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The role of woman
Status of women in a society
Gender roles men and women
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“R.E.S.P.E.C.T. Find out what it means to me,” (Respect, Aretha Franklin), shows how women want respect even though they are thought as inferior in society. In both plays, Antigone by Sophocles and A Doll’s House by Henrik Ibsen, the women are put into unusual situations. Antigone is a strong-willed, young woman who has to choose between man’s laws and God’s laws when it comes to burying her deceased brother, Polynices. She, of course, chooses to bury her brother going against Creon, and is therefore sentenced to death. Nora, from A Doll’s House, is an independent, young woman who had to take a loan out in order to save her husband’s life. She had to forge her father’s signature on the loan in order to save him the trouble since he, too, was sick. Now she is fighting to keep the loan a secret as Krogstad is threatening to reveal what she has done to Torvald, her husband. Sophocles and Ibsen offer glimpses into the limitations placed on the women when it comes to their individual rights, capabilities, and their relationships with men.
Women’s individual rights are typically more restricted than the men’s do to the fact that they are thought of as lesser in society. Creon shows that he is a strong believer in that women are inferior and should submit to men when he finds out that she buried her brother. “Stop wasting time. Take them in. From now on they’ll act like women. Tie them up, no more running loose,” (34). Creon believes that women do not have the right to roam freely as men do. He believes that all women should be restricted of their rights and forced to do as told. In A Doll's House, it is made clear that women do not reserve the rights that men do when it comes to taking out a loan. "Why, a wife can't borrow without her...
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...o serve men, even before God.
As thoroughly explained, women are thought to be weak and insignificant compared to men. Many people, including women, consider females to be unable to care for themselves; therefore, they need a man to take care of them in order for them to survive in the world. Nora and Antigone are just two examples of the many women who have been wronged in this way, but they are also examples showing how strong women can be; therefore, disproving the thought to be fact that all women are weak.
Works Cited
Ibsen, Henrik. A Doll's House. World Literature: An Anthology of Great Short
Stories, Poetry, and Drama. Columbus, Ohio: McGraw Hill Glencoe, 2004.
140-202. Print.
Sophocles. Antigone. World Literature: A Anthology of Great Short Stories,
Poetry, and Drama. Columbus, Ohio: McGraw Hill Glencoe, 2004. 14-57. Print.
“Remember we are women, we’re not born to contend with men” (Sophocles, 18). The popular literary works, Antigone and A Doll’s House, written by Sophocles and Ibsen, are two famous tragedies that have been performed and read throughout the decades. Although countless audiences have been entertained by these well written plays, few would care to guess that many lessons and several unfortunate truths can be found with a less than tedious inspection of the characters and the reactions they give to their circumstances. The two main characters in these stories, Antigone and Nora, face adversities and problems that are amplified by their society’s views on the rights and abilities of women. The two main male characters in these plays, Creon and Helmer, cause the greater part of the struggle that the female protagonists face. The difficulties that Helmer and Creon create during the plot of these stories are the cause of three major characteristics of what one would consider typical to a headstrong man in a leadership position. The three features of Creon and Helmer that lead to the eventual downfall of Antigone and Nora, are pride, arrogance, and ignorance.
The book We, and the plays Antigone and A Doll’s House provide rich support for individual reasoning and ardent opposition to mindless devotion to establishment. Zamyatin’s story opens with a perspective in support of the fanatical institution, but on deeper levels of commentary contradictions are already starting to propagate. A potential allusion to Zamyatin’s own ideological confusion early on in his life, the hidden meaning of We’s early lines reveal the trap of an ideal society. While Zamyatin felt that trust in society led to the decline of personal willpower, Sophocles argued that personal willpower provided a better alternative to trust in society. Antigone sticks to her morals, even in direct violation of laws established by the “Ship of State”. Sophocles paints a picture of human beings as the play toys of malevolent gods and goddesses; in the end sticking to morals is the only way to escape the malicious cycle that plagues Thebes. Ibsen provides middle ground between the others as Nora’s awareness of the pitfalls of an ideal society prompt her to seek new beginnings as an aware and thinking individual. In the final scene of A Doll’s House, Nora articulates to Torvald her motives for leaving him and abandoning their family:
In Henrik Ibsen’s A Doll House, a drama written in the midst of an 1879, middle-class, suburban Europe, he boldly depicts a female protagonist. In a culture with concern for fulfilling, or more so portraying a socially acceptable image, Nora faces the restraints of being a doll in her own house and a little helpless bird. She has been said to be the most complex character of drama, and rightfully so, the pressure of strict Victorian values is the spark that ignites the play's central conflicts. Controversy is soon to arise when any social-norm is challenged, which Nora will eventually do. She evolves throughout the play, from submissive housewife to liberated woman. It seems as though what took women in America almost a century to accomplish, Nora does in a three-day drama. Ibsen challenges the stereotypical roles of men and women in a societally-pleasing marriage. He leads his readers through the journey of a woman with emerging strength and self-respect. Nora plays the typical housewife, but reveals many more dimensions that a typical woman would never portray in such a setting.
Captivatingly, both women act daringly, regardless of the culturally constructed labels as women, products of incest and wickedness. They use their “otherness” as a power mechanism, rather than an excuse to passivity. In conclusion, Elphaba and Antigone challenge conventional roles of gender, as they are strong, courageous figures of rebellion and exemplify a lack of traditional gender normativity.
One of the conflicts in Antigone, is the struggle between men and women. Ismene tells Antigone that since birth, women “were not born to contend with men,” (75) displaying women’s obedience and passivity. In the same passage, Ismene says: “we’re underlings, ruled by stronger hands,” (76) a representation of men’s aggressive and “stronger hands” that dominate women and treats them as second-class citizens. The only woman in Thebes who desires to break free from these chains is Antigone, who stands up against Ismene’s passivity urging her to “submit to this,” (77) and defy Creon by burying Polynices. By breaking Creon’s edict, Antigone challenges the traditional gender roles women and men play. In what ways does the theme of gender in Antigone, demonstrate the passion and choices behind Antigone and Ismene’s decisions?
Women in most cultures have been designated as second to men and in some instances, considered below male children as well. With the passage of time women gained respect and the right for equality. Although gender discrimination remains, a lot of progress has been achieved. Literature is a one of the facets of the human race that reflects the culture change of people. William Shakespeare’s King Lear portrays the patriarchal system of the Renaissance era, which leaves women completely dependent on the male head of household. In Henrik Ibsen’s Doll House, set in the modern era, there is still a patriarchal system but women have just a little more freedom. The article, The Doll House Backlash: Criticism, Feminism, and Ibsen by Joan Templeton, analyzes the gender subordination in A Doll House. Comparing and contrasting the themes of the two plays followed by consideration of the article’s research on the theme in A Doll House, assists in developing an understanding of the gradual progression of women’s freedom to be their “true selves” through equality with men. The “true self” is a person's character that is masked by a false portrayal designed to appeal to others.
Nearly every society, Nora and Antigone's are no exception, dictates a specific place or purpose for women, and while Nora and Antigone's respective societies possess some similarities regarding women's place and purpose, they contain several important differences. In Antigone, for example, the relative worth and status of women in Thebian society seems clear; women are to submit to the rule of man. Ismene suggests this submissive attribute of women in Thebian society when she begs Antigone not to defy Creon's commands, "Remind ourselves that we are women and as such are not made to fight with men." (193) Evidently the Thebian society controlled by men has kept a lid on women's individuality so much so that even a member of the royal family, Ismene, speaks of the futility in attempting to clash with the rule of man. Furthermore, Creon asks Antigone if she is "ashamed to differ from such men [the Chorus]?" (212) This suggests that in Thebian society w...
Discuss the Concept of the sins of the father in relation to A Doll’s House and Antigone
“The emotional, sexual, and psychological stereotyping of females begins when the doctor says, ‘It's a girl.’” (Chisholm). Where do women fit in the social order of society today? Many women today fit in the same role as they would have been expected to long ago. Though generally speaking, women have a lot more options today. The male hierarchy still governs most aspects of society, but with many more limitations because women are discovering that they can stand on their own, and have no need for constant regulating from their male counterparts. Patriarchal influences are the base of society. In Antigone Sophocles tells a tale about Greek values and women’s status. Antigone has just witnessed her two brothers kill each other; one brother died defending Thebes and the other died betraying it. Creon’s law keeps anyone from burying the traitor and Antigone is set on contravening this. Conversely, Ibsen’s playwright, A Doll’s House, is a story about an intelligent woman, Nora, who is misunderstood by her husband, Torvald. She takes desperate measures to keep her family intact but in the end wines up going out on her own. As the stories progress the both Nora’s and Antigone’s characteristics become very similar in that they are both rebellious, are subservient to male jurisdiction, and are resolute and strong-willed in their decision.
Throughout history, a woman's role is to be an obedient and respectful wife. Her main obligation is to support, serve, and live for her husband and children. In Henrik Ibsen's A Doll's House and Susan Glaspell's Trifles, two different women make a decision to take matters into their own hands by doing what they want to do, no matter what the outcome may be and in spite of what society thinks. These two women come from different homes and lead very different lives yet, these two women share similar situations--both are victims, both are seeking individuality, and initially, both women end up alone. There are many ways that Nora and Mrs. Wright differ. First of all, both come from completely different households. Nora's home is "tastefully [. . .] furnished" and always "pleasant"(917). She lives in a lavish home eating macaroons, drinking champagne, and hosting banquets. Nora often has guests at the house and there are even maids to watch her children. Her husband, Torvald, is often home and has guests over. On the other hand, Mrs. Wright's home is unpleasant, in an "abandoned farmhouse"(977) in a secluded area. Mrs. Wright seldom has company, nor does she have any children. She does not leave the house very often and her husband, Mr. Wright, wants no outside interference. Mr. Wright refuses to get a "party telephone"(978) because he enjoys his "peace and quiet"(978). It is obvious that these two women lead different lives with different types of people, yet they share similar situations that are not so obvious.
The enforcement of specific gender roles by societal standards in 19th century married life proved to be suffocating. Women were objects to perform those duties for which their gender was thought to have been created: to remain complacent, readily accept any chore and complete it “gracefully” (Ibsen 213). Contrarily, men were the absolute monarchs over their respective homes and all that dwelled within. In Henrik Ibsen’s play, A Doll’s House, Nora is subjected to moral degradation through her familial role, the consistent patronization of her husband and her own assumed subordinance. Ibsen belittles the role of the housewife through means of stage direction, diminutive pet names and through Nora’s interaction with her morally ultimate husband, Torvald. Nora parades the façade of being naïve and frivolous, deteriorating her character from being a seemingly ignorant child-wife to a desperate woman in order to preserve her illusion of the security of home and ironically her own sanity. A Doll’s House ‘s depiction of the entrapment of the average 19th century housewife and the societal pressures placed upon her displays a woman’s gradual descent into madness. Ibsen illustrates this descent through Torvald’s progressive infantilization of Nora and the pressure on Nora to adhere to societal norms. Nora is a woman pressured by 19th century societal standards and their oppressive nature result in the gradual degradation of her character that destroys all semblances of family and identity.Nora’s role in her family is initially portrayed as being background, often “laughing quietly and happily to herself” (Ibsen 148) because of her isolation in not only space, but also person. Ibsen’s character rarely ventures from the main set of the drawi...
Despite the male dominant society of Ancient Greece, the women in Sophocles’ play Antigone all express capabilities of powerful influence and each individually possess unique characteristics, showing both similarities and contrasts. The women in the play are a pivotal aspect that keeps the plot moving and ultimately leads to the catharsis of this tragedy. Beginning from the argument between Antigone and Ismene to Eurydice’s suicide, a male takes his own life and another loses everything he had all as a result of the acts these women part take in. The women all put their own family members above all else, but the way they go about showing that cherishment separates them amongst many other things.
Although ancient Greece was a male-dominate society, Sophocles' work Antigone, portrays women as being strong and capable of making wise decisions. In this famous tragedy, Sophocles uses the characters Ismene and Antigone to show the different characteristics and roles that woman are typical of interpreting. Traditionally women are characterized as weak and subordinate and Ismene is portrayed in this way. Through the character of Antigone, women finally get to present realistic viewpoints about their character.
Henrik Ibsen paints a sad picture of the sacrificial role of women throughout all social economical classes in his play “A Doll House”. The story is set in the late 19th century and all minor female characters had to overcome adversity to the expense of love, family and self-realization, in order to lead a comfortable life. While the main female protagonist Nora struggles with her increasingly troubled marriage, she soon realizes, she needs to change her life to be happy as the play climaxes. Her journey to self-discovery is achieved by the threat of her past crime and her oppressing husband, Torvald and the society he represents. The minor female characters exemplifying Nora’s ultimate sacrifice.
Henrik Ibsen published A Doll House in 1879, which was a time period of intense debate over women’s rights. Ibsen believed in the equality of people; consequently, the play displays the unjust inequality between men and women during the 19th century. Women were expected to fulfill the roles of a daughter, wife, and mother. However, to conform to the standards of the time women would repeatedly sacrifice their own happiness for the sake of men (Shahbaz). Nora attempted to fulfill the roles society expected of her, but she could not. Henrik Ibsen demonstrated how a woman has a duty to herself first by showing the negative effects of restricting women to the subservient roles of a daughter, wife, and mother in A Doll House.