Hedda and lovborg relationship questions

Hedda Gabler, Act III

hedda and lovborg relationship questions

Gabler, Mrs. Elvsted tells Hedda about her personal problems and Hedda . conclude about their relationships, Lovborg concludes about his relationship. Thus. How do you learn that Lovborg and Hedda were once seeing each other? How did Lovborg and Hedda's relationship end? How do you know this? Why does. Take the Quiz: Hedda Gabler. Ibsens This quiz uses the Gosse-Archer translation. Enjoy! That Lovborg has told her about his past relationship with Hedda.

What reason does she give for her failure to do so?

She loved him too much to do it. She had only been joking. She was afraid of firearms.

hedda and lovborg relationship questions

She was afraid of scandal. Lovborg at first resolutely refuses to drink any alcohol during his visit to the Tesmans' villa. However a certain statement of Hedda's angers him, and he retaliates by downing two glasses of punch. What is it that Hedda reveals? That Thea was planning to return to her husband.

That Thea had been terrified of losing him to another woman. That Judge Brack is mocking him. That Tesman had spoken disparagingly of his book. At the end of Act II, much to Mrs. Elvsted's dismay, Lovborg changes his mind and decides to accept Judge Brack's invitation to a dinner party at his home. Hedda "comforts" Thea by assuring her that Lovborg will return at ten o'clock.

In what fanciful manner, suggestive of a certain god from pagan antiquity, does Hedda imagine Lovborg returning?

With wings at his feet. With a trident in his hand. With thunder in his eyes. With vine leaves in his hair. Elvsted endures a lonely marriage with her husband: The speaker in this instance is Mrs.

Elvsted, but the words could come from either woman. Both have allowed themselves to be maneuvered into matches that do not satisfy them. We do not know why Mrs. Both women make the best of their situations by entering into affairs with two other men: Unlike Hedda, however, Mrs.

A coward herself, she wants to experience courage through Lovborg. Lovborg too associates wild living with courage when he considers returning to his Dionysian lifestyle, "And the thing is that now I have no taste for that sort of life either.

I won't begin it anew. She has broken my courage and my power of braving life out" p. Hedda wants to have the kind of power over Lovborg that Thea had, "So that pretty little fool has had her fingers in a man's destiny" p.

Hedda looks for power and freedom through another, rather than in herself.

Hedda Gabler Quiz | 20 Questions

But can the individual achieve a sense of power or freedom in this way? McFarlane calls her efforts "interference in other people's lives"; ironically, such interference poses a threat to the essential self by making the individual dependent on others and places the individual in an "essentially humiliating reliance" on others to provide what the essential self should supply but can't. Does his analysis apply to Hedda? Why is she unable to achieve power? Why is she unable to actualize her ideal?

These two questions may be easier to answer after you have read Act IV. Though Hedda no longer believes in vine-leaves, she still believes in the possibility of beauty, heroism, and freedom. What irony is there in her giving Lovborg a gun to commit suicide "beautifully" p. How "beautiful" is a shot through the temple in reality?

Is Hedda interested in Lovborg as a person, or is she merely using him? The guns are symbolically complex and can be interpreted in a number of ways: They are her defense. They represent freedom and release.

They are cold and hard outside, violent and deadly in action, like Hedda. They are modern and contrast with the classical symbol of the vine-leaves. One is a symbol of war and aggression, the other of peace and pleasure. They suggest the fulility and purposelessness of her life. Guns have a deadly function, and presumably a general would be able to use them effectively. But for Hedda the guns are a toy, a diversion in her boredom. General Gabler's guns represent a military and an aristocratic tradition.

How much relevance does military tradition have for women in general or for Hedda in particular? What does her inheriting this gun and this tradition suggest about the values of her class? Raised by her father, the general, what values might she have learned from him? Might any of them be inappropriate for a woman of her class and time? If so, what would be the effect on her?

Hedda Gabler: Essay Q&A

The nineteenth century Danish critic George Brandes suggests that General Gabler's guns are ironic; he claims "that a Norwegian general is a cavalry officer, who as a rule, has never smelt powder,and whose pistols are innocent of bloodshed. Is Hedda a woman who lacks purpose in life? Is she distorted by the demands of a society that offers limited roles to women?

And even the incapacitated Rina embroiders slippers and willingly risks her income for George.

Hedda Gabler: Essay Q&A | Novelguide

Except for Diana and Hedda, the women are self-sacrificing. What opportunities are there for a woman with larger aspirations, like Hedda? Ibsen noted of Hedda: It is the want of a goal in life that torments her. As a woman, is Hedda denied the identity and purpose the men have in their professions? They express themselves through their work and receive recognition through their professions.

World Lit II Hedda Gabler

Brack is referred to and addressed as "judge. In contrast, Thea loses her sense of purpose and identity when she believes Lovborg destroyed their book.

Aunt Julia has purpose and identity as long as she has someone to care for. Despite her refusal to accept a traditional role assigned women, Hedda does accept society's values of proper and improper behavior.

hedda and lovborg relationship questions

Propriety rigid rules of what is proper is a potent force in her life; it is also a destructive force, as John Northam explains: The propriety cuts her off, but it breeds the depraved interest. Hedda is not a woman disinterested in life; her interest in life is vivid but depraved by the constraints that forbade her to engage directly in it.