This insight is accentuated by her realization of the fact that the strong and upright Torvald that she had come to consider her husband was not a reality, but rather a projection of her own limited and exaggerated opinion of his life partner. Nora is shown to be in the play, a female character that since the start of her life had been an object of manipulation emanating from the patriarchal gender norms and values. Thereby, being true to the social and domestic environment she had been raised, she comes to harbor the belief that manipulation of women is an acceptable social norm.
It does need to be mentioned that at a nascent level Nora had been aware of the constraints’ imposed on her by the society and her metamorphosis into a rebel is not something that is limited to the climax of the play, but is something that she started ascribing to, right from the start, if only at a subconscious level (Shepherd-Barr, 1997). The first act of rebellion on the part of Nora is signified by her act of availing a loan for financing the medical treatment of her husband.
Here she rebels against the social convention that it is not right for a woman to avail a loan without her husband’s consent. By doing so she does prove that she is not the poor and helpless creature that her husband considers her to be. Innately Nora is well aware of his real strength and power as an individual that she well understand that her husband is averse to accepting as she says, “How humiliating and painful it would be for Torvald, with his manly independence, to know that he owed me anything (Ibsen, 1992, 1.” The rebellion of Nora is a realization that is shown to be seething under a façade of meekness and subservience as is depicted by Nora’s plea to Torvald to teach her Tarantella.
Actually speaking Nora does know the dance, but she begs her husband to re-teach her as she is inwardly aware that her husband considers her to be a meek, immature and inapt person. Inwardly Nora is immensely pained by her husband’s expressions of infantile affection as “Is it my Little Squirrel bustling about (Ibsen, 1992, 1.The gradual but augmenting rebellion of Nora is stimulated and catalyzed by a deep growing realization on the part of Nora that her husband does exercise a complete and authoritarian control over her and that it his strong wish that Nora ought to cater to his every wish and
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