In the beginning of the play, It is displayed how much of a child Nora is to Torvald. “There is a shilling. No, keep the change. (The PORTER thanks her, and goes out. NORA shuts the door. She is laughing to herself, as she takes off her hat and coat. She takes a packet of macaroons from her pocket and eats one or two; then goes cautiously to her husband’s door and listens.) Yes, he is in. (Still humming, she goes to the table on the right.)” (Ibsen 1). It is clear that Nora is being portrayed as if she’s a kid slowly & attentively waiting outside of Torvald’s work room. She makes sure that everything in the house looks nice so Torvald doesn’t start to instigate and find fault to blame herself. (Another sentence) “Her husband Torvald chides her for...
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"A Doll’s House." Literature and Its Times: Profiles of 300 Notable Literary Works and the Historical Events that Influenced Them. Joyce Moss and George Wilson. Vol. 2: Civil Wars to Frontier Societies (1800-1880s). Detroit: Gale, 1997. 111-117. Gale Virtual Reference Library. Web. 2 Apr. 2014.
Brunnemer, Kristin. "Sexuality in Henrik Ibsen's A Doll's House." Bloom's Literature. Facts On File, Inc. Web. 2 Apr. 2014
Forward, Stephanie. "A new world for women? Stephanie Forward considers Nora's dramatic exit from Ibsen's A Doll's House." The English Review 19.4 (2009): 24+. Literature Resource Center. Web. 2 Apr. 2014.
Ibsen, Henrik. “A Doll’s House” Classic Reader. N.p. 11 Dec. 2003, Web. 18 Feb. 2014
Kashdan, Joanne G. "A Doll’S House." Masterplots, Fourth Edition (2010): 1-3. Literary Reference Center. Web. 2 Apr. 2014.
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