Then they begin to converse of this thing and that; first of the silence, then of the place and the people, of the railway stations through which they passed the previous night, with their sleepy porters and aimlessly shifting lanterns. From this they proceed to talk of the changes in the people, and of all that has grown up since they were married. Then it is but a little further to the main trouble.

In speaking of their married life it speedily appears that the inner view of their relations is hardly as ideal as the outward view might lead one to expect. The depths of these two people are being slowly stirred up. The leaven of prospective drama is gradually discerned working amid the “fin-de-siecle” scene. The lady seems a difficult little person. She complains of the idle promises with which her husband had fed her aspirations.

MAJA. You said you would take me up to a high mountain and show me all the glory of the world.

RUBEK {with a slight start}. Did I promise you that, too?

In short, there is something untrue lying at the root of their union. Meanwhile the guests of the hotel, who are taking the baths, pass out of the hotel porch on the right, chatting and laughing men and women. They are informally marshalled by the inspector of the baths. This person is an unmistakable type of the conventional official. He salutes Mr. and Mrs. Rubek, enquiring how they slept. Rubek asks him if any of the guests take their baths by night, as he has seen a white figure moving in the park during the night. Maja scouts the notion, but the inspector says that there is a strange lady, who has rented the pavilion which is to the left, and who is staying there, with one attendant — a Sister of Mercy. As they are talking, the strange lady and her companion pass slowly through the park and enter the pavilion. The incident appears to affect Rubek, and Maja’s curiosity is aroused.

MAJA {a little hurt and jarred}. Perhaps this lady has been one of your models, Rubek ? Search your memory.

RUBEK {looks cuttingly at her}. Model ?

MAJA {with a provoking smile}. In your younger days, I mean. You are said to have had such innumerable models — long ago, of course.

RUBEK {in the same tone}. Oh, no, little Frau Maja. I have in reality had only one single model. One and one only for everything I have done.

While this misunderstanding is finding outlet in the foregoing conversation, the inspector, all at once, takes fright at some person who is approaching. He attempts to escape into the hotel, but the high-pitched voice of the person who is approaching arrests him.

ULFHEIM’S voice {heard outside}. Stop a moment, man. Devil take it all, can’t you stop? Why do you always scuttle away from me?

With these words, uttered in strident tones, the second chief actor enters on the scene. He is described as a great bear-killer, thin, tall, of uncertain age, and muscular. He is accompanied by his servant, Lars, and a couple of sporting dogs. Lars does not speak a single word in the play. Ulfheim at present dismisses him with a kick, and approaches Mr. and Mrs. Rubek. He falls into conversation with them, for Rubek is known to him as the celebrated sculptor. On sculpture this savage hunter offers some original remarks.

Home of Ellopos Blog