Similarities Between Cyrano De Bergerac And A Doll's House

Libra

As Susan B. Anthony once said, “Independence is happiness.” In Ibsen’s A Doll’s House, set in Norway just before the turn of the twentieth century, a housewife learns that unconsciously following her husband’s commands does not necessarily bring joy into her life. Likewise, in Edmond Rostand’s Cyrano de Bergerac, set in the 1600’s of Gascony France, a French nobleman learns that relying on others for love often doesn’t bring delight in his life either. Both characters, Nora and Cyrano, reflect parallel lives as they struggle to find happiness. In A Doll’s House and Cyrano de Bergerac, Nora and Cyrano both realize that their dependence becomes a burden from getting what they desire and that their independence helps them reach their goal

of contentment. However, by the end of both plays they both understand that in order to obtain happiness, a balance between independence and love should be maintained.

In Norway during the late nineteenth century, a women’s independence is a heated topic, and A Doll’s House (written in the late nineteenth century) foreshadows a women’s fight for independence. Similar to the rest of Norway, Nora learns that her independence contributes to a big part herself, but not in the duration of most of the play. When Torvald questions Nora on if she purchases Macaroons, Nora mightily rejects the claim by stating, “No. Why do you imagine that?” (Ibsen 1024) Although Nora does purchase macaroons, the lie she tells demonstrates her willingness to maintain the pretense of a subservient housewife to please Torvald, which accentuates her dependence on Torvalds’s love towards the beginning of the play. Nora prefers to maintain a needy role to her husband rather than telling the truth and defending

her decision to purchase the macaroons, despite hearing the caveat from Torvald. As the play continues Nora’s view on her role changes. She recognizes that her independence seems to be more beneficial to her than loving a man who only dears her for her dependence on him. When Torvald heavily defends his opinion of reputation, Nora responds with prominent words as she articulates, “Millions of women have done just that” (1073). Nora proves to Torvald that though sacrificing his independence for her seems insane, she has done that for him her entire life. Nora realizes that she does not need Torvald treating her poorly, and she decides that becoming independent appears to be the best decision for the near future. Here, her freedom from being “a doll” appears to be enough pleasure for her. Nora finally absorbs the entirety of the situation, and discovers that the eight years of dependence never once led to elation.
Almost everyone teases Cyrano about the length of his nose in Cyrano de Bergerac.

The teasing, with the addition of his love referring to him as a “friend”, Cyrano’s confidence in himself is not the highest. In order to attempt to have Roxane love him back, Cyrano has to depend on who she loves, Christian. With Cyrnao’s help, CHristia tries to woo Roxane back with heartfelt poetry as he states, “No – No- Not anymore – I love you… evermore… and ever… More and more!” (Rostand 105) Cyrano’s affinity for Roxane is so great that he has the will to credit Christian with his poetic way of words, suggesting Cyrano’s willingness to give up his independence just to feel Roxane’s love vicariously through Christian. Monsieur de Bergerac’s aspiration is to feel Roxane’s warmth, and at the beginning of the play he reaches satisfaction with depending on Christian to feel her affection. However, his dependence hampers his chance of fulfilling his dream of happiness with Roxane. Similarly to A Doll’s House, both Nora and Cyrano start off their respective plays relying on someone. Nora remains subject to Torvald and becomes restricted (without knowledge of it yet) from independence and happiness. Correspondingly, Cyrano maintains reliance on Christian, and never truly experiences a state of bliss. As the play progresses, Cyrano separates himself from Christian and differentiates himself to Roxane as the one she truly loves. Having the knowledge that his death is fast approaching, Cyrano reads

the letter Roxane and she recognizes the voice:
ROXANE. I understand everything now : The letters --- That was you. . . .
CYRANO. No!
ROXANE. And the dear foolish words--- That was you. . . .
CYRANO. No!
ROXANE. And the voice . . . in the dark. . . . That was . . . you! (189)
Having waited long enough, Cyrano deliberately reads the letter to distinguish him as the one who wrote the letters to gain Roxane’s love before he passes away. Here Cyrano gets recognized as independent, allowing Roxane to see his true self and love the actual man who wrote the poetic letters. Likewise to A Doll’s House, the then housewife and self-doubting French nobleman see their independence greatly impacting them. Nora finally makes her own decisions without subconsciously thinking of Torvald’s reaction to the situation. In addition, Cyrano extricates his struggle of standing out by becoming independent and gaining Roxane’s love. Cyrano dies at the end of the play, but dies peacefully and happily due to his transition from a dependent man to an independent man who self-identified himself to all.

At the end of both plays, both characters recognized they must stabilize their love with independence to achieve happiness. In A Doll’s House, Nora transforms from a completely dependent wife to a strong independent women. Just as drastic of a change, in Cyrano de Bergerac, Monsieur de Bergerac transitions from a dependent man with no happiness to an independent person with lots of love and joy. In conclusion, both characters reached their goal of happiness, but still with much to learn. Happiness does not mean complete independence nor does it mean ample love. Pure happiness represents a scale, where equilibrium will be reached when independence and love become balanced.