.an 'external' one, produced in the reader's mind, as he discovers the purpose of her always asking money to the husband and having a 'toy attitude' with him ; 2. and the second evolu!
             tion, more profound, wich implies the inner transformation of the character, tired of representing someone's toy and desiring independence. The beginning of the play presents us a 'squirrel-like'(775)woman, always wanting to please her husband in order to get money from him. She voluntarily accepts Helmer comparing her with a little animal and even seems to identify with this image : '' Ah, if you only knew how many expenses the likes us sky-larks and squirrels have, Torvald''(777). Nora appears completely submitted to her husband, ready to accept whatever he would say or do : '' I would never dream of doing anything you didn't want me to.''(777) in order to satisfy her ( apparent) only preoccupation : '' You could always give me money, Torvald''. (776) The fog and confusion wich surrounded her and her attitude begin gradually to disappear as we find out that she had borrowed money to save Helmer's life and she saves almost every penny her husband gives her in 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 'fe...