Henrik Ibsen’s Hedda Gabler is not truly indicative of his vast body of work:
the protagonist is female and the play is a character study. Oddly enough, though, Hedda
does not evolve or progress throughout the entirety of the work. Rather, she remains a
cold and manipulative woman. When this fact is realized, the only task is discovering
why Hedda continues as a flat character who is restrained from gaining the status
of a hero. Truthfully, there are many variables that shape Hedda’s life. Nonetheless,
two factors in particular stand out—her father, General Gabler, and the repressive,
masculine society of the era. Although Ibsen does not directly address these issues,
he succeeds in conveying their critical significance.
A common underlying theme in Ibsen’s work is the linking of death and
music. And, as one might have deduced, this premise is employed in Hedda Gabler.
Moreover, the ever-present piano, belonging to the late General Gabler, symbolizes
Hedda’s past freedom, prior to marrying George Tesman, as the “General’s daughter.”
A more obvious example of General Gabler’s influence over Hedda is the large portrait
of him that dominates the “inner” room. In fact, as Ibsen initially describes the single set,
he momentarily focuses on the presence of the portrait of the “handsome, elderly man in
a General’s uniform” (Ibsen Act 1). With this description, the reader is made aware of the
General’s presence, even after his death. Arguably, the most significant influence the
General has over Hedda is the fact that Hedda is unable to rid herself of her “Hedda
Gabler” identity. It is extremely odd to be known by a name that is, in effect, a product of
the past, as Hedda has recently become “Hedda Tesman.” Throughout the play, Hedda is
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