Part 1

THE WILD DUCK

_A DRAMA IN FIVE ACTS_

By HENRIK IBSEN

_TRANSLATED FROM THE NORWEGIAN BY_ ELEANOR MARX AVELING

Copyright, 1890, by JOHN W. LOVELL CO.

BOSTON WALTER H. BAKER & CO.

CONTENTS

TRANSLATOR’S NOTE. 3 PERSONS OF THE PLAY. 4 ACT I. 5 ACT II. 30 ACT III. 58 ACT IV. 89 ACT V. 117 Transcriber’s Note.

TRANSLATOR’S NOTE.

“Vildanden” is perhaps the most difficult of all Ibsen’s prose dramas to translate. Some of the speeches of Gina and Relling are indeed quite untranslatable. The difficulty in the case of Gina is in respect to her frequent malapropisms, which, for the most part, turn on the mispronunciation of a word, or the use of a word which resembles in sound the one she wants. It is obvious that in the transference of such blunders of one language to another their exact significance can not be caught. Occasionally it has been possible, as when she says “divide” for “divert,” or calls the pistol “pigstol.” But these instances are rare, and more frequently Gina’s slips could only have been indicated by entirely changing her words. As I have aimed at making as literal a translation as possible I did not feel justified in so departing from the original.

ELEANOR MARX AVELING.

PERSONS OF THE PLAY.

WERLE, _Merchant, Factory Owner, Etc._ GREGERS WERLE, _His Son_. OLD EKDAL. HJALMAR EKDAL, _The Old Man’s Son, a Photographer_. GINA EKDAL, _Hjalmar’s Wife_. HEDVIG, _Their Daughter, Fourteen Years Old_. MRS. SORBY, _Werle’s Housekeeper_. RELLING, _a Doctor_. MOLVIK, _an ex-Theological Student_. GRABERG, _Book-keeper_. PETTERSEN, _Servant to Werle_. JENSEN, _Hired Waiter_. A PALE AND FAT GENTLEMAN. A THIN-HAIRED GENTLEMAN. A SHORT-SIGHTED GENTLEMAN. SIX OTHER GENTLEMEN, _Guests of Werle’s_. SEVERAL HIRED WAITERS.

_The first Act at_ MR. WERLE’S. _The four other Acts at_ EKDAL, _the photographer’s_.

ACT I.

[WERLE’S _House. Richly and comfortably furnished study. Book cases and upholstered furniture, a writing-table, with papers and ledgers in the center of the stage; lamps alight with green shades, so that the room is dimly lighted. Open folding-doors, with the curtain drawn at back. Beyond a large elegant room, brilliantly lighted with lamps and branched candlesticks. At the right lower entrance of the study a small baize door leads to the office. Left lower entrance a fireplace, with glowing coals, and beyond this a folding-door leading to the dining-room._]

[PETTERSEN, WERLE’S _servant, in livery, and the hired waiter_, JENSEN, _in black, are setting the study in order. In the large room two or three other hired waiters are moving about, trimming and lighting several more lights. From within the dining-room, is heard a confused buzz of conversation and laughter; a knife is rapped against a glass, there is silence, a toast is given, cries of “bravo,” and then again the buzz of conversation._]

PETTERSEN (_lighting a lamp on the mantel-piece, and placing a shade upon it_). Just listen, Jensen; there’s the old chap standing up by the table and proposing to Mrs. Sorby’s health in a long speech.

JENSEN (_bringing down an arm-chair_). Is there any truth in what people say, that there’s something between them?

PETTERSEN. Goodness knows!

JENSEN. For he’s been a great rake in his time.

PETTERSEN. Maybe.

JENSEN. It’s in honor of his son that he’s giving this dinner, they say.

PETTERSEN. Yes, his son came home yesterday.

JENSEN. I never knew before that Mr. Werle had a son.

PETTERSEN. Oh yes, he has a son. But he’s always stopped up there at the Hojdal Works. He’s not been in town all the years I’ve been in service here.

ANOTHER WAITER (_at the door of the other room_). I say, Pettersen, here’s an old fellow who----

PETTERSEN (_muttering_). Who the devil’s here now?

OLD EKDAL _enters the room from the right. He wears a threadbare cloak with a stand-up collar, woollen mittens; in his hands a stick and a fur cap, under his arm a parcel done up in cardboard. He has a reddish-brown, dirty wig, and a small mustache._

PETTERSEN (_going towards him_). Good gracious! What do you want here?

EKDAL (_in the doorway_). Must absolutely go to the office, Pettersen.

PETTERSEN. The office was closed an hour ago and----

EKDAL. Heard so at the door, my lad. But Graberg’s in there still. Be a good fellow, Pettersen, and let me slip in this way. (_Pointing to the baize door._) I’ve been that way before.

PETTERSEN. All right, you can go. (_Opens door._) But mind you leave the proper way, for we’ve company.

EKDAL. Know that--h’m! Thanks, Pettersen, my lad. Good old friend. Thanks. (_Mutters in a low tone._) Idiot!

_He goes into the office._ PETTERSEN _closes the door after him_.

JENSEN. Is he one of the clerks too?

PETTERSEN. No, he only does writing at home when it’s wanted. But he’s been a great swell in his time, has old Ekdal.

JENSEN. Yes, he looks as if he had been a little of everything.

PETTERSEN. Yes, for you know he’s been a lieutenant.

JENSEN. The devil he has! He been a lieutenant?

PETTERSEN. That he has. But then he went into the timber trade or something of the sort. They say he played Mr. Werle a very dirty trick once. For the two were partners then up at the Hojdal Works, you know. Ah, I know good old Ekdal, I do. We drink many a good bottle of beer and bitters together at Mrs. Ericksen’s.

JENSEN. Surely he hasn’t got much to stand treat with?

PETTERSEN. Lord, Jensen, of course you understand that I pay. For I think one should be polite to better people who’ve come down in the world.

JENSEN. Did he go bankrupt?

PETTERSEN. No, it was worse than that. He was sent to gaol.

JENSEN. Gaol?

PETTERSEN. Or the house of correction, or something. (_Listening._) Hush! they’re coming from the table.

_The doors of the dining-room are thrown open by a couple of servants from within._ MRS. SORBY, _talking to two gentlemen, comes out. Gradually all the guests follow, among these_ MR. WERLE. HJALMAR EKDAL _and_ GREGERS WERLE _enter last_.

MRS. SORBY (_to the servants, as she passes along_). Pettersen, have the coffee served in the music-room.

PETTERSEN. Yes, Mrs. Sorby.

_She and the two gentlemen pass into the room at the back, and thence right._ PETTERSEN and JENSEN _go out the same way_.

PALE FAT GENTLEMAN (_to the thin-haired one_). Phew! That dinner--it was a stiff bit of work!

THIN-HAIRED GENTLEMAN. Oh! with a little good-will one can get through an immense deal in three hours.

FAT GENTLEMAN.--Ah, but afterwards, afterwards, my dear Chamberlain![1]

[1] The title of Chamberlain (Kammeherre) is one bestowed by the king as a special distinction upon men of wealth and position. It is the only title now permitted in Norway, where all titles of nobility were abolished in 1814.

SHORT-SIGHTED GENTLEMAN. I hear the Mocha and Maraschino are to be served in the music-room.

FAT GENTLEMAN. Brave! Then Mrs. Sorby can play us something.

THIN-HAIRED GENTLEMAN (_in a low voice_). If only Mrs. Sorby doesn’t play us any tricks.

FAT GENTLEMAN. Oh, no; Bertha will never turn against her old friends!

_They laugh and go into the room._

WERLE (_in a low voice and depressed_). I don’t think any of them noticed it, Gregers.

GREGERS (_looking at him_). What?

WERLE. Didn’t you notice it either?

GREGERS. What should I notice?

WERLE. We were thirteen at table.

GREGERS. Really? We were thirteen?

WERLE (_glancing at_ HJALMAR EKDAL). We generally have twelve. (_To the others._) This way, gentlemen!

_He and those who had remained behind with the exception of_ HJALMAR _and_ GREGERS _go out through the door at the back and off right_.

HJALMAR (_who has heard everything_). You shouldn’t have asked me, Gregers.

GREGERS. What? Why, they say this dinner is given in my honor, and I shouldn’t have my best, my only friend?

HJALMAR. But I don’t think your father likes it. I never come to this house.

GREGERS. So I hear. But I must see you and talk to you, for I shall certainly go away again soon. Yes, we two old school-fellows, we have surely been separated long enough, we’ve not seen one another now for sixteen--seventeen years.

HJALMAR. Is it so long?

GREGERS. Yes, it is. Well, how are things going with you? You look well. You’ve grown almost stout and portly.

HJALMAR. H’m, one can hardly call it portly, but I daresay I look rather more manly than I did then.

GREGERS. Indeed you do; your outer man hasn’t suffered.

HJALMAR (_gloomily_). But the inner man! Believe me, that is very different. You know what terrible trouble has come to me and mine since we two met.

GREGERS (_in a lower tone_). How is your father getting on now?

HJALMAR. Dear friend, don’t let us speak of that. My poor, unhappy father of course lives at home with me. Why, he has no one else on earth to cling to. But it is such bitter pain for me to speak of this, you see. Tell me, rather, how you have got on up there at the Works.

GREGERS. I’ve been delightfully lonely--with plenty of time to ponder over many things. Come here, let’s make ourselves comfortable.

_He sits down in an arm-chair by the fire, and makes HJALMAR take another one by his side_.

HJALMAR (_moved_). I have to thank you all the same, Gregers, for asking me to your father’s table. For now I know you’ve no feeling against me any longer.

GREGERS (_astonished_). Whatever makes you think I had any feeling against you?

HJALMAR. Yet you had during the first years.

GREGERS. What first years?

HJALMAR. After the great misfortune. And it was so natural you should have. Why, it was only by a hair’s breadth your father escaped being dragged into this--this horrible affair.

GREGERS. And you thought I had a feeling against you because of this? What can have put such a thing into your head?

HJALMAR. I know you had, Gregers, for I had it from your father himself.

GREGERS (_starting_). Father! So! H’m! Was that why you never wrote to me--not a single word?

HJALMAR. Yes.

GREGERS. Not even when you decided to go in for photography?

HJALMAR. Your father said it was no use writing to you about anything.

GREGERS (_looking straight in front of him_). No, no. Perhaps he was right. But tell me, Hjalmar, do you feel satisfied with your position?

HJALMAR (_with a sigh_). Oh, yes; certainly. I really can’t say I’m not. At first, as you will understand, it all seemed so strange to me to be placed amid such absolutely new surroundings. But, then, everything else was so changed too. The great, overwhelming misfortune with my father--the shame and the scandal, Gregers.

GREGERS (_moved_). Yes, yes, I know.

HJALMAR. I couldn’t dream of going on with my studies, there wasn’t a shilling to spare; on the contrary we were rather in debt; mostly to your father, I fancy.

GREGERS. H’m.

HJALMAR. So I thought it best, just with one wrench, you know, to cut myself off from the old conditions and relations. It was your father, principally, who advised me to do this, and as he helped me so much----

GREGERS. Did he?

HJALMAR. Yes, of course; you know he did. Where should I have got the means to learn photography, to set up a studio, and make a start? That costs money, you know.

GREGERS. And father paid for all this?

HJALMAR. Yes, dear friend, didn’t you know? I understood him to say he had written to you about it.

GREGERS. Not a word of what he had done. He must have forgotten it. We’ve only exchanged business letters with one another. So it was father?

HJALMAR. Yes, sure enough. He never wished people to know about it, but it was he. And it was he, too, who made it possible for me to get married. But perhaps you don’t know about that either?

GREGERS. No, I certainly did not (_shakes his arm_). My dear, Hjalmar, I can’t tell you how happy all this makes me--and how it pains me. Perhaps, after all, I have wronged father--in certain things. For this shews he has a heart, you see. It shews a kind of conscience.

HJALMAR. Conscience!

GREGERS. Yes, yes, or whatever you like to call it. No, I have no words to tell you how glad I am to hear this of father. And so you are married, Hjalmar. That’s more than I shall ever manage. Well, I hope you are happy in your marriage?

HJALMAR. Yes, I am indeed. She is as bright and brave a woman as man could desire. And she is not quite without education, either.

GREGERS (_slightly astonished_). No, of course not.

HJALMAR. No. Life is an education, you see. Then the daily intercourse with me--and then there are some gifted men who often come to see us, I assure you. You wouldn’t know Gina again.

GREGERS. Gina?

HJALMAR. Yes, dear friend. Didn’t you remember her name was Gina?

GREGERS. Her name was Gina? Why, I know nothing----

HJALMAR. But don’t you remember she was in service here for a time?

GREGERS (_looking at him_). Is it Gina Hansen?

HJALMAR. Yes, of course it’s Gina Hansen.

GREGERS. Who looked after the house during the last year that mother lay ill?

HJALMAR. Certainly that is so. But, dear friend, I’m quite certain your father wrote you I had got married.

GREGERS (_who has risen_). Yes, he certainly did, but not that--(_walks up and down_). Yet--wait a moment--perhaps he did--now I come to think of it. But father always writes me such short letters. (_Half seating himself on the arm of the chair._) Now tell me, Hjalmar--for this is too delightful--how did you get to know Gina--to know your wife?

HJALMAR. Very simply. Gina didn’t stop here long, for there was so much confusion here at that time--your mother’s illness--Gina could not see to everything, so she gave notice and left. That was a year before your mother’s death--or maybe the same year.

GREGERS. It was the same year, and I was up at the Works at the time. And then afterwards----

HJALMAR. Well, Gina lived at home with her mother, a Mrs. Hansen--a very worthy and hard-working woman, who kept a small eating-house. And she had a room to let, too, a very pretty, comfortable room.

GREGERS. And you were probably delighted to take it?

HJALMAR. Yes, indeed; it was your father who suggested it to me. And there, you see--there I really got to know Gina.

GREGERS. And so you got engaged?

HJALMAR. Yes. Young folk soon get to care for one another--h’m----

GREGERS (_rises and walks up and down_). Tell me--when you got engaged--was it then that father--I mean--was it then that you began to take up photography?

HJALMAR. Exactly, for I was anxious to settle down as soon as possible. And so both your father and I thought photography would be the likeliest thing, and Gina thought so, too. And there was a reason for that, you see, it fitted in so well, as Gina had learnt to retouch.

GREGERS. That fitted in most remarkably.

HJALMAR (_delighted, rising_). Yes, didn’t it? Don’t you think it fitted in remarkably?

GREGERS. Yes, I must confess it did. Father seems to have been almost a sort of Providence to you.

HJALMAR (_moved_). He did not forsake the son of his old friend in his hour of need, for he has a heart, you see.

_Enter_ MRS. SORBY _leaning on the arm of_ MR. WERLE.

MRS. SORBY. No nonsense, dear Mr. Werle; you mustn’t stop in there any longer staring up at the lights. It is not good for you.

WERLE (_dropping her arm and passing his hands over his eyes_). I almost think you are right!

PETTERSEN _and the Hired Waiter_ JENSEN _enter with trays_.

MRS. SORBY (_to the guests in the other room_). This way, please, gentlemen. Anyone who wants a glass of punch must come here for it.

_Enter the_ FAT GENTLEMAN.

FAT GENTLEMAN (_coming up to_ MRS. SORBY). But, good Heavens! is it true that you have abolished our blessed liberty to smoke?

MRS SORBY. Yes, in Mr. Werle’s domain, it is prohibited, Chamberlain.

THIN-HAIRED GENTLEMAN. Since when have you promulgated these stringent articles of cigar-law, Mrs. Sorby?

MRS SORBY. Since our last dinner, Chamberlain, for then we had certain persons here who went too far.

THIN-HAIRED GENTLEMAN. And you would not permit a slight overstepping of the bounds, Mrs. Bertha? Really not?

MRS SORBY. In no respect, Chamberlain Balle.

_Most of the guests have come into_ MR. WERLE’S _room. The waiters take round glasses of punch._

WERLE (_to_ HJALMAR, _going up to the table_). What are you poring over there, Ekdal?

HJALMAR. Only an album, Mr. Werle.

THIN-HAIRED GENTLEMAN (_who is walking about_). Aha! Photographs! Yes, that’s something in your line.

FAT GENTLEMAN (_in an arm-chair_). Haven’t you brought along any of your own?

HJALMAR. No, I’ve not.

FAT GENTLEMAN. You should have. It is so good for the digestion to sit and look at pictures.

THIN-HAIRED GENTLEMAN. And, besides, it contributes towards entertaining people, don’t you know.

SHORT-SIGHTED GENTLEMAN. And all contributions are thankfully received.

MRS. SORBY. The Chamberlains mean, that when you’re asked to dinner, you must do something for your meal, Mr. Ekdal.

FAT GENTLEMAN. Where one dines so well, that is simply a pleasure.

THIN-HAIRED GENTLEMAN. Good heavens! when it’s a question of a struggle for life----

MRS. SORBY. There you are right.

_They continue the conversation amid laughter and joking._

GREGERS (_in a low voice_). You must join us, Hjalmar.

HJALMAR (_shrinking_). How should I join in?

FAT GENTLEMAN. Don’t you think, Mr. Werle, that Tokay may be considered a comparatively wholesome drink for the stomach?

WERLE (_by the fireplace_). I can answer for the Tokay you’ve had to-day, anyhow, for it is one of the very best vintages. You noticed it, no doubt.

FAT GENTLEMAN. Yes, it tastes remarkably delicate.

HJALMAR (_hesitatingly_). Is there any difference then in the vintages?

FAT GENTLEMAN (_laughing_). Oh, that is good!

WERLE (_smiling_). It is hardly worth while giving you a fine wine.

THIN-HAIRED GENTLEMAN. It’s the same with Tokay as with photographs, Mr. Ekdal. There must be sunshine. Is it not so?

HJALMAR. Yes, light has a great deal to do with it.

MRS. SORBY. Why, that’s exactly as it is with chamberlains, for they, too, greatly need sunshine, people say.

THIN-HAIRED GENTLEMAN. Oh, oh! that’s a very stale sarcasm.

SHORT-SIGHTED GENTLEMAN. Mrs. Sorby’s coming out.

FAT GENTLEMAN. And at our expense. (_Threatening._) Madam Bertha, Madam Bertha!

MRS. SORBY. Yes, but it is indisputably true that vintages may be vastly different. The old ones are the finest.

SHORT-SIGHTED GENTLEMAN. Do you reckon me among the old ones?

MRS. SORBY. Oh, far from it!

THIN-HAIRED GENTLEMAN. There now! But me, sweet Mrs. Sorby.

FAT GENTLEMAN. Yes, and me! In what vintage do you reckon us?

MRS. SORBY. I reckon you among the sweet vintages, gentlemen.

_She sips a glass of punch. The chamberlains laugh and joke with her._

WERLE. Mrs. Sorby can always find a loophole when she wants. Help yourselves to glasses, gentlemen! Pettersen, see to it! Gregers, I think we’ll take a glass together. (GREGERS _does not move_.) Won’t you make one of us, Ekdal? I found no opportunity of drinking with you at table.

_The book-keeper_, GRABERG, _looks in through the baize door_.

GRABERG. Beg pardon, sir, but I can’t get out.

WERLE. Why, have you got locked in again?

GRABERG. Yes, and Flagsted has gone off with the keys.

WERLE. Well, you can pass through here, then.

GRABERG. But there’s someone else.

WERLE. Come on, come on, both of you. Don’t mind us.

GRABERG _and old_ EKDAL _come out from the office_.

WERLE (_involuntarily_). Ah! Phew!

_The laughter and chatter of the guests cease._ HJALMAR _starts at the sight of his father; he puts down his glass and turns to the fireplace._

EKDAL (_he does not look up, but makes little bows to both sides as he goes out and mutters_). Beg pardon. Have come the wrong way. Door locked. Door locked. Beg pardon.

_He and_ GRABERG _go out at the back, right_.

WERLE (_between his teeth_). Confound Graberg!

GREGERS (_with open mouth and staring eyes to_ HJALMAR). Surely that can not have been.

FAT GENTLEMAN. What was that? Who was it?

GREGERS. Oh, nobody, only the book-keeper and someone else.

SHORT-SIGHTED GENTLEMAN (_to_ HJALMAR). Did you know the man?

HJALMAR. I don’t know; I don’t notice----

FAT GENTLEMAN (_getting up_). What the deuce is in the wind? (_He goes to the others who are talking in a low voice._)

MRS. SORBY (_whispering to the servant_). Give him something outside--something really good.

PETTERSEN (_nodding_). All right.

_He goes out._

GREGERS. (_In a low and shaken voice to_ HJALMAR). So it was really he?

HJALMAR. Yes.

GREGERS. And yet you stood there and denied you knew him?

HJALMAR (_whispering passionately_). But how could I----

GREGERS. Acknowledge your father?

HJALMAR (_pained_). Ah, if you were in my place----

_The conversation of the guests, which had been carried on in a low tone, now becomes strainedly noisy._

THIN-HAIRED GENTLEMAN (_coming up to_ HJALMAR _and_ GREGERS _in a friendly manner_). Aha! Are you standing here renewing old memories of student years? Eh? Won’t you smoke, Mr. Ekdal? Do you want a light? Ah, it’s true, we mustn’t----

HJALMAR. Thank you. I should not have----

FAT GENTLEMAN. Haven’t you some nice little poems to recite to us, Mr. Ekdal? You used to do that so charmingly.

HJALMAR. Unfortunately, I can’t remember anything.

FAT GENTLEMAN. Ah, that’s a pity. What shall we do, Balle?

_Both gentlemen cross the room, and go into the other room._

HJALMAR (_gloomily_). Gregers, I’m going. You see, when a man has felt the crushing blows of fate upon his head---- Bid your father good-bye for me.

GREGERS. Yes, yes. Are you going straight home?

HJALMAR. Yes, why?

GREGERS. Because, perhaps, I’ll look in on you later.

HJALMAR. No, you mustn’t do that. Not at my home. My house is dreary, Gregers, especially after such a brilliant festivity as this. We can always meet somewhere outside in the town.

MRS. SORBY (_who has come up, in a low voice_). Are you going, Ekdal?

HJALMAR. Yes.

MRS. SORBY. Remember me to Gina.

HJALMAR. Thanks.

MRS. SORBY. And tell her that I shall look her up one of these days.

HJALMAR. Oh, thanks. (_To_ GREGERS.) Stop here. I want to slip out unobserved.

_He crosses the room, passes into the other room, and goes out, right._

MRS. SORBY (_aside to the servant, who has returned_). Well, did you give the old man something?

PETTERSEN. Yes, I did. I gave him a bottle of brandy.

MRS. SORBY. Oh, you might have found him something better than that.

PETTERSEN. No, I couldn’t, Mrs. Sorby. Brandy’s the best thing for him.

FAT GENTLEMAN (_by the door, with a volume of music in his hand_). Shall we play something together, Mrs. Sorby?

MRS. SORBY. Certainly--let us.

GUESTS. Bravo, bravo!

_She and all the_ GUESTS _pass out of the room, right_. GREGERS _remains standing by the fire-place_. MR. WERLE _looks for something on the writing-table and seems to wish_ GREGERS _to go. As the latter does not move_, MR. WERLE _goes towards entrance door_.

GREGERS. Father, won’t you wait a moment?

WERLE (_stopping_). What is it?

GREGERS. I must have a word with you.

WERLE. Can’t it wait till we’re alone?

GREGERS. No, it can not, for it may be we never shall be alone.

WERLE (_coming nearer_). What does that mean?

_During the following conversation the playing of a piano is heard from the music-room._

GREGERS. How could that family be allowed to come to such a wretched pass?

WERLE. Probably, you mean the Ekdals? I understand.

GREGERS. Yes, I mean the Ekdals. Yet Lieutenant Ekdal was very near to you once.