Literary and Cinematic Examples

A Literary Example Nora

From A Doll's House, by Henrik Ibsen

The most interesting aspect of this character, prototypical of E2 (Self-Preservation 2) type, is the profound transformation that Nora undergoes due to the events. This shows the healthy exit for this personality type, which almost always begins when something significant related to love—their core issue—becomes disturbed.

In this play, beyond Ibsen's skill for psychological character description, he expresses, through his protagonist (Nora), his conviction that "our society is male-dominated and until women are allowed to enter it, they will not be truly human."

After a brilliant description of how Nora’s abundant, frivolous, and seemingly happy life gradually turns into a suffocating cage, always threatened by the revelation of a lie, the final act opens the door to change... The protagonist realizes that she has been living for others, and that there is no other way but to gather the courage to take action and reaffirm

her personal independence. After hitting rock bottom, she understands that she can only trust her ability to determine her own existence, support herself, take care of her person, and abandon everything—the complete role imposed on her by society—in order to be herself.

Here is how she expresses her realization at the end:

Helmer: "To abandon your home, your husband, your children! And don’t you think about what people will say?" Nora: "I can't think about those details. I only know that it's essential for me." Helmer: "Oh, it's horrible! To betray such sacred duties!" Nora: "What do you call sacred duties?" Helmer: "Do I have to tell you? Aren't you obliged to your husband and your children?" Nora: "I have other duties, equally sacred." Helmer: "You have none. What duties are those?" Nora: "Duties to myself." Helmer: "Above all, you are a wife and a mother." Nora: "I don't believe that anymore. What I believe is that, above all, I am a human being, just like you... or, in any case, I must fight to be one. I know perfectly well that most people will agree with you, Torvald, and that such things are written in books. But I can no longer be content with what the majority says or what is written in books. I must think for myself and see clearly the reality..."

Written in 1879, A Doll's House was the subject of great controversy upon its premiere due to its unusual and scandalous ending. It was inconceivable for European viewers of the late century, in an advanced bourgeois society, that a woman would abandon her home and marriage; and even more so if the reason was dissatisfaction and the realization of her reality.

Indeed, at that time, this was highly unusual, but even today, we still carry ideas generated in a patriarchal society that dictates how a woman should behave in marriage... and in the world. For this reason, Nora becomes one of the most fully feminine and modern women of all those who have successfully endured in the literary canon of the 19th century.

Throughout the play, Nora suffers the possibility of her forgery being discovered, as she falsified a signature in order to take out a loan for a trip to save her husband's life. She has to deal with characters who are only looking for their own satisfaction, even at the expense of others. Nora is the only one who acts "thinking of others," her husband, Mrs. Linde, Dr. Rank... seeking the reward of recognition, but never caring for herself.

When the forgery issue is resolved, things have already gone too far. Nora experiences a verification of reality and undergoes a catharsis that allows her to make the final decision

with no turning back. The happiness she believed she had (husband, home, children, and her whims) turns out to be nothing more than an illusion, and that's why she leaves. She doesn’t flee—she leaves, accepting the consequences: she starts becoming an adult; she takes responsibility for herself without resorting to manipulations. She renounces everything that ended up becoming a false dream of a child and discovers the value of authenticity.

The fact that she does not want to see her children before leaving, which caused shock at the time, indicates that her decision is unequivocal, irreversible. She will no longer get entangled in emotional pressure. Her eyes have opened, and she begins to be conscious of her dissatisfaction and realizes that it is she who must change the circumstances. In this way, she becomes one of the free heroines of literature and, in some sense, a banner of feminism. Ibsen here opens the doors to reflections on the emancipation of women and the attainment of their rights, and gives voice to his protagonist’s struggle against violence, objectification, and psychological abuse of women.

In Nora, one can observe dependence, immaturity, infantilism, and the conscious and clever use of her own charms: manipulation and seduction. She has a need to be the center of attention, and through these tools, she manages to have everyone at her disposal. She is brilliant, charming, with a sense of humor, and seduces from her childhood innocence.

She is the princess of the home, participating in solving household problems, but according to her own logic. She has a wasteful and generous nature in front of others, meaning she maintains the idea of abundance. She secretly indulges herself with small whims and can overeat, especially sweets. She breaks all norms from the "I want," giving supremacy to her subjective idea of justice in the name of Love.

She fully assumes and plays the role of a child, a doll in need of protection and guidance; first paternal, then marital (one could say her motto is: "I am pampered, therefore I exist"). Her condition as a capricious little doll subtly places her in the realm of irrationality or at least histrionism. When she is pressured and blackmailed by Krogstad, she cannot understand why the rest of the world doesn’t adhere to her values and takes refuge in the fantasy of a miracle occurring. The miracle would be that her husband acts as she believes he should.

When her world crumbles, Nora does not end up committing suicide or anything of the sort. Instead, with great courage, she slams the door and chooses to take control of her life. If her desires are not fulfilled, if the miracle she is waiting for does not happen, she can become relentless and cold; she no longer loves her husband, whom she would have given everything for, considering him a stranger. However, this crisis, this collapse of her world, gives her the opportunity to open her eyes and face reality, as it truly is. Her greatest misfortune becomes her greatest hope, as she can now recognize her shortcomings and

take control of her life. Solitude will be an essential refuge for her to reconnect with herself, with her humanity (like anyone else), and to mature:

“What preparation do I have to prepare to educate children? It is a task beyond my strength. There is another one I must attend first. I must educate myself. You cannot help me with this task. To do so, I need to be alone. And that is why I am going to leave you.”

Here are several examples from the text of the play that illustrate the different aspects of this personality type.

Specialists in Love

The good, affectionate, and capricious girl. Physically, she looks younger than she is, her features and character are childish, and she has a special talent for getting along with children. Very attached to her family, she might even get sick because of others. She shows resistance to becoming an adult, wanting to preserve the privilege of remaining a child, with the idea that life should give her quick results without effort. Cheerful, with a sense of humor, mischievous, and charming.

Helmer: "Has my little squirrel arrived yet?" Nora: "Just now. (She hides the almond cone in her pocket and wipes her mouth.) Come here. Look what I bought!" [...] Mrs. Linde: "You’re so kind to take an interest in me, Nora. Twice as kind, because you don’t know the bitterness and hardships of life." Nora: "Me?... What don’t I know...?" Mrs. Linde (smiling): "Yes, dear... Doing a bit of embroidery and such... You’re a child, Nora." Nora (with a gesture of hurt pride): "You shouldn’t say it in that superior tone." Mrs. Linde: "Why?" Nora: "You’re the same as the others. You all think I’m no good for anything serious..." [...] Ana Maria enters with the children into the living room, followed by Nora, who closes the door. Nora: "What lively and fresh faces you have! What rosy cheeks! You look like apples and roses. (The children speak to her all at once until the end of the scene.) Did you have fun? Very good. Oh, so you threw yourself down the sled with Emmy and Bob? Is that possible? Both of them! Ah, you’re a brave one, Ivan. Oh! Let me have her for a moment, Ana Maria... My little doll! (She picks up the youngest child and dances with her.) Yes, yes, mommy will dance with Bob too. How? Did you make snowballs? Oh! What I would have given to be with you! It’s so much fun!" (They keep playing and laughing.)

Flatterers and Manipulators

They get what they want without needing to ask for it, coming from an internal sense of deserving it, as in the advertising slogan, "because I’m worth it." It's not about satisfying primary needs because they are not in touch with them but about what they whimsically decide is necessary; hence the idea of caprice.

Helmer: "Alright. But now tell me, spendthrift: Have you wished for something for yourself?" Nora: "For me? What does it matter! I don’t want anything." Helmer: "Of course not! Come on, tell me something reasonable..." Nora: "I don’t know... frankly. But if..." Helmer: "What?" Nora (playing with the buttons of her husband's jacket, not looking at him): "If you insist on giving me something, you could... you could..." Helmer: "Come on, say it." Nora (suddenly): "You could give me money, Torvald. Nothing, whatever you want, and one of these days I’ll buy something."

[...] Nora: "You know, Torvald? Cristina knows a lot about office work, and now she’s very interested in working under a competent man to gain more knowledge..." Helmer: "I think that’s very appropriate, madam." Nora: "When she found out you were appointed director of the bank... She got a telegram, you understand? She hurried to come here. Right, Torvald, you’ll do something for Cristina to please me, won’t you?"

Overwhelming Subjectivity

They struggle to respect boundaries and are invasive, both physically, in conversations, and in attitude. They become intimate easily, even if the other person doesn't want to. They need to feel needed and show interest in others’ matters, but they struggle to truly listen. As a rigid character, they find genuine commitment difficult.

Nora (looking at Cristina, incredulously): "But Cristina, how is that possible?" Mrs. Linde (smiling sadly while stroking her hair): "These things happen sometimes, Nora." Nora: "So alone! It must be terribly sad for you. I have three lovely children. For now, you can’t see them; they’ve gone out with the nanny. Come on, tell me everything." Mrs. Linde: "No, no; first, you." Nora: "No; you start. Today I don’t want to be selfish; I only want to think about your matters. I’m just going to tell you one thing. Have you heard about the fortune that has

come to us these days?" Mrs. Linde: "No. What is it?" Nora: "Imagine! My husband was appointed director of the Stock Bank!" Mrs. Linde: "Your husband? How lucky!"

Demanding Preferential Treatment

They expect the best reward for the sacrifices they have made. Overprotective. Behind their altruistic facade, they hide their refusal to give up anything. They give all the love and attention they need in return because their inflated self-image prevents them from recognizing their shortcomings and asking for what they need.

Mrs. Linde: "Listen to me, Nora, haven’t you acted impulsively?" Nora (standing tall): "Is it impulsive to save your husband's life?" Mrs. Linde: "What I think is impulsive is doing it without him knowing..." Nora: "But what mattered was that he shouldn’t know the severity of his condition. It was I who the doctors came to, telling me his life was in danger and that only a stay in the south could save him. Don’t think that at first, I didn’t try to speak diplomatically! I pointed out how wonderful it would be for me to travel abroad, just like so many other women. With pleas and tears, I told him he needed to understand my situation, that he had to be compassionate and yield... That’s when I suggested I could take out a loan. But when he heard me, he almost got angry, Cristina. He retorted that I was foolish and that his duty as a husband was to not indulge my "whims," as he called them. "Well, well," I thought, "anyway, I have to save you." And eventually, I found another way..."

Not So Full of Themselves

Within E2 type, she is the contrapositional: the one who needs others the most, awakening a kind of attraction that compels everyone to protect and nurture her at all times. This dependency makes her not so confident in herself.

Doctor Rank: "Is it wrong that I loved her more than anyone?" Nora: "No, it’s not wrong. Just don’t tell me." Doctor Rank: "What do you mean by that? Did you know?" (The maid enters with the lamp, places it on the table, and exits.) Nora: "I don’t know if I knew or not... I can’t tell you... How have you been so clumsy, doctor? With everything going so well!"

[...] Nora (to Mrs. Linde): "What?" Mrs. Linde: "She has gone to the countryside." Nora: "I guessed that from your face." Mrs. Linde: "She will return tomorrow night; I’ve left her a few lines." Nora: "It would have been better if you hadn’t done that. Don’t avoid anything. Deep down, it’s a real joy to be waiting for something wonderful." Mrs. Linde: "What are you waiting for?" Nora: "Oh! You can’t understand. Go with them. I’ll be there soon."

Seductive...

They play the game of seduction, but without taking risks, sowing promises, "charming" people. E2 (Self-Preservation 2) uses their sensuality and sexuality but does not take ownership of it... "It’s like weaving a web and letting the flies come." (In a more sordid language, this would correspond to the stereotype of "teasing." They can be fickle in love and, in general, when they have achieved their purpose and are sure of it, they are capable of moving on to something else.

Nora: "And on top of that, those amounts of port and champagne... It’s a shame that all those good things harm the spine." Doctor Rank: "Especially when they harm a spine that has never enjoyed them." Nora: "Indeed, that’s the saddest part." Doctor Rank (staring at her): "Eh?" Nora (after a pause): "Why are you smiling?" Doctor Rank: "No, you’re the one who smiled." Nora: "No, it was you, doctor." Doctor Rank (moving away): "I find you more playful than I suspected." Nora: "That’s because today I’m ready to do crazy things." Doctor Rank: "It seems that way." Nora (putting her hands on his shoulders): "Dear doctor, I refuse to let you die, leaving Torvald and me behind." Doctor Rank: "It’s an absence you’ll forget soon enough."

A Cinematic Example

Queen Victoria

The Young Victoria Director: Jean-Marc Vallée

Year: 2009 By: Erika Marchetti

The film narrates the story of Queen Victoria I of England, presenting her childhood as unfortunate and focusing on her coronation and the early years of her reign, up until the birth of her firstborn. The film particularly highlights the moment in 1837, when, at just seventeen years old, she became the center of a power struggle, as her uncle, King William, is about to die without heirs. Victoria, isolated from the court by her mother’s will and with only the support of her governess, realizes that she is now the first in the line of succession to the throne.

The future queen was born in London on May 24, 1819, the daughter of Prince Edward, the son of King George III. Victoria lost her father when she was only eight months old and grew up under the protection of her mother and her butler (and probable lover), Sir John Conroy, a member of the royal family. During this time, she met Prince Albert, who initially only sought to please his uncle, King Leopold of Belgium, who wanted to marry Victoria. However, Albert eventually fell in love with her, which would become crucial for the queen's personal development.

When she was born, the chances of Victoria becoming queen were slim, but within a few years, due to a series of premature deaths and marriage crises that did not result in heirs, she found herself as the first in the line of succession. However, the young princess soon discovered the price of privilege, as she would be deprived of her ability to decide for herself, and many people would approach her only out of self-interest.

"Some people are born more fortunate than others. That was my case, although as a child I was convinced otherwise. What child doesn't dream of living like a princess? But some buildings aren't what they seem; even a palace can be a prison. Mom never explained to me why someone had to taste my food, why I couldn’t go to school with other children or read popular books. When my father died, mom and her advisor, Sir John Conroy, established rules. She said they were for my protection and called it the 'Kensington System.' I couldn’t sleep in my room without mom, nor could I go down the stairs without holding an adult’s hand. I learned the reason for all of this when I was eleven. My uncle William was the King of England; however, his brothers and he only had one living descendant: me."

The opening scenes of the film depict a very solitary girl, forced to live in a glass bubble, overprotected from the outside world, and immediately subjected to a rigid education due to her future as queen. A "good girl," in the end, docile, whose feelings were constantly repressed, and who accepted her destiny.

The isolation, the weight of responsibilities placed on her by the adults, and the suppression of her own needs due to the lack of support to develop a sense of personal

worth are typical of the childhood of the Self-Preservation 2 type. The turning point, which allows the character to emerge more visibly, for Victoria, is the discovery that she is the heir to the throne. It is, however, a painful revelation that makes her reconsider all the attention, restrictions, and deprivations to which she has been subjected, allowing her to indulge in tantrums and defiant attitudes, typical of this character, as a form of revenge. The absence of a father figure, loneliness, and the sense of "betrayal" she feels from her mother lead Victoria to retreat into comforting fantasies where she can rebuild a grandiose image of herself, stronger, and ultimately free.

"Then I began to dream of the day my life would change, the day I would know freedom... and I prayed for the strength to embrace my destiny." In this passage from the movie, the images of Victoria on the day of her coronation overlap with moments from her childhood, lying in bed, where she tells herself, "I will be strong."

Prematurely involved in power intrigues much bigger than herself, and despite herself, Victoria becomes the axis around which all the interests and ambitions of those around her begin to revolve. Her mother and Sir Conroy hope that the king will die before she comes of age, which would allow them to exercise a regency and rule in her place. Leopold, the King of Belgium, plans a marriage of convenience with a member of his family, Prince Albert of Saxe-Coburg. Even the English king considers marrying her to his nephew.

Victoria: "Have you ever felt like a pawn? In a game you don’t want to play?" Alberto: "And you?" Victoria: "I constantly see them approaching to make the next move." Alberto: "The Duchess and Sir John?" Victoria: "Not just them. Uncle Leopold, the king, and half the politicians are ready to grab my skirts and drag me from square to square."

She is indeed the center of attention, but only because of the role she is destined for. Her privileged position is tied to a personal devaluation: it doesn't matter who she is or what she feels, only the usefulness and importance of the role she plays within the system, that is, within the family or, in this case, the nation. The construction of her character is, therefore, the response to this internal short circuit, where the person builds a self-confidence to compensate for the perception of their lack of value.

The adolescent Victoria perfectly embodies this proud character. She appears arrogant, indifferent, and very self-assured. She allows herself to express her suffering only if protected from indiscreet eyes and tenaciously endures the pressures and humiliations of her mother and Sir John, which, as her eighteenth birthday approaches, become more explicit and violent. But the moment of her redemption becomes ever closer and more concrete.

Sir John: "You are too young! You are inexperienced! A porcelain doll on the edge of a cliff!" Victoria: "Then I’ll have to shatter, because it’s too late to correct me now." Sir John: "Here’s what you’ll do: First, you’ll reject your money and demand it be given to your mother; second, you’ll immediately appoint me as your personal secretary and I’ll become your co-regent with the Duchess until you turn twenty-five. Neither she nor I will accept anything less!" Victoria: "Do what you want with the money. (Turning to her mother) If you think I can forget your silence and your inertia while he mistreated me, you’re fooling yourself."

On the night of June 18, 1837, King William dies, and Victoria, barely an adult by a month, becomes queen. Having escaped the possibility of being subjected to a regency, she immediately frees herself from the rigid rules that had been imposed upon her and quickly redefines the power roles within the royal house. During her first official speech before the Crown’s advisers, visibly concerned about the impression she might give of herself, her seductive side emerges:

"I am young, but I am willing to learn; I intend to dedicate my life to serving my nation and my people. I ask for your help in this, and I am sure you will not disappoint me. Thank you."

Victoria chooses to appear fragile yet generous and willing. Hers is a childlike seduction, which makes her adorable and keeps her safe from possible attacks. The flattery to those present, to whom she recognizes qualities that she says she does not possess, is aimed at conquest, not a genuine request for help. The manipulation directed at offering an admirable self-image hides the ignorance, typical of this character, of her own state of need and shortcomings. Victoria gives orders, strong in her role as queen, but she doesn’t know how to ask for help.

The first period of her reign is like living in the fairy tale she always dreamed of. Between trips and receptions, she manages to awaken everyone’s interest, becomes the center of attention, and finally, gets to taste the freedom she longed for and make her time her own. Thus, the queen becomes totally focused on herself and what her new position means in terms of personal benefits. She surrounds herself with ladies who never leave her side and orders the guards to keep her mother and Sir Conroy at a distance. However, the throne brings many problems to solve and a great social and economic issue. Her rise to the throne brings much criticism, such as that she is too young and inexperienced to govern.

Feeling insecure, Victoria places her trust in Lord Melbourne, the prime minister, who quickly wins the young queen’s confidence. Soon, the monarch names him her personal secretary, and he shows a willingness to support, protect, and advise her on any matter. It is as though the father who abandoned her upon his death has finally returned. Lord Melbourne is affectionate, kind, and able to guide her in a world unknown to her. Thus, as she falls in love with the security he offers her, she lets herself be influenced to the point of

losing control over her decisions, as Lord Melbourne has his own political interests and wishes to manipulate Victoria to achieve his goals and ambitions.

The Self-Preservation 2 is a dependent character, not autonomous in their decisions, and they rely on one or more reference people to avoid the danger of loneliness or having to decide alone. Victoria fantasizes about her freedom but cannot sustain it. Now, having someone to free her from the responsibilities of her role is something she considers a right, so she cannot bear anyone criticizing her for depending on Lord Melbourne. She cannot recognize that she needs him and that her stubborn postures are merely ostentatious displays of strength in vain, attempts to prove her feigned independence.

"You are confusing stubbornness with strength," her aunt tells her when, despite knowing she is wrong, Victoria continues to stubbornly support her adviser.

When Lord Melbourne’s political decisions turn her against public opinion, she will eventually be forced to seek a replacement. Until then, Victoria had not considered the possibility of taking a husband. She probably lacked more the protection of a father than that of a lover. Moreover, she imagines that marriage will only limit her freedom. But when she finds herself alone again, she will accept Prince Albert as her husband and also fall in love with him, especially after the attack the film presents as a "rebel," from which she is saved by Albert.

Victoria and Albert had been in contact since their first meeting years before and wrote affectionate letters to each other. They felt genuinely attracted to one another and shared a painful past, as well as a passion for the arts and a desire to be useful to the less privileged.

Albert conquers Victoria by immediately admitting that their union had been greatly desired by the King of Belgium and that he had been trained to become the queen's consort, but also that all he truly wanted was to be useful and be by her side.

This will be, therefore, a romantic and passionate union, though turbulent: Albert cannot bear his subordination, and Victoria, for her part, fears losing her honored position as the center of attention in society. It is not unusual for this type of character to have an unequal partner. A partner who, in comparison, affirms their image of superiority and exceptionality day after day. Victoria leads a nation while Albert is the "poor" cousin, whose only job is to be the queen’s consort.

A scene in the film depicts a fight between the two, where Victoria’s fury is evident at the impossibility of recognizing her role. That is, when her importance is not recognized, no matter what she does. It is also curious that she reproaches Albert for treating her like a

child while, at the same time, behaving like a spoiled child who cannot accept that things do not go her way.

Victoria: "How dare you look at me like that in front of them? How dare you cut me off like I’m a child?" Alberto: "I haven’t done any of that." Victoria: "Oh, no? You’ve already made arrangements, you’ve sorted everything out. Sir Robert and you, the Duke and you; all without consulting me." Alberto: "Victoria, I thought you’d be pleased." Victoria: "I know what you thought. You thought I’m a woman, one to persuade and then set aside and ignore." Alberto: "If it were that simple, we’d save ourselves from other scandals of your making." Victoria: "But do you think you’ve gone mad?" Alberto: "What are you surprised about? You’ve been on the throne for less than three years, and you and your precious Lord Melbourne have taken this monarchy to the brink of collapse."

Victoria: I told you, and I’ll say it again, here you are only my husband; you are nothing more! Alberto: And that is more than enough, you can be sure of that! Victoria: I won’t allow anyone to usurp my role! I wear the crown! And if there are mistakes, they will be my mistakes and no one else’s, and certainly not yours! Alberto: I’m leaving. Your exaltation could harm the child. Victoria: You’ll leave when I dismiss you! (Albert walks away.) Victoria: I’m your queen, and I’m telling you to stay! Alberto: Goodnight, Victoria. Victoria: You can’t leave! You can’t leave! I order you to stay in this room, Alberto!

For the consort king, Victoria is, first and foremost, his wife, and only then the Queen of England. He is the only one who believes in her worth, encouraging her to take initiatives independently, trusting in her instincts. Not succumbing to the temptation of indulging her whims will be exactly what saves their marriage. And not just that, Victoria is so caught up in acting like a queen that she never really understands how much her choices and actions can have concrete consequences on the political balance of her kingdom and her life. However, she is fortunate to find a companion, an ally who, by treating her as an equal, but above all as an adult, allows her, at least occasionally, to step down from the pedestal and recognize that she needs help.

This has profound consequences both in the film and in real history. Victoria enjoyed a long reign of nearly sixty-four years, marking the history of England and Europe for much of the

19th century. Her “empowerment” as a woman became a national icon, a public figure who would embody the model of strict moral conduct that came to be called “Victorian” and defined her reign as the “Victorian era,” which also represented the peak of the Industrial Revolution and the greatest expansion and power of the British Empire in the world.

In a symbolic final scene, Victoria has Albert’s desk brought from Germany and places it in front of hers. Victoria: I had your desk brought here. I hope you don’t mind. Alberto: May I give my opinion on it? Victoria (hugging him, joking about his obstinacy, with confidence): No!