Hedda Gabler Key Quotes

HEDDA
"I'm burning your baby!"

HEDDA
"I'm burning your baby!"

Hedda says this as she is burning the manuscript that Loeveborg and Thea worked on - and in that sense, she is burning their lovechild. She understands the extent and importance that Loevborg and Thea held onto that book

TESMAN
"Any less grand wouldn't have suited her"

Tesman says this about Hedda's expectations for their honeymoon. It is incredibly saddening that this is a main factor for him to please her. It reveals the class and status that Hedda expects from this 'bargain'. It shows that this marriage is not for the right reasons, emphasising that Hedda is not really in love and sees Tesman as an economic asset.

HEDDA
"I loathe anything ugly"

Hedda speaks her views of how she interprets beauty. She doesn't like ugly things, it says a lot about how she views people. Hedda sees beauty as an asset and a form of currency. She has used beauty to get what she wants, mainly attention. It was claimed that she had many "suitors" in the past. Hedda is jealous of Thea as she is 'more' beautiful than she is, Thea is a younger woman who gets the attention of Hedda's old flame. Hedda wants to 'burn' Thea's hair as she wants to diminish her beauty as she is jealous.

BRACK

‘But, good god! People don’t do such things’

Matches the audience’s shock, disbelief and horror. Hedda just committed 2 of the biggest sins - murder of her unborn child and suicide (infanticide). Ibsen does this to leave us in a state of confusion, frustration and unfulfillment as we leave the play to a very melancholy ending where the deaths could have been easily avoided. This is also the first time we have seen Brack in discomfort and unease as he is unable to comprehend Hedda’s sudden death, suggesting how he can’t cope with his failure to form an intimate relationship with her.

HEDDA

“I’m going to shoot you, Judge Brack.”

Brack is a symbol of the patriarchy and Hedda’s pointing of the gun at him represents her rejecting the harsh social and gender norms which have shackled and entrapped her in her own illicit desires, whilst preventing freedom and liberation during her stay in Tesman house throughout the entire play.

HEDDA

"I want for once in my life to have the power to mould a human destiny."

Suggests Hedda’s desire for power/control over the life of other people. Also could be expressive of her need for agency of her own life. Sets the motif of her desire to break free from the societal constraints that are ‘holding her back’ in a way. Her use of ‘once in my life’ suggests that she does not believe that she has had the power to do that up to now, but as an audience we can see that she has always had the power over the majority of Tesman’s decisions. This just solidifies Hedda’s need for total control over the life of another as her’s is too lacklustre to provide enough entertainment for herself. 

HEDDA

“You with your beautiful, wavy hair!”

Hedda says this whilst she is burning Loevborg’s manuscript, it juxtaposes her previous attitude towards what she does, which is a bored lack of care, as well as revealing her jealousy over Thea. Additionally, hair is also representative of female fertility, where Thea’s long, wavy, and blonde hair would be considered bountiful whereas Hedda’s plain auburn would not be considered so, this is somewhat ironic as Hedda is the one who is pregnant with child whilst Thea is not, but then again this might be an intentional link to Hedda’s later infanticide. Ironically, Hedda tries to run away from domesticity and solve her issues with violence, which is why she remains unsatisfied at the end.  

HEDDA

“Everything I do is a bore to myself”

This quote shows her utter frustration and allows Ibsen to present the middle/upper class ennui that permeates Victorian society and that he wants to criticise. Clearly some audiences today might interpret this as overly didactic on Ibsen’s part.

TESMAN

“And you called me George for the first time! Fancy that!”

…

“(torn between doubt and joy) Is this true? But I never realised you loved me like that.” 

As an audience member, these quotes only reinforce the loveless marriage between Hedda and Tesman as both struggle to establish meaningful, emotional connections. For example, both have different ambitions and interests because Tesman is overly obsessed with academics whereas Hedda is just deathly bored and enjoys playing with people. Therefore, Ibsen does this to show the complete lack of intimacy and barriers of disconnection between the couple, foreshadowing their physical separation when Hedda ends her life. It is also sad that a married couple is intolerant and sad around one another, whilst simple, lovely gestures are surprising as these should be expected.

HEDDA - STAGE DIRECTIONS

“she begins to play a frenzied dance melody”

the piano is an object associated with Hedda Gabler, not Hedda Tesman. It represents her old life. She has a bond towards the object she doesn't “want to part with it” yet she says “it doesn’t really go with this”. Her high status does not mix with Tesman’s middle class background. In act 1 the piano is in the main room but in act 2 onwards it has been moved into the parlour. In a draft Ibsen is explicit: Hedda is referring to the inner room as her “own sitting room”. This room, the study, is a male space, for Hedda to take over that space displays her masculinity. It is in this side space that Hedda feels herself, it is where her past resides, the pistols, her father's portrait. According to Baudrillard each object carries values , not only in its economic state as they suggest they should sell it but symbolically as well. For Hedda to play a frenzied dance melody as her last act of her life she is resuming with veracity  her old life and returns to the title of the play: HEDDA GABLER.

HEDDA

What sort of a man is your husband, Thea? I mean—you know—in everyday life. Is he kind to you?

She always asks questions to gain information which she can use to her advantage and is very rarely revealing any information about herself.  This makes Hedda a very controversial and complex character as she is not easily likeable or relatable but we still sympathise with her to some extent because of social circumstances and how we do not completely understand her motives.

LOVBORG

None. I will only try to make an end of it all—the sooner the better.

HEDDA

[A step nearer him.] Eilert Løvborg—listen to me.—Will you not try to—to do it beautifully?

This is a testament to Hedda's dissatisfaction and malevolence - she jumps at the opportunity to machinate and control even at the cost of a man's life. It could also link to her delusion of how she still perceives Ejlert as a man with “crown of vine leaves in his hair” or “Dionysus” as she glorifies and fantasies the heroism of his death through the subversion of social norms. “Burning and unashamed!” also portrays her fantasising his toughness and masculinity, hoping that he would be a different man (drunk). Alternatively, “burning” and fire could symbolise Hedda’s destructive capacity and strong-headedness, which prevents her from being understanding and empathetic as she can only see things from her point of view. The only domestic work she can tolerate is to maintain the fire.

HEDDA

Couldn't you see I wanted him to go.

One of Hedda's pathetic instances of proving her power over Tesman by making him go and write a letter while she and Elvsted talked. She is more masculine and dominant by dictating and controlling Tesman’s actions as she moves people around as she pleases (like pawns in a chess game) to suit her own personal needs. In this instance, it is to get information out of Thea. Her annoyance and lack of respect for George is also shown when she refuses to acknowledge him properly and just perceives him as an annoying fly. 

HEDDA

[Goes up the room.] Well, I shall have one thing at least to kill time in the meanwhile. My pistols, George.

In Ibsen's time, pistols would have been decidedly male objects. Hedda's proclivity and eagerness for them reminds us that she lacks typical feminine characteristics and solves her problems (boredom) with violence and destructiveness, which could foreshadow her impulsiveness in burning Ejlert’s manuscript later on. It's also important that she refers to them as "General Gabler's pistols." She's almost channeling her father (and his masculinity) here as her intimidating identity and fearful reputation in society is linked to “General Gabler’s daughter” suggesting how her own personal identity and worth is determined by the legacy of another man. This could also highlight how Hedda’s silence is similar to her mother’s, where we don’t hear anything about her.

BRACK

Not even—the specialist one happens to love?

HEDDA

don't use that sickly, stupid word!

Again, Hedda shies away from female emotions and from the institution of marriage. It seems as though Hedda married out of pity because she had to as she doesn’t truly love Jørgen; that's what women do in this day and age. Her single time had run out as she was in her late 20s and George was simply the best of many evils because he had a promising, successful career and could possibly improve Hedda’s reputation whilst sustaining her lavish lifestyle. She could also manipulate and control him easily.

BRACK

A new responsibility, Mrs. Hedda?

HEDDA

[Angrily.] Be quiet! Nothing of that sort will ever happen!

Throughout the play, Hedda systematically rejects all the elements of marriage and womanhood. Suspense builds since the audience knows (or at least strongly suspects) that Hedda is pregnant. However, she refuses to accept any ownership or acknowledgement of being a mother and having to play a domestic role in the household as this would then conform to social norms.

HEDDA

I'm only looking at my old piano.

…

Suppose we put it there in the inner room, and then get another here in its place.

Because she's grown up with such excessive wealth, Hedda has no sense of practicality when it comes to matters of money. This has led her to have an unrealistic perception of the cost of things, made worse by how she just expects her house to be expensively furnished as she pleases. 

“Thick carpets”, “Broad open doorway”, “ornaments of terracotta and majolica” and “flowers in vases and glasses” - demonstrates the affluence of Hedda’s family by being able to afford expensive artifacts. The large body of writing to describe the stage in A1 makes the Tesman home seem overcrowded, as Hedda is trapped and alone in her loveless marriage. The open doorway also implies how Hedda oppresses herself despite there being pride in belonging to the upper echelons of society.

LØVBORG

[Clenches his hands.] Oh, why did you not carry out your threat? Why did you not shoot me down?

HEDDA

Because I have such a dread of scandal.

Reputation is far more important than human life in Hedda Gabler, as we will see many more times in the acts that follow. Another example includes the reason why she commits suicide at the end of the play, because Brack had power over her and could ruin her reputation in an instant. Hedda also outright admits her deepest fear, foreshadowing her tragic death.

STAGE DIRECTIONS

“HEDDA paces the room, arms folded, as if beside herself. She flings aside the curtains from the screen door and looks out.”

Suggests a sense of franticness or nervousness as she desperately needs to catch some sun and fresh air. She is also trapped in the house throughout the entirety of the play and so this could also represent her eagerness for freedom and to escape the harsh social expectations which have shackled her. 

HEDDA

“No, Tesman. I told you when you asked before. Miss Tesman she is, and Miss Tesman she stays.”

Lack of respect for the elders. Another petty attempt to gain control and respect over others. She is definitely the dominant person in the relationship as she easily dismisses Jorgen.

Hedda “propels” and “shoves” Thea which could portray her mistreatment of Mrs Elvsted as she used to bully Thea during school. This is made worse when she calls her “Thora”. People find it hilarious that Hedda messed up Mrs Elvsted’s name despite suggesting that they were very close together earlier on. This could suggest that Hedda is rude, careless and disrespectful because she doesn’t even take the effort to remember someone’s name.

(HEDDA looks at him with scorn.)

My pistols . . . "Jørgen."

Proves how she is extremely manipulative and plays with people or weapons when she is bored. Alternatively, she could be seen as a victim to society’s cruel expectations on women. Recklessness paints Hedda as a character with an overwhelming desire to escape this mundane life where she finds no happiness or contentment.

HEDDA

I’ve been bored to death.

…

Having to spend every minute of one’s life with - with the same person.

She is self-centred and careless about the people around her. A strong desire to be entertained or amused. The repetition of “bored” emphasise her restlessness. She has become a trophy wife trapped in her own home while “death” hints Ejlert’s tragic death and her suicide later on. Brack and Hedda both “exchange a smile”, implying how they both want to have a sexual relationship together but possibility of public scandal prevents Hedda from committing. 

She despises fulfilling traditional roles like marriage and being a loving mother. She could possibly envy Mrs Elvsted’s unfaithfulness and admires her courage to break social boundaries by escaping domesticity, although cheating is condemnable. This could also link to how she is appalled and disgusted by love, calling it a “sickly, stupid word”. Therefore, Hedda does not truly love Tesman and is only with him because he is a “respectable man”, so this can improve her status which is extremely important to her as she cares too much about what society thinks.

BRACK (Leans slightly forward)

now we can enjoy a nice, cosy little chat - Mrs Hedda

Firstly, the stage direction also accentuates sexual tension and intimacy as Brack flirts with Hedda but hints that he wants to establish a physical, sexual relationship. A high frequency of their private talks and Brack’s unannounced visits violate the conventions of a committed, faithful relationship. The audience is later aware that he wants to form a triangular relationship which would be “a delightful arrangement for all parties concerned” in order to be with Hedda, but he does not care about public scandal. He also uses the word “longing” which could show his yearning desire to be more than friends and his sexual deprivation. 

HEDDA

I’d danced myself tired, Judge. I felt my time was up

This clarifies Hedda as a victim of her own circumstances as she feels shackled by harsh sexist societal expectations enforced on women. It also foreshadows her suicide.

HEDDA

It’s this wretched poverty that makes life so hateful. And ludicrous

…

Wretched professorship

Frequent use of “wretched” displays her anger and annoyance at Tesman’s inability to sustain her luxurious lifestyle while she is also deeply upset that he only focuses on his work. However, she contradicts herself because she expects Tesman to have a successful career and earns lots of money but this would involve him being busy and leaving her alone in the house most of the time, so she fails to realise that there is no perfect situation. This could also prove her egotistical outlook and how she never experienced any proper sufferings or hardships like other normal citizens due to her ridiculous wealth which meant that everything was always handed to her on a silver platter.

HEDDA

My failure to shoot you wasn’t my worst act of cowardice that evening.

Hedda regrets not confessing her love due to fear of losing authority and appearing vulnerable or fickle. She only wants to be with people at their best for her own benefit but leaves during downfalls or losses to avoid public scandal. Lovborg understands Hedda to a certain extent and is intimidated but finds Thea “silly”, basically treating her as a dumb object for sexual release.

HEDDA

Firm as a rock! A man of principle! That’s how a man should be!

Hedda has a desire for men with stability and who defy social expectations, as a drunk Ejlert would let her spend his money. However, she acts hypocritical by placing harsh and demanding expectations on men but then refuses to accept female social expectations. 

HEDDA

Do it - beautifully!

She sees his suicide as honourable and heroic by being able to reclaim control over his life. Hedda then makes a fatal error in judgement by handing Ejlert her “pistols” which she refers to as “souvenirs” because it then connects her to his demise, causing her own death later out of fear of public scandal.

BRACK

no objection to back ways. They may be piquant enough at times.

It seems that Brack, like Hedda, has a taste for the rebellious and improper and is also stimulated by secrets and scandals especially since he entered their house through the “backdoor”, which could illustrate his immoral and corrupt desire to form a triangular relationship with Tesman and Hedda (Friends with Benefits).

Piquant - Exciting/Sexually Stimulating

BRACK

Considerable respect for the institution of marriage.

Ironic since he reveals his lustful and corrupt intentions with Hedda, and how he similarly manipulates or uses other people to suit his own selfish desires. This completely contradicts his job as a supposed figure of morality, justice and integrity, which could be Ibsen criticising the corruption of powerful figures in a male-dominated society. He uses Tesman and countless other husbands to get to the “wife”, treating women as a prized possession to be fought over. He also misogynistically wants Hedda to use the “natural talent” of every woman.

STAGE DIRECTIONS - BRACK

(Brack stands over her, leaning against the armchair)

(Leans down and whispers)

Hedda’s worst nightmares are true: She has lost dominance and authority as Brack can now dictate her life through blackmail, is guilty and vulnerable to public scandal and her reputation being ruined. Brack is corrupt as he abuses his power and is sadistic as he likes seeing Hedda exposed. Deprived of freedom, Hedda faces either "boring herself to death" or committing a valiant suicide.

TESMAN

“What?”

…

“By Jove!”

Repetition of these two phrases depict him as an absent-minded scholar fixated on intellectual matters. He is very blur and oblivious to the manipulation and evil around him, while also being isolated and disconnected from the outside world. Constant question marks also show his odd behaviour is a superficial manifestation of Hedda’s unfulfilled life. His femininity also opposes her masculinity, reversing gender roles.  He also exclaims this during their honeymoon discussion which is extremely socially awkward because no one would want more people to invade their privacy at their honeymoon. 

TESMAN

Incorrigible

Tesman criticises Ejlert’s descent into his old, damaging ways again and pities his inability to be reformed despite his talent and gifts for writing which far surpasses Jorgen’s. 

Leaving the manuscript on the stool for Hedda who “snatches” (aggressive) it is a pivotal turning point in the play because this leads to Hedda burning the manuscript and robbing Ejlert of his life’s work and achievements which then causes him to commit suicide using her pistol, then Hedda shoots herself at the end out of fear of a public scandal.

TESMAN

It’s against the law! By God! You ask Judge Brack and see if I’m not right.

Proves Jorgen to be a very innocent and moral person as he uses academics and law to justify the immorality of Hedda’s actions but this has also caused him to be naive and gullible since he trusts people, like Judge Brack, in high positions of power too much.

TESMAN

(Torn between doubt and joy) 

But - but - but I never realised you loved me like that!

Stammering shows his utter disbelief and shock, while possibly suggesting to the readers that he is more intelligent and aware of the manipulation and deceit around him than expected. However, the readers all know this is just false hope and Hedda lies in order to get him to calm down and lower his voice.

TESMAN

I shall dedicate my life to this

…

I owe it to Eilert’s memory.

Tesman is a good, loyal friend and wants to respect all the hard work and achievements of Ejlert by not making his life’s work be forgotten. He and Thea are the only ones who attempt to provide a sense of meaning and purpose in his life out of respect while Hedda’s disillusionment is shattered.

STAGE DIRECTIONS - HEDDA

a woman of twenty-nine. Distinguished, aristocratic face and figure. Complexion is pale and opalescent. Eyes are steel grey, cold, calm serenity. Hair of handsome auburn colour, not especially abundant. Elegant, somewhat loose-fitting morning gown.

Withered and golden

Intimidating, fierce and bold description suggesting the complexity of Hedda as she is not a typical Victorian woman.

“Hair of handsome auburn color” - Handsome emphasizes Hedda’s masculinity whilst auburn could depict the complexity and unpredictable nature of Hedda through autumn - a season of growth and rebirth.

“Withered and golden” - moral decay and materialistic obsession.

STAGE DIRECTIONS - MRS ELVSTED

slim, with a soft, pretty face. Large blue eyes, slightly prominent; a nervous manner. Blonde, almost yellow hair, unusually luxuriant and curly. She is some two years younger than HEDDA. Her formal wear is dark and well cut, but not in the latest style. She is agitated, struggling for self-control.

Mrs. Elvsted embodies all the femininity and domesticity that Hedda lacks; this is apparent from the moment we see her, making her a foil character to Hedda. Her gentle and kind beauty is strikingly opposite from Hedda’s fearful beauty, causing her to be jealous and spiteful.

MRS ELVSTED

When they parted, he said, she wanted to shoot him with a pistol.
…

Oh, Hedda!

She realises her mistake in trusting her old high school bully as she is now vulnerable and exposed because Ejlert knew she ran away from home. She is once again being thrown around and belittled by Hedda who “drags” her “forcibly”, revealing her true colours as an impatient and fearless person willing to use violence to suit her needs. The insult “little idiot” could also suggest how Hedda looks down upon Thea and treats her as stupid or inferior.

HEDDA

Then what use have I for my life?

Society does not appreciate women as learners. She is bored with her husband and only finds meaning in growing intellectually. Intertextual link - existential crisis and questioning purpose of life is common among aristocratic women who are rich and do not need to work as their monotonous, boring life could lead to depression.

LOVBORG

Oh, Hedda—what was the power in you that forced me to confess these things?

Løvborg recognizes what indeed proves to be Hedda's greatest asset: her ability to manipulate others and reveal their secrets. She does the same with Thea and even with Brack, who admits some rather scandalous desires to Hedda in the second act.

LOVBORG

I want to try to re-establish myself 

…

future

A sense of rebirth and regeneration, changing to be a better person and righting his wrongs. Suggests how he focuses on the future and writes about it in his new book instead of focusing on his damaged past which is why he is more successful than Tesman. Tesman finds motivation by working and buying things to support Hedda’s expensive lifestyle whereas Ejlert works and writes for self-improvement. Jorgen being uncreative and boring has also made his abilities limited in the competitive business world.

This can be further emphasised with “I only want to defeat you in the eyes of the world” which implies how Ejlert is eager to wipe his slate clean but also cares too much about public opinion and how society views him which is what leads to his emotional breakdown. 

LOVBORG

Isn’t she lovely to look at.

…

silly about that kind of thing

…

I have no further use for you Thea

Despite her kindness and unrelenting support, Thea is treated like an unwanted, broken toy being discarded. Derogatory speech objects Thea as stupid and dumb.

Fulfilling gender stereotypes and misogynistic, degrading and dehumanising mindsets through objectification of Thea’s body which were common around Victorian men in a patriarchal society. Her self-worth and value, like many other women, were determined solely on their beauty and sex whereas men were based upon wealth and materialism.

LOVBORG

But to kill a child isn’t the worst thing a father can do to it.

Lovborg envisions a noble, heroic death, which is very unlike the stomach bullet wound he later accidentally inflicts on himself. Perhaps he finds the assurance of death an escape route to a life of endless pain and suffering. He has lost his morality and sanity as he no longer cares about his life or actions - loss of resilience and optimism when a mistake is made.

LOVBORG

Thea’s heart and soul were in that book. It was her whole life

Shows further contrast between Thea (foil character) and Hedda as Mrs Elvsted has no control over her life by allowing men to dictate her purpose.

LOVBORG

coward at heart

He truthfully depicts and summarises Hedda’s existence because her eagerness to manipulate others in order to gain advantage is out of the insecurity of facing a public scandal because she would be powerless to dictate her reputation and no longer has control over others.

BRACK

Charming illusion

Hedda still lives in her fantasy due to her inability to accept the harsh and brutal truth.

BRACK

He must have stolen it. Ssh!

The repetition of this phrase suggests that Judge Brack is more trying to convince himself of Hedda’s innocence than reassuring her about the possibility of a public scandal.

Political corruption is demonstrated when he refuses to believe the brash truth of Hedda being guilty since he still wants to have a relationship with her. This is why he wants to keep quiet but now has power over her with this vital information.

BRACK

Not as long as I hold my tongue.

Corrupt and untrustworthy. Abuses power.

STAGE DIRECTIONS - HEDDA

From now on I’ll be quiet.

…

closes the curtains behind her.

She permanently seals her tragic fate and eradicates any hope of survival by seeing death as her only option to escape her problems.

HEDDA

little idiot

…

crown of vine leaves in his hair

…

drags Mrs Elvsted almost forcibly

She incessantly insults Thea although she tutored Ejlert’s children and helped him create the manuscript. Therefore, Hedda is a narcissistic hypocrite who lives in her delusional fantasies in hopes of a better reality instead of acting on it. She then reacts violently and aggressively, highlighting her impulsive, reckless nature driven by rage.

A3 STAGE DIRECTIONS -

A fire has been burning

A metaphorical representation of Hedda’s constant simmering rage which only develops and grows as the play progresses because of boredom and restlessness. Besides warmth, fires are extremely dangerous and destructive, suggesting how Hedda destroys her will to live and self-worth at the end with the fatal mistake of handing over her pistol.

TESMAN

Precious, irreplaceable manuscript!

…

Tragic

Implies how nature preserves art and hard work which survives time which juxtaposes the the transience of life and unpredictability of death. The ending is truly “tragic” with the easily avoidable and unnecessary deaths.

BRACK

exceedingly animated soirée

…

violently inspired

The French word for evening after-party. The description depicts a dramatic and chaotic result as Ejlert becomes violent with a prostitute then gets arrested by the police.

A4 STAGE DIRECTIONS -

Drawing room is in darkness.

…

Hedda dressed in black, is walking up and down in the darkened room.

Overwhelming imagery of death symbolised by how the house is completely covered in darkness and how the curtains block out the interference of nature and the sun. Aunt Rina’s death is thematically significant because it shows Hedda’s abnormal remorseless behaviour because she just seems bored and careless among the mourning and grieving Tesman and Aunt Julia. This also foreshadows her death later on.

MISS TESMAN

General Gabler's daughter! Think of the sort of life she was accustomed to in her father's time.

Hedda Gabler explores a marriage between an aristocratic woman and a seemingly middle-class man where money is one of the insurmountable barriers between Hedda and Tesman. Wealth is a constant barrier between them, not only as far as money is concerned but also in regards to class. Interests, mannerisms, even personalities and friendships, are all tied to class. Because of this, the notion of "rich" and "poor" is often more about power, influence, and reputation than it is about cash.

MISS TESMAN

I bought it on Hedda's account so that Hedda needn't be ashamed of me if we happened to go out together.

About the hat - When it comes to money, Hedda's reputation precedes her. From the mention of her many suitcases to this line about the bonnet, her character is immediately defined by aristocratic wealth. It could also imply how she has such a negative influence on the people around her by making them feel neglected or isolated due to being so critical or judgmental towards everyone.

MISS TESMAN

The beautiful Hedda Gabler!

Hedda is defined by her looks. In this society, beauty seems to be her only value. Tesman admires her like a trophy or prized possession, objectifying her whilst Judge Brack seeks an intimate and sexual relationship with her. The “loose-fitting morning dress” could also symbolise her refusal to wear a corset like many women during the time and how she desires to be more masculine to defy gender norms which has restricted her everyday life.

MISS TESMAN

Hedda Tesman mustn't let her hands be soiled by contact with death.

A very nurturing, caring and loving caretaker who embraces her femininity and domesticity by healing and helping others, which is also a great strength, unlike Hedda who only complains about her situation.

BRACK

Most solemn of human responsibilities

traditional 19th century commenters idealised motherhood as a supreme vocation and sacred duty which Brack ironises and which Hedda is repulsed by. At the end, Hedda destroys both children - Tesman’s biological child and Loevborg’s literary one.

MISS TESMAN

Oh, there’s always some poor invalid who needs care and attention.

Femininity and ethics of nurture and care of Julia contrasts with Hedda’s masculinity and dominant outlook.