Stella Kowalski and Hedda Gabler

Stella Kowalski and Hedda Gabler

Henrik Ibsen's character, Hedda Gabler, shares some similarities with the oppressed housewife, Stella Kowalski in Tennessee Williams' play, "A Streetcar Named Desire."

Ibsen's play was originally published in 1891 in Munich, Germany, whereas Williams' "Streetcar" is relatively recent, having been first published in the U.S. In 1947.

However, in spite of the 56-year time span and the vast differences in the two cultures, the basic nature of the female characters portrayed have some parallels; Stella in 1947 is no more evolved as an individual than Hedda in 1891 in terms of her autonomy, her honesty, or her ability to handle her own life.

Stella Kowalski has made a major concession in marrying Stanley Kowalski, a working-class, brutish sort who is far beneath the aristocratic social class of people with whom Stella was raised. Stanley has none of the manners, social skills or money that someone of Stella's station would customarily have married. However, from the beginning of the play, Stella seems to exhibit an underlying lack of confidence, and settling for her less-than-perfect marriage to Stanley is one more indicator of that. As the play progresses, we see that perhaps Stella has always felt inadequate as compared to her more glamorous sister, Blanche. Stella asks Blanche to try not to compare Stanley to men "that we went out with at home" (Sc. 1, pg. 17). Although she has settled for less than she might have, Stella is a kind and forgiving person who, at least in her own mind, believes that she is in love with her husband, in spite of his flaws.

Hedda Gabler, on the other hand, not only shows no lack of confidence, but is rude and conceited, speaking in condescending tones to her husband and to his beloved aunt.

Hedda has also come from a high level of social status, but rather than being humble and kind like Stella, Hedda is cruel and conniving, with an air of superiority. We learn that her seeming kindness to an old schoolmate is just her sly way of gathering information and that, in fact, she had been cruel to Thea when they were in school, mocking Thea's "irritating hair" (Ibsen, Act 2, pg. 48). Hedda's perceived station in society has served only to make her a more self-centered, grasping person for whom appearance is of utmost importance.

Stella, although she is disappointed that the family property has been lost, is not a snob. She accepts the circumstances of her modest lifestyle with Stanley, apparently holding no resentment. Hedda Gabler is a schemer, whose decision to marry was based on the potential for more money, higher status and wealth through her husband's accomplishments. Hedda was primarily interested in Tesman because he wanted to "provide" for her, and because he wanted to give her a nice home in which she had expressed a false interest. Stella, although her reasons for marrying may be questionable, truly cares about Stanley Kowalski. She is considerate of his need for a poker night, and is respectful of him as a person, whereas Hedda talks behind Tesman's back about how utterly boring he is.

An interesting contrast between Hedda Gabler and Stella Kowalski is their consideration for others. Stella is almost too accommodating, not only to her sister but to her husband, waiting on them both and putting their needs ahead of her own. She is generous and giving. Her focus on and concern for others is also demonstrated in her asking about Mitch's ailing mother, and bringing her a custard (Williams, Scene 3, pg. 51).

Hedda is out only for herself and her own needs. She will not share in her husband's concern about his future, telling him to "Leave me out of it" (Ibsen, Act 2, pg. 52).

Tesman's competitor and Hedda's former lover, Lovborg, is a struggling alcoholic who has finally tried to quit and make something of his life. Hedda tries to shame him into drinking by alluding to the possibility that the other men are making fun of him for abstaining saying, "I saw it so plainly with Mr. Brack just now...He smiled so scornfully when you didn't dare to go with them to the table in there (Ibsen, Act 2, pg. 60).

Later, when Lovborg thinks he has lost his manuscript due to being drunk, she offers him a gun to shoot himself with, and privately burns the manuscript.

Although on the surface, Stella Kowalski is a more honest person than Hedda Gabler, the two women share the characteristic of dishonesty when it comes to facing the reality of their situations. Stella's lust for Stanley makes her willing to overlook his brutality toward her, and she returns to his bed even after he has beaten her. Stella also lies to herself about his brutality with her sister, Blanche, saying, "I couldn't believe her story and go on living with Stanley" (Williams, Scene 11, pg. 145).

Hedda is more blatantly dishonest in her dealings with people. She is a game-player who is willing to go to incredible lengths to amuse herself at others' expense, and gone so far in her dishonesty as to marry a man who believes she loves him. Although Stella will continue to live with her dishonesty, Hedda's has gone too far and, when she realizes she may be implicated in Lovborg's death, she kills herself and her unborn child.

Both Stella and Hedda are tragic figures. Stella, although she thinks she is happy, is stuck in a depressing life with a cruel alcoholic. Hedda, lost in her own misery and entangled in guilt from her manipulation of others, finally, and selfishly, ends her own life.

Another trait the two women have in common is their utter dependence on men.

It is a sign of the times in which these plays were written that both women were automatically subjected to the necessity of being married, even if it meant putting up with untenable circumstances or a life without love. Hedda married Tesman in desperation; Stella stays with Stanley out of desperation. Stella even sacrifices her sister for Stanley, not because she does not love her, but because she needs Stanley for her survival.

Hedda sacrifices herself rather than face up to her unbearable future with a man she does not love, and a future that would force her to face the consequences of her actions.

In both plays, women are portrayed as the weaker sex in every respect. Although the male characters, such as Stanley Kowalski, Tesman and Lovborg are tormented as well, it is the women whose mental and emotional problems are the focus. Ultimately, their health and survival are entirely tied to their relationships with the men in their lives. Neither play suggests the possibility that there might be a reasonable way out of their situations or a reasonable alternative. There is no suggestion that Stanley Kowalski might need some kind of mental health intervention for his drinking or his brutal behavior. Stella does not even consider life without Stanley, and is dependent upon him emotionally, financially and mentally, even though he is abusive to her.