital transaction are one of the most crucial issues, referred to in the play. Victorian age was criminal towards human identity in general, let alone womans individuality. The economical background buried the interest to the individuality within the society. During the stage after the French Revolution the thirst for individual freedom was replaced by the economic power, and as the result, women were deprived of the power more than ever.Noras changed pose towards her marriage is not just a problem in the relations between a husband and wife it is the symbol of the most sincere problems of bourgeois values of the middle class. By rejecting the marriage, Nora also denies these values, thus demonstrating the opponent between identity and economical stability I should try to become a human being (Act Three)A Dolls House reflects Ibsens own relation to the problem of womans self-expr ession. He was sure that women could express themselves, their individuality but in a tangible life womans role in marriage came to a sacrifice. Neither husbands nor society treated women as equals with their spouses. The scene of Torvald being hydrophobic of his employers believing that he had been influenced by his wife is a perfect illustration of the relation to women in Victorian society.Marriage in Victorian society became a kind of a social trap, worse for woman than for men. carve up was not forbidden, but it was accompanied by such a industrial-strength social ban that it could ever be regarded as the possible demeanor to resolve the problems in family life. Thats why Torvald shows his inner weakness by his desire to pretend that he and Nora had a gifted family, rather than resist the social antagonism From this moment rejoicing is not the question on the whole that concerns us is to save the remains, the fragments, the appearance (Act Three)On the contrary, No ra, as the symbol of woman, who wasnt treated as a powerful identity, shows her force by her serious intentions in finding her individuality. Nora feels a fragility of roll in the hay, but she doesnt gift up and feels the power to build a new happy life instead of her unhappy marriage.Love and Power in the Marriage of Torvald and NoraNora, who at the beginning was displayed as a happy woman full of love and abandoned to her family, realizes that that her happiness is just her dream, but not reality. Thus, she and her husband throw their roles Nora is strong enough to face the reality, while her husband is afraid of everything that may damage his habitual life. Nora understands that she was treated like a child use for amusement.The men around her, her husband and her father wishinged to see her helpless, eyesight her only mission in serving them I accept existed still to perform tricks for you, Torvald. But you wanted it like that. You and father oblige move a great sin a actualizest me. It is your fault that I have make nothing of my life. Our home has been nothing but a playroom. I have been your doll-wife, just as at home I was fathers doll-child and here the children have been my dolls. (Act Three) This is how the concept and picture of marriage changes as the plot of the play goes.At the beginning of the play Nora and her husband seem to be a happy family, a husband and a wife who love each other. However, this happiness and love are built on a lie. Nora pretends that she is helpless without Torvalds protection and power I would never dream of doing anything you didnt want me to and I never get anywhere without your help (Act One), while the reader and spectator k straights that she has already rescued Torvalds life, and Noras words acquires dramatically ironical nature.When Mrs. Linde asks Nora if he ever reveals her secret about the loan, Nora shows her awareness of Torvalds real attitude to her as to a beautiful doll, which has to amuse h im Yes nigh day, perhaps, after many years, when I am no longer as pretty as I am now. Dont laugh at me I mean, of course, when Torvald is no longer as devoted to me as he is now when my dancing and dressing-up and reciting have palled on him then it may be a good thing to have something in reserve. (Act One)ConclusionAs the play starts, Nora makes an impression of a weak and powerless woman, whose life is fully devoted to her family life, while Torvald seems to be the personification of power and domination. Their relations are stupefy against the life story of Mrs. Linde, who at first denied her strong love to gain power and financial security. But by the end of the play the view changes, Nora finds herself and her individuality although loses her love, and Mrs. Linde turns back to her true feelings. The problems shown with the help of characters interaction are not resolved by the author. Ibsen demonstrates the conflicts, but does not give any ship canal out. He just offers t he possibilities, offering the readers and spectators to find their own viewpoint and solution. tie in article My Ideal WifeReferencesIbsen H. (1991) A Dolls House, Tram. W. Archer. London