illuminates the fragility of the domestic space and its propensity for invasion “We had no time to think about it, or understand, what had happened, or what was about to happen.” ( Tagore 25). However, Rao’s suggestion that Tagore’s text is solely concerned with reflecting the political situation in Bengal is a limited one. This is illuminated by Saha Poulomi’s stance that Tagore’s worldly experience led him to internalise the destructive nature of nationalism on a global scale, and that his text is reflective of “the intersection of imperial constraints, modernist aesthetics, and national attachment.” (8). This assertion is relevant when the context of The Home and The World is examined. Published in 1916, the text arrived in the midst of the First World War which is significant because the destructive capabilities of nationalism would have been visible on the global stage. Nationalism was a driving force that triggered conflict worldwide and reshaped pre-existing illusions of geographical separation. This is because participation in the Great War was not an isolated event. It was not contained to a handful of warring countries. Rather, its influence spread globally, involving an unprecedented number of nations in a single, devastating conflict. This departs from Rao’s limited assertion that the text is solely reflective of Bengal’s national discord and points to a larger, global issue concerning the spread of ideology through conflict. Indeed, this widened focus on global impact coalesces neatly with the idea of modernity as an unstoppable force that spreads across geographical margins, consuming boundlessly. In a similar sense, Krogstad’s introduction to Nora’s household is a metaphor for the spread of capitalist ideology in Europe, and the consequent corrosion of the security attached to the domestic household. Krogstad is introduced as he enters through an unlocked door in the Helmer’s household “Now the door is pushed ajar, and Krogstad appears.” (130). Like Sandip, Krogstad’s arrival is sudden and unforeseen. By focusing on the unlocked door, it is clear to see that the bourgeoise household is defenceless in keeping intruders out. It is a facade of security that is easily compromised. Furthermore, Krogstad’s silent observation of Nora’s game with her children “what shall we play? Hide and seek?” (129) provides an unsettling sense of voyeurism as he intrudes on an emphatically private moment. This casts Nora’s household from its preconceived notions of seclusion and exposes it to be s>