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Updated: June 7, 2025
To every play it is possible, at a pinch, to assign a theme; but in many plays it is evident that no theme expressible in abstract terms was present to the author's mind. Nor are these always plays of a low class. It is only by a somewhat artificial process of abstraction that we can formulate a theme for As You Like It, for The Way of the World, or for Hedda Gabler.
Students of "Hedda Gabler" need not be reminded of the emphasis flung by iteration on the phrases, "Vine-leaves in his hair," "Fancy that, Hedda!" "Wavy-haired Thea," "The one cock on the fowl-roost," and "People don't do such things!" The same device may be employed just as effectively in the short-story and the novel. A single instance will suffice for illustration.
"Kin you hold back when the brichin' breaks? Kin you stop fer orders when your nigh hind leg's over your trace an' ye feel good of a frosty mornin'?" said Nip, who had only learned that trick last winter, and thought it was the crown of horsely knowledge. "What's the use o' talk in'?" said Tedda Gabler, scornfully. "What kin ye do?"
Students of "Hedda Gabler" need not be reminded of the emphasis flung by iteration on the phrases, "Vine-leaves in his hair," "Fancy that, Hedda!", "Wavy-haired Thea," "The one cock on the fowl-roost," and "People don't do such things!" The same device may be employed just as effectively in the short-story and the novel. A single instance will suffice for illustration.
They regarded each other, their thoughts poised upon an If. Beth spoke first: "If your friend " "But Bedient didn't look into the eyes of the Grey One when he told his tale of the sea," Cairns said, leaving. A few nights after the party, Bedient was left to his own devices, Cairns being appointed out of town. He attended the performance of a famous actress in Hedda Gabler.... Bedient was early.
The nature of the revolution, exercised by the subject of this memoir between 1880 and 1890, that is to say from Ghosts to Hedda Gabler, was destructive before it was constructive. The poetry, fiction and drama of the three Northern nations had become stagnant with commonplace and conventional matter, lumbered with the recognized, inevitable and sacrosanct forms of composition.
If "John Gabriel Borkmann" is but a pennyworth of effect as to a character we can imagine much more amply presented, and if "Hedda Gabler" makes an appeal enfeebled by remarkable vagueness, there is by the nature of the case no catching the convinced, or call him the deluded, spectator or reader in the act of a mistake.
To help a man who had toiled his ten or twelve hours in the workshop or the mine to read Homer or Dante in the evening, well! in the language of Hedda Gabler "people don't do these things," not people with any sense of the humorous or the seemly.
A few days' search, however, disgusted her and brought her back completely to the mood of the salon, and led her deeply to appreciate Hedda Gabler, and to condemn American morality and the "good" people. Of Hedda she wrote: "Her character always did appeal to me, but last night I was in the mood especially to understand and sympathise with Hedda, to be Hedda, in fact.
Act II is a capitally arranged interior of the inn, with the wooden shoes of the servant maid clopping around, where the inevitable happens. Hanna Elias, accompanied by a young Russian girl whose German accent furnishes mild humour promptly swoops down on the anæmic painter. There is brief resistance on his part. She tells him she can't, can't live without him oh, thrice-familiar feminine music! and with a double sob that shakes you in your seat the pair embrace. Curtain. The next act is frittered away in talk, the principal object seemingly to show how much the sculptor hates Hanna. In Act IV Gabriel is ill. He has had a fall, but it is really a heart attack. A doctor, an old friend, is summoned from a neighbouring island. Unfortunately Mrs. Schilling, the neglected wife is informed by the not very tactful doctor that her husband is ill. She rushes up from Berlin, and the best, indeed the only, dramatic scene then ensues. She is not permitted to see the sick man. She demands the reason. She is naturally not told, for Hanna is nursing him. She can't understand, and it is the difficult task of Lucie Heil, the violinist, to get her away before the fat is in the fire. Unfortunately, at that critical moment, Hanna Elias walks calmly from Gabriel's sleeping chamber. The row is soon on. Hanna was enacted by an emotional actress, Tilla Durieux, whose personality is forthright, whose methods are natural. (Her Hedda Gabler is strong.) She dressed the character after the approved Friedrichstrasse style. You must know that the artistic Bohemienne wears her hair plastered at the sides of her head
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