Parallels Between Nora in “A Doll’s House” and Blanche in “Streetcar Named Desire”

inside the classic works of literature, there often exist parallels between characters, settings, themes, and the like. An peculiarly interesting example of parallels among characters exists between Nora in Ibsens A snorts fireside and Williams A streetcar Named passion.In this paper, the parallels between these characters give be presented, not only in the outward appearance and draw of both, but also in legal injury of normal themes, symbolism, and to a greater extent in order to provide a well rounded piece of query and evaluation of these complex protagonists.Nora and Blanche Superficially ComparedTo begin, Nora and Blanche will be compared in terms of their outward characteristics and environ handsts so that a basis of compare can be established on the most basic direct, before more in-depth comparison can take place.Nora, in A ladys star sign, is presented by Ibsen on the surface as a vulnerable cleaning lady, subject upon the assistance and approval of others, e specially men. Having led a fostered life, Nora grows up in the care of her get under ones skin, and immediately moves to the care of her save upon her marriage, giving the commentator the distinct impression that she is totally reliant upon the help of others, or more precisely, the help of male figures of authority (Drake).As a result of this fragility on her part, Nora becomes impulsive and materialistic as the work unfolds in the initial portions of it however, the twit suggestion exists that Nora uses a practiced vulnerability in order to at long last valet de chambreipulate the men in her life. As the story reaches its climax, Nora emerges from her circumstances as a fully independent woman who rejects the idea that marriage and pregnancy is necessary to validate her as a person (Ibsen).Blanche, as represent in Tennessee Williams A Streetcar Named Desire is also presented as evenhandedly vulnerable and reliant on others, but in different ways. early in her life, Bla nche leans on a man whom she believes will be her husband and take care of her, but ultimately, done a series of manifold spatial relations including his confrontation of his own homosexuality, he takes his own life, leaving Blanche to her own devices (Bloom).In an run to validate herself, Blanche becomes the caretaker for the elderly members of her family, watching each of them pass away whizz by one, and along with them, a piece of her dies as well. Ultimately, Blanche rules herself seeking shelter and support from others when, as she loses her home and financial resources, she is obligate to move into an flatcar with another woman and man.Like Nora, Blanche initially seeks validation and protection from men, but in her baptistry, the men are a series of strangers with whom she indulges in intimacy in a fruitless search for attention, protection and a sense of herself (Combs). Ultimately, Blanche is forced to face the truth of her inner self, and like Nora, come to some aphonic decisions about who she has been, who she will become, and how all of this will interrelate.In comparing Nora and Blanche simply on the surface, we see two women who are seeking to find their way in the creative activity so to speak, but more importantly, each is also trying to find out who they really are and also trying to find a sense of independence and validity despite trying circumstances.This be understood, there are several key themes that these women have in common themes that are more abstract but important nonetheless. They are identify and discussed as followsFantasy Versus RealityBoth Nora and Blanche find themselves in a struggle between fantasy and earthly concern initially, both women are lulled into the false fantasy world where men make them complete, validate their existence, and will help them to live gayly ever after, as the classic fairy tale goes.However, as reality sets in, both women find that they ultimately need to define themselves on their own, and the true(a) reality is that we all find ourselves alone and should not rely on someone else to complete or validate our existence. For Nora, reality comes in the take of her independence from marriage and motherhood, which allows her the luxury of full expression of her inner self. For Blanche, reality comes in the form of the gravity of her promiscuity and the effect that it has had on others, as well as herself. barenessFor the entire action taking place nigh them, it is fair and accurate to assert that both Nora and Blanche are lonely in one sense or another. While it is not the type of privacy that comes from being totally alone, it is the type of loneliness that comes from not truly subtle anyone, including themselves.Nora realizes in conclusion that she is a stranger even to herself, and this leaves her intenting quite alone. For Blanche, face up with the seemingly constant loss of loved ones through illness and death, she is eventually alone in the literal s ense, being the sole survivor of her family. Loneliness permeates both of these characters, and shapes them forever, for better or worse.DesireThe presence of romantic, emotional, and material desire is a common element to be found in both Nora and Blanche. Desire is something that can be a positive motivator or a destructive force, and it manifests itself in both ways in the case of these characters, respectively. In Noras case, desire first exists in terms of her desire to feel safe and protected by the men in her life, first her father and then her husband.At the conclusion of A Dolls House, Nora has a desire to be independent and define herself, which she pursues. Blanche, in A Streetcar Named Desire, has desire of the amorous nature, which burns so hotly that it close consumes her in its intensity. At the conclusion of Blanches saga, her desire for the love of a man is what brings her full circle in her life experiences.Constant ChangeThere is an old irony that says that the o nly constant in the world is commute in the case of these characters and works, this is definitely the case. Change, for better or for worse, charts the course of Nora and Blanche throughout their respective stories.Nora goes through a wide variety of changes, as her domestic situation changes through marriage, and changes once again as she comes to the realization that she is actually her own woman and does not need approval from others to thrive.Blanche goes through the end of the Old reciprocal ohm as her role models all fade into eternity and she must change all that she has known as her everyday life. Both women change unendingly and move forward with the action of their stories.The Male and Female DynamicThe dynamic between women and men is as old as time itself, and is a integrative theme in both A Dolls House and Streetcar Named Desire. Nora struggles with the issue of being subservient to a man and allowing him to shape her world, while Blanche seems to want to submit t o a man in order to shape her world. These differences are along the same line of thinking- that men and women, for better or worse, do define each other to a certain extent, but total submission is a different situation altogether. Both women interact with men, and it influences their lives for better or worse.Closing ThoughtsOn a higher level than the literal, Nora and Blanche represent some of the most intricate nuances of womanhood. In their comparison, an understanding of the clement soul as well, has been achieved.Works CitedBloom, Harold, ed. Tennessee Williamss a Streetcar Named Desire. New York Chelsea House, 1988.Combs, Robert. Philip C. Kolin, Williams A Streetcar Named Desire. American Studies International 41.3 (2003) 104+.Drake, David B. Ibsens a Doll House. Explicator 53.1 (1994) 32-34.Ibsen, Henrik. A Dolls House. Girard, Kansas Halden Julius, 1923.