1. A DOLL’S HOUSE
ACT 2

2. DRAMATIC CONVENTIONS, PLOT ELEMENTS, SYMBOLISM
The Christmas tree is in the corner by the piano, stripped of its ornaments and with burned-down candle ends on its disheveled branches. (p. 29)

3. CHARACTERIZATION, LANGUAGE, SYMBOLISM
NORA: I should like to tear it [the masquerade dress] into a hundred thousand pieces. NURSE: What an idea! It can easily be put in order – just a little patience. (p 29) LATER (in her exchange with Mrs. Linde) NORA: And can tear it into a hundred thousand pieces and burn it up – the nasty dirty paper .(p. 33)

4. The Nurse What type of character is she?
What is her significance in the larger play?
Consider the significance of the exchange between Nora and the Nurse on page 30.

5. THEME, PLOT ELEMENTS
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? (p. 30) LATER … RANK: Those who are gone are soon forgotten. NORA [ looking at him anxiously] Do you believe that? (p. 39)

6. NORA’S STATE OF MIND
How is Nora portrayed in the opening of Act 2? What stylistic features does Ibsen use in order to portray Nora’s state of mind at this point in the play?

7. THEME, CHARACTERIZATION, SYMBOLISM
NORA: … Tomorrow 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 fishergirl and dance the tarantella that I learned at Capri. MRS. L: I see; you are going to keep up the character. NORA: Yes, Torvald wants me to. (p. 31)

8. NORA,TORVALD, & DR. RANK
NORA: … 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 folks 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. (p. 32)

9. NORA & TORVALD
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. (p. 33)

10. NORA
Discuss how the theme of power and femininity is developed on page 34 ( NORA: If your little squirel were to ask you[…]dance for you in the moonlight, Torvald).

11. REPUTATION & MASCULINITY
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 will continue to be so as long as I hold my office. (p 35) Consider the role of Nora’s father as a character in absentia.

12. NORA & TORVALD
HELMER: 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 I am a man to be swayed by all sorts of outside influence? (p. 35)

13. SIGNIFICANCE?
NORA: Because it is such a narrow-minded way of looking at things. HELMER: What are you saying? Narrow-minded? Do you think I’m 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. (p. 36)

14. SYMBOLISM The letter that contains Krogstad’s dismissal.
Consider Nora’s reaction : “Oh Torvald, call her back! Do it for my sake – for your own sake – for the children’s sake! […] You don’t know what that letter can bring upon us.” (p. 36)
HELMER: It’s too late.
NORA: Yes, it’s too late. (p. 36)

15. FORGIVENESS AS A MOTIF
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. (p. 36)

16. LIGHT EFFECTS
Why does it “begin to grow dark” at the start of Nora’s exchange with Dr. Rank? (p. 37)

17. CHARACTERIZATION
DR. RANK: …Helmer’s refined nature gives him an unconquerable disgust at everything that is ugly; I won’t have him in my sick room. (p. 38) Comment on what Dr. Rank is trying to say here and why.

18. DR. RANK
DR. RANK: …To have to pay this penalty for another man’s sins? 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. (p. 38)

19. NORA & DR. RANK
Discuss their relationship. How does Nora behave around Dr. Rank and why? Go over the silk stockings scene on page 39.

20. NORA’S RELATIONSHIPS
NORA [to DR. RANK]: Yes – you see, there are some people one loves best and others whom one would almost always rather have as companions. (p. 41) LATER … NORA [to DR. RANK]: … But surely you can understand that being with Torvald is a little like being with Papa. (p. 42)

21. THEME, CHARACTER MOTIVATION
KROGSTAD: …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? (p. 43)

22. KROGSTAD
I want to rehabilitate myself, Mrs. Helmer; I want to get on, and in that your husband must help me. (p. 44) LATER… [to NORA] - Have you forgotten that it is I who have the keeping of your reputation? (p. 45)

23. PLOT ELEMENTS/DRAMATIC CONVENTIONS
[A letter drops in 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! (p. 45)

24. CHRACATER DEVELOPMENT
NORA [ to MRS. LINDE] …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. … A wonderful thing is going to happen. (p. 46)

25. TENSION
How is tension built in the last 2 – 3 pages of Act 2?