Character Analysis Of Torvald In 'The Doll's House'

On page 107 it says, “My mother looks at me, it is that look of final resignation I see in her eyes, that look that says she is ready for whatever awaits her beyond the door however sad or horrible.” That takes a lot of spirit to have a brave face in times of despair and be ready for anything and everything. Even though Edward left her for weeks at a time for buisness, and Sandra had to act like a single mom for William, she still loved him. She has the power to look over all of his flaws and imperfections and act like everything was normal when he was there. Nobody ever looks further than skin deep when seeing someone for the first time. That is the main reason why Edward and Sandra got married.

The anonymous narrator shares with us saying, “And he asked for her whole life as simply as he 'd ask for a date. And she promised away her whole life as simply as she 'd offer a hand in greeting or farewell.” (450). With how willing she was with Lee, it turned around to bite her in the rear. Discovering he had a fiancée back home… she was heart-broken. She was so open to believe and to love because, of the minimal attention she had gotten in the most important moments of her life.

Not only does Iago contribute to the isolated Desdemona, her maid Emilia does as well. It can be argued that Emilia knew Desdemona so deeply in contrast to the other characters that the two shared a deeper bond past conversation, this is important to note as Emilia eventually proves the isolation of Desdemona, that even her most trusted friend befalls to the lies that are being told by Iago. Desdemona’s isolation slowly grows throughout the play due to the actions of others and the actions of Desdemona as well. Othello isolated himself from Desdemona, the act of this isolation had been thought out by Iago. This is seen when Iago and Othello discuss the relationship of Desdemona and Cassio, “Did Michael Cassio, when you wooed my lady, Know of your love?” (Shakespeare 3.3.103).

In addition to unrealistic standards, Orenstein is alarmed by the growing popularity of princesses because she views them as “retrograde role models” (329). Therefore, she thinks princesses teach false lessons on morals, speculating less attractive girls will be bullied. Although Orenstein takes a second wave feminist approach, Poniewozik has a third wave feminism viewpoint, which states women can perform female and male tasks. Poniewozik describes various new princess movies that have a third wave feminism approach, for example in The Prince & Me, Paige chooses her career of becoming a doctor over the prince (324). However, in the sequel, she marries the prince and continues working as a doctor.

If humans carelessly continue to find love with people that they barely know, it could actually end up in a terrible relationship. Kristen Roupenian, author of the short story “Cat Person” shows this statement to prove itself true using various literary elements. The story she published in the New Yorker, shows the relationship that exists between a twenty-year-old woman named Margot and a thirty-four-years-old man known as Robert. A relationship always needs to contain a lot of trust and some communication between each other. She proves it by showing the character’s thoughts, by telling the story using the third person limited ()and also by making it appealing to our senses.

Ellie’s crying out that she cannot be without Peter is more than just a phrase said when being in love. Ellie could have actually not been on this trip for so long if it was not for Peter. Capra indicates here that everything women had achieved over the previous decades was only because of the benevolent patriarchal system existing. Furthermore, the

It created a lot of controversies and was heavily criticised as it questioned the traditional roles of men and women among Europeans who believed that the covenant of marriage was holy. Most critics around the world believe the play led to increase awareness on the need for women’s rights in all continents, on the other hand some critics opine that the play depicted women as inferior creatures and dolls who have no personality of their own. Nora Helmer the main character strives to achieve the perfect concepts of life set by the society and her husband. Nora is trapped in her home where her Torvald has built a wonderful life for his ‘doll wife’. Nora’s transformation comes when she discovers the role in doll house imposed on her by the society and her husband and she is desperate to free herself in order to discover her identity.

The reader becomes very aware of the situation Nora is faced with as Ibsen challenges us to think about the societal times women were a part of during the late 1800’s. As Unni Langas states in her article describing gender within the play, “..this drama is not so much about Nora’s struggle to find herself as a human being, as it is about her shocking experience of being treated as a woman..” (Langas, 2005). This gives the reader an insight into Nora Helmer’s character. She is evidently perceived as the Doll trapped in the Doll house, as she is viewed as an entertainer rather than her own person in the eyes of her husband and children. The representation of the doll is symbolically significant as Nora is compared to a beautiful feminine figure, being the doll, but also someone who is treated as a toy and as someone who is disrespected.

Miracles cannot be counted on to occur more than once. The boy and girl had their chance, but believing that if their love was meant to be they would know each other when they next saw each other, they let it pass them by. One never knows what can happen even within a minute that could change his or her life. In the case of the “100% perfect” couple, all memory of each other was lost and because they did not take hold of their fate, they missed out on true love. The narrator’s tale begins with an optimistic “once upon a time,” but ends with “a sad story, don’t you think” (3).

The denouement of the play is received differently by both the readers. In act 3, when Nora intrepidly questions Helmer 's perception of her "most sacred duty" towards her "husband and children", she questions the Victorian era reader 's ideals and beliefs as well which leaves the reader infuriated. Moreover, Nora is thought of as unhinged when she "slams" the door, in hopes of transforming from Helmer 's "little songbird" into a "woman." This is not the case with the modern reader who is relieved by Nora 's epiphany as she begins "to realize everything", including the need to become "independent." The modern reader, on the time spectrum, has had the chance to discuss the sexism that prevails in society and the need for feminism; Nora 's courage in going against the pillars of the Victorian era is something the modern reader finds commendable and aspiring.