Patriarchy refers to a social system in which men categorically hold more power than women. They occupy powerful positions in society and their actions and decisions have more authority than those of women. Patriarchy is still embedded in the institutions of society and the way we interact with each other. Feminism has accelerated dramatically over the past century, as gender equality advocates have fought for change and the advancement of women's rights. Patriarchy is heavily represented in English literature, which reflects the realities of people at the time these works were produced. This article will focus on the plays A Doll's House and A Streetcar Named Desire, both of which carry a broad depiction of patriarchal ideology. These plays mainly deal with the relationships between two men and their wives, in the context of the society in which they live. The stories are separated by several decades – Henrik Ibsen wrote A Doll's House in Norway in 1879, while Tennessee Williams wrote A Streetcar Named Desire. in New Orleans, 1947. Although separated by time and culture, the patriarchal ideology is represented through the strong and dominant male characters, Torvald Helmer and Stanley Kowalski, their submissive and objectified wives, Nora and Stella, and the dramatic conclusions of both stories regarding societal expectations of men and women. This article will examine the similarities between these stories, these characters, and the world around them, and show how deep-rooted patriarchy can influence continued belief in these ideals. Say no to plagiarism. Get a tailor-made essay on 'Why violent video games should not be banned'? Get the original essay Patriarchal ideology is largely represented through the use of strong and domineering male characters in A Doll's House and A Streetcar Named Desire in a very similar way. Torvald Helmer and Stanley Kowalski are presented in a way that emphasizes their masculinity, power, and physical and social strength. In A Doll's House, Torvald has recently been appointed bank manager, a high-ranking position that seems to fit his strong character. Throughout the play, Torvald remains busy with his work and the importance of his position is emphasized several times. He is viewed with respect by other members of the community, and this is very evident in his mannerisms and interactions with others. In the opening scene of the play, we witness the first interaction between him and Nora, whom he calls his "little squirrel", his "little lark", and his "little spendthrift". During this conversation, it is clear that Torvald views his wife the same way he would view a child: helpless, impulsive, and dependent on him for advice, money, and protection. He scolds her for eating sweets and spending money carelessly, even though she was not reckless with the money he provided her. In A Streetcar Named Desire, the character of Stanley is presented as being very macho, aggressive and dominant. He is described as being animalistic at more than one point. In the first scene, Stanley enters, and "the animal joy in his being is implicit in all his movements and attitudes." He is described as having an imposing presence, with both women and men. It is clear from the way he is described that Stanley objects to women: "He assesses women with a glance, crude images come to his mind and determine the way hesmiles at them.” Both Torvald and Stanley control their wives, albeit in different ways. Torvald's control appears to take the form of financial support and his role as provider, with his wife as housewife. Stanley also supports his wife financially, but unlike Torvald, he is prone to outbursts of rage and is implied to hit his wife. In general, he shows a lack of respect towards women and uses violence to express himself and his point of view. The use of coercion and violence to control women demonstrates the pervasiveness of patriarchal ideology, as men structurally hold more power. Women are expected to be passive, while men are expected to make the decisions and always get what they want. Patriarchy creates a culture in which gender norms perpetuate expectations of male dominance and female subordination. The plays continue to show similarities in terms of patriarchal ideology through the submissive and objectified wives of the two male characters, Nora Helmer and Stella Kowalski. In most interactions with her husband until the end of the play, Nora is portrayed as seemingly stupid, impulsive, and childish. Torvald constantly belittles her, which she accepts without protest. It quickly becomes apparent to the reader that Nora is not as stupid as she would have her husband believe and that she is actually quite intelligent and resourceful. In the first act, Nora reveals to her old friend Christine that she incurred debts at a time when Torvald was unable to work and that she is eager to repay this debt. She describes wanting to be “safe from care; to be able to play and frolic with the children, to be able to keep the house beautiful and to have everything the way Torvald likes it.” Through this statement we can see that his idea of ​​freedom is consistent with patriarchal ideals and does not reflect the wishes and desires related to his own independence. She understands that her position in society and in her marriage is one of insubordination toward men and her husband. In A Streetcar Named Desire, Stella is repressed by her husband because of his rage, his belligerence and his violence. She constantly runs after him, trying to get him to behave appropriately in several situations. In Act One, Scene Two, Stella attempts to placate her husband as he becomes increasingly agitated, convinced that Blanche is lying to them about the state of the family plantation. Stella gently scolds him, trying to shut him up and even calls him an idiot. At first, Stella seems to have more authority than Nora, as she talks back to Stanley and constantly criticizes his behavior. She even leaves for a short time in scene three after he hits her, seeking refuge with a neighbor. But when Stanley shouts at her "with breathtaking violence" from the street, she calmly returns to him. The next day, when questioned by Blanche, Stella calmly denies that her husband's violence is a problem in their marriage and tells Blanche that Stanley's actions were not serious and that "when men drink and play poker, anything can happen." arrive ". Stella's denial of the power imbalance in her marriage reflects the patriarchal ideals of the time, as does Nora's understanding of her position and opportunities as inferior to those of her husband. Both stories reach dramatic conclusions against the backdrop of patriarchy, society and expectations of men and women, although in very different ways. In A Streetcar Named Desire, Stella goes into labor and stays in the hospital overnight, leaving Stanley home alone with Blanche. The tensions between the two,.