Ibsen uses an interesting structure throughout Act 1. He places Nora alone with different characters, and then gives her a different personality when she is in company with each one of them; first with Helmer, Mrs Linde, Krogstad, and then with her children.
When Nora first appears in the Helmers’ elegantly furnished living room, she seems to be the perfect middle-class wife. Ibsen shows us Nora’s sweet personality as she enters the stage humming contentedly to herself and tips the porter over-generously. She is wrapped in a fur coat to protect her from the cold; this has some significance, as she resembles the ‘squirrel’ her husband calls her. Nora appears to be very childish around her husband, yet a loving wife. Her childish ways become apparent when she wants to spend Helmer’s salary straight away, deliberately using her moodiness to get her own way.
Nora is next seen in a cosy and friendly conversation with Mrs Linde. Here we are able to see another side of Nora’s personality, as her sly and devious traits become evident. When Nora informs Mrs Linde on how she obtained money from someone secretively, behind Helmer’s back, she seems to be proud of what she has done. Ibsen has structured this Act in a way to let us see Nora’s immaturity at the beginning of the act, and an attempt of a more matured female character in the middle.
Nora’s character is quite different when she is with Krogstad. The structure seems to change. In the past two situations it was Nora that had been the one of greater control, as she has always had her own way. Whereas in this situation with Krogstad, he takes control of the situation.
