The Concept Of Open Ending In Ibsen's A Doll's House And Shaw's Pygmalion

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From our general public's view in the start of the twenty-first century of ladies as solid and skilled, it is hard to understand the level of narrowing in the lives of ladies of minimal over a century prior. Two plays composed during this time, the 1879 play A Doll's House, by Henrik Ibsen and George Bernard Shaw's 1913 play Pygmalion portray the general mentality of western culture towards ladies and their job in the public arena. The general idea of ladies during this period is spoken to well by the fundamental male character in the two plays Torvald Helmer and Henry Higgins and their cooperation with the female characters. The true to life adjustments the 1973 movies of A Doll's House, and the 1938 movie Pygmalion mirror a similar frame of mind.

In spite of the fact that the connection between the male and female characters in the plays and movies contrasts, Torvald and Nora are married, while Henry and Eliza have a student-teacher relationship. The conduct of Torvald and Henry is fundamentally the same as. Henry 'rewards' Eliza with chocolates to get her to consent to partake in the wager, while Torvald, father-like, disallows Nora to consistently bring her preferred desserts - coconut macaroons, into the house. Torvald continually alludes to Nora as his 'little squirrel'. Perhaps on the grounds that he additionally holds a self-absorbed situation on social class, Henry feels totally advocated in calling Eliza anything that jumps out at him, for example, a 'squashed cabbage leaf.' Neither man even considers entering a 'genuine' discussion with the individual lady. Actually, Torvald and Henry are treating Nora and Eliza as one would treat kids considering the ladies as though they are of lesser knowledge and comprehension.

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When speaking about the ending of A Doll’s House, we notice that Nora leaves the house which was a huge shock back in the old days. Nora took such step because her “miracle” was shattered into pieces, knowing that Torvald wouldn’t do what she did for him and cares more about his social class than their marriage or even love. Nora’s move shows that Ibsen wanted to show people that women are able to stand up for their own and should break free from all the social barriers and norms. In addition to that when we want to speak about the ending of Pygmalion, we also see that Eliza also leaves in the end leaving Henry in amaze but in the same time, him thinking that she will come back again. Eliza realizes that she has been used by Higgins. In spite of the fact that she lives in fortune, she has advanced past her job with Higgins. Eliza is finding herself as an individual and as a lady. Higgins and Wimpole Street have become psychological weight for her.

Both endings can be considered tragic, realistic, and dramatic. Since both women finally decide to break free from the prison of society and the men controlling their lives. Its tragic in a way that after so many years or effort these women finally were able to do what they were being told not to do. Realistic in a way that it is their right to do such move and think about themselves first and what they want or need. Dramatic in a way that back in the old days’ women were always supposed to take orders from men and when these two women had enough of men ordering them around, they decided to do what should’ve been made a long time ago. This was a shock to everyone watching these plays.

Obviously, the endings of both Pygmalion and A Doll's House come when the ladies understand their situation in the brains of Torvald and Henry, oppose it as uncalled for, and leave with an increasingly free viewpoint, in spite of the fact that Eliza returns to Higgins yet with another regard for herself in the motion pictures. These plays were composed toward the start of when ladies began to request their privileges like just being viewed as a sufficient resident to have the option to cast a ballot in government decisions. Surely works like Pygmalion and A Doll's House probably affected the general public of those occasions uncovering 'new' thoughts and bit by bit adjusting the general disposition toward ladies.

In when women's liberation was not in any case a word Nora set out to do the incomprehensible and leave her significant other and kids to discover who she truly was. She felt that she was not fit to bring up her kids she had just been instructing them to be careless dolls, similarly as she seemed to be. One may think that it’s difficult to envision how brave Nora Helmer was a hundred years back. And when it comes to Eliza’s decision to leave, Higgins then has an extraordinary acknowledgment. By at last Eliza figuring out how to treat him inadequately, Higgins accepts that Eliza has at last become his equivalent. Both acts are justified, because these two women had enough from being bossed around and they finally want to find their true identities.

Personally, and in my opinion, if the dramatists had changed the endings into 'happy endings' both plays would lose their whole meaning and even lose their whole point that was being tried to prove, and these two plays wouldn’t have been a success if they had happy endings, and it would only prove that nothing is wrong with our society and men should be thee ones’ telling women what they should and shouldn’t do. These two plays are great just the way they are and nothing should be added to them. They can be considered one of the very first steps towards breaking all the gender roles and sexism and the whole idea of women being just housewives back in the days, they proved and showed that women can be much more than that once they start believing in themselves.

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The Concept Of Open Ending In Ibsen’s A Doll’s House And Shaw’s Pygmalion. (2021, August 23). Edubirdie. Retrieved July 23, 2024, from
“The Concept Of Open Ending In Ibsen’s A Doll’s House And Shaw’s Pygmalion.” Edubirdie, 23 Aug. 2021,
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