The intimacy of the connection between these excerpts and the themes of the films of remarriage will not, I think, make itself felt unforgettably until one is well into the studies of the individual films; certainly, as I indicated, I did not see the intimacy until I was just about through composing them. A Doll House is a structure in which an apparently orderly life shatters into fragments which assemble with raging velocity an argument concerning the concepts of forgiveness, inhabitation, conversation, happiness, playtime, becoming human, fathers and husbands, brother and sister, education, scandal, fitness for teaching, honor, becoming strangers, the miracle of change, and the metaphysics of marriage. The argument of a comedy of remarriage requires, with others, each of these concepts. In A Doll House a woman climactically discovers that her eminently legal marriage is not comprehensible and therefore, before her own conscience, that she is dishonored. She demands an education and leaves to seek one that she says her husband is not the man to provide. They could find a life together (and so perhaps find or create marriage between them) only on the condition that a miracle of change take place. I have described the genre of remarriage in effect as undertaking to show how the miracle of change may be brought about and hence life together between a pair seeking divorce become a marriage. A Doll House thus establishes a problematic to which the genre of remarriage constitutes a particular direction of response, for which it establishes the conditions or costs of a solution.