Seamus Heaney "DIGGING"

DIGGING - Seamus Heaney

Between my finger and my thumb

The squat pen rests; snug as a gun

Under my window a clean rasping sound

When the spade sinks into gravelly ground

My father, digging. I look down

Till his straining rump among the flower beds

Bends low, comes up twenty years away

Stooping in rhythm through potato drills

Where he was digging. 

The coarse boot nestled on the lug, the shaft

Against the inside knee was levered firmly 

He rooted out tall tops, buried the bright edge deep

To scatter new potatoes that we picked

Loving their cool hardness in our hands.

By God, the old man could handle a spade, 

Just like his own man.

My father cut more turf in one day

Than any other man on Toner's bog

Once I carried him milk in a bottle

Corked sloppily with paper. He straightened up

To drink it, then fell right away

Nicking and slicing neatly, heaving sods

Over his, shoulder, going down and down

For the good turf. Digging

The cold smell of potato mould, the squelch and slap

Of soggy peat, the curt cuts of an edge 

Through living roots awaken in my head.

But I've no spade to follow men like that. 

Between my finger and my thumb

The squat pen rests

I'll dig with it.

Quite often, a young man will look up to his father as a 'father figure', someone to idolize and emulate. I've frequently noticed in Seamus Heaney's poetry his tendency to mention a father (both in "Follower" and "Mid-Term Break"). In his poem, "Digging" Heaney, through the diction and metaphors presented, compares himself and his values to those of his forebears. Throughout the poem, Heaney contemplates his 'roots' in remembering his father and grandfather and the things they valued. Heaney himself wonders if his own occupation is as valuable as theirs. 

In the beginning of the poem Heaney presents himself writing, he suggests that his pen is his tool; he then becomes conscious of his father working below in the garden. When describing the work of his father Heaney uses diction which suggests admiration towards his father's labors and, although he doesn't outright state it, implies his questioning as to whether or not his own work is as genuine. 

Heaney obviously values the quality of his father's work. Words like "clean rasping sound" suggests his admiration. "Straining" and the repetition of "digging" create a sense of purposefulness and "stooping in rhythm" the efficiency with which his father works. "The coarse boot nestled...firmly". These words suggest the determination and amount of effort of his father's contribution to work. Also, "He rooted out tall tops" implies the thoroughness with which his father completes his actions. Heaney begins to reminisce about the "potatoes that [they] picked, Loving their cool hardness in [their] hands"; He senses the same admiration and witnesses the same determination that he did helping his father pick potatoes as a child. 

"By God, the old man could handle a spade, Just like his old man". His oath "By God" suggests the tradition with which the family has passed down the spade work and the hardworking customs. The phrase, "Just like his old man" shows the way this manner of work has been passed down proudly through the generations. Heaney then recalls his fathers heroic reputation as man who could "cut more turf in a day than any other man on Toner's bog". Heaney then goes on to evoke the expertise of his forebear's potato-planting: "Nicking and slicing...heaving...Digging". Also, he evokes the productiveness, "Once I carried him milk in a bottle..." Heaney observes the quickness of the break as "He straightened up to drink it, then fell to right away..."

"Living roots awaken in my head". This is a metaphor that plays on the pun of "roots". Here roots can represent both the roots of the potatoes as well as his family roots of his father and grandfather and their relish in working in the soil. Heaney is cognizant of the influence of family traditions of honest and hard work and wishes to live up to the high standards which they have set for future generations, including Heaney himself. "But I've no spade to follow men like them". Heaney feels that his line of work is incompetent in comparison to that of his father and grandfather, he worries that, as a writer, Heaney is no longer following the traditional line of work in the family. He wonders whether poetry requires as much hard work and effort, whether or not it is as valued or 'manly' as potato-planting.

The final stanza of the poem demonstrates Heaney's assertiveness that his writing is, in fact, as valid. "Between my finger and my thumb, the squat pen rests, I'll dig with it". Another metaphor is thus presented in Heaney's usage of the word "dig". Heaney is now comparing his writing to that of the potato-planting in that they both require honest hard toil and "digging". 

Overall Heaney's poem in itself is evidence of the validity of hardwork and expertise which goes into his writing. The amount of dedication and his acknowledgment of doing something that one loves, it is both positive and inspiring, like the work of his forefathers. 

Atwood: Tricks With Mirrors

Many times in history, women have felt the need to fulfill a specific role assigned to them by society and men, perhaps unintentionally but nevertheless through their treatment of women in general. In her poem, "Tricks With Mirrors", Margaret Atwood uses conceit in order to promote parallels between various objects and a woman as well as her role in the shadow of a man. The poem consists of five sections and begins with a hint of vulnerability and eventually climaxes to a determination which the speaker hopes to convey though the continued metaphors.

Initially the woman objectifies herself as "a used warehouse". The woman has been with men before and from her experience, has obtained the feeling of being "used". "I enter with you and become a mirror". Here the woman establishes herself as a mirror; she tells the reader that mirrors are perfect lovers and mentions sexual references such as "throw me on the bed" and "fall into me". However the woman states that there is more to a mirror than simply the reflection of the man which the man constantly tends to notice, ignoring the "dead blue oblong eye" which would demonstrate the obvious discontent and unhappiness of a woman. "thank about the frame...it is important". The speaker feels that the man only notices himself however ignores the details of a woman and, in doing so, that which makes the woman separate and defines her. Rather than noticing these components, a man only sees himself, his own reflection. The speaker mentions nails and asks that the man pay attention to the mark in the wood which would here represent the women's past experiences, which, "they are important too".

"Don't assume it is passive or easy...surface of the ice". Here the woman attempts to explain that the restraint which a woman endures is not simple but rather difficult in that the woman is essentially being silenced and, in a sense, forced to contain her opinions and emotions, "breath withheld, no anger or joy disturbing the surface of the ice". Rather than protecting herself and preserving her individuality, a woman suspends a man in herself and works to preserve the man's interest, assuring the man's safety inside of their relationship; the man has no worries. "It is not a trick...mirrors are crafty".  A direct association is made between mirrors and women suggesting that women are crafty in their actions and way when regarding men and the manners in which they present themselves to men. 

"I wanted to stop this". In the fourth section the speaker begins to assertively challenge the depression she experiences and voices a woman's wishes to alter their lifestyles and escape from their constant position behind the shadow of a man, "this life flattened against the wall. mute and devoid of colour". The woman wishes to release herself from the bonds of a man and the imposed subordination a woman encounters. "This life of vision only...impasse". The speaker feels as if she leads a silent lifestyle, thoughts of change but no actions. Living in a man's shadow, a woman leads a remote existence where she is unable to express her thoughts but rather remains mute and forever trapped in the imprisonment behind the shadow of the man, "a lucid impasse".

In the fourth stanza of the fourth section the woman confesses that it is not a mirror that she speaks of, but rather a door; a door that she is trapped behind. The narrator is not beginning a new metaphor but rather furthering the original metaphor in that the woman is associating her position with a mirror but rather a door which she finds herself trapped behind without a way out. The speaker expresses her desire to have the man release her from her entrapment "say the releasing word, whatever that may be, open the wall". However the man doesn't understand the woman at all and instead, continues to treat her as if she were his mirror". Eventually the speaker transitions metaphors at the end in order probe the reader to contemplate pools. Perhaps the pool is an allusion to Narcissus in Greek mythology: a young man who fell in love with his image in a pool of water and eventually wasted away and fell into the pool and drowned. This would be in reference to the beginning of the poem wherein the speaker states, "fall into me". The speaker provides a final attempt to allow the man to see his vanity and better understand the woman who remains simply a shadow, a reflection of a man's desires. 

Overall, "Tricks With Mirrors" represents a woman's voice in an attempt to appeal for change with hopes that the man will understand her innermost thoughts and resolve to make the necessary changes in order to better understand women in general. Throughout the poem, through the extended metaphor, Atwood successfully compares various objects such as mirrors, doors and pools to that of the role of a woman in the shadow of a man. 

"Follower"

In his poem, "Follower", Seamus Heaney uses the diction of his poem as well as the imagery presented in order to differentiate between the speaker's views of his father as a child to those as an adult. Throughout the poem, the speaker describes life with his father as a young child and the ways in which he idolizes his father only to culminate with the disappointment of reversed roles in the end. 

Initially, the speaker describes his father with words suggesting a powerful man, "His shoulders globed", "An expert". It is apparent that the speaker looks up to his father and hopes to someday follow in his footsteps. "I wanted to grow up and plough, to close one eye, stiffen my arm". The speaker uses words such as "nuisance, tripping, falling, stumbled" etc. in order to compare himself with an annoyance which his father cannot rid himself of.

Later, however, the speaker realizes in an air of disappointment, that it is his father which is the nuisance. "But today it is my father who keeps stumbling behind me, and will not go away". The speaker admits that now that his father is older and no longer the strong man described previously in the poem, he is nothing but a nuisance, a 'follower'. "Keeps stumbling behind me", here the author uses images of an old man stumbling behind him in order to demonstrate the reversed role of his father. Once a strong man, the speakers father is now simply a nuisance that he cannot rid himself of. 

Overall, Seamus Heaney is able to accurately portray the growth of his father and the recognition of the speaker that he no longer is the man he previously admired, but rather an old man who is useless.

Mid-Term Break

A speaker in Seamus Heaney's "Mid-Term Break" discusses the death of his younger brother and his funereal visit. Throughout the poem, through the content provided, Heaney suggests a general air of indifference regarding the death of the speakers 4-year old brother.

The poem begins with the speaker describing his location. He has been waiting all morning in the college's sick bay, waiting to be collected by his neighbors. The fact that he has been counting the bells shows a lack of concern for the situation and a sense of boredom. Additionally, the speaker's neighbors are his transportation, rather than his family, which suggests separateness from his family. 

Continuously throughout the poem the speaker mentions the emotions of those around him however fails to state his feelings regarding the situation. "I met my father crying--He had always taken funerals in his stride--And Big Jim Evans saying it was a hard blow. The baby cooed and laughed and rocked the pram...My mother..." etc. These continual references to the people around him shows the speakers focus more on the attendance of the funeral rather than the reason for their visit in the first place. 

"I was embarrassed...'sorry for my trouble'". Both the fact that the speaker is embarrassed possibly suggests that he is guilty of not feeling the emotions the people addressing him assume that he is feeling. When the author puts 'sorry for my trouble' in quotes it seems as if the speaker feels it in ironic or contradictory in that he really is experiencing no trouble at all. The speaker is embarrassed that, while his mother is holding his hand and expressing genuine emotion "coughed out angry tearless sighs", these men are taking the time to shake his hand.

"Whispers informed strangers..." It is obvious that the speaker is a stranger even in his own household. This is also seen in his descriptions "the room", "the bedside","the corpse", all of which are impersonal references. The speakers description of the room and his reference to the baby as a corpse demonstrate an unfamiliarity with both the baby and his surroundings. 

Finally, the speaker continuously makes note of his usual absence from the house. "Away at school", "I saw him for the first time in six weeks"...each of these imply that the speaker is typically away at school and does not usually see the baby. Also, the title, "Mid-Term Break" indicates that the boy is leaving school as a break, as it is not often he is dismissed.

Overall, the content of "Mid-Term Break" demonstrates the reader a sense of separateness from both the death of the baby and family values. Through his descriptions of others' emotions, and the quotes mentioned, Heaney portrays the character as lost in a house of genuine affection.

The Good-Morrow Commentary

Pearl S. Buck once stated, "Love dies only when growth stops". To many, love grows and develops as it progresses. To others, love may be captured and maintained in one moment. John Donne uses the structure of his poem "The Good-Morrow" in order to convey the development and progression of love. Consisting of three stanzas, "The Good-Morrow" chronicles the maturity of love and its advancement in three stages. 

The first stanza begins questioning, what was it that humored the narrator before he found love? Words such as "weaned" and "childishly" suggest an immature lust and one involving two inexperienced lovers. This is further demonstrated in the line "But sucked on country pleasures, childishly?", which tells of a sexual past in which he or both of the lovers pleasures themselves childishly.

The second stanza begins, "And now good-morrow to our waking souls", implying that it is a new beginning and that the souls are "waking" or rather the lovers are having their eyes opened to a new understanding of love. "And makes one little room an everywhere", here the narrator feels as if his love is infinite and that it is universal as well as omnipresent. In this stanza the narrator compares his love to that of sea-wanderers and geographers who must search far for their desires as long as they "let us possess one world, each hath one, and is one". 

The third and final stanza of the poem begins with the image of the two lovers admiring their reflections in each other's eyes. "And true plain hearts do in the faces rest". The lovers are now truly and simply in love. They realize that they are perfect for each other; the narrator hopes and truly believes that their love together will balance perfectly and live together everlastingly. "Whatever dies was not mixed equally; If our two loves be one, or, thou and...none can die". The narrator does not believe their love is mixed unequally or is imbalanced, but rather their love is one; a love that "none do slacken, none can die".

Overall, John Donne successfully portrays a development of love through each stanza. Beginning with the underdeveloped lustful feelings, the narrator is experiencing pleasures and recognizes there is more to what he is feeling. Donne then uses the second stanza as a transitional phase within which his love spreads. And lastly, the third stanza acts as a full-realization and celebration of their love. 

Act of Resistance

When I first discovered that the smoking rate in the U.S. had dramatically decreased I was extremely surprised. I personally feel that smoking has always been an ongoing problem in this nation alone, with its devastating effect on consumers. It was on November 17th that I first heard the news that the smoking rate in the U.S. may be at its lowest level since mass consumer marketing of tobacco products began in the 1920’s. The news not only served as inspiration for a possible act of resistance project, but it provided a catalyst, causing me to begin a project advocating the non-use of drugs. It was with this disposition that I first began my fight back.
I decided that the best way to influence others was to start small. For an English assignment, I felt it satisfactory that I focus on a small group of individuals. My younger sister attends Carve Academy of Mathematics and Science. For my project, I would be frequently visiting the classes in this K through eighth school in order to address the issues regarding smokers and non-smokers today. I felt it important that I speak to both issues as it is valuable to be cognizant of the effects of smoking on smokers and non-smokers alike. Starting with first and ending with eighth graders, I began to present to each of the classes my opinions on smoking and tobacco use in the U.S. today. Along with my personal opinion, I presented gathered facts and statistics which put things into a more literal perspective for the students. Through this presentation I felt I provided valuable information for the students and a reason to avoid tobacco use as well as encourage others to do the same.
Personally I felt this experience helped me to grow as it allowed me to recognize my own capabilities and, when applied, the effect I have on the decisions of others. I believe that not only did the students appreciate the fifteen minute break from class, but also the information being provided and a person who took the time to thoroughly explain the basics. One student mentioned that he appreciated details rather than the usual, "don't smoke". I'm glad that I could provide more insight on the issue and hopefully effectively enlighten the students to the risks of smoking.
Upon reflection however, there are a few things that I would like to expand upon. Given the time restraint and that I didn't want to interrupt the class for too long, I didn't feel that I had enough time to provide all of the information that I would've wanted to. However, if I were to have more time I would definitely improve upon a few aspects. For one, I would provide more information and give real life examples. Also, I would want to do some sort of crafts project with the students so that the experience would have more of a lasting effect on them. One thing in particular which I would like to do is to create T-shirts for the students with some sort of witty slogan.
When I find the time, I will most definitely continue to do such acts. I have agreed to speak at a T.A.T.U. (Teens Against Tobacco Use) Program that my sister will attend. I will also participate as a volunteer on various workshops where we demonstrate different lungs: those affected by smoking and those not, etc.
Overall, I'm glad that I've accomplished this project and I can truly see it's connection to Lysistrata. With a plan and commitment, anything is possible.

Act of Advocation

Tenuous Oath?

At one point I was skeptical about whether or not all of the women would keep to their promise. For one,the women were extremely reluctant to partake in Lysistrata's plan in the first place, and made it apparent that sex meant a great deal to them. Kleonike states: "Try something else. Try anything. If you say so, I'm willing to walk through fire barefoot. But not to give up SEX-there's nothing like it, Lysistrata!" (26). It is obvious that the women treasure sex, not only the men. Also, I felt that the way the oath was sworn was doubtful as it was altered at the last minute from a shield to a recommendation of wine, which I felt made the oath more tenuous.

Peace

The ending of Lysistrata was extremely interesting to me although I was confused by some parts. I enjoyed the way Lysistrata used Peace the woman as a map for the men to divide land upon. I found it humorous and creative on Lysistrata's part. I don't understand, however, the men's ability to divide up the land as easily as they did with so much built up sexual tension/lust. Because of this I believe that Peace was simply used to keep the men amused while Lysistrata further convinced them to sign the treaty. After this however, the men became more serious because land was at stake...something possibly more important to them than their current sexual desires. Also, I found Talor's comment that Peace was turned into an object interesting.

Applying Lysistrata to Modern Affairs

Lysistrata was obviously accomplished in the pursuit of her ultimate goal of peace through abstinence. When applied to the current war in Iraq however, I do not believe the plan would have been successful. The war in Iraq covers a broad spectrum of men from various parts of the country. Whereas in Lysistrata, the Peloponnesian War is situated in Greece and the men at war are much fewer. Lysistrata is the dominant woman in control and does a superb job at leading the women. However, in our time, it would be difficult to control so many women many of which would most likely be unwilling to participate. Also, in today's war, it would be easy for a man to obtain sex from another source. The entire idea I believe would only serve to promote violence and more of a class between men and women rather than bring about any sort of peace whatsoever.

Diction

The diction of the characters is an important aspect of the play. However, I find it difficult to fully assess the diction seeing as we are reading the play and unable to actually hear the voices. Despite this drawback though, we can assume certain dialects from the way the character's speech is written. Lampito's dialogue for example, is written as if it is spoken in a stereotypical Southern accent. Although it may seen unimportant, this dialect contributes greatly to Lampito's character. As representative of the Spartan women, Lampito's accent depicts these women as dim-witted and ignorant. On the other hand, Lysistrata has a diction which seems to demand respect. Her lexicon combined with her enunciation and perfect delivery place her in a position of authority and one which involves the careful consideration of the men, something seemingly incapable of women during this time. Overall the diction is fundamental to the development of characters and, although we cannot actually hear the language, we can work with what we know from what is presented in the text.

Puns

The puns presented throughout Lysistrata were extremely interesting to me and added comic relief to the otherwise dramatic situations presented throughout the play and involving the two sexes. I am aware that the content of our English translation is basic compared to that of the actual Greek plays and other translations. It is said that Americans are unable to handle the crudeness of the original Greek plays and that it would be extremely offensive however I believe that I would find it interesting and more humorous to read the harsher version. I am curious to know what controversy, if any, would be provoked if these plays were to be translated and produced with the full effect of their original puns. However, it was difficult for me to catch most of the puns and many of them had to be explained to me before I fully realized them; others, were fairly obvious. My personal favorite pun involves the interaction between Myrhhine and Kinesias during which Myrhhine is constantly returning to the Akropolis for items apparently meant to comfort Kinesias provoking Kiniseas to state, "What a lovefeast! Only the table gets laid".

Costumes

While reading Lysistrata, it was somewhat interesting to me to imagine what the costumes for this production were like. While reading, I was disappointed to find little reference to the costumes. There are some points where the women's clothing is described as well as the garments of both the Koryphaios and the Choruses. However, these scenes leave little room for interpretation and are more a part of the general idea of the separation of man and woman (for example, the tunics between the two choruses). A scene which I enjoyed involved the veil of Lysistrata. While Lysistrata is attempting to explain her plan for the Treasury to the Commissioner, he states he cannot listen to a woman wearing a veil. At this point, Lysistrata removes her veil and places it on the Commissioner. As the veil is the garment of a woman it is comical to see it on a man. This action on the part of Lysistrata demonstrates the veil as the women's sign of inferiority. Another reference to clothing is in the description of the women's attire. The garments and the lingerie described and discussed between the women demonstrates how they are in-tune with their feminity. One woman in particular who is excited about her feminine garments in Kleonike. It is as if the garments for the women represent their ability to express themselves and their feminine nature. For women like Kleonike, the garments are exciting to the women as it allows them to excite their men and show off their bodies. These two references to the characters' costumes proved most interesting to me. 

The Wool Metaphor

In Lysistrata, the metaphor which I found to be most interesting was Lysistrata's wool metaphor described to the Commissioner. On page 62 Lysistrata continues her wool metaphor in which she compares wool to Athens as a whole city; a united body of citizens rather than separated. Lysistrata believes the whole city should be cleansed of burs. In this metaphor, the burs represent the bad men and corruption which plague the city. The imperfections in the wool represent the imperfections in society. The removal of the "knots and snarls to snag important posts" (63) is Aristophanes reference/criticism of the politicians in Athens who conspire in order to get each other elected. Lysistrata announces who would be and would not acceptable in her city. Among the accepted include: loyal "Resident Aliens, All Foreigners of proven and tested friendship, and any Disenfranchised Debtors". Lysistrata believes that the collection of these people with create a stronger, renewed Athenian civilazation. To Lysistrata, these people represent the wool which she believes will encompass and embrace all of the various people loyal to Athens. During this metaphor, Lysistrata's voice is heard to the end, uninterrupted by the men. This passage clearly symbolizes one of the main voices of Artistophanes in which he believes women have a place in society and a right to fight for what they believe in.

The War Between the Sexes

The War between the sexes is a theme presented frequently throughout Lysistrata. One thing that I noticed was that there are a lot of characters/actions which parallel the fighting between the men and the women. For example, the Koryphaios of Men and the Koryphaios of Women as well as the two Choruses parallel the actions of the men and women. While the men and women are arguing the Koryphaios' and the Choruses are arguing as well. The same goes for the actions between the two while the men and women are passing slanderous remarks back and forth, criticizing each other, and attacking each other. Finally in the end we see the Koryphaios of Men and Women unite as one as the men sign the Treaty for peace. I find these similarities extremely important as they provide an example of the battle between sexes in a manner other than the obvious battle between men and women. Also, I find it a good way to incorporate the Koryphaios' and the Choruses as they are important to Greek literature. The war between sexes is seen throughout the play (at some points more obvious than others) and helps to establish other themes as well for example, "abstinences bring about peace". In the end of the play, the battle between the sexes is ended and peace is brought about due to the women's sexual inhibitions. Also, the theme "love your neighbor" as it helps to demonstrate the need for love between the women from the outskirts and the women from Athens as well as the Spartans and the Athenians.

Lysistrata - Characterization

In my opinion, Lysistrata embodies the complete rejection of the stereotypical domestic female. Not only does she maintain an authoritative role by constantly dictating the actions of others, but she gains respect among the men through her wit and ability to repress her sexual desires. The scene in which she directs Myrrhine is a suitable example to Lysistrata's control over others. From atop her platform Lysistrata literally directs Myrrhine as to how she will act towards Kinesias. Then, she watches from the platform in order to ensure that Myrrhine does not surrender to her sexual desires. The men respect Lysistrata for multiple reasons. For one, Lysistrata does not openly flirt with the men. She does not appear to have any obvious lovers and does not participate in the sex strike. Each of these characteristics help to separate Lysistrata from the other women in the play. Lysistrata  has amazing potential as a leader and maintains her strict demands regarding the women's participation in the strike. Because of her austerity, Lysistrata is able to successfully guide the women through the boycott and accomplish peace within Greece.

The Boycott

I saw the play "The Boycott" and personally, I would have to say that I am somewhat disappointed. I appreciate what Kathryn Blume is attempting, and her desire "to find a bright flame of hope for herself, for her audience, and for the future of the world" however the play itself wasn't exactly what I had expected. The creativity of the play was great, and it was obvious that Blume put a lot of time and effort into making it just right, however I felt that it was almost too much. For one, the comparison between Lysistrata and her current performance was extremely faint and I would've preferred a more noticeable resemblance. Also I feel that she had a lot of substance to the play much of which, although it was humorous, was unnecessary and digressed from the main purpose of the play. Frequently during the play I was confused because it was difficult for me to distinguish between some of the accents. On the other hand, I found particular points of her performance humorous. For example, the scene including Ghandhi and the scene where she made an allusion to "Lord of the Rings". Overall, I do not regret going because I feel it contributed to a good purpose.

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.