A Doll’s House and Antigone are very good examples of what happens when women try to break the molds of their society. The women’s characteristics of persisting to achieve their goals, willingness to commit crimes for their love of someone close to the them, and breaking of society’s rules show that men are not the only ones that can think for themselves. Nora and Antigone’s qualities affect the resolutions of the plays more so than any other factor in the dramas. Works Cited Ibsen, Henrik. A Doll's House.
Mary Warren is a villainous character due to her poor choice of actions. Mary uses excuses to avoid trouble and gain some power through this. Elizabeth states: “It is a mouse no more… ‘I must go to Salem, Goody Proctor; I am an official of the court!’” (192) It is given that Mary had the changed the tables on her masters and decided to set her foot down. She claims that because she is an official of the court, she cannot be held back by anything that is not as important as going to court to do her work. If she was a real hero, she would keep her word to fulfill her duties at the Proctor house when it is time, not to go off to her pretense of a job of declaring wheth... ... middle of paper ... ...fishness is hidden between the lines and how it is read as well.
This shows just how controlling he really is. Nora just plays along, keeping secrets from Torvald in order to please him at any expense. This was a very common situation during the era whom this play was produced. Nora is smart and capable of a lot more but she lets herself be held back in order to be the perfect wife for Torvald. The title "A Doll House" would not fit the play because this states that everyone in the house is a doll.
Breaking the Chains: An Analysis of A Doll’s House Nora Helmer defiantly says, “I’ll try to discover who’s right the world or I,” (Ibsen 1773). A true hero chooses to reject the status quo and take a stand for what they believe is right. Nora wasn’t content with her polished life, causing her to not only take a stand against her manipulative husband but to also set an example for all women, helping the fight for female independence. A Doll’s House, by Henrik Ibsen, illustrates Nora Helmer as a flawed heroic character through her self motivations and determination to change the household as well as the female stereotype, thus enunciating the theme of femininity and marriage. Nora’s blatant transition from a compliant housewife to a resilient
A Doll House Many females in the 1800’s did not have the courage to make decisions on their own. In the play A Doll’s House, Nora Helmer takes risks while making the decision to save her husband’s life. Nora does a good job in showing what self-respect truly means. The author focuses on what a marriage should contain by the way the characters interact with each other. The author shows us the different personalities about each character, allowing us to view their strengths and weaknesses.
Women were to be a representation of love, purity and family; abandoning this stereotype would be seen as churlish living and a depredation of family status. Charlotte Perkins Gilman’s short story "The Yellow Wallpaper" and Henry Isben’s play A Doll's House depict women in the Victorian Era who were very much menial to their husbands. Nora Helmer, the protagonist in A Doll’s House and the narrator in “The Yellow Wallpaper” both prove that living in complete inferiority to others is unhealthy as one must live for them self. However, attempts to obtain such desired freedom during the Victorian Era only end in complications. The central characters in both “The Yellow Wallpaper” and A Doll’s House are fully aware of their niche in society.
Through characters such as Nils Krogstad and Torvald Helmer, one sees how those living in this society worried primarily over their social standing and reputation, while through the character of Mrs. Lindie the reader sees how even women fell into the trap of behaving as “dolls”: doing everything that is expected of them while remaining obedient. Though some of these characters may seem cruel, they have a huge impact on Nora’s character and help push her towards the realization that she is not living as she wants to live. Brunnemer says, “There is an evolutionary process whereby the mini-Nora of the opening scenes becomes the super-Nora of the close” (1). In the beginning of the play, Nora is portrayed as an obedient wife who would never stray from her husband’s wishes, and subsequently society’s expectations. By the end of the play, we see her blossom into an individual who wishes to make her own decisions and follow her own path.
Deception binds the characters of the Joy Luck Club together. In the Joy Luck Club, Amy Tan depicts deception at almost every turn in the novel. Mothers often help their daughters through deceptive comments; husbands hide secrets from their wives through deceptive acts. Even best friends deceive each other as they struggle for one reason or another. Throughout the story, deception is an irreplaceable tool for parenting; for attempting to keep marriages together, or maintaining friendships.
Throughout history, society often places women inferior to men, causing women to be predisposed to obeying their husband without a second thought. However, when a woman begins to question the idea of loyalty and obedience, her eyes are often opened to the mold that she is encased in and becomes determined to break through and develop her self-potential. In Henrik Ibsen’s A Doll’s House and Kate Chopin’s The Awakening, the main female character is put through a revelation that changes her life forever. Through their quest to find their own freedom and individuality, Nora Helmer, from A Doll’s House, and Edna Pontellier, from The Awakening, each uniquely discovers themselves. Since the beginning of the play, Nora was very loyal to her husband and even told him how she would “not think of going against your [his] wishes” (Ibsen 6).
In both the works A Doll House by Henrik Ibsen and "The Birthmark" by Nathaniel Hawthorne, we encounter the conflict of women being oppressed and fighting for they roles as human beings; seeking freedom from their homes and husbands. Both Nora's and Georgina's husband were oppressors of their women's choices. They were objects to their husbands and their obligations were their household, their families and becoming their husband's pride and trophy. In A Doll House, though Nora is oppressed, Ibsen gives her abilities to reciprocate the roles in the household which displays the empowerment of women in the 19th century just beginning and maybe the influence of many more empowerment movements to come. In "The Birthmark", Hawthorne displays the horrifying outcomes of controlling husbands, the way Georgina risked her life to let her husband remove the birthmark on her face that her husband despises.