At the end of the play we seem to see the real personality and nature of Nora. Until the very end of the play, she pretends to be Torvald 's puppet, who only thinks about living a fun life. Her real personality comes into play, when she sees the reaction of her husband to the Krogstad 's letter. During their relationship, Nora seems to try to introduce her real-self to her husband, but after multiple unsuccessful attempts Nora gives up. She realizes that only way to be in a relationship with Torvald is to become his puppet; a puppet who would do everything to satisfy his owner; a puppet who would live in a “doll house”. Being unable to stand Torvald 's mistreatment Nora decides to leave the house, in order to find “herself”; she decides to explore the world, thinking that she could finally become happy. She wishes to find a world where she can do everything according to her own wills and no one would neither manipulate nor treat like a doll. A famous critic Joan Templeton, in his article called “The Doll House Backlash: Criticism, Feminism, and Ibsen” published by Modern Language Association, explains the decision that Nora made pointing out that “things which typically are cited as
At the end of the play we seem to see the real personality and nature of Nora. Until the very end of the play, she pretends to be Torvald 's puppet, who only thinks about living a fun life. Her real personality comes into play, when she sees the reaction of her husband to the Krogstad 's letter. During their relationship, Nora seems to try to introduce her real-self to her husband, but after multiple unsuccessful attempts Nora gives up. She realizes that only way to be in a relationship with Torvald is to become his puppet; a puppet who would do everything to satisfy his owner; a puppet who would live in a “doll house”. Being unable to stand Torvald 's mistreatment Nora decides to leave the house, in order to find “herself”; she decides to explore the world, thinking that she could finally become happy. She wishes to find a world where she can do everything according to her own wills and no one would neither manipulate nor treat like a doll. A famous critic Joan Templeton, in his article called “The Doll House Backlash: Criticism, Feminism, and Ibsen” published by Modern Language Association, explains the decision that Nora made pointing out that “things which typically are cited as