The Master Builder | Page 5

womenfolk at arm's length.' 'Oh no (he would reply), let them alone. I want to observe them more closely.' His observations would take a longer or shorter time as the case might be, and would always contribute to some work of art."
The principal model for Hilda was doubtless Fraulein Emilie Bardach, of Vienna, whom he met at Gossensass in the autumn of 1889. He was then sixty-one years of age; she is said to have been seventeen. As the lady herself handed his letters to Dr. Brandes for publication, there can be no indiscretion in speaking of them freely. Some passages from them I have quoted in the introduction to _Hedda Gabler_--passages which 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:
Hohes, schmerzliches Gluck-- um das Unerreichbare zu ringen!(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.
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