There are two approaches to identifying the climax of a work: (1) it is the moment of highest emotion and intensity; (2) it is the moment that forces the inevitable ultimate decisions, those that inevitably lead to the resolution. My preference is to use the second definition because decisions are more definitive than emotionality (emotional scenes are variably dependable because a character's emotions can go awry and lead astray--as with Torvald's--thus can be variably indicative of final climactic moments).
In A Doll's House, the climax comes when Nora realizes what Torvald actually is, that he is not the loving husband she thought he was. Ibsen embeds this climactic realization in the drama by prescribing it in his stage directions: "[[Nora] looks steadily at him ... with a growing look of coldness in her face.]"
Nora was convinced that in his unstinting love of her, Torvald would wonderfully want to take all the responsibility for her act of forgery once he understood that she had acted to save...
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