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The character of hedda gabler
Characteristic hedda gabler by henrik ibsen
The character of hedda gabler
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Title: Hedda Gabler
Author: Henrik Ibsen
Setting: Un-named city in Norway (probably Christiania - the Norwegian capital then)
Time Period: 1890
Major Characters
Hedda Gabler - (married name: Hedda Tesman) Daughter of an aristocratic general who spoiled her. She’s used to a life of luxury in which she gets anything she wants. She is bored with her life because there’s nothing new for her to see or experience. She marries George Tesman so that she won’t be an oddball in society. She’s nearly thirty and realizes that she’s not getting any younger or desirable. He’s the only one of her suitors who grovels for her hand in marriage, so she chooses him. She immediately sees that she will be able to manipulate him into giving her anything she wants. She puts up with the fact that he’s only interested in past civilizations and he doesn’t satisfy any of her needs. She wants the power to shape the lives of others, and her obvious ennui wrecks not only her life, but the lives of all who come in contact with her as well.
George Tesman - very kind and intelligent man. He was raised by his aunts, Juliana and Rina. He remains devoted to them, even though Rina is an invalid. He does everything in his power to give Hedda the life she’s used to. He annoys not only characters in the story, but readers as well. After almost all his sentences he asks the question “Eh?” (or “What?” depending on the translation). He is a gentleman and serves Hedda as if he were her slave and not her husband. He even accepts financial support from his aunt Juliana so that he can provide the kind of life Hedda is used to, and to pay for the house he though she really wanted. He even depends on becoming the professor of history so that she’ll be proud of him and they’ll have more financial security. He doesn’t realize Hedda is manipulative, despises him, and doesn’t even want to have their child. He believes her lies that she burnt the manuscript for him as an act of love.
Judge Brack - likes to gossip and be know everything going on in people’s private affairs. He has connections around the city and uses that to provide information to Tesman about his candidacy for professorship in history. He informs them of the competition from Eilert Lovborg for the professorship, and also of his death. Brack shares an intimate relationship with Hedda, and she confides in him about her boredom she has with he...
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...straight ahead of her and comments, “So that pretty little fool has had her fingers in a man’s destiny.”
Lovborg asks Hedda, “Was there no love in your friendship for me either? Not a spark--not a tinge of love in it?” In this he expresses that he truly felt love for her, and that is what gave her power over him.
Hedda asks herself, “Oh, why does everything I touch become mean and ludicrous? It’s like a curse!” This comment emphasizes the fact that her ennui is affecting all of those around her. It has caused her to become nihilistic and wreak havoc on the lives of others for her own amusement.
Hedda comments, “I think I have a natural talent for boring myself to death.” She realizes that much of her boredom is self-inflicted, just like when she told Judge Brack that “as you make your bed so you must lie…”
Lovborg tells Hedda, “It wasn’t secret knowledge you wanted. You wanted life.” They were discussing her curiosity in the past about his sinful life. She replies, “I want to have the power to shape a human being’s destiny.”
Hedda says, “Yes, there’s something in [the house] of the odor of death…Oh, my dear Judge--you can’t imagine how horribly I’m going to bore myself here.”
One of Hester’s greatest qualities is her unrelenting selflessness. Despite her constant mental anguish due to her sin, the constant stares and rude comments, and the
according to the plot of her own play. Hedda finds a “way out” after the internal conflict
When Hester Prynne becomes pregnant without her husband, she is severely punished by having to endure public humiliation and shame for her adulterous actions. Hester is forced to wear a scarlet “A”on her breast for the rest of her life. (1.) She lives as an outcast. At first, Hester displays a defiant attitude by boldly march from prison towards the pillory. However, as time goes on, the public humiliation of her sin weighs heavily upon her soul. “An accustomed eye had likewise it’s own aguish to inflict. It’s cool stare of familiarity was intolerable. From first to last, in short, Hester Prynne had always th...
Hedda grew up with a general as a father, therefore living as she pleased in her higher statured aristocratic ways. She had freedom and a voice, which she never thought would be taken away. However her age began to show and she soon had to choose between a lonely life, or to comply with society’s rules. Hedda is meant to be married, have children and please her husband, but for Hedda this is not what life was about.
Though Mother Courage’s actions destroy her family and Hedda’s suicide destroys herself and her unborn child, both characters choose these destructive paths. In effect, they become like the society itself, embodying its values and motivations, its limitations and corruption. Neither Hedda nor Mother Courage possess any real individual power or self-control to overcome a society that forces them to act destructively.
It is Thea’s ‘don’t care’ attitude and the way in which everything always turns out fine for her that really gets to Hedda. In the beginning, Thea arrives at the Tesman’s house and explains how she ran away from her husband in pursuit of Løvborg. When asked what she thinks others will say, her reply is quick and to the point: “God knows they’ll say what they please” (240). Thea has found true love with Løvborg. Hedda, being terrified of scandal herself, can not bare the fact that Thea does not care what others say. Løvborg used to be her love and now Thea has won him over and made him better--Thea was the one that helped him recover from alcoholism. This is one of the catalysts that leads Hedda to explode in her revenge and commit a terrible act: burning the manuscript that Løvborg and Thea had worked on. Consumed with the evil deed, she exclaims, “Now I’m burning your child, Thea! You, with your curly hair! Your child and Eilert Løvborg’s. Now I’m burning--I’m burning the child” (288). Once again, her jealousy of Thea’s hair resurfaces. Yet, that is not all of what easily comes to Thea. She does not even try, but manages to somehow win over George’s mind with saving the manuscript. Thea’s influence is invisible, yet very potent, causing George to say, without thinking, that he will give up his whole life to rewrite that script (297). Therefore, Thea is unknowingly taking away two people
Hedda married Tesman, an academic student who supposed to have a potential success, not because she loves him, but just because as she said “It was a great deal more than any of my other admirers were offering”. In this quote she is showing her real feelings meaning that she never loves him and she just married him because he was the best option among the
Hedda is a product of the nineteenth century, when women were ordained to become either proper old maids (like George's aunts) or modest housekeepers (like Mrs. Elvsted), however Hedda is an anomaly. She has been raised by a dominating father and rebels against his leadership at the same time she revels in his power. General Gabler taught Hedda to ride and shoot, which symbolizes the origin of her attraction with the violent and the romantic, Hedda's intense preoccupation with pistols, her desire to have control over the fate of another individual and take part in the public life of men, her rejection of family life shown in her at times mal...
Hedda always gets what she wants, “HEDDA: Well then, we must try to drift together again. Now listen. At school we said to each other; and we called each other by our Christian names—
Wearing a facade, Hedda is unaware of her appearance as one disturbed and clandestine. Overhearing her husband compare himself with Lövborg, Hedda turns “to BRACK, laughing, with a touch of scorn” (Ibsen 31). Chuckling artificially, she intends to disguise her misery, to uphold her pride and to avoid pity. By her sarcastic and disconcerted tone, she intends to communicate with Brack of her annoyance towards Tesman. Amid their discussion, Thea tells of having influence over Lövborg, and Hedda “[Conceals] an involuntary sneer” (Ibsen 26). The words “conceals” (Ibsen 26) and “involuntary” (Ibsen 26) attempt to highlight her stealth and jealousy towards Thea’s aptitude in influencing her spouse. On these certain occasions, she is unable to constrain her irritation. Left alone, “Hedda, now quite serious …peeps through the curtain…takes Lövborg’s package …turns and listens…” (Ibsen 80). Through actions such as “peeps” (Ibsen 80) ...
A pregnancy will force her to gain weight and lose her lovely womanly figure. Hedda has grown accustomed to her many admirers; therefore, Hedda is perturbed and embarrassed when George says to Aunt Julie, "But have you noticed how plump and buxom she's grown?... ... middle of paper ... ...
Hedda’s final line at the end of Act 3 underscores not only the extent of her obsession for revenge, but, more precisely, it reveals the exact moment at which Hedda chooses to commit suicide in order to regain control over her destiny.
Hedda Gabler as a character speaks against the patriarchy of 19th century Europe through her desire for beauty, her power of over words, and her silence. During the first matinee performances in London in the early 1890’s, one of the women who watched the performance exclaimed, “Hedda is all of us” (Moi 436). In a society constructed by men, Hedda Gabler take the lead role in the story named after her. Henrik Isben gave Hedda’s character a sense of power in entitling the work after her. It forces the reader to recognize Hedda as a person of her own rather than as the general’s daughter or Tresman’s wife. Furthermore, in keeping her maiden name, Hedda defies society’s norms and keeps to her own identity. At the time, it was almost unheard of for a woman to be referred to by her maiden name after marriage. Henrik Isben states, “The title of the play is Hedda Gabler. My intention in giving it this name was to indicate that Hedda as a personality is to be regarded rather as her father's daughter than as her husband's wife. It was not really my intention to deal in this play with so-called problems. What I principally wanted to do was to depict human beings, human emotions, and human destinies, upon a groundwork of certain of the social conditions and principles of the present day” This signifies that she is not a possession but instead re-iterates the idea that she is her own person (Nehemiah 50).
I would to begin this paper with an authentic definition of the Social Work field. Social work practices involves facilitating change—in other words, working with others, not doing something to them or for them(Dubois). Most people and social workers would always use the world ‘help’ in some way or form when defining social workers. Which is true but the confusion come in when asked where they work, who they assist and how they differ from other helping professions. Social workers can be sustain abuse therapists, child welfare specialists, and school social workers. We are not limited to just the department of social services. They can work in nursing homes, hospitals, and even in legislation.
Part two of the essay will critically evaluate a single social work method used in the example case study. Specific reference will illustrate how this method has an influence and how it supports, or not, anti- discriminatory practice. In conclusion, the final part of this essay will be a reflection on the knowledge base the student has gained from the social work methods' module. It will show how comprehension of this module will instruct future practice in the social care field. Furthermore, it will, in addition, be necessary to demonstrate how the student has approached the project. T...