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A doll house marriage analysis essay
A Doll's House marriage Essay
A doll house marriage analysis essay
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Escaping the Cage of Marriage in A Doll House
A bird may have beautiful wings, but within a cage, the beautiful wings are useless. Within the cage, the bird is not fulfilling the potential for which it was created - it is merely a household decoration. In Ibsen's symbolic play A Doll House, Nora is the bird, and her marriage is the cage. Externally, Nora is a beautiful creature entertaining her husband with the beautiful images of a docile wife, but internally, she is a desperate creature longing to explore her potential outside the cage of her marriage. In a society dominated by the expectations of men, Nora must choose between the obligations determined by her role as wife in opposition to the obligations of self, in determining her true identity. Within the context of love, she commits forgery, and through this deception, discovers her marriage is nothing more than an illusion, and she nothing more than a doll within Torvald's house.
In Act I, the Christmas tree symbolizes the Helmer's marriage. Externally, the tree is beautifully decorated, but internally it is dying because the tree has no roots to feed it. Nora and Helmer are playing the roles that society has taught them. He is the strong provider and protector; Nora is the helpless little woman who depends on him. Like the Christmas tree, the Helmer's marriage is just an image of beauty, dying on the inside. After Krogstad informs Nora that he intends to blackmail her, she tells the maid to bring her the tree and set it in the middle of the floor (center stage) (1581). Nora begins to decorate the tree:
[I'll put c]andles here [and] flowers here. That terrible creature!
Talk, talk, talk! There's nothing to it at all. The tree [is] going to be lo...
... middle of paper ...
...ond the cage, the beautiful wings carry the bird into a life worth living. A life where the birds have the opportunity to accomplish the obligations of their creation is the only life worth living.
Works Cited
Baruch, Elaine Hoffman. "Ibsen's Doll House: A Myth for Our Time." The Yale Review 69 (1980): 374-387.
Gray, Ronald, ed. Ibsen-A Dissenting View: A Study of the Last Twelve Plays. Cambridge: Cambridge UP, 1961.
Ibsen, Henrick. A Doll House. The Bedford Introduction to Literature: Reading, Thinking, Writing. 5th ed. Ed. Michael Meyer. Boston: Bedford/St. Martin's, 1999. 1564-1612.
Northram, John. "Ibsen's Search for the Hero." Ibsen: A Collection of Critical Essays. Ed. Rolf Fjelde. Englewood Cliffs, NJ: Prentice-Hall, 1965. 107-113.
Templeton, Joan. "The Doll House Backlash: Criticism, Feminism, and Ibsen. PMLA 104.1(1989): 28-40.
example the effect the war had on Carlo is evident on page 40 when he
doesn't give the reader a lot to ponder on as it is a simple happy
Ibsen, Henrik. A Doll's House. Literature and the Writing Process. Elizabeth Mahan, Susan X Day, and Robert Funk. 6th ed. Upper Saddle River, NJ: Prentice, 2002. 916-966.
In the novel “The strange case of Dr. Jekyll and Mr. Hyde” a number of
The Strange Case of Dr. Jekyll and Mr. Hyde was written by Robert Louis Stevenson during the Late Victorian era. Although "this horror story owes its allegiance to Gothicism rather than realism, many critics suggest that Robert Louis Stevenson 's tale of a man split between his respectable public identity and an amoral secret self captures key anxieties of the fin de siècle" (Norton 1669). The Late Victorian era was “the state of mind prevailing during the final decades of the nineteenth century” (Norton 1668). In the story of The Strange Case of Dr. Jekyll and Mr. Hyde, there are some reflects of the breakdown of Victorian values that took there undergo of their citizen responsibility as a whole.
Davies, H. Neville. 1982. "Not just a bang and a whimper: the inconclusiveness of Ibsen's A Doll's House." Critical Quarterly 24:33-34.
wanted to get opinions across and to do that the character had to be a
The novel ‘Dr. Jekyll and Mr. Hyde’ was written by Robert Louis Stevenson in the Victorian era, which had a very different culture from today. The book was first published in 1886 in England and it brought success to the author. The Victorians had strict moral codes to live under as middle class people and had to be well respected to be considered as a good person. The character’s reputation emerges throughout the novel as an essential tool to success in the society of the era. Another Victorian value expected of them was to live a life without any sin and to obey the Bible as literalists. However, this only prompted people to keep certain thoughts secluded, behind closed doors instead of eliminating them.
Imagery symbolically guides the process of self-emancipation for Nora, the protagonist of A Doll's House by Henrik Ibsen. Objects like the macaroons, the lamp, the Christmas tree, and costumes represent the movement towards freedom of a woman who was a victim of society. Ibsen painted Nora as a youthful and lovely creature who was brought through life treated as a plaything by both her father and then her husband, Torvald. She must break society's unwritten laws. Although the consequences of her actions are initially minor, they start her along the path towards crisis when she realizes her position and the injustice of it. Through Ibsen's use of symbolism, objects in the play echo her process of anguish to liberation.
Ibsen, Henrik. “A Doll’s House.” Literature for Composition. Ed. Sylvan Barnet, William Burto, and William E. Cain. 9th Ed. New York: Longman, 2010. 792-841. Print.
Ibsen, Henrik. A Doll House. Lives Through Literature: A Thematic Anthology. Ed. Helane Levine Keating et al. 2nd ed. New Jersey: Prentice Hall, 1995. 782-838.
Ibsen, Henrik. A Doll's House. Trans. William Archer. Boston: Walter H. Baker & Co., 1890. Gleeditions. Web. 12 April 2014
Henrik Ibsen’s, A Doll’s House, took a very different outlook on society in not showing
Ibsen, Henrik. A Doll's House. In Four Major Plays. Trans. James McFarlane and Jens Arup. Oxford: Oxford University Press, 1981.
Ibsen, Henrik. "A Doll House." Ibsen : Four Major Plays - Volume 1. Trans. Rolf Fjelde. New York: Signet Classics, 1992. 43-114. Print.