The Feast at Solhoug | Page 5

projected tragedy, became the sisters Margit and Signe of the completed lyric drama. The derivation of the latter pair from the two women of the Saga at once becomes apparent when attention is drawn to it. The relationship is unmistakable. The tragic hero, so far only vaguely outlined, Sigurd, the far-travelled Viking, the welcome guest at the courts of kings, became the knight and minstrel, Gudmund Alfson, who has likewise been long absent in foreign lands, and has lived in the king's household. His attitude towards the two sisters was changed, to bring it into accordance with the change in time and circumstances; but the position of both sisters to him remained practically the same as that in the projected and afterwards completed tragedy. The fateful banquet, the presentation of which had seemed to me of the first importance in my original plan, became in the drama the scene upon which its personages made their appearance; it became the background against which the action stood out, and communicated to the picture as a whole the general tone at which I aimed. The ending of the play was, undoubtedly, softened and subdued into harmony with its character as drama, not tragedy; but orthodox aestheticians may still, perhaps, find it indisputable whether, in this ending, a touch of pure tragedy has not been left behind, to testify to the origin of the drama.
Upon this subject, however, I shall not enter at present. My object has simply been to maintain and prove that the play under consideration, like all my other dramatic works, is an inevitable outcome of the tenor of my life at a certain period. It had its origin within, and was not the result of any outward impression or influence.
This, and no other, is the true account of the genesis of _The Feast at Solhoug_.
Henrik Ibsen. Rome, April, 1883.
*Heinrich von Kleist, Henrik Hertz, Henrik Ibsen.

THE FEAST AT SOLHOUG

CHARACTERS
BENGT GAUTESON, Master of Solhoug. MARGIT, his wife. SIGNE, her sister. GUDMUND ALFSON, their kinsman. KNUT GESLING, the King's sheriff. ERIK OF HEGGE, his friend. A HOUSE-CARL. ANOTHER HOUSE-CARL. THE KING'S ENVOY. AN OLD MAN. A MAIDEN. GUESTS, both MEN and LADIES. MEN of KNUT GESLING'S TRAIN. SERVING-MEN and MAIDENS at SOLHOUG.
The action passes at Solhoug in the Fourteenth Century.
PRONUNCIATION OF NAMES: Gudmund=Goodmund. The g in "Margit" and in "Gesling" is hard, as in "go," or in "Gesling," it may be pronounced as y--"Yesling." The first o in Solhoug ought to have the sound of a very long "oo."
Transcriber's notes:
--Signe and Hegge have umlauts above the e's, the ultimate e only in Hegge. --Passages that are in lyric form are not indented and have the directorial comments to the right of the character's name.

THE FEAST AT SOLHOUG
PLAY IN THREE ACTS

ACT FIRST
A stately room, with doors in the back and to both sides. In front on the right, a bay window with small round panes, set in lead, and near the window a table, on which is a quantity of feminine ornaments. Along the left wall, a longer table with silver goblets and drinking-horns. The door in the back leads out to a passage-way,* through which can be seen a spacious fiord-landscape.
BENGT GAUTESON, MARGIT, KNUT GESLING and ERIK OF HEGGE are seated around the table on the left. In the background are KNUT's followers, some seated, some standing; one or two flagons of ale are handed round among them. Far off are heard church bells, ringing to Mass.
*This no doubt means a sort of arcaded veranda running along the outer wall of the house.

ERIK.
[Rising at the table.] In one word, now, what answer have you to make to my wooing on Knut Gesling's behalf?
BENGT.
[Glancing uneasily towards his wife.] Well, I--to me it seems-- [As she remains silent.] H'm, Margit, let us first hear your thought in the matter.
MARGIT.
[Rising.] Sir Knut Gesling, I have long known all that Erik of Hegge has told of you. I know full well that you come of a lordly house; you are rich in gold and gear, and you stand in high favour with our royal master.
BENGT.
[To KNUT.] In high favour--so say I too.
MARGIT.
And doubtless my sister could choose her no doughtier mate--
BENGT.
None doughtier; that is what I say too.
MARGIT.
--If so be that you can win her to think kindly of you.
BENGT.
[Anxiously, and half aside.] Nay--nay, my dear wife--
KNUT.
[Springing up.] Stands it so, Dame Margit! You think that your sister--
BENGT.
[Seeking to calm him.] Nay, nay, Knut Gesling! Have patience, now. You must understand us aright.
MARGIT.
There is naught in my words to wound you. My sister knows you only by the songs that are made about you--and these songs sound but ill in gentle ears.
No peaceful home is your father's house. With your lawless, reckless crew, Day out, day in, must you hold carouse-- God help her who mates with