Chapter III: Introduction (3)

NECK. [_Appears in the water-wheel with his fiddle and plays and sings as before_] "I am hoping, I am hoping that thy Redeemer still liveth."

_This he repeats several times, while_ KERSTI _is kneeling on
the floor with her handcuffed arms raised toward heaven._

_The_ CHILD IN WHITE _enters from behind the fireplace with a
basket full of spruce branches and flowers_.

_The_ NECK _stops singing and disappears_.

_The_ CHILD IN WHITE _strews the spruce branches on the floor
so that a green path is formed to the edge of the trap-door.
When he has reached this, he drops flowers into the hole, from
which the bell-like notes of the harmonica are heard_.

_Unseen by_ KERSTI, _he goes up to her, places his hands on her
head and stands still with upturned face as if in prayer_.

_The face of_ KERSTI, _which until then has shown deep despair,
assumes an expression of quiet happiness_.

_Curtain_.

[1] From the Poetic Edda: "The Song of the High One." See introduction.

[2] From the Poetic Edda: "The Song of the Sun." See introduction.

FIFTH SCENE

_The porch of a country church appears at the right in the
foreground. It is brilliantly white, with a roof of black
shingle_. Near the entrance is a sort of pillory, at the foot
of which KERSTI _lies in penitential garb, with the hood pulled
forward to cover her face_.

_A big lake, surrounded by a typical Dalecarlian landscape,
forms the background. At the foot of the open place before the
church is a boat-landing. A point of land projects into the
lake at the right, and there stands the scaffold, consisting
of a simple wooden platform with a block on it. Two soldiers,
fully armed, stand "at ease" by the entrance to the porch, from
within which an organ prelude is heard when the curtain rises_.

_Two large "church-boats" (of the kind used on Lake Siljan in
Dalecarlia) gliding slowly forward from opposite directions,
arrive at the landing simultaneously. The rowers have raised
their oars and appear to be disputing about the right of
landing_.

MATS'S RELATIVES _are in the boat at the left_; KERSTI'S
RELATIVES _in the boat at the right_.

MATS'S RELATIVES. Look out, Mewlings!

KERSTI'S RELATIVES. Look out, millers!

MATS'S RELATIVES. [_Raising their oars in menace_] Look out!

KERSTI'S RELATIVES. [_In the same way_] Look out!

MATS'S RELATIVES. Can you match us with eight pairs?

KERSTI'S RELATIVES. With sixteen, if needs be! Come on!

MATS'S RELATIVES. At 'em! At 'em!

_They begin to fight with the oars_.

PASTOR. [_Standing bareheaded in prow of the boat at the left_] Peace! Peace in the name of the Lord Jesus Christ!

KERSTI'S RELATIVES. Peace!

MATS'S RELATIVES. War! War on life and death!

PASTOR. Peace!

MATS'S RELATIVES. War!

_The_ VERGER _comes running from the porch, seizes the
bell-rope and begins to toll the bell_.

_At the first stroke, all oars are lowered, the boats are
brought to the landing and tied up side by side. The_ PASTOR
_is the first one to leave the boat at the left. He is followed
by_ MATS, _who carries a small white coffin trimmed with lace.
Then the relatives and friends of_ MATS _gradually step on
shore_.

_The_ SOLDIER _leaves the other boat ahead of all the rest and
is followed by his wife. Then come the relatives and friends
of_ KERSTI.

_The people on both sides adjust their clothing while throwing
angry glances at their opponents_.

_At last_ MATS _with the coffin leads the way up to the church,
followed by the_ PASTOR.

MATS. [_Whose face shows intense despair, stops in front of_ KERSTI] Here is the little one now. He's so light--as light as the mind of a bad woman. He's asleep--and soon you will be sleeping, too.

KERSTI. [_Raising her head so that the hood falls back_] O!

Mats. "O," indeed! It's the end, while A is the beginning. Between those two lie many letters, but the last one of all is O. Cry "O" again--the last time of all--so that the little one may hear it. He will tell the Lord and the Saviour, and ask them to forgive you! No? Well, kiss his white coffin then--kiss it where his small feet are resting--the small, small feet that never had a chance to tread this sinful earth! [KERSTI _kisses the coffin_] That's right! Now we'll take him into the church and play and sing and toll the bells over him--but no clergyman can read him into his grave--because of you! I will speak the words myself when we get to the grave. We'll plant him in the sod like a seed in order that he may sprout and grow into a winged blossom. Some day, perhaps, he will spread his wings and fly to heaven--lifted by the wind when the midsummer sun is shining!

PASTOR. [_Taking_ MATS _by the arm and drawing him toward the church_] That's enough, Mats! Come now!

MATS. I am coming.

_They disappear into the porch, followed gradually by the rest_.

SOLDIER. [_Stops in front of_ KERSTI, _shakes his head sadly and tries to find words_] Well.... Well....

[_He goes into the church_.

KERSTI'S MOTHER. [_Speaking drily, with a vain attempt to show emotion_] Yes, here we are now!--Was it bad in the Castle?

KERSTI _shakes her head_.

MOTHER. Is there anything you want? To eat or drink--you can have it now, you know.... Did they give you any tobacco while you were in the Castle?

KERSTI _shakes her head_.

MOTHER. Keep your head high, Kersti, and don't let the mill-folk put us to shame. Don't weep so much either. Your father is a man of war, you know, and he can't stand that kind of thing. [_Handing her daughter a hymn-book_] Take this book--and read where I have put the mark. And look at the mark--I got it from some one--some one who is thinking of you in your moment of need. And it is a sure cure against the shakes Farther than this I won't keep you company, Kersti.... I can't--I really can't, being as old as I am....

KERSTI. Do what you feel like, mother. I have found my comforter! I know that my Redeemer still liveth!

MOTHER. It's all right, then, child. That's all I wanted to know.... And you don't want me to go with you?

KERSTI. No, mother, you must spare yourself.... You have had enough trouble on my account as it is.

MOTHER. Then I'll take your word for it, so that the mill-folk won't have anything to talk about. I take your word for it, so that I can tell them: "Kersti didn't want it--it was her own will, and of course her last will was as good as law to me!" And that's just what it is!

[_She goes into the church._

BRITA. [_Stops in front of_ KERSTI _and points toward the scaffold_] A queen you were, and a crown you wore: there's your throne now, with heaven above and hell beneath!--Now you would be glad enough to be milking cows! Now you wouldn't mind picking wood, and scouring pots, and cleaning shoes, and rocking the cradle--now, when you have brought shame on my family and your own, on our parish and our province, so that the whole country is talking of it! Fie on you!

KERSTI _bends lower and lower over the hymn-book._

BRITA. My brother must carry your brat to the grave-_my_ brother! But I shall keep you company to the block when you get spanked! I shall be your bridesmaid when you're wedded to the axe! "There's a corpse that isn't dead, and a babe that wasn't bred, and a bride without a wedding!"

LIT-MATS. Hush up, Brita! Kersti is nice!

BRITA. Indeed!

LIT-MATS. Yes, she is! But I don't like her to have on that ugly cloak.... That would be right for you, Brita! Oh, Kersti, why are you lying here? Are you waiting for Communion? And why did you run away from the wedding? Who is lying in the white box? Is all this a fairy-tale? Do you know that I lost my doll--the one you gave me?... Oh, Kersti dear, why are you so sorry?

[_He throws his arms about her neck_.

KERSTI. [_Taking him on her lap and kissing his shoes_] Oh, Lit-Mats, Lit-Mats!

BRITA. [_To the soldiers_] Is that allowed?

_The soldiers stand at attention, but make no reply_.

BRITA. [_Taking_ LIT-MATS _away from_ KERSTI] Come on now!

KERSTI. [_To_ LIT-MATS] Go with your sister, Lit-Mats! And you had better keep away from me!

[_She begins to read in a low voice out of the hymn-book_.

BRITA. [_To_ KERSTI] Shall I tell him?

KERSTI. For God's sake, don't tell the child!

BRITA. For the child's sake, I won't!

KERSTI. Thank you, Brita--for the child's sake!

BRITA _goes into the church with_ LIT-MATS. _The only ones that
remain outside are_ KERSTI _and the two soldiers_.

_The_ HEADSMAN _enters from the right, carrying a black box. He
keeps in the background and does not look in the direction of_
KERSTI.

KERSTI. [_Catching sight of him_] Christ Jesus, Saviour of the world, help me for the sake of Thy passion and death!

MIDWIFE. [_Enters from the left and goes up to the_ HEADSMAN] Listen, my dear man.... If it comes off, would you mind my getting quite close to it?... I need a little of that red stuff, you know--for a sick person--one who has the falling sickness....

_The_ HEADSMAN _goes out to the left without answering_.

MIDWIFE. Oh, he is of the kind that won't listen. [_Going to_ KERSTI] Ah, there you are, my dear....

KERSTI. [_With a deprecatory gesture_] Begone!

MIDWIFE. [_Keeping behind the pillory so that she cannot be seen by the soldiers_] Wait a little! Wait a little! Listen now, my dear! I can do what others can't! The hour is near, and the black one is waiting!

KERSTI. In the name of Christ Jesus, begone!

MIDWIFE. Listen! I can do what others can't! I can set you free!

KERSTI. I have found my Saviour! His name is Christ Jesus!

MIDWIFE. I can make the judge as soft as wax....

KERSTI. He who shall judge the quick and the dead; He who is the resurrection and the life: He has sentenced me to death in the flesh, and to--life everlasting.

MIDWIFE. Look at the soldiers! They have gone to sleep! Take my cloak and run!

KERSTI. Are the soldiers asleep?

MIDWIFE. Their eyes are closed!--Run, run, run!

KERSTI _rises and looks at the soldiers, who have closed their
eyes_.

MIDWIFE. Run, run, run!

KERSTI. [_Lying down again_] No, much better is it to fall into the hands of the living God!--Depart from me!

_She raises the hymn-book so that the golden cross on its front
cover faces the_ MIDWIFE.

MIDWIFE. [_Shrinking back_] Shall we meet a Thursday night at the crossroads?

KERSTI. On the path to the cross I shall meet with my Redeemer, but not with you! Depart!

MIDWIFE. [_Drawing away_] There is a boat down at the shore--horse and carriage are waiting on the other side Mats is there, but the Sheriff not.... Run, run, run!

KERSTI [_Struggling with herself_] O Lord, lead us not into temptation, but deliver us from evil!

MIDWIFE. Shash-ash-ash-ash! Horse and carriage!

KERSTI _seizes the bell-rope and pulls it three times. At the
third stroke of the bell, the_ MIDWIFE _takes flight_.

MIDWIFE. Ad-zee! Ad-zee! Ad-zee! [_She disappears_.

_The_ CHILD IN WHITE _comes forward from behind one of the
pillars of the porch. His dress is that worn by girls at
Rättvik, Dalecarlia (the one with liberty cap, white waist and
striped apron, which is probably more familiar to foreigners
than any other Swedish peasant costume), but all its parts are
white, including the shoes_.

KERSTI. [_As if blinded by his appearance_] Who are you, child--you who come when the evil one departs?

_The_ CHILD IN WHITE _puts a finger across his lips_.

KERSTI. White as snow, and white as linen.... Why are you so white?

CHILD IN WHITE [_In a low voice_] Thy faith has saved thee! Out of faith has sprung hope! [_He goes toward_ KERSTI.

KERSTI. Please, dear, don't step on the ant!

CHILD IN WHITE. [_Stoops and picks up something on a leaf_] But the greatest of these be love--love of all living things, great or small! Now I shall send this ant into the woods to tell the king of all the ants, so that the little people may come here and gnaw the ropes to pieces, and you will be set free.

KERSTI. No, no! Don't talk like that!

CHILD IN WHITE. Doubt not--but believe! Believe, Kersti!--Believe!

KERSTI. How can I?

CHILD IN WHITE. Believe!

_He steps behind the pillar again and disappears_.

_The stage grows darker_.

NECK. [_Appears with his harp in the middle of the lake and sings to the same melody as before_] "I am hoping, I am hoping, that thy Redeemer still liveth!"

KERSTI. He sings of _my_ Redeemer! He brings hope to me, who denied it to him!

_The_ NECK _sinks beneath the waters_.

SHERIFF. [_Enters reading a document; he approaches a few steps at a time, now looking at the ground, and now at the paper in his hand_] Kersti!

KERSTI _looks up, only to drop her head at once_.

SHERIFF. [_Slowly and with frequent pauses_] Behold the Sheriff!--You are only scared by him!--Do you think everybody feels like that? Suppose that the Sheriff has been summoned to help some one in a moment of dire need. Do you think he will be welcome then? Of course, he will!... Did you ever see such a lot of ants, Kersti?

KERSTI _raises her head again and becomes attentive_.

SHERIFF. Look at them! Files of them, and whole hosts! Look!--Do you know what that means? It is a good omen! But, of course, you never expect anything good to come from me. You wouldn't believe it _that_ time either--and that's what led to your exposure! Look at those ants! Look at them! They are making straight for you, Kersti. Are you not afraid of them?

KERSTI. I used to be, but I am not.

SHERIFF. Big wood-ants, and I think the ant-king himself is with them. Do you know what can be done by the King, and by no other authority? Do you know that? All other authorities can pass judgment--all of them can do that--harshly or mercifully; but there is only one that can grant pardon. That's the King!--Shall we ask the antking if he will grant pardon? [_He puts his hand to his ear as if to hear better_] Would your Majesty be willing to pardon her--that is, in regard to the worst part?... Did you hear what he answered? I thought he said yes. But I may have been mistaken.... And being the Sheriff, I can't go by hearsays, but must have everything in writing. Let us ask the ant-king to write it down. He has plenty of pens--sharp as needles--and he has ink of his own, that burns. If we could only find a piece of paper! [_He pretends to search his pockets, and finally he brings out the paper he was reading when he entered_] Oh, here we are! Look at this! The King has written it with his own hand. Do you see? C-A-R-L, which makes Carl. [_He raises his cap for a moment in salute_] You haven't seen such big letters since you went to school, Kersti. And look at the red seal--that smelled like resin in the woods when the sealing-wax still was warm. And look at the silken cords, yellow and blue--and all these lions and crowns.... That's royal, every bit of it!... Read it yourself, Kersti, while I give my orders to the soldiers.

KERSTI _takes the paper from his hand and reads_.

_The_ SHERIFF _turns to the soldiers and says something that
cannot be heard by the public_.

_The soldiers leave_.

_When_ KERSTI _has finished reading she hands the document back
to the_ SHERIFF _in a quiet, dignified manner_.

SHERIFF. Are you glad, Kersti?

KERSTI. I am thankful that my family and yours will be spared the greatest shame of all. I cannot be glad, for eternal life is better than a life in fetters.

SHERIFF. Regard it as a time of preparation.

KERSTI. I will!

SHERIFF. Are you still afraid of me?

KERSTI. Having looked death in the face, I fear nothing else.

SHERIFF. Come with me, then.

KERSTI. You must set me free first.

_The_ SHERIFF _unties the ropes with which she has been bound_.

_An organ prelude is heard from the church_.

KERSTI _stretches her arms toward heaven_.

_Curtain_.

SIXTH SCENE

_The stage represents the frozen surface of a big lake, the
shores of which form the background. Deep snow covers the ice.
Tall pine branches stuck into the snow serve to mark the tracks
used in crossing the lake_.

_In the centre of the stage, toward the background, a large
rectangular opening has been cut in the ice. A number of small
spruce-trees have been set along the edges of it to warn
against danger_.

_Long-tailed ducks_ (Heralda glacialis _or_ Clangula glacialis)
_are floating on the open water. Now and then one of them
utters its peculiarly melodious cry. (See musical appendix,
Melody No_. 19.)

_A number of short fishing-rods are placed along the edges of
the open water, with their lines out_.

_A gloomy old structure with turrets and battlements appears on
the shore in the background. It is known as the "Castle", but
is in reality a penitentiary_.

_It is about daybreak_.

_The_ FISHERMAN _enters from the right dressed in a sheepskin
coat and hauling a sledge on which lies an ice-hook. All the
ducks dive when he comes in sight. He begins to examine his
fishlines_.

MIDWIFE. [_Entering from the left_] How dare you fish on Easter Sunday?

FISHERMAN. I am not fishing--I'm just looking.

MIDWIFE. Perhaps you, who are so clever, can also tell a poor, strayed old woman where she is?

FISHERMAN. If you give me a light.

MIDWIFE. If you have flint and steel.

FISHERMAN. [_Handing her two pieces of ice_] Here they are.

MIDWIFE. Ice? Well, water is fire, and fire is water!

_She tears off a piece of her cloak to serve as tinder; then,
she strikes the two pieces of ice against each other; hiving
set the tinder on fire in that way, she hands it to the_
FISHERMAN, _who lights his pipe with it_.

FISHERMAN. Oh, you are that kind? Then I know where I am.

MIDWIFE. But where am I?

FISHERMAN. In the middle of Krummedikke's lake, and over there you see his castle. He was a king who lived long, long ago, and, like Herod, he caused all male babes to be slain because he was afraid for his crown. But now his castle holds all the girls who have not been afraid for theirs.

MIDWIFE. What are they doing in there?

FISHERMAN. Spinning flax.

MIDWIFE. That's the jail, then?

FISHERMAN. That's what it is.

MIDWIFE. And the lake?

FISHERMAN. Oh, it's a good one! There used to be dry land where the lake is now, and on that piece of land stood a church, and that church started a feud. It was a question of pews, you see. The mill-folk, who thought themselves above the rest, wanted to sit next to the altar, but the Mewlings were the stronger. One Easter Sunday it broke loose, right in the nave, and blood was shed. The church was profaned so that it could never be cleansed again. Instead it was closed up and deserted, and by and by it sank into the earth, and now there are fifty feet of water above the weathercock on the spire. By this time the lake has been washing it and washing it these many hundred years, but as long as mill-folk and Mewlings keep on fighting, the temple will never be cleansed.

MIDWIFE. Why are they called Mewlings?

FISHERMAN. Because they are descended from Krummedikke, who slew the infants.

MIDWIFE. And they are still fighting?

FISHERMAN. Still fighting, and still slaying.... You remember, don't you, Kersti, the soldier's daughter?

MIDWIFE. Of course, I do.

FISHERMAN. She is in the Castle, but to-day she will be out to do her yearly public penance at the church.

MIDWIFE. Is that so?

FISHERMAN. The Mewlings are coming to bring her over, and the mill-folk are coming to look on.

MIDWIFE. Do you hear the ice tuning up?

FISHERMAN. I do.

MIDWIFE. Does it mean thaw?

FISHERMAN. Maybe.

MIDWIFE. Then the ice will begin to break from the shore?

FISHERMAN. Quite likely. But if the water should rise, the rapids down there will carry it off.

MIDWIFE. Are the rapids far from here?

FISHERMAN. Naw! You can hear the Neck quite plainly. To-day he will be up betimes, as he is expecting something.

MIDWIFE. What can he be expecting?

FISHERMAN. Oh, you know!

MIDWIFE. No, I don't. Please tell me.

FISHERMAN. This is what they tell: Every Easter Sunday morning, at the hour when the Saviour ascended from his grave, the church of Krummedikke rises out of the lake. And he who gets a look at it has peace in his soul for the rest of the year.

MIDWIFE. [_Gallops out toward the right_] Ad-zee! Ad-zee! Ad-zee!

FISHERMAN. That was a bad meeting.... [_He lands a fish and takes it from the hook_] I got you!

_The fish slips out of his hand and leaps into the water. The_
FISHERMAN _tries to catch it with his dip-net. Then a whole row
of fish-heads appear above the water_.

FISHERMAN. Dumb, but not deaf! "What roars more loudly than a crane? What is whiter by far than a swan?"[1]

CHILD IN WHITE. [_Dressed as in the preceding scene, enters on skis, carrying a torch_;] The thunder of heaven roars more loudly than the crane, and he who does no evil is whiter than the swan.

_The fish-heads disappear_.

FISHERMAN. Who read my riddle?

CHILD IN WHITE. Who can free the prisoner from his bonds and set the tongue of the fish talking?

FISHERMAN. No one!

CHILD IN WHITE. No man by man begotten, but one born of the all-creative God.... He who has built the bridge of glass can break it, too!... Beware!

[_He goes out to the right_.

_The_ FISHERMAN _begins to gather up his implements_.

_The_ MILL-FOLK (MATS'S _relatives) enter from the left; all
are on skis and carry long staffs_. MATS _carries a torch_.

MATS. Where is the winter road?

FISHERMAN. Do you mean the road of the fish in the water?

MATS. No, the road of the horse on the snow.

FISHERMAN. Does it lead to court or church?

MILL-FOLK. To church.

FISHERMAN. For the man who has lost his way, all roads lead to the rapids. [_A rumbling noise is made by the ice_] The roof is cracking!

MILL-FOLK. Where is the road to the church?

FISHERMAN. Everywhere!

MILL-FOLK. Where is the church?

FISHERMAN. You are standing on it, and walking over it, and soon it will be here.

MILL-FOLK. Is this Krummedikke's lake?

FISHERMAN. It's Krummedikke's castle and Krummedikke's lake; it's Krummedikke's church, and soon it will break.

MILL-FOLK. Lord have mercy! [_They go out to the right_.

_The_ MEWLINGS (KERSTI'S _relatives) enter from the left_, on
_skis and carrying staffs. The_ SOLDIER _carries a torch_.

MEWLINGS. Is this the road to the church?

FISHERMAN. This is the road to the rapids! Turn back!

MEWLINGS. Ridges and open water everywhere! The floe is breaking loose!

FISHERMAN. Go eastward! The sun is tarrying.

MEWLINGS. Let's go eastward! [_They go out to the right_.

_The_ MILL-FOLK _return from the right_.

FISHERMAN. Turn back! The floe has broken loose down that way!

MILL-FOLK. And eastward, too! Let's turn northward!

FISHERMAN. There's the river!

MILL-FOLK. Southward, then!

FISHERMAN. There are the rapids!

MILL-FOLK. [_Leaning dejectedly on their staffs_] God have mercy on us!

MATS. The Mewlings put us on the wrong track.

BRITA. As they have always done!

FATHER. And they'll be first at church!

GRANDFATHER. Never mind! But I can't help regretting the day when I burned the papers.

MOTHER. Will there ever be peace?

GRANDMOTHER. "Men who are mild and gentle live in peace and know but little sorrow."[2]

MILL-FOLK. [_Raising their staffs_] The Mewlings!

MEWLINGS. [_Entering from the right, with raised staffs]_ Will you bide now, mill-folk? You put us on the wrong track!

MILL-FOLK. You liars!

MEWLINGS. The same to you!

MILL-FOLK. Quibblers!

MEWLINGS. And what are you?

_The ice begins to crash and rumble_.

FISHERMAN. Peace in the name of Christ Jesus! The water is rising!

ALL. [_Crying aloud_] The water is rising!

MATS'S GRANDFATHER. The ice is sinking. Stay where you are!

MATS'S GRANDMOTHER. To-day we must die, and then comes the day of judgment!

_The_ MILL-FOLK _embrace each other. The women pick up the
children into their arms. The_ MEWLINGS _do likewise_.

MATS'S MOTHER. [_To_ Mats] For the sake of your foolish fondness, we must die!

KERSTI'S MOTHER. "Another's love should by no one be blamed: wise men are often snared by beauty, but fools never."[2]

SOLDIER. "This fault of his should by no one be blamed: love, in its might, will often turn the sons of men from wisdom to folly."[3]

MATS. [_Holding out his hand to the_ SOLDIER] Thank you for those words! You are the man I named father for a brief while!

SOLDIER. "All at birth and death are equals."

MATS'S FATHER. There you took the word away from me! Your hand!

SOLDIER. [_Giving his hand after a little hesitation_] Here it is! We are all Christians, and this is the great day of atonement. Let not the sun rise on our wrath!

MEWLINGS. Let us have peace!

MILL-FOLK. Yes, let us have peace!

_The two parties are approaching each other with hands
stretched out, when a terrific crash is heard, and the ice
opens at their feet, separating them from each other_.

MATS'S GRANDFATHER. Parted in life and parted in death!

MATS'S GRANDMOTHER. The bridge has broken under the burden of crime.

MATS'S MOTHER. Where is Kersti?

MILL-FOLK. Where is Kersti?

MEWLINGS. Where is Kersti?

SOLDIER. "And lo, it was expedient that one should die for the people."

MATS'S GRANDFATHER. "Then said they unto him: What shall we do unto thee, that the sea may be calm unto us?"

KERSTI'S MOTHER. "Take me up, and cast me forth into the sea: for I know that for my sake this great tempest is upon you."

MATS'S GRANDMOTHER. Is it settled?

ALL. It is settled!

KERSTI'S MOTHER. "Behold the fire and the wood: but where is the lamb for a burnt offering?"

MEWLINGS. Where is Kersti?

MILL-FOLK. Where is Kersti?

_The_ PASTOR _enters, followed by the_ VERGER.

PASTOR. [_To the_ Soldier] "And the Lord said: Lay not thine hand upon the child, for now I know that thou fearest God, seeing thou hast not withheld thine only child from me."

ALL. [_To the_ Minister] Save us!

PASTOR. "There is but one God, the Saviour!" Let us pray!

_All kneel on the ice_.

PASTOR. "Out of the depths I cry unto thee, O Lord!"

ALL. "Lord, hear my voice!"

PASTOR. O Lord, have mercy!

ALL. Christ, have mercy!

_The_ SHERIFF _enters from the rear with a torch in his hand.
He is followed by four soldiers, carrying the dead body of_
KERSTI _between them_.

_All get on their feet_.

PASTOR. Whom are you bringing with you?

SHERIFF. We are bringing the crown bride--Kersti!

PASTOR. Is she alive?

SHERIFF. She is dead. The waters took her!

PASTOR. May the Lord take her soul!

SOLDIER. O Lord, have respect unto our offering, as thou hast given thyself for us an offering.

PASTOR. "For God so loved the world, that he gave his only begotten Son!"

BRITA. The water is falling!

ALL. The water is falling!

_The gap in the ice is closed up again_.

MATS _and_ BRITA _walk over to the_ MEWLINGS, _break branches
from the spruces set in the snow, and spread these over the
body of_ KERSTI.

PASTOR. Will there be peace after this?

ALL. Peace and reconciliation!

PASTOR. [_Beside the body of_ KERSTI]

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

_In the background a church is seen rising out of the lake:
first the gilded weathercock; then the cross resting on a
globe; and finally the spire, the roof covered with black
shingles, and the white walls of the round-arched church_.

NECK. [_Is heard playing and singing in the distance, but now his melody has been transposed into D minor_] "I am hoping, I am hoping, that my Redeemer still liveth."

PASTOR. Let us give praise and thanks unto the Lord!

ALL. We thank and praise thee, O Lord!

MATS _and_ BRITA _kneel beside the body of_ KERSTI. _All the rest kneel around them and sing No_. 6 _from the "Old" _Swedish Hymn-Book_ (which is a free rendering of Luther's_ "Herr Gott, dich loben wir," _and practically identical with the Ambrosian_ "Te Deum laudamus").

ALL. [_Singing_]

"O God, we give thee praise! O Lord, we give thee thanks! Eternal Father, whom the whole world worships!

Thy praise is sung by angels and all the heavenly powers; By Cherubim and Seraphim thy praise is sung incessantly: Holy, holy, holy, Lord God of Sabaoth!"

_Curtain_.

[1] Old Swedish folk-riddle, the expected answers to the questions being respectively: the thunder and an angel.

[2] From the Poetic Edda: "The Song of the High One." See Introduction.

[3] id. note 2.

THE SPOOK SONATA

(SPÖK-SONATEN)

CHAMBER PLAYS: OPUS III

1907

CHARACTERS

OLD HUMMEL
_The_ STUDENT, _named Arkenholtz_
_The_ MILKMAID, _an apparition_
_The_ JANITRESS
_The_ GHOST _of the Consul_
_The_ DARK LADY, _daughter of the Consul and the_ JANITRESS
_The_ COLONEL
_The_ MUMMY, _wife of the_ COLONEL
_The_ YOUNG LADY, _supposedly the_ COLONEL'S _daughter_,
_but in reality the daughter of_ OLD HUMMEL
_The_ DANDY, _called Baron Skansenkorge and engaged to
the_ DARK LADY
JOHANSSON, _in the service of_ HUMMEL
BENGTSSON, _the valet of the_ COLONEL
_The_ FIANCÉE, _a white-haired old woman, formerly engaged
to_ HUMMEL
_The_ COOK
_A_ SERVANT-GIRL
BEGGARS

FIRST SCENE

_The stage shows the first and second stories of a modern
corner home. At the left, the house continues into the wings;
at the right, it faces on a street supposed to be running at
right angle to the footlights_.

_The apartment on the ground floor ends at the corner in a
round room, above which is a balcony belonging to the apartment
on the second floor. A flagstaff is fixed to the balcony_.

_When the shades are raised in the windows of the Round Room, a
statue of a young woman in white marble becomes visible inside,
strongly illumined by sunlight. It is surrounded by palms. The
windows on the left side of the Round Room contain a number of
flower-pots, in which grow blue, white, and red hyacinths_.

_A bedquilt of blue silk and two pillows in white cases are
hung over the railing of the balcony on the second floor. The
windows at the left of the balcony are covered with white
sheets on the inside_.

_A green bench stands on the sidewalk in front of the house.
The right corner of the foreground is occupied by a drinking
fountain; the corner at the left, by an advertising column_.

_The main entrance to the house is near the left wing. Through
the open doorway appears the foot of the stairway, with
steps of white marble and a banister of mahogany with brass
trimmings. On the sidewalk, flanking the entrance, stand two
laurel-trees in wooden tubs_.

_At the left of the entrance, there is a window on the ground
floor, with a window-mirror outside_.

_It is a bright Sunday morning_.

_When the curtain rises, the bells of several churches are
heard ringing in the distance_.

_The doors of the entrance are wide open, and on the lowest
step of the stairway stands the_ DARK LADY. _She does not make
the slightest movement_.

_The_ JANITRESS _is sweeping the hallway. Then she polishes the
brass knobs on the doors. Finally she waters the laurel-trees_.

_Near the advertising column_, OLD HUMMEL _is reading his
paper, seated in an invalid's chair on wheels. His hair and
beard are white, and he wears spectacles_.

_The_ MILKMAID _enters from the side street, carrying
milk-bottles in a crate of wire-work. She wears a light dress,
brown shoes, black stockings, and a white cap_.

_She takes off her cap and hangs it on the fountain; wipes the
perspiration from her forehead; drinks out of the cup; washes
her hands in the basin, and arranges her hair, using the water
in the basin as a mirror_.

_A steamship-bell is heard outside. Then the silence is broken
fitfully by a few bass notes from the organ in the nearest
church_.

_When silence reigns again, and the_ MILKMAID _has finished
her toilet, the_ STUDENT _enters from the left, unshaved and
showing plainly that he has spent a sleepless night. He goes
straight to the fountain. A pause ensues_.

STUDENT. Can I have the cup?

_The_ MILKMAID _draws back with the cup_.

STUDENT. Are you not almost done?

_The_ MILKMAID _stares at him with horror_.

HUMMEL. [_To himself_] With whom is he talking? I don't see anybody. Wonder if he's crazy?

[_He continues to look at them with evident surprise_.

STUDENT. Why do you stare at me? Do I look so terrible--It is true that I haven't slept at all, and I suppose you think I have been making a night of it....

_The_ MILKMAID _remains as before_.

STUDENT. You think I have been drinking, do you? Do I smell of liquor?

_The_ MILKMAID _remains as before_.

STUDENT. I haven't shaved, of course.... Oh, give me a drink of water, girl. I have earned it. [_Pause_] Well? Must I then tell you myself that I have spent the night dressing wounds and nursing the injured? You see, I was present when that house collapsed last night.... Now you know all about it.

_The_ MILKMAID _rinses the cup, fills it with water, and hands
it to him_.

STUDENT. Thanks!

_The_ MILKMAID _stands immovable_.

STUDENT. [_Hesitatingly_] Would you do me a favour? [_Pause_] My eyes are inflamed, as you can see, and my hands have touched wounds and corpses. To touch my eyes with them would be dangerous.... Will you take my handkerchief, which is clean, dip it in the fresh water, and bathe my poor eyes with it?--Will you do that?--Won't you play the good Samaritan?

_The_ MILKMAID _hesitates at first, but does finally what he
has asked_.

STUDENT. Thank you! [_He takes out his purse_.

_The_ MILKMAID _makes a deprecatory gesture_.

STUDENT. Pardon my absent-mindedness. I am not awake, you see....

_The_ MILKMAID _disappears_.

Hummel. [_To the_ STUDENT] Excuse a stranger, but I heard you mention last night's accident.... I was just reading about it in the paper....

STUDENT. Is it already in the papers?

HUMMEL. All about it. Even your portrait. They are sorry, though, that they have not been able to learn the name of the young student who did such splendid work....

STUDENT. [_Glancing at the paper_] Oh, is that me? Well!

HUMMEL. Whom were you talking to a while ago?

STUDENT. Didn't you see? [_Pause_.

HUMMEL. Would it be impertinent--to ask--your estimable name?

STUDENT. What does it matter? I don't care for publicity. Blame is always mixed into any praise you may get. The art of belittling is so highly developed. And besides, I ask no reward....

HUMMEL. Wealthy, I suppose?

STUDENT. Not at all--on the contrary--poor as a durmouse!

HUMMEL. Look here.... It seems to me as if I recognised your voice. When I was young, I had a friend who always said "dur" instead of door. Until now he was the one person I had ever heard using that pronunciation. You are the only other one.... Could you possibly be a relative of the late Mr. Arkenholtz, the merchant?

STUDENT. He was my father.

HUMMEL. Wonderful are the ways of life.... I have seen you when you were a small child, under very trying circumstances....

STUDENT. Yes, I have been told that I was born just after my father had gone bankrupt.

HUMMEL. So you were.

STUDENT. May I ask your name?

HUMMEL. I am Mr. Hummel.

STUDENT. You are? Then I remember....

HUMMEL. Have you often heard my name mentioned at home?

STUDENT. I have.

HUMMEL. And not in a pleasant way, I suppose?

_The_ STUDENT _remains silent_.

HUMMEL. That's what I expected.--You were told, I suppose, that I had ruined your father?--All who are ruined by ill-advised speculations think themselves ruined by those whom they couldn't fool. [_Pause_] The fact of it is, however, that your father robbed me of seventeen thousand crowns, which represented all my savings at that time.

STUDENT. It is queer how the same story can be told in quite different ways.

HUMMEL. You don't think that I am telling the truth?

STUDENT. How can I tell what to think? My father was not in the habit of lying.

HUMMEL. No, that's right, a father never lies.... But I am also a father, and for that reason....

STUDENT. What are you aiming at?

HUMMEL. I saved your father from misery, and he repaid me with the ruthless hatred that is born out of obligation.... He taught his family to speak ill of me.

STUDENT. Perhaps you made him ungrateful by poisoning your assistance with needless humiliation.

HUMMEL. All assistance is humiliating, sir.

STUDENT. And what do you ask of me now?

HUMMEL. Not the money back. But if you will render me a small service now and then, I shall consider myself well paid. I am a cripple, as you see. Some people say it is my own fault. Others lay it to my parents. I prefer to blame life itself, with its snares. To escape one of these snares is to walk headlong into another. As it is, I cannot climb stairways or ring door-bells, and for that reason I ask you: will you help me a little?

STUDENT. What can I do for you?

HUMMEL. Give my chair a push, to begin with, so that I can read the bills on that column. I wish to see what they are playing to-night.

STUDENT. [_Pushing the chair as directed_] Have you no attendant?

HUMMEL. Yes, but he is doing an errand. He'll be back soon. Are you a medical student?

STUDENT. No, I am studying philology, but I don't know what profession to choose....

HUMMEL. Well, well! Are you good at mathematics?

STUDENT. Reasonably so.

HUMMEL. That's good! Would you care to accept a position?

STUDENT. Yes, why not?

HUMMEL. Fine! [_Studying the playbills_] They are playing "The Valkyr" at the matinee.... Then the Colonel will be there with his daughter, and as he always has the end seat in the sixth row, I'll put you next to him.... Will you please go over to that telephone kiosk and order a ticket for seat eighty-two, in the sixth row?

STUDENT. Must I go to the opera in the middle of the day?

HUMMEL. Yes. Obey me, and you'll prosper. I wish to see you happy, rich, and honoured. Your début last night in the part of the brave rescuer will have made you famous by to-morrow, and then your name will be worth a great deal.

STUDENT. [_On his way out to telephone_] What a ludicrous adventure!

HUMMEL. Are you a sportsman?

STUDENT. Yes, that has been my misfortune.

HUMMEL. Then we'll turn it into good fortune.--Go and telephone now.

_The_ STUDENT _goes out_. HUMMEL _begins to read his paper
again. In the meantime the_ DARK LADY _has come out on the
sidewalk and stands talking to the_ JANITRESS. HUMMEL _is
taking in their conversation, of which, however, nothing is
audible to the public_. _After a while the_ STUDENT _returns_.

HUMMEL. Ready?

STUDENT. It's done.

HUMMEL. Have you noticed this house?

STUDENT. Yes, I have been watching it.... I happened to pass by yesterday, when the sun was making every window-pane glitter.... And thinking of all the beauty and luxury that must be found within, I said to my companion: "Wouldn't it be nice to have an apartment on the fifth floor, a beautiful young wife, two pretty little children, and an income of twenty thousand crowns?"...

HUMMEL. So you said that? Did you really? Well, well! I am very fond of this house, too....

STUDENT. Do you speculate in houses?

HUMMEL. Mm-yah! But not in the way you mean.

STUDENT. Do you know the people who live here?

HUMMEL. All of them. A man of my age knows everybody, including their parents and grandparents, and in some manner he always finds himself related to every one else. I am just eighty--but nobody knows _me_--not through and through. I am very much interested in human destinies.

_At that moment the shades are raised in the Round Room on the
ground floor, and the_ COLONEL _becomes visible, dressed in
civilian clothes. He goes to one of the windows to study the
thermometer outside. Then he turns back into the room and stops
in front of the marble statue_.

HUMMEL. There's the Colonel now, who will sit next to you at the opera this afternoon.

STUDENT. Is _he_--the Colonel? I don't understand this at all, but it's like a fairy-tale.

HUMMEL. All my life has been like a collection of fairy-tales, my dear sir. Although the tales read differently, they are all strung on a common thread, and the dominant theme recurs constantly.

STUDENT. Whom does that statue represent?

HUMMEL. His wife, of course.

STUDENT. Was she very lovely?

HUMMEL. Mm-yah--well....

STUDENT. Speak out.

HUMMEL. Oh, we can't form any judgment about people, my dear boy. And if I told you that she left him, that he beat her, that she returned to him, that she married him a second time, and that she is living there now in the shape of a mummy, worshipping her own statue--then you would think me crazy.

STUDENT. I don't understand at all.

HUMMEL. I didn't expect you would. Then there is the window with the hyacinths. That's where his daughter lives? She is out for a ride now, but she will be home in a few moments.

STUDENT. And who is the dark lady talking to the janitress?

HUMMEL. The answer is rather complicated, but it is connected with the dead man on the second floor, where you see the white sheets.

STUDENT. Who was he?

HUMMEL. A human being like you or me, but the most conspicuous thing about him was his vanity.... If you were born on a Sunday, you might soon see him come down the stairway and go out on the sidewalk to make sure that the flag of the consulate is half-masted. You see, he was a consul, and he revelled in coronets and lions and plumed hats and coloured ribbons.

STUDENT. You spoke of being born on a Sunday.... So was I, I understand.

HUMMEL. No! Really?... Oh, I should have known.... The colour of your eyes shows it.... Then you can see what other people can't. Have you noticed anything of that kind?

STUDENT. Of course, I can't tell what other people see or don't see, but at times.... Oh, such things you don't talk of!

HUMMEL. I was sure of it! And you can talk to me, because I--I understand--things of that kind....

STUDENT. Yesterday, for instance.... I was drawn to that little side street where the house fell down afterward.... When I got there, I stopped in front of the house, which I had never seen before.... Then I noticed a crack in the wall.... I could hear the floor beams snapping.... I rushed forward and picked up a child that was walking in front of the house at the time.... In another moment the house came tumbling down.... I was saved, but in my arms, which I thought held the child, there was nothing at all....

HUMMEL. Well, I must say!... Much as I have heard.... Please tell me one thing: what made you act as you did by the fountain a while ago? Why were you talking to yourself?

STUDENT. Didn't you see the Milkmaid to whom I was talking?

HUMMEL. [_Horrified_] A milkmaid?

STUDENT. Yes, the girl who handed me the cup.

HUMMEL. Oh, that's what it was.... Well, I haven't that kind of sight, but there are other things....

_A white-haired old woman is seen at the window beside the
entrance, looking into the window-mirror_.

HUMMEL. Look at that old woman in the window. Do you see her?--Well, she was my fiancée once upon a time, sixty years ago.... I was twenty at that time.... Never mind, she does not recognise me. We see each other every day, and I hardly notice her--although once we vowed to love each other eternally.... Eternally!

STUDENT. How senseless you were in those days! We don't talk to our girls like that.

HUMMEL. Forgive us, young man! We didn't know better.--Can you see that she was young and pretty once?

STUDENT. It doesn't show.... Oh, yes, she has a beautiful way of looking at things, although I can't see her eyes clearly.

_The_ JANITRESS _comes out with a basket on her arm and begins
to cover the sidewalk with chopped hemlock branches, as is
usual in Sweden when a funeral is to be held_.

HUMMEL. And the Janitress--hm! That Dark Lady is her daughter and the dead man's, and that's why her husband was made janitor.... But the Dark Lady has a lover, who is a dandy with great expectations. He is now getting a divorce from his present wife, who is giving him an apartment-house to get rid of him. This elegant lover is the son-in-law of the dead man, and you can see his bedclothes being aired on the balcony up there.... That's a bit complicated, I should say!

STUDENT. Yes, it's fearfully complicated.

HUMMEL. It certainly is, inside and outside, no matter how simple it may look.

STUDENT. But who was the dead man?

Hummel. So you asked me a while ago, and I answered you. If you could look around the corner, where the servants' entrance is, you would see a lot of poor people whom he used to help--when he was in the mood....

STUDENT. He was a kindly man, then?

HUMMEL. Yes--at times.

STUDENT. Not always?

HUMMEL. No-o.... People are like that!--Will you please move the chair a little, so that I get into the sunlight? I am always cold. You see, the blood congeals when you can't move about.... Death isn't far away from me, I know, but I have a few things to do before it comes.... Just take hold of my hand and feel how cold I am.

STUDENT. [_Taking his hand_] I should say so!

[_He shrinks back_.

HUMMEL. Don't leave me! I am tired now, and lonely, but I haven't always been like this, you know. I have an endlessly long life back of--enormously long.... I have made people unhappy, and other people have made me unhappy, and one thing has to be put against the other, but before I die, I wish to see you happy.... Our destinies have become intertwined, thanks to your father--and many other things....

STUDENT. Let go my hand! You are taking all my strength! You are freezing me! What do you want of me?

HUMMEL. Patience, and you'll see, and understand.... There comes the Young Lady now....

STUDENT. The Colonel's daughter?

HUMMEL. His daughter--yes! Look at her!--Did you ever see such a masterpiece?

STUDENT. She resembles the marble statue in there.

HUMMEL. It's her mother.

STUDENT. You are right.... Never did I see such a woman of woman born!--Happy the man who may lead her to the altar and to his home!

HUMMEL. You see it, then? Her beauty is not discovered by everybody.... Then it is written in the book of life!

_The_ YOUNG LADY _enters from the left, wearing a close-fitting
English riding-suit. Without looking at any one, she walks
slowly to the entrance, where she stops and exchanges a few
words with the_ JANITRESS. _Then she disappears into the house.
The_ STUDENT _covers his eyes with his hand_.

HUMMEL. Are you crying?

STUDENT. Can you meet what is hopeless with anything but despair?

HUMMEL. I have the power of opening doors and hearts, if I can only find an arm to do my will.... Serve me, and you shall also have power....

STUDENT. Is it to be a bargain? Do you want me to sell my soul?

HUMMEL. Don't sell anything!... You see, all my life I have been used to _take_. Now I have a craving to give--to give! But no one will accept.... I am rich, very rich, but have no heirs except a scamp who is tormenting the life out of me.... Become my son! Inherit me while I am still alive! Enjoy life, and let me look on--from a distance, at least!

STUDENT. What am I to do?

HUMMEL. Go and hear "The Valkyr" first of all.

STUDENT. That's settled--but what more?

HUMMEL. This evening you shall be in the Round Room.

STUDENT. How am I to get there?

HUMMEL. Through "The Valkyr."

STUDENT. Why have you picked me to be your instrument? Did you know me before?

HUMMEL. Of course, I did! I have had my eyes on you for a long time.... Look at the balcony now, where the Maid is raising the flag at half-mast in honour of the consul.... And then she turns the bedclothes.... Do you notice that blue quilt? It was made to cover two, and now it is only covering one.... [_The_ YOUNG LADY _appears at her window, having changed dress in the meantime; she waters the hyacinths_] There is my little girl now. Look at her--look! She is talking to her flowers, and she herself looks like a blue hyacinth. She slakes their thirst--with pure water only--and they transform the water into colour and fragrance.... There comes the Colonel with the newspaper! He shows her the story about the house that fell down--and he points at your portrait! She is not indifferent--she reads of your deeds.... It's clouding up, I think.... I wonder if it's going to rain? Then I shall be in a nice fix, unless Johansson comes back soon [_The sun has disappeared, and now the stage is growing darker; the white-haired old woman closes her window_] Now my fiancée is closing her window.... She is seventy-nine--and the only mirror she uses is the window-mirror, because there she sees not herself, but the world around her--and she sees it from two sides--but it has not occurred to her that she can be seen by the world, too.... A handsome old lady, after all....

_Now the_ GHOST, _wrapped in winding sheets, comes out of the
entrance_.

STUDENT. Good God, what is that I see?

HUMMEL. What _do_ you see?

STUDENT. Don't _you_ see?... There, at the entrance.... The dead man?

HUMMEL. I see nothing at all, but that was what I expected. Tell me....

STUDENT. He comes out in the street.... [_Pause_] Now he turns his head to look at the flag.

HUMMEL. What did I tell you? And you may be sure that he will count the wreaths and study the visiting-cards attached to them.... And I pity anybody that is missing!

STUDENT. Now he goes around the corner....

HUMMEL. He wants to count the poor at the other entrance.... The poor are so decorative, you know.... "Followed by the blessings of many".... But he won't get any blessing from me!--Between us, he was a big rascal!

STUDENT. But charitable....

HUMMEL. A charitable rascal, who always had in mind the splendid funeral he expected to get.... When he knew that his end was near, he cheated the state out of fifty thousand crowns.... And now his daughter goes about with ... another woman's husband, and wonders what is in his will.... Yes, the rascal can hear every word we say, and he is welcome to it!--There comes Johansson now.

JOHANSSON _enters from the left_.

HUMMEL. Report!

JOHANSSON _can be seen speaking, but not a word of what he says
is heard_.

HUMMEL. Not at home, you say? Oh, you are no good!--Any telegram?--Not a thing.... Go on!--Six o'clock to-night?--That's fine!--An extra, you say?--With his full name?--Arkenholtz, a student, yes.... Born.... Parents.... That's splendid! I think it's beginning to rain.... What did he say?--Is that so?--He won't?--Well, then he must!--Here comes the Dandy.... Push me around the corner, Johansson, so I can hear what the poor people have to say.... [_To the_ STUDENT] And you had better wait for me here, Arkenholtz.... Do you understand?--[_To_ JOHANSSON] Hurry up now, hurry up!

JOHANSSON _pushes the chair into the side street and out of
sight. The_ STUDENT _remains on the same spot, looking at the_
YOUNG LADY, _who is using a small rake to loosen up the earth
in her pots. The_ DANDY _enters and joins the_ DARK LADY, _who
has been walking back and forth on the sidewalk. He is in
mourning_.

DANDY. Well, what is there to do about it? We simply have to wait.

DARK LADY. But I can't wait!

DANDY. Is that so? Then you'll have to go to the country.

DARK LADY. I don't want to!

DANDY. Come this way, or they'll hear what we are saying.

_They go toward the advertising column and continue their talk
inaudibly_.

JOHANSSON. [_Entering from the right; to the_ STUDENT] My master asks you not to forget that other thing.

STUDENT. [_Dragging his words_] Look here.... Tell me, please.... Who _is_ your master?

JOHANSSON. Oh, he's so many things, and he has been everything....