Hedda Gabler returns from her honeymoon to a house and life she despises, with a husband for whom she has no respect.
Tamora, Queen of the Amazons is one of my particular favorites. She had her comeuppance when Titus had his own revenge and chopped up her sons, baked them in a pie, and served them to her for dinner.
My favorite is Volumnia, mother of Coriolanus who destroys her son to gain unmatched power in Rome.
Lady Macbeth was no slouch, controlling, commanding, and emasculating her weak husband until she lost her nerve. Cleopatra ran rings around poor, besotted Antony, tricking and deceiving him until he was destroyed, then in a last moment of theatrical glory committed suicide with an asp.
Margaret, wife of pious, bookish Henry VI took up arms against the French to secure his — their — kingdom.
Joan of Arc bested just about everyone in the English camp, but then caught, went through her own charade of self-serving lies and excuses. The women of the comedies — Beatrice, Rosalind among them — are canny, manipulative women who get what they want, although their prize is men far beneath them in intelligence and wit.
All these women had a Nietzschean quality. None, however, can match Hedda Gabler, who in her ability to control, manipulate and destroy men simply for the sake of showing that she could was pure Nietzsche. She is temporarily derailed as her scheme to send Lovborg off to kill himself and to show the world that he, like her, had a sense of willful purity, fails.
Lovborg gets sidetracked in the home of his former mistress, and instead of killing himself with a clean shot to the temple, accidently discharges his pistol and shoots himself in the bowels balls.
Hedda on the other hand, showing everyone how it should be done — that one should choose the time and place for right action - she shoots herself quickly and efficiently with her own bullet to the brain.
If Lovborg was weak and cowardly, she would never be. She marries Tesman for money and position, soon finds out that for all his promises he is a weak and unambitious man. She treats him with scorn and disdain, and he is too stupid to realize her power and his impotence.
She toys with her erstwhile friend Thea, also a lover of Lovborg, and has every intention of destroying her as well. She hopes that he will see that now that his great opus, the defining work of his life, is gone, he will man up, show resolve and courage, and do the right thing.
Life without glory is worth nothing, says Hedda. Hedda Gabler is usually portrayed as a villain — a vixen, succubus, and evil woman; but she is far from that. She is brilliant, and understands that only a few stand out from the herd.
Only a few have the force to express the most vital and essential of all human characteristics — will - and Hedda feels she is one. Cleopatra comes the closest to Hedda in her single-mindedness of purpose and in her desire to end it all on her own terms and avoid the humiliation of being paraded through the streets of Rome; but she does not have the Nietzschean amorality of Hedda.
She may actually care for Antony in her own way, and unlike Hedda, has a concern for someone else, and is therefore impure. She comes into her own only at the end of the play when her husband, always a pompous fool, outdoes himself and betrays his selfish, small-minded, petty, and ignorant ways.
She has borrowed money from an unscrupulous moneylender only to save Tesman and to pay for a trip to Italy so that he can recuperate from a serious illness.
She keeps this from Tesman, feeling that it would hurt his male pride; and thus until the end acts like a traditional woman. Finally, regaled by insults and misogynistic rage when he finds out, she snaps.
While her final soliloquy is remarkable for its candor and its remarkable perspicacity most women today would be proud to have had the gumption to be so honest and determinedshe is a Johnny-come-lately.The Character of Hedda Gabler in Ibsen's Hedda Gabler The Character of Hedda Gabler in Ibsen's Hedda Gabler The first aspect of the play that hits us, the readers, is the title.
Before we even read a line of this play we notice the strangeness between the name of the title character and her name in the play. Start studying Hedda Gabler. Learn vocabulary, terms, and more with flashcards, games, and other study tools.
Mrs. Elvsted is meek where Hedda is strong, and acquiescent where Hedda is defiant. This is not to say that Ibsen by any stretch of the imagination intends Hedda Gabler as a critique of the New Woman; to the contrary, he is. portrait of a fascinating and self-destructive woman. Hedda Gabler has many striking resemblances to A Doll's House, even A discussion of Krogstad's--and by implication, Nora's--crime follows.
It condemns her utterly. Like the law, Torvald has no Hedda is trapped by society. She'd like to live a daring. Hedda Gabler is considered a classic play. Written by Henrik Ibsen in , just over one hundred years ago, it is an exciting picture of how men and women struggle with their fears and with society's expectations.
The play is filled with illicit passion, love triangles, broken homes, cold . The Project Gutenberg eBook, Iconoclasts, by James Huneker. (The epoch of the play is A.D. ) Despairingly, the strong-souled woman casts herself into a chasm and is translated into Valhall by her immortal sisters, the Valkyrs.
who boldly deserts her old husband to follow the scapegrace Lövborg. Hedda is the woman on the brink, the. Hedda Gabler is a woman that is stuck in her time striving for independence and power by molding human destiny.
Hedda was trapped and struggle against the society. The setting of the play is set in Tesman’s villa where the furniture is constantly moved around revealing the wealth and status of Hedda.