Another Sunday afternoon at home alone with a napping toddler and the Twins game on the radio. The philosopher Schopenhauer wrote that we are all like children at a play disporting ourselves before the drawn curtain. We do not know what will happen to us, which is fortunate, because it would wreck my enjoyment of the next two hours.
Corey Hart, of the Brewers, just deposited a Carl Pavano pitch in the third deck of the leftfield seats at Target Field. He's the first to achieve that feat. The previous batter had lined out to the Twins' second baseman, Orlando Hudson, who leaped to catch it and then, attempting to double Prince Fielder off first base, hit him in the back with his throw. That is not hard to do as it is about a mile and a half from Fielder's left shoulder to his right. Still, if Hudson could have somehow snaked a throw around the massive baserunner, Hart would not have batted with a man aboard and the Twins would not have fallen behind, 3 to 2.
Yesterday's game was probably the most exciting to date at Target Field. The Twins led 6 to 2 heading into the ninth, but the Brewers then scored five runs--the first five at-bats of the inning resulted in a walk, two singles, and two doubles--to take a one-run lead. The Twins then tied the score in the bottom of the ninth and had the winning run on third base with just one out. Punto, however, struck out before Span batted. Span drove a fly to deep right and, thinking he'd hit a walk-off homer, raised his arm as he ran toward first. But the ball died and was caught on the warning track for the third out. All these ups and downs were alternately cheered and groaned by a bipartisan sell-out crowd, Wisconsin beginning only a half hour or so east of the new stadium. The Twins finally won on a run in the bottom of the twelfth.
With the radio on I am trying with my eyes to repair my ignorance about the Norwegian dramatist Ibsen. I've found out that, when writing about him recently, I should have referred not to A Doll's House but to A Doll House, the latter being a better translation of the Norwegian and, considering the situation depicted in the play, more apt as well. Also, I should not have said that I have read so far only Ibsen's "early plays." It would have been more accurate to say that almost no one reads Ibsen's early plays, ever. He was born in 1828 (the same year as Tolstoy) and his first play, Catiline, appeared in 1850. Since his last play, When We Dead Awaken, belongs to 1899, his entire career coincides neatly with the second half of the nineteenth century. The plays that belong to the second half of the second half of the nineteenth century include all the ones you are most likely to have read, heard about, or seen performed: Pillars of Society (1877), A Doll House (1879), Ghosts (1881), An Enemy of the People (1882), The Wild Duck (1884), Hedda Gabler (1890), and The Master Builder (1892). What I called Ibsen's "early plays" are really the early plays of those anyone but scholars know about.
It's not quite so simple as that. In college, I had to read Brand (1865) and Peer Gynt (1867), but I think that is because I went to St. Olaf College, where Kierkegaard is king, and these two plays are said to have been influenced by the philosophy of the God-obsessed Dane. I remember reading them in "Philosophical Ideas in Literature," taught by the renowned Kierkegaard scholar Howard Hong, who died recently. I am now rereading Peer Gynt and find I remember nothing of it. Probably I'd forgotten it before I took the final test. Brand I think is more obscure yet. These are the plays of Ibsen read by people who are less interested in Ibsen than in Kierkegaard and religion.
The Brewers won today's game, 4 to 3, the last out having been recorded in the bottom of the ninth with the bases loaded. Oh, well, the Brewers lost a tough one yesterday, and starting Tuesday we have three home games against the Yankees.