Examples Of Literary Foils In Ibsen's Hedda Gabler

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

‘The young woman was tall, with a figure of perfect elegance.” and “She had dark and abundant hair, so glossy that it through off the sunshine…” (4). While managing to face her realities, Hester accepts her “sin” and fate with dignity.

Hedda Gabler is portrayed as an extremely strong-willed woman. During the times in which this play is set, numerous women’s rights and suffrage movements were occurring across the world. It can be inferred that Hedda’s assertive attitude is characteristic of the time period. To Hedda, it is preposterous that she would have to be under the power of a man. When Judge Brock implies that he will disavow all knowledge of the source of the gun that killed Lövborg if Hedda becomes “subject to [his] will and demands” (Ibsen 262). She states, “No longer free! No! That’s a thought that I’ll never endure!” (Ibsen 262). At this time women across the world were adopting new ideas on their place in society. The atmosphere of the era provides an explanation of the source of Hedda’s manipulations.

While Puritan women are weak and dependent upon their husbands, Hester Prynne is empowered and self-reliant. A character designed by Hawthorne to show 19th century women that women’s work could be valuable, Hester supports herself and her daughter by needlework. “For, as the novel unfolds, the letter, intended by the Authorities to signify harsh but just condemnation, is made by Hester to signify something entirely different—able, admirable.” (Bell 109) All aspects considered, the ability of Hester, a woman who committed sin and was publicly punished for this crime, to manipulate this punishment into a virtue

Ambiguity is a continuous battle within everyone 's mind. People are constantly pondering about one’s trustworthiness. Human beings are always questioning one another 's intentions and if there exists an ulterior motive in one’s mind. Trust is not easily earned from one another. This kind of motif is shown in many works of literature. For example, Hedda Gabler by Henrik Ibsen shows the ways of character moral ambiguity and its way in deceiving others; this is shown through the character Judge Brack. Judge Brack is portrayed to be a good friend of George Tesman and Hedda Gabler Tesman, a psychological trickster and manipulator who is ultimately revealed to be a morally ambiguous character.

In many aspects, George Tesman too does not see Hedda’s full value as a person, and from the beginning of the play, Ibsen makes this clear. Tesman adores rather than love his wife, proudly viewing her as an object of adornment that makes several of his friends jealous. A scholar who is more devoted to his work than his wife, Tesman spends more time with his books than his wife, even during their honeymoon. In this passage, Ibsen further illustrates this objectification of women. Tesman turns his head away from her because he believes there is “nothing in the world” (32) that Hedda can help Tesman with; Hedda is merely an ornament and not of real use to Tesman. Ibsen’s use of stage direction that depicts Tesman “turning his head” after talking to Hedda both indicate Tesman’s rejection of Hedda as a valuable person and his obliviousness to Hedda and her desperate situation. Tesman’s imperceptiveness is further highlighted by Ibsen when Hedda “imitates Tesman’s intonation” (16). Also, Hedda’s mimicking of Tesman, which is used earlier in the play as a sign of her contempt, is also used here in this passage by Ibsen to portray Hedda’s desperation. That Hedda would turn to Tesman, a person she dislikes and views as beneath her, as a means of escape, is a clear indication of her despondency and madness, which foreshadow her ultimate act of despair—suicide. Yet Tesman thoughtlessly

Ibsen reveals that despite her interactions with her husband, Helmer is well indebted to the actions of his wife, who unbeknown to him, are responsible for saving his life. Nora is elated at the fact that she is able to finally disclose her secret to someone, she then proceeds to declare that she has no need to reveal this to her husband as Torvald is already so devoted and so smitten by her current beauty. It is Nora’s false belief in the power she has over her husband, that when it is shown to be misplaced, she reaches the extreme of deciding to leave for ever. The theme of power and control in the text is not merely demonstrated by one character over another, but also by society over the actions of Krogstad and Torvald in particular.

Upon returning from their honeymoon, however, Hedda begins to realize the folly of her plan when she learns that Tesman cannot bring to fruition her ambition of climbing the social ladder. Having endured what was for her a painstakingly dull six months abroad with Tesman, Hedda must now endure the fate of a bored housewife bound in a union she dare not break for fear of impropriety.

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

Hedda is the product of aristocratic birth.  She is, as I mentioned earlier, the daughter of General Gabler, whose portrait hangs over this play not unlike the portrait of the absent father in Williams' The Glass Menagerie.  And in case we have missed the significance of the portrait in the stage directions or have overlooked it as an audience member, Miss Tesman rivets our attention to it and the reality of Hedda's aristocratic life:  "Well, you cant's wonder at that--General Gabler's daughter!  Think of the sort of life she was accustomed to in her father's time.  Don't you remember how we used to see her riding down the road along with the General? In that long black habit--with feathers in her hat?"  (Ibsen  2).  Her aristocratic birth and her past is contrasted by her choice of a husband who has neither noble blood nor bourgeois money.  We are told that this motherless child of an aristocratic general often gave in to fits of cruelty as a child:  "At the finishing school the presence of a girl with a head of abundant, wavy flaxen hair irritated her and provoked her to outbursts of cruelty which had their source in equal measure, perhaps, in envy and in a deep-seated temperamental antipathy; for dearth of abundance, physically and temperamentally, is a characteristic of Hedda's nature" (Weigland  246-247).

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.

Hedda has been interpreted as an “unreal, as a defective woman, as vicious and manipulative in nature, as a failed New Woman, or as a woman who is afraid of sex” (Björklund 1). She also could be seen as a woman who is afraid of sex or her own sexuality because homosexuality wasn’t accepted like it is today. According to Björklund, “Hedda’s masculinity defeats the dysfunctional masculinities of Tesman and Lovborg, but, in the bathe with Brack’s hegemonic masculinity, Hedda’s female masculinity becomes absorbed into the dominant structures. Hedda desires masculinity as represented by Brack—power and control—but, in the end, that masculinity is what kills her; she shoots herself with one of her father’s pistols, and her masculinity is absorbed into the patriarchy. Hedda’s masculinity is rejected, but what it represents—power and control—is mirrored by Brack, whose masculinity is reconstructed: he is the one cock of the walk” (Björklund

In Henrik Ibsen’s Hedda Gabler, the author reveals the oppressive qualities of minority groups who seek to express individuality rather than conformity. The most critical population that Ibsen chooses to address in the play are women living in Western Europe during the Victorian era. When considering Norwegian culture during the 1800s, Ibsen refers to his surrounding society as an environment where women are unable to look forward to anything other than marriage and motherhood (Lyons 164). Ibsen’s country is inclusive of issues relating to alcoholism, prostitution, exploitation, and poverty (Lyons 128). As a result, the only respectable lifestyle for many women is domestication. To confront these issues,

Hedda Gabler is a text in which jealousy and envy drive a woman to manipulate and attempt to control everyone in her life. The protagonist, Hedda, shows her jealousy in her interactions with the other characters in the play, particularly with Eilert Loveborg and Thea Elvsted. Because Hedda is unable to get what she wants out of life because of her gender and during the time of the play, her age, she resorts to bringing everyone else down around her. Hedda lets her jealousy get the best of her and because of this she hurts many of the people around her as well as ultimately hurting herself.