younger generation will come knocking at my door," gives the cue for Hilda's knock and entrance. But here an interesting distinction is to be noted. Throughout The Master Builder the poet subtly indicates the operation of mysterious, unseen agencies—the "helpers and servers" of whom Solness speaks, as well as the Power with which he held converse at the crisis in his life—guiding, or at any rate tampering with, the destinies of the characters. This being so, it is evident that the effect of pre-arrangement produced by Hilda's appearing exactly on the given cue was deliberately aimed at. Like so many other details in the play, it might be a mere coincidence, or it might be a result of inscrutable design—we were purposely left in doubt. But the suggestion of pre-arrangement which helped to create the atmosphere of the The Master Builder was wholly out of place in A Doll's House. In the later play it was a subtle stroke of art; in the earlier it was the effect of imperfectly dissembled artifice.
My conjecture of an actual modification of Ibsen's design during the progress of the play may possibly be mistaken. There can be no doubt, on the other hand, that Ibsen's full originality first reveals itself in the latter half of the third act. This is proved by the very protests, nay, the actual rebellion, which the last scene called forth. Up to that point he had been doing, approximately, what theatrical orthodoxy demanded of him. But when Nora, having put off her masquerade dress, returned to make up her account with Helmer, and with marriage as Helmer understood it, the poet flew in the face of orthodoxy, and its professors cried out in bewilderment and wrath. But it was just at this point that, in practice,
