Similarities Between Cyrano De Bergerac And A Doll's House

Libra As Susan B. Anthony once said, “Independence is happiness.” In Ibsen’s A Doll’s House, set in Norway just before the turn of the twentieth century, a housewife learns that unconsciously following her husband’s commands does not necessarily bring joy into her life. Likewise, in Edmond Rostand’s Cyrano de Bergerac, set in the 1600’s of Gascony France, a French nobleman learns that relying on others for love often doesn’t bring delight in his life either. Both characters, Nora and Cyrano, reflect parallel lives as they struggle to find happiness. In A Doll’s House and Cyrano de Bergerac, Nora and Cyrano both realize that their dependence becomes a burden from getting what they desire and that their independence helps them reach their goal

In Norway during the late nineteenth century, a women’s independence is a heated topic, and A Doll’s House (written in the late nineteenth century) foreshadows a women’s fight for independence. Similar to the rest of Norway, Nora learns that her independence contributes to a big part herself, but not in the duration of most of the play. When Torvald questions Nora on if she purchases Macaroons, Nora mightily rejects the claim by stating, “No. Why do you imagine that?” (Ibsen 1024) Although Nora does purchase macaroons, the lie she tells demonstrates her willingness to maintain the pretense of a subservient housewife to please Torvald, which accentuates her dependence on Torvalds’s love towards the beginning of the play. Nora prefers to maintain a needy role to her husband rather than telling the truth and defending

The teasing, with the addition of his love referring to him as a “friend”, Cyrano’s confidence in himself is not the highest. In order to attempt to have Roxane love him back, Cyrano has to depend on who she loves, Christian. With Cyrnao’s help, CHristia tries to woo Roxane back with heartfelt poetry as he states, “No – No- Not anymore – I love you… evermore… and ever… More and more!” (Rostand 105) Cyrano’s affinity for Roxane is so great that he has the will to credit Christian with his poetic way of words, suggesting Cyrano’s willingness to give up his independence just to feel Roxane’s love vicariously through Christian. Monsieur de Bergerac’s aspiration is to feel Roxane’s warmth, and at the beginning of the play he reaches satisfaction with depending on Christian to feel her affection. However, his dependence hampers his chance of fulfilling his dream of happiness with Roxane. Similarly to A Doll’s House, both Nora and Cyrano start off their respective plays relying on someone. Nora remains subject to Torvald and becomes restricted (without knowledge of it yet) from independence and happiness. Correspondingly, Cyrano maintains reliance on Christian, and never truly experiences a state of bliss. As the play progresses, Cyrano separates himself from Christian and differentiates himself to Roxane as the one she truly loves. Having the knowledge that his death is fast approaching, Cyrano reads