As one of the leaders of the realistic drama movement, Henrik Ibsen earned his reputation by creating plays that accurately describe the details of the ordinary. people's lives. The first two acts of A Doll's House are safe territory, following the accepted conventions of playwriting in Ibsen's depiction of life in a palatial Victorian house. The third and final act, however, presents a revolutionary break from tradition, as it ignores both the conventional dramatic rules and social conventions of its time. While many critics have discussed Nora Helmer's shocking decision to abandon her home in the play's final scene, the neglected beginning of the third act serves as a crucial turning point in the play's progression. The meeting between the characters of Mrs. Christine Linde and Nils Krogstad launches the plot towards its memorable and unresolved climax, offers a touch of suspense to the audience of the play and also breaks some gender stereotypes. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Should Not Be Banned"?Get the original essay Critics and audiences alike have praised Ibsen for his memorable three-dimensional ensemble characters throughout his vast oeuvre. While A Doll's House is primarily a character study of Nora Helmer and her marital relationship with Torvald, the minor characters also provide a realistic slice of the Victorian lifestyle and help convey the themes and ideas of the play. Throughout the first two acts of the play, Ms. Linde serves as a foil for the character of Nora. Her proactive, practical nature stands in stark contrast to Nora's idealistic, dream-filled approach. While Nora is brimming with hope, working hard to fulfill her duties and maintain the appearance of a happy housewife, Mrs. Linde represents the women who did not have the chance to live the Victorian woman's dream. In the scene, Mrs. Linde reveals to Krogstad that her marriage to an elderly, wealthy man was motivated, not by romance, but by duty to her ailing mother and underage brothers (Ibsen 50). Since then, Ms. Linde continues, she has emptied her life of luxurious fantasies and taken various jobs to support her family. Until her meeting with Krogstad, it appears that Mrs. Linde is a negative character compared to Nora. While Mrs. Linde refused to submit to a male figure and endured many hardships in her “indescribably empty” life, Nora has fulfilled her duties as a woman and is now pampered by Helmer in a comfortable home (Ibsen 10). In the final act, this message is completely reversed and Mrs. Linde turns into a positive foil for Nora. As Mrs. Linde and Krogstand share their feelings, the former lovers admit to being "two castaways... clinging to some wrecks" (Ibsen 50-51). They both suffered from Mrs. Linde's decision to escape with her life in love with Krogstad in order to take responsibility for his family Consequently, they both learned to become reasonable people, since Mrs. Linde approves of Krogstad's decision "not to believe in fine words" (Ibsen 50). as they reminisce about their difficult life lessons, the two choose to reunite and are both excited about the idea. After Krogstad's release, Mrs. Linde even joyfully proclaims, "What a difference to the prospect of leading a life." with someone to support and care for (Ibsen 52 The arrangement the couple has agreed upon is a shocking violation of Victorian gender roles, as Mrs. Linde will provide their income through). to his, 1981.