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THE MASTER BUILDER
By Henrik Ibsen
Translated by Edmund Gosse and William Archer
Contents
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INTRODUCTION by William Archer
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."
With The Master Builder—or Master Builder Solness, as the original title goes—we enter the final chapter of Ibsen's career. "You're absolutely right," the poet wrote to Count Prozor in March 1900, "when you say that the series ending with the Epilogue (When We Dead Awaken) started with Master Builder Solness."
"Ibsen," says Dr. Brahm, "wrote in Christiania 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 into the secret places of human nature and the wonder of his own soul."
"Ibsen," Dr. Brahm says, "wrote all four works that he seems to group together—Solness, Eyolf, Borkman, and When We Dead Awaken—while in Christiania. He came back to Norway in July 1891 for an undetermined length of time; but the restless traveler across Europe was meant to leave his home for good.... However, he didn't return to dive back into the daily struggles like he used to. There's no controversy in the poetry of his later years. He leaves the State and Society undisturbed. He who left as the creator of Falk [in Love's Comedy] now, upon his return, looks into the hidden depths of human nature and the marvel of his own soul."
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 shortly 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 may 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.
Dr. Brahm, however, seems to be wrong in thinking that Ibsen came back to Norway without a clear intention of settling down. Dr. Julius Elias, a respected expert, reports that shortly before Ibsen left Munich in 1891, he said one day, "I need to get back to the North!" "Is that a sudden urge?" Elias asked. "Oh no," Ibsen replied; "I want to be a responsible head of a household and have my affairs in order. To do that, I need to consolidate my property, invest it wisely, and get it under control—and that can best be achieved where I have citizenship rights." Some critics will likely be surprised to find the poet they have labeled an "anarchist" admitting to such conventional motives.
After his return to Norway, Ibsen's correspondence 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 following is the only one of these keynote poems which has been published. I give it in the original language, with a literal translation:
After Ibsen returned to Norway, his letters became very few, and we don't have any correspondence from the time he was working on The Master Builder. However, we do have an interesting lyrical introduction to the play that he wrote on March 16, 1892. It's said that he used to "crystallize the mood that he was in" by writing a poem before starting on a play; but this is the only one of those key poems that has been published. I'll provide it in the original language, along with a literal translation:
DE SAD DER, DE TO—
DE SAD DER, DE TO—
De sad der, de to, i saa lunt et hus
ved host og i venterdage,
Saa braendte huset. Alt ligger i grus.
De to faar i asken rage.
For nede id en er et smykke gemt,—
et smykke, som aldrig kan braende.
Og leder de trofast, haender det nemt
at det findes af ham eller hende.
Men finder de end, brandlidte to,
det dyre, ildfaste smykke,—
aldrig han finder sin braendte tro,
han aldrig sin braendte lykke.
The two sat there, waiting in a warm house
during autumn and the days of waiting,
Then the house burned down. Everything is in ruins.
The two find themselves among the ashes.
For hidden in the earth is a gem—
a gem that can never burn.
And if they search faithfully, it can easily
be found by him or her.
But even if the fire-damaged two find
the precious, fireproof gem—
he will never find his burned faith,
he will never find his burned happiness. THEY SAT THERE, THE TWO—
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, he never his burnt happiness.
They sat together, the two of them, in such a cozy house during the autumn and winter days. Then the house caught fire. Everything is in ruins. The two of them must search through the ashes. For hidden among them is a jewel—a jewel that can never be burned. And if they search diligently, it’s possible that one of them may find it. But even if they do find it, the burnt-out pair—finding this precious unburnable jewel—will never regain her lost faith, nor will he ever find his lost 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,
This is the latest work of Ibsen's poetry that has been shared with the world; however, one of his earliest poems—first published in 1858—was also, in a way, a precursor to The Master Builder. A straightforward translation will do. It is titled,
BUILDING-PLANS
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.
I remember just like it was today the evening when I saw my first poem in print in the paper. There I sat in my study, smoking and dreaming with long, slow puffs, feeling completely satisfied with myself. "I will build a cloud castle. It will shine all across the North. It will have two wings: one small and one big. The big wing will shelter an immortal poet; the small wing will serve as a young girl's retreat." The plan felt beautifully harmonious to me; but as time went on, it fell apart. When the master got realistic, the castle turned completely chaotic; the big wing became too small, and the small wing fell into disrepair.
Thus we see that, thirty-five years before the date of The Master Builder, Ibsen's imagination was preoccupied with a symbol of a master building a castle in the air, and a young girl in one of its towers.
Thus we see that, thirty-five years before the date of The Master Builder, Ibsen's imagination was focused on a symbol of a master constructing a castle in the air, with a young girl in one of its towers.
There has been some competition among the poet's young lady friends for the honour of having 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 incomprehension 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 interest 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."
There has been some competition among the poet's young lady friends for the honor of having been his model for Hilda. Several, no doubt, deserve some credit for it. It's not surprising to find out that among the papers he left behind were piles of letters from women. "All these ladies," says Dr. Julius Elias, "wanted something from him—some remedy for their emotional pain, or for the misunderstandings they faced; some answer to the puzzle of their identity. Almost every one of them saw herself as a problem that Ibsen surely had the time and interest to engage with. They all believed they had a right to the creator of Nora.... Fru Ibsen spoke about this part of his experience with ironic humor. 'Ibsen (I’ve often said to him), Ibsen, keep these swarms of overly intense women at a distance.' 'Oh no (he would reply), let them be. I want to observe them more closely.' His observations would take a varying amount of time depending on the case and would always contribute to some piece 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 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. 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:
The main inspiration for Hilda was definitely Fraulein Emilie Bardach from Vienna, whom he met in Gossensass in the fall of 1889. He was sixty-one at the time, and she was reportedly seventeen. Since the lady herself passed his letters to Dr. Brandes for publication, there’s no issue with discussing them openly. I’ve quoted some excerpts from them in the introduction to Hedda Gabler—parts that show how the poet initially set aside his Gossensass experiences to revisit them later from a distance, while he focused on working in a completely different style. On October 15, 1889, he wrote in his second letter to Fraulein Bardach: "I can’t suppress my summer memories, nor do I want to. I relive my experiences over and over. Transforming it all into a poem seems impossible for now. For now? Will I manage it in the future? And do I even want to? At the moment, I don’t… But I know it will happen eventually." There are twelve letters in total, filled with a tone of sentimental longing for the short, bright summer days of their acquaintance. The theme is captured in the inscription on the back of a photograph 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 Gluck—
um das Unerreichbare zu ringen!(2)
High, painful happiness—
to struggle for the unattainable!(2)in which we may, if we like, see a foreshadowing of the Solness frame of mind. In the fifth letter of the series he refers to her as "an enigmatic Princess"; in the sixth he twice calls her "my dear Princess"; but this is the only point at which the letters quite definitely and unmistakably point forward to 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 me again.... I will soon send you my new play [Hedda Gabler]. Receive it in friendship, but in silence!" This injunction she apparently 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.
in which we can, if we choose, see a hint of the Solness mindset. In the fifth letter of the series, he refers to her as "an enigmatic Princess"; in the sixth, he calls her "my dear Princess" twice. But this is the only part where the letters clearly and unmistakably connect to The Master Builder. In the ninth letter (February 6, 1890), he writes: "I feel it is a matter of conscience to end, or at least, to limit our correspondence." The tenth letter, sent six months later, expresses kind condolences on the death of the young lady's father. In the eleventh (very short) note, dated December 30, 1890, he acknowledges a small gift but states: "Please, for now, do not write to me again.... I will soon send you my new play [Hedda Gabler]. Accept it in friendship, but in silence!" She apparently followed this request. When The Master Builder was published, it seems that Ibsen didn’t even send her a copy of the play; we can gather that he was somewhat annoyed when she sent him a photograph signed "Princess of Orangia." However, on his seventieth birthday, she telegraphed her congratulations, and he replied very warmly. And that’s where their relationship ended.
That she was right, however, in regarding herself as his principal model for Hilda appears from an anecdote related by Dr. Elias.(3) 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 experiences 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 chuckling 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 interesting indeed. Again a spice of the 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 Hilda Wangel are intimately related—are, indeed only different expressions of the same nature." 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.
That she was right in seeing herself as his main inspiration for Hilda is evident from a story told by Dr. Elias.(3) It’s not a very pleasant story, but Dr. Elias is a credible witness, and it definitely needs to be included in any analysis of the origins of The Master Builder. Ibsen went to Berlin in February 1891 for the first performance of Hedda Gabler. Such events were always challenging for him, and he felt a huge sense of relief once they were over. He hated packing too, so after Elias helped him through that terrible ordeal, the two sat down for lunch together while waiting for the train. Ibsen got into a relaxed mood and, laughing over his champagne glass, said: "You know, my next play is already taking shape—though just in a rough way. But I have one solid idea. An experience: a woman’s character. Very intriguing, very intriguing indeed. There's definitely a touch of devilishness in it." He then recounted how he had met a very notable girl from Vienna in the Tyrol. She quickly confided in him. The main point of her revelations was that she had no interest in marrying a well-bred young man—she most likely would never marry. What fascinated and excited her was the idea of enticing other women’s husbands away from them. She was a bit of a mischievous destroyer; she often struck him as a little predator, eager to catch him as part of her game. He had studied her very closely. On the flip side, she hadn’t had much success with him. "She didn’t get to me, but I got to her—for my play. Then I’m sure" (here he chuckled again) "she found comfort in someone else." For her, love seemed like just a twisted fantasy. However, that was only one aspect of her personality. His little model had a lot of heart and feminine insight; and thanks to the natural influence she had over him, any woman could, if she wanted, steer some man toward better choices. "Thus Ibsen spoke," Elias says, "calmly and coolly, as if gazing far away, like an artist taking an objective view of some experience—like Lubek discussing his soul-thieves. He had captured a soul and applied it in two ways. Thea Elvsted and Hilda Wangel are closely related—indeed, they are just different expressions of the same essence." If Ibsen asserted that Thea and Hilda were based on the same model, we must take his word for it; but the connection is hard to see.
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."
There can be no reasonable doubt that the Gossensass episode was the main inspiration for The Master Builder. However, it’s also pretty well established that another woman he met in Christiania after his return in 1891 played a big role in shaping the character of Hilda. This might explain why he was upset with Fraulein Bardach for claiming the title "Princess of Orangia."
The play was published in the middle of December 1892. It was acted both in Germany and England before it was seen in the Scandinavian capitals. Its first performance took place at the Lessing Theatre, Berlin, January 19, 1893, with Emanuel Reicher as Solness and Frl. Reisenhofer 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 direction of Mr. Herbert Waring and Miss Elizabeth Robins, who played Solness and Hilda. This was one of the most brilliant and successful of English Ibsen productions. Miss Robins was almost an ideal Hilda, and Mr. Waring's Solness was exceedingly able. Some thirty performances were give 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 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'OEuvre" with M. Lugne-Poe as Solness. The company, sometimes with Mme. Suzanne Despres and sometimes with Mme. Berthe Bady as Hilda, in 1894 and 1895 presented the play in London, Brussels, Amsterdam, 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. William H. Pascoe as Solness and Miss Florence Kahn as Hilda. The performance was repeated in the course of the same month, both at Washington and Boston.
The play was published in mid-December 1892. It was performed in both Germany and England before making its way to the Scandinavian capitals. Its first performance took place at the Lessing Theatre in Berlin on January 19, 1893, featuring Emanuel Reicher as Solness and Frl. Reisenhofer as Hilda. In London, it premiered at the Trafalgar Square Theatre (now the Duke of York's) on February 20, 1893, directed by Mr. Herbert Waring and Miss Elizabeth Robins, who played Solness and Hilda. This was one of the most impressive and successful English Ibsen productions. Miss Robins was almost the perfect Hilda, and Mr. Waring's Solness was highly skilled. In total, around thirty performances were given, and the play was later staged at the Opera Comique during the season, with Mr. Lewis Waller as Solness. The following year, Miss Robins performed as Hilda in Manchester. In Christiania and Copenhagen, the play opened on the same night, March 8, 1893; in Copenhagen, Solness and Hilda were played by Emil Poulsen and Fru Hennings. A Swedish production, directed by Lindberg, soon followed in both Stockholm and Gothenburg. In Paris, Solness le constructeur was not performed until April 3, 1894, when it was staged by "L'OEuvre" with M. Lugne-Poe as Solness. The company, sometimes featuring Mme. Suzanne Despres and other times Mme. Berthe Bady as Hilda, presented the play in London, Brussels, Amsterdam, Milan, and more cities in 1894 and 1895. In October 1894, they visited Christiania, where Ibsen attended one of their performances and was reported by Herman Bang to have been so thrilled that he exclaimed, "This is the resurrection of my play!" On this occasion, Mme. Bady played Hilda. The first performance of the play in America occurred at the Carnegie Lyceum in New York on January 16, 1900, featuring Mr. William H. Pascoe as Solness and Miss Florence Kahn as Hilda. The performance was repeated later that month in both Washington and Boston.
In England, and probably elsewhere as well, The Master Builder produced a curious double effect. It alienated many of the poet's staunchest 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, precise outlines of Hedda Gabler and the vague mysterious atmosphere of The Master Builder, in which, though the dialogue is sternly restrained 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. Substantially, the play is one long dialogue between Solness and Hilda; and it would be quite possible to analyse this dialogue in terms of music, noting (for example) the announcement first of this theme and then of that, the resumption and reinforcement of a theme which seemed to have been dropped, the contrapuntal interweaving of two or more motives, a scherzo here, a fugal passage 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 retrospective 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 simply that which Ibsen had been perfecting from Pillars of Society onward; but it was applied to a subject of a nature not only new to him, but new to literature.
In England, and probably other places too, The Master Builder had a strange double effect. It turned off many of the poet's biggest fans, while also drawing in people who had previously disliked him. Looking back, it’s easy to see why this happened; there was definitely something new in this drama that sparked a lot of fresh reactions. The difference between the sharp, clear lines of Hedda Gabler and the vague, mysterious vibe of The Master Builder couldn’t be greater. Even though the dialogue is tightly controlled and stays within the bounds of prose, the essence of drama feels like it’s on the verge of merging with music. The play is essentially a long conversation between Solness and Hilda, and it could easily be analyzed like a musical piece, pointing out the introduction of different themes, the return and strengthening of themes that seemed to fade away, the intertwining of multiple motives, a scherzo here, a fugal passage there. I’ll leave that analysis to someone more skilled in music than I am, but I should note that in The Master Builder Ibsen goes back to his favorite introspective style, which he had largely moved away from in Hedda Gabler. However, the introspection we’re focusing on here is purely psychological. The external events are few and straightforward when compared to the unfolding events in the reflective sections of The Wild Duck or Rosmersholm. The play dives into the soul-history of Halvard Solness, shared with a deeply engaged listener—so engaged, in fact, that the emotional changes it sparks in her create a captivating and exciting drama. The subtle variations in Solness’s self-revelation are crafted with incredible finesse to keep the audience’s interest constantly heightened. The technical approach wasn’t new; it was the same method Ibsen had been refining since Pillars of Society; but it was applied to a subject that was not only new to him, but also 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 building doubtless represent Ibsen's early romantic plays, the "homes for human beings" his social drama; 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 engaged. 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 essentials self-taught; his philosophy was entirely unsystematic; and, like Solness, he was no student of books. There may be an introspective note also in that dread of the younger generation 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 reticence ever depressed or quenched any rising genius.
It's undeniable that the play is full of symbolism, and much of it is autobiographical. The churches that Solness builds likely represent Ibsen's early romantic plays, while the "homes for human beings" symbolize his social dramas; on the other hand, the houses with tall towers that merge into "castles in the air" represent the spiritual dramas he would focus on moving forward, exploring humanity's metaphysical environment. It might not be completely off-base to interpret Solness's refusal to label himself as an architect as a personal reference, arguing that his training has been unstructured—that he is self-taught. Ibsen, too, was largely self-taught; his philosophy lacked a systematic approach, and like Solness, he wasn't a student of books. There might also be a reflective quality to Solness's fear of the younger generation. It's clear that the old Master-Builder didn’t hand out certificates of competence to young aspiring talents freely, though there's no evidence that his reluctance ever discouraged or stifled any emerging 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 inseparably a piece of symbolism. Essentially it is a 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 by side. "The conscience is very conservative," Ibsen has somewhere said; and here Solness's conservatism is contrasted with Hilda's radicalism—or rather would-be radicalism, for we are led to suspect, towards the close, that the radical too is a conservative in spite or 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 conscience 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 comprehensible. The symbols are harmonic undertones; the psychological melody is clear and consistent without any reference to them.(4) 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 unconsciously, a considerable measure of hypnotic power. But time is surely past when we could reckon hypnotism among "supernatural" phenomena. Whether the particular forms of hypnotic influence attributed to Solness do actually exist is a question we need not determine. The poet does not demand our absolute credence, as though he were giving evidence in the witness-box. What he requires is our imaginative acceptance of certain incidents which he purposely leaves hovering 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 recalls the exquisite genius of Nathaniel Hawthorne.(5)
Overall, it's clear that there are several symbolic themes woven into the colorful fabric of the play. However, it's a significant mistake to view it purely as a symbolic piece. At its core, it’s a story about a troubled conscience, explored through pure psychology. More precisely, it’s a comparison between a troubled conscience and a healthy one existing side by side. "Conscience is very conservative," Ibsen has mentioned somewhere; here, Solness's conservatism is set against Hilda's radicalism—or what seems like radicalism, since towards the end, we start to suspect that the so-called radical is actually a conservative at heart. The fact that Solness can’t reach the heights he aspires to suggests that he can’t act as freely as he believes, or as Hilda would push him to believe. At those heights, his conscience would become overwhelmed, and life would become impossible for him. But I digress into interpreting symbols. My main point is to emphasize that nothing in the play lacks meaning on a natural-psychological level, nor does it strictly need a symbolic interpretation to make sense. The symbols serve as subtle undertones; the psychological story is clear and coherent without referring to them. It’s true that to accept the action on what we can call a realistic level, we must assume that Solness possesses and occasionally uses, sometimes unconsciously, a significant amount of hypnotic power. But the time has clearly passed when we could consider hypnotism among "supernatural" phenomena. Whether the specific forms of hypnotic influence attributed to Solness truly exist is a question we don’t need to answer. The poet doesn't require our complete belief, as if he were testifying in court. What he needs is our imaginative acceptance of particular events that he intentionally leaves in a gray area between the natural and the supernatural, the understood and the mysterious. In this play, as in The Lady from the Sea and Little Eyolf, he demonstrates a finesse in his engagement with the occult that unmistakably evokes the exquisite talent of Nathaniel Hawthorne.
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 curious light on the subject and may be worth preserving. "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 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 psychologists, 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 handsome 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.'"
The critics who only look for symbolism in the play have fixated on Mrs. Solness's "nine lovely dolls" and come up with the most incredible interpretations for them. I wrote a letter in 1893 to the Westminster Gazette that recounts an incident that sheds an interesting light on this topic and might be worth sharing. "At a recent opening night," I wrote, "I happened to be sitting just behind a well-known critic. He turned to me and asked, 'What’s YOUR theory about those "nine lovely dolls"? It's obvious they’re entirely symbolic.' 'I'm not so sure about that,' I replied, thinking of a Norwegian cousin of mine who cherished a favorite doll until she was closer to thirty than twenty. 'They certainly symbolize Mrs. Solness's unfulfilled longing for motherhood, but I have little doubt that Ibsen uses this "symbol" because he has seen something similar in real life.' 'What!' exclaimed the critic. 'He has really seen a grown woman, a middle-aged woman, still "living with" her dolls!' I was about to say that it didn't seem so far-fetched to me when a woman sitting next to me, who was a total stranger to both of us, leaned forward and said, 'Excuse me for interrupting, but it might interest you to know that I HAVE THREE DOLLS TO WHICH I AM DEEPLY ATTACHED!' I won’t speculate on this lady's age, but we can be sure that a very young woman wouldn't have the guts to make such a confession. Doesn't it seem that Ibsen understands something about human nature—both English and Norwegian—that we dramatic critics, despite our role as subtle psychologists, have yet to grasp?" In the follow-up correspondence, one particularly relevant anecdote was shared from an American newspaper, the Argonaut: "An elderly lady from Virginia said to a friend, upon discovering that a cherished old cup had been cracked by a careless maid, 'I cannot think of anything worse than losing a beautiful piece of old china.' 'Surely,' replied her friend, 'it’s not as bad as losing your children.' 'Yes, it is,' said the old lady, 'because when your children die, you at least have the comfort 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 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 Borkman, there remain faint traces of the French leaven which is 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.
It might seem contradictory to say The Master Builder is Ibsen's greatest work, but it's definitely one of his three or four best. Among all his writings, it's probably the most original, the most unique, and the most different from any other drama by any other playwright. The structure of Brand and Peer Gynt was likely inspired by other dramatic poems—especially Faust. In The Wild Duck, Rosmersholm, Hedda Gabler, and even in Little Eyolf and John Gabriel Borkman, you can still see faint hints of the French influence that is so strong in the earlier plays. But The Master Builder had no model and has no comparison. It shows no trace of outside influence. It is Ibsen, and only Ibsen.
W.A. *FOOTNOTES.
W.A. *Footnotes.
(1)"To the May-sun of a September life—in Tyrol." (2)"High, painful happiness—to struggle for the unattainable!" (3)Neus deutsche Rundschau, December, 1906, p.1462. (4)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 (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. (5)For an instance of the technical methods by which he suggested the supernormal element in the atmosphere of the play, see Introduction to A Doll's House, p. xiv.
(1)"To the May-sun of a September life—in Tyrol." (2)"High, painful happiness—to struggle for the unattainable!" (3)Neus deutsche Rundschau, December, 1906, p.1462. (4)I've elaborated on this idea more extensively in an essay called The Melody of the Master Builder, which is included in the budget edition of the play published in 1893. In it, I retell the story, moving it to England and making the main character a journalist instead of an architect, to show that (if we accept the reality of certain commonly accepted aspects of hypnotism) there's nothing unbelievable or even far-fetched about it. The discussion is too lengthy to include here, but readers who are interested in the topic may find it worthwhile to look it up. (5)For an example of the technical methods he used to suggest the supernormal element in the atmosphere of the play, see Introduction to A Doll's House, p. xiv.
THE MASTER BUILDER.
PLAY IN THREE ACTS.
HALVARD SOLNESS, Master Builder. ALINE SOLNESS, his wife. DOCTOR HERDAL, physician. KNUT BROVIK, formerly an architect, now in SOLNESS'S employment. RAGNAR BROVIK, his son, draughtsman. KAIA BROVIK, his niece, book-keeper. MISS HILDA WANGEL. Some Ladies. A Crowd in the street.
HALVARD SOLNESS, Master Builder. ALINE SOLNESS, his wife. DOCTOR HERDAL, physician. KNUT BROVIK, once an architect, now working for SOLNESS. RAGNAR BROVIK, his son, draftsman. KAIA BROVIK, his niece, bookkeeper. MISS HILDA WANGEL. Some Ladies. A Crowd in the street.
The action passes in and about SOLNESS'S house.
The action takes place in and around SOLNESS'S house.
ACT FIRST.
A plainly-furnished work-room in the house of HALVARD 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 draughtmen'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, with spectacles, and a somewhat discoloured white 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 over her eyes.—All three go on working for some time in silence.
A simply furnished workroom in the house of HALVARD SOLNESS. Folding doors on the left lead to the hall. On the right is the door to the inner rooms of the house. At the back is an open door into the draughtsmen's office. In front, on the left, there's a desk with books, papers, and writing supplies. Further back than the folding door, there's a stove. In the right corner, there’s a sofa, a table, and one or two chairs. On the table sits a water bottle and a glass. A smaller table with a rocking chair and an armchair is in front on the right. There are 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, busy with plans and calculations. At the desk in the outer office, KAIA FOSLI is writing in the ledger. KNUT BROVIK is a thin old man with white hair and beard. He wears a somewhat worn but well-brushed black coat, glasses, and a slightly discolored white necktie. RAGNAR BROVIK is a well-dressed light-haired man in his thirties, with a slight stoop. KAIA FOSLI is a petite girl a little over twenty, neatly dressed, and delicate-looking. She has a green shade over her eyes.—All three continue working in silence for a while.
[Rises suddenly, as if in distress, from the table; breathes heavily and laboriously as he comes forward into the doorway.] No, I can't bear it much longer!
[Rises suddenly, as if in distress, from the table; breathes heavily and labored as he steps into the doorway.] No, I can't take it anymore!
[Going up to him.] You are feeling very ill this evening, are you not, Uncle?
[Going up to him.] You're feeling really sick this evening, aren't you, Uncle?
Oh, I seem to get worse every day.
Oh, I feel like I’m getting worse every day.
[Has risen and advances.] You ought to go home, father. Try to get a little sleep—
[Has risen and advances.] You should go home, Dad. Try to get some sleep—
[Impatiently.] Go to bed, I suppose? Would you have me stifled outright?
[Impatiently.] I guess I should just go to bed? Do you want me to be completely smothered?
Then take a little walk.
Then take a short walk.
Yes, do. I will come with you.
Yes, go ahead. I’ll come with you.
[With warmth.] I will not go till he comes! I and determined to have it out this evening with—[in a tone of suppressed bitterness]—with him—with the chief.
[With warmth.] I won't leave until he arrives! I'm set on having it out with—[in a tone of suppressed bitterness]—with him—with the chief.
[Anxiously.] Oh no, uncle,—do wait awhile before doing that!
[Anxiously.] Oh no, uncle—please wait a moment before doing that!
Yes, better wait, father!
Yeah, better wait, dad!
[Draws is breath laboriously.] Ha—ha—! I haven't much time for waiting.
[Draws is breath laboriously.] Ha—ha—! I don't have much time to waste.
[Listening.] Hush! I hear him on the stairs.
[Listening.] Shh! I can hear him coming up the stairs.
[All three go back to their work. A short silence.
[All three return to their tasks. A brief 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 moustache and dark thick eyebrows. He wears a greyish-green buttoned jacket with an upstanding collar and broad lapels. On his head he wears a soft grey felt hat, and he has one or two light portfolios under his arm.
HALVARD SOLNESS comes in through the hall door. He is no longer young, but he is healthy and full of energy, with closely cropped curly hair, a dark mustache, and thick dark eyebrows. He wears a grayish-green buttoned jacket with a standing collar and wide lapels. On his head, he has a soft gray felt hat, and he carries one or two light portfolios under his arm.
[Near the door, points towards the draughtsmen's office, and asks in a whisper:] Are they gone?
[Near the door, points towards the draughtsmen's office, and asks in a whisper:] Are they gone?
[Softly, shaking her] No.
No.
[She takes the shade off her eyes. SOLNESS crosses the room,
throws his hat on a 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 uneasy.
[She removes the sunglasses from her eyes. SOLNESS moves across the room, tosses his hat onto a chair, sets the portfolios on the table by the sofa, and walks back to the desk. KAIA continues writing without stopping, but she appears tense and unsettled.
[Aloud.] What is that you are entering, Miss Fosli?
[Aloud.] What are you entering, Miss Fosli?
[Starts.] Oh, it is only something that—
Oh, it is just something that—
Let me look at it, Miss Fosli. [Bends over her, pretends to be looking into the ledger, and whispers:] Kaia!
Let me see that, Miss Fosli. [Leans over her, pretends to examine the ledger, and whispers:] Kaia!
[Softly, still writing.] Well?
[Softly, still writing.] What’s up?
Why do you always take that shade off when I come?
Why do you always remove that shade when I arrive?
[As before.] I look so ugly with it on.
[As before.] I look so bad with it on.
[Smiling.] Then you don't like to look ugly, Kaia?
[Smiling.] So you don't want to look bad, Kaia?
[Half glancing up at him.] Not for all the world. Not in your eyes.
[Half glancing up at him.] Not for anything. Not in your eyes.
[Strokes her hair gently.] Poor, poor little Kaia—
[Strokes her hair gently.] Poor, poor little Kaia—
[Bending her head.] Hush—they can hear you!
[Bending her head.] Hush—they can hear you!
[SOLNESS strolls across the room to the right, turns and pauses
at the door of the draughtsmen's office.
[SOLNESS walks across the room to the right, stops, and pauses
at the door of the draftsmen's office.Has any one been here for me?
Has anyone been here for me?
[Rising.] Yes, the young couple who want a villa built, out at Lovstrand.
[Rising.] Yes, the young couple who want a villa built out at Lovstrand.
[Growling.] Oh, those two! They must wait. I am not quite clear about the plans yet.
[Growling.] Oh, those two! They have to wait. I'm not entirely sure about the plans yet.
[Advancing, with some hesitation.] They were very anxious to have the drawings at once.
[Advancing, with some hesitation.] They were really eager to get the drawings right away.
[As before.] Yes, of course—so they all are.
[As before.] Yeah, definitely—so they all are.
[Looks up.] They say they are longing so to get into a house of their own.
[Looks up.] They say they really want to have a place of their own.
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.
Yes, yes—we get it! So they’re okay with accepting whatever comes their way. They have a—a roof over their heads—an address—but nothing that feels like home. No thanks! In that case, let them reach out to someone else. Let them know that the next time they call.
[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?
[Pushes his glasses up on his forehead and looks at him in shock.] To someone else? Are you really willing to give up the commission?
[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.
[Impatiently.] Yes, yes, yes, damn it! If that's how it's going to be—. I'd rather that than just build aimlessly. [Vehemently.] Besides, I still don't know much about these people.
The people are safe enough. Ragnar knows them. He is a friend of the family.
The people are safe enough. Ragnar knows them. He’s a family friend.
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.
Oh, safe—safe enough! That’s not at all what I mean. Good grief—don’t you understand me either? [Angrily.] I won’t have anything to do with these strangers. They can apply to whoever they want, as far as I'm concerned.
[Rising.] Do you really mean that?
[Rising.] Do you actually mean that?
[Sulkily.] Yes I do.—For once in a way. [He comes forward.
[Sulkily.] Yeah, I do.—Just this once. [He steps forward.
[BROVIK exchanges a glance with RAGNAR, who makes a warning
gesture. Then BROVIK comes into the front room.
[BROVIK shares a look with RAGNAR, who makes a warning gesture. Then BROVIK enters the front room.
May I have a few words with you?
Can I speak with you for a moment?
Certainly.
Sure thing.
[To KAIA.] Just go in there for moment, Kaia.
[To KAIA.] Just go in there for a minute, Kaia.
[Uneasily.] Oh, but uncle—
[Uneasily.] Oh, but Uncle—
Do as I say, child. And shut the door after you.
Do what I say, kid. And close the door behind you.
[KAIA goes reluctantly into the draughtsmen's office, glances
anxiously and imploringly at SOLNESS, and shuts the door.
[KAIA goes into the draftsmen's office with hesitation, glances anxiously and pleadingly at SOLNESS, and shuts the door.
[Lowering his voice a little.] I don't want the poor children to know how I am.
[Lowering his voice a little.] I don't want the kids to see what I'm really like.
Yes, you have been looking very poorly of late.
Yes, you've been looking really unwell lately.
It will soon be all over with me. My strength is ebbing—from day to day.
It won't be long before it's all over for me. My strength is fading away—day by day.
Won't you sit down?
Could you please sit down?
Thanks—may I?
Thanks—can I?
[Placing the arm-chair more conveniently.] Here—take this chair.—And now?
[Moving the armchair to a better spot.] Here—take this chair.—What now?
[Has seated himself with difficulty.] Well, you see, it's about Ragnar. That is what weighs most upon me. What is to become of him?
[Has seated himself with difficulty.] Well, you see, it’s about Ragnar. That’s what’s weighing on my mind the most. What’s going to happen to him?
Of course your son will stay with me as long as ever he likes.
Of course your son can stay with me as long as he wants.
But that is just what he does not like. He feels that he cannot stay here any longer.
But that's exactly what he dislikes. He feels that he can't stay here any longer.
Why, I should say he was very well off here. But if he wants more money, I should not mind—
Why, I would say he was doing really well here. But if he wants more money, I wouldn’t mind—
No, no! It is not that. [Impatiently.] But sooner or later he, too, must have a chance of doing something on his own account.
No, no! That's not it. [Impatiently.] But sooner or later, he should have an opportunity to do something for himself.
[Without looking at him.] Do you think that Ragnar has quite talent enough to stand alone?
[Without looking at him.] Do you think Ragnar has enough talent to stand on his own?
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.
No, that's just the heartbreaking part—I’m starting to have my doubts about the boy. You’ve never said a single encouraging word about him. Yet, I can’t help but believe there must be something in him—he can’t be without talent.
Well, but he has learnt nothing—nothing thoroughly, I mean. Except, of course, to draw.
Well, he hasn't really learned anything—nothing in-depth, that is. Except, of course, how to draw.
[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 may other people's.
[Looks at him with hidden hatred, and says hoarsely.] You didn’t learn much about the job when you worked for me. But that didn’t stop you from getting started—[breathing heavily]—and pushing your way up, and taking the wind out of my sails—mine, and probably a few others too.
Yes, you see—circumstances favoured me.
Yeah, you see—things worked out for me.
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? And of course I am anxious to see them married, too—before I go.
You’re in a perfect position. Everything is on your side. But how can you have the heart to let me go to my grave without knowing what Ragnar is capable of? And of course, I’m eager to see them married, too—before I leave.
[Sharply.] Is it she who wishes it?
[Sharply.] Is it her who wants it?
Not Kaia so much as Ragnar—he talks about it every day. [Appealingly.] You must help him to get some independent work now! I must see something that the lad has done. Do you hear?
Not so much Kaia, but Ragnar—he brings it up every day. [Appealingly.] You have to help him find some independent work now! I want to see something that the kid has created. Do you understand?
[Peevishly.] Hang it, man, you can't expect me to drag commissions down from the moon for him!
[Peevishly.] Come on, you can't expect me to bring commissions down from the moon for him!
He has the chance of a capital commission at this very moment. A big bit of work.
He has the opportunity for a major commission right now. A huge project.
[Uneasily, startled.] Has he?
Has he?
I you would give your consent.
If you agree.
What sort of work do you mean?
What kind of work are you talking about?
[With some hesitation.] He can have the building of that villa out at Lovstrand.
[With some hesitation.] He can have the construction of that villa out at Lovstrand.
That! Why I am going to build that myself.
That! That's why I'm going to build that myself.
Oh you don't much care about doing it.
Oh, you really don't care about doing it.
[Flaring up.] Don't care! Who dares to say that?
[Flaring up.] I don't care! Who has the nerve to say that?
You said so yourself just now.
You just said that.
Oh, never mind what I say.—Would they give Ragnar the building of that villa?
Oh, forget what I said.—Would they let Ragnar build that villa?
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—
Yes. You see, he knows the family. And then—just for fun—he has made drawings and estimates and so on—
Are they pleased with the drawings? The people who will have to live in the house?
Are they happy with the drawings? The people who will have to live in the house?
Yes. If you would only look through them and approve of them—
Yes. If you would just look through them and give your approval—
Then they would let Ragnar build their home for them?
Then they would let Ragnar build their house for them?
They were immensely pleased with his idea. They thought it exceedingly original, they said.
They were really happy with his idea. They said it was incredibly original.
Oho! Original! Not the old-fashioned stuff that I am in the habit of turning out!
Oho! Original! Not the outdated stuff that I usually produce!
It seemed to them different.
It felt different to them.
[With suppressed irritation.] So it was to see Ragnar that they came here—whilst I was out!
[With suppressed irritation.] So they came here to see Ragnar—while I was out!
They came to call upon you—and at the same time to ask whether you would mind retiring—
They came to see you—and at the same time to ask if you would mind stepping away—
[Angrily.] Retire? I?
[Angrily.] Retire? Me?
In case you thought that Ragnar's drawings—
In case you thought that Ragnar's drawings—
I! Retire in favour of your son!
I! Step aside for your son!
Retire from the agreement, they meant.
Retreat from the agreement, they meant.
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!
Oh, it’s all the same. [Laughs angrily.] So that’s how it is, huh? Halvard Solness is supposed to think about retiring now! To make space for younger guys! Maybe even the very youngest! He has to make space! Space! Space!
Why, good heavens! there is surely room for more than one single man—
Why, good heavens! There's definitely room for more than just one single man—
Oh, there's not so very much room to spare either. But, be that as it may—I will never retire! I will never give way to anybody! Never of my own free will. Never in this world will I do that!
Oh, there's not really much extra space either. But still—I will never back down! I will never yield to anyone! Not of my own choice. Never will I do that in this world!
[Rise 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?
[Rise with difficulty.] So, am I supposed to leave this life without any certainty? Without even a hint of happiness? Without any faith or trust in Ragnar? Without having seen a single piece of his work? Is that really how it's going to be?
[Turns half aside, and mutters.] H'm—don't ask more just now.
[Turns half aside, and mutters.] Hmm—don't ask me anything more right now.
I must have an answer to this one question. Am I to pass out of life in such utter poverty?
I need to know the answer to this one question. Am I really going to leave this life in complete poverty?
[Seems to struggle with himself; finally he says, in a low but firm voice:] You must pass out of life as best you can.
[Seems to struggle with himself; finally he says, in a low but firm voice:] You have to get through life as best you can.
Then be it so. [He goes up the room.
Then it's settled. [He goes up to the room.
[Following him, half is desperation.] Don't you understand that I cannot help it? I am what I am, and I cannot change my nature!
[Following him, half is desperation.] Don’t you get that I can’t help it? I am who I am, and I can’t change my nature!
No; I suppose that you can't. [Reels and supports himself against the sofa-table.] May I have a glass of water?
No; I guess you can’t. [He leans on the sofa table.] Can I get a glass of water?
By all means. [Fills a glass and hands it to him.
By all means. [Fills a glass and hands it to him.]
Thanks. [Drinks and puts the glass down again.
Thanks. [He drinks and sets the glass down again.
[SOLNESS goes up and opens the door of the draughtsmen's office.
[SOLNESS goes up and opens the door to the draughtsmen's office.
Ragnar—you must come and take your father home.
Ragnar—you need to come and bring your dad home.
Ragnar rises quickly. He and KAIA come into the work-room.
Ragnar gets up quickly. He and KAIA enter the workroom.
What is the matter, father?
What's wrong, dad?
Give me your arm. Now let us go.
Give me your arm. Now, let's go.
Very well. You had better put your things on, too, Kaia.
Very well. You should get your stuff on, too, Kaia.
Miss Fosli must stay—just for a moment. There is a letter I want written.
Miss Fosli needs to stay—just for a moment. There's a letter I want written.
[Looks at SOLNESS.] Good night. Sleep well—if you can.
[Looks at SOLNESS.] Good night. Sleep well—if you can.
Good night.
Goodnight.
[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.
[BROVIK and RAGNAR exit through the hall door. KAIA approaches the desk. SOLNESS stands with his head down, to the right, by the armchair.
[Dubiously.] Is there any letter?
[Dubiously.] Is there a letter?
[Curtly.] No, of course not. [Looks sternly at her.] Kaia!
[Curtly.] No, of course not. [Looks sternly at her.] Kaia!
[Anxiously, in a low voice.] Yes!
[Anxiously, in a low voice.] Yes!
[Points imperatively to a spot on the floor.] Come here! At once!
[Points imperatively to a spot on the floor.] Come here! Right now!
[Hesitatingly.] Yes.
Sure.
[As before.] Nearer!
[As before.] Closer!
[Obeying.] What do you want with me?
[Obeying.] What do you need from me?
[Looks at her for a while.] Is it you I have to thank for all this?
[Looks at her for a while.] Are you the one I should thank for all of this?
No, no, don't think that!
No, no, don't think like that!
But confess now—you want to get married!
But admit it—you want to get married!
[Softly.] Ragnar and I have been engaged for four or five years, and so—
[Softly.] Ragnar and I have been engaged for four or five years, and so—
And so you think it time there were an end of it. Is not that so?
So you think it’s time to put an end to this. Isn’t that right?
Ragnar and Uncle say I must. So I suppose I shall have to give in.
Ragnar and Uncle say I have to. So I guess I’ll just have to go along with it.
[More gently.] Kaia, don't you really care a little bit for Ragnar, too?
[More gently.] Kaia, don’t you actually care a little bit about Ragnar, too?
I cared very much for Ragnar once—before I came here to you.
I cared a lot for Ragnar once—before I came here to you.
But you don't now? Not in the least?
But you don't now? Not at all?
[Passionately, clasping hands and holding them out towards him.] Oh, you know very well there is only one person I care for now! I shall never care for any one else.
[Passionately, clasping hands and holding them out towards him.] Oh, you know very well there’s only one person I care about now! I’ll never care about anyone else.
Yes, you say that. And yet you go away from me—leave me alone here with everything on my hands.
Yes, you say that. And yet you walk away from me—leave me here all alone with everything to deal with.
But could I not stay with you, even if Ragnar—?
But can I not stay with you, even if Ragnar—?
[Repudiating 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.
[Repudiating the idea.] No, no, that's totally impossible. If Ragnar leaves me and starts working on his own, then, of course, he will need you himself.
[Wringing her hands.] Oh, I feel as if I could not be separated from you! It's quite, quite impossible!
[Wringing her hands.] Oh, I feel like I can't bear to be away from you! It's absolutely, totally impossible!
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 good situation with me. For then I can keep you too, my dear Kaia.
Then make sure you get those silly ideas out of Ragnar's head. Marry him if you want—[Changes his tone.] I mean—don't let him mess up his good job with me. Because then I can keep you as well, my dear Kaia.
Oh yes, how lovely that would be, if it could only be managed!
Oh yes, how wonderful that would be, if it could just be done!
[Clasps her head with his two hands and whispers.] For I cannot get on without you, you see. I must have you with me every single day.
[Clasps her head with his two hands and whispers.] I can't get through this without you, you know. I need you by my side every single day.
[In nervous exaltation.] My God! My God!
[In nervous exaltation.] Oh my God! Oh my God!
[Kisses her hair.] Kaia—Kaia!
[Kisses her hair.] Kaia—Kaia!
[Sinks down before him.] Oh, how good you are to me! How unspeakably good you are!
[Sinks down before him.] Oh, you are so good to me! You’re unbelievably kind!
[Vehemently.] Get up! For goodness' sake get up! I think I hear some one.
Get up! For crying out loud, get up! I think I hear someone.
[He helps her to rise. She staggers over to the desk.
[He helps her get up. She stumbles 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. Dressed with good taste, wholly in black. Speaks some-what slowly and in a plaintive voice.
MRS. SOLNESS enters through the door on the right. She looks frail and worn from grief, but still has hints of past beauty. Blonde curls. Dressed elegantly, entirely in black. Speaks somewhat slowly and in a sad voice.
[In the doorway.] Halvard!
[In the doorway.] Halvard!
[Turns.] Oh, are you there, my dear—?
[Turns.] Oh, are you there, my dear?
[With a glance at KAIA.] I am afraid I am disturbing you.
[With a glance at KAIA.] I'm sorry if I'm interrupting you.
Not in the least. Miss Fosli has only a short letter to write.
Not at all. Miss Fosli just has a brief letter to write.
Yes, so I see.
Got it, I understand.
What do you want with me, Aline?
What do you want from me, Aline?
I merely wanted to tell you that Dr. Herdal is in the drawing-room. Won't you come and see him, Halvard?
I just wanted to let you know that Dr. Herdal is in the living room. Will you come and see him, Halvard?
[Looks suspiciously at her.]. H'm—is the doctor so very anxious to see me?
[Looks suspiciously at her.] Hm—why is the doctor so eager to see me?
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.
Well, not exactly anxious. He actually came to see me, but he would like to say hello to you at the same time.
[Laughs to himself.] Yes, I daresay. Well, you must ask him to wait a little.
[Laughs to himself.] Yes, I suppose so. Well, you should ask him to wait a bit.
Then you will come in presently?
Then you will come in soon?
Perhaps I will. Presently, presently, dear. In a little while.
Perhaps I will. Right now, right now, dear. In a little bit.
[Glancing again at KAIA.] Well now, don't forget, Halvard.
[Glancing again at KAIA.] Well, don't forget, Halvard.
[Withdraws and closes the door behind her.
[Withdraws and closes the door behind her.
[Softly.] Oh dear, oh dear—I am sure Mrs. Solness thinks ill of me in some way!
[Softly.] Oh no, oh no—I’m sure Mrs. Solness thinks poorly of me in some way!
Oh, not in the least. Not more than usual at any rate. But all the same, you had better go now, Kaia.
Oh, not at all. No more than usual, anyway. But still, you should probably go now, Kaia.
Yes, yes, now I must go.
Yes, yes, I have to go now.
[Severely.] And mind you get that matter settled for me. Do you hear?
[Severely.] And make sure you take care of that for me. Do you understand?
Oh, if it only depended on me—
Oh, if it were just up to me—
I will have it settled, I say! And to-morrow too—not a day later!
I’ll get it sorted out, I promise! And tomorrow, too—not a day later!
[Terrified.] If there's nothing else for it, I am quite willing to break off the engagement.
[Terrified.] If there's no other option, I’m totally okay with ending the engagement.
[Angrily.] Break it off. Are you mad? Would you think of breaking it off?
[Angrily.] Cut it out. Are you crazy? Would you even consider ending it?
[Distracted.] Yes, if necessary. For I must—I must stay here with you! I can't leave you! That is utterly—utterly impossible!
[Distracted.] Yes, if I have to. Because I have to—I have to stay here with you! I can't leave you! That is completely—completely impossible!
[With a sudden outburst.] But deuce take it—how about Ragnar then! It's Ragnar that I—
[With a sudden outburst.] But damn it—what about Ragnar then! It's Ragnar that I—
[Looks at him with terrified eyes.] It is chiefly on Ragnar's account, that—that you—?
[Looks at him with terrified eyes.] It's mainly because of Ragnar that—you—?
[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.
[Collecting himself.] No, no, of course not! You don't get me either. [Gently and softly.] Of course it's you I want to keep— you above everything, Kaia. But for that reason, you have to stop Ragnar from messing up his situation. There, there—now go home.
Yes, yes—good-night, then.
Yeah, yeah—goodnight, then.
Good night. [As she is going.] Oh, stop a moment! Are Ragnar's drawings in there?
Good night. [As she is leaving.] Oh, wait a second! Are Ragnar's drawings in there?
I did not see him take them with him.
I didn't see him take them with him.
Then just go and find them for me. I might perhaps glance over them, after all.
Then just go find them for me. I might take a look at them, after all.
[Happy.] Oh yes, please do!
[Happy.] Oh yes, go for it!
For your sake, Kaia dear. Now, let me have them at once, please.
For your sake, dear Kaia. Now, please hand them over to me right away.
[KAIA hurries into the draughtsmen's office, searches anxiously
in the table-drawer, finds a portfolio and brings it with her.
[KAIA rushes into the draftsmen's office, frantically searches in the table drawer, finds a portfolio, and takes it with her.
Here are all the drawings.
Here are all the sketches.
Good. Put them down there on the table.
Good. Set them down on the table there.
[Putting down the portfolio.] Good night, then. [Beseechingly.] And please, please think kindly of me.
[Putting down the portfolio.] Good night, then. [Pleadingly.] And really, please be kind to me.
Oh, that I always do. Good-night, my dear little Kaia. [Glances to the right.] Go, go now!
Oh, I always do. Good night, my sweet little Kaia. [Glances to the right.] Go on now!
MRS. SOLNESS and DR. HERDAL enter by the door on the right. He is a stoutish, elderly man, with a round, good-humoured face, clean shaven, with thin, light hair, and gold spectacles.
MRS. SOLNESS and DR. HERDAL walk in through the door on the right. He is a chubby, older man, with a round, friendly face, clean-shaven, with thin, light hair, and gold glasses.
[Still in the doorway.] Halvard, I cannot keep the doctor any longer.
[Still in the doorway.] Halvard, I can't keep the doctor waiting any longer.
Well then, come in here.
Alright, come in here.
[To KAIA, who is turning down the desk-lamp.] Have you finished the letter already, Miss Fosli?
[To KAIA, who is turning down the desk-lamp.] Have you already finished the letter, Miss Fosli?
[In confusion.] The letter—?
The letter—?
Yes, it was quite a short one.
Yeah, it was really short.
It must have been very short.
It must have been really brief.
You may go now, Miss Fosli. And please come in good time to-morrow morning.
You can go now, Miss Fosli. And please come early tomorrow morning.
I will be sure to. Good-night, Mrs. Solness.
I’ll definitely do that. Good night, Mrs. Solness.
[She goes out by the hall door.
[She walks out through the hall door.
Are you in a hurry, doctor?
Are you in a rush, doctor?
No, not at all.
No, not really.
May I have a little chat with you?
Can we have a quick chat?
With the greatest of pleasure.
With great pleasure.
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?
Then let’s sit down. [He gestures for the doctor to take the rocking chair, and he sits in the armchair. He looks closely at him.] Tell me—did you notice anything strange about Aline?
Do you mean just now, when she was here?
Do you mean just now, when she was here?
Yes, in her manner to me. Did you notice anything?
Yes, in the way she acted around me. Did you notice anything?
[Smiling.] Well, I admit—one couldn't well avoid noticing that your wife—h'm—
[Smiling.] Well, I admit—one couldn't help but notice that your wife—h'm—
DR. HERDAL. —that your wife is not particularly fond of this Miss Fosli.
DR. HERDAL. —that your wife doesn't really like this Miss Fosli.
Is that all? I have noticed that myself.
Is that it? I've noticed that too.
And I must say I am scarcely surprised at it.
And I have to say I'm hardly surprised by that.
At what?
At what?
That she should not exactly approve of your seeing so much of another woman, all day and every day.
That she probably wouldn’t be okay with you spending so much time with another woman, all day, every day.
No, no, I suppose you are right there—and Aline too. But it's impossible to make any change.
No, no, I guess you're right about that—and so is Aline. But it's impossible to make any changes.
Could you not engage a clerk?
Could you not hire a clerk?
The first man that came to hand? No, thank you—that would never do for me.
The first guy that showed up? No way—that just won't work for me.
But now, if your wife—? Suppose, with her delicate health, all this tries her too much?
But now, what if your wife—? What if, with her fragile health, all this is too much for her?
Even then—I might almost say—it can make no difference. I must keep Kaia Fosli. No one else could fill her place.
Even then—I could almost say—it doesn’t really matter. I have to keep Kaia Fosli. No one else could take her place.
No one else?
Anyone else?
[Curtly.] No, no one.
No, nobody.
[Drawing his chair closer.] Now listen to me, my dear Mr. Solness. May I ask you a question, quite between ourselves?
[Drawing his chair closer.] Now listen to me, my dear Mr. Solness. Can I ask you a question, just between us?
By all means.
Go for it.
Women, you see—in certain matters, they have a deucedly keen intuition—
Women, you see—in some situations, they have a remarkably sharp intuition—
They have, indeed. There is not the least doubt of that. But—?
They definitely have. There's no doubt about that. But—?
Well, tell me now—if your wife can't endure this Kaia Fosli—?
Well, tell me now—if your wife can't handle this Kaia Fosli—?
Well, what then?
So, what now?
DR. HERDAL. —may she not have just—just the least little bit of reason for this instinctive dislike?
DR. HERDAL. —may she not have just—just the slightest bit of reason for this instinctive dislike?
[Looks at him and rises.] Oho!
[Looks at him and rises.] Oh!
Now don't be offended—but hasn't she?
Now don't take this the wrong way—but hasn't she?
[With curt decision.] No.
No.
No reason of any sort?
No reason at all?
No other than her own suspicious nature.
No one but her own suspicious nature.
I know you have known a good many women in your time.
I know you have met quite a few women in your life.
Yes, I have.
Yeah, I have.
And have been a good deal taken with some of them, too.
And have been quite taken by some of them, too.
Oh yes, I don't deny it.
Oh yes, I admit it.
But as regards Miss Fosli, then? There is nothing of that sort in this case?
But what about Miss Fosli, then? There's nothing like that in this situation?
No; nothing at all—on my side.
Nope; nothing at all—on my end.
But on her side?
But what about her side?
I don't think you have any right to ask that question, doctor.
I don’t think you have any right to ask that question, doctor.
Well, you know, we were discussing your wife's intuition.
Well, you know, we were talking about your wife's intuition.
So we were. And for that matter—[lowers his voice]—Aline's intuition, as you call it—in a certain sense, it has not been so far astray.
So we were. And for that matter—[lowers his voice]—Aline's intuition, as you call it—in a certain sense, it has not been so far off.
Aha! there we have it!
Aha! There it is!
[Sits down.] Doctor Herdal—I am going to tell you a strange story—if you care to listen to it.
[Sits down.] Doctor Herdal—I’m going to share a strange story with you—if you’re interested in hearing it.
I like listening to strange stories.
I enjoy listening to unusual stories.
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.
Very well then. I dare say you remember that I brought Knut Brovik and his son into my employment—after the old man's business went down the drain.
Yes, so I have understood.
Got it.
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 engaged; 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.
You see, these two are pretty smart guys. Each of them has their own talents. But then the son decided he wanted to get engaged, and of course, the next step was that he wanted to get married—and start building his own life. That's how it goes with all these young people.
[Laughing.] Yes, they have a bad habit of wanting to marry.
[Laughing.] Yeah, they have a really annoying habit of wanting to get married.
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.
Exactly. But of course that didn't fit into my plans; I needed Ragnar for myself—and the old man as well. He's really good at calculating load limits and volume—and all that kind of tricky stuff, you know.
Oh yes, no doubt that's indispensable.
Oh yes, no doubt that's essential.
Yes, it is. But Ragnar was absolutely bent on setting to work for himself. He would hear of nothing else.
Yes, it is. But Ragnar was completely determined to start working for himself. He wouldn’t consider anything else.
But he has stayed with you all the same.
But he has stayed with you regardless.
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 cold only get her into the office here, then perhaps Ragnar too would stay where he is.
Yes, I'll explain how that happened. One day, a girl named Kaia Fosli came to see them on some errand. She had never been here before. And when I saw how completely smitten they were with each other, it hit me: if I could just get her into the office here, maybe Ragnar would also stay where he is.
That was not at all a bad idea.
That wasn't a bad idea at all.
Yes, but at the time I did not breathe a word of what was in my mind. I merely stood and 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.
Yes, but at that moment I didn't say anything about what I was thinking. I just stood there and looked at her, wishing more than anything that she could be here with me. Then I chatted with her a bit, in a friendly manner—about this and that. And then she left.
Well?
Well?
Well then, next day, pretty late in the evening, when old Brovik and Ragnar had gone home, she came here again, and behaved as if I had made an arrangement with her.
Well, the next day, pretty late in the evening, after old Brovik and Ragnar had gone home, she came back here and acted like I had set something up with her.
An arrangement? What about?
An arrangement? What's it about?
About the very thing my mind had been fixed on. But I hadn't said one single word about it.
About the very thing I had been focused on. But I hadn't spoken a single word about it.
That was most extraordinary.
That was truly amazing.
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.
Yes, wasn’t it? And now she wanted to know what she was supposed to do here—whether she could start the very next morning, and so on.
Don't you think she did it in order to be with her sweetheart?
Don't you think she did it to be with her boyfriend?
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 me.
That was what I thought at first. But no, that wasn't it. She seemed to drift far away from him—after she had come here to me.
She drifted over to you, then?
She floated over to you, then?
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?
Yes, absolutely. If I happen to glance at her when she's not looking, I can tell that she senses it. She shivers and shakes the moment I approach her. What do you think of that?
H'm—that's not very hard to explain.
Hmm—that's not too difficult to explain.
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 myself? What do you say to that? Can you explain that, Dr. Herdal?
Well, what about the other thing? That she thought I had told her what I had only hoped and wanted—quietly—inside myself? What do you think of that? Can you explain that, Dr. Herdal?
No, I won't undertake to do that.
No, I’m not going to do that.
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, pretending—. And it's a shame to treat her so, too, poor girl. [Vehemently.] But I cannot do anything else. For if she runs away from me—then Ragnar will be off too.
I was sure you wouldn’t, so I never wanted to discuss it until now. But it’s really frustrating for me in the long run, you know? I have to keep pretending every single day. And it’s unfair to treat her like this, the poor girl. [Vehemently.] But I have no other choice. If she leaves me—then Ragnar will be gone too.
And you have not told your wife the rights of the story?
And you haven't told your wife the true story?
No.
No.
The why on earth don't you?
The why on earth don’t you?
[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.
[Looks fixedly at him, and says in a low voice:] Because I feel like there's a kind of—healthy self-torture in letting Aline treat me unfairly.
[Shakes his head.] I don't in the least understand what you mean.
[Shakes his head.] I don’t understand at all what you mean.
Well, you see—it is like paying off a little bit of a huge, immeasurable debt—
Well, you see—it’s like paying off a small part of a massive, unpayable debt—
To your wife?
To your spouse?
Yes; and that always helps to relieve one's mind a little. One can breathe more freely for a while, you understand.
Yes; and that always helps to clear your mind a bit. You can breathe a little easier for a while, you know.
No, goodness knows, I don't understand at all—
No, honestly, I don't understand at all—
[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 suppose you think you have drawn me out nicely now, doctor?
[Breaking off, rises again.] Well, well, well—then we won't discuss it any further. [He strolls across the room, comes back, and stops next to the table. Looks at the doctor with a sly smile.] I guess you think you've got me to open up nicely now, doctor?
[With some irritation.] Drawn you out? Again I have not the faintest notion of what you mean, Mr. Solness.
[With some irritation.] Drawn you out? Once again, I have no idea what you're talking about, Mr. Solness.
Oh come, out with it; I have seen it quite clearly, you know.
Oh come on, just say it; I can see it clearly, you know.
What have you seen?
What have you witnessed?
[In a low voice, slowly.] That you have been quietly keeping an eye upon me.
[In a low voice, slowly.] That you've been quietly watching me.
That I have! And why in all the world should I do that?
That I have! And why on earth should I do that?
Because you think that I—— [Passionately.] Well devil take it—you think the same of me as Aline does.
Because you think that I—— [Passionately.] Well, damn it—you think the same way about me as Aline does.
And what does she think about you?
And what does she think of you?
[Having recovered his self-control.] She has begun to think that I am—that I am—ill.
[Having recovered his self-control.] She has started to think that I am—that I am—sick.
Ill! You! She has never hinted such a thing to me. Why, what can she think is the matter with you?
Ill! You! She has never suggested anything like that to me. What could she possibly think is wrong with you?
[Leans over the back of the chair and whispers.] Aline has made up her mind that I am mad. That is what she thinks.
[Leans over the back of the chair and whispers.] Aline has decided that I’m crazy. That’s what she believes.
[Rising.] Why, my dear fellow—!
[Rising.] Why, my friend—!
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.
Yes, I swear she does! I'm telling you it's true. And she has convinced you to believe the same! Oh, I can definitely see it on your face, doctor, as clearly as day. You don't fool me so easily, I can assure you.
[Looks at him in amazement.] Never, Mr. Solness—never has such a thought entered my mind.
[Looks at him in amazement.] Never, Mr. Solness—never has such a thought crossed my mind.
[With and incredulous smile.] Really? Has it not?
[With an incredulous smile.] Really? Has it not?
No, never! Nor your wife's mind either, I am convinced. I could almost swear to that.
No way! I’m sure your wife feels the same. I could almost bet on it.
Well, I wouldn't advise you to. For, in a certain sense, you see, perhaps—perhaps she is not so far wrong in thinking something of the kind.
Well, I wouldn't recommend it. Because, in a way, you see, maybe — maybe she's not entirely wrong in thinking something like that.
Come now, I really must say—
Come on, I really have to say—
[Interrupting, with a sweep 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—
[Interrupting, with a sweep of his hand.] Well, well, my dear doctor—let's not talk about this any longer. It’s best we just agree to disagree. [Changes to a tone of quiet amusement.] But look here now, doctor—h'm—
Well?
Well?
Since you don't believe that I am—ill—and crazy—and mad, and so forth—
Since you don't believe that I'm ill—and crazy—and mad, and so on—
What then?
What now?
Then I daresay you fancy that I am an extremely happy man.
Then I guess you think I'm an incredibly happy man.
Is that mere fancy?
Is that just a whim?
[Laughs.] No, no—of course not! Heaven forbid! Only think—to be Solness the master builder! Halvard Solness! What could be more delightful?
[Laughs.] No, no—definitely not! Heaven forbid! Just imagine—to be Solness the master builder! Halvard Solness! What could be more amazing?
Yes, I must say it seems to me you have had the luck on your side to an astounding degree.
Yes, I have to say it looks like you've had incredible luck on your side.
[Suppresses a gloomy smile.] So I have. I can't complain on that score.
[Suppresses a gloomy smile.] So I have. I can't complain about that.
First of all that grim old robbers' castle was burnt down for you. And that was certainly a great piece of luck.
First of all, that grim old robbers' castle was burned down for you. And that was definitely a lucky break.
[Seriously.] It was the home of Aline's family. Remember that.
[Seriously.] It was Aline's family home. Keep that in mind.
Yes, it must have been a great grief to her.
Yes, it must have been a great sorrow for her.
She has not got over it to this day—not in all these twelve or thirteen years.
She hasn't gotten over it to this day—not in all these twelve or thirteen years.
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.
But you—you yourself—rose from the ruins. You started as a poor boy from a small village—and now you’re at the top of your field. Ah, yes, Mr. Solness, you’ve certainly had luck on your side.
[Looking at him with embarrassment.] Yes, but that is just what makes me so horribly afraid.
[Looking at him with embarrassment.] Yeah, but that's exactly what scares me so much.
Afraid? Because you have the luck on your side!
Afraid? Because luck is on your side!
It terrifies me—terrifies me every hour of the day. For sooner or later the luck must turn, you see.
It scares me—scares me every hour of the day. Because sooner or later, luck has to change, you know.
Oh nonsense! What should make the luck turn?
Oh come on! What would make the luck change?
[With firm assurance.] The younger generation!
[With firm assurance.] The younger generation!
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.
Pooh! The younger generation! I hope you're not put on the back burner just yet. Oh no—your place here is probably stronger now than it's ever been.
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—! Yes, just you see, doctor—presently the younger generation will come knocking at my door—
The luck will change. I know it—I can feel the day coming. Someone will get the idea to say: Give me a chance! And then everyone else will come running after him, shaking their fists at me and shouting: Move over—move over—! Yes, just wait and see, doctor—soon the younger generation will be knocking at my door—
[Laughing.] Well, and what if they do?
[Laughing.] Well, what if they do?
What if they do? Then there's an end of Halvard Solness.
What if they do? Then that's the end of Halvard Solness.
[There is a knock at the door on the left.
[There’s a knock at the door on the left.
[Starts.] What's that? Did you not hear something?
[Starts.] What's that? Didn't you hear something?
Some one is knocking at the door.
Someone is knocking at the door.
[Loudly.] Come in.
[Shouting.] Come in.
HILDA WANGEL enters by the hall door. She is of middle height, supple, and delicately built. Somewhat 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.
[Goes straight up to SOLNESS, her eyes sparkling with happiness.] Good evening!
[Goes straight up to SOLNESS, her eyes sparkling with happiness.] Hey there!
[Looks doubtfully at her.] Good evening—
[Looks doubtfully at her.] Good evening—
[Laughs.] I almost believe you don't recognise me!
[Laughs.] I can hardly believe you don't recognize me!
No—I must admit that—just for the moment—
No—I have to admit that—just for a moment—
[Approaching.] But I recognise you, my dear young lady—
[Approaching.] But I recognize you, my dear young lady—
[Pleased.] Oh, is it you that—
[Pleased.] Oh, is it you—
Of course it is. [To SOLNESS.] We met at one of the mountain stations this summer. [To HILDA.] What became of the other ladies?
Of course it is. [To SOLNESS.] We ran into each other at one of the mountain resorts this summer. [To HILDA.] What happened to the other ladies?
Oh, they went westward.
Oh, they headed west.
They didn't much like all the fun we used to have in the evenings.
They didn’t really enjoy all the fun we used to have in the evenings.
No, I believe they didn't.
No, I don’t think so.
[Holds up his finger at her.] And I am afraid it can't be denied that you flirted a little with us.
[Holds up his finger at her.] And I'm afraid it can't be denied that you flirted a bit with us.
Well, that was better fun than to sit there knitting stockings with all those old women.
Well, that was way more fun than sitting there knitting stockings with all those old ladies.
[Laughs.] There I entirely agree with you!
[Laughs.] I completely agree with you!
Have you come to town this evening?
Have you come to town this evening?
Yes, I have just arrived.
Yep, I just got here.
Quite alone, Miss Wangel?
All alone, Miss Wangel?
Oh yes!
Oh definitely!
Wangel? Is your name Wangel?
Wangel? Is your name Wangel?
[Looks in amused surprise at him.] Yes, of course it is.
[Looks in amused surprise at him.] Yeah, of course it is.
Then you must be a daughter of the district doctor up at Lysanger?
Then you must be the daughter of the local doctor in Lysanger?
[As before.] Yes, who else's daughter should I be?
Yes, whose daughter should I be if not my own?
Oh, then I suppose we met up there, that summer when I was building a tower on the old church.
Oh, I guess we met up there that summer when I was building a tower on the old church.
[More seriously.] Yes, of course it was then we met.
[More seriously.] Yes, of course that’s when we met.
Well, that is a long time ago.
Well, that was a long time ago.
[Looks hard at him.] It is exactly ten years.
[Looks hard at him.] It's been exactly ten years.
You must have been a mere child then, I should think.
You must have been just a kid back then, I guess.
[Carelessly.] Well, I was twelve or thirteen.
[Carelessly.] Well, I was about twelve or thirteen.
Is this the first time you have ever been up to town, Miss Wangel?
Is this your first time visiting the city, Miss Wangel?
Yes, it is indeed.
Yeah, it definitely is.
And don't you know any one here?
And don’t you know anyone here?
Nobody but you. And of course, your wife.
Nobody but you. And of course, your wife.
So you know her, too?
So you know her, right?
Only a little. We spent a few days together at the sanatorium.
Only a little. We spent a few days together at the hospital.
Ah, up there?
Oh, up there?
She said I might come and pay her a visit if ever I came up to town. [Smiles.] Not that that was necessary.
She said I could come and visit her if I ever came to town. [Smiles.] Not that it was needed.
Odd that she should never have mentioned it.
Odd that she never brought it up.
[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 sets her stick down by the stove, takes off the backpack, and places it along with the blanket on the sofa. DR. HERDAL offers to assist her. SOLNESS stands and watches her.]
[Going towards him.] Well, now I must ask you to let me stay the night here.
[Going towards him.] Well, I need to ask you if I can stay the night here.
I am sure there will be no difficulty about that.
I'm sure that won't be a problem.
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.
For I have no other clothes besides what I'm wearing, except for a change of underwear in my bag. And that needs to be washed because it's really dirty.
Oh yes, that can be managed. Now I'll just let my wife know—
Oh yeah, I can handle that. I'll just inform my wife—
Meanwhile I will go and see my patient.
Meanwhile, I’ll go check on my patient.
Yes, do; and come again later on.
Yes, do that, and come back later.
[Playfully, with a glance at HILDA.] Oh that I will, you may be very certain! [Laughs.] So your prediction has come true, Mr. Solness!
[Playfully, with a glance at HILDA.] Oh, you can count on that! [Laughs.] So your prediction has come true, Mr. Solness!
How so?
How's that?
The younger generation did come knocking at your door.
The younger generation did come knocking at your door.
[Cheerfully.] Yes, but in a very different way from what I meant.
[Cheerfully.] Yes, but in a completely different way than what I intended.
Very different, yes. That's undeniable.
Totally different, for sure.
[He goes out by the hall-door. SOLNESS opens the door on the
right and speaks into the side room.
[He exits through the hall door. SOLNESS opens the door on the right and speaks into the side room.
Aline! Will you come in here, please. Here is a friend of yours—Miss Wangel.
Aline! Can you come in here, please? Here’s a friend of yours—Miss Wangel.
[Appears in the doorway.] Who do you say it is? [Sees HILDA.]. Oh, is it you, Miss Wangel?
[Appears in the doorway.] Who do you think it is? [Sees HILDA.] Oh, it's you, Miss Wangel?
Miss Wangel has this moment arrived; and she would like to stay the night here.
Miss Wangel has just arrived, and she would like to stay the night here.
Here with us? Oh yes, certainly.
Here with us? Oh yeah, for sure.
Till she can get her things a little in order, you know.
Until she can get her stuff a bit more organized, you know.
I will do the best I can for you. It's no more than my duty. I suppose your trunk is coming on later?
I’ll do my best for you. It’s just my duty. I assume your trunk is arriving later?
I have no trunk.
I have no tree trunk.
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 more comfortable for you.
Well, I think it will be fine, I assure you. In the meantime, please excuse me for leaving you here with my husband until I can prepare a room that's a bit more comfortable for you.
Can we not give her one of the nurseries? They are all ready as it is.
Can’t we give her one of the nurseries? They’re all set up already.
Oh yes. There we have room and to spare. [To HILDA.] Sit down now, and rest a little. [She goes out to the right.
Oh yes. We have plenty of room. [To HILDA.] Go ahead and sit down for a bit. [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, with her hands behind her back, walks around the room
and looks at different objects. SOLNESS stands in front, next to
the table, also with his hands behind his back, and watches
her with his eyes.[Stops and looks at him.] Have you several nurseries?
[Stops and looks at him.] Do you have several nurseries?
There are three nurseries in the house.
There are three nurseries in the house.
That's a lot. Then I suppose you have a great many children?
That's a lot. So, I guess you have a lot of kids?
No. We have no child. But now you can be the child here, for the time being.
No. We don't have a child. But for now, you can be the child here.
For to-night, yes. I shall not cry. I mean to sleep as sound as a stone.
For tonight, yes. I won’t cry. I plan to sleep like a rock.
Yes, you must be very tired, I should think.
Yes, you must be really tired, I bet.
Oh no! But all the same—. It's so delicious to lie and dream.
Oh no! But still—. It’s so nice to lie down and dream.
Do you dream much of nights?
Do you dream a lot at night?
Oh yes! Almost always.
Oh yeah! Almost always.
What do you dream about most?
What do you dream about the most?
I sha'n't tell you to-night. Another time perhaps.
I won't tell you tonight. Maybe another time.
[She again strolls about the room, stops at the desk and turns
over the books and papers a little.
[She walks around the room again, stops at the desk, and casually flips through the books and papers a bit.
[Approaching.] Are you searching for anything?
[Approaching.] Are you looking for something?
No, I am merely looking at all these things. [Turns.] Perhaps I mustn't?
No, I'm just checking all these things out. [Turns.] Maybe I shouldn’t?
Oh, by all means.
Sure, go ahead.
Is it you that writes in this great ledger?
Is it you who writes in this huge ledger?
No, it's my book-keeper.
No, it's my accountant.
Is it a woman?
Is it a female?
[Smiles.] Yes.
[Smiles.] Yep.
One you employ here, in your office?
One you have working here in your office?
Yes.
Yes.
Is she married?
Is she married?
No, she is single.
No, she's single.
Oh, indeed!
Oh, definitely!
But I believe she is soon going to be married.
But I think she’s going to get married soon.
That's a good thing for her.
That's a good thing for her.
But not such a good thing for me. For then I shall have nobody to help me.
But that’s not so great for me. Because then I'll have no one to help me.
Can't you get hold of some one else who will do just as well?
Can't you find someone else who will do just as well?
Perhaps you would stay here and—and write in the ledger?
Maybe you could stay here and write in the ledger?
[Measures him with a glance.] Yes, I daresay! No, thank you—nothing of that sort for me.
[Measures him with a glance.] Yes, I bet! No, thanks—nothing like that for me.
[She again strolls across the room, and sits down on the
rocking-chair. SOLNESS too goes to the table.
[She walks across the room again and sits down in the rocking chair. SOLNESS also goes to the table.
[Continuing.] For there must surely be plenty of other thing to be done here. [Looks smilingly at him.] Don't you think so, too?
[Continuing.] There has to be a lot of other things to do here. [Looks smilingly at him.] Don't you think so, too?
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.
Of course. First of all, I guess you want to hit the shops and get yourself looking stylish.
[Amused.] No, I think I shall let that alone!
[Amused.] No, I think I’ll pass on that!
Indeed?
Really?
For you must know I have run through all my money.
For you should know that I've spent all my money.
[Laughs.] Neither trunk nor money, then?
[Laughs.] So, no trunk or money, then?
Neither one nor the other. But never mind—it doesn't matter now.
Neither one nor the other. But whatever—it doesn't matter now.
Come now, I like you for that.
Come on, I appreciate you for that.
Only for that?
Is that all?
For that among other things. [Sits in the arm-chair.] Is your father alive still?
For that and other reasons. [Sits in the armchair.] Is your father still alive?
Yes, father's alive.
Yes, dad's alive.
Perhaps you are thinking of studying here?
Maybe you're thinking about studying here?
No, that hadn't occurred to me.
No, I hadn't thought of that.
But I suppose you will be staying for some time?
But I guess you'll be staying for a while?
That must depend upon circumstances.
That probably depends on circumstances.
[She sits awhile rocking herself and looking at him, half
seriously, half with a suppressed smile. Then she takes
off her hat and puts it on the table in front of her.
[She sits for a bit, rocking herself and watching him, half serious, half suppressing a smile. Then she takes off her hat and places it on the table in front of her.
Mr. Solness!
Mr. Solness!
Well?
Well?
Have you a very bad memory?
Do you have a really bad memory?
A bad memory? No, not that I am aware of.
A bad memory? Not that I know of.
Then have you nothing to say to me about what happened up there?
Then do you have nothing to say to me about what happened up there?
[In momentary surprise.] Up at Lysanger? [Indifferently.] Why, it was nothing much to talk about it seems to me.
[In momentary surprise.] Up at Lysanger? [Indifferently.] Well, it doesn’t seem like a big deal to me.
[Looks reproachfully at him.] How can you sit there and say such things?
[Looks at him disapprovingly.] How can you just sit there and say that?
Well, then, you talk to me about it.
Well, then, you talk to me about it.
When the tower was finished, we had grand doings in the town.
When the tower was finished, we had a big celebration in town.
Yes, I shall not easily forget that day.
Yes, I won't easily forget that day.
[Smiles.] Will you not? That comes well from you.
[Smiles.] Will you not? That's rich coming from you.
Comes well?
All good?
There was music in the churchyard—and many, many hundreds of people. We school-girls were dressed in white; and we all carried flags.
There was music in the graveyard—and there were many, many hundreds of people. We schoolgirls were dressed in white, and we all carried flags.
Ah yes, those flags—I can tell you I remember them!
Ah yes, those flags—I remember them well!
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.
Then you climbed up the scaffolding, all the way to the top; and you had a beautiful wreath with you; and you hung that wreath up on the weather vane right away.
[Curtly interrupting.] I always did that in those days. It is an old custom.
[Curtly interrupting.] I always did that back then. It’s an old habit.
It was so wonderfully thrilling to stand below and look up at you. Fancy, if he should fall over! He—the master builder himself!
It was incredibly exciting to stand below and look up at you. Imagine if he fell! He—the master builder himself!
[As if to divert her from the subject.] Yes, yes, yes, that might very will have happened, too. For one of those white-frocked little devils,—she went on in such a way, and screamed up at me so—
[As if to divert her from the subject.] Yes, yes, yes, that might very well have happened, too. For one of those little devils in white frocks,—she went on like that and screamed up at me so—
[Sparkling with pleasure.] "Hurrah for Master Builder Solness!" Yes!
[Sparkling with pleasure.] "Hooray 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.
SOLNESS. —and waved and flourished with her flag, so that I—so that it almost made me dizzy to look at it.
[In a lower voice, seriously.] That little devil—that was I.
[In a lower voice, seriously.] That little devil—that was I.
[Fixes his eyes steadily upon her.] I am sure of that now. It must have been you.
[Fixes his eyes steadily upon her.] I'm sure of that now. It had to be you.
[Lively again.] Oh, it was so gloriously thrilling! 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.
[Lively again.] Oh, it was so incredibly exciting! I never would have believed there was a builder in the whole world who could create such an unbelievably tall tower. And then, for you to stand at the very top of it, as real as can be! And for you not to feel even a little dizzy! That was the most amazing part—it really made you dizzy just to think about it.
How could you be so certain that I was not?
How could you be so sure that I wasn’t?
[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.
[Scouting the idea.] No way! Oh no! I knew that right away. Because if you had been, you wouldn’t have been able to stand up there and sing.
[Looks at her in astonishment.] Sung? Did I sing?
[Looks at her in surprise.] Sung? Did I really sing?
Yes, I should think you did.
Yes, I think you did.
[Shakes his head.] I have never sung a note in my life.
[Shakes his head.] I've never sung a note in my life.
Yes, indeed, you sang then. It sounded like harps in the air.
Yes, you definitely sang back then. It sounded like harps in the sky.
[Thoughtfully.] This is very strange—all this.
[Thoughtfully.] This is really odd—all of this.
[Is silent awhile, looks at him and says in a low voice:] But then,—it was after that—that the real thing happened.
[Is silent awhile, looks at him and says in a low voice:] But then—it was after that—that the real thing happened.
The real thing?
The real deal?
[Sparking with vivacity.] Yes, I surely don't need to remind you of that?
[Sparking with vivacity.] Yes, I definitely shouldn't have to remind you of that, right?
Oh yes do remind me a little of that, too.
Oh yes, remind me of that a bit, too.
Don't you remember that a great dinner was given in your honour at the Club?
Don't you remember that a big dinner was held in your honor at the Club?
Yes, to be sure. It must have been the same afternoon, for I left the place next morning.
Yes, for sure. It must have been the same afternoon because I left the place the next morning.
And from the Club you were invited to come round to our house to supper.
And from the Club, you were invited to come over to our house for dinner.
Quite right, Miss Wangel. It is wonderful how all these trifles have impressed themselves on your mind.
Quite right, Miss Wangel. It's amazing how all these little things have made such an impression on your mind.
Trifles! I like that! Perhaps it was a trifle, too, that I was alone in the room when you came in?
Trifles! I like that! Maybe it was a small thing that I was alone in the room when you came in?
Were you alone?
Were you by yourself?
[Without answering him.] You didn't call me a little devil then?
[Without answering him.] You didn't call me a little troublemaker then?
No, I suppose I did not.
No, I think I didn't.
You said I was lovely in my white dress, and that I looked like a little princess.
You said I looked beautiful in my white dress and that I resembled a little princess.
I have no doubt you did, Miss Wangel.—And besides—I was feeling so buoyant and free that day—
I have no doubt you did, Miss Wangel.—And besides—I was feeling so light and carefree that day—
And then you said that when I grew up I should be your princess.
And then you said that when I grew up, I should be your princess.
[Laughing a little.] Dear, dear—did I say that too?
[Laughing a little.] Oh my, did I really say that too?
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.
Yes, you did. And when I asked how long I should wait, you said you would come back in ten years—like a troll—and take me away—to Spain or somewhere like that. And you promised you would get me a kingdom there.
[As before.] Yes, after a good dinner one doesn't haggle about the halfpence. But did I really say all that?
[As before.] Yes, after a nice dinner, nobody debates over the pennies. But did I really say all that?
[Laughs to herself.] Yes. And you told me, too, what the kingdom was to be called.
[Laughs to herself.] Yes. And you also told me what the kingdom would be named.
Well, what was it?
So, what was it?
It was to be called the kingdom of Orangia,* you said.
It was supposed to be called the kingdom of Orangia,* you said.
*In the original "Appelsinia," "appelsin" meaning "orange."
*In the original "Appelsinia," "appelsin" means "orange."
Well, that was an appetising name.
Well, that was a tasty name.
No, I didn't like it a bit; for it seemed as though you wanted to make game of me.
No, I didn't like it at all; it felt like you were trying to make a fool out of me.
I am sure that cannot have been my intention.
I’m sure that couldn’t have been my intention.
No, I should hope not—considering what you did next—
No, I really hope not—especially after what you did next—
What in the world did I do next?
What on earth did I do next?
Well, that's the finishing touch, if you have forgotten that too. I should have thought no one could help remembering such a thing as that.
Well, that's the final detail, in case you forgot that too. I figured no one could possibly forget something like that.
Yes, yes, just give me a hint, and then perhaps—— Well?
Yes, yes, just give me a clue, and then maybe—— Well?
[Looks fixedly at him.] You came and kissed me, Mr. Solness.
[Looks fixedly at him.] You came and kissed me, Mr. Solness.
[Open-mouthed.] I did!
[Jaw dropped.] I did!
Yes, indeed you did. You took me in both your arms, and bent my head back, and kissed me—many times.
Yes, you really did. You pulled me into your arms, tilted my head back, and kissed me—over and over.
Now really, my dear Miss Wangel—!
Now really, my dear Miss Wangel—!
[Rises.] You surely cannot mean to deny it?
[Rises.] You can't seriously be denying it, can you?
Yes, I do. I deny it altogether!
Yes, I do. I completely deny it!
[Looks scornfully at him.] Oh, indeed!
[Looks scornfully at him.] Oh, really!
[She turns and goes slowly up to the stove, where she remains
standing motionless, her face averted from him, her hands
behind her back. Short pause.
[She turns and slowly walks up to the stove, where she stands still, her face turned away from him, her hands behind her back. Short pause.
[Goes cautiously up behind her.] Miss Wangel—!
[Goes cautiously up behind her.] Miss Wangel—!
[Is silent and does not move.]
[Is silent and does not move.]
Don't stand there like a statue. You must have dreamt all this. [Lays his hand on her arm.] Now just listen—
Don't just stand there like a statue. You must have dreamed all of this. [Lays his hand on her arm.] Now just listen—
[Makes an impatient movement with her arm.]
[Makes an impatient movement with her arm.]
[As a thought flashes upon him.] Or—! Wait a moment! There is something under all this, you may depend!
[As a thought flashes upon him.] Or—! Hold on! There's definitely something behind all this, you can count on it!
[Does not move.]
[Does not move.]
[In a low voice, but with emphasis.] I must have thought all that. I must have wished it—have willed it—have longed to do it. And then—. May not that be the explanation.
[In a low voice, but with emphasis.] I must have thought all of that. I must have wished for it—wanted it—longed to do it. And then—. Could that be the explanation?
[Is still silent.]
[Is still quiet.]
[Impatiently.] Oh very well, deuce take it all—then I did do it, I suppose.
[Impatiently.] Oh fine, whatever—then I guess I did it, huh?
[Turns her head a little, but without looking at him.] Then you admit it now?
[Turns her head a little, but without looking at him.] So, you’re admitting it now?
Yes—whatever you like.
Sure—whatever you want.
You came and put your arms round me?
You came and hugged me?
Oh yes!
Oh, definitely!
And bent my head back?
And tilted my head back?
Very far back.
Way back.
And kissed me?
And kissed me?
Yes, I did.
Yeah, I did.
Many times?
Many times?
As many as ever you like.
As many as you need.
[Turns quickly toward him and has once more the sparkling expression of gladness in her eyes.] Well, you see, I got it out of you at last!
[Turns quickly toward him and has once more the sparkling expression of gladness in her eyes.] Well, you see, I finally got it out of you!
[With a slight smile.] Yes—just think of my forgetting such a thing as that.
[With a slight smile.] Yes—just imagine me forgetting something like that.
[Again a little sulky, retreats from him.] Oh, you have kissed so many people in your time, I suppose.
[Again a little sulky, retreats from him.] Oh, I guess you've kissed a lot of people in your time.
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!
No, you shouldn't think that about me. [HILDA sits down in the armchair. SOLNESS stands and leans against the rocking chair, watching her closely.] Miss Wangel!
Yes!
Absolutely!
How was it now? What came of all this—between us two.
How is it now? What came of all this—between the two of us?
Why, nothing more came of it. You know that quite well. For then the other guests came in, and then—bah!
Why, nothing more came of it. You know that very well. Then the other guests arrived, and then—ugh!
Quite so! The others came in. To think of my forgetting that too!
Right! The others came in. I can’t believe I forgot that too!
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.
Oh, you haven't really forgotten anything; you're just a bit ashamed of it all. I'm sure people don't forget things like that.
No, one would suppose not.
No, I wouldn't think so.
[Lively again, looks at him.] Perhaps you have even forgotten what day it was?
[Lively again, looks at him.] Maybe you've even forgotten what day it is?
What day—?
What day is it?
Yes, on what day did you hang the wreath on the tower? Well? Tell me at once!
Yes, what day did you hang the wreath on the tower? Come on! Tell me right now!
H'm—I confess I have forgotten the particular day. I only know it was ten years ago. Some time in autumn.
H'm—I admit I've forgotten the exact day. I only know it was ten years ago. Sometime in the fall.
[Nods her head slowly several times.] It was ten years ago—on the 19th of September.
[Nods her head slowly several times.] It was ten years ago—on September 19th.
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 today.
Yes, it must have been around that time. Can you believe you remember that too! [Stops.] But hold on a second—! Yes—it's September 19th today.
Yes, it is; and the ten years are gone. And you didn't come—as you had promised me.
Yes, it is; and ten years have passed. And you didn't come—as you promised me.
Promised you? Threatened, I suppose you mean?
Promised you? I guess you mean threatened?
I don't think there was any sort of threat in that.
I don't think there was any kind of threat in that.
Well then, a little bit of fun.
Well then, let’s have some fun.
Was that all you wanted? To make fun of me?
Was that all you wanted? To mock me?
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.
Well, just to have a little fun with you. Honestly, I don't remember. But it must have been something like that because you were just a kid back then.
Oh, perhaps I wasn't quite such a child either. Not such a mere chit as you imagine.
Oh, maybe I wasn't really just a child either. Not such a simple little thing as you think.
[Looks searchingly at her.] Did you really and seriously expect me to come again?
[Looks searchingly at her.] Did you honestly expect me to come back?
[Conceals a half-teasing smile.] Yes, indeed! I did expect that of you.
[Conceals a half-teasing smile.] Yes, definitely! I did expect that from you.
That I should come back to your home, and take you away with me?
That I should return to your place and take you with me?
Just like a troll—yes.
Just like a troll—yep.
And make a princess of you?
And turn you into a princess?
That's what you promised.
That's what you said you'd do.
And give you a kingdom as well?
And give you a kingdom too?
[Looks up at the ceiling.] Why not? Of course it need not have been an actual, every-day sort of a kingdom.
[Looks up at the ceiling.] Why not? It doesn’t have to be a real, everyday kind of kingdom.
But something else just as good?
But is there something else just as good?
Yes, at least as good. [Looks 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.
Yes, at least as good. [Looks at him for a moment.] I figured if you could build the tallest church towers in the world, you could definitely create a kingdom of some kind as well.
[Shakes his head.] I can't quite make you out, Miss Wangel.
[Shakes his head.] I really can’t figure you out, Miss Wangel.
Can you not? To me it seems all so simple.
Can you not? To me, it all seems so simple.
No, I can't make up my mind whether you mean all you say, or are simply having a joke with me.
No, I can't decide if you're serious about everything you say or if you’re just messing with me.
[Smiles.] Making fun of you, perhaps? I, too?
[Smiles.] Am I teasing you, maybe? Me too?
Yes, exactly. Making fun—of both of us. [Looks at her.] Is it long since you found out that I was married?
Yes, that's right. Making fun of both of us. [Looks at her.] Has it been a while since you found out that I was married?
I have know it all along. Why do you ask me that?
I’ve known it all along. Why are you asking me that?
[Lightly.] Oh, well, it just occurred to me. [Looks earnestly at her, and says in a low voice.] What have you come for?
[Lightly.] Oh, well, I just realized something. [Looks earnestly at her and says in a low voice.] What are you here for?
I want my kingdom. The time is up.
I want my kingdom. The time has come.
[Laughs involuntarily.] What a girl you are!
[Laughs involuntarily.] What a girl you are!
[Gaily.] Out with my kingdom, Mr. Solness! [Raps with her fingers.] The kingdom on the table!
[Gaily.] Out with my kingdom, Mr. Solness! [Knocks with her fingers.] The kingdom is on the table!
[Pushing the rocking-chair nearer and sitting down.] Now, seriously speaking—what have you come for? What do you really want to do here?
[Pushing the rocking chair closer and sitting down.] Now, let’s be honest—what have you come for? What do you actually want to do here?
Oh, first of all, I want to go round and look at all the things that you have built.
Oh, first of all, I want to go around and check out all the things that you've built.
That will give you plenty of exercise.
That will give you a lot of exercise.
Yes, I know you have built a tremendous lot.
Yes, I know you have built a huge amount.
I have indeed—especially of late years.
I really have—especially in recent years.
Many church-towers among the rest? Immensely high ones?
Many church towers among the others? Really tall ones?
No. I build no more church-towers now. Nor churches either.
No, I don’t build church towers anymore. Nor churches, either.
What do you build then?
What do you create then?
Homes for human beings.
Homes for people.
[Reflectively.] Couldn't you build a little—a little bit of a church-tower over these homes as well?
[Reflectively.] Couldn't you put up a small—just a small church tower over these homes too?
[Starting.] What do you mean by that?
[Starting.] What do you mean by that?
I mean—something that points—points up into the free air. With the vane at a dizzy height.
I mean—something that points—points up into the open air. With the vane at a dizzying height.
[Pondering a little.] Strange that you should say that—for that is just what I am most anxious to do.
[Pondering a little.] It's odd that you would say that—because that's exactly what I've been most eager to do.
[Impatiently.] Why don't you do it, then?
[Impatiently.] Why don’t you just do it, then?
[Shakes his head.] No, the people will not have it.
[Shakes his head.] No, the people won't accept it.
Fancy their not wanting it!
Can't believe they don't want it!
[More lightly.] But now I am building a new home for myself—just opposite here.
[More lightly.] But now I'm building a new home for myself—right across from here.
For yourself?
For you?
Yes. It is almost finished. And on that there is a tower.
Yes. It's almost done. And on that, there’s a tower.
A high tower?
A tall tower?
Yes.
Yes.
Very high?
Really high?
No doubt people will say it is too high—too high for a dwelling-house.
No doubt people will say it's too high—too high for a house.
I'll go out to look at that tower first thing to-morrow morning.
I'll go check out that tower first thing tomorrow morning.
[Sits resting his cheek on his hand, and gazes at her.] Tell me, Miss Wangel—what is your name? Your Christian name, I mean.
[Sits resting his cheek on his hand, and gazes at her.] Tell me, Miss Wangel—what's your name? I mean your first name.
Why, Hilda, of course.
Of course, Hilda.
[As before.] Hilda? Indeed?
Hilda? Really?
Don't you remember that? You called me Hilda yourself—that day when you misbehaved.
Don't you remember that? You called me Hilda yourself—that day when you acted out.
Did I really.
Did I really?
But then you said "little Hilda"; and I didn't like that.
But then you called me "little Hilda"; and I didn't like that.
Oh, you didn't like that, Miss Hilda?
Oh, you didn't like that, Miss Hilda?
No, not at such a time as that. But—"Princess Hilda"—that will sound very well, I think.
No, not at a time like that. But—"Princess Hilda"—I think that will sound great.
Very well indeed. Princess Hilda of—of—what was to be the name of the kingdom?
Very well then. Princess Hilda of—of—what was supposed to be the name of the kingdom?
Pooh! I won't have anything to do with that stupid kingdom. I have set my heart upon quite a different one!
Pooh! I want nothing to do with that silly kingdom. I've got my heart set on a completely different one!
[Has leaned back in the chair, still gazing at her.] 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—
[Has leaned back in the chair, still gazing at her.] Isn't it weird—? The more I think about it now, the more it feels like I've spent all these years torturing myself with—h'm—
With what?
With what?
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.
With the effort to regain something—some experience that I seemed to have forgotten. But I never had the slightest idea of what it could be.
You should have tied a knot in your pocket-handkerchief, Mr. Solness.
You should've tied a knot in your handkerchief, Mr. Solness.
In that case, I should simply have had to go racking my brains to discover what the knot could mean.
In that case, I would just have to think hard to figure out what the knot could mean.
Oh yes, I suppose there are trolls of that kind in the world, too.
Oh yes, I guess there are trolls like that in the world, too.
[Rises slowly.] What a good thing it is that you have come to me now.
[Rises slowly.] It's great that you've come to me now.
[Looks deeply into his eyes.] Is it a good thing!
[Looks deeply into his eyes.] Is it a good thing?
For I have been so lonely here. I have been gazing so helplessly at it all. [In a lower voice.] I must tell you—I have begun to be afraid of the younger generation.
For I have been so lonely here. I have been looking helplessly at it all. [In a lower voice.] I have to tell you—I’ve started to be afraid of the younger generation.
[With a little snort of contempt.] Pooh—is the younger generation something to be afraid of?
[With a little snort of contempt.] Pooh—is the younger generation something to be afraid of?
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!
It really is. And that's why I've locked and barred myself in. [Mysteriously.] I’m telling you, the younger generation will one day come and pound on my door! They will burst in on me!
Then I should say you ought to go out and open the door to the younger generation.
Then I would say you should go out and open the door to the younger generation.
Open the door?
Shall I open the door?
Yes. Let them come in to you on friendly terms, as it were.
Yes. Let them come in to you in a friendly way, so to speak.
No, no, no! The younger generation—it means retribution, you see. It comes, as if under a new banner, heralding the turn of fortune.
No, no, no! The younger generation—it signifies payback, you see. It arrives, almost like it's under a new banner, signaling a change in luck.
[Rises, looks at him, and says with a quivering twitch of her lips.] Can I be of any use to you, Mr. Solness?
[Rises, looks at him, and says with a slight twitch of her lips.] Can I help you with anything, Mr. Solness?
Yes, you can indeed! For you, too, come—under a new banner it seems to me. You marshalled against youth—!
Yes, you really can! For you, too, come—under a new banner, it seems to me. You rallied against youth—!
DR. HERDAL comes in by the hall-door.
DR. HERDAL enters through the hall door.
What—you and Miss Wangel here still?
What—are you and Miss Wangel still here?
Yes. We have had no end of things to talk about.
Yes. We have had a ton of things to talk about.
Both old and new.
Both old and new.
Have you really?
Have you really?
Oh, it has been the greatest fun. For Mr. Solness—he has such a miraculous memory. All the least little details he remembers instantly.
Oh, it has been so much fun. For Mr. Solness—he has such an amazing memory. He remembers all the tiniest details right away.
MRS. SOLNESS enters by the door on the right.
MRS. SOLNESS enters through the door on the right.
Well, Miss Wangel, your room is quite ready for you now.
Well, Miss Wangel, your room is all set for you now.
Oh, how kind you are to me!
Oh, how nice you are to me!
[To MRS. SOLNESS.] The nursery?
[To MRS. SOLNESS.] The kids' room?
Yes, the middle one. But first let us go in to supper.
Yes, the one in the middle. But first, let's go in for dinner.
[Nods to HILDA.] Hilda shall sleep in the nursery, she shall.
[Nods to HILDA.] Hilda will sleep in the nursery, she will.
[Looks at him.] Hilda?
[Looks at him.] Hilda?
Yes, Miss Wangel's name is Hilda. I knew her when she was a child.
Yes, Miss Wangel's name is Hilda. I knew her when she was a kid.
Did you really, Halvard? Well, shall we go?
Did you really, Halvard? Well, should we head out?
[She takes DR. HERDAL's arm and goes out with him to the
right. HILDA has meanwhile been collecting her travelling
things.
[She takes DR. HERDAL's arm and walks out with him to the
right. HILDA has meanwhile been gathering her travel
belongings.[Softly and rapidly to SOLNESS.] Is it true, what you said? Can I be of use to you?
[Softly and quickly to SOLNESS.] Is it true, what you said? Can I help you?
[Takes the things from her.] You are the very being I have needed most.
[Takes the things from her.] You are exactly the person I've needed the most.
[Looks at him with happy, wondering eyes and clasps her hands.] But then, great heavens—!
[Looks at him with happy, curious eyes and clasps her hands.] But then, oh my gosh—!
[Eagerly.] What—?
[Eagerly.] What’s going on?
Then I have my kingdom!
Then I have my domain!
[Involuntarily.] Hilda—!
[Unintentionally.] Hilda—!
[Again with the quivering twitch of her lips.] Almost—I was going to say.
[Again with the quivering twitch of her lips.] Almost—I was going to say.
[She goes out to the right, SOLNESS follows her.
[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-window, in which are flower-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 flowers. 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.
A nicely decorated small living room in SOLNESS'S house. At the back, there’s a glass door leading out to the veranda and garden. The right corner is taken up by a large bay window, filled with flower stands. The left corner is blocked off by a wall, which has a small door that matches the wall's wallpaper. There’s a regular door on each side. In front, on the right, there’s a console table with a large mirror above it. There are lush stands of plants and flowers. In front, on the left, there’s a sofa with a table and some chairs. Further back, there’s a bookcase. Closer to the front of the room, before the bay window, there’s a small table and some chairs. It’s early in the day. SOLNESS is sitting at the small table with RAGNAR BROVIK'S portfolio open in front of him. He’s flipping through the drawings and carefully examining some of them. MRS. SOLNESS moves quietly with a small watering can, tending to her flowers. She’s dressed in black as before. Her hat, cloak, and parasol are on a chair near the mirror. Unbeknownst to her, SOLNESS occasionally watches her with his eyes. Neither of them speaks. KAIA FOSLI enters quietly through the door on the left.
[Turns his head, and says in an off-hand tone of indifference:] Well, is that you?
[Turns his head, and says in a casual, indifferent tone:] So, is that you?
I merely wished to let you know that I have come.
I just wanted to let you know that I've arrived.
Yes, yes, that's all right. Hasn't Ragnar come too?
Yes, yes, that’s fine. Isn’t Ragnar here too?
No, not yet. He had to wait a little while to see the doctor. But he is coming presently to hear—
No, not yet. He had to wait a little while to see the doctor. But he is coming soon to hear—
How is the old man to-day?
How is the old man today?
Not well. He begs you to excuse him; he is obliged to keep his bed to-day.
Not well. He asks you to forgive him; he has to stay in bed today.
Why, of course; by all means let him rest. But now, get to your work.
Why, of course; absolutely let him rest. But now, get back to your work.
Yes. [Pauses at the door.] Do you wish to speak to Ragnar when he comes?
Yes. [Pauses at the door.] Do you want to talk to Ragnar when he arrives?
No—I don't know that I have anything particular to say to him.
No—I don't really have anything specific to tell him.
[KAIA goes out again to the left. SOLNESS remains seated,
turning over the drawings.
[KAIA goes out again to the left. SOLNESS stays seated, flipping through the drawings.
[Over beside the plants.] I wonder if he isn't going to die now, as well?
[Over beside the plants.] I wonder if he’s going to die now, too?
[Looks up at her.] As well as who?
[Looks up at her.] As well as who?
[Without answering.] Yes, yes—depend upon it, Halvard, old Brovik is going to die too. You'll see that he will.
[Without answering.] Yes, yes—trust me, Halvard, old Brovik is going to die too. You'll see that he will.
My dear Aline, ought you not to go out for a little walk?
My dear Aline, shouldn't you go out for a little walk?
Yes, I suppose I ought to.
Yeah, I guess I should.
[She continues to attend the flowers.
[She continues to tend to the flowers.
[Bending over the drawings.] Is she still asleep?
[Bending over the drawings.] Is she still sleeping?
[Looking at him.] Is it Miss Wangel you are sitting there thinking about?
[Looking at him.] Are you sitting there thinking about Miss Wangel?
[Indifferently.] I just happened to recollect her.
[Indifferently.] I just happened to remember her.
Miss Wangle was up long ago.
Miss Wangle had been up for a while.
Oh, was she?
Oh, really?
When I went in to see her, she was busy putting her things in order.
When I went in to see her, she was busy organizing her stuff.
[She goes in front of the mirror and slowly begins to put on
her hat.
[She stands in front of the mirror and slowly starts to put on
her hat.[After a short pause.] So we have found a use for one our nurseries after all, Aline.
[After a short pause.] So we have found a use for one of our nurseries after all, Aline.
Yes, we have.
Yes, we have.
That seems to me better than to have them all standing empty.
That seems better to me than having them all standing empty.
That emptiness is dreadful; you are right there.
That emptiness is terrifying; you're right there.
[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.
[Closes the portfolio, rises and approaches her.] I think we’ll get along much better from now on, Aline. Things will be more comfortable. Life will be easier—especially for you.
[Looks at him.] After this?
[Looks at him.] After this?
Yes, believe me, Aline—
Yes, trust me, Aline—
Do you mean—because she has come here?
Do you mean—because she’s come here?
[Checking himself.] I mean, of course—when once we have moved into the new home.
[Checking himself.] I mean, of course—once we’ve moved into the new place.
[Takes her cloak.] Ah, do you think so, Halvard? Will it be better then?
[Takes her cloak.] Oh, do you really think so, Halvard? Will it be better then?
I can't think otherwise. And surely you think so too?
I can't think any other way. And you probably think the same, right?
I think nothing at all about the new house.
I don't
[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.
[Cast down.] It's tough for me to hear you say that; because you know I built it mostly for you.
[He offers to help her on with her cloak.
[He offers to help her put on her cloak.
[Evades him.] The fact is, you do far too much for my sake.
[Evades him.] The truth is, you do way too much for me.
[With a certain vehemence.] No, no, you really mustn't say that, Aline! I cannot bear to hear you say such things!
[With a certain vehemence.] No, no, you really shouldn’t say that, Aline! I can’t stand hearing you say things like that!
Very well, then I won't say it, Halvard.
Very well, then I won't say it, Halvard.
But I stick to what I said. You'll see that things will be easier for you in the new place.
But I stand by what I said. You'll find that things will be easier for you in the new place.
Oh, heavens—easier for me—!
Oh my gosh—easier for me—!
[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—
[Eagerly.] Yes, they definitely will! You can count on that! Because, you see—there will be so much there that will remind you of your own home—
The home that used to be father's and mother's—and that was burnt to the ground—
The home that used to belong to my parents—and that was burned to the ground—
[In a low voice.] Yes, yes, my poor Aline. That was a terrible blow for you.
[In a low voice.] Yes, yes, my poor Aline. That was a tough blow for you.
[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!
[Breaking out in lamentation.] You can build as much as you want, Halvard—you’ll never be able to recreate a real home for me!
[Crosses the room.] Well, in Heaven's name, let us talk no more about it then.
[Crosses the room.] Well, for heaven's sake, let's not discuss it anymore then.
We are not in the habit of talking about it. For you always put the thought away from you—
We usually don’t talk about it. You always push the thought aside—
[Stops suddenly and looks at her.] Do I? And why should I do that? Put the thought away from me?
[Stops suddenly and looks at her.] Do I? And why should I do that? Push the thought away?
Oh yes, Halvard, I understand you very well. You are so anxious to spare me—and to find excuses for me too—as much as ever you can.
Oh yes, Halvard, I get you perfectly. You’re really eager to protect me—and to make excuses for me as much as you can.
[With astonishment in his eyes.] You! Is it you—yourself, that your are talking about, Aline?
[With astonishment in his eyes.] You! Is it really you that you're talking about, Aline?
Yes, who else should it be but myself?
Yes, who else could it be but me?
[Involuntarily to himself.] That too!
That too!
As for the old house, I wouldn't mind so much about that. When once misfortune was in the air—why—
As for the old house, I wouldn't worry too much about it. When misfortune was in the air—well—
Ah, you are right there. Misfortune will have its way—as the saying goes.
Ah, you have a point there. Bad luck will always find a way—like the saying goes.
But it's what came of the fire—the dreadful thing that followed—! That is the thing! That, that, that!
But it's what happened because of the fire—the terrible thing that came next—! That's the issue! That, that, that!
[Vehemently.] Don't think about that, Aline!
Don't think about it, Aline!
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 to be able to bear it any longer. And then never to be able to forgive myself—
Ah, that's exactly what I can't stop thinking about. And now, finally, I have to talk about it too; because I really can't handle it any longer. And then, to never be able to forgive myself—
[Exclaiming.] Yourself—!
You—!
Yes, for I had duties on both sides—both towards you and towards the little ones. I ought to have hardened myself—not to have let the 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!
Yes, because I had responsibilities on both sides—towards you and towards the little ones. I should have toughened up—not let the horror affect me so deeply—nor the sadness from the destruction of my home. [Wrings her hands.] Oh, Halvard, if only I had been stronger!
[Softly, much moved, comes closer.] Aline—you must promise me never to think these thoughts any more.—Promise me that, dear!
[Softly, very touched, comes closer.] Aline—you have to promise me that you’ll never think these thoughts again.—Promise me that, dear!
Oh, promise, promise! One can promise anything.
Oh, promise, promise! Anyone can promise anything.
[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!
[Clenches his hands and crosses the room.] Oh, but this is pointless, pointless! Never a ray of sunlight! Not even a hint of brightness to brighten our home!
This is no home, Halvard.
This isn't a home, Halvard.
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.
Oh no, you might be right about that. [Gloomily.] And who knows if you're not correct in thinking that it won’t be any better for us in the new house, either.
It will never be any better. Just as empty—just as desolate—there as here.
It will never get any better. Just as empty—just as desolate—there as here.
[Vehemently.] Why in all the world have we built it then? Can you tell me that?
[Vehemently.] Why on earth have we built it, then? Can you explain that to me?
No; you must answer that question for yourself.
No; you need to answer that question for yourself.
[Glances suspiciously at her.] What do you mean by that, Aline?
[Glances suspiciously at her.] What are you getting at, Aline?
What do I mean?
What am I saying?
Yes, in the devil's name! You said it so strangely—as if you had some hidden meaning in it.
Yes, in the devil's name! You said it so oddly—as if you had some secret meaning behind it.
No, indeed, I assure you—
No, I promise you—
[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!
[Comes closer.] Oh, come on—I know what I know. I’m fully aware, Aline—you can count on that!
Why, what are you talking about? What is it?
Why, what are you talking about? What is it?
[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?
[Places himself in front of her.] Are you saying that you don’t see some kind of lurking, hidden meaning in the most innocent word I say?
I do you say? I do that?
How do you say that?
[Laughs.] Ho-ho-ho! It's natural enough, Aline! When you have a sick man on your hands—
[Laughs.] Ho-ho-ho! It's totally normal, Aline! When you have a sick man to deal with—
[Anxiously.] Sick? Are you ill, Halvard?
[Anxiously.] Sick? Are you not feeling well, Halvard?
[Violently.] A half-mad man then! A crazy man! Call me what you will.
[Violently.] A half-crazy man then! A madman! Call me whatever you want.
[Feels blindly for a chair and sits down.] Halvard—for God's sake—
[Feels blindly for a chair and sits down.] Halvard—please, for the love of God—
But you are wrong, both you and the doctor. I am not in the state that you imagine.
But you’re both mistaken, you and the doctor. I’m not in the condition you think I am.
[He walks up and down the room. MRS. SOLNESS follows him
anxiously with her eyes. Finally he goes up to her.
[He paces the room. MRS. SOLNESS watches him anxiously. Finally, he approaches her.
[Calmly.] In reality there is nothing whatever the matter with me.
[Calmly.] In reality, there’s nothing wrong with me at all.
No, there isn't, is there? But then what is it that troubles you so?
No, there isn’t, is there? But what is it that’s bothering you so much?
Why this, that I often feel ready to sink under this terrible burden of debt—
Why is it that I often feel like I'm about to drown under this heavy burden of debt—
Debt, do you say? But you owe no one anything, Halvard!
Debt, you say? But you don't owe anyone anything, Halvard!
[Softly, with emotion.] I owe a boundless debt to you—to you—to you, Aline.
[Softly, with emotion.] I have an endless debt to you—to you—to you, Aline.
[Rises slowly.] What is behind all this? You may just as well tell me at once.
[Rises slowly.] What’s going on here? You might as well tell me right now.
But there is nothing behind it! I have never done you any wrong—not wittingly and willfully, at any rate. And yet—and yet it seems as though a crushing debt rested upon me and weighed me down.
But there’s nothing behind it! I’ve never wronged you—not deliberately or intentionally, anyway. And yet—and yet it feels like a heavy burden of debt is pressing down on me and dragging me down.
A debt to me?
You owe me?
Chiefly to you.
Mainly to you.
Then you are—ill after all, Halvard.
Then you really are sick after all, Halvard.
[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 light.
[Gloomily.] I guess I have to be—or pretty close to it. [Looks towards the door on the right, which just opened.] Ah! now it’s getting brighter.
HILDA WANGEL comes in. She has made some alteration in her dress, and let down her skirt.
HILDA WANGEL enters. She has changed her outfit a bit and let her skirt down.
Good morning, Mr. Solness!
Good morning, Mr. Solness!
[Nods.] Slept well?
[Nods.] Did you sleep well?
Quite deliciously! Like a child in a cradle. Oh—I lay and stretched myself like—like a princess!
Quite deliciously! Like a child in a crib. Oh—I lay back and stretched myself like—like a princess!
[Smiles a little.] You were thoroughly comfortable then?
[Smiles a little.] So you were completely at ease then?
I should think so.
I think so.
And no doubt you dreamed, too.
And there's no doubt you dreamed as well.
Yes, I did. But that was horrid.
Yes, I did. But that was terrible.
Was it?
Was it?
Yes, for I dreamed I was falling over a frightfully high, sheer precipice. Do you never have that kind of dream?
Yes, I dreamed I was falling over a terrifyingly high, steep cliff. Don’t you ever have that kind of dream?
Oh yes—now and then—
Oh yes—now and then—
It's tremendously thrilling—when you fall and fall—
It's incredibly exhilarating—when you fall and fall—
It seems to make one's blood run cold.
It seems to send chills down your spine.
Do you draw your legs up under you while you are falling?
Do you pull your legs up beneath you when you fall?
Yes, as high as ever I can.
Yes, as high as I can get.
So do I.
Same here.
[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.
[Takes her parasol.] I need to head into town now, Halvard. [To HILDA.] And I'll see if I can pick up a couple of things you might need.
[Making a motion to throw her arms round her neck.] Oh, you dear, Mrs. Solness! You are really much too kind to me! Frightfully kind—
[Making a motion to throw her arms around her neck.] Oh, you sweet, Mrs. Solness! You are genuinely way too nice to me! Extremely kind—
[Deprecatingly, freeing herself.] Oh, not at all. It's only my duty, so I am very glad to do it.
[Deprecatingly, freeing herself.] Oh, not at all. It’s just my responsibility, so I’m really happy to do it.
[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?
[Offended, pouts.] But honestly, I believe I look good enough to be seen in public—now that I've fixed my dress. Or do you disagree?
To tell you the truth, I think people would stare at you a little.
To be honest, I think people would look at you a bit.
[Contemptuously.] Pooh! Is that all? That only amuses me.
[Contemptuously.] Ugh! Is that it? That just makes me laugh.
[With suppressed ill-humour.] Yes, but people might take it into their heads that you were mad too, you see.
[With suppressed ill-humor.] Yes, but people might think you're crazy too, you know.
Mad? Are there so many mad people here in town, then?
Mad? Are there really that many crazy people in town?
[Points to his own forehead.] Here you see one at all events.
[Points to his own forehead.] Here you see one, for sure.
You—Mr. Solness!
You—Mr. Solness!
Have you not noticed that yet?
Have you not seen that yet?
No, I certainly have not. [Reflects and laughs a little.] And yet—perhaps in one single thing.
No, I definitely have not. [Thinks for a moment and laughs a little.] And yet—maybe in one small way.
Ah, do you hear that, Aline?
Ah, do you hear that, Aline?
What is that one single thing, Miss Wangel?
What is that one thing, Miss Wangel?
No, I won't say.
No, I can't say.
Oh yes, do!
Absolutely, go for it!
No thank you—I am not so mad as that.
No thanks—I'm not into that.
When you and Miss Wangel are alone, I daresay she will tell you, Halvard.
When you and Miss Wangel are alone, I bet she will tell you, Halvard.
Ah—you think she will?
Ah—you think she will?
Oh yes, certainly. For you have known her so well in the past. Ever since she was a child—you tell me.
Oh yes, definitely. You’ve known her so well in the past. Ever since she was a kid—you tell me.
[She goes out by the door on the left.
[She goes out the door on the left.
[After a little while.] Does your wife dislike me very much?
[After a little while.] Does your wife really dislike me?
Did you think you noticed anything of the kind?
Did you think you saw something like that?
Did you notice it yourself?
Did you notice it?
[Evasively.] Aline has become exceedingly shy with strangers of late years.
[Evasively.] Aline has become very shy around strangers in recent years.
Has she really?
Has she actually?
But if only you could get to know her thoroughly—! Ah, she is so good—so kind—so excellent a creature—
But if only you could really get to know her—! Ah, she is so good—so kind—such an amazing person—
[Impatiently.] But if she is all that—what made her say that about her duty?
[Impatiently.] But if she's so amazing—why did she say that about her duty?
Her duty?
Her responsibility?
She said that she would go out and buy something for me, because it was her duty. Oh, I can't bear that ugly, horrid word!
She said she would go out and buy something for me because it was her responsibility. Oh, I can't stand that ugly, terrible word!
Why not?
Why not?
It sounds so could and sharp, and stinging. Duty—duty—duty. Don't you think so, too? Doesn't it seem to sting you?
It sounds so cold and sharp, almost painful. Duty—duty—duty. Don't you think so, too? Doesn't it feel like a sting to you?
H'm—haven't thought much about it.
Haven't thought much about it.
Yes, it does. And if she is so good—as you say she is—why should she talk in that way?
Yes, it does. And if she’s really as great as you say she is, why would she talk like that?
But, good Lord, what would you have had her say, then?
But, good grief, what would you have wanted her to say, then?
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.
She might have said she would do it because she really liked me. She might have said something along those lines—something truly nice and friendly, you know.
[Looks at her.] Is that how you would like to have it?
[Looks at her.] Is that how you want it?
Yes, precisely. [She wanders about the room, stops at the bookcase and looks at the books.] What a lot of books you have.
Yes, exactly. [She walks around the room, stops at the bookshelf, and looks at the books.] You have so many books.
Yes, I have got together a good many.
Yes, I have gathered quite a few.
Do you read them all, too?
Do you read all of them, too?
I used to try to. Do you read much?
I used to try to. Do you read a lot?
No, never! I have given it up. For it all seems so irrelevant.
No, never! I've let it go. It all feels so pointless.
That is just my feeling.
That's just how I feel.
[HILDA wanders about a little, stops at the small table, opens
the portfolio and turns over the contents.
[HILDA wanders around a bit, pauses at the small table, opens the portfolio, and flips through the contents.
Are all these your drawings yours?
Are all these drawings yours?
No, they are drawn by a young man whom I employ to help me.
No, they are drawn by a young man I hire to assist me.
Some one you have taught?
Someone you've taught?
Oh yes, no doubt he has learnt something from me, too.
Oh yes, no doubt he has learned something from me as well.
[Sits down.] Then I suppose he is very clever. [Looks at a drawing.] Isn't he?
[Sits down.] Then I guess he’s really smart. [Looks at a drawing.] Isn’t he?
Oh, he might be worse. For my purpose—
Oh, he could be worse. For what I need—
Oh yes—I'm sure he is frightfully clever.
Oh yes—I'm sure he's really clever.
Do you think you can see that in the drawings?
Do you think you can notice that in the drawings?
Pooh—these scrawlings! But if he has been learning from you—
Pooh—these scribbles! But if he's been learning from you—
Oh, so far as that goes—there are plenty of people here that have learnt from me, and have come to little enough for all that.
Oh, as for that—there are plenty of people here who have learned from me, and they've accomplished very little despite it all.
[Looks at him and shakes her head.] No, I can't for the life of me understand how you can be so stupid.
[Looks at him and shakes her head.] No, I just can't understand how you can be so clueless.
Stupid? Do you think I am so very stupid?
Stupid? Do you really think I'm that dumb?
Yes, I do indeed. If you are content to go about here teaching all these people—
Yes, I really do. If you're okay with sticking around here to teach all these people—
[With a slight start.] Well, and why not?
[With a slight start.] Well, why not?
[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.
[Rises, half serious, half laughing.] No way, Mr. Solness! What's the point of that? Only you should be allowed to build. You should stand completely on your own—do it all by yourself. Now you know that.
[Involuntarily.] Hilda—!
[Unintentionally.] Hilda—!
Well!
Well!
How in the world did that come into your head?
How on earth did that idea pop into your head?
Do you think I am so very far wrong then?
Do you really think I'm that wrong?
No, that's not what I mean. But now I'll tell you something.
No, that's not what I mean. But now I'll share something with you.
Well?
Well?
I keep on—incessantly—in silence and alone—brooding on that very thought.
I keep on—constantly—in silence and alone—thinking about that very idea.
Yes, that seems to me perfectly natural.
Yes, that seems completely natural to me.
[Looks somewhat searchingly at her.] Perhaps you have noticed it already?
[Looks somewhat searchingly at her.] Maybe you've noticed it already?
No, indeed I haven't.
No, I haven't.
But just now—when you said you thought I was—off my balance? In one thing, you said—
But just now—when you said you thought I was—off my game? In one thing, you said—
Oh, I was thinking of something quite different.
Oh, I was thinking of something totally different.
What was it?
What was that?
I am not going to tell you.
I’m not going to tell you.
[Crosses the room.] Well, well—as you please. [Stops at the bow-window.] Come here, and I will show you something.
[Crosses the room.] Well, well—suit yourself. [Stops at the bow-window.] Come here, and I'll show you something.
[Approaching.] What is it?
[Approaching.] What’s up?
Do you see over here in the garden—?
Do you see over here in the garden—?
Yes?
Yes?
[Points.] Right above the great quarry—?
[Points.] Right above the massive quarry—?
That new house, you mean?
You mean that new house?
The one that is being built, yes. Almost finished.
The one that’s being built, yeah. It’s almost done.
It seems to have a very high tower.
It looks like it has a really tall tower.
The scaffolding is still up.
The scaffolding is still there.
Is that your new house?
Is that your new home?
Yes.
Yes.
The house you are soon going to move into?
The house you're about to move into?
Yes.
Yep.
[Looks at him.] Are there nurseries in that house, too?
[Looks at him.] Are there kids' rooms in that house, too?
Three, as there are here.
Three, as seen here.
And no child.
And no kids.
And there never will be one.
And there will never be one.
[With a half-smile.] Well, isn't it just as I said—?
[With a half-smile.] Well, isn't that just like I said—?
That—?
That—?
That you are a little—a little mad after all.
That you’re a bit—just a bit crazy after all.
Was that what you were thinking of?
Was that what you had in mind?
Yes, of all the empty nurseries I slept in.
Yes, of all the empty nurseries I slept in.
[Lowers his voice.] We have had children—Aline and I.
[Lowers his voice.] Aline and I have had kids.
[Looks eagerly at him.] Have you—?
[Looks eagerly at him.] Have you—?
Two little boys. They were of the same age.
Two little boys. They were the same age.
Twins, then.
Twins, I guess.
Yes, twins. It's eleven or twelve years ago now.
Yes, twins. That was about eleven or twelve years ago now.
[Cautiously.] And so both of them—? You have lost both the twins, then?
[Cautiously.] So, you've lost both of the twins, then?
[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 to talk to!
[With quiet emotion.] We only had them for about three weeks. Or maybe not even that long. [Bursts forth.] Oh, Hilda, I can't express how much it means to me that you've come! Because now, finally, I have someone to talk to!
Can you not talk to—her, too?
Can you not talk to her, too?
Not about this. Not as I want to talk and must talk. [Gloomily.] And not about so many other things, either.
Not about this. Not in the way I want to talk and need to talk. [Gloomily.] And not about so many other things, either.
[In a subdued voice.] Was that all you meant when you said you need me?
[In a quiet voice.] Was that all you meant when you said you need me?
That was mainly what I meant—at all events, yesterday. For to-day I am not so sure—[Breaking off.] 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?
That’s basically what I meant—at least yesterday. Today, I’m not so sure—[Breaking off.] Come here and let’s sit down, Hilda. Take a seat on the sofa—so you can see into the garden. [HILDA sits in the corner of the sofa. SOLNESS pulls a chair closer.] Would you like to hear about it?
Yes, I shall love to sit and listen to you.
Yes, I would love to sit and listen to you.
[Sits down.] Then I will tell you all about it.
[Sits down.] Then I’ll tell you everything about it.
Now I can see both the garden and you, Mr. Solness. So now, tell away! Begin!
Now I can see both the garden and you, Mr. Solness. So go ahead, tell me everything! Start!
[Points towards the bow-window.] Out there on the rising ground—where you see the new house—
[Points towards the bow-window.] Out there on the hill—where you see the new house—
Yes?
Yes?
Aline and I 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 inherited it, and the whole of the great garden with it.
Aline and I lived there during the early years of our marriage. There was an old house up there that had belonged to her mother; we inherited it along with the entire large garden.
Was there a tower on that house, too?
Was there a tower on that house as well?
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.
No, nothing like that at all. From the outside, it looked like a big, dark, ugly wooden box; but inside, it was cozy and comfortable enough.
Then did you pull down the ramshackle old place?
Then did you tear down the run-down old place?
No, it was burnt down.
No, it burned down.
The whole of it?
The entire thing?
Yes.
Yes.
Was that a great misfortune for you?
Was that a huge misfortune for you?
That depends on how you look at it. As a builder, the fire was the making of me—
That depends on your perspective. As a builder, the fire defined my career—
Well, but—
Well, but—
It was just after the birth of the two little boys—
It was just after the birth of the two little boys—
The poor little twins, yes.
The poor little twins, yeah.
They came healthy and bonny into the world. And they were growing too—you could see the difference day to day.
They came into the world healthy and strong. And they were growing quickly—you could see the change from one day to the next.
Little children do grow quickly at first.
Little kids grow up fast at first.
It was the prettiest sight in the world to see Aline lying with the two of them in her arms.—But then came the night of the fire—
It was the most beautiful sight in the world to see Aline lying with the two of them in her arms.—But then came the night of the fire—
[Excitedly.] What happened? Do tell me! Was any one burnt?
[Excitedly.] What happened? Tell me everything! Was anyone hurt?
No, not that. Every one got safe and sound out of the house—
No, not that. Everyone got out of the house safe and sound—
Well, and what then—?
Well, what’s next?
The fright had shaken Aline terribly. The alarm—the escape—the break-neck hurry—and then the ice-cold night air—for they had to be carried out just as they lay—both she and the little ones.
The fright had shaken Aline badly. The panic—the escape—the frantic rush—and then the freezing night air—because they had to be taken out just as they were—both she and the little ones.
Was it too much for them?
Was it too much for them?
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 was her duty, she said. And both our little boys, they—[Clenching his hands.]—they—oh!
Oh no, they handled it well enough. But Aline got really sick, and it impacted her milk. She insisted on nursing them herself because, as she said, it was her duty. And both our little boys, they—[Clenching his hands.]—they—oh!
They did not get over that?
They couldn't get over that?
No, that they did not get over. That was how we lost them.
No, they didn't get past that. That's how we lost them.
It must have been terribly hard for you.
It must have been really tough for you.
Hard enough for me; but ten time harder for Aline. [Clenching his hands in suppressed fury.] Oh, that such things should be allowed to happen here the world! [Shortly and firmly.] From the day I lost them, I had no heart for building churches.
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 in this world! [Shortly and firmly.] Since the day I lost them, I had no heart for building churches.
Did you not like building the church-tower in our town?
Did you not enjoy building the church tower in our town?
I didn't like it. I know how free and happy I felt when that tower was finished.
I didn't like it. I remember how free and happy I felt when that tower was finished.
I know that, too.
I know that, too.
And now I shall never—never build anything of that sort again! Neither churches nor church-towers.
And now I will never—ever build anything like that again! Neither churches nor church towers.
[Nods slowly.] Nothing but houses for people to live in.
[Nods slowly.] Just houses for people to live in.
Homes for human beings, Hilda.
Homes for people, Hilda.
But homes with high towers and pinnacles upon them.
But homes with tall towers and spires on them.
If possible. [Adopts a lighter tone.] But, as I said before, that fire was the making of me—as a builder, I mean.
If possible. [Adopts a lighter tone.] But like I mentioned earlier, that fire was what shaped me—as a builder, I mean.
Why don't you call yourself an architect, like the others?
Why don’t you just call yourself an architect, like everyone else?
I have not been systematically enough taught for that. Most of what I know I have found out for myself.
I haven't been taught systematically enough for that. Most of what I know, I've discovered on my own.
But you succeeded all the same.
But you still nailed it.
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.
Yes, thanks to the fire. I divided almost the entire garden into villa lots; and there I could build exactly how I wanted. So I moved forward quickly.
[Looks keenly at him.] You must surely be a very happy man, as matters stand with you.
[Looks keenly at him.] You must be a really happy man, considering your situation.
[Gloomily.] Happy? Do you say that, too—like all the rest of them?
[Gloomily.] Happy? Is that what you say, too—just like everyone else?
Yes, I should say you must be. If you could only cease thing about the two little children—
Yes, I should say you must be. If you could only stop thinking about the two little children—
[Slowly.] The two little children—they are not so easy to forget, Hilda.
[Slowly.] The two little kids—they're hard to forget, Hilda.
[Somewhat uncertainly.] Do you still feel their loss so much—after all these years?
[Somewhat uncertainly.] Do you still feel their loss so deeply—after all these years?
[Looks fixedly at her, without replying.] A happy man you said—
[Looks fixedly at her, without replying.] A happy man, you said—
Well, now, are you not happy—in other respects?
Well, now, aren't you happy—in other ways?
[Continues to look at her.] When I told you all this about the fire—h'm—
[Continues to look at her.] When I shared all this with you about the fire—h'm—
Well?
Well?
Was there not one special thought that you—that you seized upon?
Was there one special thought that you grabbed onto?
[Reflects in vain.] No. What thought should that be?
[Reflects in vain.] No. What kind of thought is that?
[With subdued emphasis.] It was simply and solely by that fire that I was enabled to build homes for 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.
[With subdued emphasis.] It was only because of that fire that I was able to create homes for people. Cozy, comfortable, bright homes, where parents and their whole bunch of kids can live safely and happily, appreciating what a wonderful thing it is to be alive in the world—and most importantly, to belong to one another—in big ways and in small.
[Ardently.] Well, and is it not a great happiness for you to be able to build such beautiful homes?
[Ardently.] Well, isn't it such a great joy for you to be able to build such beautiful homes?
The price, Hilda! The terrible price I had to pay for the opportunity!
The cost, Hilda! The awful price I had to pay for the chance!
But can you never get over that?
But can you really never get past that?
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.
No. To build homes for others, I had to give up—give up forever—the home that could have been mine. I’m talking about a home for a bunch of kids—and for a mom and dad, too.
[Cautiously.] But need you have done that? For all time, you say?
[Cautiously.] But did you really need to do that? For eternity, you say?
[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.
[Nods slowly.] That was the cost of this happiness that people talk about. [Breathes heavily.] This happiness—hmm—this happiness couldn't be bought for any less, Hilda.
[As before.] But may it not come right even yet?
[As before.] But could it still turn out okay?
Never in this world—never. That is another consequence of the fire—and of Aline's illness afterwards.
Never in this world—never. That’s another result of the fire—and of Aline’s illness afterward.
[Looks at him with an indefinable expression.] And yet you build all these nurseries.
[Looks at him with an unclear expression.] And yet you create all these nurseries.
[Seriously.] Have you never noticed, Hilda, how the impossible—how it seems to beckon and cry aloud to one?
[Seriously.] Have you never noticed, Hilda, how the impossible—how it seems to call out and shout for attention?
[Reflecting.] The impossible? [With animation.] Yes, indeed! Is that how you feel too?
[Reflecting.] The impossible? [With animation.] Yes, absolutely! Do you feel that way too?
Yes, I do.
Yeah, I do.
Then there must be—a little of the troll in you too.
Then there must be a bit of the troll in you too.
Why of the troll?
Why the troll?
What would you call it, then?
What would you call it, then?
[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!
[Rises.] Well, well, maybe you're right. [Vehemently.] But how can I help turning into a troll when this is how it always goes for me—in everything!
How do you mean?
What do you mean?
[Speaking low, with inward emotion.] Mark what I say to you, Hilda. All that I have succeeded in doing, building, creating—all the beauty, security, cheerful comfort—ay, and magnificence too—[Clenches his hands.] Oh, is it not terrible even to think of—?
[Speaking low, with inward emotion.] Listen to what I’m telling you, Hilda. Everything I’ve managed to achieve, build, create—all the beauty, security, joyful comfort—yes, and splendor too—[Clenches his hands.] Oh, isn’t it awful even to consider—?
What is so terrible?
What’s so terrible?
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!
I have to make amends for all this—not with money, but with human happiness. And not just my own happiness, but that of others as well. Yes, yes, do you see that, Hilda? That’s the cost of my position as an artist—it’s affected me and others. And every single day, I have to watch as the price is paid for me again and again, endlessly!
[Rises and looks steadily at him.] Now I can see that you are thinking of—of her.
[Rises and looks steadily at him.] Now I can see that you’re thinking about—about her.
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.
Yes, mainly Aline. Aline—she also had her calling in life, just like I had mine. [His voice shakes.] But her calling has had to be stunted, crushed, and shattered so that mine could push through to a kind of great victory. Because you should know that Aline—she, too, had a gift for building.
She! For building?
She! For construction?
[Shakes his head.] Not houses and towers, and spires—not such things as I work away at—
[Shakes his head.] Not houses and towers, and spires—not the kind of things I focus on—
Well, but what then?
Well, what now?
[Softly, with emotion.] For building up the souls of little children, Hilda. For building up children'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.
[Softly, with emotion.] For nurturing the spirits of little children, Hilda. For nurturing children's spirits in perfect harmony, and in noble and beautiful ways. For allowing them to grow into upright and fully developed human beings. That was Aline's gift. And now it all sits there—unused and forever unusable—of no earthly use to anyone—just like the remnants left by a fire.
Yes, but even if this were so—?
Yes, but even if that were the case—?
It is so! It is so! I know it!
It is! It is! I know it!
Well, but in any case it is not your fault.
Well, it's not your fault anyway.
[Fixes his eyes on her, and nods slowly.] Ah, that is the great, the terrible question. That is the doubt that is gnawing me—night and day.
[Fixes his eyes on her, and nods slowly.] Ah, that is the big, the terrifying question. That is the doubt that’s eating away at me—night and day.
That?
That?
Yes. Suppose the fault was mine—in a certain sense.
Yes. Let's say the fault was mine—in a certain way.
Your fault! The fire!
It's your fault! The fire!
All of it; the whole thing. And yet, perhaps—I may not have had anything to do with it.
All of it; the whole thing. And yet, maybe—I might not have had anything to do with it.
[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.
[Looks at him with a troubled expression.] Oh, Mr. Solness—if you can speak like that, I'm afraid you must be unwell after all.
H'm—I don't think I shall ever be of quite sound mind on that point.
H'm—I don't think I'll ever fully agree on that point.
RAGNAR BROVIK cautiously opens the little door in the left- hand corner. HILDA comes forward.
RAGNAR BROVIK carefully opens the small door in the left corner. HILDA steps forward.
[When he sees Hilda.] Oh. I beg pardon, Mr. Solness—— [He makes a movement to withdraw.
[When he sees Hilda.] Oh. Sorry, Mr. Solness—— [He makes a move to leave.
No, no, don't go. Let us get it over.
No, no, don't leave. Let's just get this done.
Oh, yes—if only we could.
Oh, yes—if only we could.
I hear your father is no better?
I hear your dad is still not doing any better?
Father is fast growing weaker—and therefore I beg and implore you to write a few kind words for me on one of the plans! Something for father to read before he—
Father is getting weaker every day, so I kindly ask you to write a few nice words for me on one of the plans. Something for Father to read before he—
[Vehemently.] I won't hear anything more about those drawings of yours!
I don't want to hear anything else about your drawings!
Have you looked at them?
Have you checked them out?
Yes—I have.
Yeah—I have.
And they are good for nothing? And I am good for nothing, too?
And they aren’t good for anything? And I'm not good for anything, either?
[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.
[Evasively.] Stay here with me, Ragnar. You can have everything just how you want it. Then you can marry Kaia and live comfortably—and maybe even happily, who knows? Just don’t think about doing it on your own.
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?
Well, I guess I need to go home and tell Dad what you said—I promised I would. Is this really what I should tell him—before he passes away?
[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!
[With a groan.] Oh tell him—tell him whatever you want, for me. It's probably best to say nothing to him at all! [With a sudden outburst.] I can't do anything else, Ragnar!
May I have the drawings to take with me?
May I take the drawings with me?
Yes, take them—take them by all means! They are lying there on the table.
Yes, take them—please do! They are just sitting there on the table.
[Goes to the table.] Thanks.
[Goes to the table.] Thanks!
[Puts her hand on the portfolio.] No, no; leave them here.
[Puts her hand on the portfolio.] No, no; just leave them here.
Why?
Why?
Because I want to look at them, too.
Because I want to see them, too.
But you have been—— [To RAGNAR.] Well, leave them here, then.
But you have been—— [To RAGNAR.] Alright, just leave them here, then.
Very well.
Great!
And go home at once to your father.
And head home to your dad right now.
Yes, I suppose I must.
Yeah, I guess I have to.
[As if in desperation.] Ragnar—you must not ask me to do what is beyond my power! Do you hear, Ragnar? You must not!
[As if in desperation.] Ragnar—you can't ask me to do what’s beyond my ability! Do you hear me, Ragnar? You can't!
No, no. I beg you pardon—
No, no. I’m really sorry—
[He bows, and goes out by the corner door. HILDA goes over and
sits down on a chair near the mirror.
[He bows and exits through the corner door. HILDA walks over and sits down in a chair near the mirror.
[Looks angrily at SOLNESS.] That was a very ugly thing to do.
[Looks angrily at SOLNESS.] That was really rude of you.
Do you think so, too?
Do you think so too?
Yes, it was horribly ugly—and hard and bad and cruel as well.
Yes, it was really ugly—and tough and mean and harsh too.
Oh, you don't understand my position.
Oh, you don't get where I'm coming from.
No matter—. I say you ought not to be like that.
No matter. I think you shouldn't be like that.
You said yourself, only just now, that no one but I ought to be allowed to build.
You just said that no one except me should be allowed to build.
I may say such things—but you must not.
I can say things like that—but you can't.
I most of all, surely, who have paid so dear for my position.
I, more than anyone, have certainly paid a high price for my position.
Oh yes—with what you call domestic comfort—and that sort of thing.
Oh yes—with what you refer to as home comfort—and that kind of stuff.
And with my peace of soul into the bargain.
And with my peace of mind included.
[Rising.] Peace of soul! [With feeling.] Yes, yes, you are right in that! Poor Mr. Solness—you fancy that—
[Rising.] Peace of mind! [With feeling.] Yes, yes, you’re right about that! Poor Mr. Solness—you think that—
[With a quiet, chuckling laugh.] Just sit down again, Hilda, and I'll tell you something funny.
[With a soft, chuckling laugh.] Just sit down again, Hilda, and I'll share something funny with you.
[Sits down; with intent interest.] Well?
[Sits down; with focused interest.] So?
It sounds such a ludicrous little thing; for, you see, the whole story turns upon nothing but a crack in the chimney.
It sounds like such a ridiculous little thing; because, you see, the whole story revolves around nothing but a crack in the chimney.
No more than that?
Is that all?
No, not to begin with.
No, not at first.
[He moves a chair nearer to HILDA and sits down.
[He pulls a chair closer to HILDA and sits down.
[Impatiently, taps on her knee.] Well, now for the crack in the chimney!
[Impatiently, taps on her knee.] Well, now for the crack in the chimney!
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.
I had noticed the crack in the flue long before the fire. Every time I went up into the attic, I checked to see if it was still there.
And it was?
And what was it?
Yes; for no one else knew about it.
Yes; because no one else knew about it.
And you said nothing?
And you didn't say anything?
Nothing.
Nothing.
And did not think of repairing the flue either?
And didn’t think about fixing the flue either?
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.
Oh yes, I thought about it—but never went beyond that. Every time I planned to start, it felt like something was holding me back. Not today, I thought—tomorrow; and nothing ever happened.
But why did you keep putting it off like that?
But why did you keep procrastinating like that?
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.
Because I was thinking about something. [Slowly, and in a low voice.] Through that small black gap in the chimney, I might be able to push my way up—as a builder.
[Looking straight in front of her.] That must have been thrilling.
[Looking straight in front of her.] That must have been exciting.
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. I was to be out driving Aline in the sleigh. The servants at home would have made huge fires in the stoves.
Almost impossible to resist—totally irresistible. Back then, it seemed like a really simple and direct thing to do. I imagined it happening in the winter—a little before noon. I was going to take Aline out for a sleigh ride. The staff at home would have built big fires in the stoves.
For, of course, it was to be bitterly cold that day?
For, of course, it was going to be really cold that day?
Rather biting, yes—and they would want Aline to find it thoroughly snug and warm when she came home.
Rather biting, yes—and they would want Aline to find it completely cozy and warm when she came home.
I suppose she is very chilly by nature?
I guess she’s just naturally cold, right?
She is. And as we drove home, we were to see the smoke.
She is. And as we drove home, we saw the smoke.
Only the smoke?
Is it just the smoke?
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.
The smoke came first. But when we got to the garden gate, the entire old timber box was a raging fire. — That’s how I wanted it to be, you see.
Oh, why, why could it not have happened so!
Oh, why, why couldn't it have happened that way!
You may well say that, Hilda.
You could definitely say that, Hilda.
Well, but now listen, Mr. Solness. Are you perfectly certain that the fire was caused by that little crack in the chimney!
Well, listen, Mr. Solness. Are you absolutely sure that the fire started because of that small crack in the chimney?
No, on the contrary—I am perfectly certain that the crack in the chimney had nothing whatever to do with the fire.
No, actually—I’m completely sure that the crack in the chimney had nothing to do with the fire at all.
What!
What?!
It has been clearly ascertained that the fire broke out in a clothes-cupboard—in a totally different part of the house.
It has been clearly determined that the fire started in a closet—in a completely different part of the house.
Then what is all this nonsense you are talking about the crack in the chimney!
Then what is all this nonsense you're saying about the crack in the chimney!
May I go on talking to you a little, Hilda?
May I keep chatting with you a bit, Hilda?
Yes, if you'll only talk sensibly—
Yes, if you would just speak sensibly—
I will try to. [He moves his chair nearer.
I’ll give it a shot. [He moves his chair closer.
Out with it, then, Mr. Solness.
Out with it, then, Mr. Solness.
[Confidentially.] Don't you agree with me, Hilda, that there exist special, chosen people who have been endowed with the power and faculty if 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?
[Confidentially.] Don't you agree with me, Hilda, that there are special, chosen people who have been given the power and ability to want something, crave something, and will something—so persistently and so—so unavoidably—that eventually it has to happen? Don't you believe that?
[With an indefinable expression in her eyes.] If that is so, we shall see, one of these days, whether I am one of the chosen.
[With an indescribable look in her eyes.] If that's the case, we'll find out soon enough whether I am one of the chosen ones.
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.
It's not just one person who can achieve great things. Oh, no—the helpers and the supporters need to play their role too for it to be truly meaningful. But they don't appear on their own. You have to reach out to them repeatedly—internally, you get it.
What are these helpers and servers?
What are these helpers and servers?
Oh, we can talk about that some other time. For the present, let us keep to this business of the fire.
Oh, we can discuss that later. For now, let's focus on this fire situation.
Don't you think that fire would have happened all the same—even without your wishing for it?
Don't you think that the fire would have happened anyway—even if you hadn't wished for it?
If the house had been old Knut Brovik's, it would never have burnt down so conveniently for 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?
If the house had belonged to old Knut Brovik, it wouldn’t have burned down so conveniently for him. I’m sure of that; he doesn’t know how to call for help—no, or for servers, either. [Rises in unrest.] So you see, Hilda—it’s my fault, after all, that the lives of the two little boys had to be sacrificed. And do you think it’s not my fault, too, that Aline has never been the woman she should and could have been—and that she wanted to be most of all?
Yes, but if it is all the work of these helpers and servers—?
Yes, but if it's all the effort of these helpers and servers—?
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 I 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!
Who called for the helpers and those who serve? It was me! And they came and followed my commands. [With rising excitement.] That’s what people call being lucky; but I need to tell you what this kind of luck feels like! It feels like a huge raw spot right here on my chest. And the helpers and servers keep tearing pieces of skin off other people to patch up my wound!—But still, the wound isn't healed—never, never! Oh, if you only knew how it can sometimes gnaw and burn!
[Looks attentively at him.] You are ill, Mr. Solness. Very ill, I almost think.
[Looks attentively at him.] You’re not well, Mr. Solness. Really not well, I think.
Say mad; for that is what you mean.
Say you're angry; that's what you really mean.
No, I don't think there is much amiss with your intellect.
No, I don't think there's anything wrong with your intelligence.
With what then? Out with it!
With what then? Spit it out!
I wonder whether you were not sent into the world with a sickly conscience.
I wonder if you were brought into the world with a troubled conscience.
A sickly conscience? What devilry is that?
A guilty conscience? What kind of madness is that?
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.
I mean that your conscience is weak—too fragile, so to speak—lacking the strength to grasp things—to carry what is heavy.
[Growls.] H'm! May I ask, then, what sort of a conscience one ought to have?
[Growls.] H'm! Can I ask what kind of conscience one should have?
I should like your conscience to be—to be thoroughly robust.
I want your conscience to be strong and resilient.
Indeed? Robust, eh? Is your own conscience robust, may I ask?
Indeed? Strong, huh? Is your own conscience strong, if I may ask?
Yes, I think it is. I have never noticed that it wasn't.
Yes, I think it is. I’ve never noticed that it isn’t.
It has not been put very severely to the test, I should think.
I don't think it has been tested very thoroughly.
[With a quivering of the lips.] Oh, it was no such simple matter to leave father—I am so awfully fond of him.
[With a quivering of the lips.] Oh, it wasn't as easy as it sounds to leave my dad—I care about him so much.
Dear me! for a month or two—
Dear me! For a month or two—
I think I shall never go home again.
I don’t think I’ll ever go home again.
Never? Then why did you leave him?
Never? Then why did you break up with him?
[Half-seriously, half-banteringly.] Have you forgotten again that the ten year are up?
[Half-seriously, half-banteringly.] Have you forgotten again that the ten years are up?
Oh nonsense. Was anything wrong at home? Eh?
Oh come on. Was there something wrong at home? Huh?
[Quite seriously.] It was this impulse within me that urged and goaded me to come—and lured and drew me on, as well.
[Quite seriously.] It was this urge inside me that pushed and drove me to come—and tempted and pulled me along, too.
[Eagerly.] There we have it! There we have it, Hilda! There is the 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.
[Eagerly.] There we have it! There we have it, Hilda! You have a troll in you too, just like I do. It's the troll inside us that calls out to the forces beyond ourselves. And then you have to surrender—whether you like it or not.
I almost think you are right, Mr. Solness.
I almost think you’re right, Mr. Solness.
[Walks about the room.] Oh, there are devils innumerable abroad in the world, Hilda, that one never sees.
[Walks around the room.] Oh, there are countless demons out in the world, Hilda, that you never notice.
Devils, too?
Demons, too?
[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!
[Stops.] Good devils and bad devils; blond devils and dark-haired devils. If only you could always tell whether it’s the light ones or the dark ones that have got you! [Paces around.] Ha-ha! Then it would be easy!
[Follows him with her eyes.] Or if one had a really vigorous, radiantly healthy conscience—so that one dared to do what one would.
[Follows him with her eyes.] Or if someone had a truly strong, vibrant conscience—so that they felt free to do whatever they wanted.
[Stops beside the console table.] I believe, now, that most people are just as puny creatures as I am in that respect.
[Stops beside the console table.] I think now that most people are just as insignificant as I am in that way.
I shouldn't wonder.
I shouldn't be surprised.
[Leaning against the table.] In the sagas—. Have you read any of the old sagas?
[Leaning against the table.] In the sagas—. Have you read any of the old sagas?
Oh yes! When I used to read books, I—
Oh yes! When I used to read books, I—
In the sagas you read about vikings, who sailed to foreign lands, and plundered and burned and killed men—
In the stories, you read about Vikings who sailed to distant lands, plundered, set fires, and killed people—
And carried off women—
And took women away—
SOLNESS. —and kept them in captivity—
SOLNESS. —and held them captive—
HILDA. —took them home in their ships—
HILDA. —brought them back in their boats—
SOLNESS. —and behaved to them like—like the very worst of trolls.
SOLNESS. —and acted towards them like—like the absolute worst of trolls.
[Looks straight before her, with a half-veiled look.] I think that must have been thrilling.
[Looks straight ahead, with a partially hidden expression.] I think that must have been exciting.
[With a short, deep laugh.] To carry off women, eh?
[With a short, deep laugh.] So, you're trying to win over women, huh?
To be carried off.
To be taken away.
[Looks at her a moment.] Oh, indeed.
[Looks at her a moment.] Oh, really.
[As if breaking the thread of the conversation.] But what made you speak of these vikings, Mr. Solness?
[As if breaking the thread of the conversation.] But what made you bring up these vikings, Mr. 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?
Why, those guys must have had strong consciences, if you ask me! When they got home again, they could eat, drink, and be as happy as kids. And the women, too! They often wouldn’t leave them for anything. Can you understand that, Hilda?
Those women I can understand exceedingly well.
I can understand those women very well.
Oho! Perhaps you could do the same yourself?
Oho! Maybe you could do the same?
Why not?
Why not?
Live—of your own free will—with a ruffian like that?
Live—of your own free will—with a thug like that?
If it was a ruffian I had come to love—
If it was a thug I had come to love—
Could you come to love a man like that?
Could you learn to love a guy like that?
Good heavens, you know very well one can't choose whom one is going to love.
Goodness, you know you can't really choose who you're going to love.
[Looks meditatively at her.] Oh no, I suppose it is the troll within one that's responsible for that.
[Looks meditatively at her.] Oh no, I guess it's the troll inside us that's behind that.
[Half-laughing.] And all those blessed devils, that you know so well—both the light-haired and the dark-haired ones.
[Half-laughing.] And all those damn devils, that you know so well—both the blondes and the brunettes.
[Quietly and warmly.] Then I hope with all my heart that the devils will choose carefully for you, Hilda.
[Quietly and warmly.] Then I truly hope the devils will choose wisely for you, Hilda.
For me they have chosen already—once and for all.
For me, they've already made their choice—once and for all.
[Looks earnestly at her.] Hilda—you are like a wild bird of the woods.
[Looks earnestly at her.] Hilda—you’re like a wild bird in the forest.
Far from it. I don't hide myself away under the bushes.
Far from it. I don't hide myself under the bushes.
No, no. There is rather something of the bird of prey in you.
No, no. There's definitely something of a predator in you.
That is nearer it—perhaps. [Very vehemently.] And why not a bird of prey? Why should not I go a-hunting—I, as well as the rest? Carry off the prey I want—if only I can get my claws into it, and do with it as I will.
That might be closer to the truth—maybe. [Very passionately.] And why not a bird of prey? Why shouldn’t I go hunting—I deserve to just like everyone else? Grab the prey I want—if only I can get my claws on it and do whatever I please.
Hilda—do you know what you are?
Hilda—do you even know what you are?
Yes, I suppose I am a strange sort of bird.
Yes, I guess I am a bit of an oddball.
No. You are like a dawning day. When I look at you—I seem to be looking towards the sunrise.
No. You’re like a new day. When I look at you—I feel like I’m gazing at the sunrise.
Tell me, Mr. Solness—are you certain that you have never called me to you? Inwardly, you know?
Tell me, Mr. Solness—are you sure that you’ve never called me to you? Deep down, you know?
[Softly and slowly.] I almost think I must have.
[Softly and slowly.] I almost think I have to have.
What did you want with me?
What did you want from me?
You are the younger generation, Hilda.
You're the younger generation, Hilda.
[Smiles.] That younger generation that you are so afraid of?
[Smiles.] That younger generation you're so scared of?
[Nods slowly.] And which, in my heart, I yearn towards so deeply.
[Nods slowly.] And which I long for so deeply in my heart.
[HILDA rises, goes to the little table, and fetches RAGNAR
BROVIK'S portfolio.
[HILDA stands up, goes to the small table, and grabs RAGNAR
BROVIK'S portfolio.[Holds out the portfolio to him.] We were talking of these drawings—
[Holds out the portfolio to him.] We were just discussing these drawings—
[Shortly, waving them away.] Put those things away! I have seen enough of them.
[Shortly, waving them away.] Put those away! I've seen enough of them.
Yes, but you have to write your approval on them.
Yes, but you need to write your approval on them.
Write my approval on them? Never!
Write my approval on them? No way!
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.
But the poor old man is on his deathbed! Can't you give him and his son this joy before they have to say goodbye? And maybe he could even get the job to carry them out, too.
Yes, that is just what he would get. He has made sure of that—has my fine gentleman!
Yes, that's exactly what he would get. He's made sure of that—has my fine gentleman!
Then, good heavens—if that is so—can't you tell the least little bit of a lie for once in a way?
Then, good heavens—if that's the case—can't you tell even a tiny lie just this once?
A lie? [Raging.] Hilda—take those devil's drawings out of my sight!
A lie? [Furious.] Hilda—get those wicked drawings out of my sight!
[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 yourself. [Looks round.] Where do you keep your pen and ink?
[Draws the portfolio a little closer to herself.] Well, well, well—don’t snap at me.—You mention trolls—but I think you act like one yourself. [Looks around.] Where do you keep your pen and ink?
There is nothing of the sort in here.
There’s nothing like that in here.
[Goes towards the door.] But in the office where that young lady is—
[Goes towards the door.] But in the office where that young woman is—
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—
Stay where you are, Hilda!—You say I should lie. Oh yes, for the sake of his old father, I might as well do that—because in my time, I have crushed him, trodden him underfoot—
Him, too?
Him as well?
I needed room for myself. But this Ragnar—he must on no account be allowed to come to the front.
I needed some space for myself. But this Ragnar—he absolutely cannot be allowed to take the spotlight.
Poor fellow, there is surely no fear of that. If he has nothing in him—
Poor guy, there’s definitely no reason to worry about that. If he has nothing inside him—
[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.
[Comes closer, looks at her, and whispers.] If Ragnar Brovik gets his chance, he will bring me down. Crush me—just like I crushed his father.
Crush you? Has he the ability for that?
Crush you? Does he have the strength to do that?
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.
Yes, you can count on it he has the talent! He is the younger generation that is ready to knock on my door—to bring an end to Halvard Solness.
[Looks at him with quiet reproach.] And yet you would bar him out. Fie, Mr. Solness!
[Looks at him with quiet reproach.] And yet you would shut him out. Shame on you, Mr. Solness!
The fight I have been fighting has cost heart's blood enough.—And I am afraid, too, that the helpers and servers will not obey me any longer.
The struggle I’ve been facing has taken a heavy toll. And I’m also worried that the helpers and supporters won’t follow me anymore.
Then you must go ahead without them. There is nothing else for it.
Then you have to move on without them. There's no other choice.
It is hopeless, Hilda. The luck is bound to turn. A little sooner or a little later. Retribution is inexorable.
It's hopeless, Hilda. The luck has to change. Sooner or later. Justice is unavoidable.
[In 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?
[In distress, putting her hands over her ears.] Don't say things like that! Do you want to drive me crazy? To take away what means more to me than my own life?
And what is that?
What's that?
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?
The desire to see you is immense. To see you, with a wreath in your hand, high up on a church tower. [Calm again.] Come on, get your pencil out now. You must have a pencil with you, right?
[Takes out his pocket-book.] I have one here.
[Takes out his wallet.] I have one here.
[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 behind him, leaning over the back of the chair.] And now we well write on the drawings. We must write very, very nicely and cordially—for this horrid Ruar—or whatever his name is.
[Lays the portfolio on the sofa-table.] Alright. Now let's sit down here, Mr. Solness. [SOLNESS takes a seat at the table. HILDA stands behind him, leaning over the back of the chair.] And now we'll make some notes on the drawings. We need to write very nicely and warmly—for that awful Ruar—or whatever his name is.
[Writes a few words, turns his head and looks at her.] Tell me one thing, Hilda.
[Writes a few words, turns his head and looks at her.] Tell me one thing, Hilda.
Yes!
Absolutely!
If you have been waiting for me all these ten years—
If you've been waiting for me all this time—
What then?
What now?
Why have you never written to me? Then I could have answered you.
Why haven't you ever written to me? Then I could have replied.
[Hastily.] No, no, no! That was just what I did not want.
[Hastily.] No, no, no! That’s exactly what I didn’t want.
Why not?
Why not?
I was afraid the whole thing might fall to pieces.—But we were going to write on the drawings, Mr. Solness.
I was worried everything might fall apart.—But we were going to write on the drawings, Mr. Solness.
So we were.
So we were.
[Bends forward and looks over his shoulder while he writes.] Mind now, kindly and cordially! Oh how I hate—how I hate this Ruald—
[Bends forward and looks over his shoulder while he writes.] Just a moment, please, be nice and friendly! Oh how I despise—how I despise this Ruald—
[Writing.] Have you never really cared for any one, Hilda?
[Writing.] Have you never truly cared for anyone, Hilda?
For any one else, I suppose you mean?
For anyone else, I guess you mean?
[Looks up at her.] For any one else, yes. Have you never? In all these ten years? Never?
[Looks up at her.] For anyone else, sure. Haven't you? In all these ten years? Never?
Oh yes, now and then. When I was perfectly furious with you for not coming.
Oh yes, every now and then. When I was really mad at you for not showing up.
Then you did take an interest in other people, too?
Then you were interested in other people as well?
A little bit—for a week or so. Good heavens, Mr. Solness, you surely know how such things come about.
A little while—maybe a week or so. Goodness, Mr. Solness, you must know how these things happen.
Hilda—what is it you have come for?
Hilda, what do you need?
Don't waste time talking. The poor old man might go and die in the meantime.
Don't waste time talking. The poor old man might die in the meantime.
Answer me, Hilda. What do you want of me?
Answer me, Hilda. What do you want from me?
I want my kingdom.
I want my kingdom back.
H'm—
Hmm—
He gives a rapid glance toward the door on the left, and then goes on writing on the drawings. At the same moment MRS. SOLNESS enters.
He glances quickly at the door on the left and then continues writing on the drawings. At the same moment, MRS. SOLNESS walks in.
Here are a few things I have got for you, Miss Wangel. The large parcels will be sent later on.
Here are a few things I've got for you, Miss Wangel. The large packages will be sent later.
Oh, how very, very kind of you!
Oh, how very, very nice of you!
Only my simple duty. Nothing more than that.
Only my basic responsibility. Nothing more than that.
[Reading over what he has written.] Aline!
[Reading over what he has written.] Aline!
Yes?
Yes?
Did you notice whether the—the book-keeper was out there?
Did you see if the bookkeeper was out there?
Yes, of course, she was there.
Yes, of course, she was there.
[Puts the drawings in the portfolio.] H'm—
[Puts the drawings in the portfolio.] Hmm—
She was standing at the desk, as she always is—when I go through the room.
She was standing at the desk, as she always does—when I walk through the room.
[Rises.] Then I'll give this to her and tell her that—
[Rises.] Then I'll give this to her and tell her that—
[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?
[Takes the portfolio from him.] Oh, no, let me take care of that! [Goes to the door, but turns.] What's her name?
Her name is Miss Fosli.
Her name is Ms. Fosli.
Pooh, that sounds so cold! Her Christian name, I mean?
Pooh, that sounds really cold! I mean her first name?
Kaia—I believe.
Kaia—I believe in you.
[Opens the door and calls out.] Kaia, come in here! Make haste! Mr. Solness wants to speak to you.
[Opens the door and calls out.] Kaia, get in here! Hurry up! Mr. Solness wants to talk to you.
KAIA FOSLI appears at the door.
KAIA FOSLI appears at the door.
[Looking at him in alarm.] Here I am—?
[Looking at him in alarm.] Here I am—?
[Handing her the portfolio.] See her, Kaia! You can take this home; Mr. Solness was written on them now.
[Handing her the portfolio.] Look, Kaia! You can take this home; Mr. Solness is written on them now.
Oh, at last!
Finally!
Give them to the old man as soon as you can.
Give them to the old man as soon as you can.
I will go straight home with them.
I will go directly home with them.
Yes, do. Now Ragnar will have a chance of building for himself.
Yes, go ahead. Now Ragnar will have a chance to build something for himself.
Oh, may he come and thank you for all—?
Oh, I hope he comes and thanks you for everything—?
[Harshly.] I won't have any thanks! Tell him that from me.
[Harshly.] I don’t want any thanks! Tell him that for me.
Yes, I will—
Sure, I will—
And tell him at the same time that henceforward I do not require his services—nor yours either.
And let him know that from now on, I don't need his services anymore—or yours either.
[Softly and quiveringly.] Not mine either?
[Softly and nervously.] Not mine either?
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?
You have other things to think about now and take care of, and that's really good for you. Now, take the drawings home with you, Miss Fosli. Right now! Do you understand?
[As before.] Yes, Mr. Solness. [She goes out.
[As before.] Yes, Mr. Solness. [She exits.]
Heavens! what deceitful eyes she has.
Wow! She has such deceitful eyes.
She? That poor little creature?
Her? That poor little thing?
Oh—I can see what I can see, Halvard.——Are you really dismissing them?
Oh—I can see what I can see, Halvard.——Are you seriously dismissing them?
Yes.
Yes.
Her as well?
Her too?
Was not that what you wished?
Isn't that what you wanted?
But how can you get on without her—? Oh well, no doubt you have some one else in reserve, Halvard.
But how can you manage without her—? Oh well, you probably have someone else lined up, Halvard.
[Playfully.] Well, I for one am not the person to stand at a desk.
[Playfully.] Well, I for one am not the type to stand at a desk.
Never mind, never mind—it will be all right, Aline. Now all you have to do is think about moving into our new home—as quickly as you can. This evening we will hang up the wreath—[Turns to HILDA.] What do you say to that, Miss Hilda?
Never mind, never mind—it’ll be fine, Aline. Now all you need to do is focus on moving into our new home—as soon as you can. This evening we’ll hang up the wreath—[Turns to HILDA.] What do you think about that, Miss Hilda?
[Looks at him with sparkling eyes.] It will be splendid to see you so high up once more.
[Looks at him with sparkling eyes.] It will be amazing to see you up there again.
Me!
Me!
For Heaven's sake, Miss Wangel, don't imagine such a thing! My husband!—when he always gets so dizzy!
For heaven's sake, Miss Wangel, don't think that! My husband!—when he always gets so lightheaded!
He get dizzy! No, I know quite well he does not!
He gets dizzy! No, I know very well he doesn’t!
Oh yes, indeed he does.
Oh yes, he definitely does.
But I have seen him with my own eyes right up at the top of a high church-tower!
But I've seen him with my own eyes right at the top of a tall church tower!
Yes, I hear people talk of that; but it is utterly impossible—
Yes, I hear people talking about that; but it is completely impossible—
[Vehemently.] Impossible—impossible, yes! But there I stood all the same!
[Vehemently.] No way—absolutely no way, yes! But there I was all the same!
O, 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.
Oh, how can you say that, Halvard? You can't even handle going out onto the second-story balcony here. You've always been like that.
You may perhaps see something different this evening.
You might see something different tonight.
[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.
[In alarm.] No, no, no! Please God, I never want to see that. I’ll write to the doctor right away—and I know he won't let you go through with it.
Why, Aline—!
Why, Aline—!
Oh, you know you're ill, Halvard. This proves it! Oh God—Oh God!
Oh, you know you're sick, Halvard. This proves it! Oh my God—Oh my God!
[She goes hastily out to the right.
[She hurriedly goes to the right.
[Looks intently at him.] Is it so, or is it not?
[Looks intently at him.] Is that true, or isn’t it?
That I turn dizzy?
Am I feeling dizzy?
That my master builder dares not—cannot—climb as high as he builds?
That my master builder dares not—cannot—climb as high as he builds?
Is that the way you look at it?
Is that how you see it?
Yes.
Yes.
I believe there is scarcely a corner in me that is safe from you.
I don't think there's any part of me that's safe from you.
[Looks towards the bow-window.] Up there, then. Right up there—
[Looks towards the bow-window.] Up there, then. Right up there—
[Approaches her.] You might have the topmost room in the tower, Hilda—there you might live like a princess.
[Approaches her.] You might have the highest room in the tower, Hilda—there you could live like a princess.
[Indefinably, between earnest and jest.] Yes, that is what you promised me.
[Indefinably, between serious and playful.] Yes, that’s what you promised me.
Did I really?
Did I actually?
Fie, Mr. Solness! You said I should be a princess, and that you would give me a kingdom. And then you went and—Well!
Fie, Mr. Solness! You said I should be a princess and that you would give me a kingdom. And then you went and—Well!
[Cautiously.] Are you quite certain that this is not a dream—a fancy, that has fixed itself in your mind?
[Cautiously.] Are you completely sure that this isn't a dream—a figment of your imagination that has settled in your mind?
[Sharply.] Do you mean that you did not do it?
[Sharply.] Are you saying that you didn't do it?
I scarcely know myself. [More softly.] But now I know so much for certain, that I—
I barely recognize myself. [More softly.] But now I know for sure that I—
That you—? Say it at once!
That you—? Just say it already!
SOLNESS. —that I ought to have done it.
SOLNESS. —that I should have done it.
[Exclaims with animation.] Don't tell me you can ever be dizzy!
[Exclaims with excitement.] Don't tell me you could ever feel dizzy!
This evening, then, we will hang up the wreath—Princess Hilda.
This evening, we’ll hang up the wreath—Princess Hilda.
[With a bitter curve of the lips.] Over your new home, yes.
[With a bitter curve of the lips.] About your new home, yes.
Over the new house, which will never be a home for me.
Over the new house, which will never feel like a home to me.
[He goes out through the garden door.
[He steps out through the garden door.
[Looks straight in front of her with a far-away expression, and whispers to herself. The only words audible are:]—frightfully thrilling—
[Looks straight in front of her with a distant expression, and whispers to herself. The only words audible are:]—terrifyingly exciting—
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 scaffolding round so much as is seen of the tower. In the background the garden is bounded by 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 stools. All the furniture is of wicker-work. MRS. SOLNESS, wrapped in a large white crepe 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.
The large, wide verandah of SOLNESS'S house. A part of the house, with an outer door leading to the verandah, is visible on the left. There's a railing along the verandah on the right. At the back, a staircase 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, among the trees, you can catch a glimpse of the lower part of the new villa, with scaffolding around the visible part of the tower. In the background, the garden is bordered by an old wooden fence. Outside the fence, there's a street lined with low, rundown cottages. Evening sky with sunlit clouds. On the verandah, a garden bench is placed along the wall of the house, and in front of the bench is a long table. On the other side of the table are an armchair and some stools. All the furniture is made of wicker. MRS. SOLNESS, wrapped in a large white shawl, is resting in the armchair and gazing to the right. Shortly after, HILDA WANGEL walks up the stairs from the garden. She is dressed as in the last act and is wearing her hat. She has a small bouquet of common flowers tucked into her bodice.
[Turning her head a little.] Have you been round the garden, Miss Wangel?
[Turning her head a little.] Have you been to the garden, Miss Wangel?
Yes, I have been taking a look at it.
Yes, I have been checking it out.
And found some flowers too, I see.
And I see you found some flowers too.
Yes, indeed! There are such heaps of them in among the bushes.
Yes, definitely! There are so many of them hidden among the bushes.
Are there, really? Still? You see I scarcely ever go there.
Are there really? Still? You see, I hardly ever go there.
[Closer.] What! Don't you take a run down into the garden every day, then?
[Closer.] What! You don’t go for a run in the garden every day?
[With a faint smile.] I don't "run" anywhere, nowadays.
[With a faint smile.] I don’t "run" anywhere these days.
Well, but do you not go down now and then to look at all the lovely things there?
Well, don't you go down every now and then to check out all the lovely things there?
It has all become so strange to me. I am almost afraid to see it again.
It all feels so weird to me now. I'm almost scared to see it again.
Your own garden!
Your personal garden!
I don't feel that it is mine any longer.
I don't feel like it's mine anymore.
What do you mean—?
What do you mean?
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.
No, no, it’s not like it was in my parents’ day. They’ve taken away so much—so much of the garden, Miss Wangel. Can you believe it? They’ve divided it up and built houses for strangers—people I don’t know. And now they can sit in their windows and look at me.
[With a bright expression.] Mrs. Solness!
[With a bright expression.] Mrs. Solness!
Yes?
Yes?
May I stay here with you a little?
May I stay here with you for a bit?
Yes, by all means, if you care to.
Yes, of course, if you want to.
[HILDA moves a stool close to the arm-chair and sits down.
[HILDA moves a stool next to the armchair and sits down.
Ah—here one can sit and sun oneself like a cat.
Ah—here one can sit and soak up the sun like a cat.
[Lays her hand softly on HILDA'S neck.] It is nice of you to be willing to sit with me. I thought you wanted to go in to my husband.
[Lays her hand softly on HILDA'S neck.] It's really nice of you to want to sit with me. I thought you wanted to go see my husband.
What should I want with him?
What should I want with him?
To help him, I thought.
I considered helping him.
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.
No, thanks. Plus, he's not here. He's over there with his workers. But he looked so intimidating that I didn't have the guts to approach him.
He is so kind and gentle in reality.
He is really kind and gentle in real life.
He!
Hey!
You do not really know him yet, Miss Wangel.
You don't really know him yet, Miss Wangel.
[Looks affectionately at her.] Are you pleased at the thought of moving over to the new house?
[Looks affectionately at her.] Are you excited about moving to the new house?
I ought to be pleased; for it is what Halvard wants—
I should be happy; because it's what Halvard wants—
Oh, not just on that account, surely?
Oh, you can't be serious about that reason alone, right?
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.
Yes, yes, Miss Wangel; it's just my responsibility to submit to him. But often it's really hard to make myself comply.
Yes, that must be difficult indeed.
Yes, that must be really tough.
I can tell you it is—when one has so many faults as I have—
I can tell you it is—when someone has as many flaws as I do—
When one has gone through so much trouble as you have—
When you've been through so much trouble as you have—
How do you know about that?
How did you find out about that?
Your husband told me.
Your husband mentioned it to me.
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.
To me, he hardly ever talks about these things.—Yes, I can tell you that I've dealt with more than enough trouble in my life, Miss Wangel.
[Looks sympathetically at her and nods slowly.] Poor Mrs. Solness. First of all there was the fire—
[Looks sympathetically at her and nods slowly.] Poor Mrs. Solness. First of all, there was the fire—
[With a sigh.] Yes, everything that was mine was burnt.
[With a sigh.] Yeah, everything I had was burned.
And then came what was worse.
And then came what was even worse.
[Looking inquiringly at her.] Worse?
[Looking curiously at her.] Worse?
The worst of all.
The absolute worst.
What do you mean?
What do you mean?
[Softly.] You lost the two little boys.
[Softly.] You lost the two little boys.
Oh, yes, the boys. But, you see, that was a thing apart. That was a dispensation of Providence; and in such things one can only bow in submission—yes, and be thankful, too.
Oh, yes, the boys. But, you see, that was something different. That was a gift from Providence; and in matters like that, you can only accept it with humility—yes, and be grateful, too.
Then you are so?
So, are you?
Not always, I am sorry to say. I know well enough that it is my duty—but all the same I cannot.
Not always, I’m sorry to say. I know that it’s my duty—but still, I just can’t.
No, no, I think that is only natural.
No, no, I think that's only natural.
And often and often I have to remind myself that it was a righteous punishment for me—
And I often have to remind myself that it was a just punishment for me—
Why?
Why?
Because I had not fortitude enough in misfortune.
Because I didn’t have enough strength to face misfortune.
But I don't see that—
But I don't see it—
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.
Oh, no, no, Miss Wangel—please don’t mention the two little boys anymore. We should only feel joy when we think of them because they are so happy—so happy now. No, it’s the little losses in life that really hurt—the loss of things that others see as almost nothing.
[Lays her arms on MRS. SOLNESS'S knees, and looks up at her affectionately.] Dear Mrs. Solness—tell me what things you mean!
[Lays her arms on MRS. SOLNESS'S knees, and looks up at her affectionately.] Dear Mrs. Solness—can you please tell me what you mean?
As I say, only little things. All the old portraits were burnt on the walls. And all the old silk dresses were burnt, what 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.
As I said, just little things. All the old portraits were burned off the walls. And all the old silk dresses that had belonged to the family for generations were burned, too. And all of mom's and grandma's lace—that was burned, as well. And just think—the jewels, too! [Sadly.] And then all the dolls.
The dolls?
The dolls?
[Choking with tears.] I had nine lovely dolls.
[Choking with tears.] I had nine beautiful dolls.
And they were burnt too?
And they got burned too?
All of them. Oh, it was hard—so hard for me.
All of them. Oh, it was tough—so tough for me.
Had you put by all these dolls, then? Ever since you were little?
Have you saved all these dolls then? Since you were a kid?
I had not put them by. The dolls and I had gone on living together.
I hadn't set them aside. The dolls and I continued living together.
After you were grown up?
After you grew up?
Yes, long after that.
Yeah, a long time after.
After you were married, too?
After you got married, too?
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 Wangel.
Oh yes, definitely. As long as he didn’t see it—. But they were all gone, poor things. Nobody thought to save them. Oh, it’s so sad to think about. You can’t laugh at me, Miss Wangel.
I am not laughing in the least.
I’m not laughing at all.
For you see, in a certain sense, there was life in them, too. I carried them under my heart—like little unborn children.
For you see, in a way, they had life in them, too. I carried them in my heart—like little unborn kids.
DR. HERDAL, with his hat in his hand, comes out through the door, and observes MRS. SOLNESS. and HILDA.
DR. HERDAL, holding his hat, steps out through the door and sees MRS. SOLNESS and HILDA.
Well, Mrs. Solness, so you are sitting out here catching cold?
Well, Mrs. Solness, so you’re out here getting chilly?
I find it so pleasant and warm here to-day.
I find it really nice and warm here today.
Yes, yes. But is there anything going on here? I got a note from you.
Yes, yes. But is anything happening here? I received a note from you.
[Rises.] Yes, there is something I must talk to you about.
[Rises.] Yes, there’s something I need to discuss with you.
Very well; then perhaps we better go in. [To HILDA.] Still in your mountaineering dress, Miss Wangel?
Very well; then maybe we should go inside. [To HILDA.] Still in your mountain-climbing outfit, Miss Wangel?
[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.
[Gaily, rising.] Yes—in full uniform! But today I'm not going climbing and risking my neck. We'll just stay down here and watch, doctor.
What are we to look on at?
What are we supposed to look at?
[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?
[Softly, in alarm, to HILDA.] Quiet, quiet—for God's sake! He's coming! Try to get that idea out of his mind. And let's be friends, Miss Wangel. Don’t you think we can?
[Throws her arms impetuously round MRS. SOLNESS'S neck.] Oh, if we only could!
[Throws her arms impulsively around MRS. SOLNESS'S neck.] Oh, if we only could!
[Gently disengages herself.] There, there, there! There he comes, doctor. Let me have a word with you.
[Gently disengages herself.] There, there, there! Here he comes, doctor. Can I talk to you for a moment?
Is it about him?
Is it about him?
Yes, to be sure it's about him. Do come in.
Yes, it's definitely about him. Please 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.
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.
[Glances at the house-door, which is closed cautiously from within.] Have you noticed, Hilda, that as soon as I come, she goes?
[Glances at the house-door, which is closed cautiously from within.] Have you noticed, Hilda, that as soon as I arrive, she leaves?
I have noticed that as soon as you come, you make her go.
I’ve noticed that as soon as you arrive, you make her leave.
Perhaps so. But I cannot help it. [Looks observantly at her.] Are you cold, Hilda? I think you look cold.
Perhaps that's true. But I can't help it. [Looks closely at her.] Are you cold, Hilda? You seem cold.
I have just come up out of a tomb.
I just came out of a tomb.
What do you mean by that?
What do you mean by that?
That I have got chilled through and through, Mr. Solness.
I'm completely chilled to the bone, Mr. Solness.
[Slowly.] I believe I understand—
[Slowly.] I think I get it—
What brings you up here just now?
What brings you up here right now?
I caught sight of you from over there.
I saw you from over there.
But then you must have seen her too?
But then you must have seen her as well?
I knew she would go at once if I came.
I knew she would leave right away if I showed up.
Is it very painful for you that she should avoid you in this way?
Is it really painful for you that she avoids you like this?
In one sense, it's a relief as well.
In a way, it's a relief too.
Not to have her before your eyes?
Not having her right in front of you?
Yes.
Yes.
Not to be always seeing how heavily the loss of the little boys weighs upon her?
Not to always see how much the loss of the little boys affects her?
Yes. Chiefly that.
Yes. Mainly that.
[HILDA drifts across the verandah with her hands behind her
back, stops at the railing and looks out over the garden.
[HILDA walks casually across the porch with her hands behind her back, pauses at the railing, and gazes out at the garden.
[After a short pause.] Did you have a long talk with her?
[After a short pause.] Did you have a long conversation with her?
[HILDA stands motionless and does not answer.
[HILDA stands still and doesn't respond.
Had you a long talk, I asked? [HILDA is silent as before.
Had you a long talk, I asked? [HILDA is still silent.]
What was she talking about, Hilda? [HILDA continues silent.
What was she talking about, Hilda? [HILDA continues silent.
Poor Aline! I suppose it was about the little boys.
Poor Aline! I guess it was about the little boys.
[A nervous shudder runs through her; then she nods hurriedly
once or twice.
[A nervous shiver goes through her; then she quickly nods
once or twice.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.
She will never get over it—never in this world. [Approaches her.] Now you're just standing there again like a statue; just like you did last night.
[Turns and looks at him, with great serious eyes.] I am going away.
[Turns and looks at him with serious eyes.] I'm leaving.
[Sharply.] Going away!
[Sharply.] Leaving!
Yes.
Yep.
But I won't allow you to!
But I won't allow that!
What am I to do here now?
What am I supposed to do here now?
Simply to be here, Hilda!
Just happy to be here, Hilda!
[Measures him with a look.] Oh, thank you. You know it wouldn't end there.
[Measures him with a look.] Oh, thanks. You know it wouldn't stop there.
[Heedlessly.] So much the better!
[Heedlessly.] Even better!
[Vehemently.] I cannot do any harm to one whom I know! I can't take away anything that belongs to her.
[Vehemently.] I can't hurt someone I know! I can't take anything that belongs to her.
Who wants you to do that?
Who wants you to do that?
[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!
[Continuing.] A stranger, yes! because that's a whole different situation! A person I've never seen before. But someone I've been close to—! Oh no! Oh no! Ugh!
Yes, but I never proposed you should.
Yes, but I never suggested that you should.
Oh, Mr. Solness, you know quite well what the end of it would be. And that is why I am going away.
Oh, Mr. Solness, you know exactly how this will turn out. And that's why I'm leaving.
And what is to become of me when you are gone? What shall I have to live for then?—After that?
And what will happen to me when you’re gone? What will I have to live for then?—After that?
[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.
[With the indefinable look in her eyes.] It can't be that difficult for you. You have responsibilities to her. Focus on those responsibilities.
Too late. These powers—these—these—
Too late. These powers—these—these—
HILDA. —devils—
HILDA. —demons—
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 happiness! Yes, yes! [Sadly.] And now she is dead—for my sake. And I am chained alive to a dead woman. [In wild anguish.] I—I who cannot live without joy in life!
Yes, these demons! And the troll inside me too—they have drained all the life out of her. [Laughs in desperation.] They did it for my happiness! Yes, yes! [Sadly.] And now she’s gone—for my sake. And I am living, tied to a dead woman. [In wild anguish.] I—I who can't live without joy in my life!
[HILDA moves round the table and seats herself on the bench,
with her elbows on the table, and her head supported by her
hands.
[HILDA moves around the table and sits down on the bench, resting her elbows on the table and supporting her head with her hands.
[Sits and looks at him awhile.] What will you build next?
[Sits and looks at him for a moment.] What are you planning to build next?
[Shakes his head.] I don't believe I shall build much more.
[Shakes his head.] I don't think I'm going to build much more.
Not those cosy, happy homes for mother and father, and for the troop of children?
Not those cozy, happy homes for mom and dad, and for the bunch of kids?
I wonder whether there will be any use for such homes in the coming time.
I wonder if there will be any need for homes like that in the future.
Poor Mr. Solness! And you have gone all these ten years—and staked your whole life—on that alone.
Poor Mr. Solness! And you've spent all these ten years—and risked your entire life—on just that.
Yes, you may well say so, Hilda.
Yes, you could definitely say that, Hilda.
[With an outburst.] Oh, it all seems to me so foolish—so foolish!
[With an outburst.] Oh, it all seems so ridiculous to me—so ridiculous!
All what?
All what?
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!
Not being able to reach your own happiness—your own life! Just because someone you know is in your way!
One whom you have no right to set aside.
Someone you can't ignore.
I wonder whether one really has not the right! And yet, and yet—. Oh! if one could only sleep the whole thing away!
I wonder if one really doesn’t have the right! And yet, and yet—. Oh! if only one could just sleep it all away!
[She lays her arms flat don on the table, rests the left side of
her head on her hands, and shuts her eyes.
[She lays her arms flat on the table, rests the left side of
her head on her hands, and shuts her eyes.[Turns the arm-chair and sits down at the table.] Had you a cosy, happy home—up there with your father, Hilda?
[Turns the arm-chair and sits down at the table.] Did you have a warm, happy home—up there with your dad, Hilda?
[Without stirring, answers as if half asleep.] I had only a cage.
[Without stirring, answers as if half asleep.] I only had a cage.
And you are determined not to go back to it?
And you’re sure you don’t want to go back to it?
[As before.] The wild bird never wants to go back to the cage.
[As before.] The wild bird never wants to return to the cage.
Rather range through the free air—
Rather range through the open air—
[Still as before.] The bird of prey loves to range—
[Still as before.] The bird of prey enjoys to roam—
[Lets his eyes rest on her.] If only one had the viking-spirit in life—
[Lets his eyes rest on her.] If only someone had the Viking spirit in life—
[In her usual voice; opens her eyes but does not move.] And the other thing? Say what that was!
[In her usual voice; opens her eyes but does not move.] And what about the other thing? What was that?
A robust conscience.
A strong conscience.
[HILDA sits erect on the bench, with animation. Her eyes have
once more the sparkling expression of gladness.
[HILDA sits up straight on the bench, full of energy. Her eyes once again have that sparkling look of joy.
[Nods to him.] I know what you are going to build next!
[Nods to him.] I know what you're going to create next!
Then you know more than I do, Hilda.
Then you know more than I do, Hilda.
Yes, builders are such stupid people.
Yes, builders are such foolish people.
What is it to be then?
What is it going to be then?
[Nods again.] The castle.
[Nods again.] The castle.
What castle?
Which castle?
My castle, of course.
My castle, obviously.
Do you want a castle now?
Do you want a castle now?
Don't you owe me a kingdom, I should like to know?
Don't you owe me a kingdom? I'd like to know.
You say I do.
You say I will.
Well—you admit you owe me this kingdom. And you can't have a kingdom without a royal castle, I should think.
Well—you acknowledge that you owe me this kingdom. And I assume you can't have a kingdom without a royal castle.
[More and more animated.] Yes, they usually go together.
[More and more animated.] Yes, they typically go hand in hand.
Good! Then build it for me! This moment!
Good! Then build it for me! Right now!
[Laughing.] Must you have that on the instant, too?
[Laughing.] Do you have to have that right away, too?
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!
Yes, for sure! The ten years are up now, and I'm not going to wait any longer. So—get rid of the castle, Mr. Solness!
It's no light matter to owe you anything, Hilda.
It's no small thing to owe you anything, 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!
You should have considered that earlier. It's too late now. So—[tapping the table]—the castle on the table! That's my castle! I want it right now!
[More seriously, leans over towards her, with his arms on the table.] What sort of castle have you imagined, Hilda?
[More seriously, leans over towards her, with his arms on the table.] What kind of castle have you pictured, Hilda?
[Her expression becomes more and more veiled. She seems gazing
inwards at herself.
[Her expression becomes increasingly unreadable. She appears to be looking deep within herself.
[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.
[Slowly.] My castle will be on a high point—on a very high point—with a clear view all around, so I can see far—far in every direction.
And no doubt it is to have a high tower!
And it definitely is to have a tall tower!
A tremendously high tower. And at the very top of the tower there shall be a balcony. And I will stand out upon it—
A really tall tower. And at the very top of the tower, there will be a balcony. And I will stand out on it—
[Involuntarily clutches at his forehead.] How can you like to stand at such a dizzy height—?
[Involuntarily clutches at his forehead.] How can you enjoy standing at such a dizzying height—?
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.
Yes, I will! Right up there I’ll stand and look down on the other people—on those who are building churches, homes for mom and dad, and places for the kids. And you can come up and watch it too.
[In a low tone.] Is the builder to be allowed to come up beside the princess?
[In a low tone.] Is the builder allowed to come up next to the princess?
If the builder will.
If the builder is willing.
[More softly.] Then I think the builder will come.
[More softly.] Then I think the builder will arrive.
[Nods.] The builder—he will come.
[Nods.] The builder will come.
But he will never be able to build any more. Poor builder!
But he won’t be able to build anymore. Poor builder!
[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.
[Animated.] Oh, yes, he will! We’ll work together. And then we’ll create the most beautiful—the absolute most beautiful—thing in the entire world.
[Intently.] Hilda—tell me what that is!
Hilda—what's that?
[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.
[Looks smilingly at him, shakes her head a little, pouts, and speaks as if to a child.] Builders—they are just so very, very clueless.
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?
Yes, there's no denying they're foolish. But now tell me, what is it—the most wonderful thing in the world—that we are going to create together?
[Is silent a little while, then says with an indefinable expression in her eyes.] Castles in the air.
[Is silent for a moment, then says with an unreadable look in her eyes.] Dreams that will never come true.
Castles in the air?
Daydreams?
[Nods.] Castles in the air, yes! Do you know what sort of thing a castle in the air is?
[Nods.] Castles in the air, right! Do you know what a castle in the air is?
It is the loveliest thing in the world, you say.
It’s the most beautiful thing in the world, you say.
[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 build, too—[looks scornfully at him]—especially for the builders who have a—a dizzy conscience.
[Rises with intensity and waves her hand in disgust.] Yes, it definitely is! Dreaming big is so easy to do—[gives him a scornful look]—especially for those who have a—a guilty conscience.
[Rises.] After this day we two will build together, Hilda.
[Rises.] After today, you and I will create something together, Hilda.
[With a half-dubious smile.] A real castle in the air?
[With a somewhat skeptical smile.] A real castle in the sky?
Yes. One with a firm foundation under it.
Yes. One that has a solid base underneath it.
RAGNAR BROVIK comes out from the house. He is carrying a large green wreath with flowers and silk ribbons.
RAGNAR BROVIK comes out of the house. He’s holding a large green wreath with flowers and silk ribbons.
[With an outburst of pleasure.] The wreath! Oh, that will be glorious!
[With an outburst of pleasure.] The wreath! Oh, that’s going to be amazing!
[In surprise.] Have you brought the wreath Ragnar?
[In surprise.] Did you bring the wreath, Ragnar?
I promised the foreman I would.
I promised the supervisor I would.
[Relieved.] Ah, then I suppose you father is better?
[Relieved.] Oh, then I guess your dad is doing better?
No.
No.
Was he not cheered by what I wrote?
Was he not encouraged by what I wrote?
It came too late.
It was too late.
Too late!
Too late!
When she came with it he was unconscious. He had had a stroke.
When she arrived with it, he was unconscious. He had suffered a stroke.
Why, then, you must go home to him! You must attend to your father!
Why, then, you have to go home to him! You need to take care of your father!
He does not need me any more.
He doesn't need me now.
But surely you ought to be with him.
But you should definitely be with him.
She is sitting by his bed.
She is sitting next to his bed.
[Rather uncertainly.] Kaia?
Kaia?
[Looking darkly at him.] Yes—Kaia.
[Looking at him darkly.] Yes—Kaia.
Go home, Ragnar—both to him and to her. Give me the wreath.
Go home, Ragnar—both to him and to her. Hand me the wreath.
[Suppresses a mocking smile.] You don't mean that you yourself—?
[Suppresses a mocking smile.] You can't be serious—?
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.
I’ll deliver it to them myself. [Takes the wreath from him.] Now you can head home; we don’t need you today.
I know you do not require me any more; but to-day I shall remain.
I know you don’t need me anymore, but today I will stay.
Well, remain then, since you are bent upon it.
Well, stay then if that's what you want.
[At the railing.] Mr. Solness, I will stand here and look on at you.
[At the railing.] Mr. Solness, I will stay here and watch you.
At me!
Look at me!
It will be fearfully thrilling.
It'll be incredibly thrilling.
[In a low tone.] We will talk about that presently, Hilda.
[In a low tone.] We'll discuss that soon, Hilda.
[He goes down the flight of steps with the wreath, and away
through the garden.
[He walks down the steps with the wreath and heads out through the garden.
[Looks after him, then turns to RAGNAR.] I think you might at least have thanked him
[Looks after him, then turns to RAGNAR.] I think you could have at least thanked him.
Thanked him? Ought I to have thanked him?
Thanked him? Should I have thanked him?
Yes, of course you ought!
Absolutely, you should!
I think it is rather you I ought to thank.
I think it’s really you I should be thanking.
How can you say such a thing?
How can you say something like that?
[Without answering her.] But I advise you to take care, Miss Wangel! For you don't know him rightly yet.
[Without answering her.] But I recommend you be careful, Miss Wangel! Because you don’t really know him yet.
[Ardently.] Oh, no one knows him as I do!
[Ardently.] Oh, no one understands him like I do!
[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—!
[Laughs in exasperation.] Thank him, when he has held me back year after year! When he made my father doubt me—made me doubt myself! And all just so he could—!
[As if divining something.] That he might—? Tell me at once!
[As if sensing something.] Could he—? Tell me now!
That he might keep her with him.
That he could keep her with him.
[With a start towards him.] The girl at the desk.
[With a start towards him.] The girl at the desk.
Yes.
Yes.
[Threateningly, clenching her hands.] That is not true! You are telling falsehoods about him!
[Threateningly, clenching her hands.] That’s not true! You’re spreading lies about him!
I would not believe it either until to-day—when she said so herself.
I wouldn't have believed it either until today—when she said it herself.
[As if beside herself.] What did she say? I will know! At once! at once!
[As if out of her mind.] What did she say? I need to know! Right now! Right now!
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, where he is—
She said that he had taken over her mind—her whole mind—focused all her thoughts on just him. She says that she can never leave him—that she will stay here, where he is—
[With flashing eyes.] She will not be allowed to!
[With flashing eyes.] She isn't going to be allowed to!
[As if feeling his way.] Who will not allow her?
[As if feeling his way.] Who’s stopping her?
[Rapidly.] He will not either!
[Quickly.] He won't either!
Oh no—I understand the whole thing now. After this, she would merely be—in the way.
Oh no—I get it now. After this, she would just be—in the way.
You understand nothing—since you can talk like that! No, I will tell you why he kept hold of her.
You don’t understand anything—since you can talk like that! No, I will explain why he held onto her.
Well then, why?
Well, why not?
In order to keep hold of you.
To keep you.
Has he told you so?
Has he said that to you?
No, but it is so. It must be so! [Wildly.] I will—I will have it so!
No, but it is. It has to be! [Wildly.] I will—I will make it happen!
And at the very moment when you came—he let her go.
And at the exact moment you arrived—he released her.
It was you—you that he let go! What do you suppose he cares about strange women like her?
It was you—you that he let go! What do you think he cares about weird women like her?
[Reflects.] Is it possible that all this time he has been afraid of me?
[Reflects.] Could it be that he's been scared of me all along?
He afraid! I would not be so conceited if I were you.
He’s scared! I wouldn’t be so full of myself if I were you.
Oh, he must have seen long ago that I had something in me, too. Besides—cowardly—that is just what he is, you see.
Oh, he must have realized a while back that I had something inside me, too. Besides—cowardly—that's exactly what he is, you see.
He! Oh yes, I am likely to believe that!
He! Oh yes, I totally believe that!
In a certain sense he is cowardly—he, the great master builder. He is not afraid of robbing others of their happiness—as he has done both for my father and me. But when it comes to climbing up a paltry bit of scaffolding—he will do anything rather than that.
In a way, he's a coward—he, the great master builder. He's not afraid to take away others' happiness—as he's done with both my father and me. But when it comes to climbing a little bit of scaffolding—he'll do anything to avoid that.
Oh, you should just have seen him high, high up—at the dizzy height where I once saw him.
Oh, you should have seen him way up high—at the dizzy height where I once saw him.
Did you see that?
Did you catch that?
Yes, indeed I did. How free and great he looked as he stood and fastened the wreath to the church vane!
Yes, I really did. He looked so free and powerful as he stood there attaching the wreath to the church weather vane!
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.
I know that he took that risk once in his life—just that one time. It’s a story we younger guys talk about. But nothing on earth could get him to do it again.
To-day he will do it again!
To day he will do it again!
[Scornfully.] Yes, I daresay!
[Scornfully.] Yes, I suppose so!
We shall see it!
We'll see it!
That neither you nor I will see.
That neither you nor I will see.
[With uncontrollable vehemence.] I will se it! I will and I must see it!
I need to see it! I have to see it!
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.
But he won't do it. He just can't bring himself to do it. You see, he can't overcome this weakness—even though he's a master builder.
MRS. SOLNESS comes from the house on to the verandah.
MRS. SOLNESS steps out from the house onto the porch.
[Looks around.] Is he not here? Where has he gone to?
[Looks around.] Is he not here? Where has he gone?
Mr. Solness is down with the men.
Mr. Solness is with the workers.
He took the wreath with him.
He took the wreath with him.
[Terrified.] Took the wreath with him! Oh God! oh God! Brovik—you must go down to him! Get him to come back here!
[Terrified.] He took the wreath with him! Oh God! Oh God! Brovik—you have to go to him! Get him to come back here!
Shall I say you want to speak to him, Mrs. Solness?
Shall I say you want to talk to him, Mrs. Solness?
Oh yes, do!—No, no—don't say that I want anything! You can say that somebody is here, and that he must come at once.
Oh yes, do!—No, no—don’t say that I want anything! You can say that someone is here, and that he has to come right away.
Good. I will do so, Mrs. Solness.
Good. I'll do that, Mrs. Solness.
[He goes down the flight of steps and away through the garden.
[He walks down the flight of steps and heads through the garden.
Oh, Miss Wangel, you can't think how anxious I feel about him.
Oh, Miss Wangel, you can't imagine how worried I am about him.
Is there anything in this to be terribly frightened about?
Is there anything here to be really scared about?
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!
Oh yes; I'm sure you get it. Just imagine if he actually did it! What if he decided to climb up the scaffolding!
[Eagerly.] Do you think he will?
[Eagerly.] Do you think he will?
Oh, one can never tell what he might take into his head. I am afraid there is nothing he mightn't think of doing.
Oh, you can never know what he might think of next. I'm afraid there's nothing he wouldn't consider doing.
Aha! Perhaps you too think he is—well—?
Aha! Maybe you think he is—well—?
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 I have heard him say—
Oh, I don't know what to think about him now. The doctor has been telling me all kinds of things, and putting it all together with several things I've heard him say—
DR. HERDAL looks out, at the door.
DR. HERDAL looks out at the door.
Is he not coming soon?
Is he coming soon?
Yes, I think so. I have sent for him at any rate.
Yes, I think so. I've sent for him anyway.
[Advancing.] I am afraid you will have to go in, my dear lady—
[Advancing.] I'm sorry, but you’ll have to go in, my dear lady—
Oh no! Oh no! I shall stay out here and wait for Halvard.
Oh no! Oh no! I'll stay out here and wait for Halvard.
But some ladies have just come to call on you—
But some women have just come to visit you—
Good heavens, that too! And just at this moment!
Good heavens, that too! And right now!
They say they positively must see the ceremony.
They say they absolutely have to see the ceremony.
Well, well, I suppose I must go to them after all. It is my duty.
Well, I guess I have to go to them after all. It's my responsibility.
Can't you ask the ladies to go away?
Can't you tell the ladies to leave?
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.
No, that won't work. Now that they’re here, it’s my responsibility to see them. But you stay out here for now—and greet him when he arrives.
And try to occupy his attention as long as possible—
And try to keep his attention for as long as you can—
Yes, do, dear Miss Wangel. Keep as firm hold of him as ever you can.
Yes, please do, dear Miss Wangel. Hold onto him as tightly as you can.
Would it not be best for you to do that?
Wouldn't it be better for you to do that?
Yes; God knows that is my duty. But when one has duties in so many directions—
Yes; God knows that it's my responsibility. But when you have obligations in so many areas—
[Looks towards the garden.] There he is coming.
[Looks towards the garden.] There he comes.
And I have to go in!
And I have to go inside!
[To HILDA.] Don't say anything about my being here.
[To HILDA.] Don't mention that I'm here.
Oh no! I daresay I shall find something else to talk to Mr. Solness about.
Oh no! I guess I'll find something else to discuss with Mr. Solness.
And be sure you keep firm hold of him. I believe you can do it best.
And make sure you hold onto him tightly. I think you're the best one for the job.
[MRS. SOLNESS and DR. HERDAL go into the house. HILDA remains
standing on the verandah. SOLNESS comes from the garden, up
the flight of steps.
[MRS. SOLNESS and DR. HERDAL go into the house. HILDA stays standing on the porch. SOLNESS comes from the garden, up the steps.
Somebody wants me, I hear.
Someone wants me, I hear.
Yes; it is I, Mr. Solness.
Yep, it's me, Mr. Solness.
Oh, is it you, Hilda? I was afraid it might be Aline or the Doctor.
Oh, is that you, Hilda? I was worried it might be Aline or the Doctor.
You are very easily frightened, it seems!
You seem to get scared really easily!
Do you think so?
Do you really think that?
Yes; people say that you are afraid to climb about—on the scaffoldings, you know.
Yes; people say that you’re afraid to climb around—the scaffolding, you know.
Well, that is quite a special thing.
That's really special.
Then it is true that you are afraid to do it?
Then it’s true that you’re scared to do it?
Yes, I am.
Yes, I am.
Afraid of falling down and killing yourself?
Afraid of falling and hurting yourself?
No, not of that.
No, not that.
Of what, then?
What about?
I am afraid of retribution, Hilda.
I’m scared of revenge, Hilda.
Of retribution? [Shakes her head.] I don't understand that.
Of retribution? [Shakes her head.] I don't get that.
Sit down, and I will tell you something.
Sit down, and I’ll tell you something.
Yes, do! At once!
Yes, do it! Right now!
[She sits on a stool by the railing, and looks expectantly
at him.
[She sits on a stool by the railing and looks at him with anticipation.
[Throws his hat on the table.] You know that I began by building churches.
[Throws his hat on the table.] You know that I started by building churches.
[Nods.] I know that well.
[Nods.] I know that.
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.
For you see, I came as a boy from a devoted home in the countryside; and so it felt to me that building this church was the most honorable task I could take on.
Yes, yes.
Sure, sure.
And I venture to say that I built those poor little churches with such honest and warm and heartfelt devotion that—that—
And I dare say that I built those small churches with such genuine, warm, and heartfelt devotion that—that—
That—? Well?
That—? Well?
Well, that I think that he ought to have been pleased with me.
Well, I think he should have been happy with me.
He? What he?
He? Which he?
He who was to have the churches, of course! He to whose honour and glory they were dedicated.
He who was supposed to have the churches, of course! He to whose honor and glory they were dedicated.
Oh, indeed! But are you certain, then, that—that he was not—pleased with you?
Oh, really! But are you sure that he wasn't pleased with you?
[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 might—all these—all these—
[Scornfully.] He made me happy! How can you say that, Hilda? He who let the troll inside me control everything as it wanted. He who commanded them to be ready to serve me, both day and night—all of this—all of this—
Devils—
Demons—
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.
Yes, of both kinds. Oh no, he made it very clear that he was not happy with me. [Mysteriously.] You see, that was really the reason he had the old house burned down.
Was that why?
Is that why?
Yes, don't you understand? He wanted to give me the chance of becoming an accomplished master in my own sphere—so that I might build all 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.
Yes, don’t you get it? He wanted to give me the opportunity to become a skilled master in my own field—so that I could create even more magnificent churches for him. At first, I didn’t see what he was getting at; but then it suddenly hit me.
When was that?
When did that happen?
It was when I was building the church-tower up at Lysanger.
It was when I was constructing the church tower up at Lysanger.
I thought so.
I thought so too.
For you see, Hilda—up there, amidst those new surroundings, I used to go about musing and pondering 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!
For you see, Hilda—up there, among those new surroundings, I used to walk around, lost in thought. Then I realized clearly why he took my little children away from me. It was so I wouldn’t have anything else to hold onto. No love or happiness, you know. I was meant to be just a master builder—nothing more, and I was supposed to spend my whole life building for him. [Laughs.] But I can tell you, nothing came of that!
What did you do then?
What did you do next?
First of all, I searched and tried my own heart—
First of all, I examined and reflected on my own heart—
And then?
And then what?
The I did the impossible—I, no less than he.
The I did the impossible—I, just like he did.
The impossible?
The unthinkable?
I had never before been able to climb up to a great, free height. But that day I did it.
I had never been able to climb to a high, open spot before. But that day, I did it.
[Leaping up.] Yes, yes, you did!
[Leaping up.] Yes, yes, you totally did!
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.
And when I stood there, high above everything, and was hanging the wreath over the weather vane, I said to him: Listen to me now, you Mighty One! From this day on, I will be a free builder—I too, in my own way—just like you in yours. I will never build churches for you again—only homes for people.
[With great sparkling eyes.] That was the song that I heard through the air!
[With great sparkling eyes.] That was the song I heard in the air!
But afterwards his turn came.
But later, it was his turn.
What do you mean by that?
What do you mean by that?
[Looks despondently at her.] Building homes for human beings—is not worth a rap, Hilda.
[Looks despondently at her.] Building homes for people—isn't worth anything, Hilda.
Do you say that now?
Do you say that now?
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 sacrificed for the chance of building. Nothing, nothing! the whole is nothing!
Yes, for now I see it. Men don’t really have a use for these homes of theirs—to be happy in. And I wouldn’t have needed such a home, if I had one. [With a quiet, bitter laugh.] You see, that’s the crux of the whole situation, no matter how far back I look. Nothing truly built; nor anything sacrificed for the chance to build. Nothing, nothing! The whole thing is nothing!
Then you will never build anything more?
Then you'll never build anything else?
[With animation.] On the contrary, I am just going to begin!
[With animation.] On the contrary, I'm just getting started!
What, then? What will you build? Tell me at once!
What’s next? What are you going to create? Tell me right now!
I believe there is only one possible dwelling-place for human happiness—and that is what I am going to build now.
I believe there's only one place where human happiness can truly exist—and that's what I'm about to create now.
[Looks fixedly at him.] Mr. Solness—you mean our castles in the air.
[Looks fixedly at him.] Mr. Solness—you mean our dreams.
The castles in the air—yes.
The castles in the air—yes.
I am afraid you would turn dizzy before we got half-way up.
I'm afraid you'd get dizzy before we reached halfway up.
Not if I can mount hand in hand with you, Hilda.
Not if I can walk alongside you, Hilda.
[With an expression of suppressed resentment.] Only with me? Will there be no others of the party?
[With an expression of suppressed resentment.] Just me? There won’t be anyone else from the group?
Who else should there be?
Who else could it be?
Oh—that girl—that Kaia at the desk. Poor thing—don't you want to take her with you too?
Oh—that girl—that Kaia at the desk. Poor thing—don't you want to take her with you too?
Oho! Was it about her that Aline was talking to you?
Ooh! Was she the one Aline was talking to you about?
Is it so—or is it not?
Is it true—or is it not?
[Vehemently.] I will not answer such a question. You must believe in me, wholly and entirely!
[Vehemently.] I won't answer that question. You have to believe in me completely and totally!
All these ten years I have believed in you so utterly—so utterly.
All these ten years, I have believed in you completely—so completely.
You must go on believing in me!
You have to keep believing in me!
Then let me see you stand free and high up!
Then let me see you stand tall and proud!
[Sadly.] Oh Hilda—it is not every day that I can do that.
[Sadly.] Oh Hilda—it’s not something I can do every day.
[Passionately.] I will have you do it! I will have it! [Imploringly.] Just once more, Mr. Solness! Do the impossible once again!
[Passionately.] I need you to do it! I want it! [Imploringly.] Just one more time, Mr. Solness! Make the impossible happen again!
[Stands and looks deep into her eyes.] If I try it, Hilda, I will stand up there and talk to him as I did that time before.
[Stands and looks deep into her eyes.] If I go for it, Hilda, I'll get up there and talk to him just like I did that one time before.
[In rising excitement.] What will you say to him?
[In rising excitement.] What are you going to say to him?
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—
I will say to him: Listen to me, Mighty Lord—feel free to judge me as you see fit. But from now on, I will create nothing but the most beautiful thing in the world—
[Carried away.] Yes—yes—yes!
[Carried away.] Yes!
SOLNESS. —build it together with a princess, whom I love—
SOLNESS. —build it together with a princess, whom I love—
Yes, tell him that! Tell him that!
Yes, tell him that! Tell him that!
Yes. And then I will say to him: Now I shall go down and throw my arms round her and kiss her—
Yes. And then I'll say to him: Now I'm going down to wrap my arms around her and kiss her—
HILDA. —many times! Say that!
HILDA. —so many times! Say that!
SOLNESS. —many, many times, I will say it!
SOLNESS. —so many times, I will say it!
And then—?
So what happens next?
Then I will wave my hat—and come down to the earth—and do as I said to him.
Then I'll wave my hat, come down to earth, and do what I said I would.
[With outstretched arms.] Now I see you again as I did when there was song in the air!
[With outstretched arms.] Now I see you again just like I did when there was music in the air!
[Looks at here with his head bowed.] How have you become what you are, Hilda?
[Looks at her with his head bowed.] How did you become who you are, Hilda?
How have you made me what I am?
How have you turned me into who I am?
[Shortly and firmly.] The princess shall have her castle.
[Shortly and firmly.] The princess will have her castle.
[Jubilant, clapping her hands.] Oh, Mr. Solness—! My lovely, lovely castle. Our castle in the air!
[Jubilant, clapping her hands.] Oh, Mr. Solness—! My beautiful, beautiful castle. Our dream castle!
On a firm foundation.
On a solid foundation.
[In the street a crowd of people has assembled, vaguely seen
through the trees. Music of wind-instruments is heard far
away behind the new house.
[In the street, a crowd has gathered, faintly visible through the trees. Music from wind instruments can be heard in the distance, coming from behind the new house.
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, wearing a fur collar around her neck, DOCTOR HERDAL with her white shawl draped over his arm, and a few ladies step out onto the porch. RAGNAR BROVIK comes up from the garden at the same time.
[To RAGNAR.] Are we to have music, too?
[To RAGNAR.] Are we going to have music as well?
Yes. It's the band of the Mason's Union. [To SOLNESS.] The foreman asked me to tell you that he is ready now to go up with the wreath.
Yes. It's the Mason's Union band. [To SOLNESS.] The foreman asked me to let you know that he’s ready to go up with the wreath now.
[Takes his hat.] Good. I will go down to him myself.
[Takes his hat.] Great. I'll go down to him myself.
[Anxiously.] What have you to do down there, Halvard?
[Anxiously.] What are you doing down there, Halvard?
[Curtly.] I must be down below with the men.
[Curtly.] I need to go down below with the guys.
Yes, down below—only down below.
Yes, down below—just down below.
That is where I always stand—on everyday occasions.
That’s where I always am—on regular days.
[He goes down the flight of steps and away through the garden.
[He walks down the stairs and out through the garden.
[Calls after him over the railing.] But do beg the man to be careful when he goes up! Promise me that, Halvard!
[Calls after him over the railing.] But please ask him to be careful when he goes up! Promise me that, Halvard!
[To MRS. SOLNESS.] Don't you see that I was right? He has given up all thought of that folly.
[To MRS. SOLNESS.] Don’t you see that I was right? He has completely given up on that nonsense.
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 been able to manage him.
Oh, what a relief! Two workers have fallen, and each time they were killed instantly. [Turns to HILDA.] Thank you, Miss Wangel, for keeping such a strong grip on him. I could never have managed him.
[Playfully.] Yes, yes, Miss Wangel, you know how to keep firm hold on a man, when you give your mind to it.
[Playfully.] Yes, yes, Miss Wangel, you really know how to hold onto a guy when you set 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.
[MRS. SOLNESS and DR. HERDAL walk over to the women, who are standing closer to the steps and looking over the garden. HILDA stays beside the railing in the foreground. RAGNAR approaches her.
[With suppressed laughter, half whispering.] Miss Wangel—do you see all those young fellows down in the street?
[With suppressed laughter, half whispering.] Miss Wangel—do you see all those guys down in the street?
Yes.
Yeah.
They are my fellow students, come to look at the master.
They are my classmates, here to see the master.
What do they want to look at him for?
What do they want to see him for?
They want to see how he daren't climb to the top of his own house.
They want to see how he’s afraid to climb to the top of his own house.
Oh, that is what those boys want, is it?
Oh, is that what those guys want?
[Spitefully and scornfully.] He has kept us down so long—now we are going to see him keep quietly down below himself.
[Spitefully and scornfully.] He has held us back for so long—now we’re going to see him stay quietly below himself.
You will not see that—not this time.
You won't see that—not this time.
[Smiles.] Indeed! Then where shall we see him?
[Smiles.] Absolutely! So where should we meet him?
High—high up by the vane! That is where you will see him!
High—high up by the weathervane! That’s where you’ll spot him!
[Laughs.] Him! Oh yes, I daresay!
[Laughs.] Him! Oh yeah, I definitely say!
His will is to reach the top—so at the top you shall see him.
His determination is to reach the top—so at the top you will find him.
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 crawl down again on his hands and knees.
His determination, sure; I can totally believe that. But he just can't pull it off. His head would start spinning long before he even got halfway. He'd have to crawl back down on his hands and knees.
[Points across.] Look! There goes the foreman up the ladders.
[Points across.] Look! There goes the supervisor up the ladders.
And of course he has the wreath to carry too. Oh, I do hope he will be careful!
And of course he has the wreath to carry too. Oh, I really hope he will be careful!
[Stares incredulously and shouts.] Why, but it's—
[Stares in disbelief and yells.] Why, but it's—
[Breaking out in jubilation.] It is the master builder himself?
[Breaking out in jubilation.] Is it really the master builder himself?
[Screams with terror.] Yes, it is Halvard! Oh my great God—! Halvard! Halvard!
[Screams with terror.] Yes, it’s Halvard! Oh my God—! Halvard! Halvard!
Hush! Don't shout to him!
Shh! Don't yell at him!
[Half beside herself.] I must go to him! I must get him to come down again!
[Half beside herself.] I have to go to him! I need to get him to come down again!
[Holds her.] Don't move, any of you! Not a sound!
[Holds her.] Don't move, any of you! Not a sound!
[Immovable, follows SOLNESS with her eyes.] He climbs and climbs. Higher and higher! Higher and higher! Look! Just look!
[Immovable, follows SOLNESS with her eyes.] He climbs and climbs. Higher and higher! Higher and higher! Look! Just look!
[Breathless.] He must turn now. He can't possibly help it.
[Breathless.] He has to turn now. There's no way he can avoid it.
He climbs and climbs. He will soon be at the top now.
He keeps climbing. He'll be at the top soon.
Oh, I shall die of terror. I cannot bear to see it.
Oh, I’m going to die from fear. I can’t stand to see this.
Then don't look up at him.
Then don’t look at him.
There he is standing on the topmost planks! Right at the top!
There he is standing on the highest planks! Right at the top!
Nobody must move! Do you dear?
Nobody should move! Do you understand?
[Exulting, with quiet intensity.] At last! At last! Now I see him great and free again!
[Exulting, with quiet intensity.] Finally! Finally! Now I see him strong and free again!
[Almost voiceless.] But this is im—
[Almost voiceless.] But this is im—
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!
So I've seen him all through these ten years. He stands so confidently! It's incredibly exciting all the same. Look at him! Now he's hanging the wreath around the weathervane!
I feel as if I were looking at something utterly impossible.
I feel like I'm looking at something completely impossible.
Yes, it is the impossible that he is doing now! [With the indefinable expression in her eyes.] Can you see any one else up there with him?
Yes, he's doing the impossible right now! [With an indescribable look in her eyes.] Can you see anyone else up there with him?
There is no one else.
There's no one else.
Yes, there is one he is striving with.
Yes, there is one he is struggling with.
You are mistaken.
You're mistaken.
Then do you hear no song in the air, either?
Then do you not hear any music in the air, either?
It must be the wind in the tree-tops.
It has to be the wind in the treetops.
I 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!
I hear a song—a powerful song! [Shouts in wild excitement and joy.] Look, look! Now he’s waving his hat! He’s waving it to us down here! Oh, wave, wave back to him! Because now it’s over! [Grabs the white shawl from the Doctor, waves it, and shouts up to SOLNESS.] Hurrah for Master Builder Solness!
Stop! Stop! For God's sake—!
Stop! Stop! For heaven's sake—!
[The ladies on the verandah wave their pocket-handkerchiefs, and
the shouts of "Hurrah" are taken up in the street. 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.
[The women on the porch wave their handkerchiefs, and the cheers of "Hurrah" echo in the street. Then, all of a sudden, there's silence, and the crowd lets out a scream of terror. A human body, with pieces of wood and debris, can be seen falling behind the trees.
[At the same time.] He is falling! He is falling!
[At the same time.] He's falling! He's 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.
[MRS. SOLNESS stumbles, falls back, fainting, and is caught,
amidst screams and chaos, by the ladies. The crowd in the
street breaks down the fence and rushes into the garden. At
the same time, DR. HERDAL hurries down there as well. A brief
pause.[Stares fixedly upwards and says, as if petrified.] My Master Builder.
[Stares fixedly upwards and says, as if frozen.] My Master Builder.
[Supports himself, trembling, against the railing.] He must be dashed to pieces—killed on the spot.
[Supports himself, shaking, against the railing.] He must be smashed to bits—dead immediately.
[Whilst MRS. SOLNESS is carried into the house.] Run down for the doctor—
[While MRS. SOLNESS is taken into the house.] Go get the doctor—
I can't stir a root—
I can't stir a root—
Then call to some one!
Then call someone!
[Tries to call out.] How is it? Is he alive?
[Tries to call out.] How is it? Is he still alive?
[Below, in the garden.] Mr. Solness is dead!
[Below, in the garden.] Mr. Solness is dead!
[Nearer.] The head is all crushed.—he fell right into the quarry.
[Nearer.] The head is completely crushed.—he fell directly into the pit.
[Turns to RAGNAR, and says quietly.] I can't see him up there now.
[Turns to RAGNAR, and says quietly.] I can't see him up there anymore.
This is terrible. So, after all, he could not do it.
This is awful. So, in the end, he just couldn't do it.
[As if in quiet spell-bound triumph.] But he mounted right to the top. And I heard harps in the air. [Waves her shawl in the air, and shrieks with wild intensity.] My—my Master Builder!
[As if in quiet spell-bound triumph.] But he climbed all the way to the top. And I heard harps in the air. [Waves her shawl in the air, and shrieks with wild intensity.] My—my Master Builder!
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