The reality of this truth is that is Nora does not know herself, her husband cannot possible know who she is. Nora experiences the pain of a blind love that has finally seen the truth. In a moment of enlightenment, she tells her husband, "You don't understand me, and I have never understood you either -- before tonight" (194).
For years, Nora lived safely behind the lie that she called a marriage but after Torvald found out about the loan, the happy marriage was gone and both partners saw the lies of one another. Nora's difficulty with love is different in that she makes a positive discovery in addition to the terrible truth she has learned. In short, not all is in vain. Nora can walk away a more informed, educated, and independent woman as a result of what she went through with Torvald. She can also look forward to the future. In this case, love leads to heartache and disappointment because Torvald was nothing that Nora believed he was and she must leave him and her family to discover who she is.
In Death of a Salesman, Linda experiences the pain of love through her husband's suicide. In this tale, the consequences of love are probably the most painful in that a life is lost. Linda spends her entire life married to a dreamer and believing in him. While Willy cheated on his wife and he was a pathetic husband; however, she still loved him, bore his children, and had faith in him. At his funeral, she claims that attention must be paid to this man's life and she appears to be the only one willing to pay him any attention. Willy never seemed to get anything right or perhaps he just got things barely wrong. His suicide...
Drama Arthur Miller's Death of a salesman and Henrik Ibsen's A Doll's House appear to contain no common themes on first reading. But upon close analysis of the two plays, readers are likely to discover that there is indeed the one major theme that is common in both stories however it has been discussed and exploited differently. Both plays highlight the importance of 'identity' and the consequences of not having one. Death
At the same time, every new failure only adds more to his need to hide from reality. This leads to the final point where he decides to commit suicide to save his family. This is his final illusion, where he wrongly believes that his family will be proud because so many people will come to his funeral. This shows that there is no change for Loman. He is escaping
The drama is tragic but what makes it more tragic is how the father passes down the doomed dreaming legacy to his sons. Robert Spiller observes that Willy Loman is Miller's "most beautifully conceived character" (Spiller 1450), who dies at the end of the play, "still believing in the American success myth that killed him and infected his sons" (1450). The man is to be admired because of his
Familiar-Unfamiliar Part of the process of staging a play is to make the familiar unfamiliar, to isolate elements so as to suggest reality, the familiar, in an unfamiliar way. Plays do not take place in the real world but in a created world, a world set in one isolated spot (the stage) with several specific individuals isolated from real life (characters) interacting in a manner that conveys thematic issues and
Audiences can ponder the issue of fate when presented with Oedipus, afterlife when thinking of Antigone, and motherhood and marriage when confronted with Medea. Further, modern plays often offer this type of ending as well. For instance, Tennessee Williams' The Glass Menagerie allows audience members to consider the theme of love and romance, superimposed with family. At the end of the story, audience members must contemplate whether Tom should
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