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Hedda Gabler is a purely modern text and a modern tragedy. Because Hedda cannot distinguish between the ego-inflating show gestures and the tragic death that sublimates the ego to realize the value of life. Expanded and reborn. Her helplessness, unaware of the difference between soap operas and tragedy, explains the gap between Hedda’s presumptive view of her suicide and our assessment of its importance. The demonic and ironic Ibsen has superficially resembled the end of a traditional tragedy.
Hedda, who symbolically escapes from the bourgeois environment and hides on television with childhood relics, plays a ‘wild dance’ on the piano and ‘beautifully’ puts employees on his father’s pistol under his father’s portrait. You can shoot. She killed to defend the heritage of independence. . . And having the opportunity to judge relevant acts in their entire context, we cannot adequately interpret it as the ultimate self-play of the persistently sterile protagonist. Heather can’t get any insight. Her death does not accept any significance.
She doesn’t understand why everyone becomes ‘stupid and mean’ when she touches it. She mostly dies to get out of the miserable circumstances she’s created. She’s not responsible for the consequences of her actions to face reality. A pistol that came down to cowardice and trickery offers only death without honor. Pole Ends Without Determination The characters feel psychologically stressed for no proper lumberjack reason and the audience can feel it through silence.
Heather herself has fallen into a spiritual trap, suffering the tragedy of self-harm, unable to progress from the past, suffering from an Electra complex, and desperate to get out of an existential crisis. What makes this drama a tragedy is a sudden confusion and self-destructive habits of Heather’s spirit. Judge Black gives the play’s final words: ‘People don’t do that!’ But in Ibsen’s play, it is. Even the most obvious realism in Ibsen’s play contains a great deal of symbolism.
Ibsen called the symbolic character of his play ‘silver ore veins in the mountains.’ The ivy leaves on Lovborg’s hair at Hedda Gabler, the manuscript he considers to be his child, and the pistol-like accessories of General Gabler are all reminiscent of Ibsen’s early poetry with almost magical traits. I will point out in advance the mythical quest for his later works. .. Hedda’s suicide shows the potential for self-destructive radical and romantic behavior that can deny the real world of middle-class life on a daily basis, as Noo leaves home at A Doll’s House. I am.
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