Chapter II: Introduction (2)

MATS. Better than have him freeze in the woods--better than have him freeze to death! Take a look at the cradle. I think I heard him!

KERSTI. No, he's asleep....

MATS. Hush--I heard him.

KERSTI. No, you didn't!

MATS. Yes, I did. [_He rises_.

KERSTI. [_Placing herself in front of the cradle_] Don't you wake him! If he should cry, somebody might hear.

MATS. Oh.... Do you think any one has--that your mother may have heard him? Oh, Kersti, we should never have done what we have!

KERSTI. Undone were better!

MATS. [_Dejectedly_] We must take him to the midwife to-night. I must go to the village.

KERSTI. I'll take him!

MATS. [_Going to the cradle_] Do!

KERSTI. But don't wake him!

MATS. Can't I bid him good night?

KERSTI. Don't touch him!

MATS. Think if I should never see him again!

KERSTI. Then it would be the will of Him whose will we cannot change.

MATS. His will be done!

KERSTI. Now you have said it!

MATS. What have I said that could please you like that?

KERSTI. That--that--you submit to the will of Him that performeth all things.

MATS. [_Simply_] Yes, whatever may happen is His will, of course.

KERSTI. Of course!

MATS. Good night, then, Kersti dear, and good night, baby! [_He goes out_.

KERSTI. Good night, Mats.

KERSTI _loosens the empty cradle from its fastenings and drops
it into the tarn, from the waters of which the_ CHILD IN WHITE
_rises to threaten her with raised forefinger. At the sight of
him_ KERSTI _shrinks back._ NECK. [_Appears in the same spot as
before, but now bareheaded and carrying a golden harp, on which
he accompanies himself; he has a threatening look as he sings;
see musical appendix, Melody No_. 20]

"Stilled are the waters, dark grows the sky:
Dark grows the sky.
Once in the world of the ages I lived,
Blessed by the sun.
Gone is the light,
Conquered by night.
Deep is my sin,
Black as the tarn.
Joy there is none;
Plenty of woe.
Torture and Shame must I name my abode:
O!"

_While the_ NECK _is singing_, KERSTI _hides the bridal crown
in the hid. Then she puts out the fire under the pot. As she
does so, the smoke pours in large quantities from the chimney,
forming a dark background against which appear fantastically
shaped and vividly coloured snakes, dragons, birds, etc_.

_When_ KERSTI _comes out of the hut again, she has on a short
Dalecarlian jacket and is carrying a bag and the alpenhorn. She
locks the door of the hut and walks across the stage with proud
bearing and firm steps just as the_ NECK _is singing the last
line_.

_Curtain_.

[1] Old Swedish folk-riddle, the real solution of which is: the horizon.

[2] An old Swedish folk-riddle, the answer of which is: a carriage. The four lines describe respectively: (1) the wheels; (2) the hoofs of the horses; (3) their ears; (4) their eyes.

SECOND SCENE

_The living-room of the mill. Everything is covered by white
dust. In the background, on the right-hand side, is an open
trap-door, showing part of the water-wheel. The end of the
flour chute, with a bag attached to it, is protruding from the
right wall not far from the trap-door. Near it appears a lever
used for starting and stopping the water-wheel._

_Large gates occupy the centre of the real wall. Heavy wooden
shutters dose another opening farther to the left and half-way
from the floor_.

_In the foreground, at the right, is a huge open fireplace, in
which a coal-fire is burning. An iron pot is hanging over the
fire. On the left-hand side appear a bedstead, a hand-loom, a
bobbin, a red, and a spinning-wheel. There is a door in the
right wall_.

_The following members of the family are seated in a circle in
front of the fireplace: the_ GRANDFATHER; _the_ GRANDMOTHER;
_the_ FATHER _and_ MOTHER _of_ MATS; _his sisters_, BRITA, _who
is full-grown_, ANNA, _who is half-grown, and_ LIT-KAREN, _who
is still a child; and his brother_, LIT-MATS, _who is also a
mere boy. All are smoking out of small pipes with iron bowls
and looking very serious_. BRITA _is plaiting a chain out of
human hair_. LIT-KAREN _and_ LIT-MATS _are playing with two
dolls_.

BRITA. [_To_ LIT-KAREN] Where did you get the doll?

LIT-KAREN. Kersti gave it to me.

BRITA. [_Taking the doll from her_] Away with it! [_To_ LIT-MATS] Where did you get your doll?

LIT-MATS. Kersti gave it to me.

BRITA. [_Taking the doll_] Out with it!

FATHER. Hush! Hush! Grandfather is thinking. [_Silence_.

MOTHER. [_To_ BRITA] What are you doing?

BRITA. A watch-chain, but there is hardly hair enough.

MOTHER. Where can you get any?

BRITA. I know where it ought to be pulled.

MOTHER. Horses pull.

BRITA. Hens are picked, pigs give bristles, and maidens are combed.--Combed hair is good, but cut is better.

FATHER. Hush, hush, grandfather is thinking. [_Silence_.

ANNA. [_In a low voice to_ BRITA] What is he thinking of?

BRITA. You'll hear by and by. And all will have to swallow.

ANNA. Is it about Mats? [BRITA _makes no answer_] And Kersti? Will there be a wedding?

FATHER. Hush, hush, grandfather is thinking. [_Silence_.

ANNA. [_To_ BRITA] I'll give you some of my hair.

BRITA. Not the right colour.

ANNA. Who's got it? [BRITA _does not answer_] Is it Kersti you mean?

BRITA. Don't mention her. [_Silence_.

GRANDMOTHER. [_To_ GRANDFATHER] Have you thought it out?

GRANDFATHER. [_Who has been sitting with the Bible and the hymn-book in his lap, lost in thought, wakes up_] I have! [_He opens the hymn-book at haphazard and says to the others_] It is No. 278, the fourth verse: "All at birth and death." Let us have it!

ALL. [_Read in unison like children at school_]

"All at birth and death are equals,
As the graveyard bones proclaim,
Poor and rich and low and mighty
In the end appear the same;
And the naked new-born baby
Brings no evidence to prove
Whether poverty or fortune
Will attend its fated groove."

GRANDFATHER. It is settled! "He that hath an ear, let him hear."--Is it settled?

GRANDMOTHER. Not yet.

FATHER. Not quite.

MOTHER. The Lord beholdeth!

BRITA. What does the Scripture, say?

ANNA. "Doth God pervert judgment, or doth the Almighty pervert justice?"

LIT-KAREN. What do you want me to say?

GRANDFATHER. You must give us your advice, child, although we may not take it. Out of the mouth of babes may come the truth.... Shall Kersti have Mats?

LIT-KAREN. If they want each other.

GRANDFATHER. Well spoken! [_To_ LIT-MATS] And you, Lit-Mats?

LIT-MATS. [_With his fingers in his mouth_] I want my doll!

GRANDFATHER. And Mats wants his. Shall he have her?

LIT-MATS. If it is Kersti, he may, for she gave me the doll.

BRITA. Listen to him!

GRANDFATHER. Let us search the Scripture. [_He opens the Bible and reads_] Genesis, thirty-fourth chapter and eighth verse. "And Hamor communed with them, saying, The soul of my son Shechem longeth for your daughter: I pray you give her him to wife." Is that enough?

GRANDMOTHER. Enough and to spare!

FATHER. There wasn't anything about the mill.

MOTHER. Let His will be done!

BRITA. [_Abruptly_] Amen.

ANNA. Verily, it shall be done!

LIT-KAREN. I like Kersti because she's nice.

LIT-MATS. Me, too!

FATHER. Hush, hush, grandfather is thinking. [_Silence_.

GRANDFATHER. [_To_ FATHER] Ask your brother-in-law to come in.

_The_ FATHER _goes to the door in the background, where he
stops_.

GRANDFATHER. [_Goes to the bed, pulls a box from under it, takes a bundle of papers from the box, and turns to the_ FATHER _again_] Let him come!

FATHER. [_Opening the door in the background_] Come in, Stig Matsson.

SHERIFF. [_Enters, dressed in uniform_] The peace of God be with you!

ALL. [_Rising_] And his blessing on you!

GRANDFATHER. It is I who have called you, Stig Matsson, and you know the reason. Kersti Margaret Hansdaughter--[_He sighs_]--is to become the wife of Mats Anders Larsson, my grandson. The two families have fought and fumed at each other for a long time--all too long! At this late hour I have come to feel that an end should be put to all strife and ill will before my eyes are closed and I am carried to my last rest. Take a look at these papers. [_He hands the bundle to the_ SHERIFF, _who opens it and glances at some of the papers_] They are legal documents, deeds, wills, receipts, authorisations--belonging to suits that have been settled or are still unsettled. Have you looked them over?

SHERIFF. I have.

GRANDFATHER. [_Takes back the bundle_] All right! Then I shall throw them into the fire. There is a time to hate and a time to love. The time of hatred must come to an end I am longing for peace. Therefore, I beg you, my next of kin, to regard all that has happened in the past as if it had not happened at all--and I ask you: Will you forget everything, and will you meet your new relatives without grudge or guile, and greet them as friends? Answer me!

ALL. We will!

GRANDFATHER. Then I shall let the fire consume what is left of past evils. [_He throws the bundle of papers into the fire, pulls the iron lid in front of the grate, and opens three small ventilators in the lid_] Let us be seated!

_All seat themselves in front of the fireplace, staring at the
red glare from the three ventilators_.

ANNA. [_To_ BRITA, _in a low voice_] Do you hear it sing?

BRITA. No, it moans. And within me it's aching!

_The_ GRANDFATHER _rises. Then all the rest follow his example_.

GRANDFATHER. [_To the_ FATHER] Bring them in!

_The_ FATHER _goes to the door at the right and brings in_ MATS.

_The_ MOTHER _goes to the door in the rear and opens it_.
KERSTI _enters, accompanied by her_ MOTHER, _her father, the_
SOLDIER, _who is wearing the old full-dress uniform of the
Swedish infantry of the line, and her grandfather, the_ VERGER.

GRANDFATHER. May God bless you! And be seated, please!

_All seat themselves except_ MATS, KERSTI, _and the_ SHERIFF.
MATS _has taken hold of_ KERSTI _by both hands. Long silence_.

GRANDFATHER. When is the wedding to be?

MATS. In a fortnight, as soon as the banns have been read the third time.

GRANDFATHER. What is the hurry?

KERSTI _shows evidence of being offended_.

MATS. Haven't we waited long enough?

GRANDFATHER. Maybe you have!

MATS. [_To his relatives_] Have you no word to say to Kersti? [_Pause_] Not one of you?

SHERIFF. [_Goes to_ KERSTI _and takes her by the hands with evident friendliness_] Let us welcome the new child!

_Panic-stricken_, KERSTI _tries to tear herself loose_.

SHERIFF. You are not afraid of me, are you?--Oh, no!--Look me in the face, Kersti. I have dandled you on my knees when you were a little child, and I have held your pretty head in my hands.... Yes, you have a very pretty head, and a forehead that makes me think of a bull. That's why you are having your own way now, I suppose.

[_He lets go of her_.

GRANDFATHER. Let us leave the young ones alone!

_Alt rise, walk past_ MATS _and_ KERSTI, _and disappear through
the door in the rear_.

BRITA. [_Who is the last to leave, spits scornfully as she passes_ KERSTI] Fie!

MATS. [_Spitting in the same way_] Fie yourself!

KERSTI _and_ MATS _are left alone_.

MATS. I hope you will feel at home with me, Kersti!

KERSTI. With you, yes!

MATS. What have you to do with the others?

KERSTI. That's the question.

MATS. You are not marrying the family.

KERSTI. But into it.

MATS. Of course, we are not very soft or cuddlesome.

KERSTI. That's plain.... Is this the place where we are to live?

MATS. Yes, what do you think of it?

KERSTI. Everything is white....

MATS. It's the flour, you see. Do you object?

KERSTI. And damp....

MATS. It's the mill-race....

KERSTI. And cold, too....

MATS. It's the water....

KERSTI. Shall we have new furniture?

MATS. There will be nothing new. Everything is handed down from one generation to another.

KERSTI. But we can sweep, can't we?

MATS. No, we can't! The dust in a mill is like the coating in a pipe. Mustn't be touched!

KERSTI. Is that the wheel?

MATS. That's the wheel.

_He pulls the lever, whereupon the rushing of the water through
the race is heard, and the wheel begins to turn_.

KERSTI. Ugh! Have we to listen to that noise?

MATS. It's ours! And we should be thankful as long as we hear it, because that means we have grist for the mill.

KERSTI. And the sun never gets here?

MATS. Never! How could it?

KERSTI. And nothing grows here--except that green stuff on the wheel.

MATS. But we catch eels here and lampreys.

KERSTI. Ugh! I like it better in the pasture, where the wind is blowing....

MATS. And the birches rock....

KERSTI. [_Covering her face with the apron and weeping_] Must I live in a place like this, beneath the water, at the bottom of the sea?

MATS. I was born here.

KERSTI. And here we are to die--O!

MATS. Why "O"?

KERSTI. Stop the wheel at least.

MATS. Well, if you can't get along with the wheel, then....

KERSTI. [_Opening a trap-door in the floor_] What's down here?

MATS. The river.

KERSTI. Please stop that wheel!

MATS. [_Labours with the lever, but is unable to stop the wheel]_ Well! There must be mischief abroad!--It won't stop!

KERSTI. I shall die here!

MATS. I must go outside to stop it! There is mischief abroad, I tell you!

KERSTI. And at home?

MATS. Oh, dear!

KERSTI. "Meow, said the cat."[1]

MATS. What is the matter?

KERSTI. Merely that I have got what I wanted.

MATS. And it was not worth having? [_The noise made by the wheel has become, deafening, and the wheel itself has begun to turn in the opposite direction_] Christ Jesus, help! The wheel is turning backward!

[_He runs out through the rear door_.

KERSTI _remains alone_.

_The handloom starts. The bobbin, the reel, and the
spinning-wheel begin to turn, each one in its own manner. The
stage becomes brightly illumined as if with sunlight. Then
the room turns very dark. The fireplace swings around so that
the glare from the ventilators confronts_ KERSTI _like three
burning eyes. It looks as if the fireplace were chasing her.
Then it drops back into its accustomed place. The roar of the
water-wheel increases again. The_ NECK _appears in the wheel
with the red cap on his head, and the golden fiddle in his
hand. Be sings and plays as before, repeating the brief tune
several times_.

NECK. "I am hoping, I am hoping, that my Redeemer still liveth!"

KERSTI. [_Running out through the rear door_] Mats, Mats!

_The_ NECK _disappears, but his song is still heard for a
while, as it gradually dies away in the distance_.

MIDWIFE. [_Enters, opens the small trap-door in the floor, and drops her leather bag through it_] "If you come back, it's all off, and if you don't, it's all on!" Now that's done! And I shall dance at the wedding!

_She takes some dance steps, but without letting her back be
seen. The hand-loom begins to rap in waltz time, accompanied by
the bobbin, the reel, and the spinning-wheel. Then the_ MIDWIFE
_disappears through the rear door, showing her back with the
fox tail for a brief moment. The handloom, the bobbin, the
reel, and the spinning-wheel keep right on as before_.

KERSTI _enters, and at once everything stops. A moment later
the_ VERGER _enters_.

KERSTI. Is that you, grandfather?

VERGER. Yes, girl, I forgot something.

_He picks up a large leather bag which he dropped on the bed at
his first entrance_.

KERSTI. What have you there?

VERGER. I come from the sacristy, and I am taking home the numbers to be polished.

KERSTI. What numbers?

VERGER. Those that show the hymns you are to sing, don't you know?

KERSTI. Let me see!

VERGER. [_Takes out of his bag a small black board, such as is found in every Swedish church; it has a number of nails on which are hung numbers made of brass_] Here you can see.... What's the matter, sweetheart?

KERSTI. I don't know, grandfather, but I think I should never have come here....

VERGER. What talk is that, child?

KERSTI. There is mischief astir in this house....

VERGER. Oh, mercy, no...; No, my dear....

KERSTI. Oh, oh, oh! Everything has grown so strange all of a sudden....

VERGER. But how is this going to end, Kersti?

KERSTI. Yes, tell me, tell me!

VERGER. I must go now, child. I must go back to the church and get the crown so I can send it to a goldsmith. It has to be cleaned with cream of tartar....

KERSTI. All right, grandfather....

VERGER. It is for your sake the crown is to be cleaned--for your own sake, don't you know?...

[_He goes out by the rear door_.

_The_ SOLDIER _enters immediately afterward_.

KERSTI. Is that you, father?

SOLDIER. Yes, it's only me. I want my chaco, which I left in here.

[_He picks up the chaco_.

KERSTI. Oh, father, father, I am so unhappy....

SOLDIER. [_Drily_] What has happened?

KERSTI. Nothing!

SOLDIER. Why should you be unhappy, then?

KERSTI. You don't understand!

SOLDIER. [_Brusquely, as he adjusts the chin-strap of the chaco_] Come to your senses, child!

KERSTI. Don't go, father!

SOLDIER. The sorrows of love pass quickly--Come to your senses is my advice. Do come to your senses! [_He goes out._

BRITA _enters_.

KERSTI. And what have _you_ forgotten?

BRITA. I never forget anything.

KERSTI. What are you looking for?

BRITA. You!

KERSTI. How kindly!

BRITA. Yes, is it not?

KERSTI. You hateful thing!

BRITA. You hussy!

KERSTI. You--sister-in-law!

BRITA. Who knows?

KERSTI. Are you telling my fortune, you witch?

BRITA. Yes--a rope!

KERSTI. Should not be mentioned in the house of a hanged man!

BRITA. [_Goes to the bag attached to the end of the flour chute_] Now I shall tell your fortune! You get the mill, and the grist will be accordingly. [_She takes from the bag a handful of black mould out of which she forms a small mound on the floor; then she says_]

"Vagrant women
Grind for their men
Meal out of mould
As only food."[1]

KERSTI. A witch you are, indeed!

BRITA. Yes, and one who can find buried treasures! Perhaps you will let me find a little treasure for you?

KERSTI. Take care, you witch! Have you no shame? It's mortal sin you are practising now! You should be burned by fire, for I am sure you would float if thrown in the water!

BRITA. [_Taking a pinch of mould from the bag and pouring it on_ KERSTI'S _head_] To the dust I wed you, and a crown of dirt shall you wear, so that your shame may find you out!

KERSTI. Fie on you! Fie!

VOICE. [_Like that of a small child, repeats after her_] Fie!

KERSTI. Who was that?

VOICE. Who was that?

BRITA. Guess!--That was the Mocker!

KERSTI. Who is the Mocker?

VOICE. The Mocker!

BRITA. The Mocker is the Mocker. Don't you know the Mewler?

KERSTI. The Mewler, you say? What have I got to do with that one?

VOICE. With that one!

BRITA. The wages of sin is death!

KERSTI. [_Calling through the door_] Mats!

VOICE. Mats!

KERSTI. [_In despair_] Oh! Oh! [_She unfastens one of her red garters and ties it about her own neck_] Let me die! Let me die!

BRITA. You shall have your wish!

KERSTI. Hang me to a tree!

VOICE. To a tree!

BRITA. Not I!

MATS. [_Is heard singing outside_] "Kersti dear, is baby asleep?"

BRITA. "Far in the forest!" Fie on you! [_She goes out_.

MATS. [_Enters, looking very happy_] "Far, far, in the forest!" [_He comes up behind_ KERSTI _and puts his hands over her eyes_] Guess who it is!

KERSTI. Oh, you hurt me!

MATS. [_Taking hold of the garter which is still about the neck of_ KERSTI] What kind of necklace is this?

KERSTI. Let go!

MATS. [_Pulling playfully at the garter_] Now I have you! Now you are my prisoner, my dove, my goat that I bought for a groat! [_He leads her about by the garter_] My little white kid! My little pet cow! [_Singing_] "Come, cosset, cosset, cosset! Come, cosset, cosset!"

KERSTI. Yes, you can be happy, Mats!

MATS. I am, and guess why?

KERSTI. Can't any longer!

MATS. Because I met the midwife, and she brought word of the little one.

KERSTI. Did she?

MATS. She did! He's sleeping, she said, so quietly, so quietly.

KERSTI. Oh!

MATS. Far in the forest!--What's that in your hair?

KERSTI. Mould.

MATS. Have you been buried?

KERSTI. Yes, already!

MATS. [_Brushing the mould out of her hair_] Ugh! Who did that?

KERSTI. Can't you tell?

MATS. Brita with the evil eye?

KERSTI. Can't you blind it?

MATS. Not I! The only one who can is Jesus Christ!

_A church-bell sounds the call to even-song_.

KERSTI. Fray for me!

MATS. One must do that for oneself.

KERSTI. But suppose you can't?

MATS. You can if your conscience is clear.

KERSTI. But when _is_ it?

MATS. Do you hear the even-song bell?

KERSTI. No!

MATS. But I do; so you must hear it, too.

KERSTI. I don't, I don't! Alas the day!

MATS. Can you hear the rapids?

KERSTI. The roar of the rapids, the beat of the flail, the tinkle of cowbells--but of holy bells not a sound!

MATS. That's a bad sign! I remember when the bells were rung at the burial of our former sheriff--we could see them move, but not a sound was heard. A bad sign!

KERSTI. Brita put a spell on me!

MATS. It will be worst for herself.

KERSTI. Come to the pasture! I must see the sun!

MATS. I will--Kersti dear!

KERSTI. Oh!

MATS. [_Putting his arms about her and pressing her head to his breast_] Oh!

_Curtain_.

[1] Part of an old saw, the rest of which reads as follows: "when it was spanked for licking up the cream."

THIRD SCENE

_The eve of the wedding. The house of_ KERSTI'S _parents_.

_Above the door in the rear hangs a smalt tin plate on
which are painted the_ SOLDIER'S _regimental number and the
coat-of-arms of Dalecarlia. There is a window on either side
of the door, both filled with potted plants. The floor is of
pine boards, full of knot-holes and nail-heads, but scrubbed
immaculately dean_.

_Half-way down the left wall is an open fireplace with a hood.
On the same side, nearer the footlights, stands a wooden seat
covered with brightly coloured home-made draperies_.

_Against the opposite wall stands a chest of drawers surmounted
by a mirror, over which a white veil has been draped. A pair of
candlesticks and a few simple ornaments are arranged in front
of the mirror. A table and a wooden seat are placed between the
chest and the footlights. On the wall above this seat hangs
the_ SOLDIER'S _old-fashioned musket, with stock of birch wood,
stained yellow, red leather sling, and percussion-lock. His
chaco, cartridge-case, and white bandoleer with bayonet are
grouped around the musket. Below appears a portrait of King
Charles XV of Sweden in full uniform_.

_A landscape with stacks of sheaves in the fields can be seen
through the windows and the open door in the rear_.

_When the curtain rises, a maid servant is at work by the
fireplace scouring and polishing copper pans, iron pots, and
coffee-kettles_.

_The_ VERGER _is seated at the table on the right-hand side
engaged in polishing the brass numbers of the hymn-board,
which is lying on the table beside him. There lies also the
collection-bag of red velvet with embroideries in silver and
a small bell attached to the bottom of it for the rousing of
sleeping worshippers_.

_The_ SOLDIER, _in undress uniform and forage-cap, is seated at
the same table, looking over some papers on which he is making
notes with a pencil, the point of which he wets from time to
time_.

LIT-KAREN _and_ LIT-MATS _stand beside the table, with their
chins resting on the edge of it, watching the_ VERGER. _Their
eyes are agog, and their fingers in their mouths. The_ VERGER
_smiles at them and strokes their hair from time to time. The_
MOTHER _is standing by the fireplace drying a couple of towels.
As the curtain rises, the merry singing of girls is heard from
the outside, but the atmosphere in the room is oppressive, and
everybody is trying to lose himself in what he has at hand,
forgetful of the rest_.

GIRLS. [_Singing outside; see musical appendix, Melody No_. 14]

"When I was a little lassie, herding on the hill,
One day I lost the bell-cow and Gossamer, too.
I stood upon a rock and called and cried with a will,
Till I heard Gossamer begin to moo
In a pasture far, far away.
'Hush,' said Pine-tree,
'She will surely find thee,'
Hemlock told me not to stumble;
Willow asked me not to grumble;
Birch-tree said I could not hope to miss a spanking."

SOLDIER. [_Looks up from his work and remarks phlegmatically to the_ MOTHER] Say, Mother!

MOTHER. We-ell?

SOLDIER. Was it three quarters we got off the place last year?

MOTHER. Yes, that's right.

VERGER. Haven't the girls come out of the bath yet?

MOTHER. No.... This business of the wedding takes a lot of people.... We should be bringing in the oats.... And it will soon be time to pick berries....

VERGER. Yes, the dog-days are most over. You can see it on the flies; they're kind of drowsy.... Will there be a lot of berries this year?

MOTHER. Yes. [_Silence_.

SOLDIER. Will those girls never come back?

MOTHER. I don't know what can be keeping them so long.

SOLDIER. It's hot.

VERGER. It must be bad in camp.

SOLDIER. Well, it isn't so very hard on the infantry....

VERGER. You were lucky to get leave.

SOLDIER. I guess I was!

MOTHER. Now they are coming.

SOLDIER. Did you see that they had something to eat and drink?

MOTHER. Yes, right in the bath, and plenty of it. [_Silence_.

_The girls are heard outside, talking and laughing_. KERSTI
_enters first, white-faced, with her wet hair streaming down
her back. She is followed by_ BRITA, ANNA, _and the four
bridesmaids_, ELSA, RICKA, GRETA, _and_ LISA. _The maids are
carrying jars and wine-glasses which they put down by the
fireplace_. KERSTI, BRITA, _and_ ANNA _carry long bath-towels
with coloured borders, which they hang up by the door_.

_The_ MOTHER _puts a chair in the middle of the floor and
makes_ KERSTI _sit on it_. KERSTI'S _hair having first been
carefully dried with towels, the_ MOTHER _begins to comb
it. The maids duster on the bench at the left_. BRITA _seats
herself so that she can stare at_ KERSTI. _No greetings are
exchanged, and no emotion of any hind is shown_.

MOTHER. Give me the mirror.

KERSTI. Don't! I don't want any mirror.

BRITA. You ought to look at yourself, as you won't let anybody else see you.

KERSTI. What do you mean?

BRITA. Hard to tell, isn't it?--Nice hair you've got. Can I have it, if it should come off?

KERSTI. No, you can't!

MOTHER. What would you do with it?

BRITA. Watch-chain for Mats.

MOTHER. [_To her daughter_] Won't you let Mats have it?

KERSTI. No, I won't!

BRITA. [_Taking from her skirt-bag the same piece of work on which she was employed in the previous scene_] I'll never be able to match the colour.

KERSTI. You can have it when I am dead.

BRITA. That's a promise, but will you keep it?

KERSTI. I will! [_Silence_.

SOLDIER. Say, Mother.... Please keep quiet a while, children.... Do you know if the sergeant has been asked?

MOTHER. Vesterlund? Of course!

SOLDIER. It's to be at four o'clock in the church, isn't it?

MOTHER. That's right.

SOLDIER. [_Putting his papers together_] Then I'll go and see the Pastor now.... And I'll go right on to the sexton.... [_To himself_] Hm-hm! That was that! Hm-hm!

[_He goes out pensively without greeting anybody. Silence_.

VERGER. Now, my dears, I hope you won't touch anything.

LIT-KAREN. I'll look after Lit-Mats and see that he doesn't.

VERGER. So you're going to look after him, are you?

MOTHER. Where are you going, father?

VERGER. To the store to get the crown, which should be back from the city by this time.

BRITA. [_Sneeringly_] Oh--the crown!

VERGER. [_Rising_] The goldsmith has had it, you know--to clean it with cream of tartar. That's what you do with silver: you boil it in cream of tartar.

BRITA. [_As before_] Ha-ha!

MOTHER. [_To the_ Verger] Wait a moment, and I'll go along to the store.

VERGER. Is it safe to leave the children alone?

BRITA. What do you fear might happen?

MOTHER. Why, they are grown-up people!

BRITA. And Kersti likes to be alone for that matter. She can't stand having anybody look at her....

MOTHER. Now, now!

BRITA. When she is bathing, she doesn't want any company at all. But, of course, she's grown-up, so she doesn't have to be afraid....

KERSTI _is turning and twisting to escape the stare of BRITA_.

MOTHER. Keep still, girl!

BRITA. No, she's no longer any child. She's outgrown that, and a lot more. Perhaps the crown won't fit her even? Have you tried it on?

VERGER. [_Quietly_] That's what we are going to do in a little while.

_He goes out accompanied by the_ MOTHER. _Silence_.

KERSTI _seats herself at the table on the right-hand side and
begins to play with the brass numbers_.

BRITA. [_Pursuing_ KERSTI _with her stare_] A merry wedding eve, isn't it?

KERSTI. Do you want to play games?

BRITA. We might play "papa and mamma and the children."

KERSTI. Would you like to guess riddles?

BRITA. I have already guessed....

KERSTI. Or sing?

BRITA. "Hush-a-bye, baby," I suppose you mean?... No, let us read the Bible.

KERSTI. The Bible, you say?

BRITA. Yes--Genesis, thirty-fourth and eight.

KERSTI. About Shechem, you mean?

BRITA. Exactly, and about Dinah, for whom his heart was longing.... Do you know who Dinah was?

KERSTI. She was the daughter of Jacob and Leah.

BRITA. That's right. And do you know what she was?

KERSTI. Is that a riddle?

BRITA. Not at all. Do you know what she was?

KERSTI. No.

BRITA. She was a little--spoiled!

KERSTI. Is that a play on words?

BRITA. More than that!

KERSTI _lets her head fall forward as if wishing to hide her
face_.

BRITA. Do you understand? [_Pause_] Is Mrs. Larsson the only one _you_ have asked?

KERSTI. Have I asked?... The midwife, you say?

BRITA. Well, so she says.

KERSTI. Then she is lying!

BRITA. As midwife she has been sworn, although I couldn't tell whether her oath be false or fair. Just now she swears that she doesn't lie.

KERSTI _lets her head droop again_.

BRITA. Hold up your head! Can't you look people in the face?

KERSTI. [_To the other girls_] Say something, girls! [_Silence_.

BRITA. It's hard to say anything when one has seen nothing. But nevertheless--one knows what one knows!

SHERIFF. [_Appearing in the doorway_] I am making free.... It won't matter if an old fellow like me gets in to the girls--although the boys have to keep out!

BRITA. [_Shaking her fist in the face of_ KERSTI] But you'll never wear the crown!

KERSTI. You don't say!

BRITA _goes out_.

_The_ SHERIFF _pulls up a chair and sits down beside_ KERSTI.

_The girls sneak out of the room one by one_. LIT-MATS _stays
behind, clinging to the skirt of_ KERSTI.

_It is plain that the intentions of the_ SHERIFF _are kindly,
and so are his words, but the more discreet he tries to be,
the more awkward he becomes, and so all his words assume an
ambiguous meaning_.

SHERIFF. [_Taking one of_ KERSTI'S _hands and looking her straight in the eyes_] What sort of a bride is this, looking so sad when she is getting her heart's desire? What is the matter?

KERSTI. With what?

SHERIFF. Is that the way to answer an old friend who will be a kinsman by this hour to-morrow? There is more than one lass who envies you, and who would like to get to the altar ahead of you to-morrow.

KERSTI. Maybe there is.

SHERIFF. And there is the new life ahead of you, in mill and kitchen. No more running about in the woods, where "birches nod in the blowing breeze." No more dancing in the barns on Saturday nights. You'll be busy 'tending your pots, and watching the cradle, and having the meals on the table when Mats comes home, and--keeping an even temper when the dark days arrive--for after sunshine there is sure to be a little rain. Does it scare you to find life so serious, dear? It isn't as bad as it looks. It merely helps to make life kind of solemn.

KERSTI. Oh!

SHERIFF. What are you oh-ing about, girl?--There seems to be something in the air that has no place in the thoughts of a young girl--something amiss. Now, my dear, let me see if I can't straighten it out. [_Jestingly_] The guardian of the law knows how to get the truth out of all sorts of people. What's on your mind, dear? Has Mats been nasty to you?

KERSTI. Oh, mercy!

SHERIFF. Has the family been playing the high-and-mighty? What have you to do with the family anyhow?

LIT-MATS _climbs into the lap of_ KERSTI, _puts his arms about
her, nestles up to her as close as he can get, and falls
asleep_.

SHERIFF. Look at that little chap now! He likes his sister-in-law, and that's a good sign. Children always know their real friends. Are you fond of children, Kersti?

KERSTI. [_Suspiciously_] Why do you ask?

SHERIFF. That's not the right kind of an answer!... Don't you think it's nice to have a little thing like that--to hold it on your lap and feel how it trusts you--just as if there could never be any harm or deceit in the bosom that shelters it.... I think he's falling asleep. Helpless as he is, he's not afraid of trusting his sleep to a stranger--who means nothing but well by him, I am sure.

KERSTI. Have you seen anything of Mats?

SHERIFF. He was busy with the boys making the mill ready for the dance to-morrow. [_Silence_] It's some time since we saw a crown bride in this place.

KERSTI. Is that so?

SHERIFF. Yes, indeed. The old ways are gone, and new ones have come in--from the cities and the camps....

KERSTI. [_Pertly_] They used to blame the fellows who came to buy the timber.

SHERIFF. Yes, but if it hadn't been for them, there would have been no mill....

KERSTI. They are always putting the blame on somebody else....

SHERIFF. You are getting a nice husband, Kersti....

KERSTI. Yes, he's fine--too fine for me!

SHERIFF. That's a bitter answer to a kind word!

KERSTI. There was nothing bitter about it--nothing but the truth....

SHERIFF. Why should it be so hard for us to understand each other? It looks almost as if you didn't want us to be friends?

KERSTI. Why do you think so?

SHERIFF. What is well meant, you take badly, and the other way around. Well--that happens frequently when there is something amiss.

KERSTI. What's amiss?

SHERIFF. I don't know.

KERSTI. Neither do I, but it isn't customary to say things like that to a young girl.

SHERIFF. Now, now!--Where there's no sick conscience, you don't have to walk in your stocking feet--but, but, but....

KERSTI. Has the examination begun already?

SHERIFF. I didn't mean....

KERSTI. The--"guardian of the law" doesn't know how to talk to ladies.

SHERIFF. [_Sharply_] Kersti!

KERSTI. What is it?

SHERIFF. [_Looking hard at her_] What do you mean? KERSTI. What do you mean yourself?

SHERIFF. Lo and behold! That's just the kind of questions asked by _my_ ladies when they want to find out whether I know anything.

KERSTI. What could there be to know?

SHERIFF. Whew--is the wind in that corner? Well, well! [_Silence_] Well--I guess I'll be going! Yes, I had better be going!

_He goes out by the rear door, stepping very softly and putting
his forefinger across his lips as if meaning to enforce silence
on himself_.

KERSTI, _left alone, kisses the head of the sleeping_ LIT-MATS.

MATS _appears at the right-hand window_.

_The twilight has come, but it is the lingering, luminous
twilight of the northern summer night_.

MATS. Hey!

KERSTI. Mats! Oh, come here!

MATS. I mustn't come in--I have promised.

KERSTI. Yes, do!

MATS. No, no!--Is the little one asleep?

KERSTI. This one--yes!--Hush! Hush!

_A bugle-call is faintly heard in the distance. It is the
summons to evening service in the camp of the regiment to
which_ KERSTI'S _father belongs. (See the musical appendix,
Melody No_. 15.)

KERSTI. [_Scared_] Are they hunting again?

MATS. No, who would be hunting at this time of day?

KERSTI. What is it?

MATS. A soldier's daughter you are, and don't know!

KERSTI. Tell me!

MATS. That's at the camp, you know. They are calling them to evening prayers.

KERSTI. Of course--but everything seems strange and confused!

MATS. Come to the window, Kersti.

KERSTI. I think.... I'll just put the little one away.

MATS. The little one, you say?

KERSTI. [_Rises very carefully and carries_ LIT-MATS _to the bench by the fireplace, where she pulls him down and covers him up_] Hushaby, hushaby!

_The singing of a hymn in unison is heard from the camp_.
KERSTI _kneels beside the bench and tries to pray, bid merely
wrings her hands in despair. At last she kisses the shoes of
the sleeping child, struggles to her feet, and goes to window_.

MATS. There is something nice about children, isn't there?

KERSTI. Yes--yes!

MATS. Are you alone?

KERSTI. Yes, they left! Hating me--all of them!

MATS. To-morrow is our wedding-day!

KERSTI. Yes--think of it!

MATS. Yes, think of it--to-morrow is our wedding-day!

KERSTI. And I shall be living in the mill!

MATS. In the mill with me!

KERSTI. Till death us do part!

MATS. Which won't be soon!

KERSTI. Oh!

_Curtain_.

FOURTH SCENE

_The wedding. The living-room at the mill has been cleared
for the occasion. The big doors in the rear stand wide open.
Through the doorway is seen a large loft, where a number
of tables have been spread for the impending feast, of
which coffee is to form one of the principal features. The
shutters covering the rectangular opening to the left of the
main doorway are also open, disclosing a table with several
candlesticks on it. On this table the fiddlers subsequently
take up their position_.

_The opening to the water-wheel appears to the right of the
main door. The hand-loom, the bobbin, the reel, and the
spinning-wheel have disappeared_.

_On the floor, beneath the place reserved for the fiddlers,
stands the "old men's table," with a full equipment of jugs,
mugs, pipes, and playing-cards_.

_A number of chairs and benches occupy the middle of the floor,
and on these are spread clean white sheets, pillow-cases, and
towels for drying_.

_As the curtain rises, six servant-girls are busily grinding
coffee on as many hand-mills, while from the outside are heard
the ringing of church-bells and a bridal march played on
violins. When the coffee is ground, the girls begin to gather
up the linen and sing while they are doing so_.

GIRLS. [_Singing; see musical appendix, Melody No_. 16]

"Dillery-deering!
Twelve in the clearing:
Twelve men glare at me,
Twelve swords flare at me.
Kine they are slaughtering;
Sheep they are quartering;
Naught but my life they're leaving:
Dillery-deering!"

_The bridal procession is drawing near. The girls put the
benches and chairs where they belong and go out with their
burdens of linen_.

_The stage is left empty for a few moments, all the sounds
previously heard having died out_.

_Then the song of the_ NECK _is heard from the water-wheel,
while he himself remains unseen_.

NECK. [_Singing outside_] "I am hoping, I am hoping, that my Redeemer still liveth."

_The trap-door in the floor is raised and the_ MEWLER _ascends
from the hole: a blurred mass of white veils beneath which
the outlines of a small infant in long clothes are barely
discernible. This apparition remains hovering above the opening
in the floor_.

_Then the bridal march is again heard outside. The song of
the_ NECK _ceases, and the_ MEWLER _disappears, the trap-door
falling back into its wonted position_.

_The bridal procession enters the room. First come the
fiddlers, then the bridesmaids and bridesmen. After these come
the bride and the groom, and then follow the_ PASTOR, _the
parents of the couple, the members of both families, friends,
and young people. Everybody seems depressed, and the entrance
is made in gloomy silence_.

_The bride is led to a chair in the middle of the floor, placed
so that she must face the trap-door in the floor. She is very
pale and does not look up at all. The guests pass in front of
her as in review. Now and then one stops and says a few words
to her. Little by little they disappear into the loft in the
rear_.

MATS. [_To_ KERSTI] Now the worst is over, Kersti.

[_He goes out_.

BRITA. [_Heading the bridesmaids, to_ KERSTI] You have got the crown--see that you keep it! [_She and the maids go out_.

KERSTI'S MOTHER. [_Making sure that the crown is on straight_] Keep your back straight and your head high, girl!

[_She goes out_.

SOLDIER. [_To_ KERSTI] God bless you! [_Goes out_.

VERGER. [_To_ KERSTI] And protect you! [_Goes out_.

MATS'S GRANDFATHER. [_To_ KERSTI] Comely you are as I am homely! [_Goes out_.

MATS'S MOTHER. [_To_ KERSTI] Your new family bids you welcome! [_She goes out_.

MATS'S FATHER. [_To_ KERSTI] _My_ daughter now--the old ties have been loosed! [_He goes out_.

SHERUT. [_To_ KERSTI] Why so pale? What draws all the blood to your heart? What is weighing on it?

KERSTI. [_Raising her head at last to give the_ SHERIFF _a furious look_] Nothing!

SHERIFF. So little is a lot!

KERSTI. Go!

SHERIFF. When you ride, I'll go ahead of you--but we won't be headed for the same place. When you kneel, I shall be standing, but the cold steel you'll taste won't be in my hands.

KERSTI. Oh, I wish you'd break your neck!

SHERIFF. [_Putting the palm of his hand on her neck_] Take care of your own! [_He goes out_.

_The rest of_ MATS'S _relatives file past her, greeting her
coldly_.

_The fiddlers have in the meantime taken their places, and
several old men have sat down at the table reserved for them
and begun to smoke. Now the fiddlers strike up an old Swedish
polka. (See the musical appendix, Melody No_. 17.)

_At the same time the_ NECK _begins to play the melody heard
in the first scene, but so powerfully that it sounds like two
violins. (See musical appendix, Melody No_. 18.)

_As soon as the dance music is heard, cries of_ "Off with
the crown!" _are raised, first in the loft, and then in the
living-room_.

KERSTI _becomes alarmed_.

_The_ PASTOR _goes up to her_.

FIDDLERS. [_Crying, as they become aware of the playing of the_ NECK] Who is cutting in?

ALL. [_Repeat without looking at the water-wheel or knowing from whence the strange music is heard_] Who is cutting in?

_Then the_ NECK _ceases playing, while the fiddlers continue.
The_ PASTOR _takes the bride by the hand and begins to lead her
around the room in a stately and solemn manner. Just as he puts
his arm about_ KERSTI'S _waist in order to open the dance with
her the_ NECK _begins to play again_.

KERSTI. [_Dropping the crown, which rolls into the mill-race_] Jesus Christ!

_All the people in the living-room get on their feet and cry_:
"The crown's in the mill-race!"

_Those in the rear room shout back_: "What's up?"

_Those in the living-room repeat_: "The crown's in the
mill-race!"

_The fiddlers suddenly stop their playing. The whole place is
in wild commotion_.

MATS. [_Appearing in the doorway_] We must look for it!

ALL. We must look for it!

PASTOR. God help us and protect us!

ALL. God help us and protect us!

SHERIFF. Let us look for it!

ALL. Let us look for it!

MATS. Yes, let's look!

_All disappear by the rear door, leaving_ KERSTI _alone on the
stage. She seats herself on the same chair as before. In the
meantime the stage has gradually been darkened._

_The water-wheel begins to turn_.

NECK. [_Appears in the wheel with his harp, and sings_]

"Stilled are the waters, dark grows the sky:
Dark grows the sky.
Once in the world of the ages I lived,
Blessed by the sun.
Gone is the light,
Conquered by night.
Deep is my sin,
Black as the tarn.
Joy there is none;
Plenty of woe.
Torture and Shame must I name my abode:
O!"

_When the_ NECK _begins to sing, the trap-door flies open right
at the feet of_ KERSTI, _and the_ MEWLER _appears as before_.

_At first_ KERSTI _stares at the apparition with horror. Then
she seizes it and presses it to her breast_.

_The_ NECK _stops his song and disappears. Instead the voice of
a child (the_ MOCKER) _is heard from the opening in the floor_.

MOCKER. Cold is the river; warm is my mother's bosom. Nothing you gave me in life: in death I take what is mine!

KERSTI. [_Who has been rocking the_ MEWLER _on her arm_, _puts a hand to her breast as if feeling acute pain_] Oh, help! Save me!

MIDWIFE. [_Trips in fussily_] Here I am! Here I am! Mustn't take on like that! [_She takes the_ MEWLER _from_ KERSTI _and drops it through the hole in the floor_] I know how to handle little ones! I help them into the world and out of it.... And I got to the wedding after all!

BRITA _has in the meantime appeared where the fiddlers were
seated before, and she has seen the_ MIDWIFE _hide something
under the floor_.

MIDWIFE. The Neck was also asked, I understand. Did he come?

KERSTI. What will you take to get out of here?

MIDWIFE. What you have lost!

KERSTI. You mean the crown?

MIDWIFE. Not exactly.... Hush!... I think I heard somebody! Then I'll hide in the fireplace for a while.... I got here after all, as you see!

_She steps into the fireplace and closes the iron shutters
behind her_.

BRITA. [_Enters and goes up to_ KERSTI] Now it's you or me!

KERSTI. You, then!

BRITA. A present is waiting for you.

KERSTI. Let's see!

BRITA. Bracelets--but not from me! [_Silence_] Bracelets of steel! [_She places herself on the trap-door_] Now my foot is on your head and on your heart! Now I shall stamp your secret out of the earth, or the water, or the fire--wherever it may be! [_Silence_] Now I shall have your hair for my watch-chain, which is not what it seems. Where is the Midwife? Where is the guest of honour at this virginal wedding? You stole the crown, and the Neck stole it from you. You have stolen the mill, but it will be returned. Shechem's Dinah has proved not only spoiled, but soiled! The little one is asleep, not in the forest, but in the river! You have put my brother to shame, and our whole family, and the name that we bear! And now you shall die!

KERSTI. [_Submissively_] I am dead! I have been dying for days.... Are you satisfied now?

BRITA. No, you shall go on dying for days to come! You shall die for perjury, falsehood, murder, theft, slander, deceit! You shall die six times over! And when you really die the seventh time, it will seem so only! You shall not rest in consecrated ground! You shall have no black coffin with stars of silver on it! You shall have no spruce strewn and no bells rung....

KERSTI. I suppose not!

BRITA. Therefore.... [_Heavy steps are heard outside_] Do you hear those steps? Count them! [_She counts in time with the approaching steps of the_ SHERIFF] One, two, three, four, five, six....

_The_ SHERIFF _enters from the rear_. BRITA _goes to him and
whispers something in his ear_.

SHERIFF. It's here, you say?

BRITA. Not the crown, I guess!

SHERIFF. Something else, then! [_He raises the trap-door and looks down_] No, it is not the crown! Poor Kersti! Did you put it there?

KERSTI. I did not!

SHERIFF. No?--Tell the truth!

KERSTI. I did not put it there!

BRITA. [_Striking her on the mouth_] The truth!

KERSTI. I did not put it there!

BRITA. [_Putting her hand in the_ SHERIFF'S _pocket and taking out a pair of handcuffs_] On with the bracelets!

SHERIFF. [_To_ BRITA] Born executioner--that's what _you_ are! [_He puts his hands to his face and weeps_] God have mercy on us!

PASTOR. [_Entering from the rear_] Has it been found?

SHERIFF. Not that, but....

PASTOR. Say no more! I know.... [_Putting his hands to his face and weeping_] God have mercy on us!

SOLDIER. [_Entering from the rear_] Have you found the crown?

SHERIFF. Not that, but....

SOLDIER. Enough! I know....

[_Begins to weep, with his hands to his face_.

KERSTI'S MOTHER. [_Entering from the rear_] Have you found the crown?

SHERIFF. No, no!

MOTHER. Oh!

_She looks hard at_ KERSTI, _who is holding out her hands to
meet the handcuffs, which_ BRITA _puts on her_.

MOTHER. [_Screaming_] Oh!

_Snatching up a pair of shears, she cuts off_ KERSTI'S _hair
and throws it to_ BRITA, _who catches it and sniffs at it as if
enjoying its odour. The_ MOTHER _then strips her daughter of
the veil and other bridal ornaments. At last she throws a shawl
over her head_.

MATS. [_Entering from the rear, stops in front of_ KERSTI _and looks at her in surprise_] Who is that?

BRITA. Look well!

MATS. [_Looking more closely at_ KERSTI] She reminds me of somebody!

BRITA. Look well!

MATS. I don't know her.

BRITA. Grant God you never had!

MATS. The eyes are different.... But the mouth--that sweet mouth--and the little chin.... No, it is not she! [_He turns away from_ KERSTI _and catches sight of the open trap-door_] What's that? You are standing here as if it were a grave....

BRITA. It is a grave!

MATS. Of what?

BRITA. Of everything--everything that made your life worth while!

MATS. That means the little one!--Who did it?

BRITA. [_Pointing to_ KERSTI] She, and she, and she!

MATS. It is not true!

_All who were in the room at the beginning and who left to look
for the crown, have gradually returned, and are now crowded
together in the background, no one saying a word or making the
least noise_.

BRITA. It is true!

MATS. You liar!

SOLDIER. [_To_ BRITA] You liar born of liars!

MATS'S RELATIVES. [_Gathering on the left side of_ KERSTI] You liar born of thieves and liars! That's you!

KERSTI'S RELATIVES [_Gathering on her right side_] No, that's you!

PASTOR. Peace! Peace! In the name of the Lord!

ALL. Peace.

SHERIFF. No one must be condemned untried!

ALL. Let us hear!

SHERIFF. Who brings the charge?

ALL. Who brings the charge?

BRITA. I, Brita Lisa Larsson.

ALL. Brita Lisa Larsson brings the charge. Against whom?

BRITA. Against Kersti Margaret Hansdaughter.

ALL. Against Kersti Margaret Hansdaughter!--What is the charge?

BRITA. If bride be spoiled, the crown is forfeit!

KERSTI'S RELATIVES. And your evidence?

BRITA. Two witnesses make valid evidence.

MATS'S RELATIVES. Two witnesses make valid evidence!

KERSTI'S RELATIVES. We challenge them!

SHERIFF. No challenging without good cause!

BRITA. "If unmarried woman puts away child that comes to its death, the life of the mother shall be forfeit!"

MATS'S RELATIVES. Her life is forfeit!

KERSTI'S RELATIVES. [_Drawing closer with menacing gestures_] "Empty-headed men and meanly tempered never know that they are far from faultless."[1]--The fault is Mats's!

MATS'S RELATIVES. The fault is not Mats's!

KERSTI'S RELATIVES. The fault is his who did the deed!

MATS'S RELATIVES. [_With raised fists_] What deed? You had better ask Kersti!

KERSTI'S RELATIVES. Ask her!

SHERIFF. [_To_ KERSTI] Did you kill the child?

KERSTI. I did!

MATS'S RELATIVES. There you hear!

KERSTI'S RELATIVES. God have mercy!

MATS'S RELATIVES. Now you can hear!

MATS _has been standing at the fireplace lost in thought, with
his back to the rest. Suddenly he tears off everything that
indicates his character of bridegroom. After a brief moment of
hesitation, he leaps like mad on the table in the rear and
disappears through the opening where the fiddlers were seated
before_.

PASTOR. [_Who has been weeping silently, with his hands covering his face, goes to the open trap-door and says_]

"To the dead
Give peace, O Lord,
And console
The living!"[2]

_All bend their heads, shade their faces with one hand, and
pray in silence, as the custom is when the Lord's Prayer is
read in a Swedish church or at a grave_.

PASTOR. May the Lord bless you and protect you!

ALL. [_With their faces buried in their hands_] Amen!

_Everybody leaves silently and sadly. When_ KERSTI _alone
remains, the_ SHERIFF _locks the doors in the rear. Then he
fastens the shutters covering the opening where the fiddlers
were seated_.

_From the fireplace is heard a loud noise as of thunder_.