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It is curious to note that, in another play, Ibsen did actually transfer the erregende Moment, the joining of issue, from the second act to the first. In his early draft of Rosmersholm, the great scene in which Rosmer confesses to Kroll his change of views did not occur until the second act. There can be no doubt that the balance and proportion of the play gained enormously by the transference.
One may cite as characteristic examples the hurried colloquy between Engstrand and Regina in Ghosts; Rebecca and Madam Helseth in Rosmersholm, watching to see whether Rosmer will cross the mill-race; and in The Master Builder, old Brovik's querulous outburst, immediately followed by the entrance of Solness and his mysterious behaviour towards Kaia.
Goaded by the pangs of conscience, Niels had gone to Rosmer and made himself known to the judge as the true Niels Bruus. Upon the hearing of the terrible truth, the judge was taken with a stroke and died before the week was out. But on Tuesday morning they found Niels Bruus dead on the grave of the late rector Soren Quist of Veilbye, by the door of Aalso church. Hungarian Mystery Stories
But he," and there was a note in her voice that recalled the night he had listened to it over the telephone, "he was different. There is no more dreadful thing in the play, to me, than the character of Rosmer. To think of him sitting quietly in that charnel house, prospering in soul, growing sleek in thought, becoming stored with high ideas.
Fiske plays the scene in a tea-gown of elaborate elegance, in which she might with propriety have received the Archbishop of Canterbury, Kroll's studied apologies for intruding upon her before she has had time to dress, and the whole suggestion of undue intimacy between Rebecca and Rosmer, which Ibsen meant to convey, is irrevocably lost.
Goaded by the pangs of conscience, Niels had gone to Rosmer and made himself known to the judge as the true Niels Bruus. Upon the hearing of the terrible truth, the judge was taken with a stroke and died before the week was out. But on Tuesday morning they found Niels Bruus dead on the grave of the late rector Sören Quist of Veilbye, by the door of Aalsö church.
Thus Boletta and Hilda Wangel were originally intended to have been the daughters of Rosmer and Beata; and the delightful Foldal of John Gabriel Borkman was a character left over from The Lady from the Sea. The playwright cannot proceed far in planning out his work without determining, roughly at any rate, what auxiliary characters he means to employ.
John Gabriel Borkman dies of heart seizure, resulting from sudden exposure to extreme cold. In the case of Solness and Borkman, death is a quite natural and probable result of the antecedent conditions; and in the case of Eyolf, it is not a way out of the action, but rather the way into it. There remain the three cases of suicide: Rebecca and Rosmer, Hedda Gabler, and Hedvig.
These are only a few of the re-adjustments which have constantly to be made if a play is shaping itself by a process of vital growth; and that is why the playwright may be advised to keep his material fluid as long as he can. Ibsen had written large portions of the play now known to us as Rosmersholm before he decided that Rebecca should not be married to Rosmer.
He also, at a comparatively late stage, did away with two daughters whom he had at first given to Rosmer, and decided to make her childlessness the main cause of Beata's tragedy. Perhaps I insist too strongly on the advisability of treating a dramatic theme as clay to be modelled and remodelled, rather than as wood or marble to be carved unalterably and once for all.
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