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256
SÖNYA KOVALÉVSKY
When we met in the autumn we began the final
revision of our double drama. But the work was purely
mechanical; all the joy, the illusion, the enthusiasm,
had already vanished. By November the printing had
begun, and we offered the work to the Dramatic Theater.
The correction of the proofs occupied us till winter.
At Christmas the drama was published, and received
the approbation of Virsén and the Stockholm Dagblatt;
but shortly afterward it was refused by the Dramatic
Theater. A note from Sönya on receiving the news
of this check shows that she took it lightly:
What are you going to do now, you faithless, cruel mother?
Divide the Siamese twins, and put asunder what nature has
joined? You make me shudder. Strindberg was right in his
opinion about woman; but in spite of this I will come to you
this evening, you horrid creature !
The fact was that we were rather indifferent as to
the fate of the work now that we had done with it.
We were so far alike that we only cared about "
generations yet unborn," and we were already dreaming
of productions that were to have far greater success.
The difference between us was, that Sönya still clung
with all her heart to the idea of collaboration, while
in mine the idea was already dead, though I did not
dare to acknowledge this to her. Who knows if it
were not a secret craving to be once more mistress of
my own thoughts and words which unconsciously
contributed to the decision I now arrived at, namely, to go
to Italy for the winter? This journey had been often
discussed, but Sönya had always been against it as
a treachery to our friendship. But that friendship,
though in one way so precious to me and fecund in
delight, now began to oppress me by its exactions. I
mention the fact in order to throw light on the later
tragedy of Sonya’s love. Her idealistic nature sought
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