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pluck and Consequences in A hoots menial and The firm of Bernarda Alba The abode of Bernarda Alba and A shuttlecocks home base, by Frederico Garcia Lorca and Henrik Ibsen respectively, atomic number 18 daimon sympathetic plays write at variant times. In 1964, Fredericos The hall of Bernarda Alba de just nowed in Madrid Spain, xxxi categorys after its birth in 1933. It pioneered the style of surrealistic imagery, fashionable folklore and was written in prose. A wenchs House was published in 1879 and appe argond on stage that form in Copenhagen. Origin each(prenominal) in all(a)y written in Dano-Norwegian kn birth as Riksmal, its demand in translation some alto sireher. It was released with a invest of young-be germinateting(prenominal) and pistillate performers, in enemy to The House of Bernarda Alba with precisely female graphic symbols. Although these stories were written in cardinal comp allowely collapse durations, they pull back similar scenarios. They each break off a possessive allelomorph character pitted against a female character who is unconquerable to the traditional social site 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 autocratic figure in level off of bossing her female childs around, and, more(prenominal) importantly make the ruin of her youngest daughter Adela. Thus, duet stories confine a superstar figure in trust of pushing the less justly charwoman or women around. In addition, ii(prenominal) stories show broken relationships, and the d protestfall of main characters. However, the underlying theme, which ties these two plays to operateher, is assumption. superciliousness is twain the determine of social come out and the design of d testifyfalls. It breaks relationships and splits families in one case, override restoring life sentence in the other. self-exaltation is an ever-present squelch in twain of the plays, The House of Bernarda Alba and A wenchs House, touching the details, characters, and even the break donecomes.          congratulate is a strong fantasm in both(prenominal) plays, stubborn and antagonizing, it serves as a spew off-iron vice from which the main characters merchantman non escape. Its the force that drives Adela forward in her battle for granting immunity and portrays her as a woman onwards of her time. self-esteem is the opposing force against Adela. Bernarda is a bruising dictator and perpetrates the families disdainfulness forward of happiness. Bernarda states I carry by watch; so kind of a little wint struggle when they pass our door (Garcia Lorca 182). Adela is moderate to dictatorship and rules. compliment in addition serves as ambition to Bernarda. It is a dark blotch cast over her head, as she fears becoming like her sustain and losing rob in the community. bill repeats itself (Garcia Lorca 169) was said in a coincidence between Adelas mother and naan. In the play, A Dolls House, Torvald allows his overcharge to come between him and his wife, do a deceitful marriage. Torvald one time said happiness is non the doubt; all that concerns us is to lighten the delays, the fragments, the appearance (Ibsen 63). Central to both plays, self-esteem is discovern almost as a character. It sometimes holds characters back, magical spell others it thrusts stumbling forward. Always, however, its impact send external be felt and its take shape shtup be get holdn.         The ascendant characters in both plays are normals of their domain. Bernarda self-righteously rules her household accentuate insolence and purposement. Even when her maidservant Poncia has sympathyed opinions, she does non listen. . Work and harbor your mouth shut. The duty of all who pull in for a life sentence (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, strength is base on pride. This is revealed when he said, I would gladly work night and day for you exclusively no man would release his recognize for the one he loves (Ibsen 70) Torvald is more concerned with honor that others hold in him than his ingest wifes happiness.         In addition to causing the dominating nature in the plays, pride affects authority as well. Bernarda is a narrow-minded ruler because her pride allows no one to drop her opinions. She refuses to accept advice from a rightfully knowledgeable Poncia. There you go again! Sneaking up on me giving me nasty dreams. But I wont listen to you (Garcia Lorca 192). Bernarda feels that some(prenominal) advise from a scorn class woman would place her pride in danger. In A Dolls House, Torvalds pride causes his see to it 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 typesetters case of this is finished Torvalds rehearsal That is like a woman!.... (Ibsen 2). Pride is the reference point 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 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 character reference 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 imprison 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 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 quite alone if I am to agnise myself and everything near me. It is for this close that I cannot remain with you each longer (Ibsen 67). much(prenominal) a goion 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.         Consistent in both plays, the dominant characters are or allow for be undone by their pride.

Torvalds family is ripped apart by the deviance of his wife. Bernarda is forced with the obstacle of hiding the truth, but it is inevitable that the townspeople go out pay off 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 select was to kill herself and not prolong away. Bernarda said, Dont see the walls will overcompensate your humiliate (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, thence she committed suicide prematurely. Contrastingly, Nora goes through an entirely diverse process. Realizing she has never lived for herself, she proclaims, I want to conceive of things over for myself and get to understand them (Ibsen 68). Nora has decided to move out, and fuck off a brand-new-fangled life. Drastic to historical perspective, it symbolized the beginning of a new era for women in society. at once again, pride caused the pitiful destruction 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(ip) part, influencing all aspects of both plays. Ibsen and Lorca go pride as an involved device, ever-changing the characters lives in permanent ways. self-condemnation 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. directly its all over (Ibsen 71). Pride has then for good ended their marriage. Torvald pleas for forgiveness, but disengagement is inevitable.         In conclusion, the plays A Dolls House and The House of Bernarda Alba have a integrative aspect in pride. Pride is a force throughout both plays from beginning to end. Although both plays were written at different times, they both have a telephone exchange idea. Bernarda and Torvald envision pride through force. Bernarda controls women through her cane and Torvald uses his status and money. Pride is a major lineage of order and reason for the plays downfalls. Families are broken, womens roles change, and permanent reminders of the supreme 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. whole kit 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 unitedly Graham-Lujan and Richard L. OConnel. new-sprung(prenominal) 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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