A Doll’s House In Henrick Ibsen’s A Doll’s House, the main relationship we see is Nora Helmer and her husband Torvald Helmer’s. Their relationship is seemingly influenced by their era. When first reading the play, one may suggest that the women in this play are victims of this era. As the plot develops, we see that the relationship is also influenced by Nora’s lies, which suggest she was also a victimizer in her relationship, aside from her era. By the end of this play, we see how Nora’s secret changes the relationship between the couple, as she violates the stereotypical role-play as a wife and mother in her era, which generates her inspirational growth.
Sylvia, in her frustration with Gellburg, says ‘Don’t sleep with me again’ in a rather commanding manner. The use of the negative imperative don’t’ gives the audience the sense that Sylvia is finally taking authority - not just over Gellburg, but over herself and over her life. Gellburg, in response to Sylvia’s belittling, cold-heartedness, exclaims: ‘Sylvia, you will kill me if we can’t be together’. Miller introduces elements of foreshadowing and tragic irony, as in scene nine; Gellburg does indeed have a heart attack and becomes severely ill. Gellburg also becomes increasingly emotional in return to Sylvia’s heartless, insensitive statements as is shown in the stage directions when he is ‘beginning to weep’. The portrayal of Gellburg in this scene is a complete contrast to the Gellburg exposed in scene two when he with ‘immense difficulty’ utters ‘I love you’ to Sylvia.
Eliza’s Transformation In Bernard Shaw’s novel Pygmalion its evident to the reader the power struggle between the male and female characters. Towards the end of the play, we can see the true lady Eliza has grown into. In act 3 she states “I don’t think I can bear much more. The people all stare so at me. An old lady has just told me that I speak exactly like Queen Victoria.
Who’s Afraid of Virginia Woolf? Edward Albee’s play entitled “Who’s Afraid of Virginia Woolf?” revolves around one central theme: the idealization of marriage in modern society. George and Martha are a disturbing couple who communicate through insults. Indeed, they provoke each other as if to animate they marital life; they put on a show in front of their guests, Nick and Honey. Throughout the play, Nick and Honey appear as the younger version of George and Martha, only more naive.
Unable to see past his own desires, Torvald thinks Nora should concede to his wishes regardless of what her feelings may be. When Nora refuses to be seduced by him, he is appalled because he thought he could make her do whatever he wanted. Krogstad, too, uses Nora and leaves her at his mercy. Threatening her if she does not return the borrowed money, he states, “But let me tell you this. If I lose my position a second time, you shall
Finally, the Tarantella can be interpreted as one of the most symbolic parts of the whole play. The title of Henrik Ibsen’s play, “A Doll’s House,” is symbolic in itself. The doll in the play would be Nora. Nora is in a mindless role of a plaything that first belongs to her father and then to Torvald. Nora plays her part in the life but secretly wants more and is constantly reminded of how little control over her own life she has.
Therefore she changes dramatically, as she is tired of being treated condescendingly by both her husband, Torvald and her ‘friend’ Christine Linde. This becomes painfully clear to her: “I’ve been your doll-wife, just as I used to be papa’s doll-child.” However, she does know that her ‘childish’ behavior may be in her advantage, as Torvald is used to her acting this way and likes to guide her. “Correct me, lead me, the way you always do, I can’t get anywhere without your help.” This makes Nora a symbol of society at that time: woman deliberately play a role because they otherwise would not be understood or accepted by their environment. Despite Nora’s infantile actions at the opening scenes of this play, Ibsen does show some more mature female characters, even in the male-dominated society they live in. Christine Linde for instance.
He cannot tolerate the fact that his niece falls in love with Rodolpho, which changes him and his character. He tries to show that he is the man of the house, “I want my respect” and tries to mock Rodolpho but fails miserably. His actions lead to his ruination. Moreover, Alfieri, the lawyer, establishes that justice and the law, which are going to be important in the play in his opening speech. .
The very first descriptions illustrate her initial animus by describing it as “one of those sprawling flamboyant patterns committing every artistic sin” (Perkins 41-42). This is significant for it reflects the narrator’s own presence—she is committing an artistic sin during her marriage by having her engaging imagination and her need to compose. Her husband, John, dislikes this, and as a result, the narrator deliberately feels stifled and has to obscure her writing so that her husband will not know. The narrator is characterized as having a nervous state and is overly protected by her
. At the start of the play, Medea’s nurse has briefly introduced the plot, telling how Medea gave up everything for Jason and helped him achieve what he wanted, only for him to then go and leave her to marry a princess. She talks about how badly Medea has reacted to what he has done, and the bad state she is in. The tutor then enters with Medea and Jason’s two sons. The nurse informs him how distraught Medea is and warns the tutor to keep the boys away from her, as Medea seems to hate them and the nurse isn’t sure what Medea will do to them when she is in this state.