Christmas Tree In A Doll's House

Mary Oliver’s The Black Walnut Tree displays a relationship between a family (the mother and daughter) and their tree. In the beginning of the poem towards the middle , both the mother and daughter are conflicted with the decision of tearing down the tree , and in return being able to pay off their mortgage. On the contrary , if the family decides to cut the tree they are afraid they may lose the strong family ties, and past generations that are connected to the tree. Ultimately the family of two has to make the decision to cut the tree or allow the tree to stay along with it’s symbolism. Mary Oliver utilizes figurative language devices such as imagery in reference to the appearance of the tree ; symbolism which corresponds to the symbolic

In Mary Oliver’s “The Black Walnut Tree,” Oliver employs personification, split section, and conflict between literal and figurative to establish the tree’s role in the family as a symbol of both the adversities and the rewards that arise from their endeavor to preserve their family history.

Children in the age range thirteen to fifteen are often transitioning through a critical time of their lives. They frequently look to others as a cicerone on how they themselves should act. In the novel, Speak by Laurie Halse Anderson, Melinda Sordino calls the cops on an end-of-summer party at which she was raped. The novel depicts Melinda’s excursion as to how she copes with the heart-wrenching events that have affected her momentously as well as creating “[a] frightening and sobering look at the cruelty and viciousness that pervade much of contemporary high school life.” (Kirkus Reviews, Pointer Review). The tragic event along with the rejection of her friends took a rather large toll on Melinda Sordino, in which, at one point, she stops

In the novel Their Eyes Were Watching God, the pear tree is a major symbol for Janie and her growth throughout the book. Throughout the whole story, the pear tree keeps returning for Janie, in person and in her mind. The pear tree, not only holding Janie’s experience of a first kiss, holds many memories and symbols for Janie in the story. Having this tree helps Janie through many hard times, and gives her something to think about in her times of need. The pear tree serves as a means of characterizing Janie throughout the novel by symbolizing lessons for Janie, Janie’s life, and giving Janie a goal for life.

“A Doll’s House” is a play written by Henrik Ibsen, set in late nineteenth century where women were expected to uphold social norms of being a submissive wife and a caring mother. In the beginning of the play, Nora is initially portrayed as a naive and obedient “doll” trapped inside of a “Doll’s House”, but towards the end of the play, Nora is able to come to the realisation that she was never happy during her eight years of marriage with Torvald, leading to her leaving Torvald and breaking free from the “Doll’s House”. This essay will explore the different factors which allows Nora to see why she must break free.

Speak, a novel written by Laurie Halse Anderson, is a memorable story about a girl who overcomes a horrific experience, rape, and with it, injustice. Melinda, the main protagonist, has an emotional journey, and with the help of her art teacher, Mr. Freeman, survives through this excursion. As Mr. Freeman says, “‘Welcome to the journey’” (12). Mr. Freeman assists Melinda, by constantly questioning her emotional being, turning an art project into a pool of her feelings, and forcing Melinda to see the light in her heart. With Mr. Freeman lifting her emotional baggage, Melinda can finally be free and with that, experience happiness once again.

Nora begins the play as a childlike character who is always happy and grateful; only afterwards we find out that she has a big secret that adds more maturity to the character. In a way, she shows us the span of life; you begin as a child and mature, as secrets get heavier which then causes you to figure out your personality. Nora has been manipulated, has manipulated throughout the play. The whole play was about her actions and consequences. This book shows the readers what it means to grow

During act III, Nora asked to speak to Torvald after her performance of the tarantella dance. The following conversation demonstrated her quest for autonomy and freedom, as well as Torvald’s inadequate responses to her arguments and demands; it also showed how deeply connected her unhappy situation is with society’s regulation of the relationship between the sexes. She asserts that she is “...first and foremost a human being”, and her strong conviction that her womanhood, and the expectations associated with it, are secondary, strengthens her resolve to make a radical choice: A break with both husband and, with necessity due to her legal position, her children (Ibsen, 184). During her conversation with Torvald, she proclaims, “I have other sacred duties...The duties to myself (Ibsen, 184).” Her existential choice seems to be forced upon her by society, but in adopting her husband‘s and society’s language, so often used to contain in control women, she now speaks of her duties towards herself, even sacred ones. In a radical refusal to stick to inherited notions of women’s role in family and society, Nora rejects the other identities available to her, both as a doll and as self-sacrificing wife and mother, and of her husband’s pet names for

I can 't dance to-morrow if I don 't rehearse with you first! Let me rehearse at once. We have time before dinner. Oh, do sit down and play for me, Torvald dear; direct me and put me right, as you used to do (Ibsen 30 & 31). Nora was able to prevent Torvald from seeing the letters for a bit of time by using the tarantella to her benefit. This reinforces the idea Torvald values Nora for her intangible and superficial qualities such as her beauty more than anything. Another symbol that is seen throughout the novel is the macaroons playing the role of the “forbidden fruit.” It seemed as though the macaroons symbolize a main theme in the play which was temptation and deceit. In act 1, Torvald was questioning Nora about her eating the macaroons highlighting the parent a child aspect of their relationship. “Torvald: Hasn 't she even nibbled a macaroon or two? NORA. No, Torvald, indeed, indeed!”(Ibsen 3). This quote displays how Nora was literally pleading to Torvald that she wasn’t eating the forbidden fruit (the macarons) because she feared getting into a sort of trouble with Torvald, further intensifying the parent and child aspect. Taking the play’s title into perspective: “A Doll’s House” literally, and perfectly describes Nora’s life which is basically a doll’s house. Nora is living under Torvald’s roof and everything she does is decided and controlled by him. Nora acts how Torvald has primed her to, she stays out of his business, and as a reader of the book, it seems as though he sees her solely for her physical appearance, and their attraction is only physical, which could have contributed to the fall of their

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. An example of Torvald’s thoughts about Nora is clear in Act three as a conversation between the pair highlights his true feelings towards his wife, “Torvald: It's shocking. This is how you would neglect your most sacred duties. Nora: What do you consider my most sacred duties? Torvald: Do I need to tell you that? Are they not your duties to your husband and your children? Nora: I have other duties just as sacred. Torvald: That you have not. What duties could those be?” (Ibsen, Act three). This exemplifies the degrading

'Human being', the easiest word to spell until it holds a significance. The human being is typically defined as any individual of the species Homo sapiens, distinguished from the other organisms by their superior abilities to do different tasks. But does this definition really differs from a man and woman.

Torvald and Nora’s relationship and home can be compared to as a “doll house” because of its perfect characteristics, however it is quite the opposite, with its foundation based on lies and pretend happiness. The stage directions read “A room furnished comfortably and tastefully, but not extravagantly. At the back, a door to the right leads to the entrance-hall, another to the left leads to Helmer’s study. Near the window is a round table, arm-chairs and a small sofa. Engravings on the walls; a cabinet with china and other small objects; a small bookcase with well-bound books” (Ibsen 4). Similar to a dolls house, everything is neatly placed and rooms are divided into separate areas. Although, the house seems to be a perfect one, Nora and Torvald put on facades and appear as everything is normal between them. In fact, Nora continues to lie to Torvald for example, her forgery. Mrs Linde tries to get Krogstad to not reveal the letter to Helmer. Mrs Linde states: “Helmer must know all about it. This unhappy secret must be disclosed; they must have a couple understanding between them, which is impossible with all this concealment and falsehood going on,” (Ibsen 52). Mrs. Linde is well aware of Nora’s secret and the consequences that would follow if Torvald found out. When Torvald finds out about the letter, he is only worried about his reputation and his appearance. Torvald says, “From this moment happiness is not the question; all that concerns us it to save the remains, the

First, Nora is treated like a child by her husband Torvald. Torvald had nicknames for Nora like squirrel or skylark that was often accompanied by demenors like sweet or little. At the end of the play, Nora tells her husband that he treated her like a weak, fragile doll just like her father. Nora’s feelings about Torvald’s attitude is evident in the quote from Nora and Torvald’s conversation ”I was your little songbird just as before- your doll whom henceforth you would take particular care to protect from the world because she was so weak and fragile.”(Pg. 102). The literary element is Personification since Nora is being compared to a type of bird as though Nora isn 't human. Nora’s husband also got really mad at Nora for getting money on her own through a loan with Torvalds signature forged by Nora. The childish feeling that Nora is experiencing is also supported by the fact that she can’t have her

In 1880s, women in America were trapped by their family because of the culture that they were living in. They loved their family and husband, but meanwhile, they had hard time suffering in same patterns that women in United States always had. With their limited rights, women hoped liberation from their family because they were entirely complaisant to their husband. Therefore, women were in conflicting directions by two compelling forces, their responsibility and pressure. In A Doll’s House, Ibsen uses metaphors of a doll’s house and irony conversation between Nora and Torvald to emphasize reality versus appearance in order to convey that the Victorian Era women were discriminated because of gender and forced to make irrational decision by inequity society.

In Henrik Ibsen’s A Doll’s House, appearances prove to be deceptive veneers that disguise the reality of situations and characters. Ibsen’s play is set in 19th century Norway, when women’s rights were restricted and social appearance such as financial success and middle class respectability were more important than equality and true identity. Ibsen also uses realism and naturalism, portraying the Helmer’s Marriage through authentic relationships, which are relatable to the audience. In A Doll’s House, Nora represents 19th century women entrapped by society to fulfill wifely and motherly obligations, unable to articulate or express their own feelings and desires. Initially, Nora appears to be a dependent, naïve girl, yet as the play unfolds, we see her as strong, independent woman, willing to make sacrifices for those who she cares about as well as herself. Henrik Ibsen uses symbolism in order to portray Nora’s sovereignty from the strict social guidelines of morality and appearances in 19th century Norway.