Furthermore, his sister notices all of the marks on the walls and ceiling from his sticky feet and figures moving his furniture out of the room will help prevent most of this. This is an attempt to lessen her responsibilities for Gregor. If she has less to clean up, she wont have to work as hard. Thus, Gregor has become less important to her. Once the furniture is removed Gregor climbs up the wall and clings to a picture he always loved. When his mother catches a glimpse of this, she passes out. Out of anger and frustration, Grete comes in and threatens Gregor before caring for her mother.
Then his father comes in the room and throws apples at him. Unfortunately, one is thrown so hard it gets lodged in his back. Although the family would never have resulted to such actions at first, they are having a hard time dealing with it and becoming more hostile towards him. Gregor’s condition is overwhelming for the family and causes them much pain they’d be better off without. At this point, one could see the similarity between the family not needing these problems and Nora not needing the problems Krogstad causes.
After Gregor exposed himself to the three lodgers the night before, the family finds out Gregor had pasted away the next morning. Kafka makes it appear this is the best thing that could have happened and the family can now be happy. The trolley car they took was “completely filled with warm sunshine” (58). Sunshine represents a good feeling; a feeling of happiness. And although one’s family would tend to grieve after the lost of a family member, they appear to be happy and independent without him as they lean “back comfortably in their seats” (58).
The family takes time on the Trolley to look at their prospects for the future and they “weren’t all that bad” (58). Obviously, they’ve proven they don’t need Gregor. In fact, they “would now take a smaller and cheaper apartment, but one better situated and in every way simpler to manage than the old one, which Gregor had picked for them” (58). Therefore, not only are they happier without him, they’re also better off! The change Nora and the Samsa family underwent is clear. Both Nora and the family were dependent on support and guidance.
However, they all had potential to succeed on their own. Nora was driven to the point where she wanted absolutely nothing to do with her husband. And the Samsa family was forced to deal with Gregor as a bug, but can live happy now that he’s gone. The play was published in 1879, it was written by Henrik Ibsen, it was a great success however the first time it was published there was on out cry about the play that Ibsen was forced into writing an inferior and weaker ending. The idea that a woman could leave her husband and children would have seemed shocking to the nineteenth century audience.
“A Dolls house” focuses on the problems of women in a male dominated society; both Nora and Helmer are victims of the conventional feminine and masculine roles in society. “A Doll’s House”, serves as an example of the kind of issue-based drama that distinguishes Ibsen from many of his contemporaries. The play’s dialogue is not poetic, but very naturalistic, and the characters are recognisable people. Given the sense of modernity which the play possesses it seems unusual to compare it to another 19th century plays. The play has no violence and it’s very simple its action is based on everyday life with many examples of dramatic irony.
The whole play takes place in one room; Nora is present in every scene she never sees to leave the room. Every thing comes to her; she is literally trapped in domestic comfort. Ibsen writes typical of the character might talk in relation to their position and their relationship with each other. The characters speeches are natural, idiomatic, economical and realistic social situations. The play revealed the psychology of the characters treated social problems, and avoiding romanticisation. Ibsen makes each character speak naturally but with a distinctly different voice.
He uses symbols to show what the character are felling for or what the atmosphere is like for instances black cross is a symbolises death, Rank is going to die just at the end of the play. Fisher girl costume symbolises Nora’s pretending to enjoy her life. The Dollhouse symbolises the tendency of the characters to plays roles, the macaroons that are mention on the beginning of the play show imminently that Nora is deceit to her husband. The tarantella dance symbolises Nora’s agitation at her struggle with Krogstand and with Helmer this is how on act 2 when she tells Helmer that he must help her
Nora: I can’t dance … pg46. It was also a way that Hermer gets deduced, Helmer wanted to perform to increase her attractiveness to him, Helmer: I see you still have the tarantella in your blood it makes you more enchanting than ever …. When I watched you swaying and beckoning in the tarantella it set my blood on fire till I couldn’t bear it any longer. ACT3 Nora, however also sees the dance as a symbol of the suicide she plans to commit. A trapped tarantella a will sting it self to death rather than die slowly, Nora: seven hours till midnight, the 24 hour till midnight tomorrow then the tarantella, will be over.
Letter and letterbox, symbol that Nora is trapped and the cause of her death. At the end of the play she takes off the ring meaning that the marriage has end. This play is centred upon two characters Nora and Helmer. The play explores commitment and how Helmer sees Nora as an innocent helpless creature and a housewife. Helmer in particular has a very clear and narrow definition of a woman’s role. He believes that it is the sacred duty of a woman to be a good wife and mother. Moreover, he tells Nora that women are responsible for the morality of their children.
In essence, he sees women as both -like helpless creatures. ACT2 Helmer: that is like a woman! Nora: its was like being a man Helmer: almost everyone who has gone to the bad early in life has had a deceitful mother Helmer: its seems most commonly to be the mothers influence… Helmer tends to call Nora by a number of different names all diminutives in nature, however they are often animals and innocent in nature. He calls her his ‘little rogue’, ‘little skylark’, ‘helpless little mortal’ and ‘child’. By the end of the play Helmer seems confused as what to think of Nora is she a woman a creature, or a small child?
Nora sees her self as a doll trapped in an endless fantasise towards her husband, so her speeches are like a child talking to her father. Helmer chosen names for Nora reveal that he does not see her as an equal by any means, rather Nora is at times an exotic pet or an animal. Helmer is a hypocrite who speaks nobly but is shown to act on petty or personal motives. Helmer plays with Nora, he used terms which may be meant to be friendly but which are insulting. Helmer tends to fell superior towards other characters however his inward felling of insecurity are shown many times.
He humiliates Nora and attempts to make her see him, as superior, Helmer desires social respect. He dismisses Krogstad for petty reasons of pride. Helmer shows to be coward when Krogstad threatens to expose Noras forgery. Because of Helmer’s lack of openness Nora must do what she thinks necessary by subterfuge, hiding her actions and thoughts for him. Nora talks to Helmer like a helpless child however at the end of the play she blossoms from a helpless child to a woman, she tends to accumulate short phases and repeat her words more than once
Nora: “Never see him again. Never. never . never. Never see the children again . them too. Never. Never. She also tends to talk with no pauses her sentences just seem to go on, she always talks most in the dialogues (e. g. act1 pg. 38 conversation with Mrs Linde): Nora is character who her tone keeps changing depending on who she is talking to. Although Nora talks like a child with Helmer as he makes her fell like a helpless doll, however towards others she tends to fell superior: Nora tends to flirt while talking to DR Rank: Nara: look here! Look!
