ACT 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)
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)
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.
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)
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?
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)
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)
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)
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).
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.
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)
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)
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)
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)
LIGHT EFFECTS

 Why does it “begin to grow dark” at the start of
Nora’s exchange with Dr. Rank? (p. 37)
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.
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)
NORA & DR. RANK

Discuss their relationship. How does Nora behave
around Dr. Rank and why?
Go over the silk stockings scene on page 39.
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)
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)
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)
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)
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)
TENSION

 How is tension built in the last 2 – 3 pages of Act 2?