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Women's status in Renaissance
The role of the women in the awakening
Women's status in Renaissance
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Throughout history, society often places women inferior to men, causing women to be predisposed to obeying their husband without a second thought. However, when a woman begins to question the idea of loyalty and obedience, her eyes are often opened to the mold that she is encased in and becomes determined to break through and develop her self-potential. In Henrik Ibsen’s A Doll’s House and Kate Chopin’s The Awakening, the main female character is put through a revelation that changes her life forever.
Through their quest to find their own freedom and individuality, Nora Helmer, from A Doll’s House, and Edna Pontellier, from The Awakening, each uniquely discovers themselves. Since the beginning of the play, Nora was very loyal to her husband and even told him how she would “not think of going against your [his] wishes” (Ibsen 6). However, she does not act like an individual because she is controlled by her husband, along with other men, and acknowledges their role as her superiors (Ibsen 20). After Torvald, Nora’s husband, finds out about her secret, she finally understands, that since she was little, her role in society was primarily to be a “doll-child” and a “doll-wife” for the men in her life (Ibsen 87-8). In contrast, Edna got to a point in her life where she just neglected her role established by society because she was tired of being treated as property rather than a person. She spends time without her husband, grows accustomed to the idea of freedom, and discovers her longing for a role as an individual in the world (Chopin 23). Edna tries to escape the obligations that belong to many women of that time like raising the children or waiting for visitors. As Nora is compared to a “doll-wife”, Edna is portrayed as a bird,...
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... freedom (Chopin 171). In order to grow and develop on their own, Nora and Edna needed various sources of relationships that would shape them throughout the novel positively or even negatively. Relationships influenced them in ways that brought about their own awakening.
Breaking the status quo often takes a strong individual who undergoes a transformation that changes them forever. Nora Helmer and Edna Pontellier both choose to lead a new life, free from any responsibilities or limits. Through both of their journeys, the audience experiences a rebirth of their own, looking at their interests and ideas instead of waiting for the acceptance from others.
Works Cited
Chopin, Kate. The Awakening and Selected Short Stories. Salt Lake City: Project Gutenberg, 2006. Kindle File.
Ibsen, Henrik. A Doll's House. Salt Lake City: Project Gutenberg, 2005. Kindle File.
Chopin, Kate. "The Awakening." The Norton Anthology of American Literature.. Gen. ed. Nina Baym. 8th ed. Vol. C. New York: Norton, 2012. 561-652. 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.
Chopin, Kate. The Awakening and Selected Short Stories of Kate Chopin. New York: Penguin Books, 1996.
Chopin, Kate. The Awakening. A Norton Critical Edition: Kate Chopin: The Awakening. Ed. Margo Culley. 2nd ed. New York: W.W. Norton, 1994. 3-109.
Chopin, Kate. The Awakening. Anthology of American Literature. Volume II: Realism to the Present. Ed. George McMichael. New Jersey: Prentice Hall, 2000. 697-771.
Chopin, Kate. The Awakening. 2nd. New York, NY: W. W. Norton & Company, 1994. Print.
In A Doll’s House, Henrik Ibsen wrote a play that showed how one woman, Nora Helmer, stood up to her husband after feeling like she was useless to their marriage and their family. Nora’s husband, Torvald Helmer, was the man of the house and would make every decision for the family, especially for Nora. He supported her financially, but not emotionally. He always took it upon himself to do everything a man was supposed to do at the time, but never let Nora explore herself. He made sure she was kept as just a wife and nothing more. As it was mentioned in the play, Nora was arranged into the marriage by her father. While going through eight years of marriage, she finally felt it was time to find herself as an independent woman in...
Chopin, Kate. The Awakening. The Norton Anthology of American Literature. Ed. Nina Baym. New York: W.W. Norton, 2007. 535-625. Print.
Spangler, George M. "Kate Chopin's The Awakening: A Partial Dissent." Novel: A Forum on Fiction 3 (1970): 249-55.
A Doll House, by Henrik Ibsen, and A Raisin in the Sun, by Lorraine Hansberry, both have central themes of search of self-identity within a social system. This is demonstrated by women characters from both plays breaking away from the social standards of their times and acting on their own terms. In most situations women are to be less dominant than men in society. These two plays are surprisingly different from the views of women in society and of the times and settings that they take place in.
Chopin, Kate. Complete Novels and Stories. Ed. Sandra M. Gilbert. New York: Library of America, 2002. Print.
Works Cited Chopin, Kate. A. The Awakening. New York: Avon, 1972. Print.
Henrik Ibsen's play A Doll's House is an astonishing, yet accurate portrayal of how women were treated in the 1800s. It is essentially a force runner to women's rights and sets a path for many more feminist works to come. The novel fiercely challenges the modern idea that all women, by virtue of being women, are inclined towards feminist political interests. The roles of women have been a big part of literature and are usually a representation of how the roles of women in real life have evolved and continue to evolve. A Doll's House is an essential part of IBO specifically for the fact that it shows historical realism in the Victorian Era, and continues to challenge the unrealistic expectations of women in marriage.
“She could only realize that she herself – her present self – was in some way different from the other self” (Chopin 67). The Awakening by Kate Chopin is a compelling story of a woman who is awakened from the miserable duties of a housewife and mother to a woman who falls in love and finds herself. This story is not to judge a woman for having an affair with her husband, but it is to make the reader fall in love with this woman named Edna and go with her on her journey of finding herself. Edna is an extraordinary character in The Awakening, and it makes the reader see the basis of independence, and also giving the reader his or her own journey and reflection of their own life throughout the novel. The reader becomes more independent and more eager to say what he or she wants in his or her own life by reading this. Edna’s actions make the reader question their own life and if they truly admire it. “She leaned over and kissed him – a soft, cool, delicate kiss, whose voluptuous sting penetrated his whole being – then she moved away from him” (Chopin 177). Edna didn’t have to kiss Robert, but she wanted to. The Awakening defines the word “want” verses having to be made to.
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...