Archive for the ‘Drama’ Category

“Macbeth” in performance

Macbeth seems to me particularly difficult to bring off in performance. At least, I have never seen a version on stage that I have found satisfactory – even productions featuring renowned Shakespeareans in the principal roles have disappointed. Of course, I haven’t seen them all, and I am sure there have been many fine productions that I have missed, but limiting myself (as I must) to what I have seen, far from being overwhelmed, as I should be on seeing a great Shakespeare tragedy, I have all too frequently found myself barely whelmed at all. The film versions I have seen haven’t frankly been much better; and the BBC Shakespeare version (from the early 1980s), despite starring eminent actors Nicol Williamson and Jane Lapotaire in the principal roles, was distinctly disappointing.

I have often wondered why this is. After all, it is dramatically very compact (it’s one of Sheakespeare’s shortest plays), and is crammed full of murders and battles and witches and ghosts and all the rest of it. Part of it, I think, is to do with the pacing. The tension builds powerfully and unremittingly over the first two acts, but after that, although we get a series of extremely memorable scenes (the banquet scene, the sleepwalking scene, etc.), the tension can sag quite alarmingly in the scenes in between. (This is particularly true of the long scene in Act 4 set in England.) Of course, Shakespeare was, certainly by this stage of his career, a master of pacing, and the rather awkward pacing of this play rather inclines me to think that what we have is an edited version of a text that had initially been longer. Be that as it may, it does present some problems in performance.

Another problem, I think, lies in the dramatic content being too exciting. This may seem a rather perverse thing to say, but the “greatness” of any drama we think of as “great” (whatever we may mean by that) lies not so much in the plot – i.e. the sequence of events – but in matters that go deeper; but, with this play, the plot itself is so very exciting on the surface, it becomes difficult for a production to peer beneath that surface: all too often, we find ourselves horrified by what the Macbeths do to others, whereas the heart of the tragedy lies, I think, in what they do to themselves. And if a production fails to bring to the fore this particular horror, this terrible damnation of their souls that they inflict upon themselves, then, no matter how exciting the plot may be, I don’t know that the production can count as a total success. But piercing through the excitement of the plot to see the dark horror at the heart of things is not an easy thing to do. And this, I think, is why so many productions of this play have left me unmoved: the horror of what we see on the surface seems all too often to obscure the even greater horror beneath.

Of course, I am sure there have been many very fine productions of Macbeth: it’s just that stagings of this particular play have disappointed me more often than that of any other major work by Shakespeare. It may, of course, be that I have been unlucky in the productions I have seen. But there is one production I have seen (sadly, not on stage) that seems to be one of the finest of any production I have seen, of any play. And this is the 1978 Royal Shakespeare Company production, directed by Trevor Nunn, and featuring Ian MacKellen and Judi Dench in the principal roles. Fortunately, we have a record of this: the production was filmed for television, and broadcast in 1979. And it is available nowadays on DVD. I saw it again a few days ago: and yes, it was every bit as powerful as I had remembered. Suddenly, all the reservations I have had about the pacing of this play seemed to vanish.


Ian MacKellen and Judi Dench as Macbeth and Lady Macbeth

And this was done not through butchering the text: apart from the scene involving Hecate (which is almost certainly a later addition, and not written by Shakespeare), the text presented, a few minor cuts apart, was virtually complete. Even the scene featuring the witches speaking to each other about the latest spells they have cast – a scene all too often excised these days, as modern audiences aren’t taken in by all that superstition – was retained. But what impressed was the way the entire play was conceived.

Although it features battles, witches, murder, a state banquet, and all the rest of it, it eschews spectacle completely. It is staged throughout in a profound darkness, from which the characters emerge at times into a murky kind of light, and into which, their parts done, they vanish again. The lighting is extraordinary. I can but guess at what the effect must have been like live in performance, but, watching it on my television screen, it seemed like a production designed specifically with the screen in mind, rather than a straight filming of a stage production.

Most of the shots are in close-up: some in extreme close-up. The characters, brightly spotlit against a blanket of the dark, are all we can see on screen. Props are kept to a minimum: even in the banquet scene, they appear to be sitting on crates. All this creates a tremendous sense of claustrophobia. (The production was staged in a small theatre, rather in in the main RSC theatre in Stratford, thus ensuring the audience was close to the actors.) After a while, it starts to feel genuinely oppressive, as, indeed, it should.


Judi Dench as Lady Macbeth

None of this would have mattered, of course, if the cast weren’t up to it, but there’s no danger of that. The supporting cast (featuring two actors who were themselves notable Macbeths later in their careers – Bob Peck and Greg Hicks) is uniformly excellent; but in this play, it is the two principals who dominate. And here, Ian MacKellen and Judi Dench give performances that, even on repeated viewings, freeze the soul with terror. We see the most terrible things on stage, of course: at one point, a child is murdered before our very eyes. But at the heart of the tragedy is what these two people do to themselves. In the great banquet scene, Ian MacKellen presents Macbeth as a man who is already mentally unhinged: the sight of him literally foaming at the mouth in sheer terror is not something I’ll forget in a hurry. And in the sleepwalking scene, Judi Dench presents a Lady Macbeth who, while still on this bank and shoal of time, is already a damned soul suffering the torments of Hell. And we can’t but ask ourselves “What have these people done to their immortal souls?”

Ian Mckellen - Macbeth

Ian Mackellen as Macbeth

I saw this production again last weekend, and it remains a nerve-racking experience. Somehow, not even the most frightening of horror films can quite match the intensity of horror projected here.

“Upon such sacrifices…”

The final scene of King Lear starts with Lear and Cordelia, defeated in battle, brought in as prisoners. Cordelia asks whether she can see her sisters, whose wickedness has brought her and her father so low. Lear’s response to this is extraordinary:

No, no, no, no! Come, let’s away to prison:
We two alone will sing like birds i’ the cage:
When thou dost ask me blessing, I’ll kneel down,
And ask of thee forgiveness: so we’ll live,
And pray, and sing, and tell old tales, and laugh
At gilded butterflies, and hear poor rogues
Talk of court news; and we’ll talk with them too,
Who loses and who wins; who’s in, who’s out;
And take upon’s the mystery of things,
As if we were God’s spies: and we’ll wear out,
In a wall’d prison, packs and sects of great ones,
That ebb and flow by the moon.

Magnificent though this is, I am not quite sure how I should take it. It is certainly all too easy simply to revel in the beauty of Shakespeare’s blank verse, in that verbal music he produces that is simultaneously both exquisite and sublime. And certainly, if Shakespeare has chosen – as he obviously has here – to burst into such splendour at this point, then clearly he intended dramatic significance of this splendour to register with the audience. And yet, this dramatic significance is troubling. Does Lear really imagine that he and his daughter could live out the rest of their lives happily in prison? Even if that were possible, would it be desirable? For Lear, possibly: he is an old man, has suffered unimaginable agonies, and would like nothing better than to withdraw from life; but it is hardly desirable for someone like Cordelia, who is still young. And indeed, Shakespeare soon confirms that the heaven Lear imagines for himself and his daughter is illusory: far from living happily in prison with Cordelia for the rest of his life, Lear enters towards the end of this same scene in the utmost despair, with Cordelia dead in his arms.

But if Lear’s glorious lyrical outburst here is simply the deluded imaginings of a man who has lost whatever grasp he had once had of reality, why does Shakespeare make the passage so ethereally beautiful? Is it merely to accentuate the horror when these illusions cruelly shattered? That is certainly one way of looking at it, but that has never seemed very satisfactory to me. The presentation of something so beautiful merely to highlight its pointlessness seems to me a sort of gloating cynicism, a scoffing nastiness, that are quite at odds with the very rich and complex emotions I experience when I see or read this play.

Certainly, immediately after Lear delivers this speech, Edmund brings us down to earth with a very curt “take them away” (these three words completing the line that, in terms of metre, Lear had left unfinished). But then, Lear comes out with the most extraordinary lines of all:

Upon such sacrifices, my Cordelia,
The gods themselves throw incense.

It is a remarkable idea. In a play that has shown us the extremes of human brutality, Lear now suggests that the gods themselves praise and worship certain aspects of humanity. The implication of this is that humans can rise to a level even higher than that of the gods; and further, that the gods themselves acknowledge this.

Now, if we consider these lines in their specific dramatic context, they are meaningless. It is not possible, even if it were desirable, to detach oneself from life in the manner Lear envisages, to wear out one’s years in a wall’d prison while packs and sects of great ones ebb and flow by the moon. But the very striking nature of these lines seems to me to demand that we also consider them beyond their immediate dramatic context. If regarded solely in the immediate context, the “sacrifices” Lear refers to relates to withdrawing from life; but if we try to see it in a wider context, if we try to see what these sacrifices may be that even the gods themselves acknowledge and worship, we may glimpse, at least, something that may, in some way, mitigate the horror – the horror both of what had happened before, and the horror of what is yet to come. This is not to say that it is wrong to see King Lear as, essentially, a nihilist work; but it is to say, I think, that, despite appearances, there may just be a possibility of redemption.

And if there is such a possibility, it comes not from the gods, but from humanity itself. Lear, earlier in his speech, speaks of being like “God’s spies”. (The play is set in pagan times, but, unless the existing texts are corrupt at this point, it is certainly God rather than the gods Lear refers to here.) There seem to me at least two ways of interpreting this. One is that we must set ourselves the task of spying on God – the implication here being that God is not trustworthy. The other one is that we should spy on God’s behalf, and the implication here is that God himself does not know all that is happening in his creation. Either way, the picture is presented of a God whose capabilities are limited – who is either not wholly good, or not wholly powerful. But when humanity itself can offer up such sacrifices, then the gods themselves (Shakespeare has, rather curiously, switched back to the pagan “gods” now) feel it worthy of worship.

But what are “such sacrifices”? It is clearly not a withdrawal from life that Lear speaks of. But one needn’t look too far. This play depicts, certainly, the most bestial atrocities of which humans are capable; but, in Edgar, in Kent, in Cordelia, and even in Gloucester, it depicts also a human goodness that is equally extraordinary. Are these the sacrifices upon which the gods themselves throw incense? Perhaps. If the gods exist at all, that is. But sadly, we have no assurance of that. This is a play that suggests everything, even redemption; but ultimately, it confirms nothing.

Rosmersholm, after Ibsen

The production of Ibsen’s Rosmersholm, currently playing at the Duke of York’s Theatre in London’s West End, has received almost universal acclaim, and deservedly so. It is, indeed, a splendid evening’s theatre. The production is of a very high standard, with very striking sets and lighting; the acting, from all concerned (Hayley Atwell,  Tom Burke, Giles Terera, Lucy Briers), is of the highest level; it is superbly directed by Ian Rickson; and the play, intelligently adapted by Duncan Macmillan, makes s huge dramatic impact. At a time when so much of mainstream West End theatre is intent merely on putting on light-hearted fare that makes little if any demands of its audiences, it is indeed a pleasure to see something that sets out deliberately to challenge. And yet, for all its undoubted merits, I found myself coming out of the theatre at the end feeling somewhat uneasy. And this unease was more than the unease one invariably feels when coming into contact with a demanding work of art. For, although it was advertised as a play “by Ibsen”, albeit in an “adaptation”, I couldn’t help wondering how much of what I had seen was actually Ibsen’s play. For the script had been extensively re-written.

I am, of course, aware of the various arguments for doing so. Neither am I such a purist as to demand a slavishly literal approach: any performance is, after all, an interpretation, and a work as complex as Rosmersholm allows for a wide range of legitimate interpretation. But to be a legitimate interpretation of Ibsen’s play, it must surely interpret Ibsen’s text; and if the text is so radically altered as it is here, then, no matter how fine the results, one wonders whether it can still be described as Ibsen’s play without violating the Trades Description Act.

Oh, the outline was the same. We had a whole household of servants who weren’t mentioned in Ibsen’s text, but they weren’t given any lines, and it is quite believable that a house as large as Rosmersholm would have so many people working there. The other characters are as depicted in the play. The structure of Ibsen’s play is faithfully maintained, with the same entrances and exits, the same scenes, the same incidents. If one were to summarise what happens in Ibsen’s play and what happens in the adaptation, there is unlikely to be any but the most insignificant difference between the two summaries. The problem is that in a play such as this,  the interest lies not in what happens, as such: it lies in why it happens; it lies is what is going on in the characters’ minds; it lies in the various themes and issues – moral, philosophical, psychological – that come to the fore as the action, such as it is, unfolds. The adaptation by Duncan Macmillan, is, I agree, fascinating in its own right: indeed, it is enthralling, and fully engages with the audience at a level that is nowadays sadly rare in West End theatres. But is this Ibsen’s play?

When I tried some months ago to write about this play, I described it as work in which the politics, though present, were essentially “noises off”: the focus, I felt, was on the interior workings of the mind. In this adaptation, the politics is brought very much to the foreground, and much that Ibsen had merely implied or adumbrated is stated explicitly. Thus, Kroll is made to outline the nature of his conservatism, and delivers a Burkean speech about tradition as an important force keeping society together; and Rosmer, later, is given a speech expressing anger at the social and economic inequalities. Neither is in Ibsen’s text. Rosmer goes further: at one point, he gathers his domestic staff together, and, expressing his guilt for having been “master” of people who should be free, tells them all to go. I’m afraid I did not recognise Ibsen’s John Rosmer here: this was more akin to Tolstoy’s Nekhlyudov. Towards the end of this adaptation, Rosmer tells Rebecca in despair “I want my God back!” This is certainly a striking line, and undoubtedly theatrical, but once again, this is not Ibsen. Yes, Rosmer, both in Ibsen’s play and here, has lost his faith; but in Ibsen’s play, it is a question of interpretation to what extent, if any, he longs for the faith he has lost. I don’t really see what – apart from a moment of theatricality – is gained by explicitly interpreting it in this manner, and, further, by stating this interpretation so unambiguously. This is a play where ambiguity is, after all, important, because the various themes of this play are, by their very nature, ambiguous. Does Rosmer regret his loss of faith? If so, is he sufficiently self-aware to realise this? And even if these  two questions can be answered in the affirmative, is Rosmer the kind of person who would state this so explicitly? The Rosmer in Ibsen’s play doesn’t. The Rosmer here does, and, hence, becomes a somewhat different character from the one Ibsen had depicted.

If anyone hasn’t seen this production, please don’t let me put you off. As I said, it is an enthralling evening’s theatre. But I suppose that Ibsen as an author has come to mean so much to me personally, I feel, in a strange way, protective of him. I certainly do not object to Ibsen being interpreted in ways I disagree with. I don’t even mind Ibsen’s plays being adapted, as it is done here. But I do find myself demurring when a play advertised as being “by Ibsen” when, frankly, it isn’t. This is not Rosmersholm, by Ibsen; this is Rosmersholm, after Ibsen.





“The Master Builder”: a postscript

My last post was a long one, and given I have already spent over four and a half thousand words on it, I really shouldn’t need to add a postscript. But on reading my post over again, there seems to me that something important is missing. At no point do I address the question “What do I, personally, think the play The Master Builder is about?”

The standard answers come easily. It is about a very great number of things, not all of which can  be articulated; to state directly what “it is about” is necessarily reductive, because if “what it is about” can be directly stated,  Ibsen wouldn’t have employed such intricate indirections; to insist on one single interpretation is to deny a host of others; that even one’s personal perspective on a work so profound and so complex as this changes over time, often from reading to reading; and so on, and so forth. All of which is true, but since I do not aim to give an objective overview of any work I discuss here on this blog, I really should be obliged to offer at least my own subjective perspectives. Not insist upon them, but merely to offer them, such as they are.

In an article on this play that appeared some nine or so years ago (and which I had not seen till only a few days ago), distinguished Ibsen scholar Toril Moi (whose book Henrik Ibsen and the Birth of Modernism I most warmly recommend) speaks of Hilde being fascinated by and longing for sex, and yet, at the same time, being afraid of it. She compares Hilde to Hedda Gabler, who used to listen fascinated to Loevborg’s accounts of his various debaucheries, but who threatened him with a gun when he had made an advance on her. (I must admit this is not a parallel that had occurred to me.) And in Solness, Toril Moi sees a man who, underneath all the various complexities – the various neuroses, the various pieces of myth-making about himself – is afraid simply of death.

Moi has interesting things to say also about Aline Solness, who, far from being a desiccated old woman in her sixties, is someone who had borne children only thirteen years earlier, and is most likely in her mid-to-late thirties. It is surely her relative youth that makes her living death so much more terrible.

For me, the marriage of Aline and Halvard is among the greatest mismatches in drama. Aline’s greatest sorrow is not the loss of her children, traumatic though that had been: it is the loss of her childhood, the violent break from the only world in which she had been happy; it is her dislocation into a world that feels forever alien. She has nothing of her husband’s energy and vigour, her husband’s zest for life and longing for joy: if Halvard feels chained to a corpse in being tied  to a woman who is incapable of moving on from her emotional attachment to a vanished past, she, on her part, cannot live in a present that has nothing to offer her but regretful memories of what has been forcibly wrenched from her.

Hilde, on the other hand, wishes to escape her past, but where she is to escape to is not certain. She describes her home as a cage, and herself as a wild bird; and when she is asked if she may wish to return to her childhood home – that one thing that Aline Solness desires more than anything else – Hilde replies that wild birds do not fly back into their cages. When she had been about twelve or thirteen – when, like  Juliet in Shakespeare’s play, she had been in the early stage of her journey from girlhood to womanhood, and was becoming aware of her sexuality – she had seen the vigorous and charismatic Solness, then, perhaps, in his early forties, climb up to the top of the tower; and she had found it thrilling beyond anything she had ever experienced, or had experienced since. From then on, her family home had been merely a cage from which she had to escape. So deep is her longing to escape the domesticities of home, that at times she becomes almost masochistic – as at that rather shocking moment when she speaks of the ancient Vikings, and of her excitement not at the thought of carrying away others (as Vikings used to do), but of being carried away.

And there’s Solness himself, of course. Yes, he is afraid of death. But I think he is afraid of something even more than that: he is afraid of nothingness. He is afraid of the possibility that nothing really matters. To me, the crux of the whole play, the climactic point of the drama, occurs during Solness’ final duologue with Hilde in the third act: he tells her of his defiance of God – even though he cannot bring himself even to speak God’s name; he tells her that from moment on, he had determined to build no more churches for God, but houses – houses for people to live in. From that moment, his world was to be people-centred rather than God-centred: he would embrace what we would nowadays describe as “humanism”. But it was no good: he has found no fulfilment in this either. All he has found was nothingness. And it is this nothingness he fears, more than anything else.

That first time he had climbed up the tower despite his fear of heights, he had done so to express his defiance of God whom he had believed in. Now, he climbs the tower again, but this time, he does so in defiance of nothingness, which he now also believes in. If nothingness is all that reality has to offer, then the greatest castles that can be built, the only castles that can be built, are “castles in the air”.

I have, in the above, refrained from citing passages from the text to support what I am saying. This is partly because I have done enough of that in my last post, and also because what I am offering here is, without apology, my own personal view of the play.

And of course, the usual caveats apply: I am not insisting upon my view of the work; there are a great many other valid ways of seeing it; I am sure I will see things differently again the next time I encounter it; and so on. But, for the moment at least, this, I think, is what lies at the centre of all the various complexities and profundities of this inexhaustible work – the fear that, at the heart of it all, there is simply a vast nothingness.

“The Master Builder” by Henrik Ibsen

*** SPOILER WARNING: The following post inevitably reveals some of the plot details of this play, and so, if such things are important to you (they needn’t be), it is possibly best not to read this post till you’ve read or seen the play for yourself. 

All quoted passages are taken from the translation by Barbara Haveland and Anne-Marie Stanton-Ife, published by Penguin Classics


The Master Builder continues to puzzle and bewilder audiences and readers. When watching a performance in the theatre, or reading the text at home, one can hardly miss its intense, life-and-death seriousness. But what is it all about? All kinds of possible interpretations have been put forward – that it is a political allegory, a representation of Man turning against God, a dramatisation of inter-generational conflict, an exploration of Nietzschean concepts of morality, and so on. Ibsen himself, when asked about its interpretation, replied that he simply wrote about people, and that he didn’t see what all the fuss was about. Of course, he was being disingenuous, but perhaps that is not a bad way of approaching this inscrutably obscure drama. It’s not that the play is not about a great many different themes and ideas, but, perhaps, none of that makes too much sense unless we engage first with the people – the characters on stage who carry the drama.

The setting seems realistic enough. In the first scene, we are in an office in the house of master builder Halvard Solness, and we see his employees at their work. This could easily be the setting of a realistic social drama, such as The Pillars of Society. And indeed, in the course of the drama, nothing happens that is unrealistic – in the sense that nothing happens that is physically impossible. But yet, it becomes impossible to take this drama on purely realistic terms. At the heart of the drama are a number of scenes between Master Builder Solness, and his young visitor, Hilde Wangel (whom we had seen in the earlier play The Lady From the Sea), and the duologues between them seem to make little sense if considered from a strictly realistic perspective. From such a perspective, we could say that they are both, in essence, mad – that they are both locked into their own personal fantasies, and that these fantasies somehow feed off each other. We could say that, on occasion, the reality of the lives around them enter into their fantasies; but equally – and, by the end, fatally – their fantasies also obtrude into the real world.

But to leave it there is to relegate this drama into the realms of nonsense: what interest could there possibly be in the fantasies of two crazy people? The reviews of the first London performance did, indeed, see the play in such terms (there’s a wonderful collection of quotes from these reviews in Michael Meyer’s biography of Ibsen): “… a play written rehearsed, and acted by lunatics”; “… platitudes and inanities…”; “… the most dreary and purposeless drivel … pointless, incoherent, and absolutely silly…”; “three acts of gibberish…”; “dull, mysterious, unchaste”.

It is easy to look back on such uncomprehending early criticism, and congratulate ourselves on our greater understanding, but it remains true, I think, that if we fail to enter imaginatively into the fantasy worlds created by Solness and by Hilde, and if we fail to see these fantasies as important counterpoints to the very real and solid world with which they overlap, then the criticisms quoted above may be seen as entirely reasonable, and “dull, mysterious, unchaste” may appear an entirely reasonable summary. Ibsen did, indeed, as he insisted, portray people, but to understand the nature of the people he portrayed, we must prepare ourselves to enter into their fantasies, and take them as seriously as the reality which, throughout all the dramatic complexities, never quite go away.

The opening scenes are very realistic indeed: Ibsen needed a strong, solid base on which to build. Master Builder Solness (Bygmester Solness, as the Norwegian title proclaims) is described in the stage directions as being in his “late middle age”: I think we can take that to mean he is in his 50s – hardly in the first flush of youth, but far from descended into the vale of years: we see him as vigorous, energetic, masterful, exerting his personal power over people around him; and, if the drama that unfolds is to make sense, he is charismatic, and still sexually attractive. Certainly Kaja, his bookkeeper, is completely in thrall to him: he is, naturally, fully aware of the power he exerts over Kaja, and is happy to take advantage of it.

Kaja’s intended, Ragnar Brovik, and Ragnar’s father Knut, also work in the office, as architects and designers. Old Knut Brovik once had his own construction business, but that had failed, and we see him merely an underling of Solness. Now, obviously old and ill, he would like to see his son succeed in the business, and he asks Solness to recommend Ragnar’s design for a commission, but Solness, terrified of the thought of being supplanted by a younger generation (as he, as a young man, had supplanted Knut Brovik), angrily refuses.

BROVIK: Am I to depart this life so poor?

SOLNESS [appears to be  struggling with himself; at length he says quietly, but firmly]: You will have to depart this life as best you can.

BROVIK: Well, so be it. [He walks away.]

SOLNESS [going after him, almost despairingly]: But I can’t do otherwise, you see! I am the way I am, after all!

Like God Almighty, he is what he is.

This opening exchange lays bare the essential character of Solness. He can be cruel, he can hurt people; but cruelty is not something that comes to him naturally. He has to struggle with himself before he utters those immensely cruel words “You will have to depart this life as best you can”. And afterwards, he has to try to explain himself. As the scene continues, we see him pour out a glass of water for his employee, and seeing that he is ill, advises Ragnar to take his father home. He is not amoral: he has a sense of what is right and what is wrong, of what is kind and what is cruel, but he cannot do otherwise: he is what he is.

So far, so realistic: this could still be a play from Ibsen’s earlier years. But in the scene that follows between Solness and the doctor, Solness comes out with the most extraordinary paranoia: has not Aline, Solness’ wife, asked the doctor to keep an eye on him? Has not Aline confided to the doctor that she thinks he is … mad? The doctor denies this, but Solness doesn’t quite believe him.

Because to some extent, you see, she – she might have reason to think such a thing.

Solness changes the subject quickly after this, but if we had thought this a realistic play, we are, perhaps, a bit less sure of our ground now. The ground shifts even further as Solness tell the doctor that he feels that he has certain supernatural powers: his deepest desires, he feels, though unspoken, somehow communicate themselves to others, and these others, unbidden, serve him: he can, he is convinced, bend the will of others to his own merely by desiring.

And then there comes a most extraordinary exchange that seems to confirm Solness’ suspicions concerning his own sanity. Contrary to the doctor’s suspicions, he is not, he insists, having an affair with his bookkeeper Kaja, but he allows his wife to suspect that he is:

Because I feel there is a kind of – kind of salutary self-torture for me in simply allowing Aline to think unjustly of me … it’s like paying off some portion of some vast and bottomless debt …

The doctor at this point throws up his hands and says he doesn’t understand a word of this, and we in the audience may start feeling the same. But Solness goes further: he is frightened. Yes, he has been successful in his career, “but at some point, the turn will come”. The younger generation will rise up, he says, and will overthrow him. Youth will come knocking at the door. And, as if to underline how far we have strayed by this point from the strict realism with which the play had begun, there is indeed a knock on the door at this precise point, and it is indeed youth who is knocking. But not the youth that Solness had been expecting: it is a young lady, a stranger, Hilde Wangel, who seems to have known Solness, but whom he cannot recognise. Having laid the basis of the drama in these few short but densely packed scenes that start with strict realism, but which, in Solness’ conversation with the doctor, drift towards what seems like madness, Ibsen now introduces Hilde, the final character of the drama. The prologue, as it were, is now over.

Hilde had appeared in a play Ibsen had written some four years earlier – The Lady from the Sea. There, we had seen her a teenager, living with her elder sister and her father, both gentle and loving souls, and with her stepmother, from whom she feels alienated. The play does end with a promise of renewal, but Hilde herself had emerged a not entirely sympathetic character: she is fascinated by the fact that a neighbouring young man is, unknown to himself, terminally ill, and, while others are kind to him despite his foolish and conceited nature, she teases him mercilessly. There was, in that play, something predatory about her, a certain failure of human empathy. Ibsen presumably felt that given the supporting role she had played in that drama, there wasn’t room to develop her character as he might ideally have wanted; whether he did or not, he brings her back here, and allots her a more prominent role. There is still an element of the predatory about her: though it is not explicitly stated – virtually nothing is explicitly stated in this play – she has certainly come to take Solness away from his wife. But there is more. She is, we find out, also locked into her own personal fantasies, although how much of her fantasy is also real is, from the beginning, uncertain, and open to question.

Solness does not recognise her at first. She has to remind him: some ten years ago, when she had been about twelve or thirteen, Solness had gone up north to Lysanger, Hilde’s hometown, to build a church. And, on that occasion, to consecrate the new church, Solness had climbed up the high tower and had placed upon it a wreath. Hilde describes the scene in almost ecstatic terms:

… it was so splendid and so terribly exciting. I couldn’t believe there was a master builder in all the world who could build such an enormously high tower. And then the fact that you were standing up there yourself, at the very top! In person! And that you weren’t the slightest bit dizzy. That was the most – kind of – dizzying thought of all.

But there is more. Hilde goes on to claim that afterwards, he, Solness, had found her alone, and had told her she looked beautiful, like a princess. Solness has no recollection of this, but Hilde continues. He had promised that in ten years’ time he would return like a troll; that he would carry her off; and that he would buy her a kingdom, and a castle. Solness feels uneasy: he doesn’t remember this, but doesn’t contradict her. But then, Hilde says, he had bent her back and had kissed her, passionately, many, many times.

In our own times, with our greater awareness of child abuse, we are likely to find this narration deeply shocking. I think it is intended to be shocking. There can be no excuse for any man behaving in such a manner with a twelve-year-old girl. And indeed, at this point, Solness himself is very deeply shocked by the accusation, and he vehemently denies it. But, very disconcertingly, she is not accusing him: she has come, she says, to claim what she had been promised – her kingdom and her castle. The ten years, she says, are up, and since he hadn’t come to her, she has had to come to him. And in a tone that seems both joking and serious at the same time, she claims from the Master Builder the promised kingdom.

Solness first claims that all this is something she may have dreamed, but then seems to halt in his tracks: “Wait, though,” he says, “there’s something here that goes deeper…” Could it be that the memory of actually having done all this now resurfaces? Or could it be that he thinks that he had communicated to her his unspoken desire, and, as he is convinced he has the ability to do, he had, through some supernatural power, bent her will to his? We never do find out whether the story Hilde tells is indeed true – whether Solness really had done all this. But true or not, Solness, though remaining puzzled as to her true motive in seeking him out after all these years, is happy that she had come: he seems to find in her someone who is, if not necessarily a kindred spirit, someone he could talk with openly, in the hope of being understood. He invites her to stay in his house, in one of the three empty rooms, the nurseries that have never been used.

In the course of the play, a series of quite extraordinary duologues develop between Solness and Hilde, as each invites the other into their own fantasy, and they find these fantasies, in effect, complementing each other. If we are to look at it purely from a realistic perspective – and while this is not the only perspective, it is one always worth bearing it in mind – regardless of whether or not Solness had made advances towards the then twelve-year-old Hilde, she had been drawn to him; and now, a grown-up woman, she has come to take him away from his wife. And he – again regardless of whether or not the reported incident had actually happened – had secretly desired her then; for how could he have communicated his desire to her if he had not desired in the first place? And he continues to desire her now. But that is only a very partial view of the drama. To get to the mysterious and elusive heart of the play, we must enter into their fantasies, which develop on a related but somewhat plane from reality. We seem, in some ways, to be back in the world of Peer Gynt, where reality and fantasy seem to exist and develop side by side, interpenetrating and reflecting each other, but never quite touching.

There is, of course, a third point in the triangle: Aline, Solness’ wife, to whom Solness feels he owes a “vast and bottomless debt”. In the first two acts, she seems a pallid, almost a ghostly, presence, solicitous of her husband, but very unlike her husband: she is retiring and self-effacing, and almost entirely passive. When she says she will help Hilde settle in, she adds it’s her “duty”. The emptiness of duty devoid of love had been a theme in many of Ibsen’s earlier work – in particular, Ghosts – and this sense of emptiness strikes Hilde forcibly. Why had she not said she would help Hilde because she wanted to? This emphasis on duty has such a coldness about it.

But before this, there had been a brief but remarkable scene between Solness and Aline, which, like so much else in this play, seems almost impossible to summarise. Solness, we know, feels guilty towards his wife, although we do not yet know why. In this scene, she surprises him by expressing her own sense of guilt. “I should have hardened myself. Not let the shock get hold of me.” We cannot be sure at this stage what she is referring to. Solness tries to assure her that things would be better for them once they move into their new house, but she can see no such hope. Eventually, Solness gives up trying to persuade her, and vents his frustration:

SOLNESS [clenching his hands and crossing the floor]: Oh, but this is all so hopeless! Never a ray of sunshine! Not so much as a glimmer of light falling into this house!

MRS SOLNESS: This is no home, Halvard.

SOLNESS: No, well may you say that. [Heavily] And God knows you could be right – maybe things won’t get any better for us in the new house either.

MRS SOLNESS: They never will. Just as empty. Just as desolate. There as here.

The worst is that these two, caught in their joyless life together, are actually solicitous for each other, and have for each other a kind of love, even in their mutual misery. Later in the play, Solness describes his marriage in startlingly vivid terms:

And now she’s dead – for my sake. And I am chained, living, to the dead. [Frantically] I – I – who cannot live a joyless life!

The soul within Aline seems dead. At the start of the third and final act, Hilde has a scene with Aline, after which she says “I have just climbed out of a tomb … I am chilled to the bone…” In Ghosts, Ibsen had depicted a world stripped of human joy by insistence on duty – unquestioning duty that is to be carried out for its own sake, without love. Here, similarly, Solness, who cannot live without joy, feels he is chained to a corpse. But if Aline is indeed a corpse, Solness knows it is he who has killed her. This is the “vast and bottomless debt” he feels for her, and he is caught hopelessly between this immense sense of obligation he feels for her, and an overwhelming desire to break free.

The past that has led to this present is related in Act Two – but then again, only through Solness’ narration, which is not necessarily the most reliable. He has, in his career, been successful, but that success had only come at a great cost. His wife’s family home had burnt down, to the ground. This had given him the opportunity to divide the estate into small plots, and build houses on them. And that fire he had willed. He had noticed a fatal crack in the flue of the old house which, if not seen to, could cause a catastrophic fire; and every day, he would look at that crack, willing the disaster to happen. And yet, when the fire did happen, it wasn’t because of that crack: it was proven that the fire had started elsewhere. However, he had willed it: that, for Solness, was enough:

SOLNESS [confidentially]: Hilde, don’t you too believe that there are certain special, chosen people who have been granted the blessing and the power and the ability to wish for something, desire something, want something so deeply and so – so inexorably – that they’re bound to get it in the end? Don’t you believe that?

In Solness’ mind, there are, as he calls them, “helpers and servants” – supernatural beings who are summoned merely by the fact of his desire. And so, because he had willed it, the house had burnt down, and the entire family had had to evacuate into the freezing cold night. And the price paid was even greater than the house: their newborn infant sons, twins, had died shortly afterwards. But for this, Solness refuses to accept responsibility: he claims that Aline had caught a chill that night, and that her breast-milk had become infected; but that she had insisted that it was her duty to carry on breast-feeding them.

Now, this part of Solness’ narrative I, personally, would take with great scepticism. First of all, there is no evidence, either in medicine or in popular folk belief, that this can happen. And secondly, even if this really did happen, one may justly ask how Solness, in those days before full post-mortems, could be so sure of it. I would guess that this is another of Solness’ fantasies, part of the mythology he has created around himself. He is prepared to invent the mythology of his “helpers and servants” to justify the immense sense of guilt he feels for his wife, but to accept responsibility for the death of his children was too much, even for him; and here, I think, he had to transfer the guilt to his wife, and, significantly, to that particular aspect of his wife’s character that he finds so intolerable – that sense of loveless duty.

Later, at the start of the third act, Hilde speaks with Aline, and, like her husband, Aline finds herself telling things to Hilde that she is unlikely to have told anyone else – certainly not to her spouse. To Hilde’s surprise, Aline feels no remorse for the death of the children: that was God’s will, and it is her duty to accept. But it’s the smaller things that hurt more – things that to most other people may appear insignificant: in that fire, her childhood dolls had been burnt, and that she cannot come to terms with. Her connection with the past, her childhood, had been destroyed.

We are not told this, but we may infer that, after the fire, after the death of their children (of which the symbolically empty nurseries stand as a permanent reminder), she had suffered some sort of mental breakdown. Which, of course, would have been untreated in those days. In an earlier scene with her husband, she blames herself not for the death of the children (that story about the infected breast milk is, I think it is safe to assume, entirely Solness’ fantasy), but for not being strong enough after the tragedy had struck. And so she remains, a living corpse to whom the still vigorous Solness finds himself chained. This is what he has willed – this is the desire his “helpers and servants” have brought to fruition.

This is what folk call having Fortune on your side. But let me tell you how that Fortune feels! It feels like a large, raw patch here on my chest. And the helpers and servants, they go around tearing chunks of skin off other people in order to close my wound. But sill the wound won’t heal.

Hilde diagnoses him: he has an “ailing conscience”. This is not the Master Builder she had pictured. She had pictured a man with a robust conscience, a man unafraid to strive for what he desired. That was the man whom she had seen those ten years ago, on the tower, unafraid, not dizzy. And she had heard “harps in the air”. Soon afterwards, Hilde hears from Aline that Solness is actually afraid of heights, and dare not climb up towers any more. Hilde is outraged. Is it true that “my master builder dare not – cannot – climb as high as he actually builds?” Does he, after all, have a “dizzy conscience”?

It would be easy to see Hilde as merely a harpy, compelling Solness to leave behind his moral obligations. And while there is certainly some truth in this, this is not the entire truth either. After all, it is she who persuades Solness to do the right thing with Ragnar Brovik, and to approve his design. And, after speaking with Aline, she seems to lose her own will: her conscience, too, is not as “robust” as she had thought.

I cannot hurt someone I know! Cannot take away something that belongs to her.

Solness, too, acknowledges his moral  obligations:

HILDE: That a person doesn’t dare to reach out and seize his own happiness. His own life! Simply because someone they know is standing in his way!

SOLNESS: Someone they’ve no right to pass by.

HILDE: Who’s to say one doesn’t, in fact, have the right to do that? But, then again – Oh, if only one could sleep through the whole thing!

Hilde’s hopes seem dashed. Claims of moral obligation, which she had once thought dispensable, now assert themselves. As Rebecca West had found in Rosmersholm, the Rosmer way of life ennobles, but … but it kills happiness. It makes impossible the joy that Solness cannot live without.

And now, Solness, in the final duologue between them, tells her of what he had actually done when she had seen him on that one occasion, defying his fear of heights and actually climbing that tower. It had been ten years ago, shortly after the death of his children.

Solness had, he tells Hilde, come from a “religious home from a small village”. And he had believed that building churches was the finest thing he could do.

SOLNESS: I feel he ought to have been pleased with me.

HILDE: He? Who’s he?

SOLNESS: Him – the one the churches were for, of course! The one they were meant to glorify and praise!  

Solness cannot even bring himself to speak God’s name. But that day, on top of that tower that he would usually be afraid to climb, he had rebelled against God, whose name even now he is unable to articulate. He had said to God that he shall no longer build churches. He shall build houses – houses for people to live in. But it was no good: for at the centre of Solness’ own house remain those empty, desolate rooms. John Rosmer, having rejected the God he had once believed in, but unable to shake off the God-given guilt, had to pass judgement on himself; Solness, similarly having rejected Him whom he cannot even name, and similarly weighed down by guilt, now faces the horrifying fact of nothingness:

So you see, that’s what it all amounts to, no matter how far I look back. Nothing built, basically. And nothing sacrificed to be able to build anything either. Nothing, nothing – all of it.

This contemplation of nothingness is the bleakest point of the drama – its moral and spiritual nadir. But there is a coda. Solness and Hilde, from this point onward, both appear to retreat completely into the fantasy worlds they have created for themselves. Solness will give his princess the castle he had promised her, and it will be the finest castle that may be built – a castle in the air. He will, once again, defy his dizziness: he will climb the tower, and prove himself free. To Aline Solness, living in the real world and terrified for her husband’s safety, he is foolishly endangering his life for no reason; but on a different dramatic plane, this is his victory, and this is Hilde’s victory: she sees him great again. Of course, he crashes to the ground, and dies: from the perspective of the real world, it was madness. But Hilde, by this stage, is completely locked in her fantasy.

HILDE [in a sort of quiet, bewildered triumph]: But he got to the very top. And I heard harps playing in the air. [She waves her shawl above her head, and cries with wild rapture] My – my master builder!

The master builder that others see – their master builder – fell to his death in a foolhardy escapade. But her master builder finally dared to climb as high as he builds: he got to the top.


What are we to make of this strange play? I have tried in this post to give as lucid an account as I can of how I see the play, but reading over what I have written, I can’t help but feel that my interpretation simplifies matters, smooths out too many complexities. Perhaps that is the fate of all interpretations. Great works of art are all, despite possible interpretations, ultimately inscrutable, and do not give up their secrets. In this dizzyingly enigmatic and elusive play, Ibsen takes us into realms of the human mind which even he had not entered before. It is a play that continues to fascinate my imagination, even as I struggle to articulate why.

A sense of longing

The internet is so full of banalities attributed to various luminaries – some of these banalities so simple-minded and so poorly articulated as to be thoroughly embarrassing – that I try never to introduce a quote into this blog without mentioning its source. However, try as I might, I cannot find a source for the following quote that is widely attributed to Vladimir Nabokov:

No single word in English renders all the shades of toska. At its deepest and most painful, it is a sensation of great spiritual anguish, often without any specific cause. At less morbid levels it is a dull ache of the soul, a longing with nothing to long for, a sick pining, a vague restlessness, mental throes, yearning. In particular cases it may be the desire for somebody of something specific, nostalgia, love-sickness. At the lowest level it grades into ennui, boredom.

Maybe Nabokov never said this – who knows? But I’m quoting it nonetheless because, at the very least, it isn’t banal; and, further, it is so well articulated that one could easily believe that Nabokov had actually said it; and, most importantly, the state of mind it describes – “a longing with nothing to long for” – is one I find fascinating.

There is, it seems, a similar word in Portuguse – saudade. And its import is rather well described by singer-songwriter Nick Cave (and in this instance, I can pinpoint the source, as a friend of mine, who is a fan of Nick Cave, pointed this quote out to me):

‘The love song is the sound of our endeavours to become God-like, to rise up and above the earth-bound and the mediocre. I believe the love song to be a sad song. It is the noise of sorrow itself.

We all experience within us what the Portuguese call saudade, an inexplicable longing, an unnamed and enigmatic yearning of the soul, and it is this feeling that lives in the realms of imagination and inspiration, and is the breeding ground for the sad song, for the love song. Saudade is the desire to be transported from darkness into light, to be touched by the hand of that which is not of this world. ‘

  • Nick Cave, “The Secret Life of the Love Song”

Once again, the longing is “inexplicable” – inexplicable because, as with toska, it is a longing with nothing to long for.

In doing a Google search on saudade, I find that it is believed by some to be characteristic of the Portuguese and Brazilian people. I am not sure about that. For while it is certainly curious that some languages have a word for this and others don’t, this vague sense of an intense longing for that which cannot even be named seems to me common to all people, of all times. At least, I know of no culture that hasn’t, somewhere along the line, expressed what I understand to be toska, or saudade. This inexplicable yearning seems almost the hallmark of Romanticism, but the Romantics did not invent it. How can one not find it in, say, the songs of John Dowland? Or, say, in Twelfth Night (which, sadly, is too often presented on stage as little more than a knockabout comedy), in a passage such as this?


Why, what would you?


Make me a willow cabin at your gate,
And call upon my soul within the house;
Write loyal cantons of contemned love
And sing them loud even in the dead of night;
Halloo your name to the reverberate hills
And make the babbling gossip of the air
Cry out ‘Olivia!’ O, you should not rest
Between the elements of air and earth,
But you should pity me!

For whom is Viola longing? Not Olivia: neither in her real person, nor in her assumed role, does Viola love Olivia. Perhaps it’s an expression of her love for Orsino, whom she secretly loves, but this seems unlikely: although Viola has indeed fallen in love with Orsino (“Even so quickly may one catch the plague?”), he is too self-absorbed and too insignificant a figure to be a worthy object of such ardent lyrical pining. No – this yearning has no object that is nameable: it is indeed the “unnamed and enigmatic yearning of the soul”.

In ages more religious than ours, this longing was often (though not always) identified as longing for union with God, and, indeed, presented as such. But we found, much to our surprise, that even when belief in God declined, this longing didn’t. Generally, this longing had to be tied to some identifiable object for it to make some semblance of narrative sense, and that object, usually, is one’s beloved; or, more usually, one’s lost beloved. That seemed to make sense. But the whole point of this longing is that it doesn’t make sense. Thus, all too often, we come across longing the intensity of which far transcends its ostensible object. Is the protagonist of Schubert’s Winterreise, or of Schumann’s Dichterliebe, longing merely for the girl who rejected him? Would the longing of Tristan and Isolde be stilled if they were to get together, marry, and settle down as Mr Tristan and Mrs Isolde? The very idea seems absurd. But if their longing seems to be for more than merely union with their beloved, what precisely are they longing for?

This is a mystery at the heart of things that the Romantics, far from smoothing over, actively embraced. The popular conception is that they embraced this mystery in reaction to the rationalists of the 18th century who had rejected the very concept of mystery, but nothing ever is so simple as such broad-brush summaries may suggest: each age is so multi-faceted that any such sweeping statement can very easily be demonstrated as absurd.

However, there is good reason for the 18th century to be thought of as the “Age of Reason”: more than ever before, and, perhaps, more than ever since, the universe was seen as perfectly ordered, and all effects traceable to causes. What could be more ordered than, say, a Bach fugue? Or a Haydn string quartet – even those of his Sturm und Drang period? But it will never do to constrict great artists by such pat formulae: even in the Age of Reason, there were artists subverting it. In Gulliver’s Travels, say, Swift presents us with a society ruled entirely by reason – the land of the Houyhnhnms – but which is, for that very reason, a monstrosity: as Orwell commented, it is a state of totalitarianism so advanced that the Thought Police isn’t even required; and this perfection of reason, paradoxically, drives Gulliver mad, and fills him with a genocidal rage.

And then, there’s Mozart. It escapes me how anyone could fail to find that quality of saudade in his music, but they have done, and, in many cases, still do.  In Cosi fan Tutte, he and his librettist Lorenzo da Ponte took on what was essentially a trivial and rather misogynist little anecdote: two young men, to prove that their beloved young ladies were faithful to them, woo each other’s girls in disguise; and the girls, being but women, and hence, fickle, fall for it. Cue crude, knockabout comedy, cynical guffaws, and all the rest. But, as Shakespeare had done in Twelfth Night, Mozart takes this unpromising framework of a story, and, alongside the comedy (which he does not ignore), imbues it with such profound melancholy, such ineffable longing – such pain at the absence of something that these four young people desire beyond anything else in the world, but which they cannot name – that the base metal of this rather objectionable little anecdote is miraculously transformed into the pure gold of a great work of art that seems to express the inexpressible.

The Romantics, somehow, didn’t get it: they thought it trivialised feelings which should be sacred. Beethoven thought the opera was a slander of Eternal Womanhood, and was immoral. Wagner went further: even the music, he thought, wasn’t up to standard, and Mozart had failed to provide good music for this precisely because he knew the dramatic content was poor. Only in the twentieth century did the opera come back into the standard repertoire, but, just as it was dismissed in the previous century because it was deemed too slight and artificial, it was those very decorative qualities that seemed to appeal to even perceptive commentators: Sir Thomas Beecham, an eminent Mozartian, praised it as “a long summer day spent in a cloudless land by a southern sea”.

In our own time, perceptions about this work have changed yet again. We seem to sense that, bursting out of the seemingly ordered framework, there is a tangle of human emotions that no purely rational view of humankind could ever accommodate. And at the centre of this tangle is that anguished longing for something that is not. Mozart, that archetypal Classicist, knew about this agonised longing at least as well as any of the Romantics did. Why should he not? It has, after all, always been with us. Like Viola, we are still calling upon our “soul within the house”.

Journey’s end

Hamlet and Twelfth Night were written, it is believed, very close to each other, and, although one is a tragedy and the other a comedy, they often have very similar themes. One issue that seems central to both dramas is the question of how we should mourn our dead. How should we mourn so that we can honour those who have died, and honour also the lives the we, the survivors, must continue to live?

Twelfth Night is a play I love deeply, but one I find very elusive. More so even than the other plays, it never seems to be the same on any two readings: it seems to be made of that changeable taffeta that Feste recommends Orsino to wear. In one of my earlier posts on it, I made it out to be a very dark play – closer in spirit to Hamlet than to, say As You Like It. Perhaps I was going over the top there, but even in my less lugubrious moods, its darker notes seem to me undeniably present. In the few years after writing this play and Hamlet, Shakespeare went on to write a sequence of intensely tragic dramas the likes of which have not been seen since the ancient Athenians. And there seem to me strong connections between Twelfth Night and these dark, tragic dramas: as well as the thematic overlaps with Hamlet, a new verse of the song Feste sings at the end of Twelfth Night appears in, of all places, the storm scene of King Lear. And the final verse of Feste’s song (“A great while ago the world begun, With hey, ho, the wind and the rain…”) is, as a Shakespearean friend of mine recently pointed out, about as desolate as anything in English literature. Has ever a comic drama ended like this?

Now, I wonder if there is also a correspondence between Twelfth Night and Othello – another of those great tragedies written in this period. In one of his other songs, Feste sings:

O Mistress mine where are you roaming?
O stay and hear, your true love’s coming,
That can sing both high and low.
Trip no further pretty sweeting.
Journeys end in lovers’ meeting,
Every wise man’s son doth know.

“Journeys end in lovers’ meeting.”

Now, Othello, at the most intense point of his tragedy, when he realises what it truly is that he has lost, says “here is my journey’s end”. Was Shakespeare, I wonder, thinking back here on Feste’s song, that he had written only about two years earlier? Of course, the “s” at the end of “journey” in Othello indicates possession, while in Twelfth Night it indicates plurality, but an ear as finely tuned as Shakespeare’s to the music of words would certainly have been aware of the echo. And if this echo was indeed intentional, it seems to me almost unbearably poignant. In Twelfth Night, however dark and melancholy we may take the play to be (and I know opinions vary on this matter), there was still the hope – the expectation, even – that lovers would be united at journey’s end. But Othello, at his journey’s end, has no such expectation: “When we shall meet at compt, this look of thine will hurl my soul from heaven, and fiends will snatch at it.” He has lost not only Desdemona: he has lost his own soul, for ever. For what he has done, there can be no forgiveness, no atonement: nor does he even hope for it.

Whichever way I look at it, Twelfth Night foreshadows Shakespeare’s greatest tragedies. Which is not to say Twelfth Night is itself a tragic play: it clearly isn’t. But it does seem to me to point towards a traumatic tragic journey, a journey that finds its end only with those mysterious and deeply ambiguous dramas Cymbeline, The Winter’s Tale, and The Tempest – plays which, even after some forty and more years of acquaintance, I still feel I do not adequately understand.