As a child progresses through the various stages of life, he or she may crawl across the knots of knitted carpet, gallop around the plastic structures of a schoolyard and weave amongst a mass of people, each one traveling a different route to arrive at destinations poles apart, but unless a sense of worth, instilled by a parent’s assurance, overflows from the mouth of this developing being, the journey to find oneself amid the throng of individuals will prove an arduous and extensive one—possibly spanning one’s lifetime. Kate Chopin, in The Awakening, and Henrik Ibsen, in A Doll’s House, understood the significance of a parental figure in the development of a young person’s self-esteem, even in the Victorian Era, highlighting this fact with a void in the parental seat of the lives’ of their protagonists, Edna Pontellier and Nora Helmer, respectively. The vacant maternal role and feeble paternal relationship influences each of the protagonists’ sense of self-worth, which projects through relationships with their husbands, children, society as a whole and, their ultimate choice of abandonment.
Employing realism, ridding the work of all fantasy and overtly extravagant elements for the audience to recognize themselves in various situations, Chopin and Ibsen allow “unfolding” (Roberts 1664) events as their works progressed, to disclose events previous to the span of the work; they cast shadows on events in literary present, exposing the cause of the problem—the mother’s absence in the protagonists’ lives. In the case of Edna Pontellier, her father’s “authority” (Chopin 77), “putting [his] foot down good and hard” (77), facilitated her mother’s expedition to the grave, while Nora Helmer’s mother goes without mention over the play’...
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...arch of other’s to tell her of her beauty, for she does not have this revelation within herself since her father seemingly forgot to inform her. Likewise, Nora, although the decision lacked good, needed to Anne’s confirmation that her children “would [not] forget their mother” (Ibsen 30) if she were to leave, due to her inability to come to this conclusion alone; both search for others’ approval and finding that it comes only from within, each abandon their oppressing forces which all stem from their society’s establishments. In the denouements of both works, the protagonist realizes that their entire lives have been guided and charted by others rather than themselves and make a decision to press forward, without the superfluous contributions and disdain of others, despite the ramifications such a decision incurs, such as the repetition of the motherless child.
Society, although undoubtedly necessary, perpetuates an unduly restrictive set of expectations that few can live up to. In her novel The Awakening, Kate Chopin explores the psychological rebirth of protagonist Edna Pontellier, who comes to realize her dissatisfaction with her domestic role in nineteenth-century society. She cares for her husband Leonce and their two children, but seeks greater independence, risking Leonce’s disapproval by moving out of the house to pursue painting. In contrast, Edna’s friend Adele Ratignolle thrives as a housewife and mother, finding enjoyment in piano playing to benefit her household. In her attempt to achieve freedom, Edna finds inspiration in the reclusive pianist Mademoiselle Reisz, who advises Edna to rescind her societal ties in favor of becoming a true artist.
Many readers see the actions of Edna Pontellier in Kate Chopin’s The Awakening as those of a feminist martyr. Edna not only defies her husband and commits adultery, but chooses death over life in a society that will not grant her gender equality. Although this reading may fit, it is misguided in that it ignores a basic aspect of Chopin’s work, the force that causes Mrs. Mallard’s happiness in “The Story of an Hour” upon the news of her husbands death, “that blind persistence in which men and women believe they have a right to impose a private will upon a fellow-creature” (Chopin 353). While it is true that when Chopin wrote, women were most likely to be denied the pursuit of individuality, analyzing her work through a strictly gender minded lens limits her impact. The importance of Chopin’s work is the portrayal of characters who are engaged in the pursuit of an idiosyncratic desire. The institution of marriage is one which is most likely to infringe upon individual rights. Thus, it is the basis for many of Chopin’s stories. Therefore, along the way we learn that while Chopin believes that although marriage often stifles individuality, it does not have to. In the work of Chopin we see men and women who will go to any length to pursue a strong enough desire. These characters are often unsure of the nature of their desire. The pursuit of these characters is strengthened when they perceive their desire to be futile. Chopin portrays characters who struggle with the institution of marriage or society’s expectations of them. In most cases, they choose to pursue their individual desire rather than fulfill society’s expectations. Chopin believes that individual desire knows no boundaries, is often uncerta...
According to Wolff, the true subject of Chopin’s novel, “may be less the particular dilemma of Mrs. Pontellier than the larger problems of female narrative that it reflects; and if Edna’s poignant fate is in part a reflection of her own habits, it is also, in equal part, a measure of society’s failure to allow its women a language of their own” (388).
Killeen, Jarlath. “Mother and Child: Realism, Maternity, and Catholicism in Kate Chopin’s The Awakening.” Religion and the Arts (Dec 2003): 7. 413-38.
“Edna, like Walt, falls in love with her own body, and her infatuation with the inadequate Robert is merely a screen for her overwhelming obsession, which is to nurse and mother herself” (Modern Critical Views 2). Edna Pontellier is an estimable woman of the tardy 1800s who not only apperceives that she owns many sexual desires, but additionally finds the vigor internally to digress from society’s code of conduct and builds up the nerve to act on them. Breaking through the role appointed to her by society, convivial protocol, and everyone who circumvents her, she finds herself determined to set her own identity, disinterested in both her husband and children. Many of Kate Chopin’s other stories feature zealous, and quite unconventional female
In Frances Porcher’s response to “The Awakening” by Kate Chopin published in May 1899, she felt as though the book is slightly pathetic. While she believes that one can get absorbed by the principles of the book, she writes that the story makes one feel like “it leaves one sick of human nature and so one feels cui bono!” Furthermore, in Porcher’s analysis, the book “is not a pleasant picture of soul-dissection.” The distress of Edna does not allow one to joyfully engage in the plight that is exhibited. In addition to ugly cross-section, the book makes readers feel, “for the moment, with a little sick feeling, if all women are like the one” that is studied in the book. While it is disheartening to read that women might feel this way about the
Firstly with diction, Chopin establishes herself as an experienced and nuanced writer. As a woman herself, Kate Chopin fights to demonstrate that women are just as capable as men. Literary jewels litter her novel, and provide insight into Edna’s intellectual prowess as well as her own. Enriched sentences such as, “[g]radually and imperceptibly the interlude melted into the soft opening minor chords of the Chopin Impromptu”, prove to the reader that
In this world there are people who feel that their only duty is to themselves and have an excessive interest in this; we call them selfish or narcissistic. In the play A Doll House written by Henrik Ibsen, the main character Nora Helmer a normal housewife of the nineteenth century goes through a series of psychological and emotional realizations as well as a few unfortunate events. At the end of this process she decides to leave her home, her husband, and her children in order to go out into the world to discover who she really is. Now this isn’t shocking in the twenty-first century as wives and mothers walking out on their families has become a sadly common occurrence. However, when the play was written it sparked a great deal
In Henrik Ibsen’s “A Doll’s House”, Nora Helmer portrays the Victorian English archetype of the “angel in the house”, otherwise known as the “doll” metaphor. In the Victorian age, the social construction of gender roles was much more traditional than contemporary gender roles; women had a clear role in society of which they could not escape. A major focus of social construction is to uncover the ways in which individuals and groups participate in the construction of their perceived social reality. As society is revolutionized, people individualize, freeing themselves from the constraints imposed by traditional societies. Nora Helmer represents an antecedaneous model of a feministic viewpoint in an oppressed position. Trapped in her role of the “doll”, Nora struggles to break free, her actions precipitated by her husband, Torvald’s, actions. Weintraub, in his ““Doll’s House” Metaphor Foreshadowed in Victorian Fiction” critical essay, depicts Shaw’s work and proposes the idea that the male protagonist has an immense impact on the female protagonist’s automorphism as “the doll” and the decisions she makes. In Ibsen’s “A Doll’s House,” Nora’s characterization and ultimate decision to leave can be seen as a struggle against the combination of Torvald and Society’s pressure to conform.
“Everybody feels like an outcast because the world is so large and every fingerprint is so vastly different from one another and yet all these standards and beliefs, and dogmatic systems of judgment and ranking in almost all the societies of the world” -Ezra Miller. All around us, cliches and standards are seen throughout culture. This is because judgment is a constant challenge in today's society. If one dress, acts or plays out of the considered normal, then those people are put into rankings and are distanced from everyone else. In today’s world, the experience of being an outcast is universal.
The Struggle for Identity in A Doll's House A Doll's House by Henrik Ibsen, is a play that was written ahead of its time. In this play, Ibsen tackles women's rights as a matter of importance. Throughout this time period, it was neglected. A Doll's House was written during the movement of Naturalism, which commonly reflected society. Ibsen acknowledges the fact that in 19th century life the role of the woman was to stay at home, raise the children and attend to her husband.
The Victorian Era was a time of social evolution as well as technological and economic advance. A distinct, unique middle class was formed alongside the traditional working class and wealthy aristocracy. However, there were certain individuals that fell outside this model of Victorian society. The “abandoned child” was society’s scapegoat- a person without a past, without connections, without status. They could appear in any class, at any time. The upper and middle classes often had a somewhat romantic perception of them, due to their prevalence in Victorian literature. Novels like Jane Eyre and Wuthering Heights made heroines/heroes out of orphans, portraying them as respectable yet troubled (Cunningham,“Orphan Texts”). However, orphans were also often treated with disdain and distrust, due to their reputation as “criminally prone” individuals. They were a victim of classic “Victorian contradictions” that characterized most aspects of Victorian society.
A Doll 's house is one of the modern works that Henrik Ibsen wrote. He was called the father of modern drama .He was famous for writing plays that related to real life. A Doll 's House is a three-act play that discusses the marriage in the 19th century. It is a well-made play that used the first act as an exposition. The extract that will be analyzed in the following paragraphs is a dialogue between Nora and the nurse that takes care of her children. This extract shows how she was afraid not only of Krogstad blackmail, but also of Torvald 's point of view about those who committed any mistake. Torvald says that the mothers who tell lies should not bring up children as they are not honest . Nora is also lying to her family and to Torvald. So she is afraid because she thinks she maybe 'poisoning ' her own children. The analysis of this extract will be about of Nora 's character, the theme, and the language in A Doll 's House.
In Doll’s House,” Ibsen presents us with the drama of Torvald and Nora Helmer, a husband and wife who have been married for eight years. Nora leaves at the end of the play because she just want to experience her freedom, also she is tired of her husband torald treats her like his doll. Nora independence would affect the kids and her marriage positively. After she left her husband, she would be able to build herself to be a woman every man would want to marry because she has learnt from her past experience. If Nora will return to the home she will have learned self-discipline and her kids will have to learn how to be independent because that will be all Nora is used to, so she will not accept any other behavior that the kids learnt with their father. In the end the kids will benefit because when they want and need something they will know how to work for it. But if she stay the children may struggle to find their independence When we see the relationship of Nora and Torvalds We hear a reference to her father, whom Nora says is
A Doll’s House and The Importance of Being Earnest were both written in the late nineteenth century at a period in time when gender roles in society were not only significant to the structure of society but were restrictive and oppressive to individuals. This was particularly true in the case of women who were seen as the upholders of morals in polite society and were expected to behave accordingly. A Doll’s House and The Importance of Being Earnest challenge society and its inclination to categorise and expect certain behaviour of individuals based on their gender.