To the same correspondent he wrote on December 4: "The title of the play is Hedda Gabler. My intention in giving it this name was to indicate that Hedda, as a personality, is to be regarded rather as her father's daughter than as her husband's wife. It was not my desire to deal in this play with so-called problems. What I principally wanted to do was to depict human beings, human emotions, and human destinies, upon a groundwork of certain of the social conditions and principles of the present day."
So far we read the history of the play in the official "Correspondence."[1] Some interesting glimpses into the poet's moods during the period between the completion of The Lady from the Sea and the publication of Hedda Gabler are to be found in the series of letters to Fräulein Emilie Bardach, of Vienna, published by Dr. George Brandes.[2] This young lady Ibsen met at Gossensass in the Tyrol in the autumn of 1889. The record of their brief friendship belongs to the history of The Master Builder rather than to that of Hedda Gabler, but the allusions to his work in his letters to her during the winter of 1889 demand some examination.
So early as October 7, 1889, he writes to her: "A new poem begins to dawn in me. I will execute it this winter, and try to transfer to it the bright atmosphere of the summer. But I feel that it will end in sadness—such is my nature." Was this "dawning" poem Hedda Gabler? Or was it rather The Master Builder that was germinating in his mind? Who shall say? The latter hypothesis seems the more probable, for it is hard to believe that, at any stage in the incubation of Hedda Gabler, he can have conceived it as even beginning in a key of gaiety. A week later, however,
1 Letters 214, 216, 217, 219.
2 In the Ibsen volume of Die Literatur (Berlin).
