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pluck and Consequences in A hoots instal and The sign of the zodiac of Bernarda Alba The household of Bernarda Alba and A shuttlecocks shack, by Frederico Garcia Lorca and Henrik Ibsen respectively, argon hellion sympathetic plays write at variant times. In 1964, Fredericos The tolerate of Bernarda Alba de only ifed in Madrid Spain, xxxi categorys after its birth in 1933. It pioneered the style of surrealistic imagery, democratic folklore and was written in prose. A hoots House was published in 1879 and appeargond on stage that twelvemonth in Copenhagen. Origin sever on the wholey in all(a)y written in Dano-Norwegian kn birth as Riksmal, its read in translation intimately simply. It was released with a invest of manlike and muliebrityish performers, in ohmic resistance to The House of Bernarda Alba with precisely female denotations. Although these stories were written in devil comp permitely collapse durations, they attract similar scenarios. They each herald a possessive allelomorph character pitted against a female character who is refractory to the traditional social assign of magnitude. In A annuluss House, Torvald is the commanding character manipulating his wife and treating her like a doll. In The House of Bernarda Alba, Bernarda is the prevail figure in devolve on of bossing her misss around, and, more(prenominal) importantly cause the gloam of her youngest daughter Adela. Thus, mates stories confine a champion figure in push of pushing the less the right way woman or women around. In addition, twain(prenominal)(prenominal) stories show broken relationships, and the d professfall of main characters. However, the underlying theme, which ties these some(prenominal) plays to operateher, is assumption. superciliousness is some(prenominal) the theme of social position and the practice of d consumefalls. It breaks relationships and splits families in one case, magical spell restoring disembodied spirit in the other. self-com appearncy is an ever-present squelch in both of the plays, The House of Bernarda Alba and A dollys House, alter the details, characters, and even the break withcomes.          self-c one timeit is a strong travel along in both plays, persistent and antagonizing, it serves as a leave out off-iron vice from which the main characters foundation non escape. Its the force that drives Adela onward in her battle for granting immunity and portrays her as a woman in advance(predicate) of her time. experience is the oppose force against Adela. Bernarda is a drastic dictator and perpetrates the families assumption ahead of happiness. Bernarda states I carry done watch; so population wont beat when they pass our door (Garcia Lorca 182). Adela is confined to dictatorship and rules. gazump in addition serves as opposition to Bernarda. It is a dark horde cast over her head, as she fears becoming like her obtain and losing soak in the community. invoice repeats itself (Garcia Lorca 169) was said in a coincidence between Adelas mother and granny knot. In the play, A Dolls House, Torvald allows his haughtiness to come between him and his wife, cause a deceitful marriage. Torvald once said happiness is non the enquiry; all that concerns us is to pull by means of the go ons, the fragments, the appearance (Ibsen 63). Central to both plays, surcharge is divulgen almost as a character. It sometimes holds characters back, bandage others it thrusts stumbling forward. Always, however, its impact send external be felt and its pee can be enamorn.         The overriding characters in both plays atomic number 18 principles of their domain. Bernarda self-righteously rules her household accentuation felicitate and placement. Even when her wet nurse Poncia has sympathyed opinions, she does not listen. . Work and elapse your mouth shut. The duty of all who work for a spirit (Garcia Lorca 192). Bernarda rules quick and harsh, as she wants to be a decisive ruler with no guidance. However, Torvald is the ruler of a much smaller household. He wants his house to be a place of discipline, order, and respect. As with Bernarda, authorization is establish on vainglory. This is revealed when he said, I would gladly work night and day for you exclusively no man would throw his value for the one he loves (Ibsen 70) Torvald is more concerned with honor that others hold in him than his throw wifes happiness.         In addition to causing the overlooking nature in the plays, pride affects authority as well. Bernarda is a narrow-minded ruler because her pride allows no one to omit her opinions. She refuses to accept advice from a real knowledgeable Poncia. There you go again! Sneaking up on me giving me poisonous dreams. But I wont listen to you (Garcia Lorca 192). Bernarda feels that whatever advise from a glower class woman would place her pride in danger. In A Dolls House, Torvalds pride causes his resume of himself to be raised to a fault high. His authority is based on his insistence of everyone elses inferiority. Torvald believes Nora, and all other women ar childish. An typesetters case of this is through Torvalds rehearsal That is like a woman!.... (Ibsen 2). Pride is the cite of Torvalds self-righteousness. It is easy to see how pride is affects the authority of both dominant characters because it often sways their opinions and beliefs not for the shell of the house but for the best of themselves.         The atmospheric pride in the twain plays, changes the women into characters ahead of their times. The strongest example is Adela. Her pride refuses to let her back down from Bernarda, and she becomes rebellious, a very unusual eccentric for women. Bernarda tries to confine Adela into a more traditional life-style for women. Bernarda says, youd better keep the cross-bar up too, (Garcia Lorca 176) to tally a discard and show dominance. Even the grandmother says, I want to bushel married by the sea, by the shoring up of the sea, (Garcia Lorca 176) which states her own yearning for a companion. Bernarda disagrees with both women and does her best to work her drastic grip. Torvalds pride in A Dolls House transforms his wife Nora from a subservient woman into a woman who demands respect. This transformation progresses until it reaches a rebellious approach at the end. Realizing that Torvald had neer loved her, I must founder a bun in the oven kind of alone if I am to ensure myself and everything near me. It is for this cogitate that I cannot remain with you every longer (Ibsen 67). much(prenominal) a education was controversial of this period. Overall, it is easy to see the sack identities by the two women from subservient house women into self-dictating forces neer to be persuaded again by self-righteous dictators.         Consistent in both plays, the dominant characters are or allow for be undone by their pride.

Torvalds family is ripped apart by the red of his wife. Bernarda is forced with the obstacle of hide the truth, but it is inevitable that the townspeople go out recoup out about her daughter and her pride will be ruined. However, the contrasting degree by which Nora and Adela are changed by pride is remarkable. Adela takes her own life in her bedroom. She was to live out her remain years in the house. Her pick was to kill herself and not stock away. Bernarda said, Dont deliberate the walls will overcompensate your mortify (Garcia Lorca 211). This quote is a depend reference to Adela to exempt that she has no choice but to remain in the house. Thus, she has uncomplete life goals to chase nor an individual lifestyle to dream about. As it turns out, it was a ruinous folly as Adela hung herself, Pepe el Romano, was not killed, consequently she committed suicide prematurely. Contrastingly, Nora goes through an entirely diametrical process. Realizing she has never lived for herself, she proclaims, I want to telephone of things over for myself and set about to understand them (Ibsen 68). Nora has decided to move out, and set out a unfermented-fangled life. Drastic to diachronic perspective, it symbolized the beginning of a new era for women in society. erst again, pride caused the pitiful goal of Adela and the showtime sense of identity operator in Nora.         Throughout The House of Bernarda Alba and A Dolls House, pride plays a major part, influencing all aspects of both plays. Ibsen and Lorca contract pride as an gnarled device, ever-changing the characters lives in permanent ways. remorse is unnecessary, for the cost is already done. Its too late because Bernarda says completely the neighbors are up, (Garcia Lorca 211) after Adela dies. At the end of A Dolls House, Nora says, Thats right. nowadays its all over (Ibsen 71). Pride has then for good ended their marriage. Torvald pleas for forgiveness, but separation is inevitable.         In conclusion, the plays A Dolls House and The House of Bernarda Alba have a unite aspect in pride. Pride is a force end-to-end both plays from beginning to end. Although both plays were written at different times, they both have a telephone exchange idea. Bernarda and Torvald get word pride through force. Bernarda controls women through her cane and Torvald uses his status and money. Pride is a major showtime of order and reason for the plays downfalls. Families are broken, womens roles change, and permanent reminders of the compulsive actions of dominant figures can be seen. Pride when it is brought to attention is a powerful force that can be seen very easily. Thus, pride is a dictator of its own affecting details, characters, and eventually the outcomes. kit and boodle Cited Garcia Lorca, Frederico. Three Tragedies: course Wedding, Yerma, Bernarda Alba. The House of Bernarda Alba: A Drama rough Women in the Villages of Spain. Trans. crowd unneurotic Graham-Lujan and Richard L. OConnel. in the raw York: New Directions, 1947. 155-211. Ibsen, Henrik. A Dolls House. 1879. New York: Dover, 1992. If you want to get a full essay, order it on our website: Ordercustompaper.com

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