KERSTI. I said nothing, but you did—and, as you know, I do what you say.
MATS. I have my doubts.
KERSTI. But what you said I have done already. The baby can't stay in the woods. It must have shelter when the nights grow cold. And if anything should happen, then comes—the Sheriff!
MATS. The Sheriff, you say? Yes, so he does!
KERSTI. [Leaping to her feet] Is he coming, you say?
MATS. Yes, if something should happen.... Well, where's the midwife to be found?
KERSTI. Would you like to call her?
MATS. I wish she were here!
KERSTI. And what do you want her to do?
MATS. Give the baby a home.
KERSTI. With whom?
MATS. With herself.
KERSTI. For how long?
MATS. Till the wedding is over.
KERSTI. But if he were taken sick while with her?
MATS. Better than have him freeze in the woods—better than have him freeze to death! Take a look at the cradle. I think I heard him!
KERSTI. No, he's asleep....
MATS. Hush—I heard him.
KERSTI. No, you didn't!
MATS. Yes, I did. [He rises.
KERSTI. [Placing herself in front of the cradle] Don't you wake him! If he should cry, somebody might hear.
MATS. Oh.... Do you think any one has—that your mother may have heard him? Oh, Kersti, we should never have done what we have!
KERSTI. Undone were better!
MATS. [Dejectedly] We must take him to the midwife to-night. I must go to the village.
KERSTI. I'll take him!
MATS. [Going to the cradle] Do!
KERSTI. But don't wake him!
MATS. Can't I bid him good night?
KERSTI. Don't touch him!
MATS. Think if I should never see him again!
KERSTI. Then it would be the will of Him whose will we cannot change.
MATS. His will be done!
KERSTI. Now you have said it!
MATS. What have I said that could please you like that?
KERSTI. That—that—you submit to the will of Him that performeth all things.
MATS. [Simply] Yes, whatever may happen is His will, of course.
KERSTI. Of course!
MATS. Good night, then, Kersti dear, and good night, baby! [He goes out.
KERSTI. Good night, Mats.
KERSTIloosens the empty cradle from its fastenings and drops it into the tarn, from the waters of which theCHILD IN WHITErises to threaten her with raised forefinger. At the sight of himKERSTIshrinks back.
KERSTIloosens the empty cradle from its fastenings and drops it into the tarn, from the waters of which theCHILD IN WHITErises to threaten her with raised forefinger. At the sight of himKERSTIshrinks back.
NECK. [Appears in the same spot as before, but now bareheaded and carrying a golden harp, on which he accompanies himself; he has a threatening look as he sings; see musical appendix, Melody No. 20]
"Stilled are the waters, dark grows the sky:Dark grows the sky.Once in the world of the ages I lived,Blessed by the sun.Gone is the light,Conquered by night.Deep is my sin,Black as the tarn.Joy there is none;Plenty of woe.Torture and Shame must I name my abode:O!"
While theNECKis singing,KERSTIhides the bridal crown in the hid. Then she puts out the fire under the pot. As she does so, the smoke pours in large quantities from the chimney, forming a dark background against which appear fantastically shaped and vividly coloured snakes, dragons, birds, etc.WhenKERSTIcomes out of the hut again, she has on a short Dalecarlian jacket and is carrying a bag and the alpenhorn. She locks the door of the hut and walks across the stage with proud bearing and firm steps just as theNECKis singing the last line.
While theNECKis singing,KERSTIhides the bridal crown in the hid. Then she puts out the fire under the pot. As she does so, the smoke pours in large quantities from the chimney, forming a dark background against which appear fantastically shaped and vividly coloured snakes, dragons, birds, etc.
WhenKERSTIcomes out of the hut again, she has on a short Dalecarlian jacket and is carrying a bag and the alpenhorn. She locks the door of the hut and walks across the stage with proud bearing and firm steps just as theNECKis singing the last line.
Curtain.
[1]Old Swedish folk-riddle, the real solution of which is: the horizon.
[1]Old Swedish folk-riddle, the real solution of which is: the horizon.
[2]An old Swedish folk-riddle, the answer of which is: a carriage. The four lines describe respectively: (1) the wheels; (2) the hoofs of the horses; (3) their ears; (4) their eyes.
[2]An old Swedish folk-riddle, the answer of which is: a carriage. The four lines describe respectively: (1) the wheels; (2) the hoofs of the horses; (3) their ears; (4) their eyes.
SECOND SCENE
The living-room of the mill. Everything is covered by white dust. In the background, on the right-hand side, is an open trap-door, showing part of the water-wheel. The end of the flour chute, with a bag attached to it, is protruding from the right wall not far from the trap-door. Near it appears a lever used for starting and stopping the water-wheel.Large gates occupy the centre of the real wall. Heavy wooden shutters dose another opening farther to the left and half-way from the floor.In the foreground, at the right, is a huge open fireplace, in which a coal-fire is burning. An iron pot is hanging over the fire. On the left-hand side appear a bedstead, a hand-loom, a bobbin, a red, and a spinning-wheel. There is a door in the right wall.The following members of the family are seated in a circle in front of the fireplace: theGRANDFATHER;theGRANDMOTHER;theFATHERandMOTHERofMATS;his sisters,BRITA,who is full-grown,ANNA,who is half-grown, andLIT-KAREN,who is still a child; and his brother,LIT-MATS,who is also a mere boy. All are smoking out of small pipes with iron bowls and looking very serious.BRITAis plaiting a chain out of human hair.LIT-KARENandLIT-MATSare playing with two dolls.
The living-room of the mill. Everything is covered by white dust. In the background, on the right-hand side, is an open trap-door, showing part of the water-wheel. The end of the flour chute, with a bag attached to it, is protruding from the right wall not far from the trap-door. Near it appears a lever used for starting and stopping the water-wheel.
Large gates occupy the centre of the real wall. Heavy wooden shutters dose another opening farther to the left and half-way from the floor.
In the foreground, at the right, is a huge open fireplace, in which a coal-fire is burning. An iron pot is hanging over the fire. On the left-hand side appear a bedstead, a hand-loom, a bobbin, a red, and a spinning-wheel. There is a door in the right wall.
The following members of the family are seated in a circle in front of the fireplace: theGRANDFATHER;theGRANDMOTHER;theFATHERandMOTHERofMATS;his sisters,BRITA,who is full-grown,ANNA,who is half-grown, andLIT-KAREN,who is still a child; and his brother,LIT-MATS,who is also a mere boy. All are smoking out of small pipes with iron bowls and looking very serious.BRITAis plaiting a chain out of human hair.LIT-KARENandLIT-MATSare playing with two dolls.
BRITA. [ToLIT-KAREN] Where did you get the doll?
LIT-KAREN. Kersti gave it to me.
BRITA. [Taking the doll from her] Away with it! [ToLit-Mats] Where did you get your doll?
LIT-MATS. Kersti gave it to me.
BRITA. [Taking the doll] Out with it!
FATHER. Hush! Hush! Grandfather is thinking. [Silence.
MOTHER. [ToBRITA] What are you doing?
BRITA. A watch-chain, but there is hardly hair enough.
MOTHER. Where can you get any?
BRITA. I know where it ought to be pulled.
MOTHER. Horses pull.
BRITA. Hens are picked, pigs give bristles, and maidens are combed.—Combed hair is good, but cut is better.
FATHER. Hush, hush, grandfather is thinking. [Silence.
ANNA. [In a low voice toBRITA] What is he thinking of?
BRITA. You'll hear by and by. And all will have to swallow.
ANNA. Is it about Mats? [BRITAmakes no answer] And Kersti? Will there be a wedding?
FATHER. Hush, hush, grandfather is thinking. [Silence.
ANNA. [ToBRITA] I'll give you some of my hair.
BRITA. Not the right colour.
ANNA. Who's got it? [BRITAdoes not answer] Is it Kersti you mean?
BRITA. Don't mention her. [Silence.
GRANDMOTHER. [ToGRANDFATHER] Have you thought it out?
GRANDFATHER. [Who has been sitting with the Bible and the hymn-book in his lap, lost in thought, wakes up] I have! [He opens the hymn-book at haphazard and says to the others] It is No. 278, the fourth verse: "All at birth and death." Let us have it!
ALL. [Read in unison like children at school]
"All at birth and death are equals,As the graveyard bones proclaim,Poor and rich and low and mightyIn the end appear the same;And the naked new-born babyBrings no evidence to proveWhether poverty or fortuneWill attend its fated groove."
GRANDFATHER. It is settled! "He that hath an ear, let him hear."—Is it settled?
GRANDMOTHER. Not yet.
FATHER. Not quite.
MOTHER. The Lord beholdeth!
BRITA. What does the Scripture, say?
ANNA. "Doth God pervert judgment, or doth the Almighty pervert justice?"
LIT-KAREN. What do you want me to say?
GRANDFATHER. You must give us your advice, child, although we may not take it. Out of the mouth of babes may come the truth.... Shall Kersti have Mats?
LIT-KAREN. If they want each other.
GRANDFATHER. Well spoken! [ToLIT-MATS] And you, Lit-Mats?
LIT-MATS. [With his fingers in his mouth] I want my doll!
GRANDFATHER. And Mats wants his. Shall he have her?
LIT-MATS. If it is Kersti, he may, for she gave me the doll.
BRITA. Listen to him!
GRANDFATHER. Let us search the Scripture. [He opens the Bible and reads] Genesis, thirty-fourth chapter and eighth verse. "And Hamor communed with them, saying, The soul of my son Shechem longeth for your daughter: I pray you give her him to wife." Is that enough?
GRANDMOTHER. Enough and to spare!
FATHER. There wasn't anything about the mill.
MOTHER. Let His will be done!
BRITA. [Abruptly] Amen.
ANNA. Verily, it shall be done!
LIT-KAREN. I like Kersti because she's nice.
LIT-MATS. Me, too!
FATHER. Hush, hush, grandfather is thinking. [Silence.
GRANDFATHER. [ToFATHER] Ask your brother-in-law to come in.
TheFATHERgoes to the door in the background, where he stops.
TheFATHERgoes to the door in the background, where he stops.
GRANDFATHER. [Goes to the bed, pulls a box from under it, takes a bundle of papers from the box, and turns to theFATHERagain] Let him come!
FATHER. [Opening the door in the background] Come in, Stig Matsson.
SHERIFF. [Enters, dressed in uniform] The peace of God be with you!
ALL. [Rising] And his blessing on you!
GRANDFATHER. It is I who have called you, Stig Matsson, and you know the reason. Kersti Margaret Hansdaughter—[He sighs]—is to become the wife of Mats Anders Larsson, my grandson. The two families have fought and fumed at each other for a long time—all too long! At this late hour I have come to feel that an end should be put to all strife and ill will before my eyes are closed and I am carried to my last rest. Take a look at these papers. [He hands the bundle to theSHERIFF,who opens it and glances at some of the papers] They are legal documents, deeds, wills, receipts, authorisations—belonging to suits that have been settled or are still unsettled. Have you looked them over?
SHERIFF. I have.
GRANDFATHER. [Takes back the bundle] All right! Then I shall throw them into the fire. There is a time to hate and a time to love. The time of hatred must come to an end I am longing for peace. Therefore, I beg you, my next of kin, to regard all that has happened in the past as if it had not happened at all—and I ask you: Will you forget everything, and will you meet your new relatives without grudge or guile, and greet them as friends? Answer me!
ALL. We will!
GRANDFATHER. Then I shall let the fire consume what is left of past evils. [He throws the bundle of papers into the fire, pulls the iron lid in front of the grate, and opens three small ventilators in the lid] Let us be seated!
All seat themselves in front of the fireplace, staring at the red glare from the three ventilators.
All seat themselves in front of the fireplace, staring at the red glare from the three ventilators.
ANNA. [ToBRITA,in a low voice] Do you hear it sing?
BRITA. No, it moans. And within me it's aching!
TheGRANDFATHERrises. Then all the rest follow his example.
TheGRANDFATHERrises. Then all the rest follow his example.
GRANDFATHER. [To theFATHER] Bring them in!
TheFATHERgoes to the door at the right and brings inMATS.TheMOTHERgoes to the door in the rear and opens it.KERSTIenters, accompanied by herMOTHER,herFATHER,theSOLDIER,who is wearing the old full-dress uniform of the Swedish infantry of the line, and herGRANDFATHER, theVERGER.
TheFATHERgoes to the door at the right and brings inMATS.
TheMOTHERgoes to the door in the rear and opens it.KERSTIenters, accompanied by herMOTHER,herFATHER,theSOLDIER,who is wearing the old full-dress uniform of the Swedish infantry of the line, and herGRANDFATHER, theVERGER.
GRANDFATHER. May God bless you! And be seated, please!
All seat themselves exceptMATS,KERSTI,and theSHERIFF.MATShas taken hold ofKERSTIby both hands. Long silence.
All seat themselves exceptMATS,KERSTI,and theSHERIFF.MATShas taken hold ofKERSTIby both hands. Long silence.
GRANDFATHER. When is the wedding to be?
MATS. In a fortnight, as soon as the banns have been read the third time.
GRANDFATHER. What is the hurry?
KERSTIshows evidence of being offended.
KERSTIshows evidence of being offended.
MATS. Haven't we waited long enough?
GRANDFATHER. Maybe you have!
MATS. [To his relatives] Have you no word to say to Kersti? [Pause] Not one of you?
SHERIFF. [Goes toKERSTIand takes her by the hands with evident friendliness] Let us welcome the new child!
Panic-stricken,KERSTItries to tear herself loose.
Panic-stricken,KERSTItries to tear herself loose.
SHERIFF. You are not afraid of me, are you?—Oh, no!—Look me in the face, Kersti. I have dandled you on my knees when you were a little child, and I have held your pretty head in my hands.... Yes, you have a very pretty head, and a forehead that makes me think of a bull. That's why you are having your own way now, I suppose.
[He lets go of her.
[He lets go of her.
GRANDFATHER. Let us leave the young ones alone!
Alt rise, walk pastMATSandKERSTI,and disappear through the door in the rear.
Alt rise, walk pastMATSandKERSTI,and disappear through the door in the rear.
BRITA. [Who is the last to leave, spits scornfully as she passesKERSTI] Fie!
MATS. [Spitting in the same way] Fie yourself!
KERSTIandMATSare left alone.
KERSTIandMATSare left alone.
MATS. I hope you will feel at home with me, Kersti!
KERSTI. With you, yes!
MATS. What have you to do with the others?
KERSTI. That's the question.
MATS. You are not marrying the family.
KERSTI. But into it.
MATS. Of course, we are not very soft or cuddlesome.
KERSTI. That's plain.... Is this the place where we are to live?
MATS. Yes, what do you think of it?
KERSTI. Everything is white....
MATS. It's the flour, you see. Do you object?
KERSTI. And damp....
MATS. It's the mill-race....
KERSTI. And cold, too....
MATS. It's the water....
KERSTI. Shall we have new furniture?
MATS. There will be nothing new. Everything is handed down from one generation to another.
KERSTI. But we can sweep, can't we?
MATS. No, we can't! The dust in a mill is like the coating in a pipe. Mustn't be touched!
KERSTI. Is that the wheel?
MATS. That's the wheel.
He pulls the lever, whereupon the rushing of the water through the race is heard, and the wheel begins to turn.
He pulls the lever, whereupon the rushing of the water through the race is heard, and the wheel begins to turn.
KERSTI. Ugh! Have we to listen to that noise?
MATS. It's ours! And we should be thankful as long as we hear it, because that means we have grist for the mill.
KERSTI. And the sun never gets here?
MATS. Never! How could it?
KERSTI. And nothing grows here—except that green stuff on the wheel.
MATS. But we catch eels here and lampreys.
KERSTI. Ugh! I like it better in the pasture, where the wind is blowing....
MATS. And the birches rock....
KERSTI. [Covering her face with the apron and weeping] Must I live in a place like this, beneath the water, at the bottom of the sea?
MATS. I was born here.
KERSTI. And here we are to die—O!
MATS. Why "O"?
KERSTI. Stop the wheel at least.
MATS. Well, if you can't get along with the wheel, then....
KERSTI. [Opening a trap-door in the floor] What's down here?
MATS. The river.
KERSTI. Please stop that wheel!
MATS. [Labours with the lever, but is unable to stop the wheel]Well! There must be mischief abroad!—It won't stop!
KERSTI. I shall die here!
MATS. I must go outside to stop it! There is mischief abroad, I tell you!
KERSTI. And at home?
MATS. Oh, dear!
KERSTI. "Meow, said the cat."[1]
MATS. What is the matter?
KERSTI. Merely that I have got what I wanted.
MATS. And it was not worth having? [The noise made by the wheel has become, deafening, and the wheel itself has begun to turn in the opposite direction] Christ Jesus, help! The wheel is turning backward!
[He runs out through the rear door.KERSTIremains alone.The handloom starts. The bobbin, the reel, and the spinning-wheel begin to turn, each one in its own manner. The stage becomes brightly illumined as if with sunlight. Then the room turns very dark. The fireplace swings around so that the glare from the ventilators confrontsKERSTIlike three burning eyes. It looks as if the fireplace were chasing her. Then it drops back into its accustomed place. The roar of the water-wheel increases again. TheNECKappears in the wheel with the red cap on his head, and the golden fiddle in his hand. Be sings and plays as before, repeating the brief tune several times.
[He runs out through the rear door.
KERSTIremains alone.
The handloom starts. The bobbin, the reel, and the spinning-wheel begin to turn, each one in its own manner. The stage becomes brightly illumined as if with sunlight. Then the room turns very dark. The fireplace swings around so that the glare from the ventilators confrontsKERSTIlike three burning eyes. It looks as if the fireplace were chasing her. Then it drops back into its accustomed place. The roar of the water-wheel increases again. TheNECKappears in the wheel with the red cap on his head, and the golden fiddle in his hand. Be sings and plays as before, repeating the brief tune several times.
NECK. "I am hoping, I am hoping, that my Redeemer still liveth!"
KERSTI. [Running out through the rear door] Mats, Mats!
TheNECKdisappears, but his song is still heard for a while, as it gradually dies away in the distance.
TheNECKdisappears, but his song is still heard for a while, as it gradually dies away in the distance.
MIDWIFE. [Enters, opens the small trap-door in the floor, and drops her leather bag through it] "If you come back, it's all off, and if you don't, it's all on!" Now that's done! And I shall dance at the wedding!
She takes some dance steps, but without letting her back be seen. The hand-loom begins to rap in waltz time, accompanied by the bobbin, the reel, and the spinning-wheel. Then theMIDWIFEdisappears through the rear door, showing her back with the fox tail for a brief moment. The handloom, the bobbin, the reel, and the spinning-wheel keep right on as before.KERSTIenters, and at once everything stops. A moment later theVERGERenters.
She takes some dance steps, but without letting her back be seen. The hand-loom begins to rap in waltz time, accompanied by the bobbin, the reel, and the spinning-wheel. Then theMIDWIFEdisappears through the rear door, showing her back with the fox tail for a brief moment. The handloom, the bobbin, the reel, and the spinning-wheel keep right on as before.
KERSTIenters, and at once everything stops. A moment later theVERGERenters.
KERSTI. Is that you, grandfather?
VERGER. Yes, girl, I forgot something.
He picks up a large leather bag which he dropped on the bed at his first entrance.
He picks up a large leather bag which he dropped on the bed at his first entrance.
KERSTI. What have you there?
VERGER. I come from the sacristy, and I am taking home the numbers to be polished.
KERSTI. What numbers?
VERGER. Those that show the hymns you are to sing, don't you know?
KERSTI. Let me see!
VERGER. [Takes out of his bag a small black board, such as is found in every Swedish church; it has a number of nails on which are hung numbers made of brass] Here you can see.... What's the matter, sweetheart?
KERSTI. I don't know, grandfather, but I think I should never have come here....
VERGER. What talk is that, child?
KERSTI. There is mischief astir in this house....
VERGER. Oh, mercy, no...; No, my dear....
KERSTI. Oh, oh, oh! Everything has grown so strange all of a sudden....
VERGER. But how is this going to end, Kersti?
KERSTI. Yes, tell me, tell me!
VERGER. I must go now, child. I must go back to the church and get the crown so I can send it to a goldsmith. It has to be cleaned with cream of tartar....
KERSTI. All right, grandfather....
VERGER. It is for your sake the crown is to be cleaned—for your own sake, don't you know?...
[He goes out by the rear door.TheSOLDIERenters immediately afterward.
[He goes out by the rear door.
TheSOLDIERenters immediately afterward.
KERSTI. Is that you, father?
SOLDIER. Yes, it's only me. I want my chaco, which I left in here.
[He picks up the chaco.
[He picks up the chaco.
KERSTI. Oh, father, father, I am so unhappy....
SOLDIER. [Drily] What has happened?
KERSTI. Nothing!
SOLDIER. Why should you be unhappy, then?
KERSTI. You don't understand!
SOLDIER. [Brusquely, as he adjusts the chin-strap of the chaco] Come to your senses, child!
KERSTI. Don't go, father!
SOLDIER. The sorrows of love pass quickly—Come to your senses is my advice. Do come to your senses! [He goes out.
BRITAenters.
BRITAenters.
KERSTI. And what haveyouforgotten?
BRITA. I never forget anything.
KERSTI. What are you looking for?
BRITA. You!
KERSTI. How kindly!
BRITA. Yes, is it not?
KERSTI. You hateful thing!
BRITA. You hussy!
KERSTI. You—sister-in-law!
BRITA. Who knows?
KERSTI. Are you telling my fortune, you witch?
BRITA. Yes—a rope!
KERSTI. Should not be mentioned in the house of a hanged man!
BRITA. [Goes to the bag attached to the end of the flour chute] Now I shall tell your fortune! You get the mill, and the grist will be accordingly. [She takes from the bag a handful of black mould out of which she forms a small mound on the floor; then she says]
"Vagrant womenGrind for their menMeal out of mouldAs only food."[1]
KERSTI. A witch you are, indeed!
BRITA. Yes, and one who can find buried treasures! Perhaps you will let me find a little treasure for you?
KERSTI. Take care, you witch! Have you no shame? It's mortal sin you are practising now! You should be burned by fire, for I am sure you would float if thrown in the water!
BRITA. [Taking a pinch of mould from the bag and pouring it onKERSTI'Shead] To the dust I wed you, and a crown of dirt shall you wear, so that your shame may find you out!
KERSTI. Fie on you! Fie!
VOICE. [Like that of a small child, repeats after her] Fie!
KERSTI. Who was that?
VOICE. Who was that?
BRITA. Guess!—That was the Mocker!
KERSTI. Who is the Mocker?
VOICE. The Mocker!
BRITA. The Mocker is the Mocker. Don't you know the Mewler?
KERSTI. The Mewler, you say? What have I got to do with that one?
VOICE. With that one!
BRITA. The wages of sin is death!
KERSTI. [Calling through the door] Mats!
VOICE. Mats!
KERSTI. [In despair] Oh! Oh! [She unfastens one of her red garters and ties it about her own neck] Let me die! Let me die!
BRITA. You shall have your wish!
KERSTI. Hang me to a tree!
VOICE. To a tree!
BRITA. Not I!
MATS. [Is heard singing outside] "Kersti dear, is baby asleep?"
BRITA. "Far in the forest!" Fie on you! [She goes out.
MATS. [Enters, looking very happy] "Far, far, in the forest!" [He comes up behindKERSTIand puts his hands over her eyes] Guess who it is!
KERSTI. Oh, you hurt me!
MATS. [Taking hold of the garter which is still about the neck ofKERSTI] What kind of necklace is this?
KERSTI. Let go!
MATS. [Pulling playfully at the garter] Now I have you! Now you are my prisoner, my dove, my goat that I bought for a groat! [He leads her about by the garter] My little white kid! My little pet cow! [Singing] "Come, cosset, cosset, cosset! Come, cosset, cosset!"
KERSTI. Yes, you can be happy, Mats!
MATS. I am, and guess why?
KERSTI. Can't any longer!
MATS. Because I met the midwife, and she brought word of the little one.
KERSTI. Did she?
MATS. She did! He's sleeping, she said, so quietly, so quietly.
KERSTI. Oh!
MATS. Far in the forest!—What's that in your hair?
KERSTI. Mould.
MATS. Have you been buried?
KERSTI. Yes, already!
MATS. [Brushing the mould out of her hair] Ugh! Who did that?
KERSTI. Can't you tell?
MATS. Brita with the evil eye?
KERSTI. Can't you blind it?
MATS. Not I! The only one who can is Jesus Christ!
A church-bell sounds the call to even-song.
A church-bell sounds the call to even-song.
KERSTI. Fray for me!
MATS. One must do that for oneself.
KERSTI. But suppose you can't?
MATS. You can if your conscience is clear.
KERSTI. But whenisit?
MATS. Do you hear the even-song bell?
KERSTI. No!
MATS. But I do; so you must hear it, too.
KERSTI. I don't, I don't! Alas the day!
MATS. Can you hear the rapids?
KERSTI. The roar of the rapids, the beat of the flail, the tinkle of cowbells—but of holy bells not a sound!
MATS. That's a bad sign! I remember when the bells were rung at the burial of our former sheriff—we could see them move, but not a sound was heard. A bad sign!
KERSTI. Brita put a spell on me!
MATS. It will be worst for herself.
KERSTI. Come to the pasture! I must see the sun!
MATS. I will—Kersti dear!
KERSTI. Oh!
MATS. [Putting his arms about her and pressing her head to his breast] Oh!
Curtain.
[1]Part of an old saw, the rest of which reads as follows: "when it was spanked for licking up the cream."
[1]Part of an old saw, the rest of which reads as follows: "when it was spanked for licking up the cream."
THIRD SCENE
The eve of the wedding. The house ofKERSTI'Sparents.Above the door in the rear hangs a smalt tin plate on which are painted theSOLDIER'Sregimental number and the coat-of-arms of Dalecarlia. There is a window on either side of the door, both filled with potted plants. The floor is of pine boards, full of knot-holes and nail-heads, but scrubbed immaculately dean.Half-way down the left wall is an open fireplace with a hood. On the same side, nearer the footlights, stands a wooden seat covered with brightly coloured home-made draperies.Against the opposite wall stands a chest of drawers surmounted by a mirror, over which a white veil has been draped. A pair of candlesticks and a few simple ornaments are arranged in front of the mirror. A table and a wooden seat are placed between the chest and the footlights. On the wall above this seat hangs theSOLDIER'Sold-fashioned musket, with stock of birch wood, stained yellow, red leather sling, and percussion-lock. His chaco, cartridge-case, and white bandoleer with bayonet are grouped around the musket. Below appears a portrait of King Charles XV of Sweden in full uniform.A landscape with stacks of sheaves in the fields can be seen through the windows and the open door in the rear.When the curtain rises, a maid servant is at work by the fireplace scouring and polishing copper pans, iron pots, and coffee-kettles.TheVERGERis seated at the table on the right-hand side engaged in polishing the brass numbers of the hymn-board, which is lying on the table beside him. There lies also the collection-bag of red velvet with embroideries in silver and a small bell attached to the bottom of it for the rousing of sleeping worshippers.TheSOLDIER,in undress uniform and forage-cap, is seated at the same table, looking over some papers on which he is making notes with a pencil, the point of which he wets from time to time.LIT-KARENandLIT-MATSstand beside the table, with their chins resting on the edge of it, watching theVERGER.Their eyes are agog, and their fingers in their mouths. TheVERGERsmiles at them and strokes their hair from time to time. TheMOTHERis standing by the fireplace drying a couple of towels. As the curtain rises, the merry singing of girls is heard from the outside, but the atmosphere in the room is oppressive, and everybody is trying to lose himself in what he has at hand, forgetful of the rest.
The eve of the wedding. The house ofKERSTI'Sparents.
Above the door in the rear hangs a smalt tin plate on which are painted theSOLDIER'Sregimental number and the coat-of-arms of Dalecarlia. There is a window on either side of the door, both filled with potted plants. The floor is of pine boards, full of knot-holes and nail-heads, but scrubbed immaculately dean.
Half-way down the left wall is an open fireplace with a hood. On the same side, nearer the footlights, stands a wooden seat covered with brightly coloured home-made draperies.
Against the opposite wall stands a chest of drawers surmounted by a mirror, over which a white veil has been draped. A pair of candlesticks and a few simple ornaments are arranged in front of the mirror. A table and a wooden seat are placed between the chest and the footlights. On the wall above this seat hangs theSOLDIER'Sold-fashioned musket, with stock of birch wood, stained yellow, red leather sling, and percussion-lock. His chaco, cartridge-case, and white bandoleer with bayonet are grouped around the musket. Below appears a portrait of King Charles XV of Sweden in full uniform.
A landscape with stacks of sheaves in the fields can be seen through the windows and the open door in the rear.
When the curtain rises, a maid servant is at work by the fireplace scouring and polishing copper pans, iron pots, and coffee-kettles.
TheVERGERis seated at the table on the right-hand side engaged in polishing the brass numbers of the hymn-board, which is lying on the table beside him. There lies also the collection-bag of red velvet with embroideries in silver and a small bell attached to the bottom of it for the rousing of sleeping worshippers.
TheSOLDIER,in undress uniform and forage-cap, is seated at the same table, looking over some papers on which he is making notes with a pencil, the point of which he wets from time to time.
LIT-KARENandLIT-MATSstand beside the table, with their chins resting on the edge of it, watching theVERGER.Their eyes are agog, and their fingers in their mouths. TheVERGERsmiles at them and strokes their hair from time to time. TheMOTHERis standing by the fireplace drying a couple of towels. As the curtain rises, the merry singing of girls is heard from the outside, but the atmosphere in the room is oppressive, and everybody is trying to lose himself in what he has at hand, forgetful of the rest.
GIRLS. [Singing outside; see musical appendix, Melody No. 14]
"When I was a little lassie, herding on the hill,One day I lost the bell-cow and Gossamer, too.I stood upon a rock and called and cried with a will,Till I heard Gossamer begin to mooIn a pasture far, far away.'Hush,' said Pine-tree,'She will surely find thee,'Hemlock told me not to stumble;Willow asked me not to grumble;Birch-tree said I could not hope to miss a spanking."
SOLDIER. [Looks up from his work and remarks phlegmatically to theMOTHER] Say, Mother!
MOTHER. We-ell?
SOLDIER. Was it three quarters we got off the place last year?
MOTHER. Yes, that's right.
VERGER. Haven't the girls come out of the bath yet?
MOTHER. No.... This business of the wedding takes a lot of people.... We should be bringing in the oats.... And it will soon be time to pick berries....
VERGER. Yes, the dog-days are most over. You can see it on the flies; they're kind of drowsy.... Will there be a lot of berries this year?
MOTHER. Yes. [Silence.
SOLDIER. Will those girls never come back?
MOTHER. I don't know what can be keeping them so long.
SOLDIER. It's hot.
VERGER. It must be bad in camp.
SOLDIER. Well, it isn't so very hard on the infantry....
VERGER. You were lucky to get leave.
SOLDIER. I guess I was!
MOTHER. Now they are coming.
SOLDIER. Did you see that they had something to eat and drink?
MOTHER. Yes, right in the bath, and plenty of it. [Silence.
The girls are heard outside, talking and laughing.KERSTIenters first, white-faced, with her wet hair streaming down her back. She is followed byBRITA,ANNA,and the four bridesmaids,ELSA,RICKA,GRETA,andLISA.The maids are carrying jars and wine-glasses which they put down by the fireplace.KERSTI,BRITA,andANNAcarry long bath-towels with coloured borders, which they hang up by the door.TheMOTHERputs a chair in the middle of the floor and makesKERSTIsit on it.KERSTI'Shair having first been carefully dried with towels, theMOTHERbegins to comb it. The maids duster on the bench at the left.BRITAseats herself so that she can stare atKERSTI.No greetings are exchanged, and no emotion of any hind is shown.
The girls are heard outside, talking and laughing.KERSTIenters first, white-faced, with her wet hair streaming down her back. She is followed byBRITA,ANNA,and the four bridesmaids,ELSA,RICKA,GRETA,andLISA.The maids are carrying jars and wine-glasses which they put down by the fireplace.KERSTI,BRITA,andANNAcarry long bath-towels with coloured borders, which they hang up by the door.
TheMOTHERputs a chair in the middle of the floor and makesKERSTIsit on it.KERSTI'Shair having first been carefully dried with towels, theMOTHERbegins to comb it. The maids duster on the bench at the left.BRITAseats herself so that she can stare atKERSTI.No greetings are exchanged, and no emotion of any hind is shown.
MOTHER. Give me the mirror.
KERSTI. Don't! I don't want any mirror.
BRITA. You ought to look at yourself, as you won't let anybody else see you.
KERSTI. What do you mean?
BRITA. Hard to tell, isn't it?—Nice hair you've got. Can I have it, if it should come off?
KERSTI. No, you can't!
MOTHER. What would you do with it?
BRITA. Watch-chain for Mats.
MOTHER. [To her daughter] Won't you let Mats have it?
KERSTI. No, I won't!
BRITA. [Taking from her skirt-bag the same piece of work on which she was employed in the previous scene] I'll never be able to match the colour.
KERSTI. You can have it when I am dead.
BRITA. That's a promise, but will you keep it?
KERSTI. I will! [Silence.
SOLDIER. Say, Mother.... Please keep quiet a while, children.... Do you know if the sergeant has been asked?
MOTHER. Vesterlund? Of course!
SOLDIER. It's to be at four o'clock in the church, isn't it?
MOTHER. That's right.
SOLDIER. [Putting his papers together] Then I'll go and see the Pastor now.... And I'll go right on to the sexton.... [To himself] Hm-hm! That was that! Hm-hm!
[He goes out pensively without greeting anybody. Silence.
[He goes out pensively without greeting anybody. Silence.
VERGER. Now, my dears, I hope you won't touch anything.
LIT-KAREN. I'll look after Lit-Mats and see that he doesn't.
VERGER. So you're going to look after him, are you?
MOTHER. Where are you going, father?
VERGER. To the store to get the crown, which should be back from the city by this time.
BRITA. [Sneeringly] Oh—the crown!
VERGER. [Rising] The goldsmith has had it, you know—to clean it with cream of tartar. That's what you do with silver: you boil it in cream of tartar.
BRITA. [As before] Ha-ha!
MOTHER. [To theVerger] Wait a moment, and I'll go along to the store.
VERGER. Is it safe to leave the children alone?
BRITA. What do you fear might happen?
MOTHER. Why, they are grown-up people!
BRITA. And Kersti likes to be alone for that matter. She can't stand having anybody look at her....
MOTHER. Now, now!
BRITA. When she is bathing, she doesn't want any company at all. But, of course, she's grown-up, so she doesn't have to be afraid....
KERSTIis turning and twisting to escape the stare ofBRITA.
KERSTIis turning and twisting to escape the stare ofBRITA.
MOTHER. Keep still, girl!
BRITA. No, she's no longer any child. She's outgrown that, and a lot more. Perhaps the crown won't fit her even? Have you tried it on?
VERGER. [Quietly] That's what we are going to do in a little while.
He goes out accompanied by theMOTHER.Silence.KERSTIseats herself at the table on the right-hand side and begins to play with the brass numbers.
He goes out accompanied by theMOTHER.Silence.
KERSTIseats herself at the table on the right-hand side and begins to play with the brass numbers.
BRITA. [PursuingKERSTIwith her stare] A merry wedding eve, isn't it?
KERSTI. Do you want to play games?
BRITA. We might play "papa and mamma and the children."
KERSTI. Would you like to guess riddles?
BRITA. I have already guessed....
KERSTI. Or sing?
BRITA. "Hush-a-bye, baby," I suppose you mean?... No, let us read the Bible.
KERSTI. The Bible, you say?
BRITA. Yes—Genesis, thirty-fourth and eight.
KERSTI. About Shechem, you mean?
BRITA. Exactly, and about Dinah, for whom his heart was longing.... Do you know who Dinah was?
KERSTI. She was the daughter of Jacob and Leah.
BRITA. That's right. And do you know what she was?
KERSTI. Is that a riddle?
BRITA. Not at all. Do you know what she was?
KERSTI. No.
BRITA. She was a little—spoiled!
KERSTI. Is that a play on words?
BRITA. More than that!
KERSTIlets her head fall forward as if wishing to hide her face.
KERSTIlets her head fall forward as if wishing to hide her face.
BRITA. Do you understand? [Pause] Is Mrs. Larsson the only oneyouhave asked?
KERSTI. Have I asked?... The midwife, you say?
BRITA. Well, so she says.
KERSTI. Then she is lying!
BRITA. As midwife she has been sworn, although I couldn't tell whether her oath be false or fair. Just now she swears that she doesn't lie.
KERSTIlets her head droop again.
KERSTIlets her head droop again.
BRITA. Hold up your head! Can't you look people in the face?
KERSTI. [To the other girls] Say something, girls! [Silence.
BRITA. It's hard to say anything when one has seen nothing. But nevertheless—one knows what one knows!
SHERIFF. [Appearing in the doorway] I am making free It won't matter if an old fellow like me gets in to the girls—although the boys have to keep out!
BRITA. [Shaking her fist in the face ofKERSTI] But you'll never wear the crown!
KERSTI. You don't say!
BRITAgoes out.TheSHERIFFpulls up a chair and sits down besideKERSTI.The girls sneak out of the room one by one.LIT-MATSstays behind, clinging to the skirt ofKERSTI.It is plain that the intentions of theSHERIFFare kindly, and so are his words, but the more discreet he tries to be, the more awkward he becomes, and so all his words assume an ambiguous meaning.
BRITAgoes out.
TheSHERIFFpulls up a chair and sits down besideKERSTI.
The girls sneak out of the room one by one.LIT-MATSstays behind, clinging to the skirt ofKERSTI.
It is plain that the intentions of theSHERIFFare kindly, and so are his words, but the more discreet he tries to be, the more awkward he becomes, and so all his words assume an ambiguous meaning.
SHERIFF. [Taking one ofKERSTI'Shands and looking her straight in the eyes] What sort of a bride is this, looking so sad when she is getting her heart's desire? What is the matter?
KERSTI. With what?
SHERIFF. Is that the way to answer an old friend who will be a kinsman by this hour to-morrow? There is more than one lass who envies you, and who would like to get to the altar ahead of you to-morrow.
KERSTI. Maybe there is.
SHERIFF. And there is the new life ahead of you, in mill and kitchen. No more running about in the woods, where "birches nod in the blowing breeze." No more dancing in the barns on Saturday nights. You'll be busy 'tending your pots, and watching the cradle, and having the meals on the table when Mats comes home, and—keeping an even temper when the dark days arrive—for after sunshine there is sure to be a little rain. Does it scare you to find life so serious, dear? It isn't as bad as it looks. It merely helps to make life kind of solemn.
KERSTI. Oh!
SHERIFF. What are you oh-ing about, girl?—There seems to be something in the air that has no place in the thoughts of a young girl—something amiss. Now, my dear, let me see if I can't straighten it out. [Jestingly] The guardian of the law knows how to get the truth out of all sorts of people. What's on your mind, dear? Has Mats been nasty to you?
KERSTI. Oh, mercy!
SHERIFF. Has the family been playing the high-and-mighty? What have you to do with the family anyhow?
LIT-MATSclimbs into the lap ofKERSTI,puts his arms about her, nestles up to her as close as he can get, and falls asleep.
LIT-MATSclimbs into the lap ofKERSTI,puts his arms about her, nestles up to her as close as he can get, and falls asleep.
SHERIFF. Look at that little chap now! He likes his sister-in-law, and that's a good sign. Children always know their real friends. Are you fond of children, Kersti?
KERSTI. [Suspiciously] Why do you ask?
SHERIFF. That's not the right kind of an answer!... Don't you think it's nice to have a little thing like that—to hold it on your lap and feel how it trusts you—just as if there could never be any harm or deceit in the bosom that shelters it.... I think he's falling asleep. Helpless as he is, he's not afraid of trusting his sleep to a stranger—who means nothing but well by him, I am sure.
KERSTI. Have you seen anything of Mats?
SHERIFF. He was busy with the boys making the mill ready for the dance to-morrow. [Silence] It's some time since we saw a crown bride in this place.
KERSTI. Is that so?
SHERIFF. Yes, indeed. The old ways are gone, and new ones have come in—from the cities and the camps....
KERSTI. [Pertly] They used to blame the fellows who came to buy the timber.
SHERIFF. Yes, but if it hadn't been for them, there would have been no mill....
KERSTI. They are always putting the blame on somebody else....
SHERIFF. You are getting a nice husband, Kersti....
KERSTI. Yes, he's fine—too fine for me!
SHERIFF. That's a bitter answer to a kind word!
KERSTI. There was nothing bitter about it—nothing but the truth....
SHERIFF. Why should it be so hard for us to understand each other? It looks almost as if you didn't want us to be friends?
KERSTI. Why do you think so?
SHERIFF. What is well meant, you take badly, and the other way around. Well—that happens frequently when there is something amiss.
KERSTI. What's amiss?
SHERIFF. I don't know.
KERSTI. Neither do I, but it isn't customary to say things like that to a young girl.
SHERIFF. Now, now!—Where there's no sick conscience, you don't have to walk in your stocking feet—but, but, but....
KERSTI. Has the examination begun already?
SHERIFF. I didn't mean....
KERSTI. The—"guardian of the law" doesn't know how to talk to ladies.
SHERIFF. [Sharply] Kersti!
KERSTI. What is it?
SHERIFF. [Looking hard at her] What do you mean?KERSTI. What do you mean yourself?
SHERIFF. Lo and behold! That's just the kind of questions asked bymyladies when they want to find out whether I know anything.
KERSTI. What could there be to know?
SHERIFF. Whew—is the wind in that corner? Well, well! [Silence] Well—I guess I'll be going! Yes, I had better be going!
He goes out by the rear door, stepping very softly and putting his forefinger across his lips as if meaning to enforce silence on himself.KERSTI,left alone, kisses the head of the sleepingLIT-MATS.MATSappears at the right-hand window.The twilight has come, but it is the lingering, luminous twilight of the northern summer night.
He goes out by the rear door, stepping very softly and putting his forefinger across his lips as if meaning to enforce silence on himself.
KERSTI,left alone, kisses the head of the sleepingLIT-MATS.
MATSappears at the right-hand window.
The twilight has come, but it is the lingering, luminous twilight of the northern summer night.
MATS. Hey!
KERSTI. Mats! Oh, come here!
MATS. I mustn't come in—I have promised.
KERSTI. Yes, do!
MATS. No, no!—Is the little one asleep?
KERSTI. This one—yes!—Hush! Hush!
A bugle-call is faintly heard in the distance. It is the summons to evening service in the camp of the regiment to whichKERSTI'Sfather belongs. (See the musical appendix, Melody No. 15.)
A bugle-call is faintly heard in the distance. It is the summons to evening service in the camp of the regiment to whichKERSTI'Sfather belongs. (See the musical appendix, Melody No. 15.)
KERSTI. [Scared] Are they hunting again?
MATS. No, who would be hunting at this time of day?
KERSTI. What is it?
MATS. A soldier's daughter you are, and don't know!
KERSTI. Tell me!
MATS. That's at the camp, you know. They are calling them to evening prayers.
KERSTI. Of course—but everything seems strange and confused!
MATS. Come to the window, Kersti.
KERSTI. I think.... I'll just put the little one away.
MATS. The little one, you say?
KERSTI. [Rises very carefully and carriesLIT-MATSto the bench by the fireplace, where she pulls him down and covers him up] Hushaby, hushaby!
The singing of a hymn in unison is heard from the camp.KERSTIkneels beside the bench and tries to pray, bid merely wrings her hands in despair. At last she kisses the shoes of the sleeping child, struggles to her feet, and goes to window.
The singing of a hymn in unison is heard from the camp.KERSTIkneels beside the bench and tries to pray, bid merely wrings her hands in despair. At last she kisses the shoes of the sleeping child, struggles to her feet, and goes to window.
MATS. There is something nice about children, isn't there?
KERSTI. Yes—yes!
MATS. Are you alone?
KERSTI. Yes, they left! Hating me—all of them!
MATS. To-morrow is our wedding-day!
KERSTI. Yes—think of it!
MATS. Yes, think of it—to-morrow is our wedding-day!
KERSTI. And I shall be living in the mill!
MATS. In the mill with me!
KERSTI. Till death us do part!
MATS. Which won't be soon!
KERSTI. Oh!
Curtain.
FOURTH SCENE
The wedding. The living-room at the mill has been cleared for the occasion. The big doors in the rear stand wide open. Through the doorway is seen a large loft, where a number of tables have been spread for the impending feast, of which coffee is to form one of the principal features. The shutters covering the rectangular opening to the left of the main doorway are also open, disclosing a table with several candlesticks on it. On this table the fiddlers subsequently take up their position.The opening to the water-wheel appears to the right of the main door. The hand-loom, the bobbin, the reel, and the spinning-wheel have disappeared.On the floor, beneath the place reserved for the fiddlers, stands the "old men's table," with a full equipment of jugs, mugs, pipes, and playing-cards.A number of chairs and benches occupy the middle of the floor, and on these are spread clean white sheets, pillow-cases, and towels for drying.As the curtain rises, six servant-girls are busily grinding coffee on as many hand-mills, while from the outside are heard the ringing of church-bells and a bridal march played on violins. When the coffee is ground, the girls begin to gather up the linen and sing while they are doing so.GIRLS. [Singing; see musical appendix, Melody No. 16]
The wedding. The living-room at the mill has been cleared for the occasion. The big doors in the rear stand wide open. Through the doorway is seen a large loft, where a number of tables have been spread for the impending feast, of which coffee is to form one of the principal features. The shutters covering the rectangular opening to the left of the main doorway are also open, disclosing a table with several candlesticks on it. On this table the fiddlers subsequently take up their position.
The opening to the water-wheel appears to the right of the main door. The hand-loom, the bobbin, the reel, and the spinning-wheel have disappeared.
On the floor, beneath the place reserved for the fiddlers, stands the "old men's table," with a full equipment of jugs, mugs, pipes, and playing-cards.
A number of chairs and benches occupy the middle of the floor, and on these are spread clean white sheets, pillow-cases, and towels for drying.
As the curtain rises, six servant-girls are busily grinding coffee on as many hand-mills, while from the outside are heard the ringing of church-bells and a bridal march played on violins. When the coffee is ground, the girls begin to gather up the linen and sing while they are doing so.
GIRLS. [Singing; see musical appendix, Melody No. 16]
"Dillery-deering!Twelve in the clearing:Twelve men glare at me,Twelve swords flare at me.Kine they are slaughtering;Sheep they are quartering;Naught but my life they're leaving:Dillery-deering!"
"Dillery-deering!Twelve in the clearing:Twelve men glare at me,Twelve swords flare at me.Kine they are slaughtering;Sheep they are quartering;Naught but my life they're leaving:Dillery-deering!"
The bridal procession is drawing near. The girls put the benches and chairs where they belong and go out with their burdens of linen.The stage is left empty for a few moments, all the sounds previously heard having died out.Then the song of theNECKis heard from the water-wheel, while he himself remains unseen.
The bridal procession is drawing near. The girls put the benches and chairs where they belong and go out with their burdens of linen.
The stage is left empty for a few moments, all the sounds previously heard having died out.
Then the song of theNECKis heard from the water-wheel, while he himself remains unseen.
NECK. [Singing outside] "I am hoping, I am hoping, that my Redeemer still liveth."
The trap-door in the floor is raised and theMEWLERascends from the hole: a blurred mass of white veils beneath which the outlines of a small infant in long clothes are barely discernible. This apparition remains hovering above the opening in the floor.Then the bridal march is again heard outside. The song of theNECKceases, and theMEWLERdisappears, the trap-door falling back into its wonted position.The bridal procession enters the room. First come the fiddlers, then the bridesmaids and bridesmen. After these come the bride and the groom, and then follow thePASTOR,the parents of the couple, the members of both families, friends, and young people. Everybody seems depressed, and the entrance is made in gloomy silence.The bride is led to a chair in the middle of the floor, placed so that she must face the trap-door in the floor. She is very pale and does not look up at all. The guests pass in front of her as in review. Now and then one stops and says a few words to her. Little by little they disappear into the loft in the rear.
The trap-door in the floor is raised and theMEWLERascends from the hole: a blurred mass of white veils beneath which the outlines of a small infant in long clothes are barely discernible. This apparition remains hovering above the opening in the floor.
Then the bridal march is again heard outside. The song of theNECKceases, and theMEWLERdisappears, the trap-door falling back into its wonted position.
The bridal procession enters the room. First come the fiddlers, then the bridesmaids and bridesmen. After these come the bride and the groom, and then follow thePASTOR,the parents of the couple, the members of both families, friends, and young people. Everybody seems depressed, and the entrance is made in gloomy silence.
The bride is led to a chair in the middle of the floor, placed so that she must face the trap-door in the floor. She is very pale and does not look up at all. The guests pass in front of her as in review. Now and then one stops and says a few words to her. Little by little they disappear into the loft in the rear.
MATS. [ToKERSTI] Now the worst is over, Kersti.
[He goes out.
[He goes out.
BRITA. [Heading the bridesmaids, toKERSTI] You have got the crown—see that you keep it! [She and the maids go out.
KERSTI'S MOTHER. [Making sure that the crown is on straight] Keep your back straight and your head high, girl!
[She goes out.
[She goes out.
SOLDIER. [ToKERSTI] God bless you! [Goes out.