Henrik Ibsen's kitchen-sink drama, 'Hedda Gabler' gravitates around the intricate character of Hedda, whose capricious moods and tussle with societal roles make her a truly unconventional woman, nefariously attacking feminine ideals. Ibsen in an attempt to expose the lack of morality in society, quite defiantly conveys Hedda's struggle with society's expectations, and her unyielding aspirations for autonomy that desert her. This revulsion with orthodox female conduct, and her brazen and unabashed demeanor, make Hedda seem much like the quintessential feminist. Yet, Hedda's helplessness in defying conventions raises skepticism about her as the 'New Woman' , and induces the conception that she was simply a heroine who battles societal suppression but crumbles under its pressure.
Hedda is often viewed as feminist, because of her bold, almost intimidating stature. Victorian women were expected to be an epitome of fertility and abundant compassion. They served as dutiful wives to their husbands and adoring mothers to their children. Ibsen; through the character of Hedda condemns the norms of the patriarchal society in 19th century Europe. He highlights Hedda's impervious and austere nature, traits characteristic of masculinity. This is exemplified as he captures her sharp features in an intense description- "her eyes are steel grey, and cold and dispassionate" (Ibsen 175). Hedda's rejection of predetermined roles is also manifested in her repulsion for household chores "And then this stuff about medieval domestic crafts. The most sickening of the lot!"(Ibsen 202). This resentment towards maternity and notions of wedded bliss accentuates Hedda's rebelliousness. This sentiment is emboldened in Hedda's lust for self-expression and freedom. She yearns to live life of boundless courage. Her disillusionment with her prosaic surroundings is shown when she states in melancholy "I'm just looking at the leaves on the trees.