Describe the relationship between hedda and george in act 1
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Character Analysis
Right from the get-go, it’s clear that George Tesman comes from a class below Hedda. Where she is formal and reserved, he is casual and open. At the least, he’s unsophisticated or, as Brack refers to him, "a simple soul."
Unfortunately for George, Hedda resents him for their class difference – something he can do nothing about. The big tip-off comes when she says, "with a touch of scorn," "Tesman always goes around worrying about how people are going to make a living." If he were an aristocrat, money wouldn’t be an issue. He wouldn’t HAVE to worry about it. (This cavalier attitude is Hedda’s approach to wealth, if you hadn’t noticed.)
But in Hedda’s eyes, George fails in more ways than one. Compare his professional life to that of Eilert. Eilert is creative, productive, daring; he’s just written two books, one incredibly controversial. When Tesman remarks that "It would never have occurred to [him] to write about anything like that," Hedda pointedly replies, "Of course not." George doesn’t create; he can only immerse himself in other people’s work. That’s why his defining prop (see "Tools of Characterization" for more) is a suitcase full of notes or a stack of books. "Setting other people’s papers in order [is] exactly what I can do best," he says. And he’s right.
Then there’s the social stuff. George just follows the rules without question. He makes a big deal out of Hedda having a chaperone if she’s going to sit with Eilert. In Act IV, when he first hears that Hedda has burned the manuscript, his response is, "It’s illegal disposition of lost property!"
Right from the get-go, it’s clear that George Tesman comes from a class below Hedda. Where she is formal and reserved, he is casual and open. At the least, he’s unsophisticated or, as Brack refers to him, "a simple soul."
Unfortunately for George, Hedda resents him for their class difference – something he can do nothing about. The big tip-off comes when she says, "with a touch of scorn," "Tesman always goes around worrying about how people are going to make a living." If he were an aristocrat, money wouldn’t be an issue. He wouldn’t HAVE to worry about it. (This cavalier attitude is Hedda’s approach to wealth, if you hadn’t noticed.)
But in Hedda’s eyes, George fails in more ways than one. Compare his professional life to that of Eilert. Eilert is creative, productive, daring; he’s just written two books, one incredibly controversial. When Tesman remarks that "It would never have occurred to [him] to write about anything like that," Hedda pointedly replies, "Of course not." George doesn’t create; he can only immerse himself in other people’s work. That’s why his defining prop (see "Tools of Characterization" for more) is a suitcase full of notes or a stack of books. "Setting other people’s papers in order [is] exactly what I can do best," he says. And he’s right.
Then there’s the social stuff. George just follows the rules without question. He makes a big deal out of Hedda having a chaperone if she’s going to sit with Eilert. In Act IV, when he first hears that Hedda has burned the manuscript, his response is, "It’s illegal disposition of lost property!"
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