We are created to Hedda Gabler as the princess of the venerated Standard Gabler, so that a woman given birth to into an extremely prosperous aristocratic family. Though having lived a pampered life, she presumed her time as an individual female was growing slim, leading her to marry George Tesman, a man she clearly no more has emotions for - if indeed she ever before did. Through the entire rest of Henrik Ibsen's play Hedda Gabler, we observe Hedda's obsession with flexibility and free will discord with the norms of nineteenth-century population which surrounds her, leading her to manipulate those around her, and eventually her own loss of life.
It would seem that Hedda's best advantage throughout the play is her potential to control the individuals around her. The tediousness of monogamy is most likely the largest generating factor on her behalf scheming all through the play: "How mortally fed up I am" as she conveys it to Judge Brack. The deception of others is one of her solutions to the suppressed life she must lead under the nineteenth-century societal specifications. We see her feign a friendly relationship in the discussion between her and Miss Tesman, even while deviously making remarks about her head wear:
"Look there! She has kept her old bonnet resting aboutfancy, if anyone should come in and see it!".
We see her clandestine motives when she uses up Eilert Lёvborg's manuscript and convinces her man that she did it because she "could not bear the theory that anybody should toss you [George] into the shade". We also see evidence of her suppressed thoughts as she "walks about the room, raising her hands and clenching her fists as though in desperation". Her best skill however sits with her capability to extort information and secrets from others; as Eilert remarks about their past relationship: "[I] told you about myself, things that no one else knew". She frequently exhibits her ability of requesting questions without actually answering any on her part; soon after, Eilert asks: "What was the energy in you that pressured me to confess these things?" to which Hedda replies elusively: "Do you think it was any electricity in me?". Hedda seems as if she can suppress the boredom in her life by obtaining electricity over others. When asked by Mrs. Elvsted why she is manipulating Eilert so, she replies: "I'd like for once in my life to acquire power to mould a individual destiny". Although Hedda is rich, she considers herself without influence, and in doing so poor. If Hedda cannot attain any kind of power - whether it's political, authoritative, or pecuniary - then she must find electric power through the lives of others.
Because Hedda is proscribed from undertaking the life that she wants to reside, she detects that she must live vicariously. However, the life of an other woman - specifically Mrs. Elvsted - would not suit Hedda's criteria, for she is just as subdued as any other girl throughout that time. We come across this notion when Hedda asks to Lёvborg:
"Do you consider it quite incomprehensible a young femalewithout anyone knowing  should be pleased to have a peep  into a global which  she is forbidden to learn anything about?".
This is essentially the reasoning behind Hedda's earlier relationship with Eilert Lёvborg, as it was the closest she could get to truly distancing herself from her aristocratic lifestyle. Later on in the play, she keeps on this aspect by formulating Lёvborg's suicide - devising for others what she cannot experience herself.
Hedda's fear of truly experiencing the world around her is eventually what pushes her to retreat into her own specific realm. Because of this, she is not so much worried about the constraints of real life as she actually is with retaining her aesthetic looks. So that they can avoid acknowledging the monotonous life that she lives, she recoils into this visual world where everything is attractive and spontaneous. Using one occasion, she reviews to George Tesman: "I am going to not look after sickness and death. I loathe a variety of ugliness". The primary proponent of Hedda's fictional view on reality is Lёvborg himself, as she constantly envisions him bearing vine leaves in his scalp and reading from his manuscript, without a care for control or order: "And as for Eilert Lёvborg - he's sitting down, with vine leaves in his head of hair, reading his manuscript". That is a direct allusion to Greek and Roman mythology, as Dionysus, the god of wine beverages party, was always depicted with vine leaves in his wild hair, and therefore clear of health care. She idolizes Lёvborg to the point where she even appears upon his loss of life as a commendable function, as she refers to it as a courageous act: "I say there may be beauty in this  He has had the courage to do - the main one right thing". Based on Hedda's assertions and actions, one identifies that Hedda in simple fact cherishes aesthetic components over individual life itself.
Unfortunately for Hedda, even with many of these attempted solutions accessible - manipulation, unfeasible realities, living vicariously - she still locates herself caught in a nineteenth-century culture. Through the entire play, it may seem as though she is a rebellious figure, but she is still very limited by the social specifications that she loathes. Ibsen portrays this reality through Hedda's stance on scandalous tendencies, of which she actually is "mortally afraid". This dread of scandals is the reason the partnership between Hedda and Lёvborg finished. Her matrimony with George only transpired because population imposed this notion that she needed to marry someone. It is clear that she will not love her man, but she "won't listen to of any unfaithfulness" either, because that might be considered a scandal. Very important to her, however, is the fact that she retains herself both visually and emotionally. Though it is apparent she wishes to express her anger, she actually is restricted to "clenching her hands alongside one another in desperation" to avoid any disreputable outbursts that may issue with the societal formalities around her. Furthermore, Hedda actually acknowledges this fear, causing her to despise even herself for her conventional actions; she sees herself as "A terrible coward". Indeed, even in her fatality, she sees it fitting that she can take her own life in the interior room, behind finished curtains. This leads us to the question of her suicide altogether.
The reasoning behind Hedda's suicide can be prone to any number of causes. As is evident to the audience, she has been internally discontent throughout the whole play. It really is made clear that she actually is jaded, unable to get away from a monotonous relationship, emotionally subdued, and pregnant with a child which she obviously does not want. However miserable she's been however, she's got by relatively well. Therefore, there are several opportunities in regards to what occasions lead her to finally take her own life.
Firstly, the fact that Judge Brack has finally gained considerable vitality over Hedda certainly takes on a large part in her suicide pursuing minutes later. As Hedda exclaims: "A slave, a slave then!  No-I can't carry the thought of it! Never!". This represents the turning point for Hedda's desire to control others, as she now does not have any leverage, and the one being handled is her. Her suicide may have also occurred because of her fear of scandals, as stated earlier. In the final act of the play, she must determine between facing the general public scandal of a study regarding the pistol, or the private scandal of the affair with Judge Brack; too horrified of the scandal, she commits suicide to avoid facing either alternative. From another viewpoint however, she may took her own life to in truth confirm her courage; in doing this, she sustains her cosmetic ideologies (by dying "nobly"), frees herself of societal requirements, and shows herself to guage Brack and her husband. By committing suicide, she feels that she actually is proving a noble death is in fact possible, and that she actually is facing her fear of scandals, as what is more scandalous than spontaneous suicide? This is really the most optimistic interpretation of her suicide, and one must also consider that perhaps she simply cannot find anything to live for. Just before her suicide, Hedda asks George whether he needs her for anything, to which he replies: "No, nothing at all on the globe, " offering her an aura of utter futility. Similar to the persona of Mrs. Elvsted, an other woman in the play, Hedda just can't face the forlorn prospect of emptiness this is the norm for the nineteenth-century lifestyle.
In conclusion, the type of Hedda Gabler is one with convoluted motives. Under tough repression from societal requirements, in which the first is shunned for the slightest function of indiscretion, Hedda must resort to understated manipulation and unaggressive aggression to be able to captivate herself and find something in her life worthwhile living for. Though why she actually is not quite happy with her life as a woman during the nineteenth-century - as Mrs. Elvsted supposedly is - is never truly realized. One might say that she actually is portrayed as a woman that is ahead of her time, though her concern with scandals and therefore her cowardice seem to be to confine her to her nineteenth-century lifetime, one which she actually is content in abandoning.