Thea Elvstead

Personally, I my viewpoint is different from others. To me, Thea's main characterization feature is that she is extremely ditsy and simple- minded. Many would argue that this is untrue seeing as she has helped Eilert on his manuscript; not to mention, the manuscript was extremely successful. Also, Thea has helped to rehabilitate Eilert from his alcoholic past. Because of these accomplishments on her behalf, it would seem natural to argue that Thea is an extremely capable woman who overcomes the barriers which typically inhibit women of that time. Even so, I see Thea as a simple-minded character whose naivete is seen in her obsession with Eilert and her constant worrying over his well-being. Thea's actions throughout the play as well as her dialogue only help to reinforce these beliefs. In the initial presentation of Thea, she is described as having "a startled, questioning look." Automatically this displays her uncertainty. Other various parts of her description evoke pity. For example, "she wears a dark visiting dress, tasteful, but not quite in the latest fashion." Thea seems disordered and somewhat pathetic. " [Hedda] drags Mrs. Elvsted, almost by force toward the doorway" (272). The manner in which Thea allows Hedda to treat her, further portrays her malleable nature. Furthermore, the reunion between the two women serves to demonstrate Hedda's ability to manipulate Thea for information

From a feminist standpoint...

Hedda's main goal is to maintain power over at least one other character. Throughout the play Hedda shows extreme admiration for General Gabler and does her best to emulate him. As a woman, however, she finds this difficult. It is obvious that as a female, Hedda feels inferior.  This oppressive consciousness is only strengthened by the constant remarks made by Julie and Tesman regarding her feminine character which she does her best to ignore. When Tesman remarks, "But have you noticed how plump and buxom she's grown? How much she's filled out on the trip?" Hedda retorts, "Oh, do be quiet-!" It seems that Eilert Lovborg is the only man who truly respects Hedda. However, Hedda realizes that Eilert is now involved with Thea and  becomes jealous of their connection. She notices the way Eilert both recognizes and appreciates Thea's contribution and opinion regarding the manuscript and therefore, comes to detest the manuscript as well seeing as for her, it represents the bond between Eilert and Thea. Indirectly, Hedda may feel that in some way destroying the manuscript gave her power and might allow her to regain her connection with Eilert. On the other hand, Tesman treats Hedda almost like a child. The manner in which he constantly exclaims "Imagine!" and "Oh is that so?" to Hedda is similar to the way in which an adult might humor a child and lacks genuine interest.  Judge Brack seems to be most familiar with Hedda's character. He is also the one who maintains the most control over Hedda. This control is best seen towards the end of Act Four when he confronts Hedda about Eilert's death. Brack is aware that Hedda is the one who provided the pistol for Eilert's death. He tells Hedda that the police have the pistol and will attempt to trace it back to its owner. Hedda inquires, "Do you think they'll succeed?" and Brack replies vindictively, "No, Hedda Gabler-as long as I keep quiet" (301). Especially with this information, Brack attains complete control over Hedda and well as her fate. Hedda's suicide stands for her surrender to the male domination which subordinates her and her overall inability to continue as a female in her society.

"one cock of the walk"

I would say the "one cock of the walk" line by Judge Brack is in reference to how he wishes to be the main "man of the house" or at least in Hedda's life.  However, Judge Brack does mention that "All [he] want[s] is to have a warm circle of intimate friends, where [he] can be of use one way or another, with the freedom to come and go as-as a trusted friend-" (252). Later Brack makes it apparent that he would allow not another man to intrude into this triangular arrangement.  (Referring to Eilert Lovbourg) "Yes.  I'll admit I'd find it more than annoying if that gentleman were to have free access here.  If he came like an intruder, an irrelevancy, forcing his way into- (Spoken by Hedda) "Into the triangle?" (Again, Brack) "Precisely." (282). Later Brack again admits that what he wants is to be the one cock of the walk. "Yes, that's what I want to be. And that's what I'll fight for-with every means at my disposal" (282). It is obvious that Brack is more than serious about his intentions in gaining his "one cock of the walk" status. Throughout the play his actions reflect his promise to fight for it by any means necessary.  It is observable how Brack especially uses his control as a  Judge in order to maintain this position in Hedda's life.

Hedda Gabler video

http://www.youtube.com/watch?v=qKgcjssJgvY

Pistol Motif

Throughout Ibsens's "Hedda Gabler" many motifs are used in order to reflect seperate thoughts or underlined meanings otherwise not openly stated. One of the most prominent motifs is the use of pistols, most notably by Hedda. Throughout "Hedda Gabler" Ibsen uses pistols as the main symbol for Hedda's ultimate power and that which gives her joy. Not only does Hedda love her pistols with an insane-like possession, but they are the sole object of amusement for her as well.

Act One/ Act Four

In the initial description of Act One's setting, both Juliana Tesman and Berta are presented, each in a positive manner. "Miss Juliana Tesman [enters] wearing a hat and carrying a parasol" (221). Juliana Tesman is dressed fashionably and has a "kind and good-natured look" (221). Next Berta enters carrying flowers with a plain and rather provincial appearance. Both of these women are positively presented. Hedda Gabler's character, however, remains unmentioned. In comparison to Act Four's setting, on the other hand, both of these women are presented in a despondent and seemingly negative way. Contrary to Act One's setting, Hedda Gabler is the first character presented, "pacing back and forth in the dark room" (289). Berta is next presented "carrying a lighted lamp with eyes red from crying [and] black ribbons on her cap" (289). It is obvious that Berta is burdened and troubled by her constant movement about the room. Along with the presence of Hedda Gabler comes an overall shroud of darkness and obscurity. It is obvious that Hedda in unconcerned with the death of Aunt Rina and her movement throughout the description of Act Four's setting convey this lack of worry. Hedda's general presence asserts a certain power over the other two women present and adds, both figuratively and literally, darkness to the room.

Hedda on youtube part 2

http://www.youtube.com/watch?v=9Vk9QKZwAG8&feature=related

Appearance

The ways in which the two women are initially presented helps to convey their character. Hedda is not presented until the midway into Act One. However, until then, she is mentioned as napping in the next room and the other characters (Aunt Julie, George, and Berta) are careful not to wake her. Already this demonstrates the control Hedda has over others. It is obvious that she maintains respect due to her relationship with the extinguished General Gabler, however, Hedda has an air about her as well which demands respect. Upon first entering, Hedda comments on the bright sunlight flooding in and immediately Miss Tesman goes to adjust the curtains. Throughout the play, this control Hedda has over others is observable through her actions.