1891, was characteristic of the Christiania Ibsen himself had known in the 'sixties—the Christiania of Love's Comedy—rather than of the greatly extended and modernised city of the end of the century. Moreover, Lövborg's allusions to the fiord, and the suggested picture of Sheriff Elvsted, his family and his avocations, are all distinctively Norwegian. The truth seems to be very simple—the environment and the subsidiary personages are all thoroughly national, but Hedda herself is an "international" type, a product of civilisation by no means peculiar to Norway.
We cannot point to any individual model or models who "sat to" Ibsen for the character of Hedda.[1] The late Grant Allen declared that Hedda was "nothing more nor less than the girl we take down to dinner in London nineteen times out of twenty"; in which case Ibsen must have suffered from a superfluity of models, rather than from any difficulty in finding one. But the fact is that in this, as in all other instances, the word "model" must be taken in a very different sense from that in which it is commonly used in painting. Ibsen undoubtedly used models for this trait and that, but never for a whole figure. If his characters can be called portraits at all, they are composite portraits. Even when it seems pretty clear that the initial impulse towards the creation of a particular character came from some individual, the original figure is entirely transmuted in the process of harmonisation with the dramatic scheme. We need not, there-*
1 Dr. Brahm (Neue deutsche Rundschau, December 1906, 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.
