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.[1] 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 spice of 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 dæmonic 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 I got hold of her—for my play. Then I fancy" (here he chuckled again) "she consoled her-*
1 Neue deutsche Rundschau, December 1906, p. 1462.
