The play shall deal with "the impossible," that is, to aspire to and strive for something which is against all the conventions, against that which is acceptable to conscious minds—Hedda's included.
- The episode of the hate makes Aunt Rising lose her composure. She leaves—That it could be taken for the maid's hat—no, that's going too far!
That my hat, which I've had for over nine years, could be taken for the maid's—no, that's really too much!…
- Very few true parents are to be found in the world. Most people grow up under the influence of aunts or uncles—either neglected and misunderstood or else spoiled.…
- Hedda feels herself demoniacally attracted by the tendencies of the times. But she lacks courage. Her thoughts remain theories, ineffective dreams.
- The feminine imagination is not active and independently creative like the masculine. It needs a bit of reality as a help.
- Løvborg has had inclinations toward "the bohemian life." Hedda is attracted in the same direction, but she does not dare to take the leap.
- Buried deep within Hedda there is a level of poetry. But the environment frightens her. Suppose she were to make herself ridiculous!
- Hedda realizes that she, much more than Thea, has abandoned her husband.
- The newly wedded couple return home in September—as the summer is dying. In the second act they sit in the garden—but with their coats on.
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