As An-mei Hsu tells her daughter “A mother is best. A mother knows what is inside you” (Tan 188). The mothers in the Joy Luck Club want more for their daughters then the daughters realize. Ying-ying wants her daughter to have a more honest, less passive relationship then she had with her husband and she believes that Lena deserves it. The section American Translation opens with a short story which shows a mother who sees in her daughter, not only the daughter, but the child she will have and the mother she will become.
Nora hints to Anne Marie that she wants her to watch the children when she leaves by saying, “Dear old Anne Marie, you were such a good mother to me when I was little. Nursemaid: Poor little Nora, you had no other mother but me. Nora: And if my little ones had no mother, I’m sure that you would” ( Ibsen 1575). Nora already has the idea of wanting to leave her family and she is just making sure that Anne Marie would take care of her children like how she took care of Nora. Before Nora leaves, she wants to make sure that her children will be looked after because she does not know how to be a mother to her children.
Ultimately, she decides to break away from her husband and children to leave behind the society that has oppressed her. She feels compelled to learn more about herself and what she wants in life. In the play, A Doll’s House, Henrik Ibsen highlights the negative treatment that women received during the late 1800s and uses Nora to rebel against society’s expectations for the role of women. In the Helmer household, Torvald as the male, is superior, and is in charge of making money and running the household. While his role is considered “important” to the family, Torvald expects Norato take the submissive role and raise their three children, dance the tarantella, and do as he asks.
With the understanding that her marriage was a lie and she had been an active part in that lie, She leaves her family behind so that she could learn about herself and the world around her. This brave and courageous action showcases Nora's growth as a character. Its not until she is out of the "Doll house" that she fully becomes aware of who she is meant to be. It took her husband abandoning her in a time of need for her to realize that everything wasn't as it seemed. Becoming disillusioned ended up being an overall positive path to self discovery for Nora Helmer.
She is often considered the model of female oppression and empowerment in the late 1800s, but her “awakening” actually results from her experiences in a cold and distant family. Edna’s suppressive childhood leads to her desire for independence in adulthood and helps her come to the realization that mothers play an important role in their children’s lives. Misinterpreted as hidden desires, Edna’s emotions towards love and freedom stem from the lack of familial love. Her father’s flippant thoughts towards her are shown when he tells Leonce that “authority, coercion are what is needed… [to] manage a wife” . He regards his daughter as just another woman and approaches raising her in the same manner that he treated his wife.
Acceptance of who we are plays a large part in the overall theme of “rite of passage” in the story. The young girl is opposed to the thought of working for her mother at the beginning, but eventually comes to a realization that it is her pre-determined fate to fit the mould of the gender stereotype. Through the girl’s hardships, she accepts the fact that her younger brother, Laird, is now the man that his father needs for help, and she takes her place in womanhood. The story embodies gender identity and stereotypes, as a young child moves into adulthood. The fact that our rite of passage is unavoidable proves that we must all go through our own journeys to find our own true identity.
Mrs. Linde and Nora are at opposite ends of their lives, one breaks up her marriage to be independent and the other enters into a relationship. Mrs. Linde expresses her feelings to be a mother, whereas, Nora sacrifices her relationship with her children to be free. Mrs. Linde is an integral part of Nora’s transformation from a “squirrel” to a free woman. Mrs. Linde acts as Nora’s guide throughout the play and leads to her realization of how superficial and materialistic her life with Torvald really was.Were not for Mrs. Linde and her actions, Nora who have never grasped reality and would remained as Torvald’s doll.
The daughters, then, represent to their mother opposing forces in regards to socioeconomic and educational standards of living. Throughout her recollection of the story, the girls? mother learns to accept and even appreciate the fact that she and Maggie are resigned to living the only way they have ever known, while Dee has chosen to abandon that legacy and sees it only as a way of life to be honored, not lived. The author?s decision to narrate the story from a first-person point of view allows the reader to gain insight into the mother?s struggle that wouldn?t have been available otherwise. Throughout the beginning of the story, the mother describes both her views of herself and of her daughters.
This is where Nora and Anne Marie both are similar because they both accept their positions they are in. Just like Anne Marie, Nora allows Torvald to choose where she stands in life. “The conceptions of Nora have also been colored by different ideological and feminist perspectives since in the first part of the drama emerges as highly articulate and moreover willing to leave her husband and three children” (Rekdal). However, when Nora makes the decision to leave Torvald and the children, the decision was not chosen because of what society attempts to force on her. Nora actually makes a real transformation and surprises everyone.
Nanny believed that love was second to security and stability. Only after those first two criteria were satisfied then one person could experience love. Her grandmother felt that Janie was too young to make... ... middle of paper ... ... learning process and we must take the bad with the good. Works Cited Hurston, Zora Neale. Their Eyes Were Watching God.