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    Catiline
    Catiline
    Catiline
    Ebook114 pages1 hour

    Catiline

    By Henrik Hibsen

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    About this ebook

    Henrik Johan Ibsen (20 March 1828 – 23 May 1906) was a major 19th-century Norwegian playwright, theatre director, and poet. He is often referred to as "the father of realism" and is one of the founders of Modernism in theatre. His major works include Brand, Peer Gynt, An Enemy of the People, Emperor and Galilean, A Doll's House, Hedda Gabler, Ghosts, The Wild Duck, When We Dead Awaken, Pillars of Society, The Lady from the Sea, Rosmersholm, The Master Builder, and John Gabriel Borkman. He is the most frequently performed dramatist in the world after Shakespeare, and by the early 20th century A Doll's House became the world's most performed play.  Several of his later dramas were considered scandalous to many of his era, when European theatre was expected to model strict morals of family life and propriety. Ibsen's later work examined the realities that lay behind many façades, revealing much that was disquieting to many contemporaries. It utilized a critical eye and free inquiry into the conditions of life and issues of morality. The poetic and cinematic early play Peer Gynt, however, has strong surreal elements. Catilina's mood-swings are a bit unrealistic, but considering it's Ibsen's first play it's good. The language is outdated but it's not hard to understand. It is very clear that he draws inspiration from 1848 and the revolution that raged across Europe.
    LanguageEnglish
    PublisherEnrico Conti
    Release dateApr 5, 2018
    ISBN9788828301660
    Catiline

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      Book preview

      Catiline - Henrik Hibsen

      Catiline

      A Drama in Three Acts

      Henrik Ibsen

      To the best of our knowledge, the text of this

      work is in the Public Domain.

      HOWEVER, copyright law varies in other countries, and the work may still be under

      copyright in the country from which you are accessing this website. It is your

      responsibility to check the applicable copyright laws in your country before

      downloading this work.

      First Act

      Second Act

      Third Act

      Preface to the Second Edition

      The drama Catiline, with which I entered upon my literary career, was written during the winter of 1848–49, that is in my twenty-first year.

      I was at the time in Grimstad, under the necessity of earning with my hands the wherewithal of life and the means for instruction preparatory to my taking the entrance examinations to the university. The age was one of great stress. The February revolution, the uprisings in Hungary and elsewhere, the Slesvig war — all this had a great effect upon and hastened my development, however immature it may have remained for some time after. I wrote ringing poems of encouragement to the Magyars, urging them for the sake of liberty and humanity to hold out in the righteous struggle against the tyrants; I wrote a long series of sonnets to King Oscar, containing particularly, as far as I can remember, an appeal to set aside all petty considerations and to march forthwith at the head of his army to the aid of our brothers on the outermost borders of Slesvig. Inasmuch as I now, in contrast to those times, doubt that my winged appeals would in any material degree have helped the cause of the Magyars or the Scandinavians, I consider it fortunate that they remained within the more private sphere of the manuscript. I could not, however, on more formal occasions keep from expressing myself in the impassioned spirit of my poetic effusions, which meanwhile brought me nothing — from friends or non-friends — but a questionable reward; the former greeted me as peculiarly fitted for the unintentionally droll, and the latter thought it in the highest degree strange that a young person in my subordinate position could undertake to inquire into affairs concerning which not even they themselves dared to entertain an opinion. I owe it to truth to add that my conduct at various times did not justify any great hope that society might count on an increase in me of civic virtue, inasmuch as I also, with epigrams and caricatures, fell out with many who had deserved better of me and whose friendship I in reality prized. Altogether — while a great struggle raged on the outside, I found myself on a war-footing with the little society where I lived cramped by conditions and circumstances of life.

      Such was the situation when amid the preparations for my examinations I read through Sallust’s Catiline together with Cicero’s Catilinarian orations. I swallowed these documents, and a few months later my drama was complete. As will be seen from my book, I did not share at that time the conception of the two ancient Roman writers respecting the character and conduct of Catiline, and I am even now prone to believe that there must after all have been something great and consequential in a man whom Cicero, the assiduous counsel of the majority, did not find it expedient to engage until affairs had taken such a turn that there was no longer any danger involved in the attack. It should also be remembered that there are few individuals in history whose renown has been more completely in the hands of enemies than that of Catiline.

      My drama was written during the hours of the night. The leisure hours for my study I practically had to steal from my employer, a good and respectable man, occupied however heart and soul with his business, and from those stolen study hours I again stole moments for writing verse. There was consequently scarcely anything else to resort to but the night. I believe this is the unconscious reason that almost the entire action of the piece transpires at night.

      Naturally a fact so incomprehensible to my associates as that I busied myself with the writing of plays had to be kept secret; but a twenty-year old poet can hardly continue thus without anybody being privy to it, and I confided therefore to two friends of my own age what I was secretly engaged upon.

      The three of us pinned great expectations on Catiline when it had been completed. First and foremost it was now to be copied in order to be submitted under an assumed name to the theater in Christiania, and furthermore it was of course to be published. One of my faithful and trusting friends undertook to prepare a handsome and legible copy of my uncorrected draft, a task which he performed with such a degree of conscientiousness that he did not omit even a single one of the innumerable dashes which I in the heat of composition had liberally interspersed throughout wherever the exact phrase did not for the moment occur to me. The second of my friends, whose name I here mention since he is no longer among the living, Ole C. Schulerud, at that time a student, later a lawyer, went to Christiania with the transcript. I still remember one of his letters in which he informed me that Catiline had now been submitted to the theater; that it would soon be given a performance — about that there could naturally be no doubt inasmuch as the management consisted of very discriminating men; and that there could be as little doubt that the booksellers of the town would one and all gladly pay a round fee for the first edition, the main point being, he thought, only to discover the one who would make the highest bid.

      After a long and tense period of waiting there began to appear in the meantime a few difficulties. My friend had the piece returned from the management with a particularly polite but equally peremptory rejection. He now took the manuscript from bookseller to bookseller; but all to a man expressed themselves to the same effect as the theatrical management. The highest bidder demanded so and so

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