The Transformation Of A Doll's House By Henrik Ibsen

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As “A Doll’s House” is a play, it comprises only of dialogues, through which the behaviour of characters is revealed. This helps the reader understand the narrative and better connect with the characters. Nora is a central character of the play. During the Victorian era, in which this play was written, society was male-dominated. The events that take place in this patriarchal backdrop advance Nora’s character. Ultimately, this determines the outcome of the play. Nora’s transformation is from a passive, subjugated state to an active, independent one. All the other characters' reactions, words and attitudes form the chain which unbearably surrounds Nora, through which she will breaks at the end of the play.
When reading the play, we can deduce that the Nora is more than an individual; she is also a symbol for the oppressed woman. For this symbolisation to be impactful, Henrik Ibsen first introduces the limitations that surround Nora. For instance, when Nora commits forgery
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She pleases her husband in order to get money from him and is shown as an irresponsible and childish woman. In a conversation with Mrs. Linde, Nora says “So you are quite alone. How dreadfully sad that must be.” (11) and “He [Torvald] is to take up his work in the Bank at the New Year, and then he will have a big salary and lots of commissions.” (12) . These lines cause the audience to perceive Nora as a very juvenile and self-absorbed character. She disregards what her friend has to say whist, she continues to brag about how wonderful her life and children are. Nora appears to be content with the duty of staying home and taking care of her children while her husband works and brings home the money. She also hides the fact that she eats macaroons and when she is blamed, she accuses Mrs. Linde of eating them. She knew that Helmer did not approve of her eating macaroons and yet she continued to do so. This behaviour indicates childish

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