Dance of the Tarantella P203-205

Nora dances the tarantella as though ‘[her] life [depends] on it,’ this suggests that she finally realises the seriousness of her secret, she is no longer proud of it, but instead she fears for the consequences. She dances ‘violently’, almost out of control, hinting that her secret is now out of her control, she is unable to hold back the death of a marriage and escape reality any longer.  She must accept the consequences of her actions even thought these may be displeasing. As she dances the tarantella, she ‘dances more and more wildly…[and] seems not to hear [Torvald’s directions.’ Here, Nora’s love of freedom is clearly shown, she loves the wildness and the ‘sheer madness’ that exists in the dance of the tarantella. She seems to enter a dream-like trance as she dances, she does not ‘[take] any notice’ of ‘her hair [coming] down and [falling] over her shoulders.’ She is exposed to the freedom in something very feminine, a little extra to what she has experienced prior to the narrative, increasing her desires of wanting more. This is the first time that Nora does not obey Torvald’s commands, the tarantella sets the experience that fuels her rebellion against Torvald later on in the play. Yet, after her dance, Nora becomes the subservient, manipulative and immature ‘creature’ the she was previously. She demands for ‘lots and lots’ of ‘macaroons’ to which he replies ‘my baby shall have her own way.’ It is almost as though in defeat, she let go of her secret, letting it to take its own course, leaving fate in the hands of the unknown. Torvald does not understand her pain, he comforts her with macaroon, which suggests inequality. Normally macaroons are used to please small children and here, Torvald uses it to please his wife, demeaning Nora to a ‘baby’. She is seen as little and insignificant who needs constant attention and affection. Though unintentional on Torvald’s part, a relationship with inequality is clearly portrayed. Additionally macaroons are a symbol for deceit, the repetition of ‘lots’ places an emphasis on the magnitude of the secret that is soon to be revealed.  For once, Torvald does not object Nora eating the macaroons. It is as though, subconsciously he realises that time is starting to run out in their relationship. Nora recognises that this may be the last time Torvald and her are able to sit together like a married couple, she knows that ‘tomorrow night, after [she has] danced…then Torvald will be free.’ There is a subtle hint that unlike the costume, their relationship will never be ‘mended’, they will be on their parting ways after the revelation of Nora’s ‘horrible’ secret. However, Nora does not wish ‘anything horrid come between [them]’ till the dance of the tarantella is ‘all over’. Here, as audience, Nora can still be seen as in denial, she is unable to accept reality, the truth; yet she knows that she must accept this in order to move forward, the inner conflict of Nora presented dramatically increases in the tension in the play.  This is the first step for Nora towards gaining her independence.