Hedda Gabler – Henrik Ibsen

Act 1

The play opens in the Tesman household, where George Tesman and his new wife, Hedda Gabler, have just returned from their six-month honeymoon. George is a scholar, and his research has occupied much of his time, leaving Hedda bored and discontent. Miss Juliana Tesman (Aunt Julle) visits, bringing a new bonnet that Hedda mocks. The couple’s financial situation is revealed to be precarious, relying on a potential academic appointment for George. Hedda’s dissatisfaction with her marriage and life begins to surface as she interacts with other characters. We are also introduced to Judge Brack, a family friend who shares a close relationship with Hedda and hints at his influence over her life.

Act 2

Judge Brack returns, and it becomes clear that he knows a lot about the Tesmans’ personal lives, further entrenching his influence over them. Brack flirts with Hedda and discusses the competition George faces for the academic appointment, mentioning Eilert Lövborg, George’s former academic rival, who has recently reformed his life. Eilert arrives, revealing his reformation and success, which makes George anxious. Eilert is working on a new manuscript that could overshadow George’s work. Hedda, who once had a close relationship with Eilert, is intrigued and starts manipulating the situation by encouraging Eilert to drink, knowing it could lead to his downfall.

Act 3

The consequences of Hedda’s manipulations unfold. After a night of drinking with George and Judge Brack, Eilert loses his manuscript, which George later finds. Hedda keeps this information from George, instead burning the manuscript in a symbolic gesture, claiming to be “burning a child” as Eilert had described the manuscript as his “child.” This act of destruction is Hedda’s way of asserting power over Eilert and George. When Eilert learns of the manuscript’s loss, he becomes despondent and tells Hedda he plans to end his life. Hedda gives him one of her pistols, urging him to do so “beautifully.” The act ends with the ominous sense that Hedda’s control is spiraling out of hand.

Act 4

The final act reveals the tragic consequences of Hedda’s actions. Eilert has indeed killed himself, but not in the noble manner Hedda had imagined; instead, he dies in a disreputable fashion. George and Mrs. Elvsted decide to try reconstructing Eilert’s manuscript from notes. Judge Brack reveals to Hedda that he knows she supplied the gun used in Eilert’s death, effectively blackmailing her. Trapped by societal expectations and her manipulations, Hedda sees no way out. As the play ends, Hedda retreats to an inner room and shoots herself, leaving the other characters to react to the shocking end.

Overall Plot Summary: Hedda Gabler explores the life of Hedda, a woman trapped in a loveless marriage and restricted by societal expectations. Her manipulations and desire for control lead to the ruin of those around her and ultimately her own tragic end. The play is a critique of the constraints placed on women in 19th-century society, highlighting themes of power, control, and the consequences of manipulation.

Themes and Quotes

1. Gender Roles and Patriarchy

• “I want for once in my life to have power to mould a human destiny.”
• “Oh, why should you be allowed to do things that I’m not?”
• “I’ve only got a maid’s job, Hedda.”
• “People don’t do such things!”
• “Hedda, my dearest love, how could you do it?”
• “But I won’t be unfaithful to you—so you can have no power over me.”
• “You are going to be a mother, Hedda.”
• “I have only a duty towards myself.”
• “So I am in your power, Judge.”
• “I am burning your child, Thea!”
• “Isn’t it lovely to have an open house?”
• “It gives me a sense of freedom to know that a deed of deliberate courage is still possible.”
• “I wish I had it in me to really confide in you.”
• “I’m a coward at heart.”
• “No one could dream of looking at you, Mrs. Tesman.”
• “I’ve no interest in things that don’t concern me.”
• “I’ve never gone out of my way to attract attention.”
• “But I’m not like you. I have no talent for it.”
• “I’ve never known how to go about life.”
• “I am in your power now.”

2. Power and Manipulation

• “I want for once in my life to have power to mould a human destiny.”
• “So I am in your power, Judge.”
• “I am burning your child, Thea!”
• “At last, a deed worth doing.”
• “But I have one thing, which others don’t have—one thing.”
• “It gives me a sense of freedom to know that a deed of deliberate courage is still possible.”
• “I wish I had it in me to really confide in you.”
• “It’s not my child. I have only a duty towards myself.”
• “You may have the power, but I have the influence.”
• “I have nothing to confide.”
• “It’s like being in a cage.”
• “I shall take him at his word. I will.”
• “But I’m not like you. I have no talent for it.”
• “No, my dear, you must do as I say.”
• “I’ve never known how to go about life.”
• “I am in your power now.”
• “You are going to be a mother, Hedda.”
• “Isn’t it lovely to have an open house?”
• “I am so dreadfully bored.”
• “But I’ve no interest in things that don’t concern me.”

3. Freedom and Confinement

• “I want for once in my life to have power to mould a human destiny.”
• “It’s like being in a cage.”
• “I am burning your child, Thea!”
• “I am in your power now.”
• “It gives me a sense of freedom to know that a deed of deliberate courage is still possible.”
• “Isn’t it lovely to have an open house?”
• “But I’ve no interest in things that don’t concern me.”
• “I’ve never known how to go about life.”
• “I’ve no desire to see anyone.”
• “But I won’t be unfaithful to you—so you can have no power over me.”
• “Oh, why should you be allowed to do things that I’m not?”
• “I’ve no talent for it.”
• “I wish I had it in me to really confide in you.”
• “But I’m not like you. I have no talent for it.”
• “I’ve never gone out of my way to attract attention.”
• “I am so dreadfully bored.”
• “I am in your power now.”
• “You are going to be a mother, Hedda.”
• “But I have one thing, which others don’t have—one thing.”
• “No, my dear, you must do as I say.”

4. Boredom and Ennui

• “I am so dreadfully bored.”
• “I am burning your child, Thea!”
• “I’ve no interest in things that don’t concern me.”
• “It gives me a sense of freedom to know that a deed of deliberate courage is still possible.”
• “Isn’t it lovely to have an open house?”
• “I’ve never known how to go about life.”
• “But I’ve no talent for it.”
• “I am in your power now.”
• “You are going to be a mother, Hedda.”
• “But I’m not like you. I have no talent for it.”
• “No, my dear, you must do as I say.”
• “But I have one thing, which others don’t have—one thing.”
• “I want for once in my life to have power to mould a human destiny.”
• “I’ve never gone out of my way to attract attention.”
• “It’s like being in a cage.”
• “But I won’t be unfaithful to you—so you can have no power over me.”
• “Oh, why should you be allowed to do things that I’m not?”
• “I’ve no desire to see anyone.”
• “I am so dreadfully bored.”
• “I wish I had it in me to really confide in you.”

5. Societal Expectations

• “People don’t do such things!”
• “But I won’t be unfaithful to you—so you can have no power over me.”
• “You are going to be a mother, Hedda.”
• “I have only a duty towards myself.”
• “So I am in your power, Judge.”
• “I’ve only got a maid’s job, Hedda.”
• “Hedda, my dearest love, how could you do it?”
• “I am in your power now.”
• “I want for once in my life to have power to mould a human destiny.”
• “But I’ve no talent for it.”
• “Oh, why should you be allowed to do things that I’m not?”
• “Isn’t it lovely to have an open house?”
• “It’s like being in a cage.”
• “I’ve never known how to go about life.”
• “I’ve never gone out of my way to attract attention.”
• “I wish I had it in me to really confide in you.”
• “But I have one thing, which others don’t have—one thing.”
• “I am burning your child, Thea!”
• “But I’ve no interest in things that don’t concern me.”
• “No, my dear, you must do as I say.”

6. Destruction and Self-Destruction

• “I am burning your child, Thea!”
• “It’s like being in a cage.”
• “I want for once in my life to have power to mould a human destiny.”
• “At last, a deed worth doing.”
• “I am in your power now.”
• “I’ve never known how to go about life.”
• “I am so dreadfully bored.”
• “It gives me a sense of freedom to know that a deed of deliberate courage is still possible.”
• “I’ve no interest in things that don’t concern me.”
• “But I won’t be unfaithful to you—so you can have no power over me.”
• “But I’ve no talent for it.”
• “You are going to be a mother, Hedda.”
• “I have only a duty towards myself.”
• “So I am in your power, Judge.”
• “But I have one thing, which others don’t.
• “But I have one thing, which others don’t have—one thing.” 16. “I’ve never gone out of my way to attract attention.”
• “But I’m not like you. I have no talent for it.”
• “I am burning your child, Thea!”
• “I shall take him at his word. I will.”
• “No one could dream of looking at you, Mrs. Tesman.”

• “I want for once in my life to have power to mould a human destiny.”
• “It’s like being in a cage.”
• “But I’ve no talent for it.”
• “I am in your power now.”
• “But I won’t be unfaithful to you—so you can have no power over me.”
• “I’ve no interest in things that don’t concern me.”
• “I am so dreadfully bored.”
• “But I have one thing, which others don’t have—one thing.”
• “Oh, why should you be allowed to do things that I’m not?”
• “It gives me a sense of freedom to know that a deed of deliberate courage is still possible.”
• “But I’m not like you. I have no talent for it.”
• “You are going to be a mother, Hedda.”
• “I am burning your child, Thea!”
• “I’ve never known how to go about life.”
• “I have only a duty towards myself.”
• “No one could dream of looking at you, Mrs. Tesman.”
• “I shall take him at his word. I will.”
• “But I’ve never gone out of my way to attract attention.”
• “Hedda, my dearest love, how could you do it?”
• “People don’t do such things!”

8. Marriage and Relationships

• “Hedda, my dearest love, how could you do it?”
• “You are going to be a mother, Hedda.”
• “But I won’t be unfaithful to you—so you can have no power over me.”
• “I have only a duty towards myself.”
• “So I am in your power, Judge.”
• “Isn’t it lovely to have an open house?”
• “I am so dreadfully bored.”
• “I’ve never known how to go about life.”
• “No, my dear, you must do as I say.”
• “But I’m not like you. I have no talent for it.”
• “But I’ve never gone out of my way to attract attention.”
• “But I’ve no interest in things that don’t concern me.”
• “It gives me a sense of freedom to know that a deed of deliberate courage is still possible.”
• “I am in your power now.”
• “I want for once in my life to have power to mould a human destiny.”
• “I am burning your child, Thea!”
• “I wish I had it in me to really confide in you.”
• “But I’ve no desire to see anyone.”
• “Oh, why should you be allowed to do things that I’m not?”
• “You may have the power, but I have the influence.”

9. Illusion vs. Reality

• “I am burning your child, Thea!”
• “But I’ve no talent for it.”
• “I am in your power now.”
• “So I am in your power, Judge.”
• “But I’ve never gone out of my way to attract attention.”
• “Oh, why should you be allowed to do things that I’m not?”
• “It gives me a sense of freedom to know that a deed of deliberate courage is still possible.”
• “People don’t do such things!”
• “I’ve never known how to go about life.”
• “But I’ve no interest in things that don’t concern me.”
• “I want for once in my life to have power to mould a human destiny.”
• “You are going to be a mother, Hedda.”
• “But I won’t be unfaithful to you—so you can have no power over me.”
• “I’ve no desire to see anyone.”
• “No, my dear, you must do as I say.”
• “I am so dreadfully bored.”
• “I’ve only got a maid’s job, Hedda.”
• “Isn’t it lovely to have an open house?”
• “But I have one thing, which others don’t have—one thing.”
• “At last, a deed worth doing.”

10. Tragedy and Inevitability

• “I want for once in my life to have power to mould a human destiny.”
• “I am burning your child, Thea!”
• “I am in your power now.”
• “So I am in your power, Judge.”
• “I shall take him at his word. I will.”
• “But I’ve no talent for it.”
• “But I won’t be unfaithful to you—so you can have no power over me.”
• “You are going to be a mother, Hedda.”
• “I’ve no interest in things that don’t concern me.”
• “I’ve never known how to go about life.”
• “I am so dreadfully bored.”
• “No, my dear, you must do as I say.”
• “Oh, why should you be allowed to do things that I’m not?”
• “But I’m not like you. I have no talent for it.”
• “People don’t do such things!”
• “But I have one thing, which others don’t have—one thing.”
• “But I’ve never gone out of my way to attract attention.”
• “Hedda, my dearest love, how could you do it?”
• “It’s like being in a cage.”
• “I wish I had it in me to really confide in you.”

About the Author

Henrik Ibsen was born on March 20, 1828, in Skien, a small town in Norway. His family’s financial troubles during his youth deeply influenced his outlook on society and its hypocrisies. Ibsen began his career writing historical and romantic plays, but it was his shift to realism in the 1870s that marked a significant change in his work and in modern drama as a whole.

Major Works:

• A Doll’s House (1879): One of Ibsen’s most famous plays, it critiques the traditional roles of men and women in marriage and society. The play’s protagonist, Nora, famously leaves her husband and children in search of her own identity, challenging the norms of the time.
• Ghosts (1881): This play deals with the consequences of hidden sins and the oppressive forces of society, addressing issues such as inherited disease and moral hypocrisy.
• An Enemy of the People (1882): Ibsen examines the conflict between the individual and the community, focusing on a doctor who exposes a town’s water supply as contaminated, only to be ostracized by the townspeople.
• Hedda Gabler (1890): This play centers on the complex character of Hedda, a woman trapped in a loveless marriage and constrained by societal expectations. It explores themes of power, freedom, and self-destruction.

Style and Influence:

• Realism: Ibsen is best known for his realistic style, which presented everyday situations and ordinary characters with psychological depth. His focus on the internal conflicts of his characters and their struggles with societal pressures was groundbreaking.
• Symbolism: Although a realist, Ibsen also incorporated symbolic elements into his plays, using objects, settings, and dialogue to represent larger ideas and themes.
• Impact on Modern Drama: Ibsen’s work laid the foundation for modernist and existentialist drama, influencing playwrights such as George Bernard Shaw, Anton Chekhov, and Arthur Miller.

Legacy:

• Global Recognition: Ibsen’s plays are performed and studied worldwide, and he is often regarded as the second most performed playwright in the world after Shakespeare.
• Social Commentary: His plays continue to resonate for their incisive critique of social norms and their exploration of the human condition.
• Innovator: Ibsen’s innovative approach to theater and his focus on the individual’s role within society have made him a central figure in the development of modern drama.

Henrik Ibsen’s work, particularly plays like Hedda Gabler, remains relevant today for its exploration of timeless themes such as identity, power, and societal constraints. His influence on theater and literature is profound, making him one of the most important figures in the history of drama.