Freud and Hedda Gabler: The Wolf Behind the Protagonist

     The first argument that Freud makes in his assault on religion regards civilization. Freud argues that human

Freud primarily subscribed to the idea that there are two energies that drive human behavior. These two energies are sex – the pleasure principle and aggression. The human mind is comprised of the conscious, preconscious, and unconscious. Within the realms of the mind, the human personality is controlled by the id, the ego, and the superego. The id is driven by the pleasure principle. The superego is the instinctual moral good, which aims to please the ego ideal, or the magnified moral values. The ego interacts with both the id and the superego and aims to please both components (Connors).

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.

In Civilization and Its Discontents, Sigmund Freud composes essentially to look at the relationship between the individual and society. Through Freud's examination of the relationship, a more profound comprehension of the intricacy of mental life is figured it out. Freud starts to add to the relationship ahead of schedule in the work by portraying the most primitive acknowledge of self and the most primitive acknowledge of the outside world. He further adds to this relationship through the pondering of sexual yearning and its associations with adoration, which he claims, lead to the arrangement of families and after that later gatherings of humankind that came to include development all in all. Through inquiries raised concerning society, society, history and the self, Freud has the capacity portray a kind of guide of the brain. This guide Freud delineates further empowers him to build up a comprehension of the relationship in the middle of human advancement and the person.

This shows how outsiders may be judgmental while the victims of torment don’t have support. Despite this, Hester becomes a role model for her daughter by living through years of exile and putting her happiness

The European mind at the fringes of "civilisation," when confronted with this Otherness, cannot settle on one or the other of these alternatives. "European reactions to other cultures tend to oscillate between these two poles, and thus the same culture can seem simple, authentic, concrete, or, on the other hand, odd, uncanny, and arbitrary" (ibid.). While this paradigm of shifting viewpoints is exemplified by Marlow in Joseph Conrad's Heart of Darkness, it seems to find its resolution in Sigmund Freud's assertion that in many ways the modern man is the primitive man.

This was Lovborg’s whole life and Hedda burned the manuscript. This showed Hedda’s purely evil side. As she had no reason to burn the manuscript in the first place. She just decided to burn it. Another action

Towards the end of the novel Hedda gives Lovborg a pistol so he would end his life “beautifully”. They find him dead with the pistol next to him and the assumption is made that either he shot himself accidentally or was killed by Mademoiselle Diana as an act of self defense. However, when Brack first reveals the news of Lovborg’s death to Hedda he conceals this information and tells her that Lovborg shot himself in the breast. In response to this Hedda calls his death beautiful and “a deed worth doing!” (page 66) knowing that she has officially gained power over Lovborg. When Brack sees this response he gets Hedda alone and tells her the truth of what happens and that he knows that she gave him the gun. He then reveals to Hedda that she has a choice: either let Brack tell the police about the owner of the gun and ruin her reputation and social status that she has sacrificed so much for, or not tell anyone and forever be in debt to Judge Brack. Hedda is appalled by both options because they mean loss of power and everything she’s strived for. With the weight of this on her shoulders she chooses an alternative option and kills herself.

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.

Freud referred to the Hobbes argument that humans are naturally hostile to one another, humans depend on their own man made devices and hostile nature, leading humanity into a war where a man will be against each other (Hobbes 1906, 96). Human civilization is an effort to set up limitations for man’s aggressive

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

Ibsen uses the relationship and conflict between Hedda and Brack to illustrate Hedda’s struggle to assert her free will and power in a male-dominated society. The two characters are united as social equals who are members of the aristocracy as

In the textbook, the authors discuss Freud’s psychoanalytic theory in which, according to Freud, individuals acted out their desires and behaviors in response to a mental system made up of the ego, superego, and id (Cervone & Pervin, 2013). The ego seeks reality. On one hand the ego wants to meet the desires of the id, but at the same time the ego also wants to satisfy the demands of the superego. The superego controls the moral and social acceptable aspects of an individual’s behavior. The id is the part of the system that functions under the pleasure principle. Simply put, the id wants to achieve pleasure and it wants to avoid pain. Individuals entered states were they would seek to relive tension and to achieve pleasure. These states are called instincts or drives.

In Hedda Gabler, Henrik Ibsen portrays the hopeless struggle of woman in the Victorian era through the protagonist, Hedda. From 1837 to 1901 in England, women experienced unrestrained oppression, were expected to follow the orders of their husbands, and were believed to be unwise. In the play, the newly wed Hedda has just arrived to her new husband, Tesmun’s home town, and her whole world seems to be shrinking inch by inch, expressed mainly through elements of stagecraft. The play is mostly focused around the main character, Hedda, a tragic heroine. Her need to manipulate others grows ever stronger as her boredom and despair increase, due to the new middle class atmosphere she is forced into. At last, she frees herself from all of the social restrictions society has imposed on her, by completing the act of suicide. Through the characterization of Hedda, Ibsen explores the oppression of woman in the Victorian Era.