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Linden does not, like the dames of the sewing-bee, fade out of the saga; she even, through her influence on Krogstad, plays a determining part in the development of the action. There are two other specimens of the genus confidant in Ibsen's later plays. Arnholm, in The Lady from the Sea, is little more; Dr. Herdal, in The Master Builder, is that and nothing else.
In A Doll's House there are two peripeties: Nora's fall from elation to despair in the first scene with Krogstad, and the collapse of Helmer's illusions in the last scene of all. A good instance of the "great scene" which involves a marked peripety occurs in Sardou's Dora, once famous in England under the title of Diplomacy.
Such information as could not possibly have been conveyed in dialogue with Helmer might, one would think, have been left for Nora's first scene with Krogstad, the effect of which it would have enhanced. Perhaps Mrs. We have passed in rapid survey the practices of Shakespeare and Ibsen in respect of their point and method of attack upon their themes.
She attitudinized dramatically: "'Yes, in my first terror! But a day has passed, and in that day I have seen incredible things in this house! Helmer must know everything! There must be an end to this unhappy secret! O Krogstad, you need me, and I I need you, and you are over on the Indian River making sour-dough bread, and I shall never see you more!" They clapped their applause.
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