By Kenneth Pickering (auth.)
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Additional info for How to Study Modern Drama
HELMER. Yes, but suppose something like that did happen? What then? NORA. If anything as frightful as that happened, it wouldn't make much difference whether I was in debt or not. HELMER. But what about the people I'd borrowed from? NORA. Them? Who cares about them? They're strangers. HELMER. Dh, Nora, Nora, how like a woman! No, but seriously, Nora, you know how I feel about this. No debts! Never borrow! A home that is founded on debts and borrowing can never be a place of freedom and beauty. We two have stuck it out bravely up to now; and we shall continue to do so for the few weeks that remain.
As you say. NORA So far we've looked at the setting of A Doll's House, at the instructions Ibsen gives his actors and actresses at the start of the play, and at the appearance of Nora and the opening mood. Now we can look at how Ibsen shows Nora and Helmer together. Helmer's first appearance is a carefully prepared entrance. Notice how precisely Ibsen envisages it in performance: the first rather 'blanket' remark from inside the door, showing that, at best, he's only been half listening; the pause and then the entrance as he realises what Nora has just said.
He is clearly concerned that there must not be extravagance and, after all, the audience has been shown clearly in the details of the setting that the Helmers are not wealthy and they have seen examples of Nora's ways with money that Torvald has not seen. Soon, however, the context of Nora's behaviour is established. Ibsen feeds a vital piece of information into what could become a simple clash of the personalities. This is a very sensitive domestic situation which is familiar in middle-class society: the husband has got promotion.
How to Study Modern Drama by Kenneth Pickering (auth.)