Note:
Translator Louise von Cossel is or might still be alive.
Therefore, this work is protected by copyright,
restricting your legal rights to reproduce it.
However, you are welcome to view it on screen, as you do now.
Read more about copyright.
Full resolution (JPEG) - On this page / på denna sida - Sidor ...
<< prev. page << föreg. sida << >> nästa sida >> next page >>
Below is the raw OCR text
from the above scanned image.
Do you see an error? Proofread the page now!
Här nedan syns maskintolkade texten från faksimilbilden ovan.
Ser du något fel? Korrekturläs sidan nu!
This page has been proofread at least once.
(diff)
(history)
Denna sida har korrekturlästs minst en gång.
(skillnad)
(historik)
scene after scene unrolled itself before her
mental vision. It was quite a race betwixt her
needle and my pen, and whenever we found
that the two had arrived at the same result,
our joy was so great, that it quite compensated
for the conflicts that would arise on seeing that
our fancy had led us in different directions.
During the second writing of the last play, I
had to forbid Sonia to enter my study whilst I
was at work. Our continued collaboration in the
first part became too disturbing and exciting for
me. I lost the general view of the whole and
the intimate familiarity with my characters.
In spite of the affinity of our characters, Sonia
and I are contrasts in our methods of working.
She is like Alice (in ‘The Struggle for
Happiness’), who can create nothing, embrace nothing
with her whole heart, unless she can find
somebody to share it with her. All her mathemathical
works have been produced under the influence
of another person; even her lectures are only
delivered well when she knows that Mittag
Leffler is present.
Sonia herself often jokingly acknowledged
this dependence on her surroundings.
In Alice she describes her own character. In
the great scene with Hjalmar (1st Play, Act iii.),
<< prev. page << föreg. sida << >> nästa sida >> next page >>
