Sunday, October 26, 2008
Final Ideas of Hedda
This is Hedda Gabler's final blog post. But in reality I wanted to discuss some major ideas/themes. In the play there is most definitly a power theme which is seen with the pistol motif and also there is a theme regarding action/boredom, but another idea that I discovered related to human emotions. In some ways I think this play has to do with the irrationality as well as unpredictability of human emotions. Ibsen plays with the idea of love in Hedda, she herself sees it as a syrupy word and does not understand how to truly care for someone. Tesman and Juliana have this ideal idea of Love, its core in family and foundation and doing things for the ones you love. Brack appreciates intimacy in sharing ideas with friends. Lovborg and Thea believe in a companionship of love, similar to Brack but more on an equal level. This play isn't about love, not even close. But I like to think it is. I think it teaches us a lot about what to expect in love, relationships, and life. Ibsen doesn't make life sweet. He shows that everything doesn't go the way we plan, and that if we do things for the wrong reasons (ie. Hedda married Tesman, Hedda tried to get Lovborg to kill himself, Brack tried to manipulate Hedda) than things never go the way we have planned. I think he is showing us that every individual can be dangerous in this world because there is no universal definition regarding love and other emotions and so one cannot always understand another and that is way it Hedda Gabler emotions of rage, depression, etc conflict and lead to numerous deaths as well as a change of ways for characters. In some ways Hedda is searching for love, an equal love so she too can have power but is angry from prior life experiences and goes about it the wrong way. And so Ibsen demonstrates how love and human emotions play a key role in the evolution of plot
Some Thoughts...
So I wrote this and then I accidently deleted it all and now I have to rewrite it all over again, doesn't tha just suck, oh well here goes, again!
I wanted to discuss the character of Mademoiselle Diana. In our creative aspect in class we played out our version of Lovborg's death in which he went to Diana and things got out of hand when she brought up the manuscript but then Brack showed up angry and drunk, ready to kill because he was upset that Lovborg was coming into his triangle of friends. It played out that Brack killed Lovborg with Hedda's pistol and then with all his connections was able to make it seem as though Lovborg killed himself. We tried to develop the characters of the prostitutes and Diana. In some ways I think Diana may be a very interesting character to dissect. Ibsen mentions her a few times and to the plot it may not seem all that important as to who she it but if we look at her she is the ideal woman, the woman Hedda strives to become. Page 281 is when she is first discussed as a red-haired, singer and brothel owner. She's described as welcoming but also a "huntress", it makes it clear that this woman has power, for she can run the lives of the men who come to her. And in many cases it also seems she is respected by the men because Brack, a judge, never once uses insulting terms to describe her. Also it is in her presence that Lovborg dies, which infuriates Hedda, because this woman is a model among woman holding her own--- I suppose this can be seem as quite derogatory towards women than, Ibsen implying that woman can only get power by use of their bodies...
I wanted to discuss the character of Mademoiselle Diana. In our creative aspect in class we played out our version of Lovborg's death in which he went to Diana and things got out of hand when she brought up the manuscript but then Brack showed up angry and drunk, ready to kill because he was upset that Lovborg was coming into his triangle of friends. It played out that Brack killed Lovborg with Hedda's pistol and then with all his connections was able to make it seem as though Lovborg killed himself. We tried to develop the characters of the prostitutes and Diana. In some ways I think Diana may be a very interesting character to dissect. Ibsen mentions her a few times and to the plot it may not seem all that important as to who she it but if we look at her she is the ideal woman, the woman Hedda strives to become. Page 281 is when she is first discussed as a red-haired, singer and brothel owner. She's described as welcoming but also a "huntress", it makes it clear that this woman has power, for she can run the lives of the men who come to her. And in many cases it also seems she is respected by the men because Brack, a judge, never once uses insulting terms to describe her. Also it is in her presence that Lovborg dies, which infuriates Hedda, because this woman is a model among woman holding her own--- I suppose this can be seem as quite derogatory towards women than, Ibsen implying that woman can only get power by use of their bodies...
Sunday, October 19, 2008
A Baby
Whoa!! Hold Up, I was just going through my stuff and all that jazz and remembered that at the beginning of Act one it was mentioned that Hedda filled out on the trip and than there were all those implications of babies. Since the play happened over a two day time period or something it is never confirmed if she was. I think she was, and now that whole suicide thing is really depressing (I mean it's depressing before, but at least than I could imagine that she felt that she was trapped so she had to kill herself- not that I would ever do something like that, and if I ever talk about doing it I'd expect you all to stop me- get me counseling or something). Its depressing because it means she killed her kid too. For some reason I don't see her as wanting to kill her kid. When I think about it, she always said she waited once in her life to have power over another human being, so couldn't that be her kid. She refuses/gets angry when Tesman and Juliana are discussing her filling out, so maybe she doesn't want the child. But what I can gather regarding her want/need for power a child would be the perfect thing to manipulate and gain power, particularly through Tesman, who I have no doubt is the father... Idk what you all think but was she pregnant? If so, was her suicide justified?
Does he even know where he is??
Geez Tesman is slow. I've noticed it numerous times. but seriously. Seriously. He's totally oblivious to real life situations and innuendos and takes everything at face value. For example Act one when Juliana is asking about the trip and Hedda filling out and the mention of the empty rooms, he is completely oblivious to what Juliana is asking. He's all like-- yeah it can be used for books, or yeah we had a great time doing research-- stupid she was asking about your sex life/marriage life. I understand that we mentioned he was stuck in the past but even so he should be able to analyze what people say since historians/specialists analyze writings and come to conclusions about stuff. He should be the most open individual in this whole play... he should know all the dramatic irony. I mean come on.... in act 3 when Hedda asks about Lovborg's vine leaves, she really asking about whether he was drinking, etc, but Tesman thinks about it and tries to remember if he saw actual vine leaves in the guy's hair. Ha! What an idiot! Even more is in he believes all the bs about how Hedda destroyed the manuscript for him. Whatever, hopefully now that Hedda's gone (may she rest in peace), Thea can straighten that boy out.
Saturday, October 11, 2008
A Review at :http://web.ebscohost.com/ehost/detail?vid=4&hid=22&sid=b0254814-075b-4fd6-bead-dbc872f62b8c%40SRCSM1&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=afh&AN=4423181
In a personal interview, Michael Bright, author of Robert Browning's Rondures Brave, summed up his book's thesis: "Robert Browning frequently used the circular conclusion--a rhetorical device in which a word or phrase from the introduction is repeated in the conclusion--to emphasize important themes in his poems. Many of his nineteenth-century contemporaries also recognized the effectiveness of the circular conclusion and used it in their work, both prose and poetry." One of those nineteenth-century writers is Henrik Ibsen, who in Hedda Gabler displays a form of this technique, using not words and phrases but his protagonist's initial and final appearances on stage. These parallel actions underscore a major aspect of Hedda's personality and provide a valuable insight into the final moments of one of literature's most intriguing characters.
Early in act 1 Hedda makes her initial appearance. Wearing a morning gown, she comes into the drawing room, having just waked up to the morning. Her attitude toward the other characters on stage is sarcastic, revealing that she believes herself better than Tesman and his Aunt Julia, a woman for whom Hedda shows disdain by making cruel jokes about her hat. More important, her entrance introduces her dominant trait, a desire to control those she feels to be beneath her--especially Tesman. Ibsen stresses this point by Hedda's first demand on her husband. Complaining that because the maid has left the French windows open "This light is blinding me," she implores, "Tesman dear, draw the curtains" (1260). To her pleasure he quickly complies. Ibsen uses this miniscene to juxtapose two important aspects of Hedda Gabler's character--she must control those around her, and she can't stand the harsh light of reality, a reality that Ibsen will reveal as usurping the very control that Hedda desires.
Ibsen's use of the circular conclusion is obvious when Hedda makes her final exit in act 4. Whereas act 1 opened in the morning, now it is evening, a time of endings. Instead of a morning gown, emphasizing a new beginning, she wears a funeral-black outfit, foreshadowing the play's conclusion. Whereas she entered the drawing room in act 1 waking to the day, now she departs, saying, "I'm tired this evening. I think I'll lie down [...] for a little while" (1313). The characters on stage are still Hedda and Tesman, but Thea Elvsted and Judge Brack have replaced Aunt Juju, who could be manipulated easily. Hedda's haughty sarcasm has been superseded by defeatism, as illustrated by her capitulation to Judge Brack: "In other words, I'm in your power, Judge. From now on, you've got your hold on me" (1312). Ibsen uses Hedda's actual exit to stress that she has come full circle. In act 1 her control over Tesman was symbolized by her having him close the curtain for her. In act 4, not only does Thea now control George as Hedda used to (as evidenced by Thea's sitting beside him at Hedda's writing table in hopes that she can "inspire" him as she once did Loevborg), but Judge Brack pulls Hedda's strings, because he knows Hedda gave Loevborg the weapon that killed him. As she enters the little room in which she will end her life, a defeated Hedda closes the curtains herself, a simple act that returns the audience to the beginning and emphasizes both Hedda's lack of control and her complete withdrawal from a reality she cannot accept.
Ibsen employs the circular conclusion technique to provide his audience with a glimpse into the key aspect of Hedda's personality and to answer the most important question posed by the play: What drives this protagonist to her final act?
When reading this review it makes me really understand where they are coming from. Initially I did not see the parallels between her dress, and time of day but now it makes perfect sense. I agree with this review in that Hedda's main goal is control and that the reality of her situation is that she is losing control not gaining control. This review actually makes me take pity on Hedda. She never gets out of the circle. She has lost everything, where as everyone else has gained more and more. The curtains are also another aspect I did not notice-- one can think of curtains in a play open is beginning closing is end thus when Hedda closed them it was evident that the end was near. And the "circular conclusion technique" (once explained above) dues truly explain Hedda's indifference to life because why would what to continually life in that everlasting circle?
In a personal interview, Michael Bright, author of Robert Browning's Rondures Brave, summed up his book's thesis: "Robert Browning frequently used the circular conclusion--a rhetorical device in which a word or phrase from the introduction is repeated in the conclusion--to emphasize important themes in his poems. Many of his nineteenth-century contemporaries also recognized the effectiveness of the circular conclusion and used it in their work, both prose and poetry." One of those nineteenth-century writers is Henrik Ibsen, who in Hedda Gabler displays a form of this technique, using not words and phrases but his protagonist's initial and final appearances on stage. These parallel actions underscore a major aspect of Hedda's personality and provide a valuable insight into the final moments of one of literature's most intriguing characters.
Early in act 1 Hedda makes her initial appearance. Wearing a morning gown, she comes into the drawing room, having just waked up to the morning. Her attitude toward the other characters on stage is sarcastic, revealing that she believes herself better than Tesman and his Aunt Julia, a woman for whom Hedda shows disdain by making cruel jokes about her hat. More important, her entrance introduces her dominant trait, a desire to control those she feels to be beneath her--especially Tesman. Ibsen stresses this point by Hedda's first demand on her husband. Complaining that because the maid has left the French windows open "This light is blinding me," she implores, "Tesman dear, draw the curtains" (1260). To her pleasure he quickly complies. Ibsen uses this miniscene to juxtapose two important aspects of Hedda Gabler's character--she must control those around her, and she can't stand the harsh light of reality, a reality that Ibsen will reveal as usurping the very control that Hedda desires.
Ibsen's use of the circular conclusion is obvious when Hedda makes her final exit in act 4. Whereas act 1 opened in the morning, now it is evening, a time of endings. Instead of a morning gown, emphasizing a new beginning, she wears a funeral-black outfit, foreshadowing the play's conclusion. Whereas she entered the drawing room in act 1 waking to the day, now she departs, saying, "I'm tired this evening. I think I'll lie down [...] for a little while" (1313). The characters on stage are still Hedda and Tesman, but Thea Elvsted and Judge Brack have replaced Aunt Juju, who could be manipulated easily. Hedda's haughty sarcasm has been superseded by defeatism, as illustrated by her capitulation to Judge Brack: "In other words, I'm in your power, Judge. From now on, you've got your hold on me" (1312). Ibsen uses Hedda's actual exit to stress that she has come full circle. In act 1 her control over Tesman was symbolized by her having him close the curtain for her. In act 4, not only does Thea now control George as Hedda used to (as evidenced by Thea's sitting beside him at Hedda's writing table in hopes that she can "inspire" him as she once did Loevborg), but Judge Brack pulls Hedda's strings, because he knows Hedda gave Loevborg the weapon that killed him. As she enters the little room in which she will end her life, a defeated Hedda closes the curtains herself, a simple act that returns the audience to the beginning and emphasizes both Hedda's lack of control and her complete withdrawal from a reality she cannot accept.
Ibsen employs the circular conclusion technique to provide his audience with a glimpse into the key aspect of Hedda's personality and to answer the most important question posed by the play: What drives this protagonist to her final act?
When reading this review it makes me really understand where they are coming from. Initially I did not see the parallels between her dress, and time of day but now it makes perfect sense. I agree with this review in that Hedda's main goal is control and that the reality of her situation is that she is losing control not gaining control. This review actually makes me take pity on Hedda. She never gets out of the circle. She has lost everything, where as everyone else has gained more and more. The curtains are also another aspect I did not notice-- one can think of curtains in a play open is beginning closing is end thus when Hedda closed them it was evident that the end was near. And the "circular conclusion technique" (once explained above) dues truly explain Hedda's indifference to life because why would what to continually life in that everlasting circle?
The Manuscript
I think there is a lot to be said about the manuscript. Firstly is the discussion about the future- the books about the future... this is really interesting because when we were discussing the play we looked at in regards to past present and future. Its quite interesting to think about because Tesman is the past (having been raised by past ideals and the way he looks at life, studying history) and Lovborg is the future (dreams, looking beyond others, etc) so when they confront each other Tesman has a hard time understanding how he could write the book and than he is jealous of the novel because he didn't think of the ideas himself-- this is when we see a deceptive Tesman since he takes the manuscript unlike the naive little boy.
Another thing about the manuscript is how the it escalates the end. Lovborg thought he lost it (even though Tesman and Hedda have it) so he has decided to get it back when he gets killed, even though Hedda burned to up and the Judge pins her for her deception so he kills herself-- but I was thinking Tesman may have been able to help particularly when Hedda said she burned it, etc, her should have realized at the end there what really happened and could have said something but he pretended to not know about the real manuscript and was worried all over again and set out to writing it again with Thea. This made me realize that Tesman was not as naive and simple or a character as initially assumed but can be very cold and heartless for his own well-being.
Another thing about the manuscript is how the it escalates the end. Lovborg thought he lost it (even though Tesman and Hedda have it) so he has decided to get it back when he gets killed, even though Hedda burned to up and the Judge pins her for her deception so he kills herself-- but I was thinking Tesman may have been able to help particularly when Hedda said she burned it, etc, her should have realized at the end there what really happened and could have said something but he pretended to not know about the real manuscript and was worried all over again and set out to writing it again with Thea. This made me realize that Tesman was not as naive and simple or a character as initially assumed but can be very cold and heartless for his own well-being.
Politics and Money
I was thinking about the upcoming presidential election and all- but really this could apply to any election and I was re-reading act II of Hedda Gabler. Its quite true what Brack and Hedda say about politics on page 256 when Hedda asks if Brack thinks Tesman could ever be a cabinet master and than Brack says he'd have to be wealthy to start with. Hedda demonstrates her disagreement to this but that is only because she thought it would be more fun for her to control Tesman in a world of politics than in his special field. Anyway the idea here is in reagards to wealth and power. This relates to the plays theme of power and control but can also be related to the House of Bernarda Alba. It re-states the fact that money brings fame and power- so in order to make any contribution or let your voice be heard you have to have money first. When I think about this in the House of Bernarda Alba it makes sense why Bernarda can have such authority over everyone, also in Hedda it explains why she can'y gain control because they aren't that wealthy. When you think about elections in our society it also makes sense because only those with money can advertise enough to gain support and than they gain control- its kind of depressing when its pointed out like that... oh well thanks Ibsen!!!
Sunday, October 5, 2008
Hedda and Brack
I know I said I was going to continue the post about underlying messages in Act Three and Four-- and I will, but as I was going through the messages and stuff I thought about the relationship between Hedda and Brack. It got me thinking... My opinion is that Brack and Hedda are the two characters with the most power in this play. They seem to know everything that is going on, especially Brack. In class I worked in the group to analyze him and I was very surprised. Of course he is the well-groomed and distinguished Judge, but he is mischievous and malicious to an extent. Definitely he is playful and youthful- especially with he sexual comments regarding the triangle and stag parties, etc, even though he is over forty. But Hedda and him have the most rewarding conversations. In act one, he's not seem as that powerful but when I look back on it I realize he is pulling all the strings, because it was him who set up the house for Tesman and Hedda to live and he helped with their finances. Than in the second act he pulls Hedda's power away for her, taking her pistol, weaselling into her marriage, knowing her true feelings, taking Tesman to the Party. In act three its apparent that he was watching Lovborg and knows details about what went down and confides them to Hedda, in order to use that against her later in act four. Because in act four he knows she gave Lovborg the pistol that killed and know Brack has exactly what he wants, he has control over Hedda, the one thing she never wanted. So in reality, the audience and readers (us) assume Hedda is the one in control but actually it is Brack.
A Quarter or a Nickel?
Hmmm... this weekend was long and I was trying to catch up on all them reading logs, but for some reason I have the hardest time with the second question---Irony and underlying messages- this goes for all acts. I'll tell you want I think for the acts but maybe you, my fellow, hardworking classmates, can leave your comments and suggestions regarding the irony/underlying messages in the acts!? Thanks!
Okay-Act one: Here is what I thought regarding irony, etc: pg 230 when Tesman is completely oblivious to Miss Tesman when she suggests use of the extra room and then the idea that Hedda is filled out implying pregancy or babies will be coming soon. Also it was the whole affair is initially brought up regarding Mrs. Elvsted and Lovborg and the implication that Hedda is involved too because of the pistols (which I've mentioned in a previous blog)
Act two: the whole threesome, triangle, train thing was a big underlying message. Mostly about unstatisfyed desires and all that jazz.. but also the transfer of power between Brack and Hedda. On pg 257 when Hedda mentions boring herself to death and than points to george (ouch). thirdly when Lovborg mentions his second book on page 260 he also mentions the future and how to make a new civilization and the means to get there so I thought of Hedda and her desires and thought it was some underlying message regarding Hedda.
I know there is more in these two acts so let me know what you think?
I'll post again, later, about the underlying messages in the other acts...
Okay-Act one: Here is what I thought regarding irony, etc: pg 230 when Tesman is completely oblivious to Miss Tesman when she suggests use of the extra room and then the idea that Hedda is filled out implying pregancy or babies will be coming soon. Also it was the whole affair is initially brought up regarding Mrs. Elvsted and Lovborg and the implication that Hedda is involved too because of the pistols (which I've mentioned in a previous blog)
Act two: the whole threesome, triangle, train thing was a big underlying message. Mostly about unstatisfyed desires and all that jazz.. but also the transfer of power between Brack and Hedda. On pg 257 when Hedda mentions boring herself to death and than points to george (ouch). thirdly when Lovborg mentions his second book on page 260 he also mentions the future and how to make a new civilization and the means to get there so I thought of Hedda and her desires and thought it was some underlying message regarding Hedda.
I know there is more in these two acts so let me know what you think?
I'll post again, later, about the underlying messages in the other acts...
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