On the other manus, in the fresh Metamorphosis we are introduced to a supporter faced with a physical transmutation. Gregor is no longer a human being fit to fend for himself, but is alternatively reduced to a elephantine bug like insect, brought into a new life. Gregor is placed into the mentality of his old life, and experiences a mental authorization based on his old societal place. Anterior to his transmutation, Gregor controlled the fiscal state of affairs in his household. It was his duty to work long hours, “ acquiring the money back and wage of what my parents owed ” ( Kafka 77 ) . Gregor was a powerful figure, comparable to Torvald in A Doll ‘s House. However, after the transmutation to tease, his physical power within his household greatly diminishes and he is locked off confined of his actions. Unlike Nora, Gregor has an apprehension of societal power based on his old life. Despite being placed in a confined and debauched state of affairs due to his transmutation, he is left with an authorising mentality based upon his old societal state of affairs.
As the drama continues, we are introduced to Mrs. Linde, a childhood friend of Nora. Unlike Nora, Mrs. Linde has faced the adversities of the existent universe detecting life from a different position. Nora speaks openly with Mrs. Linde, and we are shortly introduced to a different image of Nora. We instantly substitute the weak doll like image with a loving married woman that has risked a great trade in order to salvage her hubby ‘s life. However, despite making so, we shortly learn of her reluctance and emotional fright. After proclaiming her honest title, she responds to Mrs. Linde, “ What if Torvald heard? He must n’t at any monetary value – no 1 must cognize, Christine no 1 but you ” ( Ibsen 34 ) . Nora ‘s immediate reluctance reflects her sense of insecurity, and deficiency of ability to pass on with her hubby. Mrs. Linde is finally able to take control of the state of affairs, reacting to Torvald ‘s find of the title with: “ it ‘ll be the best for both of you ” ( Ibsen 74 ) . Mrs. Linde ‘s experience of the existent universe allows Nora to open her head to the extent of which she is able to show her true feelings and emotions to Torvald.
As the fresh Metamorphosis advancements, Gregor is confined to his room while go oning to keep a relationship with his household. Each twenty-four hours his sister cleans his room, and “ lays out a assortment of nutrient to eat ” ( Kafka 94 ) . Gregor becomes acquainted with his milieus, and the furniture provides a nexus to the past helping as a symbol of hope and alteration. Gregor ‘s sister, Grete, suggests to her Mother that they should take all his furniture in order to supply him with more freedom to travel. However, in response Gregor ‘s female parent suggests that: “ would n’t it look as if by traveling the furniture we meant demo him we had given up all hope of his acquiring better, and we were go forthing him unfeelingly to his ain devices? ” ( Kafka 103 ) . His sister and female parent arrive at the understanding to go forth the room as it is, stressing upon the hope left in Gregor ‘s recovery. Just like Nora and Mrs. Linde, Gregor receives support and hope from his loved 1s.
Towards the terminal of A Doll ‘s House, Nora awaits the reaching of Krogstad ‘s missive expecting to see if her hubby genuinely cared for her and would take the incrimination upon himself. After reading Krogstad ‘s missive, Torvald is ferocious at Nora for lead oning him, despite her good purposes. Out of choler, Torvald acts egotistically and harshly towards Nora, and he is left greatly concerned of his ain image. Nora is brought to realisation, and begins to understand that he is non the baronial adult male he one time seemed to be. Nora experiences a alteration in her mental and physical mentality: “ I am taking of my Fancy Dress ” ( Ibsen 96 ) . Nora is able to garner the physical and emotional strength necessary to take her dolls frock. By making so, she able to liberate herself from her old doll like properties, leting her to be able to believe and move from her ain province of head.
On the other manus, Gregor ‘s societal place badly deteriorates towards the terminal of the novel. His household ‘s hope for recovery is gone, and “ they were uncluttering out his room ; striping him of all his dearest ownerships ” ( Kafka 105 ) . The ownerships that antecedently symbolized hope are withdrawn from Gregor. Despite this, he feels small anger but alternatively guilt: “ when the conversations turned to the necessity of gaining money, he felt hot all over with shame and heartache ” ( Kafka 109 ) . Unlike Nora, Gregor is unable to convey himself to realization. His past societal place weakens him, and the old award and power reduces him to displeasure and heartache. Unlike Nora, Gregor is caught in his old mentality, and is unable to be brought to realisation. Alternatively Gregor heedlessly draws observations from his environing unaware of the deductions his environing are holding upon himself.
As A Doll ‘s House draws to an terminal, Nora becomes mentally certain of her ain actions and ideas. She becomes cognizant of her state of affairs, and is finally able to take control of herself go forthing the Helmer family where “ the street door is slammed shut ” ( Ibsen 104 ) behind her. Nora ‘s realisation of her relationship with Torvald being filled with fraudulence thrusts her to develop into a more realistic and self-sufficing adult female capable of taking action.
On the other manus, Gregor is finally brought to realization when everything has turned against him, “ he was in no temper to worry about his household, he was simply filled with fury at how severely he was being looked after ” ( Kafka 112 ) . Gregor understands that he is being mistreated, though his malnourished and deprived organic structure is unable to move against the parturiencies of his ain household. Gregor ‘s life draws to an terminal “ when he is lying at that place dead and done for ” ( Kafka 122 ) . Throughout the novel, Gregor experiences a devolutionary way, taking to his eventual death. On the contrary, Nora is able to accomplish development pulling herself above the parturiencies of the Helmer family.
Kafka and Ibsen draw upon the Darwinist evolutionary political orientations of “ we are the merchandises of our milieus ” determining the results of both Protagonists ( Darwin ) . Both Nora and Gregor experience of import mental and physical displacements throughout their lives. With the assistance of Mrs. Linde, Nora learns to talk her ain head and is finally brought to realisation. Ibsen places accent upon the impression of development by pulling freedom from an unaware, confused and confined supporter. On the contrary, Gregor is confined by his milieus, and his household state of affairs is continually worsened. Despite being confronted with a powerful mental stance, Kafka emphasizes upon Gregor ‘s inability to use, adapt and take action in his milieus, ensuing in his eventual degeneration.