Adolph Claudius Tidemand, Norwegian
“I Was Kidding, Honey! Of Course I Would Rather See ‘The Barbie Movie’ over ‘Oppenheimer.’ What Man Wouldn’t?,” 1885
Oil on canvas
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Info, and links that perhaps point to more info, abou this artist can be found at his Norwegian Wikipedia page.
Google translated
/// Torvald scolded, now Nora’s Offended.
He, as usual, had condescended.
In the past she’d defended
him to friends, and pretended
that her love for this fool hadn’t ended.
/// Nora knew that she’d given her all
to this man who saw her as a doll.
Unlike Barbie’s, ‘twould seem
her Doll’s House is no “Dream,”
so she heads for the door down the hall.
/// Could he win Nora’s love once again?
(Torvald’s not the most macho of men.)
His change needs to be drastic,
but this guy is too plastic.
In too many ways Torvald’s like Ken.
/// Ken, infamously, lacks genitalia,
and, at lovemaking, Torvald’s a failure.
Their good friend, Dr. Rank,
is whom Nora should thank.
He said, “Tor can no longer impale ya’.”
/// There are grievous faults in Torvald’s marriage.
He has multiple flaws to disparage.
He belittles his spouse
like a vain, selfish louse;
it’s not just his impaired “undercarriage.”
/// When in leaving she shuts the front door,
it caused “echos” like no slam before.
It’s a feminist primer,
like the way Oppenheimer
changed the whole world while ending a war.
/// (They’re Norwegians engaged in a fight,
and the date it was painted seems right.
But decor and their dress
are too low-class, I guess.
Is this couple the Helmers? Not quite…
…Still, I wanted, “A Doll’s House,” to cite.)