Pistols, manuscript, and vine leaves in the hair —Symbols in Hedda Gabler（Hedda Gabler）书评
He views Eilert Lövborg as a rival but, unlike his wife Hedda Gabler, George's preoccupation with his research colors all his relationships within the play. Brack, Hedda and Eilert Lovborg are from the upper bourgeoisie while of the nurturing, creative relationship Thea had developed with Eilert. Complications unfold when it is read that Hedda herself has had an earlier relationship with Eilert Lovborg, which ended when she threatened to shoot him.Hedda Gabler Trailer
But do these traits make Hedda Gabler a tragic heroine? If not, what makes her a tragic heroine? The response is another question: What makes a play a tragedy? Prompted by will and or ignorance, she is confronted at the end of the play with an undeniable fate that results in a sorrowful ending.
In order to show Hedda in the light of a tragic heroine, it is necessary to analyze the following: Hedda is a newlywed who, along with her husband George Tesman, has just returned from a six-month honeymoon. From the beginning of the play the reader senses that Hedda has no true feelings for Tesman, who had used the honeymoon to do research as well. My time was up. Hedda has not married for love, and that she only married because she felt her time was up, or that she felt she had to.
The latter concept could be considered a sort of mid-life crisis to some, but this may not be the case.
Hedda Gabler Summary And Analysis - words | Study Guides and Book Summaries
Tesman's finances are threatened by the prospect of not getting the professorship, and his aunts have mortgaged their annuity to help him buy his new house. So we see that this apparently rock-solid bourgeoisie is actually fragile and vulnerable to loss of wealth and status.
The life of a non-conformist was difficult, if not impossible in this social class. The restrictions this behavior placed on the freedom, integrity and fulfillment of the individual provide a major issue in Ibsen's dramas. This is understandable, since she is a member of a very restrictive class, and a woman. Women of this class and time could only be wives, mothers or daughters, not separate human beings. Hedda clings to the glamour of being General Gabler's daughter, but she is a coward, not a heroic soldier.
She thinks Eilert Lovborg dying with "vine leaves" in his hair is romantic and does not understand or care about the creative, healing possibilities of genius at work.
Mayerson, Hedda is a coward about any action that could cause a scandal. She clearly desired Eilert Lovborg, but rejected him because she would not break a social taboo. She is wretched and destructive because she refuses to live according to her own feelings, and chooses to live according to the rigid forms of a dull, stagnant social order.
The play opens in the drawing room of Hedda and George Tesman's house. Aunt Juliana and the maid, Bertha, talk about Hedda and George who have just returned from a six month honeymoon trip. George enters and admires his aunt's new hat, which he places on the sofa.
They discuss invalid Aunt Rena, George's researches while abroad, and the house, which had been acquired while he and Hedda were abroad; the aunts had mortgaged their annuity to help finance it.
They also mention that Eilert Lovborg has recently published a book. She is cool and remarks meanly about the maid's hat on the sofa, knowing it belongs to Aunt Juliana. The contrast between the warm affection of George and his aunt and the cool meanness of Hedda is clear right from the start.
Hedda Gabler, Act III
Innuendos about Hedda being pregnant are made by Aunt Juliana, but George is oblivious to, and Hedda is repelled by the suggestions.
Thea Elvsted comes calling. She is a former girlfriend of George's and an ex-schoolmate of Hedda's. She has been living for some years in the north, married to a much older man who hired Eilert Lovborg as a tutor to his children from a former marriage.
About forty-five years old, Brack is very smooth in manner and bows gracefully when he and Thea are introduced. The judge talks with George about his debts while Hedda sees her guest to the door. When she returns, Brack announces his bad news: George is thunderstruck, but Hedda shrugs indifferently. Analysis This first act, besides introducing characters, acquaints the audience with Hedda Gabler's surroundings in her new life as Mrs. Brought up as a general's daughter accustomed to travel in aristocratic social circles, Hedda must confront her future as a housewife in a middle-class household.
- Hedda Gabler
The fact that she is pregnant reinforces her potential role as homemaker. The nature of her doom is underscored by the character of Miss Juliana Tesman, who represents the older generation of domestic womanhood who has devoted her life to the care of others. George Tesman, good natured and sentimental, assumes that the duty of a husband is merely to satisfy the domestic requirements of his wife so that she can be happy in the confines of her home.
With this in mind, he agrees that they shall keep an open house — in Hedda's chosen home — and maintain the luxuries important to proper entertaining. Believing that a woman naturally falls into household routines once she is married, George has no further insight into Hedda's temperament.
George's research into the "domestic industries of medieval Brabant" is an ironic symbol of his conservative, simple-minded views of married life, as well as a symbol that indicates his inability to encompass other than material details.
As to his heroine, Ibsen establishes her main symptoms of disaffection with life: Hedda cannot respond to the warmth of Aunt Julia, she cannot abide the idea of expecting a child, and was totally bored during her wedding trip. To further express her emotional sterility, Ibsen shows how Hedda is unable to reciprocate in a relationship.
Like a young child, she can only receive without knowing how to give in return. Without reciprocating, she accepts George's love and support; by pretending friendship, she learns all about Thea's personal life yet reveals no confidences of her own.
This intense, almost morbid interest in the lives of others is another aspect of her empty emotional life.