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diff --git a/44233-0.txt b/44233-0.txt index 17be3d4..6e10e4c 100644 --- a/44233-0.txt +++ b/44233-0.txt @@ -1,4 +1,4 @@ -*** START OF THE PROJECT GUTENBERG EBOOK 44233 *** +*** START OF THE PROJECT GUTENBERG EBOOK 44233 *** PLAYS @@ -10986,5 +10986,4 @@ THERE ARE CRIMES AND CRIMES. End of the Project Gutenberg EBook of Plays by August Strindberg, Third Series, by August Strindberg - *** END OF THE PROJECT GUTENBERG EBOOK 44233 *** diff --git a/44233-h/44233-h.htm b/44233-h/44233-h.htm index f9b07dc..39c42c1 100644 --- a/44233-h/44233-h.htm +++ b/44233-h/44233-h.htm @@ -100,9 +100,9 @@ table { </style> </head> <body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 44233 ***</div> -<div>*** START OF THE PROJECT GUTENBERG EBOOK 44233 ***</div> <h1>PLAYS</h1> @@ -11701,7 +11701,7 @@ The Spook Sonata, The First Warning, Gustavus Vasa.</p> -<div>*** END OF THE PROJECT GUTENBERG EBOOK 44233 ***</div> +<div>*** END OF THE PROJECT GUTENBERG EBOOK 44233 ***</div> </body> </html> diff --git a/44233.json b/44233.json deleted file mode 100644 index 39ccb18..0000000 --- a/44233.json +++ /dev/null @@ -1,5 +0,0 @@ -{
- "DATA": {
- "CREDIT": "Produced by Marc D'Hooghe (Images generously made available by the Internet Archive, University of California (L.A.)"
- }
-}
diff --git a/old/44233-8.txt b/old/44233-8.txt deleted file mode 100644 index f9d1782..0000000 --- a/old/44233-8.txt +++ /dev/null @@ -1,11378 +0,0 @@ -The Project Gutenberg EBook of Plays by August Strindberg, Third Series, by -August Strindberg - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Plays by August Strindberg, Third Series - -Author: August Strindberg - -Translator: Edwin Björkman - -Release Date: November 19, 2013 [EBook #44233] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK PLAYS BY AUGUST STRINDBERG *** - - - - -Produced by Marc D'Hooghe at http://www.freeliterature.org -(Images generously made available by the Internet Archive, -University of California (L.A.) - - - - - -PLAYS - -BY - -AUGUST STRINDBERG - -THIRD SERIES - - -SWANWHITE -SIMOOM -DEBIT AND CREDIT -ADVENT -THE THUNDERSTORM -AFTER THE FIRE - - - -TRANSLATED FROM THE SWEDISH WITH AN INTRODUCTION BY - -EDWIN BJÖRKMAN - - - -AUTHORIZED EDITION - -NEW YORK - -CHARLES SCRIBNER'S SONS - -1921 - - - - -CONTENTS - - -INTRODUCTION -SWANWHITE -SIMOOM -DEBIT AND CREDIT -ADVENT -THE THUNDERSTORM -AFTER THE FIRE - - - -INTRODUCTION - - -The collection of plays contained in this volume is unusually -representative, giving what might be called a cross-section of -Strindberg's development as a dramatist from his naturalistic revolt -in the middle eighties, to his final arrival at resigned mysticism and -Swedenborgian symbolism. - -"Swanwhite" was written in the spring of 1901, about the time when -Strindberg was courting and marrying his third wife, the gifted Swedish -actress Harriet Bosse. In the fall of 1902 the play appeared in book -form, together with "The Crown Bride" and "The Dream Play," all of them -being issued simultaneously, at Berlin, in a German translation made by -Emil Schering. - -Schering, who at that time was in close correspondence with Strindberg, -says that the figure of _Swanwhite_ had been drawn with direct -reference to Miss Bosse, who had first attracted the attention of -Strindberg by her spirited interpretation of _Biskra_ in "Simoom." -And Schering adds that it was Strindberg's bride who had a little -previously introduced him to the work of Maeterlinck, thereby -furnishing one more of the factors determining the play. - -Concerning the influence exerted upon him by the Belgian -playwright-philosopher, Strindberg himself wrote in a pamphlet named -"Open Letters to the Intimate Theatre" (Stockholm, 1909): - -"I had long had in mind skimming the cream of our most beautiful -folk-ballads in order to turn them into a picture for the stage. -Then Maeterlinck came across my path, and under the influence of -his puppet-plays, which are not meant for the regular stage, I wrote -my Swedish scenic spectacle, 'Swanwhite.' It is impossible either to -steal or to borrow from Maeterlinck. It is even difficult to become his -pupil, for there are no free passes that give entrance to his world of -beauty. But one may be urged by his example into searching one's own -dross-heaps for gold--and it is in that sense I acknowledge my debt to -the master. - -"Pushed ahead by the _impression_ made on me by Maeterlinck, and -borrowing his divining-rod for my purposes, I turned to such sources -[_i.e._, of Swedish folk-lore] as the works of Geijer, Afzelius, and -Dybeck. There I found a superabundance of princes and princesses. The -stepmother theme I had discovered on my own hook as a _constant_--it -figures in twenty-six different Swedish folk-tales. In the same place I -found the resurrection theme, as, for instance, it appears in the story -of _Queen Dagmar_. Then I poured it all into my separator, together -with the _Maids_, the _Green Gardener_ and the _Young King_, and in -a short while the cream began to flow--and for that reason the story -is my own. But it has also been made so by the fact that I have lived -through that tale in my own fancy--a Spring in time of Winter!" - -Swedish critics have been unanimous in their praise of this play. John -Landquist, who has since become Strindberg's literary executor, spoke -of it once as "perhaps the most beautiful and most genuine fairy tale -for old or young ever written in the Swedish language." Tor Hedberg -has marvelled at the charm with which _Swanwhite_ herself has been -endowed--"half child, half maid; knowing nothing, yet guessing all; -playing with love as a while ago she was playing with her dolls." On -the stage, too--in Germany as well as in Sweden--little _Swanwhite_ -has celebrated great triumphs. Whether that figure, and the play -surrounding it, will also triumph in English-speaking countries, -remains still to be seen. But if, contrary to my hopes, it should fail -to do so, I want, in advance, to shift the blame from the shoulders of -the author to my own. In hardly any other work by Strindberg do form -and style count for so much. The play is, in its original shape, as -poetical in form as in spirit--even to the extent of being strongly -rhythmical in its prose, and containing many of the inversions which -are so characteristic of Swedish verse. - -It is not impossible to transfer these qualities into English, but -my efforts to do so have had to be influenced by certain differences -in the very _grain_ of the two languages involved. Like all other -languages, each possesses a natural basic rhythm. This rhythm varies -frequently and easily in Swedish, so that you may pass from iambic to -trochaic metre without giving offence to the ear--or to that subtle -rhythmical susceptibility that seems to be inherent in our very pulses. -But the rhythm dearest and most natural to the genius of the Swedish -language seems to be the falling pulse-beat manifested in the true -trochee. The swing and motion of English, on the other hand, is almost -exclusively, commandingly iambic. And it was not until I made the -iambic _rising_ movement prevail in my translation, that I felt myself -approaching the impression made on me by the original. But for that -very reason--because the genius of the new medium has forced me into -making the movement of my style more monotonous--it is to be feared -that the rhythmical quality of that movement may seem overemphasised. -Should such a criticism be advanced, I can only answer: I have tried -several ways, and this is the only one that will _work_. - -"Simoom" seems to have been written in 1888, in close connection with -"Creditors" and "Pariah." And, like these, it shows the unmistakable -influence of Edgar Allan Poe, with whose works Strindberg had become -acquainted a short while before. The play was first printed in one of -the three thin volumes of varied contents put out by Strindberg in 1890 -and 1891 under the common title of "Pieces Printed and Unprinted." But, -strange to say, it was not put on the stage (except in a few private -performances) until 1902, although, from a purely theatrical viewpoint, -Strindberg--master of stagecraft though he was--had rarely produced a -more effective piece of work. - -"Debit and Credit" belongs to the same general period as the previous -play, but has in it more of Nietzsche than of Poe. Its central figure -is also a sort of superman, but as such he is not taken too seriously -by his creator. The play has humour, but it is of a grim kind--one -seems to be hearing the gritting of teeth through the laughter. Like -"Simoom," however, it should be highly effective on the stage. It was -first published in 1893, with three other one-act plays, the volume -being named "Dramatic Pieces." - -"Advent" was published in 1899, together with "There Are Crimes and -Crimes," under the common title of "In a Higher Court." Its name -refers, of course, to the ecclesiastical designation of the four weeks -preceding Christmas. The subtitle, literally rendered, would be "A -Mystery." But as this term has a much wider application in Swedish -than in English, I have deemed it better to observe the distinction -which the latter language makes between mysteries, miracle-plays, and -moralities. - -The play belongs to what Strindberg called his "Inferno period," during -which he struggled in a state of semi-madness to rid himself of the -neurasthenic depression which he regarded as a punishment brought about -by his previous attitude of materialistic scepticism. It is full of -Swedenborgian symbolism, which, perhaps, finds its most characteristic -expression in the two scenes laid in "The Waiting Room." The name -selected by Strindberg for the region where dwell the "lost" souls of -men is not a mere euphemism. It signifies his conception of that place -as a station on the road to redemption or annihilation. - -In its entirety the play forms a Christmas sermon with a quaint -blending of law and gospel. A prominent Swedish critic, Johan -Mortensen, wrote: "Reading it, one almost gets the feeling that -Strindberg, the dread revolutionist, has, of a sudden, changed into -a nice village school-teacher, seated at his desk, with his rattan -cane laid out in front of him. He has just been delivering a lesson in -Christianity, and he has noticed that the attention of the children -strayed and that they either failed to understand or did not care to -take in the difficult matters he was dealing with. But they must be -made to listen and understand. And so--with serious eyes, but with a -sly smile playing around the corners of his mouth--he begins all over -again, in that fairy-tale style which never grows old: 'Once upon a -time!'" - -In November, 1907, a young theatrical manager, August Falck, opened the -Intimate Theatre at Stockholm. From the start Strindberg was closely -connected with the venture, and soon the little theatre, with its tiny -stage and its auditorium seating only one hundred and seventy-five -persons, was turned wholly into a Strindberg stage, where some of the -most interesting and daring theatrical experiments of our own day were -made. With particular reference to the needs and limitations of this -theatre, Strindberg wrote a series of "chamber plays," four of which -were published in 1907--each one of them appearing separately in a -paper-covered duodecimo volume. - -The first of these plays to appear in book form--though not the -first one to be staged--was "The Thunder-Storm," designated on the -front cover as "Opus I." Two of the principal ideas underlying its -construction were the abolition of intermissions--which, according to -Strindberg, were put in chiefly for the benefit of the liquor traffic -in the theatre café--and the reduction of the stage-setting to quickly -inter-changeable backgrounds and a few stage-properties. Concerning the -production of "The Thunder-Storm," at the Intimate Theatre, Strindberg -wrote subsequently that, in their decorative effects, the first and -last scenes were rather failures. But he held the lack of space -wholly responsible for this failure. His conclusion was that the most -difficult problem of the small theatre would be to give the illusion of -distance required by a scene laid in the open--particularly in an open -place surrounded or adjoined by buildings. Of the second act he wrote, -on the other hand, that it proved a triumph of artistic simplification. -The only furniture appearing on the stage consisted of a buffet, a -piano, a dinner-table and a few chairs--that is, the pieces expressly -mentioned in the text of the play. And yet the effect of the setting -satisfied equally the demands of the eye and the reason. - -"The Thunder-Storm" might be called a drama of old age--nay, _the_ -drama of man's inevitable descent through a series of resignations to -the final dissolution. Its subject-matter is largely autobiographical, -embodying the author's experiences in his third and last marriage, -as seen in retrospect--the anticipatory conception appearing in -"Swanwhite." However, justice to Miss Harriet Bosse, who was Mrs. -Strindberg from 1901 to 1904, requires me to point out that echoes -of the dramatist's second marriage also appear, especially in the -references to the postmarital relationship. - -"After the Fire" was published as "Opus II" of the chamber-plays, -and staged ahead of "The Thunder-Storm." Its Swedish name is _Brända -Tomten_, meaning literally "the burned-over site." This name has -previously been rendered in English as "The Burned Lot" and "The Fire -Ruins." Both these titles are awkward and ambiguous. The name I have -now chosen embodies more closely the fundamental premise of the play. - -The subject-matter is even more autobiographical than that of "The -Thunder-Storm"--almost as much so as "The Bondwoman's Son." The -perished home is Strindberg's own at the North Tollgate Street in -Stockholm, where he spent the larger part of his childhood and youth. -The old _Mason_, the _Gardener_, the _Stone-Cutter_, and other figures -appearing in the play are undoubtedly lifted straight out of real -life--and so are probably also the exploded family reputation and -the cheap table painted to represent ebony--although one may take -for granted that the process has not taken place without a proper -disguising of externals. - -There is one passage in this little play which I want to point out as -containing one of the main keys to Strindberg's character and art. It -is the passage where _The Stranger_--who, of course, is none but the -author himself--says to his brother: "I have beheld life from every -quarter, from every standpoint, from above and from below, but always -it has seemed to me like a scene staged for my particular benefit." - - - - -SWANWHITE - -(SVANEHVIT) - -A FAIRY PLAY - -1902 - - - CHARACTERS - - THE DUKE - THE STEPMOTHER - SWANWHITE - THE PRINCE - SIGNE } - ELSA } _Maids_ - TOVA } - THE KITCHEN GARDENER - THE FISHERMAN - THE MOTHER OF SWANWHITE - THE MOTHER OF THE PRINCE - THE GAOLER - THE EQUERRY - THE BUTLER - THE FLOWER GARDENER - TWO KNIGHTS - - - _An apartment in a mediæval stone castle. The walls and the - cross-vaulted ceiling are whitewashed. In the centre of the - rear wall is a triple-arched doorway leading to a balcony - with a stone balustrade. There are draperies of brocade over - the doorway. Beyond the balcony appear the top branches of a - rose-garden, laden with white and pink roses. In the background - there can be seen a white, sandy beach and the blue sea_. - - _To the right of the main doorway is a small door which, when - left open, discloses a vista of three closets, one beyond the - other. The first one is stored with vessels of pewter arranged - on shelves. The walls of the second closet are hung with all - sorts of costly and ornate garments. The third closet contains - piles and rows of apples, pears, melons, pumpkins, and so - forth_. - - _The floors of all the rooms are inlaid with alternating - squares of black and red. At the centre of the apartment stands - a gilded dinner-table covered with a cloth; a twig of mistletoe - is suspended above the table. A clock and a vase filled with - roses stand on the table, near which are placed two gilded - tabourets. Two swallows' nests are visible on the rear wall - above the doorway. A lion skin is spread on the floor near the - foreground. At the left, well to the front, stands a white bed - with a rose-coloured canopy supported by two columns at the - head of the bed (and by none at the foot). The bed-clothing is - pure white except for a coverlet of pale-blue silk. Across - the bed is laid a night-dress of finest muslin trimmed with - lace. Behind the bed stands a huge wardrobe containing linen, - bathing utensils, and toilet things. A small gilded table in - Roman style (with round top supported by a single column) is - placed near the bed; also a lamp-stand containing a Roman lamp - of gold. At the right is an ornamental chimney-piece. On the - mantel stands a vase with a white lily in it_. - - _In the left arch of the doorway, a peacock is asleep on a - perch, with its back turned toward the audience_. - - _In the right arch hangs a huge gilded cage with two white - doves at rest_. - - _As the curtain rises, the three maids are seen in the doorways - of the three closets, each one half hidden by the door-post - against which she leans_. SIGNE, _the false maid, is in the - pewter-closet_, ELSA _in the clothes-closet, and_ TOVA _in the - fruit-closet_. - - _The_ DUKE _enters from the rear. After him comes the_ - STEPMOTHER _carrying in her hand a wire-lashed whip_. - - _The stage is darkened when they enter_. - - * * * * * - -STEPMOTHER. Swanwhite is not here? - -DUKE. It seems so! - -STEPMOTHER. So it seems, but--is it seemly? Maids!--Signe!--Signe, -Elsa, Tova! - - _The maids enter, one after the other, and stand in front of - the_ STEPMOTHER. - -STEPMOTHER. Where is Lady Swanwhite? - - SIGNE _folds her arms across her breast and makes no reply_. - -STEPMOTHER. You do not know? What see you in my hand?--Answer, quick! -[_Pause_] Quick! Do you hear the whistling of the falcon? It has claws -of steel, as well as bill! What is it? - -SIGNE. The wire-lashed whip! - -STEPMOTHER. The wire-lashed whip, indeed! And now, where is Lady Swan -white? - -SIGNE. How can I tell what I don't know? - -STEPMOTHER. It is a failing to be ignorant, but carelessness is an -offence. Were you not placed as guardian of your young mistress?--Take -off your neckerchief!--Down on your knees! - - _The_ DUKE _turns his back on her in disgust_. - -STEPMOTHER. Hold out your neck! And I'll put such a necklace on it that -no youth will ever kiss it after this!--Hold out your neck!--Still more! - -SIGNE. For Christ's sake, mercy! - -STEPMOTHER. 'Tis mercy that you are alive! - -DUKE. [_Pulls out his sword and tries the edge of it, first on one of -his finger-nails, and then on a hair out of his long beard_] Her head -should be cut off--put in a sack--hung on a tree---- - -STEPMOTHER. So it should! - -DUKE. We are agreed! How strange! - -STEPMOTHER. It did not happen yesterday. - -DUKE. And may not happen once again. - -STEPMOTHER. [_To_ Signe, _who, still on her knees, has been moving -farther away_] Stop! Whither? [_She raises the whip and strikes_; Signe -_turns aside so that the lash merely cuts the air_.] - -SWANWHITE. [_Comes forward from behind the bed and falls on her knees_] -Stepmother--here I am--the guilty one! She's not at fault. - -STEPMOTHER. Say "mother"! You must call me "mother"! - -SWANWHITE. I cannot! One mother is as much as any human being ever had. - -STEPMOTHER. Your father's wife must be your mother. - -SWANWHITE. My father's second wife can only be my stepmother. - -STEPMOTHER. You are a stiffnecked daughter, but my whip is pliant and -will make you pliant too. - - [_She raises the whip to strike_ SWANWHITE. - -DUKE. [_Raising his sword_] Take heed of the head! - -STEPMOTHER. Whose head? - -DUKE. Your own! - - _The_ STEPMOTHER _turns pale at first, and then angry; but she - controls herself and remains silent; long pause_. - -STEPMOTHER. [_Beaten for the moment, she changes her tone_] Then will -Your Grace inform your daughter what is now in store for her? - -DUKE. [_Sheathing his sword_] Rise up, my darling child, and come into -my arms to calm yourself. - -SWANWHITE. [_Throwing herself into the arms of the_ DUKE] -Father!--You're like a royal oak-tree which my arms cannot encircle. -But beneath your leafage there is refuge from all threatening showers. -[_She hides her head beneath his immense beard, which reaches down to -his waist_] And like a bird, I will be swinging on your branches--lift -me up, so I can reach the top. - - _The_ DUKE _holds out his arm_. - -SWANWHITE. [_Climbs up on his arm and perches herself on his shoulder_] -Now lies the earth beneath me and the air above--now I can overlook the -rosery, the snowy beach, the deep-blue sea, and all the seven kingdoms -stretched beyond. - -DUKE. Then you can also see the youthful king to whom your troth is -promised---- - -SWANWHITE. No--nor have I ever seen him. Is he handsome? - -DUKE. Dear heart, it will depend on your own eyes how he appears to you. - -SWANWHITE. [_Rubbing her eyes_] My eyes?--They cannot see what is not -beautiful. - -DUKE. [_Kissing her foot_] Poor little foot, that is so black! Poor -little blackamoorish foot! - - _The_ STEPMOTHER _gives a sign to the maids, who resume their - previous positions in the closet doors; she herself steals - with panther-like movements out through the middle arch of the - doorway_. - -SWANWHITE. [_Leaps to the floor; the_ DUKE _places her on the table and -sits down on a chair beside it_; SWANWHITE _looks meaningly after the_ -STEPMOTHER] Was it the dawn? Or did the wind turn southerly? Or has the -Spring arrived? - -DUKE. [_Puts his hand over her mouth_] You little chatter-box! You joy -of my old age--my evening star! Now open wide your rosy ear, and close -your little mouth's crimson shell. Give heed, obey, and all will then -be well with you. - -SWANWHITE. [_Putting her fingers in her ears_] With my eyes I hear, and -with my ears I see--and now I cannot see at all, but only hear. - -DUKE. My child, when still a cradled babe, your troth was plighted to -the youthful King of Rigalid. You have not seen him yet, such being -courtly usage. But the time to tie the sacred knot is drawing near. To -teach you the deportment of a queen and courtly manners, the king has -sent a prince with whom you are to study reading out of books, gaming -at chess, treading the dance, and playing on the harp. - -SWANWHITE. What is the prince's name? - -DUKE. That, child, is something you must never ask of him or anybody -else. For it is prophesied that whosoever calls him by his name shall -have to love him. - -SWANWHITE. Is he handsome? - -DUKE. He is, because your eye sees beauty everywhere. - -SWANWHITE. But is he beautiful? - -DUKE. Indeed he is. And now be careful of your little heart, and don't -forget that in the cradle you were made a queen.--With this, dear -child, I leave you, for I have war to wage abroad.--Submit obediently -to your stepmother. She's hard, but once your father loved her--and -a sweet temper will find a way to hearts of stone. If, despite of -promises and oaths, her malice should exceed what is permissible, then -you may blow this horn [_he takes a horn of carved ivory from under -his cloak_], and help will come. But do not use it till you are in -danger--not until the danger is extreme.--Have you understood? - -SWANWHITE. How is it to be understood? - -DUKE. This way: the prince is here, is in the court already. Is it your -wish to see the prince? - -SWANWHITE. Is it my wish? - -DUKE. Or shall I first bid you farewell? - -SWANWHITE. The prince is here already? - -DUKE. Already here, and I--already there--far, far away where sleeps -the heron of forgetfulness, with head beneath his wing. - -SWANWHITE. [_Leaping into the lap of the_ DUKE _and burying her head in -his beard_] Mustn't speak like that! Baby is ashamed! - -DUKE. Baby should be spanked--who forgets her aged father for a little -prince. Fie on her! - - _A trumpet is heard in the distance_. - -DUKE. [_Rises quickly, takes_ SWANWHITE _in his arms_, _throws her up -into the air and catches her again_] Fly, little bird, fly high above -the dust, with lots of air beneath your wings!--And then, once more on -solid ground!--I am called by war and glory--you, by love and youth! -[_Girding on his sword_] And now hide your wonder-horn, that it may not -be seen by evil eyes. - -SWANWHITE. Where shall I hide it? Where? - -DUKE. The bed! - -SWANWHITE. [_Hiding the horn in the bed-clothing_] There! Sleep well, -my little tooteroot! When it is time, I'll wake you up. And don't -forget your prayers! - -DUKE. And child! Do not forget what I said last: your stepmother must -be obeyed. - -SWANWHITE. In all? - -DUKE. In all. - -SWANWHITE. But not in what is contrary to cleanliness!--Two linen -shifts my mother let me have each sennight; this woman gives but one! -And mother gave me soap and water, which stepmother denies. Look at my -little footies! - -DUKE. Keep clean within, my daughter, and clean will be the outside. -You know that holy men, who, for the sake of penance, deny themselves -the purging waters, grow white as swans, while evil ones turn -raven-black. - -SWANWHITE. Then I will be as white----! - -DUKE. Into my arms! And then, farewell! - -SWANWHITE. [_Throwing herself into his arms_] Farewell, my great and -valiant hero, my glorious father! May fortune follow you, and make you -rich in years and friends and victories! - -DUKE. Amen--and let your gentle prayers be my protection! - - [_He closes the visor of his golden helmet_. - -SWANWHITE. [_Jumps up and plants a kiss on the visor_] The golden gates -are shut, but through the bars I still can see your kindly, watchful -eyes. [_Knocking at the visor_] Let up, let up, for little Red -Riding-hood. No one at home? "Well-away," said the wolf that lay in the -bed! - -DUKE. [_Putting her down on the floor_] Sweet flower of mine, grow fair -and fragrant! If I return--well--I return! If not, then from the starry -arch above my eye shall follow you, and never to my sight will you be -lost, for there above all-seeing we become, even as the all-creating -Lord himself. - - _Goes out firmly, with a gesture that bids her not to follow._ - SWANWHITE _falls on her knees in prayer for the_ DUKE; _all the - rose-trees sway before a wind that passes with the sound of a - sigh; the peacock shakes its wings and tail_. - -SWANWHITE. [_Rises, goes to the peacock and begins to stroke its back -and tail_] Pavo, dear Pavo, what do you see and what do you hear? Is -any one coming? Who is it? A little prince? Is he pretty and nice? -You, with your many blue eyes, should be able to tell. [_She lifts up -one of the bird's tail feathers and gazes intently at its "eye"_.] Are -you to keep your eyes on us, you nasty Argus? Are you to see that the -little hearts of two young people don't beat too loudly?--You stupid -thing--all I have to do is to close the curtain! [_She closes the -curtain, which hides the bird, but not the landscape outside; then she -goes to the doves_] My white doves--oh, so white, white, white--now -you'll see what is whitest of all--Be silent, wind, and roses, and -doves--my prince is coming! - -_She looks out for a moment; then she withdraws to the pewter-closet, -leaving the door slightly ajar so that through the opening she can -watch the_ PRINCE; _there she remains standing, visible to the -spectators but not to the_ PRINCE. - -PRINCE. [_Enters through the middle arch of the doorway. He wears -armour of steel; what shows of his clothing is black. Having carefully -observed everything in the room, he sits down at the table, takes off -his helmet and begins to study it. His back is turned toward the -door behind which_ SWANWHITE _is hiding_] If anybody be here, let him -answer! [_Silence_] There is somebody here, for I can feel the warmth -of a young body come billowing toward me like a southern wind. I can -hear a breath--it carries the fragrance of roses--and, gentle though -it be, it makes the plume on my helmet move. [_He puts the helmet to -his ear_] 'Tis murmuring as if it were a huge shell. It's the thoughts -within my own head that are crowding each other like a swarm of bees in -a hive. "Zum, zum," say the thoughts--just like bees that are buzzing -around their queen--the little queen of my thoughts and of my dreams! -[_He places the helmet on the table and gazes at it_] Dark and arched -as the sky at night, but starless, for the black plume is spreading -darkness everywhere since my mother's death--[_He turns the helmet -around and gazes at it again_] But there, in the midst of the darkness, -deep down--there, on the other side, I see a rift of light!--Has the -sky been split open?--And there, in the rift, I see--not a star, for it -would look like a diamond--but a blue sapphire, queen of the precious -stones--blue as the sky of summer--set in a cloud white as milk and -curved as the dove's egg. What is it? My ring? And now another feathery -cloud, black as velvet, passes by--and the sapphire is smiling--as -if sapphires could smile! And there, the lightning flashed, but -blue--heat-lightning mild, that brings no thunder!--What are you? Who? -And where? [_He looks at the back of the helmet_] Not here! Not there! -And nowhere else! [_He puts his face close to the helmet_] As I come -nearer, you withdraw. - - SWANWHITE _steals forward on tiptoe_. - -PRINCE. And now there are two--two eyes--two little human eyes--I kiss -you! [_He kisses the helmet_. - - SWANWHITE _goes up to the table and seats herself slowly - opposite the_ PRINCE. - - _The_ PRINCE _rises, bows, with his hand to his heart, and - gazes steadily at_ SWANWHITE. - -SWANWHITE. Are you the little prince? - -PRINCE. The faithful servant of the king, and yours! - -SWANWHITE. What message does the young king send his bride? - -PRINCE. This is his word to Lady Swanwhite--whom lovingly he -greets--that by the thought of coming happiness the long torment of -waiting will be shortened. - -SWANWHITE. [_Who has been looking at the_ PRINCE _as if to study him_] -Why not be seated, Prince? - -PRINCE. If seated when you sit, then I should have to kneel when you -stand up. - -SWANWHITE. Speak to me of the king! How does he look? - -PRINCE. How does he look? [_Putting one of his hands up to his eyes_] I -can no longer see him--how strange! - -SWANWHITE. What is his name? - -PRINCE. He's gone--invisible---- - -SWANWHITE. And is he tall? - -PRINCE. [_Fixing his glance on_ SWANWHITE] Wait!--I see him -now!--Taller than you! - -SWANWHITE. And beautiful? - -PRINCE. Not in comparison with you! - -SWANWHITE. Speak of the king, and not of me! - -PRINCE. I do speak of the king! - -SWANWHITE. Is his complexion light or dark? - -PRINCE. If he were dark, on seeing you he would turn light at once. - -SWANWHITE. There's more of flattery than wit in that! His eyes are blue? - -PRINCE. [_Glancing at his helmet_] I think I have to look? - -SWANWHITE. [_Holding out her hand between them_] Oh, you--you! - -PRINCE. You with _t h_ makes youth! - -SWANWHITE. Are you to teach me how to spell? - -PRINCE. The young king is tall and blond and blue-eyed, with broad -shoulders and hair like a new-grown forest---- - -SWANWHITE. Why do you carry a black plume? - -PRINCE. His lips are red as the ripe currant, his cheeks are white, and -the lion's cub needn't be ashamed of his teeth. - -SWANWHITE. Why is your hair wet? - -PRINCE. His mind knows no fear, and no evil deed ever made his heart -quake with remorse. - -SWANWHITE. Why is your hand trembling? - -PRINCE. We were to speak of the young king and not of me! - -SWANWHITE. So, you, you are to teach me? - -PRINCE. It is my task to teach you how to love the young king whose -throne you are to share. - -SWANWHITE. How did you cross the sea? - -PRINCE. In my bark and with my sail. - -SWANWHITE. And the wind so high? - -PRINCE. Without wind there is no sailing. - -SWANWHITE. Little boy--how wise you are!--Will you play with me? - -PRINCE. What I must do, I will. - -SWANWHITE. And now I'll show you what I have in my chest. [_She goes to -the chest and kneels down beside it; then she takes out several dolls, -a rattle, and a hobby-horse_] Here's the doll. It's my child--the child -of sorrow that can never keep its face clean. In my own arms I have -carried her to the lavendrey, and there I have washed her with white -sand--but it only made her worse. I have spanked her--but nothing -helped. Now I have figured out what's worst of all! - -PRINCE. And what is that? - -SWANWHITE. [_After a glance around the room_] I'll give her a -stepmother! - -PRINCE. But how's that to be? She should have a mother first. - -SWANWHITE. I am her mother. And if I marry twice, I shall become a -stepmother. - -PRINCE. Oh, how you talk! That's not the way! - -SWANWHITE. And you shall be her stepfather. - -PRINCE. Oh, no! - -SWANWHITE. You must be very kind to her, although she cannot wash her -face.--Here, take her--let me see if you have learned to carry children -right. - - _The_ PRINCE _receives the doll unwillingly_. - -SWANWHITE. You haven't learned yet, but you will! Now take the rattle, -too, and play with her. - - _The_ PRINCE _receives the rattle_. - -SWANWHITE. That's something you don't understand, I see. [_She takes -the doll and the rattle away from him and throws them back into the -chest; then she takes out the hobby-horse_] Here is my steed.--It has -saddle of gold and shoes of silver.--It can run forty miles in an -hour, and on its back I have travelled through Sounding Forest, across -Big Heath and King's Bridge, along High Road and Fearful Alley, all the -way to the Lake of Tears. And there it dropped a golden shoe that fell -into the lake, and then came a fish, and after came a fisherman, and so -I got the golden shoe back. That's all there was to that! [_She throws -the hobby-horse into the chest; instead she takes out a chess-board -with red and white squares, and chess-men made of silver and gold_] -If you will play with me, come here and sit upon the lion skin. [_She -seats herself on the skin and begins to put up the pieces_] Sit down, -won't you--the maids can't see us here! - - _The_ PRINCE _sits down on the skin, looking very embarrassed_. - -SWANWHITE. It's like sitting in the grass--not the green grass of the -meadow, but the desert grass which has been burned by the sun.--Now you -must say something about me! Do you like me a little? - -PRINCE. Are we to play? - -SWANWHITE. To play? What care I for that?--Oh--you were to teach me -something! - -PRINCE. Poor me, what can I do but saddle a horse and carry arms--with -which you are but poorly served. - -SWANWHITE. You are so sad! - -PRINCE. My mother died quite recently. - -SWANWHITE. Poor little prince!--My mother, too, has gone to God in -heaven, and she's an angel now. Sometimes in the nights I see her--do -you also see yours? - -PRINCE. No-o. - -SWANWHITE. And have you got a stepmother? - -PRINCE. Not yet. So little time has passed since she was laid to rest. - -SWANWHITE. Don't be so sad! There's nothing but will wear away in time, -you see. Now I'll give you a flag to gladden you again--Oh, no, that's -right--this one I sewed for the young king. But now I'll sew another -one for you!--This is the king's, with seven flaming fires--you shall -have one with seven red roses on it--but first of all you have to -hold this skein of yarn for me. [_She takes from the chest a skein of -rose-coloured yarn and hands it to the_ PRINCE] One, two, three, and -now you'll see!--Your hands are trembling--that won't do!--Perhaps you -want a hair of mine among the yarn?--Pull one yourself! - -PRINCE. Oh, no, I couldn't---- - -SWANWHITE. I'll do it, then, myself. [_She pulls a hair from her head -and winds it into the ball of yarn_] What is your name? - -PRINCE. You shouldn't ask. - -SWANWHITE. Why not? - -PRINCE. The duke has told you--hasn't he? - -SWANWHITE. No, he hasn't! What could happen if you told your name? -Might something dreadful happen? - -PRINCE. The duke has told you, I am sure. - -SWANWHITE. I never heard of such a thing before--of one who couldn't -tell his name! - - _The curtain behind which the peacock is hidden moves; a faint - sound as of castanets is heard_. - -PRINCE. What was that? - -SWANWHITE. That's Pavo--do you think he knows what we are saying? - -PRINCE. It's hard to tell. - -SWANWHITE. Well, what's your name? - - _Again the peacock makes the same kind of sound with his bill_. - -PRINCE. I am afraid--don't ask again! - -SWANWHITE. He snaps his bill, that's all--Keep your hands still!--Did -you ever hear the tale of the little princess that mustn't mention the -name of the prince, lest something happen? And do you know----? - - _The curtain hiding the peacock is pulled aside, and the bird - is seen spreading out his tail so that it looks as if all the - "eyes" were staring at_ SWANWHITE _and the_ PRINCE. - -PRINCE. Who pulled away the curtain? Who made the bird behold us with -its hundred eyes?--You mustn't ask again! - -SWANWHITE. Perhaps I mustn't--Down, Pavo--there! - - _The curtain resumes its previous position_. - -PRINCE. Is this place haunted? - -SWANWHITE. You mean that things will happen--just like that? Oh, well, -so much is happening here--but I have grown accustomed to it. And then, -besides--they call my stepmother a witch--There, now, I have pricked my -finger! - -PRINCE. What did you prick it with? - -SWANWHITE. There was a splinter in the yarn. The sheep have been locked -up all winter--and then such things will happen. Please see if you can -get it out. - -PRINCE. We must sit at the table then, so I can see. - - [_They rise and take seats at the table_. - -SWANWHITE. [_Holding out one of her little fingers_] Can you see -anything? - -PRINCE. What do I see? Your hand is red within, and through it all the -world and life itself appear in rosy colouring---- - -SWANWHITE. Now pull the splinter out--ooh, it hurts! - -PRINCE. But I shall have to hurt you, too--and ask your pardon in -advance! - -SWANWHITE. Oh, help me, please! - -PRINCE. [_Squeezing her little finger and pulling out the splinter with -his nails_] There is the cruel little thing that dared to do you harm. - -SWANWHITE. Now you must suck the blood to keep the wound from festering. - -PRINCE. [_Sucking the blood from her finger_] I've drunk your -blood--and so I am your foster-brother now. - -SWANWHITE. My foster-brother--so you were at once--or how do you think -I could have talked to you as I have done? - -PRINCE. If you have talked to me like that, how did I talk to you? - -SWANWHITE. Just think, he didn't notice it!--And now I have got a -brother of my own, and that is you!--My little brother--take my hand! - -PRINCE. [_Taking her hand_] My little sister! [_Feels her pulse beating -under his thumb_] What have you there, that's ticking--one, and two, -and three, and four----? _Continues to count silently after having -looked at his watch_. - -SWANWHITE. Yes, tell me what it is that ticks--so steady, steady, -steady? It cannot be my heart, for that is here, beneath my breast--Put -your hand here, and you can feel it too. [_The doves begin to stir and -coo_] What is it, little white ones? - -PRINCE. And sixty! Now I know what makes that ticking--it is the time! -Your little finger is the second-hand that's ticking sixty times for -every minute that goes by. And don't you think there is a heart within -the watch? - -SWANWHITE. [_Handling the watch_] We cannot reach the inside of the -watch--no more than of the heart--Just feel my heart! - -SIGNE. [_Enters from the pewter-closet carrying a whip, which she puts -down on the table_] Her Grace commands that the children be seated at -opposite sides of the table. - - _The_ PRINCE _sits down at the opposite end of the table. He - and_ SWANWHITE _look at each other in silence for a while_. - -SWANWHITE. Now we are far apart, and yet a little nearer than before. - -PRINCE. It's when we part that we come nearest to each other. - -SWANWHITE. And you know that? - -PRINCE. I have just learned it! - -SWANWHITE. Now my instruction has begun. - -PRINCE. You're teaching me! - -SWANWHITE. [_Pointing to a dish of fruit_] Would you like some fruit? - -PRINCE. No, eating is so ugly. - -SWANWHITE. Yes, so it is. - -PRINCE. Three maids are standing there--one in the pewter-closet, one -among the clothes, and one among the fruits. Why are they standing -there? - -SWANWHITE. TO watch us two--lest we do anything that is forbidden. - -PRINCE. May we not go into the rosery? - -SWANWHITE. The morning is the only time when I can go into the rosery, -for there the bloodhounds of my stepmother are kept. They never let me -reach the shore--and so I get no chance to bathe. - -PRINCE. Have you then never seen the shore? And never heard the ocean -wash the sand along the beach? - -SWANWHITE. No--never! Here I can only hear the roaring waves in time of -storm. - -PRINCE. Then you have never heard the murmur made by winds that sweep -across the waters? - -SWANWHITE. It cannot reach me here. - -PRINCE. [_Pushing his helmet across the table to_ SWANWHITE] Put it to -your ear and listen. - -SWANWHITE. [_With the helmet at her ear_] What is that I hear? - -PRINCE. The song of waves, the whispering winds - -SWANWHITE. No, I hear human voices--hush! My stepmother is -speaking--speaking to the steward--and mentioning my name--and that of -the young king, too! She's speaking evil words. She's swearing that I -never shall be queen--and vowing that--you--shall take that daughter -of her own--that loathsome Lena---- - -PRINCE. Indeed!--And you can hear it in the helmet? - -SWANWHITE. I can. - -PRINCE. I didn't know of that. But my godmother gave me the helmet as a -christening present. - -SWANWHITE. Give me a feather, will you? - -PRINCE. It is a pleasure--great as life itself. - -SWANWHITE. But you must cut it so that it will write. - -PRINCE. You know a thing or two! - -SWANWHITE. My father taught me---- - - _The_ PRINCE _pulls a black feather out of the plume on his - helmet; then he takes a silver-handled knife from his belt and - cuts the quill_. - - SWANWHITE _takes out an ink-well and parchment from a drawer in - the table_. - -PRINCE. Who is Lady Lena? - -SWANWHITE. You mean, what kind of person? You want her, do you? - -PRINCE. Some evil things are brewing in this house---- - -SWANWHITE. Fear not! My father has bestowed a gift on me that will -bring help in hours of need. - -PRINCE. What is it called? - -SWANWHITE. It is the horn Stand-By. - -PRINCE. Where is it hid? - -SWANWHITE. Read in my eye. I dare not let the maids discover it. - -PRINCE. [_Gazing at her eyes_] I see! - -SWANWHITE. [_Pushing pen, ink and parchment across the table to the_ -PRINCE] Write it. - - _The_ PRINCE _writes_. - -SWANWHITE. Yes, that's the place. [_She writes again._ - -PRINCE. What do you write? - -SWANWHITE. Names--all pretty names that may be worn by princes! - -PRINCE. Except my own! - -SWANWHITE. Yours, too! - -PRINCE. Leave that alone! - -SWANWHITE. Here I have written twenty names--all that I know--and -so your name must be there, too. [_Pushing the parchment across the -table_] Read! - - _The_ PRINCE _reads_. - -SWANWHITE. Oh, I have read it in your eye! - -PRINCE. Don't utter it! I beg you in the name of God the merciful, -don't utter it! - -SWANWHITE. I read it in his eye! - -PRINCE. But do not utter it, I beg of you! - -SWANWHITE. And if I do? What then?--Can Lena tell, you think? Your -bride! Your love! - -PRINCE. Oh, hush, hush, hush! - -SWANWHITE. [_Jumps up and begins to dance_] I know his name--the -prettiest name in all the land! - - _The_ PRINCE _runs up to her, catches hold of her and covers - her mouth with his hand_. - -SWANWHITE. I'll bite your hand; I'll suck your blood; and so I'll be -your sister twice--do you know what that can mean? - -PRINCE. I'll have two sisters then. - -SWANWHITE. [_Throwing back her head_] O-ho! O-ho! Behold, the -ceiling has a hole, and I can see the sky--a tiny piece of sky, a -window-pane--and there's a face behind it. Is it an angel's?--See--but -see, I tell you!--It's your face! - -PRINCE. The angels are not boys, but girls. - -SWANWHITE. But it is you. - -PRINCE. [_Looking up_] 'Tis a mirror. - -SWANWHITE. Woe to us then! It is the witching mirror of my stepmother, -and she has seen it all. - -PRINCE. And in the mirror I can see the fireplace--there's a pumpkin -hanging in it! - -SWANWHITE. [_Takes from the fireplace a mottled, strangely shaped -pumpkin_] What can it be? It has the look of an ear. The witch has -heard us, too!--Alas, alas! [_She throws the pumpkin into the fireplace -and runs across the floor toward the bed; suddenly she stops on one -foot, holding up the other_] - -Oh, she has strewn the floor with needles---- - - [_She sits down and begins to rub her foot_. - - _The_ PRINCE _kneels in front of_ SWANWHITE _in order to help - her_. - -SWANWHITE. No, you mustn't touch my foot--you mustn't! - -PRINCE. Dear heart, you must take off your stocking if I am to help. - -SWANWHITE. [_Sobbing_] You mustn't--mustn't see my foot! - -PRINCE. But why? Why shouldn't I? - -SWANWHITE. I cannot tell; I cannot tell. Go--go away from me! To-morrow -I shall tell you, but I can't to-day. - -PRINCE. But then your little foot will suffer--let me pull the needle -out! - -SWANWHITE. Go, go, go!--No, no, you mustn't try!--Oh, had my mother -lived, a thing like this could not have happened!--Mother, mother, -mother! - -PRINCE. I cannot understand--are you afraid of me----? - -SWANWHITE. Don't ask me, please--just leave me--oh! - -PRINCE. What have I done? - -SWANWHITE. Don't leave me, please--I didn't mean to hurt you--but I -cannot tell--If I could only reach the shore--the white sand of the -beach---- - -PRINCE. What then? - -SWANWHITE. I cannot tell! I cannot tell! - - [_She hides her face in her hands. Once more the peacock makes - a rattling sound with his bill; the doves begin to stir; the - three maids enter, one after the other; a gust of wind is - heard, and the tops of the rose-trees outside swing back and - forth; the golden clouds that have been hanging over the sea - disappear, and the blue sea itself turns dark_. - -SWANWHITE. Does Heaven itself intend to judge us?--Is ill-luck in the -house?--Oh, that my sorrow had the power to raise my mother from her -grave! - -PRINCE. [_.Putting his hand on his sword_] My life for yours! - -SWANWHITE. No, don't--she puts the very swords to sleep!--Oh, that my -sorrow could bring back my mother! [_The swallows chirp in their nest_] -What was that? - -PRINCE. [_Catching sight of the nest_] A swallow's nest! I didn't -notice it before. - -SWANWHITE. Nor I! How did it get there? When?--But all the same it -augurs good--And yet the cold sweat of fear is on my brow--and I -choke--Look, how the rose itself is withering because that evil woman -comes this way--for it is she who comes---- - - _The rose on the table is closing its blossom and drooping its - leaves_. - -PRINCE. But whence came the swallows? - -SWANWHITE. They were not sent by her, I'm sure, for they are kindly -birds--Now she is here! - -STEPMOTHER. [_Enters from the rear with the walk of a panther; the rose -on the table is completely withered_] Signe--take the horn out of the -bed! - - SIGNE _goes up to the bed and takes the horn_. - -STEPMOTHER. Where are you going, Prince? - -PRINCE. The day is almost done, Your Grace; the sun is setting, and my -bark is longing to get home. - -STEPMOTHER. The day is too far gone--the gates are shut, the dogs let -loose--You know my dogs? - -PRINCE. Indeed! You know my sword? - -STEPMOTHER. What is the matter with your sword? - -PRINCE. It bleeds at times. - -STEPMOTHER. Well, well! But not with women's blood, I trust?--But -listen, Prince: how would like to sleep in our Blue Room? - -PRINCE. By God, it is my will to sleep at home, in my own bed---- - -STEPMOTHER. Is that the will of anybody else? - -PRINCE. Of many more. - -STEPMOTHER. How many?--More than these!--One, two, three---- - - _As she counts, the members of the household begin to pass by - in single file across the balcony; all of them look serious; - some are armed; no one turns his head to look into the room; - among those that pass are the_ BUTLER, _the_ STEWARD, _the_ - KITCHENER, _the_ GAOLER, _the_ CONSTABLE, _the_ EQUERRY. - -PRINCE. I'll sleep in your Blue Room. - -STEPMOTHER. That's what I thought.--So you will bid ten thousand -good-nights unto your love--and so will Swanwhite, too, I think! - - _A swan comes flying by above the rosery; from the ceiling a - poppy flower drops down on the_ STEPMOTHER, _who falls asleep - at once, as do the maids_. - -SWANWHITE. [_Going up to the_ PRINCE] Good-night, my Prince! - -PRINCE. [_Takes her hand and says in a low voice_] Good-night!--Oh, -that it's granted me to sleep beneath one roof with you, my -Princess--your dreams by mine shall be enfolded--and then to-morrow we -shall wake for other games and other---- - -SWANWHITE. [_In the same tone_] You are my all on earth, you are -my parent now--since she has robbed me of my puissant father's -help.--Look, how she sleeps! - -PRINCE. You saw the swan? - -SWANWHITE. No, but I heard--it was my mother. - -PRINCE. Come, fly with me! - -SWANWHITE. No, that we mustn't!--Patience! We'll meet in our -dreams!--But this will not be possible unless--you love me more than -anybody else on earth! Oh, love me--you, you, you! - -PRINCE. My king, my loyalty---- - -SWANWHITE. Your queen, your heart--or what am I? - -PRINCE. I am a knight! - -SWANWHITE. But I am not. And therefore--therefore do I take you--my -Prince---- - - _She puts her hands up to her mouth with a gesture as if she - were throwing a whispered name to him_. - -PRINCE. Oh, woe! What have you done? - -SWANWHITE. I gave myself to you through your own name--and with me, -carried on _your_ wings, yourself came back to you! Oh---- [_Again she -whispers the name_. - -PRINCE. [_With a movement of his hand as if he were catching the name -in the air_] Was that a rose you threw me? - - [_He throws a kiss to her_. - -SWANWHITE. A violet you gave me--that was you--your soul! And now I -drink you in--you're in my bosom, in my heart--you're mine! - -PRINCE. And you are mine! Who is the rightful owner, then? - -SWANWHITE. Both! - -PRINCE. Both! You and I!--My rose! - -SWANWHITE. My violet! - -PRINCE. My rose! - -SWANWHITE. My violet! - -PRINCE. I _love_ you! - -SWANWHITE. _You_ love _me_! - -PRINCE. You _love_ me! - -SWANWHITE. _I_ love _you_! - - _The stage grows light again. The rose on the table recovers - and opens. The faces of the_ STEPMOTHER _and the three maids - are lighted up and appear beautiful, kind, and happy. The_ - STEPMOTHER _lifts up her drowsy head and, while her eyes remain - closed, she seems to be watching the joy of the two young - people with a sunny smile_. - -SWANWHITE. Look, look! The cruel one is smiling as at some memory from -childhood days. See how Signe the False seems faith and hope embodied, -how the ugly Tova has grown beautiful, the little Elsa tall. - -PRINCE. Our love has done it. - -SWANWHITE. So that is love? Blessed be it by the Lord! The Lord -Omnipotent who made the world! - - [_She falls on her knees, weeping_. - -PRINCE. You weep? - -SWANWHITE. Because I am so full of joy. - -PRINCE. Come to my arms and you will smile. - -SWANWHITE. There I should die, I think. - -PRINCE. Well, smile and die! - -SWANWHITE. [_Rising_] So be it then! - - [_The_ PRINCE _takes her in his arms._ - -STEPMOTHER. [_Wakes up; on seeing the_ PRINCE _and_ SWANWHITE -_together, she strikes the table with the whip_] I must have -slept!--Oho! So we have got that far!--The Blue Room did I say?--I -meant the Blue Tower!--There the prince is to sleep with the Duke of -Exeter's daughter!--Maids! - - _The MAIDS wake up_. - -STEPMOTHER. Show the prince the shortest way to the Blue Tower. And -should he nevertheless lose his way, you may summon the Castellan and -the Gaoler, the Equerry and the Constable. - -PRINCE. No need of that! Wherever leads my course--through fire or -water, up above the clouds or down in the solid earth--there shall I -meet my Swanwhite, for she is with me where I go. So now I go to meet -her--in the tower! Can you beat that for witchcraft, witch?--Too hard, -I think, for one who knows not love! - - [_He goes out followed by the MAIDS_. - -STEPMOTHER. [_To_ SWANWHITE] Not many words are needed--tell your -wishes--but be brief! - -SWANWHITE. My foremost, highest wish is for some water with which to -lave my feet. - -STEPMOTHER. Cold or warm? - -SWANWHITE. Warm--if I may. - -STEPMOTHER. What more? - -SWANWHITE. A comb to ravel out my hair. - -STEPMOTHER. Silver or gold? - -SWANWHITE. Are you--are you kind? - -STEPMOTHER. Silver or gold? - -SWANWHITE. Wood or horn will do me well enough. - -STEPMOTHER. What more? - -SWANWHITE. A shift that's clean. - -STEPMOTHER. Linen or silk? - -SWANWHITE. Just linen. - -STEPMOTHER. Good! So I have heard your wishes. Now listen to mine! I -wish that you may have no water, be it warm or cold! I wish that you -may have no comb, of any kind, not even of wood or horn--much less of -gold or silver. That's how kind I am! I wish that you may wear no linen ---but get you at once into the closet there to cover up your body with -that dingy sark of homespun! Such is my word!--And if you try to leave -these rooms--which you had better not, as there are traps and snares -around--then you are doomed--or with my whip I'll mark your pretty -face so that no prince or king will ever look at you again!--Then get -yourself to bed! - - _She strikes the table with her whip again, rises and goes out - through the middle arch of the doorway; the gates, which have - gilded bars, squeak and rattle as she closes and locks them_. - -_Curtain_. - - _The same scene as before, but the golden gates at the rear are - shut. The peacock and the doves are sleeping. The golden clouds - in the sky are as dull in colour as the sea itself and the land - that appears in the far distance_. - - SWANWHITE _is lying on the bed; she has on a garment of black - homespun_. - - _The doors to the three closets are open. In each doorway - stands one of the maids, her eyes closed and in one of her - hands a small lighted lamp of Roman pattern_. - - _A swan is seen flying above the rosery, and trumpet-calls are - heard, like those made by flocks of migrating wild swans_. - - _The_ MOTHER OF SWANWHITE, _all in white, appears outside the - gates. Over one arm she carries the plumage of a swan and on - the other one a small harp of gold. She hangs the plumage on - one of the gates, which opens of its own accord and then closes - in the same way behind her_. - - _She enters the room and places the harp on the table. Then she - looks around and becomes aware of_ SWANWHITE. _At once the harp - begins to play. The lamps carried by the maids go out one by - one, beginning with that farthest away. Then the three doors - close one by one, beginning with the innermost_. - - _The golden clouds resume their former radiance_. - - _The_ MOTHER _lights one of the lamps on the stand and goes up - to the bed, beside which she kneels_. - - _The harp continues to play during the ensuing episode_. - - _The_ MOTHER _rises, takes_ SWANWHITE _in her arms, and places - her, still sleeping, in a huge arm-chair. Then she kneels down - and pulls off_ SWANWHITE'S _stockings. Having thrown these - under the bed, she bends over her daughter's feet as if to - moisten them with her tears. After a while she wipes them with - a white linen cloth and covers them with kisses. Finally she - puts a sandal on each foot which then appears shining white_. - - _Then the_ MOTHER _rises to her feet again, takes out a comb of - gold, and begins to comb_ SWANWHITE'S _hair. This finished, she - carries_ SWANWHITE _back to the bed. Beside her she places a - garment of white linen which she takes out of a bag_. - - _Having kissed_ SWANWHITE _on the forehead, she prepares to - leave. At that moment a white swan is seen to pass by outside, - and one hears a trumpet-call like the one heard before. Shortly - afterward the_ MOTHER OF THE PRINCE, _also in white, enters - through the gate, having first hung her swan plumage on it_. - -SWANWHITE'S MOTHER. Well met, my sister! How long before the cock will -crow? - -PRINCE'S MOTHER. Not very long. The dew is rising from the roses, the -corn-crake's call is heard among the grass, the morning breeze is -coming from the sea. - -SWANWHITE'S MOTHER. Let us make haste with what we have on hand, my -sister. - -PRINCE'S MOTHER. You called me so that we might talk of our children. - -SWANWHITE'S MOTHER. Once I was walking in a green field in the land -that knows no sorrow. There I met you, whom I had always known, yet -had not seen before. You were lamenting your poor boy's fate, left to -himself here in the vale of sorrow. You opened up your heart to me, and -my own thoughts, that dwell unwillingly below, were sent in search of -my deserted daughter--destined to marry the young king, who is a cruel -man, and evil. - -PRINCE'S MOTHER. Then I spoke, while you listened: "May worth belong to -worth; may love, the powerful, prevail; and let us join these lonely -hearts, in order that they may console each other!" - -SWANWHITE'S MOTHER. Since then heart has kissed heart and soul enfolded -soul. May sorrow turn to joy, and may their youthful happiness bring -cheer to all the earth! - -PRINCE'S MOTHER. If it be granted by the powers on high! - -SWANWHITE'S MOTHER. That must be tested by the fire of suffering. - -PRINCE'S MOTHER. [_Taking in her hand the helmet left behind by the_ -PRINCE] May sorrow turn to joy--this very day, when he has mourned his -mother one whole year! - - _She exchanges the black feathers on the helmet for white and - red ones_. - -SWANWHITE'S MOTHER. Your hand, my sister--let the test begin! - -PRINCE'S MOTHER. Here is my hand, and with it goes my son's! Now we -have pledged them---- - -SWANWHITE'S MOTHER. In decency and honour! - -PRINCE'S MOTHER. I go to open up the tower. And let the young ones fold -each other heart to heart. - -SWANWHITE'S MOTHER. In decency and honour! - -PRINCE'S MOTHER. And we shall meet again in those green fields where -sorrow is not known. - -SWANWHITE'S MOTHER. [_Pointing to_ SWANWHITE] Listen! She dreams -of him!--Oh foolish, cruel woman who thinks that lovers can be -parted!--Now they are walking hand in hand within the land of dreams, -'neath whispering firs and singing lindens--They sport and laugh---- - -PRINCE'S MOTHER. Hush! Day is dawning--I can hear the robins calling, -and see the stars withdrawing from the sky--Farewell, my sister! - - [_She goes out, taking her swan plumage with her._ - -SWANWHITE'S MOTHER. Farewell! - - _She passes her hand over_ SWANWHITE _as if blessing her, then - she takes her plumage and leaves, closing the gate after her_. - - _The clock on the table strikes three. The harp is silent for - a moment; then it begins to play a new melody of even greater - sweetness than before_. SWANWHITE _wakes up and looks around; - listens to the harp; gets up from the bed; draws her hands - through her hair; looks with pleasure at her own little feet, - now spotlessly clean, and notices finally the while linen - garment on the bed. She sits down at the table in the place she - occupied during the evening. She acts as if she were looking at - somebody sitting opposite her at the table, where the_ PRINCE - _was seated the night before. She looks straight into his eyes, - smiles a smile of recognition, and holds out one of her hands. - Her lips move at times as if she were speaking, and then again - she seems to be listening to an answer_. - - _She points meaningly to the white and red feathers on the - helmet, and leans forward as if whispering. Then she puts her - head back and breathes deeply as if to fill her nostrils with - some fragrance. Having caught something in the air with one - of her hands, she kisses the hand and then pretends to throw - something back across the table. She picks up the quill and - caresses it as if it were a bird; then she writes and pushes - the parchment across the table. Her glances seem to follow - "his" pen while the reply is being written, and at last she - takes back the parchment, reads it, and hides it in her bosom_. - - _She strokes her black dress as if commenting on the sad change - in her appearance. Whereupon she smiles at an inaudible answer, - and finally bursts into hearty laughter_. - - _By gestures she indicates that her hair has been combed. Then - she rises, goes a little distance away from the table, and - turns around with a bashful expression to hold out one of her - feet. In that attitude she stays for a moment while waiting for - an answer. On hearing it she becomes embarrassed and hides her - foot quickly under her dress_. - - _She goes to the chest and takes out the chess-board and the - chess-men, which she places on the lions skin with a gesture of - invitation. Then she lies down beside the board, arranges the - men, and begins to play with an invisible partner_. - - _The harp is silent for a moment before it starts a new melody_. - - _The game of chess ends and_ SWANWHITE _seems to be talking - with her invisible partner. Suddenly she moves away as if - he were coming too close to her. With a deprecating gesture - she leaps lightly to her feet. Then she gazes long and - reproachfully at him. At last she snatches up the white garment - and hides herself behind the bed_. - - _At that moment the_ PRINCE _appears outside the gates, which - he vainly tries to open. Then he raises his eyes toward the sky - with an expression of sorrow and despair_. - -SWANWHITE. [_Coming forward_] Who comes with the morning wind? - -PRINCE. Your heart's beloved, your prince, your all! - -SWANWHITE. Whence do you come, my heart's beloved? - -PRINCE. From dreamland; from the rosy hills that hide the dawn; from -whispering firs and singing lindens. - -SWANWHITE. What did you do in dreamland, beyond the hills of dawn, my -heart's beloved? - -PRINCE. I sported and laughed; I wrote her name; I sat upon the lion's -skin and played at chess. - -SWANWHITE. You sported and you played--with whom? - -PRINCE. With Swanwhite. - -SWANWHITE. It is he!--Be welcome to my castle, my table, and my arms! - -PRINCE. Who opens up the golden gates? - -SWANWHITE. Give me your hand!--It is as chilly as your heart is warm. - -PRINCE. My body has been sleeping in the tower, while my soul was -wandering in dreamland--In the tower it was cold and dark. - -SWANWHITE. In my bosom will I warm your hand--I'll warm it by my -glances, by my kisses! - -PRINCE. Oh, let the brightness of your eyes be shed upon my darkness! - -SWANWHITE. Are you in darkness? - -PRINCE. Within the tower there was no light of sun or moon. - -SWANWHITE. Rise up, O sun! Blow, southern wind! And let thy bosom -gently heave, O sea!--Ye golden gates, do you believe that you can part -two hearts, two hands, two lips--that can by nothing be divided? - -PRINCE. Indeed, by nothing! - - _Two solid doors glide together in front of the gates so that_ - SWANWHITE _and the_ PRINCE _can no longer see each other_. - -SWANWHITE. Alas! What was the word we spoke, who heard it, and who -punished us? - -PRINCE. I am not parted from you, my beloved, for still the sound of my -voice can reach you. It goes through copper, steel, and stone to touch -your ear in sweet caress. When in my thoughts you're in my arms. I -kiss you in my dreams. For on this earth there is not anything that can -part us. Swanwhite. Not anything! - -PRINCE. I see you, though my eyes cannot behold you. I taste you, too, -because with roses you are filling up my mouth---- - -SWANWHITE. But in my arms I want you! - -PRINCE. I am there. - -SWANWHITE. No! Against my heart I want to feel the beat of yours--Upon -your arm I want to sleep--Oh, let us, let us, dearest God--oh, let us -have each other! - - _The swallows chirp. A small white feather falls to the - ground_. SWANWHITE _picks it up and discovers it to be a key. - With this she opens gates and doors. The_ PRINCE _comes in_. - SWANWHITE _leaps into his arms. He kisses her on the mouth_. - -SWANWHITE. You do not kiss me! - -PRINCE. Yes, I do! - -SWANWHITE. I do not feel your kisses! - -PRINCE. Then you love me not! - -SWANWHITE. Hold me fast! - -PRINCE. So fast that life may part! - -SWANWHITE. Oh, no, I breathe! - -PRINCE. Give me your soul! - -SWANWHITE. Here!--Give me yours! - -PRINCE. It's here!--So I have yours, and you have mine! - -SWANWHITE. I want mine back! - -PRINCE. Mine, too, I want! - -SWANWHITE. Then you must seek it! - -PRINCE. Lost, both of us! For I am you, and you are me! - -SWANWHITE. We two are one! - -PRINCE. God, who is good, has heard your prayer! We have each other! - -SWANWHITE. We have each other, yet I have you not. I cannot feel the -pressure of your hand, your lip's caress--I cannot see your eyes, nor -hear your voice--You are not here! - -PRINCE. Yes, I am here! - -SWANWHITE. Yes, here below. But up above, in dreamland, I would meet -you. - -PRINCE. Then let us fly upon the wings of sleep---- - -SWANWHITE. Close to your heart! - -PRINCE. In my embrace! - -SWANWHITE. Within your arms! - -PRINCE. This is the promised bliss! - -SWANWHITE. Eternal bliss, that has no flaw and knows no end! - -PRINCE. No one can part us. - -SWANWHITE. No one! - -PRINCE. Are you my bride? - -SWANWHITE. My bridegroom, you? - -PRINCE. In dreamland--but not here! - -SWANWHITE. Where are we? - -PRINCE. Here below! - -SWANWHITE. Here, where the sky is clouded, where the ocean roars, and -where each night the earth sheds tears upon the grass while waiting for -the dawn; where flies are killed by swallows, doves by hawks; where -leaves must fall and turn to dust; where eyes must lose their light and -hands their strength! Yes, here below! - -PRINCE. Then let us fly! - -SWANWHITE. Yes, let us fly! - - _The_ GREEN GARDENER _appears suddenly behind the table. All - his clothes are green. He wears a peaked cap, a big apron, and - knee-breeches. At his belt hang shears and a knife. He carries - a small watering-can in one hand and is scattering seeds - everywhere_. - -PRINCE. Who are you? - -GARDENER. I sow, I sow! - -PRINCE. What do you sow? - -GARDENER. Seeds, seeds, seeds. - -PRINCE. What kind of seeds? - -GARDENER. Annuals and biennials. One pulls this way, two pull that. -When the bridal suit is on, the harmony is gone. One and one make one, -but one and one make also three. One and one make two, but two make -three. Then do you understand? - -PRINCE. You mole, you earthworm, you who turn your forehead toward the -ground and show the sky your back--what is there you can teach me? - -GARDENER. That you are a mole and earthworm, too. And that because you -turn your back on the earth, the earth will turn its back on you. [_He -disappears behind the table_. - -SWANWHITE. What was it? Who was he? - -PRINCE. That was the green gardener. - -SWANWHITE. Green, you say? Was he not blue? - -PRINCE. No, he was green, my love. - -SWANWHITE. How can you say what is not so? - -PRINCE. My heart's beloved, I have not said a thing that was not so. - -SWANWHITE. Alas, he does not speak the truth! - -PRINCE. Whose voice is this? Not that of Swanwhite! - -SWANWHITE. Who is this my eyes behold? Not my Prince, whose very name -attracted me like music of the Neck, or song of mermaids heard among -green waves--Who are you? You stranger with the evil eyes--and with -grey hair! - -PRINCE. You did not see it until now--my hair, that turned to grey -within the tower, in a single night, when I was mourning for my -Swanwhite, who is no longer here. - -SWANWHITE. Yes, here is Swanwhite. - -PRINCE. No, I see a black-clad maid, whose face is black---- - -SWANWHITE. Have you not seen before that I was clad in black? You do -not love me, then! - -PRINCE. You who are standing there, so grim and ugly--no! - -SWANWHITE. Then you have spoken falsely. - -PRINCE. No--for then another one was here! Now--you are filling up my -mouth with noisome nettles. - -SWANWHITE. Your violets smell of henbane now--faugh! - -PRINCE. Thus I am punished for my treason to the king! - -SWANWHITE. I wish that I had waited for your king! - -PRINCE. Just wait, and he will come. - -SWANWHITE. I will not wait, but go to meet him. - -PRINCE. Then I will stay. - -SWANWHITE. [_Going toward the background_] And this is love! - -PRINCE. [_Beside himself_] Where is my Swanwhite? Where, where, where? -The kindest, loveliest, most beautiful? - -SWANWHITE. Seek her! - -PRINCE. 'Twould not avail me here below. - -SWANWHITE. Elsewhere then! [_She goes out_. - - _The_ PRINCE _is alone. He sits down at the table, covers his - face with his hands, and weeps. A gust of wind passes through - the room and sets draperies and curtains fluttering. A sound as - of a sigh is heard from the strings of the harp. The_ PRINCE - _rises, goes to the bed, and stands there lost in contemplation - of its pillow in which is a depression showing_ SWANWHITE'S - _head in profile. He picks up the pillow and kisses it. A noise - is heard outside. He seats himself at the table again_. - - _The doors of the closets fly open. The three_ MAIDS _become - visible, all with darkened faces. The_ STEPMOTHER _enters from - the rear. Her face is also dark_. - -STEPMOTHER. [_In dulcet tones_] Good morning, my dear Prince! How have -you slept? - -PRINCE. Where is Swanwhite? - -STEPMOTHER. She has gone to marry her young king. Is there no thought -of things like that in your own mind, my Prince? - -PRINCE. I harbour but a single thought---- - -STEPMOTHER. Of little Swanwhite? - -PRINCE. She is too young for me, you mean? - -STEPMOTHER. Grey hairs and common sense belong together as a rule--I -have a girl with common sense---- - -PRINCE. And I grey hairs? - -STEPMOTHER. He knows it not, believes it not! Come, maids! Come, Signe, -Elsa, Tova! Let's have a good laugh at the young suitor and his grey -hairs! - - _The_ MAIDS _begin to laugh. The_ STEPMOTHER _joins in_. - -PRINCE. Where is Swanwhite? - -STEPMOTHER. Follow in her traces--here is one! - - [_She hands him a parchment covered with writing_. - -PRINCE. [_Reading_] And she wrote this? - -STEPMOTHER. You know her hand--what has it written? - -PRINCE. That she hates me, and loves another--that she has played with -me; that she will throw my kisses to the wind, and to the swine my -heart--To die is now my will! Now I am dead! - -STEPMOTHER. A knight dies not because a wench has played with him. He -shows himself a man and takes another. - -PRINCE. Another? When there is only one? - -STEPMOTHER. No, two, at least! My Magdalene possesses seven barrels -full of gold. - -PRINCE. Seven? - -STEPMOTHER. And more. [_Pause_. - -PRINCE. Where is Swanwhite? - -STEPMOTHER. My Magdalene is skilled in many crafts---- - -PRINCE. Including witchcraft? - -STEPMOTHER. She knows how to bewitch a princeling. - -PRINCE. [_Gazing at the parchment_] And this was written by my -Swanwhite? - -STEPMOTHER. My Magdalene would never write like that. - -PRINCE. And she is kind? - -STEPMOTHER. Kindness itself! She does not play with sacred feelings, -nor seek revenge for little wrongs, and she is faithful to the one she -likes. - -PRINCE. Then she must be beautiful. - -STEPMOTHER. Not beautiful! - -PRINCE. She is not kind then.--Tell me more of her! - -STEPMOTHER. See for yourself. - -PRINCE. Where? - -STEPMOTHER. Here. - -PRINCE. And this has Swanwhite written----? - -STEPMOTHER. My Magdalene had written with more feeling - -PRINCE. What would she have written? - -STEPMOTHER. That---- - -PRINCE. Speak the word! Say "love," if you are able! - -STEPMOTHER. Lub! - -PRINCE. You cannot speak the word! - -STEPMOTHER. Lud! - -PRINCE. Oh, no! - -STEPMOTHER. My Magdalene can speak it. May she come? - -PRINCE. Yes, let her come. - -STEPMOTHER. [_Rising and speaking to the_ MAIDS] Blindfold the prince. -Then in his arms we'll place a princess that is without a paragon in -seven kingdoms. - - SIGNE _steps forward and covers the eyes of the_ PRINCE _with a - bandage_. - -STEPMOTHER. [_Clapping her hands_] Well--is she not coming? - -_The peacock makes a rattling noise with his bill; the doves begin to -coo_. - -STEPMOTHER. What is the matter? Does my art desert me? Where is the -bride? - - _Four_ MAIDS _enter from the rear, carrying baskets of white - and pink roses. Music is heard from above. The_ MAIDS _go up to - the bed and scatter roses over it_. - - _Then come_ TWO KNIGHTS _with closed visors. They take the_ - PRINCE _between them toward the rear, where they meet the - false_ MAGDALENE, _escorted by two ladies. The bride is deeply - veiled_. - - _With a gesture of her hand the_ STEPMOTHER _bids all depart - except the bridal couple. She herself leaves last of all, after - she has closed the curtains and locked the gates_. - -PRINCE. Is this my bride? - -FALSE MAGDALENE. Who is your bride? - -PRINCE. I have forgot her name. Who is your bridegroom? - -FALSE MAGDALENE. He whose name may not be mentioned. - -PRINCE. Tell, if you can. - -FALSE MAGDALENE. I can, but will not. - -PRINCE. Tell, if you can! - -FALSE MAGDALENE. Tell my name first! - -PRINCE. It's seven barrels full of gold, and crooked back, and grim, -and hare-lipped! What's my name? Tell, if you can! - -FALSE MAGDALENE. Prince Greyhead! - -PRINCE. You're right! - - _The_ FALSE MAGDALENE _throws, off her veil, and_ SWANWHITE - _stands revealed_. - -SWANWHITE. [_Dressed in a white garment, with a wreath of roses on her -hair_] Who am I now? - -PRINCE. You are a rose! - -SWANWHITE. And you a violet! - -PRINCE. [_Taking off the bandage_] You are Swanwhite! - -SWANWHITE. And you--are---- - -PRINCE. Hush! - -SWANWHITE. You're mine! - -PRINCE. But you--you left me--left my kisses---- - -SWANWHITE. I have returned--because I love you! - -PRINCE. And you wrote cruel words---- - -SWANWHITE. But cancelled them--because I love you.! - -PRINCE. You told me I was false. - -SWANWHITE. What matters it, when you are true--and when I love you? - -PRINCE. You wished that you were going to the king. - -SWANWHITE. But went to you instead, because I love you! - -PRINCE. Now let me hear what you reproach me with. - -SWANWHITE. I have forgotten it--because I love you! - -PRINCE. But if you love me, then you are my bride. - -SWANWHITE. I am! - -PRINCE. Then may the heavens bestow their blessing on our union! - -SWANWHITE. In dreamland! - -PRINCE. With your head upon my arm! - - _The_ PRINCE _leads_ SWANWHITE _to the bed, in which he places - his sword. Then she lies down on one side of the sword, and he - on the other. The colour of the clouds changes to a rosy red. - The rose-trees murmur. The harp plays softly and sweetly_. - -PRINCE. Good night, my queen! - -SWANWHITE. Good morning, O my soul's beloved!--I hear the beating of -your heart--I hear it sigh like billowing waters, like swift-flying -steeds, like wings of eagles--Give me your hand! - -PRINCE. And yours!--Now we take wing---- - -STEPMOTHER. [_Enters with the_ MAIDS, _who carry torches; all four have -become grey-haired_] I have to see that my task is finished ere the -duke returns. My daughter. Magdalene, is plighted to the prince--while -Swanwhite lingers in the tower--[_Goes to the bed_] They sleep already -in each other's arms--you bear me witness, maids! - - _The_ MAIDS _approach the bed_. - -STEPMOTHER. What do I see? Each one of you is grey-haired! - -SIGNE. And so are you, Your Grace! - -STEPMOTHER. Am I? Let me see! - - ELSA _holds a mirror in front of her_. - -STEPMOTHER. This is the work of evil powers!--And then, perhaps, the -prince's hair is dark again?--Bring light this way! - - _The_ MAIDS _hold their torches so that the light from them - falls on the sleeping couple_. - -STEPMOTHER. Such is the truth, indeed!--How beautiful they -look!--But--the sword! Who placed it there--the sword that puts at -naught their plighted troth? - - _She tries to take away the sword, but the_ PRINCE _clings to - it without being wakened_. - -SIGNE. Your Grace--here's deviltry abroad! - -STEPMOTHER. What is it? - -SIGNE. This is not Lady Magdalene. - -STEPMOTHER. Who is it, then? My eyes need help. - -SIGNE. 'Tis Lady Swanwhite. - -STEPMOTHER. Swanwhite?--Can this be some delusion of the devil's -making, or have I done what I least wished? - - _The_ PRINCE _turns his head in his sleep so that his lips meet - those of_ SWANWHITE. - -STEPMOTHER. [_Touched by the beautiful sight_] No sight more beautiful -have I beheld!--Two roses brought together by the wind; two falling -stars that join in downward flight--it is too beautiful!--Youth, -beauty, innocence, and love! What memories, sweet memories--when I was -living in my father's home--when I was loved by _him_, the youth whom -never I called mine--What did I say I was? - -SIGNE. That you were loved by him, Your Grace. - -STEPMOTHER. Then I did speak the mighty word. Be-loved--so he named me -once--"beloved"--ere he started for the war--[_Lost in thoughts_] It -was the last of him.--And so I had to take the one I couldn't bear.--My -life is drawing to its close, and I must find my joy in happiness -denied myself! I should rejoice--at others' happiness--Some kind of -joy, at least--at other people's love--Some kind of love, at least--But -there's my Magdalene? What joy for her? O, love omnipotent--eternally -creative Lord--how you have rendered soft this lion heart! Where is my -strength? Where is my hatred--my revenge? [_She seats herself and looks -long at the sleeping couple_] A song runs through my mind, a song of -love that _he_ was singing long ago, that final night-- [_She rises as -if waking out of a dream and flies into a rage; her words come with a -roar_] Come hither, men! Here, Steward, Castellan, and Gaoler--all of -you! [_She snatches the sword out of the bed and throws it along the -floor toward the rear_] Come hither, men! - - _Noise is heard outside; the men enter as before_. - -STEPMOTHER. Behold! The prince, the young king's vassal, has defiled -his master's bride! You bear me witness to the shameful deed! Put -chains and fetters on the traitor and send him to his rightful lord! -But in the spiked cask put the hussy. [_The_ PRINCE and SWANWHITE _wake -up_] Equerry! Gaoler! Seize the prince! - - _The_ EQUERRY _and the_ GAOLER _lay hands on the_ PRINCE. - -PRINCE. Where is my sword? I fight not against evil, but for innocence! - -STEPMOTHER. Whose innocence? - -PRINCE. My bride's. - -STEPMOTHER. The hussy's innocence! Then prove it! - -SWANWHITE. Oh, mother, mother! - - _The white swan flies by outside_. - -STEPMOTHER. Maids, bring shears! I'll cut the harlot's hair! - - SIGNE _hands her a pair of shears_. - -STEPMOTHER. [_Takes hold of_ SWANWHITE _by the hair and starts to cut -it, but she cannot bring the blades of the shears together]_ Now I'll -cut off your beauty and your love! [_Suddenly she is seized with panic, -which quickly spreads to the men and the three_ MAIDS] Is the enemy -upon us? Why are you trembling? - -SIGNE. Your Grace, the dogs are barking, horses neighing--it means -that visitors are near. - -STEPMOTHER. Quick, to the bridges, all of you! Man the ramparts! Fall -to with flame and water, sword and axe! - - _The_ PRINCE _and_ SWANWHITE _are left alone_. - -GARDENER. [_Appears from behind the table; in one hand he carries -a rope, the_ DUKE'S _horn in the other_] Forgiveness for those who -sin; for those who sorrow, consolation; and hope for those who are -distressed! - -SWANWHITE. My father's horn! Then help is near! But--the prince? - -GARDENER. The prince will follow me. A secret passage, underground, -leads to the shore. There lies his bark. The wind is favourable! Come! - - [_The_ GARDENER _and the_ PRINCE _go out._ SWANWHITE _alone, - blows the horn. An answering signal is heard in the distance. - The_ GAOLER _enters with the spiked cask_. SWANWHITE _blows the - horn again. The answer is heard much nearer_. - - _The_ DUKE _enters. He and_ SWANWHITE _are alone on the stage_. - -DUKE. My own beloved heart, what is at stake? - -SWANWHITE. Your own child, father!--Look--the spiked cask over there! - -DUKE. How has my child transgressed? - -SWANWHITE. The prince's name I learned, by love instructed--spoke -it--came to hold him very dear. - -DUKE. That was no capital offence. What more? - -SWANWHITE. At his side I slept, the sword between us---- - -DUKE. And still there was no capital offence, though I should hardly -call it wise--And more? - -SWANWHITE. No more! - -DUKE. [_To the_ GAOLER, _pointing to the spiked cask_] Away with it! -[_To_ SWANWHITE] Well, child, where is the prince? - -SWANWHITE. He's sailing homeward in his bark. - -DUKE. Now, when the tide is battering the shore?--Alone? Swanwhite. -Alone! What is to happen? - -DUKE. The Lord alone can tell! - -SWANWHITE. He's in danger? - -DUKE. Who greatly dares has sometimes luck. - -SWANWHITE. He ought to have! - -DUKE. He will, if free from guilt! - -SWANWHITE. He is! More than I am! - -STEPMOTHER. [_Entering_] How came you here! - -DUKE. A shortcut brought me--I could wish it had been shorter still. - -STEPMOTHER. Had it been short enough, your child had never come to harm. - -DUKE. What kind of harm? - -STEPMOTHER. The one for which there is no cure. - -DUKE. And you have proofs? - -STEPMOTHER. I've valid witnesses. - -DUKE. Then call my butler. - -STEPMOTHER. He does not know. - -DUKE. [_Shaking his sword at her_] Call my butler! - - _The_ STEPMOTHER _trembles. Then she claps her hands four times - together_. - - _The_ BUTLER _enters_. - -DUKE. Have made a pie of venison, richly stuffed with onions, parsley, -fennel, cabbage--and at once! - - _The_ BUTLER _steals a sidelong glance at the_ STEPMOTHER. - -DUKE. What are you squinting at? Be quick! - - _The_ BUTLER _goes out_. - -DUKE. [_To the_ STEPMOTHER] Now call the master of my pleasure-garden. - -STEPMOTHER. He does not know! - -DUKE. And never will! But he must come! Call, quick! - - _The_ STEPMOTHER _claps her hands six times_. - - _The_ FLOWER GARDENER _enters_. - -DUKE. Three lilies bring: one white, one red, one blue. - - _The_ GARDENER _looks sideways at the_ STEPMOTHER. - -DUKE. Your head's at stake! - - _The_ GARDENER _goes out_. - -DUKE. Summon your witnesses! - - _The_ STEPMOTHER _claps her hands once_. - - SIGNE _enters_. - -DUKE. Tell what you know--but choose your words! What have you seen? - -SIGNE. I have seen Lady Swanwhite and the prince together in one bed. - -DUKE. With sword between? - -SIGNE. Without. - -DUKE. I can't believe it!--Other witnesses? - - _The_ TWO KNIGHTS _enter_. - -DUKE. Were these the groomsmen?--Tell your tale. - -FIRST KNIGHT. The Lady Magdalene I have escorted to her bridal couch. - -SECOND KNIGHT. The Lady Magdalene I have escorted to her bridal couch. - -DUKE. What's that? A trick, I trow--that caught the trickster!--Other -witnesses? - - ELSA _enters_. - -DUKE. Tell what you know. - -ELSA. I swear by God, our righteous judge, that I have seen the prince -and Lady Swanwhite fully dressed and with a sword between them. - -DUKE. One for, and one against--two not germane.--I leave it to the -judgment of the Lord!--The flowers will speak for him. - -TOVA. [_Enters_] My gracious master--noble lord! - -DUKE. What do you know? - -TOVA. I know my gracious mistress innocent. - -DUKE. O, child--so you know that! Then teach us how to know it too. - -TOVA. When I am saying only what is true---- - -DUKE. No one believes it! But when Signe tells untruth, we must -believe!--And what does Swanwhite say herself? Her forehead's purity, -her steady glance, her lips' sweet innocence--do they not speak aloud -of slander? And "slander" is the verdict of a father's eye.--Well -then--Almighty God on high shall give his judgment, so that human -beings may believe! - - _The_ FLOWER GARDENER _enters carrying three lilies placed in - three tall and narrow vases of glass. The_ DUKE _places the - flowers in a semicircle on the table. The_ BUTLER _enters with - a huge dish containing a steaming pie_. - -DUKE. [_Placing the dish within the semicircle formed by the three -flowers_] The white one stands for whom? - -ALL. [_Except_ SWANWHITE. _and the_ STEPMOTHER] For Swanwhite. - -DUKE. The red one stands for whom? - -ALL. [As _before_] The prince. - -DUKE. For whom the blue one? - -ALL. [As _before_] The youthful king. - -DUKE. Well, Tova--child who still has faith in innocence because you -too are innocent--interpret now for us the judgment of the Lord--tell -us the gentle secrets of these flowers. - -TOVA. The evil part I cannot utter. - -DUKE. I will. What's good I'll leave for you.--As the steam from the -blood of the prurient beast rises upward--as upward the smell of the -passionate spices is mounting--what see you? - -TOVA. [_Gazing at the three lilies_] The white one folds its blossom to -protect itself against defilement. That is Swanwhite's flower. - -ALL. Swanwhite is innocent. - -TOVA. The red one, too--the prince's lily--closes its head--but the -blue one, which stands for the king, flings wide its gorge to drink the -lust-filled air. - -DUKE. You've told it right! What more is there to see? - -TOVA. I see the red flower bend its head in reverent love before the -white one, while the blue one writhes with envious rage. - -DUKE. You've spoken true!--For whom is Swanwhite then? - -TOVA. For the prince, because more pure is his desire, and therefore -stronger, too. - -ALL. [_Except_ SWANWHITE _and the_ STEPMOTHER] Swanwhite for the prince! - -SWANWHITE. [_Throwing herself into her father's arms_] O, father! - -DUKE. Call back the prince! Let every trump and bugle summon him. Hoist -sail on every bark! But first of all--the spiked cask is for whom? - - _All remain silent_. - -DUKE. Then I will say it: for the duchess; for the arch-liar and -bawd!--Know, evil woman, that though nothing else be safe against your -tricks, they cannot conquer love!--Go--quick--begone! - - _The_ STEPMOTHER _makes a gesture which for a moment seems to - stun the_ DUKE. - -DUKE. [_Draws his sword and turns the point of it toward the_ -STEPMOTHER, _having first seated_ SWANWHITE _on his left shoulder_] -A-yi, you evil one! My pointed steel will outpoint all your tricks! - - _The_ STEPMOTHER _withdraws backward, dragging her legs behind - her like a panther_. - -DUKE. Now for the prince! - - _The_ STEPMOTHER _stops on the balcony, rigid as a statue. She - opens her mouth as if she were pouring out venom_. - - _The peacock and the doves fall down dead. Then the_ STEPMOTHER - _begins to swell. Her clothes become inflated to such an extent - that they hide her head and bust entirely. They seem to be - flaming with a pattern of interwoven snakes and branches. The - sun is beginning to rise outside. The ceiling sinks slowly into - the room, while smoke and fire burst from the fireplace_. - -DUKE. [_Raising the cross-shaped handle of his sword toward the_ -STEPMOTHER] Pray, people, pray to Christ, our Saviour! - -ALL. Christ have mercy! - - _The ceiling resumes its ordinary place. The smoke and fire - cease. A noise is heard outside, followed by the hum of many - voices_. - -DUKE. What new event is this? - -SWANWHITE. I know! I see!--I hear the water dripping from his hair; I -hear the silence of his heart, the breath that comes no more--I see -that he is dead! - -DUKE. Where do you see--and whom? - -SWANWHITE. Where?--But I see it! - -DUKE. I see nothing. - -SWANWHITE. As they must come, let them come quick! - - _Four little girls enter with baskets out of which they scatter - white lilies and hemlock twigs over the floor. After them come - four pages ringing silver bells of different pitch. Then comes - a priest carrying a large crucifix. Then, the golden bier, with - the body of the_ PRINCE, _covered by a white sheet, on which - rest white and pink roses. His hair is dark again. His face is - youthful, rosy, and radiantly beautiful. There is a smile on - his lips_. - - _The harp begins to play. The sun rises completely. The magic - bubble around the_ STEPMOTHER _bursts, and she appears once - more in her customary shape_. - - _The bier is placed in the middle of the floor, so that the - rays of the rising sun fall on it_. - - SWANWHITE _throws herself on her knees beside the bier and - covers the_ PRINCE'S _face with kisses_. - - _All present put their hands to their faces and weep_. - - _The_ FISHERMAN _has entered behind the bier_. - -DUKE. The brief tale tell us, fisherman---- - -FISHERMAN. Does it not tell itself, my noble lord?--The young prince -had already crossed the strait, when, seized by violent longing for -his love, he started to swim back, in face of tide and wave and -wind--because his bark seemed rudder-less.--I saw his young head breast -the billows, I heard him cry her name--and then his corpse was gently -dropped upon the white sand at my feet. His hair had turned to grey -that night when he slept in the tower; sorrow and wrath had blanched -his cheeks; his lips had lost their power of smiling.--Now, when -death o'ertook him, beauty and youth came with it. Like wreaths his -darkening locks fell round his rosy cheeks; he smiled--and see!--is -smiling still. The people gathered on the shore, awed by the gentle -spectacle--and man said unto man: lo, this is love! - -SWANWHITE. [_Lying down beside the body of the_ PRINCE] He's dead; his -heart will sing no more; his eyes no longer will light up my life; -his breath will shed its dew on me no more. He smiles, but not toward -me--toward heaven he smiles. And on his journey I shall bear him -company. - -DUKE. Kiss not a dead man's lips--there's poison in them! - -SWANWHITE. Sweet poison if it bring me death--that death in which I -seek my life! - -DUKE. They say, my child, the dead cannot gain union by willing it; -and what was loved in life has little worth beyond. - -SWANWHITE. And love? Should then its power not extend to the other side -of death? - -DUKE. Our wise men have denied it. - -SWANWHITE. Then he must come to me--back to this earth. O gracious -Lord, please let him out of heaven again! - -DUKE. A foolish prayer! - -SWANWHITE. I cannot pray--woe's me! The evil eye still rules this place. - -DUKE. You're thinking of the monster which the sunbeams pricked. The -stake for her--let her without delay be burned alive! - -SWANWHITE. Burn her?--Alive?--Oh, no! Let her depart in peace! - -DUKE. She must be burned alive! You, men, see that the pyre is raised -close to the shore, and let the winds play with her ashes! - -SWANWHITE. [_On her knees before the_ DUKE] No, no--I pray you, though -she was my executioner: have mercy on her! - -STEPMOTHER. [_Enters, changed, freed from the evil powers that have -held her in their spell_] Mercy! Who spoke the sacred word? Who poured -her heart in prayer for me? - -SWANWHITE. I did--your daughter--mother! - -STEPMOTHER. O, God in heaven, she called me mother!--Who taught you -that? - -SWANWHITE. Love did! - -STEPMOTHER. Then blessed be love which can work miracles like -that!--But, child, then it must also have the power to make the dead -return out of the darkling realms of death!--I cannot do it, having not -received the grace of love. But you! - -SWANWHITE. Poor me--what can I do? - -STEPMOTHER. You can forgive, and you can love--Well, then, my little -Lady Almighty, you can do anything!--Be taught by me who have no power -at all. Go, cry the name of your beloved, and put your hand above his -heart! Then, with the help of the Supreme One--calling none but Him for -helper--your beloved will hear your voice--if you believe! - -SWANWHITE. I do believe--I will it--and--I pray for it! - -_She goes up to the_ PRINCE, _places one of her hands over his heart, -and raises the other toward the sky. Then she bends down over him -and whispers something into his ear. This she repeats three times in -succession. At the third whisper the_ PRINCE _wakes up_. SWANWHITE -_throws herself at his breast. All kneel in praise and thanksgiving. -Music_. - -_Curtain_. - - - - -SIMOOM - -(SAMUM) - -1890 - - - CHARACTERS - - BISKRA, _an Arabian girl_ - YUSUF, _her lover_ - GUIMARD, _a lieutenant of Zouaves_ - - _The action takes place in Algeria at the present time_. - - - - -SIMOOM - - - _The inside of a marabout, or shrine. In the middle of the - floor stands a sarcophagus forming the tomb of the Mohammedan - saint (also called "marabout") who in his lifetime occupied the - place. Prayer-rugs are scattered over the floor. At the right - in the rear is an ossuary, or charnel-house._ - - _There is a doorway in the middle of the rear wall. It is - closed with a gate and covered by a curtain. On both sides of - the doorway are loopholes. Here and there on the floor are seen - little piles of sand. An aloe plant, a few palm leaves and some - alfa grass are thrown together on one spot_. - - * * * * * - -FIRST SCENE - - - BISKRA _enters. The hood of her burnous is pulled over her head - so that it almost covers her face. She carries a guitar at her - back. Throwing herself down in a kneeling position on one of - the rugs, she begins to pray with her arms crossed over her - breast. A high wind is blowing outside_. - -BISKRA. Lâ ilâhâ illâ 'llâh! - -YUSUF. [_Enters quickly_] The Simoom is coming! Where is the Frank? - -BISKRA. He'll be here in a moment. - -YUSUF. Why didn't you stab him when you had a chance? - -BISKRA. Because he is to do it himself. If I were to do it, our whole -tribe would be killed, for I am known to the Franks as Ali, the guide, -though they don't know me as Biskra, the maiden. - -YUSUF. He is to do it himself, you say? How is that to happen? - -BISKRA. Don't you know that the Simoom makes the brains of the white -people dry as dates, so that they have horrible visions which disgust -them with life and cause them to flee into the great unknown? - -YUSUF. I have heard of such things, and in the last battle there were -six Franks who took their own lives before the fighting began. But do -not place your trust in the Simoom to-day, for snow has fallen in the -mountains, and the storm may be all over in half an hour.--Biskra! Do -you still know how to hate? - -BISKRA. If I know how to hate?--My hatred is boundless as the desert, -burning as the sun, and stronger than my love. Every hour of joy that -has been stolen from me since the murder of Ali has been stored up -within me like the venom back of a viper's tooth, and what the Simoom -cannot do, that I can do. - -YUSUF. Well spoken, Biskra, and the task shall be yours. Ever since my -eyes first fell upon you, my own hatred has been withering like alfa -grass in the autumn. Take strength from me and become the arrow to my -bow. - -BISKRA. Embrace me, Yusuf, embrace me! - -YUSUF. Not here, within the presence of the Sainted one; not -now--later, afterward, when you have earned your reward! - -BISKRA. You proud sheikh! You man of pride! - -YUSUF. Yes--the maiden who is to carry my offspring under her heart -must show herself worthy of the honour. - -BISKRA. I--no one but I--shall bear the offspring of Yusuf! I, -Biskra--the scorned one, the ugly one, but the strong one, too! - -YUSUF. All right! I am now going to sleep beside the spring.--Do I -need to teach you more of the secret arts which you learned from -Sidi-Sheikh, the great marabout, and which you have practised at fairs -ever since you were a child? - -BISKRA. Of that there is no need. I know all the secrets needed to -scare the life out of a cowardly Frank.--The dastard who sneaks upon -the enemy and sends the leaden bullet ahead of himself! I know them -all--even the art of letting my voice come out of my belly. And what is -beyond my art, that will be done by the sun, for the sun is on the side -of Yusuf and Biskra. - -YUSUF. The sun is a friend of the Moslem, but not to be relied upon. -You may get burned, girl!--Take a drink of water first of all, for I -see that your hands are shrivelled, and---- - - _He lifts up one of the rugs and steps down into a sort of - cellar, from which he brings back a bowl filled with water; - this he hands to_ BISKRA. - -BISKRA. [_Raising the bowl to her mouth_] And my eyes are already -beginning to see red--my lungs are parching--I hear--I hear--do you -see how the sand is sifting through the roof--the strings of my guitar -are crooning--the Simoom is here! But the Frank is not! - -YUSUF. Come down here, Biskra, and let the Frank die by himself. - -BISKRA. First hell, and then death! Do you think I'll weaken? [_Pours -the water on one of the sand piles_] I'll water the sand, so that -revenge may grow out of it, and I'll dry up my heart. Grow, O hatred! -Burn, O sun! Smother, O wind! - -YUSUF. Hail to you, mother of Ben Yusuf--for you are to bear the son of -Yusuf, the avenger--you! - - -_The wind is increasing. The curtain in front of the door begins to -flap. A red glimmer lights up the room, but changes into yellow during -the ensuing scene_. - - -BISKRA. The Frank is coming, and--the Simoom is here!--Go! - -YUSUF. In half an hour you shall see me again. [_Pointing toward a sand -pile_] There is your hour-glass. Heaven itself is measuring out the -time for the hell of the infidels! - - [_Goes down into the cellar_. - - - -SECOND SCENE - - - BISKRA. GUIMARD _enters looking very pale; he stumbles, his - mind is confused, and he speaks in a low voice_. - -GUIMARD. The Simoom is here!--What do you think has become of my men? - -BISKRA. I led them west to east. - -GUIMARD. West--to east!--Let me see!--That's straight east--and -west!--Oh, put me on a chair and give me some water! - -BISKRA. [_Leads_ GUIMARD _to one of the sand piles and makes him lie -down on the floor with his feet on the sand_] Are you comfortable now? - -GUIMARD. [_Staring at her_] I feel all twisted up. Put something under -my head. - -BISKRA. [_Piling the sand higher under his feet_] There's a pillow for -your head. - -GUIMARD. Head? Why, my feet are down there--Isn't that my feet? - -BISKRA. Of course! - -GUIMARD. I thought so. Give me a stool now--under my head. - -BISKRA. [_Pulls out the aloe plant and pushes it under Guimard's legs_] -There's a stool for you. - -GUIMARD. And then water!--Water! - -BISKRA. [_Fills the empty bowl with sand and hands it to_ GUIMARD] -Drink while it's cold. - -GUIMARD. [_Putting his lips to the bowl_] It is cold--and yet it does -not still my thirst! I cannot drink it--I abhor water--take it away! - -BISKRA. There's the dog that bit you! - -GUIMARD. What dog? I have never been bitten by a dog. - -BISKRA. The Simoom has shrivelled up your memory--beware the delusions -of the Simoom! Don't you remember the mad greyhound that bit you during -the last hunt at Bab-el-Wad? - -GUIMARD. The hunt at Bab-el-Wad? That's right!--Was it a -beaver-coloured----? - -BISKRA. Bitch? Yes.--There you see. And she bit you in the calf. Can't -you feel the sting of the wound? - -GUIMARD. [_Reaches out a hand to feel his calf and pricks himself on -the aloe_] Yes, I can feel it.--Water! Water! - -BISKRA. [_Handing him the sand-filled bowl_] Drink, drink! - -GUIMARD. No, I cannot! Holy Mother of God--I have rabies! - -BISKRA. Don't be afraid! I shall cure you, and drive out the demon by -the help of music, which is all-powerful. Listen! - -GUIMARD. [_Screaming_] Ali! Ali! No music; I can't stand it! And how -could it help me? - -BISKRA. If music can tame the treacherous spirit of the snake, don't -you think it may conquer that of a mad dog? Listen! [_She sings and -accompanies herself on the guitar_] Biskra-biskra, Biskra-biskra, -Biskra-biskra! Simoom! Simoom! - -YUSUF. [_Responding from below_] Simoom! Simoom! - -GUIMARD. What is that you are singing, Ali? - -BISKRA. Have I been singing? Look here--now I'll put a palm-leaf in my -mouth. [_She puts a piece of leaf between her teeth; the song seems to -be coming from above_] Biskra-biskra, Biskra-biskra, Biskra-biskra! - -YUSUF. [_From below_] Simoom! Simoom! - -GUIMARD. What an infernal jugglery! - -BISKRA. Now I'll sing! - -BISKRA and YUSUF. [_Together_] Biskra-biskra, Biskra-biskra, -Biskra-biskra! Simoom! - -GUIMARD. [_Rising_] What are you, you devil who are singing with two -voices? Are you man or woman? Or both? - -BISKRA. I am Ali, the guide. You don't recognise me because your senses -are confused. But if you want to be saved from the tricks played by -sight and thought, you must believe in me--believe what I say and do -what I tell you. - -GUIMARD. You don't need to ask me, for I find everything to be as you -say it is. - -BISKRA. There you see, you worshipper of idols! - -GUIMARD. I, a worshipper of idols? - -BISKRA. Yes, take out the idol you carry on your breast. - - GUIMARD _takes out a locket_. - -BISKRA. Trample on it now, and then call on the only God, the Merciful -One, the Compassionate One! - -GUIMARD. [_Hesitating_] Saint Edward--my patron saint? - -BISKRA. Can he protect you? Can he? - -GUIMARD. No, he cannot!--[_Waking up_] Yes, he can! - -BISKRA. Let us see! - - _She opens the gate; the curtain flaps and the grass on the - floor moves_. - -GUIMARD. [_Covering his mouth_] Close the door! - -BISKRA. Throw down the idol! - -GUIMARD. No, I cannot. - -BISKRA. Do you see? The Simoom does not bend a hair on me, but you, the -infidel one, are killed by it! Throw down the idol! - -GUIMARD. [_Throws the locket on the floor_] Water! I die! - -BISKRA. Pray to the Only One, the Merciful and Compassionate One! - -GUIMARD. How am I to pray? - -BISKRA. Repeat after me. - -GUIMARD. Speak on! - -BISKRA. There is only one God: there is no other God but He, the -Merciful, the Compassionate One! - -GUIMARD. "There is only one God: there is no other God but He, the -Merciful, the Compassionate One." - -BISKRA. Lie down on the floor. - - GUIMARD _lies down unwillingly_. - -BISKRA. What do you hear? - -GUIMARD. I hear the murmuring of a spring. - -BISKRA. There you see! God is one, and there is no other God but He, -the Merciful and Compassionate One!--What do you see? - -GUIMARD. I can hear a spring murmur--I can see the light of a lamp--in -a window with green shutters--on a white street---- - -BISKRA. Who is sitting at the window? - -GUIMARD. My wife--Elise! - -BISKRA. Who is standing behind the curtain with his arm around her neck? - -GUIMARD. That's my son, George. - -BISKRA. How old is your son? - -GUIMARD. Four years on the day of Saint Nicholas. - -BISKRA. And he can already stand behind the curtain with his arm around -the neck of another man's wife? - -GUIMARD. No, he cannot--but it is he! - -BISKRA. Four years old, you say, and he has a blond mustache? - -GUIMARD. A blond mustache, you say?--Oh, that's--my friend Jules. - -BISKRA. Who is standing behind the curtain with his arm around your -wife's neck? - -GUIMARD. Oh, you devil! - -BISKRA. Do you see your son? - -GUIMARD. No, I don't see him any longer. - - BISKRA. [_Imitates the tolling of bells on the guitar_] What do - you see now? - -GUIMARD. I see bells ringing--I taste dead bodies--their smell in my -mouth is like rancid butter--faugh! - -BISKRA. Can't you hear the priest chanting the service for a dead child? - -GUIMARD. Wait!--I cannot hear--[_Wistfully_] But do you want me -to?--There!--I can hear it! - -BISKRA. Do you see the wreath on the coffin they are carrying? - -GUIMARD. Yes---- - -BISKRA. There are violet ribbons on it--and there are letters printed -in silver--"Farewell, my darling George--from your father." - -GUIMARD. Yes, that's it! [_He begins to cry_] My George! O George, my -darling boy!--Elise--wife--can't you console me?--Oh, help me! [_He is -groping around_] Elise, where are you? Have you left me? Answer! Call -out the name of your love! - -A VOICE. [_Coming from the roof_] Jules! Jules! - -GUIMARD. Jules! But my name is--what is my name? It is Charles! And she -is calling Jules! Elise--my beloved wife--answer me--for your spirit -is here--I can feel it--and you promised never to love anybody else---- - - _The_ VOICE _is heard laughing_. - -GUIMARD. Who is laughing? - -BISKRA. Elise--your wife. - -GUIMARD. Oh, kill me! I don't want to live any longer! Life sickens -me like sauerkraut at Saint-Doux--You there--do you know what -Saint-Doux is? Lard! [_He tries to spit_] Not a drop of saliva -left!--Water--water--or I'll bite you! - - _The wind outside has risen to a full storm_. - -BISKRA. [_Puts her hand to her mouth and coughs_] Now you are dying, -Frank! Write down your last wishes while there is still time--Where is -your note-book? - -GUIMARD. [_Takes out a note-book and a pencil_] What am I to write? - -BISKRA. When a man is to die, he thinks of his wife--and his child! - -GUIMARD. [_Writes_] "Elise--I curse you! Simoom--I die----" - -BISKRA. And then sign it, or it will not be valid as a testament. - -GUIMARD. What shall I sign? - -BISKRA. Write: Lâ ilâha illâ 'llâh. - -GUIMARD. [_Writing_] It is written.--And can I die now? - -BISKRA. Now you can die--like a craven soldier who has deserted his -people! And I am sure you'll get a handsome burial from the jackals -that will chant the funeral hymn over your corpse. [_She drums the -signal for attack on the guitar_] Can you hear the drums--the attack -has begun--on the Faithful, who have the sun and the Simoom on their -side--they are now advancing--from their hiding-places--[_She makes a -rattling noise on the guitar_] The Franks are firing along the whole -line--they have no chance to load again--the Arabs are firing at their -leisure--the Franks are flying! - -GUIMARD. [_Rising_] The Franks never flee! - -BISKRA. The Franks will flee when they hear the call to retreat. - - [_She blows the signal for "retreat" on a flute which she has - produced from under her burnoose_. - -GUIMARD. They are retreating--that's the signal--and I am here--[_He -tears off his epaulets_] I am dead! - - [_He falls to the ground_. - -BISKRA. Yes, you are dead!--And you don't know that you have been dead -a long time. - - [_She goes to the ossuary and takes from it a human skull_. - -GUIMARD. Have I been dead? - - [_He feels his face with his hands_. - -BISKRA. Long! Long!--Look at yourself in the mirror here! [_She holds -up the skull before him_. - -GUIMARD. Ah! That's me! - -BISKRA. Can't you see your own high cheek-bones? Can't you see the eyes -that the vultures have picked out? Don't you know that gap on the right -side of the jaw where you had a tooth pulled? Can't you see the hollow -in the chin where, grew the beard that your Elise was fond of stroking? -Can't you see where used to be the ear that your George kissed at -the breakfast-table? Can't you see the mark of the axe--here in the -neck--which the executioner made when he cut off the deserter's head---- - - GUIMARD, _who has been watching her movements and listening to - her words with evident horror, sinks down dead_. - -BISKRA. [_Who has been kneeling, feels his pulse; then she rises and -sings_] Simoom! Simoom! [_She opens both gates; the curtain flutters -like a banner in the wind; she puts her hand up to her mouth and falls -over backward, crying_] Yusuf! - - - -THIRD SCENE - - - BISKRA. GUIMARD (_dead_). YUSUF _comes out of the cellar_. - - -YUSUF. [_Having examined the body of_ GUIMARD, _he looks for_ BISKRA] -Biskra! [_He discovers her and takes her up in his arms_] Are you alive? - -BISKRA. Is the Frank dead? - -YUSUF. If he is not, he will be. Simoom! Simoom! - -BISKRA. Then I live! But give me some water! - -YUSUF. [_Carrying her toward the cellar_] Here it is!--And now Yusuf is -yours! - -BISKRA. And Biskra will be your son's mother, O Yusuf, great Yusuf! - -YUSUF. My strong Biskra! Stronger than the Simoom! - -_Curtain_. - - - - -DEBIT AND CREDIT - -(DEBET OCH KREDIT) - -AN ACT - -1893 - - - CHARACTERS - - AXEL, _Doctor of Philosophy and African explorer_ - THURE, _his brother, a gardener_ - ANNA, _the wife of_ THURE - MISS CECILIA - THE FIANCÉ _of_ CECILIA - LINDGREN, _Doctor of Philosophy and former school-teacher_ - MISS MARIE - THE COURT CHAMBERLAIN - THE WAITER - - - -DEBIT AND CREDIT - -_A well-furnished hotel room. There are doors on both sides_. - - - -FIRST SCENE - - - THURE _and his_ WIFE. - -THURE. There's some style to this room, isn't there? But then the -fellow who lives here is stylish, too. - -WIFE. Yes, so I understand. Of course, I've never seen your brother, -but I've heard a whole lot. - -THURE. Oh, gossip! _My_ brother, the doctor, has gone right across -Africa, and that's something everybody can't do. So it doesn't matter -how many drinks he took as a young chap---- - -WIFE. Yes, your brother, the doctor! Who is nothing but a -school-teacher, for that matter---- - -THURE. No, he's a doctor of philosophy, I tell you---- - -WIFE. Well, that's nothing but one who teaches. And that's just what my -brother is doing in the school at Åby. - -THURE. Your brother is all right, but he is nothing but a public-school -teacher, and that's not the same as a doctor of philosophy--which isn't -a boast either. - -WIFE. Well, no matter what he is or what you call him, he has cost us a -whole lot. - -THURE. Of course it has been rather costly, but then he has brought us -a lot of pleasure, too. - -WIFE. Fine pleasures! When we've got to lose house and home for his -sake! - -THURE. That's so--but then we don't know yet if his slip-up on the loan -had some kind of cause that he couldn't help. I guess it isn't so easy -to send registered letters from darkest Africa. - -WIFE. Whether he has any excuses or not doesn't change the matter a -bit. But if he wants to do something for us--it's nothing more than he -owes us. - -THURE. Well, we'll see, we'll see!--Anyhow, have you heard they've -already given him four decorations? - -WIFE. Well, that doesn't help us any. I guess it'll only make him a -little more stuck-up. Oh, no, it'll be some time before I get over that -the sheriff had to come down on us with the papers--and bring in other -people as witnesses--and then--the auction--and all the neighbours -coming in and turning all we had upside down. And do you know what made -me sorer than all the rest? - -THURE. The black---- - -WIFE. Yes, it was that my sister-in-law should bid in my black silk -dress for fifteen crowns. Think of it--fifteen crowns! - -THURE. You just wait--just wait a little! We might get you a new silk -dress---- - -WIFE. [_Weeping_] But it'll never be the same one--the one my -sister-in-law bid in. - -THURE. We'll get another one then!--Now, just look at that gorgeous hat -over there! I guess it must be one of those royal chamberlains who's -talking with Axel now. - -WIFE. What do I care about that! - -THURE. Why, don't you think it's fun that a fellow who has the same -name as you and I gets to be so respected that the King's own household -people have to visit him? If I remember right, you were happy for a -whole fortnight when your brother, the school-teacher, had been asked -to dine at the bishop's. - -WIFE. I can't remember anything of the kind. - -THURE. Of course you can't! - -WIFE. But I do remember the fifteenth of March, when we had to leave -our place for his sake, and we hadn't been married more than two years, -and I had to carry away the child on my own arm--Oh!--and then, when -the steamer came with all the passengers on board just as we had to get -out--all the cocked hats in the world can't make me forget that! And, -for that matter, what do you think a royal chamberlain cares about a -plain gardener and his wife when they've just been turned out of house -and home? - -THURE. Look here! What do you think this is? Look at all his -decorations!--Look at this one, will you! - - _He takes an order out of its case, holds it in the palm of his - hand, and pats it as if it were a living thing_. - -WIFE. Oh, that silly stuff! - -THURE. Don't you say anything against them, for you never can tell -where you'll end. The gardener at Staring was made a director and a -knight on the same day. - -WIFE. Well, what does that help us? - -THURE. No, of course not--it doesn't help us--but these things here -[_pointing to the orders_] may help us a whole lot in getting another -place.--However, I think we've waited quite a while now, so we'd better -sit down and make ourselves at home. Let me help you off with your -coat--come on now! - -WIFE. [_After a slight resistance_] So you think we're going to be -welcome, then? I have a feeling that our stay here won't last very long. - -THURE. Tut, tut! And I think we're going to have a good dinner, too, if -I know Axel right. If he only knew that we're here--But now you'll -see! [_He presses a button and a_ WAITER _enters_] What do you want--a -sandwich, perhaps? [_To the_ WAITER] Bring us some sandwiches and -beer.--Wait a moment! Get a drink for me--the real stuff, you know! -[_The_ WAITER _goes out_] You've got to take care of yourself, don't -you know. - - - -SECOND SCENE - - - THURE _and his_ WIFE. AXEL. The CHAMBERLAIN. - -AXEL. [_To the_ CHAMBERLAIN] At five, then--in full dress, I suppose? - -CHAMBERLAIN. And your orders! - -AXEL. Is it necessary? - -CHAMBERLAIN. Absolutely necessary, if you don't want to seem rude, and -that's something which you, as a democrat, want least of all. Good-bye, -doctor! - -AXEL. Good-bye. - - _In leaving, the_ CHAMBERLAIN _bows slightly to_ THURE _and - his_ WIFE, _neither of whom returns the salute_. - - - -THIRD SCENE - - - AXEL. THURE _and his_ WIFE. - -AXEL. Oh, is that you, old boy?--It seems an eternity since I saw you -last. And this is your wife?--Glad to see you! - -THURE. Thanks, brother! And I wish you a happy return after your long -trip. - -AXEL. Yes, that was something of a trip--I suppose you have read about -it in the papers---- - -THURE. Oh, yes, I've read all about it. [_Pause_] And then father sent -you his regards. - -AXEL. Oh, is he still sore at me? - -THURE. Well, you know the old man and his ways. If only you hadn't been -a member of that expedition, you know, he would have thought it one of -the seven wonders of the world. But as you were along, of course, it -was nothing but humbug. - -AXEL. So he's just the same as ever! Simply because I am _his_ son, -nothing I ever do can be of any value. It means he can't think very -much of himself either.--Well, so much for that! And how are you -getting along nowadays? - -THURE. Not very well, exactly! There's that old loan from the bank, you -know---- - -AXEL. Yes, that's right! Well, what happened to it? - -THURE. Oh, what happened was that I had to pay it. - -AXEL. That's too bad! But we'll settle the matter as soon as we have a -chance. - - _The_ WAITER _comes in with_ THURE's _order on a tray_. - -AXEL. What's that? - -THURE. Oh, it was only me who took the liberty of ordering a couple of -sandwiches---- - -AXEL. Right you were! But I think we ought to have some wine, so I -could drink the health of my sister-in-law, as I couldn't get to the -wedding. - -THURE. Oh, no--not for us! Not so early in the morning! Thanks very -much! - -AXEL. [_Signals to the_ WAITER, _who goes out_] I should have asked you -to stay for dinner, but I have to go out myself. Can you guess where I -am going? - -THURE. You don't mean to say you're going to the Palace? - -AXEL. Exactly--I am asked to meet the Monarch himself. - -THURE. Lord preserve us!--What do you think of that, Anna? - - _His_ WIFE _turns and twists on her chair as if in torment, - quite unable to answer_. - -AXEL. I suppose the old man will turn republican after this, when he -hears that His Majesty cares to associate with me. - -THURE. See here, Axel--you'll have to pardon me for getting back to -something that's not very pleasant--but it has to be settled. - -AXEL. Is it that blessed old loan? - -THURE. Yes, but it isn't only that. To put it plain--we've had to stand -an execution for your sake, and now we're absolutely cleaned out. - -AXEL. That's a fine state of affairs! But why in the world didn't you -get the loan renewed? - -THURE. Well, that's it! How was I to get any new sureties when you were -away? - -AXEL. Couldn't you go to my friends? - -THURE. I did. And the result was--what it was. Can you help us out now? - -AXEL. How am I going to help you now? Now when all my creditors are -getting after me? And it won't do for me to start borrowing when they -are just about to make a position for me. There's nothing that hurts -you more than to borrow money. Just wait a little while, and we'll get -it all straightened out. - -THURE. If we're to wait, then everything's up with us. This is just the -time to get hold of a garden--this is the time to start digging and -sowing, if you are to get anything up in time. Can't you get a place -for us? - -AXEL. Where am I to get hold of a garden? - -THURE. Among your friends. - -AXEL. My friends keep no gardens. Now, don't you hamper me when I try -to get up on firm ground! When I am there I'll pull you up, too. - -THURE. [_To his_ WIFE] He doesn't want to help us, Anna! - -AXEL. I cannot--not this moment! Do you think it reasonable that I, who -am seeking a job myself, should have to seek one for you, too? What -would people be saying, do you think? "There, now," they would say, -"we've got not only him but his relatives to look after!" And then they -would drop me entirely. - -THURE. [_Looks at his watch; then to his wife_] We've got to go. - -AXEL. Why must you go so soon? - -THURE. We have to take the child to a doctor. - -AXEL. For the Lord's sake, have you a child, too? - -WIFE. Yes, we have. And a sick child, which lost its health when we had -to move out into the kitchen so that the auction could be held. - -AXEL. And all this for my sake! It's enough to drive me crazy! For -my sake! So that I might become a famous man!--And what is there I -can do for you?--Do you think it would have been better if I had -stayed at home?--No, worse--for then I should have been nothing but -a poor teacher, who certainly could not have been of any use to you -whatever.--Listen, now! You go to the doctor, but come back here after -a while. In the meantime I'll think out something. - -THURE. [_To his_ WIFE] Do you see now, that he wants to help us? - -WIFE. Yes, but can he do it? That's the question. - -THURE. He can do anything he wants. - -AXEL. Don't rely too much on it--or the last state may prove worse -than the first.--Oh, merciful heavens, to think that you have a sick -child, too! And for my sake! - -THURE. Oh, I guess it isn't quite as bad as it sounds. - -WIFE. Yes, so you say, who don't know anything about it---- - -THURE. Well, Axel, we'll see you later then. - -LINDGREN _appears in the doorway_. - -WIFE. [_To_ THURE] Did you notice he didn't introduce us--to the -chamberlain? - -THURE. Oh, shucks, what good would that have been? - -[_They go out_. - - - -FOURTH SCENE - - - AXEL. LINDGREN, _who is shabbily dressed, unshaved, apparently - fond of drinking, and looking as if he had just got out of bed_. - -AXEL _is startled for a moment at the sight of_ LINDGREN. - -LINDGREN. You don't recognise me? - -AXEL. Yes, now I do. But you have changed a great deal. - -LINDGREN. Oh, you think so? - -AXEL. Yes, I do, and I am surprised to find that these years can have -had such an effect---- - -LINDGREN. Three years may be pretty long.--And you don't ask me to sit -down? - -AXEL. Please--but I am rather in a hurry. - -LINDGREN. You have always been in a hurry. - - [_He sits down; pause._ - -AXEL. Why don't you say something unpleasant? - -LINDGREN. It's coming, it's coming! - - [_He wipes his spectacles; pause._ - -AXEL. How much do you need? - -LINDGREN. Three hundred and fifty. - -AXEL. I haven't got it, and I can't get it. - -LINDGREN. Oh, sure!--You don't mind if I help myself to a few drops? - - _He pours out a drink from the bottle brought by the_ Waiter - _for_ THURE. - -AXEL. Won't you have a glass of wine with me instead? - -LINDGREN. No--why? - -AXEL. Because it looks bad to be swilling whisky like that. - -LINDGREN. How very proper you have become! - -AXEL. Not at all, but it hurts my reputation and my credit. - -LINDGREN. Oh, you have credit? Then you can also give me a lift, after -having brought me down. - -AXEL. That is to say: you are making demands? - -LINDGREN. I am only reminding you that I am one of your victims. - -AXEL. Then, because of the gratitude I owe you, I shall bring these -facts back to your mind: that you helped me through the university at -a time when you had plenty of money; that you helped to get my thesis -printed---- - -LINDGREN. That I taught you the methods which determined your -scientific career; that I, who then was as straight as anybody, -exercised a favourable influence on your slovenly tendencies; that, in -a word, I made you what you are; and that, finally, when I applied for -an appropriation to undertake this expedition, you stepped in and took -it. - -AXEL. No, I got it. Because I, and not you, was held to be the man for -the task. - -LINDGREN. And that settled me! Thus, one shall be taken, and the other -left!--Do you think that was treating me fairly? - -AXEL. It was what the world calls "ungrateful," but the task was -achieved, and by it science was enriched, the honour of our country -upheld, and new regions opened for the use of coming generations. - -LINDGREN. Here's to you!--You have had a lot of oratorical -practice--But have you any idea how unpleasant it feels to play the -part of one used up and cast off? - -AXEL. I imagine it must feel very much like being conscious of -ingratitude, and I can only congratulate you at not finding yourself in -a position as unpleasant as my own.--But let us return to reality. What -can I do for you? - -LINDGREN. What do you think? - -AXEL. For the moment--nothing. - -LINDGREN. And in the next moment you are gone again. Which means that -this would be the last I saw of you. - - [_He pours out another drink_. - -AXEL. Will you do me the favour of not finishing the bottle? I don't -want the servants to suspect me of it. - -LINDGREN. Oh, go to hell! - -AXEL. You don't think it's pleasant for me to have to call you down -like this, do you? - -LINDGREN. Say--do you want to get me a ticket for the banquet to-night? - -AXEL. I am sorry to say that I don't think you would be admitted. - -LINDGREN. Because--- - -AXEL. You are drunk! - -LINDGREN. Thanks, old man!--Well, will you let me have a look at your -botanical specimens, then? - -AXEL. No, I am going to describe them myself for the Academy. - -LINDGREN. How about your ethnographical stuff? - -AXEL. No, that's not my own. - -LINDGREN. Will you--let me have twenty-five crowns? - -AXEL. As I haven't more than twenty myself, I can only give you ten. - -LINDGREN. Rotten! - -AXEL. Thus stand the affairs of the man everybody envies. Do you think -there is anybody in whose company I might feel happy? Not one! Those -that are still down hate me for climbing up, and those already up fear -one coming from below. - -LINDGREN. Yes, you are very unfortunate! - -AXEL. I am! And I can tell you that after my experience during the last -half-hour, I wouldn't mind changing place with you. What a peaceful, -unassailable position he holds who has nothing to lose! What a lot -of interest and sympathy those that are obscure and misunderstood -and over-looked always arouse! You have only to hold out your hand -and you get a coin. You have only to open your arms, and there are -friends ready to fall into them. And then what a powerful party behind -you--formed of the millions who are just like you! You enviable man who -don't realise your own good fortune! - -LINDGREN. So you think me that far down, and yourself as high up as -all that?--Tell me, you don't happen to have read to-day's paper? [_He -takes a newspaper from his pocket_. - -AXEL. No, and I don't care to read it either. - -LINDGREN. But you ought to do it for your own sake. - -AXEL. No, I am not going to do it--not even for _your_ sake. It is as -if you said: "Come here and let me spit at you." And then you are silly -enough to demand that I shall come, too.--Do you know, during these -last minutes I have become more and more convinced that if I had ever -come across you in the jungle, I should beyond all doubt have picked -you off with my breech-loader? - -LINDGREN. I believe it--beast of prey that you are! - -AXEL. It isn't safe to settle accounts with one's friends, or with -persons with whom one has been intimate, for it is hard to tell in -advance who has most on the debit side. But as you are bringing in -a bill, I am forced to look it over.--You don't think it took me -long to discover that back of all your generosity lay an unconscious -desire to turn me into the strong arm which you lacked--to make me -do for you what you couldn't do for yourself? I had imagination and -initiative--you had nothing but money and--"pull." So I am to be -congratulated that you didn't eat me, and I may be excused for eating -you--my only choice being to eat or be eaten! - -LINDGREN. You beast of prey! - -AXEL. You rodent, who couldn't become a beast of prey--although that -was just what you wished! And what you want at this moment is not so -much to rise up to me as to pull me down to where you are.--If you -have anything of importance to add, you had better hurry up, for I am -expecting a visit. - -LINDGREN. From your fiancée? - -AXEL. So you have snooped that out, too? - -LINDGREN. Sure enough! And I know what Marie, the deserted one, thinks -and says--I know what has happened to your brother and his wife---- - -AXEL. Oh, you know my fiancée? For, you see, it so happens that I am -not yet engaged! - -LINDGREN. No, but I know _her_ fiancé. - -AXEL. What does that mean? - -LINDGREN. Why, she has been running around with another fellow all the -time--So you didn't know that? - -AXEL. [_As he listens for something going on outside_] Oh, yes, I knew -of it, but I thought she was done with him--See here, if you'll come -back in a quarter of an hour, I'll try to get things arranged for you -in some way or another. - -LINDGREN. Is that a polite way of showing me the door? - -AXEL. No, it's an attempt to meet an old obligation. Seriously! - -LINDGREN. Well, then I'll go--and come back--Good-bye for a while. - - - -FIFTH SCENE - - - AXEL. LINDGREN. _The_ WAITER. _Then the_ FIANCÉ, _dressed in - black, with a blue ribbon in the lapel of his coat_. - -WAITER. There's a gentleman here who wants to see you. - -AXEL. Let him come in. - - _The_ WAITER _goes out, leaving the door open behind him. The_ - FIANCÉ _enters_. - -LINDGREN. [_Observing the newcomer closely_] Well, good-bye. - -AXEL--and good luck! [_He goes out_. - -AXEL. Good-bye. - - - -SIXTH SCENE - - - AXEL. _The_ FIANCÉ [_much embarrassed_] - -AXEL. With whom have I the honour----? - -FIANCÉ. My name is not a name in the same way as yours, Doctor, and my -errand concerns a matter of the heart---- - -AXEL. Oh, do you happen to be--You know Miss Cecilia? - -FIANCÉ. I am the man. - -AXEL. [_Hesitating for a moment; then with decision_] Please be seated. -[_He opens the door and beckons the_ WAITER. - -_The_ WAITER _enters_. - -AXEL. [_To the_ WAITER] Have my bill made out, see that my trunk is -packed, and bring me a carriage in half an hour. - -WAITER. [_Bowing and leaving_] Yes, Doctor. - -AXEL. [_Goes up to the_ FIANCÉ _and sits down on a chair beside him_] -Now let's hear what you have to say? - -FIANCÉ. [_After a pause, with unction_] There were two men living in -the same city, one rich and the other poor. The rich man had sheep and -cattle in plenty. The poor man owned nothing but one ewe lamb---- - -AXEL. What does that concern me? - -FIANCÉ. [_As before_] One ewe lamb, which he had bought and was trying -to raise. - -AXEL. Oh, life's too short. What do you want? Are you and Miss Cecilia -still engaged? - -FIANCÉ. [_Changing his tone_] I haven't said a word about Miss Cecilia, -have I? - -AXEL. Well, sir, you had better get down to business, or I'll show you -the door. But be quick about it, and get straight to the point, without -any frills---- - -FIANCÉ. [_Holding out his snuff-box_] May I? - -AXEL. No, thanks. - -FIANCÉ. A great man like you has no such little weaknesses, I suppose? - -AXEL. As you don't seem willing to speak, I shall. Of course, it is -none of your business, but it may do you good to learn of it, as you -don't seem to know it: I am regularly engaged to Miss Cecilia, who -formerly was your fiancée. - -FIANCÉ. [_Startled_] Who was? - -AXEL. Because she has broken with you. - -FIANCÉ. I know nothing about it. - -AXEL. [_Taking a ring from the pocket of his waistcoat]_ That's -strange, but now you do know. And here you can see the ring she has -given me. - -FIANCÉ. So she has broken with me? - -AXEL. Yes, as she couldn't be engaged to two men at the same time, and -as she had ceased to care for you, she had to break with you. I might -have told you all this in a more decent fashion, if you hadn't stepped -on my corns the moment you came in. - -FIANCÉ. I didn't do anything of the kind. - -AXEL. Cowardly and disingenuous--cringing and arrogant at the same time! - -FIANCÉ. [_Gently_] You are a hard man, Doctor. - -AXEL. No, but I may become one. You showed no consideration for my -feelings a moment ago. You sneered, which I didn't. And that's the end -of our conversation. - -FIANCÉ. [_With genuine emotion_] I feared that you might take away from -me my only lamb--but you wouldn't do that, you who have so many---- - -AXEL. Suppose I wouldn't--are you sure she would stay with you anyhow? - -FIANCÉ. Put yourself in my place, Doctor---- - -AXEL. Yes, if you'll put yourself in mine. - -FIANCÉ. I am a poor man---- - -AXEL. So am I! But judging by what I see and hear, you have certain -bliss waiting for you in the beyond. That's more than I have.--And, -furthermore, I have taken nothing away from you: I have only received -what was offered me. Just as you did! - -FIANCÉ. And I who had been dreaming of a future for this young woman--a -future full of brightness---- - -AXEL. Pardon me a piece of rudeness, but you began it: are you so sure -that the future of this young woman will not turn out a great deal -brighter by my side? - -FIANCÉ. You are now reminding me of my humble position as a worker---- - -AXEL. No, I am reminding you of that young woman's future, which you -have so much at heart. And as I am told that she has ceased to care -for you, but does care for me, I am only taking the liberty to dream of -a brighter future for her with the man she loves than with the man she -doesn't love. - -FIANCÉ. You are a strong man, you are, and we little ones were born to -be your victims! - -AXEL. See here, my man, I have been told that you got the better -of another rival for Cecilia's heart, and that you were not very -scrupulous about the means used for the purpose. How do you think that -_victim_ liked you? - -FIANCÉ. He was a worthless fellow. - -AXEL. From whom you saved the girl! And now I save her from you! -Good-bye! - - - -SEVENTH SCENE - - - AXEL. _The_ FIANCÉ. CECILIA. - -FIANCÉ. Cecilia! - -CECILIA _draws back from him_. - -FIANCÉ. You seem to know your way into this place? - -AXEL. [_To the_ FIANCÉ] You had better disappear! - -CECILIA. I want some water! - -FIANCÉ. [_Picking up the whisky bottle from the table_] The bottle -seems to be finished!--Beware of that man, Cecilia! - -AXEL. [_Pushing the_ FIANCÉ _out through the door_] Oh, your presence -is wholly superfluous--get out! - -FIANCÉ. Beware of that man, Cecilia! [_He goes out_. - - - -EIGHTH SCENE - - - AXEL. CECILIA. - -AXEL. That was a most unpleasant incident, which you might have spared -me--both by breaking openly with him and by not coming to my room. - -CECILIA. [_Weeping_] So I am to be scolded, too? - -AXEL. Well, the responsibility had to be fixed, and now, when that's -done--we can talk of something else.--How are you, to begin with? - -CECILIA. So, so! - -AXEL. Not well, that means? - -CECILIA. How are you? - -AXEL. Fine--only a little tired. - -CECILIA. Are you going with me to see my aunt this after-noon? - -AXEL. No, I cannot, for I have to drive out. - -CECILIA. And that's more fun, of course. You go out such a lot, and -I--never! - -AXEL. Hm! - -CECILIA. Why do you say "hm"? - -AXEL. Because your remark made an unpleasant impression on me. - -CECILIA. One gets so many unpleasant impressions these days---- - -AXEL. For instance? - -CECILIA. By reading the papers. - -AXEL. So you have been reading those scandalous stories about me! And -you believe them? - -CECILIA. One doesn't know what to believe. - -AXEL. So you really suspect me of being the unscrupulous fellow -pictured in those stories? And as you are nevertheless willing to marry -me, I must assume that you are moved by purely practical considerations -and not by any personal attraction. - -CECILIA. You speak so harshly, as if you didn't care for me at all! - -AXEL. Cecilia--are you willing to leave this place with me in fifteen -minutes? - -CECILIA. In fifteen minutes! For where! - -AXEL. London. - -CECILIA. I am not going with you until we are married. - -AXEL. Why? - -CECILIA. Why should we leave like that, all of a sudden? - -AXEL. Because--it's suffocating here! And if I stay, they'll drag me -down so deep that I'll never get up again. - -CECILIA. How strange! Are you as badly off as that? - -AXEL. Do you come with me, or do you not? - -CECILIA. Not until we are married--for afterward you would never marry -me. - -AXEL. So that's your faith in me!--Will you sit down for a moment, -then, while I go in and write a couple of letters? - -CECILIA. Am I to sit here alone, with all the doors open? - -AXEL. Well, don't lock the door, for then we are utterly lost. [_He -goes out to the left_. - -CECILIA. Don't be long! - - _She goes up to the door leading to the hallway and turns the - key in the lock_. - - - -NINTH SCENE - - - CECILIA _alone for a moment. Then_ MARIE _enters_. - -CECILIA. Wasn't the door locked? - -MARIE. Not as far as I could see!--So it was meant to be locked? - -CECILIA. I haven't the honour? - -MARIE. Nor have I. - -CECILIA. Why should you? - -MARIE. How refined! Oh, I see! So it's you! And I am the victim--for a -while! - -CECILIA. I don't know you. - -MARIE. But I know you pretty well. - -CECILIA. [_Rises and goes to the door at the left_] Oh, you do? -[_Opening the door and speaking to_ AXEL] Come out here a moment! - - - -TENTH SCENE - - - CECILIA. MARIE. AXEL. - -AXEL. [_Entering; to_ MARIE] What do you want here? - -MARIE. Oh, one never can tell. - -AXEL. Then you had better clear out. - -MARIE. Why? - -AXEL. Because what there was between us came to an end three years ago. - -MARIE. And now there is another one to be thrown on the scrap heap? - -AXEL. Did I ever give you any promises that were not kept? Have I ever -owed you anything? Have I ever said a word about marriage? Have we had -any children together? Have I been the only one to receive your favours? - -MARIE. But now you mean to be the only one? With that one over there! - -CECILIA. [_Goes up to_ MARIE] What do you mean?--I don't know you! - -MARIE. No, but there was a time when you did know me. And I remember -that when we met in the streets we called each other by our first -names. [_To_ AXEL] And now you are going to marry her? No, you know, -you are really too good for that! - -AXEL. [_To_ CECILIA] Have you known that woman before? - -CECILIA. No. - -MARIE. You ought to be ashamed of yourself? I simply didn't recognise -you at first because of your swell clothes---- - - AXEL _gazes intently at_ CECILIA. - -CECILIA. [_To_ AXEL] Come--I'll go with you! - -AXEL. [_Preoccupied_] In a moment! Just wait a while! I am only going -in to write another letter--But now we'll close the door first of all. - -MARIE. No, thank you, I don't want to be locked in as she was a while -ago. - -AXEL. [_Interested_] Was the door locked? - -CECILIA. [_To_ MARIE] You don't dare say that the door was locked! - -MARIE. As you expected it to be locked, I suppose you had tried to lock -it and had not succeeded---- - -AXEL. [_Observes_ CECILIA; _then to_ MARIE] It always seemed to me that -you were a nice girl, Marie. Will you let me have my letters back now? - -MARIE. No. - -AXEL. What are you going to do with them? - -MARIE. I hear that I can sell them, now when you have become famous. - -AXEL. And get your revenge at the same time? - -MARIE. Exactly. - -AXEL. Is it Lindgren----? - -MARIE. Yes!--And here he is now himself. - - - -ELEVENTH SCENE - - - CECILIA. MARIE. AXEL. LINDGREN. - -LINDGREN. [_Enters in high spirits_] Well, what a lot of skirts! And -Marie, too--like the cuckoo that's in every nest! Now listen, Axel! - -AXEL. I hear you even when I don't see you. You're in a fine -humour--what new misfortune has befallen me? - -LINDGREN. I was only a little sour this morning because I hadn't had -a chance to get wound up. But now I've had a bite to eat--Well, you -see--at bottom you don't owe me anything at all. For what I did, I -did out of my heart's goodness, and it has brought me both honour and -pleasure--and what you got was a gift and no loan! - -AXEL. Now you are altogether too modest and generous. - -LINDGREN. Not at all! However, one favour calls for another. Would you -mind becoming my surety on this note? - - AXEL _hesitates_. - -LINDGREN. Well, you needn't be afraid that I'm going to put you in the -same kind of fix as your brother did---- - -AXEL. What do you mean? It was I who put him---- - -LINDGREN. Yes, to the tune of two hundred crowns--but he got your name -as surety for five years' rent---- - -AXEL. [_In a low voice_] Jesus Christ! - -LINDGREN. What's that?--Hm--hm! - -AXEL. [_Looking at his watch_] Just wait a few minutes--I have only to -write a couple of letters. - - CECILIA _starts to go with him_. - -AXEL. [_Holds her back_] Just a few minutes, my dear--[_He kisses her -on the forehead_] Just a few minutes! - - [_He goes toward the left_. - -LINDGREN. Here's the note--you might sign it while you are at it. - -AXEL. Give it to me! - - [_He goes out with an air of determination_. - - - -TWELFTH SCENE - - - CECILIA. MARIE. LINDGREN. - -LINDGREN. Well, girls, are you on good terms again? - -MARIE. Oh, yes, and before we get away, we'll be on still better terms. - - CECILIA _makes a face_. - -MARIE. I should like to have some fun to-day. - -LINDGREN. Come along with me! I'll have money! - -MARIE. No! - - CECILIA _sits down with evident anxiety near the door through - which_ AXEL _disappeared--as if seeking support in that - direction_. - -LINDGREN. Let's take in the fireworks to-night--then we can see how a -great man looks in red light--what do you say to that, Cissie dear? - -CECILIA. Oh, I'll be sick if I have to stay here longer! - -MARIE. Well, it wouldn't be the first time. - -LINDGREN. Scrap, girls, and I'll watch you! Fight till the fur -flies--won't you? - - - -THIRTEENTH SCENE - - - CECILIA. MARIE. LINDGREN. THURE _and his_ WIFE _enter_. - -LINDGREN. Well, well! Old friends! How are you? - -THURE. All right. - -LINDGREN. And the child? - -THURE. The child? - -LINDGREN. Oh, you have forgotten it?--Are you equally forgetful about -names? - -THURE. Names? - -LINDGREN. Signatures!--He must be writing an awful lot in there! - -THURE. Is my brother, the doctor, in there? - -LINDGREN. I don't know if the doctor is there, but your brother went -in there a while ago.--And, for that matter, we might find out. [_He -knocks at the door_] Silent as the grave! [_Knocks again_] Then I'll -walk right in. - - [_He goes out; everybody appears restless and anxious_. - -CECILIA. What can it mean? - -MARIE. Well, we'll see now. - -THURE. What has happened here? - -WIFE. Something is up!--You'll see he doesn't help us! - -LINDGREN. [_Returns, carrying in his hand a small bottle and some -letters_] What does it say? [_He reads the label on the bottle_] -Cyanide of potassium!--How stupid! What a sentimental idiot--to kill -himself for so little--[_Everybody cries out_] So you were no beast of -prey, my dear Axel!--But-[_He stares through the open door into the -adjoining room_]--he's not there--and his things are gone, too. So he -has skipped out! And the bottle has never been opened! That means--he -meant to kill himself, but changed his mind!--And these are his -posthumous writings. "To Miss Cecilia"--seems to contain some round -object--probably an engagement ring--there you are!--"To my brother -THURE" [_He holds up the letter to the light_]--with a piece of blue -paper inside--must be a note--for the amount involved! You're welcome! - - _The_ FIANCÉ _appears in the doorway at the right_. - -THURE. [_Who has opened his letter_] Do you see that he helped us after -all---- - -WIFE. Oh, in that way! - -LINDGREN. And here's my note--without his name--He's a strong one, all -right! _Diable!_ - -MARIE. Then the fireworks will be called off, I suppose? - -FIANCÉ. Was there nothing for me? - -LINDGREN. Yes, I think there was a fiancée--somewhere over there!--I -tell you, that fellow is a wonder at clearing up tangled affairs!--Of -course, it makes me mad to think that I let myself be fooled--but I'll -be darned if I don't think I would have done just as he did!--And so -would you, perhaps?--Or what do you think? - -_Curtain_. - - - - -ADVENT - -(ADVENT) - -A MIRACLE PLAY - -1899 - - - CHARACTERS - - _The_ JUDGE - _The_ OLD LADY, _wife of the Judge_ - AMELIA - ADOLPH - _The_ NEIGHBOUR - ERIC - THYRA - _being the same person_ - _The_ OTHER ONE - _The_ FRANCISCAN - _The_ PLAYMATE - _The_ WITCH - _The_ PRINCE - _Subordinate characters, shadows, etc._ - - ACT I. THE VINEYARD WITH THE MAUSOLEUM - ACT II. THE DRAWING-ROOM - ACT III. THE WINE-CELLAR - THE GARDEN - ACT IV. THE CROSS-ROADS - THE "WAITING-ROOM" - THE CROSS-ROADS - ACT V. THE DRAWING-ROOM - THE "WAITING-ROOM" - - - - -ACT I - - - _The background represents a vineyard. At the left stands a - mausoleum. It consists of a small whitewashed brick building - with a door and a pointed window that lacks mullions and panes. - The roof is made of red tiles. A cross crowns the gable. - Clematis vines with purple-coloured, cross-shaped flowers cover - the front wall, at the foot of which appear a number of other - flowers_. - - _A peach-tree carrying fruit stands near the foreground. - Be-neath it sit the_ JUDGE _and the_ OLD LADY. - - _The_ JUDGE _wears a green cap with a peak, yellow - knee-breeches, and--a blue coat--all dating back to_ 1820. - _The_ OLD LADY _wears a kerchief on her head and carries - a stick, spectacles, and snuff-box. She has the general - appearance of a "witch." At the right is a small expiatory - chapel containing an image of the Holy Virgin. The fence in - front of it is hung with wreaths and nosegays. A prie-dieu is - placed against the fence_. - - -JUDGE. Life's eve has at last brought the sunshine which its morning -promised us. Early rains and late rains have blessed meadow and field. -And soon the songs of the vintagers will be heard all over the country. - -OLD LADY. Don't talk like that; somebody might hear you. - -JUDGE. Who could be listening here, and what harm could it do to thank -God for all good gifts? - -OLD LADY. It's better not to mention one's good fortune lest misfortune -overhear it. - -JUDGE. What of it? Was I not born with a caul? - -OLD LADY. Take care, take care! There are many who envy us, and evil -eyes are watching us. - -JUDGE. Well, let them! That's the way it has always been. And yet I -have prospered. - -OLD LADY. So far, yes. But I don't trust our neighbour. He has been -going around the village saying that we have cheated him out of his -property--and much more of the same kind which I don't care to repeat. -Of course, it doesn't matter when one has a clean conscience and can -point to a spotless life. Slander cannot hurt me. I go to confession -and mass, and I am prepared to close my eyes whenever my hour may -strike in order to open them again when I shall stand face to face with -my Judge. And I know also what I am going to answer then. - -JUDGE. What are you going to answer? - -OLD LADY. Like this: I was not without fault, O Lord, but even if I was -but a poor, sinful human creature, I was nevertheless a little better -than my neighbour. - -JUDGE. I don't know what has brought you to these thoughts just now, -and I don't like them. Perhaps it is the fact that the mausoleum is to -be consecrated in a few days? - -OLD LADY. Perhaps that is it, for, as a rule, I don't give much thought -to death. I have still every tooth left in my mouth, and my hair is as -plentiful as when I was a bride. - -JUDGE. Yes, yes--you have eternal youth, you as well as I, but just -the same we shall have to pass away. And as fortune has smiled on -us, we have wanted to avail ourselves of the privilege of resting in -ground belonging to ourselves And so we have built this little tomb -for ourselves here, where every tree knows us, where every flower will -whisper of our labours, and our troubles, and our struggles---- - -OLD LADY. Yes, struggles against envious neighbours and ungrateful -children---- - -JUDGE. There you said it: ungrateful children.--Have you seen anything -of Adolph? - -OLD LADY. No, I haven't seen him since he started out this morning to -raise the money for the rent. - -JUDGE. The money which he will never get--and I still less. But he -knows now that the time of grace is up, for this is the third quarter -rent that he has failed to pay. - -OLD LADY. Yes, out with him into the world, and let him learn to work -instead of sitting here and playing at son-in-law. I'll keep Amelia and -the children---- - -JUDGE. Do you think Amelia will let herself be separated from Adolph? - -OLD LADY. I think so, when it is a question whether her children are to -inherit anything from us or not--No, look! There it is again! - - _On the wall of the mausoleum appears a spot of sunlight - like those which children are fond of producing with a small - mirror_.[1] _It is vibrating as if it were reflected by running - water_. - -JUDGE. What is it? What is it? - -OLD LADY. On the mausoleum. Don't you see? - -JUDGE. It's the reflection of the sun on the river. It means---- - -OLD LADY. It means that we'll see the light of the sun for a long time -to come---- - -JUDGE. On the contrary. But that's all one. The best pillow for one's -head is a good conscience, and the reward of the righteous never -fails.--There's our neighbour now. - -NEIGHBOUR. [_Enters_] Good evening, Judge. Good evening, madam. - -JUDGE. Good evening, neighbour. How goes it? It wasn't yesterday we had -the pleasure. And how are your vines, I should have asked? - -NEIGHBOUR. The vines, yes--there's mildew on them, and the starlings -are after them, too. - -JUDGE. Well, well! There's no mildew on my vines, and I have neither -seen nor heard of any starlings. - -NEIGHBOUR. Fate does not distribute its gifts evenly: one shall be -taken and the other left. - -OLD LADY. I suppose there are good reasons for it? - -NEIGHBOUR. I see! The reward of the righteous shall not fail, and the -wicked shall not have to wait for their punishment. - -JUDGE. Oh, no malice meant! But you have to admit, anyhow, that it's -queer: two parcels of land lie side by side, and one yields good -harvests, the other poor ones---- - -NEIGHBOUR. One yields starlings and the other not: that's what I find -queerer still. But, then, everybody wasn't born with a caul, like you, -Judge. - -JUDGE. What you say is true, and fortune _has_ favoured me. I am -thankful for it, and there are moments when I feel proud of it as if I -had deserved it.--But listen, neighbour--you came as if you had been -sent for.--That leasehold of mine is vacant, and I wanted to ask you if -you care to take it. - - -[Footnote 1: In Sweden such spots are called "sun-cats."] - - _The_ OLD LADY _has in the meantime left her seat and gone to - the mausoleum, where she is busying herself with the flowers_. - -NEIGHBOUR. Oh, the leasehold is vacant. Hm! Since when? - -JUDGE. Since this morning. - -NEIGHBOUR. Hm! So!--That means your son-in-law has got to go? - -JUDGE. Yes, that good-for-nothing doesn't know how to manage. - -NEIGHBOUR. Tell me something else, Judge. Haven't you heard that the -state intends to build a military road across this property? - -JUDGE. Oh, I have heard some rumours to that effect, but I don't think -it's anything but empty talk. - -NEIGHBOUR. On the contrary, I have read it in the papers. That would -mean condemnation proceedings, and the loser would be the holder of the -lease. - -JUDGE. I cannot think so, and I would never submit to it. I to leave -this spot where I expect to end my days in peace, and where I have -prepared a final resting-place to escape lying with all the rest---- - -NEIGHBOUR. Wait a minute! One never knows what may prove one's final -resting-place. My father, who used to own this property, also expected -to be laid to rest in his own ground, but it happened otherwise. As far -as the leasehold is concerned, I must let it go. - -JUDGE. As you please. On my part the proposition was certainly -disinterested, as you are a man without luck. For it is no secret -that you fail in everything you undertake, and people have their own -thoughts about one who remains as solitary and friendless as you. Isn't -it a fact that you haven't a single friend? - -NEIGHBOUR. Yes, it's true. I have not a single friend, and that doesn't -look well. It is something I cannot deny. - -JUDGE. But to turn to other matters--is it true, as the legend has it, -that this vineyard once was a battle-field, and that this explains why -the wine from it is so fiery? - -NEIGHBOUR. No, that isn't what I have heard. My father told me that -this had been a place of execution, and that the gallows used to stand -where the mausoleum is now. - -JUDGE. Oh, how dreadful! Why did you tell me? - -NEIGHBOUR. Because you asked, of course.--And the last man to be hanged -on this spot was an unrighteous judge. And now he lies buried here, -together with many others, among them being also an innocent victim of -his iniquity. - -JUDGE. What kind of stories are those! [_He calls out_] Caroline! - -NEIGHBOUR. And that's why his ghost has to come back here. Have you -never seen him, Judge? - -JUDGE. I have never seen anything at all! - -NEIGHBOUR. But I have seen him. As a rule, he appears at the time when -the grapes are harvested, and then they hear him around the wine-press -down in the cellar. - -JUDGE. [_Calling out_] Caroline! - -OLD LADY. What is it? - -JUDGE. Come here! - -NEIGHBOUR. And he will never be at peace until he has suffered all the -torments his victim had to pass through. - -JUDGE. Get away from here! Go! - -NEIGHBOUR. Certainly, Judge! I didn't know you were so sensitive. [_He -goes out_. - -OLD LADY. What was the matter? - -JUDGE. Oh, he told a lot of stories that upset me. But-but--he is -plotting something evil, that fellow! - -OLD LADY. Didn't I tell you so! But you always let your tongue run -whenever you see anybody--What kind of foolish superstition was he -giving you? - -JUDGE. I don't want to talk of it. The mere thought of it makes me -sick. I'll tell you some other time.--There's Adolph now! - -ADOLPH. [_Entering_] Good evening! - -JUDGE. [_After a pause_] Well? - -ADOLPH. Luck is against me. I have not been able to get any money. - -JUDGE. I suppose there are good reasons for it? - -ADOLPH. I can see no reason why some people should fare well and others -badly. - -JUDGE. Oh, you can't?--Well, look into your own heart; search your own -thoughts and actions, and you'll find that you have yourself to blame -for your misfortunes. - -ADOLPH. Perhaps I may not call myself righteous in every respect, but -at least I have no serious crimes on my conscience. - -OLD LADY. You had better think well---- - -ADOLPH. I don't think that's needful, for my conscience is pretty -wakeful---- - -JUDGE. It can be put to sleep---- - -ADOLPH. Can it? Of course I have heard of evil-doers growing old in -crime, but as a rule their consciences wake up just before death; and -I have even heard of criminals whose consciences have awakened after -death. - -JUDGE. [_Agitated_] So that they had to come back, you mean? Have you -heard that story, too? It's strange that everybody seems to have heard -it except me---- - -OLD LADY. What are you talking about? Stick to business instead. - -ADOLPH. Yes, I think that's wiser, too. And, as the subject has been -broached, I want to tell you what I propose---- - -JUDGE. Look here, my boy! I think it a good deal more appropriate that -I should tell you what I have decided. It is this: that from this day -you cease to be my tenant, and that before the sun sets you must start -out to look for work. - -ADOLPH. Are you in earnest? - -JUDGE. You ought to be ashamed! I am not in the habit of joking. And -you have no cause for complaint, as you have been granted respite twice. - -ADOLPH. While my crops have failed three times. Can I help that? - -JUDGE. Nor have I said so. But I can help it still less. And you are -not being judged by me. Here is the contract--here's the broken -agreement. Was that agreement broken by me? Oh, no! So I am without -responsibility and wash my hands of the matter. - -ADOLPH. This may be the law, but I had thought there ought to be some -forbearance among relatives--especially as, in the natural course of -events, this property should pass on to your offspring. - -OLD LADY. Well, well: the natural course of events! He's going around -here wishing the life out of us! But you just look at me: I am good for -twenty years more. And I am _going_ to live just to spite you! - -JUDGE. [_To_ Adolph] What rudeness--what a lack of all human -feeling--to ask a couple of old people outright: are you not going to -die soon? You ought to be ashamed of yourself, I say! But now you have -broken the last tie, and all I can say is: go your way, and don't let -yourself be seen here any more! - -ADOLPH. That's plain talk! Well, I'll go, but not alone---- - -OLD LADY. So-o--you imagined that Amelia, our own child, should follow -you out on the highways, and that all you would have to do would be to -unload one child after another on us! But we have already thought of -that and put a stop to it---- - -ADOLPH. Where is Amelia? Where? - -OLD LADY. You may just as well know. She has gone on; a visit to the -convent of the Poor Clares--only for a visit. So now you know it's of -no use to look for her here. - -ADOLPH. Some time you will have to suffer for your cruelty in depriving -a man in distress of his only support. And if you break up our -marriage, the penalty of that breach will fall on you. - -JUDGE. You should be ashamed of putting your own guilt on those that -are innocent! Go now! And may you hunger and thirst, with every door -closed to you, until you have learned gratitude! - -ADOLPH. The same to you in double measure!--But let me only bid my -children good-bye, and I will go. - -JUDGE. As you don't want to spare your children the pain of -leave-taking, I'll do so--have already done it, in fact. - -ADOLPH. That, too! Then I believe you capable of all the evil that has -been rumoured. And now I know what our neighbour meant when he said -that you couldn't--endure the sun! - -JUDGE. Not another word! Or you will feel the heavy hand of law and -justice---- - - _He raises his right hand so that the absence of its forefinger - becomes visible_. - -ADOLPH. [_Takes hold of the hand and examines it_] The hand of -justice!--The hand of the perjurer whose finger stuck to the Bible when -he took his false oath! Woe unto you! Woe! For the day of retribution -is at hand, and your deeds will rise like corpses out of these -hillsides to accuse you. - -OLD LADY. What is that he is saying? It feels as if he were breathing -fire at us!--Go, you lying spirit, and may hell be your reward! - -ADOLPH. May Heaven reward you--according to your deserts--and may the -Lord protect my children! [_He goes out_. - -JUDGE. What was that? Who was it that spoke? It seemed to me as if the -voice were coming out of some huge underground hall. - -OLD LADY. Did you hear it, too? - -JUDGE. God help us, then!--Do you remember what he said about the -sun? That struck me as more peculiar than all the rest. How could he -know--that it is so? Ever since my birth the sun has always burned -me, and they have told me this is so because my mother suffered from -sunstroke before I was born--but that you also---- - -OLD LADY. [_Frightened_] Hush! Talk of the devil, and--Isn't the sun -down? - -JUDGE. Of course it is down! - -OLD LADY. How can that spot of sunlight remain on the mausoleum, then? - - [_The spot moves around_. - -JUDGE. Jesus Maria! That's an omen! - -OLD LADY. An omen, you say! And on the grave! That doesn't happen every -day--and only a few chosen people who are full of living faith in the -highest things---- - - [_The spot of light disappears_. - -JUDGE. There is something weird about the place to-night, -something ghastly.--But what hurt me most keenly was to hear that -good-for-nothing wishing the life out of us in order to get at the -property. Do you know what I--well, I wonder if I dare to speak of -it---- - -OLD LADY. Go on! - -JUDGE. Have you heard the story that this spot here used to be a place -of execution? - -OLD LADY. So you have found that out, too? - -JUDGE. Yes--and you knew it?--Well, suppose we gave this property -to the convent? That would make the ground sacred, and it would be -possible to rest in peace in it. The income might go to the children -while they are growing up, and it would mean an additional gain, as -Adolph would be fooled in his hope of inheriting from us. I think this -a remarkably happy solution of a difficult problem: how to give away -without losing anything by it. - -OLD LADY. Your superior intelligence has again asserted itself, and I -am quite of your opinion. But suppose condemnation proceedings should -be started--what would happen then? - -JUDGE. There is plenty of time to consider that when it happens. In -the meantime, let us first of all, and as quietly as possible, get the -mausoleum consecrated---- - -FRANCISCAN. [_Enters_] The peace of the Lord be with you, Judge, and -with you, madam! - -JUDGE. You come most conveniently, Father, to hear something that -concerns the convent---- - -FRANCISCAN. I am glad of it. - - _The spot of light appears again on the mausoleum_. - -OLD LADY. And then we wanted to ask when the consecration of the -mausoleum might take place. - -FRANCISCAN. [_Staring at her_] Oh, is that so? - -JUDGE. Look, Father--look at that omen---- - -OLD LADY. Yes, the spot must be sacred, indeed---- - -FRANCISCAN. That's a will-o'-the-wisp. - -OLD LADY. Is it not a good sign? Does it not carry some kind of -message? Does it not prompt a pious mind to stop and consider? Would it -not be possible to turn this place into a refuge for desert wanderers -who are seeking---- - -FRANCISCAN. Madam, let me speak a word to you in private. [_He moves -over to the right._ - -OLD LADY. [_Following him_] Father? - -FRANCISCAN. [_Speaking in a subdued voice_] You, madam, enjoy a -reputation in this vicinity which you don't deserve, for you are the -worst sinner that I know of. You want to buy your pardon, and you want -to steal heaven itself, you who have already stolen from the Lord. - -OLD LADY. What is it I hear? - -FRANCISCAN. When you were sick and near death you made a vow to the -Lord that in case of recovery you would give a monstrance of pure gold -to the convent church. Your health was restored and you gave the holy -vessel, but it was of silver--gilded. Not for the sake of the gold, but -because of your broken vow and your deception, you are already damned. - -OLD LADY. I didn't know it. The goldsmith has cheated me. - -FRANCISCAN. You are lying, for I have the goldsmith's bill. - -OLD LADY. Is there no pardon for it? - -FRANCISCAN. No! For it is a mortal sin to cheat God. - -OLD LADY. Woe is me! - -FRANCISCAN. The settlement of your other crimes will have to take place -within yourself. But if you as much as touch a hair on the heads of the -children, then you shall learn who is their protector, and you shall -feel the iron rod. - -OLD LADY. The idea--that this infernal monk should dare to say such -things to me! If I am damned--then I want to be damned! Ha, ha! - -FRANCISCAN. Well, you may be sure that there will be no blessing for -your house and no peace for yourself until you have suffered every -suffering that you have brought on others.--May I speak a word with -you, Judge? - - _The_ JUDGE _approaches_. - -OLD LADY. Yes, give him what he deserves, so that one may be as good as -the other. - -FRANCISCAN. [_To the_ Judge] Where did you get the idea of building -your tomb where the gallows used to stand? - -JUDGE. I suppose I got it from the devil! - -FRANCISCAN. Like the idea of casting off your children and robbing them -of their inheritance? But you have also been an unrighteous judge--you -have violated oaths and accepted bribes. - -JUDGE. I? - -FRANCISCAN. And now you want to erect a monument to yourself! You -want to build yourself an imperishable house in heaven! But listen to -me: this spot will never be consecrated, and you may consider it a -blessing if you are permitted to rest in common ground among ordinary -little sinners. There is a curse laid on this soil, because blood-guilt -attaches to it and because it is ill-gotten. - -JUDGE. What am I to do? - -FRANCISCAN. Repent, and restore the stolen property. - -JUDGE. I have never stolen. Everything has been legally acquired. - -FRANCISCAN. That, you see, is the worst part of all--that you regard -your crimes as lawful. Yes, I know that you even consider yourself -particularly favoured by Heaven because of your righteousness. But now -you will soon see what harvest is in store for you. Thorns and thistles -will grow in your vineyard. Helpless and abandoned you shall be, and -the peace of your old age will turn into struggle and strife. - -JUDGE. The devil you say! - -FRANCISCAN. Don't call him--he'll come anyhow! - -JUDGE. Let him come! Because we believe, we have no fear! - -FRANCISCAN. The devils believe also, and tremble!--Farewell! [_He goes -out_. - -JUDGE. [_To his wife_] What did he say to you? - -OLD LADY. You think I'll tell? What did he have to say to you? - -JUDGE. And you think I'll tell? - -OLD LADY. Are you going to keep any secrets from me? - -JUDGE. And how about you? It's what you have always done, but I'll get -to the bottom of your tricks some time. - -OLD LADY. Just wait a little, and I'll figure out where you keep the -money that is missing. - -JUDGE. So you are hiding money, too! Now there is no longer any use -in playing the hypocrite--just let yourself be seen in all your -abomination, you witch! - -OLD LADY. I think you have lost your reason--not that it was much to -keep! But you might at least preserve an appearance of decency, if you -can---- - -JUDGE. And you might preserve your beauty--if you can! And your -perennial youth--ha, ha, ha! And your righteousness! You must have -known how to bewitch people, and hoodwink them, for now I see how -horribly ugly and old you are. - -OLD LADY. [_On whom the spot of light now appears_] Woe! It is burning -me! - -JUDGE. There I see you as you really are! [_The spot jumps to the_ -JUDGE] Woe! It is burning me now! - -OLD LADY. And how you look! [_Both withdraw to the right_. - - [_The_ NEIGHBOUR _and_ AMELIA _enter from the left_. - -NEIGHBOUR. Yes, child, there is justice, both human and divine, but we -must have patience. - -AMELIA. I am willing to believe that justice is done, in spite of all -appearances to the contrary. But I cannot love my mother, and I have -never been able to do so. There is something within me that keeps -telling me that she is not only indifferent to me but actually hostile. - -NEIGHBOUR. So you have found it out? - -AMELIA. Why--she hates me, and a mother couldn't do that! - -NEIGHBOUR. Well, well! - -AMELIA. And I suffer from not being able to do my duty as a child and -love her. - -NEIGHBOUR. Well, as _that_ has made you suffer, then you will soon--in -the hour of retribution--learn the great secret of your life. - -AMELIA. And I could stand everything, if she were only kind to my -children. - -NEIGHBOUR. Don't fear on that account, for her power is now ended. The -measure of her wickedness has been heaped full and is now overflowing. - -AMELIA. Do you think so? But this very day she tore my Adolph away from -me, and now she has humiliated me still further by dressing me as a -servant girl and making me do the work in the kitchen. - -NEIGHBOUR. Patience! - -AMELIA. Yes, so you say! Oh, I can understand deserved suffering, but -to suffer without cause---- - -NEIGHBOUR. My dear child, the prisoners in the penitentiary are -suffering justly, so there is no honour in that; but to be permitted to -suffer unjustly, that's a grace and a trial of which steadfast souls -bring home golden fruits. - -AMELIA. You speak so beautifully that everything you say seems true -to me.--Hush! There are the children--and I don't want them to see me -dressed like this. - - _She and the_ NEIGHBOUR _take up a position where they are - hidden by a tall shrub_. - -ERIC _and_ THYRA _enter; the spot of light rests now on one of them and -now on the other_. - -ERIC. Look at the sun spot! - -THYRA. Oh, you beautiful sun! But didn't he go to bed a while ago? - -ERIC. Perhaps he is allowed to stay up longer than usual because he has -been very good all day. - -THYRA. But how could the sun be good? Now you are stupid, Eric. - -ERIC. Of course the sun can be good--doesn't he make the grapes and the -peaches? - -THYRA. But if he is so good, then he might also give us a peach. - -ERIC. So he will, if we only wait a little. Aren't there any on the -ground at all? - -THYRA. [_Looking_] No, but perhaps we might get one from the tree. - -ERIC. No, grandmother won't let us. - -THYRA. Grandmother has said that we mustn't shake the tree, but I -thought we could play around the tree so that one might fall down -anyhow--of itself. - -ERIC. Now you are stupid, Thyra. That would be exactly the same thing. -[_Looking up at the tree_] Oh, if only a peach would fall down! - -THYRA. None will fall unless you shake. - -ERIC. You mustn't talk like that, Thyra, for that is a sin. - -THYRA. Let's pray God to let one fall. - -ERIC. One shouldn't pray God for anything nice--that is, to eat!--Oh, -little peach, won't you fall? I want you to fall! [_A peach falls from -the tree, and_ ERIC _picks it up_] There, what a nice tree! - -THYRA. But now you must give me half, for it was I who said that the -tree had to be shaken---- - -OLD LADY. [_Enters with a big birch rod_] So you have been shaking the -tree--now you'll see what you'll get, you nasty children---- - -ERIC. No, grandmother, we didn't shake the tree! - -OLD LADY. So you are lying, too. Didn't I hear Thyra say that the tree -had to be shaken? Come along now, and I'll lock you up in the cellar -where neither sun nor moon is to be seen---- - -AMELIA. [_Coming forward_] The children are innocent, mother. - -OLD LADY. That's a fine thing--to stand behind the bushes listening, -and then to teach one's own children how to lie besides! - -NEIGHBOUR. [_Appearing_] Nothing has been spoken here but the truth, -madam. - -OLD LADY. Two witnesses behind the bushes--exactly as if we were in -court. But I know the tricks, I tell you, and what I have heard and -seen is sufficient evidence for me.--Come along, you brats! - -AMELIA. This is sinful and shameful---- - - _The_ NEIGHBOUR _signals to_ AMELIA _by putting his finger - across his lips_. - -AMELIA. [_Goes up to her children_] Don't cry, children! Obey -grandmother now--there is nothing to be afraid of. It is better to -suffer evil than to do it, and I know that you are innocent. May God -preserve you! And don't forget your evening prayer! - - _The_ OLD LADY _goes out with the children_. - -AMELIA. Belief comes so hard, but it is sweet if you can achieve it. - -NEIGHBOUR. Is it so hard to believe that God is good--at the very -moment when his kind intentions are most apparent? - -AMELIA. Give me a great and good word for the night, so that I may -sleep on it as on a soft pillow. - -NEIGHBOUR. You shall have it. Let me think a moment.--This is it: Isaac -was to be sacrificed---- - -AMELIA. Oh, no, no! - -NEIGHBOUR. Quiet, now!--Isaac was to _be_ sacrificed, but he never was! - -AMELIA. Thank you! Thank you! And good night! - - _She goes out to the right_. - -NEIGHBOUR. Good night, my child! - - [_He goes slowly out by a path leading to the rear_. - - THE PROCESSION OF SHADOWS _enters from the mausoleum and moves - without a sound across the stage toward the right; between - every two figures there is a distance of five steps_: - - DEATH _with its scythe and hour-glass_. - - THE LADY IN WHITE--_blond, tall, and slender; on one of her - fingers she wears a ring with a green stone that seems to emit - rays of light_. - - THE GOLDSMITH, _with the counterfeit monstrance_. - - THE BEHEADED SAILOR, _carrying his head in one hand_. - - THE AUCTIONEER, _with hammer and note-book_. - - THE CHIMNEY-SWEEP, _with rope, scraper, and broom_. - - THE FOOL, _carrying his cap with the ass's ears and bells at - the top of a pole, across which is placed a signboard with the - word "Caul" on it_. - - THE SURVEYOR, _with measuring rod and tripod_. - - THE MAGISTRATE, _dressed and made up like the_ JUDGE; _he - carries a rope around his neck; and his right hand is raised to - show that the forefinger is missing_. - - _The stage is darkened at the beginning of the procession and - remains empty while it lasts_. - - _When it is over, the_ JUDGE _enters from the left, followed by - the_ OLD LADY. - -JUDGE. Why are you playing the ghost at this late hour? - -OLD LADY. And how about yourself? - -JUDGE. I couldn't sleep. - -OLD LADY. Why not? - -JUDGE. Don't know. Thought I heard children crying in the cellar. - -OLD LADY. That's impossible. Oh, no, I suppose you didn't dare to sleep -for fear I might be prying in your hiding-places. - -JUDGE. And you feared I might be after yours! A pleasant old age this -will be for Philemon and Baucis! - -OLD LADY. At least no gods will come to visit us. - -JUDGE. No, I shouldn't call them gods. - - _At this moment the_ PROCESSION _begins all over again, - starting from the mausoleum as before and moving in silence - toward the right_. - -OLD LADY. O Mary, Mother of God, what is this? - -JUDGE. Merciful heavens! [_Pause_] - -OLD LADY. Pray! Pray for us! - -JUDGE. I have tried, but I cannot. - -OLD LADY. Neither can I! The words won't come--and no thoughts! -[_Pause_] - -JUDGE. How does the Lord's Prayer begin? - -OLD LADY. I can't remember, but I knew it this morning. [_Pause_] Who -is the woman in white? - -JUDGE. It is she--Amelia's mother--whose very memory we wanted to kill. - -OLD LADY. Are these shadows or ghosts, or nothing but our own sickly -dreams? - -JUDGE. [_Takes up his pocket-knife_] They are delusions sent by the -devil. I'll throw cold steel after them.--Open the knife for me, -Caroline! I can't, don't you see? - -OLD LADY. Yes, I see--it isn't easy without a forefinger.--But I can't -either! [_She drops the knife_] - -JUDGE. Woe to us! Steel won't help here! Woe! There's the beheaded -sailor! Let us get away from here! - -OLD LADY. That's easy to say, but I can't move from the spot. - -JUDGE. And I seem to be rooted to the ground.--No, I am not going to -look at it any longer! - - [_He covers his eyes with one hand_. - -OLD LADY. But what is it? Mists out of the earth, or shadows cast by -the trees? - -JUDGE. No, it's our own vision that plays us false. There I go now, and -yet I am standing here. Just let me get a good night's sleep, and I'll -laugh at the whole thing!--The devil! Is this masquerade never going to -end? - -OLD LADY. But why do you look at it then? - -JUDGE. I see it right through my hand--I see it in the dark, with my -eyelids closed! - -OLD LADY. But now it's over. - - _The_ PROCESSION _has passed out_. - -JUDGE. Praised be--why, I can't get the word out!--I wonder if it will -be possible to sleep to-night? Perhaps we had better send for the -doctor? - -OLD LADY. Or Father Colomba, perhaps? - -JUDGE. He can't help, and he who could won't!--Well, let the Other One -do it then! - - THE OTHER ONE _enters from behind the Lady Chapel. He is - extremely thin and moth-eaten. His thin, snuff-coloured hair is - parted in the middle. His straggly beard looks as if it were - made out of tow. His clothes are shabby and outgrown, and he - seems to wear no linen. A red woollen muffler is wound around - his neck. He wears spectacles and carries a piece of rattan - under his arm_. - -JUDGE. Who is that? - -THE OTHER ONE. [_In a low voice_] I am the Other One! - -JUDGE. [_To his wife_] Make the sign of the cross! I can't! - -THE OTHER ONE. The sign of the cross does not frighten me, for I am -undergoing my ordeal merely that I may wear it. - -JUDGE. Who are you? - -THE OTHER ONE. I became the Other One because I wanted to be the First -One. I was a man of evil, and my punishment is to serve the good. - -JUDGE. Then you are not the Evil One? - -THE OTHER ONE. I am. And it is my task to torment you into finding the -cross, before which we are to meet some time. - -OLD LADY. [_To_ JUDGE] Don't listen to him! Tell him to go! - -THE OTHER ONE. It won't help. You have called me, and you'll have to -bear with me. - - _The_ JUDGE _and the_ OLD LADY _go out to the left_. - - THE OTHER ONE _goes after them_. - -_Curtain_. - - - - -ACT II - - - _A huge room with whitewashed walls and a ceiling of darkened - beams. The windows are small and deeply set, with bars on the - outside. The room is crowded with furniture of every kind: - wardrobes, chiffoniers, dressers, chests, tables. On the - furniture are placed silver services, candelabra, candlesticks, - pitchers, table ware, vases, statues, etc. - - There is a door in the rear. Portraits of the_ JUDGE _and the_ - OLD LADY _hang on the rear wall, one on either side of the door. - - A harp stands beside a small sewing-table with an easy chair - near it_. - - AMELIA _is standing before a table at the right, trying to - clean a coffee-set of silver_. - - _The sun is shining in through the windows in the background_. - - -NEIGHBOUR. [_Enters_] Well, child, how is your patience? - -AMELIA. Thank you, neighbour, it might be worse. But I never had a -worse job than this silver service here. I have worked at it for half -an hour and cannot get it clean. - -NEIGHBOUR. That's strange, but I suppose there are reasons for it, as -the Judge says. Could you sleep last night? - -AMELIA. Thank you, I slept very well. But do you know that father spent -the whole night in the vineyard with his rattle----? - -NEIGHBOUR. Yes, I heard him. What kind of foolish idea was that? - -AMELIA. He thought he heard the starlings that had come to eat the -grapes. - -NEIGHBOUR. Poor fellow! As if the starlings were abroad nights!--And -the children? - -AMELIA. Well, the children--she is still keeping them in the cellar, -and I hope she won't forget to give them something to eat. - -NEIGHBOUR. He who feeds the birds will not forget your children, -my dear Amelia. And now I'll tell you something which, as a rule, -shouldn't be told. There is a small hole in the wall between the -Judge's wine-cellar and my own. When I was down there this morning to -get the place aired out, I heard voices. And when I looked through the -hole, I saw Eric and Thyra playing with a strange little boy. - -AMELIA. You could see them, neighbour? And---- - -NEIGHBOUR. They were happy and well---- - -AMELIA. Who was their playmate? - -NEIGHBOUR. That's more than I can guess. - -AMELIA. This whole dreadful house is nothing but secrets. - -NEIGHBOUR. That is true, but it is not for us to inquire into them. - -JUDGE. [_Enters, carrying a rattle_] So you are in here conspiring, -neighbour! Is it not enough that your evil eye has brought the -starlings into my vineyard? For you do have the evil eye--but we'll -soon put it out. I know a trick or two myself. - -NEIGHBOUR. [_To_ AMELIA] Is it worth while to set him right? One who -doesn't believe what is told him! [_He goes out_. - -AMELIA. No, this is beyond us! - -JUDGE. Tell me, Amelia, have you noticed where your mother is looking -for things when she believes herself to be alone? - -AMELIA. No, father. - -JUDGE. I can see by your eyes that you know. You were looking this -way. [_He goes up to a chest of drawers and happens to get into the -sunlight_] Damn the sun that is always burning me! [_He pulls down one -of the shades and returns to the chest of drawers_] This must be the -place!--Now, let me see! The stupidest spot is also the cleverest, so -that's where I must look--as in this box of perfume, for instance--And -right I was! [_He pulls out a number of bank-notes and stocks_] What's -this? Twelve English bills of a pound each. Twelve of them!--Oho! Then -it is easy to imagine the rest. [_Pushes the bills and securities into -his pockets_] But what is it I hear? There are the starlings again! -[_He goes to an open window and begins to play the rattle_] Get away -there! - -OLD LADY. [_Enters_] Are you still playing the ghost? - -JUDGE. Are you not in the kitchen? - -OLD LADY. No, as you see, I am not. [_To_ AMELIA] Are you not done with -the cleaning yet? - -AMELIA. No, mother, I'll never get done with it. The silver won't -clean, and I don't think it is real. - -OLD LADY. Not real? Let me see!--Why, indeed, it's quite black! [_To -the_ JUDGE, _who in the meantime has pulled down another shade_] Where -did you get this set from? - -JUDGE. That one? Why, it came from an estate. - -OLD LADY. For your services as executor! What you got was like what you -gave! - -JUDGE. You had better not make any defamatory remarks, for they are -punishable under the law. - -OLD LADY. Are you crazy, or was there anything crazy about my remark? - -JUDGE. And for that matter, it is silver--sterling silver. - -OLD LADY. Then it must be Amelia's fault. - -A VOICE. [_Coming through the window from the outside_] The Judge can -turn white into black, but he can't turn black into white! - -JUDGE. Who said that? - -OLD LADY. It seemed as if one of the starlings had been speaking. - -JUDGE. [_Pulling down the remaining shade_] Now the sun is here, and a -while ago it seemed to be over there. - -OLD LADY. [_To_ AMELIA] Who was it that spoke? - -AMELIA. I think it was that strange school-teacher with the red muffler. - -JUDGE. Ugh! Let us talk of something else. - -SERVANT GIRL. [_Enters_] Dinner is served. - - [_She goes out; a pause follows_. - -OLD LADY. You go down and eat, Amelia. - -AMELIA. Thank you, mother. [_She goes out_. - -_The_ JUDGE _sits down on a chair close to one of the chests_. - -OLD LADY. [_Sliding up to the chest of drawers >where the box of -perfume stands_] Are you not going to eat anything? - -JUDGE. No, I am not hungry. How about you? - -OLD LADY. I have just eaten. [_Pause_. - -JUDGE. [_Takes a piece of bread from his pocket_] Then you'll excuse -me, I'm sure. - -OLD LADY. There's a roast of venison on the table. - -JUDGE. You don't say so! - -OLD LADY. Do you think I poison the food? - -JUDGE. Yes, it tasted of carbolic acid this morning. - -OLD LADY. And what I ate had a sort of metallic taste---- - -JUDGE. If I assure you that I have put nothing whatever in your food---- - -OLD LADY. Then I don't believe you. But I can assure you---- - -JUDGE. And I won't believe it. [_Eating his bread_] Roast of venison -is a good thing--I can smell it from here--but bread isn't bad either. -[_Pause_. - -OLD LADY. Why are you sitting there watching that chest? - -JUDGE. For the same reason that makes you guard those perfumes. - -OLD LADY. So you have been there, you sneak-thief! - -JUDGE. Ghoul! - -OLD LADY. To think of it--such words between us! _Us_! - - [_She begins to weep_. - -JUDGE. Yes, the world is evil and so is man. - -OLD LADY. Yes, you may well say so--and ungrateful above all. -Ungrateful children rob you of the rent; ungrateful grandchildren rob -the fruit from the trees. You are right, indeed: the world is evil---- - -JUDGE. I ought to know, I who have had to witness all the rottenness, -and who have been forced to pass the death sentence. That is why the -mob hates me, just as if I had made the laws---- - -OLD LADY. It doesn't matter what the people say, if you have only a -clean conscience--[_Three loud knocks are heard from the inside of the -biggest wardrobe_] What was that? Who is there? - -JUDGE. Oh, it was that wardrobe. It always cracks when there is rain -coming. [_Three distinct knocks are heard again_. - -OLD LADY. It's some kind of performance started by that strolling -charlatan. - - _The cover of the coffee-pot which_ AMELIA _was cleaning, opens - and drops down again with a bang; this happens several times in - succession_. - -JUDGE. What was _that_, then? - -OLD LADY. Oh, yes, it's that same juggler. He can play tricks, but he -can't scare me. [_The coffee-pot acts as before._ - -JUDGE. Do you think he is one of those mesmerists? - -OLD LADY. Well, whatever it happens to be called---- - -JUDGE. If that's so, how can he know our private secrets? - -OLD LADY. Secrets? What do you mean by that? - - _A clock begins to strike and keeps it up as if it never meant - to stop_. - -JUDGE. Now I am getting scared. - -OLD LADY. Then Old Nick himself may take me if I stay here another -minute! [_The spot of sunlight appears suddenly on the portrait of the_ -OLD LADY] Look! He knows that secret, too! - -JUDGE. You mean that there is a portrait of _her_ behind yours? - -OLD LADY. Come away from here and let us go down and eat. And let us -see whether we can't sell off the house and all the rest at auction---- - -JUDGE. You are right--sell off the whole caboodle and start a new -life!--And now let us go down and eat. - - THE OTHER ONE _appears in the doorway_. - - _The_ JUDGE _and the_ OLD LADY _draw back from him_. - -JUDGE. That's an ordinary human being! - -OLD LADY. Speak to him! - -JUDGE. [_To_ THE OTHER ONE] Who are you, sir? - -THE OTHER ONE. I have told you twice. That you don't believe me is a -part of your punishment, for if you could believe, your sufferings -would be shortened by it. - -JUDGE. [_To his wife_] It's--_him_--sure enough! For I feel as if I -were turning into ice. How are we to get rid of him?--Why, they say -that the unclean spirits cannot bear the sound of music. Play something -on the harp, Caroline. - - _Though badly frightened, the_ OLD LADY _sits down at the table - on which the harp stands and begins to play a slow prelude in a - minor key_. - - THE OTHER ONE _listens reverently and with evident emotion_. - -OLD LADY. [_To the_ JUDGE] Is he gone? - -THE OTHER ONE. I thank you for the music, madam. It lulls the pain -and awakens memories of better things even in a lost soul--Thank you, -madam!--Speaking of the auction, I think you are doing right, although, -in my opinion, an honest declaration of bankruptcy would be still -better--Yes, surrender your goods, and let every one get back his own. - -JUDGE. Bankruptcy? I have no debts---- - -THE OTHER ONE. No debts! - -OLD LADY. My husband _has_ no debts! - -THE OTHER ONE. No debts! That would be happiness, indeed! - -JUDGE. Well, that's the truth! But other people are in debt to me---- - -THE OTHER ONE. Forgive them then! - -JUDGE. This is not a question of pardon, but of payment---- - -THE OTHER ONE. All right! Then you'll be made to pay!--For the -moment--farewell! But we'll meet frequently, and the last time at the -great auction! [_He goes out backward_. - -JUDGE. He's afraid of the sun--he, too! Ha-ha! - -THE OTHER ONE. Yes, for some time yet. But once I have accustomed -myself to the light, I shall hate darkness. - - [_He disappears_. - -OLD LADY. [_To the_ JUDGE] Do you really think he is--the Other One? - -JUDGE. Of course, that's not the way he is supposed to look but then -times are changing and we with them. They used to say that he had gold -and fame to give away, but this fellow goes around dunning---- - -OLD LADY. Oh, he's a sorry lot, and a charlatan--that's all! A milksop -who doesn't dare to bite, no matter how much he would like to! - -THE OTHER ONE. [_Standing in the doorway again_] Take care, I tell you! -Take care! - -JUDGE. [_Raising his right hand_] Take care yourself! - -THE OTHER ONE. [_Pointing at the_ JUDGE _with one hand as if it were a -revolver_] Shame! - -JUDGE. [_Unable to move_] Woe is me! - -THE OTHER ONE. You have never believed in anything good. Now you shall -have to believe in the Evil One. He who is _all goodness_ can harm -nobody, you see, and so he leaves that to such villains as myself. But -for the sake of greater effectiveness, you two must torture yourselves -and each other. - -OLD LADY. [_Kneeling before_ THE OTHER ONE] Spare us! Help us! Mercy! - -THE OTHER ONE. [_With a gesture as if he were tearing his clothes_] -Get up, woman! Woe is me! There is One, and One only, to whom you may -pray! Get up now, or--Yes, now you believe, although I don't wear -a red cloak, and don't carry sword or purse, and don't crack any -jokes--but beware of taking me in jest! I am serious as sin and stern -as retribution! I have not come to tempt you with gold and fame, but -to chastise you with rods and scorpions--[_The clock begins to strike -again; the stage turns dark_] Your time is nearly up. Therefore, put -your house in order--because die you must! [_A noise as of thunder is -heard_] Whose voice is speaking now? Do you think _he_ can be scared -off with your rattle when he comes sweeping across your vineyard? Storm -and Hail are his names; destruction nestles under his wings, and in his -claws he carries punishment. Put on your caul now, and don your good -conscience. - - [_The rattling of the hail-storm is heard outside_. - -JUDGE. Mercy! - -THE OTHER ONE. Yes, if you promise repentance. - -JUDGE. I promise on my oath---- - -THE OTHER ONE. You can take no oath, for you have already perjured -yourself. But promise first of all to set the children free--and then -all the rest! - -JUDGE. I promise! Before the sun has set, the children shall be here! - -THE OTHER ONE. That's the first step ahead, but if you turn back, then -you'll see that I am as good as my name, which is--Legion! - - _He raises the rattan, and at that moment the_ JUDGE _comes - able to move again_. - -_Curtain_. - - - - -ACT III - - - _A wine-cellar, with rows of casks along both side walls. The - doorway in the rear is closed by an iron door_. - - _Every cask is marked with the name of the urine kept in it. - Those nearest the foreground have small shelves above the taps, - and the shelves hold glasses_. - - _At the right, in the foreground, stands a wine-press and near - it are a couple of straw-bottomed chairs_. - - _Bottles, funnels, siphons, crates, etc., are scattered about - the place_. - - -ERIC _and_ THYRA _are seated by the wine-press_. - -ERIC. I think it's awfully dull. - -THYRA. I think grandmother is nasty. - -ERIC. You mustn't talk like that. - -THYRA. No, perhaps not, but she _is_ nasty. - -ERIC. You mustn't, Thyra, for then the little boy won't come and play -with us again. - -THYRA. Then I won't say it again. I only wish it wasn't so dark. - -ERIC. Don't you remember, Thyra, that the boy said we shouldn't -complain---- - -THYRA. Then I won't do it any more--[_The spot of sunlight appears on -the ground_] Oh, look at the sun-spot! - - [_She jumps up and places her foot on the light._ - -ERIC. You mustn't step on the sun, Thyra. That's a sin! - -THYRA. I didn't mean to step on him. I just wanted to have him. Now -see--I have him in my arms, and I can pat him.--Look! Now he's kissing -me right on the mouth. - - _The_ PLAYMATE _enters from behind one of the casks; he wears a - white garment reaching below his knees, and a blue scarf around - the waist; on his feet are sandals; he is blond, and when he - appears the cellar grows lighter_. - -ERIC. [_Goes to meet him and shakes hands with him_] Hello, little -boy!--Come and shake hands, Thyra!--What's your name, boy? You must -tell us to-day. - - _The_ PLAYMATE _merely looks at him_. - -THYRA. You shouldn't be so forward, Eric, for it makes him -bashful.--But tell me, little boy, who is your papa? - -PLAYMATE. Don't be so curious. When you know me better, you'll learn -all those things.--But let us play now. - -THYRA. Yes, but nothing instructive, for that is so tedious. I want it -just to be nice. - -PLAYMATE. [_Smiling_] Shall I tell a story? - -THYRA. Yes, but not out of the Bible, for all those we know by heart---- - - _The_ PLAYMATE _smiles again_. - -ERIC. You say such things, Thyra, that he gets hurt---- - -PLAYMATE. No, my little friends, you don't hurt me--But now, if you are -really good, we'll go and play in the open---- - -ERIC. Oh, yes, yes!--But then, you know, grandmother won't let us---- - -PLAYMATE. Yes, your grandmother has said that she wished you were out, -and so we'll go before she changes her mind. Come on now! - -THYRA. Oh, what fun! Oh---- - - _The door in the rear flies open and through the doorway is - seen a sunlit field planted with rye ready for the harvest. - Among the yellow ears grow bachelor's-buttons and daisies_. - -PLAYMATE. Come, children! Come into the sunlight and feel the joy of -living! - -THYRA. Can't we take the sun-spot along? It's a pity to leave it here -in the darkness. - -PLAYMATE. Yes, if it is willing to go with you. Call it! - -ERIC _and_ THYRA _go toward the door, followed by the spot of light_. - -ERIC. Isn't it a nice little spot! [_Talks to the spot as if it were a -cat_] Puss, puss, puss, puss! - -PLAYMATE. Take it up on your arm, Thyra, for I don't think it can get -over the threshold. - -THYRA _gets the spot of light on her arm, which she bends as if -carrying something_. - - _All three go out; the door closes itself. Pause_. - - _The_ JUDGE _enters with a lantern, the_ OLD LADY _with the - birch rod_. - -OLD LADY. It's cool and nice here, and then there is no sun to bother -you. - -JUDGE. And how quiet it is. But where are the children? - - [_Both look for the children_. - -JUDGE. It looks as if they had taken us at our word. - -OLD LADY. Us? Please observe that I didn't promise anything, for -he--you know--talked only to you toward the end. - -JUDGE. Perhaps, but this time we had better obey, for I don't want to -have any more trouble with hail-storms and such things.--However, the -children are not here, and I suppose they'll come back when they get -hungry. - -OLD LADY. And I wish them luck when they do! [_The rod is snatched out -of her hand and dances across the floor; finally it disappears behind -one of the casks_] Now it's beginning again. - -JUDGE. Well, why don't you submit and do as he--you know who!--says? I, -for my part, don't dare to do wrong any longer. The growing grapes have -been destroyed, and we must take pleasure in what is already safe. Come -here, Caroline, and let us have a glass of something good to brace us -up! [_He knocks on one of the casks and draws a glass of wine from it_] -This is from the year of the comet--anno 1869, when the big comet came, -and everybody said it meant war. And, of course, war did break out. - - [_He offers a filled glass to his wife_. - -OLD LADY. You drink first! - -JUDGE. Well, now--did you think there might be poison in this, too? - -OLD LADY. No, really, I didn't--but--we'll never again know what peace -is, or happiness! - -JUDGE. Do as I do: submit! [_He drinks_. - -OLD LADY. I want to, and I try to, but when I come to think how badly -other people have treated us, I feel that I am just as good as anybody -else. [_She drinks_] That's a very fine wine! [_She sits down_. - -JUDGE. The wine is good, and it makes the mind easier.--Yes, the -wiseacres say that we are rapscallions, one and all, so I can't see -what right anybody has to go around finding fault with the rest. [_He -drinks_] My own actions have always been legal; that is, in keeping -with prevailing laws and constitutions. If others happened to be -ignorant of the law, they had only themselves to blame, for no one has -a right to ignorance of that kind. For that reason, if Adolph does not -pay the rent, it is he who breaks the law, and not I. - -OLD LADY. And yet the blame falls on you, and you are made to appear -like a criminal. Yes, it is as I have always said: there is no justice -in this world. If you had done right, you should have brought suit -against Adolph and turned out the whole family. But then it isn't too -late yet---- [_She drinks_. - -JUDGE. Well, you see, if I were to carry out the law strictly, then I -should sue for the annulment of his marriage, and that would cut him -off from the property---- - -OLD LADY. Why don't you do it? - -JUDGE. [_Looking around_] We-e-ell!--I suppose that would settle the -matter once for all. A divorce would probably not be granted, but I -think it would be possible to get the marriage declared invalid on -technical grounds---- - -OLD LADY. And if there be no such grounds? - -JUDGE. [_Showing the influence of the wine_] There are technical -grounds for everything, if you only look hard enough. - -OLD LADY. Well, then! Think of it--how that good-for-nothing is wishing -the life out of us--but now he'll see how "the natural course of -events" makes the drones take to the road---- - -JUDGE. Ha-ha! You're right, quite right! And then, you know, when I -think it over carefully--what reason have we for self-reproach? What -wrong have we done? It's mean to bring up that about the monstrance--it -didn't hurt anybody, did it? And as for my being guilty of perjury: -that's a pure lie. I got blood-poison in the finger--that's all--and -quite a natural thing. - -OLD LADY. Just as if I didn't know it. And I may as well add that this -hail-storm a while ago--why, it was as plain a thing as if it had been -foretold in the Farmer's Almanac! - -JUDGE. Exactly! That's what I think too. And for that reason, Caroline, -I think we had better forget all that fool talk--and if you feel as I -do, we'll just turn to another priest and get him to consecrate the -mausoleum. - -OLD LADY. Well, why shouldn't we? - -JUDGE. Yes, why shouldn't we? Perhaps because that mesmerist comes here -and talks a lot of superstitious nonsense? - -OLD LADY. Tell me, do you really think he is nothing but a mesmerist? - -JUDGE. [_Blustering_] That fellow? He's a first-class charlatan. A -che-ar-la-tan! - -OLD LADY. [_Looking around_] I am not so sure. - -JUDGE. But I am sure. Su-ure! And if he should ever come before my eyes -again--just now, for instance--I'll drink his health and say: here's -to you, old humourist! [As _he raises the glass, it is torn out of his -hand and is seen to disappear through the wall_] What was that? [_The -lantern goes out._ OLD LADY. Help! - - [_A gust of wind is heard, and then all is silence again_. - -JUDGE. You just get some matches, and I'll clear this matter up. For I -am no longer afraid of anything. Not of anything! - -OLD LADY. Oh, don't, don't! - -THE OTHER ONE. [_Steps from behind one of the casks_] Now we'll have to -have a talk in private. - -JUDGE. [_Frightened_] Where did you come from? - -THE OTHER ONE. That is no concern of yours. - -JUDGE. [_Straightening himself up_] What kind of language is that? - -THE OTHER ONE. Your own!--Off with your cap! [_He blows at the_ JUDGE, -_whose cap is lifted off his head and falls to the ground_] Now you -shall hear sentence pronounced: you have wanted to sever what has been -united by Him whose name I may not mention. Therefore you shall be -separated from her who ought to be the staff of your old age. Alone -you must run the gauntlet. Alone you must bear the qualms of sleepless -nights. - -JUDGE. Is that mercy? - -THE OTHER ONE. It is justice; it is the law: an eye for an eye, and a -tooth for a tooth! The gospel has a different sound, but of that you -didn't want to hear. Now, move I along. [_He beats the air with the -rattan._ - - _The scene changes to a garden with cypresses and yew-trees - clipped in the shape of obelisks, candelabra, vases, etc. Under - the trees grow roses, hollyhocks, foxgloves, etc. At the centre - of it is a spring above which droops a gigantic fuchsia in full - bloom_.[1] - - _Back of the garden appears a field of rye, all yellow and - ready to be cut. Bachelor's-buttons and daisies grow among the - rye. A scarecrow hangs in the middle of the field. The distant - background is formed by vineyards and light-coloured rocks with - beech woods and ruined castles on them_. - - _A road runs across the stage in the near background. At the - right is a covered Gothic arcade. In front of this stands a - statue of the Madonna with the Child_. - -ERIC _and_ THYRA _enter hand in hand with the_ PLAYMATE. - -ERIC. Oh, how beautiful it is! - -THYRA. Who is living here? - -PLAYMATE. Whoever feels at home has his home here. - -THYRA. Can we play here? - -PLAYMATE. Anywhere except in that avenue over there to the right. - -ERIC. And may we pick the flowers? - -PLAYMATE. You may pick any flowers you want, but you mustn't touch the -tree at the fountain. - -THYRA. What kind of tree is that? - -ERIC. Why, you know, it is one of those they call [_lowering his -voice_] "Christ's Blood-drops." - -THYRA. You should cross yourself, Eric, when you mention the name of -the Lord. - -ERIC. [_Makes the sign of the cross_] Tell me, little boy, why mustn't -we touch the tree? - -THYRA. You should obey without asking any questions, Eric.--But tell -me, little boy, why is that ugly scarecrow hanging there? Can't we take -it away? - -PLAYMATE. Yes, indeed, you may, for then the birds will come and sing -for us. - - ERIC _and_ THYRA _run into the rye-field and tear down the - scarecrow_. - -ERIC. Away with you, you nasty old scarecrow! Come and eat now, little -birds! [_The Golden Bird comes flying from the right and perches on the -fuchsia_] Oh, see the Golden Bird, Thyra! - -THYRA. Oh, how pretty it is! Does it sing, too? - - [_The bird calls like a cuckoo_. - -ERIC. Can you understand what the bird sings, boy? - -PLAYMATE. No, children, the birds have little secrets of their own -which they have a right to keep hidden. - -THYRA. Of course, Eric, don't you see, otherwise the children could -tell where the nests are, and then they would take away the eggs, and -that would make the birds sorry, and they couldn't have any children of -their own. - -ERIC. Don't talk like a grown-up, Thyra. - -PLAYMATE. [_Putting a finger across his lips_] Hush! Somebody is -coming. Now let us see if he likes to stay with us or not. - - _The_ CHIMNEY-SWEEP _enters, stops in surprise, and begins to - look around_. - -PLAYMATE. Well, boy, won't you come and play with us? - -CHIMNEY-SWEEP. [_Takes off his cap; speaks bashfully_] Oh, you don't -want to play with me. - -PLAYMATE. Why shouldn't we? - -CHIMNEY-SWEEP. I am sooty all over. And besides I don't know how to -play--I hardly know what it is. - -THYRA. Think of it, the poor boy has never played. - -PLAYMATE. What is your name? - -CHIMNEY-SWEEP. My name? They call me Ole--but---- - -PLAYMATE. But what's your other name? - -CHIMNEY-SWEEP. Other name? I have none. - -PLAYMATE. But your papa's name? - -CHIMNEY-SWEEP. I have no papa. - -PLAYMATE. And your mamma's? - -CHIMNEY-SWEEP. I don't know. - -PLAYMATE. He has no papa or mamma. Come to the spring here, boy, and -I'll make you as white as a little prince. - -CHIMNEY-SWEEP. If anybody else said it, I shouldn't believe it---- - -PLAYMATE. Why do you believe it then, when I say it? - -CHIMNEY-SWEEP. I don't know, but I think you look as if it would be -true. - -PLAYMATE. Give the boy your hand, Thyra!--Would you give him a kiss, -too? - -THYRA. [_After a moment's hesitation_] Yes, when you ask me! - - -[Footnote 1: The Swedish name of this plant is "Christ's Blood-drops."] - - _She kisses the_ CHIMNEY-SWEEP. _Then the_ PLAYMATE _dips - his hand in the spring and sprays a little water on the face - of the_ CHIMNEY-SWEEP, _whose black mask at once disappears, - leaving his face white_. - -PLAYMATE. Now you are white again. And now you must go behind that -rose-bush there and put on new clothes. - -CHIMNEY-SWEEP. Why do I get all this which I don't deserve? - -PLAYMATE. Because you don't believe that you deserve it. - -CHIMNEY-SWEEP. [_Going behind the rose-bush_] Then I thank you for it, -although I don't understand what it means. - -THYRA. Was he made a chimney-sweep because he had been bad? - -PLAYMATE. No, he has never been bad. But he had a bad guardian who took -all his money away from him, and so he had to go out into the world to -earn a living--See how fine he looks now! - - _The_ CHIMNEY-SWEEP _enters dressed in light summer clothes_. - -PLAYMATE. [_To the_ CHIMNEY-SWEEP] Go to the arcade now, and you'll -meet somebody you love--and who loves you! - -CHIMNEY-SWEEP. Who could love me? - -PLAYMATE. Go and find out. - - _The_ CHIMNEY-SWEEP _goes across the stage to the arcade, where - he is met by the_ LADY IN WHITE, _who puts her arms around him_. - -THYRA. Who is living in there? - -PLAYMATE. [_With his finger on his lips_] Polly Pry!--But who is coming -there? - - _The_ OLD LADY _appears on the road with a sack on her back and - a stick in her hand_. - -ERIC. It's grandmother! Oh, now we are in for it! - -THYRA. Oh, my! It's grandmother! - -PLAYMATE. Don't get scared, children. I'll tell her it's my fault. - -ERIC. No, you mustn't, for then she'll beat you. - -PLAYMATE. Well, why shouldn't I take a beating for my friends? - -ERIC. No, I'll do it myself! - -THYRA. And I, too! - -PLAYMATE. Hush! And come over here--then you won't be scolded. [_They -hide_. - -OLD LADY. [_Goes to the spring_] So, this is the famous spring that -is said to cure everything--after the angel has stirred it up, of -course!--But I suppose it is nothing but lies. Well, I might have a -drink anyhow, and water is water. [_She bends down over the spring_] -What is it I see? Eric and Thyra with a strange boy! What can it mean? -For they are not here. It must be an oracle spring. [_She takes a cup -that stands by the spring, fills it with water and drinks_] Ugh, it -tastes of copper--he must have been here and poisoned the water, too! -Everything is poisoned! Everything!--And I feel tired, too, although -the years have not been hard on me--[_She looks at her reflection -in the spring and tosses her head_] On the contrary, I look quite -youthful--but it's hard to walk, and still harder to get up--[_She -struggles vainly to rise_] My God, my God, have mercy! Don't leave me -lying here! - -PLAYMATE. [_Makes a sign to the children to stay where they are; then -he goes up to the_ OLD LADY _and wipes the perspiration from her -forehead_] Rise, and leave your evil ways! - -OLD LADY. [_Rising_] Who is that?--Oh, it's you, my nice gentleman, who -has led the children astray? - -PLAYMATE. Go, ungrateful woman! I have wiped the sweat of fear from -your brow; I have raised you up when your own strength failed you, and -you reward me with angry words. Go--go! - - OLD LADY _stares astonished at him; then her eyes drop, and she - turns and goes out_. - - ERIC _and_ THYRA _come forward_. - -ERIC. But I am sorry for grandmother just the same, although she is -nasty. - -THYRA. It isn't nice here, and I want to go home. - -PLAYMATE. Wait a little! Don't be so impatient.--There comes somebody -else we know. - - _The_ JUDGE _appears on the road_. - -PLAYMATE. He cannot come here and defile the spring. [_He waves his -hand; the spot of sunlight strikes the_ JUDGE, _making him turn around -and walk away_] It is nice of you to be sorry for the old people, but -you must believe that what I do is right. Do you believe that? - -ERIC _and_ THYRA. Yes, we believe it, we believe it! - -THYRA. But I want to go home to mamma! - -PLAYMATE. I'll let you go. - - THE OTHER ONE _appears in the background and hides himself - behind the bushes_. - -PLAYMATE. For now I must go. The Angelus bell will soon be ringing---- - -ERIC. Where are you going, little boy? - -PLAYMATE. There are other children I must play with--far away from -here, where you cannot follow me. But now, when I leave you here, don't -forget what I have told you: that you mustn't touch the tree! - -ERIC. We'll obey! We will! But don't go away, for it will soon be dark! - -PLAYMATE. How is that? Anybody who has a good conscience and knows his -evening prayer has nothing, nothing to be afraid of. - -THYRA. When will you come back to us, little boy? - -PLAYMATE. Next Christmas I come back, and every Christmas!--Good night, -my little friends! - - _He kisses their foreheads and goes out between the bushes; - when he reappears in the background, he is carrying a cross - with a banner like that carried by the Christ-Child in old - paintings; the Angelus bell begins to ring; as he raises the - banner and waves it in greeting to the children, he becomes - surrounded by a clear, white light; then he goes out_. - -ERIC _and_ THYRA _kneel and pray silently while the bell is ringing_. - -ERIC. [_Having crossed himself_] Do you know who the boy was, Thyra? - -THYRA. It was the Saviour! - - THE OTHER ONE _steps forward_. - -THYRA. [_Scared, runs to Eric, who puts his arms around her to protect -her_] My! - -ERIC. [_To_ THE OTHER ONE] What do you want? You nasty thing! - -THE OTHER ONE. I only wanted--Look at me! - -ERIC. Yes? - -THE OTHER ONE. I am looking like this because once I touched the tree. -Afterward it was my joy to tempt others into doing the same. But now, -since I have grown old, I have come to repent, and now I am remaining -here to warn men, but nobody believes me--nobody--because I lied once. - -ERIC. You don't need to warn us, and you can't tempt us. - -THE OTHER ONE. Tut, tut, tut! Not so high-and-mighty, my little friend! -Otherwise it's all right. - -ERIC. Well, go away then, for I don't want to listen to you, and you -scare my sister! - -THE OTHER ONE. I am going, for I don't feel at home here, and I have -business elsewhere. Farewell, children! - -AMELIA. [_Is heard calling from the right_] Eric and Thyra! - -ERIC _and_ THYRA. Oh, there is mamma--dear little mamma! - - AMELIA _enters_. - - ERIC _and_ THYRA _rush into her arms_. - - THE OTHER ONE _turns away to hide his emotion_. - -_Curtain_. - - - - -ACT IV - - - _A cross-roads surrounded by pine woods. Moonlight_. - - _The_ WITCH _stands waiting_. - - -OLD LADY. Well, at last, there you are. - -WITCH. You have kept me waiting. Why have you called me? - -OLD LADY. Help me! - -WITCH. In what way? - -OLD LADY. Against my enemies. - -WITCH. There is only one thing that helps against your enemies: be good -to them. - -OLD LADY. Well, I declare! I think the whole world has turned -topsyturvy. - -WITCH. Yes, so it may seem. - -OLD LADY. Even the Other One--you know who I mean--has become -converted. - -WITCH. Then it ought to be time for you, too. - -OLD LADY. Time for me? You mean that my years are burdening me? But it -is less than three weeks since I danced at a wedding. - -WITCH. And you call that bliss! Well, if that be all, you shall have -your fill of it. For there is to be a ball here to-night, although I -myself cannot attend it. - -OLD LADY. Here? - -WITCH. Just here. It will begin whenever I give the word---- - -OLD LADY. It's too bad I haven't got on my low-necked dress. - -WITCH. You can borrow one from me--and a pair of dancing shoes with red -heels. - -OLD LADY. Perhaps I might also have a pair of gloves and a fan? - -WITCH. Everything! And, in particular, any number of young cavaliers -who will proclaim you the queen of the ball. - -OLD LADY. Now you are joking. - -WITCH. No, I am not joking. And I know that they have the good taste at -these balls to choose the right one for queen--and in speaking of the -right one, I have in mind the most worthy---- - -OLD LADY. The most beautiful, you mean? - -WITCH. No, I don't--I mean the worthiest. If you wish, I'll start the -ball at once. - -OLD LADY. I have no objection. - -WITCH. If you step aside a little, you'll find your maid--while the -hall is being put in order. - -OLD LADY. [_Going out to the right_] Think of it--I am going to have a -maid, too! You know, madam, that was the dream of my youth--which never -came true. - -WITCH. There you see: "What youth desires, age acquires." [_She blows a -whistle_] - - _Without curtain-fall, the stage changes to represent the - bottom of a rocky, kettle-shaped chasm. It is closed in on - three sides by steep walls of black rock, wholly stripped of - vegetation. At the left, in the foreground, stands a throne. At - the right is a platform for the musicians_. - - _A bust of Pan on a square base stands in the middle of the - stage, surrounded by a strange selection of potted plants: - henbane, burdock, thistle, onion, etc._ - - _The musicians enter. Their clothing is grey; their faces are - chalk-white and sad; their gestures tired. They appear to be - tuning their instruments, but not a sound is heard_. - - _Then comes the_ LEADER OF THE ORCHESTRA. - - _After him, the guests of the ball: cripples, beggars, tramps. - All are pulling on black gloves as they come in. Their - movements are dragging; their expressions funereal_. - - _Next: The_ MASTER OF CEREMONIES, _who is really_ THE OTHER - ONE_--a septuagenarian dandy wearing a black wig which is too - small for him, so that tufts of grey hair appear underneath. - His mustaches are waxed and pointed. He wears a monocle and has - on an outgrown evening dress and top-boots. He looks melancholy - and seems to be suffering because of the part he has to play._ - - _The_ SEVEN DEADLY SINS _enter and group themselves around the - throne as follows_: - - PRIDE COVETOUSNESS - LUST ANGER - GLUTTONY ENVY - SLOTH - - _Finally the_ PRINCE _enters. He is hunchbacked and wears a - soiled velvet coat with gold buttons, ruffles, sword, and high - boots with spurs_. - - _The ensuing scene must be played with deadly seriousness, - without a trace of irony, satire, or humour. There is a - suggestion of a death-mask in the face of every figure. They - move noiselessly and make simple, awkward gestures that convey - the impression of a drill_. - -PRINCE. [_To the_ MASTER OF CEREMONIES] Why do you disturb my peace at -this midnight hour? - -MASTER OF CEREMONIES. Always, brother, you are asking why. Have you not -seen the light yet? - -PRINCE. Only in part. I can perceive a connection between my suffering -and my guilt, but I cannot see why I should have to suffer eternally, -when He has suffered in my place. - -MASTER OF CEREMONIES. Eternally? You died only yesterday. But then time -ceased to exist to you, and so a few hours appear like an eternity. - -PRINCE. Yesterday? - -MASTER OF CEREMONIES. Yes.--But because you were proud and wanted no -assistance, you have now to bear your own sufferings. - -PRINCE. What have I done, then? - -MASTER OF CEREMONIES. What a sublime question! - -PRINCE. But why don't you tell? - -MASTER OF CEREMONIES. As our task is to torture each other by -truth-telling--were we not called "heroes of truth" in our lifetime?--I -shall tell you a part of your own secret. You were, and you are still, -a hunchback---- - -PRINCE. What is that? - -MASTER OF CEREMONIES. There you see! You don't know what is known to -everybody else. But all those others pitied you, and so you never heard -the word that names your own deformity. - -PRINCE. What deformity is that? Perhaps you mean that I have a weak -chest? But that is no deformity. - -MASTER OF CEREMONIES. A "weak chest"--yes, that is your own name for -the matter. However, people kept the disfigurement of your body hidden -from you, and they tried to assuage your misfortune by showing you -sympathy and kindness. But you accepted their generosity as an earned -tribute, their encouraging words as expressions of admiration due to -your superior physique. And at last you went so far in conceit that -you regarded yourself as a type of masculine beauty. And when, to cap -it all, woman granted you her favours out of pity, then you believed -yourself an irresistible conqueror. - -PRINCE. What right have you to say such rude things to me? - -MASTER OF CEREMONIES. Right? I am filling the saddening duty which -forces one sinner to punish another. And soon you will have to fulfil -the same cruel duty toward a woman who is vain to the verge of -madness--a woman resembling you as closely as she possibly could. - -PRINCE. I don't want to do it. - -MASTER OF CEREMONIES. Try to do anything but what you must, and you'll -experience an inner discord that you cannot explain. - -PRINCE. What does it mean? - -MASTER OF CEREMONIES. It means that you cannot all of a sudden cease to -be what you are: and you are what you have wanted to become. [_He claps -his hands_. - - _The_ OLD LADY _enters, her figure looking as aged and clumsy - as ever; but she has painted her face and her head is covered - by a powdered wig; she wears a very low-necked, rose-coloured - dress, red shoes, and a fan made out of peacock feathers_. - -OLD LADY. [_A little uncertain_] Where am I? Is this the right place? - -MASTER OF CEREMONIES. Quite right, for you are in the place we call -the "waiting-room." It is so called [_he sighs],_ because here we have -to spend our time waiting--waiting for something that will come some -time---- - -OLD LADY. Well, it isn't bad at all--and there is the music--and there -is a bust--of whom? - -MASTER OF CEREMONIES. It's a pagan idol called Pan, because to the -ancients he was all they had. And as we, in this place, are of the old -order, more or less antiquated, he has been put here for us to look at. - -OLD LADY. Why, we are not old---- - -MASTER OF CEREMONIES. Yes, my Queen. When the new era opened [_he -sighs_], we couldn't keep up with it, and so we were left behind---- - -OLD LADY. The new era? What kind of talk is that? When did it begin? - -MASTER OF CEREMONIES. It is easy to figure out when the year one -began--It was night, for that matter; the stars were shining brightly, -and the weather must have been mild, as the shepherds remained in the -open---- - -OLD LADY. Oh, yes, yes--Are we not going to dance here to-night? - -MASTER OF CEREMONIES. Of course, we are. The Prince is waiting for a -chance to ask you---- - -OLD LADY. [_To the_ MASTER OF CEREMONIES] Is he a real Prince? - -MASTER OF CEREMONIES. A real one, my Queen. That is to say, he has full -reality in a certain fashion---- - -OLD LADY. [_To the_ PRINCE, _who is asking her to dance_] You don't -look happy, my Prince? - -PRINCE. I am not happy. - -OLD LADY. Well, I can't say that I find it very hilarious--and the -place smells of putty, as if the glazier had just been at work here. -What is that strange smell, as of linseed-oil? - -PRINCE. [_With an expression of horror_] What are you saying? Do you -mean that charnel-house smell? - -OLD LADY. I fear I must have said something impolite--but then, it -isn't for the ladies to offer pleasantries--that's what the cavalier -should do---- - -PRINCE. What can I tell you that you don't know before? - -OLD LADY. That I don't know before? Let me see--No, then I had better -tell you that you are very handsome, my Prince. - -PRINCE. Now you exaggerate, my Queen. I am not exactly handsome, but I -have always been held what they call "good-looking." - -OLD LADY. Just like me--I never was a beauty--that is, I _am_ not, -considering my years--Oh, I am so stupid!--What was it I wanted to say? - -MASTER OF CEREMONIES. Let the music begin! - - _The musicians appear to be playing, but not a sound is heard_. - -MASTER OF CEREMONIES. Well? Are you not going to dance? - -PRINCE. [_Sadly_] No, I don't care to dance. - -MASTER OF CEREMONIES. But you must: you are the only presentable -gentleman. - -PRINCE. That's true, I suppose--[_pensively_] but is that a fit -occupation for me? - -MASTER OF CEREMONIES. How do you mean? - -PRINCE. At times it seems as if I had something else to think of, but -then--then I forget it. - -MASTER OF CEREMONIES. Don't brood--enjoy yourself while youth is with -you and the roses of life still bloom on your cheeks. Now! Up with the -head, and step lively---- - - _The_ PRINCE _grins broadly; then he offers his hand to the_ - OLD LADY, _and together they perform a few steps of a minuet_. - -OLD LADY. [_Interrupting the dance_] Ugh! Your hands are cold as ice! -_goes to the throne_] Why are those seven ladies not dancing? - -MASTER OF CEREMONIES. How do you like the music, Queen? - -OLD LADY. It's splendid, but they might play a little more _forte_---- - -MASTER OF CEREMONIES. They are soloists, all of them, and formerly each -one of them wanted to make himself heard above the rest, and so they -have to use moderation now. - -OLD LADY. But I asked why the seven sisters over there are not dancing. -Couldn't you, as master of ceremonies, make them do so? - -MASTER OF CEREMONIES. I don't think it would be of any use trying, for -they are obstinate as sin--But please assume your throne, my Queen. We -are going to perform a little play in honour of the occasion---- - -OLD LADY. Oh, what fun! But I want the prince to ... escort me---- - -PRINCE. [_To the_ MASTER OF CEREMONIES] Have I got to do it? - -OLD LADY. You ought to be ashamed of yourself--you with your hunch! - -PRINCE. [_Spits in her face_] Hold your tongue, you cursed old hag! - -OLD LADY. [_Cuffs him on the ear_] That'll teach you! - -PRINCE. [_Jumps at her and knocks her down_] And that's, for you! - - _All the rest cover their faces with their hands_. - -PRINCE. [_Tears off the_ OLD LADY'S _wig so that her head appears -totally bald_] There's the false scalp! Now we'll pull out the teeth! - -MASTER OF CEREMONIES. Enough! Enough! - - _He helps the_ OLD LADY _to rise, and gives her a kerchief to - cover her head_. - -OLD LADY. [_Crying_] Goodness gracious, that I could let myself be -fooled like that! But I haven't deserved any better, I admit. - -PRINCE. No, you have deserved a great deal worse. You should leave my -hunch alone, for otherwise hell breaks loose--It's a miserable thing to -see an old woman like you so foolish and so degraded. But, then, you -are to be pitied--as all of us are to be pitied. - -ALL. We are all to be pitied! - -PRINCE. [_With a sneer_] The queen! - -OLD LADY. [_In the same tone_] The prince!--But haven't we met before? - -PRINCE. Perhaps--in our youth--for I am old, too. You had too much -frippery on before--but now, when the disguise has been taken away--I -begin to distinguish certain features---- - -OLD LADY. Don't say anything more--don't say anything more--Oh, what -have I come to--what is happening to me? - -PRINCE. Now I know: you are my sister! - -OLD LADY. But--my brother is dead! Have I been deceived? Or are the -dead coming back? - -PRINCE. Everything comes back. - -OLD LADY. Am I dead or am I living? - -PRINCE. You may well ask that question, for I don't know the -difference. But you are exactly the same as when I parted from you -once: just as vain and just as thievish. - -OLD LADY. Do you think you are any better? - -PRINCE. Perhaps! I am guilty of all the seven deadly sins, but you have -invented the eighth one--that of robbing the dead. - -OLD LADY. What are you thinking of now? - -PRINCE. Twelve years in succession I sent you money to buy a wreath for -mother's grave, and instead of buying it you kept the money. - -OLD LADY. How do you know? - -PRINCE. How I came to know of it is the only thing that interests you -about that crime of yours. - -OLD LADY. Prove it! - -PRINCE. [_Taking a number of bills from his pocket_] Here is the money! - - _The_ OLD LADY _sinks to the ground. A church bell begins to - ring. All bend their heads, but nobody kneels_. - -LADY IN WHITE. [_Enters, goes up to the_ OLD LADY, _and assists her in -rising_] Do you know me? - -OLD LADY. No. - -LADY IN WHITE. I am Amelia's mother. You have taken the memory of me -away from her. You have erased me from her life. But now you are to be -wiped out, and I shall recover my child's love and the prayers my soul -needs. - -OLD LADY. Oh, somebody has been telling tales to that hussy--then I'll -set her to herd the swine---- - - _The_ PRINCE _strikes her on the mouth_. - -LADY IN WHITE. Don't strike her! - -OLD LADY. Are you interceding for me? - -LADY IN WHITE. It is what I have been taught to do. - -OLD LADY. You hypocrite! If you only dared, you would wish me buried as -deep as there are miles from here to the sun! - -MASTER OF CEREMONIES. Down with you--monster! - - [As _he touches her with his staff she falls to the ground_ - - _Again the scene is changed while the curtain remains up. The - bust of Pan sinks into the earth. The musicians and the throne - with its attendant sins disappear behind pieces of; scenery - that are lowered from above. At last the cross-roads with the - surrounding pine woods appear again, and the_ OLD LADY _is - discovered lying at the foot of a sign-post_. - -WITCH. Get up! - -OLD LADY. I cannot--I am frozen stiff---- - -WITCH. The sun will rise in a moment. The cock has crowed. The matin -bells are ringing. - -OLD LADY. I don't care for the sun. - -WITCH. Then you'll have to walk in darkness. - -OLD LADY. Oh, my eyes! What have you done to me? - -WITCH. I have only turned out the light because it troubled you. Now, -up and away with you--through cold and darkness--until you drop! - -OLD LADY. Where is my husband?--Amelia! Eric and Thyra! My children! - -WITCH. Yes, where are they? But wherever they may be, you shall not see -them until your pilgrimage is ended. Now, up and away! Or I will loose -my dogs! - - _The_ OLD LADY _gropes her way out_. - -_The court-room. In the background is the desk of the presiding judge, -decorated in white and gold with the emblems of justice. In front of -the desk, covering the centre of the floor, stands a big table, and on -it are placed writing-materials, inkstand, Bible, bell, and gavel_. - -_The axe of the executioner hangs on the rear wall, with a pair of -handcuffs below it and a big black crucifix above_. - - _The_ JUDGE _enters and makes his way into the room on tiptoe. - The bell rings. The gavel raps once on the table. All the - chairs are pulled up to the table at once. The Bible is opened. - The candles on the table become lighted_. - - _For a moment the_ JUDGE _stands still, stricken with horror. - Then he resumes his advance toward a huge cabinet. Suddenly the - doors of this fly open. A number of documents are thrown out, - and the_ JUDGE _picks them up_. - -JUDGE. [_Reassured_] This time I am in luck! Here are the accounts -of my guardianship; here is the contract for the lease--my report as -executor--all of it! [_The handcuffs on the wall begin to clank_] Make -all the noise you please! As long as the axe stays still, I won't be -scared. [_He puts the documents on the table and goes back to close -the door of the cabinet, but this flies open again as soon as he shuts -it_] Everything has a cause: _ratio sufficiens_. This door must have -a spring with which I am not familiar. It surprises me that I don't -know it, but it cannot scare me. [_The axe moves on the wall_] The axe -moved--as a rule, that foretells an execution, but to-day it means only -that its equilibrium has become disturbed in some way. Oh, no, nothing -will give me pause but seeing my own ghost--for that would be beyond -the tricks of any charlatan. - - _The_ GHOST _enters from behind the cabinet; the figure - resembles in every way the_ JUDGE, _but where the eyes should - be appear two white surfaces, as on a plaster bust_. - -JUDGE. [_Frightened_] Who are you? - -GHOST. I am not--I have been. I have been that unrighteous judge who is -now come here to receive his sentence. - -JUDGE. What have you done then, poor man? - -GHOST. Everything wrong that an unrighteous judge might do. Pray for -me, you whose conscience is clear---- - -JUDGE. Am I--to pray for you? - -GHOST. Yes, you who have caused no innocent blood to be shed---- - -JUDGE. That's true; that's something I haven't done. And besides, as -I have always obeyed the letter of the law, I have good reason to let -myself be called a righteous judge--yes, without irony! - -GHOST. It would, indeed, be a bad moment for joking, as the Invisible -Ones are sitting in judgment---- - -JUDGE. What do you mean? Who are sitting in judgment? - -GHOST. [_Pointing to the table_] You don't see them, but I do. [_The -bell rings; a chair is pushed back from the table_] Pray for me! - -JUDGE. No, I won't. Justice must take its course. You must have been a -great offender to reach consciousness of your guilt so late. - -GHOST. You are as stern as a good conscience. - -JUDGE. That's just the word for it. Stern, but just! - -GHOST. No pity, then? - -JUDGE. None whatever. - -GHOST. No mercy? - -JUDGE. No mercy! - - _The gavel raps on the table; the chairs are pushed away_. - -GHOST. Now the verdict is being delivered. Can't you hear? - -JUDGE. I hear nothing. - -GHOST. [_Pointing to the table_] And you see nothing? Don't you see the -beheaded sailor, the surveyor, the chimney-sweep, the lady in white, -the tenant---- - -JUDGE. I see absolutely nothing. - -GHOST. Woe unto you, then, when your eyes become opened as mine have -been. Now the verdict has been given: guilty! - -JUDGE. Guilty! - -GHOST. You have said it--yourself! And you have already been sentenced. -All that remains now is the big auction. - -_Curtain._ - - - - -ACT V - - - _The same room as in the second act, but it is now arranged for - the auction. Benches are placed in the middle of the room. On - the table behind which the auctioneer is to preside stand the - silver coffee-set, the clock, vases, candelabra, etc._ - - _The portraits of the_ JUDGE _and the_ OLD LADY _have been - taken down and are leaning against the table_. - - _The_ NEIGHBOUR _and_ AMELIA _are on the stage_. - - -AMELIA. [_Dressed as a scrub-woman_] Before my mother left, she ordered -me to clean the hallway and the stairs. It is winter now, and cold, and -I cannot say that it has been any pleasure to carry out her order---- - -NEIGHBOUR. So you didn't get any pleasure out of it? Well, my child, I -must say that you demand rather too much of yourself. But as you have -obeyed, and stood the test, your time of trial shall be over, and I -will let you know your life's secret. - -AMELIA. Speak out, neighbour, for I dare hardly trust my good -resolutions much longer. - -NEIGHBOUR. Well, then! The woman you have been calling mother is your -stepmother. Your father married her when you were only one year old. -And the reason you have never seen your mother is that she died when -you were born. - -AMELIA. So that was it!--How strange to have had a mother and yet never -to have seen her! Tell me--did you ever see her? - -NEIGHBOUR. I knew her. - -AMELIA. How did she look? - -NEIGHBOUR. Well, how _did_, she look?--Her eyes were blue as the -blossom of the flax--her hair was yellow as the dry stalks of wheat---- - -AMELIA. And tall and slender--and her hand was small and white as if it -had touched nothing but silk in all her days--and her mouth was shaped -like a heart, and her lips looked as if none but good words had ever -passed them. - -NEIGHBOUR. How can you know all that? - -AMELIA. Because that is the image which appears in my dreams when I -have not been good--And then she raises her hand as if to warn me, and -on one of her fingers there is a ring with a green stone that seems to -radiate light. It is she!--Tell me, neighbour, is there a picture of -her in the place? - -NEIGHBOUR. There used to be one, but I don't know whether it's still -here. - -AMELIA. So this one is my stepmother? Well, God was good when he let me -keep my mother's image free from stain--and hereafter I shall find it -quite natural that this other woman is cruel to me. - -NEIGHBOUR. Cruel stepmothers exist to make children kind. And you were -not kind, Amelia, but you have become so, and for that reason I shall -now give you a Christmas present in advance. - - _He takes the portrait of the_ OLD LADY _out of its frame, when - in its place appears a picture in water-colours corresponding - to the description given above_. - -AMELIA. [_Kneeling in front of the picture_] My mother--mother of my -dreams! [_Rising_] But how can I keep the picture when it is to be sold -at auction? - -NEIGHBOUR. You can, because the auction has already taken place. - -AMELIA. Where and when was it held? - -NEIGHBOUR. It was held elsewhere--in a place not known to you--and -to-day the things are merely to be taken away. - -AMELIA. What a lot of queer things are happening! And how full of -secrets the house is!--But tell me, where is my stepmother? I have not -seen her in a long time. - -NEIGHBOUR. I suppose it must be told: she is in a place from which -nobody returns. - -AMELIA. Is she dead? - -NEIGHBOUR. She is dead. She was found frozen to death in a swamp into -which she had stumbled. - -AMELIA. Merciful God have pity on her soul! - -NEIGHBOUR. So he will in time, especially if you pray for her. - -AMELIA. Of course I will. - -NEIGHBOUR. How good you have become, my child--as a result of her -becoming so bad! - -AMELIA. Don't say so now when she is dead---- - -NEIGHBOUR. Right you are! Let her rest in peace! - -AMELIA. But where is my father? - -NEIGHBOUR. That's a secret to all of us. But it is sweet of you to ask -for him before you ask for your own Adolph. - -AMELIA. Adolph--yes, where is he? The children are crying for him, and -Christmas is near.--Oh, what a Christmas this will be to us! - -NEIGHBOUR. Leave to each day its own trouble--and now take your -Christmas present and go. The affairs connected with the auction are to -be settled, and then you'll hear news. - -AMELIA. [_Takes the portrait of her mother_] I go, but no longer -alone--and I have a feeling that something good is about to happen, but -what I cannot tell. - - [_She goes out to the right_. - -NEIGHBOUR. But I know! Yet you had better go, for what is about to -happen here should not be seen by children. - - _He opens the door in the rear and rings a bell to summon - the people to the auction. The people enter in the following - order_: THE POOR, _a large number of them; the_ SAILOR; _the_ - CHIMNEY-SWEEP; _the_ NEIGHBOUR, who takes his place in front - of the rest; _the_ WIDOW _and the_ FATHERLESS CHILDREN; _the_ - SURVEYOR; THE OTHER ONE, _carrying the auctioneer's hammer and - a pile of documents_. - -THE OTHER ONE. [_Takes his place at the table and raps with the -hammer_] At a compulsory auction held at the court-house for the -disposal of property left by the late circuit judge, the items now to -be described were bid in by the Court on behalf of absent creditors, -and may now be obtained and taken away by their respective owners. - -JUDGE. [_Enters, looking very aged and miserable_] In the name of the -law--hold! - -THE OTHER ONE. [_Pretends to throw something at the_ JUDGE, _who -stands aghast and speechless_] Don't speak of the law! Here the Gospel -is preached--but not for you, who wanted to buy heaven with stolen -money.--First: the widow and her fatherless children. There is the -silver set which the judge accepted from you for his false report -as executor. In his stained hands the silver has turned black, but -I hope that in yours it will once more turn white.--Then we come to -the ward, who had to become a chimney-sweep, after being cheated out -of his inheritance. Here are the receipted bills and the property -due to you from your guardian. And you need not thank him for his -accounting.--Here stands the surveyor who, although he was innocent, -had to serve two years in prison because he had made an illegal -partition--the maps handed to him for the purpose having been falsified -in advance. What can you do for him, Judge? Can you undo what has -happened, or restore his lost honour? - -JUDGE. Oh, that fellow--give him a bill and he'll be satisfied! His -honour wasn't worth a penny, anyhow. - -THE OTHER ONE. [_Slaps the_ JUDGE _on the mouth, while the rest spit at -him and mutter with clinched fists_] Here is the brother of the sailor -who was beheaded in spite of his innocence. Can you restore his brother -to life? No! And you cannot pay for his life with yours, as it is not -worth as much.--And finally we come to the neighbour whom you cheated -out of his property in a perfectly legal way. Not familiar with the -tricks of the law, the neighbour has, contrary to prevailing practice, -placed the judge's son-in-law in charge of the property as life tenant, -wiping out his previous indebtedness and making him also legal heir to -the property. - -JUDGE. I appeal to a higher court! - -THE OTHER ONE. This case has passed through all the instances except -the highest, and that far you cannot reach with your stamped papers. -For if you tried, all these poor people whom you have robbed of their -living would cry out: Guilty!--Thus we are done with all that could be -properly disposed of. What remains here still undisposed of goes to the -poor: clocks, vases, jewelry and other valuables that have served as -bribes, graft, tips, souvenirs--all in a perfectly legal way because -evidence and witnesses were wanting. You poor, take back your own! -Your tears have washed the guilt from the ill-gotten goods. [_The_ POOR -_begin to plunder_] And now remains the last item to be sold by me. -This pauper here, formerly a judge, is offered to the lowest bidder for -board at the expense of the parish. How much is offered? [_Silence_] -No offer? [_Silence_] First, second, third time--no offer? [_To the_ -JUDGE] There, you see! Nobody wants you. Well, then, I have to take you -myself and send you to your well-earned punishment. - -JUDGE. Is there no atonement? - -THE OTHER ONE. Yes, punishment atones.--Take him into the woods and -stone him in accordance with the law of Moses--for no other law was -ever known to him. Away with him! [_The people pounce on the_ JUDGE -_and jostle him_. - - _The scene changes to the "waiting-room." The same setting as - in the second scene of the fourth act: a kettle-shaped chasm - surrounded by steep black rocks. (The same people are on the - stage.)_ - - _In the background appear a pair of huge scales for the - weighing of newcomers_. - - _The_ JUDGE _and the_ OLD LADY _are seated opposite each other - at a small table_. - -JUDGE. [_Staring in front of himself as if lost in a dream_] -Hush!--I had a dream! They were throwing stones at me--and yet I -felt no pain--and then everything turned black and vacant until this -moment--How long it may have lasted, I cannot tell--Now I am beginning -to hear again--and to feel. It feels as if I were being carried--oh, -how cold it is--they are washing me, I think--I am lying in something -that has six sides like a cell in a honeycomb and that smells like a -carpenter shop--I am being carried, and a bell is ringing--Wait! Now I -am riding, but not in a street-car, although the bell is ringing all -the time--Now I am sinking down, down, as if I were drowning--boom, -boom, boom: three knocks on the roof--and then the lessons begin--the -teacher is leading--and now the boys are singing--What can it be?--And -then they are knocking on the roof again, incessantly--boom, boom, -boom, boom, boom, boom--silence--it's over! [_He wakes up_] Where am I? -I choke! It's so stuffy and close here!--Oh, it's you!--Where are we? -Whose bust is that? - -OLD LADY. They say it is the new god. - -JUDGE. But he looks like a goat. - -OLD LADY. Perhaps it is the god of the goats? - -JUDGE. "The goats on the left side--" What is that I am recalling? - -PRINCE. It is the god Pan. - -JUDGE. Pan? - -PRINCE. Exactly! Just exactly! And when, in the night, the -shepherds--no, not _those_ shepherds--catch sight of a hair of his hide -they are seized with panic---- - -JUDGE. [_Rising_] Woe! I don't want to stay here! Woe! Can't I get out -of here? I want to get out! - - [_He runs around, looking vainly for a way out._ - -THE OTHER ONE. [_Enters dressed as a Franciscan friar_] You'll find -nothing but entrances--no exits! - -JUDGE. Are you Father Colomba? - -THE OTHER ONE. No, I am The Other One. - -JUDGE. As a monk? - -THE OTHER ONE. Don't you know that The Other One turns monk when he -grows old; and don't you think it is well that he does so some time? -But, seriously speaking--for here everything is serious--this is my -holiday attire, which I am permitted to wear only this one day of the -year in order that I may remember what I have had and what I have lost. - -JUDGE. [_Alarmed_] What day of the year is it to-day? - -THE OTHER ONE. [_Bending his head with a sigh_] It is Christmas Eve! - -JUDGE. [_Approaching the_ OLD LADY] Think of it, it is Christmas -Eve?--And you know I don't dare to ask where we are--I dare not--but -let us go home, home to our children, to our own---- [_He cries_. - -OLD LADY. Yes, let us go from here, home to ourselves, that we may -start a new life in peace and harmony---- - -THE OTHER ONE. It is too late! - -OLD LADY. Oh, dear, sweet fellow--help us, have mercy on us, forgive us! - -THE OTHER ONE. It is too late! - -JUDGE. [_Taking the_ OLD LADY _by the hand_] I am choking with dread! -Don't ask him where we are; I don't want to know! But one thing I do -want to know: will there ever be an end to this? - -THE OTHER ONE. Never!--That word "end" is not known to us here. - -JUDGE. [_Crushed_] No end! [_Looking around_] And does the sun never -enter this place of damp and cold? - -THE OTHER ONE. Never, for those who dwell here have not loved the sun! - -JUDGE. It is true: I have cursed the sun.--May I confess my sins? - -THE OTHER ONE. No, you must keep them to yourself until they begin to -swell and stop up your throat. - -OLD LADY. [_Kneeling_] O--I don't know how to pray! - - _She rises and walks restlessly back and forth, wringing her - hands_. - -THE OTHER ONE. Because for you there is no one to whom you might pray. - -OLD LADY. [_In despair_] Children--send somebody to give me a word of -hope and pardon. - -THE OTHER ONE. It will not be done. Your children have forgotten -you--they are now rejoicing at your absence. - - _A picture appears on the rocky wall in the rear: the home, - with_ ADOLPH, AMELIA, ERIC, _and_ THYRA _around the Christmas - tree; in the background, the_ PLAYMATE. - -JUDGE. You say they are seated at the Christmas table rejoicing at our -misfortune?--No, now you lie, for they are better than we! - -THE OTHER ONE. What new tune is that? I have always heard that you were -a righteous man---- - -JUDGE. I? I was a great sinner--the greatest one that ever was! - -THE OTHER ONE. Hm! Hm! - -JUDGE. And if you say anything of the children you are guilty of a sin. -I know that they are praying for us. - -OLD LADY. [_On her knees_] I can hear them tell their rosaries: hush--I -hear them! - -THE OTHER ONE. You are completely mistaken. What you hear is the song -of the workmen who are tearing down the mausoleum. - -JUDGE. The mausoleum! Where we were to have rested in peace! - -PRINCE. Shaded by a dozen wreaths. - -JUDGE. Who is that? - -PRINCE. [_Pointing to the_ OLD LADY] She is my sister, and so you must -be my brother-in-law. - -JUDGE. Oh--that lazy scamp! - -PRINCE. Look here! In this place we are all lazy scamps. - -JUDGE. But we are not all hunchbacks! - -PRINCE. [_Strikes him a blow on the mouth_] Don't touch the hunch or -there will be hell to pay! - -JUDGE. What a way to treat a man of my ability and high social -position! What a Christmas! - -PRINCE. Perhaps you expected your usual creamed codfish and Christmas -cake? - -JUDGE. Not exactly, but there ought to be something to feed on---- - -PRINCE. Here we are keeping a Christmas fast, you see. - -JUDGE. How long will it last? - -PRINCE. How long? We don't measure time here, because it has ceased to -exist, and a minute may last a whole eternity. - -OLD LADY. We suffer only what our deeds have deserved--so don't -complain---- - -PRINCE. Just try to complain, and you'll see what happens.--We are not -squeamish here, but bang away without regard for legal forms. - -JUDGE. Are they beating carpets out there--on a day like this? - -PRINCE. No, it is an extra ration of rod all around as a reminder for -those who may have forgotten the significance of the day. - -JUDGE. Do they actually lay hands on our persons? Is it possible that -educated people can do things like that to each other? - -PRINCE. This is a place of education for the badly educated; and those -who have behaved like scoundrels are treated like such. - -JUDGE. But this passes all limits! - -PRINCE. Yes, because here we are in the limitless! Now get ready! I -have already been out there and had my portion. - -JUDGE. [_Appalled_] What humiliation! That's to strip you of all human -worth! - -PRINCE. Ha ha! Human worth! Ha ha!--Look at the scales over there. -That's where the human worth is--and invariably found wanting. - -JUDGE. [_Sits down at the table_] I could never have believed---- - -PRINCE. No, you could only believe in your caul and your own -righteousness. And yet you had both Moses and the Prophets and more -besides--for the very dead walked for your benefit. - -JUDGE. The children! The children! Is it not possible to send them a -word of greeting and of warning? - -PRINCE. No! Eternally, no! - - _The_ WITCH _comes forward with a big basketful of - stereoscopes._ - -JUDGE. What is it? - -WITCH. Christmas gifts for the righteous. Stereoscopes, you know. -[_Handing out one_] Help yourself. They don't cost anything. - -JUDGE. There's a kind soul at last. And a little attention to a man of -my age and rank does honour both to your tact and to your heart---- - -WITCH. That's very nice of you, Judge, but I hope you don't mind my -having given some thought to the others, too. - -JUDGE. [_Disappointed_] Are you poking fun at me, you damned old hag? - -WITCH. [_Spitting in his face_] Hold your tongue, petti-fogger! - -JUDGE. What company I have got into! - -WITCH. Is it not good enough for you, you old perjurer, you grafter, -you forger, you robber of orphans, you false pleader? Now have a look -in the peep-show and take in the great spectacle: "From the Cradle to -the Grave." There is your whole biography and all your victims--just -have a look now. That's right! - -JUDGE _looks in the stereoscope; then he rises with horror stamped on -his face_. - -WITCH. I hope this slight attention may add to the Christmas joy! - - _She hands a stereoscope to the_ OLD LADY, _and proceeds - thereafter to give one to each person present_. - -JUDGE. [_Sitting at the table, where now the_ OLD LADY _takes a seat -opposite him_] What do you see? - -OLD LADY. Everything is there; everything!--And do you notice that -everything is black? All life that seemed so bright is now black, and -even moments which I thought full of innocent joy have an appearance -of something nauseating, foul, almost criminal. It is as if all my -memories had decayed, including the fairest among them---- - -JUDGE. You are right. There is not one memory that can bring light into -this darkness. When I look at her who was the first love of my youth, -I see nothing but a corpse. When I think of my sweet Amelia, there -appears--a harlot. The little ones make faces at me like gutter-snipes. -My court has become a pigsty; the vineyard, a rubbish-heap full of -thistles; and the mausoleum--Oh, horrors!--an outhouse! When I think of -the green woods, the leafage appears snuff-coloured and the trunks look -bleached as mast tops. The blue river seems to flow out of a dung-heap -and the blue arch above it looks like a smoky roof--Of the sun itself I -can recall nothing but the name; and what was called the moon--the lamp -that shed its light on bays and groves during the amorous nights of my -youth--I can remember only as--no, I cannot remember it at all. But -the words are left, although they have only sound without sense.--Love, -wine, song! Flowers, children, happiness!--Don't the words sound -pretty? And it is all that is left!--Love? What _was_ it, anyhow? - -OLD LADY. What was it?--Two cats on a back-yard fence. - -JUDGE. [_Sheepishly_] Yes, that's it! That's what it was! Three dogs on -a sidewalk. What a sweet recollection! - -OLD LADY. [_Pressing his hand_] Yes, it is sweet! - -JUDGE. [_Looking at his watch_] My watch has stopped. I am so -hungry--and I am thirsty, too, and I long for a smoke. But I am also -tired and want to sleep. All my desires are waking. They claw at me and -hound me, but not one of them can I satisfy. We are lost! Lost, indeed! - -OLD LADY. And I long for a cup of tea more than I can tell! - -JUDGE. Hot green tea--that's just what I should like now--with a tiny -drop of rum in it. - -OLD LADY. No, not rum! I should prefer some cakes---- - -PRINCE. [_Who has drawn near to listen_] Sugared, of course? I fear -you'll have to whistle for them. - -OLD LADY. Oh, this dreadful language hurts me more than anything, else. - -PRINCE. That's because you don't know yet how something else is going -to hurt you. - -JUDGE. What is that? - -OLD LADY. No, don't! We don't want to know! Please! - -PRINCE. Yes, I am going to tell. It begins with---- - -OLD LADY. [_Puts her fingers in her ears and cries out_] Mercy! Don't, -don't, don't! - -PRINCE. Yes, I will--and as my brother-in-law is curious, I'll tell it -to him. The second letter is---- - -JUDGE. This uncertainty is worse than torture--Speak out, you devil, or -I'll kill you! - -PRINCE. Kill, ha ha! Everybody is immortal here, body and soul, what -little there is left. However, the third letter is--and that's all -you'll know! - -MAN IN GREY. [_A small, lean man with grey clothes, grey face, black -lips, grey beard, and grey hands; he speaks in a very low voice_] May I -speak a word with you, madam? - -OLD LADY. [_Rising in evident alarm_] What is it about? - -MAN IN GREY. [_Smiling a ghastly, malicious smile_] I'll tell--out -there. - -OLD LADY. [_Crying_] No, no; I won't! - -MAN IN GREY. [_Laughing_]; It isn't dangerous. Come along! All I want -is to _speak_ to you. Come now! - - [_They go toward the background and disappear_. - -PRINCE. [_To the_ JUDGE] A little Christmas entertainment is wholesome. - -JUDGE. Do you mean to maltreat a woman? - -PRINCE. Here all injustices are abolished, and woman is treated as the -equal of man. - -JUDGE. You devil! - -PRINCE. That's all right, but don't call me hunchback, for that touches -my last illusion. - -THE OTHER ONE. [_Steps up to the table_] Well, how do you like our -animal magnetism? It _can_ work wonders on black-guards! - -JUDGE. I understand nothing of all this. - -THE OTHER ONE. That's just what is meant, and it is very nice of you to -admit that there are things you don't understand. - -JUDGE. Granting that I am now in the realm of the dead---- - -THE OTHER ONE. Say "hell," for that is what it's called. - -JUDGE. [_Stammering_] Th-then I should like to remind you that He who -once descended here to redeem all lost---- - -PRINCE. [_At a sign from_ THE OTHER ONE _he strikes the_ JUDGE _in the -face_] Don't argue! - -JUDGE. They won't even listen to me! It is beyond despair! No mercy, no -hope, no end! - -THE OTHER ONE. Quite right! Here you find only justice and -retribution--especially justice: an eye for an eye and a tooth for a -tooth! Just as you wanted it! - -JUDGE. But among men there is pardon--and that you don't have here. - -THE OTHER ONE. Monarchs alone possess the right to pardon. And as a man -of law you ought to know that a petition for pardon must be submitted -before it can be granted. - -JUDGE. For me there can be no pardon! - -THE OTHER ONE. [_Gives the_ PRINCE _a sign to step aside_] You feel, -then, that your guilt is too great? - -JUDGE. Yes. - -THE OTHER ONE. Then I'll speak kindly to you. There is an end, you see, -if there is a beginning. And you have made a beginning. But the sequel -will be long and hard. - -JUDGE. Oh, God is good! - -THE OTHER ONE. You have said it! - -JUDGE. But--there is one thing that cannot be undone--there is one! - -THE OTHER ONE. You are thinking of the monstrance which should have -been of gold but was of silver? Well, don't you think that He who -changed water into wine may also change silver into gold? - -JUDGE. [_On his knees_] But my misdeed is too great, too great to be -forgiven. - -THE OTHER ONE. Now you overestimate yourself again. But rise up. We -are about to celebrate Christmas in our own fashion.--The light of the -sun cannot reach here, as you know--nor that of the moon. But on this -night, and on this alone, a star rises so far above the rocks that it -is visible from here. It is the star that went before the shepherds -through the desert--and _that_ was the morning star. - - [_He claps his hands together_. - - _The bust of Pan sinks into the ground. The_ OLD LADY _returns, - looking reassured and quietly happy. With a suggestion of firm - hope in mien and gesture, she goes up to the_ JUDGE _and takes - his hand. The stage becomes filled with shadows that are gazing - up at the rocks in the rear_. - -CHORUS I. [_Two sopranos and an alto sing behind the stage, accompanied -only by string instruments and a harp_.] - - Puer natus est nobis; - Et filius datus est nobis, - Cujus imperium super humerum ejus; - Et vocabitur nomen ejus - Magni consilii Angelus. - -CHORUS II. [_Soprano, alto, tenor, basso_.] - - Cantate Domino canticum novum - Quia mirabilia fecit! - - _The star becomes visible above the rocks in the rear. All - kneel down. A part of the rock glides aside, revealing a - tableau: the crib with the child and the mother; the shepherds - adoring at the left, the three Magi at the right_. - -CHORUS III. [_Two sopranos and two altos.]_ - - Gloria in excelsis Deo - Et in terra pax - Hominibus bonæ voluntatis! - -_Curtain_. - - - - -THE THUNDERSTORM - -(OVÄDER) - -A CHAMBER PLAY - -1907 - - - CHARACTERS - - THE MASTER, _a retired government official_ - THE CONSUL, _his brother_ - STARCK, _a confectioner_ - AGNES, _daughter of Starck_ - LOUISE, _a relative of the Master_ - GERDA, _the Master's divorced wife_ - FISCHER, _second husband of Gerda_ - THE ICEMAN - THE LETTER-CARRIER - THE LAMPLIGHTER - THE LIQUORDEALER'S MAN - THE MILKMAID - - SCENE I--IN FRONT OF THE HOUSE - SCENE II--INSIDE THE HOUSE - SCENE III--IN FRONT OF THE HOUSE - - - -FIRST SCENE - - - _The front of a modern house with a basement of granite. The - upper parts are of brick covered with yellow plastering. The - window-frames and other ornaments are of sandstone. A low - archway leads through the basement to the court and serves also - as entrance to the confectioner's shop. The corner of the house - appears at the right of the stage, where the avenue opens into - a small square planted with roses and various other flowers. At - the corner is a mail-box. The main floor, above the basement, - has large windows, all of which are open. Four of these windows - belong to an elegantly furnished dining-room. The four middle - windows in the second story have red shades which are drawn; - the shades are illumined by light from within_. - - _Along the front of the house runs a sidewalk with trees - planted at regular intervals. There is a lamp-post in the - extreme foreground and beside it stands a green bench_. - - STARCK, _the confectioner, comes out with a chair and sits down - on the sidewalk_. - - _The_ MASTER _is visible in the dining-room of the main floor, - seated at the table. Behind him appears an oven built of green - majolica tiles. On its mantelshelf stands a large photograph - between two candelabra and some vases containing flowers. A - young girl in a light dress is just serving the final course_. - - _The_ MASTER'S _brother, the_ CONSUL, _appears in front of the - house, coming from the left, and knocks with his walking-stick - on the sill of one of the dining-room windows_. - - -CONSUL. Will you soon be through? - -MASTER. I'll come in a moment. - -CONSUL. [_Saluting the confectioner_] Good evening, Mr. Starck. It's -still hot---- - -STARCK. Good evening, Consul. Yes, it's the dog-day heat, and we have -been making jam all day. - -CONSUL. Is that so? It's a good year for fruit, then? - -STARCK. It might be worse. Well, the spring was cold, but the summer -turned out unbearably hot. It was hard on us who had to stay in the -city. - -CONSUL. I got back from the country yesterday--one begins to wish -oneself back when the evenings grow dark. - -STARCK. Neither I nor my wife have been out of the city. Of course, -business is at a standstill, but you have to be on hand to make -ready for the winter. First come strawberries, then cherries, then -raspberries, and last gooseberries, cantaloupes and all the fall -fruits---- - -CONSUL. Tell me something, Mr. Starck. Is the house here to be sold? - -STARCK. Not that I have heard. - -CONSUL. There are a lot of people living here? - -STARCK. Something like ten families, I think, counting those in the -rear also. But nobody knows anybody else. There is unusually little -gossiping in the house. It seems rather as if everybody were hiding. I -have lived here ten years, and during the first two years we had for -neighbours a strange family that kept very quiet in the daytime. But at -night they began to stir about, and then carriages would come and fetch -things away. Not until the end of the second year did I learn that -they had been running a private sanatorium, and that what was being -taken away at night were dead bodies. - -CONSUL. Horrible! - -STARCK. And they call it the Silent House. - -CONSUL. Yes, there isn't much talking done here. - -STARCK. More than one drama has been played here, nevertheless. - -CONSUL. Tell me, Mr. Starck, who lives up there on the second floor, -right above my brother? - -STARCK. Up there, where the light comes through the red shades--a -tenant died there during the summer. Then the place stood empty for a -month, and a week ago a new family moved in. I haven't seen them. I -don't know their name. I don't think they ever go out. Why did you ask, -Consul? - -CONSUL. Whew--I don't know! Those four red shades look like stage -curtains behind which some sanguinary tragedies are being rehearsed--or -I imagine so, at least. There is a palm at one of the windows looking -like a rod made of wire--you can see the shadow of it on the shade. If -only some people were to be seen---- - -STARCK. I have seen plenty of them, but not until later--at night. - -CONSUL. Was it men or women you saw? - -STARCK. Both, I guess--but now I must get back to my pots. [_He -disappears into the gateway_. - -MASTER. [_Still inside, has risen from the table and lighted a cigar; -he is now standing at the open window, talking to his brother outside_] -I'll be ready in a moment. Louise is only going to sew a button on one -of my gloves. - -CONSUL. Then you mean to go down-town? - -MASTER. Perhaps we'll take a turn in that direction--Whom were you -talking with? - -CONSUL. Just the confectioner---- - -MASTER. Oh, yes--a very decent fellow--and, for that matter, my only -companion here during the summer. - -CONSUL. Have you really stayed at home every night--never gone out? - -MASTER. Never! Those light evenings make me timid. They are pleasant in -the country, of course, but here in the city they produce the effect of -something unnatural--almost ghastly. But no sooner has the first street -lamp been lighted than I feel calm once more and can resume my evening -walks. In that way I can get tired and sleep better at night. [LOUISE -_hands him the glove_] Thank you, my child. You can just as well leave -the windows open, as there are no mosquitoes. [_To the_ CONSUL] Now I'm -coming. - - _A few moments later he can be seen coming out of the house - on the side facing the square; he stops at the corner to drop - a letter in the mail-box; then he comes around the corner to - the front of the house and sits down on the bench beside his - brother_. - -CONSUL. But tell me: why do you stay in the city when you _could_ be in -the country? - -MASTER. I don't know. I have lost my power of motion. My memory has -tied me for ever to these rooms. Only within them can I find peace and -protection. In there--yes! It is interesting to look at your own home -from the outside. Then I imagine that some other man is pacing back and -forth in there--Just think: for ten years I have been pacing back and -forth in there! - -CONSUL. Is it ten years now? - -MASTER. Yes, time goes quickly--once it is gone. But when it is still -going it seems slow enough.--That time the house was new. I watched -them putting down the hard-wood floor in the dining-room and painting -the doors; and _she_ was permitted to pick out the wall-paper, which -is still there--Yes, that was then! The confectioner and I are the -oldest tenants in the place, and he, too, has had a few experiences of -his own--he is one of those people who never succeed but are always in -some kind of trouble. In a way, I have been living his life also, and -bearing his burdens besides my own. - -CONSUL. Does he drink, then? - -MASTER. No-o--nothing of that kind, but there is no _go_ to him. Well, -he and I know the history of this house: how they have arrived in -bridal coaches and left in hearses, while the mail-box at the corner -became the recipient of all their confidences. - -CONSUL. There was a death here in the middle of the summer, wasn't -there? - -MASTER. Yes, a case of typhoid--the man was manager of a bank--and then -the flat stood vacant for a month. The coffin came out first, then the -widow and the children, and last of all the furniture. - -CONSUL. That was on the second floor? - -MASTER. Yes, up there, where you see the light--where those new people -are, about whom I know nothing at all. - -CONSUL. Haven't you seen anything of them either? - -MASTER. I never ask any questions about the other tenants. What comes -to me unasked, I accept--but I never make any wrong use of it, and I -never interfere, for I am anxious for the peace of my old age. - -CONSUL. Old age--yes! I think it's nice to grow old, for then there -isn't so much left to be recorded. - -MASTER. Indeed, it is nice. I am settling my accounts, both with life -and with people, and I have already begun to pack for the journey. -Of course, the solitude has its draw-backs, but when there is nobody -who can make any demands on you, then you have won your freedom--the -freedom to come and go, to think and act, to eat and sleep, in -accordance with your own choice. - - _At this moment the shade in one of the windows on the second - floor is raised a little way, so that part of a woman's dress - becomes visible. Then it is quickly drawn again_. - -CONSUL. They are astir up there--did you see? - -MASTER. Yes, there is such a lot of mystery about it--and at night it -is worse than ever. Sometimes there is music, but it's always bad; -and sometimes I think they are playing cards; and long after midnight -carriages drive up and take away people.--I never make a complaint -against other tenants, for then they want to get even, and nobody wants -to change his ways. The best thing is to remain oblivious of everything. - - _A gentleman, dressed in a dinner coat but bareheaded, comes - out of the house and drops a big pile of letters into the - mail-box; then he disappears into the house again_. - -CONSUL. That fellow must have a lot of correspondence. - -MASTER. It looked to me like circulars. - -CONSUL. But who is he? - -MASTER. Why, that's the new tenant up there on the second floor. - -CONSUL. Oh, is that so! What do you think he looked like? - -MASTER. I don't know. Musician, conductor, a touch of musical -comedy, with a leaning to vaudeville--gambler--Adonis--a little of -everything---- - -CONSUL. Black hair should have gone with that pale complexion of -his, but his hair was brown--which means that it had been dyed, or -that he wears a wig. A tuxedo at home indicates an empty wardrobe, -and the movements of his hands as he dropped the letters into the -box suggested shuffling and cutting and dealing--[_At this moment -waltz music becomes faintly audible from the second floor_] Always -waltzes--perhaps they have a dancing-school--but it's always the same -waltz--what's the name of it now? - -MASTER. Why, I think--that's "Pluie d'or"--I know it by heart. - -CONSUL. Have you heard it in your own house? - -MASTER. Yes, that one and the "Alcazar Waltz." - - LOUISE _becomes visible in the dining-room, where she is - putting things in order and wiping the glassware on the buffet_. - -CONSUL. Are you still pleased with Louise? - -MASTER. Very. - -CONSUL. Isn't she going to marry? - -MASTER. Not that I know of. - -CONSUL. Is there no fiancé in sight? - -MASTER. Why do you ask? - -CONSUL. Have you had any thoughts of that kind? - -MASTER. I? No, thank you! When I married the last time I was not too -old, as we had a child in due time, but I have grown too old since -then, and now I want to spend my evening in peace--Do you think I want -another master in my own house, who would rob me of life and honour and -goods? - -CONSUL. Oh, nobody took your life or your goods---- - -MASTER. Do you mean to say that my honour suffered any harm? - -CONSUL. Don't you know? - -MASTER. What _do_ you mean? - -CONSUL. In leaving you, she killed your honour. - -MASTER. Then I have been a dead man for five years without knowing it. - -CONSUL. You haven't known it? - -MASTER. No, but now I'll tell you in a few words what really happened. -When, at fifty, I married a girl much younger than myself--one whose -heart I had won and who gave me her hand fearlessly and willingly--then -I promised her that if ever my age should become a burden to her youth -I would go my own way and give her back her freedom. Since the child -had come in due time, and neither one of us wanted another, and since -our little girl had begun to grow apart from me, so that I had come to -feel superfluous, I did go my way--that is, I took a boat, as we were -living on an island--and that was the end of the whole story. I had -redeemed my promise and saved my honour--what more besides? - -CONSUL. All right--but she thought it an attack on her own honour, -because she had meant to go away herself. And so she killed you by -tacit accusations which never reached your ears. - -MASTER. Did she accuse herself also? - -CONSUL. No, she had no reason to do so. - -MASTER. Then no harm has been done. - -CONSUL. Do you know what has become of her and the child since then? - -MASTER. I don't want to know! Having at last outlived the horrors of -longing, I came to regard the whole business as buried; and as none but -beautiful memories were left behind in our rooms, I remained where I -was. However, I thank you for that piece of valuable information! - -CONSUL. Which one? - -MASTER. That she had no reason for self-accusation, for if she had it -would constitute an accusation against me---- - -CONSUL. I think you are living under a serious misconception---- - -MASTER. If I am, leave me alone! A clear conscience--comparatively -clear, at least--has always been the diving-suit that has enabled me -to descend into the vast deeps without being suffocated. [_Rising_] -To think of it--that I got out of it with my life! And now it's all -over!--Suppose we take a turn down the avenue? - -CONSUL. All right, then we can see them light the first street lamp of -the season. - -MASTER. But won't the moon be up to-night--the harvest-moon? - -CONSUL. Why, I think the moon is full just now---- - -MASTER. [_Going to one of the windows and talking into the -dining-room_] Please hand me my stick, Louise. The light one--I just -want to hold it in my hand. - -LOUISE. [_Handing out a cane of bamboo_] Here it is, sir. - -MASTER. Thank you, my girl. Now turn out the light in the dining-room -if you have nothing to do there. We'll be gone a little while--I cannot -tell just how long. - - _The_ MASTER _and the_ CONSUL _go out to the left_. LOUISE - _remains standing by the open window_. STARCK _comes out of the - gateway_. - -STARCK. Good evening, Miss Louise. It's awfully hot!--So your gentlemen -have disappeared? - -LOUISE. They have gone for a stroll down the avenue--the first time my -master has gone out this summer. - -STARCK. We old people love the twilight, which covers up so many -defects both in ourselves and others. Do you know, Miss Louise, my old -woman is getting blind, but she won't have an operation performed. She -says there is nothing to look at, and that sometimes she wishes she -were deaf, too. - -LOUISE. Well, one does feel that way--at times. - -STARCK. Of course, you are leading a very quiet life in there, with -plenty of everything, and nothing to worry about. I have never heard a -loud voice or the slamming of a door--perhaps, even, it is a little too -quiet for a young lady like yourself? - -LOUISE. Not at all! I love the quiet, and whatever is dignified, -graceful, measured--with nobody blurting out things, and all thinking -it a duty to overlook the less pleasant features of daily life. - -STARCK. And you have never any company? - -LOUISE. No, only the consul comes here--and the like of the love -between those two brothers I have never seen. - -STARCK. Who is the elder of the two? - -LOUISE. That's more than I can tell. Whether there is a year or two -between them, or they are twins, I don't know, for they treat each -other with mutual respect, as if each one of them was the elder brother. - - AGNES _appears, trying to get past_ STARCK _without being seen - by him_. - -STARCK. Where are you going, girl? - -AGNES. Oh, I am just going out for a little walk. - -STARCK. That's right, but get back soon. - - AGNES _goes out_. - -STARCK. Do you think your master is still mourning the loss of his dear -ones? - -LOUISE. He doesn't mourn--he doesn't even feel any regrets, for he -doesn't want them back--but he is always with them in his memory, where -he keeps only their beautiful traits. - -STARCK. But doesn't the fate of his daughter trouble him at times? - -LOUISE. Yes, he cannot help fearing that the mother may have married -again, and then, of course, everything depends on how the child's -stepfather turns out. - -STARCK. I have been told that the wife refused alimony at first, but -that now, when five years have passed, she has sent him a lawyer with a -demand for many thousands---- - -LOUISE. [_With reserve_] I know nothing about it. - -STARCK. I believe, however, that she was never more beautiful than in -his memory---- - -THE LIQUORDEALER'S MAN. [_Enters, carrying a crateful of bottles_] -Excuse me, but does Mr. Fischer live here? - -LOUISE. Mr. Fischer? Not so far as I know. - -STARCK. Perhaps Fischer is the name of that fellow on the second floor? -Around the corner--one flight up. - -THE LIQUORDEALER'S MAN. [_Going toward the square_] One flight -up--thanks. [_He disappears around the corner_. - -LOUISE. Carrying up bottles again--that means another sleepless night. - -STARCK. What kind of people are they? Why don't they ever show -themselves? - -LOUISE. I suppose they use the back-stairs, for I have never seen them. -But I do hear them. - -STARCK. Yes, I have also heard doors bang and corks pop--and the -popping of other things, too, I guess. - -LOUISE. And they never open their windows, in spite of the heat--they -must be Southerners.--Why, that's lightning--a lot of it!--I guess -it's nothing but heat-lightning, for there has been no thunder. - -A VOICE. [_Is heard from the basement_] Starck, dear, won't you come -down and help me put in the sugar! - -STARCK. All right, old lady, I'm coming! [_To_ LOUISE] We are making -jam, you know. [_As he goes_] I'm coming, I'm coming! [_He disappears -into the gateway again_. - - LOUISE _remains standing at the window_. - -CONSUL. [_Enters slowly from the right_] Isn't my brother back yet? - -LOUISE. No, sir. - -CONSUL. He wanted to telephone, and I was to go ahead. Well, I suppose -he'll be here soon.--What's this? [_He stoops to pick up a post-card_] -What does it say?--"Boston club at midnight: Fischer."--Do you know who -Fischer is, Louise? - -LOUISE. There was a man with a lot of wine looking for Fischer a while -ago--up on the second floor. - -CONSUL. On the second floor--Fischer! Red shades that make the place -look like a drug-store window at night! I fear you have got bad company -in the house. - -LOUISE. What is a Boston club? - -CONSUL. Oh, there need be no harm in it at all--in this case I don't -know, however.--But how did the post-card--? Oh, it was _he_ who -dropped it a while ago. Then I'll put it back in the box.--Fischer? -I have heard that name before. In connection with something I cannot -recall just now--May I ask a question, Miss Louise: does my brother -never speak of--the past? - -LOUISE. Not to me. - -CONSUL. Miss Louise--one more question---- - -LOUISE. Excuse me, but here comes the milk, and I have to receive it. - - [_She leaves the dining-room_. - - _The_ MILKMAID _appears from the right and enters the house - from the square_. - -STARCK. [_Comes out again, takes off his white linen cap, and puffs -with heat_] In and out, like a badger at its hole--it's perfectly -horrid down there by the ovens--and the evening doesn't make it any -cooler. - -CONSUL. All this lightning shows that we are going to have rain--Well, -the city isn't pleasant, exactly, but up here you have quiet at least: -never any rattling carriages, and still less any street-cars--it's just -like the country. - -STARCK. Of course, it's quiet, but it's too quiet for business. I -know my trade, but I am a poor salesman--have always been, and -can't learn--or it may be something else. Perhaps I haven't got the -proper manner. For when customers act as if I were a swindler I get -embarrassed at first, and then as mad as it is possible for me to -become. But nowadays I haven't the strength to get really mad. It has -been worn out of me--everything gets worn out. - -CONSUL. Why don't you go to work for somebody else? - -STARCK. Who would want me? - -CONSUL. Have you ever tried? - -STARCK. What would be the use of it? - -CONSUL. Oh--well! - - _At this moment a long-drawn "O-oh" is heard from the apartment - on the second floor_. - -STARCK. What, in the name of Heaven, are they up to in that place? Are -they killing each other? - -CONSUL. I don't like this new and unknown element that has come into -the house. It is pressing on us like a red thunder-cloud. What kind of -people are they? Where do they come from? What do they want here? - -STARCK. It's so very dangerous to delve in other people's affairs--you -get mixed up in them yourself---- - -CONSUL. Do you know anything about them? - -STARCK. No, I don't know anything at all. - -CONSUL. Now they're screaming again, this time in the stairway---- - -STARCK. [_Withdrawing into the gateway and speaking in a low voice_] I -don't want to have anything to do with this. - - GERDA, _the divorced wife of the_ MASTER, _comes running from - the house into the square. She is bareheaded, with her hair - down, and very excited. The_ CONSUL _approaches her, and they - recognise each other. She draws back from him_. - -CONSUL. So it's you--my former sister-in-law? - -GERDA. Yes, it is I. - -CONSUL. How did you get into this house, and why can't you let my -brother enjoy his peace? - -GERDA. [_Bewildered_] They didn't give us the right name of the tenant -below--I thought he had moved--I couldn't help it---- - -CONSUL. Don't be afraid--you don't have to be afraid of me, Gerda! Can -I be of any help to you? What's happening up there? - -GERDA. He was beating me! - -CONSUL. Is your little girl with you? - -GERDA. Yes. - -CONSUL. So she has got a stepfather? - -GERDA. Yes. - -CONSUL. Put up your hair and calm yourself. Then I'll try to straighten -this matter out. But spare my brother---- - -GERDA. I suppose he hates me? - -CONSUL. No, don't you see that he has been taking care of your flowers -in the bed over there? He brought the soil himself, in a basket, -don't you remember? Don't you recognise your blue gentians and the -mignonette, your _Malmaison_ and _Merveille de Lyons_ roses, which he -budded himself? Don't you understand that he has cherished the memory -of yourself and of the child? - -GERDA. Where is he now? - -CONSUL. Taking a walk along the avenue, but he will be here in a few -minutes with the evening papers. When he comes from that side he uses -the back door, and he goes straight into the dining-room to read the -papers. Stand still and he won't notice you.--But you must go back to -your own rooms---- - -GERDA. I can't! I can't go back to that man. - -CONSUL. Who is he, and what? - -GERDA. He--has been a singer. - -CONSUL. Has been--and what is he now? An adventurer? - -GERDA. Yes! - -CONSUL. Keeps a gambling-house? - -GERDA. Yes! - -Consul. And the child? Bait? - -GERDA. Oh, don't say that! - -CONSUL. It's horrible! - -GERDA. You are too harsh about the whole thing. - -CONSUL. Of course, filth must be handled gently--so very gently! But -a just cause should be dragged in the dirt. Why did you defile his -honour, and why did you lure me into becoming your accomplice? I was -childish enough to trust your word, and I defended your unjust cause -against his. - -GERDA. You forget that he was too old. - -CONSUL. No, he wasn't _then_, as you had a child at once. When he -proposed, he asked if you wanted to have a child with him, and he vowed -in the bargain to give you back your freedom when his promise had been -kept and old age began to weigh him down. - -GERDA. He deserted me, and that was an insult. - -CONSUL. Not to you! Your youth prevented it from being a reflection on -you. - -GERDA. He should have let me leave him. - -CONSUL. Why? Why did you want to heap dishonour on him? - -GERDA. One of us had to bear it. - -CONSUL. What strange paths your thoughts pursue! However, you have -killed him, and fooled me into helping you. How can we rehabilitate him? - -GERDA. If he is to be rehabilitated, it can only be at my expense. - -CONSUL. I cannot follow your thoughts, which always turn to hatred. -But suppose we leave the rehabilitation alone and think only of how his -daughter is to be saved: what can we do then? - -GERDA. She is my child. She's mine by law, and my husband is her -father---- - -CONSUL. Now _you_ are too harsh about it! And you have grown cruel and -vulgar--Hush! Here he comes now. - - _The_ MASTER _enters from the left with a newspaper in his - hand; he goes into the house pensively by the back door, while - the_ CONSUL _and_ GERDA _remain motionless, hidden behind the - corner of the house_. - - _Then the_ CONSUL _and_ GERDA _come down the stage. A moment - later the_ MASTER _becomes visible in the dining-room, where he - sits down to read the paper_. - -GERDA. It was he! - -CONSUL. Come over here and look at your home. See how he has kept -everything as it was--arranged to suit your taste.--Don't be afraid. -It's so dark out here that he can't see us. The light in the room -blinds him, you know. - -GERDA. How he has been lying to me! - -CONSUL. In what respect? - -GERDA. He hasn't grown old! He had grown tired of me--that was the -whole thing! Look at his collar--and his tie--the very latest fashion! -I am sure he has a mistress! - -CONSUL. Yes, you can see her photograph on the mantelshelf, between the -candelabra. - -GERDA. It is myself and the child! Does he still love me? - -CONSUL. Your memory only! - -GERDA. That's strange! - - _The_ MASTER _ceases to read and stares out through the window_. - -GERDA. He is looking at us! - -CONSUL. Don't move! - -GERDA. He is looking straight into my eyes. - -CONSUL. Be still! He doesn't see you. - -GERDA. He looks as if he were dead---- - -CONSUL. Well, he has been killed. - -GERDA. Why do you talk like that? - - _An unusually strong flash of heat-lightning illumines the - figures of the_ CONSUL _and_ GERDA. - - _The_ MASTER _rises with an expression of horror on his face_. - GERDA _takes refuge behind the corner of the house_. - -MASTER. Carl Frederick! [_Coming to the window_] Are you alone? I -thought--Are you really alone? - -CONSUL. As you see. - -MASTER. The air is so sultry, and the flowers give me a headache--I am -just going to finish the newspaper. - - [_He resumes his former position._ - -CONSUL. Now let us get at your affairs. Do you want me to go with you? - -GERDA. Perhaps! But it will be a hard struggle. - -CONSUL. But the child must be saved. And I am a lawyer. - -GERDA. Well, for the child's sake, then! Come with me! - - [_They go out together._ - -MASTER. [_Calling from within_] Carl Frederick, come in and have a game -of chess!--Carl Frederick! - -_Curtain_. - - - - -SECOND SCENE - - - _Inside the dining-room. The brick stove appears at the centre - of the rear wall. To the left of it there is a door leading - into the pantry. Another door to the right of it leads to the - hallway. At the left stands a buffet with a telephone on it. A - piano and a tall clock stand at the right. There are doors in - both side walls_. - - - _The_ MASTER _is in the room, and_ LOUISE _enters as the - curtain rises_. - - -MASTER. Where did my brother go? - -LOUISE. [_Alarmed_] He was outside a moment ago. He can't be very far -away. - -MASTER. What a dreadful noise they are making up above! It is as -if they were stepping on my head! Now they are pulling out bureau -drawers as if they were were preparing for a journey--running away, -perhaps.--If you only knew how to play chess, Louise! - -LOUISE. I know a little---- - -MASTER. Oh, if you just know how to move the pieces, that will be -enough--Sit down, child. [_He sets up the chess pieces_] They are -carrying on up there so that they make the chandelier rattle--and the -confectioner is heating up down below. I think I'll have to move soon. - -LOUISE. I have long thought that you ought to do so anyhow. - -MASTER. Anyhow? - -LOUISE. It isn't good to stay too long among old memories. - -MASTER. Why not? As time passes, all memories grow beautiful. - -LOUISE. But you may live twenty years more, and that is too long a time -to live among memories which, after all, must fade and which may change -colour entirely some fine day. - -MASTER. How much you know, my child!--Begin now by moving a pawn--but -not the one in front of the queen, or you will be mate in two moves. - -LOUISE. Then I start with the knight---- - -MASTER. Hardly less dangerous, girl! - -LOUISE. But I think I'll start with the knight just the same. - -MASTER. All right. Then I'll move my bishop's pawn. - - STARCK _appears in the hallway, carrying a tray_. - -LOUISE. There's Mr. Starck with the tea-cakes. He doesn't make any more -noise than a mouse. - - [_She rises and goes out into the hallway to receive the tray, - which she then carries into the pantry_. - -MASTER. Well, Mr. Starck, how is the old lady? - -STARCK. Oh, thank you, her eyes are about as usual. - -MASTER. Have you seen anything of my brother? - -STARCK. He is walking back and forth outside, I think. - -MASTER. Has he got any company? - -STARCK. No-o--I don't think so. - -MASTER. It wasn't yesterday you had a look at these rooms, Mr. Starck. - -STARCK. I should say not--it's just ten years ago now---- - -MASTER. When you brought the wedding-cake.--Does the place look changed? - -STARCK. It is just as it was--the palms have grown, of course--but the -rest is just as it was. - -MASTER. And will remain so until you bring the funeral cake. When you -have passed a certain age, nothing changes, nothing progresses--all the -movement is downward like that of a sleigh going down-hill. - -STARCK. Yes, that's the way it is. - -MASTER. And it is peaceful, the way I have it here. No love, no -friends, only a little company to break up the solitude. Then human -beings are just human beings, without any claims on your feelings and -sympathies. Then you come loose like an old tooth, and drop out without -pain or regrets. Take Louise, for instance--a pretty young girl, the -sight of whom pleases me like a work of art that I don't wish to -possess--there is nothing to disturb our relationship. My brother and I -meet like two old gentlemen who never get too close to each other and -never exact any confidences. By taking up a neutral position toward -one's fellow-men, one attains a certain distance--and as a rule we look -better at a distance. In a word, I am pleased with my old age and its -quiet peace--[_Calling out_] Louise! - -LOUISE. [_Appearing in the doorway at the left and speaking pleasantly -as always_] The laundry has come home, and I have to check it off. -[_She disappears again_. - -MASTER. Well, Mr. Starck, won't you sit down and chat a little--or -perhaps you play chess? - -STARCK. I can't stay away from my pots, and the oven has to be heated -up at eleven. It's very kind of you, however---- - -MASTER. If you catch sight of my brother, ask him to come in and keep -me company. - -STARCK. So I will--so I will! [_He goes_. - -MASTER. [_Alone; moves a couple of pieces on the chess-board; then gets -up and begins to walk about_] The peace of old age--yes! [_He sits down -at the piano and strikes a few chords; then he gets up and walks about -as before_] Louise! Can't you let the laundry wait a little? - -LOUISE. [_Appears again for a moment in the doorway at the left_] No, -I can't, because the wash-woman is in a hurry--she has husband and -children waiting for her. - -MASTER. Oh! [_He sits down at the table and begins to drum with his -fingers on it; tries to read the newspaper, but tires of it; lights -matches only to blow them out again at once; looks repeatedly at the -big clock, until at last a noise is heard from the hallway_] Is that -you, Carl Frederick? - -THE MAIL-CARRIER. [_Appears in the doorway_] It's the mail. Excuse me -for walking right in, but the door was standing open. - -MASTER. Is there a letter for me? - -THE MAIL-CARRIER. Only a post-card. - - [_He hands it over and goes out_. - -MASTER. [_Reading the post-card_] Mr. Fischer again! Boston club! -That's the man up above--with the white hands and the tuxedo coat. And -to me! The impertinence of it! I have got to move!--Fischer!--[_He -tears up the card; again a noise is heard, in the hallway_] Is that -you, Carl Frederick? - -THE ICEMAN. [_Without coming into the room_] It's the ice! - -MASTER. Well, it's nice to get ice in this heat. But be careful about -those bottles in the box. And put one of the pieces on edge so that I -can hear the water drip from it as it melts--That's my water-clock that -measures out the hours--the long hours--Tell me, where do you get the -ice from nowadays?--Oh, he's gone!--Everybody goes away--goes home--to -hear their own voices and get some company-[_Pause_] Is that you, Carl -Frederick? - -_Somebody in the apartment above plays Chopin's_ Fantaisie Impromptu, -Opus 66, _on the piano_--_but only the first part of it_. - -MASTER. [_Begins to listen, is aroused, looks up at the ceiling_] My -_Impromptu_? - - [_He covers his eyes with one hand and listens_. - - _The_ CONSUL _enters through the hallway_. - -MASTER. Is that you, Carl Frederick? - - _The music stops_. - -CONSUL. It is I. - -MASTER. Where have you been so long? - -CONSUL. I had some business to clear up. Have you been alone? - -MASTER. Of course! Come and play chess now. - -CONSUL. I prefer to talk. And you need also to hear your own voice a -little. - -MASTER. True enough--only it is so easy to get to talking about the -past. - -CONSUL. That makes us forget the present. - -MASTER. There is no present. What's just passing is empty nothingness. -One has to look ahead or behind--and ahead is better, for there lies -hope! - -CONSUL. [_Seating himself at the table_] Hope--of what? - -MASTER. Of change. - -CONSUL. Well! Do you mean to say you have had enough of the peace of -old age? - -MASTER. Perhaps. - -CONSUL. It's certain then. And if now you had the choice between -solitude and the past? - -MASTER. No ghosts, however! - -CONSUL. How about your memories? - -MASTER. They don't walk. They are only poems wrought by me out of -certain realities. But if dead people walk, then you have ghosts. - -CONSUL. Well, then--in your memory--who brings you the prettiest -mirage: the woman or the child? - -MASTER. Both! I cannot separate them, and that's why I never tried to -keep the child. - -CONSUL. But do you think you did right? Did the possibility of a -stepfather never occur to you? - -MASTER. I didn't think that far ahead at the time, but afterward, of -course, I have had--my thoughts--about--that very thing. - -CONSUL. A stepfather who abused--perhaps debased--your daughter? - -MASTER. Hush! - -CONSUL. What is it you hear? - -MASTER. I thought I heard the "little steps"--those little steps that -came tripping down the corridor when she was looking for me.--It was -the child that was the best of all! To watch that fearless little -creature, whom nothing could frighten, who never suspected that life -might be deceptive, who had no secrets! I recall her first experience -of the malice that is in human beings. She caught sight of a pretty -child down in the park, and, though it was strange to her, she went -up to it with open arms to kiss it--and the pretty child rewarded her -friendliness by biting her in the cheek first and then making a face -at her. Then you should have seen my little Anne-Charlotte. She stood -as if turned to stone. And it wasn't pain that did it, but horror at -the sight of that yawning abyss which is called the human heart. I -have been confronted with the same sight myself once, when out of two -beautiful eyes suddenly shot strange glances as if some evil beast had -appeared behind those eyes. It scared me literally so that I had to see -if some other person were standing behind that face, which looked like -a mask.--But why do we sit here talking about such things? Is it the -heat, or the storm, or what? - -CONSUL. Solitude brings heavy thoughts, and you ought to have company. -This summer in the city seems to have been rather hard on you. - -MASTER. Only these last few weeks. The sickness and that death up -above--it was as if I had gone through it myself. The sorrows and -cares of the confectioner have also become my own, so that I keep -worrying about his finances, about his wife's eye trouble, about his -future--and of late I have been dreaming every night about my little -Anne-Charlotte. I see her surrounded by dangers--unknown, undiscovered, -nameless. And before I fall asleep my hearing grows so unbelievably -acute that I can hear her little steps--and once I heard her voice---- - -CONSUL. But where is she then? - -MASTER. Don't ask me! - -CONSUL. And if you were to meet her on the street? - -MASTER. I imagine that I should lose my reason or fall in a faint. -Once, you know, I stayed abroad very long, during the very time when -our youngest sister was growing up. When I returned, after several -years, I was met at the steam-boat landing by a young girl who put -her arms around my neck. I was horrified at those eyes that searched -mine, but with unfamiliar glances--glances that expressed absolute -terror at not being recognised. "It is I," she repeated again and again -before at last I was able to recognise my own sister. And that's how I -imagine it would be for me to meet my daughter again. Five years are -enough to render you unrecognisable at that age. Think of it: not to -know your own child! That child, who is the same as before, and yet a -stranger! I couldn't survive such a thing. No, then I prefer to keep -the little girl of four years whom you see over there on the altar of -my home. I want no other one. [_Pause_] That must be Louise putting -things to rights in the linen closet. It has such a clean smell, and it -reminds me--oh, the housewife at her linen closet; the good fairy that -preserves and renews; the housewife with her iron, who smooths out all -that has been ruffled up and who takes out all wrinkles--the wrinkles, -yes--[_Pause_] Now--I'll--go in there to write a letter. If you'll -stay, I'll be out again soon. - - [_He goes out to the left_. - - _The_ CONSUL _coughs_. - -GERDA. [_Appears in the door to the hallway_] Are you--[_The clock -strikes_] Oh, mercy! That sound--which has remained in my ears for ten -years! That clock which never kept time and yet measured the long hours -and days and nights of five years. [_She looks around_] My piano--my -palms--the dinner-table--he has kept it in honour, shining as a -shield! My buffet--with the "Knight in Armour" and "Eve"--Eve with her -basketful of apples--In the right-hand upper drawer, way back, there -was a thermometer lying--[_Pause_] I wonder if it is still there? [_She -goes to the buffet and pulls out the right-hand drawer_] Yes, there it -is! - -CONSUL. What does that mean? - -GERDA. Oh, in the end it became a symbol--of instability. When we went -to housekeeping the thermometer was not put in its place at once--of -course, it ought to be outside the window. I promised to put it up--and -forgot it. He promised, and forgot. Then we nagged each other about -it, and at last, to get away from it, I hid it in this drawer. I came -to hate it, and so did he. Do you know what was back of all that? -Neither one of us believed that our relationship would last, because we -unmasked at once and gave free vent to our antipathies. To begin with, -we lived on tiptoe, so to speak--always ready to fly off at a moment's -notice. That was what the thermometer stood for--and here it is still -lying! Always on the move, always changeable, like the weather. [_She -puts away the thermometer and goes over to the chess-board_] My chess -pieces! Which he bought to kill the time that hung heavy on our hands -while we were waiting for the little one to come. With whom does he -play now? - -CONSUL. With me. - -GERDA. Where is he? - -CONSUL. He is in his room writing a letter. - -GERDA. Where? - -CONSUL. [_Pointing toward the left_] There. - -GERDA. [_Shocked_] And here he has been going for five years? - -CONSUL. Ten years--five of them alone! - -GERDA. Of course, he loves solitude. - -CONSUL. But I think he has had enough of it. - -GERDA. Will he turn me out? - -CONSUL. Find out for yourself! You take no risk, as he is always polite. - -GERDA. I didn't make that centrepiece---- - -CONSUL. That is to say, you risk his asking you for the child. - -GERDA. But it was he who should help me find it again---- - -CONSUL. Where do you think Fischer has gone, and what can be the -purpose of his flight? - -GERDA. To get away from the unpleasant neighbourhood, first of all; -then to make me run after him. And he wanted the girl as a hostage, of -course. - -CONSUL. As to the ballet--that's something the father _must not_ know, -for he hates music-halls. - -GERDA. [_Sitting down in front of the chess-board and beginning, -absent-mindedly, to arrange the pieces_] Music-halls--oh, I have been -there myself. - -CONSUL. You? - -GERDA. I have accompanied on the piano. - -CONSUL. Poor Gerda! - -GERDA. Why? I love that kind of life. And when I was a prisoner here, -it wasn't the keeper, but the prison itself, that made me fret. - -CONSUL. But now you have had enough? - -GERDA. Now I am in love with peace and solitude--and with my child -above all. - -CONSUL. Hush, he's coming! - -GERDA. [_Rises as if to run away, but sinks down on the chair again_] -Oh! - -CONSUL. Now I leave you. Don't think of what you are to say. It will -come of itself, like the "next move" in a game of chess. - -GERDA. I fear his first glance most of all, for it will tell me whether -I have changed for better or for worse--whether I have grown old and -ugly. - -CONSUL. [_Going out to the right_] If he finds you looking older, then -he will dare to approach you. If he finds you as young as ever, he will -have no hope, for he is more diffident than you think.--Now! - - _The_ MASTER _is seen outside, passing by the door leading - to the pantry; he carries a letter in his hand; then he - disappears, only to become visible again a moment later in the - hallway, where he opens the outside door and steps out_. - -CONSUL. [_In the doorway at the right_] He went out to the mail-box. - -GERDA. No, this is too much for me! How can I possibly ask _him_ to -help me with this divorce? I want to get out! It's too brazen! - -CONSUL. Stay! You know that his kindness has no limits. And he'll help -you for the child's sake. - -GERDA. No, no! - -CONSUL. And he is the only one who can help you. - -MASTER. [_Enters quickly from the hallway and nods at_ GERDA, _whom, -because of his near-sightedness, he mistakes for_ LOUISE; _then he goes -to the buffet and picks up the telephone, but in passing he remarks to_ -GERDA] So you're done already? Well, get the pieces ready then, and -we'll begin all over again--from the beginning. - - GERDA _stands paralysed, not understanding the situation_. - -MASTER. [_Speaks in the telephone receiver, with his back to_ Gerda] -Hello!--Good evening! Is that you, mother?--Pretty well, thank you! -Louise is waiting to play a game of chess with me, but she is a -little tired after a lot of bother--It's all over now--everything -all right--nothing serious at all.--If it's hot? Well, there has -been a lot of thundering, right over our heads, but nobody has been -struck. False alarm!--What did you say? Fischer?--Yes, but I think -they are going to leave.--Why so? I know nothing in particular.--Oh, -is that so?--Yes, it leaves at six-fifteen, by the outside route, -and it gets there--let me see--at eight-twenty-five.--Did you have a -good time?--[_With a little laugh_] Oh, he's impossible when he gets -started! And what did Marie have to say about it?--How I have had it -during the summer? Oh, well, Louise and I have kept each other company, -and she has got such an even, pleasant temper.--Yes, she is very nice, -indeed!--Oh, no, nothing of that kind! - - GERDA, _who has begun to understand, rises with an expression - of consternation on her face_. - -MASTER. My eyes? Oh, I am getting a little near-sighted. But I feel -like the confectioner's old wife: there is nothing to look at. Wish I -were deaf, too! Deaf and blind! The neighbours above make such a lot of -noise at night--it's a gambling club--There now! Somebody got on the -wire to listen. [_He rings again_. - - LOUISE _appears in the door to the hallway without being seen - by the_ MASTER; GERDA _stares at her with mingled admiration - and hatred_; LOUISE _withdraws toward the right_. - -MASTER. [_At the telephone_] Is that you? The cheek of it--to -break off our talk in order to listen!--To-morrow, then, at -six-fifteen.--Thank you, and the same to you!--Yes, I will, -indeed!--Good night, mother! [_He rings off_. - - LOUISE _has disappeared_. GERDA _is standing in the middle of - the floor_. - -MASTER. [_Turns around and catches sight of_ GERDA, _whom he gradually -recognises; then he puts his hand to his heart_] O Lord, was that you? -Wasn't Louise here a moment ago? - - GERDA _remains silent_. - -MASTER. [_Feebly_] How--how did you get here? - -GERDA. I hope you pardon--I just got to the city--I was passing by and -felt a longing to have a look at my old home--the windows were open---- - - [_Pause_. - -MASTER. Do you find things as they used to be? - -GERDA. Exactly, and yet different--there is a difference - -MASTER. [_Feeling unhappy_] Are you satisfied--with your life? - -GERDA. Yes. I have what I was looking for. - -MASTER. And the child? - -GERDA. Oh, she's growing, and thriving, and lacks nothing. - -MASTER. Then I won't ask anything more. [_Pause_] Did you want -anything--of me--can I be of any service? - -GERDA. It's very kind of you, but--I need nothing at all now when I -have seen that you lack nothing either. [_Pause]_ Do you wish to see -Anne-Charlotte? - -MASTER. I don't think so, now when I have heard that she is doing well. -It's so hard to begin over again. It's like having to repeat a lesson -at school--which you know already, although the teacher doesn't think -so--I have got so far away from all that--I live in a wholly different -region--and I cannot connect with the past. It goes against me to be -impolite, but I am not asking you to be seated--you are another man's -wife--and you are not the same person as the one from whom I parted. - -GERDA. Am I then so--altered? - -MASTER. Quite strange to me! Your voice, glance, manner---- - -GERDA. Have I grown old? - -MASTER. That I cannot tell!--They say that not a single atom in a -person's body remains wholly the same after three years--and in five -years everything is renewed. And for that reason you, who stand over -there, are not the same person as the sufferer who once sat here--you -seem such a complete stranger to me that I can only address you in the -most formal way. And I suppose it would be just the same in the case of -my daughter, too. - -GERDA. Don't speak like that. I would much rather have you angry. - -MASTER. Why should I be angry? - -GERDA. Because of all the evil I have done you. - -MASTER. Have you? That's more than I know. - -GERDA. Didn't you read the papers in the suit? - -MASTER. No-o! I left that to my lawyer. [_He sits down_. - -GERDA. And the decision of the court? - -MASTER. No, why should I? As I don't mean to marry again, I have no use -for that kind of documents. - - _Pause_. GERDA _seats herself_. - -MASTER. What did those papers say? That I was too old? - - GERDA'S _silence indicates assent_. - -MASTER. Well, that was nothing but the truth, so that need not trouble -you. In my answer I said the very same thing and asked the Court to set -you free again. - -GERDA. You said, that---- - -MASTER. I said, not that I _was_, but that I was about to _become_ too -old _for you_! - -GERDA. [_Offended_] For me? - -MASTER. Yes.--I couldn't say that I was too old when we married, for -then the arrival of the child would have been unpleasantly explained, -and it was _our_ child, was it not? - -GERDA. You know that, of course! But---- - -MASTER. Do you think I should be ashamed of my age?--Of course, if -I took to dancing and playing cards at night, then I might soon land -in an invalid's chair, or on the operating-table, and that would be a -shame. - -GERDA. You don't look it---- - -MASTER. Did you expect the divorce to kill me? - - _The silence of_ GERDA _is ambiguous_. - -MASTER. There are those who assert that you _have_ killed me. Do you -think I look like a dead man? - - GERDA _appears embarrassed_. - -MASTER. Some of your friends are said to have caricatured me in the -papers, but I have never seen anything of it, and those papers went -into the dump five years ago. So there is no need for your conscience -to be troubled on my behalf. - -GERDA. Why did you marry me? - -MASTER. Don't you know why a man marries? And you know, too, that I -didn't have to go begging for love. And you ought to remember how -we laughed together at all the wiseacres who felt compelled to warn -you.--But why you led me on is something I have never been able to -explain--When you didn't look at me after the marriage ceremony, but -acted as if you had been attending somebody else's wedding, then I -thought you had made a bet that you could kill me. As the head of the -department, I was, of course, hated by all my subordinates, but they -became your friends at once. No sooner did I make an enemy than he -became _your_ friend. Which caused me to remark that, while it was -right for you not to hate your enemies, it was also right that you -shouldn't _love_ mine!--However, seeing where you stood, I began to -prepare for a retreat at once, but before leaving I wanted a living -proof that you had not been telling the truth, and so I stayed until -the little one arrived. - -GERDA. To think that you could be so disingenuous! - -MASTER. I learned to keep silent, but I never lied!--By degrees you -turned all my friends into detectives, and you lured my own brother -into betraying me. But worst of all was that your thoughtless chatter -threw suspicions on the legitimacy of the child. - -GERDA. All that I took back! - -MASTER. The word that's on the wing cannot be pulled back again. And -worse still: those false rumours reached the child, and now she thinks -her mother a---- - -GERDA. For Heaven's sake! - -MASTER. Well, that's the truth of it. You raised a tall tower on a -foundation of lies, and now the tower of lies is tumbling down on your -head. - -GERDA. It isn't true! - -MASTER. Yes, it is! I met Anne-Charlotte a few minutes ago---- - -GERDA. You have met---- - -MASTER. We met on the stairs, and she said I was her uncle. Do you -know what an uncle is? That's an elderly friend of the house and the -mother. And I know that at school I am also passing as her uncle.--But -all that is dreadful for the child! - -GERDA. You have met---- - -MASTER. Yes. But why should I tell anybody about it? Haven't I a right -to keep silent? And, besides, that meeting was so shocking to me that I -wiped it out of my memory as if it had never existed. - -GERDA. What can I do to rehabilitate you? - -MASTER. You? What could you do? That's something I can only do myself. -[_For a long time they gaze intently at each other_] And for that -matter, I have already got my rehabilitation. [_Pause_. - -GERDA. Can't I make good in some way? Can't I ask you to forgive, to -forget---- - -MASTER. What do you mean? - -GERDA. To restore, to repair---- - -MASTER. Do you mean to resume, to start over again, to reinstate a -master above me? No, thanks! I don't want you. - -GERDA. And this I had to hear! - -MASTER. Well, how does it taste? [_Pause_. - -GERDA. That's a pretty centrepiece. - -MASTER. Yes, it's pretty. - -GERDA. Where did you get it? [_Pause_. - - LOUISE _appears in the door to the pantry with a bill in her - hand_. - -MASTER. [_Turning toward her_] Is it a bill? - -GERDA _rises and begins to pull on her gloves with such violence that -buttons are scattered right and left_. - -MASTER. [_Taking out the money_] Eighteen-seventy-two. That's just -right. - -LOUISE. I should like to see you a moment, sir. - -MASTER. [_Rises and goes to the door, where_ LOUISE _whispers something -into his ear_] Oh, mercy---- - -LOUISE _goes out_. - -MASTER. I am sorry for you, Gerda! - -GERDA. What do you mean? That I am jealous of your servant-girl? - -MASTER. No, I didn't mean that. - -GERDA. Yes, you meant that you were too old for me, but not for her. -I catch the insulting point--She's pretty--I don't deny it--for a -servant-girl---- - -MASTER. I am sorry for you, Gerda! - -GERDA. Why do you say that? - -MASTER. Because you are to be pitied. Jealous of my servant--that ought -to be rehabilitation enough. - -GERDA. Jealous, I---- - -MASTER. Why do you fly in a rage at my nice, gentle kinswoman? - -GERDA. "A little more than kin." - -MASTER. No, my dear, I have long ago resigned myself--and I am -satisfied with my solitude--[_The telephone rings, and he goes to -answer it_] Mr. Fischer? No, that isn't here.--Oh, yes, that's me.--Has -he skipped?--With whom, do you say?--with Starck's daughter! Oh, good -Lord! How old is she?--Eighteen! A mere child! [_Rings off_. - -GERDA. I knew he had run away.--But with a woman!--Now you're pleased. - -MASTER. No, I am not pleased. Although there is a sort of solace to my -mind in finding justice exists in this world. Life is very quick in its -movements, and now you find yourself where I was. - -GERDA. Her eighteen years against my twenty-nine--I am old--too old for -him! - -MASTER. Everything is relative, even age.--But now let us get at -something else. Where is your child? - -GERDA. My child? I had forgotten it! My child! My God! Help me! He -has taken the child with him. He loves Anne-Charlotte as his own -daughter--Come with me to the police--come! - -MASTER. I? Now you ask too much. - -GERDA. Help me! - -MASTER. [_Goes to the door at the right_] Come, Carl Frederick--get a -cab--take Gerda down to the police station--won't you? - -CONSUL. [_Enters_] Of course I will! We are human, are we not? - -MASTER. Quick! But say nothing to Starck. Matters may be straightened -out yet--Poor fellow--and I am sorry for Gerda, too!--Hurry up now! - -GERDA. [_Looking out through the window_] It's beginning to rain--lend -me an umbrella. Eighteen years--only eighteen--quick, now! - - _She goes out with the_ CONSUL. - -MASTER. [_Alone_] The peace of old age!--And my child in the hands of -an adventurer!--Louise! - - LOUISE _enters_. - -MASTER. Come and play chess with me. - -LOUISE. Has the consul---- - -MASTER. He has gone out on some business. Is it still raining? - -LOUISE. No, it has stopped now. - -MASTER. Then I'll go out and cool off a little. [_Pause_] You are a -nice girl, and sensible--did you know the confectioner's daughter? - -LOUISE. Very slightly. - -MASTER. Is she pretty? - -LOUISE. Ye-es. - -MASTER. Have you known the people above us? - -LOUISE. I have never seen them. - -MASTER. That's an evasion. - -LOUISE. I have learned to keep silent in this house. - -MASTER. I am forced to admit that pretended deafness can be carried to -the point where it becomes dangerous.--Well, get the tea ready while I -go outside and cool off a little. And, one thing, please--you see what -is happening, of course--but don't ask me any questions. - -LOUISE. I? No, sir, I am not at all curious. - -MASTER. I am thankful for that! - -_Curtain_. - - - - -THIRD SCENE - - - _The front of the house as in the First Scene. There is light - in the confectioner's place in the basement. The gas is also - lit on the second floor, where now the shades are raised and - the windows open_. - - - STARCK _is sitting near the gateway_. - -MASTER. [_Seated on the green bench_] That was a nice little shower we -had. - -STARCK. Quite a blessing! Now the raspberries will be coming in -again---- - -MASTER. Then I'll ask you to put aside a few jars for us. We have grown -tired of making the jam ourselves. It only gets spoiled. - -STARCK. Yes, I know. Jars of jam are like mischievous children: you -have to watch them all the time. There are people who put in salicylic -acid, but those are newfangled tricks in which I take no stock. - -MASTER. Salicylic acid--yes, they say it's antiseptic--and perhaps it's -a good thing. - -STARCK. Yes, but you can taste it--and it's a trick. - -MASTER. Tell me, Mr. Starck, have you got a telephone? - -STARCK. No, I have no telephone. - -MASTER. Oh! - -STARCK. Why do you ask? - -MASTER. Oh, I happened to think--a telephone is handy at times--for -orders--and important communications---- - -STARCK. That may be. But sometimes it is just as well to -escape--communications. - -MASTER. Quite right! Quite right!--Yes, my heart always beats a little -faster when I hear it ring--one never knows what one is going to -hear--and I want peace--peace, above all else. - -STARCK. So do I. - -MASTER. [_Looking at his watch_] The lamplighter ought to be here soon. - -STARCK. He must have forgotten us, for I see that the lamps are already -lit further down the avenue. - -MASTER. Then he'll be here soon. It will be a lot of fun to see our -lamp lighted again. - - _The telephone in the dining-room rings_. LOUISE _comes in to - answer the call. The_ MASTER _rises and puts one hand up to his - heart. He tries to listen, but the public cannot hear anything - of what is said within. Pause. After a while_ LOUISE _comes out - by way of the square_. - -MASTER. [_Anxiously_] What news? - -LOUISE. No change. - -MASTER. Was that my brother? - -LOUISE. No, it was the lady. - -MASTER. What did she want? - -LOUISE. To speak to you, sir. - -MASTER. I don't want to!--Have I to console my executioner? I used to -do it, but now I am tired of it.--Look up there! They have forgotten -to turn out the light--and light makes empty rooms more dreadful than -darkness--the ghosts become visible. [_In a lowered voice_] And how -about Starck's Agnes? Do you think he knows anything? - -LOUISE. It's hard to tell, for he never speaks about his sorrows--nor -does anybody else in the Silent House! - -MASTER. Do you think he should be told? - -LOUISE. For Heaven's sake, no! - -MASTER. But I fear it isn't the first time she gave him trouble. - -LOUISE. He never speaks of her. - -MASTER. It's horrible! I wonder if we'll get to the end of it soon? -[_The telephone rings again_] Now it's ringing again. Don't answer. I -don't want to hear anything.--My child--in such company! An adventurer -and a strumpet!--It's beyond limit!--Poor Gerda! - -LOUISE. It's better to have certainty. I'll go in--You must do -something! - -MASTER. I cannot move--I can receive blows, but to strike back--no! - -LOUISE. But if you don't repel a danger, it will press closer; and if -you don't resist, you'll be destroyed. - -MASTER. But if you refuse to be drawn in, you become unassailable. - -LOUISE. Unassailable? - -MASTER. Things straighten out much better if you don't mess them up -still further by interference. How can you want me to direct matters -where so many passions are at play? Do you think I can suppress -anybody's emotions, or give them a new turn? - -LOUISE. But how about the child? - -MASTER. I have surrendered my rights--and besides--frankly speaking--I -don't care for them--not at all now, when _she_ has been here and -spoiled the images harboured in my memory. She has wiped out all the -beauty that I had cherished, and now there is nothing left. - -LOUISE. But that's to be set free! - -MASTER. Look, how empty the place seems in there--as if everybody had -moved out; and up there--as if there had been a fire. - -LOUISE. Who is coming there? - - AGNES _enters, excited and frightened, but trying hard - to control herself; she makes for the gateway, where the - confectioner is seated on his chair_. - -LOUISE [_To the_ MASTER] There is Agnes? What can this mean? - -MASTER. Agnes? Then things are getting straightened out. - -STARCK. [_With perfect calm_] Good evening, girl! Where have you been? - -AGNES. I have been for a walk. - -STARCK. Your mother has asked for you several times. - -AGNES. Is that so? Well, here I am. - -STARCK. Please go down and help her start a fire under the little oven. - -AGNES. Is she angry with me, then? - -STARCK. You know that she cannot be angry with you. - -AGNES. Oh, yes, but she doesn't say anything. - -STARCK. Well, girl, isn't it better to escape being scolded? - - AGNES _disappears into the gateway_. - -MASTER. [_To_ LOUISE] Does he know, or doesn't he? - -LOUISE. Let's hope that he will remain in ignorance. - -MASTER. But what can have happened? A breach? [_To_ STARCK] Say, Mr. -Starck---- - -STARCK. What is it? - -MASTER. I thought--Did you notice if anybody left the house a while ago? - -STARCK. I saw the iceman, and also a mail-carrier, I think. - -MASTER. Oh! [_To_ LOUISE] Perhaps it was a mistake--that we didn't hear -right--I can't explain it--Or maybe he is not telling the truth? What -did she say when she telephoned? - -LOUISE. That she wanted to speak to you. - -MASTER. How did it sound? Was she excited? - -LOUISE. Yes. - -MASTER. I think it's rather shameless of her to appeal to me in a -matter like this. - -LOUISE. But the child! - -MASTER. Just think, I met my daughter on the stairway, and when I asked -her if she recognised me she called me uncle and told me that her -father was up-stairs. Of course, he is her stepfather, and has all the -rights--They have just spent their time exterminating me, blackguarding -me---- - -LOUISE. A cab is stopping at the corner. - - STARCK _withdraws into the gateway_. - -MASTER. I only hope they don't come back to burden me again! Just -think: to have to hear my child singing the praise of her father--the -other one! And then to begin the old story all over again: "Why did you -marry me?"--"Oh, you know; but what made you want me?"--"You know very -well!"--And so on, until the end of the world. - -LOUISE. It was the consul that came. - -MASTER. How does he look? - -LOUISE. He is taking his time. - -MASTER. Practising what he is to say, I suppose. Does he look satisfied? - -LOUISE. Thoughtful, rather---- - -MASTER. Hm!--That's the way it always was. Whenever he saw that woman -he became disloyal to me. She had the power of charming everybody but -me. To me she seemed coarse, vulgar, ugly, stupid; to all the rest she -seemed refined, pleasant, handsome, intelligent. All the hatred aroused -by my independence centred in her under the form of a boundless -sympathy for whoever wronged me in any way. Through her they strove to -control and influence me, to wound me, and, at last, to kill me. - -LOUISE. Now, I'll go in and watch the telephone--I suppose this storm -will pass like all others. - -MASTER. Men cannot bear independence. They want you to obey them. Every -one of my subordinates in the department, down to the very messengers, -wanted me to obey him. And when I wouldn't they called me a despot. The -servants in our house wanted me to obey them and eat food that had been -warmed up. When I wouldn't, they set my wife against me. And finally -my wife wanted me to obey the child, but then I left, and then all of -them combined against the tyrant--which was I!--Get in there quick now, -Louise, so we can set off our mines out here. - - _The_ CONSUL _enters from the left_. - -MASTER. Results--not details--please! - -CONSUL. Let's sit down. I am a little tired. - -MASTER. I think it has rained on the bench. - -CONSUL. It can't be too wet for me if you have been sitting on it. - -MASTER. A you like!--Where is my child? - -CONSUL. Can I begin at the beginning? - -MASTER. Begin! - -CONSUL [_Speaking slowly_] I got to the depot with Gerda--and at the -ticket-office I discovered him and Agnes---- - -MASTER. So Agnes was with him? - -CONSUL. And so was the child!--Gerda stayed outside, and I went up to -them. At that moment _he_ was handing Agnes the tickets, but when she -discovered that they were for third class she threw them in his face -and walked out to the cab-stand. - -MASTER. Ugh! - -CONSUL. As soon as I had established a connection with the man, Gerda -hurried up and got hold of the child, disappearing with it in the -crowd---- - -MASTER. What did the man have to say? - -CONSUL. Oh, you know--when you come to hear the other side--and so on. - -MASTER. I want to hear it. Of course, he isn't as bad as we thought--he -has his good sides---- - -CONSUL. Exactly! - -MASTER. I thought so! But you don't want me to sit here listening to -eulogies of my enemy? - -CONSUL. Oh, not eulogies, but ameliorating circumstances---- - -MASTER. Did you ever want to listen to me when I tried to explain the -true state of affairs to you? Yes, you did listen--but your reply was -a disapproving silence, as if I had been lying to you. You have always -sided with what was wrong, and you have believed nothing but lies, and -the reason was--that you were in love with Gerda! But there was also -another reason---- - -CONSUL. Brother, don't say anything more! You see nothing but your own -side of things. - -MASTER. How can you expect me to view my conditions from the standpoint -of my enemy? I cannot take sides against myself, can I? - -CONSUL. I am not your enemy. - -MASTER. Yes, when you make friends with one who has wronged me!--Where -is my child? - -CONSUL. I don't know. - -MASTER. What was the outcome at the depot? - -CONSUL. He took a south-bound train alone. - -MASTER. And the others? - -CONSUL. Disappeared. - -MASTER. Then I may have them after me again. [_Pause]_ Did you see if -they went with him? - -CONSUL. He went alone. - -MASTER. Well, then we are done with that one, at least. Number -two--there remain now--the mother and the child. - -CONSUL. Why is the light burning up there in their rooms? - -MASTER. Because they forgot to turn it out. - -CONSUL. I'll go up---- - -MASTER. No, don't go!--I only hope that they don't come back here!--To -repeat, always repeat, begin the same lesson all over again! - -CONSUL. But it has begun to straighten out. - -MASTER. Yet the worst remains--Do you think they will come back? - -CONSUL. Not she--not since she had to make you amends in the presence -of Louise. - -MASTER. I had forgotten that! She really did me the honour of becoming -jealous! I do think there is justice in this world! - -CONSUL. And then she learned that Agnes was younger than herself. - -MASTER. Poor Gerda! But in a case like this you mustn't tell people -that justice exists--an avenging justice--for it is sheer falsehood -that they love justice! And you must deal gently with their filth. And -Nemesis--exists only for the other person.--There it's ringing again? -That telephone makes a noise like a rattlesnake! - - LOUISE _becomes visible at the telephone inside. Pause_. - -MASTER. [_To_ LOUISE] Did the snake bite? - -LOUISE. [_At the window_] May I speak to you, sir? - -MASTER. [_Going up to the window_] Speak out! - -LOUISE. The lady has gone to her mother, in the country, to live there -with her little girl. - -Master. [_To his brother_] Mother and child in the country--in a good -home! Now it's straightened out!--Oh! - -LOUISE. And she asked us to turn out the light up-stairs. - -MASTER. Do that at once, Louise, and pull down the shades so we don't -have to look at it any longer. - - LOUISE _leaves the dining-room_. - -STARCK. [_Coming out on the sidewalk again and looking up]_ I think the -storm has passed over. - -MASTER. It seems really to have cleared up, and that means we'll have -moonlight. - -CONSUL. That was a blessed rain! - -STARCK. Perfectly splendid! - -MASTER. Look, there's the lamplighter coming at last! - - _The_ LAMPLIGHTER _enters, lights the street lamp beside the - bench, and passes on_. - -MASTER. The first lamp! Now the fall is here! That's our season, old -chaps! It's getting dark, but then comes reason to light us with its -bull's-eyes, so that we don't go astray. - - LOUISE _becomes visible at one of the windows on the second - floor; immediately afterward everything is dark up there_. - -Master. [_To_ Louise] Close the windows and pull down the shades so -that all memories can lie down and sleep in peace! The peace of old -age! And this fall I move away from the Silent House. - -_Curtain_. - - - - -AFTER THE FIRE - -(BRÄNDA TOMTEN) - -A CHAMBER PLAY - -1907 - - -CHARACTERS - -RUDOLPH WALSTRÖM, _a dyer_ -THE STRANGER, _who is_) } -ARVID WALSTRÖM } _brother of_ RUDOLPH -ANDERSON, _a mason (brother-in-law of the gardener)_ -MRS. ANDERSON, _wife of the mason_ -GUSTAFSON, _a gardener (brother-in-law of the mason)_ -ALFRED, _son of the gardener_ -ALBERT ERICSON, _a stone-cutter_ (_second cousin of the hearse-driver_) -MATHILDA, _daughter of the stone-cutter_ -THE HEARSE-DRIVER (_second cousin of the stone-cutter_) -A DETECTIVE -SJÖBLOM, _a painter_ -MRS. WESTERLUND, _hostess at "The Last Nail," formerly a - nurse at the dyer's_ -MRS. WALSTRÖM, _wife of the dyer_ -THE STUDENT -THE WITNESS - - - - -AFTER THE FIRE - - - - -FIRST SCENE - - - _The left half of the background is occupied by the empty shell - of a gutted one-story brick house. In places the paper remains - on the walls, and a couple of brick stoves are still standing_. - - _Beyond the walls can be seen an orchard in bloom._ - - _At the right is the front of a small inn, the sign of which - is a wreath hanging from a pole. Tables and benches are placed - outside._ - - _At the left, in the foreground, there is a pile of furniture - and household utensils that have been saved from the fire_. - - SJÖBLOM, _the painter, is painting the window-frames of the - inn. He listens closely to everything that is said_. - - ANDERSON, _the mason, is digging in the ruins_. - - _The_ DETECTIVE _enters_. - -DETECTIVE. Is the fire entirely out? - -ANDERSON. There isn't any smoke, at least. - -DETECTIVE. Then I want to ask a few more questions. [_Pause_] You were -born in this quarter, were you not? - -ANDERSON. Oh, yes. It's seventy-five years now I've lived on this -street. I wasn't born when they built this house here, but my father -helped to put in the brick. - -DETECTIVE. Then you know everybody around here? - -ANDERSON. We all know each other. There is something particular about -this street here. Those that get in here once, never get away from it. -That is, they move away, but they always come back again sooner or -later, until at last they are carried out to the cemetery, which is -way out there at the end of the street. - -DETECTIVE. You have got a special name for this quarter, haven't you? - -ANDERSON. We call it the Bog. And all of us hate each other, and -suspect each other, and blackguard each other, and torment each other -[_Pause_. - -DETECTIVE. The fire started at half past ten in the evening, I -hear--was the front door locked at that time? - -ANDERSON. Well, that's more than I know, for I live in the house next -to this. - -DETECTIVE. Where did the fire start? - -ANDERSON. Up in the attic, where the student was living. - -DETECTIVE. Was he at home? - -ANDERSON. No, he was at the theatre. - -DETECTIVE. Had he gone away and left the lamp burning, then? - -ANDERSON. Well, that's more than I know. [_Pause_. - -DETECTIVE. Is the student any relation to the owner of the house? - -ANDERSON. No, I don't think so.--Say, you haven't got anything to do -with the police, have you? - -DETECTIVE. How did it happen that the inn didn't catch fire? - -ANDERSON. They slung a tarpaulin over it and turned on the hose. - -DETECTIVE. Queer that the apple-trees were not destroyed by the heat. - -ANDERSON. They had just budded, and it had been raining during the day, -but the heat made the buds go into bloom in the middle of the night--a -little too early, I guess, for there is frost coming, and then the -gardener will catch it. - -DETECTIVE. What kind of fellow is the gardener? - -ANDERSON. His name is Gustafson---- - -DETECTIVE. Yes, but what sort of a man is he? - -ANDERSON. See here: I am seventy-five--and for that reason I don't know -anything bad about Gustafson; and if I knew I wouldn't be telling it! -[_Pause_. - -DETECTIVE. And the owner of the house is named Walström, a dyer, about -sixty years old, married---- - -ANDERSON. Why don't you go on yourself? You can't pump me any longer. - -DETECTIVE. Is it thought that the fire was started on purpose? - -ANDERSON. That's what people think of all fires. - -DETECTIVE. And whom do they suspect? - -ANDERSON. The insurance company always suspects anybody who has an -interest in the fire--and for that reason I have never had anything -insured. - -DETECTIVE. Did you find anything while you were digging? - -ANDERSON. Mostly one finds all the door-keys, because people haven't -got time to take them along when the house is on fire--except now and -then, of course, when they have been taken away---- - -DETECTIVE. There was no electric light in the house? - -ANDERSON. Not in an old house like this, and that's a good thing, for -then they can't put the blame on crossed wires. - -DETECTIVE. Put the blame?--A good thing?--Listen---- - -ANDERSON. Oh, you're going to get me in a trap? Don't you do it, for -then I take it all back. - -DETECTIVE. Take back? You can't! - -ANDERSON. Can't I? - -DETECTIVE. No! - -ANDERSON. Yes! For there was no witness present. - -DETECTIVE. No? - -ANDERSON. Naw! - - _The_ DETECTIVE _coughs. The_ WITNESS _comes in from the left_. - -DETECTIVE. Here's _one_ witness. - -ANDERSON. You're a sly one! - -DETECTIVE. Oh, there are people who know how to use their brains -without being seventy-five. [_To the_ WITNESS] Now we'll continue with -the gardener. - - [_They go out to the left_. - -ANDERSON. There I put my foot in it, I guess. But that's what happens -when you get to talking. - - MRS. ANDERSON _enters with her husband's lunch in a bundle_. - -ANDERSON. It's good you came. - -MRS. ANDERSON. Now we'll have lunch and be good--you might well -be hungry after all this fuss--I wonder if Gustafson can pull -through--he'd just got done with his hotbeds and was about to start -digging in the open--why don't you eat?--and there's Sjöblom already at -work with his putty--just think of it, that Mrs. Westerlund got off as -well as she did--morning, Sjöblom, now you've got work, haven't you? - - MRS. WESTERLUND _comes in_. - -MRS. ANDERSON. Morning, morning, Mrs. Westerlund--you got out of this -fine, I must say, and then---- - -MRS. WESTERLUND. I wonder who's going to pay me for all I am losing -to-day, when there's a big funeral on at the cemetery, which always -makes it a good day for me, and just when I've had to put away all my -bottles and glassware---- - -MRS. ANDERSON. Who's that they're burying to-day? I see such a lot of -people going out that way--and then, of course, they've come to see -where the fire was, too. - -MRS. WESTERLUND. I don't think they're burying anybody, but I've heard -they're going to put up a monument over the bishop--worst of it is that -the stone-cutter's daughter was going to get married to the gardener's -son--him, you know, who's in a store down-town--and now the gardener -has lost all he had--isn't that his furniture standing over there? - -MRS. ANDERSON. I guess that's some of the dyer's, too, seeing as it -came out helter-skelter in a jiffy--and where's the dyer now? - -MRS. WESTERLUND. He's down at the police station testifying. - -MRS. ANDERSON. Hm-hm!--Yes, yes!--And there's my cousin now--him what -drives the hearse--he's always thirsty on his way back. - -HEARSE-DRIVER. [_Enters_] How do, Malvina! So you've gone and started a -little job of arson out here during the night, have you? Looks pretty, -doesn't it. Would have been better to get a new shanty instead, I guess. - -MRS. WESTERLUND. Oh, mercy me! But whom have you been taking out now? - -HEARSE-DRIVER. Can't remember what his name was--only _one_ carriage -along, and no flowers on the coffin at all. - -MRS. WESTERLUND. Sure and it wasn't any happy funeral, then! If you -want anything to drink you'll have to go 'round to the kitchen, for -I haven't got things going on this side yet, and, for that matter, -Gustafson is coming here with a lot of wreaths--they've got something -on out at the cemetery to-day. - -HEARSE-DRIVER. Yes, they're going to put up a moniment to the -bishop--'cause he wrote books, I guess, and collected all kinds of -vermin--was a reg'lar vermin-hunter, they tell me. - -MRS. WESTERLUND. What's that? - -HEARSE-DRIVER. Oh, he had slabs of cork with pins on 'em, and a lot of -flies--something beyond us here--but I guess that's the proper way--can -I go out to the kitchen now? - -MRS. WESTERLUND. Yes, if you use the back door, I think you can get -something wet---- - -HEARSE-DRIVER. But I want to have a word with the dyer before I drive -off--I've got my horses over at the stone-cutter's, who's my second -cousin, you know. Haven't got any use for him, as you know, too, but -we're doing business together, he and I--that is, I put in a word for -him with the heirs, and so he lets me put my horses into his yard--just -let me know when the dyer shows up--luck, wasn't it, that he didn't -have his works here, too---- - - [_He goes out, passing around the inn_. - - MRS. WESTERLUND _goes into the inn by the front door_. - - ANDERSON, _who has finished eating, begins to dig again_. - -MRS. ANDERSON. Do you find anything? - -ANDERSON. Nails and door-hinges--all the keys are hanging in a bunch -over there by the front door. - -MRS. ANDERSON. Did they hang there before, or did you put them there? - -ANDERSON. No, they were hanging there when I got here. - -MRS. ANDERSON. That's queer--for then somebody must have locked all the -doors and taken out the keys before it began burning! That's queer! - -ANDERSON. Yes, of course, it's a little queer, for in that way it was -harder to get at the fire and save things. Yes--yes! [_Pause_. - -MRS. ANDERSON. I worked for the dyer's father forty years ago, I did, -and I know the people, both the dyer himself and his brother what -went off to America, though they say he's back now. The father, he -was a real man, he was, but the boys were always a little so-so. Mrs. -Westerlund over here, she used to take care of Rudolph, and the two -brothers never could get along, but kept scrapping and fighting all -the time.--I've seen a thing or two, I have--yes, there's a whole lot -what has happened in that house, so I guess it was about time to get it -smoked out.--Ugh, but that was a house! One went this way and another -that, but back they had to come, and here they died and here they were -born, and here they married and were divorced.--And Arvid, the brother -what went off to America--him they thought dead for years, and at least -he didn't take what was coming to him after his father, but now they -say he's come back, though nobody has seen him--and there's such a lot -of talking--Look, there's the dyer back from the police station! - -ANDERSON. He doesn't look happy exactly, but I suppose that's more than -can be expected--Well, who's that student that lived in the attic? How -does he hang together with the rest? - -MRS. ANDERSON. Well, that's more than I know. He had his board there, -and read with the children. - -ANDERSON. And also with the lady of the house? - -MRS. ANDERSON. No-o, they played something what they called tennis, -and quarrelled the rest of the time--yes, quarrelling and backbiting, -that's what everybody is up to in this quarter. - -ANDERSON. Well, when they broke the student's door open they found -hairpins on the floor--it had to come out, after all, even if the fire -had to sweep over it first---- - -MRS. ANDERSON. I don't think it was the dyer that came, but our -brother-in-law, Gustafson---- - -ANDERSON. He's always mad, and to-day I suppose he's worse than ever, -and so he'll have to come and dun me for what I owe him, seeing what he -has lost in the fire---- - -MRS. ANDERSON. Now you shut up! - -GUSTAFSON. [_Enters with a basketful of funeral wreaths and other -products of his trade_] I wonder if I am going to sell anything to-day -so there'll be enough for food after all this rumpus? - -ANDERSON. Didn't you carry any insurance? - -GUSTAFSON. Yes, I used to have insurance on the glass panes over my -hotbeds, but this year I felt stingy, and so I put in oiled paper -instead--gosh, that I could be such a darned fool!--[_Scratching his -head_] I don't get paid for that, of course. And now I've got to cut -and paste and oil six hundred paper panes. It's as I have always said: -that I was the worst idiot among us seven children. Gee, what an ass -I was--what a booby! And then I went and got drunk yesterday. Why in -hell did I have to get drunk that day of all days--when I need all the -brains I've got to-day? It was the stone-cutter who treated, because -our children are going to get married to-night, but I should have said -no. I didn't want to, but I'm a ninny who can't say no to anybody. -And that's the way when they come and borrow money of me--I can't say -no--darned fool that I am! And then I got in the way of that policeman, -who snared me with all sorts of questions. I should have kept my mouth -shut, like the painter over there, but I can't, and so I let out this, -that, and the other thing, and he put it all down, and now I am called -as a witness! - -ANDERSON. What was it you said? - -GUSTAFSON. I said I thought--that it looked funny to me--and that -somebody must have started it. - -ANDERSON. Oh, that's what you said! - -GUSTAFSON. Yes, pitch into me--I've deserved it, goose that I am! - -ANDERSON. And who could have started it, do you think?--Don't mind the -painter, and my old woman here never carries any tales. - -GUSTAFSON. Who started it? Why, the student, of course, as it started -in his room. - -ANDERSON. No--_under_ his room! - -GUSTAFSON. Under, you say? Then I _have_ gone and done it!--Oh, I'll -come to a bad end, I'm sure!--_Under_ his room, you say--what could -have been there--the kitchen? - -ANDERSON. No, a closet--see, over there! It was used by the cook. - -GUSTAFSON. Then it must have been her. - -ANDERSON. Yes, but don't you say so, as you don't know. - -GUSTAFSON. The stone-cutter had it in for the cook last night--I guess -he must have known a whole lot---- - -ANDERSON. You shouldn't repeat what the stone-cutter says, for one who -has served isn't to be trusted---- - -GUSTAFSON. Ash, that's so long ago, and the cook's a regular dragon, -for that matter--she'd always haggle over the vegetables---- - -ANDERSON. There comes the dyer from the station now--you'd better quit! - - _The_ STRANGER _enters, dressed in a frock coat and a high hat - with mourning on it; he carries a stick_. - -MRS. ANDERSON. It wasn't the dyer, but he looks a lot like him. - -STRANGER. How much is one of those wreaths? - -GARDENER. Fifty cents. - -STRANGER. Oh, that's not much. - -GARDENER. No, I am such a fool that I can't charge as I should. - -STRANGER. [_Looking around_] Has there--been a fire--here? - -GARDENER. Yes, last night. - -STRANGER. Good God! [_Pause_] Who was the owner of the house? - -GARDENER. Mr. Walström. - -STRANGER. The dyer? - -GARDENER. Yes, he used to be a dyer, all right. [_Pause_. - -STRANGER. Where is he now? - -GARDENER. He'll be here any moment. - -STRANGER. Then I'll look around a bit--the wreath can lie here till I -come back--I meant to go out to the cemetery later. - -GARDENER. On account of the bishop's monument, I suppose? - -STRANGER. What bishop? - -GARDENER. Bishop Stecksen, don't you know--who belonged to the Academy. - -STRANGER. Is he dead? - -GARDENER. Oh, long ago! - -STRANGER. I see!--Well, I'll leave the wreath for a while. - - _He goes out to the left, studying the ruins carefully as he - passes by_. - -MRS. ANDERSON. Perhaps he came on account of the insurance. - -ANDERSON. Not that one! Then he would have asked in a different way. - -MRS. ANDERSON. But he looked like the dyer just the same. - -ANDERSON. Only he was taller. - -GUSTAFSON. Now, I remember something--I should have a bridal bouquet -ready for to-night, and I should go to my son's wedding, but I have -no flowers, and my black coat has been burned. Wouldn't that make -you--Mrs. Westerlund was to furnish the myrtle for the bride's crown, -being her godmother--that's the myrtle she stole a shoot of from -the dyer's cook, who got hers from the dyer's first wife--she who -ran away--and I was to make a crown of it, and I've clean forgotten -it--well, if I ain't the worst fool that ever walked the earth! [_He -opens the inn door_] Mrs. Westerlund, can I have the myrtle now, and -I'll do the job!--I say, can I have that myrtle! Wreath, too, you -say--have you got enough for it?--No?--Well, then I'll let the whole -wedding go hang, that's all there is to it!--Let them walk up to the -minister's and have him splice them together, but it'll make the -stone-cutter mad as a hornet.--What do you think I should do?--No, I -can't--haven't slept a wink the whole night.--It's too much for a poor -human creature.--Yes, I am a ninny, I know--go for me, will you!--Oh, -there's the pot--thanks! And then I need scissors, which I haven't -got--and wire--and string--where am I to get them from?--No, of course, -nobody wants to break off his work for a thing like that.--I'm tired of -the whole mess--work fifty years, and then have it go up in smoke! I -haven't got strength to begin over again--and the way it comes all at -once, blow on blow--did you ever! I'm going to run away from it! [_He -goes out_. - -RUDOLPH WALSTRÖM. [_Enters, evidently upset, badly dressed_, _his hands -discoloured by the dyes_] Is it all out now, Anderson? - -ANDERSON. Yes, now it's out. - -RUDOLPH. Has anything been discovered? - -ANDERSON. That's a question! What's buried when it snows comes to light -when it thaws! - -RUDOLPH. What do you mean, Anderson? - -ANDERSON. If you dig deep enough you find things. - -RUDOLPH. Have you found anything that can explain how the fire started? - -ANDERSON. Naw, nothing of that kind. - -RUDOLPH. That means we are still under suspicion, all of us. - -ANDERSON. Not me, I guess. - -RUDOLPH. Oh, yes, for you have been seen up in the attic at unusual -hours. - -ANDERSON. Well, I can't always go at usual hours to look for my tools -when I've left them behind. And I did leave my hammer behind when I -fixed the stove in the student's room. - -RUDOLPH. And the stone-cutter, the gardener, Mrs. Westerlund, even the -painter over there--we are all of us under suspicion--the student, the -cook, and myself more than the rest. Lucky it was that I had paid the -insurance the day before, or I should have been stuck for good.--Think -of it: the stone-cutter suspected of arson--he who's so afraid of doing -anything wrong! He's so conscientious _nowadays_ that if you ask him -what time it is he won't swear to it, as his watch _may_ be wrong. Of -course, we all know he got two years, but he's reformed, and I'll swear -now he's the straightest man in the quarter. - -ANDERSON. But the police suspect him because he went wrong once--and he -ain't got his citizenship back yet. - -RUDOLPH. Oh, there are so many ways of looking at a thing--so many -ways, I tell you.--Well, Anderson, I guess you'd better quit for the -day, seeing as you're going to the wedding to-night. - -ANDERSON. Yes, that wedding--There was somebody looking for you a while -ago, and he said he would be back. - -RUDOLPH. Who was it? - -ANDERSON. He didn't say. - -RUDOLPH. Police, was it? - -ANDERSON. Naw, I don't think so.--There he is coming now, for that -matter. [_He goes out, together with his wife_. - - _The_ STRANGER _enters_. - -RUDOLPH. [_Regards him with curiosity at first, then with horror; wants -to run away, but cannot move_] Arvid! - -STRANGER. Rudolph! - -RUDOLPH. So it's you! - -STRANGER. Yes. [_Pause_. - -RUDOLPH. You're not dead, then? - -STRANGER. In a way, yes!--I have come back from America after thirty -years--there was something that pulled at me-- - - I wanted to see my childhood's home once more--and I found - those ruins! [_Pause_] It burned down last night? - -RUDOLPH. Yes, you came just in time. [_Pause_. - -STRANGER. [_Dragging his words_] That's the place--such a tiny place -for such a lot of destinies! There's the dining-room with the frescoed -walls: palms, and cypresses, and a temple beneath a rose-coloured -sky--that's the way I dreamt the world would look the moment I got away -from home. And the stove with its pale blossoms growing out of conches. -And the chimney cupboard with its metal doors--I remember as a child, -when we had just moved in, somebody had scratched his name on the -metal, and then grandmother told us it was the name of a man who had -killed himself in that very room. I quickly forgot all about it, but -when I later married a niece of the same man, it seemed to me as if my -destiny had been foretold on that plate of metal.--You don't believe in -that kind of thing, do you?--However, you know how my marriage ended! - -RUDOLPH. Yes, I've heard---- - -STRANGER. And there's the nursery--yes! - -RUDOLPH. Don't let us start digging in the ruins! - -STRANGER. Why not? After the fire is out you can read things in the -ashes. We used to do it as children, in the stove---- - -RUDOLPH. Come and sit down at the table here! - -STRANGER. What place is that? Oh, the tavern--"The Last Nail"--where -the hearse-drivers used to stop, and where, once upon a time, condemned -culprits were given a final glass before they were taken to the -gallows--Who is keeping it? - -RUDOLPH. Mrs. Westerlund, who used to be my nurse. - -STRANGER. Mrs. Westerlund--I remember her. It is as if the bench sank -from under me, and I was sent tumbling through the past, sixty whole -years, down into my childhood. I breathe the nursery air and feel it -pressing on my chest. You older ones weighed me down, and you made -so much noise that I was always kept in a state of fright. My fears -made me hide in the garden--then I was dragged forward and given a -spanking--always spankings--but I never knew why, and I don't know it -yet. And yet she was my mother---- - -RUDOLPH. Please! - -STRANGER. Yes, you were the favourite, and as such you always had her -support--Then we got a stepmother. Her father was an undertaker's -assistant, and for years we had been seeing him drive by with funerals. -At last he came to know us so well by sight that he used to nod and -grin at us, as if he meant to say: "Oh, I'll come for you sooner or -later!" And then he came right into our house one day, and had to be -called grandfather--when our father took his daughter for his second -wife. - -RUDOLPH. There was nothing strange in that. - -STRANGER. No, but somehow, as our own destinies, and those of other -people, were being woven into one web---- - -RUDOLPH. Oh, that's what happens everywhere---- - -STRANGER. Exactly! It's the same everywhere. In your youth you see -the web set up. Parents, relatives, comrades, acquaintances, servants -form the warp. Later on in life the weft becomes visible. And then -the shuttle of fate runs back and forth with the thread--sometimes -it breaks, but is tied up again, and it goes on as before. The reed -clicks, the thread is packed together into curlicues, and one day the -web lies ready. In old age, when the eye has learned how to see, you -discover that those curlicues form a pattern, a monogram, an ornament, -a hieroglyph, which only then can be interpreted: that's life! The -world-weaver has woven it! [_Pause; he rises_] Over there, in that -scrap-heap, I notice the family album. [_He walks a few steps to the -right and picks up a photograph album_] That's the book of our family -fate. Grandfather and grandmother, father and mother, brothers and -sisters, relatives, acquaintances--or so-called "friends"--schoolmates, -servants, godparents. And, strange to say, wherever I have gone, in -America or Australia, to Hongkong or the Congo, everywhere I found -at least one countryman, and as we began to dig it always came out -that this man knew my family, or at least some godfather or maid -servant--that, in a word, we had some common acquaintances. I even -found a relative in the island of Formosa---- - -RUDOLPH. What has put those ideas into your head? - -STRANGER. The fact that life, however it shaped itself--I have been -rich and poor, exalted and humbled; I have suffered a shipwreck and -passed through an earthquake--but, however life shaped itself, I always -became aware of connections and repetitions. I saw in one situation the -result of another, earlier one. On meeting _this_ person I was reminded -of _that_ one whom I had met in the past. There have been incidents in -my life that have come back time and again, so that I have been forced -to say to myself: this I have been through before. And I have met with -occurrences that seemed to me absolutely inevitable, or predestined. - -RUDOLPH. What have you done during all these years? - -STRANGER. Everything! I have beheld life from every quarter, from every -standpoint, from above and from below, and always it has seemed to me -like a scene staged for my particular benefit. And in that way I have -at last become reconciled to a part of the past, and I have come to -excuse not only my own but also other people's so-called "faults." You -and I, for instance, have had a few bones to pick with each other---- - - RUDOLPH _recoils with a darkening face_. - -STRANGER. Don't get scared now---- - -RUDOLPH. I never get scared! - -STRANGER. You are just the same as ever. - -RUDOLPH. And so are you! - -STRANGER. Am I? That's interesting!--Yes, you are still living in that -delusion about your own bravery, and I remember exactly how this false -idea became fixed in your mind. We were learning to swim, and one day -you told how you had dived into the water, and then mother said: "Yes, -Rudolph, he has courage!" That was meant for me--for me whom you had -stripped of all courage and self-assurance. But then came the day when -you had stolen some apples, and you were too cowardly to own up to it, -and so you put it on me. - -RUDOLPH. Haven't you forgotten that yet? - -STRANGER. I haven't forgotten, but I have forgiven.--From here, where I -am sitting, I can see that very tree, and that's what brought it into -my mind. It's over there, you see, and it bears golden pippins.--If you -look, you'll see that one of its biggest branches has been sawed off. -For it so happened that I didn't get angry with you on account of my -unjust punishment, but my anger turned against the tree. And two years -later that big branch was all dried up and had to be sawed off. It made -me think of the fig-tree that was cursed by the Saviour, but I was -not led into any presumptuous conclusions.--However, I still know all -those trees by heart, and once, when I had the yellow fever in Jamaica, -I counted them over, every one. Most of them are still there, I see. -There's the snow-apple which has red-striped fruit--a chaffinch used -to nest in it. There's the melon-apple, standing right in front of the -garret where I used to study for technological examinations; there's -the spitzenburg, and the late astrachan; and the pear-tree that used to -look like a poplar in miniature; and the one with pears that could only -be used for preserves--they never ripened, and we despised them, but -mother treasured them above all the rest; and in that tree there used -to be a wryneck that was always twisting its head around and making a -nasty cry--That was fifty years ago! - -RUDOLPH. [_Irately_] What are you driving at? - -STRANGER. Just as touchy and ill-tempered as ever! It's -interesting.--There was no special purpose back of my chatter--my -memories insist on pushing forward--I remember that the garden was -rented to somebody else once, but we had the right to play in it. -To me it seemed as if we had been driven out of paradise--and the -tempter was standing behind every tree. In the fall, when the ground -was strewn with ripe apples, I fell under a temptation that had become -irresistible---- - -RUDOLPH. You stole, too? - -STRANGER. Of course I did, but I didn't put it off on you!--When I was -forty I leased a lemon grove in one of the Southern States, and--well, -there were thieves after the trees every night. I couldn't sleep, I -lost flesh, I got sick. And then I thought of--poor Gustafson here! - -RUDOLPH. He's still living. - -STRANGER. Perhaps he, too, stole apples in his childhood? - -RUDOLPH. Probably. - -STRANGER. Why are your hands so black? - -RUDOLPH. Because I handle dyed stuffs all the time.--Did you have -anything else in mind? - -STRANGER. What could that have been? - -RUDOLPH. That my hands were not clean. - -STRANGER. Fudge! - -RUDOLPH. Perhaps you are thinking of your inheritance? - -STRANGER. Just as mean as ever! Exactly as you were when eight years -old! - -RUDOLPH. And you are just as heedless, and philosophical, and silly! - -STRANGER. It's a curious thing--but I wonder how many times before we -have said just what we are saying now? [_Pause_] I am looking at your -album here--our sisters and brothers--five dead! - -RUDOLPH. Yes. - -STRANGER. And our schoolmates? - -RUDOLPH. Some taken and some left behind. - -STRANGER. I met one of them in South Carolina--Axel Ericson--do you -remember him? - -RUDOLPH. I do. - -STRANGER. One whole night, while we were on a train together, he kept -telling me how our highly respectable and respected family consisted of -nothing but rascals; that it had made its money by smuggling--you know, -the toll-gate was right here; and that this house had been built with -double walls for the hiding of contraband. Don't you see that the walls -are double? - -RUDOLPH. [_Crushed_] So that's the reason why we had closets everywhere? - -STRANGER. The father of that fellow, Ericson, had been in the -custom-house service and knew our father, and the son told me a lot -of inside stories that turned my whole world of imagined conditions -topsyturvy. - -RUDOLPH. You gave him a licking, I suppose? - -STRANGER. Why should I lick him?--However, my hair turned grey that -night, and I had to edit my entire life over again. You know how we -used to live in an atmosphere of mutual admiration; how we regarded -our family as better than all others, and how, in particular, our -parents were looked up to with almost religious veneration. And then I -had to paint new faces on them, strip them, drag them down, eliminate -them. It was dreadful! Then the ghosts began to walk. The pieces of -those smashed figures would come together again, but not properly, -and the result would be a regular wax cabinet of monsters. All those -grey-haired gentlemen whom we called uncles, and who came to our house -to play cards and eat cold suppers, they were smugglers, and some of -them had been in the pillory--Did you know that? - -RUDOLPH. [_Completely overwhelmed_] No. - -STRANGER. The dye works were merely a hiding-place for smuggled yarn, -which was dyed in order to prevent identification. I can still remember -how I used to hate the smell of the dyeing vat--there was something -sickeningly sweet about it. - -RUDOLPH. Why did you have to tell me all this? - -STRANGER. Why should I keep silent about it and let you make yourself -ridiculous by your boasting about that revered family of yours? Have -you never noticed people grinning at you? - -RUDOLPH. No-o! [_Pause_. - -STRANGER. I am now looking at father's bookcase in the pile over there. -It was always locked, you remember. But one day, when father was out, -I got hold of the key. The books in front I had seen through the glass -doors, of course. There were volumes of sermons, the collected works -of great poets, handbooks for gardening, compilations of the statutes -referring to customs duties and the confiscation of smuggled goods; the -constitution; a volume about foreign coins; and a technical work that -later determined my choice of a career. But back of those books there -was room for other things, and I began to explore. First of all I found -the rattan--and, do you know, I have since learned that that bitter -plant bears a fruit from which we get the red dye known as "dragon's -blood": now, isn't that queer! And beside the rattan stood a bottle -labelled "cyanide of potassium." - -RUDOLPH. I suppose it was meant for use over at the works. - -STRANGER. Or elsewhere, perhaps. But this is what I had in mind: there -were some bundles of pamphlets with illustrated covers that aroused my -interest. And, to put it plain, they contained the notorious memoirs -of a certain chevalier--I took them out and locked the case again. And -beneath the big oak over there I studied them. We used to call that oak -the Tree of Knowledge--and it was, all right! And in that way I left -my childhood's paradise to become initiated, all too early, into those -mysteries which--yes! - -RUDOLPH. You, too? - -STRANGER. Yes, I, too! [_Pause_] However--let us talk of something -else, as all that is now in ashes.--Did you have any insurance? - -RUDOLPH. [_Angrily_] Didn't you ask that a while ago? - -STRANGER. Not that I can recall. It happens so often that I confuse -what I have said with what I have intended to say, and mostly because I -think so intensely--ever since that day when I tried to hang myself in -the closet. - -RUDOLPH. What is that you are saying? - -STRANGER. I tried to hang myself in the closet. - -RUDOLPH. [_Speaking very slowly_] Was that what happened that Holy -Thursday Eve, when you were taken to the hospital--what the rest of us -children were never permitted to know? - -STRANGER. [_Speaking in the same manner_] Yes.--There you can see how -little we know about those that are nearest to us, about our own homes -and our own lives. - -RUDOLPH. But why did you do it? - -STRANGER. I was twelve years old, and tired of life! It was like -groping about in a great darkness--I couldn't understand what I had to -do here--and I thought the world a madhouse. I reached that conclusion -one day when our school was turned out with torches and banners to -celebrate "the destroyer of our country." For I had just read a book -which proved that our country had been brought to destruction by the -worst of all its kings--and that was the one whose memory we had to -celebrate with hymns and festivities.[1] - - [_Pause_. - -RUDOLPH. What happened at the hospital? - -STRANGER. My dear fellow, I was actually put into the morgue as dead. -Whether I was or not, I don't know--but when I woke up, most of my -previous life had been forgotten, and I began a new one, but in such a -manner that the rest of you thought me peculiar.--Are you married again? - -RUDOLPH. I have wife and children--somewhere. - -STRANGER. When I recovered consciousness I seemed to myself another -person. I regarded life with cynical calm: it probably had to be the -way it was. And the worse it turned out the more interesting it became. -After that I looked upon myself as if I were somebody else, and I -observed and studied that other person, and his fate, thereby rendering -myself callous to my own sufferings. But while dead I had acquired new -faculties--I could see right through people, read their thoughts, hear -their intentions. In company, I beheld them stripped naked--Where did -you say the fire started? - -RUDOLPH. Why, nobody knows. - -STRANGER. But the newspapers said that it began in a closet right -under the student's garret--what kind of a student is he? - -RUDOLPH. [_Appalled_] Is it in the newspapers? I haven't had time to -look at them to-day. What more have they got? - -STRANGER. They have got everything. - -RUDOLPH. Everything? - -STRANGER. The double walls, the respected family of smugglers, the -pillory, the hairpins---- - -RUDOLPH. What hairpins? - -STRANGER. I don't know, but they are there. Do you know? - -RUDOLPH. Naw! - -STRANGER. Everything was brought to light, and you may look for a -stream of people coming here to stare at all that exposed rottenness. - -RUDOLPH. Lord have mercy! And you take pleasure at seeing your family -dragged into scandal? - -STRANGER. My family? I have never felt myself related to the rest of -you. I have never had any strong feeling either for my fellow men or -myself. I think it's interesting to watch them--that's all--What sort -of a person is your wife? - -RUDOLPH. Was there anything about her, too? - -STRANGER. About her and the student. - -RUDOLPH. Good! Then I was right. Just wait and you'll see!--There comes -the stone-cutter. - -STRANGER. You know him? - -RUDOLPH. And so do you. A schoolmate--Albert Ericson. - -STRANGER. Whose father was in the customs service and whose brother I -met on the train--he who was so very well informed about our family. - -RUDOLPH. That's the infernal cuss who has blabbed to the papers, then! - - ERICSON _enters with a pick and begins to look over the ruins_. - -STRANGER. What a ghastly figure! - -RUDOLPH. He's been in jail--two years. Do you know what he did? He made -some erasures in a contract between him and myself---- - -STRANGER. You sent him to jail! And now he has had his revenge! - -RUDOLPH. But the queerest part of it is that nowadays he is regarded as -the most honest man in the whole district. He has become a martyr, and -almost a saint, so that nobody dares say a word against him. - -STRANGER. That's interesting, indeed! - -DETECTIVE. [_Entering, turns to_ Ericson] Can you pull down that wall -over there? - -ERICSON. The one by the closet? - -DETECTIVE. That's the one. - -ERICSON. That's where the fire started, and I'm sure you'll find a -candle or a lamp around there--for I know the people! - -DETECTIVE. Go ahead then! - -ERICSON. The closet door was burned off, to be sure, but the ceiling -came down, and that's why we couldn't find out, but now we'll use the -beak on it! [_He falls to with his pick_] Ho-hey, ho-ho!--Ho-hey, -leggo!--Ho-hey, for that one!--Do you see anything? - -DETECTIVE. Not yet. - -ERICSON. [_Working away as before_] Now I can see something!--The lamp -has exploded, but the stand is left!--Who knows this forfeit for his -own?--Didn't I see the dyer somewhere around here? - -DETECTIVE. There he is sitting now. [_He picks the lamp from the debris -and holds it up_] Do you recognise your lamp, Mr. Walström? - -RUDOLPH. That isn't mine--it belonged to our tutor. - -DETECTIVE. The student? Where is he now? - -RUDOLPH. He's down-town, but I suppose he'll soon be here, as his books -are lying over there. - -DETECTIVE. How did his lamp get into the cook's closet? Did he have -anything to do with her? - -RUDOLPH. Probably! - -DETECTIVE. The only thing needed now is that he identify the lamp as -his own, and he will be arrested. What do you think of it, Mr. Walström? - -RUDOLPH. I? Well, what is there to think? - -DETECTIVE. What reason could he have for setting fire to another -person's house? - -RUDOLPH. I don't know. Malice, or mere mischief--you never can tell -what people may do--Or perhaps there was something he wanted to cover -up. - -DETECTIVE. That would have been a poor way, as old rottenness always -will out. Did he have any grudge against you? - -RUDOLPH. It's likely, for I helped him once when he was hard up, and he -has hated me ever since, of course. - -DETECTIVE. Of course? [_Pause_] Who is he, then? - -RUDOLPH. He was raised in an orphanage--born of unknown parents. - -DETECTIVE. Haven't you a grown-up daughter, Mr. Walström? - -RUDOLPH. [_Angered_] Of course I have! - -DETECTIVE. Oh, you have! [_Pause; then to_ ERICSON] Now you bring those -twelve men of yours and pull down the walls quick. Then we'll see what -new things come to light. - - [_He goes out_. - -ERICSON. That'll be done in a jiffy. [_Goes out_. - - [_Pause_. - -STRANGER. Have you really paid up your insurance? - -RUDOLPH. Of course! - -STRANGER. Personally? - -RUDOLPH. No, I sent it in as usual. - -STRANGER. You sent it--by somebody else! That's just like you!--Suppose -we take a turn through the garden and have a look at the apple-trees. - -RUDOLPH. All right, and then we'll see what happens afterward. - -STRANGER. Now begins the most interesting part of all. - -RUDOLPH. Perhaps not quite so interesting if you find yourself mixed up -in it. - -STRANGER. I? - -RUDOLPH. Who can tell? - -STRANGER. What a web it is! - -RUDOLPH. There was a child of yours that went to the orphanage, I think? - -STRANGER. God bless us!--Let's go over into the garden! - -_Curtain_. - - -[Footnote 1: This refers to King Charles XII of Sweden, whose memory -Strindberg hated mainly because of the use made of it by the jingo -elements of the Swedish upper classes.] - - - - -SECOND SCENE - - - _The same setting as before with the exception that the walls - have been torn down so that the garden is made visible, - with its vast variety of spring flowers--daphnes, deutzias, - daffodils, narcissuses, tulips, auriculas--and with all the - fruit-trees in bloom_. - - ERICSON, ANDERSON _and his old wife_, GUSTAFSON, _the_ - HEARSE-DRIVER, MRS. WESTERLUND, _and the painter_, SJÖBLOM, - _are standing in a row staring at the spot where the house used - to be_. - - -STRANGER. [_Entering_] There they stand, enjoying the misfortune that's -in the air and waiting for the victim to appear--he being the principal -item. That the fire was incendiary they take for granted, merely -because they want it that way.--And all these rascals are the friends -and comrades of my youth. I am even related to the hearse-driver -through my stepmother, whose father used to help carry out the -coffins--[_He speaks to the crowd of spectators_] Look here, you -people, I shouldn't stand there if I were you. There may have been some -dynamite stored in the cellar, and if such were the case an explosion -might take place any moment. - - _The curious crowd scatters and disappears_. - -STRANGER. [Stoops _over the scrap-heap and begins to poke in the -books piled there_] Those are the student's books--Same kind of rot -as in my youth--Livy's Roman history, which is said to be lies, every -word--But here's a volume out of my brother's library--"Columbus, or -the Discovery of America"! My own book, which I got as a Christmas -gift in 1857. My name has been erased. This means it was stolen from -me--and I accused one of our maids, who was discharged on that account! -Fine business! Perhaps it led to her ruin--fifty years ago! Here is -the frame of one of our family portraits; my renowned grandfather, -the smuggler, who was put in the pillory--fine!--But what is this? -The foot-piece of a mahogany bed--the one in which I was born! Oh, -damn!--Next item: a leg of a dinner-table--the one that was an -heirloom. Why, it was supposed to be of ebony, and was admired on -that account! And now, after fifty years, I discover it to be made -of painted maple. Everything had its colours changed in our house to -render it unrecognisable, even the clothes of us children, so that -our bodies always were stained with various dyes. Ebony--humbug! And -here's the dining-room clock--smuggled goods, that, too--which has -measured out the time for two generations. It was wound up every -Saturday, when we had salt codfish and a posset made with beer for -dinner. Like all intelligent clocks, it used to stop when anybody -died, but when I died it went on just as before. Let me have a look at -you, old friend--I want to see your insides. [_As he touches the clock -it falls to pieces_] Can't stand being handled! Nothing could stand -being handled in our home--nothing! Vanity, vanity!--But there's the -globe that was on top of the clock, although it ought to have been at -the bottom. You tiny earth: you, the densest and the heaviest of all -the planets--that's what makes everything on you so heavy--so heavy -to breathe, so heavy to carry. The cross is your symbol, but it might -just as well have been a fool's cap or a strait-jacket--you world of -delusions and deluded!--Eternal One--perchance Thy earth has gone -astray in the limitless void? And what set it whirling so that Thy -children were made dizzy, and lost their reason, and became incapable -of seeing what really is instead of what only seems?--Amen!--And here -is the student! - - _The_ STUDENT _enters and looks around in evident search of - somebody_. - -STRANGER. He is looking for the mistress of the house. And he tells -everything he knows--with his eyes. Happy youth!--Whom are you looking -for? - -STUDENT. [_Embarrassed_] I was looking---- - -STRANGER. Speak up, young man--or keep silent. I understand you just -the same. - -STUDENT. With whom have I the honour---- - -STRANGER. It's no special honour, as you know, for once I ran away to -America on account of debts---- - -STUDENT. That wasn't right. - -STRANGER. Right or wrong, it remains a fact.--So you were looking for -Mrs. Walström? Well, she isn't here, but I am sure that she will come -soon, like all the rest, for they are drawn by the fire like moths---- - -STUDENT. By a candle! - -STRANGER. That's what _you_ say, but I should rather have said "lamp," -in order to choose a more significant word. However, you had better -hide your feelings, my dear fellow, if you can--I can hide mine!--We -were talking of that lamp, were we not? How about it? - -STUDENT. Which lamp? - -STRANGER. Well, well! Every one of them lies and denies!--The lamp -that was placed in the cook's closet and set fire to the house? - -STUDENT. I know nothing about it. - -STRANGER. Some blush when they lie and others turn pale. This one has -invented an entirely new manner. - -STUDENT. Are you talking to yourself, sir? - -STRANGER. I have that bad habit.--Are your parents still living? - -STUDENT. They are not. - -STRANGER. Now you lied again, but unconsciously. - -STUDENT. I never tell a lie! - -STRANGER. Not more than three in these few moments! I know your father. - -STUDENT. I don't believe it. - -STRANGER. So much the better for me!--Do you see this scarf-pin? It's -pretty, isn't it? But I never see anything of it myself--I have no -pleasure in its being there, while everybody else is enjoying it. There -is nothing selfish about that, is there? But there are moments when -I should like to see it in another man's tie so that I might have a -chance to admire it. Would you care to have it? - -STUDENT. I don't quite understand--Perhaps, as you said, it's better -not to wear it. - -STRANGER. Perhaps!--Don't get impatient now. She will be here soon.--Do -you find it enviable to be young? - -STUDENT. I can't say that I do. - -STRANGER. No, youth is not its own master; it has never any money, and -has to take its food out of other hands; it is not permitted to speak -when company is present, but is treated as an idiot; and as it cannot -marry, it has to ogle other people's wives, which leads to all sorts of -dangerous consequences. Youth--humbug! - -STUDENT. That's right! As a child, you want to grow up--that is, reach -fifteen, be confirmed, and put on a tall hat. When you are that far, -you want to be old--that is, twenty-one. Which means that nobody wants -to be young. - -STRANGER. And when you grow old in earnest, then you want to be dead. -For then there isn't much left to wish for.--Do you know that you are -to be arrested? - -STUDENT. Am I? - -STRANGER. The detective said so a moment ago. - -STUDENT. Me? - -STRANGER. Are you surprised at that? Don't you know that in this life -you must be prepared for anything? - -STUDENT. But what have I done? - -STRANGER. You don't have to do anything in order to be arrested. To be -suspected is enough. - -STUDENT. Then everybody might be arrested! - -STRANGER. Exactly! The rope might be laid around the neck of the whole -race if justice were wanted, but it isn't. It's a disgusting race: -ugly, sweating, ill-smelling; its linen dirty, its stockings full of -holes; with chilblains and corns--ugh! No, an apple-tree in bloom is -far more beautiful. Or look at the lilies in the field--they seem -hardly to belong here--and what fragrance is theirs! - -STUDENT. Are you a philosopher, sir? - -STRANGER. Yes, I am a great philosopher. - -STUDENT. Now you are poking fun at me! - -STRANGER. You say that to get away. Well, begone then! Hurry up! - -STUDENT. I was expecting somebody. - -STRANGER. So I thought. But I think it would be better to go and -meet---- - -STUDENT. She asked you to tell me? - -STRANGER. Oh, that wasn't necessary. - -STUDENT. Well, if that's so--I don't want to miss---- - - [_He goes out_. - -STRANGER. Can that be my son? Well, if it comes to the worst--I was a -child myself once, and it was neither remarkable nor pleasant--And I -am his--what of it? And for that matter--who knows?--Now I'll have a -look at Mrs. Westerlund. She used to work for my parents--was faithful -and good-tempered; and when she had been pilfering for ten years she -was raised to the rank of a "trusted" servant. [_He seats himself at -the table in front of the inn_] There are Gustafson's wreaths--just as -carelessly made as they were forty years ago. He was always careless -and stupid in all he did, and so he never succeeded with anything. But -much might be pardoned him on account of his self-knowledge. "Poor -fool that I am," he used to say, and then he would pull off his cap -and scratch his head.--Why, there's a myrtle plant! [_He knocks at the -pot_] Not watered, of course! He always forgot to water his plants, the -damned fool--and yet he expected them to grow. - - SJÖBLOM, _the painter, appears_. - -STRANGER. I wonder who that painter can be. Probably he belongs also to -the Bog, and perhaps he is one of the threads in my own web. - - SJÖBLOM _is staring at the_ STRANGER _all this time_. - -STRANGER. [_Returning the stare_] Well, do you recognise me? - -SJÖBLOM. Are you--Mr. Arvid? - -STRANGER. Have been and am--if perception argues being. - - [_Pause_. - -SJÖBLOM. I ought really to be mad at you. - -STRANGER. Well, go on and be so! However, you might tell me the reason. -That has a tendency to straighten matters out. - -SJÖBLOM. Do you remember---- - -STRANGER. Unfortunately, I have an excellent memory. - -SJÖBLOM. Do you remember a boy named Robert? - -STRANGER. Yes, a regular rascal who knew how to draw. - -SJÖBLOM. And I was to go to the Academy in order to become a real -painter, an artist. But just about that time-colour-blindness was all -the go. You were studying at the Technological Institute then, and so -you had to test my eyes before your father would consent to send me to -the art classes. For that reason you brought two skeins of yarn from -the dye works, one red and the other green, and then you asked me about -them. I answered--called the red green and the green red--and that was -the end of my career---- - -STRANGER. But that was as it should be. - -SJÖBLOM. No--for the truth of it was, I could distinguish the -colours, but not--the _names_. And that wasn't found out until I was -thirty-seven---- - -STRANGER. That was an unfortunate story, but I didn't know better, and -so you'll have to forgive me. - -SJÖBLOM. How can I? - -STRANGER. Ignorance is pardonable! And now listen to me. I wanted to -enter the navy, made a trial cruise as mid-shipman, seemed to become -seasick, and was rejected! But I could stand the sea, and my sickness -came from having drunk too much. So my career was spoiled, and I had to -choose another. - -SJÖBLOM. What have I got to do with the navy? I had been dreaming of -Rome and Paris---- - -STRANGER. Oh, well, one has so many dreams in youth, and in old age -too, for that matter. Besides, what's the use of bothering about what -happened so long ago? - -SJÖBLOM. How you talk! Perhaps you can give me back my wasted life---- - -STRANGER. No, I can't, but I am under no obligation to do so, either. -That trick with the yarn I had learned at school, and you ought to have -learned the proper names of the colours. And now you can go to--one -dauber less is a blessing to humanity!--There's Mrs. Westerlund! - -SJÖBLOM. How you _do_ talk. But I guess you'll get what's coming to you! - - MRS. WESTERLUND _enters_. - -STRANGER. How d'you do, Mrs. Westerlund? I am Mr. Arvid--don't get -scared now! I have been in America, and how are you? I am feeling fine! -There has been a fire here, and I hear your husband is dead--policeman, -I remember, and a very nice fellow. I liked him for his good humour -and friendly ways. He was a harmless jester, whose quips never hurt. I -recall once---- - -MRS. WESTERLUND. O, merciful! Is this my own Arvid whom I used to -tend---- - -STRANGER. No, that wasn't me, but my brother--but never mind, it's just -as well meant. I was talking of your old man who died thirty-five years -ago--a very nice man and a particular friend of mine---- - -MRS. WESTERLUND. Yes, he died. [_Pause_] But I don't know if--perhaps -you are getting him mixed up---- - -STRANGER. No, I don't. I remember old man Westerlund perfectly, and I -liked him very much. - -MRS. WESTERLUND. [_Reluctantly_] Of course it's a shame to say it, but -I don't think his temper was very good. - -STRANGER. What? - -MRS. WESTERLUND. Well--he had a way of getting around people, but -he didn't mean what he said--or if he did he meant it the other way -around---- - -STRANGER. What is that? Didn't he mean what he was saying? Was he a -hypocrite? - -MRS. WESTERLUND. Well, I don't like to say it, but I believe---- - -STRANGER. Do you mean to say that he wasn't on the level? - -MRS. WESTERLUND. N--yes--he was--a little--well, he didn't mean exactly -what he said--And how have you been doing, Mr. Arvid? - -STRANGER. Now a light is dawning on me!--The miserable wretch! And -here I have been praising him these thirty-five years. I have missed -him, and I felt something like sorrow at his departure--I even used -some of my tobacco allowance to buy a wreath for his coffin. - -MRS. WESTERLUND. What was it he did? What was it? - -STRANGER. The villain! [_Pause_] Well--he fooled me--it was Shrove -Tuesday, I remember. He told me that if one took away every third -egg from a hen she would lay so many more. I did it, got a licking, -and came near getting into court. But _I_ never suspected him of -having told on me.--He was always hanging around our kitchen looking -for tid-bits, and so our maids could do just what they pleased about -the garbage--oh, now I see him in his proper aspect!--And here I am -now getting into a fury at one who has been thirty-five years in his -grave?--So he was a satirist, he was--and I didn't catch on--although I -understand him now. - -MRS. WESTERLUND. Yes, he was a little satirical all right--_I_ ought -to know that! - -STRANGER. Other things are coming back to me now--and I have been -saying nice things about that blackguard for thirty-five years! It was -at his funeral I drank my first toddy--And I remember how he used to -flatter me, and call me "professor" and "the crown prince"--ugh--And -there is the stone-cutter! You had better go inside, madam, or we'll -have a row when that fellow begins to turn in his bills. Good-bye, -madam--we'll meet again! - -MRS. WESTERLUND. No we won't. People ought never to meet again--it -is never as it used to be, and they only get to clawing at each -other--What business did you have to tell me all those things--seeing -everything was all right as it was [_She goes out_. - - ERICSON, _the stone-cutter, comes in_. - -STRANGER. Come on! - -ERICSON. What's that? - -STRANGER. Come on, I said! - - ERICSON _stares at him_. - -STRANGER. Are you looking at my scarf-pin? I bought it in London. - -ERICSON. I am no thief! - -STRANGER. No, but you practise the noble art of erasure. You wipe out! - -ERICSON. That's true, but that contract was sheer robbery, and it was -strangling me. - -STRANGER. Why did you sign it? - -ERICSON. Because I was hard up. - -STRANGER. Yes, that _is_ a motive. - -ERICSON. But now I am having my revenge. - -STRANGER. Yes, isn't it nice! - -ERICSON. And now _they_ will be locked up. - -STRANGER. Did _we_ ever fight each other as boys? - -ERICSON. No, I was too young. - -STRANGER. Have we never told lies about each other, or robbed each -other, or got in each other's way, or seduced each other's sisters? - -ERICSON. Naw, but my father was in the customs service and yours was a -smuggler. - -STRANGER. There you are! That's something, at least! - -ERICSON. And when my father failed to catch yours he was discharged. - -STRANGER. And you want to get even with me because your father was a -good-for-nothing? - -ERICSON. Why did you say a while ago that there was dynamite in the -cellar? - -STRANGER. Now, my dear sir, you are telling lies again. I said there -_might_ be dynamite in the cellar, and everything is possible, of -course. - -ERICSON. And in the meantime the student has been arrested. Do you know -him? - -STRANGER. Very little--his mother more, for she was a maid in our -house. She was both pretty and good, and I was making up to her--until -she had a child. - -ERICSON. And were you not its father? - -STRANGER. I was not. But as a denial of fatherhood is not allowed, I -suppose I must be regarded as a sort of stepfather. - -ERICSON. Then they have lied about you. - -STRANGER. Of course. But that's a very common thing. - -ERICSON. And I was among those who testified against you--under oath! - -STRANGER. I have no doubt about it, but what does it matter? Nothing -matters at all! But now we had better quit pulling--or we'll get the -whole web unravelled. - -ERICSON. But think of me, who have perjured myself---- - -STRANGER. Yes, it isn't pleasant, but such things will happen. - -ERICSON. It's horrible--don't you find life horrible? - -STRANGER. [_Covering his eyes with his hand_] Yes, horrible beyond all -description! - -ERICSON. I don't want to live any longer! - -STRANGER. Must! [_Pause_] Must! [_Pause_] Tell me--the student is -arrested, you say--can he get out of it? - -ERICSON. Hardly!--And now, as we are talking nicely, I'll tell you -something: he is innocent, but he cannot clear himself. For the only -witness that can prove him innocent would, by doing so, prove him -guilty--in another way. - -STRANGER. She with the hairpins, isn't it? - -ERICSON. Yes. - -STRANGER. The old one or the young one? - -ERICSON. You have to figure that out yourself. But it isn't the cook. - -STRANGER. What a web this is!--But who put the lamp there? - -ERICSON. His worst enemy. - -STRANGER. And did his worst enemy also start the fire? - -ERICSON. That's beyond me! Only Anderson, the mason, knows that. - -STRANGER. Who is he? - -ERICSON. The oldest one in the place--some kind of relative of Mrs. -Westerlund--knows all the secrets of the house--but he and the dyer -have got some secrets together, so he won't tell anything. - -STRANGER. And the lady--my sister-in-law--who is she? - -ERICSON. Well--she was in the house as governess when the first wife -cleared out. - -STRANGER. What sort of character has she got? - -ERICSON. Hm! Character? I don't quite know what that is. Do you mean -trade? The old assessment blanks used to call for your name and -"character"--but that meant occupation instead of character. - -STRANGER. I mean her temper. - -ERICSON. Well, it changes, you know. In me it depends on the person -with whom I am talking. With decent people I am decent, and with the -cruel ones I become like a beast of prey. - -STRANGER. But I was talking of her temper under ordinary circumstances. - -ERICSON. Well, nothing in particular. Gets angry if you tease her, but -comes around after a while. One cannot always have the same temper, of -course. - -STRANGER. I mean, is she merry or melancholy? - -ERICSON. When things go right, she is happy, and when they go wrong, -she gets sorry or angry--just like the rest of us. - -STRANGER. Yes, but how does she behave? - -ERICSON. Oh, what does it matter?--Of course, being an educated person, -she behaves politely, but nevertheless, you know, she can get nasty, -too, when her blood gets to boiling. - -STRANGER. But that doesn't make me much wiser. - -ERICSON. [_Patting him on the shoulder_] No, sir, we never get much -wiser when it's a question of human beings. - -STRANGER. Oh, you're a marvel!--And how do you like my brother, the -dyer? [_Pause_. - -ERICSON. Oh, his manners are pretty decent. And more than that I don't -know, for what he keeps hidden I can't find out, of course. - -STRANGER. Excellent! But--his hands are always blue, and yet you know -that they are white beneath the dye. - -ERICSON. But to make them so they should be scraped, and that's -something he won't permit. - -STRANGER. Good!--Who are the young couple coming over there? - -ERICSON. That's the gardener's son and my daughter, who were to have -been married to-night, but who have had to postpone it on account of -the fire--Now I shall leave, for I don't want to embarrass them. You -understand--I ain't much as a father-in-law. Good-bye! [_He goes out_. - - _The_ Stranger _withdraws behind the inn, but so that he - remains visible to the spectators_. - - Alfred _and_ Mathilda _enter hand in hand_. - -ALFRED. I had to have a look at this place--I had to---- - -MATHILDA. Why did you have to look at it? - -ALFRED. Because I have suffered so much in this house that more than -once I wished it on fire. - -MATHILDA. Yes, I know, it kept the sun out of the garden, and now -everything will grow much better--provided they don't put up a still -higher house---- - -ALFRED. Now it's open and pleasant, with plenty of air and sunlight, -and I hear they are going to lay out a street---- - -MATHILDA. Won't you have to move then? - -ALFRED. Yes, all of us will have to move, and that's what I like--I -like new things--I should like to emigrate---- - -MATHILDA. Mercy, no! Do you know, our pigeons were nesting on the roof. -And when the fire broke out last night they kept circling around the -place at first, but when the roof fell in they plunged right into the -flames--They couldn't part from their old home! - -ALFRED. But we must get out of here--must! My father says that the soil -has been sucked dry. - -MATHILDA. I heard that the cinders left by the fire were to be spread -over the ground in order to improve the soil. - -ALFRED. You mean the ashes? - -MATHILDA. Yes; they say it's good to sow in the ashes. - -ALFRED. Better still on virgin soil. - -MATHILDA. But your father is ruined? - -ALFRED. Not at all. He has money in the bank. Of course he's -complaining, but so does everybody. - -MATHILDA. Has he--The fire hasn't ruined him? - -ALFRED. Not a bit! He's a shrewd old guy, although he always calls -himself a fool. - -MATHILDA. What am I to believe? - -ALFRED. He has loaned money to the mason here--and to others. - -MATHILDA. I am entirely at sea! Am I dreaming?--The whole morning -we have been weeping over your father's misfortune and over the -postponement of the wedding---- - -ALFRED. Poor little thing! But the wedding is to take place to-night---- - -MATHILDA. Is it not postponed? - -ALFRED. Only delayed for a couple of hours so that my father will have -time to get his new coat. - -MATHILDA. And we who have been weeping---- - -ALFRED. Useless tears--such a lot of tears! - -MATHILDA. I am mad because they were useless--although--to think that -my father-in-law could be such a sly one! - -ALFRED. Yes, he is something of a joker, to put it mildly. He is always -talking about how tired he is, but that's nothing but laziness--oh, -he's lazy, I tell you---- - -MATHILDA. Don't say any more nasty things about him--but let us get -away from here. I have to dress, you know, and put up my hair.--Just -think, that my father-in-law isn't what I thought him--that he could be -fooling us like that and not telling the truth! Perhaps you are like -that, too? Oh, that I can't know what you really are! - -ALFRED. You'll find out afterward. - -MATHILDA. But then it's too late. - -ALFRED. It's never too late---- - -MATHILDA. All you who lived in this house are bad--And now I am afraid -of you---- - -ALFRED. Not of me, though? - -MATHILDA. I don't know what to think. Why didn't you tell me before -that your father was well off? - -ALFRED. I wanted to try you and see if you would like me as a poor man. - -MATHILDA. Yes, afterward they always say that they wanted to try you. -But how can I ever believe a human being again? - -ALFRED. Go and get dressed now. I'll order the carriages. - -MATHILDA. Are we to have carriages? - -ALFRED. Of course--regular coaches. - -MATHILDA. Coaches? And to-night? What fun! Come--hurry up! We'll have -carriages! - -ALFRED. [_Gets hold of her hand and they dance out together_] Hey and -ho! Here we go! - -STRANGER. [_Coming forward_] Bravo! - - _The_ DETECTIVE _enters and talks in a low tone to the_ - Stranger, _who answers in the same way. This lasts for about - half a minute, whereupon the_ DETECTIVE _leaves again_. - -MRS. WALSTRÖM. [_Enters, dressed in black, and gazes long at the_ -Stranger] Are you my brother-in-law? - -STRANGER. I am. [_Pause_] Don't I look as I have been described--or -painted? - -MRS. WALSTRÖM. Frankly, no! - -STRANGER. No, that is generally the case. And I must admit that the -information I received about you a while ago does not tally with the -original. - -MRS. WALSTRÖM. Oh, people do each other so much wrong, and they paint -each other in accordance with some image within themselves. - -STRANGER. And they go about like theatrical managers, distributing -parts to each other. Some accept their parts; others hand them back and -prefer to improvise. - -MRS. WALSTRÖM. And what has been the part assigned to you? - -STRANGER. That of a seducer. Not that I have ever been one! I have -never seduced anybody, be she wife or maid, but once in my youth I was -seduced, and that's why the part was given to me. Strange to say, it -was forced on me so long that at last I accepted it. And for twenty -years I carried the bad conscience of a seducer around with me. - -MRS. WALSTRÖM. You were innocent then? - -STRANGER. I was. - -MRS. WALSTRÖM. How curious! And to this day my husband is still -talking of the Nemesis that has pursued you because you seduced another -man's wife. - -STRANGER. I fully believe it. But your husband represents a still more -interesting case. He has created a new character for himself out of -lies. Tell me: isn't he a coward in facing the struggles of life? - -MRS. WALSTRÖM. Of course he is a coward! - -STRANGER. And yet he boasts of his courage, which is nothing but -brutality. - -MRS. WALSTRÖM. You know him pretty well. - -STRANGER. Yes, and no!--And you have been living in the belief that you -had married into a respected family which had never disgraced itself? - -MRS. WALSTRÖM. So I believed until this morning. - -STRANGER. When your faith crumbled! What a web of lies and mistakes -and misunderstandings! And that kind of thing we are supposed to take -seriously! - -MRS. WALSTRÖM. Do you? - -STRANGER. Sometimes. Very seldom nowadays. I walk like a somnambulist -along the edge of a roof--knowing that I am asleep, and yet being -awake--and the only thing I am waiting for is to be waked up. - -MRS. WALSTRÖM. You are said to have been across to the other side? - -STRANGER. I have been across the river, but the only thing I can recall -is--that there everything _was_ what it pretended to be. That's what -makes the difference. - -MRS. WALSTRÖM. When nothing stands the test of being touched, what are -you then to hold on to? - -STRANGER. Don't you know? - -MRS. WALSTRÖM. Tell me! Tell me! - -STRANGER. Sorrow brings patience; patience brings experience; -experience brings hope; and hope will not bring us to shame. - -MRS. WALSTRÖM. Hope, yes! - -STRANGER. Yes, hope! - -MRS. WALSTRÖM. Do you ever think it pleasant to live? - -STRANGER. Of course. But that is also a delusion. I tell you, my dear -sister-in-law, that when you happen to be born without a film over your -eyes, then you see life and your fellow creatures as they are--and -you have to be a pig to feel at home in such a mess.--But when you -have been looking long enough at blue mists, then you turn your eyes -the other way and begin to look into your own soul? There you find -something really worth looking at. - -MRS. WALSTRÖM. And what is it you see? - -STRANGER. Your own self. But when you have looked at that you must die. - -MRS. WALSTRÖM. [_Covers her eyes with her hands; after a pause she -says_] Do you want to help me? - -STRANGER. If I can. - -MRS. WALSTRÖM. Try. - -STRANGER. Wait a moment!--No, I cannot. He is innocently accused. Only -you can set him free again. But that you cannot do. It's a net that has -not been tied by men---- - -MRS. WALSTRÖM. But he is not guilty. - -STRANGER. Who is guilty? [_Pause_. - -MRS. WALSTRÖM. No one! It was an accident! - -STRANGER. I know it. - -MRS. WALSTRÖM. What am I to do? - -STRANGER. Suffer. It will pass. For that, too, is vanity. - -MRS. WALSTRÖM. Suffer? - -STRANGER. Yes, suffer! But with hope! - -MRS. WALSTRÖM. [_Holding out her hand to him_] Thank you! - -STRANGER. And let it be your consolation - -MRS. WALSTRÖM. What? - -STRANGER. That you don't suffer innocently. - - MRS. WALSTRÖM _walks out with her head bent low_. - - _The_ STRANGER _climbs the pile of debris marking the site of - the burned house_. - -RUDOLPH. [_Comes in, looking happy_] Are you playing the ghost among -the ruins? - -STRANGER. Ghosts feel at home among ruins--And now you are happy? - -RUDOLPH. Now I am happy. - -STRANGER. And brave? - -RUDOLPH. Whom have I got to fear, or what? - -STRANGER. I conclude from your happiness that you are ignorant of one -important fact--Have you the courage to bear a piece of misfortune? - -RUDOLPH. What is it? - -STRANGER. You turn pale? - -RUDOLPH. I? - -STRANGER. A serious misfortune! - -RUDOLPH. Speak out! - -STRANGER. The detective was here a moment ago, and he told me--in -confidence---- - -RUDOLPH. What? - -STRANGER. That the premium on your insurance was paid up two hours too -late. - -RUDOLPH. Great S----! what are you talking of? I sent my wife to pay -the premium. - -STRANGER. And she sent the bookkeeper--and he got there too late. - -RUDOLPH. Then I am ruined? [_Pause_. - -STRANGER. Are you crying? - -RUDOLPH. I am ruined! - -STRANGER. Well, is that something that cannot be borne? - -RUDOLPH. How am I to live? What am I to do? - -STRANGER. Work! - -RUDOLPH. I am too old--I have no friends Stranger. Perhaps you'll get -some now. A man in misfortune always seems sympathetic. I had some of -my best hours while fortune went against me. - -RUDOLPH. [_Wildly_] I am ruined! - -STRANGER. But in my days of success and fortune I was left alone. Envy -was more than friendship could stand. - -RUDOLPH. Then I'll sue the bookkeeper. - -STRANGER. Don't! - -RUDOLPH. He'll have to pay---- - -STRANGER. How little you have changed! What's the use of living, when -you learn so little from it? - -RUDOLPH. I'll sue him, the villain!--He hates me because I gave him a -cuff on the ear once. - -STRANGER. Forgive him--as I forgave you when I didn't demand my -inheritance. - -RUDOLPH. What inheritance? - -STRANGER. Always the same! Merciless! Cowardly! Disingenuous!--Depart -in peace, brother! - -RUDOLPH. What inheritance is that you are talking of? - -STRANGER. Now listen, Rudolph--my brother after all: my own mother's -son! You put the stone-cutter in jail because he did some erasing--all -right! But how about your own erasures from my book, "Christopher -Columbus, or the Discovery of America"? - -RUDOLPH. [_Taken aback_] What's that? Columbus? - -STRANGER. Yes, _my_ book that became yours! - - RUDOLPH _remains silent_. - -STRANGER. Yes, and I understand now that it was you who put the -student's lamp in the closet--I understand everything. But do _you_ -know that the dinner-table was not of ebony? - -RUDOLPH. It wasn't? - -STRANGER. It was nothing but maple. - -RUDOLPH. Maple! - -STRANGER. The pride and glory of the house--valued at two thousand -crowns! - -RUDOLPH. That, too? So that was also humbug! - -STRANGER. Yes! - -RUDOLPH. Ugh! - -STRANGER. Thus the debt is settled. The case is dropped--the issue is -beyond the court--the parties can withdraw---- - -RUDOLPH. [_Rushing out_] I am ruined! - -STRANGER. [_Takes his wreath from the table_] I meant to take this -wreath to the cemetery--to my parents' grave--but I will place it here -instead--on the ruins of what was once their home--my childhood's home! -[_He bends his head in silent prayer_] And now, wanderer, resume thy -pilgrimage! - -_Curtain_. - - - - -PLAYS BY AUGUST STRINDBERG - - -PLAYS. FIRST SERIES: The Dream Play, The -Link, The Dance of Death--Part I and Part II. - -PLAYS. SECOND SERIES: There are Crimes -and Crimes, Miss Julia, The Stronger, Creditors, -Pariah. - -PLAYS. THIRD SERIES: Swanwhite, Simoom, -Debit and Credit, Advent, The Thunder -Storm, After the Fire. - -PLAYS. FOURTH SERIES: The Bridal Crown, -The Spook Sonata, The First Warning, Gustavus Vasa. - -CREDITORS. PARIAH. - -MISS JULIA. THE STRONGER. - -THERE ARE CRIMES AND CRIMES. - - - - - -End of the Project Gutenberg EBook of Plays by August Strindberg, Third -Series, by August Strindberg - -*** END OF THIS PROJECT GUTENBERG EBOOK PLAYS BY AUGUST STRINDBERG *** - -***** This file should be named 44233-8.txt or 44233-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/4/2/3/44233/ - -Produced by Marc D'Hooghe at http://www.freeliterature.org -(Images generously made available by the Internet Archive, -University of California (L.A.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Plays by August Strindberg, Third Series - -Author: August Strindberg - -Translator: Edwin Björkman - -Release Date: November 19, 2013 [EBook #44233] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK PLAYS BY AUGUST STRINDBERG *** - - - - -Produced by Marc D'Hooghe at http://www.freeliterature.org -(Images generously made available by the Internet Archive, -University of California (L.A.) - - - - - - -</pre> - -<h1>PLAYS</h1> - -<h3>BY</h3> - -<h2>AUGUST STRINDBERG</h2> - -<hr class="r5" /> -<h4>THIRD SERIES</h4> - -<p style="margin-left: 45%; font-size: 0.8em; font-weight: bold;"> -SWANWHITE<br /> -SIMOOM<br /> -DEBIT AND CREDIT<br /> -ADVENT<br /> -THE THUNDERSTORM<br /> -AFTER THE FIRE<br /> -</p> -<hr class="r5" /> -<h4>TRANSLATED FROM THE SWEDISH WITH AN INTRODUCTION BY</h4> - -<h4>EDWIN BJÖRKMAN</h4> - -<h4>AUTHORIZED EDITION</h4> - -<h5>NEW YORK</h5> - -<h5>CHARLES SCRIBNER'S SONS</h5> - -<h5>1921</h5> - - - -<hr class="full" /> - -<h4>CONTENTS</h4> - -<p style="margin-left: 45%; font-size: 0.8em;"> -<a href="#INTRODUCTION">INTRODUCTION</a><br /> -<a href="#SWANWHITE">SWANWHITE</a><br /> -<a href="#SIMOOM">SIMOOM</a><br /> -<a href="#DEBIT_AND_CREDIT">DEBIT AND CREDIT</a><br /> -<a href="#ADVENT">ADVENT</a><br /> -<a href="#ACT_I">ACT I</a><br /> -<span style="margin-left: 1.5em;"><a href="#ACT_II">ACT II</a></span><br /> -<span style="margin-left: 1.5em;"><a href="#ACT_III">ACT III</a></span><br /> -<span style="margin-left: 1.5em;"><a href="#ACT_IV">ACT IV</a></span><br /> -<span style="margin-left: 1.5em;"><a href="#ACT_V">ACT V</a></span><br /> -<a href="#THE_THUNDERSTORM">THE THUNDERSTORM</a><br /> -<a href="#AFTER_THE_FIRE">AFTER THE FIRE</a><br /> -</p> - -<hr class="chap" /> - -<h4><a id="INTRODUCTION"></a>INTRODUCTION</h4> - - -<p>The collection of plays contained in this volume is unusually -representative, giving what might be called a cross-section of -Strindberg's development as a dramatist from his naturalistic revolt -in the middle eighties, to his final arrival at resigned mysticism and -Swedenborgian symbolism.</p> - -<p>"Swanwhite" was written in the spring of 1901, about the time when -Strindberg was courting and marrying his third wife, the gifted Swedish -actress Harriet Bosse. In the fall of 1902 the play appeared in book -form, together with "The Crown Bride" and "The Dream Play," all of them -being issued simultaneously, at Berlin, in a German translation made by -Emil Schering.</p> - -<p>Schering, who at that time was in close correspondence with Strindberg, -says that the figure of <i>Swanwhite</i> had been drawn with direct -reference to Miss Bosse, who had first attracted the attention of -Strindberg by her spirited interpretation of <i>Biskra</i> in "Simoom." -And Schering adds that it was Strindberg's bride who had a little -previously introduced him to the work of Maeterlinck, thereby -furnishing one more of the factors determining the play.</p> - -<p>Concerning the influence exerted upon him by the Belgian -playwright-philosopher, Strindberg himself wrote in a pamphlet named -"Open Letters to the Intimate Theatre" (Stockholm, 1909):</p> - -<p>"I had long had in mind skimming the cream of our most beautiful -folk-ballads in order to turn them into a picture for the stage. -Then Maeterlinck came across my path, and under the influence of -his puppet-plays, which are not meant for the regular stage, I wrote -my Swedish scenic spectacle, 'Swanwhite.' It is impossible either to -steal or to borrow from Maeterlinck. It is even difficult to become his -pupil, for there are no free passes that give entrance to his world of -beauty. But one may be urged by his example into searching one's own -dross-heaps for gold—and it is in that sense I acknowledge my debt to -the master.</p> - -<p>"Pushed ahead by the <i>impression</i> made on me by Maeterlinck, and -borrowing his divining-rod for my purposes, I turned to such sources -[<i>i.e.</i>, of Swedish folk-lore] as the works of Geijer, Afzelius, and -Dybeck. There I found a superabundance of princes and princesses. The -stepmother theme I had discovered on my own hook as a <i>constant</i>—it -figures in twenty-six different Swedish folk-tales. In the same place I -found the resurrection theme, as, for instance, it appears in the story -of <i>Queen Dagmar</i>. Then I poured it all into my separator, together -with the <i>Maids</i>, the <i>Green Gardener</i> and the <i>Young King</i>, and in -a short while the cream began to flow—and for that reason the story -is my own. But it has also been made so by the fact that I have lived -through that tale in my own fancy—a Spring in time of Winter!"</p> - -<p>Swedish critics have been unanimous in their praise of this play. John -Landquist, who has since become Strindberg's literary executor, spoke -of it once as "perhaps the most beautiful and most genuine fairy tale -for old or young ever written in the Swedish language." Tor Hedberg -has marvelled at the charm with which <i>Swanwhite</i> herself has been -endowed—"half child, half maid; knowing nothing, yet guessing all; -playing with love as a while ago she was playing with her dolls." On -the stage, too—in Germany as well as in Sweden—little <i>Swanwhite</i> -has celebrated great triumphs. Whether that figure, and the play -surrounding it, will also triumph in English-speaking countries, -remains still to be seen. But if, contrary to my hopes, it should fail -to do so, I want, in advance, to shift the blame from the shoulders of -the author to my own. In hardly any other work by Strindberg do form -and style count for so much. The play is, in its original shape, as -poetical in form as in spirit—even to the extent of being strongly -rhythmical in its prose, and containing many of the inversions which -are so characteristic of Swedish verse.</p> - -<p>It is not impossible to transfer these qualities into English, but -my efforts to do so have had to be influenced by certain differences -in the very <i>grain</i> of the two languages involved. Like all other -languages, each possesses a natural basic rhythm. This rhythm varies -frequently and easily in Swedish, so that you may pass from iambic to -trochaic metre without giving offence to the ear—or to that subtle -rhythmical susceptibility that seems to be inherent in our very pulses. -But the rhythm dearest and most natural to the genius of the Swedish -language seems to be the falling pulse-beat manifested in the true -trochee. The swing and motion of English, on the other hand, is almost -exclusively, commandingly iambic. And it was not until I made the -iambic <i>rising</i> movement prevail in my translation, that I felt myself -approaching the impression made on me by the original. But for that -very reason—because the genius of the new medium has forced me into -making the movement of my style more monotonous—it is to be feared -that the rhythmical quality of that movement may seem overemphasised. -Should such a criticism be advanced, I can only answer: I have tried -several ways, and this is the only one that will <i>work</i>.</p> - -<p>"Simoom" seems to have been written in 1888, in close connection with -"Creditors" and "Pariah." And, like these, it shows the unmistakable -influence of Edgar Allan Poe, with whose works Strindberg had become -acquainted a short while before. The play was first printed in one of -the three thin volumes of varied contents put out by Strindberg in 1890 -and 1891 under the common title of "Pieces Printed and Unprinted." But, -strange to say, it was not put on the stage (except in a few private -performances) until 1902, although, from a purely theatrical viewpoint, -Strindberg—master of stagecraft though he was—had rarely produced a -more effective piece of work.</p> - -<p>"Debit and Credit" belongs to the same general period as the previous -play, but has in it more of Nietzsche than of Poe. Its central figure -is also a sort of superman, but as such he is not taken too seriously -by his creator. The play has humour, but it is of a grim kind—one -seems to be hearing the gritting of teeth through the laughter. Like -"Simoom," however, it should be highly effective on the stage. It was -first published in 1893, with three other one-act plays, the volume -being named "Dramatic Pieces."</p> - -<p>"Advent" was published in 1899, together with "There Are Crimes and -Crimes," under the common title of "In a Higher Court." Its name -refers, of course, to the ecclesiastical designation of the four weeks -preceding Christmas. The subtitle, literally rendered, would be "A -Mystery." But as this term has a much wider application in Swedish -than in English, I have deemed it better to observe the distinction -which the latter language makes between mysteries, miracle-plays, and -moralities.</p> - -<p>The play belongs to what Strindberg called his "Inferno period," during -which he struggled in a state of semi-madness to rid himself of the -neurasthenic depression which he regarded as a punishment brought about -by his previous attitude of materialistic scepticism. It is full of -Swedenborgian symbolism, which, perhaps, finds its most characteristic -expression in the two scenes laid in "The Waiting Room." The name -selected by Strindberg for the region where dwell the "lost" souls of -men is not a mere euphemism. It signifies his conception of that place -as a station on the road to redemption or annihilation.</p> - -<p>In its entirety the play forms a Christmas sermon with a quaint -blending of law and gospel. A prominent Swedish critic, Johan -Mortensen, wrote: "Reading it, one almost gets the feeling that -Strindberg, the dread revolutionist, has, of a sudden, changed into -a nice village school-teacher, seated at his desk, with his rattan -cane laid out in front of him. He has just been delivering a lesson in -Christianity, and he has noticed that the attention of the children -strayed and that they either failed to understand or did not care to -take in the difficult matters he was dealing with. But they must be -made to listen and understand. And so—with serious eyes, but with a -sly smile playing around the corners of his mouth—he begins all over -again, in that fairy-tale style which never grows old: 'Once upon a -time!'"</p> - -<p>In November, 1907, a young theatrical manager, August Falck, opened the -Intimate Theatre at Stockholm. From the start Strindberg was closely -connected with the venture, and soon the little theatre, with its tiny -stage and its auditorium seating only one hundred and seventy-five -persons, was turned wholly into a Strindberg stage, where some of the -most interesting and daring theatrical experiments of our own day were -made. With particular reference to the needs and limitations of this -theatre, Strindberg wrote a series of "chamber plays," four of which -were published in 1907—each one of them appearing separately in a -paper-covered duodecimo volume.</p> - -<p>The first of these plays to appear in book form—though not the -first one to be staged—was "The Thunder-Storm," designated on the -front cover as "Opus I." Two of the principal ideas underlying its -construction were the abolition of intermissions—which, according to -Strindberg, were put in chiefly for the benefit of the liquor traffic -in the theatre café—and the reduction of the stage-setting to quickly -inter-changeable backgrounds and a few stage-properties. Concerning the -production of "The Thunder-Storm," at the Intimate Theatre, Strindberg -wrote subsequently that, in their decorative effects, the first and -last scenes were rather failures. But he held the lack of space -wholly responsible for this failure. His conclusion was that the most -difficult problem of the small theatre would be to give the illusion of -distance required by a scene laid in the open—particularly in an open -place surrounded or adjoined by buildings. Of the second act he wrote, -on the other hand, that it proved a triumph of artistic simplification. -The only furniture appearing on the stage consisted of a buffet, a -piano, a dinner-table and a few chairs—that is, the pieces expressly -mentioned in the text of the play. And yet the effect of the setting -satisfied equally the demands of the eye and the reason.</p> - -<p>"The Thunder-Storm" might be called a drama of old age—nay, <i>the</i> -drama of man's inevitable descent through a series of resignations to -the final dissolution. Its subject-matter is largely autobiographical, -embodying the author's experiences in his third and last marriage, -as seen in retrospect—the anticipatory conception appearing in -"Swanwhite." However, justice to Miss Harriet Bosse, who was Mrs. -Strindberg from 1901 to 1904, requires me to point out that echoes -of the dramatist's second marriage also appear, especially in the -references to the postmarital relationship.</p> - -<p>"After the Fire" was published as "Opus II" of the chamber-plays, -and staged ahead of "The Thunder-Storm." Its Swedish name is <i>Brända -Tomten</i>, meaning literally "the burned-over site." This name has -previously been rendered in English as "The Burned Lot" and "The Fire -Ruins." Both these titles are awkward and ambiguous. The name I have -now chosen embodies more closely the fundamental premise of the play.</p> - -<p>The subject-matter is even more autobiographical than that of "The -Thunder-Storm"—almost as much so as "The Bondwoman's Son." The -perished home is Strindberg's own at the North Tollgate Street in -Stockholm, where he spent the larger part of his childhood and youth. -The old <i>Mason</i>, the <i>Gardener</i>, the <i>Stone-Cutter</i>, and other figures -appearing in the play are undoubtedly lifted straight out of real -life—and so are probably also the exploded family reputation and -the cheap table painted to represent ebony—although one may take -for granted that the process has not taken place without a proper -disguising of externals.</p> - -<p>There is one passage in this little play which I want to point out as -containing one of the main keys to Strindberg's character and art. It -is the passage where <i>The Stranger</i>—who, of course, is none but the -author himself—says to his brother: "I have beheld life from every -quarter, from every standpoint, from above and from below, but always -it has seemed to me like a scene staged for my particular benefit."</p> - - - -<hr class="chap" /> -<h3><a name="SWANWHITE" id="SWANWHITE">SWANWHITE</a></h3> - -<h4>(SVANEHVIT)</h4> - -<h4>A FAIRY PLAY</h4> - -<h5>1902</h5> -<hr class="r5" /> - - -<p style="margin-left: 45%; font-size: 0.8em;"> -CHARACTERS<br /><br /> -THE DUKE<br /> -THE STEPMOTHER<br /> -SWANWHITE<br /> -THE PRINCE<br /> -SIGNE }<br /> -ELSA } <i>Maids</i><br /> -TOVA }<br /> -THE KITCHEN GARDENER<br /> -THE FISHERMAN<br /> -THE MOTHER OF SWANWHITE<br /> -THE MOTHER OF THE PRINCE<br /> -THE GAOLER<br /> -THE EQUERRY<br /> -THE BUTLER<br /> -THE FLOWER GARDENER<br /> -TWO KNIGHTS<br /> -</p> -<hr class="tb" /> - -<blockquote> - -<p><i>An apartment in a mediæval stone castle. The walls and the -cross-vaulted ceiling are whitewashed. In the centre of the -rear wall is a triple-arched doorway leading to a balcony -with a stone balustrade. There are draperies of brocade over -the doorway. Beyond the balcony appear the top branches of a -rose-garden, laden with white and pink roses. In the background -there can be seen a white, sandy beach and the blue sea</i>.</p> - -<p><i>To the right of the main doorway is a small door which, when -left open, discloses a vista of three closets, one beyond the -other. The first one is stored with vessels of pewter arranged -on shelves. The walls of the second closet are hung with all -sorts of costly and ornate garments. The third closet contains -piles and rows of apples, pears, melons, pumpkins, and so -forth</i>.</p> - -<p><i>The floors of all the rooms are inlaid with alternating -squares of black and red. At the centre of the apartment stands -a gilded dinner-table covered with a cloth; a twig of mistletoe -is suspended above the table. A clock and a vase filled with -roses stand on the table, near which are placed two gilded -tabourets. Two swallows' nests are visible on the rear wall -above the doorway. A lion skin is spread on the floor near the -foreground. At the left, well to the front, stands a white bed -with a rose-coloured canopy supported by two columns at the -head of the bed (and by none at the foot). The bed-clothing is -pure white except for a coverlet of pale-blue silk. Across -the bed is laid a night-dress of finest muslin trimmed with -lace. Behind the bed stands a huge wardrobe containing linen, -bathing utensils, and toilet things. A small gilded table in -Roman style (with round top supported by a single column) is -placed near the bed; also a lamp-stand containing a Roman lamp -of gold. At the right is an ornamental chimney-piece. On the -mantel stands a vase with a white lily in it</i>.</p> - -<p><i>In the left arch of the doorway, a peacock is asleep on a -perch, with its back turned toward the audience</i>.</p> - -<p><i>In the right arch hangs a huge gilded cage with two white -doves at rest</i>.</p> - -<p><i>As the curtain rises, the three maids are seen in the doorways -of the three closets, each one half hidden by the door-post -against which she leans</i>. <span style="font-size: 0.8em;">SIGNE</span>, <i>the false maid, is in the -pewter-closet</i>, <span style="font-size: 0.8em;">ELSA</span> <i>in the clothes-closet, and</i> <span style="font-size: 0.8em;">ELSA</span> <i>in the -fruit-closet</i>.</p> - -<p><i>The</i> <span style="font-size: 0.8em;">DUKE</span> <i>enters from the rear. After him comes the</i> -<span style="font-size: 0.8em;">STEPMOTHER</span> <i>carrying in her hand a wire-lashed whip</i>.</p> - -<p><i>The stage is darkened when they enter</i>.</p></blockquote> - -<hr class="tb" /> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Swanwhite is not here?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. It seems so!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. So it seems, but—is it seemly? Maids!—Signe!—Signe, -Elsa, Tova!</p> - -<blockquote> - -<p><i>The maids enter, one after the other, and stand in front of -the</i> <span style="font-size: 0.8em;">STEPMOTHER</span>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Where is Lady Swanwhite?</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">SIGNE</span> <i>folds her arms across her breast and makes no reply</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. You do not know? What see you in my hand?—Answer, quick! -[<i>Pause</i>] Quick! Do you hear the whistling of the falcon? It has claws -of steel, as well as bill! What is it?</p> - -<p><span style="font-size: 0.8em;">SIGNE</span>. The wire-lashed whip!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. The wire-lashed whip, indeed! And now, where is Lady Swan -white?</p> - -<p><span style="font-size: 0.8em;">SIGNE</span>. How can I tell what I don't know?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. It is a failing to be ignorant, but carelessness is an -offence. Were you not placed as guardian of your young mistress?—Take -off your neckerchief!—Down on your knees!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">DUKE</span> <i>turns his back on her in disgust</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Hold out your neck! And I'll put such a necklace on it that -no youth will ever kiss it after this!—Hold out your neck!—Still more!</p> - -<p><span style="font-size: 0.8em;">SIGNE</span>. For Christ's sake, mercy!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. 'Tis mercy that you are alive!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>Pulls out his sword and tries the edge of it, first on one of -his finger-nails, and then on a hair out of his long beard</i>] Her head -should be cut off—put in a sack—hung on a tree——</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. So it should!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. We are agreed! How strange!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. It did not happen yesterday.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. And may not happen once again.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>To</i> Signe, <i>who, still on her knees, has been moving -farther away</i>] Stop! Whither? [<i>She raises the whip and strikes</i>; Signe -<i>turns aside so that the lash merely cuts the air</i>.]</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Comes forward from behind the bed and falls on her knees</i>] -Stepmother—here I am—the guilty one! She's not at fault.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Say "mother"! You must call me "mother"!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I cannot! One mother is as much as any human being ever had.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Your father's wife must be your mother.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. My father's second wife can only be my stepmother.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. You are a stiffnecked daughter, but my whip is pliant and -will make you pliant too.</p> - -<blockquote> - -<p>[<i>She raises the whip to strike</i> <span style="font-size: 0.8em;">SWANWHITE</span>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>Raising his sword</i>] Take heed of the head!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Whose head?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Your own!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>turns pale at first, and then angry; but she -controls herself and remains silent; long pause</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>Beaten for the moment, she changes her tone</i>] Then will -Your Grace inform your daughter what is now in store for her?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>Sheathing his sword</i>] Rise up, my darling child, and come into -my arms to calm yourself.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Throwing herself into the arms of the</i> <span style="font-size: 0.8em;">DUKE</span>] -Father!—You're like a royal oak-tree which my arms cannot encircle. -But beneath your leafage there is refuge from all threatening showers. -[<i>She hides her head beneath his immense beard, which reaches down to -his waist</i>] And like a bird, I will be swinging on your branches—lift -me up, so I can reach the top.</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">DUKE</span> <i>holds out his arm</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Climbs up on his arm and perches herself on his shoulder</i>] -Now lies the earth beneath me and the air above—now I can overlook the -rosery, the snowy beach, the deep-blue sea, and all the seven kingdoms -stretched beyond.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Then you can also see the youthful king to whom your troth is -promised——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. No—nor have I ever seen him. Is he handsome?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Dear heart, it will depend on your own eyes how he appears to you.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Rubbing her eyes</i>] My eyes?—They cannot see what is not -beautiful.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>Kissing her foot</i>] Poor little foot, that is so black! Poor -little blackamoorish foot!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>gives a sign to the maids, who resume their -previous positions in the closet doors; she herself steals -with panther-like movements out through the middle arch of the -doorway</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Leaps to the floor; the</i> <span style="font-size: 0.8em;">DUKE</span> <i>places her on the table and -sits down on a chair beside it</i>; <span style="font-size: 0.8em;">SWANWHITE</span> <i>looks meaningly after the</i> -<span style="font-size: 0.8em;">STEPMOTHER</span>] Was it the dawn? Or did the wind turn southerly? Or has the -Spring arrived?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>Puts his hand over her mouth</i>] You little chatter-box! You joy -of my old age—my evening star! Now open wide your rosy ear, and close -your little mouth's crimson shell. Give heed, obey, and all will then -be well with you.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Putting her fingers in her ears</i>] With my eyes I hear, and -with my ears I see—and now I cannot see at all, but only hear.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. My child, when still a cradled babe, your troth was plighted to -the youthful King of Rigalid. You have not seen him yet, such being -courtly usage. But the time to tie the sacred knot is drawing near. To -teach you the deportment of a queen and courtly manners, the king has -sent a prince with whom you are to study reading out of books, gaming -at chess, treading the dance, and playing on the harp.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. What is the prince's name?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. That, child, is something you must never ask of him or anybody -else. For it is prophesied that whosoever calls him by his name shall -have to love him.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Is he handsome?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. He is, because your eye sees beauty everywhere.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. But is he beautiful?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Indeed he is. And now be careful of your little heart, and don't -forget that in the cradle you were made a queen.—With this, dear -child, I leave you, for I have war to wage abroad.—Submit obediently -to your stepmother. She's hard, but once your father loved her—and -a sweet temper will find a way to hearts of stone. If, despite of -promises and oaths, her malice should exceed what is permissible, then -you may blow this horn [<i>he takes a horn of carved ivory from under -his cloak</i>], and help will come. But do not use it till you are in -danger—not until the danger is extreme.—Have you understood?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. How is it to be understood?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. This way: the prince is here, is in the court already. Is it your -wish to see the prince?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Is it my wish?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Or shall I first bid you farewell?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. The prince is here already?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Already here, and I—already there—far, far away where sleeps -the heron of forgetfulness, with head beneath his wing.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Leaping into the lap of the</i> <span style="font-size: 0.8em;">DUKE</span> <i>and burying her head in -his beard</i>] Mustn't speak like that! Baby is ashamed!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Baby should be spanked—who forgets her aged father for a little -prince. Fie on her!</p> - -<blockquote> - -<p><i>A trumpet is heard in the distance</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>Rises quickly, takes</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>in his arms</i>, <i>throws her up -into the air and catches her again</i>] Fly, little bird, fly high above -the dust, with lots of air beneath your wings!—And then, once more on -solid ground!—I am called by war and glory—you, by love and youth! -[<i>Girding on his sword</i>] And now hide your wonder-horn, that it may not -be seen by evil eyes.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Where shall I hide it? Where?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. The bed!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Hiding the horn in the bed-clothing</i>] There! Sleep well, -my little tooteroot! When it is time, I'll wake you up. And don't -forget your prayers!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. And child! Do not forget what I said last: your stepmother must -be obeyed.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. In all?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. In all.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. But not in what is contrary to cleanliness!—Two linen -shifts my mother let me have each sennight; this woman gives but one! -And mother gave me soap and water, which stepmother denies. Look at my -little footies!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Keep clean within, my daughter, and clean will be the outside. -You know that holy men, who, for the sake of penance, deny themselves -the purging waters, grow white as swans, while evil ones turn -raven-black.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Then I will be as white——!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Into my arms! And then, farewell!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Throwing herself into his arms</i>] Farewell, my great and -valiant hero, my glorious father! May fortune follow you, and make you -rich in years and friends and victories!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Amen—and let your gentle prayers be my protection!</p> - -<blockquote> - -<p>[<i>He closes the visor of his golden helmet</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Jumps up and plants a kiss on the visor</i>] The golden gates -are shut, but through the bars I still can see your kindly, watchful -eyes. [<i>Knocking at the visor</i>] Let up, let up, for little Red -Riding-hood. No one at home? "Well-away," said the wolf that lay in the -bed!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>Putting her down on the floor</i>] Sweet flower of mine, grow fair -and fragrant! If I return—well—I return! If not, then from the starry -arch above my eye shall follow you, and never to my sight will you be -lost, for there above all-seeing we become, even as the all-creating -Lord himself.</p> - -<blockquote> - -<p><i>Goes out firmly, with a gesture that bids her not to follow.</i> -<span style="font-size: 0.8em;">SWANWHITE</span> <i>falls on her knees in prayer for the</i> <span style="font-size: 0.8em;">DUKE</span>; <i>all the -rose-trees sway before a wind that passes with the sound of a -sigh; the peacock shakes its wings and tail</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Rises, goes to the peacock and begins to stroke its back -and tail</i>] Pavo, dear Pavo, what do you see and what do you hear? Is -any one coming? Who is it? A little prince? Is he pretty and nice? -You, with your many blue eyes, should be able to tell. [<i>She lifts up -one of the bird's tail feathers and gazes intently at its "eye"</i>.] Are -you to keep your eyes on us, you nasty Argus? Are you to see that the -little hearts of two young people don't beat too loudly?—You stupid -thing—all I have to do is to close the curtain! [<i>She closes the -curtain, which hides the bird, but not the landscape outside; then she -goes to the doves</i>] My white doves—oh, so white, white, white—now -you'll see what is whitest of all—Be silent, wind, and roses, and -doves—my prince is coming!</p> - -<p><i>She looks out for a moment; then she withdraws to the pewter-closet, -leaving the door slightly ajar so that through the opening she can -watch the</i> <span style="font-size: 0.8em;">PRINCE</span>; <i>there she remains standing, visible to the -spectators but not to the</i> <span style="font-size: 0.8em;">PRINCE</span>.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Enters through the middle arch of the doorway. He wears -armour of steel; what shows of his clothing is black. Having carefully -observed everything in the room, he sits down at the table, takes off -his helmet and begins to study it. His back is turned toward the -door behind which</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>is hiding</i>] If anybody be here, let him -answer! [<i>Silence</i>] There is somebody here, for I can feel the warmth -of a young body come billowing toward me like a southern wind. I can -hear a breath—it carries the fragrance of roses—and, gentle though -it be, it makes the plume on my helmet move. [<i>He puts the helmet to -his ear</i>] 'Tis murmuring as if it were a huge shell. It's the thoughts -within my own head that are crowding each other like a swarm of bees in -a hive. "Zum, zum," say the thoughts—just like bees that are buzzing -around their queen—the little queen of my thoughts and of my dreams! -[<i>He places the helmet on the table and gazes at it</i>] Dark and arched -as the sky at night, but starless, for the black plume is spreading -darkness everywhere since my mother's death—[<i>He turns the helmet -around and gazes at it again</i>] But there, in the midst of the darkness, -deep down—there, on the other side, I see a rift of light!—Has the -sky been split open?—And there, in the rift, I see—not a star, for it -would look like a diamond—but a blue sapphire, queen of the precious -stones—blue as the sky of summer—set in a cloud white as milk and -curved as the dove's egg. What is it? My ring? And now another feathery -cloud, black as velvet, passes by—and the sapphire is smiling—as -if sapphires could smile! And there, the lightning flashed, but -blue—heat-lightning mild, that brings no thunder!—What are you? Who? -And where? [<i>He looks at the back of the helmet</i>] Not here! Not there! -And nowhere else! [<i>He puts his face close to the helmet</i>] As I come -nearer, you withdraw.</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span> <i>steals forward on tiptoe</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. And now there are two—two eyes—two little human eyes—I kiss -you! [<i>He kisses the helmet</i>.</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span> <i>goes up to the table and seats herself slowly -opposite the</i> <span style="font-size: 0.8em;">PRINCE</span>.</p> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>rises, bows, with his hand to his heart, and -gazes steadily at</i> <span style="font-size: 0.8em;">SWANWHITE</span>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Are you the little prince?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. The faithful servant of the king, and yours!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. What message does the young king send his bride?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. This is his word to Lady Swanwhite—whom lovingly he -greets—that by the thought of coming happiness the long torment of -waiting will be shortened.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Who has been looking at the</i> <span style="font-size: 0.8em;">PRINCE</span> <i>as if to study him</i>] -Why not be seated, Prince?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. If seated when you sit, then I should have to kneel when you -stand up.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Speak to me of the king! How does he look?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. How does he look? [<i>Putting one of his hands up to his eyes</i>] I -can no longer see him—how strange!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. What is his name?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. He's gone—invisible——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. And is he tall?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Fixing his glance on</i> <span style="font-size: 0.8em;">SWANWHITE</span>] Wait!—I see him -now!—Taller than you!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. And beautiful?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Not in comparison with you!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Speak of the king, and not of me!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I do speak of the king!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Is his complexion light or dark?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. If he were dark, on seeing you he would turn light at once.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. There's more of flattery than wit in that! His eyes are blue?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Glancing at his helmet</i>] I think I have to look?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Holding out her hand between them</i>] Oh, you—you!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You with <i>t h</i> makes youth!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Are you to teach me how to spell?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. The young king is tall and blond and blue-eyed, with broad -shoulders and hair like a new-grown forest——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Why do you carry a black plume?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. His lips are red as the ripe currant, his cheeks are white, and -the lion's cub needn't be ashamed of his teeth.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Why is your hair wet?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. His mind knows no fear, and no evil deed ever made his heart -quake with remorse.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Why is your hand trembling?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. We were to speak of the young king and not of me!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. So, you, you are to teach me?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. It is my task to teach you how to love the young king whose -throne you are to share.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. How did you cross the sea?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. In my bark and with my sail.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. And the wind so high?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Without wind there is no sailing.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Little boy—how wise you are!—Will you play with me?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What I must do, I will.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. And now I'll show you what I have in my chest. [<i>She goes to -the chest and kneels down beside it; then she takes out several dolls, -a rattle, and a hobby-horse</i>] Here's the doll. It's my child—the child -of sorrow that can never keep its face clean. In my own arms I have -carried her to the lavendrey, and there I have washed her with white -sand—but it only made her worse. I have spanked her—but nothing -helped. Now I have figured out what's worst of all!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. And what is that?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>After a glance around the room</i>] I'll give her a -stepmother!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. But how's that to be? She should have a mother first.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I am her mother. And if I marry twice, I shall become a -stepmother.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Oh, how you talk! That's not the way!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. And you shall be her stepfather.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Oh, no!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. You must be very kind to her, although she cannot wash her -face.—Here, take her—let me see if you have learned to carry children -right.</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>receives the doll unwillingly</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. You haven't learned yet, but you will! Now take the rattle, -too, and play with her.</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>receives the rattle</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. That's something you don't understand, I see. [<i>She takes -the doll and the rattle away from him and throws them back into the -chest; then she takes out the hobby-horse</i>] Here is my steed.—It has -saddle of gold and shoes of silver.—It can run forty miles in an -hour, and on its back I have travelled through Sounding Forest, across -Big Heath and King's Bridge, along High Road and Fearful Alley, all the -way to the Lake of Tears. And there it dropped a golden shoe that fell -into the lake, and then came a fish, and after came a fisherman, and so -I got the golden shoe back. That's all there was to that! [<i>She throws -the hobby-horse into the chest; instead she takes out a chess-board -with red and white squares, and chess-men made of silver and gold</i>] -If you will play with me, come here and sit upon the lion skin. [<i>She -seats herself on the skin and begins to put up the pieces</i>] Sit down, -won't you—the maids can't see us here!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>sits down on the skin, looking very embarrassed</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. It's like sitting in the grass—not the green grass of the -meadow, but the desert grass which has been burned by the sun.—Now you -must say something about me! Do you like me a little?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Are we to play?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. To play? What care I for that?—Oh—you were to teach me -something!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Poor me, what can I do but saddle a horse and carry arms—with -which you are but poorly served.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. You are so sad!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. My mother died quite recently.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Poor little prince!—My mother, too, has gone to God in -heaven, and she's an angel now. Sometimes in the nights I see her—do -you also see yours?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. No-o.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. And have you got a stepmother?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Not yet. So little time has passed since she was laid to rest.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Don't be so sad! There's nothing but will wear away in time, -you see. Now I'll give you a flag to gladden you again—Oh, no, that's -right—this one I sewed for the young king. But now I'll sew another -one for you!—This is the king's, with seven flaming fires—you shall -have one with seven red roses on it—but first of all you have to -hold this skein of yarn for me. [<i>She takes from the chest a skein of -rose-coloured yarn and hands it to the</i> <span style="font-size: 0.8em;">PRINCE</span>] One, two, three, and -now you'll see!—Your hands are trembling—that won't do!—Perhaps you -want a hair of mine among the yarn?—Pull one yourself!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Oh, no, I couldn't——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I'll do it, then, myself. [<i>She pulls a hair from her head -and winds it into the ball of yarn</i>] What is your name?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You shouldn't ask.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Why not?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. The duke has told you—hasn't he?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. No, he hasn't! What could happen if you told your name? -Might something dreadful happen?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. The duke has told you, I am sure.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I never heard of such a thing before—of one who couldn't -tell his name!</p> - -<blockquote> - -<p><i>The curtain behind which the peacock is hidden moves; a faint -sound as of castanets is heard</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What was that?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. That's Pavo—do you think he knows what we are saying?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. It's hard to tell.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Well, what's your name?</p> - -<blockquote> - -<p><i>Again the peacock makes the same kind of sound with his bill</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I am afraid—don't ask again!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. He snaps his bill, that's all—Keep your hands still!—Did -you ever hear the tale of the little princess that mustn't mention the -name of the prince, lest something happen? And do you know——?</p> - -<blockquote> - -<p><i>The curtain hiding the peacock is pulled aside, and the bird -is seen spreading out his tail so that it looks as if all the -"eyes" were staring at</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>and the</i> <span style="font-size: 0.8em;">PRINCE</span>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Who pulled away the curtain? Who made the bird behold us with -its hundred eyes?—You mustn't ask again!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Perhaps I mustn't—Down, Pavo—there!</p> - -<blockquote> - -<p><i>The curtain resumes its previous position</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Is this place haunted?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. You mean that things will happen—just like that? Oh, well, -so much is happening here—but I have grown accustomed to it. And then, -besides—they call my stepmother a witch—There, now, I have pricked my -finger!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What did you prick it with?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. There was a splinter in the yarn. The sheep have been locked -up all winter—and then such things will happen. Please see if you can -get it out.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. We must sit at the table then, so I can see.</p> - -<blockquote> - -<p>[<i>They rise and take seats at the table</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Holding out one of her little fingers</i>] Can you see -anything?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What do I see? Your hand is red within, and through it all the -world and life itself appear in rosy colouring——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Now pull the splinter out—ooh, it hurts!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. But I shall have to hurt you, too—and ask your pardon in -advance!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Oh, help me, please!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Squeezing her little finger and pulling out the splinter with -his nails</i>] There is the cruel little thing that dared to do you harm.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Now you must suck the blood to keep the wound from festering.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Sucking the blood from her finger</i>] I've drunk your -blood—and so I am your foster-brother now.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. My foster-brother—so you were at once—or how do you think -I could have talked to you as I have done?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. If you have talked to me like that, how did I talk to you?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Just think, he didn't notice it!—And now I have got a -brother of my own, and that is you!—My little brother—take my hand!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Taking her hand</i>] My little sister! [<i>Feels her pulse beating -under his thumb</i>] What have you there, that's ticking—one, and two, -and three, and four——? <i>Continues to count silently after having -looked at his watch</i>.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Yes, tell me what it is that ticks—so steady, steady, -steady? It cannot be my heart, for that is here, beneath my breast—Put -your hand here, and you can feel it too. [<i>The doves begin to stir and -coo</i>] What is it, little white ones?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. And sixty! Now I know what makes that ticking—it is the time! -Your little finger is the second-hand that's ticking sixty times for -every minute that goes by. And don't you think there is a heart within -the watch?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Handling the watch</i>] We cannot reach the inside of the -watch—no more than of the heart—Just feel my heart!</p> - -<p><span style="font-size: 0.8em;">SIGNE</span>. [<i>Enters from the pewter-closet carrying a whip, which she puts -down on the table</i>] Her Grace commands that the children be seated at -opposite sides of the table.</p> - -<blockquote> -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>sits down at the opposite end of the table. He and</i> -<span style="font-size: 0.8em;">SWANWHITE</span> <i>look at each other in silence for a while</i>.</p> -</blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Now we are far apart, and yet a little nearer than before.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. It's when we part that we come nearest to each other.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. And you know that?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I have just learned it!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Now my instruction has begun.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You're teaching me!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Pointing to a dish of fruit</i>] Would you like some fruit?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. No, eating is so ugly.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Yes, so it is.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Three maids are standing there—one in the pewter-closet, one -among the clothes, and one among the fruits. Why are they standing -there?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. To watch us two—lest we do anything that is forbidden.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. May we not go into the rosery?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. The morning is the only time when I can go into the rosery, -for there the bloodhounds of my stepmother are kept. They never let me -reach the shore—and so I get no chance to bathe.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Have you then never seen the shore? And never heard the ocean -wash the sand along the beach?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. No—never! Here I can only hear the roaring waves in time of -storm.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Then you have never heard the murmur made by winds that sweep -across the waters?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. It cannot reach me here.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Pushing his helmet across the table to</i> <span style="font-size: 0.8em;">SWANWHITE</span>] Put it to -your ear and listen.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>With the helmet at her ear</i>] What is that I hear?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. The song of waves, the whispering winds</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. No, I hear human voices—hush! My stepmother is -speaking—speaking to the steward—and mentioning my name—and that of -the young king, too! She's speaking evil words. She's swearing that I -never shall be queen—and vowing that—you—shall take that daughter -of her own—that loathsome Lena——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Indeed!—And you can hear it in the helmet?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I can.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I didn't know of that. But my godmother gave me the helmet as a -christening present.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Give me a feather, will you?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. It is a pleasure—great as life itself.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. But you must cut it so that it will write.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You know a thing or two!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. My father taught me——</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>pulls a black feather out of the plume on his -helmet; then he takes a silver-handled knife from his belt and -cuts the quill</i>.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span> <i>takes out an ink-well and parchment from a drawer in -the table</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Who is Lady Lena?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. You mean, what kind of person? You want her, do you?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Some evil things are brewing in this house——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Fear not! My father has bestowed a gift on me that will -bring help in hours of need.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What is it called?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. It is the horn Stand-By.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Where is it hid?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Read in my eye. I dare not let the maids discover it.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Gazing at her eyes</i>] I see!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Pushing pen, ink and parchment across the table to the</i> -<span style="font-size: 0.8em;">PRINCE</span>] Write it.</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>writes</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Yes, that's the place. [<i>She writes again.</i></p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What do you write?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Names—all pretty names that may be worn by princes!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Except my own!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Yours, too!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Leave that alone!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Here I have written twenty names—all that I know—and -so your name must be there, too. [<i>Pushing the parchment across the -table</i>] Read!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>reads</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Oh, I have read it in your eye!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Don't utter it! I beg you in the name of God the merciful, -don't utter it!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I read it in his eye!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. But do not utter it, I beg of you!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. And if I do? What then?—Can Lena tell, you think? Your -bride! Your love!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Oh, hush, hush, hush!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Jumps up and begins to dance</i>] I know his name—the -prettiest name in all the land!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>runs up to her, catches hold of her and covers -her mouth with his hand</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I'll bite your hand; I'll suck your blood; and so I'll be -your sister twice—do you know what that can mean?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I'll have two sisters then.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Throwing back her head</i>] O-ho! O-ho! Behold, the -ceiling has a hole, and I can see the sky—a tiny piece of sky, a -window-pane—and there's a face behind it. Is it an angel's?—See—but -see, I tell you!—It's your face!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. The angels are not boys, but girls.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. But it is you.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Looking up</i>] 'Tis a mirror.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Woe to us then! It is the witching mirror of my stepmother, -and she has seen it all.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. And in the mirror I can see the fireplace—there's a pumpkin -hanging in it!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Takes from the fireplace a mottled, strangely shaped -pumpkin</i>] What can it be? It has the look of an ear. The witch has -heard us, too!—Alas, alas! [<i>She throws the pumpkin into the fireplace -and runs across the floor toward the bed; suddenly she stops on one -foot, holding up the other</i>]</p> - -<p>Oh, she has strewn the floor with needles——</p> - -<blockquote> - -<p>[<i>She sits down and begins to rub her foot</i>.</p></blockquote> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>kneels in front of</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>in order to help -her</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. No, you mustn't touch my foot—you mustn't!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Dear heart, you must take off your stocking if I am to help.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Sobbing</i>] You mustn't—mustn't see my foot!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. But why? Why shouldn't I?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I cannot tell; I cannot tell. Go—go away from me! To-morrow -I shall tell you, but I can't to-day.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. But then your little foot will suffer—let me pull the needle -out!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Go, go, go!—No, no, you mustn't try!—Oh, had my mother -lived, a thing like this could not have happened!—Mother, mother, -mother!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I cannot understand—are you afraid of me——?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Don't ask me, please—just leave me—oh!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What have I done?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Don't leave me, please—I didn't mean to hurt you—but I -cannot tell—If I could only reach the shore—the white sand of the -beach——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What then?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I cannot tell! I cannot tell!</p> - -<blockquote> - -<p>[<i>She hides her face in her hands. Once more the peacock makes -a rattling sound with his bill; the doves begin to stir; the -three maids enter, one after the other; a gust of wind is -heard, and the tops of the rose-trees outside swing back and -forth; the golden clouds that have been hanging over the sea -disappear, and the blue sea itself turns dark</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Does Heaven itself intend to judge us?—Is ill-luck in the -house?—Oh, that my sorrow had the power to raise my mother from her -grave!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>.Putting his hand on his sword</i>] My life for yours!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. No, don't—she puts the very swords to sleep!—Oh, that my -sorrow could bring back my mother! [<i>The swallows chirp in their nest</i>] -What was that?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Catching sight of the nest</i>] A swallow's nest! I didn't -notice it before.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Nor I! How did it get there? When?—But all the same it -augurs good—And yet the cold sweat of fear is on my brow—and I -choke—Look, how the rose itself is withering because that evil woman -comes this way—for it is she who comes——</p> - -<blockquote> - -<p><i>The rose on the table is closing its blossom and drooping its -leaves</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. But whence came the swallows?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. They were not sent by her, I'm sure, for they are kindly -birds—Now she is here!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>Enters from the rear with the walk of a panther; the rose -on the table is completely withered</i>] Signe—take the horn out of the -bed!</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">SIGNE</span> <i>goes up to the bed and takes the horn</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Where are you going, Prince?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. The day is almost done, Your Grace; the sun is setting, and my -bark is longing to get home.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. The day is too far gone—the gates are shut, the dogs let -loose—You know my dogs?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Indeed! You know my sword?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. What is the matter with your sword?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. It bleeds at times.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Well, well! But not with women's blood, I trust?—But -listen, Prince: how would like to sleep in our Blue Room?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. By God, it is my will to sleep at home, in my own bed——</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Is that the will of anybody else?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Of many more.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. How many?—More than these!—One, two, three——</p> - -<blockquote> - -<p><i>As she counts, the members of the household begin to pass by -in single file across the balcony; all of them look serious; -some are armed; no one turns his head to look into the room; -among those that pass are the</i> <span style="font-size: 0.8em;">BUTLER</span>, <i>the</i> <span style="font-size: 0.8em;">STEWARD</span>, <i>the</i> -<span style="font-size: 0.8em;">KITCHENER</span>, <i>the</i> <span style="font-size: 0.8em;">GAOLER</span>, <i>the</i> <span style="font-size: 0.8em;">CONSTABLE</span>, <i>the</i> <span style="font-size: 0.8em;">EQUERRY</span>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I'll sleep in your Blue Room.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. That's what I thought.—So you will bid ten thousand -good-nights unto your love—and so will Swanwhite, too, I think!</p> - -<blockquote> - -<p><i>A swan comes flying by above the rosery; from the ceiling a -poppy flower drops down on the</i> <span style="font-size: 0.8em;">STEPMOTHER</span>, <i>who falls asleep -at once, as do the maids</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Going up to the</i> <span style="font-size: 0.8em;">PRINCE</span>] Good-night, my Prince!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Takes her hand and says in a low voice</i>] Good-night!—Oh, -that it's granted me to sleep beneath one roof with you, my -Princess—your dreams by mine shall be enfolded—and then to-morrow we -shall wake for other games and other——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>In the same tone</i>] You are my all on earth, you are -my parent now—since she has robbed me of my puissant father's -help.—Look, how she sleeps!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You saw the swan?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. No, but I heard—it was my mother.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Come, fly with me!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. No, that we mustn't!—Patience! We'll meet in our -dreams!—But this will not be possible unless—you love me more than -anybody else on earth! Oh, love me—you, you, you!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. My king, my loyalty——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Your queen, your heart—or what am I?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I am a knight!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. But I am not. And therefore—therefore do I take you—my -Prince——</p> - -<blockquote> - -<p><i>She puts her hands up to her mouth with a gesture as if she -were throwing a whispered name to him</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Oh, woe! What have you done?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I gave myself to you through your own name—and with me, -carried on <i>your</i> wings, yourself came back to you! Oh—— [<i>Again she -whispers the name</i>.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>With a movement of his hand as if he were catching the name -in the air</i>] Was that a rose you threw me?</p> - -<blockquote> - -<p>[<i>He throws a kiss to her</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. A violet you gave me—that was you—your soul! And now I -drink you in—you're in my bosom, in my heart—you're mine!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. And you are mine! Who is the rightful owner, then?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Both!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Both! You and I!—My rose!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. My violet!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. My rose!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. My violet!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I <i>love</i> you!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. <i>You</i> love <i>me</i>!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You <i>love</i> me!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. <i>I</i> love <i>you</i>!</p> - -<blockquote> - -<p><i>The stage grows light again. The rose on the table recovers -and opens. The faces of the</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>and the three maids -are lighted up and appear beautiful, kind, and happy. The</i> -<span style="font-size: 0.8em;">STEPMOTHER</span> <i>lifts up her drowsy head and, while her eyes remain -closed, she seems to be watching the joy of the two young -people with a sunny smile</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Look, look! The cruel one is smiling as at some memory from -childhood days. See how Signe the False seems faith and hope embodied, -how the ugly Tova has grown beautiful, the little Elsa tall.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Our love has done it.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. So that is love? Blessed be it by the Lord! The Lord -Omnipotent who made the world!</p> - -<blockquote> - -<p>[<i>She falls on her knees, weeping</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You weep?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Because I am so full of joy.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Come to my arms and you will smile.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. There I should die, I think.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Well, smile and die!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Rising</i>] So be it then!</p> - -<blockquote> - -<p>[<i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>takes her in his arms.</i></p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>Wakes up; on seeing the</i> <span style="font-size: 0.8em;">PRINCE</span> <i>and</i> <span style="font-size: 0.8em;">SWANWHITE</span> -<i>together, she strikes the table with the whip</i>] I must have -slept!—Oho! So we have got that far!—The Blue Room did I say?—I -meant the Blue Tower!—There the prince is to sleep with the Duke of -Exeter's daughter!—Maids!</p> - -<blockquote> - -<p><i>The maids wake up</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Show the prince the shortest way to the Blue Tower. And -should he nevertheless lose his way, you may summon the Castellan and -the Gaoler, the Equerry and the Constable.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. No need of that! Wherever leads my course—through fire or -water, up above the clouds or down in the solid earth—there shall I -meet my Swanwhite, for she is with me where I go. So now I go to meet -her—in the tower! Can you beat that for witchcraft, witch?—Too hard, -I think, for one who knows not love!</p> - -<blockquote> - -<p>[<i>He goes out followed by the maids</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>To</i> <span style="font-size: 0.8em;">SWANWHITE</span>] Not many words are needed—tell your -wishes—but be brief!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. My foremost, highest wish is for some water with which to -lave my feet.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Cold or warm?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Warm—if I may.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. What more?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. A comb to ravel out my hair.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Silver or gold?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Are you—are you kind?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Silver or gold?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Wood or horn will do me well enough.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. What more?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. A shift that's clean.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Linen or silk?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Just linen.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Good! So I have heard your wishes. Now listen to mine! I -wish that you may have no water, be it warm or cold! I wish that you -may have no comb, of any kind, not even of wood or horn—much less of -gold or silver. That's how kind I am! I wish that you may wear no linen -—but get you at once into the closet there to cover up your body with -that dingy sark of homespun! Such is my word!—And if you try to leave -these rooms—which you had better not, as there are traps and snares -around—then you are doomed—or with my whip I'll mark your pretty -face so that no prince or king will ever look at you again!—Then get -yourself to bed!</p> - -<blockquote> - -<p><i>She strikes the table with her whip again, rises and goes out -through the middle arch of the doorway; the gates, which have -gilded bars, squeak and rattle as she closes and locks them</i>.</p></blockquote> - -<p style="text-align: center;"><i>Curtain</i>.</p> - -<hr class="tb" /> - -<blockquote> - -<p><i>The same scene as before, but the golden gates at the rear are -shut. The peacock and the doves are sleeping. The golden clouds -in the sky are as dull in colour as the sea itself and the land -that appears in the far distance</i>.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span> <i>is lying on the bed; she has on a garment of black -homespun</i>.</p> - -<p><i>The doors to the three closets are open. In each doorway -stands one of the maids, her eyes closed and in one of her -hands a small lighted lamp of Roman pattern</i>.</p> - -<p><i>A swan is seen flying above the rosery, and trumpet-calls are -heard, like those made by flocks of migrating wild swans</i>.</p> - -<p><i>The</i> <span style="font-size: 0.8em;">MOTHER OF SWANWHITE</span>, <i>all in white, appears outside the -gates. Over one arm she carries the plumage of a swan and on -the other one a small harp of gold. She hangs the plumage on -one of the gates, which opens of its own accord and then closes -in the same way behind her</i>.</p> - -<p><i>She enters the room and places the harp on the table. Then she -looks around and becomes aware of</i> <span style="font-size: 0.8em;">SWANWHITE</span>. <i>At once the harp -begins to play. The lamps carried by the maids go out one by -one, beginning with that farthest away. Then the three doors -close one by one, beginning with the innermost</i>.</p> - -<p><i>The golden clouds resume their former radiance</i>.</p> - -<p><i>The</i> <span style="font-size: 0.8em;">MOTHER</span> <i>lights one of the lamps on the stand and goes up -to the bed, beside which she kneels</i>.</p> - -<p><i>The harp continues to play during the ensuing episode</i>.</p> - -<p><i>The</i> <span style="font-size: 0.8em;">MOTHER</span> <i>rises, takes</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>in her arms, and places -her, still sleeping, in a huge arm-chair. Then she kneels down -and pulls off</i> <span style="font-size: 0.8em;">SWANWHITE'S</span> <i>stockings. Having thrown these -under the bed, she bends over her daughter's feet as if to -moisten them with her tears. After a while she wipes them with -a white linen cloth and covers them with kisses. Finally she -puts a sandal on each foot which then appears shining white</i>.</p> - -<p><i>Then the</i> <span style="font-size: 0.8em;">MOTHER</span> <i>rises to her feet again, takes out a comb of -gold, and begins to comb</i> <span style="font-size: 0.8em;">SWANWHITE'S</span> <i>hair. This finished, she -carries</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>back to the bed. Beside her she places a -garment of white linen which she takes out of a bag</i>.</p> - -<p><i>Having kissed</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>on the forehead, she prepares to -leave. At that moment a white swan is seen to pass by outside, -and one hears a trumpet-call like the one heard before. Shortly -afterward the</i> <span style="font-size: 0.8em;">MOTHER OF THE PRINCE</span>, <i>also in white, enters -through the gate, having first hung her swan plumage on it</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE'S MOTHER</span>. Well met, my sister! How long before the cock will -crow?</p> - -<p><span style="font-size: 0.8em;">PRINCE'S MOTHER</span>. Not very long. The dew is rising from the roses, the -corn-crake's call is heard among the grass, the morning breeze is -coming from the sea.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE'S MOTHER</span>. Let us make haste with what we have on hand, my -sister.</p> - -<p><span style="font-size: 0.8em;">PRINCE'S MOTHER</span>. You called me so that we might talk of our children.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE'S MOTHER</span>. Once I was walking in a green field in the land -that knows no sorrow. There I met you, whom I had always known, yet -had not seen before. You were lamenting your poor boy's fate, left to -himself here in the vale of sorrow. You opened up your heart to me, and -my own thoughts, that dwell unwillingly below, were sent in search of -my deserted daughter—destined to marry the young king, who is a cruel -man, and evil.</p> - -<p><span style="font-size: 0.8em;">PRINCE'S MOTHER</span>. Then I spoke, while you listened: "May worth belong to -worth; may love, the powerful, prevail; and let us join these lonely -hearts, in order that they may console each other!"</p> - -<p><span style="font-size: 0.8em;">SWANWHITE'S MOTHER</span>. Since then heart has kissed heart and soul enfolded -soul. May sorrow turn to joy, and may their youthful happiness bring -cheer to all the earth!</p> - -<p><span style="font-size: 0.8em;">PRINCE'S MOTHER</span>. If it be granted by the powers on high!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE'S MOTHER</span>. That must be tested by the fire of suffering.</p> - -<p><span style="font-size: 0.8em;">PRINCE'S MOTHER</span>. [<i>Taking in her hand the helmet left behind by the</i> -<span style="font-size: 0.8em;">PRINCE</span>] May sorrow turn to joy—this very day, when he has mourned his -mother one whole year!</p> - -<blockquote> - -<p><i>She exchanges the black feathers on the helmet for white and -red ones</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE'S MOTHER</span>. Your hand, my sister—let the test begin!</p> - -<p><span style="font-size: 0.8em;">PRINCE'S MOTHER</span>. Here is my hand, and with it goes my son's! Now we -have pledged them——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE'S MOTHER</span>. In decency and honour!</p> - -<p><span style="font-size: 0.8em;">PRINCE'S MOTHER</span>. I go to open up the tower. And let the young ones fold -each other heart to heart.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE'S MOTHER</span>. In decency and honour!</p> - -<p><span style="font-size: 0.8em;">PRINCE'S MOTHER</span>. And we shall meet again in those green fields where -sorrow is not known.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE'S MOTHER</span>. [<i>Pointing to</i> <span style="font-size: 0.8em;">SWANWHITE</span>] Listen! She dreams -of him!—Oh foolish, cruel woman who thinks that lovers can be -parted!—Now they are walking hand in hand within the land of dreams, -'neath whispering firs and singing lindens—They sport and laugh——</p> - -<p><span style="font-size: 0.8em;">PRINCE'S MOTHER</span>. Hush! Day is dawning—I can hear the robins calling, -and see the stars withdrawing from the sky—Farewell, my sister!</p> - -<blockquote> - -<p>[<i>She goes out, taking her swan plumage with her.</i></p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE'S MOTHER</span>. Farewell!</p> - -<blockquote> - -<p><i>She passes her hand over</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>as if blessing her, then -she takes her plumage and leaves, closing the gate after her</i>.</p> - -<p><i>The clock on the table strikes three. The harp is silent for -a moment; then it begins to play a new melody of even greater -sweetness than before</i>. <span style="font-size: 0.8em;">SWANWHITE</span> <i>wakes up and looks around; -listens to the harp; gets up from the bed; draws her hands -through her hair; looks with pleasure at her own little feet, -now spotlessly clean, and notices finally the while linen -garment on the bed. She sits down at the table in the place she -occupied during the evening. She acts as if she were looking at -somebody sitting opposite her at the table, where the</i> <span style="font-size: 0.8em;">PRINCE</span> -<i>was seated the night before. She looks straight into his eyes, -smiles a smile of recognition, and holds out one of her hands. -Her lips move at times as if she were speaking, and then again -she seems to be listening to an answer</i>.</p> - -<p><i>She points meaningly to the white and red feathers on the -helmet, and leans forward as if whispering. Then she puts her -head back and breathes deeply as if to fill her nostrils with -some fragrance. Having caught something in the air with one -of her hands, she kisses the hand and then pretends to throw -something back across the table. She picks up the quill and -caresses it as if it were a bird; then she writes and pushes -the parchment across the table. Her glances seem to follow -"his" pen while the reply is being written, and at last she -takes back the parchment, reads it, and hides it in her bosom</i>.</p> - -<p><i>She strokes her black dress as if commenting on the sad change -in her appearance. Whereupon she smiles at an inaudible answer, -and finally bursts into hearty laughter</i>.</p> - -<p><i>By gestures she indicates that her hair has been combed. Then -she rises, goes a little distance away from the table, and -turns around with a bashful expression to hold out one of her -feet. In that attitude she stays for a moment while waiting for -an answer. On hearing it she becomes embarrassed and hides her -foot quickly under her dress</i>.</p> - -<p><i>She goes to the chest and takes out the chess-board and the -chess-men, which she places on the lions skin with a gesture of -invitation. Then she lies down beside the board, arranges the -men, and begins to play with an invisible partner</i>.</p> - -<p><i>The harp is silent for a moment before it starts a new melody</i>.</p> - -<p><i>The game of chess ends and</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>seems to be talking -with her invisible partner. Suddenly she moves away as if -he were coming too close to her. With a deprecating gesture -she leaps lightly to her feet. Then she gazes long and -reproachfully at him. At last she snatches up the white garment -and hides herself behind the bed</i>.</p> - -<p><i>At that moment the</i> <span style="font-size: 0.8em;">PRINCE</span> <i>appears outside the gates, which -he vainly tries to open. Then he raises his eyes toward the sky -with an expression of sorrow and despair</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Coming forward</i>] Who comes with the morning wind?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Your heart's beloved, your prince, your all!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Whence do you come, my heart's beloved?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. From dreamland; from the rosy hills that hide the dawn; from -whispering firs and singing lindens.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. What did you do in dreamland, beyond the hills of dawn, my -heart's beloved?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I sported and laughed; I wrote her name; I sat upon the lion's -skin and played at chess.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. You sported and you played—with whom?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. With Swanwhite.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. It is he!—Be welcome to my castle, my table, and my arms!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Who opens up the golden gates?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Give me your hand!—It is as chilly as your heart is warm.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. My body has been sleeping in the tower, while my soul was -wandering in dreamland—In the tower it was cold and dark.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. In my bosom will I warm your hand—I'll warm it by my -glances, by my kisses!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Oh, let the brightness of your eyes be shed upon my darkness!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Are you in darkness?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Within the tower there was no light of sun or moon.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Rise up, O sun! Blow, southern wind! And let thy bosom -gently heave, O sea!—Ye golden gates, do you believe that you can part -two hearts, two hands, two lips—that can by nothing be divided?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Indeed, by nothing!</p> - -<blockquote> - -<p><i>Two solid doors glide together in front of the gates so that</i> -<span style="font-size: 0.8em;">SWANWHITE</span> <i>and the</i> <span style="font-size: 0.8em;">PRINCE</span> <i>can no longer see each other</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Alas! What was the word we spoke, who heard it, and who -punished us?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I am not parted from you, my beloved, for still the sound of my -voice can reach you. It goes through copper, steel, and stone to touch -your ear in sweet caress. When in my thoughts you're in my arms. I -kiss you in my dreams. For on this earth there is not anything that can -part us. Swanwhite. Not anything!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I see you, though my eyes cannot behold you. I taste you, too, -because with roses you are filling up my mouth——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. But in my arms I want you!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I am there.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. No! Against my heart I want to feel the beat of yours—Upon -your arm I want to sleep—Oh, let us, let us, dearest God—oh, let us -have each other!</p> - -<blockquote> - -<p><i>The swallows chirp. A small white feather falls to the -ground</i>. <span style="font-size: 0.8em;">SWANWHITE</span> <i>picks it up and discovers it to be a key. -With this she opens gates and doors. The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>comes in</i>. -<span style="font-size: 0.8em;">SWANWHITE</span> <i>leaps into his arms. He kisses her on the mouth</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. You do not kiss me!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Yes, I do!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I do not feel your kisses!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Then you love me not!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Hold me fast!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. So fast that life may part!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Oh, no, I breathe!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Give me your soul!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Here!—Give me yours!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. It's here!—So I have yours, and you have mine!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I want mine back!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Mine, too, I want!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Then you must seek it!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Lost, both of us! For I am you, and you are me!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. We two are one!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. God, who is good, has heard your prayer! We have each other!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. We have each other, yet I have you not. I cannot feel the -pressure of your hand, your lip's caress—I cannot see your eyes, nor -hear your voice—You are not here!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Yes, I am here!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Yes, here below. But up above, in dreamland, I would meet -you.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Then let us fly upon the wings of sleep——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Close to your heart!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. In my embrace!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Within your arms!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. This is the promised bliss!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Eternal bliss, that has no flaw and knows no end!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. No one can part us.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. No one!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Are you my bride?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. My bridegroom, you?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. In dreamland—but not here!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Where are we?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Here below!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Here, where the sky is clouded, where the ocean roars, and -where each night the earth sheds tears upon the grass while waiting for -the dawn; where flies are killed by swallows, doves by hawks; where -leaves must fall and turn to dust; where eyes must lose their light and -hands their strength! Yes, here below!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Then let us fly!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Yes, let us fly!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">GREEN GARDENER</span> <i>appears suddenly behind the table. All -his clothes are green. He wears a peaked cap, a big apron, and -knee-breeches. At his belt hang shears and a knife. He carries -a small watering-can in one hand and is scattering seeds -everywhere</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Who are you?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. I sow, I sow!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What do you sow?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. Seeds, seeds, seeds.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What kind of seeds?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. Annuals and biennials. One pulls this way, two pull that. -When the bridal suit is on, the harmony is gone. One and one make one, -but one and one make also three. One and one make two, but two make -three. Then do you understand?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You mole, you earthworm, you who turn your forehead toward the -ground and show the sky your back—what is there you can teach me?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. That you are a mole and earthworm, too. And that because you -turn your back on the earth, the earth will turn its back on you. [<i>He -disappears behind the table</i>.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. What was it? Who was he?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. That was the green gardener.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Green, you say? Was he not blue?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. No, he was green, my love.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. How can you say what is not so?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. My heart's beloved, I have not said a thing that was not so.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Alas, he does not speak the truth!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Whose voice is this? Not that of Swanwhite!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Who is this my eyes behold? Not my Prince, whose very name -attracted me like music of the Neck, or song of mermaids heard among -green waves—Who are you? You stranger with the evil eyes—and with -grey hair!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You did not see it until now—my hair, that turned to grey -within the tower, in a single night, when I was mourning for my -Swanwhite, who is no longer here.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Yes, here is Swanwhite.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. No, I see a black-clad maid, whose face is black——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Have you not seen before that I was clad in black? You do -not love me, then!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You who are standing there, so grim and ugly—no!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Then you have spoken falsely.</p> - -<p><span class="small-c">PRINCE</span>. No—for then another one was here! Now—you are filling up my -mouth with noisome nettles.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Your violets smell of henbane now—faugh!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Thus I am punished for my treason to the king!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I wish that I had waited for your king!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Just wait, and he will come.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I will not wait, but go to meet him.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Then I will stay.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Going toward the background</i>] And this is love!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Beside himself</i>] Where is my Swanwhite? Where, where, where? -The kindest, loveliest, most beautiful?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Seek her!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. 'Twould not avail me here below.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Elsewhere then! [<i>She goes out</i>.</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>is alone. He sits down at the table, covers his -face with his hands, and weeps. A gust of wind passes through -the room and sets draperies and curtains fluttering. A sound as -of a sigh is heard from the strings of the harp. The</i> <span style="font-size: 0.8em;">PRINCE</span> -<i>rises, goes to the bed, and stands there lost in contemplation -of its pillow in which is a depression showing</i> <span style="font-size: 0.8em;">SWANWHITE'S</span> -<i>head in profile. He picks up the pillow and kisses it. A noise -is heard outside. He seats himself at the table again</i>.</p> - -<p><i>The doors of the closets fly open. The three</i> <span style="font-size: 0.8em;">MAIDS</span> <i>become -visible, all with darkened faces. The</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>enters from -the rear. Her face is also dark</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>In dulcet tones</i>] Good morning, my dear Prince! How have -you slept?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Where is Swanwhite?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. She has gone to marry her young king. Is there no thought -of things like that in your own mind, my Prince?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I harbour but a single thought——</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Of little Swanwhite?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. She is too young for me, you mean?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Grey hairs and common sense belong together as a rule—I -have a girl with common sense——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. And I grey hairs?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. He knows it not, believes it not! Come, maids! Come, Signe, -Elsa, Tova! Let's have a good laugh at the young suitor and his grey -hairs!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">MAIDS</span> <i>begin to laugh. The</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>joins in</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Where is Swanwhite?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Follow in her traces—here is one!</p> - -<blockquote> - -<p>[<i>She hands him a parchment covered with writing</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Reading</i>] And she wrote this?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. You know her hand—what has it written?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. That she hates me, and loves another—that she has played with -me; that she will throw my kisses to the wind, and to the swine my -heart—To die is now my will! Now I am dead!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. A knight dies not because a wench has played with him. He -shows himself a man and takes another.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Another? When there is only one?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. No, two, at least! My Magdalene possesses seven barrels -full of gold.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Seven?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. And more. [<i>Pause</i>.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Where is Swanwhite?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. My Magdalene is skilled in many crafts——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Including witchcraft?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. She knows how to bewitch a princeling.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Gazing at the parchment</i>] And this was written by my -Swanwhite?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. My Magdalene would never write like that.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. And she is kind?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Kindness itself! She does not play with sacred feelings, -nor seek revenge for little wrongs, and she is faithful to the one she -likes.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Then she must be beautiful.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Not beautiful!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. She is not kind then.—Tell me more of her!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. See for yourself.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Where?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Here.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. And this has Swanwhite written——?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. My Magdalene had written with more feeling</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What would she have written?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. That——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Speak the word! Say "love," if you are able!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Lub!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You cannot speak the word!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Lud!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Oh, no!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. My Magdalene can speak it. May she come?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Yes, let her come.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>Rising and speaking to the</i> <span style="font-size: 0.8em;">MAIDS</span>] Blindfold the prince. -Then in his arms we'll place a princess that is without a paragon in -seven kingdoms.</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">SIGNE</span> <i>steps forward and covers the eyes of the</i> Prince <i>with a -bandage</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>Clapping her hands</i>] Well—is she not coming?</p> - -<p><i>The peacock makes a rattling noise with his bill; the doves begin to -coo</i>.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. What is the matter? Does my art desert me? Where is the -bride?</p> - -<blockquote> - -<p><i>Four</i> <span style="font-size: 0.8em;">MAIDS</span> <i>enter from the rear, carrying baskets of white -and pink roses. Music is heard from above. The</i> <span style="font-size: 0.8em;">MAIDS</span> <i>go up to -the bed and scatter roses over it</i>.</p> - -<p><i>Then come</i> <span style="font-size: 0.8em;">TWO KNIGHTS</span> <i>with closed visors. They take the</i> -<span style="font-size: 0.8em;">PRINCE</span> <i>between them toward the rear, where they meet the -</i> <span style="font-size: 0.8em;">FALSE MAGDALENE</span>, <i>escorted by two ladies. The bride is deeply -veiled</i>.</p> - -<p><i>With a gesture of her hand the</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>bids all depart -except the bridal couple. She herself leaves last of all, after -she has closed the curtains and locked the gates</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Is this my bride?</p> - -<p><span style="font-size: 0.8em;">FALSE MAGDALENE</span>. Who is your bride?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I have forgot her name. Who is your bridegroom?</p> - -<p><span style="font-size: 0.8em;">FALSE MAGDALENE</span>. He whose name may not be mentioned.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Tell, if you can.</p> - -<p><span style="font-size: 0.8em;">FALSE MAGDALENE</span>. I can, but will not.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Tell, if you can!</p> - -<p><span style="font-size: 0.8em;">FALSE MAGDALENE</span>. Tell my name first!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. It's seven barrels full of gold, and crooked back, and grim, -and hare-lipped! What's my name? Tell, if you can!</p> - -<p><span style="font-size: 0.8em;">FALSE MAGDALENE</span>. Prince Greyhead!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You're right!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">FALSE MAGDALENE</span> <i>throws, off her veil, and</i> Swanwhite -<i>stands revealed</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Dressed in a white garment, with a wreath of roses on her -hair</i>] Who am I now?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You are a rose!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. And you a violet!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Taking off the bandage</i>] You are Swanwhite!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. And you—are——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Hush!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. You're mine!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. But you—you left me—left my kisses——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I have returned—because I love you!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. And you wrote cruel words——</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. But cancelled them—because I love you.!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You told me I was false.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. What matters it, when you are true—and when I love you?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You wished that you were going to the king.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. But went to you instead, because I love you!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Now let me hear what you reproach me with.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I have forgotten it—because I love you!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. But if you love me, then you are my bride.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I am!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Then may the heavens bestow their blessing on our union!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. In dreamland!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. With your head upon my arm!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>leads</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>to the bed, in which he places -his sword. Then she lies down on one side of the sword, and he -on the other. The colour of the clouds changes to a rosy red. -The rose-trees murmur. The harp plays softly and sweetly</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Good night, my queen!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Good morning, O my soul's beloved!—I hear the beating of -your heart—I hear it sigh like billowing waters, like swift-flying -steeds, like wings of eagles—Give me your hand!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. And yours!—Now we take wing——</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>Enters with the</i> <span style="font-size: 0.8em;">MAIDS</span>, <i>who carry torches; all four have -become grey-haired</i>] I have to see that my task is finished ere the -duke returns. My daughter. Magdalene, is plighted to the prince—while -Swanwhite lingers in the tower—[<i>Goes to the bed</i>] They sleep already -in each other's arms—you bear me witness, maids!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">MAIDS</span> <i>approach the bed</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. What do I see? Each one of you is grey-haired!</p> - -<p><span style="font-size: 0.8em;">SIGNE</span>. And so are you, Your Grace!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Am I? Let me see!</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">ELSA</span> <i>holds a mirror in front of her</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. This is the work of evil powers!—And then, perhaps, the -prince's hair is dark again?—Bring light this way!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">MAIDS</span> <i>hold their torches so that the light from them -falls on the sleeping couple</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Such is the truth, indeed!—How beautiful they -look!—But—the sword! Who placed it there—the sword that puts at -naught their plighted troth?</p> - -<blockquote> - -<p><i>She tries to take away the sword, but the</i> <span style="font-size: 0.8em;">PRINCE</span> <i>clings to -it without being wakened</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SIGNE</span>. Your Grace—here's deviltry abroad!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. What is it?</p> - -<p><span style="font-size: 0.8em;">SIGNE</span>. This is not Lady Magdalene.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Who is it, then? My eyes need help.</p> - -<p><span style="font-size: 0.8em;">SIGNE</span>. 'Tis Lady Swanwhite.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Swanwhite?—Can this be some delusion of the devil's -making, or have I done what I least wished?</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>turns his head in his sleep so that his lips meet -those of</i> <span style="font-size: 0.8em;">SWANWHITE</span>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>Touched by the beautiful sight</i>] No sight more beautiful -have I beheld!—Two roses brought together by the wind; two falling -stars that join in downward flight—it is too beautiful!—Youth, -beauty, innocence, and love! What memories, sweet memories—when I was -living in my father's home—when I was loved by <i>him</i>, the youth whom -never I called mine—What did I say I was?</p> - -<p><span style="font-size: 0.8em;">SIGNE</span>. That you were loved by him, Your Grace.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Then I did speak the mighty word. Be-loved—so he named me -once—"beloved"—ere he started for the war—[<i>Lost in thoughts</i>] It -was the last of him.—And so I had to take the one I couldn't bear.—My -life is drawing to its close, and I must find my joy in happiness -denied myself! I should rejoice—at others' happiness—Some kind of -joy, at least—at other people's love—Some kind of love, at least—But -there's my Magdalene? What joy for her? O, love omnipotent—eternally -creative Lord—how you have rendered soft this lion heart! Where is my -strength? Where is my hatred—my revenge? [<i>She seats herself and looks -long at the sleeping couple</i>] A song runs through my mind, a song of -love that <i>he</i> was singing long ago, that final night— [<i>She rises as -if waking out of a dream and flies into a rage; her words come with a -roar</i>] Come hither, men! Here, Steward, Castellan, and Gaoler—all of -you! [<i>She snatches the sword out of the bed and throws it along the -floor toward the rear</i>] Come hither, men!</p> - -<blockquote> - -<p><i>Noise is heard outside; the men enter as before</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Behold! The prince, the young king's vassal, has defiled -his master's bride! You bear me witness to the shameful deed! Put -chains and fetters on the traitor and send him to his rightful lord! -But in the spiked cask put the hussy. [<i>The</i> <span style="font-size: 0.8em;">PRINCE</span> and <span style="font-size: 0.8em;">SWANWHITE</span> <i>wake -up</i>] Equerry! Gaoler! Seize the prince!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">EQUERRY</span> <i>and the</i> <span style="font-size: 0.8em;">GAOLER</span> <i>lay hands on the</i> <span style="font-size: 0.8em;">PRINCE</span>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Where is my sword? I fight not against evil, but for innocence!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Whose innocence?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. My bride's.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. The hussy's innocence! Then prove it!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Oh, mother, mother!</p> - -<blockquote> - -<p><i>The white swan flies by outside</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Maids, bring shears! I'll cut the harlot's hair!</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">SIGNE</span> <i>hands her a pair of shears</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>Takes hold of</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>by the hair and starts to cut -it, but she cannot bring the blades of the shears together]</i> Now I'll -cut off your beauty and your love! [<i>Suddenly she is seized with panic, -which quickly spreads to the men and the three</i> <span style="font-size: 0.8em;">MAIDS</span>] Is the enemy -upon us? Why are you trembling?</p> - -<p><span style="font-size: 0.8em;">SIGNE</span>. Your Grace, the dogs are barking, horses neighing—it means -that visitors are near.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Quick, to the bridges, all of you! Man the ramparts! Fall -to with flame and water, sword and axe!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>and</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>are left alone</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">GARDENER</span>. [<i>Appears from behind the table; in one hand he carries -a rope, the</i> <span style="font-size: 0.8em;">DUKE</span>'S <i>horn in the other</i>] Forgiveness for those who -sin; for those who sorrow, consolation; and hope for those who are -distressed!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. My father's horn! Then help is near! But—the prince?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. The prince will follow me. A secret passage, underground, -leads to the shore. There lies his bark. The wind is favourable! Come!</p> - -<blockquote> - -<p>[<i>The</i> <span style="font-size: 0.8em;">GARDENER</span> <i>and the</i> <span style="font-size: 0.8em;">PRINCE</span> <i>go out.</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>alone, -blows the horn. An answering signal is heard in the distance. -The</i> <span style="font-size: 0.8em;">GAOLER</span> <i>enters with the spiked cask</i>. <span style="font-size: 0.8em;">SWANWHITE</span> <i>blows the -horn again. The answer is heard much nearer</i>.</p> - -<p><i>The</i> <span style="font-size: 0.8em;">DUKE</span> <i>enters. He and</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>are alone on the stage</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. My own beloved heart, what is at stake?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Your own child, father!—Look—the spiked cask over there!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. How has my child transgressed?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. The prince's name I learned, by love instructed—spoke -it—came to hold him very dear.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. That was no capital offence. What more?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. At his side I slept, the sword between us——</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. And still there was no capital offence, though I should hardly -call it wise—And more?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. No more!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>To the</i> <span style="font-size: 0.8em;">GAOLER</span>, <i>pointing to the spiked cask</i>] Away with it! -[<i>To</i> <span style="font-size: 0.8em;">SWANWHITE</span>] Well, child, where is the prince?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. He's sailing homeward in his bark.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Now, when the tide is battering the shore?—Alone? Swanwhite. -Alone! What is to happen?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. The Lord alone can tell!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. He's in danger?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Who greatly dares has sometimes luck.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. He ought to have!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. He will, if free from guilt!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. He is! More than I am!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>Entering</i>] How came you here!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. A shortcut brought me—I could wish it had been shorter still.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Had it been short enough, your child had never come to harm.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. What kind of harm?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. The one for which there is no cure.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. And you have proofs?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. I've valid witnesses.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Then call my butler.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. He does not know.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>Shaking his sword at her</i>] Call my butler!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>trembles. Then she claps her hands four times -together</i>.</p> - -<p><i>The</i> <span style="font-size: 0.8em;">BUTLER</span> <i>enters</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. Have made a pie of venison, richly stuffed with onions, parsley, -fennel, cabbage—and at once!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">BUTLER</span> <i>steals a sidelong glance at the</i> <span style="font-size: 0.8em;">STEPMOTHER</span>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. What are you squinting at? Be quick!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">BUTLER</span> <i>goes out</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>To the</i> <span style="font-size: 0.8em;">STEPMOTHER</span>] Now call the master of my pleasure-garden.</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. He does not know!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. And never will! But he must come! Call, quick!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>claps her hands six times</i>.</p> - -<p><i>The</i> <span style="font-size: 0.8em;">FLOWER GARDENER</span> <i>enters</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. Three lilies bring: one white, one red, one blue.</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">GARDENER</span> <i>looks sideways at the</i> <span style="font-size: 0.8em;">STEPMOTHER</span>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. Your head's at stake!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">GARDENER</span> <i>goes out</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. Summon your witnesses!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>claps her hands once</i>.</p> - -<p><span style="font-size: 0.8em;">SIGNE</span> <i>enters</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. Tell what you know—but choose your words! What have you seen?</p> - -<p><span style="font-size: 0.8em;">SIGNE</span>. I have seen Lady Swanwhite and the prince together in one bed.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. With sword between?</p> - -<p><span style="font-size: 0.8em;">SIGNE</span>. Without.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. I can't believe it!—Other witnesses?</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">TWO KNIGHTS</span> <i>enter</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. Were these the groomsmen?—Tell your tale.</p> - -<p><span style="font-size: 0.8em;">FIRST KNIGHT</span>. The Lady Magdalene I have escorted to her bridal couch.</p> - -<p><span style="font-size: 0.8em;">SECOND KNIGHT</span>. The Lady Magdalene I have escorted to her bridal couch.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. What's that? A trick, I trow—that caught the trickster!—Other -witnesses?</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">ELSA</span> <i>enters</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. Tell what you know.</p> - -<p><span style="font-size: 0.8em;">ELSA</span>. I swear by God, our righteous judge, that I have seen the prince -and Lady Swanwhite fully dressed and with a sword between them.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. One for, and one against—two not germane.—I leave it to the -judgment of the Lord!—The flowers will speak for him.</p> - -<p><span style="font-size: 0.8em;">ELSA</span>. [<i>Enters</i>] My gracious master—noble lord!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. What do you know?</p> - -<p><span style="font-size: 0.8em;">ELSA</span>. I know my gracious mistress innocent.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. O, child—so you know that! Then teach us how to know it too.</p> - -<p><span style="font-size: 0.8em;">ELSA</span>. When I am saying only what is true——</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. No one believes it! But when Signe tells untruth, we must -believe!—And what does Swanwhite say herself? Her forehead's purity, -her steady glance, her lips' sweet innocence—do they not speak aloud -of slander? And "slander" is the verdict of a father's eye.—Well -then—Almighty God on high shall give his judgment, so that human -beings may believe!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">FLOWER GARDENER</span> <i>enters carrying three lilies placed in -three tall and narrow vases of glass. The</i> <span style="font-size: 0.8em;">DUKE</span> <i>places the -flowers in a semicircle on the table. The</i> <span style="font-size: 0.8em;">BUTLER</span> <i>enters with -a huge dish containing a steaming pie</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>Placing the dish within the semicircle formed by the three -flowers</i>] The white one stands for whom?</p> - -<p><span style="font-size: 0.8em;">ALL</span>. [<i>Except</i> <span style="font-size: 0.8em;">SWANWHITE</span>. <i>and the</i> <span style="font-size: 0.8em;">STEPMOTHER</span>] For Swanwhite.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. The red one stands for whom?</p> - -<p><span style="font-size: 0.8em;">ALL</span>. [As <i>before</i>] The prince.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. For whom the blue one?</p> - -<p><span style="font-size: 0.8em;">ALL</span>. [As <i>before</i>] The youthful king.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Well, Tova—child who still has faith in innocence because you -too are innocent—interpret now for us the judgment of the Lord—tell -us the gentle secrets of these flowers.</p> - -<p><span style="font-size: 0.8em;">ELSA</span>. The evil part I cannot utter.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. I will. What's good I'll leave for you.—As the steam from the -blood of the prurient beast rises upward—as upward the smell of the -passionate spices is mounting—what see you?</p> - -<p><span style="font-size: 0.8em;">ELSA</span>. [<i>Gazing at the three lilies</i>] The white one folds its blossom to -protect itself against defilement. That is Swanwhite's flower.</p> - -<p><span style="font-size: 0.8em;">ALL</span>. Swanwhite is innocent.</p> - -<p><span style="font-size: 0.8em;">ELSA</span>. The red one, too—the prince's lily—closes its head—but the -blue one, which stands for the king, flings wide its gorge to drink the -lust-filled air.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. You've told it right! What more is there to see?</p> - -<p><span style="font-size: 0.8em;">ELSA</span>. I see the red flower bend its head in reverent love before the -white one, while the blue one writhes with envious rage.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. You've spoken true!—For whom is Swanwhite then?</p> - -<p><span style="font-size: 0.8em;">ELSA</span>. For the prince, because more pure is his desire, and therefore -stronger, too.</p> - -<p><span style="font-size: 0.8em;">ALL</span>. [<i>Except</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>and the</i> <span style="font-size: 0.8em;">STEPMOTHER</span>] Swanwhite for the prince!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Throwing herself into her father's arms</i>] O, father!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Call back the prince! Let every trump and bugle summon him. Hoist -sail on every bark! But first of all—the spiked cask is for whom?</p> - -<blockquote> - -<p><i>All remain silent</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. Then I will say it: for the duchess; for the arch-liar and -bawd!—Know, evil woman, that though nothing else be safe against your -tricks, they cannot conquer love!—Go—quick—begone!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>makes a gesture which for a moment seems to -stun the</i> <span style="font-size: 0.8em;">DUKE</span>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>Draws his sword and turns the point of it toward the</i> -<span style="font-size: 0.8em;">STEPMOTHER</span>, <i>having first seated</i> <span style="font-size: 0.8em;">SWANWHITE</span> <i>on his left shoulder</i>] -A-yi, you evil one! My pointed steel will outpoint all your tricks!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>withdraws backward, dragging her legs behind -her like a panther</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. Now for the prince!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>stops on the balcony, rigid as a statue. She -opens her mouth as if she were pouring out venom</i>.</p> - -<p><i>The peacock and the doves fall down dead. Then the</i> <span style="font-size: 0.8em;">STEPMOTHER</span> -<i>begins to swell. Her clothes become inflated to such an extent -that they hide her head and bust entirely. They seem to be -flaming with a pattern of interwoven snakes and branches. The -sun is beginning to rise outside. The ceiling sinks slowly into -the room, while smoke and fire burst from the fireplace</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. [<i>Raising the cross-shaped handle of his sword toward the</i> -<span style="font-size: 0.8em;">STEPMOTHER</span>] Pray, people, pray to Christ, our Saviour!</p> - -<p><span style="font-size: 0.8em;">ALL</span>. Christ have mercy!</p> - -<blockquote> - -<p><i>The ceiling resumes its ordinary place. The smoke and fire -cease. A noise is heard outside, followed by the hum of many -voices</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. What new event is this?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I know! I see!—I hear the water dripping from his hair; I -hear the silence of his heart, the breath that comes no more—I see -that he is dead!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Where do you see—and whom?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Where?—But I see it!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. I see nothing.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. As they must come, let them come quick!</p> - -<blockquote> - -<p><i>Four little girls enter with baskets out of which they scatter -white lilies and hemlock twigs over the floor. After them come -four pages ringing silver bells of different pitch. Then comes -a priest carrying a large crucifix. Then, the golden bier, with -the body of the</i> <span style="font-size: 0.8em;">PRINCE</span>, <i>covered by a white sheet, on which -rest white and pink roses. His hair is dark again. His face is -youthful, rosy, and radiantly beautiful. There is a smile on -his lips</i>.</p> - -<p><i>The harp begins to play. The sun rises completely. The magic -bubble around the</i> <span style="font-size: 0.8em;">STEPMOTHER</span> <i>bursts, and she appears once -more in her customary shape</i>.</p> - -<p><i>The bier is placed in the middle of the floor, so that the -rays of the rising sun fall on it</i>.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span> <i>throws herself on her knees beside the bier and -covers the</i> Prince's <i>face with kisses</i>.</p> - -<p><i>All present put their hands to their faces and weep</i>.</p> - -<p><i>The</i> <span style="font-size: 0.8em;">FISHERMAN</span> <i>has entered behind the bier</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DUKE</span>. The brief tale tell us, fisherman——</p> - -<p><span style="font-size: 0.8em;">FISHERMAN</span>. Does it not tell itself, my noble lord?—The young prince -had already crossed the strait, when, seized by violent longing for -his love, he started to swim back, in face of tide and wave and -wind—because his bark seemed rudder-less.—I saw his young head breast -the billows, I heard him cry her name—and then his corpse was gently -dropped upon the white sand at my feet. His hair had turned to grey -that night when he slept in the tower; sorrow and wrath had blanched -his cheeks; his lips had lost their power of smiling.—Now, when -death o'ertook him, beauty and youth came with it. Like wreaths his -darkening locks fell round his rosy cheeks; he smiled—and see!—is -smiling still. The people gathered on the shore, awed by the gentle -spectacle—and man said unto man: lo, this is love!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>Lying down beside the body of the</i> <span style="font-size: 0.8em;">PRINCE</span>] He's dead; his -heart will sing no more; his eyes no longer will light up my life; -his breath will shed its dew on me no more. He smiles, but not toward -me—toward heaven he smiles. And on his journey I shall bear him -company.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Kiss not a dead man's lips—there's poison in them!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Sweet poison if it bring me death—that death in which I -seek my life!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. They say, my child, the dead cannot gain union by willing it; -and what was loved in life has little worth beyond.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. And love? Should then its power not extend to the other side -of death?</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. Our wise men have denied it.</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Then he must come to me—back to this earth. O gracious -Lord, please let him out of heaven again!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. A foolish prayer!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I cannot pray—woe's me! The evil eye still rules this place.</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. You're thinking of the monster which the sunbeams pricked. The -stake for her—let her without delay be burned alive!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Burn her?—Alive?—Oh, no! Let her depart in peace!</p> - -<p><span style="font-size: 0.8em;">DUKE</span>. She must be burned alive! You, men, see that the pyre is raised -close to the shore, and let the winds play with her ashes!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. [<i>On her knees before the</i> <span style="font-size: 0.8em;">DUKE</span>] No, no—I pray you, though -she was my executioner: have mercy on her!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. [<i>Enters, changed, freed from the evil powers that have -held her in their spell</i>] Mercy! Who spoke the sacred word? Who poured -her heart in prayer for me?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I did—your daughter—mother!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. O, God in heaven, she called me mother!—Who taught you -that?</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Love did!</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. Then blessed be love which can work miracles like -that!—But, child, then it must also have the power to make the dead -return out of the darkling realms of death!—I cannot do it, having not -received the grace of love. But you!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. Poor me—what can I do?</p> - -<p><span style="font-size: 0.8em;">STEPMOTHER</span>. You can forgive, and you can love—Well, then, my little -Lady Almighty, you can do anything!—Be taught by me who have no power -at all. Go, cry the name of your beloved, and put your hand above his -heart! Then, with the help of the Supreme One—calling none but Him for -helper—your beloved will hear your voice—if you believe!</p> - -<p><span style="font-size: 0.8em;">SWANWHITE</span>. I do believe—I will it—and—I pray for it!</p> - -<p><i>She goes up to the</i> <span style="font-size: 0.8em;">PRINCE</span>, <i>places one of her hands over his heart, -and raises the other toward the sky. Then she bends down over him -and whispers something into his ear. This she repeats three times in -succession. At the third whisper the</i> <span style="font-size: 0.8em;">PRINCE</span> <i>wakes up</i>. <span style="font-size: 0.8em;">SWANWHITE</span> -<i>throws herself at his breast. All kneel in praise and thanksgiving. -Music</i>.</p> - -<h5><i>Curtain</i>.</h5> - - - -<hr class="chap" /> -<h3><a name="SIMOOM" id="SIMOOM">SIMOOM</a></h3> - -<h4>(SAMUM)</h4> - -<h5>1890</h5> - -<hr class="r5" /> - - - -<p style="margin-left: 40%;font-size: 0.8em;"> -CHARACTERS<br /><br /> -BISKRA, <i>an Arabian girl</i><br /> -YUSUF, <i>her lover</i><br /> -GUIMARD, <i>a lieutenant of Zouaves</i><br /> -</p> -<blockquote> -<p><i>The action takes place in Algeria at the present time</i>.</p> -</blockquote> -<hr class="tb" /> - -<blockquote> - -<p><i>The inside of a marabout, or shrine. In the middle of the -floor stands a sarcophagus forming the tomb of the Mohammedan -saint (also called "marabout") who in his lifetime occupied the -place. Prayer-rugs are scattered over the floor. At the right -in the rear is an ossuary, or charnel-house.</i></p> - -<p><i>There is a doorway in the middle of the rear wall. It is -closed with a gate and covered by a curtain. On both sides of -the doorway are loopholes. Here and there on the floor are seen -little piles of sand. An aloe plant, a few palm leaves and some -alfa grass are thrown together on one spot</i>.</p></blockquote> - -<hr class="tb" /> - -<p style="text-align: center;">FIRST SCENE</p> - - -<blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span> <i>enters. The hood of her burnous is pulled over her head -so that it almost covers her face. She carries a guitar at her -back. Throwing herself down in a kneeling position on one of -the rugs, she begins to pray with her arms crossed over her -breast. A high wind is blowing outside</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Lâ ilâhâ illâ 'llâh!</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. [<i>Enters quickly</i>] The Simoom is coming! Where is the Frank?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. He'll be here in a moment.</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. Why didn't you stab him when you had a chance?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Because he is to do it himself. If I were to do it, our whole -tribe would be killed, for I am known to the Franks as Ali, the guide, -though they don't know me as Biskra, the maiden.</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. He is to do it himself, you say? How is that to happen?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Don't you know that the Simoom makes the brains of the white -people dry as dates, so that they have horrible visions which disgust -them with life and cause them to flee into the great unknown?</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. I have heard of such things, and in the last battle there were -six Franks who took their own lives before the fighting began. But do -not place your trust in the Simoom to-day, for snow has fallen in the -mountains, and the storm may be all over in half an hour.—Biskra! Do -you still know how to hate?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. If I know how to hate?—My hatred is boundless as the desert, -burning as the sun, and stronger than my love. Every hour of joy that -has been stolen from me since the murder of Ali has been stored up -within me like the venom back of a viper's tooth, and what the Simoom -cannot do, that I can do.</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. Well spoken, Biskra, and the task shall be yours. Ever since my -eyes first fell upon you, my own hatred has been withering like alfa -grass in the autumn. Take strength from me and become the arrow to my -bow.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Embrace me, Yusuf, embrace me!</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. Not here, within the presence of the Sainted one; not -now—later, afterward, when you have earned your reward!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. You proud sheikh! You man of pride!</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. Yes—the maiden who is to carry my offspring under her heart -must show herself worthy of the honour.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. I—no one but I—shall bear the offspring of Yusuf! I, -Biskra—the scorned one, the ugly one, but the strong one, too!</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. All right! I am now going to sleep beside the spring.—Do I -need to teach you more of the secret arts which you learned from -Sidi-Sheikh, the great marabout, and which you have practised at fairs -ever since you were a child?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Of that there is no need. I know all the secrets needed to -scare the life out of a cowardly Frank.—The dastard who sneaks upon -the enemy and sends the leaden bullet ahead of himself! I know them -all—even the art of letting my voice come out of my belly. And what is -beyond my art, that will be done by the sun, for the sun is on the side -of Yusuf and Biskra.</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. The sun is a friend of the Moslem, but not to be relied upon. -You may get burned, girl!—Take a drink of water first of all, for I -see that your hands are shrivelled, and——</p> - -<blockquote> - -<p><i>He lifts up one of the rugs and steps down into a sort of -cellar, from which he brings back a bowl filled with water; -this he hands to</i> <span style="font-size: 0.8em;">BISKRA</span>.</p></blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span>. [<i>Raising the bowl to her mouth</i>] And my eyes are already -beginning to see red—my lungs are parching—I hear—I hear—do you -see how the sand is sifting through the roof—the strings of my guitar -are crooning—the Simoom is here! But the Frank is not!</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. Come down here, Biskra, and let the Frank die by himself.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. First hell, and then death! Do you think I'll weaken? [<i>Pours -the water on one of the sand piles</i>] I'll water the sand, so that -revenge may grow out of it, and I'll dry up my heart. Grow, O hatred! -Burn, O sun! Smother, O wind!</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. Hail to you, mother of Ben Yusuf—for you are to bear the son of -Yusuf, the avenger—you!</p> - -<blockquote> -<p><i>The wind is increasing. The curtain in front of the door begins to -flap. A red glimmer lights up the room, but changes into yellow during -the ensuing scene</i>.</p> -</blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span>. The Frank is coming, and—the Simoom is here!—Go!</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. In half an hour you shall see me again. [<i>Pointing toward a sand -pile</i>] There is your hour-glass. Heaven itself is measuring out the -time for the hell of the infidels!</p> - -<blockquote> - -<p>[<i>Goes down into the cellar</i>.</p></blockquote> - -<hr class="r5" /> - -<p style="text-align: center;">SECOND SCENE</p> - - -<blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span>. <span style="font-size: 0.8em;">GUIMARD</span> <i>enters looking very pale; he stumbles, his -mind is confused, and he speaks in a low voice</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. The Simoom is here!—What do you think has become of my men?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. I led them west to east.</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. West—to east!—Let me see!—That's straight east—and -west!—Oh, put me on a chair and give me some water!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. [<i>Leads</i> <span style="font-size: 0.8em;">GUIMARD</span> <i>to one of the sand piles and makes him lie -down on the floor with his feet on the sand</i>] Are you comfortable now?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Staring at her</i>] I feel all twisted up. Put something under -my head.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. [<i>Piling the sand higher under his feet</i>] There's a pillow for -your head.</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Head? Why, my feet are down there—Isn't that my feet?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Of course!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. I thought so. Give me a stool now—under my head.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. [<i>Pulls out the aloe plant and pushes it under Guimard's legs</i>] -There's a stool for you.</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. And then water!—Water!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. [<i>Fills the empty bowl with sand and hands it to</i> <span style="font-size: 0.8em;">GUIMARD</span>] -Drink while it's cold.</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Putting his lips to the bowl</i>] It is cold—and yet it does -not still my thirst! I cannot drink it—I abhor water—take it away!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. There's the dog that bit you!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. What dog? I have never been bitten by a dog.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. The Simoom has shrivelled up your memory—beware the delusions -of the Simoom! Don't you remember the mad greyhound that bit you during -the last hunt at Bab-el-Wad?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. The hunt at Bab-el-Wad? That's right!—Was it a -beaver-coloured——?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Bitch? Yes.—There you see. And she bit you in the calf. Can't -you feel the sting of the wound?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Reaches out a hand to feel his calf and pricks himself on -the aloe</i>] Yes, I can feel it.—Water! Water!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. [<i>Handing him the sand-filled bowl</i>] Drink, drink!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. No, I cannot! Holy Mother of God—I have rabies!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Don't be afraid! I shall cure you, and drive out the demon by -the help of music, which is all-powerful. Listen!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Screaming</i>] Ali! Ali! No music; I can't stand it! And how -could it help me?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. If music can tame the treacherous spirit of the snake, don't -you think it may conquer that of a mad dog? Listen! [<i>She sings and -accompanies herself on the guitar</i>] Biskra-biskra, Biskra-biskra, -Biskra-biskra! Simoom! Simoom!</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. [<i>Responding from below</i>] Simoom! Simoom!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. What is that you are singing, Ali?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Have I been singing? Look here—now I'll put a palm-leaf in my -mouth. [<i>She puts a piece of leaf between her teeth; the song seems to -be coming from above</i>] Biskra-biskra, Biskra-biskra, Biskra-biskra!</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. [<i>From below</i>] Simoom! Simoom!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. What an infernal jugglery!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Now I'll sing!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span> and <span style="font-size: 0.8em;">YUSUF</span>. [<i>Together</i>] Biskra-biskra, Biskra-biskra, -Biskra-biskra! Simoom!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Rising</i>] What are you, you devil who are singing with two -voices? Are you man or woman? Or both?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. I am Ali, the guide. You don't recognise me because your senses -are confused. But if you want to be saved from the tricks played by -sight and thought, you must believe in me—believe what I say and do -what I tell you.</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. You don't need to ask me, for I find everything to be as you -say it is.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. There you see, you worshipper of idols!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. I, a worshipper of idols?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Yes, take out the idol you carry on your breast.</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">GUIMARD</span> <i>takes out a locket</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Trample on it now, and then call on the only God, the Merciful -One, the Compassionate One!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Hesitating</i>] Saint Edward—my patron saint?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Can he protect you? Can he?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. No, he cannot!—[<i>Waking up</i>] Yes, he can!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Let us see!</p> - -<blockquote> - -<p><i>She opens the gate; the curtain flaps and the grass on the -floor moves</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Covering his mouth</i>] Close the door!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Throw down the idol!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. No, I cannot.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Do you see? The Simoom does not bend a hair on me, but you, the -infidel one, are killed by it! Throw down the idol!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Throws the locket on the floor</i>] Water! I die!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Pray to the Only One, the Merciful and Compassionate One!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. How am I to pray?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Repeat after me.</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Speak on!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. There is only one God: there is no other God but He, the -Merciful, the Compassionate One!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. "There is only one God: there is no other God but He, the -Merciful, the Compassionate One."</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Lie down on the floor.</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">GUIMARD</span> <i>lies down unwillingly</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span>. What do you hear?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. I hear the murmuring of a spring.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. There you see! God is one, and there is no other God but He, -the Merciful and Compassionate One!—What do you see?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. I can hear a spring murmur—I can see the light of a lamp—in -a window with green shutters—on a white street——</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Who is sitting at the window?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. My wife—Elise!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Who is standing behind the curtain with his arm around her neck?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. That's my son, George.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. How old is your son?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Four years on the day of Saint Nicholas.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. And he can already stand behind the curtain with his arm around -the neck of another man's wife?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. No, he cannot—but it is he!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Four years old, you say, and he has a blond mustache?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. A blond mustache, you say?—Oh, that's—my friend Jules.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Who is standing behind the curtain with his arm around your -wife's neck?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Oh, you devil!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Do you see your son?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. No, I don't see him any longer.</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. [<i>Imitates the tolling of bells on the guitar</i>] What do -you see now?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. I see bells ringing—I taste dead bodies—their smell in my -mouth is like rancid butter—faugh!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Can't you hear the priest chanting the service for a dead child?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Wait!—I cannot hear—[<i>Wistfully</i>] But do you want me -to?—There!—I can hear it!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Do you see the wreath on the coffin they are carrying?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Yes——</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. There are violet ribbons on it—and there are letters printed -in silver—"Farewell, my darling George—from your father."</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Yes, that's it! [<i>He begins to cry</i>] My George! O George, my -darling boy!—Elise—wife—can't you console me?—Oh, help me! [<i>He is -groping around</i>] Elise, where are you? Have you left me? Answer! Call -out the name of your love!</p> - -<p>A <span style="font-size: 0.8em;">VOICE</span>. [<i>Coming from the roof</i>] Jules! Jules!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Jules! But my name is—what is my name? It is Charles! And she -is calling Jules! Elise—my beloved wife—answer me—for your spirit -is here—I can feel it—and you promised never to love anybody else——</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">VOICE</span> <i>is heard laughing</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Who is laughing?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Elise—your wife.</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Oh, kill me! I don't want to live any longer! Life sickens -me like sauerkraut at Saint-Doux—You there—do you know what -Saint-Doux is? Lard! [<i>He tries to spit</i>] Not a drop of saliva -left!—Water—water—or I'll bite you!</p> - -<blockquote> - -<p><i>The wind outside has risen to a full storm</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span>. [<i>Puts her hand to her mouth and coughs</i>] Now you are dying, -Frank! Write down your last wishes while there is still time—Where is -your note-book?</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Takes out a note-book and a pencil</i>] What am I to write?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. When a man is to die, he thinks of his wife—and his child!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Writes</i>] "Elise—I curse you! Simoom—I die——"</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. And then sign it, or it will not be valid as a testament.</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. What shall I sign?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Write: Lâ ilâha illâ 'llâh.</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Writing</i>] It is written.—And can I die now?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Now you can die—like a craven soldier who has deserted his -people! And I am sure you'll get a handsome burial from the jackals -that will chant the funeral hymn over your corpse. [<i>She drums the -signal for attack on the guitar</i>] Can you hear the drums—the attack -has begun—on the Faithful, who have the sun and the Simoom on their -side—they are now advancing—from their hiding-places—[<i>She makes a -rattling noise on the guitar</i>] The Franks are firing along the whole -line—they have no chance to load again—the Arabs are firing at their -leisure—the Franks are flying!</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. [<i>Rising</i>] The Franks never flee!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. The Franks will flee when they hear the call to retreat.</p> - -<blockquote> - -<p>[<i>She blows the signal for "retreat" on a flute which she has -produced from under her burnoose</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. They are retreating—that's the signal—and I am here—[<i>He -tears off his epaulets</i>] I am dead!</p> - -<blockquote> -<p>[<i>He falls to the ground</i>.</p> -</blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Yes, you are dead!—And you don't know that you have been dead -a long time.</p> - -<blockquote> - -<p>[<i>She goes to the ossuary and takes from it a human skull</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Have I been dead?</p> - -<blockquote> - -<p>[<i>He feels his face with his hands</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Long! Long!—Look at yourself in the mirror here! [<i>She holds -up the skull before him</i>.</p> - -<p><span style="font-size: 0.8em;">GUIMARD</span>. Ah! That's me!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Can't you see your own high cheek-bones? Can't you see the eyes -that the vultures have picked out? Don't you know that gap on the right -side of the jaw where you had a tooth pulled? Can't you see the hollow -in the chin where, grew the beard that your Elise was fond of stroking? -Can't you see where used to be the ear that your George kissed at -the breakfast-table? Can't you see the mark of the axe—here in the -neck—which the executioner made when he cut off the deserter's head——</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">GUIMARD</span>, <i>who has been watching her movements and listening to -her words with evident horror, sinks down dead</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span>. [<i>Who has been kneeling, feels his pulse; then she rises and -sings</i>] Simoom! Simoom! [<i>She opens both gates; the curtain flutters -like a banner in the wind; she puts her hand up to her mouth and falls -over backward, crying</i>] Yusuf!</p> - -<hr class="r5" /> - -<p style="text-align: center;">THIRD SCENE</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">BISKRA</span>. <span style="font-size: 0.8em;">GUIMARD</span> (<i>dead</i>). <span style="font-size: 0.8em;">YUSUF</span> <i>comes out of the cellar</i>.</p></blockquote> - - -<p><span style="font-size: 0.8em;">YUSUF</span>. [<i>Having examined the body of</i> <span style="font-size: 0.8em;">GUIMARD</span>, <i>he looks for</i> <span style="font-size: 0.8em;">BISKRA</span>] -Biskra! [<i>He discovers her and takes her up in his arms</i>] Are you alive?</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Is the Frank dead?</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. If he is not, he will be. Simoom! Simoom!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. Then I live! But give me some water!</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. [<i>Carrying her toward the cellar</i>] Here it is!—And now Yusuf is -yours!</p> - -<p><span style="font-size: 0.8em;">BISKRA</span>. And Biskra will be your son's mother, O Yusuf, great Yusuf!</p> - -<p><span style="font-size: 0.8em;">YUSUF</span>. My strong Biskra! Stronger than the Simoom!</p> - -<h5><i>Curtain</i>.</h5> - - - -<hr class="chap" /> -<h3><a name="DEBIT_AND_CREDIT" id="DEBIT_AND_CREDIT">DEBIT AND CREDIT</a></h3> - -<h4>(DEBET OCH KREDIT)</h4> - -<h4>AN ACT</h4> - -<h5>1893</h5> -<hr class="r5" /> - - -<p style="margin-left: 35%"> -<span class="small-c">CHARACTERS</span ><br /><br /> -<span class="small-c">AXEL</span >, <i>Doctor of Philosophy and African explorer</i><br /> -<span class="small-c">THURE</span >, <i>his brother, a gardener</i><br /> -<span class="small-c">ANNA</span >, <i>the wife of</i> <span class="small-c">THURE</span ><br /> -<span class="small-c">MISS CECILIA</span ><br /> -<span class="small-c">THE FIANCÉ</span > <i>of</i> <span class="small-c">CECILIA</span ><br /> -<span class="small-c">LINDGREN</span >, <i>Doctor of Philosophy and former school-teacher</i><br /> -<span class="small-c">MISS MARIE</span ><br /> -<span class="small-c">THE COURT CHAMBERLAIN</span ><br /> -<span class="small-c">THE WAITER</span ><br /> -</p> - -<blockquote> -<p><i>A well-furnished hotel room. There are doors on both sides</i>.</p> -</blockquote> -<hr class="tb" /> - - - -<p style="text-align: center;">FIRST SCENE</p> - - -<blockquote> - -<p><span class="small-c">THURE</span> <i>and his</i> <span class="small-c">WIFE</span>.</p> -</blockquote> - -<p><span class="small-c">THURE</span>. There's some style to this room, isn't there? But then the -fellow who lives here is stylish, too.</p> - -<p><span class="small-c">WIFE</span>. Yes, so I understand. Of course, I've never seen your brother, -but I've heard a whole lot.</p> - -<p><span class="small-c">THURE</span>. Oh, gossip! <i>My</i> brother, the doctor, has gone right across -Africa, and that's something everybody can't do. So it doesn't matter -how many drinks he took as a young chap——</p> - -<p><span class="small-c">WIFE</span>. Yes, your brother, the doctor! Who is nothing but a -school-teacher, for that matter——</p> - -<p><span class="small-c">THURE</span>. No, he's a doctor of philosophy, I tell you——</p> - -<p><span class="small-c">WIFE</span>. Well, that's nothing but one who teaches. And that's just what my -brother is doing in the school at Åby.</p> - -<p><span class="small-c">THURE</span>. Your brother is all right, but he is nothing but a public-school -teacher, and that's not the same as a doctor of philosophy—which isn't -a boast either.</p> - -<p><span class="small-c">WIFE</span>. Well, no matter what he is or what you call him, he has cost us a -whole lot.</p> - -<p><span class="small-c">THURE</span>. Of course it has been rather costly, but then he has brought us -a lot of pleasure, too.</p> - -<p><span class="small-c">WIFE</span>. Fine pleasures! When we've got to lose house and home for his -sake!</p> - -<p><span class="small-c">THURE</span>. That's so—but then we don't know yet if his slip-up on the loan -had some kind of cause that he couldn't help. I guess it isn't so easy -to send registered letters from darkest Africa.</p> - -<p><span class="small-c">WIFE</span>. Whether he has any excuses or not doesn't change the matter a -bit. But if he wants to do something for us—it's nothing more than he -owes us.</p> - -<p><span class="small-c">THURE</span>. Well, we'll see, we'll see!—Anyhow, have you heard they've -already given him four decorations?</p> - -<p><span class="small-c">WIFE</span>. Well, that doesn't help us any. I guess it'll only make him a -little more stuck-up. Oh, no, it'll be some time before I get over that -the sheriff had to come down on us with the papers—and bring in other -people as witnesses—and then—the auction—and all the neighbours -coming in and turning all we had upside down. And do you know what made -me sorer than all the rest?</p> - -<p><span class="small-c">THURE</span>. The black——</p> - -<p><span class="small-c">WIFE</span>. Yes, it was that my sister-in-law should bid in my black silk -dress for fifteen crowns. Think of it—fifteen crowns!</p> - -<p><span class="small-c">THURE</span>. You just wait—just wait a little! We might get you a new silk -dress——</p> - -<p><span class="small-c">WIFE</span>. [<i>Weeping</i>] But it'll never be the same one—the one my -sister-in-law bid in.</p> - -<p><span class="small-c">THURE</span>. We'll get another one then!—Now, just look at that gorgeous hat -over there! I guess it must be one of those royal chamberlains who's -talking with Axel now.</p> - -<p><span class="small-c">WIFE</span>. What do I care about that!</p> - -<p><span class="small-c">THURE</span>. Why, don't you think it's fun that a fellow who has the same -name as you and I gets to be so respected that the King's own household -people have to visit him? If I remember right, you were happy for a -whole fortnight when your brother, the school-teacher, had been asked -to dine at the bishop's.</p> - -<p><span class="small-c">WIFE</span>. I can't remember anything of the kind.</p> - -<p><span class="small-c">THURE</span>. Of course you can't!</p> - -<p><span class="small-c">WIFE</span>. But I do remember the fifteenth of March, when we had to leave -our place for his sake, and we hadn't been married more than two years, -and I had to carry away the child on my own arm—Oh!—and then, when -the steamer came with all the passengers on board just as we had to get -out—all the cocked hats in the world can't make me forget that! And, -for that matter, what do you think a royal chamberlain cares about a -plain gardener and his wife when they've just been turned out of house -and home?</p> - -<p><span class="small-c">THURE</span>. Look here! What do you think this is? Look at all his -decorations!—Look at this one, will you!</p> - -<blockquote> - -<p><i>He takes an order out of its case, holds it in the palm of his -hand, and pats it as if it were a living thing</i>.</p></blockquote> - -<p><span class="small-c">WIFE</span>. Oh, that silly stuff!</p> - -<p><span class="small-c">THURE</span>. Don't you say anything against them, for you never can tell -where you'll end. The gardener at Staring was made a director and a -knight on the same day.</p> - -<p><span class="small-c">WIFE</span>. Well, what does that help us?</p> - -<p><span class="small-c">THURE</span>. No, of course not—it doesn't help us—but these things here -[<i>pointing to the orders</i>] may help us a whole lot in getting another -place.—However, I think we've waited quite a while now, so we'd better -sit down and make ourselves at home. Let me help you off with your -coat—come on now!</p> - -<p><span class="small-c">WIFE</span>. [<i>After a slight resistance</i>] So you think we're going to be -welcome, then? I have a feeling that our stay here won't last very long.</p> - -<p><span class="small-c">THURE</span>. Tut, tut! And I think we're going to have a good dinner, too, if -I know Axel right. If he only knew that we're here—But now you'll -see! [<i>He presses a button and a</i> <span class="small-c">WAITER</span> <i>enters</i>] What do you want—a -sandwich, perhaps? [<i>To the</i> <span class="small-c">WAITER</span>] Bring us some sandwiches and -beer.—Wait a moment! Get a drink for me—the real stuff, you know! -[<i>The</i> <span class="small-c">WAITER</span> <i>goes out</i>] You've got to take care of yourself, don't -you know.</p> - -<hr class="r5" /> - -<p style="text-align: center;"> SECOND SCENE</p> - - -<blockquote> - -<p><span class="small-c">THURE</span> <i>and his</i> <span class="small-c">WIFE</span>. <span class="small-c">AXEL</span>. The <span class="small-c">CHAMBERLAIN</span>.</p></blockquote> - -<p><span class="small-c">AXEL</span>. [<i>To the</i> <span class="small-c">CHAMBERLAIN</span>] At five, then—in full dress, I suppose?</p> - -<p><span class="small-c">CHAMBERLAIN</span>. And your orders!</p> - -<p><span class="small-c">AXEL</span>. Is it necessary?</p> - -<p><span class="small-c">CHAMBERLAIN</span>. Absolutely necessary, if you don't want to seem rude, and -that's something which you, as a democrat, want least of all. Good-bye, -doctor!</p> - -<p><span class="small-c">AXEL</span>. Good-bye.</p> - -<blockquote> - -<p><i>In leaving, the</i> <span class="small-c">CHAMBERLAIN</span> <i>bows slightly to</i> <span class="small-c">THURE</span> <i>and -his</i> <span class="small-c">WIFE</span>, <i>neither of whom returns the salute</i>.</p></blockquote> - -<hr class="r5" /> - -<p style="text-align: center;"> THIRD SCENE</p> - - -<blockquote> - -<p><span class="small-c">AXEL</span>. <span class="small-c">THURE</span> <i>and his</i> <span class="small-c">WIFE</span>.</p></blockquote> - -<p><span class="small-c">AXEL</span>. Oh, is that you, old boy?—It seems an eternity since I saw you -last. And this is your wife?—Glad to see you!</p> - -<p><span class="small-c">THURE</span>. Thanks, brother! And I wish you a happy return after your long -trip.</p> - -<p><span class="small-c">AXEL</span>. Yes, that was something of a trip—I suppose you have read about -it in the papers——</p> - -<p><span class="small-c">THURE</span>. Oh, yes, I've read all about it. [<i>Pause</i>] And then father sent -you his regards.</p> - -<p><span class="small-c">AXEL</span>. Oh, is he still sore at me?</p> - -<p><span class="small-c">THURE</span>. Well, you know the old man and his ways. If only you hadn't been -a member of that expedition, you know, he would have thought it one of -the seven wonders of the world. But as you were along, of course, it -was nothing but humbug.</p> - -<p><span class="small-c">AXEL</span>. So he's just the same as ever! Simply because I am <i>his</i> son, -nothing I ever do can be of any value. It means he can't think very -much of himself either.—Well, so much for that! And how are you -getting along nowadays?</p> - -<p><span class="small-c">THURE</span>. Not very well, exactly! There's that old loan from the bank, you -know——</p> - -<p><span class="small-c">AXEL</span>. Yes, that's right! Well, what happened to it?</p> - -<p><span class="small-c">THURE</span>. Oh, what happened was that I had to pay it.</p> - -<p><span class="small-c">AXEL</span>. That's too bad! But we'll settle the matter as soon as we have a -chance.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">WAITER</span> <i>comes in with</i> <span class="small-c">THURE</span>'s <i>order on a tray</i>.</p></blockquote> - -<p><span class="small-c">AXEL</span>. What's that?</p> - -<p><span class="small-c">THURE</span>. Oh, it was only me who took the liberty of ordering a couple of -sandwiches——</p> - -<p><span class="small-c">AXEL</span>. Right you were! But I think we ought to have some wine, so I -could drink the health of my sister-in-law, as I couldn't get to the -wedding.</p> - -<p><span class="small-c">THURE</span>. Oh, no—not for us! Not so early in the morning! Thanks very -much!</p> - -<p><span class="small-c">AXEL</span>. [<i>Signals to the</i> <span class="small-c">WAITER</span>, <i>who goes out</i>] I should have asked you -to stay for dinner, but I have to go out myself. Can you guess where I -am going?</p> - -<p><span class="small-c">THURE</span>. You don't mean to say you're going to the Palace?</p> - -<p><span class="small-c">AXEL</span>. Exactly—I am asked to meet the Monarch himself.</p> - -<p><span class="small-c">THURE</span>. Lord preserve us!—What do you think of that, Anna?</p> - -<blockquote> - -<p><i>His</i> <span class="small-c">WIFE</span> <i>turns and twists on her chair as if in torment, -quite unable to answer</i>.</p></blockquote> - -<p><span class="small-c">AXEL</span>. I suppose the old man will turn republican after this, when he -hears that His Majesty cares to associate with me.</p> - -<p><span class="small-c">THURE</span>. See here, Axel—you'll have to pardon me for getting back to -something that's not very pleasant—but it has to be settled.</p> - -<p><span class="small-c">AXEL</span>. Is it that blessed old loan?</p> - -<p><span class="small-c">THURE</span>. Yes, but it isn't only that. To put it plain—we've had to stand -an execution for your sake, and now we're absolutely cleaned out.</p> - -<p><span class="small-c">AXEL</span>. That's a fine state of affairs! But why in the world didn't you -get the loan renewed?</p> - -<p><span class="small-c">THURE</span>. Well, that's it! How was I to get any new sureties when you were -away?</p> - -<p><span class="small-c">AXEL</span>. Couldn't you go to my friends?</p> - -<p><span class="small-c">THURE</span>. I did. And the result was—what it was. Can you help us out now?</p> - -<p><span class="small-c">AXEL</span>. How am I going to help you now? Now when all my creditors are -getting after me? And it won't do for me to start borrowing when they -are just about to make a position for me. There's nothing that hurts -you more than to borrow money. Just wait a little while, and we'll get -it all straightened out.</p> - -<p><span class="small-c">THURE</span>. If we're to wait, then everything's up with us. This is just the -time to get hold of a garden—this is the time to start digging and -sowing, if you are to get anything up in time. Can't you get a place -for us?</p> - -<p><span class="small-c">AXEL</span>. Where am I to get hold of a garden?</p> - -<p><span class="small-c">THURE</span>. Among your friends.</p> - -<p><span class="small-c">AXEL</span>. My friends keep no gardens. Now, don't you hamper me when I try -to get up on firm ground! When I am there I'll pull you up, too.</p> - -<p><span class="small-c">THURE</span>. [<i>To his</i> <span class="small-c">WIFE</span>] He doesn't want to help us, Anna!</p> - -<p><span class="small-c">AXEL</span>. I cannot—not this moment! Do you think it reasonable that I, who -am seeking a job myself, should have to seek one for you, too? What -would people be saying, do you think? "There, now," they would say, -"we've got not only him but his relatives to look after!" And then they -would drop me entirely.</p> - -<p><span class="small-c">THURE</span>. [<i>Looks at his watch; then to his wife</i>] We've got to go.</p> - -<p><span class="small-c">AXEL</span>. Why must you go so soon?</p> - -<p><span class="small-c">THURE</span>. We have to take the child to a doctor.</p> - -<p><span class="small-c">AXEL</span>. For the Lord's sake, have you a child, too?</p> - -<p><span class="small-c">WIFE</span>. Yes, we have. And a sick child, which lost its health when we had -to move out into the kitchen so that the auction could be held.</p> - -<p><span class="small-c">AXEL</span>. And all this for my sake! It's enough to drive me crazy! For -my sake! So that I might become a famous man!—And what is there I -can do for you?—Do you think it would have been better if I had -stayed at home?—No, worse—for then I should have been nothing but -a poor teacher, who certainly could not have been of any use to you -whatever.—Listen, now! You go to the doctor, but come back here after -a while. In the meantime I'll think out something.</p> - -<p><span class="small-c">THURE</span>. [<i>To his</i> <span class="small-c">WIFE</span>] Do you see now, that he wants to help us?</p> - -<p><span class="small-c">WIFE</span>. Yes, but can he do it? That's the question.</p> - -<p><span class="small-c">THURE</span>. He can do anything he wants.</p> - -<p><span class="small-c">AXEL</span>. Don't rely too much on it—or the last state may prove worse -than the first.—Oh, merciful heavens, to think that you have a sick -child, too! And for my sake!</p> - -<p><span class="small-c">THURE</span>. Oh, I guess it isn't quite as bad as it sounds.</p> - -<p><span class="small-c">WIFE</span>. Yes, so you say, who don't know anything about it——</p> - -<p><span class="small-c">THURE</span>. Well, Axel, we'll see you later then.</p> - -<p><span class="small-c">LINDGREN</span> <i>appears in the doorway</i>.</p> - -<p><span class="small-c">WIFE</span>. [<i>To</i> <span class="small-c">THURE</span>] Did you notice he didn't introduce us—to the -chamberlain?</p> - -<p><span class="small-c">THURE</span>. Oh, shucks, what good would that have been?</p> - -<p>[<i>They go out</i>.</p> - -<hr class="r5" /> - -<p style="text-align: center;"> FOURTH SCENE</p> - - -<blockquote> - -<p><span class="small-c">AXEL</span>. LINDGREN, <i>who is shabbily dressed, unshaved, apparently -fond of drinking, and looking as if he had just got out of bed</i>.</p></blockquote> - -<p><span class="small-c">AXEL</span> <i>is startled for a moment at the sight of</i> <span class="small-c">LINDGREN</span>.</p> - -<p><span class="small-c">LINDGREN</span>. You don't recognise me?</p> - -<p><span class="small-c">AXEL</span>. Yes, now I do. But you have changed a great deal.</p> - -<p><span class="small-c">LINDGREN</span>. Oh, you think so?</p> - -<p><span class="small-c">AXEL</span>. Yes, I do, and I am surprised to find that these years can have -had such an effect——</p> - -<p><span class="small-c">LINDGREN</span>. Three years may be pretty long.—And you don't ask me to sit -down?</p> - -<p><span class="small-c">AXEL</span>. Please—but I am rather in a hurry.</p> - -<p><span class="small-c">LINDGREN</span>. You have always been in a hurry.</p> - -<blockquote> - -<p>[<i>He sits down; pause.</i></p></blockquote> - -<p><span class="small-c">AXEL</span>. Why don't you say something unpleasant?</p> - -<p><span class="small-c">LINDGREN</span>. It's coming, it's coming!</p> - -<blockquote> - -<p>[<i>He wipes his spectacles; pause.</i></p></blockquote> - -<p><span class="small-c">AXEL</span>. How much do you need?</p> - -<p><span class="small-c">LINDGREN</span>. Three hundred and fifty.</p> - -<p><span class="small-c">AXEL</span>. I haven't got it, and I can't get it.</p> - -<p><span class="small-c">LINDGREN</span>. Oh, sure!—You don't mind if I help myself to a few drops?</p> - -<blockquote> - -<p><i>He pours out a drink from the bottle brought by the</i> <span class="small-c">WAITER</span> -<i>for</i> <span class="small-c">THURE</span>.</p></blockquote> - -<p><span class="small-c">AXEL</span>. Won't you have a glass of wine with me instead?</p> - -<p><span class="small-c">LINDGREN</span>. No—why?</p> - -<p><span class="small-c">AXEL</span>. Because it looks bad to be swilling whisky like that.</p> - -<p><span class="small-c">LINDGREN</span>. How very proper you have become!</p> - -<p><span class="small-c">AXEL</span>. Not at all, but it hurts my reputation and my credit.</p> - -<p><span class="small-c">LINDGREN</span>. Oh, you have credit? Then you can also give me a lift, after -having brought me down.</p> - -<p><span class="small-c">AXEL</span>. That is to say: you are making demands?</p> - -<p><span class="small-c">LINDGREN</span>. I am only reminding you that I am one of your victims.</p> - -<p><span class="small-c">AXEL</span>. Then, because of the gratitude I owe you, I shall bring these -facts back to your mind: that you helped me through the university at -a time when you had plenty of money; that you helped to get my thesis -printed——</p> - -<p><span class="small-c">LINDGREN</span>. That I taught you the methods which determined your -scientific career; that I, who then was as straight as anybody, -exercised a favourable influence on your slovenly tendencies; that, in -a word, I made you what you are; and that, finally, when I applied for -an appropriation to undertake this expedition, you stepped in and took -it.</p> - -<p><span class="small-c">AXEL</span>. No, I got it. Because I, and not you, was held to be the man for -the task.</p> - -<p><span class="small-c">LINDGREN</span>. And that settled me! Thus, one shall be taken, and the other -left!—Do you think that was treating me fairly?</p> - -<p><span class="small-c">AXEL</span>. It was what the world calls "ungrateful," but the task was -achieved, and by it science was enriched, the honour of our country -upheld, and new regions opened for the use of coming generations.</p> - -<p><span class="small-c">LINDGREN</span>. Here's to you!—You have had a lot of oratorical -practice—But have you any idea how unpleasant it feels to play the -part of one used up and cast off?</p> - -<p><span class="small-c">AXEL</span>. I imagine it must feel very much like being conscious of -ingratitude, and I can only congratulate you at not finding yourself in -a position as unpleasant as my own.—But let us return to reality. What -can I do for you?</p> - -<p><span class="small-c">LINDGREN</span>. What do you think?</p> - -<p><span class="small-c">AXEL</span>. For the moment—nothing.</p> - -<p><span class="small-c">LINDGREN</span>. And in the next moment you are gone again. Which means that -this would be the last I saw of you.</p> - -<blockquote> - -<p>[<i>He pours out another drink</i>.</p></blockquote> - -<p><span class="small-c">AXEL</span>. Will you do me the favour of not finishing the bottle? I don't -want the servants to suspect me of it.</p> - -<p><span class="small-c">LINDGREN</span>. Oh, go to hell!</p> - -<p><span class="small-c">AXEL</span>. You don't think it's pleasant for me to have to call you down -like this, do you?</p> - -<p><span class="small-c">LINDGREN</span>. Say—do you want to get me a ticket for the banquet to-night?</p> - -<p><span class="small-c">AXEL</span>. I am sorry to say that I don't think you would be admitted.</p> - -<p><span class="small-c">LINDGREN</span>. Because—-</p> - -<p><span class="small-c">AXEL</span>. You are drunk!</p> - -<p><span class="small-c">LINDGREN</span>. Thanks, old man!—Well, will you let me have a look at your -botanical specimens, then?</p> - -<p><span class="small-c">AXEL</span>. No, I am going to describe them myself for the Academy.</p> - -<p><span class="small-c">LINDGREN</span>. How about your ethnographical stuff?</p> - -<p><span class="small-c">AXEL</span>. No, that's not my own.</p> - -<p><span class="small-c">LINDGREN</span>. Will you—let me have twenty-five crowns?</p> - -<p><span class="small-c">AXEL</span>. As I haven't more than twenty myself, I can only give you ten.</p> - -<p><span class="small-c">LINDGREN</span>. Rotten!</p> - -<p><span class="small-c">AXEL</span>. Thus stand the affairs of the man everybody envies. Do you think -there is anybody in whose company I might feel happy? Not one! Those -that are still down hate me for climbing up, and those already up fear -one coming from below.</p> - -<p><span class="small-c">LINDGREN</span>. Yes, you are very unfortunate!</p> - -<p><span class="small-c">AXEL</span>. I am! And I can tell you that after my experience during the last -half-hour, I wouldn't mind changing place with you. What a peaceful, -unassailable position he holds who has nothing to lose! What a lot -of interest and sympathy those that are obscure and misunderstood -and over-looked always arouse! You have only to hold out your hand -and you get a coin. You have only to open your arms, and there are -friends ready to fall into them. And then what a powerful party behind -you—formed of the millions who are just like you! You enviable man who -don't realise your own good fortune!</p> - -<p><span class="small-c">LINDGREN</span>. So you think me that far down, and yourself as high up as -all that?—Tell me, you don't happen to have read to-day's paper? [<i>He -takes a newspaper from his pocket</i>.</p> - -<p><span class="small-c">AXEL</span>. No, and I don't care to read it either.</p> - -<p><span class="small-c">LINDGREN</span>. But you ought to do it for your own sake.</p> - -<p><span class="small-c">AXEL</span>. No, I am not going to do it—not even for <i>your</i> sake. It is as -if you said: "Come here and let me spit at you." And then you are silly -enough to demand that I shall come, too.—Do you know, during these -last minutes I have become more and more convinced that if I had ever -come across you in the jungle, I should beyond all doubt have picked -you off with my breech-loader?</p> - -<p><span class="small-c">LINDGREN</span>. I believe it—beast of prey that you are!</p> - -<p><span class="small-c">AXEL</span>. It isn't safe to settle accounts with one's friends, or with -persons with whom one has been intimate, for it is hard to tell in -advance who has most on the debit side. But as you are bringing in -a bill, I am forced to look it over.—You don't think it took me -long to discover that back of all your generosity lay an unconscious -desire to turn me into the strong arm which you lacked—to make me -do for you what you couldn't do for yourself? I had imagination and -initiative—you had nothing but money and—"pull." So I am to be -congratulated that you didn't eat me, and I may be excused for eating -you—my only choice being to eat or be eaten!</p> - -<p><span class="small-c">LINDGREN</span>. You beast of prey!</p> - -<p><span class="small-c">AXEL</span>. You rodent, who couldn't become a beast of prey—although that -was just what you wished! And what you want at this moment is not so -much to rise up to me as to pull me down to where you are.—If you -have anything of importance to add, you had better hurry up, for I am -expecting a visit.</p> - -<p><span class="small-c">LINDGREN</span>. From your fiancée?</p> - -<p><span class="small-c">AXEL</span>. So you have snooped that out, too?</p> - -<p><span class="small-c">LINDGREN</span>. Sure enough! And I know what Marie, the deserted one, thinks -and says—I know what has happened to your brother and his wife——</p> - -<p><span class="small-c">AXEL</span>. Oh, you know my fiancée? For, you see, it so happens that I am -not yet engaged!</p> - -<p><span class="small-c">LINDGREN</span>. No, but I know <i>her</i> fiancé.</p> - -<p><span class="small-c">AXEL</span>. What does that mean?</p> - -<p><span class="small-c">LINDGREN</span>. Why, she has been running around with another fellow all the -time—So you didn't know that?</p> - -<p><span class="small-c">AXEL</span>. [<i>As he listens for something going on outside</i>] Oh, yes, I knew -of it, but I thought she was done with him—See here, if you'll come -back in a quarter of an hour, I'll try to get things arranged for you -in some way or another.</p> - -<p><span class="small-c">LINDGREN</span>. Is that a polite way of showing me the door?</p> - -<p><span class="small-c">AXEL</span>. No, it's an attempt to meet an old obligation. Seriously!</p> - -<p><span class="small-c">LINDGREN</span>. Well, then I'll go—and come back—Good-bye for a while.</p> - -<hr class="r5" /> - -<p style="text-align: center;"> FIFTH SCENE</p> - - -<blockquote> - -<p><span class="small-c">AXEL</span>. <span class="small-c">LINDGREN</span>. <i>The</i> <span class="small-c">WAITER</span>. <i>Then the</i> <span class="small-c">FIANCÉ</span>, <i>dressed in -black, with a blue ribbon in the lapel of his coat</i>.</p></blockquote> - -<p><span class="small-c">WAITER</span>. There's a gentleman here who wants to see you.</p> - -<p><span class="small-c">AXEL</span>. Let him come in.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">WAITER</span> <i>goes out, leaving the door open behind him. The</i> -<span class="small-c">FIANCÉ</span> <i>enters</i>.</p></blockquote> - -<p><span class="small-c">LINDGREN</span>. [<i>Observing the newcomer closely</i>] Well, good-bye.</p> - -<p><span class="small-c">AXEL</span>—and good luck! [<i>He goes out</i>.</p> - -<p><span class="small-c">AXEL</span>. Good-bye.</p> - -<hr class="r5" /> - -<p style="text-align: center;"> SIXTH SCENE</p> - - -<blockquote> - -<p><span class="small-c">AXEL</span>. <i>The</i> <span class="small-c">FIANCÉ</span> [<i>much embarrassed</i>]</p></blockquote> - -<p><span class="small-c">AXEL</span>. With whom have I the honour——?</p> - -<p><span class="small-c">FIANCÉ</span>. My name is not a name in the same way as yours, Doctor, and my -errand concerns a matter of the heart——</p> - -<p><span class="small-c">AXEL</span>. Oh, do you happen to be—You know Miss Cecilia?</p> - -<p><span class="small-c">FIANCÉ</span>. I am the man.</p> - -<p><span class="small-c">AXEL</span>. [<i>Hesitating for a moment; then with decision</i>] Please be seated. -[<i>He opens the door and beckons the</i> <span class="small-c">WAITER</span>.</p> - -<p><i>The</i> <span class="small-c">WAITER</span> <i>enters</i>.</p> - -<p><span class="small-c">AXEL</span>. [<i>To the</i> <span class="small-c">WAITER</span>] Have my bill made out, see that my trunk is -packed, and bring me a carriage in half an hour.</p> - -<p><span class="small-c">WAITER</span>. [<i>Bowing and leaving</i>] Yes, Doctor.</p> - -<p><span class="small-c">AXEL</span>. [<i>Goes up to the</i> <span class="small-c">FIANCÉ</span> <i>and sits down on a chair beside him</i>] -Now let's hear what you have to say?</p> - -<p><span class="small-c">FIANCÉ</span>. [<i>After a pause, with unction</i>] There were two men living in -the same city, one rich and the other poor. The rich man had sheep and -cattle in plenty. The poor man owned nothing but one ewe lamb——</p> - -<p><span class="small-c">AXEL</span>. What does that concern me?</p> - -<p><span class="small-c">FIANCÉ</span>. [<i>As before</i>] One ewe lamb, which he had bought and was trying -to raise.</p> - -<p><span class="small-c">AXEL</span>. Oh, life's too short. What do you want? Are you and Miss Cecilia -still engaged?</p> - -<p><span class="small-c">FIANCÉ</span>. [<i>Changing his tone</i>] I haven't said a word about Miss Cecilia, -have I?</p> - -<p><span class="small-c">AXEL</span>. Well, sir, you had better get down to business, or I'll show you -the door. But be quick about it, and get straight to the point, without -any frills——</p> - -<p><span class="small-c">FIANCÉ</span>. [<i>Holding out his snuff-box</i>] May I?</p> - -<p><span class="small-c">AXEL</span>. No, thanks.</p> - -<p><span class="small-c">FIANCÉ</span>. A great man like you has no such little weaknesses, I suppose?</p> - -<p><span class="small-c">AXEL</span>. As you don't seem willing to speak, I shall. Of course, it is -none of your business, but it may do you good to learn of it, as you -don't seem to know it: I am regularly engaged to Miss Cecilia, who -formerly was your fiancée.</p> - -<p><span class="small-c">FIANCÉ</span>. [<i>Startled</i>] Who was?</p> - -<p><span class="small-c">AXEL</span>. Because she has broken with you.</p> - -<p><span class="small-c">FIANCÉ</span>. I know nothing about it.</p> - -<p><span class="small-c">AXEL</span>. [<i>Taking a ring from the pocket of his waistcoat]</i> That's -strange, but now you do know. And here you can see the ring she has -given me.</p> - -<p><span class="small-c">FIANCÉ</span>. So she has broken with me?</p> - -<p><span class="small-c">AXEL</span>. Yes, as she couldn't be engaged to two men at the same time, and -as she had ceased to care for you, she had to break with you. I might -have told you all this in a more decent fashion, if you hadn't stepped -on my corns the moment you came in.</p> - -<p><span class="small-c">FIANCÉ</span>. I didn't do anything of the kind.</p> - -<p><span class="small-c">AXEL</span>. Cowardly and disingenuous—cringing and arrogant at the same time!</p> - -<p><span class="small-c">FIANCÉ</span>. [<i>Gently</i>] You are a hard man, Doctor.</p> - -<p><span class="small-c">AXEL</span>. No, but I may become one. You showed no consideration for my -feelings a moment ago. You sneered, which I didn't. And that's the end -of our conversation.</p> - -<p><span class="small-c">FIANCÉ</span>. [<i>With genuine emotion</i>] I feared that you might take away from -me my only lamb—but you wouldn't do that, you who have so many——</p> - -<p><span class="small-c">AXEL</span>. Suppose I wouldn't—are you sure she would stay with you anyhow?</p> - -<p><span class="small-c">FIANCÉ</span>. Put yourself in my place, Doctor——</p> - -<p><span class="small-c">AXEL</span>. Yes, if you'll put yourself in mine.</p> - -<p><span class="small-c">FIANCÉ</span>. I am a poor man——</p> - -<p><span class="small-c">AXEL</span>. So am I! But judging by what I see and hear, you have certain -bliss waiting for you in the beyond. That's more than I have.—And, -furthermore, I have taken nothing away from you: I have only received -what was offered me. Just as you did!</p> - -<p><span class="small-c">FIANCÉ</span>. And I who had been dreaming of a future for this young woman—a -future full of brightness——</p> - -<p><span class="small-c">AXEL</span>. Pardon me a piece of rudeness, but you began it: are you so sure -that the future of this young woman will not turn out a great deal -brighter by my side?</p> - -<p><span class="small-c">FIANCÉ</span>. You are now reminding me of my humble position as a worker——</p> - -<p><span class="small-c">AXEL</span>. No, I am reminding you of that young woman's future, which you -have so much at heart. And as I am told that she has ceased to care -for you, but does care for me, I am only taking the liberty to dream of -a brighter future for her with the man she loves than with the man she -doesn't love.</p> - -<p><span class="small-c">FIANCÉ</span>. You are a strong man, you are, and we little ones were born to -be your victims!</p> - -<p><span class="small-c">AXEL</span>. See here, my man, I have been told that you got the better -of another rival for Cecilia's heart, and that you were not very -scrupulous about the means used for the purpose. How do you think that -<i>victim</i> liked you?</p> - -<p><span class="small-c">FIANCÉ</span>. He was a worthless fellow.</p> - -<p><span class="small-c">AXEL</span>. From whom you saved the girl! And now I save her from you! -Good-bye!</p> - -<hr class="r5" /> - -<p style="text-align: center;"> SEVENTH SCENE</p> - - -<blockquote> - -<p><span class="small-c">AXEL</span>. <i>The</i> <span class="small-c">FIANCÉ</span>. <span class="small-c">CECILIA</span>.</p></blockquote> - -<p><span class="small-c">FIANCÉ</span>. Cecilia!</p> - -<p><span class="small-c">CECILIA</span> <i>draws back from him</i>.</p> - -<p><span class="small-c">FIANCÉ</span>. You seem to know your way into this place?</p> - -<p><span class="small-c">AXEL</span>. [<i>To the</i> <span class="small-c">FIANCÉ</span>] You had better disappear!</p> - -<p><span class="small-c">CECILIA</span>. I want some water!</p> - -<p><span class="small-c">FIANCÉ</span>. [<i>Picking up the whisky bottle from the table</i>] The bottle -seems to be finished!—Beware of that man, Cecilia!</p> - -<p><span class="small-c">AXEL</span>. [<i>Pushing the</i> <span class="small-c">FIANCÉ</span> <i>out through the door</i>] Oh, your presence -is wholly superfluous—get out!</p> - -<p><span class="small-c">FIANCÉ</span>. Beware of that man, Cecilia! [<i>He goes out</i>.</p> - -<hr class="r5" /> - -<p style="text-align: center;"> EIGHTH SCENE</p> - - -<blockquote> - -<p><span class="small-c">AXEL</span>. <span class="small-c">CECILIA</span>.</p></blockquote> - -<p><span class="small-c">AXEL</span>. That was a most unpleasant incident, which you might have spared -me—both by breaking openly with him and by not coming to my room.</p> - -<p><span class="small-c">CECILIA</span>. [<i>Weeping</i>] So I am to be scolded, too?</p> - -<p><span class="small-c">AXEL</span>. Well, the responsibility had to be fixed, and now, when that's -done—we can talk of something else.—How are you, to begin with?</p> - -<p><span class="small-c">CECILIA</span>. So, so!</p> - -<p><span class="small-c">AXEL</span>. Not well, that means?</p> - -<p><span class="small-c">CECILIA</span>. How are you?</p> - -<p><span class="small-c">AXEL</span>. Fine—only a little tired.</p> - -<p><span class="small-c">CECILIA</span>. Are you going with me to see my aunt this after-noon?</p> - -<p><span class="small-c">AXEL</span>. No, I cannot, for I have to drive out.</p> - -<p><span class="small-c">CECILIA</span>. And that's more fun, of course. You go out such a lot, and -I—never!</p> - -<p><span class="small-c">AXEL</span>. Hm!</p> - -<p><span class="small-c">CECILIA</span>. Why do you say "hm"?</p> - -<p><span class="small-c">AXEL</span>. Because your remark made an unpleasant impression on me.</p> - -<p><span class="small-c">CECILIA</span>. One gets so many unpleasant impressions these days——</p> - -<p><span class="small-c">AXEL</span>. For instance?</p> - -<p><span class="small-c">CECILIA</span>. By reading the papers.</p> - -<p><span class="small-c">AXEL</span>. So you have been reading those scandalous stories about me! And -you believe them?</p> - -<p><span class="small-c">CECILIA</span>. One doesn't know what to believe.</p> - -<p><span class="small-c">AXEL</span>. So you really suspect me of being the unscrupulous fellow -pictured in those stories? And as you are nevertheless willing to marry -me, I must assume that you are moved by purely practical considerations -and not by any personal attraction.</p> - -<p><span class="small-c">CECILIA</span>. You speak so harshly, as if you didn't care for me at all!</p> - -<p><span class="small-c">AXEL</span>. Cecilia—are you willing to leave this place with me in fifteen -minutes?</p> - -<p><span class="small-c">CECILIA</span>. In fifteen minutes! For where!</p> - -<p><span class="small-c">AXEL</span>. London.</p> - -<p><span class="small-c">CECILIA</span>. I am not going with you until we are married.</p> - -<p><span class="small-c">AXEL</span>. Why?</p> - -<p><span class="small-c">CECILIA</span>. Why should we leave like that, all of a sudden?</p> - -<p><span class="small-c">AXEL</span>. Because—it's suffocating here! And if I stay, they'll drag me -down so deep that I'll never get up again.</p> - -<p><span class="small-c">CECILIA</span>. How strange! Are you as badly off as that?</p> - -<p><span class="small-c">AXEL</span>. Do you come with me, or do you not?</p> - -<p><span class="small-c">CECILIA</span>. Not until we are married—for afterward you would never marry -me.</p> - -<p><span class="small-c">AXEL</span>. So that's your faith in me!—Will you sit down for a moment, -then, while I go in and write a couple of letters?</p> - -<p><span class="small-c">CECILIA</span>. Am I to sit here alone, with all the doors open?</p> - -<p><span class="small-c">AXEL</span>. Well, don't lock the door, for then we are utterly lost. [<i>He -goes out to the left</i>.</p> - -<p><span class="small-c">CECILIA</span>. Don't be long!</p> - -<blockquote> - -<p><i>She goes up to the door leading to the hallway and turns the -key in the lock</i>.</p></blockquote> - -<hr class="r5" /> - -<p style="text-align: center;"> NINTH SCENE</p> - - -<blockquote> - -<p><span class="small-c">CECILIA</span> <i>alone for a moment. Then</i> <span class="small-c">MARIE</span> <i>enters</i>.</p></blockquote> - -<p><span class="small-c">CECILIA</span>. Wasn't the door locked?</p> - -<p><span class="small-c">MARIE</span>. Not as far as I could see!—So it was meant to be locked?</p> - -<p><span class="small-c">CECILIA</span>. I haven't the honour?</p> - -<p><span class="small-c">MARIE</span>. Nor have I.</p> - -<p><span class="small-c">CECILIA</span>. Why should you?</p> - -<p><span class="small-c">MARIE</span>. How refined! Oh, I see! So it's you! And I am the victim—for a -while!</p> - -<p><span class="small-c">CECILIA</span>. I don't know you.</p> - -<p><span class="small-c">MARIE</span>. But I know you pretty well.</p> - -<p><span class="small-c">CECILIA</span>. [<i>Rises and goes to the door at the left</i>] Oh, you do? -[<i>Opening the door and speaking to</i> <span class="small-c">AXEL</span>] Come out here a moment!</p> - -<hr class="r5" /> - -<p style="text-align: center;"> TENTH SCENE</p> - - -<blockquote> - -<p><span class="small-c">CECILIA</span>. <span class="small-c">MARIE</span>. <span class="small-c">AXEL</span>.</p></blockquote> - -<p><span class="small-c">AXEL</span>. [<i>Entering; to</i> <span class="small-c">MARIE</span>] What do you want here?</p> - -<p><span class="small-c">MARIE</span>. Oh, one never can tell.</p> - -<p><span class="small-c">AXEL</span>. Then you had better clear out.</p> - -<p><span class="small-c">MARIE</span>. Why?</p> - -<p><span class="small-c">AXEL</span>. Because what there was between us came to an end three years ago.</p> - -<p><span class="small-c">MARIE</span>. And now there is another one to be thrown on the scrap heap?</p> - -<p><span class="small-c">AXEL</span>. Did I ever give you any promises that were not kept? Have I ever -owed you anything? Have I ever said a word about marriage? Have we had -any children together? Have I been the only one to receive your favours?</p> - -<p><span class="small-c">MARIE</span>. But now you mean to be the only one? With that one over there!</p> - -<p><span class="small-c">CECILIA</span>. [<i>Goes up to</i> <span class="small-c">MARIE</span>] What do you mean?—I don't know you!</p> - -<p><span class="small-c">MARIE</span>. No, but there was a time when you did know me. And I remember -that when we met in the streets we called each other by our first -names. [<i>To</i> <span class="small-c">AXEL</span>] And now you are going to marry her? No, you know, -you are really too good for that!</p> - -<p><span class="small-c">AXEL</span>. [<i>To</i> <span class="small-c">CECILIA</span>] Have you known that woman before?</p> - -<p><span class="small-c">CECILIA</span>. No.</p> - -<p><span class="small-c">MARIE</span>. You ought to be ashamed of yourself? I simply didn't recognise -you at first because of your swell clothes——</p> - -<blockquote> - -<p><span class="small-c">AXEL</span> <i>gazes intently at</i> <span class="small-c">CECILIA</span>.</p></blockquote> - -<p><span class="small-c">CECILIA</span>. [<i>To</i> <span class="small-c">AXEL</span>] Come—I'll go with you!</p> - -<p><span class="small-c">AXEL</span>. [<i>Preoccupied</i>] In a moment! Just wait a while! I am only going -in to write another letter—But now we'll close the door first of all.</p> - -<p><span class="small-c">MARIE</span>. No, thank you, I don't want to be locked in as she was a while -ago.</p> - -<p><span class="small-c">AXEL</span>. [<i>Interested</i>] Was the door locked?</p> - -<p><span class="small-c">CECILIA</span>. [<i>To</i> <span class="small-c">MARIE</span>] You don't dare say that the door was locked!</p> - -<p><span class="small-c">MARIE</span>. As you expected it to be locked, I suppose you had tried to lock -it and had not succeeded——</p> - -<p><span class="small-c">AXEL</span>. [<i>Observes</i> <span class="small-c">CECILIA</span>; <i>then to</i> <span class="small-c">MARIE</span>] It always seemed to me that -you were a nice girl, Marie. Will you let me have my letters back now?</p> - -<p><span class="small-c">MARIE</span>. No.</p> - -<p><span class="small-c">AXEL</span>. What are you going to do with them?</p> - -<p><span class="small-c">MARIE</span>. I hear that I can sell them, now when you have become famous.</p> - -<p><span class="small-c">AXEL</span>. And get your revenge at the same time?</p> - -<p><span class="small-c">MARIE</span>. Exactly.</p> - -<p><span class="small-c">AXEL</span>. Is it Lindgren——?</p> - -<p><span class="small-c">MARIE</span>. Yes!—And here he is now himself.</p> - -<hr class="r5" /> - -<p style="text-align: center;"> ELEVENTH SCENE</p> - - -<blockquote> - -<p><span class="small-c">CECILIA</span>. <span class="small-c">MARIE</span>. <span class="small-c">AXEL</span>. <span class="small-c">LINDGREN</span>.</p></blockquote> - -<p><span class="small-c">LINDGREN</span>. [<i>Enters in high spirits</i>] Well, what a lot of skirts! And -Marie, too—like the cuckoo that's in every nest! Now listen, Axel!</p> - -<p><span class="small-c">AXEL</span>. I hear you even when I don't see you. You're in a fine -humour—what new misfortune has befallen me?</p> - -<p><span class="small-c">LINDGREN</span>. I was only a little sour this morning because I hadn't had -a chance to get wound up. But now I've had a bite to eat—Well, you -see—at bottom you don't owe me anything at all. For what I did, I -did out of my heart's goodness, and it has brought me both honour and -pleasure—and what you got was a gift and no loan!</p> - -<p><span class="small-c">AXEL</span>. Now you are altogether too modest and generous.</p> - -<p><span class="small-c">LINDGREN</span>. Not at all! However, one favour calls for another. Would you -mind becoming my surety on this note?</p> - -<blockquote> - -<p><span class="small-c">AXEL</span> <i>hesitates</i>.</p></blockquote> - -<p><span class="small-c">LINDGREN</span>. Well, you needn't be afraid that I'm going to put you in the -same kind of fix as your brother did——</p> - -<p><span class="small-c">AXEL</span>. What do you mean? It was I who put him——</p> - -<p><span class="small-c">LINDGREN</span>. Yes, to the tune of two hundred crowns—but he got your name -as surety for five years' rent——</p> - -<p><span class="small-c">AXEL</span>. [<i>In a low voice</i>] Jesus Christ!</p> - -<p><span class="small-c">LINDGREN</span>. What's that?—Hm—hm!</p> - -<p><span class="small-c">AXEL</span>. [<i>Looking at his watch</i>] Just wait a few minutes—I have only to -write a couple of letters.</p> - -<blockquote> - -<p><span class="small-c">CECILIA</span> <i>starts to go with him</i>.</p></blockquote> - -<p><span class="small-c">AXEL</span>. [<i>Holds her back</i>] Just a few minutes, my dear—[<i>He kisses her -on the forehead</i>] Just a few minutes!</p> - -<blockquote> - -<p>[<i>He goes toward the left</i>.</p></blockquote> - -<p><span class="small-c">LINDGREN</span>. Here's the note—you might sign it while you are at it.</p> - -<p><span class="small-c">AXEL</span>. Give it to me!</p> - -<blockquote> - -<p>[<i>He goes out with an air of determination</i>.</p></blockquote> - -<hr class="r5" /> - -<p style="text-align: center;"> TWELFTH SCENE</p> - - -<blockquote> - -<p><span class="small-c">CECILIA</span>. <span class="small-c">MARIE</span>. <span class="small-c">LINDGREN</span>.</p></blockquote> - -<p><span class="small-c">LINDGREN</span>. Well, girls, are you on good terms again?</p> - -<p><span class="small-c">MARIE</span>. Oh, yes, and before we get away, we'll be on still better terms.</p> - -<blockquote> - -<p><span class="small-c">CECILIA</span> <i>makes a face</i>.</p></blockquote> - -<p><span class="small-c">MARIE</span>. I should like to have some fun to-day.</p> - -<p><span class="small-c">LINDGREN</span>. Come along with me! I'll have money!</p> - -<p><span class="small-c">MARIE</span>. No!</p> - -<blockquote> - -<p><span class="small-c">CECILIA</span> <i>sits down with evident anxiety near the door through -which</i> <span class="small-c">AXEL</span> <i>disappeared—as if seeking support in that -direction</i>.</p></blockquote> - -<p><span class="small-c">LINDGREN</span>. Let's take in the fireworks to-night—then we can see how a -great man looks in red light—what do you say to that, Cissie dear?</p> - -<p><span class="small-c">CECILIA</span>. Oh, I'll be sick if I have to stay here longer!</p> - -<p><span class="small-c">MARIE</span>. Well, it wouldn't be the first time.</p> - -<p><span class="small-c">LINDGREN</span>. Scrap, girls, and I'll watch you! Fight till the fur -flies—won't you?</p> - -<hr class="r5" /> - -<p style="text-align: center;"> THIRTEENTH SCENE</p> - - -<blockquote> - -<p><span class="small-c">CECILIA</span>. <span class="small-c">MARIE</span>. <span class="small-c">LINDGREN</span>. <span class="small-c">THURE</span> <i>and his</i> <span class="small-c">WIFE</span> <i>enter</i>.</p></blockquote> - -<p><span class="small-c">LINDGREN</span>. Well, well! Old friends! How are you?</p> - -<p><span class="small-c">THURE</span>. All right.</p> - -<p><span class="small-c">LINDGREN</span>. And the child?</p> - -<p><span class="small-c">THURE</span>. The child?</p> - -<p><span class="small-c">LINDGREN</span>. Oh, you have forgotten it?—Are you equally forgetful about -names?</p> - -<p><span class="small-c">THURE</span>. Names?</p> - -<p><span class="small-c">LINDGREN</span>. Signatures!—He must be writing an awful lot in there!</p> - -<p><span class="small-c">THURE</span>. Is my brother, the doctor, in there?</p> - -<p><span class="small-c">LINDGREN</span>. I don't know if the doctor is there, but your brother went -in there a while ago.—And, for that matter, we might find out. [<i>He -knocks at the door</i>] Silent as the grave! [<i>Knocks again</i>] Then I'll -walk right in.</p> - -<blockquote> - -<p>[<i>He goes out; everybody appears restless and anxious</i>.</p></blockquote> - -<p><span class="small-c">CECILIA</span>. What can it mean?</p> - -<p><span class="small-c">MARIE</span>. Well, we'll see now.</p> - -<p><span class="small-c">THURE</span>. What has happened here?</p> - -<p><span class="small-c">WIFE</span>. Something is up!—You'll see he doesn't help us!</p> - -<p><span class="small-c">LINDGREN</span>. [<i>Returns, carrying in his hand a small bottle and some -letters</i>] What does it say? [<i>He reads the label on the bottle</i>] -Cyanide of potassium!—How stupid! What a sentimental idiot—to kill -himself for so little—[<i>Everybody cries out</i>] So you were no beast of -prey, my dear Axel!—But—[<i>He stares through the open door into the -adjoining room</i>]—he's not there—and his things are gone, too. So he -has skipped out! And the bottle has never been opened! That means—he -meant to kill himself, but changed his mind!—And these are his -posthumous writings. "To Miss Cecilia"—seems to contain some round -object—probably an engagement ring—there you are!—"To my brother -<span class="small-c">THURE</span>" [<i>He holds up the letter to the light</i>]—with a piece of blue -paper inside—must be a note—for the amount involved! You're welcome!</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">FIANCÉ</span> <i>appears in the doorway at the right</i>.</p></blockquote> - -<p><span class="small-c">THURE</span>. [<i>Who has opened his letter</i>] Do you see that he helped us after -all——</p> - -<p><span class="small-c">WIFE</span>. Oh, in that way!</p> - -<p><span class="small-c">LINDGREN</span>. And here's my note—without his name—He's a strong one, all -right! <i>Diable!</i></p> - -<p><span class="small-c">MARIE</span>. Then the fireworks will be called off, I suppose?</p> - -<p><span class="small-c">FIANCÉ</span>. Was there nothing for me?</p> - -<p><span class="small-c">LINDGREN</span>. Yes, I think there was a fiancée—somewhere over there!—I -tell you, that fellow is a wonder at clearing up tangled affairs!—Of -course, it makes me mad to think that I let myself be fooled—but I'll -be darned if I don't think I would have done just as he did!—And so -would you, perhaps?—Or what do you think?</p> - -<h5><i>Curtain</i>.</h5> - - - -<hr class="chap" /> -<h3><a name="ADVENT" id="ADVENT">ADVENT</a></h3> - -<h4>(ADVENT)</h4> - -<h4>A MIRACLE PLAY</h4> - -<h5>1899</h5> - -<hr class="r5" /> - - -<p style="margin-left: 40%;"> -<span class="small-c">CHARACTERS</span><br /><br /> -<i>The</i> <span class="small-c">JUDGE</span><br /> -<i>The</i> <span class="small-c">OLD LADY</span>, <i>wife of the Judge</i><br /> -<span class="small-c">AMELIA</span><br /> -<span class="small-c">ADOLPH</span><br /> -<i>The</i> <span class="small-c">NEIGHBOUR</span><br /> -<span class="small-c">ERIC</span><br /> -<span class="small-c">THYRA</span><br /> -<i>being the same person</i><br /> -<i>The</i> <span class="small-c">OTHER ONE</span><br /> -<i>The</i> <span class="small-c">FRANCISCAN</span><br /> -<i>The</i> <span class="small-c">PLAYMATE</span><br /> -<i>The</i> <span class="small-c">WITCH</span><br /> -<i>The</i> <span style="font-size: 0.8em;">PRINCE</span><br /> -<i>Subordinate characters, shadows, etc.</i><br /> -<br /> -<span class="small-c">ACT I. THE VINEYARD WITH THE MAUSOLEUM</span><br /> -<span class="small-c">ACT II. THE DRAWING-ROOM</span><br /> -<span class="small-c">ACT III. THE WINE-CELLAR</span><br /> -<span style="margin-left: 3em;"><span class="small-c">THE GARDEN</span></span><br /> -<span class="small-c">ACT IV. THE CROSS-ROADS</span><br /> -<span style="margin-left: 4em; font-size: 0.8em;">THE "WAITING-ROOM"</span><br /> -<span style="margin-left: 4em; font-size: 0.8em;">THE CROSS-ROADS</span><br /> -<span class="small-c">ACT V. THE DRAWING-ROOM</span><br /> -<span style="margin-left: 3.5em; font-size: 0.8em;">THE "WAITING-ROOM"</span><br /> -</p> - - - -<hr class="chap" /> -<h4><a name="ACT_I" id="ACT_I">ACT I</a></h4> - - -<blockquote> - -<p><i>The background represents a vineyard. At the left stands a -mausoleum. It consists of a small whitewashed brick building -with a door and a pointed window that lacks mullions and panes. -The roof is made of red tiles. A cross crowns the gable. -Clematis vines with purple-coloured, cross-shaped flowers cover -the front wall, at the foot of which appear a number of other -flowers</i>.</p> - -<p><i>A peach-tree carrying fruit stands near the foreground. -Beneath it sit the</i> <span class="small-c">OLD LADY</span> <i>and the</i> <span class="small-c">OLD LADY</span>.</p> - -<p><i>The</i> <span class="small-c">Judge</span> <i>wears a green cap with a peak, yellow -knee-breeches, and—a blue coat—all dating back to</i> 1820. -<i>The</i> Old Lady <i>wears a kerchief on her head and carries -a stick, spectacles, and snuff-box. She has the general -appearance of a "witch." At the right is a small expiatory -chapel containing an image of the Holy Virgin. The fence in -front of it is hung with wreaths and nosegays. A prie-dieu is -placed against the fence</i>.</p></blockquote> - -<hr class="tb" /> - -<p><span class="small-c">JUDGE</span>. Life's eve has at last brought the sunshine which its morning -promised us. Early rains and late rains have blessed meadow and field. -And soon the songs of the vintagers will be heard all over the country.</p> - -<p><span class="small-c">OLD LADY</span>. Don't talk like that; somebody might hear you.</p> - -<p><span class="small-c">JUDGE</span>. Who could be listening here, and what harm could it do to thank -God for all good gifts?</p> - -<p><span class="small-c">OLD LADY</span>. It's better not to mention one's good fortune lest misfortune -overhear it.</p> - -<p><span class="small-c">JUDGE</span>. What of it? Was I not born with a caul?</p> - -<p><span class="small-c">OLD LADY</span>. Take care, take care! There are many who envy us, and evil -eyes are watching us.</p> - -<p><span class="small-c">JUDGE</span>. Well, let them! That's the way it has always been. And yet I -have prospered.</p> - -<p><span class="small-c">OLD LADY</span>. So far, yes. But I don't trust our neighbour. He has been -going around the village saying that we have cheated him out of his -property—and much more of the same kind which I don't care to repeat. -Of course, it doesn't matter when one has a clean conscience and can -point to a spotless life. Slander cannot hurt me. I go to confession -and mass, and I am prepared to close my eyes whenever my hour may -strike in order to open them again when I shall stand face to face with -my Judge. And I know also what I am going to answer then.</p> - -<p>JUDGE. What are you going to answer?</p> - -<p><span class="small-c">OLD LADY</span>. Like this: I was not without fault, O Lord, but even if I was -but a poor, sinful human creature, I was nevertheless a little better -than my neighbour.</p> - -<p><span class="small-c">JUDGE</span>. I don't know what has brought you to these thoughts just now, -and I don't like them. Perhaps it is the fact that the mausoleum is to -be consecrated in a few days?</p> - -<p><span class="small-c">OLD LADY</span>. Perhaps that is it, for, as a rule, I don't give much thought -to death. I have still every tooth left in my mouth, and my hair is as -plentiful as when I was a bride.</p> - -<p><span class="small-c">JUDGE</span>. Yes, yes—you have eternal youth, you as well as I, but just -the same we shall have to pass away. And as fortune has smiled on -us, we have wanted to avail ourselves of the privilege of resting in -ground belonging to ourselves And so we have built this little tomb -for ourselves here, where every tree knows us, where every flower will -whisper of our labours, and our troubles, and our struggles——</p> - -<p><span class="small-c">OLD LADY</span>. Yes, struggles against envious neighbours and ungrateful -children——</p> - -<p><span class="small-c">JUDGE</span>. There you said it: ungrateful children.—Have you seen anything -of Adolph?</p> - -<p><span class="small-c">OLD LADY</span>. No, I haven't seen him since he started out this morning to -raise the money for the rent.</p> - -<p><span class="small-c">JUDGE</span>. The money which he will never get—and I still less. But he -knows now that the time of grace is up, for this is the third quarter -rent that he has failed to pay.</p> - -<p><span class="small-c">OLD LADY</span>. Yes, out with him into the world, and let him learn to work -instead of sitting here and playing at son-in-law. I'll keep Amelia and -the children——</p> - -<p><span class="small-c">JUDGE</span>. Do you think Amelia will let herself be separated from Adolph?</p> - -<p><span class="small-c">OLD LADY</span>. I think so, when it is a question whether her children are to -inherit anything from us or not—No, look! There it is again!</p> - -<blockquote> - -<p><i>On the wall of the mausoleum appears a spot of sunlight -like those which children are fond of producing with a small -mirror</i>.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> <i>It is vibrating as if it were reflected by running -water</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. What is it? What is it?</p> - -<p><span class="small-c">OLD LADY</span>. On the mausoleum. Don't you see?</p> - -<p><span class="small-c">JUDGE</span>. It's the reflection of the sun on the river. It means——</p> - -<p><span class="small-c">OLD LADY</span>. It means that we'll see the light of the sun for a long time -to come——</p> - -<p><span class="small-c">JUDGE</span>. On the contrary. But that's all one. The best pillow for one's -head is a good conscience, and the reward of the righteous never -fails.—There's our neighbour now.</p> - -<p><span class="small-c">NEIGHBOUR</span>. [<i>Enters</i>] Good evening, Judge. Good evening, madam.</p> - -<p><span class="small-c">JUDGE</span>. Good evening, neighbour. How goes it? It wasn't yesterday we had -the pleasure. And how are your vines, I should have asked?</p> - -<p><span class="small-c">NEIGHBOUR</span>. The vines, yes—there's mildew on them, and the starlings -are after them, too.</p> - -<p><span class="small-c">JUDGE</span>. Well, well! There's no mildew on my vines, and I have neither -seen nor heard of any starlings.</p> - -<p><span class="small-c">NEIGHBOUR</span>. Fate does not distribute its gifts evenly: one shall be -taken and the other left.</p> - -<p><span class="small-c">OLD LADY</span>. I suppose there are good reasons for it?</p> - -<p><span class="small-c">NEIGHBOUR</span>. I see! The reward of the righteous shall not fail, and the -wicked shall not have to wait for their punishment.</p> - -<p><span class="small-c">JUDGE</span>. Oh, no malice meant! But you have to admit, anyhow, that it's -queer: two parcels of land lie side by side, and one yields good -harvests, the other poor ones——</p> - -<p><span class="small-c">NEIGHBOUR</span>. One yields starlings and the other not: that's what I find -queerer still. But, then, everybody wasn't born with a caul, like you, -Judge.</p> - -<p><span class="small-c">JUDGE</span>. What you say is true, and fortune <i>has</i> favoured me. I am -thankful for it, and there are moments when I feel proud of it as if I -had deserved it.—But listen, neighbour—you came as if you had been -sent for.—That leasehold of mine is vacant, and I wanted to ask you if -you care to take it.</p> - - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> In Sweden such spots are called "sun-cats."</p></div> - -<blockquote> - -<p><i>The</i> <span class="small-c">OLD LADY</span> <i>has in the meantime left her seat and gone to -the mausoleum, where she is busying herself with the flowers</i>.</p></blockquote> - -<p><span class="small-c">NEIGHBOUR</span>. Oh, the leasehold is vacant. Hm! Since when?</p> - -<p><span class="small-c">JUDGE</span>. Since this morning.</p> - -<p><span class="small-c">NEIGHBOUR</span>. Hm! So!—That means your son-in-law has got to go?</p> - -<p><span class="small-c">JUDGE</span>. Yes, that good-for-nothing doesn't know how to manage.</p> - -<p><span class="small-c">NEIGHBOUR</span>. Tell me something else, Judge. Haven't you heard that the -state intends to build a military road across this property?</p> - -<p><span class="small-c">JUDGE</span>. Oh, I have heard some rumours to that effect, but I don't think -it's anything but empty talk.</p> - -<p><span class="small-c">NEIGHBOUR</span>. On the contrary, I have read it in the papers. That would -mean condemnation proceedings, and the loser would be the holder of the -lease.</p> - -<p><span class="small-c">JUDGE</span>. I cannot think so, and I would never submit to it. I to leave -this spot where I expect to end my days in peace, and where I have -prepared a final resting-place to escape lying with all the rest——</p> - -<p><span class="small-c">NEIGHBOUR</span>. Wait a minute! One never knows what may prove one's final -resting-place. My father, who used to own this property, also expected -to be laid to rest in his own ground, but it happened otherwise. As far -as the leasehold is concerned, I must let it go.</p> - -<p><span class="small-c">JUDGE</span>. As you please. On my part the proposition was certainly -disinterested, as you are a man without luck. For it is no secret -that you fail in everything you undertake, and people have their own -thoughts about one who remains as solitary and friendless as you. Isn't -it a fact that you haven't a single friend?</p> - -<p><span class="small-c">NEIGHBOUR</span>. Yes, it's true. I have not a single friend, and that doesn't -look well. It is something I cannot deny.</p> - -<p><span class="small-c">JUDGE</span>. But to turn to other matters—is it true, as the legend has it, -that this vineyard once was a battle-field, and that this explains why -the wine from it is so fiery?</p> - -<p><span class="small-c">NEIGHBOUR</span>. No, that isn't what I have heard. My father told me that -this had been a place of execution, and that the gallows used to stand -where the mausoleum is now.</p> - -<p><span class="small-c">JUDGE</span>. Oh, how dreadful! Why did you tell me?</p> - -<p><span class="small-c">NEIGHBOUR</span>. Because you asked, of course.—And the last man to be hanged -on this spot was an unrighteous judge. And now he lies buried here, -together with many others, among them being also an innocent victim of -his iniquity.</p> - -<p><span class="small-c">JUDGE</span>. What kind of stories are those! [<i>He calls out</i>] Caroline!</p> - -<p><span class="small-c">NEIGHBOUR</span>. And that's why his ghost has to come back here. Have you -never seen him, Judge?</p> - -<p><span class="small-c">JUDGE</span>. I have never seen anything at all!</p> - -<p><span class="small-c">NEIGHBOUR</span>. But I have seen him. As a rule, he appears at the time when -the grapes are harvested, and then they hear him around the wine-press -down in the cellar.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Calling out</i>] Caroline!</p> - -<p><span class="small-c">OLD LADY</span>. What is it?</p> - -<p><span class="small-c">JUDGE</span>. Come here!</p> - -<p><span class="small-c">NEIGHBOUR</span>. And he will never be at peace until he has suffered all the -torments his victim had to pass through.</p> - -<p><span class="small-c">JUDGE</span>. Get away from here! Go!</p> - -<p><span class="small-c">NEIGHBOUR</span>. Certainly, Judge! I didn't know you were so sensitive. [<i>He -goes out</i>.</p> - -<p><span class="small-c">OLD LADY</span>. What was the matter?</p> - -<p><span class="small-c">JUDGE</span>. Oh, he told a lot of stories that upset me. But-but—he is -plotting something evil, that fellow!</p> - -<p><span class="small-c">OLD LADY</span>. Didn't I tell you so! But you always let your tongue run -whenever you see anybody—What kind of foolish superstition was he -giving you?</p> - -<p><span class="small-c">JUDGE</span>. I don't want to talk of it. The mere thought of it makes me -sick. I'll tell you some other time.—There's Adolph now!</p> - -<p><span class="small-c">ADOLPH</span>. [<i>Entering</i>] Good evening!</p> - -<p><span class="small-c">JUDGE</span>. [<i>After a pause</i>] Well?</p> - -<p><span class="small-c">ADOLPH</span>. Luck is against me. I have not been able to get any money.</p> - -<p><span class="small-c">JUDGE</span>. I suppose there are good reasons for it?</p> - -<p><span class="small-c">ADOLPH</span>. I can see no reason why some people should fare well and others -badly.</p> - -<p><span class="small-c">JUDGE</span>. Oh, you can't?—Well, look into your own heart; search your own -thoughts and actions, and you'll find that you have yourself to blame -for your misfortunes.</p> - -<p><span class="small-c">ADOLPH</span>. Perhaps I may not call myself righteous in every respect, but -at least I have no serious crimes on my conscience.</p> - -<p><span class="small-c">OLD LADY</span>. You had better think well——</p> - -<p><span class="small-c">ADOLPH</span>. I don't think that's needful, for my conscience is pretty -wakeful——</p> - -<p><span class="small-c">JUDGE</span>. It can be put to sleep——</p> - -<p><span class="small-c">ADOLPH</span>. Can it? Of course I have heard of evil-doers growing old in -crime, but as a rule their consciences wake up just before death; and -I have even heard of criminals whose consciences have awakened after -death.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Agitated</i>] So that they had to come back, you mean? Have you -heard that story, too? It's strange that everybody seems to have heard -it except me——</p> - -<p><span class="small-c">OLD LADY</span>. What are you talking about? Stick to business instead.</p> - -<p><span class="small-c">ADOLPH</span>. Yes, I think that's wiser, too. And, as the subject has been -broached, I want to tell you what I propose——</p> - -<p><span class="small-c">JUDGE</span>. Look here, my boy! I think it a good deal more appropriate that -I should tell you what I have decided. It is this: that from this day -you cease to be my tenant, and that before the sun sets you must start -out to look for work.</p> - -<p><span class="small-c">ADOLPH</span>. Are you in earnest?</p> - -<p><span class="small-c">JUDGE</span>. You ought to be ashamed! I am not in the habit of joking. And -you have no cause for complaint, as you have been granted respite twice.</p> - -<p><span class="small-c">ADOLPH</span>. While my crops have failed three times. Can I help that?</p> - -<p><span class="small-c">JUDGE</span>. Nor have I said so. But I can help it still less. And you are -not being judged by me. Here is the contract—here's the broken -agreement. Was that agreement broken by me? Oh, no! So I am without -responsibility and wash my hands of the matter.</p> - -<p><span class="small-c">ADOLPH</span>. This may be the law, but I had thought there ought to be some -forbearance among relatives—especially as, in the natural course of -events, this property should pass on to your offspring.</p> - -<p><span class="small-c">OLD LADY</span>. Well, well: the natural course of events! He's going around -here wishing the life out of us! But you just look at me: I am good for -twenty years more. And I am <i>going</i> to live just to spite you!</p> - -<p><span class="small-c">JUDGE</span>. [<i>To</i> Adolph] What rudeness—what a lack of all human -feeling—to ask a couple of old people outright: are you not going to -die soon? You ought to be ashamed of yourself, I say! But now you have -broken the last tie, and all I can say is: go your way, and don't let -yourself be seen here any more!</p> - -<p><span class="small-c">ADOLPH</span>. That's plain talk! Well, I'll go, but not alone——</p> - -<p><span class="small-c">OLD LADY</span>. So-o—you imagined that Amelia, our own child, should follow -you out on the highways, and that all you would have to do would be to -unload one child after another on us! But we have already thought of -that and put a stop to it——</p> - -<p><span class="small-c">ADOLPH</span>. Where is Amelia? Where?</p> - -<p><span class="small-c">OLD LADY</span>. You may just as well know. She has gone on; a visit to the -convent of the Poor Clares—only for a visit. So now you know it's of -no use to look for her here.</p> - -<p><span class="small-c">ADOLPH</span>. Some time you will have to suffer for your cruelty in depriving -a man in distress of his only support. And if you break up our -marriage, the penalty of that breach will fall on you.</p> - -<p><span class="small-c">JUDGE</span>. You should be ashamed of putting your own guilt on those that -are innocent! Go now! And may you hunger and thirst, with every door -closed to you, until you have learned gratitude!</p> - -<p><span class="small-c">ADOLPH</span>. The same to you in double measure!—But let me only bid my -children good-bye, and I will go.</p> - -<p><span class="small-c">JUDGE</span>. As you don't want to spare your children the pain of -leave-taking, I'll do so—have already done it, in fact.</p> - -<p><span class="small-c">ADOLPH</span>. That, too! Then I believe you capable of all the evil that has -been rumoured. And now I know what our neighbour meant when he said -that you couldn't—endure the sun!</p> - -<p><span class="small-c">JUDGE</span>. Not another word! Or you will feel the heavy hand of law and -justice——</p> - -<blockquote> - -<p><i>He raises his right hand so that the absence of its forefinger -becomes visible</i>.</p></blockquote> - -<p><span class="small-c">ADOLPH</span>. [<i>Takes hold of the hand and examines it</i>] The hand of -justice!—The hand of the perjurer whose finger stuck to the Bible when -he took his false oath! Woe unto you! Woe! For the day of retribution -is at hand, and your deeds will rise like corpses out of these -hillsides to accuse you.</p> - -<p><span class="small-c">OLD LADY</span>. What is that he is saying? It feels as if he were breathing -fire at us!—Go, you lying spirit, and may hell be your reward!</p> - -<p><span class="small-c">ADOLPH</span>. May Heaven reward you—according to your deserts—and may the -Lord protect my children! [<i>He goes out</i>.</p> - -<p><span class="small-c">JUDGE</span>. What was that? Who was it that spoke? It seemed to me as if the -voice were coming out of some huge underground hall.</p> - -<p><span class="small-c">OLD LADY</span>. Did you hear it, too?</p> - -<p><span class="small-c">JUDGE</span>. God help us, then!—Do you remember what he said about the -sun? That struck me as more peculiar than all the rest. How could he -know—that it is so? Ever since my birth the sun has always burned -me, and they have told me this is so because my mother suffered from -sunstroke before I was born—but that you also——</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Frightened</i>] Hush! Talk of the devil, and—Isn't the sun -down?</p> - -<p><span class="small-c">JUDGE</span>. Of course it is down!</p> - -<p><span class="small-c">OLD LADY</span>. How can that spot of sunlight remain on the mausoleum, then?</p> - -<blockquote> -<p>[<i>The spot moves around</i>.</p> -</blockquote> - -<p><span class="small-c">JUDGE</span>. Jesus Maria! That's an omen!</p> - -<p><span class="small-c">OLD LADY</span>. An omen, you say! And on the grave! That doesn't happen every -day—and only a few chosen people who are full of living faith in the -highest things——</p> - -<blockquote> -<p>[<i>The spot of light disappears</i>.</p> -</blockquote> - -<p><span class="small-c">JUDGE</span>. There is something weird about the place to-night, -something ghastly.—But what hurt me most keenly was to hear that -good-for-nothing wishing the life out of us in order to get at the -property. Do you know what I—well, I wonder if I dare to speak of -it——</p> - -<p><span class="small-c">OLD LADY</span>. Go on!</p> - -<p><span class="small-c">JUDGE</span>. Have you heard the story that this spot here used to be a place -of execution?</p> - -<p><span class="small-c">OLD LADY</span>. So you have found that out, too?</p> - -<p><span class="small-c">JUDGE</span>. Yes—and you knew it?—Well, suppose we gave this property -to the convent? That would make the ground sacred, and it would be -possible to rest in peace in it. The income might go to the children -while they are growing up, and it would mean an additional gain, as -Adolph would be fooled in his hope of inheriting from us. I think this -a remarkably happy solution of a difficult problem: how to give away -without losing anything by it.</p> - -<p><span class="small-c">OLD LADY</span>. Your superior intelligence has again asserted itself, and I -am quite of your opinion. But suppose condemnation proceedings should -be started—what would happen then?</p> - -<p><span class="small-c">JUDGE</span>. There is plenty of time to consider that when it happens. In -the meantime, let us first of all, and as quietly as possible, get the -mausoleum consecrated——</p> - -<p><span class="small-c">FRANCISCAN</span>. [<i>Enters</i>] The peace of the Lord be with you, Judge, and -with you, madam!</p> - -<p><span class="small-c">JUDGE</span>. You come most conveniently, Father, to hear something that -concerns the convent——</p> - -<p><span class="small-c">FRANCISCAN</span>. I am glad of it.</p> - -<blockquote> - -<p><i>The spot of light appears again on the mausoleum</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. And then we wanted to ask when the consecration of the -mausoleum might take place.</p> - -<p><span class="small-c">FRANCISCAN</span>. [<i>Staring at her</i>] Oh, is that so?</p> - -<p><span class="small-c">JUDGE</span>. Look, Father—look at that omen——</p> - -<p><span class="small-c">OLD LADY</span>. Yes, the spot must be sacred, indeed——</p> - -<p><span class="small-c">FRANCISCAN</span>. That's a will-o'-the-wisp.</p> - -<p><span class="small-c">OLD LADY</span>. Is it not a good sign? Does it not carry some kind of -message? Does it not prompt a pious mind to stop and consider? Would it -not be possible to turn this place into a refuge for desert wanderers -who are seeking——</p> - -<p><span class="small-c">FRANCISCAN</span>. Madam, let me speak a word to you in private. [<i>He moves -over to the right.</i></p> - -<p><span class="small-c">OLD LADY</span>. [<i>Following him</i>] Father?</p> - -<p><span class="small-c">FRANCISCAN</span>. [<i>Speaking in a subdued voice</i>] You, madam, enjoy a -reputation in this vicinity which you don't deserve, for you are the -worst sinner that I know of. You want to buy your pardon, and you want -to steal heaven itself, you who have already stolen from the Lord.</p> - -<p><span class="small-c">OLD LADY</span>. What is it I hear?</p> - -<p><span class="small-c">FRANCISCAN</span>. When you were sick and near death you made a vow to the -Lord that in case of recovery you would give a monstrance of pure gold -to the convent church. Your health was restored and you gave the holy -vessel, but it was of silver—gilded. Not for the sake of the gold, but -because of your broken vow and your deception, you are already damned.</p> - -<p><span class="small-c">OLD LADY</span>. I didn't know it. The goldsmith has cheated me.</p> - -<p><span class="small-c">FRANCISCAN</span>. You are lying, for I have the goldsmith's bill.</p> - -<p><span class="small-c">OLD LADY</span>. Is there no pardon for it?</p> - -<p><span class="small-c">FRANCISCAN</span>. No! For it is a mortal sin to cheat God.</p> - -<p><span class="small-c">OLD LADY</span>. Woe is me!</p> - -<p><span class="small-c">FRANCISCAN</span>. The settlement of your other crimes will have to take place -within yourself. But if you as much as touch a hair on the heads of the -children, then you shall learn who is their protector, and you shall -feel the iron rod.</p> - -<p><span class="small-c">OLD LADY</span>. The idea—that this infernal monk should dare to say such -things to me! If I am damned—then I want to be damned! Ha, ha!</p> - -<p><span class="small-c">FRANCISCAN</span>. Well, you may be sure that there will be no blessing for -your house and no peace for yourself until you have suffered every -suffering that you have brought on others.—May I speak a word with -you, Judge?</p> - -<blockquote> - -<p><i>The</i> Judge <i>approaches</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. Yes, give him what he deserves, so that one may be as good as -the other.</p> - -<p><span class="small-c">FRANCISCAN</span>. [<i>To the</i> Judge] Where did you get the idea of building -your tomb where the gallows used to stand?</p> - -<p><span class="small-c">JUDGE</span>. I suppose I got it from the devil!</p> - -<p><span class="small-c">FRANCISCAN</span>. Like the idea of casting off your children and robbing them -of their inheritance? But you have also been an unrighteous judge—you -have violated oaths and accepted bribes.</p> - -<p><span class="small-c">JUDGE</span>. I?</p> - -<p><span class="small-c">FRANCISCAN</span>. And now you want to erect a monument to yourself! You -want to build yourself an imperishable house in heaven! But listen to -me: this spot will never be consecrated, and you may consider it a -blessing if you are permitted to rest in common ground among ordinary -little sinners. There is a curse laid on this soil, because blood-guilt -attaches to it and because it is ill-gotten.</p> - -<p><span class="small-c">JUDGE</span>. What am I to do?</p> - -<p><span class="small-c">FRANCISCAN</span>. Repent, and restore the stolen property.</p> - -<p><span class="small-c">JUDGE</span>. I have never stolen. Everything has been legally acquired.</p> - -<p><span class="small-c">FRANCISCAN</span>. That, you see, is the worst part of all—that you regard -your crimes as lawful. Yes, I know that you even consider yourself -particularly favoured by Heaven because of your righteousness. But now -you will soon see what harvest is in store for you. Thorns and thistles -will grow in your vineyard. Helpless and abandoned you shall be, and -the peace of your old age will turn into struggle and strife.</p> - -<p><span class="small-c">JUDGE</span>. The devil you say!</p> - -<p><span class="small-c">FRANCISCAN</span>. Don't call him—he'll come anyhow!</p> - -<p><span class="small-c">JUDGE</span>. Let him come! Because we believe, we have no fear!</p> - -<p><span class="small-c">FRANCISCAN</span>. The devils believe also, and tremble!—Farewell! [<i>He goes -out</i>.</p> - -<p><span class="small-c">JUDGE</span>. [<i>To his wife</i>] What did he say to you?</p> - -<p><span class="small-c">OLD LADY</span>. You think I'll tell? What did he have to say to you?</p> - -<p><span class="small-c">JUDGE</span>. And you think I'll tell?</p> - -<p><span class="small-c">OLD LADY</span>. Are you going to keep any secrets from me?</p> - -<p><span class="small-c">JUDGE</span>. And how about you? It's what you have always done, but I'll get -to the bottom of your tricks some time.</p> - -<p><span class="small-c">OLD LADY</span>. Just wait a little, and I'll figure out where you keep the -money that is missing.</p> - -<p><span class="small-c">JUDGE</span>. So you are hiding money, too! Now there is no longer any use -in playing the hypocrite—just let yourself be seen in all your -abomination, you witch!</p> - -<p><span class="small-c">OLD LADY</span>. I think you have lost your reason—not that it was much to -keep! But you might at least preserve an appearance of decency, if you -can——</p> - -<p><span class="small-c">JUDGE</span>. And you might preserve your beauty—if you can! And your -perennial youth—ha, ha, ha! And your righteousness! You must have -known how to bewitch people, and hoodwink them, for now I see how -horribly ugly and old you are.</p> - -<p><span class="small-c">OLD LADY</span>. [<i>On whom the spot of light now appears</i>] Woe! It is burning -me!</p> - -<p><span class="small-c">JUDGE</span>. There I see you as you really are! [<i>The spot jumps to the</i> -<span class="small-c">JUDGE</span>] Woe! It is burning me now!</p> - -<p><span class="small-c">OLD LADY</span>. And how you look! [<i>Both withdraw to the right</i>.</p> - -<blockquote> - -<p>[<i>The</i> <span class="small-c">NEIGHBOUR</span> <i>and</i> <span class="small-c">AMELIA</span> <i>enter from the left</i>.</p></blockquote> - -<p><span class="small-c">NEIGHBOUR</span>. Yes, child, there is justice, both human and divine, but we -must have patience.</p> - -<p><span class="small-c">AMELIA</span>. I am willing to believe that justice is done, in spite of all -appearances to the contrary. But I cannot love my mother, and I have -never been able to do so. There is something within me that keeps -telling me that she is not only indifferent to me but actually hostile.</p> - -<p><span class="small-c">NEIGHBOUR</span>. So you have found it out?</p> - -<p><span class="small-c">AMELIA</span>. Why—she hates me, and a mother couldn't do that!</p> - -<p><span class="small-c">NEIGHBOUR</span>. Well, well!</p> - -<p><span class="small-c">AMELIA</span>. And I suffer from not being able to do my duty as a child and -love her.</p> - -<p><span class="small-c">NEIGHBOUR</span>. Well, as <i>that</i> has made you suffer, then you will soon—in -the hour of retribution—learn the great secret of your life.</p> - -<p><span class="small-c">AMELIA</span>. And I could stand everything, if she were only kind to my -children.</p> - -<p><span class="small-c">NEIGHBOUR</span>. Don't fear on that account, for her power is now ended. The -measure of her wickedness has been heaped full and is now overflowing.</p> - -<p><span class="small-c">AMELIA</span>. Do you think so? But this very day she tore my Adolph away from -me, and now she has humiliated me still further by dressing me as a -servant girl and making me do the work in the kitchen.</p> - -<p><span class="small-c">NEIGHBOUR</span>. Patience!</p> - -<p><span class="small-c">AMELIA</span>. Yes, so you say! Oh, I can understand deserved suffering, but -to suffer without cause——</p> - -<p><span class="small-c">NEIGHBOUR</span>. My dear child, the prisoners in the penitentiary are -suffering justly, so there is no honour in that; but to be permitted to -suffer unjustly, that's a grace and a trial of which steadfast souls -bring home golden fruits.</p> - -<p><span class="small-c">AMELIA</span>. You speak so beautifully that everything you say seems true -to me.—Hush! There are the children—and I don't want them to see me -dressed like this.</p> - -<blockquote> - -<p><i>She and the</i> <span class="small-c">NEIGHBOUR</span> <i>take up a position where they are -hidden by a tall shrub</i>.</p></blockquote> - -<p><span class="small-c">ERIC</span> <i>and</i> <span class="small-c">THYRA</span> <i>enter; the spot of light rests now on one of them and -now on the other</i>.</p> - -<p><span class="small-c">ERIC</span>. Look at the sun spot!</p> - -<p><span class="small-c">THYRA</span>. Oh, you beautiful sun! But didn't he go to bed a while ago?</p> - -<p><span class="small-c">ERIC</span>. Perhaps he is allowed to stay up longer than usual because he has -been very good all day.</p> - -<p><span class="small-c">THYRA</span>. But how could the sun be good? Now you are stupid, Eric.</p> - -<p><span class="small-c">ERIC</span>. Of course the sun can be good—doesn't he make the grapes and the -peaches?</p> - -<p><span class="small-c">THYRA</span>. But if he is so good, then he might also give us a peach.</p> - -<p><span class="small-c">ERIC</span>. So he will, if we only wait a little. Aren't there any on the -ground at all?</p> - -<p><span class="small-c">THYRA</span>. [<i>Looking</i>] No, but perhaps we might get one from the tree.</p> - -<p><span class="small-c">ERIC</span>. No, grandmother won't let us.</p> - -<p><span class="small-c">THYRA</span>. Grandmother has said that we mustn't shake the tree, but I -thought we could play around the tree so that one might fall down -anyhow—of itself.</p> - -<p><span class="small-c">ERIC</span>. Now you are stupid, Thyra. That would be exactly the same thing. -[<i>Looking up at the tree</i>] Oh, if only a peach would fall down!</p> - -<p><span class="small-c">THYRA</span>. None will fall unless you shake.</p> - -<p><span class="small-c">ERIC</span>. You mustn't talk like that, Thyra, for that is a sin.</p> - -<p><span class="small-c">THYRA</span>. Let's pray God to let one fall.</p> - -<p><span class="small-c">ERIC</span>. One shouldn't pray God for anything nice—that is, to eat!—Oh, -little peach, won't you fall? I want you to fall! [<i>A peach falls from -the tree, and</i> <span class="small-c">ERIC</span> <i>picks it up</i>] There, what a nice tree!</p> - -<p><span class="small-c">THYRA</span>. But now you must give me half, for it was I who said that the -tree had to be shaken——</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Enters with a big birch rod</i>] So you have been shaking the -tree—now you'll see what you'll get, you nasty children——</p> - -<p><span class="small-c">ERIC</span>. No, grandmother, we didn't shake the tree!</p> - -<p><span class="small-c">OLD LADY</span>. So you are lying, too. Didn't I hear Thyra say that the tree -had to be shaken? Come along now, and I'll lock you up in the cellar -where neither sun nor moon is to be seen——</p> - -<p><span class="small-c">AMELIA</span>. [<i>Coming forward</i>] The children are innocent, mother.</p> - -<p><span class="small-c">OLD LADY</span>. That's a fine thing—to stand behind the bushes listening, -and then to teach one's own children how to lie besides!</p> - -<p><span class="small-c">NEIGHBOUR</span>. [<i>Appearing</i>] Nothing has been spoken here but the truth, -madam.</p> - -<p><span class="small-c">OLD LADY</span>. Two witnesses behind the bushes—exactly as if we were in -court. But I know the tricks, I tell you, and what I have heard and -seen is sufficient evidence for me.—Come along, you brats!</p> - -<p><span class="small-c">AMELIA</span>. This is sinful and shameful——</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">NEIGHBOUR</span> <i>signals to</i> <span class="small-c">AMELIA</span> <i>by putting his finger -across his lips</i>.</p></blockquote> - -<p><span class="small-c">AMELIA</span>. [<i>Goes up to her children</i>] Don't cry, children! Obey -grandmother now—there is nothing to be afraid of. It is better to -suffer evil than to do it, and I know that you are innocent. May God -preserve you! And don't forget your evening prayer!</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">OLD LADY</span> <i>goes out with the children</i>.</p></blockquote> - -<p><span class="small-c">AMELIA</span>. Belief comes so hard, but it is sweet if you can achieve it.</p> - -<p><span class="small-c">NEIGHBOUR</span>. Is it so hard to believe that God is good—at the very -moment when his kind intentions are most apparent?</p> - -<p><span class="small-c">AMELIA</span>. Give me a great and good word for the night, so that I may -sleep on it as on a soft pillow.</p> - -<p><span class="small-c">NEIGHBOUR</span>. You shall have it. Let me think a moment.—This is it: Isaac -was to be sacrificed——</p> - -<p><span class="small-c">AMELIA</span>. Oh, no, no!</p> - -<p><span class="small-c">NEIGHBOUR</span>. Quiet, now!—Isaac was to <i>be</i> sacrificed, but he never was!</p> - -<p><span class="small-c">AMELIA</span>. Thank you! Thank you! And good night!</p> - -<blockquote> - -<p><i>She goes out to the right</i>.</p></blockquote> - -<p><span class="small-c">NEIGHBOUR</span>. Good night, my child!</p> - -<blockquote> - -<p>[<i>He goes slowly out by a path leading to the rear</i>.</p></blockquote> - -<blockquote> - -<p><span class="small-c">THE PROCESSION OF SHADOWS</span> <i>enters from the mausoleum and moves -without a sound across the stage toward the right; between -every two figures there is a distance of five steps</i>:</p> - -<p><span class="small-c">DEATH</span> <i>with its scythe and hour-glass</i>.</p> - -<p><span class="small-c">THE LADY IN WHITE</span>—<i>blond, tall, and slender; on one of her -fingers she wears a ring with a green stone that seems to emit -rays of light</i>.</p> - -<p><span class="small-c">THE GOLDSMITH</span>, <i>with the counterfeit monstrance</i>.</p> - -<p><span class="small-c">THE BEHEADED SAILOR</span>, <i>carrying his head in one hand</i>.</p> - -<p><span class="small-c">THE AUCTIONEER</span>, <i>with hammer and note-book</i>.</p> - -<p><span class="small-c">THE CHIMNEY-SWEEP</span>, <i>with rope, scraper, and broom</i>.</p> - -<p><span class="small-c">THE FOOL</span>, <i>carrying his cap with the ass's ears and bells at -the top of a pole, across which is placed a signboard with the -word "Caul" on it</i>.</p> - -<p><span class="small-c">THE SURVEYOR</span>, <i>with measuring rod and tripod</i>.</p> - -<p><span class="small-c">THE MAGISTRATE</span>, <i>dressed and made up like the</i> <span class="small-c">JUDGE</span>; <i>he -carries a rope around his neck; and his right hand is raised to -show that the forefinger is missing</i>.</p> - -<p><i>The stage is darkened at the beginning of the procession and -remains empty while it lasts</i>.</p> - -<p><i>When it is over, the</i> <span class="small-c">JUDGE</span> <i>enters from the left, followed by -the</i> <span class="small-c">OLD LADY</span>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. Why are you playing the ghost at this late hour?</p> - -<p><span class="small-c">OLD LADY</span>. And how about yourself?</p> - -<p><span class="small-c">JUDGE</span>. I couldn't sleep.</p> - -<p><span class="small-c">OLD LADY</span>. Why not?</p> - -<p><span class="small-c">JUDGE</span>. Don't know. Thought I heard children crying in the cellar.</p> - -<p><span class="small-c">OLD LADY</span>. That's impossible. Oh, no, I suppose you didn't dare to sleep -for fear I might be prying in your hiding-places.</p> - -<p><span class="small-c">JUDGE</span>. And you feared I might be after yours! A pleasant old age this -will be for Philemon and Baucis!</p> - -<p><span class="small-c">OLD LADY</span>. At least no gods will come to visit us.</p> - -<p><span class="small-c">JUDGE</span>. No, I shouldn't call them gods.</p> - -<blockquote> - -<p><i>At this moment the</i> <span class="small-c">PROCESSION</span> <i>begins all over again, -starting from the mausoleum as before and moving in silence -toward the right</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. O Mary, Mother of God, what is this?</p> - -<p><span class="small-c">JUDGE</span>. Merciful heavens! [<i>Pause</i>]</p> - -<p><span class="small-c">OLD LADY</span>. Pray! Pray for us!</p> - -<p><span class="small-c">JUDGE</span>. I have tried, but I cannot.</p> - -<p><span class="small-c">OLD LADY</span>. Neither can I! The words won't come—and no thoughts! -[<i>Pause</i>]</p> - -<p><span class="small-c">JUDGE</span>. How does the Lord's Prayer begin?</p> - -<p><span class="small-c">OLD LADY</span>. I can't remember, but I knew it this morning. [<i>Pause</i>] Who -is the woman in white?</p> - -<p><span class="small-c">JUDGE</span>. It is she—Amelia's mother—whose very memory we wanted to kill.</p> - -<p><span class="small-c">OLD LADY</span>. Are these shadows or ghosts, or nothing but our own sickly -dreams?</p> - -<p><span class="small-c">JUDGE</span>. [<i>Takes up his pocket-knife</i>] They are delusions sent by the -devil. I'll throw cold steel after them.—Open the knife for me, -Caroline! I can't, don't you see?</p> - -<p><span class="small-c">OLD LADY</span>. Yes, I see—it isn't easy without a forefinger.—But I can't -either! [<i>She drops the knife</i>]</p> - -<p><span class="small-c">JUDGE</span>. Woe to us! Steel won't help here! Woe! There's the beheaded -sailor! Let us get away from here!</p> - -<p><span class="small-c">OLD LADY</span>. That's easy to say, but I can't move from the spot.</p> - -<p><span class="small-c">JUDGE</span>. And I seem to be rooted to the ground.—No, I am not going to -look at it any longer!</p> - -<blockquote> - -<p>[<i>He covers his eyes with one hand</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. But what is it? Mists out of the earth, or shadows cast by -the trees?</p> - -<p><span class="small-c">JUDGE</span>. No, it's our own vision that plays us false. There I go now, and -yet I am standing here. Just let me get a good night's sleep, and I'll -laugh at the whole thing!—The devil! Is this masquerade never going to -end?</p> - -<p><span class="small-c">OLD LADY</span>. But why do you look at it then?</p> - -<p><span class="small-c">JUDGE</span>. I see it right through my hand—I see it in the dark, with my -eyelids closed!</p> - -<p><span class="small-c">OLD LADY</span>. But now it's over.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">PROCESSION</span> <i>has passed out</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. Praised be—why, I can't get the word out!—I wonder if it will -be possible to sleep to-night? Perhaps we had better send for the -doctor?</p> - -<p><span class="small-c">OLD LADY</span>. Or Father Colomba, perhaps?</p> - -<p><span class="small-c">JUDGE</span>. He can't help, and he who could won't!—Well, let the Other One -do it then!</p> - -<blockquote> - -<p><span class="small-c">THE OTHER ONE</span> <i>enters from behind the Lady Chapel. He is -extremely thin and moth-eaten. His thin, snuff-coloured hair is -parted in the middle. His straggly beard looks as if it were -made out of tow. His clothes are shabby and outgrown, and he -seems to wear no linen. A red woollen muffler is wound around -his neck. He wears spectacles and carries a piece of rattan -under his arm</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. Who is that?</p> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>In a low voice</i>] I am the Other One!</p> - -<p><span class="small-c">Judge</span>. [<i>To his wife</i>] Make the sign of the cross! I can't!</p> - -<p><span class="small-c">THE OTHER ONE</span>. The sign of the cross does not frighten me, for I am -undergoing my ordeal merely that I may wear it.</p> - -<p><span class="small-c">JUDGE</span>. Who are you?</p> - -<p><span class="small-c">THE OTHER ONE</span>. I became the Other One because I wanted to be the First -One. I was a man of evil, and my punishment is to serve the good.</p> - -<p><span class="small-c">JUDGE</span>. Then you are not the Evil One?</p> - -<p><span class="small-c">THE OTHER ONE</span>. I am. And it is my task to torment you into finding the -cross, before which we are to meet some time.</p> - -<p><span class="small-c">OLD LADY</span>. [<i>To</i> <span class="small-c">Judge</span>] Don't listen to him! Tell him to go!</p> - -<p><span class="small-c">THE OTHER ONE</span>. It won't help. You have called me, and you'll have to -bear with me.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">JUDGE</span> <i>and the</i> <span class="small-c">OLD LADY</span> <i>go out to the left</i>.</p> - -<p><span class="small-c">THE OTHER ONE</span> <i>goes after them</i>.</p></blockquote> - -<p style="text-align: center;"><i>Curtain</i>.</p> - - - -<hr class="chap" /> -<h3><a name="ACT_II" id="ACT_II">ACT II</a></h3> - - -<blockquote> - -<p><i>A huge room with whitewashed walls and a ceiling of darkened -beams. The windows are small and deeply set, with bars on the -outside. The room is crowded with furniture of every kind: -wardrobes, chiffoniers, dressers, chests, tables. On the -furniture are placed silver services, candelabra, candlesticks, -pitchers, table ware, vases, statues, etc.</i></p> - -<p><i>There is a door in the rear. Portraits of the</i> <span class="small-c">JUDGE</span> <i>and the</i> -<span class="small-c">OLD LADY</span> <i>hang on the rear wall, one on either side of the door.</i></p> - -<p><i>A harp stands beside a small sewing-table with an easy chair -near it</i>.</p> - -<p><span class="small-c">AMELIA</span> <i>is standing before a table at the right, trying to -clean a coffee-set of silver</i>.</p> - -<p><i>The sun is shining in through the windows in the background</i>.</p></blockquote> - -<hr class="tb" /> - -<p><span class="small-c">NEIGHBOUR</span>. [<i>Enters</i>] Well, child, how is your patience?</p> - -<p><span class="small-c">AMELIA</span>. Thank you, neighbour, it might be worse. But I never had a -worse job than this silver service here. I have worked at it for half -an hour and cannot get it clean.</p> - -<p><span class="small-c">NEIGHBOUR</span>. That's strange, but I suppose there are reasons for it, as -the Judge says. Could you sleep last night?</p> - -<p><span class="small-c">AMELIA</span>. Thank you, I slept very well. But do you know that father spent -the whole night in the vineyard with his rattle——?</p> - -<p><span class="small-c">NEIGHBOUR</span>. Yes, I heard him. What kind of foolish idea was that?</p> - -<p><span class="small-c">AMELIA</span>. He thought he heard the starlings that had come to eat the -grapes.</p> - -<p><span class="small-c">NEIGHBOUR</span>. Poor fellow! As if the starlings were abroad nights!—And -the children?</p> - -<p><span class="small-c">AMELIA</span>. Well, the children—she is still keeping them in the cellar, -and I hope she won't forget to give them something to eat.</p> - -<p><span class="small-c">NEIGHBOUR</span>. He who feeds the birds will not forget your children, -my dear Amelia. And now I'll tell you something which, as a rule, -shouldn't be told. There is a small hole in the wall between the -Judge's wine-cellar and my own. When I was down there this morning to -get the place aired out, I heard voices. And when I looked through the -hole, I saw Eric and Thyra playing with a strange little boy.</p> - -<p><span class="small-c">AMELIA</span>. You could see them, neighbour? And——</p> - -<p><span class="small-c">NEIGHBOUR</span>. They were happy and well——</p> - -<p><span class="small-c">AMELIA</span>. Who was their playmate?</p> - -<p><span class="small-c">NEIGHBOUR</span>. That's more than I can guess.</p> - -<p><span class="small-c">AMELIA</span>. This whole dreadful house is nothing but secrets.</p> - -<p><span class="small-c">NEIGHBOUR</span>. That is true, but it is not for us to inquire into them.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Enters, carrying a rattle</i>] So you are in here conspiring, -neighbour! Is it not enough that your evil eye has brought the -starlings into my vineyard? For you do have the evil eye—but we'll -soon put it out. I know a trick or two myself.</p> - -<p><span class="small-c">NEIGHBOUR</span>. [<i>To</i> <span class="small-c">AMELIA</span>] Is it worth while to set him right? One who -doesn't believe what is told him! [<i>He goes out</i>.</p> - -<p><span class="small-c">AMELIA</span>. No, this is beyond us!</p> - -<p><span class="small-c">JUDGE</span>. Tell me, Amelia, have you noticed where your mother is looking -for things when she believes herself to be alone?</p> - -<p><span class="small-c">AMELIA</span>. No, father.</p> - -<p><span class="small-c">JUDGE</span>. I can see by your eyes that you know. You were looking this -way. [<i>He goes up to a chest of drawers and happens to get into the -sunlight</i>] Damn the sun that is always burning me! [<i>He pulls down one -of the shades and returns to the chest of drawers</i>] This must be the -place!—Now, let me see! The stupidest spot is also the cleverest, so -that's where I must look—as in this box of perfume, for instance—And -right I was! [<i>He pulls out a number of bank-notes and stocks</i>] What's -this? Twelve English bills of a pound each. Twelve of them!—Oho! Then -it is easy to imagine the rest. [<i>Pushes the bills and securities into -his pockets</i>] But what is it I hear? There are the starlings again! -[<i>He goes to an open window and begins to play the rattle</i>] Get away -there!</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Enters</i>] Are you still playing the ghost?</p> - -<p><span class="small-c">JUDGE</span>. Are you not in the kitchen?</p> - -<p><span class="small-c">OLD LADY</span>. No, as you see, I am not. [<i>To</i> <span class="small-c">AMELIA</span>] Are you not done with -the cleaning yet?</p> - -<p><span class="small-c">AMELIA</span>. No, mother, I'll never get done with it. The silver won't -clean, and I don't think it is real.</p> - -<p><span class="small-c">OLD LADY</span>. Not real? Let me see!—Why, indeed, it's quite black! [<i>To -the</i> <span class="small-c">JUDGE</span>, <i>who in the meantime has pulled down another shade</i>] Where -did you get this set from?</p> - -<p><span class="small-c">JUDGE</span>. That one? Why, it came from an estate.</p> - -<p><span class="small-c">OLD LADY</span>. For your services as executor! What you got was like what you -gave!</p> - -<p><span class="small-c">JUDGE</span>. You had better not make any defamatory remarks, for they are -punishable under the law.</p> - -<p><span class="small-c">OLD LADY</span>. Are you crazy, or was there anything crazy about my remark?</p> - -<p><span class="small-c">JUDGE</span>. And for that matter, it is silver—sterling silver.</p> - -<p><span class="small-c">OLD LADY</span>. Then it must be Amelia's fault.</p> - -<p>A <span style="font-size: 0.8em;">VOICE</span>. [<i>Coming through the window from the outside</i>] The Judge can -turn white into black, but he can't turn black into white!</p> - -<p><span class="small-c">JUDGE</span>. Who said that?</p> - -<p><span class="small-c">OLD LADY</span>. It seemed as if one of the starlings had been speaking.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Pulling down the remaining shade</i>] Now the sun is here, and a -while ago it seemed to be over there.</p> - -<p><span class="small-c">OLD LADY</span>. [<i>To</i> <span class="small-c">AMELIA</span>] Who was it that spoke?</p> - -<p><span class="small-c">AMELIA</span>. I think it was that strange school-teacher with the red muffler.</p> - -<p><span class="small-c">JUDGE</span>. Ugh! Let us talk of something else.</p> - -<p><span class="small-c">SERVANT GIRL</span>. [<i>Enters</i>] Dinner is served.</p> - -<blockquote> - -<p>[<i>She goes out; a pause follows</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. You go down and eat, Amelia.</p> - -<p><span class="small-c">AMELIA</span>. Thank you, mother. [<i>She goes out</i>.</p> - -<p><i>The</i> <span class="small-c">JUDGE</span> <i>sits down on a chair close to one of the chests</i>.</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Sliding up to the chest of drawers >where the box of -perfume stands</i>] Are you not going to eat anything?</p> - -<p><span class="small-c">JUDGE</span>. No, I am not hungry. How about you?</p> - -<p><span class="small-c">OLD LADY</span>. I have just eaten. [<i>Pause</i>.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Takes a piece of bread from his pocket</i>] Then you'll excuse -me, I'm sure.</p> - -<p><span class="small-c">OLD LADY</span>. There's a roast of venison on the table.</p> - -<p><span class="small-c">JUDGE</span>. You don't say so!</p> - -<p><span class="small-c">OLD LADY</span>. Do you think I poison the food?</p> - -<p><span class="small-c">JUDGE</span>. Yes, it tasted of carbolic acid this morning.</p> - -<p><span class="small-c">OLD LADY</span>. And what I ate had a sort of metallic taste——</p> - -<p><span class="small-c">JUDGE</span>. If I assure you that I have put nothing whatever in your food——</p> - -<p><span class="small-c">OLD LADY</span>. Then I don't believe you. But I can assure you——</p> - -<p><span class="small-c">JUDGE</span>. And I won't believe it. [<i>Eating his bread</i>] Roast of venison -is a good thing—I can smell it from here—but bread isn't bad either. -[<i>Pause</i>.</p> - -<p><span class="small-c">OLD LADY</span>. Why are you sitting there watching that chest?</p> - -<p><span class="small-c">JUDGE</span>. For the same reason that makes you guard those perfumes.</p> - -<p><span class="small-c">OLD LADY</span>. So you have been there, you sneak-thief!</p> - -<p><span class="small-c">JUDGE</span>. Ghoul!</p> - -<p><span class="small-c">OLD LADY</span>. To think of it—such words between us! <i>Us</i>!</p> - -<blockquote> - -<p>[<i>She begins to weep</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. Yes, the world is evil and so is man.</p> - -<p><span class="small-c">OLD LADY</span>. Yes, you may well say so—and ungrateful above all. -Ungrateful children rob you of the rent; ungrateful grandchildren rob -the fruit from the trees. You are right, indeed: the world is evil——</p> - -<p><span class="small-c">JUDGE</span>. I ought to know, I who have had to witness all the rottenness, -and who have been forced to pass the death sentence. That is why the -mob hates me, just as if I had made the laws——</p> - -<p><span class="small-c">OLD LADY</span>. It doesn't matter what the people say, if you have only a -clean conscience—[<i>Three loud knocks are heard from the inside of the -biggest wardrobe</i>] What was that? Who is there?</p> - -<p><span class="small-c">JUDGE</span>. Oh, it was that wardrobe. It always cracks when there is rain -coming. [<i>Three distinct knocks are heard again</i>.</p> - -<p><span class="small-c">OLD LADY</span>. It's some kind of performance started by that strolling -charlatan.</p> - -<blockquote> - -<p><i>The cover of the coffee-pot which</i> <span class="small-c">AMELIA</span> <i>was cleaning, opens -and drops down again with a bang; this happens several times in -succession</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. What was <i>that</i>, then?</p> - -<p><span class="small-c">OLD LADY</span>. Oh, yes, it's that same juggler. He can play tricks, but he -can't scare me. [<i>The coffee-pot acts as before.</i></p> - -<p><span class="small-c">JUDGE</span>. Do you think he is one of those mesmerists?</p> - -<p><span class="small-c">OLD LADY</span>. Well, whatever it happens to be called——</p> - -<p><span class="small-c">JUDGE</span>. If that's so, how can he know our private secrets?</p> - -<p><span class="small-c">OLD LADY</span>. Secrets? What do you mean by that?</p> - -<blockquote> - -<p><i>A clock begins to strike and keeps it up as if it never meant -to stop</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. Now I am getting scared.</p> - -<p><span class="small-c">OLD LADY</span>. Then Old Nick himself may take me if I stay here another -minute! [<i>The spot of sunlight appears suddenly on the portrait of the</i> -<span class="small-c">OLD LADY</span>] Look! He knows that secret, too!</p> - -<p><span class="small-c">JUDGE</span>. You mean that there is a portrait of <i>her</i> behind yours?</p> - -<p><span class="small-c">OLD LADY</span>. Come away from here and let us go down and eat. And let us -see whether we can't sell off the house and all the rest at auction——</p> - -<p><span class="small-c">JUDGE</span>. You are right—sell off the whole caboodle and start a new -life!—And now let us go down and eat.</p> - -<blockquote> - -<p><span class="small-c">THE OTHER ONE</span> <i>appears in the doorway</i>.</p> - -<p><i>The</i> <span class="small-c">JUDGE</span> <i>and the</i> <span class="small-c">OLD LADY</span> <i>draw back from him</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. That's an ordinary human being!</p> - -<p><span class="small-c">OLD LADY</span>. Speak to him!</p> - -<p><span class="small-c">JUDGE</span>. [<i>To</i> <span class="small-c">THE OTHER ONE</span>] Who are you, sir?</p> - -<p><span class="small-c">THE OTHER ONE</span>. I have told you twice. That you don't believe me is a -part of your punishment, for if you could believe, your sufferings -would be shortened by it.</p> - -<p><span class="small-c">JUDGE</span>. [<i>To his wife</i>] It's—<i>him</i>—sure enough! For I feel as if I -were turning into ice. How are we to get rid of him?—Why, they say -that the unclean spirits cannot bear the sound of music. Play something -on the harp, Caroline.</p> - -<blockquote> - -<p><i>Though badly frightened, the</i> <span class="small-c">OLD LADY</span> <i>sits down at the table -on which the harp stands and begins to play a slow prelude in a -minor key</i>.</p> - -<p><span class="small-c">THE OTHER ONE</span> <i>listens reverently and with evident emotion</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. [<i>To the</i> <span class="small-c">JUDGE</span>] Is he gone?</p> - -<p><span class="small-c">THE OTHER ONE</span>. I thank you for the music, madam. It lulls the pain -and awakens memories of better things even in a lost soul—Thank you, -madam!—Speaking of the auction, I think you are doing right, although, -in my opinion, an honest declaration of bankruptcy would be still -better—Yes, surrender your goods, and let every one get back his own.</p> - -<p><span class="small-c">JUDGE</span>. Bankruptcy? I have no debts——</p> - -<p><span class="small-c">THE OTHER ONE</span>. No debts!</p> - -<p><span class="small-c">OLD LADY</span>. My husband <i>has</i> no debts!</p> - -<p><span class="small-c">THE OTHER ONE</span>. No debts! That would be happiness, indeed!</p> - -<p><span class="small-c">JUDGE</span>. Well, that's the truth! But other people are in debt to me——</p> - -<p><span class="small-c">THE OTHER ONE</span>. Forgive them then!</p> - -<p><span class="small-c">JUDGE</span>. This is not a question of pardon, but of payment——</p> - -<p><span class="small-c">THE OTHER ONE</span>. All right! Then you'll be made to pay!—For the -moment—farewell! But we'll meet frequently, and the last time at the -great auction! [<i>He goes out backward</i>.</p> - -<p><span class="small-c">JUDGE</span>. He's afraid of the sun—he, too! Ha-ha!</p> - -<p><span class="small-c">THE OTHER ONE</span>. Yes, for some time yet. But once I have accustomed -myself to the light, I shall hate darkness.</p> - -<blockquote> - -<p>[<i>He disappears</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. [<i>To the</i> <span class="small-c">JUDGE</span>] Do you really think he is—the Other One?</p> - -<p><span class="small-c">JUDGE</span>. Of course, that's not the way he is supposed to look but then -times are changing and we with them. They used to say that he had gold -and fame to give away, but this fellow goes around dunning——</p> - -<p><span class="small-c">OLD LADY</span>. Oh, he's a sorry lot, and a charlatan—that's all! A milksop -who doesn't dare to bite, no matter how much he would like to!</p> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>Standing in the doorway again</i>] Take care, I tell you! -Take care!</p> - -<p><span class="small-c">JUDGE</span>. [<i>Raising his right hand</i>] Take care yourself!</p> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>Pointing at the</i> <span class="small-c">JUDGE</span> <i>with one hand as if it were a -revolver</i>] Shame!</p> - -<p><span class="small-c">JUDGE</span>. [<i>Unable to move</i>] Woe is me!</p> - -<p><span class="small-c">THE OTHER ONE</span>. You have never believed in anything good. Now you shall -have to believe in the Evil One. He who is <i>all goodness</i> can harm -nobody, you see, and so he leaves that to such villains as myself. But -for the sake of greater effectiveness, you two must torture yourselves -and each other.</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Kneeling before</i> <span class="small-c">THE OTHER ONE</span>] Spare us! Help us! Mercy!</p> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>With a gesture as if he were tearing his clothes</i>] -Get up, woman! Woe is me! There is One, and One only, to whom you may -pray! Get up now, or—Yes, now you believe, although I don't wear -a red cloak, and don't carry sword or purse, and don't crack any -jokes—but beware of taking me in jest! I am serious as sin and stern -as retribution! I have not come to tempt you with gold and fame, but -to chastise you with rods and scorpions—[<i>The clock begins to strike -again; the stage turns dark</i>] Your time is nearly up. Therefore, put -your house in order—because die you must! [<i>A noise as of thunder is -heard</i>] Whose voice is speaking now? Do you think <i>he</i> can be scared -off with your rattle when he comes sweeping across your vineyard? Storm -and Hail are his names; destruction nestles under his wings, and in his -claws he carries punishment. Put on your caul now, and don your good -conscience.</p> - -<blockquote> - -<p>[<i>The rattling of the hail-storm is heard outside</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. Mercy!</p> - -<p><span class="small-c">THE OTHER ONE</span>. Yes, if you promise repentance.</p> - -<p><span class="small-c">JUDGE</span>. I promise on my oath——</p> - -<p><span class="small-c">THE OTHER ONE</span>. You can take no oath, for you have already perjured -yourself. But promise first of all to set the children free—and then -all the rest!</p> - -<p><span class="small-c">JUDGE</span>. I promise! Before the sun has set, the children shall be here!</p> - -<p><span class="small-c">THE OTHER ONE</span>. That's the first step ahead, but if you turn back, then -you'll see that I am as good as my name, which is—Legion!</p> - -<blockquote> - -<p><i>He raises the rattan, and at that moment the</i> <span class="small-c">JUDGE</span> <i>comes -able to move again</i>.</p></blockquote> - -<p style="text-align: center;"><i>Curtain</i>.</p> - - - -<hr class="chap" /> -<h3><a name="ACT_III" id="ACT_III">ACT III</a></h3> - - -<blockquote> - -<p><i>A wine-cellar, with rows of casks along both side walls. The -doorway in the rear is closed by an iron door</i>.</p> - -<p><i>Every cask is marked with the name of the urine kept in it. -Those nearest the foreground have small shelves above the taps, -and the shelves hold glasses</i>.</p> - -<p><i>At the right, in the foreground, stands a wine-press and near -it are a couple of straw-bottomed chairs</i>.</p> - -<p><i>Bottles, funnels, siphons, crates, etc., are scattered about -the place</i>.</p></blockquote> - -<hr class="tb" /> - -<p><span class="small-c">ERIC</span> <i>and</i> <span class="small-c">THYRA</span> <i>are seated by the wine-press</i>.</p> - -<p><span class="small-c">ERIC</span>. I think it's awfully dull.</p> - -<p><span class="small-c">THYRA</span>. I think grandmother is nasty.</p> - -<p><span class="small-c">ERIC</span>. You mustn't talk like that.</p> - -<p><span class="small-c">THYRA</span>. No, perhaps not, but she <i>is</i> nasty.</p> - -<p><span class="small-c">ERIC</span>. You mustn't, Thyra, for then the little boy won't come and play -with us again.</p> - -<p><span class="small-c">THYRA</span>. Then I won't say it again. I only wish it wasn't so dark.</p> - -<p><span class="small-c">ERIC</span>. Don't you remember, Thyra, that the boy said we shouldn't -complain——</p> - -<p><span class="small-c">THYRA</span>. Then I won't do it any more—[<i>The spot of sunlight appears on -the ground</i>] Oh, look at the sun-spot!</p> - -<blockquote> - -<p>[<i>She jumps up and places her foot on the light.</i></p></blockquote> - -<p><span class="small-c">ERIC</span>. You mustn't step on the sun, Thyra. That's a sin!</p> - -<p><span class="small-c">THYRA</span>. I didn't mean to step on him. I just wanted to have him. Now -see—I have him in my arms, and I can pat him.—Look! Now he's kissing -me right on the mouth.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">PLAYMATE</span> <i>enters from behind one of the casks; he wears a -white garment reaching below his knees, and a blue scarf around -the waist; on his feet are sandals; he is blond, and when he -appears the cellar grows lighter</i>.</p></blockquote> - -<p><span class="small-c">ERIC</span>. [<i>Goes to meet him and shakes hands with him</i>] Hello, little -boy!—Come and shake hands, Thyra!—What's your name, boy? You must -tell us to-day.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">PLAYMATE</span> <i>merely looks at him</i>.</p></blockquote> - -<p><span class="small-c">THYRA</span>. You shouldn't be so forward, Eric, for it makes him -bashful.—But tell me, little boy, who is your papa?</p> - -<p><span class="small-c">PLAYMATE</span>. Don't be so curious. When you know me better, you'll learn -all those things.—But let us play now.</p> - -<p><span class="small-c">THYRA</span>. Yes, but nothing instructive, for that is so tedious. I want it -just to be nice.</p> - -<p><span class="small-c">PLAYMATE</span>. [<i>Smiling</i>] Shall I tell a story?</p> - -<p><span class="small-c">THYRA</span>. Yes, but not out of the Bible, for all those we know by heart——</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">PLAYMATE</span> <i>smiles again</i>.</p></blockquote> - -<p><span class="small-c">ERIC</span>. You say such things, Thyra, that he gets hurt——</p> - -<p><span class="small-c">PLAYMATE</span>. No, my little friends, you don't hurt me—But now, if you are -really good, we'll go and play in the open——</p> - -<p><span class="small-c">ERIC</span>. Oh, yes, yes!—But then, you know, grandmother won't let us——</p> - -<p><span class="small-c">PLAYMATE</span>. Yes, your grandmother has said that she wished you were out, -and so we'll go before she changes her mind. Come on now!</p> - -<p><span class="small-c">THYRA</span>. Oh, what fun! Oh——</p> - -<blockquote> - -<p><i>The door in the rear flies open and through the doorway is -seen a sunlit field planted with rye ready for the harvest. -Among the yellow ears grow bachelor's-buttons and daisies</i>.</p></blockquote> - -<p><span class="small-c">PLAYMATE</span>. Come, children! Come into the sunlight and feel the joy of -living!</p> - -<p><span class="small-c">THYRA</span>. Can't we take the sun-spot along? It's a pity to leave it here -in the darkness.</p> - -<p><span class="small-c">PLAYMATE</span>. Yes, if it is willing to go with you. Call it!</p> - -<p><span class="small-c">ERIC</span> <i>and</i> <span class="small-c">THYRA</span> <i>go toward the door, followed by the spot of light</i>.</p> - -<p><span class="small-c">ERIC</span>. Isn't it a nice little spot! [<i>Talks to the spot as if it were a -cat</i>] Puss, puss, puss, puss!</p> - -<p><span class="small-c">PLAYMATE</span>. Take it up on your arm, Thyra, for I don't think it can get -over the threshold.</p> - -<p><span class="small-c">THYRA</span> <i>gets the spot of light on her arm, which she bends as if -carrying something</i>.</p> - -<blockquote> - -<p><i>All three go out; the door closes itself. Pause</i>.</p> - -<p><i>The</i> <span class="small-c">JUDGE</span> <i>enters with a lantern, the</i> <span class="small-c">OLD LADY</span> <i>with the -birch rod</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. It's cool and nice here, and then there is no sun to bother -you.</p> - -<p><span class="small-c">JUDGE</span>. And how quiet it is. But where are the children?</p> - -<blockquote> - -<p>[<i>Both look for the children</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. It looks as if they had taken us at our word.</p> - -<p><span class="small-c">OLD LADY</span>. Us? Please observe that I didn't promise anything, for -he—you know—talked only to you toward the end.</p> - -<p><span class="small-c">JUDGE</span>. Perhaps, but this time we had better obey, for I don't want to -have any more trouble with hail-storms and such things.—However, the -children are not here, and I suppose they'll come back when they get -hungry.</p> - -<p><span class="small-c">OLD LADY</span>. And I wish them luck when they do! [<i>The rod is snatched out -of her hand and dances across the floor; finally it disappears behind -one of the casks</i>] Now it's beginning again.</p> - -<p><span class="small-c">JUDGE</span>. Well, why don't you submit and do as he—you know who!—says? I, -for my part, don't dare to do wrong any longer. The growing grapes have -been destroyed, and we must take pleasure in what is already safe. Come -here, Caroline, and let us have a glass of something good to brace us -up! [<i>He knocks on one of the casks and draws a glass of wine from it</i>] -This is from the year of the comet—anno 1869, when the big comet came, -and everybody said it meant war. And, of course, war did break out.</p> - -<blockquote> - -<p>[<i>He offers a filled glass to his wife</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. You drink first!</p> - -<p><span class="small-c">JUDGE</span>. Well, now—did you think there might be poison in this, too?</p> - -<p><span class="small-c">OLD LADY</span>. No, really, I didn't—but—we'll never again know what peace -is, or happiness!</p> - -<p><span class="small-c">JUDGE</span>. Do as I do: submit! [<i>He drinks</i>.</p> - -<p><span class="small-c">OLD LADY</span>. I want to, and I try to, but when I come to think how badly -other people have treated us, I feel that I am just as good as anybody -else. [<i>She drinks</i>] That's a very fine wine! [<i>She sits down</i>.</p> - -<p><span class="small-c">JUDGE</span>. The wine is good, and it makes the mind easier.—Yes, the -wiseacres say that we are rapscallions, one and all, so I can't see -what right anybody has to go around finding fault with the rest. [<i>He -drinks</i>] My own actions have always been legal; that is, in keeping -with prevailing laws and constitutions. If others happened to be -ignorant of the law, they had only themselves to blame, for no one has -a right to ignorance of that kind. For that reason, if Adolph does not -pay the rent, it is he who breaks the law, and not I.</p> - -<p><span class="small-c">OLD LADY</span>. And yet the blame falls on you, and you are made to appear -like a criminal. Yes, it is as I have always said: there is no justice -in this world. If you had done right, you should have brought suit -against Adolph and turned out the whole family. But then it isn't too -late yet—— [<i>She drinks</i>.</p> - -<p><span class="small-c">JUDGE</span>. Well, you see, if I were to carry out the law strictly, then I -should sue for the annulment of his marriage, and that would cut him -off from the property——</p> - -<p><span class="small-c">OLD LADY</span>. Why don't you do it?</p> - -<p><span class="small-c">JUDGE</span>. [<i>Looking around</i>] We-e-ell!—I suppose that would settle the -matter once for all. A divorce would probably not be granted, but I -think it would be possible to get the marriage declared invalid on -technical grounds——</p> - -<p><span class="small-c">OLD LADY</span>. And if there be no such grounds?</p> - -<p><span class="small-c">JUDGE</span>. [<i>Showing the influence of the wine</i>] There are technical -grounds for everything, if you only look hard enough.</p> - -<p><span class="small-c">OLD LADY</span>. Well, then! Think of it—how that good-for-nothing is wishing -the life out of us—but now he'll see how "the natural course of -events" makes the drones take to the road——</p> - -<p><span class="small-c">JUDGE</span>. Ha-ha! You're right, quite right! And then, you know, when I -think it over carefully—what reason have we for self-reproach? What -wrong have we done? It's mean to bring up that about the monstrance—it -didn't hurt anybody, did it? And as for my being guilty of perjury: -that's a pure lie. I got blood-poison in the finger—that's all—and -quite a natural thing.</p> - -<p><span class="small-c">OLD LADY</span>. Just as if I didn't know it. And I may as well add that this -hail-storm a while ago—why, it was as plain a thing as if it had been -foretold in the Farmer's Almanac!</p> - -<p><span class="small-c">JUDGE</span>. Exactly! That's what I think too. And for that reason, Caroline, -I think we had better forget all that fool talk—and if you feel as I -do, we'll just turn to another priest and get him to consecrate the -mausoleum.</p> - -<p><span class="small-c">OLD LADY</span>. Well, why shouldn't we?</p> - -<p><span class="small-c">JUDGE</span>. Yes, why shouldn't we? Perhaps because that mesmerist comes here -and talks a lot of superstitious nonsense?</p> - -<p><span class="small-c">OLD LADY</span>. Tell me, do you really think he is nothing but a mesmerist?</p> - -<p><span class="small-c">JUDGE</span>. [<i>Blustering</i>] That fellow? He's a first-class charlatan. A -che-ar-la-tan!</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Looking around</i>] I am not so sure.</p> - -<p><span class="small-c">JUDGE</span>. But I am sure. Su-ure! And if he should ever come before my eyes -again—just now, for instance—I'll drink his health and say: here's -to you, old humourist! [As <i>he raises the glass, it is torn out of his -hand and is seen to disappear through the wall</i>] What was that? [<i>The -lantern goes out.</i> <span class="small-c">OLD LADY</span>. Help!</p> - -<blockquote> - -<p>[<i>A gust of wind is heard, and then all is silence again</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. You just get some matches, and I'll clear this matter up. For I -am no longer afraid of anything. Not of anything!</p> - -<p><span class="small-c">OLD LADY</span>. Oh, don't, don't!</p> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>Steps from behind one of the casks</i>] Now we'll have to -have a talk in private.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Frightened</i>] Where did you come from?</p> - -<p><span class="small-c">THE OTHER ONE</span>. That is no concern of yours.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Straightening himself up</i>] What kind of language is that?</p> - -<p><span class="small-c">THE OTHER ONE</span>. Your own!—Off with your cap! [<i>He blows at the</i> <span class="small-c">JUDGE</span>, -<i>whose cap is lifted off his head and falls to the ground</i>] Now you -shall hear sentence pronounced: you have wanted to sever what has been -united by Him whose name I may not mention. Therefore you shall be -separated from her who ought to be the staff of your old age. Alone -you must run the gauntlet. Alone you must bear the qualms of sleepless -nights.</p> - -<p><span class="small-c">JUDGE</span>. Is that mercy?</p> - -<p><span class="small-c">THE OTHER ONE</span>. It is justice; it is the law: an eye for an eye, and a -tooth for a tooth! The gospel has a different sound, but of that you -didn't want to hear. Now, move I along. [<i>He beats the air with the -rattan.</i></p> - -<blockquote> - -<p><i>The scene changes to a garden with cypresses and yew-trees -clipped in the shape of obelisks, candelabra, vases, etc. Under -the trees grow roses, hollyhocks, foxgloves, etc. At the centre -of it is a spring above which droops a gigantic fuchsia in full -bloom</i>.<a name="FNanchor_1_2" id="FNanchor_1_2"></a><a href="#Footnote_1_2" class="fnanchor">[1]</a></p> - -<p><i>Back of the garden appears a field of rye, all yellow and -ready to be cut. Bachelor's-buttons and daisies grow among the -rye. A scarecrow hangs in the middle of the field. The distant -background is formed by vineyards and light-coloured rocks with -beech woods and ruined castles on them</i>.</p> - -<p><i>A road runs across the stage in the near background. At the -right is a covered Gothic arcade. In front of this stands a -statue of the Madonna with the Child</i>.</p></blockquote> - -<p><span class="small-c">ERIC</span> <i>and</i> <span class="small-c">THYRA</span> <i>enter hand in hand with the</i> <span class="small-c">PLAYMATE</span>.</p> - -<p><span class="small-c">ERIC</span>. Oh, how beautiful it is!</p> - -<p><span class="small-c">THYRA</span>. Who is living here?</p> - -<p><span class="small-c">PLAYMATE</span>. Whoever feels at home has his home here.</p> - -<p><span class="small-c">THYRA</span>. Can we play here?</p> - -<p><span class="small-c">PLAYMATE</span>. Anywhere except in that avenue over there to the right.</p> - -<p><span class="small-c">ERIC</span>. And may we pick the flowers?</p> - -<p><span class="small-c">PLAYMATE</span>. You may pick any flowers you want, but you mustn't touch the -tree at the fountain.</p> - -<p><span class="small-c">THYRA</span>. What kind of tree is that?</p> - -<p><span class="small-c">ERIC</span>. Why, you know, it is one of those they call [<i>lowering his -voice</i>] "Christ's Blood-drops."</p> - -<p><span class="small-c">THYRA</span>. You should cross yourself, Eric, when you mention the name of -the Lord.</p> - -<p><span class="small-c">ERIC</span>. [<i>Makes the sign of the cross</i>] Tell me, little boy, why mustn't -we touch the tree?</p> - -<p><span class="small-c">THYRA</span>. You should obey without asking any questions, Eric.—But tell -me, little boy, why is that ugly scarecrow hanging there? Can't we take -it away?</p> - -<p><span class="small-c">PLAYMATE</span>. Yes, indeed, you may, for then the birds will come and sing -for us.</p> - -<blockquote> - -<p><span class="small-c">ERIC</span> <i>and</i> <span class="small-c">THYRA</span> <i>run into the rye-field and tear down the -scarecrow</i>.</p></blockquote> - -<p><span class="small-c">ERIC</span>. Away with you, you nasty old scarecrow! Come and eat now, little -birds! [<i>The Golden Bird comes flying from the right and perches on the -fuchsia</i>] Oh, see the Golden Bird, Thyra!</p> - -<p><span class="small-c">THYRA</span>. Oh, how pretty it is! Does it sing, too?</p> - -<blockquote> - -<p>[<i>The bird calls like a cuckoo</i>.</p></blockquote> - -<p><span class="small-c">ERIC</span>. Can you understand what the bird sings, boy?</p> - -<p><span class="small-c">PLAYMATE</span>. No, children, the birds have little secrets of their own -which they have a right to keep hidden.</p> - -<p><span class="small-c">THYRA</span>. Of course, Eric, don't you see, otherwise the children could -tell where the nests are, and then they would take away the eggs, and -that would make the birds sorry, and they couldn't have any children of -their own.</p> - -<p><span class="small-c">ERIC</span>. Don't talk like a grown-up, Thyra.</p> - -<p><span class="small-c">PLAYMATE</span>. [<i>Putting a finger across his lips</i>] Hush! Somebody is -coming. Now let us see if he likes to stay with us or not.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">CHIMNEY-SWEEP</span> <i>enters, stops in surprise, and begins to -look around</i>.</p></blockquote> - -<p><span class="small-c">PLAYMATE</span>. Well, boy, won't you come and play with us?</p> - -<p><span class="small-c">CHIMNEY-SWEEP</span>. [<i>Takes off his cap; speaks bashfully</i>] Oh, you don't -want to play with me.</p> - -<p><span class="small-c">PLAYMATE</span>. Why shouldn't we?</p> - -<p><span class="small-c">CHIMNEY-SWEEP</span>. I am sooty all over. And besides I don't know how to -play—I hardly know what it is.</p> - -<p><span class="small-c">THYRA</span>. Think of it, the poor boy has never played.</p> - -<p><span class="small-c">PLAYMATE</span>. What is your name?</p> - -<p><span class="small-c">CHIMNEY-SWEEP</span>. My name? They call me Ole—but——</p> - -<p><span class="small-c">PLAYMATE</span>. But what's your other name?</p> - -<p><span class="small-c">CHIMNEY-SWEEP</span>. Other name? I have none.</p> - -<p><span class="small-c">PLAYMATE</span>. But your papa's name?</p> - -<p><span class="small-c">CHIMNEY-SWEEP</span>. I have no papa.</p> - -<p><span class="small-c">PLAYMATE</span>. And your mamma's?</p> - -<p><span class="small-c">CHIMNEY-SWEEP</span>. I don't know.</p> - -<p><span class="small-c">PLAYMATE</span>. He has no papa or mamma. Come to the spring here, boy, and -I'll make you as white as a little prince.</p> - -<p><span class="small-c">CHIMNEY-SWEEP</span>. If anybody else said it, I shouldn't believe it——</p> - -<p><span class="small-c">PLAYMATE</span>. Why do you believe it then, when I say it?</p> - -<p><span class="small-c">CHIMNEY-SWEEP</span>. I don't know, but I think you look as if it would be -true.</p> - -<p><span class="small-c">PLAYMATE</span>. Give the boy your hand, Thyra!—Would you give him a kiss, -too?</p> - -<p><span class="small-c">THYRA</span>. [<i>After a moment's hesitation</i>] Yes, when you ask me!</p> - - -<div class="footnote"> - -<p><a name="Footnote_1_2" id="Footnote_1_2"></a><a href="#FNanchor_1_2"><span class="label">[1]</span></a> The Swedish name of this plant is "Christ's Blood-drops."</p></div> - -<blockquote> - -<p><i>She kisses the</i> <span class="small-c">CHIMNEY-SWEEP</span>. <i>Then the</i> <span class="small-c">PLAYMATE</span> <i>dips -his hand in the spring and sprays a little water on the face -of the</i> <span class="small-c">CHIMNEY-SWEEP</span>, <i>whose black mask at once disappears, -leaving his face white</i>.</p></blockquote> - -<p><span class="small-c">PLAYMATE</span>. Now you are white again. And now you must go behind that -rose-bush there and put on new clothes.</p> - -<p><span class="small-c">CHIMNEY-SWEEP</span>. Why do I get all this which I don't deserve?</p> - -<p><span class="small-c">PLAYMATE</span>. Because you don't believe that you deserve it.</p> - -<p><span class="small-c">CHIMNEY-SWEEP</span>. [<i>Going behind the rose-bush</i>] Then I thank you for it, -although I don't understand what it means.</p> - -<p><span class="small-c">THYRA</span>. Was he made a chimney-sweep because he had been bad?</p> - -<p><span class="small-c">PLAYMATE</span>. No, he has never been bad. But he had a bad guardian who took -all his money away from him, and so he had to go out into the world to -earn a living—See how fine he looks now!</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">CHIMNEY-SWEEP</span> <i>enters dressed in light summer clothes</i>.</p></blockquote> - -<p><span class="small-c">PLAYMATE</span>. [<i>To the</i> <span class="small-c">CHIMNEY-SWEEP</span>] Go to the arcade now, and you'll -meet somebody you love—and who loves you!</p> - -<p><span class="small-c">CHIMNEY-SWEEP</span>. Who could love me?</p> - -<p><span class="small-c">PLAYMATE</span>. Go and find out.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">CHIMNEY-SWEEP</span> <i>goes across the stage to the arcade, where -he is met by the</i> <span class="small-c">LADY IN WHITE</span>, <i>who puts her arms around him</i>.</p></blockquote> - -<p><span class="small-c">THYRA</span>. Who is living in there?</p> - -<p><span class="small-c">PLAYMATE</span>. [<i>With his finger on his lips</i>] Polly Pry!—But who is coming -there?</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">OLD LADY</span> <i>appears on the road with a sack on her back and -a stick in her hand</i>.</p></blockquote> - -<p><span class="small-c">ERIC</span>. It's grandmother! Oh, now we are in for it!</p> - -<p><span class="small-c">THYRA</span>. Oh, my! It's grandmother!</p> - -<p><span class="small-c">PLAYMATE</span>. Don't get scared, children. I'll tell her it's my fault.</p> - -<p><span class="small-c">ERIC</span>. No, you mustn't, for then she'll beat you.</p> - -<p><span class="small-c">PLAYMATE</span>. Well, why shouldn't I take a beating for my friends?</p> - -<p><span class="small-c">ERIC</span>. No, I'll do it myself!</p> - -<p><span class="small-c">THYRA</span>. And I, too!</p> - -<p><span class="small-c">PLAYMATE</span>. Hush! And come over here—then you won't be scolded. [<i>They -hide</i>.</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Goes to the spring</i>] So, this is the famous spring that -is said to cure everything—after the angel has stirred it up, of -course!—But I suppose it is nothing but lies. Well, I might have a -drink anyhow, and water is water. [<i>She bends down over the spring</i>] -What is it I see? Eric and Thyra with a strange boy! What can it mean? -For they are not here. It must be an oracle spring. [<i>She takes a cup -that stands by the spring, fills it with water and drinks</i>] Ugh, it -tastes of copper—he must have been here and poisoned the water, too! -Everything is poisoned! Everything!—And I feel tired, too, although -the years have not been hard on me—[<i>She looks at her reflection -in the spring and tosses her head</i>] On the contrary, I look quite -youthful—but it's hard to walk, and still harder to get up—[<i>She -struggles vainly to rise</i>] My God, my God, have mercy! Don't leave me -lying here!</p> - -<p><span class="small-c">PLAYMATE</span>. [<i>Makes a sign to the children to stay where they are; then -he goes up to the</i> <span class="small-c">OLD LADY</span> <i>and wipes the perspiration from her -forehead</i>] Rise, and leave your evil ways!</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Rising</i>] Who is that?—Oh, it's you, my nice gentleman, who -has led the children astray?</p> - -<p><span class="small-c">PLAYMATE</span>. Go, ungrateful woman! I have wiped the sweat of fear from -your brow; I have raised you up when your own strength failed you, and -you reward me with angry words. Go—go!</p> - -<blockquote> - -<p><span class="small-c">OLD LADY</span> <i>stares astonished at him; then her eyes drop, and she -turns and goes out</i>.</p> - -<p><span class="small-c">ERIC</span> <i>and</i> <span class="small-c">THYRA</span> <i>come forward</i>.</p></blockquote> - -<p><span class="small-c">ERIC</span>. But I am sorry for grandmother just the same, although she is -nasty.</p> - -<p><span class="small-c">THYRA</span>. It isn't nice here, and I want to go home.</p> - -<p><span class="small-c">PLAYMATE</span>. Wait a little! Don't be so impatient.—There comes somebody -else we know.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">JUDGE</span> <i>appears on the road</i>.</p></blockquote> - -<p><span class="small-c">PLAYMATE</span>. He cannot come here and defile the spring. [<i>He waves his -hand; the spot of sunlight strikes the</i> <span class="small-c">JUDGE</span>, <i>making him turn around -and walk away</i>] It is nice of you to be sorry for the old people, but -you must believe that what I do is right. Do you believe that?</p> - -<p><span class="small-c">ERIC</span> <i>and</i> <span class="small-c">THYRA</span>. Yes, we believe it, we believe it!</p> - -<p><span class="small-c">THYRA</span>. But I want to go home to mamma!</p> - -<p><span class="small-c">PLAYMATE</span>. I'll let you go.</p> - -<blockquote> - -<p><span class="small-c">THE OTHER ONE</span> <i>appears in the background and hides himself -behind the bushes</i>.</p></blockquote> - -<p><span class="small-c">PLAYMATE</span>. For now I must go. The Angelus bell will soon be ringing——</p> - -<p><span class="small-c">ERIC</span>. Where are you going, little boy?</p> - -<p><span class="small-c">PLAYMATE</span>. There are other children I must play with—far away from -here, where you cannot follow me. But now, when I leave you here, don't -forget what I have told you: that you mustn't touch the tree!</p> - -<p><span class="small-c">ERIC</span>. We'll obey! We will! But don't go away, for it will soon be dark!</p> - -<p><span class="small-c">PLAYMATE</span>. How is that? Anybody who has a good conscience and knows his -evening prayer has nothing, nothing to be afraid of.</p> - -<p><span class="small-c">THYRA</span>. When will you come back to us, little boy?</p> - -<p><span class="small-c">PLAYMATE</span>. Next Christmas I come back, and every Christmas!—Good night, -my little friends!</p> - -<blockquote> - -<p><i>He kisses their foreheads and goes out between the bushes; -when he reappears in the background, he is carrying a cross -with a banner like that carried by the Christ-Child in old -paintings; the Angelus bell begins to ring; as he raises the -banner and waves it in greeting to the children, he becomes -surrounded by a clear, white light; then he goes out</i>.</p></blockquote> - -<p><span class="small-c">ERIC</span> <i>and</i> <span class="small-c">THYRA</span> <i>kneel and pray silently while the bell is ringing</i>.</p> - -<p><span class="small-c">ERIC</span>. [<i>Having crossed himself</i>] Do you know who the boy was, Thyra?</p> - -<p><span class="small-c">THYRA</span>. It was the Saviour!</p> - -<blockquote> - -<p><span class="small-c">THE OTHER ONE</span> <i>steps forward</i>.</p></blockquote> - -<p><span class="small-c">THYRA</span>. [<i>Scared, runs to Eric, who puts his arms around her to protect -her</i>] My!</p> - -<p><span class="small-c">ERIC</span>. [<i>To</i> <span class="small-c">THE OTHER ONE</span>] What do you want? You nasty thing!</p> - -<p><span class="small-c">THE OTHER ONE</span>. I only wanted—Look at me!</p> - -<p><span class="small-c">ERIC</span>. Yes?</p> - -<p><span class="small-c">THE OTHER ONE</span>. I am looking like this because once I touched the tree. -Afterward it was my joy to tempt others into doing the same. But now, -since I have grown old, I have come to repent, and now I am remaining -here to warn men, but nobody believes me—nobody—because I lied once.</p> - -<p><span class="small-c">ERIC</span>. You don't need to warn us, and you can't tempt us.</p> - -<p><span class="small-c">THE OTHER ONE</span>. Tut, tut, tut! Not so high-and-mighty, my little friend! -Otherwise it's all right.</p> - -<p><span class="small-c">ERIC</span>. Well, go away then, for I don't want to listen to you, and you -scare my sister!</p> - -<p><span class="small-c">THE OTHER ONE</span>. I am going, for I don't feel at home here, and I have -business elsewhere. Farewell, children!</p> - -<p><span class="small-c">AMELIA</span>. [<i>Is heard calling from the right</i>] Eric and Thyra!</p> - -<p><span class="small-c">ERIC</span> <i>and</i> <span class="small-c">THYRA</span>. Oh, there is mamma—dear little mamma!</p> - -<blockquote> - -<p><span class="small-c">AMELIA</span> <i>enters</i>.</p> - -<p><span class="small-c">ERIC</span> <i>and</i> <span class="small-c">THYRA</span> <i>rush into her arms</i>.</p> - -<p><span class="small-c">THE OTHER ONE</span> <i>turns away to hide his emotion</i>.</p></blockquote> - -<p style="text-align: center;"><i>Curtain</i>.</p> - - - -<hr class="chap" /> -<h3><a name="ACT_IV" id="ACT_IV">ACT IV</a></h3> - - -<blockquote> - -<p><i>A cross-roads surrounded by pine woods. Moonlight</i>.</p> - -<p><i>The</i> <span class="small-c">WITCH</span> <i>stands waiting</i>.</p></blockquote> - -<hr class="tb" /> - -<p><span class="small-c">OLD LADY</span>. Well, at last, there you are.</p> - -<p><span class="small-c">WITCH</span>. You have kept me waiting. Why have you called me?</p> - -<p><span class="small-c">OLD LADY</span>. Help me!</p> - -<p><span class="small-c">WITCH</span>. In what way?</p> - -<p><span class="small-c">OLD LADY</span>. Against my enemies.</p> - -<p><span class="small-c">WITCH</span>. There is only one thing that helps against your enemies: be good -to them.</p> - -<p><span class="small-c">OLD LADY</span>. Well, I declare! I think the whole world has turned -topsyturvy.</p> - -<p><span class="small-c">WITCH</span>. Yes, so it may seem.</p> - -<p><span class="small-c">OLD LADY</span>. Even the Other One—you know who I mean—has become -converted.</p> - -<p><span class="small-c">WITCH</span>. Then it ought to be time for you, too.</p> - -<p><span class="small-c">OLD LADY</span>. Time for me? You mean that my years are burdening me? But it -is less than three weeks since I danced at a wedding.</p> - -<p><span class="small-c">WITCH</span>. And you call that bliss! Well, if that be all, you shall have -your fill of it. For there is to be a ball here to-night, although I -myself cannot attend it.</p> - -<p><span class="small-c">OLD LADY</span>. Here?</p> - -<p><span class="small-c">WITCH</span>. Just here. It will begin whenever I give the word——</p> - -<p><span class="small-c">OLD LADY</span>. It's too bad I haven't got on my low-necked dress.</p> - -<p><span class="small-c">WITCH</span>. You can borrow one from me—and a pair of dancing shoes with red -heels.</p> - -<p><span class="small-c">OLD LADY</span>. Perhaps I might also have a pair of gloves and a fan?</p> - -<p><span class="small-c">WITCH</span>. Everything! And, in particular, any number of young cavaliers -who will proclaim you the queen of the ball.</p> - -<p><span class="small-c">OLD LADY</span>. Now you are joking.</p> - -<p><span class="small-c">WITCH</span>. No, I am not joking. And I know that they have the good taste at -these balls to choose the right one for queen—and in speaking of the -right one, I have in mind the most worthy——</p> - -<p><span class="small-c">OLD LADY</span>. The most beautiful, you mean?</p> - -<p><span class="small-c">WITCH</span>. No, I don't—I mean the worthiest. If you wish, I'll start the -ball at once.</p> - -<p><span class="small-c">OLD LADY</span>. I have no objection.</p> - -<p><span class="small-c">WITCH</span>. If you step aside a little, you'll find your maid—while the -hall is being put in order.</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Going out to the right</i>] Think of it—I am going to have a -maid, too! You know, madam, that was the dream of my youth—which never -came true.</p> - -<p><span class="small-c">WITCH</span>. There you see: "What youth desires, age acquires." [<i>She blows a -whistle</i>]</p> - -<blockquote> - -<p><i>Without curtain-fall, the stage changes to represent the -bottom of a rocky, kettle-shaped chasm. It is closed in on -three sides by steep walls of black rock, wholly stripped of -vegetation. At the left, in the foreground, stands a throne. At -the right is a platform for the musicians</i>.</p> - -<p><i>A bust of Pan on a square base stands in the middle of the -stage, surrounded by a strange selection of potted plants: -henbane, burdock, thistle, onion, etc.</i></p> - -<p><i>The musicians enter. Their clothing is grey; their faces are -chalk-white and sad; their gestures tired. They appear to be -tuning their instruments, but not a sound is heard</i>.</p> - -<p><i>Then comes the</i> <span class="small-c">LEADER OF THE ORCHESTRA</span>.</p> - -<p><i>After him, the guests of the ball: cripples, beggars, tramps. -All are pulling on black gloves as they come in. Their -movements are dragging; their expressions funereal</i>.</p> - -<p><i>Next: The</i> <span class="small-c">MASTER OF CEREMONIES</span>, <i>who is really</i> <span class="small-c">THE OTHER -ONE</span><i>—a septuagenarian dandy wearing a black wig which is too -small for him, so that tufts of grey hair appear underneath. -His mustaches are waxed and pointed. He wears a monocle and has -on an outgrown evening dress and top-boots. He looks melancholy -and seems to be suffering because of the part he has to play.</i></p> - -<p><i>The</i> <span class="small-c">SEVEN DEADLY SINS</span> <i>enter and group themselves around the -throne as follows</i>:</p> - - -<div class="center" style="font-size: 0.8em;"> -<table border="0" cellpadding="2" cellspacing="0" summary=""> -<tr><td align="left">PRIDE</td><td align="left">COVETOUSNESS</td></tr> -<tr><td align="left">LUST</td><td align="left">ANGER</td></tr> -<tr><td align="left">GLUTTONY</td><td align="left">ENVY</td></tr> -<tr><td colspan="2" align="left">SLOTH</td></tr> -</table></div> - -<p><i>Finally the</i> <span style="font-size: 0.8em;">PRINCE</span> <i>enters. He is hunchbacked and wears a -soiled velvet coat with gold buttons, ruffles, sword, and high -boots with spurs</i>.</p> - -<p><i>The ensuing scene must be played with deadly seriousness, -without a trace of irony, satire, or humour. There is a -suggestion of a death-mask in the face of every figure. They -move noiselessly and make simple, awkward gestures that convey -the impression of a drill</i>.</p></blockquote> - -<p><span class="small-c">PRINCE</span>. [<i>To the</i> <span class="small-c">MASTER OF CEREMONIES</span>] Why do you disturb my peace at -this midnight hour?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Always, brother, you are asking why. Have you not -seen the light yet?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Only in part. I can perceive a connection between my suffering -and my guilt, but I cannot see why I should have to suffer eternally, -when He has suffered in my place.</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Eternally? You died only yesterday. But then time -ceased to exist to you, and so a few hours appear like an eternity.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Yesterday?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Yes.—But because you were proud and wanted no -assistance, you have now to bear your own sufferings.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What have I done, then?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. What a sublime question!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. But why don't you tell?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. As our task is to torture each other by -truth-telling—were we not called "heroes of truth" in our lifetime?—I -shall tell you a part of your own secret. You were, and you are still, -a hunchback——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What is that?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. There you see! You don't know what is known to -everybody else. But all those others pitied you, and so you never heard -the word that names your own deformity.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What deformity is that? Perhaps you mean that I have a weak -chest? But that is no deformity.</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. A "weak chest"—yes, that is your own name for -the matter. However, people kept the disfigurement of your body hidden -from you, and they tried to assuage your misfortune by showing you -sympathy and kindness. But you accepted their generosity as an earned -tribute, their encouraging words as expressions of admiration due to -your superior physique. And at last you went so far in conceit that -you regarded yourself as a type of masculine beauty. And when, to cap -it all, woman granted you her favours out of pity, then you believed -yourself an irresistible conqueror.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What right have you to say such rude things to me?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Right? I am filling the saddening duty which -forces one sinner to punish another. And soon you will have to fulfil -the same cruel duty toward a woman who is vain to the verge of -madness—a woman resembling you as closely as she possibly could.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I don't want to do it.</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Try to do anything but what you must, and you'll -experience an inner discord that you cannot explain.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What does it mean?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. It means that you cannot all of a sudden cease to -be what you are: and you are what you have wanted to become. [<i>He claps -his hands</i>.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">OLD LADY</span> <i>enters, her figure looking as aged and clumsy -as ever; but she has painted her face and her head is covered -by a powdered wig; she wears a very low-necked, rose-coloured -dress, red shoes, and a fan made out of peacock feathers</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. [<i>A little uncertain</i>] Where am I? Is this the right place?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Quite right, for you are in the place we call -the "waiting-room." It is so called [<i>he sighs],</i> because here we have -to spend our time waiting—waiting for something that will come some -time——</p> - -<p><span class="small-c">OLD LADY</span>. Well, it isn't bad at all—and there is the music—and there -is a bust—of whom?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. It's a pagan idol called Pan, because to the -ancients he was all they had. And as we, in this place, are of the old -order, more or less antiquated, he has been put here for us to look at.</p> - -<p><span class="small-c">OLD LADY</span>. Why, we are not old——</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Yes, my Queen. When the new era opened [<i>he -sighs</i>], we couldn't keep up with it, and so we were left behind——</p> - -<p><span class="small-c">OLD LADY</span>. The new era? What kind of talk is that? When did it begin?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. It is easy to figure out when the year one -began—It was night, for that matter; the stars were shining brightly, -and the weather must have been mild, as the shepherds remained in the -open——</p> - -<p><span class="small-c">OLD LADY</span>. Oh, yes, yes—Are we not going to dance here to-night?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Of course, we are. The Prince is waiting for a -chance to ask you——</p> - -<p><span class="small-c">OLD LADY</span>. [<i>To the</i> <span class="small-c">MASTER OF CEREMONIES</span>] IS he a real Prince?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. A real one, my Queen. That is to say, he has full -reality in a certain fashion——</p> - -<p><span class="small-c">OLD LADY</span>. [<i>To the</i> <span style="font-size: 0.8em;">PRINCE</span>, <i>who is asking her to dance</i>] You don't -look happy, my Prince?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. I am not happy.</p> - -<p><span class="small-c">OLD LADY</span>. Well, I can't say that I find it very hilarious—and the -place smells of putty, as if the glazier had just been at work here. -What is that strange smell, as of linseed-oil?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>With an expression of horror</i>] What are you saying? Do you -mean that charnel-house smell?</p> - -<p><span class="small-c">OLD LADY</span>. I fear I must have said something impolite—but then, it -isn't for the ladies to offer pleasantries—that's what the cavalier -should do——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. What can I tell you that you don't know before?</p> - -<p><span class="small-c">OLD LADY</span>. That I don't know before? Let me see—No, then I had better -tell you that you are very handsome, my Prince.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Now you exaggerate, my Queen. I am not exactly handsome, but I -have always been held what they call "good-looking."</p> - -<p><span class="small-c">OLD LADY</span>. Just like me—I never was a beauty—that is, I <i>am</i> not, -considering my years—Oh, I am so stupid!—What was it I wanted to say?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Let the music begin!</p> - -<blockquote> -<p><i>The musicians appear to be playing, but not a sound is heard</i>.</p> -</blockquote> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Well? Are you not going to dance?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Sadly</i>] No, I don't care to dance.</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. But you must: you are the only presentable -gentleman.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. That's true, I suppose—[<i>pensively</i>] but is that a fit -occupation for me?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. How do you mean?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. At times it seems as if I had something else to think of, but -then—then I forget it.</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Don't brood—enjoy yourself while youth is with -you and the roses of life still bloom on your cheeks. Now! Up with the -head, and step lively——</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>grins broadly; then he offers his hand to the</i> -<span class="small-c">OLD LADY</span>, <i>and together they perform a few steps of a minuet</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. [<i>Interrupting the dance</i>] Ugh! Your hands are cold as ice! -<i>goes to the throne</i>] Why are those seven ladies not dancing?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. How do you like the music, Queen?</p> - -<p><span class="small-c">OLD LADY</span>. It's splendid, but they might play a little more <i>forte</i>——</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. They are soloists, all of them, and formerly each -one of them wanted to make himself heard above the rest, and so they -have to use moderation now.</p> - -<p><span class="small-c">OLD LADY</span>. But I asked why the seven sisters over there are not dancing. -Couldn't you, as master of ceremonies, make them do so?</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. I don't think it would be of any use trying, for -they are obstinate as sin—But please assume your throne, my Queen. We -are going to perform a little play in honour of the occasion——</p> - -<p><span class="small-c">OLD LADY</span>. Oh, what fun! But I want the prince to ... escort me——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>To the</i> <span class="small-c">MASTER OF CEREMONIES</span>] Have I got to do it?</p> - -<p><span class="small-c">OLD LADY</span>. You ought to be ashamed of yourself—you with your hunch!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Spits in her face</i>] Hold your tongue, you cursed old hag!</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Cuffs him on the ear</i>] That'll teach you!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Jumps at her and knocks her down</i>] And that's, for you!</p> - -<p><i>All the rest cover their faces with their hands</i>.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Tears off the</i> <span class="small-c">OLD LADY</span>'S <i>wig so that her head appears -totally bald</i>] There's the false scalp! Now we'll pull out the teeth!</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Enough! Enough!</p> - -<blockquote> - -<p><i>He helps the</i> <span class="small-c">OLD LADY</span> <i>to rise, and gives her a kerchief to -cover her head</i>.</p></blockquote> - -<p><span class="small-c">OLD LADY</span>. [<i>Crying</i>] Goodness gracious, that I could let myself be -fooled like that! But I haven't deserved any better, I admit.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. No, you have deserved a great deal worse. You should leave my -hunch alone, for otherwise hell breaks loose—It's a miserable thing to -see an old woman like you so foolish and so degraded. But, then, you -are to be pitied—as all of us are to be pitied.</p> - -<p>ALL. We are all to be pitied!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>With a sneer</i>] The queen!</p> - -<p><span class="small-c">OLD LADY</span>. [<i>In the same tone</i>] The prince!—But haven't we met before?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Perhaps—in our youth—for I am old, too. You had too much -frippery on before—but now, when the disguise has been taken away—I -begin to distinguish certain features——</p> - -<p><span class="small-c">OLD LADY</span>. Don't say anything more—don't say anything more—Oh, what -have I come to—what is happening to me?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Now I know: you are my sister!</p> - -<p><span class="small-c">OLD LADY</span>. But—my brother is dead! Have I been deceived? Or are the -dead coming back?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Everything comes back.</p> - -<p><span class="small-c">OLD LADY</span>. Am I dead or am I living?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. You may well ask that question, for I don't know the -difference. But you are exactly the same as when I parted from you -once: just as vain and just as thievish.</p> - -<p><span class="small-c">OLD LADY</span>. Do you think you are any better?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Perhaps! I am guilty of all the seven deadly sins, but you have -invented the eighth one—that of robbing the dead.</p> - -<p><span class="small-c">OLD LADY</span>. What are you thinking of now?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Twelve years in succession I sent you money to buy a wreath for -mother's grave, and instead of buying it you kept the money.</p> - -<p><span class="small-c">OLD LADY</span>. How do you know?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. How I came to know of it is the only thing that interests you -about that crime of yours.</p> - -<p><span class="small-c">OLD LADY</span>. Prove it!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Taking a number of bills from his pocket</i>] Here is the money!</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">OLD LADY</span> <i>sinks to the ground. A church bell begins to -ring. All bend their heads, but nobody kneels</i>.</p></blockquote> - -<p><span class="small-c">LADY IN WHITE</span>. [<i>Enters, goes up to the</i> <span class="small-c">OLD LADY</span>, <i>and assists her in -rising</i>] Do you know me?</p> - -<p><span class="small-c">OLD LADY</span>. No.</p> - -<p><span class="small-c">LADY IN WHITE</span>. I am Amelia's mother. You have taken the memory of me -away from her. You have erased me from her life. But now you are to be -wiped out, and I shall recover my child's love and the prayers my soul -needs.</p> - -<p><span class="small-c">OLD LADY</span>. Oh, somebody has been telling tales to that hussy—then I'll -set her to herd the swine——</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">PRINCE</span> <i>strikes her on the mouth</i>.</p></blockquote> - -<p><span class="small-c">LADY IN WHITE</span>. Don't strike her!</p> - -<p><span class="small-c">OLD LADY</span>. Are you interceding for me?</p> - -<p><span class="small-c">LADY IN WHITE</span>. It is what I have been taught to do.</p> - -<p><span class="small-c">OLD LADY</span>. You hypocrite! If you only dared, you would wish me buried as -deep as there are miles from here to the sun!</p> - -<p><span class="small-c">MASTER OF CEREMONIES</span>. Down with you—monster!</p> - -<blockquote> - -<p>[As <i>he touches her with his staff she falls to the ground</i></p> - -<p><i>Again the scene is changed while the curtain remains up. The -bust of Pan sinks into the earth. The musicians and the throne -with its attendant sins disappear behind pieces of; scenery -that are lowered from above. At last the cross-roads with the -surrounding pine woods appear again, and the</i> <span class="small-c">OLD LADY</span> <i>is -discovered lying at the foot of a sign-post</i>.</p></blockquote> - -<p><span class="small-c">WITCH</span>. Get up!</p> - -<p><span class="small-c">OLD LADY</span>. I cannot—I am frozen stiff——</p> - -<p><span class="small-c">WITCH</span>. The sun will rise in a moment. The cock has crowed. The matin -bells are ringing.</p> - -<p><span class="small-c">OLD LADY</span>. I don't care for the sun.</p> - -<p><span class="small-c">WITCH</span>. Then you'll have to walk in darkness.</p> - -<p><span class="small-c">OLD LADY</span>. Oh, my eyes! What have you done to me?</p> - -<p><span class="small-c">WITCH</span>. I have only turned out the light because it troubled you. Now, -up and away with you—through cold and darkness—until you drop!</p> - -<p><span class="small-c">OLD LADY</span>. Where is my husband?—Amelia! Eric and Thyra! My children!</p> - -<p><span class="small-c">WITCH</span>. Yes, where are they? But wherever they may be, you shall not see -them until your pilgrimage is ended. Now, up and away! Or I will loose -my dogs!</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">OLD LADY</span> <i>gropes her way out</i>.</p></blockquote> - -<p><i>The court-room. In the background is the desk of the presiding judge, -decorated in white and gold with the emblems of justice. In front of -the desk, covering the centre of the floor, stands a big table, and on -it are placed writing-materials, inkstand, Bible, bell, and gavel</i>.</p> - -<p><i>The axe of the executioner hangs on the rear wall, with a pair of -handcuffs below it and a big black crucifix above</i>.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">JUDGE</span> <i>enters and makes his way into the room on tiptoe. -The bell rings. The gavel raps once on the table. All the -chairs are pulled up to the table at once. The Bible is opened. -The candles on the table become lighted</i>.</p> - -<p><i>For a moment the</i> <span class="small-c">JUDGE</span> <i>stands still, stricken with horror. -Then he resumes his advance toward a huge cabinet. Suddenly the -doors of this fly open. A number of documents are thrown out, -and the</i> <span class="small-c">JUDGE</span> <i>picks them up</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. [<i>Reassured</i>] This time I am in luck! Here are the accounts -of my guardianship; here is the contract for the lease—my report as -executor—all of it! [<i>The handcuffs on the wall begin to clank</i>] Make -all the noise you please! As long as the axe stays still, I won't be -scared. [<i>He puts the documents on the table and goes back to close -the door of the cabinet, but this flies open again as soon as he shuts -it</i>] Everything has a cause: <i>ratio sufficiens</i>. This door must have -a spring with which I am not familiar. It surprises me that I don't -know it, but it cannot scare me. [<i>The axe moves on the wall</i>] The axe -moved—as a rule, that foretells an execution, but to-day it means only -that its equilibrium has become disturbed in some way. Oh, no, nothing -will give me pause but seeing my own ghost—for that would be beyond -the tricks of any charlatan.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">GHOST</span> <i>enters from behind the cabinet; the figure -resembles in every way the</i> <span class="small-c">JUDGE</span>, <i>but where the eyes should -be appear two white surfaces, as on a plaster bust</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. [<i>Frightened</i>] Who are you?</p> - -<p><span class="small-c">GHOST</span>. I am not—I have been. I have been that unrighteous judge who is -now come here to receive his sentence.</p> - -<p><span class="small-c">JUDGE</span>. What have you done then, poor man?</p> - -<p><span class="small-c">GHOST</span>. Everything wrong that an unrighteous judge might do. Pray for -me, you whose conscience is clear——</p> - -<p><span class="small-c">JUDGE</span>. Am I—to pray for you?</p> - -<p><span class="small-c">GHOST</span>. Yes, you who have caused no innocent blood to be shed——</p> - -<p><span class="small-c">JUDGE</span>. That's true; that's something I haven't done. And besides, as -I have always obeyed the letter of the law, I have good reason to let -myself be called a righteous judge—yes, without irony!</p> - -<p><span class="small-c">GHOST</span>. It would, indeed, be a bad moment for joking, as the Invisible -Ones are sitting in judgment——</p> - -<p><span class="small-c">JUDGE</span>. What do you mean? Who are sitting in judgment?</p> - -<p><span class="small-c">GHOST</span>. [<i>Pointing to the table</i>] You don't see them, but I do. [<i>The -bell rings; a chair is pushed back from the table</i>] Pray for me!</p> - -<p><span class="small-c">JUDGE</span>. No, I won't. Justice must take its course. You must have been a -great offender to reach consciousness of your guilt so late.</p> - -<p><span class="small-c">GHOST</span>. You are as stern as a good conscience.</p> - -<p><span class="small-c">JUDGE</span>. That's just the word for it. Stern, but just!</p> - -<p><span class="small-c">GHOST</span>. No pity, then?</p> - -<p><span class="small-c">JUDGE</span>. None whatever.</p> - -<p><span class="small-c">GHOST</span>. No mercy?</p> - -<p><span class="small-c">JUDGE</span>. No mercy!</p> - -<blockquote> - -<p><i>The gavel raps on the table; the chairs are pushed away</i>.</p></blockquote> - -<p><span class="small-c">GHOST</span>. Now the verdict is being delivered. Can't you hear?</p> - -<p><span class="small-c">JUDGE</span>. I hear nothing.</p> - -<p><span class="small-c">GHOST</span>. [<i>Pointing to the table</i>] And you see nothing? Don't you see the -beheaded sailor, the surveyor, the chimney-sweep, the lady in white, -the tenant——</p> - -<p><span class="small-c">JUDGE</span>. I see absolutely nothing.</p> - -<p><span class="small-c">GHOST</span>. Woe unto you, then, when your eyes become opened as mine have -been. Now the verdict has been given: guilty!</p> - -<p><span class="small-c">JUDGE</span>. Guilty!</p> - -<p><span class="small-c">GHOST</span>. You have said it—yourself! And you have already been sentenced. -All that remains now is the big auction.</p> - -<p style="text-align: center;"><i>Curtain.</i></p> - - - -<hr class="chap" /> -<h3><a name="ACT_V" id="ACT_V">ACT V</a></h3> - - -<blockquote> - -<p><i>The same room as in the second act, but it is now arranged for -the auction. Benches are placed in the middle of the room. On -the table behind which the auctioneer is to preside stand the -silver coffee-set, the clock, vases, candelabra, etc.</i></p> - -<p><i>The portraits of the</i> <span class="small-c">JUDGE</span> <i>and the</i> <span class="small-c">OLD LADY</span> <i>have been -taken down and are leaning against the table</i>.</p> - -<p><i>The</i> <span class="small-c">NEIGHBOUR</span> <i>and</i> <span class="small-c">AMELIA</span> <i>are on the stage</i>.</p></blockquote> - -<hr class="tb" /> - -<p><span class="small-c">AMELIA</span>. [<i>Dressed as a scrub-woman</i>] Before my mother left, she ordered -me to clean the hallway and the stairs. It is winter now, and cold, and -I cannot say that it has been any pleasure to carry out her order——</p> - -<p><span class="small-c">NEIGHBOUR</span>. So you didn't get any pleasure out of it? Well, my child, I -must say that you demand rather too much of yourself. But as you have -obeyed, and stood the test, your time of trial shall be over, and I -will let you know your life's secret.</p> - -<p><span class="small-c">AMELIA</span>. Speak out, neighbour, for I dare hardly trust my good -resolutions much longer.</p> - -<p><span class="small-c">NEIGHBOUR</span>. Well, then! The woman you have been calling mother is your -stepmother. Your father married her when you were only one year old. -And the reason you have never seen your mother is that she died when -you were born.</p> - -<p><span class="small-c">AMELIA</span>. So that was it!—How strange to have had a mother and yet never -to have seen her! Tell me—did you ever see her?</p> - -<p><span class="small-c">NEIGHBOUR</span>. I knew her.</p> - -<p><span class="small-c">AMELIA</span>. How did she look?</p> - -<p><span class="small-c">NEIGHBOUR</span>. Well, how <i>did</i>, she look?—Her eyes were blue as the -blossom of the flax—her hair was yellow as the dry stalks of wheat——</p> - -<p><span class="small-c">AMELIA</span>. And tall and slender—and her hand was small and white as if it -had touched nothing but silk in all her days—and her mouth was shaped -like a heart, and her lips looked as if none but good words had ever -passed them.</p> - -<p><span class="small-c">NEIGHBOUR</span>. How can you know all that?</p> - -<p><span class="small-c">AMELIA</span>. Because that is the image which appears in my dreams when I -have not been good—And then she raises her hand as if to warn me, and -on one of her fingers there is a ring with a green stone that seems to -radiate light. It is she!—Tell me, neighbour, is there a picture of -her in the place?</p> - -<p><span class="small-c">NEIGHBOUR</span>. There used to be one, but I don't know whether it's still -here.</p> - -<p><span class="small-c">AMELIA</span>. So this one is my stepmother? Well, God was good when he let me -keep my mother's image free from stain—and hereafter I shall find it -quite natural that this other woman is cruel to me.</p> - -<p><span class="small-c">NEIGHBOUR</span>. Cruel stepmothers exist to make children kind. And you were -not kind, Amelia, but you have become so, and for that reason I shall -now give you a Christmas present in advance.</p> - -<blockquote> - -<p><i>He takes the portrait of the</i> <span class="small-c">OLD LADY</span> <i>out of its frame, when -in its place appears a picture in water-colours corresponding -to the description given above</i>.</p></blockquote> - -<p><span class="small-c">AMELIA</span>. [<i>Kneeling in front of the picture</i>] My mother—mother of my -dreams! [<i>Rising</i>] But how can I keep the picture when it is to be sold -at auction?</p> - -<p><span class="small-c">NEIGHBOUR</span>. You can, because the auction has already taken place.</p> - -<p><span class="small-c">AMELIA</span>. Where and when was it held?</p> - -<p><span class="small-c">NEIGHBOUR</span>. It was held elsewhere—in a place not known to you—and -to-day the things are merely to be taken away.</p> - -<p><span class="small-c">AMELIA</span>. What a lot of queer things are happening! And how full of -secrets the house is!—But tell me, where is my stepmother? I have not -seen her in a long time.</p> - -<p><span class="small-c">NEIGHBOUR</span>. I suppose it must be told: she is in a place from which -nobody returns.</p> - -<p><span class="small-c">AMELIA</span>. Is she dead?</p> - -<p><span class="small-c">NEIGHBOUR</span>. She is dead. She was found frozen to death in a swamp into -which she had stumbled.</p> - -<p><span class="small-c">AMELIA</span>. Merciful God have pity on her soul!</p> - -<p><span class="small-c">NEIGHBOUR</span>. So he will in time, especially if you pray for her.</p> - -<p><span class="small-c">AMELIA</span>. Of course I will.</p> - -<p><span class="small-c">NEIGHBOUR</span>. How good you have become, my child—as a result of her -becoming so bad!</p> - -<p><span class="small-c">AMELIA</span>. Don't say so now when she is dead——</p> - -<p><span class="small-c">NEIGHBOUR</span>. Right you are! Let her rest in peace!</p> - -<p><span class="small-c">AMELIA</span>. But where is my father?</p> - -<p><span class="small-c">NEIGHBOUR</span>. That's a secret to all of us. But it is sweet of you to ask -for him before you ask for your own Adolph.</p> - -<p><span class="small-c">AMELIA</span>. Adolph—yes, where is he? The children are crying for him, and -Christmas is near.—Oh, what a Christmas this will be to us!</p> - -<p><span class="small-c">NEIGHBOUR</span>. Leave to each day its own trouble—and now take your -Christmas present and go. The affairs connected with the auction are to -be settled, and then you'll hear news.</p> - -<p><span class="small-c">AMELIA</span>. [<i>Takes the portrait of her mother</i>] I go, but no longer -alone—and I have a feeling that something good is about to happen, but -what I cannot tell.</p> - -<blockquote> - -<p>[<i>She goes out to the right</i>.</p></blockquote> - -<p><span class="small-c">NEIGHBOUR</span>. But I know! Yet you had better go, for what is about to -happen here should not be seen by children.</p> - -<blockquote> - -<p><i>He opens the door in the rear and rings a bell to summon -the people to the auction. The people enter in the following -order</i>: <span class="small-c">THE POOR</span>, <i>a large number of them; the</i> <span class="small-c">SAILOR</span>; <i>the</i> -<span class="small-c">CHIMNEY-SWEEP</span>; <i>the</i> <span class="small-c">NEIGHBOUR</span>, who takes his place in front -of the rest; <i>the</i> <span class="small-c">WIDOW</span> <i>and the</i> <span class="small-c">FATHERLESS CHILDREN</span>; <i>the</i> -<span class="small-c">SURVEYOR</span>; <span class="small-c">THE OTHER ONE</span>, <i>carrying the auctioneer's hammer and -a pile of documents</i>.</p></blockquote> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>Takes his place at the table and raps with the -hammer</i>] At a compulsory auction held at the court-house for the -disposal of property left by the late circuit judge, the items now to -be described were bid in by the Court on behalf of absent creditors, -and may now be obtained and taken away by their respective owners.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Enters, looking very aged and miserable</i>] In the name of the -law—hold!</p> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>Pretends to throw something at the</i> <span class="small-c">JUDGE</span>, <i>who -stands aghast and speechless</i>] Don't speak of the law! Here the Gospel -is preached—but not for you, who wanted to buy heaven with stolen -money.—First: the widow and her fatherless children. There is the -silver set which the judge accepted from you for his false report -as executor. In his stained hands the silver has turned black, but -I hope that in yours it will once more turn white.—Then we come to -the ward, who had to become a chimney-sweep, after being cheated out -of his inheritance. Here are the receipted bills and the property -due to you from your guardian. And you need not thank him for his -accounting.—Here stands the surveyor who, although he was innocent, -had to serve two years in prison because he had made an illegal -partition—the maps handed to him for the purpose having been falsified -in advance. What can you do for him, Judge? Can you undo what has -happened, or restore his lost honour?</p> - -<p><span class="small-c">JUDGE</span>. Oh, that fellow—give him a bill and he'll be satisfied! His -honour wasn't worth a penny, anyhow.</p> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>Slaps the</i> <span class="small-c">JUDGE</span> <i>on the mouth, while the rest spit at -him and mutter with clinched fists</i>] Here is the brother of the sailor -who was beheaded in spite of his innocence. Can you restore his brother -to life? No! And you cannot pay for his life with yours, as it is not -worth as much.—And finally we come to the neighbour whom you cheated -out of his property in a perfectly legal way. Not familiar with the -tricks of the law, the neighbour has, contrary to prevailing practice, -placed the judge's son-in-law in charge of the property as life tenant, -wiping out his previous indebtedness and making him also legal heir to -the property.</p> - -<p><span class="small-c">JUDGE</span>. I appeal to a higher court!</p> - -<p><span class="small-c">THE OTHER ONE</span>. This case has passed through all the instances except -the highest, and that far you cannot reach with your stamped papers. -For if you tried, all these poor people whom you have robbed of their -living would cry out: Guilty!—Thus we are done with all that could be -properly disposed of. What remains here still undisposed of goes to the -poor: clocks, vases, jewelry and other valuables that have served as -bribes, graft, tips, souvenirs—all in a perfectly legal way because -evidence and witnesses were wanting. You poor, take back your own! -Your tears have washed the guilt from the ill-gotten goods. [<i>The</i> <span class="small-c">POOR</span> -<i>begin to plunder</i>] And now remains the last item to be sold by me. -This pauper here, formerly a judge, is offered to the lowest bidder for -board at the expense of the parish. How much is offered? [<i>Silence</i>] -No offer? [<i>Silence</i>] First, second, third time—no offer? [<i>To the</i> -<span class="small-c">JUDGE</span>] There, you see! Nobody wants you. Well, then, I have to take you -myself and send you to your well-earned punishment.</p> - -<p><span class="small-c">JUDGE</span>. Is there no atonement?</p> - -<p><span class="small-c">THE OTHER ONE</span>. Yes, punishment atones.—Take him into the woods and -stone him in accordance with the law of Moses—for no other law was -ever known to him. Away with him! [<i>The people pounce on the</i> <span class="small-c">JUDGE</span> -<i>and jostle him</i>.</p> - -<blockquote> - -<p><i>The scene changes to the "waiting-room." The same setting as -in the second scene of the fourth act: a kettle-shaped chasm -surrounded by steep black rocks. (The same people are on the -stage.)</i></p> - -<p><i>In the background appear a pair of huge scales for the -weighing of newcomers</i>.</p> - -<p><i>The</i> <span class="small-c">JUDGE</span> <i>and the</i> <span class="small-c">OLD LADY</span> <i>are seated opposite each other -at a small table</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. [<i>Staring in front of himself as if lost in a dream</i>] -Hush!—I had a dream! They were throwing stones at me—and yet I -felt no pain—and then everything turned black and vacant until this -moment—How long it may have lasted, I cannot tell—Now I am beginning -to hear again—and to feel. It feels as if I were being carried—oh, -how cold it is—they are washing me, I think—I am lying in something -that has six sides like a cell in a honeycomb and that smells like a -carpenter shop—I am being carried, and a bell is ringing—Wait! Now I -am riding, but not in a street-car, although the bell is ringing all -the time—Now I am sinking down, down, as if I were drowning—boom, -boom, boom: three knocks on the roof—and then the lessons begin—the -teacher is leading—and now the boys are singing—What can it be?—And -then they are knocking on the roof again, incessantly—boom, boom, -boom, boom, boom, boom—silence—it's over! [<i>He wakes up</i>] Where am I? -I choke! It's so stuffy and close here!—Oh, it's you!—Where are we? -Whose bust is that?</p> - -<p><span class="small-c">OLD LADY</span>. They say it is the new god.</p> - -<p><span class="small-c">JUDGE</span>. But he looks like a goat.</p> - -<p><span class="small-c">OLD LADY</span>. Perhaps it is the god of the goats?</p> - -<p><span class="small-c">JUDGE</span>. "The goats on the left side—" What is that I am recalling?</p> - -<p><span class="small-c">PRINCE</span>. It is the god Pan.</p> - -<p><span class="small-c">JUDGE</span>. Pan?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Exactly! Just exactly! And when, in the night, the -shepherds—no, not <i>those</i> shepherds—catch sight of a hair of his hide -they are seized with panic——</p> - -<p><span class="small-c">JUDGE</span>. [<i>Rising</i>] Woe! I don't want to stay here! Woe! Can't I get out -of here? I want to get out!</p> - -<blockquote> - -<p>[<i>He runs around, looking vainly for a way out.</i></p></blockquote> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>Enters dressed as a Franciscan friar</i>] You'll find -nothing but entrances—no exits!</p> - -<p><span class="small-c">JUDGE</span>. Are you Father Colomba?</p> - -<p><span class="small-c">THE OTHER ONE</span>. No, I am The Other One.</p> - -<p><span class="small-c">JUDGE</span>. As a monk?</p> - -<p><span class="small-c">THE OTHER ONE</span>. Don't you know that The Other One turns monk when he -grows old; and don't you think it is well that he does so some time? -But, seriously speaking—for here everything is serious—this is my -holiday attire, which I am permitted to wear only this one day of the -year in order that I may remember what I have had and what I have lost.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Alarmed</i>] What day of the year is it to-day?</p> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>Bending his head with a sigh</i>] It is Christmas Eve!</p> - -<p><span class="small-c">JUDGE</span>. [<i>Approaching the</i> <span class="small-c">OLD LADY</span>] Think of it, it is Christmas -Eve?—And you know I don't dare to ask where we are—I dare not—but -let us go home, home to our children, to our own—— [<i>He cries</i>.</p> - -<p><span class="small-c">OLD LADY</span>. Yes, let us go from here, home to ourselves, that we may -start a new life in peace and harmony——</p> - -<p><span class="small-c">THE OTHER ONE</span>. It is too late!</p> - -<p><span class="small-c">OLD LADY</span>. Oh, dear, sweet fellow—help us, have mercy on us, forgive us!</p> - -<p><span class="small-c">THE OTHER ONE</span>. It is too late!</p> - -<p><span class="small-c">JUDGE</span>. [<i>Taking the</i> <span class="small-c">OLD LADY</span> <i>by the hand</i>] I am choking with dread! -Don't ask him where we are; I don't want to know! But one thing I do -want to know: will there ever be an end to this?</p> - -<p><span class="small-c">THE OTHER ONE</span>. Never!—That word "end" is not known to us here.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Crushed</i>] No end! [<i>Looking around</i>] And does the sun never -enter this place of damp and cold?</p> - -<p><span class="small-c">THE OTHER ONE</span>. Never, for those who dwell here have not loved the sun!</p> - -<p><span class="small-c">JUDGE</span>. It is true: I have cursed the sun.—May I confess my sins?</p> - -<p><span class="small-c">THE OTHER ONE</span>. No, you must keep them to yourself until they begin to -swell and stop up your throat.</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Kneeling</i>] O—I don't know how to pray!</p> - -<blockquote> - -<p><i>She rises and walks restlessly back and forth, wringing her -hands</i>.</p></blockquote> - -<p><span class="small-c">THE OTHER ONE</span>. Because for you there is no one to whom you might pray.</p> - -<p><span class="small-c">OLD LADY</span>. [<i>In despair</i>] Children—send somebody to give me a word of -hope and pardon.</p> - -<p><span class="small-c">THE OTHER ONE</span>. It will not be done. Your children have forgotten -you—they are now rejoicing at your absence.</p> - -<blockquote> - -<p><i>A picture appears on the rocky wall in the rear: the home, -with</i> <span class="small-c">ADOLPH</span>, <span class="small-c">AMELIA</span>, <span class="small-c">ERIC</span>, <i>and</i> <span class="small-c">THYRA</span> <i>around the Christmas -tree; in the background, the</i> <span class="small-c">PLAYMATE</span>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. You say they are seated at the Christmas table rejoicing at our -misfortune?—No, now you lie, for they are better than we!</p> - -<p><span class="small-c">THE OTHER ONE</span>. What new tune is that? I have always heard that you were -a righteous man——</p> - -<p><span class="small-c">JUDGE</span>. I? I was a great sinner—the greatest one that ever was!</p> - -<p><span class="small-c">THE OTHER ONE</span>. Hm! Hm!</p> - -<p><span class="small-c">JUDGE</span>. And if you say anything of the children you are guilty of a sin. -I know that they are praying for us.</p> - -<p><span class="small-c">OLD LADY</span>. [<i>On her knees</i>] I can hear them tell their rosaries: hush—I -hear them!</p> - -<p><span class="small-c">THE OTHER ONE</span>. You are completely mistaken. What you hear is the song -of the workmen who are tearing down the mausoleum.</p> - -<p><span class="small-c">JUDGE</span>. The mausoleum! Where we were to have rested in peace!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Shaded by a dozen wreaths.</p> - -<p><span class="small-c">JUDGE</span>. Who is that?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Pointing to the</i> <span class="small-c">OLD LADY</span>] She is my sister, and so you must -be my brother-in-law.</p> - -<p><span class="small-c">JUDGE</span>. Oh—that lazy scamp!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Look here! In this place we are all lazy scamps.</p> - -<p><span class="small-c">JUDGE</span>. But we are not all hunchbacks!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Strikes him a blow on the mouth</i>] Don't touch the hunch or -there will be hell to pay!</p> - -<p><span class="small-c">JUDGE</span>. What a way to treat a man of my ability and high social -position! What a Christmas!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Perhaps you expected your usual creamed codfish and Christmas -cake?</p> - -<p><span class="small-c">JUDGE</span>. Not exactly, but there ought to be something to feed on——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Here we are keeping a Christmas fast, you see.</p> - -<p><span class="small-c">JUDGE</span>. How long will it last?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. How long? We don't measure time here, because it has ceased to -exist, and a minute may last a whole eternity.</p> - -<p><span class="small-c">OLD LADY</span>. We suffer only what our deeds have deserved—so don't -complain——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Just try to complain, and you'll see what happens.—We are not -squeamish here, but bang away without regard for legal forms.</p> - -<p><span class="small-c">JUDGE</span>. Are they beating carpets out there—on a day like this?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. No, it is an extra ration of rod all around as a reminder for -those who may have forgotten the significance of the day.</p> - -<p><span class="small-c">JUDGE</span>. Do they actually lay hands on our persons? Is it possible that -educated people can do things like that to each other?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. This is a place of education for the badly educated; and those -who have behaved like scoundrels are treated like such.</p> - -<p><span class="small-c">JUDGE</span>. But this passes all limits!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Yes, because here we are in the limitless! Now get ready! I -have already been out there and had my portion.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Appalled</i>] What humiliation! That's to strip you of all human -worth!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Ha ha! Human worth! Ha ha!—Look at the scales over there. -That's where the human worth is—and invariably found wanting.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Sits down at the table</i>] I could never have believed——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. No, you could only believe in your caul and your own -righteousness. And yet you had both Moses and the Prophets and more -besides—for the very dead walked for your benefit.</p> - -<p><span class="small-c">JUDGE</span>. The children! The children! Is it not possible to send them a -word of greeting and of warning?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. No! Eternally, no!</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">WITCH</span> <i>comes forward with a big basketful of -stereoscopes.</i></p></blockquote> - -<p><span class="small-c">JUDGE</span>. What is it?</p> - -<p><span class="small-c">WITCH</span>. Christmas gifts for the righteous. Stereoscopes, you know. -[<i>Handing out one</i>] Help yourself. They don't cost anything.</p> - -<p><span class="small-c">JUDGE</span>. There's a kind soul at last. And a little attention to a man of -my age and rank does honour both to your tact and to your heart——</p> - -<p><span class="small-c">WITCH</span>. That's very nice of you, Judge, but I hope you don't mind my -having given some thought to the others, too.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Disappointed</i>] Are you poking fun at me, you damned old hag?</p> - -<p><span class="small-c">WITCH</span>. [<i>Spitting in his face</i>] Hold your tongue, petti-fogger!</p> - -<p><span class="small-c">JUDGE</span>. What company I have got into!</p> - -<p><span class="small-c">WITCH</span>. Is it not good enough for you, you old perjurer, you grafter, -you forger, you robber of orphans, you false pleader? Now have a look -in the peep-show and take in the great spectacle: "From the Cradle to -the Grave." There is your whole biography and all your victims—just -have a look now. That's right!</p> - -<p><span class="small-c">JUDGE</span> <i>looks in the stereoscope; then he rises with horror stamped on -his face</i>.</p> - -<p><span class="small-c">WITCH</span>. I hope this slight attention may add to the Christmas joy!</p> - -<blockquote> - -<p><i>She hands a stereoscope to the</i> <span class="small-c">OLD LADY</span>, <i>and proceeds -thereafter to give one to each person present</i>.</p></blockquote> - -<p><span class="small-c">JUDGE</span>. [<i>Sitting at the table, where now the</i> <span class="small-c">OLD LADY</span> <i>takes a seat -opposite him</i>] What do you see?</p> - -<p><span class="small-c">OLD LADY</span>. Everything is there; everything!—And do you notice that -everything is black? All life that seemed so bright is now black, and -even moments which I thought full of innocent joy have an appearance -of something nauseating, foul, almost criminal. It is as if all my -memories had decayed, including the fairest among them——</p> - -<p><span class="small-c">JUDGE</span>. You are right. There is not one memory that can bring light into -this darkness. When I look at her who was the first love of my youth, -I see nothing but a corpse. When I think of my sweet Amelia, there -appears—a harlot. The little ones make faces at me like gutter-snipes. -My court has become a pigsty; the vineyard, a rubbish-heap full of -thistles; and the mausoleum—Oh, horrors!—an outhouse! When I think of -the green woods, the leafage appears snuff-coloured and the trunks look -bleached as mast tops. The blue river seems to flow out of a dung-heap -and the blue arch above it looks like a smoky roof—Of the sun itself I -can recall nothing but the name; and what was called the moon—the lamp -that shed its light on bays and groves during the amorous nights of my -youth—I can remember only as—no, I cannot remember it at all. But -the words are left, although they have only sound without sense.—Love, -wine, song! Flowers, children, happiness!—Don't the words sound -pretty? And it is all that is left!—Love? What <i>was</i> it, anyhow?</p> - -<p><span class="small-c">OLD LADY</span>. What was it?—Two cats on a back-yard fence.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Sheepishly</i>] Yes, that's it! That's what it was! Three dogs on -a sidewalk. What a sweet recollection!</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Pressing his hand</i>] Yes, it is sweet!</p> - -<p><span class="small-c">JUDGE</span>. [<i>Looking at his watch</i>] My watch has stopped. I am so -hungry—and I am thirsty, too, and I long for a smoke. But I am also -tired and want to sleep. All my desires are waking. They claw at me and -hound me, but not one of them can I satisfy. We are lost! Lost, indeed!</p> - -<p><span class="small-c">OLD LADY</span>. And I long for a cup of tea more than I can tell!</p> - -<p><span class="small-c">JUDGE</span>. Hot green tea—that's just what I should like now—with a tiny -drop of rum in it.</p> - -<p><span class="small-c">OLD LADY</span>. No, not rum! I should prefer some cakes——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>Who has drawn near to listen</i>] Sugared, of course? I fear -you'll have to whistle for them.</p> - -<p><span class="small-c">OLD LADY</span>. Oh, this dreadful language hurts me more than anything, else.</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. That's because you don't know yet how something else is going -to hurt you.</p> - -<p><span class="small-c">JUDGE</span>. What is that?</p> - -<p><span class="small-c">OLD LADY</span>. No, don't! We don't want to know! Please!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Yes, I am going to tell. It begins with——</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Puts her fingers in her ears and cries out</i>] Mercy! Don't, -don't, don't!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Yes, I will—and as my brother-in-law is curious, I'll tell it -to him. The second letter is——</p> - -<p><span class="small-c">JUDGE</span>. This uncertainty is worse than torture—Speak out, you devil, or -I'll kill you!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Kill, ha ha! Everybody is immortal here, body and soul, what -little there is left. However, the third letter is—and that's all -you'll know!</p> - -<p><span class="small-c">MAN IN GREY</span>. [<i>A small, lean man with grey clothes, grey face, black -lips, grey beard, and grey hands; he speaks in a very low voice</i>] May I -speak a word with you, madam?</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Rising in evident alarm</i>] What is it about?</p> - -<p><span class="small-c">MAN IN GREY</span>. [<i>Smiling a ghastly, malicious smile</i>] I'll tell—out -there.</p> - -<p><span class="small-c">OLD LADY</span>. [<i>Crying</i>] No, no; I won't!</p> - -<p><span class="small-c">MAN IN GREY</span>. [<i>Laughing</i>]; It isn't dangerous. Come along! All I want -is to <i>speak</i> to you. Come now!</p> - -<blockquote> - -<p>[<i>They go toward the background and disappear</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>To the</i> <span class="small-c">JUDGE</span>] A little Christmas entertainment is wholesome.</p> - -<p><span class="small-c">JUDGE</span>. Do you mean to maltreat a woman?</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. Here all injustices are abolished, and woman is treated as the -equal of man.</p> - -<p><span class="small-c">JUDGE</span>. You devil!</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. That's all right, but don't call me hunchback, for that touches -my last illusion.</p> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>Steps up to the table</i>] Well, how do you like our -animal magnetism? It <i>can</i> work wonders on black-guards!</p> - -<p><span class="small-c">JUDGE</span>. I understand nothing of all this.</p> - -<p><span class="small-c">THE OTHER ONE</span>. That's just what is meant, and it is very nice of you to -admit that there are things you don't understand.</p> - -<p><span class="small-c">JUDGE</span>. Granting that I am now in the realm of the dead——</p> - -<p><span class="small-c">THE OTHER ONE</span>. Say "hell," for that is what it's called.</p> - -<p><span class="small-c">JUDGE</span>. [<i>Stammering</i>] Th-then I should like to remind you that He who -once descended here to redeem all lost——</p> - -<p><span style="font-size: 0.8em;">PRINCE</span>. [<i>At a sign from</i> <span class="small-c">THE OTHER ONE</span> <i>he strikes the</i> <span class="small-c">JUDGE</span> <i>in the -face</i>] Don't argue!</p> - -<p><span class="small-c">JUDGE</span>. They won't even listen to me! It is beyond despair! No mercy, no -hope, no end!</p> - -<p><span class="small-c">THE OTHER ONE</span>. Quite right! Here you find only justice and -retribution—especially justice: an eye for an eye and a tooth for a -tooth! Just as you wanted it!</p> - -<p><span class="small-c">JUDGE</span>. But among men there is pardon—and that you don't have here.</p> - -<p><span class="small-c">THE OTHER ONE</span>. Monarchs alone possess the right to pardon. And as a man -of law you ought to know that a petition for pardon must be submitted -before it can be granted.</p> - -<p><span class="small-c">JUDGE</span>. For me there can be no pardon!</p> - -<p><span class="small-c">THE OTHER ONE</span>. [<i>Gives the</i> <span style="font-size: 0.8em;">PRINCE</span> <i>a sign to step aside</i>] You feel, -then, that your guilt is too great?</p> - -<p><span class="small-c">JUDGE</span>. Yes.</p> - -<p><span class="small-c">THE OTHER ONE</span>. Then I'll speak kindly to you. There is an end, you see, -if there is a beginning. And you have made a beginning. But the sequel -will be long and hard.</p> - -<p><span class="small-c">JUDGE</span>. Oh, God is good!</p> - -<p><span class="small-c">THE OTHER ONE</span>. You have said it!</p> - -<p><span class="small-c">JUDGE</span>. But—there is one thing that cannot be undone—there is one!</p> - -<p><span class="small-c">THE OTHER ONE</span>. You are thinking of the monstrance which should have -been of gold but was of silver? Well, don't you think that He who -changed water into wine may also change silver into gold?</p> - -<p><span class="small-c">JUDGE</span>. [<i>On his knees</i>] But my misdeed is too great, too great to be -forgiven.</p> - -<p><span class="small-c">THE OTHER ONE</span>. Now you overestimate yourself again. But rise up. We -are about to celebrate Christmas in our own fashion.—The light of the -sun cannot reach here, as you know—nor that of the moon. But on this -night, and on this alone, a star rises so far above the rocks that it -is visible from here. It is the star that went before the shepherds -through the desert—and <i>that</i> was the morning star.</p> - -<blockquote> - -<p>[<i>He claps his hands together</i>.</p> - -<p><i>The bust of Pan sinks into the ground. The</i> <span class="small-c">OLD LADY</span> <i>returns, -looking reassured and quietly happy. With a suggestion of firm -hope in mien and gesture, she goes up to the</i> <span class="small-c">JUDGE</span> <i>and takes -his hand. The stage becomes filled with shadows that are gazing -up at the rocks in the rear</i>.</p></blockquote> - -<p><span class="small-c">CHORUS I</span>. [<i>Two sopranos and an alto sing behind the stage, accompanied -only by string instruments and a harp</i>.]</p> - -<p style="margin-left: 40%;"> -Puer natus est nobis;<br /> -Et filius datus est nobis,<br /> -Cujus imperium super humerum ejus;<br /> -Et vocabitur nomen ejus<br /> -Magni consilii Angelus.<br /> -</p> - -<p><span class="small-c">CHORUS II</span>. [<i>Soprano, alto, tenor, basso</i>.]</p> - -<p style="margin-left: 40%;"> -Cantate Domino canticum novum<br /> -Quia mirabilia fecit!<br /> -</p> - -<blockquote> - -<p><i>The star becomes visible above the rocks in the rear. All -kneel down. A part of the rock glides aside, revealing a -tableau: the crib with the child and the mother; the shepherds -adoring at the left, the three Magi at the right</i>.</p></blockquote> - -<p><span class="small-c">CHORUS III</span>. [<i>Two sopranos and two altos.]</i></p> - -<p style="margin-left: 40%;"> -Gloria in excelsis Deo<br /> -Et in terra pax<br /> -Hominibus bonæ voluntatis!<br /> -</p> - -<h5><i>Curtain</i>.</h5> - - - -<hr class="chap" /> -<h3><a name="THE_THUNDERSTORM" id="THE_THUNDERSTORM">THE THUNDERSTORM</a></h3> - -<h4>(OVÄDER)</h4> - -<h4>A CHAMBER PLAY</h4> - -<h5>1907</h5> -<hr class="r5" /> - - -<p style="margin-left: 35%;"> -<span class="small-c">CHARACTERS</span><br /><br /> -<span class="small-c">THE MASTER</span>, <i>a retired government official</i><br /> -<span class="small-c">THE CONSUL</span>, <i>his brother</i><br /> -<span class="small-c">STARCK</span>, <i>a confectioner</i><br /> -<span class="small-c">AGNES</span>, <i>daughter of Starck</i><br /> -<span class="small-c">LOUISE</span>, <i>a relative of the Master</i><br /> -<span class="small-c">GERDA</span>, <i>the Master's divorced wife</i><br /> -<span class="small-c">FISCHER</span>, <i>second husband of Gerda</i><br /> -<span class="small-c">THE ICEMAN</span><br /> -<span class="small-c">THE LETTER-CARRIER</span><br /> -<span class="small-c">THE LAMPLIGHTER</span><br /> -<span class="small-c">THE LIQUORDEALER'S MAN</span><br /> -<span class="small-c">THE MILKMAID</span><br /> -<br /> -<span class="small-c">SCENE I</span>—<span class="small-c">IN FRONT OF THE HOUSE</span><br /> -<span class="small-c">SCENE II</span>—<span class="small-c">INSIDE THE HOUSE</span><br /> -<span class="small-c">SCENE III</span>—<span class="small-c">IN FRONT OF THE HOUSE</span><br /> -</p> - -<hr class="tb" /> - -<h4>FIRST SCENE</h4> - - -<blockquote> - -<p><i>The front of a modern house with a basement of granite. The -upper parts are of brick covered with yellow plastering. The -window-frames and other ornaments are of sandstone. A low -archway leads through the basement to the court and serves also -as entrance to the confectioner's shop. The corner of the house -appears at the right of the stage, where the avenue opens into -a small square planted with roses and various other flowers. At -the corner is a mail-box. The main floor, above the basement, -has large windows, all of which are open. Four of these windows -belong to an elegantly furnished dining-room. The four middle -windows in the second story have red shades which are drawn; -the shades are illumined by light from within</i>.</p> - -<p><i>Along the front of the house runs a sidewalk with trees -planted at regular intervals. There is a lamp-post in the -extreme foreground and beside it stands a green bench</i>.</p> - -<p><span class="small-c">STARCK</span>, <i>the confectioner, comes out with a chair and sits down -on the sidewalk</i>.</p> - -<p><i>The</i> <span class="small-c">MASTER</span> <i>is visible in the dining-room of the main floor, -seated at the table. Behind him appears an oven built of green -majolica tiles. On its mantelshelf stands a large photograph -between two candelabra and some vases containing flowers. A -young girl in a light dress is just serving the final course</i>.</p> - -<p><i>The</i> <span class="small-c">MASTER'S</span> <i>brother, the</i> CONSUL, <i>appears in front of the -house, coming from the left, and knocks with his walking-stick -on the sill of one of the dining-room windows</i>.</p></blockquote> -<hr class="tb" /> - -<p><span class="small-c">CONSUL</span>. Will you soon be through?</p> - -<p><span class="small-c">MASTER</span>. I'll come in a moment.</p> - -<p><span class="small-c">CONSUL</span>. [<i>Saluting the confectioner</i>] Good evening, Mr. Starck. It's -still hot——</p> - -<p><span class="small-c">STARCK</span>. Good evening, Consul. Yes, it's the dog-day heat, and we have -been making jam all day.</p> - -<p><span class="small-c">CONSUL</span>. Is that so? It's a good year for fruit, then?</p> - -<p><span class="small-c">STARCK</span>. It might be worse. Well, the spring was cold, but the summer -turned out unbearably hot. It was hard on us who had to stay in the -city.</p> - -<p><span class="small-c">CONSUL</span>. I got back from the country yesterday—one begins to wish -oneself back when the evenings grow dark.</p> - -<p><span class="small-c">STARCK</span>. Neither I nor my wife have been out of the city. Of course, -business is at a standstill, but you have to be on hand to make -ready for the winter. First come strawberries, then cherries, then -raspberries, and last gooseberries, cantaloupes and all the fall -fruits——</p> - -<p><span class="small-c">CONSUL</span>. Tell me something, Mr. Starck. Is the house here to be sold?</p> - -<p><span class="small-c">STARCK</span>. Not that I have heard.</p> - -<p><span class="small-c">CONSUL</span>. There are a lot of people living here?</p> - -<p><span class="small-c">STARCK</span>. Something like ten families, I think, counting those in the -rear also. But nobody knows anybody else. There is unusually little -gossiping in the house. It seems rather as if everybody were hiding. I -have lived here ten years, and during the first two years we had for -neighbours a strange family that kept very quiet in the daytime. But at -night they began to stir about, and then carriages would come and fetch -things away. Not until the end of the second year did I learn that -they had been running a private sanatorium, and that what was being -taken away at night were dead bodies.</p> - -<p><span class="small-c">CONSUL</span>. Horrible!</p> - -<p><span class="small-c">STARCK</span>. And they call it the Silent House.</p> - -<p><span class="small-c">CONSUL</span>. Yes, there isn't much talking done here.</p> - -<p><span class="small-c">STARCK</span>. More than one drama has been played here, nevertheless.</p> - -<p><span class="small-c">CONSUL</span>. Tell me, Mr. Starck, who lives up there on the second floor, -right above my brother?</p> - -<p><span class="small-c">STARCK</span>. Up there, where the light comes through the red shades—a -tenant died there during the summer. Then the place stood empty for a -month, and a week ago a new family moved in. I haven't seen them. I -don't know their name. I don't think they ever go out. Why did you ask, -Consul?</p> - -<p><span class="small-c">CONSUL</span>. Whew—I don't know! Those four red shades look like stage -curtains behind which some sanguinary tragedies are being rehearsed—or -I imagine so, at least. There is a palm at one of the windows looking -like a rod made of wire—you can see the shadow of it on the shade. If -only some people were to be seen——</p> - -<p><span class="small-c">STARCK</span>. I have seen plenty of them, but not until later—at night.</p> - -<p><span class="small-c">CONSUL</span>. Was it men or women you saw?</p> - -<p><span class="small-c">STARCK</span>. Both, I guess—but now I must get back to my pots. [<i>He -disappears into the gateway</i>.</p> - -<p><span class="small-c">MASTER</span>. [<i>Still inside, has risen from the table and lighted a cigar; -he is now standing at the open window, talking to his brother outside</i>] -I'll be ready in a moment. Louise is only going to sew a button on one -of my gloves.</p> - -<p><span class="small-c">CONSUL</span>. Then you mean to go down-town?</p> - -<p><span class="small-c">MASTER</span>. Perhaps we'll take a turn in that direction—Whom were you -talking with?</p> - -<p><span class="small-c">CONSUL</span>. Just the confectioner——</p> - -<p><span class="small-c">MASTER</span>. Oh, yes—a very decent fellow—and, for that matter, my only -companion here during the summer.</p> - -<p><span class="small-c">CONSUL</span>. Have you really stayed at home every night—never gone out?</p> - -<p><span class="small-c">MASTER</span>. Never! Those light evenings make me timid. They are pleasant in -the country, of course, but here in the city they produce the effect of -something unnatural—almost ghastly. But no sooner has the first street -lamp been lighted than I feel calm once more and can resume my evening -walks. In that way I can get tired and sleep better at night. [<span class="small-c">LOUISE</span> -<i>hands him the glove</i>] Thank you, my child. You can just as well leave -the windows open, as there are no mosquitoes. [<i>To the</i> <span class="small-c">CONSUL</span>] Now I'm -coming.</p> - -<blockquote> - -<p><i>A few moments later he can be seen coming out of the house -on the side facing the square; he stops at the corner to drop -a letter in the mail-box; then he comes around the corner to -the front of the house and sits down on the bench beside his -brother</i>.</p></blockquote> - -<p><span class="small-c">CONSUL</span>. But tell me: why do you stay in the city when you <i>could</i> be in -the country?</p> - -<p><span class="small-c">MASTER</span>. I don't know. I have lost my power of motion. My memory has -tied me for ever to these rooms. Only within them can I find peace and -protection. In there—yes! It is interesting to look at your own home -from the outside. Then I imagine that some other man is pacing back and -forth in there—Just think: for ten years I have been pacing back and -forth in there!</p> - -<p><span class="small-c">CONSUL</span>. Is it ten years now?</p> - -<p><span class="small-c">MASTER</span>. Yes, time goes quickly—once it is gone. But when it is still -going it seems slow enough.—That time the house was new. I watched -them putting down the hard-wood floor in the dining-room and painting -the doors; and <i>she</i> was permitted to pick out the wall-paper, which -is still there—Yes, that was then! The confectioner and I are the -oldest tenants in the place, and he, too, has had a few experiences of -his own—he is one of those people who never succeed but are always in -some kind of trouble. In a way, I have been living his life also, and -bearing his burdens besides my own.</p> - -<p><span class="small-c">CONSUL</span>. Does he drink, then?</p> - -<p><span class="small-c">MASTER</span>. No-o—nothing of that kind, but there is no <i>go</i> to him. Well, -he and I know the history of this house: how they have arrived in -bridal coaches and left in hearses, while the mail-box at the corner -became the recipient of all their confidences.</p> - -<p><span class="small-c">CONSUL</span>. There was a death here in the middle of the summer, wasn't -there?</p> - -<p><span class="small-c">MASTER</span>. Yes, a case of typhoid—the man was manager of a bank—and then -the flat stood vacant for a month. The coffin came out first, then the -widow and the children, and last of all the furniture.</p> - -<p><span class="small-c">CONSUL</span>. That was on the second floor?</p> - -<p><span class="small-c">MASTER</span>. Yes, up there, where you see the light—where those new people -are, about whom I know nothing at all.</p> - -<p><span class="small-c">CONSUL</span>. Haven't you seen anything of them either?</p> - -<p><span class="small-c">MASTER</span>. I never ask any questions about the other tenants. What comes -to me unasked, I accept—but I never make any wrong use of it, and I -never interfere, for I am anxious for the peace of my old age.</p> - -<p><span class="small-c">CONSUL</span>. Old age—yes! I think it's nice to grow old, for then there -isn't so much left to be recorded.</p> - -<p><span class="small-c">MASTER</span>. Indeed, it is nice. I am settling my accounts, both with life -and with people, and I have already begun to pack for the journey. -Of course, the solitude has its draw-backs, but when there is nobody -who can make any demands on you, then you have won your freedom—the -freedom to come and go, to think and act, to eat and sleep, in -accordance with your own choice.</p> - -<blockquote> - -<p><i>At this moment the shade in one of the windows on the second -floor is raised a little way, so that part of a woman's dress -becomes visible. Then it is quickly drawn again</i>.</p></blockquote> - -<p><span class="small-c">CONSUL</span>. They are astir up there—did you see?</p> - -<p><span class="small-c">MASTER</span>. Yes, there is such a lot of mystery about it—and at night it -is worse than ever. Sometimes there is music, but it's always bad; -and sometimes I think they are playing cards; and long after midnight -carriages drive up and take away people.—I never make a complaint -against other tenants, for then they want to get even, and nobody wants -to change his ways. The best thing is to remain oblivious of everything.</p> - -<blockquote> - -<p><i>A gentleman, dressed in a dinner coat but bareheaded, comes -out of the house and drops a big pile of letters into the -mail-box; then he disappears into the house again</i>.</p></blockquote> - -<p><span class="small-c">CONSUL</span>. That fellow must have a lot of correspondence.</p> - -<p><span class="small-c">MASTER</span>. It looked to me like circulars.</p> - -<p><span class="small-c">CONSUL</span>. But who is he?</p> - -<p><span class="small-c">MASTER</span>. Why, that's the new tenant up there on the second floor.</p> - -<p><span class="small-c">CONSUL</span>. Oh, is that so! What do you think he looked like?</p> - -<p><span class="small-c">MASTER</span>. I don't know. Musician, conductor, a touch of musical -comedy, with a leaning to vaudeville—gambler—Adonis—a little of -everything——</p> - -<p><span class="small-c">CONSUL</span>. Black hair should have gone with that pale complexion of -his, but his hair was brown—which means that it had been dyed, or -that he wears a wig. A tuxedo at home indicates an empty wardrobe, -and the movements of his hands as he dropped the letters into the -box suggested shuffling and cutting and dealing—[<i>At this moment -waltz music becomes faintly audible from the second floor</i>] Always -waltzes—perhaps they have a dancing-school—but it's always the same -waltz—what's the name of it now?</p> - -<p><span class="small-c">MASTER</span>. Why, I think—that's "Pluie d'or"—I know it by heart.</p> - -<p><span class="small-c">CONSUL</span>. Have you heard it in your own house?</p> - -<p><span class="small-c">MASTER</span>. Yes, that one and the "Alcazar Waltz."</p> - -<blockquote> - -<p><span class="small-c">LOUISE</span> <i>becomes visible in the dining-room, where she is -putting things in order and wiping the glassware on the buffet</i>.</p></blockquote> - -<p><span class="small-c">CONSUL</span>. Are you still pleased with Louise?</p> - -<p><span class="small-c">MASTER</span>. Very.</p> - -<p><span class="small-c">CONSUL</span>. Isn't she going to marry?</p> - -<p><span class="small-c">MASTER</span>. Not that I know of.</p> - -<p><span class="small-c">CONSUL</span>. Is there no fiancé in sight?</p> - -<p><span class="small-c">MASTER</span>. Why do you ask?</p> - -<p><span class="small-c">CONSUL</span>. Have you had any thoughts of that kind?</p> - -<p><span class="small-c">MASTER</span>. I? No, thank you! When I married the last time I was not too -old, as we had a child in due time, but I have grown too old since -then, and now I want to spend my evening in peace—Do you think I want -another master in my own house, who would rob me of life and honour and -goods?</p> - -<p><span class="small-c">CONSUL</span>. Oh, nobody took your life or your goods——</p> - -<p><span class="small-c">MASTER</span>. Do you mean to say that my honour suffered any harm?</p> - -<p><span class="small-c">CONSUL</span>. Don't you know?</p> - -<p><span class="small-c">MASTER</span>. What <i>do</i> you mean?</p> - -<p><span class="small-c">CONSUL</span>. In leaving you, she killed your honour.</p> - -<p><span class="small-c">MASTER</span>. Then I have been a dead man for five years without knowing it.</p> - -<p><span class="small-c">CONSUL</span>. You haven't known it?</p> - -<p><span class="small-c">MASTER</span>. No, but now I'll tell you in a few words what really happened. -When, at fifty, I married a girl much younger than myself—one whose -heart I had won and who gave me her hand fearlessly and willingly—then -I promised her that if ever my age should become a burden to her youth -I would go my own way and give her back her freedom. Since the child -had come in due time, and neither one of us wanted another, and since -our little girl had begun to grow apart from me, so that I had come to -feel superfluous, I did go my way—that is, I took a boat, as we were -living on an island—and that was the end of the whole story. I had -redeemed my promise and saved my honour—what more besides?</p> - -<p><span class="small-c">CONSUL</span>. All right—but she thought it an attack on her own honour, -because she had meant to go away herself. And so she killed you by -tacit accusations which never reached your ears.</p> - -<p><span class="small-c">MASTER</span>. Did she accuse herself also?</p> - -<p><span class="small-c">CONSUL</span>. No, she had no reason to do so.</p> - -<p><span class="small-c">MASTER</span>. Then no harm has been done.</p> - -<p><span class="small-c">CONSUL</span>. Do you know what has become of her and the child since then?</p> - -<p><span class="small-c">MASTER</span>. I don't want to know! Having at last outlived the horrors of -longing, I came to regard the whole business as buried; and as none but -beautiful memories were left behind in our rooms, I remained where I -was. However, I thank you for that piece of valuable information!</p> - -<p><span class="small-c">CONSUL</span>. Which one?</p> - -<p><span class="small-c">MASTER</span>. That she had no reason for self-accusation, for if she had it -would constitute an accusation against me——</p> - -<p><span class="small-c">CONSUL</span>. I think you are living under a serious misconception——</p> - -<p><span class="small-c">MASTER</span>. If I am, leave me alone! A clear conscience—comparatively -clear, at least—has always been the diving-suit that has enabled me -to descend into the vast deeps without being suffocated. [<i>Rising</i>] -To think of it—that I got out of it with my life! And now it's all -over!—Suppose we take a turn down the avenue?</p> - -<p><span class="small-c">CONSUL</span>. All right, then we can see them light the first street lamp of -the season.</p> - -<p><span class="small-c">MASTER</span>. But won't the moon be up to-night—the harvest-moon?</p> - -<p><span class="small-c">CONSUL</span>. Why, I think the moon is full just now——</p> - -<p><span class="small-c">MASTER</span>. [<i>Going to one of the windows and talking into the -dining-room</i>] Please hand me my stick, Louise. The light one—I just -want to hold it in my hand.</p> - -<p><span class="small-c">LOUISE</span>. [<i>Handing out a cane of bamboo</i>] Here it is, sir.</p> - -<p><span class="small-c">MASTER</span>. Thank you, my girl. Now turn out the light in the dining-room -if you have nothing to do there. We'll be gone a little while—I cannot -tell just how long.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">MASTER</span> <i>and the</i> <span class="small-c">CONSUL</span> <i>go out to the left</i>. <span class="small-c">LOUISE</span> -<i>remains standing by the open window</i>. <span class="small-c">STARCK</span> <i>comes out of the -gateway</i>.</p></blockquote> - -<p><span class="small-c">STARCK</span>. Good evening, Miss Louise. It's awfully hot!—So your gentlemen -have disappeared?</p> - -<p><span class="small-c">LOUISE</span>. They have gone for a stroll down the avenue—the first time my -master has gone out this summer.</p> - -<p><span class="small-c">STARCK</span>. We old people love the twilight, which covers up so many -defects both in ourselves and others. Do you know, Miss Louise, my old -woman is getting blind, but she won't have an operation performed. She -says there is nothing to look at, and that sometimes she wishes she -were deaf, too.</p> - -<p><span class="small-c">LOUISE</span>. Well, one does feel that way—at times.</p> - -<p><span class="small-c">STARCK</span>. Of course, you are leading a very quiet life in there, with -plenty of everything, and nothing to worry about. I have never heard a -loud voice or the slamming of a door—perhaps, even, it is a little too -quiet for a young lady like yourself?</p> - -<p><span class="small-c">LOUISE</span>. Not at all! I love the quiet, and whatever is dignified, -graceful, measured—with nobody blurting out things, and all thinking -it a duty to overlook the less pleasant features of daily life.</p> - -<p><span class="small-c">STARCK</span>. And you have never any company?</p> - -<p><span class="small-c">LOUISE</span>. No, only the consul comes here—and the like of the love -between those two brothers I have never seen.</p> - -<p><span class="small-c">STARCK</span>. Who is the elder of the two?</p> - -<p><span class="small-c">LOUISE</span>. That's more than I can tell. Whether there is a year or two -between them, or they are twins, I don't know, for they treat each -other with mutual respect, as if each one of them was the elder brother.</p> - -<blockquote> - -<p><span class="small-c">AGNES</span> <i>appears, trying to get past</i> <span class="small-c">STARCK</span> <i>without being seen -by him</i>.</p></blockquote> - -<p><span class="small-c">STARCK</span>. Where are you going, girl?</p> - -<p><span class="small-c">AGNES</span>. Oh, I am just going out for a little walk.</p> - -<p><span class="small-c">STARCK</span>. That's right, but get back soon.</p> - -<blockquote> - -<p><span class="small-c">AGNES</span> <i>goes out</i>.</p></blockquote> - -<p><span class="small-c">STARCK</span>. Do you think your master is still mourning the loss of his dear -ones?</p> - -<p><span class="small-c">LOUISE</span>. He doesn't mourn—he doesn't even feel any regrets, for he -doesn't want them back—but he is always with them in his memory, where -he keeps only their beautiful traits.</p> - -<p><span class="small-c">STARCK</span>. But doesn't the fate of his daughter trouble him at times?</p> - -<p><span class="small-c">LOUISE</span>. Yes, he cannot help fearing that the mother may have married -again, and then, of course, everything depends on how the child's -stepfather turns out.</p> - -<p><span class="small-c">STARCK</span>. I have been told that the wife refused alimony at first, but -that now, when five years have passed, she has sent him a lawyer with a -demand for many thousands——</p> - -<p><span class="small-c">LOUISE</span>. [<i>With reserve</i>] I know nothing about it.</p> - -<p><span class="small-c">STARCK</span>. I believe, however, that she was never more beautiful than in -his memory——</p> - -<p><span class="small-c">THE LIQUORDEALER'S MAN</span>. [<i>Enters, carrying a crateful of bottles</i>] -Excuse me, but does Mr. Fischer live here?</p> - -<p><span class="small-c">LOUISE</span>. Mr. Fischer? Not so far as I know.</p> - -<p><span class="small-c">STARCK</span>. Perhaps Fischer is the name of that fellow on the second floor? -Around the corner—one flight up.</p> - -<p><span class="small-c">THE LIQUORDEALER'S MAN</span>. [<i>Going toward the square</i>] One flight -up—thanks. [<i>He disappears around the corner</i>.</p> - -<p><span class="small-c">LOUISE</span>. Carrying up bottles again—that means another sleepless night.</p> - -<p><span class="small-c">STARCK</span>. What kind of people are they? Why don't they ever show -themselves?</p> - -<p><span class="small-c">LOUISE</span>. I suppose they use the back-stairs, for I have never seen them. -But I do hear them.</p> - -<p><span class="small-c">STARCK</span>. Yes, I have also heard doors bang and corks pop—and the -popping of other things, too, I guess.</p> - -<p><span class="small-c">LOUISE</span>. And they never open their windows, in spite of the heat—they -must be Southerners.—Why, that's lightning—a lot of it!—I guess -it's nothing but heat-lightning, for there has been no thunder.</p> - -<p>A <span style="font-size: 0.8em;">VOICE</span>. [<i>Is heard from the basement</i>] Starck, dear, won't you come -down and help me put in the sugar!</p> - -<p><span class="small-c">STARCK</span>. All right, old lady, I'm coming! [<i>To</i> <span class="small-c">LOUISE</span>] We are making -jam, you know. [<i>As he goes</i>] I'm coming, I'm coming! [<i>He disappears -into the gateway again</i>.</p> - -<blockquote> - -<p><span class="small-c">LOUISE</span> <i>remains standing at the window</i>.</p></blockquote> - -<p><span class="small-c">CONSUL</span>. [<i>Enters slowly from the right</i>] Isn't my brother back yet?</p> - -<p><span class="small-c">LOUISE</span>. No, sir.</p> - -<p><span class="small-c">CONSUL</span>. He wanted to telephone, and I was to go ahead. Well, I suppose -he'll be here soon.—What's this? [<i>He stoops to pick up a post-card</i>] -What does it say?—"Boston club at midnight: Fischer."—Do you know who -Fischer is, Louise?</p> - -<p><span class="small-c">LOUISE</span>. There was a man with a lot of wine looking for Fischer a while -ago—up on the second floor.</p> - -<p><span class="small-c">CONSUL</span>. On the second floor—Fischer! Red shades that make the place -look like a drug-store window at night! I fear you have got bad company -in the house.</p> - -<p><span class="small-c">LOUISE</span>. What is a Boston club?</p> - -<p><span class="small-c">CONSUL</span>. Oh, there need be no harm in it at all—in this case I don't -know, however.—But how did the post-card—? Oh, it was <i>he</i> who -dropped it a while ago. Then I'll put it back in the box.—Fischer? -I have heard that name before. In connection with something I cannot -recall just now—May I ask a question, Miss Louise: does my brother -never speak of—the past?</p> - -<p><span class="small-c">LOUISE</span>. Not to me.</p> - -<p><span class="small-c">CONSUL</span>. Miss Louise—one more question <span class="small-c">LOUISE</span>. Excuse me, but here -comes the milk, and I have to receive it. [<i>She leaves the dining-room</i>.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">MILKMAID</span> <i>appears from the right and enters the house -from the square</i>.</p></blockquote> - -<p><span class="small-c">STARCK</span>. [<i>Comes out again, takes off his white linen cap, and puffs -with heat</i>] In and out, like a badger at its hole—it's perfectly -horrid down there by the ovens—and the evening doesn't make it any -cooler.</p> - -<p><span class="small-c">CONSUL</span>. All this lightning shows that we are going to have rain—Well, -the city isn't pleasant, exactly, but up here you have quiet at least: -never any rattling carriages, and still less any street-cars—it's just -like the country.</p> - -<p><span class="small-c">STARCK</span>. Of course, it's quiet, but it's too quiet for business. I -know my trade, but I am a poor salesman—have always been, and -can't learn—or it may be something else. Perhaps I haven't got the -proper manner. For when customers act as if I were a swindler I get -embarrassed at first, and then as mad as it is possible for me to -become. But nowadays I haven't the strength to get really mad. It has -been worn out of me—everything gets worn out.</p> - -<p><span class="small-c">CONSUL</span>. Why don't you go to work for somebody else?</p> - -<p><span class="small-c">STARCK</span>. Who would want me?</p> - -<p><span class="small-c">CONSUL</span>. Have you ever tried?</p> - -<p><span class="small-c">STARCK</span>. What would be the use of it?</p> - -<p><span class="small-c">CONSUL</span>. Oh—well!</p> - -<blockquote> - -<p><i>At this moment a long-drawn "O-oh" is heard from the apartment -on the second floor</i>.</p></blockquote> - -<p><span class="small-c">STARCK</span>. What, in the name of Heaven, are they up to in that place? Are -they killing each other?</p> - -<p><span class="small-c">CONSUL</span>. I don't like this new and unknown element that has come into -the house. It is pressing on us like a red thunder-cloud. What kind of -people are they? Where do they come from? What do they want here?</p> - -<p><span class="small-c">STARCK</span>. It's so very dangerous to delve in other people's affairs—you -get mixed up in them yourself——</p> - -<p><span class="small-c">CONSUL</span>. Do you know anything about them?</p> - -<p><span class="small-c">STARCK</span>. No, I don't know anything at all.</p> - -<p><span class="small-c">CONSUL</span>. Now they're screaming again, this time in the stairway——</p> - -<p><span class="small-c">STARCK</span>. [<i>Withdrawing into the gateway and speaking in a low voice</i>] I -don't want to have anything to do with this.</p> - -<blockquote> - -<p><span class="small-c">GERDA</span>, <i>the divorced wife of the</i> <span class="small-c">MASTER</span>, <i>comes running from -the house into the square. She is bareheaded, with her hair -down, and very excited. The</i> <span class="small-c">CONSUL</span> <i>approaches her, and they -recognise each other. She draws back from him</i>.</p></blockquote> - -<p><span class="small-c">CONSUL</span>. So it's you—my former sister-in-law?</p> - -<p><span class="small-c">GERDA</span>. Yes, it is I.</p> - -<p><span class="small-c">CONSUL</span>. How did you get into this house, and why can't you let my -brother enjoy his peace?</p> - -<p><span class="small-c">GERDA</span>. [<i>Bewildered</i>] They didn't give us the right name of the tenant -below—I thought he had moved—I couldn't help it——</p> - -<p><span class="small-c">CONSUL</span>. Don't be afraid—you don't have to be afraid of me, Gerda! Can -I be of any help to you? What's happening up there?</p> - -<p><span class="small-c">GERDA</span>. He was beating me!</p> - -<p><span class="small-c">CONSUL</span>. Is your little girl with you?</p> - -<p><span class="small-c">GERDA</span>. Yes.</p> - -<p><span class="small-c">CONSUL</span>. So she has got a stepfather?</p> - -<p><span class="small-c">GERDA</span>. Yes.</p> - -<p><span class="small-c">CONSUL</span>. Put up your hair and calm yourself. Then I'll try to straighten -this matter out. But spare my brother——</p> - -<p><span class="small-c">GERDA</span>. I suppose he hates me?</p> - -<p><span class="small-c">CONSUL</span>. No, don't you see that he has been taking care of your flowers -in the bed over there? He brought the soil himself, in a basket, -don't you remember? Don't you recognise your blue gentians and the -mignonette, your <i>Malmaison</i> and <i>Merveille de Lyons</i> roses, which he -budded himself? Don't you understand that he has cherished the memory -of yourself and of the child?</p> - -<p><span class="small-c">GERDA</span>. Where is he now?</p> - -<p><span class="small-c">CONSUL</span>. Taking a walk along the avenue, but he will be here in a few -minutes with the evening papers. When he comes from that side he uses -the back door, and he goes straight into the dining-room to read the -papers. Stand still and he won't notice you.—But you must go back to -your own rooms——</p> - -<p><span class="small-c">GERDA</span>. I can't! I can't go back to that man.</p> - -<p><span class="small-c">CONSUL</span>. Who is he, and what?</p> - -<p><span class="small-c">GERDA</span>. He—has been a singer.</p> - -<p><span class="small-c">CONSUL</span>. Has been—and what is he now? An adventurer?</p> - -<p><span class="small-c">GERDA</span>. Yes!</p> - -<p><span class="small-c">CONSUL</span>. Keeps a gambling-house?</p> - -<p><span class="small-c">GERDA</span>. Yes!</p> - -<p><span class="small-c"><span class="small-c">CONSUL</span></span>. And the child? Bait?</p> - -<p><span class="small-c">GERDA</span>. Oh, don't say that!</p> - -<p><span class="small-c">CONSUL</span>. It's horrible!</p> - -<p><span class="small-c">GERDA</span>. You are too harsh about the whole thing.</p> - -<p><span class="small-c">CONSUL</span>. Of course, filth must be handled gently—so very gently! But -a just cause should be dragged in the dirt. Why did you defile his -honour, and why did you lure me into becoming your accomplice? I was -childish enough to trust your word, and I defended your unjust cause -against his.</p> - -<p><span class="small-c">GERDA</span>. You forget that he was too old.</p> - -<p><span class="small-c">CONSUL</span>. No, he wasn't <i>then</i>, as you had a child at once. When he -proposed, he asked if you wanted to have a child with him, and he vowed -in the bargain to give you back your freedom when his promise had been -kept and old age began to weigh him down.</p> - -<p><span class="small-c">GERDA</span>. He deserted me, and that was an insult.</p> - -<p><span class="small-c">CONSUL</span>. Not to you! Your youth prevented it from being a reflection on -you.</p> - -<p><span class="small-c">GERDA</span>. He should have let me leave him.</p> - -<p><span class="small-c">CONSUL</span>. Why? Why did you want to heap dishonour on him?</p> - -<p><span class="small-c">GERDA</span>. One of us had to bear it.</p> - -<p><span class="small-c">CONSUL</span>. What strange paths your thoughts pursue! However, you have -killed him, and fooled me into helping you. How can we rehabilitate him?</p> - -<p><span class="small-c">GERDA</span>. If he is to be rehabilitated, it can only be at my expense.</p> - -<p><span class="small-c">CONSUL</span>. I cannot follow your thoughts, which always turn to hatred. -But suppose we leave the rehabilitation alone and think only of how his -daughter is to be saved: what can we do then?</p> - -<p><span class="small-c">GERDA</span>. She is my child. She's mine by law, and my husband is her -father——</p> - -<p><span class="small-c">CONSUL</span>. Now <i>you</i> are too harsh about it! And you have grown cruel and -vulgar—Hush! Here he comes now.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">MASTER</span> <i>enters from the left with a newspaper in his -hand; he goes into the house pensively by the back door, while -the</i> <span class="small-c">CONSUL</span> <i>and</i> <span class="small-c">GERDA</span> <i>remain motionless, hidden behind the -corner of the house</i>.</p> - -<p><i>Then the</i> <span class="small-c">CONSUL</span> <i>and</i> <span class="small-c">GERDA</span> <i>come down the stage. A moment -later the</i> <span class="small-c">MASTER</span> <i>becomes visible in the dining-room, where he -sits down to read the paper</i>.</p></blockquote> - -<p><span class="small-c">GERDA</span>. It was he!</p> - -<p><span class="small-c">CONSUL</span>. Come over here and look at your home. See how he has kept -everything as it was—arranged to suit your taste.—Don't be afraid. -It's so dark out here that he can't see us. The light in the room -blinds him, you know.</p> - -<p><span class="small-c">GERDA</span>. How he has been lying to me!</p> - -<p><span class="small-c">CONSUL</span>. In what respect?</p> - -<p><span class="small-c">GERDA</span>. He hasn't grown old! He had grown tired of me—that was the -whole thing! Look at his collar—and his tie—the very latest fashion! -I am sure he has a mistress!</p> - -<p><span class="small-c">CONSUL</span>. Yes, you can see her photograph on the mantelshelf, between the -candelabra.</p> - -<p><span class="small-c">GERDA</span>. It is myself and the child! Does he still love me?</p> - -<p><span class="small-c">CONSUL</span>. Your memory only!</p> - -<p><span class="small-c">GERDA</span>. That's strange!</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">MASTER</span> <i>ceases to read and stares out through the window</i>.</p></blockquote> - -<p><span class="small-c">GERDA</span>. He is looking at us!</p> - -<p><span class="small-c">CONSUL</span>. Don't move!</p> - -<p><span class="small-c">GERDA</span>. He is looking straight into my eyes.</p> - -<p><span class="small-c">CONSUL</span>. Be still! He doesn't see you.</p> - -<p><span class="small-c">GERDA</span>. He looks as if he were dead——</p> - -<p><span class="small-c">CONSUL</span>. Well, he has been killed.</p> - -<p><span class="small-c">GERDA</span>. Why do you talk like that?</p> - -<blockquote> - -<p><i>An unusually strong flash of heat-lightning illumines the -figures of the</i> <span class="small-c">CONSUL</span> <i>and</i> <span class="small-c">GERDA</span>.</p> - -<p><i>The</i> <span class="small-c">MASTER</span> <i>rises with an expression of horror on his face</i>. -<span class="small-c">GERDA</span> <i>takes refuge behind the corner of the house</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. Carl Frederick! [<i>Coming to the window</i>] Are you alone? I -thought—Are you really alone?</p> - -<p><span class="small-c">CONSUL</span>. As you see.</p> - -<p><span class="small-c">MASTER</span>. The air is so sultry, and the flowers give me a headache—I am -just going to finish the newspaper.</p> - -<blockquote> - -<p>[<i>He resumes his former position.</i></p></blockquote> - -<p><span class="small-c">CONSUL</span>. Now let us get at your affairs. Do you want me to go with you?</p> - -<p><span class="small-c">GERDA</span>. Perhaps! But it will be a hard struggle.</p> - -<p><span class="small-c">CONSUL</span>. But the child must be saved. And I am a lawyer.</p> - -<p><span class="small-c">GERDA</span>. Well, for the child's sake, then! Come with me!</p> - -<blockquote> - -<p>[<i>They go out together.</i></p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>Calling from within</i>] Carl Frederick, come in and have a game -of chess!—Carl Frederick!</p> - -<p style="text-align: center;"><i>Curtain</i>.</p> - - - -<hr class="chap" /> -<h4>SECOND SCENE</h4> - - -<blockquote> - -<p><i>Inside the dining-room. The brick stove appears at the centre -of the rear wall. To the left of it there is a door leading -into the pantry. Another door to the right of it leads to the -hallway. At the left stands a buffet with a telephone on it. A -piano and a tall clock stand at the right. There are doors in -both side walls</i>.</p> - - -<p><i>The</i> <span class="small-c">MASTER</span> <i>is in the room, and</i> <span class="small-c">LOUISE</span> <i>enters as the -curtain rises</i>.</p></blockquote> - -<hr class="tb" /> -<p><span class="small-c">MASTER</span>. Where did my brother go?</p> - -<p><span class="small-c">LOUISE</span>. [<i>Alarmed</i>] He was outside a moment ago. He can't be very far -away.</p> - -<p><span class="small-c">MASTER</span>. What a dreadful noise they are making up above! It is as -if they were stepping on my head! Now they are pulling out bureau -drawers as if they were were preparing for a journey—running away, -perhaps.—If you only knew how to play chess, Louise!</p> - -<p><span class="small-c">LOUISE</span>. I know a little——</p> - -<p><span class="small-c">MASTER</span>. Oh, if you just know how to move the pieces, that will be -enough—Sit down, child. [<i>He sets up the chess pieces</i>] They are -carrying on up there so that they make the chandelier rattle—and the -confectioner is heating up down below. I think I'll have to move soon.</p> - -<p><span class="small-c">LOUISE</span>. I have long thought that you ought to do so anyhow.</p> - -<p><span class="small-c">MASTER</span>. Anyhow?</p> - -<p><span class="small-c">LOUISE</span>. It isn't good to stay too long among old memories.</p> - -<p><span class="small-c">MASTER</span>. Why not? As time passes, all memories grow beautiful.</p> - -<p><span class="small-c">LOUISE</span>. But you may live twenty years more, and that is too long a time -to live among memories which, after all, must fade and which may change -colour entirely some fine day.</p> - -<p><span class="small-c">MASTER</span>. How much you know, my child!—Begin now by moving a pawn—but -not the one in front of the queen, or you will be mate in two moves.</p> - -<p><span class="small-c">LOUISE</span>. Then I start with the knight——</p> - -<p><span class="small-c">MASTER</span>. Hardly less dangerous, girl!</p> - -<p><span class="small-c">LOUISE</span>. But I think I'll start with the knight just the same.</p> - -<p><span class="small-c">MASTER</span>. All right. Then I'll move my bishop's pawn.</p> - -<blockquote> - -<p><span class="small-c">STARCK</span> <i>appears in the hallway, carrying a tray</i>.</p></blockquote> - -<p><span class="small-c">LOUISE</span>. There's Mr. Starck with the tea-cakes. He doesn't make any more -noise than a mouse.</p> - -<blockquote> - -<p>[<i>She rises and goes out into the hallway to receive the tray, -which she then carries into the pantry</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. Well, Mr. Starck, how is the old lady?</p> - -<p><span class="small-c">STARCK</span>. Oh, thank you, her eyes are about as usual.</p> - -<p><span class="small-c">MASTER</span>. Have you seen anything of my brother?</p> - -<p><span class="small-c">STARCK</span>. He is walking back and forth outside, I think.</p> - -<p><span class="small-c">MASTER</span>. Has he got any company?</p> - -<p><span class="small-c">STARCK</span>. No-o—I don't think so.</p> - -<p><span class="small-c">MASTER</span>. It wasn't yesterday you had a look at these rooms, Mr. Starck.</p> - -<p><span class="small-c">STARCK</span>. I should say not—it's just ten years ago now——</p> - -<p><span class="small-c">MASTER</span>. When you brought the wedding-cake.—Does the place look changed?</p> - -<p><span class="small-c">STARCK</span>. It is just as it was—the palms have grown, of course—but the -rest is just as it was.</p> - -<p><span class="small-c">MASTER</span>. And will remain so until you bring the funeral cake. When you -have passed a certain age, nothing changes, nothing progresses—all the -movement is downward like that of a sleigh going down-hill.</p> - -<p><span class="small-c">STARCK</span>. Yes, that's the way it is.</p> - -<p><span class="small-c">MASTER</span>. And it is peaceful, the way I have it here. No love, no -friends, only a little company to break up the solitude. Then human -beings are just human beings, without any claims on your feelings and -sympathies. Then you come loose like an old tooth, and drop out without -pain or regrets. Take Louise, for instance—a pretty young girl, the -sight of whom pleases me like a work of art that I don't wish to -possess—there is nothing to disturb our relationship. My brother and I -meet like two old gentlemen who never get too close to each other and -never exact any confidences. By taking up a neutral position toward -one's fellow-men, one attains a certain distance—and as a rule we look -better at a distance. In a word, I am pleased with my old age and its -quiet peace—[<i>Calling out</i>] Louise!</p> - -<p><span class="small-c">LOUISE</span>. [<i>Appearing in the doorway at the left and speaking pleasantly -as always</i>] The laundry has come home, and I have to check it off. -[<i>She disappears again</i>.</p> - -<p><span class="small-c">MASTER</span>. Well, Mr. Starck, won't you sit down and chat a little—or -perhaps you play chess?</p> - -<p><span class="small-c">STARCK</span>. I can't stay away from my pots, and the oven has to be heated -up at eleven. It's very kind of you, however——</p> - -<p><span class="small-c">MASTER</span>. If you catch sight of my brother, ask him to come in and keep -me company.</p> - -<p><span class="small-c">STARCK</span>. So I will—so I will! [<i>He goes</i>.</p> - -<p><span class="small-c">MASTER</span>. [<i>Alone; moves a couple of pieces on the chess-board; then gets -up and begins to walk about</i>] The peace of old age—yes! [<i>He sits down -at the piano and strikes a few chords; then he gets up and walks about -as before</i>] Louise! Can't you let the laundry wait a little?</p> - -<p><span class="small-c">LOUISE</span>. [<i>Appears again for a moment in the doorway at the left</i>] No, -I can't, because the wash-woman is in a hurry—she has husband and -children waiting for her.</p> - -<p><span class="small-c">MASTER</span>. Oh! [<i>He sits down at the table and begins to drum with his -fingers on it; tries to read the newspaper, but tires of it; lights -matches only to blow them out again at once; looks repeatedly at the -big clock, until at last a noise is heard from the hallway</i>] Is that -you, Carl Frederick?</p> - -<p><span class="small-c">THE MAIL-CARRIER</span>. [<i>Appears in the doorway</i>] It's the mail. Excuse me -for walking right in, but the door was standing open.</p> - -<p><span class="small-c">MASTER</span>. Is there a letter for me?</p> - -<p><span class="small-c">THE MAIL-CARRIER</span>. Only a post-card.</p> - -<blockquote> - -<p>[<i>He hands it over and goes out</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>Reading the post-card</i>] Mr. Fischer again! Boston club! -That's the man up above—with the white hands and the tuxedo coat. And -to me! The impertinence of it! I have got to move!—Fischer!—[<i>He -tears up the card; again a noise is heard, in the hallway</i>] Is that -you, Carl Frederick?</p> - -<p><span class="small-c">THE ICEMAN</span>. [<i>Without coming into the room</i>] It's the ice!</p> - -<p><span class="small-c">MASTER</span>. Well, it's nice to get ice in this heat. But be careful about -those bottles in the box. And put one of the pieces on edge so that I -can hear the water drip from it as it melts—That's my water-clock that -measures out the hours—the long hours—Tell me, where do you get the -ice from nowadays?—Oh, he's gone!—Everybody goes away—goes home—to -hear their own voices and get some company-[<i>Pause</i>] Is that you, Carl -Frederick?</p> - -<p><i>Somebody in the apartment above plays Chopin's</i> Fantaisie Impromptu, -Opus 66, <i>on the piano</i>—<i>but only the first part of it</i>.</p> - -<p><span class="small-c">MASTER</span>. [<i>Begins to listen, is aroused, looks up at the ceiling</i>] My -<i>Impromptu</i>?</p> - -<blockquote> - -<p>[<i>He covers his eyes with one hand and listens</i>.</p> - -<p><i>The</i> <span class="small-c">CONSUL</span> <i>enters through the hallway</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. Is that you, Carl Frederick?</p> - -<blockquote> - -<p><i>The music stops</i>.</p></blockquote> - -<p><span class="small-c">CONSUL</span>. It is I.</p> - -<p><span class="small-c">MASTER</span>. Where have you been so long?</p> - -<p><span class="small-c">CONSUL</span>. I had some business to clear up. Have you been alone?</p> - -<p><span class="small-c">MASTER</span>. Of course! Come and play chess now.</p> - -<p><span class="small-c">CONSUL</span>. I prefer to talk. And you need also to hear your own voice a -little.</p> - -<p><span class="small-c">MASTER</span>. True enough—only it is so easy to get to talking about the -past.</p> - -<p><span class="small-c">CONSUL</span>. That makes us forget the present.</p> - -<p><span class="small-c">MASTER</span>. There is no present. What's just passing is empty nothingness. -One has to look ahead or behind—and ahead is better, for there lies -hope!</p> - -<p><span class="small-c">CONSUL</span>. [<i>Seating himself at the table</i>] Hope—of what?</p> - -<p><span class="small-c">MASTER</span>. Of change.</p> - -<p><span class="small-c">CONSUL</span>. Well! Do you mean to say you have had enough of the peace of -old age?</p> - -<p><span class="small-c">MASTER</span>. Perhaps.</p> - -<p><span class="small-c">CONSUL</span>. It's certain then. And if now you had the choice between -solitude and the past?</p> - -<p><span class="small-c">MASTER</span>. No ghosts, however!</p> - -<p><span class="small-c">CONSUL</span>. How about your memories?</p> - -<p><span class="small-c">MASTER</span>. They don't walk. They are only poems wrought by me out of -certain realities. But if dead people walk, then you have ghosts.</p> - -<p><span class="small-c">CONSUL</span>. Well, then—in your memory—who brings you the prettiest -mirage: the woman or the child?</p> - -<p><span class="small-c">MASTER</span>. Both! I cannot separate them, and that's why I never tried to -keep the child.</p> - -<p><span class="small-c">CONSUL</span>. But do you think you did right? Did the possibility of a -stepfather never occur to you?</p> - -<p><span class="small-c">MASTER</span>. I didn't think that far ahead at the time, but afterward, of -course, I have had—my thoughts—about—that very thing.</p> - -<p><span class="small-c">CONSUL</span>. A stepfather who abused—perhaps debased—your daughter?</p> - -<p><span class="small-c">MASTER</span>. Hush!</p> - -<p><span class="small-c">CONSUL</span>. What is it you hear?</p> - -<p><span class="small-c">MASTER</span>. I thought I heard the "little steps"—those little steps that -came tripping down the corridor when she was looking for me.—It was -the child that was the best of all! To watch that fearless little -creature, whom nothing could frighten, who never suspected that life -might be deceptive, who had no secrets! I recall her first experience -of the malice that is in human beings. She caught sight of a pretty -child down in the park, and, though it was strange to her, she went -up to it with open arms to kiss it—and the pretty child rewarded her -friendliness by biting her in the cheek first and then making a face -at her. Then you should have seen my little Anne-Charlotte. She stood -as if turned to stone. And it wasn't pain that did it, but horror at -the sight of that yawning abyss which is called the human heart. I -have been confronted with the same sight myself once, when out of two -beautiful eyes suddenly shot strange glances as if some evil beast had -appeared behind those eyes. It scared me literally so that I had to see -if some other person were standing behind that face, which looked like -a mask.—But why do we sit here talking about such things? Is it the -heat, or the storm, or what?</p> - -<p><span class="small-c">CONSUL</span>. Solitude brings heavy thoughts, and you ought to have company. -This summer in the city seems to have been rather hard on you.</p> - -<p><span class="small-c">MASTER</span>. Only these last few weeks. The sickness and that death up -above—it was as if I had gone through it myself. The sorrows and -cares of the confectioner have also become my own, so that I keep -worrying about his finances, about his wife's eye trouble, about his -future—and of late I have been dreaming every night about my little -Anne-Charlotte. I see her surrounded by dangers—unknown, undiscovered, -nameless. And before I fall asleep my hearing grows so unbelievably -acute that I can hear her little steps—and once I heard her voice——</p> - -<p><span class="small-c">CONSUL</span>. But where is she then?</p> - -<p><span class="small-c">MASTER</span>. Don't ask me!</p> - -<p><span class="small-c">CONSUL</span>. And if you were to meet her on the street?</p> - -<p><span class="small-c">MASTER</span>. I imagine that I should lose my reason or fall in a faint. -Once, you know, I stayed abroad very long, during the very time when -our youngest sister was growing up. When I returned, after several -years, I was met at the steam-boat landing by a young girl who put -her arms around my neck. I was horrified at those eyes that searched -mine, but with unfamiliar glances—glances that expressed absolute -terror at not being recognised. "It is I," she repeated again and again -before at last I was able to recognise my own sister. And that's how I -imagine it would be for me to meet my daughter again. Five years are -enough to render you unrecognisable at that age. Think of it: not to -know your own child! That child, who is the same as before, and yet a -stranger! I couldn't survive such a thing. No, then I prefer to keep -the little girl of four years whom you see over there on the altar of -my home. I want no other one. [<i>Pause</i>] That must be Louise putting -things to rights in the linen closet. It has such a clean smell, and it -reminds me—oh, the housewife at her linen closet; the good fairy that -preserves and renews; the housewife with her iron, who smooths out all -that has been ruffled up and who takes out all wrinkles—the wrinkles, -yes—[<i>Pause</i>] Now—I'll—go in there to write a letter. If you'll -stay, I'll be out again soon.</p> - -<blockquote> - -<p>[<i>He goes out to the left</i>.</p> - -<p><i>The</i> <span class="small-c">CONSUL</span> <i>coughs</i>.</p></blockquote> - -<p><span class="small-c">GERDA</span>. [<i>Appears in the door to the hallway</i>] Are you—[<i>The clock -strikes</i>] Oh, mercy! That sound—which has remained in my ears for ten -years! That clock which never kept time and yet measured the long hours -and days and nights of five years. [<i>She looks around</i>] My piano—my -palms—the dinner-table—he has kept it in honour, shining as a -shield! My buffet—with the "Knight in Armour" and "Eve"—Eve with her -basketful of apples—In the right-hand upper drawer, way back, there -was a thermometer lying—[<i>Pause</i>] I wonder if it is still there? [<i>She -goes to the buffet and pulls out the right-hand drawer</i>] Yes, there it -is!</p> - -<p><span class="small-c">CONSUL</span>. What does that mean?</p> - -<p><span class="small-c">GERDA</span>. Oh, in the end it became a symbol—of instability. When we went -to housekeeping the thermometer was not put in its place at once—of -course, it ought to be outside the window. I promised to put it up—and -forgot it. He promised, and forgot. Then we nagged each other about -it, and at last, to get away from it, I hid it in this drawer. I came -to hate it, and so did he. Do you know what was back of all that? -Neither one of us believed that our relationship would last, because we -unmasked at once and gave free vent to our antipathies. To begin with, -we lived on tiptoe, so to speak—always ready to fly off at a moment's -notice. That was what the thermometer stood for—and here it is still -lying! Always on the move, always changeable, like the weather. [<i>She -puts away the thermometer and goes over to the chess-board</i>] My chess -pieces! Which he bought to kill the time that hung heavy on our hands -while we were waiting for the little one to come. With whom does he -play now?</p> - -<p><span class="small-c">CONSUL</span>. With me.</p> - -<p><span class="small-c">GERDA</span>. Where is he?</p> - -<p><span class="small-c">CONSUL</span>. He is in his room writing a letter.</p> - -<p><span class="small-c">GERDA</span>. Where?</p> - -<p><span class="small-c">CONSUL</span>. [<i>Pointing toward the left</i>] There.</p> - -<p><span class="small-c">GERDA</span>. [<i>Shocked</i>] And here he has been going for five years?</p> - -<p><span class="small-c">CONSUL</span>. Ten years—five of them alone!</p> - -<p><span class="small-c">GERDA</span>. Of course, he loves solitude.</p> - -<p><span class="small-c">CONSUL</span>. But I think he has had enough of it.</p> - -<p><span class="small-c">GERDA</span>. Will he turn me out?</p> - -<p><span class="small-c">CONSUL</span>. Find out for yourself! You take no risk, as he is always polite.</p> - -<p><span class="small-c">GERDA</span>. I didn't make that centrepiece——</p> - -<p><span class="small-c">CONSUL</span>. That is to say, you risk his asking you for the child.</p> - -<p><span class="small-c">GERDA</span>. But it was he who should help me find it again——</p> - -<p><span class="small-c">CONSUL</span>. Where do you think Fischer has gone, and what can be the -purpose of his flight?</p> - -<p><span class="small-c">GERDA</span>. To get away from the unpleasant neighbourhood, first of all; -then to make me run after him. And he wanted the girl as a hostage, of -course.</p> - -<p><span class="small-c">CONSUL</span>. As to the ballet—that's something the father <i>must not</i> know, -for he hates music-halls.</p> - -<p><span class="small-c">GERDA</span>. [<i>Sitting down in front of the chess-board and beginning, -absent-mindedly, to arrange the pieces</i>] Music-halls—oh, I have been -there myself.</p> - -<p><span class="small-c">CONSUL</span>. You?</p> - -<p><span class="small-c">GERDA</span>. I have accompanied on the piano.</p> - -<p><span class="small-c">CONSUL</span>. Poor Gerda!</p> - -<p><span class="small-c">GERDA</span>. Why? I love that kind of life. And when I was a prisoner here, -it wasn't the keeper, but the prison itself, that made me fret.</p> - -<p><span class="small-c">CONSUL</span>. But now you have had enough?</p> - -<p><span class="small-c">GERDA</span>. Now I am in love with peace and solitude—and with my child -above all.</p> - -<p><span class="small-c">CONSUL</span>. Hush, he's coming!</p> - -<p><span class="small-c">GERDA</span>. [<i>Rises as if to run away, but sinks down on the chair again</i>] -Oh!</p> - -<p><span class="small-c">CONSUL</span>. Now I leave you. Don't think of what you are to say. It will -come of itself, like the "next move" in a game of chess.</p> - -<p><span class="small-c">GERDA</span>. I fear his first glance most of all, for it will tell me whether -I have changed for better or for worse—whether I have grown old and -ugly.</p> - -<p><span class="small-c">CONSUL</span>. [<i>Going out to the right</i>] If he finds you looking older, then -he will dare to approach you. If he finds you as young as ever, he will -have no hope, for he is more diffident than you think.—Now!</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">MASTER</span> <i>is seen outside, passing by the door leading -to the pantry; he carries a letter in his hand; then he -disappears, only to become visible again a moment later in the -hallway, where he opens the outside door and steps out</i>.</p></blockquote> - -<p><span class="small-c">CONSUL</span>. [<i>In the doorway at the right</i>] He went out to the mail-box.</p> - -<p><span class="small-c">GERDA</span>. No, this is too much for me! How can I possibly ask <i>him</i> to -help me with this divorce? I want to get out! It's too brazen!</p> - -<p><span class="small-c">CONSUL</span>. Stay! You know that his kindness has no limits. And he'll help -you for the child's sake.</p> - -<p><span class="small-c">GERDA</span>. No, no!</p> - -<p><span class="small-c">CONSUL</span>. And he is the only one who can help you.</p> - -<p><span class="small-c">MASTER</span>. [<i>Enters quickly from the hallway and nods at</i> <span class="small-c">GERDA</span>, <i>whom, -because of his near-sightedness, he mistakes for</i> <span class="small-c">LOUISE</span>; <i>then he goes -to the buffet and picks up the telephone, but in passing he remarks to</i> -<span class="small-c">GERDA</span>] So you're done already? Well, get the pieces ready then, and -we'll begin all over again—from the beginning.</p> - -<blockquote> - -<p><span class="small-c">GERDA</span> <i>stands paralysed, not understanding the situation</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>Speaks in the telephone receiver, with his back to</i> <span class="small-c">Gerda</span>] -Hello!—Good evening! Is that you, mother?—Pretty well, thank you! -Louise is waiting to play a game of chess with me, but she is a -little tired after a lot of bother—It's all over now—everything -all right—nothing serious at all.—If it's hot? Well, there has -been a lot of thundering, right over our heads, but nobody has been -struck. False alarm!—What did you say? Fischer?—Yes, but I think -they are going to leave.—Why so? I know nothing in particular.—Oh, -is that so?—Yes, it leaves at six-fifteen, by the outside route, -and it gets there—let me see—at eight-twenty-five.—Did you have a -good time?—[<i>With a little laugh</i>] Oh, he's impossible when he gets -started! And what did Marie have to say about it?—How I have had it -during the summer? Oh, well, Louise and I have kept each other company, -and she has got such an even, pleasant temper.—Yes, she is very nice, -indeed!—Oh, no, nothing of that kind!</p> - -<blockquote> - -<p><span class="small-c">GERDA</span>, <i>who has begun to understand, rises with an expression -of consternation on her face</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. My eyes? Oh, I am getting a little near-sighted. But I feel -like the confectioner's old wife: there is nothing to look at. Wish I -were deaf, too! Deaf and blind! The neighbours above make such a lot of -noise at night—it's a gambling club—There now! Somebody got on the -wire to listen. [<i>He rings again</i>.</p> - -<blockquote> - -<p><span class="small-c">LOUISE</span> <i>appears in the door to the hallway without being seen -by the</i> <span class="small-c">MASTER</span>; <span class="small-c">GERDA</span> <i>stares at her with mingled admiration -and hatred</i>; <span class="small-c">LOUISE</span> <i>withdraws toward the right</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>At the telephone</i>] Is that you? The cheek of it—to -break off our talk in order to listen!—To-morrow, then, at -six-fifteen.—Thank you, and the same to you!—Yes, I will, -indeed!—Good night, mother! [<i>He rings off</i>.</p> - -<blockquote> - -<p><span class="small-c">LOUISE</span> <i>has disappeared</i>. <span class="small-c">GERDA</span> <i>is standing in the middle of -the floor</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>Turns around and catches sight of</i> <span class="small-c">GERDA</span>, <i>whom he gradually -recognises; then he puts his hand to his heart</i>] O Lord, was that you? -Wasn't Louise here a moment ago?</p> - -<blockquote> - -<p><span class="small-c">GERDA</span> <i>remains silent</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>Feebly</i>] How—how did you get here?</p> - -<p><span class="small-c">GERDA</span>. I hope you pardon—I just got to the city—I was passing by and -felt a longing to have a look at my old home—the windows were open——</p> - -<blockquote> - -<p>[<i>Pause</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. Do you find things as they used to be?</p> - -<p><span class="small-c">GERDA</span>. Exactly, and yet different—there is a difference</p> - -<p><span class="small-c">MASTER</span>. [<i>Feeling unhappy</i>] Are you satisfied—with your life?</p> - -<p><span class="small-c">GERDA</span>. Yes. I have what I was looking for.</p> - -<p><span class="small-c">MASTER</span>. And the child?</p> - -<p><span class="small-c">GERDA</span>. Oh, she's growing, and thriving, and lacks nothing.</p> - -<p><span class="small-c">MASTER</span>. Then I won't ask anything more. [<i>Pause</i>] Did you want -anything—of me—can I be of any service?</p> - -<p><span class="small-c">GERDA</span>. It's very kind of you, but—I need nothing at all now when I -have seen that you lack nothing either. [<i>Pause]</i> Do you wish to see -Anne-Charlotte?</p> - -<p><span class="small-c">MASTER</span>. I don't think so, now when I have heard that she is doing well. -It's so hard to begin over again. It's like having to repeat a lesson -at school—which you know already, although the teacher doesn't think -so—I have got so far away from all that—I live in a wholly different -region—and I cannot connect with the past. It goes against me to be -impolite, but I am not asking you to be seated—you are another man's -wife—and you are not the same person as the one from whom I parted.</p> - -<p><span class="small-c">GERDA</span>. Am I then so—altered?</p> - -<p><span class="small-c">MASTER</span>. Quite strange to me! Your voice, glance, manner——</p> - -<p><span class="small-c">GERDA</span>. Have I grown old?</p> - -<p><span class="small-c">MASTER</span>. That I cannot tell!—They say that not a single atom in a -person's body remains wholly the same after three years—and in five -years everything is renewed. And for that reason you, who stand over -there, are not the same person as the sufferer who once sat here—you -seem such a complete stranger to me that I can only address you in the -most formal way. And I suppose it would be just the same in the case of -my daughter, too.</p> - -<p><span class="small-c">GERDA</span>. Don't speak like that. I would much rather have you angry.</p> - -<p><span class="small-c">MASTER</span>. Why should I be angry?</p> - -<p><span class="small-c">GERDA</span>. Because of all the evil I have done you.</p> - -<p><span class="small-c">MASTER</span>. Have you? That's more than I know.</p> - -<p><span class="small-c">GERDA</span>. Didn't you read the papers in the suit?</p> - -<p><span class="small-c">MASTER</span>. No-o! I left that to my lawyer. [<i>He sits down</i>.</p> - -<p><span class="small-c">GERDA</span>. And the decision of the court?</p> - -<p><span class="small-c">MASTER</span>. No, why should I? As I don't mean to marry again, I have no use -for that kind of documents.</p> - -<blockquote> - -<p><i>Pause</i>. <span class="small-c">GERDA</span> <i>seats herself</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. What did those papers say? That I was too old?</p> - -<blockquote> - -<p><span class="small-c">GERDA'S</span> <i>silence indicates assent</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. Well, that was nothing but the truth, so that need not trouble -you. In my answer I said the very same thing and asked the Court to set -you free again.</p> - -<p><span class="small-c">GERDA</span>. You said, that——</p> - -<p><span class="small-c">MASTER</span>. I said, not that I <i>was</i>, but that I was about to <i>become</i> too -old <i>for you</i>!</p> - -<p><span class="small-c">GERDA</span>. [<i>Offended</i>] For me?</p> - -<p><span class="small-c">MASTER</span>. Yes.—I couldn't say that I was too old when we married, for -then the arrival of the child would have been unpleasantly explained, -and it was <i>our</i> child, was it not?</p> - -<p><span class="small-c">GERDA</span>. You know that, of course! But——</p> - -<p><span class="small-c">MASTER</span>. Do you think I should be ashamed of my age?—Of course, if -I took to dancing and playing cards at night, then I might soon land -in an invalid's chair, or on the operating-table, and that would be a -shame.</p> - -<p><span class="small-c">GERDA</span>. You don't look it——</p> - -<p><span class="small-c">MASTER</span>. Did you expect the divorce to kill me?</p> - -<blockquote> - -<p><i>The silence of</i> <span class="small-c">GERDA</span> <i>is ambiguous</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. There are those who assert that you <i>have</i> killed me. Do you -think I look like a dead man?</p> - -<blockquote> - -<p><span class="small-c">GERDA</span> <i>appears embarrassed</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. Some of your friends are said to have caricatured me in the -papers, but I have never seen anything of it, and those papers went -into the dump five years ago. So there is no need for your conscience -to be troubled on my behalf.</p> - -<p><span class="small-c">GERDA</span>. Why did you marry me?</p> - -<p><span class="small-c">MASTER</span>. Don't you know why a man marries? And you know, too, that I -didn't have to go begging for love. And you ought to remember how -we laughed together at all the wiseacres who felt compelled to warn -you.—But why you led me on is something I have never been able to -explain—When you didn't look at me after the marriage ceremony, but -acted as if you had been attending somebody else's wedding, then I -thought you had made a bet that you could kill me. As the head of the -department, I was, of course, hated by all my subordinates, but they -became your friends at once. No sooner did I make an enemy than he -became <i>your</i> friend. Which caused me to remark that, while it was -right for you not to hate your enemies, it was also right that you -shouldn't <i>love</i> mine!—However, seeing where you stood, I began to -prepare for a retreat at once, but before leaving I wanted a living -proof that you had not been telling the truth, and so I stayed until -the little one arrived.</p> - -<p><span class="small-c">GERDA</span>. To think that you could be so disingenuous!</p> - -<p><span class="small-c">MASTER</span>. I learned to keep silent, but I never lied!—By degrees you -turned all my friends into detectives, and you lured my own brother -into betraying me. But worst of all was that your thoughtless chatter -threw suspicions on the legitimacy of the child.</p> - -<p><span class="small-c">GERDA</span>. All that I took back!</p> - -<p><span class="small-c">MASTER</span>. The word that's on the wing cannot be pulled back again. And -worse still: those false rumours reached the child, and now she thinks -her mother a——</p> - -<p><span class="small-c">GERDA</span>. For Heaven's sake!</p> - -<p><span class="small-c">MASTER</span>. Well, that's the truth of it. You raised a tall tower on a -foundation of lies, and now the tower of lies is tumbling down on your -head.</p> - -<p><span class="small-c">GERDA</span>. It isn't true!</p> - -<p><span class="small-c">MASTER</span>. Yes, it is! I met Anne-Charlotte a few minutes ago——</p> - -<p><span class="small-c">GERDA</span>. You have met——</p> - -<p><span class="small-c">MASTER</span>. We met on the stairs, and she said I was her uncle. Do you -know what an uncle is? That's an elderly friend of the house and the -mother. And I know that at school I am also passing as her uncle.—But -all that is dreadful for the child!</p> - -<p><span class="small-c">GERDA</span>. You have met——</p> - -<p><span class="small-c">MASTER</span>. Yes. But why should I tell anybody about it? Haven't I a right -to keep silent? And, besides, that meeting was so shocking to me that I -wiped it out of my memory as if it had never existed.</p> - -<p><span class="small-c">GERDA</span>. What can I do to rehabilitate you?</p> - -<p><span class="small-c">MASTER</span>. You? What could you do? That's something I can only do myself. -[<i>For a long time they gaze intently at each other</i>] And for that -matter, I have already got my rehabilitation. [<i>Pause</i>.</p> - -<p><span class="small-c">GERDA</span>. Can't I make good in some way? Can't I ask you to forgive, to -forget——</p> - -<p><span class="small-c">MASTER</span>. What do you mean?</p> - -<p><span class="small-c">GERDA</span>. To restore, to repair——</p> - -<p><span class="small-c">MASTER</span>. Do you mean to resume, to start over again, to reinstate a -master above me? No, thanks! I don't want you.</p> - -<p><span class="small-c">GERDA</span>. And this I had to hear!</p> - -<p><span class="small-c">MASTER</span>. Well, how does it taste? [<i>Pause</i>.</p> - -<p><span class="small-c">GERDA</span>. That's a pretty centrepiece.</p> - -<p><span class="small-c">MASTER</span>. Yes, it's pretty.</p> - -<p><span class="small-c">GERDA</span>. Where did you get it? [<i>Pause</i>.</p> - -<blockquote> - -<p><span class="small-c">LOUISE</span> <i>appears in the door to the pantry with a bill in her -hand</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>Turning toward her</i>] Is it a bill?</p> - -<p><span class="small-c">GERDA</span> <i>rises and begins to pull on her gloves with such violence that -buttons are scattered right and left</i>.</p> - -<p><span class="small-c">MASTER</span>. [<i>Taking out the money</i>] Eighteen-seventy-two. That's just -right.</p> - -<p><span class="small-c">LOUISE</span>. I should like to see you a moment, sir.</p> - -<p><span class="small-c">MASTER</span>. [<i>Rises and goes to the door, where</i> <span class="small-c">LOUISE</span> <i>whispers something -into his ear</i>] Oh, mercy——</p> - -<blockquote> - -<p><span class="small-c">LOUISE</span> <i>goes out</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. I am sorry for you, Gerda!</p> - -<p><span class="small-c">GERDA</span>. What do you mean? That I am jealous of your servant-girl?</p> - -<p><span class="small-c">MASTER</span>. No, I didn't mean that.</p> - -<p><span class="small-c">GERDA</span>. Yes, you meant that you were too old for me, but not for her. -I catch the insulting point—She's pretty—I don't deny it—for a -servant-girl——</p> - -<p><span class="small-c">MASTER</span>. I am sorry for you, Gerda!</p> - -<p><span class="small-c">GERDA</span>. Why do you say that?</p> - -<p><span class="small-c">MASTER</span>. Because you are to be pitied. Jealous of my servant—that ought -to be rehabilitation enough.</p> - -<p><span class="small-c">GERDA</span>. Jealous, I——</p> - -<p><span class="small-c">MASTER</span>. Why do you fly in a rage at my nice, gentle kinswoman?</p> - -<p><span class="small-c">GERDA</span>. "A little more than kin."</p> - -<p><span class="small-c">MASTER</span>. No, my dear, I have long ago resigned myself—and I am -satisfied with my solitude—[<i>The telephone rings, and he goes to -answer it</i>] Mr. Fischer? No, that isn't here.—Oh, yes, that's me.—Has -he skipped?—With whom, do you say?—with Starck's daughter! Oh, good -Lord! How old is she?—Eighteen! A mere child! [<i>Rings off</i>.</p> - -<p><span class="small-c">GERDA</span>. I knew he had run away.—But with a woman!—Now you're pleased.</p> - -<p><span class="small-c">MASTER</span>. No, I am not pleased. Although there is a sort of solace to my -mind in finding justice exists in this world. Life is very quick in its -movements, and now you find yourself where I was.</p> - -<p><span class="small-c">GERDA</span>. Her eighteen years against my twenty-nine—I am old—too old for -him!</p> - -<p><span class="small-c">MASTER</span>. Everything is relative, even age.—But now let us get at -something else. Where is your child?</p> - -<p><span class="small-c">GERDA</span>. My child? I had forgotten it! My child! My God! Help me! He -has taken the child with him. He loves Anne-Charlotte as his own -daughter—Come with me to the police—come!</p> - -<p><span class="small-c">MASTER</span>. I? Now you ask too much.</p> - -<p><span class="small-c">GERDA</span>. Help me!</p> - -<p><span class="small-c">MASTER</span>. [<i>Goes to the door at the right</i>] Come, Carl Frederick—get a -cab—take Gerda down to the police station—won't you?</p> - -<p><span class="small-c">CONSUL</span>. [<i>Enters</i>] Of course I will! We are human, are we not?</p> - -<p><span class="small-c">MASTER</span>. Quick! But say nothing to Starck. Matters may be straightened -out yet—Poor fellow—and I am sorry for Gerda, too!—Hurry up now!</p> - -<p><span class="small-c">GERDA</span>. [<i>Looking out through the window</i>] It's beginning to rain—lend -me an umbrella. Eighteen years—only eighteen—quick, now!</p> - -<blockquote> - -<p><i>She goes out with the</i> <span class="small-c">CONSUL</span>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>Alone</i>] The peace of old age!—And my child in the hands of -an adventurer!—Louise!</p> - -<blockquote> - -<p><span class="small-c">LOUISE</span> <i>enters</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. Come and play chess with me.</p> - -<p><span class="small-c">LOUISE</span>. Has the consul——</p> - -<p><span class="small-c">MASTER</span>. He has gone out on some business. Is it still raining?</p> - -<p><span class="small-c">LOUISE</span>. No, it has stopped now.</p> - -<p><span class="small-c">MASTER</span>. Then I'll go out and cool off a little. [<i>Pause</i>] You are a -nice girl, and sensible—did you know the confectioner's daughter?</p> - -<p><span class="small-c">LOUISE</span>. Very slightly.</p> - -<p><span class="small-c">MASTER</span>. Is she pretty?</p> - -<p><span class="small-c">LOUISE</span>. Ye-es.</p> - -<p><span class="small-c">MASTER</span>. Have you known the people above us?</p> - -<p><span class="small-c">LOUISE</span>. I have never seen them.</p> - -<p><span class="small-c">MASTER</span>. That's an evasion.</p> - -<p><span class="small-c">LOUISE</span>. I have learned to keep silent in this house.</p> - -<p><span class="small-c">MASTER</span>. I am forced to admit that pretended deafness can be carried to -the point where it becomes dangerous.—Well, get the tea ready while I -go outside and cool off a little. And, one thing, please—you see what -is happening, of course—but don't ask me any questions.</p> - -<p><span class="small-c">LOUISE</span>. I? No, sir, I am not at all curious.</p> - -<p><span class="small-c">MASTER</span>. I am thankful for that!</p> - -<p style="text-align: center;"><i>Curtain</i>.</p> - - - -<hr class="chap" /> -<h3>THIRD SCENE</h3> - - -<blockquote> - -<p><i>The front of the house as in the First Scene. There is light -in the confectioner's place in the basement. The gas is also -lit on the second floor, where now the shades are raised and -the windows open</i>.</p> - - -<p><span class="small-c">STARCK</span> <i>is sitting near the gateway</i>.</p></blockquote> - -<hr class="tb" /> -<p><span class="small-c">MASTER</span>. [<i>Seated on the green bench</i>] That was a nice little shower we -had.</p> - -<p><span class="small-c">STARCK</span>. Quite a blessing! Now the raspberries will be coming in -again——</p> - -<p><span class="small-c">MASTER</span>. Then I'll ask you to put aside a few jars for us. We have grown -tired of making the jam ourselves. It only gets spoiled.</p> - -<p><span class="small-c">STARCK</span>. Yes, I know. Jars of jam are like mischievous children: you -have to watch them all the time. There are people who put in salicylic -acid, but those are newfangled tricks in which I take no stock.</p> - -<p><span class="small-c">MASTER</span>. Salicylic acid—yes, they say it's antiseptic—and perhaps it's -a good thing.</p> - -<p><span class="small-c">STARCK</span>. Yes, but you can taste it—and it's a trick.</p> - -<p><span class="small-c">MASTER</span>. Tell me, Mr. Starck, have you got a telephone?</p> - -<p><span class="small-c">STARCK</span>. No, I have no telephone.</p> - -<p><span class="small-c">MASTER</span>. Oh!</p> - -<p><span class="small-c">STARCK</span>. Why do you ask?</p> - -<p><span class="small-c">MASTER</span>. Oh, I happened to think—a telephone is handy at times—for -orders—and important communications——</p> - -<p><span class="small-c">STARCK</span>. That may be. But sometimes it is just as well to -escape—communications.</p> - -<p><span class="small-c">MASTER</span>. Quite right! Quite right!—Yes, my heart always beats a little -faster when I hear it ring—one never knows what one is going to -hear—and I want peace—peace, above all else.</p> - -<p><span class="small-c">STARCK</span>. So do I.</p> - -<p><span class="small-c">MASTER</span>. [<i>Looking at his watch</i>] The lamplighter ought to be here soon.</p> - -<p><span class="small-c">STARCK</span>. He must have forgotten us, for I see that the lamps are already -lit further down the avenue.</p> - -<p><span class="small-c">MASTER</span>. Then he'll be here soon. It will be a lot of fun to see our -lamp lighted again.</p> - -<blockquote> - -<p><i>The telephone in the dining-room rings</i>. <span class="small-c">LOUISE</span> <i>comes in to -answer the call. The</i> <span class="small-c">MASTER</span> <i>rises and puts one hand up to his -heart. He tries to listen, but the public cannot hear anything -of what is said within. Pause. After a while</i> <span class="small-c">LOUISE</span> <i>comes out -by way of the square</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>Anxiously</i>] What news?</p> - -<p><span class="small-c">LOUISE</span>. No change.</p> - -<p><span class="small-c">MASTER</span>. Was that my brother?</p> - -<p><span class="small-c">LOUISE</span>. No, it was the lady.</p> - -<p><span class="small-c">MASTER</span>. What did she want?</p> - -<p><span class="small-c">LOUISE</span>. To speak to you, sir.</p> - -<p><span class="small-c">MASTER</span>. I don't want to!—Have I to console my executioner? I used to -do it, but now I am tired of it.—Look up there! They have forgotten -to turn out the light—and light makes empty rooms more dreadful than -darkness—the ghosts become visible. [<i>In a lowered voice</i>] And how -about Starck's Agnes? Do you think he knows anything?</p> - - -<p><span class="small-c">LOUISE</span>. It's hard to tell, for he never speaks about his sorrows—nor -does anybody else in the Silent House!</p> - -<p><span class="small-c">MASTER</span>. Do you think he should be told?</p> - -<p><span class="small-c">LOUISE</span>. For Heaven's sake, no!</p> - -<p><span class="small-c">MASTER</span>. But I fear it isn't the first time she gave him trouble.</p> - -<p><span class="small-c">LOUISE</span>. He never speaks of her.</p> - -<p><span class="small-c">MASTER</span>. It's horrible! I wonder if we'll get to the end of it soon? -[<i>The telephone rings again</i>] Now it's ringing again. Don't answer. I -don't want to hear anything.—My child—in such company! An adventurer -and a strumpet!—It's beyond limit!—Poor Gerda!</p> - -<p><span class="small-c">LOUISE</span>. It's better to have certainty. I'll go in—You must do -something!</p> - -<p><span class="small-c">MASTER</span>. I cannot move—I can receive blows, but to strike back—no!</p> - -<p><span class="small-c">LOUISE</span>. But if you don't repel a danger, it will press closer; and if -you don't resist, you'll be destroyed.</p> - -<p><span class="small-c">MASTER</span>. But if you refuse to be drawn in, you become unassailable.</p> - -<p><span class="small-c">LOUISE</span>. Unassailable?</p> - -<p><span class="small-c">MASTER</span>. Things straighten out much better if you don't mess them up -still further by interference. How can you want me to direct matters -where so many passions are at play? Do you think I can suppress -anybody's emotions, or give them a new turn?</p> - -<p><span class="small-c">LOUISE</span>. But how about the child?</p> - -<p><span class="small-c">MASTER</span>. I have surrendered my rights—and besides—frankly speaking—I -don't care for them—not at all now, when <i>she</i> has been here and -spoiled the images harboured in my memory. She has wiped out all the -beauty that I had cherished, and now there is nothing left.</p> - -<p><span class="small-c">LOUISE</span>. But that's to be set free!</p> - -<p><span class="small-c">MASTER</span>. Look, how empty the place seems in there—as if everybody had -moved out; and up there—as if there had been a fire.</p> - -<p><span class="small-c">LOUISE</span>. Who is coming there?</p> - -<blockquote> - -<p><span class="small-c">AGNES</span> <i>enters, excited and frightened, but trying hard -to control herself; she makes for the gateway, where the -confectioner is seated on his chair</i>.</p></blockquote> - -<p><span class="small-c">LOUISE</span> [<i>To the</i> <span class="small-c">MASTER</span>] There is Agnes? What can this mean?</p> - -<p><span class="small-c">MASTER</span>. Agnes? Then things are getting straightened out.</p> - -<p><span class="small-c">STARCK</span>. [<i>With perfect calm</i>] Good evening, girl! Where have you been?</p> - -<p><span class="small-c">AGNES</span>. I have been for a walk.</p> - -<p><span class="small-c">STARCK</span>. Your mother has asked for you several times.</p> - -<p><span class="small-c">AGNES</span>. Is that so? Well, here I am.</p> - -<p><span class="small-c">STARCK</span>. Please go down and help her start a fire under the little oven.</p> - -<p><span class="small-c">AGNES</span>. Is she angry with me, then?</p> - -<p><span class="small-c">STARCK</span>. You know that she cannot be angry with you.</p> - -<p><span class="small-c">AGNES</span>. Oh, yes, but she doesn't say anything.</p> - -<p><span class="small-c">STARCK</span>. Well, girl, isn't it better to escape being scolded?</p> - -<blockquote> - -<p><span class="small-c">AGNES</span> <i>disappears into the gateway</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>To</i> <span class="small-c">LOUISE</span>] Does he know, or doesn't he?</p> - -<p><span class="small-c">LOUISE</span>. Let's hope that he will remain in ignorance.</p> - -<p><span class="small-c">MASTER</span>. But what can have happened? A breach? [<i>To</i> <span class="small-c">STARCK</span>] Say, Mr. -Starck——</p> - -<p><span class="small-c">STARCK</span>. What is it?</p> - -<p><span class="small-c">MASTER</span>. I thought—Did you notice if anybody left the house a while ago?</p> - -<p><span class="small-c">STARCK</span>. I saw the iceman, and also a mail-carrier, I think.</p> - -<p><span class="small-c">MASTER</span>. Oh! [<i>To</i> <span class="small-c">LOUISE</span>] Perhaps it was a mistake—that we didn't hear -right—I can't explain it—Or maybe he is not telling the truth? What -did she say when she telephoned?</p> - -<p><span class="small-c">LOUISE</span>. That she wanted to speak to you.</p> - -<p><span class="small-c">MASTER</span>. How did it sound? Was she excited?</p> - -<p><span class="small-c">LOUISE</span>. Yes.</p> - -<p><span class="small-c">MASTER</span>. I think it's rather shameless of her to appeal to me in a -matter like this.</p> - -<p><span class="small-c">LOUISE</span>. But the child!</p> - -<p><span class="small-c">MASTER</span>. Just think, I met my daughter on the stairway, and when I asked -her if she recognised me she called me uncle and told me that her -father was up-stairs. Of course, he is her stepfather, and has all the -rights—They have just spent their time exterminating me, blackguarding -me——</p> - -<p><span class="small-c">LOUISE</span>. A cab is stopping at the corner.</p> - -<blockquote> - -<p>Starck <i>withdraws into the gateway</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. I only hope they don't come back to burden me again! Just -think: to have to hear my child singing the praise of her father—the -other one! And then to begin the old story all over again: "Why did you -marry me?"—"Oh, you know; but what made you want me?"—"You know very -well!"—And so on, until the end of the world.</p> - -<p><span class="small-c">LOUISE</span>. It was the consul that came.</p> - -<p><span class="small-c">MASTER</span>. How does he look?</p> - -<p><span class="small-c">LOUISE</span>. He is taking his time.</p> - -<p><span class="small-c">MASTER</span>. Practising what he is to say, I suppose. Does he look satisfied?</p> - -<p><span class="small-c">LOUISE</span>. Thoughtful, rather——</p> - -<p><span class="small-c">MASTER</span>. Hm!—That's the way it always was. Whenever he saw that woman -he became disloyal to me. She had the power of charming everybody but -me. To me she seemed coarse, vulgar, ugly, stupid; to all the rest she -seemed refined, pleasant, handsome, intelligent. All the hatred aroused -by my independence centred in her under the form of a boundless -sympathy for whoever wronged me in any way. Through her they strove to -control and influence me, to wound me, and, at last, to kill me.</p> - -<p><span class="small-c">LOUISE</span>. Now, I'll go in and watch the telephone—I suppose this storm -will pass like all others.</p> - -<p><span class="small-c">MASTER</span>. Men cannot bear independence. They want you to obey them. Every -one of my subordinates in the department, down to the very messengers, -wanted me to obey him. And when I wouldn't they called me a despot. The -servants in our house wanted me to obey them and eat food that had been -warmed up. When I wouldn't, they set my wife against me. And finally -my wife wanted me to obey the child, but then I left, and then all of -them combined against the tyrant—which was I!—Get in there quick now, -Louise, so we can set off our mines out here.</p> - -<blockquote> - -<p><i>The</i> <span class="small-c">CONSUL</span> <i>enters from the left</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. Results—not details—please!</p> - -<p><span class="small-c">CONSUL</span>. Let's sit down. I am a little tired.</p> - -<p><span class="small-c">MASTER</span>. I think it has rained on the bench.</p> - -<p><span class="small-c">CONSUL</span>. It can't be too wet for me if you have been sitting on it.</p> - -<p><span class="small-c">MASTER</span>. As you like!—Where is my child?</p> - -<p><span class="small-c">CONSUL</span>. Can I begin at the beginning?</p> - -<p><span class="small-c">MASTER</span>. Begin!</p> - -<p><span class="small-c">CONSUL</span> [<i>Speaking slowly</i>] I got to the depot with Gerda—and at the -ticket-office I discovered him and Agnes——</p> - -<p><span class="small-c">MASTER</span>. So Agnes was with him?</p> - -<p><span class="small-c">CONSUL</span>. And so was the child!—Gerda stayed outside, and I went up to -them. At that moment <i>he</i> was handing Agnes the tickets, but when she -discovered that they were for third class she threw them in his face -and walked out to the cab-stand.</p> - -<p><span class="small-c">MASTER</span>. Ugh!</p> - -<p><span class="small-c">CONSUL</span>. As soon as I had established a connection with the man, Gerda -hurried up and got hold of the child, disappearing with it in the -crowd——</p> - -<p><span class="small-c">MASTER</span>. What did the man have to say?</p> - -<p><span class="small-c">CONSUL</span>. Oh, you know—when you come to hear the other side—and so on.</p> - -<p><span class="small-c">MASTER</span>. I want to hear it. Of course, he isn't as bad as we thought—he -has his good sides——</p> - -<p><span class="small-c">CONSUL</span>. Exactly!</p> - -<p><span class="small-c">MASTER</span>. I thought so! But you don't want me to sit here listening to -eulogies of my enemy?</p> - -<p><span class="small-c">CONSUL</span>. Oh, not eulogies, but ameliorating circumstances——</p> - -<p><span class="small-c">MASTER</span>. Did you ever want to listen to me when I tried to explain the -true state of affairs to you? Yes, you did listen—but your reply was -a disapproving silence, as if I had been lying to you. You have always -sided with what was wrong, and you have believed nothing but lies, and -the reason was—that you were in love with Gerda! But there was also -another reason——</p> - -<p><span class="small-c">CONSUL</span>. Brother, don't say anything more! You see nothing but your own -side of things.</p> - -<p><span class="small-c">MASTER</span>. How can you expect me to view my conditions from the standpoint -of my enemy? I cannot take sides against myself, can I?</p> - -<p><span class="small-c">CONSUL</span>. I am not your enemy.</p> - -<p><span class="small-c">MASTER</span>. Yes, when you make friends with one who has wronged me!—Where -is my child?</p> - -<p><span class="small-c">CONSUL</span>. I don't know.</p> - -<p><span class="small-c">MASTER</span>. What was the outcome at the depot?</p> - -<p><span class="small-c">CONSUL</span>. He took a south-bound train alone.</p> - -<p><span class="small-c">MASTER</span>. And the others?</p> - -<p><span class="small-c">CONSUL</span>. Disappeared.</p> - -<p><span class="small-c">MASTER</span>. Then I may have them after me again. [<i>Pause]</i> Did you see if -they went with him?</p> - -<p><span class="small-c">CONSUL</span>. He went alone.</p> - -<p><span class="small-c">MASTER</span>. Well, then we are done with that one, at least. Number -two—there remain now—the mother and the child.</p> - -<p><span class="small-c">CONSUL</span>. Why is the light burning up there in their rooms?</p> - -<p><span class="small-c">MASTER</span>. Because they forgot to turn it out.</p> - -<p><span class="small-c">CONSUL</span>. I'll go up——</p> - -<p><span class="small-c">MASTER</span>. No, don't go!—I only hope that they don't come back here!—To -repeat, always repeat, begin the same lesson all over again!</p> - -<p><span class="small-c">CONSUL</span>. But it has begun to straighten out.</p> - -<p><span class="small-c">MASTER</span>. Yet the worst remains—Do you think they will come back?</p> - -<p><span class="small-c">CONSUL</span>. Not she—not since she had to make you amends in the presence -of Louise.</p> - -<p><span class="small-c">MASTER</span>. I had forgotten that! She really did me the honour of becoming -jealous! I do think there is justice in this world!</p> - -<p><span class="small-c">CONSUL</span>. And then she learned that Agnes was younger than herself.</p> - -<p><span class="small-c">MASTER</span>. Poor Gerda! But in a case like this you mustn't tell people -that justice exists—an avenging justice—for it is sheer falsehood -that they love justice! And you must deal gently with their filth. And -Nemesis—exists only for the other person.—There it's ringing again? -That telephone makes a noise like a rattlesnake!</p> - -<blockquote> - -<p><span class="small-c">LOUISE</span> <i>becomes visible at the telephone inside. Pause</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>To</i> <span class="small-c">LOUISE</span>] Did the snake bite?</p> - -<p><span class="small-c">LOUISE</span>. [<i>At the window</i>] May I speak to you, sir?</p> - -<p><span class="small-c">MASTER</span>. [<i>Going up to the window</i>] Speak out!</p> - -<p><span class="small-c">LOUISE</span>. The lady has gone to her mother, in the country, to live there -with her little girl.</p> - -<p><span class="small-c">MASTER</span>. [<i>To his brother</i>] Mother and child in the country—in a good -home! Now it's straightened out!—Oh!</p> - -<p><span class="small-c">LOUISE</span>. And she asked us to turn out the light up-stairs.</p> - -<p><span class="small-c">MASTER</span>. Do that at once, Louise, and pull down the shades so we don't -have to look at it any longer.</p> - -<blockquote> - -<p><span class="small-c">LOUISE</span> <i>leaves the dining-room</i>.</p></blockquote> - -<p><span class="small-c">STARCK</span>. [<i>Coming out on the sidewalk again and looking up]</i> I think the -storm has passed over.</p> - -<p><span class="small-c">MASTER</span>. It seems really to have cleared up, and that means we'll have -moonlight.</p> - -<p><span class="small-c">CONSUL</span>. That was a blessed rain!</p> - -<p><span class="small-c">STARCK</span>. Perfectly splendid!</p> - -<p><span class="small-c">MASTER</span>. Look, there's the lamplighter coming at last!</p> - -<blockquote> - -<p><i>The</i> <span class="small-c"><span class="small-c">LAMPLIGHTER</span></span> <i>enters, lights the street lamp beside the -bench, and passes on</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. The first lamp! Now the fall is here! That's our season, old -chaps! It's getting dark, but then comes reason to light us with its -bull's-eyes, so that we don't go astray.</p> - -<blockquote> - -<p><span class="small-c">LOUISE</span> <i>becomes visible at one of the windows on the second -floor; immediately afterward everything is dark up there</i>.</p></blockquote> - -<p><span class="small-c">MASTER</span>. [<i>To</i> <span class="small-c">LOUISE</span>] Close the windows and pull down the shades so -that all memories can lie down and sleep in peace! The peace of old -age! And this fall I move away from the Silent House.</p> - -<p style="text-align: center;"><i>Curtain</i>.</p> - - - -<hr class="chap" /> -<h3><a name="AFTER_THE_FIRE" id="AFTER_THE_FIRE">AFTER THE FIRE</a></h3> - -<h4>(BRÄNDA TOMTEN)</h4> - -<h4>A CHAMBER PLAY</h4> - -<h5>1907</h5> -<hr class="r5" /> - -<p style="margin-left: 30%;"> -CHARACTERS<br /><br /> -<span style="font-size: 0.8em;">RUDOLPH WALSTRÖM</span>, <i>a dyer</i><br /> -<span style="font-size: 0.8em;">THE STRANGER</span>, <i>who is brother of</i> <span style="font-size: 0.8em;">RUDOLPH</span>)<br /> -<span style="font-size: 0.8em;">ARVID WALSTRÖM</span> <i>brother of</i> <span style="font-size: 0.8em;">RUDOLPH</span><br /> -<span style="font-size: 0.8em;">ANDERSON</span>, <i>a mason (brother-in-law of the gardener)</i><br /> -<span style="font-size: 0.8em;">MRS. ANDERSON</span>, <i>wife of the mason</i><br /> -<span style="font-size: 0.8em;">GUSTAFSON</span>, <i>a gardener (brother-in-law of the mason)</i><br /> -<span style="font-size: 0.8em;">ALFRED</span>, <i>son of the gardener</i><br /> -<span style="font-size: 0.8em;">ALBERT ERICSON</span>, <i>a stone-cutter</i> (<i>second cousin of the hearse-driver</i>)<br /> -<span style="font-size: 0.8em;">MATHILDA</span>, <i>daughter of the stone-cutter</i><br /> -<span style="font-size: 0.8em;">THE HEARSE-DRIVER</span> (<i>second cousin of the stone-cutter</i>)<br /> -<span style="font-size: 0.8em;">A DETECTIVE</span><br /> -<span style="font-size: 0.8em;">SJÖBLOM</span>, <i>a painter</i><br /> -<span style="font-size: 0.8em;">MRS. WESTERLUND</span>, <i>hostess at "The Last Nail," formerly a</i><br /> -<span style="margin-left: 1.5em;"><i>nurse at the dyer's</i></span><br /> -<span style="font-size: 0.8em;">MRS. WALSTRÖM</span>, <i>wife of the dyer</i><br /> -<span style="font-size: 0.8em;">THE STUDENT</span><br /> -<span style="font-size: 0.8em;">THE WITNESS</span><br /> -</p> - -<hr class="tb" /> - -<h4>FIRST SCENE</h4> - - -<blockquote> - -<p><i>The left half of the background is occupied by the empty shell -of a gutted one-story brick house. In places the paper remains -on the walls, and a couple of brick stoves are still standing</i>.</p> - -<p><i>Beyond the walls can be seen an orchard in bloom.</i></p> - -<p><i>At the right is the front of a small inn, the sign of which -is a wreath hanging from a pole. Tables and benches are placed -outside.</i></p> - -<p><i>At the left, in the foreground, there is a pile of furniture -and household utensils that have been saved from the fire</i>.</p> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>, <i>the painter, is painting the window-frames of the -inn. He listens closely to everything that is said</i>.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>, <i>the mason, is digging in the ruins</i>.</p> - -<p><i>The</i> <span style="font-size: 0.8em;">DETECTIVE</span> <i>enters</i>.</p></blockquote> - -<hr class="tb" /> -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Is the fire entirely out?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. There isn't any smoke, at least.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Then I want to ask a few more questions. [<i>Pause</i>] You were -born in this quarter, were you not?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Oh, yes. It's seventy-five years now I've lived on this -street. I wasn't born when they built this house here, but my father -helped to put in the brick.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Then you know everybody around here?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. We all know each other. There is something particular about -this street here. Those that get in here once, never get away from it. -That is, they move away, but they always come back again sooner or -later, until at last they are carried out to the cemetery, which is -way out there at the end of the street.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. You have got a special name for this quarter, haven't you?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. We call it the Bog. And all of us hate each other, and -suspect each other, and blackguard each other, and torment each other -[<i>Pause</i>.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. The fire started at half past ten in the evening, I -hear—was the front door locked at that time?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Well, that's more than I know, for I live in the house next -to this.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Where did the fire start?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Up in the attic, where the student was living.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Was he at home?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. No, he was at the theatre.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Had he gone away and left the lamp burning, then?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Well, that's more than I know. [<i>Pause</i>.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Is the student any relation to the owner of the house?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. No, I don't think so.—Say, you haven't got anything to do -with the police, have you?</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. How did it happen that the inn didn't catch fire?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. They slung a tarpaulin over it and turned on the hose.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Queer that the apple-trees were not destroyed by the heat.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. They had just budded, and it had been raining during the day, -but the heat made the buds go into bloom in the middle of the night—a -little too early, I guess, for there is frost coming, and then the -gardener will catch it.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. What kind of fellow is the gardener?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. His name is Gustafson——</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Yes, but what sort of a man is he?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. See here: I am seventy-five—and for that reason I don't know -anything bad about Gustafson; and if I knew I wouldn't be telling it! -[<i>Pause</i>.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. And the owner of the house is named Walström, a dyer, about -sixty years old, married——</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Why don't you go on yourself? You can't pump me any longer.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Is it thought that the fire was started on purpose?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. That's what people think of all fires.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. And whom do they suspect?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. The insurance company always suspects anybody who has an -interest in the fire—and for that reason I have never had anything -insured.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Did you find anything while you were digging?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Mostly one finds all the door-keys, because people haven't -got time to take them along when the house is on fire—except now and -then, of course, when they have been taken away——</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. There was no electric light in the house?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Not in an old house like this, and that's a good thing, for -then they can't put the blame on crossed wires.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Put the blame?—A good thing?—Listen——</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Oh, you're going to get me in a trap? Don't you do it, for -then I take it all back.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Take back? You can't!</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Can't I?</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. No!</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Yes! For there was no witness present.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. No?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Naw!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">DETECTIVE</span> <i>coughs. The</i> <span style="font-size: 0.8em;">WITNESS</span> <i>comes in from the left</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Here's <i>one</i> witness.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. You're a sly one!</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Oh, there are people who know how to use their brains -without being seventy-five. [<i>To the</i> <span style="font-size: 0.8em;">WITNESS</span>] Now we'll continue with -the gardener.</p> - -<blockquote> - -<p>[<i>They go out to the left</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. There I put my foot in it, I guess. But that's what happens -when you get to talking.</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">ANDERSON</span> <i>enters with her husband's lunch in a bundle</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. It's good you came.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Now we'll have lunch and be good—you might well -be hungry after all this fuss—I wonder if Gustafson can pull -through—he'd just got done with his hotbeds and was about to start -digging in the open—why don't you eat?—and there's Sjöblom already at -work with his putty—just think of it, that Mrs. Westerlund got off as -well as she did—morning, Sjöblom, now you've got work, haven't you?</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span> <i>comes in</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Morning, morning, Mrs. Westerlund—you got out of this -fine, I must say, and then——</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. I wonder who's going to pay me for all I am losing -to-day, when there's a big funeral on at the cemetery, which always -makes it a good day for me, and just when I've had to put away all my -bottles and glassware——</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Who's that they're burying to-day? I see such a lot of -people going out that way—and then, of course, they've come to see -where the fire was, too.</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. I don't think they're burying anybody, but I've heard -they're going to put up a monument over the bishop—worst of it is that -the stone-cutter's daughter was going to get married to the gardener's -son—him, you know, who's in a store down-town—and now the gardener -has lost all he had—isn't that his furniture standing over there?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. I guess that's some of the dyer's, too, seeing as it -came out helter-skelter in a jiffy—and where's the dyer now?</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. He's down at the police station testifying.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Hm-hm!—Yes, yes!—And there's my cousin now—him what -drives the hearse—he's always thirsty on his way back.</p> - -<p><span style="font-size: 0.8em;">HEARSE-DRIVER</span>. [<i>Enters</i>] How do, Malvina! So you've gone and started a -little job of arson out here during the night, have you? Looks pretty, -doesn't it. Would have been better to get a new shanty instead, I guess.</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. Oh, mercy me! But whom have you been taking out now?</p> - -<p><span style="font-size: 0.8em;">HEARSE-DRIVER</span>. Can't remember what his name was—only <i>one</i> carriage -along, and no flowers on the coffin at all.</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. Sure and it wasn't any happy funeral, then! If you -want anything to drink you'll have to go 'round to the kitchen, for -I haven't got things going on this side yet, and, for that matter, -Gustafson is coming here with a lot of wreaths—they've got something -on out at the cemetery to-day.</p> - -<p><span style="font-size: 0.8em;">HEARSE-DRIVER</span>. Yes, they're going to put up a moniment to the -bishop—'cause he wrote books, I guess, and collected all kinds of -vermin—was a reg'lar vermin-hunter, they tell me.</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. What's that?</p> - -<p><span style="font-size: 0.8em;">HEARSE-DRIVER</span>. Oh, he had slabs of cork with pins on 'em, and a lot of -flies—something beyond us here—but I guess that's the proper way—can -I go out to the kitchen now?</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. Yes, if you use the back door, I think you can get -something wet——</p> - -<p><span style="font-size: 0.8em;">HEARSE-DRIVER</span>. But I want to have a word with the dyer before I drive -off—I've got my horses over at the stone-cutter's, who's my second -cousin, you know. Haven't got any use for him, as you know, too, but -we're doing business together, he and I—that is, I put in a word for -him with the heirs, and so he lets me put my horses into his yard—just -let me know when the dyer shows up—luck, wasn't it, that he didn't -have his works here, too——</p> - -<blockquote> - -<p>[<i>He goes out, passing around the inn</i>.</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span> <i>goes into the inn by the front door</i>.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>, <i>who has finished eating, begins to dig again</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Do you find anything?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Nails and door-hinges—all the keys are hanging in a bunch -over there by the front door.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Did they hang there before, or did you put them there?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. No, they were hanging there when I got here.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. That's queer—for then somebody must have locked all the -doors and taken out the keys before it began burning! That's queer!</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Yes, of course, it's a little queer, for in that way it was -harder to get at the fire and save things. Yes—yes! [<i>Pause</i>.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. I worked for the dyer's father forty years ago, I did, -and I know the people, both the dyer himself and his brother what -went off to America, though they say he's back now. The father, he -was a real man, he was, but the boys were always a little so-so. Mrs. -Westerlund over here, she used to take care of Rudolph, and the two -brothers never could get along, but kept scrapping and fighting all -the time.—I've seen a thing or two, I have—yes, there's a whole lot -what has happened in that house, so I guess it was about time to get it -smoked out.—Ugh, but that was a house! One went this way and another -that, but back they had to come, and here they died and here they were -born, and here they married and were divorced.—And Arvid, the brother -what went off to America—him they thought dead for years, and at least -he didn't take what was coming to him after his father, but now they -say he's come back, though nobody has seen him—and there's such a lot -of talking—Look, there's the dyer back from the police station!</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. He doesn't look happy exactly, but I suppose that's more than -can be expected—Well, who's that student that lived in the attic? How -does he hang together with the rest?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Well, that's more than I know. He had his board there, -and read with the children.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. And also with the lady of the house?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. No-o, they played something what they called tennis, -and quarrelled the rest of the time—yes, quarrelling and backbiting, -that's what everybody is up to in this quarter.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Well, when they broke the student's door open they found -hairpins on the floor—it had to come out, after all, even if the fire -had to sweep over it first——</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. I don't think it was the dyer that came, but our -brother-in-law, Gustafson——</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. He's always mad, and to-day I suppose he's worse than ever, -and so he'll have to come and dun me for what I owe him, seeing what he -has lost in the fire——</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Now you shut up!</p> - -<p><span style="font-size: 0.8em;">GUSTAFSON</span>. [<i>Enters with a basketful of funeral wreaths and other -products of his trade</i>] I wonder if I am going to sell anything to-day -so there'll be enough for food after all this rumpus?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Didn't you carry any insurance?</p> - -<p><span style="font-size: 0.8em;">GUSTAFSON</span>. Yes, I used to have insurance on the glass panes over my -hotbeds, but this year I felt stingy, and so I put in oiled paper -instead—gosh, that I could be such a darned fool!—[<i>Scratching his -head</i>] I don't get paid for that, of course. And now I've got to cut -and paste and oil six hundred paper panes. It's as I have always said: -that I was the worst idiot among us seven children. Gee, what an ass -I was—what a booby! And then I went and got drunk yesterday. Why in -hell did I have to get drunk that day of all days—when I need all the -brains I've got to-day? It was the stone-cutter who treated, because -our children are going to get married to-night, but I should have said -no. I didn't want to, but I'm a ninny who can't say no to anybody. -And that's the way when they come and borrow money of me—I can't say -no—darned fool that I am! And then I got in the way of that policeman, -who snared me with all sorts of questions. I should have kept my mouth -shut, like the painter over there, but I can't, and so I let out this, -that, and the other thing, and he put it all down, and now I am called -as a witness!</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. What was it you said?</p> - -<p><span style="font-size: 0.8em;">GUSTAFSON</span>. I said I thought—that it looked funny to me—and that -somebody must have started it.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Oh, that's what you said!</p> - -<p><span style="font-size: 0.8em;">GUSTAFSON</span>. Yes, pitch into me—I've deserved it, goose that I am!</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. And who could have started it, do you think?—Don't mind the -painter, and my old woman here never carries any tales.</p> - -<p><span style="font-size: 0.8em;">GUSTAFSON</span>. Who started it? Why, the student, of course, as it started -in his room.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. No—<i>under</i> his room!</p> - -<p><span style="font-size: 0.8em;">GUSTAFSON</span>. Under, you say? Then I <i>have</i> gone and done it!—Oh, I'll -come to a bad end, I'm sure!—<i>Under</i> his room, you say—what could -have been there—the kitchen?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. No, a closet—see, over there! It was used by the cook.</p> - -<p><span style="font-size: 0.8em;">GUSTAFSON</span>. Then it must have been her.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Yes, but don't you say so, as you don't know.</p> - -<p><span style="font-size: 0.8em;">GUSTAFSON</span>. The stone-cutter had it in for the cook last night—I guess -he must have known a whole lot——</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. You shouldn't repeat what the stone-cutter says, for one who -has served isn't to be trusted——</p> - -<p><span style="font-size: 0.8em;">GUSTAFSON</span>. Ash, that's so long ago, and the cook's a regular dragon, -for that matter—she'd always haggle over the vegetables——</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. There comes the dyer from the station now—you'd better quit!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">STRANGER</span> <i>enters, dressed in a frock coat and a high hat -with mourning on it; he carries a stick</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. It wasn't the dyer, but he looks a lot like him.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. How much is one of those wreaths?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. Fifty cents.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Oh, that's not much.</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. No, I am such a fool that I can't charge as I should.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. [<i>Looking around</i>] Has there—been a fire—here?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. Yes, last night.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Good God! [<i>Pause</i>] Who was the owner of the house?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. Mr. Walström.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. The dyer?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. Yes, he used to be a dyer, all right. [<i>Pause</i>.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Where is he now?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. He'll be here any moment.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Then I'll look around a bit—the wreath can lie here till I -come back—I meant to go out to the cemetery later.</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. On account of the bishop's monument, I suppose?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. What bishop?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. Bishop Stecksen, don't you know—who belonged to the Academy.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Is he dead?</p> - -<p><span style="font-size: 0.8em;">GARDENER</span>. Oh, long ago!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I see!—Well, I'll leave the wreath for a while.</p> - -<blockquote> - -<p><i>He goes out to the left, studying the ruins carefully as he -passes by</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Perhaps he came on account of the insurance.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Not that one! Then he would have asked in a different way.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. But he looked like the dyer just the same.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Only he was taller.</p> - -<p><span style="font-size: 0.8em;">GUSTAFSON</span>. Now, I remember something—I should have a bridal bouquet -ready for to-night, and I should go to my son's wedding, but I have -no flowers, and my black coat has been burned. Wouldn't that make -you—Mrs. Westerlund was to furnish the myrtle for the bride's crown, -being her godmother—that's the myrtle she stole a shoot of from -the dyer's cook, who got hers from the dyer's first wife—she who -ran away—and I was to make a crown of it, and I've clean forgotten -it—well, if I ain't the worst fool that ever walked the earth! [<i>He -opens the inn door</i>] Mrs. Westerlund, can I have the myrtle now, and -I'll do the job!—I say, can I have that myrtle! Wreath, too, you -say—have you got enough for it?—No?—Well, then I'll let the whole -wedding go hang, that's all there is to it!—Let them walk up to the -minister's and have him splice them together, but it'll make the -stone-cutter mad as a hornet.—What do you think I should do?—No, I -can't—haven't slept a wink the whole night.—It's too much for a poor -human creature.—Yes, I am a ninny, I know—go for me, will you!—Oh, -there's the pot—thanks! And then I need scissors, which I haven't -got—and wire—and string—where am I to get them from?—No, of course, -nobody wants to break off his work for a thing like that.—I'm tired of -the whole mess—work fifty years, and then have it go up in smoke! I -haven't got strength to begin over again—and the way it comes all at -once, blow on blow—did you ever! I'm going to run away from it! [<i>He -goes out</i>.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH WALSTRÖM</span>. [<i>Enters, evidently upset, badly dressed</i>, <i>his hands -discoloured by the dyes</i>] Is it all out now, Anderson?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Yes, now it's out.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Has anything been discovered?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. That's a question! What's buried when it snows comes to light -when it thaws!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. What do you mean, Anderson?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. If you dig deep enough you find things.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Have you found anything that can explain how the fire started?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Naw, nothing of that kind.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. That means we are still under suspicion, all of us.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Not me, I guess.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Oh, yes, for you have been seen up in the attic at unusual -hours.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Well, I can't always go at usual hours to look for my tools -when I've left them behind. And I did leave my hammer behind when I -fixed the stove in the student's room.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. And the stone-cutter, the gardener, Mrs. Westerlund, even the -painter over there—we are all of us under suspicion—the student, the -cook, and myself more than the rest. Lucky it was that I had paid the -insurance the day before, or I should have been stuck for good.—Think -of it: the stone-cutter suspected of arson—he who's so afraid of doing -anything wrong! He's so conscientious <i>nowadays</i> that if you ask him -what time it is he won't swear to it, as his watch <i>may</i> be wrong. Of -course, we all know he got two years, but he's reformed, and I'll swear -now he's the straightest man in the quarter.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. But the police suspect him because he went wrong once—and he -ain't got his citizenship back yet.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Oh, there are so many ways of looking at a thing—so many -ways, I tell you.—Well, Anderson, I guess you'd better quit for the -day, seeing as you're going to the wedding to-night.</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Yes, that wedding—There was somebody looking for you a while -ago, and he said he would be back.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Who was it?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. He didn't say.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Police, was it?</p> - -<p><span style="font-size: 0.8em;">ANDERSON</span>. Naw, I don't think so.—There he is coming now, for that -matter. [<i>He goes out, together with his wife</i>.</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">STRANGER</span> <i>enters</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Regards him with curiosity at first, then with horror; wants -to run away, but cannot move</i>] Arvid!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Rudolph!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. So it's you!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes. [<i>Pause</i>.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. You're not dead, then?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. In a way, yes!—I have come back from America after thirty -years—there was something that pulled at me—</p> - -<blockquote> - -<p>I wanted to see my childhood's home once more—and I found -those ruins! [<i>Pause</i>] It burned down last night?</p></blockquote> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Yes, you came just in time. [<i>Pause</i>.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. [<i>Dragging his words</i>] That's the place—such a tiny place -for such a lot of destinies! There's the dining-room with the frescoed -walls: palms, and cypresses, and a temple beneath a rose-coloured -sky—that's the way I dreamt the world would look the moment I got away -from home. And the stove with its pale blossoms growing out of conches. -And the chimney cupboard with its metal doors—I remember as a child, -when we had just moved in, somebody had scratched his name on the -metal, and then grandmother told us it was the name of a man who had -killed himself in that very room. I quickly forgot all about it, but -when I later married a niece of the same man, it seemed to me as if my -destiny had been foretold on that plate of metal.—You don't believe in -that kind of thing, do you?—However, you know how my marriage ended!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Yes, I've heard——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. And there's the nursery—yes!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Don't let us start digging in the ruins!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Why not? After the fire is out you can read things in the -ashes. We used to do it as children, in the stove——</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Come and sit down at the table here!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. What place is that? Oh, the tavern—"The Last Nail"—where -the hearse-drivers used to stop, and where, once upon a time, condemned -culprits were given a final glass before they were taken to the -gallows—Who is keeping it?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Mrs. Westerlund, who used to be my nurse.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Mrs. Westerlund—I remember her. It is as if the bench sank -from under me, and I was sent tumbling through the past, sixty whole -years, down into my childhood. I breathe the nursery air and feel it -pressing on my chest. You older ones weighed me down, and you made -so much noise that I was always kept in a state of fright. My fears -made me hide in the garden—then I was dragged forward and given a -spanking—always spankings—but I never knew why, and I don't know it -yet. And yet she was my mother——</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Please!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, you were the favourite, and as such you always had her -support—Then we got a stepmother. Her father was an undertaker's -assistant, and for years we had been seeing him drive by with funerals. -At last he came to know us so well by sight that he used to nod and -grin at us, as if he meant to say: "Oh, I'll come for you sooner or -later!" And then he came right into our house one day, and had to be -called grandfather—when our father took his daughter for his second -wife.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. There was nothing strange in that.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. No, but somehow, as our own destinies, and those of other -people, were being woven into one web——</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Oh, that's what happens everywhere——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Exactly! It's the same everywhere. In your youth you see -the web set up. Parents, relatives, comrades, acquaintances, servants -form the warp. Later on in life the weft becomes visible. And then -the shuttle of fate runs back and forth with the thread—sometimes -it breaks, but is tied up again, and it goes on as before. The reed -clicks, the thread is packed together into curlicues, and one day the -web lies ready. In old age, when the eye has learned how to see, you -discover that those curlicues form a pattern, a monogram, an ornament, -a hieroglyph, which only then can be interpreted: that's life! The -world-weaver has woven it! [<i>Pause; he rises</i>] Over there, in that -scrap-heap, I notice the family album. [<i>He walks a few steps to the -right and picks up a photograph album</i>] That's the book of our family -fate. Grandfather and grandmother, father and mother, brothers and -sisters, relatives, acquaintances—or so-called "friends"—schoolmates, -servants, godparents. And, strange to say, wherever I have gone, in -America or Australia, to Hongkong or the Congo, everywhere I found -at least one countryman, and as we began to dig it always came out -that this man knew my family, or at least some godfather or maid -servant—that, in a word, we had some common acquaintances. I even -found a relative in the island of Formosa——</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. What has put those ideas into your head?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. The fact that life, however it shaped itself—I have been -rich and poor, exalted and humbled; I have suffered a shipwreck and -passed through an earthquake—but, however life shaped itself, I always -became aware of connections and repetitions. I saw in one situation the -result of another, earlier one. On meeting <i>this</i> person I was reminded -of <i>that</i> one whom I had met in the past. There have been incidents in -my life that have come back time and again, so that I have been forced -to say to myself: this I have been through before. And I have met with -occurrences that seemed to me absolutely inevitable, or predestined.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. What have you done during all these years?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Everything! I have beheld life from every quarter, from every -standpoint, from above and from below, and always it has seemed to me -like a scene staged for my particular benefit. And in that way I have -at last become reconciled to a part of the past, and I have come to -excuse not only my own but also other people's so-called "faults." You -and I, for instance, have had a few bones to pick with each other——</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">RUDOLPH</span> <i>recoils with a darkening face</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Don't get scared now——</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. I never get scared!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. You are just the same as ever.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. And so are you!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Am I? That's interesting!—Yes, you are still living in that -delusion about your own bravery, and I remember exactly how this false -idea became fixed in your mind. We were learning to swim, and one day -you told how you had dived into the water, and then mother said: "Yes, -Rudolph, he has courage!" That was meant for me—for me whom you had -stripped of all courage and self-assurance. But then came the day when -you had stolen some apples, and you were too cowardly to own up to it, -and so you put it on me.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Haven't you forgotten that yet?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I haven't forgotten, but I have forgiven.—From here, where I -am sitting, I can see that very tree, and that's what brought it into -my mind. It's over there, you see, and it bears golden pippins.—If you -look, you'll see that one of its biggest branches has been sawed off. -For it so happened that I didn't get angry with you on account of my -unjust punishment, but my anger turned against the tree. And two years -later that big branch was all dried up and had to be sawed off. It made -me think of the fig-tree that was cursed by the Saviour, but I was -not led into any presumptuous conclusions.—However, I still know all -those trees by heart, and once, when I had the yellow fever in Jamaica, -I counted them over, every one. Most of them are still there, I see. -There's the snow-apple which has red-striped fruit—a chaffinch used -to nest in it. There's the melon-apple, standing right in front of the -garret where I used to study for technological examinations; there's -the spitzenburg, and the late astrachan; and the pear-tree that used to -look like a poplar in miniature; and the one with pears that could only -be used for preserves—they never ripened, and we despised them, but -mother treasured them above all the rest; and in that tree there used -to be a wryneck that was always twisting its head around and making a -nasty cry—That was fifty years ago!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Irately</i>] What are you driving at?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Just as touchy and ill-tempered as ever! It's -interesting.—There was no special purpose back of my chatter—my -memories insist on pushing forward—I remember that the garden was -rented to somebody else once, but we had the right to play in it. -To me it seemed as if we had been driven out of paradise—and the -tempter was standing behind every tree. In the fall, when the ground -was strewn with ripe apples, I fell under a temptation that had become -irresistible——</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. You stole, too?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Of course I did, but I didn't put it off on you!—When I was -forty I leased a lemon grove in one of the Southern States, and—well, -there were thieves after the trees every night. I couldn't sleep, I -lost flesh, I got sick. And then I thought of—poor Gustafson here!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. He's still living.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Perhaps he, too, stole apples in his childhood?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Probably.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Why are your hands so black?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Because I handle dyed stuffs all the time.—Did you have -anything else in mind?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. What could that have been?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. That my hands were not clean.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Fudge!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Perhaps you are thinking of your inheritance?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Just as mean as ever! Exactly as you were when eight years -old!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. And you are just as heedless, and philosophical, and silly!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. It's a curious thing—but I wonder how many times before we -have said just what we are saying now? [<i>Pause</i>] I am looking at your -album here—our sisters and brothers—five dead!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Yes.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. And our schoolmates?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Some taken and some left behind.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I met one of them in South Carolina—Axel Ericson—do you -remember him?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. I do.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. One whole night, while we were on a train together, he kept -telling me how our highly respectable and respected family consisted of -nothing but rascals; that it had made its money by smuggling—you know, -the toll-gate was right here; and that this house had been built with -double walls for the hiding of contraband. Don't you see that the walls -are double?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Crushed</i>] So that's the reason why we had closets everywhere?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. The father of that fellow, Ericson, had been in the -custom-house service and knew our father, and the son told me a lot -of inside stories that turned my whole world of imagined conditions -topsyturvy.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. You gave him a licking, I suppose?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Why should I lick him?—However, my hair turned grey that -night, and I had to edit my entire life over again. You know how we -used to live in an atmosphere of mutual admiration; how we regarded -our family as better than all others, and how, in particular, our -parents were looked up to with almost religious veneration. And then I -had to paint new faces on them, strip them, drag them down, eliminate -them. It was dreadful! Then the ghosts began to walk. The pieces of -those smashed figures would come together again, but not properly, -and the result would be a regular wax cabinet of monsters. All those -grey-haired gentlemen whom we called uncles, and who came to our house -to play cards and eat cold suppers, they were smugglers, and some of -them had been in the pillory—Did you know that?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Completely overwhelmed</i>] No.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. The dye works were merely a hiding-place for smuggled yarn, -which was dyed in order to prevent identification. I can still remember -how I used to hate the smell of the dyeing vat—there was something -sickeningly sweet about it.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Why did you have to tell me all this?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Why should I keep silent about it and let you make yourself -ridiculous by your boasting about that revered family of yours? Have -you never noticed people grinning at you?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. No-o! [<i>Pause</i>.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I am now looking at father's bookcase in the pile over there. -It was always locked, you remember. But one day, when father was out, -I got hold of the key. The books in front I had seen through the glass -doors, of course. There were volumes of sermons, the collected works -of great poets, handbooks for gardening, compilations of the statutes -referring to customs duties and the confiscation of smuggled goods; the -constitution; a volume about foreign coins; and a technical work that -later determined my choice of a career. But back of those books there -was room for other things, and I began to explore. First of all I found -the rattan—and, do you know, I have since learned that that bitter -plant bears a fruit from which we get the red dye known as "dragon's -blood": now, isn't that queer! And beside the rattan stood a bottle -labelled "cyanide of potassium."</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. I suppose it was meant for use over at the works.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Or elsewhere, perhaps. But this is what I had in mind: there -were some bundles of pamphlets with illustrated covers that aroused my -interest. And, to put it plain, they contained the notorious memoirs -of a certain chevalier—I took them out and locked the case again. And -beneath the big oak over there I studied them. We used to call that oak -the Tree of Knowledge—and it was, all right! And in that way I left -my childhood's paradise to become initiated, all too early, into those -mysteries which—yes!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. You, too?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, I, too! [<i>Pause</i>] However—let us talk of something -else, as all that is now in ashes.—Did you have any insurance?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Angrily</i>] Didn't you ask that a while ago?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Not that I can recall. It happens so often that I confuse -what I have said with what I have intended to say, and mostly because I -think so intensely—ever since that day when I tried to hang myself in -the closet.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. What is that you are saying?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I tried to hang myself in the closet.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Speaking very slowly</i>] Was that what happened that Holy -Thursday Eve, when you were taken to the hospital—what the rest of us -children were never permitted to know?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. [<i>Speaking in the same manner</i>] Yes.—There you can see how -little we know about those that are nearest to us, about our own homes -and our own lives.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. But why did you do it?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I was twelve years old, and tired of life! It was like -groping about in a great darkness—I couldn't understand what I had to -do here—and I thought the world a madhouse. I reached that conclusion -one day when our school was turned out with torches and banners to -celebrate "the destroyer of our country." For I had just read a book -which proved that our country had been brought to destruction by the -worst of all its kings—and that was the one whose memory we had to -celebrate with hymns and festivities.<a name="FNanchor_1_3" id="FNanchor_1_3"></a><a href="#Footnote_1_3" class="fnanchor">[1]</a></p> - -<blockquote> - -<p>[<i>Pause</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. What happened at the hospital?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. My dear fellow, I was actually put into the morgue as dead. -Whether I was or not, I don't know—but when I woke up, most of my -previous life had been forgotten, and I began a new one, but in such a -manner that the rest of you thought me peculiar.—Are you married again?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. I have wife and children—somewhere.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. When I recovered consciousness I seemed to myself another -person. I regarded life with cynical calm: it probably had to be the -way it was. And the worse it turned out the more interesting it became. -After that I looked upon myself as if I were somebody else, and I -observed and studied that other person, and his fate, thereby rendering -myself callous to my own sufferings. But while dead I had acquired new -faculties—I could see right through people, read their thoughts, hear -their intentions. In company, I beheld them stripped naked—Where did -you say the fire started?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Why, nobody knows.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. But the newspapers said that it began in a closet right -under the student's garret—what kind of a student is he?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Appalled</i>] Is it in the newspapers? I haven't had time to -look at them to-day. What more have they got?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. They have got everything.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Everything?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. The double walls, the respected family of smugglers, the -pillory, the hairpins——</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. What hairpins?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I don't know, but they are there. Do you know?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Naw!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Everything was brought to light, and you may look for a -stream of people coming here to stare at all that exposed rottenness.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Lord have mercy! And you take pleasure at seeing your family -dragged into scandal?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. My family? I have never felt myself related to the rest of -you. I have never had any strong feeling either for my fellow men or -myself. I think it's interesting to watch them—that's all—What sort -of a person is your wife?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Was there anything about her, too?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. About her and the student.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Good! Then I was right. Just wait and you'll see!—There comes -the stone-cutter.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. You know him?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. And so do you. A schoolmate—Albert Ericson.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Whose father was in the customs service and whose brother I -met on the train—he who was so very well informed about our family.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. That's the infernal cuss who has blabbed to the papers, then!</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">ERICSON</span> <i>enters with a pick and begins to look over the ruins</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STRANGER</span>. What a ghastly figure!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. He's been in jail—two years. Do you know what he did? He made -some erasures in a contract between him and myself——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. You sent him to jail! And now he has had his revenge!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. But the queerest part of it is that nowadays he is regarded as -the most honest man in the whole district. He has become a martyr, and -almost a saint, so that nobody dares say a word against him.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. That's interesting, indeed!</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. [<i>Entering, turns to</i> <span class="small-c">ERICSON</span>] Can you pull down that wall -over there?</p> - -<p><span style="font-size: 0.8em;">ERICSON</span>. The one by the closet?</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. That's the one.</p> - -<p><span style="font-size: 0.8em;">ERICSON</span>. That's where the fire started, and I'm sure you'll find a -candle or a lamp around there—for I know the people!</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Go ahead then!</p> - -<p><span style="font-size: 0.8em;">ERICSON</span>. The closet door was burned off, to be sure, but the ceiling -came down, and that's why we couldn't find out, but now we'll use the -beak on it! [<i>He falls to with his pick</i>] Ho-hey, ho-ho!—Ho-hey, -leggo!—Ho-hey, for that one!—Do you see anything?</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Not yet.</p> - -<p><span style="font-size: 0.8em;">ERICSON</span>. [<i>Working away as before</i>] Now I can see something!—The lamp -has exploded, but the stand is left!—Who knows this forfeit for his -own?—Didn't I see the dyer somewhere around here?</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. There he is sitting now. [<i>He picks the lamp from the debris -and holds it up</i>] Do you recognise your lamp, Mr. Walström?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. That isn't mine—it belonged to our tutor.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. The student? Where is he now?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. He's down-town, but I suppose he'll soon be here, as his books -are lying over there.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. How did his lamp get into the cook's closet? Did he have -anything to do with her?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Probably!</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. The only thing needed now is that he identify the lamp as -his own, and he will be arrested. What do you think of it, Mr. Walström?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. I? Well, what is there to think?</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. What reason could he have for setting fire to another -person's house?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. I don't know. Malice, or mere mischief—you never can tell -what people may do—Or perhaps there was something he wanted to cover -up.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. That would have been a poor way, as old rottenness always -will out. Did he have any grudge against you?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. It's likely, for I helped him once when he was hard up, and he -has hated me ever since, of course.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Of course? [<i>Pause</i>] Who is he, then?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. He was raised in an orphanage—born of unknown parents.</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Haven't you a grown-up daughter, Mr. Walström?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Angered</i>] Of course I have!</p> - -<p><span style="font-size: 0.8em;">DETECTIVE</span>. Oh, you have! [<i>Pause; then to</i> <span style="font-size: 0.8em;">ERICSON</span>] Now you bring those -twelve men of yours and pull down the walls quick. Then we'll see what -new things come to light.</p> - -<blockquote> - -<p>[<i>He goes out</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">ERICSON</span>. That'll be done in a jiffy. [<i>Goes out</i>.</p> - -<blockquote> - -<p>[<i>Pause</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Have you really paid up your insurance?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Of course!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Personally?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. No, I sent it in as usual.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. You sent it—by somebody else! That's just like you!—Suppose -we take a turn through the garden and have a look at the apple-trees.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. All right, and then we'll see what happens afterward.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Now begins the most interesting part of all.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Perhaps not quite so interesting if you find yourself mixed up -in it.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Who can tell?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. What a web it is!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. There was a child of yours that went to the orphanage, I think?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. God bless us!—Let's go over into the garden!</p> - -<p style="text-align: center;"><i>Curtain</i>.</p> - - -<div class="footnote"> - -<p><a name="Footnote_1_3" id="Footnote_1_3"></a><a href="#FNanchor_1_3"><span class="label">[1]</span></a> This refers to King Charles XII of Sweden, whose memory -Strindberg hated mainly because of the use made of it by the jingo -elements of the Swedish upper classes.</p></div> - -<hr class="tb" /> - - -<h4>SECOND SCENE</h4> - - -<blockquote> - -<p><i>The same setting as before with the exception that the walls -have been torn down so that the garden is made visible, -with its vast variety of spring flowers—daphnes, deutzias, -daffodils, narcissuses, tulips, auriculas—and with all the -fruit-trees in bloom</i>.</p> - -<p><span style="font-size: 0.8em;">ERICSON</span>, <span style="font-size: 0.8em;">ANDERSON</span> <i>and his old wife</i>, <span style="font-size: 0.8em;">GUSTAFSON</span>, <i>the</i> -<span style="font-size: 0.8em;">HEARSE-DRIVER</span>, <span style="font-size: 0.8em;">MRS. WESTERLUND</span>, <i>and the painter</i>, <span style="font-size: 0.8em;">SJÖBLOM</span>, -<i>are standing in a row staring at the spot where the house used -to be</i>.</p></blockquote> - -<hr class="tb" /> -<p><span style="font-size: 0.8em;">STRANGER</span>. [<i>Entering</i>] There they stand, enjoying the misfortune that's -in the air and waiting for the victim to appear—he being the principal -item. That the fire was incendiary they take for granted, merely -because they want it that way.—And all these rascals are the friends -and comrades of my youth. I am even related to the hearse-driver -through my stepmother, whose father used to help carry out the -coffins—[<i>He speaks to the crowd of spectators</i>] Look here, you -people, I shouldn't stand there if I were you. There may have been some -dynamite stored in the cellar, and if such were the case an explosion -might take place any moment.</p> - -<blockquote> - -<p><i>The curious crowd scatters and disappears</i>.</p></blockquote> - -<hr class="tb" /> - -<p><span style="font-size: 0.8em;">STRANGER</span>. [Stoops <i>over the scrap-heap and begins to poke in the -books piled there</i>] Those are the student's books—Same kind of rot -as in my youth—Livy's Roman history, which is said to be lies, every -word—But here's a volume out of my brother's library—"Columbus, or -the Discovery of America"! My own book, which I got as a Christmas -gift in 1857. My name has been erased. This means it was stolen from -me—and I accused one of our maids, who was discharged on that account! -Fine business! Perhaps it led to her ruin—fifty years ago! Here is -the frame of one of our family portraits; my renowned grandfather, -the smuggler, who was put in the pillory—fine!—But what is this? -The foot-piece of a mahogany bed—the one in which I was born! Oh, -damn!—Next item: a leg of a dinner-table—the one that was an -heirloom. Why, it was supposed to be of ebony, and was admired on -that account! And now, after fifty years, I discover it to be made -of painted maple. Everything had its colours changed in our house to -render it unrecognisable, even the clothes of us children, so that -our bodies always were stained with various dyes. Ebony—humbug! And -here's the dining-room clock—smuggled goods, that, too—which has -measured out the time for two generations. It was wound up every -Saturday, when we had salt codfish and a posset made with beer for -dinner. Like all intelligent clocks, it used to stop when anybody -died, but when I died it went on just as before. Let me have a look at -you, old friend—I want to see your insides. [<i>As he touches the clock -it falls to pieces</i>] Can't stand being handled! Nothing could stand -being handled in our home—nothing! Vanity, vanity!—But there's the -globe that was on top of the clock, although it ought to have been at -the bottom. You tiny earth: you, the densest and the heaviest of all -the planets—that's what makes everything on you so heavy—so heavy -to breathe, so heavy to carry. The cross is your symbol, but it might -just as well have been a fool's cap or a strait-jacket—you world of -delusions and deluded!—Eternal One—perchance Thy earth has gone -astray in the limitless void? And what set it whirling so that Thy -children were made dizzy, and lost their reason, and became incapable -of seeing what really is instead of what only seems?—Amen!—And here -is the student!</p> - -<blockquote> -<p><i>The</i> <span style="font-size: 0.8em;">STUDENT</span> <i>enters and looks around in evident search of -somebody</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STRANGER</span>. He is looking for the mistress of the house. And he tells -everything he knows—with his eyes. Happy youth!—Whom are you looking -for?</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. [<i>Embarrassed</i>] I was looking——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Speak up, young man—or keep silent. I understand you just -the same.</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. With whom have I the honour——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. It's no special honour, as you know, for once I ran away to -America on account of debts——</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. That wasn't right.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Right or wrong, it remains a fact.—So you were looking for -Mrs. Walström? Well, she isn't here, but I am sure that she will come -soon, like all the rest, for they are drawn by the fire like moths——</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. By a candle!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. That's what <i>you</i> say, but I should rather have said "lamp," -in order to choose a more significant word. However, you had better -hide your feelings, my dear fellow, if you can—I can hide mine!—We -were talking of that lamp, were we not? How about it?</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. Which lamp?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Well, well! Every one of them lies and denies!—The lamp -that was placed in the cook's closet and set fire to the house?</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. I know nothing about it.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Some blush when they lie and others turn pale. This one has -invented an entirely new manner.</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. Are you talking to yourself, sir?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I have that bad habit.—Are your parents still living?</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. They are not.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Now you lied again, but unconsciously.</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. I never tell a lie!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Not more than three in these few moments! I know your father.</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. I don't believe it.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. So much the better for me!—Do you see this scarf-pin? It's -pretty, isn't it? But I never see anything of it myself—I have no -pleasure in its being there, while everybody else is enjoying it. There -is nothing selfish about that, is there? But there are moments when -I should like to see it in another man's tie so that I might have a -chance to admire it. Would you care to have it?</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. I don't quite understand—Perhaps, as you said, it's better -not to wear it.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Perhaps!—Don't get impatient now. She will be here soon.—Do -you find it enviable to be young?</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. I can't say that I do.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. No, youth is not its own master; it has never any money, and -has to take its food out of other hands; it is not permitted to speak -when company is present, but is treated as an idiot; and as it cannot -marry, it has to ogle other people's wives, which leads to all sorts of -dangerous consequences. Youth—humbug!</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. That's right! As a child, you want to grow up—that is, reach -fifteen, be confirmed, and put on a tall hat. When you are that far, -you want to be old—that is, twenty-one. Which means that nobody wants -to be young.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. And when you grow old in earnest, then you want to be dead. -For then there isn't much left to wish for.—Do you know that you are -to be arrested?</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. Am I?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. The detective said so a moment ago.</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. Me?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Are you surprised at that? Don't you know that in this life -you must be prepared for anything?</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. But what have I done?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. You don't have to do anything in order to be arrested. To be -suspected is enough.</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. Then everybody might be arrested!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Exactly! The rope might be laid around the neck of the whole -race if justice were wanted, but it isn't. It's a disgusting race: -ugly, sweating, ill-smelling; its linen dirty, its stockings full of -holes; with chilblains and corns—ugh! No, an apple-tree in bloom is -far more beautiful. Or look at the lilies in the field—they seem -hardly to belong here—and what fragrance is theirs!</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. Are you a philosopher, sir?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, I am a great philosopher.</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. Now you are poking fun at me!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. You say that to get away. Well, begone then! Hurry up!</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. I was expecting somebody.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. So I thought. But I think it would be better to go and -meet——</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. She asked you to tell me?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Oh, that wasn't necessary.</p> - -<p><span style="font-size: 0.8em;">STUDENT</span>. Well, if that's so—I don't want to miss——</p> - -<blockquote> - -<p>[<i>He goes out</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Can that be my son? Well, if it comes to the worst—I was a -child myself once, and it was neither remarkable nor pleasant—And I -am his—what of it? And for that matter—who knows?—Now I'll have a -look at Mrs. Westerlund. She used to work for my parents—was faithful -and good-tempered; and when she had been pilfering for ten years she -was raised to the rank of a "trusted" servant. [<i>He seats himself at -the table in front of the inn</i>] There are Gustafson's wreaths—just as -carelessly made as they were forty years ago. He was always careless -and stupid in all he did, and so he never succeeded with anything. But -much might be pardoned him on account of his self-knowledge. "Poor -fool that I am," he used to say, and then he would pull off his cap -and scratch his head.—Why, there's a myrtle plant! [<i>He knocks at the -pot</i>] Not watered, of course! He always forgot to water his plants, the -damned fool—and yet he expected them to grow.</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>, <i>the painter, appears</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I wonder who that painter can be. Probably he belongs also to -the Bog, and perhaps he is one of the threads in my own web.</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span> <i>is staring at the</i> <span style="font-size: 0.8em;">STRANGER</span> <i>all this time</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STRANGER</span>. [<i>Returning the stare</i>] Well, do you recognise me?</p> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>. Are you—Mr. Arvid?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Have been and am—if perception argues being.</p> - -<blockquote> - -<p>[<i>Pause</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>. I ought really to be mad at you.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Well, go on and be so! However, you might tell me the reason. -That has a tendency to straighten matters out.</p> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>. Do you remember——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Unfortunately, I have an excellent memory.</p> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>. Do you remember a boy named Robert?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, a regular rascal who knew how to draw.</p> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>. And I was to go to the Academy in order to become a real -painter, an artist. But just about that time-colour-blindness was all -the go. You were studying at the Technological Institute then, and so -you had to test my eyes before your father would consent to send me to -the art classes. For that reason you brought two skeins of yarn from -the dye works, one red and the other green, and then you asked me about -them. I answered—called the red green and the green red—and that was -the end of my career——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. But that was as it should be.</p> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>. No—for the truth of it was, I could distinguish the -colours, but not—the <i>names</i>. And that wasn't found out until I was -thirty-seven——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. That was an unfortunate story, but I didn't know better, and -so you'll have to forgive me.</p> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>. How can I?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Ignorance is pardonable! And now listen to me. I wanted to -enter the navy, made a trial cruise as mid-shipman, seemed to become -seasick, and was rejected! But I could stand the sea, and my sickness -came from having drunk too much. So my career was spoiled, and I had to -choose another.</p> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>. What have I got to do with the navy? I had been dreaming of -Rome and Paris——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Oh, well, one has so many dreams in youth, and in old age -too, for that matter. Besides, what's the use of bothering about what -happened so long ago?</p> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>. How you talk! Perhaps you can give me back my wasted life——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. No, I can't, but I am under no obligation to do so, either. -That trick with the yarn I had learned at school, and you ought to have -learned the proper names of the colours. And now you can go to—one -dauber less is a blessing to humanity!—There's Mrs. Westerlund!</p> - -<p><span style="font-size: 0.8em;">SJÖBLOM</span>. How you <i>do</i> talk. But I guess you'll get what's coming to you!</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span> <i>enters</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STRANGER</span>. How d'you do, Mrs. Westerlund? I am Mr. Arvid—don't get -scared now! I have been in America, and how are you? I am feeling fine! -There has been a fire here, and I hear your husband is dead—policeman, -I remember, and a very nice fellow. I liked him for his good humour -and friendly ways. He was a harmless jester, whose quips never hurt. I -recall once——</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. O, merciful! Is this my own Arvid whom I used to -tend——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. No, that wasn't me, but my brother—but never mind, it's just -as well meant. I was talking of your old man who died thirty-five years -ago—a very nice man and a particular friend of mine——</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. Yes, he died. [<i>Pause</i>] But I don't know if—perhaps -you are getting him mixed up——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. No, I don't. I remember old man Westerlund perfectly, and I -liked him very much.</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. [<i>Reluctantly</i>] Of course it's a shame to say it, but -I don't think his temper was very good.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. What?</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. Well—he had a way of getting around people, but -he didn't mean what he said—or if he did he meant it the other way -around——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. What is that? Didn't he mean what he was saying? Was he a -hypocrite?</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. Well, I don't like to say it, but I believe——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Do you mean to say that he wasn't on the level?</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. N—yes—he was—a little—well, he didn't mean exactly -what he said—And how have you been doing, Mr. Arvid?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Now a light is dawning on me!—The miserable wretch! And -here I have been praising him these thirty-five years. I have missed -him, and I felt something like sorrow at his departure—I even used -some of my tobacco allowance to buy a wreath for his coffin.</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. What was it he did? What was it?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. The villain! [<i>Pause</i>] Well—he fooled me—it was Shrove -Tuesday, I remember. He told me that if one took away every third -egg from a hen she would lay so many more. I did it, got a licking, -and came near getting into court. But <i>I</i> never suspected him of -having told on me.—He was always hanging around our kitchen looking -for tid-bits, and so our maids could do just what they pleased about -the garbage—oh, now I see him in his proper aspect!—And here I am -now getting into a fury at one who has been thirty-five years in his -grave?—So he was a satirist, he was—and I didn't catch on—although I -understand him now.</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. Yes, he was a little satirical all right—<i>I</i> ought -to know that!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Other things are coming back to me now—and I have been -saying nice things about that blackguard for thirty-five years! It was -at his funeral I drank my first toddy—And I remember how he used to -flatter me, and call me "professor" and "the crown prince"—ugh—And -there is the stone-cutter! You had better go inside, madam, or we'll -have a row when that fellow begins to turn in his bills. Good-bye, -madam—we'll meet again!</p> - -<p><span style="font-size: 0.8em;">MRS. WESTERLUND</span>. No we won't. People ought never to meet again—it -is never as it used to be, and they only get to clawing at each -other—What business did you have to tell me all those things—seeing -everything was all right as it was [<i>She goes out</i>.</p> - -<blockquote> - -<p><span class="small-c">ERICSON</span>, <i>the stone-cutter, comes in</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Come on!</p> - -<p><span class="small-c">ERICSON</span>. What's that?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Come on, I said!</p> - -<blockquote> - -<p><span class="small-c">ERICSON</span> <i>stares at him</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Are you looking at my scarf-pin? I bought it in London.</p> - -<p><span class="small-c">ERICSON</span>. I am no thief!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. No, but you practise the noble art of erasure. You wipe out!</p> - -<p><span class="small-c">ERICSON</span>. That's true, but that contract was sheer robbery, and it was -strangling me.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Why did you sign it?</p> - -<p><span class="small-c">ERICSON</span>. Because I was hard up.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, that <i>is</i> a motive.</p> - -<p><span class="small-c">ERICSON</span>. But now I am having my revenge.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, isn't it nice!</p> - -<p><span class="small-c">ERICSON</span>. And now <i>they</i> will be locked up.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Did <i>we</i> ever fight each other as boys?</p> - -<p><span class="small-c">ERICSON</span>. No, I was too young.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Have we never told lies about each other, or robbed each -other, or got in each other's way, or seduced each other's sisters?</p> - -<p><span class="small-c">ERICSON</span>. Naw, but my father was in the customs service and yours was a -smuggler.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. There you are! That's something, at least!</p> - -<p><span class="small-c">ERICSON</span>. And when my father failed to catch yours he was discharged.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. And you want to get even with me because your father was a -good-for-nothing?</p> - -<p><span class="small-c">ERICSON</span>. Why did you say a while ago that there was dynamite in the -cellar?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Now, my dear sir, you are telling lies again. I said there -<i>might</i> be dynamite in the cellar, and everything is possible, of -course.</p> - -<p><span class="small-c">ERICSON</span>. And in the meantime the student has been arrested. Do you know -him?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Very little—his mother more, for she was a maid in our -house. She was both pretty and good, and I was making up to her—until -she had a child.</p> - -<p><span class="small-c">ERICSON</span>. And were you not its father?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I was not. But as a denial of fatherhood is not allowed, I -suppose I must be regarded as a sort of stepfather.</p> - -<p><span class="small-c">ERICSON</span>. Then they have lied about you.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Of course. But that's a very common thing.</p> - -<p><span class="small-c">ERICSON</span>. And I was among those who testified against you—under oath!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I have no doubt about it, but what does it matter? Nothing -matters at all! But now we had better quit pulling—or we'll get the -whole web unravelled.</p> - -<p><span class="small-c">ERICSON</span>. But think of me, who have perjured myself——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, it isn't pleasant, but such things will happen.</p> - -<p><span class="small-c">ERICSON</span>. It's horrible—don't you find life horrible?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. [<i>Covering his eyes with his hand</i>] Yes, horrible beyond all -description!</p> - -<p><span class="small-c">ERICSON</span>. I don't want to live any longer!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Must! [<i>Pause</i>] Must! [<i>Pause</i>] Tell me—the student is -arrested, you say—can he get out of it?</p> - -<p><span class="small-c">ERICSON</span>. Hardly!—And now, as we are talking nicely, I'll tell you -something: he is innocent, but he cannot clear himself. For the only -witness that can prove him innocent would, by doing so, prove him -guilty—in another way.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. She with the hairpins, isn't it?</p> - -<p><span class="small-c">ERICSON</span>. Yes.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. The old one or the young one?</p> - -<p><span class="small-c">ERICSON</span>. You have to figure that out yourself. But it isn't the cook.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. What a web this is!—But who put the lamp there?</p> - -<p><span class="small-c">ERICSON</span>. His worst enemy.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. And did his worst enemy also start the fire?</p> - -<p><span class="small-c">ERICSON</span>. That's beyond me! Only Anderson, the mason, knows that.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Who is he?</p> - -<p><span class="small-c">ERICSON</span>. The oldest one in the place—some kind of relative of Mrs. -Westerlund—knows all the secrets of the house—but he and the dyer -have got some secrets together, so he won't tell anything.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. And the lady—my sister-in-law—who is she?</p> - -<p><span class="small-c">ERICSON</span>. Well—she was in the house as governess when the first wife -cleared out.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. What sort of character has she got?</p> - -<p><span class="small-c">ERICSON</span>. Hm! Character? I don't quite know what that is. Do you mean -trade? The old assessment blanks used to call for your name and -"character"—but that meant occupation instead of character.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I mean her temper.</p> - -<p><span class="small-c">ERICSON</span>. Well, it changes, you know. In me it depends on the person -with whom I am talking. With decent people I am decent, and with the -cruel ones I become like a beast of prey.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. But I was talking of her temper under ordinary circumstances.</p> - -<p><span class="small-c">ERICSON</span>. Well, nothing in particular. Gets angry if you tease her, but -comes around after a while. One cannot always have the same temper, of -course.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I mean, is she merry or melancholy?</p> - -<p><span class="small-c">ERICSON</span>. When things go right, she is happy, and when they go wrong, -she gets sorry or angry—just like the rest of us.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, but how does she behave?</p> - -<p><span class="small-c">ERICSON</span>. Oh, what does it matter?—Of course, being an educated person, -she behaves politely, but nevertheless, you know, she can get nasty, -too, when her blood gets to boiling.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. But that doesn't make me much wiser.</p> - -<p><span class="small-c">ERICSON</span>. [<i>Patting him on the shoulder</i>] No, sir, we never get much -wiser when it's a question of human beings.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Oh, you're a marvel!—And how do you like my brother, the -dyer? [<i>Pause</i>.</p> - -<p><span class="small-c">ERICSON</span>. Oh, his manners are pretty decent. And more than that I don't -know, for what he keeps hidden I can't find out, of course.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Excellent! But—his hands are always blue, and yet you know -that they are white beneath the dye.</p> - -<p><span class="small-c">ERICSON</span>. But to make them so they should be scraped, and that's -something he won't permit.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Good!—Who are the young couple coming over there?</p> - -<p><span class="small-c">ERICSON</span>. That's the gardener's son and my daughter, who were to have -been married to-night, but who have had to postpone it on account of -the fire—Now I shall leave, for I don't want to embarrass them. You -understand—I ain't much as a father-in-law. Good-bye! [<i>He goes out</i>.</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">STRANGER</span> <i>withdraws behind the inn, but so that he -remains visible to the spectators</i>.</p> - -<p><span style="font-size: 0.8em;">ALFRED</span> <i>and</i> <span style="font-size: 0.8em;">MATHILDA</span> <i>enter hand in hand</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">ALFRED</span>. I had to have a look at this place—I had to——</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. Why did you have to look at it?</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Because I have suffered so much in this house that more than -once I wished it on fire.</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. Yes, I know, it kept the sun out of the garden, and now -everything will grow much better—provided they don't put up a still -higher house——</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Now it's open and pleasant, with plenty of air and sunlight, -and I hear they are going to lay out a street——</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. Won't you have to move then?</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Yes, all of us will have to move, and that's what I like—I -like new things—I should like to emigrate——</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. Mercy, no! Do you know, our pigeons were nesting on the roof. -And when the fire broke out last night they kept circling around the -place at first, but when the roof fell in they plunged right into the -flames—They couldn't part from their old home!</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. But we must get out of here—must! My father says that the soil -has been sucked dry.</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. I heard that the cinders left by the fire were to be spread -over the ground in order to improve the soil.</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. You mean the ashes?</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. Yes; they say it's good to sow in the ashes.</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Better still on virgin soil.</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. But your father is ruined?</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Not at all. He has money in the bank. Of course he's -complaining, but so does everybody.</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. Has he—The fire hasn't ruined him?</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Not a bit! He's a shrewd old guy, although he always calls -himself a fool.</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. What am I to believe?</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. He has loaned money to the mason here—and to others.</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. I am entirely at sea! Am I dreaming?—The whole morning -we have been weeping over your father's misfortune and over the -postponement of the wedding——</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Poor little thing! But the wedding is to take place to-night——</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. Is it not postponed?</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Only delayed for a couple of hours so that my father will have -time to get his new coat.</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. And we who have been weeping——</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Useless tears—such a lot of tears!</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. I am mad because they were useless—although—to think that -my father-in-law could be such a sly one!</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Yes, he is something of a joker, to put it mildly. He is always -talking about how tired he is, but that's nothing but laziness—oh, -he's lazy, I tell you——</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. Don't say any more nasty things about him—but let us get -away from here. I have to dress, you know, and put up my hair.—Just -think, that my father-in-law isn't what I thought him—that he could be -fooling us like that and not telling the truth! Perhaps you are like -that, too? Oh, that I can't know what you really are!</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. You'll find out afterward.</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. But then it's too late.</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. It's never too late——</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. All you who lived in this house are bad—And now I am afraid -of you——</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Not of me, though?</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. I don't know what to think. Why didn't you tell me before -that your father was well off?</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. I wanted to try you and see if you would like me as a poor man.</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. Yes, afterward they always say that they wanted to try you. -But how can I ever believe a human being again?</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Go and get dressed now. I'll order the carriages.</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. Are we to have carriages?</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. Of course—regular coaches.</p> - -<p><span style="font-size: 0.8em;">MATHILDA</span>. Coaches? And to-night? What fun! Come—hurry up! We'll have -carriages!</p> - -<p><span style="font-size: 0.8em;">ALFRED</span>. [<i>Gets hold of her hand and they dance out together</i>] Hey and -ho! Here we go!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. [<i>Coming forward</i>] Bravo!</p> - -<blockquote> - -<p><i>The</i> <span style="font-size: 0.8em;">DETECTIVE</span> <i>enters and talks in a low tone to the</i> -<span style="font-size: 0.8em;">STRANGER</span>, <i>who answers in the same way. This lasts for about -half a minute, whereupon the</i> <span style="font-size: 0.8em;">DETECTIVE</span> <i>leaves again</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. [<i>Enters, dressed in black, and gazes long at the</i> -<span style="font-size: 0.8em;">STRANGER</span>] Are you my brother-in-law?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I am. [<i>Pause</i>] Don't I look as I have been described—or -painted?</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. Frankly, no!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. No, that is generally the case. And I must admit that the -information I received about you a while ago does not tally with the -original.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. Oh, people do each other so much wrong, and they paint -each other in accordance with some image within themselves.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. And they go about like theatrical managers, distributing -parts to each other. Some accept their parts; others hand them back and -prefer to improvise.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. And what has been the part assigned to you?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. That of a seducer. Not that I have ever been one! I have -never seduced anybody, be she wife or maid, but once in my youth I was -seduced, and that's why the part was given to me. Strange to say, it -was forced on me so long that at last I accepted it. And for twenty -years I carried the bad conscience of a seducer around with me.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. You were innocent then?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I was.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. How curious! And to this day my husband is still -talking of the Nemesis that has pursued you because you seduced another -man's wife.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I fully believe it. But your husband represents a still more -interesting case. He has created a new character for himself out of -lies. Tell me: isn't he a coward in facing the struggles of life?</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. Of course he is a coward!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. And yet he boasts of his courage, which is nothing but -brutality.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. You know him pretty well.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, and no!—And you have been living in the belief that you -had married into a respected family which had never disgraced itself?</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. So I believed until this morning.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. When your faith crumbled! What a web of lies and mistakes -and misunderstandings! And that kind of thing we are supposed to take -seriously!</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. Do you?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Sometimes. Very seldom nowadays. I walk like a somnambulist -along the edge of a roof—knowing that I am asleep, and yet being -awake—and the only thing I am waiting for is to be waked up.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. You are said to have been across to the other side?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I have been across the river, but the only thing I can recall -is—that there everything <i>was</i> what it pretended to be. That's what -makes the difference.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. When nothing stands the test of being touched, what are -you then to hold on to?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Don't you know?</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. Tell me! Tell me!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Sorrow brings patience; patience brings experience; -experience brings hope; and hope will not bring us to shame.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. Hope, yes!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, hope!</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. Do you ever think it pleasant to live?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Of course. But that is also a delusion. I tell you, my dear -sister-in-law, that when you happen to be born without a film over your -eyes, then you see life and your fellow creatures as they are—and -you have to be a pig to feel at home in such a mess.—But when you -have been looking long enough at blue mists, then you turn your eyes -the other way and begin to look into your own soul? There you find -something really worth looking at.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. And what is it you see?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Your own self. But when you have looked at that you must die.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. [<i>Covers her eyes with her hands; after a pause she -says</i>] Do you want to help me?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. If I can.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. Try.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Wait a moment!—No, I cannot. He is innocently accused. Only -you can set him free again. But that you cannot do. It's a net that has -not been tied by men——</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. But he is not guilty.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Who is guilty? [<i>Pause</i>.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. No one! It was an accident!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I know it.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. What am I to do?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Suffer. It will pass. For that, too, is vanity.</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. Suffer?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, suffer! But with hope!</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. [<i>Holding out her hand to him</i>] Thank you!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. And let it be your consolation</p> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span>. What?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. That you don't suffer innocently.</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">MRS. WALSTRÖM</span> <i>walks out with her head bent low</i>.</p> - -<p><i>The</i> <span style="font-size: 0.8em;">STRANGER</span> <i>climbs the pile of debris marking the site of -the burned house</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Comes in, looking happy</i>] Are you playing the ghost among -the ruins?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Ghosts feel at home among ruins—And now you are happy?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Now I am happy.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. And brave?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Whom have I got to fear, or what?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. I conclude from your happiness that you are ignorant of one -important fact—Have you the courage to bear a piece of misfortune?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. What is it?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. You turn pale?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. I?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. A serious misfortune!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Speak out!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. The detective was here a moment ago, and he told me—in -confidence——</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. What?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. That the premium on your insurance was paid up two hours too -late.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Great S——! what are you talking of? I sent my wife to pay -the premium.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. And she sent the bookkeeper—and he got there too late.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Then I am ruined? [<i>Pause</i>.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Are you crying?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. I am ruined!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Well, is that something that cannot be borne?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. How am I to live? What am I to do?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Work!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. I am too old—I have no friends——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Perhaps you'll get some now. A man in misfortune always seems sympathetic. I had some of -my best hours while fortune went against me.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Wildly</i>] I am ruined!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. But in my days of success and fortune I was left alone. Envy -was more than friendship could stand.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Then I'll sue the bookkeeper.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Don't!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. He'll have to pay——</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. How little you have changed! What's the use of living, when -you learn so little from it?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. I'll sue him, the villain!—He hates me because I gave him a -cuff on the ear once.</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Forgive him—as I forgave you when I didn't demand my -inheritance.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. What inheritance?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Always the same! Merciless! Cowardly! Disingenuous!—Depart -in peace, brother!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. What inheritance is that you are talking of?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Now listen, Rudolph—my brother after all: my own mother's -son! You put the stone-cutter in jail because he did some erasing—all -right! But how about your own erasures from my book, "Christopher -Columbus, or the Discovery of America"?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Taken aback</i>] What's that? Columbus?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, <i>my</i> book that became yours!</p> - -<blockquote> - -<p><span style="font-size: 0.8em;">RUDOLPH</span> <i>remains silent</i>.</p></blockquote> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes, and I understand now that it was you who put the -student's lamp in the closet—I understand everything. But do <i>you</i> -know that the dinner-table was not of ebony?</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. It wasn't?</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. It was nothing but maple.</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Maple!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. The pride and glory of the house—valued at two thousand -crowns!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. That, too? So that was also humbug!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Yes!</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. Ugh!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. Thus the debt is settled. The case is dropped—the issue is -beyond the court—the parties can withdraw——</p> - -<p><span style="font-size: 0.8em;">RUDOLPH</span>. [<i>Rushing out</i>] I am ruined!</p> - -<p><span style="font-size: 0.8em;">STRANGER</span>. [<i>Takes his wreath from the table</i>] I meant to take this -wreath to the cemetery—to my parents' grave—but I will place it here -instead—on the ruins of what was once their home—my childhood's home! -[<i>He bends his head in silent prayer</i>] And now, wanderer, resume thy -pilgrimage!</p> - -<h5><i>Curtain</i>.</h5> - - -<hr class="full" /> - -<blockquote> - -<p>PLAYS BY AUGUST STRINDBERG</p> - - -<p>PLAYS. FIRST SERIES: The Dream Play, The -Link, The Dance of Death—Part I and Part II.</p> - -<p>PLAYS. SECOND SERIES: There are Crimes -and Crimes, Miss Julia, The Stronger, Creditors, -Pariah.</p> - -<p>PLAYS. THIRD SERIES: Swanwhite, Simoom, -Debit and Credit, Advent, The Thunder -Storm, After the Fire.</p> - -<p>PLAYS. FOURTH SERIES: The Bridal Crown, -The Spook Sonata, The First Warning, Gustavus Vasa.</p> - -<p>CREDITORS. PARIAH.</p> - -<p>MISS JULIA. THE STRONGER.</p> - -<p>THERE ARE CRIMES AND CRIMES.</p></blockquote> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Plays by August Strindberg, Third -Series, by August Strindberg - -*** END OF THIS PROJECT GUTENBERG EBOOK PLAYS BY AUGUST STRINDBERG *** - -***** This file should be named 44233-h.htm or 44233-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/4/2/3/44233/ - -Produced by Marc D'Hooghe at http://www.freeliterature.org -(Images generously made available by the Internet Archive, -University of California (L.A.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Plays by August Strindberg, Third Series - -Author: August Strindberg - -Translator: Edwin Bjoerkman - -Release Date: November 19, 2013 [EBook #44233] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK PLAYS BY AUGUST STRINDBERG *** - - - - -Produced by Marc D'Hooghe at http://www.freeliterature.org -(Images generously made available by the Internet Archive, -University of California (L.A.) - - - - - -PLAYS - -BY - -AUGUST STRINDBERG - -THIRD SERIES - - -SWANWHITE -SIMOOM -DEBIT AND CREDIT -ADVENT -THE THUNDERSTORM -AFTER THE FIRE - - - -TRANSLATED FROM THE SWEDISH WITH AN INTRODUCTION BY - -EDWIN BJOeRKMAN - - - -AUTHORIZED EDITION - -NEW YORK - -CHARLES SCRIBNER'S SONS - -1921 - - - - -CONTENTS - - -INTRODUCTION -SWANWHITE -SIMOOM -DEBIT AND CREDIT -ADVENT -THE THUNDERSTORM -AFTER THE FIRE - - - -INTRODUCTION - - -The collection of plays contained in this volume is unusually -representative, giving what might be called a cross-section of -Strindberg's development as a dramatist from his naturalistic revolt -in the middle eighties, to his final arrival at resigned mysticism and -Swedenborgian symbolism. - -"Swanwhite" was written in the spring of 1901, about the time when -Strindberg was courting and marrying his third wife, the gifted Swedish -actress Harriet Bosse. In the fall of 1902 the play appeared in book -form, together with "The Crown Bride" and "The Dream Play," all of them -being issued simultaneously, at Berlin, in a German translation made by -Emil Schering. - -Schering, who at that time was in close correspondence with Strindberg, -says that the figure of _Swanwhite_ had been drawn with direct -reference to Miss Bosse, who had first attracted the attention of -Strindberg by her spirited interpretation of _Biskra_ in "Simoom." -And Schering adds that it was Strindberg's bride who had a little -previously introduced him to the work of Maeterlinck, thereby -furnishing one more of the factors determining the play. - -Concerning the influence exerted upon him by the Belgian -playwright-philosopher, Strindberg himself wrote in a pamphlet named -"Open Letters to the Intimate Theatre" (Stockholm, 1909): - -"I had long had in mind skimming the cream of our most beautiful -folk-ballads in order to turn them into a picture for the stage. -Then Maeterlinck came across my path, and under the influence of -his puppet-plays, which are not meant for the regular stage, I wrote -my Swedish scenic spectacle, 'Swanwhite.' It is impossible either to -steal or to borrow from Maeterlinck. It is even difficult to become his -pupil, for there are no free passes that give entrance to his world of -beauty. But one may be urged by his example into searching one's own -dross-heaps for gold--and it is in that sense I acknowledge my debt to -the master. - -"Pushed ahead by the _impression_ made on me by Maeterlinck, and -borrowing his divining-rod for my purposes, I turned to such sources -[_i.e._, of Swedish folk-lore] as the works of Geijer, Afzelius, and -Dybeck. There I found a superabundance of princes and princesses. The -stepmother theme I had discovered on my own hook as a _constant_--it -figures in twenty-six different Swedish folk-tales. In the same place I -found the resurrection theme, as, for instance, it appears in the story -of _Queen Dagmar_. Then I poured it all into my separator, together -with the _Maids_, the _Green Gardener_ and the _Young King_, and in -a short while the cream began to flow--and for that reason the story -is my own. But it has also been made so by the fact that I have lived -through that tale in my own fancy--a Spring in time of Winter!" - -Swedish critics have been unanimous in their praise of this play. John -Landquist, who has since become Strindberg's literary executor, spoke -of it once as "perhaps the most beautiful and most genuine fairy tale -for old or young ever written in the Swedish language." Tor Hedberg -has marvelled at the charm with which _Swanwhite_ herself has been -endowed--"half child, half maid; knowing nothing, yet guessing all; -playing with love as a while ago she was playing with her dolls." On -the stage, too--in Germany as well as in Sweden--little _Swanwhite_ -has celebrated great triumphs. Whether that figure, and the play -surrounding it, will also triumph in English-speaking countries, -remains still to be seen. But if, contrary to my hopes, it should fail -to do so, I want, in advance, to shift the blame from the shoulders of -the author to my own. In hardly any other work by Strindberg do form -and style count for so much. The play is, in its original shape, as -poetical in form as in spirit--even to the extent of being strongly -rhythmical in its prose, and containing many of the inversions which -are so characteristic of Swedish verse. - -It is not impossible to transfer these qualities into English, but -my efforts to do so have had to be influenced by certain differences -in the very _grain_ of the two languages involved. Like all other -languages, each possesses a natural basic rhythm. This rhythm varies -frequently and easily in Swedish, so that you may pass from iambic to -trochaic metre without giving offence to the ear--or to that subtle -rhythmical susceptibility that seems to be inherent in our very pulses. -But the rhythm dearest and most natural to the genius of the Swedish -language seems to be the falling pulse-beat manifested in the true -trochee. The swing and motion of English, on the other hand, is almost -exclusively, commandingly iambic. And it was not until I made the -iambic _rising_ movement prevail in my translation, that I felt myself -approaching the impression made on me by the original. But for that -very reason--because the genius of the new medium has forced me into -making the movement of my style more monotonous--it is to be feared -that the rhythmical quality of that movement may seem overemphasised. -Should such a criticism be advanced, I can only answer: I have tried -several ways, and this is the only one that will _work_. - -"Simoom" seems to have been written in 1888, in close connection with -"Creditors" and "Pariah." And, like these, it shows the unmistakable -influence of Edgar Allan Poe, with whose works Strindberg had become -acquainted a short while before. The play was first printed in one of -the three thin volumes of varied contents put out by Strindberg in 1890 -and 1891 under the common title of "Pieces Printed and Unprinted." But, -strange to say, it was not put on the stage (except in a few private -performances) until 1902, although, from a purely theatrical viewpoint, -Strindberg--master of stagecraft though he was--had rarely produced a -more effective piece of work. - -"Debit and Credit" belongs to the same general period as the previous -play, but has in it more of Nietzsche than of Poe. Its central figure -is also a sort of superman, but as such he is not taken too seriously -by his creator. The play has humour, but it is of a grim kind--one -seems to be hearing the gritting of teeth through the laughter. Like -"Simoom," however, it should be highly effective on the stage. It was -first published in 1893, with three other one-act plays, the volume -being named "Dramatic Pieces." - -"Advent" was published in 1899, together with "There Are Crimes and -Crimes," under the common title of "In a Higher Court." Its name -refers, of course, to the ecclesiastical designation of the four weeks -preceding Christmas. The subtitle, literally rendered, would be "A -Mystery." But as this term has a much wider application in Swedish -than in English, I have deemed it better to observe the distinction -which the latter language makes between mysteries, miracle-plays, and -moralities. - -The play belongs to what Strindberg called his "Inferno period," during -which he struggled in a state of semi-madness to rid himself of the -neurasthenic depression which he regarded as a punishment brought about -by his previous attitude of materialistic scepticism. It is full of -Swedenborgian symbolism, which, perhaps, finds its most characteristic -expression in the two scenes laid in "The Waiting Room." The name -selected by Strindberg for the region where dwell the "lost" souls of -men is not a mere euphemism. It signifies his conception of that place -as a station on the road to redemption or annihilation. - -In its entirety the play forms a Christmas sermon with a quaint -blending of law and gospel. A prominent Swedish critic, Johan -Mortensen, wrote: "Reading it, one almost gets the feeling that -Strindberg, the dread revolutionist, has, of a sudden, changed into -a nice village school-teacher, seated at his desk, with his rattan -cane laid out in front of him. He has just been delivering a lesson in -Christianity, and he has noticed that the attention of the children -strayed and that they either failed to understand or did not care to -take in the difficult matters he was dealing with. But they must be -made to listen and understand. And so--with serious eyes, but with a -sly smile playing around the corners of his mouth--he begins all over -again, in that fairy-tale style which never grows old: 'Once upon a -time!'" - -In November, 1907, a young theatrical manager, August Falck, opened the -Intimate Theatre at Stockholm. From the start Strindberg was closely -connected with the venture, and soon the little theatre, with its tiny -stage and its auditorium seating only one hundred and seventy-five -persons, was turned wholly into a Strindberg stage, where some of the -most interesting and daring theatrical experiments of our own day were -made. With particular reference to the needs and limitations of this -theatre, Strindberg wrote a series of "chamber plays," four of which -were published in 1907--each one of them appearing separately in a -paper-covered duodecimo volume. - -The first of these plays to appear in book form--though not the -first one to be staged--was "The Thunder-Storm," designated on the -front cover as "Opus I." Two of the principal ideas underlying its -construction were the abolition of intermissions--which, according to -Strindberg, were put in chiefly for the benefit of the liquor traffic -in the theatre cafe--and the reduction of the stage-setting to quickly -inter-changeable backgrounds and a few stage-properties. Concerning the -production of "The Thunder-Storm," at the Intimate Theatre, Strindberg -wrote subsequently that, in their decorative effects, the first and -last scenes were rather failures. But he held the lack of space -wholly responsible for this failure. His conclusion was that the most -difficult problem of the small theatre would be to give the illusion of -distance required by a scene laid in the open--particularly in an open -place surrounded or adjoined by buildings. Of the second act he wrote, -on the other hand, that it proved a triumph of artistic simplification. -The only furniture appearing on the stage consisted of a buffet, a -piano, a dinner-table and a few chairs--that is, the pieces expressly -mentioned in the text of the play. And yet the effect of the setting -satisfied equally the demands of the eye and the reason. - -"The Thunder-Storm" might be called a drama of old age--nay, _the_ -drama of man's inevitable descent through a series of resignations to -the final dissolution. Its subject-matter is largely autobiographical, -embodying the author's experiences in his third and last marriage, -as seen in retrospect--the anticipatory conception appearing in -"Swanwhite." However, justice to Miss Harriet Bosse, who was Mrs. -Strindberg from 1901 to 1904, requires me to point out that echoes -of the dramatist's second marriage also appear, especially in the -references to the postmarital relationship. - -"After the Fire" was published as "Opus II" of the chamber-plays, -and staged ahead of "The Thunder-Storm." Its Swedish name is _Braenda -Tomten_, meaning literally "the burned-over site." This name has -previously been rendered in English as "The Burned Lot" and "The Fire -Ruins." Both these titles are awkward and ambiguous. The name I have -now chosen embodies more closely the fundamental premise of the play. - -The subject-matter is even more autobiographical than that of "The -Thunder-Storm"--almost as much so as "The Bondwoman's Son." The -perished home is Strindberg's own at the North Tollgate Street in -Stockholm, where he spent the larger part of his childhood and youth. -The old _Mason_, the _Gardener_, the _Stone-Cutter_, and other figures -appearing in the play are undoubtedly lifted straight out of real -life--and so are probably also the exploded family reputation and -the cheap table painted to represent ebony--although one may take -for granted that the process has not taken place without a proper -disguising of externals. - -There is one passage in this little play which I want to point out as -containing one of the main keys to Strindberg's character and art. It -is the passage where _The Stranger_--who, of course, is none but the -author himself--says to his brother: "I have beheld life from every -quarter, from every standpoint, from above and from below, but always -it has seemed to me like a scene staged for my particular benefit." - - - - -SWANWHITE - -(SVANEHVIT) - -A FAIRY PLAY - -1902 - - - CHARACTERS - - THE DUKE - THE STEPMOTHER - SWANWHITE - THE PRINCE - SIGNE } - ELSA } _Maids_ - TOVA } - THE KITCHEN GARDENER - THE FISHERMAN - THE MOTHER OF SWANWHITE - THE MOTHER OF THE PRINCE - THE GAOLER - THE EQUERRY - THE BUTLER - THE FLOWER GARDENER - TWO KNIGHTS - - - _An apartment in a mediaeval stone castle. The walls and the - cross-vaulted ceiling are whitewashed. In the centre of the - rear wall is a triple-arched doorway leading to a balcony - with a stone balustrade. There are draperies of brocade over - the doorway. Beyond the balcony appear the top branches of a - rose-garden, laden with white and pink roses. In the background - there can be seen a white, sandy beach and the blue sea_. - - _To the right of the main doorway is a small door which, when - left open, discloses a vista of three closets, one beyond the - other. The first one is stored with vessels of pewter arranged - on shelves. The walls of the second closet are hung with all - sorts of costly and ornate garments. The third closet contains - piles and rows of apples, pears, melons, pumpkins, and so - forth_. - - _The floors of all the rooms are inlaid with alternating - squares of black and red. At the centre of the apartment stands - a gilded dinner-table covered with a cloth; a twig of mistletoe - is suspended above the table. A clock and a vase filled with - roses stand on the table, near which are placed two gilded - tabourets. Two swallows' nests are visible on the rear wall - above the doorway. A lion skin is spread on the floor near the - foreground. At the left, well to the front, stands a white bed - with a rose-coloured canopy supported by two columns at the - head of the bed (and by none at the foot). The bed-clothing is - pure white except for a coverlet of pale-blue silk. Across - the bed is laid a night-dress of finest muslin trimmed with - lace. Behind the bed stands a huge wardrobe containing linen, - bathing utensils, and toilet things. A small gilded table in - Roman style (with round top supported by a single column) is - placed near the bed; also a lamp-stand containing a Roman lamp - of gold. At the right is an ornamental chimney-piece. On the - mantel stands a vase with a white lily in it_. - - _In the left arch of the doorway, a peacock is asleep on a - perch, with its back turned toward the audience_. - - _In the right arch hangs a huge gilded cage with two white - doves at rest_. - - _As the curtain rises, the three maids are seen in the doorways - of the three closets, each one half hidden by the door-post - against which she leans_. SIGNE, _the false maid, is in the - pewter-closet_, ELSA _in the clothes-closet, and_ TOVA _in the - fruit-closet_. - - _The_ DUKE _enters from the rear. After him comes the_ - STEPMOTHER _carrying in her hand a wire-lashed whip_. - - _The stage is darkened when they enter_. - - * * * * * - -STEPMOTHER. Swanwhite is not here? - -DUKE. It seems so! - -STEPMOTHER. So it seems, but--is it seemly? Maids!--Signe!--Signe, -Elsa, Tova! - - _The maids enter, one after the other, and stand in front of - the_ STEPMOTHER. - -STEPMOTHER. Where is Lady Swanwhite? - - SIGNE _folds her arms across her breast and makes no reply_. - -STEPMOTHER. You do not know? What see you in my hand?--Answer, quick! -[_Pause_] Quick! Do you hear the whistling of the falcon? It has claws -of steel, as well as bill! What is it? - -SIGNE. The wire-lashed whip! - -STEPMOTHER. The wire-lashed whip, indeed! And now, where is Lady Swan -white? - -SIGNE. How can I tell what I don't know? - -STEPMOTHER. It is a failing to be ignorant, but carelessness is an -offence. Were you not placed as guardian of your young mistress?--Take -off your neckerchief!--Down on your knees! - - _The_ DUKE _turns his back on her in disgust_. - -STEPMOTHER. Hold out your neck! And I'll put such a necklace on it that -no youth will ever kiss it after this!--Hold out your neck!--Still more! - -SIGNE. For Christ's sake, mercy! - -STEPMOTHER. 'Tis mercy that you are alive! - -DUKE. [_Pulls out his sword and tries the edge of it, first on one of -his finger-nails, and then on a hair out of his long beard_] Her head -should be cut off--put in a sack--hung on a tree---- - -STEPMOTHER. So it should! - -DUKE. We are agreed! How strange! - -STEPMOTHER. It did not happen yesterday. - -DUKE. And may not happen once again. - -STEPMOTHER. [_To_ Signe, _who, still on her knees, has been moving -farther away_] Stop! Whither? [_She raises the whip and strikes_; Signe -_turns aside so that the lash merely cuts the air_.] - -SWANWHITE. [_Comes forward from behind the bed and falls on her knees_] -Stepmother--here I am--the guilty one! She's not at fault. - -STEPMOTHER. Say "mother"! You must call me "mother"! - -SWANWHITE. I cannot! One mother is as much as any human being ever had. - -STEPMOTHER. Your father's wife must be your mother. - -SWANWHITE. My father's second wife can only be my stepmother. - -STEPMOTHER. You are a stiffnecked daughter, but my whip is pliant and -will make you pliant too. - - [_She raises the whip to strike_ SWANWHITE. - -DUKE. [_Raising his sword_] Take heed of the head! - -STEPMOTHER. Whose head? - -DUKE. Your own! - - _The_ STEPMOTHER _turns pale at first, and then angry; but she - controls herself and remains silent; long pause_. - -STEPMOTHER. [_Beaten for the moment, she changes her tone_] Then will -Your Grace inform your daughter what is now in store for her? - -DUKE. [_Sheathing his sword_] Rise up, my darling child, and come into -my arms to calm yourself. - -SWANWHITE. [_Throwing herself into the arms of the_ DUKE] -Father!--You're like a royal oak-tree which my arms cannot encircle. -But beneath your leafage there is refuge from all threatening showers. -[_She hides her head beneath his immense beard, which reaches down to -his waist_] And like a bird, I will be swinging on your branches--lift -me up, so I can reach the top. - - _The_ DUKE _holds out his arm_. - -SWANWHITE. [_Climbs up on his arm and perches herself on his shoulder_] -Now lies the earth beneath me and the air above--now I can overlook the -rosery, the snowy beach, the deep-blue sea, and all the seven kingdoms -stretched beyond. - -DUKE. Then you can also see the youthful king to whom your troth is -promised---- - -SWANWHITE. No--nor have I ever seen him. Is he handsome? - -DUKE. Dear heart, it will depend on your own eyes how he appears to you. - -SWANWHITE. [_Rubbing her eyes_] My eyes?--They cannot see what is not -beautiful. - -DUKE. [_Kissing her foot_] Poor little foot, that is so black! Poor -little blackamoorish foot! - - _The_ STEPMOTHER _gives a sign to the maids, who resume their - previous positions in the closet doors; she herself steals - with panther-like movements out through the middle arch of the - doorway_. - -SWANWHITE. [_Leaps to the floor; the_ DUKE _places her on the table and -sits down on a chair beside it_; SWANWHITE _looks meaningly after the_ -STEPMOTHER] Was it the dawn? Or did the wind turn southerly? Or has the -Spring arrived? - -DUKE. [_Puts his hand over her mouth_] You little chatter-box! You joy -of my old age--my evening star! Now open wide your rosy ear, and close -your little mouth's crimson shell. Give heed, obey, and all will then -be well with you. - -SWANWHITE. [_Putting her fingers in her ears_] With my eyes I hear, and -with my ears I see--and now I cannot see at all, but only hear. - -DUKE. My child, when still a cradled babe, your troth was plighted to -the youthful King of Rigalid. You have not seen him yet, such being -courtly usage. But the time to tie the sacred knot is drawing near. To -teach you the deportment of a queen and courtly manners, the king has -sent a prince with whom you are to study reading out of books, gaming -at chess, treading the dance, and playing on the harp. - -SWANWHITE. What is the prince's name? - -DUKE. That, child, is something you must never ask of him or anybody -else. For it is prophesied that whosoever calls him by his name shall -have to love him. - -SWANWHITE. Is he handsome? - -DUKE. He is, because your eye sees beauty everywhere. - -SWANWHITE. But is he beautiful? - -DUKE. Indeed he is. And now be careful of your little heart, and don't -forget that in the cradle you were made a queen.--With this, dear -child, I leave you, for I have war to wage abroad.--Submit obediently -to your stepmother. She's hard, but once your father loved her--and -a sweet temper will find a way to hearts of stone. If, despite of -promises and oaths, her malice should exceed what is permissible, then -you may blow this horn [_he takes a horn of carved ivory from under -his cloak_], and help will come. But do not use it till you are in -danger--not until the danger is extreme.--Have you understood? - -SWANWHITE. How is it to be understood? - -DUKE. This way: the prince is here, is in the court already. Is it your -wish to see the prince? - -SWANWHITE. Is it my wish? - -DUKE. Or shall I first bid you farewell? - -SWANWHITE. The prince is here already? - -DUKE. Already here, and I--already there--far, far away where sleeps -the heron of forgetfulness, with head beneath his wing. - -SWANWHITE. [_Leaping into the lap of the_ DUKE _and burying her head in -his beard_] Mustn't speak like that! Baby is ashamed! - -DUKE. Baby should be spanked--who forgets her aged father for a little -prince. Fie on her! - - _A trumpet is heard in the distance_. - -DUKE. [_Rises quickly, takes_ SWANWHITE _in his arms_, _throws her up -into the air and catches her again_] Fly, little bird, fly high above -the dust, with lots of air beneath your wings!--And then, once more on -solid ground!--I am called by war and glory--you, by love and youth! -[_Girding on his sword_] And now hide your wonder-horn, that it may not -be seen by evil eyes. - -SWANWHITE. Where shall I hide it? Where? - -DUKE. The bed! - -SWANWHITE. [_Hiding the horn in the bed-clothing_] There! Sleep well, -my little tooteroot! When it is time, I'll wake you up. And don't -forget your prayers! - -DUKE. And child! Do not forget what I said last: your stepmother must -be obeyed. - -SWANWHITE. In all? - -DUKE. In all. - -SWANWHITE. But not in what is contrary to cleanliness!--Two linen -shifts my mother let me have each sennight; this woman gives but one! -And mother gave me soap and water, which stepmother denies. Look at my -little footies! - -DUKE. Keep clean within, my daughter, and clean will be the outside. -You know that holy men, who, for the sake of penance, deny themselves -the purging waters, grow white as swans, while evil ones turn -raven-black. - -SWANWHITE. Then I will be as white----! - -DUKE. Into my arms! And then, farewell! - -SWANWHITE. [_Throwing herself into his arms_] Farewell, my great and -valiant hero, my glorious father! May fortune follow you, and make you -rich in years and friends and victories! - -DUKE. Amen--and let your gentle prayers be my protection! - - [_He closes the visor of his golden helmet_. - -SWANWHITE. [_Jumps up and plants a kiss on the visor_] The golden gates -are shut, but through the bars I still can see your kindly, watchful -eyes. [_Knocking at the visor_] Let up, let up, for little Red -Riding-hood. No one at home? "Well-away," said the wolf that lay in the -bed! - -DUKE. [_Putting her down on the floor_] Sweet flower of mine, grow fair -and fragrant! If I return--well--I return! If not, then from the starry -arch above my eye shall follow you, and never to my sight will you be -lost, for there above all-seeing we become, even as the all-creating -Lord himself. - - _Goes out firmly, with a gesture that bids her not to follow._ - SWANWHITE _falls on her knees in prayer for the_ DUKE; _all the - rose-trees sway before a wind that passes with the sound of a - sigh; the peacock shakes its wings and tail_. - -SWANWHITE. [_Rises, goes to the peacock and begins to stroke its back -and tail_] Pavo, dear Pavo, what do you see and what do you hear? Is -any one coming? Who is it? A little prince? Is he pretty and nice? -You, with your many blue eyes, should be able to tell. [_She lifts up -one of the bird's tail feathers and gazes intently at its "eye"_.] Are -you to keep your eyes on us, you nasty Argus? Are you to see that the -little hearts of two young people don't beat too loudly?--You stupid -thing--all I have to do is to close the curtain! [_She closes the -curtain, which hides the bird, but not the landscape outside; then she -goes to the doves_] My white doves--oh, so white, white, white--now -you'll see what is whitest of all--Be silent, wind, and roses, and -doves--my prince is coming! - -_She looks out for a moment; then she withdraws to the pewter-closet, -leaving the door slightly ajar so that through the opening she can -watch the_ PRINCE; _there she remains standing, visible to the -spectators but not to the_ PRINCE. - -PRINCE. [_Enters through the middle arch of the doorway. He wears -armour of steel; what shows of his clothing is black. Having carefully -observed everything in the room, he sits down at the table, takes off -his helmet and begins to study it. His back is turned toward the -door behind which_ SWANWHITE _is hiding_] If anybody be here, let him -answer! [_Silence_] There is somebody here, for I can feel the warmth -of a young body come billowing toward me like a southern wind. I can -hear a breath--it carries the fragrance of roses--and, gentle though -it be, it makes the plume on my helmet move. [_He puts the helmet to -his ear_] 'Tis murmuring as if it were a huge shell. It's the thoughts -within my own head that are crowding each other like a swarm of bees in -a hive. "Zum, zum," say the thoughts--just like bees that are buzzing -around their queen--the little queen of my thoughts and of my dreams! -[_He places the helmet on the table and gazes at it_] Dark and arched -as the sky at night, but starless, for the black plume is spreading -darkness everywhere since my mother's death--[_He turns the helmet -around and gazes at it again_] But there, in the midst of the darkness, -deep down--there, on the other side, I see a rift of light!--Has the -sky been split open?--And there, in the rift, I see--not a star, for it -would look like a diamond--but a blue sapphire, queen of the precious -stones--blue as the sky of summer--set in a cloud white as milk and -curved as the dove's egg. What is it? My ring? And now another feathery -cloud, black as velvet, passes by--and the sapphire is smiling--as -if sapphires could smile! And there, the lightning flashed, but -blue--heat-lightning mild, that brings no thunder!--What are you? Who? -And where? [_He looks at the back of the helmet_] Not here! Not there! -And nowhere else! [_He puts his face close to the helmet_] As I come -nearer, you withdraw. - - SWANWHITE _steals forward on tiptoe_. - -PRINCE. And now there are two--two eyes--two little human eyes--I kiss -you! [_He kisses the helmet_. - - SWANWHITE _goes up to the table and seats herself slowly - opposite the_ PRINCE. - - _The_ PRINCE _rises, bows, with his hand to his heart, and - gazes steadily at_ SWANWHITE. - -SWANWHITE. Are you the little prince? - -PRINCE. The faithful servant of the king, and yours! - -SWANWHITE. What message does the young king send his bride? - -PRINCE. This is his word to Lady Swanwhite--whom lovingly he -greets--that by the thought of coming happiness the long torment of -waiting will be shortened. - -SWANWHITE. [_Who has been looking at the_ PRINCE _as if to study him_] -Why not be seated, Prince? - -PRINCE. If seated when you sit, then I should have to kneel when you -stand up. - -SWANWHITE. Speak to me of the king! How does he look? - -PRINCE. How does he look? [_Putting one of his hands up to his eyes_] I -can no longer see him--how strange! - -SWANWHITE. What is his name? - -PRINCE. He's gone--invisible---- - -SWANWHITE. And is he tall? - -PRINCE. [_Fixing his glance on_ SWANWHITE] Wait!--I see him -now!--Taller than you! - -SWANWHITE. And beautiful? - -PRINCE. Not in comparison with you! - -SWANWHITE. Speak of the king, and not of me! - -PRINCE. I do speak of the king! - -SWANWHITE. Is his complexion light or dark? - -PRINCE. If he were dark, on seeing you he would turn light at once. - -SWANWHITE. There's more of flattery than wit in that! His eyes are blue? - -PRINCE. [_Glancing at his helmet_] I think I have to look? - -SWANWHITE. [_Holding out her hand between them_] Oh, you--you! - -PRINCE. You with _t h_ makes youth! - -SWANWHITE. Are you to teach me how to spell? - -PRINCE. The young king is tall and blond and blue-eyed, with broad -shoulders and hair like a new-grown forest---- - -SWANWHITE. Why do you carry a black plume? - -PRINCE. His lips are red as the ripe currant, his cheeks are white, and -the lion's cub needn't be ashamed of his teeth. - -SWANWHITE. Why is your hair wet? - -PRINCE. His mind knows no fear, and no evil deed ever made his heart -quake with remorse. - -SWANWHITE. Why is your hand trembling? - -PRINCE. We were to speak of the young king and not of me! - -SWANWHITE. So, you, you are to teach me? - -PRINCE. It is my task to teach you how to love the young king whose -throne you are to share. - -SWANWHITE. How did you cross the sea? - -PRINCE. In my bark and with my sail. - -SWANWHITE. And the wind so high? - -PRINCE. Without wind there is no sailing. - -SWANWHITE. Little boy--how wise you are!--Will you play with me? - -PRINCE. What I must do, I will. - -SWANWHITE. And now I'll show you what I have in my chest. [_She goes to -the chest and kneels down beside it; then she takes out several dolls, -a rattle, and a hobby-horse_] Here's the doll. It's my child--the child -of sorrow that can never keep its face clean. In my own arms I have -carried her to the lavendrey, and there I have washed her with white -sand--but it only made her worse. I have spanked her--but nothing -helped. Now I have figured out what's worst of all! - -PRINCE. And what is that? - -SWANWHITE. [_After a glance around the room_] I'll give her a -stepmother! - -PRINCE. But how's that to be? She should have a mother first. - -SWANWHITE. I am her mother. And if I marry twice, I shall become a -stepmother. - -PRINCE. Oh, how you talk! That's not the way! - -SWANWHITE. And you shall be her stepfather. - -PRINCE. Oh, no! - -SWANWHITE. You must be very kind to her, although she cannot wash her -face.--Here, take her--let me see if you have learned to carry children -right. - - _The_ PRINCE _receives the doll unwillingly_. - -SWANWHITE. You haven't learned yet, but you will! Now take the rattle, -too, and play with her. - - _The_ PRINCE _receives the rattle_. - -SWANWHITE. That's something you don't understand, I see. [_She takes -the doll and the rattle away from him and throws them back into the -chest; then she takes out the hobby-horse_] Here is my steed.--It has -saddle of gold and shoes of silver.--It can run forty miles in an -hour, and on its back I have travelled through Sounding Forest, across -Big Heath and King's Bridge, along High Road and Fearful Alley, all the -way to the Lake of Tears. And there it dropped a golden shoe that fell -into the lake, and then came a fish, and after came a fisherman, and so -I got the golden shoe back. That's all there was to that! [_She throws -the hobby-horse into the chest; instead she takes out a chess-board -with red and white squares, and chess-men made of silver and gold_] -If you will play with me, come here and sit upon the lion skin. [_She -seats herself on the skin and begins to put up the pieces_] Sit down, -won't you--the maids can't see us here! - - _The_ PRINCE _sits down on the skin, looking very embarrassed_. - -SWANWHITE. It's like sitting in the grass--not the green grass of the -meadow, but the desert grass which has been burned by the sun.--Now you -must say something about me! Do you like me a little? - -PRINCE. Are we to play? - -SWANWHITE. To play? What care I for that?--Oh--you were to teach me -something! - -PRINCE. Poor me, what can I do but saddle a horse and carry arms--with -which you are but poorly served. - -SWANWHITE. You are so sad! - -PRINCE. My mother died quite recently. - -SWANWHITE. Poor little prince!--My mother, too, has gone to God in -heaven, and she's an angel now. Sometimes in the nights I see her--do -you also see yours? - -PRINCE. No-o. - -SWANWHITE. And have you got a stepmother? - -PRINCE. Not yet. So little time has passed since she was laid to rest. - -SWANWHITE. Don't be so sad! There's nothing but will wear away in time, -you see. Now I'll give you a flag to gladden you again--Oh, no, that's -right--this one I sewed for the young king. But now I'll sew another -one for you!--This is the king's, with seven flaming fires--you shall -have one with seven red roses on it--but first of all you have to -hold this skein of yarn for me. [_She takes from the chest a skein of -rose-coloured yarn and hands it to the_ PRINCE] One, two, three, and -now you'll see!--Your hands are trembling--that won't do!--Perhaps you -want a hair of mine among the yarn?--Pull one yourself! - -PRINCE. Oh, no, I couldn't---- - -SWANWHITE. I'll do it, then, myself. [_She pulls a hair from her head -and winds it into the ball of yarn_] What is your name? - -PRINCE. You shouldn't ask. - -SWANWHITE. Why not? - -PRINCE. The duke has told you--hasn't he? - -SWANWHITE. No, he hasn't! What could happen if you told your name? -Might something dreadful happen? - -PRINCE. The duke has told you, I am sure. - -SWANWHITE. I never heard of such a thing before--of one who couldn't -tell his name! - - _The curtain behind which the peacock is hidden moves; a faint - sound as of castanets is heard_. - -PRINCE. What was that? - -SWANWHITE. That's Pavo--do you think he knows what we are saying? - -PRINCE. It's hard to tell. - -SWANWHITE. Well, what's your name? - - _Again the peacock makes the same kind of sound with his bill_. - -PRINCE. I am afraid--don't ask again! - -SWANWHITE. He snaps his bill, that's all--Keep your hands still!--Did -you ever hear the tale of the little princess that mustn't mention the -name of the prince, lest something happen? And do you know----? - - _The curtain hiding the peacock is pulled aside, and the bird - is seen spreading out his tail so that it looks as if all the - "eyes" were staring at_ SWANWHITE _and the_ PRINCE. - -PRINCE. Who pulled away the curtain? Who made the bird behold us with -its hundred eyes?--You mustn't ask again! - -SWANWHITE. Perhaps I mustn't--Down, Pavo--there! - - _The curtain resumes its previous position_. - -PRINCE. Is this place haunted? - -SWANWHITE. You mean that things will happen--just like that? Oh, well, -so much is happening here--but I have grown accustomed to it. And then, -besides--they call my stepmother a witch--There, now, I have pricked my -finger! - -PRINCE. What did you prick it with? - -SWANWHITE. There was a splinter in the yarn. The sheep have been locked -up all winter--and then such things will happen. Please see if you can -get it out. - -PRINCE. We must sit at the table then, so I can see. - - [_They rise and take seats at the table_. - -SWANWHITE. [_Holding out one of her little fingers_] Can you see -anything? - -PRINCE. What do I see? Your hand is red within, and through it all the -world and life itself appear in rosy colouring---- - -SWANWHITE. Now pull the splinter out--ooh, it hurts! - -PRINCE. But I shall have to hurt you, too--and ask your pardon in -advance! - -SWANWHITE. Oh, help me, please! - -PRINCE. [_Squeezing her little finger and pulling out the splinter with -his nails_] There is the cruel little thing that dared to do you harm. - -SWANWHITE. Now you must suck the blood to keep the wound from festering. - -PRINCE. [_Sucking the blood from her finger_] I've drunk your -blood--and so I am your foster-brother now. - -SWANWHITE. My foster-brother--so you were at once--or how do you think -I could have talked to you as I have done? - -PRINCE. If you have talked to me like that, how did I talk to you? - -SWANWHITE. Just think, he didn't notice it!--And now I have got a -brother of my own, and that is you!--My little brother--take my hand! - -PRINCE. [_Taking her hand_] My little sister! [_Feels her pulse beating -under his thumb_] What have you there, that's ticking--one, and two, -and three, and four----? _Continues to count silently after having -looked at his watch_. - -SWANWHITE. Yes, tell me what it is that ticks--so steady, steady, -steady? It cannot be my heart, for that is here, beneath my breast--Put -your hand here, and you can feel it too. [_The doves begin to stir and -coo_] What is it, little white ones? - -PRINCE. And sixty! Now I know what makes that ticking--it is the time! -Your little finger is the second-hand that's ticking sixty times for -every minute that goes by. And don't you think there is a heart within -the watch? - -SWANWHITE. [_Handling the watch_] We cannot reach the inside of the -watch--no more than of the heart--Just feel my heart! - -SIGNE. [_Enters from the pewter-closet carrying a whip, which she puts -down on the table_] Her Grace commands that the children be seated at -opposite sides of the table. - - _The_ PRINCE _sits down at the opposite end of the table. He - and_ SWANWHITE _look at each other in silence for a while_. - -SWANWHITE. Now we are far apart, and yet a little nearer than before. - -PRINCE. It's when we part that we come nearest to each other. - -SWANWHITE. And you know that? - -PRINCE. I have just learned it! - -SWANWHITE. Now my instruction has begun. - -PRINCE. You're teaching me! - -SWANWHITE. [_Pointing to a dish of fruit_] Would you like some fruit? - -PRINCE. No, eating is so ugly. - -SWANWHITE. Yes, so it is. - -PRINCE. Three maids are standing there--one in the pewter-closet, one -among the clothes, and one among the fruits. Why are they standing -there? - -SWANWHITE. TO watch us two--lest we do anything that is forbidden. - -PRINCE. May we not go into the rosery? - -SWANWHITE. The morning is the only time when I can go into the rosery, -for there the bloodhounds of my stepmother are kept. They never let me -reach the shore--and so I get no chance to bathe. - -PRINCE. Have you then never seen the shore? And never heard the ocean -wash the sand along the beach? - -SWANWHITE. No--never! Here I can only hear the roaring waves in time of -storm. - -PRINCE. Then you have never heard the murmur made by winds that sweep -across the waters? - -SWANWHITE. It cannot reach me here. - -PRINCE. [_Pushing his helmet across the table to_ SWANWHITE] Put it to -your ear and listen. - -SWANWHITE. [_With the helmet at her ear_] What is that I hear? - -PRINCE. The song of waves, the whispering winds - -SWANWHITE. No, I hear human voices--hush! My stepmother is -speaking--speaking to the steward--and mentioning my name--and that of -the young king, too! She's speaking evil words. She's swearing that I -never shall be queen--and vowing that--you--shall take that daughter -of her own--that loathsome Lena---- - -PRINCE. Indeed!--And you can hear it in the helmet? - -SWANWHITE. I can. - -PRINCE. I didn't know of that. But my godmother gave me the helmet as a -christening present. - -SWANWHITE. Give me a feather, will you? - -PRINCE. It is a pleasure--great as life itself. - -SWANWHITE. But you must cut it so that it will write. - -PRINCE. You know a thing or two! - -SWANWHITE. My father taught me---- - - _The_ PRINCE _pulls a black feather out of the plume on his - helmet; then he takes a silver-handled knife from his belt and - cuts the quill_. - - SWANWHITE _takes out an ink-well and parchment from a drawer in - the table_. - -PRINCE. Who is Lady Lena? - -SWANWHITE. You mean, what kind of person? You want her, do you? - -PRINCE. Some evil things are brewing in this house---- - -SWANWHITE. Fear not! My father has bestowed a gift on me that will -bring help in hours of need. - -PRINCE. What is it called? - -SWANWHITE. It is the horn Stand-By. - -PRINCE. Where is it hid? - -SWANWHITE. Read in my eye. I dare not let the maids discover it. - -PRINCE. [_Gazing at her eyes_] I see! - -SWANWHITE. [_Pushing pen, ink and parchment across the table to the_ -PRINCE] Write it. - - _The_ PRINCE _writes_. - -SWANWHITE. Yes, that's the place. [_She writes again._ - -PRINCE. What do you write? - -SWANWHITE. Names--all pretty names that may be worn by princes! - -PRINCE. Except my own! - -SWANWHITE. Yours, too! - -PRINCE. Leave that alone! - -SWANWHITE. Here I have written twenty names--all that I know--and -so your name must be there, too. [_Pushing the parchment across the -table_] Read! - - _The_ PRINCE _reads_. - -SWANWHITE. Oh, I have read it in your eye! - -PRINCE. Don't utter it! I beg you in the name of God the merciful, -don't utter it! - -SWANWHITE. I read it in his eye! - -PRINCE. But do not utter it, I beg of you! - -SWANWHITE. And if I do? What then?--Can Lena tell, you think? Your -bride! Your love! - -PRINCE. Oh, hush, hush, hush! - -SWANWHITE. [_Jumps up and begins to dance_] I know his name--the -prettiest name in all the land! - - _The_ PRINCE _runs up to her, catches hold of her and covers - her mouth with his hand_. - -SWANWHITE. I'll bite your hand; I'll suck your blood; and so I'll be -your sister twice--do you know what that can mean? - -PRINCE. I'll have two sisters then. - -SWANWHITE. [_Throwing back her head_] O-ho! O-ho! Behold, the -ceiling has a hole, and I can see the sky--a tiny piece of sky, a -window-pane--and there's a face behind it. Is it an angel's?--See--but -see, I tell you!--It's your face! - -PRINCE. The angels are not boys, but girls. - -SWANWHITE. But it is you. - -PRINCE. [_Looking up_] 'Tis a mirror. - -SWANWHITE. Woe to us then! It is the witching mirror of my stepmother, -and she has seen it all. - -PRINCE. And in the mirror I can see the fireplace--there's a pumpkin -hanging in it! - -SWANWHITE. [_Takes from the fireplace a mottled, strangely shaped -pumpkin_] What can it be? It has the look of an ear. The witch has -heard us, too!--Alas, alas! [_She throws the pumpkin into the fireplace -and runs across the floor toward the bed; suddenly she stops on one -foot, holding up the other_] - -Oh, she has strewn the floor with needles---- - - [_She sits down and begins to rub her foot_. - - _The_ PRINCE _kneels in front of_ SWANWHITE _in order to help - her_. - -SWANWHITE. No, you mustn't touch my foot--you mustn't! - -PRINCE. Dear heart, you must take off your stocking if I am to help. - -SWANWHITE. [_Sobbing_] You mustn't--mustn't see my foot! - -PRINCE. But why? Why shouldn't I? - -SWANWHITE. I cannot tell; I cannot tell. Go--go away from me! To-morrow -I shall tell you, but I can't to-day. - -PRINCE. But then your little foot will suffer--let me pull the needle -out! - -SWANWHITE. Go, go, go!--No, no, you mustn't try!--Oh, had my mother -lived, a thing like this could not have happened!--Mother, mother, -mother! - -PRINCE. I cannot understand--are you afraid of me----? - -SWANWHITE. Don't ask me, please--just leave me--oh! - -PRINCE. What have I done? - -SWANWHITE. Don't leave me, please--I didn't mean to hurt you--but I -cannot tell--If I could only reach the shore--the white sand of the -beach---- - -PRINCE. What then? - -SWANWHITE. I cannot tell! I cannot tell! - - [_She hides her face in her hands. Once more the peacock makes - a rattling sound with his bill; the doves begin to stir; the - three maids enter, one after the other; a gust of wind is - heard, and the tops of the rose-trees outside swing back and - forth; the golden clouds that have been hanging over the sea - disappear, and the blue sea itself turns dark_. - -SWANWHITE. Does Heaven itself intend to judge us?--Is ill-luck in the -house?--Oh, that my sorrow had the power to raise my mother from her -grave! - -PRINCE. [_.Putting his hand on his sword_] My life for yours! - -SWANWHITE. No, don't--she puts the very swords to sleep!--Oh, that my -sorrow could bring back my mother! [_The swallows chirp in their nest_] -What was that? - -PRINCE. [_Catching sight of the nest_] A swallow's nest! I didn't -notice it before. - -SWANWHITE. Nor I! How did it get there? When?--But all the same it -augurs good--And yet the cold sweat of fear is on my brow--and I -choke--Look, how the rose itself is withering because that evil woman -comes this way--for it is she who comes---- - - _The rose on the table is closing its blossom and drooping its - leaves_. - -PRINCE. But whence came the swallows? - -SWANWHITE. They were not sent by her, I'm sure, for they are kindly -birds--Now she is here! - -STEPMOTHER. [_Enters from the rear with the walk of a panther; the rose -on the table is completely withered_] Signe--take the horn out of the -bed! - - SIGNE _goes up to the bed and takes the horn_. - -STEPMOTHER. Where are you going, Prince? - -PRINCE. The day is almost done, Your Grace; the sun is setting, and my -bark is longing to get home. - -STEPMOTHER. The day is too far gone--the gates are shut, the dogs let -loose--You know my dogs? - -PRINCE. Indeed! You know my sword? - -STEPMOTHER. What is the matter with your sword? - -PRINCE. It bleeds at times. - -STEPMOTHER. Well, well! But not with women's blood, I trust?--But -listen, Prince: how would like to sleep in our Blue Room? - -PRINCE. By God, it is my will to sleep at home, in my own bed---- - -STEPMOTHER. Is that the will of anybody else? - -PRINCE. Of many more. - -STEPMOTHER. How many?--More than these!--One, two, three---- - - _As she counts, the members of the household begin to pass by - in single file across the balcony; all of them look serious; - some are armed; no one turns his head to look into the room; - among those that pass are the_ BUTLER, _the_ STEWARD, _the_ - KITCHENER, _the_ GAOLER, _the_ CONSTABLE, _the_ EQUERRY. - -PRINCE. I'll sleep in your Blue Room. - -STEPMOTHER. That's what I thought.--So you will bid ten thousand -good-nights unto your love--and so will Swanwhite, too, I think! - - _A swan comes flying by above the rosery; from the ceiling a - poppy flower drops down on the_ STEPMOTHER, _who falls asleep - at once, as do the maids_. - -SWANWHITE. [_Going up to the_ PRINCE] Good-night, my Prince! - -PRINCE. [_Takes her hand and says in a low voice_] Good-night!--Oh, -that it's granted me to sleep beneath one roof with you, my -Princess--your dreams by mine shall be enfolded--and then to-morrow we -shall wake for other games and other---- - -SWANWHITE. [_In the same tone_] You are my all on earth, you are -my parent now--since she has robbed me of my puissant father's -help.--Look, how she sleeps! - -PRINCE. You saw the swan? - -SWANWHITE. No, but I heard--it was my mother. - -PRINCE. Come, fly with me! - -SWANWHITE. No, that we mustn't!--Patience! We'll meet in our -dreams!--But this will not be possible unless--you love me more than -anybody else on earth! Oh, love me--you, you, you! - -PRINCE. My king, my loyalty---- - -SWANWHITE. Your queen, your heart--or what am I? - -PRINCE. I am a knight! - -SWANWHITE. But I am not. And therefore--therefore do I take you--my -Prince---- - - _She puts her hands up to her mouth with a gesture as if she - were throwing a whispered name to him_. - -PRINCE. Oh, woe! What have you done? - -SWANWHITE. I gave myself to you through your own name--and with me, -carried on _your_ wings, yourself came back to you! Oh---- [_Again she -whispers the name_. - -PRINCE. [_With a movement of his hand as if he were catching the name -in the air_] Was that a rose you threw me? - - [_He throws a kiss to her_. - -SWANWHITE. A violet you gave me--that was you--your soul! And now I -drink you in--you're in my bosom, in my heart--you're mine! - -PRINCE. And you are mine! Who is the rightful owner, then? - -SWANWHITE. Both! - -PRINCE. Both! You and I!--My rose! - -SWANWHITE. My violet! - -PRINCE. My rose! - -SWANWHITE. My violet! - -PRINCE. I _love_ you! - -SWANWHITE. _You_ love _me_! - -PRINCE. You _love_ me! - -SWANWHITE. _I_ love _you_! - - _The stage grows light again. The rose on the table recovers - and opens. The faces of the_ STEPMOTHER _and the three maids - are lighted up and appear beautiful, kind, and happy. The_ - STEPMOTHER _lifts up her drowsy head and, while her eyes remain - closed, she seems to be watching the joy of the two young - people with a sunny smile_. - -SWANWHITE. Look, look! The cruel one is smiling as at some memory from -childhood days. See how Signe the False seems faith and hope embodied, -how the ugly Tova has grown beautiful, the little Elsa tall. - -PRINCE. Our love has done it. - -SWANWHITE. So that is love? Blessed be it by the Lord! The Lord -Omnipotent who made the world! - - [_She falls on her knees, weeping_. - -PRINCE. You weep? - -SWANWHITE. Because I am so full of joy. - -PRINCE. Come to my arms and you will smile. - -SWANWHITE. There I should die, I think. - -PRINCE. Well, smile and die! - -SWANWHITE. [_Rising_] So be it then! - - [_The_ PRINCE _takes her in his arms._ - -STEPMOTHER. [_Wakes up; on seeing the_ PRINCE _and_ SWANWHITE -_together, she strikes the table with the whip_] I must have -slept!--Oho! So we have got that far!--The Blue Room did I say?--I -meant the Blue Tower!--There the prince is to sleep with the Duke of -Exeter's daughter!--Maids! - - _The MAIDS wake up_. - -STEPMOTHER. Show the prince the shortest way to the Blue Tower. And -should he nevertheless lose his way, you may summon the Castellan and -the Gaoler, the Equerry and the Constable. - -PRINCE. No need of that! Wherever leads my course--through fire or -water, up above the clouds or down in the solid earth--there shall I -meet my Swanwhite, for she is with me where I go. So now I go to meet -her--in the tower! Can you beat that for witchcraft, witch?--Too hard, -I think, for one who knows not love! - - [_He goes out followed by the MAIDS_. - -STEPMOTHER. [_To_ SWANWHITE] Not many words are needed--tell your -wishes--but be brief! - -SWANWHITE. My foremost, highest wish is for some water with which to -lave my feet. - -STEPMOTHER. Cold or warm? - -SWANWHITE. Warm--if I may. - -STEPMOTHER. What more? - -SWANWHITE. A comb to ravel out my hair. - -STEPMOTHER. Silver or gold? - -SWANWHITE. Are you--are you kind? - -STEPMOTHER. Silver or gold? - -SWANWHITE. Wood or horn will do me well enough. - -STEPMOTHER. What more? - -SWANWHITE. A shift that's clean. - -STEPMOTHER. Linen or silk? - -SWANWHITE. Just linen. - -STEPMOTHER. Good! So I have heard your wishes. Now listen to mine! I -wish that you may have no water, be it warm or cold! I wish that you -may have no comb, of any kind, not even of wood or horn--much less of -gold or silver. That's how kind I am! I wish that you may wear no linen ---but get you at once into the closet there to cover up your body with -that dingy sark of homespun! Such is my word!--And if you try to leave -these rooms--which you had better not, as there are traps and snares -around--then you are doomed--or with my whip I'll mark your pretty -face so that no prince or king will ever look at you again!--Then get -yourself to bed! - - _She strikes the table with her whip again, rises and goes out - through the middle arch of the doorway; the gates, which have - gilded bars, squeak and rattle as she closes and locks them_. - -_Curtain_. - - _The same scene as before, but the golden gates at the rear are - shut. The peacock and the doves are sleeping. The golden clouds - in the sky are as dull in colour as the sea itself and the land - that appears in the far distance_. - - SWANWHITE _is lying on the bed; she has on a garment of black - homespun_. - - _The doors to the three closets are open. In each doorway - stands one of the maids, her eyes closed and in one of her - hands a small lighted lamp of Roman pattern_. - - _A swan is seen flying above the rosery, and trumpet-calls are - heard, like those made by flocks of migrating wild swans_. - - _The_ MOTHER OF SWANWHITE, _all in white, appears outside the - gates. Over one arm she carries the plumage of a swan and on - the other one a small harp of gold. She hangs the plumage on - one of the gates, which opens of its own accord and then closes - in the same way behind her_. - - _She enters the room and places the harp on the table. Then she - looks around and becomes aware of_ SWANWHITE. _At once the harp - begins to play. The lamps carried by the maids go out one by - one, beginning with that farthest away. Then the three doors - close one by one, beginning with the innermost_. - - _The golden clouds resume their former radiance_. - - _The_ MOTHER _lights one of the lamps on the stand and goes up - to the bed, beside which she kneels_. - - _The harp continues to play during the ensuing episode_. - - _The_ MOTHER _rises, takes_ SWANWHITE _in her arms, and places - her, still sleeping, in a huge arm-chair. Then she kneels down - and pulls off_ SWANWHITE'S _stockings. Having thrown these - under the bed, she bends over her daughter's feet as if to - moisten them with her tears. After a while she wipes them with - a white linen cloth and covers them with kisses. Finally she - puts a sandal on each foot which then appears shining white_. - - _Then the_ MOTHER _rises to her feet again, takes out a comb of - gold, and begins to comb_ SWANWHITE'S _hair. This finished, she - carries_ SWANWHITE _back to the bed. Beside her she places a - garment of white linen which she takes out of a bag_. - - _Having kissed_ SWANWHITE _on the forehead, she prepares to - leave. At that moment a white swan is seen to pass by outside, - and one hears a trumpet-call like the one heard before. Shortly - afterward the_ MOTHER OF THE PRINCE, _also in white, enters - through the gate, having first hung her swan plumage on it_. - -SWANWHITE'S MOTHER. Well met, my sister! How long before the cock will -crow? - -PRINCE'S MOTHER. Not very long. The dew is rising from the roses, the -corn-crake's call is heard among the grass, the morning breeze is -coming from the sea. - -SWANWHITE'S MOTHER. Let us make haste with what we have on hand, my -sister. - -PRINCE'S MOTHER. You called me so that we might talk of our children. - -SWANWHITE'S MOTHER. Once I was walking in a green field in the land -that knows no sorrow. There I met you, whom I had always known, yet -had not seen before. You were lamenting your poor boy's fate, left to -himself here in the vale of sorrow. You opened up your heart to me, and -my own thoughts, that dwell unwillingly below, were sent in search of -my deserted daughter--destined to marry the young king, who is a cruel -man, and evil. - -PRINCE'S MOTHER. Then I spoke, while you listened: "May worth belong to -worth; may love, the powerful, prevail; and let us join these lonely -hearts, in order that they may console each other!" - -SWANWHITE'S MOTHER. Since then heart has kissed heart and soul enfolded -soul. May sorrow turn to joy, and may their youthful happiness bring -cheer to all the earth! - -PRINCE'S MOTHER. If it be granted by the powers on high! - -SWANWHITE'S MOTHER. That must be tested by the fire of suffering. - -PRINCE'S MOTHER. [_Taking in her hand the helmet left behind by the_ -PRINCE] May sorrow turn to joy--this very day, when he has mourned his -mother one whole year! - - _She exchanges the black feathers on the helmet for white and - red ones_. - -SWANWHITE'S MOTHER. Your hand, my sister--let the test begin! - -PRINCE'S MOTHER. Here is my hand, and with it goes my son's! Now we -have pledged them---- - -SWANWHITE'S MOTHER. In decency and honour! - -PRINCE'S MOTHER. I go to open up the tower. And let the young ones fold -each other heart to heart. - -SWANWHITE'S MOTHER. In decency and honour! - -PRINCE'S MOTHER. And we shall meet again in those green fields where -sorrow is not known. - -SWANWHITE'S MOTHER. [_Pointing to_ SWANWHITE] Listen! She dreams -of him!--Oh foolish, cruel woman who thinks that lovers can be -parted!--Now they are walking hand in hand within the land of dreams, -'neath whispering firs and singing lindens--They sport and laugh---- - -PRINCE'S MOTHER. Hush! Day is dawning--I can hear the robins calling, -and see the stars withdrawing from the sky--Farewell, my sister! - - [_She goes out, taking her swan plumage with her._ - -SWANWHITE'S MOTHER. Farewell! - - _She passes her hand over_ SWANWHITE _as if blessing her, then - she takes her plumage and leaves, closing the gate after her_. - - _The clock on the table strikes three. The harp is silent for - a moment; then it begins to play a new melody of even greater - sweetness than before_. SWANWHITE _wakes up and looks around; - listens to the harp; gets up from the bed; draws her hands - through her hair; looks with pleasure at her own little feet, - now spotlessly clean, and notices finally the while linen - garment on the bed. She sits down at the table in the place she - occupied during the evening. She acts as if she were looking at - somebody sitting opposite her at the table, where the_ PRINCE - _was seated the night before. She looks straight into his eyes, - smiles a smile of recognition, and holds out one of her hands. - Her lips move at times as if she were speaking, and then again - she seems to be listening to an answer_. - - _She points meaningly to the white and red feathers on the - helmet, and leans forward as if whispering. Then she puts her - head back and breathes deeply as if to fill her nostrils with - some fragrance. Having caught something in the air with one - of her hands, she kisses the hand and then pretends to throw - something back across the table. She picks up the quill and - caresses it as if it were a bird; then she writes and pushes - the parchment across the table. Her glances seem to follow - "his" pen while the reply is being written, and at last she - takes back the parchment, reads it, and hides it in her bosom_. - - _She strokes her black dress as if commenting on the sad change - in her appearance. Whereupon she smiles at an inaudible answer, - and finally bursts into hearty laughter_. - - _By gestures she indicates that her hair has been combed. Then - she rises, goes a little distance away from the table, and - turns around with a bashful expression to hold out one of her - feet. In that attitude she stays for a moment while waiting for - an answer. On hearing it she becomes embarrassed and hides her - foot quickly under her dress_. - - _She goes to the chest and takes out the chess-board and the - chess-men, which she places on the lions skin with a gesture of - invitation. Then she lies down beside the board, arranges the - men, and begins to play with an invisible partner_. - - _The harp is silent for a moment before it starts a new melody_. - - _The game of chess ends and_ SWANWHITE _seems to be talking - with her invisible partner. Suddenly she moves away as if - he were coming too close to her. With a deprecating gesture - she leaps lightly to her feet. Then she gazes long and - reproachfully at him. At last she snatches up the white garment - and hides herself behind the bed_. - - _At that moment the_ PRINCE _appears outside the gates, which - he vainly tries to open. Then he raises his eyes toward the sky - with an expression of sorrow and despair_. - -SWANWHITE. [_Coming forward_] Who comes with the morning wind? - -PRINCE. Your heart's beloved, your prince, your all! - -SWANWHITE. Whence do you come, my heart's beloved? - -PRINCE. From dreamland; from the rosy hills that hide the dawn; from -whispering firs and singing lindens. - -SWANWHITE. What did you do in dreamland, beyond the hills of dawn, my -heart's beloved? - -PRINCE. I sported and laughed; I wrote her name; I sat upon the lion's -skin and played at chess. - -SWANWHITE. You sported and you played--with whom? - -PRINCE. With Swanwhite. - -SWANWHITE. It is he!--Be welcome to my castle, my table, and my arms! - -PRINCE. Who opens up the golden gates? - -SWANWHITE. Give me your hand!--It is as chilly as your heart is warm. - -PRINCE. My body has been sleeping in the tower, while my soul was -wandering in dreamland--In the tower it was cold and dark. - -SWANWHITE. In my bosom will I warm your hand--I'll warm it by my -glances, by my kisses! - -PRINCE. Oh, let the brightness of your eyes be shed upon my darkness! - -SWANWHITE. Are you in darkness? - -PRINCE. Within the tower there was no light of sun or moon. - -SWANWHITE. Rise up, O sun! Blow, southern wind! And let thy bosom -gently heave, O sea!--Ye golden gates, do you believe that you can part -two hearts, two hands, two lips--that can by nothing be divided? - -PRINCE. Indeed, by nothing! - - _Two solid doors glide together in front of the gates so that_ - SWANWHITE _and the_ PRINCE _can no longer see each other_. - -SWANWHITE. Alas! What was the word we spoke, who heard it, and who -punished us? - -PRINCE. I am not parted from you, my beloved, for still the sound of my -voice can reach you. It goes through copper, steel, and stone to touch -your ear in sweet caress. When in my thoughts you're in my arms. I -kiss you in my dreams. For on this earth there is not anything that can -part us. Swanwhite. Not anything! - -PRINCE. I see you, though my eyes cannot behold you. I taste you, too, -because with roses you are filling up my mouth---- - -SWANWHITE. But in my arms I want you! - -PRINCE. I am there. - -SWANWHITE. No! Against my heart I want to feel the beat of yours--Upon -your arm I want to sleep--Oh, let us, let us, dearest God--oh, let us -have each other! - - _The swallows chirp. A small white feather falls to the - ground_. SWANWHITE _picks it up and discovers it to be a key. - With this she opens gates and doors. The_ PRINCE _comes in_. - SWANWHITE _leaps into his arms. He kisses her on the mouth_. - -SWANWHITE. You do not kiss me! - -PRINCE. Yes, I do! - -SWANWHITE. I do not feel your kisses! - -PRINCE. Then you love me not! - -SWANWHITE. Hold me fast! - -PRINCE. So fast that life may part! - -SWANWHITE. Oh, no, I breathe! - -PRINCE. Give me your soul! - -SWANWHITE. Here!--Give me yours! - -PRINCE. It's here!--So I have yours, and you have mine! - -SWANWHITE. I want mine back! - -PRINCE. Mine, too, I want! - -SWANWHITE. Then you must seek it! - -PRINCE. Lost, both of us! For I am you, and you are me! - -SWANWHITE. We two are one! - -PRINCE. God, who is good, has heard your prayer! We have each other! - -SWANWHITE. We have each other, yet I have you not. I cannot feel the -pressure of your hand, your lip's caress--I cannot see your eyes, nor -hear your voice--You are not here! - -PRINCE. Yes, I am here! - -SWANWHITE. Yes, here below. But up above, in dreamland, I would meet -you. - -PRINCE. Then let us fly upon the wings of sleep---- - -SWANWHITE. Close to your heart! - -PRINCE. In my embrace! - -SWANWHITE. Within your arms! - -PRINCE. This is the promised bliss! - -SWANWHITE. Eternal bliss, that has no flaw and knows no end! - -PRINCE. No one can part us. - -SWANWHITE. No one! - -PRINCE. Are you my bride? - -SWANWHITE. My bridegroom, you? - -PRINCE. In dreamland--but not here! - -SWANWHITE. Where are we? - -PRINCE. Here below! - -SWANWHITE. Here, where the sky is clouded, where the ocean roars, and -where each night the earth sheds tears upon the grass while waiting for -the dawn; where flies are killed by swallows, doves by hawks; where -leaves must fall and turn to dust; where eyes must lose their light and -hands their strength! Yes, here below! - -PRINCE. Then let us fly! - -SWANWHITE. Yes, let us fly! - - _The_ GREEN GARDENER _appears suddenly behind the table. All - his clothes are green. He wears a peaked cap, a big apron, and - knee-breeches. At his belt hang shears and a knife. He carries - a small watering-can in one hand and is scattering seeds - everywhere_. - -PRINCE. Who are you? - -GARDENER. I sow, I sow! - -PRINCE. What do you sow? - -GARDENER. Seeds, seeds, seeds. - -PRINCE. What kind of seeds? - -GARDENER. Annuals and biennials. One pulls this way, two pull that. -When the bridal suit is on, the harmony is gone. One and one make one, -but one and one make also three. One and one make two, but two make -three. Then do you understand? - -PRINCE. You mole, you earthworm, you who turn your forehead toward the -ground and show the sky your back--what is there you can teach me? - -GARDENER. That you are a mole and earthworm, too. And that because you -turn your back on the earth, the earth will turn its back on you. [_He -disappears behind the table_. - -SWANWHITE. What was it? Who was he? - -PRINCE. That was the green gardener. - -SWANWHITE. Green, you say? Was he not blue? - -PRINCE. No, he was green, my love. - -SWANWHITE. How can you say what is not so? - -PRINCE. My heart's beloved, I have not said a thing that was not so. - -SWANWHITE. Alas, he does not speak the truth! - -PRINCE. Whose voice is this? Not that of Swanwhite! - -SWANWHITE. Who is this my eyes behold? Not my Prince, whose very name -attracted me like music of the Neck, or song of mermaids heard among -green waves--Who are you? You stranger with the evil eyes--and with -grey hair! - -PRINCE. You did not see it until now--my hair, that turned to grey -within the tower, in a single night, when I was mourning for my -Swanwhite, who is no longer here. - -SWANWHITE. Yes, here is Swanwhite. - -PRINCE. No, I see a black-clad maid, whose face is black---- - -SWANWHITE. Have you not seen before that I was clad in black? You do -not love me, then! - -PRINCE. You who are standing there, so grim and ugly--no! - -SWANWHITE. Then you have spoken falsely. - -PRINCE. No--for then another one was here! Now--you are filling up my -mouth with noisome nettles. - -SWANWHITE. Your violets smell of henbane now--faugh! - -PRINCE. Thus I am punished for my treason to the king! - -SWANWHITE. I wish that I had waited for your king! - -PRINCE. Just wait, and he will come. - -SWANWHITE. I will not wait, but go to meet him. - -PRINCE. Then I will stay. - -SWANWHITE. [_Going toward the background_] And this is love! - -PRINCE. [_Beside himself_] Where is my Swanwhite? Where, where, where? -The kindest, loveliest, most beautiful? - -SWANWHITE. Seek her! - -PRINCE. 'Twould not avail me here below. - -SWANWHITE. Elsewhere then! [_She goes out_. - - _The_ PRINCE _is alone. He sits down at the table, covers his - face with his hands, and weeps. A gust of wind passes through - the room and sets draperies and curtains fluttering. A sound as - of a sigh is heard from the strings of the harp. The_ PRINCE - _rises, goes to the bed, and stands there lost in contemplation - of its pillow in which is a depression showing_ SWANWHITE'S - _head in profile. He picks up the pillow and kisses it. A noise - is heard outside. He seats himself at the table again_. - - _The doors of the closets fly open. The three_ MAIDS _become - visible, all with darkened faces. The_ STEPMOTHER _enters from - the rear. Her face is also dark_. - -STEPMOTHER. [_In dulcet tones_] Good morning, my dear Prince! How have -you slept? - -PRINCE. Where is Swanwhite? - -STEPMOTHER. She has gone to marry her young king. Is there no thought -of things like that in your own mind, my Prince? - -PRINCE. I harbour but a single thought---- - -STEPMOTHER. Of little Swanwhite? - -PRINCE. She is too young for me, you mean? - -STEPMOTHER. Grey hairs and common sense belong together as a rule--I -have a girl with common sense---- - -PRINCE. And I grey hairs? - -STEPMOTHER. He knows it not, believes it not! Come, maids! Come, Signe, -Elsa, Tova! Let's have a good laugh at the young suitor and his grey -hairs! - - _The_ MAIDS _begin to laugh. The_ STEPMOTHER _joins in_. - -PRINCE. Where is Swanwhite? - -STEPMOTHER. Follow in her traces--here is one! - - [_She hands him a parchment covered with writing_. - -PRINCE. [_Reading_] And she wrote this? - -STEPMOTHER. You know her hand--what has it written? - -PRINCE. That she hates me, and loves another--that she has played with -me; that she will throw my kisses to the wind, and to the swine my -heart--To die is now my will! Now I am dead! - -STEPMOTHER. A knight dies not because a wench has played with him. He -shows himself a man and takes another. - -PRINCE. Another? When there is only one? - -STEPMOTHER. No, two, at least! My Magdalene possesses seven barrels -full of gold. - -PRINCE. Seven? - -STEPMOTHER. And more. [_Pause_. - -PRINCE. Where is Swanwhite? - -STEPMOTHER. My Magdalene is skilled in many crafts---- - -PRINCE. Including witchcraft? - -STEPMOTHER. She knows how to bewitch a princeling. - -PRINCE. [_Gazing at the parchment_] And this was written by my -Swanwhite? - -STEPMOTHER. My Magdalene would never write like that. - -PRINCE. And she is kind? - -STEPMOTHER. Kindness itself! She does not play with sacred feelings, -nor seek revenge for little wrongs, and she is faithful to the one she -likes. - -PRINCE. Then she must be beautiful. - -STEPMOTHER. Not beautiful! - -PRINCE. She is not kind then.--Tell me more of her! - -STEPMOTHER. See for yourself. - -PRINCE. Where? - -STEPMOTHER. Here. - -PRINCE. And this has Swanwhite written----? - -STEPMOTHER. My Magdalene had written with more feeling - -PRINCE. What would she have written? - -STEPMOTHER. That---- - -PRINCE. Speak the word! Say "love," if you are able! - -STEPMOTHER. Lub! - -PRINCE. You cannot speak the word! - -STEPMOTHER. Lud! - -PRINCE. Oh, no! - -STEPMOTHER. My Magdalene can speak it. May she come? - -PRINCE. Yes, let her come. - -STEPMOTHER. [_Rising and speaking to the_ MAIDS] Blindfold the prince. -Then in his arms we'll place a princess that is without a paragon in -seven kingdoms. - - SIGNE _steps forward and covers the eyes of the_ PRINCE _with a - bandage_. - -STEPMOTHER. [_Clapping her hands_] Well--is she not coming? - -_The peacock makes a rattling noise with his bill; the doves begin to -coo_. - -STEPMOTHER. What is the matter? Does my art desert me? Where is the -bride? - - _Four_ MAIDS _enter from the rear, carrying baskets of white - and pink roses. Music is heard from above. The_ MAIDS _go up to - the bed and scatter roses over it_. - - _Then come_ TWO KNIGHTS _with closed visors. They take the_ - PRINCE _between them toward the rear, where they meet the - false_ MAGDALENE, _escorted by two ladies. The bride is deeply - veiled_. - - _With a gesture of her hand the_ STEPMOTHER _bids all depart - except the bridal couple. She herself leaves last of all, after - she has closed the curtains and locked the gates_. - -PRINCE. Is this my bride? - -FALSE MAGDALENE. Who is your bride? - -PRINCE. I have forgot her name. Who is your bridegroom? - -FALSE MAGDALENE. He whose name may not be mentioned. - -PRINCE. Tell, if you can. - -FALSE MAGDALENE. I can, but will not. - -PRINCE. Tell, if you can! - -FALSE MAGDALENE. Tell my name first! - -PRINCE. It's seven barrels full of gold, and crooked back, and grim, -and hare-lipped! What's my name? Tell, if you can! - -FALSE MAGDALENE. Prince Greyhead! - -PRINCE. You're right! - - _The_ FALSE MAGDALENE _throws, off her veil, and_ SWANWHITE - _stands revealed_. - -SWANWHITE. [_Dressed in a white garment, with a wreath of roses on her -hair_] Who am I now? - -PRINCE. You are a rose! - -SWANWHITE. And you a violet! - -PRINCE. [_Taking off the bandage_] You are Swanwhite! - -SWANWHITE. And you--are---- - -PRINCE. Hush! - -SWANWHITE. You're mine! - -PRINCE. But you--you left me--left my kisses---- - -SWANWHITE. I have returned--because I love you! - -PRINCE. And you wrote cruel words---- - -SWANWHITE. But cancelled them--because I love you.! - -PRINCE. You told me I was false. - -SWANWHITE. What matters it, when you are true--and when I love you? - -PRINCE. You wished that you were going to the king. - -SWANWHITE. But went to you instead, because I love you! - -PRINCE. Now let me hear what you reproach me with. - -SWANWHITE. I have forgotten it--because I love you! - -PRINCE. But if you love me, then you are my bride. - -SWANWHITE. I am! - -PRINCE. Then may the heavens bestow their blessing on our union! - -SWANWHITE. In dreamland! - -PRINCE. With your head upon my arm! - - _The_ PRINCE _leads_ SWANWHITE _to the bed, in which he places - his sword. Then she lies down on one side of the sword, and he - on the other. The colour of the clouds changes to a rosy red. - The rose-trees murmur. The harp plays softly and sweetly_. - -PRINCE. Good night, my queen! - -SWANWHITE. Good morning, O my soul's beloved!--I hear the beating of -your heart--I hear it sigh like billowing waters, like swift-flying -steeds, like wings of eagles--Give me your hand! - -PRINCE. And yours!--Now we take wing---- - -STEPMOTHER. [_Enters with the_ MAIDS, _who carry torches; all four have -become grey-haired_] I have to see that my task is finished ere the -duke returns. My daughter. Magdalene, is plighted to the prince--while -Swanwhite lingers in the tower--[_Goes to the bed_] They sleep already -in each other's arms--you bear me witness, maids! - - _The_ MAIDS _approach the bed_. - -STEPMOTHER. What do I see? Each one of you is grey-haired! - -SIGNE. And so are you, Your Grace! - -STEPMOTHER. Am I? Let me see! - - ELSA _holds a mirror in front of her_. - -STEPMOTHER. This is the work of evil powers!--And then, perhaps, the -prince's hair is dark again?--Bring light this way! - - _The_ MAIDS _hold their torches so that the light from them - falls on the sleeping couple_. - -STEPMOTHER. Such is the truth, indeed!--How beautiful they -look!--But--the sword! Who placed it there--the sword that puts at -naught their plighted troth? - - _She tries to take away the sword, but the_ PRINCE _clings to - it without being wakened_. - -SIGNE. Your Grace--here's deviltry abroad! - -STEPMOTHER. What is it? - -SIGNE. This is not Lady Magdalene. - -STEPMOTHER. Who is it, then? My eyes need help. - -SIGNE. 'Tis Lady Swanwhite. - -STEPMOTHER. Swanwhite?--Can this be some delusion of the devil's -making, or have I done what I least wished? - - _The_ PRINCE _turns his head in his sleep so that his lips meet - those of_ SWANWHITE. - -STEPMOTHER. [_Touched by the beautiful sight_] No sight more beautiful -have I beheld!--Two roses brought together by the wind; two falling -stars that join in downward flight--it is too beautiful!--Youth, -beauty, innocence, and love! What memories, sweet memories--when I was -living in my father's home--when I was loved by _him_, the youth whom -never I called mine--What did I say I was? - -SIGNE. That you were loved by him, Your Grace. - -STEPMOTHER. Then I did speak the mighty word. Be-loved--so he named me -once--"beloved"--ere he started for the war--[_Lost in thoughts_] It -was the last of him.--And so I had to take the one I couldn't bear.--My -life is drawing to its close, and I must find my joy in happiness -denied myself! I should rejoice--at others' happiness--Some kind of -joy, at least--at other people's love--Some kind of love, at least--But -there's my Magdalene? What joy for her? O, love omnipotent--eternally -creative Lord--how you have rendered soft this lion heart! Where is my -strength? Where is my hatred--my revenge? [_She seats herself and looks -long at the sleeping couple_] A song runs through my mind, a song of -love that _he_ was singing long ago, that final night-- [_She rises as -if waking out of a dream and flies into a rage; her words come with a -roar_] Come hither, men! Here, Steward, Castellan, and Gaoler--all of -you! [_She snatches the sword out of the bed and throws it along the -floor toward the rear_] Come hither, men! - - _Noise is heard outside; the men enter as before_. - -STEPMOTHER. Behold! The prince, the young king's vassal, has defiled -his master's bride! You bear me witness to the shameful deed! Put -chains and fetters on the traitor and send him to his rightful lord! -But in the spiked cask put the hussy. [_The_ PRINCE and SWANWHITE _wake -up_] Equerry! Gaoler! Seize the prince! - - _The_ EQUERRY _and the_ GAOLER _lay hands on the_ PRINCE. - -PRINCE. Where is my sword? I fight not against evil, but for innocence! - -STEPMOTHER. Whose innocence? - -PRINCE. My bride's. - -STEPMOTHER. The hussy's innocence! Then prove it! - -SWANWHITE. Oh, mother, mother! - - _The white swan flies by outside_. - -STEPMOTHER. Maids, bring shears! I'll cut the harlot's hair! - - SIGNE _hands her a pair of shears_. - -STEPMOTHER. [_Takes hold of_ SWANWHITE _by the hair and starts to cut -it, but she cannot bring the blades of the shears together]_ Now I'll -cut off your beauty and your love! [_Suddenly she is seized with panic, -which quickly spreads to the men and the three_ MAIDS] Is the enemy -upon us? Why are you trembling? - -SIGNE. Your Grace, the dogs are barking, horses neighing--it means -that visitors are near. - -STEPMOTHER. Quick, to the bridges, all of you! Man the ramparts! Fall -to with flame and water, sword and axe! - - _The_ PRINCE _and_ SWANWHITE _are left alone_. - -GARDENER. [_Appears from behind the table; in one hand he carries -a rope, the_ DUKE'S _horn in the other_] Forgiveness for those who -sin; for those who sorrow, consolation; and hope for those who are -distressed! - -SWANWHITE. My father's horn! Then help is near! But--the prince? - -GARDENER. The prince will follow me. A secret passage, underground, -leads to the shore. There lies his bark. The wind is favourable! Come! - - [_The_ GARDENER _and the_ PRINCE _go out._ SWANWHITE _alone, - blows the horn. An answering signal is heard in the distance. - The_ GAOLER _enters with the spiked cask_. SWANWHITE _blows the - horn again. The answer is heard much nearer_. - - _The_ DUKE _enters. He and_ SWANWHITE _are alone on the stage_. - -DUKE. My own beloved heart, what is at stake? - -SWANWHITE. Your own child, father!--Look--the spiked cask over there! - -DUKE. How has my child transgressed? - -SWANWHITE. The prince's name I learned, by love instructed--spoke -it--came to hold him very dear. - -DUKE. That was no capital offence. What more? - -SWANWHITE. At his side I slept, the sword between us---- - -DUKE. And still there was no capital offence, though I should hardly -call it wise--And more? - -SWANWHITE. No more! - -DUKE. [_To the_ GAOLER, _pointing to the spiked cask_] Away with it! -[_To_ SWANWHITE] Well, child, where is the prince? - -SWANWHITE. He's sailing homeward in his bark. - -DUKE. Now, when the tide is battering the shore?--Alone? Swanwhite. -Alone! What is to happen? - -DUKE. The Lord alone can tell! - -SWANWHITE. He's in danger? - -DUKE. Who greatly dares has sometimes luck. - -SWANWHITE. He ought to have! - -DUKE. He will, if free from guilt! - -SWANWHITE. He is! More than I am! - -STEPMOTHER. [_Entering_] How came you here! - -DUKE. A shortcut brought me--I could wish it had been shorter still. - -STEPMOTHER. Had it been short enough, your child had never come to harm. - -DUKE. What kind of harm? - -STEPMOTHER. The one for which there is no cure. - -DUKE. And you have proofs? - -STEPMOTHER. I've valid witnesses. - -DUKE. Then call my butler. - -STEPMOTHER. He does not know. - -DUKE. [_Shaking his sword at her_] Call my butler! - - _The_ STEPMOTHER _trembles. Then she claps her hands four times - together_. - - _The_ BUTLER _enters_. - -DUKE. Have made a pie of venison, richly stuffed with onions, parsley, -fennel, cabbage--and at once! - - _The_ BUTLER _steals a sidelong glance at the_ STEPMOTHER. - -DUKE. What are you squinting at? Be quick! - - _The_ BUTLER _goes out_. - -DUKE. [_To the_ STEPMOTHER] Now call the master of my pleasure-garden. - -STEPMOTHER. He does not know! - -DUKE. And never will! But he must come! Call, quick! - - _The_ STEPMOTHER _claps her hands six times_. - - _The_ FLOWER GARDENER _enters_. - -DUKE. Three lilies bring: one white, one red, one blue. - - _The_ GARDENER _looks sideways at the_ STEPMOTHER. - -DUKE. Your head's at stake! - - _The_ GARDENER _goes out_. - -DUKE. Summon your witnesses! - - _The_ STEPMOTHER _claps her hands once_. - - SIGNE _enters_. - -DUKE. Tell what you know--but choose your words! What have you seen? - -SIGNE. I have seen Lady Swanwhite and the prince together in one bed. - -DUKE. With sword between? - -SIGNE. Without. - -DUKE. I can't believe it!--Other witnesses? - - _The_ TWO KNIGHTS _enter_. - -DUKE. Were these the groomsmen?--Tell your tale. - -FIRST KNIGHT. The Lady Magdalene I have escorted to her bridal couch. - -SECOND KNIGHT. The Lady Magdalene I have escorted to her bridal couch. - -DUKE. What's that? A trick, I trow--that caught the trickster!--Other -witnesses? - - ELSA _enters_. - -DUKE. Tell what you know. - -ELSA. I swear by God, our righteous judge, that I have seen the prince -and Lady Swanwhite fully dressed and with a sword between them. - -DUKE. One for, and one against--two not germane.--I leave it to the -judgment of the Lord!--The flowers will speak for him. - -TOVA. [_Enters_] My gracious master--noble lord! - -DUKE. What do you know? - -TOVA. I know my gracious mistress innocent. - -DUKE. O, child--so you know that! Then teach us how to know it too. - -TOVA. When I am saying only what is true---- - -DUKE. No one believes it! But when Signe tells untruth, we must -believe!--And what does Swanwhite say herself? Her forehead's purity, -her steady glance, her lips' sweet innocence--do they not speak aloud -of slander? And "slander" is the verdict of a father's eye.--Well -then--Almighty God on high shall give his judgment, so that human -beings may believe! - - _The_ FLOWER GARDENER _enters carrying three lilies placed in - three tall and narrow vases of glass. The_ DUKE _places the - flowers in a semicircle on the table. The_ BUTLER _enters with - a huge dish containing a steaming pie_. - -DUKE. [_Placing the dish within the semicircle formed by the three -flowers_] The white one stands for whom? - -ALL. [_Except_ SWANWHITE. _and the_ STEPMOTHER] For Swanwhite. - -DUKE. The red one stands for whom? - -ALL. [As _before_] The prince. - -DUKE. For whom the blue one? - -ALL. [As _before_] The youthful king. - -DUKE. Well, Tova--child who still has faith in innocence because you -too are innocent--interpret now for us the judgment of the Lord--tell -us the gentle secrets of these flowers. - -TOVA. The evil part I cannot utter. - -DUKE. I will. What's good I'll leave for you.--As the steam from the -blood of the prurient beast rises upward--as upward the smell of the -passionate spices is mounting--what see you? - -TOVA. [_Gazing at the three lilies_] The white one folds its blossom to -protect itself against defilement. That is Swanwhite's flower. - -ALL. Swanwhite is innocent. - -TOVA. The red one, too--the prince's lily--closes its head--but the -blue one, which stands for the king, flings wide its gorge to drink the -lust-filled air. - -DUKE. You've told it right! What more is there to see? - -TOVA. I see the red flower bend its head in reverent love before the -white one, while the blue one writhes with envious rage. - -DUKE. You've spoken true!--For whom is Swanwhite then? - -TOVA. For the prince, because more pure is his desire, and therefore -stronger, too. - -ALL. [_Except_ SWANWHITE _and the_ STEPMOTHER] Swanwhite for the prince! - -SWANWHITE. [_Throwing herself into her father's arms_] O, father! - -DUKE. Call back the prince! Let every trump and bugle summon him. Hoist -sail on every bark! But first of all--the spiked cask is for whom? - - _All remain silent_. - -DUKE. Then I will say it: for the duchess; for the arch-liar and -bawd!--Know, evil woman, that though nothing else be safe against your -tricks, they cannot conquer love!--Go--quick--begone! - - _The_ STEPMOTHER _makes a gesture which for a moment seems to - stun the_ DUKE. - -DUKE. [_Draws his sword and turns the point of it toward the_ -STEPMOTHER, _having first seated_ SWANWHITE _on his left shoulder_] -A-yi, you evil one! My pointed steel will outpoint all your tricks! - - _The_ STEPMOTHER _withdraws backward, dragging her legs behind - her like a panther_. - -DUKE. Now for the prince! - - _The_ STEPMOTHER _stops on the balcony, rigid as a statue. She - opens her mouth as if she were pouring out venom_. - - _The peacock and the doves fall down dead. Then the_ STEPMOTHER - _begins to swell. Her clothes become inflated to such an extent - that they hide her head and bust entirely. They seem to be - flaming with a pattern of interwoven snakes and branches. The - sun is beginning to rise outside. The ceiling sinks slowly into - the room, while smoke and fire burst from the fireplace_. - -DUKE. [_Raising the cross-shaped handle of his sword toward the_ -STEPMOTHER] Pray, people, pray to Christ, our Saviour! - -ALL. Christ have mercy! - - _The ceiling resumes its ordinary place. The smoke and fire - cease. A noise is heard outside, followed by the hum of many - voices_. - -DUKE. What new event is this? - -SWANWHITE. I know! I see!--I hear the water dripping from his hair; I -hear the silence of his heart, the breath that comes no more--I see -that he is dead! - -DUKE. Where do you see--and whom? - -SWANWHITE. Where?--But I see it! - -DUKE. I see nothing. - -SWANWHITE. As they must come, let them come quick! - - _Four little girls enter with baskets out of which they scatter - white lilies and hemlock twigs over the floor. After them come - four pages ringing silver bells of different pitch. Then comes - a priest carrying a large crucifix. Then, the golden bier, with - the body of the_ PRINCE, _covered by a white sheet, on which - rest white and pink roses. His hair is dark again. His face is - youthful, rosy, and radiantly beautiful. There is a smile on - his lips_. - - _The harp begins to play. The sun rises completely. The magic - bubble around the_ STEPMOTHER _bursts, and she appears once - more in her customary shape_. - - _The bier is placed in the middle of the floor, so that the - rays of the rising sun fall on it_. - - SWANWHITE _throws herself on her knees beside the bier and - covers the_ PRINCE'S _face with kisses_. - - _All present put their hands to their faces and weep_. - - _The_ FISHERMAN _has entered behind the bier_. - -DUKE. The brief tale tell us, fisherman---- - -FISHERMAN. Does it not tell itself, my noble lord?--The young prince -had already crossed the strait, when, seized by violent longing for -his love, he started to swim back, in face of tide and wave and -wind--because his bark seemed rudder-less.--I saw his young head breast -the billows, I heard him cry her name--and then his corpse was gently -dropped upon the white sand at my feet. His hair had turned to grey -that night when he slept in the tower; sorrow and wrath had blanched -his cheeks; his lips had lost their power of smiling.--Now, when -death o'ertook him, beauty and youth came with it. Like wreaths his -darkening locks fell round his rosy cheeks; he smiled--and see!--is -smiling still. The people gathered on the shore, awed by the gentle -spectacle--and man said unto man: lo, this is love! - -SWANWHITE. [_Lying down beside the body of the_ PRINCE] He's dead; his -heart will sing no more; his eyes no longer will light up my life; -his breath will shed its dew on me no more. He smiles, but not toward -me--toward heaven he smiles. And on his journey I shall bear him -company. - -DUKE. Kiss not a dead man's lips--there's poison in them! - -SWANWHITE. Sweet poison if it bring me death--that death in which I -seek my life! - -DUKE. They say, my child, the dead cannot gain union by willing it; -and what was loved in life has little worth beyond. - -SWANWHITE. And love? Should then its power not extend to the other side -of death? - -DUKE. Our wise men have denied it. - -SWANWHITE. Then he must come to me--back to this earth. O gracious -Lord, please let him out of heaven again! - -DUKE. A foolish prayer! - -SWANWHITE. I cannot pray--woe's me! The evil eye still rules this place. - -DUKE. You're thinking of the monster which the sunbeams pricked. The -stake for her--let her without delay be burned alive! - -SWANWHITE. Burn her?--Alive?--Oh, no! Let her depart in peace! - -DUKE. She must be burned alive! You, men, see that the pyre is raised -close to the shore, and let the winds play with her ashes! - -SWANWHITE. [_On her knees before the_ DUKE] No, no--I pray you, though -she was my executioner: have mercy on her! - -STEPMOTHER. [_Enters, changed, freed from the evil powers that have -held her in their spell_] Mercy! Who spoke the sacred word? Who poured -her heart in prayer for me? - -SWANWHITE. I did--your daughter--mother! - -STEPMOTHER. O, God in heaven, she called me mother!--Who taught you -that? - -SWANWHITE. Love did! - -STEPMOTHER. Then blessed be love which can work miracles like -that!--But, child, then it must also have the power to make the dead -return out of the darkling realms of death!--I cannot do it, having not -received the grace of love. But you! - -SWANWHITE. Poor me--what can I do? - -STEPMOTHER. You can forgive, and you can love--Well, then, my little -Lady Almighty, you can do anything!--Be taught by me who have no power -at all. Go, cry the name of your beloved, and put your hand above his -heart! Then, with the help of the Supreme One--calling none but Him for -helper--your beloved will hear your voice--if you believe! - -SWANWHITE. I do believe--I will it--and--I pray for it! - -_She goes up to the_ PRINCE, _places one of her hands over his heart, -and raises the other toward the sky. Then she bends down over him -and whispers something into his ear. This she repeats three times in -succession. At the third whisper the_ PRINCE _wakes up_. SWANWHITE -_throws herself at his breast. All kneel in praise and thanksgiving. -Music_. - -_Curtain_. - - - - -SIMOOM - -(SAMUM) - -1890 - - - CHARACTERS - - BISKRA, _an Arabian girl_ - YUSUF, _her lover_ - GUIMARD, _a lieutenant of Zouaves_ - - _The action takes place in Algeria at the present time_. - - - - -SIMOOM - - - _The inside of a marabout, or shrine. In the middle of the - floor stands a sarcophagus forming the tomb of the Mohammedan - saint (also called "marabout") who in his lifetime occupied the - place. Prayer-rugs are scattered over the floor. At the right - in the rear is an ossuary, or charnel-house._ - - _There is a doorway in the middle of the rear wall. It is - closed with a gate and covered by a curtain. On both sides of - the doorway are loopholes. Here and there on the floor are seen - little piles of sand. An aloe plant, a few palm leaves and some - alfa grass are thrown together on one spot_. - - * * * * * - -FIRST SCENE - - - BISKRA _enters. The hood of her burnous is pulled over her head - so that it almost covers her face. She carries a guitar at her - back. Throwing herself down in a kneeling position on one of - the rugs, she begins to pray with her arms crossed over her - breast. A high wind is blowing outside_. - -BISKRA. La ilaha illa 'llah! - -YUSUF. [_Enters quickly_] The Simoom is coming! Where is the Frank? - -BISKRA. He'll be here in a moment. - -YUSUF. Why didn't you stab him when you had a chance? - -BISKRA. Because he is to do it himself. If I were to do it, our whole -tribe would be killed, for I am known to the Franks as Ali, the guide, -though they don't know me as Biskra, the maiden. - -YUSUF. He is to do it himself, you say? How is that to happen? - -BISKRA. Don't you know that the Simoom makes the brains of the white -people dry as dates, so that they have horrible visions which disgust -them with life and cause them to flee into the great unknown? - -YUSUF. I have heard of such things, and in the last battle there were -six Franks who took their own lives before the fighting began. But do -not place your trust in the Simoom to-day, for snow has fallen in the -mountains, and the storm may be all over in half an hour.--Biskra! Do -you still know how to hate? - -BISKRA. If I know how to hate?--My hatred is boundless as the desert, -burning as the sun, and stronger than my love. Every hour of joy that -has been stolen from me since the murder of Ali has been stored up -within me like the venom back of a viper's tooth, and what the Simoom -cannot do, that I can do. - -YUSUF. Well spoken, Biskra, and the task shall be yours. Ever since my -eyes first fell upon you, my own hatred has been withering like alfa -grass in the autumn. Take strength from me and become the arrow to my -bow. - -BISKRA. Embrace me, Yusuf, embrace me! - -YUSUF. Not here, within the presence of the Sainted one; not -now--later, afterward, when you have earned your reward! - -BISKRA. You proud sheikh! You man of pride! - -YUSUF. Yes--the maiden who is to carry my offspring under her heart -must show herself worthy of the honour. - -BISKRA. I--no one but I--shall bear the offspring of Yusuf! I, -Biskra--the scorned one, the ugly one, but the strong one, too! - -YUSUF. All right! I am now going to sleep beside the spring.--Do I -need to teach you more of the secret arts which you learned from -Sidi-Sheikh, the great marabout, and which you have practised at fairs -ever since you were a child? - -BISKRA. Of that there is no need. I know all the secrets needed to -scare the life out of a cowardly Frank.--The dastard who sneaks upon -the enemy and sends the leaden bullet ahead of himself! I know them -all--even the art of letting my voice come out of my belly. And what is -beyond my art, that will be done by the sun, for the sun is on the side -of Yusuf and Biskra. - -YUSUF. The sun is a friend of the Moslem, but not to be relied upon. -You may get burned, girl!--Take a drink of water first of all, for I -see that your hands are shrivelled, and---- - - _He lifts up one of the rugs and steps down into a sort of - cellar, from which he brings back a bowl filled with water; - this he hands to_ BISKRA. - -BISKRA. [_Raising the bowl to her mouth_] And my eyes are already -beginning to see red--my lungs are parching--I hear--I hear--do you -see how the sand is sifting through the roof--the strings of my guitar -are crooning--the Simoom is here! But the Frank is not! - -YUSUF. Come down here, Biskra, and let the Frank die by himself. - -BISKRA. First hell, and then death! Do you think I'll weaken? [_Pours -the water on one of the sand piles_] I'll water the sand, so that -revenge may grow out of it, and I'll dry up my heart. Grow, O hatred! -Burn, O sun! Smother, O wind! - -YUSUF. Hail to you, mother of Ben Yusuf--for you are to bear the son of -Yusuf, the avenger--you! - - -_The wind is increasing. The curtain in front of the door begins to -flap. A red glimmer lights up the room, but changes into yellow during -the ensuing scene_. - - -BISKRA. The Frank is coming, and--the Simoom is here!--Go! - -YUSUF. In half an hour you shall see me again. [_Pointing toward a sand -pile_] There is your hour-glass. Heaven itself is measuring out the -time for the hell of the infidels! - - [_Goes down into the cellar_. - - - -SECOND SCENE - - - BISKRA. GUIMARD _enters looking very pale; he stumbles, his - mind is confused, and he speaks in a low voice_. - -GUIMARD. The Simoom is here!--What do you think has become of my men? - -BISKRA. I led them west to east. - -GUIMARD. West--to east!--Let me see!--That's straight east--and -west!--Oh, put me on a chair and give me some water! - -BISKRA. [_Leads_ GUIMARD _to one of the sand piles and makes him lie -down on the floor with his feet on the sand_] Are you comfortable now? - -GUIMARD. [_Staring at her_] I feel all twisted up. Put something under -my head. - -BISKRA. [_Piling the sand higher under his feet_] There's a pillow for -your head. - -GUIMARD. Head? Why, my feet are down there--Isn't that my feet? - -BISKRA. Of course! - -GUIMARD. I thought so. Give me a stool now--under my head. - -BISKRA. [_Pulls out the aloe plant and pushes it under Guimard's legs_] -There's a stool for you. - -GUIMARD. And then water!--Water! - -BISKRA. [_Fills the empty bowl with sand and hands it to_ GUIMARD] -Drink while it's cold. - -GUIMARD. [_Putting his lips to the bowl_] It is cold--and yet it does -not still my thirst! I cannot drink it--I abhor water--take it away! - -BISKRA. There's the dog that bit you! - -GUIMARD. What dog? I have never been bitten by a dog. - -BISKRA. The Simoom has shrivelled up your memory--beware the delusions -of the Simoom! Don't you remember the mad greyhound that bit you during -the last hunt at Bab-el-Wad? - -GUIMARD. The hunt at Bab-el-Wad? That's right!--Was it a -beaver-coloured----? - -BISKRA. Bitch? Yes.--There you see. And she bit you in the calf. Can't -you feel the sting of the wound? - -GUIMARD. [_Reaches out a hand to feel his calf and pricks himself on -the aloe_] Yes, I can feel it.--Water! Water! - -BISKRA. [_Handing him the sand-filled bowl_] Drink, drink! - -GUIMARD. No, I cannot! Holy Mother of God--I have rabies! - -BISKRA. Don't be afraid! I shall cure you, and drive out the demon by -the help of music, which is all-powerful. Listen! - -GUIMARD. [_Screaming_] Ali! Ali! No music; I can't stand it! And how -could it help me? - -BISKRA. If music can tame the treacherous spirit of the snake, don't -you think it may conquer that of a mad dog? Listen! [_She sings and -accompanies herself on the guitar_] Biskra-biskra, Biskra-biskra, -Biskra-biskra! Simoom! Simoom! - -YUSUF. [_Responding from below_] Simoom! Simoom! - -GUIMARD. What is that you are singing, Ali? - -BISKRA. Have I been singing? Look here--now I'll put a palm-leaf in my -mouth. [_She puts a piece of leaf between her teeth; the song seems to -be coming from above_] Biskra-biskra, Biskra-biskra, Biskra-biskra! - -YUSUF. [_From below_] Simoom! Simoom! - -GUIMARD. What an infernal jugglery! - -BISKRA. Now I'll sing! - -BISKRA and YUSUF. [_Together_] Biskra-biskra, Biskra-biskra, -Biskra-biskra! Simoom! - -GUIMARD. [_Rising_] What are you, you devil who are singing with two -voices? Are you man or woman? Or both? - -BISKRA. I am Ali, the guide. You don't recognise me because your senses -are confused. But if you want to be saved from the tricks played by -sight and thought, you must believe in me--believe what I say and do -what I tell you. - -GUIMARD. You don't need to ask me, for I find everything to be as you -say it is. - -BISKRA. There you see, you worshipper of idols! - -GUIMARD. I, a worshipper of idols? - -BISKRA. Yes, take out the idol you carry on your breast. - - GUIMARD _takes out a locket_. - -BISKRA. Trample on it now, and then call on the only God, the Merciful -One, the Compassionate One! - -GUIMARD. [_Hesitating_] Saint Edward--my patron saint? - -BISKRA. Can he protect you? Can he? - -GUIMARD. No, he cannot!--[_Waking up_] Yes, he can! - -BISKRA. Let us see! - - _She opens the gate; the curtain flaps and the grass on the - floor moves_. - -GUIMARD. [_Covering his mouth_] Close the door! - -BISKRA. Throw down the idol! - -GUIMARD. No, I cannot. - -BISKRA. Do you see? The Simoom does not bend a hair on me, but you, the -infidel one, are killed by it! Throw down the idol! - -GUIMARD. [_Throws the locket on the floor_] Water! I die! - -BISKRA. Pray to the Only One, the Merciful and Compassionate One! - -GUIMARD. How am I to pray? - -BISKRA. Repeat after me. - -GUIMARD. Speak on! - -BISKRA. There is only one God: there is no other God but He, the -Merciful, the Compassionate One! - -GUIMARD. "There is only one God: there is no other God but He, the -Merciful, the Compassionate One." - -BISKRA. Lie down on the floor. - - GUIMARD _lies down unwillingly_. - -BISKRA. What do you hear? - -GUIMARD. I hear the murmuring of a spring. - -BISKRA. There you see! God is one, and there is no other God but He, -the Merciful and Compassionate One!--What do you see? - -GUIMARD. I can hear a spring murmur--I can see the light of a lamp--in -a window with green shutters--on a white street---- - -BISKRA. Who is sitting at the window? - -GUIMARD. My wife--Elise! - -BISKRA. Who is standing behind the curtain with his arm around her neck? - -GUIMARD. That's my son, George. - -BISKRA. How old is your son? - -GUIMARD. Four years on the day of Saint Nicholas. - -BISKRA. And he can already stand behind the curtain with his arm around -the neck of another man's wife? - -GUIMARD. No, he cannot--but it is he! - -BISKRA. Four years old, you say, and he has a blond mustache? - -GUIMARD. A blond mustache, you say?--Oh, that's--my friend Jules. - -BISKRA. Who is standing behind the curtain with his arm around your -wife's neck? - -GUIMARD. Oh, you devil! - -BISKRA. Do you see your son? - -GUIMARD. No, I don't see him any longer. - - BISKRA. [_Imitates the tolling of bells on the guitar_] What do - you see now? - -GUIMARD. I see bells ringing--I taste dead bodies--their smell in my -mouth is like rancid butter--faugh! - -BISKRA. Can't you hear the priest chanting the service for a dead child? - -GUIMARD. Wait!--I cannot hear--[_Wistfully_] But do you want me -to?--There!--I can hear it! - -BISKRA. Do you see the wreath on the coffin they are carrying? - -GUIMARD. Yes---- - -BISKRA. There are violet ribbons on it--and there are letters printed -in silver--"Farewell, my darling George--from your father." - -GUIMARD. Yes, that's it! [_He begins to cry_] My George! O George, my -darling boy!--Elise--wife--can't you console me?--Oh, help me! [_He is -groping around_] Elise, where are you? Have you left me? Answer! Call -out the name of your love! - -A VOICE. [_Coming from the roof_] Jules! Jules! - -GUIMARD. Jules! But my name is--what is my name? It is Charles! And she -is calling Jules! Elise--my beloved wife--answer me--for your spirit -is here--I can feel it--and you promised never to love anybody else---- - - _The_ VOICE _is heard laughing_. - -GUIMARD. Who is laughing? - -BISKRA. Elise--your wife. - -GUIMARD. Oh, kill me! I don't want to live any longer! Life sickens -me like sauerkraut at Saint-Doux--You there--do you know what -Saint-Doux is? Lard! [_He tries to spit_] Not a drop of saliva -left!--Water--water--or I'll bite you! - - _The wind outside has risen to a full storm_. - -BISKRA. [_Puts her hand to her mouth and coughs_] Now you are dying, -Frank! Write down your last wishes while there is still time--Where is -your note-book? - -GUIMARD. [_Takes out a note-book and a pencil_] What am I to write? - -BISKRA. When a man is to die, he thinks of his wife--and his child! - -GUIMARD. [_Writes_] "Elise--I curse you! Simoom--I die----" - -BISKRA. And then sign it, or it will not be valid as a testament. - -GUIMARD. What shall I sign? - -BISKRA. Write: La ilaha illa 'llah. - -GUIMARD. [_Writing_] It is written.--And can I die now? - -BISKRA. Now you can die--like a craven soldier who has deserted his -people! And I am sure you'll get a handsome burial from the jackals -that will chant the funeral hymn over your corpse. [_She drums the -signal for attack on the guitar_] Can you hear the drums--the attack -has begun--on the Faithful, who have the sun and the Simoom on their -side--they are now advancing--from their hiding-places--[_She makes a -rattling noise on the guitar_] The Franks are firing along the whole -line--they have no chance to load again--the Arabs are firing at their -leisure--the Franks are flying! - -GUIMARD. [_Rising_] The Franks never flee! - -BISKRA. The Franks will flee when they hear the call to retreat. - - [_She blows the signal for "retreat" on a flute which she has - produced from under her burnoose_. - -GUIMARD. They are retreating--that's the signal--and I am here--[_He -tears off his epaulets_] I am dead! - - [_He falls to the ground_. - -BISKRA. Yes, you are dead!--And you don't know that you have been dead -a long time. - - [_She goes to the ossuary and takes from it a human skull_. - -GUIMARD. Have I been dead? - - [_He feels his face with his hands_. - -BISKRA. Long! Long!--Look at yourself in the mirror here! [_She holds -up the skull before him_. - -GUIMARD. Ah! That's me! - -BISKRA. Can't you see your own high cheek-bones? Can't you see the eyes -that the vultures have picked out? Don't you know that gap on the right -side of the jaw where you had a tooth pulled? Can't you see the hollow -in the chin where, grew the beard that your Elise was fond of stroking? -Can't you see where used to be the ear that your George kissed at -the breakfast-table? Can't you see the mark of the axe--here in the -neck--which the executioner made when he cut off the deserter's head---- - - GUIMARD, _who has been watching her movements and listening to - her words with evident horror, sinks down dead_. - -BISKRA. [_Who has been kneeling, feels his pulse; then she rises and -sings_] Simoom! Simoom! [_She opens both gates; the curtain flutters -like a banner in the wind; she puts her hand up to her mouth and falls -over backward, crying_] Yusuf! - - - -THIRD SCENE - - - BISKRA. GUIMARD (_dead_). YUSUF _comes out of the cellar_. - - -YUSUF. [_Having examined the body of_ GUIMARD, _he looks for_ BISKRA] -Biskra! [_He discovers her and takes her up in his arms_] Are you alive? - -BISKRA. Is the Frank dead? - -YUSUF. If he is not, he will be. Simoom! Simoom! - -BISKRA. Then I live! But give me some water! - -YUSUF. [_Carrying her toward the cellar_] Here it is!--And now Yusuf is -yours! - -BISKRA. And Biskra will be your son's mother, O Yusuf, great Yusuf! - -YUSUF. My strong Biskra! Stronger than the Simoom! - -_Curtain_. - - - - -DEBIT AND CREDIT - -(DEBET OCH KREDIT) - -AN ACT - -1893 - - - CHARACTERS - - AXEL, _Doctor of Philosophy and African explorer_ - THURE, _his brother, a gardener_ - ANNA, _the wife of_ THURE - MISS CECILIA - THE FIANCE _of_ CECILIA - LINDGREN, _Doctor of Philosophy and former school-teacher_ - MISS MARIE - THE COURT CHAMBERLAIN - THE WAITER - - - -DEBIT AND CREDIT - -_A well-furnished hotel room. There are doors on both sides_. - - - -FIRST SCENE - - - THURE _and his_ WIFE. - -THURE. There's some style to this room, isn't there? But then the -fellow who lives here is stylish, too. - -WIFE. Yes, so I understand. Of course, I've never seen your brother, -but I've heard a whole lot. - -THURE. Oh, gossip! _My_ brother, the doctor, has gone right across -Africa, and that's something everybody can't do. So it doesn't matter -how many drinks he took as a young chap---- - -WIFE. Yes, your brother, the doctor! Who is nothing but a -school-teacher, for that matter---- - -THURE. No, he's a doctor of philosophy, I tell you---- - -WIFE. Well, that's nothing but one who teaches. And that's just what my -brother is doing in the school at Aby. - -THURE. Your brother is all right, but he is nothing but a public-school -teacher, and that's not the same as a doctor of philosophy--which isn't -a boast either. - -WIFE. Well, no matter what he is or what you call him, he has cost us a -whole lot. - -THURE. Of course it has been rather costly, but then he has brought us -a lot of pleasure, too. - -WIFE. Fine pleasures! When we've got to lose house and home for his -sake! - -THURE. That's so--but then we don't know yet if his slip-up on the loan -had some kind of cause that he couldn't help. I guess it isn't so easy -to send registered letters from darkest Africa. - -WIFE. Whether he has any excuses or not doesn't change the matter a -bit. But if he wants to do something for us--it's nothing more than he -owes us. - -THURE. Well, we'll see, we'll see!--Anyhow, have you heard they've -already given him four decorations? - -WIFE. Well, that doesn't help us any. I guess it'll only make him a -little more stuck-up. Oh, no, it'll be some time before I get over that -the sheriff had to come down on us with the papers--and bring in other -people as witnesses--and then--the auction--and all the neighbours -coming in and turning all we had upside down. And do you know what made -me sorer than all the rest? - -THURE. The black---- - -WIFE. Yes, it was that my sister-in-law should bid in my black silk -dress for fifteen crowns. Think of it--fifteen crowns! - -THURE. You just wait--just wait a little! We might get you a new silk -dress---- - -WIFE. [_Weeping_] But it'll never be the same one--the one my -sister-in-law bid in. - -THURE. We'll get another one then!--Now, just look at that gorgeous hat -over there! I guess it must be one of those royal chamberlains who's -talking with Axel now. - -WIFE. What do I care about that! - -THURE. Why, don't you think it's fun that a fellow who has the same -name as you and I gets to be so respected that the King's own household -people have to visit him? If I remember right, you were happy for a -whole fortnight when your brother, the school-teacher, had been asked -to dine at the bishop's. - -WIFE. I can't remember anything of the kind. - -THURE. Of course you can't! - -WIFE. But I do remember the fifteenth of March, when we had to leave -our place for his sake, and we hadn't been married more than two years, -and I had to carry away the child on my own arm--Oh!--and then, when -the steamer came with all the passengers on board just as we had to get -out--all the cocked hats in the world can't make me forget that! And, -for that matter, what do you think a royal chamberlain cares about a -plain gardener and his wife when they've just been turned out of house -and home? - -THURE. Look here! What do you think this is? Look at all his -decorations!--Look at this one, will you! - - _He takes an order out of its case, holds it in the palm of his - hand, and pats it as if it were a living thing_. - -WIFE. Oh, that silly stuff! - -THURE. Don't you say anything against them, for you never can tell -where you'll end. The gardener at Staring was made a director and a -knight on the same day. - -WIFE. Well, what does that help us? - -THURE. No, of course not--it doesn't help us--but these things here -[_pointing to the orders_] may help us a whole lot in getting another -place.--However, I think we've waited quite a while now, so we'd better -sit down and make ourselves at home. Let me help you off with your -coat--come on now! - -WIFE. [_After a slight resistance_] So you think we're going to be -welcome, then? I have a feeling that our stay here won't last very long. - -THURE. Tut, tut! And I think we're going to have a good dinner, too, if -I know Axel right. If he only knew that we're here--But now you'll -see! [_He presses a button and a_ WAITER _enters_] What do you want--a -sandwich, perhaps? [_To the_ WAITER] Bring us some sandwiches and -beer.--Wait a moment! Get a drink for me--the real stuff, you know! -[_The_ WAITER _goes out_] You've got to take care of yourself, don't -you know. - - - -SECOND SCENE - - - THURE _and his_ WIFE. AXEL. The CHAMBERLAIN. - -AXEL. [_To the_ CHAMBERLAIN] At five, then--in full dress, I suppose? - -CHAMBERLAIN. And your orders! - -AXEL. Is it necessary? - -CHAMBERLAIN. Absolutely necessary, if you don't want to seem rude, and -that's something which you, as a democrat, want least of all. Good-bye, -doctor! - -AXEL. Good-bye. - - _In leaving, the_ CHAMBERLAIN _bows slightly to_ THURE _and - his_ WIFE, _neither of whom returns the salute_. - - - -THIRD SCENE - - - AXEL. THURE _and his_ WIFE. - -AXEL. Oh, is that you, old boy?--It seems an eternity since I saw you -last. And this is your wife?--Glad to see you! - -THURE. Thanks, brother! And I wish you a happy return after your long -trip. - -AXEL. Yes, that was something of a trip--I suppose you have read about -it in the papers---- - -THURE. Oh, yes, I've read all about it. [_Pause_] And then father sent -you his regards. - -AXEL. Oh, is he still sore at me? - -THURE. Well, you know the old man and his ways. If only you hadn't been -a member of that expedition, you know, he would have thought it one of -the seven wonders of the world. But as you were along, of course, it -was nothing but humbug. - -AXEL. So he's just the same as ever! Simply because I am _his_ son, -nothing I ever do can be of any value. It means he can't think very -much of himself either.--Well, so much for that! And how are you -getting along nowadays? - -THURE. Not very well, exactly! There's that old loan from the bank, you -know---- - -AXEL. Yes, that's right! Well, what happened to it? - -THURE. Oh, what happened was that I had to pay it. - -AXEL. That's too bad! But we'll settle the matter as soon as we have a -chance. - - _The_ WAITER _comes in with_ THURE's _order on a tray_. - -AXEL. What's that? - -THURE. Oh, it was only me who took the liberty of ordering a couple of -sandwiches---- - -AXEL. Right you were! But I think we ought to have some wine, so I -could drink the health of my sister-in-law, as I couldn't get to the -wedding. - -THURE. Oh, no--not for us! Not so early in the morning! Thanks very -much! - -AXEL. [_Signals to the_ WAITER, _who goes out_] I should have asked you -to stay for dinner, but I have to go out myself. Can you guess where I -am going? - -THURE. You don't mean to say you're going to the Palace? - -AXEL. Exactly--I am asked to meet the Monarch himself. - -THURE. Lord preserve us!--What do you think of that, Anna? - - _His_ WIFE _turns and twists on her chair as if in torment, - quite unable to answer_. - -AXEL. I suppose the old man will turn republican after this, when he -hears that His Majesty cares to associate with me. - -THURE. See here, Axel--you'll have to pardon me for getting back to -something that's not very pleasant--but it has to be settled. - -AXEL. Is it that blessed old loan? - -THURE. Yes, but it isn't only that. To put it plain--we've had to stand -an execution for your sake, and now we're absolutely cleaned out. - -AXEL. That's a fine state of affairs! But why in the world didn't you -get the loan renewed? - -THURE. Well, that's it! How was I to get any new sureties when you were -away? - -AXEL. Couldn't you go to my friends? - -THURE. I did. And the result was--what it was. Can you help us out now? - -AXEL. How am I going to help you now? Now when all my creditors are -getting after me? And it won't do for me to start borrowing when they -are just about to make a position for me. There's nothing that hurts -you more than to borrow money. Just wait a little while, and we'll get -it all straightened out. - -THURE. If we're to wait, then everything's up with us. This is just the -time to get hold of a garden--this is the time to start digging and -sowing, if you are to get anything up in time. Can't you get a place -for us? - -AXEL. Where am I to get hold of a garden? - -THURE. Among your friends. - -AXEL. My friends keep no gardens. Now, don't you hamper me when I try -to get up on firm ground! When I am there I'll pull you up, too. - -THURE. [_To his_ WIFE] He doesn't want to help us, Anna! - -AXEL. I cannot--not this moment! Do you think it reasonable that I, who -am seeking a job myself, should have to seek one for you, too? What -would people be saying, do you think? "There, now," they would say, -"we've got not only him but his relatives to look after!" And then they -would drop me entirely. - -THURE. [_Looks at his watch; then to his wife_] We've got to go. - -AXEL. Why must you go so soon? - -THURE. We have to take the child to a doctor. - -AXEL. For the Lord's sake, have you a child, too? - -WIFE. Yes, we have. And a sick child, which lost its health when we had -to move out into the kitchen so that the auction could be held. - -AXEL. And all this for my sake! It's enough to drive me crazy! For -my sake! So that I might become a famous man!--And what is there I -can do for you?--Do you think it would have been better if I had -stayed at home?--No, worse--for then I should have been nothing but -a poor teacher, who certainly could not have been of any use to you -whatever.--Listen, now! You go to the doctor, but come back here after -a while. In the meantime I'll think out something. - -THURE. [_To his_ WIFE] Do you see now, that he wants to help us? - -WIFE. Yes, but can he do it? That's the question. - -THURE. He can do anything he wants. - -AXEL. Don't rely too much on it--or the last state may prove worse -than the first.--Oh, merciful heavens, to think that you have a sick -child, too! And for my sake! - -THURE. Oh, I guess it isn't quite as bad as it sounds. - -WIFE. Yes, so you say, who don't know anything about it---- - -THURE. Well, Axel, we'll see you later then. - -LINDGREN _appears in the doorway_. - -WIFE. [_To_ THURE] Did you notice he didn't introduce us--to the -chamberlain? - -THURE. Oh, shucks, what good would that have been? - -[_They go out_. - - - -FOURTH SCENE - - - AXEL. LINDGREN, _who is shabbily dressed, unshaved, apparently - fond of drinking, and looking as if he had just got out of bed_. - -AXEL _is startled for a moment at the sight of_ LINDGREN. - -LINDGREN. You don't recognise me? - -AXEL. Yes, now I do. But you have changed a great deal. - -LINDGREN. Oh, you think so? - -AXEL. Yes, I do, and I am surprised to find that these years can have -had such an effect---- - -LINDGREN. Three years may be pretty long.--And you don't ask me to sit -down? - -AXEL. Please--but I am rather in a hurry. - -LINDGREN. You have always been in a hurry. - - [_He sits down; pause._ - -AXEL. Why don't you say something unpleasant? - -LINDGREN. It's coming, it's coming! - - [_He wipes his spectacles; pause._ - -AXEL. How much do you need? - -LINDGREN. Three hundred and fifty. - -AXEL. I haven't got it, and I can't get it. - -LINDGREN. Oh, sure!--You don't mind if I help myself to a few drops? - - _He pours out a drink from the bottle brought by the_ Waiter - _for_ THURE. - -AXEL. Won't you have a glass of wine with me instead? - -LINDGREN. No--why? - -AXEL. Because it looks bad to be swilling whisky like that. - -LINDGREN. How very proper you have become! - -AXEL. Not at all, but it hurts my reputation and my credit. - -LINDGREN. Oh, you have credit? Then you can also give me a lift, after -having brought me down. - -AXEL. That is to say: you are making demands? - -LINDGREN. I am only reminding you that I am one of your victims. - -AXEL. Then, because of the gratitude I owe you, I shall bring these -facts back to your mind: that you helped me through the university at -a time when you had plenty of money; that you helped to get my thesis -printed---- - -LINDGREN. That I taught you the methods which determined your -scientific career; that I, who then was as straight as anybody, -exercised a favourable influence on your slovenly tendencies; that, in -a word, I made you what you are; and that, finally, when I applied for -an appropriation to undertake this expedition, you stepped in and took -it. - -AXEL. No, I got it. Because I, and not you, was held to be the man for -the task. - -LINDGREN. And that settled me! Thus, one shall be taken, and the other -left!--Do you think that was treating me fairly? - -AXEL. It was what the world calls "ungrateful," but the task was -achieved, and by it science was enriched, the honour of our country -upheld, and new regions opened for the use of coming generations. - -LINDGREN. Here's to you!--You have had a lot of oratorical -practice--But have you any idea how unpleasant it feels to play the -part of one used up and cast off? - -AXEL. I imagine it must feel very much like being conscious of -ingratitude, and I can only congratulate you at not finding yourself in -a position as unpleasant as my own.--But let us return to reality. What -can I do for you? - -LINDGREN. What do you think? - -AXEL. For the moment--nothing. - -LINDGREN. And in the next moment you are gone again. Which means that -this would be the last I saw of you. - - [_He pours out another drink_. - -AXEL. Will you do me the favour of not finishing the bottle? I don't -want the servants to suspect me of it. - -LINDGREN. Oh, go to hell! - -AXEL. You don't think it's pleasant for me to have to call you down -like this, do you? - -LINDGREN. Say--do you want to get me a ticket for the banquet to-night? - -AXEL. I am sorry to say that I don't think you would be admitted. - -LINDGREN. Because--- - -AXEL. You are drunk! - -LINDGREN. Thanks, old man!--Well, will you let me have a look at your -botanical specimens, then? - -AXEL. No, I am going to describe them myself for the Academy. - -LINDGREN. How about your ethnographical stuff? - -AXEL. No, that's not my own. - -LINDGREN. Will you--let me have twenty-five crowns? - -AXEL. As I haven't more than twenty myself, I can only give you ten. - -LINDGREN. Rotten! - -AXEL. Thus stand the affairs of the man everybody envies. Do you think -there is anybody in whose company I might feel happy? Not one! Those -that are still down hate me for climbing up, and those already up fear -one coming from below. - -LINDGREN. Yes, you are very unfortunate! - -AXEL. I am! And I can tell you that after my experience during the last -half-hour, I wouldn't mind changing place with you. What a peaceful, -unassailable position he holds who has nothing to lose! What a lot -of interest and sympathy those that are obscure and misunderstood -and over-looked always arouse! You have only to hold out your hand -and you get a coin. You have only to open your arms, and there are -friends ready to fall into them. And then what a powerful party behind -you--formed of the millions who are just like you! You enviable man who -don't realise your own good fortune! - -LINDGREN. So you think me that far down, and yourself as high up as -all that?--Tell me, you don't happen to have read to-day's paper? [_He -takes a newspaper from his pocket_. - -AXEL. No, and I don't care to read it either. - -LINDGREN. But you ought to do it for your own sake. - -AXEL. No, I am not going to do it--not even for _your_ sake. It is as -if you said: "Come here and let me spit at you." And then you are silly -enough to demand that I shall come, too.--Do you know, during these -last minutes I have become more and more convinced that if I had ever -come across you in the jungle, I should beyond all doubt have picked -you off with my breech-loader? - -LINDGREN. I believe it--beast of prey that you are! - -AXEL. It isn't safe to settle accounts with one's friends, or with -persons with whom one has been intimate, for it is hard to tell in -advance who has most on the debit side. But as you are bringing in -a bill, I am forced to look it over.--You don't think it took me -long to discover that back of all your generosity lay an unconscious -desire to turn me into the strong arm which you lacked--to make me -do for you what you couldn't do for yourself? I had imagination and -initiative--you had nothing but money and--"pull." So I am to be -congratulated that you didn't eat me, and I may be excused for eating -you--my only choice being to eat or be eaten! - -LINDGREN. You beast of prey! - -AXEL. You rodent, who couldn't become a beast of prey--although that -was just what you wished! And what you want at this moment is not so -much to rise up to me as to pull me down to where you are.--If you -have anything of importance to add, you had better hurry up, for I am -expecting a visit. - -LINDGREN. From your fiancee? - -AXEL. So you have snooped that out, too? - -LINDGREN. Sure enough! And I know what Marie, the deserted one, thinks -and says--I know what has happened to your brother and his wife---- - -AXEL. Oh, you know my fiancee? For, you see, it so happens that I am -not yet engaged! - -LINDGREN. No, but I know _her_ fiance. - -AXEL. What does that mean? - -LINDGREN. Why, she has been running around with another fellow all the -time--So you didn't know that? - -AXEL. [_As he listens for something going on outside_] Oh, yes, I knew -of it, but I thought she was done with him--See here, if you'll come -back in a quarter of an hour, I'll try to get things arranged for you -in some way or another. - -LINDGREN. Is that a polite way of showing me the door? - -AXEL. No, it's an attempt to meet an old obligation. Seriously! - -LINDGREN. Well, then I'll go--and come back--Good-bye for a while. - - - -FIFTH SCENE - - - AXEL. LINDGREN. _The_ WAITER. _Then the_ FIANCE, _dressed in - black, with a blue ribbon in the lapel of his coat_. - -WAITER. There's a gentleman here who wants to see you. - -AXEL. Let him come in. - - _The_ WAITER _goes out, leaving the door open behind him. The_ - FIANCE _enters_. - -LINDGREN. [_Observing the newcomer closely_] Well, good-bye. - -AXEL--and good luck! [_He goes out_. - -AXEL. Good-bye. - - - -SIXTH SCENE - - - AXEL. _The_ FIANCE [_much embarrassed_] - -AXEL. With whom have I the honour----? - -FIANCE. My name is not a name in the same way as yours, Doctor, and my -errand concerns a matter of the heart---- - -AXEL. Oh, do you happen to be--You know Miss Cecilia? - -FIANCE. I am the man. - -AXEL. [_Hesitating for a moment; then with decision_] Please be seated. -[_He opens the door and beckons the_ WAITER. - -_The_ WAITER _enters_. - -AXEL. [_To the_ WAITER] Have my bill made out, see that my trunk is -packed, and bring me a carriage in half an hour. - -WAITER. [_Bowing and leaving_] Yes, Doctor. - -AXEL. [_Goes up to the_ FIANCE _and sits down on a chair beside him_] -Now let's hear what you have to say? - -FIANCE. [_After a pause, with unction_] There were two men living in -the same city, one rich and the other poor. The rich man had sheep and -cattle in plenty. The poor man owned nothing but one ewe lamb---- - -AXEL. What does that concern me? - -FIANCE. [_As before_] One ewe lamb, which he had bought and was trying -to raise. - -AXEL. Oh, life's too short. What do you want? Are you and Miss Cecilia -still engaged? - -FIANCE. [_Changing his tone_] I haven't said a word about Miss Cecilia, -have I? - -AXEL. Well, sir, you had better get down to business, or I'll show you -the door. But be quick about it, and get straight to the point, without -any frills---- - -FIANCE. [_Holding out his snuff-box_] May I? - -AXEL. No, thanks. - -FIANCE. A great man like you has no such little weaknesses, I suppose? - -AXEL. As you don't seem willing to speak, I shall. Of course, it is -none of your business, but it may do you good to learn of it, as you -don't seem to know it: I am regularly engaged to Miss Cecilia, who -formerly was your fiancee. - -FIANCE. [_Startled_] Who was? - -AXEL. Because she has broken with you. - -FIANCE. I know nothing about it. - -AXEL. [_Taking a ring from the pocket of his waistcoat]_ That's -strange, but now you do know. And here you can see the ring she has -given me. - -FIANCE. So she has broken with me? - -AXEL. Yes, as she couldn't be engaged to two men at the same time, and -as she had ceased to care for you, she had to break with you. I might -have told you all this in a more decent fashion, if you hadn't stepped -on my corns the moment you came in. - -FIANCE. I didn't do anything of the kind. - -AXEL. Cowardly and disingenuous--cringing and arrogant at the same time! - -FIANCE. [_Gently_] You are a hard man, Doctor. - -AXEL. No, but I may become one. You showed no consideration for my -feelings a moment ago. You sneered, which I didn't. And that's the end -of our conversation. - -FIANCE. [_With genuine emotion_] I feared that you might take away from -me my only lamb--but you wouldn't do that, you who have so many---- - -AXEL. Suppose I wouldn't--are you sure she would stay with you anyhow? - -FIANCE. Put yourself in my place, Doctor---- - -AXEL. Yes, if you'll put yourself in mine. - -FIANCE. I am a poor man---- - -AXEL. So am I! But judging by what I see and hear, you have certain -bliss waiting for you in the beyond. That's more than I have.--And, -furthermore, I have taken nothing away from you: I have only received -what was offered me. Just as you did! - -FIANCE. And I who had been dreaming of a future for this young woman--a -future full of brightness---- - -AXEL. Pardon me a piece of rudeness, but you began it: are you so sure -that the future of this young woman will not turn out a great deal -brighter by my side? - -FIANCE. You are now reminding me of my humble position as a worker---- - -AXEL. No, I am reminding you of that young woman's future, which you -have so much at heart. And as I am told that she has ceased to care -for you, but does care for me, I am only taking the liberty to dream of -a brighter future for her with the man she loves than with the man she -doesn't love. - -FIANCE. You are a strong man, you are, and we little ones were born to -be your victims! - -AXEL. See here, my man, I have been told that you got the better -of another rival for Cecilia's heart, and that you were not very -scrupulous about the means used for the purpose. How do you think that -_victim_ liked you? - -FIANCE. He was a worthless fellow. - -AXEL. From whom you saved the girl! And now I save her from you! -Good-bye! - - - -SEVENTH SCENE - - - AXEL. _The_ FIANCE. CECILIA. - -FIANCE. Cecilia! - -CECILIA _draws back from him_. - -FIANCE. You seem to know your way into this place? - -AXEL. [_To the_ FIANCE] You had better disappear! - -CECILIA. I want some water! - -FIANCE. [_Picking up the whisky bottle from the table_] The bottle -seems to be finished!--Beware of that man, Cecilia! - -AXEL. [_Pushing the_ FIANCE _out through the door_] Oh, your presence -is wholly superfluous--get out! - -FIANCE. Beware of that man, Cecilia! [_He goes out_. - - - -EIGHTH SCENE - - - AXEL. CECILIA. - -AXEL. That was a most unpleasant incident, which you might have spared -me--both by breaking openly with him and by not coming to my room. - -CECILIA. [_Weeping_] So I am to be scolded, too? - -AXEL. Well, the responsibility had to be fixed, and now, when that's -done--we can talk of something else.--How are you, to begin with? - -CECILIA. So, so! - -AXEL. Not well, that means? - -CECILIA. How are you? - -AXEL. Fine--only a little tired. - -CECILIA. Are you going with me to see my aunt this after-noon? - -AXEL. No, I cannot, for I have to drive out. - -CECILIA. And that's more fun, of course. You go out such a lot, and -I--never! - -AXEL. Hm! - -CECILIA. Why do you say "hm"? - -AXEL. Because your remark made an unpleasant impression on me. - -CECILIA. One gets so many unpleasant impressions these days---- - -AXEL. For instance? - -CECILIA. By reading the papers. - -AXEL. So you have been reading those scandalous stories about me! And -you believe them? - -CECILIA. One doesn't know what to believe. - -AXEL. So you really suspect me of being the unscrupulous fellow -pictured in those stories? And as you are nevertheless willing to marry -me, I must assume that you are moved by purely practical considerations -and not by any personal attraction. - -CECILIA. You speak so harshly, as if you didn't care for me at all! - -AXEL. Cecilia--are you willing to leave this place with me in fifteen -minutes? - -CECILIA. In fifteen minutes! For where! - -AXEL. London. - -CECILIA. I am not going with you until we are married. - -AXEL. Why? - -CECILIA. Why should we leave like that, all of a sudden? - -AXEL. Because--it's suffocating here! And if I stay, they'll drag me -down so deep that I'll never get up again. - -CECILIA. How strange! Are you as badly off as that? - -AXEL. Do you come with me, or do you not? - -CECILIA. Not until we are married--for afterward you would never marry -me. - -AXEL. So that's your faith in me!--Will you sit down for a moment, -then, while I go in and write a couple of letters? - -CECILIA. Am I to sit here alone, with all the doors open? - -AXEL. Well, don't lock the door, for then we are utterly lost. [_He -goes out to the left_. - -CECILIA. Don't be long! - - _She goes up to the door leading to the hallway and turns the - key in the lock_. - - - -NINTH SCENE - - - CECILIA _alone for a moment. Then_ MARIE _enters_. - -CECILIA. Wasn't the door locked? - -MARIE. Not as far as I could see!--So it was meant to be locked? - -CECILIA. I haven't the honour? - -MARIE. Nor have I. - -CECILIA. Why should you? - -MARIE. How refined! Oh, I see! So it's you! And I am the victim--for a -while! - -CECILIA. I don't know you. - -MARIE. But I know you pretty well. - -CECILIA. [_Rises and goes to the door at the left_] Oh, you do? -[_Opening the door and speaking to_ AXEL] Come out here a moment! - - - -TENTH SCENE - - - CECILIA. MARIE. AXEL. - -AXEL. [_Entering; to_ MARIE] What do you want here? - -MARIE. Oh, one never can tell. - -AXEL. Then you had better clear out. - -MARIE. Why? - -AXEL. Because what there was between us came to an end three years ago. - -MARIE. And now there is another one to be thrown on the scrap heap? - -AXEL. Did I ever give you any promises that were not kept? Have I ever -owed you anything? Have I ever said a word about marriage? Have we had -any children together? Have I been the only one to receive your favours? - -MARIE. But now you mean to be the only one? With that one over there! - -CECILIA. [_Goes up to_ MARIE] What do you mean?--I don't know you! - -MARIE. No, but there was a time when you did know me. And I remember -that when we met in the streets we called each other by our first -names. [_To_ AXEL] And now you are going to marry her? No, you know, -you are really too good for that! - -AXEL. [_To_ CECILIA] Have you known that woman before? - -CECILIA. No. - -MARIE. You ought to be ashamed of yourself? I simply didn't recognise -you at first because of your swell clothes---- - - AXEL _gazes intently at_ CECILIA. - -CECILIA. [_To_ AXEL] Come--I'll go with you! - -AXEL. [_Preoccupied_] In a moment! Just wait a while! I am only going -in to write another letter--But now we'll close the door first of all. - -MARIE. No, thank you, I don't want to be locked in as she was a while -ago. - -AXEL. [_Interested_] Was the door locked? - -CECILIA. [_To_ MARIE] You don't dare say that the door was locked! - -MARIE. As you expected it to be locked, I suppose you had tried to lock -it and had not succeeded---- - -AXEL. [_Observes_ CECILIA; _then to_ MARIE] It always seemed to me that -you were a nice girl, Marie. Will you let me have my letters back now? - -MARIE. No. - -AXEL. What are you going to do with them? - -MARIE. I hear that I can sell them, now when you have become famous. - -AXEL. And get your revenge at the same time? - -MARIE. Exactly. - -AXEL. Is it Lindgren----? - -MARIE. Yes!--And here he is now himself. - - - -ELEVENTH SCENE - - - CECILIA. MARIE. AXEL. LINDGREN. - -LINDGREN. [_Enters in high spirits_] Well, what a lot of skirts! And -Marie, too--like the cuckoo that's in every nest! Now listen, Axel! - -AXEL. I hear you even when I don't see you. You're in a fine -humour--what new misfortune has befallen me? - -LINDGREN. I was only a little sour this morning because I hadn't had -a chance to get wound up. But now I've had a bite to eat--Well, you -see--at bottom you don't owe me anything at all. For what I did, I -did out of my heart's goodness, and it has brought me both honour and -pleasure--and what you got was a gift and no loan! - -AXEL. Now you are altogether too modest and generous. - -LINDGREN. Not at all! However, one favour calls for another. Would you -mind becoming my surety on this note? - - AXEL _hesitates_. - -LINDGREN. Well, you needn't be afraid that I'm going to put you in the -same kind of fix as your brother did---- - -AXEL. What do you mean? It was I who put him---- - -LINDGREN. Yes, to the tune of two hundred crowns--but he got your name -as surety for five years' rent---- - -AXEL. [_In a low voice_] Jesus Christ! - -LINDGREN. What's that?--Hm--hm! - -AXEL. [_Looking at his watch_] Just wait a few minutes--I have only to -write a couple of letters. - - CECILIA _starts to go with him_. - -AXEL. [_Holds her back_] Just a few minutes, my dear--[_He kisses her -on the forehead_] Just a few minutes! - - [_He goes toward the left_. - -LINDGREN. Here's the note--you might sign it while you are at it. - -AXEL. Give it to me! - - [_He goes out with an air of determination_. - - - -TWELFTH SCENE - - - CECILIA. MARIE. LINDGREN. - -LINDGREN. Well, girls, are you on good terms again? - -MARIE. Oh, yes, and before we get away, we'll be on still better terms. - - CECILIA _makes a face_. - -MARIE. I should like to have some fun to-day. - -LINDGREN. Come along with me! I'll have money! - -MARIE. No! - - CECILIA _sits down with evident anxiety near the door through - which_ AXEL _disappeared--as if seeking support in that - direction_. - -LINDGREN. Let's take in the fireworks to-night--then we can see how a -great man looks in red light--what do you say to that, Cissie dear? - -CECILIA. Oh, I'll be sick if I have to stay here longer! - -MARIE. Well, it wouldn't be the first time. - -LINDGREN. Scrap, girls, and I'll watch you! Fight till the fur -flies--won't you? - - - -THIRTEENTH SCENE - - - CECILIA. MARIE. LINDGREN. THURE _and his_ WIFE _enter_. - -LINDGREN. Well, well! Old friends! How are you? - -THURE. All right. - -LINDGREN. And the child? - -THURE. The child? - -LINDGREN. Oh, you have forgotten it?--Are you equally forgetful about -names? - -THURE. Names? - -LINDGREN. Signatures!--He must be writing an awful lot in there! - -THURE. Is my brother, the doctor, in there? - -LINDGREN. I don't know if the doctor is there, but your brother went -in there a while ago.--And, for that matter, we might find out. [_He -knocks at the door_] Silent as the grave! [_Knocks again_] Then I'll -walk right in. - - [_He goes out; everybody appears restless and anxious_. - -CECILIA. What can it mean? - -MARIE. Well, we'll see now. - -THURE. What has happened here? - -WIFE. Something is up!--You'll see he doesn't help us! - -LINDGREN. [_Returns, carrying in his hand a small bottle and some -letters_] What does it say? [_He reads the label on the bottle_] -Cyanide of potassium!--How stupid! What a sentimental idiot--to kill -himself for so little--[_Everybody cries out_] So you were no beast of -prey, my dear Axel!--But-[_He stares through the open door into the -adjoining room_]--he's not there--and his things are gone, too. So he -has skipped out! And the bottle has never been opened! That means--he -meant to kill himself, but changed his mind!--And these are his -posthumous writings. "To Miss Cecilia"--seems to contain some round -object--probably an engagement ring--there you are!--"To my brother -THURE" [_He holds up the letter to the light_]--with a piece of blue -paper inside--must be a note--for the amount involved! You're welcome! - - _The_ FIANCE _appears in the doorway at the right_. - -THURE. [_Who has opened his letter_] Do you see that he helped us after -all---- - -WIFE. Oh, in that way! - -LINDGREN. And here's my note--without his name--He's a strong one, all -right! _Diable!_ - -MARIE. Then the fireworks will be called off, I suppose? - -FIANCE. Was there nothing for me? - -LINDGREN. Yes, I think there was a fiancee--somewhere over there!--I -tell you, that fellow is a wonder at clearing up tangled affairs!--Of -course, it makes me mad to think that I let myself be fooled--but I'll -be darned if I don't think I would have done just as he did!--And so -would you, perhaps?--Or what do you think? - -_Curtain_. - - - - -ADVENT - -(ADVENT) - -A MIRACLE PLAY - -1899 - - - CHARACTERS - - _The_ JUDGE - _The_ OLD LADY, _wife of the Judge_ - AMELIA - ADOLPH - _The_ NEIGHBOUR - ERIC - THYRA - _being the same person_ - _The_ OTHER ONE - _The_ FRANCISCAN - _The_ PLAYMATE - _The_ WITCH - _The_ PRINCE - _Subordinate characters, shadows, etc._ - - ACT I. THE VINEYARD WITH THE MAUSOLEUM - ACT II. THE DRAWING-ROOM - ACT III. THE WINE-CELLAR - THE GARDEN - ACT IV. THE CROSS-ROADS - THE "WAITING-ROOM" - THE CROSS-ROADS - ACT V. THE DRAWING-ROOM - THE "WAITING-ROOM" - - - - -ACT I - - - _The background represents a vineyard. At the left stands a - mausoleum. It consists of a small whitewashed brick building - with a door and a pointed window that lacks mullions and panes. - The roof is made of red tiles. A cross crowns the gable. - Clematis vines with purple-coloured, cross-shaped flowers cover - the front wall, at the foot of which appear a number of other - flowers_. - - _A peach-tree carrying fruit stands near the foreground. - Be-neath it sit the_ JUDGE _and the_ OLD LADY. - - _The_ JUDGE _wears a green cap with a peak, yellow - knee-breeches, and--a blue coat--all dating back to_ 1820. - _The_ OLD LADY _wears a kerchief on her head and carries - a stick, spectacles, and snuff-box. She has the general - appearance of a "witch." At the right is a small expiatory - chapel containing an image of the Holy Virgin. The fence in - front of it is hung with wreaths and nosegays. A prie-dieu is - placed against the fence_. - - -JUDGE. Life's eve has at last brought the sunshine which its morning -promised us. Early rains and late rains have blessed meadow and field. -And soon the songs of the vintagers will be heard all over the country. - -OLD LADY. Don't talk like that; somebody might hear you. - -JUDGE. Who could be listening here, and what harm could it do to thank -God for all good gifts? - -OLD LADY. It's better not to mention one's good fortune lest misfortune -overhear it. - -JUDGE. What of it? Was I not born with a caul? - -OLD LADY. Take care, take care! There are many who envy us, and evil -eyes are watching us. - -JUDGE. Well, let them! That's the way it has always been. And yet I -have prospered. - -OLD LADY. So far, yes. But I don't trust our neighbour. He has been -going around the village saying that we have cheated him out of his -property--and much more of the same kind which I don't care to repeat. -Of course, it doesn't matter when one has a clean conscience and can -point to a spotless life. Slander cannot hurt me. I go to confession -and mass, and I am prepared to close my eyes whenever my hour may -strike in order to open them again when I shall stand face to face with -my Judge. And I know also what I am going to answer then. - -JUDGE. What are you going to answer? - -OLD LADY. Like this: I was not without fault, O Lord, but even if I was -but a poor, sinful human creature, I was nevertheless a little better -than my neighbour. - -JUDGE. I don't know what has brought you to these thoughts just now, -and I don't like them. Perhaps it is the fact that the mausoleum is to -be consecrated in a few days? - -OLD LADY. Perhaps that is it, for, as a rule, I don't give much thought -to death. I have still every tooth left in my mouth, and my hair is as -plentiful as when I was a bride. - -JUDGE. Yes, yes--you have eternal youth, you as well as I, but just -the same we shall have to pass away. And as fortune has smiled on -us, we have wanted to avail ourselves of the privilege of resting in -ground belonging to ourselves And so we have built this little tomb -for ourselves here, where every tree knows us, where every flower will -whisper of our labours, and our troubles, and our struggles---- - -OLD LADY. Yes, struggles against envious neighbours and ungrateful -children---- - -JUDGE. There you said it: ungrateful children.--Have you seen anything -of Adolph? - -OLD LADY. No, I haven't seen him since he started out this morning to -raise the money for the rent. - -JUDGE. The money which he will never get--and I still less. But he -knows now that the time of grace is up, for this is the third quarter -rent that he has failed to pay. - -OLD LADY. Yes, out with him into the world, and let him learn to work -instead of sitting here and playing at son-in-law. I'll keep Amelia and -the children---- - -JUDGE. Do you think Amelia will let herself be separated from Adolph? - -OLD LADY. I think so, when it is a question whether her children are to -inherit anything from us or not--No, look! There it is again! - - _On the wall of the mausoleum appears a spot of sunlight - like those which children are fond of producing with a small - mirror_.[1] _It is vibrating as if it were reflected by running - water_. - -JUDGE. What is it? What is it? - -OLD LADY. On the mausoleum. Don't you see? - -JUDGE. It's the reflection of the sun on the river. It means---- - -OLD LADY. It means that we'll see the light of the sun for a long time -to come---- - -JUDGE. On the contrary. But that's all one. The best pillow for one's -head is a good conscience, and the reward of the righteous never -fails.--There's our neighbour now. - -NEIGHBOUR. [_Enters_] Good evening, Judge. Good evening, madam. - -JUDGE. Good evening, neighbour. How goes it? It wasn't yesterday we had -the pleasure. And how are your vines, I should have asked? - -NEIGHBOUR. The vines, yes--there's mildew on them, and the starlings -are after them, too. - -JUDGE. Well, well! There's no mildew on my vines, and I have neither -seen nor heard of any starlings. - -NEIGHBOUR. Fate does not distribute its gifts evenly: one shall be -taken and the other left. - -OLD LADY. I suppose there are good reasons for it? - -NEIGHBOUR. I see! The reward of the righteous shall not fail, and the -wicked shall not have to wait for their punishment. - -JUDGE. Oh, no malice meant! But you have to admit, anyhow, that it's -queer: two parcels of land lie side by side, and one yields good -harvests, the other poor ones---- - -NEIGHBOUR. One yields starlings and the other not: that's what I find -queerer still. But, then, everybody wasn't born with a caul, like you, -Judge. - -JUDGE. What you say is true, and fortune _has_ favoured me. I am -thankful for it, and there are moments when I feel proud of it as if I -had deserved it.--But listen, neighbour--you came as if you had been -sent for.--That leasehold of mine is vacant, and I wanted to ask you if -you care to take it. - - -[Footnote 1: In Sweden such spots are called "sun-cats."] - - _The_ OLD LADY _has in the meantime left her seat and gone to - the mausoleum, where she is busying herself with the flowers_. - -NEIGHBOUR. Oh, the leasehold is vacant. Hm! Since when? - -JUDGE. Since this morning. - -NEIGHBOUR. Hm! So!--That means your son-in-law has got to go? - -JUDGE. Yes, that good-for-nothing doesn't know how to manage. - -NEIGHBOUR. Tell me something else, Judge. Haven't you heard that the -state intends to build a military road across this property? - -JUDGE. Oh, I have heard some rumours to that effect, but I don't think -it's anything but empty talk. - -NEIGHBOUR. On the contrary, I have read it in the papers. That would -mean condemnation proceedings, and the loser would be the holder of the -lease. - -JUDGE. I cannot think so, and I would never submit to it. I to leave -this spot where I expect to end my days in peace, and where I have -prepared a final resting-place to escape lying with all the rest---- - -NEIGHBOUR. Wait a minute! One never knows what may prove one's final -resting-place. My father, who used to own this property, also expected -to be laid to rest in his own ground, but it happened otherwise. As far -as the leasehold is concerned, I must let it go. - -JUDGE. As you please. On my part the proposition was certainly -disinterested, as you are a man without luck. For it is no secret -that you fail in everything you undertake, and people have their own -thoughts about one who remains as solitary and friendless as you. Isn't -it a fact that you haven't a single friend? - -NEIGHBOUR. Yes, it's true. I have not a single friend, and that doesn't -look well. It is something I cannot deny. - -JUDGE. But to turn to other matters--is it true, as the legend has it, -that this vineyard once was a battle-field, and that this explains why -the wine from it is so fiery? - -NEIGHBOUR. No, that isn't what I have heard. My father told me that -this had been a place of execution, and that the gallows used to stand -where the mausoleum is now. - -JUDGE. Oh, how dreadful! Why did you tell me? - -NEIGHBOUR. Because you asked, of course.--And the last man to be hanged -on this spot was an unrighteous judge. And now he lies buried here, -together with many others, among them being also an innocent victim of -his iniquity. - -JUDGE. What kind of stories are those! [_He calls out_] Caroline! - -NEIGHBOUR. And that's why his ghost has to come back here. Have you -never seen him, Judge? - -JUDGE. I have never seen anything at all! - -NEIGHBOUR. But I have seen him. As a rule, he appears at the time when -the grapes are harvested, and then they hear him around the wine-press -down in the cellar. - -JUDGE. [_Calling out_] Caroline! - -OLD LADY. What is it? - -JUDGE. Come here! - -NEIGHBOUR. And he will never be at peace until he has suffered all the -torments his victim had to pass through. - -JUDGE. Get away from here! Go! - -NEIGHBOUR. Certainly, Judge! I didn't know you were so sensitive. [_He -goes out_. - -OLD LADY. What was the matter? - -JUDGE. Oh, he told a lot of stories that upset me. But-but--he is -plotting something evil, that fellow! - -OLD LADY. Didn't I tell you so! But you always let your tongue run -whenever you see anybody--What kind of foolish superstition was he -giving you? - -JUDGE. I don't want to talk of it. The mere thought of it makes me -sick. I'll tell you some other time.--There's Adolph now! - -ADOLPH. [_Entering_] Good evening! - -JUDGE. [_After a pause_] Well? - -ADOLPH. Luck is against me. I have not been able to get any money. - -JUDGE. I suppose there are good reasons for it? - -ADOLPH. I can see no reason why some people should fare well and others -badly. - -JUDGE. Oh, you can't?--Well, look into your own heart; search your own -thoughts and actions, and you'll find that you have yourself to blame -for your misfortunes. - -ADOLPH. Perhaps I may not call myself righteous in every respect, but -at least I have no serious crimes on my conscience. - -OLD LADY. You had better think well---- - -ADOLPH. I don't think that's needful, for my conscience is pretty -wakeful---- - -JUDGE. It can be put to sleep---- - -ADOLPH. Can it? Of course I have heard of evil-doers growing old in -crime, but as a rule their consciences wake up just before death; and -I have even heard of criminals whose consciences have awakened after -death. - -JUDGE. [_Agitated_] So that they had to come back, you mean? Have you -heard that story, too? It's strange that everybody seems to have heard -it except me---- - -OLD LADY. What are you talking about? Stick to business instead. - -ADOLPH. Yes, I think that's wiser, too. And, as the subject has been -broached, I want to tell you what I propose---- - -JUDGE. Look here, my boy! I think it a good deal more appropriate that -I should tell you what I have decided. It is this: that from this day -you cease to be my tenant, and that before the sun sets you must start -out to look for work. - -ADOLPH. Are you in earnest? - -JUDGE. You ought to be ashamed! I am not in the habit of joking. And -you have no cause for complaint, as you have been granted respite twice. - -ADOLPH. While my crops have failed three times. Can I help that? - -JUDGE. Nor have I said so. But I can help it still less. And you are -not being judged by me. Here is the contract--here's the broken -agreement. Was that agreement broken by me? Oh, no! So I am without -responsibility and wash my hands of the matter. - -ADOLPH. This may be the law, but I had thought there ought to be some -forbearance among relatives--especially as, in the natural course of -events, this property should pass on to your offspring. - -OLD LADY. Well, well: the natural course of events! He's going around -here wishing the life out of us! But you just look at me: I am good for -twenty years more. And I am _going_ to live just to spite you! - -JUDGE. [_To_ Adolph] What rudeness--what a lack of all human -feeling--to ask a couple of old people outright: are you not going to -die soon? You ought to be ashamed of yourself, I say! But now you have -broken the last tie, and all I can say is: go your way, and don't let -yourself be seen here any more! - -ADOLPH. That's plain talk! Well, I'll go, but not alone---- - -OLD LADY. So-o--you imagined that Amelia, our own child, should follow -you out on the highways, and that all you would have to do would be to -unload one child after another on us! But we have already thought of -that and put a stop to it---- - -ADOLPH. Where is Amelia? Where? - -OLD LADY. You may just as well know. She has gone on; a visit to the -convent of the Poor Clares--only for a visit. So now you know it's of -no use to look for her here. - -ADOLPH. Some time you will have to suffer for your cruelty in depriving -a man in distress of his only support. And if you break up our -marriage, the penalty of that breach will fall on you. - -JUDGE. You should be ashamed of putting your own guilt on those that -are innocent! Go now! And may you hunger and thirst, with every door -closed to you, until you have learned gratitude! - -ADOLPH. The same to you in double measure!--But let me only bid my -children good-bye, and I will go. - -JUDGE. As you don't want to spare your children the pain of -leave-taking, I'll do so--have already done it, in fact. - -ADOLPH. That, too! Then I believe you capable of all the evil that has -been rumoured. And now I know what our neighbour meant when he said -that you couldn't--endure the sun! - -JUDGE. Not another word! Or you will feel the heavy hand of law and -justice---- - - _He raises his right hand so that the absence of its forefinger - becomes visible_. - -ADOLPH. [_Takes hold of the hand and examines it_] The hand of -justice!--The hand of the perjurer whose finger stuck to the Bible when -he took his false oath! Woe unto you! Woe! For the day of retribution -is at hand, and your deeds will rise like corpses out of these -hillsides to accuse you. - -OLD LADY. What is that he is saying? It feels as if he were breathing -fire at us!--Go, you lying spirit, and may hell be your reward! - -ADOLPH. May Heaven reward you--according to your deserts--and may the -Lord protect my children! [_He goes out_. - -JUDGE. What was that? Who was it that spoke? It seemed to me as if the -voice were coming out of some huge underground hall. - -OLD LADY. Did you hear it, too? - -JUDGE. God help us, then!--Do you remember what he said about the -sun? That struck me as more peculiar than all the rest. How could he -know--that it is so? Ever since my birth the sun has always burned -me, and they have told me this is so because my mother suffered from -sunstroke before I was born--but that you also---- - -OLD LADY. [_Frightened_] Hush! Talk of the devil, and--Isn't the sun -down? - -JUDGE. Of course it is down! - -OLD LADY. How can that spot of sunlight remain on the mausoleum, then? - - [_The spot moves around_. - -JUDGE. Jesus Maria! That's an omen! - -OLD LADY. An omen, you say! And on the grave! That doesn't happen every -day--and only a few chosen people who are full of living faith in the -highest things---- - - [_The spot of light disappears_. - -JUDGE. There is something weird about the place to-night, -something ghastly.--But what hurt me most keenly was to hear that -good-for-nothing wishing the life out of us in order to get at the -property. Do you know what I--well, I wonder if I dare to speak of -it---- - -OLD LADY. Go on! - -JUDGE. Have you heard the story that this spot here used to be a place -of execution? - -OLD LADY. So you have found that out, too? - -JUDGE. Yes--and you knew it?--Well, suppose we gave this property -to the convent? That would make the ground sacred, and it would be -possible to rest in peace in it. The income might go to the children -while they are growing up, and it would mean an additional gain, as -Adolph would be fooled in his hope of inheriting from us. I think this -a remarkably happy solution of a difficult problem: how to give away -without losing anything by it. - -OLD LADY. Your superior intelligence has again asserted itself, and I -am quite of your opinion. But suppose condemnation proceedings should -be started--what would happen then? - -JUDGE. There is plenty of time to consider that when it happens. In -the meantime, let us first of all, and as quietly as possible, get the -mausoleum consecrated---- - -FRANCISCAN. [_Enters_] The peace of the Lord be with you, Judge, and -with you, madam! - -JUDGE. You come most conveniently, Father, to hear something that -concerns the convent---- - -FRANCISCAN. I am glad of it. - - _The spot of light appears again on the mausoleum_. - -OLD LADY. And then we wanted to ask when the consecration of the -mausoleum might take place. - -FRANCISCAN. [_Staring at her_] Oh, is that so? - -JUDGE. Look, Father--look at that omen---- - -OLD LADY. Yes, the spot must be sacred, indeed---- - -FRANCISCAN. That's a will-o'-the-wisp. - -OLD LADY. Is it not a good sign? Does it not carry some kind of -message? Does it not prompt a pious mind to stop and consider? Would it -not be possible to turn this place into a refuge for desert wanderers -who are seeking---- - -FRANCISCAN. Madam, let me speak a word to you in private. [_He moves -over to the right._ - -OLD LADY. [_Following him_] Father? - -FRANCISCAN. [_Speaking in a subdued voice_] You, madam, enjoy a -reputation in this vicinity which you don't deserve, for you are the -worst sinner that I know of. You want to buy your pardon, and you want -to steal heaven itself, you who have already stolen from the Lord. - -OLD LADY. What is it I hear? - -FRANCISCAN. When you were sick and near death you made a vow to the -Lord that in case of recovery you would give a monstrance of pure gold -to the convent church. Your health was restored and you gave the holy -vessel, but it was of silver--gilded. Not for the sake of the gold, but -because of your broken vow and your deception, you are already damned. - -OLD LADY. I didn't know it. The goldsmith has cheated me. - -FRANCISCAN. You are lying, for I have the goldsmith's bill. - -OLD LADY. Is there no pardon for it? - -FRANCISCAN. No! For it is a mortal sin to cheat God. - -OLD LADY. Woe is me! - -FRANCISCAN. The settlement of your other crimes will have to take place -within yourself. But if you as much as touch a hair on the heads of the -children, then you shall learn who is their protector, and you shall -feel the iron rod. - -OLD LADY. The idea--that this infernal monk should dare to say such -things to me! If I am damned--then I want to be damned! Ha, ha! - -FRANCISCAN. Well, you may be sure that there will be no blessing for -your house and no peace for yourself until you have suffered every -suffering that you have brought on others.--May I speak a word with -you, Judge? - - _The_ JUDGE _approaches_. - -OLD LADY. Yes, give him what he deserves, so that one may be as good as -the other. - -FRANCISCAN. [_To the_ Judge] Where did you get the idea of building -your tomb where the gallows used to stand? - -JUDGE. I suppose I got it from the devil! - -FRANCISCAN. Like the idea of casting off your children and robbing them -of their inheritance? But you have also been an unrighteous judge--you -have violated oaths and accepted bribes. - -JUDGE. I? - -FRANCISCAN. And now you want to erect a monument to yourself! You -want to build yourself an imperishable house in heaven! But listen to -me: this spot will never be consecrated, and you may consider it a -blessing if you are permitted to rest in common ground among ordinary -little sinners. There is a curse laid on this soil, because blood-guilt -attaches to it and because it is ill-gotten. - -JUDGE. What am I to do? - -FRANCISCAN. Repent, and restore the stolen property. - -JUDGE. I have never stolen. Everything has been legally acquired. - -FRANCISCAN. That, you see, is the worst part of all--that you regard -your crimes as lawful. Yes, I know that you even consider yourself -particularly favoured by Heaven because of your righteousness. But now -you will soon see what harvest is in store for you. Thorns and thistles -will grow in your vineyard. Helpless and abandoned you shall be, and -the peace of your old age will turn into struggle and strife. - -JUDGE. The devil you say! - -FRANCISCAN. Don't call him--he'll come anyhow! - -JUDGE. Let him come! Because we believe, we have no fear! - -FRANCISCAN. The devils believe also, and tremble!--Farewell! [_He goes -out_. - -JUDGE. [_To his wife_] What did he say to you? - -OLD LADY. You think I'll tell? What did he have to say to you? - -JUDGE. And you think I'll tell? - -OLD LADY. Are you going to keep any secrets from me? - -JUDGE. And how about you? It's what you have always done, but I'll get -to the bottom of your tricks some time. - -OLD LADY. Just wait a little, and I'll figure out where you keep the -money that is missing. - -JUDGE. So you are hiding money, too! Now there is no longer any use -in playing the hypocrite--just let yourself be seen in all your -abomination, you witch! - -OLD LADY. I think you have lost your reason--not that it was much to -keep! But you might at least preserve an appearance of decency, if you -can---- - -JUDGE. And you might preserve your beauty--if you can! And your -perennial youth--ha, ha, ha! And your righteousness! You must have -known how to bewitch people, and hoodwink them, for now I see how -horribly ugly and old you are. - -OLD LADY. [_On whom the spot of light now appears_] Woe! It is burning -me! - -JUDGE. There I see you as you really are! [_The spot jumps to the_ -JUDGE] Woe! It is burning me now! - -OLD LADY. And how you look! [_Both withdraw to the right_. - - [_The_ NEIGHBOUR _and_ AMELIA _enter from the left_. - -NEIGHBOUR. Yes, child, there is justice, both human and divine, but we -must have patience. - -AMELIA. I am willing to believe that justice is done, in spite of all -appearances to the contrary. But I cannot love my mother, and I have -never been able to do so. There is something within me that keeps -telling me that she is not only indifferent to me but actually hostile. - -NEIGHBOUR. So you have found it out? - -AMELIA. Why--she hates me, and a mother couldn't do that! - -NEIGHBOUR. Well, well! - -AMELIA. And I suffer from not being able to do my duty as a child and -love her. - -NEIGHBOUR. Well, as _that_ has made you suffer, then you will soon--in -the hour of retribution--learn the great secret of your life. - -AMELIA. And I could stand everything, if she were only kind to my -children. - -NEIGHBOUR. Don't fear on that account, for her power is now ended. The -measure of her wickedness has been heaped full and is now overflowing. - -AMELIA. Do you think so? But this very day she tore my Adolph away from -me, and now she has humiliated me still further by dressing me as a -servant girl and making me do the work in the kitchen. - -NEIGHBOUR. Patience! - -AMELIA. Yes, so you say! Oh, I can understand deserved suffering, but -to suffer without cause---- - -NEIGHBOUR. My dear child, the prisoners in the penitentiary are -suffering justly, so there is no honour in that; but to be permitted to -suffer unjustly, that's a grace and a trial of which steadfast souls -bring home golden fruits. - -AMELIA. You speak so beautifully that everything you say seems true -to me.--Hush! There are the children--and I don't want them to see me -dressed like this. - - _She and the_ NEIGHBOUR _take up a position where they are - hidden by a tall shrub_. - -ERIC _and_ THYRA _enter; the spot of light rests now on one of them and -now on the other_. - -ERIC. Look at the sun spot! - -THYRA. Oh, you beautiful sun! But didn't he go to bed a while ago? - -ERIC. Perhaps he is allowed to stay up longer than usual because he has -been very good all day. - -THYRA. But how could the sun be good? Now you are stupid, Eric. - -ERIC. Of course the sun can be good--doesn't he make the grapes and the -peaches? - -THYRA. But if he is so good, then he might also give us a peach. - -ERIC. So he will, if we only wait a little. Aren't there any on the -ground at all? - -THYRA. [_Looking_] No, but perhaps we might get one from the tree. - -ERIC. No, grandmother won't let us. - -THYRA. Grandmother has said that we mustn't shake the tree, but I -thought we could play around the tree so that one might fall down -anyhow--of itself. - -ERIC. Now you are stupid, Thyra. That would be exactly the same thing. -[_Looking up at the tree_] Oh, if only a peach would fall down! - -THYRA. None will fall unless you shake. - -ERIC. You mustn't talk like that, Thyra, for that is a sin. - -THYRA. Let's pray God to let one fall. - -ERIC. One shouldn't pray God for anything nice--that is, to eat!--Oh, -little peach, won't you fall? I want you to fall! [_A peach falls from -the tree, and_ ERIC _picks it up_] There, what a nice tree! - -THYRA. But now you must give me half, for it was I who said that the -tree had to be shaken---- - -OLD LADY. [_Enters with a big birch rod_] So you have been shaking the -tree--now you'll see what you'll get, you nasty children---- - -ERIC. No, grandmother, we didn't shake the tree! - -OLD LADY. So you are lying, too. Didn't I hear Thyra say that the tree -had to be shaken? Come along now, and I'll lock you up in the cellar -where neither sun nor moon is to be seen---- - -AMELIA. [_Coming forward_] The children are innocent, mother. - -OLD LADY. That's a fine thing--to stand behind the bushes listening, -and then to teach one's own children how to lie besides! - -NEIGHBOUR. [_Appearing_] Nothing has been spoken here but the truth, -madam. - -OLD LADY. Two witnesses behind the bushes--exactly as if we were in -court. But I know the tricks, I tell you, and what I have heard and -seen is sufficient evidence for me.--Come along, you brats! - -AMELIA. This is sinful and shameful---- - - _The_ NEIGHBOUR _signals to_ AMELIA _by putting his finger - across his lips_. - -AMELIA. [_Goes up to her children_] Don't cry, children! Obey -grandmother now--there is nothing to be afraid of. It is better to -suffer evil than to do it, and I know that you are innocent. May God -preserve you! And don't forget your evening prayer! - - _The_ OLD LADY _goes out with the children_. - -AMELIA. Belief comes so hard, but it is sweet if you can achieve it. - -NEIGHBOUR. Is it so hard to believe that God is good--at the very -moment when his kind intentions are most apparent? - -AMELIA. Give me a great and good word for the night, so that I may -sleep on it as on a soft pillow. - -NEIGHBOUR. You shall have it. Let me think a moment.--This is it: Isaac -was to be sacrificed---- - -AMELIA. Oh, no, no! - -NEIGHBOUR. Quiet, now!--Isaac was to _be_ sacrificed, but he never was! - -AMELIA. Thank you! Thank you! And good night! - - _She goes out to the right_. - -NEIGHBOUR. Good night, my child! - - [_He goes slowly out by a path leading to the rear_. - - THE PROCESSION OF SHADOWS _enters from the mausoleum and moves - without a sound across the stage toward the right; between - every two figures there is a distance of five steps_: - - DEATH _with its scythe and hour-glass_. - - THE LADY IN WHITE--_blond, tall, and slender; on one of her - fingers she wears a ring with a green stone that seems to emit - rays of light_. - - THE GOLDSMITH, _with the counterfeit monstrance_. - - THE BEHEADED SAILOR, _carrying his head in one hand_. - - THE AUCTIONEER, _with hammer and note-book_. - - THE CHIMNEY-SWEEP, _with rope, scraper, and broom_. - - THE FOOL, _carrying his cap with the ass's ears and bells at - the top of a pole, across which is placed a signboard with the - word "Caul" on it_. - - THE SURVEYOR, _with measuring rod and tripod_. - - THE MAGISTRATE, _dressed and made up like the_ JUDGE; _he - carries a rope around his neck; and his right hand is raised to - show that the forefinger is missing_. - - _The stage is darkened at the beginning of the procession and - remains empty while it lasts_. - - _When it is over, the_ JUDGE _enters from the left, followed by - the_ OLD LADY. - -JUDGE. Why are you playing the ghost at this late hour? - -OLD LADY. And how about yourself? - -JUDGE. I couldn't sleep. - -OLD LADY. Why not? - -JUDGE. Don't know. Thought I heard children crying in the cellar. - -OLD LADY. That's impossible. Oh, no, I suppose you didn't dare to sleep -for fear I might be prying in your hiding-places. - -JUDGE. And you feared I might be after yours! A pleasant old age this -will be for Philemon and Baucis! - -OLD LADY. At least no gods will come to visit us. - -JUDGE. No, I shouldn't call them gods. - - _At this moment the_ PROCESSION _begins all over again, - starting from the mausoleum as before and moving in silence - toward the right_. - -OLD LADY. O Mary, Mother of God, what is this? - -JUDGE. Merciful heavens! [_Pause_] - -OLD LADY. Pray! Pray for us! - -JUDGE. I have tried, but I cannot. - -OLD LADY. Neither can I! The words won't come--and no thoughts! -[_Pause_] - -JUDGE. How does the Lord's Prayer begin? - -OLD LADY. I can't remember, but I knew it this morning. [_Pause_] Who -is the woman in white? - -JUDGE. It is she--Amelia's mother--whose very memory we wanted to kill. - -OLD LADY. Are these shadows or ghosts, or nothing but our own sickly -dreams? - -JUDGE. [_Takes up his pocket-knife_] They are delusions sent by the -devil. I'll throw cold steel after them.--Open the knife for me, -Caroline! I can't, don't you see? - -OLD LADY. Yes, I see--it isn't easy without a forefinger.--But I can't -either! [_She drops the knife_] - -JUDGE. Woe to us! Steel won't help here! Woe! There's the beheaded -sailor! Let us get away from here! - -OLD LADY. That's easy to say, but I can't move from the spot. - -JUDGE. And I seem to be rooted to the ground.--No, I am not going to -look at it any longer! - - [_He covers his eyes with one hand_. - -OLD LADY. But what is it? Mists out of the earth, or shadows cast by -the trees? - -JUDGE. No, it's our own vision that plays us false. There I go now, and -yet I am standing here. Just let me get a good night's sleep, and I'll -laugh at the whole thing!--The devil! Is this masquerade never going to -end? - -OLD LADY. But why do you look at it then? - -JUDGE. I see it right through my hand--I see it in the dark, with my -eyelids closed! - -OLD LADY. But now it's over. - - _The_ PROCESSION _has passed out_. - -JUDGE. Praised be--why, I can't get the word out!--I wonder if it will -be possible to sleep to-night? Perhaps we had better send for the -doctor? - -OLD LADY. Or Father Colomba, perhaps? - -JUDGE. He can't help, and he who could won't!--Well, let the Other One -do it then! - - THE OTHER ONE _enters from behind the Lady Chapel. He is - extremely thin and moth-eaten. His thin, snuff-coloured hair is - parted in the middle. His straggly beard looks as if it were - made out of tow. His clothes are shabby and outgrown, and he - seems to wear no linen. A red woollen muffler is wound around - his neck. He wears spectacles and carries a piece of rattan - under his arm_. - -JUDGE. Who is that? - -THE OTHER ONE. [_In a low voice_] I am the Other One! - -JUDGE. [_To his wife_] Make the sign of the cross! I can't! - -THE OTHER ONE. The sign of the cross does not frighten me, for I am -undergoing my ordeal merely that I may wear it. - -JUDGE. Who are you? - -THE OTHER ONE. I became the Other One because I wanted to be the First -One. I was a man of evil, and my punishment is to serve the good. - -JUDGE. Then you are not the Evil One? - -THE OTHER ONE. I am. And it is my task to torment you into finding the -cross, before which we are to meet some time. - -OLD LADY. [_To_ JUDGE] Don't listen to him! Tell him to go! - -THE OTHER ONE. It won't help. You have called me, and you'll have to -bear with me. - - _The_ JUDGE _and the_ OLD LADY _go out to the left_. - - THE OTHER ONE _goes after them_. - -_Curtain_. - - - - -ACT II - - - _A huge room with whitewashed walls and a ceiling of darkened - beams. The windows are small and deeply set, with bars on the - outside. The room is crowded with furniture of every kind: - wardrobes, chiffoniers, dressers, chests, tables. On the - furniture are placed silver services, candelabra, candlesticks, - pitchers, table ware, vases, statues, etc. - - There is a door in the rear. Portraits of the_ JUDGE _and the_ - OLD LADY _hang on the rear wall, one on either side of the door. - - A harp stands beside a small sewing-table with an easy chair - near it_. - - AMELIA _is standing before a table at the right, trying to - clean a coffee-set of silver_. - - _The sun is shining in through the windows in the background_. - - -NEIGHBOUR. [_Enters_] Well, child, how is your patience? - -AMELIA. Thank you, neighbour, it might be worse. But I never had a -worse job than this silver service here. I have worked at it for half -an hour and cannot get it clean. - -NEIGHBOUR. That's strange, but I suppose there are reasons for it, as -the Judge says. Could you sleep last night? - -AMELIA. Thank you, I slept very well. But do you know that father spent -the whole night in the vineyard with his rattle----? - -NEIGHBOUR. Yes, I heard him. What kind of foolish idea was that? - -AMELIA. He thought he heard the starlings that had come to eat the -grapes. - -NEIGHBOUR. Poor fellow! As if the starlings were abroad nights!--And -the children? - -AMELIA. Well, the children--she is still keeping them in the cellar, -and I hope she won't forget to give them something to eat. - -NEIGHBOUR. He who feeds the birds will not forget your children, -my dear Amelia. And now I'll tell you something which, as a rule, -shouldn't be told. There is a small hole in the wall between the -Judge's wine-cellar and my own. When I was down there this morning to -get the place aired out, I heard voices. And when I looked through the -hole, I saw Eric and Thyra playing with a strange little boy. - -AMELIA. You could see them, neighbour? And---- - -NEIGHBOUR. They were happy and well---- - -AMELIA. Who was their playmate? - -NEIGHBOUR. That's more than I can guess. - -AMELIA. This whole dreadful house is nothing but secrets. - -NEIGHBOUR. That is true, but it is not for us to inquire into them. - -JUDGE. [_Enters, carrying a rattle_] So you are in here conspiring, -neighbour! Is it not enough that your evil eye has brought the -starlings into my vineyard? For you do have the evil eye--but we'll -soon put it out. I know a trick or two myself. - -NEIGHBOUR. [_To_ AMELIA] Is it worth while to set him right? One who -doesn't believe what is told him! [_He goes out_. - -AMELIA. No, this is beyond us! - -JUDGE. Tell me, Amelia, have you noticed where your mother is looking -for things when she believes herself to be alone? - -AMELIA. No, father. - -JUDGE. I can see by your eyes that you know. You were looking this -way. [_He goes up to a chest of drawers and happens to get into the -sunlight_] Damn the sun that is always burning me! [_He pulls down one -of the shades and returns to the chest of drawers_] This must be the -place!--Now, let me see! The stupidest spot is also the cleverest, so -that's where I must look--as in this box of perfume, for instance--And -right I was! [_He pulls out a number of bank-notes and stocks_] What's -this? Twelve English bills of a pound each. Twelve of them!--Oho! Then -it is easy to imagine the rest. [_Pushes the bills and securities into -his pockets_] But what is it I hear? There are the starlings again! -[_He goes to an open window and begins to play the rattle_] Get away -there! - -OLD LADY. [_Enters_] Are you still playing the ghost? - -JUDGE. Are you not in the kitchen? - -OLD LADY. No, as you see, I am not. [_To_ AMELIA] Are you not done with -the cleaning yet? - -AMELIA. No, mother, I'll never get done with it. The silver won't -clean, and I don't think it is real. - -OLD LADY. Not real? Let me see!--Why, indeed, it's quite black! [_To -the_ JUDGE, _who in the meantime has pulled down another shade_] Where -did you get this set from? - -JUDGE. That one? Why, it came from an estate. - -OLD LADY. For your services as executor! What you got was like what you -gave! - -JUDGE. You had better not make any defamatory remarks, for they are -punishable under the law. - -OLD LADY. Are you crazy, or was there anything crazy about my remark? - -JUDGE. And for that matter, it is silver--sterling silver. - -OLD LADY. Then it must be Amelia's fault. - -A VOICE. [_Coming through the window from the outside_] The Judge can -turn white into black, but he can't turn black into white! - -JUDGE. Who said that? - -OLD LADY. It seemed as if one of the starlings had been speaking. - -JUDGE. [_Pulling down the remaining shade_] Now the sun is here, and a -while ago it seemed to be over there. - -OLD LADY. [_To_ AMELIA] Who was it that spoke? - -AMELIA. I think it was that strange school-teacher with the red muffler. - -JUDGE. Ugh! Let us talk of something else. - -SERVANT GIRL. [_Enters_] Dinner is served. - - [_She goes out; a pause follows_. - -OLD LADY. You go down and eat, Amelia. - -AMELIA. Thank you, mother. [_She goes out_. - -_The_ JUDGE _sits down on a chair close to one of the chests_. - -OLD LADY. [_Sliding up to the chest of drawers >where the box of -perfume stands_] Are you not going to eat anything? - -JUDGE. No, I am not hungry. How about you? - -OLD LADY. I have just eaten. [_Pause_. - -JUDGE. [_Takes a piece of bread from his pocket_] Then you'll excuse -me, I'm sure. - -OLD LADY. There's a roast of venison on the table. - -JUDGE. You don't say so! - -OLD LADY. Do you think I poison the food? - -JUDGE. Yes, it tasted of carbolic acid this morning. - -OLD LADY. And what I ate had a sort of metallic taste---- - -JUDGE. If I assure you that I have put nothing whatever in your food---- - -OLD LADY. Then I don't believe you. But I can assure you---- - -JUDGE. And I won't believe it. [_Eating his bread_] Roast of venison -is a good thing--I can smell it from here--but bread isn't bad either. -[_Pause_. - -OLD LADY. Why are you sitting there watching that chest? - -JUDGE. For the same reason that makes you guard those perfumes. - -OLD LADY. So you have been there, you sneak-thief! - -JUDGE. Ghoul! - -OLD LADY. To think of it--such words between us! _Us_! - - [_She begins to weep_. - -JUDGE. Yes, the world is evil and so is man. - -OLD LADY. Yes, you may well say so--and ungrateful above all. -Ungrateful children rob you of the rent; ungrateful grandchildren rob -the fruit from the trees. You are right, indeed: the world is evil---- - -JUDGE. I ought to know, I who have had to witness all the rottenness, -and who have been forced to pass the death sentence. That is why the -mob hates me, just as if I had made the laws---- - -OLD LADY. It doesn't matter what the people say, if you have only a -clean conscience--[_Three loud knocks are heard from the inside of the -biggest wardrobe_] What was that? Who is there? - -JUDGE. Oh, it was that wardrobe. It always cracks when there is rain -coming. [_Three distinct knocks are heard again_. - -OLD LADY. It's some kind of performance started by that strolling -charlatan. - - _The cover of the coffee-pot which_ AMELIA _was cleaning, opens - and drops down again with a bang; this happens several times in - succession_. - -JUDGE. What was _that_, then? - -OLD LADY. Oh, yes, it's that same juggler. He can play tricks, but he -can't scare me. [_The coffee-pot acts as before._ - -JUDGE. Do you think he is one of those mesmerists? - -OLD LADY. Well, whatever it happens to be called---- - -JUDGE. If that's so, how can he know our private secrets? - -OLD LADY. Secrets? What do you mean by that? - - _A clock begins to strike and keeps it up as if it never meant - to stop_. - -JUDGE. Now I am getting scared. - -OLD LADY. Then Old Nick himself may take me if I stay here another -minute! [_The spot of sunlight appears suddenly on the portrait of the_ -OLD LADY] Look! He knows that secret, too! - -JUDGE. You mean that there is a portrait of _her_ behind yours? - -OLD LADY. Come away from here and let us go down and eat. And let us -see whether we can't sell off the house and all the rest at auction---- - -JUDGE. You are right--sell off the whole caboodle and start a new -life!--And now let us go down and eat. - - THE OTHER ONE _appears in the doorway_. - - _The_ JUDGE _and the_ OLD LADY _draw back from him_. - -JUDGE. That's an ordinary human being! - -OLD LADY. Speak to him! - -JUDGE. [_To_ THE OTHER ONE] Who are you, sir? - -THE OTHER ONE. I have told you twice. That you don't believe me is a -part of your punishment, for if you could believe, your sufferings -would be shortened by it. - -JUDGE. [_To his wife_] It's--_him_--sure enough! For I feel as if I -were turning into ice. How are we to get rid of him?--Why, they say -that the unclean spirits cannot bear the sound of music. Play something -on the harp, Caroline. - - _Though badly frightened, the_ OLD LADY _sits down at the table - on which the harp stands and begins to play a slow prelude in a - minor key_. - - THE OTHER ONE _listens reverently and with evident emotion_. - -OLD LADY. [_To the_ JUDGE] Is he gone? - -THE OTHER ONE. I thank you for the music, madam. It lulls the pain -and awakens memories of better things even in a lost soul--Thank you, -madam!--Speaking of the auction, I think you are doing right, although, -in my opinion, an honest declaration of bankruptcy would be still -better--Yes, surrender your goods, and let every one get back his own. - -JUDGE. Bankruptcy? I have no debts---- - -THE OTHER ONE. No debts! - -OLD LADY. My husband _has_ no debts! - -THE OTHER ONE. No debts! That would be happiness, indeed! - -JUDGE. Well, that's the truth! But other people are in debt to me---- - -THE OTHER ONE. Forgive them then! - -JUDGE. This is not a question of pardon, but of payment---- - -THE OTHER ONE. All right! Then you'll be made to pay!--For the -moment--farewell! But we'll meet frequently, and the last time at the -great auction! [_He goes out backward_. - -JUDGE. He's afraid of the sun--he, too! Ha-ha! - -THE OTHER ONE. Yes, for some time yet. But once I have accustomed -myself to the light, I shall hate darkness. - - [_He disappears_. - -OLD LADY. [_To the_ JUDGE] Do you really think he is--the Other One? - -JUDGE. Of course, that's not the way he is supposed to look but then -times are changing and we with them. They used to say that he had gold -and fame to give away, but this fellow goes around dunning---- - -OLD LADY. Oh, he's a sorry lot, and a charlatan--that's all! A milksop -who doesn't dare to bite, no matter how much he would like to! - -THE OTHER ONE. [_Standing in the doorway again_] Take care, I tell you! -Take care! - -JUDGE. [_Raising his right hand_] Take care yourself! - -THE OTHER ONE. [_Pointing at the_ JUDGE _with one hand as if it were a -revolver_] Shame! - -JUDGE. [_Unable to move_] Woe is me! - -THE OTHER ONE. You have never believed in anything good. Now you shall -have to believe in the Evil One. He who is _all goodness_ can harm -nobody, you see, and so he leaves that to such villains as myself. But -for the sake of greater effectiveness, you two must torture yourselves -and each other. - -OLD LADY. [_Kneeling before_ THE OTHER ONE] Spare us! Help us! Mercy! - -THE OTHER ONE. [_With a gesture as if he were tearing his clothes_] -Get up, woman! Woe is me! There is One, and One only, to whom you may -pray! Get up now, or--Yes, now you believe, although I don't wear -a red cloak, and don't carry sword or purse, and don't crack any -jokes--but beware of taking me in jest! I am serious as sin and stern -as retribution! I have not come to tempt you with gold and fame, but -to chastise you with rods and scorpions--[_The clock begins to strike -again; the stage turns dark_] Your time is nearly up. Therefore, put -your house in order--because die you must! [_A noise as of thunder is -heard_] Whose voice is speaking now? Do you think _he_ can be scared -off with your rattle when he comes sweeping across your vineyard? Storm -and Hail are his names; destruction nestles under his wings, and in his -claws he carries punishment. Put on your caul now, and don your good -conscience. - - [_The rattling of the hail-storm is heard outside_. - -JUDGE. Mercy! - -THE OTHER ONE. Yes, if you promise repentance. - -JUDGE. I promise on my oath---- - -THE OTHER ONE. You can take no oath, for you have already perjured -yourself. But promise first of all to set the children free--and then -all the rest! - -JUDGE. I promise! Before the sun has set, the children shall be here! - -THE OTHER ONE. That's the first step ahead, but if you turn back, then -you'll see that I am as good as my name, which is--Legion! - - _He raises the rattan, and at that moment the_ JUDGE _comes - able to move again_. - -_Curtain_. - - - - -ACT III - - - _A wine-cellar, with rows of casks along both side walls. The - doorway in the rear is closed by an iron door_. - - _Every cask is marked with the name of the urine kept in it. - Those nearest the foreground have small shelves above the taps, - and the shelves hold glasses_. - - _At the right, in the foreground, stands a wine-press and near - it are a couple of straw-bottomed chairs_. - - _Bottles, funnels, siphons, crates, etc., are scattered about - the place_. - - -ERIC _and_ THYRA _are seated by the wine-press_. - -ERIC. I think it's awfully dull. - -THYRA. I think grandmother is nasty. - -ERIC. You mustn't talk like that. - -THYRA. No, perhaps not, but she _is_ nasty. - -ERIC. You mustn't, Thyra, for then the little boy won't come and play -with us again. - -THYRA. Then I won't say it again. I only wish it wasn't so dark. - -ERIC. Don't you remember, Thyra, that the boy said we shouldn't -complain---- - -THYRA. Then I won't do it any more--[_The spot of sunlight appears on -the ground_] Oh, look at the sun-spot! - - [_She jumps up and places her foot on the light._ - -ERIC. You mustn't step on the sun, Thyra. That's a sin! - -THYRA. I didn't mean to step on him. I just wanted to have him. Now -see--I have him in my arms, and I can pat him.--Look! Now he's kissing -me right on the mouth. - - _The_ PLAYMATE _enters from behind one of the casks; he wears a - white garment reaching below his knees, and a blue scarf around - the waist; on his feet are sandals; he is blond, and when he - appears the cellar grows lighter_. - -ERIC. [_Goes to meet him and shakes hands with him_] Hello, little -boy!--Come and shake hands, Thyra!--What's your name, boy? You must -tell us to-day. - - _The_ PLAYMATE _merely looks at him_. - -THYRA. You shouldn't be so forward, Eric, for it makes him -bashful.--But tell me, little boy, who is your papa? - -PLAYMATE. Don't be so curious. When you know me better, you'll learn -all those things.--But let us play now. - -THYRA. Yes, but nothing instructive, for that is so tedious. I want it -just to be nice. - -PLAYMATE. [_Smiling_] Shall I tell a story? - -THYRA. Yes, but not out of the Bible, for all those we know by heart---- - - _The_ PLAYMATE _smiles again_. - -ERIC. You say such things, Thyra, that he gets hurt---- - -PLAYMATE. No, my little friends, you don't hurt me--But now, if you are -really good, we'll go and play in the open---- - -ERIC. Oh, yes, yes!--But then, you know, grandmother won't let us---- - -PLAYMATE. Yes, your grandmother has said that she wished you were out, -and so we'll go before she changes her mind. Come on now! - -THYRA. Oh, what fun! Oh---- - - _The door in the rear flies open and through the doorway is - seen a sunlit field planted with rye ready for the harvest. - Among the yellow ears grow bachelor's-buttons and daisies_. - -PLAYMATE. Come, children! Come into the sunlight and feel the joy of -living! - -THYRA. Can't we take the sun-spot along? It's a pity to leave it here -in the darkness. - -PLAYMATE. Yes, if it is willing to go with you. Call it! - -ERIC _and_ THYRA _go toward the door, followed by the spot of light_. - -ERIC. Isn't it a nice little spot! [_Talks to the spot as if it were a -cat_] Puss, puss, puss, puss! - -PLAYMATE. Take it up on your arm, Thyra, for I don't think it can get -over the threshold. - -THYRA _gets the spot of light on her arm, which she bends as if -carrying something_. - - _All three go out; the door closes itself. Pause_. - - _The_ JUDGE _enters with a lantern, the_ OLD LADY _with the - birch rod_. - -OLD LADY. It's cool and nice here, and then there is no sun to bother -you. - -JUDGE. And how quiet it is. But where are the children? - - [_Both look for the children_. - -JUDGE. It looks as if they had taken us at our word. - -OLD LADY. Us? Please observe that I didn't promise anything, for -he--you know--talked only to you toward the end. - -JUDGE. Perhaps, but this time we had better obey, for I don't want to -have any more trouble with hail-storms and such things.--However, the -children are not here, and I suppose they'll come back when they get -hungry. - -OLD LADY. And I wish them luck when they do! [_The rod is snatched out -of her hand and dances across the floor; finally it disappears behind -one of the casks_] Now it's beginning again. - -JUDGE. Well, why don't you submit and do as he--you know who!--says? I, -for my part, don't dare to do wrong any longer. The growing grapes have -been destroyed, and we must take pleasure in what is already safe. Come -here, Caroline, and let us have a glass of something good to brace us -up! [_He knocks on one of the casks and draws a glass of wine from it_] -This is from the year of the comet--anno 1869, when the big comet came, -and everybody said it meant war. And, of course, war did break out. - - [_He offers a filled glass to his wife_. - -OLD LADY. You drink first! - -JUDGE. Well, now--did you think there might be poison in this, too? - -OLD LADY. No, really, I didn't--but--we'll never again know what peace -is, or happiness! - -JUDGE. Do as I do: submit! [_He drinks_. - -OLD LADY. I want to, and I try to, but when I come to think how badly -other people have treated us, I feel that I am just as good as anybody -else. [_She drinks_] That's a very fine wine! [_She sits down_. - -JUDGE. The wine is good, and it makes the mind easier.--Yes, the -wiseacres say that we are rapscallions, one and all, so I can't see -what right anybody has to go around finding fault with the rest. [_He -drinks_] My own actions have always been legal; that is, in keeping -with prevailing laws and constitutions. If others happened to be -ignorant of the law, they had only themselves to blame, for no one has -a right to ignorance of that kind. For that reason, if Adolph does not -pay the rent, it is he who breaks the law, and not I. - -OLD LADY. And yet the blame falls on you, and you are made to appear -like a criminal. Yes, it is as I have always said: there is no justice -in this world. If you had done right, you should have brought suit -against Adolph and turned out the whole family. But then it isn't too -late yet---- [_She drinks_. - -JUDGE. Well, you see, if I were to carry out the law strictly, then I -should sue for the annulment of his marriage, and that would cut him -off from the property---- - -OLD LADY. Why don't you do it? - -JUDGE. [_Looking around_] We-e-ell!--I suppose that would settle the -matter once for all. A divorce would probably not be granted, but I -think it would be possible to get the marriage declared invalid on -technical grounds---- - -OLD LADY. And if there be no such grounds? - -JUDGE. [_Showing the influence of the wine_] There are technical -grounds for everything, if you only look hard enough. - -OLD LADY. Well, then! Think of it--how that good-for-nothing is wishing -the life out of us--but now he'll see how "the natural course of -events" makes the drones take to the road---- - -JUDGE. Ha-ha! You're right, quite right! And then, you know, when I -think it over carefully--what reason have we for self-reproach? What -wrong have we done? It's mean to bring up that about the monstrance--it -didn't hurt anybody, did it? And as for my being guilty of perjury: -that's a pure lie. I got blood-poison in the finger--that's all--and -quite a natural thing. - -OLD LADY. Just as if I didn't know it. And I may as well add that this -hail-storm a while ago--why, it was as plain a thing as if it had been -foretold in the Farmer's Almanac! - -JUDGE. Exactly! That's what I think too. And for that reason, Caroline, -I think we had better forget all that fool talk--and if you feel as I -do, we'll just turn to another priest and get him to consecrate the -mausoleum. - -OLD LADY. Well, why shouldn't we? - -JUDGE. Yes, why shouldn't we? Perhaps because that mesmerist comes here -and talks a lot of superstitious nonsense? - -OLD LADY. Tell me, do you really think he is nothing but a mesmerist? - -JUDGE. [_Blustering_] That fellow? He's a first-class charlatan. A -che-ar-la-tan! - -OLD LADY. [_Looking around_] I am not so sure. - -JUDGE. But I am sure. Su-ure! And if he should ever come before my eyes -again--just now, for instance--I'll drink his health and say: here's -to you, old humourist! [As _he raises the glass, it is torn out of his -hand and is seen to disappear through the wall_] What was that? [_The -lantern goes out._ OLD LADY. Help! - - [_A gust of wind is heard, and then all is silence again_. - -JUDGE. You just get some matches, and I'll clear this matter up. For I -am no longer afraid of anything. Not of anything! - -OLD LADY. Oh, don't, don't! - -THE OTHER ONE. [_Steps from behind one of the casks_] Now we'll have to -have a talk in private. - -JUDGE. [_Frightened_] Where did you come from? - -THE OTHER ONE. That is no concern of yours. - -JUDGE. [_Straightening himself up_] What kind of language is that? - -THE OTHER ONE. Your own!--Off with your cap! [_He blows at the_ JUDGE, -_whose cap is lifted off his head and falls to the ground_] Now you -shall hear sentence pronounced: you have wanted to sever what has been -united by Him whose name I may not mention. Therefore you shall be -separated from her who ought to be the staff of your old age. Alone -you must run the gauntlet. Alone you must bear the qualms of sleepless -nights. - -JUDGE. Is that mercy? - -THE OTHER ONE. It is justice; it is the law: an eye for an eye, and a -tooth for a tooth! The gospel has a different sound, but of that you -didn't want to hear. Now, move I along. [_He beats the air with the -rattan._ - - _The scene changes to a garden with cypresses and yew-trees - clipped in the shape of obelisks, candelabra, vases, etc. Under - the trees grow roses, hollyhocks, foxgloves, etc. At the centre - of it is a spring above which droops a gigantic fuchsia in full - bloom_.[1] - - _Back of the garden appears a field of rye, all yellow and - ready to be cut. Bachelor's-buttons and daisies grow among the - rye. A scarecrow hangs in the middle of the field. The distant - background is formed by vineyards and light-coloured rocks with - beech woods and ruined castles on them_. - - _A road runs across the stage in the near background. At the - right is a covered Gothic arcade. In front of this stands a - statue of the Madonna with the Child_. - -ERIC _and_ THYRA _enter hand in hand with the_ PLAYMATE. - -ERIC. Oh, how beautiful it is! - -THYRA. Who is living here? - -PLAYMATE. Whoever feels at home has his home here. - -THYRA. Can we play here? - -PLAYMATE. Anywhere except in that avenue over there to the right. - -ERIC. And may we pick the flowers? - -PLAYMATE. You may pick any flowers you want, but you mustn't touch the -tree at the fountain. - -THYRA. What kind of tree is that? - -ERIC. Why, you know, it is one of those they call [_lowering his -voice_] "Christ's Blood-drops." - -THYRA. You should cross yourself, Eric, when you mention the name of -the Lord. - -ERIC. [_Makes the sign of the cross_] Tell me, little boy, why mustn't -we touch the tree? - -THYRA. You should obey without asking any questions, Eric.--But tell -me, little boy, why is that ugly scarecrow hanging there? Can't we take -it away? - -PLAYMATE. Yes, indeed, you may, for then the birds will come and sing -for us. - - ERIC _and_ THYRA _run into the rye-field and tear down the - scarecrow_. - -ERIC. Away with you, you nasty old scarecrow! Come and eat now, little -birds! [_The Golden Bird comes flying from the right and perches on the -fuchsia_] Oh, see the Golden Bird, Thyra! - -THYRA. Oh, how pretty it is! Does it sing, too? - - [_The bird calls like a cuckoo_. - -ERIC. Can you understand what the bird sings, boy? - -PLAYMATE. No, children, the birds have little secrets of their own -which they have a right to keep hidden. - -THYRA. Of course, Eric, don't you see, otherwise the children could -tell where the nests are, and then they would take away the eggs, and -that would make the birds sorry, and they couldn't have any children of -their own. - -ERIC. Don't talk like a grown-up, Thyra. - -PLAYMATE. [_Putting a finger across his lips_] Hush! Somebody is -coming. Now let us see if he likes to stay with us or not. - - _The_ CHIMNEY-SWEEP _enters, stops in surprise, and begins to - look around_. - -PLAYMATE. Well, boy, won't you come and play with us? - -CHIMNEY-SWEEP. [_Takes off his cap; speaks bashfully_] Oh, you don't -want to play with me. - -PLAYMATE. Why shouldn't we? - -CHIMNEY-SWEEP. I am sooty all over. And besides I don't know how to -play--I hardly know what it is. - -THYRA. Think of it, the poor boy has never played. - -PLAYMATE. What is your name? - -CHIMNEY-SWEEP. My name? They call me Ole--but---- - -PLAYMATE. But what's your other name? - -CHIMNEY-SWEEP. Other name? I have none. - -PLAYMATE. But your papa's name? - -CHIMNEY-SWEEP. I have no papa. - -PLAYMATE. And your mamma's? - -CHIMNEY-SWEEP. I don't know. - -PLAYMATE. He has no papa or mamma. Come to the spring here, boy, and -I'll make you as white as a little prince. - -CHIMNEY-SWEEP. If anybody else said it, I shouldn't believe it---- - -PLAYMATE. Why do you believe it then, when I say it? - -CHIMNEY-SWEEP. I don't know, but I think you look as if it would be -true. - -PLAYMATE. Give the boy your hand, Thyra!--Would you give him a kiss, -too? - -THYRA. [_After a moment's hesitation_] Yes, when you ask me! - - -[Footnote 1: The Swedish name of this plant is "Christ's Blood-drops."] - - _She kisses the_ CHIMNEY-SWEEP. _Then the_ PLAYMATE _dips - his hand in the spring and sprays a little water on the face - of the_ CHIMNEY-SWEEP, _whose black mask at once disappears, - leaving his face white_. - -PLAYMATE. Now you are white again. And now you must go behind that -rose-bush there and put on new clothes. - -CHIMNEY-SWEEP. Why do I get all this which I don't deserve? - -PLAYMATE. Because you don't believe that you deserve it. - -CHIMNEY-SWEEP. [_Going behind the rose-bush_] Then I thank you for it, -although I don't understand what it means. - -THYRA. Was he made a chimney-sweep because he had been bad? - -PLAYMATE. No, he has never been bad. But he had a bad guardian who took -all his money away from him, and so he had to go out into the world to -earn a living--See how fine he looks now! - - _The_ CHIMNEY-SWEEP _enters dressed in light summer clothes_. - -PLAYMATE. [_To the_ CHIMNEY-SWEEP] Go to the arcade now, and you'll -meet somebody you love--and who loves you! - -CHIMNEY-SWEEP. Who could love me? - -PLAYMATE. Go and find out. - - _The_ CHIMNEY-SWEEP _goes across the stage to the arcade, where - he is met by the_ LADY IN WHITE, _who puts her arms around him_. - -THYRA. Who is living in there? - -PLAYMATE. [_With his finger on his lips_] Polly Pry!--But who is coming -there? - - _The_ OLD LADY _appears on the road with a sack on her back and - a stick in her hand_. - -ERIC. It's grandmother! Oh, now we are in for it! - -THYRA. Oh, my! It's grandmother! - -PLAYMATE. Don't get scared, children. I'll tell her it's my fault. - -ERIC. No, you mustn't, for then she'll beat you. - -PLAYMATE. Well, why shouldn't I take a beating for my friends? - -ERIC. No, I'll do it myself! - -THYRA. And I, too! - -PLAYMATE. Hush! And come over here--then you won't be scolded. [_They -hide_. - -OLD LADY. [_Goes to the spring_] So, this is the famous spring that -is said to cure everything--after the angel has stirred it up, of -course!--But I suppose it is nothing but lies. Well, I might have a -drink anyhow, and water is water. [_She bends down over the spring_] -What is it I see? Eric and Thyra with a strange boy! What can it mean? -For they are not here. It must be an oracle spring. [_She takes a cup -that stands by the spring, fills it with water and drinks_] Ugh, it -tastes of copper--he must have been here and poisoned the water, too! -Everything is poisoned! Everything!--And I feel tired, too, although -the years have not been hard on me--[_She looks at her reflection -in the spring and tosses her head_] On the contrary, I look quite -youthful--but it's hard to walk, and still harder to get up--[_She -struggles vainly to rise_] My God, my God, have mercy! Don't leave me -lying here! - -PLAYMATE. [_Makes a sign to the children to stay where they are; then -he goes up to the_ OLD LADY _and wipes the perspiration from her -forehead_] Rise, and leave your evil ways! - -OLD LADY. [_Rising_] Who is that?--Oh, it's you, my nice gentleman, who -has led the children astray? - -PLAYMATE. Go, ungrateful woman! I have wiped the sweat of fear from -your brow; I have raised you up when your own strength failed you, and -you reward me with angry words. Go--go! - - OLD LADY _stares astonished at him; then her eyes drop, and she - turns and goes out_. - - ERIC _and_ THYRA _come forward_. - -ERIC. But I am sorry for grandmother just the same, although she is -nasty. - -THYRA. It isn't nice here, and I want to go home. - -PLAYMATE. Wait a little! Don't be so impatient.--There comes somebody -else we know. - - _The_ JUDGE _appears on the road_. - -PLAYMATE. He cannot come here and defile the spring. [_He waves his -hand; the spot of sunlight strikes the_ JUDGE, _making him turn around -and walk away_] It is nice of you to be sorry for the old people, but -you must believe that what I do is right. Do you believe that? - -ERIC _and_ THYRA. Yes, we believe it, we believe it! - -THYRA. But I want to go home to mamma! - -PLAYMATE. I'll let you go. - - THE OTHER ONE _appears in the background and hides himself - behind the bushes_. - -PLAYMATE. For now I must go. The Angelus bell will soon be ringing---- - -ERIC. Where are you going, little boy? - -PLAYMATE. There are other children I must play with--far away from -here, where you cannot follow me. But now, when I leave you here, don't -forget what I have told you: that you mustn't touch the tree! - -ERIC. We'll obey! We will! But don't go away, for it will soon be dark! - -PLAYMATE. How is that? Anybody who has a good conscience and knows his -evening prayer has nothing, nothing to be afraid of. - -THYRA. When will you come back to us, little boy? - -PLAYMATE. Next Christmas I come back, and every Christmas!--Good night, -my little friends! - - _He kisses their foreheads and goes out between the bushes; - when he reappears in the background, he is carrying a cross - with a banner like that carried by the Christ-Child in old - paintings; the Angelus bell begins to ring; as he raises the - banner and waves it in greeting to the children, he becomes - surrounded by a clear, white light; then he goes out_. - -ERIC _and_ THYRA _kneel and pray silently while the bell is ringing_. - -ERIC. [_Having crossed himself_] Do you know who the boy was, Thyra? - -THYRA. It was the Saviour! - - THE OTHER ONE _steps forward_. - -THYRA. [_Scared, runs to Eric, who puts his arms around her to protect -her_] My! - -ERIC. [_To_ THE OTHER ONE] What do you want? You nasty thing! - -THE OTHER ONE. I only wanted--Look at me! - -ERIC. Yes? - -THE OTHER ONE. I am looking like this because once I touched the tree. -Afterward it was my joy to tempt others into doing the same. But now, -since I have grown old, I have come to repent, and now I am remaining -here to warn men, but nobody believes me--nobody--because I lied once. - -ERIC. You don't need to warn us, and you can't tempt us. - -THE OTHER ONE. Tut, tut, tut! Not so high-and-mighty, my little friend! -Otherwise it's all right. - -ERIC. Well, go away then, for I don't want to listen to you, and you -scare my sister! - -THE OTHER ONE. I am going, for I don't feel at home here, and I have -business elsewhere. Farewell, children! - -AMELIA. [_Is heard calling from the right_] Eric and Thyra! - -ERIC _and_ THYRA. Oh, there is mamma--dear little mamma! - - AMELIA _enters_. - - ERIC _and_ THYRA _rush into her arms_. - - THE OTHER ONE _turns away to hide his emotion_. - -_Curtain_. - - - - -ACT IV - - - _A cross-roads surrounded by pine woods. Moonlight_. - - _The_ WITCH _stands waiting_. - - -OLD LADY. Well, at last, there you are. - -WITCH. You have kept me waiting. Why have you called me? - -OLD LADY. Help me! - -WITCH. In what way? - -OLD LADY. Against my enemies. - -WITCH. There is only one thing that helps against your enemies: be good -to them. - -OLD LADY. Well, I declare! I think the whole world has turned -topsyturvy. - -WITCH. Yes, so it may seem. - -OLD LADY. Even the Other One--you know who I mean--has become -converted. - -WITCH. Then it ought to be time for you, too. - -OLD LADY. Time for me? You mean that my years are burdening me? But it -is less than three weeks since I danced at a wedding. - -WITCH. And you call that bliss! Well, if that be all, you shall have -your fill of it. For there is to be a ball here to-night, although I -myself cannot attend it. - -OLD LADY. Here? - -WITCH. Just here. It will begin whenever I give the word---- - -OLD LADY. It's too bad I haven't got on my low-necked dress. - -WITCH. You can borrow one from me--and a pair of dancing shoes with red -heels. - -OLD LADY. Perhaps I might also have a pair of gloves and a fan? - -WITCH. Everything! And, in particular, any number of young cavaliers -who will proclaim you the queen of the ball. - -OLD LADY. Now you are joking. - -WITCH. No, I am not joking. And I know that they have the good taste at -these balls to choose the right one for queen--and in speaking of the -right one, I have in mind the most worthy---- - -OLD LADY. The most beautiful, you mean? - -WITCH. No, I don't--I mean the worthiest. If you wish, I'll start the -ball at once. - -OLD LADY. I have no objection. - -WITCH. If you step aside a little, you'll find your maid--while the -hall is being put in order. - -OLD LADY. [_Going out to the right_] Think of it--I am going to have a -maid, too! You know, madam, that was the dream of my youth--which never -came true. - -WITCH. There you see: "What youth desires, age acquires." [_She blows a -whistle_] - - _Without curtain-fall, the stage changes to represent the - bottom of a rocky, kettle-shaped chasm. It is closed in on - three sides by steep walls of black rock, wholly stripped of - vegetation. At the left, in the foreground, stands a throne. At - the right is a platform for the musicians_. - - _A bust of Pan on a square base stands in the middle of the - stage, surrounded by a strange selection of potted plants: - henbane, burdock, thistle, onion, etc._ - - _The musicians enter. Their clothing is grey; their faces are - chalk-white and sad; their gestures tired. They appear to be - tuning their instruments, but not a sound is heard_. - - _Then comes the_ LEADER OF THE ORCHESTRA. - - _After him, the guests of the ball: cripples, beggars, tramps. - All are pulling on black gloves as they come in. Their - movements are dragging; their expressions funereal_. - - _Next: The_ MASTER OF CEREMONIES, _who is really_ THE OTHER - ONE_--a septuagenarian dandy wearing a black wig which is too - small for him, so that tufts of grey hair appear underneath. - His mustaches are waxed and pointed. He wears a monocle and has - on an outgrown evening dress and top-boots. He looks melancholy - and seems to be suffering because of the part he has to play._ - - _The_ SEVEN DEADLY SINS _enter and group themselves around the - throne as follows_: - - PRIDE COVETOUSNESS - LUST ANGER - GLUTTONY ENVY - SLOTH - - _Finally the_ PRINCE _enters. He is hunchbacked and wears a - soiled velvet coat with gold buttons, ruffles, sword, and high - boots with spurs_. - - _The ensuing scene must be played with deadly seriousness, - without a trace of irony, satire, or humour. There is a - suggestion of a death-mask in the face of every figure. They - move noiselessly and make simple, awkward gestures that convey - the impression of a drill_. - -PRINCE. [_To the_ MASTER OF CEREMONIES] Why do you disturb my peace at -this midnight hour? - -MASTER OF CEREMONIES. Always, brother, you are asking why. Have you not -seen the light yet? - -PRINCE. Only in part. I can perceive a connection between my suffering -and my guilt, but I cannot see why I should have to suffer eternally, -when He has suffered in my place. - -MASTER OF CEREMONIES. Eternally? You died only yesterday. But then time -ceased to exist to you, and so a few hours appear like an eternity. - -PRINCE. Yesterday? - -MASTER OF CEREMONIES. Yes.--But because you were proud and wanted no -assistance, you have now to bear your own sufferings. - -PRINCE. What have I done, then? - -MASTER OF CEREMONIES. What a sublime question! - -PRINCE. But why don't you tell? - -MASTER OF CEREMONIES. As our task is to torture each other by -truth-telling--were we not called "heroes of truth" in our lifetime?--I -shall tell you a part of your own secret. You were, and you are still, -a hunchback---- - -PRINCE. What is that? - -MASTER OF CEREMONIES. There you see! You don't know what is known to -everybody else. But all those others pitied you, and so you never heard -the word that names your own deformity. - -PRINCE. What deformity is that? Perhaps you mean that I have a weak -chest? But that is no deformity. - -MASTER OF CEREMONIES. A "weak chest"--yes, that is your own name for -the matter. However, people kept the disfigurement of your body hidden -from you, and they tried to assuage your misfortune by showing you -sympathy and kindness. But you accepted their generosity as an earned -tribute, their encouraging words as expressions of admiration due to -your superior physique. And at last you went so far in conceit that -you regarded yourself as a type of masculine beauty. And when, to cap -it all, woman granted you her favours out of pity, then you believed -yourself an irresistible conqueror. - -PRINCE. What right have you to say such rude things to me? - -MASTER OF CEREMONIES. Right? I am filling the saddening duty which -forces one sinner to punish another. And soon you will have to fulfil -the same cruel duty toward a woman who is vain to the verge of -madness--a woman resembling you as closely as she possibly could. - -PRINCE. I don't want to do it. - -MASTER OF CEREMONIES. Try to do anything but what you must, and you'll -experience an inner discord that you cannot explain. - -PRINCE. What does it mean? - -MASTER OF CEREMONIES. It means that you cannot all of a sudden cease to -be what you are: and you are what you have wanted to become. [_He claps -his hands_. - - _The_ OLD LADY _enters, her figure looking as aged and clumsy - as ever; but she has painted her face and her head is covered - by a powdered wig; she wears a very low-necked, rose-coloured - dress, red shoes, and a fan made out of peacock feathers_. - -OLD LADY. [_A little uncertain_] Where am I? Is this the right place? - -MASTER OF CEREMONIES. Quite right, for you are in the place we call -the "waiting-room." It is so called [_he sighs],_ because here we have -to spend our time waiting--waiting for something that will come some -time---- - -OLD LADY. Well, it isn't bad at all--and there is the music--and there -is a bust--of whom? - -MASTER OF CEREMONIES. It's a pagan idol called Pan, because to the -ancients he was all they had. And as we, in this place, are of the old -order, more or less antiquated, he has been put here for us to look at. - -OLD LADY. Why, we are not old---- - -MASTER OF CEREMONIES. Yes, my Queen. When the new era opened [_he -sighs_], we couldn't keep up with it, and so we were left behind---- - -OLD LADY. The new era? What kind of talk is that? When did it begin? - -MASTER OF CEREMONIES. It is easy to figure out when the year one -began--It was night, for that matter; the stars were shining brightly, -and the weather must have been mild, as the shepherds remained in the -open---- - -OLD LADY. Oh, yes, yes--Are we not going to dance here to-night? - -MASTER OF CEREMONIES. Of course, we are. The Prince is waiting for a -chance to ask you---- - -OLD LADY. [_To the_ MASTER OF CEREMONIES] Is he a real Prince? - -MASTER OF CEREMONIES. A real one, my Queen. That is to say, he has full -reality in a certain fashion---- - -OLD LADY. [_To the_ PRINCE, _who is asking her to dance_] You don't -look happy, my Prince? - -PRINCE. I am not happy. - -OLD LADY. Well, I can't say that I find it very hilarious--and the -place smells of putty, as if the glazier had just been at work here. -What is that strange smell, as of linseed-oil? - -PRINCE. [_With an expression of horror_] What are you saying? Do you -mean that charnel-house smell? - -OLD LADY. I fear I must have said something impolite--but then, it -isn't for the ladies to offer pleasantries--that's what the cavalier -should do---- - -PRINCE. What can I tell you that you don't know before? - -OLD LADY. That I don't know before? Let me see--No, then I had better -tell you that you are very handsome, my Prince. - -PRINCE. Now you exaggerate, my Queen. I am not exactly handsome, but I -have always been held what they call "good-looking." - -OLD LADY. Just like me--I never was a beauty--that is, I _am_ not, -considering my years--Oh, I am so stupid!--What was it I wanted to say? - -MASTER OF CEREMONIES. Let the music begin! - - _The musicians appear to be playing, but not a sound is heard_. - -MASTER OF CEREMONIES. Well? Are you not going to dance? - -PRINCE. [_Sadly_] No, I don't care to dance. - -MASTER OF CEREMONIES. But you must: you are the only presentable -gentleman. - -PRINCE. That's true, I suppose--[_pensively_] but is that a fit -occupation for me? - -MASTER OF CEREMONIES. How do you mean? - -PRINCE. At times it seems as if I had something else to think of, but -then--then I forget it. - -MASTER OF CEREMONIES. Don't brood--enjoy yourself while youth is with -you and the roses of life still bloom on your cheeks. Now! Up with the -head, and step lively---- - - _The_ PRINCE _grins broadly; then he offers his hand to the_ - OLD LADY, _and together they perform a few steps of a minuet_. - -OLD LADY. [_Interrupting the dance_] Ugh! Your hands are cold as ice! -_goes to the throne_] Why are those seven ladies not dancing? - -MASTER OF CEREMONIES. How do you like the music, Queen? - -OLD LADY. It's splendid, but they might play a little more _forte_---- - -MASTER OF CEREMONIES. They are soloists, all of them, and formerly each -one of them wanted to make himself heard above the rest, and so they -have to use moderation now. - -OLD LADY. But I asked why the seven sisters over there are not dancing. -Couldn't you, as master of ceremonies, make them do so? - -MASTER OF CEREMONIES. I don't think it would be of any use trying, for -they are obstinate as sin--But please assume your throne, my Queen. We -are going to perform a little play in honour of the occasion---- - -OLD LADY. Oh, what fun! But I want the prince to ... escort me---- - -PRINCE. [_To the_ MASTER OF CEREMONIES] Have I got to do it? - -OLD LADY. You ought to be ashamed of yourself--you with your hunch! - -PRINCE. [_Spits in her face_] Hold your tongue, you cursed old hag! - -OLD LADY. [_Cuffs him on the ear_] That'll teach you! - -PRINCE. [_Jumps at her and knocks her down_] And that's, for you! - - _All the rest cover their faces with their hands_. - -PRINCE. [_Tears off the_ OLD LADY'S _wig so that her head appears -totally bald_] There's the false scalp! Now we'll pull out the teeth! - -MASTER OF CEREMONIES. Enough! Enough! - - _He helps the_ OLD LADY _to rise, and gives her a kerchief to - cover her head_. - -OLD LADY. [_Crying_] Goodness gracious, that I could let myself be -fooled like that! But I haven't deserved any better, I admit. - -PRINCE. No, you have deserved a great deal worse. You should leave my -hunch alone, for otherwise hell breaks loose--It's a miserable thing to -see an old woman like you so foolish and so degraded. But, then, you -are to be pitied--as all of us are to be pitied. - -ALL. We are all to be pitied! - -PRINCE. [_With a sneer_] The queen! - -OLD LADY. [_In the same tone_] The prince!--But haven't we met before? - -PRINCE. Perhaps--in our youth--for I am old, too. You had too much -frippery on before--but now, when the disguise has been taken away--I -begin to distinguish certain features---- - -OLD LADY. Don't say anything more--don't say anything more--Oh, what -have I come to--what is happening to me? - -PRINCE. Now I know: you are my sister! - -OLD LADY. But--my brother is dead! Have I been deceived? Or are the -dead coming back? - -PRINCE. Everything comes back. - -OLD LADY. Am I dead or am I living? - -PRINCE. You may well ask that question, for I don't know the -difference. But you are exactly the same as when I parted from you -once: just as vain and just as thievish. - -OLD LADY. Do you think you are any better? - -PRINCE. Perhaps! I am guilty of all the seven deadly sins, but you have -invented the eighth one--that of robbing the dead. - -OLD LADY. What are you thinking of now? - -PRINCE. Twelve years in succession I sent you money to buy a wreath for -mother's grave, and instead of buying it you kept the money. - -OLD LADY. How do you know? - -PRINCE. How I came to know of it is the only thing that interests you -about that crime of yours. - -OLD LADY. Prove it! - -PRINCE. [_Taking a number of bills from his pocket_] Here is the money! - - _The_ OLD LADY _sinks to the ground. A church bell begins to - ring. All bend their heads, but nobody kneels_. - -LADY IN WHITE. [_Enters, goes up to the_ OLD LADY, _and assists her in -rising_] Do you know me? - -OLD LADY. No. - -LADY IN WHITE. I am Amelia's mother. You have taken the memory of me -away from her. You have erased me from her life. But now you are to be -wiped out, and I shall recover my child's love and the prayers my soul -needs. - -OLD LADY. Oh, somebody has been telling tales to that hussy--then I'll -set her to herd the swine---- - - _The_ PRINCE _strikes her on the mouth_. - -LADY IN WHITE. Don't strike her! - -OLD LADY. Are you interceding for me? - -LADY IN WHITE. It is what I have been taught to do. - -OLD LADY. You hypocrite! If you only dared, you would wish me buried as -deep as there are miles from here to the sun! - -MASTER OF CEREMONIES. Down with you--monster! - - [As _he touches her with his staff she falls to the ground_ - - _Again the scene is changed while the curtain remains up. The - bust of Pan sinks into the earth. The musicians and the throne - with its attendant sins disappear behind pieces of; scenery - that are lowered from above. At last the cross-roads with the - surrounding pine woods appear again, and the_ OLD LADY _is - discovered lying at the foot of a sign-post_. - -WITCH. Get up! - -OLD LADY. I cannot--I am frozen stiff---- - -WITCH. The sun will rise in a moment. The cock has crowed. The matin -bells are ringing. - -OLD LADY. I don't care for the sun. - -WITCH. Then you'll have to walk in darkness. - -OLD LADY. Oh, my eyes! What have you done to me? - -WITCH. I have only turned out the light because it troubled you. Now, -up and away with you--through cold and darkness--until you drop! - -OLD LADY. Where is my husband?--Amelia! Eric and Thyra! My children! - -WITCH. Yes, where are they? But wherever they may be, you shall not see -them until your pilgrimage is ended. Now, up and away! Or I will loose -my dogs! - - _The_ OLD LADY _gropes her way out_. - -_The court-room. In the background is the desk of the presiding judge, -decorated in white and gold with the emblems of justice. In front of -the desk, covering the centre of the floor, stands a big table, and on -it are placed writing-materials, inkstand, Bible, bell, and gavel_. - -_The axe of the executioner hangs on the rear wall, with a pair of -handcuffs below it and a big black crucifix above_. - - _The_ JUDGE _enters and makes his way into the room on tiptoe. - The bell rings. The gavel raps once on the table. All the - chairs are pulled up to the table at once. The Bible is opened. - The candles on the table become lighted_. - - _For a moment the_ JUDGE _stands still, stricken with horror. - Then he resumes his advance toward a huge cabinet. Suddenly the - doors of this fly open. A number of documents are thrown out, - and the_ JUDGE _picks them up_. - -JUDGE. [_Reassured_] This time I am in luck! Here are the accounts -of my guardianship; here is the contract for the lease--my report as -executor--all of it! [_The handcuffs on the wall begin to clank_] Make -all the noise you please! As long as the axe stays still, I won't be -scared. [_He puts the documents on the table and goes back to close -the door of the cabinet, but this flies open again as soon as he shuts -it_] Everything has a cause: _ratio sufficiens_. This door must have -a spring with which I am not familiar. It surprises me that I don't -know it, but it cannot scare me. [_The axe moves on the wall_] The axe -moved--as a rule, that foretells an execution, but to-day it means only -that its equilibrium has become disturbed in some way. Oh, no, nothing -will give me pause but seeing my own ghost--for that would be beyond -the tricks of any charlatan. - - _The_ GHOST _enters from behind the cabinet; the figure - resembles in every way the_ JUDGE, _but where the eyes should - be appear two white surfaces, as on a plaster bust_. - -JUDGE. [_Frightened_] Who are you? - -GHOST. I am not--I have been. I have been that unrighteous judge who is -now come here to receive his sentence. - -JUDGE. What have you done then, poor man? - -GHOST. Everything wrong that an unrighteous judge might do. Pray for -me, you whose conscience is clear---- - -JUDGE. Am I--to pray for you? - -GHOST. Yes, you who have caused no innocent blood to be shed---- - -JUDGE. That's true; that's something I haven't done. And besides, as -I have always obeyed the letter of the law, I have good reason to let -myself be called a righteous judge--yes, without irony! - -GHOST. It would, indeed, be a bad moment for joking, as the Invisible -Ones are sitting in judgment---- - -JUDGE. What do you mean? Who are sitting in judgment? - -GHOST. [_Pointing to the table_] You don't see them, but I do. [_The -bell rings; a chair is pushed back from the table_] Pray for me! - -JUDGE. No, I won't. Justice must take its course. You must have been a -great offender to reach consciousness of your guilt so late. - -GHOST. You are as stern as a good conscience. - -JUDGE. That's just the word for it. Stern, but just! - -GHOST. No pity, then? - -JUDGE. None whatever. - -GHOST. No mercy? - -JUDGE. No mercy! - - _The gavel raps on the table; the chairs are pushed away_. - -GHOST. Now the verdict is being delivered. Can't you hear? - -JUDGE. I hear nothing. - -GHOST. [_Pointing to the table_] And you see nothing? Don't you see the -beheaded sailor, the surveyor, the chimney-sweep, the lady in white, -the tenant---- - -JUDGE. I see absolutely nothing. - -GHOST. Woe unto you, then, when your eyes become opened as mine have -been. Now the verdict has been given: guilty! - -JUDGE. Guilty! - -GHOST. You have said it--yourself! And you have already been sentenced. -All that remains now is the big auction. - -_Curtain._ - - - - -ACT V - - - _The same room as in the second act, but it is now arranged for - the auction. Benches are placed in the middle of the room. On - the table behind which the auctioneer is to preside stand the - silver coffee-set, the clock, vases, candelabra, etc._ - - _The portraits of the_ JUDGE _and the_ OLD LADY _have been - taken down and are leaning against the table_. - - _The_ NEIGHBOUR _and_ AMELIA _are on the stage_. - - -AMELIA. [_Dressed as a scrub-woman_] Before my mother left, she ordered -me to clean the hallway and the stairs. It is winter now, and cold, and -I cannot say that it has been any pleasure to carry out her order---- - -NEIGHBOUR. So you didn't get any pleasure out of it? Well, my child, I -must say that you demand rather too much of yourself. But as you have -obeyed, and stood the test, your time of trial shall be over, and I -will let you know your life's secret. - -AMELIA. Speak out, neighbour, for I dare hardly trust my good -resolutions much longer. - -NEIGHBOUR. Well, then! The woman you have been calling mother is your -stepmother. Your father married her when you were only one year old. -And the reason you have never seen your mother is that she died when -you were born. - -AMELIA. So that was it!--How strange to have had a mother and yet never -to have seen her! Tell me--did you ever see her? - -NEIGHBOUR. I knew her. - -AMELIA. How did she look? - -NEIGHBOUR. Well, how _did_, she look?--Her eyes were blue as the -blossom of the flax--her hair was yellow as the dry stalks of wheat---- - -AMELIA. And tall and slender--and her hand was small and white as if it -had touched nothing but silk in all her days--and her mouth was shaped -like a heart, and her lips looked as if none but good words had ever -passed them. - -NEIGHBOUR. How can you know all that? - -AMELIA. Because that is the image which appears in my dreams when I -have not been good--And then she raises her hand as if to warn me, and -on one of her fingers there is a ring with a green stone that seems to -radiate light. It is she!--Tell me, neighbour, is there a picture of -her in the place? - -NEIGHBOUR. There used to be one, but I don't know whether it's still -here. - -AMELIA. So this one is my stepmother? Well, God was good when he let me -keep my mother's image free from stain--and hereafter I shall find it -quite natural that this other woman is cruel to me. - -NEIGHBOUR. Cruel stepmothers exist to make children kind. And you were -not kind, Amelia, but you have become so, and for that reason I shall -now give you a Christmas present in advance. - - _He takes the portrait of the_ OLD LADY _out of its frame, when - in its place appears a picture in water-colours corresponding - to the description given above_. - -AMELIA. [_Kneeling in front of the picture_] My mother--mother of my -dreams! [_Rising_] But how can I keep the picture when it is to be sold -at auction? - -NEIGHBOUR. You can, because the auction has already taken place. - -AMELIA. Where and when was it held? - -NEIGHBOUR. It was held elsewhere--in a place not known to you--and -to-day the things are merely to be taken away. - -AMELIA. What a lot of queer things are happening! And how full of -secrets the house is!--But tell me, where is my stepmother? I have not -seen her in a long time. - -NEIGHBOUR. I suppose it must be told: she is in a place from which -nobody returns. - -AMELIA. Is she dead? - -NEIGHBOUR. She is dead. She was found frozen to death in a swamp into -which she had stumbled. - -AMELIA. Merciful God have pity on her soul! - -NEIGHBOUR. So he will in time, especially if you pray for her. - -AMELIA. Of course I will. - -NEIGHBOUR. How good you have become, my child--as a result of her -becoming so bad! - -AMELIA. Don't say so now when she is dead---- - -NEIGHBOUR. Right you are! Let her rest in peace! - -AMELIA. But where is my father? - -NEIGHBOUR. That's a secret to all of us. But it is sweet of you to ask -for him before you ask for your own Adolph. - -AMELIA. Adolph--yes, where is he? The children are crying for him, and -Christmas is near.--Oh, what a Christmas this will be to us! - -NEIGHBOUR. Leave to each day its own trouble--and now take your -Christmas present and go. The affairs connected with the auction are to -be settled, and then you'll hear news. - -AMELIA. [_Takes the portrait of her mother_] I go, but no longer -alone--and I have a feeling that something good is about to happen, but -what I cannot tell. - - [_She goes out to the right_. - -NEIGHBOUR. But I know! Yet you had better go, for what is about to -happen here should not be seen by children. - - _He opens the door in the rear and rings a bell to summon - the people to the auction. The people enter in the following - order_: THE POOR, _a large number of them; the_ SAILOR; _the_ - CHIMNEY-SWEEP; _the_ NEIGHBOUR, who takes his place in front - of the rest; _the_ WIDOW _and the_ FATHERLESS CHILDREN; _the_ - SURVEYOR; THE OTHER ONE, _carrying the auctioneer's hammer and - a pile of documents_. - -THE OTHER ONE. [_Takes his place at the table and raps with the -hammer_] At a compulsory auction held at the court-house for the -disposal of property left by the late circuit judge, the items now to -be described were bid in by the Court on behalf of absent creditors, -and may now be obtained and taken away by their respective owners. - -JUDGE. [_Enters, looking very aged and miserable_] In the name of the -law--hold! - -THE OTHER ONE. [_Pretends to throw something at the_ JUDGE, _who -stands aghast and speechless_] Don't speak of the law! Here the Gospel -is preached--but not for you, who wanted to buy heaven with stolen -money.--First: the widow and her fatherless children. There is the -silver set which the judge accepted from you for his false report -as executor. In his stained hands the silver has turned black, but -I hope that in yours it will once more turn white.--Then we come to -the ward, who had to become a chimney-sweep, after being cheated out -of his inheritance. Here are the receipted bills and the property -due to you from your guardian. And you need not thank him for his -accounting.--Here stands the surveyor who, although he was innocent, -had to serve two years in prison because he had made an illegal -partition--the maps handed to him for the purpose having been falsified -in advance. What can you do for him, Judge? Can you undo what has -happened, or restore his lost honour? - -JUDGE. Oh, that fellow--give him a bill and he'll be satisfied! His -honour wasn't worth a penny, anyhow. - -THE OTHER ONE. [_Slaps the_ JUDGE _on the mouth, while the rest spit at -him and mutter with clinched fists_] Here is the brother of the sailor -who was beheaded in spite of his innocence. Can you restore his brother -to life? No! And you cannot pay for his life with yours, as it is not -worth as much.--And finally we come to the neighbour whom you cheated -out of his property in a perfectly legal way. Not familiar with the -tricks of the law, the neighbour has, contrary to prevailing practice, -placed the judge's son-in-law in charge of the property as life tenant, -wiping out his previous indebtedness and making him also legal heir to -the property. - -JUDGE. I appeal to a higher court! - -THE OTHER ONE. This case has passed through all the instances except -the highest, and that far you cannot reach with your stamped papers. -For if you tried, all these poor people whom you have robbed of their -living would cry out: Guilty!--Thus we are done with all that could be -properly disposed of. What remains here still undisposed of goes to the -poor: clocks, vases, jewelry and other valuables that have served as -bribes, graft, tips, souvenirs--all in a perfectly legal way because -evidence and witnesses were wanting. You poor, take back your own! -Your tears have washed the guilt from the ill-gotten goods. [_The_ POOR -_begin to plunder_] And now remains the last item to be sold by me. -This pauper here, formerly a judge, is offered to the lowest bidder for -board at the expense of the parish. How much is offered? [_Silence_] -No offer? [_Silence_] First, second, third time--no offer? [_To the_ -JUDGE] There, you see! Nobody wants you. Well, then, I have to take you -myself and send you to your well-earned punishment. - -JUDGE. Is there no atonement? - -THE OTHER ONE. Yes, punishment atones.--Take him into the woods and -stone him in accordance with the law of Moses--for no other law was -ever known to him. Away with him! [_The people pounce on the_ JUDGE -_and jostle him_. - - _The scene changes to the "waiting-room." The same setting as - in the second scene of the fourth act: a kettle-shaped chasm - surrounded by steep black rocks. (The same people are on the - stage.)_ - - _In the background appear a pair of huge scales for the - weighing of newcomers_. - - _The_ JUDGE _and the_ OLD LADY _are seated opposite each other - at a small table_. - -JUDGE. [_Staring in front of himself as if lost in a dream_] -Hush!--I had a dream! They were throwing stones at me--and yet I -felt no pain--and then everything turned black and vacant until this -moment--How long it may have lasted, I cannot tell--Now I am beginning -to hear again--and to feel. It feels as if I were being carried--oh, -how cold it is--they are washing me, I think--I am lying in something -that has six sides like a cell in a honeycomb and that smells like a -carpenter shop--I am being carried, and a bell is ringing--Wait! Now I -am riding, but not in a street-car, although the bell is ringing all -the time--Now I am sinking down, down, as if I were drowning--boom, -boom, boom: three knocks on the roof--and then the lessons begin--the -teacher is leading--and now the boys are singing--What can it be?--And -then they are knocking on the roof again, incessantly--boom, boom, -boom, boom, boom, boom--silence--it's over! [_He wakes up_] Where am I? -I choke! It's so stuffy and close here!--Oh, it's you!--Where are we? -Whose bust is that? - -OLD LADY. They say it is the new god. - -JUDGE. But he looks like a goat. - -OLD LADY. Perhaps it is the god of the goats? - -JUDGE. "The goats on the left side--" What is that I am recalling? - -PRINCE. It is the god Pan. - -JUDGE. Pan? - -PRINCE. Exactly! Just exactly! And when, in the night, the -shepherds--no, not _those_ shepherds--catch sight of a hair of his hide -they are seized with panic---- - -JUDGE. [_Rising_] Woe! I don't want to stay here! Woe! Can't I get out -of here? I want to get out! - - [_He runs around, looking vainly for a way out._ - -THE OTHER ONE. [_Enters dressed as a Franciscan friar_] You'll find -nothing but entrances--no exits! - -JUDGE. Are you Father Colomba? - -THE OTHER ONE. No, I am The Other One. - -JUDGE. As a monk? - -THE OTHER ONE. Don't you know that The Other One turns monk when he -grows old; and don't you think it is well that he does so some time? -But, seriously speaking--for here everything is serious--this is my -holiday attire, which I am permitted to wear only this one day of the -year in order that I may remember what I have had and what I have lost. - -JUDGE. [_Alarmed_] What day of the year is it to-day? - -THE OTHER ONE. [_Bending his head with a sigh_] It is Christmas Eve! - -JUDGE. [_Approaching the_ OLD LADY] Think of it, it is Christmas -Eve?--And you know I don't dare to ask where we are--I dare not--but -let us go home, home to our children, to our own---- [_He cries_. - -OLD LADY. Yes, let us go from here, home to ourselves, that we may -start a new life in peace and harmony---- - -THE OTHER ONE. It is too late! - -OLD LADY. Oh, dear, sweet fellow--help us, have mercy on us, forgive us! - -THE OTHER ONE. It is too late! - -JUDGE. [_Taking the_ OLD LADY _by the hand_] I am choking with dread! -Don't ask him where we are; I don't want to know! But one thing I do -want to know: will there ever be an end to this? - -THE OTHER ONE. Never!--That word "end" is not known to us here. - -JUDGE. [_Crushed_] No end! [_Looking around_] And does the sun never -enter this place of damp and cold? - -THE OTHER ONE. Never, for those who dwell here have not loved the sun! - -JUDGE. It is true: I have cursed the sun.--May I confess my sins? - -THE OTHER ONE. No, you must keep them to yourself until they begin to -swell and stop up your throat. - -OLD LADY. [_Kneeling_] O--I don't know how to pray! - - _She rises and walks restlessly back and forth, wringing her - hands_. - -THE OTHER ONE. Because for you there is no one to whom you might pray. - -OLD LADY. [_In despair_] Children--send somebody to give me a word of -hope and pardon. - -THE OTHER ONE. It will not be done. Your children have forgotten -you--they are now rejoicing at your absence. - - _A picture appears on the rocky wall in the rear: the home, - with_ ADOLPH, AMELIA, ERIC, _and_ THYRA _around the Christmas - tree; in the background, the_ PLAYMATE. - -JUDGE. You say they are seated at the Christmas table rejoicing at our -misfortune?--No, now you lie, for they are better than we! - -THE OTHER ONE. What new tune is that? I have always heard that you were -a righteous man---- - -JUDGE. I? I was a great sinner--the greatest one that ever was! - -THE OTHER ONE. Hm! Hm! - -JUDGE. And if you say anything of the children you are guilty of a sin. -I know that they are praying for us. - -OLD LADY. [_On her knees_] I can hear them tell their rosaries: hush--I -hear them! - -THE OTHER ONE. You are completely mistaken. What you hear is the song -of the workmen who are tearing down the mausoleum. - -JUDGE. The mausoleum! Where we were to have rested in peace! - -PRINCE. Shaded by a dozen wreaths. - -JUDGE. Who is that? - -PRINCE. [_Pointing to the_ OLD LADY] She is my sister, and so you must -be my brother-in-law. - -JUDGE. Oh--that lazy scamp! - -PRINCE. Look here! In this place we are all lazy scamps. - -JUDGE. But we are not all hunchbacks! - -PRINCE. [_Strikes him a blow on the mouth_] Don't touch the hunch or -there will be hell to pay! - -JUDGE. What a way to treat a man of my ability and high social -position! What a Christmas! - -PRINCE. Perhaps you expected your usual creamed codfish and Christmas -cake? - -JUDGE. Not exactly, but there ought to be something to feed on---- - -PRINCE. Here we are keeping a Christmas fast, you see. - -JUDGE. How long will it last? - -PRINCE. How long? We don't measure time here, because it has ceased to -exist, and a minute may last a whole eternity. - -OLD LADY. We suffer only what our deeds have deserved--so don't -complain---- - -PRINCE. Just try to complain, and you'll see what happens.--We are not -squeamish here, but bang away without regard for legal forms. - -JUDGE. Are they beating carpets out there--on a day like this? - -PRINCE. No, it is an extra ration of rod all around as a reminder for -those who may have forgotten the significance of the day. - -JUDGE. Do they actually lay hands on our persons? Is it possible that -educated people can do things like that to each other? - -PRINCE. This is a place of education for the badly educated; and those -who have behaved like scoundrels are treated like such. - -JUDGE. But this passes all limits! - -PRINCE. Yes, because here we are in the limitless! Now get ready! I -have already been out there and had my portion. - -JUDGE. [_Appalled_] What humiliation! That's to strip you of all human -worth! - -PRINCE. Ha ha! Human worth! Ha ha!--Look at the scales over there. -That's where the human worth is--and invariably found wanting. - -JUDGE. [_Sits down at the table_] I could never have believed---- - -PRINCE. No, you could only believe in your caul and your own -righteousness. And yet you had both Moses and the Prophets and more -besides--for the very dead walked for your benefit. - -JUDGE. The children! The children! Is it not possible to send them a -word of greeting and of warning? - -PRINCE. No! Eternally, no! - - _The_ WITCH _comes forward with a big basketful of - stereoscopes._ - -JUDGE. What is it? - -WITCH. Christmas gifts for the righteous. Stereoscopes, you know. -[_Handing out one_] Help yourself. They don't cost anything. - -JUDGE. There's a kind soul at last. And a little attention to a man of -my age and rank does honour both to your tact and to your heart---- - -WITCH. That's very nice of you, Judge, but I hope you don't mind my -having given some thought to the others, too. - -JUDGE. [_Disappointed_] Are you poking fun at me, you damned old hag? - -WITCH. [_Spitting in his face_] Hold your tongue, petti-fogger! - -JUDGE. What company I have got into! - -WITCH. Is it not good enough for you, you old perjurer, you grafter, -you forger, you robber of orphans, you false pleader? Now have a look -in the peep-show and take in the great spectacle: "From the Cradle to -the Grave." There is your whole biography and all your victims--just -have a look now. That's right! - -JUDGE _looks in the stereoscope; then he rises with horror stamped on -his face_. - -WITCH. I hope this slight attention may add to the Christmas joy! - - _She hands a stereoscope to the_ OLD LADY, _and proceeds - thereafter to give one to each person present_. - -JUDGE. [_Sitting at the table, where now the_ OLD LADY _takes a seat -opposite him_] What do you see? - -OLD LADY. Everything is there; everything!--And do you notice that -everything is black? All life that seemed so bright is now black, and -even moments which I thought full of innocent joy have an appearance -of something nauseating, foul, almost criminal. It is as if all my -memories had decayed, including the fairest among them---- - -JUDGE. You are right. There is not one memory that can bring light into -this darkness. When I look at her who was the first love of my youth, -I see nothing but a corpse. When I think of my sweet Amelia, there -appears--a harlot. The little ones make faces at me like gutter-snipes. -My court has become a pigsty; the vineyard, a rubbish-heap full of -thistles; and the mausoleum--Oh, horrors!--an outhouse! When I think of -the green woods, the leafage appears snuff-coloured and the trunks look -bleached as mast tops. The blue river seems to flow out of a dung-heap -and the blue arch above it looks like a smoky roof--Of the sun itself I -can recall nothing but the name; and what was called the moon--the lamp -that shed its light on bays and groves during the amorous nights of my -youth--I can remember only as--no, I cannot remember it at all. But -the words are left, although they have only sound without sense.--Love, -wine, song! Flowers, children, happiness!--Don't the words sound -pretty? And it is all that is left!--Love? What _was_ it, anyhow? - -OLD LADY. What was it?--Two cats on a back-yard fence. - -JUDGE. [_Sheepishly_] Yes, that's it! That's what it was! Three dogs on -a sidewalk. What a sweet recollection! - -OLD LADY. [_Pressing his hand_] Yes, it is sweet! - -JUDGE. [_Looking at his watch_] My watch has stopped. I am so -hungry--and I am thirsty, too, and I long for a smoke. But I am also -tired and want to sleep. All my desires are waking. They claw at me and -hound me, but not one of them can I satisfy. We are lost! Lost, indeed! - -OLD LADY. And I long for a cup of tea more than I can tell! - -JUDGE. Hot green tea--that's just what I should like now--with a tiny -drop of rum in it. - -OLD LADY. No, not rum! I should prefer some cakes---- - -PRINCE. [_Who has drawn near to listen_] Sugared, of course? I fear -you'll have to whistle for them. - -OLD LADY. Oh, this dreadful language hurts me more than anything, else. - -PRINCE. That's because you don't know yet how something else is going -to hurt you. - -JUDGE. What is that? - -OLD LADY. No, don't! We don't want to know! Please! - -PRINCE. Yes, I am going to tell. It begins with---- - -OLD LADY. [_Puts her fingers in her ears and cries out_] Mercy! Don't, -don't, don't! - -PRINCE. Yes, I will--and as my brother-in-law is curious, I'll tell it -to him. The second letter is---- - -JUDGE. This uncertainty is worse than torture--Speak out, you devil, or -I'll kill you! - -PRINCE. Kill, ha ha! Everybody is immortal here, body and soul, what -little there is left. However, the third letter is--and that's all -you'll know! - -MAN IN GREY. [_A small, lean man with grey clothes, grey face, black -lips, grey beard, and grey hands; he speaks in a very low voice_] May I -speak a word with you, madam? - -OLD LADY. [_Rising in evident alarm_] What is it about? - -MAN IN GREY. [_Smiling a ghastly, malicious smile_] I'll tell--out -there. - -OLD LADY. [_Crying_] No, no; I won't! - -MAN IN GREY. [_Laughing_]; It isn't dangerous. Come along! All I want -is to _speak_ to you. Come now! - - [_They go toward the background and disappear_. - -PRINCE. [_To the_ JUDGE] A little Christmas entertainment is wholesome. - -JUDGE. Do you mean to maltreat a woman? - -PRINCE. Here all injustices are abolished, and woman is treated as the -equal of man. - -JUDGE. You devil! - -PRINCE. That's all right, but don't call me hunchback, for that touches -my last illusion. - -THE OTHER ONE. [_Steps up to the table_] Well, how do you like our -animal magnetism? It _can_ work wonders on black-guards! - -JUDGE. I understand nothing of all this. - -THE OTHER ONE. That's just what is meant, and it is very nice of you to -admit that there are things you don't understand. - -JUDGE. Granting that I am now in the realm of the dead---- - -THE OTHER ONE. Say "hell," for that is what it's called. - -JUDGE. [_Stammering_] Th-then I should like to remind you that He who -once descended here to redeem all lost---- - -PRINCE. [_At a sign from_ THE OTHER ONE _he strikes the_ JUDGE _in the -face_] Don't argue! - -JUDGE. They won't even listen to me! It is beyond despair! No mercy, no -hope, no end! - -THE OTHER ONE. Quite right! Here you find only justice and -retribution--especially justice: an eye for an eye and a tooth for a -tooth! Just as you wanted it! - -JUDGE. But among men there is pardon--and that you don't have here. - -THE OTHER ONE. Monarchs alone possess the right to pardon. And as a man -of law you ought to know that a petition for pardon must be submitted -before it can be granted. - -JUDGE. For me there can be no pardon! - -THE OTHER ONE. [_Gives the_ PRINCE _a sign to step aside_] You feel, -then, that your guilt is too great? - -JUDGE. Yes. - -THE OTHER ONE. Then I'll speak kindly to you. There is an end, you see, -if there is a beginning. And you have made a beginning. But the sequel -will be long and hard. - -JUDGE. Oh, God is good! - -THE OTHER ONE. You have said it! - -JUDGE. But--there is one thing that cannot be undone--there is one! - -THE OTHER ONE. You are thinking of the monstrance which should have -been of gold but was of silver? Well, don't you think that He who -changed water into wine may also change silver into gold? - -JUDGE. [_On his knees_] But my misdeed is too great, too great to be -forgiven. - -THE OTHER ONE. Now you overestimate yourself again. But rise up. We -are about to celebrate Christmas in our own fashion.--The light of the -sun cannot reach here, as you know--nor that of the moon. But on this -night, and on this alone, a star rises so far above the rocks that it -is visible from here. It is the star that went before the shepherds -through the desert--and _that_ was the morning star. - - [_He claps his hands together_. - - _The bust of Pan sinks into the ground. The_ OLD LADY _returns, - looking reassured and quietly happy. With a suggestion of firm - hope in mien and gesture, she goes up to the_ JUDGE _and takes - his hand. The stage becomes filled with shadows that are gazing - up at the rocks in the rear_. - -CHORUS I. [_Two sopranos and an alto sing behind the stage, accompanied -only by string instruments and a harp_.] - - Puer natus est nobis; - Et filius datus est nobis, - Cujus imperium super humerum ejus; - Et vocabitur nomen ejus - Magni consilii Angelus. - -CHORUS II. [_Soprano, alto, tenor, basso_.] - - Cantate Domino canticum novum - Quia mirabilia fecit! - - _The star becomes visible above the rocks in the rear. All - kneel down. A part of the rock glides aside, revealing a - tableau: the crib with the child and the mother; the shepherds - adoring at the left, the three Magi at the right_. - -CHORUS III. [_Two sopranos and two altos.]_ - - Gloria in excelsis Deo - Et in terra pax - Hominibus bonae voluntatis! - -_Curtain_. - - - - -THE THUNDERSTORM - -(OVAeDER) - -A CHAMBER PLAY - -1907 - - - CHARACTERS - - THE MASTER, _a retired government official_ - THE CONSUL, _his brother_ - STARCK, _a confectioner_ - AGNES, _daughter of Starck_ - LOUISE, _a relative of the Master_ - GERDA, _the Master's divorced wife_ - FISCHER, _second husband of Gerda_ - THE ICEMAN - THE LETTER-CARRIER - THE LAMPLIGHTER - THE LIQUORDEALER'S MAN - THE MILKMAID - - SCENE I--IN FRONT OF THE HOUSE - SCENE II--INSIDE THE HOUSE - SCENE III--IN FRONT OF THE HOUSE - - - -FIRST SCENE - - - _The front of a modern house with a basement of granite. The - upper parts are of brick covered with yellow plastering. The - window-frames and other ornaments are of sandstone. A low - archway leads through the basement to the court and serves also - as entrance to the confectioner's shop. The corner of the house - appears at the right of the stage, where the avenue opens into - a small square planted with roses and various other flowers. At - the corner is a mail-box. The main floor, above the basement, - has large windows, all of which are open. Four of these windows - belong to an elegantly furnished dining-room. The four middle - windows in the second story have red shades which are drawn; - the shades are illumined by light from within_. - - _Along the front of the house runs a sidewalk with trees - planted at regular intervals. There is a lamp-post in the - extreme foreground and beside it stands a green bench_. - - STARCK, _the confectioner, comes out with a chair and sits down - on the sidewalk_. - - _The_ MASTER _is visible in the dining-room of the main floor, - seated at the table. Behind him appears an oven built of green - majolica tiles. On its mantelshelf stands a large photograph - between two candelabra and some vases containing flowers. A - young girl in a light dress is just serving the final course_. - - _The_ MASTER'S _brother, the_ CONSUL, _appears in front of the - house, coming from the left, and knocks with his walking-stick - on the sill of one of the dining-room windows_. - - -CONSUL. Will you soon be through? - -MASTER. I'll come in a moment. - -CONSUL. [_Saluting the confectioner_] Good evening, Mr. Starck. It's -still hot---- - -STARCK. Good evening, Consul. Yes, it's the dog-day heat, and we have -been making jam all day. - -CONSUL. Is that so? It's a good year for fruit, then? - -STARCK. It might be worse. Well, the spring was cold, but the summer -turned out unbearably hot. It was hard on us who had to stay in the -city. - -CONSUL. I got back from the country yesterday--one begins to wish -oneself back when the evenings grow dark. - -STARCK. Neither I nor my wife have been out of the city. Of course, -business is at a standstill, but you have to be on hand to make -ready for the winter. First come strawberries, then cherries, then -raspberries, and last gooseberries, cantaloupes and all the fall -fruits---- - -CONSUL. Tell me something, Mr. Starck. Is the house here to be sold? - -STARCK. Not that I have heard. - -CONSUL. There are a lot of people living here? - -STARCK. Something like ten families, I think, counting those in the -rear also. But nobody knows anybody else. There is unusually little -gossiping in the house. It seems rather as if everybody were hiding. I -have lived here ten years, and during the first two years we had for -neighbours a strange family that kept very quiet in the daytime. But at -night they began to stir about, and then carriages would come and fetch -things away. Not until the end of the second year did I learn that -they had been running a private sanatorium, and that what was being -taken away at night were dead bodies. - -CONSUL. Horrible! - -STARCK. And they call it the Silent House. - -CONSUL. Yes, there isn't much talking done here. - -STARCK. More than one drama has been played here, nevertheless. - -CONSUL. Tell me, Mr. Starck, who lives up there on the second floor, -right above my brother? - -STARCK. Up there, where the light comes through the red shades--a -tenant died there during the summer. Then the place stood empty for a -month, and a week ago a new family moved in. I haven't seen them. I -don't know their name. I don't think they ever go out. Why did you ask, -Consul? - -CONSUL. Whew--I don't know! Those four red shades look like stage -curtains behind which some sanguinary tragedies are being rehearsed--or -I imagine so, at least. There is a palm at one of the windows looking -like a rod made of wire--you can see the shadow of it on the shade. If -only some people were to be seen---- - -STARCK. I have seen plenty of them, but not until later--at night. - -CONSUL. Was it men or women you saw? - -STARCK. Both, I guess--but now I must get back to my pots. [_He -disappears into the gateway_. - -MASTER. [_Still inside, has risen from the table and lighted a cigar; -he is now standing at the open window, talking to his brother outside_] -I'll be ready in a moment. Louise is only going to sew a button on one -of my gloves. - -CONSUL. Then you mean to go down-town? - -MASTER. Perhaps we'll take a turn in that direction--Whom were you -talking with? - -CONSUL. Just the confectioner---- - -MASTER. Oh, yes--a very decent fellow--and, for that matter, my only -companion here during the summer. - -CONSUL. Have you really stayed at home every night--never gone out? - -MASTER. Never! Those light evenings make me timid. They are pleasant in -the country, of course, but here in the city they produce the effect of -something unnatural--almost ghastly. But no sooner has the first street -lamp been lighted than I feel calm once more and can resume my evening -walks. In that way I can get tired and sleep better at night. [LOUISE -_hands him the glove_] Thank you, my child. You can just as well leave -the windows open, as there are no mosquitoes. [_To the_ CONSUL] Now I'm -coming. - - _A few moments later he can be seen coming out of the house - on the side facing the square; he stops at the corner to drop - a letter in the mail-box; then he comes around the corner to - the front of the house and sits down on the bench beside his - brother_. - -CONSUL. But tell me: why do you stay in the city when you _could_ be in -the country? - -MASTER. I don't know. I have lost my power of motion. My memory has -tied me for ever to these rooms. Only within them can I find peace and -protection. In there--yes! It is interesting to look at your own home -from the outside. Then I imagine that some other man is pacing back and -forth in there--Just think: for ten years I have been pacing back and -forth in there! - -CONSUL. Is it ten years now? - -MASTER. Yes, time goes quickly--once it is gone. But when it is still -going it seems slow enough.--That time the house was new. I watched -them putting down the hard-wood floor in the dining-room and painting -the doors; and _she_ was permitted to pick out the wall-paper, which -is still there--Yes, that was then! The confectioner and I are the -oldest tenants in the place, and he, too, has had a few experiences of -his own--he is one of those people who never succeed but are always in -some kind of trouble. In a way, I have been living his life also, and -bearing his burdens besides my own. - -CONSUL. Does he drink, then? - -MASTER. No-o--nothing of that kind, but there is no _go_ to him. Well, -he and I know the history of this house: how they have arrived in -bridal coaches and left in hearses, while the mail-box at the corner -became the recipient of all their confidences. - -CONSUL. There was a death here in the middle of the summer, wasn't -there? - -MASTER. Yes, a case of typhoid--the man was manager of a bank--and then -the flat stood vacant for a month. The coffin came out first, then the -widow and the children, and last of all the furniture. - -CONSUL. That was on the second floor? - -MASTER. Yes, up there, where you see the light--where those new people -are, about whom I know nothing at all. - -CONSUL. Haven't you seen anything of them either? - -MASTER. I never ask any questions about the other tenants. What comes -to me unasked, I accept--but I never make any wrong use of it, and I -never interfere, for I am anxious for the peace of my old age. - -CONSUL. Old age--yes! I think it's nice to grow old, for then there -isn't so much left to be recorded. - -MASTER. Indeed, it is nice. I am settling my accounts, both with life -and with people, and I have already begun to pack for the journey. -Of course, the solitude has its draw-backs, but when there is nobody -who can make any demands on you, then you have won your freedom--the -freedom to come and go, to think and act, to eat and sleep, in -accordance with your own choice. - - _At this moment the shade in one of the windows on the second - floor is raised a little way, so that part of a woman's dress - becomes visible. Then it is quickly drawn again_. - -CONSUL. They are astir up there--did you see? - -MASTER. Yes, there is such a lot of mystery about it--and at night it -is worse than ever. Sometimes there is music, but it's always bad; -and sometimes I think they are playing cards; and long after midnight -carriages drive up and take away people.--I never make a complaint -against other tenants, for then they want to get even, and nobody wants -to change his ways. The best thing is to remain oblivious of everything. - - _A gentleman, dressed in a dinner coat but bareheaded, comes - out of the house and drops a big pile of letters into the - mail-box; then he disappears into the house again_. - -CONSUL. That fellow must have a lot of correspondence. - -MASTER. It looked to me like circulars. - -CONSUL. But who is he? - -MASTER. Why, that's the new tenant up there on the second floor. - -CONSUL. Oh, is that so! What do you think he looked like? - -MASTER. I don't know. Musician, conductor, a touch of musical -comedy, with a leaning to vaudeville--gambler--Adonis--a little of -everything---- - -CONSUL. Black hair should have gone with that pale complexion of -his, but his hair was brown--which means that it had been dyed, or -that he wears a wig. A tuxedo at home indicates an empty wardrobe, -and the movements of his hands as he dropped the letters into the -box suggested shuffling and cutting and dealing--[_At this moment -waltz music becomes faintly audible from the second floor_] Always -waltzes--perhaps they have a dancing-school--but it's always the same -waltz--what's the name of it now? - -MASTER. Why, I think--that's "Pluie d'or"--I know it by heart. - -CONSUL. Have you heard it in your own house? - -MASTER. Yes, that one and the "Alcazar Waltz." - - LOUISE _becomes visible in the dining-room, where she is - putting things in order and wiping the glassware on the buffet_. - -CONSUL. Are you still pleased with Louise? - -MASTER. Very. - -CONSUL. Isn't she going to marry? - -MASTER. Not that I know of. - -CONSUL. Is there no fiance in sight? - -MASTER. Why do you ask? - -CONSUL. Have you had any thoughts of that kind? - -MASTER. I? No, thank you! When I married the last time I was not too -old, as we had a child in due time, but I have grown too old since -then, and now I want to spend my evening in peace--Do you think I want -another master in my own house, who would rob me of life and honour and -goods? - -CONSUL. Oh, nobody took your life or your goods---- - -MASTER. Do you mean to say that my honour suffered any harm? - -CONSUL. Don't you know? - -MASTER. What _do_ you mean? - -CONSUL. In leaving you, she killed your honour. - -MASTER. Then I have been a dead man for five years without knowing it. - -CONSUL. You haven't known it? - -MASTER. No, but now I'll tell you in a few words what really happened. -When, at fifty, I married a girl much younger than myself--one whose -heart I had won and who gave me her hand fearlessly and willingly--then -I promised her that if ever my age should become a burden to her youth -I would go my own way and give her back her freedom. Since the child -had come in due time, and neither one of us wanted another, and since -our little girl had begun to grow apart from me, so that I had come to -feel superfluous, I did go my way--that is, I took a boat, as we were -living on an island--and that was the end of the whole story. I had -redeemed my promise and saved my honour--what more besides? - -CONSUL. All right--but she thought it an attack on her own honour, -because she had meant to go away herself. And so she killed you by -tacit accusations which never reached your ears. - -MASTER. Did she accuse herself also? - -CONSUL. No, she had no reason to do so. - -MASTER. Then no harm has been done. - -CONSUL. Do you know what has become of her and the child since then? - -MASTER. I don't want to know! Having at last outlived the horrors of -longing, I came to regard the whole business as buried; and as none but -beautiful memories were left behind in our rooms, I remained where I -was. However, I thank you for that piece of valuable information! - -CONSUL. Which one? - -MASTER. That she had no reason for self-accusation, for if she had it -would constitute an accusation against me---- - -CONSUL. I think you are living under a serious misconception---- - -MASTER. If I am, leave me alone! A clear conscience--comparatively -clear, at least--has always been the diving-suit that has enabled me -to descend into the vast deeps without being suffocated. [_Rising_] -To think of it--that I got out of it with my life! And now it's all -over!--Suppose we take a turn down the avenue? - -CONSUL. All right, then we can see them light the first street lamp of -the season. - -MASTER. But won't the moon be up to-night--the harvest-moon? - -CONSUL. Why, I think the moon is full just now---- - -MASTER. [_Going to one of the windows and talking into the -dining-room_] Please hand me my stick, Louise. The light one--I just -want to hold it in my hand. - -LOUISE. [_Handing out a cane of bamboo_] Here it is, sir. - -MASTER. Thank you, my girl. Now turn out the light in the dining-room -if you have nothing to do there. We'll be gone a little while--I cannot -tell just how long. - - _The_ MASTER _and the_ CONSUL _go out to the left_. LOUISE - _remains standing by the open window_. STARCK _comes out of the - gateway_. - -STARCK. Good evening, Miss Louise. It's awfully hot!--So your gentlemen -have disappeared? - -LOUISE. They have gone for a stroll down the avenue--the first time my -master has gone out this summer. - -STARCK. We old people love the twilight, which covers up so many -defects both in ourselves and others. Do you know, Miss Louise, my old -woman is getting blind, but she won't have an operation performed. She -says there is nothing to look at, and that sometimes she wishes she -were deaf, too. - -LOUISE. Well, one does feel that way--at times. - -STARCK. Of course, you are leading a very quiet life in there, with -plenty of everything, and nothing to worry about. I have never heard a -loud voice or the slamming of a door--perhaps, even, it is a little too -quiet for a young lady like yourself? - -LOUISE. Not at all! I love the quiet, and whatever is dignified, -graceful, measured--with nobody blurting out things, and all thinking -it a duty to overlook the less pleasant features of daily life. - -STARCK. And you have never any company? - -LOUISE. No, only the consul comes here--and the like of the love -between those two brothers I have never seen. - -STARCK. Who is the elder of the two? - -LOUISE. That's more than I can tell. Whether there is a year or two -between them, or they are twins, I don't know, for they treat each -other with mutual respect, as if each one of them was the elder brother. - - AGNES _appears, trying to get past_ STARCK _without being seen - by him_. - -STARCK. Where are you going, girl? - -AGNES. Oh, I am just going out for a little walk. - -STARCK. That's right, but get back soon. - - AGNES _goes out_. - -STARCK. Do you think your master is still mourning the loss of his dear -ones? - -LOUISE. He doesn't mourn--he doesn't even feel any regrets, for he -doesn't want them back--but he is always with them in his memory, where -he keeps only their beautiful traits. - -STARCK. But doesn't the fate of his daughter trouble him at times? - -LOUISE. Yes, he cannot help fearing that the mother may have married -again, and then, of course, everything depends on how the child's -stepfather turns out. - -STARCK. I have been told that the wife refused alimony at first, but -that now, when five years have passed, she has sent him a lawyer with a -demand for many thousands---- - -LOUISE. [_With reserve_] I know nothing about it. - -STARCK. I believe, however, that she was never more beautiful than in -his memory---- - -THE LIQUORDEALER'S MAN. [_Enters, carrying a crateful of bottles_] -Excuse me, but does Mr. Fischer live here? - -LOUISE. Mr. Fischer? Not so far as I know. - -STARCK. Perhaps Fischer is the name of that fellow on the second floor? -Around the corner--one flight up. - -THE LIQUORDEALER'S MAN. [_Going toward the square_] One flight -up--thanks. [_He disappears around the corner_. - -LOUISE. Carrying up bottles again--that means another sleepless night. - -STARCK. What kind of people are they? Why don't they ever show -themselves? - -LOUISE. I suppose they use the back-stairs, for I have never seen them. -But I do hear them. - -STARCK. Yes, I have also heard doors bang and corks pop--and the -popping of other things, too, I guess. - -LOUISE. And they never open their windows, in spite of the heat--they -must be Southerners.--Why, that's lightning--a lot of it!--I guess -it's nothing but heat-lightning, for there has been no thunder. - -A VOICE. [_Is heard from the basement_] Starck, dear, won't you come -down and help me put in the sugar! - -STARCK. All right, old lady, I'm coming! [_To_ LOUISE] We are making -jam, you know. [_As he goes_] I'm coming, I'm coming! [_He disappears -into the gateway again_. - - LOUISE _remains standing at the window_. - -CONSUL. [_Enters slowly from the right_] Isn't my brother back yet? - -LOUISE. No, sir. - -CONSUL. He wanted to telephone, and I was to go ahead. Well, I suppose -he'll be here soon.--What's this? [_He stoops to pick up a post-card_] -What does it say?--"Boston club at midnight: Fischer."--Do you know who -Fischer is, Louise? - -LOUISE. There was a man with a lot of wine looking for Fischer a while -ago--up on the second floor. - -CONSUL. On the second floor--Fischer! Red shades that make the place -look like a drug-store window at night! I fear you have got bad company -in the house. - -LOUISE. What is a Boston club? - -CONSUL. Oh, there need be no harm in it at all--in this case I don't -know, however.--But how did the post-card--? Oh, it was _he_ who -dropped it a while ago. Then I'll put it back in the box.--Fischer? -I have heard that name before. In connection with something I cannot -recall just now--May I ask a question, Miss Louise: does my brother -never speak of--the past? - -LOUISE. Not to me. - -CONSUL. Miss Louise--one more question---- - -LOUISE. Excuse me, but here comes the milk, and I have to receive it. - - [_She leaves the dining-room_. - - _The_ MILKMAID _appears from the right and enters the house - from the square_. - -STARCK. [_Comes out again, takes off his white linen cap, and puffs -with heat_] In and out, like a badger at its hole--it's perfectly -horrid down there by the ovens--and the evening doesn't make it any -cooler. - -CONSUL. All this lightning shows that we are going to have rain--Well, -the city isn't pleasant, exactly, but up here you have quiet at least: -never any rattling carriages, and still less any street-cars--it's just -like the country. - -STARCK. Of course, it's quiet, but it's too quiet for business. I -know my trade, but I am a poor salesman--have always been, and -can't learn--or it may be something else. Perhaps I haven't got the -proper manner. For when customers act as if I were a swindler I get -embarrassed at first, and then as mad as it is possible for me to -become. But nowadays I haven't the strength to get really mad. It has -been worn out of me--everything gets worn out. - -CONSUL. Why don't you go to work for somebody else? - -STARCK. Who would want me? - -CONSUL. Have you ever tried? - -STARCK. What would be the use of it? - -CONSUL. Oh--well! - - _At this moment a long-drawn "O-oh" is heard from the apartment - on the second floor_. - -STARCK. What, in the name of Heaven, are they up to in that place? Are -they killing each other? - -CONSUL. I don't like this new and unknown element that has come into -the house. It is pressing on us like a red thunder-cloud. What kind of -people are they? Where do they come from? What do they want here? - -STARCK. It's so very dangerous to delve in other people's affairs--you -get mixed up in them yourself---- - -CONSUL. Do you know anything about them? - -STARCK. No, I don't know anything at all. - -CONSUL. Now they're screaming again, this time in the stairway---- - -STARCK. [_Withdrawing into the gateway and speaking in a low voice_] I -don't want to have anything to do with this. - - GERDA, _the divorced wife of the_ MASTER, _comes running from - the house into the square. She is bareheaded, with her hair - down, and very excited. The_ CONSUL _approaches her, and they - recognise each other. She draws back from him_. - -CONSUL. So it's you--my former sister-in-law? - -GERDA. Yes, it is I. - -CONSUL. How did you get into this house, and why can't you let my -brother enjoy his peace? - -GERDA. [_Bewildered_] They didn't give us the right name of the tenant -below--I thought he had moved--I couldn't help it---- - -CONSUL. Don't be afraid--you don't have to be afraid of me, Gerda! Can -I be of any help to you? What's happening up there? - -GERDA. He was beating me! - -CONSUL. Is your little girl with you? - -GERDA. Yes. - -CONSUL. So she has got a stepfather? - -GERDA. Yes. - -CONSUL. Put up your hair and calm yourself. Then I'll try to straighten -this matter out. But spare my brother---- - -GERDA. I suppose he hates me? - -CONSUL. No, don't you see that he has been taking care of your flowers -in the bed over there? He brought the soil himself, in a basket, -don't you remember? Don't you recognise your blue gentians and the -mignonette, your _Malmaison_ and _Merveille de Lyons_ roses, which he -budded himself? Don't you understand that he has cherished the memory -of yourself and of the child? - -GERDA. Where is he now? - -CONSUL. Taking a walk along the avenue, but he will be here in a few -minutes with the evening papers. When he comes from that side he uses -the back door, and he goes straight into the dining-room to read the -papers. Stand still and he won't notice you.--But you must go back to -your own rooms---- - -GERDA. I can't! I can't go back to that man. - -CONSUL. Who is he, and what? - -GERDA. He--has been a singer. - -CONSUL. Has been--and what is he now? An adventurer? - -GERDA. Yes! - -CONSUL. Keeps a gambling-house? - -GERDA. Yes! - -Consul. And the child? Bait? - -GERDA. Oh, don't say that! - -CONSUL. It's horrible! - -GERDA. You are too harsh about the whole thing. - -CONSUL. Of course, filth must be handled gently--so very gently! But -a just cause should be dragged in the dirt. Why did you defile his -honour, and why did you lure me into becoming your accomplice? I was -childish enough to trust your word, and I defended your unjust cause -against his. - -GERDA. You forget that he was too old. - -CONSUL. No, he wasn't _then_, as you had a child at once. When he -proposed, he asked if you wanted to have a child with him, and he vowed -in the bargain to give you back your freedom when his promise had been -kept and old age began to weigh him down. - -GERDA. He deserted me, and that was an insult. - -CONSUL. Not to you! Your youth prevented it from being a reflection on -you. - -GERDA. He should have let me leave him. - -CONSUL. Why? Why did you want to heap dishonour on him? - -GERDA. One of us had to bear it. - -CONSUL. What strange paths your thoughts pursue! However, you have -killed him, and fooled me into helping you. How can we rehabilitate him? - -GERDA. If he is to be rehabilitated, it can only be at my expense. - -CONSUL. I cannot follow your thoughts, which always turn to hatred. -But suppose we leave the rehabilitation alone and think only of how his -daughter is to be saved: what can we do then? - -GERDA. She is my child. She's mine by law, and my husband is her -father---- - -CONSUL. Now _you_ are too harsh about it! And you have grown cruel and -vulgar--Hush! Here he comes now. - - _The_ MASTER _enters from the left with a newspaper in his - hand; he goes into the house pensively by the back door, while - the_ CONSUL _and_ GERDA _remain motionless, hidden behind the - corner of the house_. - - _Then the_ CONSUL _and_ GERDA _come down the stage. A moment - later the_ MASTER _becomes visible in the dining-room, where he - sits down to read the paper_. - -GERDA. It was he! - -CONSUL. Come over here and look at your home. See how he has kept -everything as it was--arranged to suit your taste.--Don't be afraid. -It's so dark out here that he can't see us. The light in the room -blinds him, you know. - -GERDA. How he has been lying to me! - -CONSUL. In what respect? - -GERDA. He hasn't grown old! He had grown tired of me--that was the -whole thing! Look at his collar--and his tie--the very latest fashion! -I am sure he has a mistress! - -CONSUL. Yes, you can see her photograph on the mantelshelf, between the -candelabra. - -GERDA. It is myself and the child! Does he still love me? - -CONSUL. Your memory only! - -GERDA. That's strange! - - _The_ MASTER _ceases to read and stares out through the window_. - -GERDA. He is looking at us! - -CONSUL. Don't move! - -GERDA. He is looking straight into my eyes. - -CONSUL. Be still! He doesn't see you. - -GERDA. He looks as if he were dead---- - -CONSUL. Well, he has been killed. - -GERDA. Why do you talk like that? - - _An unusually strong flash of heat-lightning illumines the - figures of the_ CONSUL _and_ GERDA. - - _The_ MASTER _rises with an expression of horror on his face_. - GERDA _takes refuge behind the corner of the house_. - -MASTER. Carl Frederick! [_Coming to the window_] Are you alone? I -thought--Are you really alone? - -CONSUL. As you see. - -MASTER. The air is so sultry, and the flowers give me a headache--I am -just going to finish the newspaper. - - [_He resumes his former position._ - -CONSUL. Now let us get at your affairs. Do you want me to go with you? - -GERDA. Perhaps! But it will be a hard struggle. - -CONSUL. But the child must be saved. And I am a lawyer. - -GERDA. Well, for the child's sake, then! Come with me! - - [_They go out together._ - -MASTER. [_Calling from within_] Carl Frederick, come in and have a game -of chess!--Carl Frederick! - -_Curtain_. - - - - -SECOND SCENE - - - _Inside the dining-room. The brick stove appears at the centre - of the rear wall. To the left of it there is a door leading - into the pantry. Another door to the right of it leads to the - hallway. At the left stands a buffet with a telephone on it. A - piano and a tall clock stand at the right. There are doors in - both side walls_. - - - _The_ MASTER _is in the room, and_ LOUISE _enters as the - curtain rises_. - - -MASTER. Where did my brother go? - -LOUISE. [_Alarmed_] He was outside a moment ago. He can't be very far -away. - -MASTER. What a dreadful noise they are making up above! It is as -if they were stepping on my head! Now they are pulling out bureau -drawers as if they were were preparing for a journey--running away, -perhaps.--If you only knew how to play chess, Louise! - -LOUISE. I know a little---- - -MASTER. Oh, if you just know how to move the pieces, that will be -enough--Sit down, child. [_He sets up the chess pieces_] They are -carrying on up there so that they make the chandelier rattle--and the -confectioner is heating up down below. I think I'll have to move soon. - -LOUISE. I have long thought that you ought to do so anyhow. - -MASTER. Anyhow? - -LOUISE. It isn't good to stay too long among old memories. - -MASTER. Why not? As time passes, all memories grow beautiful. - -LOUISE. But you may live twenty years more, and that is too long a time -to live among memories which, after all, must fade and which may change -colour entirely some fine day. - -MASTER. How much you know, my child!--Begin now by moving a pawn--but -not the one in front of the queen, or you will be mate in two moves. - -LOUISE. Then I start with the knight---- - -MASTER. Hardly less dangerous, girl! - -LOUISE. But I think I'll start with the knight just the same. - -MASTER. All right. Then I'll move my bishop's pawn. - - STARCK _appears in the hallway, carrying a tray_. - -LOUISE. There's Mr. Starck with the tea-cakes. He doesn't make any more -noise than a mouse. - - [_She rises and goes out into the hallway to receive the tray, - which she then carries into the pantry_. - -MASTER. Well, Mr. Starck, how is the old lady? - -STARCK. Oh, thank you, her eyes are about as usual. - -MASTER. Have you seen anything of my brother? - -STARCK. He is walking back and forth outside, I think. - -MASTER. Has he got any company? - -STARCK. No-o--I don't think so. - -MASTER. It wasn't yesterday you had a look at these rooms, Mr. Starck. - -STARCK. I should say not--it's just ten years ago now---- - -MASTER. When you brought the wedding-cake.--Does the place look changed? - -STARCK. It is just as it was--the palms have grown, of course--but the -rest is just as it was. - -MASTER. And will remain so until you bring the funeral cake. When you -have passed a certain age, nothing changes, nothing progresses--all the -movement is downward like that of a sleigh going down-hill. - -STARCK. Yes, that's the way it is. - -MASTER. And it is peaceful, the way I have it here. No love, no -friends, only a little company to break up the solitude. Then human -beings are just human beings, without any claims on your feelings and -sympathies. Then you come loose like an old tooth, and drop out without -pain or regrets. Take Louise, for instance--a pretty young girl, the -sight of whom pleases me like a work of art that I don't wish to -possess--there is nothing to disturb our relationship. My brother and I -meet like two old gentlemen who never get too close to each other and -never exact any confidences. By taking up a neutral position toward -one's fellow-men, one attains a certain distance--and as a rule we look -better at a distance. In a word, I am pleased with my old age and its -quiet peace--[_Calling out_] Louise! - -LOUISE. [_Appearing in the doorway at the left and speaking pleasantly -as always_] The laundry has come home, and I have to check it off. -[_She disappears again_. - -MASTER. Well, Mr. Starck, won't you sit down and chat a little--or -perhaps you play chess? - -STARCK. I can't stay away from my pots, and the oven has to be heated -up at eleven. It's very kind of you, however---- - -MASTER. If you catch sight of my brother, ask him to come in and keep -me company. - -STARCK. So I will--so I will! [_He goes_. - -MASTER. [_Alone; moves a couple of pieces on the chess-board; then gets -up and begins to walk about_] The peace of old age--yes! [_He sits down -at the piano and strikes a few chords; then he gets up and walks about -as before_] Louise! Can't you let the laundry wait a little? - -LOUISE. [_Appears again for a moment in the doorway at the left_] No, -I can't, because the wash-woman is in a hurry--she has husband and -children waiting for her. - -MASTER. Oh! [_He sits down at the table and begins to drum with his -fingers on it; tries to read the newspaper, but tires of it; lights -matches only to blow them out again at once; looks repeatedly at the -big clock, until at last a noise is heard from the hallway_] Is that -you, Carl Frederick? - -THE MAIL-CARRIER. [_Appears in the doorway_] It's the mail. Excuse me -for walking right in, but the door was standing open. - -MASTER. Is there a letter for me? - -THE MAIL-CARRIER. Only a post-card. - - [_He hands it over and goes out_. - -MASTER. [_Reading the post-card_] Mr. Fischer again! Boston club! -That's the man up above--with the white hands and the tuxedo coat. And -to me! The impertinence of it! I have got to move!--Fischer!--[_He -tears up the card; again a noise is heard, in the hallway_] Is that -you, Carl Frederick? - -THE ICEMAN. [_Without coming into the room_] It's the ice! - -MASTER. Well, it's nice to get ice in this heat. But be careful about -those bottles in the box. And put one of the pieces on edge so that I -can hear the water drip from it as it melts--That's my water-clock that -measures out the hours--the long hours--Tell me, where do you get the -ice from nowadays?--Oh, he's gone!--Everybody goes away--goes home--to -hear their own voices and get some company-[_Pause_] Is that you, Carl -Frederick? - -_Somebody in the apartment above plays Chopin's_ Fantaisie Impromptu, -Opus 66, _on the piano_--_but only the first part of it_. - -MASTER. [_Begins to listen, is aroused, looks up at the ceiling_] My -_Impromptu_? - - [_He covers his eyes with one hand and listens_. - - _The_ CONSUL _enters through the hallway_. - -MASTER. Is that you, Carl Frederick? - - _The music stops_. - -CONSUL. It is I. - -MASTER. Where have you been so long? - -CONSUL. I had some business to clear up. Have you been alone? - -MASTER. Of course! Come and play chess now. - -CONSUL. I prefer to talk. And you need also to hear your own voice a -little. - -MASTER. True enough--only it is so easy to get to talking about the -past. - -CONSUL. That makes us forget the present. - -MASTER. There is no present. What's just passing is empty nothingness. -One has to look ahead or behind--and ahead is better, for there lies -hope! - -CONSUL. [_Seating himself at the table_] Hope--of what? - -MASTER. Of change. - -CONSUL. Well! Do you mean to say you have had enough of the peace of -old age? - -MASTER. Perhaps. - -CONSUL. It's certain then. And if now you had the choice between -solitude and the past? - -MASTER. No ghosts, however! - -CONSUL. How about your memories? - -MASTER. They don't walk. They are only poems wrought by me out of -certain realities. But if dead people walk, then you have ghosts. - -CONSUL. Well, then--in your memory--who brings you the prettiest -mirage: the woman or the child? - -MASTER. Both! I cannot separate them, and that's why I never tried to -keep the child. - -CONSUL. But do you think you did right? Did the possibility of a -stepfather never occur to you? - -MASTER. I didn't think that far ahead at the time, but afterward, of -course, I have had--my thoughts--about--that very thing. - -CONSUL. A stepfather who abused--perhaps debased--your daughter? - -MASTER. Hush! - -CONSUL. What is it you hear? - -MASTER. I thought I heard the "little steps"--those little steps that -came tripping down the corridor when she was looking for me.--It was -the child that was the best of all! To watch that fearless little -creature, whom nothing could frighten, who never suspected that life -might be deceptive, who had no secrets! I recall her first experience -of the malice that is in human beings. She caught sight of a pretty -child down in the park, and, though it was strange to her, she went -up to it with open arms to kiss it--and the pretty child rewarded her -friendliness by biting her in the cheek first and then making a face -at her. Then you should have seen my little Anne-Charlotte. She stood -as if turned to stone. And it wasn't pain that did it, but horror at -the sight of that yawning abyss which is called the human heart. I -have been confronted with the same sight myself once, when out of two -beautiful eyes suddenly shot strange glances as if some evil beast had -appeared behind those eyes. It scared me literally so that I had to see -if some other person were standing behind that face, which looked like -a mask.--But why do we sit here talking about such things? Is it the -heat, or the storm, or what? - -CONSUL. Solitude brings heavy thoughts, and you ought to have company. -This summer in the city seems to have been rather hard on you. - -MASTER. Only these last few weeks. The sickness and that death up -above--it was as if I had gone through it myself. The sorrows and -cares of the confectioner have also become my own, so that I keep -worrying about his finances, about his wife's eye trouble, about his -future--and of late I have been dreaming every night about my little -Anne-Charlotte. I see her surrounded by dangers--unknown, undiscovered, -nameless. And before I fall asleep my hearing grows so unbelievably -acute that I can hear her little steps--and once I heard her voice---- - -CONSUL. But where is she then? - -MASTER. Don't ask me! - -CONSUL. And if you were to meet her on the street? - -MASTER. I imagine that I should lose my reason or fall in a faint. -Once, you know, I stayed abroad very long, during the very time when -our youngest sister was growing up. When I returned, after several -years, I was met at the steam-boat landing by a young girl who put -her arms around my neck. I was horrified at those eyes that searched -mine, but with unfamiliar glances--glances that expressed absolute -terror at not being recognised. "It is I," she repeated again and again -before at last I was able to recognise my own sister. And that's how I -imagine it would be for me to meet my daughter again. Five years are -enough to render you unrecognisable at that age. Think of it: not to -know your own child! That child, who is the same as before, and yet a -stranger! I couldn't survive such a thing. No, then I prefer to keep -the little girl of four years whom you see over there on the altar of -my home. I want no other one. [_Pause_] That must be Louise putting -things to rights in the linen closet. It has such a clean smell, and it -reminds me--oh, the housewife at her linen closet; the good fairy that -preserves and renews; the housewife with her iron, who smooths out all -that has been ruffled up and who takes out all wrinkles--the wrinkles, -yes--[_Pause_] Now--I'll--go in there to write a letter. If you'll -stay, I'll be out again soon. - - [_He goes out to the left_. - - _The_ CONSUL _coughs_. - -GERDA. [_Appears in the door to the hallway_] Are you--[_The clock -strikes_] Oh, mercy! That sound--which has remained in my ears for ten -years! That clock which never kept time and yet measured the long hours -and days and nights of five years. [_She looks around_] My piano--my -palms--the dinner-table--he has kept it in honour, shining as a -shield! My buffet--with the "Knight in Armour" and "Eve"--Eve with her -basketful of apples--In the right-hand upper drawer, way back, there -was a thermometer lying--[_Pause_] I wonder if it is still there? [_She -goes to the buffet and pulls out the right-hand drawer_] Yes, there it -is! - -CONSUL. What does that mean? - -GERDA. Oh, in the end it became a symbol--of instability. When we went -to housekeeping the thermometer was not put in its place at once--of -course, it ought to be outside the window. I promised to put it up--and -forgot it. He promised, and forgot. Then we nagged each other about -it, and at last, to get away from it, I hid it in this drawer. I came -to hate it, and so did he. Do you know what was back of all that? -Neither one of us believed that our relationship would last, because we -unmasked at once and gave free vent to our antipathies. To begin with, -we lived on tiptoe, so to speak--always ready to fly off at a moment's -notice. That was what the thermometer stood for--and here it is still -lying! Always on the move, always changeable, like the weather. [_She -puts away the thermometer and goes over to the chess-board_] My chess -pieces! Which he bought to kill the time that hung heavy on our hands -while we were waiting for the little one to come. With whom does he -play now? - -CONSUL. With me. - -GERDA. Where is he? - -CONSUL. He is in his room writing a letter. - -GERDA. Where? - -CONSUL. [_Pointing toward the left_] There. - -GERDA. [_Shocked_] And here he has been going for five years? - -CONSUL. Ten years--five of them alone! - -GERDA. Of course, he loves solitude. - -CONSUL. But I think he has had enough of it. - -GERDA. Will he turn me out? - -CONSUL. Find out for yourself! You take no risk, as he is always polite. - -GERDA. I didn't make that centrepiece---- - -CONSUL. That is to say, you risk his asking you for the child. - -GERDA. But it was he who should help me find it again---- - -CONSUL. Where do you think Fischer has gone, and what can be the -purpose of his flight? - -GERDA. To get away from the unpleasant neighbourhood, first of all; -then to make me run after him. And he wanted the girl as a hostage, of -course. - -CONSUL. As to the ballet--that's something the father _must not_ know, -for he hates music-halls. - -GERDA. [_Sitting down in front of the chess-board and beginning, -absent-mindedly, to arrange the pieces_] Music-halls--oh, I have been -there myself. - -CONSUL. You? - -GERDA. I have accompanied on the piano. - -CONSUL. Poor Gerda! - -GERDA. Why? I love that kind of life. And when I was a prisoner here, -it wasn't the keeper, but the prison itself, that made me fret. - -CONSUL. But now you have had enough? - -GERDA. Now I am in love with peace and solitude--and with my child -above all. - -CONSUL. Hush, he's coming! - -GERDA. [_Rises as if to run away, but sinks down on the chair again_] -Oh! - -CONSUL. Now I leave you. Don't think of what you are to say. It will -come of itself, like the "next move" in a game of chess. - -GERDA. I fear his first glance most of all, for it will tell me whether -I have changed for better or for worse--whether I have grown old and -ugly. - -CONSUL. [_Going out to the right_] If he finds you looking older, then -he will dare to approach you. If he finds you as young as ever, he will -have no hope, for he is more diffident than you think.--Now! - - _The_ MASTER _is seen outside, passing by the door leading - to the pantry; he carries a letter in his hand; then he - disappears, only to become visible again a moment later in the - hallway, where he opens the outside door and steps out_. - -CONSUL. [_In the doorway at the right_] He went out to the mail-box. - -GERDA. No, this is too much for me! How can I possibly ask _him_ to -help me with this divorce? I want to get out! It's too brazen! - -CONSUL. Stay! You know that his kindness has no limits. And he'll help -you for the child's sake. - -GERDA. No, no! - -CONSUL. And he is the only one who can help you. - -MASTER. [_Enters quickly from the hallway and nods at_ GERDA, _whom, -because of his near-sightedness, he mistakes for_ LOUISE; _then he goes -to the buffet and picks up the telephone, but in passing he remarks to_ -GERDA] So you're done already? Well, get the pieces ready then, and -we'll begin all over again--from the beginning. - - GERDA _stands paralysed, not understanding the situation_. - -MASTER. [_Speaks in the telephone receiver, with his back to_ Gerda] -Hello!--Good evening! Is that you, mother?--Pretty well, thank you! -Louise is waiting to play a game of chess with me, but she is a -little tired after a lot of bother--It's all over now--everything -all right--nothing serious at all.--If it's hot? Well, there has -been a lot of thundering, right over our heads, but nobody has been -struck. False alarm!--What did you say? Fischer?--Yes, but I think -they are going to leave.--Why so? I know nothing in particular.--Oh, -is that so?--Yes, it leaves at six-fifteen, by the outside route, -and it gets there--let me see--at eight-twenty-five.--Did you have a -good time?--[_With a little laugh_] Oh, he's impossible when he gets -started! And what did Marie have to say about it?--How I have had it -during the summer? Oh, well, Louise and I have kept each other company, -and she has got such an even, pleasant temper.--Yes, she is very nice, -indeed!--Oh, no, nothing of that kind! - - GERDA, _who has begun to understand, rises with an expression - of consternation on her face_. - -MASTER. My eyes? Oh, I am getting a little near-sighted. But I feel -like the confectioner's old wife: there is nothing to look at. Wish I -were deaf, too! Deaf and blind! The neighbours above make such a lot of -noise at night--it's a gambling club--There now! Somebody got on the -wire to listen. [_He rings again_. - - LOUISE _appears in the door to the hallway without being seen - by the_ MASTER; GERDA _stares at her with mingled admiration - and hatred_; LOUISE _withdraws toward the right_. - -MASTER. [_At the telephone_] Is that you? The cheek of it--to -break off our talk in order to listen!--To-morrow, then, at -six-fifteen.--Thank you, and the same to you!--Yes, I will, -indeed!--Good night, mother! [_He rings off_. - - LOUISE _has disappeared_. GERDA _is standing in the middle of - the floor_. - -MASTER. [_Turns around and catches sight of_ GERDA, _whom he gradually -recognises; then he puts his hand to his heart_] O Lord, was that you? -Wasn't Louise here a moment ago? - - GERDA _remains silent_. - -MASTER. [_Feebly_] How--how did you get here? - -GERDA. I hope you pardon--I just got to the city--I was passing by and -felt a longing to have a look at my old home--the windows were open---- - - [_Pause_. - -MASTER. Do you find things as they used to be? - -GERDA. Exactly, and yet different--there is a difference - -MASTER. [_Feeling unhappy_] Are you satisfied--with your life? - -GERDA. Yes. I have what I was looking for. - -MASTER. And the child? - -GERDA. Oh, she's growing, and thriving, and lacks nothing. - -MASTER. Then I won't ask anything more. [_Pause_] Did you want -anything--of me--can I be of any service? - -GERDA. It's very kind of you, but--I need nothing at all now when I -have seen that you lack nothing either. [_Pause]_ Do you wish to see -Anne-Charlotte? - -MASTER. I don't think so, now when I have heard that she is doing well. -It's so hard to begin over again. It's like having to repeat a lesson -at school--which you know already, although the teacher doesn't think -so--I have got so far away from all that--I live in a wholly different -region--and I cannot connect with the past. It goes against me to be -impolite, but I am not asking you to be seated--you are another man's -wife--and you are not the same person as the one from whom I parted. - -GERDA. Am I then so--altered? - -MASTER. Quite strange to me! Your voice, glance, manner---- - -GERDA. Have I grown old? - -MASTER. That I cannot tell!--They say that not a single atom in a -person's body remains wholly the same after three years--and in five -years everything is renewed. And for that reason you, who stand over -there, are not the same person as the sufferer who once sat here--you -seem such a complete stranger to me that I can only address you in the -most formal way. And I suppose it would be just the same in the case of -my daughter, too. - -GERDA. Don't speak like that. I would much rather have you angry. - -MASTER. Why should I be angry? - -GERDA. Because of all the evil I have done you. - -MASTER. Have you? That's more than I know. - -GERDA. Didn't you read the papers in the suit? - -MASTER. No-o! I left that to my lawyer. [_He sits down_. - -GERDA. And the decision of the court? - -MASTER. No, why should I? As I don't mean to marry again, I have no use -for that kind of documents. - - _Pause_. GERDA _seats herself_. - -MASTER. What did those papers say? That I was too old? - - GERDA'S _silence indicates assent_. - -MASTER. Well, that was nothing but the truth, so that need not trouble -you. In my answer I said the very same thing and asked the Court to set -you free again. - -GERDA. You said, that---- - -MASTER. I said, not that I _was_, but that I was about to _become_ too -old _for you_! - -GERDA. [_Offended_] For me? - -MASTER. Yes.--I couldn't say that I was too old when we married, for -then the arrival of the child would have been unpleasantly explained, -and it was _our_ child, was it not? - -GERDA. You know that, of course! But---- - -MASTER. Do you think I should be ashamed of my age?--Of course, if -I took to dancing and playing cards at night, then I might soon land -in an invalid's chair, or on the operating-table, and that would be a -shame. - -GERDA. You don't look it---- - -MASTER. Did you expect the divorce to kill me? - - _The silence of_ GERDA _is ambiguous_. - -MASTER. There are those who assert that you _have_ killed me. Do you -think I look like a dead man? - - GERDA _appears embarrassed_. - -MASTER. Some of your friends are said to have caricatured me in the -papers, but I have never seen anything of it, and those papers went -into the dump five years ago. So there is no need for your conscience -to be troubled on my behalf. - -GERDA. Why did you marry me? - -MASTER. Don't you know why a man marries? And you know, too, that I -didn't have to go begging for love. And you ought to remember how -we laughed together at all the wiseacres who felt compelled to warn -you.--But why you led me on is something I have never been able to -explain--When you didn't look at me after the marriage ceremony, but -acted as if you had been attending somebody else's wedding, then I -thought you had made a bet that you could kill me. As the head of the -department, I was, of course, hated by all my subordinates, but they -became your friends at once. No sooner did I make an enemy than he -became _your_ friend. Which caused me to remark that, while it was -right for you not to hate your enemies, it was also right that you -shouldn't _love_ mine!--However, seeing where you stood, I began to -prepare for a retreat at once, but before leaving I wanted a living -proof that you had not been telling the truth, and so I stayed until -the little one arrived. - -GERDA. To think that you could be so disingenuous! - -MASTER. I learned to keep silent, but I never lied!--By degrees you -turned all my friends into detectives, and you lured my own brother -into betraying me. But worst of all was that your thoughtless chatter -threw suspicions on the legitimacy of the child. - -GERDA. All that I took back! - -MASTER. The word that's on the wing cannot be pulled back again. And -worse still: those false rumours reached the child, and now she thinks -her mother a---- - -GERDA. For Heaven's sake! - -MASTER. Well, that's the truth of it. You raised a tall tower on a -foundation of lies, and now the tower of lies is tumbling down on your -head. - -GERDA. It isn't true! - -MASTER. Yes, it is! I met Anne-Charlotte a few minutes ago---- - -GERDA. You have met---- - -MASTER. We met on the stairs, and she said I was her uncle. Do you -know what an uncle is? That's an elderly friend of the house and the -mother. And I know that at school I am also passing as her uncle.--But -all that is dreadful for the child! - -GERDA. You have met---- - -MASTER. Yes. But why should I tell anybody about it? Haven't I a right -to keep silent? And, besides, that meeting was so shocking to me that I -wiped it out of my memory as if it had never existed. - -GERDA. What can I do to rehabilitate you? - -MASTER. You? What could you do? That's something I can only do myself. -[_For a long time they gaze intently at each other_] And for that -matter, I have already got my rehabilitation. [_Pause_. - -GERDA. Can't I make good in some way? Can't I ask you to forgive, to -forget---- - -MASTER. What do you mean? - -GERDA. To restore, to repair---- - -MASTER. Do you mean to resume, to start over again, to reinstate a -master above me? No, thanks! I don't want you. - -GERDA. And this I had to hear! - -MASTER. Well, how does it taste? [_Pause_. - -GERDA. That's a pretty centrepiece. - -MASTER. Yes, it's pretty. - -GERDA. Where did you get it? [_Pause_. - - LOUISE _appears in the door to the pantry with a bill in her - hand_. - -MASTER. [_Turning toward her_] Is it a bill? - -GERDA _rises and begins to pull on her gloves with such violence that -buttons are scattered right and left_. - -MASTER. [_Taking out the money_] Eighteen-seventy-two. That's just -right. - -LOUISE. I should like to see you a moment, sir. - -MASTER. [_Rises and goes to the door, where_ LOUISE _whispers something -into his ear_] Oh, mercy---- - -LOUISE _goes out_. - -MASTER. I am sorry for you, Gerda! - -GERDA. What do you mean? That I am jealous of your servant-girl? - -MASTER. No, I didn't mean that. - -GERDA. Yes, you meant that you were too old for me, but not for her. -I catch the insulting point--She's pretty--I don't deny it--for a -servant-girl---- - -MASTER. I am sorry for you, Gerda! - -GERDA. Why do you say that? - -MASTER. Because you are to be pitied. Jealous of my servant--that ought -to be rehabilitation enough. - -GERDA. Jealous, I---- - -MASTER. Why do you fly in a rage at my nice, gentle kinswoman? - -GERDA. "A little more than kin." - -MASTER. No, my dear, I have long ago resigned myself--and I am -satisfied with my solitude--[_The telephone rings, and he goes to -answer it_] Mr. Fischer? No, that isn't here.--Oh, yes, that's me.--Has -he skipped?--With whom, do you say?--with Starck's daughter! Oh, good -Lord! How old is she?--Eighteen! A mere child! [_Rings off_. - -GERDA. I knew he had run away.--But with a woman!--Now you're pleased. - -MASTER. No, I am not pleased. Although there is a sort of solace to my -mind in finding justice exists in this world. Life is very quick in its -movements, and now you find yourself where I was. - -GERDA. Her eighteen years against my twenty-nine--I am old--too old for -him! - -MASTER. Everything is relative, even age.--But now let us get at -something else. Where is your child? - -GERDA. My child? I had forgotten it! My child! My God! Help me! He -has taken the child with him. He loves Anne-Charlotte as his own -daughter--Come with me to the police--come! - -MASTER. I? Now you ask too much. - -GERDA. Help me! - -MASTER. [_Goes to the door at the right_] Come, Carl Frederick--get a -cab--take Gerda down to the police station--won't you? - -CONSUL. [_Enters_] Of course I will! We are human, are we not? - -MASTER. Quick! But say nothing to Starck. Matters may be straightened -out yet--Poor fellow--and I am sorry for Gerda, too!--Hurry up now! - -GERDA. [_Looking out through the window_] It's beginning to rain--lend -me an umbrella. Eighteen years--only eighteen--quick, now! - - _She goes out with the_ CONSUL. - -MASTER. [_Alone_] The peace of old age!--And my child in the hands of -an adventurer!--Louise! - - LOUISE _enters_. - -MASTER. Come and play chess with me. - -LOUISE. Has the consul---- - -MASTER. He has gone out on some business. Is it still raining? - -LOUISE. No, it has stopped now. - -MASTER. Then I'll go out and cool off a little. [_Pause_] You are a -nice girl, and sensible--did you know the confectioner's daughter? - -LOUISE. Very slightly. - -MASTER. Is she pretty? - -LOUISE. Ye-es. - -MASTER. Have you known the people above us? - -LOUISE. I have never seen them. - -MASTER. That's an evasion. - -LOUISE. I have learned to keep silent in this house. - -MASTER. I am forced to admit that pretended deafness can be carried to -the point where it becomes dangerous.--Well, get the tea ready while I -go outside and cool off a little. And, one thing, please--you see what -is happening, of course--but don't ask me any questions. - -LOUISE. I? No, sir, I am not at all curious. - -MASTER. I am thankful for that! - -_Curtain_. - - - - -THIRD SCENE - - - _The front of the house as in the First Scene. There is light - in the confectioner's place in the basement. The gas is also - lit on the second floor, where now the shades are raised and - the windows open_. - - - STARCK _is sitting near the gateway_. - -MASTER. [_Seated on the green bench_] That was a nice little shower we -had. - -STARCK. Quite a blessing! Now the raspberries will be coming in -again---- - -MASTER. Then I'll ask you to put aside a few jars for us. We have grown -tired of making the jam ourselves. It only gets spoiled. - -STARCK. Yes, I know. Jars of jam are like mischievous children: you -have to watch them all the time. There are people who put in salicylic -acid, but those are newfangled tricks in which I take no stock. - -MASTER. Salicylic acid--yes, they say it's antiseptic--and perhaps it's -a good thing. - -STARCK. Yes, but you can taste it--and it's a trick. - -MASTER. Tell me, Mr. Starck, have you got a telephone? - -STARCK. No, I have no telephone. - -MASTER. Oh! - -STARCK. Why do you ask? - -MASTER. Oh, I happened to think--a telephone is handy at times--for -orders--and important communications---- - -STARCK. That may be. But sometimes it is just as well to -escape--communications. - -MASTER. Quite right! Quite right!--Yes, my heart always beats a little -faster when I hear it ring--one never knows what one is going to -hear--and I want peace--peace, above all else. - -STARCK. So do I. - -MASTER. [_Looking at his watch_] The lamplighter ought to be here soon. - -STARCK. He must have forgotten us, for I see that the lamps are already -lit further down the avenue. - -MASTER. Then he'll be here soon. It will be a lot of fun to see our -lamp lighted again. - - _The telephone in the dining-room rings_. LOUISE _comes in to - answer the call. The_ MASTER _rises and puts one hand up to his - heart. He tries to listen, but the public cannot hear anything - of what is said within. Pause. After a while_ LOUISE _comes out - by way of the square_. - -MASTER. [_Anxiously_] What news? - -LOUISE. No change. - -MASTER. Was that my brother? - -LOUISE. No, it was the lady. - -MASTER. What did she want? - -LOUISE. To speak to you, sir. - -MASTER. I don't want to!--Have I to console my executioner? I used to -do it, but now I am tired of it.--Look up there! They have forgotten -to turn out the light--and light makes empty rooms more dreadful than -darkness--the ghosts become visible. [_In a lowered voice_] And how -about Starck's Agnes? Do you think he knows anything? - -LOUISE. It's hard to tell, for he never speaks about his sorrows--nor -does anybody else in the Silent House! - -MASTER. Do you think he should be told? - -LOUISE. For Heaven's sake, no! - -MASTER. But I fear it isn't the first time she gave him trouble. - -LOUISE. He never speaks of her. - -MASTER. It's horrible! I wonder if we'll get to the end of it soon? -[_The telephone rings again_] Now it's ringing again. Don't answer. I -don't want to hear anything.--My child--in such company! An adventurer -and a strumpet!--It's beyond limit!--Poor Gerda! - -LOUISE. It's better to have certainty. I'll go in--You must do -something! - -MASTER. I cannot move--I can receive blows, but to strike back--no! - -LOUISE. But if you don't repel a danger, it will press closer; and if -you don't resist, you'll be destroyed. - -MASTER. But if you refuse to be drawn in, you become unassailable. - -LOUISE. Unassailable? - -MASTER. Things straighten out much better if you don't mess them up -still further by interference. How can you want me to direct matters -where so many passions are at play? Do you think I can suppress -anybody's emotions, or give them a new turn? - -LOUISE. But how about the child? - -MASTER. I have surrendered my rights--and besides--frankly speaking--I -don't care for them--not at all now, when _she_ has been here and -spoiled the images harboured in my memory. She has wiped out all the -beauty that I had cherished, and now there is nothing left. - -LOUISE. But that's to be set free! - -MASTER. Look, how empty the place seems in there--as if everybody had -moved out; and up there--as if there had been a fire. - -LOUISE. Who is coming there? - - AGNES _enters, excited and frightened, but trying hard - to control herself; she makes for the gateway, where the - confectioner is seated on his chair_. - -LOUISE [_To the_ MASTER] There is Agnes? What can this mean? - -MASTER. Agnes? Then things are getting straightened out. - -STARCK. [_With perfect calm_] Good evening, girl! Where have you been? - -AGNES. I have been for a walk. - -STARCK. Your mother has asked for you several times. - -AGNES. Is that so? Well, here I am. - -STARCK. Please go down and help her start a fire under the little oven. - -AGNES. Is she angry with me, then? - -STARCK. You know that she cannot be angry with you. - -AGNES. Oh, yes, but she doesn't say anything. - -STARCK. Well, girl, isn't it better to escape being scolded? - - AGNES _disappears into the gateway_. - -MASTER. [_To_ LOUISE] Does he know, or doesn't he? - -LOUISE. Let's hope that he will remain in ignorance. - -MASTER. But what can have happened? A breach? [_To_ STARCK] Say, Mr. -Starck---- - -STARCK. What is it? - -MASTER. I thought--Did you notice if anybody left the house a while ago? - -STARCK. I saw the iceman, and also a mail-carrier, I think. - -MASTER. Oh! [_To_ LOUISE] Perhaps it was a mistake--that we didn't hear -right--I can't explain it--Or maybe he is not telling the truth? What -did she say when she telephoned? - -LOUISE. That she wanted to speak to you. - -MASTER. How did it sound? Was she excited? - -LOUISE. Yes. - -MASTER. I think it's rather shameless of her to appeal to me in a -matter like this. - -LOUISE. But the child! - -MASTER. Just think, I met my daughter on the stairway, and when I asked -her if she recognised me she called me uncle and told me that her -father was up-stairs. Of course, he is her stepfather, and has all the -rights--They have just spent their time exterminating me, blackguarding -me---- - -LOUISE. A cab is stopping at the corner. - - STARCK _withdraws into the gateway_. - -MASTER. I only hope they don't come back to burden me again! Just -think: to have to hear my child singing the praise of her father--the -other one! And then to begin the old story all over again: "Why did you -marry me?"--"Oh, you know; but what made you want me?"--"You know very -well!"--And so on, until the end of the world. - -LOUISE. It was the consul that came. - -MASTER. How does he look? - -LOUISE. He is taking his time. - -MASTER. Practising what he is to say, I suppose. Does he look satisfied? - -LOUISE. Thoughtful, rather---- - -MASTER. Hm!--That's the way it always was. Whenever he saw that woman -he became disloyal to me. She had the power of charming everybody but -me. To me she seemed coarse, vulgar, ugly, stupid; to all the rest she -seemed refined, pleasant, handsome, intelligent. All the hatred aroused -by my independence centred in her under the form of a boundless -sympathy for whoever wronged me in any way. Through her they strove to -control and influence me, to wound me, and, at last, to kill me. - -LOUISE. Now, I'll go in and watch the telephone--I suppose this storm -will pass like all others. - -MASTER. Men cannot bear independence. They want you to obey them. Every -one of my subordinates in the department, down to the very messengers, -wanted me to obey him. And when I wouldn't they called me a despot. The -servants in our house wanted me to obey them and eat food that had been -warmed up. When I wouldn't, they set my wife against me. And finally -my wife wanted me to obey the child, but then I left, and then all of -them combined against the tyrant--which was I!--Get in there quick now, -Louise, so we can set off our mines out here. - - _The_ CONSUL _enters from the left_. - -MASTER. Results--not details--please! - -CONSUL. Let's sit down. I am a little tired. - -MASTER. I think it has rained on the bench. - -CONSUL. It can't be too wet for me if you have been sitting on it. - -MASTER. A you like!--Where is my child? - -CONSUL. Can I begin at the beginning? - -MASTER. Begin! - -CONSUL [_Speaking slowly_] I got to the depot with Gerda--and at the -ticket-office I discovered him and Agnes---- - -MASTER. So Agnes was with him? - -CONSUL. And so was the child!--Gerda stayed outside, and I went up to -them. At that moment _he_ was handing Agnes the tickets, but when she -discovered that they were for third class she threw them in his face -and walked out to the cab-stand. - -MASTER. Ugh! - -CONSUL. As soon as I had established a connection with the man, Gerda -hurried up and got hold of the child, disappearing with it in the -crowd---- - -MASTER. What did the man have to say? - -CONSUL. Oh, you know--when you come to hear the other side--and so on. - -MASTER. I want to hear it. Of course, he isn't as bad as we thought--he -has his good sides---- - -CONSUL. Exactly! - -MASTER. I thought so! But you don't want me to sit here listening to -eulogies of my enemy? - -CONSUL. Oh, not eulogies, but ameliorating circumstances---- - -MASTER. Did you ever want to listen to me when I tried to explain the -true state of affairs to you? Yes, you did listen--but your reply was -a disapproving silence, as if I had been lying to you. You have always -sided with what was wrong, and you have believed nothing but lies, and -the reason was--that you were in love with Gerda! But there was also -another reason---- - -CONSUL. Brother, don't say anything more! You see nothing but your own -side of things. - -MASTER. How can you expect me to view my conditions from the standpoint -of my enemy? I cannot take sides against myself, can I? - -CONSUL. I am not your enemy. - -MASTER. Yes, when you make friends with one who has wronged me!--Where -is my child? - -CONSUL. I don't know. - -MASTER. What was the outcome at the depot? - -CONSUL. He took a south-bound train alone. - -MASTER. And the others? - -CONSUL. Disappeared. - -MASTER. Then I may have them after me again. [_Pause]_ Did you see if -they went with him? - -CONSUL. He went alone. - -MASTER. Well, then we are done with that one, at least. Number -two--there remain now--the mother and the child. - -CONSUL. Why is the light burning up there in their rooms? - -MASTER. Because they forgot to turn it out. - -CONSUL. I'll go up---- - -MASTER. No, don't go!--I only hope that they don't come back here!--To -repeat, always repeat, begin the same lesson all over again! - -CONSUL. But it has begun to straighten out. - -MASTER. Yet the worst remains--Do you think they will come back? - -CONSUL. Not she--not since she had to make you amends in the presence -of Louise. - -MASTER. I had forgotten that! She really did me the honour of becoming -jealous! I do think there is justice in this world! - -CONSUL. And then she learned that Agnes was younger than herself. - -MASTER. Poor Gerda! But in a case like this you mustn't tell people -that justice exists--an avenging justice--for it is sheer falsehood -that they love justice! And you must deal gently with their filth. And -Nemesis--exists only for the other person.--There it's ringing again? -That telephone makes a noise like a rattlesnake! - - LOUISE _becomes visible at the telephone inside. Pause_. - -MASTER. [_To_ LOUISE] Did the snake bite? - -LOUISE. [_At the window_] May I speak to you, sir? - -MASTER. [_Going up to the window_] Speak out! - -LOUISE. The lady has gone to her mother, in the country, to live there -with her little girl. - -Master. [_To his brother_] Mother and child in the country--in a good -home! Now it's straightened out!--Oh! - -LOUISE. And she asked us to turn out the light up-stairs. - -MASTER. Do that at once, Louise, and pull down the shades so we don't -have to look at it any longer. - - LOUISE _leaves the dining-room_. - -STARCK. [_Coming out on the sidewalk again and looking up]_ I think the -storm has passed over. - -MASTER. It seems really to have cleared up, and that means we'll have -moonlight. - -CONSUL. That was a blessed rain! - -STARCK. Perfectly splendid! - -MASTER. Look, there's the lamplighter coming at last! - - _The_ LAMPLIGHTER _enters, lights the street lamp beside the - bench, and passes on_. - -MASTER. The first lamp! Now the fall is here! That's our season, old -chaps! It's getting dark, but then comes reason to light us with its -bull's-eyes, so that we don't go astray. - - LOUISE _becomes visible at one of the windows on the second - floor; immediately afterward everything is dark up there_. - -Master. [_To_ Louise] Close the windows and pull down the shades so -that all memories can lie down and sleep in peace! The peace of old -age! And this fall I move away from the Silent House. - -_Curtain_. - - - - -AFTER THE FIRE - -(BRAeNDA TOMTEN) - -A CHAMBER PLAY - -1907 - - -CHARACTERS - -RUDOLPH WALSTROeM, _a dyer_ -THE STRANGER, _who is_) } -ARVID WALSTROeM } _brother of_ RUDOLPH -ANDERSON, _a mason (brother-in-law of the gardener)_ -MRS. ANDERSON, _wife of the mason_ -GUSTAFSON, _a gardener (brother-in-law of the mason)_ -ALFRED, _son of the gardener_ -ALBERT ERICSON, _a stone-cutter_ (_second cousin of the hearse-driver_) -MATHILDA, _daughter of the stone-cutter_ -THE HEARSE-DRIVER (_second cousin of the stone-cutter_) -A DETECTIVE -SJOeBLOM, _a painter_ -MRS. WESTERLUND, _hostess at "The Last Nail," formerly a - nurse at the dyer's_ -MRS. WALSTROeM, _wife of the dyer_ -THE STUDENT -THE WITNESS - - - - -AFTER THE FIRE - - - - -FIRST SCENE - - - _The left half of the background is occupied by the empty shell - of a gutted one-story brick house. In places the paper remains - on the walls, and a couple of brick stoves are still standing_. - - _Beyond the walls can be seen an orchard in bloom._ - - _At the right is the front of a small inn, the sign of which - is a wreath hanging from a pole. Tables and benches are placed - outside._ - - _At the left, in the foreground, there is a pile of furniture - and household utensils that have been saved from the fire_. - - SJOeBLOM, _the painter, is painting the window-frames of the - inn. He listens closely to everything that is said_. - - ANDERSON, _the mason, is digging in the ruins_. - - _The_ DETECTIVE _enters_. - -DETECTIVE. Is the fire entirely out? - -ANDERSON. There isn't any smoke, at least. - -DETECTIVE. Then I want to ask a few more questions. [_Pause_] You were -born in this quarter, were you not? - -ANDERSON. Oh, yes. It's seventy-five years now I've lived on this -street. I wasn't born when they built this house here, but my father -helped to put in the brick. - -DETECTIVE. Then you know everybody around here? - -ANDERSON. We all know each other. There is something particular about -this street here. Those that get in here once, never get away from it. -That is, they move away, but they always come back again sooner or -later, until at last they are carried out to the cemetery, which is -way out there at the end of the street. - -DETECTIVE. You have got a special name for this quarter, haven't you? - -ANDERSON. We call it the Bog. And all of us hate each other, and -suspect each other, and blackguard each other, and torment each other -[_Pause_. - -DETECTIVE. The fire started at half past ten in the evening, I -hear--was the front door locked at that time? - -ANDERSON. Well, that's more than I know, for I live in the house next -to this. - -DETECTIVE. Where did the fire start? - -ANDERSON. Up in the attic, where the student was living. - -DETECTIVE. Was he at home? - -ANDERSON. No, he was at the theatre. - -DETECTIVE. Had he gone away and left the lamp burning, then? - -ANDERSON. Well, that's more than I know. [_Pause_. - -DETECTIVE. Is the student any relation to the owner of the house? - -ANDERSON. No, I don't think so.--Say, you haven't got anything to do -with the police, have you? - -DETECTIVE. How did it happen that the inn didn't catch fire? - -ANDERSON. They slung a tarpaulin over it and turned on the hose. - -DETECTIVE. Queer that the apple-trees were not destroyed by the heat. - -ANDERSON. They had just budded, and it had been raining during the day, -but the heat made the buds go into bloom in the middle of the night--a -little too early, I guess, for there is frost coming, and then the -gardener will catch it. - -DETECTIVE. What kind of fellow is the gardener? - -ANDERSON. His name is Gustafson---- - -DETECTIVE. Yes, but what sort of a man is he? - -ANDERSON. See here: I am seventy-five--and for that reason I don't know -anything bad about Gustafson; and if I knew I wouldn't be telling it! -[_Pause_. - -DETECTIVE. And the owner of the house is named Walstroem, a dyer, about -sixty years old, married---- - -ANDERSON. Why don't you go on yourself? You can't pump me any longer. - -DETECTIVE. Is it thought that the fire was started on purpose? - -ANDERSON. That's what people think of all fires. - -DETECTIVE. And whom do they suspect? - -ANDERSON. The insurance company always suspects anybody who has an -interest in the fire--and for that reason I have never had anything -insured. - -DETECTIVE. Did you find anything while you were digging? - -ANDERSON. Mostly one finds all the door-keys, because people haven't -got time to take them along when the house is on fire--except now and -then, of course, when they have been taken away---- - -DETECTIVE. There was no electric light in the house? - -ANDERSON. Not in an old house like this, and that's a good thing, for -then they can't put the blame on crossed wires. - -DETECTIVE. Put the blame?--A good thing?--Listen---- - -ANDERSON. Oh, you're going to get me in a trap? Don't you do it, for -then I take it all back. - -DETECTIVE. Take back? You can't! - -ANDERSON. Can't I? - -DETECTIVE. No! - -ANDERSON. Yes! For there was no witness present. - -DETECTIVE. No? - -ANDERSON. Naw! - - _The_ DETECTIVE _coughs. The_ WITNESS _comes in from the left_. - -DETECTIVE. Here's _one_ witness. - -ANDERSON. You're a sly one! - -DETECTIVE. Oh, there are people who know how to use their brains -without being seventy-five. [_To the_ WITNESS] Now we'll continue with -the gardener. - - [_They go out to the left_. - -ANDERSON. There I put my foot in it, I guess. But that's what happens -when you get to talking. - - MRS. ANDERSON _enters with her husband's lunch in a bundle_. - -ANDERSON. It's good you came. - -MRS. ANDERSON. Now we'll have lunch and be good--you might well -be hungry after all this fuss--I wonder if Gustafson can pull -through--he'd just got done with his hotbeds and was about to start -digging in the open--why don't you eat?--and there's Sjoeblom already at -work with his putty--just think of it, that Mrs. Westerlund got off as -well as she did--morning, Sjoeblom, now you've got work, haven't you? - - MRS. WESTERLUND _comes in_. - -MRS. ANDERSON. Morning, morning, Mrs. Westerlund--you got out of this -fine, I must say, and then---- - -MRS. WESTERLUND. I wonder who's going to pay me for all I am losing -to-day, when there's a big funeral on at the cemetery, which always -makes it a good day for me, and just when I've had to put away all my -bottles and glassware---- - -MRS. ANDERSON. Who's that they're burying to-day? I see such a lot of -people going out that way--and then, of course, they've come to see -where the fire was, too. - -MRS. WESTERLUND. I don't think they're burying anybody, but I've heard -they're going to put up a monument over the bishop--worst of it is that -the stone-cutter's daughter was going to get married to the gardener's -son--him, you know, who's in a store down-town--and now the gardener -has lost all he had--isn't that his furniture standing over there? - -MRS. ANDERSON. I guess that's some of the dyer's, too, seeing as it -came out helter-skelter in a jiffy--and where's the dyer now? - -MRS. WESTERLUND. He's down at the police station testifying. - -MRS. ANDERSON. Hm-hm!--Yes, yes!--And there's my cousin now--him what -drives the hearse--he's always thirsty on his way back. - -HEARSE-DRIVER. [_Enters_] How do, Malvina! So you've gone and started a -little job of arson out here during the night, have you? Looks pretty, -doesn't it. Would have been better to get a new shanty instead, I guess. - -MRS. WESTERLUND. Oh, mercy me! But whom have you been taking out now? - -HEARSE-DRIVER. Can't remember what his name was--only _one_ carriage -along, and no flowers on the coffin at all. - -MRS. WESTERLUND. Sure and it wasn't any happy funeral, then! If you -want anything to drink you'll have to go 'round to the kitchen, for -I haven't got things going on this side yet, and, for that matter, -Gustafson is coming here with a lot of wreaths--they've got something -on out at the cemetery to-day. - -HEARSE-DRIVER. Yes, they're going to put up a moniment to the -bishop--'cause he wrote books, I guess, and collected all kinds of -vermin--was a reg'lar vermin-hunter, they tell me. - -MRS. WESTERLUND. What's that? - -HEARSE-DRIVER. Oh, he had slabs of cork with pins on 'em, and a lot of -flies--something beyond us here--but I guess that's the proper way--can -I go out to the kitchen now? - -MRS. WESTERLUND. Yes, if you use the back door, I think you can get -something wet---- - -HEARSE-DRIVER. But I want to have a word with the dyer before I drive -off--I've got my horses over at the stone-cutter's, who's my second -cousin, you know. Haven't got any use for him, as you know, too, but -we're doing business together, he and I--that is, I put in a word for -him with the heirs, and so he lets me put my horses into his yard--just -let me know when the dyer shows up--luck, wasn't it, that he didn't -have his works here, too---- - - [_He goes out, passing around the inn_. - - MRS. WESTERLUND _goes into the inn by the front door_. - - ANDERSON, _who has finished eating, begins to dig again_. - -MRS. ANDERSON. Do you find anything? - -ANDERSON. Nails and door-hinges--all the keys are hanging in a bunch -over there by the front door. - -MRS. ANDERSON. Did they hang there before, or did you put them there? - -ANDERSON. No, they were hanging there when I got here. - -MRS. ANDERSON. That's queer--for then somebody must have locked all the -doors and taken out the keys before it began burning! That's queer! - -ANDERSON. Yes, of course, it's a little queer, for in that way it was -harder to get at the fire and save things. Yes--yes! [_Pause_. - -MRS. ANDERSON. I worked for the dyer's father forty years ago, I did, -and I know the people, both the dyer himself and his brother what -went off to America, though they say he's back now. The father, he -was a real man, he was, but the boys were always a little so-so. Mrs. -Westerlund over here, she used to take care of Rudolph, and the two -brothers never could get along, but kept scrapping and fighting all -the time.--I've seen a thing or two, I have--yes, there's a whole lot -what has happened in that house, so I guess it was about time to get it -smoked out.--Ugh, but that was a house! One went this way and another -that, but back they had to come, and here they died and here they were -born, and here they married and were divorced.--And Arvid, the brother -what went off to America--him they thought dead for years, and at least -he didn't take what was coming to him after his father, but now they -say he's come back, though nobody has seen him--and there's such a lot -of talking--Look, there's the dyer back from the police station! - -ANDERSON. He doesn't look happy exactly, but I suppose that's more than -can be expected--Well, who's that student that lived in the attic? How -does he hang together with the rest? - -MRS. ANDERSON. Well, that's more than I know. He had his board there, -and read with the children. - -ANDERSON. And also with the lady of the house? - -MRS. ANDERSON. No-o, they played something what they called tennis, -and quarrelled the rest of the time--yes, quarrelling and backbiting, -that's what everybody is up to in this quarter. - -ANDERSON. Well, when they broke the student's door open they found -hairpins on the floor--it had to come out, after all, even if the fire -had to sweep over it first---- - -MRS. ANDERSON. I don't think it was the dyer that came, but our -brother-in-law, Gustafson---- - -ANDERSON. He's always mad, and to-day I suppose he's worse than ever, -and so he'll have to come and dun me for what I owe him, seeing what he -has lost in the fire---- - -MRS. ANDERSON. Now you shut up! - -GUSTAFSON. [_Enters with a basketful of funeral wreaths and other -products of his trade_] I wonder if I am going to sell anything to-day -so there'll be enough for food after all this rumpus? - -ANDERSON. Didn't you carry any insurance? - -GUSTAFSON. Yes, I used to have insurance on the glass panes over my -hotbeds, but this year I felt stingy, and so I put in oiled paper -instead--gosh, that I could be such a darned fool!--[_Scratching his -head_] I don't get paid for that, of course. And now I've got to cut -and paste and oil six hundred paper panes. It's as I have always said: -that I was the worst idiot among us seven children. Gee, what an ass -I was--what a booby! And then I went and got drunk yesterday. Why in -hell did I have to get drunk that day of all days--when I need all the -brains I've got to-day? It was the stone-cutter who treated, because -our children are going to get married to-night, but I should have said -no. I didn't want to, but I'm a ninny who can't say no to anybody. -And that's the way when they come and borrow money of me--I can't say -no--darned fool that I am! And then I got in the way of that policeman, -who snared me with all sorts of questions. I should have kept my mouth -shut, like the painter over there, but I can't, and so I let out this, -that, and the other thing, and he put it all down, and now I am called -as a witness! - -ANDERSON. What was it you said? - -GUSTAFSON. I said I thought--that it looked funny to me--and that -somebody must have started it. - -ANDERSON. Oh, that's what you said! - -GUSTAFSON. Yes, pitch into me--I've deserved it, goose that I am! - -ANDERSON. And who could have started it, do you think?--Don't mind the -painter, and my old woman here never carries any tales. - -GUSTAFSON. Who started it? Why, the student, of course, as it started -in his room. - -ANDERSON. No--_under_ his room! - -GUSTAFSON. Under, you say? Then I _have_ gone and done it!--Oh, I'll -come to a bad end, I'm sure!--_Under_ his room, you say--what could -have been there--the kitchen? - -ANDERSON. No, a closet--see, over there! It was used by the cook. - -GUSTAFSON. Then it must have been her. - -ANDERSON. Yes, but don't you say so, as you don't know. - -GUSTAFSON. The stone-cutter had it in for the cook last night--I guess -he must have known a whole lot---- - -ANDERSON. You shouldn't repeat what the stone-cutter says, for one who -has served isn't to be trusted---- - -GUSTAFSON. Ash, that's so long ago, and the cook's a regular dragon, -for that matter--she'd always haggle over the vegetables---- - -ANDERSON. There comes the dyer from the station now--you'd better quit! - - _The_ STRANGER _enters, dressed in a frock coat and a high hat - with mourning on it; he carries a stick_. - -MRS. ANDERSON. It wasn't the dyer, but he looks a lot like him. - -STRANGER. How much is one of those wreaths? - -GARDENER. Fifty cents. - -STRANGER. Oh, that's not much. - -GARDENER. No, I am such a fool that I can't charge as I should. - -STRANGER. [_Looking around_] Has there--been a fire--here? - -GARDENER. Yes, last night. - -STRANGER. Good God! [_Pause_] Who was the owner of the house? - -GARDENER. Mr. Walstroem. - -STRANGER. The dyer? - -GARDENER. Yes, he used to be a dyer, all right. [_Pause_. - -STRANGER. Where is he now? - -GARDENER. He'll be here any moment. - -STRANGER. Then I'll look around a bit--the wreath can lie here till I -come back--I meant to go out to the cemetery later. - -GARDENER. On account of the bishop's monument, I suppose? - -STRANGER. What bishop? - -GARDENER. Bishop Stecksen, don't you know--who belonged to the Academy. - -STRANGER. Is he dead? - -GARDENER. Oh, long ago! - -STRANGER. I see!--Well, I'll leave the wreath for a while. - - _He goes out to the left, studying the ruins carefully as he - passes by_. - -MRS. ANDERSON. Perhaps he came on account of the insurance. - -ANDERSON. Not that one! Then he would have asked in a different way. - -MRS. ANDERSON. But he looked like the dyer just the same. - -ANDERSON. Only he was taller. - -GUSTAFSON. Now, I remember something--I should have a bridal bouquet -ready for to-night, and I should go to my son's wedding, but I have -no flowers, and my black coat has been burned. Wouldn't that make -you--Mrs. Westerlund was to furnish the myrtle for the bride's crown, -being her godmother--that's the myrtle she stole a shoot of from -the dyer's cook, who got hers from the dyer's first wife--she who -ran away--and I was to make a crown of it, and I've clean forgotten -it--well, if I ain't the worst fool that ever walked the earth! [_He -opens the inn door_] Mrs. Westerlund, can I have the myrtle now, and -I'll do the job!--I say, can I have that myrtle! Wreath, too, you -say--have you got enough for it?--No?--Well, then I'll let the whole -wedding go hang, that's all there is to it!--Let them walk up to the -minister's and have him splice them together, but it'll make the -stone-cutter mad as a hornet.--What do you think I should do?--No, I -can't--haven't slept a wink the whole night.--It's too much for a poor -human creature.--Yes, I am a ninny, I know--go for me, will you!--Oh, -there's the pot--thanks! And then I need scissors, which I haven't -got--and wire--and string--where am I to get them from?--No, of course, -nobody wants to break off his work for a thing like that.--I'm tired of -the whole mess--work fifty years, and then have it go up in smoke! I -haven't got strength to begin over again--and the way it comes all at -once, blow on blow--did you ever! I'm going to run away from it! [_He -goes out_. - -RUDOLPH WALSTROeM. [_Enters, evidently upset, badly dressed_, _his hands -discoloured by the dyes_] Is it all out now, Anderson? - -ANDERSON. Yes, now it's out. - -RUDOLPH. Has anything been discovered? - -ANDERSON. That's a question! What's buried when it snows comes to light -when it thaws! - -RUDOLPH. What do you mean, Anderson? - -ANDERSON. If you dig deep enough you find things. - -RUDOLPH. Have you found anything that can explain how the fire started? - -ANDERSON. Naw, nothing of that kind. - -RUDOLPH. That means we are still under suspicion, all of us. - -ANDERSON. Not me, I guess. - -RUDOLPH. Oh, yes, for you have been seen up in the attic at unusual -hours. - -ANDERSON. Well, I can't always go at usual hours to look for my tools -when I've left them behind. And I did leave my hammer behind when I -fixed the stove in the student's room. - -RUDOLPH. And the stone-cutter, the gardener, Mrs. Westerlund, even the -painter over there--we are all of us under suspicion--the student, the -cook, and myself more than the rest. Lucky it was that I had paid the -insurance the day before, or I should have been stuck for good.--Think -of it: the stone-cutter suspected of arson--he who's so afraid of doing -anything wrong! He's so conscientious _nowadays_ that if you ask him -what time it is he won't swear to it, as his watch _may_ be wrong. Of -course, we all know he got two years, but he's reformed, and I'll swear -now he's the straightest man in the quarter. - -ANDERSON. But the police suspect him because he went wrong once--and he -ain't got his citizenship back yet. - -RUDOLPH. Oh, there are so many ways of looking at a thing--so many -ways, I tell you.--Well, Anderson, I guess you'd better quit for the -day, seeing as you're going to the wedding to-night. - -ANDERSON. Yes, that wedding--There was somebody looking for you a while -ago, and he said he would be back. - -RUDOLPH. Who was it? - -ANDERSON. He didn't say. - -RUDOLPH. Police, was it? - -ANDERSON. Naw, I don't think so.--There he is coming now, for that -matter. [_He goes out, together with his wife_. - - _The_ STRANGER _enters_. - -RUDOLPH. [_Regards him with curiosity at first, then with horror; wants -to run away, but cannot move_] Arvid! - -STRANGER. Rudolph! - -RUDOLPH. So it's you! - -STRANGER. Yes. [_Pause_. - -RUDOLPH. You're not dead, then? - -STRANGER. In a way, yes!--I have come back from America after thirty -years--there was something that pulled at me-- - - I wanted to see my childhood's home once more--and I found - those ruins! [_Pause_] It burned down last night? - -RUDOLPH. Yes, you came just in time. [_Pause_. - -STRANGER. [_Dragging his words_] That's the place--such a tiny place -for such a lot of destinies! There's the dining-room with the frescoed -walls: palms, and cypresses, and a temple beneath a rose-coloured -sky--that's the way I dreamt the world would look the moment I got away -from home. And the stove with its pale blossoms growing out of conches. -And the chimney cupboard with its metal doors--I remember as a child, -when we had just moved in, somebody had scratched his name on the -metal, and then grandmother told us it was the name of a man who had -killed himself in that very room. I quickly forgot all about it, but -when I later married a niece of the same man, it seemed to me as if my -destiny had been foretold on that plate of metal.--You don't believe in -that kind of thing, do you?--However, you know how my marriage ended! - -RUDOLPH. Yes, I've heard---- - -STRANGER. And there's the nursery--yes! - -RUDOLPH. Don't let us start digging in the ruins! - -STRANGER. Why not? After the fire is out you can read things in the -ashes. We used to do it as children, in the stove---- - -RUDOLPH. Come and sit down at the table here! - -STRANGER. What place is that? Oh, the tavern--"The Last Nail"--where -the hearse-drivers used to stop, and where, once upon a time, condemned -culprits were given a final glass before they were taken to the -gallows--Who is keeping it? - -RUDOLPH. Mrs. Westerlund, who used to be my nurse. - -STRANGER. Mrs. Westerlund--I remember her. It is as if the bench sank -from under me, and I was sent tumbling through the past, sixty whole -years, down into my childhood. I breathe the nursery air and feel it -pressing on my chest. You older ones weighed me down, and you made -so much noise that I was always kept in a state of fright. My fears -made me hide in the garden--then I was dragged forward and given a -spanking--always spankings--but I never knew why, and I don't know it -yet. And yet she was my mother---- - -RUDOLPH. Please! - -STRANGER. Yes, you were the favourite, and as such you always had her -support--Then we got a stepmother. Her father was an undertaker's -assistant, and for years we had been seeing him drive by with funerals. -At last he came to know us so well by sight that he used to nod and -grin at us, as if he meant to say: "Oh, I'll come for you sooner or -later!" And then he came right into our house one day, and had to be -called grandfather--when our father took his daughter for his second -wife. - -RUDOLPH. There was nothing strange in that. - -STRANGER. No, but somehow, as our own destinies, and those of other -people, were being woven into one web---- - -RUDOLPH. Oh, that's what happens everywhere---- - -STRANGER. Exactly! It's the same everywhere. In your youth you see -the web set up. Parents, relatives, comrades, acquaintances, servants -form the warp. Later on in life the weft becomes visible. And then -the shuttle of fate runs back and forth with the thread--sometimes -it breaks, but is tied up again, and it goes on as before. The reed -clicks, the thread is packed together into curlicues, and one day the -web lies ready. In old age, when the eye has learned how to see, you -discover that those curlicues form a pattern, a monogram, an ornament, -a hieroglyph, which only then can be interpreted: that's life! The -world-weaver has woven it! [_Pause; he rises_] Over there, in that -scrap-heap, I notice the family album. [_He walks a few steps to the -right and picks up a photograph album_] That's the book of our family -fate. Grandfather and grandmother, father and mother, brothers and -sisters, relatives, acquaintances--or so-called "friends"--schoolmates, -servants, godparents. And, strange to say, wherever I have gone, in -America or Australia, to Hongkong or the Congo, everywhere I found -at least one countryman, and as we began to dig it always came out -that this man knew my family, or at least some godfather or maid -servant--that, in a word, we had some common acquaintances. I even -found a relative in the island of Formosa---- - -RUDOLPH. What has put those ideas into your head? - -STRANGER. The fact that life, however it shaped itself--I have been -rich and poor, exalted and humbled; I have suffered a shipwreck and -passed through an earthquake--but, however life shaped itself, I always -became aware of connections and repetitions. I saw in one situation the -result of another, earlier one. On meeting _this_ person I was reminded -of _that_ one whom I had met in the past. There have been incidents in -my life that have come back time and again, so that I have been forced -to say to myself: this I have been through before. And I have met with -occurrences that seemed to me absolutely inevitable, or predestined. - -RUDOLPH. What have you done during all these years? - -STRANGER. Everything! I have beheld life from every quarter, from every -standpoint, from above and from below, and always it has seemed to me -like a scene staged for my particular benefit. And in that way I have -at last become reconciled to a part of the past, and I have come to -excuse not only my own but also other people's so-called "faults." You -and I, for instance, have had a few bones to pick with each other---- - - RUDOLPH _recoils with a darkening face_. - -STRANGER. Don't get scared now---- - -RUDOLPH. I never get scared! - -STRANGER. You are just the same as ever. - -RUDOLPH. And so are you! - -STRANGER. Am I? That's interesting!--Yes, you are still living in that -delusion about your own bravery, and I remember exactly how this false -idea became fixed in your mind. We were learning to swim, and one day -you told how you had dived into the water, and then mother said: "Yes, -Rudolph, he has courage!" That was meant for me--for me whom you had -stripped of all courage and self-assurance. But then came the day when -you had stolen some apples, and you were too cowardly to own up to it, -and so you put it on me. - -RUDOLPH. Haven't you forgotten that yet? - -STRANGER. I haven't forgotten, but I have forgiven.--From here, where I -am sitting, I can see that very tree, and that's what brought it into -my mind. It's over there, you see, and it bears golden pippins.--If you -look, you'll see that one of its biggest branches has been sawed off. -For it so happened that I didn't get angry with you on account of my -unjust punishment, but my anger turned against the tree. And two years -later that big branch was all dried up and had to be sawed off. It made -me think of the fig-tree that was cursed by the Saviour, but I was -not led into any presumptuous conclusions.--However, I still know all -those trees by heart, and once, when I had the yellow fever in Jamaica, -I counted them over, every one. Most of them are still there, I see. -There's the snow-apple which has red-striped fruit--a chaffinch used -to nest in it. There's the melon-apple, standing right in front of the -garret where I used to study for technological examinations; there's -the spitzenburg, and the late astrachan; and the pear-tree that used to -look like a poplar in miniature; and the one with pears that could only -be used for preserves--they never ripened, and we despised them, but -mother treasured them above all the rest; and in that tree there used -to be a wryneck that was always twisting its head around and making a -nasty cry--That was fifty years ago! - -RUDOLPH. [_Irately_] What are you driving at? - -STRANGER. Just as touchy and ill-tempered as ever! It's -interesting.--There was no special purpose back of my chatter--my -memories insist on pushing forward--I remember that the garden was -rented to somebody else once, but we had the right to play in it. -To me it seemed as if we had been driven out of paradise--and the -tempter was standing behind every tree. In the fall, when the ground -was strewn with ripe apples, I fell under a temptation that had become -irresistible---- - -RUDOLPH. You stole, too? - -STRANGER. Of course I did, but I didn't put it off on you!--When I was -forty I leased a lemon grove in one of the Southern States, and--well, -there were thieves after the trees every night. I couldn't sleep, I -lost flesh, I got sick. And then I thought of--poor Gustafson here! - -RUDOLPH. He's still living. - -STRANGER. Perhaps he, too, stole apples in his childhood? - -RUDOLPH. Probably. - -STRANGER. Why are your hands so black? - -RUDOLPH. Because I handle dyed stuffs all the time.--Did you have -anything else in mind? - -STRANGER. What could that have been? - -RUDOLPH. That my hands were not clean. - -STRANGER. Fudge! - -RUDOLPH. Perhaps you are thinking of your inheritance? - -STRANGER. Just as mean as ever! Exactly as you were when eight years -old! - -RUDOLPH. And you are just as heedless, and philosophical, and silly! - -STRANGER. It's a curious thing--but I wonder how many times before we -have said just what we are saying now? [_Pause_] I am looking at your -album here--our sisters and brothers--five dead! - -RUDOLPH. Yes. - -STRANGER. And our schoolmates? - -RUDOLPH. Some taken and some left behind. - -STRANGER. I met one of them in South Carolina--Axel Ericson--do you -remember him? - -RUDOLPH. I do. - -STRANGER. One whole night, while we were on a train together, he kept -telling me how our highly respectable and respected family consisted of -nothing but rascals; that it had made its money by smuggling--you know, -the toll-gate was right here; and that this house had been built with -double walls for the hiding of contraband. Don't you see that the walls -are double? - -RUDOLPH. [_Crushed_] So that's the reason why we had closets everywhere? - -STRANGER. The father of that fellow, Ericson, had been in the -custom-house service and knew our father, and the son told me a lot -of inside stories that turned my whole world of imagined conditions -topsyturvy. - -RUDOLPH. You gave him a licking, I suppose? - -STRANGER. Why should I lick him?--However, my hair turned grey that -night, and I had to edit my entire life over again. You know how we -used to live in an atmosphere of mutual admiration; how we regarded -our family as better than all others, and how, in particular, our -parents were looked up to with almost religious veneration. And then I -had to paint new faces on them, strip them, drag them down, eliminate -them. It was dreadful! Then the ghosts began to walk. The pieces of -those smashed figures would come together again, but not properly, -and the result would be a regular wax cabinet of monsters. All those -grey-haired gentlemen whom we called uncles, and who came to our house -to play cards and eat cold suppers, they were smugglers, and some of -them had been in the pillory--Did you know that? - -RUDOLPH. [_Completely overwhelmed_] No. - -STRANGER. The dye works were merely a hiding-place for smuggled yarn, -which was dyed in order to prevent identification. I can still remember -how I used to hate the smell of the dyeing vat--there was something -sickeningly sweet about it. - -RUDOLPH. Why did you have to tell me all this? - -STRANGER. Why should I keep silent about it and let you make yourself -ridiculous by your boasting about that revered family of yours? Have -you never noticed people grinning at you? - -RUDOLPH. No-o! [_Pause_. - -STRANGER. I am now looking at father's bookcase in the pile over there. -It was always locked, you remember. But one day, when father was out, -I got hold of the key. The books in front I had seen through the glass -doors, of course. There were volumes of sermons, the collected works -of great poets, handbooks for gardening, compilations of the statutes -referring to customs duties and the confiscation of smuggled goods; the -constitution; a volume about foreign coins; and a technical work that -later determined my choice of a career. But back of those books there -was room for other things, and I began to explore. First of all I found -the rattan--and, do you know, I have since learned that that bitter -plant bears a fruit from which we get the red dye known as "dragon's -blood": now, isn't that queer! And beside the rattan stood a bottle -labelled "cyanide of potassium." - -RUDOLPH. I suppose it was meant for use over at the works. - -STRANGER. Or elsewhere, perhaps. But this is what I had in mind: there -were some bundles of pamphlets with illustrated covers that aroused my -interest. And, to put it plain, they contained the notorious memoirs -of a certain chevalier--I took them out and locked the case again. And -beneath the big oak over there I studied them. We used to call that oak -the Tree of Knowledge--and it was, all right! And in that way I left -my childhood's paradise to become initiated, all too early, into those -mysteries which--yes! - -RUDOLPH. You, too? - -STRANGER. Yes, I, too! [_Pause_] However--let us talk of something -else, as all that is now in ashes.--Did you have any insurance? - -RUDOLPH. [_Angrily_] Didn't you ask that a while ago? - -STRANGER. Not that I can recall. It happens so often that I confuse -what I have said with what I have intended to say, and mostly because I -think so intensely--ever since that day when I tried to hang myself in -the closet. - -RUDOLPH. What is that you are saying? - -STRANGER. I tried to hang myself in the closet. - -RUDOLPH. [_Speaking very slowly_] Was that what happened that Holy -Thursday Eve, when you were taken to the hospital--what the rest of us -children were never permitted to know? - -STRANGER. [_Speaking in the same manner_] Yes.--There you can see how -little we know about those that are nearest to us, about our own homes -and our own lives. - -RUDOLPH. But why did you do it? - -STRANGER. I was twelve years old, and tired of life! It was like -groping about in a great darkness--I couldn't understand what I had to -do here--and I thought the world a madhouse. I reached that conclusion -one day when our school was turned out with torches and banners to -celebrate "the destroyer of our country." For I had just read a book -which proved that our country had been brought to destruction by the -worst of all its kings--and that was the one whose memory we had to -celebrate with hymns and festivities.[1] - - [_Pause_. - -RUDOLPH. What happened at the hospital? - -STRANGER. My dear fellow, I was actually put into the morgue as dead. -Whether I was or not, I don't know--but when I woke up, most of my -previous life had been forgotten, and I began a new one, but in such a -manner that the rest of you thought me peculiar.--Are you married again? - -RUDOLPH. I have wife and children--somewhere. - -STRANGER. When I recovered consciousness I seemed to myself another -person. I regarded life with cynical calm: it probably had to be the -way it was. And the worse it turned out the more interesting it became. -After that I looked upon myself as if I were somebody else, and I -observed and studied that other person, and his fate, thereby rendering -myself callous to my own sufferings. But while dead I had acquired new -faculties--I could see right through people, read their thoughts, hear -their intentions. In company, I beheld them stripped naked--Where did -you say the fire started? - -RUDOLPH. Why, nobody knows. - -STRANGER. But the newspapers said that it began in a closet right -under the student's garret--what kind of a student is he? - -RUDOLPH. [_Appalled_] Is it in the newspapers? I haven't had time to -look at them to-day. What more have they got? - -STRANGER. They have got everything. - -RUDOLPH. Everything? - -STRANGER. The double walls, the respected family of smugglers, the -pillory, the hairpins---- - -RUDOLPH. What hairpins? - -STRANGER. I don't know, but they are there. Do you know? - -RUDOLPH. Naw! - -STRANGER. Everything was brought to light, and you may look for a -stream of people coming here to stare at all that exposed rottenness. - -RUDOLPH. Lord have mercy! And you take pleasure at seeing your family -dragged into scandal? - -STRANGER. My family? I have never felt myself related to the rest of -you. I have never had any strong feeling either for my fellow men or -myself. I think it's interesting to watch them--that's all--What sort -of a person is your wife? - -RUDOLPH. Was there anything about her, too? - -STRANGER. About her and the student. - -RUDOLPH. Good! Then I was right. Just wait and you'll see!--There comes -the stone-cutter. - -STRANGER. You know him? - -RUDOLPH. And so do you. A schoolmate--Albert Ericson. - -STRANGER. Whose father was in the customs service and whose brother I -met on the train--he who was so very well informed about our family. - -RUDOLPH. That's the infernal cuss who has blabbed to the papers, then! - - ERICSON _enters with a pick and begins to look over the ruins_. - -STRANGER. What a ghastly figure! - -RUDOLPH. He's been in jail--two years. Do you know what he did? He made -some erasures in a contract between him and myself---- - -STRANGER. You sent him to jail! And now he has had his revenge! - -RUDOLPH. But the queerest part of it is that nowadays he is regarded as -the most honest man in the whole district. He has become a martyr, and -almost a saint, so that nobody dares say a word against him. - -STRANGER. That's interesting, indeed! - -DETECTIVE. [_Entering, turns to_ Ericson] Can you pull down that wall -over there? - -ERICSON. The one by the closet? - -DETECTIVE. That's the one. - -ERICSON. That's where the fire started, and I'm sure you'll find a -candle or a lamp around there--for I know the people! - -DETECTIVE. Go ahead then! - -ERICSON. The closet door was burned off, to be sure, but the ceiling -came down, and that's why we couldn't find out, but now we'll use the -beak on it! [_He falls to with his pick_] Ho-hey, ho-ho!--Ho-hey, -leggo!--Ho-hey, for that one!--Do you see anything? - -DETECTIVE. Not yet. - -ERICSON. [_Working away as before_] Now I can see something!--The lamp -has exploded, but the stand is left!--Who knows this forfeit for his -own?--Didn't I see the dyer somewhere around here? - -DETECTIVE. There he is sitting now. [_He picks the lamp from the debris -and holds it up_] Do you recognise your lamp, Mr. Walstroem? - -RUDOLPH. That isn't mine--it belonged to our tutor. - -DETECTIVE. The student? Where is he now? - -RUDOLPH. He's down-town, but I suppose he'll soon be here, as his books -are lying over there. - -DETECTIVE. How did his lamp get into the cook's closet? Did he have -anything to do with her? - -RUDOLPH. Probably! - -DETECTIVE. The only thing needed now is that he identify the lamp as -his own, and he will be arrested. What do you think of it, Mr. Walstroem? - -RUDOLPH. I? Well, what is there to think? - -DETECTIVE. What reason could he have for setting fire to another -person's house? - -RUDOLPH. I don't know. Malice, or mere mischief--you never can tell -what people may do--Or perhaps there was something he wanted to cover -up. - -DETECTIVE. That would have been a poor way, as old rottenness always -will out. Did he have any grudge against you? - -RUDOLPH. It's likely, for I helped him once when he was hard up, and he -has hated me ever since, of course. - -DETECTIVE. Of course? [_Pause_] Who is he, then? - -RUDOLPH. He was raised in an orphanage--born of unknown parents. - -DETECTIVE. Haven't you a grown-up daughter, Mr. Walstroem? - -RUDOLPH. [_Angered_] Of course I have! - -DETECTIVE. Oh, you have! [_Pause; then to_ ERICSON] Now you bring those -twelve men of yours and pull down the walls quick. Then we'll see what -new things come to light. - - [_He goes out_. - -ERICSON. That'll be done in a jiffy. [_Goes out_. - - [_Pause_. - -STRANGER. Have you really paid up your insurance? - -RUDOLPH. Of course! - -STRANGER. Personally? - -RUDOLPH. No, I sent it in as usual. - -STRANGER. You sent it--by somebody else! That's just like you!--Suppose -we take a turn through the garden and have a look at the apple-trees. - -RUDOLPH. All right, and then we'll see what happens afterward. - -STRANGER. Now begins the most interesting part of all. - -RUDOLPH. Perhaps not quite so interesting if you find yourself mixed up -in it. - -STRANGER. I? - -RUDOLPH. Who can tell? - -STRANGER. What a web it is! - -RUDOLPH. There was a child of yours that went to the orphanage, I think? - -STRANGER. God bless us!--Let's go over into the garden! - -_Curtain_. - - -[Footnote 1: This refers to King Charles XII of Sweden, whose memory -Strindberg hated mainly because of the use made of it by the jingo -elements of the Swedish upper classes.] - - - - -SECOND SCENE - - - _The same setting as before with the exception that the walls - have been torn down so that the garden is made visible, - with its vast variety of spring flowers--daphnes, deutzias, - daffodils, narcissuses, tulips, auriculas--and with all the - fruit-trees in bloom_. - - ERICSON, ANDERSON _and his old wife_, GUSTAFSON, _the_ - HEARSE-DRIVER, MRS. WESTERLUND, _and the painter_, SJOeBLOM, - _are standing in a row staring at the spot where the house used - to be_. - - -STRANGER. [_Entering_] There they stand, enjoying the misfortune that's -in the air and waiting for the victim to appear--he being the principal -item. That the fire was incendiary they take for granted, merely -because they want it that way.--And all these rascals are the friends -and comrades of my youth. I am even related to the hearse-driver -through my stepmother, whose father used to help carry out the -coffins--[_He speaks to the crowd of spectators_] Look here, you -people, I shouldn't stand there if I were you. There may have been some -dynamite stored in the cellar, and if such were the case an explosion -might take place any moment. - - _The curious crowd scatters and disappears_. - -STRANGER. [Stoops _over the scrap-heap and begins to poke in the -books piled there_] Those are the student's books--Same kind of rot -as in my youth--Livy's Roman history, which is said to be lies, every -word--But here's a volume out of my brother's library--"Columbus, or -the Discovery of America"! My own book, which I got as a Christmas -gift in 1857. My name has been erased. This means it was stolen from -me--and I accused one of our maids, who was discharged on that account! -Fine business! Perhaps it led to her ruin--fifty years ago! Here is -the frame of one of our family portraits; my renowned grandfather, -the smuggler, who was put in the pillory--fine!--But what is this? -The foot-piece of a mahogany bed--the one in which I was born! Oh, -damn!--Next item: a leg of a dinner-table--the one that was an -heirloom. Why, it was supposed to be of ebony, and was admired on -that account! And now, after fifty years, I discover it to be made -of painted maple. Everything had its colours changed in our house to -render it unrecognisable, even the clothes of us children, so that -our bodies always were stained with various dyes. Ebony--humbug! And -here's the dining-room clock--smuggled goods, that, too--which has -measured out the time for two generations. It was wound up every -Saturday, when we had salt codfish and a posset made with beer for -dinner. Like all intelligent clocks, it used to stop when anybody -died, but when I died it went on just as before. Let me have a look at -you, old friend--I want to see your insides. [_As he touches the clock -it falls to pieces_] Can't stand being handled! Nothing could stand -being handled in our home--nothing! Vanity, vanity!--But there's the -globe that was on top of the clock, although it ought to have been at -the bottom. You tiny earth: you, the densest and the heaviest of all -the planets--that's what makes everything on you so heavy--so heavy -to breathe, so heavy to carry. The cross is your symbol, but it might -just as well have been a fool's cap or a strait-jacket--you world of -delusions and deluded!--Eternal One--perchance Thy earth has gone -astray in the limitless void? And what set it whirling so that Thy -children were made dizzy, and lost their reason, and became incapable -of seeing what really is instead of what only seems?--Amen!--And here -is the student! - - _The_ STUDENT _enters and looks around in evident search of - somebody_. - -STRANGER. He is looking for the mistress of the house. And he tells -everything he knows--with his eyes. Happy youth!--Whom are you looking -for? - -STUDENT. [_Embarrassed_] I was looking---- - -STRANGER. Speak up, young man--or keep silent. I understand you just -the same. - -STUDENT. With whom have I the honour---- - -STRANGER. It's no special honour, as you know, for once I ran away to -America on account of debts---- - -STUDENT. That wasn't right. - -STRANGER. Right or wrong, it remains a fact.--So you were looking for -Mrs. Walstroem? Well, she isn't here, but I am sure that she will come -soon, like all the rest, for they are drawn by the fire like moths---- - -STUDENT. By a candle! - -STRANGER. That's what _you_ say, but I should rather have said "lamp," -in order to choose a more significant word. However, you had better -hide your feelings, my dear fellow, if you can--I can hide mine!--We -were talking of that lamp, were we not? How about it? - -STUDENT. Which lamp? - -STRANGER. Well, well! Every one of them lies and denies!--The lamp -that was placed in the cook's closet and set fire to the house? - -STUDENT. I know nothing about it. - -STRANGER. Some blush when they lie and others turn pale. This one has -invented an entirely new manner. - -STUDENT. Are you talking to yourself, sir? - -STRANGER. I have that bad habit.--Are your parents still living? - -STUDENT. They are not. - -STRANGER. Now you lied again, but unconsciously. - -STUDENT. I never tell a lie! - -STRANGER. Not more than three in these few moments! I know your father. - -STUDENT. I don't believe it. - -STRANGER. So much the better for me!--Do you see this scarf-pin? It's -pretty, isn't it? But I never see anything of it myself--I have no -pleasure in its being there, while everybody else is enjoying it. There -is nothing selfish about that, is there? But there are moments when -I should like to see it in another man's tie so that I might have a -chance to admire it. Would you care to have it? - -STUDENT. I don't quite understand--Perhaps, as you said, it's better -not to wear it. - -STRANGER. Perhaps!--Don't get impatient now. She will be here soon.--Do -you find it enviable to be young? - -STUDENT. I can't say that I do. - -STRANGER. No, youth is not its own master; it has never any money, and -has to take its food out of other hands; it is not permitted to speak -when company is present, but is treated as an idiot; and as it cannot -marry, it has to ogle other people's wives, which leads to all sorts of -dangerous consequences. Youth--humbug! - -STUDENT. That's right! As a child, you want to grow up--that is, reach -fifteen, be confirmed, and put on a tall hat. When you are that far, -you want to be old--that is, twenty-one. Which means that nobody wants -to be young. - -STRANGER. And when you grow old in earnest, then you want to be dead. -For then there isn't much left to wish for.--Do you know that you are -to be arrested? - -STUDENT. Am I? - -STRANGER. The detective said so a moment ago. - -STUDENT. Me? - -STRANGER. Are you surprised at that? Don't you know that in this life -you must be prepared for anything? - -STUDENT. But what have I done? - -STRANGER. You don't have to do anything in order to be arrested. To be -suspected is enough. - -STUDENT. Then everybody might be arrested! - -STRANGER. Exactly! The rope might be laid around the neck of the whole -race if justice were wanted, but it isn't. It's a disgusting race: -ugly, sweating, ill-smelling; its linen dirty, its stockings full of -holes; with chilblains and corns--ugh! No, an apple-tree in bloom is -far more beautiful. Or look at the lilies in the field--they seem -hardly to belong here--and what fragrance is theirs! - -STUDENT. Are you a philosopher, sir? - -STRANGER. Yes, I am a great philosopher. - -STUDENT. Now you are poking fun at me! - -STRANGER. You say that to get away. Well, begone then! Hurry up! - -STUDENT. I was expecting somebody. - -STRANGER. So I thought. But I think it would be better to go and -meet---- - -STUDENT. She asked you to tell me? - -STRANGER. Oh, that wasn't necessary. - -STUDENT. Well, if that's so--I don't want to miss---- - - [_He goes out_. - -STRANGER. Can that be my son? Well, if it comes to the worst--I was a -child myself once, and it was neither remarkable nor pleasant--And I -am his--what of it? And for that matter--who knows?--Now I'll have a -look at Mrs. Westerlund. She used to work for my parents--was faithful -and good-tempered; and when she had been pilfering for ten years she -was raised to the rank of a "trusted" servant. [_He seats himself at -the table in front of the inn_] There are Gustafson's wreaths--just as -carelessly made as they were forty years ago. He was always careless -and stupid in all he did, and so he never succeeded with anything. But -much might be pardoned him on account of his self-knowledge. "Poor -fool that I am," he used to say, and then he would pull off his cap -and scratch his head.--Why, there's a myrtle plant! [_He knocks at the -pot_] Not watered, of course! He always forgot to water his plants, the -damned fool--and yet he expected them to grow. - - SJOeBLOM, _the painter, appears_. - -STRANGER. I wonder who that painter can be. Probably he belongs also to -the Bog, and perhaps he is one of the threads in my own web. - - SJOeBLOM _is staring at the_ STRANGER _all this time_. - -STRANGER. [_Returning the stare_] Well, do you recognise me? - -SJOeBLOM. Are you--Mr. Arvid? - -STRANGER. Have been and am--if perception argues being. - - [_Pause_. - -SJOeBLOM. I ought really to be mad at you. - -STRANGER. Well, go on and be so! However, you might tell me the reason. -That has a tendency to straighten matters out. - -SJOeBLOM. Do you remember---- - -STRANGER. Unfortunately, I have an excellent memory. - -SJOeBLOM. Do you remember a boy named Robert? - -STRANGER. Yes, a regular rascal who knew how to draw. - -SJOeBLOM. And I was to go to the Academy in order to become a real -painter, an artist. But just about that time-colour-blindness was all -the go. You were studying at the Technological Institute then, and so -you had to test my eyes before your father would consent to send me to -the art classes. For that reason you brought two skeins of yarn from -the dye works, one red and the other green, and then you asked me about -them. I answered--called the red green and the green red--and that was -the end of my career---- - -STRANGER. But that was as it should be. - -SJOeBLOM. No--for the truth of it was, I could distinguish the -colours, but not--the _names_. And that wasn't found out until I was -thirty-seven---- - -STRANGER. That was an unfortunate story, but I didn't know better, and -so you'll have to forgive me. - -SJOeBLOM. How can I? - -STRANGER. Ignorance is pardonable! And now listen to me. I wanted to -enter the navy, made a trial cruise as mid-shipman, seemed to become -seasick, and was rejected! But I could stand the sea, and my sickness -came from having drunk too much. So my career was spoiled, and I had to -choose another. - -SJOeBLOM. What have I got to do with the navy? I had been dreaming of -Rome and Paris---- - -STRANGER. Oh, well, one has so many dreams in youth, and in old age -too, for that matter. Besides, what's the use of bothering about what -happened so long ago? - -SJOeBLOM. How you talk! Perhaps you can give me back my wasted life---- - -STRANGER. No, I can't, but I am under no obligation to do so, either. -That trick with the yarn I had learned at school, and you ought to have -learned the proper names of the colours. And now you can go to--one -dauber less is a blessing to humanity!--There's Mrs. Westerlund! - -SJOeBLOM. How you _do_ talk. But I guess you'll get what's coming to you! - - MRS. WESTERLUND _enters_. - -STRANGER. How d'you do, Mrs. Westerlund? I am Mr. Arvid--don't get -scared now! I have been in America, and how are you? I am feeling fine! -There has been a fire here, and I hear your husband is dead--policeman, -I remember, and a very nice fellow. I liked him for his good humour -and friendly ways. He was a harmless jester, whose quips never hurt. I -recall once---- - -MRS. WESTERLUND. O, merciful! Is this my own Arvid whom I used to -tend---- - -STRANGER. No, that wasn't me, but my brother--but never mind, it's just -as well meant. I was talking of your old man who died thirty-five years -ago--a very nice man and a particular friend of mine---- - -MRS. WESTERLUND. Yes, he died. [_Pause_] But I don't know if--perhaps -you are getting him mixed up---- - -STRANGER. No, I don't. I remember old man Westerlund perfectly, and I -liked him very much. - -MRS. WESTERLUND. [_Reluctantly_] Of course it's a shame to say it, but -I don't think his temper was very good. - -STRANGER. What? - -MRS. WESTERLUND. Well--he had a way of getting around people, but -he didn't mean what he said--or if he did he meant it the other way -around---- - -STRANGER. What is that? Didn't he mean what he was saying? Was he a -hypocrite? - -MRS. WESTERLUND. Well, I don't like to say it, but I believe---- - -STRANGER. Do you mean to say that he wasn't on the level? - -MRS. WESTERLUND. N--yes--he was--a little--well, he didn't mean exactly -what he said--And how have you been doing, Mr. Arvid? - -STRANGER. Now a light is dawning on me!--The miserable wretch! And -here I have been praising him these thirty-five years. I have missed -him, and I felt something like sorrow at his departure--I even used -some of my tobacco allowance to buy a wreath for his coffin. - -MRS. WESTERLUND. What was it he did? What was it? - -STRANGER. The villain! [_Pause_] Well--he fooled me--it was Shrove -Tuesday, I remember. He told me that if one took away every third -egg from a hen she would lay so many more. I did it, got a licking, -and came near getting into court. But _I_ never suspected him of -having told on me.--He was always hanging around our kitchen looking -for tid-bits, and so our maids could do just what they pleased about -the garbage--oh, now I see him in his proper aspect!--And here I am -now getting into a fury at one who has been thirty-five years in his -grave?--So he was a satirist, he was--and I didn't catch on--although I -understand him now. - -MRS. WESTERLUND. Yes, he was a little satirical all right--_I_ ought -to know that! - -STRANGER. Other things are coming back to me now--and I have been -saying nice things about that blackguard for thirty-five years! It was -at his funeral I drank my first toddy--And I remember how he used to -flatter me, and call me "professor" and "the crown prince"--ugh--And -there is the stone-cutter! You had better go inside, madam, or we'll -have a row when that fellow begins to turn in his bills. Good-bye, -madam--we'll meet again! - -MRS. WESTERLUND. No we won't. People ought never to meet again--it -is never as it used to be, and they only get to clawing at each -other--What business did you have to tell me all those things--seeing -everything was all right as it was [_She goes out_. - - ERICSON, _the stone-cutter, comes in_. - -STRANGER. Come on! - -ERICSON. What's that? - -STRANGER. Come on, I said! - - ERICSON _stares at him_. - -STRANGER. Are you looking at my scarf-pin? I bought it in London. - -ERICSON. I am no thief! - -STRANGER. No, but you practise the noble art of erasure. You wipe out! - -ERICSON. That's true, but that contract was sheer robbery, and it was -strangling me. - -STRANGER. Why did you sign it? - -ERICSON. Because I was hard up. - -STRANGER. Yes, that _is_ a motive. - -ERICSON. But now I am having my revenge. - -STRANGER. Yes, isn't it nice! - -ERICSON. And now _they_ will be locked up. - -STRANGER. Did _we_ ever fight each other as boys? - -ERICSON. No, I was too young. - -STRANGER. Have we never told lies about each other, or robbed each -other, or got in each other's way, or seduced each other's sisters? - -ERICSON. Naw, but my father was in the customs service and yours was a -smuggler. - -STRANGER. There you are! That's something, at least! - -ERICSON. And when my father failed to catch yours he was discharged. - -STRANGER. And you want to get even with me because your father was a -good-for-nothing? - -ERICSON. Why did you say a while ago that there was dynamite in the -cellar? - -STRANGER. Now, my dear sir, you are telling lies again. I said there -_might_ be dynamite in the cellar, and everything is possible, of -course. - -ERICSON. And in the meantime the student has been arrested. Do you know -him? - -STRANGER. Very little--his mother more, for she was a maid in our -house. She was both pretty and good, and I was making up to her--until -she had a child. - -ERICSON. And were you not its father? - -STRANGER. I was not. But as a denial of fatherhood is not allowed, I -suppose I must be regarded as a sort of stepfather. - -ERICSON. Then they have lied about you. - -STRANGER. Of course. But that's a very common thing. - -ERICSON. And I was among those who testified against you--under oath! - -STRANGER. I have no doubt about it, but what does it matter? Nothing -matters at all! But now we had better quit pulling--or we'll get the -whole web unravelled. - -ERICSON. But think of me, who have perjured myself---- - -STRANGER. Yes, it isn't pleasant, but such things will happen. - -ERICSON. It's horrible--don't you find life horrible? - -STRANGER. [_Covering his eyes with his hand_] Yes, horrible beyond all -description! - -ERICSON. I don't want to live any longer! - -STRANGER. Must! [_Pause_] Must! [_Pause_] Tell me--the student is -arrested, you say--can he get out of it? - -ERICSON. Hardly!--And now, as we are talking nicely, I'll tell you -something: he is innocent, but he cannot clear himself. For the only -witness that can prove him innocent would, by doing so, prove him -guilty--in another way. - -STRANGER. She with the hairpins, isn't it? - -ERICSON. Yes. - -STRANGER. The old one or the young one? - -ERICSON. You have to figure that out yourself. But it isn't the cook. - -STRANGER. What a web this is!--But who put the lamp there? - -ERICSON. His worst enemy. - -STRANGER. And did his worst enemy also start the fire? - -ERICSON. That's beyond me! Only Anderson, the mason, knows that. - -STRANGER. Who is he? - -ERICSON. The oldest one in the place--some kind of relative of Mrs. -Westerlund--knows all the secrets of the house--but he and the dyer -have got some secrets together, so he won't tell anything. - -STRANGER. And the lady--my sister-in-law--who is she? - -ERICSON. Well--she was in the house as governess when the first wife -cleared out. - -STRANGER. What sort of character has she got? - -ERICSON. Hm! Character? I don't quite know what that is. Do you mean -trade? The old assessment blanks used to call for your name and -"character"--but that meant occupation instead of character. - -STRANGER. I mean her temper. - -ERICSON. Well, it changes, you know. In me it depends on the person -with whom I am talking. With decent people I am decent, and with the -cruel ones I become like a beast of prey. - -STRANGER. But I was talking of her temper under ordinary circumstances. - -ERICSON. Well, nothing in particular. Gets angry if you tease her, but -comes around after a while. One cannot always have the same temper, of -course. - -STRANGER. I mean, is she merry or melancholy? - -ERICSON. When things go right, she is happy, and when they go wrong, -she gets sorry or angry--just like the rest of us. - -STRANGER. Yes, but how does she behave? - -ERICSON. Oh, what does it matter?--Of course, being an educated person, -she behaves politely, but nevertheless, you know, she can get nasty, -too, when her blood gets to boiling. - -STRANGER. But that doesn't make me much wiser. - -ERICSON. [_Patting him on the shoulder_] No, sir, we never get much -wiser when it's a question of human beings. - -STRANGER. Oh, you're a marvel!--And how do you like my brother, the -dyer? [_Pause_. - -ERICSON. Oh, his manners are pretty decent. And more than that I don't -know, for what he keeps hidden I can't find out, of course. - -STRANGER. Excellent! But--his hands are always blue, and yet you know -that they are white beneath the dye. - -ERICSON. But to make them so they should be scraped, and that's -something he won't permit. - -STRANGER. Good!--Who are the young couple coming over there? - -ERICSON. That's the gardener's son and my daughter, who were to have -been married to-night, but who have had to postpone it on account of -the fire--Now I shall leave, for I don't want to embarrass them. You -understand--I ain't much as a father-in-law. Good-bye! [_He goes out_. - - _The_ Stranger _withdraws behind the inn, but so that he - remains visible to the spectators_. - - Alfred _and_ Mathilda _enter hand in hand_. - -ALFRED. I had to have a look at this place--I had to---- - -MATHILDA. Why did you have to look at it? - -ALFRED. Because I have suffered so much in this house that more than -once I wished it on fire. - -MATHILDA. Yes, I know, it kept the sun out of the garden, and now -everything will grow much better--provided they don't put up a still -higher house---- - -ALFRED. Now it's open and pleasant, with plenty of air and sunlight, -and I hear they are going to lay out a street---- - -MATHILDA. Won't you have to move then? - -ALFRED. Yes, all of us will have to move, and that's what I like--I -like new things--I should like to emigrate---- - -MATHILDA. Mercy, no! Do you know, our pigeons were nesting on the roof. -And when the fire broke out last night they kept circling around the -place at first, but when the roof fell in they plunged right into the -flames--They couldn't part from their old home! - -ALFRED. But we must get out of here--must! My father says that the soil -has been sucked dry. - -MATHILDA. I heard that the cinders left by the fire were to be spread -over the ground in order to improve the soil. - -ALFRED. You mean the ashes? - -MATHILDA. Yes; they say it's good to sow in the ashes. - -ALFRED. Better still on virgin soil. - -MATHILDA. But your father is ruined? - -ALFRED. Not at all. He has money in the bank. Of course he's -complaining, but so does everybody. - -MATHILDA. Has he--The fire hasn't ruined him? - -ALFRED. Not a bit! He's a shrewd old guy, although he always calls -himself a fool. - -MATHILDA. What am I to believe? - -ALFRED. He has loaned money to the mason here--and to others. - -MATHILDA. I am entirely at sea! Am I dreaming?--The whole morning -we have been weeping over your father's misfortune and over the -postponement of the wedding---- - -ALFRED. Poor little thing! But the wedding is to take place to-night---- - -MATHILDA. Is it not postponed? - -ALFRED. Only delayed for a couple of hours so that my father will have -time to get his new coat. - -MATHILDA. And we who have been weeping---- - -ALFRED. Useless tears--such a lot of tears! - -MATHILDA. I am mad because they were useless--although--to think that -my father-in-law could be such a sly one! - -ALFRED. Yes, he is something of a joker, to put it mildly. He is always -talking about how tired he is, but that's nothing but laziness--oh, -he's lazy, I tell you---- - -MATHILDA. Don't say any more nasty things about him--but let us get -away from here. I have to dress, you know, and put up my hair.--Just -think, that my father-in-law isn't what I thought him--that he could be -fooling us like that and not telling the truth! Perhaps you are like -that, too? Oh, that I can't know what you really are! - -ALFRED. You'll find out afterward. - -MATHILDA. But then it's too late. - -ALFRED. It's never too late---- - -MATHILDA. All you who lived in this house are bad--And now I am afraid -of you---- - -ALFRED. Not of me, though? - -MATHILDA. I don't know what to think. Why didn't you tell me before -that your father was well off? - -ALFRED. I wanted to try you and see if you would like me as a poor man. - -MATHILDA. Yes, afterward they always say that they wanted to try you. -But how can I ever believe a human being again? - -ALFRED. Go and get dressed now. I'll order the carriages. - -MATHILDA. Are we to have carriages? - -ALFRED. Of course--regular coaches. - -MATHILDA. Coaches? And to-night? What fun! Come--hurry up! We'll have -carriages! - -ALFRED. [_Gets hold of her hand and they dance out together_] Hey and -ho! Here we go! - -STRANGER. [_Coming forward_] Bravo! - - _The_ DETECTIVE _enters and talks in a low tone to the_ - Stranger, _who answers in the same way. This lasts for about - half a minute, whereupon the_ DETECTIVE _leaves again_. - -MRS. WALSTROeM. [_Enters, dressed in black, and gazes long at the_ -Stranger] Are you my brother-in-law? - -STRANGER. I am. [_Pause_] Don't I look as I have been described--or -painted? - -MRS. WALSTROeM. Frankly, no! - -STRANGER. No, that is generally the case. And I must admit that the -information I received about you a while ago does not tally with the -original. - -MRS. WALSTROeM. Oh, people do each other so much wrong, and they paint -each other in accordance with some image within themselves. - -STRANGER. And they go about like theatrical managers, distributing -parts to each other. Some accept their parts; others hand them back and -prefer to improvise. - -MRS. WALSTROeM. And what has been the part assigned to you? - -STRANGER. That of a seducer. Not that I have ever been one! I have -never seduced anybody, be she wife or maid, but once in my youth I was -seduced, and that's why the part was given to me. Strange to say, it -was forced on me so long that at last I accepted it. And for twenty -years I carried the bad conscience of a seducer around with me. - -MRS. WALSTROeM. You were innocent then? - -STRANGER. I was. - -MRS. WALSTROeM. How curious! And to this day my husband is still -talking of the Nemesis that has pursued you because you seduced another -man's wife. - -STRANGER. I fully believe it. But your husband represents a still more -interesting case. He has created a new character for himself out of -lies. Tell me: isn't he a coward in facing the struggles of life? - -MRS. WALSTROeM. Of course he is a coward! - -STRANGER. And yet he boasts of his courage, which is nothing but -brutality. - -MRS. WALSTROeM. You know him pretty well. - -STRANGER. Yes, and no!--And you have been living in the belief that you -had married into a respected family which had never disgraced itself? - -MRS. WALSTROeM. So I believed until this morning. - -STRANGER. When your faith crumbled! What a web of lies and mistakes -and misunderstandings! And that kind of thing we are supposed to take -seriously! - -MRS. WALSTROeM. Do you? - -STRANGER. Sometimes. Very seldom nowadays. I walk like a somnambulist -along the edge of a roof--knowing that I am asleep, and yet being -awake--and the only thing I am waiting for is to be waked up. - -MRS. WALSTROeM. You are said to have been across to the other side? - -STRANGER. I have been across the river, but the only thing I can recall -is--that there everything _was_ what it pretended to be. That's what -makes the difference. - -MRS. WALSTROeM. When nothing stands the test of being touched, what are -you then to hold on to? - -STRANGER. Don't you know? - -MRS. WALSTROeM. Tell me! Tell me! - -STRANGER. Sorrow brings patience; patience brings experience; -experience brings hope; and hope will not bring us to shame. - -MRS. WALSTROeM. Hope, yes! - -STRANGER. Yes, hope! - -MRS. WALSTROeM. Do you ever think it pleasant to live? - -STRANGER. Of course. But that is also a delusion. I tell you, my dear -sister-in-law, that when you happen to be born without a film over your -eyes, then you see life and your fellow creatures as they are--and -you have to be a pig to feel at home in such a mess.--But when you -have been looking long enough at blue mists, then you turn your eyes -the other way and begin to look into your own soul? There you find -something really worth looking at. - -MRS. WALSTROeM. And what is it you see? - -STRANGER. Your own self. But when you have looked at that you must die. - -MRS. WALSTROeM. [_Covers her eyes with her hands; after a pause she -says_] Do you want to help me? - -STRANGER. If I can. - -MRS. WALSTROeM. Try. - -STRANGER. Wait a moment!--No, I cannot. He is innocently accused. Only -you can set him free again. But that you cannot do. It's a net that has -not been tied by men---- - -MRS. WALSTROeM. But he is not guilty. - -STRANGER. Who is guilty? [_Pause_. - -MRS. WALSTROeM. No one! It was an accident! - -STRANGER. I know it. - -MRS. WALSTROeM. What am I to do? - -STRANGER. Suffer. It will pass. For that, too, is vanity. - -MRS. WALSTROeM. Suffer? - -STRANGER. Yes, suffer! But with hope! - -MRS. WALSTROeM. [_Holding out her hand to him_] Thank you! - -STRANGER. And let it be your consolation - -MRS. WALSTROeM. What? - -STRANGER. That you don't suffer innocently. - - MRS. WALSTROeM _walks out with her head bent low_. - - _The_ STRANGER _climbs the pile of debris marking the site of - the burned house_. - -RUDOLPH. [_Comes in, looking happy_] Are you playing the ghost among -the ruins? - -STRANGER. Ghosts feel at home among ruins--And now you are happy? - -RUDOLPH. Now I am happy. - -STRANGER. And brave? - -RUDOLPH. Whom have I got to fear, or what? - -STRANGER. I conclude from your happiness that you are ignorant of one -important fact--Have you the courage to bear a piece of misfortune? - -RUDOLPH. What is it? - -STRANGER. You turn pale? - -RUDOLPH. I? - -STRANGER. A serious misfortune! - -RUDOLPH. Speak out! - -STRANGER. The detective was here a moment ago, and he told me--in -confidence---- - -RUDOLPH. What? - -STRANGER. That the premium on your insurance was paid up two hours too -late. - -RUDOLPH. Great S----! what are you talking of? I sent my wife to pay -the premium. - -STRANGER. And she sent the bookkeeper--and he got there too late. - -RUDOLPH. Then I am ruined? [_Pause_. - -STRANGER. Are you crying? - -RUDOLPH. I am ruined! - -STRANGER. Well, is that something that cannot be borne? - -RUDOLPH. How am I to live? What am I to do? - -STRANGER. Work! - -RUDOLPH. I am too old--I have no friends Stranger. Perhaps you'll get -some now. A man in misfortune always seems sympathetic. I had some of -my best hours while fortune went against me. - -RUDOLPH. [_Wildly_] I am ruined! - -STRANGER. But in my days of success and fortune I was left alone. Envy -was more than friendship could stand. - -RUDOLPH. Then I'll sue the bookkeeper. - -STRANGER. Don't! - -RUDOLPH. He'll have to pay---- - -STRANGER. How little you have changed! What's the use of living, when -you learn so little from it? - -RUDOLPH. I'll sue him, the villain!--He hates me because I gave him a -cuff on the ear once. - -STRANGER. Forgive him--as I forgave you when I didn't demand my -inheritance. - -RUDOLPH. What inheritance? - -STRANGER. Always the same! Merciless! Cowardly! Disingenuous!--Depart -in peace, brother! - -RUDOLPH. What inheritance is that you are talking of? - -STRANGER. Now listen, Rudolph--my brother after all: my own mother's -son! You put the stone-cutter in jail because he did some erasing--all -right! But how about your own erasures from my book, "Christopher -Columbus, or the Discovery of America"? - -RUDOLPH. [_Taken aback_] What's that? Columbus? - -STRANGER. Yes, _my_ book that became yours! - - RUDOLPH _remains silent_. - -STRANGER. Yes, and I understand now that it was you who put the -student's lamp in the closet--I understand everything. But do _you_ -know that the dinner-table was not of ebony? - -RUDOLPH. It wasn't? - -STRANGER. It was nothing but maple. - -RUDOLPH. Maple! - -STRANGER. The pride and glory of the house--valued at two thousand -crowns! - -RUDOLPH. That, too? So that was also humbug! - -STRANGER. Yes! - -RUDOLPH. Ugh! - -STRANGER. Thus the debt is settled. The case is dropped--the issue is -beyond the court--the parties can withdraw---- - -RUDOLPH. [_Rushing out_] I am ruined! - -STRANGER. [_Takes his wreath from the table_] I meant to take this -wreath to the cemetery--to my parents' grave--but I will place it here -instead--on the ruins of what was once their home--my childhood's home! -[_He bends his head in silent prayer_] And now, wanderer, resume thy -pilgrimage! - -_Curtain_. - - - - -PLAYS BY AUGUST STRINDBERG - - -PLAYS. FIRST SERIES: The Dream Play, The -Link, The Dance of Death--Part I and Part II. - -PLAYS. SECOND SERIES: There are Crimes -and Crimes, Miss Julia, The Stronger, Creditors, -Pariah. - -PLAYS. THIRD SERIES: Swanwhite, Simoom, -Debit and Credit, Advent, The Thunder -Storm, After the Fire. - -PLAYS. FOURTH SERIES: The Bridal Crown, -The Spook Sonata, The First Warning, Gustavus Vasa. - -CREDITORS. PARIAH. - -MISS JULIA. THE STRONGER. - -THERE ARE CRIMES AND CRIMES. - - - - - -End of the Project Gutenberg EBook of Plays by August Strindberg, Third -Series, by August Strindberg - -*** END OF THIS PROJECT GUTENBERG EBOOK PLAYS BY AUGUST STRINDBERG *** - -***** This file should be named 44233.txt or 44233.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/4/2/3/44233/ - -Produced by Marc D'Hooghe at http://www.freeliterature.org -(Images generously made available by the Internet Archive, -University of California (L.A.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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