Summary of a Doll's House

Act One
Summary
From the opening of the play to the announcement of Dr. Rank's and Mrs. Linde's arrivals.
It is Christmas Eve. Nora Helmer enters the house with packages and a Christmas tree. She pays the porter double what she owes him and eats some macaroons. Her husband, Torvald Helmer, comes out of his study and addresses Nora with tenderness and authority, calling her his "skylark" and his "squirrel." Nora tells Torvald that she wants to show him what she has bought, and Torvald teases her for being a spendthrift. Nora replies that she and Torvald can afford to be extravagant, since Torvald's new position at the bank means he will earn a large salary. Torvald replies that he will not take over that position until after the new year begins. When Nora argues that they can spend on credit until Torvald is paid, Torvald scolds her, reminding her that if something were to happen to make them unable to pay off their loan, they would be in trouble. He concludes by saying that he hates debts because "[a] home that depends on loans and debts is not beautiful because it is not free." Nora finally acquiesces and says, "Everything as you wish, Torvald."
Witnessing Nora's pouty disappointment, Torvald tries to cheer up his wife by offering her money to spend for Christmas. Nora becomes enthusiastic again and thanks him profusely. She then shows him all the gifts she has purchased for their children. Torvald asks Nora what she would like for Christmas, and at first, Nora replies that she doesn't need a gift. It becomes apparent that she is hesitant to tell Torvald what she wants, and finally she says that she would just like some money so that she can pick out the perfect thing and buy it herself.
Torvald again accuses Nora of being wasteful, arguing that wastefulness with money runs in her family and that she inherited the trait from her father. But, he says, he loves his "lovely little singing bird" just the way she is, and he wouldn't want her to change.
Torvald then asks Nora if she has given in to her sweet tooth that day. Nora vehemently denies Torvald's suggestion and continues her denial even when Torvald specifically asks if she has eaten any macaroons. Torvald finally abandons his questions, respecting her word.
The two discuss that evening's Christmas festivities and the invitation of Dr. Rank to dinner. Torvald says Dr. Rank knows that he is always welcome and therefore doesn't need to be invited. Nevertheless, Torvald tells Nora, he will invite Dr. Rank when he visits that morning. Torvald and Nora then return to their discussion of how wonderful it is that Torvald has a secure income and a good job.
Torvald recalls the events of the previous Christmas, when Nora shut herself up in a room until very late every night for three weeks to make Christmas ornaments. He remarks that he had never been so bored in his life. He also emphasizes that Nora had very little to show for all of her toil when she was finished. Nora reminds her husband that she can't be blamed for the cat getting into the room and destroying all her hard work. Torvald again expresses happiness that they are financially better off than they were before.
The doorbell rings and the maid, Helene, announces that Dr. Rank has arrived to see Torvald and that there is a lady caller as well.
Analysis
The transaction between Nora and the porter that opens A Doll's House immediately puts the spotlight on money, which emerges as one of the forces driving the play's conflicts as it draws lines between genders, classes, and moral standards. Though Nora owes the porter fifty øre (a Norwegian unit of currency), she gives him twice that amount, presumably because she is infused with the holiday spirit. While Nora likes to spend and allows the idea of buying presents to block out financial concerns, Torvald holds a more pragmatic view of money, jokingly calling Nora a spendthrift and telling her that she is completely foolish when it comes to financial matters.
Torvald's assertion that Nora's lack of understanding of money matters is the result of her gender ("Nora, my Nora, that is just like a woman") reveals his prejudiced viewpoint on gender roles. Torvald believes a wife's role is to beautify the home, not only through proper management of domestic life but also through proper behavior and appearance. He quickly makes it known that appearances are very important to him, and that Nora is like an ornament or trophy that serves to beautify his home and his reputation.
Torvald's insistence on calling Nora by affectionately diminutive names evokes her helplessness and her dependence on him. The only time that Torvald calls Nora by her actual name is when he is scolding her. When he is greeting or adoring her, however, he calls her by childish animal nicknames such as "my little skylark" and "my squirrel." By placing her within such a system of names, Torvald not only asserts his power over Nora but also dehumanizes her to a degree. When he implies that Nora is comparable to the "little birds that like to fritter money," Torvald suggests that Nora lacks some fundamental male ability to deal properly with financial matters. Though Torvald accuses Nora of being irresponsible with money, he gives her more in order to watch her happy reaction. This act shows that Torvald amuses himself by manipulating his wife's feelings. Nora is like Torvald's doll—she decorates his home and pleases him by being a dependent figure with whose emotions he can toy.
In addition to being something of a doll to Torvald, Nora is also like a child to him. He shows himself to be competing with Nora's dead father for Nora's loyalty. In a sense, by keeping Nora dependent upon and subservient to him, Torvald plays the role of Nora's second father. He treats her like a child, doling out money to her and attempting to instruct her in the ways of the world. Nora's gift selections—a sword and a horse for her male children and a doll for her daughter—show that she reinforces the stereotypical gender roles that hold her in subservience to Torvald. Nora sees her daughter the same way she has likely been treated all of her life—as a doll.

Act One, continued
Summary
From the beginning of Nora's conversation with Mrs. Linde to Nora's promise to talk to Torvald about finding Mrs. Linde work.
Nora greets the female visitor hesitantly, and the visitor realizes that Nora does not remember her. Finally, Nora recognizes the woman as her childhood friend, Kristine Linde and remarks that Mrs. Linde has changed since they last met nine or ten years earlier. Mrs. Linde says that she has just arrived by steamer that day. Nora remarks that Mrs. Linde looks paler and thinner than she remembered and apologizes profusely for not writing three years earlier, when she read in the paper that Mrs. Linde's husband had died.
Nora asks if Mrs. Linde's husband left her very much money, and Mrs. Linde admits that he did not. Nora then asks whether he left her any children. When Mrs. Linde says that he didn't, Nora asks once more if he left her "nothing at all then?" Mrs. Linde says that he did not leave her even "an ounce of grief," but this sentiment is lost on Nora. After commenting how awful life must be for Mrs. Linde, Nora begins to talk about her three children and then apologizes for babbling on about her own life instead of listening to Mrs. Linde. First, though, she feels that she must tell Mrs. Linde about Torvald's new position at the bank, and Mrs. Linde responds enthusiastically.
When Mrs. Linde comments that it would be nice to have enough money, Nora talks about how she and Torvald will have "pots and pots" of money. Nora tells Mrs. Linde that life hasn't always been so happy, however. Nora once had to work as well—doing tasks like sewing and crocheting. Torvald also had to take on more than one job, but he became ill, and the entire family had to go south to Italy because of Torvald's condition. Nora explains that the trip to Italy was quite expensive and that she obtained the money from her father. The family left for Italy at just about the time that Nora's father died. Nora excitedly says that her husband has been completely well since returning from Italy and that the children are very healthy too. She apologizes again for babbling on about her happiness and monopolizing the conversation.
Mrs. Linde describes how she married a husband of whom she was not particularly fond. Because her mother was confined to bed, Mrs. Linde had to look after her two younger brothers. She says she feels it would not have been justifiable to turn down her suitor's proposal and the money that would come with marriage to him. When her husband died, however, his business collapsed, and she was left penniless. After three years spent working odd jobs to support her family, Mrs. Linde is finally free, because her mother died and her brothers are grown. She adds that with no one dependent upon her, her life is even sadder, because she has no one for whom to live. She reveals that she came to town to find some office work.
When Nora protests that Mrs. Linde ought not work, Mrs. Linde snaps that Nora could not possibly understand the hard work that she has had to do. She quickly apologizes for her anger, saying that her predicament has made her bitter. She explains that because she has no one for whom to work, she must look after only herself, which has made her selfish. She admits that she is happy at the news of Torvald's new job because of the implications it could have for her personal interests. Nora promises to talk to her husband about helping Mrs. Linde.
Analysis
Nora's first conversation with Mrs. Linde plays a key role in establishing Nora's childlike, self-centered, and insensitive character. Though she purports to be interested in Mrs. Linde's problems, Nora repeatedly turns the conversation back to her own life with Torvald. Nora's self-centeredness is further demonstrated in her revelation that she failed to write to Mrs. Linde after her husband passed away. It is only now, three years after the fact, that Nora expresses her sympathy; up to this point, she has made no effort to think beyond herself, and the fact that she does so now seems only a matter of polite reflex. Like an impetuous child, Nora does not filter her thoughts, expressing what comes to mind without regard for what is and what is not appropriate, as when she tactlessly comments that Mrs. Linde's looks have declined over the years. Though she recognizes that Mrs. Linde is poor, she unabashedly delights in the fact that she and Torvald will soon have "pots and pots" of money. She does not recognize that such comments might be hurtful to her old friend.
From a structural point of view, Nora, as the drama's protagonist, must develop over the course of the play. Because her first conversation with Mrs. Linde shows Nora to be childlike in her understanding of the world, it becomes apparent that Nora's development will involve education, maturation, and the shedding of her seeming naïveté. Whereas Nora clings to romantic notions about love and marriage, Mrs. Linde has a more realistic understanding of marriage, gained from her experience of being left with "not even an ounce of grief" after her husband's death. Nora's incredulity at Mrs. Linde's remark indicates to Mrs. Linde, and to us, that Nora is sheltered and somewhat unsophisticated. The thread between Nora's initial interactions with Torvald and Mrs. Linde is the tension between Nora's childish nature and her need to grow out of it.
As someone who has experienced an existence that is anything but doll-like, Mrs. Linde seems poised to be Nora's teacher and guide on her journey to maturity. Mrs. Linde recounts hardship after hardship and sacrifice after sacrifice—a far cry from the pampering that Nora receives from Torvald. At the same time, both Mrs. Linde's and Nora's marriages involve sacrificing themselves to another in exchange for money. Nora becomes her husband's plaything and delights in the comforts he provides her, while Mrs. Linde marries her husband for money so that she can support her sick mother and dependent younger brothers. Again and again in A Doll's House, women sacrifice their personal desires, their ambitions, and their dignity. While Nora marries for her own welfare, however, Mrs. Linde does so for the welfare of her family.
Unlike many of the dramatists who came before him, Ibsen doesn't portray rich, powerful, or socially significant people in his plays. Rather, he populates his dramas with ordinary middle-class characters. Ibsen's language too is commonplace. Though his dialogue is uncomplicated and without rhetorical flourish, it subtly conveys more than it seems to. For instance, Nora's insensitivity to Mrs. Linde's plight manifests itself when she speaks of her three lovely children immediately after learning that Mrs. Linde has none. That Ibsen's dialogue is apparently simple—yet full of loaded -subtext—sets Ibsen's drama apart from earlier and contemporary verse plays.

Act One, continued
[O]f course, a time will come when Torvald is not as devoted to me, not quite so happy when I dance for him, and dress for him, and play with him.
(See Important Quotations Explained)
Summary
From Mrs. Linde's accusation that Nora is still a child to the exit of Dr. Rank, Torvald, and Mrs. Linde
Mrs. Linde comments that Nora is still a child because she has known no hardship in her life. Nora becomes indignant and says that she too has "something to be proud and happy about." She goes on to tell Mrs. Linde that she saved her husband's life when he was sick. The doctors urged them to go south for a while but cautioned that the gravity of Torvald's illness must not be revealed to him—he was in danger of dying. Nora tried to convince Torvald that they should go south, but he wouldn't hear of borrowing money for that purpose. Nora procured money and told Torvald that her father gave it to them, though she really raised it herself. Nora's father died before Torvald had a chance to find out that the money didn't come from him. Nora has kept the source of the money a secret because she doesn't want his "man's pride" to be hurt. Mrs. Linde is doubtful that Nora is right to keep her actions a secret, but Nora replies that Torvald "would be so ashamed and humiliated if he thought he owed me anything."
Nora explains that she has been using her allowance ever since the trip to Italy to pay her debt. She also reveals that she took on some copying work the previous winter. This work (and not -ornament-making) was the real reason that she closed herself up in a room during the weeks before the previous Christmas. Nora abruptly shifts the subject from the past to the future and happily exclaims that after the new year she will have paid off her debt completely and then will be "free" to fulfill her responsibilities as a wife and mother without impediment.
A man comes to the door wishing to speak with Torvald. Nora's displeasure at seeing the man is apparent. Mrs. Linde is also startled upon seeing the man and turns away. The man, named Krogstad, has come to speak with Torvald about bank business. Nora tells Mrs. Linde that Krogstad is a lawyer, and Mrs. Linde reveals that she knew him when he was living in her part of the country. Nora says that Krogstad is a widower who had an unhappy marriage and many children. Mrs. Linde replies, "He has many business interests, they say," and Nora responds that she doesn't want to think about business because it is a "bore."
Dr. Rank leaves the study when Krogstad goes in. Dr. Rank and Nora have a brief conversation, and Dr. Rank calls Krogstad "morally sick." He also informs the women that Krogstad has a small, subordinate position at the bank. Nora offers a macaroon to Dr. Rank, who says that he thought macaroons were banned in the Helmer house. Nora lies and says that Mrs. Linde brought them and then explains to Mrs. Linde that Torvald has "outlawed" macaroons because he thinks they are bad for Nora's teeth. Torvald exits his study, and Nora introduces Mrs. Linde to him. Nora pleads with Torvald to give Mrs. Linde a job, and he says that there might possibly be an opening for her. Dr. Rank, Torvald, and Mrs. Linde then leave together, all of them planning to come back that evening for the Christmas festivities.
To be free, absolutely free. To spend time playing with the children. To have a clean, beautiful house, the way Torvald likes it.
(See Important Quotations Explained)
Analysis
Whereas the conversation between Torvald and Nora at the beginning of A Doll's House seems one between a happy, honest couple with nothing to hide, in the latter half of Act One we see that the Torvald household is full of secrets and deception. The most minor example of this deception is Nora's lying about the macaroons. Because eating a macaroon seems like such a trivial matter, one can argue that lying about it is highly insignificant. Yet one can also argue that the trivial nature of eating the macaroon is the very thing that makes the lie so troubling. Indeed, the need to lie about something so insignificant—Nora lies twice about the macaroons, once to Torvald and once to Dr. Rank—speaks to the depths of both her guilt and the tension in her relationship with Torvald.
A far more serious case of deception concerns the loan Nora illicitly acquired in order to save Torvald's life. Though this deception is of far greater magnitude than the lies about the macaroons and involves a breach of law (Nora is guilty of forgery), we can understand and forgive Nora for her actions because she is motivated by noble and selfless intent. In both instances of deception, Nora lies because of Torvald's unfair stereotypes about gender roles. If Torvald could accept his wife's help and didn't feel the need to have control over her every movement, Nora would not have to lie to him.
When Nora suggests that Torvald find Mrs. Linde a job, Torvald again shows his biases concerning women's proper roles in society by immediately assuming that Mrs. Linde is a widow. Torvald's assumption shows that he believes a proper married woman should not work outside the home. Also, as Torvald departs with Mrs. Linde, he says to her, "Only a mother could bear to be here [in the house]," suggesting that any woman who wants a job must not have children. These words contain a veiled expression of pride, since Torvald is pleased that his home is fit only for what he believes to be the proper kind of woman: a mother and wife, like Nora.
After Nora reveals her secret to Mrs. Linde, Nora's and Mrs. Linde's versions of femininity slowly begin to converge. With knowledge of her noble act, we see Nora's character deepen, and we see that she possesses more maturity and determination than we previously thought. What prompts Nora to reveal her secret about having saved Torvald's life by raising the money for their trip abroad is Mrs. Linde's contention that Nora has never known hard work. Although Mrs. Linde's accusation of Nora facilitates the pair's reconciliation, what motivates the two women here is unclear. Ibsen does not explicitly reveal whether Mrs. Linde's irritation at Nora stems from envy, annoyance, or even concern. Similarly, Nora's defensive response could signify that she is hurt, competitive, or simply itching to tell someone her secret. All that is clear is that both Mrs. Linde and Nora are proud to have helped those they love by sacrificing for them. Their common experience of sacrifice for others unites them even though they come from different economic spheres and forms the basis for their rekindled friendship.

Act One, continued
Summary
From the entrance of Nora's children to the end of Act One.
The nanny, Anne-Marie, enters with Nora's three children, and Nora and the children play happily. Krogstad enters and startles Nora, who screams. He apologizes and says that the door was open, and Nora replies that Torvald is not at home. Krogstad says that he has come to talk with her, not with Torvald. He asks whether the woman walking with Torvald is Mrs. Linde, and Nora responds in the affirmative. When Krogstad explains that he used to know Mrs. Linde, Nora tells him that she already knew, and Krogstad says that he assumed that she did. He then asks if the bank will employ Mrs. Linde, and Nora brags that it will because, even though she is a woman, Nora has a great deal of influence over her husband.
Krogstad then requests that Nora use her influence on his behalf. Nora is bewildered, because she does not know why Krogstad's position at the bank would be in jeopardy. Krogstad seems to think that Nora knows more than she is letting on and hints that he thinks the hiring of Mrs. Linde will bring about his dismissal. Suddenly, Nora revokes her earlier claims and denies that she has any influence. Krogstad says that as a bank manager, Torvald, "like all married men . . . can be swayed," and Nora accuses Krogstad of insulting her husband.
Nora assures Krogstad that she will repay all her loans by the new year and asks him to leave her alone. Krogstad implies that he isn't concerned only about the money; his position at the bank is very important to him. He speaks of a "bad mistake" he committed, which ruined his reputation and made it very difficult for his career to advance. Thus, he tells Nora, he began doing "the business that you know about." Krogstad announces that he wishes to rebuild his reputation and to behave properly for the sake of his sons, who are growing up. His small bank job, he explains, was the beginning of this rebuilding of his life and reputation. He then threatens Nora, saying that he has "the power to force" her to help him.
Nora replies that though it would be unpleasant for her husband to find out that she had borrowed from Krogstad, Torvald would pay off the loan, and dealings with Krogstad would be terminated. In addition, Krogstad would lose his job. Krogstad says that Nora has other things to worry about: he has figured out that Nora forged her father's signature on the promissory note. Krogstad informs Nora that her forgery is a serious offense, similar to the one that sullied his reputation in the first place. Nora dismisses Krogstad's suggestion, saying that she should not be faulted because her motives were honorable and pure, but Krogstad reminds her of the law. He threatens her once more and then leaves. The children return, but Nora sends them away. Though she is clearly disturbed by what has just happened, she makes an attempt to decorate the tree.
Torvald returns and mentions that he noticed Krogstad departing. He guesses that Krogstad has asked Nora to speak on his behalf. After some hesitation, Nora admits as much. Torvald scolds Nora for speaking to Krogstad and warns her not to lie to him (Torvald). Nora changes the subject and asks Torvald if he will help her find the perfect costume for the party. Nora asks what Krogstad did to warrant his bad reputation. Torvald responds that he forged signatures. Nora asks what his motives were in the matter. Torvald says he would never condemn a man for one indiscretion, but the real problem with Krogstad was that he refused to admit what he had done and take his punishment. Torvald talks about how lying and deceit corrupts a household's children: "nearly all young criminals have had lying mothers." Torvald exits, and the nanny enters and says the children badly want to see their mother. Nora vehemently refuses, and the nanny departs. Terrified, Nora mutters about the thought of corrupting her children. In the next breath, however, she rejects the idea that such corruption could occur.
Analysis
As Act One draws to a close, we see Nora wrestling with new problems of fear, guilt, and wrongdoing. Her conversation with Krogstad reveals Krogstad as the source of the loan Nora used to pay for her family's trip to Italy. Although the taking of the loan constitutes a crime because she forged a signature to get it, Nora takes pride in it because it remains one of the few independent actions she has ever taken. Nora is also proud that she is able to influence her husband, as she boasts to Krogstad. Nora's boasts about influencing Torvald reveal her desire to feel useful and important. That Nora points out that even though she is a woman Krogstad should respect her influence over bank policy suggests that she senses and fears rejection of her significance on account of her gender. Perhaps she must combat this idea even in her own mind.
Although Nora holds some influence over Torvald, her power is extremely limited. Paradoxically, when Krogstad asks Nora to exert this influence on Torvald on his behalf, Nora perceives his request to be an insult to her husband. Because Krogstad's statement implies that Torvald fails to conform to the societal belief that the husband should be responsible for all financial and business matters by letting Nora sway him, Nora recognizes it as an insult to Torvald for not being a proper husband. Torvald, for his part, believes that Nora is completely useless when it comes to matters of business, but he agrees to help find a job for Mrs. Linde in order to make his "little squirrel" happy. He also shows that he believes parenting is a mother's responsibility when he asserts that a lying mother corrupts children and turns them into criminals, suggesting that the father, while important in economic matters, is inconsequential to his children's moral development.
Krogstad wants to keep his job at the bank so that he can become reputable again, but his decision to gain credibility through blackmail shows that he is interested only in reforming his appearance and not his inner self. Torvald too is preoccupied with appearances, something Nora understands and uses to her advantage. She knows she can put her husband in a good mood by mentioning the costume that she will don at the dance. The thought of Nora dressed up and looking beautiful placates Torvald, who takes great pleasure in the beauty of his house and his wife.
Torvald's remark about Krogstad—"I honestly feel sick, sick to my stomach, in the presence of such people"—illustrates his deep contempt for moral corruption of Krogstad's sort. While he thinks that such a bad character is in direct contrast to his "sweet little Nora," we are aware that Krogstad and Nora have committed exactly the same crime—forgery. Torvald, then, has unwittingly referred to Nora when he scorns "such people." Torvald's unknowing condemnation of the actions of the woman he loves is an excellent example of dramatic irony, a literary device that the makes the audience privy to details of which certain characters are ignorant.

Act Two
Something glorious is going to happen.
(See Important Quotations Explained)
Summary
It is Christmas day. The messiness of the area around the Christmas tree indicates that the Christmas Eve celebration has taken place. Nora paces the room uneasily, muttering to herself about her dilemma. The nanny comes in with Nora's costume, and Nora asks her what would happen to the children if she, Nora, disappeared altogether. Mrs. Linde enters and agrees to mend Nora's costume for her. Nora tells Mrs. Linde that Dr. Rank is sick with a disease he inherited from his father, who was sexually promiscuous. Mrs. Linde guesses that Dr. Rank is the mysterious source of Nora's loan, but Nora denies the charge. Mrs. Linde remarks that Nora has changed since the previous day. Torvald returns, and Nora sends Mrs. Linde to see the children, explaining that "Torvald hates the sight of sewing."
Alone with Torvald, Nora again asks him to save Krogstad's job. Torvald tells her that Mrs. Linde will replace Krogstad at the bank. Torvald says that Krogstad is an embarrassment and that he cannot work with him any longer. He explains that they are on a first-name basis only because they went to school together and that this -familiarity humiliates him. When Nora calls Torvald's reasoning petty, he becomes upset and sends off a letter dismissing Krogstad. He then goes into his study.
After Torvald exits, Dr. Rank enters and hints that he expects something bad to happen soon. When it becomes apparent that he is referring to his health, Nora is visibly relieved that Dr. Rank is speaking about his own problem and not hers. Dr. Rank tells her that he will soon die and that he doesn't want his best friend, Torvald, to see him in his sickbed. When the end is near, he tells Nora, he will leave a calling card with a black cross across it to indicate that his death is imminent.
Nora begins to flirt with Dr. Rank, coquettishly showing him her new stockings. She hints that she has a great favor to ask Dr. Rank (presumably she would like him to intervene on Krogstad's behalf). Before she is able to ask her favor, however, Dr. Rank confesses his love for her. This disclosure disturbs Nora, and afterward she refuses to request anything from him, even though he begs her to let him help. He asks whether he should "leave for good" now that he has proclaimed his love for her, but Nora is adamant that he continue to keep Torvald company. She tells Dr. Rank how much fun she has with him, and he explains that he has misinterpreted her affection. Nora says that those whose company she prefers are often different than those she loves—when she was young, she loved her father, but she preferred to hide with the maids in the cellar because they didn't try to dictate her behavior.
The maid, Helene, enters and gives Nora a caller's card. Nora ushers Dr. Rank into the study with her husband and urges the doctor to keep Torvald there.
Krogstad enters and announces that he has been fired. He says that the conflicts among Nora, himself, and Torvald could be solved if Torvald would promote him to a better job in the bank. Nora objects, saying that her husband must never know anything about her contract with Krogstad. She implies that she has the courage to kill herself if it means she will absolve Torvald of the need to cover up her crime. Krogstad tells her that even if she were to commit suicide, her reputation would still be in his hands. Krogstad leaves, dropping a letter detailing Nora's secret in the letterbox on the way out.
When Mrs. Linde returns, Nora cries that Krogstad has left a letter in the letterbox. Mrs. Linde realizes that it was Krogstad who lent Nora the money. Nora confesses that she forged a signature and makes Mrs. Linde promise to say that the responsibility for the forgery is Nora's, so that Torvald won't be held accountable for anything if Nora disappears. Nora hints that "something glorious is going to happen," but she doesn't elaborate. Mrs. Linde says that she will go to speak with Krogstad and she confesses she once had a relationship with him. She leaves, and Nora tries to stall her husband to prevent him from reading the mail.
When Torvald enters the living room, Nora makes him promise not to do any work for the remainder of the night so that he can help her prepare the tarantella that she will dance at the costume party. Torvald begins to coach Nora in the dance, but she doesn't listen to him and dances wildly and violently.
Mrs. Linde returns, and dinner is served. Mrs. Linde tells Nora that Krogstad has left town but will return the following night. She adds that she has left him a note. Once alone, Nora remarks to herself that she has thirty-one hours until the tarantella is over, which means thirty-one hours before Torvald reads the letter—"thirty-one hours to live."
Analysis
Nora's comment to Mrs. Linde that Torvald doesn't like to see sewing in his home indicates that Torvald likes the idea and the appearance of a beautiful, carefree wife who does not have to work but rather serves as a showpiece. As Nora explains to Mrs. Linde, Torvald likes his home to seem "happy and welcoming." Mrs. Linde's response that Nora too is skilled at making a home look happy because she is "her father's daughter" suggests that Nora's father regarded her in a way similar to Torvald—as a means to giving a home its proper appearance.
Torvald's opinion on his wife's role in their home is his defining character trait. His unrelenting treatment of Nora as a doll indicates that he is unable to develop or grow. As Nora's understanding of the people and events around her develops, Torvald's remains static. He is the only character who continues to believe in the charade, probably because he is the only main character in the play who does not keep secrets or harbor any hidden complexity. Each of the other characters—Nora, Mrs. Linde, Krogstad, Dr. Rank—has at some point kept secrets, hidden a true love, or plotted for one reason or another.
Nora's use of Torvald's pet names for her to win his cooperation is an act of manipulation on her part. She knows that calling herself his "little bird," his "squirrel," and his "skylark," and thus conforming to his desired standards will make him more willingly to give in to her wishes. At first, Nora's interaction with Dr. Rank is similarly manipulative. When she flirts with him by showing her stockings, it seems that she hopes to entice Dr. Rank and then persuade him to speak to Torvald about keeping Krogstad on at the bank. Yet after Dr. Rank confesses that he loves her, Nora suddenly shuts down and refuses to ask her favor. She has developed some moral integrity. Despite her desperate need, she realizes that she would be taking advantage of Dr. Rank by capitalizing on his earnest love for her.
When Nora explains that Dr. Rank's poor health owes to his father's promiscuity, for the second time we come across the idea that moral corruption transfers from parent to child. (In Act One, Torvald argues that young criminals result from a household full of lies.) These statements clarify Nora's torment and her refusal to interact with her children when she feels like a criminal. They also reveal that both Torvald and Nora seriously believe in the influence that parents have on their children. Although the children are seldom onstage, they gain importance through Nora and Torvald's discussions of them and of parental responsibility.
In this act, Nora shows signs that she is becoming aware of the true nature of her marriage. When she compares living with Torvald to living with her father, doubt is cast on the depth of her love for Torvald. Nora is beginning to realize that though her life with Torvald conforms to societal expectations about how husbands and wives should live, it is far from ideal.

Act Three
Summary
From the opening of the act to the arrival of Krogstad's second letter.
Mrs. Linde sits in the Helmers' house, waiting. Krogstad soon appears in the doorway, having received a note from Mrs. Linde asking her to meet him. She tells him that they have "a great deal to talk about," and it becomes apparent that Mrs. Linde once had romantic relations with Krogstad but broke them off in order to marry Mr. Linde, who had more money. Mrs. Linde says that she felt the marriage was necessary for the sake of her brothers and mother but regrets having ignored her heart, which told her to stay with Krogstad. She tells Krogstad that she wants to get back together with him, to take care of him and his children. Krogstad is overjoyed.
Mrs. Linde hears the music stop upstairs and realizes that Torvald and Nora will soon return. She tells Krogstad that his letter is still in Torvald's letterbox, and Krogstad momentarily questions Mrs. Linde's true motives—perhaps she has promised herself to him only to save Nora. Mrs. Linde calms Krogstad, saying "when you've sold yourself once for someone else, you never do it again." She even tells him that although she originally hoped to persuade him to ask for his letter back, after observing the Helmer household, she feels that Torvald must discover the truth about Nora. The dance ends, and Mrs. Linde urges Krogstad to leave. He says that he will wait for her downstairs, and she suggests that he walk her home. Krogstad then exits.
Excited by the prospect of a new life, Mrs. Linde puts on her coat and prepares to leave. Nora and Torvald enter, Nora begging to return to the party. Torvald compliments and teases Nora for Mrs. Linde's benefit, then leaves the room in search of a candle. While he is gone, Mrs. Linde tells Nora that she has spoken to Krogstad and that Nora must tell her husband everything. Nora says, "I knew," but then says that she will not tell Torvald. Mrs. Linde reminds her of the letter. Torvald returns, notices Mrs. Linde's knitting, and tells her that she should take up embroidery instead, saying that embroidery is a more graceful pastime than knitting. Mrs. Linde says goodnight and then departs.
Torvald expresses his relief that Nora's boring friend has gone, and he begins to move toward his wife. She tells him to stop watching her, but he protests that he is always entitled to watch his "prize possession." He continues his sexual advances, telling Nora that when they are in public, he imagines her as his "secret fiancée" and "young bride." Nora continues to protest, saying she wishes to be alone.
Dr. Rank knocks on the door, annoying Torvald by calling so late. In front of Torvald, Nora and Dr. Rank speak in coded terms about the experiment that Dr. Rank was to do on himself; Dr. Rank says that the result is clear, then exits. Torvald thinks that Dr. Rank is simply drunk, but Nora understands that Dr. Rank has come to tell her that he is certain of his impending death.
Torvald goes to retrieve his mail and notices that someone has been tampering with the mailbox lock using one of Nora's hairpins. Nora blames the children. In the mail, Torvald finds that Dr. Rank has left two calling cards with black crosses on them. Nora explains to Torvald that this means that Dr. Rank has gone away to die. Torvald expresses sadness, but decides that Dr. Rank's death might be best for everyone, since it will make Torvald and Nora "quite dependent on each other." He tells Nora that he loves her so much that he has wished in the past that Nora's life were threatened so that he could risk everything to save her.
Nora encourages Torvald to open his letters, but he argues that he would rather spend time with her. She reminds him that he must think of his dying friend, and he finally agrees that perhaps reading his letters will clear from his head the thoughts of "death and decay."
Torvald goes into the other room, and Nora paces for a while. She throws Torvald's cloak around her shoulders and her shawl on her head. She is contemplating suicide and is about to rush out of the house never to return when Torvald storms out of his study in a rage after reading Krogstad's letter. Nora confesses that everything Krogstad has written is true and tells Torvald she has loved him more than anything. Torvald tells her to stop talking, bemoans the ugliness of the forgery, and calls Nora a hypocrite and a liar. He then says that he should have seen such a thing coming—Nora's father was a morally reckless individual. Torvald blames Nora for ruining his life and his happiness by putting him at Krogstad's mercy.
Torvald refuses to allow Nora to leave and says that the family must pretend that all is as it was before, but he states that Nora should no longer be able to see the children. He says that he will try to silence Krogstad by paying him off and hopes that he and Nora can at least keep up the appearance of happiness.
By this point, Nora has become strangely calm, frozen with comprehension as she begins to recognize the truth about her marriage. The doorbell rings, and soon after, the maid Helene enters with a letter for Nora. Torvald snatches the letter from her hands, sees that it is from Krogstad, and reads it himself. Nora does not protest. To Torvald's relief, Krogstad writes that he has decided to stop blackmailing Nora. In his letter, Krogstad includes Nora's promissory note (the one on which she forged her father's signature). Torvald relaxes, rips up the contract, throws it into the stove, and tells Nora that life can go back to normal now that this "bad dream" has ended.
From now on, forget happiness. Now it's just about saving the remains, the wreckage, the appearance.
(See Important Quotations Explained)
Analysis
For most of the play, we see Torvald delighting in Nora's dependence upon him but not in his control over her. Nora does refer to Torvald's restrictions of her actions—she mentions that he forbids macaroons, for instance—but the side of Torvald we see is more pushover than dictator. He seems to love his wife so much that he allows her to do whatever she pleases, as when he gives her more money to spend after she returns from buying gifts. In the scene following the party, however, Torvald's enjoyment of his control over Nora takes on a darker tone with his somewhat perverse sexual advances toward Nora. He treats her like his possession, like the young girl he first acquired years ago. Contributing to the feeling of control that Torvald is exercising over Nora is that the evening has been of Torvald's design—he dresses Nora in a costume of his choosing and coaches her to dance the tarantella in the manner that he finds "desirable."
Torvald's inability to understand Nora's dissent when he attempts to seduce her stems from his belief that Nora, as his wife, is his property. Because he considers her simply an element of the life that he idealizes, her coldness and rebuff of his sexual advances leave him not baffled but incredulous. He has so long believed in the illusory relationship that Nora has helped him create over the years that he cannot comprehend the reality of the situation—that Nora is discontent with her life and willing to express it.
The hollowness of Torvald's promises to save Nora shows how little he appreciates her sacrifice. Nora expects compassion from Torvald after he finds out about her predicament, especially since, after learning of Dr. Rank's imminent death, Torvald confesses that he fantasizes about risking his life to save Nora's. Once given the opportunity, however, Torvald shows no intention of sacrificing anything for Nora, thinking only of himself and of appearances.
Ultimately, Torvald's selfishness becomes apparent in his lack of concern about his wife's fate, despite the fact that she committed a crime to save his life. He panics upon learning of Nora's crime not because he cares about what will happen to her but because he worries that his reputation will be damaged if knowledge of Nora's crime becomes public. Instead of treating Nora with understanding and gratitude for her noble intent, he threatens and blames her and then immediately begins to think of ways to cover up the shame that she has cast on his family. His proclamation of "I'm saved" after Krogstad's letter of retraction arrives reflects that he has been thinking only of himself in his panic. He says nothing about Nora until she asks, "And me?" His casual response—"You too, naturally"—reveals how much her well-being is an afterthought to him.
Torvald's selfish reaction to Krogstad's letter opens Nora's eyes to the truth about her relationship with Torvald and leads her to rearrange her priorities and her course of action. Her shift from thinking about suicide to deciding to walk out on Torvald reflects an increased independence and sense of self. Whereas she earlier -succumbs to pressure from Torvald to preserve the appearance of idealized family life (she lies about eating macaroons and considers suicide—the ultimate sacrifice of herself—in order to conceal her misdeeds), she now realizes that she can exist outside Torvald's confined realm.

Act Three, continued
You and Papa have done me a great wrong. It's because of you I've made nothing of my life.
(See Important Quotations Explained)
Summary
From Torvald's attempt to start over after burning Krogstad's contract to the end of the play.
Torvald tells Nora that they must forget what has happened. Seeing her face expressionless, Torvald attempts to assure Nora that although she may not believe him, he has completely forgiven her. He says that he understands that her actions stemmed from love and that he doesn't blame her for not understanding that "the ends didn't justify the means." He tells her to rely on him as her guardian and teacher, because he loves her and finds her all the more attractive for her dependence upon him.
Nora changes out of her costume and into everyday clothes. Torvald continues to assure her that everything will be okay. In fact, he argues that, by forgiving her, "it's as if [a man has] twice made [his wife] his own." He says that he feels he has given Nora a new life so that she is now both his wife and his child.
Nora replies that Torvald has never understood her and that, until that evening, she has never understood Torvald. She points out that—for the first time in their eight years of marriage—they are now having a "serious conversation." She has realized that she has spent her entire life being loved not for who she is but for the role she plays. To both her father and to Torvald, she has been a plaything—a doll. She realizes she has never been happy in Torvald's dollhouse but has just been performing for her keep. She has deluded herself into thinking herself happy, when in truth she has been miserable.
Torvald admits that there is some truth to Nora's comments and asserts that he will begin to treat Nora and the children as pupils rather than playthings. Nora rejects his offer, saying that Torvald is not equipped to teach her, nor she the children. Instead, she says, she must teach herself, and therefore she insists upon leaving Torvald. He forbids her to leave, but she tells him that she has decided to cut off all dependence upon him, so he cannot dictate her actions. Torvald points out how she will appear to others, but Nora insists that she does not care. He then tries to take persuade Nora to stay in order to fulfill her "sacred duties" to her husband and her children, but Nora responds that she has an equally important duty to herself. She no longer believes Torvald's assertion that she is "a wife and mother above everything else."
Nora says that she realizes that she is childlike and knows nothing about the world. She feels alienated from both religion and the law, and wishes to discover on her own, by going out into the world and learning how to live life for herself, whether or not her feelings of alienation are justified. When Torvald accuses Nora of not loving him anymore, Nora says his claim is true. She then explains that she realized that she didn't love Torvald that evening, when her expectation that he would take the blame for her—showing his willingness to sacrifice himself for love—wasn't met. She adds that she was so sure that Torvald would try to cover for her that she had been planning to take her own life in order to prevent Torvald from ruining his. Torvald replies that no man can sacrifice his honor for love, but Nora retorts that many women have done so.
Once Nora makes it clear to Torvald that she cannot live with him as his wife, he suggests that the two of them live together as brother and sister, but she rejects this plan. She says that she does not want to see her children and that she is leaving them in better hands than her own. Nora returns Torvald's wedding ring and the keys to the house and takes the ring he wears back from him. She says that they can have no contact anymore, and she frees him of all responsibility for her. She adds that she will have Mrs. Linde come the following morning to pick up her belongings.
Torvald asks whether Nora will ever think of him and the children, and she replies that she will. But she refuses to allow Torvald to write to her. Finally, Nora says that "something glorious" would have to happen for she and Torvald to have a true marriage, but then admits that she no longer believes in glorious things. She cannot imagine them changing enough to ever have an equal, workable relationship. She leaves, and as Torvald is trying to comprehend what has happened, a heavy door downstairs slams shut.
Analysis
Torvald's explanation for refusing to take the blame—that a man can never sacrifice his integrity for love—again reveals the depth of his gender bias. Nora's response that "[h]undreds of thousands of women" have done just that underscores that the actions of Mrs. Linde and Nora, both of whom sacrifice themselves for their loved ones, have borne out. Nora's belief that Torvald should take responsibility for her seems justified, since what she expects from Torvald is no more than what she has already given him.
As Nora's childish innocence and faith in Torvald shatter, so do all of her illusions. She realizes that her husband does not see her as a person but rather as a beautiful possession, nothing more than a toy. She voices her belief that neither Torvald nor her father ever loved her, but rather "thought it was enjoyable to be in love with [her]." She realizes these two men cared more about amusing themselves and feeling loved and needed than they did about her as an individual.
Moreover, Nora realizes that since she has been treated as a child for her entire life, she still is very childlike and needs to grow up before she can raise any children or take on any other responsibilities. Her defiance of Torvald when he forbids her to leave reflects her epiphany that she isn't obligated to let Torvald dictate her actions—she is independent of him and has control over her own life. The height of Nora's awakening comes when she tells Torvald that her duty to herself is just as sacred as her duties to her husband and children. She now sees that she is a human being before she is a wife and a mother, and that she owes it to herself to explore her personality, ambitions, and beliefs.
Mrs. Linde's manner of fulfilling her personal desires balances Nora's. Whereas Nora decides that she must be totally independent to be true to herself and thus rejects her family, Mrs. Linde decides that she needs to care for the man she truly loves to be true to herself and thereby become content. Ibsen positions Mrs. Linde as a foil (a character whose attitudes and emotions contrast with, and thereby accentuate, those of another character) to Nora in order to demonstrate that Nora's actions do not constitute the only solution available to women who feel trapped by society. Mrs. Linde's offer to care for Krogstad and his children will be a positive move for both of them, because they love each other, and Mrs. Linde, having sacrificed her whole life to live with a husband she didn't love in order to help her brothers and mother, will finally be able to live with her chosen partner. Nora, on the other hand, has sacrificed her own will all her life by allowing her father and Torvald to indulge theirs. Ibsen suggests that one finds himself or herself not in an independent life but rather in an independent will. Nora exits her doll's house with a door slam, emphatically resolving the play with an act of bold self-assertion.