Lit1000: Literary Analysis with critical commentary
Laury270
BernardJ.ParisADollsHouseandHeddaGabler.pdf
NYU Press
Chapter Title: A Doll’s House and Hedda Gabler
Book Title: Imagined Human Beings Book Subtitle: A Psychological Approach to Character and Conflict in Literature Book Author(s): Bernard J. Paris Published by: NYU Press. (1997) Stable URL: http://www.jstor.org/stable/j.ctt9qffv8.6
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PART I I
Characters an d Relationships
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3
A DolVs House an d Hedda Gabler
The firs t perso n t o loo k a t literatur e fro m a Horneya n per - spective wa s Kare n Horne y herself . Sh e taugh t course s a t th e Ne w School fo r Socia l Researc h tha t wer e focuse d o n literar y works , an d sh e frequently use d literatur e fo r illustrativ e purpose s i n he r writings . A n admirer o f Henri k Ibsen , sh e cite d hi s work s mor e ofte n tha n thos e o f any othe r author . Thi s i s not surprising , fo r Ibse n i s the greates t psycho - logical dramatis t nex t t o Shakespeare , an d ther e i s a remarkable congru - ence betwee n hi s play s an d he r theory . Man y o f Ibsen' s character s see m to hav e steppe d fro m th e page s o f Our Inner Conflicts an d Neurosis and Human Growth. I coul d easil y devot e a boo k t o a Horneya n stud y o f Ibsen, bu t I shal l confin e mysel f her e t o tw o o f hi s mos t famou s an d enigmatic characters , Nor a Helme r an d Hedd a Gabler . A t th e cente r o f Ibsen's plays , ther e i s ofte n a relationship , th e psychodynamic s o f whic h are portraye d wit h remarkabl e subtlety . I shal l analyz e Nora' s relation - ship with he r husband , Torvald , an d Hedda' s wit h Ejler t Lovborg .
Although Horne y initiall y devote d hersel f t o th e stud y o f feminin e psychology, sh e stoppe d writin g o n thi s topi c i n th e mid-1 9 30s an d developed a theor y tha t sh e regarde d a s gender-neutral . Sh e di d no t se e any defensiv e strategie s a s essentiall y masculin e o r feminin e bu t fel t tha t all wer e employe d b y member s o f bot h sexes . Th e greate r incidenc e o f self-effacement i n wome n an d aggressio n i n me n i s a product , sh e felt , of culture . Horney' s positio n i s borne ou t b y the stud y o f literature . Self - effacement i s mor e commo n i n femal e character s an d aggressio n i n males, bu t ther e ar e man y aggressiv e wome n an d self-effacin g men .
One o f th e majo r objective s o f women' s liberatio n movement s ha s been t o fre e wome n fro m th e cultura l deman d fo r self-effacemen t an d t o establish thei r righ t t o ful l huma n development . A t th e themati c level , this seem s t o b e wha t A Doll's House i s about . I n th e first tw o act s o f the play , Nor a Helme r i s a strikin g exampl e o f feminin e compliance ,
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40 | A DOLL'S HOUSE A N D HEDDA GABLER
while i n th e las t ac t sh e rebel s agains t he r doll-lik e rol e an d assert s he r claim t o ful l humanity .
Indeed, the most difficul t thin g t o understan d abou t Nor a i s the spee d of he r transformatio n fro m a submissive , self-sacrificin g woma n wh o lives onl y fo r lov e an d famil y int o a self-assertiv e perso n wh o reject s al l responsibility t o he r husban d an d childre n i n th e nam e o f he r dut y t o herself. A t th e en d Nor a seem s s o differen t fro m he r earlie r sel f tha t some hav e fel t tha t Ibse n sacrifice d consisten t characterizatio n t o hi s thematic concerns . Nor a learn s tha t sh e ha s bee n unjustl y treate d b y a male-dominated societ y an d tha t sh e must rebe l agains t th e conventiona l view o f he r natur e i f sh e i s t o realiz e herself . "Yo u an d Fathe r hav e done m e a grea t wrong, " sh e tell s Torvald . "You'v e prevente d m e fro m becoming a rea l person " (ac t 3). 1 Sh e decide s tha t sh e mus t leav e hom e if sh e i s to hav e a chanc e o f discoverin g wha t sh e reall y think s an d wh o she reall y is . Nora' s speeche s ar e stirring , bu t ha s Ibse n pu t word s int o her mout h tha t ar e inconsisten t wit h he r previousl y draw n character ? I s her transformatio n psychologicall y plausible ? How , exactly , doe s he r disillusionment wit h Torval d produc e he r amazin g turnabout ? Ca n a woman wh o intende d t o drow n hersel f nea r th e beginnin g o f th e las t ac t become a s stron g a person a s Nora seem s to b e a t th e end ?
I believe tha t Nor a i s a well-drawn mimeti c characte r whos e transfor - mation i s intelligibl e i f w e understan d he r defensiv e strategie s an d th e nature o f he r relationshi p wit h he r husband . Sh e neve r become s a mer e mouthpiece bu t remain s a n inwardl y motivate d character , ful l o f incon - sistencies an d blin d spot s tha t ar e psychologicall y realistic . Her transfor - mation i s plausibl e whe n w e recogniz e tha t wit h th e collaps e o f he r predominant solution , he r previousl y represse d tendencie s emerge .
Nora experience s genuin e growt h a t th e en d o f th e play , but sh e i s no t as clear-heade d a s sh e think s sh e is . Sh e fail s t o see , fo r example , tha t she ha s als o participate d i n th e creatio n o f he r destructiv e relationshi p with he r husban d an d tha t Torval d ha s bee n n o mor e o f a rea l perso n for he r tha n sh e ha s bee n fo r him . Sh e inform s Torval d tha t sh e mus t leave hom e becaus e h e ha s no t treate d he r a s a rea l person , bu t sh e als o says tha t sh e stoppe d lovin g hi m whe n th e wonderfu l thin g di d no t happen. I f Torval d ha d behave d heroicall y o n th e receip t o f Krogstad' s letter, Nor a woul d hav e bee n delighted , bu t suc h behavio r o n hi s par t would no t hav e show n respec t fo r he r a s a person . Nor a seem s unawar e of this , an d o f muc h els e besides . Sh e say s tha t sh e ha s neve r bee n mor e sure o f herself , bu t sh e i s ful l o f self-doubt , an d he r fligh t fro m Torval d
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A Doll's House and Hedda Gable r | 4 1
and he r childre n i s compulsive . Turnin g agains t he r faile d self-effacin g solution, Nor a i s no w drive n b y defensiv e need s fo r aggressio n an d withdrawal, a s wel l a s b y he r newl y awakene d desir e fo r self-actualiza - tion.
Nora initiall y develop s int o a predominantl y self-effacin g perso n no t only becaus e o f th e attitude s towar d wome n i n he r societ y bu t als o because o f th e particula r condition s o f he r childhood . Sh e ha s n o mother, an d he r fathe r i s a domineerin g ma n wh o want s he r t o remai n a "doll-child" an d wh o woul d b e "displeased " i f sh e expresse d an y idea s contrary t o hi s ow n (ac t 3) . Nora canno t affor d t o rebel ; sh e i s strongl y attached t o he r fathe r an d doe s he r utmos t t o pleas e him . Sh e retains th e childlike playfulnes s an d docilit y tha t h e finds s o charmin g an d eithe r adopts hi s opinion s o r remain s silent . I t seem s likel y tha t th e absenc e o f a mothe r increase s he r dependenc e o n he r father ; sh e ha s n o on e els e t o turn t o fo r lov e an d protection . Moreover , sh e ha s n o mode l o f matur e womanhood t o emulate , an d sh e acquire s fe w skill s o n whic h t o bas e her self-esteem . Whe n sh e become s a mothe r herself , sh e depend s o n he r old nurse , Anne-Marie , t o car e fo r he r children , who m sh e treat s a s playmates. Nora' s fathe r reward s he r complianc e wit h fondnes s an d indulgence, an d sh e grow s u p feelin g tha t th e wa y t o gai n safety , love , and approva l i s to pleas e a powerful male .
In Torval d Helmer , Nor a finds a ma n wh o i s muc h lik e he r father , and sh e relate s t o hi m i n a simila r way . Sh e i s conten t t o b e hi s "lark, " his "squirrel, " hi s "doll-baby, " hi s "littl e featherbrain, " hi s "craz y littl e thing" (ac t 1) . Nora doe s no t fee l demeane d b y thes e epithets , a s we fee l her t o be , althoug h a t a n unconsciou s leve l the y ar e destructive . Sh e lives, a s sh e says , "b y performin g tricks " fo r Torvald , an d sh e i s prou d of he r abilit y t o kee p him charmed . Fo r Torval d ther e i s "somethin g ver y endearing abou t a woman' s helplessness " (ac t 3) , an d Nor a i s a t grea t pains t o concea l th e fac t tha t sh e ha s save d hi s lif e an d almos t pai d of f a large loa n b y he r ow n efforts : "Torval d coul d neve r bea r t o thin k o f owing anythin g t o me ! I t woul d hur t hi s self-respect—woun d hi s pride . It would rui n everythin g betwee n us. " It is important t o Nora t o preserv e Torvald's feelin g o f mastery , fo r thi s i s th e pric e o f hi s lov e an d protec - tion. Sh e i s keepin g he r heroi c effor t "i n reserve, " however , fo r th e da y when sh e i s "n o longe r s o prett y an d attractiv e . . . whe n i t n o longe r amuses hi m t o se e [her ] danc e an d dress-u p an d ac t fo r him " (ac t 1) .
In th e meantime , i t give s he r "somethin g t o b e prou d an d happ y
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42 I A DOLL'S HOUSE A N D HEDDA GABLER
about." Sh e i s prou d partl y becaus e "workin g lik e tha t an d earnin g money" ha s give n he r a feelin g o f strength , ha s mad e he r "fee l almos t like a man " (ac t i ) , bu t mostl y becaus e i t fulfill s he r nee d t o b e goo d and loving . Lik e Mrs . Linde , an d mos t wome n i n he r culture , Nor a glorifies sacrificin g sel f fo r others , an d sh e reveal s he r secre t onl y whe n Mrs. Lind e make s he r fee l inferio r b y contrastin g Nora' s eas y lif e wit h her ow n nobl e suffering .
Nora als o ha s need s fo r powe r an d mastery , whic h sh e fulfill s i n a typically self-effacin g wa y b y identifyin g wit h Torvald . Sh e exult s i n th e fact tha t "al l th e employee s a t th e Ban k [will ] b e dependen t o n Torval d now": "Wha t fu n t o thin k tha t we—tha t Torvald—ha s suc h powe r over s o man y people " (ac t i ) . Sh e bristle s whe n Krogsta d speak s disre - spectfully o f he r husban d becaus e sh e participates i n Torvald's glory , an d any threa t t o hi s statu s i s a threa t t o he r own . He r identificatio n i s s o intense tha t sh e i s read y t o commi t suicid e t o preserv e he r husband' s high position .
Nora begin s t o thin k o f suicid e a s soo n a s Krogsta d threaten s t o reveal tha t sh e ha s obtaine d a loa n fro m hi m b y forgin g he r father' s signature. Sh e become s panic-stricke n when , ignorin g he r pleas , Torval d dismisses Krogstad , sayin g tha t h e will bea r "th e whol e burden " o f an y retaliation. "He' d d o i t too ! He' d d o it—i n spit e o f anything! " sh e exclaims t o Dr . Rank . "Bu t h e mustn't—never , never ! Anythin g bu t that!" (ac t 2) . Nora i s convinced tha t Torval d love s he r s o "deeply " an d "intensely" tha t "h e wouldn' t hesitat e fo r a momen t t o giv e u p hi s lif e for [her ] sake. " Sh e think s tha t on e wa y o f savin g hi m woul d b e t o pa y off he r debt , thereb y securin g th e incriminatin g papers . Sh e consider s asking Dr . Ran k fo r th e money , bu t whe n Ran k declare s hi s love , sh e can accep t nothin g fro m him , eve n thoug h th e alternativ e i s s o terrible . Apparently, he r romanticis m i s s o intens e tha t sh e woul d rathe r commi t suicide tha n tain t he r devotio n t o Torvald . Sh e i s afrai d t o kil l herself , however, unti l Krogsta d boast s tha t withi n a yea r h e wil l b e Torvald' s "right han d man . It'l l b e Nils Krogstad , no t Torval d Helmer , who'l l ru n the Join t Stoc k Bank. " " I hav e th e courag e fo r i t now, " Nor a declare s (act 2) .
Nora's relationshi p wit h he r husban d i s base d o n a bargai n sh e ha s made i n he r ow n mind . Sh e wil l b e a charming , obliging , self-sacrificin g wife, an d Torval d wil l lov e an d protec t her . Nor a delight s i n bein g babied, coddled , an d indulged . Everythin g Torval d doe s fo r he r show s how valuabl e sh e i s t o hi m an d assure s he r tha t sh e wil l b e take n car e
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A Doll's House and Hedda Gable r | 4 3
of. Sh e does not min d bein g weak a s long a s his strengt h i s at he r service . She control s hi m throug h he r dependency . Whe n h e become s directo r o f the bank , sh e doe s no t regre t th e fac t tha t sh e wil l n o longe r hav e t o earn mone y secretl y bu t i s overjoyed tha t ther e will b e "n o mor e trouble ! N o mor e worry ! I'l l b e abl e t o pla y an d rom p abou t wit h th e children " (act 1) . Sh e doe s expec t t o b e rewarde d fo r he r year s o f devotion , however. Som e day , somehow , Torval d i s goin g t o mak e a magnificen t sacrifice fo r her , an d the n sh e wil l se e ho w stron g an d nobl e h e i s an d how muc h h e love s her . Thi s i s the "wonderfu l thing " tha t wil l validat e her bargai n an d mak e he r drea m o f glor y com e true .
Nora i s certain tha t whe n Torval d open s Krogstad' s threatenin g letter , the wonderfu l thin g wil l happen . Torval d i s to o brave , to o nobl e t o submit t o Krogstad' s demands . I n orde r t o protec t he r fro m prosecution , he will tak e responsibilit y fo r th e forger y o n himself . In Nora' s romanti c fantasy Torval d i s her knigh t an d sh e i s his lady . Just befor e h e reads th e letter, h e tell s her : "D o yo u kno w something , Nora . I ofte n wis h yo u were i n som e grea t danger—s o I coul d ris k bod y an d soul—m y whol e life—everything, everythin g fo r you r sake " (ac t 3) . Torvald' s equall y romantic versio n o f thei r relationshi p reinforce s Nora's . Sh e believe s hi s professions an d i s convince d tha t h e wil l sacrific e himsel f fo r her . Nor a wants th e wonderfu l thin g t o happen , bu t sh e i s terrifie d o f i t a s well , for Torval d wil l becom e a socia l outcast , lik e Krogstad . H e wil l los e hi s power an d position , an d lif e wil l becom e unbearabl y blea k an d mean . A ruined Torval d coul d satisf y neithe r Nora' s complian t need s fo r car e an d protection no r he r expansiv e need s fo r powe r an d glory .
The severit y o f Nora' s neurosi s i s clearl y reveale d b y he r determina - tion t o kil l herself . B y committing suicid e sh e wil l preven t Torval d fro m taking th e blam e o n himself . He r heroi c sacrific e wil l forestal l his . In - stead o f havin g t o endur e guil t an d self-hat e fo r havin g ruine d Torvald , she wil l sav e hi s caree r a s sh e ha d earlie r save d hi s life . Th e rewar d wil l be hi s undyin g gratitud e an d devotion . Sh e wil l b e enshrine d foreve r i n his memor y an d wil l no t hav e t o fea r th e los s o f hi s lov e whe n sh e i s n o longer s o attractive . He r suicid e wil l secur e Nor a fro m th e ravage s o f time an d th e vicissitude s o f fortune . Sh e will di e i n ful l possessio n o f th e two thing s sh e values most , Torvald' s lov e an d hi s glory .
In a relationshi p o f morbi d dependency , suc h a s tha t betwee n Nor a and Torvald , ther e i s a turnin g point , say s Horney , fo r th e self-effacin g partner, "a s th e stak e sh e i s gamblin g fo r fail s t o materialize " (1950 , 252). Th e turnin g poin t fo r Nor a come s wit h Torvald' s reaction s t o
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44 I A DOLL'S HOUSE A N D HEDDA GABLER
Krogstad's letter . H e neithe r praise s he r fo r havin g earne d s o muc h money an d save d hi s lif e no r offer s t o tak e th e blam e fo r he r forger y o n himself. Instea d h e call s he r a hypocrite , a liar , an d a crimina l an d tell s her tha t sh e "won' t b e allowe d t o brin g u p th e children " (ac t 3) . "Al l thought o f happiness " betwee n the m i s over . Sh e ha s pu t hi m i n Krogs - tad's power , an d h e "mus t find som e wa y t o appeas e him. " I f w e hav e understood wha t ha s bee n goin g o n i n Nor a u p t o thi s moment , w e ca n see wh y Torvald' s reaction s hav e suc h a tremendou s impac t upo n her . Her drea m ha s bee n shattered ; he r imag e o f Torvald , he r bargain , he r hopes ar e al l explode d illusions . He r sens e o f injustic e i s overwhelming , since sh e ha s bee n read y t o di e fo r him , an d h e i s thinkin g onl y o f himself. Enraged , sh e feel s no w tha t sh e doe s no t lov e Torval d an d that h e ha s neve r love d her . Nothin g h e say s coul d possibl y repai r th e relationship; sh e ha s los t al l fait h i n hi s assurance s an d regard s hi m wit h contempt.
With th e collaps e o f he r self-effacin g solution , hithert o represse d trends i n Nora' s personalit y begi n t o emerge . Al l th e tim e sh e wa s submitting t o Torval d an d he r father , sh e wa s unconsciousl y resentin g their constraint s an d hatin g the m fo r makin g he r self-abandonmen t th e price o f thei r love . Sh e rebelle d i n smal l ways , suc h a s sneakin g maca - roons, an d wa s awar e o f a desir e t o say , i n fron t o f Torvald , "Damn ! — damn!—damn i t all! " (ac t 1) . Now tha t ther e i s n o priz e t o b e wo n b y compliance, sh e canno t bea r th e though t o f continuin g t o b e treate d i n degrading, patronizin g ways . No r ca n sh e repres s he r resentmen t an y longer. Sh e accuse s bot h Torval d an d he r fathe r o f havin g grievousl y wronged he r an d seem s t o wan t Torval d t o suffer . Whe n h e say s tha t h e "can't endur e th e thought " o f partin g wit h her , sh e replies : "Al l th e more reaso n i t shoul d happen " (ac t 3) .
Torvald i s not th e onl y objec t o f Nora' s rage ; she i s angry wit h hersel f and ful l o f self-hate . He r self-effacin g sid e is horrified a t th e though t tha t she ha s bee n "livin g her e fo r eigh t year s wit h a stranger " an d tha t sh e has "born e hi m thre e children" : " I can' t bea r t o thin k abou t it ! I coul d tear mysel f t o pieces! " (ac t 3) . B y leavin g immediatel y sh e remove s herself fro m sexua l temptatio n an d restore s he r prid e i n hersel f a s a woman wh o i s intimat e onl y wit h a ma n sh e loves . Sh e see s he r bargai n in a ne w light , an d now , t o avoi d feelin g tha t sh e ha s sol d herself , sh e must rejec t Torvald' s help : " I can' t accep t anythin g fro m strangers. " Torvald's attac k o n he r mora l characte r exacerbate s he r doubt s abou t her fitness a s a mother .
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A Doll's House and Hedda Gable r | 4 5
A goo d dea l o f self-hat e i s generated als o b y Nora' s emergin g aggres - sive trends . Sh e perceive s tha t i n man y way s Torval d i s righ t whe n h e calls he r a chil d an d tell s he r tha t sh e ha s "n o understandin g o f th e society w e liv e in " (ac t 3) . Sh e ha d bee n conten t t o b e a pampere d darling wh o wa s unfi t t o cop e wit h th e world , bu t no w sh e hate s he r weakness an d i s determine d t o stan d o n he r ow n feet . Here , too , th e defense o f he r prid e require s tha t sh e leav e home . Sh e feels tha t sh e i s of no us e t o he r childre n partl y becaus e sh e i s s o childlik e herself . Nor a defends hersel f agains t he r self-hat e b y puttin g th e whol e blam e o n Torvald an d he r fathe r an d b y resolvin g t o becom e different . Anythin g that stand s i n th e wa y o f he r determinatio n t o change , an y clai m o f lov e or duty , sh e ruthlessly rejects : "Thi s i s something I must do. "
It seem s likel y tha t Nor a become s aggressive , rathe r tha n wallowin g in self-pit y an d despair , becaus e he r earlie r experienc e o f workin g ha s given he r a feelin g tha t sh e can ear n mone y lik e a man . Withou t thi s i n her background , sh e migh t hav e reacte d quit e differentl y t o th e collaps e of he r romance . A s i t is , sh e give s u p he r belie f i n th e miraculou s powe r of lov e an d transfer s he r expansiv e prid e fro m Torval d t o herself . Sh e is going t o prov e tha t sh e i s a s goo d a s a ma n an d doe s no t nee d anybod y to tak e car e o f her ! Sh e ha s ver y littl e sens e o f wha t sh e i s goin g t o do , but sh e mus t escap e th e dependenc y sh e no w s o despises . He r belie f i n Torvald seem s t o hav e bee n replace d b y a fait h i n th e magi c powe r o f her will .
Aggressive trend s ar e no t th e onl y hithert o suppresse d component s o f Nora's personalit y t o surfac e a t th e end . A person livin g i n a suffocatin g environment lik e Nora' s i s boun d t o develo p tendencie s towar d detach - ment, t o hav e stron g urge s t o ru n away , t o ge t fre e o f th e constan t pressure o n he r thought s an d feelings . Nor a insist s tha t sh e mus t b e alone if she is to "thin k thing s out " fo r herself . She rejects al l responsibil - ity towar d other s an d refuse s Torvald' s hel p partl y becaus e sh e i s afrai d of anythin g tha t wil l interfer e wit h he r independence : "Yo u mustn' t fee l yourself boun d an y mor e tha n I shall . Ther e mus t b e complet e freedo m on bot h sides " (ac t 3) . Torvald want s t o write to her , but Nora anxiousl y pleads wit h hi m no t to . Sh e expresse s n o interes t i n hearin g abou t th e children an d make s n o effor t t o se e them befor e sh e departs .
Nora's detachmen t i s no t onl y a respons e t o pas t oppressio n bu t als o a defens e agains t presen t conflicts . Sh e ha s t o b e callou s towar d he r husband an d children , sh e ha s t o ru n awa y fro m them , becaus e the y threaten t o rous e u p he r self-effacin g side , o f whic h sh e i s no w afraid .
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46 | A DOLL'S HOUSE A N D HEDDA GABLER
There i s somethin g decidedl y cold-bloode d abou t Nor a a t th e end . Sh e is no t allowin g hersel f t o b e awar e o f th e complexitie s o f he r situation , to fee l a sens e o f loss , or t o experienc e tende r emotions .
Although par t o f Nora' s transformatio n involve s th e adoptio n o f ne w defenses, ther e ar e sign s o f genuin e growth . Nor a ha s see n th e severit y of he r self-alienatio n an d ha s understoo d som e o f it s causes . Sh e want s to find herself , t o discove r he r ow n thought s an d feelings , an d t o gro w from thi s authenti c cente r o f he r being . Sh e see s tha t he r humanit y ha s been stunte d an d i s determine d t o becom e a capable , functioning , full y responsible person . He r insistenc e tha t sh e ha s a sacre d dut y t o hersel f i s healthy self-assertion .
How fa r Nor a ca n gro w i s a question o n which we can onl y speculate . In th e absenc e o f a supportiv e environment , he r prospect s d o no t see m promising. It will be very difficult fo r he r to arriv e a t a true knowledg e o f herself an d th e worl d aroun d her . Sh e ha s mad e contac t wit h previousl y repressed feelings , suc h a s rag e an d th e desir e t o thro w of f he r bonds , but thi s i s no t th e sam e thin g a s gettin g i n touc h wit h he r rea l self . He r discovery o f he r self-alienatio n i s a n essentia l first step , bu t i t i s difficul t to se e ho w sh e ca n recogniz e an d relinquis h he r defense s withou t help , and non e i s available . A t th e en d o f th e pla y Nor a i s like a perso n i n a n early stag e o f therap y wh o i s s o afrai d o f losin g contac t wit h he r ne w perceptions an d s o determine d tha t nothin g shal l interfer e wit h he r growth tha t sh e canno t b e worrie d abou t doin g justic e t o other s o r caring abou t thei r feelings . I t i s a t thi s stage , o f course , tha t man y marriages brea k up .
If Nora continue d t o grow , there migh t b e a chance fo r he r marriage , fo r she would com e t o se e both Torval d an d hersel f mor e clearly . Sh e woul d relinquish he r over-simpl e perceptio n o f hi m a s a detestabl e tyran t o r a contemptible weaklin g an d recogniz e tha t hi s defense s ha d comple - mented her s i n many way s bu t ha d als o bee n i n conflict wit h them . Nor a and Torval d hav e ha d suc h a n intensel y romanti c relationshi p becaus e they hav e satisfie d eac h other' s neuroti c needs . Nor a neede d t o merg e with a powerful , dominan t male , an d Torval d love d bein g master . Sh e was excite d b y his strengt h an d h e b y her weaknes s an d dependency . Sh e wished t o b e possesse d an d Torval d wa s extremel y possessive . Sh e dreamt o f bein g cherishe d an d protecte d an d h e o f rescuin g he r fro m peril. Eac h wa s th e cente r o f th e other' s existence . Torval d wa s a s emotionally dependen t o n Nor a a s sh e o n him ; a t th e end , i t i s h e wh o
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A Doll's House and Hedda Gable r | 4 7
cannot bea r th e though t o f thei r separation . Eac h wa s "i n love " wit h a n idealization o f th e othe r rathe r tha n wit h th e rea l person .
When Torvald' s illusor y versio n o f Nor a i s shattered , h e crie s out , "God! Wha t a n awakening! " (ac t 3) . The pla y ha s bee n buildin g towar d this moment . W e se e fro m th e beginnin g tha t Nor a an d Torval d hav e different attitude s towar d borrowin g money , socia l responsibility , an d scrupulousness i n th e managemen t o f thei r affairs . Althoug h sh e know s that Torval d i s oppose d t o bein g i n debt , Nor a propose s tha t the y borrow o n th e promis e o f hi s ne w jo b i n orde r t o splurg e fo r Christmas . When Torval d ask s wha t woul d happe n i f "o n Ne w Year' s Ev e a til e blew of f th e roo f an d knocke d m y brain s out, " Nor a replie s tha t unde r such circumstance s i t woul d no t matte r i f sh e owe d mone y (ac t 1) . "But," Torval d asks , "wha t abou t th e peopl e I' d borrowe d from? " "Who care s abou t them? " replie s Nora . "Afte r al l they'r e jus t strang - ers." Torval d dismisse s he r respons e a s a joke, but Nor a i s serious. Whe n Krogstad ask s i f it had no t occurre d t o he r tha t sh e was no t bein g hones t with hi m whe n h e len t he r mone y o n th e basi s o f he r father' s signature , Nora answers : " I reall y couldn' t concer n mysel f wit h that . Yo u mean t nothing t o me. "
The Helmer s hav e no t ha d a grea t dea l o f mone y becaus e a s a lawye r Torvald ha s refuse d "t o handl e an y case s tha t ar e i n th e leas t bit — shady" (ac t 1) . Nor a tell s Mrs . Lind e tha t sh e "agree[s ] wit h him , o f course," bu t sh e doe s no t observ e hi s code o f rectitud e hersel f an d seem s to fee l tha t h e i s to o strict . Governe d b y th e value s o f he r self-effacin g solution, Nor a feel s justifie d i n doin g whateve r i s necessar y t o car e fo r the member s o f he r family . Sh e canno t imagin e tha t " a daughte r ha s n o right t o spar e he r dyin g fathe r worr y an d anxiety " o r tha t " a wif e ha s no righ t t o sav e her husband' s life. " Nora' s claim s ar e that sh e cannot b e adversely judge d becaus e sh e acte d ou t o f lov e an d tha t ther e "won' t b e any trouble " becaus e sh e ha s "thre e littl e children " (ac t 2) .
Her belie f syste m i s shaken, however , whe n Torval d attack s Krogsta d at th e en d o f ac t 1 . Afte r committin g a forgery , Krogsta d ha d escape d punishment throug h "trick s an d evasions. " Whe n a ma n behave s lik e that, say s Torvald , "hi s lif e become s a tissu e o f lie s an d deception . He' s forced t o wea r a mask—eve n wit h thos e neares t t o him—hi s ow n wife an d children. " Krogsta d "ha s bee n deliberatel y poisonin g hi s ow n children fo r years , b y surroundin g the m wit h lie s an d hypocrisy. " Nor a recognizes hersel f i n thi s description , sinc e he r lif e i s a tissu e o f lie s an d deception. She , too, has committed forgery , an d sh e has deceive d Torval d
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48 | A DOLL'S HOUSE A N D HEDDA GABLER
about th e loan . Sh e lie s habitually , abou t eatin g macaroons , abou t wha t she doe s with th e mone y Torval d give s her, abou t wha t sh e is doing wit h the tim e sh e spend s working , an d s o on . Sh e justifie s man y o f thes e lie s as bein g i n a goo d caus e an d require d b y Torvald' s rigidity , bu t afte r Torvald's speec h abou t Krogsta d sh e become s terrified . Afrai d tha t sh e is harming he r famil y an d corruptin g he r home , sh e begin s t o withdra w from he r childre n an d t o contemplat e goin g away . The self-hat e an d self - doubt thu s activate d remai n wit h he r throug h th e res t o f th e play .
It i s because Mrs . Lind e i s appalled b y the "decei t an d subterfuge " o n which Nora' s relationshi p wit h Torval d i s base d tha t sh e insist s o n exposing Nora' s secret , eve n thoug h Krogsta d i s willing t o tak e bac k hi s threatening letter . Sh e feel s tha t Nor a an d Torval d mus t com e "t o a thorough understanding, " tha t "Helme r mus t kno w th e truth " (ac t 3) . She tells Nora tha t sh e has "nothin g t o fea r fro m Krogstad " bu t tha t sh e "must spea k out. " Nora' s reactio n t o thi s i s remarkable : "No w I kno w what I mus t d o " — t h a t is , sh e mus t commi t suicide . Why ? I f sh e ha s nothing t o fea r fro m Krogstad , sh e doe s no t hav e t o kil l hersel f t o sav e Torvald's caree r an d preven t th e wonderfu l thin g fro m happening . Doe s she wan t t o di e s o a s t o avoi d a confrontatio n wit h Torvald ? Doe s sh e sense what hi s reactio n wil l be ? Doe s sh e fear tha t h e will despis e her , a s he doe s Krogstad .
Torvald's denunciatio n o f Krogsta d ha d bee n extraordinaril y passion - ate: "I t woul d hav e bee n impossibl e fo r m e t o wor k wit h him . I t literall y gives m e a feelin g o f physica l discomfor t t o com e i n contac t wit h suc h people" (ac t 1) . The perfectionisti c Torval d i s pursuin g a flawles s excel - lence i n th e whol e conduc t o f life , an d h e discharge s ont o Krogsta d th e contempt h e woul d fee l fo r himsel f shoul d h e behav e a s Krogsta d ha s done. Krogsta d is , i n effect , hi s despise d image , wha t h e canno t bea r t o be, an d h e finds hi s ver y presenc e disturbing , especiall y whe n Krogstad , an ol d schoo l friend , treat s hi m wit h familiarity . Hi s repudiation , con - demnation, an d defianc e o f Krogsta d confir m hi s hig h standard s an d solidify hi s sens e o f identity .
Nora dread s Krogsta d partl y becaus e he r fathe r ha d bee n attacke d i n the newspapers , an d sh e fear s tha t Krogsta d wil l attac k Torvald . Confi - dent o f hi s rectitude , Torval d dismisse s he r fears : "M y dea r Nora , ther e is a distinct differenc e betwee n you r fathe r an d me . Your father's conduc t was no t entirel y unimpeachable . Bu t min e is ; an d I trus t i t wil l remai n so" (ac t 2) . Torvald feel s tha t hi s strengt h i s the strengt h o f te n becaus e his hear t i s pure. Hi s bargai n i s that h e will ultimatel y triump h an d hav e
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A Doll's House and Hedda Gable r | 4 9
nothing to fea r a s long as his conduct i s unimpeachable. A t the beginnin g of th e play , hi s bargai n seem s t o b e working . H e suffere d financially because h e woul d no t tak e shad y cases , bu t h e ha s receive d a splendi d new appointmen t a s the rewar d o f hi s virtue .
Torvald's reactio n t o Krogstad' s lette r i s s o intens e becaus e hi s well - earned succes s has bee n poisoned , an d h e ha s bee n pu t i n the powe r o f a man h e detests . Sinc e h e will b e i n a fals e positio n whateve r h e does , th e flawless excellenc e o f hi s lif e ha s bee n los t forever . Perhap s th e greates t blow fo r hi m i s tha t hi s idealize d imag e o f Nor a an d thei r relationshi p has bee n shattered . H e ha s awakene d afte r eigh t year s t o discove r tha t the woma n wh o ha d bee n hi s "prid e an d joy " i s "lawless " an d "unprin - cipled" (ac t 3) . He ha s ha d intimation s o f th e conflic t betwee n hi s value s and Nora' s before , bu t h e ha s dismisse d the m becaus e o f hi s nee d t o hold ont o hi s exalte d imag e o f he r an d thei r relationship . Whe n h e catches he r i n a li e abou t Krogstad' s no t havin g bee n t o se e her , h e doe s not tak e th e matte r seriously : " (Threatens with his finger) M y littl e bir d must neve r d o tha t again ! A song-bird mus t sin g clear an d true ! No fals e notes! (Puts arm around her) Isn' t tha t th e wa y i t shoul d be ? O f cours e it is ! (Let's her go) An d no w we'l l sa y n o mor e abou t it " (ac t 1) . Torvald now believe s tha t Nor a ha s inherite d he r father' s lac k o f principle ; sh e has "n o religion , n o mora l code , no sens e o f duty " (ac t 3) . She embodie s everything Torval d abhor s i n othe r peopl e an d i s afraid o f i n himself .
Torvald ca n b e easil y see n a s a cowar d an d hypocrite , bu t th e situa - tion i s mor e complicate d tha n that . H e ha d mad e a sho w o f courag e as lon g a s hi s conduc t wa s unimpeachable , bu t Nora' s behavio r ha s compromised hi s hono r an d undermine d hi s belie f i n hi s powe r t o control hi s destiny . Horne y observe s tha t fo r th e perfectionisti c perso n the appearanc e o f rectitud e ma y b e more importan t tha n rectitud e itself , and appearance s ar e ver y importan t t o Torvald . Th e "matte r mus t b e hushed u p a t an y cost " i n orde r t o avoi d a scandal , an d h e an d Nor a must preten d t o hav e a marriag e i n orde r t o "sav e appearances " (ac t 3) . Nora's drea m wa s tha t Torval d woul d tak e th e responsibilit y fo r th e forgery o n himself , thu s showin g ho w muc h h e love d her , bu t give n hi s own defenses , thi s i s somethin g tha t Torval d coul d neve r do . Sh e i s asking hi m t o presen t hi s despise d imag e t o th e worl d a s hi s tru e reality . When Torval d say s tha t "on e doesn' t sacrific e one' s hono r fo r love' s sake," Nor a replie s tha t "million s o f wome n hav e don e so. " Sh e i s expressing value s tha t belon g t o he r defens e syste m an d h e value s tha t belong t o his .
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50 | A DOLL'S HOUSE A N D HEDDA GABLER
Krogstad's lette r plunge s Torval d int o a stat e o f psychologica l crisis . His solutio n ha s faile d an d hi s "whol e worl d seem[s ] t o b e tumblin g about [his ] ears " (ac t 3) . H e i s goin g t o piece s no t onl y becaus e Nor a has expose d hi m t o disgrace , bu t als o becaus e hi s misfortun e force s hi m to realiz e tha t h e ha s violate d hi s ow n principles . Hi s cod e i s tha t on e should not sacrific e hono r fo r love , bu t tha t i s what h e di d whe n h e wa s sent t o investigat e Nora' s fathe r an d engage d i n a cover-u p fo r he r sake : "If yo u hadn' t . . . bee n s o kin d an d helpful—h e migh t hav e bee n dismissed" (ac t 2) . Torval d no w feel s tha t h e i s bein g punishe d "fo r shielding" Nora' s fathe r (ac t 3) . B y failin g t o liv e u p t o hi s shoulds , h e has expose d himsel f t o catastrophe . Thi s generate s a sens e o f help - lessness an d pani c an d als o a grea t dea l o f self-hate , whic h h e external - izes b y feelin g victimize d an d blamin g hi s wife . Lik e Nora , h e feel s unjustly treate d b y hi s mate : "An d t o thin k I hav e yo u t o than k fo r al l this—you who m I'v e don e nothin g bu t pampe r an d spoi l sinc e th e da y of ou r marriage " (ac t 3) . As we hav e seen , Nor a i s also feelin g self-hate , which sh e externalize s b y blamin g he r fathe r an d Torvald .
Torvald's pani c subside s whe n Krogsta d withdraw s hi s threat , an d h e immediately resume s hi s patronizin g behavior . Afte r forgivin g Nora , h e assures he r tha t sh e i s saf e an d tha t h e wil l cheris h he r a s i f sh e wer e " a little dove " h e ha d "rescue d fro m th e claw s o f som e dreadfu l hawk " (ac t 3). Despit e hi s craven behavior , Torval d want s t o reviv e th e ol d scenari o in whic h h e i s Nora' s protector , bu t sh e n o longe r believe s him . H e becomes eve n mor e paternalisti c tha n h e wa s before . Nor a wil l becom e his chil d a s wel l a s hi s wife , an d h e wil l b e "bot h wil l an d conscience " to her .
Torvald's behavio r i s incredibl y inappropriate , an d i t ma y see m t o some tha t Ibse n i s presentin g a caricatur e o f a chauvinisti c male . I t i s understandable, however , i n term s o f Torvald' s psychology . H e i s a mal e chauvinist, o f cours e (" I a m no t a ma n fo r nothing") , bu t ther e i s more t o hi s behavio r tha n that . Hi s descriptio n o f Nor a a s hi s "deares t treasure" i s not a n exaggeratio n (ac t 3) . He i s an emotionall y need y ma n who, spellboun d b y Nora , want s t o posses s he r entirel y an d liv e i n a world o f thei r own . Whe n the y ar e wit h othe r people , h e romanticall y pretends tha t the y lov e eac h othe r i n secret , an d h e think s tha t Rank' s death ma y b e fo r th e best , sinc e no w the y wil l b e "mor e tha n eve r dependent o n eac h other. " H e i s prou d o f Nora' s beaut y an d charm , which bolste r hi s ow n sens e o f worth , muc h a s Torvald' s succes s feed s Nora's pride . He ha s blinde d himsel f t o anythin g fault y i n Nora becaus e
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A Doll's House and Hedda Gable r | 5 1
he doe s not wan t t o relinquis h hi s idealizatio n o f he r o r t o hav e an y flaw in their relationship .
There i s an inne r conflic t i n Torvald betwee n hi s dependency o n Nor a and hi s perfectionism. H e trie s to resolv e that conflic t b y treating he r lik e a helpless , uncomprehendin g femal e wh o wa s no t "abl e t o judg e ho w wrong" he r behavio r wa s (ac t 3) . I f h e continue d t o condem n Nora , h e would los e her. B y regarding he r a s too immatur e t o b e held responsible , he is able to forgive he r and continue their relationship. He will keep Nor a straight, an d thu s protec t himself , b y bein g he r wil l an d conscience . H e envisions merging with Nora mor e completely tha n eve r before .
Torvald's fantas y i s profoundl y oppressiv e t o Nora , wh o n o longe r respects hi s judgment . Whe n h e start s regardin g he r a s hi s littl e dol l again, "who m yo u woul d hav e t o guar d mor e carefull y tha n ever , be - cause sh e was s o weak an d frail " (ac t 3) , she realizes th e degre e t o whic h she ha s bee n infantilize d an d demand s t o b e treate d lik e a rea l person . This doe s no t produc e a sudde n lea p int o maturit y fo r Nora , no r coul d it. Sh e herself i s conscious o f he r inadequac y an d uncertainty . Sh e know s that sh e i s no t fi t t o teac h he r children , tha t sh e doe s no t understan d society o r religion , an d tha t sh e i s bewildere d abou t ethica l questions . What sh e is clear abou t i s that sh e is not clear . Sh e knows tha t sh e is ou t of touc h wit h hersel f an d th e worl d an d tha t sh e mus t ge t awa y fro m Torvald i f sh e i s to "lear n t o fac e reality. " Sh e i s awar e tha t sh e i s a t th e beginning o f a lon g proces s an d tha t sh e doe s no t "kno w wha t sor t o f person" sh e will become .
I hav e suggeste d tha t i f Nor a continue d t o grow , ther e migh t b e a chance fo r he r marriage . Tha t woul d depen d o n Torval d a s well, bu t he , too, ha s begu n t o chang e an d ma y hav e a s goo d a chanc e a s sh e o f arriving a t th e necessar y insights . H e doe s no t accep t Nora' s positio n that h e shoul d hav e sacrifice d hono r fo r love , nor , give n hi s personality , is h e eve r likel y t o d o so . Nora need s t o se e th e source s o f tha t expecta - tion i n he r ow n psychology . Torval d doe s respond , however , t o Nora' s indignation a t no t havin g bee n treate d a s a person . H e understand s tha t there i s " a grea t void " betwee n the m an d ask s Nor a t o believ e tha t h e i s capable o f change . Sh e thinks tha t h e migh t b e when h e "n o longe r [ha s his] dol l t o pla y with " (ac t 3) . Agai n sh e i s right . Th e separatio n i s a s essential fo r Torval d a s i t i s fo r her . Nor a appear s t o b e somewha t vindictive whe n sh e say s tha t hi s inabilit y t o endur e th e though t o f parting wit h he r i s al l th e mor e reaso n wh y sh e shoul d go , bu t perhap s she recognize s tha t sh e must b e cruel i n orde r t o b e kind .
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52 I A DOLL'S HOUSE A N D HEDDA GABLER
The questio n w e ar e lef t wit h a t th e en d o f th e pla y i s whethe r Nor a and Torval d ca n chang e enoug h s o tha t thei r "lif e togethe r migh t trul y be a marriage " (ac t 3) . Unless thi s happens , say s Nora , the y wil l alway s be strangers . If i t wer e t o happe n i t would b e "th e mos t wonderfu l thin g of all, " bu t Nor a say s tha t sh e "n o longe r believe[s] i n miracles. " Tor - vald, however , cling s t o thi s hope . Th e las t lin e o f th e pla y i s his : "Th e most wonderfu l thin g o f all—? " Give n th e severit y o f Nor a an d Tor - vald's problem s an d th e absenc e o f therapeuti c help , i t woul d b e a miracle indeed .
Hedda Gabler i s abov e al l a stud y o f character ; t o comprehen d th e play , we mus t understan d Hedda . I t i s difficul t t o establis h Ibsen' s themati c intentions, bu t h e shows wit h brillian t psychologica l insigh t ho w Hed - da's pligh t a s a woman i n a n extremel y restrictiv e societ y produces inne r conflicts tha t mak e he r lif e steril e an d lea d t o he r destructiv e behavior . Hedda i s no t portraye d sympathetically , lik e Nora , bu t psychologica l analysis reveal s tha t beneat h he r cold , haught y demeano r sh e i s a suffer - ing huma n being .
As i n A DolVs House, th e heroine' s relationshi p wit h a ma n i s th e focus o f th e play . Hedda' s mos t importan t relationshi p i s no t wit h he r husband bu t wit h Ejler t Lovborg , who m sh e ha d know n befor e he r marriage. Afte r th e scen e i s se t i n ac t 1 , th e dramati c actio n i s initiate d by The a Elvsted' s visit , whic h lead s t o Lovborg' s reentr y int o Hedda' s life. Ac t 2 is focused o n Hedda' s rivalr y wit h Thea , a s sh e induce s Ejler t to tak e a drin k an d g o t o Judg e Brack' s party . Ac t 3 show s u s he r disappointment whe n Ejler t fail s t o enac t th e scenari o sh e ha d envisage d for him , an d i t end s wit h Hedd a urgin g hi m t o kil l himsel f beautifull y and burnin g hi s manuscript . I n ac t 4 , Hedd a i s drive n t o suicid e whe n all he r solution s collaps e afte r Ejlert' s death . I f w e ar e t o appreciat e th e subtlety o f Ibsen' s psychologica l portrai t an d mak e sens e o f wha t hap - pens i n th e play , we mus t understan d Ejlert' s rol e i n Hedda' s life .
The mos t widel y hel d vie w o f Hedda' s behavio r i n ac t 2 is that sh e i s trying t o und o Thea' s constructiv e influenc e o n Ejlert , wh o ha d bee n leading a wil d bohemia n lif e i n th e day s whe n h e an d Hedd a wer e friends. Inspire d b y Thea , h e ha s stoppe d drinking , ha s publishe d a highly acclaime d book , an d ha s writte n anothe r tha t i s mor e brillian t still. Enviou s o f Thea , Hedd a wishe s t o exercis e a mor e powerfu l influ - ence o f he r ow n b y turning Lovbor g bac k int o th e ma n h e was whe n sh e
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A Doll's House and Hedda Gable r | 5 3
knew him . Sh e seek s t o disrup t Ejlert' s relationshi p wit h The a an d t o replace he r a s th e dominan t forc e i n hi s life . The a i s afrai d tha t Ejler t will b e destroye d i f h e revert s t o hi s ol d ways , an d mos t peopl e see m t o feel tha t Hedd a i s trying t o undermin e hi m i n orde r t o fee l tha t fo r onc e in he r lif e she , too, ha s "th e powe r t o shap e a huma n destiny " (ac t 2) .
There i s much i n thi s vie w wit h whic h I agree, bu t I do no t thin k tha t Hedda induce s Lovbor g t o tak e a drin k an d g o t o Brack' s part y i n orde r to undermin e him . I n respons e t o Thea' s concer n abou t "wha t wil l com e of al l this, " Hedd a confidentl y predict s tha t "A t te n o'cloc k h e wil l b e here, wit h vin e leave s i n hi s hair . Flushe d an d fearless! " (ac t 2) . Sh e envisions hi m a s a triumphan t figure. Hedd a i s disappointe d rathe r than please d whe n sh e hear s fro m he r husban d tha t th e drunke n Ejler t carelessly droppe d hi s manuscrip t an d learn s fro m Judg e Brac k tha t h e finally turne d u p a t Mademoisell e Diana's , where h e insiste d tha t h e ha d been robbed , raise d a row , an d wa s take n awa y b y the police : "S o that' s what happened ! Then , afte r all , h e ha d n o vin e leave s i n hi s hair! " (ac t 4). H e i s behavin g lik e th e Ejler t o f old , bu t tha t i s not, evidently , wha t Hedda ha d wanted . I n orde r t o understan d wha t Hedd a wa s hopin g fo r we mus t examin e he r inne r conflict s an d Ejlert' s rol e i n he r effor t t o manage them .
Some o f Hedda' s conflict s ar e presente d quit e vividl y i n he r reminis - cence with Ejler t abou t th e ol d days , when ther e wa s a "secre t intimacy " between the m tha t "n o livin g sou l suspected " (ac t 2) . Wit h Genera l Gabler readin g hi s pape r i n th e sam e room , Ejler t woul d describ e hi s "days an d night s o f passio n an d frenzy , o f drinkin g an d madness " t o Hedda. Sh e evoked hi s confessions b y boldl y askin g "deviou s questions " that h e perfectl y understood . Rejectin g Lovborg' s ide a tha t sh e wa s trying t o was h awa y hi s sins , Hedd a explain s he r motive : "Isn' t i t quit e easy to understan d tha t a young girl , especially i f i t can b e don e i n secre t . . . shoul d b e tempte d t o investigat e a forbidde n world ? A worl d she' s supposed t o kno w nothin g about? "
Hedda i s a sociall y prominen t woma n wit h a ver y stron g sens e o f propriety wh o need s t o maintai n he r dignit y a t al l costs an d wh o canno t bear th e though t o f doin g anythin g tha t woul d diminis h he r respectabil - ity. A t th e sam e time , sh e ha s powerfu l sexua l an d aggressiv e impulse s that sh e want s t o expres s a s me n d o an d tha t sh e i s bitte r a t havin g t o deny. Sh e live s i n a societ y tha t impose s enormou s constraint s upo n a woman o f he r socia l class , constraints t o whic h sh e outwardl y conform s but agains t whic h sh e inwardl y rebels . Her "secre t intimacy " wit h Ejler t
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54 I A DOLL'S HOUSE A N D HEDDA GABLER
Lovborg enable d he r t o escap e thes e constraint s vicariously , sinc e h e acted ou t he r forbidde n impulse s an d the n tol d he r abou t it . When Ejler t wonders ho w sh e coul d hav e brough t hersel f "t o as k suc h questions, " Hedda insist s that sh e did s o "i n a devious way," tha t is , without directl y violating decoru m (ac t 2) . W e se e Hedd a lookin g fo r a simila r kin d o f safe, voyeuristi c gratificatio n whe n sh e make s obliqu e reference s t o Judge Brack' s affair s an d relishe s the thought o f hi s sta g party, which sh e wishes sh e coul d atten d unseen .
Hedda's problem , then , i s how t o satisf y he r "cravin g fo r life " (ac t 2) , as Ejler t describe s it , withou t sacrificin g he r positio n a s a lady . Hedda' s need t o confor m t o th e rule s o f propriety i s so great tha t i t bot h alienate s her fro m he r rea l feeling s an d make s i t impossibl e fo r he r t o expres s the resultin g rebelliou s impulses . I t i s no t a health y cravin g fo r self - actualization bu t he r suppresse d neuroti c need s tha t Ejler t Lovbor g i s acting out . T o Hedda , however , h e i s a ma n wh o ha s "th e courag e t o live hi s life " a s h e see s fit (ac t 3) , in a wa y tha t sh e canno t liv e hers . It i s not onl y hi s escapade s tha t sh e vicariousl y enjoy s bu t als o wha t the y symbolize, hi s freedo m fro m th e constraint s b y which sh e feel s hersel f t o be suffocated .
Ejlert provide s a solutio n t o Hedda' s proble m unti l h e drag s thei r intimacy dow n t o realit y b y makin g sexua l advances . Hedd a i s s o alarmed b y thi s tha t sh e threaten s t o shoo t him , bu t sh e i s afrai d t o d o so becaus e sh e ha s "suc h a fea r o f scandal " (ac t 2) . Whe n Lovbor g accuses he r o f bein g " a cowar d a t heart, " sh e wholeheartedl y concurs : "A terribl e coward. " Sh e confesse s tha t he r "greates t cowardic e tha t evening" wa s i n no t respondin g t o hi s advances .
Hedda i s caught i n a conflict betwee n a desire to ac t ou t he r rebelliou s aggression b y leadin g a wild , free , bohemia n life , lik e Lovborg , an d a n even stronge r nee d t o compl y wit h th e norm s o f he r society , t o b e a refined, respectabl e lady , th e prope r daughte r o f a n eminen t general . T o escape th e agon y o f thi s conflict , sh e become s cold , aloof , detached , ou t of touc h wit h he r ow n emotion s an d indifferen t t o othe r people . Sh e does no t believ e i n love , marrie s fo r convenience , an d the n i s terribl y oppressed b y th e boredo m o f he r empt y existence . Whe n sh e return s from a length y weddin g tri p wit h a husban d sh e canno t bear , sh e want s a butler , a saddl e horse , a ne w piano , an d a n activ e socia l lif e partl y fo r reasons o f statu s an d partl y becaus e sh e i s spoiled , bu t mostl y becaus e she feel s desperat e an d i s searchin g fo r distractions . Sh e become s eve n
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A Doll's House and Hedda Gable r | 5 5
more frustrate d whe n sh e learn s tha t the y wil l hav e t o curtai l thei r expenses.
Hedda's pligh t i s vividl y depicte d i n he r conversatio n wit h Judg e Brack a t th e beginnin g o f ac t 2 . After greetin g hi m wit h pisto l shot s an d explaining tha t sh e i s "jus t killin g time " becaus e sh e doesn' t kno w "what i n heaven's name " sh e i s to d o wit h hersel f "al l da y long, " Hedd a complains abou t th e boredo m o f he r weddin g trip . Sh e make s i t clea r that sh e does not "love " Jorgen ("Ugh ! Don' t us e that revoltin g word!") , and tha t sh e marrie d hi m becaus e h e ha d a promisin g caree r an d sh e "wasn't gettin g an y younger. " Hedd a i s twenty-nin e an d ha s a drea d o f aging. Brac k an d Hedd a the n engag e i n a deviou s exchang e i n whic h Brack propose s a n affai r an d Hedd a make s i t clear tha t sh e would rathe r continue he r tete-a-tet e wit h Jorgen tha n ente r int o a triangle tha t woul d compromise he r respectability . Sh e ha s n o objectio n t o Brack' s comin g over t o amus e her , however .
In respons e t o Hedda' s complain t abou t ho w "incredibl y I shal l bor e myself here, " Brac k suggest s tha t sh e find "som e sor t o f vocatio n i n life," bu t Hedd a canno t imagin e a vocatio n tha t woul d attrac t her . Perhaps sh e coul d ge t Jorge n t o g o int o politics , despit e th e fac t tha t h e is completel y unsuite d fo r suc h a career . Lik e mos t o f th e wome n i n Ibsen's plays—an d i n hi s culture , n o doubt—Hedd a ca n find a n outle t for he r expansiv e tendencie s onl y throug h identificatio n wit h o r manipu - lation o f a man. Ther e ar e variation s o n thi s them e i n A DolVs House (a s we hav e seen) , The Master Builder, an d Rosmersholm.
Hedda feel s tha t lif e i s "s o hideous " becaus e o f he r "gentee l poverty" ; but, sensin g he r detachment , Judg e Brac k astutel y observe s tha t "th e fault lie s elsewhere, " i n th e fac t sh e ha s neve r "reall y bee n stirre d b y anything." H e suggest s tha t thi s ma y chang e whe n sh e finds hersel f "faced wit h what' s know n i n solem n languag e a s a grave responsibility. " Hedda angril y replies , "B e quiet ! Nothin g o f tha t sor t wil l eve r happe n to me. " Sh e i s alread y pregnant , however , an d i s tryin g t o den y he r condition, bot h t o hersel f an d t o others . No t onl y i s sh e confine d t o a woman's narro w spher e i n life , bu t sh e ca n find n o satisfactio n i n wha t her cultur e regard s a s feminine joys . She puts of f marriag e a s lon g a s sh e can, partl y becaus e it s restriction s d o no t appea l t o he r an d partl y because th e me n wh o attrac t he r ar e no t eligibl e an d th e me n wh o ar e eligible d o no t attrac t her . Sh e i s appalle d b y th e prospec t o f mother - hood, agai n becaus e o f he r detachment : "Tha t sor t o f thin g doesn' t
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56 | A DOLL'S HOUSE A N D HEDDA GABLER
appeal t o me , Judge . I' m no t fitted fo r it . N o responsibilitie s fo r me! " Terribly frustrate d herself , sh e ha s nothin g t o giv e a child , wh o wil l further limi t he r freedom . I n rebellio n agains t th e feminin e rol e bu t unable t o find an y other , sh e tell s Judge Brac k tha t th e onl y thin g sh e i s "really fitted for " i s "borin g mysel f t o death! "
Hedda i s in despai r abou t he r life . Fro m th e beginnin g o f th e play, sh e is ful l o f frustration , irritability , an d anger , whic h sh e displace s a t first onto th e self-effacin g Aun t Juliane , wh o let s i n to o muc h sunlight , thu s revealing Hedda' s agin g fac e an d filled ou t figure, an d whos e ha t Jorge n has indecorousl y lef t o n a drawin g roo m table . Whe n Judg e Brac k scolds he r fo r tormentin g "tha t nic e ol d lady, " Hedd a explain s tha t sh e suddenly get s "impulse s lik e that " an d canno t "contro l them " (ac t 2) . She i s no t callousl y amusin g herself , bu t i s compulsivel y dischargin g some o f he r pent-u p rage , jus t a s sh e doe s whe n sh e fires of f he r father' s pistols, those symbol s o f mal e power .
Constantly lookin g fo r somethin g tha t migh t interes t her , Hedd a regards th e possibl e competitio n fo r th e professorshi p betwee n Ejler t and Jorge n a s a n even t i n whic h sh e ca n tak e " a sportin g interest " (ac t 1), despite th e fac t tha t he r husband' s professiona l an d financial fortune s are a t stake . The arriva l o f The a take s he r i n a new direction , sinc e The a announces th e presenc e o f Ejler t Lovborg , wh o ha d onc e provide d Hedda wit h a wa y o f dealin g wit h he r frustration s an d inne r conflicts . When sh e learn s tha t Ejler t i s i n tow n sh e ha s a vagu e hop e tha t h e ca n somehow b e o f hel p t o her , an d sh e immediatel y ask s Jorge n t o invit e him.
Upon Lovborg' s arrival , Hedd a become s involve d i n a competitio n with The a fo r influenc e ove r him . Hedd a i s threatene d b y The a an d ha s a powerfu l nee d t o triump h ove r her . Whe n the y kne w eac h othe r a t school, Hedd a use d t o pul l Thea' s hai r an d onc e sai d sh e wa s "goin g t o burn i t al l off" (ac t 1) . Ibse n describe s Thea' s hai r a s "extremel y thic k and wavy, " whil e Hedda' s i s "no t especiall y abundant. " Thea' s thic k hair symbolize s fertilit y an d make s Hedd a al l th e mor e consciou s o f th e sterility o f he r ow n existence , despit e he r pregnancy . Th e contras t be - tween th e two wome n i s developed throughou t th e play . Whereas Hedd a reveled i n Lovborg' s debauchery , The a inspire d hi m t o writ e books , which h e describe s a s thei r children . Hedda' s fea r o f scanda l mad e he r afraid o f respondin g t o Ejlert' s advances , bu t The a leave s he r husban d i n order t o follo w hi m t o town : "But , Thea , m y darling!"—exclaim s H e d d a — " H o w di d yo u dare d o suc h a thing? " (ac t 1 ; m y emphasis) .
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When The a declare s tha t sh e wil l neve r g o bac k t o he r husband , Hedd a is shocked : "Bu t wha t wil l peopl e sa y abou t you , Thea? " "The y ca n say," replie s Thea , "whateve r the y like. " I n pursui t o f wha t i s reall y important t o her , The a ignore s publi c opinio n i n a wa y tha t Hedd a cannot. Hedda' s env y i s exacerbate d whe n Lovbor g praise s Thea' s "tre - mendous courage " wher e he r "comrad e i s concerned" :
Hedda: God , yes , courage! If on e onl y ha d that ! Lovborg: Wha t then ? Hedda: The n lif e migh t perhap s b e endurable , afte r a l l . . .
(act 2 )
Thea i s Hedda's nemesis , the woman wh o demonstrate s tha t i t is possible to hav e a fruitfu l lif e i f on e ha s th e courag e t o def y convention .
There ca n b e n o doub t tha t Hedd a manipulate s Lovbor g int o takin g a drin k an d goin g t o Judge Brack' s part y i n orde r t o disrup t hi s relation - ship wit h The a an d t o sho w tha t sh e ha s mor e powe r ove r him . Bu t sh e is no t ye t ou t t o destro y Lovborg , a s sh e i s late r whe n sh e conceal s th e fact tha t Jorge n ha s foun d hi s manuscript . A t thi s poin t i n th e pla y sh e wants Ejler t t o enac t a scenari o sh e ha s conceive d fo r hi m i n whic h h e will b e a triumphan t autho r wh o i s free o f self-doub t an d anxiet y abou t himself. Sh e want s "th e powe r t o shap e a huma n destiny " i n wha t sh e regards a s a positiv e way .
Lovborg's refusa l t o tak e a drin k an d g o t o Brack' s part y disturb s Hedda becaus e i t seem s t o b e motivate d b y th e sam e kin d o f fea r tha t has mad e he r lif e unendurabl e an d filled he r wit h self-contempt . Hedd a despises hersel f fo r he r conformity , he r drea d o f scandal , he r cowardice . She taunt s Ejler t wit h no t darin g t o tak e a drin k o r g o t o th e party : "Didn't dare ! You sa y I didn't dare! " (ac t 2) . She cannot bea r t o se e hi m afraid an d egg s hi m o n becaus e sh e want s hi m t o lea d th e free , uninhib - ited lif e tha t sh e canno t lea d herself . Sh e i s caugh t i n a crossfir e o f conflicting shoulds , sinc e sh e hate s hersel f fo r he r cowardic e bu t know s that sh e woul d hat e hersel f eve n mor e fo r an y breac h o f propriety . Sh e wants Lovbor g t o rescu e he r fro m he r impass e b y bein g bot h rebelliou s and triumphant , b y returnin g "flushe d an d fearless, " "wit h vin e leave s in hi s hair. " The n h e "wil l hav e regaine d confidenc e i n himself . He'l l b e a fre e ma n foreve r an d ever. "
Thea ma y hav e reclaime d Ejlert , bu t sh e ha s als o tame d him , mad e him fearfu l o f spontaneity , jus t a s Hedda is . She acts boldl y o n hi s behal f but i s terribly anxiou s fo r him . Hedd a feel s a simila r anxiet y fo r hersel f
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58 | A DOLL'S HOUSE A N D HEDDA GABLER
at th e though t o f darin g behavior , bu t sh e wants t o believ e tha t Lovbor g can ac t upo n hi s impulse s wit h impunity . Sh e want s t o triump h ove r Thea, t o shap e a huma n destiny , an d t o gai n a vicariou s fulfillmen t o f her need s t o b e independent an d courageou s b y having Lovbor g ow e hi s freedom an d fearlessnes s t o her . Havin g n o hop e o f becomin g wha t sh e wants t o b e herself , sh e seek s t o escap e he r impotenc e an d self-hat e b y making Ejler t int o a ma n throug h who m sh e ca n liv e an d wit h who m she ca n proudl y identify .
Hedda's i s an impossibl e dream . Sinc e Lovborg i s an alcoholic , freein g him o f hi s fear s an d inhibition s i s boun d t o destro y him . Whe n h e refuses t o joi n th e othe r me n a t th e punc h bowl , Judg e Brac k says , "Why, surely , col d punc h i s no t poison. " "Perhap s no t fo r everyone, " Ejlert replies , wit h th e implicatio n tha t i t surel y i s fo r hi m (ac t 2) . The a is s o anxiou s becaus e sh e understand s Ejlert' s vulnerability . Desperate , Hedda blind s hersel f t o hi s conditio n an d construct s a scenari o tha t wil l satisfy he r contradictor y need s bu t tha t h e canno t possibl y fulfill .
When Ejler t ha s no t returne d b y th e nex t mornin g The a i s i n panic , but, holdin g ont o he r dream , Hedd a envision s hi m a t Judg e Brack' s "sitting wit h vin e leave s i n hi s hair , readin g hi s manuscript " (ac t 3) . Tesman come s bac k wit h a glowin g accoun t o f th e ne w work , bu t finds it "appalling " tha t Lovborg , "wit h al l his great gifts , shoul d b e so utterl y incorrigible." "Becaus e h e ha s mor e daring, " Hedd a asks , "tha n an y o f the res t o f you?" This i s Hedda's idealize d imag e o f Lovborg . I t is Ejlert' s excessive drinking , however , t o whic h Jorgen i s referring, sinc e it has le d him carelessl y t o dro p hi s preciou s manuscript . Jorge n ha s foun d i t an d leaves i t wit h Hedd a whe n h e i s summone d t o th e bedsid e o f th e dyin g Aunt Rina .
Judge Brack' s accoun t o f th e evenin g shatter s Hedda' s drea m o f livin g through a liberate d Lovborg . Havin g conceive d o f Lovbor g a s a kin d o f romantic hero , a n untame d superio r being , sh e i s sickene d b y hi s sordi d fight wit h Mademoisell e Dian a an d hi s arrest . I f Hedd a ha d simpl y wanted t o sho w he r powe r ove r Lovbor g an d brea k u p hi s relationshi p with The a b y inducin g hi m t o rever t t o bohemia n ways , sh e woul d hav e been please d b y his nigh t o f drinkin g an d madness .
It i s at thi s poin t tha t Hedd a turn s destructive . Sinc e sh e ha s no t bee n able t o mak e Ejler t int o th e her o o f he r dreams , sh e exert s he r powe r i n a differen t wa y b y first concealin g an d the n burnin g hi s manuscript . Ashamed t o confes s tha t h e ha s los t thei r "child, " Lovbor g tell s The a that h e ha s tor n th e manuscrip t int o a thousan d piece s an d tha t h e wil l
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A Doll's House and Hedda Gable r | 5 9
"do n o mor e work , fro m no w on " (ac t 3) . The a "despairingly " ask s what sh e wil l "hav e t o liv e for, " accuse s hi m o f "child-murder, " an d sees "nothin g bu t darkness " befor e her . Lovbor g i s als o i n despair , fo r he know s "i t won' t en d wit h las t night, " an d debaucher y n o longe r appeals to him: "she' s someho w broke n m y courage—my defian t spirit. " "To think, " say s Hedda , tha t tha t prett y littl e foo l shoul d hav e influ - enced a man' s destiny."Hedd a migh t hav e bee n abl e t o sav e Lovbor g had sh e reveale d tha t sh e wa s i n possessio n o f th e manuscript , bu t sh e allows hi m t o believ e i t i s lost . Whe n h e announce s tha t h e want s "t o make a n en d o f it, " Hedd a doe s no t tr y t o dissuad e hi m o r produc e th e manuscript bu t instea d give s hi m a pistol , urge s hi m t o us e it , an d enjoins hi m t o "le t i t b e beautiful. " Afte r Ejler t leaves , sh e burn s th e manuscript, callin g i t hi s an d Thea' s child .
Hedda's behavio r ca n b e explaine d a s a continuatio n o f he r rivalr y with The a an d o f he r desir e t o shap e a man' s destiny—fo r il l i f no t fo r good; bu t thes e ar e no t he r onl y motivations . Wit h th e collaps e o f he r dream o f triump h fo r Lovborg , an d vicariousl y fo r herself , Hedd a i s confronted onc e mor e b y he r contradictor y needs , whic h sh e no w ha s no hop e o f fulfilling . She , too , i s i n despair , an d wishe s t o mak e a n en d of it . Sh e i s afrai d t o commi t suicide , however , partl y because , a s Brac k says a t th e end , "peopl e don' t do suc h things! " Afte r Lovbor g disap - points her , sh e develop s a ne w scenari o i n whic h h e wil l commi t suicid e in jus t th e wa y tha t sh e woul d lik e t o do , an d sh e wil l glor y i n thi s ne w form o f freedo m an d darin g an d i n he r ow n contributio n t o it . Whe n Brack announce s tha t Lovbor g ha s sho t himsel f throug h th e heart , Hedda i s exultant: "I t give s me a sense of freedo m t o kno w tha t a n ac t of deliberate courag e i s stil l possibl e i n thi s world—a n ac t o f spontaneou s beauty" (ac t 4) . Hedd a feel s hersel f t o b e incapabl e o f suc h a n act , bu t Lovborg ha s don e i t fo r her , sh e thinks. Judge Brac k destroy s he r "beau - tiful illusion " b y revealing tha t Ejler t wa s accidentall y sho t i n the bowel s while demandin g hi s "los t child " i n Mademoisell e Diana' s boudoir . "How horrible! " exclaim s Hedda . "Everythin g I touc h become s ludi - crous an d despicable!—It' s lik e a curse! "
Hedda i s drive n t o kil l hersel f b y th e collaps e o f al l he r solutions . Sh e can n o longe r hop e t o gai n a sens e o f freedo m an d t o satisf y he r suicida l impulses vicariousl y throug h Lovborg , an d sh e i s put int o a n impossibl e position b y Judge Brack' s effor t t o blackmai l her .
As soo n a s sh e returns fro m he r weddin g journey , Brac k begin s press -
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60 | A DOLL'S HOUSE A N D HEDDA GABLER
ing fo r " a triangula r friendship " i n whic h h e wil l b e he r love r (ac t z) . Hedda welcome s Brack' s attentions , bu t give n he r fea r o f scandal , a n affair i s unthinkable . Thi s i s th e sam e Hedd a wh o ha d draw n a gu n o n Ejlert Lovbor g whe n h e wante d t o brin g thei r relationshi p dow n t o earth. Afte r confessin g t o Ejler t tha t sh e doe s no t lov e he r husband , sh e hastens t o add , "Al l th e same , n o unfaithfulness , remember " (ac t z). Brack welcome s Lovborg' s disgrac e afte r h e i s arreste d a t Mademoisell e Diana's becaus e h e sense s Ejler t a s a riva l an d hope s tha t Hedda' s hom e will b e close d t o him , lik e othe r "respectabl e house[s] " (ac t 3) . His ai m is to b e "cock-of-the-walk, " an d "fo r that, " h e tell s Hedda , " I wil l figh t with ever y weapo n I ca n command. " Hedd a realize s tha t h e i s " a dangerous person " an d i s "exceedingl y glad " tha t h e ha s "n o sor t o f hold" ove r her .
Brack gain s a hol d ove r Hedda , however , whe n h e recognize s th e pistol wit h whic h Lovbor g wa s shot . Hedd a i s no w face d wit h thre e possibilities, al l o f whic h ar e unbearable . Brac k suggest s tha t sh e ca n declare th e pisto l t o hav e bee n stolen , bu t sh e say s tha t "i t woul d b e better t o die " tha n t o d o tha t (ac t 4) . Brac k dismisse s he r speech : "On e says suc h things—bu t on e doesn' t do them. " Wh y th e threa t o f suicid e here? Becaus e lyin g abou t havin g give n Lovbor g th e pisto l i s a n ac t o f cowardice tha t woul d exacerbat e he r self-hate ? I have no bette r explana - tion. I f th e polic e trac e th e weapo n t o Hedda , say s Brack , sh e wil l hav e to appea r i n cour t wit h Mademoisell e Dian a an d explai n wh y sh e gav e it t o Lovborg : "thin k o f th e scanda l . . . . o f whic h yo u ar e s o terrified. " If Brack keep s quiet , however , th e weapo n wil l not b e traced, an d Hedd a will neithe r hav e t o li e nor b e expose d t o scandal . Thi s means , however , that sh e will b e in Judge Brack' s power : "Subjec t t o you r command s an d wishes. N o longe r free—no t free ! . . . No , I won' t endur e th e thought . Never!"
Given he r psychologica l needs , Hedd a ca n neithe r def y Brac k no r submit t o him . Hedd a strike s u s a s a masterfu l perso n wh o know s ho w to ge t wha t sh e wants , bu t th e fac t i s tha t sh e i s extremel y complian t where propriet y i s concerned . Sh e coul d no t endur e th e los s o f respect - ability tha t woul d resul t fro m he r defianc e o f Brack . Confine d t o th e narrow rang e o f activitie s suitabl e t o a woma n o f he r station , Hedd a compensates fo r he r lac k o f contro l ove r he r destin y b y manipulating th e people aroun d her , an d especiall y b y seekin g t o influenc e th e fat e o f a n important man . Bein g subjec t t o Brack' s wishe s an d command s woul d
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A Doll's House and Hedda Gable r | 6 1
render he r utterl y powerles s an d would b e as unendurable a s the conse - quences o f defiance .
Hedda's nee d fo r freedo m i s a s compensator y a s he r cravin g fo r power. Th e product o f a highly restrictiv e environmen t tha t ha s allowe d her fe w choices , sh e ha s a suppresse d desir e t o rebe l an d a longin g fo r liberty. As is typical o f detached people , sh e is hypersensitive t o anythin g that seem s t o imping e upo n her , suc h a s the expectation s o f others , th e march o f time , o r bein g touched . Sh e recoils fro m th e gentle embrac e o f Aunt Juliane : "Please ! Oh , pleas e le t m e go! " (ac t i ) . Sh e canno t bea r being pregnan t o r th e responsibilitie s tha t parenthoo d wil l entail . Sh e pursues a freedo m from constrain t rathe r tha n a freedo m to fulfil l her - self. She is much too alienated fro m hersel f an d dominated b y her cultur e to kno w wha t sh e reall y want s t o d o wit h he r life . Drive n a s sh e i s by both socia l an d psychologica l coercions , Hedda' s sens e o f freedo m i s an illusion, o f course , bu t i t i s essentia l t o he r t o preserv e it . Give n he r phobic reactio n t o ordinar y intrusions , expectations , o r constraints , w e can imagin e he r desperatio n a t th e prospec t o f bein g a t Brack' s "bec k and cal l fro m no w on" (ac t 4).
When Hedd a say s tha t sh e "won' t endure " th e though t o f no t bein g free, Brac k "hal f mockingly " replies , "Peopl e manag e t o ge t used t o the inevitable" (ac t 4). But since Brac k threaten s Hedda' s compulsiv e need s for respectability , fo r power , an d fo r freedom , sh e canno t possibl y ge t used t o this situation .
To mak e matter s worse , Jorge n an d The a begi n reconstructin g Lov - borg's manuscript , deprivin g Hedd a o f he r triump h ove r The a an d put - ting her even more int o Brack' s hands . Like Hedda, The a ha s been tryin g to liv e throug h Lovborg . H e acknowledge s he r a s th e co-creato r o f hi s new book , an d she follows hi m to town partl y ou t of anxiet y an d partl y because sh e wants t o b e wit h hi m whe n i t i s published : " I wan t t o se e you showere d wit h prais e an d honors—and , th e joy ! I wan t t o shar e that wit h you too!" (act 3). When Ejler t announce s tha t h e has destroye d his manuscrip t an d will d o no more work , The a feel s sh e has nothing t o live for. Her reaction t o the news o f Ejlert's deat h i s remarkable. Instea d of bein g stupefied b y shock an d grief, sh e digs his notes ou t of the pocket of he r dres s an d immediatel y begin s rewritin g th e boo k wit h Jorgen . Ejlert ma y b e dead , bu t Thea' s searc h fo r glor y i s alive . Sh e has gotte n from hi m wha t Hedd a neve r coul d an d i n th e proces s ha s thwarte d Hedda's effor t t o gain a sense o f power b y burning th e manuscript .
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62 I A DOLL'S HOUSE A N D HEDDA GABLER
Thea's triump h i s al l th e mor e complet e becaus e sh e ha s no w begu n to influenc e Jorgen , wh o say s h e wil l devot e hi s lif e t o rewritin g Ejlert' s book. The a wil l mov e i n wit h Aun t Juliane , an d Jorge n wil l spen d hi s evenings ther e workin g wit h he r o n th e project . Whe n Jorge n ask s Brack t o kee p Hedd a compan y whil e h e i s away , Brac k readil y agrees , anticipating " a ver y joll y time " (ac t 4) . "That' s wha t yo u hope, " say s Hedda fro m th e nex t room , "No w tha t yo u ar e cock-of-the-walk. " The n she shoot s herself .
Hedda's suicid e i s a desperat e ac t o f escape—fro m th e collaps e o f he r efforts t o fulfil l he r neuroti c need s fo r respectability , power , an d free - dom, an d fro m th e unresolvabl e conflic t betwee n thes e need s tha t ha d led he r t o tr y t o liv e vicariousl y throug h Ejler t Lovborg . Sh e i s fleeing her self-hate , he r boredom , he r marriage , he r unwante d pregnancy , an d the prospectiv e burde n o f motherhood .
From Hedda' s perspective , he r suicid e i s als o a triumph , o f th e sor t she thought ha d bee n accomplishe d b y Lovborg. He r respons e t o Brack' s initial repor t tha t Ejler t ha d sho t himsel f throug h th e hear t give s u s he r view o f he r ow n act . "A t last, " sh e exclaims , " a dee d wort h doing! " " I know tha t Ejler t Lovbor g ha d th e courag e t o liv e hi s lif e a s h e sa w it — and t o en d i t i n beauty. " H e ha s "mad e u p hi s ow n accoun t wit h life " and don e "th e on e righ t thing " (ac t 4) . Whe n Hedd a learn s th e trut h about Lovborg' s death , sh e realizes tha t i f a n ac t o f "deliberat e courage " and "spontaneou s beauty " i s t o b e performed , sh e mus t d o i t herself . She has no t ha d th e courag e t o liv e her lif e a s sh e sa w it , bu t sh e escape s her self-contemp t b y defying publi c opinio n an d behavin g wit h darin g a t last. Sh e woul d b e please d b y Brack' s commen t tha t "peopl e don' t do such things. " Sh e ends he r lif e beautifully , b y her standard s a t least , wit h a sho t i n th e temple . Sh e thwart s Judg e Brack , wh o ha d counte d o n he r cowardice, an d puncture s he r husband' s complacency . I n the las t fleeting moment o f he r life , sh e actualize s a n idealize d imag e o f hersel f an d becomes a person sh e can respect .
Ibsen ha s painte d a brillian t portrai t o f a neuroti c woman , a produc t of he r restrictiv e society , wh o ca n escap e he r problem s an d attai n th e glory fo r whic h sh e i s searching onl y b y killing herself .
As w e ca n se e fro m th e precedin g discussions , althoug h character s ca n be identifie d a s displayin g on e o r anothe r o f Horney' s defensiv e strate - gies, the y ar e mixe d cases , no t t o b e though t o f simpl y i n term s o f on e
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A Doll's House and Hedda Gable r | 6 3
personality type . Nor a Helme r i s strikingl y self-effacin g throug h muc h of th e play , bu t whe n he r predominan t solutio n fails , he r aggressiv e an d detached trend s emerge , revealing inne r conflict s tha t hav e bee n ther e al l along. Th e domineering , perfectionisti c Torval d ha s dependenc y need s that mak e hi m clin g t o Nor a a t th e end . Conflictin g trend s ar e s o evenly balance d i n Hedd a Gable r tha t i t i s difficul t t o sa y whic h i s he r predominant solution . Sh e i s extremel y detached , bu t sh e i s als o ver y compliant i n relatio n t o socia l conventions , an d ther e i s so much aggres - sion i n Hedd a tha t sh e i s mos t commonl y though t o f a s manipulativ e and domineering . Al l categorie s ar e reductive , o f course . Horney' s ar e least s o whe n the y ar e use d no t t o classif y character s bu t t o revea l thei r individuality an d inne r conflicts .
We ca n als o se e fro m ou r analyse s o f A Doll's House an d Hedda Gabler tha t a Horneya n approac h enable s u s t o understan d motivatio n and explai n behavio r eve n whe n w e hav e littl e o r n o knowledg e o f a character's childhood . W e kno w mos t abou t Nora' s histor y becaus e o f her reference s t o he r lif e wit h he r father . W e ca n utiliz e th e informatio n she supplies , bu t w e ar e no t overl y dependen t upo n it , an d w e d o no t have t o inflat e it s importance . W e kno w nothin g abou t Torvald' s earl y life an d no t muc h abou t Hedda's . Hedda' s problem s deriv e i n par t fro m the restriction s tha t he r cultur e place s o n a woma n o f he r socia l class , but w e hav e almos t n o informatio n abou t he r earl y experience , an d w e really canno t sa y why sh e responds t o he r situatio n i n th e particular wa y that sh e does . Not al l women i n he r positio n wer e drive n t o suc h sterile , destructive lives . Although w e kno w littl e abou t th e childhood s o f thes e characters, thei r personalit y structure s ar e portraye d i n considerabl e detail, an d wit h th e hel p o f Horney' s synchroni c theor y w e ca n analyz e them psychologicall y withou t havin g t o postulat e a histor y tha t i s not i n the text .
A Horneya n approac h help s u s t o understan d no t onl y th e leadin g characters o f thes e play s bu t als o th e relationship s o n whic h the y ar e focused. Th e interactio n betwee n Nor a an d Torval d become s intelligibl e only whe n w e se e ho w thei r defense s bot h harmoniz e an d clash . Th e relationship betwee n Hedd a an d Ejler t i s a t th e cente r o f th e play , an d we ca n appreciat e wh y Ejler t i s s o importan t t o Hedd a onl y whe n w e recognize ho w sh e trie s t o us e hi m t o escap e he r inne r conflict s throug h the vicariou s fulfillmen t o f he r needs .
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