Endnotes
Letters 214, 216, 217, 219. ↩︎
In the Ibsen volume of Die Literatur (Berlin). ↩︎
Dr. Julius Elias (Neue deutsche Rundschau, , p. 1462) makes the curious assertion that the character of Thea Elvsted was in part borrowed from this “Gossensasser Hildetypus.” It is hard to see how even Gibes’ ingenuity could distil from the same flower two such different essences as Thea and Hilda. ↩︎
See article by Herman Bang in Neue deutsche Rundschau, , p. 1495. ↩︎
Dr. Brahm (Neue deutsche Rundschau, , P. 1422) says that after the first performance of Hedda Gabler in Berlin Ibsen confided to him that the character had been suggested by a German lady whom he met in Munich, and who did not shoot, but poisoned herself. Nothing more seems to be known of this lady. See, too, an article by Julius Elias in the same magazine, p. 1460. ↩︎
Tesman, whose Christian name in the original is “Jorgen,” is described as “stipendiat i kulturhistorie”—that is to say, the holder of a scholarship for purposes of research into the History of Civilisation. ↩︎
In the original “Assessor.” ↩︎
Pronounce Reena. ↩︎
In the original “Statsradinde Falks villa”—showing that it had belonged to the widow of a cabinet minister. ↩︎
Du equals thou: Tesman means, “If you could persuade yourself to tutoyer her.” ↩︎
Du equals thou. ↩︎
Pronounce Tora and Taya. ↩︎
Mrs. Elvsted here uses the formal pronoun De, whereupon Hedda rebukes her. In her next speech Mrs. Elvsted says du. ↩︎
“Bagveje” means both “back ways” and “underhand courses.” ↩︎
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. ↩︎
He uses the familiar du. ↩︎
From this point onward Lövborg use the formal De. ↩︎
In this speech he once more says du. Hedda addresses him throughout as De. ↩︎
“Enest hane i kurven”—a proverbial saying. ↩︎
Literally, “That you burn for me.” ↩︎