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Antigone as a modern woman
Antigone as a modern woman
How does gender play in antigone
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Marlo Thomas says, ‘‘One of the things about equality is not just that you be treated equally to a man, but that you treat yourself equally to the way you treat a man.” Antigone, written by Sophocles, and A Doll’s House, written by Henrik Ibsen, are two plays about two women who defy the rules of society. In Antigone, an ancient Greek play, the girl breaks the king’s law in favor of the gods’ law by giving her brother, Polynices, a proper burial. In the end, Antigone dies because of her behavior, but not before she shows how strong she is when she stands up to Creon. In A Doll’s House, a Norwegian play that takes place in the late 1800s, Nora Helmer appears to be a normal, subservient wife to her husband, Torvald. However, throughout the drama, the audience finds out that she breaks the law by taking out a loan without her husband’s approval. Although she does it to save her husband’s life, her actions will still be looked down upon in society. In the resolution of the play, Nora ruins her good reputation and breaks society’s rules when she leaves Torvald and her three children. It is important to understand the roles and relationships of women because they affect the families, society, and everything else around them. The restrictions and limitations of women in Antigone and A Doll’s House affect the characters’ persistence to achieve their goals, willingness to commit crimes for their love of someone close to the them, and breaking of society’s rules.
Both Nora and Antigone are persistent in their beliefs and achieving their goals. In A Doll’s House, Nora constantly saves money so she can pay back Krogstad for the loan. To emphasize this, she says, “When Torvald gave me money for clothes and so on, I never used more than half ...
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...y love drive them to do unlawful things in each play.
A Doll’s House and Antigone are very good examples of what happens when women try to break the molds of their society. The women’s characteristics of persisting to achieve their goals, willingness to commit crimes for their love of someone close to the them, and breaking of society’s rules show that men are not the only ones that can think for themselves. Nora and Antigone’s qualities affect the resolutions of the plays more so than any other factor in the dramas.
Works Cited
Ibsen, Henrik. A Doll's House. World Literature: An Anthology of Great Short
Stories, Poetry, and Drama. Columbus, Ohio: McGraw Hill Glencoe, 2004.
140-202. Print.
Sophocles. Antigone. World Literature: A Anthology of Great Short Stories,
Poetry, and Drama. Columbus, Ohio: McGraw Hill Glencoe, 2004. 14-57. Print.
In Henrik Ibsen’s play A Doll House, Ibsen tells a story of a wife and mother who not only has been wronged by society, but by her beloved father and husband because of her gender. Nora left her father’s house as a naïve daughter only to be passed to the hands of her husband forcing her to be naïve wife and mother, or so her husband thinks. When Nora’s husband, Torvald becomes deathly ill, she takes matters into her own hands and illegally is granted a loan that will give her the means to save her husband’s life. Her well guarded secret is later is used against her, to exort Torvald, who was clueless that his wife was or could be anything more than he made her. However, Nora has many unrecognized dimensions “Besides being lovable, Nora is selfish, frivolous, seductive, unprincipled, and deceitful” (Rosenberg and Templeton 894). Nora is a dynamic character because her father and her husband treat her as a child and do not allow her to have her own thoughts and opinions, as the play progresses she breaks free from the chains of her gender expectation to explore the world around her.
“Remember we are women, we’re not born to contend with men” (Sophocles, 18). The popular literary works, Antigone and A Doll’s House, written by Sophocles and Ibsen, are two famous tragedies that have been performed and read throughout the decades. Although countless audiences have been entertained by these well written plays, few would care to guess that many lessons and several unfortunate truths can be found with a less than tedious inspection of the characters and the reactions they give to their circumstances. The two main characters in these stories, Antigone and Nora, face adversities and problems that are amplified by their society’s views on the rights and abilities of women. The two main male characters in these plays, Creon and Helmer, cause the greater part of the struggle that the female protagonists face. The difficulties that Helmer and Creon create during the plot of these stories are the cause of three major characteristics of what one would consider typical to a headstrong man in a leadership position. The three features of Creon and Helmer that lead to the eventual downfall of Antigone and Nora, are pride, arrogance, and ignorance.
The book We, and the plays Antigone and A Doll’s House provide rich support for individual reasoning and ardent opposition to mindless devotion to establishment. Zamyatin’s story opens with a perspective in support of the fanatical institution, but on deeper levels of commentary contradictions are already starting to propagate. A potential allusion to Zamyatin’s own ideological confusion early on in his life, the hidden meaning of We’s early lines reveal the trap of an ideal society. While Zamyatin felt that trust in society led to the decline of personal willpower, Sophocles argued that personal willpower provided a better alternative to trust in society. Antigone sticks to her morals, even in direct violation of laws established by the “Ship of State”. Sophocles paints a picture of human beings as the play toys of malevolent gods and goddesses; in the end sticking to morals is the only way to escape the malicious cycle that plagues Thebes. Ibsen provides middle ground between the others as Nora’s awareness of the pitfalls of an ideal society prompt her to seek new beginnings as an aware and thinking individual. In the final scene of A Doll’s House, Nora articulates to Torvald her motives for leaving him and abandoning their family:
In Act I, it seems evident that Nora does not understand the actual value of money but she has an infatuation with luxuries such as expensive Christmas gifts and she justifies this by buying less expensive clothes, which she has confided in Mrs. Linde, her friend. Helmer, immediately labels his wife as a “little spendthrift” (Ibsen, 660). She seems to think that money can be easily borrowed and paid back.
In the novels A Doll's House and Antigone, Ibsen and Sophocles respectively create two lead female characters, Nora and Antigone, who confront society's expectations of women in fundamentally different ways. Nora goes against the grain of middle class society by first forging her father's signature and then deceiving her husband, Torvald, throughout their marriage; Antigone, on the other hand, openly challenges and defies the rule of men, including her uncle and King of Thebes, Creon. Although Nora and Antigone share some comparable personality traits, like being strong willed and motivated, they confront the men in their lives and their comparable societies in two distinctive ways, which, as a result, leads to two differing denouements.
...and son” , and has caused the death of her mother, father and two brothers. Despite all she remains proud of it and would die to honour her brother who possesses it. Before her death she refers to herself as the “Last daughter of your royal house” as she doesn’t consider Ismene who shied away from duty to Polynices to have the royal blood. Antigone dies easily for only in death can she rejoin her family and escape her cursed life. Similarly in A Doll’s House Nora’s children truly love her, It is mentioned many times them wanting to see her and how they enjoy playing with her “children want to come in to Mamma – they’re asking so prettily.” . The children are doomed to have their mother walk out on them at the end but they still love for her, Krogstad’s children are never seen, but what he does he does for them and can it be hoped they reciprocate the feelings.
Henrik Ibsen’s A Doll’s House, written in 1879, is set in late-19th century Norway. Upon publication, Ibsen’s biting commentary on 19th century marriage stereotypes created widespread uproar. In the play’s first act, the viewer is introduced to a young married couple by the names of Nora and Torvald. In tune with stereotypes of the time, the relationship is controlled almost dictatorially by the husband. Nora is often treated by Torvald the way one might expect a father to treat his daughter. For instance, Torvald incessantly refers to Nora by child-like nicknames such as “my little squirrel” and “skylark” and often speaks to her in a condescending manner. Nora, who acts as a symbol of all women of that time, initially fits in very well with the common perception of women in late-19th century Scandinavia. Torvald himself even extends this sentiment of male infallibility and female submissiveness to the whole female race, saying, “Almost everyone who has gone to the bad early in life has had a deceitful mother (Ibsen 27).” However, throughout the play Nora begins to break the mold of inferiority that was associ...
Women in most cultures have been designated as second to men and in some instances, considered below male children as well. With the passage of time women gained respect and the right for equality. Although gender discrimination remains, a lot of progress has been achieved. Literature is a one of the facets of the human race that reflects the culture change of people. William Shakespeare’s King Lear portrays the patriarchal system of the Renaissance era, which leaves women completely dependent on the male head of household. In Henrik Ibsen’s Doll House, set in the modern era, there is still a patriarchal system but women have just a little more freedom. The article, The Doll House Backlash: Criticism, Feminism, and Ibsen by Joan Templeton, analyzes the gender subordination in A Doll House. Comparing and contrasting the themes of the two plays followed by consideration of the article’s research on the theme in A Doll House, assists in developing an understanding of the gradual progression of women’s freedom to be their “true selves” through equality with men. The “true self” is a person's character that is masked by a false portrayal designed to appeal to others.
Nora and Antigone were both very headstrong women. During the time periods of both plays, women were expected to be subservient and share the same opinions as their husbands. The two lead women in the plays show their obstinacy and ability to take care of themselves in many instances. One example in Antigone’s story is when she says (to her “stereotypical woman” sister) of her plan to bury Polynices, “He is my brother and—deny it as you will—your brother too. No one will ever convict me as a traitor, (Sophocles 18). She then goes on to...
...igone is expected to be subservient, but has an urge to defy. Ismene tries to remind her about women’s place in society, but fails in trying to persuade Antigone. Nora all her life has been the little helpless lark that cannot think for herself. Torvald sees her as what a woman was expected to be, and she is powerless. The resoluteness and the strong-will of both Antigone and Nora are vital. Without these qualities they would not of gotten far in their campaigns. Antigone has the constant but shaky decisiveness throughout the story. While, Nora has an unclear decisiveness until the very end when she completely decides to move out and is unwavering to Torvald’s pleas. These characters tell the story of women in the past that have paved the way for women today. Without them who knows how women would have been treated today? Surely, their actions were greatly needed.
Nora is a dynamic character. When the play begins Nora is viewed and presented as a playful and carefree person. She seems to be more intent on shopping for frivolous things. But, as time goes on it becomes apparent that Nora actually has a certain amount of seriousness in her decisions and actions in dealing with the debt she incurred to save Torvald’s life. Nora’s openness in her friendship with Dr. Rank changes after he professes his affections toward her. Her restraint in dealing with him shows that Nora is a mature and intelligent woman. Nora shows courage, not seen previously, by manipulating her way around Krogstad and his threats to reveal her secret. After feeling betrayed by Torvald, Nora reveals that she is leaving him. Having
The enforcement of specific gender roles by societal standards in 19th century married life proved to be suffocating. Women were objects to perform those duties for which their gender was thought to have been created: to remain complacent, readily accept any chore and complete it “gracefully” (Ibsen 213). Contrarily, men were the absolute monarchs over their respective homes and all that dwelled within. In Henrik Ibsen’s play, A Doll’s House, Nora is subjected to moral degradation through her familial role, the consistent patronization of her husband and her own assumed subordinance. Ibsen belittles the role of the housewife through means of stage direction, diminutive pet names and through Nora’s interaction with her morally ultimate husband, Torvald. Nora parades the façade of being naïve and frivolous, deteriorating her character from being a seemingly ignorant child-wife to a desperate woman in order to preserve her illusion of the security of home and ironically her own sanity. A Doll’s House ‘s depiction of the entrapment of the average 19th century housewife and the societal pressures placed upon her displays a woman’s gradual descent into madness. Ibsen illustrates this descent through Torvald’s progressive infantilization of Nora and the pressure on Nora to adhere to societal norms. Nora is a woman pressured by 19th century societal standards and their oppressive nature result in the gradual degradation of her character that destroys all semblances of family and identity.Nora’s role in her family is initially portrayed as being background, often “laughing quietly and happily to herself” (Ibsen 148) because of her isolation in not only space, but also person. Ibsen’s character rarely ventures from the main set of the drawi...
In Henrik Ibsen’s A Doll House, a drama written in the midst of an 1879, middle-class, suburban Europe, he boldly depicts a female protagonist. In a culture with concern for fulfilling, or more so portraying a socially acceptable image, Nora faces the restraints of being a doll in her own house and a little helpless bird. She has been said to be the most complex character of drama, and rightfully so, the pressure of strict Victorian values is the spark that ignites the play's central conflicts. Controversy is soon to arise when any social-norm is challenged, which Nora will eventually do. She evolves throughout the play, from submissive housewife to liberated woman. It seems as though what took women in America almost a century to accomplish, Nora does in a three-day drama. Ibsen challenges the stereotypical roles of men and women in a societally-pleasing marriage. He leads his readers through the journey of a woman with emerging strength and self-respect. Nora plays the typical housewife, but reveals many more dimensions that a typical woman would never portray in such a setting.
Henrik Ibsen paints a sad picture of the sacrificial role of women throughout all social economical classes in his play “A Doll House”. The story is set in the late 19th century and all minor female characters had to overcome adversity to the expense of love, family and self-realization, in order to lead a comfortable life. While the main female protagonist Nora struggles with her increasingly troubled marriage, she soon realizes, she needs to change her life to be happy as the play climaxes. Her journey to self-discovery is achieved by the threat of her past crime and her oppressing husband, Torvald and the society he represents. The minor female characters exemplifying Nora’s ultimate sacrifice.
Many women in modern society make life altering decisions on a daily basis. Women today have prestigious and powerful careers unlike in earlier eras. It is more common for women to be full time employees than homemakers. In 1879, when Henrik Ibsen wrote A Doll's House, there was great controversy over the out come of the play. Nora’s walking out on her husband and children was appalling to many audiences centuries ago. Divorce was unspoken, and a very uncommon occurrence. As years go by, society’s opinions on family situations change. No longer do women have a “housewife” reputation to live by and there are all types of family situations. After many years of emotional neglect, and overwhelming control, Nora finds herself leaving her family. Today, it could be said that Nora’s decision is very rational and well overdue.