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Hedda Gabler

by Henrik Ibsen, William Archer

3.75 of 5 stars 3.75 · rating details · 14,536 ratings · 216 reviews

One of Ibsen's most powerful plays, providing a a richly coloured and brilliantly detailed portrait

Paperback, 112 pages

Published June 30th 2006 by Echo Library (first published 1890)

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Feb 21, 2013 Mariel rated it 4 of 5 stars Recommends it for: now I am burning your child

Recommended to Mariel by: Sean

I want for once in my life to have power to mould a human destiny.

People are in other rooms, people sitting on sofas and people behind desks. Voices from other rooms and voices carry. People have their destinies as their children in hearts cold ashen wombs worth nothing until it thrown away. I don't want to call it human. I don't see arms and legs and feet.
I felt the tragedy of the loss of Hedda Gabler's life to her own colorless lightning when the speed stopped. Big eyes in a head and I don't know what is moving it other than the dull throb of a heartless hum. She wouldn't know what she had given up but I did because it was too late. Too late to say anything, too late to be human.

Hedda Gabler is married, now. She's bored, always. She says she's bored, until then. Hands cocked on the trigger of her pistol aimed in the air. She would have been waiting for visitors while the adults are away. The Dennis menace down the street who harkens threats to your retreating back. She would crush you with her two fingers as you watch from a distance. Unsafe, if you are chilled by coldness. Eyebrows pulled up to trigger the expectant of the weather report. Another day and a good chance of rain. The play in my head was people in other rooms. No temperature. Our nephew is married now. Shotgun wedding. Money is loaned, honeymooner tours and whims. Go live in a villa because Hedda told Tesman she would like to live there one day. It was on a walk after a party, probably some weather happened. May I have this dance card filled eventually. You're going to get old.

There should be a third. Another face between in the conversations. You're on the way to old. There is another and they are in another room. Go see what they want. They must want you. Sit by them. Hedda would be the one directing and she is on the couch and the figures she can't quite make out from between her little fingers are behind the desk. He's watching you. Make your play. You're married now. They bought you. You married aunts. You are hitched.

Hedda talks far too much to the judge Brack. If you were in the audience and the actors weren't good enough to hush and carry their voices you could read between the lines that she's married and the old Hedda Gabler days are over. He would have been something to her. I can imagine a lover, although the true object was more likely at this point to have her somewhere that wasn't on top. Somewhere he wants her. The Hedda Gabler days are over. She talks and talks to Brack as if she could talk her way into something. I wonder how an actress would play these scenes. In my mind her face is disconnected from her mouth. Her eyes are unfired. She talks without living of all of the other people. People who loved her, or they said it was love, other people they might have loved. She doesn't say it is love. Her lips move. Their children are in their scripts. They are making something out of all of these open mouths that says married, married, children next.

She would not want to stay in their room, pitter patter of feet underneath. It would have to be through a door and to somewhere else. I wonder she was so restless after months of taking trains with the same face of her husband to look on day after day. She could have gotten off anywhere else and instead she is in a villa that was purchased for her on nothing more than a speculation of a career enough to provide for a wife. Were those all the words it took to earn her cold hand? She could have looked for another face than that of Judge Brack to hold the other. I didn't see his face. I heard a voice from far away, like that of a far away bitchy guy at a Morrissey concert who does not like your shoes. Oh no you didn't! Girlfriend, you are so bad. Just words from far away and they mean nothing. My girlfriend, my wife, my Hedda Gabler are you so bad? Do they care? She pretends that the hat belonging to her Aunt in law belonged to the maid. How long would these mean girl shenanigans move her eyes? I don't believe she ever cared. She's a statue in the chair until her girlhood source of moving her eyes Lovborg sits beside her on her waiting room sofa. He talked dirty to her on her parent's waiting room sofa. Say my words. He has words of his own. Did she want him to love her? She burns his child, his script, words of life and I don't know what they mean because he's sitting on her sofa and it is barren there. He has words to say he still loves her, or that firebrand actress, or his runaway adulterer. I really didn't care if she had to be that girl who wants her ex boyfriend to never find anyone else. When Hedda thinks that he died by his own hand she is relieved as if he took the proper way out. This time she felt he should not have been in another's control. Oh no, but he didn't. He was murdered by the firebrand. Her pistol, her red handed. The judge will keep her secret...

I had a similar feeling about Ibsen's A Doll's House that I really didn't care what the big speech Nora makes about her freedom said. She didn't test the possibilities of her own world, only resented limits she accepted. She didn't know herself and what I felt was where the self should be. The ache was a hole. She can say whatever sounds good but she is still only dancing for someone else. Hedda cannot bear to be in his debt. She moves from her sofa to go to another room. She shoots herself. Her eyes followed others for some kind of life and they were always in another room from the one she was in.

Oh, what curse is it that makes everything I touch turn ludicrous and mean?

I felt for Hedda when she is dead that I didn't when she was alive. I would know pretty damned quickly that she wasn't someone I needed in my life (she doesn't have one). I would be worried about myself in her cold gaze, with nothing for myself to look at. Pull the trigger and it is blank. But when she's dead she could finally want one, to acknowledge there was nothing. A blank face with nothing left in it meant more to me than all of the dead living boredom. If she was bored, as she claims from her dead language that says nothing to me. Bored, bored, bored. She wouldn't see anything. She only wants to tear apart. I see a black stage when I think of her desire to burn. Where did the gaze go? I didn't feel the others did either, in their other rooms, look out the window. I read that Hedda may have been pregnant herself. That wasn't my feeling, because I didn't see a kick. What if she had been a baby herself? I had a feeling like that, but only when she was dead. (less)

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Jun 07, 2012 Amy rated it 4 of 5 stars · review of another edition

Shelves: plays, own-a-copy, university-reading

Dark, intriguing, mysteriously ambiguous, and an eponymous heroine that leers away from the 19th Century female stereotype. This work of Ibsen's strips his characters of anything spiritual and focuses intently on the society in which they find themselves in. Hedda's character is, I believe, trapped in an era which she is too modern for. She is trapped in an unhappy marriage simply to keep the middle class lifestyle that a 19th Century woman wouldn't have been able to uphold on her own. Although...more

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Mar 09, 2013 Carol rated it 4 of 5 stars · review of another edition

Shelves: play, ibsen

Hedda Gabler is truly an intelligent, unpredictable, self-centered, manipulating woman. She enjoys the luxurious lifestyle and has found some poor sap, Jurgen Tesman, to marry her. The play begins with their arrival home from their 6 month honeymoon. Tesman's aunt Julie, arrives at their home to meet the newlyweds with a gift of slippers for Tesman from his sickly aunt Rina. It appears that Hedda's clothing is loose fitting and she seems to be "showing" (pregnant). Hedda insults both her husband...more

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Feb 06, 2009 Lizzie rated it 5 of 5 stars · review of another edition

Shelves: theater, dailylit, 2009, reread, script, heard-of-it, e-book, must-reread

Read via DailyLit in 47 parts. (Edmund Gosse and William Archer translation.) I read this in college in a very bad class, and I was curious about NYC's new revival so it was time for a reread. Thank goodness! I only remembered what happens at the end, and not at all why.

This read was much more thought-provoking. And somehow, though it is key, I didn't recall the theme of Hedda's pregnancy at all. (It was a really bad class.) And that's not a spoiled revelation; though she only (barely) admits it...more

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Mar 10, 2013 Bettie rated it 4 of 5 stars

Shelves: re-visit-2013, re-read, radio-4, paper-read, norway, play-dramatisation, published-1890, spring-2013, books-about-books-and-book-shops, lifestyles-deathstyles, fradio, suicide

This review has been hidden because it contains spoilers. To view it, click here.

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Jan 21, 2012 Lavinia rated it 4 of 5 stars · review of another edition

Shelves: in-en, 2012, plays

Dark is probably not the adjective to describe it. I've seen it mentioned in one of the descriptions. Nor is Hedda evil. But the drama definitely holds a certain coldness to it (the same coldness one meets in Bergman's films, I'm tempted to say) and I cannot admit I understand Hedda entirely; she starts as a master of puppets, seems mischievous and always plotting but ends up alone and misunderstood. And makes you think she was alone and misunderstood all along.
I'm definitely looking forward to...more

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May 06, 2013 Leniw rated it 4 of 5 stars · review of another edition

This book left me thinking for a while.

I have to admit that I am not sure I understood it completely.

There are three female characters in the play. Each of them represents an entirely different personality. Firstly, there is Miss Tesman. She gives meaning to her life by taking care of others. I guess she has the role of the mother. Second comes Mrs Elvsted. She is a weak character, completely dependent on others. She seems unable to understand what is going on around her. She is a pretty little...more

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Apr 01, 2013 David Beeson rated it 4 of 5 stars · review of another edition

There are three great heroines of nineteenth century literature whose tragedy is that they are denied the dramatic and inspiring lives to which they feel entitled: Emma Bovary, Anna Karenina and Hedda Gabler.

All three are married to men who are certainly adequate from the point of view of ordinary people, but perhaps no more than that; and from the point of view of the life not ordinary, because it belongs on the noble heights of tragic aspiration, adequate is simply not enough.

Of the three, Hed...more There are three great heroines of nineteenth century literature whose tragedy is that they are denied the dramatic and inspiring lives to which they feel entitled: Emma Bovary, Anna Karenina and Hedda Gabler.

All three are married to men who are certainly adequate from the point of view of ordinary people, but perhaps no more than that; and from the point of view of the life not ordinary, because it belongs on the noble heights of tragic aspiration, adequate is simply not enough.

Of the three, Hedda Gabler is the most rarefied in that she is not seeking her transcendence from the love of any particular lover. With her, what she is seeking is a life less banal, to be found in actions of striking nobility or even majesty. Such actions may well be achieved together with, or even through, a man to whom she is linked, but it is the actions, not the man, that matter. What she finds crushing is the triviality of the life of every day, the petty ambitions of the simple bourgeois existence, and the play tracks her final attempts to achieve something greater, their disappointment, and the final realisation that if her life is to be given the noble meaning she seeks, she has to achieve it herself.

Powerful in its portrayal of the relations of bourgeois characters to each other, and above all to one figure struggling to rise above them with destructive effect, this fine performance with the outstanding Juliet Stevenson in the title role, brings out all the dramatic tension that Ibsen infused into his play. The play itself retains all its freshness, in particular in its shrewd perception of the limitations on women – so when the great soul lies in a woman's body, its frustration is all the deeper.

I wish I hadn’t known the ending from the beginning, but that’s the downside of reading (or in this case listening to) classics: they are part of our cultural backdrop now and the spoilers run through so much other artistic creation all around us.

An audio performance well worth listening to all the same, however.(less)

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Dec 09, 2012 Nathan rated it 5 of 5 stars

I don’t read plays often - I’m most inclined to read a play in anticipation of seeing a live performance of it. (I have numerous happy memories of sitting in line outside the Public Theatre in New York on a summer morning, reading a Shakespeare play while I waited for the free tickets to see an exquisite production at the Delacorte Theatre in Central Park that night.) When I do read plays, I am struck by the way most of them require more proactivity than most literature. One must infer an unders...more I don’t read plays often - I’m most inclined to read a play in anticipation of seeing a live performance of it. (I have numerous happy memories of sitting in line outside the Public Theatre in New York on a summer morning, reading a Shakespeare play while I waited for the free tickets to see an exquisite production at the Delacorte Theatre in Central Park that night.) When I do read plays, I am struck by the way most of them require more proactivity than most literature. One must infer an understanding of this world, these characters, their actions, solely from dialogue and occasional marking notes.

When a character in a play emerges forcefully from the page - almost of her own will - as Hedda Gabler does from Ibsen’s play, it is an incredibly strange experience. She makes the same complex assault on the reader as she does on her peers in her claustrophobic sitting room with its antechamber. She is by turns rational and of questionable sanity, pragmatic and idealistic, self-serving and outwardly motivated, kind and cruel, constructive and nihilistic. It is a disorienting experience to be near her, and she has the effect of warping one’s own sense of the world as it passes too close to the force field of her own.

It is very difficult to make definitive statements about Hedda because she inherently contradicts them, and it is this complexity that makes her both maddeningly inhuman and sublimely more-than-human. Her statements and actions frequently are only extrapolations of impulses familiar to all of us: to want the best for ourselves and those around us, to be tempted to find satisfaction when others’ misfortune contributes to our success, to wish to wield power over those around us and avoid finding ourselves at the mercy of others, to feel a heroic purpose in our lives rather than the mundane quotidian.

Hedda is sometimes referred to as an “unwomanly” woman, but that assessment indicates more about the gender concepts of the critic than Hedda. She avoids the common roles assigned to female characters - damsel, mother, crone, even wife - but that is a victory for her and Ibsen, considering how male characters had enjoyed a much broader spectrum of roles long before the nineteenth century. She single-handedly determines both the fate and the interpretation of every other character in the play, for better but more likely for worse, elevating herself to the level of archetype. She is a female Apollo who yearns to be Dionysus, destroying both in the process.

My limited reading in drama means I am relying as much on the consensus of others as my own discernment when I say that Ibsen is one of Shakespeare’s greatest heirs. But if Shakespeare pioneered the high art of characters who are more human than we are, it is easy to agree that Ibsen rises to that standard with characters like Hedda Gabler.(less)

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Oct 01, 2011 Josh Belville rated it 3 of 5 stars · review of another edition

Shelves: play

I suppose in the long run, I prefer Hedda Gabler to Doll's House, if only because Hedda is such an amazing protagonist to watch when you think of the social context of the play being performed in 1890. Today, she seems like a cold, heartless bitch. And even back then, people may have thought that. But she also bucks the trend of the "well made play," by becoming an anti-hero of sorts. And really, who is the one to follow in this play in the first place? George? Eilert? Mrs Elvsted? No one seems...more

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Sep 18, 2011 Bronte rated it 5 of 5 stars · review of another edition

Since I had to read it for class I entered the play knowing what to look out for; however, even without a set goal in mind this is a very thought-provoking piece. Strange enough I could sympathize with Hedda although she was very unstable and manipulative. The lifestyle she married into seemed like a nightmare, having a husband who found the excitement in old documents and organizing. Of course, she shouldn't have married into that lifestyle if she knew she wouldn't be happy, but I digress.

A th...more

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Sep 17, 2011 Beth rated it 4 of 5 stars · review of another edition

Shelves: classic, september-2011, 2011-reads, read-on-kindle, fantastic-characters

This is undoubtedly a play to be performed if one ever existed. Hedda is a brilliant female character - Lady Macbeth meets Betty Draper. She must be applauded as a female character who is not a hero or a villain, not a bitch or a crone, but a cruel, neurotic, charismatic presence. I was surprised by the almost feminism of Ibsen's play, how he manages to serve Hedda so well, with fantastic dry wit - the subtlety of the scene between her and Judge Brack would be spine-chilling on stage - and glori...more

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Jul 26, 2011 Kristin added it · review of another edition

Shelves: theater

I read the 1972 translation (or "adaptation") by John Osborne, but also checked out the original 1890 English translation by Edmund Goose as a comparative reference. It didn't appear that Osborne really changed much except making the language simpler and clearer. I did take note of Goose's explanation of the differences in the use of the familiar versus formal "you," a shade that doesn't translate well (for his version, he used "thou" as a substitute, but today that just seems overtly stilted)....more

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Jun 04, 2011 Kassia rated it 5 of 5 stars

Shelves: 2010-2011

From the title of the play, it becomes obvious what the play is going to be about: a woman named Hedda Gabler. This woman has an extremely complicated personality. It is hard to guess what is going on in her head at any moment in time. Even her husband, George Tesman, hasn’t really figured out his own wife. The first step in understanding Hedda is to understand how she feels about her life.

From the beginning of the play, Hedda clearly expresses a sense of boredom in everything that she says and...more

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Jul 23, 2010 Daria rated it 4 of 5 stars · review of another edition

Shelves: classics, theatre

I liked this one more than A Doll's House - it was longer, expanded into a greater cast of characters, and was infinitely more complex. It was also more difficult to understand (not in terms of what happens, but in the ways that the characters relate to each other). I probably missed all the allegories/symbolism/stuff English papers are made of, but that's alright for me (even though I wouldn't mind discussing this play with a knowledgeable teacher or two).

Enter Hedda Gabler - bored, fallen, he...more

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Oct 17, 2012 Bruce rated it 5 of 5 stars · review of another edition

Harold Bloom has called this play Shakespearean in scope and character, and I think he is correct. The central enigma is Hedda herself, a character of erotic self-destructiveness, fascinating and frightening simultaneously. Is she the embodiment of pure and inexplicable evil, as Iago would seem to be, or is she a victim of her time and culture, a woman of profound aspirations and ability trapped in a constricted and unimaginative marriage and role from which she tries desperately to escape? Her...more

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Sep 23, 2012 Mara Shaw rated it 5 of 5 stars

Ibsen captured the horror of the limited options available to women of propriety in 1890 with violence and virtuosity. It is irrelevant whether you like Hedda or not. She was not cut out to live within the straight jacket of society. None of the available options -- and Ibsen brilliantly explores them all (marriage, affair, manipulation of men) -- were a hell to her.

This play shook the world of "women's" lit long before women could vote. Originally performed only for women, it surprised the the...more

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Jan 25, 2008 Michelle rated it 4 of 5 stars · review of another edition

Shelves: classic

I was supposed to read this book a long time ago in undergrad. I finally got around to it. I'm sure it has some deep symbolic meaning attached to it, but here are my conclusions. Hedda was a horrible person. I didn't think I was supposed to feel sympathy for her until the end, but even then.

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Jun 23, 2012 Daniel rated it 4 of 5 stars

Hedda, she with husband that longs to write a great deal about the domestic industries of Brabant during the middle ages, she with husband that encompasses correctness and respectability beyond all question, after first firing General Gabler's pistols, after then answering "I know of no reason why I should be" to the observation "You are not really happy," after agreeing with the judgmental one who opined "The triangle ought, if possible, be spontaneously constructed," after once dwelling upon,...more

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May 18, 2010 Meg rated it 3 of 5 stars Recommends it for: women who enjoy exerting power over men

Shelves: classics, norway, scandinavia

Since my first days at university, as one of the few women in a male-dominated program, I've enjoyed the power to control the actions of the men around me. While I certainly don't take it to the extremes that Hedda would like, I've not always been the kindest person, though I've hopefully mended my ways lately. In reading Hedda Gabler I was startled to recognize so much of myself in a piece of classic literature. I suppose this speaks to the timelessness of Ibsen's work.

However, I wasn't overwhe...more

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Apr 16, 2012 Christine N-K rated it 1 of 5 stars

I loathe this play. I loathe it because I hate being reminded how ugly some people are. I love to read and go to a happy place where people think before they talk, they love deeply and honestly, and they aren't narcissistic. Needless to say, I read to get away. This is my second time reading this play... I thought that maybe now that I'm out of high school I might gain better insight. I did gain better insight as much of the confusing points from before had greater clarity to me now. But I'm sti...more

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Oct 20, 2011 Mike Jensen rated it 3 of 5 stars · review of another edition

There was a time I would have given this story of an unhappy but manipulative shrew a lower rating for being so pointlessly unpleasant. I have now read widely enough in Ibsen to realize that he usually wrote about people learning to take responsibility for themselves and do what is right when that is the hardest thing to do. I now see this play as subverting that, since it is about a woman who takes responsibility for hurting others, destroying two of them (if you know the story, count carefully...more

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Aug 21, 2010 Emily rated it 5 of 5 stars

Shelves: theater, read-in-2010

I think I liked this one better than "A Doll's House": it is more developed and you get a better taste of the characters, so you can understand their twists and turns even if they're not explained. Even though I would've liked to read this after a more thorough study of the Norwegian society and its problems, I liked they way he portrays society and deals with its hypocrisy. Hedda may seem terrible, but she was also condemned to be because she couldn't choose. It really made me think. I believe...more

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Feb 09, 2011 Megan Fletcher rated it 3 of 5 stars

Hedda is a play by Henrik Ibsen about a young woman, Hedda Gabbler. When we meet Hedda she is recently married to Tesman who she all but detests. She is the type of character you love you hate . She is completely self involved. Her favorite past time includes playing with guns!

She flirts with men and one in particular, young Eibert. Hedda tries to exert control over him, stemming from a brief romance before she was married. Hedda advises him to commit "beautiful" suicide.

She is a different coo...more

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Jul 11, 2012 Helen Callaghan rated it 5 of 5 stars Recommends it for: anyone

I'd never read any Ibsen before and was astonished by this - its psychological depth compared to its economy was amazing, even for drama. Hedda Gabler, the ferociously intelligent, dangerously cruel, yet ultimately pitiable protagonist defies easy categorisation.

I can't imagine why I've waited till now to read it - I saw that there was a new production of it on in London and thought, ooh, I should give that a go. It was another of those "to read" books that's been on the pile for years.

It's a...more

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Aug 14, 2011 Amber rated it 3 of 5 stars

I just don't like her.

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Mar 03, 2008 Chris rated it 5 of 5 stars

bad girl, very bad girl

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Jul 08, 2011 Isabel rated it 4 of 5 stars

This book is powerful and memorable. Hedda Gabler paints a portrait of one of the most disturbed people ever depicted in literature I've read. Ibsen does this very skillfully and yet not too caricaturistically. I found myself thinking about the story after I read the book and have a feeling I will be thinking about it for time to come. Ibsen succeeds in creating an unforgettable character. Though, I must admit, I don't completely understand Hedda as a character, she sounds so irrational and, rea...more

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Mar 21, 2013 Hayley rated it 3 of 5 stars · review of another edition

Shelves: adult, school-mandated

Thinking there's a high probability that Hedda's actually mentally ill/something of a sociopath. Her inability to keep things under wraps/to herself could be seen as that or just a way fro Ibsen to give us what she's thinking without going into soliloquies, which he avoids, or both.

Grape leaves? Wine? Death by alcohol poisoning? Why would this be considered a beautiful death though?

The husband would have been more likable if he wasn't so stupid. The only character worth sympathizing over would b...more

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Apr 10, 2009 Devon rated it 3 of 5 stars

I think it's extremely interesting that a Norwegian man and a woman from Louisiana could have so much in common as far as societal observation goes. Because, seriously, I just read "The Awakening" and...yeah.

As far as that goes, though, I think I prefer Hedda Gabler. I just like Ibsen's writing better, I think (and I read two translations at once, which was a REAL trip.) Also, Ibsen's characters were kind of hilarious. I'm not saying that I didn't poke fun at everyone in "The Awakening" (because...more

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About Henrik Ibsen

Henrik Johan Ibsen was a major Norwegian playwright largely responsible for the rise of modern realistic drama. He is often referred to as the "father of modern drama." Ibsen is held to be the greatest of Norwegian authors and one of the most important playwrights of all time, celebrated as a national symbol by Norwegians.

His plays were considered scandalous to many of his era, when Victorian valu...more

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Four Major Plays: A Doll's House / Ghosts / Hedda Gabler / The Master Builder

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“It’s a release to know that in spite of everything a premeditated act of courage is still possible.” — 14 people liked it

“It's a liberation to know that an act of spontaneous courage is yet possible in this world. An act that has something of unconditional beauty.” — 3 people liked it

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