Hedda Gabler, The master builder;

LIBRARY)

r OF

CALIFORNIA

SAN DIEGO
•• , — ~-~^s

THE COLLECTED WORKS

HENRIK IBSEN

VOLUME X

THE COLLECTED WORKS OF

HENRIK IBSEN

Copyright Edition. Complete in 11 Volumes
12mo. Price $1.00 each

ENTIRELY REVISED AND EDITED BY

WILLIAM ARCHER

Volume I. Feast of Solhaug, Lady Inger, Love's
Comedy

" II. The Vikings at Helgoland, The Pre-
tenders

" m. Brand

" IV. Peer Gynt

" V. Emperor and Galilean (2 parts)

" VI. League of Youth, Pillars of Society

" VII. A Doll's House, Ghosts

" VIII. An Enemy of the People, The Wild
Duck

" IX. Rosmersholm, The Lady from the Sea
X. Hedda Gabler, The Master Builder
" XI. Little Eyolf, John Gabriel Borkman,
When We Dead Awaken

CHARLES SCRIBNER'S SONS

THE COLLECTED WORKS OF

HENRIK IBSEN

COPYRIGHT EDITION
VOLUME X

HEDDA GABLER
THE MASTER BUILDER

TRANSLATED BY

EDMUND GOSSE AND WILLIAM ARCHER

WITH INTRODUCTIONS BY

WILLIAM ARCHER

NEW YORK

CHARLES SCRIBNER'S SONS
1907

INTRODUCTIONS BY WILLIAM ARCHER
Copyright, 1907, by Charles Scribner's Sons

CONTENTS

PAGE

INTRODUCTION TO " HEDDA GABLER " . . . vii

INTRODUCTION TO "THE MASTER BUILDER" . . xxi
" HEDDA GABLER" 1

Translated by EDMUND GOSSE and WILLIAM ARCHER

"THE MASTER BUILDER" 187

Translated by EDMUND GOSSK and WILLIAM ARCHER

HEDDA GABLER.

course with the fictitious personages was begin-
ning to make me quite nervous." To the same
correspondent he wrote on December 4 : " The
title of the play is Hedda Gabler. My intention
in giving it this name was to indicate that
Hedda, as a personality, is to be regarded rather
as her father's daughter than as her husband's
wife. It was not my desire to deal in this play
with so-called problems. What I principally
wanted to do was to depict human beings, hu-
man emotions, and human destinies, upon a
groundwork of certain of the social conditions
and principles of the present day."

So far we read the history of the play in the
official " Correspondence." 1 Some interesting
glimpses into the poet's moods during the period
between the completion of The Lady from the
Sea and the publication of Hedda Gabler are
to be found in the series of letters to Fraulein
Emilie Bardach, of Vienna, published by Dr.
George Brandes.2 This young lady Ibsen met at
Gossensass in the Tyrol in the autumn of 1889.
The record of their brief friendship belongs to
the history of The Master Builder rather than
to that of Hedda Gabler, but the allusions to his
work in his letters to her during the winter of
1889 demand some examination.

So early as October 7, 1889, he writes to her:
" A new poem begins to dawn in me. I will exe-
cute it this winter, and try to transfer to it the
bright atmosphere of the summer. But I feel
that it will end in sadness — such is my nature."
Was this "dawning" poem Hedda Gabler 1 Or

> Letters 214, 216, 217, 219.

2 In the Ibsen volume of Die Literatur (Berlin).

INTRODUCTION.

IX

was it rather The Master Builder that was ger-
minating in his mind? Who shall say? The
latter hypothesis seems the more probable, for it
is hard to believe that at any stage in the incu-
bation of Hedda GaUer he can have conceived
it as even beginning in a key of gaiety. A week
later, however, he appears to have made up his
mind that the time had not come for the poetic
utilisation of his recent experiences. He writes
on October 15: "Here I sit as usual at my
writing-table. Now I would fain work, but am
unable to. My fancy, indeed, is very active.
But it always wanders away. It wanders where
it has no business to wander during working
hours. I cannot repress my summer memories —
nor do I wish to. I live through my experiences
again and again and yet again. To transmute
it all into a poem, I find, in the meantime, im-
possible." Clearly, then, he felt that his imag-
ination ought to have been engaged on some
theme having no relation to his summer experi-
ences— the theme, no doubt, of Hedda Gabler.
In his next letter, dated October 29, he writes:
"Do not be troubled because I cannot, in the
meantime, create (dichten). In reality I am for
ever creating, or, at any rate, dreaming of some-
thing which, when in the fulness of time it
ripens, will reveal itself as a creation (Dicht-
ung)." On November 19 he says: "I am very
busily occupied with preparations for my new
poem. I sit almost the whole day at my writing-
table. Go out only in the evening for a little
while." The five following letters contain no
allusion to the play; but on September 18, 1890,
he wrote: "My wife and son are at present at

HEDDA G ABLER.

Kiva, on the Lake of Garda, and will probably
remain there until the middle of October, or even
longer. Thus I am quite alone here, and cannot
get away. The new play on which I am at pres-
ent engaged will probably not be ready until No-
vember, though I sit at my writing-table daily,
and almost the whole day long."

Here ends the history of Hedda Gdbler, so far
as the poet's letters carry us. Its hard clear out-
lines, and perhaps somewhat bleak atmosphere,
seem to have resulted from a sort of reaction
against the sentimental " dreamery " begotten of
his Gossensass experiences. He sought refuge in
the chill materialism of Hedda from the ardent
transcendentalism of Hilda, whom he already
heard knocking at the door. He was not yet in
the mood to deal with her on the plane of poetry.1

Hedda Gabler was published in Copenhagen
on December 16, 1890. This was the first of
Ibsen's plays to be translated from proof-sheets
and published in England and America almost
simultaneously with its first appearance in Scan-
dinavia. The earliest theatrical performance
took place at the Residenz Theater, Munich, on
the last day of January 1891, in the presence of
the poet, Frau Conrad-Ramlo playing the title-
part. The Lessing Theater, Berlin, followed suit
on February 10. Not till February 25 was the
play seen in Copenhagen, with Fru Hennings
as Hedda. On the following night it was given

1 Dr. Julius Elias (Xrne deutxche Rundschau, December
1906, p. 1462) makes the curious assertion that the character
of Thea Elvsted was in part borrowed from this " GossensaHser
Hildetypus." It is hard to see how even Ibsen's ingenuity
could distil from the same flower two such different essences
as Thea and Hilda.

INTRODUCTION. XI

for the first time in Christiania, the Norwegian
Hedda being Eroken Constance Bruun. It was
this production which the poet saw when he
visited the Christiania Theater for the first time
after his return to Norway, August 28, 1891. It
would take pages to give even the baldest list of
the productions and revivals of Hedda Gdbler in
Scandinavia and Germany, where it has always
ranked among Ibsen's most popular works. The
admirable production of the play by Miss Eliza-
beth Robins and Miss Marion Lea, at the Vaude-
ville Theatre, London, April 20, 1891, may rank
as the second great step towards the popularisa-
tion of Ibsen in England, the first being the
Charrington-Achurch production of A Doll's
House in 1889. Miss Robins afterwards repeated
her fine performance of Hedda many times, in
London, in the English provinces, and in New
York. The character has also been acted in
London by Eleonora Duse, and as I write (March
5, 1907) by Mrs. Patrick Campbell, at the Court
Theatre. In Australia and America, Hedda has
frequently been acted by Miss Nance O'Neill and
other actresses — quite recently by a Russian
actress, Madame Alia Nazimova, who (playing
in English) seems to have made a notable suc-
cess both in this part and in Nora. The first
French Hedda Gabler was Mile. Marthe Brandes,
who played the part at the Vaudeville Theatre,
Paris, on December 17, 1891, the performance
being introduced by a lecture by M. Jules Le-
maitre. In Holland, in Italy, in Russia, the
play has been acted times without number. In
short (as might easily have been foretold) it has
rivalled A Doll's House in world-wide popularity.

Xll HEDDA GABLER.

It has been suggested,1 I think without suffi-
cient ground, that Ibsen deliberately conceived
Hedda Gabler as an " international " play, and
that the scene is really the " west end " of any
great European city. To me it seems quite clear
that Ibsen had Christiania in mind, and the
Christiania of a somewhat earlier period than
the 'nineties. The electric cars, telephones, and
other conspicuous factors in the life of a modern
capital are notably absent from the play. There
is no electric light in Secretary Talk's villa. It
is still the habit for ladies to return on foot
from evening parties, with gallant swains escort-
ing them. This " suburbanism," which so dis-
tressed the London critics of 1891, was charac-
teristic of the Christiania Ibsen himself had
known in the 'sixties — the Christiania of Love's
Comedy — rather than of the greatly extended
and modernised city of the end of the century.
Moreover, Lovborg's allusions to the fiord, and
the suggested picture of Sheriff Elvsted, his
family and his avocations, are all distinctively
Norwegian. The truth seems to be very simple
— the environment and the subsidiary personages
are all thoroughly national, but Hedda herself is
an " international " type, a product of civilisa-
tion by no means peculiar to Norway.

We cannot point to any individual model or
models who " sat to " Ibsen for the character of
Hedda.2 The late Grant Allen declared that

1 See article by Herman Bang in Neue dentsche Rundschau.
December 1906, p. 1495.

2 Dr. Brahm (Neue deutsrhe Rundschau, December 1906,
p. 1422) says that after the first performance of Hedda (l^bler
in Berlin Ibsen confided to him that the character had been
suggested by a German lady whom he met in Munich, and who

INTRODUCTION. Xlll

Hedda was " nothing more nor less than the girl
we take down to dinner in London nineteen
times out of twenty"; in which case Ibsen must
have suffered from a superfluity of models, rather
than from any difficulty in finding one. But the
fact is that in this, as in all other instances, the
word " model " must be taken in a very different
sense from that in which it is commonly used
in painting. Ibsen undoubtedly used models for
this trait and that, but never for a whole figure.
If his characters can be called portraits at all,
they are composite portraits. Even when it
seems pretty clear that the initial impulse to-
wards the creation of a particular character came
from some individual, the original figure is en-
tirely transmuted in the process of harmonisa-
tion with the dramatic scheme. We need not,
therefore, look for a definite prototype of Hedda ;
but Dr. Brandes shows that two of that lady's
exploits were probably suggested by the anec-
dotic history of the day.

Ibsen had no doubt heard how the wife of a
well-known Norwegian composer, in a fit of
raging jealousy excited by her husband's pro-
longed absence from home, burnt the manuscript
of a symphony which he had just finished. The
circumstances under which Hedda burns Lov-
borg's manuscript are, of course, entirely dif-
ferent and infinitely more dramatic; but here
we have merely another instance of the dramati-
sation or " poetisation " of the raw material of
life. Again, a still more painful incident prob-

did not shoot, but poisoned herself. Nothing more seems to
be known of this lady. See, too, an article by Julias Elias in
the same magazine, p. 1460.

XIV HEDDA GABLER.

ably came to his knowledge about the same time.
A beautiful and very intellectual woman was
married to a well-known man who had been ad-
dicted to drink, but had entirely conquered the
vice. One day a mad whim seized her to put
his self-mastery and her power over him to the
test. As it happened to be his birthday, she
rolled into his study a small keg of brandy, and
then withdrew. She returned some time after-
wards to find that he had broached the keg, and
lay insensible on the floor. In this anecdote
we cannot but recognise the germ, not only of
Hedda's temptation of Lovborg, but of a large
part of her character.

" Thus," says Dr. Brandes, " out of small and
scattered traits of reality Ibsen fashioned his
close-knit and profoundly thought-out works of
art."

For the character of Eilert Lovborg, again,
Ibsen seems unquestionably to have borrowed
several traits from a definite original. A young
Danish man of letters, whom Dr. Brandes calls
Holm, was an enthusiastic admirer of Ibsen, and
came to be on very friendly terms with him.
One day Ibsen was astonished to receive, in
Munich, a parcel addressed from Berlin by this
young man, containing, without a word of ex-
planation, a packet of his (Ibsen's) letters, and
a photograph which he had presented to Holm.
Ibsen brooded and brooded over the incident, and
at last came to the conclusion that the young
man had intended to return her letters and
photograph to a young lady to whom he was
known to be attached, and had in a fit of aber-
ration mixed up the two objects of his worship.

INTRODUCTION. XV

Some time after, Holm appeared at Ibsen's
rooms. Pie talked quite rationally, but professed
to have no knowledge whatever of the letter-
incident, though he admitted the truth of Ibsen's
conjecture that the " belle dame sans merci " had
demanded the return of her letters and portrait.
Ibsen was determined to get at the root of the
mystery; and a little inquiry into his young
friend's habits revealed the fact that he broke
his fast on a bottle of port wine, consumed a
bottle of Rhine wine at lunch, of Burgundy at
dinner, and finished off the evening with one or
two more bottles of port. Then he heard, too,
how, in the course of a night's carouse, Holm
had lost the manuscript of a book; and in these
traits he saw the outline of the figure of Eilert
Lovborg.

Some time elapsed, and again Ibsen received a
postal packet from Holm. This one contained
his will, in which Ibsen figured as his residuary
legatee. But many other legatees were men-
tioned in the instrument — all of them ladies,
such as Fraulein Alma Rothbart, of Bremen,
and Fraulein Elise Kraushaar, of Berlin. The
bequests to these meritorious spinsters were so
generous that their sum considerably exceeded
the amount of the testator's property. Ibsen
gently but firmly declined the proffered inheri-
tance; but Holm's will no doubt suggested to
him the figure of that red-haired " Mademoiselle
Diana," who is heard of but not seen in Hedda
Gabler, and enabled him to add some further
traits to the portraiture of Lovborg. When the
play appeared, Holm recognised himself with
glee in the character of the bibulous man of let-

XVI HEDDA GABLER.

ters, and thereafter adopted " Eilert Lovborg "
as his pseudonym. I do not, therefore, see why
Dr. Brandes should suppress his real name; but
I willingly imitate him in erring on the side of
discretion. The poor fellow died several years
ago.

Some critics have been greatly troubled as to
the precise meaning of Hedda's fantastic vision
of Lovborg " with vine-leaves in his hair."
Surely this is a very obvious image or symbol
of the beautiful, the ideal, aspect of bacchic
elation and revelry. Antique art, or I am much
mistaken, shows us many figures of Dionysus
himself and his followers with vine-leaves en-
twined in their hair. To Ibsen's mind, at any
rate, the image had long been familiar. In Peer
Gynt (Act iv. sc. 8), when Peer, having carried
off Anitra, finds himself in a particularly festive
mood, he cries : " Were there vine-leaves around,
I would garland my brow." Again, in Emperor
and Galilean (Pt. ii. Act 1) where Julian, in the
procession of Dionysus, impersonates the god
himself, it is directed that he shall wear a wreath
of vine-leaves. Professor Dietrichson relates
that among the young artists whose society Ib-
sen frequented during his first years in Rome,
it was customary, at their little festivals, for the
revellers to deck themselves in this fashion. But
the image is so obvious that there is no need to
trace it to any personal experience. The attempt
to. place Hedda's vine-leaves among Ibsen's ob-
scurities is an example of the firm resolution not
to understand which animated the criticism of
the 'nineties.

Dr. Braudes has dealt very severely with the

INTRODUCTION. XV11

character of Eilert Lovborg, alleging that we
cannot believe in the genius attributed to him.
But where is he described as a genius? The
poet represents him as a very able student of
sociology; but that is a quite different thing
from attributing to him such genius as must
necessarily shine forth in every word he utters.
Dr. Brandes, indeed, declines to believe even in
his ability as a sociologist, on the ground that it
is idle to write about the social development of
the future. " To our prosaic minds,"t he says,
" it may seem as if the most sensible utterance
on the subject is that of the fool of the play:
' The future ! Good heavens, we know nothing
of the future.' " The best retort to this criticism
is that which Eilert himself makes : " There's a
thing or two to be said about it all the same."
The intelligent forecasting of the future (as
Mr. H. G. Wells has shown) is not only clearly
distinguishable from fantastic Utopianism, but
is indispensable to any large statesmanship or
enlightened social activity. With very real and
very great respect for Dr. Brandes, I cannot
think that he has been fortunate in his treat-
ment of Lovborg's character. It has been repre-
sented as an absurdity that he should think of
reading abstracts from his new book to a man
like Tesman, whom he despises. But though
Tesman is a ninny, he is, as Hedda says, a " spe-
cialist " — he is a competent, plodding student of
his subject. Lovborg may quite naturally wish
to see how his new method, or his excursion into
a new field, strikes the average scholar of the
Tesman type. He is, in fact, " trying it on the
dog" — neither an unreasonable nor an unusual

XV111 HEDDA GABLER.

proceeding. There is, no doubt, a certain im-
probability in the way in which Lovborg is rep-
resented as carrying his manuscript around, and
especially in Mrs. Elvsted's production of his
rough draft from her pocket; but these are me-
chanical trifles, on which only a niggling criti-
cism would dream of laying stress.

Of all Ibsen's works, Hedda Gabler is the most
detached, the most objective — a character-study
pure and simple. It is impossible — or so it seems
to me — \o extract any sort of general idea from
it. One cannot even call it a satire, unless one
is prepared to apply that term to the record of
a " case " in a work on criminology. Reverting
to Dumas's dictum that a play should contain
" a painting, a judgment, an ideal," we may say
that Hedda Gabler fulfils only the first of these
requirements. The poet does not even pass judg-
ment on his heroine : he simply paints her full-
length portrait with scientific impassivity. But
what a portrait ! How searching in insight, how
brilliant in colouring, how rich in detail ! Grant
Allen's remark, above quoted, was, of course, a
whimsical exaggeration : the Hedda type is not
so common as all that, else the world would
quickly come to an end. But particular traits
and tendencies of the Hedda type are very com-
mon in modern life, and not only among women.
HyperaBSthesia lies at the root of her tragedy.
With a keenly critical, relentlessly solvent intel-
ligence, she combines a morbid shrinking from
all the gross and prosaic detail of the sensual
life. She has nothing to take her out of her-
self— not a single intellectual interest or moral
enthusiasm. She cherishes, in a languid way, a

INTRODUCTION. XIX

petty social ambition ; and even that she finds
obstructed and baffled. At the same time she
learns that another woman has had the courage
to love and venture all, where she, in her cow-
ardice, only hankered and refrained. Her malign
egoism rises up uncontrolled, and calls to its aid
her quick and subtle intellect. She ruins the
other woman's happiness, but in doing so incurs
a danger from which her sense of personal dig-
nity revolts. Life has no such charm for her
that she cares to purchase it at the cost of
squalid humiliation and self -contempt. The good
and the bad in her alike impel her to have done
with it all; and a pistol-shot ends what is surely
one of the most poignant character-tragedies in
literature. Ibsen's brain never worked at higher
pressure than in the conception and adjustment
of those " crowded hours " in which Hedda, tan-
gled in the web of Will and Circumstance, strug-
gles on till she is too weary to struggle any more.
It may not be superfluous to note that the
" a " in " Gabler " should be sounded long and
full, like the "a" in " garden "—no i like the
"a" in "gable" or in "gabble."

W. A.

THE MASTER BUILDER.

INTRODUCTION*

WITH The Master Builder — or Master Builder
Solness, as the title runs in the original — we
enter upon the final stage in Ibsen's career.
" You are essentially right," the poet wrote to
Count Prozor in March 1900, " when you say
that the series which closes with the Epilogue
(When We Dead Awaken) began with Master
Builder Solness."

" Ibsen," says Dr. Brahm, " wrote in Chris-
tiania all the four works which he thus seems
to bracket together — Solness, Eyolf, Borkman,
and When We Dead Awaken. He returned to
Norway in July 1891, for a stay of indefinite
length; but the restless wanderer over Europe
was destined to leave his home no more. . . . He
had not returned, however, to throw himself,
as of old, into the battle of the passing day.
Polemics are entirely absent from the poetry of
his old age. He leaves the State and Society
at peace. He who had departed as the creator
of Falk [in Love's Comedy] now, on his return,
gazes, not satirically, but rather in a lyric mood,
into the secret places of human nature and the
wonders of his own soul."

* Copyright, 1907, by Charles Scribner's Sons.

xxi

XX11 THE MASTER BUILDER.

Dr. Brahm, however, seems to be mistaken in
thinking that Ibsen returned to Norway with no
definite intention of settling down. Dr. Julius
Elias (an excellent authority) reports that short-
ly before Ibsen left Munich in 1891, he remarked
one day, " I must get back to the North ! " " Is
that a sudden impulse ? " asked Elias. " Oh no,"
was the reply; "I want to be a good head of a
household and have my affairs in order. To that
end I must consolidate my property, lay it down
in good securities, and get it under control —
and that one can best do where one has rights
of citizenship." Some critics will no doubt be
shocked to find the poet whom they have written
down an " anarchist " confessing such bourgeois
motives.

After his return to Norway, Ibsen's corre-
spondence became very scant, and we have no
letters dating from the period when he was at
work on The Master Builder. On the other
hand, we possess a curious lyrical prelude to the
play, which he put on paper on March 16, 1892.
It is said to have been his habit, before setting
to work on a play, to " crystallise in a poem the
mood which then possessed him ; " but the fol-
lowing is the only one of these keynote poems
which has been published. I give it in the
original language, with a literal translation:

DE SAD DER, DE TO—

De sad der, de to, i saa lunt et bus
ved h6st og i vinterdage,
Saa braandte huset. Alt ligger i grus.
De to faar i asken rage.

For nede i den er et smykke gemt, —
et smykke, eom aldrig kan braende.

INTRODUCTION. XX111

Og leder de trofast, haender det nemt
at det findes af ham. eller hende.

Men finder de end, de brandlidte to,
det dyre, ildfaste smykke, —
aldrig h n finder sin braendte tro,
ban aldrig sin braendte lykke.

THEY SAT THERE, THE TWO—

They sat there, the two, in so cosy a house, through autumn
and winter days. Then the house burned down. Everything
lies in ruins. The two must grope among the ashes.

For among them is hidden a jewel — a jewel that never can
burn. And if they search faithfully, it may easily happen
that he or she may find it.

But even should they find it, the burnt-out two — find this
precious unburnable jewel — never will she find her burnt
faith, h e never his burnt happiness.

This is the latest piece of Ibsen's verse that has
been given to the world; but one of his earliest
poems — first printed in 1858 — was also, in some
sort, a prelude to The Master Builder. Of this
a literal translation may suffice. It is called

BUILDING-PLANS

I remember as clearly as if it had been to-day the evening
when, in the paper, I saw my first poem in print. There I
sat in my den, and, with long-drawn puffs, I smoked and I
dreamed in blissful self-complacency.

"I will build a cloud-castle. It shall shine all over the
North. It shall have two wings : one little and one great.
The great wing shall shelter a deathless poet ; the little wing
shall serve as a young girl's bower."

The plan seemed to me nobly harmonious ; but as time went
on it fell into confusion. When the master grew reasonable,
the castle turned utterly crazy; the great wing became too
little, the little wing fell to ruin.

Thus we see that, thirty-five years before the
date of The Master Builder, Ibsen's imagination

XXIV THE MASTER BUILDER.

was preoccupied with a symbol of a master build-
ing a castle in the air, and a young girl in one
of its towers.

There has been some competition among the
poet's young lady friends for the honour of hav-
ing served as his model for Hilda. Several, no
doubt, are entitled to some share in it. One is
not surprised to learn that among the papers he
left behind were sheaves upon sheaves of letters
from women. " All these ladies," says Dr. Julius
Elias, " demanded something of him — some cure
for their agonies of soul, or for the incompre-
hension from which they suffered; some solution
of the riddle of their nature. Almost every one
of them regarded herself as a problem to which
Ibsen could not but have the time and the in-
terest to apply himself. They all thought they
had a claim on the creator of Nora. ... Of this
chapter of his experience, Fru Ibsen spoke with
ironic humour. ' Ibsen (I have often said to
him), Ibsen, keep these swarms of over-strained
womenfolk at arm's length.' ' Oh no (he would
reply), let them alone. I want to observe them
more closely.' His observations would take a
longer or shorter time as the case might be, and
would always contribute to some work of art."

The principal model for Hilda was doubtless
Fraulein Emilie Bardach, of Vienna, whom he
met at Gossensass in the autumn of 1889. He
was then sixty-one years of age; she is said to
have been seventeen. As the lady herself handed
his letters to Dr. Brandes for publication, there
can be no indiscretion in speaking of them freely.
Some passages from them I have quoted in the
introduction to Hedda Gabler — passages which

INTRODUCTION. XXV

show that at first the poet deliberately put aside
his Gossensass impressions for use when he
should stand at a greater distance from them,
and meanwhile devoted himself to work in a
totally different key. On October 15, 1889, he
writes, in his second letter to Fraulein Bardach:
" I cannot repress my summer memories, nor do
I want to. I live through my experiences again
and again, and yet again. To transmute it all
into a poem I find, in the meantime, impossible.
In the meantime? Shall I succeed in doing so
some time in the future? And do I really wish
to succeed? In the meantime, at any rate, I do
not. . . . And yet it must come in time." The
letters number twelve in all, and are couched in
a tone of sentimental regret for the brief, bright
summer days of their acquaintanceship. The
keynote is struck in the inscription on the back
of a photograph which he gave her before they
parted: An die Maisonne eines Septemberlebens
—in Tirol,1 27/9/89. In her album he had
written the words:

Hohes, schmerzliches Gliick —
um das Unerreichbare zu ringen ! *

in which we may, if we like, see a foreshadowing
of the Solness frame of mind. In the fifth let-
ter of the series he refers to her as " an enig-
matic Princess " ; in the sixth he twice calls her
" my dear Princess " ; but this is the only point
at which the letters quite definitely and unmis-
takably point forward to The Master Builder.

1 "To the May-sun of a September life — in Tyrol."

2 " High, painful happiness — to struggle for the unattain-
able ! "

XXVI THE MASTER BUILDER.

In the ninth letter (February 6, 1890) he says:
" I feel it a matter of conscience to end, or at
any rate, to restrict, our correspondence." The
tenth letter, six months later, is one of kindly
condolence on the death of the young lady's
father. In the eleventh (very short) note, dated
December 30, 1890, he acknowledges some small
gift, but says : " Please, for the present, do not
write to me again. ... I will soon send you my
new play \Hedda, Gabler]. Receive it in friend-
ship, but in silence ! " This injunction she ap-
parently obeyed. When The Master Builder
appeared, it would seem that Ibsen did not even
send her a copy of the play; and we gather that
he was rather annoyed when she sent him a
photograph signed " Princess of Orangia." On
his seventieth birthday, however, she telegraphed
her congratulations, to which he returned a very
cordial reply. And here their relations ended.

That she was right, however, in regarding her-
self as his principal model for Hilda appears
from an anecdote related by Dr. Elias.1 It is
not an altogether pleasing anecdote, but Dr.
Elias is an unexceptionable witness, and it can
by no means be omitted from an examination
into the origins of The Master Builder. Ibsen
had come to Berlin in February 1891 for the
first performance of Hedda Gabler. Such expe-
riences were always a trial to him, and he felt
greatly relieved when they were over. Packing,
too, he detested; and Elias having helped him
through this terrible ordeal, the two sat down to
lunch together, while awaiting the train. An
expansive mood descended upon Ibsen, and chuc-
1 Neue deutsche Rundschau, December, 1906, p. 1462.

INTRODUCTION. XXV11

kling over his champagne glass, he said : " Do
you know, my next play is already hovering
before me — of course in vague outline. But of
one thing I have got firm hold. An experience:
a woman's figure. Very interesting, very inter-
esting indeed. Again a spice of devilry in it."
Then he related how he had met in the Tyrol a
Viennese girl of very remarkable character. She
had at once made him her confidant. The gist
of her confessions was that she did not care a
bit about one day marrying a well brought-up
young man — most likely she would never marry.
What tempted and charmed and delighted her
was to lure other women's husbands away from
them. She was a little daemonic wrecker; she
often appeared to him like a little bird of prey,
that would fain have made him, too, her booty.
He had studied her very, very closely. For the
rest, she had had no great success with him.
" She did not get hold of me, but I got hold of
her — for my play. Then I fancy " (here he
chuckled again) " she consoled herself with some
one else." Love seemed to mean for her only a
sort of morbid imagination. This, however, was
only one side of her nature. His little model
had had a great deal of heart and of womanly
understanding; and thanks to the spontaneous
power she could gain over him, every woman
might, if she wished it, guide some man towards
the good. " Thus Ibsen spoke," says Elias,
" calmly and coolly, gazing as it were into the
far distance, like an artist taking an objective
view of some experience — like Lubek speaking
of his soul-thefts. He had stolen a soul, and put
it to a double employment. Thea Elvsted and

XXV111 THE MASTER BUILDER.

Hilda Wangel are intimately related — are, in-
deed, only different expressions of the same na-
ture." If Ibsen actually declared Thea and
Hilda to be drawn from one model, we must of
course take his word for it; but the relationship
is hard to discern.

There can be no reasonable doubt, then, that
the Gossensass episode gave the primary impulse
to The Master Builder. But it seems pretty
well established, too, that another lady, whom he
met in Christiania after his return in 1891, also
contributed largely to the character of Hilda.
This may have been the reason why he resented
Fraulein Bardach's appropriating to herself the
title of " Princess of Orangia."

The play was published in the middle of De-
cember 1892. It was acted both in Germany and
England before it was seen in the Scandinavian
capitals. Its first performance took place at the
Leasing Theatre, Berlin, January 19, 1893, with
Emanuel Reicher as Solness and Frl. Reisen-
hofer as Hilda. In London it was first performed
at the Trafalgar Square Theatre (now the Duke
of York's) on February 20, 1893, under the di-
rection of Mr. Herbert Waring and Miss Eliza-
beth Robins, who played Solness and Hilda.
This was one of the most brilliant and success-
ful of English Ibsen productions. Miss Robins
was almost an ideal Hilda, and Mr. Waring's
Solness was exceedingly able. Some thirty per-
formances were given in all, and the play was
reproduced at the Opera Comique later in the
season, with Mr. Lewis Waller as Solness. In
the following year Miss Robins acted Hilda in
Manchester. In Christiania and Copenhagen the

INTRODUCTION. XXIX

play was produced on the same evening, March
8, 1893; the Copenhagen Solness and Hilda were
Emil Poulsen and Fru Hennings. A Swedish
production, by Lindberg, soon followed, both in
Stockholm and Gothenburg. In Paris Solness le
constructeur was not seen until April 3, 1894,
when it was produced by " L'CEuvre " with M.
Lugne-Poe as Solness. This company, sometimes
with Mme. Suzanne Despres and sometimes with
Mme. Berthe Bady as Hilda, in 1894 and 1895
presented the play in London, Brussels, Amster-
dam, Milan, and other cities. In October 1894
they visited Christiania, where Ibsen was present
at one of their performances, and is reported by
Herman Bang to have been so enraptured with
it that he exclaimed, " This is the resurrection
of my play ! " On this occasion Mme. Bady was
the Hilda. The first performance of the play in
America took place at the Carnegie Lyceum,
New York, on January 16, 1900, with Mr. Will-
iam H. Pascoe as Solness and Miss Florence
Kahn as Hilda. The performance was repeated
in the course of the same month, both at Wash-
ington and Boston.

In England, and probably elsewhere as well,
The Master Builder produced a curious double
effect. It alienated many of the poet's staunch-
est admirers, and it powerfully attracted many
people who had hitherto been hostile to him.
Looking back, it is easy to see why this should
have been so ; for here was certainly a new thing
in drama, which could not but set up many novel
reactions. A greater contrast could scarcely be
imagined than that between the hard, cold, pre-
cise outlines of Hedda Gabler and the vague

XXX THE MASTER BUILDER.

mysterious atmosphere of The Master Builder,
in which, though the dialogue is sternly re-
strained within the limits of prose, the art of
drama seems for ever on the point of floating
away to blend with the art of music. Substan-
tially, the play is one long dialogue between Sol-
ness and Hilda; and it would be quite possible
to analyse this dialogue in terms of music, not-
ing (for example) the announcement first of this
theme and then of that, the resumption and re-
inforcement of a theme which seemed to have
been dropped, the contrapuntal interweaving1 of
two or more motives, a scherzo here, a fugal pas-
sage there. Leaving this exercise to some one
more skilled in music (or less unskilled) than
myself, I may note that in The Master Builder
Ibsen resumes his favourite retrospective method,
from which in Hedda Gabler he had in great
measure departed. But the retrospect with which
we are here concerned is purely psychological.
The external events involved in it are few and
simple in comparison with the external events
which are successively unveiled in the retrospec-
tive passages of The Wild Duck or Rosmersholm.
The matter of the play is the soul-history of
Halvard Solness, recounted to an impassioned
listener — so impassioned, indeed, that the soul-
changes it begets in her form an absorbing and
thrilling drama. The graduations, retardations,
accelerations of Solness's self-revealment are
managed with the subtlest art, so as to keep the
interest of the spectator ever on the stretch.
The technical method was not new; it was sim-
ply that which Ibsen had been perfecting from
Pillars of Society onward; but it was applied to

INTRODUCTION. XXXI

a subject of a nature not only new to him, but
new to literature.

That the play is full of symbolism it would
be futile to deny; and the symbolism is mainly
autobiographic. The churches which Solness
sets out by building doubtless represent Ibsen's
early romantic plays, the " homes for human
beings " his social dramas ; while the houses with
high towers, merging into " castles in the air,"
stand for those spiritual dramas, with a wide
outlook over the metaphysical environment of
humanity, on which he was henceforth to be en-
gaged. Perhaps it is not altogether fanciful to
read a personal reference into Solness's refusal
to call himself an architect, on the ground that
his training has not been systematic — that he is
a self-taught man. Ibsen too was in all essen-
tials self-taught; his philosophy was entirely
unsystematic; and, like Solness, he was no stu-
dent of books. There may be an introspective
note also in that dread of the younger genera-
tion to which Solness confesses. It is certain
that the old Master-Builder was not lavish of
his certificates of competence to young aspirants,
though there is nothing to show that his reti-
cence ever depressed or quenched any rising
genius.

On the whole, then, it cannot be doubted that
several symbolic motives are inwoven into the
iridescent fabric of the play. But it is a great
mistake to regard it as essentially and insepa-
rably a piece of symbolism. Essentially it is
history of a sickly conscience, worked out in
terms of pure psychology. Or rather, it is a
study of a sickly and a robust conscience side

XXX11 THE MASTER BUILDER.

by side. " The conscience is very conservative,"
Ibsen has somewhere said; and here Solness's
conservatism is contrasted with Hilda's radical-
ism— or rather would-be radicalism, for we are
led to suspect, towards the close, that the radical
too is a conservative in spite of herself. The
fact that Solness cannot climb as high as he
builds implies, I take it, that he cannot act as
freely as he thinks, or as Hilda would goad him
into thinking. At such an altitude his con-
science would turn dizzy, and life would become
impossible to him. But here I am straying back
to the interpretation of symbols. My present
purpose is to insist that there is nothing in the
play which has no meaning on the natural-
psychological plane, and absolutely requires a
symbolic interpretation to make it comprehen-
sible. The symbols are harmonic undertones;
the psychological melody is clear and consistent
without any reference to them.1 It is true that,
in order to accept the action on what we may
call the realistic level, we must suppose Solness
to possess and to exercise, sometimes in spite of
himself, and sometimes unconsciously, a consid-
erable measure of hypnotic power. But the time
is surely past when we could reckon hypnotism
among " supernatural " phenomena. Whether

1 This conception I have worked out at much greater length in
an essay, entitled The Melody of the Master Builder, appended
to the shilling edition of the play, published in 1893. I there
retell the story, transplanting it to England and making the
hero a journalist instead of an architect, in order to show
that (it we grant the reality of certain commonly-accepted
phenomena of hypnotism) there is nothing incredible or even
extravagantly improbable about it. The argument is far too
long to be included here, but the reader who ia interested in
the subject may find it worth referring to.

INTRODUCTION. XXX111

the particular forms of hypnotic influence at-
tributed to Solness do actually exist is a question
we need not determine. The poet does not de-
mand our absolute credence, as though he were
giving evidence in the witness-box. What he
requires is our imaginative acceptance of cer-
tain incidents which he purposely leaves hover-
ing on the border between the natural and the
preternatural, the explained and the unexplained.
In this play, as in The Lady from the Sea and
Little Eyolf, he shows a delicacy of art in his
dalliance with the occult which irresistibly re-
calls the exquisite genius of Nathaniel Haw-
jthorne.1

"' The critics who insist on finding nothing but
symbolism in the play have fastened on Mrs.
Solness's " nine lovely dolls," and provided the
most amazing interpretations for them. A letter
which I contributed in 1893 to the Westminster
Gazette records an incident which throws a curi-
ous light on the subject, and may be worth pre-
serving. " At a recent first night," I wrote, " I
happened to be seated just behind a well-known
critic. He turned round to me and said, ' I
want you to tell me what is your theory of those
" nine lovely dolls." Of course one can see that
they are entirely symbolical.' ' I am not so sure
of that,' I replied, remembering a Norwegian
cousin of my own who treasured a favourite doll
until she was nearer thirty than twenty. ' They
of course symbolise the unsatisfied passion of
motherhood in Mrs. Solness's heart, but I have

1 For an instance of the technical methods by which he
suggested the supernormal element in the atmosphere of the
play, see Introduction to A DolVs House, p. xiv.

XXXIV THE MASTER BUILDER.

very little doubt that Ibsen makes use of this
" symbol " because he has observed a similar case,
or cases, in real life.' ' What ! ' cried the critic.
' He has seen a grown-up, a middle-aged, woman
continuing to " live with " her dolls ! ' I was
about to say that it did not seem to me so very
improbable, when a lady who was seated next me,
a total stranger to both of us, leant forward and
said, ' Excuse my interrupting you, but it may
perhaps interest you to know that I have three
dolls to which I am deeply attached!' I will
not be so rude as to conjecture this lady's age, but
we may be sure that a very young woman would
not have had the courage to make such an
avowal. Does it not seem that Ibsen knows a
thing or two about human nature — English as
well as Norwegian — which we dramatic critics,
though bound by our calling to be subtle psychol-
ogists, have not yet fathomed ? " In the course
of the correspondence which followed, one very
apposite anecdote was quoted from an American
paper, the Argonaut: "An old Virginia lady
said to a friend, on finding a treasured old cup
cracked by a careless maid, ' I know of nothing
to compare with the affliction of losing a hand-
some piece of old china.' ' Surely,' said the
friend, ' it is not so bad as losing one's children.'
' Yes, it is,' replied the old lady, ' for when your
children die, you do have the consolations of
religion, you know.'"

It would be a paradox to call The Master
Builder Ibsen's greatest work, but one of his
three or four greatest it assuredly is. Of all his
writings, it is probably the most original, the
most individual, the most unlike any other

INTRODUCTION. XXXV

drama by any other writer. The form of Brand
and Peer Gynt was doubtless suggested by other
dramatic poems — notably by Faust. In The
Wild Duck, in Rosmersholm, in Hedda Gabler,
even in Little Eyolf and John Gabriel BorTcman,
there remain faint traces of the French leaven
which was so strong in the earlier plays. But
The Master Builder had no model and has no
parallel. It shows no slightest vestige of outside
influence. It is Ibsen, and nothing but Ibsen.

W. A.

HEDDA GABLER

(1890)

VOL. X.

CHARACTERS.

GEORGE

HEDDA TESMAN, his wife.

Miss JULIANA TESMAN, his aunt.

MRS. ELVSTED.

JUDGE2 BRACK.

ElLERT LOVBORG.

BERTA, servant at the Tesmans.

The scene of the action is Tesmari's vitta, in the west end
of Christiania..

1 Tesman, whose Christian name in the original is " Jbrgen,"
is described as "stipendiat i kulturhistorie " — that is to say, the
holrler of a scholarship for purposes of research into the History
of Civilisation.

1 In the original ' ' Assessor."

HEDDA GABLER.

PLAY IN FOUR ACTS.

ACT FIRST.

A spacious, handsome, and tastefully furnished draw-
ing-room, decorated in dark colours. In the back,
a wide doorway with curtains drawn back, leading
into a smaller room decorated in the same style as
the drawing-room. In the right-hand wall of the
front room, a folding door leading out to the hall.
In the opposite wall, on the left, a glass door,
also with curtains drawn back. Through the
panes can be seen part of a veranda outside, and
trees covered with autumn foliage. An oval table,
with a cover on it, and surrounded by chairs,
stands well forward. In front, by the wall on
the right, a wide stove of dark porcelain, a high-
backed arm-chair, a cushioned foot-rest, and two
footstools. A settee, with a small round table in
front of it, Jills the tipper right-hand corner. In
front, on the left, a little way from the wall, a
sofa. Further back than the glass door, a piano.
On either side of the doorway at the back a what-
not with terra-cotta and majolica ornaments. —
Against the back wall of the inner room a so fa, with

4 HEDDA GABLER. [ACT I.

a table, and one or two chairs. Over the sofa
hangs the portrait of a handsome elderly man in
a General's uniform. Over the table a hanging
lamp, with an opal glass shade. — A number of
bouquets are arranged about the drawing-room, in
vases and glasses. Others lie upon the tables.
The floors in both rooms are covered with thick
carpets. — Morning light. The sun shines in
through the glass door.

Miss JULIANA TESMAN, with her bonnet on andcarn/-
ing a parasol, comes in from the half, follon-cd
by BERTA, who carries a bouquet wrapped in
paper. Miss TESMAN is a comely and pleasant-
looking lady of about sixty-Jive. She is nicely
but simply dressed in a grey walking-costume.
BERTA is a middle aged woman of plain and
rather countrified appearance.

Miss TESMAN.

[Stops close to the door, listens, and says softly :]
Upon my word, I don't believe they are stirring
yet!

BERTA.

[Also softlyJ] I told you so, Miss. Remember
how late the steamboat got in last night. And
then, when they got home ! — good Lord, what a
lot the young mistress had to unpack before she
could get to bed.

Miss TESMAN.

Well well — let them have their sleep out. But
let us see that they get a good breath of the fresh
morning air when they do appear.

[She goes to the glass door and throws it
open.

ACT I.] HEDDA GABLER. 5

BERTA.

[Beside the table, at a loss what to do with the bouquet
in her hand.] 1 declare there isn't a bit of room
left. I think I'll put it down here, Miss.

[She places it on the piano.

Miss TESMAN.

So you've got a new mistress now, my dear
Berta. Heaven knows it was a wrench to me to
part with you.

BERTA.

[Ore the point of weeping.] And do you think
it wasn't hard for me too, Miss ? After all the
blessed years I've been with you and Miss Rina.1

Miss TESMAN.

We must make the best of it, Berta. There was
nothing else to be done. George can't do with-
out you, you see — he absolutely can't. He has
had you to look after him ever since he was a little
boy.

BERTA.

Ah but, Miss Julia, I can't help thinking of
Miss Rina lying helpless at home there, poor thing.
And with only that new girl too ! She'll never
learn to take proper care of an invalid.

Miss TESMAN.

Oh, I shall manage to train her. And of course
you know, I shall take most of it upon myself-
You needn't be uneasy about my poor sister, my
dear Berta.

1 Pronounce Reena.

HEDDA GABLER. ACT I-

BERTA.

Well, but there's another thing, Miss. I'm so
mortally afraid I shan't be able to suit the young
mistress.

Miss TESMAN.

Oh well — just at first there may be one or two

things

BERTA.
Most like she'll be terrible grand in her ways.

Miss TESMAN.

Well, you can't wonder at that — General Ga bier's
daughter ! Think of the sort of life she was accus-
tomed to in her father's time. Don't you remem-
ber how we used to see her riding down the road
along with the General ? In that long black habit
— and with *eathers in her hat ?

BERTA.

Yes indeed — I remember well enough ! — But,
good Lord, I should never have dreamt in those
days that she and Master George would make a
match of it.

Miss TESMAN.

Nor I. — But by-the-bye, Berta — while I think
of it : in future you mustn't say Master George.
You must say Dr. Tesman.

BERTA.

Yes, the young mistress spoke of that too — last
night— the moment they set foot in the house.
Is it true then, Miss ?

Miss TESMAN.
Yes, indeed it is. Only think, Berta — some

VCT I.] HEDDA GABLER. 7

foreign university has made him a doctor — while
he has been abroad, you understand. I hadn't
heard a word about it, until he told me himself
upon the pier.

BERTA.

Well well, he's clever enough for anything, he
is. But I didn't think he'd have gone in for doc-
toring people too.

Miss TESMAN.

No no, it's not that sort of doctor he is. [Nods
significantly.] But let me tell you, we may
have to call him something still grander before
long.

BERTA.
You don't say so ! What can that be, Miss?

Miss TESMAN.

[Smiling.] H'm — wouldn't you like to know !
[ With emotion.] Ah, dear dear — if my poor brother
could only look up from his grave now, and see
what his little boy has grown into ! [Looks around.]
But bless me, Berta — why have you done this ?
Taken the chintz covers off all the furniture?

BERTA.

The mistress told me to. She can't abide covers
on the chairs, she says.

Miss TESMAN.

Are they going to make this their everyday
sitting-room then ?

BERTA.

Yes, that's what I understood — from the mistress.
Master George — the doctor — he said nothing.

8 HEDDA GABLER. [ACT I.

GEORGE TESMAN comes from the right into the inner
room, humming to himself, and currying an un-
strapped empty portmanteau. He is a middle-
sized, young looking man of thirty-three, rather
stout, with a round, open, cheerful face, fair hair
and beard. He wears spectacles, and is some-
what carelessly dressed in comfortable indoor
clothes.

Miss TESMAN.
Good morning, good morning, George.

TESMAN.

[/« the doorway between the rooms.] Aunt Julia !
Dear Aunt Julia ! [Goes up to her and shakes hands
warmly] Come all this way — so early ! Eh ?

Miss TESMAN.

Why, of course I had to come and see how you
were getting on.

TESMAN.

In spite of your having had no proper night's
rest ?

Miss TESMAN.
Oh, that makes no difference to me.

TESMAN.

Well, I suppose you got home all right from the
pier ? Eh ?

Miss TESMAN.

Yes, quite safely, thank goodness. Judge
Brack was good enough to see me right to my
door.

TESMAN.
We were so sorry we couldn't give you a seat in

ACT I.] HEDDA GABLER. 9

the carriage. But you saw what a pile of boxes
Hedela had to bring with her.

Miss TESMAN.
Yes, she had certainly plenty of boxes.

BERTA.

[To TESMAN.] Shall I go in and see if there's
anything I can do for the mistress ?

TESMAN.

No thank you, Berta — you needn't. She said
she would ring if she wanted anything.

BERTA.
[Going towards the right.] Very well.

TESMAN.

But look here — take this portmanteau with
you.

BERTA,
[Taking it.] I'll put it in the attic.

[She goes out by the hall door

TESMAN.

Fancy, Auntie — I had the whole of that port-
manteau chock full of copies of documents. You
wouldn't believe how much I have picked up from
all the archives I have been examining — curious
old details that no one has had any idea
of—

Miss TESMAN.

Yes, you don't seem to have wasted your time
on your wedding trip, George.

10 HEDDA GABLER. [ACT I.

TESMAN.

No, that I haven't. But do take off your bon-
net, Auntie. Look here ! Let me untie the
strings — eh ?

Miss TESMAN.

[While he does so.] Well well — this is just as if
you were still at home with us.

TESMAN.

[ With the bonnet in his hand, looks at it from all
sides.] Why, what a gorgeous bonnet you've
been investing in !

Miss TESMAN.
I bought it on Hedda's account.

TESMAN.
On Hedda's account ? Eh ?

Miss TESMAN.

Yes, so that Hedda needn't be ashamed of me
if we happened to go out together.

TESMAN.

[Patting her cheek] You always think of every-
thing, Aunt Julia. [Lays the bonnet on a chair beside
the table.] And now, look here — suppose we sit
comfortably on the sofa and have a little chat, till
Hedda comes.

[They seat themselves. She places her para
sol in the corner of the sofa.

Miss TESMAN.

[Takes both his hands and looks at him.] What a
delight it is to have you again, as large as life,
before my very eyes, George ! My George — my
p oorbrother's own boy !

ACT I.] HEDDA GABLER. ll

TESMAN.

And it's a delight for me, too, to see you again,
Aunt Julia ! You, who have been father and
mother in one to me.

Miss TESMAN.

Oh yes, I know you will always keep a place in
your heart for your old aunts.

TESMAN.

And what about Aunt Rina ? No improvement
—eh?

Miss TESMAN.

Oh no — we can scarcely look for any improve-
ment in her case, poor thing. There she lies,
helpless, as she has lain for all these years. But
heaven grant I may not lose her yet awhile : For
if I did, I don't know what I should make of my
life, George — especially now that I haven't you to
look after any more.

TESMAN.
[Patting her back.] There there there !

Miss TESMAN.

[Suddenly changing her toneJ\ And to think that
here are you a married man, George ! — And that
you should be the one to carry off Hedda Gabler
— the beautiful Hedda Gabler ! Only think of it
— she, that was so beset with admirers !

TESMAN.

[Hums a little and smiles complacently.] Yes, I
fancy I have several good friends about town who
would like to stand in my shoes — eh ?

12 HEDDA GABLEK. [ACT I.

Miss TESMAN.

And then this fine long wedding-tour you have
had ! More than five — nearly six months —

TESMAN.

Weil, for me it has been a sort of tour of re-
search as well. I have had to do so much grubbing
among old records — and to read no end of books
too, Auntie.

Miss TESMAN.

Oh yes, I suppose so. [More conjidentially, and
lowering her voice a little.] But listen now, George,
—have you nothing— nothing special to tell me ?

TESMAN.
As to our journey ?

Miss TESMAN.
Yes.

TESMAN.

No, I don't know of anything except what I have
told you in my letters. I had a doctor's degree
conferred on me — but that I told you yesterday.

Miss TESMAN.

Yes, yes, you did. But what I mean is — haven't
you any — any — expectations ?

TESMAN.
Expectations ?

Miss TESMAN.
Why you know, George — I'm your old auntie !

TESMAN.
Why, of course 1 have expectations.

ACT I.] HEDDA GABLER. 13

Miss TESMAN.
Ah!

TESMAN.

I have every expectation of being a professor
one of these days.

Miss TESMAN.
Oh yes, a professor —

TESMAN.

Indeed, I may say I am certain of it. But my
dear Auntie — you know all about that already !

Miss TESMAN.

[Laughing to herself.] Yes, of course I do. You
are quite right there. \Changingthe subject.] Butwe
were talking about your journey. It must have
cost a great deal of money, George ?

TESMAN.

Well, you see — my handsome travelling-scholar-
ship went a good way.

Miss TESMAN.

But I can't understand how you can hare made
it go far enough for two.

TESMAN.
No, that's not so easy to understand — eh ?

Miss TESMAN.

And especially travelling with a lady — they tell
me that makes it ever so much more expensive

TESMAN.

Yes, of course — it makes it a little more expen-
sive. But Hedda had to have this trip, Auntie!
She really had to. Nothing else would have done.

14 HEDDA GABLER. [ACT I.

Miss TESMAN.

No no, I suppose not. A wedding-tour seems to
be quite indispensable nowadays. — But tell me now
— have you gone thoroughly over the house yet ?

TESMAN.

Yes, you may be sure I have. I have been afoot
ever since daylight.

Miss TESMAN.
And what do you think of it all ?

TESMAN.

I'm delighted ! Quite delighted ! Only I can't
think what we are to do with the two empty rooms
between this inner parlour and Hedda's bedroom.

Miss TESMAN.

[Laughing.] Oh my dear George, I daresay you
may find some use for them — in the course of
time.

TESMAN.

Why of course you are quite right, Aunt Julia !
You mean as my library increases — eh ?

Miss TESMAN.

Yes, quite so, my dear boy. It was your library
I was thinking of.

TESMAN.

I am specially pleased on Hedda's account.
Often and often, before we were engaged, she said
that she would never care to live anywhere but
in Secretary Falk's villa.1

1 In the original, " Statsradinde Falks villa" — showing that
it had belonged to the widow of a cabinet minister.

ACT I.] HEDDA GABLER. 15

Miss TESMAN.

Yes, it was lucky that this very house should
come into the market, just after you had started.

TESMAN.

Yes, Aunt Julia, the luck was on our side,
wasn't it — eh ?

Miss TESMAN.

But the expense, my dear George ! You will
find it very expensive, all this.

TESMAN.

[Looks at her, a little cast down.] Yes, I suppose
I shall, Aunt !

Miss TESMAN.
Oh, frightfully !

TESMAN.

How much do you think ? In round numbers? —
Eh?

Miss TESMAN.

Oh, I can't even guess until all the accounts
come in.

TESMAN.

Well, fortunately, Judge Brack has secured the
most favourable terms for me, — so he said in a
letter to Hedda.

Miss TESMAN.

Yes, don't be uneasy, my dear boy. — Besides,
I have given security for the furniture and all the
carpets.

TESMAN.

Security ? You ? My dear Aunt Julia — what
sort of security could you give ?

16 HEDDA 6ABLER. [ACT I.

Miss TESMAN.
I have given a mortgage on our annuity.

TESMAN.

f Jumps upJ] What ! On your — and Aunt Rina's
annuity !

Miss TESMAN.

Yes, I knew of no other plan, you see.

TESMAN.

[Placing himself before her.] Have you gone
out of your senses, Auntie ! Your annuity — it's
all that you and Aunt Rina have to live upon.

Miss TESMAN.

Well well — don't get so excited about it. It's
only a matter of form you know — Judge Brack
assured me of that. It was he that was kind
enough to arrange the whole affair for me A mere
matter of form, he said.

TESMAN.

Yes, that may be all very well. But never-
theless—

Miss TESMAN.

You will have your own salary to depend upon
now. And, good heavens, even if we did have to

pay up a little ! To eke things out a bit at

the start ! Why, it would be nothing but a

pleasure to us.

TESMAN.

Oh Auntie — will you never be tired of making
sacrifices for me '

Miss TESMAN.
[Rises and lays her hand on his shoulders.] Have

ACT I.] HEDDA GABLER. 17

I any other happiness in this world except
to smooth your way for you, my dear boy ? You,
who have had neither father nor mother to depend
on. And now we have reached the goal, George !
Things have looked black enough for us, some-
times ; but, thank heaven, now you have nothing
to fear.

TESMAN.

Yes, it is really marvellous how everything has
turned out for the best.

Miss TESMAN.

And the people who opposed you — who wanted
to bar the way for you — now you have them at
your feet. They have fallen, George Your most
dangerous rival — his fall was the worst. — And now
he has to lie on the bed he has made for himself
— poor misguided creature.

TESMAN.

Have you heard anything of Eilert ? Since I
went away, I mean.

Miss TESMAN.

Only that he is said to have published a new
book.

TESMAN.
What ! Eilert Lovborg ! Recently — eh ?

Miss TESMAN.

Yes, so they say. Heaven knows whether it
can be worth anything I Ah, when your new
book appears — that will be another story, George 1
What is it to be about ?

18 HEDDA GABLER. [ACT I.

TESMAN.

It will deal with the domestic industries of
Brabant during the Middle Ages.

Miss TESMAN.

Fancy — to be able to write on such a subject as
that !

TESMAN.

However, it may be some time before the book
is ready. I have all these collections to arrange
first, you see.

Miss TESMAN.

Yes, collecting and arranging — no one can beat
you at that. There you are my poor brother's own
son.

TESMAN.

I am looking forward eagerly to setting to work
at it ; especially now that I have my own delightful
home to work in.

Miss TESMAN.

And, most of all, now that you have got the wife
of your heart, my dear George.

TESMAN.

[Embracing her.} Oh yes, yes, Aunt Julia
Hedda — she is the best part of it all ! [Looks
towards the doorway.] I believe I hear her coming
—eh?

HEDDA enters from the left through the inner room.
She is a woman of nine-and twenty. Her face
and Jigure show refinement and distinction. Her
complexion is pale and opaque. Her steel-grey
eyes express a cold, unruffled repose. Her hair

ACT I.] HEDDA GABLER. 19

is of an agreeable medium brown, but not par-
ticularly abundant. She is dressed in a tasteful,
somewhat loose-Jilting morning gown.

Miss TESMAN.

[Going to meet HEDDA.] Good morning, my dear
Hedda ! Good morning, and a hearty welcome

HEDDA.

[Holds out her hand.] Good morning, dear Miss
Tesman ! So early a call ! That is kind of you.

Miss TESMAN.

[With some embarrassment.] Well — has the bride
slept well in her new home ?

HEDDA.
Oh yes, thanks. Passably.

TESMAN.

[Laughing.] Passably ! Come, that's good,
Hedda ! You were sleeping like a stone when I
got up.

HEDDA.

Fortunately. Of course one has always to
accustom one's self to new surroundings, Miss
Tesman — little by little. [Looking towards the left.]
Oh — there the servant has gone and opened the
veranda door, and let in a whole flood of sunshine

Miss TESMAN.

[Going towards the door.] Well, then we will
shut it.

20 HEDDA GABLER. [ACT I.

HEDDA.

No no, not that ! Tesrrian, please draw the
curtains. That will give a softer light.

TESMAN.

[At the door.] All right — all right. — There now,
Hedda, now you have both shade and fresh air.

HEDDA.
Yes, fresh air we certainly must have, with all

these stacks of flowers . But — won't you sit

down, Miss Tesman ?

Miss TESMAN.

No, thank you. Now that I have seen that
everything is all right here — thank heaven! — I
must be getting home again. My sister is lying
longing for me, poor thing.

TESMAN.

Give her my very best love, Auntie ; and say 1
shall look in and see her later in the day.

Miss TESMAN.

Yes, yes, I'll be sure to tell her. But by-the-
bye, George — [Feeling in her dress pocket] — I
had almost forgotten — I have something for you
here.

TESMAN.

What is it, Auntie ? Eh ?

Miss TESMAN.

[Produces aflat parcel wrapped in newspaper and
hands it to him.] Look here, my dear boy.

TESMAN.
[Opening the parcel. J Well, I declare ! — Have you

ACT I.] HEDDA GABLER. 21

really saved them for me, Aunt Julia ! Hedda !
isn't this touching — eh ?

HEDDA.

[Beside the whatnot on the right.] Well, what
is it?

TESMAN.
My old morning-shoes ! My slippers.

HEDDA.

Indeed. I remember you often spoke of them
while we were abroad.

TESMAN.

Yes, I missed them terribly. [Goes up to her.]
Now you shall see them, Hedda !

HEDDA.

[Going towards the stove.] Thanks, I really
don't care about it.

TESMAN.

[Following her.] Only think — ill as she was, Aunt
Rina embroidered these for me. Oh you can't
think how many associations cling to them.

HEDDA.

[At the table.] Scarcely for me.

Miss TESMAN.
Of course not for Hedda, George.

TESMAN.

Well, but now that she belongs to the family,
I thought

22 HEDDA GABLER. [ACT I.

HEDDA.

[Interrupting.] We shall never get on with this
servant, Tesman.

Miss TESMAN.
Not get on with Berta ?

TESMAN.
Why, dear, what puts that in your head ? Eh ?

HEDDA.

[Pointing.] Look there ! She has left her old
bonnet lying about on a chair.

TESMAN.

[In consternation, drops theslipjyers on the floor.
Why, Hedda

HEDDA.

Just fancy, if any one should come in and
see it !

TESMAN.
But Hedda — that's Aunt Julia's bonnet.

HEDDA.

Is it!

Miss TESMAN.

[Taking up the bonnet.] Yes, indeed it's mine.
And, what's more, it's not old, Madam Hedda.

HEDDA.

I really did not look closely at it, Miss
Tesman.

ACT I.] HEDDA GABLER. 23

Miss TESMAN.

[Trying on the bonnet.] Let me tell you it's
the first time I have worn it — the very first time.

TESMAN.

And a very nice bonnet it is too — quite a
beauty !

Miss TESMAN.

Oh, it's no such great things, George. [Looks
around her.] My parasol— — ? Ah, here. [Takes
it.] For this is mine too — [mutters] — not Berta's.

TESMAN.

A new bonnet and a new parasol ! Only think,
Hedda !

HEDDA.
Very handsome indeed.

TESMAN.

Yes, isn't it ? Eh ? But Auntie, take a good
look at Hedda before you go ! See how hand-
some she is !

Miss TESMAN.

Oh, my dear boy, there's nothing new in that.
Hedda was always lovely.

[She nods and goes towards the nght.

TESMAN.

[Following.] Yes, but have you noticed what
splendid condition she is in ? How she has filled
out on the journey ?

HEDDA.
[Crossing the room.] Oh, do be quiet J

24 HEDDA GABLER. [ACT I.

Miss TESMAN.
[WTio has stopped and turned.] Filled out ?

TESMAN.

Of course you don't notice it so much now
;hat she has that dress on. But I, who can

see

HEDDA.

[At the glass door, impatiently.] Oh, you can't see
my thing.

TESMAN.
It must be the mountain air in the Tyrol

HEDDA.

[Curtly, interrupting.] I am exactly as I was when
I started.

TESMAN.

So you insist ; but I'm quite certain you are
not. Don't you agree with me, Auntie ?

Miss TESMAN.

[Who has been gazing at her with folded hands.]
Hedda is lovely — lovely — lovely. [Goes up to her,
takes her head between both hands, draws it down-
wards, and kisses her hair.] God bless and pre-
serve Hedda Tesman — for George's sake.

HEDDA.
[Gently freeing herself.] Oh — ! Let me go.

Miss TESMAN.

[In quiet emotion.] I shall not let a day pass
without coming to see you.

TESMAN.
No you won't, will you, Auntie ? Eh ?

ACT I.] HEDDA GABLER. 25

Miss TESMAN.
Good-bye — good-bye !

[She goes out by the hall door. TESMAN
accompanies her. The door remains
half open. TESMAN can be heard re-
peating his message to Aunt Rina and his
thanks Jor the slippers.

[In the meantime, HEDDA walks about the

room, raising her arms and clenching her

hands as if in desperation. Then she

flings back the curtains from the glass

door, and stands there looking out.

[Presently TESMAN returns and closes the
door behind him.

TESMAN.

[Picks up the slippers from the floor.] What are
you looking at, Hedda ?

HEDDA.

[Once more calm and mistress of herself.] I
am only looking at the leaves. They are so
yellow — so withered.

TESMAN.

[Wraps up the slippers and lays them on the
table.] Well you see, we are well into September
now.

HEDDA.

[Again restless.] Yes, to think of it .'—Already
in — in September.

TESMAN.

Don't you think Aunt Julia's manner was
strange, dear ? Almost solemn ? Can you imagine
what was the matter with her ? Eh ?

26 HEDDA GABLER. [ACT I.

HEDDA.

I scarcely know her, you see. Is she not often
like that ?

TESMAN.
No, not as she was to-day.

HEDDA.

[Leaving the glass door.] Do you think she was
annoyed about the bonnet ?

TESMAN.

Oh, scarcely at all. Perhaps a little, just at the
moment —

HEDDA.

But what an idea, to pitch her bonnet about in
the drawing room ! No one does that sort of
thing.

TESMAN.

Well you may be sure Aunt Julia won't do it
again.

HEDDA.

In any case, I shall manage to make my peace
with her,

TESMAN.
Yes, my dear, good Hedda, if you only would .

HEDDA.

When you call this afternoon, you might invite
her to spend the evening here.

TESMAN.

Yes, that I will. And there's one thing more
you could do that would delight her heart.

ACT I.] HEDDA GABLER. 2?

HEDDA.
What is it ?

TESMAN.

If you could only prevail on yourself to say du l
to her. For my sake, Hedda ? Eh ?

HEDDA.

No no, Tesman — you really mustn't ask that ot
me. I have told you so already. I shall try to
call her " Aunt " ; and you must be satisfied with
that.

TESMAN.

Well well. Only I think now that you belong
to the family, you

HEDDA.
H'm — I can't in the least see why —

[She goes up towards the middle doorway.

TESMAN.

[After a pause.'] Is there anything the matter
with you, Hedda ? Eh ?

HEDDA.

I'm only looking at my old piano. It doesn't
go at all well with all the other things.

TESMAN.

The first time I draw my salary, we'll see about
exchanging it.

HEDDA.

No, no — no exchanging. I don't want to part
with it. Suppose we put it there in the inner

1 Du = them : Tesman means, ' ' If you could persuade your-
self to tufoyer her."

28 HEDDA OABLER. [ACT I.

room, and then get another here in its place.
When it's convenient, I mean.

TESMAN.

[A little taken aback.] Yes — of course we could
do that.

HEDDA.

[Takes up the bouquet from the piano J\ These
riowers were not here last night when we arrived

TESMAN.

Aunt Julia must have brought them for you.

HEDDA.

[Examining the bouquet.] A visiting-card. [Takes
it out and reads :] " Shall return later in the
day." Can you guess whose card it is ?

TESMAN.
iSTo. Whose ? Eh ?

HEDDA.
The name is " Mrs. Elvsted."

TESMAN.

Is it really ? Sheriff Elvsted's wife ? Miss
Rysing that was.

HEDDA.

Exactly. The girl with the irritating hair, that
she was always showing off. An old flame of
yours I've been told.

TESMAN.

[Laughing.'] Oh, that didn't last long ; and it
was before I knew you, Hedda. But fancy her
being in town !

ACT I.] HEDDA GABLER. 29

HEDDA.

It's odd that she should call upon us. I have
scarcely seen her since we left school.

TESMAN.

I haven't seen her either for — heaven knows
how long. I wonder how she can endure to live
in such aa out-of-the way hole — eh ?

HEDDA.

[After a moment's thought, says suddenly.] Tell
me, Tesman — isn't it somewhere near there that
he — that — Eilert Lovborg is living ?

TESMAN.

Yes, he is somewhere in that part of the
country.

BERTA enters by the hall door.

BERTA.

That lady, ma'am, that brought some flowers a
little while ago, is here again. [Pointing.] The
flowers you have in your hand, ma'am.

HEDDA.
Ah, is she ? Well, please show her in.

BERTA opens the door for MRS. ELVSTED, and goes
out herself. — MRS. ELVSTED is a woman oj
fragile figure, with pretty, soft features. Her
eyes are light blue, large, round, and somewhat
prominent, with a startled, inquiring expression.
Her hair is remarkably light, almost flaxen, and
unusually abundant and wavy. She is a couple
of years younger than HEDDA. She wears a
dark visiting dress, tasteful, but not quite in the
latest fashion.

30 HEDDA GABLER. [ACT I.

HEDDA.

[Receives her warmly.] How do you do, rny dear
Mrs. Elvsted ? It's delightful to see you again.

MRS. ELVSTED.

[Nervously, struggling for self-control.] Yes, it's
a very long time since we met.

TESMAN.
[Gives her his hand.] And we too — eh ?

HEDDA.
Thanks for your lovely flowers

MRS. ELVSTED.

Oh, not at all . I would have come straight

here yesterday afternoon ; but I heard that you

were away

TESMAN.
Have you just come to town ? Eh ?

MRS. ELVSTED.

I arrived yesterday, about midday. Oh, I was
quite in despair when I heard that you were not
at home.

HEDDA.
In despair ! How so ?

TESMAN.

Why, my dear Mrs. Rysing — I mean Mrs.
Elvsted—

HEDDA.
I hope that you are not in any trouble ?

ACT I.] HEDDA GABLER. 31

MRS. ELVSTED.

Yes, I am. And 1 don't know another living
creature here that I can turn to.

HEDDA.

[Laying the bouquet on the table.] Come — let us
sit here on the sofa

MRS. ELVSTED.
Oh, I am too restless to sit down.

HEDDA.
Oh no, you're not. Come here.

[She draws MRS. ELVSTED down upon the
sofa and sits at her side.

TESMAN. •

Well ? What is it, Mrs. Elvsted ?

HEDDA.

Has anything particular happened to you at
home?

MRS. ELVSTED.

Yes — and no. Oh — I am so anxious you
should not misunderstand me

HEDDA.

Then your best plan is to tell us the whole
story, Mrs. Elvsted.

TESMAN.
I suppose that's what you have come for — eh ?

MRS. ELVSTED.
Yes, yes — of course it is. Well then, I must

32 HEDDA G ABLER. [ACT I.

tell you — if you don't already know — that Eilert
Lovborg is in town, too.

HEDDA.
Lovborg !

TESMAN.

What ! Has Eilert Lovborg come back ? Fancy
that, Hedda !

HEDDA.
Well well — I hear it.

MRS. ELVSTED.

He has been here a week already. Just fancy
— a whole week ! In this terrible town, alone !
With so many temptations on all sides.

• HEDDA.

But, my dear Mrs. Elvsted — how does h e con-
cern you so much ?

MRS. ELVSTED.

[Looks at her with a startled air, and says rapidly '.]
He was the children's tutor.

HEDDA.
Your children's ?

MRS. ELVSTED.
My husband's. I have none.

HEDDA.
Your step-children's, then ?

MRS. ELVSTED.
Yes.

ACT I.~ HEDDA (J ABLER.

TESMAN.

[Someivhat hesitatingly.] Then was he — I don't
know how to express it — was he — regular enough
in his habits to be fit for the post ? Eh ?

MRS. ELVSTED.

For the last two years his conduct has been
irreproachable.

TESMAN.
Has it indeed ? Fancy that, Hedda !

HEDDA,
I hear it.

MRS. ELVSTED.

Perfectly irreproachable, I assure you ! In
every respect. But all the same — now that I
know he is here — in this great town — and with a
large sum of money in his hands — I can't help
being in mortal fear for him,

TESMAN.

Why did he not remain where he was ? With
you and your husband ? Eh ?

MRS. ELVSTED.

After his book was published he was too rest-
less and unsettled to remain with us.

TESMAN.

Yes, by-the-bye, Aunt Julia told me he had
published a new book.

MRS. ELVSTED.

Yes, a big book, dealing with the march of
civilisation — in broad outline, as it were. It came
x c

34 HEDDA GABLER. [ACT I.

out about a fortnight ago. And since it has sold
so well, and been so much read— and made such
a sensation —

TESMAN.

Has it indeed? It must be something he has
had lying by since his better days.

MRS. ELVSTED.
Long ago, you mean ?

TESMAN.
Yes.

MRS. ELVSTED.

No, he has written it all since he has been
with us— within the last year.

TESMAN.
Isn't that good news/Hedda ? Think of that .

MRS. ELVSTED.
Ah yes, if only it would last !

HEDDA.
Have you seen him here in town ?

MRS. ELVSTED.

No, not yet. I have had the greatest difficulty
in finding out his address. But this morning I
discovered it at last.

HEDDA,

[Looks searchingly at her.] Do you know, it seems
to me a little odd of your husband — h'm

MRS. ELVSTED.
[Starting nervously.] Of my husband ! What?

ACT I.] HEDDA GABLE R. 35

HEDDA.

That he should send you to town on such an
errand — that he does not come himself and look
after his friend.

MRS. ELVSTED.

Oh no, no — my husband has 110 time. And
besides, I — I had some shopping to do.

HEDDA.

\With a slight smiled] Ah, that is a different
matter.

MRS. ELVSTED.

[Rising quickly and uneasily.] And now I beg
and implore you, Mr. Tesman — receive Eilert
Lovborg kindly if he comes to you ! And that
he is sure to do. You see you were such great
friends in the old days. And then you are
interested in the same studies — the same branch
of science — so far as I can understand.

TESMAN.
We used to be, at any rate.

MRS, ELVSTED.

That is why I beg so earnestly that you— you
too — will keep a sharp eye upon him. Oh, you
will promise me that, Mr. Tesman — won't you ?

TESMAN.
With the greatest of pleasure, Mrs. Rysing

HEDDA.
Elvsted.

TESMAN.

I assure you I shall do all I possibly can for
Eilert. You may rely upon me.

36 HEDDA GABLER. [ACT I.

MRS. ELVSTED

Oh, how very, very kind of you ! [Presses his
hands.] Thanks, thanks, thanks ! [Frightened.]
You see, my husband is so very fond of him !

HEDDA.

[Rising.'] You ought to write to him, Tesman.
Perhaps he may not care to come to you of his
own accord.

TESMAN.

Well, perhaps it would be the right thing to
do, Hedda? Eh?

HEDDA.
A»d the sooner the better. Why not at once ?

MRS. ELVSTED.
[Imploringly.] Oh, if you only would !

TESMAN.

I'll write this moment. Have you his address,
Mrs.— Mrs. Elvsted.

MRS. ELVSTED.

Yes. [Takes a slip of paper from her pocket,
and hands it to him.] Here it is.

TESMAN.

Good, good. Then I'll go in [Looks about

him.] By-the-bye, — my slippers ? Oh, here.

[ Takes the packet, and is about to go.

HEDDA.

Be sure you write him a cordial, friendly letter.
And a good long one too.

ACT I.] HEDDA GABLER. 37

TESMAN,
Yes, I will.

MRS. ELVSTED.

But please, please don't say a word to show
that I have suggested it.

TESMAN.
No, how could you think I would ? Eh ?

[He goes out to the right, through the inner
room.

HEDDA.

[Goes up to MRS. ELVSTED, smiles, and says in a
low voice.] There ! We have killed two birds
with one stone.

MRS. ELVSTED.
What do you mean ?

HEDDA.
Could you not see that I wanted him to go ?

MRS. ELVSTED.
Yes, to write the letter

HEDDA.
And that I might speak to you alone.

MRS. ELVSTED.
[Confused.] About the same thing ?

HEDDA.
Precisely.

MRS. ELVSTED.

[Apprehensively.] But there is nothing more
Mrs. Tesman ! Absolutely nothing !

38 HEDDA GABLER. [ACT I.

HEDDA.

Oh yes, but there is. There is a great deal
more — I can see that. Sit here — and we'll have a
cosy, confidential chat.

[She forces M RS. ELVSTED lo sit in the easy-
chair beside the stove, and seats herself
on one of the footstools.

MRS. ELVSTED.

[Anxiously, looking at her watch.] But, my
dear Mrs. Tesman — I was really on the point of
going.

HEDDA.

Oh, you can't be in such a hurry.- — Well ? Now
tell me something about your life at home.

MRS. ELVSTED.
Oh, that is just what I care least to speak about.

HEDDA.

But to me, dear ? Why, weren't we

schoolfellows ?

MRS.. ELVSTED.

Yes, but you were in the class above me. Oh,
how dreadfully afraid of you I was then !

HEDDA.
Afraid of me ?

MRS. ELVSTED.

Yes, dreadfully. For when we met on the
stairs you used always to pull my hair.

HEDDA.
Did I, really ?

ACT I.J HEDDA GABLER. 39

MRS. ELVSTED.

Yes, and once you said you would burn it ott
my head.

HEDDA.
Oh that was all nonsense, of course.

MRS. ELVSTED.

Yes, but I was so silly in those days. — And
since then, too — we have drifted so far — far apart
from each other. Our circles have been so
entirely different.

HEDDA.

Well then, we must try to drift together again.
Now listen ! At school we said dul to each
other ; and we called each other by our Christian

names

MRS. ELVSTED.
No, I am sure you must be mistaken.

HEDDA.

No, not at all ! I can remember quite distinctly.
So now we are going to renew our old friendship.
[Draws the footstool closer to MRS. ELVSTED.]
There now ! [Kisses her cheek.] You must say du
to me and call me Hedda.

MRS. ELVSTED.

[Presses and pats her htmds.] Oh, how good and
kind you are ! I am not used to such kindness.

HEDDA.

There, there, there ! And I shall say rfwtoyou,
as in the old days, and call you my dear Thora.

1 See footnote, p. 27.

40 HEDDA GABLER. [ACT I.

MRS. ELVSTED.
My name is Thea.1

HEDDA.

Why, of course ! I meant Thea. [Looks at her
compassionately.] So you are not accustomed to
goodness and kindness, Thea ? Not in your own
home ?

MRS. ELVSTED.

Oh, if I only had a home ! But I haven't any ;
I have never had a home.

HEDDA.

[Looks at her Jor a moment .] I almost suspected
as much.

MRS. ELVSTED.
[Gazing helplessly before her.] Yes — yes — yes.

HEDDA.

I don't quite remember — was it not as house-
keeper that you first went to Mr. Elvsted's ?

MRS. ELVSTED.

I really went as governess. But his wife — his
late wife — was an invalid, — -and rarely left her
room. So I had to look after the housekeeping
as well.

HEDDA.

And then — at last — you became mistress of the
house.

MRS. ELVSTED.

[Sadly.] Yes, I did.

HEDDA.
Let me see — about how long ago was that ?

1 Pronounce Tora and Taya.

ACT I.] HEDDA GABLER. 41

MRS. ELVSTED.
My marriage ?

HEDDA.
Yes.

MRS. ELVSTED.
Five years ago.

HEDDA.
To be sure ; it must be that.

MRS. ELVSTED.

Oh those five years ! Or at all events the

last two or three of them ! Oh, if you ' could

only imagine •

HEDDA.

[Giving her a little slap on the hand.] De ?
Fie, Thea !

MRS. ELVSTED.

Yes, yes, I will try Well, if — you could

only imagine and understand •

HEDDA.

[Lightly.] Eilert Lovborg has been in youi
neighbourhood about three years, hasn't he ?

MRS. ELVSTED.

[Looks at her doubtfully.] Eilert Lovborg ?
Yes — he has.

HEDDA.
Had you known him before, in town here ?

MRS. ELVSTED.

Scarcely at all. I mean — I knew him by name
of course.

1 Mrs. Elvsted here uses the formal pronoun De, whereupon
Hedda rebukes her. In her next speech Mrs. Elvsted says du.

42 HEDDA GABLER. [ACT I.

HEDDA.
But you saw a good deal of him in the country ?

MRS. ELVSTED.

Yes, he came to us every day. You see, he
gave the children lessons ; for in the long run I
couldn't manage it all myself.

HEDDA.

No, that's clear. — And your husband ? I

suppose he is often away from home ?

MRS. ELVSTED.

Yes. Being sheriff, you know, he has to travel
about a good deal in his district.

HEDDA.

[ Leaning against the arm of the chair."] Thea — my

poor, sweet Thea — now you must tell me every-
thing— exactly as it stands.

MRS. ELVSTED.
Well then, you must question me.

HEDDA.

What sort of a man is your husband, Thea ? I
mean — you know— in everyday life. Is he kind
to you ?

MRS. ELVSTED.

[Evasively.] I am sure he means well in every-
thing.

HEDDA.

I should think he must be altogether too old
for you. There is at least twenty years' difference
between you, is there not ?

ACT I.] HEDDA GABLER. 4>3

MRS. ELVSTED.

[Irritably.] Yes, that is true, too. Everything
about him is repellent to me ! We have not a
thought in common. We have no single point of
sympathy — he and I.

HEDDA.

But is he not fond of you all the same ? In his
own way ?

MRS. ELVSTED.

Oh I really don't know. I think he regards me
simply as a useful property. And then it doesn't
cost much to keep me. I am not expensive.

HEDDA.
That is stupid of you.

MRS. ELVSTED.

[Shakes her head.] It cannot be otherwise —
not with him. I don't think he really cares for
any one but himself — and perhaps a little for the
children.

HEDDA
And for Eilert Lovberg, Thea.

MRS. ELVSTED.

[Looking at her.] For Eilert Lovborg ? What
puts that into your head ?

HEDDA.
Well, my dear — I should say, when he sends you

after him all the way to town [Smiling

almost imperceptibly.] And besides, you said so
yourself, to Tesman.

44 HEDDA OABLER. [ACT I.

MRS. ELVSTED.

[ With a little nervous twitch.] Did I ? Yes, I
suppose I did. [Vehemently, but not loudly.] No
— I may just as well make a clean breast of it at
once ! For it must all come out in any case.

HEDDA.
Why, my dear Thea ?

MRS. ELVSTED.

Well, to make a long story short : My husband
did not know that I was coming.

HEDDA.
What ' Your husband didn't know it '

MRS. ELVSTED.

No, of course not. For that matter, he was
away from home himself — he was travelling. Oh,
I could bear it no longer, Hedda ! I couldn't
indeed — so utterly alone as I should have been in
future.

HEDDA.
Well ? And then ?

MRS. ELVSTED.

So I put together some of my things — what I
needed most — as quietly as possible. And then I
left the house.

HEDDA.
Without a word ?

MRS. ELVSTED.
Yes — and took the train straight to town.

ACT I.] HEDDA GABLER. 45

HEDDA.

Why, my dear, good Thea — to think of you
daring to do it !

MRS. ELVSTED.

[Rises and moves about the roowz.] What else
could I possibly do ?

HEDDA.

But what do you think your husband will say
when you go home again ?

MRS. ELVSTED.
[At the table, looks at her.~\ Back to him ?

HEDDA.
Of course.

MRS. ELVSTED.
I shall never go back to him again.

HEDDA.

[Rising and going towards herJ\ Then you
have left your home — for good and all ?

MRS. ELVSTED.
Yes. There was nothing else to be done.

HEDDA.
But then — to take flight so openly

MRS. ELVSTED.

Oh, it's impossible to keep things of that sort
secret.

HEDDA.

But what do you think people will say of you,
Thea ?

46 HEDDA O ABLER. [ACT I.

MRS. ELVSTED.

They may say what they like, for aught / care.
[Seats herself wearily and sadly on the sofa.] I have
done nothing but what I had to do.

HEDDA.

[After a short silence.] And what are your
plans now ? What do you think of doing ?

MRS. ELVSTED.

I don't know yet. I only know this, that I
must live here, where Eilert Lovborg is — if I am
to live at all.

HEDDA.

[Takes a chair from the table, seats herself beside
her, and strokes her hands.] My dear Thea — how
did this — this friendship — between you and Eilert
Lovborg come about ?

MRS. ELVSTED.

Oh it grew up gradually. I gained a sort of
influence over him.

HEDDA.
Indeed ?

MRS. ELVSTED.

He gave up his old habits. Not because I
asked him to, for I never dared do that. But of
course he saw how repulsive they were to me ;
and so he dropped them.

HEDDA.

[Concealing an 'involuntary/ smile of scorn.] Then
you have reclaimed him — as the saying goes — my
little Thea.

ACT I.] HEDDA GABLEH. 47

MRS. ELVSTED.

So he says himself, at any rate. And he, on
his side, has made a real human being of me —
taught me to think, and to understand so many
things.

HEDDA.

Did he give you lessons too, then ?

MRS. ELVSTED.

No, not exactly lessons. But he talked to me
— talked about such an infinity of things. And
then came the lovely, happy time when I began
to share in his work — when he allowed me to help
him!

HEDDA.
Oh he did, did he ?

MRS. ELVSTED.

Yes ! He never wrote anything without my
assistance.

HEDDA.

You were two good comrades, in fact ?

MRS. ELVSTED.

[Eagerly.] Comrades ! Yes, fancy, Hedda —
that is the very word he used !— Oh, I ought to
feel perfectly happy ; and yet I cannot ; for I
don't know how long it will last.

HEDDA.
Are you no surer of him than that ?

MRS. ELVSTED.

[Gloomily.] A woman's shadow stands between
Eilert Lovberg and me.

48 HEDDA GABLER. [ACT I

HEDDA.
[Looks at her anxiously.] Who can that be ?

MRS. ELVSTED.

I don't know. Some one he knew in his — in
his past. Some one he has never been able
wholly to forget.

HEDDA.
What has he told you — about this ?

MRS. ELVSTED.
He has only once — quite vaguely — alluded to it.

HEDDA.
Well ! And what did he say ?

MRS. ELVSTED.

He said that when they parted, she threatened
to shoot him with a pistol.

HEDDA.

[With cold composure.] Oh nonsense ! No one
does that sort of thing here.

MRS. ELVSTED.

No. And that is why I think it must have
been that red-haired singing-woman whom he
once — • —

HEDDA.
Yes, very likely.

MRS. ELVSTED.

For I remember they used to say of her that
she carried loaded firearms.

ACT I.] HEDDA GABLER. 49

HEDDA.
Oh — then of course it must have been she.

MRS. ELVSTED.

[Wringing her hands.] And now just fancy,
Hedda — I hear that this singing- woman — that
she is in town again ! Oh, I don't know what to
do

HEDDA.

[Glancing towards the inner room.] Hush ! Here
comes Tesman. [Rises and whispers. J Thea —
all this must remain between you and me.

MRS. ELVSTED.

[Springing up] Oh yes — yes ! For heaven's
sake .'

GEORGE TESMAN, with a letter in his hand, comes
from the right through the inner room.

TESMAN.
There now — the epistle is finished.

HEDDA.

That's right. And now Mrs. Elvsted is just
going. Wait a moment — I'll go with you to the
garden gate.

TESMAN.

Do you think Berta could post the letter,
Hedda dear ?

HEDDA.
[Takes it.] I will tell her to.

50 HEDDA GABLER. [ACT I.

BERTA enters from the hall.

BERTA.

Judge Brack wishes to know if Mrs. Tesraan
will receive him.

HEDDA.

Yes, ask Judge Brack to come in. And look
here — put this letter in the post.

BERTA.

[Taking the letter.] Yes, ma'am.

[She opens the door for JUDGE BRACK and
goes out herself. BRACK is a man of
forty-five ; thick set, but well-built and
elastic in his movements. His face is
roundish with an aristocratic profile.
His hair is short, still almost black, and
carefully dressed. His eyes are lively
and sparkling. His eyebrows thick. His
moustaches are also thick, with short-cut
ends. He wears a well-cut walking-suit,
a little too youthful for his age. He
uses an eye-glass, which he now and then
lets drop.

JUDGE BRACK.

[With his hat in his hand, bowing.] May
one venture to call so early in the day ?

HEDDA.
Of course one may.

TESMAN.

[Presses his hand.] You are welcome at any
time. [Introducing him.] Judge Brack — Miss
Rysing

ACT I.] HEDDA GABLER. 51

HEDDA.

Oh !

BRACK.

[Bowing.] Ah — delighted

HEDDA.

[ Looks at him and laughs.] It's nice to have a
look at you by daylight, Judge !

BRACK.
Do you find me — altered ?

HEDDA.
A little younger, I think.

BRACK.
Thank you so much.

TESMAN.

But what do you think of Hedda — eh ? Doesn't
she look flourishing ? She has actually

HEDDA.

Oh, do leave me alone. You haven't thanked
Judge Brack for all the trouble he has taken —

BRACK.
Oh, nonsense — it was a pleasure to me

HEDDA.

Yes, you are a friend indeed. But here stands
Thea all impatience to be off — so au revoir
Judge. I shall be back again presently.

[Mutual salutations. MRS. ELVSTED and
HEDDA go out by the hall door.

52 HEDDA GABLER. [ACT 1.

BRACK.
Well, — is your wife tolerably satisfied

TESMAN.

Yes, we can't thank you sufficiently. Of course
she talks of a little re-arrangement here and there ;
and one or two things are still wanting, We shall
have to buy some additional trifles.

BRACK.
Indeed !

TESMAN.

But we won't trouble you about these things.
Hedda says she herself will look after what is
wanting.— Shan't we sit down ? Eh ?

BRACK.

Thanks, for a moment. [Seats himself beside the
tabled] There is something I wanted to speak to
you about, my dear Tesman.

TESMAN.

Indeed ? Ah, I understand ! [Seating himself.]
I suppose it's the serious part of the frolic that is
coming now. Eh ?

BRACK.

Oh, the money question is not so very pressing ;
though, for that matter, I wish we had gone a
little more economically to work.

TESMAN.

But that would never have done, you know !
Think of Hedda, my dear fellow ! You, who

know her so well . I couldn't possibly ask

her to put up with a shabby style of living !

ACT I.] HEDDA GABLER. 53

BRACK.

No, no — that is just the difficulty.

TESMAN.

And then — fortunately — it can't be long before
I receive my appointment.

BRACK.

Well, you see — such things are often apt to
hang fire for a time.

TESMAN.
Have you heard anything definite ? Eh ?

BRACK.

Nothing exactly definite . [Interrupting

himse/f.] But by-the-bye — I have one piece of
news for you.

TESMAN.
Well ?

BRACK.

Your old friend, Eilert Lovborg, has returned
to town.

TESMAN.
I know that already.

BRACK.
Indeed ! How did you learn it ?

TESMAN.
From that lady who went out with Hedda.

BRACK.

Really ? What was her name ? I didn't quite
catch it.

54 HEDDA GABLER. [ACT I

TESMAN.
Mrs. Elvsted.

BRACK.

Aha — Sheriff Elvsted's wife ? Of course — he
has been living up in their regions.

TESMAN.

And fancy— I'm delighted to hear that he is
quite a reformed character !

BRACK.
So they say,

TESMAN.
And then he has published a new book — eh ?

BRACK.
Yes, indeed he has.

TESMAN.
And I hear it has made some sensation !

BRACK.
Quite an unusual sensation.

TESMAN.
Fancy — isn't that good news ! A man of such

extraordinary talents . I felt so grieved to

think that he had gone irretrievably to ruin.

BRACK.
That was what everybody thought.

TESMAN.

But t cannot imagine what he will take to
now ! How in the world will he be able to make
his living ? Eh ?

ACT I.] HEDDA OABLER. 55

[During the last words, HEDDA has entered
by the hall door.

HEDDA.

[To BRACK, laughing with a touch of scorn.]
Tesman is for ever worrying about how people are
to make their living.

TESMAN.

Well you see, dear — we were talking about
poor Eilert Lovborg.

HEDDA.

[Glancing at him rapidly.] Oh, indeed ? [Seats
herself in the arm-chair beside the stove and asks
indifferently :] What is the matter with him?

TESMAN.

Well — no doubt he has run through all his
property long ago ; and he can scarcely write a
new book every year — eh ? So I really can't see
what is to become of him.

BRACK.

Perhaps I can give you some infotmation on
that point.

TESMAN.
Indeed !

BRACK.

You must remember that his relations have a
ood deal of influence.

TESMAN.

Oh, his relations, unfortunately, have entirely
washed their hands of him.

56 HEDDA GABLF.R. [ACT I,

BRACK.

At one time they called him the hope of the
family.

TESMAN.

At one time, yes ! But he has put an end to
all that.

HEDDA.

Who knows ? [ With a slight smile .] I
hear they have reclaimed him up at Sheriff

Elvsted's

BRACK.
And then this book that he has published

TESMAN.

Well well, I hope to goodness they may find
something for him to do. I have just written to
him. I asked him to come and see us this even-
ing, Hedda dear.

BRACK.

But my dear fellow, you are booked for my
bachelors' party this evening. You promised on
the pier last night.

HEDDA.
Had you forgotten, Tesman ?

TESMAN.
Yes, I had utterly forgotten.

BRACK.

But it doesn't matter, for you may be sure he
won't come.

TESMAN
What makes you think that ? Eh ?

ACT I.] HEDDA GABLER. 57

BRACK.

[With a little hesitation, rising and resting his
hands on Ike back of his chair.] My dear Tes-
man — and you too, Mrs. Tesman — I think I
ought not to keep you in the dark about some-
thing that — that

TESMAN.
That concerns Eilert ?

BRACK.
Both you and him.

TESMAN.
Well, my dear Judge, out with it.

BRACK.

You must be prepared to find your appointment
deferred longer than you desired or expected.

TESMAN.

[Jumping up uneasily.] Is there some hitch
about it? Eh?

BRACK.

The nomination may perhaps be made con-
ditional on the result of a competition

TESMAN.

Competition ! Think of that, Hedda !

HEDDA.

[Leans further back in the chair.] Aha —
aha !

TESMAN.

But who can my competitor be? Surely
not ?

58 HEDDA GABLER. [ACT I.

BRACK.
Yes, precisely — Eilert Lovborg.

TESMAN.

[Clasping his hands.] No, no — it's quite incon-
ceivable ! Quite impossible ' Eh ?

BRACK.
H'm — that is what it may come to, all the same.

TESMAN.

Well but, Judge Brack — it would show the
most incredible lack of consideration for me.
[Gesticulates with his arms.] For — just think —
I'm a married man ! We have married on the
strength of these prospects, Hedda and I ; and
run deep into debt ; and borrowed money from
Aunt Julia too. Good heavens, they had as good
as promised me the appointment. Eh ?

BRACK.

Well, well, well — no doubt you will get it in
the end ; only after a contest.

HEDDA.

[Immovable in her arm-chair.] Fancy, Tesman,
there will be a sort of sporting interest in that.

TESMAN.

Why, my dearest Hedda, how can you be so
indifferent about it.

HEDDA.

[As before.] 1 am not at all indifferent. I am
most eager to see who wins.

ACT I.] HEDUA OABLF.R. 59

BRACK.

In any case, Mrs. Tesman, it is best that you
should know how matters stand. I mean — before
you set about the little purchases I hear you are
threatening.

HEDDA.
This can make no difference.

BRACK.

Indeed ! Then I have no more to say. Good-
bye ! [To TESMAN.] I shall look in on my way
back from my afternoon walk, and take you home
with me.

TESMAN.
Oh yes, yes — your news has quite upset me.

HEDDA.

[Reclining, holds out her hand.] Good-bye,
Judge ; and be sure you call in the afternoon.

BRACK.
Many thanks. Good-bye, good-bye !

TESMAN.

[Accompanying him to the door.] Good-bye
my dear Judge ! You must really excuse me —

[JUDGE BRACK goes out by the hall door.

TESMAN.

[Crosses the room.] Oh Hedda — one should
never rush into adventures. Eh ?

HEDDA.
[Looks at him, smiling.] Do you do th?t?

60 HEDDA OABLER. [ACT I.

TESMAN.

Yes, dear — -there is no denying — it was adven-
turous to go and marry and set up house upon
mere expectations.

HEDDA.
Perhaps you are right there.

TESMAN.

Well — at all events, we have our delightful
home, Hedda ! Fancy, the home we both dreamed
of — the home we were in love with, I may almost
say. Eh ?

HEDDA.

[Rising slowly and wearily.] It was part of
our compact that we were to go into society — to
keep open house.

TESMAN.

Yes, if you only knew how I had been looking
forward to it ! Fancy— to see you as hostess — in
a select circle ! Eh ? Well, well, well — for the
present we shall have to get on without society,
Hedda — only to invite Aunt Julia now and then. —
Oh, I intended you to lead such an utterly dif-
ferent life, dear !

HEDDA.

Of course I cannot have my man in livery just
yet.

TESMAN.

Oh no, unfortunately. It would be out of the
question for us to keep a footman, you know.

HEDDA.
And the saddle-horse I was to have had

ACT I.] HEDDA GABLER. 6l

TESMAN.
[Aghast.] The saddle-horse !

HEDDA.
1 suppose I must not think of that now.

TESMAN.
Good heavens, no ! — that's as clear as daylight

HEDDA.

[Goes up the room.] Well, I shall have one
thing at least to kill time with in the meanwhile.

TESMAN.

[Beaming.] Oh thank heaven for that ! What
is it, Hedda ? Eh ?

HEDDA.

[In the middle doorway, looks at him with covert
scorn.] My pistols, George.

TESMAN.
[In alarm.] Your pistols !

HEDDA.
[With cold eyes.] General Gabler's pistols.

[She goes out through the inner room, to
the left.

TESMAN.

[Rushes up to the middle doorway and calls after
her :] No, for heaven's sake, Hedda darling —
don't touch those dangerous things ! For my
sake, Hedda ! Eh ?

ACT SECOND

The room at ike TESMANS' as in the first Act, except
that the piano has been removed, and an elegant
little writing-table with book-shelves put in its
place. A smaller table stands near the sofa on
the left. Most of the bouquets have been taken
away. MRS. ELVSTED'S bouquet is upon the
large table in front. — It is afternoon.

HEDDA, dressed to receive callers, is alone in the
iriom. She stands by the open glass door, loading
a revolver. The felloiv to it lies in an open
pistol-case on the writing-table.

HEDDA.

[Looks down the garden, and calls .•] So you are
here again, Judge !

BRACK.

[/* heard calling from a distance.] As you see,
Mrs. Tesman !

HEDDA.

[Raises the pistol and points.] Now I'll shoot you,
Judge Brack !

BRACK.

[Calling unseen.] No, no, no ! Don't stand
aiming at me !

HEDDA.

This is what comes of sneaking in by the back
way.1 [She fires.

1 " Bagveje " means both " back ways " and " underhand
courses. "

ACT II.] HEDDA OABLER. 63

BRACK.
[Nearer.] Are you out of your senses !

HEDDA.
Dear me — did I happen to hit you ?

BRACK.

[Still outside.] I wish you would let these pranks
alone !

HEDDA.
Come in then, Judge.

JUDGE BRACK, dressed as though for a men's party,
enters by the glass door. He carries a light
overcoat over his arm.

BRACK.

What the deuce — haven't you tired of that
sport, yet ? What are you shooting at ?

HEDDA.
Oh, I am only firing in the air.

BRACK.

[Gently takes the pistol out of her hand.] Allow
me, madam ! [Looks at it.] Ah — I know this pistol
well ! [Looks around.] Where is the case ? Ah,
here it is. [Lays the pistol in it, and shuts it.]
Now we won't play at that game any more to-day.

HEDDA.

Then what in heaven's name would you have
me do with myself?

BRACK.
Have you had no visitors ?

64 HEDDA GABLER. [ACT II.

HEDDA.

[Closing the glass door.] Not one. I suppose all
our set are still out of town.

BRACK.
And is Tesman not at home either ?

HEDDA.

[At the writing-table, putting the pistol-case in a
drawer which she shutsJ\ No. He rushed off to his
aunt's directly after lunch ; he didn't expect you
so early.

BRACK.

H'm — how stupid of me not to have thought of
that!

HEDDA.
[Turning her head to look at him.] Why stupid ?

BRACK.

Because if I had thought of it I should have
come a little — earlier.

HEDDA.

[Crossing the room.] Then you would have found
no one to receive you ; for I have been in my room
changing my dress ever since lunch.

BRACK.

And is there no sort of little chink that we could
hold a parley through ?

HEDDA.
You have forgotten to arrange one.

BRACK.
That was another piece of stupidity.

ACT II.] HEDDA GABLER. 6.5

HEDDA.

Well, we must just settle down here — and wait.
Tesman is not likely to be back for some time yet.

'BRACK.

Never mind ; I shall not be impatient.

HEDDA seats herself in the corner of the sofa.
BRACK lays his overcoat over the back of the
nearest chair, and sits down, but keeps his hat in
his hand. A short silence. They look at each
other.

HEDDA.
Well?

BRACK.
[In the same tone.] Well ?

HEDDA
I spoke first.

BRACK.

[Bending a little forward.] Come, let us have
cosy little chat, Mrs. Hedda.1

HEDDA.

[Leaning further back in the sofa.\ Does it
not seem like a whole eternity since our last
talk ? Of course I don't count those few words
yesterday evening and this morning.

BRACK.

You mean since our last confidential talk ? Our
last tete-a-tete ?

1 As this form of address is contrary to English usage, and as
the note of familiarity would be lacking in "Mrs. Tesman,"
Brack may, in stage representation, say "Miss Hedda," thus
ignoring her marriage and reverting to the form of address no
doubt customary between them of old.

E

66 HEDDA GABLER. [ACT II.

HEDDA.
Well yes — since you put it so.

BRACK.

Not a day has passed but I have wished that you
were home again.

HEDDA.

And I have done nothing bujt wish the same
thing.

BRACK.

You ? Really, Mrs. Hedda ? And I thought
you had been enjoying your tour so much !

HEDDA.
Oh yes, you may be sure of that !

BRACK.

But Tesman's letters spoke of nothing but hap-
piness.

HEDDA.

Oh, Tesman! You see, he thinks nothing
so delightful as grubbing in libraries and making
copies of old parchments, or whatever you call
them.

BRACK.

[With a spice of malice. ] Well, that is his
vocation in life — or part of it at any rate.

HEDDA.
Yes, of course ; and no doubt when it's your

vocation -. But// Oh, my dear Mr. Brack,

how mortally bored I have been.

ACT II.] HEDDA OABLER. 67

BRACK.

[Sympathetically.] Do you really say so ? In
downright earnest ?

HEDDA

Yes, you can surely understand it ! To go

for six whole months without meeting a soul that
knew anything of our circle, or could talk about
the things we are interested in.

BRACK.
Yes, yes — I too should feel that a deprivation.

HEDDA.
And then, what I found most intolerable of

all

BRACK.
Well ?

HEDDA.

— was being everlastingly in the company of
— one and the same person

BRACK.

[With a nod oj assent.] Morning, noon, and
night, yes — at all possible times and seasons.

HEDDA.
I said " everlastingly."

BRACK.

Just so. But I should have thought, with our
excellent Tesman, one could

HEDDA.
Tesman is —a specialist, my dear Judge.

68 HEDDA GABLER. [ACT 11.

BRACK.
Undeniably.

HEDDA.

And specialists are not at all amusing to travel
with. Not in the long run at any rate.

BRACK.
Not even — the specialist one happens to love ?

H EDDA.
Faugh — don't use that sickening word :

BRACK.
[ Taken aback.] What do you say, Mrs. Hedda ?

HEDDA.

[Half laughing, half irritated.] You should
just try it ! To hear of nothing but the history of
civilisation, morning, noon, and night

BRACK.
Everlastingly.

HEDDA.
Yes yes yes ! And then all this about the

domestic industry of the middle ages ! That's

the most disgusting part of it !

BRACK.
[Looks searchingly at her.] But tell me — in

that case, how am I to understand your ?

H'm

HEDDA.
My accepting George Tesman, you mean ?

BRACK.
Well, let us put it so.

ACT Il.J HEDDA GABLER 69

HEDDA.

Good heavens, do you see anything so wonderful
in that ?

BRACK.
Yes and no — Mrs. Hedda.

HEDDA.

I had positively danced myself tired, my dear
Judge. My day was done— [With a slight
shudder.~\ Oh no — 1 won't say that ; nor think it
either !

BRACK.
You have assuredly no reason to.

HEDDA.

Oh, reasons — [Watching him closely J\ And
George Tesman — after all, you must admit that he
is correctness itself.

BRACK.

His correctness and respectability are beyond
all question.

HEDDA.

And I don't see anything absolutely ridiculous
about him. — Do you ?

BRACK.
Ridiculous? N — no — I shouldn't exactly say

so

HEDDA.

Well — and his powers of research, at all events,
are untiring. — I see no reason why he should not
one day come to the front, after all.

BRACK.

[Isooks at her hesitatingly .] I thought that you, like

70 HEDDA GABLER. [ACT II.

every one else, expected him to attain the highest
distinction.

HEDDA.

\Wiih an expression of fatigue.} Yes, so I did.
—And then, since he was bent, at all hazards, on
being allowed to provide for me — I really don't
know why I should not have accepted his offer ?

BRACK.
No — if you look at it in that light

HEDDA.

It was more than my other adorers were
prepared to do for me, my dear Judge.

BRACK.

[Laughing.] Well, I can't answer for all the rest ;
but as for myself, you know quite well that I have
always entertained a — a certain respect for the
marriage tie — for marriage as an institution, Mrs.
Hedda.

HEDDA.

[Jestingly.] Oh, I assure you I have never
cherished any hopes with respect to you.

BRACK.

All I require is a pleasant and intimate interior,
where I can make myself useful in every way, and
am free to come and go as — as a trusted friend

HEDDA.
Of the master of the house, do you mean ?

BRACK.

[Bowing.] Frankly — of the mistress first of all ;
but of course of the master too, in the second

ACT II.] HEDDA GABLEtt. 7l

place. Such a triangular friendship — if I may call
it so — is really a great convenience for all parties,
let me tell you.

HEDDA.

Yes, I have many a time longed for some one to
make a third on our travels. Oh — those railway-
carriage tete-a-tetes !

BRACK.
Fortunately your wedding journey is over now.

HEDDA.

[Shaking her head.] Not by a long — long way.
I have only arrived at a station on the line.

BRACK.

Well, then the passengers jump out and move
about a little, Mrs. Hedda.

HEDDA.
I never jump out.

BRACK.
Really ?

HEDDA,

No — because there is always some one standing
by to —

BRACK.

[Laughing.'] To look at your ankles, do you
mean ?

HEDDA.
Precisely.

BRACK.
Well but, dear me

HEDDA.
[With a gesture of repulsion.] I won't have it.

72 HEDDA GABLER. [ACT II

I would rather keep my seat where I happen to be
— and continue the tete-a-tete.

BRACK.

But suppose a third person were to jump in and
join the couple.

HEDDA.
Ah — that is quite another matter !

BRACK.
A trusted, sympathetic friend

HEDDA.

with a fund of conversation on all sorts of

lively topics

BRACK.

— and not the least bit of a specialist !

HEDDA.

[With an audible sigh.] Yes, that would be a
relief indeed.

BRACK.

[Hears the front door open, and glances in that
direction.] The triangle is completed.

HEDDA.
[Half aloud.] And on goes the train.

GEORGE TESMAN, in a grey walking- suit, with a soft
felt hat, enters from the hall. He has a number
of unbound books under his arm and in his
pockets.

TESMAN.

[Goes up to the table beside the corner settee.]
Ouf — what a load for a warm day — all these books.

ACT II.] HEDDA OABLER. 73

[Lays them on the table. ,] I'm positively perspiring,
Hedda. Hallo — are you there already, my dear
Judge ? Eh ? Berta didn't tell me.

BRACK.
[Rising.] I came in through the garden.

HEDDA.
What books have you got there ?

TESMAN.

[Stands looking them through.] Some new books
on my special subjects — quite indispensable to
me.

HEDDA.
Your special subjects ?

BRACK.

Yes, books on his special subjects, Mrs. Tesman.
[BRACK and HEDDA exchange a confidential
smile.

HEDDA.

Do you need still more books on your special
subjects ?

TESMAN.

Yes, my dear Hedda, one can never have too
many of them. Of course one must keep up with
all that is written and published.

HEDDA.
Yes, I suppose one must.

TESMAN.

[Searching among his books.] And look here —
I have got hold of Eilert Lovborg's new book too.

74 HEDDA OABLER. [ACT 11.

[Offering it to her] Perhaps you would like to
glance through it, Hedda ? Eh ?

HEDDA.
No, thank you. Or rather — afterwards perhaps.

TESMAN.
I looked into it a little on the way home.

BRACK.
Well, what do v ou think of it — as a specialist ?

TESMAN.

I think it shows quite remarkable soundness of
judgment. He never wrote like that before.
[Putting the books together.] Now I shall take
all these into my study. I'm longing to cut

the leaves ! And then I must change my

clothes. [To BRACK.] I suppose we needn't start
just yet ? Eh ?

BRACK.

Oh, dear 110 — there is not the slightest hurry.

TESMAN.

Well then, I will take my time. [Is going with
his books, but stops in the doorway and turns.] By-
the-bye, Hedda — Aunt Julia is not coming this
evening.

HEDDA.

Not coming ? Is it that affair of the bonnet
that keeps her away ?

TESMAN.
Oh, not at all. How could you think such a

thing of Aunt Julia ? Just fancy ! The fact

is, Aunt Rina is very ill.

ACT 11.] HEDDA GABLER. 75

HEDDA.
She always is.

TESMAN.

Yes, but to-day she is much worse than usual,
poor dear.

HEDDA.

Oh, then it's only natural that her sister should
remain with her. 1 must bear my disappoint-
ment.

TESMAN,

And you can't imagine, dear, how delighted
Aunt Julia seemed to be — because you had come
home looking so flourishing !

HEDDA.

[Half aloud, rising.'] Oh, those everlasting
Aunts !

TESMAN.
What ?

HEDDA.
[Going to the glass door.] Nothing.

TESMAN.
Oh, all right.

[He goes through the inner room, out to (he
right.

BRACK.
What bonnet were you talking about ?

HEDDA.

Oh, it was a little episode with Miss Tesmau
this morning. She had laid down her bonnet on
the chair there — [Looks at him and smiles.] — and I
pretended to think it was the servant's.

76 HEDDA OABLER. [ACT II.

BRACK.

[Shaking his head.] Now my dear Mrs. Hedda.
how could you do such a thing ? To that excel-
lent old lady, too !

HEDDA.

[Nervously crossing the room] Well, you see —
these impulses come over me all of a sudden ; and
I cannot resist them. [Throws herself doivn in
the easy-chair by the stove.] Oh, 1 don't know how
to explain it.

BRACK.

[Behind the easy-chair.] You are not really
happy — that is at the bottom of it.

HEDDA.

[Looking straight before her] I know of no
reason why I should be — happy. Perhaps you can
give me one ?

BRACK.

Well — amongst other things, because you have
got exactly the home you had set your heart on.

HEDDA.

[Looks up at him and laughs.] Do you too believe
in that legend ?

BRACK.
Is there nothing in it, then ?

HEDDA.
Oh yes, there is something in it.

BRACK.
Well ?

ACT II.] HEDDA GABLER. 77

H EDDA.

There is this in it, that I made use of Tesman
to see me home from evening parties last sum-
mer

BRACK.

I, unfortunately, had to go quite a different
way.

HEDDA.

That's true. I know you were going a different
way last summer.

BRACK.

[Laughing.] Oh fie, Mrs. Hedda ! Well, then
— you and Tesman ?

HEDDA.

Well, we happened to pass here one evening ;
Tesman, poor fellow, was writhing in the agony
of having to find conversation ; so I took pity on
the learned man —

BRACK.
[Smiles doubtfully.] You took pity? H'm —

HEDDA.

Yes, I really did. And so — to help him out of
his torment— I happened to say, in pure thought-
lessness, that I should like to live in this villa.

BRACK.
No more than that ?

HEDDA.

Not that evening.

BRACK.
But afterwards ?

78 HEDDA GABLER. [ACT II.

HEDDA.

Yes, my thoughtlessness had consequences, my
dear Judge.

BRACK.

Unfortunately that too often happens, Mrs.
Hedcla.

HEDDA.

Thanks ! So you see it was this enthusiasm
for Secretary Falk's villa that first constituted a
bond of sympathy between George Tesman and
me. From that came our engagement and our
marriage, and • our wedding journey, and all the
rest of it. Well, well, my dear Judge — as you
make your bed so you must lie, I could almost
say.

BRACK.

This is exquisite ! And you really cared not a
rap about it all the time ?

HEDDA.
No, heaven knows I didn't.

BRACK.

But now ? Now that we have made it so
homelike for you ?

HEDDA.

Uh — the rooms all seem to smell of lavender
and dried rose-leaves. — But perhaps it's Aunt Julia
that has brought that scent with her.

BRACK.

[laughing.] No, I think it must be a legacy
from the late Mrs. Secretary Falk.

ACT II.] HEDDA GABLER. 79

HEDDA.

Yes, there is an odour of mortality about it. It
reminds me of a bouquet — the day after the ball.
[Clasps her hands behind her head, leans back in her
chair and looks at *.MW.] Oh, my dear Judge
— you cannot imagine how horribly I shall bore
myself here.

BRACK.

Why should not you, too, find some sort of
vocation in life, Mrs. Hedda ?

HEDDA.
A vocation — that should attract me ?

BRACK.
If possible, of course.

HEDDA.

Heaven knows what sort of a vocation that
could be. I often wonder whether — [Break-
ing off.] But that would never do either.

BRACK.
Who can tell ? Let me hear what it is.

HEDDA.

Whether I might not get Tesman to go into
politics, I mean.

BRACK.

[Laughing.'] Tesman ? No really now, political
life is not the thing for him — not at all in his
line.

HEDDA.

No, I daresay not. — But if I could get him into
it all the same ?

80 HEDDA GABLER. [ACT II.

BRACK.

Why — what satisfaction could you find in that ?
If he is not fitted for that sort of thing, why
should you want to drive him into it ?

HEDDA.

Because I am bored, I tell you ! [After a pause.]
So you think it quite out of the question that
Tesman should ever get into the ministry ?

BRACK.

H'm — you see, my dear Mrs. Hedda — to get
into the ministry, he would have to be a tolerably
rich man.

HEDDA.

[Rising impatiently .] Yes, there we have it !
It is this genteel poverty I have managed to drop

into ! [Crosses the room.] That is what

makes life so pitiable ! So utterly ludicrous ! —
For that's what it is.

BRACK.
Now / should say the fault lay elsewhere.

HEDDA.
Where, then ?

BRACK.

You have never gone through any really stimu-
lating experience.

HEDDA.
Anything serious, you mean ?

BRACK.

Yes, you may call it so. But now you may
perhaps have one in store.

ACT II.] HEDDA GABLER 81

HEDDA.

[Tossing her head.] Oh, you're thinking of the
annoyances about this wretched professorship '
But that must be Tesman's own affair. I assure
you I shall not waste a thought upon it.

BRACK.

No, no, I daresay not. But suppose now that
what people call — in elegant language — a solemn
responsibility were to come upon you ? [Smiling. J
A new responsibility, Mrs. Hedda ?

HEDDA.

[Angrily.] Be quiet ! Nothing of that sort will
ever happen !

BRACK.

[Warily.] We will speak of this again a year
hence— at the very outside.

HEDDA.

[Curtly.] 1 have no turn for anything of the
sort, Judge Brack. No responsibilities for me !

BRACK.

Are you so unlike the generality of women as
to have no turn for duties which ?

HEDDA.

[Beside the glass door.] Oh, be quiet, I tell you !
—I often think there is only one thing in the
world I have any turn for.

BRACK.

[Drawing near to her.] And what is that, if
may ask ?

x P

82 HEDDA GABLER. [ACT ii.

HEDDA.

[Stands looking out.] Boring myself to death.
Now you know it. [Turns, looks towards the inner
room, and laughs. \ Yes, as I thought ' Here comes
the Professor.

BRACK.

[Softly, in a tone of warning.] Come, come,
come, Mrs. Hedda '

GEORGE TESMAN, dressed for the party, with Ins gloves
and hat in his hand, enters Jrom the nghl through
the inner room,

TESMAN.

Hedda, has no message come from Eilert Lov-
borg ? Eh ?

HEDDA.
No.

TESMAN
Then you'll see he'll be here presently.

BRACK.
Do you really think he will come ?

TESMAN.

Yes, I am almost sure of it. For what you were
telling us this morning must have been a mere
floating rumour.

BRACK.
You think so ?

TESMAN.

At any rate, Aunt Julia said she did not believe
for a moment that he would ever stand in my way
again. Fancy that !

ACT II.] HEDDA GABLER. 83

BRACK.
Well then, that's all right.

TESMAN.

[Placing his hat and gloves on a chair on the right.]
Yes, but you must really let me wait for him as
long as possible.

BRACK.

We have plenty of time yet. None of my
guests will arrive before seven or half- past.

TESMAN.

Then meanwhile we can keep Hedda company,
and see what happens. Eh ?

HEDDA.

[Placing BRACK'S hat and overcoat upon the corner
settee.] And at the worst Mr. Lovborg can remain
here with me.

BRACK.

[Offering to take his things.} Oh, allow me, Mrs.
Tesman ! — What do you mean by "At the worst " ?

HEDDA.
If he won't go with you and Tesman.

TESMAN.

[Looks dubiously at her.] But, Hedda dear — do
you think it would quite do for him to remain
with you? Eh? Remember, Aunt Julia can't come.

HEDDA.

No, but Mrs. Elvsted is coming. We three can
have a cup of tea together.

84 HEDDA GABLER. [ACT II.

TESMAN.

Oh yes, that will be all right.

BRACK.

[Smiling.] And that would perhaps be the
safest plan for him.

HEDDA.
Why so ?

BRACK.

Well, you know, Mrs. Tesman, how you used to
gird at my little bachelor parties. You declared
they were adapted only for men of the strictest
principles.

HEDDA.

But no doubt Mr. Lovborg's principles are strict
enough now. A converted sinner —

[BERTA appears at the hall door.

BERTA.

There's a gentleman asking if you are at home,
ma'am —

HEDDA.
Well, show him in.

TESMAN.
[Softly.] I'm sure it is he ! Fancy that!

EILERT LOVBORG enters from the hall. He is slim
and If an ; of the same age as TESMAN, but looks
older and somewhat worn-out. His hair and
beird are of a blackish brown, his face long and
pale, but with patches of colour on the cheek-
bones. He is dressed in a well-cut black visiting
suit, quite new. He has dark gloves and a silk
hat. He stops near the door, and makes a rapid
bow, seeming somewhat embarrassed.

ACT II.] HEDDA GABLER. 85

TESMAN.

[Goes up to him and shakes him warmly by the
hand.] Well, my dear Eilert — so at last we meet
again !

EILERT LOVBORG.

[Speaks in a subdued voice.] Thanks for your
letter, Tesman. [Approaching HEDDA.] Will you
too shake hands with me, Mrs. Tesman ?

HEDDA.

[Talcing his hand.] I am glad to see you, Mr.
Lovborg \With a motion of her hand.] I don't
know whether you two gentlemen ?

LOVBORG.
[Boiving slightly.] Judge Brack, I think.

BRACK.
[Doing likewise.] Oh yes, — in the old days

TESMAN.

[To LOVBORG, with his hands on his shoulders.]
And now you must make yourself entirely at
home, Eilert ! Musn't he, Hedda ? — For I hear
you are going to settle in town again ? Eh ?

LOVBORG.
Yes, I am.

TESMAN.

Quite right, quite right. Let me tell you, I
have got hold of your new book ; but I haven't
had time to read it yet.

LOVBORG.
You may spare yourself the trouble.

86 HEDDA GABLE R. [ACT II.

TESMAN.
Why so ?

LOVBORG.
Because there is very little in it.

TESMAN.
Just fancy — how can you say so?

BRACK.
But it has been very much praised, I hear.

LOVBORG.

That was what I wanted ; so I put nothing into
the book but what every one would agree with.

BRACK.
Very wise of you.

TESMAN.
Well but, my dear Eilert .'

LOVBORG.

For now I mean to win myself a position again
— to make a fresh start.

TESMAN.

[A little embarrassed.] Ah, that is what you wish
to do ? Eh ?

LOVBORG.

[Smiling, lays down his hat, and draws a packet,
wrapped in paper, from his coat pocket] But
when this one appears, George Tesman, you will
have to read it. For this is the real book — the
book I have put my true self into.

TESMAN.
Indeed ? And what is it ?

ACT II.] HEDDA OABLER. 8?

LoVBORG.

It is the continuation.

TESMAN.
The continuation ? Of what ?

LOVBORO.
Of the book.

TESMAN
Of the new book ?

LOVBORO.
Of course

TESMAN.

Why, my dear Eilert — does it not come down
to our own days ?

LOVBORC.
Yes, it does; and this one deals with the future.

TESMAN.

With the future ! But, good heavens, we know
nothing of the future !

LOVBORG.

No ; but there is a thing or two to be said
about it all the same. [Opens the packet.} Look
here —

TESMAN.
Why, that's not your handwriting.

LOVBORG.

I dictated it. [Turning over the pages.] It falls
into two sections. The first deals with the civilis-
ing forces of the future. And here is the second
- [running through the pages towards the end] — fore-
casting the probable line of development.

88 HEDDA GABLER. [ACT II.

TESMAN.

How odd now ' I should never have thought
of writing anything of that sort.

HEDDA

[At Ike glass door, drumming on the pane.]
H'm . I daresay not.

LOVBORG.

[Replacing the manuscript in its paper and laying
the packet on the table.] I brought it, thinking 1
might read you a little of it this evening.

TESMAN.
That was very good of you, Eilert. But this

evening ? [Looking at BRACK.] 1 don't quite

see how we can manage it •

LOVBORG.
Well then, some other time. There is no hurry.

BRACK.

I must tell you, Mr. Lovborg — there is a little
gathering at my house this evening — mainly in
honour of Tesman, you know —

LOVBORG.
[Looking for his liat.~\ Oh — then I won't detain

you

BRACK.

No, but listen — will you not do me the favour
of joining us ?

LOVBORG.

[Curtly and decidedly.] No, I can't — thank you
very much.

ACT II.] UK. 1)1) \ GABLER. 89

BRACK.

Oh, nonsense — do ! We shall be quite a select
little circle. And I assure you we shall have a
" lively time," as Mrs. Hed — as Mrs. Tesman says.

LOVBORG.
I have no doubt of it. But nevertheless

BRACK.

And then you might bring your manuscript
with you, and read it to Tesman at my house. I
could give you a room to yourselves.

TESMAN.

Yes, think of that, Eilert, — why shouldn't you ?
Eh?

HEDDA.

[Interposing.] But, Tesman, if Mr. Lovborg
would really rather not ! I am sure Mr. Lovborg
is much more inclined to remain here and have
supper with me.

LOVBORG.
[Looking at her.] With you, Mrs. Tesman ?

HEDDA.
And with Mrs. Elvsted.

LOVBORG.

Ah [Lightly.] I saw her for a moment

this morning.

HEDDA.

Did you ? Well, she is coming this evening.
So you see you are almost bound to remain, Mr.
Lovborg, or she will have no one to see her home.

90 HEDDA GABLER. [ACT II.

LOVBORG.

That's true. Many thanks, Mrs. Tesman — in
that case I will remain.

HEDDA.
Then I have one or two orders to give the

servant-

[She goes to tlie hall door and rings. BERTA
enters. HEDDA talks to her in a whisper,
and points towards the inner room. BERTA
nods and goes out again.

TESMAN.

[At the same time, to LOVBORG.] Tell me, Eilert
— is it this new subject — the future — that you are
going to lecture about ?

LOVBORG.
Yes.

TESMAN.

They told me at the bookseller's that you are
going to deliver a course of lectures this autumn.

LOVBORG.

That is my intention. I hope you won't take
it ill, Tesman.

TESMAN.
Oh no, not in the least ! But ?

LOVBORG.

I can quite understand that it must be disagree-
able to you.

TESMAN.

[Cast down.] Oh, I can't expect you, out of
consideration for me, to

ACT II.] HEDDA GABLER. 91

Lb'VBORG.

But I shall wait till you have received your
appointment.

TESMAN.

Will you wait ? Yes but — yes but — are you not
going to compete with me ? Eh ?

LOVBORO.
No ; it is only the moral victory I care for.

TESMAN.

Why, bless me — then Aunt Julia was right after
all ! Oh yes — I knew it ! Hedda ! Just fancy
— Eilert Lovborg is not going to stand in our way !

HEDDA.

[Curtly.] Our way? Pray leave me out of
the question.

[She goes up towards the inner room, where
BERTA is placing a tray with decanters
and glasses on the table. HEDDA nods
approval, and comes fonvard again.
BERTA goes out.

TESMAN.

[At the same time.] And you, Judge Brack —
what do you say to this ? Eh ?

BRACK.

Well, I say that a moral victory — h'm — may be
all very fine —

TESMAN.

Yes, certainly. But all the same

HEDDA.
[Looking at TESMAN with a cold smile.] You

92 HEDDA GABLER. [ACT II.

stand there looking as if you were thunder-
struck—

TESMAN.
Yes — so I am — I almost think

BRACK.

Don't you see, Mrs. Tesman, a thunderstorm
has just passed over ?

HEDDA.

[Pointing towards the inner room.] Will you not
take a glass of cold punch, gentlemen ?

BRACK.

[Looking at his watch] A stirrup-cup ? Yes, it
wouldn't come amiss.

TESMAN.

A capital idea, Hedda ! Just the thing ! Now
that the weight has been taken off my mind

HEDDA.
Will you not join them, Mr. Lovborg ?

LOVBORG.

[With a gesture of refusal.] No, thank you.
Nothing for me.

BRACK.
Why bless me — cold punch is surely not poison.

LOVBORG.
Perhaps not for every one.

HEDDA.

I will keep Mr. Lovborg company in the
meantime.

ACT II.] HEDDA GABLER. 93

TESMAN.
Yes, yes, Hedda dear, do.

[He and BRACK go into the inner room,
seat themselves, drink punch, smoke
cigarettes, and carry on a lively conversa-
tion during what follows. EILERT Lov-
BORO remains standing beside the stove.
HEDDA goes to the writing-table.

HEDDA.

[Raising her voice m little*] Do you care to
look at some photographs, Mr. Lovborg ? You
know Tesman and I made a tour in the Tyrol on
our way home ?

[She takes up an album, and places it on
the table beside the sofa, in the further
corner of which she seats herself. EILERT
LOVBORG approaches, stops, and looks at
her. Then he takes a chair and seals him-
self to her left, with his back towards the
inner room.

HEDDA.

[Opening the album.] Do you see this range of
mountains, Mr. Lovborg ? It's the Ortler group.
Tesman has written the name underneath. Here
it is : " The Ortler group near Meran."

LOVBORG.

[ Who has never taken his eyes off her, says softly
and slowly :] Hedda — Gabler !

HEDDA.
[Glancing hastily at him.] Ah ! Hush !

LOVBORG.
[Repeals softly.] Hedda Gabler!

94 HEDDA GABLER. [ACT II.

HEDDA.

[Looking at the album.] That was my name in the
old days — when we two knew each other.

LOVBORG.

And I must teach myself never to say Hedda
Gabler again — never, as long as I live.

HEDDA.

[Still turning over the pages.] Yes, you must.
And I think you ought to practise in time. The
sooner the better, I should say.

LOVBORG.

[In a tone of indignation.] Hedda Gabler mar-
ried ? And married to — George Tesman !

HEDDA.
Yes — so the world goes.

LOVBORO.

Oh, Hedda, Hedda — how could you1 throw
yourself away !

HEDDA.

[Looks sharply at him.] What ? I can't allow
this !

LOVBORG.
What do you mean ?

[TESMAN comes into the room and goes
towards the sofa.

HEDDA.

[Hears him coming and says in an indifferent tone.]
And this is a view from the Val d'Ampezzo, Mr.

1 He uses the familiar d*.

ACT II.] HEDDA GABLER. 95

Lovborg. Just look at these peaks ! [Looks
affectionately up at TESMAN.] What's the name
of these curious peaks, dear ?

TESMAN.
Let me see. Oh, those are the Dolomites.

HEDDA.

Yes, that's it ! — Those are the Dolomites, Mr.
Lovborg.

TESMAN.

Hedda dear, — I only wanted to ask whether I
shouldn't bring you a little punch after all ? For
yourself at any rate — eh ?

HEDDA.
Yes, do, please ; and perhaps a few biscuits.

TESMAN.

No cigarettes ?

HEDDA.
No.

TESMAN.
Very well.

[He goes into the inner room and out to
the right. BRACK sits in the inner room,
and keeps an eye from time to time on
HEDDA and LOVBORG.

LOVBORG.

[Softly, as before.] Answer me, Hedda — how
could you go and do this ?

HEDDA.

[Apparently absorbed in the album.] If you con-
tinue to say du to me I won't talk to you.

96 HEDDA GABLER. [ACT II.

LOVBORG.

May I not say du even when we are alone ?

HEDDA.

No. You may think it ; but you mustn't say
it.

LOVBORG.

Ah, I understand. It is an offence against
George Tesman, whom you1 — love.

HEDDA.

[Glances at him and smiles.] Love ? What an
idea !

LOVBORG.
You don't love him then !

HEDDA.

But I won't hear of any sort of unfaithfulness !
Remember that.

LOVBORG.
Hedda— answer me one thing

HEDDA.
Hush!

[TESMAN enters with a small tray from the
inner room.

TESMAN.
Here you are ! Isn't this tempting ?

[He puts the tray on the table.

HEDDA.
Why do you bring it yourself ?

From this point onward Lovborg uses the formal De.

ACT II.] HEDDA GABLER. 9?

TESMAN.

[Filling the glasses.] Because I think it's such
fun to wait upon you, Hedda.

HEDDA.

But you have poured out two glasses. Mr.
Lovborg said he wouldn't have any

TESMAN.

No, but Mrs. Elvsted will soon be here, won't
she?

HEDDA.
Yes, by-the-bye — Mrs. Elvsted

TESMAN.
Had you forgotten her ? Eh ?

HEDDA.

We were so absorbed in these photographs.
[Shows him a picture.] Do you remember this
little village ?

TESMAN.

Oh, it's that one just below the Brenner Pass.
It was there we passed the night

HEDDA.
and met that lively party of tourists.

TESMAN.

Yes, that was the place. Fancy — if we could
only have had you with us, Eilert ! Eh ?

[He returns to the inner room and sits beside
BRACK.

LOVBORG.

Answer me this one thing, Hedda

x o

98 HEDDA GABLER. j^ACT II.

HEDDA.
Well ?

LOVBORG.

Was there no love in your friendship for me
either ? Not a spark — not a tinge of love in
it?

HEDDA.

I wonder if there was ? To me it seems as
though we were two good comrades — two
thoroughly intimate friends. [Smilingly.] You
especially were frankness itself.

LOVBORG.
It was you that made me so.

HEDDA.

As I look back upon it all, I think there was
really something beautiful, something fascinating
— something daring — in — in that secret intimacy
— that comradeship which no living creature so
much as dreamed of.

LOVBORG.

Yes, yes, Hedda ! Was there not ? — When I
used to come to your father's in the afternoon —
and the General sat over at the window reading
his papers— with his back towards us

HEDDA.
And we two on the corner sofa

LOVBORG.
Always with the same illustrated paper before

HEDDA.
For want of an album, yes.

ACT II.] HEDDA GABLER. 99

LbVBORG.

Yes, Hedda, and when I made my confessions
to you — told you about myself, things that at that
time no one else knew ! There I would sit and
tell you of my escapades — my days and nights of
devilment. Oh, Hedda — what was the power in
you that forced me to confess these things ?

HEDDA.
Do you think it was any power in me ?

LOVBORG.

How else can I explain it ? And all those —
those roundabout questions you used to put to

me

HEDDA.

Which you understood so particularly well

LOVBORG.

How could you sit and question me like that ?
Question me quite frankly

HEDDA.
In roundabout terms, please observe.

LOVBORG.

Yes, but frankly nevertheless. Cross-question
me about — all that sort of thing ?

HEDDA.
And how could you answer, Mr. Lovborg ?

LOVBORG.

Yes, that is just what I can't understand — in
looking back upon it. But tell me now, Hedda —
was there not love at the bottom of our friend-

100 HEDDA GABLER. [ACT LI.

ship ? On your side, did you not feel as though
you might purge my stains away — if I made you
my confessor ? Was it not so ?

HEDDA.
No, not quite.

LOVBORG.
What was your motive, then ?

HEDDA.

Do you think it quite incomprehensible that a
young girl — when it can be done — without any

one knowing

LOVBORG.
Well ?

HEDDA.

— should be glad to have a peep, now and
then, into a world which

LOVBORG.

Which ?

HEDDA.
-"which she is forbidden to know anything

about ?

LOVBORG.
So that was it ?

HEDDA,
Partly. Partly — I almost think.

LOVBORG.

Comradeship in the thirst for life. But why
should not that, at any rate, have continued ?

HEDDA.
The fault was yours.

ACT II.] HEDDA GABLER. 101

Lo'VBORG.

It was you that broke with me.

HEDDA.

Yes, when our friendship threatened to develop
into something more serious. Shame upon you,
Eilert Lovborg ! How could you think of wrong-
ing your — your frank comrade ?

LOVBORG.

[Clenching his hands.] Oh, why did you not
carry out your threat ? Why did you not shoot
me down ?

HEDDA.
Because I have such a dread of scandal.

LOVBORG.
Yes, Hedda, you are a coward at heart.

HEDDA.

A terrible coward. [Changing her tone.] But
it was a lucky thing for you. And now you have
found ample consolation at the Elvsteds'.

LOVBORG.
I know what Thea has confided to you.

HEDDA.

And perhaps you have confided to her some-
thing about us ?

LOVBORG.

Not a word. She is too stupid to understand
anything of that sort.

HEDDA.
Stupid ?

102 HEDDA GABLER. [ACT II.

LOVBORG.

She is stupid about matters of that sort.

HEDDA.

And 1 am cowardly. \Bends over towards him,
without looking him in the face, and says more softly :]
But now I will confide something to you.

LOVBORG.
[Eagerly.] Well ?

HEDDA.
The fact that I dared not shoot you down

LOVBORG.
Yes!

HEDDA.

that was not my most arrant cowardice —

that evening.

LOVBORG.

[Looks at her a moment, understands, and whispers
passionately.] Oh, Hedda ! Hedda Gabler ! Now
I begin to see a hidden reason beneath our com-
radeship ! You * and I ! After all, then, it

was your craving for life

HEDDA.

[Softly, with a sharp glance] Take care ! Believe
nothing of the sort !

[Twilight has begun to fall. The hall door
is opened from without by BERT A.

HEDDA.

[Closes the album with a bang and calls smilingly :]
Ah, at last ! My dariing Thea, — corne along !

1 In this speech he once more says du, Hedda addresses
hjm throughout as De,

ACT II.] HEDDA OABLER. 103

MRS. ELVSTED enters from the hall. She is in evening
dress. The door is closed behind her.

HEDDA.

[O» the sofa, stretches out her arms towards her.]
My sweet Thea — you can't think how I have been
longing for you !

[Mas. ELVSTED, in passing, exchanges slight
salutations with the gentlemen in the inner
room, then goes up to the table and gives
HEDDA her hand. EILERT LOVBORG has
risen. He and MRS. ELVSTED greet each
other with a silent nod.

MRS. ELVSTED.

Ought I to go in and talk to your husband for a
moment ?

HEDDA.

Oh, not at all. Leave those two alone. They
will soon be going.

MRS. ELVSTED.
Are they going out ?

HEDDA.
Yes, to a supper-party.

MRS. ELVSTED.
[Quickly, to LOVBORG.] Not you?

LOVBORG.
No.

HEDDA.
Mr. Lovborg remains with us.

104 HEDDA GABLER. [ACT It.

MRS. ELVSTED.

[Takes a chair and is about to seat herself at his
side.] Oh, how nice it is here !

HEDDA.

No, thank you, my little Thea ! Not there!
You'll be good enough to come over here to me.
I will sit between you.

MRS. ELVSTED.
Yes, just as you please.

[She goes round the table and seats herself
on the sofa on HEDDA'S right. LOVBORG
re-seats himself on his chair.

LOVBORG.

[After a short pause, to HEDDA.] Is not she
lovely to look at ?

HEDDA.
[Lightly stroking her hair.] Only to look at ?

LOVBORG.

Yes. For we two — she and I — we are two real
comrades. We have absolute faith in each other ;
so we can sit and talk with perfect frankness

HEDDA.
Not round about, Mr. Lovborg?

LOVBORG.
Well

MRS. ELVSTED.

[Softly clinging close to HEDDA.] Oh, how happy
I am, Hedda ! For, only think, he says I have
inspired him loo.

ACT II.] HEDDA GABLER. 105

HEDDA.

[Looks at her with a smile.] Ah ! Does he say
that, dear ?

LOVBORG.
And then she is so brave, Mrs. Tesman !

MRS. EL VST ED.
Good heavens — am I brave ?

LOVBORO.
Exceedingly — where your comrade is concerned.

HEDDA.
Ah yes — courage ! If one only had that !

LOVBORG.
What then ? What do you mean ?

HEDDA.

Then life would perhaps be liveable, after all.
[ With a sudden change of tone. ] But now, my dearest
Thea, you really must have a glass of cold punch.

MRS. ELVSTED.
No, thanks — I never take anything of that kind.

HEDDA.
Well then, you, Mr. Lovborg.

LOVBORG.
Nor I, thank you.

MRS. ELVSTED.
No, he doesn't either.

106 HEDDA GABLER. [ACT II.

HEDDA.

[Looks fixedly at him.} But if I say you shall ?

LOVBORG.

It would be no use.

HEDDA.

[Laughing.] Then I, poor creature, have no sort
of power over you ?

LOVBORG.
Not in that respect.

HEDDA.

But seriously, I think you ought to — for your
own sake.

MRS. ELVSTED.

Why, Hedda !

LOVBORG.
How so ?

HEDDA.
Or rather on account of other people.

LOVBORG.
Indeed ?

HEDDA.

Otherwise people might be apt to suspect that
— in your heart of hearts — you did not feel quite
secure — quite confident in yourself.

MRS. ELVSTED.
[Softly.] Oh please, Hedda :

LOVBORG.

People may suspect what they like — for the
present.

ACT II.] HEDDA GABLER. 107

MRS. ELVSTED.
[Joyfully. ~\ Yes, let them !

HEDDA.

I saw it plainly in Judge Brack's face a moment
ago.

Lb'VBORG.

What did you see ?

HEDDA.

His contemptuous smile, when you dared not
go with them into the inner room.

LOVBORG.

Dared not ? Of course I preferred to stop here
and talk to yo u.

MRS. ELVSTED.
What could be more natural, Hedda ?

HEDDA.

But the Judge could not guess that. And I saw,
too, the way he smiled and glanced at Tesman
when you dared not accept his invitation to this
wretched little supper-party of his.

LOVBORO.
Dared not ! Do you say I dared not ?

HEDDA.

/ don't say so. But that was how Judge Brack
understood it.

LOVBORO.
Well, let him.

HEDDA.
Then you are not going with them ?

108 HEDDA GABLER. [ACT II.

Lo'VBORG.

I will stay here with you and Thea.

MRS. ELVSTED.
Yes, Hedda — how can you doubt that ?

HEDDA.

[Smiles and nods approvingly to LOVBORG.] Firm as
a rock ! Faithful to your principles, now and for
ever ! Ah, that is how a man should be ! [Turns
to MRS. ELVSTED and caresses her.] Well now, what
did 1 tell you, when you came to us this morning
in such a state of distraction

LOVBORG.
[Surprised.'] Distraction !

MRS. ELVSTED.
[Terrified.] Hedda— oh Hedda !

HEDDA.

You can see for yourself! You haven't the
slightest reason to be in such mortal terror —
[Intetrupting herself.] There ! Now we can all
three enjoy ourselves !

LOVBORG.

[Who has given a start.] Ah — what is all this,
Mrs. Tesman ?

MRS. ELVSTED.

Oh my God, Hedda ! What are you saying ?
What are you doing ?

HEDDA.

Don't get excited ! That horrid Judge Brack
is sitting watching you.

ACT II.] HEDDA GABLER. 109

LOVBORG.

So she was in mortal terror ! On my account !

MRS. ELVSTED.

[Softly and piteous! yJ\ Oh, Hedda — now you have
ruined everything !

LOVBORG.

[Looks fixedly at her for a moment. His face is
distorted.] So that was my comrade's frank con-
fidence in me ?

MRS. ELVSTED.

[Imploringly.] Oh, my dearest friend — only let
me tell you —

LOVBORG.

[Takes one of the glasses of punch, raises it to his
lips, and soys in a loiv, husky voice.] Your health,
Thea!

[He empties the glass, puts it down, and
takes the second.

MRS. ELVSTED.

[Softly.} Oh, Hedda, Hedda — how could you
do this?

HEDDA.
/ do it ? / ? Are you crazy ?

LOVBORG.

Here's to your health too, Mrs. Tesman. Thanks
for the truth. Hurrah for the truth !

[He empties the glass and is about to re-Jill it.

HEDDA.

[Lays her hand on his arm.} Come,come — no more
for the present. Remember you are going out to
supper.

110 HEDDA GABLER. [ACT II.

MRS. ELVSTED.
No, no, no !

HEDDA.
Hush ! They are sitting watching you.

LOVBORG.

[Putting down the glass. ~\ Now, Thea — tell me
the truth

MRS. ELVSTED.
Yes.

LOVBORG.

Did your husband know that you had come
after me ?

MRS. ELVSTED.

[Wringing her hands .] Oh, Hedda — do you hear
what he is asking ?

LOVBORG.

Was it arranged between you and him that you
were to come to town and look after me ? Perhaps
it was the Sheriff himself that urged you to come ?
Aha, my dear — no doubt he wanted my help in his
office ! Or was it at the card-table that he missed
me ?

MRS. ELVSTED.
[Softly, in agony.] Oh, Lovborg, Lbvborg !

LOVBORG.

[Seizes a glass and is on the point of filling it.]
Here's a glass for the old Sheriff too !

HEDDA.

[Preventing him.] No more just now. Remember,
you have to read your manuscript to Tesman.

ACT II.] HEDDA GABLER. Ill

LOVBORG.

[ Calmly, putting down the glass.] It was stupid
of me all this, Thea — to take it in this way, I
mean. Don't be angry with me, my dear, dear
comrade. You shall see — both you and the others
— that if I was fallen once — now I have risen
again ! Thanks to y o u, Thea.

MRS. ELVSTED.
[Radiant with jot/.] Oh, heaven be praised —

[BRACK has in the meantime looked at hif>
watch. He and TESMAN rise and come
into the drawing room.

BRACK.

[Takes his frett and overcoat] Well, Mrs. Tesman,
our time has come.

HEDDA.
I suppose it has.

LOVBORG.
[Rising.'] Mine too, Judge Brack.

MRS. ELVSTED.

[Softly and imploringly] Oh, Lovborg, don't do
it!

HEDDA.
[Pinching her arm.] They can hear you !

MRS. ELVSTED.
[With a suppressed shriek.] Ow !

LOVBORG.

[To BRACK.] You were good enough to invite
me.

112 HEDDA GABLER. ACT II.]

BRACK.
Well, are you coming after all ?

LOVBORG.
Yes, many thanks.

BRACK.
I'm delighted

LOVBORG.

[To TESMAN, putting the parcel of MS. in his
pocket.] I should like to show you one or two
things before I send it to the printers.

TESMAN.

Fancy — that will be delightful. But, Hedda
dear, how is Mrs. Elvsted to get home ? Eh ?

HEDDA.
Oh, that can be managed somehow.

LOVBORG.

[Looking towards the ladies.] Mrs. Elvsted? Of
course, I'll come again and fetch her. [Approach-
ing.] At ten or thereabouts, Mrs. Tesman ? Will
that do ?

HEDDA.
Certainly. That will do capitally.

TESMAN.

Well, then, that's all right. But you must not
expect me so early, Hedda.

HEDDA.

Oh, you may stop as long — as long as ever you
please.

ACT II.] HEDDA GABLER. 113

MRS. ELVSTED.

[Trying to conceal her anxiety.] Well then, Mr.
Lovborg — I shall remain here until you come.

LOVBORG.

[With his hat in his hand.] Pray do, Mrs.
Elvsted.

BRACK.

And now off goes the excursion train, gentle-
men ! I hope we shall have a lively time, as a
certain fair lady puts it.

HEDDA.

Ah, if only the fair lady could be present un-
seen !

BRACK.
Why unseen ?

HEDDA.

In order to hear a little of your liveliness at
first hand, Judge Brack.

BRACK.

[Laughing.] I should not advise the fair lady
to try it.

TESMAN.

[Also laughing.] Come, you're a nice one
Hedda ! Fancy that !

BRACK.
Well, good-bye, good-bye, ladies.

LOVBORG.
[Bowing.] About ten o'clock, then.

[BRACK, LOVBORG, and TESMAN go out by
the hall door. At the same time, BERTA

X H

114 HEDDA GABLER. [ACT II.

enters from the inner room with a lighted
lamp, which she places on the drawing-
room table ; she goes out by the way she
came.

MRS. ELVSTED.

\Who has risen and is wandering restlessly about
the room.] Hedda— Hedda — what will come of
all this ?

HEDDA.

At ten o'clock — he will be here. I can see
him already — with vine-leaves in his hair — flushed
and fearless —

MRS. ELVSTED.
Oh, I hope he may.

HEDDA.

And then, you see — then he will have regained
control over himself. Then he will be a free man
for all his days.

MRS. ELVSTED.

Oh God ! — if he would only come as you see him
now !

HEDDA.

He will come as I see him — so, and not other-
wise ! [Rises and approaches THEA.] You may
doubt him as long as you please ; / believe in him.
And now we will try

MRS. ELVSTED.
You have some hidden motive in this, Hedda !

HEDDA.

Yes, I have. I want for once in my life to have
power to mould a human destiny.

ACT II.] HEDDA GABLER. 115

MRS. ELVSTED.
Have you not the power ?

HEDDA.
I have not — and have never had it.

MRS. ELVSTEB
Not your husband's ?

HEDDA.

Do you think that is worth the trouble? Oh,
if you could only understand how poor I am. And
fate has made you so rich ! [Clasps her passion-
ately in her arms.] I think I must burn your hair
off, after all.

MRS. ELVSTED.

Let me go ! Let me go ! I am afraid of you,
Hedda!

BERTA.

[In the middle doorway.] Tea is laid in the
dining-room, ma'am.

HEDDA.
Very well. We are coming.

MRS. ELVSTED.

No, no, no ! I would rather go home alone \
At once !

HEDDA.

Nonsense ! First you shall have a cup of tea,
you little stupid. And then — at ten o'clock—
Eilert Lovborg will be here — with vine-leaves in
his hair.

[She drags MRS. ELVSTED almost by force
towards the middle doorway.

ACT THIRD.

The room at the TESMANS'. The curtains are drawn
over the middle doorway, and also over the glass
door. The lamp, half turned dotvn, and with a
shade over it, is burning on the table. In the
stove, the door of which stands open, there has
been a jire, which is now nearly burnt out.

MRS. ELVSTED, wrapped in a large shawl, and with
her feet upon a foot-rest, sits close to the stove,
sunk back in the arm-chair. HEDDA, fully
dressed, lies sleeping upon the sofa, with a sofa-
blanket over her.

MRS. ELVSTED.

[After a pause, suddenly sits up in her chair, and
listens eagerly. Then she sinks back again wearily,
moaning to herself '.] Not yet ! — Oh God — oh God
— not yet !

BERTA slips cautiously in by the hall door. She has a
letter in her hand.

MRS. ELVSTED.

[Turns and whispers eagerly.] Well — has any
one come ?

BERTA.
\Softly. Yes, a girl has just brought this letter.

ACT III.] HEDDA GABLER. 117

MRS. ELVSTED.

[Quickly, holding out her hand.] A letter ! Give
it to me !

BERTA.
No, it's for Dr. Tesman, ma'am.

MRS. ELVSTED.
Oh, indeed.

BERTA.

It was Miss Tesman's servant that brought it.
I'll lay it here on the table.

MRS. ELVSTED.
Yes, do.

BERTA.

[Laying down the letter.] I think I had better put
out the lamp. It's smoking.

MRS. ELVSTED.

Yes, put it out. It must soon be daylight
now.

BERTA.

[Putting out the lamp] It is daylight already,
ma'am.

MRS. ELVSTED.
Yes, broad day ! And no one come back

yet !

BERTA.

Lord bless you, ma'am — I guessed how it would
be.

MRS. ELVSTED.
You guessed ?

BERTA.
Yes, when I saw that a certain person had come

118 HEDDA GABLER. [ACT III.

back to town — and that he went off with them.
For we've heard enough about that gentleman
before now.

MRS. ELVSTED.

Don't speak so loud. You will waken Mrs. Tes-
man.

BERTA.

[Looks toward,? the sofa and sighs.] No, no — let
her sleep, poor thing. Shan't I put some wood
on the fire ?

MRS. ELVSTED.
Thanks, not for me.

BERTA.
Oh, very well.

[She goes softly out by the hall door.

HEDDA.

[fs wakened by the shutting of the door, and looks
up.] What's that— — ?

MRS. ELVSTED.
It was only the servant —

HEDDA.

[Looking about her.] Oh, we're here ! Yes,

now I remember. [Sits erect upon the sofa, stretches
herself, and rubs her eyes.] What o'clock is it,
Thea ?

MRS. ELVSTED.

[Looks at her watch.] It's past seven.

HEDDA.
When did Tesman come home ?

ACT III.] HEDDA OABLER. 119

MRS. ELVSTED.
He has not come.

H EDDA.

Not come home yet ?

MRS. ELVSTED.
[Rising.] No one has come.

HEDDA.

Think of our watching and waiting here till
four in the morning

MRS. ELVSTED.

[Wringing her hands.] And howl watched and
waited for him !

HEDDA.

[Yawns, and says with her hand before her mouth.]
Well well — we might have spared ourselves the
trouble. ,

MRS. ELVSTED.
Did you get a little sleep ?

HEDDA.

Oh yes ; 1 believe I have slept pretty well.
Have you not ?

MRS. ELVSTED.

Not for a moment. I couldn't, Hedda ! — not
to save my life.

HEDDA.

[Rises and goes loivards her.] There there there !
There's nothing to be so alarmed about. I under-
stand quite well what has happened.

ISO HEDDA OABLER. [ACT III.

MRS. ELVSTED.
Well, what do you think ? Won't you tell me?

HEDDA.

Why, of course it has been a very late affair at
Judge Brack's —

MRS. ELVSTED.

Yes, yes — that is clear enough. But all the
same

HEDDA.

And then, you see, Tesman hasn't cared to come
home and ring us up in the middle of the night.
[Laughing.] Perhaps he wasn't inclined to show
himself either — immediately after a jollification.

MRS. ELVSTED.
But in that case — where can he have gone ?

HEDDA.

Of course he has gone to his Aunts' and slept
there. They have his old room ready for him.

MRS. ELVSTED.

No, he can't be with them ; for a letter has just
come for him from Miss Tesman. There it lies.

HEDDA.

Indeed ? [Looks at the address.] Why yes, it's
addressed in Aunt Julia's own hand. Well then,
he has remained at Judge Brack's. And as for
Eilert Lovborg — he is sitting, with vine leaves in
his hair, reading his manuscript.

ACT III.] HEDDA GABLER. 121

MRS. ELVSTED.

Oh Hedda, you are just saying things you don't
believe a bit.

HEDDA,
You really are a little blockhead, Thea.

MRS. ELVSTED.
Oh yes, I suppose I am.

HEDDA.
And how mortally tired you look.

MRS. ELVSTED.
Yes, I am mortally tired.

HEDDA.

Well then, you must do as I tell you. You must
go into my room and lie down for a little while.

MRS. ELVSTED.
Oh no, no — I shouldn't be able to sleep.

HEDDA.
I am sure you would.

MRS. ELVSTED.

Well, but your husband is certain to come soon
now ; and then I want to know at once —

HEDDA.

I shall take care to let you know when he
comes.

MRS. ELVSTED.
Do you promise me, Hedda ?

122 HEDDA GABLER. [ACT III.

HEDDA.

Yes, rely upon me. Just you go in and have a
sleep in the meantime.

MRS. ELVSTED.
Thanks ; then I'll try to.

[She goes off through the inner room.
[ H EDDA goes up to the glass door and draws
back the curtains. The broad daylight
streams into the room. Then she takes a
little hand-glass from the writing-table,
looks at herself in it, and arranges her
hair. Next she goes to the hall door and
presses the bell-button.

BERTA presently appears at the hall door.

BERTA.
Did you want anything, ma'am ?

HEDDA.

Yes; you must put some more wood in the stove.
I am shivering.

BERTA.

Bless me — I'll make up the fire at once. [She
rakes the embers together and lays a piece of wood
upon them ; then stops and listens.} That was a
ring at the front door, ma'am.

HEDDA.
Then go to the door. I will look after the fire.

BERTA.
It'll soon burn up.

[She goes out by the hall door.
[HEDDA kneels on the foot-rest and lays
some more pieces of wood in the stove.

ACT III.] HEDDA GABLER. 123

After a short pause, GEORGE TESMAN enters from
the hall. He looks tired and rather serious. He
steals on tiptoe towards the middle doorway and
is about to slip through the curtains.

HEDDA.
[At the stove, without looking up.] Good morning.

TESMAN.

[Turns.] Hedda ! [Approaching her.] Good
heavens — are you up so early ? Eh ?

HEDDA.
Yes, I am up very early this morning.

TESMAN.

And I never doubted you were still sound asleep !
Fancy that, Hedda !

HEDDA.

Don't speak so loud. Mrs. Elvsted is resting
in my room.

TESMAN.
Has Mrs. Elvsted been here all night ?

HEDDA.
Yes, since no one came to fetch her.

TESMAN.
Ah, to be sure.

HEDDA.

[Closes the door of the stove and rises.] Well, did
you enjoy yourselves at Judge Brack's ?

TESMAN.
Have you been anxious about me ? Eh ?

124 HEDDA GABLER. [ACT III.

HEDDA.

No, 1 should never think of being anxious. But
I asked if you had enjoyed yourself.

TESMAN.

Oh yes, — for once in a way. Especially the
beginning of the evening ; for then Eilert read
me part of his book. We arrived more than an
hour too early — fancy that ! And Brack had all
sorts of arrangements to make — so Eilert read to
me.

HEDDA.

[Seating herself by the table on the right.'] Well ?
Tell me, then —

TESMAN.

[Sitting on a footstool near the stove.] Oh Hedda,
you can't conceive what a book that is going to
be ! I believe it is one of the most remarkable
things that have ever been written. Fancy that !

HEDDA.
Yes yes ; I don't care about that

TESMAN.

I must make a confession to you, Hedda. When
he had finished reading — a horrid feeling came
over me.

HEDDA.
A horrid feeling ?

TESMAN.

I felt jealous of Eilert for having had it in him
to write such a book. Only think, Hedda !

HEDDA.
Yes, yes, I am thinking I

ACT III.] HEDDA OABLER. 125

TESMAN.

And then how pitiful to think that he — with all
his gifts — should be irreclaimable, after all.

HEDDA.

I suppose you mean that he has more courage
than the rest ?

TESMAN.

No, not at all — I mean that he is incapable of
taking his pleasures in moderation.

HEDDA.
And what came of it all — in the end ?

TESMAN.

Well, to tell the truth, I think it might best be
described as an orgie, Hedda.

HEDDA.
Had he vine-leaves in his hair?

TESMAN.

Vine-leaves? No, I saw nothing of the sort.
But he made a long, rambling speech in honour
of the woman who had inspired him in his work —
that was the phrase he used.

HEDDA.
Did he name her ?

TESMAN.

No, he didn't ; but I can't help thinking he
meant Mrs. Elvsted. You may be sure he did.

HEDDA.
Well — where did you part from him ?

126 HEDDA GABLER. [ACT III.

TESMAN.

On the way to town. We broke up — the last
of us at any rate — all together; and Brack came
with us to get a breath of fresh air. And then,
you see, we agreed to take Eilert home ; for he
had had far more than was good for him.

HEDDA.
I daresay.

TESMAN.

But now comes the strange part of it, Hedda ;
or, I should rather say, the melancholy part of it.
I declare I am almost ashamed — on Eilert's account

— to tell you

HEDDA.

Oh, go on !

TESMAN.

Well, as we were getting near town, you see, I
happened to drop a little behind the others. Only
for a minute or two — fancy that !

HEDDA.

Yes yes yes, but ?

TESMAN.

And then, as I hurried after them — what do
you think I found by the wayside ? Eh ?

HEDDA.
Oh, how should I know !

TESMAN.

You mustn't speak of it to a soul, Hedda ! Do
you hear ! Promise me, for Eilert's sake. [Draws
a parcel, wrapped in paper, from his coat pocket.
Fancy, dear — I found this.

ACT III.] HEDDA GABLER. 127

HEDDA.
Is not that the parcel he had with him yesterday ?

TESMAN.

Yes, it is the whole of his precious, irreplaceable
manuscript ! And he had gone and lost it, and
knew nothing about it. Only fancy, Hedda ! So
deplorably —

HEDDA.

But why did you not give him back the parcel
at once ?

TESMAN.

I didn't dare to — in the state he was then
in —

HEDDA.

Did you not tell any of the others that you had
found it ?

TESMAN.

Oh, far from it ! You can surely understand
that, for Eilert's sake, I wouldn't do that.

HEDDA.

So no one knows that Eilert Lovborg's manu-
script is in your possession ?

TESMAN.
No. And no one must know it

HEDDA.
Then what did you say to him afterwards ?

TESMAN.

I didn't talk to him again at all ; for when we
got in among the streets, he and two or three of
the others gave us the slip and disappeared.
Fancy that !

128 HEDDA GABLER. [ACT III.

HEDDA.
Indeed ! They must have taken him home then.

TESMAN.
Yes, so it would appear. And Brack, too, left us.

HEDDA.

And what have you been doing with yourself
since ?

TESMAN.

Well, I and some of the others went home with
one of the party, a jolly fellow, and took our
morning coffee with him ; or perhaps I should
rather call it our night coffee — eh ? But now,
when I have rested a little, and given Eilert,
poor fellow, time to have his sleep out, I must
take this back to him.

HEDDA.

[Holds out her hand for the packet.] No — don't
give it to him ! Not in such a hurry, I mean.
Let me read it first.

TESMAN.

No, my dearest Hedda, I mustn't, I really
mustn't.

HEIDA.
You must not ?

TESMAN.

No — for you can imagine what a state of des-
pair he will be in when he wakens and misses the
manuscript. He has no copy of it, you must know !
He told me so.

HEDDA.

{Looking searchingly at him.} Can such a thing
not be reproduced ? Written over agaia ?

ACT III.] HEDDA GABLER. 129

TESMAN.

No, I don't think that would be possible. For
the inspiration, you see

HEDDA.

Yes, yes — I suppose it depends on that

[Lightly.] But, by-the-bye — here is a letter for
you.

TESMAN.
Fancy —

HEDDA.

[Handing it to him.} It came early this morn-
ing.

TESMAN.

It's from Aunt Julia ! What can it be ? [He
lays the packet on the other footstool, opens the letter,
runs his eye through it, and jumps up.] Oh, Hedda
— she says that poor Aunt Rina is dying !

HEDDA.
Well, we were prepared for that.

TESMAN.

And that if I want to see her again, I must
make haste. I'll run in to them at once.

HEDDA.

[Suppressing a smile.] Will you run ?

TESMAN.

Oh, my dearest Hedda — if you could only make
up your mind to come with me ! Just think !

HEDDA.

[Rises and says wearily, repelling the idea.] No,

130 HEDDA GABLER. [ACT III.

no, don't ask me. I will not look upon sickness
and death. I loathe all sorts of ugliness.

TESMAN.

Well, well, then ! [Bustling around.] My

hat ? My overcoat ? Oh, in the

hall . I do hope I mayn't come too late,

Hedda ! Eh ?

HEDDA.
Oh, if you run —

[BERTA appears at the hall door.

BERTA.

Judge Brack is at the door, and wishes to know
if he may come in.

TESMAN.

At this time ! No, I can't possibly see him.

HEDDA.

But I can. [To BERTA.] Ask Judge Brack to
come in. [BERTA goes out.

HEDDA.
[Quickly, whispering.] The parcel, Tesman !

[She snatches it up from the stool.

TESMAN.
Yes, give it to me !

HEDDA.
No, no, I will keep it till you come back.

[She goes to the writing-table and places it
in the bookcase. TESMAN stands in a
flurry of haste, and cannot get his gloves
on.

ACT III.] HEDDA GABLER. 131

JUDGE BRACK enters from the hall.

HEDDA.

[Nodding to him.} You are an early bird, I must
say.

BRACK.

Yes, don't you think so ? [To TESMAN.] Are
you on the move, too ?

TESMAN.

Yes, I must rush off to my aunts'. Fancy —
the invalid one is lying at death's door, poor
creature.

BRACK.

Dear me, is she indeed ? Then on no account
let me detain you. At such a critical moment

TESMAN.

Yes, I must really rush — Good-bye ! Good-
bye ! [He hastens out by the hall door.

HEDDA.

[Approaching.] You seem to have made a
particularly lively night of it at your rooms, Judge
Brack.

BRACK.

I assure you I have not had my clothes off, Mrs.
Hedda.

HEDDA.
Not you, either ?

BRACK.

No, as you may see. But what has Tesman
been telling you of the night's adventures ?

132 HEDDA GABLER. [ACT III.

HEDDA.

Oh, some tiresome story. Only that they went
and had coffee somewhere or other.

BRACK.

I have heard about that coffee-party already.
Eilert Lovborg was not with them, I fancy?

HEDDA.
No, they had taken him home before that.

BRACK.
Tesman too?

HEDD.A.
No, but some of the others, he said.

BRACK.

[Smiling.] George Tesman is really an ingenu-
ous creature, Mrs. Hedda.

HEDDA.

Yes, heaven knows he is. Then is there some-
thing behind all this ?

BRACK.
Yes, perhaps there may be.

HEDDA.

Well then, sit down, my dear Judge, and tell
your story in comfort.

[She seats herself to the left of the table.
BRACK sits near her, at the long side of
the table.

HEDDA.
Now then ?

ACT III.] HEDDA GABLER. 133

BRACK.

I had special reasons for keeping track of my
guests — or rather of some of my guests — last
night.

HEDDA.

Of Eilert Lovborg among the rest, perhaps ?

BRACK.

Frankly — yes.

HEDDA.
Now you make me really curious

BRACK.

Do you know where he and one or two of the
others finished the night, Mrs. Hedda ?

HEDDA.
If it is not quite unmentionable, tell me.

BRACK.

Oh no, it's not at all unmentionable. Well,
they put in an appearance at a particularly ani-
mated soiree.

HEDDA.

Of the lively kind ?

BRACK.
Of the very liveliest —

HEDDA.
Tell me more of this, Judge Brack

BRACK.

Lovborg, as well as the others, had been invited
in advance. I knew all about it. But he had

134- HEDDA GABLER. [ACT III.

declined the invitation ; for now, as you know, he
has become a new man.

HEDDA.

Up at the Elvsteds', yes. But he went after
all, then ?

BRACK.

Well, you see, Mrs. Hedda — unhappily the
spirit moved him at my rooms last evening —

HEDDA.
Yes, I hear he found inspiration.

BRACK.

Pretty violent inspiration. Well, I fancy that
altered his purpose ; for we menfolk are unfortu-
nately not always so firm in our principles as we
ought to be.

HEDDA.

Oh, I am sure you are an exception, Judge
Brack. But as to Lovborg ?

BRACK.

To make a long story short — he landed at last
in Mademoiselle Diana's rooms.

HEDDA.
Mademoiselle Diana's ?

BRACK.

It was Mademoiselle Diana that was giving the
soiree, to a select circle of her admirers and her
lady friends.

HEDDA.
Is she a red-haired woman ?

ACT in.] in. UN \ (, \iu.i u. J35

BRACK.
Precisely.

HEDDA.
A sort of a — singer ?

BRACK.

Oh yes — in her leisure moments. And more-
over a mighty huntress — of men — Mrs. Hedda.
You have no doubt heard of her. Eilert Lovborg
was one of her most enthusiastic protectors — in
the days of his glory.

HEDDA.

And how did all this end ?

BRACK.

Far from amicably, it appears. After a most
tender meeting, they seem to have come to

blows

HEDDA.
Lovborg and she ?

BRACK.

Yes. He accused her or her friends of having
robbed him. He declared that his pocket-book
had disappeared — and other things as well. In
short, he seems to have made a furious disturbance,,

HEDDA.
And what came of it all ?

BRACK.

It came to a general scrimmage, in which the
ladies as well as the gentlemen took part. Fortu-
nately the police at last appeared on the scene.

136 HEDDA GABLER. [ACT III.

HEDDA.
The police too ?

BRACK.

Yes. I fancy it will prove a costly frolic for
Eilert Lovborg, crazy being that he is.

HEDDA.
How so ?

BRACK.

He seems to have made a violent resistance —
to have hit one of the constables on the head and
torn the coat off his back. So they had to march
him off to the police-station with the rest.

HEDDA.
How have you learnt all this ?

BRACK.
From the police themselves.

HEDDA.

[Gazing straight before her.] So that is what
happened. Then he had no vine-leaves in his
hair.

BRACK.
Vine-leaves, Mrs. Hedda ?

HEDDA.

[Changing her toneJ\ But tell me now, Judge —
what is your real reason for tracking out Eilert
Lb'vborg's movements so carefully ?

BRACK.

In the first place, it could not be entirely
indifferent to me if it should appear in the police-
court that he came straight from my house.

ACT III.] HEDDA OABLER. 137

HEDDA.
Will the matter come into court then ?

BRACK.

Of course. However, I should scarcely have
troubled so much about that. But I thought
that, as a friend of the family, it was my duty to
supply you and Tesman with a full account of his
nocturnal exploits.

HEDDA.
Why so, Judge Brack ?

BRACK.

Why, because I have a shrewd suspicion that
he intends to use you as a sort of blind.

HEDDA.
Oh, how can you think such a thing !

BRACK.

Good heavens, Mrs. Hedda — we have eyes in
our head. Mark my words ! This Mrs. Elvsted
will be in no hurry to leave town again.

HEDDA.

Well, even if there should be anything between
them, I suppose there are plenty of other places
where they could meet.

BRACK.

Not a single home. Henceforth, as before,
every respectable house will be closed against
Eilert Lovborg.

HEDDA.
And so ought mine to be, you mean ?

138 HEDDA GABLER. [ACT III.

BRACK.

Yes. I confess it would be more than painful
to me if this personage were to be made free of
your house. How superfluous, how intrusive, he
would be, if he were to force his way into

HEDDA.
into the triangle ?

BRACK.

Precisely. It would simply mean that I should
find myself homeless.

HEDDA.

[Looks at him with a smile.] So you want to be
the one cock in the basket1 — that is your aim.

BRACK.

[Nods slowly and lowers his voice.] Yes, that
is my aim. And for that I will fight — with every
weapon I can command.

HEDDA.

[Her smile vanishing.] I see you are a dangerous
person — when it comes to the point.

BRACK.
Do you think so ?

HEDDA.

I am beginning to think so. And I am exceed-
ingly glad to think — that you have no sort of
hold over me.

1 " Eneste bane i kurven " — a proverbial saying.

ACT 111.] HEDDA OABLER. 139

BRACK.

[Laughing equivocally.] Well well, Mrs. Hedda
— perhaps you are right there. If I had, who
knows what I might be capable of?

HEDDA.

Ccme come now, Judge Brack ! That sounds
almost like a threat.

BRACK.

[Rising.] Oh, not at all ! The triangle, you
know, ought, if possible, to be spontaneously con-
structed.

HEDDA.
There I agree with you.

BRACK.

Well, now I have said all I had to say ; and I
had better be getting back to town. Good-bye,
Mrs. Hedda. [He goes towards the glass door*

HEDDA.
[Rising] Are you going through the garden ?

BRACK.
Yes, it's a short cut for me.

HEDDA.
And then it is a back way, too.

BRACK.

Quite so. I have no objection to back ways.
They may be piquant enough at times.

HEDDA.
When there is ball practice going on, you mean ?

140 HEDDA GABLER. [ACT III.

BRACK.

[In the doorway, laughing to her] Oh, people
don't sho 3t their tame poultry, I fancy.

HEDDA.

[Also laughing] Oh no, when there is only one
cock in the basket —

[They exchange laughing nods of farewell.
He goes. She closes the door behind
him.

[HEDDA, who has become quite serious, stands
for a moment looking out. Presently she
goes and peeps through the curtain over
the middle doorway. Then she goes to
the writing-table, takes LOVBORG'S packet
out of the bookcase, and is on the point oj
looking through its contents. BERTA is
heard speaking loudly in the hall. HEDDA
turns and listens. Then she hastily locks
up the packet in the drawer, and lays the
key on the inkstand.

EILERT LOVBORG, with his greatcoat on and his hat in
his hand, tears open the hall door. He looks
sometvhat confused and irritated.

LOVBORG.

[Looking towards the hall] And I tell you I
must and will come in ! There !

[He closes the door, turns, sees HEDDA, at
once regains his self-control, and bows.

HEDDA.

[At the writing-table] Well, Mr. Lovborg, this
is rather a late hour to call for Thea.

ACT III.] HEDDA GABLER. 141

LOVBORG.

You mean rather an early hour to call on you.
Pray pardon me.

HEDDA.
How do you know that she is still here ?

LOVBORG.

They told me at her lodgings that she had
been out all night.

HEDDA.

[Going to the oval table.] Did you notice any-
thing about the people of the house when they
said that ?

LOVBORG.

[Looks inquiringly at her.] Notice anything
about them ?

HEDDA.

I mean, did they seem to think it odd ?

LOVBORG.

[Suddenly understanding] Oh yes, of course !
I am dragging her down with me ! However, I
didn't notice anything. — I suppose Tesman is not
up yet ?

HEDDA.
No — I think not

LOVBORG.
When did he come home ?

HEDDA.
Very late.

LOVBORG.
Did he tell you anything ?

142 HEDDA GABLER. [ACT III.

HEDDA.

Yes, I gathered that you had had an exceed-
ingly jolly evening at Judge Brack's.

LOVBORG.
Nothing more ?

HEDDA.

I don't think so. However, I was so dread-
fully sleepy —

MRS. ELVSTED enters through the curtains of the
middle doorway.

MRS. ELVSTED.
[Going towards him.] Ah, Lovborg ! At

last !

LOVBORG.
Yes, at last. And too late !

MRS. ELVSTED.
[Looks anxiously at him.] What is too late ?

LOVBORG.

Everything is too late now. It is all over with
me.

MRS. ELVSTED.
Oh no, no — don't say that !

LOVBORG.
You will say the same when you hear

MRS. ELVSTEO.
I won't hear anything !

ACT III.] HEDDA GABLER. 143

HEDDA.

Perhaps you would prefer to talk to her alone I
If so, I will leave you.

LOVBORG.
No, stay — you too. I beg you to stay.

MRS. ELVSTED.
Yes, but I won't hear anything, I tell you.

LOVBORG.

It is not last night's adventures that I want to
talk about.

MRS. ELVSTED.
What is it then ?

LOVBORG.
I want to say that now our ways must part.

MRS. ELVSTED.
Part !

HEDDA.
[Involuntarily.] I knew it !

LOVBORG.
You can be of no more service to me, Thea.

MRS. ELVSTED.

How can you stand there and say that ! No
more service to you ! Am I not to help you
now, as before ? Are we not to go on working
together ?

LOVBORG.
Henceforward I shall do no work.

144 HEDDA GABLER. [ACT III.

MRS. ELVSTED.

[Despairingly.] Then what am I to do with
my life ?

LOVBORG.

You must try to live your life as if you had
never known me.

MRS. ELVSTED.
But you know I cannot do that !

LOVBORG.
Try if you cannot, Thea. You must go home

again

MRS. ELVSTED.

[In vehement protest.] Never in this world !
Where you are, there will I be also ! I will not
let myself be driven away like this ! I will
remain here ! I will be with you when the book
appears.

HEDDA.
[Half aloud, in suspense.] Ah yes — the book !

LOVBORG.

[Looks at her.] My book and Thea's ; for
that is what it is.

MRS. ELVSTED.

Yes, I feel that it is. And that is why I have
a right to be with you when it appears ! I will
see with my own eyes how respect and honour
pour in upon you afresh. And the happiness^-
the happiness — oh, I must share it with you !

LOVBORG.
Thea — our book will never appear.

ACT III.] HEDDA GABLER. 145

HEDDA.
Ah!

MRS. ELVSTED.
Never appear !

LOVBORG.
Can never appear.

MRS. ELVSTED.

[In agonised foreboding.] Lovborg — what have
you done with the manuscript ?

HEDDA.

[Looks anxiously at him.] Yes, the manu-
script ?

MRS. ELVSTED.
Where is it ?

LOVBORG.
Oh Thea — don't ask me about it !

MRS. ELVSTED.

Yes, yes, I will know. I demand to be told
at once.

LOVBORG.

The manuscript . Well then — 1 have torn

the manuscript into a thousand pieces.

MRS. ELVSTED.
[Shrieks.'] Oh no, no !

HEDDA.
[Involuntarily.] But that's not

LOVBORG.
[Looks at her.] Not true, you think ?

X K

146 HEDDA GABLER. [ACT III.

HEDDA.

[Collecting herself.] Oh well, of course— since
you say so. But it sounded so improbable

LOVBORG.
It is true, all the same.

MRS. ELVSTED.

[ Wringing her hands.] Oh God — oh God, Hedda
— torn his own work to pieces !

LOVBORG.

I have torn my own lite to pieces. So why
should I not tear my life-work too ?

MRS. ELVSTED.
And you did this last night ?

LOVBORG.

Yes, I tell you ! Tore it into a thousand pieces
— and scattered them on the fiord — far out.
There there is cool sea-water at any rate — let
them drift upon it — drift with the current and
the wind. And then presently they will sink —
deeper and deeper — as I shall, Thea.

MRS. ELVSTED.

Do you know, Lovborg, that what you have
done with the book — I shall think of it to my
dying day as though you had killed a little child.

LOVBORG.
Yes, you are right. It is a sort of child-murder.

ACT III.] HEDDA GABLER. 147

MRS. ELVSTED.

How could you, then ! Did not the child

belong to me too ?

HEDDA.
[Almost inaudibly.] Ah, the child —

MRS. ELVSTED.

\Breathingheavily.] It is all over then. Well
well, now I will go, Hedda.

HEDDA.
But you are not going away from town ?

MRS. ELVSTED.

Oh, I don't know what I shall do. I see
nothing but darkness before me.

[She goes out by the hall door

HEDDA.

[Stands waiting for a moment.] So you are not
going to see her home, Mr. Lovborg ?

LOVBORG.

I ? Through the streets ? Would you have
people see her walking with me ?

H EDDA.

Of course I don't know what else may have
happened last night. But is it so utterly irre-
trievable ?

LOVBORG.

It will not end with last night — I know that
perfectly well. And the thing is that now I have
no taste for that sort of life either, I won' I

148 HEDDA GABLER. [ACT III.

begin it anew. She has broken my courage and
ray power of braving life out.

HEDDA.

[Looking straight before her.] So that pretty little
fool has had her fingers in a man's destiny. [Looks
at him.] But all the same, how could you treat
her so heartlessly.

LOVBORG.
Oh, don't say that it was heartless !

HEDDA.

To go and destroy what has filled her whole
soul for months and years ! You do not call that
heartless !

LOVBORG.
To you I can tell the truth, Hedda.

HEDDA.
The truth ?

LOVBORG.

First promise me — give me your word — that
what I now confide to you Thea shall never
know.

HEDDA.
I give you my word.

LOVBORG.

Good. Then let me tell you that what I said
just now was untrue.

HEDDA.
About the manuscript ?

ACT III.] HEDDA GABLER. 149

LOVBORG.

Yes. I have not torn it to pieces — nor thrown
it into the fiord.

HEDDA.
No, no . But — where is it then ?

LOVBORG.

I have destroyed it none the less — utterly
destroyed it, Hedda !

HEDDA.
I don't understand.

LOVBORG.

Thea said that what I had done seemed to her
like a child -murder.

HEDDA.
Yes, so she said.

LOVBORG.

But to kill his child — that is not the worst
thing a father can do to it.

HEDDA.
Not the worst r

LOVBORG.

No. I wanted to spare Thea from hearing the
worst.

HEDDA.

Then what is the worst ?

LOVBORG.

Suppose now, Hedda, that a man — in the small
hours of the morning — came home to his child's
mother after a night of riot and debauchery, and

150 HEDDA GABLER. [ACT III.

said : " Listen — I have been here and there — in
this place and in that. And I have taken our
child with me — to this place and to that. And I
have lost the child— utterly lost it. The devil
knows into what hands it may have fallen — who
may have had their clutches on it."

HEDDA.

Well — but when all is said and done, you know
— this was only a book —

LOVBORG.
Thea's pure soul was in that book.

HEDDA.
Yes, so I understand.

LOVBORG.

And you can understand, too, that for her and
me together no future is possible.

HEDDA.
What path do you mean to take then ?

LOVBORG.

None. I will only try to make an end of it
all — the sooner the better.

HEDDA.

[A step nearer him.] PLilert Lovborg — listen to
me. — Will you not try to — to do it beautifully ?

LOVBORG.

Beautifully ? [Smiling.] With vine-leaves in
my hair, as you used to dream in the old
days ?

ACT III.] HEDDA GABLER. 151

HEDDA.

No, no. I have lost my faith in the the vine-
leaves. But beautifully nevertheless ! For once
in a way ! — Good-bye ! You must go now — and
do not come here any more.

LOVBORG.

Good-bye, Mrs. Tesman. And give George
Tesman my love. [He is on the point of going.

HEDDA.

No, wait ! I must give you a memento to take
with you.

[She goes to the writing-table and opens
the drawer and the pistol-case; then
returns to LOVBORG with one of the

.

pistols.

LOVBORG.
[Looks at herJ\ This ? Is this the memento ?

HEDDA.

[Nodding slowly.] Do you recognise it ? It
was aimed at you once.

LOVBORG.
You should have used it then.

HEDDA.
Take it — and do you use it now.

LOVBORG.
[Puts the pistol in his breast pocket.] Thanks !

HEDDA.

And beautifully, Eilert Lovborg. Promise m«
that !

152 HEDDA OABLER. [ACT III.

LoVBORO.

Good-bye, Hedda Gabler.

[He goes out by the hall door.

[HEDDA listens for a moment at the door.
Then she goes up to the writing-table,
takes out the packet of manuscript, peeps
under the cover, draws a few of the sheets
half out, and looks at them. Next she
goes over and seats herself in the arm-
chair beside the stove, with the packet in
her lap. Presently she opens the stove
door, and then the packet.

HEDDA.

[ Throws one of the quires into ihejire and whispers
to herself. ] Now I am burning your child, Thea !
— Burning it, curly-locks ! [Throwing one or two
more quires into the stove. ~\ Your child and Eilert
Lovborg's. [Throws the rest in.~\ I am burning —
1 am burning your child.

ACT FOURTH.

The same rooms at the TESMANS'. It is evening.
The drawing-room is in darkness. The back
room is lighted by the hanging lamp over the
table. The curtains over the glass door are
drawn close.

HEDDA, dressed in black, walks to and fro in the dark
room. Then she goes into the back room and
disappears for a moment to the left. She is
heard to strike a few chords on the piano. Pre-
sently she comes in sight again, and returns to
the drawing-room.

BERTA enters from the right, through the inner room,
with a lighted lamp, which she places on the
table in front of the corner settee in the drawing-
room. Her eyes are red with weeping, and she
has black ribbons in her cap. She goes quietly
and circumspectly out to the right. HEDDA goes
up to the glass door, lifts the curtain a little aside,
and looks out into the darkness.

Shortly aftertvards, Miss TESMAN, in mourning, with
a bonnet and veil on, comes in from the hall.
HEDDA goes towards her and holds out her
hand.

Miss TESMAN.

Yes, Hedda, here I am, in mourning and forlorn;
for now my poor sister has at last found peace.

154 HEDDA GABLER. [ACT IV.

HEDDA.

I have heard the news already, as you see.
Tesman sent me a card.

Miss TESMAN.

Yes, he promised me he would. But neverthe-
less I thought that to Hedda — here in the house
of life — I ought myself to bring the tidings of
death.

HEDDA.
That was very kind of you.

Miss TESMAN.

Ah, Rina ought not to have left us just now.
This is not the time for Hedda's house to be a
house of mourning.

HEDDA.

[Changing the subject. ] She died quite peacefully,
did she not, Miss Tesman ?

Miss TESMAN.

Oh, her end was so calm, so beautiful. And
then she had the unspeakable happiness of seeing
George once more — and bidding him good bye. —
Has he not come home yet ?

HEDDA.

No. He wrote that he might be detained. But
won't you sit down ?

Miss TESMAN.

No thank you, my dear, dear Hedda. I should
like to, but I have so much to do. I must prepare
my dear one for her rest as well as I can. She
shall go to her grave looking her best.

ACT IV.] HEDDA GABLER. 155

HEDDA.
Can I not help you in any way ?

Miss TESMAN.

Oh, you must not think of it ! Hedda Tesman
must have no hand in such mournful work. Nor
let her thoughts dwell on it either — not at this
time.

HEDDA.
One is not always mistress of one's thoughts —

Miss TESMAN.

[Continuing.] Ah yes, it is the way of the would.
At home we shall be sewing a shroud; and here
there will soon be sewing too, I suppose — but of
another sort, thank God !

GEORGE TESMAN enters by the hall door.

HEDDA.
Ah, you have come at last !

TESMAN.

You here, Aunt Julia? With Hedda? Fancy
that !

Miss TESMAN.

I was just going, my dear boy. Well, have you
done all you promised ?

TESMAN.

No ; I'm really afraid I have forgotten half of
it. I must come to you again to-morrow. To-day
my brain is all in a whirl. I can't keep' my
thoughts together.

156 HEDDA GABLER. [ACT IV.

Miss TESMAN.

Why, my dear George, you mustn't take it in
this way.

TESMAN.
Mustn't ? How do you mean ?

Miss TESMAN.

Even in your sorrow you must rejoice, as I do —
rejoice that she is at rest.

TESMAN.

Oh yes, yes — you are thinking of Aunt Rina.

HEDDA.
You will feel lonely now, Miss Tesman.

Miss TESMAN.

Just at first, yes. But that will not last very
long, I hope. I daresay I shall soon find an occu-
pant for poor Rina's little room.

TESMAN.
Indeed ? Who do you think will take it ? Eh ?

Miss TESMAN.

Oh, there's always some poor invalid or other hi
want of nursing, unfortunately.

HEDDA.

Would you really take such a burden upon you
again ?

Miss TESMAN.

A burden! Heaven forgive you, child — it has
been no burden to me.

ACT IV.] HEDDA GAULEH. 15?

HEDDA.

But suppose you had a total stranger on your
hands —

Miss TESMAN.

Oh, one soon makes friends with sick folk ; and
it's such an absolute necessity for me to have some
one to live for. Well, heaven be praised, there
may soon be something in this house, too, to keep
an old aunt busy.

HEDDA.
Oh, don't trouble about anything here.

TESMAN.

Yes, just fancy what a nice time we three might
have together, if ?

HEDDA.
If ?

TESMAN.

[Uneasily.] Oh, nothing. It will all come right.
Let us hope so — eh ?

Miss TESMAN.

Well well, I daresay you two want to talk to
each other. [Smiling.'] And perhaps Hedda may
have something to tell you too, George. Good-bye !
I must go home to Rina. [Turning at the door.]
How strange it is to think that now Rina is with
me and with my poor brother as well !

TESMAN,
Yes, fancy that, Aunt Julia ! Eh ?

[Miss TESMAN goes out by the hall door.

158 HEDDA GABLER. [ACT IV.

HEDDA.

[Follows TESMAN coldly and searchingly with her
eyes.] I almost believe your Aunt Rina's death
affects you more than it does your Aunt Julia.

TESMAN.

Oh, it's not that alone. It's Eilert I am so
terribly uneasy about.

HEDDA.

[Quickly.] Is there anything new about him ?

TESMAN.

I looked in at his rooms this afternoon, intend-
ing to tell him the manuscript was in safe keeping.

HEDDA.
Well, did you not find him ?

TESMAN.

No. He wasn't at home. But afterwards I met
Mrs. Elvsted, and she told me that he had been
here early this morning.

HEDDA.
Yes, directly after you had gone.

TESMAN.

And he said that he had torn his manuscript to
pieces — eh ?

HEDDA.
Yes, so he declared.

TESMAN.

Why, good heavens, he must have been com-
pletely out of his mind ! And I suppose you
thought it best not to give it back to him, Hedda ?

ACT IV.] HEDDA GABLER. 159

HEDDA.
No, he did not get it.

TESMAN.
But of course you told him that we had it ?

HEDDA.
No. [Quickly.] Did you tell Mrs. Elvsted ?

TESMAN.

No ; I thought I had better not. But you ought
to have told him. Fancy, if, in desperation, he
should go and do himself some injury ! Let me
have the manuscript, Hedda ! I will take it to him
at once. Where is it ?

HEDDA.

[Cold and immovable, leaning on the arm-chair .] I
have not got it.

TESMAN.

Have not got it ? What in the world do you
mean ?

HEDDA.

I have burnt it — every line of it.

TESMAN.

[ With a violent movement of terror.] Burnt ! Burnt
Eilert's manuscript !

HEDDA.
Don't scream so. The servant might hear you.

TESMAN.

Burnt ! Why, good God ! No, no, no ! It's

impossible !

HEDDA.
It is so, nevertheless.

ifiO HEDDA GABLER. [ACT IV.

TESMAN.

Do you know what you have done, Hedda ? It's
unlawful appropriation of lost property. Fancy
that ! Just ask Judge Brack, and he'll tell you
what it is.

HEDDA.

I advise you not to speak of it — either to Judge
Brack, or to any one else.

TESMAN.

But how could you do anything so unheard-of?
What put it into your head ? What possessed you ?
Answer me that — eh ?

HEDDA.

[Suppressing an almost imperceptible smile.] I did
it for your sake, George.

TESMAN.
For my sake !

HEDDA.

This morning, when you told me about what he
had read to you

TESMAN.
Yes yes — what then ?

HEDDA.
You acknowledged that you envied him his work.

TESMAN.
Oh, of course I didn't mean that literally.

HEDDA.

No matter — I could not bear the idea that any
one should throw you into the shade.

ACT IV.] MEDDA GABLER. i 6l

TESMAN.

[In an outburst of mingled doubt and joy .] Hedda !
Oh, is this true ? But — but — I never "knew you
show your love like that before. Fancy that !

HEDDA.

Well, I may as well tell you that — just at this
time — [hnpatietitly, breaking ojj.] No, no ; you
can ask Aunt Julia. She will tell you, fast
enough.

TESMAN.

Oh, I almost think I understand you, Hedda !
[Clasps his hands together.] Great heavens! do you
really mean it ! Eh ?

HEDDA.
Don't shout so. The servant might hear.

TESMAN.

[Laughing in irrepressible glee.] The servant1
Why, how absurd you are, Hedda. It's only my old
Berta ! Why, I'll tell Berta myself.

HEDDA.

[Clenching her hands together in desperation.] Oh.
it is killing me,— it is killing me, all this !

TESMAN.
What is, Hedda ? Eh ?

HEDDA.

[Coldly, controlling herself.] All this — absurdity
— George.

TESMAN.
Absurdity ! Do you see anything absurd in my

162 HEDDA OABLER. [ACT IV

being overjoyed at the news ! But after all —
perhaps I had better not say anything to Berta.

HEDDA.
Oh why not that too ?

TESMAN.

No, no, not yet ! But I must certainly tell Aunt
Julia. And then that you have begun to call me
George too ! Fancy that ! Oh, Aunt Julia will be
so happy — so happy !

HEDDA.

When she hears that I have burnt Eilert Lov-
borg's manuscript — for your sake ?

TESMAN.

No, by-the-bye — that affair of the manuscript —
of course nobody must know about that. But that
you love me so much,1 Hedda — Aunt Julia must
really share my joy in that ! I wonder, now,
whether this sort of thing is usual in young wives ?
Eh?

HEDDA.

I think you had better ask Aunt Julia that ques-
tion too.

TESMAN.

I will indeed, some time or other. [Looks uneasy
and downcast again.] And yet the manuscript — •
the manuscript ! Good God ! it is terrible to think
what will become of poor Eilert now.

Literally, "That you burn for me."

ACT IV.] HEDDA GABLER. 16'3

MRS. ELVSTED, dressed as in the first Act, with
hat and cloak, enters by the hall door.

MRS. ELVSTED.

[Greets them hurriedly, and says in evident agita-
tion.] Oh, dear Hedda, forgive my coming again.

HEDDA.
What is the matter with you, Thea ?

Something about Eilert Txivborg again — eh ?

MRS. ELVSTED.

Yes ! I am dreadfully afraid some misfortune has
happened to him.

HEDDA.
[Seises her arm.] Ah, — do you mink so :

TESMAN.

Why, good Lord — what makes you think that,
Mrs. Elvsted ?

MRS. ELVSTED.

I heard them talking of him at my boarding-
hou^e — just as I came in. Oh, the most incredible
rumours are afloat about him to-day.

TESMAN.

Yes, fancy, so I heard too ! And I can bear
witness that he went straight home to bed last
night. Fancy that '

HEDDA.
Well, what did they say at the boarding house ?

164 HEDDA GABLER. [ACT IV.

MRS. ELVSTED.
Oh, I couldn't make out anything clearly. Either

they knew nothing definite, or else . They

stopped talking when they saw me ; and 1 did not
dare to ask.

TESMAN.

[Moving about uneasily.] We must hope — we
must hope that you misunderstood them, Mrs.
Elvsted.

MRS. ELVSTED.

No, no ; I am sure it was of him they were talk-
ing. And I heard something about the hospital
or —

TESMAN.
The hospital?

HEDDA.
No — surely that cannot be !

MRS. ELVSTED.

Oh, I was in such mortal terror ! I went to his
lodgings and asked for him there.

HEDDA.
You could make up your mind to that, Thea!

MRS. ELVSTED.

What else could I do ? I really could bear the
suspense no longer.

TESMAN.
But you didn't find him either — eh ?

MRS. ELVSTED.

No. And the people knew nothing about him.
He hadn't been home since yesterday afternoon,
they said.

ACT IV.] HEDDA GABLER. l65

TESMAN.
Yesterday ! Fancy, how could they say that ?

MRS. ELVSTED.

Oh, I am sure something terrible must have
happened to him.

TESMAN.

Hedda dear — how would it be if I were to go
and make inquiries ?

HEDDA.

No, no — don't you mix yourself up in this
affair.

JUDGE BRACK, with his hat in his hand, enters
by the hall door, which BERTA opens, and
closes behind him. He looks grave and bows
in silence.

TESMAN.
Oh, is that you, my dear Judge ? Eh ?

BRACK.

Yes. It was imperative 1 should see you this
evening.

TESMAN.

I can see you have heard the news about Aunt
Rina ?

BRACK.

Yes, that among other things.

TESMAN.

Isn't it sad — eh ?

BRACK.

Well, my dear Tesman, that depends on how
you look at it.

166 HEDDA GABLER. [ACT IV.

TESMAX.

[Looks doubtfully at him.] Has anything
else happened ?

BRACK.
Yes.

HEDDA.
[In suspense.] Anything sad, Judge Brack ?

BRACK.

That, too, depends on how you look at it, Mrs.
Tesman.

MRS. ELVSTED.

[Unable to restrain her anxiety.] Oh ! it is
something about Eilert Lovborg I

BRACK.

[With a glance at her.] What makes you
think that, Madam ? Perhaps you have already
heard something ?

MRS. ELVSTED.
[In confusion.] No, nothing at all, but

TESMAN.
Oh, for heaven's sake, tell us !

BRACK.

[Shrugging his shoulders.] Well, I regret to
say Eilert Lovborg has been taken to the hospital.
He is lying at the point of death.

MRS. ELVSTED.
[Shrieks.} Oh God ! oh God !

TESMAN.
To the hospital ! And at the point of death

ACT IV.] HEDDA CABLF.R. l6?

HEDDA.
[Involuntarily.] SosoorTthen -

MRS. ELVSTED.
[ Wailing.'] And we parted in anger, Hedda !

HEDDA.
[ n 'hitpers.] Thea— Thea— be careful !

MRS. ELVSTED.
Xoi heeding her.] I must go to him ! I

must see him alive !

BRACK.
It is useless, Madam. No one will be admitted.

MRS. ELVSTED.

Oh, at least tell me what has happened to him ?
What is it ?

TESMAX.

You don't mean to say that he has himself -
Eh?

HEDDA.

Yes, I am sure he has.

TESMAN.
Hedda, how can you - ?

BRACK.

[Keeping hi* eyes fixed upon her.] Unfortu-
nately you have guessed quite correctly, Mrs.
Tesman.

MRS ELVSTED.

Oh, how horrible !

TESMAX.
Himself, then ' Fancy that '

168 HEDDA OABLER. [ACT IV.

HEDDA.
Shot himself!

BRACK.
Rightly guessed again, Mrs. Tesman.

MRS. ELVSTED.

[With an effort at self-control.] When did
it happen, Mr. Brack ?

BRACK.
This afternoon — between three and four.

TESMAN.
But, good Lord, where did he do it ? Eh ?

BRACK.

[With some hesitation.] Where? Well — I
suppose at his lodgings.

MRS. ELVSTED.

No, that cannot be ; for I was there between
six and seven.

BRACK.

Well then, somewhere else. I don't know
exactly. I only know that he was found — — .
He had shot himself — in the breast.

MRS. ELVSTED.

Oh, how terrible ! That he should die like
that!

HEDDA.
[To BRACK.] Was it in the breast?

BRACK.
Yes — as 1 told you.

ACT IV.] HEDDA GABLER.

HEDDA.
Not in the temple ?

BRACK.
In the breast, Mrs. Tesman.

HEDDA.
Well, well — the breast is a good place, too.

BRACK.
How do you mean, Mrs. Tesman r

HEDDA.
[Evasively.] Oh, nothing — nothing.

TESMAN.
And the wound is dangerous, you say — eh ?

BRACK.

Absolutely mortal. The end has probably come
by this time.

MRS. ELVSTED.
Yes, yes, I feel it. The end ! The end ! Oh,

Hedda !

TESMAN.
But tell me, how have you learnt all this?

BRACK.

[Curtly.] Through one of the police. A man
I had some business with.

HEDDA.
[In a clear voice.] At last a deed worth doing '

TESMAN.

[Terrified.] Good heavens, Hedda ! what are
you saying ?

170 HEDDA GABLER. [ACT IV.

HEDDA.
I say there is beauty in this.

BRACK.
H'm, Mrs. Tesman

TESMAN.
Beauty ! Fancy that !

MRS. ELVSTED.

Oh, Hedda, how can you talk of beauty in
such an act !

HEDDA.

Eilert Lovborg has himself made up his account
with life. He has had the courage to do — the
one right thing.

MRS. ELVSTED.

No, you must never think that was how it hap-
pened ! It must have been in delirium that he
did it.

TESMAN.
In despair !

HEDDA.
That he did not. I am certain of that.

MRS. ELVSTED.

Yes, yes ! In delirium ! Just as when he tore
up our manuscript.

BRACK.

[Starting.] The manuscript ? Has he torn that
up ?

MRS. ELVSTED.
Yes, last night.

ACT IV.] HEDDA GABLER. 171

TESMAN.

[Whispers softly.] Oh, Hedda, we shall never
get over this.

BRACK.
H'm, very extraordinary.

TESMAN.

[Moving about the room.] To think of Eilert
going out of the world in this way ! And not
leaving behind him the book that would have
immortalised his name

MRS. ELVSTED.
Oh, if only it could be put together again !

TESMAN.

Yes, if it only could ! I don't know what I
would not give —

MRS. ELVSTED.
Perhaps it can, Mr. Tesman.

TESMAN.
What do you mean ?

MRS. ELVSTED.

[Searches in the pocket of her dress.] Look
here. I have kept all the loose notes he used to
dictate from.

HEDDA.
[A step forward.] Ah !

TESMAN.
You have kept them, Mrs. Elvsted ! Eh ?

172 HEDDA OABLER. [ACT IV.

MRS. ELVSTED.

Yes, I have them here. I put them in my
pocket when I left home. Here they still

are

TESMAN.
Oh, do let me see them !

MRS. ELVSTED.

[Hands him a bundle of papers.] But they
are in such disorder — all mixed up.

TESMAN.

Fancy, if we could make something out of
them, after all ! Perhaps if we two put our heads

together

MRS. ELVSTED.
Oh yes, at least let us try

TESMAN.

We will manage it! We must! I will
dedicate my life to this task.

HEDDA.
You, George ? Your life ?

TESMAN.

Yes, or rather all the time I can spare. My
own collections must wait in the meantime.
Hedda — you understand, eh ? I owe this to
Eilert's memory.

HEDDA.
Perhaps.

TESMAN.

And so, my dear Mrs. Elvsted, we will give our
whole minds to it. There is no use in brooding

ACT IV.] HEDDA GABLER. 173

over what can't be undone — eh ? We must try
to control our grief as much as possible, and

MRS. ELVSTED.
Yes, yes, Mr. Tesman, I will do the best I can.

TESMAN.

Well then, come here. I can't rest until we
have looked through the notes. Where shall we
sit ? Here ? No, in there, in the back room.
Excuse me, my dear Judge. Come with me,
Mrs. Elvsted.

MRS. ELVSTED.
Oh, if only it were possible !

[TESMAN and MRS. ELVSTED go into the
back room. She takes off her hat and
cloak. They both sit at the table under
the hanging lamp, and are soon deep in
an eager examination of the papers.
HEDDA crosses to the stave and sits in
the arm-chair. Presently BRACK goes
up to her.'}

HEDDA.

[In a low voice.] Oh, what a sense of freedom
it gives one, this act of Eilert Lovborg's.

BRACK.

Freedom, Mrs. Hedda ? Well, of course, it is
a release for him

HEDDA.

I mean for me. It gives me a sense of freedom
to know that a deed of deliberate courage is still
possible in this world,-— a deed of spontaneous
beauty.

174 HEDDA OABLER. [ACT IV.

BRACK.
[Smiling.'] H'm — my dear Mrs. Hedda

HEDDA.

Oh, I know what you are going to say. For
you are a kind of specialist too, like — you know !

BRACK.

[Looking hard at her.] Eilert Lovborg was more
to you than perhaps you are willing to admit to
yourself. Am I wrong ?

HEDDA.

I don't answer such questions. I only know
that Eilert Lovborg has had the courage to live
his life after his own fashion. And then — the last
great act, with its beauty ! Ah ! that he should
have the will and the strength to turn away from
the banquet of life — so early.

BRACK.

I am sorry, Mrs. Hedda, — but I fear I must dis-
pel an amiable illusion.

HEDDA.
Illusion ?

BRACK.
Which could not have lasted long in any case.

HEDDA.
What do you mean ?

BRACK.

Eilert Lovborg did not shoot himself — volun-
tarily.

ACT IV.] HEDDA GABLER. 175

HEDDA.
Not voluntarily ?

BRACK.

No. The thing did not happen exactly as I
told it.

HEDDA.

[In suspense.^ Have you concealed something ?
What is it ?

BRACK.

For poor Mrs. Elvsted's sake I idealised the facts
a little.

HEDDA.

What are the facts ?

BRACK.
First, that he is already dead.

HEDDA.
At the hospital ?

BRACK.
Yes — without regaining consciousness.

HEDDA.
What more have you concealed ?

BRACK.
This — the event did not happen at his lodgings.

HEDDA.
Oh, that can make no difference.

BRACK.
Perhaps it may. For I must tell you — Eilert

176 HEDDA GABLER. [ACT IV.

Lovborg was found shot in — in Mademoiselle
Diana's boudoir.

HEDDA.

[Makes a motion as if to rise, but sinks back again.]
That is impossible, Judge Brack ! He cannot
have been there again to-day.

BRACK.

He was there this afternoon. He went there,
he said, to demand the return of something which
they had taken from him. Talked wildly about a

lost child

HEDDA.
Ah — so that was why

BRACK.

I thought probably he meant his manuscript ;
but now I hear he destroyed that himself. So I
suppose it must have been his pocket-book.

HEDDA.

Yes, no doubt. And there — there he was
found ?

BRACK.

Yes, there. With a pistol in his breast-pocket,
discharged. The ball had lodged in a vital part.

HEDDA.
In the breast — yes.

BRACK.
No — in the bowels.

HEDDA.

[Looks up at him with an expression of loathing.]
That too ! Oh, what curse is it that makes every-
thing I touch turn ludicrous and mean ?

ACT IV.] HEDDA GABLER. 177

BRACK.

There is one point more, Mrs. Hedda — anotner
disagreeable feature in the affair.

HEDDA.
And what is that ?

BRACK.
The pistol he carried

HEDDA.

[Breathless.] Well ? What of it ?

BRACK.
He must have stolen it.

HEDDA.

[Leaps tip.] Stolen it ! That is not true ! He
did not steal it !

BRACK.

No other explanation is possible. He must
have stolen it . Hush !

TESMAN and MRS. ELVSTED have risen from the table
in the back room, and come into the drawing-
room,

TESMAN.

[ With the papers in both his hands. ] Hedda dear,
it is almost impossible to see under that lamp
Think of that !

HEDDA.
Yes, I am thinking.

TESMAN.

Would you mind our sitting at your writing-
table— eh ?

X M

178 HEDDA GABLER. [ACT IV.

HEDDA.

If you like. [Quickly.] No, wait ! Let me
clear it first !

TESMAN.

Oh, you needn't trouble, Hedda. There is
plenty of room.

HEDDA.

No no, let me clear it, I say •' I will take these
things in and put them on the piano. There !

[She has drawn out an object, covered with
sheet music, from under the bookcase,
places several other pieces of music upon
it, and carries the whole into the inner
room, to the left. TESMAN lays the scraps
of paper on the writing-table, and moves
the lamp there from the corner table. He
and MRS. ELVSTED sit down and proceed
with their work. HEDDA returns.

HEDDA.

[behind MRS. ELVSTED'S chair, gently ruffling her
hair.] Well, my sweet Thea, — how goes it with
Eilert Lovborg's monument ?

M RS. ELVSTED.

[Looks dispiritedly up at her.] Oh, it will be ter-
ribly hard to put in order.

TESMAN.

We must manage it. I am determined And
arranging other people's papers is just the work
for me.

[HEDDA goes over to the stove, and seats
herself on one of the footstools. BRACK
stands over her, leaning on the arm-chair.

ACT IV.] HEDHA OAIJLKR. 179

HEDDA.

[ Whispers.] What did you say about the pistol ?

BRACK.
[Softly.] That he must have stolen it.

HEDDA.
Why stolen it ?

BRACK.

Because every other explanation ought to be
impossible, Mrs. Hedda.

HEDDA.
Indeed ?

BRACK.

[Glances at her.] Of course Eilert Lovborg was
here this morning. Was he not ?

HEDDA.
Yes.

BRACK.
Were you alone with him ?

HEDDA.
Part of the time.

BRACK.

Did you not leave the room whilst he was
here ?

HEDDA.
No.

BRACK.

Try to recollect. Were you not out of the room
a moment ?

HEDDA.
Yes, perhaps just a moment — out in the hall.

180 HEDDA G ABLER. [ACT IV.

BRACK.

And where was your pistol-case during that
time ?

HEDDA.
I had it locked up in

BRACK.
Well, Mrs. Hedda ?

HEDDA.
The case stood there 011 the writing-table.

BRACK.

Have you looked since, to see whether both
the pistols are there ?

HEDDA.
No.

BRACK.

Well, you need not. I saw the pistol found in
Lovborg's pocket, and I knew it at once as the
^ne I had seen yesterday— and before, too.

HEDDA.
Have you it with you ?

BRACK.
No ; the police have it.

HEDDA.
What will the police do with it ?

BRACK.
Search till they find the owner.

HEDDA.
Do you think they will succeed

ACT IV.] HEDDA GABLER. 181

BRACK.

[Bends over her and whispers.] No, Hedda Gabler
— not so long as I say nothing.

HEDDA.

[Looks frightened at him.} And if you do not say
nothing, — what then ?

BRACK.

[Shrugs his shoulders.} There is always the possi-
bility that the pistol was stolen.

HEDDA.
[Firmly.] Death rather than that.

BRACK.

[Smiling.] People say such things — but they
don't do them.

HEDDA.

[ Without replying.} And supposing the pistol was
not stolen, and the owner is discovered ? What
then ?

BRACK.
Well, Hedda — then comes the scandal.

HEDDA.

The scandal !

BRACK.

Yes, the scandal — of which you are so mortally
afraid. You will, of course, be brought before
the court — both you and Mademoiselle Diana.
She will have to explain how the thing happened
— whether it was an accidental shot or murder.
Did the pistol go off as lie was trying to take it
out of his pocket, to threaten her with ? Or did
she tear the pistol out of his hand, shoot him, and

182 HEDDA GABLER. [ACT IV.

push it back into his pocket ? That would be
quite like her ; for she is an able-bodied young
person, this same Mademoiselle Diana.

HEDDA.

But / have nothing to do with all this repulsive
business.

BRACK.

No. But you will have to answer the question:
Why did you give Eilert Lovborg the pistol ? And
what conclusions will people draw from the fact
that you did give it to him ?

HEDDA.

[Lets her head sink.] That is true. I did not
think of that.

BRACK.

Well, fortunately, there is no danger, so long as
I say nothing.

HEDDA.

[Looks up at him.] So I am in your power, Judge
Brack. You have me at your beck and call, from
this time forward.

BRACK.

[ Whispers softly] Dearest Hedda — believe me
— I shall not abuse my advantage.

HEDDA.

I am in your power none the less. Subject to
your will and your demands. A slave, a slave
then ! [Rises impettious/y.] No, I cannot endure
the thought of that ! Never :

BRACK.

[Looks half-mockinglif at her.] People generally
get used to the inevitable.

ACT IV.] HEDDA GABLER. 183

HEDDA.

[Returns his look.] Yes, perhaps. [She. crosses
to the writing-table. Suppressing an involuntary smile,
she imitates TESMAN'S intonations.] Well ? Are you
getting on, George ? Eh ?

TESMAN.

Heaven knows, dear. In any case it will be
the work of months.

HEDDA.

[As before.] Fancy that ' [Passes her hands
softly through MRS. ELVSTED'S hair.] Doesn't it
seem strange to you, Thea ? Here are you sitting
with Tesman — just as you used to sit with Eilert
Lovborg ?

MRS. ELVSTED

Ah, if I could only inspire your husband in the
same way !

HEDDA
Oh, that will come too — in time.

TESMAN.

Yes, do you know, Hedda — I really think 1
begin to feel something of the sort. But won't
you go and sit with Brack again ?

HEDDA.
Is there nothing I can do to help you two ?

TESMAN.

No, nothing in the world. [Turning his head.] I
trust to you to keep Hedda company, my dear Brack'

BRACK.

[ With a glance at HEDDA.] With the very greatest
of pleasure.

184 HEDDA GABI.EH. [ACT IV.

HEDDA.

Thanks. But I am tired this evening. I will
go in and lie down a little on the sofa.

TESMAN.
Yes, do dear — eh ?

[HEDDA goes into the back room and draws
the curtains. A short pause. Suddenly
she is heard playing a wild dance iw the

MRS. ELVSTED.
[Starts from her chair.] Oh — what is that?

TESMAN.

[Runs to the doonvay.] Why, my dearest Hedda
— don't play dance-music to-night ! Just think
of Aunt Rina ! And of Eilert too !

HEDDA.

[Puts her head out between the curtains] And of
Aunt Julia. And of all the rest of them. — After
this, I will be quiet. [Closes the curtains again.]

TESMAN.

[At the writing-table.] It's not good for her to
see us at this distressing work. I'll tell you what,
Mrs. Elvsted, — you shall take the empty room at
Aunt Julia's, and then I will come over in the
evenings, and we can sit and work there — eh ?

HEDDA.

[7» the inner room.] I hear what you are saying,
Tesman. But how am / to get through the even-
ings out here ?

ACT IV.] HEDDA GABLER. 185

TESMAN.

[Turning over the papers.] Oh, I daresay Judge
Brack will be so kind as to look in now and then,
even though I am out.

BRACK.

[In the arm-chair, calls out gaily J] Every blessed
evening, with all the pleasure in life, Mrs. Tesman !
We shall get on capitally together, we two !

HEDDA.

[Speaking loud and clear '.] Yes, don't you flatter
yourself we will, Judge Brack ? Now that you

are the one cock in the basket

[A shot is heard within. TESMAN, MRS.
ELVSTED, and BRACK leap to their feet.

TESMAN.

Oh, now she is playing with those pistols
again.

[He throws back the curtains and runs in,
followed by MRS. ELVSTED. HEDDA lies
stretched on the sofa, lifeless. Confusion
and cries. BERTA enters in alarm from
the right.

TESMAN.

[Shrieks to BRACK.] Shot herself ! Shot herself
in the temple ! Fancy that !

BRACK.

[Half -fainting in the arm-chair.] Good God !
— people don't do such things

THE MASTER BUILDER

(1892)

CHARACTERS

HALYARD SOLNESS, Master Builder.

ALINE SOLNESS, his wife.

DOCTOR HERDAL, physician.

KNUT BROVIK, formerly an architect, now in SOLNESS'S

employment.

RAGNAR BROVIK, Ms son, draughtsman.
KAIA FOSLI, his niece, book-keeper.
Miss HILDA WANGEL.
Some Ladies.
A Crowd in the street.

«

The action passes in and abinti SOLNESS'S house.

THE MASTER BUILDER.

PLAY IN THREE ACTS.

ACT FIRST.

A plainly-furnished work-room in the house oj
HALYARD SOLNESS. Folding doors on the left
lead out to the hall. On the right is the door
leading to the inner rooms of the house. At the
back is an open door into the draughtsmen's
office. In front, on the left, a desk with books,
papers and writing materials. Further back
than the folding door, a stove. In the right-hand
corner, a sofa, a table, and one or two chairs.
On the table a water-bottle and glass. A smaller
table, with a rocking-chair and arm-chair, in
front on the right. Lighted lamps, with shades,
on the table in the draughtsmen's office, on the
table in the corner, and on the desk.

In the draughtsmen's office sit KNUT BROVIK and his
son RAGNAR, occupied with plans and calculations.
At the desk in the outer office stands KAIA FOSLI,
writing in the ledger. KNUT BROVICK is a spare
old man with white hair and beard. He wears
a rather threadbare but well-brushed black coat,
spectacles, and a somewhat discoloured white

190 THE MASTER BUILDER. [ACT I.

neckcloth. RAGNAR BROVIK is a well-dressed,
light-haired man in his thirties, with a slight
stoop. KAIA FOSLI is a slightly built girl, a
little over twenty, carefully dressed, and delicate-
looking. She has a green shade (tver her eyes. —
All three go on working for some time in
silence.

KNUT BROVIK.

[Rises suddenly, as if in distress, from the table;
breathes heavily and laboriously as he comes forward
into the doo/-way.] No, I can't bear it much
longer !

KAIA.

[Going up to him.] You are feeling very ill this
evening, are you not, uncle ?

BROVIK.
Oh, I seem to get worse every day.

RAGNAR.

[Has risen and advances.] You ought to go
home, father. Try to get a little sleep —

BROVIK.

[Impatiently.] Go to bed, I suppose ? Would
you have me stifled outright ?

KAIA.
Then take a little walk.

RAGNAR.
Yes, do. I will come with you.

BROVIK.
[With warmth.] I will not go till he comes! I

ACT I.] THE MASTER BUILDER. 191

am determined to have it out this evening with
— [in a time of suppressed bitterness] — with him —
with the chief.

KAIA.

[Anxiously.] Oh no, uncle, — do wait awhile
before doing that !

RAGNAR.
Yes, better wait, father !

BROVIK.

[Draws his breath laboriously.] Ha — ha — ! /
haven't much time for waiting.

KAIA.

[Listening.] Hush ! I hear him on the stairs.
[All three go back to their work. A short
silence.

HALVARD SOLNESS comes in through the hall door.
He is a man no longer young, but healthy and
vigorous, with close-cut curly hair, dark mous-
tache and dark thick eyebrows. He wears a
greyish-green buttoned jacket with an upstanding
collar and broad lappels. On his head he wears
a soft grey felt hat, and he has one or two light
portfolios under his arm.

SOLNESS.

[Near the door, points towards the draughtsmen's
office, and asks in a whisper :] Are they gone ?

KAIA.

[Softly, shaking her head.] No.

[She takes the shade off her eyes. SOLNESS
crosses the room, throws his hat on a

192 THE MASTHR BUILDER. [ACT I.

chair, places the portfolios on the table
by the sofa, and approaches the desk
again. KAIA goes on writing without
intermission, but seems nervous and un-
easy.

SOLNESS.

[Aloud.] What is that you are entering, Miss
Fosli ?

KAIA.

[Starts.] Oh, it is only something that

SOLNESS.

Let me look at it, Miss Fosli. [Bends over her,
pretends to be looking into the ledger, and whispers :]
Kaia!

KAIA.

[Softly, still writing.] Well ?

SOLNESS.

Why do you always take that shade off when I
come ?

KAIA.
[As before.] I look so ugly with it on.

SOLNESS.

[SmiKng.] Then you don't like to look ugly,
Kaia ?

KAIA.

[Half glancing up at him.] Not for all the
world. Not in your eyes,

SOLNESS.

[Strokes her hair gently.] Poor, poor little
Kaia

ACT I.] THE MASTER BUILDER. 193

KAIA.

[Bending her head.] Hush — they can hear you !
[SoLNEss strolls across the room to the right,
turns and pauses at the door of Ike
draughtsmen's office.

SOLNESS.
Has any one been here for me ?

RAGNAR.

[Rising.] Yes, the young couple who want a
villa built, out at Lovstrand.

SOLNESS.

[Growling.] Oh, those two! They must
wait. I am not quite clear about the plans yet.

RAGNAR.

[Advancing, with some hesitation.] They were
very anxious to have the drawings at once.

SOLNESS.
[As before.'] Yes, of course — so they all are.

BROVIK.

[Looks up.] They say they are longing so to
get into a house of their own.

SOLNESS.

Yes, yes — we know all that ! And so they are
content to take whatever is offered them. They
get a — a roof over their heads — an address — but
nothing to call a home. No thank you ! In that
case, let them apply to somebody else. Tell them
that, the next time they call.

X N

194 THE MASTER BUILDER. [ACT I.

BROVIK.

f Pushes his glasses up on to his forehead and looks
in astonishment at him.} To somebody else ?
Are you prepared to give up the commission ?

SoLNESS.

[ Impatiently.} Yes, yes, yes, devil take it! If

that is to be the way of it . Rather that, than

build away at random. [Vehemently.] Besides, I
know very little about these people as yet.

BROVIK.

The people are safe enough. Ragnar knows
them. He is a friend of the family. Perfectly
safe people.

SOLNESS.

Oh, safe — safe enough ' That is not at all
what I mean. Good lord — don't you understand
me either ? [Angrily.'] I won't have anything to
do with these strangers. They may apply to
whom they please, so far as I am concerned.

BROVIK.
[Rising.] Do you really mean that ?

SOLNESS.
[Sulkily. ] Yes I do. — For once in a way.

[He comes forward.

[BROVIK exchanges a glance with RAGNAR,
who makes a warning gesture. Then
BROVIK comes into the front room.

BROVIK.
May I have a few words with you ?

ACT I.] THE MASTER BUILDER. 195

SoLNESS.

Certainly.

BROVIK.

[To KAIA.] Just go in there for a moment,
Kaia.

KAIA.

[Uneasily.'] Oh, but uncle

BROVIK.

Do as I say, child. And shut the door after
you.

[KAIA goes reluctantly into the draughts-
men's office, glances anxiously and im-
ploringly at SOLNESS, and shuts the door.

BROVIK.

[Lowering his voice a little.] I don't want the
poor children to know how ill I am.

SOLNESS.

Yes, you have been looking very poorly of
late.

BROVIK.

It will soon be all over with me. My strength
is ebbing — from day to day.

SOLNESS.
Won't you sit down ?

BROVIK.
Thanks — may I ?

SOLNESS.

[Placing the arm-chai- more conveniently.] Here
— take this chair. — And now?

1J)6 THE MASTER BUILDER. [ACT I.

BROVIK.

[Has sealed himself with difficulty.] Well, you
see, it's about Ragnar. That is what weighs
most upon me. What is to become of him ?

SoLNESS.

Of course your son will stay with me as long as
ever he likes.

BROVIK.

But that is just what he does not like. He
feels that he cannot stay here any longer.

SOLNESS.

Why, I should say he was very well off here.
But if he wants more money, I should not mind

BROVIK.

No, no! It is not that. [Impatiently. } But
sooner or later he, too, must have a chance of
doing something on his own account.

SOLNESS.

[Without looking at him.] Do you think that
Ragnar has quite talent enough to stand alone ?

BROVIK.

No, that is just the heartbreaking part of it—
I have begun to have my doubts about the boy.
For you have never said so much as — as one
encouraging word about him. And yet I cannot
but think there must be something in him — he
can't be without talent.

SoLNFSS.

Well, but he has learnt nothing — nothing
thoroughly, I mean. Except, of course, to draw.

ACT 1.] THE MASTER BUILDER. 1Q1

BROVIK.

[Looks at him with covert hatred, and says
hoarsely.] You had learned little enough of the
business when you were in my employment. But
that did not prevent you from setting to work—
[breathing with difficulty] — and pushing your way
up, and taking the wind out of my sails — mine,
and so many other people's.

SOLNESS.
Yes, you see — circumstances favoured me.

BROVIK.

You are right there. Everything favoured you.
But then how can you have the heart to let me
go to my grave — without having seen what Ragnar
is fit for t And of course I am anxious to see them
married, too — before I go.

SOLNESS.
[Sharply.] Is it she who wishes it ?

BROVIK.

Not Kaia so much as Ragnar — he talks about it
everyday. [Appealing/?/.] You must— you must
help him to get some independent work now !
I must see something that the lad has done. Do
you hear ?

SOLNESS.

[Peevishly.] Hang it, man, you can't expect
me to drag commissions down from the moon for
him!

BPOVIK.

He has the chance of a capital commission at
this very moment. A big bit of work.

198 THE MASTER BUILDER. [ACT i.

SOLNESS.
[Uneasily, startled.] Has he '

BROVIK.
If you would give your consent.

SOLNESS.
What sort of work do you mean ?

BROVIK.

[ With some hesitation.'] He can have the build-
ing of that villa out at Lovstrand.

SOLNESS.
That ! Why I am going to build that myself.

BROVIK.
Oh you don't much care about doing it.

SOLNESS.

[Flaring up.] Don't care ! I ! Who dares to
say that ?

BROVIK.
You said so yourself just now.

SOLNESS.

Oh, never mind what I say. — Would they give
Ragnar the building of that villa ?

BROVIK.

Yes. You see, he knows the family. And then
— just for the fun of the thing — he has made
drawings and estimates and so forth

ACT I.] THE MASTER BUILDER. 199

SoLNESS.

Are they pleased with the drawings ? The
people who will have to live in the house ?

BROVIK.

Yes. If you would only look through them
and approve of them —

SOLNESS.

Then they would let Ragnar build their home
for them ?

BROVIK.

They were immensely pleased with his idea.
They thought it exceedingly original, they said.

SOLNESS.

Oho ! Original ! Not the old-fashioned stuff
that / am in the habit of turning out !

BROVIK.
It seemed to them different.

SOLNESS.

[With suppressed irritation.] So it was to see
Ragnar that they came here — whilst I was out !

BROVIK.

They came to call upon you — and at the same
time to ask whether you would mind retiring

SOLNESS.
[Angrily.] Retire ? I ?

BROVIK.

In case you thought that Ragnar's draw-
ings

200 THE MASTER BUILDER. [ACT I.

SoLNESS.

I ! Retire in favour of your son !

BROVIK.
Retire from the agreement, they meant.

SOLNESS.

. Oh, it comes to the same thing. [Laughs
angrily.] So that is it, is it? Halvard Solness is
to see about retiring now ! To make room for
younger men ! For the very youngest, perhaps !
He must make room ! Room ! Room !

BROVIK.

Why, good heavens ! there is surely room for
more than one single man

SOLNESS.

Oh, there's not so very much room to spare
either. But, be that as it may — I will never re-
tire ! 1 will never give way to anybody ! Never
of my own free will. Never in this world will 1
do that !

BROVIK.

[Rises with difficulty.] Then I am to pass out
of life without any certainty ? Without a gleam
of happiness ? Without, any faith or trust in
Ragnar ? Without having seen a single piece of
work of his doing ? Is that to be the way of it ?

SOLNESS.

[Turns half aside, and mutters.] H'm — don't ask
more just now.

ACT I.] THE MASTER BUILDER. 201

BROVIK.

I must have an answer to this one question.
Am I to pass out of life in such utter poverty ?

SoLNESS.

[Seems to struggle with himself ; finally he says, in
a low but firm voice :] You must pass out of life
as best you can.

BROVIK.

Then be it so. [He goes up the room.

SOLNESS.

[Following him, half in desperation.] Don't you
understand that I cannot help it ? I am what I
am, and I cannot change my nature !

BROVIK.

No, on ; I suppose you can't. [Reels and sup-
ports himself against the sofa-table.] May I have a
glass of water ?

SOLNESS.

By all means. [Fills a glass and hands it to him.

BROVIK.

Thanks. [Drinks and puts the glass donm again.
[SOLNESS goes up and opens the door of tne
draughtsmen's officet

SOLNESS.

Ragnar — you must come and take your father
home.

RAGNAR rises quickly. He and KAIA come
into the work-room.

RAGNAR.
What is the matter, father ?

THE MASTER BUILDER. [ACT I.

BROVIK.
Give me your arm. Now let us go.

RAGNAR.

Very well. You had better put your things on,
too, Kaia.

SOLNESS.

Miss Fosli must stay — just fora moment. There
is a letter I want written.

BROVIK.

[Looks at SOLNESS.] Good night. Sleep well —
if you can.

SOLNESS.
Good night.

[BROVIK and RAGNAR go out by the hall-
door. KAIA goes to the desk. SOLNESS
stands with bent head, to the right, by the
arm-chair.

KAIA.
[Dubiously] Is there any letter ?

SOLNESS.

[Curtly] No, of course not. [Looks sternly at
her] Kaia !

KAIA.
[Anxiously, in a low voice] Yes !

SOLNESS.

[Points imperatively to a spot on thejloor] Come
here ! At once !

KAIA.
[Hesitatingly] Yes.

SOLNESS.
[As before.] Nearer !

ACT I.] THE MASTER BUILDER. 203

KAIA.
[Obeying.] What do you want with me?

SOLNESS.

[Looks at her for a while.] Is it you I have
to thank for all this ?

KAIA.
No, no, don't think that !

SOLNESS.
But confess now — you want to get married !

KAIA.

[Softly.] Ragnar and I have been engaged for
four or five years, and so —

SOLNESS.

And so you think it time there were an end 01
it. Is not that so ?

KAIA.

Ragnar and Uncle say I must. So I suppose I
shall have to give in.

SOLNESS.

[More gently.] Kaia, don't you really care a
little bit for Ragnar, too ?

KAIA.

I cared very much for Ragnar once — before I
came here to you.

SOLNESS.
But you don't now ? Not in the least ?

KAIA.

[Passionately, clamping her hands and holding them
out towards him.] Oh, you know very well

204 THE MASTER BUILDER. [ACT I.

there is only one person I care for now ! One,
and one only, in all the world ! I shall never care
for any one else.

SOLNESS.

Yes, you say that. And yet you go away from
me — leave me alone here with everything on my
hands.

KAIA.
But could I not stay with you, even if

Ragnar ?

SOLNESS.

[Repitdiatitig the idea] No, no, that is quite
impossible. If Ragnar leaves me and starts work
on his own account, then of course he will need
you himself.

KAIA.

[Wringing her hands] Oh, I feel as if I could
not be separated from you ! It's quite, quite
impossible !

SOLNESS.

Then be sure you get those foolish notions out
of Ragnar's head. Marry him as much as you
please — [Alters his tone.] I mean — don't let him
throw up his eood situation with me. For then I
can keep you too, my dear Kaia.

KAIA.

Oh yes, how lovely that would be, if it could
only be managed !

SOLNESS.

[Clasps her head with with his two hands and
whispers] For I cannot get on without you, you
see. I must have you with me every single day.

ACT I.] THE MASTER BUILDER. 205

KAIA.

[In nervous exaltation.}. My God ! My God !

SOLNESS.
[Kisses her hair.] Kaia — Kaia !

KAIA.

[Sinks dotvn before him.] Oh, how good you are
to me ! How unspeakably good you are !

SOLNESS.

[ Vehemently.] Get up ! For goodness' sake get
up ! I think I hear some one !

[He helps her to rise. She staggers over to
the desk.

MRS. SOLNESS enters by the door on the right. She
looks thin and wasted with grief, but shows traces
of bygone beauty. Blonde ringlets. Dresseed
with good taste, wholly in black. Speaks some-
what slowly and in a plaintive voice.

MRS. SOLNESS.
[fn the doonvay.] Halvard !

SOLNESS.
[Turns.] Oh, are you there, my dear ?

MRS. SOLNESS.

\With a glance at KAIA.] I am afraid I am dis-
turbing you.

SOLNESS.

Not in the least. Miss Fosli has only a short
letter to write.

MRS. SOLNESS.
Yes, so I see.

206 THE MASTER BUILDER. [ACT I

SOLNESS.

What do you want with me, Aline ?

MRS. SOLNESS.

I merely wanted to tell you that Dr. Herdal is
in the drawing-room. Won't you come and see
him, Halvard ?

SOLNESS.

[Looks sttspiciously at her.] H'm — is the doctor
so very anxious to talk to me ?

MRS. SOLNESS.

Well, not exactly anxious. He really came to
see me ; but he would like to say how-do-you-do
to you at the same time.

SOLNESS.

[Laughs to himself.] Yes, I daresay. Well,
you must ask him to wait a little.

MRS. SOLNESS.
Then you will come in presently ?

SOLNESS.

Perhaps I will. Presently, presently, dear. In
a little while.

MRS. SOLNESS.

[Glancing again at KAIA.] Well now, don't
forget, Halvard.

[ Withdraws and closes the door behind her.

KAIA.

[Softly.] Oh dear, oh dear — I am sure Mrs.
Solness thinks ill of me in some way !

ACT I.] THE MASTER BUILDER. 207

SoLNESS.

Oh, not in the least. Not more than usual at
any rate. But all the same, you had better go
now, Kaia.

KAIA.

Yes, yes, now I must go.

SOLNESS.

[Severely.] And mind you get that matter settled
for me. Do you hear ?

KAIA.
Oh, if it only depended on me

SOLNESS;

I will have it settled, I say ' And to-morrow
too — not a day later !

KAIA.

[Terrified.] If there's nothing else for it, I am
quite willing to break off the engagement.

SOLNESS.

[Angrily.] Break it off. Are you mad? Would
you think of breaking it off?

KAIA.

[Distracted.] Yes, if necessary. For I must —
I must stay here with you ! I can't leave you !
That is utterly— utterly impossible !

SOLNESS.

[With a sudden outburst.] But deuce take it —
how about Ragnar then ! It's Ragnar that I

KAIA.

[Looks at him with terrified eyes.] It is chiefly
on Ragnar's account, that — that you ?

208 THE MASTER BUILDER. [ACT I.

SoLNESS.

[Collecting himself.] No, no, of course not ! You
don't understand me either. [Gently and softly.]
Of course it is you I want to keep — you above
everything, Kaia. But for that very reason, you
must prevent Ragnar, too, from throwing up his
situation. There, there, — now go home.

KAIA.
Yes, yes — good-night, then.

SOLNESS.

Good night. [As she is going.] Oh, stop a
moment ! Are Ragnar's drawings in there ?

KAIA.
I did not see him take them with him.

SOLNESS.

Then just go and find them for me. I might
perhaps glance over them, after all.

KAIA.
[Happy.] Oh yes, please do !

SOLNESS.

For your sake, Kaia dear. Now, let me have
them at once, please.

[KAIA hurries into the draughtsmen' x office,
searches anxiously in the table-drawer,
finds a portfolio and brings it with her.

KAIA.
Here are all the drawings.

SOLNESS.
Good. Put them down there on the table.

ACT i.] THE MASTER BUILDER. 209

KAIA.

[Putting dawn the portfolio.] Good night, then.
[Beseechingly.] And please, please think kindly
of me.

SoLNESS.

Oh, that I always do. Good-night, my dear
little Kaia. [Glances to the right.] Go, go now !

MRS. SOLNESS and DR. HERDAL enter by the door on
the right. He is a stoutish, elderly man, nith a
round, good-humoured face, clean shaven, with
thin, light hair, and gold spectacles.

MRS. SOLNESS.

[Still in the doonvay.] Halvard, I cannot keep
the doctor any longer.

SOLNESS.
Well then, come in here.

MRS. SOLNESS.

[To KAIA, who is turning down the desk lamp.]
Have you finished the letter already, Miss Fosli ?

KAIA.

[/« confusion.] The letter ?

SOLNESS.
Yes, it was quite a short one.

MRS. SOLNESS.
It must have been very short,

SOLNESS.

You may go now, Miss Fosli. And please come
in good time to-morrow morning.

x o

210 THE MASTER BUILDER. [ACT I.

KAIA.
I will be sure to. Good-night, Mrs. Solness.

[She goes out by the hall door.

MRS. SOLNESS.

She must be quite an acquisition to you, Hal-
varcl, this Miss Fosli.

SOLNESS.
Yes, indeed. She is useful in all sorts of ways.

MRS. SOLNESS.
So it seems.

DR. HERDAL.
Is she good at book-keeping too ?

SOLNESS.

Well — of course she has had a good deal of
practice during these two years. And then she is
so nice and willing to do whatever one asks of her.

MRS. SOLNESS.
Yes, that must be very delightful

SOLNESS.

It is. Especially when one is not too much
accustomed to that sort of thing.

MRS. SOLNESS.

[In a tone of gentle remonstrance^ Can you say
that, Halvard ?

SOLNESS.
Oh, no, no, my dear Aline ; I beg your pardon.

ACT I.] THE MASTER BUILDER. 211

MRS. SOLNESS.

There's no occasion. — Well then, doctor, you
will come back later on, and have a cup of tea with
us?

DR. HERDAL.

I have only that one patient to see, and then
I'll come back.

MRS. SOLNESS.
Thank you.

[She goes out by the door on the right.

SOLNKSS.
Are you in a hurry, doctor ?

DR. HERDAJL.
No, not at all.

SOLNESS.

May I have a little chat with you ?

DR. HERDAL.
With the greatest of pleasure.

SOLNESS.

Then let us sit down. [He motions the doctor to
take the rocking-chair, and sits down himself in the
arm chair. Looks searchingly at him.] Tell me —
did you notice anything odd about Aline ?

DR. HERDAL.
Do you mean just now, when she was here ?

SOLNESS.

Yes, in her manner to me. Did you notice
anything ?

212 THE MASTER BUILDER. [ACT I.

DR. HERDAL.

[Smiling,] Well,l admit — one couldn't well avoid
noticing that your wife — h'm

SOLNESS.
Well ?

DR. HERDAL.

— that your wife is not particularly fond of this
Miss Fosli.

SOLNESS.
Js that all ? I have noticed that myself.

DR. HERDAL.
And I must say I am scarcely surprised at it.

SOLNESS.
At what ?

DR. HERDAL.

That she should not exactly approve of your
seeing so much of another woman, all day and
every day.

SOLNESS.

No, no, I suppose you are right there — and
Aline too. But it's impossible to make any
change.

DR. HERDAL.

Could you not engage a clerk ?

SOLNESS.

The first man that came to hand ? No, thank
you — that would never do for me.

DR. HERDAL.

But now, if your wife ? Suppose, with her

delicate health, all this tries her too much f

[ACT I. THE MASTER BUILDER. 213

SoLNESS.

Even then — I might almost say — it can make
no difference. I must keep Kaia Fosli. No one
else could fill her place.

DR. HERDAL.
No one else ?

SOLNESS.

No, no one.

DR. HERDAL.

[Drawing his chair closer.^ Now listen to me, my
dear Mr. Solness. May I ask you a question, quite
between ourselves ?

SOLNESS.
By all means.

DR. HERDAL.

Women, you see— in certain matters, they have
a deucedly keen intuition—

SOLNESS.

They have, indeed. There is not the least
doubt of that. But - ?

DR. HERDAL.
Well, tell me now — if your wife can't endure

this Kaia Fosli ?

SOLNESS.
Well, what then ?

DR. HERDAL.

— may she not have just — just the least little
bit of reason for this instinctive dislike ?

•

SOLNESS.
[Looks at him and rises.] Oho !

214 THE MASTER BUILDER. [ACT I.

DR. HERDAL.
Now don't be offended — but hasn't she ?

SoLNESS.

[With curl decision.] No.

DR. HERDAL.
No reason of any sort ?

SOLNESS.
No other reason than her own suspicious nature.

DR. HERDAL.

I know you have known a good many women in
your time.

SOLNESS.
Yes, I have.

DR. HERDAL.

And have been a good deal taken with some of
them, too.

SOLNESS.
Oh yes, I don't deny it.

DR. HERDAL.

But as regards Miss Fosli, then ? There is
nothing of that sort in the case ?

SOLNESS.
No; nothing at all — on my side.

DR. HERDAL.
But on her side ?

SOLNESS.

I don't think you have any right to ask that
question, doctor.

ACT I.] THE MASTER BUILDER. 215

DR. HERDAL.

Well, you know, we were discussing your wife's
intuition.

SOLNESS.

So we were. And for that matter — [lowers his
roice] — Aline' s intuition, as you call it — in a cer-
tain sense, it has not been so far astray.

DR. HERDAL.
Aha ! there we have it !

SOLNESS.

[Sits down.] Doctor Herdal — I am going to
tell you a strange story — if you care to listen to
it.

DR. HERDAL.
I like listening to strange stories.

SOLNESS.

Very well then. I daresay you recollect that I
took Knut Brovik and his son into my employment
— after the old man's business had gone to the
dogs

DR. HERDAL.
Yes, so I have understood.

SOLNESS.

You see, they really are clever fellows, these
two. Each of them has talent in his own way.
But then the son took it into his head to get en-
gaged ; and the next thing, of course, was that
he wanted to get married — and begin to build on
his own account. That is the way with all these
young people.

216 THE MASTER BUILDEK. [ACT I.

DR. HERDAL.

[Laughing.] Yes, they have a bad habit of
wanting to marry.

SOLNESS.

Just so. But of course that did not suit my
plans ; for I needed Ragnar myself— and the old
man too. He is exceedingly good at calculating
bearing-strains and cubic contents — and all that
sort of devilry, you know.

DR. HERDAL.
Oh yes, no doubt that's indispensable.

SOLNESS.

Yes, it is. But Ragnar was absolutely bent on
setting to work for himself. He would hear of
nothing else.

DR. HERDAL.
But he has stayed with you all the same.

SOLNESS.

Yes, I'll tell you how that came about. One
day this girl, Kaia Fosli, came to see them on
some errand or other. She had never been here
before. And when I saw how utterly infatuated
they were with each other, the thought occurred
to me : if I could only get her into the office
here, then perhaps Ragnar too would stay where
he is.

DR. HERDAL.

That was not at all a bad idea.

SOLNESS.

Yes, but at the time I did not breathe a word
of what was in my mind. I merely stood and

ACT I.] THE MASTER BUILDER. 217

looked at her — and kept on wishing intently that
I could have her here. Then I talked to her a
little, in a friendly way — about one thing and
another. And then she went away.

DR. HERDAL.
Well ?

SoLNESS.

Well then, next day, pretty late in the evening,
when old Brovik and Ragnar had gone home, she
came here again, arid behaved as if I had made an
arrangement with her.

DR. HERDAL.

An arrangement ? What about ?

SOLNESS.

About the very thing my mind had been fixed
on. But I hadn't said one single word about it.

DR. HERDAL.
That was most extraordinary.

SOLNESS.

Yes, was it not ? And now she wanted to know
what she was to do here — whether she could begin
the very next morning, and so forth.

DR. HERDAL.

Don't you think she did it in order to be with
her sweetheart ?

SOLNESS.

That was what occurred to me at first. But no,
that was not it. She seemed to drift quite away
from him — when once she had come here to

218 THE MASTER BUILDER. [ACT I.

DR. HERDAL.
She drifted over to you, then ?

SOLNESS.

Yes, entirely. If I happen to look at her when
her back is turned, I can tell that she feels it.
She quivers and trembles the moment I come near
her. What do you think of that?

DR. HERDAL.
H'm — that's not very hard to explain.

SOLNESS.

Well, but what about the other thing ? That
she believed I had said to her what I had only
wished and willed — silently — inwardly — to my-
self? What do you say to that ? Can you explain
that, Dr. Herdal ?

DR. HERDAL.
No, I won't undertake to do that.

SOLNESS.

I felt sure you would not ; and so I have never
cared to talk about it till now. — But it's a cursed
nuisance to me in the long run, you understand.
Here have I got to go on day after day pretend-
ing . And it's a shame to treat her so, too,

poor girl. [Vehemently, ,] But I cannot do any-
thing else. For if she runs away from me — then
Ragnar will be off too.

DR. HERDAL.

And you have not told your wite the rights ot
the story?

ACT i.] THE MASTER BUILDER. 219

SOLNESS.
No.

DR. HERDAL.
Then why on earth don't you ?

SOLNESS.

[Looks fixedly at him, and says in a low voice ;]
Because I seem to find a sort of — of salutary self-
torture in allowing Aline to do me an injustice.

DR. HERDAL.

[Shakes his head.] I don't in the least under-
stand what you mean.

SOLNESS.

Well, you see — it is like paying off a little bit of
a huge, immeasurable debt —

DR. HERDAL.
To your wife ?

SOLNESS.

Yes ; and that always helps to relieve one's
mind a little. One can breathe more freely for a
while, you understand.

DR. HERDAL.

No, goodness knows, I don't understand at

all

SOLNESS.

[Breaking off, rises again.] Well, well, well —
then we won't talk any more about it. [He
saunters across the room, returns, and stops beside the
table. Looks at the doctor with a sly smile.] I sup-
pose you think you have drawn me out nicely now,
doctor ?

220 THE MASTER BUILDER. [ACT I.

DR. HERDAL.

[With some irritation.] Drawn you out ? Again
I have not the faintest notion what you mean, Mr.
Solness.

SoLNESS.

Oh come, out with it; I have seen it quite
clearly, you know.

DR. HERDAL.
What have you seen ?

SOLKESS.

[In a lotv voice, slowly.] That you have been
quietly keeping an eye upon me.

DR. HERDAL.

That / have ! And why in all the world should
I do that?

SOLNESS.

Because you think that I [Passionately .]

Well, devil take it — you think the same of me as
Aline does.

DR. HERDAL.
And what does she think about you ?

SOLNESS.

[Having recovered his self-control.^ She has
begun to think that I am — that I am — ill.

DR. HERDAL.

Ill ! You ! She has never hinted such a thing
to me. Why, what can she think is the matter
with you ?

ACT I.] THE MASTER BUILDER. 221

SoLNESS.

[Leans over the back of the chair and whispers.]
Aline has made up her mind that I am mad. That
is what she thinks.

DR. HERDAL.
[Rising.] Why, my dear good fellow !

SOLNESS.

Yes, on my soul she does ! I tell you it is so.
And she has got you to think the same ! Oh, I
can assure you. doctor, I see it in your face as
clearly as possible. You don't take me in so
easily, I can tell you.

DR. HERDAL.

[Looks at him in amazement.] Never, Mr. Solness
— never has such a thought entered my mind.

SOLNESS.

[With an incredulous smile .] Really? Has it
not?

DR. HERDAL.

No, never ! Nor your wife's mind either, I am
convinced. I could almost swear to that.

SOLNESS.

Well, I wouldn't advise you to. For, in a cer-
tain sense, you see, perhaps — perhaps she is not
so far wrong in thinking something of the kind.

DR. HERDAL.
Come now, I really must say

222 THE MASTER BUILDER. [ACT I.

SoLNESS.

[Interrupting, with a siveep of his hand.] Well,
well, my dear doctor — don't let us discuss this any
further. We had better agree to differ. [Changes
to a tone of quiet amusement.] But look here now,

doctor — h m

DR. HERDAL.

Well ?

SOLNESS.

Since you don't believe that I am — ill — and
crazy — and mad, and so forth —

DR. HERDAL.
What then ?

SOLNESS.

Then I daresay you fancy that I am an ex-
tremely happy man.

DR. HERDAL.
Is that mere fancy ?

SOLNESS.

[Laughs.] No, no — of course not ! Heaven
forbid ! Only think — to be Solness the master
builder ! Halvard Solness ! What could be more
delightful ?

DR. HERDAL.

Yes, I must say it seems to me you have had
the luck on your side to an astounding degree.

SOLNESS.

[Suppresses a gloomy smile] So I have. I can't
complain on that score.

DR. HERDAL.
First of all that grim old robbers' castle was

ACT l.J THE MASTER BUILDER. 223

burnt down for you. And that was certainly a
great piece of luck.

SoLNESS.

[Seriously.] It was the home of Aline's family.
Remember that.

DR. HERDAL.
Yes, it must have been a great grief to her.

SOLNESS.

She has not got over it to this day — not in al
these twelve or thirteen years.

DR. HERDAL.

Ah, but what followed must have been the
worst blow for her.

SOLNESS.
The one thing with the other.

DR. HERDAL.

But you— yourself — you rose upon the ruins.
You began as a poor boy from a country village —
and now you are at the head of your profession.
Ah, yes, Mr. Solness, you have undoubtedly had
the luck on your side.

SOLNESS.

[Looking at him with embarrassment.^ Yes, but
that is just what makes me so horribly afraid.

DR. HERDAL.

Afraid ? Because you have the luck on your
side !

SOLNESS.

It terrifies me — terrifies me every hour of the
day. For sooner or later the luck must turn, you
see.

224 THE MASTER BUILDER. [ACT I.

DR. HERDAL.

Oh nonsense ! What should make the luck
turn ?

SoLNESS.

\With Jirm assurance.} The younger genera-
tion.

DR. HERDAL.

Pooh ! The younger generation ! You are not
laid on the shelf yet, I should hope. Oh no — your
position here is probably firmer now than it has
ever been.

SOLNESS.

The luck will turn. I know it — I feel the day
approaching. Some one or other will take it into
his head to say : Give me a chance ! And then
all the rest will come clamouring after him, and
shake their fists at me and shout : Make room —
make room — make room ! Yes, just you see,
doctor — presently the younger generation will
come knocking at my door —

DR. HERDAL.
\Laughing.] Well, and what if they do ?

SOLNESS.

What if they do ? Then there's an end of
Halvard Solness.

[There is a knock at the door on the left.

SOLNESS.

[Ste/'fo.] What's that ? Did you not hear some-
thing ?

DR. HERDAL.
Some one is knocking at the door.

ACT I.] THE MASTER BUILDER. 225

SoLNESS.

[Loudly.] Come in.

HILDA W ANGEL enters by the hall door. She is of
middle height, supple, and delicately built. Some-
what sunburnt. Dressed in a tourist costume,
with skirt caught up for walking, a sailor's collar
open at the throat, and a small sailor hat on her
head. Knapsack on back, plaid in strap, and
alpenstock.

HILDA.
[Goes straight up to SOLNESS, her eyes sparkling

with happiness.} Good evening !

SOLNESS.
[Looks doubtfully at her.] Good evening

HILDA.

[Laughs.] I almost believe you don't recognise
e!

SOLNESS.
No — Imustadmitthat — justfor the moment

DR. HERDAL.

[Approaching.] But 7 recognise you, my dear
young lady —

HILDA.
[Pleased.] Oh, is it you that

DR. HERDAL.

Of course it is. [To SOLNESS.] We met at one
of the mountain stations this summer. [To HILDA.]
What became of the other ladies ?

x P

226 THE MASTER BUILDER. [ACT i.

HILDA.
Oh, they went westward.

DR. HERDAL.

They didn't much like all the fun we used to
have in the evenings.

HILDA.
No, I believe they didn't.

DR. HERDAL.

[Holds up his finger at her.] And I am afraid
it can't be denied that you flirted a little with
us.

HILDA.

Well, that was better fun than to sit there
knitting stockings with all those old women.

DR. HERDAL.
[Laughs.] There I entirely agree with you !

SOLNESS.
Have you come to town this evening ?

HILDA.
Yes, I have just arrived.

DR. HERDAL.
Quite alone, Miss Wangel ?

HILDA.
Oh yes !

SOLNESS.
Wangel ? Is your name Wangel ?

ACT I.] THE MASTER BUILDER. 227

HILDA.

[Looks in amused surprise at him.] Yes, of course
it is.

SOLNESS.

Then you must be a daughter of the district
doctor up at Lysanger ?

HILDA.

[As before.] Yes, who else's daughter should I
be?

SOLNESS.

Oh, then I suppose we met up there, that
summer when I was building a tower on the old
church.

HILDA.

[More seriously.] Yes, of course it was then
we met.

SOLNESS.

Well, that is a long time ago.

HILDA.
[Looks hard at him.] It is exactly the ten years.

SOLNESS.

You must have been a mere child then, I should
think.

HILDA.

[Carelessly.] Well, I was twelve or thirteen.

DR. HERDAL.

Is this the first time you have ever been up to
town, Miss Wangel ?

HILDA.
Yes, it is indeed.

228 THE MASTER BUILDER. [ACT I.

SoLNESS.

And don't you know any one here

HILDA.
Nobody but you. And of course, your wife.

SGLNESS.
So you know her, too?

HILDA.

Only a little. We spent a few days together
at the sanatorium.

SOLNESS.
Ah, up there ?

HILDA.

She said I might come and pay her a visit if
ever I came up to town. [Smiles.] Not that
that was necessary.

SOLNESS.

Odd that she should never have mentioned it.
[HILDA puts her stick down by the stove,
takes off the knapsack and lays it and the
plaid on the sofa. DR. HERDAL offers
to help her. SOLNESS stands and gazes
at her.

HILDA.

[Going towards hi?n.] Well, now 1 must ask you
to let me stay the night here.

SOLNESS.
I am sure there will be no difficulty about that.

HILDA.

For I have no other clothes than those I stand
in, except a change of linen in my knapsack.
And that has to go to the wash, for it's very dirty.

ACT I.] THE MASTER BUILDER. 229

SoLNESS.

Oh yes, that can be managed. Now I'll just let
ray wife know —

DR. HERDAL.
Meanwhile I will go and see my patient.

SOLNESS.
Yes, do ; and come again later on.

DR. HERDAL.

[Playfully, with a glance at HILDA..] Oh that I
will, you may be very certain ! [Laughs.] So
your prediction has come true, Mr. Solness !

SOLNESS.

How so ?

DR. HERDAL.

The younger generation did come knocking at
your door.

SOLNESS.

[Cheerfully.'] Yes, but in a very different way
fjom what I meant.

DR. HERDAL.
Very different, yes. That's undeniable.

[He goes out by the hall-door. SOLNESS
opens the door on the right and speaks
into the side room.

SOLNESS.

Aline ! Will you come in here, please. Here
is a friend of yours — Miss Wangel.

230 THE MASTER BUILDER. [ACT I.

MRS. SOLNESS.

[Appears in the doorway.] Who do you say it
is ? [Sees HILDA.] Oh, is it you, Miss Wangel ?
[Goes up to her and offers her hand.\ So you have
come to town after all.

SOLNESS.

Miss Wangel has this moment arrived ; and
she would like to stay the night here.

MRS. SOLNESS.
Here with us ? Oh yes, certainly.

SOLNESS.

Till she can get her things a little in order, you
know.

MRS. SOLNESS.

I will do the best I can for you. It's no more
than my duty. I suppose your trunk is coming
on later ?

HILDA.
I have no trunk.

MRS. SOLNESS.

Well, it will be all right, I daresay. In the
meantime, you must excuse my leaving you here
with my husband, until I can get a room made a
little comfortable for you.

SOLNESS.

Can we not give her one of the nurseries?
They are all ready as it is.

ACT I.] THE MASTER BUILDER. 231

MRS. SOLNESS.

Oh yes. There we have room and to spare.
[To HILDA.] Sit down now, and rest a little.

[She goes out to the right.
[HILDA, with her hands behind her back,
strolls about the room and looks at various
objects. SOLNESS stands in front, beside
the table, also with his hands behind his
back, and follows her with his eyes.

HILDA.

[Stops and looks at him.] Have you several
nurseries ?

SOLNESS.
There are three nurseries in the house.

HILDA.

That's a lot. Then I suppose you have a great
many children ?

SOLNESS.

No. We have no child. But now you can be
the child here, for the time being.

HILDA.

For to-night, yes. I shall not cry. I mean to
sleep as sound as a stone.

SOLNESS.
Yes, you must be very tired, I should think.

HILDA.

Oh no ! But all the same — It's so delicious
to lie and dream.

THE MASTER BUILDER. [ACT I.

SoLNESS.

Do you dream much of nights ?

HILDA.

Oh yes ! Almost always.

SOLNESS.
What do you dream about most ?

HILDA.

I sha'n't tell you to-night. Another time
perhaps.

[She again strolls about the room, stops at
the desk and turns over the books and
papers a little.

SOLNESS.

[Approaching.] Are you searching for any-
thing ?

HILDA.

No, I am merely looking at all these things.
[Turns.] Perhaps I mustn't?

SOLNESS.
Oh, by all means.

HILDA.
Is it you that write in this great ledger?

SOLNESS.
No, it's my book-keeper.

H ILDA.
Is it a woman ?

SOLNESS.
[Smiles.'] Yes.

ACT I.] THE MASTER BUILDER. 233

HILDA.
One you employ here, in your office ?

SoLNESS.

Yes.

HILDA.
Is she married ?

SOLNESS.
No, she is single.

HILDA.
Oh, indeed !

SOLNESS.
But I believe she is soon going to be married.

HILDA.
That's a good thing for her.

SOLNESS.

But not such a good thing for me. For then
I shall have nobody to help me.

HILDA.

Can't you get hold of some one else who will
do just as well ?

SOLNESS.

Perhaps you would stay here and — and write
in the ledger ?

HILDA.

[Measures him with a glance.] Yes, I daresay !
No, thank you — nothing of that sort for me.

[She again strolls across the room, and sits
down in the rocking-chair. SOLNESS too
goes to the table.

HILDA.
[Continuing.] For there must surely be plenty

234- THE MASTER BUILDER. [\CT I.

of other things to be done here. [Looks smilingly
at him.] Don't you think so, too?

SOLNESS.

Of course. First of all, I suppose, you want
to make a round of the shops, and get yourself
up in the height of fashion.

HILDA.
\Amused.} No, I think I shall let that alone !

SOLNESS.
Indeed ?

HILDA.

For you must know I have run through all my
money.

SOLNESS.
[Lattghs.] Neither trunk nor money, then i

HILDA.

Neither one nor the other. But never mind —
it doesn't matter now.

SOLNESS.
Come now, I like you for that.

HILDA.
Only for that?

SOLNESS.

For that among other things. [Sits in the arm-
chair.] Is your father alive still ?

HILDA.
Yes, father's alive.

SOLNESS.
Perhaps you are thinking of studying here ?

ACT I.] THE MASTER BUILDER. 235

HILDA.
No, that hadn't occurred to me.

SoLNESS.

But I suppose you will be staying for some
time ?

HILDA.
That must depend upon circumstances.

[She sits awhile rocking herself and looking
at him, half seriously, half with a sup-
pressed smile. Then she takes off her hat
and puts it on the table in front of her.

HILDA.
Mr. Solness !

SOLNESS.
Well?

HILDA.
Have you a very bad memory ?

SOLNESS.
A bad memory ? No, not that I am aware of.

HILDA.

Then have you nothing to say to me about
what happened up there ?

SOLNESS.

[In momentary surprise.] Up at Lysanger ? [/«-
differently.] Why, it was nothing much to talk
about, it seems to me.

HILDA.

[Looks reproachfully at him.] How can you sit
there and say such things ?

23G THE MASTER BUILDER. [ACT I.

SoLNESS.

Well, then, you talk to me about it.

HILDA.

When the tower was finished, we had grand
doings in the town.

SOLNESS.
Yes, I shall not easily forget that day.

HILDA.

[Smiles.] Will you not ? That comes well from
you.

SOLNESS.
Comes well ?

HILDA.

There was music in the churchyard — and many,
many hundreds of people. We school-girls were
dressed in white ; and we all carried flags.

SOLNESS.

Ah yes, those flags — I can tell you I remember
them !

HILDA.

Then you climbed right up the scaffolding,
straight to the very top ; and you had a great
wreath with you ; and you hung that wreath right •
away up on the weather-vane.

SOLNESS.

[Curtly interrupting.] I always did that in those
days. It is an old custom.

HILDA.
It was so wonderfully thrilling to stand below

ACT I.] THE MASTER BUILDER. 237

and look up at you. Fancy, if lie should fall over !
He — the roaster builder himself!

SOLNESS.

[As if to divert her from the subject.] Yes, yes,
yes, that might very well have happened, too. For
one of those white-frocked little devils, — she went
on in such a way, and screamed up at me so —

HILDA.

[Sparkling nnth pleasure.] " Hurra for Master
Builder Solness ! " Yes !

SOLNESS.

— and waved and flourished with her flag, so that
I — so that it almost made me giddy to look at it.

HILDA.

[In a lower voice, seiiously.] That little devil —
that was /.

SOLNESS.

[Fixes his eyes steadily upon her.] I am sure of that
now. It must have been you.

HILDA.

[Lively again.] Oh, it was so gloriously thrill-
ing ! I could not have believed there was a
builder in the whole world that could build such a
tremendously high tower. And then, that you
yourself should stand at the very top of it, as large
as life ! And that you should not be the least bit
dizzy ! It was that above everything that made
one — made one dizzy to think of.

238 THE MASTER BUILDER. [ACT I.

SoLNESS.

How could you be so certain that I was

not ?

HILDA.

[Scouting the idea.] No indeed ! Oh no ! I
knew that instinctively. For if you had been, you
could never have stood up there and sung.

SOLNESS.

[Looks at her in astonishment]. Sung ? Did /
sing ?

HILDA.
Yes, I should think you did.

SOLNESS.

[Shakes his head.] I have never sung a note in
my life.

HILDA.

Yes indeed, you sang then. It sounded like
harps in the air.

SOLNESS.
[Thoughtfully.] This is very strange — all this.

HILDA.

[Is silent awhile, looks at him and says in a low
voice :] But then, — it was after that — that the
real thing happened.

SOLNESS.
The real thing ?

HILDA.

[Sparkling with vivacity.] Yes, I surely don't
need to remind you of that ?

ACT I.] THE MASTER BUILDER. 239

SoLNESS.

Oh yes, do remind me a little of that, too.

HILDA.

Don't you remember that a great dinner was
given in your honour at the Club ?

SOLNESS.

Yes, to be sure. It must have been the same
afternoon, for I left the place next morning.

HILDA.

And from the Club you were invited to come
round to our house to supper.

SOLNESS.

Quite right, Miss Wangel. It is wonderful how
all these trifles have impressed themselves on your
mind.

HILDA.

Trifles ! I like that ! Perhaps it was a trifle,
too, that I was alone in the room when you
came in ?

SOLNESS.
Were you alone?

HILDA.
[Without answering him.] You didn't call me a

little devil then ?

*
SOLNESS.

No, I suppose I did not.

HILDA.

You said I was lovely in my white dress, and
that I looked like a little princess.

240 THE MASTER BUILDER. [ACT I.

SoLNESS.

I have no doubt you did, Miss Wangel.— And
besides — I was feeling so buoyant and free that
day —

HILDA.

And then you said that when I grew up I should
be your princess.

SOLNESS.

[Laughing a little.] Dear, dear — did I say that
too?

HILDA.

Yes, you did. And when I asked how long I
should have to wait, you said that you would
come again in ten years — like a troll — and carry
me off — to Spain or some such place. And you
promised you would buy me a kingdom there.

SOLNESS.

[As before.] Yes, after a good dinner one doesn't
haggle about the halfpence. But did I really
say all that

HILDA.

[Laughs to herself.] Yes. And you told me,
too, what the kingdom was to be called.

SOLNESS.
Well, what was it?

HILDA.

It was to be called the kingdom of Orangia,1
you said.

SOLNESS.

Well, that was an appetising name.

'In the original " Appelsinia," "appelsin" meaning
" orange."

ACT I.] THE MASTER BUILDER. 24!

HILDA.

No, I didn't like it a bit ; for it seemed as
though you wanted to make game of me.

SoLNESS.

I am sure that cannot have been my intention.

HILDA.

No, I should hope not — considering what you
did next —

SOLNESS.
What in the world did I do next ?

HILDA.

Well, Chat's the finishing touch, if you have
forgotten that too. I should have thought no
one could help remembering such a thing as
that.

SOLNESS.

Yes, yes, just give me a hint, and then per-
haps— Well ?

HILDA.

[Looks fixedly at him.] You came and kissed me,
Mr. Solness,

SOLNESS.
[Open-mouthed, rising from Ids chair.] I did !

HILDA.

Yes, indeed you did. You took me in both
your arms, and bent my head back, and kissed me
— many times.

SOLNESS.

Now really, my dear Miss Wangel !

x <i

242 THE MASTER BUILDER. [ACT k.

HILDA.
[Rises.] You surely cannot mean to deny it?

SOLNESS.
Yes, I do. I deny it altogether!

HILDA.

[Looks scornfully at him.] Oh, indeed J

[She turns and goes slowly close up to the
stove, where she remains standing motion-
less, her face averted from him, her hands
behind her back. Short pause.

SOLNESS.

[Goes cautiously up behind her.] Miss Wangel !

•
HILDA.

[Is silent and does not move.]

SOLNESS.

Don't stand there like a statue. You must have
dreamt all this. [Lays his hand on her arm.] Now

just listen

HILDA.
[Makes an impatient movement with her arm.]

SOLNESS.

[Asa thought jlashes upon him.] Or ! Wait

a moment ! There is something under all this,
you may depend !

HILDA.
[Does not move.]

SOLNESS.
[In a low voice, but with emphasis.] I must have

ACT I.] THE MASTER BUILDER. 243

thoi»ght all that. I must have wished it —
have willed it — have longed to do it. And
then . May not that be the explanation ?

HILDA.

[Is still silent .]

SOLNESS.

[Impatiently.] Oh very well, deuce take it all
— then I did do it, I suppose.

HILDA.

[Turns her head a little, but without looking at him.]
Then you admit it now ?

SOLNESS.
Yes — whatever you like.

HILDA.
You came and put your arms round me ?

SOLNESS.
Oh yes !

HILDA.

And bent my head back ?

SOLNESS.
Very far back.

HILDA.
And kissed me ?

SOLNESS.
Yes, I did

HILDA.
Many times ?

SOLNESS.

As many as ever you like.

244 THE MASTER BUILDER. [ACT I.

HILDA.

[Turns quickly towards him and has once more the
sparkling expression of gladness in her eyes] Well,
you see, I got it out of you at last !

SOLNESS.

[With a slight smile] Yes — just think of my
forgetting such a thing as that.

HILDA.

[Again a little sulky, retreats from him] Oh,
you have kissed so many people in your time, I
suppose.

SOLNESS.

No, you mustn't think that of me. [HILDA
seats herself in the arm-chair. SOLNESS stands and
leans against the rocking-chair. Looks observantly at
her] Miss Wangel J

' HILDA.
Yes!

SOLNESS.

How was it now ? What came of all this —
between us two ?

HILDA.

Why, nothing more came of it. You know that
quite well. For then the other guests came in,
and then — bah !

SOLNESS.

Quite so ! The others came in. To think of
my forgetting that too !

HILDA.

Oh, you haven't really forgotten anything : you
are only a little ashamed of it all. I am sure one
doesn't forget things of that kind.

ACT I.] THE MASTER BUILDER. 245

SoLNESS.

No, one would suppose not.

HILDA.

[Lively again, looks at him ] Perhaps you have
even forgotten what day it was ?

SOLNESS.

What day ?

HILDA.

Yes, on what day did you hang the wreath on
the tower ? Well ? Tell me at once !

SOLNESS.

H'm — I confess I have forgotten the particular
day. I only know it was ten years ago. Some
time in the autumn.

HILDA.

[Nods her head slowly several times.'] It was ten
years ago — on the 19th of September.

SOLNESS.

Yes, it must have been about that time. Fancy
your remembering that too ! [Stops.] But wait a

moment ! Yes — it's the 19th of September

to-day.

HILDA.

Yes, it is ; and the ten years are gone. And
you didn't come — as you had promised me.

SOLNESS.
Promised you ? Threatened, I suppose you

246 THE MASTER BUILDER. [ACT \

HILDA.

I don't think there was any sort of threat in
that.

SoLNESS.

Well then, a little bit of fun.

HILDA.

Was that all you wanted ? To make fun ot
me ?

SOLNESS.

Well, or to have a little joke with you . Upon
my soul, I don't recollect. But it must have been
something of that kind ; for you were a mere child
then.

HILDA.

Oh, perhaps I wasn't quite such a child either.
Not such a mere chit as you imagine.

SOLNESS.

[Looks searchingly at her.] Did you really and
seriously expect me to come again ?

HILDA.

[Conceals a half-teasing smile.] Yes, indeed ! I
did expect that of you.

SOLNESS.

That I should come back to your home, and
take you away with me ?

HILDA.
Just like a troll — yes.

SOLNESS.
Ajd make a princess of you ?

ACT I.] THE MASTER BUILDER. 247

HILDA,
That's what you promised.

SOLNESS.
And give you a kingdom as well ?

HILDA.

[Looks up at (he ceiling.] Why not ? Of course
it need not have been an actual, every-day sort of
a kingdom.

SOLNESS.

But something else just as good ?

HILDA.

Yes, at least as good. [I,ooks at him a moment.]
I thought, if you could build the highest church-
towers in the world, you could surely manage to
raise a kingdom of one sort or another as well.

SOLNESS.

[Shakes his head.] I can't quite make you out,
Miss Wangel.

HILDA.
Can you not ? To me it seems all so simple.

SOLNESS.

No, I can't make up my mind whether you
mean all you say, or are simply having a joke with
me.

HILDA.

[Smiles.] Making fun of you, perhaps ? I, too ?

SOLNESS.

Yes, exactly. Making fun — of both of us. [Looks
at her.] Is it long since you found out that I was
married r

248 THE MASTER BUILDER. [ACT i.

HILDA.

I have known it all along. Why do you ask
me that ?

SOLNESS.

[Lightly] Oh, well, it just occurred to me.
[Looks earnestly at her, and says in a low voice.]
What have you come for ?

HILDA.
I want my kingdom. The time is up.

SOLNESS.
[Laughs involuntarily.] What a girl you are !

HILDA.

[Gaily] Out with my kingdom, Mr. Solness !
[Raps with her fingers] The kingdom on the
table !

SOLNESS.

[Pushing the rocking-chair nearer and sitting
dotvn] Now, seriously speaking — what have you
come for ? What do you really want to do
here ?

HILDA.

Oh, first of all, I want to go round and look at
all the things that you have built.

SOLNESS.
That will give you plenty of exercise.

HILDA.
Yes, I know you have built a tremendous lot.

SOLNESS.
I have indeed — especially of late years.

ACT I.] THE MASTER BUILDER. 249

HILDA

Many church-towers among the rest ? Im-
mensely high ones ?

SOLNESS.

No. I build no more church-towers now. Nor
churches either.

HILDA.
What d o you build then ?

SOLNESS.
Homes for human beings.

HILDA.

[Reflectively.] Couldn't you build a little — a
little bit of a church tower over these homes as
well ?

SOLNESS.
[Starting.] What do you mean by that ?

HILDA.

I mean — something that points — points up into
the free air. With the vane at a dizzy height.

SOLNESS.

[Pondering a little.] Strange that you should say
that — for that is just what I am most anxious to
do.

HILDA.
[Impatiently.] Why don't you do it, then ?

SOLNESS.

[Shakes his head.] No, the people will not have
it.

HILDA
Fancy their not wanting it '

250 THE MASTER BUILDER. [ACT I.

SoLNESS.

[More lightly.] But now I am building a new
home for myself — just opposite here.

HILDA.
For yourself ?

SOLNESS.

Yes. It is almost finished. And on that there
is a tower.

HILDA.
A high tower ?

SOLNESS.
Yes.

HILDA.
Very high ?

SOLNESS.

No doubt people will say it is too high — too
high for a dwelling-house.

HILDA.

I'll go out and look at that tower the first thing
to-morrow morning.

SOLNESS.

[Sits resting his cheek on his hand, and gazes at
her.] Tell me, Miss Wangel — what is your
name ? Your Christian name, I mean ?

HILDA.
Why, Hilda, of course.

SOLNESS.
[As before.] Hilda ? Indeed ?

HILDA.

Don't you remember that? You called me
Hilda yourself — that day when you misbehaved.

ACT l.j THE MASTER BUILDER. 251

SoLNESS.

Did I really ?

HILDA.

But then you said "little Hilda"; and I
didn't like that.

SOLNESS.
Oh, you didn't like that, Miss Hilda?

HILDA.

No, not at such a time as that. But — " Princess
Hilda " — that will sound very well, I think.

SOLNESS.

Very well indeed. Princess Hilda of — of —
what was to be the name of the kingdom ?

HILDA.

Pooh ! I won't have anything to do with that
stupid kingdom. I have set my heart upon quite
a different one !

SOLNESS.

[Has leaned back in the chair, still gazing at herJ\

Isn't it strange ? The more I think of

it now, the more it seems to me as though I had
gone about all these years torturing myself with —

h'm

HILDA.

With what ?

SOLNESS.

With the effort to recover something — some
experience, which I seemed to have forgotten.
But I never had the least inkling of what it could
be.

252 THE MASTER GUILDER. [ACT I.

HILDA.

You should have tied a knot in your pocket-
handkerchief, Mr. Solness.

SOLNESS.

In that case, I should simply have had to go
racking my brains to discover what the knot
could mean.

HILDA.

Oh yes, I suppose there are trolls of that kind
in the world, too.

SOLNESS.

[Rises slowly.] What a good thing it is that you
have come to me now.

HILDA.

[Looks deeply into his eyes.] Is it a good
thing !

SOLNESS.

For I have been so lonely here. I have been
gazing so helplessly at it all. [/« a loiver voice.]
I must tell you — I have begun to be so afraid —
so terribly afraid of the younger generation.

HILDA.

[With a little snort of contempt.] Pooh — is the
younger generation a thing to be afraid of?

SOLNESS.

It is indeed. And that is why I have locked
and barred myself in. [Mysteriously ] I tell you
the younger generation will one day come and
thunder at my door ! They will break in upon
me '

ACT I.] THE MASTER BUILDER. 253

HILDA.

Then I should say you ought to go out and open
the door to the younger generation.

SOLNESS.
Open the door?

HILDA.

Yes. Let them come in to you on friendly
terms, as it were.

SOLNESS.

No, no, no ! The younger generation — it means
retribution, you see. It comes, as if under a new
banner, heralding the turn of fortune.

HILDA.

[Rises, looks at him, and says with a quivering
twitch of her lips.] Can / be of any use to you,
Mr. Solness ?

SOLNESS.

Yes, you can indeed ! For you, too, come —
under a new banner, it seems to me. Youth
marshalled against youth !

DR. H ERDAL comes in by the hall-door.

DR. HERDAL.
What — you and Miss Wangel here still ?

SOLNESS.

Yes. We have had no end of things to talk
about.

HILDA.
Both old and new.

DR. HERDAL.
Have you really ?

254 THE MASTER BUILDER. [ACT I,

HILDA.

Oh, it has been the greatest fun. For Mr.
Solness — he has such a miraculous memory. All
the least little details he remembers instantly.

MRS. SOLNESS enters by the door on the right.

MRS. SOLNESS.

Well, Miss Wangel, your room is quite ready for
you now.

HILDA.
Oh, how kind you are to me !

SOLNESS.
[To MRS. SOLNESS.] The nursery?

MRS. SOLNESS.

Yes, the middle one. But first let us go in to
supper.

SOLNESS.

[Nods to HILDA.] Hilda shall sleep in the
nursery, she shall.

MRS. SOLNESS.
[Looks at himJ\ Hilda ?

SOLNESS.

Yes, Miss Wangel's name is Hilda. I knew her
when she was a child.

MRS. SOLNESS.

Did you really, Halvard ? Well, shall we go ?
Supper is on the table.

[She takes DR. HERDAL'S arm and goes out
with him to the right. HILDA has
meanwhile been collecting her travelling
things.

ACT I.] THE MASTER BUILDER. 255

HILDA.

[Softly and rapidly to SOLNESS.] Is it true,
what you said ? Can I be of use to you ?

SOLNESS.

[Takes the things from her.] You are the very
being I have needed most.

H ILDA.

[Looks at him with happy, wondering eyes and
clasps, her hands.] But then, great heavens !

SOLNESS.
[Eagerly.] What ?

HILDA.
Then I have my kingdom !

SOLNESS.
[Involuntarily '.] Hilda J

HILDA.

[Again with the quivering twitch of her lips.]
Almost — I was going to say.

[She goes out to the right, SOLNESS
follows her.

ACT SECOND.

A prettily furnished small drawing-room in SOLNESS'S
house. In the back, a glass-door leading out
to the verandah and garden. The right-hand
corner is cut off transversely by a large bay-win-
dow, in which are Jlower-stands. The left-hand
corner is similarly cut off by a transverse wall, in
which is a small door papered like the wall. On
each side, an ordinary door. In front, on the
right, a console table with a large mirror over it.
Well-filled stands of plants and flowers. In
front, on the left, a sofa with a table and chairs.
Further back, a bookcase. Well forward in the
room, before the bay window, a small table and
some chairs. It is early in the day.

SOLNESS sits by the little table with RAGNAR BROVIK'S
portfolio open in front of him. He is turning
the drawings over and closely examining some of
them. MRS. SOLNESS moves about noiselessly
with a small watering-pot, attending to her
Jlowers. She is dressed in black as before. Her
hat, cloak and parasol lie on a chair near the
mirror. Unobserved by her, SOLNESS now and
again follows her with his eyes. Neither of them
speaks.

KAIA FOSLI enters quietly by the door on the left.

SOLNESS.
[Turns his head, and says in an off hand tone of

indifference ] Well, is that you ?

ACT II.] THE MASTER BUILDER. 257

KAIA.

I merely wished to let you know that I have
come.

SOLNESS.

Yes, yes, that's all right. Hasn't Ragnar come
too?

KAIA.

No, not yet. He had to wait a little while to
see the doctor. But he is coming presently to
hear —

SOLNESS.
How is the old man to-day ?

KAIA.

Not well. He begs you to excuse him ; he is
obliged to keep his bed to-day.

SOLNESS.

Why, of course ; by all means let him rest. But
now, get to your work.

KAIA.

Yes. [Pauses at the door.] Do you wish to
speak to Ragnar when he comes ?

SOLNESS.

No — I don't know that I have anything par-
ticular to say to him.

[KAIA goes out again to the left. SOLNESS
remains seated, turning over the drawings.

MRS. SOLNESS.

[Over beside the, plants .] I wonder if he isn't
going to die now, as well ?

X R

258 THE MASTER BUILDER. [ACT II.

SoLNESS.

[Looks up at her.] As well as who ?

MRS. SOLNESS.

[Without answering.] Yes, yes — depend upon it,
Halvard, old Brovik is going to die too. You'll
see that he will.

SOLNESS.

My dear Aline, ought you not to go out for a
little walk ?

MRS. SOLNESS.
Yes, I suppose I ought to.

[She continues to attend to the flowers.

SOLNESS.
[Bending over the drawings.] Is she still asleep ?

MRS. SOLNESS.

[Looking at him.] Is it Miss Wangel you are
sitting there thinking about ?

SOLNESS.
[Indifferently.] I just happened to recollect her.

MRS. SOLNESS.
Miss Wangel was up long ago.

SOLNESS.
Oh, was she ?

MRS. SOLNESS.

When I went in to see her, she was busy putting
her things in order.

[She goes in front of the mirror and slowly
begins to put on her hat.

ACT II.] THE MASTER BUILDER. 259

SoLNESS.

[After a short pause.] So we have found a use
for one of our nurseries after all, Aline.

MRS. SOLNESS.
Yes, we have.

SOLNESS.

That seems to me better than to have them all
standing empty.

MRS. SOLNESS.
That emptiness is dreadful ; you are right there.

SOLNESS.

[Closes the portfolio, rises and approaches her.]
You will find that we shall get on far better after
this, Aline. Things will be more comfortable. Life
will be easier — especially for you.

MRS. SOLNESS.
[Looks at him.] After this ?

SOLNESS.
Yes, believe me, Aline —

MRS. SOLNESS.
Do you mean — because she has come here ?

SOLNESS.

[Checking himself.] I mean, of course — when
once we have moved into the new house.

MRS. SOLNESS.

[Tafcex her sloak.] Ah, do you think so, Hal-
vard ? Will it be better then ?

260 THE MASTER BUILDER. [ACT II.

SoLNESS.

I can't think otherwise. And surely you think
so too ?

MRS. SOLNESS.

I think nothing at all about the new house.

SOLNESS.

[Cast down.] It's hard for me to hear you say
that ; for you know it is mainly for your sake
that I have built it.

[He offers to help her on with her cloak.

MRS. SOLNESS.

[Evades him.] The fact is, you do far too much
for my sake.

SOLNESS.

[With a certain vehemence.] No, no, you really
mustn't say that, Aline ! I cannot bear to hear
you say such things !

MRS. SOLNESS.
Very well, then I won't say it, Halvard.

SOLNESS.

But I stick to what 1 said. You'll see that
things will be easier for you in the new place.

MRS. SOLNESS.
Oh heavens — easier for me '

SOLNESS.

[Eagerly. ,] Yes, indeed they will ! You may be
quite sure of that ! For you see — there will be so
very, very much there that will remind you of
your own home

ACT II.] THE MASTER BUILDER. 26l

MRS. SOLNESS.

The home that used to be father's and mother's
— and that was burnt to the ground —

SOLNESS.

[In a low voice.] Yes, yes, my poor Aline.
That was a terrible blow for you.

MRS. SOLNESS.

[Breaking out in lamentation.] You may build as
much as ever you like, Halvard — you can never
build up again a real home for me !

SOLNESS.

[Crosses the room.] Well, in Heaven's name, let
us talk no more about it then.

MRS. SOLNESS.

We are not in the habit of talking about it.
For you always put the thought away from
you —

SOLNESS.

[Stops suddenly and looks at her.] Do I ? And why
should I do that? Put the thought away from
me ?

MRS. SOLNESS.

Oh yes, Halvard, I understand you very well.
You are so anxious to spare me — and to find ex-
cuses for me too — as much as ever you can.

SOLNESS.

[With astonishment in his eyes] You! Isityou
— yourself, that you are talking about, Aline ? •

262 THE MASTER BUILDER. [ACT II.

MRS. SOLNESS.
Yes, who else should it be but myself?

SOLNESS.
[Involuntarily to himself.] That too !

MRS. SOLNESS.

As for the old house, I wouldn't mind so much
about that. When once misfortune was in the air

— why

SOLNESS.

Ah, you are right there. Misfortune will have
its way — as the saying goes.

MRS. SOLNESS.
But it's what came of the fire — the dreadful

thing that followed ! That is the thing!

That, that, that !

SOLNESS.
[Vehemently.] Don't think about that, Aline!

MRS. SOLNESS.

Ah, that is exactly what I cannot help thinking
about. And now, at last, I must speak about it,
too ; for I don't seem able to bear it any longer.
And then never to be able to forgive my-
self

SOLNESS.

[Exclaiming.] Yourself !

MRS. SOLNESS.

Yes, f jr I had duties on both sides — both to-
wards you and towards the little ones. J ought
to have hardened myself— not to have let the

ACT II.] THE MASTER BUILDER. 263

horror take such hold upon me — nor the grief for
the burning of my home. [Wrings her hands]
Oh, Halvard, if I had only had the strength !

SOLNESS.

[Softly, much moved, comes closer.] Aline — you
must promise me never to think these thoughts
any more. — Promise me that, dear!

MRS. SOLNESS.

Oh, promise, promise ! One can promise any-
thing.

SOLNESS.

[Clenches his hands and crosses the room] Oh,
but this is hopeless, hopeless ! Never a ray of
sunlight ! Not so much as a gleam of brightness
to light up our home!

MRS. SOLNESS.
This is no home, Halvard.

SOLNESS.

Oh no, you may well say that. [Gloomily]
And God knows whether you are not right in
saying that it will be no better for us in the new
house, either.

MRS. SOLNESS.

It will never be any better. Just as empty —
just as desolate — there as here.

SOLNESS.

[Vehemently] Why in all the world have we
built it then ? Can you tell me that ?

THE MASTER BUILDER. [ACT II.

MRS. SOLNESS.

No ; you must answer that question for your-
self.

SOLNESS.

[Glances suspiciously at her.] What do you mean
by that, Aline ?

MRS. SOLNESS.
What do I mean ?

SOLNESS.

Yes, in the devil's name ! You said it so
strangely — as if you had some hidden meaning in
it.

MRS. SOLNESS.

No, indeed, I assure you

SOLNESS.

[Comes closer] Oh, come now — I know what I
know. I have both my eyes and my ears about
me, Aline — you may depend upon that !

MRS. SOLNESS.
Why, what are you talking about ? What is it ?

SOLNESS.

[Places himself in front of her] Do you mean
to say you don't find a kind of lurking, hidden
meaning in the most innocent word I happen to
say ?

MRS. SOLNESS.
/, do you say ? / do that ?

SOLNESS.

[Laughs.] Ho-ho-ho ! It's natural enough,
Aline ! When you have a sick man on your
hands

ACT II.] THE MASTER BUILDER. 265

MRS. SOLNESS.
[Anxiously.] Sick? Are you ill, Halvard ?

SOLNESS.

[Violently.] A half-mad man then ! A crazy
man ! Call me what you will.

MRS. SOLNESS.

[Feels blindly for a chair and sits down.] Hal
vard — for God's sake —

SOLNESS.

But you are wrong, both you and the doctor.
I am not in the state you imagine.

[He walks up and down the room. MRS.
SOLNESS follows him anxiously with her
eyes. Finally he goes up to her.

SOLNESS.

[Calmly.] In reality there is nothing whatever
the matter with me.

MRS. SOLNESS

No, there isn't, is there ? But then what is it
that troubles you so ?

SOLNESS.

Why this, that I often feel ready to sink under
this terrible burden of debt —

MRS. SOLNESS.

Debt, do you say ? But you owe no one any-
thing, Halvard !

SOLNESS.

[Softly, with emotion.] I owe a boundless debt
to you — to you — to you, Aline.

266 THE MASTER BUILDER. [ACT II.

MRS. SOLNESS.

[Rises slowly.] What is behind all this ? You
may just as well tell me at once.

SOLNESS.

But there is nothing behind it! I have never
done you any wrong — not wittingly and wilfully,
at any rate. And yet — and yet it seems as though
a crushing debt rested upon me and weighed me
down.

MRS. SOLNESS.
A debt to me ?

SOLNESS.
Chiefly to you.

MRS. SOLNESS.
Then you are — ill after all, Halvard.

SOLNESS.

[Gloomily.] I suppose I must be— or not far
from it. [Looks towards the door to the right, which
is opened at this moment.] Ah ! now it grows
lighter.

HILDA WANGEL comes in. She has made some
alteration in her dress, and let down her skirt.

HILDA.
Good morning, Mr. Solness !

SOLNESS.
[Nods.] Slept well ?

HILDA.

Quite deliciously ! Like a child in a cradle. Oh
— I lay and stretched myself like — like a princess !

ACT II.] THE MASTER BUILDER. 267

SOLNESS.

[Smiles a little.] You were thoroughly comfort-
able then ?

HILDA.
I should think so.

SOLNESS.
And no doubt you dreamed, too.

HILDA.
Yes, I did. But that was horrid.

SOLNESS.
Was it ?

HILDA.

Yes, for I dreamed I was falling over a fright-
fully high, sheer precipice. Do you never have
that kind of dream ?

SOLNESS.
Oh yes — now and then

HILDA.

It's tremendously thrilling — when you fall and
fall—

SOLNESS.
It seems to make one's blood run cold.

HILDA.

Do you draw your legs up under you while you
are falling ?

SOLNESS.
Yes, as high as ever I can.

HILDA.
So do I.

268 THE MASTER BUILDER. [ACT II.

MRS. SOLNESS.

[Takes her parasol.] I must go into town now,
Halvard. [To HILDA,] And I'll try to get one or
two things that you may require.

HILDA.

[Making a motion to throw her arms round her
neck.} Oh, you dear, sweet Mrs. Solness ! You
are really much too kind to me ! Frightfully
kind

MRS. SOLNESS.

[Deprecatingly, freeing herself ] Oh, not at all.
It's only my duty, so I am very glad to do it.

HILDA.

[Offended, pouts.] But really, I think I am
quite fit to be seen in the streets — now that I've
put my dress to rights. Or do you think I am
not?

MRS. SOLNESS.

To tell you the truth, I think people would
stare at you a little.

HILDA.

[Contemptuously.] Pooh ! Is that all ? That
only amuses me.

SOLNESS.

[JVith suppressed ill-humour.] Yes, but people
might take it into their heads that you were
mad too, you see.

HILDA.

Mad ? Are there so many mad people here in
town, then ?

ACT II.] THE MASTER BUILDER. 2(>9

SOLNESS.

[Points to his own forehead] Here you see one
at all events.

HILDA.
You — Mr. Solness !

MRS. SOLNESS.
Oh, don't talk like that, my dear Halvard !

SOLNESS.
Have you not noticed that yet ?

HILDA.

No, I certainly have not. [Reflects and laughs a
little.] And yet — perhaps in one single thing.

SOLNESS.
Ah, do you hear that, Aline ?

MRS SOLNESS.
What is that one single thing, Miss Wangel .'

HILDA.
No, I won't say.

SOLNESS.
Oh yes, do !

HILDA.
No thank you — 1 am not so mad as that.

MRS. SOLNESS.

When you and Miss Wangel are alone, I daresay
she will tell you, Halvard.

SOLNESS.
Ah — you think she will ?

270 THE MASTER BUILDER. [ACT II.

MRS. SOLNESS.

Oh yes, certainly. For you have known her so
well in the past. Ever since she was a child —
you tell me. [She goes out by the door on the left.

HILDA.

[After a little rvhileJ] Does your wife dislike me
very much ?

SOLNESS.

Ditl you think you noticed anything of the
kind ?

HILDA.
Did you not notice it yourself ?

SOLNESS.

[Evasively.] Aline has become exceedingly shy
with strangers of late years.

HILDA.
Has she really ?

SOLNESS.
But if only you could get to know her

thoroughly ! Ah, she is so good — so kind — so

.excellent a creature —

HILDA.

[Impatiently.] But if she is all that — what made '
her say that about her duty ?

SOLNESS.
Her duty ?

HILDA.

She said that she would go out and buy some-
thing for me, because it was her duty. Oh I
can't bear that ugly, horrid word !

ACT II.] THE MASTER BUILDER. 271

SOLNESS.

Why not ?

HILDA.

It sounds so cold, and sharp, and stinging.
Duty — duty — duty. Don't you think so, too ?
Doesn't it seem to sting you ?

SOLNESS.
H'm — haven't thought much about it.

HILDA.

Yes, it does. And if she is so good — as you say
she is — why should she talk in that way ?

SOLNESS.

But, good Lord, what would you have had her
say, then ?

HILDA.

She might have said she would do it because
she had taken a tremendous fancy to me. She
might have said something like that — something
really warm and cordial, you understand.

SOLNESS.

[Looks at her.} Is that how you would like to
have it ?

HILDA.

Yes, precisely. [She wanders about the room,
stops at the bookcase and looks at the books.] What
a lot of books you have.

SOLNESS.
Yes, I have got together a good many.

272 THE MASTER BUILDER. [ACT II.

HILDA.
Do you read them all, too ?

SOLNESS.
I used to try to. Do you read much ?

HILDA.

No, never ! I have given it up. For it all
seems so irrelevant.

SOLNESS.
That is just my feeling.

[ HILDA wanders about a little, stops at the
small table, opens the portfolio and turns
over the contents.

HILDA.
Are all these drawings yours ?

SOLNESS.

No, they are drawn by a young man whom I
employ to help me.

HILDA.
Some one you have taught ?

SOLNESS.

Oh yes, no doubt he has learnt something from
me, too.

HILDA.

[Sits down.] Then I suppose he is very clever.
[Looks at a drawing.'} Isn't he ?

SOLNESS.
Oh, he might be worse. For my purpose •

ACT II.] THE MASTER BUILDER. 273

HILDA.
Oh yes — I'm sure he is frightfully clever.

SOLNESS.
Do you think you can see that in the drawings ?

HILDA.

Pooh — these scrawlings '. But if he has been
learning from you —

SOLNESS.

Oh, so far as that goes there are plenty ot

people here that have learnt from me, and have
come to little enough for all that.

HILDA.

[Looks at him and shakes her head.'] No, I can't
for the life of me understand how you can be so
stupid.

SOLNESS.
Stupid ? Do you think I am so very stupid ?

HILDA.

Yes, I do indeed If you are content to go
about here teaching all these people —

SOLNESS.
[With a slight start.] Well, and why not ?

HILDA.

[Rises, half serious, half laughing.] No indeed,
Mr. Solness ! What can be the good of that ? No
one but you should be allowed to build. You
should stand quite alone — do it all yourself. Now
you know it.

x s

274 THE MASTER BUILDER. [ACT II.

SoLNESS.

[Involuntarily.] Hilda '

HILDA.
Well!

SOLNESS.

How in the world did that come into your
head ?

HILDA.
Do you think I am so very far wrong then ?

SOLNESS.

No, that's not what I mean. But now I'll tell
you something.

HILDA.
Well ?

SOLNESS.

I keep on — incessantly — in silence and alone —
brooding on that very thought.

HILDA.
Yes, that seems to me perfectly natural.

SOLNESS.

[Looks somewhat searchingly at her.] Perhaps
you have noticed it already ?

HILDA.
No, indeed I haven't.

SOLNESS.

But just now — when you said you thought I was
— off my balance ? In one thing, you said —

.j THE MASTER BUILDER. 275

HILDA.

Oh, I was thinking of something quite dif-
ferent.

SOLNESS.
What was it

HILDA.
I am not going to tell you.

SOLNESS.

[Crosses the room.] Well, well — as you please
[Stops at the bow-window ] Come here, and I wiH
show you something.

HILDA.
[Approaching.] What is it ?

SOLNESS.
Do you see — over there in the garden ?

HILDA.
Yes?

SOLNESS.

[Points.] Right above the great quarry ?

HILDA.
That new house, you mean r

SOLNESS.

The one that is being built, yes. Almost
finished.

HILDA.
It seems to have a very high tower.

SOLNESS.
The scaffolding is still up.

276 THE MASTER BUILDER. [ACT II.

HILDA,
Is that your new house ?

SoLNESS.

Yes.

HILDA.
The house you are soon going to move into ?

SOLNESS.
Yes.

HILDA.

[Looks at him.] Are there nurseries in that
house, too ?

SOLNESS.
Three, as there are here.

HILDA.
And no child.

SOLNESS.

And there never will be one.

HILDA.
[With a half smile. \ Well, isn't it just as I

said ?

SOLNESS.

That ?

HILDA.
That you are a little — a little mad after all.

SOLNESS.
Was that what you were thinking of?

HILDA,
Yes, of all the empty nurseries I slept in.

ACT II.] THE MASTER BUILDER. 277

SOLNESS.

[Lowers his voice.] We iiave had children —
Aline and I.

HILDA.
[Looks eagerly at him.] Have you i>

SOLNESS.
Two little boys. They were of the same age.

HILDA.
Twins, then.

SOLNESS.

Yes, twins. It's eleven or twelve years ago
now.

HILDA.

[Cautiously.] And so both of them ? You

have lost both the twins, then ?

SOLNESS.

[With quiet emotion.'] We kept them only about
three weeks. Or scarcely so much. [Bursts forth.]
Oh, Hilda, I can't tell you what a good thing it
is for me that you have come ! For now at last I
have some one I can talk to '

HILDA.
Can you not talk to — her, too ?

SOLNESS.

Not about this. Not as I want to talk and must
talk. [Gloomily ] And not about so many other
things, either.

278 THE MASTER BUILDER. [ACT II.

HILDA.

[/ra a subdued voice.] Was that all you meant
when you said you needed me ?

SOLNESS.

That was mainly what I meant — at all events,
yesterday. For to-day I am not so sure — [Break-
ing o/f.] Come here and let us sit down,
Hilda. Sit there on the sofa — so that you can
look into the garden. [HILDA seats herself in the
corner of the sofa. SOLNESS brings a chair closer.]
Should you like to hear about it ?

HILDA.
Yes, I shall love to sit and listen to you.

SOLNESS.
[Sits down.] Then I will tell you all about it.

HILDA.

Now I can see both the garden and you, Mr.
Solness. So now, tell away ! Begin !

SOLNESS.

[Points towards the bow-window.'} Out there on
the rising ground — where you see the new
house —

HILDA.
Yes?

SOLNESS.

Aline and 1 lived there in the first years of our
married life. There was an old house up there
that had belonged to her mother ; and we in-
herited it, and the whole of th<; great garden with
it

ACT II.] THE MASTER BUILDER.

HILDA.
Was there a tower on that house, too ?

SoLNESS.

No, nothing of the kind. From the outside it
looked like a great, dark, ugly wooden box ; but
all the same, it was snug and comfortable enough
inside.

HILDA.

Then did you pull down the ramshackle old
place ?

SOLNESS.

No, it was burnt down.

HILDA.
The whole of it ?

SOLNESS.
Yes.

HILDA.

Was that a great misfortune for you ?

SOLNESS.

That depends on how you look at it. As a
builder, the fire was the making of me

HILDA.

Well, but ?

SOLNESS.
It was just after the birth of the two little

boys

HILDA.
The poor little twins, yes.

SOLNESS.
They came healthy and bonny into the world.

280 THE MASTER BUILDER. [ACT II.

And they were growing too — you could see the
difference from day to day.

HILDA.
Little children do grow quickly at first.

SOLNESS.

It was the prettiest sight in the world to see
Aline tying with the two of them in her arms.
— But then came the night of the fire

HILDA.

[Excitedly.'] What happened ? Do tell me '
Was any one burnt ?

SOLNESS.

No, not that. Every one got safe and sound
out of the house

HILDA.
Well, and what then ?

SOLNESS.

The fright had shaken Aline terribly. The
alarm — the escape — the break-neck hurry — and
tnen the ice-cold night air — for they had to be
carried out just as they lay — both she and the
little ones.

HILDA.
Was it too much for them ?

SOLNESS.

Oh no, they stood it well enough. But Aline
fell into a fever, and it affected her milk. She
would insist on nursing them herself ; because it

ACT II.] THE MASTER BUILDER. 281

was her duty, she said. And both our little boys,
they — [Clenching his hands.] — they — oh !

HILDA.
They did not get over that ?

SOLNESS.

No, that they did not get over. That was how
we lost them.

HILDA.
It must have been terribly hard for you.

SOLNESS.

Hard enough for me ; but ten times harder for
Aline. [Clenching his hands in suppressed fury.]
Oh, that such things should be allowed to happen
here in the world ! [Shortly and /irmly.] From the
day I lost them, I had no heart for building
churches.

HILDA.

Did you not like building the church-tower in
our town ?

SOLNESS.

I didn't like it. I know how free and happy I
felt when that tower was finished.

HILDA.
/ know that, too.

SOLNESS.

And now I shall never — never build anything
of that sort again ! Neither churches nor church-
towers.

HILDA.

[Nods slowly.] Nothing but houses for people
to live in.

282 THE MASTER BUILDER. [ACT II.

SOLNESS.

Homes for human beings, Hilda.

HILDA.

But homes with high towers and pinnacles upon
them.

SOLNESS.

If possible. [Adopts a fighter tone.] But, as I
said before, that fire was the making of me — as a
builder, I mean.

HILDA.

Why don't you call yourself an architect, like
the others ?

SOLNESS.

I have not been systematically enough taught
for that. Most of what 1 know 1 have found out
for myself.

HILDA.
But you succeeded all the same.

SOLNESS.

Yes, thanks to the fire. I laid out almost the
whole of the garden in villa lots ; and there I was
able to build after my own heart. So I came to
the front with a rush.

HILDA.

[Looks keenly at him.] You must surely be a very
happy man, as matters stand with you.

SOLNESS.

[Gloomily.] Happy? Do you say that, too —
like all the rest of them ?

ACT II.] THE MASTER BUILDER. 283

HILDA.

Yes, I should say you must be. If you could only
cease thinking about the two little children —

SOLNESS.

[Slowly.] The two little children — they are not
so easy to forget, Hilda.

HILDA.

[Somewhat uncertainly.] Do you still feel their
loss so much — after all these years ?

SOLNESS.

[Looks fixedly at her, without replying.] A happy
man you said —

HILDA.

Well, now, are you not happy — in other re
spects ?

SOLNESS.

[Continues to look at her.] When I told you all
this about the fire — h'm —

HILDA.
Well ?

SOLNESS.

Was there not one special thought that you —
that you seized upon ?

HILDA.

[Reflects in vain.] No. What thought should
that he?

SOLNESS.

[With subdued emphasis.] It was simply and solely
by that fire that I was enabled to build homes tor

284 THE MASTER BUILDER. [ACT II.

human beings. Cosy, comfortable, bright homes,
where father and mother and the whole troop of
children can live in safety and gladness, feeling
what a happy thing it is to be alive in the world —
and most of all to belong to each other — in great
things and in small.

HILDA.

[Ardently.] Well, and is it not a great happiness
for you to be able to build such beautiful liomes ?

SOLNESS.

The price, Hilda ! The terrible price I had to
pay for the opportunity !

HILDA.
But can you never get over that?

SOLNESS.

No. That I might build homes for others, I
had to forego — to forego for all time— the home
that might have been my own. I mean a home
for a troop of children — and for father and mother,
too.

HILDA.

[Cautiously.] But need you have done that ?
For all time, you say ?

SOLNESS

[Nods slowly.] That was the price of this
happiness that people talk about. [Breathes
heavily.] This happiness — h'm — this happiness was
not to be bought any cheaper, Hilda.

HILDA.

[As before.] But may it not come right even
vet ?

ACT II.] THE MASTER UUILDER. 285

SOLNESS.

Never in this world — never. That is another
consequence of the fire — and of Aline' s illness
afterwards.

HILDA.

[Looks at him with an indefinable expression ] And
yet you build all these nurseries ?

SOLNESS.

[Seriously.'] Have you never noticed, Hilda, how
the impossible — how it seems to beckon and cry
aloud to one ?

HILDA.

[Reflecting.'] The impossible ? [With animation.']
Yes, indeed ! Is that how you feel too?

SOLNESS.
Yes, I do.

HILDA.

Then there must be — a little of the troll in you
too.

SOLNESS.
Why of the troll?

HILDA.
What would you call it, then ?

SOLNESS.

[Rises.'] Well, well, perhaps you are right-
[ Vehemently.'] But how can I help turning into a
troll, when this is how it always goes with me in
everything — in everything !

* HILDA.

How do you mean ?

286 THE MASTER BUILDER. [ACT II.

SoLNESS.

[Speaking low, with inward emotion.'] Mark what
I say to you, Hilda. All that I have succeeded in
doing, building, creating — all the beauty, sequrity,
cheerful comfort — ay, and magnificence too —
[Clenches his hands.] Oh, is it not terrible even to
think of !

HILDA.
What is so terrible ?

SOLNESS.

That all this I have to make up for, to pay for —
not in money, but in human happiness. And not
with my own happiness only, but with other
people's too. Yes, yes, do you see that, Hilda?
That is the price which my position as an artist
has cost me — and others And every single day
I have to look on while the price is paid for me
anew. Over again, and over again — and over
again for ever !

HILDA.

[Rises and looks steadily at him.] Now I can see
that you are thinking of — of her.

SOLNESS.

Yes, mainly of Aline. For Aline — she, too, had
her vocation in life, just as much as I had mine.
[His voice quivers.] But her vocation has had to be
stunted, and crushed, and shattered — in order
that mine might force its way to — to a sort of
great victory. For you must know that Aline —
she, too, had a talent for building.

HILDA.
She ! For building ?

ACT II.] THE MASTER BUILDER. 287

SoLNESS.

[Shakes his head.] Not houses and towers, and
spires — not such things as I work away at

HILDA.
Well, but what then?

SOLNESS.

[Softly, ivith emotion.] For building up the souls
of little children, Hilda. For building up chil-
dren's souls in perfect balance, and in noble and
beautiful forms. For enabling them to soar up
into erect and full-grown human souls. That was
Aline's talent. And there it all lies now — unused
and unusable for ever — of no earthly service to
any one — just like the ruins left by a fire.

HILDA.
Yes, but even if this were so ?

SOLNESS.
It is so ! It is so ! I know it !

HILDA.
Well, but in any case it is not your fault.

SOLNESS.

[Fixes his eyes on her, and nods slowly J] Ah, that
is the great, the terrible question. That is the
doubt that is gnawing me — night and day.

HILDA.
That ?

SOLNESS.

Yes. Suppose the fault was mine — in a certain
sense.

S88 THE MASTER BUILDER. [ACT II.

HILDA.
Your fault ! The fire !

SOLNESS.

All of it ; the whole thing. And yet, perhaps
— I may not have had anything to do with it.

HILDA.

[Looks at him with a troubled expression] Oh,
Mr. Solness — if you can talk like that, I am afraid
you must be — ill, after all.

SOLNESS.

H'm — I don't think I shall ever be of quite
sound mind on that point.

RAGNAR BROVIK cautiously opens the little door in
the left-hand corner. HILDA comes forward.

RAGNAR.

[When he sees HILDA.] Oh. I beg pardon, Mr.
Solness [He makes a movement to withdraw.

SOLNESS.
No, no, don't go. Let us get it over.

RAGNAR.
Oh, yes — if only we could.

SOLNESS.
I hear your father is no better ?

RAGNAR.

Father is fast growing weaker — and therefore
I beg and implore you to write a few kind words

ACT II.] THE MASTER BUILDER.

for me on one of the plans ! Something for
father to read before he

SOLNESS.

[Vehemently.] I won't hear anything more
about those drawings of yours !

RAGNAR.
Have you looked at them ?

SOLNESS.
Yes — I have.

RAGNAR.

And they are good for nothing ? And / am
good for nothing, too ?

SOLNESS.

[Evasively.] Stay here with me, Ragnar. You
shall have everything your own way. And then
you can marry Kaia, and live at your ease — and
happily too, who knows ? Only don't think of
building on your own account.

RAGNAR.

Well, well, then I must go home and tell father
what you say — I promised I would. — Is this what
I am to tell father — before he dies ?

SOLNESS.

[ With a groan.] Oh tell him — tell him what you
will, for me. Best to say nothing at all to him !
[With a sudden outburst.] I cannot do anything
else, Ragnar !

RAGNAR.

May I have the drawings to take with me ?
x T

290 THE MASTER BUILDER. [ACT II.

SoLNESS.

Yes, take them — take them by all means !
They are lying there on the table.

RAGNAR.
[Goes to the table.'] Thanks.

HILDA.

[Puts her hand on the portfolio.] No, no ; leave
them here.

SOLNESS.
Why?

HILDA.
Because 1 want to look at them, too.

SOLNESS,

But you have been [To RAGNAR.] Well,

leave the** here, then.

RAGNAR.
Very well.

SOLNESS.
And go home at once to your father.

RAGNAR.
Yes, I suppose I must.

SOLNESS.

[As if in desperation.} Ragnar — you must not
ask me to do what is beyond my power ! Do you
hear, Ragnar ? You must not !

ACT II.] THE MASTER BUILDER. 291

RAONAR.

No, no. I beg your pardon

[He bows, and goes out by the corner door.
HILDA goes over and sits down on a
chair near the mirror.

HILDA.

[Looks angrily at SOLNESS.] That was a very
ugly thing to do.

SOLNESS.
Do you think so, too ?

HILDA.

Yes, it was horribly ugly — and hard and bad
and cruel as well.

SOLNESS.
Oh, you don't understand my position.

HILDA.

No matter . I say you ought not to be

like that.

SOLNESS.

You said yourself, only just now, that no one
but / ought to be allowed to build.

HILDA.
/ may say such things — but you must not.

SOLNESS.

I most of all, surely, who have paid so dear for
my position.

292 THE MASTER BUILDER. [ACT II.

HILDA.

Oh yes — with what you call domestic comfort
— and that sort of thing.

SoLNESS.

And with my peace of soul into the bargain.

HILDA.

[Rising.] Peace of soul ! [With feeling.] Yes,
yes, you are right in that ! Poor Mr. Sol ness —
you fancy that —

SOLNESS.

[With a quiet, chuckling laugh.] Just sit down
again, Hilda, and I'll tell you something funny.

HILDA.
[Sits down ; with intent interest.] Well ?

SOLNESS.

It sounds such a ludicrous little thing ; for, you
see, the whole story turns upon nothing but a
crack in a chimney.

HILDA.
No more than that ?

SOLNESS.
No, not to begin with.

[He moves a chair nearer to HILDA and
sits down.

HILDA.

[Impatiently, taps on her knee.] Well, now for
the crack in the chimney !

ACT I I.I THE MASTER BUILDER. 293

SOLNESS.

I had noticed the split in the_flue long, long
before the fire. Every time I went up into the
attic, I looked to see if it was still there.

HILDA.
And it was ?

SOLNESS.
Yes ; for no one else knew about it.

HILDA.
And you said nothing ?

SOLNESS.
Nothing.

HILDA.

And did not think of repairing the flue either ?

SOLNESS.

Oh yes, I thought about it — but never got any
further. Every time I intended to set to work,
it seemed just as if a hand held me back. Not
to-day, I thought — to-morrow-; and nothing ever
came of it.

HILDA.
But why did you keep putting it off like >that ?

SOLNESS.

Because I was revolving something in my mind.
[Slowly, and in a low voice.~\ Through that little
black crack in the chimney, I might, perhaps,
force my way upwards — as a builder.

294- THE MASTER BUILDER. [ACT II.

HILDA.

[Looking straight in front of her.'] That must have
been thrilling.

SOLNESS.

Almost irresistible — quite irresistible. For at
that time it appeared to me a perfectly simple
and straightforward matter. I would have had it
happen in the winter-time — a little before midday.
1 was to be out driving Aline in the sleigh. The
servants at home would have made huge fires in
the stoves.

HILDA

For, of course, it was to be bitterly cold that
day ?

SOLNESS.

Rather biting, yes — and they would want Aline
to find it thoroughly snug and warm when she
came home.

HILDA.

I suppose she is very chilly by nature ?

SOLNESS.

She is. And as we drove home, we were to see
the smoke.

HILDA.
Only the smoke ?

SOLNESS.

The smoke first. But when we came up to the
garden gate, the whole of the old timber- box was
to be a rolling mass of flames. — That is how I
wanted it to be, you see.

HILDA.
Oh why, why could it not have happened so !

ACT II.] THE MASTER BUILDER. 295

SoLNESS.

You may well say that, Hilda.

HILDA.

Well, but now listen, Mr. Solness. Are you
perfectly certain that the fire was caused by that
little crack in the chimney !

SOLNESS.

No, on the contrary — I am perfectly certain
that the crack in the chimney had nothing what-
ever to do with the fire.

HILDA.

What!

SOLNESS.

It has been clearly ascertained that the fire
broke out in a clothes-cupboard — in a totally
different part of the house.

HILDA.

Then what is all this nonsense you are talking
about the crack in the chimney !

SOLNESS.
May I go on talking to you a little, Hilda ?

HILDA.
Yes, if you'll only talk sensibly

SOLNESS.
I will try to. [He moves his chair nearer.

HILDA.
Out with it, then, Mr. Solness.

THE MASTER BUILDER. [ACT II.

SoLNESS.

'Confidentially.} Don't you agree with me,
Hilda, that there exist special, chosen people who
have been endowed with the power and faculty
of desiring a thing, craving for a thing, willing
a thing — so persistently and so — so inexorably — •
that at last it has to happen ? Don't you believe
that ?

HILDA.

\_With an indefinable expression in her eyes.} If
that is so, we shall see, one of these days, whether
/ am one of the chosen.

SOLNESS.

It is not one's self alone that can do such great
things. Oh, no — the helpers and the servers —
they must do their part too, if it is to be of any
good. But they never come of themselves. One
has to call upon them very persistently — inwardly,
you understand.

HILDA.
What are these helpers and servers ?

SOLNESS.

Oh, we can talk about that some other time.
For the present, let us keep to this business of
the fire.

HILDA.

Don't you think that fire would have happened
all the same — even without your wishing for it ?

SOLNESS.

If the house had been old Knut Brovik's, it
would never have burnt down so conveniently for

ACT II.] THE MASTER BUILDER.

him. I am sure of that; for he does not know
how to call for the helpers — no, nor for the
servers, either. [Rises in unrest] So you see,
Hilda — it is my fault, after all, that the lives of
the two little boys had to be sacrificed. And do
you think it is not my fault, too, that Aline has
never been the woman she should and might have
been — and that she most longed to be ?

HILDA.

Yes, but if it is all the work of those helpers
and servers ?

SOLNESS.

Who called for the helpers and servers ? It
was I ! And they came and obeyed my will. [In
increasing excitement.] That is what people call
having the luck on your side ; but 1 must tell
you what this sort of luck feels like ! It feels
like a great raw place here on my breast. And
the helpers and servers keep on flaying pieces of
skin off other people in order to close my sore !
— But still the sore is not healed — never, never !
Oh, if you knew how it can sometimes gnaw and
burn

HILDA.

[Looks attentively at him.] You are ill, Mr.
Solness. Very ill, I almost think.

SOLNESS.
Say mad ; for that is what you mean.

HILDA.

No, I don't think there is much "amiss with
your intellect.

298 THE MASTER BUILDER. [ACT II.

SoLNESS.

With what then ? Out with it !

HILDA.

I wonder whether you were not sent into the
world with a sickly conscience.

SOLNESS.
A sickly conscience ? What devilry is that ?

HILDA.

I mean that your conscience is feeble — too
delicately built, as it were — hasn't strength to
take a grip of things — to lift and bear what is
heavy.

SOLNESS.

[Growls.] H'm ! May I ask, then, what sort
of a conscience one ought to have ?

HILDA.

I should like your conscience to be — to be
thoroughly robust.

SOLNESS.

Indeed ? Robust, eh ? Is your own conscience
robust, may I ask ?

HILDA.

Yes, I think it is. I have never noticed that it
wasn't.

SOLNESS.

It has not been put very severely to the test, I
should think.

ACT II.] THE MASTER BUILDER. 299

HILDA.

[With a quivering of the lips.] Oh, it was no
such simple matter to leave father — I am so
awfully fond of him.

SoLNESS.

Dear me ! for a month or two

HILDA.
I think I shall never go home again.

SOLNESS.
Never ? Then why did you leave him ?

HILDA.

[Half -seriously, half-banteringly.] Have you
forgotten again that the ten years are up ?

SOLNESS.

Oh nonsense. Was anything wrong at home :•
Eh?

HILDA.

[Quite seriously.] It was this impulse within me,
that urged and goaded me to come — and lured
and drew me on, as well.

SOLNESS.

[Eagerly.] There we have it ! There we have
it, Hilda ! There is a troll in you too, as in me.
For it's the troll in one, you see — it is that that
calls to the powers outside us. And then you
must give in — whether you will or no.

HILDA.
I almost think you are right, Mr. Solness.

300 THE MASTER BUILDER. [ACT II.

SOLNESS.

[Walks about the room.] Oh, there are devils
innumerable abroad in the world, Hilda, that one
never sees !

HILDA.
Devils, too ?

SOLNESS.

[Stops.] Good devils and bad devils ; light-
haired devils and black-haired devils. If only
you could always tell whether it is the light or
dark ones that have got hold of you ! [Paces
about.] Ho-ho ! Then it would be simple
enough !

HILDA.

[Follows him with her eyes.] Or if one had a
really vigorous, radiantly healthy conscience — so
that one dared to do what one would.

SOLNESS.

[Stops beside the console table.] I believe, now,
that most people are just as puny creatures as I
am in that respect.

HILDA.
I shouldn't wonder.

SOLNESS.

[Leaning against the table,] In the sagas .

Have you read any of the old sagas ?

HILDA.
Oh yes ! When I used to read books, I

ACT II.] THE MASTER BUILDER. 301

SOLNESS

In the sagas you read about vikings, who sailed
to foreign lands, and plundered and burned and
killed men

HILDA.
And carried off women

SOLNESS.
— and kept them in captivity

HILDA.
— took them home in their ships

SOLNESS.

— and behaved to them like — like the very
worst of trolls.

HILDA.

[Looks straight before her, with a half -veiled look.]
I think that must have been thrilling.

SOLNESS.

[JVith a short, deep laugh.] To carry off women
eh?

HILDA.
To be carried off.

SOLNESS.
[Looks at her a moment.] Oh, indeed.

HILDA.

[As if breaking the thread of the conversation.]
But what made you speak of these vikings,
Mr. Solness ?

302 THE MASTER BUILDER. [ACT II.

SoLNESS.

Why, those fellows must have had robust
consciences, if you like ! When they got home
again, they could eat and drink, and be as happy
as children. And the women, too ! They often
would not leave them on any account. Can you
understand that, Hilda?

HILDA.
Those women I can understand exceedingly well.

SOLNESS.

Oho ! Perhaps you could do the same your-
self?

HILDA.
Why not ?

SOLNESS.

Live — of your own free will — with a ruffian like
that ?

HILDA.
If it was a ruffian I had come to love

SOLNESS.
Could you come to love a man like that ?

HILDA.

Good heavens, you know very well one can't
choose whom one is going to love.

SOLNESS.

[Looks meditatively at herJ\ Oh no, I suppose it
is the troll within one that's responsible for that.

ACT II.] THE MASTER BUILDER. 305

HILDA.

[Half-laughing.] And all those blessed devils,
that you know so well — both the light-haired
and the dark-haired ones.

SOLNESS.

[Quietly and warmly.] Then I hope with all my
heart that the devils will choose carefully for
you, Hilda.

HILDA.

For me they have chosen already— once and
for all.

SOLNESS.

[Looks earnestly at her.] Hilda — you are like a
wild bird of the woods.

HILDA.

Far from it. I don't hide myself away under
the bushes.

SOLNESS.

No, no. There is rather something of the bird
of prey in you.

HILDA.

That is nearer it — perhaps. [Very vehemently.]
And why not a bird of prey ? Why should not /
go a-hunting — I, as well as the rest ? Carry off
the prey I want — if only 1 can get my claws into
it, and do with it as I will.

SOLNESS.
Hilda — do you know what you are ?

HILDA.
Yes, I suppose I am a strange sort of bird.

304 THE MASTER BUILDER. [ACT II.

SoLNESS.

No. You are like a dawning day. When I
look at you — I seem to be looking towards the
sunrise.

HILDA.

Tell me, Mr. Solness — are you certain that you
have never called me to you ? Inwardly, you
know ?

SOLNESS.
[Softly and slowly.] I almost think I must have-

HILDA.
What did you want with me ?

SOLNESS.
You are the younger generation, Hilda.

HILDA.

[Smiles.] That younger generation that you
are so afraid of?

SOLNESS.

[Nods slowly.] And which, in my heart, I yearn
towards so deeply.

[HILDA rises, goes to the little table, and
fetches RAGNAR BROVIK'S portfolio.

HILDA.

[Holds out the portfolio to him.~\ We were talking
of these drawings —

SOLNESS.

[Shortly, waving them away.] Put those things
away ! I have seen enough of them.

ACT II.] THE MASTER BUILDER.

HILDA.

Yes, but you have to write your approval on
them.

SOLNESS.
Write my approval on them ? Never !

HILDA.

But the poor old man is lying at death's door !
Can't you give him and his son this pleasure
before they are parted ? And perhaps he might
get the commission to carry them out, too.

SOLNESS.

Yes, that is just what he would get. He has
made sure of that — has my fine gentleman !

HILDA.

Then, good heavens — if that is so — can't you
tell the least little bit of a lie for once in a way ?

SOLNESS.

A lie? [Raging.] Hilda — take those devil's
drawings, out of my sight !

HILDA.

[Draws the portfolio a little nearer to herself.]
Well well, well — don't bite me. — You talk of
trolls — but I think you go on like a troll your-
self. [Looks round.] Where do you keep your
pen and ink ?

SOLNESS.
There is nothing of the sort in here.

306 THE MASTER BUILDER. [ACT II.

HILDA.

[Goes towards the door."} But in the office where
that young lady is

SOLNESS.

Stay where you are, Hilda ! — I ought to tell a
lie, you say. Oh yes, for the sake of his old
father I might well do that — for in my time I
have crushed him, trodden him under foot

HILDA.
Him, too ?

SOLNESS.

I needed room for myself. But this Ragnar —
he must on no account be allowed to come to the
front.

HILDA.

Poor fellow, there is surely no fear of that. If
he has nothing in him —

SOLNESS.

[Comes closer, looks at her, and whispers.] If
Ragnar Brovik gets his chance, he will strike
me to the earth. Crush me — as I crushed his
father.

HILDA.
Crush you ? Has he the ability for that ?

SOLNESS.

Yes, you may depend upon it he has the
ability ! He is the younger generation that stands
ready to knock at my door — to make an end of
Halvard Solness.

ACT II.] THE MASTER BUILDER. 307

HILDA.

[Looks at him with quiet reproach.] And yet you
would bar him out. Fie, Mr. Solness !

SoLNESS.

The fight I have been fighting has cost heart' i
blood enough. — And I am afraid, too, that the
helpers and servers will not obey me any longer.

HILDA.

Then you must go ahead without them. There
is nothing else for it.

SOLNESS.

It is hopeless, Hilda. The luck is bound to
turn. A little sooner or a little later. Retribu-
tion is inexorable.

HILDA.

[fn distress, putting her hands over her ears.]
Don't talk like that ! Do you want to kill me ?
To take from me what is more than my life ?

SOLNESS.
And what is that ?

HILDA.

The longing to see you great. To see you,
with a wreath in your hand, high, high up upon a
church-tower. [Calm again.] Come, out with
your pencil now. You must have a pencil about
you?

SOLNESS.
[Takes out his 2>ockel-book.] I have one here.

308 THE MASTER BUILDER. [ACT II.

HILDA.

\_Lays the portfolio on the sofa-table .] Very well.
Now let us two sit down here, Mr. Solness.
[SoLNESS seats himself at the table. HILDA stands be-
hind him, leaning over the back of the chair.] And
now we will write on the drawings. We must
write very, very nicely and cordially — for this
horrid Ruar — or whatever his name is.

SOLNESS.

[Writes a few words, turns his head and looks at
herl\ Tell me one thing, Hilda.

HILDA.
Yes!

SOLNESS.
If you have been waiting for me all these ten

years

HILDA.
What then ?

SOLNESS.

Why have you never written to me ? Then I
could have answered you.

HILDA.

[Hastily."] No, no, no ! That was just what I
did not want.

SOLNESS.
Why not ?

HILDA.

I was afraid the whole thing might fall to
pieces. — But we were going to write on the
drawings, Mr. Solness.

ACT II.] THE MASTER BUILDER. 309

SOLNESS.

So we were.

HILDA.

[Bends forward and looks over his shoulder while
he writes.] Mind now, kindly and cordially ! Oh
how I hate — how I hate this Ruald

SOLNESS.

[ Writing.] Have you never really cared for any
one, Hilda?

HILDA.
[Harshly] What do you say ?

SOLNESS.
Have you never cared for any one ?

HILDA.
For any one else, I suppose you mean ?

SOLNESS.

[Looks up at her.] For any one else, yes. Have
you never ? In all these ten years ? Never ?

HILDA.

Oh yes, now and then. When I was perfectly
furious with you for not coming.

SOLNESS.

Then you did take an interest in other people,
too?

HILDA.

A little bit — for a week or so. Good heavens,
Mr. Solness, you surely know how such things
come about.

310 THE MASTER BUILDER. [ACT II.

SoLNESS.

Hilda — what is it you have come for ?

HILDA.

Don't waste time talking. The poor old man
might go and die in the meantime.

SOLNESS.
Answer me Hilda. What do you want of me ?

HILDA.
I want my kingdom.

SOLNESS.
H'm

He gives a rapid glance towards the door on the left,
and then goes on writing on the drawings. At
the same moment MRS. SOLNESS enters; she has
some packages in her hand.

MRS. SOLNESS.

Here are a few things I hi-ve got for you, Miss
Wangel. The large parcels will be sent later on.

HILDA.
Oh, how very, very kind of you !

MRS. SOLNESS.
Only my simple duty. Nothing more than that.

SOLNESS.
[Reading over what he has written.] Aline !

MRS. SOLNESS.
Yes?

ACT II.] THE MASTER BUILDER. 311

SOLXESS.

Did you notice whether the — the book-keeper
was out there ?

MRS. SOLXESS.
Yes, of course, she was there.

SOLXESS.
[Puts the drawings in the portfolio.] H'm

MRS. SOLXESS.

She was standing at the desk, as she always is
— when / go through the room.

SOLXESS.

[/?««*.] Then I'll give this to her, and tell her
that

HILDA.

[Takes the portfolio from him.~\ Oh, no, let me
have the pleasure of doing that ! [Goes to the door,
but turns.] What is her name ?

SOLXESS.
Her name is Miss Fosli.

HILDA.

Pooh, that sounds so cold ! Her Christian name,
I mean ?

SOLXESS.
Kaia — I believe.

HILDA.

[Opens the door and calls out.] Kaia, come in
here ! Make haste ! Mr. Solness wants to speak
to you.

'THE MASTER BUILDER. [ACT it.

KAIA FOSLI appears at the door.

KAIA.
[Looking at him in alarm.] Here I am- ?

HILDA.

[Handing her the portfolio .J See here, Kaia ! You
can take this home ; Mr. Solness has written on
them now.

KAIA.
Oh, at last !

SOLNESS.

Give them to the old man as soon as you can.

KAIA.
I will go straight home with them.

SOLNESS.

Yes, do. Now Ragnar will have a chance of
building for himself.

KAIA.
Oh, may he come and thank you for all ?

SOLNESS.

[Harshly.] I won't have any thanks ! Tell
him that from me.

KAIA.
Yes, I will—

SOLNESS.

And tell him at the same time that hencefor-
ward I do not require his services— nor yours
either.

KAIA.
[Softly and quiveringly.] Not mine either ?

ACT II.] THE MASTER BUILDER. 313

SOLNESS.

You will have other things to think of now, and
to attend to ; and that is a very good thing for
you. Well, go home with the drawings now, Miss
Fosli. At once ! Do you hear ?

KAIA.
[As before.] Yes, Mr. Solness. [She goes out.

MRS. SOLNESS.
Heavens ! what deceitful eyes she has.

SOLNESS.
She ? That poor little creature ?

MRS. SOLNESS.

Oh — I can see what I can see, Halvard.

Are you really dismissing them ?

SOLNESS.
Yes.

MRS. SOLNESS.
Her as well ?

SOLNESS.
Was not that what you wished ?

MRS. SOLNESS.

But how can you get on without h er ? Oh

well, no doubt you have some one else in reserve,
Halvard.

HILDA.

[Playfully.] Well, 7 for one am not the person
to stand at that desk.

314 THE MASTER BUILDER. [ACT II.

SoLNESS.

Never mind, never mind — it will be all right,
Aline. Now all you have to do is to think about
moving into our new home — as quickly as you can.
This evening we will hangup the wreath — [Turns
to HILDA] — right on the very pinnacle of the
tower. What do you say to that, Miss Hilda ?

HILDA.

[I^ooks at him with sparkling eyes.] It will be
splendid to see you so high up once more.

SOLNESS.
Me!

MRS. SOLNESS.

For Heaven's sake, Miss Wangel, don't imagine
such a thing ! My husband ! — when he always
gets so dizzy !

HILDA.

H e get dizzy ! No, I know quite well he does
not !

MRS. SOLNESS.
Oh yes, indeed he does.

HILDA.

But I have seen him with my own eyes right
up at the top of a high church-tower !

MRS. SOLNESS.

Yes, I hear people talk of that ; but it is utterly
impossible —

SOLNESS.

[Vehemently.] Impossible — impossible, yes ! But
there I stood all the same !

ACT IT.] THE MASTER BUILDER. 315

MRS. SOLNESS.

Oh, how can you say so, Halvard ? Why, you
can't even bear to go out on the second-storey
balcony here. You have always been like that.

SOLNESS.

You may perhaps see something different this
evening.

MRS. SOLNESS.

[In alarm.] No, no, no ! Please God I shall
never see that. I will write at once to the
doctor — and I am sure he won't let you do it.

SOLNESS.
Why, Aline !

MRS. SOLNESS.

Oh, you know you're ill, Halvard. This proves
it ! Oh God— Oh God !

[She goes hastily out to the right

HILDA.
[Looks intently at him.] Is it so, or is it not?

SOLNESS.
That I turn dizzy ?

HILDA.

That my master builder dares not — cannot—
climb as high as he builds ?

SOLNESS.
Is that the way you look at it ?

HILDA.
Yes.

3l6 THE MASTER BUILDER. PACT II.

SoLNESS.

I believe there is scarcely a corner in me that
is safe from you.

HILDA.

[Looks towards the botv-windorv.] Up there, then.
Right up there

SOLNESS.

[Approaches her.] You might have the topmost
room in the tower, Hilda — there you might live
like a princess.

HILDA.

[Indefinably, between earnest and jest.] Yes, that
is what you promised me.

SOLNESS.
Did I really ?

HILDA.

Fie, Mr. Solness ! You said I should be a prin-
cess, and that you would give me a kingdom.
And then you went and — —Well !

SOLNESS.

[Cautiously.] Are you quite certain that this is
not a dream — a fancy, that has fixed itself in your
mind ?

HILDA.

[Sharply.] Do you mean that you did not do
it?

SOLNESS.

I scarcely know myself. [More softly.] But now
I know so much for certain, that 1

ACT II.] THE MASTER BUILDER. 81?

HILDA.
That you ? Say it at once .'

SOLNESS.
— that I ought to have done it.

HILDA.

[Exclaims with animation.] Don't tell me you can
ever be dizzy !

SOLNESS.

This evening, then, we will hang up the wreath
— Princess Hilda.

HILDA.

[With a bitter curve of the lips.] Over your new
home, yes.

SOLNESS.

Over the new house, which will never be a
home for me.

[He goes out through the garden door.

HILDA.

[Looks straight in front of her with a far-away
expression, and whispers to herself. The only wordu
audible are] frightfully thrilling

ACT THIRD.

The large, broad verandah of SOLNESS'S dwelling-
house. Part of the house, with outer door
leading to the verandah, is seen to the left. A
railing along the verandah to the right. At the
back, from the end of the verandah, a flight of
steps leads down to the garden below. Tall
old trees in the garden spread their branches over
the verandah and towards the house. Far to the
right, in among the trees, a glimpse is caught of
the lower part of the new villa, with scajfblding
round so much as is seen of the tower. In the
background Ike garden is bounded Ivy an old
wooden fence. Outside the fence, a street with
low, tumble-down cottages.

Evening sky with sun-lit clouds.

On the verandah, a garden bench stands along the wall
of the house, and in front of the bench a long
table. On the other side of the table, an arm-
chair and some stooh. All the furniture is of
wicker-work.

MKS. SOLNESS, wrapped in a large white crape shawl,
sits resting in the arm-chair and gazes over to the
right. Shortly after, HILDA WANGEL comes up
the flight of steps from the garden. She is
dressed as in the last act, and wears her hat. She
has in her bodice a little nosegay of small common
flowers.

ACT III.] THE MASTER BUILDER. 319

MRS. SOLNESS.

[Turning her head a little.] Have you been round
the garden, Miss Wangel ?

HILDA.
Yes, I have been taking a look at it.

MRS. SOLNESS.
And found some flowers too, I see.

HILDA.

Yes, indeed ! There are such heaps of them in
among the bushes.

MRS. SOLNESS.

Are there really ? Still ? You see I scarcely
ever go there.

HILDA.

[Closer.] What ! Don't you take a run down
into the garden every day, then ?

MRS. SOLNESS.

[With a faint smile.] I don't "run" anywhere,
nowadays.

HILDA.

Well, but do you not go down now and then t<>
look at all the lovely things there ?

MRS. SOLNESS.

It has all become so strange to me. I am almost
afraid to see it again.

HILDA.
Your own garden !

320 THE MASTER BUILDER. [ACT III.

MRS. SOLNESS.
I don't, feel that it is mine any longer.

HILDA.
What do you mean ?

MRS. SOLNESS.

No, no, it is not — not as it was in my mother's
and father's time. They have taken away so much
— so much of the garden, Miss Wangel. Fancy — -
they have parcelled it out — and built houses for
strangers — people that I don't know. And they
can sit and look in upon me from their windows.

HILDA.
[With a bright expression.] Mrs. Solness !

MRS. SOLNESS.
Yes!

HILDA.
May I stay here with you a little ?

MRS. SOLNESS.
Yes, by all means, if you care to.

[HILDA moves a stool close to the arm-chair
and sits down.

HILDA.

Ah — here one can sijt and sun oneself like a
cat.

MRS. SOLNESS.

[Lays her hand sofdy on HILDA'S neckJ] It is nice
of you to be willing to sit with me. I thought you
wanted to go in to my husband.

ACT III.] THE MASTER BUILDER. 321

HILDA.
What should I want with him ?

MRS. SOLNESS.
To help him, I thought.

HILDA.

No, thank you. And besides, he is not in. He
is over there with his workmen. But he looked
so fierce that I did not dare to talk to him.

MRS. SOLNESS.
He is so kind and gentle in reality.

HILDA.
He!

MRS. SOLNESS.
You do not really know him yet, Miss Wangel .

HILDA.

[Looks affectionately at herJ] Are you pleased at
the thought of moving over to the new house ?

MRS. SOLNESS.

I ought to be pleased ; for it is what Ha'vard
wants —

HILDA.
Oh, not just on that account, surely.

MRS. SOLNESS.

Yes, yes, Miss Wangel ; for it is only my
duty to submit myself to him. But very often
it is dreadfully difficult to force one's mind to
obedience.

322 THE MASTER BUILDER [ACY III.

HILDA.
Yes, that must be difficult indeed.

MRS. SOLNESS.

I can tell you it is — when one has so many faults
as I have

HILDA.

When one has gone through so much trouble
as you have

MRS. SOLNESS.
How do you know about that ?

HILDA.
Your husband told me.

MRS. SOLNESS.

To me he very seldom mentions these things. —
Yes, I can tell you I have gone through more than
enough trouble in my life, Miss Wangel.

HILDA.

[Looks sympathetically at her and nods slowly.]
Poor Mrs. Solness. First of all there was the
fire

MRS. SOLNESS.

[With a sigh.] Yes, everything that was mine
was burnt.

HILDA.
And then came what was worse.

MRS. SOLNESS.
[Looking inquiringly at her.] Worse ?

ACT III.] THE MASTER BUILDER. 323

HILDA.
The worst of all.

MRS. SOLNESS.
What do you mean ?

HILDA.
[.So/%.] You lost the two little boys.

MRS. SOLNESS.

Oh yes, the boys. But, you see, that was a
thing apart. That was a dispensation of Provi-
dence ; and in such things one can only bow in
submission— yes, and be thankful, too.

HILDA.
Then you are so ?

MRS. SOLNESS.

Not always, 1 am sorry to say. I know well
enough that it is my duty — but all the same I
cannot.

HILDA.
No, no, I think that is only natural.

MRS. SOLNESS.

And often and often I have to remind myself
that it was a righteous punishment for me

HILDA.
Why?

MRS. SOLNESS.

Because I had not fortitude enough in mis-
fortune.

324 THE MASTER UUILDER. [ACT 111.

HILDA.
But I don't see that —

MRS. SOLNESS.

Oh, no, no, Miss Wangel — do not talk to me
any more about the two little boys. We ought to
feel nothing but joy in thinking of them; for
they are so happy — so happy now. No, it is the
small losses in life that cut one to the heart— the
loss of all that other people look upon as almost
nothing.

HILDA.

[Lays her arms on M RS. SOLN ESS' s knees, and fooks up
at. her affectionately. \ Dear Mrs. Solness — tell me
what things you mean !

MRS. SOLNESS.

As I say, only little things. All the old por-
traits were burnt on the walls. And all the
old silk dresses were burnt, that had belonged to
the family for generations and generations. And
all mother's and grandmother's lace — that was
burnt, too. And only think — the jewels, too !
[Sadly,] And then all the dolls.

HILDA.
The dolls ?

MRS. SOLNESS.
[Choking with tears.] I had nine lovely dolls.

HILDA.
And they were burnt too ?

MRS. SOLNESS.
All of them. Oh, it was hard — so hard for me.

ACT III.] THE MASTER BUILDER. . 325

HILDA.

Had you put by all these dolls, then ? Ever
since you were little ?

MR«. SOLNESS.

I had not put them by. The dolls and I had
gone on living together.

HILDA.
After you were grown up ?

MRS. SOLNESS.
Yes, long after that.

HILDA.
After you were married, too ?

MRS. SOLNESS.
Oh yes, indeed. So long as he did not see

it . But they were all burnt up, poor things.

No one thought of saving them. Oh, it is so
miserable to think of. You mustn't laugh at me,
Miss VVangel.

HILDA.
I am not laughing in the least.

MRS. SOLNESS.

For you see, in a certain sense, there was life
in them, too. I carried them under my heart —
like little unborn children.

DR. HERDAL, with his hat in his hand, comes out
through the door, and observes MRS. SOLNESS and
HILDA.

326 THE MASTER BUILDER. [ACT III.

DR. HER DAL,

Weft, Mrs. Solness, so you are sitting out here
catching cold ?

MRS. SoLNEss.
I find it so pleasant and warm here to-day.

DR. HERDAL.

Yes, yes. But is there anything going on here ?
I got a note from you.

MRS. SOLNESS.

[Rises.] Yes, there is something I must talk to
you about.

DR. HERDAL.

Very well ; then perhaps we had better go in.
[To HILDA.] Still in your mountaineering dress,
Miss Wangel ?

HILDA.

[Gaily, rising.'} Yes — in full uniform ! But to-
day I am not going climbing and breaking my
neck. We two will stop quietly below and look
on, doctor.

DR. HERDAL.
What are we to look on at ?

MRS. SOLNESS.

[Softly, in alarm, to HILDA ] Hush, hush — for
God's sake ! He is coming ! Try to get that
idea out of his head. And let us be friends, Miss
Wangel. Don't you think we can ?

HILDA.

[ Throws her arms impetuously round MRS. SOL-
NESS'S neck.] Oh, if we only could !

ACT III.] THE MASTER BUILDER. 32*1

MRS. SOLNESS.

[Gently disengages herself.] There, there, there !
There he comes, doctor. Let me have a word
with you.

DR. HERDAL.
Is it about him !

MRS. SOLNESS.
Yes, to be sure it's about him. Do come in.

She and the doctor enter the house. Next moment
SOLNESS comes up from the garden by the flight
of steps. A serious look comes over HILDA'S
face.

SOLNESS.

[Glances at the house-door, which is closed cautiously
from within.} Have you noticed, Hilda, that as
soon as I come, she goes ?

HILDA.

I have noticed that as soon as you come, you
make her go.

SOLNESS.

Perhaps so. But I cannot help it. [Looks ob-
servantly at her.] Are you cold, Hilda ? I think
you look cold.

HILDA.
I have just come up out of a tomb.

SOLNESS.
What do you mean by that?

328 THE MASTER BUILDER. [ACT lit.

HILDA.

That I have got chilled through and through,
Mr. Solness.

SOLNESS.

[Slowly.^ I believe I understand

HILDA.
What brings you up here just now ?

SOLNESS.
I caught sight of you from over there.

HILDA.
But then you must have seen her too ?

SOLNESS.
I knew she would go at once if I came.

HILDA.

Is it very painful for you that she should avoid
you in this way ?

SOLNESS.
In one sense, it's a relief as well.

HILDA.
Not to have her before your eyes ?

SOLNESS.
Yes.

HILDA.

Not to be always seeing how heavily the loss of
the little boys weighs upon her f

ACT III.] THE MASTER BUILDER. 329

SOLNESS.

Yes. Chiefly that.

[HILDA drifts across the verandah with her
hands behind her back, stops at the railing
and looks out over the garden.

SOLNESS.

[After a short pause.} Did you have a long talk
with her?

[HILDA stands motionless and does not answer.

SOLNESS .
Had you a long talk, I asked ?

[HILDA is silent as before.

SOLNESS.
What was she talking about, Hilda ?

[HILDA continues silent.

SOLNESS.

Poor Aline ! I suppose it was about the little
boys.

HILDA.

[A nervous shudder runs through her ; then
she nods hurriedly once or twice.

SOLNESS.

She will never get over it — never in this world.
[Approaches her.} Now you are standing there
again like a statue ; just as you stood last night.

HILDA.

[Turns and looks at him, with great serious eyes.}
I am going away.

330 THE MASTER BUILDER. [ACT III.

SoLNESS.

[Sharply .~\ Going away !

HILDA.
Yes.

SOLNESS.
But I won't allow you to !

HILDA.
What am I to do here now ?

SOLNESS.
Simply to be here, Hilda !

HILDA.

[Measures him. with a look.] Oh, thank you. You
know it wouldn't end there.

SOLNESS.
[Heedlessly.] So much the better !

HILDA.

[Vehemently.] I cannot do any harm to one
whom I know ! I can't take away anything that
belongs to her.

SOLNESS.

Who wants you to do that ?

HILDA.

[Continuing.] A stranger, yes ! for that is quite
a different thing ! A person I have never set eyes
on. But one that I have come into close contact
with ! Oh no ! Oh no ! Ugh !.

ACT III.] THE MASTER BUILDER. 331

SOLNESS.

Yes, but I never proposed you should.

HILDA.

Oh, Mr. Solness, you know quite well what the
end of it would be. And that is why I am going
away.

SOLNESS.

And what is to become of me when you are
gone ? What shall I have to live for then? —
After that ?

HILDA.

[With the indefinable look in her eyes.] It is surely
not so hard for you. You have your duties to her.
Live for those duties.

SOLNESS.
Too late. These powers — these — these

HILDA.
devils

SOLNESS.

Yes, these devils ! And the troll within me as
well — they have drawn all the life-blood out of her.
[Laughs in desperation.] They did it for my hap-
piness ! Yes, yes ! [Sadly.] And now she is
dead — for my sake. And I am chained alive to a
dead woman. [7n wild anguish.] I — / who can-
not live without joy in life !

[HILDA moves round the table and seats
herself on the bench, with her elbows on
the table, and her head supported In/ her
hands.

332 THE MASTER BUILDER. [ACT 111.

HILDA.

[Sits and looks at him awhile.] What will you
build next ?

SOLNESS.

[Shakes his head.] I don't believe I shall build
much more.

HILDA.

Not those cosy, happy homes for mother and
father, and for the troop of children ?

SOLNESS.

I wonder whether there will be any use for such
homes in the coming time.

HILDA.

Poor Mr. Solness ! And you have gone all

these ten years — and staked your whole life — on
that alone.

SOLNESS.
Yes, you may well say so, Hilda.

HILDA.

[With an outburst.] Oh, it all seems to me so
foolish — so foolish !

SOLNESS.
All what ?

HILDA.

Not to be able to grasp at your own happiness
— at your own life ! Merely because some one you
know happens to stand in the way !

SOLNESS.
One whom you have no right to set aside.

ACT III.] THE MASTER BUILDER. 333

HILDA.
I wonder whether one really has not the right !

And yet, and yet . Oh ! if one could only

sleep the whole thing away !

[She lays her arms flat down on the table,
rests the left side of her head on her
hands, and shuts her eyes.

SOLNESS.

[Turns the arm-chair and sits down at the table.]
Had you a cosy, happy home — up there with
your father, Hilda ?

HILDA.

[Without stirring, answers as if half asleep.} I
had only a cage.

SOLNESS.
And you are determined not to go back to it ?

HILDA

[As before.} The wild bird never wants to go
into the cage.

SOLNESS.
Rather range through the free air

HILDA.

[Still as before.] The bird of prey loves to
range —

SOLNESS.

[Lets his eyes rest on her.] If only one had the
viking-spirit in life —

HILDA.

[In her usual voice ; opens her eyes but does not
move.] And the other thing ? Say what that was !

334 THE MASTER BUILDER. [ACT III.

SOLNESS.

A robust conscience.

[HILDA sits erect on the bench, with anima-
tion. Her eyes have once more the
sparkling expression of gladness.

HILDA.

[Nods to him.] I know what you are going to
build next !

SOLNESS.
Then you know more than I do, Hilda.

HILDA.
Yes, builders are such stupid people.

SOLNESS.
What is it to be then ?

HILDA.
[Nods again.] The castle.

SOLNESS.
What castle ?

HILDA.
My castle, of course.

SOLNESS.
Do you want a castle now ?

HILDA.

Don't you owe me a kingdom, I should like to
know ?

SOLNESS.
You say I do.

ACT 111.] THE MASTER BUILDER. 335

HILDA.

Well — you admit you owe me this kingdom.
And you can't have a kingdom without a royal
castle, I should think !

SOLNESS.

[More and more animated.] Yes, they usually go
together.

HILDA.
Good ' Then build it for me ! This moment !

SOLNESS.

[Laughing.] Must you have that on the instant,
too?

HILDA.

Yes, to be sure ! For the ten years are up now,
and I am not going to wait any longer. So — out
with the castle, Mr. Solness !

SOLNESS.
It's no light matter to owe you anything, Hilda.

HILDA.

You should have thought of that before. It is
too late now. So — [tapping the table] — the castle
on the table ! It is my castle! I will have it at
once !

SOLNESS.

[More seriously, leans over towards her, with his
arms on the table] What sort of castle have you
imagined, Hilda ?

[Her expression becomes more and more
veiled. She seems gazing inwards at
herself.

336 THE MASTER BUILDER. [ACT III.

HILDA.

[Slowly.'] My castle shall stand on a height —
on a very great height — with a clear outlook on
all sides, so that I can see far — far around.

SOLNESS.
And no doubt it is to have a high tower !

HILDA.

A tremendously high tower. And at the very
top of the tower there shall be a balcony. And I
will stand out upon it —

SOLNESS.

[Invohiniarily clutches at his forehead.] How can
you like to stand at such a dizzy height ?

HILDA.

Yes, I will ! Right up there will I stand and
look down on the other people — on those that are
building churches, and homes for mother and
father and the troop of children. And you may
come up and look on at it, too.

SOLNESS.

[In a low tone.] Is the builder to be allowed to
come up beside the princess ?

HILDA.
If the builder will.

SOLNESS.

[More softly.] Then I think the builder will
come.

ACT III.] THE MASTER BUILDER. 337

HILDA.
[Nods.] The builder — he will come.

SOLNESS.

But he will never be able to build any more.
Poorbuilder !

HILDA.

[Animated.* Oh yes, he will ! We two will set
to work together. And then we will build the
loveliest — the very loveliest — thing in all the
world.

SOLNESS.
[Intently.] Hilda — tell me what that is !

HILDA.

[Looks smilingly at him, shakes her head a little,
pouts, and speaks as if to a child.] Builders — they
are such very — very stupid people.

SOLNESS.

Yes, no doubt they are stupid. But now tell
me what it is — the loveliest thing in the world —
that we two are to build together ?

HILDA.

[Is silent a little while, then says with an indefinable
expression in her eyes.] Castles in the air.

SOLNESS.
Castles in the air ?

HILDA.

[Nods.] Castles in the air, yes ! Do you know
what sort of thing a castle in the air is ?

X Y

338 THE MASTER BUILDER. [ACT III.

SOLNESS.

It is the loveliest thing in the world, you say.

HILDA.

[Rises with vehemence, and makes a gesture of
repulsion with her hand.] Yes, to be sure it is !
Castles in the air — they are so easy to take refuge
in. And so easy to build, too — [looks scornfully
at him] — especially for the builders who have a — a
dizzy conscience.

SOLNESS.

[/fore*.] After this day we two will build
together, Hilda.

HILDA.

[With a half-dubious smile.] A real castle in
the air ?

SOLNESS.
Yes. One with a firm foundation under it.

RAGNAR BROVIK comes out from the house. He is
carrying a large, green wreath with jlowers and
silk ribbons.

HILDA.

[ With an outburst of pleasure.] The wreath !
Oh, that will be glorious !

SOLNESS.

[In surprise.] Have you brought the wreath
liagnar ?

RAGNAR.
I promised the foreman I would.

ACT III.] THE MASTER BUILDER. 339

SoLNESS.

[Relieved.] Ah, then I suppose your father is
better ?

RAGNAR.
No.

SOLNESS.
Was he not cheered by what I wrote ?

RAGNAR.
It came too late.

SOLNESS.
Too late !

RAGNAR.

When she came with it he was unconscious. He
had had a stroke.

SOLNESS.

Why, then, you must go home to him ! You
must attend to your father !

RAGNAR.
He does not need me any more.

SOLNESS.
But surely you ought to be with him

RAGNAR.
She is sitting by his bed.

SOLNESS.
[Rather uncertainly.] Kaia ?

RAGNAR.
[Looking darkly at him.] Yes — Kaia.

340 THE MASTER BUILDER. [ACT III.

SoLNESS.

Go home, Ragnar — both to him and to her.
Give me the wreath.

RAGNAR.

[Suppresses a mocking smile.] You don't mean
that you yourself ?

SOLNESS.

I will take it down to them myself. [Takes the
wreath from him.] And now you go home ; we
don't require you to-day.

RAGNAR.

I know you do not require me any more ; but
to-day I shall remain.

SOLNESS.
Well, remain then, since you are bent upon it.

HILDA.

[At the. railing.] Mr. Solness, I will stand here
and look on at you.

SOLNESS.
At me !

HILDA.
It will be fearfully thrilling.

SOLNESS.

[In a lom tone.] We will talk about that
presently, Hilda.

[He goes down the flight of steps mth the
n-rcnlh, and away through the garden.

ACT III.] THE MASTER BUILDER. 341

HILDA.

[Looks after him, then turns to RAGNAR.] I think
you might at least have thanked him.

RAGNAR.
Thanked him ? Ought I to have thanked him?

HILDA.
Yes, of course you ought !

RAGNAR.
I think it is rather you I ought to thank.

HILDA.
How can you say such a thing ?

RAGNAR.

[Without answering her.] But I advise you to
take care, Miss Wangel ! For you don't know
him rightly yet.

HILDA.

[Ardently.] Oh, no one knows him as I
do!

RAGNAR.

[Laughs in exasperation.] Thank him, when he
has held me down year after year ! When he made
father disbelieve in me — made me disbelieve in
myself ! And all merely that he might !

HILDA.

[As if divining something.] That he might ?

Tell me at once !

RAGNAR.
That he might keep her with him.

342 THE MASTER BUILDER. [ACT III.

HILDA.

[ With a start towards kirn.] The girl at the desk.

RAGNAR.
Yes.

HILDA.

[Threateningly, clenching her hands.] That is not
true ! You are telling falsehoods about him !

RAGNAR.

I would not believe it either until to-day — when
she said so herself.

HILDA.

[As if beside herself.] What did she say? I
will know ! At once ! at once !

RAGNAR.

She said that he had taken possession of her
mind — her whole mind — centred all her thoughts
upon himself alone. She says that she can never
leave him — that she will remain here, vhere he

HILDA.

[ With flashing eyes.] She will not be allowed
to!

RAGNAR.
[As if feeling his may.] Who will not allow her ?

HILDA.

[Rapidly.] He will not either !

RAGNAR.

Oh no— I understand the whole thing now.
After this, she would merely be — in the way.

ACT III.] THE MASTER BUILDER. 343

HILDA.

You understand nothing — since you can talk
like that ! No, 7 will tell you why he kept hold
of her.

RAGNAR.
Well then, why ?

HILDA.
In order to keep hold of you.

RAGNAR.
Has he told you so ?

HILDA.

No, but it is so. It must be so! [Wildly.]
I will — I will have it so !

RAGNAR.

And at the very moment when you came — he
let her go.

HILDA.

It was you — you that he let go ! What do you
suppose he cares about strange women like her ?

RAGNAR.

[Reflects.] Is it possible that all this time he
has been afraid of me ?

HILDA.

He afraid ! I would not be so conceited if I
were you.

RAGNAR.

Oh, he must have seen long ago that I had
something in me, too. Besides — cowardly — that
is just what he is, you see.

344 THE MASTER BUILDER. [ACT III.

HILDA.
He ! Oh yes, I am likely to believe that !

RAGNAR.

In a certain sense he is cowardly — he, the great
master builder. He is not afraid of robbing others
of their life's happiness — as he has done both for
my father and for me. But when it comes to
climbing up a paltry bit of scaffolding — he will do
anything rather than that.

HILDA.

Oh, you should just have seen him high, high
up — at the dizzy height where I once saw him.

RAGNAR.
Did you see that ?

HILDA.

Yes, indeed I did. How free and great he looked
as he stood and fastened the wreath to the church
vane !

RAGNAR.

I know that he ventured that, once in his life
— one solitary time. It is a legend among us
younger men. But no power on earth would
induce him to do it again.

HILDA.
To-day he will do it again !

RAGNAR.
[Scornfully.] Yes, I daresay !

HILDA.
We shall see it !

ACT III.] THE MASTER BUILDER. 345

RAGNAR.
That neither you nor I will see.

HILDA.

[With uncontrollable vehemence.] I will see it '
I will and I must see it!

RAGNAR.

But he will not do it. He simply dare not do
it. For you see he cannot get over this infirmity
— master builder though he be.

MRS. SOLNESS comes from the house on to the
verandah.

MRS. SOLNESS.

[Looks around.] Is he not here ? Where has he
gone to ?

RAGNAR.
Mr. Solness is down with the men.

HILDA.
He took the wreath with him.

MRS. SOLNESS.

[Terrified.] Took the wreath with him ! Oh
God ! oh God ! Brovik — you must go down to
him ! Get him to come back here !

RAGNAR.

Shall 1 say you want to speak to him, Mrs. Sol-
ness ?

MRS. SOLNESS.

Oh yes, do ! — No, no — don't say that 7 want
anything ! You can say that somebody is here,
and that he must come at once.

346 THE MASTER BUILDER. [ACT III.

RAGNAR.
Good. I will do so, Mrs. Sol ness.

[He goes down the flight of steps and away
through the garden.

MRS. SOLNESS.

Oh, Miss Wangel, you can't think how anxious
I feel about him.

HILDA.

Is there anything in this to be so terribly
frightened about ?

MRS. SOLNESS.

Oh yes; surely you can understand. Just think,
if he were really to do it ! If he should take it
into his head to climb up the scaffolding !

HILDA.
[Eagerly .] Do you think he will ?

MRS. SOLNESS.

Oh, one can never tell what he might take into
his head. I am afraid there is nothing he mightn't
think of doing.

HILDA.

Aha ! Perhaps you too think that he is —
well ?

MRS. SOLNESS.

Oh, I don't know what to think about him
now. The doctor has been telling me all sorts of
things ; and putting it all together with several
things 1 have heard him say

ACT in.] THE MASTER BUILDER 34?

DR. HERDAL looks out, at the door.

DR. HERDAL.
Is he not coming soon ?

MRS. SOLNESS.

Yes, I think so. I have sent for him at any
rate.

DR. HERDAL.

[Advancing.] I am afraid you will have to go
in, my dear lady

MRS. SOLNESS.

Oh no ! Oh no! I shall stay out. here and wait
for Halvard.

DR. HERDAL.

But some ladies have just come to call on
you —

MRS. SOLNESS.

Good heavens, that too! And just at this
moment !

DR. HERDAL.

They say they positively must see the cere-
mony.

MRS. SOLNESS.

Well, well, I suppose I must go to them after
all. It is my duty.

HILDA.
Can't you ask the ladies to go away ?

MRS. SOLNESS.

No, that would never do. Now that they are
here, it is my duty to see them. But do you stay
out here in the meantime — and receive him when
he comes.

348 THE MASTER BUILDER. [ACT III.

DH. HERDAL.

And try to occupy his attention as long as pos-
sible

MRS. SOLNESS.

Yes, do, dear Miss W angel. Keep as firm hold
of him as ever you can.

HILDA.
Would it not be best for you to do that ?

MRS. SOLNESS.

Yes ; God knows that is my duty. But when
one has duties in so many directions

DR. HERDAL.
[Looks towards the garden.] There he is coming.

MRS. SOLNESS.
And I have to go in !

DR. HERDAL.

\To HILDA.] Don't say anything about m y
being here.

HILDA.

Oh no ! I daresay I shall find something else
to talk to Mr. Solness about.

MRS. SOLNESS.

And be sure you keep firm hold of him. I be-
lieve you can do it best.

[MRS. SOLNESS and DR. HERDAL go into
the house. HILDA remains standing on
the verandah. SOLNESS comes from the
garden, up thejlight of steps.

ACT III.] THE MASTER BUILDER. 349

SOLNESS.

Somebody wants me, I hear.

HILDA.
Yes ; it is I, Mr. Solness.

SOLNESS.

Oh, is it you, Hilda ? I was afraid it might be
Aline or the Doctor.

HILDA.
You are very easily frightened, it seems !

SOLNESS.
Do you think so ?

HILDA.

Yes ; people say that you are afraid to climb
about — on the scaffoldings, you know.

SOLNESS.
Well, that is quite a special thing.

HILDA.
Then it is true that you are afraid to do it ?

SOLNESS.
Yes, I am.

HILDA.
Afraid of falling down and killing yourself?

SOLNESS.
No, not of that.

HILDA,
Of what, then ?

350 THE MASTER BUILDER. [ACT III.

SoLNESS.

I am afraid of retribution, Hilda.

HILDA.

Of retribution ? [Shakes her head.] I don't
understand that.

SOLNESS.
Sit down, and I will tell you something.

HILDA.
Yes, do ! At once !

[She sits on a stool by the railing, and looks
expectantly at him.

SOLNESS.

[Throws his hat on the table.] You know that I
began by building churches.

HILDA.
[Nods] I know that well.

SOLNESS.

For, you see, I came as a boy from a pious
home in the country ; and so it seemed to me that
this church-building was the noblest task I could
set myself.

HILDA.
Yes, yes.

SOLNESS.

And I venture to say that I built those poor
little churches with such honest and warm and
heartfelt devotion that — that

HILDA.
That ? Well ?

ACT III.] THE MASTER BUILDER. 351

SOLNESS.

Well, that I think that he ought to have been
pleased with me.

HILDA.
He? What he?

SOLNESS.

He who was to have the churches, of course !
He to whose honour and glory they were dedi-
cated.

HILDA.

Oh, indeed ! But are you certain, then, that —
that he was not — pleased with you ?

SOLNESS.

[Scornfully.] He pleased with me! How can
you talk so, Hilda ? He who gave the troll in
me leave to lord it just as it pleased. He who
bade them be at hand to serve me, both day and
night — all these — all these

HILDA.
Devils —

SOLNESS.

Yes, of both kinds. Oh no, he made me feel
clearly enough that he was not pleased with me.
[Mysteriously.] You see, that was really the reason
why he made the old house burn down.

HILDA,
Was that why ?

SOLNESS.

Yes, don't you understand ? He wanted to give
me the chance of becoming an accomplished mas-
ter in my own sphere — so that I might build all

352 THE MASTER BUILDER. [ACT III.

the more glorious churches for him. At first I
did not understand what he was driving at ; but
all of a sudden it flashed upon me.

HILDA.
When was that ?

SoLNESS.

If was when I was building the church-tower
up at Lysanger.

HILDA.

I thought so.

SOLNESS.

For you see, Hilda — up there, amidst those new
surroundings, I used to go about musing and pon-
dering within myself. Then I saw plainly why
he had taken my little children from me. It was
that I should have nothing else to attach myself
to. No such thing as love and happiness, you
understand. I was to be only a master builder —
nothing else. And all my life long I was to go
on building for him. [Laughs.] But I can tell
you nothing came of that !

HILDA.
What did you do, then ?

SOLNESS.
First of all, 1 searched and tried my own

heart

HILDA.
And then ?

SOLNESS.

Then I did the impossible — I no less than
he.

ACT III.] THE MASTER BUILDER. 353

HILDA.
The impossible ?

SoLNESS.

I had never before been able to climb up to a
great, free height. But that day I did it.

HILDA.
[Leaping up.] Yes, yes, you did !

SOLNESS.

And when I stood there, high over everything,
and was hanging the wreath over the vane, I said
to him : Hear me now, thou Mighty One ! From
this day forward I will be a free builder — I too, in
my sphere — just as thou in thine. I will never
more build churches for thee — only homes for
human beings.

HILDA.

[With great sparkling eyes.] That was the song
that I heard through the air !

SOLNESS.
But afterwards his turn came.

HILDA.
What do you mean by that ?

SOLNESS.

[Looks despondently at her.] Building homes for
human beings — is not worth a rap, Hilda.

HILDA.
Do you say that now ?

354 THE MASTER BUILDER, [ACT III.

SoLNESS.

Yes, for now I see it. Men have no use for these
homes of theirs — to be happy in. And I should
not have had any use for such a home, if I had had
one. \With a quiet, bitter laugh.] See, that is the
upshot of the whole affair, however far back I
look. Nothing really built ; nor anything sacri-
ficed for the chance of building. Nothing, nothing !
the whole is nothing !

HILDA.
Then you will never build anything more ?

SOLNESS.

[With animation.} On the contrary, I am just
going to begin !

HILDA.

What, then ? What will you build ? Tell me
at once !

SOLNESS.

I believe there is only one possible dwelling-
place for human happiness — and that is what I am
going to build now.

HILDA.

[Looks fixedly at himJ\ Mr. Solness — you mean
our castles in the air.

SOLNESS.
The castles in the air — yes.

HILDA.

I am afraid you would turn dizzy before we got
half-way up.

ACT III.] THE MASTER BUILDER. 355

SOLNESS.

Not if I can mount hand in hand with you,
Hilda.

HILDA.

\With an expression of suppressed resentment.]
Only with me ? Will there be no others of the
party ?

SOLNESS.
Who else should there be ?

HILDA.

Oh — that girl — that Kaia at the desk. Poor
thing — don't you want to take her with you too r

SOLNESS.

Oho ! Was it about her that Aline was talking
to you ?

HILDA.
Is it so — or is it not ?

SOLNESS.

[Vehemently.] I will not answer such a question
You must believe in me, wholly and entirely !

HILDA

All these ten years I have believed in you so
utterly — so utterly.

SOLNESS.
You must go on believing in me !

HILDA.
Then let me see you stand free and high up !

35() THE MASTER BUILDER. [ACT III,

SOLNESS.

[Sadly.] Oh Hilda — it is not every day that I
can do that.

HILDA.

[ Passionately. ] I will have you do it ! I will
have it! [Imploringly.] Just once more, Mr,
Solness i Do the impossible once again t

SOLNESS.

[Stands and looks deep into her eyes.] I f I try it,
Hilda, I will stand up there and talk to him as I
did that time before.

HILDA.

[In rising excitement.] What will you say to
him ?

SOLNESS.

I will say to him : Hear me, Mighty Lord —
thou may'st judge me as seems best to thee. But
hereafter I will build nothing but the loveliest

thing in the world

HILDA.
[Carried away.] Yes — yes — yes!

SOLNESS.
— build it together with a princess, whom I

love

HILDA.

Yes, tell him that ! Tell him that !

SOLNESS.

Yes. And then I will say to him : Now I shall
go down and throw my arms round her and kiss
her —

HILDA.

— many times ! Say that1

ACT III.] THE MASTER BUILDER. 357

SOLNESS.

— many, many times, I will say

HILDA.
And then ?

SOLNESS.

Then I will wave my hat — and come down to
the earth — and do as I said to him.

HILDA,

[With outstretched arms] Now I see you again
as I did when there was song in the air '

SOLNESS.

[Looks at her with his head bowed.] How have you
become what you are, Hilda ?

HILDA.
How have you made me what I am ?

SOLNESS.

[Shortly and firmly.] The princess shall have
her castle.

HILDA

[Jubilant, clapping her hands.] Oh, Mr. Sol-
ness ! My lovely, lovely castle. Our castle

in the air !

SOLNESS.
On a firm foundation.

[In thestieeta crowd of people has assembled,
vaguely seen through the trees. Music of
wind-instruments is heard far away be
hind the new house.

358 THE MASTER BUILDER. [ACT III.

MRS. SOLNESS, with a fur collar round her neck,
DOCTOR HERDAL with her white shawl on his
arm, and some ladies, come out on the verandah.
RAGNAR BROVIK comes at the same time up from
the garden.

MRS. SOLNESS.
[To RAGNAR.] Are we to have music, too ?

RAGNAR.

Yes. It's the band of the Mason's Union. [To
SOLNESS.] The foreman asked me to teli you that
he is ready now to go up with the wreath.

SOLNESS.

[Takes his hat.] Good. I will go down to him
myself.

MRS. SOLNESS.

[Anxiously.] What have you to do down theft,
Halvard ?

SOLNESS.
[Curtly.] I must be down below with the men,

MRS. SOLNESS.
Yes, down below — only down below.

SoLNtss.

That is where I always stand — on everyday
occasions.

[He goes down the jiight of steps and anay
through the garden.

MRS. SOLNESS.

[Calls after him over the railing.] But do beg the
man to be careful when he goes up ' Promise
me that, Halvard '

ACT III.] THE MASTER BUILDER. 359

DR. HERDAL.

[To MRS. SOLNESS.] Don't you see that I was
right ? He has given up all thought of that
folly.

MRS. SOLNESS.

Oh, what a relief ! Twice workmen have fallen,
and each time they were killed on the spot,
[Turns to HILDA.] Thank you, Miss Wangel, for
having kept such a firm hold upon him. I should
never have bee nable to manage him.

DR. HERDAL.

[Playfully ] Yes, yes, Miss Wangel, you know
how to keep firm hold on a man, when you give
your mind to it.

[MRS. SOLNESS and DR. HERDAL go up to
the ladies, who are standing nearer to the
steps and looking over the garden. HILDA
remains standing beside the railing in the
foreground. RAGNAR goes up to her.

RAGNAR.

[JVith suppressed laughter, half whispering.] Miss
Wangel — do you see all those young fellows down
in the street ?

HILDA.
Yes.

RAGNAR.

They are my fellow students, come to look at
the master.

HILDA.
What do they want to look at him for ?

360 THE MASTER BUILDER. [ACT III

RAGNAR.

They want to see how he daren't climb to the
top of his own house.

HILDA.

Oh, that is what those boys want, is it?

RAGNAR.

[Spitefully and scornfully.'} He has kept us down
so long — now we are going to see him keep
quietly down below himself.

HILDA.
You will not see that — not this time.

RAGNAR.

[Smiles.'] Indeed ! Then where shall we see
him ?

HILDA.

High — high up by the vane ' That is where
you will see him !

RAGNAR.
[Laughs.] Him ! Oh yes, I daresay !

HILDA.

His will is to reach the top — so at the top you
shall see him.

RAGNAR.

His will, yes; that I can easily believe. But
he simply cannot do it. His head would swim
round, long, long before he got half-way. He
would have to erawl down again on his hands and
knees.

ACT III.] THE MASTER BUILDER. 36l

DR. HERDAL.

[Points across.] Look ! There goes the foreman
up the ladders.

MRS. SOLNESS.

And of course he has the wreath to carry too.
Oh, I do hope he will be careful !

RAGNAR.

[Stares incredulously and shouts.] Why, but
it's

HILDA.

[Breaking out in jubilation.] It is the master
builder himself?

MRS. SOLNESS.

[Screams with terror.] Yes, it is Halvard ! Oh
my great God ! Halvard ! Halvard !

DR. HERDAL.
Hush ! Don't shout to him !

MRS. SOLNESS.

[Half beside herself.] I must go to him ! I must
get him to come down again !

DR. HERDAL.

[Holds her.] Don't move, any of you ! Not a
sound !

HILDA.

[Immovable, Jollotvs SOLNESS with her eyes.] He
climbs and climbs. Higher and higher ! Higher
and higher ! Look .' Just look l

362 THE MASTER BUILDER. [ACT III.

RAGNAR.

[Breathless.'] He must turn now. He can't
possibly help it.

HILDA.

He climbs and climbs. He will soon be at the
top now.

MRS. SOLNESS.

Oh, I shall die of terror. I cannot bear to see
it.

DR. HERDAL.
Then don't look up at him.

HILDA.

There he is standing on the topmost planks
Right at the top !

DR. HERDAL.
Nobody must move ! Do you hear ?

HILDA.

[Exulting, with quiet intensity.] At last ! At last !
Now I see him great and free again !

RAGNAR.
[Almost voiceless.'] But this is im

HILDA.

So I have seen him all through these ten years.
How secure he stands ! Frightfully thrilling all
the same. Look at him ! Now he is hanging the
wreath round the vane !

ACT III.] THE MASTER BUILDER. 363

RAGNAR.

I feel as if I were looking at something utterly
impossible.

HILDA.

Yes, it is the impossible that he is doing now !
[With the indefinable expression in her ei/es.~\ Can
you see any one else up there with him ?

RAGNAR.
There is no one else.

HILDA.
Yes, there is one he is striving with.

RAGNAR.
You are mistaken.

HILDA.
Then do you hear no song in the air, either ?

RAGNAR.
It must be the wind in the tree-tops.

HILDA.

/ hear a song — a mighty song ! [Shouts in wild
jubilation and glee.] Look, look ! Now he is
waving his hat ! He is waving it to us down here !
Oh, wave, wave back to him ! For now it is
finished ! [Snatches the white shawl from the Doctor,
waves it, and shouts up to SOLNESS.] Hurrah for
Master Builder Solness !

THE MASTER BUILDER. [ACT III-

DR. HERDAL.

Stop ! Stop For God's sake !

[The ladies on the verandah wave their
pocket-handkerchiefs, and the shouts of
" Hurrah " are taken up in the street
below. Then they are suddenly silenced,
and the crowd bursts out into a shriek of
horror. A human body, with planks and
fragments of wood, is vaguely perceived
crashing down behind the trees.

MRS. SoLNESS AND THE LADIES.

[At the same time.'] He is falling ! He is falling !
[MRS. SOLNESS totters, falls backwards,
swooning, and is caught, amid cries and
confusion, by the ladies. The crowd in
the street breaks down the fence and
storms into the garden. At the same time
DR. HERDAL, too, rushes down thither.
A short pause.

HILDA.

[Stares fixedly upwards and says, as if petrified.']
My Master Builder.

RAGNAR.

[Supports himself, trembling, against the ratling.
He must be dashed to pieces — killed on the spot.

ONE OF THE LADIES.

[Whilst MRS. SOLNESS is carried into the house.]
Run down for the doctor

RAGNAR.
I can't stir a root

ACT III.] THE MASTER BUILDER. 365

ANOTHER LADY.
Then call to some one !

RAGNAR.
[Tries to call out.] How is it ? Is he alive ?

A VOICE.
[Below, in the garden.] Mr. Solness is dead '

OTHER VOICES.

[Nearer.] The head is all crushed. — He fell
right into the quarry.

HILDA.

[Turns to RAGNAR, and says quietly .] I can't see
him up there now.

RAGNAR. *

This is terrible. So, after all, he could not do
it.

HILDA.

[As if in quiet spell-bound triumph.] But he
mounted right to the top And 1 heard harps in
the air. [ Waves her shawl in the air, and shrieks with
wild intensity.] My — my Master Builder!

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