Women Modern culture Rebellion

During the beginning of the 19th hundred years, women have emancipated and rebelled in their own ways from the norms and values of the culture. We can observe that the theme of rebellion has been depicted in both 'A Doll's House' and 'Antigone'. In 'A Doll's House' by Henrik Ibsen, it is Nora Helmer who is first launched and in 'Antigone' by Sophocles, the lady who goes up up alone against Ruler Creon and dies young is first presented. We can thus say that in both works, the dramatists have used feminine characters as their main protagonists to put forwards the theme of rebellion and also to show its result each in a male prominent society.

In 'A doll's house' and 'Antigone' both Antigone and Nora step in to the spotlight as the feminine hero who have been devote a compromising situation and is forced to decide whether it is more important to check out what population dictates, or go with what they feel is moral and just. They go resistant to the accepted interpersonal and legal norms of the woman's role in their particular society. They actually so for several different reasons. Nora in 'A Doll's House' rebels initially to keep her world intact and on the other hand to throw away that world which she eventually ends up since a rest. In 'Antigone', the feminine protagonist rebels because she realizes that after having lost all that she placed dear; the only choice left on her behalf is to do what she has learned is morally right, that is to bury her sibling Polynices though it was illegitimate.

Nora's first rebellious take action against the public restrictions put on women is to secure financing. She will this to ensure that she and her family may take a long holiday in Italy so that her partner Torvald can recover his health after being sick.

Not only has she anchored a loan, but she has also were able to meet all the monthly payments without her husband's consent. In those days, a wife could not borrow money without her husband's authority but Nora while acting childish constantly has managed to do the impossible. Nora accomplishes all this by simply constantly resting to Torvald, her spouse. She claims, when speaking to Mrs Linde, that her spouse must not know of her deceptions because of how unpleasant and humiliating it might be for Torvald, with his manly independence to know that he owed her anything.

Nora prides herself on doing all those things she can do to protect her husband, but she actually is also safeguarding her doll-like existence unconsciously. She will not say anything in order not to hurt Torvald. What Nora does not realise yet is the fact by going contrary to the social and legal expectations of her day to secure her delight at any cost, she is starting to let out her rebellious part. Although she takes on the fool for her husband, she actually is an extremely resourceful woman. This is the side of Nora that has eventually enabled her to leave her family and incorrect existence to become the individual she was meant to be or that she wanted to be or else as she says to Torvald by the end of the play, 'understand myself and everything about me'.

Nora's work of departing her partner and children to discover herself is an ultimate take action of rebellion against the accepted communal, legal and moral norms of her day. This take action is foreshadowed when while explaining to Mrs Linde how she has earned, some of the money to pay off her regular dept, Nora says 'but all the same it was a tremendous pleasure to stay there working and making profits. It had been like being a man'. She is a person who is starting to see her own abilities and would like more out of life than what she actually is being offered.

In 'Antigone', the key character's strength, persistence and courage are visible when the reader satisfies with her in the play. She's survived the pity that Oedipus has brought to the family and the death of her two brothers Eteocles and Polynices.

Antigone has the ability to not in favor of Creon's orders and instructs him that his regulations mean nothing at all to her which she must follow the 'immortal unrecorded laws and regulations of God'. She thus dares to go against King Creon to the stand by position what she considers to be just and morally equitable, that is to provide his brother a decent and deserving burial even if this means her own loss of life. Antigone even refuses to allow her sister Ismene to expire with her since Ismene might be martyred for something she did not have the courage or conviction to operate for the first place.

The anticipations of the population Antigone lives in, are challenged just by the fact that it is a woman who is acting illegal. She takes benefit of the fact that she actually is a woman, not really a man, to transgress the regulations of the land. Creon himself says 'no man is to touch him (Polynices) or say the least prayer for him', and after learning that someone has defied him and is trying to bury Polynices, 'the man who has done this shall purchase it'. Ironically it was a 'woman' who had done this. It isn't expected for a female to behave so where she breaks the norms and values of the world.

Antigone also rebels in her own ways against the lack of consideration given to the emotions of ladies in political concerns. Antigone therefore makes a decision to the stand by position family ties and discard purely political matters. The feelings that Antigone and Ismene have for his or her brother are not even taken into account by Creon as he sees Polynices as nothing more than a traitor and you to definitely be dealt with as regulations indicates. The fact that the dead man is his own nephew is no problem to Creon. Family means much less to him than being a powerful King so he cannot understanding the extent of Antigone's emotions. He foreshadows Torvald, Nora's spouse who puts his honour above family. Unlike the men in their lives, Nora and Antigone pledge their allegiance to family and finally the sense of self applied that enables every one of them to do what they feel is right regardless of what the results or final result and the results for both are extreme as Nora tells Torvald 'that is what women have been doing for years'. Thus this shows that Nora uses her capacity to act ignorant to turn the problem to her gain.

While Antigone defied Creon's orders, this led her to commit suicide in the end. This death is highly symbolical to a rebellious act as she stood by her choice till the end. She been successful in confronting against Creon's orders and additionally Creon cannot take any action against Antigone as she chose to end her life on her own. Thus we can say that Antigone has succeeded in breaking free from the martyrdom that she would endure. On the other hand, Nora's defiant act of leaving her man and children in addition has led to her loneliness. She actually is courageous and by way of a gradual process she achieved liberty. Both Torvald and Creon realize too past due the consequences of these behaviour. After yelling at Nora, and revealing to her in not so many words that she is merely a doll in his dollhouse, Torvald tries to apologize. Similarly, after much question, Creon minds to the cave where he had exiled Antigone to free her. In both cases their apologies are too later. After Torvald's soliloquy, Nora walks from her family to discover a new life and discover herself. On the other hand, when Creon occurs to his vacation spot, he detects Antigone hanged, and his kid deceased by his own hand. It is credited to both men's' stubbornness that both experiences take this tragic turn.

We can thus say that, in both text messages the feminine protagonists have triumphed in several ways and experienced different reasons for heading against society's norms. They both in reality know that they can end up by themselves, but their love for justice and rebelliousness are too strong to allow them to abandon. Hence in their rebellion they exposed the door for most other women to defy interpersonal norms, which they can't accept.

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