Significance of Objects in the Dolls House Essay Example for Free

Significance of Objects in the Dolls House Essay Macaroons: nora ! Nora! Please don’t leave me and go†¦ why did she leave me half eaten? what is going to happen of me now!! Torvald detests me, he was always against Nora eating me†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦why did it have to be me? Dress: everybody adored and praised Nora when she wore me†¦ but alas! What was the use of all my beauty and finery when in the end she left me all alone. Why was I given so much importance if she was to choose her ordinary clothes over me at the end? Letter: exactly! Were we just ornaments to adorn the surroundings? Christmas tree: hmm†¦ now even im wondering if my purpose in the house was of mere decoration. Even in this festive season will I be left alone in this bedraggled state to wither away in few days? Lamp: yes! Yes! Were we just used to enhance the beauty of this household? I thought I heard some voices but I didn’t know it would be all of you. If you all are thinking that you’ll have no role in the play let me tell you my views on why you objects of the doll’s house were of prime importance in giving a deeper meaning behind the actions of the characters. I am going to do this presentation based on the Henrik Ibsen’s The Doll’s House. As per the lines of the story, the playwright has emphasized greatly on the many objects that surround the characters in the play. I am going to elaborate on the symbolism of the significance of the objects mentioned in the play. The objects denote various emotions but mostly, Ibsen uses objects to indicate Noras depression caused by her unmerited marriage; ironically, the objectification of Nora by her husband and her victimization in society. he writer allows the readers the freedom to interpret the household objects subjectively which challenges the reader to question the extent to which the household objects relate to the theme of marriage. Initially, Ibsen places immense significance on different objects in the household, and stresses the directions for the setting of the stage. Ibsen makes his stage sets come alive and take part in the action. Just as Nora evolves from the mini-Nora of act one to the super-Nora of act three, similarly the set of the play goes through a drastic evolution, from light to darkness, from paradise to prison until, by the end of the play, it has been ethically demolished. One could imagine the doll house set, when Nora slams the door, collapsing like a house of cards, to the collective gasp of relief from the audience. Looking at the set we see, that Ibsen makes use of a triad, a room . two doors in the rear wall, the door on the left leads to Torvald’s study, and is opened and closed only when he chooses. It represents the sanctum sanctorum of male dominance and decision-making authority and security and his invisible presence behind that door is felt god like. Whenever he emerges from this door, it is always on his own terms, to direct and control events. The door to the right in the rear wall leads to the outside world. Only damaged people come through this door: Christine, Rank, Krogstad, all of whom have been variously hurt by the world outside. So this door represents the menacing reality of the outside world, its power to hurt but also, its power to force- to force one to grow up, to stop being a doll. There is another door, which leads to the nursery and bedroom. This is the world of sexual fantasy, of Nora performing childish roles of squirrel, lark and others to keep Torvald infatuated with her innocence. Here, one can clearly see that Ibsen draws a visible line between the kinds of objects he chooses. As the tones of the play become more serious, the settings become bolder and so do the shades of Nora’s personality. On the surface level, the play does not show these nuances but it is only when the reader delves deeper does he understand the immense symbolism of it all. Nora however is hardly innocent. This can be seen when Nora lies about the packet of macaroons twice, once to Helmer and the second time to Dr Rank. The macaroons denote Noras dishonesty and deception, which also alludes to her act of committing objectionable, underhanded deeds. Nora resorts to lying about eating the macaroons because she feels she is at fault for disobeying her husband. This small incident also shows the strains in their marital relationship. Also the macaroons show us the first glimpse of Nora’s desire for independence. To an extent the Christmas tree with which the play begins is a representation of Nora’s character. Just like the tree is an object of decoration possessed by somebody in order to beautify a place similarly Nora was the prized possession of Helmer. She was no less than a mere object, a show piece meant to be admired and praised. It is interesting to note that Nora orders the nurse, Hide the Christmas Tree carefully, Helen. Be sure the children do not see it till this evening, when it is dressed†, she similarly tells Torvald, Yes, nobody is to have a chance to of admiring me n my dress until tomorrow†. These lines show the similarity between Nora and the Christmas tree. Both are not revealed until each look perfect. In addition, as the play proceeds it becomes obvious that the tree and Nora are one in the same. When the second act opens the Christmas tree is described to be, stripped of its ornaments and with burnt-down candle-ends on its disheveled branches. This corresponds to Nora’s condition at that point in the play. Like the tree Nora too was in a disheveled state of mind. She was anxious and confused. â€Å"Corrupt me children†¦poison my home? It’s not true! It could never be true! And â€Å"somebody’s coming! No, it’s nobody. † Support my claim that Nora’s psychological state was in comparison to the Christmas tree similar. Also the tousled state of the tree could be symbolic of the disintegration of Nora’s web of lies. The pretty, innocent, childlike ways, in which Nora used to mask her fraudulence, her deceit would soon be uncovered in front of Helmer and the ugly truth would emerge. he fancy dress that Nora would wear for the fancy dress completion in many ways symbolizes the character she plays in her marriage to Helmer. The torn and messed up condition of her fancy dress is parallel to her disgruntled condition. Also her marriage is on the rocks and her thoughts are all aligned on how she could prevent Helmer from knowing the truth because she knows very well that Helmer will never accept what she had done. Thus the torn condition of the dress could be symbolic of the flawed condition of their marriage. Also it is interesting to note that Nora says that Torvald dislikes seeing dressmaking, suggesting that Torvald enjoys the false character that Nora has adopted. â€Å"oh only if I could rip them up into a thousand pieces. † exclaims Nora, on seeing the condition of the dress. This is another sign showing Nora’s desire for independence-Independence from the clutches of her husband and from the norms and conditions of the society. Also the dress highlights another point. Mrs linde who unlike Nora who thinks just like the dress her marriage is beyond repair,is more mature suggests the repairing of the dress which is symbolic of the fact that later in the play it is Mrs Linde who decides that Torvald should learn of Nora’s secrets and that it would be beneficial for their marriage. Also at the end of act 3 when Nora removes her fancy dress and changes into her casuals and she says â€Å"yes torvald ive changed† this change she meant was not of merely her clothes but also a change in her personality. The removal of her dress mplies the unmasking of her pretense and coming face to face with her husband as a human being for the first time. Changing of the dress is also significant of Nora’s desire for freedom from the web of lies that she had been spinning and from the captivity of her husband. It is another sign showing her desire for freedom from the doll’s house and to live her life on her own terms. The letter from Krogstad in the letter box forms the crux of the play. Nora’s emotional developments and transformations, her anxiety, her marriage all revolves around the letter box and the letter. The letter from krogstad is symbolic of Nora’s concealment and deception. It brings to light her secrecy and lies that she hides from her husband and also uncovers her disguise of the childish ideal wife. Thus leading her to finally slam the door and becoming a rebel of sorts. Also the letter symbolizes revelation in a way that only after reading the letter it is that Torvald realizes and understands the desires of his wife. It is only after reading the letter that he comes out of his imaginative ideal world and faces the harsh reality of the situation. Thus the letter was an eye opener for Torvald, it showed him where his marriage stands. â€Å"helene, bring the lamp in please† said Nora when Dr rank confessed his love for her. Thus when the lamp is brought the room gets lit up. This light is symbolic of Nora’s state of awareness. Earlier Nora tries to lure and manupilate Dr Rank but when he confesses his love for her she goes into a state of shock and that’s when the rays of light seep into the room displaying Nora’s state of awareness. Also the lamp could signify spiritual redemption. This is because darkness is associated with evil and immoral activities. And Dr rank confessed his love for his best friend’s wife which is an immoral act. thus the streak of light which the lamp bought in, also bought with it a sense of righteousness. That is when Nora exclaims â€Å"Dr. Rank! Don’t you feel ashamed of yourself, now the lamp’s been bought in? † Therefore, using multiple objects of the play, the playwright makes it clear that he doesn’t want the things used in his play to merely be objects but he symbolically makes these inanimate things spring to life as he denotes so much importance to them.

Fire and Heat Imagery in Charlotte Brontes Jane Eyre Essay -- Jane Ey

Fire and Heat Imagery in Charlotte Bronte's Jane Eyre The essence of any true magnificent piece of literature is not what one can see in words. It is what one can see behind the words. It is through the symbolism and imagery found in works of literature that a reader can truly connect with the writer. Charlotte Bronte epitomizes the spirit of the "unread but understood" in her Victorian work Jane Eyre. There have been numerous essays and theories presented examining the complex symbolism and imagery used by Bronte in Jane Eyre. Much of the imagery she uses concentrates on passion, fantasy, and the supernatural. In this essay I will examine Bronte’s use of fire and heat imagery pertaining to Mr. Rochester and Jane’s love relationship. To begin, fire imagery permeates Mr. Rochester and Jane Eyre’s relationship from beginning to end. Since the passionate love that Rochester and Jane first held was sinful, it was accompanied by images of fire and burning. This can possibly be an image of hell. For example, when Rochester was trying to convince Jane to stay with him despite the fact that he was married, he described what he expected her reaction to be, "I was prepared for the hot rain of tears†¦but I err†¦your heart has been weeping blood." This image of hot rain and weeping blood lends itself to an image of punishment. Similarly, when Jane showed signs of fatigue, he carried her in his arms up to her room, holding her tightly. As a result of his "sinful" touching, Jane’s senses were dulled, "all was cloudy to my glazed sight." Yet when he placed her in front of the fireplace to warm up, she felt revived, "I felt the reviving warmth of a fire" Here the fire cleansed Jane of her stupor. It awoke her conscience to what Rochester ... ...ns, "it was a just judgment on him for keeping his first marriage secret, and wanting to take another wife while he had one living." Thus, Jane and Rochester reunited and each proved to be reborn, Jane after undergoing her own final period of personal and spiritual growth, and Rochester after facing his vices and rescinding his sinful nature. In conclusion, the concept of fire used by Charlotte Bronte in Jane Eyre cleanses, foreshadows, strengthens, and reawakens both Jane Eyre and Mr. Rochester. Bronte tempered the passionate nature of her novel by continuously revealing that heated sinful emotions only lead to ruin. Both Jane and Rochester were subjected to emotional and spiritual purgatory for their immorality. They were allowed solace only after achieving spiritual rebirth. Work Cited Bronte, Charlotte. Jane Eyre. New York: Dodd, Mead & Company, 1991

Othello Prelim Essay

When the aspirational values of an individual become all-consuming, the relationships of those close to them are destroyed, through the corruption of loyalty and trust. Both Shakespeare's Othello and Geoffrey Sax's Othello portray many elements of tragedy, by exploring the relationship of Othello and Iago/Jago, and the way his manipulations distort Othello's mind. Iago's zealousness in Shakespeare's play Othello reflect the elements of a fatal flaw in an individual, and the disruption of the Chain of Being, both being key features of a tragedy.Iago's words, â€Å"Men should be what they seem†, are ironic, as he hides his true self from Othello, who trusts him completely, in order to gain what he desires. His rejection, and pursuit, of the job of Othello's lieutenant eventually causes his demise, hence becoming his ‘fatal flaw'. Iago's continued pursuit of his goal leads to the deaths of many, which provides a metaphor for all audiences of the destruction our aspirations can cause.The imbalance in the Chain of Being is corrected in the conclusion of Shakespeare's Othello, however, Sax's Othello results in Ben Jago becoming successful, and achieving the position of Police Commissioner. Sax's Jago psychologically manipulates and abuses his victims, in contrast to the original play, where many are physically killed. Our modern audience expects this, however, because we, as well as Jago, realise that for him to achieve his goals, he has to be subtle in order to avoid detection in our age of fingerprinting and DNA sampling.In this way, Sax's Jago has to prepare his plans a lot more than Shakespeare's Iago, which leads to him gaining the position he wanted, rather than being captured. However, both have very similar plans, revolving around manipulation, especially Othello's mind and emotions. Othello's trust, thereby his loyalty, relies on his knowledge of the individual, particularly their past. In both texts, his slight uncertainty with his trust in Des demona/Dessie is due to their fast marriage and lack of knowledge of their lives before he met them.In Shakespeare's Othello, Desdemona's and Othello's sudden marriage, which finalises their relationship, is accentuated by Iago asking Othello â€Å"But I pray sir,/ Are you fast married? † This leaves us confused as to how these characters became truly familiar with each other before their marriage, and foreshadows what is to later come. Sax portrays Othello's niggling doubt towards Dessie as due to her silence about her boarding school days, when she met Lulu. However, Dessie defends herself against his accusations of her being secretive, by shouting, â€Å"It's always you talking and me listening!†This frame is a close-up, overhead shot of Dessie, emphasising how vulnerable she is to Othello, and foreshadowing the circumstances of her death. Othello's distorted trust enables Iago's plan to succeed, because he puts his loyalties in the wrong hands. Sax portrays Ben Jag o as a police officer, who we and also Othello, expect to be just and honest, as police uphold and enforce the law. Similarly, Shakespeare's Iago held a position that was expected to be trusted, as a part of the army who were assigned the role of protecting their country.This fallibility of Othello's trust and loyalty allowed Iago to manipulate him such that he was able to isolate him, and destroy his relationships with others. The relationship breakdowns in both versions of Othello cause vast amounts of chaos, because the Chain of Being is broken. Shakespeare's Othello decides that Desdemona is guilty before even consulting her, as seen when Iago tells him, â€Å"She did deceive her father, marrying you†, and he replies, â€Å"And so she did.†His truncated sentence bluntly expresses his view, implying that he has made up his mind, and nothing can change it. Similarly, Sax depicts Othello as already concluded that Dessie is guilty, by him saying, â€Å"You tell me wha t I want to know†¦ Tell me the truth bitch! † These words are accompanied by a low shot, looking up at a close-up of Othello's face, indicating the power Othello has over Dessie, and makes the viewer empathetic towards her, by feeling weak and insecure. However, we have recurring scenes that show how Desdemona is trying to keep their relationship together.Sax shows this by representing Dessie as a woman in a domestic violence household, especially when she says, â€Å"He needs me. † Similarly, Shakespeare characterises Desdemona as a dutiful wife, â€Å"It was his bidding†¦ We must not displease him. † Desdemona/Dessie's loyalty to her husband infuriates Othello more, as he believes it is more of a lie to keep the secret from him, rather than tell him outright, and it is the worst thing that Desdemona could do to him, â€Å"She's like a liar gone to burning hell.†All these little aspects of Desdemona/Dessie and Othello's relationship, in both Sha kespeare's and Sax's Othello, combine to cause the destruction of it, upon which the whole play is hinged upon. The end of a relationship is caused by many varying factors, but mostly a diminished sense of trust, whether it has a basis to be there, or whether someone values it so lowly that they put their own selfish desires over it.This is true in the case of Shakespeare's Othello, and the modern adaption Othello, directed by Geoffrey Sax. Iago/Jago's aspirations cause him to manipulate many people, with the purpose of destroying Othello's relationships, mainly with Desdemona/Dessie, to achieve the position that was â€Å"wrongly† given to someone else. This holds a mirror up to both the Elizabethan and our modern societies, critiquing our nature and values.

The Height Of Colonialism Between The 18th And 20th Century

During the height of colonialism between the 17th and 20th century, almost all of Asia was at one point either directly taken as a colonial possession, or was strongly influenced politically and economically by a colonial power. The exception to this was Siam (now Thailand) which has remained largely independent despite colonial pressure on all its borders (with the exception of the concession of what is now Laos and Burma). For the sake of brevity and consistency, this essay will only be dealing with events from between the early 19th century to the beginning of the 20th century. During this period, the biggest threats to Siamese independence were the British to the west, and the French to the east. As seen by the map below, by 1901, British influence (indicated by the red) had extended to encompass the north and west of Siam (indicated by the bottom right green), while French influence (indicated by the blue) covered the east of Siam. As Siam was surrounded by either French or British colonies, it meant that other Western colonial powers would need to contest French or British territories before it would be able to consider colonising Siam. Figure 1 – part of a larger map of Asia, â€Å"World East† Siam’s geopolitical position would prove to be extremely beneficial, as its role as a buffer between France and Britain would allow it room to maneuver in diplomatic relations, even in the face of aggression and unfair treaties. The treaties would make up part of theShow MoreRelatedAfrocentrism Versus Eurocentrism Essay examples4480 Words   |  18 Pagesview the world are totally different from one another but they are alike in the sense that they strive to place each of their ideals at the center. There is a long storied past associated with these two ideologies as well as a difference in opinion between and among the two. 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