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Queen Mary's Dolls' House is the largest, most beautiful and most famous dolls' house in the world. Built between 1921 and 1924 for Queen Mary, consort of George V, by the leading British architect Sir Edwin Lutyens, it includes contributions from over 1,500 of the finest artists, craftsmen and manufacturers of the early twentieth century. From life below stairs to the high-society setting of the saloon and dining room, and from a library bursting with original works by the top literary names of the day, to a fully stocked wine cellar and a garden, created by Gertrude Jekyll, no detail was forgotten. The house even includes electricity, running hot and cold water and working lifts. Each room is fully furnished and waiting to be explored.


Nora Helmer once secretly borrowed a large sum of money so that her husband, Torvald Helmer, could recuperate from a serious illness in Italy. She never told him of this loan and has been secretly paying it back in small installments by saving from her household allowance. Her husband thinks her careless and childlike, and often calls her his doll.


At that moment another letter arrives from Krogstad telling the Helmers that he will not take legal action against Nora. Torvald is immediately excited and is willing to forget the entire episode. But having seen her husband revealed as self-centered, egoistic and hypocritical, Nora tells him that she can no longer live as a doll and expresses her intention to leave the house immediately. Torvald begs her to stay, but the play ends with Nora leaving the house, her husband, and her children.


The title of the play is most commonly translated as A Doll's House, though some scholars use A Doll House. John Simon says that A Doll's House is "the British term for what [Americans] call a 'dollhouse'".[6] Egil Törnqvist says of the alternative title: "Rather than being superior to the traditional rendering, it simply sounds more idiomatic to Americans."[7]


Not all toys are created equal. Some toys spark imagination and some hinder it. You might have noticed that young children are often more interested in the box than the toy that came inside of it. Why Because the box can become anything. It becomes a drum when you hit it, a house when you put a doll inside it, a hat when you put it on your head, and a mask when you play hide and seek behind it. The possibilities are endless. Children learn and explore more when a toy is only limited by their imaginations. Consider the following list and think about why toys spark or limit imaginative play. 1e1e36bf2d






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