Literary Foils In Hedda Gabler

Judge Brack is introduced into Hedda Gabler as a man of authority, which allows him to able to aid George Tesman and act as his financial planner. As a great help to Tesman and Hedda, the couple “can’t thank you [Judge Brack] sufficiently” in expressing their gratitude and the great help that Brack is, being a man of power (Ibsen 20). By lending a hand to George and Hedda, this exploits the friendship between the three characters. If Judge Brack was not a friend to the couple, then he would not assist them in their accumulating debt. It is shown that Judge Brack does help George regarding his financial needs even when they are involved with Eilert Lövborg, the professor. Although Hedda does acknowledge Brack’s effort in improving her and her husband’s financial situation by

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

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.

Conflict is first observed through Hester’s ongoing difficulties with her fellow townspeople. Hester receives ridicule from on looking townspeople, as a gossiping woman states, ‘ “At the very least, they

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

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,

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.

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.

Even after her success of scandals, Hedda realizes that Judge Brack is still the one, who holds the upper hand in all affairs, and to express her “freedom” or at least want for freedom, she states “I am exceedingly glad to think—that you have no sort of hold over me” (p. 55). Her words foreshadow the ending of the play as it prepares the audience for unexpected and uncontrolled actions taken by Hedda. Furthermore, the ultimate outcome of her actions is Tesmun and Thea working together to re-create the manuscript, which Hedda was unprepared for. Tesmun and Thea take over her last place of comfort, as she removes her belongings from the drawing room and the writing

Although her general dissatisfaction with life did not directly precipitate her suicide in the play’s final act, Hedda’s disposition certainly laid the foundation for what would come. The disparity between life as a general’s daughter and the life of an uninspired scholar’s wife vexes Hedda. Ibsen’s introduction of Hedda’s father’s guns as both relics of Hedda’s past as well as the instruments of her destruction illustrate the link between her privileged upbringing and her unwillingness to shed her bourgeois mentality. Just as her father’s status helped mold her into the materialistic, self-serving woman Hedda would become, the lavish firearms he bequeathed to her also contribute to her undoing.