Embodiment Of Free Will In Helge Rononig's Hedda Gabler

In the story Erika is said to be sick of nervous breakdowns, and her husband John is

Horney goes on to explain the later childhood side of relationship fears. A little girl who represses her wish, due to a guilty conscience, would grow up projecting that wish on every male. Often she will shy away from accepting or demanding anything from her husband. This can leads her into a depressed state under which she will shift the responsibility of helplessness onto the man. Under the guise of being helpless, she thus dominates her man.

Hedda, in the last act can be seen as an extremely confused woman who is distraught and confused between the various happenings in her life that had changed her life forever. Her pregnancy, Brack’s accusations, Aunt Julle’s troublesome and annoying ways, Tesman’s annoying ways, her envy for Lövborg’s freedom and her marriage into a bourgeoisie home are all examples of her desperation towards the end of the act. Her reactions towards Aunt Julle can be seen as her being bored of her life. Aunt Julle persistently and indirectly reminded her of her pregnancy, a fact that Hedda wished to avoid at all costs. Her relationship to Tesman can be seen as dubious. Her marriage was solely on the prospects that ‘her time was up’. We can see that Hedda was bored of this marriage and was readily willing to give up on this marriage. Hedda can be seen as overwhelmed and entrapped in this world of pretend that she has established. Her endless raps on the window are a valid proof to support the fact that she is bored. Hedda is also envious of Thea Elvsted and her wavy lustrous hair. The way she always ruffles her hair is evident of her jealousy. She may also be jealous about the way that Thea and Tesman work together with each other at the end of the act. She may have felt a sense of loss even though she clearly denied any love for him. Aunt Julle can be another reason why Hedda

The minister then questions her but after his unsuccessful attempt, Mother’s actions become a scandal throughout the town because “any deviation from the ordinary course of life in this quiet town was enough to stop all progress in it” (C670). This does not bother Mother and she successfully continues with her plans. By overcoming this alienation both characters achieve feminine empowerment.

inconsistency in her beliefs. Majorly, nearing the end of her life, she begins to regret all her deeds of which

Many of Ibsen's plays contain criticism regarding marriage, which portrays a dominant and complex female character that are generally trapped in unhappy and unsatisfied marriages due to the Victorian era traditions (Richard Chang and Richkie Chiu). Hedda Gabler (1890) is one of his well known plays, that contains a family's character with that role. Hedda plays the role of the primary female character, she struggles to find her spot in her new life, and adjusting to her dominant side, due to that she will never become

At this point she simply finds no other way but to accept the stereotypical view of a young innocent girl in a relationship with an experienced man, another example of women being victims of male authority. The key to the bloody chamber is the key to her selfhood and subjugation that will ultimately kill her. ‘The protagonist’s husband clearly considers her an object of exchange and plans to inscribe upon her his continuing tale of punishment for wives’ disobedience’[viii] again showing how women make themselves victims of their own behaviour, Helen Simpson’s interpretation is that ‘I really cant see what’s wrong with finding out about what the great male fantasies about women are’ [ix] The heroine fights against the victimisation, and indeed reverses role with the male in the story, as it is Marquis who dies and it is the female who leaves this chamber and finds happiness.

One of Hedda's main points in life is to control her position in society. She does everything in her power to avoid any type of scandal in the community and to go along with the norms of society. This occurs with her decision of marrying George Tesman, even though she had feelings

The judicious actions foreshadow disaster. Having no control over their relationship, she maximizes this opportunity of diverting his life. Although she is conservative, she also tries pushing the boundaries by continually being discontented, as opposed to what is expected of women during that era, and thus she is a victim of society. Her curiosity towards the outside world is a result of her being trapped indoors and explains her jealousy towards Lövborg, Thea or anybody who has freedom. Hedda withholds and controls her emotions; nonetheless this gives the audience an impression that she is mysterious and secretive.

Through this she beings to understand that if six weeks was a struggle then the rest of her life with Tesman would be “unbearable”. This increases her feelings of entrapment and her need to escape through death. Hedda also holds a strong desire to achieve success. Hedda’s desire for this success and recognition is so strong that when she is unable to achieve this she begins to feels as if she has no self-worth or reason to live. As she is unable to work herself she images her success upon her husband,

Hedda tears down everyone throughout the play, with Lövborg and Brack as the only exception. After being born to a high standing family, her expectations of power are high, but due to her biologic form as a woman she is trapped and unable to take control, “because Hedda has been imprisoned since girlhood by the bars of Victorian propriety, her emotional life has grown turbulent and explosive” (Embler). However, after succumbing to marriage with Tesman, whom she only marries for money and respect, she loses her place in society as she, as a mere woman, cannot retain it. This slowly unwinds Hedda and eventually leads her on to her fatal path. By

Hedda arouses sympathy from the readers through her own personal conflicts. She is a woman trapped by herself in a loveless marriage to an “ingenuous creature” (52 Ibsen) named George Tesman. Tesman is a simple soul with very little to offer. Not only is he an entire social class below Hedda, but he is oblivious, insecure due to his own banalities, and overly reliant on his Aunts’, despite being thirty-three-years-old. Hedda married George due to a “bond of sympathy. . .” (31 Ibsen) formed between them and she “took pity. . .” (31 Ibsen) on George. This brings a sense of sincerity to Hedda that was not turned to such a high magnitude preceding this discussion between Judge Brack and herself. Hedda is a lonely, yet independent, soul that wants sexual freedom without

This passage from the denouement Henrik Ibsen’s play, Hedda Gabler, before Hedda’s suicide, is an illustration of the vulnerability and defeat of the impetuous and manipulative titular character. Ibsen develops Hedda’s character by uncovering details about the conflicts between Hedda and the other characters, Judge Brack, Mrs Elvsted, and George Tesman which highlight Hedda’s transformation from an individualistic to despairing individual, conveying the theme of freedom and repression in society.

For all of these reasons, Hester’s feminist mindset became prevalent throughout the novel. She questions the place of women and becomes heavyhearted when she realizes she does not possess the ability to make an impact. She ponders whether being alive is worth the travesty she believes is engrained

Alienation in Ibsen’s Hedda Gabler is based particularly on personal alienation highlighted through the main character Hedda. Hedda is the perfect representation of an alienated individual asserted against a conventional society. Ibsen focuses particularly on the ownership of Hedda Gabler, from the ownership of her father into the hands of George Tesman, to see Hedda to never be in complete ownership of herself until she takes the matters into her own hands and claims her own life by committing suicide at the end of the play. She is lost in a world where she no longer has anyone, beside herself and her pistols, which she continually shoots off as these pistols can be seen to dramatize Hedda’s disconnect from the world and the frustrations she feels towards it. Arguably she has nothing to look forward too, besides the continual hounding from George