Oftentimes an author will use objects to reveal more about the characters and add to the theme of the play or story. In Trifles by Susan Glaspell, the author uses seemingly small objects to reveal more about her characters. Likewise, the author Henrik Ibsen uses objects in the play A Doll’s House to reveal more about the characters. Objects are often used to reveal not only characters, but also the themes in plays. In Trifles Glaspell uses the telephone, bird, and a bird cage to reveal more about the theme and characters. The telephone in Trifles reveals the loneliness of Mr. and Mrs. Wright. Lewis Hale mentions he tries to have Mr. Wright join a party line, but, Mr. Wright says all he wishes for is peace and quiet (Glaspell 852). The phone
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The macaroons reveal that Torvald cares deeply about his appearance and Nora’s appearance (Ibsen 1088; Act I). Because Torvald cares deeply about his and Nora’s appearance the theme of control is seen. The macaroons reveal that Nora lies and does not tell her husband everything. When Torvald asks Nora about the macaroons she lies and says she has not eaten any after she has eaten some macaroons (1080; Act I). Not only do the macaroons reveal some traits about the Nora and Torvald, they also reveal traits of Mrs. Linde and Dr. Rank. When Nora offers the macaroons to Mrs. Linde and Dr. Rank, Nora says that Mrs. Linde bought the macaroons (1088; Act I). Mrs. Linde is quick to take the blame without question. The macaroons reveal that Dr. Rank has a better relationship with Nora than Torvald. Again, the macaroons reveal the theme of A Doll’s House because of Nora’s need to lie and Torvald’s need for control. Likewise, the dancing costume reveals that Torvald prefers to control Nora. It also reveals that he sees his wife as a doll instead of a woman. Torvald has the costume made for her in Capri, Italy several years ago (1098; Act II). This shows that Torvald has planned for Nora to dance in this particular costume much like a puppet master plans his shows ahead of time. As for Nora, the costume reveals that at first she enjoys the doll-like treatment, but eventually she begins to resent the doll-like treatment (1123; Act III). The dancing costume goes back to the theme of control. Torvald wants to control everything Nora thinks and does. The dancing costume also reveals when Nora has changed both figuratively and literally (1122; Act III). Nora not only changes out of her costume, but she has also changed in how she feels about her husband and the decisions of not telling her husband how she truly feels. The dancing costume also reveals that Mrs.
The macaroons reveal that Torvald cares deeply about his appearance and Nora’s appearance (Ibsen 1088; Act I). Because Torvald cares deeply about his and Nora’s appearance the theme of control is seen. The macaroons reveal that Nora lies and does not tell her husband everything. When Torvald asks Nora about the macaroons she lies and says she has not eaten any after she has eaten some macaroons (1080; Act I). Not only do the macaroons reveal some traits about the Nora and Torvald, they also reveal traits of Mrs. Linde and Dr. Rank. When Nora offers the macaroons to Mrs. Linde and Dr. Rank, Nora says that Mrs. Linde bought the macaroons (1088; Act I). Mrs. Linde is quick to take the blame without question. The macaroons reveal that Dr. Rank has a better relationship with Nora than Torvald. Again, the macaroons reveal the theme of A Doll’s House because of Nora’s need to lie and Torvald’s need for control. Likewise, the dancing costume reveals that Torvald prefers to control Nora. It also reveals that he sees his wife as a doll instead of a woman. Torvald has the costume made for her in Capri, Italy several years ago (1098; Act II). This shows that Torvald has planned for Nora to dance in this particular costume much like a puppet master plans his shows ahead of time. As for Nora, the costume reveals that at first she enjoys the doll-like treatment, but eventually she begins to resent the doll-like treatment (1123; Act III). The dancing costume goes back to the theme of control. Torvald wants to control everything Nora thinks and does. The dancing costume also reveals when Nora has changed both figuratively and literally (1122; Act III). Nora not only changes out of her costume, but she has also changed in how she feels about her husband and the decisions of not telling her husband how she truly feels. The dancing costume also reveals that Mrs.