Well, I would say the biggest moral dilemma that seems to
encompass and envelop the rest of the many moral dilemmas that are explored in this play
comes down to honesty and self-knowledge. The ubiquitous theme of appearance versus
reality, which is so important in so many works of literature, comes to play here as we
are shown a marriage that, on the surface at least, appears to be perfect, yet as the
play progresses, we realise that Nora is anything but the perfect wife that her husband
thinks she is. Torvald is a character that wants control over his wife and believes that
he has it. His appearance is incredibly important to him, and he views his marriage as
another part of how he is viewed by others. Nora, on the other hand, shows in her "other
life" that she is not so easily controlled and dominated by Torvald. The biggest moral
dilemma of this excellent play therefore seems to be between the ease of playing a part
that will not challenge either ourselves or others and allow life--even a fictitious
life--to carry on smoothly, or to try and bring reality to the fore and express who we
really are rather than living a lie. This is the moral dilemma that Nora is forced to
face, and also gives her a moment of epiphany as she reflects on her
life:
But our
home has never been anything but a playroom. I've been your doll-wife, just as I used to
be Papa's doll-child. And the children have been my dolls. I used to think it was fun
when you came in and played with me, just as they think it's fun when I go and play
games with them. That's all our marriage has been,
Torvald.
Note the way that
this speech links to the title of the play and the limited life that Nora has lived,
being first dominated and patronised by her father, and now her husband. Nora's choice
to challenge the fiction and childishness of her life is symbolised in her decision to
leave Torvald and the children and in the slamming of the door at the
end.
No comments:
Post a Comment