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deology in Europe, and the resulting consumption of the security joined to the residential family unit. Krogstad is presented as he enters through an opened entryway in the Helmer’s family “Now the entryway is pushed slightly open, and Krogstad shows up.” (130). Like Sandip, Krogstad’s appearance is unexpected and unanticipated. By concentrating on the opened entryway, it is obvious to see that the bourgeoise family unit is helpless in keeping gatecrashers out. It is a veneer of security that is effectively undermined. Moreover, Krogstad’s quiet perception of Nora’s down with her kids “what will we play? Find the stowaway?” (129) gives an agitating feeling of voyeurism as he encroaches upon a decidedly private second. This throws Nora’s family from its assumptions of separation and opens it to be investigated by the outside world. Nicholas Grene broadens this line of thought by expressing that “the progressive advancement of Ibsen’s A Doll’s House was to turn that scene of the glass-walled center the opposite way around, to place the crowd of the play in the situation of the townspeople, looking in at the white collar class conjugal home.” (16). Grene’s point is a huge one as it enlightens the significance of arranging in eroding the unmistakable lines between the inside and outside world. The arrangement of the bourgeoise family unit might be built to show up cursorily private yet it is, truth be told, a phase. This implies it is intended for the sole motivation behind being looked at and analyzed. In this sense, there is a complete and perceptible break between the local family unit and the outer world as the crowd watches the bourgeoise home. This, Branislav Jakovljevic places, implies that “the truth of the stage is constantly estimated against reality of the outside world.” (432). At the end of the day, the exterior of the perfect family unit is uncovered by methods for the crowd seeing its steady fixing. Be that as it may, the occupants of outside world are not epitomized exclusively by the a