A Doll's House Vs Cinderella

In our two tales, both Cinderella and Tam suffer from injustice and harassment. The evolution of magic or fairies has helped them to overcome the living condition. Both Cinderella and Tam gets help from miraculous power. Cinderella gets help from the fairy by getting a new dress and glass shoes. That gives her a chance to join the royal party. Also, Tam gets help from the magic fish bones and the bird. She gets a beautiful dress and two jeweled bai. Both Cinderella and Tam has new shoes; their shoes were a gate to royalty. Both have dreams of getting royalty marriage. Even they do not know the prince how he looks like, or where he lives. They are believed the mentality produced consecrates the power of the man in exchange the life of a submissive woman.

This is a battle not of beauty, but of material. The prince does not recognize the face of Cinderella, only the gown she is wearing, making this fight for marriage one based on the clothing on the girls’ backs (288). While Cinderella comes home from the ball, her mother is hard at work making sure she is not seen for who she really is. Panttaja claims, “...it is quite possible that we are meant to see the mother's influence also at work in the rather mysterious way that Cinderella manages to avoid too-early detection” (287). This symbolizes how hard Cinderella's mother is working and how little it matters that Cinderella is pious and

The prince has every girl in the kingdom try on the slipper. Once the prince arrived at Cinderella’s house her two stepsisters immediately did whatever they needed to do to get their feet to fit in the slipper. The first one cut off her toe, and the second cut off her heel. When Cinderella came out, because it was her slipper, her foot slipped right in. On the day of the wedding the two stepsisters came and tried to benefit from Cinderella’s good fortune, but pigeons came and pecked their eyes out, punishing them to be blind for the rest of their lives for the malicious way they treated Cinderella. We assume that Cinderella and the prince marry, and of course, lived happily ever after.

Nora’s costume and the dance both symbolize what is happening to Nora and Torvald’s marriage, but in different ways. They both represent how controlling and dominating Torvald is in their marriage. The costume also directly represents their marriage in other ways. When Mrs. Linde helps to re-sew and fix the dress, it parallels her want to help fix their marriage. Torvald had the dress made for Nora, which shows how he controls Nora in their marriage.

The Prince searches for his beloved beauty using a golden shoe left by Cinderella at the ball. The shoe signifies the "happy ever after" ending that so many people in society pursue. The step-sisters, who are both "delighted because they [have] lovely feet," (80) represent many citizens in society. Although their feet are beautiful, the step-sisters are willing to take their foot and "slice it off and put on the slipper" (83) to live the blissful ending they were hoping for. As the image of self-mutilation indicates, people across the world take extensive measures to try and obtain the happiness that they have sought after for so long.

On page 753 it says, “Cut your toe off, for when you are queen, you will never have to go on foot.” So the girl cut her toe off, squeezed her foot into the shoe, concealed the pain, and went to the prince.” One of the stepsisters cut of her toe while the other cut off her heel just to fit the golden slipper. They only did it because their mother told them to. Even though the stepsisters new that they weren’t the girl he danced with they still did it. Overall the stepsisters are very naive.

A Doll’s House Essay Exam Nora from A Doll’s House and Mrs. Mallard from “The Story of An Hour” are similar in the ways they regard their marriages. Both of the stories show how traditional gender roles and the need for freedom brought an end to their marriages. With both being written around the same time period, they are early examples of the earliest forms of feminism that we still have today. Both of them had known they loved their husbands, but when the thought of leaving came about, they finally felt free.

Mrs. Linde has been changed by her life experiences while Nora’s questioning is very childlike. Mrs. Linde’s status as a widow and much more wisdom adds to the impression that she is much older than Nora. Nora is childishly impolite. Mrs. Linde is in a bad situation because the death of her husband, yet instead of listening to her Nora begins to brag about her and Torvalds’s good life together.

On the last night, the prince is tired of not knowing where his beloved dance partner is. The prince covers the steps with wax, with the result of Cinderella’s shoe being left behind. As you know, the prince goes out to find Cinderella. The prince goes to Cinderella's house, and both stepsisters cut off part of their foot to make the shoe fit. The blood pouring out of the shoe gives it away.

Henrik Ibsen's A Doll's House is a Realistic play that is celebrated for its disputable topics and it's new point of view in this time period. The play's two fundamental characters, Torvald and Nora Helmer, both speak to two diverse sides of Realism. Torvald Helmer is the man of the house, a run of the mill spouse for this time period, speaking to every one of the characteristics of what was thought to be the standard. Be that as it may, Nora Helmer is the spouse and mother of the family unit, who endeavors to break free from society's desires of ladies in this time period. Authenticity is depicted all through three primary topics in this play:

A Doll House was written in 1879 by playwright Henrik Ibsen. Ibsen is known as the creator of modern realistic style drama. The play tells the story of a nineteenth century woman who breaks the chains of society that decide her role in life so that she can find herself. The woman, Nora, lives a relaxed and seemingly untroubled life until her husband Torvald Helmer becomes sick. She then must forge her father’s name on a contract that would allow her to borrow enough money from a lawyer named Nils Krogstad to travel to Italy to save his life. When Torvald finds out what Nora did he becomes furious instead of appreciative for his wife. Nora begins to realize her husband does not truly love her, he just sees her as a trophy of some sort that will help his social status. At the end of the play, Nora decides to leave Torvald in order to find true happiness. Throughout Ibsen’s exploration of women’s role in society in A Doll House, his use of symbolism can be found in objects and characters.

In preparation for Nora's dance at the party, we again see Ibsen showing us Torvald's and Nora's roles. "I can't get anywhere without your help."(Ibsen 91) "Direct me. Teach me, the way you always have."(Ibsen 91) Nora's lines reflect the "costume" that Torvald expects her to wear (and which she wears obligingly), that of the meek, subservient, childlike wife.

After Torvald learns that the Helmers’ debt to Krogstad will no longer remain, he immediately forgives his wife and speaks of the relief. Amidst Torvald’s blind optimism, Nora seizes this moment to present a powerful statement. She changes out of her fancy dancing costume, into a standard everyday outfit, in order to get ready to leave her home and family and move out. This wardrobe change is much to Torvald’s surprise. It symbolizes Nora’s unpeeling of the layers of the doll costume she wore that complied with Torvald’s guidelines.

In A Doll’s House by Henrik Ibsen, the roles of masculinity and femininity as apparent in Nora Helmer and Torvald Helmer appear, though in a way one would not expect-- Nora being masculine and Torvald being feminine. Throughout the play, Nora is portrayed as defying societal standards of the Victorian Era, the time period which lasted from 1837-1941, by doing things that were not accepted by many people at the time, especially when she abandons Torvald at the end of the piece (BBC). From this, more masculine traits are presented in her characterization. In contrast, Torvald presents more feminine traits, especially proven by the aforementioned final scene, as he then realized how much he had relied on Nora for self confirmation and his happiness. This is, additionally, present in Torvald’s use of pet names for Nora and treating her like a child, as a mother would to her child. In A Doll’s House by Henrik Ibsen, the roles that Nora Helmer and Torvald Helmer are expected to appear as on the surface to fit into in a Victorian Society are defied by Nora being more masculine, presenting traits like rebellion and independence and Torvald being more feminine such as being dependent on Nora and motherly.

Henrik Ibsen, writer of his most famed play A Doll’s House. Ibsen emphasizes on small-town life in this play. A Doll’s House takes place in the 1880s in Europe/Norway and based on a married couple, Torvald & Nora, who are considered to be middle class. The main character Nora in Ibsen’s play, A Doll’s House, seems to give this false installment of her identity. She is both unpredictable and childlike. The entire first and second act she spends giving this hidden subtext that she is unreliable. Nora Helmer is energetic/ enthusiastic due to the fact that she is always singing. Torvald refers to her as a spendthrift because she can never save any money from her allowance. Nora is Torvalds trophy wife. Throughout the play, Nora Helmer is dehumanized through her nicknames and portrayed as a doll figure through the way she acts.