![]() They are both caught up in bourgeois ideology: financial security is paramount (as symbolised by Torvald’s job at the bank) the wife is there to give birth to her husband’s children and to dote on him a little, dancing for him and indulging in his occasional whims. But Nora encourages him to carry on doing so. Similarly, her husband is not nasty to her: he doesn’t mistreat her, or beat her, or put her down, even if he patronises her as his ‘doll’ or ‘bird’ and encourages her to behave like a silly little creature for him. Nora’s behaviour at the end of the play signals an awakening within her, but this is all the more momentous, and surprising, because she is hardly what we would now call a radical feminist. ![]() ![]() Just as the plot of the play largely follows these conventions, so Ibsen is careful to portray both Torvald Helmer and his wife Nora as a conventional middle-class married couple. ![]()
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