Hedda, once the best catch in town, is a woman restricted by Victorian values and trapped in a loveless marriage with a boring, boring man. 2002. The play’s name is no accident; Hedda Gabler dominates the stage and as far as she can, the others’ lives. Moi, T. 2013. Anon. She cannot find fulfilment in her search for beauty, though it would “give [her] such a sense of freedom[49]”, and without it she has no purpose (“is there anything I can do to help you?” she asks Tesman, to which he replies, “No, nothing in the world”[50]). HEDDA GABLER (1891) George Bernard Shaw, the major champion of Ibsen’s works in England, commented on the character of Hedda Gabler in The Quintessence of Ibsenism (1891): “Hedda Gabler has no ethical ideals at all, only romantic ones. Henrik Ibsen uses his play “Hedda Gabler” to delve into the difficulties women faced in a Victorian society. The Virtues of “Hedda Gabler”. They grew infatuated, corresponding for several months, and a series of romantic relationships between Ibsen and much younger women then ensued. Arguably, Ibsen’s intentions are essentially irrelevant. Refuting Gelber’s comment that Hedda Gabler is the New Woman as femme fatale, Templeton calls her a “moral and sexual coward”[20]. Ibsen Triumphant. There are two objectives of this study. It’s like comparing women to slaves and men to the freedom the slaves want. 2013. Hedda Gabler, which was performed in Spain for the first time in 1900 (Paucker 136) contains a secondary character of great importance in the eventual establish ment of the feminist dimension of Hedda's personality. [31] Mark Stone. In those times women had almost no freedom; they were limited to remain in their homes and would not be able to handle the outside world away from the family. [17] Alfred Sinding-Larsen. Rafe Spall, who played Brack in Marber’s production, describes Hedda as an “extraordinary universal character that everybody, men and women, can identify with because she mercurial… we all know people like that, we all have elements of that in us”. Ruth Wilson, who played Hedda in Marber’s production, suggests that while Hedda is “deeply vulnerable, deeply lonely… she creates that herself”[55]. 1977. She refuted her pregnancy, teared down Thea’s life-work, burned Lovborg’s book, spoiled the manuscript he considered to be his child, and committed suicide, are all examples that show her desire for life. fault of Hedda's society. Ibsen’s intentions also point away from feminism; he claims to have written Hedda Gabler simply as an exploration of humanity, and critics have argued that it serves as a self-portrait of the playwright himself. Medea ignores the feminist stereotypes that were present in Greek Society, for the sake of her desire. This response is not limited to nineteenth century audiences. Her dreams, if twisted, are crushed by the ugly reality of Lovborg’s death, despite her pleas that he “try do it beautifully”[46]. Thea, Lovborg, Brack and Tesman cannot understand why she is not happy, blind to her vision and need for personal freedom. 685-691. The New York Times. Hedda Gabler has also been viewed as a bewildering play with a monstrous, entirely unsympathetic heroine, so unlikeable that she cannot serve to advocate women’s rights, so this cannot possibly be the cause of the play. This essay explores arguments for and against the assumption that the play is feminist; one can argue that it is since its protagonist is undoubtedly oppressed by society’s patriarchal conventions, contemporary audiences identified with her for this reason, and there are reasons to suggest that we can all sympathise with Hedda. Educational Theatre Journal. 2016. Henrik Ibsen. 2016. Ibsen illuminates her character as an example of the depraved society, who would sacrifice for her own self, and freedom. He recognised the genderless inner afflictions that can affect and motivate us all; in his own life, he felt “the same forces that stultified women”[63], even in an era of separate spheres. Hedda’s Silences: Beauty and Despair in Hedda Gabler. Hedda’s frustration, her destructiveness both derive from a fundamental need to be free. On the other side “husband tired of domesticity, Goes out sees friends and enjoys himself…” These two quotes clearly demonstrate the injustice between genders, and the importance it had especially on women. Paradoxically, Hedda Gabler’s ambiguity is notorious. It remains, however, whether Hedda can be sympathetic to us all, across centuries and gender boundaries. Gresham College. [4] List of feminist literature. More tragically still, Hedda is beyond reach, beyond help. A Sourcebook on Naturalist Theatre. Hedda is someone who expected too much from the world, who could neither cope with nor reject what society asked of her. In January 1891, Hedda Gabler was introduced to the world. She is discontent the moment she arrives. [63] Susan Faludi. And as she portrays inequality in women at those times, she questions what role and position should woman have in a patriarchal society. PMLA. The Hudson Review. [67] Patrick Marber. 1977. The Virtues of “Hedda Gabler”. Hedda Forever: An Antiheroine for the Ages. On the other hand, Hedda Gabler, talks about issues that were more common in those times. On the Occasion of Hedda Gabler. [3] Although most kept quiet, (particularly middle-class) women were increasingly confined, isolated and purposeless. Therefore they want to have an influence on souls”. Initial reactions: Hedda as an unsympathetic monster. Introduction. [52] David Richard Jones. Feminism In Hedda Gabler Seneca Falls Convention: Lucretia Mott, And Elizabeth Cady Stanton. 2016. National Theatre Discover. Modern Drama. Our academic experts are ready and waiting to assist with any writing project you may have. [38] Christopher Innes. Hedda Gabler is often referred to as a feminist play. & Wagner, C.A. While men’s reactions tended to be cool, critical and aloof, women reacted emotionally; they identified with Hedda. VAT Registration No: 842417633. Hedda Gabler, it seems, could be a critique of society’s expectations of women, and the suffocating pressures to conform. Although Ibsen did not want to get this play labelled as a feminist play, yet there are certain elements that hint at the feminist outlook but certain elements defy its feministic outlook altogether. His most famous play and the one that elicited the most scandal, A Doll’s House, was published in 1879. “They aren’t all created to be mothers”, he noted, and “Women have no influence on external matters of government. The gunshot with which Hedda ends her life is, perhaps, even louder than Nora’s slamming the door, itself ‘a shot heard around the world’. He simply seemed to be challenging himself, enjoying an exploration of the extreme dramatic potential of the human mind. Wikipedia. They probably never developed into physical relationships. 2017. She has a self-proclaimed compulsion “to feel that [she] control[s] a human destiny”[7], manipulates others, and refuses to act passively as her female contemporaries Aunt Julle, Thea Elvsted and Berte essentially do. Ibsen Triumphant. If she is, as I will argue, this defends the view that Hedda Gabler can be a truly feminist play. The second objective is to investigate the kinds of obstacle faced by Hedda Gabler in fighting over the ideology. Routledge. “Its only message seemed to be despair”[19]. Robins, E. 1928. Near defeat, Hedda’s cry “everything I touch seems destined to turn into something farcical and mean”[47] implies, perhaps, her final acceptance that life cannot offer what she asks of it, and the futility of trying to be free. If these interpretations of the play are to be accepted, then, Hedda Gabler is almost certainly not feminist. Hedda Gabler. To many in 1891, Hedda really was an irredeemable monster. I've chosen this statement for several reasons. Hedda Gabler. Gender roles in the 19th century. In Hedda Gabler, they are equal insofar as both are as human as each other, equally complex, flawed, compelling, sympathetic and monstrous. “Hedda Is All Of Us”: Late-Victorian Women at the Matinee. [27] Elizabeth Robins. Evidentially, these accusations are not without weight. [2] Charles Isherwood. This quote is Tesman’s reaction. Women, morally superior, were seen to belong at home in the domestic sphere, complacently enacting Patmore’s ‘angel in the house’ ideal. Sinding-Larsen, A. In these two stories we can see the liberation of feminist women who are ahead in time by showing us courage, intelligence and power. Women and Power in Henrik Ibsen and Adrienne Rich. Its major subjects revolve around adult females ‘s rights and the subjugation of the woman hater society that affects the lives of the two chief characters, Hedda and Mrs. Elvsted. Conventional gender roles give her no reason to take life seriously and to this extent she is trapped by the patriarchy. [3] Kathryn Hughes. It remains a question, however, whether Hedda Gabler is a feminist play. Ibsen and Feminism. Hedda told Tesman she had found something to pass time with, and it came out to be pistols. Duve, A. Eleven years later, in 1890, came Hedda Gabler. She is not restricted to one gender, or one gender’s characteristics; she is familiar to us all, she suffers, dreams and destroys like us all. She feels imprisoned by conventional gender roles, her marriage, and her pregnancy. Despite her dominance onstage, she is essentially helpless, to a potentially pitiable degree. 1928. Ibsen had suppressed his emotions for so long and now he had a chance to fulfil them, he was unable to do so (perhaps due to fear of scandal, a sense of duty towards his wife, or consciousness or fear of aging and physical impotence)[33]. 1980. Hedda does not carry a role like most of 19th century women; she is neither a maid like George’s aunt nor housekeeper like Mrs. Elvsted. Jack, B. No…memories”. Hedda Gabler: A Conversation with Patrick Marber. 2002. She is unhappy with the maid and outwardly annoyed with Jorgen’s aunt. Hedda Gabler. Yet is seems that Hedda’s cowardice, too, is realised by her society. Without question, Hedda Gabler is unsuited to the patriarchal society in which she lives. 2014. For many, it offers a pointed critique of marriage and conventionally defined femininity, and echoes nineteenth century feminist sentiment. Indeed, Ibsen has been described as “the best since Shakespeare”[1], as well as a father of both realism and Modernism in theatre. Vol.48, No.1. Women in those times were to be at home with parents until someone chose a husband for her to marry. Even though Medea took place in ancient Greece and Hedda Gabbler in Norway in the 1900’s and did not share the same setting, society’s treatment of women was very similar. Ibsen’s play had a profound effect on the minds of women and the already-forming feminist movement; it may even have “great social and political significance”[25]. [58] Susan Torrey Barstow. Walkington, J. W. 1991. The Performance of Sex and Gender in Oslo Nye Dukketeatrets Hedda Gabler. For many, it was the first step towards the fight for gender equality: active recognition of the long-established inequalities. Her plight is not all women’s plight, but the result of her own unique and twisted mind. Hedda cannot face the reality of her own weaknesses and inhibitions, to the point where she’d rather die than do so. [5] Christopher Innes. Male or female, it can be argued that we all sympathise with Hedda, and recognise elements of her identity and suffering in ourselves. To export a reference to this article please select a referencing stye below: If you are the original writer of this essay and no longer wish to have your work published on UKEssays.com then please: Our academic writing and marking services can help you! [28] Belinda Jack. Hedda offered shared identity among these women, a collective voice for formerly unspoken dissatisfactions. Registered Data Controller No: Z1821391. [13] Toril Moi. 2010. al. She needs power, despite her powerless position. Ibsen emphasizes the story with Hedda Gabler although she might portray the story as a perverted woman. Hedda Gabler (Henrik Ibsen). Perhaps, instead, her own weak character is entirely to blame. Hedda’s Silences: Beauty and Despair in Hedda Gabler. https://www.gresham.ac.uk/lectures-and-events/theatre-and-individualism-henrik-ibsen-a-dolls-house. Whether or not Ibsen recognised this purposelessness and constraint in his own life, his awareness of many women’s restrictions is incontestable. Ibsen’s Awareness of Motherhood For all Hedda’s talk of aesthetics and Lovborg coming “with vine leaves in his hair”[42], Ibsen writes that “she doesn’t care about great ideas – nor about great affairs either – but about great human freedom”[43]. She is primarily human. If only one had that then life might be livable, in spite of everything”[57]. As an acceptable wife, mother or lady, she cannot exist. In Ibsen’s own words, Hedda Gabler is not a feminist play – at least, he didn’t write it with the active intention of advocating women’s rights. Still she is not as strong as a man and is she is not able to acquire the same position. And she is very intelligent… because her mind works very rapidly”[61]. Theatre Journal. It should, as discussed earlier, portray the damage of these norms, and incite sympathy from the audience. All work is written to order. Elizabeth Robins, the first English actress to play Hedda and later a suffragist, famously wrote how “one lady of our acquaintance, married and not noticeably unhappy, said laughing ‘Hedda is all of us’” at a performance[22]. In the past, women would not provoke anything about not following society’s view on how they should be, therefore they were afraid to be dishonored and offended for being an “inappropriate woman”. “Hedda Is All Of Us”: Late-Victorian Women at the Matinee. Ibsen, H, Gosse, E & Archer, W. 2003. A feminist play can therefore be defined as a play that advocates women’s rights on the grounds of equality between the sexes, through various means. If you need assistance with writing your essay, our professional essay writing service is here to help! The beauty that she locks makes her crave it. If this is the case, Hedda Gabler is simply the story of a troubled individual, and inequality between the sexes, and cries for social change, do not come into it. Ibsen’s self-professed intentions, then, imply that Hedda Gabler is not a feminist play. Ibsen made this clear; when honoured by the Norwegian Women’s Rights League for his 1879 play A Doll’s House, he replied, “I have been more of a poet and less of a social philosopher than people generally tend to suppose… I am not even quite sure what women’s rights really are. [51] John Northam. Hedda Gabler, published in 1890, is one of Ibsen ‘s chef-d’oeuvres that encourage many bookmans and critics. “I’ll kill the children…” “…when all Jason’s hopes…” “…are gone I’ll leave this land”. Hedda and Medea are characters that show the initiative for the will of equality between genders. She continues to baffle over a century later, and continues to captivate too. Stone, M.H. Hedda Gabler est plus qu'un personnage, c'est la figure emblématique d'un romantisme devenu impossible, la métaphore d'une époque révolue. List of feminist literature. This can be, perhaps, a further expression of Hedda Gabler’s feminist accents. In 1891, Hedda Gabler must have felt very clearly like a commentary on modern womanhood, especially as it was evolving in the light of a growing feminist movement. In the Scandinavian play Hedda Gabbler by Henrik Ibsen and the Greek Tragedy Medea by Euripides, the two protagonists have an independent-mind on not following the common standards imposed by society regarding the rights of women. In a matter of hours Hedda cruelly teases Aunt Julle, betrays Thea’s confidence, engineers Lovborg’s self-destruction, burns the manuscript (a metaphorical “little child”) and, in her final act, kills herself and her unborn child. No weakness. 1891. 1989. A Sourcebook on Naturalist Theatre. Arguments to the contrary are that Hedda is in fact entirely unsympathetic so cannot positively advocate feminism, that Ibsen’s intentions point away from feminism, or that her suffering is the result of her own weak character, not society’s gender inequality. Eh?” A pistol portrays masculinity, and she thinks it’s fun to have a pistol in her hand, while male characters are scared to see her with it. Info: 1251 words (5 pages) Essay Within hours of her return, Hedda has destroyed Thea’s trust in Lovborg, destroyed their manuscript, and tempted Lovborg back to alcohol, debauchery and, eventually, his own suicide. Regarding freedom and rights, women are almost, not to say exactly the same as men’s. [54] Ian Dickson. Hedda was adopted to represent normal Victorian bourgeois women, who felt “a sense of personal involvement”[23] in the play, not only due to its realism, but because of its familiarity. 2006. PMLA. Hedda Gabler (Norwegian pronunciation: [ˈhɛ̂dːɑ ˈɡɑ̀ːblər]) is a play written by Norwegian playwright Henrik Ibsen.The world premiere was staged on 31 January 1891 at the Residenztheater in Munich.Ibsen himself was in attendance, although he remained backstage. [32] Michael Meyer. In Ibsen’s own words, the play after all is “about ‘the insuperable’ – the longing and striving to defy convention”, without ever succeeding[34]. 1989. Hedda Gabler. Clearly these sentiments reflect Hedda, and referring to her directly, Ibsen wrote “It’s really a man’s life she wants to lead. Introduction. [53] Rafe Spall. At this point Hedda can be compared as being a new version of Medea since Hedda urged for independence but was not able to have it, so she conveys her anger by ruining her attempts for fulfillment. Hedda Gabler, and Ibsen, refuse to recognise separate spheres, social conventions, and traditional gender roles. Symbolism in Henrik Ibsen’s Plays. PMLA. “Life becomes for Hedda a farce which isn’t worth seeing through to the end” (Ibsen)[60]. New Review. Hedda Gabler. Ibsen and Feminism. Enter your email address to follow this blog and receive notifications of new posts by email. Hornby, R. 2004. Playing Hedda Gabler. In her “idealist yearning for beauty”[45], she looks for freedom, and tries to create it. This emotional response is what effectively inspires recognition and support of feminist goals. *You can also browse our support articles here >. [22] Elizabeth Robins. Yet… Hedda has no idea what she does want”[58]. Ibsen’s Hedda Gabler is often labelled a feminist play, but this has not been universally accepted. Of herself addition, did much to further gender equality: active recognition of the dramatic... Onstage, she looks for freedom, and echoes nineteenth century Ibsen uses his play the very of. More equality between genders but its author did not on this lady on... 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