A Non-Specific Outline for my WL paper

(this is going to be an interesting experiment)

Literary device to be shown: Reverse personifiction

Quotes for ADH
HELMER: My little songbird mustn’t droop her wings. What’s this? Is little squirrel sulking?
NORA: I have been performing tricks for you, Torvald. That’s how I’ve survived. You wanted it like that. You and Papa have done me a great wrong. It’s because of you I’ve made nothing of my life.
HELMER: I took my lovely little Capri girl --- my capricious little Capri girl, I might say...
NORA: If a little squirrel were to ask ever so nicely...Please, if only you would let it have its way, and do what it wants, it'd scamper about and do all sorts of marvellous tricks...And the pretty little sky-lark would sing all day long

Quotes for Cyrano
Cyrano: No, In fairy tales
When to the ill-starred Prince the lady says
'I love you!' all his ugliness fades fast—
But I remain the same, up to the last!
Cyrano:Aggressive: 'Sir, if I had such a nose
I'd amputate it!' Friendly: 'When you sup
It must annoy you, dipping in your cup;
You need a drinking-bowl of special shape!'
Descriptive: ''Tis a rock!. . .a peak!. . .a cape!
—A cape, forsooth! 'Tis a peninsular!'
Curious: 'How serves that oblong capsular?
For scissor-sheath? Or pot to hold your ink?'
Gracious: 'You love the little birds, I think?
I see you've managed with a fond research
To find their tiny claws a roomy perch'...I take them from myself all in good part,
But not from any other man that breathes!
CYRANO:
(To Roxane):
That night when 'neath your window Christian spoke
—Under your balcony, you remember? Well!
There was the allegory of my whole life:
I, in the shadow, at the ladder's foot,
While others lightly mount to Love and Fame!
Just! very just! Here on the threshold drear
Of death, I pay my tribute with the rest,
To Moliere's genius,—Christian's fair face!

Structure to the quotes/Similarites between the two plays:
Through the quotes it can be seen how the main characters, and at times the supporting characters, demean themselves to a point where they are no longer humans but carictures of humans (Cyrano) or a completely species altogether (Nora.) In the end though the character is finally allowed to admit to the deeds they have commited while in under the guise of someone less than human. Although they have been considered sub-human for the majority of the play in the final scenes these characters show their inner human strength. The other similarity that can be seen between these two plays is that both characters finally admit to their human actions when they about to the very human future of the uknown, either through death (Cyrano) or by leaving the familiar (Nora.)

oh what fun.