Medea V.S Dolls House

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Medea, the protagonist of Robinson Jeffers' play of the same name, is a vengeful termagant, stricken with grief and wanting nothing but to vindicate Jason's deeds. To her credit, though, she is quite wily, and in possession of one of the most impressive acumen ever given to a character of her type. So deep is her animosity towards Jason that she goes to such lengths as parricide (killing her children, who are merely "pawns of her agony") to extract revenge on her former husband. She does not stop there, though. She despoils him not only of two children, but also of a wife, a father-in-law, and a kingdom. For all her stoicalness, though, she has one weakness, and it happens to be the focus of all her malice: Jason. Other persons matter not to her; any emotions she may feel for them are fleeting. Despite this, Jason, of all the individuals in the world, has managed to cultivate in Medea an enmity so overwhelming that she spends every waking moment devising new means with which to enact her sick justice. Nora Helmer is the very epitome of a reprobate in Henrik Ibsen's A Doll's House. Nora is unique in that her one outstanding métier is also her most destructive shortcoming. This quality is lying, something Nora is more than adept at (though she seems to have a knack for irony as well.) The first word Nora speaks is "hide," which sums up her character absolutely perfectly; she lies to everyone about everything. She lies to her husband, she lies to her best friend, and she lies to herself. The irony in all of this is that, while she believes that her lies benefit all persons involved, she ends up doing more harm than good. Her unknowing husband, Torvald (the target of most of her deception and concealment), has a penchant for irony, too: one of his pet names for his wife is "my little squirrel." Quite a fitting name, as Nora covets the truth the way a squirrel covets

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