Hedda.
Hedda.
Hedda.
Oh, that will come too—in time.
Tesman.
Tesman.
Tesman.
Yes, do you know, Hedda—I really think I begin to feel something of the sort. But won’t you go and sit with Brack again?
Hedda.
Hedda.
Hedda.
Is there nothing I can do to help you two?
Tesman.
Tesman.
Tesman.
No, nothing in the world. [Turning his head.] I trust to you to keep Hedda company, my dear Brack!
Brack.
Brack.
Brack.
[With a glance atHedda.] With the very greatest of pleasure.
Hedda.
Hedda.
Hedda.
Thanks. But I am tired this evening. I will go in and lie down a little on the sofa.
Tesman.
Tesman.
Tesman.
Yes, do dear—eh?
[Heddagoes into the back room and draws the curtains. A short pause. Suddenly she is heard playing a wild dance on the piano.
Mrs. Elvsted.
Mrs. Elvsted.
Mrs. Elvsted.
[Starts from her chair.] Oh—what is that?
Tesman.
Tesman.
Tesman.
[Runs to the doorway.] Why, my dearest Hedda—don’t play dance-music to-night! Just think of Aunt Rina! And of Eilert too!
Hedda.
Hedda.
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.
Tesman.
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 workthere—eh?
Hedda.
Hedda.
Hedda.
[In the inner room.] I hear what you are saying, Tesman. But how amIto get through the evenings out here?
Tesman.
Tesman.
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.
Brack.
Brack.
[In the arm-chair, calls out gaily.] Every blessëd evening, with all the pleasure in life, Mrs. Tesman! We shall get on capitally together, we two!
Hedda.
Hedda.
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,andBrackleap to their feet.
Tesman.
Tesman.
Tesman.
Oh, now she is playing with those pistols again.
[He throws back the curtains and runs in, followed byMrs. Elvsted.Heddalies stretched on the sofa, lifeless. Confusion and cries.Bertaenters in alarm from the right.
Tesman.
Tesman.
Tesman.
[Shrieks toBrack.] Shot herself! Shot herself in the temple! Fancy that!
Brack.
Brack.
Brack.
[Half-fainting in the arm-chair.] Good God!—people don’tdosuch things.
1. Letters 214, 216, 217, 219.
1. Letters 214, 216, 217, 219.
2. In the Ibsen volume ofDie Literatur(Berlin).
2. In the Ibsen volume ofDie Literatur(Berlin).
3. Dr. Julius Elias (Neue deutsche Rundschau, December 1906, p. 1462) makes the curious assertion that the character of Thea Elvsted was in part borrowed from this “Gossensasser 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.
3. Dr. Julius Elias (Neue deutsche Rundschau, December 1906, p. 1462) makes the curious assertion that the character of Thea Elvsted was in part borrowed from this “Gossensasser 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.
4. See article by Herman Bang inNeue deutsche Rundschau, December 1906, p. 1495.
4. See article by Herman Bang inNeue deutsche Rundschau, December 1906, p. 1495.
5. Dr. Brahm (Neue deutsche Rundschau, December 1906, p. 1422) says that, after the first performance ofHedda Gablerin Berlin, Ibsen confided to him that the character had been suggested by a German lady whom he met in Munich, and who did not shoot, but poisoned herself. Nothing more seems to be known of this lady. See, too, an article by Julius Elias in the same magazine, p. 1460.
5. Dr. Brahm (Neue deutsche Rundschau, December 1906, p. 1422) says that, after the first performance ofHedda Gablerin Berlin, Ibsen confided to him that the character had been suggested by a German lady whom he met in Munich, and who did not shoot, but poisoned herself. Nothing more seems to be known of this lady. See, too, an article by Julius Elias in the same magazine, p. 1460.
6. â€To the May-sun of a September life—in Tyrol.“
6. â€To the May-sun of a September life—in Tyrol.“
7. â€High, painful happiness—to struggle for the unattainable!“
7. â€High, painful happiness—to struggle for the unattainable!“
8.Neue deutsche Rundschau, December 1906, p. 1462.
8.Neue deutsche Rundschau, December 1906, p. 1462.
9. This conception I have worked out at much greater length in an essay, entitledThe 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 (if 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 is interested in the subject may find it worth referring to.
9. This conception I have worked out at much greater length in an essay, entitledThe 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 (if 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 is interested in the subject may find it worth referring to.
10. For an instance of the technical methods by which he suggested the supernormal element in the atmosphere of the play, see Introduction toA Doll’s House, p. xiv.
10. For an instance of the technical methods by which he suggested the supernormal element in the atmosphere of the play, see Introduction toA Doll’s House, p. xiv.
11. Tesman, whose Christian name in the original is “Jörgen,†is described as“stipendiat i kulturhistorieâ€â€”that is to say, the holder of a scholarship for purposes of research into the History of Civilisation.
11. Tesman, whose Christian name in the original is “Jörgen,†is described as“stipendiat i kulturhistorieâ€â€”that is to say, the holder of a scholarship for purposes of research into the History of Civilisation.
12. In the original “Assessor.â€
12. In the original “Assessor.â€
13. PronounceReena.
13. PronounceReena.
14. In the original, â€StatsrÃ¥dinde Falks villa“—showing that it had belonged to the widow of a cabinet minister.
14. In the original, â€StatsrÃ¥dinde Falks villa“—showing that it had belonged to the widow of a cabinet minister.
15.Du= thou; Tesman means, “If you could persuade yourself totutoyerher.â€
15.Du= thou; Tesman means, “If you could persuade yourself totutoyerher.â€
16. Seefootnote, p. 27.
16. Seefootnote, p. 27.
17. PronounceToraandTaya.
17. PronounceToraandTaya.
18. Mrs. Elvsted here uses the formal pronounDe, whereupon Hedda rebukes her. In her next speech Mrs. Elvsted saysdu.
18. Mrs. Elvsted here uses the formal pronounDe, whereupon Hedda rebukes her. In her next speech Mrs. Elvsted saysdu.
19. “Bagveje†means both “back ways†and “underhand courses.â€
19. “Bagveje†means both “back ways†and “underhand courses.â€
20. 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.
20. 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.
21. He uses the familiardu.
21. He uses the familiardu.
22. From this point onward Lövborg uses the formalDe.
22. From this point onward Lövborg uses the formalDe.
23. In this speech he once more saysdu. Hedda addresses him throughout asDe.
23. In this speech he once more saysdu. Hedda addresses him throughout asDe.
24. â€Eneste hane i kurven“—a proverbial saying.
24. â€Eneste hane i kurven“—a proverbial saying.
25. Literally, “That you burn for me.â€
25. Literally, “That you burn for me.â€