Ibsen's 1879 play, A Doll's House, portrays a dynamic character, Nils Krogstad, as a man in conflict with society. On the one hand, he wants to make up for his previously shady behavior.

Krogstad's first real appearance in the play is unpleasant. Early on he has a cold, seemingly cruel conversation with Nora. Even when he stands at the door after speaking with Helmer, Nora must reassure her children that the strange man will not hurt their mother. It is like a visible wickedness follows him that even those new to society's faultfinding, like children, can see. He is forced to return to criminal behavior, blackmailing her to keep his job. He reasons that if Helmer learns of his wife's forgery Helmer will let him stay and advance in the bank just to keep the ordeal quite. In Act I Krogstad says that he must recover as much respectability as he can, because his sons are growing and he doesn't not want them to be punished by people for his mistake. Krogstad does not necessary want to harm Nora, but he does want his family to be accepted in society more than he wants to help her or her husband. Krogstad uses the bond as a way to drag someone else down to his level, as he at least twice compares himself and Nora, while also trying to gain status. It is one element of power that he has against what is otherwise a insurmountable situation. How ironic that he turns to crude, criminal methods to appear legitimate. When he sees Mrs. Linde, his potential replacement, he goes to great measures to force Nora to help him. Still, throughout the play he longs to overcome his nasty reputation.

All of Krogstad's actions are colored by his attempt to rise above his past. Because society is so concerned with appearances, Krogstad's reputation ruins many opportunities for him. Childhood friend Torvald tries to distance himself, telling Nora in Act II that he must dismiss Krogstad because the ill-fated man acts too familiar with him. Torvald does not want to seem lenient or chummy with someone so disreputable. Although Rank, Helmer, and Nora are all aware of his efforts at the bank and his attempts to act better, this does so little to soften the negativity suffocating him. In Act I Krogstad says that he is prepared to fight for his little position at the bank as if he is fighting for his life, but in a way he is. That job symbolizes the honest, acceptable life that he wants to create for himself. It is a very small movement away from his form crime, or as he calls it “the first step up” (Act I). The major change in Krogstad's subplot comes when Mrs. Linde, who knows about society's judgmental nature as a working woman at that time, proposes marriage in Act III even though she is fully aware of the stigma surrounding him. By doing this, Christine fulfills his need for support and encouragement that he was seeking from society, therefore negating his extreme efforts to keep the bank position. The “happy change” he refers to in his note can definitely be attributed to the two ship-wrecked souls finding their way back to each other. With this acceptance from Christine, he is finally able to overcome his criminal past by giving back the bond and forfeiting his blackmail attempt.

In conclusion, Krogstad is disadvantaged by his own reputation. His past continues to harm him now, and the fact that he resorts to something illegal to get what he wants proves that the society that pressures him only serves to force him back into the mold that they have crafted for him. It isn't until Christine accepts him as he is, with full knowledge of his crime, that he can put immoral activities behind him and return to a legitimate life. In many ways Krogstad is a victim of strict, unforgiving Nineteenth Century norms just like Nora.