Essay about non paying passengers

     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

The theme of gender is presented to the audience as dramatic irony as well, since this play was written in 1912, the play shows how women were in that certain period of time, they didn’t have as many rights, they weren’t treated equally with men, in fact they were seen to be lower than men. However in the time that this play was written which is 1945 women had a lot more rights due to the fact that when men left the country for war, which according to Mr.Birling wasn’t supposed to happen, all the women were the people who looked after the country and kept it going, women became more interdependent and the society just grew and became a lot more open minded with their thoughts. JB Priestly has tried to show the importance of women in the play as well in the play as well at some places but very indirectly, like in that part where the inspector says, “There are a lot of young women living that sort of existence in every city and big towns in this

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.

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

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.

These feminists aimed to defend their silenced voices. One motive for the dissent of inequality could have resulted from the strict government regulation of conformity. Everyone was trained to evade individualistic thinking, which in turn, led to the questioning of leaders. “It was an age in which the human intellect had taken a more active and a wider range than for many centuries before,” (149). This quote illustrates the possibility of a change in people’s mind regarding the injustice towards women. Hester represents the story’s population that thinks freely. She is not content with fulfilling the pre-determined destiny of a silent wife under Christ, and demonstrates it by challenging that role and attempting to reorganize the archaic system in which she lives. The women of the town are outraged by her actions, demonstrating that they are afraid that if women start acting out of passion, the entire structure they depend on would dilapidate. Hester made it clear that it is possible to survive outside of prejudice, which is still exemplified today. She displays that the idea of feminism and the reasons leading up to it have not changed for decades.

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.