Thesis: Unable to transition from her aristocratic lifestyle to married life, Hedda Gabler, while appearing as a manipulative villainess, is actually a misunderstood tragic victim who is imprisoned by societal boundaries and the woman’s role in the Victorian era household.
Hedda idolizes Eilert because of his ability to push past societal norms, he disregards his aristocratic upbringing for the higher knowledge that alcoholism and festivities bring to him. He breaks free from what the world expects of him so that he may live a more enjoyable life. Ibsen uses two allusions to Greek and Roman mythology within his paper. The first are the vine leaves that Hedda always imagines Eilert to be wearing. This symbol is pulled from Bacchus, the Roman …show more content…
Ibsen brings this burning desire to life by associating Hedda with fire and weaponry, which a woman was often not allowed to use within that time period. She sits by the fire at least once an act, for example, in Act I Hedda retreats to the stove to escape George waving about his smelly slippers; again whenever she is conversing with Thea; again when she is speaking with Brack. Then, there is the final time she sits by the stove, which is right before her suicide. All the hints of fire scattered throughout the first three acts lead up to the climax of Hedda burning Thea’s “child.” This imagery proves that Hedda’s plots fuel the burning discontent she feels internally hidden behind her emotionless exterior. Hedda is also obsessed with the power and control that “fire” arms give to …show more content…
One major question that surrounds the play is whether or not Hedda is pregnant. What everyone else seems so excited about, Hedda dreads. In Act I Hedda comes into the room and is distressed to see that the windows are open, in response she has George draw the curtains. That way fresh air comes in to get rid of the smell of flowers she hates so, but still blocks the light. She relates the smell of flowers to morbidity, or the day after a joyous ball when all the flowers are wilting and sour. It is odd that she ties it to the day after the ball when she is much in the same state, with her maidenhood gone with her pregnancy. Ibsen continually ties birth to death throughout the play. For example, whenever Hedda finally admits her pregnancy it is whenever Aunt Rina has passed and Aunt Julia draws a parallel to having to weave a shroud for her sister and baby clothes for
Hedda idolizes Eilert because of his ability to push past societal norms, he disregards his aristocratic upbringing for the higher knowledge that alcoholism and festivities bring to him. He breaks free from what the world expects of him so that he may live a more enjoyable life. Ibsen uses two allusions to Greek and Roman mythology within his paper. The first are the vine leaves that Hedda always imagines Eilert to be wearing. This symbol is pulled from Bacchus, the Roman …show more content…
Ibsen brings this burning desire to life by associating Hedda with fire and weaponry, which a woman was often not allowed to use within that time period. She sits by the fire at least once an act, for example, in Act I Hedda retreats to the stove to escape George waving about his smelly slippers; again whenever she is conversing with Thea; again when she is speaking with Brack. Then, there is the final time she sits by the stove, which is right before her suicide. All the hints of fire scattered throughout the first three acts lead up to the climax of Hedda burning Thea’s “child.” This imagery proves that Hedda’s plots fuel the burning discontent she feels internally hidden behind her emotionless exterior. Hedda is also obsessed with the power and control that “fire” arms give to …show more content…
One major question that surrounds the play is whether or not Hedda is pregnant. What everyone else seems so excited about, Hedda dreads. In Act I Hedda comes into the room and is distressed to see that the windows are open, in response she has George draw the curtains. That way fresh air comes in to get rid of the smell of flowers she hates so, but still blocks the light. She relates the smell of flowers to morbidity, or the day after a joyous ball when all the flowers are wilting and sour. It is odd that she ties it to the day after the ball when she is much in the same state, with her maidenhood gone with her pregnancy. Ibsen continually ties birth to death throughout the play. For example, whenever Hedda finally admits her pregnancy it is whenever Aunt Rina has passed and Aunt Julia draws a parallel to having to weave a shroud for her sister and baby clothes for