ACT II.

ACT II.[Same scene as Act I, but there is a large table with chairs around it in middle of scene. On table there is writing material and a speaker's gavel. Axel is painting. Abel is sitting near him. She is smoking.]AXEL. They have finished dinner and are having their coffee now. Did they drink much?ABEL. Oh, yes, and Bertha bragged and was disagreeable.AXEL. Tell me one thing, Abel, are you my friend, or not?ABEL. H'm—I don't know.AXEL. Can I trust you?ABEL. No—you can't.AXEL. Why not?ABEL. Oh, I just feel that you can't.AXEL. Tell me, Abel, you who have the common sense of a man and can be reasoned with, tell me how it feels to be a woman. Is it so awful?ABEL [Jokingly]. Yes, of course. It feels like being a nigger.AXEL. That's strange. Listen, Abel. You know that I have a passion for equity and justice—ABEL. I know you are a visionary—and that's why things will never go well with you.AXEL. But things go well with you—because you never feel anything?ABEL. Yes.AXEL. Abel, have you really never had any desire to love a man?ABEL. How silly you are!AXEL. Have you never found any one?ABEL. No, men are very scarce.AXEL. H'm, don't you consider me a man?ABEL. You! No!AXEL. That's what I fancied myself to be.ABEL. Are you a man? You, who work for a woman and go around dressed like a woman?AXEL. What? I, dressed like a woman?ABEL. The way you wear your hair and go around bare-necked, while she wears stiff collars and short hair; be careful, she'll soon take your trousers away from you.AXEL. How you talk!ABEL. And what is your position in your own house? You beg money from her, and she puts you under her guardianship. No, you are not a man! But that's why she took you, when her affairs were in bad shape.AXEL. You hate Bertha; what have you against her?ABEL. I don't know, but perhaps I, too, have been struck with that same passion for justice.AXEL. Look here. Don't you believe in your great cause any longer?ABEL. Sometimes! Sometimes not! What can one believe in any more? Sometimes it strikes me that the old ways were better. As mothers we had an honored and respected position when in that way we fulfilled our duty as citizens; as housewives we were a great power, and to bring up a family was not an ignominious occupation. Give me a cognac, Axel. We have talked so much.AXEL [Getting cognac]. Why do you drink?ABEL. I don't know. If one could only find the exceptional man!AXEL. What sort would that be?ABEL. The man who rules a woman!AXEL. Well, and if you found one?ABEL. Then I would—as they say—fall in love with him. Think if this whole noise wereblague. Think!AXEL. No, there is surely life, motion in the movement, whatever it is.ABEL. Yes, there's so much motion—forward and backward! And a good deal of folly can come of the "motion," if they only get the majority for it.AXEL. If it turns out that way, then you've made a damned lot of noise uselessly, for now it's beginning to be loathsome to live.ABEL. We make so much noise that we make your heads reel. That's the trouble! Well, Axel, your position will be freer now that Bertha has been able to sell.AXEL. Sell! Has she sold a picture?ABEL. Don't you know that? The small picture with the apple-tree.AXEL. No, she hasn't said anything about it. When did it happen?ABEL. Day before yesterday. Don't you know about it? Well, then she intends to surprise you with the money.AXEL. Surprise me? She takes care of the cash herself.ABEL. So! Then it will—Hush, she is coming.[Bertha comes in.]BERTHA [To Abel]. Oh, good evening; are you here? What made you leave us?ABEL. I thought it was tiresome.BERTHA. Yes, there is no fun in rejoicing for others!ABEL. No!BERTHA [To Axel]. And you sit diligently niggling, I see.AXEL. Yes, I'm daubing away.BERTHA. Let me see! That's very good indeed—but the left arm is far too long.AXEL. Do you think so?BERTHA. Think so? Can't I see that it is? Give me the brush and—[She takes brush.]AXEL. No, let me alone. Aren't you ashamed?BERTHA. What's that?AXEL [Vexed]. Shame, I said. [Rises.] Are you trying to teach me how to paint?BERTHA. Why not?AXEL. Because you have still much to learn from me. But I can learn nothing from you.BERTHA. It seems to me that the gentleman is not very respectful to his wife. One should bear in mind the respect one owes to—ABEL. Now you're old-fashioned. What particular respect does a man owe a woman if they are to be equals?BERTHA [To Abel]. So you think it's all right for a man to be coarse with his wife?ABEL. Yes, when she is impudent to him.AXEL. That's right! Tear each other's eyes out!ABEL. Not at all! The whole thing is too insignificant for that.AXEL. Don't say that. Look here, Bertha, considering that our economic condition is to undergo a change from now on, won't you be so good as to let me see the account-book?BERTHA. What a noble revenge for being refused!AXEL. What revenge? What has the account-book got to do with my being turned down at the salon? Give me the key to the chiffonier.BERTHA [Feeling in her pocket]. Very well. H'm! That's strange! I thought I just had it.AXEL. Find it!BERTHA. You speak in such a commanding tone. I don't like that.AXEL. Come now, find the key.BERTHA [Looking here and there in the room]. Yes, but I can't understand it; I can't find it. It must be lost some way.AXEL. Are you sure that you haven't got it?BERTHA. Absolutely sure.[Axel rings; after a moment the maid comes in.]AXEL [To maid]. Go fetch a locksmith.MAID. A locksmith?AXEL. Yes, a smith who can pick a lock.[Bertha gives the maid a look.]MAID. Right away, monsieur.[Maid goes out. Axel changes his coat, discovers the order on the lapel, tears it off and throws it on the table.]AXEL. Pardon me, ladies!BERTHA [Mildly]. Don't mind us. Are you going out?AXEL. I am going out.BERTHA. Aren't you going to stay for the meeting?AXEL. No, I am not!BERTHA. Yes, but they will think that very discourteous.AXEL. Let them. I have more important things to do than listening to the drivel of you women.BERTHA [Worried]. Where are you going?AXEL. I don't need to account for myself, as I don't ask you to account for your actions.BERTHA. You won't forget that we have invited guests for the masquerade tomorrow evening?AXEL. Guests? That's true, tomorrow evening. H'm!BERTHA. It won't do to postpone it when both Östermark and Carl have arrived today, and I have asked them to come.AXEL. So much the better!BERTHA. And now come home early enough to try on your costume.AXEL. My Costume? Yes, of course; I am to take the part of a woman.[The maid enters.]MAID. The smith hasn't time now, but he'll come within two hours.AXEL. He hasn't time, eh? Well, perhaps the key will turn up anyway. However, I must be off now. Good-bye.BERTHA [Very mild]. Good-bye then. Don't come home late.AXEL. I don't know just what I will do. Goodbye.[Abel nods good-bye, Axel goes out.]ABEL. How very cocky his lordship was!BERTHA. Such impudence! Do you know, I had a good mind to tame him, break him so that he'd come back crawling to me.ABEL. Yes, that tweak the salon disappointment gave him doesn't seem to have taken all the spunk out of him. Bertha, tell me, have you ever loved that clown?BERTHA. Loved him? I liked him very much because he was nice to me. But he is so silly and—when he nags as he did just now, I feel that I could hate him. Think of it, it's already around that he painted my picture!ABEL. Well, if it's gone as far as that, then you must do something éclatant.BERTHA. If I only knew how!ABEL. I'm usually inventive. Let me see. Look here, why couldn't you have his refused picture brought home just as all your friends have gathered here?BERTHA. No, that would look as if I wanted to triumph. No, that would be too terrible.ABEL. Yes, but if I should have it done? Or Gaga, that would be better still. It would be sent here in Axel's name by the porter. It's got to come home anyway, and it's no secret that it was refused.BERTHA. No, but you know—ABEL. What? Hasn't he spread false reports, and haven't you the right to defend yourself?BERTHA. I would like it to happen very much, but I don't want to have anything to do with the doing of it. I want to be able to stand and swear that I am quite clean and innocent.ABEL. You shall be able to do so. I'll attend to it.BERTHA. What do you think he wanted the account-book for? He has never asked to see it before. Do you think he has some scheme in his head about it?ABEL. Ye-es! Doubtless. He wants to see if you've accounted for the three hundred francs you got for your picture.BERTHA. What picture?ABEL. The one you sold to Madame Roubey.BERTHA. How do you know about that?ABEL. The whole crowd knows about it.BERTHA. And Axel, too?ABEL. Yes. I happened to mention it because I thought he knew. It was stupid of you not to tell him.BERTHA. Does it concern him if I sell a—ABEL. Yes, in a way, of course it concerns him.BERTHA. Well, then, I will explain that I didn't want to give him another disappointment after he had already had the unhappiness of seeing me accepted at the salon.ABEL. Strictly speaking, he has nothing to do with your earnings, as you have a marriage compact, and you have every reason to be tight with him. Just to establish a precedent, buck up and stand your own ground when he returns with his lecture tonight.BERTHA. Oh, I know how to take care of him. But—another matter. How are we to treat the Östermark case?ABEL. Östermark,—yes, he is my great enemy. You had better let me take care of him. We have an old account that is still unsettled, he and I. Calm yourself on that score. I'll make him yield, for we have the law on our side.BERTHA. What do you intend to do?ABEL. Invite Mrs. Hall and her two daughters here for tomorrow night, and then we will find out how he takes it.BERTHA. No, indeed, no scandal in my house!ABEL. Why not? Can you deny yourself such a triumph? If it's war, one must kill one's enemies, not just wound them. And now it is war. Am I right?BERTHA. Yes, but a father, and his wife and daughters whom he has not seen for eighteen years!ABEL. Well, he'll have a chance to see them now.BERTHA. You're terrible, Abel!ABEL. I'm a little stronger than you, that's all. Marriage must have softened you. Do you live as married people, h'm?BERTHA. How foolish you are!ABEL. You have irritated Axel; you have trampled on him. But he can yet bite your heel.BERTHA. Do you think he would dare to do anything?ABEL. I believe he'll create a scene when he comes home.BERTHA. Well, I shall give him as good as he sends—ABEL. If you only can! But that business about the chiffonier key—that was foolish, very foolish.BERTHA. Perhaps it was foolish. But he will be nice enough again after he has had an airing. I know him.[The maid comes in with a package.]MAID. A messenger brought this costume for Monsieur.BERTHA. Very well, let me have it. That's fine!MAID. But it must be for madame, as it's a lady's costume.BERTHA. No, that's all right. It's for monsieur.MAID. But, heavens! is monsieur to wear dresses too?BERTHA. Why not, when we have to wear them? But you may leave us now.[Maid goes out. Bertha opens bundle and takes out Spanish costume.]ABEL. But that is certainly well thought out. Oh, it's beautiful to avenge any one's stupidities.[Willmer comes in zenith a messenger, who carries a package. Willmer is dressed in black frock coat with lapels faced with white, a flower in buttonhole, knee breeches, red cravat, and turned over cuffs.]WILLMER. Good evening; are you alone? Here are the candles and here are the bottles. One chartreuse and two vermouth; here are two packages of tobacco and the rest of the things.BERTHA. Well, but you are a good boy, Gaga!WILLMER. And here is the receipted bill.BERTHA. Is it paid? Then you have spent money again?WILLMER. We'll have plenty of time to settle that. But you must hurry now, as the old lady will soon be here.BERTHA. Then be good enough to open the bottles while I fix the candles.WILLMER. Of course I will.[Bertha opens package of candles at table; Willmer stands beside her, taking the wrappers from bottles.]ABEL. You look quite family-like as you stand there together. You might have made quite a nice little husband, Gaga.[Willmer puts his arm around Bertha and kisses her on the neck. Bertha turns on Willmer and slaps his face.]BERTHA. Aren't you ashamed, you little hornet! What are you up to, anyway?ABEL. If you can stand that, Gaga, then you can stand the knife.WILLMER [Angry]. Little hornet? Don't you know who I am? Don't you know that I'm an author of rank?BERTHA. You! who write nothing but trash!WILLMER. It wasn't trash when I wrote for you.BERTHA. You only copied what we said, that was all!WILLMER. Take care, Bertha. You know that I can ruin you!BERTHA. So, you threaten, you little Fido! [To Abel.] Shall we give the boy a spanking?ABEL. Think what you are saying!WILLMER. So! I've been a little Fido, who has been lying on your skirt; but don't forget that I can bite too.BERTHA. Let me see your teeth!WILLMER. No, but you shall feel them!BERTHA. Very well, come on then! Come!ABEL. Now, now, be quiet before you go too far.WILLMER [To Bertha]. Do you know what one has a right to say about a married woman who accepts presents from a young bachelor?BERTHA. Presents?WILLMER. You've accepted presents from me for two years.BERTHA. Presents! You should have a thrashing, you lying little snipe, always hanging around the petticoats! Don't you suppose I can squelch you?WILLMER [With a shrug]. Perhaps.BERTHA. And you dare throw a shadow on a woman's honor!WILLMER, Honor! H'm! Does it do you any honor to have had me buy part of the household things which you have charged up to your husband?BERTHA. Leave my house, you scamp!WILLMER. Your house! Among comrades one is not careful, but among enemies one must count every hair! And you shall be compelled to go over the accounts with me—adventuress—depend on that! [Goes out.]ABEL. You will suffer for this foolishness! To let a friend leave you as an enemy—that's dangerous.BERTHA. Oh, let him do what he likes. He dared to kiss me! He dared to remind me that I'm a woman.ABEL. Do you know, I believe a man will always have that in mind. You have been playing with fire.BERTHA. Fire! Can one ever find a man and a woman who can live like comrades without danger of fire?ABEL. No, I don't think so; as long as there are two sexes there is bound to be fire.BERTHA. Yes, but that must be done away with!ABEL. Yes—it must be—try it![The maid comes in; she is bursting with laughter.]MAID. There is a lady out here who calls herself—Richard—Richard Wahlström!BERTHA [Going toward door]. Oh! Richard is here.ABEL. Oh, well then, if she has come, we can open the meeting. And now to see if we can disentangle your skein.BERTHA. Disentangle it, or cut it!ABEL. Or get caught in it!CURTAIN.ACT III.[Same scene. The hanging-lamp is lighted. Moonlight streams in, lighting up the studio window. There is a fire in the stove. Bertha and the maid are discovered. Bertha is dressed in a negligée with lace. She is sewing on the Spanish costume. The maid is cutting out a frill.]BERTHA. There's no fun sitting up waiting for one's husband.MAID. Do you think it is more fun for him to sit and wait for madame? This is the first time that he has been out alone—BERTHA. Well, what does he do when he sits here alone?MAID. He paints on pieces of wood.BERTHA. On wooden panels?MAID. Yes, he has big piles of wood that he paints on.BERTHA. H'm! Tell me one thing, Ida; has monsieur ever been familiar with you?MAID. Oh, never! No, he is such a proper gentleman.BERTHA. Are you sure?MAID [Positive]. Does madame think that I am such a—BERTHA.—What time is it now?MAID. It must be along toward twelve.BERTHA. Very well. Then you may go to bed.MAID. Won't you be afraid to be alone with all these skeletons?BERTHA. I, afraid?—Hush, some one is coming through the gate—so, good night to you.MAID. Good night, Madame. Sleep well.[Goes out. Bertha alone; she puts the work away; throws herself on the couch, arranges lace on her gown, then she jumps up, turns down the lamp to half-light, then returns to couch and pretends to sleep. A pause before Axel enters.]AXEL. Is any one here? Are you here, Bertha? [Bertha is silent. Axel goes to her.] Are you asleep?BERTHA. [Softly.] Ah, is it you, my friend? Good evening! I was lying here and fell asleep, and I had such a bad dream.AXEL. Now you are lying, for I saw you thro' the window from the garden when you took this pose. [Bertha jumps up.]AXEL [Quietly]. And we don't want any seductive scenes in nightgowns, nor any melodramas. Be calm and listen to what I am going to tell you. [He sits down in the middle of the room.]BERTHA. What have you got to tell me?AXEL. A whole lot of things; but I shall begin with the ending. We must dissolve this concubinage.BERTHA. What? [Throwing herself on the couch.] Oh, my God, what am I not made to live through!AXEL. No hysteria, or I will empty the water bottle on your laces!BERTHA. This is your revenge because I defeated you in an open competition!AXEL. That has no connection with this matter.BERTHA. You have never loved me!AXEL. Yes, I have loved you; that was my only motive for marrying you. But why did you marry me? Because you were hard up, and because you had green sickness!BERTHA. It's fortunate that no one can hear us.AXEL. It would be no misfortune if any one did hear us. I've treated you like a comrade, with unlimited trust, and I've even made small sacrifices that you know about.—Has the locksmith been here yet?BERTHA. No, he didn't come.AXEL. It doesn't matter—I have looked over your accounts.BERTHA. So, you've been spying in my book, have you?AXEL. The household account-book is common property. You have entered false expenses and neglected to put down some of the income.BERTHA. Can I help it if we are not taught bookkeeping at school?AXEL. Nor are we. And as far as your bringing-up is concerned, you had things much better then I did; you went to a seminary, but I only went to a grade school.BERTHA. It's not books that bring one up—AXEL. No, it's the parents! But it's strange that they can't teach their daughters to be honorable—BERTHA. Honorable! I wonder if the majority of criminals are not to be found among men?AXEL. The majority of the punished, you should say; but of ninety-nine per cent. of criminal men one can ask with the judge, "Où est la femme?" But—to return to you. You have lied to me all the way through, and finally you have cheated me. For instance, you put down twenty francs for paints instead of for a twenty franc luncheon at Marguery.BERTHA. That's not true; the luncheon only cost twelve francs.AXEL. That is to say, you put eight in your pocket. Then you have received three hundred francs for the picture that you sold.BERTHA. "What a woman earns by her work, she also controls." That's what the law states.AXEL. That's not a paradox, then? Not monomania?BERTHA. No, it seems not.AXEL. Of course, we must not be petty; you control your earnings, and have controlled mine, in an unspeakable way; still, don't you think that, as comrades, you should have told me about the sale?BERTHA. That didn't concern you.AXEL. It didn't concern me? Well, then it only remains for me to bring suit for divorce.BERTHA. Divorce! Do you think I would stand the disgrace of being a divorced wife? Do you think that I will allow myself to be driven from my home, like a servant-maid who is sent away with her trunk?AXEL. I could throw you out into the street if I wished, but I shall do a more humane thing and get the divorce on the grounds of incompatibility of temperament.BERTHA. If you can talk like that, you have never loved me!AXEL. Tell me, why do you think I asked for your hand?BERTHA. Because you wanted me to love you.AXEL. Oh, holy, revered, uncorruptible stupidity—yes! I could accuse you of counterfeiting, for you have gone into debt to Willmer and made me responsible for the amount.BERTHA. Ah, the little insect! he has been talking, has he?AXEL. I just left him after paying him the three hundred and fifty francs for which you were indebted to him. But we mustn't be small about money matters, and we have more serious business to settle. You have allowed this scoundrel partially to pay for my household, and in doing so you have completely ruined my reputation. What have you done with the money?BERTHA. The whole thing is a lie.AXEL. Have you squandered it on luncheon and dinner parties?BERTHA. No, I have saved it; and that's something you have no conception of, spendthrift!AXEL. Oh, you saving soul! That negligée cost two hundred francs, and my dressing-gown cost twenty-five.BERTHA. Have you anything else to say to me?AXEL. Nothing else, except that you must think about supporting yourself from now on. I don't care to decorate wooden panels any more and let you reap the earnings.BERTHA. A-ha, you think you can so easily get out of the duty that you made yourself responsible for when you fooled me into becoming your wife? You shall see!AXEL. Now that I've had my eyes opened, the past is beginning to take on another color. It seems to me almost as if you conjured that courtship of ours; it seems almost as if I had been the victim of what you women call seduction; it now seems to me as if I had fallen into the hands of an adventuress, who lured my money away from me in ahôtel garni; it seems almost as if I had lived in vice ever since I was united with you! [Rising.] And now, as you stand there with your back turned to me and I see your neck with your short hair, it is—yes, it is exactly as if—ugh!—as if you were Judith and had given your body to be able to behead me! Look, there is the dress I was going to wear, that you wished to humiliate me with. Yes, you felt that it was debasing to wear those things, and thought it disguised your desire to irritate,—this low-cut bodice and the corsets which were to advertise your woman's wares. No, I return your love-token and shake off the fetters. [He throws down the wedding-ring. Bertha looks at him in wonderment. Axel pushes back his hair.] You didn't want to see that my forehead is higher than yours, so I let my hair conceal it, so as not to humble and frighten you. But now I am going to humble you, and since you were not willing to be my equal when I lowered myself to your level, you shall be my inferior, which you are.BERTHA. And all this—all this noble revenge becauseyouweremyinferior!AXEL. Yes, I was your inferior, even when I painted your picture!BERTHA. Did you paint my picture? If you repeat that, I'll strike you.AXEL. Yes, your kind, who despise raw strength, are always the first to resort to it. Go ahead and strike.BERTHA [Advancing]. Don't you think I can measure strength with you?[Axel takes both her wrists in one hand.]AXEL. No, I don't think so. Are you convinced now that I am also your physical superior? Bend, or I'll break you!BERTHA. Do you dare strike me?AXEL. Why not? I know of only one reason why I should not strike you.BERTHA. What's that?AXEL. Because you are morally irresponsible.BERTHA [Trying to free herself]. Let go!AXEL. When you have begged for forgiveness! So, down on your knees. [He forces her down with one hand.] There, now look up to me, from below! That's your place, that you yourself have chosen.BERTHA [Giving in]. Axel, Axel, I don't know you any more. Are you he who swore to love me, who begged to carry me, to lift me?AXEL. It is I. I was strong then, and believed I had the power to do it; but you sapped my strength while my tired head lay in your lap, you sucked my best blood while I slept—and still there was enough left to subdue you. But get up and let us end this declaiming. We have business to talk over! [Berths rises, sits on couch and weeps.] Why are you crying?BERTHA. I don't know! Because I'm weak, perhaps.[Bertha's attitude and actions are those of complete surrender.]AXEL. You see—I was your strength. When I took what was mine, you had nothing left. You were a rubber ball that I blew up; when I let go of you, you fell together like an empty bag.BERTHA [Without looking up]. I don't know whether you are right or not, but since we have quarreled, my strength has left me. Axel, will you believe me,—I have never experienced before what I now feel—AXEL. So? What do you feel, then?BERTHA. I can't say it! I don't know whether it is—love, but—AXEL. What do you mean by love? Isn't it a quiet longing to eat me alive once more? You begin to love me! Why didn't you do that before, when I was good to you? Goodness is stupidity, though; let us be evil! Isn't that right?BERTHA. Be a little evil, rather, but don't be weak. [Rises.] Axel, forgive me, but don't desert me. Love me! Oh, love me!AXEL. It is too late! Yesterday, this morning, I would have fallen before you as you stand there now, but it's too late now.BERTHA. Why is it too late now?AXEL. Because tonight I have broken all ties, even the last.BERTHA [Taking his hands]. What do you mean?AXEL. I have been untrue to you.BERTHA [Falls in a heap]. Oh!AXEL. It was the only way to tear myself loose.BERTHA [Collecting herself]. Who was she?AXEL. A woman—[Pause.]BERTHA. How did she look?AXEL. Like a woman! With long hair and high breasts, et cetera.—Spare yourself.BERTHA. Do you think I am jealous of one of that kind?AXEL. One of that kind, two of that kind, many of that kind!BERTHA [Gasping]. And tomorrow our friends are invited here! Do you want to create a scandal and call in the invitations?AXEL. No, I don't want to be mean in my revenge. Tomorrow we'll have our friends, and the day after our ways will part.BERTHA. Yes, our ways must part now. Good night! [Goes to door left.]AXEL [Going to door right]. Good night!BERTHA [Stops]. Axel!AXEL. Yes?BERTHA. Oh, it wasn't anything!—Yes, wait. [Goes toward Axel with clasped hands.] Love me, Axel! Love me!AXEL. Would you share with another?BERTHA [Pause]. If only you loved me!AXEL. No, I cannot. You can't draw me to you as you used to do.BERTHA. Love me, be merciful! I am honest now, I believe, otherwise I would never humiliate myself as—as I am doing now, before a man.AXEL. Even if I had compassion for you, I cannot call forth any love. It has come to an end. It is dead.BERTHA. I beg for a man's love, I, a woman, and he shoves me away from him!AXEL. Why not?Weshould also have leave to say no for once, although we are not always very hard to please.BERTHA. A woman offers herself to a man and is refused!AXEL. Feel now how millions have felt, when they have begged on their knees for the mercy of being allowed to give what the other accepts. Feel it for your whole sex, and then tell them how it felt.BERTHA [Rising]. Good night. The day after tomorrow, then.AXEL. You still want the party tomorrow, then?BERTHA. Yes, I want the party tomorrow.AXEL. Good. The day after tomorrow, then.[They go out, each their own way right and left.]CURTAIN.ACT IV.[SCENE.—Same. But the glass doors leading to orchard are open. The sun is still shining outside and the studio is brightly lighted. The side doors are open. A serving table is seen out in the orchard; on it are glasses and bottles, et cetera. Axel wears cutaway, but without the decoration, and is wearing a standing collar with four-in-hand scarf. His hair is brushed straight back. Bertha wears a dark gown, cut square, with frilled fichu. She has a flower on the left shoulder. The Misses Hall are extravagantly and expensively dressed. Bertha enters from orchard. She is pale and has dark shadows under her eyes. Abel enters from door at back. They embrace and kiss each other.]BERTHA. Good afternoon, and welcome.ABEL. Good afternoon.BERTHA. And Gaga promised to come?ABEL. Absolutely certain. He was in a regretful spirit and begged forgiveness. [Bertha straightens out her fichu.] But what is the matter with you today? Has anything happened?BERTHA. How so? What?ABEL. You are not like yourself. Have you—? Bertha! Have you—BERTHA. Don't talk.ABEL. Your eyes are so full of color and brilliancy! What? Is is possible—? And so pale? Bertha!BERTHA. I must go out to my guests.ABEL. Tell me, are Carl and Östermark here?BERTHA. Both are out in the orchard.ABEL. And Mrs. Hall and the girls?BERTHA. Mrs. Hall will come litter, but the girls are in my room.ABEL. I'm afraid that our scheme of revenge will fall as flat as a pancake.BERTHA. No, not this—not this one![Willmer enters with a bouquet of flowers. He goes to Bertha, kisses her hand, and gives her the bouquet.]WILLMER. Forgive me! For my love's sake!BERTHA. No, not on that account, but—it doesn't matter. I don't know why, but today I don't want any enemies.[Axel comes in. Bertha and Willmer look distressed.]AXEL [To Bertha, not noticing Willmer]. Pardon—if I disturb—BERTHA. Not at all.AXEL. I only wanted to ask if you had ordered the supper?BERTHA. Yes, of course—as you wished.AXEL. Very well. I only wanted to know. [Pause.]ABEL. How festive you two look! [Bertha and Axel are silent. Willmer breaks the embarrassment by starting for the orchard.] Listen, Gaga—[She hastens out after Willmer.]AXEL. What have you ordered for the supper?BERTHA [Looks at him and smiles]. Lobsters and poulet.AXEL [Uncertain]. What are you smiling at?BERTHA. My thoughts.AXEL. What are you thinking then?BERTHA. I am thinking—no, I really don't know—unless it was about the betrothal supper we had together in the Gardens that spring evening when you had wooed—AXEL. You had wooed—BERTHA. Axel!—And now it is the last, last time. It was a short summer.AXEL. Quite short, but the sun will come again.BERTHA. Yes, for you who can find sunshine in every street.AXEL. What is there to hinder you from seeking warmth at the same fire?BERTHA. And so we shall meet again, perhaps—some evening by street light, you mean?AXEL. I didn't mean that—butà la bonne heure! That at least will be a free relation.BERTHA. Yes, very free, especially for you.AXEL. For you, too, but pleasanter for me.BERTHA. That's a noble thought.AXEL. Now, now—don't tear open the old wounds! We were talking about the supper. And we must not forget our guests. So! [Goes toward his room right.]BERTHA. About the supper—yes, of course! That's what we were talking about.[She flies toward her room left, stirred and agitated. They both go out. The scene is empty for a moment. Then the Misses Hall come in from the orchard.]MISS AMÉLIE. How very dull it is here!MISS THÉRÈSE. Insufferably stupid, and our hosts are not altogether polite.MISS AMÉLIE. The hostess is especially unpleasant. And the short-hair kind, too.MISS THÉRÈSE. Yes, but I understand that a lieutenant is coming—MISS AMÉLIE. Well, that's good, for these artists are a lot of free traders. Hush, here is a diplomat surely.—He looks so distinguished.[They sit on couch. Doctor Östermark comes in from the orchard; he discovers the Misses Hall and looks at them through his pince-nez.]DR. ÖSTERMARK. I am honored, ladies. H'm, one meets so many of one's countrywomen here. Are you artists, too? You paint, I suppose?MISS AMÉLIE. No, we don't paint.DR. ÖSTERMARK. Oh, but just a little, perhaps. Here in Paris all ladies paint—themselves.MISS THÉRÈSE. We don't have to.DR. ÖSTERMARK. Oh, well, you play then?MISS AMÉLIE. Play?DR. ÖSTERMARK. Oh, I don't mean playing at cards. But all ladies play a little.MISS AMÉLIE. Evidently you are just from the country.DR. ÖSTERMARK. Yes, just from the country. Can I be of any slight service to you?MISS THÉRÈSE. Pardon, but we don't know with whom we have the honor—?DR. ÖSTERMARK. You ladies have evidently just come from Stockholm. In this country we can talk to each other without asking for references.MISS AMÉLIE. We haven't asked for references.DR. ÖSTERMARK. What do you ask, then? To have your curiosity satisfied? Well, I'm an old family physician and my name is Anderson. Perhaps I may know your names now?—Character not needed.MISS THÉRÈSE. We are the Misses Hall, if that can be of any interest to the doctor.DR. ÖSTERMARK. Hall? H'm! I've surely heard that name before. Pardon, pardon me a question, a somewhat countrified question—MISS AMÉLIE.—Don't be bashful!DR. ÖSTERMARK. Is your father still living?MISS AMÉLIE. No, he is dead.DR. ÖSTERMARK. Oh, yes. Well, now that I have gone so far, there is nothing to do but continue. Mr. Hall was—MISS THÉRÈSE. Our father was a director of the Fire Insurance Company of Göteborg.DR. ÖSTERMARK. Oh, well, then I beg your pardon. Do you find Paris to your liking?MISS AMELIE. Very! Thérèse, do you remember what I did with my shawl? Such a cold draught here! [Rises.]MISS THÉRÈSE. You left it in the orchard, no doubt.DR. ÖSTERMARK [Rising]. No, don't go out. Allow me to find it for you—no—sit still—just sit still.[Goes out into orchard. After a moment Mrs. Hall comes in from left, quite comfortable with drink; her cheeks are flaming red and her voice is uncertain.]MISS AMÉLIE. Look, there's mother! And in that condition again! Heavens, why does she come here? Why did you come here, mother?MRS. HALL. Keep quiet! I have as much right here as you.MISS THÉRÈSE. Why have you been drinking again? Think if some one should come!MRS. HALL. I haven't been drinking. What nonsense!MISS AMÉLIE. We will be ruined if the doctor should come back and see you. Come, let's go in here and you can get a glass of water.MRS. HALL. It's nice of you to treat your mother like this and say that she has been drinking, to say such a thing to your own mother!MISS THÉRÈSE. Don't talk, but go in, immediately.[They lead her in right. Axel and Carl come in from the orchard.]CARL. Well, you're looking fine, my dear Axel, and you have a manlier bearing than you used to have.AXEL. Yes, I have emancipated myself.CARL. You should have done that at the start, as I did.AXEL. As you did?CARL. As I did. Immediately I took my position as head of the family, to which place I found myself called both because of my superior mind and my natural abilities.AXEL. And how did your wife like that?CARL. Do you know, I forgot to ask her! But to judge by appearances, I should say that she found things as they should be. They only need real men—and human beings can be made even out of women.AXEL. But at least the power should be divided?CARL. Power cannot be divided! Either obey or command. Either you or I. I preferred myself to her, and she had to adjust herself to it.AXEL. Yes, but didn't she have money?CARL. Not at all. She didn't bring more than a silver soup-spoon to our nest. But she demanded an accounting of it; and she got it. She was a woman of principle, you see!—She is so good, so good, but so am I good to her. I think it's really great sport to be married, what? And besides, she's such a splendid cook![The Misses Hall come in from right.]AXEL. Let me introduce you to the Misses Hall, Lieutenant Starck.CARL. I am very happy to make your [Carl gives them a look of recognition] acquaintance.[The young ladies seem surprised and embarrassed; they nod and go out to the orchard somewhat excited.]CARL. How did they get in here?AXEL. What do you mean? They are friends of my wife's and this is the first time that they have been here. Do you know them?CARL. Yes, somewhat!AXEL. What do you mean to imply?CARL. H'm, I met them in St. Petersburg late one night!AXEL. Late one night?CARL. Yes.AXEL. Isn't there some mistake?CARL. No-o! There is no mistake. They were very well known ladies in St. Petersburg.AXEL. And Bertha allows that kind in my house![Bertha comes rushing in from orchard.]BERTHA. What does this mean? Have you insulted the young ladies?AXEL. No—but—BERTHA. They came out of here crying and declared that they couldn't stay in the company of you gentlemen any longer! What has happened?AXEL. Do you know these young ladies?BERTHA. They are my friends! Isn't that enough?AXEL. Not quite enough.BERTHA. Not quite? Well, but if—[Dr. Östermark comes in from the orchard.]DR. ÖSTERMARK. What does this mean? What have you done to the little girls who ran away? I offered to help them with their wraps, but they refused to be helped and had tears in their eyes.CARL [To Bertha]. I must ask you, are they your friends?BERTHA. Yes, they are! But if my protection is not sufficient, then perhaps Doctor Östermark will take them under his wing, considering that he has a certain claim to them.CARL. But a mistake has been made here. You mean that I, who have had certain relations with these girls, should appear as their cavalier?BERTHA. What sort of relations?CARL. Chance, such as one has with such women!BERTHA. Such women? That's a lie!CARL. I'm not in the habit of lying.DR. ÖSTERMARK. But I don't understand whatIhave got to do with these young ladies.BERTHA.Youwould prefer to have nothing to do with your deserted children.DR. ÖSTERMARK. My children! But I don't understand.BERTHA. They are your two daughters—daughters of your divorced wife.DR. ÖSTERMARK. Since you consider that you have the right to be personal and make my affairs the subject of public discussion, I will answer you publicly. You seem to have taken the trouble to find out that I am not a widower. Good! My marriage, which was childless, was dissolved twenty years ago. Since then I have entered into another relation, and we have a child that is just five years old. These grown girls, therefore, cannot be my children. Now you know the whole matter.BERTHA. But your wife—whom you threw out upon the world—DR. ÖSTERMARK.—No, that wasn't the case either. She walked out, or staggered, if you prefer it, and then she received half my income until at last I found out that—enough said. If you could conceive what it cost me of work and self-denial to support two establishments, you would have spared me this unpleasant moment, but your kind wouldn't consider anything like that. You needn't know any more, as it really doesn't concern you.BERTHA. But it would amuse me to know why your first wife left you.DR. ÖSTERMARK. I don't think it would amuse you to know that she was ugly, narrow, paltry, and that I was too good for her! Think now, you tender-hearted, sensitive Bertha, think if they really had been my daughters, these friends of yours and Carl's; imagine how my old heart would have been gladdened to see, after eighteen years, these children that I had borne in my arms during the long night of illness. And imagine if she, my first love, my wife, with whom life the first time became life, had accepted your invitation and come here? What a fifth act in the melodrama you wished to offer us, what a noble revenge on one who is guiltless! Thanks, old friend. Thank you for your reward for the friendship I have shown you.BERTHA. Reward! Yes, I know that I owe you—a fee. [Axel, Carl and the doctor make protestations of "Oh," "Now," "Really," et cetera.] I know that, I know it very well.[Axel, Carl and doctor say "No," "Fie," "This is going too far."]DR. ÖSTERMARK. No, but I'm going to get out of here. Horrors! Yes, you are the right sort! Pardon me, Axel, but I can't help it!BERTHA [To Axel]. You're a fine man, to allow your wife to be insulted!AXEL. I can understand neither your allowing yourself to insult, or to be insulted! [Music is heard from the orchard; guitar and an Italian song.] The singers have arrived; perhaps you would all like to step out and have a bit of harmony on top of all this.[They all go out except the doctor, who goes over to look at some drawings on wall right near door to Axel's room. The music outside is played softly. Mrs. Hall comes in and walks unsteadily across the scene and sits in a chair. The doctor, who does not recognize her, bows deeply.]MRS. HALL. What music is that out there?DR. ÖSTERMARK. They are some Italians, dear lady.MRS. HALL. Yes? No doubt the ones I heard at Monte Carlo.DR. ÖSTERMARK. Oh, perhaps there are other Italians.MRS. HALL. Well, I believe it's none other than Östermark! No one could be as quick as he in his retorts.DR. ÖSTERMARK [Stares at her]. Ah—think—there are things—that—are less dreadful than dread! It is you, Carolina! And this is the moment that for eighteen years I have been running away from, dreamed about, sought, feared, wished for; wished for that I might receive the shock and afterward have nothing to dread! [He takes out a vial and wets his upper lip with a few drops.] Don't be afraid; it's not poison, in such little doses. It's for the heart, you see.MRS. HALL. Ugh, your heart! Yes, you have so much!DR. ÖSTERMARK. It's strange that two people cannot meet once every eighteen years without quarreling.MRS. HALL. It was always you who quarreled!DR. ÖSTERMARK. Alone? What!—Shall we stop now?—I must try to look at you. [He takes a chair and sits down opposite Mrs. Hall.] Without trembling!MRS. HALL. I've become old!DR. ÖSTERMARK. That's what happens; one has read about it, seen it, felt it one's self, but nevertheless it is horrifying. I am old, too.MRS. HALL. Are you happy in your new life?DR. ÖSTERMARK. To tell the truth, it's one and the same thing; different, but quite the same.MRS. HALL. Perhaps the old life was better, then?DR. ÖSTERMARK. No, it wasn't better, as it was about the same, but it's a question if it wouldn't have seemed better now, just because it was the old life. One doesn't blossom but once, and then one goes to seed; what comes afterward is only a little aftermath. And you, how are you getting along?MRS. HALL [Offended]. What do you mean?DR. ÖSTERMARK. Don't misunderstand me. Are you contented with—your—lot? I mean—oh, that it should be so difficult to make one's self understood by women!MRS. HALL. Contented? H'm!DR. ÖSTERMARK. Well, you were never contented. But when one is young, one always demands the first class, and then one gets the third class when one is old. Now, I understand that you told Mrs. Alberg here that your girls are my children!MRS. HALL. I did? That is a lie.DR. ÖSTERMARK. Still untruthful, eh? In the old days, when I was foolish, I looked upon lying as a vice; but now I know it to be a natural defect. You actually believe in your lies, and that is dangerous. But never mind about that now. Are you leaving, or do you wish me to leave?MRS. HALL [Rising]. I will go.[She falls back into the chair and gropes about.]DR. ÖSTERMARK. What, drunk too?—I really pity you. Oh, this is most unpleasant! Dear me, I believe I'm ready to cry!—Carolina! No, I can't bear this!MRS. HALL. I am ill.DR. ÖSTERMARK. Yes, that's what happens when one drinks too much. But this is more bitter than I ever thought it could be. I have killed little unborn children to be able to save the mother, and I have felt them tremble in their fight against death. I have cut living muscles, and have seen the marrow flow like butter from healthy bones, but never has anything hurt me so much as this since the day you left me. Then it was as if you had gone away with one of my lungs, so I could only gasp with the other!—Oh, I feel as if I were suffocating now!MRS. HALL. Help me out of here. It's too noisy. I don't know why we came here, anyway. Give me your hand.DR. ÖSTERMARK [Leading her to door]. Before it was I who asked for your hand; and it rested so heavily on me, the little delicate hand! Once it struck my face, the little delicate hand, but I kissed it nevertheless.—Oh, now it is withered, and will never strike again.—Ah, dolce Napoli! Joy of life, what became of it? You who were the bride of my youth!MRS. HALL [In the hall door]. Where is my wrap?DR. ÖSTERMARK [Closing door]. In the hall, probably. This is horrible! [Lights a cigar]. Oh, dolce Napoli! I wonder if it is as delightful as it's said to be in that cholera breeding fishing harbor.Blague, no doubt!Blague! Blague! Naples—bridal couples, love, joy of life, antiquities, modernity, liberalism, conservatism, idealism, realism, naturalism,—blague, blague, the whole thing![Axel, Abel, Willmer, Mrs. Starck and Bertha come in from orchard.]MRS. STARCK. What is happening to the doctor?DR. ÖSTERMARK. Pardon, it was only a littlequi pro quo. Two strangers sneaked in here and we had to identify them.MRS. STARCK. The girls?CARL. Well, that has nothing to do with you. I don't know why, but I seem to feel "the enemy in the air."MRS. STARCK. Ah, you're always seeing the enemy, you dear Carl.CARL. No, I don't see them, but I feel them.MRS. STARCK. Well, come to your friend, then, and she will defend you.CARL. Oh, you're always so good to me.MRS. STARCK. Why shouldn't I be, when you are so good to me?[The door at back is opened and the maid and two men come in carrying a picture.]AXEL. What's this?MAID. The porter said that it must be carried into the studio, as he didn't have any room for it.AXEL. What foolishness is this? Take it out.MAID. The mistress sent for the picture herself.BERTHA. That's not true. For that matter, it's not my picture, anyway. It's your master's. Put it down there. [The maid and the man go out.] Perhaps it isn't yours, Axel? let's see. [Axel places himself in front of picture.] Move a little so we can see.AXEL [Gives way]. It's a mistake.BERTHA [Shrieks]. What! What is this! It's a mistake! What does it mean? It's my picture, but it's Axel's number! Oh![She falls in a faint. The doctor and Carl carry her into her room left, the women follow.]ABEL. She is dying!MRS. STARCK. Heaven help us, what is this! The poor little dear! Doctor Östermark, do something, say something—and Axel stands there crestfallen.[Axel and Willmer are alone.]AXEL. This is your doing.WILLMER. My doing?[Axel takes him by the ear.]AXEL. Yes, yours, but not altogether. But I am going to give you your share. [He leads hunt to the door, which he opens with one foot, and kicks out Willmer with the other.] Out with you!WILLMER. I'll get even for this!AXEL. I shall be waiting for it!

[Same scene as Act I, but there is a large table with chairs around it in middle of scene. On table there is writing material and a speaker's gavel. Axel is painting. Abel is sitting near him. She is smoking.]

AXEL. They have finished dinner and are having their coffee now. Did they drink much?

ABEL. Oh, yes, and Bertha bragged and was disagreeable.

AXEL. Tell me one thing, Abel, are you my friend, or not?

ABEL. H'm—I don't know.

AXEL. Can I trust you?

ABEL. No—you can't.

AXEL. Why not?

ABEL. Oh, I just feel that you can't.

AXEL. Tell me, Abel, you who have the common sense of a man and can be reasoned with, tell me how it feels to be a woman. Is it so awful?

ABEL [Jokingly]. Yes, of course. It feels like being a nigger.

AXEL. That's strange. Listen, Abel. You know that I have a passion for equity and justice—

ABEL. I know you are a visionary—and that's why things will never go well with you.

AXEL. But things go well with you—because you never feel anything?

ABEL. Yes.

AXEL. Abel, have you really never had any desire to love a man?

ABEL. How silly you are!

AXEL. Have you never found any one?

ABEL. No, men are very scarce.

AXEL. H'm, don't you consider me a man?

ABEL. You! No!

AXEL. That's what I fancied myself to be.

ABEL. Are you a man? You, who work for a woman and go around dressed like a woman?

AXEL. What? I, dressed like a woman?

ABEL. The way you wear your hair and go around bare-necked, while she wears stiff collars and short hair; be careful, she'll soon take your trousers away from you.

AXEL. How you talk!

ABEL. And what is your position in your own house? You beg money from her, and she puts you under her guardianship. No, you are not a man! But that's why she took you, when her affairs were in bad shape.

AXEL. You hate Bertha; what have you against her?

ABEL. I don't know, but perhaps I, too, have been struck with that same passion for justice.

AXEL. Look here. Don't you believe in your great cause any longer?

ABEL. Sometimes! Sometimes not! What can one believe in any more? Sometimes it strikes me that the old ways were better. As mothers we had an honored and respected position when in that way we fulfilled our duty as citizens; as housewives we were a great power, and to bring up a family was not an ignominious occupation. Give me a cognac, Axel. We have talked so much.

AXEL [Getting cognac]. Why do you drink?

ABEL. I don't know. If one could only find the exceptional man!

AXEL. What sort would that be?

ABEL. The man who rules a woman!

AXEL. Well, and if you found one?

ABEL. Then I would—as they say—fall in love with him. Think if this whole noise wereblague. Think!

AXEL. No, there is surely life, motion in the movement, whatever it is.

ABEL. Yes, there's so much motion—forward and backward! And a good deal of folly can come of the "motion," if they only get the majority for it.

AXEL. If it turns out that way, then you've made a damned lot of noise uselessly, for now it's beginning to be loathsome to live.

ABEL. We make so much noise that we make your heads reel. That's the trouble! Well, Axel, your position will be freer now that Bertha has been able to sell.

AXEL. Sell! Has she sold a picture?

ABEL. Don't you know that? The small picture with the apple-tree.

AXEL. No, she hasn't said anything about it. When did it happen?

ABEL. Day before yesterday. Don't you know about it? Well, then she intends to surprise you with the money.

AXEL. Surprise me? She takes care of the cash herself.

ABEL. So! Then it will—Hush, she is coming.

[Bertha comes in.]

BERTHA [To Abel]. Oh, good evening; are you here? What made you leave us?

ABEL. I thought it was tiresome.

BERTHA. Yes, there is no fun in rejoicing for others!

ABEL. No!

BERTHA [To Axel]. And you sit diligently niggling, I see.

AXEL. Yes, I'm daubing away.

BERTHA. Let me see! That's very good indeed—but the left arm is far too long.

AXEL. Do you think so?

BERTHA. Think so? Can't I see that it is? Give me the brush and—[She takes brush.]

AXEL. No, let me alone. Aren't you ashamed?

BERTHA. What's that?

AXEL [Vexed]. Shame, I said. [Rises.] Are you trying to teach me how to paint?

BERTHA. Why not?

AXEL. Because you have still much to learn from me. But I can learn nothing from you.

BERTHA. It seems to me that the gentleman is not very respectful to his wife. One should bear in mind the respect one owes to—

ABEL. Now you're old-fashioned. What particular respect does a man owe a woman if they are to be equals?

BERTHA [To Abel]. So you think it's all right for a man to be coarse with his wife?

ABEL. Yes, when she is impudent to him.

AXEL. That's right! Tear each other's eyes out!

ABEL. Not at all! The whole thing is too insignificant for that.

AXEL. Don't say that. Look here, Bertha, considering that our economic condition is to undergo a change from now on, won't you be so good as to let me see the account-book?

BERTHA. What a noble revenge for being refused!

AXEL. What revenge? What has the account-book got to do with my being turned down at the salon? Give me the key to the chiffonier.

BERTHA [Feeling in her pocket]. Very well. H'm! That's strange! I thought I just had it.

AXEL. Find it!

BERTHA. You speak in such a commanding tone. I don't like that.

AXEL. Come now, find the key.

BERTHA [Looking here and there in the room]. Yes, but I can't understand it; I can't find it. It must be lost some way.

AXEL. Are you sure that you haven't got it?

BERTHA. Absolutely sure.

[Axel rings; after a moment the maid comes in.]

AXEL [To maid]. Go fetch a locksmith.

MAID. A locksmith?

AXEL. Yes, a smith who can pick a lock.

[Bertha gives the maid a look.]

MAID. Right away, monsieur.

[Maid goes out. Axel changes his coat, discovers the order on the lapel, tears it off and throws it on the table.]

AXEL. Pardon me, ladies!

BERTHA [Mildly]. Don't mind us. Are you going out?

AXEL. I am going out.

BERTHA. Aren't you going to stay for the meeting?

AXEL. No, I am not!

BERTHA. Yes, but they will think that very discourteous.

AXEL. Let them. I have more important things to do than listening to the drivel of you women.

BERTHA [Worried]. Where are you going?

AXEL. I don't need to account for myself, as I don't ask you to account for your actions.

BERTHA. You won't forget that we have invited guests for the masquerade tomorrow evening?

AXEL. Guests? That's true, tomorrow evening. H'm!

BERTHA. It won't do to postpone it when both Östermark and Carl have arrived today, and I have asked them to come.

AXEL. So much the better!

BERTHA. And now come home early enough to try on your costume.

AXEL. My Costume? Yes, of course; I am to take the part of a woman.

[The maid enters.]

MAID. The smith hasn't time now, but he'll come within two hours.

AXEL. He hasn't time, eh? Well, perhaps the key will turn up anyway. However, I must be off now. Good-bye.

BERTHA [Very mild]. Good-bye then. Don't come home late.

AXEL. I don't know just what I will do. Goodbye.

[Abel nods good-bye, Axel goes out.]

ABEL. How very cocky his lordship was!

BERTHA. Such impudence! Do you know, I had a good mind to tame him, break him so that he'd come back crawling to me.

ABEL. Yes, that tweak the salon disappointment gave him doesn't seem to have taken all the spunk out of him. Bertha, tell me, have you ever loved that clown?

BERTHA. Loved him? I liked him very much because he was nice to me. But he is so silly and—when he nags as he did just now, I feel that I could hate him. Think of it, it's already around that he painted my picture!

ABEL. Well, if it's gone as far as that, then you must do something éclatant.

BERTHA. If I only knew how!

ABEL. I'm usually inventive. Let me see. Look here, why couldn't you have his refused picture brought home just as all your friends have gathered here?

BERTHA. No, that would look as if I wanted to triumph. No, that would be too terrible.

ABEL. Yes, but if I should have it done? Or Gaga, that would be better still. It would be sent here in Axel's name by the porter. It's got to come home anyway, and it's no secret that it was refused.

BERTHA. No, but you know—

ABEL. What? Hasn't he spread false reports, and haven't you the right to defend yourself?

BERTHA. I would like it to happen very much, but I don't want to have anything to do with the doing of it. I want to be able to stand and swear that I am quite clean and innocent.

ABEL. You shall be able to do so. I'll attend to it.

BERTHA. What do you think he wanted the account-book for? He has never asked to see it before. Do you think he has some scheme in his head about it?

ABEL. Ye-es! Doubtless. He wants to see if you've accounted for the three hundred francs you got for your picture.

BERTHA. What picture?

ABEL. The one you sold to Madame Roubey.

BERTHA. How do you know about that?

ABEL. The whole crowd knows about it.

BERTHA. And Axel, too?

ABEL. Yes. I happened to mention it because I thought he knew. It was stupid of you not to tell him.

BERTHA. Does it concern him if I sell a—

ABEL. Yes, in a way, of course it concerns him.

BERTHA. Well, then, I will explain that I didn't want to give him another disappointment after he had already had the unhappiness of seeing me accepted at the salon.

ABEL. Strictly speaking, he has nothing to do with your earnings, as you have a marriage compact, and you have every reason to be tight with him. Just to establish a precedent, buck up and stand your own ground when he returns with his lecture tonight.

BERTHA. Oh, I know how to take care of him. But—another matter. How are we to treat the Östermark case?

ABEL. Östermark,—yes, he is my great enemy. You had better let me take care of him. We have an old account that is still unsettled, he and I. Calm yourself on that score. I'll make him yield, for we have the law on our side.

BERTHA. What do you intend to do?

ABEL. Invite Mrs. Hall and her two daughters here for tomorrow night, and then we will find out how he takes it.

BERTHA. No, indeed, no scandal in my house!

ABEL. Why not? Can you deny yourself such a triumph? If it's war, one must kill one's enemies, not just wound them. And now it is war. Am I right?

BERTHA. Yes, but a father, and his wife and daughters whom he has not seen for eighteen years!

ABEL. Well, he'll have a chance to see them now.

BERTHA. You're terrible, Abel!

ABEL. I'm a little stronger than you, that's all. Marriage must have softened you. Do you live as married people, h'm?

BERTHA. How foolish you are!

ABEL. You have irritated Axel; you have trampled on him. But he can yet bite your heel.

BERTHA. Do you think he would dare to do anything?

ABEL. I believe he'll create a scene when he comes home.

BERTHA. Well, I shall give him as good as he sends—

ABEL. If you only can! But that business about the chiffonier key—that was foolish, very foolish.

BERTHA. Perhaps it was foolish. But he will be nice enough again after he has had an airing. I know him.

[The maid comes in with a package.]

MAID. A messenger brought this costume for Monsieur.

BERTHA. Very well, let me have it. That's fine!

MAID. But it must be for madame, as it's a lady's costume.

BERTHA. No, that's all right. It's for monsieur.

MAID. But, heavens! is monsieur to wear dresses too?

BERTHA. Why not, when we have to wear them? But you may leave us now.

[Maid goes out. Bertha opens bundle and takes out Spanish costume.]

ABEL. But that is certainly well thought out. Oh, it's beautiful to avenge any one's stupidities.

[Willmer comes in zenith a messenger, who carries a package. Willmer is dressed in black frock coat with lapels faced with white, a flower in buttonhole, knee breeches, red cravat, and turned over cuffs.]

WILLMER. Good evening; are you alone? Here are the candles and here are the bottles. One chartreuse and two vermouth; here are two packages of tobacco and the rest of the things.

BERTHA. Well, but you are a good boy, Gaga!

WILLMER. And here is the receipted bill.

BERTHA. Is it paid? Then you have spent money again?

WILLMER. We'll have plenty of time to settle that. But you must hurry now, as the old lady will soon be here.

BERTHA. Then be good enough to open the bottles while I fix the candles.

WILLMER. Of course I will.

[Bertha opens package of candles at table; Willmer stands beside her, taking the wrappers from bottles.]

ABEL. You look quite family-like as you stand there together. You might have made quite a nice little husband, Gaga.

[Willmer puts his arm around Bertha and kisses her on the neck. Bertha turns on Willmer and slaps his face.]

BERTHA. Aren't you ashamed, you little hornet! What are you up to, anyway?

ABEL. If you can stand that, Gaga, then you can stand the knife.

WILLMER [Angry]. Little hornet? Don't you know who I am? Don't you know that I'm an author of rank?

BERTHA. You! who write nothing but trash!

WILLMER. It wasn't trash when I wrote for you.

BERTHA. You only copied what we said, that was all!

WILLMER. Take care, Bertha. You know that I can ruin you!

BERTHA. So, you threaten, you little Fido! [To Abel.] Shall we give the boy a spanking?

ABEL. Think what you are saying!

WILLMER. So! I've been a little Fido, who has been lying on your skirt; but don't forget that I can bite too.

BERTHA. Let me see your teeth!

WILLMER. No, but you shall feel them!

BERTHA. Very well, come on then! Come!

ABEL. Now, now, be quiet before you go too far.

WILLMER [To Bertha]. Do you know what one has a right to say about a married woman who accepts presents from a young bachelor?

BERTHA. Presents?

WILLMER. You've accepted presents from me for two years.

BERTHA. Presents! You should have a thrashing, you lying little snipe, always hanging around the petticoats! Don't you suppose I can squelch you?

WILLMER [With a shrug]. Perhaps.

BERTHA. And you dare throw a shadow on a woman's honor!

WILLMER, Honor! H'm! Does it do you any honor to have had me buy part of the household things which you have charged up to your husband?

BERTHA. Leave my house, you scamp!

WILLMER. Your house! Among comrades one is not careful, but among enemies one must count every hair! And you shall be compelled to go over the accounts with me—adventuress—depend on that! [Goes out.]

ABEL. You will suffer for this foolishness! To let a friend leave you as an enemy—that's dangerous.

BERTHA. Oh, let him do what he likes. He dared to kiss me! He dared to remind me that I'm a woman.

ABEL. Do you know, I believe a man will always have that in mind. You have been playing with fire.

BERTHA. Fire! Can one ever find a man and a woman who can live like comrades without danger of fire?

ABEL. No, I don't think so; as long as there are two sexes there is bound to be fire.

BERTHA. Yes, but that must be done away with!

ABEL. Yes—it must be—try it!

[The maid comes in; she is bursting with laughter.]

MAID. There is a lady out here who calls herself—Richard—Richard Wahlström!

BERTHA [Going toward door]. Oh! Richard is here.

ABEL. Oh, well then, if she has come, we can open the meeting. And now to see if we can disentangle your skein.

BERTHA. Disentangle it, or cut it!

ABEL. Or get caught in it!

[Same scene. The hanging-lamp is lighted. Moonlight streams in, lighting up the studio window. There is a fire in the stove. Bertha and the maid are discovered. Bertha is dressed in a negligée with lace. She is sewing on the Spanish costume. The maid is cutting out a frill.]

BERTHA. There's no fun sitting up waiting for one's husband.

MAID. Do you think it is more fun for him to sit and wait for madame? This is the first time that he has been out alone—

BERTHA. Well, what does he do when he sits here alone?

MAID. He paints on pieces of wood.

BERTHA. On wooden panels?

MAID. Yes, he has big piles of wood that he paints on.

BERTHA. H'm! Tell me one thing, Ida; has monsieur ever been familiar with you?

MAID. Oh, never! No, he is such a proper gentleman.

BERTHA. Are you sure?

MAID [Positive]. Does madame think that I am such a—

BERTHA.—What time is it now?

MAID. It must be along toward twelve.

BERTHA. Very well. Then you may go to bed.

MAID. Won't you be afraid to be alone with all these skeletons?

BERTHA. I, afraid?—Hush, some one is coming through the gate—so, good night to you.

MAID. Good night, Madame. Sleep well.

[Goes out. Bertha alone; she puts the work away; throws herself on the couch, arranges lace on her gown, then she jumps up, turns down the lamp to half-light, then returns to couch and pretends to sleep. A pause before Axel enters.]

AXEL. Is any one here? Are you here, Bertha? [Bertha is silent. Axel goes to her.] Are you asleep?

BERTHA. [Softly.] Ah, is it you, my friend? Good evening! I was lying here and fell asleep, and I had such a bad dream.

AXEL. Now you are lying, for I saw you thro' the window from the garden when you took this pose. [Bertha jumps up.]

AXEL [Quietly]. And we don't want any seductive scenes in nightgowns, nor any melodramas. Be calm and listen to what I am going to tell you. [He sits down in the middle of the room.]

BERTHA. What have you got to tell me?

AXEL. A whole lot of things; but I shall begin with the ending. We must dissolve this concubinage.

BERTHA. What? [Throwing herself on the couch.] Oh, my God, what am I not made to live through!

AXEL. No hysteria, or I will empty the water bottle on your laces!

BERTHA. This is your revenge because I defeated you in an open competition!

AXEL. That has no connection with this matter.

BERTHA. You have never loved me!

AXEL. Yes, I have loved you; that was my only motive for marrying you. But why did you marry me? Because you were hard up, and because you had green sickness!

BERTHA. It's fortunate that no one can hear us.

AXEL. It would be no misfortune if any one did hear us. I've treated you like a comrade, with unlimited trust, and I've even made small sacrifices that you know about.—Has the locksmith been here yet?

BERTHA. No, he didn't come.

AXEL. It doesn't matter—I have looked over your accounts.

BERTHA. So, you've been spying in my book, have you?

AXEL. The household account-book is common property. You have entered false expenses and neglected to put down some of the income.

BERTHA. Can I help it if we are not taught bookkeeping at school?

AXEL. Nor are we. And as far as your bringing-up is concerned, you had things much better then I did; you went to a seminary, but I only went to a grade school.

BERTHA. It's not books that bring one up—

AXEL. No, it's the parents! But it's strange that they can't teach their daughters to be honorable—

BERTHA. Honorable! I wonder if the majority of criminals are not to be found among men?

AXEL. The majority of the punished, you should say; but of ninety-nine per cent. of criminal men one can ask with the judge, "Où est la femme?" But—to return to you. You have lied to me all the way through, and finally you have cheated me. For instance, you put down twenty francs for paints instead of for a twenty franc luncheon at Marguery.

BERTHA. That's not true; the luncheon only cost twelve francs.

AXEL. That is to say, you put eight in your pocket. Then you have received three hundred francs for the picture that you sold.

BERTHA. "What a woman earns by her work, she also controls." That's what the law states.

AXEL. That's not a paradox, then? Not monomania?

BERTHA. No, it seems not.

AXEL. Of course, we must not be petty; you control your earnings, and have controlled mine, in an unspeakable way; still, don't you think that, as comrades, you should have told me about the sale?

BERTHA. That didn't concern you.

AXEL. It didn't concern me? Well, then it only remains for me to bring suit for divorce.

BERTHA. Divorce! Do you think I would stand the disgrace of being a divorced wife? Do you think that I will allow myself to be driven from my home, like a servant-maid who is sent away with her trunk?

AXEL. I could throw you out into the street if I wished, but I shall do a more humane thing and get the divorce on the grounds of incompatibility of temperament.

BERTHA. If you can talk like that, you have never loved me!

AXEL. Tell me, why do you think I asked for your hand?

BERTHA. Because you wanted me to love you.

AXEL. Oh, holy, revered, uncorruptible stupidity—yes! I could accuse you of counterfeiting, for you have gone into debt to Willmer and made me responsible for the amount.

BERTHA. Ah, the little insect! he has been talking, has he?

AXEL. I just left him after paying him the three hundred and fifty francs for which you were indebted to him. But we mustn't be small about money matters, and we have more serious business to settle. You have allowed this scoundrel partially to pay for my household, and in doing so you have completely ruined my reputation. What have you done with the money?

BERTHA. The whole thing is a lie.

AXEL. Have you squandered it on luncheon and dinner parties?

BERTHA. No, I have saved it; and that's something you have no conception of, spendthrift!

AXEL. Oh, you saving soul! That negligée cost two hundred francs, and my dressing-gown cost twenty-five.

BERTHA. Have you anything else to say to me?

AXEL. Nothing else, except that you must think about supporting yourself from now on. I don't care to decorate wooden panels any more and let you reap the earnings.

BERTHA. A-ha, you think you can so easily get out of the duty that you made yourself responsible for when you fooled me into becoming your wife? You shall see!

AXEL. Now that I've had my eyes opened, the past is beginning to take on another color. It seems to me almost as if you conjured that courtship of ours; it seems almost as if I had been the victim of what you women call seduction; it now seems to me as if I had fallen into the hands of an adventuress, who lured my money away from me in ahôtel garni; it seems almost as if I had lived in vice ever since I was united with you! [Rising.] And now, as you stand there with your back turned to me and I see your neck with your short hair, it is—yes, it is exactly as if—ugh!—as if you were Judith and had given your body to be able to behead me! Look, there is the dress I was going to wear, that you wished to humiliate me with. Yes, you felt that it was debasing to wear those things, and thought it disguised your desire to irritate,—this low-cut bodice and the corsets which were to advertise your woman's wares. No, I return your love-token and shake off the fetters. [He throws down the wedding-ring. Bertha looks at him in wonderment. Axel pushes back his hair.] You didn't want to see that my forehead is higher than yours, so I let my hair conceal it, so as not to humble and frighten you. But now I am going to humble you, and since you were not willing to be my equal when I lowered myself to your level, you shall be my inferior, which you are.

BERTHA. And all this—all this noble revenge becauseyouweremyinferior!

AXEL. Yes, I was your inferior, even when I painted your picture!

BERTHA. Did you paint my picture? If you repeat that, I'll strike you.

AXEL. Yes, your kind, who despise raw strength, are always the first to resort to it. Go ahead and strike.

BERTHA [Advancing]. Don't you think I can measure strength with you?

[Axel takes both her wrists in one hand.]

AXEL. No, I don't think so. Are you convinced now that I am also your physical superior? Bend, or I'll break you!

BERTHA. Do you dare strike me?

AXEL. Why not? I know of only one reason why I should not strike you.

BERTHA. What's that?

AXEL. Because you are morally irresponsible.

BERTHA [Trying to free herself]. Let go!

AXEL. When you have begged for forgiveness! So, down on your knees. [He forces her down with one hand.] There, now look up to me, from below! That's your place, that you yourself have chosen.

BERTHA [Giving in]. Axel, Axel, I don't know you any more. Are you he who swore to love me, who begged to carry me, to lift me?

AXEL. It is I. I was strong then, and believed I had the power to do it; but you sapped my strength while my tired head lay in your lap, you sucked my best blood while I slept—and still there was enough left to subdue you. But get up and let us end this declaiming. We have business to talk over! [Berths rises, sits on couch and weeps.] Why are you crying?

BERTHA. I don't know! Because I'm weak, perhaps.

[Bertha's attitude and actions are those of complete surrender.]

AXEL. You see—I was your strength. When I took what was mine, you had nothing left. You were a rubber ball that I blew up; when I let go of you, you fell together like an empty bag.

BERTHA [Without looking up]. I don't know whether you are right or not, but since we have quarreled, my strength has left me. Axel, will you believe me,—I have never experienced before what I now feel—

AXEL. So? What do you feel, then?

BERTHA. I can't say it! I don't know whether it is—love, but—

AXEL. What do you mean by love? Isn't it a quiet longing to eat me alive once more? You begin to love me! Why didn't you do that before, when I was good to you? Goodness is stupidity, though; let us be evil! Isn't that right?

BERTHA. Be a little evil, rather, but don't be weak. [Rises.] Axel, forgive me, but don't desert me. Love me! Oh, love me!

AXEL. It is too late! Yesterday, this morning, I would have fallen before you as you stand there now, but it's too late now.

BERTHA. Why is it too late now?

AXEL. Because tonight I have broken all ties, even the last.

BERTHA [Taking his hands]. What do you mean?

AXEL. I have been untrue to you.

BERTHA [Falls in a heap]. Oh!

AXEL. It was the only way to tear myself loose.

BERTHA [Collecting herself]. Who was she?

AXEL. A woman—[Pause.]

BERTHA. How did she look?

AXEL. Like a woman! With long hair and high breasts, et cetera.—Spare yourself.

BERTHA. Do you think I am jealous of one of that kind?

AXEL. One of that kind, two of that kind, many of that kind!

BERTHA [Gasping]. And tomorrow our friends are invited here! Do you want to create a scandal and call in the invitations?

AXEL. No, I don't want to be mean in my revenge. Tomorrow we'll have our friends, and the day after our ways will part.

BERTHA. Yes, our ways must part now. Good night! [Goes to door left.]

AXEL [Going to door right]. Good night!

BERTHA [Stops]. Axel!

AXEL. Yes?

BERTHA. Oh, it wasn't anything!—Yes, wait. [Goes toward Axel with clasped hands.] Love me, Axel! Love me!

AXEL. Would you share with another?

BERTHA [Pause]. If only you loved me!

AXEL. No, I cannot. You can't draw me to you as you used to do.

BERTHA. Love me, be merciful! I am honest now, I believe, otherwise I would never humiliate myself as—as I am doing now, before a man.

AXEL. Even if I had compassion for you, I cannot call forth any love. It has come to an end. It is dead.

BERTHA. I beg for a man's love, I, a woman, and he shoves me away from him!

AXEL. Why not?Weshould also have leave to say no for once, although we are not always very hard to please.

BERTHA. A woman offers herself to a man and is refused!

AXEL. Feel now how millions have felt, when they have begged on their knees for the mercy of being allowed to give what the other accepts. Feel it for your whole sex, and then tell them how it felt.

BERTHA [Rising]. Good night. The day after tomorrow, then.

AXEL. You still want the party tomorrow, then?

BERTHA. Yes, I want the party tomorrow.

AXEL. Good. The day after tomorrow, then.

[They go out, each their own way right and left.]

[SCENE.—Same. But the glass doors leading to orchard are open. The sun is still shining outside and the studio is brightly lighted. The side doors are open. A serving table is seen out in the orchard; on it are glasses and bottles, et cetera. Axel wears cutaway, but without the decoration, and is wearing a standing collar with four-in-hand scarf. His hair is brushed straight back. Bertha wears a dark gown, cut square, with frilled fichu. She has a flower on the left shoulder. The Misses Hall are extravagantly and expensively dressed. Bertha enters from orchard. She is pale and has dark shadows under her eyes. Abel enters from door at back. They embrace and kiss each other.]

BERTHA. Good afternoon, and welcome.

ABEL. Good afternoon.

BERTHA. And Gaga promised to come?

ABEL. Absolutely certain. He was in a regretful spirit and begged forgiveness. [Bertha straightens out her fichu.] But what is the matter with you today? Has anything happened?

BERTHA. How so? What?

ABEL. You are not like yourself. Have you—? Bertha! Have you—

BERTHA. Don't talk.

ABEL. Your eyes are so full of color and brilliancy! What? Is is possible—? And so pale? Bertha!

BERTHA. I must go out to my guests.

ABEL. Tell me, are Carl and Östermark here?

BERTHA. Both are out in the orchard.

ABEL. And Mrs. Hall and the girls?

BERTHA. Mrs. Hall will come litter, but the girls are in my room.

ABEL. I'm afraid that our scheme of revenge will fall as flat as a pancake.

BERTHA. No, not this—not this one!

[Willmer enters with a bouquet of flowers. He goes to Bertha, kisses her hand, and gives her the bouquet.]

WILLMER. Forgive me! For my love's sake!

BERTHA. No, not on that account, but—it doesn't matter. I don't know why, but today I don't want any enemies.

[Axel comes in. Bertha and Willmer look distressed.]

AXEL [To Bertha, not noticing Willmer]. Pardon—if I disturb—

BERTHA. Not at all.

AXEL. I only wanted to ask if you had ordered the supper?

BERTHA. Yes, of course—as you wished.

AXEL. Very well. I only wanted to know. [Pause.]

ABEL. How festive you two look! [Bertha and Axel are silent. Willmer breaks the embarrassment by starting for the orchard.] Listen, Gaga—

[She hastens out after Willmer.]

AXEL. What have you ordered for the supper?

BERTHA [Looks at him and smiles]. Lobsters and poulet.

AXEL [Uncertain]. What are you smiling at?

BERTHA. My thoughts.

AXEL. What are you thinking then?

BERTHA. I am thinking—no, I really don't know—unless it was about the betrothal supper we had together in the Gardens that spring evening when you had wooed—

AXEL. You had wooed—

BERTHA. Axel!—And now it is the last, last time. It was a short summer.

AXEL. Quite short, but the sun will come again.

BERTHA. Yes, for you who can find sunshine in every street.

AXEL. What is there to hinder you from seeking warmth at the same fire?

BERTHA. And so we shall meet again, perhaps—some evening by street light, you mean?

AXEL. I didn't mean that—butà la bonne heure! That at least will be a free relation.

BERTHA. Yes, very free, especially for you.

AXEL. For you, too, but pleasanter for me.

BERTHA. That's a noble thought.

AXEL. Now, now—don't tear open the old wounds! We were talking about the supper. And we must not forget our guests. So! [Goes toward his room right.]

BERTHA. About the supper—yes, of course! That's what we were talking about.

[She flies toward her room left, stirred and agitated. They both go out. The scene is empty for a moment. Then the Misses Hall come in from the orchard.]

MISS AMÉLIE. How very dull it is here!

MISS THÉRÈSE. Insufferably stupid, and our hosts are not altogether polite.

MISS AMÉLIE. The hostess is especially unpleasant. And the short-hair kind, too.

MISS THÉRÈSE. Yes, but I understand that a lieutenant is coming—

MISS AMÉLIE. Well, that's good, for these artists are a lot of free traders. Hush, here is a diplomat surely.—He looks so distinguished.

[They sit on couch. Doctor Östermark comes in from the orchard; he discovers the Misses Hall and looks at them through his pince-nez.]

DR. ÖSTERMARK. I am honored, ladies. H'm, one meets so many of one's countrywomen here. Are you artists, too? You paint, I suppose?

MISS AMÉLIE. No, we don't paint.

DR. ÖSTERMARK. Oh, but just a little, perhaps. Here in Paris all ladies paint—themselves.

MISS THÉRÈSE. We don't have to.

DR. ÖSTERMARK. Oh, well, you play then?

MISS AMÉLIE. Play?

DR. ÖSTERMARK. Oh, I don't mean playing at cards. But all ladies play a little.

MISS AMÉLIE. Evidently you are just from the country.

DR. ÖSTERMARK. Yes, just from the country. Can I be of any slight service to you?

MISS THÉRÈSE. Pardon, but we don't know with whom we have the honor—?

DR. ÖSTERMARK. You ladies have evidently just come from Stockholm. In this country we can talk to each other without asking for references.

MISS AMÉLIE. We haven't asked for references.

DR. ÖSTERMARK. What do you ask, then? To have your curiosity satisfied? Well, I'm an old family physician and my name is Anderson. Perhaps I may know your names now?—Character not needed.

MISS THÉRÈSE. We are the Misses Hall, if that can be of any interest to the doctor.

DR. ÖSTERMARK. Hall? H'm! I've surely heard that name before. Pardon, pardon me a question, a somewhat countrified question—

MISS AMÉLIE.—Don't be bashful!

DR. ÖSTERMARK. Is your father still living?

MISS AMÉLIE. No, he is dead.

DR. ÖSTERMARK. Oh, yes. Well, now that I have gone so far, there is nothing to do but continue. Mr. Hall was—

MISS THÉRÈSE. Our father was a director of the Fire Insurance Company of Göteborg.

DR. ÖSTERMARK. Oh, well, then I beg your pardon. Do you find Paris to your liking?

MISS AMELIE. Very! Thérèse, do you remember what I did with my shawl? Such a cold draught here! [Rises.]

MISS THÉRÈSE. You left it in the orchard, no doubt.

DR. ÖSTERMARK [Rising]. No, don't go out. Allow me to find it for you—no—sit still—just sit still.

[Goes out into orchard. After a moment Mrs. Hall comes in from left, quite comfortable with drink; her cheeks are flaming red and her voice is uncertain.]

MISS AMÉLIE. Look, there's mother! And in that condition again! Heavens, why does she come here? Why did you come here, mother?

MRS. HALL. Keep quiet! I have as much right here as you.

MISS THÉRÈSE. Why have you been drinking again? Think if some one should come!

MRS. HALL. I haven't been drinking. What nonsense!

MISS AMÉLIE. We will be ruined if the doctor should come back and see you. Come, let's go in here and you can get a glass of water.

MRS. HALL. It's nice of you to treat your mother like this and say that she has been drinking, to say such a thing to your own mother!

MISS THÉRÈSE. Don't talk, but go in, immediately.

[They lead her in right. Axel and Carl come in from the orchard.]

CARL. Well, you're looking fine, my dear Axel, and you have a manlier bearing than you used to have.

AXEL. Yes, I have emancipated myself.

CARL. You should have done that at the start, as I did.

AXEL. As you did?

CARL. As I did. Immediately I took my position as head of the family, to which place I found myself called both because of my superior mind and my natural abilities.

AXEL. And how did your wife like that?

CARL. Do you know, I forgot to ask her! But to judge by appearances, I should say that she found things as they should be. They only need real men—and human beings can be made even out of women.

AXEL. But at least the power should be divided?

CARL. Power cannot be divided! Either obey or command. Either you or I. I preferred myself to her, and she had to adjust herself to it.

AXEL. Yes, but didn't she have money?

CARL. Not at all. She didn't bring more than a silver soup-spoon to our nest. But she demanded an accounting of it; and she got it. She was a woman of principle, you see!—She is so good, so good, but so am I good to her. I think it's really great sport to be married, what? And besides, she's such a splendid cook!

[The Misses Hall come in from right.]

AXEL. Let me introduce you to the Misses Hall, Lieutenant Starck.

CARL. I am very happy to make your [Carl gives them a look of recognition] acquaintance.

[The young ladies seem surprised and embarrassed; they nod and go out to the orchard somewhat excited.]

CARL. How did they get in here?

AXEL. What do you mean? They are friends of my wife's and this is the first time that they have been here. Do you know them?

CARL. Yes, somewhat!

AXEL. What do you mean to imply?

CARL. H'm, I met them in St. Petersburg late one night!

AXEL. Late one night?

CARL. Yes.

AXEL. Isn't there some mistake?

CARL. No-o! There is no mistake. They were very well known ladies in St. Petersburg.

AXEL. And Bertha allows that kind in my house!

[Bertha comes rushing in from orchard.]

BERTHA. What does this mean? Have you insulted the young ladies?

AXEL. No—but—

BERTHA. They came out of here crying and declared that they couldn't stay in the company of you gentlemen any longer! What has happened?

AXEL. Do you know these young ladies?

BERTHA. They are my friends! Isn't that enough?

AXEL. Not quite enough.

BERTHA. Not quite? Well, but if—

[Dr. Östermark comes in from the orchard.]

DR. ÖSTERMARK. What does this mean? What have you done to the little girls who ran away? I offered to help them with their wraps, but they refused to be helped and had tears in their eyes.

CARL [To Bertha]. I must ask you, are they your friends?

BERTHA. Yes, they are! But if my protection is not sufficient, then perhaps Doctor Östermark will take them under his wing, considering that he has a certain claim to them.

CARL. But a mistake has been made here. You mean that I, who have had certain relations with these girls, should appear as their cavalier?

BERTHA. What sort of relations?

CARL. Chance, such as one has with such women!

BERTHA. Such women? That's a lie!

CARL. I'm not in the habit of lying.

DR. ÖSTERMARK. But I don't understand whatIhave got to do with these young ladies.

BERTHA.Youwould prefer to have nothing to do with your deserted children.

DR. ÖSTERMARK. My children! But I don't understand.

BERTHA. They are your two daughters—daughters of your divorced wife.

DR. ÖSTERMARK. Since you consider that you have the right to be personal and make my affairs the subject of public discussion, I will answer you publicly. You seem to have taken the trouble to find out that I am not a widower. Good! My marriage, which was childless, was dissolved twenty years ago. Since then I have entered into another relation, and we have a child that is just five years old. These grown girls, therefore, cannot be my children. Now you know the whole matter.

BERTHA. But your wife—whom you threw out upon the world—

DR. ÖSTERMARK.—No, that wasn't the case either. She walked out, or staggered, if you prefer it, and then she received half my income until at last I found out that—enough said. If you could conceive what it cost me of work and self-denial to support two establishments, you would have spared me this unpleasant moment, but your kind wouldn't consider anything like that. You needn't know any more, as it really doesn't concern you.

BERTHA. But it would amuse me to know why your first wife left you.

DR. ÖSTERMARK. I don't think it would amuse you to know that she was ugly, narrow, paltry, and that I was too good for her! Think now, you tender-hearted, sensitive Bertha, think if they really had been my daughters, these friends of yours and Carl's; imagine how my old heart would have been gladdened to see, after eighteen years, these children that I had borne in my arms during the long night of illness. And imagine if she, my first love, my wife, with whom life the first time became life, had accepted your invitation and come here? What a fifth act in the melodrama you wished to offer us, what a noble revenge on one who is guiltless! Thanks, old friend. Thank you for your reward for the friendship I have shown you.

BERTHA. Reward! Yes, I know that I owe you—a fee. [Axel, Carl and the doctor make protestations of "Oh," "Now," "Really," et cetera.] I know that, I know it very well.

[Axel, Carl and doctor say "No," "Fie," "This is going too far."]

DR. ÖSTERMARK. No, but I'm going to get out of here. Horrors! Yes, you are the right sort! Pardon me, Axel, but I can't help it!

BERTHA [To Axel]. You're a fine man, to allow your wife to be insulted!

AXEL. I can understand neither your allowing yourself to insult, or to be insulted! [Music is heard from the orchard; guitar and an Italian song.] The singers have arrived; perhaps you would all like to step out and have a bit of harmony on top of all this.

[They all go out except the doctor, who goes over to look at some drawings on wall right near door to Axel's room. The music outside is played softly. Mrs. Hall comes in and walks unsteadily across the scene and sits in a chair. The doctor, who does not recognize her, bows deeply.]

MRS. HALL. What music is that out there?

DR. ÖSTERMARK. They are some Italians, dear lady.

MRS. HALL. Yes? No doubt the ones I heard at Monte Carlo.

DR. ÖSTERMARK. Oh, perhaps there are other Italians.

MRS. HALL. Well, I believe it's none other than Östermark! No one could be as quick as he in his retorts.

DR. ÖSTERMARK [Stares at her]. Ah—think—there are things—that—are less dreadful than dread! It is you, Carolina! And this is the moment that for eighteen years I have been running away from, dreamed about, sought, feared, wished for; wished for that I might receive the shock and afterward have nothing to dread! [He takes out a vial and wets his upper lip with a few drops.] Don't be afraid; it's not poison, in such little doses. It's for the heart, you see.

MRS. HALL. Ugh, your heart! Yes, you have so much!

DR. ÖSTERMARK. It's strange that two people cannot meet once every eighteen years without quarreling.

MRS. HALL. It was always you who quarreled!

DR. ÖSTERMARK. Alone? What!—Shall we stop now?—I must try to look at you. [He takes a chair and sits down opposite Mrs. Hall.] Without trembling!

MRS. HALL. I've become old!

DR. ÖSTERMARK. That's what happens; one has read about it, seen it, felt it one's self, but nevertheless it is horrifying. I am old, too.

MRS. HALL. Are you happy in your new life?

DR. ÖSTERMARK. To tell the truth, it's one and the same thing; different, but quite the same.

MRS. HALL. Perhaps the old life was better, then?

DR. ÖSTERMARK. No, it wasn't better, as it was about the same, but it's a question if it wouldn't have seemed better now, just because it was the old life. One doesn't blossom but once, and then one goes to seed; what comes afterward is only a little aftermath. And you, how are you getting along?

MRS. HALL [Offended]. What do you mean?

DR. ÖSTERMARK. Don't misunderstand me. Are you contented with—your—lot? I mean—oh, that it should be so difficult to make one's self understood by women!

MRS. HALL. Contented? H'm!

DR. ÖSTERMARK. Well, you were never contented. But when one is young, one always demands the first class, and then one gets the third class when one is old. Now, I understand that you told Mrs. Alberg here that your girls are my children!

MRS. HALL. I did? That is a lie.

DR. ÖSTERMARK. Still untruthful, eh? In the old days, when I was foolish, I looked upon lying as a vice; but now I know it to be a natural defect. You actually believe in your lies, and that is dangerous. But never mind about that now. Are you leaving, or do you wish me to leave?

MRS. HALL [Rising]. I will go.

[She falls back into the chair and gropes about.]

DR. ÖSTERMARK. What, drunk too?—I really pity you. Oh, this is most unpleasant! Dear me, I believe I'm ready to cry!—Carolina! No, I can't bear this!

MRS. HALL. I am ill.

DR. ÖSTERMARK. Yes, that's what happens when one drinks too much. But this is more bitter than I ever thought it could be. I have killed little unborn children to be able to save the mother, and I have felt them tremble in their fight against death. I have cut living muscles, and have seen the marrow flow like butter from healthy bones, but never has anything hurt me so much as this since the day you left me. Then it was as if you had gone away with one of my lungs, so I could only gasp with the other!—Oh, I feel as if I were suffocating now!

MRS. HALL. Help me out of here. It's too noisy. I don't know why we came here, anyway. Give me your hand.

DR. ÖSTERMARK [Leading her to door]. Before it was I who asked for your hand; and it rested so heavily on me, the little delicate hand! Once it struck my face, the little delicate hand, but I kissed it nevertheless.—Oh, now it is withered, and will never strike again.—Ah, dolce Napoli! Joy of life, what became of it? You who were the bride of my youth!

MRS. HALL [In the hall door]. Where is my wrap?

DR. ÖSTERMARK [Closing door]. In the hall, probably. This is horrible! [Lights a cigar]. Oh, dolce Napoli! I wonder if it is as delightful as it's said to be in that cholera breeding fishing harbor.Blague, no doubt!Blague! Blague! Naples—bridal couples, love, joy of life, antiquities, modernity, liberalism, conservatism, idealism, realism, naturalism,—blague, blague, the whole thing!

[Axel, Abel, Willmer, Mrs. Starck and Bertha come in from orchard.]

MRS. STARCK. What is happening to the doctor?

DR. ÖSTERMARK. Pardon, it was only a littlequi pro quo. Two strangers sneaked in here and we had to identify them.

MRS. STARCK. The girls?

CARL. Well, that has nothing to do with you. I don't know why, but I seem to feel "the enemy in the air."

MRS. STARCK. Ah, you're always seeing the enemy, you dear Carl.

CARL. No, I don't see them, but I feel them.

MRS. STARCK. Well, come to your friend, then, and she will defend you.

CARL. Oh, you're always so good to me.

MRS. STARCK. Why shouldn't I be, when you are so good to me?

[The door at back is opened and the maid and two men come in carrying a picture.]

AXEL. What's this?

MAID. The porter said that it must be carried into the studio, as he didn't have any room for it.

AXEL. What foolishness is this? Take it out.

MAID. The mistress sent for the picture herself.

BERTHA. That's not true. For that matter, it's not my picture, anyway. It's your master's. Put it down there. [The maid and the man go out.] Perhaps it isn't yours, Axel? let's see. [Axel places himself in front of picture.] Move a little so we can see.

AXEL [Gives way]. It's a mistake.

BERTHA [Shrieks]. What! What is this! It's a mistake! What does it mean? It's my picture, but it's Axel's number! Oh!

[She falls in a faint. The doctor and Carl carry her into her room left, the women follow.]

ABEL. She is dying!

MRS. STARCK. Heaven help us, what is this! The poor little dear! Doctor Östermark, do something, say something—and Axel stands there crestfallen.

[Axel and Willmer are alone.]

AXEL. This is your doing.

WILLMER. My doing?

[Axel takes him by the ear.]

AXEL. Yes, yours, but not altogether. But I am going to give you your share. [He leads hunt to the door, which he opens with one foot, and kicks out Willmer with the other.] Out with you!

WILLMER. I'll get even for this!

AXEL. I shall be waiting for it!

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