In a paper consisting of five pages identity is examined within the context of Ibsen's A Doll's House and Beckett's Krapp's Last Tape. Four sources are cited in the bibliography.
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the reality of their lives is suddenly seen through fresh eyes. This new perception is a cathartic epiphany of understanding for both characters. However, the context of these plays and
the emotional "places" that these two protagonists arrive at are diametrically opposed. Ibsens Nora rejects her role as wife and mother and moves out into the world to find herself,
while Becketts Krapp discovers that this lifetime of self-absorption has robbed him of the only thing that might have brought him some happiness, which is the love a wife and
family. Through his plays, Ibsen argued in the nineteenth century that woman while one may not accept that woman was made from mans rib, the domestication of woman by
man turned her into mans "appendix" (Binion 679). Noras husband tells her that she is "first and foremost a wife and mother," and Nora replies, "I dont believe that
any longer" (A Dolls House). What Ibsen makes clear is that for all of the doting that Noras husband pours on her, she would never have described him "first and
foremost" as a husband and father, and this is the built-in disparity in the Victorian domestic household, Binion 679). In A Dolls House, the protagonist, Nora, comes to the
eye-opening realization that throughout her life, the men that ruled over her, first her father and then her husband, never actually saw her an individual in her own right. Rather
the men in her life have regarded Nora as one might regard a doll, that is, they saw her more as a beloved object, over which they could impose their
own fantasies and expectations of her behavior. Ibsen is fair, as he makes it clear that Noras husband, Torvald, is not an evil man. Rather, he is a product of