from her bedroom, dressed to go out, to Helmer’s and the audience’s stupefaction, and when the agitated pair sit down to “have it out,” face to face across the table, then indeed the spectator feels that a new thing has been born in drama, and, incidentally, that the “well-made play” has suddenly become as dead as Queen Anne. The grimness, the intensity of life, are amazing in this final scene, where the old happy ending is completely abandoned for the first time, and where the paradox of life is presented without the least shuffling or evasion.
It was extraordinary how suddenly it was realized that A Doll’s House was a prodigious performance. All Scandinavia rang with Nora’s “declaration of independence.” People left the theatre, night after night, pale with excitement, arguing, quarrelling, challenging. The inner being had been unveiled for a moment, and new catchwords were repeated from mouth to mouth. The great statement and reply—“No man sacrifices his honor, even for one he loves,” “Hundreds of thousands of women have done so!”— roused interminable discussion in countless family circles. The disputes were at one time so violent as to threaten the peace of households; a school of imitators at once sprang up to treat the
