Nora is a very intriguing character to experience while reading the play since she is supposed to be a typical submissive wife, but actually she is very manipulative. One of the examples for Nora’s behavior is when she is eating her macaroons that she is not suppose to have with her, which goes against her husband’s dominance; this shows lack of submissiveness. “[Puts her bag of macaroons into her pocket and wipes her mouth.] Come in here, Toravald, and see what I have bought.”(pg12) Nora’s is portraying that she is not allowed to have the macaroons and carefully hiding them from Helmer. “[Wagging his finger at her.]
She came to realize that her beliefs were immoral, and that she should have been more respectful towards her family. Her metamorphosis from an ungrateful daughter to an appreciative wife showed how much she cared for her husband, enough to give up her strong influence on others. She began the novel being uncouth and offensive, but as the play progressed she grew to be grateful for what she had. Readers should be able to compare to Katherine’s sacrifice, because in their everyday lives they must give up what they value as well. Students must give up sleep and energy to study hard, and parents must forfeit their youth to support their children and family by working for jobs and raising money.
Edna also had extremely rebellious views on her family life, thinking of her children as passing pleasures rather than the sole purpose of her existence (Klein 4). She even states to Madame Ratignolle "I would give up the unessential [for her children];... but I wouldn't give myself" (Chopin 97). These were definitely not the usual thoughts of a woman in that era, which is reflected through her husband's opinion. "It seems to me the utmost folly for a woman at the head of a household, and the mother of children, to spend in an atelier days which would be better employed contriving for the comfort of her family" (Chopin 108). Although women were supposed to automatically be good mothers ... ... middle of paper ... ...o wonder that it was banned when first published and, conversely, it is no surprise that it is praised today.
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.
Transformation of Nora in Henrik Isben's A Doll's House During the time in which Henrik Isben's play, A Doll?s House, took place society frowned upon women asserting themselves. Women were supposed to play a role in which they supported their husbands, took care of their children, and made sure everything was perfect around the house. Nora is portrayed as a doll throughout the play until she realizes the truth about the world she lives in, and cuts herself free. Nora Helmer was a delicate character that had been pampered all of her life, by her father, and by Torvald. She really didn't have a care in the world.
The women choose to conform to society’s expectations of women in the early twentieth century, however; Edna and Nora struggle with who they truly have become inside, until the conflict either consumes them or sets them free. Edna conforms by enduring her husband, Leonce Pontellier; caring for her children and home, and keeping her relationship with Robert discreet throughout the novel. While there is an obvious internal battle between romance, conformity, confusion, and unrealized raw passio... ... middle of paper ... ...alizes that not only can she accept herself, but no one else can, either, and her metamorphosis leaves her imprisoned. Nevertheless, both women realize that they have become something which only society expects of them, nothing that they have selected for themselves. They have become wives and mothers, instead of potentially single, and independent women, and their boxed-in world suffocates them.
Again, throughout the play, the audience was able to sympathize with Nora. However, it was her dramatic departure that enabled them to actually relate to her sacrifices. The realistic problems portrayed throughout their marriage makes the audience think of their own lives and their own personal sacrifices that they have made. Witnessing Nora’s struggle with her decision and Torvald’s refusal to change allowed the audience to take a disappointing view of her abandonment and realize that it was the right decision for Nora to make. Everyone deserves to find their independence, speak their own minds, and have freedom.
“Why I Live at the P.O.” and “A&P” both character narrators are searching for their independence from the rest of the people around them and the world, but Sister finds a planned out way and succeeds were Sammy doesn’t plan and acts on impulse losing everything. Works Cited Welty, Eudora. “Why I Live at the P.O..” Literature and the writing Process. Ed. Elizabeth McMahan, Susan X Day, And Robert Funk.
Gilman was always pushing her rights as a woman and fighting for a voice. She wrote this story to tell the world what it is like to be someone with no voice and how men and society have kept women from experiencing life outside their domestic roles. When the couple first gets to the colonial mansion, she is taken to the room that she will spend the rest of her time in and she disapproves. Her husband just laughs at her, shakes it off and moves on. She does not argue with him because she feels that she has no say and it would be a waste of time.
Even her grandmother bombarded her with commands, “Girls keep their knees together when they sit down.” And “Girls don’t slam doors like that.” The worst was when she asked a question and her grandmother answered “That’s none of a girl’s business.” Even after that, she continued to slam doors and sit awkwardly because she felt that it kept her free. In other words, she was not ready to accept and claim her gender identity. In the story, “Boys and Girls”, the narrator is not the only one coming to terms with their identity.