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The events begin to succeed each other more and more rapidly and the 'circle' begins to spin around her. We find that, for saving her husband's life, Nora has committed forgery and Krogstad is ready to use this information in order achieve his goals : ''(...)if I produce this document in court, you'll be condemned''.(791) This element gives us a hint of women condition in a deeply- rooted man thought society . In addition, Dr. Rank, who had a lethal disease, confesses his love for her : '' You know now that I'm at your service, body and soul''.(802) All these events make the circle tighten and spin faster around Nora, who can hardly resist to this pressure and seeks the relief in wildly dancing the 'tarantella', a dance wich she transforms into a ' life and death' one. This dance can also be viewed as an one of the key element that permits us to say that she's passing from a state of passive victim to a n early state of active agent : '' Nora dances more and more widly. Helmer s!tands by the stove giving her repeated directions as she dances ; she does not seem to hear them. ''.(808) All the other characters'reactions, words and attitudes form the chain wich unbearably surrounds Nora and wich she will finally break, liberating h
debt off. This stage of Nora's 'external' evolution enables us to see a woman who deeply loves her husband, but who is not strong enough to fight against his prejudices : '' Torvald is a man with a great deal of pride- it would be terribly embarrassing and humiliating for him if he thought he owed anything to me''.(782) Moreover, she prefers fancying about a rich man who would give her the money she needs( a psychological escape from the constraints she lives in) than facing her husband. The two evolutions begin to coincide from the moment when Krogstad threatens Nora with telling Helmer that she has committed forgery. We 'feel' that something begins to change when contradictory feelings 'invade' her- love for the children, for the husband, and the desire to commit suicide : ''(...) never see the children again(...)Oh, that black icy water.Oh, that bottomless... !(817) On the other hand, she would do almost anything in order to regain her old lifestyle(that of a 'doll'who passed fro! order topay the debt off. This stage of Nora's 'external' evolution enables us to see a woman who deeply loves her husband, but who is not strong enough to fight against his prejudices : '' Torvald is a man with a great deal of pride- it would be terribly embarrassing and humiliating for him if he thought he owed anything to me''.(782) Moreover, she prefers fancying about a rich man who would give her the money she needs( a psychological escape from the constraints she lives in) than facing her husband. The two evolutions begin to coincide from the moment when Krogstad threatens Nora with telling Helmer that she has committed forgery. We 'feel' that something begins to change when contradictory feelings 'invade' her- love for the children, for the husband, and the desire to commit suicide : ''(...) never see the children again(...)Oh, that black icy water.Oh, that bottomless... !(817) On the other hand, she would do almost anything in order to regain her old lifestyle(that of a 'do! mes naturally after we have discovered the constraints surrounding Nora, especially coming from her husband '' I wouldn't find a woman doubly attractive for being so obviously helpless.(...) It's as though it made her his property in a double sense : he has, as it were, given her a new life, and she becomes in a way both his wife and at tha same time his child''.(823) For having demonstrated that Women in Ibsen's 'A Doll's House ' were very consistent and complex characters of the play and that they become the weapon that Ibsen uses for expressing his convictions, I clearly hope having achieved the goal of this paper.That is to point out that Nora and Mrs Linde both experienced an evolution from passive victims in a life devoid of any rights for them to active agents in a life somewhat difficult for the adversities that a woman, who wants to claim her rights to live her life as she think best, has to face . Ibsen's 'A Doll's House' is in some extent an hymn for sexual equality t! cter ( women), comes naturally after we have discovered the constraints surrounding Nora, especially coming from her husband '' I wouldn't find a woman doubly attractive for being so obviously helpless.(...) It's as though it made her his property in a double sense : he has, as it were, given her a new life, and she becomes in a way both his wife and at tha same time his child''.(823) For having demonstrated that Women in Ibsen's 'A Doll's House ' were very consistent and complex characters of the play and that they become the weapon that Ibsen uses for expressing his convictions, I clearly hope having achieved the goal of this paper.That is to point out that Nora and Mrs Linde both experienced an evolution from passive victims in a life devoid of any rights for them to acti
Some common words found in the essay are:
Torvald''777 Nora, Dr Rank, Nora Hundreds, Krogstad Linde, Nora Linde, Word Count, Doll's House', , Doll's House, Nora Linde's, 'a doll's, 'a doll's house', doll's house', doll's house' literature, compositioned sylvan barnet, compositioned sylvan, literature compositioned, henrik 'a, house' literature, ibsen henrik, saved nora, house' literature compositioned, ibsen's 'a, dr rank, sylvan barnet 5th,
Approximate Word count = 2523
Approximate Pages = 10 (250 words per page double spaced)
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