d that a married woman is nothing more than someone who is obligated to fulfill domestic responsibilities and duties. Mrs. Celia begins to understand and realize that the image she had of marriage being an equal partnership between the two parties is very uncommon, as illustrated in the following lines: "...she discovered how few among [women] were more than household drudges, the servants of their families, worked to the verge of exhaustion, and neither thanked or rewarded for their pains" (Cooke 472). A marriage, in the opinion of Mrs. Celia, calls for a woman to devote herself completely to domestic endeavors.
             Economic factors also reflected the discrimination and inferior roles of a woman. The marriage vows that the woman took were supposed to evoke the image of mutual trust, yet a woman entered this marriage in which she did not have the same legal and economic rights that her spouse had. One of the main secret's of a man's domination of the household was his control of money (Longford 45).
             Nora has the same money issues of other married women. In Act I of the play, Torvald tells Nora that just because he is getting a bigger salary, there still will be no depts and no borrowing. However, he then gives her some money to do a little shopping, but tells her that is all she will have to manage with. When he asks her what it is that she wants for the holidays, she replies, "You can give me money, Torvald. No more than you think you can spare; then one of these days I'll buy s
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