Oppression in Ibsen's Hedda Gabler Essay

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.

In nearly everything she does, as a young child, she finds immense pleasure. However, the forest is also a safe place. the unhappy culprit sustained herself as best a woman might, under the heavy weight of a thousand unrelenting eyes all fastened upon her, and concentrated on her bosom. Her existence came from what Puritanism deems “evil”. Hester demonstrates human naturalness by obeying her instinctual urges and having a relationship with Reverend Dimmesdale.

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.

Ibsen’s Hedda Gabler portrays the societal roles of gender and sex through Hedda as a character trying to break the status quo of gender relations within the Victorian era. The social conditions and principles that Ibsen presents in Hedda Gabler are of crucial importance as they “constitute the molding and tempering forces which dictate the behavior of all the play's characters” with each character part of a “tightly woven social fabric” (Kildahl). Hedda is an example of perverted femininity in a depraved society intent on sacrificing to its own self-interest and the freedom and individual expression of its members. It portrays Nineteenth Century unequal relationship problems between the sexes, with men being the independent factor and

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

One way these women are oppressed in the bourgeois society is by having their values and beliefs belittled by those around them. In Ibsen’s play, Hedda Gabler is belittled by having her fathers’ pistols taken away from her. Hedda takes pleasure in using her father’s pistols. After discovering that George Tesman, her husband, is unable to afford the things Hedda wants, she says, “…at least I’ve got one thing to amuse myself with. My pistols, George... General Gabler’s pistols” (800). However, her husband George Tesman immediately expresses his disapproval by saying, “No, for the love of God, Hedda, dearest, don’t touch those dangerous things.” Women are not supposed to associate themselves with pistols. Pistols contain masculine traits, such as power and aggression -- all of which a woman should not be in a bourgeois society. Not only does this reinforce the stereotype of femininity, it inhibits Hedda from her pleasures, which is oppressive in itself.

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

The character of Nora goes through the dramatic transformation of a kind and loving housewife, to a desperate and bewildered woman, whom will ultimately leave her husband and everything she has known. Ibsen uses both the characters of Torvald and Nora to represent the tones and beliefs of 19th century society. By doing this, Ibsen effectively creates a dramatic argument that continues to this day; that of feminism.

The reflection of women in literature during the late eighteen-hundreds often features a submissive and less complex character than the usual male counterpart, however Henrik Ibsen’s Hedda Gabler features a women who confines herself to the conformities that women were to endure during that time period but separates herself from other female characters by using her intelligence and overall deviousness to manipulate the men in her life and take a dominant presence throughout the play. Hedda challenges the normal female identity of the time period by leaving the stereotype of the “quiet, subservient housewife” through her snide and condescending remarks as well as her overall spoiled aristocratic demeanor.

The first being that the main character, Hedda Gabler, grew up in an aristocratic background, is very hard to please, and could be considered a manipulative brat to the other characters in the play. According to Berta, “she’s so particular about things”, by which Miss Tesman responds, “Well, what do you expect? General Gabler’s daughter—the ways she lived in the general’s day!” (Ibsen 783). Whereas Miss Tesman could be seen as the brown-nosing type of person when she buys a nice hat “for Hedda’s sake” instead of for herself to seem like she is of the same socio-economic class as Hedda (Isben 784). By doing this she is putting Hedda first instead of herself just to be liked and accepted by Hedda. The General’s daughter is the outcast among the rest of the

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.

Henrik Ibsen’s Hedda Gabler introduces its audience to a paradoxical protagonist, Hedda Tesman. Ibsen’s delineation of Hedda presents her as a petty and frivolous woman whose sole motivation is to seek her own amusement with no regard to those around her. If some tragedy had befallen Hedda in her formative years and thus shaped her into the cold, callous woman she would become, Ibsen purposely omits this from this play: whatever judgment the audience might make of Hedda as a character must derive almost exclusively from the behaviors she exhibits in each of the work’s four acts. Ibsen does not intend for his audience to readily sympathize with Hedda. By not endearing Hedda to his audience, the subject of her suicide in the final act is