Literary Criticism Analysis

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Literary Criticism Analysis:

Hedda Gabler and Death of a Salesmen

Part I: Summary

        In a criticism on Hedda Gabler, John Fiery explores the significance of secondary women in Hedda Gabler, focusing on their roles as foils and as women who, similar to Hedda, do not meet their role as a stereo typical woman.   Fiero uses the examples of  Juliana, Berta, and Thea to emphasize on the selfish and controlling nature of Hedda's character.  He also elaborates on George Tessman to highlight some of the more masculine characteristics Hedda possesses by contrasting his interests against his wifes interests.

        Juliana's character, whom has acted as both mother and father towards Tessman, exudes selflessness.  Her profession as a nurse, and the affectionate manner in which she cares for her sickly sister exemplifies this.  However, when Rena dies, Hedda believes that Juliana is going to be a nuisance, and also worries that she will take away from her control of Tessman, even though Juliana confides in her that she is going to find another sickly person to care for because “it’s such an absolute necessity for me to have one to live for,” (Ibsen 11).   As Fiero points out, where as Juliana lives for others, Hedda Gabler only lives for herself.  Berta identifies similarly with Juliana, and is also disliked by Hedda for her  selflessness and control over George.  

        Thea however, also known Mrs. Elvsted, identifies differently from Juliana and Berta.  Instead of stressing the selfish nature of Hedda Gabler, Thea instead contrasts with the controlling side of her.  Hedda Gabler is intensely jealous of Thea's control over Lovborg.  She does not understand how such a simple woman could bring about such a extreme character change in a man such as Lovelorn, let alone inspire one of his greatest works.  She therefore proceeds to ruin their child-work, in addition to betraying Thea's trust.  Thea is also used to relate to Hedda, in that she does not fulfill her stereotype and value the ideals of marriage or motherhood as a woman should.  She instead defies it, almost as Hedda does, by running away from her husband and family for another man.  

        Lastly, Fiero compares Tessman and Hedda.  Hedda's character has many masculine characteristics that help accentuate her rebellious nature towards the role of a stereo typical woman.  One example Fiero uses is her interests in subjects which were primarily associated with men in that time, such as horses and pistols.  Tessman, on the other hand, is frightened by Hedda's interests in pistols.  Thus, Fiero points out the way in which Ibsen uses Tessman to accentuate the masculinity in Hedda.  

Part II: Analysis

        Fiero's interpretation of Hedda Gabler, and the role of the secondary women throughout the play are reasonable as well as well supported.  The soft, womanly nature of the secondary women help bring out about the hard, strong qualities that make Hedda Gabler's infamous character so rebellious and provocative to her time period.  Juliana and Berta for example, symbolize selflessness, a trait which Hedda Gabler lacks and fails to understand.  Thea's control of Lovborg through love leaves Hedda burning, by accomplishing what she wishes to have with Tessman.  Further more, all secondary women Fiero uses in his criticism have made peace with themselves, something that Hedda clearly lacks throughout the play.  In fact, it is this very thing that fuels her actions and in turn, the story.

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        His methodology of using an example and supporting it prove effective, as they build up until one agrees with his point.  Fiero's use of textual support is minimal, but still present enough to prove his full understanding and interpretation of the play.  He primarily uses textual support when proving a claim on a characters personality, such as Juliana's caring nature.  Fiero's structure allows the reader to get an overview of the criticism by focusing on the main points in the beginning, then proceeding to elaborate on each point.  He uses scenes from the play to help the reader fully understand ...

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