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Hedda Gabler, A Parody of A Doll's House?

A great many papers and books have been written about A Doll’s House and Hedda Gabler since they were published or staged late in the 19 century. This year, 2006, 100 years after Ibsen’s death, the National Theatre in Oslo planned and managed a huge Ibsen festival. It may be only a coincidence, but many productions of A Doll’s House and Hedda Gabler were shown at the festival, either Norwegian productions or foreign ones. As is well known, Ibsen said that each of his works should be regarded as a part of a grand cycle (Preface to the Norwegian edition of his Samlede Værker), but he later stated in an interview with the newspaper Verdens Gang (December 12, 1899) that the series started with A Doll’s House. And he also replied to Count Prozor, a French translator, that Prozor was right in assuming that The Master Builder was a starting point for his new dramaturgy at a late stage of his career. From these statements of Ibsen’s we could conclude that a smaller cycle of plays, which are called nutidsdrama in Norwegian, began with A Doll’s House and ended with Hedda Gabler. The first and the last play of this cycle stand in clear contrast to each other. Anyone can see that Nora and Hedda are characters of opposite types; the one goes out of the house slamming the door at the end, and the other never goes out but ends up by shooting herself in the cage-like house. It would be more appealing to the public if the cycle presented a transformation from a woman shooting herself in despair to a woman freeing herself from the old morals with a hope for the future. But Ibsen wrote the plays in the reverse order, which suggests that the social or family situation for women was in reality getting worse and worse in the modern male-centric society. It is particularly hopeless