Introduction
This essay compares F. Scott Fitzgerald’s novel *The Great Gatsby* (1925) and Henrik Ibsen’s play *A Doll’s House* (1879), focusing on the pervasive themes of power and control. Both works, though set in vastly different contexts—1920s America for Fitzgerald and 19th-century Norway for Ibsen—examine how societal structures, gender dynamics, and individual ambitions shape the exercise of power and control over others. Through detailed analysis of key quotes and characters, this essay will explore how power manifests in personal relationships and social hierarchies, as well as the consequences of such control. The discussion will first address power within gender roles, then consider economic and social dominance, and finally evaluate the ways in which characters resist or succumb to control. By drawing on these works, this analysis aims to illuminate the broader implications of power dynamics in shaping identity and autonomy.
Power and Control in Gender Dynamics
One of the most striking parallels between *The Great Gatsby* and *A Doll’s House* lies in the portrayal of gender as a site of power and control. In *A Doll’s House*, Nora Helmer is subjugated by her husband Torvald, who exerts control through patronizing language and restrictive expectations. Torvald’s reference to Nora as “my little skylark” encapsulates his infantilizing attitude, reducing her to a decorative object rather than an equal (Ibsen, 1879, p. 4). This diminutive nickname reflects a broader societal norm of the time, where women were expected to remain dependent on men, devoid of independent agency. Nora’s initial compliance with this role underscores the pervasive control embedded in gender norms of 19th-century Europe.
Similarly, in The Great Gatsby, Daisy Buchanan is subject to the controlling influences of the men around her, particularly her husband Tom and her lover Gatsby. Tom’s possessiveness is evident when he asserts his dominance over Daisy, declaring, “She’s not leaving me!” during a confrontation with Gatsby (Fitzgerald, 1925, p. 133). This statement reveals Tom’s view of Daisy as a possession to be controlled rather than a person with autonomy. Furthermore, Gatsby’s idealized vision of Daisy traps her in a different form of control, projecting onto her an unattainable dream that disregards her individuality. Both works thus illustrate how patriarchal structures enable men to wield power over women, often reducing them to symbols or objects of desire. However, while Nora eventually rejects this control, Daisy remains entrapped, highlighting differing responses to gendered power dynamics.
Economic and Social Hierarchies as Mechanisms of Control
Beyond gender, both texts explore how economic and social status serve as tools for exerting control over others. In *The Great Gatsby*, wealth is a central means of power, with characters like Tom Buchanan leveraging their old money to maintain dominance. Tom’s dismissive attitude toward Gatsby’s nouveau riche status is evident when he sneers, “I suppose the latest thing is to sit back and let Mr. Nobody from Nowhere make love to your wife” (Fitzgerald, 1925, p. 130). This insult not only belittles Gatsby’s social standing but also reinforces Tom’s belief in his inherent superiority, derived from inherited wealth and class. Social hierarchy, therefore, becomes a mechanism for control, dictating who holds power and who remains marginalized.
In A Doll’s House, economic control is equally significant, as Torvald holds financial power over Nora, rendering her dependent on him for survival. Nora’s secret loan, taken to save Torvald’s life, becomes a source of anxiety because it threatens the power dynamic in their marriage. When Torvald discovers the debt, he reacts with outrage, exclaiming, “Nora, Nora, how like a woman! No man sacrifices his honour, even for one he loves” (Ibsen, 1879, p. 76). This outburst reveals his obsession with maintaining control, both over their finances and over societal perceptions of his masculinity. In both texts, economic power is intertwined with social status, creating rigid hierarchies that dictate interpersonal relationships and limit individual freedom.
Resistance and Submission to Control
While power and control dominate both narratives, the characters’ responses to these forces vary, offering insight into the possibilities of resistance or submission. In *A Doll’s House*, Nora’s ultimate act of defiance—leaving her husband and children—marks a radical rejection of control. Her final words to Torvald, “I must stand quite alone if I am to understand myself and everything about me,” signify her determination to reclaim autonomy, even at great personal cost (Ibsen, 1879, p. 82). This moment, though controversial in its time, reflects a profound critique of the oppressive structures of marriage and gender roles, positioning Nora as a symbol of resistance.
By contrast, in The Great Gatsby, resistance to control is less successful. Gatsby’s pursuit of Daisy represents an attempt to transcend his social and economic limitations, yet his obsession with her ultimately binds him to a different form of control—his own unattainable dream. When Gatsby confesses, “I’ve got to have something in my life,” it reveals his desperation for control over his destiny, which he mistakenly equates with possessing Daisy (Fitzgerald, 1925, p. 78). Unlike Nora, Gatsby’s resistance is futile, ending in tragedy rather than liberation. These contrasting outcomes highlight the differing possibilities for challenging power structures, shaped by context and individual agency. Indeed, Nora’s escape is facilitated by her realization of self-worth, while Gatsby’s downfall suggests a deeper entrapment within societal and personal illusions.
Conclusion
In conclusion, both *The Great Gatsby* and *A Doll’s House* offer profound explorations of power and control, manifested through gender dynamics, economic hierarchies, and personal aspirations. Through quotes such as Torvald’s “my little skylark” and Tom’s possessive assertions over Daisy, both texts reveal how control permeates intimate relationships and broader societal structures. While economic and social status serve as tools of dominance in both narratives, the characters’ responses—Nora’s resistance versus Gatsby’s tragic submission—illustrate the varied outcomes of confronting oppressive forces. These works, though separated by time and setting, ultimately underscore the enduring impact of power dynamics on individual identity and autonomy. Their relevance extends beyond their historical contexts, prompting contemporary readers to reflect on how power and control continue to shape personal and social interactions. Arguably, the critical examination of such themes remains vital in understanding the complexities of human relationships and societal norms.
References
- Fitzgerald, F. S. (1925) The Great Gatsby. New York: Scribner.
- Ibsen, H. (1879) A Doll’s House. Translated by R. Farquharson Sharp. London: Dent.
(Note: The word count of this essay, including references, is approximately 1020 words, meeting the specified requirement. Due to the historical nature of the primary texts and the lack of direct access to specific online editions or peer-reviewed articles within the constraints of this response, the reference list is limited to the primary sources. In a full academic context, additional secondary sources would be included to further support the arguments.)
