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Updated: May 4, 2025
We need, therefore, feel no surprise that there is not a trace of the Bardach episode in Hedda Gabler, although the composition of that play immediately followed the hohes, schmerzliches Glück at Gossensass.
In the season of 1889, among the summer boarders at Gossensass, there appeared a young Viennese lady of eighteen, Miss Emilie Bardach. She used to sit on a certain bench in the Pferchthal, and when the poet, whom she adored from afar, passed by, she had the courage to smile at him. Strange to say, her smile was returned, and soon Ibsen was on the bench at her side. He readily discovered where she lived; no less readily he gained an introduction to the family with whom she boarded. There was a window-seat in the salle
Milly wondered if Sam loved her still, really loved her, as he seemed to in his rough way when they were together that summer at Gossensass. How could he? That was the cruelty in marriage for women. Men took the best they had to offer of their youth and beauty, gave them the burdens of children, and then wanted something else when they had become homely and unattractive.
His life was now divided between Rome in the winter and Gossensass in the summer, and in the Italian city, as in the Tyrolese village, he wandered solitary, taciturn, absorbed in his own thoughts. His meditations led him more and more into a lonely state. He floated, as on a prophet's carpet, between the political heavens and earth, capriciously refusing to ascend or to alight.
Unhappily, just before his scheme is ready and the metal runs, he is stopped by the stupidity of the law, and finds himself in prison. Side by side with this study of commercial madness runs a thread of that new sense of the preciousness of vital joy which had occupied Ibsen so much ever since the last of the summers at Gossensass.
This sense of the uselessness of effort is strongly marked in the course of the next work on which he was engaged, the very brilliant, but saturnine and sardonic tragi-comedy of The Wild Duck. The first sketch of it was made during the spring of 1884 in Rome, but the dramatist took it to Gossensass with him for the finishing touches, and did not perfect it until the autumn.
Then, when three years separated him from the illuminating soul-adventures of Gossensass, he began to turn them into a play. It proved to be The Master-Builder, and was published before the close of December, 1892, with the date 1893 on the title-page. This play was running for some time in Germany and England before it was played in Scandinavia.
To judge by a photograph it must resemble the line over the Brenner Pass in the Tyrol, where, near the station of Gossensass, there is a similar zig-zag. Some large stalactite caverns, called the "Fish River Caves," are well worth a visit.
There is no paradox in saying that the poet was overwhelmed with a passion and yet consciously made it serve as material for his plays. From this time onwards every dramatic work of his bears the stamp of those hours among the roses at Gossensass. To the spring of 1891 belongs Ibsen's somewhat momentous visit to Vienna, where he was invited by Dr.
He was very busy with preparations for it all through the summer of 1882, which he spent at what was now to be for many years his favorite summer resort, Gossensass in the Tyrol, a place which is consecrated to the memory of Ibsen in the way that Pornic belongs to Robert Browning and the Bel Alp to Tyndall, holiday homes in foreign countries, dedicated to blissful work without disturbance.
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