In this play, a sister in black shadows a white-clad, "half-risen" model who conceived the "child" "Day of Resurrection" with the future husband of Maja, who is liberated at a spa near a sanatorium by the "Bear-Slayer" Ulfheim.
One character in this play notes that flamingoes can only wade, so they are not the swimming birds represented by petals cast into a stream. A "poet" dismissively refers to an "episode" prior to this play with a "pure" woman who left him with a locked treasure-casket in his chest but now appears "transfigured by light." At this play's climax, a wild man tailed by bone-devouring hounds uses the steep path to his dilapidated "castle" as a venue to seduce one of the two women whom the protagonist had promised to show "all the glory of the world" on a (*) mountaintop. In this play, a sister in black shadows a white-clad, "half-risen" model who conceived the "child" "Day of Resurrection" with the future husband of Maja, who is liberated at a spa near a sanatorium by the "Bear-Slayer" Ulfheim. For 10 points, name this play that culminates in an avalanche engulfing Irena and the sculptor Rubek, a work by Henrik Ibsen.
One character in this play notes that flamingoes can only wade, so they are not the swimming birds represented by petals cast into a stream.
When We Dead Awaken [or Når vi dÃ¸de vågner; accept other translations such as When We Dead Waken]