Henrik Ibsen's A Doll’s House (act 3)

The question of the day is . . . Is Nora a cheesebrained airhead who abruptly and inexplicably is transformed into Simone De Beauvoir? Or, is there some indication earlier in the play that she has some substance and intelligence, making the “trnsformation” less abrupt?
I. The topic of “masquerade.” A device with which to structure a minor scene, or instrumental to our understanding?
          • Early awareness of wearing a masque?
          • After the masquerade—Torvald’s excitement
          • Dr. Rank’s comments on future masquerades. (We might also comment on his refusal to wear the mask of indifference.
          • With the first letter, Helmer’s mask comes off. (As does the Helmer with which Nora has sustained herself).
          • Nora’s renewed self-definition—out of costume.
How are the steps Nora chooses to find a new awareness of herself necessary? (Are some of these too extreme?)

II. Christine Linders as a counterpart, or foil, to Nora.
          • What is her original predicament? Caused by?
          • What is her judgment of Nora?
          • Her view of Krogstad’s indiscretions?
             Is there a way that she can be seen as a kind of hero of this text?

                                 Henrik Ibsen (1828-1906)