They also realize their problems and self-worth. In other words, the daughters reflect on their problems to take control and protect themselves. Innogen and Miranda represent daughterhood as an emotional journey that reflect the impact of a father’s trust. In Cymbeline, Innogen struggles with self-acceptance because her father, Cymbeline, does not accept her as a person. Innogen’s trust with her father is broken because Cymbeline does not approve of her actions, especially when she marries Posthumus.
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.
Nora was not happy in her life with Torvald, and yet she and her husband are afraid of the embarrassment that would come if they two were to split apart. When Nora decided to leave Helmer he begins telling her, “I have it in me to become a different man.” She ends up creating a change in her life so she can start living how a human being is suppose to with the freedom to assert herself as she please without having to answer to anyone. Ibsen’s point to made in this play is to show how a couple got trapped by society, pushed into a doll house for which they don’t belong; he expressed his feelings on women rights, family and male dominance in this ear by writing this play, A Doll House.
Nora’s frustration of her doll-like life becomes evident. She finds the courage to spill all her frustrations in the way she’s been treated first by her father, then by Torvald. “That is just it; you have never understood me. I have been greatly wronged, Torvald--first by papa and then by you.” (ACT 3) clearly suggests her struggles in letting the men in her life take control of her. While she tries to keep the family’s social standing, she also struggles to compensate her need to feel independent and empowered.
However, A Doll’s House does express the need and desire for the women to escape from the restriction in the nineteenth-century society. In the play A Doll’s House, Nora Helmer is the major character as well as a symbol of the majority of house wives in the middle class of the nineteenth century. Also, Nora’s husband, Torvald Helmer, is another symbol represents the majority of men at the time. Through their marriage and relationship, we can clearly see the recreation of the realistic role and characteristic of the suffering women in the nineteenth century. First of all, The nineteenth-century society was a male dominated society.
The names signify how she has no power in their relationship. Nora exhibits childish qualities when she secretly eats from her "bag of macaroons" (Ibsen, 148) and wipes her mouth to ensure Torvald does not find out. When her condescending husband asks if she "nibbl[ed] a macaroon or two..." (Ibsen, 151), she denies it and like an innocent child replies, "I wouldn't do anything that you don't like." (Ibsen, 151).This reveals her need to please him and receive his approval, just as a small child looks for parental praise. Additionally, the way Torvald instructs Nora in her dance practice reminds one of how a parent would guide a child through an important event.
George Eliot makes her feminist stance in Middlemarch in much the same way as Ibsen. In Middlemarch, one of the main female characters, Dorothea, wants control of her life and chooses happiness over wealth. These female characters from these well-known works are represented in such a way to give readers a grasp of the social conditions involving women. A Doll’s House (Et dukkehjem in Norwegian), was written by an 1879 playwright by Norwegian playwright Henrik Ibsen. The play was controversial when it was first released, because it is extremely critical of marriage norms in the 19th century.
In the story Two Kinds by Amy Tan, Jing Mei’s mother’s obsession with making Jing Mei a prodigy is the cause of destruction in their relationship but, once Jing Mei begins to understand her mother’s reasoning, the enabler for their reconciliation. For instance, Jing Mei struggles with trying to play the role of the... ... middle of paper ... ... she also believes Emily turned out well, because she is not helpless and she can find her way. Emily’s mother realizes she has no control over the circumstances, now only the ability to respond to them and to learn from the experiences. This allows a reconciling process to occur within her, because although she was not able to raise Emily like she wanted to, she did the best she could under the circumstances. Works Cited Schilb, John.
There was one scene when she was talking with her two daughters about their father and why he was behaving the way he was. She was trying to explain behavior that she did not even really understand herself, but she tried to support and understand him even when it became very difficult to do. In Knobloch and Theiss’ article, they say that partners must manage strong emotions and try to share their experiences. During the reunion period when the soldier comes home it is very difficult to do those things and the partner must be able to deal with it, and it may be very difficult, like it is for the wife in this
It is not until Kate is able to look past mere appearances and see these women clearly for what they are, that her relationship with her own mother can begin to grow and develop. Kate hates her birthmark. Even more, she hates her mother's attitude about her birthmark. Kate desperately wants someone to blame for her birthmark and someone to have pity for her. She "always wanted to say that if it was a birthmark it must be her [Cleva's] fault"(p.44).