General structure plan for a Paper 2 essay Hedda Gabler

I. Introduction

• Introduce the text and author

Henrik Ibsen wrote Hedda Gabler in 1890 during a time when societal norms were very different from
today's standards to cast light on the patriarchal(masculine ) society of the Victorian era in Norway,
where women were denied access to inheritance, higher education, and voting.

• Provide some background information about the text and its historical and cultural context

Originally written in Norwegian, the play details the way the protagonist, Hedda Gabler, becomes so
overburdened by social norms that she is pushed to commit suicide

• State the thesis and preview the main points to be discussed

Throughout the play , Ibsen used literary devices such as settings, symbolism, characterization(Ibsen is
able to explore the themes of power, control, and societal expectations. ….. to convey to readers how
----------------s, in the case of the works, it is heavily suggested that ----------

paragraph 1

1. . Introduce the first theme and provide some context (:

Through the symbols of the pistols, Ibsen is able to explore the themes of power, control, and societal
expectations

2. Use quotes and examples from the text to support the argument(t's

one of father's old service pistols" (Act 1, Hedda)

"Oh, if only I had the courage to do it – to shoot myself!" (Act 3, Hedda)

"The deed is done with that now" (Act 4, Hedda)

3. Analyze how the text explores this theme

The use of pistols as a symbol throughout the play represents the idea of power and control. The pistols
first appear in Act 1

l. The presence of these pistols in the play signifies the power that Hedda has inherited from her father,
and her desire to control her own life.

Hedda's wish to shoot herself with one of the pistols represents her desire for control over her own
destiny.

III. Paragrah 2

1. Introduce the second theme and provide some context

vine leaves, and setting, Ibsen is able to explore the themes of power, control, and societal expectations
2. Use quotes and examples from the text to support the argument

Setting:

"The room has the appearance of a handsome, modern dwelling-room" (Act 1, Stage Directions)

"This is unbearable! This is not life!" (Act 2, Hedda)

"So here I sit, day after day, like a machine. And life goes by outside – dreary and grey." (Act 3, Hedda)

Vine Leaves:

"Look, Hedda – these leaves, vine leaves! Look at them! Fresh and green!" (Act 3, Lövborg)

"I'll burn your child, Thea. Your child and Eilert Lövborg's child!" (Act 3, Hedda)

3. Analyze how the text explores this theme

 The vine leaves that Lomborg brings to Hedda also represent power and control.
 Lövborg describes the vine leaves as fresh and green, which symbolizes his hope for a new
beginning.
 Hedda burns the manuscript that he has been working on, along with the vine leaves,
representing her desire for power and control over Lövborg's life.
 Hedda's burning of the manuscript is also symbolic of the societal expectations of women during
that time period.
 Women were expected to be domestic and obedient, and Hedda's action can be seen as a
rebellion against these expectations.

The setting of the play also contributes to the exploration of power, control, and societal expectations.

The room in which most of the play takes place is described as a modern dwelling-room.

This setting represents the societal expectations of the time period.

Hedda is expected to be the perfect wife, but she struggles with conforming to these expectations.

Her desire for power and control over her own life is at odds with what is expected of her as a woman in
society.

Paragraph 2. Character analysis

1. Describe the character and provide some context

2. Use quotes and examples from the text to support the analysis

3. Analyze how the character contributes to the text's themes

Paragraph 3 Literary techniques

1. Choose a literary technique (such as symbolism, imagery, or foreshadowing) and provide some
context
Imagery: imagery of the "vine leaves" to symbolize the potential for new beginnings and growth

Hedda burns the manuscript that Lövborg has been working on, along with the vine leaves, it symbolizes
the destruction of that hope and potential.

2. Use quotes and examples from the text to support the analysis

Paragraph 4 Historical and cultural context

1. Discuss the historical and cultural context of the text

.The play explores the societal expectations placed upon women, and the limitations these expectations
impose upon them.

. The cultural context of the play highlights the restrictions placed upon women during this time period,
and the struggle for autonomy and individualism that characterized the

2. Analyze how this context impacts the text's themes and characters

The historical and cultural context of "Hedda Gabler" underscores the play's themes and characters, and
highlights the ways in which literature can reflect the social and political issues of its time.

Use quotes and examples from the text to support the argument

I have a kind of intuition that Hedda will soon be--what shall I say--a little--well, you know, my dear Miss
Tesman--a little interesting. [...] A little sooner or a little later, why, of course, we shall have a little one,
you know. Eh?"

Here, Tesman's expectation that Hedda will soon become pregnant and fulfill her societal duty as a wife
and mother reflects the traditional gender roles of the time

Conclusion.

summarize the main points made in the body paragraphs and reiterate the thesis statement.

provide a final analysis of the literary techniques used to explore the theme and the impact of the
historical and cultural context on the text.

One of the central themes in Henrik Ibsen's tragic play, Hedda Cabler is the illusion of power

among the social classes. To expose this theme, Ibsen creates a powerful and socially privileged

character whom he titles Hedda. She represents the social and cultural freedom that was

believed to be possessed by those of higher class within bourgeois of the nineteenth century. At

the same time, Ibsen also presents other middle class and less powerful characters, such as

Auntie Juju, Thea Elvsted and Eilert Loevborg. These characters contrast Hedda's powerful and

often offensively privileged character, demonstrating the costs of social acceptance and control.
As the plot evolves, Hedda exploits and manipulates the characters. She exerts these behaviors

in order to maintain the social power and prestige as one of higher class. Throughout most of

the play her deceptive actions towards power are successful as people submit without question.

This perversion twists and wounds Hedda as she comes to realize that she does not have the

social power to control those who are inferior to her. Disillusionment of the social system

unravels as the reader recognizes that the power lies not among the individuals of the higher

class, but within the social order itself.

Our first impression of Hedda is not favorable. Although she appears to be a woman of great

beauty and exceptional social standing, her personality condemns almost every woman that

comes into contact with her. After returning from her honeymoon into a new house, Hedda

automatically presses her social domination upon those nearby. Her first reaction ranges from

disapproval to actual offense as she casts insults against the early arrival of Auntie Juju and the

homely look of her hat (1253-1254). The attacks invoke fear and awe in the social standing that

Hedda holds as one from affluence.

Hedda further propels her social power upon the other characters in the play through

manipulation and deception. Her husband, George Tesman, bends to her every demand and

dismisses her baneful remarks. The reader assumes that Tesman was not born into a prosperous

family since he has little wealth and is in great debt. It is understandable as to why he is

delighted to be fortunate enough to have "won" such a favorable bride (1250). This is why he is

only able to see how "pretty and charming" (1254) she is. He is unable to see how uncaring she is

as she does not morn the death of his Aunt Rena (1295). Tesman is blind to the way that she

manipulates him with the announcement of her pregnancy so that he may forget that she has

taken away the power from Loevborg by burning his manuscript (1296-1297).

Like Tesman, Thea Elvsted and Eilert Loevborg fall into her snare as she further exploits them to

maintain her social power. Hedda uses her social position and her seemingly comforting

demeanor to coerce Thea into telling the story of her marriage to Elvsted and her subsequent

relationship with Loevborg (1260-1262). Her social standing, which generally puts her above

reproach, lends itself to her overall believability and supports her manipulations.
Hedda's power over Loevborg developed prior to her encounter with him in the play. As he was

one of Hedda's suitors before she was married, she made him fall in love with her and through

this love she was able to control him. When Loevborg encounters her later in the play she still

holds some portion of his love and power. With the knowledge that she gained from Thea,

Hedda is able to undermine Thea and Loevborg's relationship, allowing Hedda to regain back

his full admiration and power over him.

Hedda assumed that with her marriage to Tesman he would soon become an esteemed

professor. With his appointment she would be able to climb back up on the rung of the social

ladder that she used to stand on while her father was alive. Loevborg poses a threat to Hedda's

social growth as he unexpectedly became a contender for her husband's position in an

academic post (1265). This fear brought Hedda to impose her power over Loevborg as she

manipulated him into drinking (1280). In his drunkenness, Loevborg brought upon himself his

own ruin and lost the only item that was to advance him socially, his manuscript. When

Loevborg comes to her, distressed at the loss of his new book, Hedda does not tell him that she

possesses it. Instead she uses it as a means to control the outcome of Tesman's competition

against Loevborg for the position of professor and her path to a higher social power.

Eilert Loevborg's apparent suicide is the result of Hedda's manipulation of the truth and misuse

of her social power. This is demonstrated in the way in which she reacts to this appalling turn of

events. The other characters show concern and feelings for the actions taken by Loevborg, even

his competitor, Tesman. But Hedda apparently feels no remorse and does not sense her role in

his actions (1298). Instead she is capable only of recognizing the social benefits and power that

her husband's position will allow her. When Hedda discovers that Loevborg's death was an

accident rather than a result of her manipulation, the perception of her own intentional control

shifts.

In the final pages of the play, Hedda's life of power, social control and personal order appear to

unravel. She loses her ability to perceive herself as the determinant in social actions, and instead

becomes a useless social pawn. No longer does she control the life of her husband or the

actions of Loevborg. Rather than risk the loss of her social perception and her propriety, Hedda

takes her own life in a final monumental act of social order.

Unfortunately for Hedda, the same social status that supported her life as a seemingly powerful

woman also determined her downfall. Her social elevation made those around her believe that

she was superior to them, giving her power to manipulate and direct them. Hedda herself,

along with all of the elevated class of the bourgeois, accepted this role. To all the people in

society, the upper middle class assumes control of the social order. With Hedda's folly, the

reader is able to see that social standing does not possess the control that society deems it to

have.

Through the character of Hedda, Ibsen portrays the illusion of power retained by the different

classes within the social system. He takes deep divisions and acute problems that afflicted the

bourgeois society and place them on the stage. On the surface, the middle-class homes gave an

impression of success and appeared to reflect a picture of a healthy and stable society. But

Ibsen dramatizes in Hedda Gabler, the hidden conflicts in this society by opening the doors to

the private and secret rooms of the bourgeois homes. He shows what can be hiding behind the

beautiful façades: moral duplicity, confinement, betrayal, manipulation, and not to mention a

constant insecurity.

2-

Hedda Gabler- structure of the play and the major characters

International Baccalaureate World Literature

1. Setting (time and place)

The setting in Hedda Gabler is unchanged, and that contributes to the fact that it is a psychological
drama. This means that Hedda Gabler was staged in one area, and the only changing factors were the
characters and the interactions they had with one another. Also, the fact that the household was a clear
example of the randomness of the wedding’s occurrence and proof that there is no love between
Tesman and Hedda. The setting takes place in Norway in 1800’s and is constantly in the sitting room of
the Tesman household. Also, the play takes place in autumn, and this is mentioned in the beginning of
the play. This tells the reader that it is a season of death, and this foreshadows the death and decay of
nature and the environment, clearly foreshadowing future death and decay within the play and its
events. This is proven true later in the play, because the theme of death and decay is very apparent. Also,
the unchanging setting gives the play a sense of continuity and a feeling of unchanging surroundings
which puts all the focus on the play on the events that occur. This also proves how much Henrik Ibsen
cares about the little details within his plays including the stage directions and dialogue between
characters.

2. Use of stage directions and their importance (What, specifically, do they reveal? How does the writer
use them?)

In the play, Ibsen’s stage directions are very detailed in showing character’s emotions, revealing a
character’s social status (in particular revealing the social disparity between certain characters),
describing physical characteristics, and also identifying characters’ placement and movements. Ibsen’s
stage directions are especially descriptive of characters’ emotions and physical appearances (in particular
in their introductions in the play), as they contribute to describing various contrasting features between
the characters and also to the themes of the play. The stage directions basically form the physical and
psychological characterization. The placement and movements of characters as revealed through the
stage directions is important as they reveal the character’s emotions, and at times contribute to the
play’s dramatic irony. Ibsen uses his detailed stage directions to contribute to the irony and suspense of
the play as they describe the true motives and feelings of characters.

3. Style of play

The endings of each of the acts are marginally more dramatic than the previous. These dramatic endings
serve to show a clear aspect of Ibsen’s style in writing. These endings help the reader to connect to the
play and feel more inclined towards reading the next act and the following acts. Also, considering the
fact that the play is a short one, these chapter endings serve to draw the reader into a state in which he
or she does not want to stop reading, a further enhances the feeling of continuity that is contributed to
by the unchanging scene. In this way, the reader continues to read the play in a more continuous
fashion, and feels the mood of the play more realistically.

There is a lot of literary ambiguity in the play as well. The play is very ambiguous in the beginning, and
all the facts that surround Hedda’s pregnancy and her past are ambiguous at first, and she continuous to
be an enigma throughout the play. Only the very obvious becomes known about Hedda, however
generally she is not a very clear character. On the other hand, characters like Tesman are clear and
opaque and can be read and understood from the beginning because it seems to be that Ibsen wants the
reader to see this aspect of Tesman’s character e.g.: obtuse, stupid, etc.

The play’s style is very unique and it contributes to the idea that the play is a psychological drama. This
fact tells us that every aspect of the novel and every word is significant, and this can clearly be seen by
the detailed and highly important stage directions that are available at the beginning of each act. Also,
throughout the play, Ibsen uses Hedda to manipulate the surroundings within the Tesman Sitting Room,
and this helps add to the tension, or suspense, or manipulation that Ibsen cleverly weaves into his
writing. However overall, the play can be seen as four acts that have not one wasted word within them,
as Ibsen focuses very expertly on everything that is uttered by every character, and every single stage
direction that is handled by the actors within the play greatly contributing to the overall psychological
aspects that Ibsen focuses on within his plays.

4. Structure (and its importance). How is suspense built?

The play is composed of four acts. These acts mark divisions in time over a period of approximately two
days. Each act ending becomes more dramatic and suspenseful where each act reaches a climactic
moment when something decisive or irreversible is said or done. For example, Act 2 ends with Hedda
forcefully grabbing and dragging Mrs. Elvsted by her hair towards the doorway, while the ending of the
subsequent act ends with Hedda burning Eilert Lövborg and Thea’s manuscript. The suspense is built as
each act ends in rising action that takes the play to a new level of tension. It is also noteworthy how the
end of the play, where Hedda commits suicide, is also the climax of the play.

5. Characterization – major, detailed analysis of ALL characters in the play and their importance – Are the
characters symbolic in any way?

Hedda Gabler: Hedda is the main protagonist and can also be seen as the main antagonist. This is
significant because different readers choose to see Hedda in different ways: either the victim or the
manipulator. She can be seen in both lights simply because she is a woman trapped in a man’s body, and
the man is a manipulative corrupt character. In any case, she can be seen as both things combined.

Another reason for which she is a victim is that society expects a lot from a woman of her social
standing, and so she is required to do things and to refrain from doing other things simply because of
what society expects of her. This also includes the predetermined role that women must play in society
and the unchanging fact that Hedda would be a successful human had she been a man. Hedda Gabler is
a very specific character: she wants to mold a human destiny, however she greatly fears scandals. These
two aspects of her personality allow her to create the bulk of the play’s plot.

George Tesman: An uncreative character who is good at only one thing: research. He is an obtuse person
who becomes a very clear annoyance to Hedda. The dialogue he is given throughout the play shows his
close mindedness and how annoying a character he can be. He is also a boring academic, and has been
protected by his aunts for the bulk of his life. Miss Tesman is very protective of Tesman, and so is Berta.
They all seem to have their lives surrounding taking care of and cradling someone which in this case is
George. Also, Tesman is a complete opposite to Hedda, as he cares about things that Hedda simply
doesn’t. Also, it is significant to note that Hedda and Tesman got married over a technicality in which
Tesman assumed that owning Tesman’s Villa would make Hedda happy.

Thea Elvsted: Thea is a slightly naïve character, or has been one in the past. Her actions show this, and
her actions also prove her to be a foil to Hedda. This is mainly because she has courage, a trait clearly
missing in Hedda’s character. She proves her courage when she runs away from her husband; her
courage also constantly makes Hedda jealous. Also, Thea had a significant influence on creating the
manuscript which was called the “child” of Thea and Lövborg, and so the two characters share a
connection that Hedda does not. Also, Thea and Tesman share the job of recreating the manuscript, and
without any effort Thea moulds a human destiny. This causes Hedda to be even more jea

Setting and its influence on the female characters in Hedda Gabler by Henrik Ibsen

-Setting plays a significant role in Ibsen’s Hedda Gabler , as through the physical setting itself, and the
invasion of the setting by other characters in the plays, the female characters - Hedda Gabler go through
a deterioration of character – she become increasingly mentally unstable, and her actions increasingly
irrational, which leads to their isolation and in Hedda’s case, her suicide. Through setting, Ibsen and
show imprisonment, and the effect that this has on the actions and character of Hedda

Hedda is stuck in a marriage that bores her. She does not leave the confines of one room throughout the
whole play, and is therefore constantly submerged in a place in which she is miserable. This is ironic, as
like their marriage, her bridegroom Jorgen Tesman purchased the house on misconceptions and
miscommunications, thinking that it was “the home [she] dreamed of, swooned over.” However later on
when Hedda is talking to Brack, we find out that she only said this because once when they were walking
past it, Tesman had “run out of conversation.” Hedda is a strong-willed woman, who is forced by social
norms to act like a proper wife - deferring to her husband’s authority and forbidden to sit alone with
another man without a chaperone, therefore she has nothing to occupy herself with, and exclaims, “
What else am I to do, in Heavens name?” in reference to playing with her guns.

Setting (time and place)

The setting in Hedda Gabler is unchanged, and that contributes to the fact that it is a psychological
drama. This means that Hedda Gabler was staged in one area, and the only changing factors were the
characters and the interactions they had with one another. Also, the fact that the household was a clear
example of the randomness of the wedding’s occurrence and proof that there is no love between
Tesman and Hedda. The setting takes place in Norway in 1800’s and is constantly in the sitting room of
the Tesman household. Also, the play takes place in autumn, and this is mentioned in the beginning of
the play. This tells the reader that it is a season of death, and this foreshadows the death and decay of
nature and the environment, clearly foreshadowing future death and decay within the play and its
events. This is proven true later in the play, because the theme of death and decay is very apparent. Also,
the unchanging setting gives the play a sense of continuity and a feeling of unchanging surroundings
which puts all the focus on the play on the events that occur. This also proves how much Henrik Ibsen
cares about the little details within his plays including the stage directions and dialogue between
characters.

2. Use of stage directions and their importance (What, specifically, do they reveal? How does the
writer use them?)

In the play, Ibsen’s stage directions are very detailed in showing character’s emotions, revealing a
character’s social status (in particular revealing the social disparity between certain characters),
describing physical characteristics, and also identifying characters’ placement and movements. Ibsen’s
stage directions are especially descriptive of characters’ emotions and physical appearances (in particular
in their introductions in the play), as they contribute to describing various contrasting features between
the characters and also to the themes of the play. The stage directions basically form the physical and
psychological characterization. The placement and movements of characters as revealed through the
stage directions is important as they reveal the character’s emotions, and at times contribute to the
play’s dramatic irony. Ibsen uses his detailed stage directions to contribute to the irony and suspense of
the play as they describe the true motives and feelings of characters.

3. Style of play
The endings of each of the acts are marginally more dramatic than the previous. These dramatic endings
serve to show a clear aspect of Ibsen’s style in writing. These endings help the reader to connect to the
play and feel more inclined towards reading the next act and the following acts. Also, considering the
fact that the play is a short one, these chapter endings serve to draw the reader into a state in which he
or she does not want to stop reading, a further enhances the feeling of continuity that is contributed to
by the unchanging scene. In this way, the reader continues to read the play in a more continuous
fashion, and feels the mood of the play more realistically. There is a lot of literary ambiguity in the play
as well. The play is very ambiguous in the beginning, and all the facts that surround Hedda’s pregnancy
and her past are ambiguous at first, and she continuous to be an enigma throughout the play. Only the
very obvious becomes known about Hedda, however generally she is not a very clear character. On the
other hand, characters like Tesman are clear and opaque and can be read and understood from the
beginning because it seems to be that Ibsen wants the reader to see this aspect of Tesman’s character
e.g.: obtuse, stupid, etc.

The play’s style is very unique and it contributes to the idea that the play is a psychological drama. This
fact tells us that every aspect of the novel and every word is significant, and this can clearly be seen by
the detailed and highly important stage directions that are available at the beginning of each act. Also,
throughout the play, Ibsen uses Hedda to manipulate the surroundings within the Tesman Sitting Room,
and this helps add to the tension, or suspense, or manipulation that Ibsen cleverly weaves into his
writing. However overall, the play can be seen as four acts that have not one wasted word within them,
as Ibsen focuses very expertly on everything that is uttered by every character, and every single stage
direction that is handled by the actors within the play greatly contributing to the overall psychological
aspects that Ibsen focuses on within his plays.

4. Structure (and its importance). How is suspense built?

The play is composed of four acts. These acts mark divisions in time over a period of approximately two
days. Each act ending becomes more dramatic and suspenseful where each act reaches a climactic
moment when something decisive or irreversible is said or done. For example, Act 2 ends with Hedda
forcefully grabbing and dragging Mrs. Elvsted by her hair towards the doorway, while the ending of the
subsequent act ends with Hedda burning Eilert Lövborg and Thea’s manuscript. The suspense is built as
each act ends in rising action that takes the play to a new level of tension. It is also noteworthy how the
end of the play, where Hedda commits suicide, is also the climax of the play.

Characterization – major, detailed analysis of ALL characters in the play and their importance – Are
the characters symbolic in any way?

Hedda Gabler: Hedda is the main protagonist and can also be seen as the main antagonist. This is
significant because different readers choose to see Hedda in different ways: either the victim or the
manipulator. She can be seen in both lights simply because she is a woman trapped in a man’s body, and
the man is a manipulative corrupt character. In any case, she can be seen as both things combined.
Another reason for which she is a victim is that society expects a lot from a woman of her social
standing, and so she is required to do things and to refrain from doing other things simply because of
what society expects of her. This also includes the predetermined role that women must play in society
and the unchanging fact that Hedda would be a successful human had she been a man. Hedda Gabler is
a very specific character: she wants to mould a human destiny, however she greatly fears scandals. These
two aspects of her personality allow her to create the bulk of the play’s plot.
George Tesman: An uncreative character who is good at only one thing: research. He is an obtuse person
who becomes a very clear annoyance to Hedda. The dialogue he is given throughout the play shows his
close mindedness and how annoying a character he can be. He is also a boring academic, and has been
protected by his aunts for the bulk of his life. Miss Tesman is very protective of Tesman, and so is Berta.
They all seem to have their lives surrounding taking care of and cradling someone which in this case is
George. Also, Tesman is a complete opposite to Hedda, as he cares about things that Hedda simply
doesn’t. Also, it is significant to note that Hedda and Tesman got married over a technicality in which
Tesman assumed that owning Tesman’s Villa would make Hedda happy.

Developing Your Interpretation of Hedda Gabler

Throughout the play, Hedda Gabler, the character’s utilize many emotions to portray the

story. The main character, however, arouses both sympathy and scorn in several ways especially

through the use of manipulation. Considering that, there are multiple difficulties to playing the

main character, Hedda. The difficulty in playing ‘Hedda’ essentially evolves from Hedda’s

bipolar reactions to reality. Shaw’s observation can be seen like this; Hedda, a woman ensnared

in stern reality of life, craves for freedom from wifehood, financial crisis, and overall, from what

society wants her to be. Also, as George Bernard Shaw claimed in a letter to Elizabeth Robbins

where he emphasized “you were sympathetically unsympathetic, which was the exact solution of

the central difficulty to playing Hedda.” To sum up, the character’s usage of emotions as well as

the hardships that come with playing Hedda in the play Hedda Gabler all take advantage of

similar techniques.

In the play, Hedda Gabler arouses both sympathy and scorn. She arouses scorn more due

to the fact that she is a mean individual who relies on manipulation to control other characters.

For instance, she strategically manipulates Eljert Lovborg into going out to dinner with Tesman

and Brack. She does this knowing Lovborg has a drinking addiction in the past and no longer

drinks and she knew Tesman and Brack would be drinking. When Lovborg rejects a cup of

punch from her she manipulates him into thinking others who notice him not drinking will cause

them to believe he is insecure. She tells him if he doesn’t drink, “people might be apt to suspect

that- in your heart of hearts- you do not feel quite secure- quite confident in yourself” (Ibsen 42).

Hedda continues to manipulate Lovborg into drinking by telling him Mrs. Elvested told Hedda

she was worried if Lovborg came he would start drinking again. Lovborg got upset and in the

end, began drinking. Another incident where Hedda expresses manipulation and scorn towards
other characters is when she doesn't inform Lovborg that she has his manuscript and eventually

burns it. Lovborg tells Mrs. Elvested, “The manuscript- well then- I have torn the manuscript

into a thousand pieces” (Ibsen 57). When Hedda heard him say this, she began to say it wasn’t

true, but stopped herself remembering she would have to explain that she burned it. Lovborg

only said he tore it up so no one would know he lost it. It was his life’s work and his only copy.

Hedda wrongfully destroyed it. This is an immoral and distasteful act anyone would scorn.

Lastly, Hedda illustrates scorn when she personally hands Lovborg the pistol to kill himself.

When Lovborg wants to commit suicide, Hedda tells him, “Take it (pistol)- and do you use it

now. And beautifully, Eilert Lovborg. Promise me that” (Ibsen 59). Hedda was intentionally

encouraging Lovborg to end his life. This is the most scorned act of them all because one would

usually try to help a depressed individual crying for help, but Hedda only pursues him and his

demons.

Furthermore, as terrible as Hedda is throughout the play, she still eludes sympathy for

being an unsympathetic character. Hedda goes somewhat mad after Lovborg and Thea leave. She

begins to rip apart the manuscript as she throws it into the fire shouting, “I’m burning your child

Thea!” (Ibsen 45). Hedda has basically reached her breaking point during this scene. Hence why

she is such a difficult character to play. She is extremely contradicting and again as Ibsen states,

Hedda is simply, “sympathetically unsympathetic”. Nonetheless, some may feel sympathy for

Hedda because she seems broken. Another example where one can sympathize with Hedda is

when the story emphasizes how Hedda isn’t allowed to hang out with a man unless a chaperone

is present. (Ibsen 30). This controlling aspect to the story is mainly due to the Victorian Era the

setting is placed in. The audience can sympathize with her because of modern day rights women

have and compared to Hedda, the lack of freedom she has compared to current traditions is very

sad. Following that, during the time period of this play, women’s jobs are basically to sit around,

look pretty, and compliment their husbands. This is very boring and belittling to women, or in

Hedda’s words, “How mortally bored I’ve been, how horribly I shall bore myself here,” (Ibsen

33). Finally, Hedda makes it clear the audience knows she has nothing to live for which triggers

sympathetic feelings towards her. Right before her suicide, Hedda and George communicate and

she asks if there’s anything he needs her for and he replies, “No nothing in the world” (Ibsen
261). This pulls on heartstrings because of neglect Hedda seems to face. A few lines later Hedda

asks, “What will I do evenings?” (Ibsen 42). Hedda is facing the bleak prospect of nothingness

that is par for the Victorian era.

Finally, Hedda Gabler is a difficult character to play. Hedda is not the catalyst but rather

the receptor. It's harder to play because she’s very passive. For one, Hedda is a very bipolar and

contradictory individual. When asked by Brack why she consented to marriage, Hedda responds

that, “it was certainly more than my other admirers were willing to do for me” (Ibsen 251).

Hedda waited until the last possible, acceptable moment to be married by the standards of her

time; the stage directions mention that she is very near thirty. She often enjoyed rebelling to the

standards which can make it difficult for one to play her character as well as follow the setting

the play is portrayed in. Moreover, She held out for beauty as long as she could, but in the end

she realized that humanity would never live up to her ideal. This brutal realization causes the

scathing viciousness of Hedda’s personality and prompts her to destructive action against her

fellow man. As Hedda laments the loss of her former hope for happiness, she remarks to

Tesman, “well, at least I have one thing left to amuse myself with…my pistols” (Ibsen 247).

Hedda’s pistols not only symbolize her volatile personality, but also the monstrosity which she

has resorted to. She speaks of this violence as if it is all she has left to comfort her in a world

without joy. This is contradictory. She sees happiness in her gun which represents evil. Another

example, is when Hedda pushed Lovborg to kill himself by showing she supported him and

personally handing him the pistol (Ibsen 59). She provokes his suicide to show assertiveness in

regards to her ability to manipulate her ex. Following this scene, she shows little to no sympathy

towards other characters just as she does Ejlert Lovbor. Nonetheless, after his death, she is very

upset and feels broken. These back and forth emotions demonstrate how bipolar Hedda is and

how the actor/actress playing her has to understand the mood changes and meet their

expectations.

To conclude, numerous interpretations can be drawn from the play, Hedda Gabler by

Henrik Ibsen. The main character, Hedda, is quite a handful. She is able to arouse both sympathy

and scorn from the readers throughout different scenes. Although, feeling sympathy for her is

more difficult. Moreover, Hedda is also very difficult to play. Her role requires the ability to
maintain her bipolar attitude towards life overall. In the end, the director's method of

manipulation as well as the hardships that come with playing Hedda in the play Hedda Gabler all

utilize similar techniques.

Julian Robinson

English 2112

Hedda Gabler: Creating a Monster

When Henrik Ibsen created the character Hedda Gabler, he created a monster. What else

do you call someone that ruins someone else’s life simply because her life bores her? At the

beginning of Act 2, we find Hedda standing in the window upstairs… with her pistols (crazy) in

hand. Judge walks up and she shoots, scaring him. Despite his outburst (which is reasonable), we

get the sense that he’s actually used to Hedda’s foolishness. “Good God, woman! Are you still

playing your ridiculous games” (p.579). We can also see that Hedda is not the typical woman.

She shot at him. Even if she was playing around, we must remember that she’s playing with real

guns, not toys.

The deceptively calm exchange they have following this event is also a clear indicator

that there is more to both these characters, especially Judge Brack. He must be an exceptional

man if even Hedda confesses her true feelings of boredom. He also convinced her to allow him

into the duo that was Hedda and Tessman, making them a trio. It’s interesting because at first,

this conversation seems sexual. For the judge, it may very well have been. However, Hedda’s

reaction is quite peculiar. When the judge applies pressure to his proposition, Hedda cuts him off,

responding “Never. That’s not for me. I shall keep my seat. I will not move. Just the two of us”

(p.582). While rudeness is hardly a new trait for our dear Hedda, her absolute refusal to betray

Tessman is surprising, considering how she treated him earlier; and how she talked about her

feelings for him. It begs the question “why? Why is she faithful if she doesn’t love him?” Later

in the play, the answer comes from Hedda herself, as she explains to Lovborg why she didn’t kill

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Robinson 2

him. It’s all because she fears the scandal. She’s so preoccupied with her reputation, that she’ll

do nothing to jeopardize it. Where many would have had affairs with other people if their

marriage was as boring as hers, her fear of damaging her reputation holds her in place.

The formation of this trio also reveals a bit more about our crafty Brack. Why push for

such an arrangement? He pushes for it because it gives him a leg up on others; and we learn later

on that a leg up is something our dear Brack treasures greatly. It’s not a hard concept to grasp,

really. As a judge, Brack regularly makes powerful decisions. He’s presented mountains of

information on a daily basis. Why not extend that power into your personal life, even if just a bit.

Our Judge desires power, and with Hedda (informed as she is) in his corner, he sets himself up to

clear the board.

This scene is more pivotal than the first glance would suggest. The characterization of

these two characters is essential to the overall plot. With this scene, Ibsen begins to plant the big

questions in the head of the audience. “What’s Hedda’s deal? What’s the judge playing at? Is

Hedda insane?” All of these questions keep the audience members focused, keen to find the

answers to their questions, and Ibsen, genius that he is, delivers them in a timeless fashion.

Question 3: To what extent does the work you have studied show that an

individual is in control of his or her own destiny?

How does one remain in control of his or her own life when conflicts arise? Do they
remain in power, or does this force shift into another’s hands? Many literary texts explore
power and control, depicting how characters govern their own fates in the presence of
conflict. In Hedda Gabler, however, playwrightHenrik Ibsen portrays this notion quite differently,
depicting the titular character, Hedda, desperately trying to free herself from the 19th century social
norms that rob her from the fate she deserves
the play focuses on external conflict to depict the lack of power Hedda has over her life. Nevertheless, ,
the author’s use of conflict as a tool to drive the plot forward and convey the thematic idea that
individuals are unable to escape from conflicts’ oppression, leading to a lack of control over their own
destiny.

To begin with, In Hedda Gabler, Ibsen uses the external conflict between Hedda
and society’s perception of women to portray her inability to hold power over her own fate.
This is first apparent when Hedda explains to Judge Brack that she married because “she has
simply danced herself tired” and “her time was up” in a cold, controlled tone. Not only does
her tone characterize her as an unsentimental woman, very uncommon in 19th century
Norway, but it also conveys her distaste and anger towards the fact that because society
dictated she was too old to remain single, she was forced to get married. Furthermore,
Hedda uses the metaphor of a dance to refer to her life before marriage, explaining that,
because of the dance’s connotations, it was a time of joy, festivities, and celebration. This
provides a stark contrast to her description of married, “boring” life, reinforcing the notion
that she married out of obligation rather than love. The audience sees that Hedda is
trapped by the confinement of society, forced to let them dictate her future. In addition to
this, Hedda exclaims in Act 2 that “it is the middle class she has gotten into” and that it is
the reason as to “why life is so wretched, so absolutely ludicrous.” Not only does this
exclamation depict her scorn towards the lower part of society, but it also insinuates that
Hedda, despite being middle-class, still views herself on a higher hierarchical level. The
adjectives she uses to describe her current life reflect her tone of anger and misery, further
suggesting that she is discontent with society having thrust her into a life she did not want.
Essentially, this characterization portrays Hedda as a woman, who during that time period,
was supposed to be loving, caring, and obedient, yet she wants nothing more than to be the
opposite. The audience is shown that Hedda, in face of her external conflict, has lost power
over her own fate so that it now lies in the hands of society.
-
Furthermore the plays illustrate conflict as an oppressive tool over one’s life and destiny,
Ibsen presents Hedda as a character who, since she cannot control her own destiny, will opt to destroy
other people’s lives in society. This is apparent in Act 2 when Hedda explains to Thea that “for once in
her life” she wants to “have power over a human being’s fate.” Because she states that it has never
happened before in her lifetime

Hedda insinuates that she has never been in control of her own life. Furthermore, her
confession foreshadows Hedda’s need for control due to being unable to have some over
her own destiny, leading her to meddle into Ejlert Lovborg’s life by causing him to relapse
into his drinking habit and destroying his precious manuscript. In addition to these actions,
Hedda pushes Ejlert to commit suicide by handing him a pistol and urging him to do it
“beautifully.” This shows that Hedda romanticizes death, finding beauty in the act of taking
one’s own life. This compares Hedda’s admiration to the action of defying social norms as
by killing oneself, one can escape the external conflict with society. The audience sees that
because Hedda cannot control her own destiny, sealed to the fate that society has scripted
for her, she wants to hold power over Ejlert and wants to experience freedom from his
suicide.
In Hedda Gabler the pistol is a motif used as props to symbolize power
the author use the guns to give power to the women, thus illustrating their attempts at regaining power
over their destinies through violence. In In Hedda Gabler, however, the pistol is initially directed at Ejlert
to breakfrom society’s rules. However, upon finding out that his death was not in fact, beautiful, and
that Judge Brack knows the truth, Hedda feels revulsion and decides to end her own life in
an attempt to escape society’s oppression. However, from Judge Brack’s reaction of “one
doesn’t do that kind of thing!” in Act 4, the audience sees that Hedda did not even hold
power over her destiny as in the end, society’s views still judge her after death.

In conclusion, Henrik Ibsen used conflict as a tool to present

the thematic idea that the a female protagonist is unable to hold power and control
over her own destiny. Hedda Gabler
cannot escape from societal norms as she is forced to have her destiny dictated by society.
Ibsen wanted to “depict human destinies on a groundwork of social conditions of the
present day.”

Ibsen presented Hedda Gabler as an reflection of the wrongs society and tradition inflected upon
the woman of his era. One of the social issues dealt with in this play is the oppression of women by
conventions limiting them to a domestic life

. The play concerns primarily with the themes of power/ control and sex as related to women who are
denied equality and opportunity .

Hedda Gabler revolves around the relationships between characters. The seven characters in the play
are a tight-knit group: Hedda, the daughter of general Gabler; her newly married husband, George
Tesman ,where his Aunt Julia ; the old family maidservant Berta; Thea, a school fellow of
Hedda ,George's former companion and fellow historian, Lomborg who has ruined his reputation
through drink and Judge Brack , a family friend.

The play portrays the life of a young newlywed woman named Hedda Gabler and her attempts
to overpower people around her. Hedda's marriage to her husband Mr. Tesman only increases her
desire for power to control others because it is a constant re-minder that now belongs to Mr.
Tesman.She yearnsfor freedom, but feels as if she had not lefther marriage. Tooccupy her time,she
manipulates the lives of everyone around her. She needs control even over herself and in orderto gain
control over her life, she commits suicide and she does it beautifully to fulfill her romantic quest It
was part of our compact that we were to go into society ___to keep open house.(ActOnep.23)However,
she does not care to control GeorgeTesmanas she considers his life too boring, but,at the age of 29,
Sheneeds home to settle down in orderto maintain her status and reputation. Tesman, her husband,is a
perfect match according to herplan because he is unquestionably obedient to herand provides her
with material satisfaction and freedom to access social life.She is alsouninterested in controlling the
life of a child, she does not wish to become a mother, as that rolewould limit her even more
than the roleof woman and wife. Aftermarriage her control is limited to the house. She will have
no control outside the house due to the factthatit is unthinkable for woman to receive acceptance
fromapublic and professional field. She does believe that she has some control over men
(Lovborgthe poetand Judge Brackman of the world).Hence, the pistols left by Hedda's father
represent an important characteristic, the father has passed to Hedda a desire to have complete
control over others).The pistol also plays an important role in the relation between Hedda and
Lovborg.Hedda has once aimed the pistol at Lovborg when they were lovers; and inLovborg last
visit,Hedda hands the same pistol to Lovborg which accidently ends his life .The pistol here
revealsHedda's control over Lovborg and her destructive characteras Lovborg becomes the
victimunder her control( Knight, ImprisonedSoulsinHenrik Ibsen,pp.65-7):Hedda:(nodding slowly).
Doyou recognize it? It was aimed at you once.Lovborg: You should have used it then.Hedda:Take it
___and do you use it now. Lovborg : (puts the pistol in his breast pocket). Thanks!

AL-USTATH No 702Volume Two2013AD, 1435 AH 511Hedda: And beautifully,EilertLovborg . Promise

me that! (Act Three p.59)When Lovborg comes first to town ,he has both career and love; he has social
reputation from his first book and is in romantic relationship with Thea. Moreover, there will be
bright future ahead of him after publishing his second book. But Hedda destroys Lovborg's life step by
step. First she discloses Thea’s secret that she came to town because she is worried that Lovborg will
start drinking again, then, by burning Lovborg's manuscript without telling the truth. Lovborg's career
collapses and his romantic relationship ends, Hedda's pistol is the final push for Lovborg totheedge of
death. Again,the pistol is used as a symbol of aggressive control, the control of life and deathand
the power to mould a human destiny.Hedda: Yes, I have, Iwant for once in my life to have power to
mould a human destiny.(ActTwop. 45)At the end of the play,the scene ofthepistol is emphasized again
when Hedda kills herself with a shot to the temple. Hedda's suicide is not a cowardly action;
rather it is a part of her rebelling against the society. Her designed death proves that sheisin control of
nobody but herself. She is indeed like the pistols she owns:dangerous, destructive and
powerful.Tesman:(Shrieks to Brack) Shot herself! Shot herself in the temple! Fancy that!Brack: ( half
fainting in the arm-chair) Good God! ___ People don't do such things.(Act Four p.72)The ManuscriptIn
this play, Ibsen connects the four main charactersHedda,Lovborg, Tesman and Mrs. Elvstedthrough
creating, burning and recovering the manuscript. The symbol the manuscript represents

the defiance against nineteenth-century norms. The manuscript's content is not only innovative,
but Mrs., Elvsted is involved in its creation and it is revolutionary in itself, because a woman
participates in a seminal work. The symbol lof the manuscript has many phases. The manuscript is
Lovborg's soul.” For this is the real book—the book I have put my true self into”.(Act Two p 34)and he in
turn may be the poet-side of humanity mutilated and destroyed by a fierce touch of intellect and
degraded by passion. The manuscript represents intellectual power and it also represents
Lovborg's creative powers; he can influence the world with his ideas just as Hedda's father
influenced the world with his military power and status representedby the pistols(Lee, The Ibsen
Secret: AKey To Prose Drama Of Henrik Ibsen,p 153).The contrast between Hedda and Thea is
reinforced by procreative imagery of the play. Themanuscript stands for Thea's childor it is seen as
Lovborg and Thea'schild.The sterile Hedda throwsthis manuscriptinto the fire at the climax of her
vindictive passion. When Hedda is burning the manuscript,she whispers to herself:Hedda:( throws one
of the quires into the fire and whispers to herself)Now I am burning your child, Thea! ----Burning
it,curly –locks! (Act Three p.59)Hedda is jealous of Thea's exuberant life her courage towards freedom
and self-realization.Thea leaves her husband and chooses torealize herself-value assisting and
inspiring a promising writer. Mrs. Elvsted:Well, to make a long storyshort: My husband did not
know that I was coming.___________________

AL-USTATH No 702Volume Two2013AD, 1435 AH 511Mrs. Elvsted:I shall never go back to him again.
(ActOnep.17)Hedda'sanger and jealousy drives her to burn the manuscript and persuade Lovborg
to suicide. Hedda is jealous of Thea because sheis creativeandis able to inspire both her husband
and Lovborg while Hedda can do none.Hedda's power diminishes in front ofThea. While Hedda is not
capable of taking control outside the house she loses control inside the house as well.On the
other hand, Thea has control over Lovborg by the creation of the manuscript and she will have
control over Tesman by recovering the manuscript at the end of the play. UnlikeHedda, Thea kept
all the notes, and; therefore, there is a possibility to recover the original piece(Knight, Imprisoned
Souls in Henrik Ibsen,p.65-67).Mrs. Elvsted: Yes, I have them here. I put them in my pocket when I
left home. Here theystillare____........................Tesman:Fancy, if we could make something out of
them, after all! Perhaps ifwe two put our heads together.(ActFourp.67)When Hedda sees the image of
Thea and Tesman together recovering the manuscript, she sees the rebirth ofthe "child"she has
just destroyed, and now she realizes that she has no power to stop the manuscript from coming
to life any more.Hence, Hedda's triumph is reduced when the literary "child" comes to life again
from the notes which Thea has keptand her sense of emotional inferiority is heightened
when her husband would devote his life to the reconstruction of the lost work.The Vine
LeavesTesman: We will manage! We must! I will dedicate my life to this task.Hedda: Doesit seemstrange
for you, Thea?Here are you sittingwith Tesman__just as you used to sit with EilertLovborg?

AL-USTATH No 702Volume Two2013AD, 1435 AH 511(ActFour p.71)The vine leaves arementionedby

Heddamanytimes in the play: Hedda: At ten o'clock ---he will be here. I can see him already ___with vine
leaves in his hair___ flushed and fearless__.(ActTwo p. 44)Hedda : Nonsense! First you should have a cup
of tea, you little stupid. And then __ at ten o'clock__ EilertLovborg will behere__ with vine –leaves in his
hair.(ActTwo p. 45)Hedda: Hadhe vine-leaves in his hair? Tesman:Vine-leaves? No, I saw nothing of
the sort._______(ActThree p. 49)Hedda: (gazingstraight before her) sothat is what happened. Then, he
had no vine-leaves in his hair.(ActThree p. 54)Lovborg: Beautifully? (Smiling). With vine-leaves in my
hair,as you used to dream in the old days____?Hedda: No, no. I have lost my faith in the vine-leaves.
_______(ActThree p. 59)The symbol comes from Greek mythology, in which God Dionysus is a happy
drunk man wearing a wreath of vine leaves on his head. Dionysus is the god of wine, revelryand
bacchantic elation.Hedda's fantastic vision of Lovborg with"vine leaves"isThis manuscript avery
obvious image or symbol of the beautiful, the ideal aspect of bacchitelation. His life is all about
seeking pleasure(Archer, Preface to HeddaGabler :InThe Collected Works of
HenrikIbsen,pp.xii,xvi,xviii,xixp65).
AL-USTATH No 702Volume Two2013AD, 1435 AH 511Hedda sees Lovborg as god Dionysus, a man
full of creative ideas, bacchantic and free from orders and disciplines. He can have a reputation
in his career, and at the same time keepsromantic relationship with a woman .Hedda
herself is Dionysian: ecstatic, orgiastic, irrational and undisciplined. Due to the society limitation
and her irresponsible attitude towards everything, her rebellious thoughtscannotput into action.
When Mrs. Elvsted says that Lovborg now left his old ways because of her, Hedda
thinksthatLovborg's bacchantic nature is beingsuppressed, and she is eager to set his true self
free.Hedda discloses the secret to Lovborg that Mrs. Elvested comes to town to prevent him
from drinking. Lovborg angrily leaves the house to join Brack'sparty.Hedda convinced Thea that
Lovborg will come back with vine leaves in his hair.Nobody knows what vine leaves in his hair
means except Hedda herself. She sees the revival of Dionysian inside Lovborg.Hedda:Nonsense! First
you should have a cup of tea, you little stupid. And then __ at ten o'clock__ EilertLovborg will be here___
with vine –leaves in his hair. (ActTwo p. 45)Thea's HairThere is considerableevidence that Thea's hair
is a sign of that potency which Hedda envies. Ibsen had ample precedent for employing hair as a
symbol of fertility. Through this symbol of hair we know more about the two characters and a
contrast is made between the two.Hedda'shairis not abundant while Thea's hair is abundant and wavy.
Hedda recalls her as "the girl with irritating hair that she was always showing off". Moreover,Thea
fearfully recollects Hedda's school girl reaction to it:Thea: Yes, dreadfully. Forwhen we met on the
stairs you used always to pull my hair....yes, and once you said you would burn it off my head.(Act
Onep.15)

511As Hedda wants to burn off Thea's irritating hair,we feel that some wild reaction is about to
occur, it occurs when Hedda encourage Lovborg into drinking and accepting Bracks invitation to his
party.

Thea's hair is a sign of that potency which Hedda envies even when she ridicules its possessor. Although
Ibsen's description of the hair of each of these women may seem at the time only casual stroke
in the sketch ,Thea's red hair is to serve as a symbol of her straight forward sexuality. Thea's
appearance deepened the contrast betweenthe two. Her blondness ranks her with the
Teamans, leaving Hedda's isolation by colour more marked. Thea's bright hair and light eyes
emphasize Hedda's restrained coldness .In addition, the abundance of Thea's hair is plainly to be
contrasted with Hedda'ssparsity.Thea lacks Hedda's poise and strength, but she has light and
warmth. This strong visual distinction between the two women gives more force to the more subtle
distinction of character which is unfolded bitby bit (Northam,Ibsen'sDramaticMethod :A Study Of
The Prose Dramas,pp. 152-3, 162).Thea is described in the stage direction as:Thea is a woman of fragile
figure, with pretty, soft features. Her eyes are light blue, large, round and somewhat prominent .........
Her hair is remarkably light, almost, flaxen, and unusually abundant and wavy _____________.
(ActOne p. 11)The strong distinction between the two characters is more emphasized when Thea is
made responsible for some of the flowers in the room,which Hedda dislikes.Berta: That lady ,
ma'am, that brought some flowers a little while ago, is there again .ActOne p.11)Again flowers are used
asasymbolof love and warmth. The contrast between the two characters is the contrast between the
cold and the dark interior world represented by Hedda and the warm and light exterior world
represented by Thea. Hedda's cold refinement links her with interior world and it seems that she
dislikes the bright outer
AL-USTATH No 702Volume Two2013AD, 1435 AH 516world and she dislikes flowers as they are
associated with the exterior world:Hedda: No, nonot that! Tesman, please draw the curtains. That
will givea softer light.Tesman: at the door. All right__allright. There now, Hedda, now you have both
shade and fresh air.(Act Four p. 8)Thatis why her complexion is described in terms similar to those used
for the lamp-shade. On the other
hand,Hedda is described as:_________________________________Her complexion is pale and opaque.
Her steel-grey eyes express a cold, unruffled repose. Her hair is of an agreeable medium brown, put not
particularly abundant._________________________________.(ActOne p.7)The Conclusion:Ibsen in
HeddaGablerdealswith one of the social issues which is the oppression of women by conventions
limiting them to domestic life. In HeddaGabler the heroine struggles to satisfy her ambitious and
independent intellect within the narrow role society allows her.Hedda manipulates the fates of others
in order to fulfill her own desires. She grew up withoutafemale influence as her father who was a
General raised her around guns,because she was his daughter, people would show great respect
and loyalty towards her. She needs control over others and her own life and in order to gain
control over herself,she commits suicide. Ibsen,as a Norwegian dramatist,his works are notorious
for their revealing the truth thatthe society preferred to keep hidden. The symbols used in this play
donotonly carry the whole thematicburden of the play, buttheyalso illuminate the meaning of the
characters and the action with which they are associated. Charactersotherthan the main one
stand out as unmistakable

AL-USTATH No 702Volume Two2013AD, 1435 AH 511symbols. Hedda,the main one,has her own
symbol, the pistol,she in turn is a symbol__ ifitmay be so called. She is not merely a woman, but
a type;the cold destructive woman ofintellectual power who kills the soul of a poet. And side by side
with her are other types, Thea the goddess woman,the poet's good angel who would inspire him and
save him to the world. Besidesthem are the two masculine types,the man of the world Judge Brack, and
the mere student,Tesmanwho,too, playstheir part in thetragedy of the poet's soul. Hence,
Ibsenthinks in, pictures, in living images, and these images reveal the soul,in whose action is
centered. His play focuses attention upon the action of the soul, and to this form of drama no
artistic method could be so well suited as that of symbol.

Revision 3

How the setting and time period of the author influences the way in which a play or body of work is
written

The play Hedda Gabler is one of the best examples of how the setting and time period of the

author influences the way in which a play or body of work is written. Written by Henrik Ibsen

in 1898, the time period beings to light the different stereotypical thoughts such as the

importance of money and the factor of jealousy, while the setting of the place showcases
the constraints of female characters and marital stereotypes. Furthermore, the timeline of

the play is also impacted by the order of social hierarchy and the points which bring forth

the difference in classes based on the structure of society.

In the play Hedda Gabler, Ibsen employs the use of Hedda's body language and tone to

represent the role time period due to the fact that it depicts the power and need for money

in society and the emotion of jealousy evidently portrayed throughout the play. On various

instances throughout the play, the importance of money and the jealousy among society.

Halfway through the play, when Hedda peaks to Judge Brack about her regret after marrying

George Tesman, it brings to light how financial stability impacted decisions, and how

influential they proved to be. The quote

"BRACK: [Looks at her hesitatingly.] I thought that you, like everyone else, expected him to

attain the highest distinction." suggests the fact that one of the only intentions Hedda had

for marrying George Tesman was his possibly lucrative future after completing the

manuscript. This instance portrays to the readers the impact that lucrative power had on

decisions from the 19th century in Norway era, and helps provide a better understanding of

the concepts which follow. Moving forward in the play, another instance which is impacted

by the time period is jealousy which Hedda had for the bond between Eilert and Thea.

Hedda, having no particular bond with Tesman, had a strong sense of jealousy towards these

two characters in this play due to their genuine emotions towards each other, and the fact

that they had created a manuscript, which they referred to as their "baby". Quoting from the

play, Hedda says "Did he name her?", which shows her particular interest towards their

bond, and the hatred which she had for it. This shows the readers Hedda's vengeful actions,

and her inability to see anyone with something she didn't have.

Influenced by the stereotypical norms of society present in Norway during the 19th century

in Norway era, Henrik Ibsen uses Hedda's frustrated tone and stichomythia to highlight the

gender stereotypes to portray the differences in gender and classes. Thus, the next factor

which plays is role on the choices of this play made by the author is the place where it was

written. Present in Norway were various stereotypes which were rarely broken, and women

were treated more like trophies and inanimate objects rather than people. As the play
revolves around the life of Hedda, it is based only in the living room of the Tesman's which

shows how Hedda could not leave her own house due to the rigid stereotypes of society.

The quote by judge Brack: "Have you had no visitors?" shows the interaction between

Hedda and Judge Brack, where she describes her situation to him. At this moment, the play

shows the rigid rules of society, and helps readers understand the setting and the choices

which the author has made in accordance to his environment. Additionally, a factor

noticeable throughout the play is the way in which Tesman cares for Hedda. His care for her

is shown to be as just as he would treat an object he greatly cared for, but was inanimate

and needed to be looked after. During the 19th century in Norway time period, women were

restricted from working and were looked as prizes rather than beings, and their

attractiveness and social hierarchy impacted the family's position in society. The quote

"Hedda: No, no, not that! Tesman, please draw the curtains. That will give a softer light."

Highlights the way Tesman took care of Hedda like was a trophy, and obeyed the things she

said, as if she would run away if he wouldn't.

Based in the late 19

th

century in Norway, where social hierarchy decided everything, Henrik

Ibsen has demonstrated how large of an impact it has on this play. Tesman, before marrying

Hedda, was part of the mediocre classes of society. However, after their marriage, Tesman

too was treated as an aristocrat, like Hedda. Social hierarchy was based on the history and

wealth of the family in the olden times, but marrying someone of the higher classes was

almost a free pass into those classes. "Nor I.—But by-the-bye, Berta—while I think of it: in

future you mustn't say Master George. You must say Dr. Tesman." This, coming from the aunt

that could be considered as Tesman's mother, shows the importance of classes and social

hierarchy in the time when this was written, and how it impacts everyone around. It

showcases to the readers the way in which classes were decided and how things seemed out

of reach. In the book, we also see how Judge Brack and Hedda Gabler were the only two

aristocrats, and the comments Berta makes such as "I should never have dreamt in those
days that she and Master George would make a match of it." Shows the thought process

which went into the marital system of those days, and how she believed that someone of a

higher class would not marry George. In addition, this shows how rigid the systems were,

and gives readers an in-depth view in the functioning of society.

Hedda Gabbler, even today, is one of the most renowned plays solely due to the fact that

even in today's world, the same issues are relevant, although not as prominently. The author

has subconsciously used stereotypes and conventions present in those days and his area to

help readers understand the true situation, and understand the play as it was meant to be.

Making use of stereotypes about social hierarchy, lucrative power and emotions, the author

enhances the understanding of readers and the how aspects of time and place change the

course of the play

revision 4

Hedda Gabler,a famous 19thcentury tragedy by Henrik Ibsen, is a socially reflective work that addresses
issues relevant both in today’s society and in society 100 years ago.Written in 1890 and first performed in
1891,Hedda Gablerbrings to question many social customs and internal dilemmas of the 19th
century.Ibsen, who is infamous for raising challenging questions but failing to include their answers, uses
his plays to expose many social problems of his day. Furthermore, writing during a period where special
effects and the “well-made play” dominated

live theater, Ibsen sought to instead rely on complex characters and controversy to keep his audiences
entertained.Considering all of this, readers are able to take a look at one of the most prominent and
versatile writers in theater history. Ibsen’s plays are full of issues that challenge the practices of society
and raise many controversial questions.One of the most prevalent social themes throughoutHedda
Gabler,aswell as at the time at which it was written, is the role of women and society.During the late 19
th century women’s roles in society consisted mainly of household chores and raising children. Women
were expected to obey their husbands or the man of the house, and follow their instructions.However,
throughout this play Ibsen develops Hedda as a masculine woman that clashes not only with this
stereotype, but also defies many other traditional roles in society.For example, Hedda was raised by her
wealthy father, a well respected general, and enjoys guns and horseback riding.Furthermore, Hedda
seems to be dreading the birth of her child, repeatedly displays little interest in the future of her
marriage, and is focused primarily on obtaining social prominence. One can speculate that the absence
of Hedda’s mother (her mother is seldom mentioned throughout the play) is a possible cause for her
masculinity, and that Hedda was raised more as the optimal son of her well respected father.This
speculation also explains Hedda’s motivation to be a part of a primary social circle and have costly
material possessions, like those of Judge Brack.As a result, Hedda possesses the mindset to be a
prominent, respected male citizen but lacks the feminine values needed to be an effective wife and
mother, especially during the 19thcentury.

Possible introduction

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 inHedda Gabler are of crucial importance as they “constitute the molding
andtempering forces which dictate the behavior of all the play's characters” witheach character part of a
“tightly woven social fabric” (Kildahl). Hedda is anexample of perverted femininity in a depraved society
intent on sacrificing toits own self-interest and the freedom and individual expression of itsmembers. It
portrays Nineteenth Century unequal relationship problemsbetween the sexes, with men being the
independent factor and women beingthe dependent factor. Many of the other female characters are
represented as“proper ladies” while also demonstrating their own more surreptitiousholdings of power
through manipulation