In confacering whether Hedda is fighting a patriarchal society, Ibsens naming of the play presents her to be her generates daughter rather than her husbands wife. This introduces the main protagonist to the audience as an un accomplished Victorian wife and heroine. This relates to Ibsens image of Hedda as a façade, with her rebellion towards becoming a wife scandalous the 19th century audience and highlighting our unwillingness to take exception our own gender and societal roles. (John Robin Baitz).
However, evidence to stir Hedda is fighting a patriarchal society emerges in her male ideas. Hedda shows interest in and similarities, to a typical male end-to-end the play. An example of this is the adjoining fashion or anti-chamber to the drawing room that she occupies. This is Heddas private room yet typically should go away to the man of the house. This along with her love of her late fathers pistols presents her with masculine tendencies in manner and attitude. The anti-chamber is also laid stage left on the set.
In dramatic terms, this is the side from which villains or anti-heros enter, thus presenting her as an idealistic heroine who challenges gender typing. Another quality Hedda displays is her detestation towards becoming a conventional housewife and mother. The thought of being tied down and losing force-out to a man is Heddas worst nightmare.
A possible motivation behind Heddas resistance to conformity as a wife is revealed in her relationship with Judge Brack, a powerful patriarchal figure of male control. His knowledge of her fight in Loevborgs death extends his power over her. There is a triangle relationship between Tesman, Hedda and Brack and Hedda is ultimately caught in a trap. Bracks blackmail over Hedda for sexual favours advances Heddas hatred for life. This hatred is shown again through her...If you want to get a exuberant essay, order it on our website: Orderessay
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