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Vaskaran Sarcar

Simple and Efficient Programming with

C#
Skills to Build Applications with Visual Studio and
.NET
2nd ed.
Vaskaran Sarcar
Kolkata, West Bengal, India

ISBN 978-1-4842-8736-1 e-ISBN 978-1-4842-8737-8

https://doi.org/10.1007/978-1-4842-8737-8

© Vaskaran Sarcar 2021, 2023

This work is subject to copyright. All rights are solely and exclusively
licensed by the Publisher, whether the whole or part of the material is
concerned, specifically the rights of translation, reprinting, reuse of
illustrations, recitation, broadcasting, reproduction on microfilms or in
any other physical way, and transmission or information storage and
retrieval, electronic adaptation, computer software, or by similar or
dissimilar methodology now known or hereafter developed.

The use of general descriptive names, registered names, trademarks,

service marks, etc. in this publication does not imply, even in the
absence of a specific statement, that such names are exempt from the
relevant protective laws and regulations and therefore free for general
use.

The publisher, the authors, and the editors are safe to assume that the
advice and information in this book are believed to be true and accurate
at the date of publication. Neither the publisher nor the authors or the
editors give a warranty, expressed or implied, with respect to the
material contained herein or for any errors or omissions that may have
been made. The publisher remains neutral with regard to jurisdictional
claims in published maps and institutional affiliations.

This Apress imprint is published by the registered company APress

Media, LLC, part of Springer Nature.
The registered company address is: 1 New York Plaza, New York, NY
10004, U.S.A.
I dedicate this book to the programming lovers of C#.
Introduction
It is my absolute pleasure to write the second edition of Simple and
Efficient Programming with C#: Skills to Build Applications with Visual
Studio and .NET. You can surely guess that I got this opportunity
because you liked the previous edition of the book and shared your
feedback with us. So, once again I’m excited to join you and help you to
learn more. This time I present a further simplified, better organized,
and more content-rich edition to you.
Let me remind you of the key goals of this book. I wrote about them
in the first edition as well. C# is an object-oriented programming (OOP)
language. You may already know C# keywords or even some interesting
features. You may also know how to write simple programs in C#. You
can learn these things from an introductory book or an online tutorial.
These are useful things to know, but they are not sufficient to
understand an enterprise codebase. This is why a novice programmer
often finds it difficult to understand an expert’s code. They may wonder
why an experienced programmer wrote the program in a particular
way. It may appear to the novice that the expert could have used an
easier approach to solve the problem. But there are reasons why an
experienced programmer might follow a different approach. The word
experienced indicates that these programmers have more experience in
programming and know the pros and cons of different approaches.
They know how the C# features can be used in the best possible way to
develop an application. So, the applications they make are usually
powerful. What do I mean by a powerful application? For me, a
powerful application is robust, extensible, and easily maintainable, but
simple to use. This book is an introductory guide for developing such
applications. This was the core aim of this book.
To write better-quality programs, senior programmers follow
experts’ footprints. They learn from the collective wisdom and recorded
experience of the past. So, instead of attempting an entirely new
solution, you should first consider this knowledge base, which will help
you produce better-quality code. It is always better if you know about
why you should or shouldn’t follow any specific guideline.
Malcolm Gladwell, in his book Outliers (Little, Brown and Company),
discussed the 10,000-hour rule. This rule says that the key to achieving
world-class expertise in any skill is, to a large extent, a matter of
practicing the correct way, for a total of around 10,000 hours. I
acknowledge that it is impossible to consider all experiences before you
write a program. Also, sometimes it is OK to bend the rules if the return
on investment (ROI) is nice. So, keep in mind the Pareto principle, or
the 80-20 rule. This rule simply states that 80 percent of outcomes
come from 20 percent of all causes. This is useful in programming too.
When you identify the most essential characteristics of top-quality
programs and use them in your applications, you also qualify yourself
as an experienced programmer, and your application will be robust,
flexible, and maintainable. In this book, I share with you these
important principles using some case studies, which will help you write
better programs. Some of these principles you may know already, but
when you see them in action and compare these case studies, you’ll
understand their importance.
So, what is new in this second edition? Well, the first thing I want
to tell you is that this edition maintains the same goals that were
mentioned in the first edition. Second, you can easily guess that it is a
further simplified, enlarged, and polished version. This time you see the
use of top-level statements throughout the book. You may know that
top-level statements have been supported since C# 9.0. In addition, the
.NET 6+ project template for C# console apps uses top-level statements.
At the time of this writing, C# 11 is not released, but you can test the
preview features. I have taken this opportunity to use some of them,
particularly raw-string literals. I talk about static abstract interface
members too. I used many preview features in my other book, Test Your
Skills in C# Programming. But for this book, not all of them are required.
Additionally, this is an expanded edition. Two new chapters in Part
IV, Chapter 10 and Chapter 11, talk about handling errors in a better
way. Particularly, you’ll see a discussion of organizing exceptions and
handling null values with different case studies.
How Is the Book Organized?
The book has five major parts, which are as follows:
The first three chapters form Part I, in which there is a detailed
discussion of polymorphism and the use of abstract classes and
interfaces. Here, code comments will be examined, and you will learn
when to use them effectively. These are the fundamental building
blocks for the rest of the book.
In the world of programming, there is no shortage of programming
principles and design guidelines. Each of these suggestions has its
own benefits. To become a professional programmer, you do not need
to learn everything at the same time. In Part II, I discuss six design
principles, which include the SOLID principles and the DRY principle.
These are the foundation of well-known design patterns.
The best way to learn is by doing and analyzing case studies. So, in
Part III of the book, you will see interesting applications that use
some well-known patterns. This part gives you hints about how a
professional coder develops an enterprise application.
Handling errors is an unavoidable part of programming. Particularly,
runtime exceptions are dangerous, and often they appear in the form
of NullReferenceException in C#. Part IV focuses on them,
discusses different case studies with easy-to-understand examples,
and provides useful suggestions about possible improvements.
There is no end to learning. So, Part V includes some interesting
topics such as how to prevent memory leaks, how to choose between
a static method and an instance method, and some common terms
from software development that are not discussed in detail in this
book. A quick overview of these topics will help your future learnings
and experiments.
You can download all the source codes for the book from the
publisher’s website. I have a plan to maintain the “errata,” and, if
required, I can also make some updates/announcements there. So, I
suggest you visit those pages to receive any important corrections or
updates.

Prerequisite Knowledge
This book is intended for those who are familiar with the common
language constructs of C# and have a basic understanding of pure
object-oriented concepts such as polymorphism, inheritance,
abstraction, encapsulation, and, most importantly, how to compile or
run a C# application in Visual Studio. This book does not invest time in
easily available topics, such as how to install Visual Studio on your
system, how to write a “Hello World” program in C#, how you can use
an if-else statement or a while loop, etc. This book is written using
the most basic features of C# so that for most of the programs herein
you do not need to be familiar with advanced topics in C#. The
examples are simple, and I believe that they are written in such a way
that even if you are familiar with another popular language such as
Java, C++, and so on, you can still easily grasp the concepts in this book.
Who Is This Book For?
In short, you can pick up this book if the answer is “yes” to the
following questions:
Are you familiar with basic constructs in C# and object-oriented
concepts such as polymorphism, inheritance, abstraction, and
encapsulation?
Do you know how to set up your coding environment?
Have you completed at least one introductory course on C# and now
are interested in writing better programs?
Are you also interested to know how a professional programmer
designs their applications?
You probably shouldn’t pick this book if the answer is yes to any of
the following questions:
Are you absolutely new to C#?
Are you looking for advanced concepts in C#, excluding the topics
mentioned previously?
Are you interested in exploring a book where the focus is not on
standard design principles?
Do you not like Windows, Visual Studio, and/or .NET and want to
learn and use C# without them?

Guidelines for Using This Book

To use this book more effectively, consider the following:
This book works best if you’ve gone through an introductory course
on C# and are familiar with the common terms, such as
polymorphism, and have heard about abstract classes and interfaces.
If this is not the case, please read about these topics before you start
reading this book.
I suggest you go through the chapters sequentially. This is because
some fundamental design techniques may have been discussed in a
previous chapter, and I have not repeated those techniques in later
chapters.
I started this book using Microsoft Visual Studio Community 2022
in a Windows 10 environment. This community edition is free of
charge. When I started the book, I started with the latest versions of
C# that were available at that time. You can easily guess that version
updates kept coming, so I kept updating my code repository. When I
finished my first draft, I had the most recent version of Visual Studio
Community 2022 (version 17.3.3). Almost in every case, my target
framework was .NET 7.0, which supports C# 11.
In this context, it is useful to know that nowadays the C# language
version is automatically selected based on your project’s target
framework(s), so you can always get the highest compatible version
by default.
For example, C# 11 is for .NET 7 and later versions. Similarly, C# 10 is
supported only on .NET 6 and newer versions. C# 9 is supported only
on .NET 5 and newer versions. C# 8.0 is supported only on .NET Core
3.x and newer versions. If you are interested in the C# language
versioning, you can go to this link:
https://docs.microsoft.com/en-
us/dotnet/csharp/language-reference/configure-
language-version.
The fact is that these version updates will come continuously, but I
strongly believe that these version details should not matter much to
you because I have used the fundamental constructs of C#. So, the
code in this book should execute smoothly in the upcoming versions
of C#/Visual Studio as well. Though I also believe that the results
should not vary in other environments, you know the nature of
software—it is naughty. So, I recommend that if you want to see the
exact same output, you mimic the same environment.
If you do not use the Windows operating system, you can use Visual
Studio Code, which is also a source-code editor developed by
Microsoft to support Windows, Linux, or Mac operating systems. This
multiplatform IDE is also free.
You can download and install the Visual Studio IDE from
https://visualstudio.microsoft.com/downloads/. You
will the screen shown in Figure I-1.
 Note At the time of writing, this information is correct. But the
link and policies may change in the future.

I have also installed the class designer component in Visual Studio

2022 to draw class diagrams for my programs. They’ll help you
understand the code better.

Figure I-1 Download link for Visual Studio 2022 and Visual Studio Code

Conventions Used in This Book

All the output and code of the book follow the same font and structure.
To draw your attention to some places, I have made them bold. For
example, consider the following code fragment and the lines in bold
(taken from Chapter 4 when I discuss the LSP):

// The previous codes are skipped

// Instantiating two registered users

RegisteredUser robin = new("Robin");
RegisteredUser jack = new("Jack");
helper.AddUser(robin);
helper.AddUser(jack);

GuestUser guestUser1 = new();

helper.AddUser(guestUser1);

// Processing the payments using

// the helper class.
// You can see the problem now.
helper.ShowPreviousPayments();
helper.ProcessNewPayments();

// The remaining codes are skipped

Final Words
You are an intelligent person. You have chosen a subject that can assist
you throughout your career. As you learn about these concepts, I
suggest you write your own code; only then will you master this area.
There is no shortcut to true learning. In a similar context, can you
remember Euclid’s (the ancient Greek mathematician who is often
considered the father of geometry) reply to the ruler? If not, let me
remind you of his reply: “There is no royal road to geometry.” Similarly,
in programming, there is no shortcut. So, study and code; understand a
new concept and code again. Do not give up when you face challenges.
They are the indicators that you are growing better.
I believe that this book is designed for you in such a way that upon
its completion, you will develop an adequate knowledge of the topic,
and, most importantly, you’ll know how to go further. Lastly, I hope that
this book can provide help to you and that you will value the effort.
Any source code or other supplementary material referenced by the
author in this book is available to readers on GitHub
(https://github.com/Apress). For more detailed information, please
visit www.apress.com/source-code.
Table of Contents
Part I: Fundamentals
Chapter 1:​Flexible Code Using Polymorphism
Recap of Polymorphism
Initial Program
Demonstration 1
Output
Analysis
Better Program
Demonstration 2
Analysis
Useful Notes
Summary
Chapter 2:​Abstract Class or Interface?​
Recap of Abstract Classes and Interfaces
Initial Program
Demonstration 1
Better Program
Demonstration 2
Output
Analysis
Summary
Chapter 3:​Wise Use of Code Comments
Recap of Code Comments
Initial Program
Demonstration 1
Discovering Diverse Content Through
Random Scribd Documents
plays. But The Master Builder had no model and has no parallel. It
shows no slightest vestige of outside influence. It is Ibsen, and
nothing but Ibsen.
 HEDDA GABLER

(1890)

CHARACTERS.
George Tesman.[11]
Hedda Tesman, his wife.
Miss Juliana Tesman, his aunt.
Mrs. Elvsted.
Judge[12] Brack.
Eilert Lövborg.
Berta, servant at the Tesmans.
The scene of the action is Tesman’s villa, in the west end of
Christiania.
HEDDA GABLER.
PLAY IN FOUR ACTS.
 ACT FIRST.
A spacious, handsome, and tastefully furnished drawing-room,
decorated in dark colours. In the back, a wide doorway with
curtains drawn back, leading into a smaller room decorated in
the same style as the drawing-room. In the right-hand wall of
the front room, a folding door leading out to the hall. In the
opposite wall, on the left, a glass door, also with curtains
drawn back. Through the panes can be seen part of a veranda
outside, and trees covered with autumn foliage. An oval table,
with a cover on it, and surrounded by chairs, stands well
forward. In front, by the wall on the right, a wide stove of dark
porcelain, a high-backed arm-chair, a cushioned foot-rest, and
two footstools. A settee, with a small round table in front of it,
fills the upper right-hand corner. In front, on the left, a little
way from the wall, a sofa. Further back than the glass door, a
piano. On either side of the doorway at the back a what-not
with terra-cotta and majolica ornaments.—Against the back
wall of the inner room a sofa, with a table, and one or two
chairs. Over the sofa hangs the portrait of a handsome elderly
man in a General’s uniform. Over the table a hanging lamp,
with an opal glass shade.—A number of bouquets are arranged
about the drawing-room, in vases and glasses. Others lie upon
the tables. The floors in both rooms are covered with thick
carpets.—Morning light. The sun shines in through the glass
door.
Miss Juliana Tesman, with her bonnet on and carrying a parasol,
comes in from the hall, followed by Berta, who carries a
bouquet wrapped in paper. Miss Tesman is a comely and
pleasant-looking lady of about sixty-five. She is nicely but
 simply dressed in a grey walking-costume. Berta is a middle-
aged woman of plain and rather countrified appearance.
Miss Tesman.
[Stops close to the door, listens, and says softly:] Upon my word, I
don’t believe they are stirring yet!
Berta.
[Also softly.] I told you so, Miss. Remember how late the
steamboat got in last night. And then, when they got home!—good
Lord, what a lot the young mistress had to unpack before she could
get to bed.
Miss Tesman.
Well well—let them have their sleep out. But let us see that they
get a good breath of the fresh morning air when they do appear.
[She goes to the glass door and throws it open.
Berta.
[Beside the table, at a loss what to do with the bouquet in her
hand.] I declare there isn’t a bit of room left. I think I’ll put it down
here, Miss.
[She places it on the piano.
Miss Tesman.
So you’ve got a new mistress now, my dear Berta. Heaven knows
it was a wrench to me to part with you.
Berta.
[On the point of weeping.] And do you think it wasn’t hard for me
too, Miss? After all the blessed years I’ve been with you and Miss
Rina.[13]
Miss Tesman.
We must make the best of it, Berta. There was nothing else to be
done. George can’t do without you, you see—he absolutely can’t. He
has had you to look after him ever since he was a little boy.
 Berta.
Ah but, Miss Julia, I can’t help thinking of Miss Rina lying helpless
at home there, poor thing. And with only that new girl too! She’ll
never learn to take proper care of an invalid.
Miss Tesman.
Oh, I shall manage to train her. And of course, you know, I shall
take most of it upon myself. You needn’t be uneasy about my poor
sister, my dear Berta.
Berta.
Well, but there’s another thing, Miss. I’m so mortally afraid I
shan’t be able to suit the young mistress.
Miss Tesman.
Oh well—just at first there may be one or two things——
Berta.
Most like she’ll be terrible grand in her ways.
Miss Tesman.
Well, you can’t wonder at that—General Gabler’s daughter! Think
of the sort of life she was accustomed to in her father’s time. Don’t
you remember how we used to see her riding down the road along
with the General? In that long black habit—and with feathers in her
hat?
Berta.
Yes indeed—I remember well enough!—But, good Lord, I should
never have dreamt in those days that she and Master George would
make a match of it.
Miss Tesman.
Nor I.—But by-the-bye, Berta—while I think of it: in future you
mustn’t say Master George. You must say Dr. Tesman.
Berta.
 Yes, the young mistress spoke of that too—last night—the
moment they set foot in the house. Is it true then, Miss?
Miss Tesman.
Yes, indeed it is. Only think, Berta—some foreign university has
made him a doctor—while he has been abroad, you understand. I
hadn’t heard a word about it, until he told me himself upon the pier.
Berta.
Well well, he’s clever enough for anything, he is. But I didn’t think
he’d have gone in for doctoring people too.
Miss Tesman.
No no, it’s not that sort of doctor he is. [Nods significantly.] But let
me tell you, we may have to call him something still grander before
long.
Berta.
You don’t say so! What can that be, Miss?
Miss Tesman.
[Smiling.] H’m—wouldn’t you like to know! [With emotion.] Ah,
dear dear—if my poor brother could only look up from his grave
now, and see what his little boy has grown into! [Looks around.] But
bless me, Berta—why have you done this? Taken the chintz covers
off all the furniture?
Berta.
The mistress told me to. She can’t abide covers on the chairs, she
says.
Miss Tesman.
Are they going to make this their everyday sitting-room then?
Berta.
Yes, that’s what I understood—from the mistress. Master George—
the doctor—he said nothing.
George Tesman comes from the right into the inner room, humming to
himself, and carrying an unstrapped empty portmanteau. He is a
middle-sized, young-looking man of thirty-three, rather stout,
with a round, open, cheerful face, fair hair and beard. He wears
spectacles, and is somewhat carelessly dressed in comfortable
indoor clothes.
Miss Tesman.
Good morning, good morning, George.
Tesman.
[In the doorway between the rooms.] Aunt Julia! Dear Aunt Julia!
[Goes up to her and shakes hands warmly.] Come all this way—so
early! Eh?
Miss Tesman.
Why, of course I had to come and see how you were getting on.
Tesman.
In spite of your having had no proper night’s rest?
Miss Tesman.
Oh, that makes no difference to me.
Tesman.
Well, I suppose you got home all right from the pier? Eh?
Miss Tesman.
Yes, quite safely, thank goodness. Judge Brack was good enough
to see me right to my door.
Tesman.
We were so sorry we couldn’t give you a seat in the carriage. But
you saw what a pile of boxes Hedda had to bring with her.
Miss Tesman.
Yes, she had certainly plenty of boxes.
 Berta.
[To Tesman.] Shall I go in and see if there’s anything I can do for
the mistress?
Tesman.
No thank you, Berta—you needn’t. She said she would ring if she
wanted anything.
Berta.
[Going towards the right.] Very well.
Tesman.
But look here—take this portmanteau with you.
Berta.
[Taking it.] I’ll put it in the attic.
[She goes out by the hall door.
Tesman.
Fancy, Auntie—I had the whole of that portmanteau chock full of
copies of documents. You wouldn’t believe how much I have picked
up from all the archives I have been examining—curious old details
that no one has had any idea of——
Miss Tesman.
Yes, you don’t seem to have wasted your time on your wedding
trip, George.
Tesman.
No, that I haven’t. But do take off your bonnet, Auntie. Look here!
Let me untie the strings—eh?
Miss Tesman.
[While he does so.] Well well—this is just as if you were still at
home with us.
Tesman.
 [With the bonnet in his hand, looks at it from all sides.] Why, what
a gorgeous bonnet you’ve been investing in!
Miss Tesman.
I bought it on Hedda’s account.
Tesman.
On Hedda’s account? Eh?
Miss Tesman.
Yes, so that Hedda needn’t be ashamed of me if we happened to
go out together.
Tesman.
[Patting her cheek.] You always think of everything, Aunt Julia.
[Lays the bonnet on a chair beside the table.] And now, look here—
suppose we sit comfortably on the sofa and have a little chat, till
Hedda comes.
[They seat themselves. She places her parasol in the corner of the
sofa.
Miss Tesman.
[Takes both his hands and looks at him.] What a delight it is to
have you again, as large as life, before my very eyes, George! My
George—my poor brother’s own boy!
Tesman.
And it’s a delight for me, too, to see you again, Aunt Julia! You,
who have been father and mother in one to me.
Miss Tesman.
Oh yes, I know you will always keep a place in your heart for your
old aunts.
Tesman.
And what about Aunt Rina? No improvement—eh?
 Miss Tesman.
Oh no—we can scarcely look for any improvement in her case,
poor thing. There she lies, helpless, as she has lain for all these
years. But heaven grant I may not lose her yet awhile! For if I did, I
don’t know what I should make of my life, George—especially now
that I haven’t you to look after any more.
Tesman.
[Patting her back.] There there there——!
Miss Tesman.
[Suddenly changing her tone.] And to think that here are you a
married man, George!—And that you should be the one to carry off
Hedda Gabler—the beautiful Hedda Gabler! Only think of it—she,
that was so beset with admirers!
Tesman.
[Hums a little and smiles complacently.] Yes, I fancy I have several
good friends about town who would like to stand in my shoes—eh?
Miss Tesman.
And then this fine long wedding-tour you have had! More than five
—nearly six months——
Tesman.
Well, for me it has been a sort of tour of research as well. I have
had to do so much grubbing among old records—and to read no end
of books too, Auntie.
Miss Tesman.
Oh yes, I suppose so. [More confidentially, and lowering her voice
a little.] But listen now, George,—have you nothing—nothing special
to tell me?
Tesman.
As to our journey?
 Miss Tesman.
Yes.
Tesman.
No, I don’t know of anything except what I have told you in my
letters. I had a doctor’s degree conferred on me—but that I told you
yesterday.
Miss Tesman.
Yes, yes, you did. But what I mean is—haven’t you any—any—
expectations——?
Tesman.
Expectations?
Miss Tesman.
Why you know, George—I’m your old auntie!
Tesman.
Why, of course I have expectations.
Miss Tesman.
Ah!
Tesman.
I have every expectation of being a professor one of these days.
Miss Tesman.
Oh yes, a professor——
Tesman.
Indeed, I may say I am certain of it. But my dear Auntie—you
know all about that already!
Miss Tesman.
[Laughing to herself.] Yes, of course I do. You are quite right
there. [Changing the subject.] But we were talking about your
journey. It must have cost a great deal of money, George?
Tesman.
Well, you see—my handsome travelling-scholarship went a good
way.
Miss Tesman.
But I can’t understand how you can have made it go far enough
for two.
Tesman.
No, that’s not so easy to understand—eh?
Miss Tesman.
And especially travelling with a lady—they tell me that makes it
ever so much more expensive.
Tesman.
Yes, of course—it makes it a little more expensive. But Hedda had
to have this trip, Auntie! She really had to. Nothing else would have
done.
Miss Tesman.
No no, I suppose not. A wedding-tour seems to be quite
indispensable nowadays.—But tell me now—have you gone
thoroughly over the house yet?
Tesman.
Yes, you may be sure I have. I have been afoot ever since
daylight.
Miss Tesman.
And what do you think of it all?
Tesman.
I’m delighted! Quite delighted! Only I can’t think what we are to
do with the two empty rooms between this inner parlour and
Hedda’s bedroom.
Miss Tesman.
[Laughing.] Oh my dear George, I daresay you may find some use
for them—in the course of time.
Tesman.
Why of course you are quite right, Aunt Julia! You mean as my
library increases—eh?
Miss Tesman.
Yes, quite so, my dear boy. It was your library I was thinking of.
Tesman.
I am specially pleased on Hedda’s account. Often and often,
before we were engaged, she said that she would never care to live
anywhere but in Secretary Falk’s villa.[14]
Miss Tesman.
Yes, it was lucky that this very house should come into the
market, just after you had started.
Tesman.
Yes, Aunt Julia, the luck was on our side, wasn’t it——eh?
Miss Tesman.
But the expense, my dear George. You will find it very expensive,
all this.
Tesman.
[Looks at her, a little cast down.] Yes, I suppose I shall, Aunt!
Miss Tesman.
Oh, frightfully!
Tesman.
How much do you think? In round numbers?—Eh?
 Miss Tesman.
Oh, I can’t even guess until all the accounts come in.
Tesman.
Well, fortunately, Judge Brack has secured the most favourable
terms for me,—so he said in a letter to Hedda.
Miss Tesman.
Yes, don’t be uneasy, my dear boy.—Besides, I have given security
for the furniture and all the carpets.
Tesman.
Security? You? My dear Aunt Julia—what sort of security could you
give?
Miss Tesman.
I have given a mortgage on our annuity.
Tesman.
[Jumps up.] What! On your—and Aunt Rina’s annuity!
Miss Tesman.
Yes, I knew of no other plan, you see.
Tesman.
[Placing himself before her.] Have you gone out of your senses,
Auntie! Your annuity—it’s all that you and Aunt Rina have to live
upon.
Miss Tesman.
Well well—don’t get so excited about it. It’s only a matter of form
you know—Judge Brack assured me of that. It was he that was kind
enough to arrange the whole affair for me. A mere matter of form,
he said.
Tesman.
Yes, that may be all very well. But nevertheless——
 Miss Tesman.
You will have your own salary to depend upon now. And, good
heavens, even if we did have to pay up a little——! To eke things out
a bit at the start——! Why, it would be nothing but a pleasure to us.
Tesman.
Oh Auntie—will you never be tired of making sacrifices for me!
Miss Tesman.
[Rises and lays her hand on his shoulders.] Have I any other
happiness in this world except to smooth your way for you, my dear
boy? You, who have had neither father nor mother to depend on.
And now we have reached the goal, George! Things have looked
black enough for us, sometimes; but, thank heaven, now you have
nothing to fear.
Tesman.
Yes, it is really marvellous how everything has turned out for the
best.
Miss Tesman.
And the people who opposed you—who wanted to bar the way for
you—now you have them at your feet. They have fallen, George.
Your most dangerous rival—his fall was the worst.—And now he has
to lie on the bed he has made for himself—poor misguided creature.
Tesman.
Have you heard anything of Eilert? Since I went away, I mean.
Miss Tesman.
Only that he is said to have published a new book.
Tesman.
What! Eilert Lövborg! Recently—eh?
Miss Tesman.
 Yes, so they say. Heaven knows whether it can be worth anything!
Ah, when your new book appears—that will be another story,
George! What is it to be about?
Tesman.
It will deal with the domestic industries of Brabant during the
Middle Ages.
Miss Tesman.
Fancy—to be able to write on such a subject as that!
Tesman.
However, it may be some time before the book is ready. I have all
these collections to arrange first, you see.
Miss Tesman.
Yes, collecting and arranging—no one can beat you at that. There
you are my poor brother’s own son.
Tesman.
I am looking forward eagerly to setting to work at it; especially
now that I have my own delightful home to work in.
Miss Tesman.
And, most of all, now that you have got the wife of your heart, my
dear George.
Tesman.
[Embracing her.] Oh yes, yes, Aunt Julia! Hedda—she is the best
part of it all! [Looks towards the doorway.] I believe I hear her
coming—eh?
Hedda enters from the left through the inner room. She is a woman
of nine-and-twenty. Her face and figure show refinement and
distinction. Her complexion is pale and opaque. Her steel-grey
eyes express a cold, unruffled repose. Her hair is of an agreeable
 medium brown, but not particularly abundant. She is dressed in
a tasteful, somewhat loose-fitting morning gown.
Miss Tesman.
[Going to meet Hedda.] Good morning, my dear Hedda! Good
morning, and a hearty welcome!
Hedda.
[Holds out her hand.] Good morning, dear Miss Tesman! So early
a call! That is kind of you.
Miss Tesman.
[With some embarrassment.] Well—has the bride slept well in her
new home?
Hedda.
Oh yes, thanks. Passably.
Tesman.
[Laughing.] Passably! Come, that’s good, Hedda! You were
sleeping like a stone when I got up.
Hedda.
Fortunately. Of course one has always to accustom one’s self to
new surroundings, Miss Tesman—little by little. [Looking towards the
left.] Oh—there the servant has gone and opened the veranda door,
and let in a whole flood of sunshine.
Miss Tesman.
[Going towards the door.] Well, then we will shut it.
Hedda.
No no, not that! Tesman, please draw the curtains. That will give a
softer light.
Tesman.
 [At the door.] All right—all right.—There now, Hedda, now you
have both shade and fresh air.
Hedda.
Yes, fresh air we certainly must have, with all these stacks of
flowers——. But—won’t you sit down, Miss Tesman?
Miss Tesman.
No, thank you. Now that I have seen that everything is all right
here—thank heaven!—I must be getting home again. My sister is
lying longing for me, poor thing.
Tesman.
Give her my very best love, Auntie; and say I shall look in and see
her later in the day.
Miss Tesman.
Yes, yes, I’ll be sure to tell her. But by-the-bye, George—[Feeling
in her dress pocket]—I had almost forgotten—I have something for
you here.
Tesman.
What is it, Auntie? Eh?
Miss Tesman.
[Produces a flat parcel wrapped in newspaper and hands it to
him.] Look here, my dear boy.
Tesman.
[Opening the parcel.] Well, I declare!—Have you really saved them
for me, Aunt Julia! Hedda! isn’t this touching—eh?
Hedda.
[Beside the whatnot on the right.] Well, what is it?
Tesman.
My old morning-shoes! My slippers.
 Hedda.
Indeed. I remember you often spoke of them while we were
abroad.
Tesman.
Yes, I missed them terribly. [Goes up to her.] Now you shall see
them, Hedda!
Hedda.
[Going towards the stove.] Thanks, I really don’t care about it.
Tesman.
[Following her.] Only think—ill as she was, Aunt Rina embroidered
these for me. Oh you can’t think how many associations cling to
them.
Hedda.
[At the table.] Scarcely for me.
Miss Tesman.
Of course not for Hedda, George.
Tesman.
Well, but now that she belongs to the family, I thought——
Hedda.
[Interrupting.] We shall never get on with this servant, Tesman.
Miss Tesman.
Not get on with Berta?
Tesman.
Why, dear, what puts that in your head? Eh?
Hedda.
[Pointing.] Look there! She has left her old bonnet lying about on
a chair.
 Tesman.
[In consternation, drops the slippers on the floor.] ] Why, Hedda
——
Hedda.
Just fancy, if any one should come in and see it!
Tesman.
But Hedda—that’s Aunt Julia’s bonnet.
Hedda.
Is it!
Miss Tesman.
[Taking up the bonnet.] Yes, indeed it’s mine. And, what’s more,
it’s not old, Madam Hedda.
Hedda.
I really did not look closely at it, Miss Tesman.
Miss Tesman.
[Trying on the bonnet.] Let me tell you it’s the first time I have
worn it—the very first time.
Tesman.
And a very nice bonnet it is too—quite a beauty!
Miss Tesman.
Oh, it’s no such great things, George. [Looks around her.] My
parasol——? Ah, here. [Takes it.] For this is mine too—[mutters]—
not Berta’s.
Tesman.
A new bonnet and a new parasol! Only think, Hedda!
Hedda.
Very handsome indeed.
 Tesman.
Yes, isn’t it? Eh? But Auntie, take a good look at Hedda before you
go! See how handsome she is!
Miss Tesman.
Oh, my dear boy, there’s nothing new in that. Hedda was always
lovely.
[She nods and goes towards the right.
Tesman.
[Following.] Yes, but have you noticed what splendid condition she
is in? How she has filled out on the journey?
Hedda.
[Crossing the room.] Oh, do be quiet——!
Miss Tesman.
[Who has stopped and turned.] Filled out?
Tesman.
Of course you don’t notice it so much now that she has that dress
on. But I, who can see——
Hedda.
[At the glass door, impatiently.] Oh, you can’t see anything.
Tesman.
It must be the mountain air in the Tyrol——
Hedda.
[Curtly, interrupting.] I am exactly as I was when I started.
Tesman.
So you insist; but I’m quite certain you are not. Don’t you agree
with me, Auntie?
Miss Tesman.
 [Who has been gazing at her with folded hands.] Hedda is lovely—
lovely—lovely. [Goes up to her, takes her head between both hands,
draws it downwards, and kisses her hair.] God bless and preserve
Hedda Tesman—for George’s sake.
Hedda.
[Gently freeing herself.] Oh—! Let me go.
Miss Tesman.
[In quiet emotion.] I shall not let a day pass without coming to
see you.
Tesman.
No you won’t, will you, Auntie? Eh?
Miss Tesman.
Good-bye—good-bye!
[She goes out by the hall door. Tesman accompanies her. The door
remains half open. Tesman can be heard repeating his message to
Aunt Rina and his thanks for the slippers.
[In the meantime, Hedda walks about the room, raising her arms and
clenching her hands as if in desperation. Then she flings back
the curtains from the glass door, and stands there looking out.
[Presently Tesman returns and closes the door behind him.
Tesman.
[Picks up the slippers from the floor.] What are you looking at,
Hedda?
Hedda.
[Once more calm and mistress of herself.] I am only looking at the
leaves. They are so yellow—so withered.
Tesman.
 [Wraps up the slippers and lays them on the table.] Well you see,
we are well into September now.
Hedda.
[Again restless.] Yes, to think of it!—Already in—in September.
Tesman.
Don’t you think Aunt Julia’s manner was strange, dear? Almost
solemn? Can you imagine what was the matter with her? Eh?
Hedda.
I scarcely know her, you see. Is she not often like that?
Tesman.
No, not as she was to-day.
Hedda.
[Leaving the glass door.] Do you think she was annoyed about the
bonnet?
Tesman.
Oh, scarcely at all. Perhaps a little, just at the moment——
Hedda.
But what an idea, to pitch her bonnet about in the drawing-room!
No one does that sort of thing.
Tesman.
Well you may be sure Aunt Julia won’t do it again.
Hedda.
In any case, I shall manage to make my peace with her.
Tesman.
Yes, my dear, good Hedda, if you only would.
Hedda.
 When you call this afternoon, you might invite her to spend the
evening here.
Tesman.
Yes, that I will. And there’s one thing more you could do that
would delight her heart.
Hedda.
What is it?
Tesman.
If you could only prevail on yourself to say du[15] to her. For my
sake, Hedda? Eh?
Hedda.
No no, Tesman—you really mustn’t ask that of me. I have told you
so already. I shall try to call her “Aunt”; and you must be satisfied
with that.
Tesman.
Well well. Only I think now that you belong to the family, you——
Hedda.
H’m—I can’t in the least see why——
[She goes up towards the middle doorway.
Tesman.
[After a pause.] Is there anything the matter with you, Hedda?
Eh?
Hedda.
I’m only looking at my old piano. It doesn’t go at all well with all
the other things.
Tesman.
The first time I draw my salary, we’ll see about exchanging it.
Hedda.
 No, no—no exchanging. I don’t want to part with it. Suppose we
put it there in the inner room, and then get another here in its place.
When it’s convenient, I mean.
Tesman.
[A little taken aback.] Yes—of course we could do that.
Hedda.
[Takes up the bouquet from the piano.] These flowers were not
here last night when we arrived.
Tesman.
Aunt Julia must have brought them for you.
Hedda.
[Examining the bouquet.] A visiting-card. [Takes it out and reads:]
“Shall return later in the day.” Can you guess whose card it is?
Tesman.
No. Whose? Eh?
Hedda.
The name is “Mrs. Elvsted.”
Tesman.
Is it really? Sheriff Elvsted’s wife? Miss Rysing that was.
Hedda.
Exactly. The girl with the irritating hair, that she was always
showing off. An old flame of yours I’ve been told.
Tesman.
[Laughing.] Oh, that didn’t last long; and it was before I knew
you, Hedda. But fancy her being in town!
Hedda.
 It’s odd that she should call upon us. I have scarcely seen her
since we left school.
Tesman.
I haven’t seen her either for—heaven knows how long. I wonder
how she can endure to live in such an out-of-the way hole—eh?
Hedda.
[After a moment’s thought, says suddenly.] Tell me, Tesman—isn’t
it somewhere near there that he—that—Eilert Lövborg is living?
Tesman.
Yes, he is somewhere in that part of the country.
Berta enters by the hall door.
Berta.
That lady, ma’am, that brought some flowers a little while ago, is
here again. [Pointing.] The flowers you have in your hand, ma’am.
Hedda.
Ah, is she? Well, please show her in.
Berta opens the door for Mrs. Elvsted, and goes out herself.—Mrs.
Elvsted is a woman of fragile figure, with pretty, soft features.
Her eyes are light blue, large, round, and somewhat prominent,
with a startled, inquiring expression. Her hair is remarkably light,
almost flaxen, and unusually abundant and wavy. She is a couple
of years younger than Hedda. She wears a dark visiting dress,
tasteful, but not quite in the latest fashion.
Hedda.
[Receives her warmly.] How do you do, my dear Mrs. Elvsted? It’s
delightful to see you again.
Mrs. Elvsted.
[Nervously, struggling for self-control.] Yes, it’s a very long time
since we met.
 Tesman.
[Gives her his hand.] And we too—eh?
Hedda.
Thanks for your lovely flowers——
Mrs. Elvsted.
Oh, not at all——. I would have come straight here yesterday
afternoon; but I heard that you were away——
Tesman.
Have you just come to town? Eh?
Mrs. Elvsted.
I arrived yesterday, about midday. Oh, I was quite in despair when
I heard that you were not at home.
Hedda.
In despair! How so?
Tesman.
Why, my dear Mrs. Rysing—I mean Mrs. Elvsted——
Hedda.
I hope that you are not in any trouble?
Mrs. Elvsted.
Yes, I am. And I don’t know another living creature here that I can
turn to.
Hedda.
[Laying the bouquet on the table.] Come—let us sit here on the
sofa——
Mrs. Elvsted.
Oh, I am too restless to sit down.
 Hedda.
Oh no, you’re not. Come here.
[She draws Mrs. Elvsted down upon the sofa and sits at
her side.
Tesman.
Well? What is it, Mrs. Elvsted——?
Hedda.
Has anything particular happened to you at home?
Mrs. Elvsted.
Yes—and no. Oh—I am so anxious you should not misunderstand
me——
Hedda.
Then your best plan is to tell us the whole story, Mrs. Elvsted.
Tesman.
I suppose that’s what you have come for—eh?
Mrs. Elvsted.
Yes, yes—of course it is. Well then, I must tell you—if you don’t
already know—that Eilert Lövborg is in town, too.
Hedda.
Lövborg——!
Tesman.
What! Has Eilert Lövborg come back? Fancy that, Hedda!
Hedda.
Well well—I hear it.
Mrs. Elvsted.
 He has been here a week already. Just fancy—a whole week! In
this terrible town, alone! With so many temptations on all sides.
Hedda.
But, my dear Mrs. Elvsted—how does he concern you so much?
Mrs. Elvsted.
[Looks at her with a startled air, and says rapidly.] He was the
children’s tutor.
Hedda.
Your children’s?
Mrs. Elvsted.
My husband’s. I have none.
Hedda.
Your step-children’s, then?
Mrs. Elvsted.
Yes.
Tesman.
[Somewhat hesitatingly.] Then was he—I don’t know how to
express it—was he—regular enough in his habits to be fit for the
post? Eh?
Mrs. Elvsted.
For the last two years his conduct has been irreproachable.
Tesman.
Has it indeed? Fancy that, Hedda!
Hedda.
I hear it.
Mrs. Elvsted.
 Perfectly irreproachable, I assure you! In every respect. But all the
same—now that I know he is here—in this great town—and with a
large sum of money in his hands—I can’t help being in mortal fear
for him.
Tesman.
Why did he not remain where he was? With you and your
husband? Eh?
Mrs. Elvsted.
After his book was published he was too restless and unsettled to
remain with us.
Tesman.
Yes, by-the-bye, Aunt Julia told me he had published a new book.
Mrs. Elvsted.
Yes, a big book, dealing with the march of civilisation—in broad
outline, as it were. It came out about a fortnight ago. And since it
has sold so well, and been so much read—and made such a
sensation——
Tesman.
Has it indeed? It must be something he has had lying by since his
better days.
Mrs. Elvsted.
Long ago, you mean?
Tesman.
Yes.
Mrs. Elvsted.
No, he has written it all since he has been with us—within the last
year.
Tesman.
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