Essay Hedda Gabler

     Hester Prynne, through the eyes of the Puritans, is an extreme sinner. She has gone against the Puritan ways by committing Adultery. The Puritans believed that Hester was a lost soul that could only be saved by sincere and thorough repentance. For this

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

Hester Prynne, the protagonist of the novel, is a symbol for human morality and the frailty therein. In the second chapter, when the townswomen are gossiping about Hester’s scandal, one of the women, who is

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

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

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.

With no focus on Hedda’s mother we can imagine that the general did little to prepare his daughter for wifehood or motherhood. Hedda inherited his pride, coldness, and an authoritative attitude toward others of a lower rank. She lacks compassion for weak and submissive characters like Thea and Aunt Julia but has admiration for power and freedom, qualities she finds in Brack and Lövborg. Even after marrying Tesman, she keeps her father’s portrait and guns, which signifies her desire for masculine control as well as her personal form of mourning of the power she has lost by marrying Tesman. This perverse behavior can be attributed greatly to the era in which Hedda lives, because her choices are highly influenced by the male dominated society.

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

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,

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

Throughout past times, women have been assumed to be inferior to men. They were refused human rights such as education. Some civilizations view women as a surmised evil. Others believe women were to birth, attend worship, and agree with their husband. Nonetheless, the promoting of women’s rights in regards to political, economic, and social tolerance prevailed within society. Such feminists anticipated to fight for their power. One intent for the protest of inequality could have possibly resulted from the strict regulations of society put in place by the government. These regulations had a direct impact on the conformity of women. Women were directed to avoid self-loving reasoning, which led to the questioning of political and societal leaders. “It was an age in which the human intellect had taken a more active and a wider range than for many centuries before” (Hawthorne 154). This quote emphasizes the uprising of change in peoples’ minds regarding abuse towards women. Hester serves as the face of the crowd that thinks freely. She is unsatisfied with the destiny a puritan society has in place for. She demonstrates this by challenging the female role and attempting to reconstruct the patriarchal society she lives in. The other women that live in the town are shocked by Hester’s actions. This shows how they are afraid that if other women start acting out, the society structure

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

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.

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

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.