The Transformation of Nora

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A Doll’s House, by a Norwegian playwright, Henrik Ibsen, traces the transformation of Nora Helmer-childlike, desperation, and her awakening- in which Ibsen effectively creates a dramatic argument of feminism. As the story progresses, Nora realizes that what society considers the "proper" way for a woman to conduct her life and her marriage is in direct conflict with her true nature. She realizes this when “the most wonderful thing” does not happen as she had always unquestioningly believed it would. This discovery shocked Nora into analyzing her life. She finds a deep down strength and courage in herself that leads her to want to find out what type of person she really is, and what she wants out of her life. Nora Helmer is a delicate character that had been pampered all of her life, by her father and by her husband. In every sense she is typical housewife. She is financially dependent on her father earlier and on her husband later. She never leaves her house, mostly because her husband is afraid of the way people talk. It really is not her fault she was the way she was; it is mostly Torvald's fault for spoiling her. Nora relies on Torvald for everything much like a puppet that is dependent on its puppet master for all of its actions. The beginning of the story depicts Nora as a woman who is totally submissive and subservient to her husband. She seems too fragile and weak to make any decisions on her own. She behaves as if she is silly, unintelligent, and very devoted to her husband Tovald. Her carefree spirit and somewhat childish manners and Torvald's dominance are shown throughout the play with statements such as "Is that my squirrel rummaging around?" (Jacobus 445). "(with a cry): Torvald, no! You can't see that till tonight" (446). As the play goes on, Nora seems to transform from her delicate and childish character into something strong. At the end of act

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