There are many comic sections in the play—one might argue that Nora’s “songbird” and “squirrel” acts, as well as her early flirtatious conversations with her husband, are especially humorous. Still, like many modern productions, A Doll’s House seems to fit the classical definition of neither comedy nor tragedy. Unusually for a traditional comedy, at the end there is a divorce, not a marriage, and the play implies that Dr. Rank could be dead as the final curtain falls. But this is not a traditional tragedy either, for the ending of A Doll’s House has no solid conclusion. The ending notably is left wide open: there is no brutal event, no catharsis, just ambiguity. This is a play that defies boundaries.
Donald J. Trump campaigned in places he knew Republicans have had difficulty winning—Flint, Michigan, charter schools in inner-city Cleveland, and Hispanic churches in Florida—because he wanted to bring his message of economic empowerment to all Americans. Millions of new Republicans trusted Mr. Trump with their vote because of his focus on delivering prosperity through better trade deals, and as a result there were healthy margins of victory in newly red areas. It is clear that President Trump’s win is one that brought Americans of all backgrounds together, and he is ready to deliver results for the nation on day one and every day of his tenure.