Hedda Gabler Quiz | 20 Questions
Yet it is not Mrs. Elvsted who is focus of the play but Hedda Gabler, and whether Hedda truly emancipates This position mirrors her earlier relationship with Løvborg, which is something Mrs. Elvsted hopes for . Questions. Take the Quiz: Hedda Gabler. Ibsens This quiz uses the Gosse-Archer translation. Enjoy! That Lovborg has told her about his past relationship with Hedda. Gabler, Mrs. Elvsted tells Hedda about her personal problems and Hedda . conclude about their relationships, Lovborg concludes about his relationship. Thus.
Act II Continue to read the stage directions carefully; the details are often significant. In this act, the piano has been moved into the inner room, which increasingly becomes Hedda's space. It reflects her self-containment and her separateness. General Gabler's portrait keeps him present throughout the play, as do the guns and Hedda's insistence on being his daughter rather than Tesman's wife.
Does the General symbolize the aristocratic social class which shaped Hedda and dominates her still? As Act I established, class differences are a crucial element in this play. If you took Core Studies 3 or 4, you are familiar with the history of the rise of the bourgeoisie middle class and the decline of the aristocracy politically and economically, if not socially.
You probably also discussed the hostility and conflicts among the classes, which Marx called class warfare. In a sense, class warfare has taken the form of Hedda's resisting the Tesmans' intrusions and claims on her. Even though she rebuffs them, she remains for the Tesmans an admired, superior being.
Would it be accurate to say that she is a valuable possession who enhances their status and sense of self-worth and achievement? What is the difference between Tesman's reaction to Hedda's merely talking about shooting the guns and Brack's reaction to actually being shot at? Does Brack take her seriously?
His taking her gun allows him to look at it closely; his familiarity with the appearance of the gun is important later. His taking control of her and the situation foreshadows later events. Brack reveals another aspect of himself. Under the cover of family friend, he wants to have an affair with Hedda. Hedda's reference to his coming the "back way" refers not only to his using the back entrance to the house but to his being sneaky and underhanded.
Though Hedda rejects his sexual overtures, she is willing to engage in the titillation of a flirtation with sexual undercurrents and no physical involvement. Hedda enjoys Brack's company; she engages in a verbal duel with him, even jokes with him "jestingly," p. Her rejecting Brack has caused her to be called frigid or sexually repressed. Under her cold manner and eyes, is there passion, intense in not having an outlet? If she is repressed, what kinds of feelings are being suppressed--love, lust, rage, frustration, fear, etc.?
Is it possible that some of her unexpressed feelings come out in hostile statements and actions, like her deliberate insult regarding Miss Tesman's hat? The sexual play between Brack and Hedda starts subtly. At the beginning of their conversation, he bends "a little forward" and she withdraws, "leaning further back in the sofa" p. Then there is the little tug of war over the use of "night" vs. Hedda rejects Brack's referring to "night" with its remote suggestion of sexual intimacy with Tesman Hedda continues to be quick at picking up sexual implications.
Hedda Gabler: A Study Guide
Then in the conversation she forgets and uses the term "night" herself, since it is a natural way of phrasing the idea. Brack immediately turns her previous objection against her and scores a point in their verbal game or struggle for dominance. Using the analogy of riding on a railway carriage, Brack propositions her by suggesting, "the passengers jump out and move about a little" he means, Hedda should jump out of her marriage.
She emphatically rejects any sexual relationship, "I never jump out" p. He makes a counter offer of flirtation, "suppose a third person were to jump in and join the couple"; she accepts this relationship, "Yes, that would be a relief indeed" p.
Tesman enters to the line, "The triangle is completed. Hedda feels in control of the triangle and Brack. The alliance which Hedda and Brack have just cemented is seen by the audience when they "exchange a confidential smile," but George sees nothing. This scene answers the question almost every reader of this play asks, why did Hedda Gabler ever marry George Tesman?
Hedda states the reasons bluntly--she was getting older, no one else asked, and, as we already know, she could not maintain the lifestyle she enjoyed as General Gabler's daughter. In other words, she sold herself "he was bent, at all hazards, on being allowed to provide for me," p. Compensating for George's lack of social status was her expectation that he would attain, as Brack expresses it, "the highest achievement" p.
A little later in this act, her hopes that Tesman might achieve political success are squelched by Brack, for Tesman has neither the talents nor the wealth to succeed in politics. She did not accept Tesman for personal reasons, as she neither likes nor respects Tesman; her question makes this clear, "And I don't see anything absolutely ridiculous about him.
She implies that Tesman is ridiculous though not absolutely or unacceptably ridiculous. How narrow her view of the world is and how limited her values are emerge clearly in her conversation with Brack.
Though she has been home less than a day, she is bored because "our set are still out of town" p. Although she spent nearly six months traveling on her honeymoon, she could not enjoy the culture and learning of any country they visited. She was bored, "To go for six whole months without meeting a soul that knew anything of our circle, or could talk about the things we are interested in" p.
Unlike Thea, she is uninterested in exploring the unfamiliar and in expanding her knowledge and understanding. Intellectually, culturally, and spiritually, Hedda is barren or sterile. Pages George praises Lovborg's book and confirms Thea's influence, "He never wrote like that before" p. Because Tesman is a scholar himself, his praise establishes Lovborg's abilities for the audience.
Unlike Thea, Hedda has no interest in Eilert's book. She wants vicarious experience from Lovborg, not enlightenment. This is yet one more way that Thea serves as a foil for Hedda. Tesman's concern about his Aunt Rina's ill health may not be the real or, perhaps, the only cause of Hedda's outburst, "Oh, those everlasting aunts!
It pushes away George's reference to her gaining weight, i. Not once in this play is Hedda able to acknowledge her pregnancy explicitly, and references to it anger her. Hedda rejects the roles expected of women: It has been suggested that Hedda is seeking an outlet for her life, for a freedom of expression and being, which neither her class in particular nor her society in general allows women.
Do you see evidence to support this theory? What else might be motivating her behavior? Pages Does Eilert Lovborg's appearance reflect the dissipated life he has led? His new suit suggests his recent conversion to respectability. He approaches Hedda hesitantly, "Will you too shake hands with me, Mrs. What in his past behavior in general or in their relationship in particular might make him hesitant in speaking to her?
The differences between Tesman and Lovborg become clearer. Lovborg is an artist--creative, filled with the life force, and lacking in control.
His next book will express his "true self" p. In contrast, Tesman is, as Hedda called him, a specialist. His planned work on the domestic arts of the Middle Ages in the Middle East is narrow, safe, and irrelevant; the past is dead, and the Middle East is certainly remote from Norway. Nothing about his project expresses individuality and a "self. Lovborg assures Tesman that he does not plan to compete for the professorship and will not publish his book until Tesman has been appointed to the professorship.
Lovborg cares not for position but "the moral victory. He jubilantly exclaims to Hedda that Lovborg won't "stand in our way" p. Hedda rejects the "our" which associates her and Tesman; as she speaks these words, she moves towards the inner room, a visual expression of her separateness.
Brack and Tesman withdraw into the inner room, leaving Lovborg and Hedda alone. Their conversation, conducted with Tesman in possible earshot, reveals an unsuspected intimacy. Lovborg insists on calling and referring to her as Hedda Gabler and addressing her with the familiar form of "you"; she squashes these expressions of closeness, "What?
I can't allow this! At the same time that she rejects these expressions of closeness, she continues their former intimacy by discussing the past and her feelings. She acknowledges to yet another man that she does not love her husband while warning that she will not "hear of any sort of unfaithfulness! She evades Lovborg's question whether she felt any love, even just a spark, for him.
Is her response calculated to discourage Lovborg and end their past relationship or to keep him interested in her, to keep him hooked? Does Hedda project a sexual attraction, since all three men in this play are interested in her sexually?
Her conversation with Lovborg also reveals her skill at hiding socially unacceptable interests under socially correct behavior. When he visited her in the past, they discussed his sexual life while pretending to read the newspaper; General Gabler, representing society's restrictions on young ladies, dozed nearby. In this scene, they pretend to look at the photograph album while conducting a highly improper conversation.
With a trident in his hand. With thunder in his eyes.
With vine leaves in his hair. Act III takes place early the following morning when, to Mrs. Elvsted's dismay, Lovborg has not yet returned from the party at Judge Brack's. Tesman eventually returns and informs Hedda of a number of things which occurred at the dinner party concerning Lovborg. Which of these does he NOT tell her about Lovborg? That he had dropped his manuscript on the way home That he had behaved with a complete lack of self-control. That he had read part of his book aloud That Lovborg had despaired over losing his manuscript.
Tesman reads a letter sent to him from Aunt Juliana summoning him to the bedside of her sister, Aunt Rina, who is near death. Hedda refuses to accompany him on his final visit to his aunt; what reason does she give for doing so? She had never liked Aunt Rina. She refuses to look upon sickness and death. She is afraid of catching an infection. She is too ill to accompany him. After Tesman's departure, Judge Brack arrives and provides Hedda with further details of Lovborg's drunken debauch on the previous evening.
In particular, he informs her of an occurrence which he is certain will destroy Lovborg's reputation and cause him to be turned away from any respectable household.
Lovborg had ended up in bed with a married woman. Lovborg had been arrested at Mademoiselle Diana's. Lovborg had fatally assaulted someone. Lovborg had made a pass at a man. After Brack leaves, Lovborg arrives in search of Mrs. When she appears, he is forced to admit that he does not have the manuscript, and tells her that he had destroyed it, much to her despair. To what does Mrs. Elvsted compare the destruction of the manuscript? To the murder of a child.
To an act of suicide. To the desecration of a cathedral. To the destruction of a painting. One of the most memorable scenes of the play- or indeed of any play- is the conclusion of Act III. Alone, Hedda produces the manuscript and, opening the door of the stove, feeds it to the flames.