#6

   In Oscar Wilde's The Picture of Dorian Gray, Wilde argues that the death of the conscience and the soul culminates in the death of the person.  The prime example of this concept is Dorian Gray.  Dorian comes to an epiphany after his time at Selby.  When his prime enemy and source of vengeance, James Vane, is killed, Dorian feels he has been given a second chance at life.  He can now work to be a good better and redeem himself of the sins which hold him back.  He begins working toward this through acts of denial.  Slowly he leaves the hedonistic lifestyle behind.  his only hindrance is his soul.  His soul is found in the portrait done for him by Basil Hallward.  All of the sins Dorian has ever committed are record through the marring of the portrait.  Dorian believes that if he destroys the portrait, he destroys the record of his sin and thus can move on with his life.  Dorian sees the portrait as the last bit of evidence of his sins.  This holds him back from true repentance.  He refuses to confess to the crime of killing Basil and instead determines to destroy the portrait, his soul, and thus destroy all evidence against him so that he can progress into a pure life.  Dorian proceeds, he takes a knife and decides, "As it killed the painter, so it would kill the painter's work and all that it meant.  It would kill the past, and when that was dead he would be free...he would be at peace.  He seized the thing and stabbed the picture with it" (Wilde 164).  This is the misconception Dorian holds.  He thinks he can be absolved of his sins through the destruction of his soul.  In reality, the soul holds life.  It is the record of one's deeds.  It's elimination is the termination of life.  Dorian wants to take the easy way out.  He refuses to repent and do the right thing.  In the end he must pay for his refusal to deal with his iniquities in the correct manner.  He pays for the effacing of his soul through death.

#5

  In Oscar Wildes, The Picture of Dorian Gray, Wilde deals with the concepts of atonement  and guilt.  Dorian Gray is a character representative of the sinful man.  Dorian has committed his share of iniquity.  Dorians sinful lifestyle comes to a a crossroads when he murders his old friend Basil Hallward.  The motive for murder is that Basil chooses to chastise him for the wickedness that Dorian has allowed into his life.  After murdering Basil, Dorian is faced with options.  He can either atone for his sins and turn from his wicked ways, or he can move deeper into a lifestyle of debauchery.  Dorian chooses the latter path.  He decides that he will live by pleasuring his senses.  He will stamp out his sin by committing more sins that please his physical senses.  Upon reflecting on his choice Dorian comes to the conclusion that, "His soul, was certainly sick to death.  Was it true that the senses could cure it?  Innocent blood had been spilt.  What could atone for that?  AH! for that there was no atonement; but though forgiveness was impossible, forgetfulness was possible still, and he was determined to forget to stamp the thing out, to crush it as one would crush the adder that had stung one" (Wilde 135).  Dorian feels that atonement for the sins he has committed is impossible.  Instead of working toward making right what he has done, he adopts an attitude that leads to destruction.  This attitude is one in which a person refuses to repent for one's sins and instead proceeds to sweep wrong doings under the carpet and ignore them as if they never happened.  In doing so sin is allowed to fester.  Dorian does not learn from the incident.  Instead, he learns that he can commit a sin as egregious as murder and then get away with it.  This all comes back to the fact that Dorian lives a hedonistic lifestyle.  Sin and guilt do not bring pleasure, repressing sin and guilt over wrong doing does bring pleasure.  It allows one to operate as if an error were never committed.  This is Dorian's intent in stamping out the memory of murdering Basil Hallward, to please himself and feel no pain or remorse.  

#4

    Oscar Wilde's, The Picture of Dorian Gray, talks of the concept of sin manifesting in the physical appearance of the sinner.  Often times people say that the looks of a man speak for his character.  Basil Hallward affirms this statement when he says, "Sin is a thing that writes itself across a man's face.  It cannot be concealed" (Wilde 109).  Dorian Gray would be the epitomy of this statement.  Instead Dorian's portrait takes on the physical manifestation of sin.  As Dorian delves further into a lifestyle of iniquity, his portrait bears the marks of his sins.  Each act of evil weathers the portrait further.  Dorian is able to hide the portrait of his soul from the world.  He goes about wearing the face of an innocent boy.  Through the portrayal of sin in Dorian Gray, Wilde argues that the lack of accountability born out of humanism does not produce better human beings.  Rather it creates more evil people.  Since Dorian calculates all actions based on the amount of pleasure that they will yield to him, he is willing to mar his soul at any cost.  He is not impeded by conscience because he is able to hide his actions from the world.  No one has proper proof of the wrongs committed by Dorian.  Wilde argues that people were held publicly accountable for their actions,society would be better.  In the case of Dorian Gray this is especially true.  If Dorian's portrait were publicized for the world to see, because of all the shame and guilt, he would be forced to stop engaging in immoral conduct.  In reality, Dorian is able to privately revel in his sin.  He watches his soul transform into the very likeness of evil.  He is not accountable to himself or to the world in which he lives, therefore he is able to continue to operate as an evildoer.  Dorian is a model for those in society that wear an outward mask of purity, yet on the inside hold souls of corruption.  If their souls were held open for all the world to see they would cease from immorality.

#3

  In The Picture of Dorian Gray, Oscar Wilde exemplifies the ideal of hedonism in Dorian gray.  Hedonism is the belief in living life according to pleasure.  Hedonists seek pleasure despite its costs.  Dorian Gray evolves into a hedonist.  Under the influence of Lord Henry, Dorian learns that his beauty can be used as a tool to procure any pleasure he desires.  This idea is appealing to Dorian.  He becomes a capricious man buying jewels, instruments, and pieces of art as they suite his interests.  Hedonism also has negative effects on Dorian.  Since Dorian only lives for pleasure he chooses to ignore the pieces of life that may cause him pain.  A clear example of this is after the death of Sibyl Vane.  Basil Hallward comes to visit Dorian expecting the young man to be in mourning after the death of his former love.  Instead Dorian is happily going about life and indulging in pleasures.  Basil is shocked, in response to Basil's reaction Dorian says, "What is done is done.  What is past is past...IT is only shallow people who require years to get rid of an emotion.  A man who is a master of himself can end a sorrow easily as he can invent a pleasure.  I don't want to be at the mercy of my emotions.  I want to use them, too enjoy them, and to dominate them" (Wilde 79).  Here Dorian chooses not to face the consequences of  his actions.  He caused the death of a young girl, instead of taking responsibility and mourning over her death and his guilt, he chooses to indulge in diversions.  This is an inappropriate reaction to death.  Hedonism makes Dorian inconsiderate.  He does not care about the pain others feel at his hands.  He caused a mother to lose her only daughter, he ended the life of one girl because he rejected her, he took an only sister from a brother.  Yet, he chooses to feel no remorse.  In his hedonistic state he decides that emotions will not rule him, rather he will rule his emotions.  From the hedonistic point of view this means that all emotions that cause displeasure must be ignored.  Emotions that bring euphoria are the only sentiments to be taken into consideration.  This makes Dorian an egotistical person.  This path of hedonism can only lead him to hurt others.  Because Dorian only cares about that which brings him joy, he  does not have the appropriate response to situations.  At the hands of Lord Henry Dorian has become an inconsiderate hedonist.  This can only lead to danger.  As Dorian pursues passions and pleasure, the natural obstacle that caution and consideration would put in the way will be ignored.  In the end Dorian will harm himself and bring others down with him.

#2

      Dorian Gray undergoes serious changes throughout the novel The Picture of Dorian Gray.  Dorian began the story as an innocent youth full of boyhood naivete.  Under the influence of  Lord Henry, Dorian Gray transforms into a cruel man.  Dorian seems to have found the love of his life in Sibyl Vane.  The love is drastically terminated after a poor performance by Sibyl in the play Romeo and Juliet.  Dorian decides he is no longer enamored with Sibyl and proceeds to callously end his engagement.  Despite Sibyl's pleading and crying,  Dorian chooses to leave her.  After this terrible event, Dorian reflects and thinks, "Cruelty!  Had he been cruel?  It was the girl's fault... She had been shallow and unworthy.  And, yet, a feeling of infinite regret came over him as he thought of her lying at his feet sobbing like a little child.  He remembered with what callousness he had watched her" (Wilde 67).  Here Dorian acknowledges that he is a cruel person.  Yet, he regrets his cruel actions.    He looked upon his former love as she wept, and was able to walk away from her.  Dorian knows this is wrong.  This leads to a change of heart, he resolves to go back to Sibyl.  This resolution is disrupted by the revelation of Sibyl's suicide due to Dorian's rejection.  After this news Dorian full fledgedly acknowledges his cruelty saying, "'So I have murdered Sibyl Vane" said Dorian Gray half to himself-"murdered  her as surely as if I had cut her little throat with a knife"(Wilde 72).  Dorian knows that he is on a path to immorality.  Instead of engaging in whole-hearted remorse and mourning, he instead decides that his change in character is inevitable and that he will enjoy watching the dark change within his soul.  His change is reflected in the portrait painted for him by Basil.  At first he fears the strange transformation of the portrait, after his resolution to continue in his dark path he decides that, "If the picture was to alter, it was to alter.  That was all.  Why inquire too closely into it.  For there would be a real pleasure in watching it" (Wilde 77-78).  Gray is essentially resigned to a life of iniquity.  He does not feel remorseful.  He does not try to stop the metamorphosis, instead he agrees to run with this current.  He will be evil and he will observe his soul's journey into darkness.
         In creating this transformation in Dorian Gray, Wilde parallels normal human behavior.  The norm for human beings is to engage in ethical conduct due to conscience.  Normal humans know that a life of iniquity does not leave the body beautiful.  In the Dorian Gray's world no matter how sinful he is there is no corporal consequence.  He can go about his business with the same youthful beauty and admiration from others.  Wilde makes a statement in the character Dorian Gray, he essentially says that if there were no consequence to a person's appearance to the outside world, humanity might engage in all sorts of debauchery.  Dorian Gray proves this theory pointedly in his conscious decision to defy morality a rogue human being.

#1

Basil Hallward:
  Basil Hallward is a man of his work.  Basil puts himself wholly into his art: "'I know you will laugh at me," he replied, "but I really can't exhibit it.  I have put too much of myself into it"' (Wilde 2).  Basil Hallward is an artist. Throughout the beginning of the story Basil is seen throwing himself wholeheartedly into his work.  He works so hard on a portrait of Dorian Gray that he becomes so attached to it, he cannot bear to exhibit it.  His art holds pieces of him within it.  His attachment to his artwork is founded on the premise that he puts so much of himself into it.  During a scene in which Lord Henry and Dorian are conversing as Basil paints, Lord Henry pulls back the veil of innocence from Dorian completely.  Basil does not notice how distressed Dorian is until he requests to go to the garden to which Basil remarks, "When I am painting, I can't think of anything else.  But you never sat better.  You were perfectly still.  And I have caught the effect I wanted-the half-parted lips, and the bright look in the eyes.  I don't know what Harry has been saying to you, but he has certainly made you have the most wonderful expression" (Wilde 15).  This is a classic example of Basil's passion for his work.  He forgets his surroundings only focusing on his work and its subject.  Basil is so passionate about his work that he does not impede the immoral influence of Lord Henry upon Dorian Gray.  This trait of passion about work pushes Dorian out from under Basil's influence and in turn makes Basil regret that he loses the young man to immorality.
      Basil is also a caring man.  In regard to his friendship with Dorian Gray, Basil truly cares for the youth's welfare.  Upon hearing the news of Dorian's engagement, Basil is spurred to concern, "I hope this girl is good, Harry, I don't want to see Dorian tied to some vile creature who might degrade his nature and ruin his intellect" (Wilde 53).  Basil does not wish to see any harm come to Dorian.  He almost cares too much for his friend.  At this point in the novel Basil's excessive care for Dorian is posed as a foil to Lord Henry's immoral influence upon Dorian's life.  Basil's caring personality is a contrast to Lord Henry which Dorian recognizes.  He is further pushed into the arms of the manipulative Lord Henry.  Basil is over caring because he has lost Dorian.  Dorian, whom he once held all to himself, has left Basil and his artwork.  Basil has lost the innocent light that drove his art.  He wishes to save the once innocent muse and bring him back under his wing.  This is of course a lost cause.  Basil does not recognize that he wishes to fight a losing battle.
      Hallward is also an optimist. No matter the evil that stares him in the face, Basil wishes to see the good in the characters of others.  A clear example of this is in  Basil's relationship with Lord Henry.  Lord Henry makes known to Basil that in truth he wishes to see Dorian Gray engage in folly and possibly ruin his life.  To this Basil responds, "You don't mean a single word of all that, Harry; you know you don't.  If Dorian Gray's life were spoiled, no one would be sorrier than yourself.  You are much better than you pretend to me" (WIlde 54).  In truth, Lord Henry is not better than you pretends to be, he is sly and calculating.  Basil, in his optimism, willfully refuses to see the authentic Lord Henry.  In so doing, Basil further loses his friend to Lord Henry's manipulation.  His optimism leads him to inaction.  He ignores the evil that comes out of a relationship between Lord Henry and Dorian.  He cannot see that he has the potential to help Dorian out from under debauched hand of Lord Henry.  This is also a change from the beginning of the novel when Basil specifically requested that Lord Henry not spoil him, influence him, or even or take away from the pone person who gives his art a purpose (Wilde 10).  Now Basil willfully turns a blind eye to wrong path that Lord Henry leads Dorian Gray into.
       Basil Hallward is a man of inaction.  At the end of his dinner with Dorian and Lord Henry, Basil finally realizes that Dorian is changed and not for the better, the muse for his art is gone: "He felt that Dorian Gray would never again be to him all that he had been in the past.  Life had come between them...When the cab drew up at the theatre, it seemed to him that he had grown years older" (Wilde 58).  Hallward recognizes the change in Dorian, yet he does nothing.   In light of this revelation Hallward should be provoked to action.  He should try to help Dorian.  He should be motivated to bring Dorian out from darkness.  Instead he watches helplessly as Dorian is led astray.  It was he who was cognizant of the potential for this to happen at the beginning of Dorian and Lord Henry's relationship.  In the end he does nothing with his revelation except to partake as a bystander in the corruption of Dorian Gray.

Lord Henry Wotton:
    Lord Henry Wotton is an unorthodox man.  In his beliefs and statements Lord Henry constantly veers against views sanctioned by society.  For example in speaking of how he chooses the company he keeps, Lord Henry says, "I choose my friends for their good looks, my acquaintances for their good characters, and my enemies for their good intellects...I don't care for brothers" (Wilde 6).  Lord Henry's required traits for the different parts of his life largely go against the grain of society.  His requirement for friendship is seemingly superficial by society's standards.  His requirement for his enemies and acquaintances are  what society would require of a true friend.  In addition Lord Henry is unconventional in his dislike for familial ties.  Society would say that a person should care for his brother above all other companions.  Lord Henry ignores this concept completely and dislikes his own brothers.  In Lord Henry's desired traits in a friend there is an explanation for his friendship with Dorian Gray.  Dorian possesses the looks of an exceptionally handsome young man.   There is something to be said for this characteristic as it may be the reason for which Lord Henry is more easily able to play upon his psyche.
      Lord Henry is very calculating.  He is cognizant of the fact that his words have a strong effect upon Dorian: "He knew the precise psychological moment to say nothing.  He felt intensely interested.  He was amazed at the sudden impression that his words had produced" (Wilde 14).  Here Lord Henry sees that he is able to affect Dorian in profound ways.  This recognition helps to emphasize the calculating trait within Lord Henry.  He sees the potential to change Dorian in large ways.  The revelation at this moment changes the entire course of Lord Henry's existence.  He finds a purpose in manipulating and studying the life of Dorian Gray under his influence.
       Lord Henry is the ultimate manipulator.  Upon reflecting on his relationship with Dorian he finds that,
    "To a large extent the lad was his own creation.  He had made him premature...Yes the lad was premature.                He was gathering his harvest while it was yet spring...It was delightful watching him...he was a thing to wonder     at. It was no matter how it all ended, or was destined to end.  He was like one of those gracious figures in a pageant or a play" (Wilde 42).
Lord Henry knows that he is the author of the new Dorian Gray.  He sees that he is molding him into a new being.  He does not do it for the good of those involved, rather he sees Dorian as an actor on a stage, one whom Lord Henry himself has written the script for.  The end of the play does not matter, it is all for the enjoyment of its playwright, Lord Henry Wotton.  This is one of the characteristics of a manipulator, he controls a person for his own enjoyment and not for the good of the object of his manipulation.
      Lord Henry's character is scientific and uncaring.  When speaking of Dorian Gray's engagement he says, "I hope that Dorian Gray will make this girl his wife , passionately adore her for six months, and then suddenly become fascinated by some one else.  He would be a wonderful study" (Wilde 54).  Wotton in effect says that he wants to see Dorian Gray engage in infidelity, which could potentially damage Dorian and his future wife Sybil Vane.  He tries to cover up his callous attitude by saying that he views it as a scientific study.  His words are heartless and reflect on his character.  He does not care for the welfare of Dorian Gray.  To him Dorian Gray is an experiment.  Whatever happens to Dorian Gray in the process of experimentation does not matter.  What matters is that Dorian Gray remains an interesting guinea pig.

Dorian Gray:
     Dorian Gray is the picture of boyhood.  He is innocent and beautiful in his youth.  This part of Dorian cannot be ignored.  Lord Henry notices that, "he was certainly wonderfully handsome, with his finely-curved scarlet lips, his frank blue eyes, his crisp gold hair.  There was something in his face that made one trust him at once.  All the candour of youth was there, as well as all youth's passionate purity.  One felt he had kept himself unspotted from the world" (Wilde 11-12).  Dorian is young.  He has the look of innocence from not having experienced the world.  He does not look old because he has not been exposed to all the world holds, he has not had to whether the spots of the world.  He is unspotted.  This makes it easier for a character like Lord Henry to come in and play on his innocence and manipulate him.
      Dorian is not yet cognizant of who he is.  When Lord Henry Wotton steps into Dorian's life it is an eye opening experience.  Dorian had not recognized so many pieces of who he is .  He asks himself, "Why had it been left to a stranger to reveal him to himself" (Wilde 15).  He is altered.  He is founding out new revelations on what life really is.  The fact that Dorian does not yet know who he is adds to the potential for him to manipulated.  Lord Henry can easily play upon his character because it is still being molded.  Since Dorian does not yet know who he is, he is not autonomous.  He is not able to reject ideas impressed upon him, he is like a child.  Lord Henry can easily step into a place of influence and mold Dorian.
       Dorian Gray is impressionable.  After one encounter with Lord Henry he acquiesces his views.  He who at first did not agree with Lord Henry full affirms Lord Henry's views during an emotional outburst, "How long will you like me?  Till I have my first wrinkle, I suppose.  I know now, that when one loses one's good looks, whatever they may be, one loses everything.  Your picture has taught me that.  Lord Henry Wotton is perfectly right.  Youth is the only thing worth having" (Wilde 19).  Dorian is completely transformed.  It only takes one conversation to convert him to a follower of Lord Henry.  The impressionable nature of Dorian's youth leaves him an easy target for manipulation.
        Dorian Gray is an orphan.  As a young child Dorian was left parentless.  In light of these circumstances he was left to the care of relatives.  Dorian had no mother or father to mold him as a child.  Instead he was left without a real guide in the world.  This contributes to why he is so impressionable.  No one has taught him the ways of the world and led him into autonomy.  He is an easy victim for Lord Henry Wotton.  Wotton puts it best when he says, "Talking to him was like playing upon an exquisite violin.  He answered to every touch and thrill of the bow....There was something enthralling in the exercise of influence...He could be made into a Titan or a toy" (Wilde 26-27).  Wotton is correct.  Without guidance in his early life Dorian is largely susceptible to the influence of others.  He can be led in any direction.

#2

     Portia is a modern woman for her time.  The Merchant of Venice takes place in a time where women were not valued.  A female was like a piece of property transferred from her father's household to the household of her husband.  Often times the female was part of a business deal that would ameliorate the holdings of the two male parties involved.  A woman's value was found only within the domestic sphere, outside of it she was thought of as nothing.  This mindset is not found in Portia.  Portia is a woman who takes action outside of the household.  When she finds out that her husband's best friend, Antonio, is indebted to a merciless moneylender she immediately responds.  Portia uses wit and disguises herself as a doctor in order to save Antonio.  She completely debunks the stereotype of the time period, which stated that women were ignorant of all subjects outside that which pertains to nurturing.   She is able to debunk Shylock's bond and gives Antonio his life.  She also  tests her husband's loyalty and finds that he is willing to give up the token of their love.  In addition, Portia is bold.  Women of her day were taught to be humble and lowly, subservient to the authority and deeds of their husbands.  Portia is not willing to lie down under her husband's betrayal.    Bassanio answers her questioning with excuses as to why he gave up the ring.  Portia answers his excuses saying, "Let not that doctor e'er come near my house/ Since he hath got the jewel that I loved/ And that which you did swear to keep for me,/ I will become as liberal as you:/ I'll not deny him anything I have,/ No, not my body, nor my husband's bed" (V.i.239-244).  Here Portia makes bold declarations.  She lets her husband know that she will punish his betrayal by giving the benefits that would have been his to the one who bears her ring.  This is very uncharacteristic of women during the Elizabethan era.  Portia essentially stands up for herself and says that her love is not something to be taken for granted and traded freely without consequence.  Portia's boldness makes her a modern woman.

#1

  Shakespeare's. The Merchant of Venice is set in a time of strong prejudice.  Shakespeare's play tells of the prejudice in Europe towards Jews during the Renaissance era. Europeans see the Jews as a sub-human race to be quarantined and mistrusted.  Jews are forced to distinguish themselves through their clothing and housing arrangements.  Often times they are spat upon in the streets.  They are forced to live as less than second class citizens.  Forced to suffer, men like Shylock, a Jewish moneylender, become bitter.  Shylock is the main Jewish character in the play.  Shylock is a man disliked by all. Shakespeare also uses Shylock as a point of sympathy for the Jewish race of his time period.  During conversation with a fellow Jew, Shylock speaks of what causes his bitterness in life, "He hath disgraced me and/ hindered me half a million, laughed at my losses,/ mocked at my gains, scorned my nation, thwarted/ my bargains, cooled my friends, heated mine ene-/mies--and what's his reason? I am a Jew" (III.I.53-57).  Here Shylock expresses the life of the average Jewish man.  They are scorned by society.  Daily Shylock must suffer injustice at the hands of Christians because of his Jewish heritage.  He cannot fight back, rather he suffers continually.  No one speaks out for him because he is a Jew and it is expected that he should bear the injustice.  Shylock goes on to say, "Hath not/ a Jew eyes?  Hath not a Jew hands, organs, dimen-/ sions, senses, affections, passions?.../ hurt with the same weapons, subject to/ the same diseases, healed by the same means,/ warmed and cooled by the same sum-/mer as a Christian is? If you prick us do we not bleed.../ If you poison us do we not die" (III.I. 57-65).  Shylock points out the similarities between Christians and Jews.  In essence both are human, because both are human, Shylock argues that there is no reason for preferential treatment for the Christian and hatred for the Jew.  Shylock ends his statement with, "And if you wrong us, shall/ we not revenge? If we are like you in the rest, we will/ resemble you in that.  IF a Jew wrong a Christian,/ what is his humility? Revenge.  If a Christian wrong/ a Jew, what should his sufferance be by Christian/ example?  Why revenge" (III.I.66-70).  Again Shylock reiterates that Christians and Jews are the same in that they are human.  Both are motivated to vengeance when impassioned.  Because Jews are also human it is unfair to think that in the face of injustice they will not respond with the same cruelty meted upon them by Christians.  In regard to that view Shylock says, "The villainy you teach me I/ will execute, and it shall go hard" (III.I.70-71).  In essence Christians and Jews are the same in all forms of humanity.  Jews and Christians alike will avenge themselves when wronged.  It is unfair to believe that after the oppression Shylock has suffered at the hands of Christians like Antonio he will not strike back.  Although Shakespeare's depiction of Shylock's vengeful rage paints Jews as an angry people, Shakespeare does well in showing that Jews and Christians are all humans and feel the same emotion, and thus are both motivated towards revenge.

#9

        Hamlet is the story of the struggle between reason and impulsive passion.  Hamlet is a young man motivated by passion.  His father wrongly murdered by his uncle and mother incestuously married to his murdering uncle, provide the perfect motive for revenge.  Yet reason, which is a concept highly esteemed during Hamlet's time, are the obstruction to Hamlet avenging his father.  Hamlet's emotions constantly spur him to speak of how he will avenge his father by murdering his iniquitous uncle.  Seeing the activity of Fortinbras, Hamlet's peer, Hamlet is further spurred to take action.  What Hamlet needs is to take all of the passion and anger he feels about his father's wrongful murder and direct it into being proactive in seeking vengeance.  In order for this to happen Hamlet must ignore reason which always yields him excuses whether it be that his uncle is in the midst of repentance or the evidence of his uncle's crimes insubstantial.  In Act 5 Scene 2, Hamlet finally utilizes his passionate emotion.  Hamlet recognizes that,"And praised be rashness for it: let us know,/ Our indiscretion sometimes serves us well/ When our deep plots do pall" (V.II.7-9).  Here Hamlet says that rash action is sometimes a good thing, impulsive action is the perfect antidote to reason that produces stratagems that sometimes fail after being well thought out.  Rash action is necessary in Hamlet's life.  Reason served him well only after he allowed passion to overtake him.  Reason provided him with the "Mousetrap" plot, but it prevented him from killing his uncle afterward.  Passion motivated him to escape death at the hand of an ordinance from his uncle and passion allowed him to kill all who plotted against him.  Passion gave way to results, results were the things missing from Hamlet's life.

#8

  Shakespeare's Hamlet deals with issues surrounding life and death.  Hamlet is a young man stuck in a world that no longer makes sense after the death of his father.  He watches his mother cavort happily with a new husband only a few months after her first husband's death.  He sees his uncle, the new king of Denmark and husband to his mother, seem to benefit after killing his father.  The world is not what it seems.  These events bring Hamlet to question life and death.  Earlier in the story Hamlet talks of how death is an unexplored territory, though many have gone to it none have returned to tell of what it is really like.  Hamlet continues his questioning and inquiry into death just moments before the burial of Ophelia.  He watches a gravedigger dig up skulls that obstruct the path for Ophelia's grave.  He sees the decaying bones of noblemen, jester, and poor men, all in the same state of decomposition.  He is spurred to ask whether even Alexander the Great, one of the greatest rulers the world has ever seen, also met the same decomposition after death.  Hamlet is then brought to the realization, "Alexander died, Alexander was buried, Alexander/ returneth to dust; the dust is earth.../Imperious Caesar, dead and and turned to clay.../ O, that that earth which kept the world in awe/ Should patch a wall't expel the (winter's) flaw" (V.I.216-223).  Hamlet realizes that all must must die, no matter how great they are.  In the end no matter the afterlife they are laid within the soil, their bones become dust.  No amount of greatness on earth distinguishes great men from poor men in death.  All become of the same earth, the same dust that they toiled in, be it in ways great or small.  This type of realization and understanding was typical of the humanist era.  Scholars began realizing that no matter their accomplishments on earth they would meet their end in dust.  Of dust they came and to dust they would return.  Shakespeare embodies the humanist questioning and cognizance in Hamlet's character.  People were seeing truth about the world.  On earth all men were buried into the ground and decayed no matter their status on earth.  Their only hope could be the afterlife in Heaven were they in touch with God, or damnation had they been out of communion.  Yet even these assurances were beginning to be questioned during the time period.

#7

  Hamlet's flaw is that he holds an abundance of passion, yet his abundant passion does not lead to action.  Hamlet's passionate emotions lead him into loquacious monologues and soliloquies, and yet there seems to be no follow up action.  This changes when Hamlet is given an example to follow.  On his way to England his path crosses with Young Fortinbras.  In Fortinbras he sees a man of action, a man fully motivated after his father's death.  After this encounter Hamlet realizes, "How all occasions do inform against me/ And spur my dull revenge.../I do not know/ Why yet I live to say "This thing's to do.../O, from this time forth/ My thoughts be bloody or be nothing worth" (IV.V.34-69).  Here Hamlet sees the error of his actions up until that point.  Formerly Hamlet could be characterized as inactive.  One who speaks yet does not back his words with action; one full of passion, yet does not pour his passion into the necessary action.  Hamlet recognizes this flaw and is ready to change it.  Still Hamlet does not resolve to action.  He goes back to the conclusion of being filled with passionate emotion.  He says his thoughts will only be "bloody".  He does not say, my actions will be bloody.  Again Hamlet's flaw of inaction is displayed by Shakespeare.  Hamlet must overcome this spirit of inaction and turn his thoughts and words into bloody deeds if he wants to fulfill the charge his father's ghost has given him.

#6

       Repentance is a theme explored in Shakespeare's Hamlet.  The first instance of repentance is seen when King Claudius attempts to pray after feeling conviction at watching his sins played in Hamlet's The Mousetrap.  Claudius is drawn to repentance but finds that he cannot, "O, my offense is rank, it smells to heaven; / It hath the primal eldest curse upon't/ A brother's murder.  Pray can I not" (III.III.40-43).  King Claudius struggles with repentance in this scene.  He knows that his actions merit attrition.  He is aware that contriteness is the only way to redemption and relief from guilt after sin.  Yet in relation to Claudius's iniquity there is the question of whether or not his sin is forgivable.  Can mere repentance really save Claudius from the sulfurous flames of Hell?  This insecurity is what keeps Claudius from being able to repent and pray to God for forgiveness.  Claudius sees that the motives behind the murder of his brother do not justify it.  What he did was wicked.  Thus, it seems that mere repentance alone may not cure his soul.  This is where Young Hamlet becomes of importance.  If Hamlet were to kill King Claudius is still damned to Hell for the unnatural deed he committed, or would he gain entrance into Heaven depending on whether he repented or not.  In addition if King Claudius repents after committing such an atrocity, does God forgive him?  Claudius cannot even repent he is so overridden with guilt.  The afterlife was a major issue of the Renaissance period.  As the humanists found reason and rationality in the things of earth people questioned the existence of Heaven and Hell.  All of these issues are addressed in Claudius's struggle to repent and Young Hamlet's refusal to kill Claudius in the midst of prayer.  Hamlet wants to be sure that his father receives full retribution, and that means that he must be sure that Claudius is damned to Hell.

#5

       Young Hamlet lives in a time in which humanism and Christianity are the predominant schools of thought.  Humanism was a Renaissance way of thinking.  Although in most cases the humanists were Christians, often times their new discoveries went against the orthodoxy of Christianity.  Europeans began questioning the scholastic way of thinking, they realized that everything was not known, and many subjects were yet to be discovered.  Shakespeare captures the spirit of humanism in Hamlet's famous soliloquy, To Be or Not To Be.  The speech revolves around death, it questions existence and what comes after it.  One of the most important lines from the speech speaks frankly of the questioning of the day, "But the dread of something after death/ The undiscovered country from who's bourn/ No traveler returns, puzzles the will" (III.I.86-88).  Here Hamlet references exploration.  He speaks of death as if it is one of the New Worlds yet to be discovered.  The difference between this world and the Far East and the Americas that had been discovered is that many had traveled into it but none had returned.  Europeans knew that the new world could bring good or bad.  The same could be so for death, good or bad might be found in such a place.  At the same time many Europeans understood that death was not completely a known.  They had come to a time in which the church's scholarly writings had not always proven true.  In that case there was a possibility that Heaven or Hell may not exist and a totally different world came with death.  Hamlet's insecurity concerning this matter was classic for the time period.  It shows Shakespeare's awareness and genius about the changes being experienced in Europe.

#4

 Shakespeare's use of the soliloquy helps to demonstrate change in character.  In the case of young Hamlet, the soliloquy demonstrates a transformation to being proactive.  Up until now Hamlet has remained passive in his actions.  He chooses to play mad in order to play upon the conscious of his uncle.  After seeing the playing of an actor with great affectation Hamlet reexamines how he is handling vengeance.  He realizes that he is too passive in his actions, he must seize the time that he has and get to work on his plan of action.  It is at this moment that Hamlet's character becomes reminiscent of Iago from Othello, he becomes manipulative: "I'll have these players/ Play something like the murder of my father/ Before mine uncle.  I'll observe his looks;/ I'll tent him to the quick" (II.II.623-626).  Hamlet's words are just like those of Iago's.  Hamlet talks of his uncle and those around him as if they are chess pieces in a game.  He plans to move them around in order to find out the truth.   The difference between Hamlet and Iago is that Hamlet's stratagem of manipulation does not come out of a place of malice.  It comes from a want for justice.  He wants to avenge the wrongful murder of his father.  Secondly Hamlet has motive for what he plans to do where Iago did not.  Hamlet's motive is justified, he must make right what is wrong.  He plans to take a life for a life and if manipulation is the key then so be it.

#3

       Tone change is ubiquitous in literature.  Shakespeare's Hamlet is no exception.  Within a literary work subtle hints portray the change in tone and what it means.  In Hamlet the tone change is depicted through diction.  Up until act I scene 5, Hamlet always appeals to the heavens.  However after his encounter with the Ghost, and learning of how his father really died Hamlet begins to reference Hell: "O all you host of heaven!  O earth!  What else?/ And shall I couple hell?" (I.V.99-100).  Hamlet's references to Hell show a major transition in character.  Before meeting the ghost of his father Hamlet is a passive man.  He wants to kill himself over grief yet will not.  He wants to go to Wittenberg for his studies and get away from his mother and uncle, yet he does not because his will is made passive to that of others.  After meeting the ghost a fire for revenge is ignited within Hamlet.  His hatred for his mother and uncle are made sure.  Hamlet begins to speak with passion.  He makes oaths to himself to wipe away all fond memories of his father and only keep the memory of his ghost which tells him to avenge his father's death.  Hamlet's words appear to be words of action.  It seems that in the future he will avenge his father and right the wrongs his uncle committed, however, Hamlet does not make plans or show that he is fully committed to revenge.  This lack of action may foretell Hamlet's tragic flaw.   Hamlet's tragic flaw could possibly be his inaction.  All in all the there is an undeniable change in tone as Hamlet appeals to the underworld.  Hamlet's new passion could be the start of a long journey to action and revenge.

#2

  Shakespeare's Hamlet is written during a time in which women are seen as mere property.  Women are looked  at as ways to rise in status and bear children.  This is why it is surprising when Polonius, father to Ophelia says, "Marry I will teach you  think yourself a baby/ That you have ta'en these tenders for true pay,/ Which are not sterling.  Tender yourself more dearly"  (I.III.114-116).  Polonius essentially tells Ophelia that she must value herself more highly and not succumb to the supple entreaties of Hamlet.  Hamlet is a prince, he is heir to the throne of Denmark.  During this time period it would be customary for any parent to want his daughter to be the object of the crowned prince's affections.  Yet Polonius does the exact object of what is expected.  His view of how his daughter should act is very modern.  He feels that she should prize herself and her love very highly.  She should make herself the diamond whose price is so high that not all can buy it.  Another way to look at the way to look at Polonius's words is that he is trying to protect his daughter.  Later on he says that she should hear Hamlet's word as those of a young man in temporary passion.  He does not want her to give her maidenhood and passions to a man who might just be a temporary lover or one who only wants her honor.   Polonius's words may also have a third meaning.  He may see a flaw within Hamlet that he does not want his daughter to be associated with.  If this is the case Polonius's statement makes complete sense for the time period.  No father would want to marry his daughter off to someone who might have a bad reputation.   Polonius's view speaks of the type of father he is.  He is protective of Ophelia and does not want harm to come to her.  He values her so much that no man, not even the future king of Denmark is good enough for her. This type of fatherly love is admirable.

#1

   Shakespeare's Hamlet is written during a time in which reason has begun to triumph over superstition.  The ghost of Old King Hamlet appears to men on the night watch, when they see this apparition, one of the men, Horatio says: "In what particular thought to work I know not/ But in gross and scope mine opinion/ This bodes some strange eruption to our state" (I.I.78-80).   This reaction is conflicted, the men know what they have seen yet they not that reason says it cannot be.  This consternation reflects the changing time of Shakespeare's day.  As scholars gained more worldly wisdom, superstition seemed false.  Yet the old practices and folklore were things that people still wanted to hold onto.  In Hamlet, Shakespeare shows that either reason or superstition will triumph in the end.  Whichever one triumphs determines the ends of all who are in the story.  Reason is rational, superstition is the irrational that is justified within a person's mind.  It will be young Hamlet's challenge to choose the rational or irrational in avenging his father's death.

#7

    The protagonist Othello, of Shakespeare’s Othello, is a tragic hero in one of the purest forms.  What bring about Othello’s demise are his tragic flaws.  Othello arguably has a multitude of flaws from his trust in others to jealousy.  His most prominent flaw towards the end of his life is his steadfastness and confidence in his beliefs.  Just before killing his wife, Desdemona, Othello cries,

            “Othello: It is the cause, it is the cause, my soul.

              Let me not name it to you, you chaste stars.

              It is the cause…

               Yet she must die, else she’ll betray more men” (V.II.1-6).

Here Othello makes it clear that he cannot compromise the deed he plans to commit neither can he contemplate it because of the moral weight that it carries within him.  Othello believes that killing Desdemona is a moral and good thing to do.  In preparing for the murder he repeats that it is a cause.  His repetition of “the cause” emphasizes that his deed is something in which he strongly believes in.  He will not allow himself to rethink it because he is steadfast in his belief.  Yet in reality, Othello plans to shed innocent blood.  His moral crusade is directed in the wrong direction.  The woman he wishes to kill has done him no wrong and would never betray any man save her own father.  Had Othello not been so steadfast in his belief he may have mulled over the subject and found out the truth.  Othello’s steadfastness allows him to kill Desdemona.  In the end when he realizes that he is wrong he must in turn kill himself.  Throughout the story Othello is confident and steadfast from his belief in Othello’s honesty to his trust that the nobles of Venice will do him no harm because of his love for Desdemona.  This seemingly virtuous quality only demotes Othello.  It allows him to be easily manipulated and deceived.  With the correction of this trait Othello could have avoided jealousy, doubt in his wife’s faithfulness and in the end the murder of a loved one.  Such is the tragedy of a tragic hero. 

#6

       Shakespeare's Othello, is written in a time where females have no rights.  They are seen as a lower subset to men.  They are looked upon as not having the same passions or tendencies as men and when they do show such needs and desires, for example: sexual desires, they are castigated and looked upon as despicable.  This is why Emilia's statement on the desires of women is so out of the ordinary and can be looked upon as modern.  After being asked by Desdemona whether or not women are ever unfaithful towards their husbands, Emilia responds with,
             "Emilia: Yes, a dozen...[But I do think it is their husbands' faults If wives do fall...Let husbands know
              Their wives have sense like them.  They see, and smell,  And have their palates both for sweet and
              sour, As husbands have.  What is it that they do When they change us for others?  Is it sport?
              I think it is.  And doth affection breed it?  I think it doth. Is 't frailty that thus errs?  It is so too.  And
              have not we affections,  Desires for sport, and frailty, as men have?  Then let them use us well.  Else
              let them know,  The ills we do, their ills instruct us so" (IV.III. 95-115).
Here Emilia claims that women and men are equal in their desires.  Emilia says that women are motivated to commit adultery in the same way that men are.  In addition, Emilia claims that a woman who acts in infidelity against her husband is spurred to it by her husband.  She further warns that men must be treat their wives well if they wish for  them to remain faithful.  Emilia's thoughts are ahead of her time.  She promotes good and equal treatment in marriage, something unheard of during her era.  Also Emilia recognizes that not all women are the coy and innocent beings society makes them out to be, rather they are human filled with all of the same desires as men.
      Desdemona's response is one that speaks for the thinking of the time period:
       "Desdemona: (God) me such uses send, Not to pick bad from bad, but by bad mend" (IV.III.116-117).
Desdemona aspires to the cult of domesticity, customary of her time period.  She wants to be a proper housewife no matter if her husband mistreats her or casts her off.  She does not believe in blaming a man for turning to infidelity.  Instead she believes it a woman's duty to hold true to her husband, this belief is also reflected in her initial disbelief at Emilia's answer when she says,
         "Desdemona: I do not think there is any such woman" (IV.III.94).
Desdemona's view of women contrasts Emilia's and reflects the contrast that women of Emilia and Desdemona's day battled against.  They were constrained to domesticity and fidelity to their husbands by society, in reality many sought freedom in all arenas and often felt driven to it because of mistreatment from their husbands.

#5

      Shakespeare's protagonist Othello, develops major changes in his character throughout the story.  As Othello is manipulated deeper into Iago's web of deception causes Othello's character to change.  Othello starts the play as a man devoted to his love and wife, Desdemona.  Othello listens to Iago's false evidence concerning the unfaithfulness of Desdemona.  This manipulation brings out Othello's tragic flaw, jealousy:
        "Othello: Ay, let her rot and perish and be damned tonight, for she shall not live.  No my heart is turned to
         stone.  I strike it, and it hurts my hand.  O, the world hath not a sweeter creature. She might lie by an
         emperor's side and command his tasks" (IV.I.200-204).
Clearly Othello is jealous.  He believes Cassio to have usurped his wife's love.  Othello's tragic flaw of jealousy creates passionate emotions within him.  In his passionate rage he wishes his wife to "rot and perish", later on he insults her and says,
        "Othello: Hang her, I do but say what she is!  So delicate with her needle, an admirable musician-O she
         will sing the savageness out of a bear!  Of so high and plenteous wit and invention" (IV.I.20-209).
Othello's jealousy leads him to a passionate rage which then leads him to falsely accuse his fidelity filled wife of infidelity.  This tragic flaw is all part of the hero's downfall.  Othello is now a darker character.  This is portrayed not only in his transition into jealousy, but also in his references.  Before Othello often referenced Heaven.  In his new darkened attitude, Othello references Hell and the devil.  Othello is also abusive.  Upon seeing his wife and hearing her defend Cassio, the man he suspects to be her lover, Othello proceeds to strike Desdemona and call her the devil.  His rage is leading him into a darker and darker realm. In accordance with the tradition of tragedy, there is a foreshadowing of how his tragic flaw will lead to his downfall:
     "Othello: I will chop her into messes" (IV.I.219).
This statement is made in reference to Desdemona.  Othello plans to kill an innocent woman.  This will most definitely be one of his biggest mistakes.
      Though jealousy seems one of Othello's largest flaws, truly it is his being too trusting which leads to him being manipulated.  Othello was once known as a solid man.  In his trust of Iago he changes into a dark man.  This change is recognized by others,
           "Ludovico: Is this the noble Moor, whom our full senate call all in all sufficient?  Is this the nature
            Whom passion could not shake, whose solid virtue The shot of accident nor dart of chance could
            neither graze nor pierce" (IV.I.297-301).
Othello's change from his solid nature is truly extraordinary.  Had he not been so trusting of Iago, he might have seen through Iago's false pretense and evaded the pit of jealousy set before him.

#4

     In every tragedy there is a hero.  What makes a tragedy a tragedy is the downfall of the hero.  The hero's downfall is not completely unforeseen, it is brought by a tragic flaw, haramatia, which the character and audience must learn from.  Othello is no exception to this rule.  Othello is a true hero, an honorable and confident man he is an ideal leader.  Othello, however is too trusting, this is flaw.  Othello constantly puts his confidence and trust in others.  This is seen clearly in Othello's relationship with Iago.  When Iago begins to plant doubts as to Desdemona and Cassio's relationship in Othello's mind, Othello responds with,
         "Othello: I think thou dost; And for I know thou'rt full of love and honesty And weigh'st thy words before
           thou giv'st them breath" (Shakespeare 125).
Here Othello immediately gives weight to the words Iago, a conniving and malicious man, speaks.  Othello makes the mistake of trusting a man who does not have his best interest at heart.  Again Othello's character flaw is seen in action with regard to the fidelity of his wife:
           "Othello: I'll see before I doubt; when I doubt, prove" (Shakespeare 131).
Othello trusts his wife would never be unfaithful to him.  He does not believe that his wife would go behind his back and be dishonest.  Yet it is not impossible for Desdemona, Othello's wife, to do so.  In the past Desdemona betrayed her own father by going behind his back to marry Othello.  Since she is capable of this, she is also capable of  being adulterous.
         Othello's trust in others will definitely lead to his demise.  His trust will allow him to be manipulated by machinating men like Iago.  As he believes the best in all, and does not have the foresight to see the truth behind people he will be deceived and in the end pay a great price for it.

#3

       Shakespeare's Othello speaks of the difference between outward perception and true character.  Many of the characters within the play are examples of this.  Iago is one of the characters who exemplifies the difference between reputation and true character in a great way.  Throughout the play, in Iago's hope for vengeance he plays the loyal, willing, and dutiful servant.  There is seemingly no fault in Iago, it is for this reason that Othello says:
        "Othello: Iago is most honest" (Shakespeare 83).
This is the perception of Iago to the outside world.  Almost everyone who knows him within the story knows him as an honest man.  He also works very hard to keep up the appearance of honesty.  When asked by Othello what happened to cause the uproar with Cassio, Iago responds with,
         "Iago: I had rather have this tongue cut from my mouth than it should do offense to Michael Cassio.  Yet        
           I persuade myself, to speak the truth" (Shakespeare 97).
Here Iago talks as if he could never tell a lie no matter how much pain it can would cause a friend.  Honesty is merely Iago's reputation.  In reality he is a liar and very wicked.  His show of loyalty towards Othello is a mere act, and the cause of Cassio's downfall.  Iago is everything but honest.
        In the setting of Shakespeare's play reputation is everything.  Reputation can build people up or demote them.   Outward appearances are must be kept up.  Michael Cassio's outward appearance is different from his inner character.  Due to Iago's trickery, Cassio is known as a brawling, untrustworthy drunk.  In reality, Cassio is an intelligent and handsome man.  When his true character is lost to all around him Cassio cries,
             "Cassio: Reputation, reputation, reputation!  O, I have lost my reputation!  I have lost the immortal
              part of myself, and what remains is bestial.  My reputation, Iago, my reputation" (Shakespeare 99).
Cassio's exclamation speaks of the world he is set in.  Outward perceptions are more important than inner character.   It is because of the new outward perception that others have of him that he is stripped of all titles as Othello's lieutenant.  If the outward perception is good, inner character is assumed good, if the outward perception of a person is bad, no matter the true character of the person all hope is lost for being accepted well in society.
       

#2

    Shakespeare's Othello takes place in a time where description tells everything about a person. In modern times people are usually always referred to by name.  When speaking of someone, his or her name is mentioned, before proceeding to tell the story of this person and what he or she does.  In Othello, the protagonist Othello has a series of descriptions almost all of them involve the word "Moor".  When a gentleman speaks of him he says
       "Third Gentleman:...the warlike Moor Othello" (Shakespeare 61).
This description tells much about Othello already it is known that he is a man of war.  Often times Othello is always described as a Moor.  This differentiates him from all other characters.  It says that he could possibly have barbaric tendencies being from Africa and that he his not an Italian like the others.  This is shown when Iago describes him as "the lust Moor" (Shakespeare 79).  Iago's insult of lusty is mad stronger with the use of the word "Moor".  In contrast men like Iago are described as honest and given character descriptions that do not speak to savagery.  Othello is set in a world of prejudice which makes Othello's rise to power all the more great.

#1

      Iago of Shakespeare's Othello is a deceptive character.  Iago starts the play telling his friend Roderigo of how he hates Othello saying, " I follow him to serve my turn upon him" (Shakespeare 9).  Yet while serving under Othello, Iago plays the party of a loyal servant warns Othello of danger: "Be assured of this, That the magnifico is much beloved, And hath in his effect a voice of potential As double as the Duke's.  He will divorce you Or put upon you what restraint or grievance The law (with all his might to enforce it on) Will give him cable" (Shakespeare 21).  Iago shows two sides to his character.  Privately his is disloyal and hateful, publicly he is the perfect dutiful servant, warning his master of danger and seeming to care for his master's welfare.  A servant like Iago cannot be trusted.  With the type of character that Iago has, it would not be surprising if he is what leads to Othello's downfall.  Iago helps to orchestrate the very ploy that would cause trouble for Othello.  Iago's character is fueled by a want for vengeance due to the position that he is not given by Othello.  With such anger in his heart, the plan he sets in motion with Roderigo to demonize Othello in the eyes of people such as Brabantio, is not uncharacteristic of him.  It also shows a relentless want for revenge.  He utilizes his beguiling character to lure his victim, Othello, into a trap.  Iago will stop at nothing to bring Othello down.   Because of Iago's character it would not be difficult for Othello to fall into such a trap.  Iago is a man to be watched and distrusted.  The very man who plays the good servant is the hand that wishes to bring about his masters demise.

"A Doll's House" Commentary on Victorian Women

    Henrik Ibsen's A Doll's House  is a comprehensive examination of Victorian females.  The play revolves around Nora Helmer and her journey into liberation from the restrictions that hold her back as a female.  The play begins with\ Nora being characterized as the perfect Victorian female.  Nora loves her husband and her domestic role as the Victorian housewife.  When her husband questions her obedience towards him she responds with "I should not think of going against your wishes" (Ibsen 6).  Here Nora shows that she is the perfect obedient female.  She allows herself to be the inferior to her husband never even considering to disobey his wishes.  She as the female is subordinate, her husband as the male is superior and thus knows best.  Nora is also innocent and naive.  When expressing her troubles to her friend Christine she is told "Small household cares and that sort of thing!--You are child, Nora" (Ibsen 11).  Here Ibsen portrays the childlike innocence expected of the average Victorian female.  Nora talks of her domestic felicity as if those are the largest cares in the world.  She seems to know nothing outside this life.  She does not know the type of harsh life that her friend Mrs. Linde has had to suffer through.  Those around her treat her in the same manner.  Her husband treats her like a delicate spoiled pet, and her friend Christine clearly recognizes the naivete found in Nora's character.   Nora also characterizes the clear cut gender roles found in Victorian society.  When speaking of how she paid for she and her husband's journey to Italy she says, "how humiliating it would be for Tourvald, with his manly independence, to know that he owed me anything...our beautiful happy home would no longer be what it is now" (Ibsen 13).  Here Ibsen specifically spells out what the female's role is she is to be dependent while the male is to independent.  The female is to do all that she can to create domestic bliss within the home, her role is always within the home.  Nora again emphasizes the Victorian female's dependence when she says " Yes Tourvald, I can't get along a bit without your help" (Ibsen 27).  Nora is a clear example of all the qualities a Victorian female is expected to have.  As the play develops she must throw these qualities away in order to become the woman she really is.
     As the story comes to an end  Nora finally throws aside the role of the Victorian female which has been thrust upon her.  She finally stands up for herself.  The first sign of this change is in her passage from innocence.  After her husband assented to Krogstad's blackmail, she tells him of she wished he would have been willing to sacrifice his honor for her.  When Tourvald responds with " But no man would sacrifice his honour for the one he loves" (Ibsen 66), Nora leaves her naive ways behind completely.  She quips back with " It is a thing hundreds of thousands of women have done" (Ibsen 67).  Here Nora recognizes that women have suffered serious injustice in their subordinate roles to men.  Nora further tramples her Victorian female role when she tells Tourvald "I am no wife for you" (Ibsen 67).  Here Nora completely renounces her claim to the domestic sphere.  In so doing she renounces her dependence upon her husband and the inferior role that restrained her.  Nora further asserts her independence when she tells Tourvald "You are not to feel yourself bound in the slightest way, any more than I shall.  There must be perfect freedom on both sides.  See, here is your ring back.  Give me mine" (Ibsen 67).  Finally Nora frees herself from the subordinate role given to her by society and her husband.  She chooses complete freedom.  She does not allow her husband responsibility for her.  She is a free woman.  In a final and symbolic act of liberation she gives back her wedding ring removing the chains of marriage that kept her in the dependent domestic role.  With this act Nora tramples society's expectations which held her back. Nora drastically changes from the perfect Victorian housewife to a modern day independent woman.