Jai Juneja, 13J

With close reference to the text, show how both Nora in A

Doll's House and Christy Mahon in The Playboy of the
Western World develop as characters in the opening of the
two plays
In the comedy The Playboy of The Western World (PWW), J.M. Synge
challenges social ideals and the family construct to demonstrate the
rise of a male protagonist, Christy Mahon. Synge contrasts Christys
distraught and unconfident initial state with his final sense of selfconfidence and vitality by satirising the local peoples growing
idolization of him. Synge suggests that a human can significantly
psychologically transform by becoming the subject of public
interest. Although Christy is initially reluctant to reveal the story of
his father to the locals, he increasingly exaggerates his anecdote as
the play progresses. A Dolls House (DH) by Henrik Ibsen chronicles
the exposure of Nora Helmer to the complex world, outside of her
previously comfortable and dependent lifestyle. Ibsen illustrates
Noras ideological shift when her marriage is put on the line: she is
driven to question her values and customs, and the life she has long
lived under the governance of her father and husband. Synge and
Ibsen utilize various dramatic techniques and themes to
demonstrate the development of the central characters in their
plays.
A prominent theme used to convey the protagonists
transformations in the opening acts of the two plays is illusion
versus reality. In PWW Christy arrives at a shebeen in a tired, dirty
and distraught state, and Pegeen Flaherty, the sharp-tongued
daughter of the shebeens owner, initially characterizes him as a
soft lad. However, upon his hesitant revelation that he has killed
his father, he is idolized and revered by the locals. This
transformation has two important effects. First, Christys attempted
murder of his father reveals his unforeseen rebellious nature. He
swells with pride, falling for his own false pretence and becoming his

Jai Juneja, 13J

myth. As he pulls himself deeper into his own masquerade, Christys

description of his murder becomes increasingly dramatized, and his
rising confidence mirrors the brutality of his story. What is first a
strike to the ridge of [his fathers] skull becomes a blow to the
breeches belt.
Second, it reveals the theme of social conformity. Most characters in
the play act according to conventions, but whereas Shawns
conservatism and piety is a sign of cowardice, Christys
rebelliousness elicits awe and praise from the townspeople, as they
believe a daring fellow to be the jewel of the world. By killing his
father, Christy strikes a blow against the tyranny of older
generations and past traditions, breaking the monotony of the
townspeoples lives. The locals are seduced by Christys mythology,
and their herd mentality is humorously conveyed through the
groups of villagers who approach Christy to approve his story first
Jimmy and Philly, then the village girls. They characterize his
deviance from social expectations as bravery a treasure in a
lonesome place. Thus, Synge uses societys reaction to highlight
Christys transformation, and although Christy exploits the locals for
their adulation of him, his confidence grows and his character
ironically prevails.
DH portrays similar facets of growing deception and illusion through
Nora. The setting depicted in the opening lines is quaint and
tasteful, arousing positive expectations from the audience. The
armchairs and small sofa evoke a sense of domestic comfort,
giving the impression that the inhabitants live peaceful lives. These
initial expectations are complemented by Noras actions: she gives
the porter a pound when asked for a schilling, and laughs happily
to herself, exuding a buoyant atmosphere. Torvald, her husband,
addresses her using bizarre animal-related nicknames such as
squirrel and skylark. At first these appear to be frivolous
remarks, however their repetition presents Nora as a spendthrift

Jai Juneja, 13J

daughterly character who is unable to subdue her desire to buy

unnecessary items. Like an impatient daughter she manipulates
Torvald, tantalizing him in If you really want to give me something,
you could you could to provoke his curiosity. Hence, Noras first
appearance is one of childlike immaturity, as Torvald tries to placate
her every time she becomes moody. Like Christy, she initially seems
subservient to Torvalds demands such as Look me in the eyes and
is described as an expensive pet for a man to keep, which evokes
a sense of possessiveness. This disparaging comment also
highlights the domineering status of men during the time of the
play.
Akin to the theme of social conformity in PWW, Nora is restricted to
the female standards in society. She expresses a desire to break free
from convention in Ive the most extraordinary longing to say:
Bloody Hell! The audiences perception of Nora shifts upon
realizing that she must suppress her impulses and sensations to
satisfy Torvald, and play into his frivolous game of pet and owner.
Although Nora first appears submissive, her manipulative and
controlling nature becomes apparent. However, although Noras
conversation with Mrs Linde reveals her mature aspects, the
numerous contradictions in her stories prompt the audience to
question the degree to which Nora has been driven into selfdelusion.
At the start of the play, Christys subservience and inexperience
with women is clear. His lack of confidence is illustrated through his
interaction with other characters. For example, the use of
authoritative imagery in the stage directions to depict the Widow
Quins and Pegeens sharp manner and cunning manipulation of
Christy highlights his vulnerability and his sense of inferiority and
shyness. However, the image of Christy cleaning a girls boots is
ironic as it captures how Christys fate would have been had he
married Pegeen. Christys transformation into a likely gaffer the

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triumph of the submissive protagonist. The female characters in the

novel epitomize and accelerate Christys growing popularity. Synge
satirises the village girls to underline societys irrational behaviour,
and contrast Christys initial reserved relationship with women with
his eventual self-confidence and vitality. Females actually
domineering.
Both characters undergo a complete revolution in act 1. End of PWW
two fine women fighting for the likes of me