An additional parallel can be drawn between Nora and Kristine. In the beginning of the play Nora is impassioned, a dreamer, idealistic, and immature. In contrast, Kristine is logical, realistic, disenchanted, and has common-sense. Kristine and Nora are an antithetical mirror of each other. Ibsen tenaciously plays on the role-reversal of these characters, similar to Sahin and Rizwan-ul’s observations, “This is quite ironic… that Nora 's metamorphosis turns out to be quite similar to Kristine 's at the end of the play. Kristine begins to play the role of Nora, and Nora of Kristine” (291). Now Nora will venture o...
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...own identity “There’s another job I have to do first. I have to educate myself” (Ibsen 1295), before being anything else.
Slamming the door is the explosion of her energies against societal standards. It 's a courageous act of revolt against oppression. The crux of the whole play hinges on this single incident. It is an individual 's search for freedom, as Nora explains “There has to be absolute freedom for us both” (Ibsen 1297). “the sound of a door slamming shut” (Ibsen 1298) signifies that a person who realizes the necessity to cultivate their full identity, must be ready to sacrifice even a modicum amount of care and concern for their family. As Sahin and Rizwan-ul explain “Nora chooses to be free from pretensions and deceit, from control and manipulation, from loss of identity and oblivion. In fact, she is self-searching the choice to individual, choice to make
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