Hedda Gabler by Henrik Ibsen (books on motivation .txt) đź“•
Of all Ibsen's works, Hedda Gabler is the most detached, the most objective--a character-study pure and simple. It is impossible--or so it seems to me--to extract any sort of general idea from it. One cannot even call it a satire, unless one is prepared to apply that term to the record of a "case" i
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HEDDA.
Yes, perhaps just a moment—out in the hall.
BRACK.
And where was you pistol-case during that time?
HEDDA.
I had it locked up in—
BRACK.
Well, Mrs. Hedda?
HEDDA.
The case stood there on the writing-table.
BRACK.
Have you looked since, to see whether both the pistols are there?
HEDDA.
No.
BRACK.
Well, you need not. I saw the pistol found in Lovborg's pocket, and I knew it at once as the one I had seen yesterday—and before, too.
HEDDA.
Have you it with you?
BRACK.
No; the police have it.
HEDDA.
What will the police do with it?
BRACK.
Search till they find the owner.
HEDDA.
Do you think they will succeed?
BRACK.
[Bends over her and whispers.] No, Hedda Gabler—not so long as I say nothing.
HEDDA.
[Looks frightened at him.] And if you do not say nothing,—what then?
BRACK.
[Shrugs his shoulders.] There is always the possibility that the pistol was stolen.
HEDDA.
[Firmly.] Death rather than that.
BRACK.
[Smiling.] People say such things—but they don't do them.
HEDDA.
[Without replying.] And supposing the pistol was not stolen, and the owner is discovered? What then?
BRACK.
Well, Hedda—then comes the scandal!
HEDDA.
The scandal!
BRACK.
Yes, the scandal—of which you are so mortally afraid. You will, of course, be brought before the court—both you and Mademoiselle Diana. She will have to explain how the thing happened—whether it was an accidental shot or murder. Did the pistol go off as he was trying to take it out of his pocket, to threaten her with? Or did she tear the pistol out of his hand, shoot him, and push it back into his pocket? That would be quite like her; for she is an able-bodied young person, this same Mademoiselle Diana.
HEDDA.
But I have nothing to do with all this repulsive business.
BRACK.
No. But you will have to answer the question: Why did you give Eilert the pistol? And what conclusions will people draw from the fact that you did give it to him?
HEDDA.
[Lets her head sink.] That is true. I did not think of that.
BRACK.
Well, fortunately, there is no danger, so long as I say nothing.
HEDDA.
[Looks up at him.] So I am in your power, Judge Brack. You have me at your beck and call, from this time forward.
BRACK.
[Whispers softly.] Dearest Hedda—believe me—I shall not abuse my advantage.
HEDDA.
I am in your power none the less. Subject to your will and your demands. A slave, a slave then! [Rises impetuously.] No, I cannot endure the thought of that! Never!
BRACK.
[Looks half-mockingly at her.] People generally get used to the inevitable.
HEDDA.
[Returns his look.] Yes, perhaps. [She crosses to the writing-table. Suppressing an involuntary smile, she imitates TESMAN'S intonations.] Well? Are you getting on, George? Eh?
TESMAN.
Heaven knows, dear. In any case it will be the work of months.
HEDDA.
[As before.] Fancy that! [Passes her hands softly through Mrs. Elvsted's hair.] Doesn't it seem strange to you, Thea? Here are you sitting with Tesman—just as you used to sit with Eilert Lovborg?
MRS. ELVSTED.
Ah, if I could only inspire your husband in the same way!
HEDDA.
Oh, that will come too—in time.
TESMAN.
Yes, do you know, Hedda—I really think I begin to feel something of the sort. But won't you go and sit with Brack again?
HEDDA.
Is there nothing I can do to help you two?
TESMAN.
No, nothing in the world. [Turning his head.] I trust to you to keep Hedda company, my dear Brack.
BRACK.
[With a glance at HEDDA.] With the very greatest of pleasure.
HEDDA.
Thanks. But I am tired this evening. I will go in and lie down a little on the sofa.
TESMAN.
Yes, do dear—eh?
pause. Suddenly she is heard playing a wild dance on the piano.
MRS. ELVSTED.
[Starts from her chair.] Oh—what is that?
TESMAN.
[Runs to the doorway.] Why, my dearest Hedda—don't play dance-music to-night! Just think of Aunt Rina! And of Eilert too!
HEDDA.
[Puts her head out between the curtains.] And of Aunt Julia. And of all the rest of them.—After this, I will be quiet. [Closes the curtains again.]
TESMAN.
[At the writing-table.] It's not good for her to see us at this distressing work. I'll tell you what, Mrs. Elvsted,—you shall take the empty room at Aunt Julia's, and then I will come over in the evenings, and we can sit and work there—eh?
HEDDA.
[In the inner room.] I hear what you are saying, Tesman. But how am I to get through the evenings out here?
TESMAN.
[Turning over the papers.] Oh, I daresay Judge Brack will be so kind as to look in now and then, even though I am out.
BRACK.
[In the arm-chair, calls out gaily.] Every blessed evening, with all the pleasure in life, Mrs. Tesman! We shall get on capitally together, we two!
HEDDA.
[Speaking loud and clear.] Yes, don't you flatter yourself we will, Judge Brack? Now that you are the one cock in the basket—
to their feet.
TESMAN.
Oh, now she is playing with those pistols again.
ELVSTED. HEDDA lies stretched on the sofa, lifeless.
Confusion and cries. BERTA enters in alarm from the right.
TESMAN.
[Shrieks to BRACK.] Shot herself! Shot herself in the temple! Fancy that!
BRACK.
[Half-fainting in the arm-chair.] Good God!—people don't do such things.
THE END
FOOTNOTES.
(1)Pronounce Reena.
(2)In the original "Statsradinde Falks villa"—showing that it had
belonged to the widow of a cabinet minister.
(3)Du equals thou: Tesman means, "If you could persuade yourself
to tutoyer her."
(4)See previous note.
(5)Pronounce Tora and Taya.
(6)Mrs. Elvsted here uses the formal pronoun De, whereupon Hedda
rebukes her. In her next speech Mrs. Elvsted says du.
(7)"Bagveje" means both "back ways" and "underhand courses."
(8)As this form of address is contrary to English usage, and as the
note of familiarity would be lacking in "Mrs. Tesman," Brack may,
in stage representation, say "Miss Hedda," thus ignoring her
marriage and reverting to the form of address no doubt customary
between them of old.
(9)He uses the familiar du.
(10)From this point onward Lovborg use the formal De.
(11)In this speech he once more says du. Hedda addresses him
throughout as De.
(12)"Enest hane i kurven"—a proverbial saying.
(13)Literally, "That you burn for me."
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