Theme Of Deceit In Atonement

McEwan in his novel Atonement explores deceit through the character of Briony. Briony is presented as an overly ambitious young girl whose actions are mainly done to gain some recognition in the adult world. McEwan structures his novel in such a way that the reader is presented with the deceit in the first part of the novel and the atonement for the deceit is later on in the novel. Ibsen in his play A Doll’s House also explores the theme of deceit through the character of Nora. Nora at first is presented as a naïve and an inexperienced woman who does not seem to understand the conventions of society and this is later contrasted to Nora’s character at the end of the novel where she is viewed as a strong and determined individual. The protagonists
By structuring the play like this, Ibsen is able to create tension between characters and explore the dynamics of relationships between men and women in late 19th century Norway. Torvald’s strong beliefs on ‘borrowing and debt’ acts as a catalyst for Nora to commit the forgery because women in the 19th century were unable to take out a loan ‘without her husband’s consent’. Torvald questions Nora on what she would do if ‘a tile’ was to fall ‘off a roof’ and onto his head, which suggests that Torvald does not trust her with money and is very careful when handing her small amounts of money. The possible danger that is to come if Torvald was to find out of Nora’s deceit, is what creates the underlying tension throughout the play. However, the audience sympathises with Nora due to her frustration at her entrapment and the unsatisfactory nature of marriage for women. Torvald comes across as stiflingly paternalistic to Nora with his constant terms of endearments such as ‘little squirrel’ and ‘little featherhead’, which are belittling and patronising. The word ‘little’ emphasises his infantilization of Nora and the unequal power relations between men and women in the 19th century Norwegian society. This is furthered by Nora drooping ‘her wings’ and acting ‘out of temper’, which suggests that Nora conforms to Torvald’s expectations of her by sulking and
At one point she confesses that if Briony had not ‘cut her off’ she would have ‘embarked upon a long confession’, suggesting that Lola not only knows who her attacker was but feels guilt or at least partly responsible for the rape as she was attracted to Marshall and may feel that she led him on. Initially, she allowed Marshall to win her over with trivial objects such as an ‘Amo’ bar, the means by which a sensual moment between the two occurred. Ironically, Marshall uses the ‘Amo’ bar as an object for his lust for Lola when in fact ‘Amo’ means ‘I love’. This only confirms that Marshall does not love Lola but uses her as a tool to nourish his needs, foreshadowing the transgressive act he later carries out. McEwan uses Lola’s acceptance of Marshall’s proposal later on in the novel, to explore women’s psychological reasoning. Perhaps Lola feels that by marrying Marshall, their history is somehow re-written and she regains her sense of worth or dignity. Similarly, Ibsen explores the theme of self-deceit by using the tarantella costume almost as a disguise for Nora as it is not only used to cover up the deceitful act she has committed by distracting Torvald from reading Krogstad’s letter once it has been deposited in the letter box but, more importantly, it enables Nora to ‘perform’ for Torvald, living out the role of the