The authoritative Antigone, by Sophocles, and its modern-day, A Doll ‘s House, by Henrik Ibsen, are both narratives of immature adult females whose strong finding and strength become violative challenges for the opposing male-dominated societies. Both had their ain motive of arising against the general populace. Antigone was compelled into opposing the province in order to protect her brother ‘s award, follow her spiritual duty, and battle for the right she deserves. Nora, on the other manus, was limited by her matrimonial boundaries, yet she offended the province ‘s generalised segregation for the interest of her household ‘s and her relationship ‘s stableness.
Sophocles and Ibsen were similar in the sense that their dramas revolved around the subjects of feminism and the lifting power battles of adult females against work forces who resembled the general societal order. Certain facets of the presentation of the playwrights ‘ lead character were put into drama in order to further set up the subject to the audience. In both dramas, the supporters, Antigone and Nora, portrayed similar features towards feminism and contending society. The power battle between the persons and their society against male domination was portrayed through Antigone and Nora. The two possess parallel features as evidenced through their actions and duologues at different portion of the dramas.
Their personal traits and dramatic interactions with other characters in different state of affairs give us farther grounds of the similarities of both characters.Nora and Antigone are both female heroines who resisted male adversaries for their anti-feministic political orientation. Bing seen inferior to the universe run by work forces in both scenes of the drama, both of these characters have been illustrated of holding similar feministic nature that is now looked upon respectfully in the modern-day universe. The society ‘s position, during both clip periods of the dramas, on adult females can be matched to Helmer ‘s every bit good. The manner he shows domination over his married woman is verified by the reduplication of the pronoun, “ my ” as he directs to Nora, a intension of “ ownership. ” In Act I, he one time calls Nora “ my stubborn small adult female ” ( Ibsen 26 ) .He thinks of her as a ‘play thing ‘ as evidenced when he talks to her by utilizing several monikers such as “ small Alauda arvensis ” , “ reasonably small songster ” , “ my small sweet-tooth ” , or “ squirrel ” . This is an grounds of him invariably looking down at Nora, sing himself as the higher-up of the family.
He restricts her many of her actions and does non give her much freedom. “ There can be no freedom or beauty about a place life that depends on adoption and debt ” ( Ibsen 2 ) . This besides tells us that he takes for Nora for granted that she will make as he says, which in fact is dry because it turns out to be the complete antonym.
This mentality of Helmer denotes the general mentality of work forces towards adult females in the scene of the drama. It proves how work forces felt the high quality over adult females as they were meant to make nil more than family jobs or taking attention of the household. Men, on the other manus controlled the household that adult females took attention of, as reflected through Helmer ‘s dialogues.Another clip when this happens is when Antigone besides faces such sense of authorization by Creon. He one time mentions how he does n’t desire to be ruled by a adult female, a comparable nature as Helmer: “ I ‘m alive though, and no adult female will govern me ” ( Sophocles 42 ) . This quotation mark mirrors the conventional, negative rules held by work forces in both scenes of the drama.
Quite on the contrary, Antigone and Nora do non fall in the kingdom of the general society. They have shown strong, determined morality as Rebels in their society by make fulling up the infinites of work forces, “ It was like being a adult male ” ( Ibsen 3 ) , like Nora says. This had shown their believe that they are adult male adequate to make what they want and turn outing their individualism.Both of these characters clash with the male-dominated society in much similar ways. Both playwrights have used symbols to stand for these values of the conventional society and province ; Creon in Antigone, and Helmer in A Doll ‘s House.
As the adversaries embodied the general values of province and society, supporters, Antigone and Nora, represented the single rebelling against the society. Antigone was a clear menace to Creon ‘s power and strength that ruled the province. Creon ‘s character was portrayed of being filled with maleness and sense of control that symbolized the province ‘s jurisprudence and enforcement. She disobeys the male monarch, and therefore, the society, to bury her brother in order to carry through her responsibility as a sister. She is able to “ inquiry Creon ‘s Torahs because of her finding and bravery.
“ Similarly, Nora trembled Helmer ‘s “ perfect ” place that was in the psychotic belief of to be ruling. Helmer excessively, as Creon, was filled with maleness, self-importance, male disposition, whichreasoned his aberrance of ownership and domination in the household. She confines her function as a homemaker and a female parent, protecting her household.
Both had to oppose the 1s that they had household ties with, as they risked major parts of their lives. Nora ended up losing her household as she abandons it, whereas Antigone had to give up her life. But despite the monetary value that both of these adult females had to pay for their picks made, they remained impenitent and justified in their determinations. “ Is it imprudent to salvage your hubby ‘s life ” ( Ibsen 11 ) ? , Nora explains, “ aˆ¦ must be saved-and that is how I came to invent a manner out of he trouble ” . Antigone, merely like Nora, felt that she had non done anything incorrect, and had made the right determination sing the state of affairs that they were in.
“ Why should I be ashamed of trueness to my brother ” ( Sophocles 624 ) ? , asked Antigone when Creon was objecting her determination to pique his order. Both could be considered tragic heroines because their limited picks led them to follow their rules and morality, which gave them nil but loss. Nora had to go forth her household, unknown of her hereafter, while Antigone had to give up her life for something that she would non hold had to. They had both sacrificed something of import for the people they care about, and had to oppose the society for their love towards their family.Both were considered strong persons, determined, and justified of their actions, despite of the fortunes.Antigone and Nora were both blamed to hold inherited ‘sins ‘ or iniquitous features from their past coevalss. Sophocles used this subject of cardinal importance repeatedly throughout the drama. Antigone faced the accusal from Creon when he said, “ clearly she ‘s her male parent ‘s kid, difficult and natural.
He ne’er learned to give, for a all his problems ” ( Sophocles 580 ) . As the quotation mark suggests, the heredity is thought to hold passed down to Antigone from Oedipus. Similarly, Nora is besides blamed to hold gotten her traits from her male parent as Helmer said, “ You are an uneven small psyche. Very like your fatheraˆ¦ It is in the blood ; for so it is true that you can inherit these things, Nora ” ( Ibsen 4 ) . In both instances, the adversaries blame the lead characters of wining wickednesss from their male parents, who presumptively have committed some kind of wickedness in the yesteryear ( both ancestor to the scene of the drama ) that the girls now suffer for. Both Antigone and Nora placed high value for household. At one point, Nora was wholly ready to give up her life and forfeit it for her household, a similar attitude that Antigone held throughout the drama.
This was evidenced in the last conversation between Nora and Krogstad, where Nora one time tells him, “ When I am no longer- ” ( Ibsen 45 ) , proposing her forcoming decease if he had shown the missive to Torvald. This shows their utmost love for their household, and therefore justifies their ground to oppose the society. Both are strong-minded and felt validated of their actions even after many uninterrupted expostulations. In Antigone, Ismene tries to convert her at the beginning of the drama. As her decease arrived, she still remained firmed to her determination, and continued to warrant her decision.This is besides evidenced with Nora in her conversation with Krogstad. As he continued to impeach Nora of destroying her relationships, interrupting her household ‘s trust, and destructing her family, she remained unconvinced, and stayed house with her belief.
“ Is a girl non to be allowed to save her deceasing male parent anxiousness and attention? Is a married woman non to be allowed to salvage her hubby ‘s life? I do n’t cognize much about jurisprudence, but I am certain that there must be Torahs allowing such things as that ” ( Ibsen 24 ) . , explained Nora. This shows how both person ‘s nature related in many ways as they were put in similar state of affairss.Antigone and A Doll ‘s House are both dramas that present the subjects of feminism and single vs. society through supporters that possess similar features. Regardless of the generalised position of adult females during their clip periods, the characters still found the bravery and strength to lift above them.
Antigone and Nora are characters who overcame many obstructions as adult females to develop individualism and self-esteem. Both are thought to hold pertained features, or ” wickednesss ” as Helmer and Creon refer to, of their male parent, by the adversaries. Antigone and Nora possessed similar outlook and political orientation in the manner they acted, believed, and idea. Both have shown grounds of holding parallel personalities through their actions and their responses to other characters.The playwrights have used these similar word picture to beef up their subjects ; merely a the publishing house of Ibsen ‘s drama wrote, “ making realistic duologue, a cliff-hanging flow of events, and, above all, psychologically perforating word picture that make the battles of his dramatic personages absolutely converting ” ( Bergh back screen ) .