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Influence of Antigone on A Doll’s House Anonymous


It is extremely tough to identify something as a very first in literature. Much the way inventions are frequently adaptations of formerly patented objects, a lot of authors obtain concepts and strategies form pre-existing media. In order to genuinely categorize something as a very first one must search for something entirely innovative, something that has never been done before. Two of these so called “firsts” consist of the very first modern novel with Flaubert’s Madame Bovary and what has actually been called the very first contemporary play in Ibsen’s A Doll’s Home. Relating to the latter, it is essential to realize that while the play did break a number of molds which had withstood for centuries, much was borrowed and adjusted from past works. Of these, another “very first” emerges for having shown a strong impact on Ibsen and his revolutionary play. Coincidentally, it is what historians describe as on of the very first plays out there, Sophocles’ Antigone.

In merely taking a look at the surface, one notifications immediately that both plays are considerable in that they prevent the social temptation of utilizing a guy as a protagonist. Looking much deeper into the stories, however, one can see that in even more contradiction with society, the female characters go against males. Both Antigone and Nora enter the spotlight as the female hero who has actually been put in a jeopardizing scenario and is forced to decide whether it is more crucial to follow what society determines, or go with what they feel is moral and simply.

Antigone is confronted with the death of both siblings, one who is to be buried with complete military rites, while the other, under dictate of the king, is to be cast aside and enabled to rot in the sun. She positions family prior to the law, and endeavors out to offer her bro a correct burial. In A Doll’s Home, Nora too should decide where the line in between best and incorrect is drawn. In order to conserve her other half’s life, Nora forges her father’s name on a promissory note. Both females thus break the law using comparable validations. Antigone does so under the property that the Gods dictated that all men was worthy of a correct burial. Also, Nora commits her crime with the belief that because it is saving a life, her situation is an exception to the rules.

The leading males in both works likewise have similar characterizations. Both Creon and Helmer are egotistical guys, who put excessive worth on their position of authority; Creon so much so that he is willing to put a decree that defies the laws of the Gods. Additionally, both are obstinate and too stubborn to see that they could be wrong. When Nora reveals her criminal activity to Helmer, the audience expects to see a grateful and understanding hubby, but rather is welcomed with a spiteful and unappreciative male who does not see the real function of Nora’s deed. Likewise, Creon, instead of seeing that his niece Antigone placed family and the Gods before the law of the land, exclusively sees that he has been disobeyed.

Both males stress over how their social status will be affected by the actions of the women; Creon hesitates he will look weak if he enables Antigone’s deed to go unpunished, and Helmer is worried about enabling his wife to dedicate such a criminal offense. One could argue that the real wrongdoers are the men themselves, for not having the conscience to step down. Both guys understand too late the consequences of their behavior. After chewing out Nora, and exposing to her in not many words that she is merely a doll in his doll home, Helmer tries to ask forgiveness. Likewise, after much argument, Creon heads to the cave where he had actually banished Antigone to free her. In both instances their apologies are far too late. After Helmer’s soliloquy, Nora walks out on her family to discover a new life and find herself. When Creon arrives to his location, he discovers Antigone hanged and his son dead by his own hand. It is due to both guys’ stubbornness that their stories take this awful turn.

While Sophocles and Ibsen are from 2 entirely various times and cultures, and although their composing styles vary drastically, the influence of Antigone on the story of A Doll’s Home can not be ignored.

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