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Yet when I came, at a far later date, to read The Wild Duck, memories of the embarrassing household of my infancy helped me to realize Gregers Werle, with his determination to pull the veil of illusion away from every compromise that makes life bearable.
The French army being encamped at Stadtberg, the duke de Broglio, who commanded the right wing, advanced from Cassel into the territories of Hanover, where he occupied Gottin-gen without opposition; while the allied army assembled in the neighbourhood of Lipstadt, and encamped about Soest and Werle.
Let me only ask the reader to compare the scene between old Werle and Gregers in the first act of The Wild Duck with the scene between Nora and Mrs. Linden in the first act of A Doll's House, and mark the technical advance. Both scenes are, in a sense, scenes of exposition. Both are mainly designed to place us in possession of a sequence of bygone facts.
If it amuses you, it can amuse me also to be looked upon as Gregers Werle. Vogue la galère.
The detestable Hialmar, in whom, by the looking-glass of a disordered liver, any man may see a picture of himself; the pitiable Gregers Werle, perpetually thirteenth at table, with his genius for making an utter mess of other people's lives; the vulgar Gina; the beautiful girlish figure of the little martyred Hedvig all are wholly real and living persons.
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