Doll in a doll's house
In Act 3, Nora tells Torvald that both her father and Torvald have treated her like a doll-child, with no opinions of her own, and have only played with her. Both men, she says, have committed "a great sin" against her in discouraging her from growing up. Torvald's pet names for her are often prefaced by "little," showing that he sees her as a child. However, the responsibility for Nora's stunted state is not wholly his. In Act 1, she acts like a silly, spoilt child; later, when she is practicing and dancing the Tarantella (for which he dresses her as one would dress a doll), she acts the captivating, decorative plaything. Both doll-like acts are for the benefit of Torvald, who wants her to remain dependent upon him; she gains security and devotion from the arrangement.
Doll in a doll's houseIn Act 3, Nora tells Torvald that both her father and Torvald have treated her like a doll-child, with no opinions of her own, and have only played with her. Both men, she says, have committed "a great sin" against her in discouraging her from growing up. Torvald's pet names for her are often prefaced by "little," showing that he sees her as a child. However, the responsibility for Nora's stunted state is not wholly his. In Act 1, she acts like a silly, spoilt child; later, when she is practicing and dancing the Tarantella (for which he dresses her as one would dress a doll), she acts the captivating, decorative plaything. Both doll-like acts are for the benefit of Torvald, who wants her to remain dependent upon him; she gains security and devotion from the arrangement.
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