Hedda Gabler by Ibsen represents Ibsen’s deep interest in human nature, and the role names play in defining individuals and changing the power balance in relationships. In these, individuals see the struggle between being formal and being intimate or between being single and being married. For instance, the reason Eilert refers to Hedda as “Hedda Gabler” is that he continues to picture her as the girl he knew before rather than the married lady she is today (Ibsen 1). The idea of using Aunt Julie’s first name makes Hedda feel too casual, and she avoids doing so. Conversely, up to the hat incident, Julie refers to Hedda by her first name, which significantly irritates Julie. The deliberate naming of the characters, each name serves, however, metaphorically, as a lens through which their personalities, ambitions, and the confining sociocultural norms that control their world show. By skillfully employing names, Ibsen invites us to explore the intricacies of human nature, societal norms, and the repercussions of violating them. In this regard, this paper seeks to analyze in detail the use of names in Hedda Gabler.
Hedda Gabler, the main character of the play, demonstrates Ibsen’s deliberate way of selecting names ideally. Her maiden name, Gabler, connotes her father, General Gabler, in a sense implying that she is more of her father’s daughter than her husband’s wife. Even in its selection, this name signifies the unconventional uprising of Ibsen’s female character against her womanhood, the conventional and customary role that women were generally expected to perform in the seventies of the 19th century. The two-sided nature of her desire for luxury and independence, the attributes she acquired from her father’s line of work as a soldier, stand in contrast to the daily struggles of her marriage to the academic George Tesman (Global Grey 1). Furthermore, the playwright explicitly expresses that Hedda refuses to relinquish her maiden name after the marriage, not only reducing her ties to the father’s lineage that she admires but also rejecting the idea of duty, which is attached to being a wife. Also, Hedda mistreats Bertha after treating her well when she is George’s maid. She is more contentedly enslaved than Hedda, and she serves to demonstrate to the audience how class and status disregard the individual (Ibsen 1). Although they are both confined by their social levels, her mistress’s fate is drastically different from her own because she has accepted her lot and found meaning in life.
Moreover, the names of the supporting cast members serve as additional symbols indicating their significance and importance in the play. Hedda’s spouse, George Tesmen, is an inarticulate lecturer who is earnest and compassionate. The visual representation of his name perfectly captures his reading habits and expertise. One notable illustration is when George explicitly mentions his wife by name 73 times during the play, in addition to the other instances where he refers to her by name to others (Translated eta al., 20). Also, throughout his honeymoon, he has been gathering information for a book, but he has yet to put it into action. Tesman generates a great deal of resources that are cross-referenced, in contrast to his competitor Løvborg, whose ingenuity results in an artistic masterpiece. Hedda cannot partake in this activity as a hobby. But unlike her, Tesman has a burning passion and a goal, even if it does not lead to a tangible outcome. After the play concludes, he takes a seat to reenact Løvborg’s collaboration with Mrs. Elvsted. Thea, Hedda’s adversary, takes her place in his life as a result of this maneuver (Global Grey 1).
Additionally, Hedda rarely employs her husband’s name when addressing him. Still, George’s classmate Eilert Lövborg, who was once in love with Hedda, is given a name that invokes images of fire and inventiveness, which symbolizes his audacious personality and erratic life. Tesman harbors the belief that Hedda’s destruction of Eilert’s work is motivated by her affection for him, and he expresses his desire for her to adopt his name. George’s emotional bond with his wife is significantly stronger than her emotional bond with him (Ibsen 1). Hedda has a preference for maintaining a formal and aristocratic relationship. Likewise, the name Thea Elvsted, which suggests the caring and supporting role she performs in Eilert’s life, suggests that Thea is a soft and compassionate woman who is Eilert’s devoted friend. Ibsen’s deliberate choice of the names “Nora” and “Christiania” highlights the unique qualities of each character while also highlighting the layers of connection that they all share, providing a sense of storyline for the play’s conclusion (Translated et al. 6).
Furthermore, using names, Ibsens goes beyond the characters and invisibly reveals the social norms of those days. Judge Brack, the shrewd confidant, on the other hand, illustrates the power of the patriarchy and immorality that is in every part of society in which Hedda feels trapped. His last name, “Brack,” represents a sense of extreme judgment and condemnation, implying his function as a doorkeeper who protects and upholds the traditional customs of society (Translated et al., 14). He holds a prominent position in society and has maintained a longstanding friendship with Hedda and Tesman. The individual’s profession as a judge affords him esteem and influence, which he is prepared to employ as circumstances dictate. Characterized as ‘donning sophisticated yet quite youthful attire,’ this implies a man endeavoring to cling to a life that is swiftly eluding him. He is becoming too mature to be considered a ‘bachelor’ and amuses himself by flirting with Hedda. He, too, experiences boredom in life and entertains himself with small games. He perceives Hedda’s traits. Despite his disreputable nature, he fantasizes about the ‘triangle’ involving the Tesmans.
Similarly, in terms of the maternal and nurturing side of Aunt Juliana Tesman’s name, it is symbolic of the domestic side of life Hedda clearly loathes. The vocation of Aunt Juliana is to care for others; she is the innocent target of Hedda’s mockery in Act One. This includes not only Aunt Rena, but also complete strangers whom she will welcome and tend to. If it means helping other people, she will give up her own life. ‘Will you never stop sacrificing yourself for me?’ Tesman asks in Act One (Translated et al., p. 21). Generally, Ibsen’s skillful naming of these peripheral characters augments thematic depth of the play. It enables him to scrutinize social conventions and expectations that finally compel Hedda to face a tragic end.
To conclude, Henrik Ibsen’s Hedda Gabler portrays with precision the subject of self, the constraints of society, and the consequences of breaking a really relevant theme. Ibsen applies the imaginative and symbolic use of names, thus creates a vivid picture of individual and mutual relationships having in-depth and striking complexity. The name choices not only reveal their traits and the aspirations they envision for themselves but also act as a critique of the established norms that oppress their freedom. Ibsen’s supremacy as a dramatist lies in his skill to interpret and transcend these labels beyond mere naming. These names are symbolic, and they represent the deeper meaning of their characters.
Works Cited
Global Grey. “Hedda Gabler by Henrik Ibsen – Free Ebook.” Www.globalgreyebooks.com, 2021, www.globalgreyebooks.com/hedda-gabler-ebook.html. Accessed 28 Mar. 2024.
Ibsen, Henrik. Hedda Gabler: A Play in Four Acts. The Floating Press, 2009.
Translated, Henrik, et al. HEDDA GABLER, a Penn State Electronic Classics Series Publication. 2010,www.slps.org/site/handlers/filedownload.ashx?moduleinstanceid=22453&dataid=14688&FileName=hedda-gabler.pdf.
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