Hedda Gabler By Henrik Ibsen: Literary And Critical Analysis

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Part One: Passage Explications

1. Carmilla first quote

The combative word choice Le Fanu utilizes stresses the internal fight of Laura’s emotions. The side of admiration can be seen by words like “beautiful”, “drawn”, “attraction”, “engaging” “flattered”, and “fondness”. While on the other hand, words like “repulsion” and ”ambiguous” are used to describe the retaliation of her feelings. This quote is related to the text’s theme of sexuality through observing love and lust. Love is a powerful emotion throughout, but it’s lust that often proves most dangerous and therefore destructive. Through the relationship between Laura and Carmilla, the two emotions become increasingly tangled and difficult to distinguish. This suggesting the inability to differentiate between physical attraction and love can be dangerous. Laura even describes her affections as immense, engaging, and impulsive as seen in the quote. The context of the quote follows after Carmilla and Laura hug, their first physical interaction.

2. Sketches from a Hunter’s Album second quote

The key message in the “Living Relic” is a testament of faith and forbearance. The character of Lukeria does not waver after an injury has taken her mobility, beauty, and marriageability Turgenev emphasizes the religious significance of Lukeria’s suffering through a series of spiritual symbolism. Lukeria is given the name “Living Relic” by the peasants, who recognize her patience, meekness, and gentleness. The term “relic” has religious overtones, associating her with sainthood and martyrdom. Through the conversation with the narrator and Lukeria of her “misfortunes”, the readers as well as the narrator, learn that Lukeria doesn’t hold resentment in her lot of life. She’s happy for other areas of her health, the kind people that help her, and her betrothed finding a good companion. This state and treatment of Lukeria can also be seen as the treatment of serfs in general. This can be viewed in the inability to move, second rate medical care, and piousness.

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3. The Princesse of Cleves first quotes

The description of Madame de Chartres’ parenting style showcases the rigidity of the conduct she expects from her daughter, Princesse de Cleves, and the relationship between love and power. Prior to the quote, M. de Chartres’ style is described as “concerned with the cultivation of her mind and her appearance, while taking care also to make her worthy and love virtue” (29). This is important in relation to the provided quote because it showcases a ‘grooming’ mentality for marriage which comes with duties and a title. Through analyzing the provided quote one could see the emphasis on the dangers of love provided by M. de Chartres’ depiction of men and how the right influence of women can strengthen them. The juxtaposition of Mme de Chartres’ position on protection showcases her attitude on love by placing preparedness over nurture. As well as emphasizing the importance of a virtuous woman is the backbone of a good man and a happy marriage.

4. Hedda Gabler first quote

Courage is the ability to face the consequences of one’s actions. Courage is tied to the idea of rebellion in Hedda Gabler due to the societal restraints. This means defying the limits of being femininity through manipulation and coercion. For Hedda, a livable life is one of freedom and without ties yet if she were to live that life she would cause scandal by leaving the graces of aristocracy which includes power and money. In the context surrounding the quote is Hedda and Lovborg having an argument about the definition of their relationship in which he calls her a coward. In a stab at Hedda, Lovborg compliments Thea calling her courageous when Hedda responds with the provided quote. This is telling on the characterization and relationship of Lovborg and Hedda. It showcases their use of jealousy, bringing others into their own issues, and passive aggressive natures.

Part Two: Short Answer

Category A:

1. The notions of honor and masculinity are heavily interwoven in the texts of Carmilla, The Princesse of Cleves, and Hedda Gabler. The representation of men in relation to honor in these texts is portrayed by General Spielsdorf, the Prince of Cleves, and George Tesman. Carmilla’s General Spielsdorf’s exhibition of honor can be seen through his journey of avenging his niece, Bertha, after her death at the hands of Carmilla. General Spielsdorf abandons his skepticism of vampires and the supernatural, devoting himself to defeating the monster. General Spielsdorf comes to convince Laura’s father of Carmilla’s true identity. He aids Laura’s father and enlists the help of Baron Vordenburg to locate Carmilla’s tomb and drive a stake through her heart, successfully enacting his revenge. In the Princesse de Cleves, the Prince of Cleves can be seen as protecting his honor and sense of manhood by his last request before he died being that his wife stays faithful to him and not marry the Duke de Nemours. Lastly, masculinity and honor are paired together with the characterization of Tesman in Hedda Gabler. Tesman follows the rules without question. He makes a fuss out of Hedda having a chaperone if she’s going to sit with Eilert. In Act IV, when he first hears that Hedda has burned the manuscript, his response is, ‘It’s illegal disposition of lost property!” (124). This showcases that his masculinity is not impaired to do the honorable thing.

2. Sketches from a Hunter’s Album and Hedda Gabler both present a theme of social classes and the tension that follows. The story entitled “Yermolai and the Miller’s Wife” showcases the divide between the landowners and the serfs through the history of Arina. Arina’s owners did not allow married maids because it would distract their attention from the mistress. Arina begs for her master’s blessing and he reacts by stating, “It goes without saying that I at once ordered her hair to be cut off, had her dressed in the shabbiest clothes and packed off to the country. My wife deprived of an excellent chambermaid, but I had no choice: one just cannot tolerate bad behavior in one’s own house”(39). This brings to light the emphasis on the comforts of the landowners over the basic desires of a serf. Hedda Gabler also explores the social side of marriage by evaluating a marriage between an aristocratic woman and a seemingly middle-class man. Wealth is a constant barrier between them, not only as far as money is concerned but also in regards to class. Interests, mannerisms, personalities, and friendships, are all tied to class. Because of this, the notion of ‘rich’ and ‘poor’ is often more about power, influence, and reputation than it is about monetary units.

Category B:

1. A comparison of classic femininity can be made with Mme de Chartres in Princesse de Cleves and Thea Elvsted in Hedda Gabler. The two characters share the mindset that women of strong morals can change their men into better people. Mme de Chartres expresses this in the text by stating, “And she showed her, on the other hand, how much tranquility attached to the life of a respectable woman, and how much brilliance and grandeur might accrue to one who already possessed both beauty and birth, by the addition of virtue…can make for the happiness of a woman: namely, to love her husband and to be loved by him” (30). This excerpt showcases the mentality of Mme de Chartres on what a good woman and a good wife look like. The concept of reform through feminine influence is furthered by Mrs. Elvsted by inspiring Lovborg socially and professionally. Lovborg claims that Thea has inspired him to quit drinking and become a reformed man – a scholar, a writer, and a teacher.

2. The story of “Khor and Kalinych” in Sketches from a Hunter’s Album showcases a character juxtaposition between the two title characters representations of peasants. The master separates the men by describing Khor as a “polecat” and Kalinych as a “good man”. Khor is a king among serfs through the status of his home, health, and appearance. Although he has the means to buy his freedom he prefers to live on the higher end of serfdom then at the lowest end of freedom. He looks for what he can get out of the relationship with his master like the rented land that gives him his status. While Kalinych falls into absolute servitude forming a codependent relationship with his master where one cannot survive without the other. He’s happy with his status and looked after his master like a child. The master states that he doesn’t keep ‘proper order’ with Kalinych due to him always being with him.

Category C:

1. Robin Buss’ claim that The Princesse de Cleves is a “romance against love” is also applicable to the texts of Carmilla and Hedda Gabler. Romance is a feeling of excitement and mystery that can be associated with love. Love isn’t always romantic love. Carmilla embodies this claim by exhibiting lust over love. While Hedda portrays love through obligation. Buss’ claim continues by stating, “…a heroine who is a victim of circumstance, whose life is destroyed by passions…” (3). The establishment of the characterization as a victim is applicable to both Laura and Hedda. Laura falls victim to the allure of Carmilla as a vampire and lesbian. On the other hand, Hedda is a victim through the Victorian society’s necessity for a woman to be married. Through societal pressures and Hedda’s time fleeting, she doesn’t have the luxury of waiting for a desired partner. The relationships portrayed in these texts do not showcase romantic love but display the love that requires manipulation, settling, and a change of morals.

2. The second half of the semester has been littered with scandal. The two that have stood out most to me were contained in Hedda Gabler and The Princesse de Cleves. The Victorian time frame of Hedda Gabler poses the threat of public scandal constantly hanging over the characters’ heads, threatening to ruin social status, and therefore live. While Princesse de Cleves draws on the manners and politics of the court. Hedda’s example of scandal is witnessed through the fixation of guns and the result of them. “Oh, why did you not carry out your threat? Why did you not shoot me down?’ ‘Because I have such a dread of scandal” (83). This depicts reputation as more important than human life to the character Hedda. A scandalous moment in The Princesse de Cleves is demonstrated with the Duke de Nemours stealing a portrait of the Princess. This can be seen as scandalous because if she asks for it back he has the opportunity to declare his love for the married Princess.

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