Tragic Hero Paper Final.docx

She flaunts torvalds success saying oh kristine i

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interrupting to talk about herself. She flaunts Torvald’s success, saying “Oh, Kristine, I feel so light and happy! Won’t it be lovely to have stacks of money and not a care in the world? (Ibsen 1718),” when she knows full well that Mrs. Linde is struggling to make ends meet. However, Ibsen hints that Nora’s naivete and simplicity develop from her dominating relationship with her husband, Torvald. Throughout the play, Torvald demoralizes Nora, calling her by pet names such as “lark” and “squirrel.” To further assert his dominance, Torvald takes it upon himself to become somewhat of a guardian to Nora, asking her if “[His] sweet tooth really didn’t make a little detour through the confectioner’s? (Ibsen 1716),” prohibiting her from making her own choices or exercising her freedoms. However, throughout Nora’s painful sham of a marriage, she proves herself clever and resourceful, proving that Ibsen did not write Nora as a one-dimensional character, but rather, one that is capable of being the multi-faceted tragic hero that the reader can relate to. She reveals this to the audience by lying to Torvald up-front, denying ever bought or eaten her macaroons. These initial character traits of Oedipus and Nora, hubris and underlying traits alike, foreshadow the tragedy that is to unfold within these respective plays and the motivations that lead them. Further following the domino effect, Oedipus and Nora's hubris leads to their hamartia, or
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Mathew 3 error in judgement. Nora’s hubris, her ignorance, led her to commit forgery and take out a loan behind her husband’s back. Oedipus’ pride led to his hamartia as he tried to outrun his fate and chose to become blind to his prophecies. Both Nora and Oedipus committed an action of hamartia, and they converge in regards to their motivations. Nora motivations seemed somewhat selfless; she wanted to maintain peace in her family and ensure that her husband had the best medical care. However, throughout the play, Ibsen hints that Nora does not really care about Torvald. Towards the end of the play, she goes so far as to call him a stranger and claims that she is “no wife for [him] (Ibsen 1760).” Deeper than her affection for Torvald, Nora loves her safety; if Torvald was safe and healthy, so was Nora and her stature of feminine nobility. Nora's life was expected to be a figurative dollhouse, perfect and unflinching. Therefore she took out a loan without considering the consequences of her actions. In a moment of fear and panic that every
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