A wife (Nora) figures out that she does not belong with her husband (Torvald Hemler) and children, she has no place there. He treats her like a doll and not a wife. She treats their children like her dolls and not their children. They have been married for 8 plus years, and this is the first time they have ever sat down and had a serious conversation together. Everything thus far has been like children playing with their toys, not like 2 married adults.
53) and Torvald calls her “little lark” (A Dollhouse, act1, speech 4) and “my squirrel” (A Dollhouse, act1, speech 8). Therefore, both the husbands treat their wives as if they were spoiled childern. More than that, in both of the stories the primary job in the wife’s life is taking care of the husband and the children. “The Yellow Wallpaper” story was written by Charlotte Perkins Gilman in 1892. This story is talking about a wife of a physician named John.
The lavish parties he had to hide the emptiness in his life. He idolize Daisy liked he did the wealth. Gatsby never realize daisy was not impressed by his materialism Daisy was dealing with reality and Gatsby was dealing with turning his life into something he wanted it to be. And in the end Gatsby lost everything he was trying to gain at no matter what. The book is a revelation on how thing was in the roaring twenties and the attitude of rich people.
In ‘Of mice and Men’ Curley’s wife is deliberately not given a name, Steinbeck does this to try and say that she is worthless, irrelevant and purely the property of her husband. Curley’s wife is used as an archetypal for the ideas of America in the 1930s. Other names she is called by the men on the ranch are ‘tramp’, ‘jailbait’ and ‘bitch’; Steinbeck has purposefully used these derogatory terms to show how men saw women at the time. Candy’s in particular is very prejudiced towards her as he says to George and Lennie, ‘I think Curley’s married... a tart.’ This is prejudiced because Candy is known as a gossip and he may just be trying to initiate conversation with George and Lennie and trying to make them see her in his view rather than letting them initially get their own opinion of her based on their experiences rather than his. Curley’s wife clearly feels neglected by her husband and she likes to create attention for herself as she feels she isn’t noticed.
Another characteristic was using the children as a means of control to potentially get Fran back with him. This is the scene when Mickey went over Francine’s mother house and said he would burst the door in her face if she didn’t let him get the kids. Once again James got his way because Fran comes back to him for the kids. Francine is isolated by James controlling ways, for an example Mickey asked her where she had got her new ring from and she told him she went into town; after telling him this he slapped her in front of the company and she isolated herself. Fran was also very loyal to him, but James didn’t seem to think so and if he did know he made sure she stayed that way because he beat her for smiling and looking when a partner of his told him Fran was pretty.
Torvald’s insistence on calling Nora by affectionately diminutive names evokes her helplessness and her dependence on him. He does not not only asserts his power over Nora but also dehumanizes her to a degree. When he implies that Nora is comparable to the “little birds that like to fritter money,” Nora is like Torvald’s dol she even decorates his home and pleases him by being a dependent figure with whose emotions he can toy.In addition to being something of a doll to Torvald, Nora is also like a child to him. He shows himself to be competing with Nora’s dead father for Nora’s loyalty. In a sense, by keeping Nora dependent upon and subservient to him, 5.
George calls her ‘a tramp’ and warns Lennie not to even look at her. This means that George is suspicious of her and doesn’t want to get him and Lennie in trouble like Lennie did at the last ranch. He continues by calling her ‘poison’, ‘rattrap’ and ‘jailbait’. George has only just met her, this shows that he
“The problem is consistency: there isn’t any. New parents quickly learn that raising children is a kind of desperate improvisation. If I ever get angry at the children, my wife collects them under her wing and says, ‘Come away with me, darlings. You’re father has gone mad’.” (48) Whatever one parent does, the other must do the complete
This shows that she is doing something that she is not suppose to do, or something her husband doesn’t want her to do. So for her to have to check where her husband is after doing something, means that you are trying to be sneaky and thats a bit immature. And then we hear Mr. Torvald calling Nora names such as “ lark”, “squirrel”. To me to be calling your adult wife pet names, and for her to answer and then call yourself the same pet names is a sign of child like features. Torvald clearly knows that Nora has bought multiple gifts, for he says, “Has my little spendthrift been wasting money again?” There we go with the name calling again, even in the talk of financial business.
The presence of guilt has clearly and undeniably manifested itself into the nature of family relationships within both plays. In A Doll's House, Nora's guilt in regards to the crime she committed has accumulated so much so that she is almost 'afraid' of displeasing Torvald over even the smallest of issues. Ibsen has made this evident with the continual reinforcement of the theme of secrecy, which indicates the extent of things Nora keeps hidden from her husband in order to be free of his criticisms. One notable example is the motif of macaroons, in which Nora eats them on various instances but 'stuffs' them away as soon as Torvald arrives. Ibsen further hints towards secrecy within the household when Nora plays hide and seek with her children just before Krogstad, the truthbearer of the play, pays a visit.