Examination of charcters in the Play Hedda Gabler

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Examination of Charcters in the Play Hedda Gabler

Henrik Isben, author of the famous play Hedda Gabler, is called the father of modern drama and his play Hedda Gabler perfectly demonstrates why he is given this title. The way Isben jumped forward from traditional 1th century theater and focused on character rather than plot. Henrik Ibsen was born in the Stockman Building in Skien, Norway. After leaving school at age fifteen and working for six years as a pharmacists assistant, Ibsen went to Christiania hoping to continue his studies at Christiania University.(Linnea) While attending Christiana University Ibsen decided that writing would be his career and is where he began to write poems and plays. One of his popular plays Hedda Gabler, is a play concerning a frustrated aristocratic woman and the vengeance she inflicts on herself and those around her. Hedda Gabler is a play that focuses on the role of women in a male-dominated society. Ibsen is careful to present the character, not merely as a woman troubled by her own womanhood, but as a multifaceted and vague protagonist with a range of option and insinuation. Haggard by her good looks and manipulative ways, the cast of characters surrounding Hedda fall victim to her dangerous games.

As Wellek and Lawall put it We must pity her as a tortured, tormented creature caught in a web of circumstance, as a victim, in spite of her desperate struggles to dominate and control the fate of those around her(Wellek and Lawall 1). Her entrance introduces her dominant trait, a desire to control those she feels to be beneath her-especially Tesman. (Linnea) Most of the people who come into contact with Hedda Gabler seem to be intimidated by her. No other character in the play is as cruel and beleaguered as Hedda. She is her own victim in the play and she is the one character that stands out. Hedda exist as mercurial, appealing, and cursed with aggravation and an aim to hurt everyone around her.

Hedda has married George Tesman a wordy doctrinaire, dull and derivative man for very practicable reasons. She behaves with cold disdain towards her husband. Her relationship with Tesman is based on what she can gain from him not her love for him. Hedda, having reached a certain age and possibly lacking the financial resources to live independently, consents to marrying Tesman for those reasons. Hedda insists that Tesman buy a house which he cannot afford; when they move in, the genteel pretensions of the house irritate her it smells of death and lavender, it is too light, the piano is allwrong. (Barstow) In other words nothing seems to satisfy this woman. Hedda is a mediocre wife to George and hardly tolerates him. She cannot bear the idea of being a conservative wife or mother, and refuses to confess the fact that she is pregnant. She is disgusted by the thought of bearing his child. She is in hopeless fear and rather terrified refutation of her pregnancy.

Berte, Hedda and Tesman's maid on the other hand is just scared to be around Hedda and tries to do everything she can to please her but nothing appears to be good enough for Hedda. Every diminutive thing she does makes Hedda distress. Tesman, we really can't go on keeping this maid/ Look at that! She's left her old hat lying on the chair (Anthology 487) It seems as if Hedda tries to find things to pick on Berte about in this case it turns out that the old hat was Aunt Julia's.

Juliane Tesman, the aunt of George Tesman, is perhaps the only one in the play who can see beyond Heddas facade to discover her true self. (Dulles) Aunt Julia is not wanted in the household by Hedda either. Although she has not done anything to Hedda, Hedda insist on being denote towards her. She's beautiful-beautiful. Hedda is beautiful. God bless and keep you, Hedda Tesman. For George's sake. And Hedda replies Oh-let me go, please (Anthology 487) Hedda shows how callous she is here by showing Aunt Julia that she really doesn't care about her or her nephew. When Aunt Julia calls Hedda by her full name, Hedda Tesman it makes Hedda furious. Aunt Julia puts up with Heddas insults so long as she can give her news of her pregnancy and thus perpetuate the Tesman name. She knows that by calling Hedda's full wedded name makes her very annoyed.

Eilert Loevborg is Hedda's ex-lover on which she lives explicitly to because of the bond they once shared. Loevborg once was a drunk who turned himself around completely with the help of Thea Elvsted. Hedda finds a way to distress Loevborg because of her jealousy of the bond that he and Thea have formed by luring Loevborg back to alcohol and sending him to a party where he looses the manuscript that he and Mrs. Elvsted had worked so hard on. By Tesman finding the manuscript and giving it to Hedda creates a dilemma. Instead of giving the manuscript back to Loevborg Hedda burns it, destroying the life that Thea and Loevborg created together calling it there child. Im burning your child, Thea! You with your beautiful wavy hair! The child Eilert Loevborg gave you. I'm burning it! I'm burning your child! (Anthology 57) This is the climax of the play because once Loevborg finds out he has lost it Hedda hands him a pistol and tells him to kill himself persuading him to Do it beautifully (Anthology 56) Loevborg not only does not do it beautifullyas Hedda ordersbut doesnt do it at all. Instead he ends up in a brothel and becomes the victim of an accident when he gets into a scuffle and the gun goes off in his pocket, lodging a fatal bullet in his abdomen. (Silverman) The reason that I identify this as the climax is because it is the point of the story where there is great intensity. This is the turning point in the play.

Judge Brack, probably the only one who can manage Hedda due to his upsurge amount of information, is a degenerated man who uses what he knows to manipulate others. Brack's scheming nature can perhaps be considered the most compelling implement that he has. He is no better then Hedda and it is he at the end that gets Hedda back for the wrong she has done to others by blackmailing her. Well, luckily there is no danger, as long as I hold my tongue. (Anthology 56)

Hedda is perpetually bored and she keeps herself entertained by shooting her fathers pistols. These weapons express arrange of control and power that might be detained by those who are lacking power. A life of conventionality without faith leads her to boredom, emotional infertility, and suicide. By Loevborg not committing suicide beautifully as she ordered him to, Hedda feels bound to put things right by doing it herself, confusing everyone around her. Hedda's life is sensibly empty, and maybe one reason she takes her life is because she is drained of feelings. Although Ibsen supplies us with plenty of realistic reasons for Heddas suicideher pregnancy, her entrapment by Brack, and her boredomthe most fascinating one arises out of her disgust with Lovborgs end. (Silverman)

Heddas power is so extensive that her own self-destruction leads almost unavoidably to the obliteration of the other characters lives. As a result the cast of characters surrounding Hedda fall victim to her dangerous games but it she in the end that disintegrate.

Works Cited

Bartstow, Susan. Hedda Is All of Us Victorian Studies. 4. (001) DEC. 186.

http//muse.jhu.edu/journals/victorian_studies/v04/4.barstow.html

Dulles, Emilie, Is Hedda Gabler's Past It's Prime? Daily Princetonian. 16 NOV. 000

http//dailyprincetonian.com/archive/000/11/16/arts/1816.shtml

Isben, Henrik. Hedda Gabler The Norton Anthology of Masterpieces. New York

W.W.Norton & Company. 476-56.

Linnea Sharon, Hedda Gabler and A Dolls House by Henrik Ibsen (study guide),

Barrons, 185. Contemporary Authors.

Silverman, Albert H, What Happens In Hedda. New York Review. 17.7 (171) 4

NOV. 171 http//www.nybooks.com/articles/10404

Wellek, Rene and Sarah Lawall. Introduction to Hedda Gabler. The Norton Anthology of

World Masterpieces. Eds. Sarah Lawall and Maynard Mack. 7th ed. Vol. . New

York W.W. Norton, 1. 1-15.

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