Introductory
Hedda Gabler is one of the finest creations of Henrik Ibsen, the one who laid down the foundation of modern drama. The play was first published in the 1890 while it was first performed on January 31, 1891 in Germany. Hedda Gabler is a story of a woman who feels insecure in her conventional society. Hedda seems encaged in her society while the men like Judge Brack and Loevborg are free enough to form a triangular relationship with her. The effect of the story is magnified through the use of symbols. This play is repeated with symbols: symbols from Hedda's pistols to Loevborg's Crown of Wine Leaves and to the "child" of both Loevborg and Thea. Let's explore each symbol one by one in detail.
Gabler's Pistols
Anton Chekhov, a contemporary to Ibsen once stated that,
One must not put a loaded rifle on the stage if no one is thinking of firing it.
And the play features the very maxim justly and appropriately. Hedda has inherited a pair of the exactly looking pistols, that she calls her "Hero Props", from her father General Gabler. She uses her handguns as a means to keep men at arm's length both figuratively and in her real life. Her husband, who is not aware about the life of Hedda, feels worried about Hedda playing with her firearms because she is left with no other activity to amuse herself. She shows her desire for a horse which Tesman denies due to his obvious financial uncertainty,
HEDDA.
And the saddle-horse I was to have had—TESMAN.
[Aghast.] The saddle-horse!
HEDDA.
—I suppose I must not think of that now.
TESMAN.
Good heavens, no!—that's as clear as daylight!
And when Hedda reveals her source of amazement to Tasman, he rushes towards Hedda in anxiety,
No, for heaven's sake, Hedda darling—don't touch those dangerous things! For my sake Hedda! Eh?
In the second act, we see Hedda pointing one of her pistols at Judge Brack. That is how we learn that how Hedda used to keep her "admirers" away. Once, Loevborg tried to have a sexual dominance over her but she threatened him to shoot due to his misconduct. Also, we see how Hedda's pistols become a source for Judge Brack to blackmail Hedda to submit to his illicit desires when he finds out that it was Hedda's pistol that took the life of Loevborg. But Hedda could not afford to be dependent upon a man of shady character, she said in a triumphant way,
I am in your power none the less. Subject to your will and your demands. A slave, a slave then! [Rises impetuously.] No, I cannot endure the thought of that! Never!
To prove her stance, Hedda uses her pistols as a defence to free herself from the dirty hands of Brack. Her self-killing is a symbol of retaining her independence.
Loevborg's Manuscript
Loevborg's manuscript holds a different meaning for different characters in the play. First of all, the manuscript is a sequel to his History of Civilization in which he asserts his predictions for the future and how societies will change over time. For Elnert, his manuscript is a gateway to the acceptance of himself in his society and a new start of his social life after so many misadventures in his past. Thea sees the manuscript as a result of their joint venture and her victory of reforming Loevborg successfully. She even calls the manuscript their "child" [baby is also used as an unconventional symbol of death]. Which again infuriates Hedda who is jealous of Thea's screaming success. In order to destroy their peace, Hedda decides to burn the manuscript in a very spooky dialogue:
Now I am burning your child, Thea!—Burning it, curly-locks!
The manuscript also serves as a symbol to acquire a foster father in the form of Tesman who strives to reconstruct the burnt manuscript through the help of Thea. Resultantly, Hedda's own decision brings Thea and Tesman more closer to each other. Thus, putting her own marriage at stake.
Tesman's Stove and Fire
In the play, Hedda is profoundly associated with fire which mostly comes as a result of her jealousy or her insecurity. For instance, she rushes towards the stove in Act 1 to protect herself from the slippers of Tesman (speaking of Tesman's old slippers, they have been used as a symbol of Tesman's past memories with Aunt Juju and Aunt Rina). Hedda is also depicted using the stove to burn the manuscript out of her jealousy with Thea. In fact, in her past school days, she used to threaten Thea to burn her abundant locks:
once you said you would burn it [the hair] off my head.
So, Hedda's inner fire of jealousy gives vent to many mishappenings in the play.
Vine Leaves
Vine leaves are symbolized for the mis-adventures of Loevborg in his past life of drunkenness, his relationship with Diana [who has been titled as "a mighty huntress of men" by Judge Brack, also means the goddess of hunting in Greek Mythology] and of course the parties. Vine leaves has been borrowed from a Greek mythology linked to Dionysus, a god of wine and fertility who was depicted wearing a crown of vine leaves on his head. Hedda uses the very phrase off and on during her private conversations with Loevborg. In this context, we can say that Hedda's advice of wearing a crown of vine leaves means that Loevborg should return to his rough past so that she should be able to fulfil her dream of "shaping a man's destiny".
Conclusion
Manifestly, symbolism plays a key role in highlighting Hedda's inner melancholy as well as duality found within the men of Norwegian society of that time in the particular play. The classical references add up to the figurative beauty of the play.
