Nora Helmer Thoughts on a character Jonathan Peel

Nora Helmer Thoughts on a character Jonathan Peel JLS 2016

Development In Act 1: flighty and childish Prone to emotional outbursts when thwarted Flirtatious Insensitive and self-centered In Act 3 Adult Cold and clear of thought Brave and determined Jonathan Peel JLS 2016

In Act 1 Macaroons: establishes a child like pleasure in luxury Christmas Tree is part of the same process, as is her thrill at a first Christmas without money worries Physically tactile and relaxed – Helmer and all visitors get embraced and/or touched. Children get a wild game. Enjoys the “squanderbird game” but is aware of its fragility and will save the information about the loan for when her beauty fades Eager to be in control Jonathan Peel JLS 2016

Control in Act 1: Helmer: In obtaining money – body language and a pretend sulk win him over Linde: Assumes control of her situation. She has come to talk to Helmer; Nora takes this out of her hands Will lie rather than have to contest a point (macaroons) Has acted to control Helmer’s life and not sought any advice or assistance. Needs ot be at the centre of events. Seems to tell Linde her secret as a direct result of pique when Linde offers an oblique criticism of her life to date. Jonathan Peel JLS 2016

By Act 3 She changes No more fancy dress symbolises a reluctance to play the roles dictated by society for a women. Has decided on suicide rather than live with Helmer, who she expects to act to remove the blame from her. He fails her. She sees her most important role – as a human being as the motivation to leave. This is unthinkable in the 19 th Century. No more wild fantasy – her new world will resemble that described by Linde in Act 1 - lonely and hard work. Jonathan Peel JLS 2016

During Act 2 “seduction scene” is a turning point Nora is going to ask Rank for help His assertion of love does 2 things – she loses control of the situation and is forced to consider the reality of some form of moral betrayal of Helmer. She cannot countenance this. She behaves with a degree of honour at this point. The Tarantella rehearsal is a useful plot device and also allows her to show that Helmer’s assumptions of control ar enot based on reality. She calls the tune. Jonathan Peel JLS 2016

Control She craves being the centre of any situation. Uses melodrama and flirtatiousness to control Helmer, even when he is not aware of it. Turns the Linde meeting to her own focus – not interested in her “friend” Horrified by loss of control in the face of Krogstad – uses the stove as a symbolic mechanism to restore control and calm. Loses control to Rank and responds quickly to reestablish her position Takes complete control a the end of the play. Controls the conversation, often ignoring Helmer’s more melodramatic outbursts. Jonathan Peel JLS 2016