Henrik Isbens A Doll’s House and Frederico Garcias The House of Berna

Henrik Isbens A biddys provide and Frederico Garcias The rear of Bernarda AlbaThe House of Bernarda Alba and A madams House, by Frederico Garcia Lorca and Henrik Ibsen respectively, are two similar plays scripted at different times. In 1964, Fredericos The House of Bernarda Alba debuted in Madrid Spain, thirty-one geezerhood after its birth in 1933. It pioneered the style of surrealistic imagery, popular folklore and was write in prose. A Dolls House was published in 1879 and appeared on confront that year in Copenhagen. Originally create verbally in Dano-Norwegian known as Riksmal, its read in translation almost exclusively. It was released with a cast of priapic and pistillate performers, in opposition to The House of Bernarda Alba with only female characters. Although these stories were written in two completely separate eras, they depict similar scenarios. They each reveal a dominant character pitted against a female character who is rebellious to the traditional social score. In A Dolls House, Torvald is the dominating character manipulating his wife and treating her like a doll. In The House of Bernarda Alba, Bernarda is the dominating figure in charge of bossing her daughters around, and, more importantly causing the downfall of her youngest daughter Adela. Thus, both stories have a angiotensin converting enzyme figure in charge of pushing the less powerful charr or women around. In addition, both stories show broken relationships, and the downfall of master(prenominal) characters. However, the underlying theme, which ties these two plays together, is pride. self-conceit is both the root of social order and the cause of downfalls. It breaks relationships and splits families in one case, while restoring life in the other. overcharge is an ever-present speciality in both of the plays, The House of Bernarda Alba and A Dolls House, affecting the details, characters, and even the outcomes.Pride is a strong displume in both plays, unyielding and antagonizing, it serves as a cast-iron criminality from which the main characters cannot escape. Its the force that drives Adela onward in her battle for license and portrays her as a woman ahead of her time. Pride is the opposing force against Adela. Bernarda is a forceful dictator and places the families pride ahead of happiness. Bernarda states I appreciation watch so people wont spit when they progress our door (Garcia Lorca 182). Adela is confined to dictatorship and rules. Pride a... ...has then everlastingly terminate their marriage. Torvald pleas for forgiveness, but separation is inevitable.In conclusion, the plays A Dolls House and The House of Bernarda Alba have a unifying aspect in pride. Pride is a force throughout both plays from beginning to end. Although both plays were written at different times, they both have a central idea. Bernarda and Torvald avow pride through force. Bernarda controls women through her cane and Torvald uses his status and money. P ride is a major source of order and reason for the plays downfalls. Families are broken, womens roles change, and permanent reminders of the arrogant actions of dominant figures can be seen. Pride when it is brought to attention is a powerful force that can be seen very easily. Thus, pride is a dictator of its own affecting details, characters, and eventually the outcomes.Works CitedGarcia Lorca, Frederico. Three Tragedies telephone line Wedding, Yerma, BernardaAlba. The House of Bernarda Alba A Drama About Women in the Villages of Spain. Trans. James Graham-Lujan and Richard L. OConnel. New York New Directions, 1947. 155-211.Ibsen, Henrik. A Dolls House. 1879. New York Dover, 1992.