1890 is very much a landmark year in the psychological development of fictional characters.
So specious is the dramatist, so subtle is his skill in misrepresentations, so fatal is his power of persuasion that for a moment we believe Hedda Gabler is a noble heroine, and not a fiend, and that Lovborg is deserving of our pity and not our condemnation. (Clement Scott – The Daily Telegraph, 1891)
Ibsen’s greatest play and the most interesting woman that he has created – she is compact with all the vices, she is instinct with all the virtues of womanhood. (Justin Huntly McCarthy, London Black and White, April 25, 1891)
What a hopeless specimen of degeneracy is Hedda Gabler! A vicious, heartless, cowardly, unmoral, mischief-making vixen. (The Ledger, Philadelphia, February 13, 1904)
What a marvel of stupidity and nonsense the author did produce in this play! It is incredible to think that only a score of years ago the audience sat seriously before its precious dullness. (G.B. Shaw)
Ibsen created a masterpiece in Hedda Gabler, a crystal example of a maladjusted woman. She has sisters in every city, for she belongs to the widely dispersed sorority of moderately comfortable women whose restlessness and envy arise from their false standards of happiness, as well as from their egotism and uselessness. No doubt she existed in the past but her specific type is undeniably modern. Unlike the women of the older middle class who had their noses to the grindstone of the hearth, who reared children and ran their home, the Heddas described by Ibsen are rootless… (John Gassner – Masters of the Drama)
…and of course the TV version from 1963 starring Ingrid Bergman.