They're so yellow. And so withered" (Ibsen 179). Ibsen, in this reflection delves in the convulsions of Hedda's morose mind and reveals her stifled desire for individuality. He portrays as an inexorable feminist, longing to break the barriers of society. .
On the other hand, Hedda is also woman whose sorrow in living a mundane life culminates in self-destruction. Despite her dominating outward appearance, Hedda is weak, lacking the audacity to defy traditional views on women. Instead, Hedda escapes into "a beautiful illusion" (Ibsen 258), unable to confront her despondent reality. She lives vicariously through Eljert's creative brilliance. This is exemplified as she states in ardent romanticism "I can just see him. With wine leaves in his hair. Flushed and confident" (Ibsen 226). Thus, unlike a feminist, Hedda is unable to liberate herself from her metaphorical cage, and do what she wanted with her life, with her own mind and assertion. As Judge Brack once told Hedda- "One generally acquiesces in what is inevitable. (Ibsen 262) Hedda is extremely fearful of ostracism and it was that dread of alienation in society that forced her into allegiance with society. In view of that, Hedda is more a victim of society's imposition, than an out an out feminist.
Hedda's craving for independence which she is deprived of persistently is exemplified by Ibsen's use of French windows. The French windows not only represent Hedda's unwinding thirst for freedom, but also her reluctance to accept her monotonous reality and hopelessness in assuming the domineering role of a man. This sentiment is exemplified in Hedda's frantic and reaction as she 'raises her arms and clenches her fists in frenzy" (Ibsen 179) and then "draws the curtain from the verandah to look out" after Aunt Julle departs in Act 1, almost as a soothing reprieve from the boring responsibilities associated with marriage.
