With close reference to the text, show how both Nora in A Doll's House and Christy Mahon in The Playboy of the Western World develop as characters in the opening of the two plays
With close reference to the text, show how both Nora in A Doll's House and Christy Mahon in The Playboy of the Western World develop as characters in the opening of the two plays
Original Title
Nora vs Christy in The Playboy of the Western World
With close reference to the text, show how both Nora in A Doll's House and Christy Mahon in The Playboy of the Western World develop as characters in the opening of the two plays
With close reference to the text, show how both Nora in A Doll's House and Christy Mahon in The Playboy of the Western World develop as characters in the opening of the two plays
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Jai Juneja, 13J
With close reference to the text, show how both Nora in A
Doll's House and Christy Mahon in The Playboy of the Western World develop as characters in the opening of the two plays In the comedy The Playboy of The Western World (PWW), J.M. Synge challenges social ideals and the family construct to demonstrate the rise of a male protagonist, Christy Mahon. Synge contrasts Christys distraught and unconfident initial state with his final sense of selfconfidence and vitality by satirising the local peoples growing idolization of him. Synge suggests that a human can significantly psychologically transform by becoming the subject of public interest. Although Christy is initially reluctant to reveal the story of his father to the locals, he increasingly exaggerates his anecdote as the play progresses. A Dolls House (DH) by Henrik Ibsen chronicles the exposure of Nora Helmer to the complex world, outside of her previously comfortable and dependent lifestyle. Ibsen illustrates Noras ideological shift when her marriage is put on the line: she is driven to question her values and customs, and the life she has long lived under the governance of her father and husband. Synge and Ibsen utilize various dramatic techniques and themes to demonstrate the development of the central characters in their plays. A prominent theme used to convey the protagonists transformations in the opening acts of the two plays is illusion versus reality. In PWW Christy arrives at a shebeen in a tired, dirty and distraught state, and Pegeen Flaherty, the sharp-tongued daughter of the shebeens owner, initially characterizes him as a soft lad. However, upon his hesitant revelation that he has killed his father, he is idolized and revered by the locals. This transformation has two important effects. First, Christys attempted murder of his father reveals his unforeseen rebellious nature. He swells with pride, falling for his own false pretence and becoming his
Jai Juneja, 13J
myth. As he pulls himself deeper into his own masquerade, Christys
description of his murder becomes increasingly dramatized, and his rising confidence mirrors the brutality of his story. What is first a strike to the ridge of [his fathers] skull becomes a blow to the breeches belt. Second, it reveals the theme of social conformity. Most characters in the play act according to conventions, but whereas Shawns conservatism and piety is a sign of cowardice, Christys rebelliousness elicits awe and praise from the townspeople, as they believe a daring fellow to be the jewel of the world. By killing his father, Christy strikes a blow against the tyranny of older generations and past traditions, breaking the monotony of the townspeoples lives. The locals are seduced by Christys mythology, and their herd mentality is humorously conveyed through the groups of villagers who approach Christy to approve his story first Jimmy and Philly, then the village girls. They characterize his deviance from social expectations as bravery a treasure in a lonesome place. Thus, Synge uses societys reaction to highlight Christys transformation, and although Christy exploits the locals for their adulation of him, his confidence grows and his character ironically prevails. DH portrays similar facets of growing deception and illusion through Nora. The setting depicted in the opening lines is quaint and tasteful, arousing positive expectations from the audience. The armchairs and small sofa evoke a sense of domestic comfort, giving the impression that the inhabitants live peaceful lives. These initial expectations are complemented by Noras actions: she gives the porter a pound when asked for a schilling, and laughs happily to herself, exuding a buoyant atmosphere. Torvald, her husband, addresses her using bizarre animal-related nicknames such as squirrel and skylark. At first these appear to be frivolous remarks, however their repetition presents Nora as a spendthrift
Jai Juneja, 13J
daughterly character who is unable to subdue her desire to buy
unnecessary items. Like an impatient daughter she manipulates Torvald, tantalizing him in If you really want to give me something, you could you could to provoke his curiosity. Hence, Noras first appearance is one of childlike immaturity, as Torvald tries to placate her every time she becomes moody. Like Christy, she initially seems subservient to Torvalds demands such as Look me in the eyes and is described as an expensive pet for a man to keep, which evokes a sense of possessiveness. This disparaging comment also highlights the domineering status of men during the time of the play. Akin to the theme of social conformity in PWW, Nora is restricted to the female standards in society. She expresses a desire to break free from convention in Ive the most extraordinary longing to say: Bloody Hell! The audiences perception of Nora shifts upon realizing that she must suppress her impulses and sensations to satisfy Torvald, and play into his frivolous game of pet and owner. Although Nora first appears submissive, her manipulative and controlling nature becomes apparent. However, although Noras conversation with Mrs Linde reveals her mature aspects, the numerous contradictions in her stories prompt the audience to question the degree to which Nora has been driven into selfdelusion. At the start of the play, Christys subservience and inexperience with women is clear. His lack of confidence is illustrated through his interaction with other characters. For example, the use of authoritative imagery in the stage directions to depict the Widow Quins and Pegeens sharp manner and cunning manipulation of Christy highlights his vulnerability and his sense of inferiority and shyness. However, the image of Christy cleaning a girls boots is ironic as it captures how Christys fate would have been had he married Pegeen. Christys transformation into a likely gaffer the
Jai Juneja, 13J
triumph of the submissive protagonist. The female characters in the
novel epitomize and accelerate Christys growing popularity. Synge satirises the village girls to underline societys irrational behaviour, and contrast Christys initial reserved relationship with women with his eventual self-confidence and vitality. Females actually domineering. Both characters undergo a complete revolution in act 1. End of PWW two fine women fighting for the likes of me