Discuss the character of Hedda in Hedda Gabler.
*The drama opens as Hedda Gabler and her new husband, George Tesman, return from their six month honeymoon to their new home. Although Hedda has not yet appeared we are given vital clues about the coldness of her nature from the other characters conversations. Firstly we learn that Berthe, the maid, is scared she wont give satisfaction to the young mistress, because shes ever so particular. Miss Julie, Tesmans Aunt, in agreement replies, of course she is, General Gablers daughter(168), and also states she bought herself a new hat so Hedda wont be ashamed of me(171). We then discover that Hedda has instructed Berthe to address Tesman as Dr., soon as they came in at the door, and also told her to take the covers off the chairs. We can certainly feel Berthes apprehension in her new post as maid to Hedda, but this could easily be understood in light of the fact that she has been uprooted from her position in Miss Julies house- attending to the bedridden Rina. Heddas behaviour then, may be a similar anxiety, returning after six months as a newly married woman to a new house and new in-laws, she may feel the need to assert her authority. Upon Heddas entrance, however, although looking aristocratic and elegant(175), our sympathy quickly evaporates in the presence of her behaviour. Hedda will only greet her new Aunt-in-law with a hand shake, she has slept only tolerably well and goes on to comment negatively about the veranda door, the flowers, the slippers and that maid(177). Hedda then, makes it a point to comment on the ugliness of the hat on the chair, which she says she believes is the maids. When Miss Julie claims the hat as her own, Hedda does little to retract her statement, just an obviously hollow faade of manners. Later, however, we find that Hedda in fact manufactured the whole event, knowing quite well that the hat was Miss Julies all along. Heddas ability to not just react to a situation, but to calculate interactions with characters in order to achieve a goal, is a recurring theme and will be witnessed again as the drama unfolds.
Heddas calculating and manipulative traits are patently visible and can be seen firstly in her treatment of Mrs. Elvsted, who admits to be frightened(186) of her. Not only does Hedda dismiss as talk her mistreatment of Mrs. Elvsted at school, threatening to burn her hair, but also kisses her cheek(186) -despite the fact that she refuses to greet Miss Julie in such a warm manner. Throughout this conversation she coolly extracts information on Mrs. Elvsteds marriage and Lovborgs position, but also manipulates her husband into leaving the room to write a good long letter(185) as an invitation for Lovborg. By the close of Act I Heddas dispassionate manner is well established, but so too are glimpses of her foibles. For instance, when her pregnancy is intimated she impatiently interrupts, and as soon as she is alone acts as though in a frenzy(179). Later when Tesmans Professorship is in doubt, and therefore his salary, she refers to her marriage as an agreement(197). At this point, it is perfectly clear that Hedda is miserable in her marriage, but is seemingly pregnant, and we have no idea why she has allowed this situation to come to pass.
As the drama plays out Heddas callousness is again underscored when she refers to Miss Julie as the other one(205). We then get the answer to her strange pairing with Tesman, as we are explicitly told that she married him as he was so pathetically eager to be allowed to support me and that It was more than any of my other gallant friends were prepared to do(203). Noteworthy also, is Heddas comment to Lovborg, while reminiscing on their time together with a magazine in her fathers house she states; Yesfor want of an album(218), comparing her time with Lovborg in her fathers house and presently with Tesman. Thereby further demoting Tesman from husband to a father figure, who could support her and take care of her material needs. In light of this its not hard to imagine how she felt her honeymoon was horribly tedious(201) and that she now feels excruciatingly bored(208). Heddas behaviour thus far has certainly been disagreeable, but as the plays protagonist, her actions seem to heighten our curiosity rather than revulsion.
Heddas duplicitous nature is exposed every time Tesman leaves the room, firstly with Brack, and then with Lovborg. Although she refers to love as glutinous, she freely flirts with Brack, and even contemplates the idea of a triangular relationship(203) -although only on her terms, which seems to be platonic. When Lovborg arrives it is quickly revealed that he had a relationship with Hedda in the past, and she is still the shadow of a woman who stands between(190) himself and Mrs. Elvsted. Another aspect of Heddas character is exposed when, although, trapped in a loveless marriage, with two men making advances towards her, is paralysed by fear of scandal. An awful coward(219), as she calls herself. Heddas manipulative nature can again be seen when she, orchestrates Lovborg to relapse into drinking after two years of sobriety, and pushes him to go to the party with Tesman and Brack. Although Heddas contrivance is apparent, the motive behind her actions is less so, but it is important to remember that although jealous of Mrs. Elvsted and Lovborgs relationship, she would never return to Lovborg for fear of the scandal.
Early the next morning Tesman arrives back home and relates the story of the previous nights events to Hedda, who although had no interest in Lovborgs published book, is very inquisitive about the misplaced manuscript. She specifically asks Tesman whether anyone knows that he has the manuscript, clearly conjuring some sort of plan. Tesman receives news that his Aunt Rina is at the point of death and must go see her. Hedda refuses saying she must be free of everything thats ugly(235), but convinces him to give her Lovborgs manuscript for safekeeping. Hedda, probably unsure what to do with the manuscript, insists on it, giving her some sense of control, echoing her earlier words; I want to feel that I control a human destiny(226). When Brack arrives and continues with news of the previous night the two seem somehow counter-parted in their need to control, perhaps the only one Hedda cannot control. In her efforts to play the game and rid herself of Bracks threats she mercilessly destroys Lovborg, convincing him to commit suicide, so that Brack may no longer have any power over her.
Unrelenting and non repenting, Hedda continues in her usual manner. When it is implied, now that Aunt Rina is dead, that Miss Julie may move in with her and Tesman, Hedda reacts in horror. Hedda later tells Tesman that she burnt Lovborgs manuscript, but insists that she did it for him, so that he would not be overshadowed by his rivals success. Tesmans career, of course, is the least of Heddas concerns but this not only appeases him but gives him the idea that she might love him after all. This idea, along with his ecstatic reaction, is so abhorrent to Hedda that she calls it this farce(251).
Heddas aim throughout the play was to prove her own autonomy, but as she misdirects those around her she eventually finds, it is herself that is caught in the web of deceit she spun. As the drama hurtles towards a conclusion several distinct events precipitates Heddas decision to take her own life. Firstly Tesman and Mrs. Elvsted decide to resuscitate Lovborgs manuscript. After she deliberately destroyed this child, and her husband is now part of a new triangle, in which she has no part. She then discovers from Brack that Lovborgs death was not beautiful after all, and so she fails to exercise any power over Lovborg after all. Brack also reveals that the pistol that killed Lovborg, was that of General Gablers and so implicates Hedda in a scandal, or conversely, allows Brack power over Hedda, that is, a loss of her autonomy which she cannot live with. Mother and mistress are the roles left to her, neither worth living for.
One of the mysteries of Hedda Gabler is why exactly Hedda burns Lovborgs manuscript. Hedda is obviously jealous of the new book, and that she simply wants to destroy the child that has sprung from Lovborgs and Mrs. Elvsteds relationship, or perhaps it is her own unwanted child. Janet Garton translates this passage as; Now Im burning your child, Thea! You with the curly hair! Your and Eilert Lovborgs child. Now Im burningIm burning THE child which widens the reference to include her own child. (Ibsen, 1994, McFarlane. Ed). Another question arising from the play is whether Heddas actions are motivated by genuine principles or motivated entirely from boredom. For Hedda, nothing in the new domestic arrangements suit her, whereas they suit everyone else very well. Hedda is a complete outsider in her new home, and even impending motherhood, an unwelcome visitor. When Brack mentions a sacred and exacting responsibility Hedda wont engage with him, but tellingly goes on to say the only thing in the world she is good at is Boring myself to death(209).
Another driving force in Heddas modus operandi is her position in society as a woman. She married a man she didnt love for security, and seemingly pregnant because that is what is expected of her -the absence of any control both physically and socially in terms of submission and dependence. This idea can also be seen effecting Mrs. Elvsteds life when she states about Lovborg; hes made me into a sort of real person. Thought me to think and later when Lovborg leaves her; What am I to do with my life, then?(242). This idea is even more alien to Hedda after been raised by her father General Gabler, who taught her to ride and fire pistols, but nothing it seems of domesticity. In this way Hedda may be seen as much as a victim of her own circumstance, as perpetrator of her own downfall.
Explaining the plays title, Ibsen wrote; I intend to indicate thereby that as a personality she is to be regarded rather as her fathers daughter than as her husbands wife. (Ibsen, 1994, McFarlane. Ed).
Bibliography
The Cambridge companion to Ibsen, James McFarlane, 1994 CUP
Herik Ibsen- Writers and their work, Sally ledger, 1999 Northcote House
Text Referenced by page number,
Henrik Ibsen, Four Major Plays, Oxford Worlds Classics.
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