Love and Power in Marriage as Portrayed in A Doll House

A hoots House by Ibsen has become a starting moment for a refreshing grade in the development of drama genre. Prior to this play, Ibsens contemporary drama consisted of behavior plays and historical theatre. moreover A Dolls House added a new aspect to the problems highlighted by the contemporary drama. Ibsen in his play introduced a crucial examination of affectionate issues, and the nature of Victorian marri get along. By revealing the reason of Helmer sum Ibsen makes the intimate private and stands up for women identity. Revealing the secrecy of marriage Ibsen overturns the customary roles of a fair sex and a man as they were regarded by the society before.Marriage in Victorian SocietyIbsen provides Nora with the new role different from the role of wife and mother that was an innovation for the contemporary society. As it was customary to denote to charrs identity in the context of her marital role, Ibsens play appeared as a protest, and this play is still regarded as a feminist writing, although the author denied it.The author touched a few intertwined themes, but marital singings are one of the most crucial issues, referred to in the play. Victorian age was cruel towards human identity in general, let alone womans singleity. The economical context buried the interest to the identity operator within the society. During the period 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 attitude towards her marriage is not just a problem in the relations between a husband and wife it is the symbol of the most serious problems of bourgeois values of the middle class. By rejecting the marriage, Nora also denies these values, thus demonstrating the electrical resistance between identity and economical stability I should try to become a human universe (Act Three)A Dolls House reflects Ibsens own relation to the problem of wom ans self-expression. He was sure that women could express themselves, their individuality but in a touchable life womans role in marriage came to a sacrifice. Neither husbands nor society treated women as equals with their spouses. The conniption of Torvald being afraid 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. Divorce was not forbidden, but it was accompanied by such a wholesome social ban that it could ever be regarded as the possible way 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 happy family, preferably than bear the social antagonism From this moment happiness is not the question all that concerns us is to save up the remains, the fragments, the appearance (Act Three)On the contrary, Nora, as the sy mbol of woman, who wasnt treated as a powerful identity, shows her hug by her serious intentions in finding her individuality. Nora feels a fragility of make do, but she doesnt give up and feels the power to build a new happy life instead of her unhappy marriage.Love and function in the Marriage of Torvald and NoraNora, who at the beginning was displayed as a happy woman full of love and devoted to her family, realizes that that her happiness is just her dream, but not reality. Thus, she and her husband exchange their roles Nora is salubrious enough to lay out the reality, while her husband is afraid of everything that may damage his habitual life. Nora understands that she was treated like a tiddler used for amusement.The men around her, her husband and her incur wanted to see her confounded, seeing her only billing in serving them I have existed merely to perform tricks for you, Torvald. But you wanted it like that. You and father have committed a great sin against me. I t is your fault that I have made energy of my life. Our infrastructure 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 knows 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 him Yes some 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 set 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 situation 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 ways out. He just offers the possibilities, offeri ng the readers and spectators to find their own viewpoint and solution. link article My Ideal WifeReferencesIbsen H. (1991) A Dolls House, Tram. W. Archer. London