Act II

[THE SAME SCENE.—The Christmas Tree is in the corner by the piano, stripped of its ornaments and with burnt-down candle-ends on its dishevelled branches. NORA's cloak and hat are lying on the sofa. She is alone in the room, walking about uneasily. She stops by the sofa and takes up her cloak.]

NORA:
[drops the cloak]. Someone is coming now! [Goes to the door and listens.] No—it is no one. Of course, no one will come to-day, Christmas Day—nor to-morrow either. But, perhaps—[opens the door and looks out]. No, nothing in the letter-box; it is quite empty. [Comes forward.] What rubbish! of course he can't be in earnest about it. Such a thing couldn't happen; it is impossible—I have three little children.

[Enter the NURSE from the room on the left, carrying a big cardboard box.]

NURSE:
At last I have found the box with the fancy dress.
NORA:
Thanks; put it on the table.
NURSE:
[doing so]. But it is very much in want of mending.
NORA:
I should like to tear it into a hundred thousand pieces.
NURSE:
What an idea! It can easily be put in order—just a little patience.
NORA:
Yes, I will go and get Mrs. Linde to come and help me with it.
NURSE:
What, out again? In this horrible weather? You will catch cold, ma'am, and make yourself ill.
NORA:
Well, worse than that might happen. How are the children?
NURSE:
The poor little souls are playing with their Christmas presents, but—
NORA:
Do they ask much for me?
NURSE:
You see, they are so accustomed to have their mamma with them.
NORA:
Yes, but, nurse, I shall not be able to be so much with them now as I was before.
NURSE:
Oh well, young children easily get accustomed to anything.
NORA:
Do you think so? Do you think they would forget their mother if she went away altogether?
NURSE:
Good heavens!—went away altogether?
NORA:
Nurse, I want you to tell me something I have often wondered about—how could you have the heart to put your own child out among strangers?
NURSE:
I was obliged to, if I wanted to be little Nora's nurse.
NORA:
Yes, but how could you be willing to do it?
NURSE:
What, when I was going to get such a good place by it? A poor girl who has got into trouble should be glad to. Besides, that wicked man didn't do a single thing for me.
NORA:
But I suppose your daughter has quite forgotten you.
NURSE:
No, indeed she hasn't. She wrote to me when she was confirmed, and when she was married.
NORA:
[putting her arms round her neck]. Dear old Anne, you were a good mother to me when I was little.
NURSE:
Little Nora, poor dear, had no other mother but me.
NORA:
And if my little ones had no other mother, I am sure you would—What nonsense I am talking! [Opens the box.] Go in to them. Now I must—. You will see to-morrow how charming I shall look.
NURSE:
I am sure there will be no one at the ball so charming as you, ma'am. [Goes into the room on the left.]
NORA:
[begins to unpack the box, but soon pushes it away from her]. If only I dared go out. If only no one would come. If only I could be sure nothing would happen here in the meantime. Stuff and nonsense! No one will come. Only I mustn't think about it. I will brush my muff. What lovely, lovely gloves! Out of my thoughts, out of my thoughts! One, two, three, four, five, six—[Screams.] Ah! there is someone coming—. [Makes a movement towards the door, but stands irresolute.]

[Enter MRS LINDE from the hall, where she has taken off her cloak and hat.]

NORA:
Oh, it's you, Christine. There is no one else out there, is there? How good of you to come!
MRS. LINDE:
I heard you were up asking for me.
NORA:
Yes, I was passing by. As a matter of fact, it is something you could help me with. Let us sit down here on the sofa. Look here. To-morrow evening there is to be a fancy-dress ball at the Stenborgs', who live above us; and Torvald wants me to go as a Neapolitan fisher-girl, and dance the Tarantella that I learnt at Capri.
MRS. LINDE:
I see; you are going to keep up the character.
NORA:
Yes, Torvald wants me to. Look, here is the dress; Torvald had it made for me there, but now it is all so torn, and I haven't any idea—
MRS. LINDE:
We will easily put that right. It is only some of the trimming come unsewn here and there. Needle and thread? Now then, that's all we want.
NORA:
It is nice of you.
MRS. LINDE:
[sewing]. So you are going to be dressed up to-morrow, Nora. I will tell you what—I shall come in for a moment and see you in your fine feathers. But I have completely forgotten to thank you for a delightful evening yesterday.
NORA:
[gets up, and crosses the stage]. Well I don't think yesterday was as pleasant as usual. You ought to have come to town a little earlier, Christine. Certainly Torvald does understand how to make a house dainty and attractive.
MRS. LINDE:
And so do you, it seems to me; you are not your father's daughter for nothing. But tell me, is Doctor Rank always as depressed as he was yesterday?
NORA:
No; yesterday it was very noticeable. I must tell you that he suffers from a very dangerous disease. He has consumption of the spine, poor creature. His father was a horrible man who committed all sorts of excesses; and that is why his son was sickly from childhood, do you understand?
MRS. LINDE:
[dropping her sewing]. But, my dearest Nora, how do you know anything about such things?
NORA:
[walking about]. Pooh! When you have three children, you get visits now and then from—from married women, who know something of medical matters, and they talk about one thing and another.
MRS. LINDE:
[goes on sewing. A short silence]. Does Doctor Rank come here everyday?
NORA:
Everyday regularly. He is Torvald's most intimate friend, and a great friend of mine too. He is just like one of the family.
MRS. LINDE:
But tell me this—is he perfectly sincere? I mean, isn't he the kind of man that is very anxious to make himself agreeable?
NORA:
Not in the least. What makes you think that?
MRS. LINDE:
When you introduced him to me yesterday, he declared he had often heard my name mentioned in this house; but afterwards I noticed that your husband hadn't the slightest idea who I was. So how could Doctor Rank—?
NORA:
That is quite right, Christine. Torvald is so absurdly fond of me that he wants me absolutely to himself, as he says. At first he used to seem almost jealous if I mentioned any of the dear folk at home, so naturally I gave up doing so. But I often talk about such things with Doctor Rank, because he likes hearing about them.
MRS. LINDE:
Listen to me, Nora. You are still very like a child in many things, and I am older than you in many ways and have a little more experience. Let me tell you this—you ought to make an end of it with Doctor Rank.
NORA:
What ought I to make an end of?
MRS. LINDE:
Of two things, I think. Yesterday you talked some nonsense about a rich admirer who was to leave you money—
NORA:
An admirer who doesn't exist, unfortunately! But what then?
MRS. LINDE:
Is Doctor Rank a man of means?
NORA:
Yes, he is.
MRS. LINDE:
And has no one to provide for?
NORA:
No, no one; but—
MRS. LINDE:
And comes here every day?
NORA:
Yes, I told you so.
MRS. LINDE:
But how can this well-bred man be so tactless?
NORA:
I don't understand you at all.
MRS. LINDE:
Don't prevaricate, Nora. Do you suppose I don't guess who lent you the two hundred and fifty pounds?
NORA:
Are you out of your senses? How can you think of such a thing! A friend of ours, who comes here every day! Do you realise what a horribly painful position that would be?
MRS. LINDE:
Then it really isn't he?
NORA:
No, certainly not. It would never have entered into my head for a moment. Besides, he had no money to lend then; he came into his money afterwards.
MRS. LINDE:
Well, I think that was lucky for you, my dear Nora.
NORA:
No, it would never have come into my head to ask Doctor Rank. Although I am quite sure that if I had asked him—
MRS. LINDE:
But of course you won't.
NORA:
Of course not. I have no reason to think it could possibly be necessary. But I am quite sure that if I told Doctor Rank—
MRS. LINDE:
Behind your husband's back?
NORA:
I must make an end of it with the other one, and that will be behind his back too. I must make an end of it with him.
MRS. LINDE:
Yes, that is what I told you yesterday, but—
NORA:
[walking up and down]. A man can put a thing like that straight much easier than a woman—
MRS. LINDE:
One's husband, yes.
NORA:
Nonsense! [Standing still.] When you pay off a debt you get your bond back, don't you?
MRS. LINDE:
Yes, as a matter of course.
NORA:
And can tear it into a hundred thousand pieces, and burn it up—the nasty dirty paper!
MRS. LINDE:
[looks hard at her, lays down her sewing and gets up slowly]. Nora, you are concealing something from me.
NORA:
Do I look as if I were?
MRS. LINDE:
Something has happened to you since yesterday morning. Nora, what is it?
NORA:
[going nearer to her]. Christine! [Listens.] Hush! there's Torvald come home. Do you mind going in to the children for the present? Torvald can't bear to see dressmaking going on. Let Anne help you.
MRS. LINDE:
[gathering some of the things together]. Certainly — but I am not going away from here till we have had it out with one another. [She goes into the room on the left, as Helmer comes in from the hall.]
NORA:
[going up to Helmer]. I have wanted you so much, Torvald dear.
HELMER:
Was that the dressmaker?
NORA:
No, it was Christine; she is helping me to put my dress in order. You will see I shall look quite smart.
HELMER:
Wasn't that a happy thought of mine, now?
NORA:
Splendid! But don't you think it is nice of me, too, to do as you wish?
HELMER:
Nice?—because you do as your husband wishes? Well, well, you little rogue, I am sure you did not mean it in that way. But I am not going to disturb you; you will want to be trying on your dress, I expect.
NORA:
I suppose you are going to work.
HELMER:
Yes. [Shows her a bundle of papers.] Look at that. I have just been into the bank. [Turns to go into his room.]
NORA:
Torvald.
HELMER:
Yes.
NORA:
If your little squirrel were to ask you for something very, very prettily—?
HELMER:
What then?
NORA:
Would you do it?
HELMER:
I should like to hear what it is, first.
NORA:
Your squirrel would run about and do all her tricks if you would be nice, and do what she wants.
HELMER:
Speak plainly.
NORA:
Your skylark would chirp about in every room, with her song rising and falling—
HELMER:
Well, my skylark does that anyhow.
NORA:
I would play the fairy and dance for you in the moonlight, Torvald.
HELMER:
Nora—you surely don't mean that request you made to me this morning?
NORA:
[going near him]. Yes, Torvald, I beg you so earnestly—
HELMER:
Have you really the courage to open up that question again?
NORA:
Yes, dear, you must do as I ask; you must let Krogstad keep his post in the bank.
HELMER:
My dear Nora, it is his post that I have arranged Mrs. Linde shall have.
NORA:
Yes, you have been awfully kind about that; but you could just as well dismiss some other clerk instead of Krogstad.
HELMER:
This is simply incredible obstinacy! Because you chose to give him a thoughtless promise that you would speak for him, I am expected to—
NORA:
That isn't the reason, Torvald. It is for your own sake. This fellow writes in the most scurrilous newspapers; you have told me so yourself. He can do you an unspeakable amount of harm. I am frightened to death of him—
HELMER:
Ah, I understand; it is recollections of the past that scare you.
NORA:
What do you mean?
HELMER:
Naturally you are thinking of your father.
NORA:
Yes—yes, of course. Just recall to your mind what these malicious creatures wrote in the papers about papa, and how horribly they slandered him. I believe they would have procured his dismissal if the Department had not sent you over to inquire into it, and if you had not been so kindly disposed and helpful to him.
HELMER:
My little Nora, there is an important difference between your father and me. Your father's reputation as a public official was not above suspicion. Mine is, and I hope it will continue to be so, as long as I hold my office.
NORA:
You never can tell what mischief these men may contrive. We ought to be so well off, so snug and happy here in our peaceful home, and have no cares—you and I and the children, Torvald! That is why I beg you so earnestly—
HELMER:
And it is just by interceding for him that you make it impossible for me to keep him. It is already known at the Bank that I mean to dismiss Krogstad. Is it to get about now that the new manager has changed his mind at his wife's bidding—
NORA:
And what if it did?
HELMER:
Of course!—if only this obstinate little person can get her way! Do you suppose I am going to make myself ridiculous before my whole staff, to let people think that I am a man to be swayed by all sorts of outside influence? I should very soon feel the consequences of it, I can tell you! And besides, there is one thing that makes it quite impossible for me to have Krogstad in the Bank as long as I am manager.
NORA:
Whatever is that?
HELMER:
His moral failings I might perhaps have overlooked, if necessary—
NORA:
Yes, you could—couldn't you?
HELMER:
And I hear he is a good worker, too. But I knew him when we were boys. It was one of those rash friendships that so often prove an incubus in after life. I may as well tell you plainly, we were once on very intimate terms with one another. But this tactless fellow lays no restraint on himself when other people are present. On the contrary, he thinks it gives him the right to adopt a familiar tone with me, and every minute it is “I say, Helmer, old fellow!” and that sort of thing. I assure you it is extremely painful for me. He would make my position in the bank intolerable.
NORA:
Torvald, I don't believe you mean that.
HELMER:
Don't you? Why not?
NORA:
Because it is such a narrow-minded way of looking at things.
HELMER:
What are you saying? Narrow-minded? Do you think I am narrow-minded?
NORA:
No, just the opposite, dear—and it is exactly for that reason.
HELMER:
It's the same thing. You say my point of view is narrow-minded, so I must be so too. Narrow-minded! Very well—I must put an end to this.
[Goes to the hall door and calls.] Helen!
NORA:
What are you going to do?
HELMER:
[looking among his papers]. Settle it. [Enter MAID.] Look here; take this letter and go downstairs with it at once. Find a messenger and tell him to deliver it, and be quick. The address is on it, and here is the money.
MAID:
Very well, sir. [Exits with the letter.]
HELMER:
[putting his papers together]. Now then, little Miss Obstinate.
NORA:
[breathlessly]. Torvald—what was that letter?
HELMER:
Krogstad's dismissal.
NORA:
Call her back, Torvald! There is still time. Oh Torvald, call her back! Do it for my sake—for your own sake—for the children's sake! Do you hear me, Torvald? Call her back! You don't know what that letter can bring upon us.
HELMER:
It's too late.
NORA:
Yes, it's too late.
HELMER:
My dear Nora, I can forgive the anxiety you are in, although really it is an insult to me. It is, indeed. Isn't it an insult to think that I should be afraid of a starving quill-driver's vengeance? But I forgive you nevertheless, because it is such eloquent witness to your great love for me. [Takes her in his arms.] And that is as it should be, my own darling Nora. Come what will, you may be sure I shall have both courage and strength if they be needed. You will see I am man enough to take everything upon myself.
NORA:
[in a horror-stricken voice]. What do you mean by that?
HELMER:
Everything, I say—
NORA:
[recovering herself]. You will never have to do that.
HELMER:
That's right. Well, we will share it, Nora, as man and wife should. That is how it shall be. [Caressing her.] Are you content now? There! there!—not these frightened dove's eyes! The whole thing is only the wildest fancy!—Now, you must go and play through the Tarantella and practise with your tambourine. I shall go into the inner office and shut the door, and I shall hear nothing; you can make as much noise as you please. [Turns back at the door.] And when Rank comes, tell him where he will find me. [Nods to her, takes his papers and goes into his room, and shuts the door after him.]
NORA:
[bewildered with anxiety, stands as if rooted to the spot, and whispers]. He was capable of doing it. He will do it. He will do it in spite of everything.—No, not that! Never, never! Anything rather than that! Oh, for some help, some way out of it! [The door-bell rings.] Doctor Rank! Anything rather than that—anything, whatever it is! [She puts her hands over her face, pulls herself together, goes to the door and opens it. rank is standing without, hanging up his coat. During the following dialogue it begins to grow dark.]
NORA:
Good-day, Doctor Rank. I knew your ring. But you mustn't go in to Torvald now; I think he is busy with something.
RANK:
And you?
NORA:
[brings him in and shuts the door after him]. Oh, you know very well I always have time for you.
RANK:
Thank you. I shall make use of as much of it as I can.
NORA:
What do you mean by that? As much of it as you can?
RANK:
Well, does that alarm you?
NORA:
It was such a strange way of putting it. Is anything likely to happen?
RANK:
Nothing but what I have long been prepared for. But I certainly d idn't expect it to happen so soon.
NORA:
[gripping him by the arm]. What have you found out? Doctor Rank, you must tell me.
Rank [sitting down by the stove]. It is all up with me. And it can't be helped.
NORA:
[with a sigh of relief]. Is it about yourself?
RANK:
Who else? It is no use lying to one's self. I am the most wretched of all my patients, Mrs. Helmer. Lately I have been taking stock of my internal economy. Bankrupt! Probably within a month I shall lie rotting in the churchyard.
NORA:
What an ugly thing to say!
RANK:
The thing itself is cursedly ugly, and the worst of it is that I shall have to face so much more that is ugly before that. I shall only make one more examination of myself; when I have done that, I shall know pretty certainly when it will be that the horrors of dissolution will begin. There is something I want to tell you. Helmer's refined nature gives him an unconquerable disgust at everything that is ugly; I won't have him in my sick-room.
NORA:
Oh, but, Doctor Rank—
RANK:
I won't have him there. Not on any account. I bar my door to him. As soon as I am quite certain that the worst has come, I shall send you my card with a black cross on it, and then you will know that the loathsome end has begun.
NORA:
You are quite absurd to-day. And I wanted you so much to be in a really good humour.
RANK:
With death stalking beside me?—To have to pay this penalty for another man's sin? Is there any justice in that? And in every single family, in one way or another, some such inexorable retribution is being exacted—
NORA:
[putting her hands over her ears]. Rubbish! Do talk of something cheerful.
RANK:
Oh, it's a mere laughing matter, the whole thing. My poor innocent spine has to suffer for my father's youthful amusements.
NORA:
[sitting at the table on the left]. I suppose you mean that he was too partial to asparagus and pâté de foie gras, don't you?
RANK:
Yes, and to truffles.
NORA:
Truffles, yes. And oysters too, I suppose?
RANK:
Oysters, of course, that goes without saying.
NORA:
And heaps of port and champagne. It is sad that all these nice things should take their revenge on our bones.
RANK:
Especially that they should revenge themselves on the unlucky bones of those who have not had the satisfaction of enjoying them.
NORA:
Yes, that's the saddest part of it all.
RANK:
[with a searching look at her]. Hm!—
NORA:
[after a short pause]. Why did you smile?
RANK:
No, it was you that laughed.
NORA:
No, it was you that smiled, Doctor Rank!
RANK:
[rising]. You are a greater rascal than I thought.
NORA:
I am in a silly mood to-day.
RANK:
So it seems.
NORA:
[putting her hands on his shoulders]. Dear, dear Doctor Rank, death mustn't take you away from Torvald and me.
RANK:
It is a loss you would easily recover from. Those who are gone are soon forgotten.
NORA:
[looking at him anxiously]. Do you believe that?
RANK:
People form new ties, and then—
NORA:
Who will form new ties?
RANK:
Both you and Helmer, when I am gone. You yourself are already on the high road to it, I think. What did that Mrs. Linde want here last night?
NORA:
Oho!—you don't mean to say you are jealous of poor Christine?
RANK:
Yes, I am. She will be my successor in this house. When I am done for, this woman will—
NORA:
Hush! don't speak so loud. She is in that room.
RANK:
To-day again. There, you see.
NORA:
She has only come to sew my dress for me. Bless my soul, how unreasonable you are! [Sits down on the sofa.] Be nice now, Doctor Rank, and to-morrow you will see how beautifully I shall dance, and you can imagine I am doing it all for you—and for Torvald too, of course. [Takes various things out of the box.] Doctor Rank, come and sit down here, and I will show you something.
RANK:
[sitting down]. What is it?
NORA:
Just look at those!
RANK:
Silk stockings.
NORA:
Flesh-coloured. Aren't they lovely? It is so dark here now, but tomorrow—. No, no, no! you must only look at the feet. Oh well, you may have leave to look at the legs too.
RANK:
Hm!—
NORA:
Why are you looking so critical? Don't you think they will fit me?
RANK:
I have no means of forming an opinion about that.
NORA:
[looks at him for a moment]. For shame! [Hits him lightly on the ear with the stockings.] That's to punish you. [Folds them up again.]
RANK:
And what other nice things am I to be allowed to see?
NORA:
Not a single thing more, for being so naughty. [She looks among the things, humming to herself.]
RANK:
[after a short silence]. When I am sitting here, talking to you as intimately as this, I cannot imagine for a moment what would have become of me if I had never come into this house.
NORA:
[smiling]. I believe you do feel thoroughly at home with us.
RANK:
[in a lower voice, looking straight in front of him]. And to be obliged to leave it all—
NORA:
Nonsense, you are not going to leave it.
RANK:
[as before]. And not be able to leave behind one the slightest token of one's gratitude, scarcely even a fleeting regret—nothing but an empty place which the first comer can fill as well as any other.
NORA:
And if I asked you now for a—? No!
RANK:
For what?
NORA:
For a big proof of your friendship—
RANK:
Yes, yes!
NORA:
I mean a tremendously big favour—
RANK:
Would you really make me so happy for once?
NORA:
Ah, but you don't know what it is yet.
RANK:
No—but tell me.
NORA:
I really can't, Doctor Rank. It is something out of all reason; it means advice, and help, and a favour—
RANK:
The bigger a thing it is the better. I can't conceive what it is you mean. Do tell me. Haven't I your confidence?
NORA:
More than anyone else. I know you are my truest and best friend, and so I will tell you what it is. Well, Doctor Rank, it is something you must help me to prevent. You know how devotedly, how inexpressibly deeply Torvald loves me; he would never for a moment hesitate to give his life for me.
RANK:
[leaning towards her]. Nora—do you think he is the only one—?
NORA:
[with a slight start]. The only one—?
RANK:
The only one who would gladly give his life for your sake.
NORA:
[sadly]. Is that it?
RANK:
I was determined you should know it before I went away, and there will never be a better opportunity than this. Now you know it, Nora. And now you know, too, that you can trust me as you would trust no one else.
NORA:
[rises, deliberately and quietly]. Let me pass.
RANK:
[makes room for her to pass him, but sits still]. Nora!
NORA:
[at the hall door]. Helen, bring in the lamp. [Goes over to the stove.]
Dear Doctor Rank, that was really horrid of you.
RANK:
To have loved you as much as anyone else does? Was that horrid?
NORA:
No, but to go and tell me so. There was really no need—
RANK:
What do you mean? Did you know—? [MAID enters with lamp, puts it down on the table, and goes out.] Nora—Mrs. Helmer—tell me, had you any idea of this?
NORA:
Oh, how do I know whether I had or whether I hadn't? I really can't tell you—To think you could be so clumsy, Doctor Rank! We were getting on so nicely.
RANK:
Well, at all events you know now that you can command me, body and soul. So won't you speak out?
NORA:
[looking at him]. After what happened?
RANK:
I beg you to let me know what it is.
NORA:
I can't tell you anything now.
RANK:
Yes, yes. You mustn't punish me in that way. Let me have permission to do for you whatever a man may do.
NORA:
You can do nothing for me now. Besides, I really don't need any help at all. You will find that the whole thing is merely fancy on my part. It really is so—of course it is! [Sits down in the rocking-chair, and looks at him with a smile.] You are a nice sort of man, Doctor Rank!—don't you feel ashamed of yourself, now the lamp has come?
RANK:
Not a bit. But perhaps I had better go—for ever?
NORA:
No, indeed, you shall not. Of course you must come here just as before. You know very well Torvald can't do without you.
RANK:
Yes, but you?
NORA:
Oh, I am always tremendously pleased when you come.
RANK:
It is just that, that put me on the wrong track. You are a riddle to me. I have often thought that you would almost as soon be in my company as in Helmer's.
NORA:
Yes—you see there are some people one loves best, and others whom one would almost always rather have as companions.
RANK:
Yes, there is something in that.
NORA:
When I was at home, of course I loved papa best. But I always thought it tremendous fun if I could steal down into the maids' room, because they never moralised at all, and talked to each other about such entertaining things.
RANK:
I see—it is their place I have taken.
NORA:
[jumping up and going to him]. Oh, dear, nice Doctor Rank, I never meant that at all. But surely you can understand that being with Torvald is a little like being with papa—

[Enter MAID from the hall.]

MAID:
If you please, ma'am. [Whispers and hands her a card.]
NORA:
[glancing at the card]. Oh! [Puts it in her pocket.]
RANK:
Is there anything wrong?
NORA:
No, no, not in the least. It is only something—it is my new dress—
RANK:
What? Your dress is lying there.
NORA:
Oh, yes, that one; but this is another. I ordered it. Torvald mustn't know about it—
RANK:
Oho! Then that was the great secret.
NORA:
Of course. Just go in to him; he is sitting in the inner room. Keep him as long as—
RANK:
Make your mind easy; I won't let him escape.

[Goes into HELMER'S room.]

NORA:
[to the MAID]. And he is standing waiting in the kitchen?
MAID:
Yes; he came up the back stairs.
NORA:
But didn't you tell him no one was in?
MAID:
Yes, but it was no good.
NORA:
He won't go away?
MAID:
No; he says he won't till he has seen you, ma'am.
NORA:
Well, let him come in—but quietly. Helen, you mustn't say anything about it to anyone. It is a surprise for my husband.
MAID:
Yes, ma'am, I quite understand. [Exit.]
NORA:
This dreadful thing is going to happen! It will happen in spite of me! No, no, no, it can't happen—it shan't happen! [She bolts the door of Helmer's room. The MAID opens the hall door for KROGSTAD and shuts it after him. He is wearing a fur coat, high boots and a fur cap.]
NORA:
[advancing towards him]. Speak low—my husband is at home.
KROGSTAD:
No matter about that.
NORA:
What do you want of me?
KROGSTAD:
An explanation of something.
NORA:
Make haste then. What is it?
KROGSTAD:
You know, I suppose, that I have got my dismissal.
NORA:
I couldn't prevent it, Mr. Krogstad I fought as hard as I could on your side, but it was no good.
KROGSTAD:
Does your husband love you so little, then? He knows what I can expose you to, and yet he ventures—
NORA:
How can you suppose that he has any knowledge of the sort?
KROGSTAD:
I didn't suppose so at all. It would not be the least like our dear Torvald Helmer to show so much courage—
NORA:
Mr. Krogstad, a little respect for my husband, please.
KROGSTAD:
Certainly—all the respect he deserves. But since you have kept the matter so carefully to yourself, I make bold to suppose that you have a little clearer idea, than you had yesterday, of what it actually is that you have done?
NORA:
More than you could ever teach me.
KROGSTAD:
Yes, such a bad lawyer as I am.
NORA:
What is it you want of me?
KROGSTAD:
Only to see how you were, Mrs. Helmer. I have been thinking about you all day long. A mere cashier, a quill-driver, a—well, a man like me—even he has a little of what is called feeling, you know.
NORA:
Show it, then; think of my little children.
KROGSTAD:
Have you and your husband thought of mine? But never mind about that. I only wanted to tell you that you need not take this matter too seriously. In the first place there will be no accusation made on my part.
NORA:
No, of course not; I was sure of that.
KROGSTAD:
The whole thing can be arranged amicably; there is no reason why anyone should know anything about it. It will remain a secret between us three.
NORA:
My husband must never get to know anything about it.
KROGSTAD:
How will you be able to prevent it? Am I to understand that you can pay the balance that is owing?
NORA:
No, not just at present.
KROGSTAD:
Or perhaps that you have some expedient for raising the money soon?
NORA:
No expedient that I mean to make use of.
KROGSTAD:
Well, in any case, it would have been of no use to you now. If you stood there with ever so much money in your hand, I would never part with your bond.
NORA:
Tell me what purpose you mean to put it to.
KROGSTAD:
I shall only preserve it—keep it in my possession. No one who is not concerned in the matter shall have the slightest hint of it. So that if the thought of it has driven you to any desperate resolution—
NORA:
It has.
KROGSTAD:
If you had it in your mind to run away from your home—
NORA:
I had.
KROGSTAD:
Or even something worse—
NORA:
How could you know that?
KROGSTAD:
Give up the idea.
NORA:
How did you know I had thought of that?
KROGSTAD:
Most of us think of that at first. I did, too—but I hadn't the courage.
NORA:
[faintly]. No more had I.
KROGSTAD:
[in a tone of relief]. No, that's it, isn't it—you hadn't the courage either?
NORA:
No, I haven't—I haven't.
KROGSTAD:
Besides, it would have been a great piece of folly. Once the first storm at home is over—. I have a letter for your husband in my pocket.
NORA:
Telling him everything?
KROGSTAD:
In as lenient a manner as I possibly could.
NORA:
[quickly]. He mustn't get the letter. Tear it up. I will find some means of getting money.
KROGSTAD:
Excuse me, Mrs. Helmer, but I think I told you just now—
NORA:
I am not speaking of what I owe you. Tell me what sum you are asking my husband for, and I will get the money.
KROGSTAD:
I am not asking your husband for a penny.
NORA:
What do you want, then?
KROGSTAD:
I will tell you. I want to rehabilitate myself, Mrs. Helmer; I want to get on; and in that your husband must help me. For the last year and a half I have not had a hand in anything dishonourable, and all that time I have been struggling in most restricted circumstances. I was content to work my way up step by step. Now I am turned out, and I am not going to be satisfied with merely being taken into favour again. I want to get on, I tell you. I want to get into the Bank again, in a higher position. Your husband must make a place for me—
NORA:
That he will never do!
KROGSTAD:
He will; I know him; he dare not protest. And as soon as I am in there again with him, then you will see! Within a year I shall be the manager's right hand. It will be Nils Krogstad and not Torvald Helmer who manages the Bank.
NORA:
That's a thing you will never see!
KROGSTAD:
Do you mean that you will—?
NORA:
I have courage enough for it now.
KROGSTAD:
Oh, you can't frighten me. A fine, spoilt lady like you—
NORA:
You will see, you will see.
KROGSTAD:
Under the ice, perhaps? Down into the cold, coal-black water? And then, in the spring, to float up to the surface, all horrible and unrecognisable, with your hair fallen out—
NORA:
You can't frighten me.
KROGSTAD:
Nor you me. People don't do such things, Mrs. Helmer. Besides, what use would it be? I should have him completely in my power all the same.
NORA:
Afterwards? When I am no longer—
KROGSTAD:
Have you forgotten that it is I who have the keeping of your reputation? [NORA stands speechlessly looking at him.] Well, now, I have warned you. Do not do anything foolish. When Helmer has had my letter, I shall expect a message from him. And be sure you remember that it is your husband himself who has forced me into such ways as this again. I will never forgive him for that. Good-bye, Mrs. Helmer. [Exit through the hall.]
NORA:
[goes to the hall door, opens it slightly and listens.] He is going. He is not putting the letter in the box. Oh no, no! that's impossible! [Opens the door by degrees.] What is that? He is standing outside. He is not going downstairs. Is he hesitating? Can he—? [A letter drops into the box; then Krogstad's footsteps are heard, till they die away as he goes downstairs. NORA utters a stifled cry, and runs across the room to the table by the sofa. A short pause.]
NORA:
In the letter-box. [Steals across to the hall door.] There it lies—Torvald, Torvald, there is no hope for us now!

[MRS LINDE comes in from the room on the left, carrying the dress.]

MRS. LINDE:
There, I can't see anything more to mend now. Would you like to try it on—?
NORA:
[in a hoarse whisper]. Christine, come here.
MRS. LINDE:
[throwing the dress down on the sofa]. What is the matter with you? You look so agitated!
NORA:
Come here. Do you see that letter? There, look—you can see it through the glass in the letter-box.
MRS. LINDE:
Yes, I see it.
NORA:
That letter is from Krogstad.
MRS. LINDE:
Nora—it was Krogstad who lent you the money!
NORA:
Yes, and now Torvald will know all about it.
MRS. LINDE:
Believe me, Nora, that's the best thing for both of you.
NORA:
You don't know all. I forged a name.
MRS. LINDE:
Good heavens—!
NORA:
I only want to say this to you, Christine—you must be my witness.
MRS. LINDE:
Your witness? What do you mean? What am I to—?
NORA:
If I should go out of my mind—and it might easily happen—
MRS. LINDE:
Nora!
NORA:
Or if anything else should happen to me—anything, for instance, that might prevent my being here—
MRS. LINDE:
Nora! Nora! you are quite out of your mind.
NORA:
And if it should happen that there were someone who wanted to take all the responsibility, all the blame, you understand—
MRS. LINDE:
Yes, yes—but how can you suppose—?
NORA:
Then you must be my witness, that it is not true, Christine. I am not out of my mind at all; I am in my right senses now, and I tell you no one else has known anything about it; I, and I alone, did the whole thing. Remember that.
MRS. LINDE:
I will, indeed. But I don't understand all this.
NORA:
How should you understand it? A wonderful thing is going to happen!
MRS. LINDE:
A wonderful thing?
NORA:
Yes, a wonderful thing!—But it is so terrible, Christine; it mustn't happen, not for all the world.
MRS. LINDE:
I will go at once and see Krogstad.
NORA:
Don't go to him; he will do you some harm.
MRS. LINDE:
There was a time when he would gladly do anything for my sake.
NORA:
He?
MRS. LINDE:
Where does he live?
NORA:
How should I know—? Yes [feeling in her pocket], here is his card. But the letter, the letter—!
HELMER:
[calls from his room, knocking at the door]. Nora!
NORA:
[cries out anxiously]. Oh, what's that? What do you want?
HELMER:
Don't be so frightened. We are not coming in; you have locked the door. Are you trying on your dress?
NORA:
Yes, that's it. I look so nice, Torvald.
MRS. LINDE:
[who has read the card]. I see he lives at the corner here.
NORA:
Yes, but it's no use. It is hopeless. The letter is lying there in the box.
MRS. LINDE:
And your husband keeps the key?
NORA:
Yes, always.
MRS. LINDE:
Krogstad must ask for his letter back unread, he must find some pretence—
NORA:
But it is just at this time that Torvald generally—
MRS. LINDE:
You must delay him. Go in to him in the meantime. I will come back as soon as I can. [She goes out hurriedly through the hall door.]
NORA:
[goes to HELMER'S door, opens it and peeps in]. Torvald!
HELMER:
[from the inner room]. Well? May I venture at last to come into my own room again? Come along, Rank, now you will see—[Halting in the doorway.] But what is this?
NORA:
What is what, dear?
HELMER:
Rank led me to expect a splendid transformation.
RANK:
[in the doorway]. I understood so, but evidently I was mistaken.
NORA:
Yes, nobody is to have the chance of admiring me in my dress till to-morrow.
HELMER:
But, my dear Nora, you look so worn out. Have you been practising too much?
NORA:
No, I have not practised at all.
HELMER:
But you will need to—
NORA:
Yes, indeed I shall, Torvald. But I can't get on a bit without you to help me; I have absolutely forgotten the whole thing.
HELMER:
Oh, we will soon work it up again.
NORA:
Yes, help me, Torvald. Promise that you will! I am so nervous about it—all the people—. You must give yourself up to me entirely this evening. Not the tiniest bit of business—you mustn't even take a pen in your hand. Will you promise, Torvald dear?
HELMER:
I promise. This evening I will be wholly and absolutely at your service, you helpless little mortal. Ah, by the way, first of all I will just—[Goes towards the hall door.]
NORA:
What are you going to do there?
HELMER:
Only see if any letters have come.
NORA:
No, no! don't do that, Torvald!
HELMER:
Why not?
NORA:
Torvald, please don't. There is nothing there.
HELMER:
Well, let me look. [Turns to go to the letter-box. NORA, at the piano, plays the first bars of the Tarantella. Helmer stops in the doorway.] Aha!
NORA:
I can't dance to-morrow if I don't practise with you.
HELMER:
[going up to her]. Are you really so afraid of it, dear?
NORA:
Yes, so dreadfully afraid of it. Let me practise at once; there is time now, before we go to dinner. Sit down and play for me, Torvald dear; criticise me, and correct me as you play.
HELMER:
With great pleasure, if you wish me to. [Sits down at the piano.]
NORA:
[takes out of the box a tambourine and a long variegated shawl. She hastily drapes the shawl round her. Then she springs to the front of the stage and calls out]. Now play for me! I am going to dance!

[HELMER plays and NORA dances. RANK stands by the piano behind HELMER, and looks on.]

HELMER:
[as he plays]. Slower, slower!
NORA:
I can't do it any other way.
HELMER:
Not so violently, Nora!
NORA:
This is the way.
HELMER:
[stops playing]. No, no—that is not a bit right.
NORA:
[laughing and swinging the tambourine]. Didn't I tell you so?
RANK:
Let me play for her.
HELMER:
[getting up]. Yes, do. I can correct her better then.

[RANK sits down at the piano and plays. NORA dances more and more wildly. HELMER has taken up a position beside the stove, and during her dance gives her frequent instructions. She does not seem to hear him; her hair comes down and falls over her shoulders; she pays no attention to it, but goes on dancing. Enter MRS LINDE.]

MRS. LINDE:
[standing as if spell-bound in the doorway]. Oh!—
NORA:
[as she dances]. Such fun, Christine!
HELMER:
My dear darling Nora, you are dancing as if your life depended on it.
NORA:
So it does.
HELMER:
Stop, Rank; this is sheer madness. Stop, I tell you! [RANK stops playing, and NORA suddenly stands still. Helmer goes up to her.] I could never have believed it. You have forgotten everything I taught you.
NORA:
[throwing away the tambourine]. There, you see.
HELMER:
You will want a lot of coaching.
NORA:
Yes, you see how much I need it. You must coach me up to the last minute. Promise me that, Torvald!
HELMER:
You can depend on me.
NORA:
You must not think of anything but me, either to-day or to-morrow; you mustn't open a single letter—not even open the letter-box—
HELMER:
Ah, you are still afraid of that fellow—
NORA:
Yes, indeed I am.
HELMER:
Nora, I can tell from your looks that there is a letter from him lying there.
NORA:
I don't know; I think there is; but you must not read anything of that kind now. Nothing horrid must come between us till this is all over.
RANK:
[whispers to Helmer]. You mustn't contradict her.
HELMER:
[taking her in his arms]. The child shall have her way. But to-morrow night, after you have danced—
NORA:
Then you will be free. [The MAID appears in the doorway to the right.]
MAID:
Dinner is served, ma'am.
NORA:
We will have champagne, Helen.
MAID:
Very good, ma'am. [Exit.]
HELMER:
Hullo!—are we going to have a banquet?
NORA:
Yes, a champagne banquet till the small hours. [Calls out.] And a few macaroons, Helen—lots, just for once!
HELMER:
Come, come, don't be so wild and nervous. Be my own little skylark, as you used.
NORA:
Yes, dear, I will. But go in now and you too, Doctor Rank. Christine, you must help me to do up my hair.
RANK:
[whispers to Helmer as they go out]. I suppose there is nothing—she is not expecting anything?
HELMER:
Far from it, my dear fellow; it is simply nothing more than this childish nervousness I was telling you of. [They go into the right-hand room.]
NORA:
Well!
MRS. LINDE:
Gone out of town.
NORA:
I could tell from your face.
MRS. LINDE:
He is coming home to-morrow evening. I wrote a note for him.
NORA:
You should have let it alone; you must prevent nothing. After all, it is splendid to be waiting for a wonderful thing to happen.
MRS. LINDE:
What is it that you are waiting for?
NORA:
Oh, you wouldn't understand. Go in to them, I will come in a moment. [MRS. LINDE goes into the dining-room. NORA stands still for a little while, as if to compose herself. Then she looks at her watch.] Five o'clock. Seven hours till midnight; and then four-and-twenty hours till the next midnight. Then the Tarantella will be over. Twenty-four and seven? Thirty-one hours to live.
HELMER:
[from the doorway on the right]. Where's my little skylark?
NORA:
[going to him with her arms outstretched]. Here she is!


Footnotes

  1. Nora’s heightened awareness of time builds tension during the transition into act III. There is now a determined timeline of how long she has left “to live” rather than a generalized sense of dread. This line also makes it clear that whether the death is literal or figurative, Nora’s life as she knows it will drastically change once Torvald reads the letter. If the “wonderful” thing happens and Torvald attempts to cover for her, Nora plans to commit suicide to protect him.

    — Marissa, Owl Eyes Staff
  2. Despite Nora’s erratic behavior and Doctor Rank’s questioning, Torvald dismisses the idea that Nora could be bothered by anything other than nerves. Torvald does not view Nora as capable of serious business, so he assumes that anything bothering her must be “childish” and insignificant enough to ignore.

    — Marissa, Owl Eyes Staff
  3. Nora orders champagne and macaroons with dinner, luxuries for those of the Helmer’s station who are not “extravagant” in their wealth. Combined with her morbid acknowledgement of the fact that she is “dancing as if for [her] life,” this reads as Nora planning her last meal, as if she were a prisoner awaiting execution.

    — Marissa, Owl Eyes Staff
  4. To Doctor Rank and Torvald, this line reads as hyperbole. However, for Nora and readers, it takes on a more literal meaning. Nora is dancing in order to prevent Krogstad’s letter from disrupting her idealized life. This line takes on a literal meaning when read in the context of Nora’s earlier conversation with Krogstad, wherein she threatened suicide. The gulf between the perceptions of Doctor Rank and Torvald and the hidden truth of Nora’s words produces dramatic irony; readers know that Nora plans to commit suicide rather than let Torvald take the fall, but Doctor Rank and Torvald remain ignorant.

    — Marissa, Owl Eyes Staff
  5. In a bid to prevent Torvald from checking the letter box before Mrs. Linde has had a chance to talk to Krogstad, Nora begs Torvald to help her practice the Tarantella the entire night. Most of Nora’s requests have been ignored or brushed off, but since the dance is Torvald’s chance to show off his wife’s beauty and talent, he takes a vested interest in making sure she performs well. Furthermore, if Nora were to dance poorly during the party, it would reflect negatively on Torvald. Thus Nora’s move is well calculated.

    — Marissa, Owl Eyes Staff
  6. The “wonderful” and “terrible” thing Nora refers to is her belief that Torvald will step in and take responsibility for her actions. It is “a wonderful thing” in the sense that it will give Torvald the chance to rescue her and uphold the gender dynamic of their marriage. However, it is also “terrible” because Nora does not want to implicate Torvald in a scandal based on actions that “[she], and [she] alone” undertook. It is also possible to read Nora’s conflict as being rooted in her burgeoning independence. Though the forgery has caused a lot of trouble, Nora is still proud of having saved her husband’s life. For Torvald to take credit would undermine her pride and ingenuity.

    — Marissa, Owl Eyes Staff
  7. Mrs. Linde acts as Nora’s moral guide throughout the play, urging her to be honest with Torvald and to end the romantic affairs that Mrs. Linde believes she is having. This conversation highlights Nora’s trust in Mrs. Linde and also her mounting desperation as she calls on Mrs. Linde to be her “witness.” However, Nora is more concerned with protecting Torvald’s reputation than herself, continuing to play the protector rather than the damsel in distress.

    — Marissa, Owl Eyes Staff
  8. Nora narrates Krogstad’s exit and his decision to put the letter in the box. In a stage production, Nora would be the focus of this scene, with Krogstad offstage as she describes what is happening. These lines build tension as Nora watches Krogstad leave, allowing the audience to wonder if he is truly going to put the letter in the box. The letter also affirms that the central conflict of the play is not between Nora and Krogstad, since that conflict has just been resolved. The most pressing conflict will erupt once Torvald reads the letter.

    — Marissa, Owl Eyes Staff
  9. Krogstad does not want Nora to hurt herself and does not seem to hold any genuine ill will towards her, reinforcing the fact that he is not the type of one-dimensional villain found in the popular melodramas of the 19th century. He is relieved that she “hadn’t the courage” for the “something worse,” which in this case is suicide. He begins to comfort her by saying that it gets better “once the first storm at home is over,” but he stops mid-sentence after remembering why he is there. Though he continues attempting to blackmail Nora, he ensures that he does so in a way that discourages suicide, protecting her life even if he is threatening to ruin her reputation.

    — Marissa, Owl Eyes Staff
  10. Recall that Krogstad was involved in a similar scandal to the one Nora is facing—one which severely damaged his reputation. Much like Nora, he resorted to illegal and underhanded dealings because society prohibited him from finding respectable work. This exchange showcases the similarities between Krogstad and Nora and draws Krogstad out of his villainous role. Though he is the antagonist of the play, Ibsen makes sure to emphasize that Krogstad is not an irredeemable villain but rather a complex character with motivations of his own.

    — Marissa, Owl Eyes Staff
  11. Krogstad’s assessment of Torvald’s character differs from that of the rest of the cast. In Nora’s opinion, her husband is strong and courageous. Torvald himself has claimed that he has the strength to withstand any allegations. However, Krogstad paints a different picture, implying that Torvald would not have the courage to call Krogstad’s bluff if he were aware of Nora’s forgery. Recall that Krogstad and Torvald were once good friends. Krogstad knows exactly how much Torvald cares about appearances, and he believes that Torvald’s reaction will differ from the reaction Nora hopes for.

    — Marissa, Owl Eyes Staff
  12. Nora’s concept of love is based on her devotion to her father rather than the idea of mutual love and respect. Though she claims to love Torvald, the fact that she prefers Doctor Rank’s company suggests that she and Torvald may not have as good a relationship as she pretends. She also acknowledges that Torvald is more of a father figure than a husband, “moralising” and leaving her out of important decisions. By contrast, Doctor Rank talks to her like an equal.

    — Marissa, Owl Eyes Staff
  13. According to many scholars, A Doll’s House is based on the situation of Ibsen’s friend Laura Kieler. When Kieler’s husband contracted tuberculosis, she initially reached out to Ibsen, hoping that he would help her get her work published so that she could raise sufficient money to pay for his treatment. Ibsen was uncomfortable with the idea and denied her request. Kieler forged her husband’s signature to secure a loan and ended up institutionalized after her husband discovered her forgery. Ibsen’s feelings about his role in the scandal led to his composition of the play and his choice to portray Nora’s, and Kieler’s, plight sympathetically.

    — Marissa, Owl Eyes Staff
  14. Notice that Nora is behaving towards Doctor Rank in the way she normally acts around Torvald. She describes her mood as “silly” and she augments her words with exaggerated movements like covering her ears and initiating physical contact, as indicated by the stage directions. In response, Doctor Rank begins to treat her more as Torvald does, calling her a “rascal” just as Torvald calls her a “rogue” or “squirrel.” Despite the fact that Doctor Rank speaks plainly to her, Nora defaults to her usual habits as she prepares to ask him for a favor, indicating that she is not accustomed to be taken seriously when making requests of men.

    — Marissa, Owl Eyes Staff
  15. Doctor Rank laments his inherited condition, stating that it is unfair that he must suffer ill health because of his father’s choices. Nora reacts to this line about inheritance for different reasons, recalling Torvald’s comments about how dishonest parents pollute their children.

    — Marissa, Owl Eyes Staff
  16. In asking Nora to keep Torvald away from his sickbed, Doctor Rank acknowledges Torvald’s superficiality. Torvald, who aspires to appear refined and respectable, cares deeply about appearances. The revelation that his wife signed an illegal loan is likely to precipitate an “ugly” backlash and damage Torvald’s reputation, foreshadowing the appearance of his “unconquerable disgust.”

    — Marissa, Owl Eyes Staff
  17. Doctor Rank reveals to Nora that he likely does not have very long to live. He describes himself as “the most wretched of all his patients,” implying that his physical condition has deteriorated significantly. Unlike Torvald, who prefers to shield Nora from talk of work and illness, Doctor Rank is honest with her and treats her like a rational adult capable of discussing serious topics. However, Nora misinterprets his prediction that they don’t have much time left together and assumes that he knows about her troubles. Thus she breathes a “sigh of relief” upon realizing he is referring to his own issues.

    — Marissa, Owl Eyes Staff
  18. Nora’s greatest fear and biggest hope is that Torvald will play the part she expects him to and take all of the trouble caused by her forgery on himself. Nora’s reaction to Torvald’s declaration is conflicted. On the one hand, she desperately wants to return to their old dynamic and the pretense of happiness, which Torvald coming to her rescue would allow for. However, she is also horrified at the thought of her mistake impacting him, creating a contrast between her desire to maintain their dynamic and her sense of personal responsibility.

    — Marissa, Owl Eyes Staff
  19. Nora’s image of her husband as a selfless protector is shaken when he tells her about his petty reasons for firing Krogstad. She accuses him of being “narrow-minded” for firing someone over a personal issue. This is the first time that Nora has spoken negatively about Torvald, highlighting how shocked she is by his admission. Nora generally plays the “little squirrel” in order to uphold the idealized fantasy of their marriage, so seeing a selfish side of her husband forces Nora to recognize that neither of them is who they pretend to be.

    — Marissa, Owl Eyes Staff
  20. In this context, the noun “incubus” refers to a source of anxiety or difficulty. Torvald reveals that his reasons for firing Krogstad do not stem from Krogstad’s moral shortcomings, but rather from Torvald’s own embarrassment regarding their past friendship. Since Torvald and Krogstad were once close friends, Krogstad continues to address Torvald familiarly despite their difference in rank at the bank, which Torvald finds disrespectful. Torvald puts a lot of emphasis on appearances, underscoring his petty and superficial nature.

    — Marissa, Owl Eyes Staff
  21. This exchange hints at Nora’s family’s torrid history and also showcases Nora’s abilities as a liar. Torvald indicates that Nora’s father was the target of scandalous rumors but assures her that he is a respected public official and therefore above suspicion. Nora, who latches on to Torvald’s excuse for her behavior, implies that he saved her father’s job. Whether this is true or simply meant to flatter Torvald is left as a matter of speculation.

    — Marissa, Owl Eyes Staff
  22. The modern equivalent of a “scurrilous newspaper” is a tabloid magazine. Such publications spread scandalous stories designed to damage reputations. Nora uses the fear of Krogstad publishing unflattering articles about the Helmers as a cover story to win Torvald’s support. Ironically, it is the closest to the truth that she has gotten in her persuasions. If news of her forgery were published in the newspaper, the Helmers would face severe social consequences.

    — Marissa, Owl Eyes Staff
  23. The adjective “obstinate” refers to a stubborn person. In act I, Torvald calls Nora his “obstinate little woman” in an affectionate manner and seems pleased by the idea that she needs his help despite her stubbornness. By contrast, this outburst is indicative of genuine frustration, since Torvald is likely not accustomed to having Nora speak to him so directly.

    — Marissa, Owl Eyes Staff
  24. Seeing that her begging isn’t working, Nora shifts tactics and instead commands Torvald, framing her request as an obligation by using the word “must.” Her desperation to avoid Krogstad’s revelations force her to abandon her usual persona and instead speak to Torvald as a rational adult, though she remains unwilling to explain her reasoning.

    — Marissa, Owl Eyes Staff
  25. Notice that whenever Nora asks for something from Torvald, she adopts a childlike persona. Torvald and Nora’s marriage is not one between equals, since Torvald controls the money and expects Nora to obey him. Rather than having an honest conversation with Torvald or asking him for anything directly, Nora must “do all her tricks” and “play the fairy” to try and convince him to give in.

    — Marissa, Owl Eyes Staff
  26. Torvald seems amused by the idea that Nora would go against his wishes, affectionately calling her a “rogue.” The noun “rogue” refers to a person who behaves in an unpredictable or objectionable manner but still appears charming or attractive. However, note that A Doll’s House is translated to English from its original Danish, meaning that attempts to analyze vocabulary are contingent. The suggestion that Nora deserves credit for doing what he asks is met with mockery, indicating that Torvald doesn’t view Nora, or women in general, as capable of independent thought or action.

    — Marissa, Owl Eyes Staff
  27. In Norwegian culture, dressmaking has traditionally been considered a feminine skill. Though homemade clothes were less common as department stores gained popularity, most 19th century women still knew how to sew and mend dresses at home. Fabric was expensive, so it was often repurposed in order to keep up with the fashions of the day without spending extra money. Torvald’s refusal to engage with his children and his inability to “bear” the sight of dressmaking paints him as someone who enforces traditional gender roles. He refuses to associate himself with anything that might be perceived as feminine, just as he refuses to allow Nora to participate in anything deemed masculine, such as work or finances.

    — Marissa, Owl Eyes Staff
  28. A “bond” is a legal document that lays out the conditions of a loan. The person who issues the loan keeps the bond in order to ensure the borrower pays them back. Once the conditions of the loan are met, the document is returned to the borrower. Notice that Nora uses the same language to describe what she wants to do to the dress and the bond. Her desire to tear the bond “into a hundred thousand pieces” suggests that Nora wants it to disappear so she can return to her happy, carefree life. Torvald bought the dress for her during their trip to Italy, the reason Nora took out the loan. This links her stress over the loan to the dress.

    — Marissa, Owl Eyes Staff
  29. The idea of asking Doctor Rank for help seems to stick with Nora. She repeats the notion twice, as though she is considering the possibility out loud, though it is a course of action Mrs. Linde condemns. This foreshadows Nora’s decision to ask Doctor Rank to help her “make an end of it” with Krogstad.

    — Marissa, Owl Eyes Staff
  30. Mrs. Linde is suspicious of Nora’s relationship with Doctor Rank and believes that he is the “rich admirer” who lent Nora the money. While readers know this is false, Mrs. Linde still raises valid concerns about the relationship between Nora and the doctor. For Nora, as a married woman, to be so open and casual with a wealthy, single man would have been considered highly inappropriate, even if the man is a family friend.

    — Marissa, Owl Eyes Staff
  31. Notice the parallels drawn between Torvald and Nora’s father. Both of them expect her to maintain a “dainty and attractive” house. Nora was raised by the nurse, implying that her mother was not around. This means that once Nora was old enough, the duties of maintaining the house would have fallen to her. Note that this does not entail tasks like cooking or cleaning, which would have been done by maids, but rather tasks like entertaining guests and responding to her father’s whims. The implication is that both her husband and father controlled her life.

    — Marissa, Owl Eyes Staff
  32. This line is indicative of Nora’s declining mental state as well as her increasing disillusionment with the role she plays in her marriage. She paces around the stage, talks to herself, and panics every time someone comes to the door. Her desire to tear the dress up reminds readers that the trip to Italy is the source of her current predicament. It also suggests that her idealized fantasies about her marriage and the role she plays within it are dissolving. She has serious financial and legal concerns to deal with that put her at odds with her usual cheerful persona.

    — Marissa, Owl Eyes Staff
  33. Note that, as Rank suggests, showing someone’s stockings was quite an intimate thing to do during this time. Consider how the flirtatious comments that Nora made previously, such as telling Rank to imagine that she is dancing for him, contribute to the flirtatious tone of this scene. The tone of conversation between Nora and Rank is drastically different from the tone of Nora and Torvald’s conversation just before. This change in tone encourages us to compare Nora’s relationship with Rank to her relationship with Torvald. Nora’s movements are less confined around Rank; she is playful, even “humming to herself.”

    — Kayla, Owl Eyes Staff
  34. Nora was going to ask Dr. Rank for a favor, which we can infer was probably to lend her the money to pay Krogstad back. However, her plans are interrupted when Dr. Rank professes his love for her. Nora no longer feels comfortable asking Rank for the money after this confession. We might reason that this could be because it would make the loan feel inappropriate—she would no longer be asking a good friend for money, but a professed admirer.

    — Kayla, Owl Eyes Staff
  35. A “quill-driver” was a term that was used to refer to a writer or clerk. Torvald uses the term in a derogatory way in order to imply that Krogstad’s occupation is expendable and lowly in comparison to Torvald’s. Torvald suggests that Krogstad’s “vengeance” is not a real concern to him because Torvald holds a higher station than Krogstad.

    — Kayla, Owl Eyes Staff
  36. Torvald suggests that part of his unwillingness to change his mind about firing Krogstad is because it will reflect badly on his reputation. At this time in history, a man who could be swayed by his wife’s (or any woman’s) opinions in business would have been considered weak. Torvald feels obligated to his decision, at least in part, because he is worried that his coworkers would view him as weak or less “manly.”

    — Kayla, Owl Eyes Staff
  37. To “prevaricate” means to “speak or act in an evasive way.” Here, Mrs. Linde suggests that Nora is intentionally feigning naivety in order to eliminate Mrs. Linde’s suspicions that Dr. Rank lent Nora money as an “admirer.”

    — Kayla, Owl Eyes Staff
  38. Torvald does not like to hear about Nora’s past in the same way that Dr. Rank does because Torvald becomes very jealous of other people in Nora’s life. Dr. Rank offers Nora the freedom to express herself—to reflect on her past in a way that Torvald never does. This is another instance of Torvald’s tendency (whether intentional or not) to confine Nora.

    — Kayla, Owl Eyes Staff
  39. Nora insinuates that Dr. Rank’s father’s tendency to “commit all sorts of excesses,” or in other words, to have many lovers, was the cause of Dr. Rank’s tuberculosis. As Tuberculosis is spread through the air via a person with the infection, Nora is suggesting that Dr. Rank’s father contracted the disease from one of his mistresses and infected his son.

    — Kayla, Owl Eyes Staff
  40. Whereas today we refer to what Dr. Rank suffers from as “tuberculosis,” a disease that affects the lungs and sometimes other areas of the body, tuberculosis historically has been known as “consumption.” The term “consumption” was used to describe the disease because of the weight loss it causes. “Consumption of the spine” is another way of saying that Dr. Rank has a type of tuberculosis that affects the tissues of the spine rather than the lungs.

    — Kayla, Owl Eyes Staff
  41. Capri is an island located off of the western coast of Italy in the Sorrentine Peninsula. Capri is where Nora learned how to dance the Tarantella and where the dress Torvald wants her to wear was made.

    — Kayla, Owl Eyes Staff
  42. The “Tarantella” is a lively and incredibly fast-paced Italian dance. Torvald is deeply attracted to Nora when she dances the Tarantella as it requires that Nora allow herself to be more free and spirited than in the home. Torvald keeps her under strict confines in the home, but he is captivated by her uninhibited side, a contradictory quality that might speak to the role of women in marriage at the time. Women were “supposed” to be refined child rearers, but also alluring when their husbands wanted them to be.

    — Kayla, Owl Eyes Staff
  43. Torvald wants Nora to wear this Italian “fancy-dress” for the ball. It is essentially a costume, one that allows Nora to “keep up the character,” as Mrs. Linde states. The “character” is the “wilder” person that Nora becomes when she dances. The “costume” represents yet another role that Nora is forced into by Torvald. By agreeing to wear this dress, Nora places her husband’s desires above her own.

    — Kayla, Owl Eyes Staff
  44. This line reveals that Nora was raised by the same nurse who now helps raise Nora’s own children. though we are not given any information detailing why Nora’s birth mother was not around. Consider that Nora expresses concern that the nurse is no longer in contact with her own daughter, whom we can infer the nurse gave up for adoption in order to raise Nora. Note that the complete absence of fathers in this conversation might be a commentary on the caretaking role that society forces women into.

    — Kayla, Owl Eyes Staff
  45. Consider why Nora might ask the nurse this question. Since Krogstad has blackmailed Nora to persuade Torvald to let Krogstad keep his job at the bank, and Torvald has refused, Nora is planning for the worst. When Nora asks what might happen to her children if she “went away altogether,” she might be contemplating fleeing or even suicide, judging by the nurse’s startled reaction to this question.

    — Kayla, Owl Eyes Staff
  46. Nora interrupts her own dancing and “drops the cloak” when she fears that someone is approaching the door. Nora’s action suggests that she believes the “someone” is Krogstad and that he has arrived to reveal Nora’s secret to Torvald. Nora is understandably worried about this.

    — Kayla, Owl Eyes Staff
  47. Nora is constantly constrained by the social norms of her time. However when she dances, she is able to “let her hair down,” so to speak. Here, Nora is impervious to Torvald’s demands and “instructions” in a way that she cannot be when she is not dancing.

    — Kayla, Owl Eyes Staff
  48. A riddle is a complex problem which is usually difficult in its simplicity. Nora is all of these things—simple, complex and sometimes difficult to understand.

    — Pauline Sheehan
  49. The phrase "the horrors of dissolution" refer to one's final days or hours. In other words, Dr. Rank will be able to estimate when he will die.

    — Pauline Sheehan