Posted at 11.17.2018
The classic Antigone, by Sophocles, and its own fashionable, A Doll's House, by Henrik Ibsen, are both reports of young women whose strong determination and power become offensive problems for the opposing male-dominated societies. Both had their own inspiration of rebelling against everyone. Antigone was compelled into opposing the state of hawaii in order to protect her brother's honor, follow her spiritual obligation, and attack for the right she deserves. Nora, on the other hand, was limited by her marital limitations, yet she offended the state's generalized segregation for the sake of her family's and her relationship's steadiness. Sophocles and Ibsen were similar in the sense that their works revolved throughout the designs of feminism and the growing power problems of women against men who resembled the general interpersonal order. Certain aspects of the demonstration of the dramatists' lead character were put into play to be able to further set up the theme to the audience. In both takes on, the protagonists, Antigone and Nora, portrayed similar characteristics towards feminism and struggling with society. The power struggle between your individuals and their world against male domination was portrayed through Antigone and Nora. Both possess parallel characteristics as evidenced through their activities and dialogues at different part of the works. Their personal features and dramatic connections with other character types in various situation give us further evidence of the similarities of both characters.
Nora and Antigone are both feminine heroines who resisted male antagonists because of their anti-feministic ideology. Being seen inferior compared to the world run by men in both settings of the play, both these character types have been illustrated of experiencing similar feministic character that is now looked upon respectfully in the contemporary world. The society's view, during both schedules of the works, on women can be matched to Helmer's as well. Just how he shows domination over his wife is confirmed by the reiteration of the pronoun, "my" as he directs to Nora, a connotation of "ownership. " In Act I, he once message or calls Nora "my obstinate little girl" (Ibsen 26). He considers of her as a 'play thing' as evidenced when he foretells her by using several nicknames such as "little skylark", "pretty little songbird", "my little sweet-tooth", or "squirrel". That is an evidence of him constantly looking down at Nora, viewing himself as the superior of the household. He restricts her many of her actions and will not give her much liberty. "There can be no flexibility or beauty in regards to a home life that will depend on borrowing and debts" (Ibsen 2). This also tells us that he requires for Nora for granted that she will do as he says, which actually is ironic because it actually is the complete reverse. This attitude of Helmer denotes the overall way of thinking of men towards ladies in the setting up of the play. It proves how men experienced the superiority over women as they were meant to do only household tasks or caring for the family. Men, on the other hands managed the family that ladies took care and attention of, as shown through Helmer's dialogues. Another time when this happens is when Antigone also encounters such sense of authority by Creon. He once mentions how he doesn't desire to be ruled by a woman, a comparable mother nature as Helmer: "I'm alive though, and no female will rule me" (Sophocles 42). This estimate mirrors the traditional, negative principles presented by men in both adjustments of the play. Quite on the contrary, Antigone and Nora do not fall in the world of the general society. They show strong, identified morality as rebels in their culture by filling up the areas of men, "It was like being a man"(Ibsen 3), like Nora says. This experienced shown their assume that these are man enough to do what they need and proving their personality.
Both of the individuals clash with the male-dominated culture in much similar ways. Both dramatists have used icons to symbolize these beliefs of the traditional society and status; Creon in Antigone, and Helmer inside a Doll's House. As the antagonists embodied the overall values of express and society, protagonists, Antigone and Nora, symbolized the individual rebelling resistant to the culture. Antigone was a clear threat to Creon's electricity and strength that ruled the state. Creon's personality was portrayed of being filled with masculinity and sense of control that symbolized the state's legislation and enforcement. She disobeys the ruler, and hence, the world, to bury her sibling in order to fulfill her obligation as a sister. She actually is able to "question Creon's laws and regulations because of her determination and courage. "Similarly, Nora trembled Helmer's "perfect" home that was in the delusion of to be dominating. Helmer too, as Creon, was filled with masculinity, ego, male temperament, whichreasoned his aberration of possession and domination in the family. She confines her role as a housewife and a mother, guarding her family. Both was required to oppose those that that they had family ties with, as they risked major elements of their lives. Nora ended up sacrificing her family as she abandons it, whereas Antigone got to stop her life. But regardless of the price that both of these women had to pay for their selections made, they continued to be unrepentant and justified in their decisions. "Is it imprudent to save lots of your husband's life" (Ibsen 11)?, Nora talks about, " must be saved-and that is can certainly make money emerged to devise a means out of he difficulty". Antigone, exactly like Nora, sensed that she had not done anything incorrect, and experienced made the right decision considering the situation that these were in. "Why should I be ashamed of commitment to my brother" (Sophocles 624)?, asked Antigone when Creon was objecting her decision to offend his order. Both could be considered tragic heroines because their limited choices led them to check out their rules and morality, which gave them only loss. Nora were required to leave her family, unknown of her future, while Antigone had to stop her life for something that she'd not have needed to. They had both sacrificed something important for individuals they care about, and had to oppose the modern culture for his or her love towards their family. Both were considered strong individuals, driven, and justified of these activities, despite of the circumstances.
Antigone and Nora were both blamed to own inherited 'sins' or sinful characteristics off their past generations. Sophocles used this theme of central importance consistently throughout the play. Antigone encountered the accusation from Creon when he said, "clearly she's her father's child, hard and natural. He never learned to yield, for a all his troubles" (Sophocles 580). As the price suggests, the heredity is thought to have passed down to Antigone from Oedipus. Likewise, Nora is also blamed to acquire gotten her characteristics from her daddy as Helmer said, " You are an unusual little spirit. Very like your father It is in the blood vessels; for indeed it is true that you can inherit these exact things, Nora" (Ibsen 4). In both instances, the antagonists blame the lead individuals of being successful sins off their fathers, who presumably have dedicated some kind of sin before (both antecedent to the setting of the play) that the daughters now undergo for. Both Antigone and Nora placed quality value for family. At one point, Nora was completely ready to stop her life and sacrifice it on her behalf family, a similar frame of mind that Antigone placed throughout the play. This was evidenced within the last dialog between Nora and Krogstad, where Nora once instructs him, "ONCE I am no much longer-" (Ibsen 45), suggesting her forcoming fatality if he previously shown the letter to Torvald. This shows their extreme love for his or her family, and so justifies their reason to oppose the culture. Both are strong-willed and sensed validated with their actions even after many constant objections. In Antigone, Ismene tries to influence her at the start of the play. As her loss of life appeared, she still remained firmed to her decision, and continued to justify her decision. This is also evidenced with Nora in her conversation with Krogstad. As he continued to accuse Nora of ruining her interactions, breaking her family's trust, and destroying her household, she remained unconvinced, and stayed solid with her belief. "Is usually a daughter not to be allowed to free her dying father stress and care? Is often a wife never to be permitted to save her husband's life? I have no idea much about law, but I know that there should be laws permitting specific things like that" (Ibsen 24). , discussed Nora. This shows how both individual's character related in many ways as these were devote similar situations.
Antigone and A Doll's House are both works that present the styles of feminism and individual vs. culture through protagonists that have similar characteristics. Whatever the generalized view of women during their time periods, the heroes still found the courage and strength to go up above them. Antigone and Nora are heroes who overcame many obstructions as women to develop personality and self-pride. Both are believed to own pertained characteristics, or"sins" as Helmer and Creon refer to, of their daddy, by the antagonists. Antigone and Nora possessed similar mentality and ideology in the manner they acted, assumed, and thought. Both show proof having parallel personalities through their actions and their reactions to other heroes. The dramatists have used these similar characterization to improve their themes; just a the publisher of Ibsen's play composed, "creating reasonable dialogue, a suspenseful stream of incidents, and, above all, psychologically penetrating characterization that produce the problems of his dramatic personages utterly convincing" (Bergh back cover).