In five pages the unpredictability of these plays' female protagonists is discussed along with their social and legal unacceptability contrasted and compared. Four sources are cited in the bibliography.
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of Western literatures earliest female heroines, Nora Helmer in Henrik Ibsens A Dolls House, and Antigone in Sophocles play of the same name. These were women, who were, on
the basis of their gender, forced to play subservient roles in their respective patriarchies. What this means is that they had no real social or legal status of their
own; they were completely dependent upon men, and their actions were always subjected to the patriarchal will. Nora and Antigone tried to make the best of these oppressive circumstances,
because they had little choice. Women were regarded more as male property than as intelligent human beings who were capable of making their own decisions. Whenever a woman
did not live up to the expectations of the feminine ideal - as unconditional supporter of a father or male relative or as a wife and mother - she was
considered to be an outcast and a disgrace to her gender. Societys status quo could only be maintained as long as a woman did as she was told and
suffered indignities in silence. Nora Helmer had plenty of practice being the dutiful female. She had been raised by a domineering father who controlled every aspect of her life.
When she married bank employee Torvald Helmer, she was merely exchanging a father for a husband. To Torvald, Nora was a silly animal or a plaything. Whatever
she was, she certainly was not an equal partner in their marriage. When Torvald became seriously ill, his only hope of making a complete recovery was to take a
holiday in a warmer climate. However, in order to finance such an expensive vacation, Nora was forced to take drastic measures because she, herself, had no legal rights.