VERGER. [ToKERSTI] And protect you! [Goes out.
MATS'S GRANDFATHER. [ToKERSTI] Comely you are as I am homely! [Goes out.
MATS'S MOTHER. [ToKERSTI] Your new family bids you welcome! [She goes out.
MATS 'S FATHER. [ToKERSTI]Mydaughter now—the old ties have been loosed! [He goes out.
SHERUT. [ToKERSTI] Why so pale? What draws all the blood to your heart? What is weighing on it?
KERSTI. [Raising her head at last to give theSHERIFFa furious look] Nothing!
SHERIFF. So little is a lot!
KERSTI. Go!
SHERIFF. When you ride, I'll go ahead of you—but we won't be headed for the same place. When you kneel, I shall be standing, but the cold steel you'll taste won't be in my hands.
KERSTI. Oh, I wish you'd break your neck!
SHERIFF. [Putting the palm of his hand on her neck] Take care of your own! [He goes out.
The rest ofMATS'Srelatives file past her, greeting her coldly.The fiddlers have in the meantime taken their places, and several old men have sat down at the table reserved for them and begun to smoke. Now the fiddlers strike up an old Swedish polka. (See the musical appendix, Melody No. 17.)At the same time theNECKbegins to play the melody heard in the first scene, but so powerfully that it sounds like two violins. (See musical appendix, Melody No. 18.)As soon as the dance music is heard, cries of"Off with the crown!"are raised, first in the loft, and then in the living-room.KERSTIbecomes alarmed.ThePASTORgoes up to her.
The rest ofMATS'Srelatives file past her, greeting her coldly.
The fiddlers have in the meantime taken their places, and several old men have sat down at the table reserved for them and begun to smoke. Now the fiddlers strike up an old Swedish polka. (See the musical appendix, Melody No. 17.)
At the same time theNECKbegins to play the melody heard in the first scene, but so powerfully that it sounds like two violins. (See musical appendix, Melody No. 18.)
As soon as the dance music is heard, cries of"Off with the crown!"are raised, first in the loft, and then in the living-room.
KERSTIbecomes alarmed.
ThePASTORgoes up to her.
FIDDLERS. [Crying, as they become aware of the playing of theNECK] Who is cutting in?
ALL. [Repeat without looking at the water-wheel or knowing from whence the strange music is heard] Who is cutting in?
Then theNECKceases playing, while the fiddlers continue. ThePASTORtakes the bride by the hand and begins to lead her around the room in a stately and solemn manner. Just as he puts his arm aboutKERSTI'Swaist in order to open the dance with her theNECKbegins to play again.
Then theNECKceases playing, while the fiddlers continue. ThePASTORtakes the bride by the hand and begins to lead her around the room in a stately and solemn manner. Just as he puts his arm aboutKERSTI'Swaist in order to open the dance with her theNECKbegins to play again.
KERSTI. [Dropping the crown, which rolls into the mill-race] Jesus Christ!
All the people in the living-room get on their feet and cry: "The crown's in the mill-race!"Those in the rear room shout back: "What's up?"Those in the living-room repeat: "The crown's in the mill-race!"The fiddlers suddenly stop their playing. The whole place is in wild commotion.
All the people in the living-room get on their feet and cry: "The crown's in the mill-race!"
Those in the rear room shout back: "What's up?"
Those in the living-room repeat: "The crown's in the mill-race!"
The fiddlers suddenly stop their playing. The whole place is in wild commotion.
MATS. [Appearing in the doorway] We must look for it!
ALL. We must look for it!
PASTOR. God help us and protect us!
ALL. God help us and protect us!
SHERIFF. Let us look for it!
ALL. Let us look for it!
MATS. Yes, let's look!
All disappear by the rear door, leavingKERSTIalone on the stage. She seats herself on the same chair as before. In the meantime the stage has gradually been darkened.The water-wheel begins to turn.
All disappear by the rear door, leavingKERSTIalone on the stage. She seats herself on the same chair as before. In the meantime the stage has gradually been darkened.
The water-wheel begins to turn.
NECK. [Appears in the wheel with his harp, and sings]
"Stilled are the waters, dark grows the sky:Dark grows the sky.Once in the world of the ages I lived,Blessed by the sun.Gone is the light,Conquered by night.Deep is my sin,Black as the tarn.Joy there is none;Plenty of woe.Torture and Shame must I name my abode:O!"
When theNECKbegins to sing, the trap-door flies open right at the feet ofKERSTI,and theMEWLERappears as before.At firstKERSTIstares at the apparition with horror. Then she seizes it and presses it to her breast.TheNECKstops his song and disappears. Instead the voice of a child (theMOCKER)is heard from the opening in the floor.
When theNECKbegins to sing, the trap-door flies open right at the feet ofKERSTI,and theMEWLERappears as before.
At firstKERSTIstares at the apparition with horror. Then she seizes it and presses it to her breast.
TheNECKstops his song and disappears. Instead the voice of a child (theMOCKER)is heard from the opening in the floor.
MOCKER. Cold is the river; warm is my mother's bosom. Nothing you gave me in life: in death I take what is mine!
KERSTI. [Who has been rocking theMEWLERon her arm,puts a hand to her breast as if feeling acute pain] Oh, help! Save me!
MIDWIFE. [Trips in fussily] Here I am! Here I am! Mustn't take on like that! [She takes theMEWLERfromKERSTIand drops it through the hole in the floor] I know how to handle little ones! I help them into the world and out of it.... And I got to the wedding after all!
BRITAhas in the meantime appeared where the fiddlers were seated before, and she has seen theMIDWIFEhide something under the floor.
BRITAhas in the meantime appeared where the fiddlers were seated before, and she has seen theMIDWIFEhide something under the floor.
MIDWIFE. The Neck was also asked, I understand. Did he come?
KERSTI. What will you take to get out of here?
MIDWIFE. What you have lost!
KERSTI. You mean the crown?
MIDWIFE. Not exactly.... Hush! I think I heard somebody!... Then I'll hide in the fireplace for a while.... I got here after all, as you see!
She steps into the fireplace and closes the iron shutters behind her.
She steps into the fireplace and closes the iron shutters behind her.
BRITA. [Enters and goes up toKERSTI] Now it's you or me!
KERSTI. You, then!
BRITA. A present is waiting for you.
KERSTI. Let's see!
BRITA. Bracelets—but not from me! [Silence] Bracelets of steel! [She places herself on the trap-door] Now my foot is on your head and on your heart! Now I shall stamp your secret out of the earth, or the water, or the fire—wherever it may be! [Silence] Now I shall have your hair for my watch-chain, which is not what it seems. Where is the Midwife? Where is the guest of honour at this virginal wedding? You stole the crown, and the Neck stole it from you. You have stolen the mill, but it will be returned. Shechem's Dinah has proved not only spoiled, but soiled! The little one is asleep, not in the forest, but in the river! You have put my brother to shame, and our whole family, and the name that we bear! And now you shall die!
KERSTI. [Submissively] I am dead! I have been dying for days.... Are you satisfied now?
BRITA. No, you shall go on dying for days to come! You shall die for perjury, falsehood, murder, theft, slander, deceit! You shall die six times over! And when you really die the seventh time, it will seem so only! You shall not rest in consecrated ground! You shall have no black coffin with stars of silver on it! You shall have no spruce strewn and no bells rung....
KERSTI. I suppose not!
BRITA. Therefore [Heavy steps are heard outside] Do you hear those steps? Count them! [She counts in time with the approaching steps of theSHERIFF] One, two, three, four, five, six....
TheSHERIFFenters from the rear.BRITAgoes to him and whispers something in his ear.
TheSHERIFFenters from the rear.BRITAgoes to him and whispers something in his ear.
SHERIFF. It's here, you say?
BRITA. Not the crown, I guess!
SHERIFF. Something else, then! [He raises the trap-door and looks down] No, it is not the crown! Poor Kersti! Did you put it there?
KERSTI. I did not!
SHERIFF. No?—Tell the truth!
KERSTI. I did not put it there!
BRITA. [Striking her on the mouth] The truth!
KERSTI. I did not put it there!
BRITA. [Putting her hand in theSheriff'spocket and taking out a pair of handcuffs] On with the bracelets!
SHERIFF. [ToBRITA] Born executioner—that's whatyouare! [He puts his hands to his face and weeps] God have mercy on us!
PASTOR. [Entering from the rear] Has it been found?
SHERIFF. Not that, but....
PASTOR. Say no more! I know.... [Putting his hands to his face and weeping] God have mercy on us!
SOLDIER. [Entering from the rear] Have you found the crown?
SHERIFF. Not that, but....
SOLDIER. Enough! I know....
[Begins to weep, with his hands to his face.
[Begins to weep, with his hands to his face.
KERSTI'S MOTHER. [Entering from the rear] Have you found the crown?
SHERIFF. No, no!
MOTHER. Oh!
She looks hard atKERSTI,who is holding out her hands to meet the handcuffs, whichBRITAputs on her.
She looks hard atKERSTI,who is holding out her hands to meet the handcuffs, whichBRITAputs on her.
MOTHER. [Screaming] Oh!
Snatching up a pair of shears, she cuts offKERSTI'Shair and throws it toBRITA,who catches it and sniffs at it as if enjoying its odour. TheMOTHERthen strips her daughter of the veil and other bridal ornaments. At last she throws a shawl over her head.
Snatching up a pair of shears, she cuts offKERSTI'Shair and throws it toBRITA,who catches it and sniffs at it as if enjoying its odour. TheMOTHERthen strips her daughter of the veil and other bridal ornaments. At last she throws a shawl over her head.
MATS. [Entering from the rear, stops in front ofKERSTIand looks at her in surprise] Who is that?
BRITA. Look well!
MATS. [Looking more closely atKERSTI] She reminds me of somebody!
BRITA. Look well!
MATS. I don't know her.
BRITA. Grant God you never had!
MATS. The eyes are different.... But the mouth—that sweet mouth—and the little chin.... No, it is not she! [He turns away fromKERSTIand catches sight of the open trap-door] What's that? You are standing here as if it were a grave....
BRITA. It is a grave!
MATS. Of what?
BRITA. Of everything—everything that made your life worth while!
MATS. That means the little one!—Who did it?
BRITA. [Pointing toKERSTI] She, and she, and she!
MATS. It is not true!
All who were in the room at the beginning and who left to look for the crown, have gradually returned, and are now crowded together in the background, no one saying a word or making the least noise.
All who were in the room at the beginning and who left to look for the crown, have gradually returned, and are now crowded together in the background, no one saying a word or making the least noise.
BRITA. It is true!
MATS. You liar!
SOLDIER. [ToBRITA] You liar born of liars!
MATS'S RELATIVES. [Gathering on the left side ofKERSTI] You liar born of thieves and liars! That's you!
KERSTI'S RELATIVES[Gathering on her right side] No, that's you!
PASTOR. Peace! Peace! In the name of the Lord!
ALL. Peace.
SHERIFF. No one must be condemned untried!
ALL. Let us hear!
SHERIFF. Who brings the charge?
ALL. Who brings the charge?
BRITA. I, Brita Lisa Larsson.
ALL. Brita Lisa Larsson brings the charge. Against whom?
BRITA. Against Kersti Margaret Hansdaughter.
ALL. Against Kersti Margaret Hansdaughter!—What is the charge?
BRITA. If bride be spoiled, the crown is forfeit!
KERSTI'S RELATIVES. And your evidence?
BRITA. Two witnesses make valid evidence.
MATS'S RELATIVES. Two witnesses make valid evidence!
KERSTI'S RELATIVES. We challenge them!
SHERIFF. No challenging without good cause!
BRITA. "If unmarried woman puts away child that comes to its death, the life of the mother shall be forfeit!"
MATS'S RELATIVES. Her life is forfeit!
KERSTI'S RELATIVES. [Drawing closer with menacing gestures] "Empty-headed men and meanly tempered never know that they are far from faultless."[1]—The fault is Mats's!
MATS'S RELATIVES. The fault is not Mats's!
KERSTI'S RELATIVES. The fault is his who did the deed!
MATS'S RELATIVES. [With raised fists] What deed? You had better ask Kersti!
KERSTI'S RELATIVES. Ask her!
SHERIFF. [ToKERSTI] Did you kill the child?
KERSTI. I did!
MATS'S RELATIVES. There you hear!
KERSTI'S RELATIVES. God have mercy!
MATS'S RELATIVES. Now you can hear!
MATShas been standing at the fireplace lost in thought, with his back to the rest. Suddenly he tears off everything that indicates his character of bridegroom. After a brief moment of hesitation, he leaps like mad on the table in the rear and disappears through the opening where the fiddlers were seated before.
MATShas been standing at the fireplace lost in thought, with his back to the rest. Suddenly he tears off everything that indicates his character of bridegroom. After a brief moment of hesitation, he leaps like mad on the table in the rear and disappears through the opening where the fiddlers were seated before.
PASTOR. [Who has been weeping silently, with his hands covering his face, goes to the open trap-door and says]
"To the deadGive peace, O Lord,And consoleThe living!"[2]
All bend their heads, shade their faces with one hand, and pray in silence, as the custom is when the Lord's Prayer is read in a Swedish church or at a grave.
All bend their heads, shade their faces with one hand, and pray in silence, as the custom is when the Lord's Prayer is read in a Swedish church or at a grave.
PASTOR. May the Lord bless you and protect you!
ALL. [With their faces buried in their hands] Amen!
Everybody leaves silently and sadly. WhenKERSTIalone remains, theSHERIFFlocks the doors in the rear. Then he fastens the shutters covering the opening where the fiddlers were seated.From the fireplace is heard a loud noise as of thunder.
Everybody leaves silently and sadly. WhenKERSTIalone remains, theSHERIFFlocks the doors in the rear. Then he fastens the shutters covering the opening where the fiddlers were seated.
From the fireplace is heard a loud noise as of thunder.
NECK. [Appears in the water-wheel with his fiddle and plays and sings as before] "I am hoping, I am hoping that thy Redeemer still liveth."
This he repeats several times, whileKERSTIis kneeling on the floor with her handcuffed arms raised toward heaven.TheCHILD IN WHITEenters from behind the fireplace with a basket full of spruce branches and flowers.TheNECKstops singing and disappears.TheCHILD IN WHITEstrews the spruce branches on the floor so that a green path is formed to the edge of the trap-door. When he has reached this, he drops flowers into the hole, from which the bell-like notes of the harmonica are heard.Unseen byKERSTI,he goes up to her, places his hands on her head and stands still with upturned face as if in prayer.The face ofKERSTI,which until then has shown deep despair, assumes an expression of quiet happiness.
This he repeats several times, whileKERSTIis kneeling on the floor with her handcuffed arms raised toward heaven.
TheCHILD IN WHITEenters from behind the fireplace with a basket full of spruce branches and flowers.
TheNECKstops singing and disappears.
TheCHILD IN WHITEstrews the spruce branches on the floor so that a green path is formed to the edge of the trap-door. When he has reached this, he drops flowers into the hole, from which the bell-like notes of the harmonica are heard.
Unseen byKERSTI,he goes up to her, places his hands on her head and stands still with upturned face as if in prayer.
The face ofKERSTI,which until then has shown deep despair, assumes an expression of quiet happiness.
Curtain.
[1]From the Poetic Edda: "The Song of the High One." See introduction.
[1]From the Poetic Edda: "The Song of the High One." See introduction.
[2]From the Poetic Edda: "The Song of the Sun." See introduction.
[2]From the Poetic Edda: "The Song of the Sun." See introduction.
FIFTH SCENE
The porch of a country church appears at the right in the foreground. It is brilliantly white, with a roof of black shingle. Near the entrance is a sort of pillory, at the foot of whichKERSTIlies in penitential garb, with the hood pulled forward to cover her face.A big lake, surrounded by a typical Dalecarlian landscape, forms the background. At the foot of the open place before the church is a boat-landing. A point of land projects into the lake at the right, and there stands the scaffold, consisting of a simple wooden platform with a block on it. Two soldiers, fully armed, stand "at ease" by the entrance to the porch, from within which an organ prelude is heard when the curtain rises.Two large "church-boats" (of the kind used on Lake Siljan in Dalecarlia) gliding slowly forward from opposite directions, arrive at the landing simultaneously. The rowers have raised their oars and appear to be disputing about the right of landing.MATS'S RELATIVESare in the boat at the left;KERSTI'S RELATIVESin the boat at the right.
The porch of a country church appears at the right in the foreground. It is brilliantly white, with a roof of black shingle. Near the entrance is a sort of pillory, at the foot of whichKERSTIlies in penitential garb, with the hood pulled forward to cover her face.
A big lake, surrounded by a typical Dalecarlian landscape, forms the background. At the foot of the open place before the church is a boat-landing. A point of land projects into the lake at the right, and there stands the scaffold, consisting of a simple wooden platform with a block on it. Two soldiers, fully armed, stand "at ease" by the entrance to the porch, from within which an organ prelude is heard when the curtain rises.
Two large "church-boats" (of the kind used on Lake Siljan in Dalecarlia) gliding slowly forward from opposite directions, arrive at the landing simultaneously. The rowers have raised their oars and appear to be disputing about the right of landing.
MATS'S RELATIVESare in the boat at the left;KERSTI'S RELATIVESin the boat at the right.
MATS'S RELATIVES. Look out, Mewlings!
KERSTI'S RELATIVES. Look out, millers!
MATS'S RELATIVES. [Raising their oars in menace] Look out!
KERSTI'S RELATIVES. [In the same way] Look out!
MATS'S RELATIVES. Can you match us with eight pairs?
KERSTI'S RELATIVES. With sixteen, if needs be! Come on!
MATS'S RELATIVES. At 'em! At 'em!
They begin to fight with the oars.
They begin to fight with the oars.
PASTOR. [Standing bareheaded in prow of the boat at the left] Peace! Peace in the name of the Lord Jesus Christ!
KERSTI'S RELATIVES. Peace!
MATS'S RELATIVES. War! War on life and death!
PASTOR. Peace!
MATS'S RELATIVES. War!
TheVERGERcomes running from the porch, seizes the bell-rope and begins to toll the bell.At the first stroke, all oars are lowered, the boats are brought to the landing and tied up side by side. ThePASTORis the first one to leave the boat at the left. He is followed byMATS,who carries a small white coffin trimmed with lace. Then the relatives and friends ofMATSgradually step on shore.TheSOLDIERleaves the other boat ahead of all the rest and is followed by his wife. Then come the relatives and friends ofKERSTI.The people on both sides adjust their clothing while throwing angry glances at their opponents.At lastMATSwith the coffin leads the way up to the church, followed by thePASTOR.
TheVERGERcomes running from the porch, seizes the bell-rope and begins to toll the bell.
At the first stroke, all oars are lowered, the boats are brought to the landing and tied up side by side. ThePASTORis the first one to leave the boat at the left. He is followed byMATS,who carries a small white coffin trimmed with lace. Then the relatives and friends ofMATSgradually step on shore.
TheSOLDIERleaves the other boat ahead of all the rest and is followed by his wife. Then come the relatives and friends ofKERSTI.
The people on both sides adjust their clothing while throwing angry glances at their opponents.
At lastMATSwith the coffin leads the way up to the church, followed by thePASTOR.
MATS. [Whose face shows intense despair, stops in front ofKERSTI] Here is the little one now. He's so light—as light as the mind of a bad woman. He's asleep—and soon you will be sleeping, too.
KERSTI. [Raising her head so that the hood falls back] O!
Mats. "O," indeed! It's the end, while A is the beginning. Between those two lie many letters, but the last one of all is O. Cry "O" again—the last time of all—so that the little one may hear it. He will tell the Lord and the Saviour, and ask them to forgive you! No? Well, kiss his white coffin then—kiss it where his small feet are resting—the small, small feet that never had a chance to tread this sinful earth! [KERSTIkisses the coffin] That's right! Now we'll take him into the church and play and sing and toll the bells over him—but no clergyman can read him into his grave—because of you! I will speak the words myself when we get to the grave. We'll plant him in the sod like a seed in order that he may sprout and grow into a winged blossom. Some day, perhaps, he will spread his wings and fly to heaven—lifted by the wind when the midsummer sun is shining!
PASTOR. [TakingMATSby the arm and drawing him toward the church] That's enough, Mats! Come now!
MATS. I am coming.
They disappear into the porch, followed gradually by the rest.
They disappear into the porch, followed gradually by the rest.
SOLDIER. [Stops in front ofKERSTI,shakes his head sadly and tries to find words] Well.... Well....
[He goes into the church.
[He goes into the church.
KERSTI'SMOTHER. [Speaking drily, with a vain attempt to show emotion] Yes, here we are now!—Was it bad in the Castle?
KERSTIshakes her head.
KERSTIshakes her head.
MOTHER. Is there anything you want? To eat or drink—you can have it now, you know.... Did they give you any tobacco while you were in the Castle?
KERSTIshakes her head.
KERSTIshakes her head.
MOTHER. Keep your head high, Kersti, and don't let the mill-folk put us to shame. Don't weep so much either. Your father is a man of war, you know, and he can't stand that kind of thing. [Handing her daughter a hymn-book] Take this book—and read where I have put the mark. And look at the mark—I got it from some one—some one who is thinking of you in your moment of need. And it is a sure cure against the shakes Farther than this I won't keep you company, Kersti.... I can't—I really can't, being as old as I am....
KERSTI. Do what you feel like, mother. I have found my comforter! I know that my Redeemer still liveth!
MOTHER. It's all right, then, child. That's all I wanted to know.... And you don't want me to go with you?
KERSTI. No, mother, you must spare yourself.... You have had enough trouble on my account as it is.
MOTHER. Then I'll take your word for it, so that the mill-folk won't have anything to talk about. I take your word for it, so that I can tell them: "Kersti didn't want it—it was her own will, and of course her last will was as good as law to me!" And that's just what it is!
[She goes into the church.
[She goes into the church.
BRITA. [Stops in front ofKERSTIand points toward the scaffold] A queen you were, and a crown you wore: there's your throne now, with heaven above and hell beneath!—Now you would be glad enough to be milking cows! Now you wouldn't mind picking wood, and scouring pots, and cleaning shoes, and rocking the cradle—now, when you have brought shame on my family and your own, on our parish and our province, so that the whole country is talking of it! Fie on you!
KERSTIbends lower and lower over the hymn-book.
KERSTIbends lower and lower over the hymn-book.
BRITA. My brother must carry your brat to the grave-mybrother! But I shall keep you company to the block when you get spanked! I shall be your bridesmaid when you're wedded to the axe! "There's a corpse that isn't dead, and a babe that wasn't bred, and a bride without a wedding!"
LIT-MATS. Hush up, Brita! Kersti is nice!
BRITA. Indeed!
LIT-MATS. Yes, she is! But I don't like her to have on that ugly cloak.... That would be right for you, Brita! Oh, Kersti, why are you lying here? Are you waiting for Communion? And why did you run away from the wedding? Who is lying in the white box? Is all this a fairy-tale? Do you know that I lost my doll—the one you gave me?... Oh, Kersti dear, why are you so sorry?
[He throws his arms about her neck.
[He throws his arms about her neck.
KERSTI. [Taking him on her lap and kissing his shoes] Oh, Lit-Mats, Lit-Mats!
BRITA. [To the soldiers] Is that allowed?
The soldiers stand at attention, but make no reply.
The soldiers stand at attention, but make no reply.
BRITA. [TakingLIT-MATSaway fromKERSTI] Come on now!
KERSTI. [ToLIT-MATS] Go with your sister, Lit-Mats! And you had better keep away from me!
[She begins to read in a low voice out of the hymn-book.
[She begins to read in a low voice out of the hymn-book.
BRITA. [ToKERSTI] Shall I tell him?
KERSTI. For God's sake, don't tell the child!
BRITA. For the child's sake, I won't!
KERSTI. Thank you, Brita—for the child's sake!
BRITAgoes into the church withLIT-MATS.The only ones that remain outside areKERSTIand the two soldiers.TheHEADSMANenters from the right, carrying a black box. He keeps in the background and does not look in the direction ofKERSTI.
BRITAgoes into the church withLIT-MATS.The only ones that remain outside areKERSTIand the two soldiers.
TheHEADSMANenters from the right, carrying a black box. He keeps in the background and does not look in the direction ofKERSTI.
KERSTI. [Catching sight of him] Christ Jesus, Saviour of the world, help me for the sake of Thy passion and death!
MIDWIFE. [Enters from the left and goes up to theHEADSMAN]Listen, my dear man.... If it comes off, would you mind my getting quite close to it?... I need a little of that red stuff, you know—for a sick person—one who has the falling sickness....
TheHEADSMANgoes out to the left without answering.
TheHEADSMANgoes out to the left without answering.
MIDWIFE. Oh, he is of the kind that won't listen. [Going toKERSTI] Ah, there you are, my dear....
KERSTI. [With a deprecatory gesture] Begone!
MIDWIFE. [Keeping behind the pillory so that she cannot be seen by the soldiers] Wait a little! Wait a little! Listen now, my dear! I can do what others can't! The hour is near, and the black one is waiting!
KERSTI. In the name of Christ Jesus, begone!
MIDWIFE. Listen! I can do what others can't! I can set you free!
KERSTI. I have found my Saviour! His name is Christ Jesus!
MIDWIFE. I can make the judge as soft as wax....
KERSTI. He who shall judge the quick and the dead; He who is the resurrection and the life: He has sentenced me to death in the flesh, and to—life everlasting.
MIDWIFE. Look at the soldiers! They have gone to sleep! Take my cloak and run!
KERSTI. Are the soldiers asleep?
MIDWIFE. Their eyes are closed!—Run, run, run!
KERSTIrises and looks at the soldiers, who have closed their eyes.
KERSTIrises and looks at the soldiers, who have closed their eyes.
MIDWIFE. Run, run, run!
KERSTI. [Lying down again] No, much better is it to fall into the hands of the living God!—Depart from me!
She raises the hymn-book so that the golden cross on its front cover faces theMIDWIFE.
She raises the hymn-book so that the golden cross on its front cover faces theMIDWIFE.
MIDWIFE. [Shrinking back] Shall we meet a Thursday night at the crossroads?
KERSTI. On the path to the cross I shall meet with my Redeemer, but not with you! Depart!
MIDWIFE. [Drawing away] There is a boat down at the shore—horse and carriage are waiting on the other side Mats is there, but the Sheriff not.... Run, run, run!
KERSTI[Struggling with herself] O Lord, lead us not into temptation, but deliver us from evil!
MIDWIFE. Shash-ash-ash-ash! Horse and carriage!
KERSTIseizes the bell-rope and pulls it three times. At the third stroke of the bell, theMIDWIFEtakes flight.
KERSTIseizes the bell-rope and pulls it three times. At the third stroke of the bell, theMIDWIFEtakes flight.
MIDWIFE. Ad-zee! Ad-zee! Ad-zee! [She disappears.
TheCHILD IN WHITEcomes forward from behind one of the pillars of the porch. His dress is that worn by girls at Rättvik, Dalecarlia (the one with liberty cap, white waist and striped apron, which is probably more familiar to foreigners than any other Swedish peasant costume), but all its parts are white, including the shoes.
TheCHILD IN WHITEcomes forward from behind one of the pillars of the porch. His dress is that worn by girls at Rättvik, Dalecarlia (the one with liberty cap, white waist and striped apron, which is probably more familiar to foreigners than any other Swedish peasant costume), but all its parts are white, including the shoes.
KERSTI. [As if blinded by his appearance] Who are you, child—you who come when the evil one departs?
TheCHILD IN WHITEputs a finger across his lips.
TheCHILD IN WHITEputs a finger across his lips.
KERSTI. White as snow, and white as linen.... Why are you so white?
CHILD IN WHITE[In a low voice] Thy faith has saved thee! Out of faith has sprung hope! [He goes towardKERSTI.
KERSTI. Please, dear, don't step on the ant!
CHILD IN WHITE. [Stoops and picks up something on a leaf] But the greatest of these be love—love of all living things, great or small! Now I shall send this ant into the woods to tell the king of all the ants, so that the little people may come here and gnaw the ropes to pieces, and you will be set free.
KERSTI. No, no! Don't talk like that!
CHILD IN WHITE. Doubt not—but believe! Believe, Kersti!—Believe!
KERSTI. How can I?
CHILD IN WHITE. Believe!
He steps behind the pillar again and disappears.The stage grows darker.
He steps behind the pillar again and disappears.
The stage grows darker.
NECK. [Appears with his harp in the middle of the lake and sings to the same melody as before] "I am hoping, I am hoping, that thy Redeemer still liveth!"
KERSTI. He sings ofmyRedeemer! He brings hope to me, who denied it to him!
TheNECKsinks beneath the waters.
TheNECKsinks beneath the waters.
SHERIFF. [Enters reading a document; he approaches a few steps at a time, now looking at the ground, and now at the paper in his hand] Kersti!
KERSTIlooks up, only to drop her head at once.
KERSTIlooks up, only to drop her head at once.
SHERIFF. [Slowly and with frequent pauses] Behold the Sheriff!—You are only scared by him!—Do you think everybody feels like that? Suppose that the Sheriff has been summoned to help some one in a moment of dire need. Do you think he will be welcome then? Of course, he will!... Did you ever see such a lot of ants, Kersti?
KERSTIraises her head again and becomes attentive.
KERSTIraises her head again and becomes attentive.
SHERIFF. Look at them! Files of them, and whole hosts! Look!—Do you know what that means? It is a good omen! But, of course, you never expect anything good to come from me. You wouldn't believe itthattime either—and that's what led to your exposure! Look at those ants! Look at them! They are making straight for you, Kersti. Are you not afraid of them?
KERSTI. I used to be, but I am not.
SHERIFF. Big wood-ants, and I think the ant-king himself is with them. Do you know what can be done by the King, and by no other authority? Do you know that? All other authorities can pass judgment—all of them can do that—harshly or mercifully; but there is only one that can grant pardon. That's the King!—Shall we ask the antking if he will grant pardon? [He puts his hand to his ear as if to hear better] Would your Majesty be willing to pardon her—that is, in regard to the worst part?... Did you hear what he answered? I thought he said yes. But I may have been mistaken.... And being the Sheriff, I can't go by hearsays, but must have everything in writing. Let us ask the ant-king to write it down. He has plenty of pens—sharp as needles—and he has ink of his own, that burns. If we could only find a piece of paper! [He pretends to search his pockets, and finally he brings out the paper he was reading when he entered] Oh, here we are! Look at this! The King has written it with his own hand. Do you see? C-A-R-L, which makes Carl. [He raises his cap for a moment in salute] You haven't seen such big letters since you went to school, Kersti. And look at the red seal—that smelled like resin in the woods when the sealing-wax still was warm. And look at the silken cords, yellow and blue—and all these lions and crowns.... That's royal, every bit of it!... Read it yourself, Kersti, while I give my orders to the soldiers.
KERSTItakes the paper from his hand and reads.TheSHERIFFturns to the soldiers and says something that cannot be heard by the public.The soldiers leave.WhenKERSTIhas finished reading she hands the document back to theSHERIFFin a quiet, dignified manner.
KERSTItakes the paper from his hand and reads.
TheSHERIFFturns to the soldiers and says something that cannot be heard by the public.
The soldiers leave.
WhenKERSTIhas finished reading she hands the document back to theSHERIFFin a quiet, dignified manner.
SHERIFF. Are you glad, Kersti?
KERSTI. I am thankful that my family and yours will be spared the greatest shame of all. I cannot be glad, for eternal life is better than a life in fetters.
SHERIFF. Regard it as a time of preparation.
KERSTI. I will!
SHERIFF. Are you still afraid of me?
KERSTI. Having looked death in the face, I fear nothing else.
SHERIFF. Come with me, then.
KERSTI. You must set me free first.
TheSHERIFFunties the ropes with which she has been bound.An organ prelude is heard from the church.KERSTIstretches her arms toward heaven.
TheSHERIFFunties the ropes with which she has been bound.
An organ prelude is heard from the church.
KERSTIstretches her arms toward heaven.
Curtain.
SIXTH SCENE
The stage represents the frozen surface of a big lake, the shores of which form the background. Deep snow covers the ice. Tall pine branches stuck into the snow serve to mark the tracks used in crossing the lake.In the centre of the stage, toward the background, a large rectangular opening has been cut in the ice. A number of small spruce-trees have been set along the edges of it to warn against danger.Long-tailed ducks(Heralda glacialisorClangula glacialis)are floating on the open water. Now and then one of them utters its peculiarly melodious cry. (See musical appendix, Melody No. 19.)A number of short fishing-rods are placed along the edges of the open water, with their lines out.A gloomy old structure with turrets and battlements appears on the shore in the background. It is known as the "Castle", but is in reality a penitentiary.It is about daybreak.TheFISHERMANenters from the right dressed in a sheepskin coat and hauling a sledge on which lies an ice-hook. All the ducks dive when he comes in sight. He begins to examine his fishlines.
The stage represents the frozen surface of a big lake, the shores of which form the background. Deep snow covers the ice. Tall pine branches stuck into the snow serve to mark the tracks used in crossing the lake.
In the centre of the stage, toward the background, a large rectangular opening has been cut in the ice. A number of small spruce-trees have been set along the edges of it to warn against danger.
Long-tailed ducks(Heralda glacialisorClangula glacialis)are floating on the open water. Now and then one of them utters its peculiarly melodious cry. (See musical appendix, Melody No. 19.)
A number of short fishing-rods are placed along the edges of the open water, with their lines out.
A gloomy old structure with turrets and battlements appears on the shore in the background. It is known as the "Castle", but is in reality a penitentiary.
It is about daybreak.
TheFISHERMANenters from the right dressed in a sheepskin coat and hauling a sledge on which lies an ice-hook. All the ducks dive when he comes in sight. He begins to examine his fishlines.
MIDWIFE. [Entering from the left] How dare you fish on Easter Sunday?
FISHERMAN. I am not fishing—I'm just looking.
MIDWIFE. Perhaps you, who are so clever, can also tell a poor, strayed old woman where she is?
FISHERMAN. If you give me a light.
MIDWIFE. If you have flint and steel.
FISHERMAN. [Handing her two pieces of ice] Here they are.
MIDWIFE. Ice? Well, water is fire, and fire is water!
She tears off a piece of her cloak to serve as tinder; then, she strikes the two pieces of ice against each other; hiving set the tinder on fire in that way, she hands it to theFISHERMAN,who lights his pipe with it.
She tears off a piece of her cloak to serve as tinder; then, she strikes the two pieces of ice against each other; hiving set the tinder on fire in that way, she hands it to theFISHERMAN,who lights his pipe with it.
FISHERMAN. Oh, you are that kind? Then I know where I am.
MIDWIFE. But where am I?
FISHERMAN. In the middle of Krummedikke's lake, and over there you see his castle. He was a king who lived long, long ago, and, like Herod, he caused all male babes to be slain because he was afraid for his crown. But now his castle holds all the girls who have not been afraid for theirs.
MIDWIFE. What are they doing in there?
FISHERMAN. Spinning flax.
MIDWIFE. That's the jail, then?
FISHERMAN. That's what it is.
MIDWIFE. And the lake?
FISHERMAN. Oh, it's a good one! There used to be dry land where the lake is now, and on that piece of land stood a church, and that church started a feud. It was a question of pews, you see. The mill-folk, who thought themselves above the rest, wanted to sit next to the altar, but the Mewlings were the stronger. One Easter Sunday it broke loose, right in the nave, and blood was shed. The church was profaned so that it could never be cleansed again. Instead it was closed up and deserted, and by and by it sank into the earth, and now there are fifty feet of water above the weathercock on the spire. By this time the lake has been washing it and washing it these many hundred years, but as long as mill-folk and Mewlings keep on fighting, the temple will never be cleansed.
MIDWIFE. Why are they called Mewlings?
FISHERMAN. Because they are descended from Krummedikke, who slew the infants.
MIDWIFE. And they are still fighting?
FISHERMAN. Still fighting, and still slaying.... You remember, don't you, Kersti, the soldier's daughter?
MIDWIFE. Of course, I do.
FISHERMAN. She is in the Castle, but to-day she will be out to do her yearly public penance at the church.
MIDWIFE. Is that so?
FISHERMAN. The Mewlings are coming to bring her over, and the mill-folk are coming to look on.
MIDWIFE. Do you hear the ice tuning up?
FISHERMAN. I do.
MIDWIFE. Does it mean thaw?
FISHERMAN. Maybe.
MIDWIFE. Then the ice will begin to break from the shore?
FISHERMAN. Quite likely. But if the water should rise, the rapids down there will carry it off.
MIDWIFE. Are the rapids far from here?
FISHERMAN. Naw! You can hear the Neck quite plainly. To-day he will be up betimes, as he is expecting something.
MIDWIFE. What can he be expecting?
FISHERMAN. Oh, you know!
MIDWIFE. No, I don't. Please tell me.
FISHERMAN. This is what they tell: Every Easter Sunday morning, at the hour when the Saviour ascended from his grave, the church of Krummedikke rises out of the lake. And he who gets a look at it has peace in his soul for the rest of the year.
MIDWIFE. [Gallops out toward the right] Ad-zee! Ad-zee! Ad-zee!
FISHERMAN. That was a bad meeting.... [He lands a fish and takes it from the hook] I got you!
The fish slips out of his hand and leaps into the water. TheFISHERMANtries to catch it with his dip-net. Then a whole row of fish-heads appear above the water.
The fish slips out of his hand and leaps into the water. TheFISHERMANtries to catch it with his dip-net. Then a whole row of fish-heads appear above the water.
FISHERMAN. Dumb, but not deaf! "What roars more loudly than a crane? What is whiter by far than a swan?"[1]
CHILD IN WHITE. [Dressed as in the preceding scene, enters on skis, carrying a torch;] The thunder of heaven roars more loudly than the crane, and he who does no evil is whiter than the swan.
The fish-heads disappear.
The fish-heads disappear.
FISHERMAN. Who read my riddle?
CHILD IN WHITE. Who can free the prisoner from his bonds and set the tongue of the fish talking?
FISHERMAN. No one!
CHILD IN WHITE. No man by man begotten, but one born of the all-creative God.... He who has built the bridge of glass can break it, too!... Beware!
[He goes out to the right.TheFISHERMANbegins to gather up his implements.TheMILL-FOLK(MATS'Srelatives) enter from the left; all are on skis and carry long staffs.MATScarries a torch.
[He goes out to the right.
TheFISHERMANbegins to gather up his implements.
TheMILL-FOLK(MATS'Srelatives) enter from the left; all are on skis and carry long staffs.MATScarries a torch.
MATS. Where is the winter road?
FISHERMAN. Do you mean the road of the fish in the water?
MATS. No, the road of the horse on the snow.
FISHERMAN. Does it lead to court or church?
MILL-FOLK. To church.
FISHERMAN. For the man who has lost his way, all roads lead to the rapids. [A rumbling noise is made by the ice] The roof is cracking!
MILL-FOLK. Where is the road to the church?
FISHERMAN. Everywhere!
MILL-FOLK. Where is the church?
FISHERMAN. You are standing on it, and walking over it, and soon it will be here.
MILL-FOLK. Is this Krummedikke's lake?
FISHERMAN. It's Krummedikke's castle and Krummedikke's lake; it's Krummedikke's church, and soon it will break.
MILL-FOLK. Lord have mercy! [They go out to the right.
TheMEWLINGS(KERSTI'Srelatives) enter from the left, onskis and carrying staffs. TheSOLDIERcarries a torch.
TheMEWLINGS(KERSTI'Srelatives) enter from the left, onskis and carrying staffs. TheSOLDIERcarries a torch.
MEWLINGS. Is this the road to the church?
FISHERMAN. This is the road to the rapids! Turn back!
MEWLINGS. Ridges and open water everywhere! The floe is breaking loose!
FISHERMAN. Go eastward! The sun is tarrying.
MEWLINGS. Let's go eastward! [They go out to the right.
TheMILL-FOLKreturn from the right.
TheMILL-FOLKreturn from the right.
FISHERMAN. Turn back! The floe has broken loose down that way!
MILL-FOLK. And eastward, too! Let's turn northward!
FISHERMAN. There's the river!
MILL-FOLK. Southward, then!
FISHERMAN. There are the rapids!
MILL-FOLK. [Leaning dejectedly on their staffs] God have mercy on us!
MATS. The Mewlings put us on the wrong track.
BRITA. As they have always done!
FATHER. And they'll be first at church!
GRANDFATHER. Never mind! But I can't help regretting the day when I burned the papers.
MOTHER. Will there ever be peace?
GRANDMOTHER. "Men who are mild and gentle live in peace and know but little sorrow."[2]
MILL-FOLK. [Raising their staffs] The Mewlings!
MEWLINGS. [Entering from the right, with raised staffs]Will you bide now, mill-folk? You put us on the wrong track!
MILL-FOLK. You liars!
MEWLINGS. The same to you!
MILL-FOLK. Quibblers!
MEWLINGS. And what are you?
The ice begins to crash and rumble.
The ice begins to crash and rumble.
FISHERMAN. Peace in the name of Christ Jesus! The water is rising!
ALL. [Crying aloud] The water is rising!
MATS'S GRANDFATHER. The ice is sinking. Stay where you are!
MATS'S GRANDMOTHER. To-day we must die, and then comes the day of judgment!
TheMILL-FOLKembrace each other. The women pick up the children into their arms. TheMEWLINGSdo likewise.
TheMILL-FOLKembrace each other. The women pick up the children into their arms. TheMEWLINGSdo likewise.
MATS'S MOTHER. [ToMats] For the sake of your foolish fondness, we must die!
KERSTI'S MOTHER. "Another's love should by no one be blamed: wise men are often snared by beauty, but fools never."[2]
SOLDIER. "This fault of his should by no one be blamed: love, in its might, will often turn the sons of men from wisdom to folly."[3]
MATS. [Holding out his hand to theSOLDIER] Thank you for those words! You are the man I named father for a brief while!
SOLDIER. "All at birth and death are equals."
MATS'S FATHER. There you took the word away from me! Your hand!
SOLDIER. [Giving his hand after a little hesitation] Here it is! We are all Christians, and this is the great day of atonement. Let not the sun rise on our wrath!
MEWLINGS. Let us have peace!
MILL-FOLK. Yes, let us have peace!
The two parties are approaching each other with hands stretched out, when a terrific crash is heard, and the ice opens at their feet, separating them from each other.
The two parties are approaching each other with hands stretched out, when a terrific crash is heard, and the ice opens at their feet, separating them from each other.
MATS'S GRANDFATHER. Parted in life and parted in death!
MATS'S GRANDMOTHER. The bridge has broken under the burden of crime.
MATS'S MOTHER. Where is Kersti?
MILL-FOLK. Where is Kersti?
MEWLINGS. Where is Kersti?
SOLDIER. "And lo, it was expedient that one should die for the people."
MATS'S GRANDFATHER. "Then said they unto him: What shall we do unto thee, that the sea may be calm unto us?"
KERSTI'S MOTHER. "Take me up, and cast me forth into the sea: for I know that for my sake this great tempest is upon you."
MATS'S GRANDMOTHER. Is it settled?
ALL. It is settled!
KERSTI'S MOTHER. "Behold the fire and the wood: but where is the lamb for a burnt offering?"
MEWLINGS. Where is Kersti?
MILL-FOLK. Where is Kersti?
ThePASTORenters, followed by theVERGER.
ThePASTORenters, followed by theVERGER.
PASTOR. [To theSoldier] "And the Lord said: Lay not thine hand upon the child, for now I know that thou fearest God, seeing thou hast not withheld thine only child from me."
ALL. [To theMinister] Save us!
PASTOR. "There is but one God, the Saviour!" Let us pray!
All kneel on the ice.
All kneel on the ice.
PASTOR. "Out of the depths I cry unto thee, O Lord!"
ALL. "Lord, hear my voice!"
PASTOR. O Lord, have mercy!
ALL. Christ, have mercy!
TheSHERIFFenters from the rear with a torch in his hand. He is followed by four soldiers, carrying the dead body ofKERSTIbetween them.All get on their feet.
TheSHERIFFenters from the rear with a torch in his hand. He is followed by four soldiers, carrying the dead body ofKERSTIbetween them.
All get on their feet.
PASTOR. Whom are you bringing with you?
SHERIFF. We are bringing the crown bride—Kersti!
PASTOR. Is she alive?
SHERIFF. She is dead. The waters took her!
PASTOR. May the Lord take her soul!
SOLDIER. O Lord, have respect unto our offering, as thou hast given thyself for us an offering.
PASTOR. "For God so loved the world, that he gave his only begotten Son!"
BRITA. The water is falling!
ALL. The water is falling!
The gap in the ice is closed up again.MATSandBRITAwalk over to theMEWLINGS,break branches from the spruces set in the snow, and spread these over the body ofKERSTI.
The gap in the ice is closed up again.
MATSandBRITAwalk over to theMEWLINGS,break branches from the spruces set in the snow, and spread these over the body ofKERSTI.
PASTOR. Will there be peace after this?
ALL. Peace and reconciliation!
PASTOR. [Beside the body ofKERSTI]
"To the deadGive peace, O Lord,And consoleThe living!"
In the background a church is seen rising out of the lake: first the gilded weathercock; then the cross resting on a globe; and finally the spire, the roof covered with black shingles, and the white walls of the round-arched church.
In the background a church is seen rising out of the lake: first the gilded weathercock; then the cross resting on a globe; and finally the spire, the roof covered with black shingles, and the white walls of the round-arched church.
NECK. [Is heard playing and singing in the distance, but now his melody has been transposed into D minor] "I am hoping, I am hoping, that my Redeemer still liveth."
PASTOR. Let us give praise and thanks unto the Lord!
ALL. We thank and praise thee, O Lord!
MATSandBRITAkneel beside the body ofKERSTI.All the rest kneel around them and sing No. 6from the "Old"Swedish Hymn-Book(which is a free rendering of Luther's"Herr Gott, dich loben wir,"and practically identical with the Ambrosian"Te Deum laudamus").
ALL. [Singing]
ALL. [Singing]
"O God, we give thee praise! O Lord, we give thee thanks! Eternal Father, whom the whole world worships!
Thy praise is sung by angels and all the heavenly powers; By Cherubim and Seraphim thy praise is sung incessantly: Holy, holy, holy, Lord God of Sabaoth!"