anding against society (Brandes 51). She shows us what Ibsen believed to be the solution. This switching of roles is one way that Ibsen uses to try to give the audience clues as to what is happening. Ibsen also uses visual cues on stage to help the audience grasp the progression of the script. The Christmas tree that Nora is setting up in the first act is in its full glory before intermission, while the illusions of happiness are still in effect. When the curtain rises after intermission and the illusions are starting to crumble, the tree is standing in the background of the set with its candles burnt down, all the decorations removed, and the branches looking ragged and decrepit (Hornby 113). Ibsen masterfully uses all the instruments at his disposal to further get his point across. He uses the set, scenery, characters, and character interactions.Nora and Helmers interactions are absolutely typical of the relation between a young husband and wife in a civilized family (Boyesen 201). Helmer consistently toys with Nora by calling her random pet names. He rarely calls her Nora. This further pushes the idea that he thinks of her, not as an equal, but as a toy. He lovingly laughs at her spending and her womanly logic in doing so. He treats her as a spoiled child (Boyesen 201). Nora, for her part, sees nothing wrong in Helmers pet names or his treatment of her in general. She uses these things to her advantage by molding herself to fit his tastes. While Nora may find nothing wrong with these names the average viewer will notice that the real Nora, the Nora that managed to save her husbands life and to not only pay off the debt used to do so, but also to keep it a secret, is completely lost amongst Helmers squirrels and larks. Nora is perfectly capable of handling all that life can throw at her. The idea that Helmer supports the household and keeps it from falling apart is ridiculous (Durbach 109, 114). In the end, because...
