Control Factor Torvald And Bernarda Essay Research
Control Factor: Torvald And Bernarda Essay, Research Paper
Control Factor: Torvald and Bernarda
Two classical plants started a motion that echoed in clip. The first book A Doll s House is a great chef-d’oeuvre written by Henrik Ibsen in 1879. He is the male parent of modern realistic prose play. The 2nd book The House of Bernarda Alba written by Federico Garcia Lorca in 1936 shocked the universe because nil so hideous had been published. The book is about the predicament of adult females in the towns of Spain. Both are narratives of the suppression of adult females and the feminist motion. In Ibsen s work we encounter Nora Helmer, a naif homemaker, dominated by her hubby Torvald Helmer. She borrows money and her hubby finds out and she leaves him. In Lorca s work Bernarda Alba dominates her girls and drives one to suicide. However, other forces control both Torvald and Bernarda. Such as society, which controls their actions by suiting, them in a cast of what they should be making. In their plants, Ibsen and Lorca portray Torvald and Bernarda as people who control and are controlled. Torvald and Bernarda command the people that are close to them both control money issues in the house. Besides society controls Torvald and Bernarda.
In their several plants, Ibsen and Lorca depict Torvald and Bernada as persons who control people that are close to them. In Torvalds instance he dictates to her what she should make and what non. Both characters manifest despotic features. Which they enforce upon loved 1s I should non believe of traveling against your wants ( Ibsen 4 ) . We see Nora following what Torvald commands her to make his tyrannizing province undermines her authorization. Parallel to Torvald is Bernarda she controls them even more so Trovald. She goes one measure further. Almost to the point of mistreating them at one point she beats them with her cane to acquire them under her control. Sh-h-h-h! ( Garcia Lorca 163 ) . At this point, she tells Magdelena, one of her other girls, to be quiet and non to state anything during the funeral. She besides does non allow one of her girls to see a adult male and marry him. Since her girl is ugly she can t acquire anyone to get married her. Her female parent, being the commanding sociopath that she is won t allow her marry that one cat that likes her. The ground that Ibsen and Lorca created such ruling characters was to demo that adult females were being oppressed non merely by the male gender but besides by other females.
Another cardinal issue is to see who truly controls the money in the house. From reading the book one finds that Torvald and Bernarda control all the money. Every clip we read about Nora we see her beggary for money. You might give me money. ( Ibsen 3 ) . When she asks Torvald for money we can deduce that she dose non work yet another consequence of an laden society. Could this besides be another signifier of control that he puts upon her by non allowing her be able to fend for herself? Bernarda hurts her kids more than assisting them. In their town none of the work forces in the town are worthy plenty for her girls. However, traveling to another town would damage her pride. The work forces in this town are non of their category. ( Garcia Lorca 168 ) . The others can non travel out of the town because they don Ts have adequate money. However, the one girl who was married has the money but Bernarda is the determination shaper and so she has control. When you control the money you control the individual and people will hold to make what you say without vacillation.
Many persons were blinded by the outlooks that society topographic points on them. Furthermore society topographic points upon the caput of the family to be able to command all the other dwellers of the house. Besides they are controlled by society to put these outlooks upon the others. Ibsen and Lorca, give us a point of view that exemplifies the nature of a commanding individual. The writers depict Torvald and Bernarda as commanding people. Therefore commanding nature drives the others further off alternatively of closer. When Torvald hears of Noras actions he goes brainsick. No, that is all over. From this minute felicity is non the inquiry ; all that concerns us is to salvage the remaining, the fragments, the visual aspect. ( Ibsen 63 ) . We see that society influences Torvald to see what society wants him to see and non the truth that his married woman sacrificed a cubic decimeter
ot to maintain him alive and good.
In Bernarda Alba the same society force per unit area is felt upon Bernarda and the girls maintaining them separated. The work forces in this town are non of their category. ( Garcia Lorca 168 ) . Here once more she has to get married up alternatively of settling with what she has. Keeping her girls emotionally off from her and taking to the self-destruction of her girl.
They control the 1s near to them by minimizing them. Why would this be
effectual sing the other maltreatment? Well, by naming them names you are minimizing them and robbing them of any self-esteem. This technique backs up the controlling issue. When a individual has no self-esteem they are in your custodies and can t make much. Is my small squirrel out of pique? ( Isben 3 ) . Torvald undermines her assurance by naming her names like squirrel or small. Ibsen cleverly implements this all throughout the book reaffirming the subject of predicament of adult females. However, nowhere in the book does Nora really call him a name but he invariably calls her names. Bernarda besides does this but makes it ache. Spineless! Painted hussy! Just like your aunts! ( Garcia Lorca 175 ) . Of class, the clip is non right to set on make-up but she does non necessitate to travel to such an extent and name her a spineless painted adulteress. This lowers Angustias ( girl ) self-esteem degree, which lets her control her. Both author brand this well known all throughout the book really in a manner foregrounding it for us to see. Almost as if it were a cardinal issue in there plants name naming can be really destructive.
Besides another thing that controlled Toravald and Bernarda is there ethical motives. Torvald ne’er wants to be in a place of debt and will make anything to remain debt free. Even if it means running over his married woman and childs and so he has to command them. Like a Doll in a doll’s house being controlled. That is like a adult female! But earnestly, Nora, you know what I think about that. No debt, no adoption. ( Ibsen 2 ) . Since she has borrowed money has she asks him to borrow money but he refuses due to his ethical motives. This control doesn Ts make sense because the married woman should hold the ability to make what she wants. Bernarda besides exhibits control by ethical motives, which in bend controls the girls. Is that athe fan to give to a widow? Give me a black one and larn to esteem your male parent s memory. ( Garcia Lorca 164 ) . She could hold merely told the kid non give her a coloured one but a black one and explained why non to give a coloured one. Alternatively of shouting at her which yet once more gives her low self-esteem.
In merely one instance Bernarda controls the retainers while Torvald doesn t. She doesn Ts take attention of Poncia much, which could take to farther jobs in the hereafter. She s non eating today so she d merely every bit shortly we d dices of hungriness! Tyrannizing old autocrat! But she ll be fooled! I opened the sausage carbon black. ( Garcia Lorca 157 ) . She won Ts feed them right that manner they are all ways after her. Sooner or subsequently there likely traveling to acquire her. Tyrant over everyone around her. She s absolutely capable of sitting your bosom and watching you die for a whole twelvemonth without turning off that coiled small smile she wears on her wicked face. ( Garcia Lorca 158 ) . Again we see her speaking about Beranrda because she controls them and they would wish to be free.
At the terminal of all this we find that Torvald and Bernarda are manifestations of the commanding domineering adult male or adult females at the clip created by their several writers. At the centre is the predicament of adult females and how they deal with it. To decide this job either individual should sit down and speak about it. Ibsen and Lorca show Torvald and Bernarda as accountants and people who are controlled by society. This commanding consequence normally does more injury than good. For illustration, at the terminal of A Doll s House Nora leaves Torvald and she realizes that she must develop on her ain. In the other book she drives one of the girls to decease and distorts the other girls lives.
Garcia Lorca, Federico. Three Calamities: Blood Wedding, Yerma, and The House of
Bernarda Alba: A Drama About Women in the Villages of Spain. Trans. James
Graham-Lujan and Richard L. O Connell. New York: New Directions, 1947.
Ibsen, Henrik. A Doll s House. 1879. New York: Capital of delaware, 1992.