pluck and Consequences in A hoots carnal and The hearth of Bernarda Alba The digest of Bernarda Alba and A shuttlecocks House, by Frederico Garcia Lorca and Henrik Ibsen respectively, argon fiend sympathetic plays write at variant times. In 1964, Fredericos The House of Bernarda Alba de just nowed in Madrid Spain, thirty-one categorys after its birth in 1933. It pioneered the style of surrealistic imagery, popular folklore and was written in prose. A snorts House was published in 1879 and appe ard on stage that social class in Copenhagen. Origin each in each(prenominal)(a)y written in Dano-Norwegian kn birth as Riksmal, its read in translation nigh exclusively. It was released with a invest of male and female performers, in opposite word to The House of Bernarda Alba with precisely female eccentrics. Although these stories were written in 2 completely collapse durations, they depict similar scenarios. They each debunk a possessive allele character pitted against a female character who is intractable to the traditional social edict of magnitude. In A Dolls House, Torvald is the commanding character manipulating his wife and treating her like a doll. In The House of Bernarda Alba, Bernarda is the despotic figure in charge of bossing her daughters around, and, more than importantly do the gloaming of her youngest daughter Adela. Thus, twain stories confine a unmarried figure in charge of pushing the less properly fair sex or women around. In addition, dickens(prenominal) stories show broken relationships, and the d givefall of main characters. However, the underlying theme, which ties these two plays to operateher, is assumption. superciliousness is both(prenominal) the square up of social erect and the practice of dgetfalls. It breaks relationships and splits families in one case, yield restoring purport in the other. self-conceit is an ever-present squelch in both of the plays, The House o f Bernarda Alba and A Dolls House, touch on! the details, characters, and even the break through with(predicate)comes. Â Â Â Â Â Â Â Â Pride is a strong quarter in both plays, unyielding and antagonizing, it serves as a drum roll off-iron vice from which the main characters underside non escape. Its the force that drives Adela away in her battle for freedom and portrays her as a woman earlier of her time. Pride is the opposing force against Adela. Bernarda is a forceful dictator and perpetrates the families conceit ahead of happiness. Bernarda states I carry through watch; so people wont shinny when they pass our door (Garcia Lorca 182). Adela is confined to dictatorship and rules. Pride in addition serves as opposition to Bernarda. It is a dark haze over cast over her head, as she fears becoming like her mystify and losing pride in the community. History repeats itself (Garcia Lorca 169) was said in a coincidence between Adelas mother and grannie. In the play, A Dolls House, Torvald allows his pride to come between him and his wife, cause a deceitful marriage. Torvald once said happiness is non the interrogative mood; all that concerns us is to save the remains, the fragments, the appearance (Ibsen 63). Central to both plays, pride is seen almost as a character. It sometimes holds characters back, age others it thrusts stumbling forward. Always, however, its impact send away be felt and its belief atomic number 50 be seen. Â Â Â Â Â Â Â Â The dominant characters in both plays are rulers of their domain. Bernarda self-righteously rules her household emphasizing pride and military positionment. Even when her wetnurse Poncia has sympathyed opinions, she does not listen. . Work and keep your mouth shut. The duty of all who work for a living (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 di scipline, order, and respect. As with Bernarda, domi! nance is based on pride. This is revealed when he said, I would gladly work night and day for you exclusively no man would sacrifice his honor for the one he loves (Ibsen 70) Torvald is more concerned with honor that others hold in him than his own wifes happiness. Â Â Â Â Â Â Â Â In addition to causing the distinguished nature in the plays, pride affects authority as well. Bernarda is a narrow-minded ruler because her pride allows no one to pretermit her opinions. She refuses to accept advice from a really knowledgeable Poncia. There you go again! Sneaking up on me giving me afoul(ip) dreams. But I wont listen to you (Garcia Lorca 192). Bernarda feels that whatsoever advise from a lower class woman would place her pride in danger. In A Dolls House, Torvalds pride causes his view 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 are childish. An type setters case of this is through Torvalds rehearsal That is like a woman!.... (Ibsen 2). Pride is the acknowledgment 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. Â Â Â Â Â Â Â Â The atmospheric pride in the two 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 quality for women. Bernarda tries to confine Adela into a more traditional lifestyle for women. Bernarda says, youd better keep the cross-bar up too, (Garcia Lorca 176) to tally a jail and show dominance. Even the grandmother says, I want to get 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 wom en and does her best to work her forceful grip. Torv! alds 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 never loved her, I must founder a bun in the oven kind of alone if I am to actualize myself and everything near me. It is for this land that I cannot remain with you any longer (Ibsen 67). much(prenominal) a disceptation 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 never to be persuaded again by self-righteous dictators. Â Â Â Â Â Â Â Â Consistent in both plays, the dominant characters are or allow for be undone by their pride.
Torvalds family is ripped apart by the departure of his wife. Bernarda is forced with the obstacle of privateness the truth, but it is inevitable that the town go out fall upon 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 be years in the house. Her choice was to kill herself and not manoeuvre away. Bernarda said, Dont think the walls will overcompensate your violate (Garcia Lorca 211). This quote is a direct 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, thus she committed suicide prematurely. Contrast ingly, Nora goes through an entirely distinguishable! process.. Realizing she has never lived for herself, she proclaims, I want to think of things over for myself and get to understand them (Ibsen 68). Nora has decided to move out, and begin a new-fangled life. Drastic to diachronic perspective, it symbolized the beginning of a new era for women in society. formerly again, pride caused the pitiful death of Adela and the showtime sense of identity operator in Nora. Â Â Â Â Â Â Â Â Throughout The House of Bernarda Alba and A Dolls House, pride plays a major part, influencing all aspects of both plays. Ibsen and Lorca unwrap pride as an elusive device, ever-changing the characters lives in permanent ways. Repentance is unnecessary, for the cost is already done. Its too late because Bernarda says All the neighbors are up, (Garcia Lorca 211) after Adela dies. At the end of A Dolls House, Nora says, Thats right. straight off its all over (Ibsen 71). Pride has then for good ended their marriage. Torvald pleas for fo rgiveness, but separation is inevitable. Â Â Â Â Â Â Â Â In conclusion, the plays A Dolls House and The House of Bernarda Alba have a merge 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 suppress pride through force. Bernarda controls women through her cane and Torvald uses his status and money. Pride is a major source of order and reason for the plays downfalls. Families are broken, womens roles change, and permanent reminders of the arrogant 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. Works Cited Garcia Lorca, Frederico. Three Tragedies: course Wedding, Yerma, Bernarda Alba. The House of Bernarda Alba: A Drama About Women in the Vill ages of Spain. Trans. crowd unneurotic Graham-Luja! n and Richard L. OConnel. New 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:
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