AUGUST STRINDBERG (continued 2)

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.

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.

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.

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....

STUDENT. Is he in his right mind?

JOHANSSON. Who can tell?—All his life he has been looking for one born on Sunday, he says—which does not mean that it must be true....

STUDENT. What is he after? Is he a miser?

JOHANSSON. He wants to rule.... The whole day long he travels about in his chair like the god of thunder himself He looks at houses, tears them down, opens up new streets, fills the squares with buildings.... At the same time he breaks into houses, sneaks through open windows, plays havoc with human destinies, kills his enemies, and refuses to forgive anything.... Can you imagine that a cripple like him has been a Don Juan—but one who has always lost the women he loved?

STUDENT. How can you make those things go together?

JOHANSSON. He is so full of guile that he can make the women leave him when he is tired of them.... Just now he is like a horse thief practising at a slave-market.... He steals human beings, and in all sorts of ways.... He has literally stolen me out of the hands of the law.... Hm.... yes.... I had been guilty of a slip. And no one but he knew of it. Instead of putting me in jail, he made a slave of me. All I get for my slavery is the food I eat, which might be better at that....

STUDENT. And what does he wish to do in this house here?

JOHANSSON. No, I don't want to tell! It's too complicated....

STUDENT. I think I'll run away from the whole story....

The YOUNG LADY drops a bracelet out of the window so that it falls on the sidewalk.

JOHANSSON. Did you see the Young Lady drop her bracelet out of the window?

Without haste, the STUDENT picks up the bracelet and hands it to the YOUNG LADY, who thanks him rather stiffly; then he returns to JOHANSSON.

JOHANSSON. So you want to run away? That is more easily said than done when he has got you in his net.... And he fears nothing between heaven and earth except one thing or one person rather....

STUDENT. Wait—I think I know!

JOHANSSON. How could you?

STUDENT. I can guess! Is it not—a little milkmaid that he fears?

JOHANSSON. He turns his head away whenever he meets a milk wagon.... And at times he talks in his sleep.... He must have been in Hamburg at one time, I think....

STUDENT. Is this man to be trusted?

JOHANSSON. You may trust him—to do anything!

STUDENT. What is he doing around the corner now?

JOHANSSON. Watching the poor dropping a word here and a word there.... loosening a stone at a time ... until the whole house comes tumbling down, metaphorically speaking.... You see, I am an educated man, and I used to be a book dealer.... Are you going now?

STUDENT. I find it hard to be ungrateful.... Once upon a time he saved my father, and now he asks a small service in return....

JOHANSSON. What is it?

STUDENT. To go and see "The Valkyr"....

JOHANSSON. That's beyond me.... But he is always up to new tricks.... Look at him now, talking to the police-man! He is always thick with the police. He uses them. He snares them in their own interests. He ties their hands by arousing their expectations with false promises—while all the time he is pumping them.... You'll see that he is received in the Round Room before the day is over!

STUDENT. What does he want there? What has he to do with the Colonel?

JOHANSSON. I think I can guess, but know nothing with certainty. But you'll see for yourself when you get there!

STUDENT. I'll never get there.

JOHANSSON. That depends on yourself!—Go to "The Valkyr."

STUDENT. Is that the road?

JOHANSSON. Yes, if he has said so—Look at him there—look at him in his war chariot, drawn in triumph by the Beggars, who get nothing for their pains but a hint of a great treat to be had at his funeral.

OLD HUMMEL appears standing in his invalid's chair, which is drawn by one of the BEGGARS, and followed by the rest.

HUMMEL. Give honour to the noble youth who, at the risk of his own, saved so many lives in yesterday's accident! Three cheers for Arkenholtz!

The BEGGARS bare their heads, but do not cheer. The YOUNG LADY appears at her window, waving her handkerchief. The COLONEL gazes at the scene from a window in the Round Room. The FIANCÉE rises at her window. The MAID appears on the balcony and hoists the flag to the top.

HUMMEL. Applaud, citizens! It is Sunday, of course, but the ass in the pit and the ear in the field will absolve us. Although I was not born on a Sunday, I have the gift of prophecy and of healing, and on one occasion I brought a drowned person back to life.... That happened in Hamburg on a Sunday morning just like this....

The MILKMAID enters, seen only by the STUDENT and HUMMEL. She raises her arms with the movement of a drowning person, while gazing fixedly at HUMMEL.

HUMMEL. [Sits down; then he crumbles in a heap, stricken with horror] Get me out of here, Johansson! Quick!—Arkenholtz, don't forget "The Valkyr!"

STUDENT. What is the meaning of all this?

JOHANSSON. We'll see! We'll see!

Curtain.

SECOND SCENE

In the Round Room. An oven of white, glazed bricks occupies the centre of the background. The mantelpiece is covered by a large mirror. An ornamental clock and candelabra stand on the mantelshelf.

At the right of the mantelpiece is a door leading into a hallway, back of which may be seen a room papered in green, with mahogany furniture. The COLONEL is seated at a writing-desk, so that only his back is visible to the public.

The statue stands at the left, surrounded by palms and with draperies arranged so that it can be hidden entirely.

A door at the left of the mantelpiece opens on the Hyacinth Room, where the YOUNG LADY is seen reading a book.

BENGTSSON, the valet, enters from the hallway, dressed in livery. He is followed by JOHANSSON in evening dress with white tie.

BENGTSSON. Now you'll have to do the waiting, Johansson, while I take the overclothes. Do you know how to do it?

JOHANSSON. Although I am pushing a war chariot in the daytime, as you know, I wait in private houses at night, and I have always dreamt of getting into this place.... Queer sort of people, hm?

BENGTSSON. Yes, a little out of the ordinary, one might say.

JOHANSSON. Is it a musicale, or what is it?

BENGTSSON. The usual spook supper, as we call it. They drink tea and don't say a word, or else the Colonel does all the talking. And then they munch their biscuits, all at the same time, so that it sounds like the gnawing of a lot of rats in an attic.

JOHANSSON. Why do you call it a spook supper?

BENGTSSON. Because they look like spooks.... And they have kept this up for twenty years—always the same people, saying the same things or keeping silent entirely, lest they be put to shame.

JOHANSSON. Is there not a lady in the house, too?

BENGTSSON. Yes, but she is a little cracked. She sits all the time in a closet, because her eyes can't bear the light. [He points at a papered door] She is in there now.

JOHANSSON. In there, you say?

BENGTSSON. I told you they were a little out of the ordinary....

JOHANSSON. How does she look?

BENGTSSON. Like a mummy.... Would you care to look at her? [He opens the papered door] There she is now!

JOHANSSON. Mercy!

MUMMY. [Talking baby talk] Why does he open the door? Haven't I told him to keep it closed?

BENGTSSON. [In the same way] Ta-ta-ta-ta! Polly must be nice now. Then she'll get something good. Pretty polly!

MUMMY. [Imitating a parrot] Pretty polly! Are you there, Jacob? Currrrr!

BENGTSSON. She thinks herself a parrot, and maybe she's right [To the MUMMY] Whistle for us, Polly.

The MUMMY whistles.

JOHANSSON. Much I have seen, but never the like of it!

BENGTSSON. Well, you see, a house gets mouldy when it grows old, and when people are too much together, tormenting each other all the time, they lose their reason. The lady of this house.... Shut up, Polly!... That mummy has been living here forty years—with the same husband, the same furniture, the same relatives, the same friends.... [He closes the papered door] And the happenings this house has witnessed! Well, it's beyond me.... Look at that statue. That's the selfsame lady in her youth.

JOHANSSON. Good Lord! Can that be the Mummy?

BENGTSSON. Yes, it's enough to make you weep!—And somehow, carried away by her own imagination, perhaps, she has developed some of the traits of the talkative parrot.... She can't stand cripples or sick people, for instance.... She can't bear the sight of her own daughter, because she is sick....

JOHANSSON. Is the Young Lady sick?

BENGTSSON. Don't you know that?

JOHANSSON. No.—And the Colonel—who is he?

BENGTSSON. That remains to be seen!

JOHANSSON. [Looking at the statue] It's horrible to think that.... How old is she now?

BENGTSSON. Nobody knows. But at thirty-five she is said to have looked like nineteen, and that's the age she gave to the Colonel.... In this house.... Do you know what that Japanese screen by the couch is used for? They call it the Death Screen, and it is placed in front of the bed when somebody is dying, just as they do in hospitals....

JOHANSSON. This must be an awful house! And the Student was longing for it as for paradise....

BENGTSSON. What student? Oh, I know! The young chap who is coming here to-night.... The Colonel and the Young Lady met him at the opera and took a great fancy to him at once.... Hm!... But now it's my turn to ask questions. Who's your master? The man in the invalid's chair?...

JOHANSSON. Well, well! Is he coming here, too?

BENGTSSON. He has not been invited.

JOHANSSON. He'll come without invitation—if necessary.

OLD HUMMEL appears in the hallway, dressed in frock coat and high hat. He uses crutches, but moves without a noise, so that he is able to listen to the two servants.

BENGTSSON. He's a sly old guy, isn't he?

JOHANSSON. Yes, he's a good one!

BENGTSSON. He looks like the very devil.

JOHANSSON. He's a regular wizard, I think because he can pass through locked doors....

HUMMEL. [Comes forward and pinches the ear of JOHANSSON] Look out, you scoundrel! [To BENGTSSON] Tell the Colonel I am here.

BENGTSSON. We expect company....

HUMMEL. I know, but my visit is as good as expected, too, although not exactly desired, perhaps....

BENGTSSON. I see! What's the name? Mr. Hummel?

HUMMEL. That's right.

BENGTSSON crosses the hallway to the Green Room, the door of which he closes behind him.

HUMMEL. [To JOHANSSON] Vanish!

JOHANSSON hesitates.

HUMMEL. Vanish, I say!

JOHANSSON disappears through the hallway.

HUMMEL. [Looking around and finally stopping in front of the statue, evidently much surprised] Amelia!—It is she!—She!

He takes another turn about the room, picking up various objects to look at them; then he stops in front of the mirror to arrange his wig; finally he returns to the statue.

MUMMY. [In the closet] Prrretty Polly!

HUMMEL. [Startled] What was that? Is there a parrot in the room? I don't see it!

MUMMY. Are you there, Jacob?

HUMMEL. The place is haunted!

MUMMY. Jacob!

HUMMEL. Now I am scared!... So that's the kind of secrets they have been keeping in this house! [He stops in front of a picture with his back turned to the closet] And that's he.... He!

MUMMY. [Comes out of the closet and pulls the wig of HUMMEL] Currrrr! Is that Currrrr?

HUMMEL. [Almost lifted off his feet by fright] Good Lord in heaven!... Who are you?

MUMMY. [Speaking in a normal voice] Is that you, Jacob?

HUMMEL. Yes, my name is Jacob....

MUMMY. [Deeply moved] And my name is Amelia!

HUMMEL. Oh, no, no, no!—Merciful heavens!...

MUMMY. How I look! That's right!—And have looked like that! [Pointing to the statue] Life is a pleasant thing, is it not?... I live mostly in the closet, both in order to see nothing and not to be seen.... But, Jacob, what do you want here?

HUMMEL. My child our child....

MUMMY. There she sits.

HUMMEL. Where?

MUMMY. There—in the Hyacinth Room.

HUMMEL. [Looking at the YOUNG LADY] Yes, that is she! [Pause] And what does her father say.... I mean the Colonel.... your husband?

MUMMY. Once, when I was angry with him, I told him everything....

HUMMEL. And?...

MUMMY. He didn't believe me. All he said was: "That's what all women say when they wish to kill their husbands."—It is a dreadful crime, nevertheless. His whole life has been turned into a lie—his family tree, too. Sometimes I take a look in the peerage, and then I say to myself: "Here she is going about with a false birth certificate, just like any runaway servant-girl, and for such things people are sent to the reformatory."

HUMMEL. Well, it's quite common. I think I recall a certain incorrectness in regard to the date of your own birth.

MUMMY. It was my mother who started that.... I was not to blame for it.... And it was you, after all, who had the greater share in our guilt....

HUMMEL. No, what wrong we did was provoked by your husband when he took my fiancée away from me! I was born a man who cannot forgive until he has punished. To punish has always seemed an imperative duty to me—and so it seems still!

MUMMY. What are you looking for in this house? What do you want? How did you get in?—Does it concern my daughter? If you touch her, you must die!

HUMMEL. I mean well by her!

MUMMY. And you have to spare her father!

HUMMEL. No!

MUMMY. Then you must die ... in this very room ... back of that screen....

HUMMEL. Perhaps.... but I can't let go when I have got my teeth in a thing....

MUMMY. You wish to marry her to the Student? Why? He is nothing and has nothing.

HUMMEL. He will be rich, thanks to me.

MUMMY. Have you been invited for to-night?

HUMMEL. No, but I intend to get an invitation for your spook supper.

MUMMY. Do you know who will be here?

HUMMEL. Not quite.

MUMMY. The Baron—he who lives above us, and whose father-in-law was buried this afternoon....

HUMMEL. The man who is getting a divorce to marry the daughter of the Janitress.... The man who used to be—your lover!

MUMMY. Another guest will be your former fiancée, who was seduced by my husband....

HUMMEL. Very select company!

MUMMY. If the Lord would let us die! Oh, that we might only die!

HUMMEL. But why do you continue to associate?

MUMMY. Crime and guilt and secrets bind us together, don't you know? Our ties have snapped so that we have slipped apart innumerable times, but we are always drawn together again....

HUMMEL. I think the Colonel is coming.

MUMMY. I'll go in to Adèle, then.... [Pause] Consider what you do, Jacob! Spare him....

[Pause; then she goes out.

COLONEL. [Enters, haughty and reserved] Won't you be seated, please?

HUMMEL seats himself with great deliberation; pause.

COLONEL. [Staring at his visitor] You wrote this letter, sir?

HUMMEL. I did.

COLONEL. Your name is Hummel?

HUMMEL. It is. [Pause.

COLONEL. As I learn that you have bought up all my unpaid and overdue notes, I conclude that I am at your mercy. What do you want?

HUMMEL. Payment—in one way or another.

COLONEL. In what way?

HUMMEL. A very simple one. Let us not talk of the money. All you have to do is to admit me as a guest....

COLONEL. If a little thing like that will satisfy you....

HUMMEL. I thank you.

COLONEL. Anything more?

HUMMEL. Discharge Bengtsson.

COLONEL. Why should I do so? My devoted servant, who has been with me a lifetime, and who has the medal for long and faithful service.... Why should I discharge him?

HUMMEL. Those wonderful merits exist only in your imagination. He is not the man he seems to be.

COLONEL. Who is?

HUMMEL. [Taken back] True!—But Bengtsson must go!

COLONEL. Do you mean to order my household?

HUMMEL. I do ... as everything visible here belongs to me ... furniture, draperies, dinner ware, linen and other things!

COLONEL. What other things?

HUMMEL. Everything! All that is to be seen is mine! I own it!

COLONEL. Granted! But for all that, my coat of arms and my unspotted name belong to myself.

HUMMEL. No—not even that much! [Pause] You are not a nobleman!

COLONEL. Take care!

HUMMEL. [Producing a document] If you'll read this extract from the armorial, you will see that the family whose name you are using has been extinct for a century.

COLONEL. [Reading the document] I have heard rumours to that effect, but the name was my father's before it was mine.... [Reading again] That's right! Yes, you are right—I am not a nobleman! Not even that!—Then I may as well take off my signet-ring.... Oh, I remember now.... It belongs to you.... If you please!

HUMMEL. [Accepting the ring and putting it into his pocket] We had better continue. You are no colonel, either.

COLONEL. Am I not?

HUMMEL. No, you have simply held the title of colonel in the American volunteer service by special appointment. After the war in Cuba and the reorganisation of the army, all titles of that kind were abolished....

COLONEL. Is that true?

HUMMEL. [With a gesture toward his pocket] Do you wish to see for yourself?

COLONEL. No, it won't be necessary.—Who are you, anyhow, and with what right are you stripping me naked in this fashion?

HUMMEL. You'll see by and by. As to stripping you naked—do you know who you are in reality?

COLONEL. How dare you?

HUMMEL. Take off that wig, and have a look at yourself in the mirror. Take out that set of false teeth and shave off your moustache, too. Let Bengtsson remove the iron stays—and perhaps a certain X Y Z, a lackey, may begin to recognise himself—the man who used to visit the maid's chamber in a certain house for a bite of something good....

The COLONEL makes a movement toward a table on which stands a bell, but is checked by HUMMEL.

HUMMEL. Don't touch that bell, and don't call Bengtsson! If you do, I'll have him arrested.... Now the guests are beginning to arrive.... Keep your composure, and let us continue to play our old parts for a while.

COLONEL. Who are you? Your eyes and your voice remind me of somebody....

HUMMEL. Don't try to find out! Keep silent and obey!

STUDENT. [Enters and bows to the COLONEL] Colonel!

COLONEL. I bid you welcome to my house, young man. Your splendid behaviour in connection with that great disaster has brought your name to everybody's lips, and I count it an honour to receive you here....

STUDENT. Being a man of humble birth, Colonel and considering your name and position....

COLONEL. May I introduce?—Mr. Arkenholtz—Mr. Hummel. The ladies are in there, Mr. Arkenholtz—if you please—I have a few more things to talk over with Mr. Hummel....

Guided by the COLONEL, the STUDENT goes into the Hyacinth Room, where he remains visible, standing beside the YOUNG LADY and talking very timidly to her.

COLONEL. A splendid young chap—very musical—sings, and writes poetry.... If he were only a nobleman—if he belonged to our class, I don't think I should object....

HUMMEL. To what?

COLONEL. Oh, my daughter....

HUMMEL. Your daughter, you say?—But apropos of that, why is she always sitting in that room?

COLONEL. She has to spend all her time in the Hyacinth Room when she is not out. That is a peculiarity of hers.... Here comes Miss Betty von Holstein-Kron—a charming woman—a Secular Canoness, with just enough money of her own to suit her birth and position....

Hummel. [Tohimself] My fiancée!

The FIANCÉE enters. She is white-haired, and her looks indicate a slightly unbalanced mind.

COLONEL. Miss von Holstein-Kron—Mr. Hummel.

The FIANCÉE curtseys in old-fashioned manner and takes a seat. The DANDY enters and seats himself; he is in mourning and has a very mysterious look.

COLONEL. Baron Skansenkorge....

HUMMEL. [Aside, without rising] That's the jewelry thief, I think.... [To the COLONEL] If you bring in the Mummy, our gathering will be complete.

COLONEL. [Going to the door of the Hyacinth Room] Polly!

MUMMY. [Enters] Currrrr!

COLONEL. How about the young people?

HUMMEL. No, not the young people! They must be spared.

The company is seated in a circle, no one saying a word for a while.

COLONEL. Shall we order the tea now?

HUMMEL. What's the use? No one cares for tea, and I can't see the need of pretending. [Pause.

COLONEL. Shall we make conversation?

HUMMEL. [Speaking slowly and with frequent pauses.] Talk of the weather, which we know all about? Ask one another's state of health, which we know just as well? I prefer silence. Then thoughts become audible, and we can see the past. Silence can hide nothing—but words can. I read the other day that the differentiation of languages had its origin in the desire among savage peoples to keep their tribal secrets hidden from outsiders. This means that every language is a code, and he who finds the universal key can understand every language in the world—which does not prevent the secret from becoming revealed without any key at times, and especially when the fact of paternity is to be proved—but, of course, legal proof is a different matter. Two false witnesses suffice to prove, anything on which they agree, but you don't bring any witnesses along on the kind of expedition I have in mind. Nature herself has planted in man a sense of modesty, which tends to hide that which should be hidden. But we slip into situations unawares, and now and then a favourable chance will reveal the most cherished secret, stripping the impostor of his mask, and exposing the villain....

Long pause during which everybody is subject to silent scrutiny by all the rest.

HUMMEL. How silent everybody is! [Long silence] Here, for instance, in this respectable house, this attractive home, where beauty and erudition and wealth have joined hands.... [Long silence] All of us sitting here now—we know who we are, don't we? I don't need to tell.... And all of you know me, although you pretend ignorance.... In the next room is my daughter—mine, as you know perfectly well. She has lost the desire to live without knowing why.... The fact is that she has been pining away in this air charged with crime and deceit and falsehood of every kind.... That is the reason why I have looked for a friend in whose company she may enjoy the light and heat radiated by noble deeds [Long silence] Here is my mission in this house: to tear up the weeds, to expose the crimes, to settle all accounts, so that those young people may start life with a clean slate in a home that is my gift to them. [Long silence] Now I grant you safe retreat. Everybody may leave in his due turn. Whoever stays will be arrested. [Long silence] Do you hear that clock ticking like the deathwatch hidden in a wall? Can you hear what it says?—"It's time! It's time!"—When it strikes in a few seconds, your time will be up, and then you can go, but not before. You may notice, too, that the clock shakes its fist at you before it strikes. Listen! There it is! "Better beware," it says.... And I can strike, too [He raps the top of a table with one of his crutches] Do you hear?

For a while everybody remains silent.

MUMMY. [Goes up to the dock and stops it; then she speaks in a normal and dignified tone] But I can stop time in its course. I can wipe out the past and undo what is done. Bribes won't do that, nor will threats—but suffering and repentance will [She goes to HUMMEL] We are miserable human creatures, and we know it. We have erred and we have sinned—we, like everybody else. We are not what we seem, but at bottom we are better than ourselves because we disapprove of our own misdeeds. And when you, Jacob Hummel, with your assumed name, propose to sit in judgment on us, you merely prove yourself worse than all the rest. You are not the one you seem to be—no more than we! You are a thief of human souls! You stole mine once upon a time by means of false promises. You killed the Consul, whom they buried this afternoon—strangling him with debts. You are now trying to steal the soul of the Student with the help of an imaginary claim against his father, who never owed you a farthing....

Having vainly tried to rise and say something, HUMMEL sinks back into his chair; as the MUMMY continues her speech he seems to shrink and lose volume more and more.

MUMMY. There is one dark spot in your life concerning which I am not certain, although I have my suspicions.... I believe Bengtsson can throw light on it.

[She rings the table-bell.

HUMMEL. No! Not Bengtsson! Not him!

MUMMY. So he does know? [She rings again.

The MILKMAID appears in the hallway, but is only seen by HUMMEL, who shrinks back in horror. Then BENGTSSON enters, and the MILKMAID disappears.

MUMMY. Do you know this man, Bengtsson?

BENGTSSON. Oh yes, I know him, and he knows me. Life has its ups and downs, as you know. I have been in his service, and he has been in mine. For two years he came regularly to our kitchen to be fed by our cook. Because he had to be at work at a certain hour, she made the dinner far ahead of time, and we had to be satisfied with the warmed-up leavings of that beast. He drank the soup-stock, so that we got nothing but water. Like a vampire, the sucked the house of all nourishment, until we became reduced to mere skeletons—and he nearly got us into jail when we dared to call the cook a thief. Later I met that man in Hamburg, where he had another name. Then he was a money-lender, a regular leech. While there, he was accused of having lured a young girl out on the ice in order to drown her, because she had seen him commit a crime, and he was afraid of being exposed....

MUMMY. [Making a pass with her hand over the face of HUMMEL as if removing a mask] That's you! And now, give up the notes and the will!

JOHANSSON appears in the hallway and watches the scene with great interest, knowing that his slavery will now come to an end.

HUMMEL produces a bundle of papers and throws them on the table.

MUMMY. [Stroking the back of HUMMEL] Polly! Are you there, Jacob?

HUMMEL. [Talking like a parrot] Here is Jacob!—Pretty Polly! Currrr!

MUMMY. May the clock strike?

HUMMEL. [With a clucking noise like that of a clock preparing to strike] The dock may strike! [Imitating a cuckoo-clock] Cuckoo, cuckoo, cuckoo....

MUMMY. [Opening the closet door] Now the clock has struck! Rise and enter the closet where I have spent twenty years bewailing our evil deed. There you will find a rope that may represent the one with which you strangled the Consul as well as the one with which you meant to strangle your benefactor.... Go!

HUMMEL enters the closet.

MUMMY. [Closes the door after him] Put up the screen, Bengtsson.... The Death Screen!

BENGTSSON places the screen in front of the door.

MUMMY. It is finished! God have mercy on his soul!

ALL. Amen!

Long silence. Then the YOUNG LADY appears in the Hyacinth Room with the STUDENT. She seats herself at a harp and begins a prelude, which changes into an accompaniment to the following recitative:

STUDENT. [Singing]

"Seeing the sun, it seemed to my fancy That I beheld the Spirit that's hidden. Man must for ever reap what he planted: Happy is he who has done no evil. Wrong that was wrought in moments of anger Never by added wrong can be righted. Kindness shown to the man whose sorrow Sprang from your deed, will serve you better. Fear and guilt have their home together: Happy indeed is the guiltless man!"

Curtain.

THIRD SCENE

A room furnished in rather bizarre fashion. The general effect of it is Oriental. Hyacinths of different colours are scattered everywhere. On the mantelshelf of the fireplace is seen a huge, seated Buddha, in whose lap rests a bulb. From that bulb rises the stalk of a shallot (Allium Ascalonicum), spreading aloft its almost globular cluster of white, starlike flowers.

An open door in the rear wall, toward the right-hand side, leads to the Round Room, where the COLONEL and the MUMMY are seated. They don't stir and don't utter a word. A part of the Death Screen is also visible.

Another door, at the left, leads to the pantry and the kitchen. The YOUNG LADY [Adèle] and the STUDENT are discovered near a table. She is seated at her harp, and he stands beside her.

YOUNG LADY. Sing to my flowers.

STUDENT. Is this the flower of your soul?

YOUNG LADY. The one and only.—Are you fond of the hyacinth?

STUDENT. I love it above all other flowers. I love its virginal shape rising straight and slender out of the bulb that rests on the water and sends its pure white rootlets down into the colourless fluid. I love the colour of it, whether innocently white as snow or sweetly yellow as honey; whether youthfully pink or maturely red; but above all if blue—with the deep-eyed, faith-inspiring blue of the morning sky. I love these flowers, one and all; love them more than pearls or gold, and have loved them ever since I was a child. I have always admired them, too, because they possess every handsome quality that I lack.... And yet....

YOUNG LADY. What?

STUDENT. My love is unrequited. These beautiful blossoms hate me.

YOUNG LADY. How do you mean?

STUDENT. Their fragrance, powerful and pure as the winds of early spring, which have passed over melting snow—it seems to confuse my senses, to make me deaf and blind, to crowd me out of the room, to bombard me with poisoned arrows that hurt my heart and set my head on fire. Do you know the legend of that flower?