self with some one else." Love seemed to mean for her only a sort of morbid imagination. This, however, was only one side of her nature. His little model had had a great deal of heart and of womanly understanding; and thanks to the spontaneous power she could gain over him, every woman might, if she wished it, guide some man towards the good. "Thus Ibsen spoke," says Elias, "calmly and coolly, gazing as it were into the far distance, like an artist taking an objective view of some experience—like Rubek speaking of his soul-thefts. He had stolen a soul, and put it to a double employment. Thea Elvsted and Hilda Wangel are intimately related—are, indeed, only different expressions of the same nature." If Ibsen actually declared Thea and Hilda to be drawn from one model, we must of course take his word for it; but the relationship is hard to discern.
There can be no reasonable doubt, then, that the Gossensass episode gave the primary impulse to The Master Builder. But it seems pretty well established, too, that another lady, whom he met in Christiania after his return in 1891, also contributed largely to the character of Hilda. This may have been the reason why he resented Fraülein Bardach's appropriating to herself the title of "Princess of Orangia."
The play was published in the middle of December 1892. It was acted both in Germany and England before it was seen in the Scandinavian capitals. Its first performance took place at the Lessing Theatre, Berlin, January 19, 1893, with Emanuel Reicher as Solness and Frl. Reisenhofer as Hilda. In London it was first performed at the Trafalgar Square Theatre (now the Duke of York's) on February 20, 1893, under the direction of Mr. Herbert Waring and Miss Elizabeth Robins, who played Solness and Hilda. This was
