The Death of a Hired Man
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One of the social issues dealt with in Ibsens problem plays is the oppression of women by conventions limiting them to a domestic life. In Hedda Gabler the heroine struggles to satisfy her ambitious and independent intellect within the narrow role society allows her. Unable to be creative in the way she desires, Heddas passions become destructive both to others and herself.
Raised by a general (Ibsen 1444), Hedda has the character of a leader and is wholly unsuited to the role of “suburban housewife” (1461). Since she is unable to have the authority she craves, she exercises power by manipulating her husband George. She tells Thea, “I want the power to shape a mans destiny” (1483). Heddas unsuitability for her domestic role is also shown by her impatience and evasiveness at any reference to her pregnancy. She confides to Judge Brack, “Ive no leanings in that direction” (1471). Hedda desires intellectual creativity, not just the procreative power that binds her to a limited social function. But because her only means of exercising power is through a “credulous” husband (1490), Hedda envies Theas rich intellectual partnership with Eilert Loevborg (1484), which produces as their creative “child” a bold treatise on the future of society (1473-74, 1494). Heddas rivalry with Thea for power over Eilert is a conflict between Heddas dominating intellect (symbolized by her pistols) and the traditionally feminine power of beauty and love (symbolized by Theas long hair).
Because Hedda lacks Theas courage to leave her husband and risk ostracism, she tries to satisfy her intellect within societys constraints. First she seeks power through wealth and social status, marrying George on the condition she can “keep open house” and have “a liveried footman” (1464). But Georges small means leave her frustrated by “wretched poverty” (1471), while her social aspirations oppress her with the fear of scandal. Secondly, Hedda achieves a balance of security and independence by marrying a dull academic, who is easily dominated and occupies himself “rooting around in libraries” (1466). But in doing so she shuts herself within a passionless marriage as tedious as a long train ride with a dull companion (1467-68). Finally, Hedda alleviates her boredom by turning to Judge Brack as a confidant: someone with whom she can flirt and speak openly as an equal. But Brack is not “a loyal friend” (1461); rather, just as Theas husband “finds [her] useful” to take care of him (1458), Brack exploits Heddas isolation and powerlessness for his own pleasure.
Heddas oppressed desires become destructive, first to Eilert and Thea, and then to herself. In addition to envying Thea for her creative union with Eilert, Hedda hates her for taming a man she idealizes as a rebel for his past licentiousness, defying social mores. After taunting the reformed Eilert into a night of debauchery, Hedda imagines him returning as a Dionysian hero:
I can see him. With a crown of vine-leaves in his hair. Burning and