FINAL BLOG!!!!!!!!!!

well this is the final blog for the play Hedda Gabler and i am going to miss doing this dearly ... nvm i get to do it right away again for Lysistrata!!!!!!!!!!!!

In this blog i thought i would wrap things up by making another of my famous lists of similiarities!!!!! This list will be focusing on the similiarites between the 2 plays we have read but i will not go into much details on the characters seeing as i have done that extensively already in previous blogs.

1. The setting in both plays never really moves and is in a house. In Hedda Gabler it is in one room for most of the time, and for Bernarda Alba the play is in one house.

2. As the play commences the color change is vital. The colors start of dark in the beginning and get light in the end of Bernarda Alba as if to suggest a freedom from oppression for Adela, and the colors go from light to dark in the play Hedda Gabler as if to show potiential for happiness to death and misery in the end.

3. For my final point, both plays involve a love triangle or quadrangle or whatever you prefer. In Bernarda Alba there is a love connection between Angustias, Adela, and Pepe el Romano. In Hedda Gabler there is a love connection between Hedda Gabler, Brack, and Lovborg, and possibly George if you just want to throw him into the mix because of the fact that he is Hedda's husband.

Georgie

Georgie is what i shall call Mr. Tesman because he obviously does not deserve any other title. He is very book smart and focused on only one thing in life and that is History. Other than history, George is very clueless as to what is going on in this play. He is clueless to Hedda's pregnancy, he is clueless to Brack's advances, and he is even clueless to Hedda's build up before she kills herself. Poor poor little georgie when will he ever face reality????????? Hopefully Hedda's death was a big enough wake up call for him to stop doubting himself, tighten his pants and opening his eyes just a bit wider.

Adela VS> Hedda

One of my questions to an assesment earlier was: Compare and contrast the roles of Hedda Gabler and Adela.

I thought of a surprising number of similarities between the two characters that i discovered and would like to share.
1. Both of the two young ladies are pregnat or at least become pregnat throughout the course of there respective plays.

2. The two ladies are oppressed by a male dominated society. If we put on our feminist lens we can clearly see that the men still dominate society and hold women back from reaching their full potiental of being whatever they want to be in life.

3. Both Adela and Hedda are going to get or are already married to a man that they do not love... if Adela would have had more options in her life she most likely would have realized that she had much more in common with another man than that of Pepe El Romano who she only claimed to love because he was her way out. And in Hedda's case it isn't hard to see that Hedda doesn't love George and only married him out of convinience.

4. The final major thing that the two have in common is that they both end up commiting suicide.

BANG BANG PISTOLS TELL ALL

Now for my next blog i will be demonstrating the use of pistols..... in the play Hedda Gabler that is!

In my personal opinion, one of the single most important motif's in this play was the motif of Hedda Gabler's pistols. Pistols lead to power and power leads to corruption and Ibsen’s play Hedda Gabler is a prime example of power gone wrong. When you mix Hedda Gabler with boredom and power the outcome will not be pretty for anyone within a household of this woman. She is very unpredictable and when you add the pistols to her craziness you get chaos ... an example of this in the beginning of Act 2 where Hedda points the gun at the Judge and shoots into the sky. At that point in the story we as readers became a little more unaware of what Hedda was attempting to get at. This is when Brack comes inside and allows himself to take the gun right out of Hedda’s hand, and thus temporarily assuming power in the house. When Brack has the pistol he is in charge and nothing can really stand in his way. this is also yet another unpredictable move by Hedda to at one second pretend to be shooting at the Judge and another second allowing the Judge to take complete control of a situation and send Hedda into submission.

Marxist Lens

The play Hedda Gabler can best be associated with modern society and events in a few key ways. By knowing these ways we as readers can reach a new level of understanding vital to the play. The entire class system in this play is somewhat similar to the system we see today. The wealthy do not really need to work and the middle class do. Throughout the play we see George Tesman concerned with financial burdens, while we see characters such as Hedda on the other hand acting care free when it comes to money.

From what i see in this play Hedda loses interest in money and finances when the idea of power comes back into her mind. The very thought that Hedda could possibly control anyone at any time made her factinated and led her to ultimately controlling another human being's life and in this case the life was Lovborg's.

After this one only 5 left!!!!

Hopefully this blog makes sense but in this one i am going to talk about Lovborg... with several clarifying questions along the way.

So from what i understand, Lovborg used to be a crazy drunk that partied and hooked up with Hedda at one point and through that time, Hedda was able to cast a spell of control over him... then eventually after some amount of time, the two went their separate ways and somehow Lovborg overcame his alcohol problem with the help of Thea?????? and together they wrote a manuscript about the future????? and it was like Lovborg or Thea's child??? and then when Lovborg and Hedda began to talk again, Hedda managed to control him after some time and was able to convince him to kill his child/manuscript??? and later end his life (well that is unknown but assumed) is that all there is to know about our friend Lovborg????

Characters in Hedda Gabler

As promised previously here is yet another blog but this time it pertains to the characters and how they change or morph if you will as the play moves on through the acts.

Ultimately through the play all of the characters change significantly from the beginning of the story to the end. At least all but two. Generally in a play or story a character changes from the readers first impression.

For me, i found Hedda to be much more controlling then i anticipated especially at the end of the first act when she pulled out her pistols and completely caught me off guard with her cold mood.

The two characters that i found to not change from my first impressions what so ever were the two characters that can argueably be living most in the past.
George Tesman and his Aunt. The two began the play and never really changed... George was always innocent and couldn't really grasp reality, and his Aunt was just older and cared for people never really granting her a chance at adjusting herself to things.

Color Contrast in this Play

I am not sure as to whether or not the blogs are due by monday Morning or Monday by 12 midnight but im going to do one now and find out later.

The color scheme in this play is key to understanding Ibsen's contrast of tone and mood and how the mood changes through out various parts of the play.
I believe that the play begins innocent and at a point where the reader is just seeing the characters from a far, but as it commences we see the reality of each character and how they really are. (See my next blog on characters to learn more about this) The colors are very light and doors, and curtains are open in the beginning perhaps symbolizing the idea of happiness, or at least the potiental for it, and possibly freedom?!?!? yes i said it freedom ... i think that when this play is started the possiblilites for the couple of Hedda and George are endless but as we unveil their distinct personas we see how it is meant to be.
So to sum it all up ... in Act 1 the theme is light and cheery, Act 2 some of the cheery objects are removed, and in the end, Act 4, there is a overwhelming mood of a morbid sorrow and pessimism that fills the air with closed doors, and shut curtains.