SIMOOM

CHARACTERSBISKRA,an Arabian girlYUSUF,her loverGUIMARD,a lieutenant of Zouaves

The action takes place in Algeria at the present time.

The inside of a marabout, or shrine. In the middle of the floor stands a sarcophagus forming the tomb of the Mohammedan saint (also called "marabout") who in his lifetime occupied the place. Prayer-rugs are scattered over the floor. At the right in the rear is an ossuary, or charnel-house.There is a doorway in the middle of the rear wall. It is closed with a gate and covered by a curtain. On both sides of the doorway are loopholes. Here and there on the floor are seen little piles of sand. An aloe plant, a few palm leaves and some alfa grass are thrown together on one spot.

There is a doorway in the middle of the rear wall. It is closed with a gate and covered by a curtain. On both sides of the doorway are loopholes. Here and there on the floor are seen little piles of sand. An aloe plant, a few palm leaves and some alfa grass are thrown together on one spot.

FIRST SCENE

BISKRAenters. The hood of her burnous is pulled over her head so that it almost covers her face. She carries a guitar at her back. Throwing herself down in a kneeling position on one of the rugs, she begins to pray with her arms crossed over her breast. A high wind is blowing outside.

BISKRA. Lâ ilâhâ illâ 'llâh!

YUSUF. [Enters quickly] The Simoom is coming! Where is the Frank?

BISKRA. He'll be here in a moment.

YUSUF. Why didn't you stab him when you had a chance?

BISKRA. Because he is to do it himself. If I were to do it, our whole tribe would be killed, for I am known to the Franks as Ali, the guide, though they don't know me as Biskra, the maiden.

YUSUF. He is to do it himself, you say? How is that to happen?

BISKRA. Don't you know that the Simoom makes the brains of the white people dry as dates, so that they have horrible visions which disgust them with life and cause them to flee into the great unknown?

YUSUF. I have heard of such things, and in the last battle there were six Franks who took their own lives before the fighting began. But do not place your trust in the Simoom to-day, for snow has fallen in the mountains, and the storm may be all over in half an hour.—Biskra! Do you still know how to hate?

BISKRA. If I know how to hate?—My hatred is boundless as the desert, burning as the sun, and stronger than my love. Every hour of joy that has been stolen from me since the murder of Ali has been stored up within me like the venom back of a viper's tooth, and what the Simoom cannot do, that I can do.

YUSUF. Well spoken, Biskra, and the task shall be yours. Ever since my eyes first fell upon you, my own hatred has been withering like alfa grass in the autumn. Take strength from me and become the arrow to my bow.

BISKRA. Embrace me, Yusuf, embrace me!

YUSUF. Not here, within the presence of the Sainted one; not now—later, afterward, when you have earned your reward!

BISKRA. You proud sheikh! You man of pride!

YUSUF. Yes—the maiden who is to carry my offspring under her heart must show herself worthy of the honour.

BISKRA. I—no one but I—shall bear the offspring of Yusuf! I, Biskra—the scorned one, the ugly one, but the strong one, too!

YUSUF. All right! I am now going to sleep beside the spring.—Do I need to teach you more of the secret arts which you learned from Sidi-Sheikh, the great marabout, and which you have practised at fairs ever since you were a child?

BISKRA. Of that there is no need. I know all the secrets needed to scare the life out of a cowardly Frank.—The dastard who sneaks upon the enemy and sends the leaden bullet ahead of himself! I know them all—even the art of letting my voice come out of my belly. And what is beyond my art, that will be done by the sun, for the sun is on the side of Yusuf and Biskra.

YUSUF. The sun is a friend of the Moslem, but not to be relied upon. You may get burned, girl!—Take a drink of water first of all, for I see that your hands are shrivelled, and——

He lifts up one of the rugs and steps down into a sort of cellar, from which he brings back a bowl filled with water; this he hands toBISKRA.

BISKRA. [Raising the bowl to her mouth] And my eyes are already beginning to see red—my lungs are parching—I hear—I hear—do you see how the sand is sifting through the roof—the strings of my guitar are crooning—the Simoom is here! But the Frank is not!

YUSUF. Come down here, Biskra, and let the Frank die by himself.

BISKRA. First hell, and then death! Do you think I'll weaken? [Pours the water on one of the sand piles] I'll water the sand, so that revenge may grow out of it, and I'll dry up my heart. Grow, O hatred! Burn, O sun! Smother, O wind!

YUSUF. Hail to you, mother of Ben Yusuf—for you are to bear the son of Yusuf, the avenger—you!

The wind is increasing. The curtain in front of the door begins to flap. A red glimmer lights up the room, but changes into yellow during the ensuing scene.

BISKRA. The Frank is coming, and—the Simoom is here!—Go!

YUSUF. In half an hour you shall see me again. [Pointing toward a sand pile] There is your hour-glass. Heaven itself is measuring out the time for the hell of the infidels!

[Goes down into the cellar.

SECOND SCENE

BISKRA.GUIMARDenters looking very pale; he stumbles, his mind is confused, and he speaks in a low voice.

GUIMARD. The Simoom is here!—What do you think has become of my men?

BISKRA. I led them west to east.

GUIMARD. West—to east!—Let me see!—That's straight east—and west!—Oh, put me on a chair and give me some water!

BISKRA. [LeadsGUIMARDto one of the sand piles and makes him lie down on the floor with his feet on the sand] Are you comfortable now?

GUIMARD. [Staring at her] I feel all twisted up. Put something under my head.

BISKRA. [Piling the sand higher under his feet] There's a pillow for your head.

GUIMARD. Head? Why, my feet are down there—Isn't that my feet?

BISKRA. Of course!

GUIMARD. I thought so. Give me a stool now—under my head.

BISKRA. [Pulls out the aloe plant and pushes it under Guimard's legs] There's a stool for you.

GUIMARD. And then water!—Water!

BISKRA. [Fills the empty bowl with sand and hands it toGUIMARD] Drink while it's cold.

GUIMARD. [Putting his lips to the bowl] It is cold—and yet it does not still my thirst! I cannot drink it—I abhor water—take it away!

BISKRA. There's the dog that bit you!

GUIMARD. What dog? I have never been bitten by a dog.

BISKRA. The Simoom has shrivelled up your memory—beware the delusions of the Simoom! Don't you remember the mad greyhound that bit you during the last hunt at Bab-el-Wad?

GUIMARD. The hunt at Bab-el-Wad? That's right!—Was it a beaver-coloured——?

BISKRA. Bitch? Yes.—There you see. And she bit you in the calf. Can't you feel the sting of the wound?

GUIMARD. [Reaches out a hand to feel his calf and pricks himself on the aloe] Yes, I can feel it.—Water! Water!

BISKRA. [Handing him the sand-filled bowl] Drink, drink!

GUIMARD. No, I cannot! Holy Mother of God—I have rabies!

BISKRA. Don't be afraid! I shall cure you, and drive out the demon by the help of music, which is all-powerful. Listen!

GUIMARD. [Screaming] Ali! Ali! No music; I can't stand it! And how could it help me?

BISKRA. If music can tame the treacherous spirit of the snake, don't you think it may conquer that of a mad dog? Listen! [She sings and accompanies herself on the guitar] Biskra-biskra, Biskra-biskra, Biskra-biskra! Simoom! Simoom!

YUSUF. [Responding from below] Simoom! Simoom!

GUIMARD. What is that you are singing, Ali?

BISKRA. Have I been singing? Look here—now I'll put a palm-leaf in my mouth. [She puts a piece of leaf between her teeth; the song seems to be coming from above] Biskra-biskra, Biskra-biskra, Biskra-biskra!

YUSUF. [From below] Simoom! Simoom!

GUIMARD. What an infernal jugglery!

BISKRA. Now I'll sing!

BISKRAandYUSUF. [Together] Biskra-biskra, Biskra-biskra, Biskra-biskra! Simoom!

GUIMARD. [Rising] What are you, you devil who are singing with two voices? Are you man or woman? Or both?

BISKRA. I am Ali, the guide. You don't recognise me because your senses are confused. But if you want to be saved from the tricks played by sight and thought, you must believe in me—believe what I say and do what I tell you.

GUIMARD. You don't need to ask me, for I find everything to be as you say it is.

BISKRA. There you see, you worshipper of idols!

GUIMARD. I, a worshipper of idols?

BISKRA. Yes, take out the idol you carry on your breast.

GUIMARDtakes out a locket.

BISKRA. Trample on it now, and then call on the only God, the Merciful One, the Compassionate One!

GUIMARD. [Hesitating] Saint Edward—my patron saint?

BISKRA. Can he protect you? Can he?

GUIMARD. No, he cannot!—[Waking up] Yes, he can!

BISKRA. Let us see!

She opens the gate; the curtain flaps and the grass on the floor moves.

GUIMARD. [Covering his mouth] Close the door!

BISKRA. Throw down the idol!

GUIMARD. No, I cannot.

BISKRA. Do you see? The Simoom does not bend a hair on me, but you, the infidel one, are killed by it! Throw down the idol!

GUIMARD. [Throws the locket on the floor] Water! I die!

BISKRA. Pray to the Only One, the Merciful and Compassionate One!

GUIMARD. How am I to pray?

BISKRA. Repeat after me.

GUIMARD. Speak on!

BISKRA. There is only one God: there is no other God but He, the Merciful, the Compassionate One!

GUIMARD. "There is only one God: there is no other God but He, the Merciful, the Compassionate One."

BISKRA. Lie down on the floor.

GUIMARDlies down unwillingly.

BISKRA. What do you hear?

GUIMARD. I hear the murmuring of a spring.

BISKRA. There you see! God is one, and there is no other God but He, the Merciful and Compassionate One!—What do you see?

GUIMARD. I can hear a spring murmur—I can see the light of a lamp—in a window with green shutters—on a white street——

BISKRA. Who is sitting at the window?

GUIMARD. My wife—Elise!

BISKRA. Who is standing behind the curtain with his arm around her neck?

GUIMARD. That's my son, George.

BISKRA. How old is your son?

GUIMARD. Four years on the day of Saint Nicholas.

BISKRA. And he can already stand behind the curtain with his arm around the neck of another man's wife?

GUIMARD. No, he cannot—but it is he!

BISKRA. Four years old, you say, and he has a blond mustache?

GUIMARD. A blond mustache, you say?—Oh, that's—my friend Jules.

BISKRA. Who is standing behind the curtain with his arm around your wife's neck?

GUIMARD. Oh, you devil!

BISKRA. Do you see your son?

GUIMARD. No, I don't see him any longer.

BISKRA. [Imitates the tolling of bells on the guitar] What do you see now?

GUIMARD. I see bells ringing—I taste dead bodies—their smell in my mouth is like rancid butter—faugh!

BISKRA. Can't you hear the priest chanting the service for a dead child?

GUIMARD. Wait!—I cannot hear—[Wistfully] But do you want me to?—There!—I can hear it!

BISKRA. Do you see the wreath on the coffin they are carrying?

GUIMARD. Yes——

BISKRA. There are violet ribbons on it—and there are letters printed in silver—"Farewell, my darling George—from your father."

GUIMARD. Yes, that's it! [He begins to cry] My George! O George, my darling boy!—Elise—wife—can't you console me?—Oh, help me! [He is groping around] Elise, where are you? Have you left me? Answer! Call out the name of your love!

AVOICE. [Coming from the roof] Jules! Jules!

GUIMARD. Jules! But my name is—what is my name? It is Charles! And she is calling Jules! Elise—my beloved wife—answer me—for your spirit is here—I can feel it—and you promised never to love anybody else——

TheVOICEis heard laughing.

GUIMARD. Who is laughing?

BISKRA. Elise—your wife.

GUIMARD. Oh, kill me! I don't want to live any longer! Life sickens me like sauerkraut at Saint-Doux—You there—do you know what Saint-Doux is? Lard! [He tries to spit] Not a drop of saliva left!—Water—water—or I'll bite you!

The wind outside has risen to a full storm.

BISKRA. [Puts her hand to her mouth and coughs] Now you are dying, Frank! Write down your last wishes while there is still time—Where is your note-book?

GUIMARD. [Takes out a note-book and a pencil] What am I to write?

BISKRA. When a man is to die, he thinks of his wife—and his child!

GUIMARD. [Writes] "Elise—I curse you! Simoom—I die——"

BISKRA. And then sign it, or it will not be valid as a testament.

GUIMARD. What shall I sign?

BISKRA. Write: Lâ ilâha illâ 'llâh.

GUIMARD. [Writing] It is written.—And can I die now?

BISKRA. Now you can die—like a craven soldier who has deserted his people! And I am sure you'll get a handsome burial from the jackals that will chant the funeral hymn over your corpse. [She drums the signal for attack on the guitar] Can you hear the drums—the attack has begun—on the Faithful, who have the sun and the Simoom on their side—they are now advancing—from their hiding-places—[She makes a rattling noise on the guitar] The Franks are firing along the whole line—they have no chance to load again—the Arabs are firing at their leisure—the Franks are flying!

GUIMARD. [Rising] The Franks never flee!

BISKRA. The Franks will flee when they hear the call to retreat.

[She blows the signal for "retreat" on a flute which she has produced from under her burnoose.

GUIMARD. They are retreating—that's the signal—and I am here—[He tears off his epaulets] I am dead!

[He falls to the ground.

BISKRA. Yes, you are dead!—And you don't know that you have been dead a long time.

[She goes to the ossuary and takes from it a human skull.

GUIMARD. Have I been dead?

[He feels his face with his hands.

BISKRA. Long! Long!—Look at yourself in the mirror here! [She holds up the skull before him.

GUIMARD. Ah! That's me!

BISKRA. Can't you see your own high cheek-bones? Can't you see the eyes that the vultures have picked out? Don't you know that gap on the right side of the jaw where you had a tooth pulled? Can't you see the hollow in the chin where, grew the beard that your Elise was fond of stroking? Can't you see where used to be the ear that your George kissed at the breakfast-table? Can't you see the mark of the axe—here in the neck—which the executioner made when he cut off the deserter's head——

GUIMARD,who has been watching her movements and listening to her words with evident horror, sinks down dead.

BISKRA. [Who has been kneeling, feels his pulse; then she rises and sings] Simoom! Simoom! [She opens both gates; the curtain flutters like a banner in the wind; she puts her hand up to her mouth and falls over backward, crying] Yusuf!

THIRD SCENE

BISKRA.GUIMARD(dead).YUSUFcomes out of the cellar.

YUSUF. [Having examined the body ofGUIMARD,he looks forBISKRA] Biskra! [He discovers her and takes her up in his arms] Are you alive?

BISKRA. Is the Frank dead?

YUSUF. If he is not, he will be. Simoom! Simoom!

BISKRA. Then I live! But give me some water!

YUSUF. [Carrying her toward the cellar] Here it is!—And now Yusuf is yours!

BISKRA. And Biskra will be your son's mother, O Yusuf, great Yusuf!

YUSUF. My strong Biskra! Stronger than the Simoom!

CHARACTERSAXEL,Doctor of Philosophy and African explorerTHURE,his brother, a gardenerANNA,the wife ofTHUREMISS CECILIATHE FIANCÉofCECILIALINDGREN,Doctor of Philosophy and former school-teacherMISS MARIETHE COURT CHAMBERLAINTHE WAITER

A well-furnished hotel room. There are doors on both sides.

FIRST SCENE

THUREand hisWIFE.

THURE. There's some style to this room, isn't there? But then the fellow who lives here is stylish, too.

WIFE. Yes, so I understand. Of course, I've never seen your brother, but I've heard a whole lot.

THURE. Oh, gossip!Mybrother, the doctor, has gone right across Africa, and that's something everybody can't do. So it doesn't matter how many drinks he took as a young chap——

WIFE. Yes, your brother, the doctor! Who is nothing but a school-teacher, for that matter——

THURE. No, he's a doctor of philosophy, I tell you——

WIFE. Well, that's nothing but one who teaches. And that's just what my brother is doing in the school at Åby.

THURE. Your brother is all right, but he is nothing but a public-school teacher, and that's not the same as a doctor of philosophy—which isn't a boast either.

WIFE. Well, no matter what he is or what you call him, he has cost us a whole lot.

THURE. Of course it has been rather costly, but then he has brought us a lot of pleasure, too.

WIFE. Fine pleasures! When we've got to lose house and home for his sake!

THURE. That's so—but then we don't know yet if his slip-up on the loan had some kind of cause that he couldn't help. I guess it isn't so easy to send registered letters from darkest Africa.

WIFE. Whether he has any excuses or not doesn't change the matter a bit. But if he wants to do something for us—it's nothing more than he owes us.

THURE. Well, we'll see, we'll see!—Anyhow, have you heard they've already given him four decorations?

WIFE. Well, that doesn't help us any. I guess it'll only make him a little more stuck-up. Oh, no, it'll be some time before I get over that the sheriff had to come down on us with the papers—and bring in other people as witnesses—and then—the auction—and all the neighbours coming in and turning all we had upside down. And do you know what made me sorer than all the rest?

THURE. The black——

WIFE. Yes, it was that my sister-in-law should bid in my black silk dress for fifteen crowns. Think of it—fifteen crowns!

THURE. You just wait—just wait a little! We might get you a new silk dress——

WIFE. [Weeping] But it'll never be the same one—the one my sister-in-law bid in.

THURE. We'll get another one then!—Now, just look at that gorgeous hat over there! I guess it must be one of those royal chamberlains who's talking with Axel now.

WIFE. What do I care about that!

THURE. Why, don't you think it's fun that a fellow who has the same name as you and I gets to be so respected that the King's own household people have to visit him? If I remember right, you were happy for a whole fortnight when your brother, the school-teacher, had been asked to dine at the bishop's.

WIFE. I can't remember anything of the kind.

THURE. Of course you can't!

WIFE. But I do remember the fifteenth of March, when we had to leave our place for his sake, and we hadn't been married more than two years, and I had to carry away the child on my own arm—Oh!—and then, when the steamer came with all the passengers on board just as we had to get out—all the cocked hats in the world can't make me forget that! And, for that matter, what do you think a royal chamberlain cares about a plain gardener and his wife when they've just been turned out of house and home?

THURE. Look here! What do you think this is? Look at all his decorations!—Look at this one, will you!

He takes an order out of its case, holds it in the palm of his hand, and pats it as if it were a living thing.

WIFE. Oh, that silly stuff!

THURE. Don't you say anything against them, for you never can tell where you'll end. The gardener at Staring was made a director and a knight on the same day.

WIFE. Well, what does that help us?

THURE. No, of course not—it doesn't help us—but these things here [pointing to the orders] may help us a whole lot in getting another place.—However, I think we've waited quite a while now, so we'd better sit down and make ourselves at home. Let me help you off with your coat—come on now!

WIFE. [After a slight resistance] So you think we're going to be welcome, then? I have a feeling that our stay here won't last very long.

THURE. Tut, tut! And I think we're going to have a good dinner, too, if I know Axel right. If he only knew that we're here—But now you'll see! [He presses a button and aWAITERenters] What do you want—a sandwich, perhaps? [To theWAITER] Bring us some sandwiches and beer.—Wait a moment! Get a drink for me—the real stuff, you know! [TheWAITERgoes out] You've got to take care of yourself, don't you know.

SECOND SCENE

THUREand hisWIFE.AXEL. TheCHAMBERLAIN.

AXEL. [To theCHAMBERLAIN] At five, then—in full dress, I suppose?

CHAMBERLAIN. And your orders!

AXEL. Is it necessary?

CHAMBERLAIN. Absolutely necessary, if you don't want to seem rude, and that's something which you, as a democrat, want least of all. Good-bye, doctor!

AXEL. Good-bye.

In leaving, theCHAMBERLAINbows slightly toTHUREand hisWIFE,neither of whom returns the salute.

THIRD SCENE

AXEL.THUREand hisWIFE.

AXEL. Oh, is that you, old boy?—It seems an eternity since I saw you last. And this is your wife?—Glad to see you!

THURE. Thanks, brother! And I wish you a happy return after your long trip.

AXEL. Yes, that was something of a trip—I suppose you have read about it in the papers——

THURE. Oh, yes, I've read all about it. [Pause] And then father sent you his regards.

AXEL. Oh, is he still sore at me?

THURE. Well, you know the old man and his ways. If only you hadn't been a member of that expedition, you know, he would have thought it one of the seven wonders of the world. But as you were along, of course, it was nothing but humbug.

AXEL. So he's just the same as ever! Simply because I amhisson, nothing I ever do can be of any value. It means he can't think very much of himself either.—Well, so much for that! And how are you getting along nowadays?

THURE. Not very well, exactly! There's that old loan from the bank, you know——

AXEL. Yes, that's right! Well, what happened to it?

THURE. Oh, what happened was that I had to pay it.

AXEL. That's too bad! But we'll settle the matter as soon as we have a chance.

TheWAITERcomes in withTHURE'sorder on a tray.

AXEL. What's that?

THURE. Oh, it was only me who took the liberty of ordering a couple of sandwiches——

AXEL. Right you were! But I think we ought to have some wine, so I could drink the health of my sister-in-law, as I couldn't get to the wedding.

THURE. Oh, no—not for us! Not so early in the morning! Thanks very much!

AXEL. [Signals to theWAITER,who goes out] I should have asked you to stay for dinner, but I have to go out myself. Can you guess where I am going?

THURE. You don't mean to say you're going to the Palace?

AXEL. Exactly—I am asked to meet the Monarch himself.

THURE. Lord preserve us!—What do you think of that, Anna?

HisWIFEturns and twists on her chair as if in torment, quite unable to answer.

AXEL. I suppose the old man will turn republican after this, when he hears that His Majesty cares to associate with me.

THURE. See here, Axel—you'll have to pardon me for getting back to something that's not very pleasant—but it has to be settled.

AXEL. Is it that blessed old loan?

THURE. Yes, but it isn't only that. To put it plain—we've had to stand an execution for your sake, and now we're absolutely cleaned out.

AXEL. That's a fine state of affairs! But why in the world didn't you get the loan renewed?

THURE. Well, that's it! How was I to get any new sureties when you were away?

AXEL. Couldn't you go to my friends?

THURE. I did. And the result was—what it was. Can you help us out now?

AXEL. How am I going to help you now? Now when all my creditors are getting after me? And it won't do for me to start borrowing when they are just about to make a position for me. There's nothing that hurts you more than to borrow money. Just wait a little while, and we'll get it all straightened out.

THURE. If we're to wait, then everything's up with us. This is just the time to get hold of a garden—this is the time to start digging and sowing, if you are to get anything up in time. Can't you get a place for us?

AXEL. Where am I to get hold of a garden?

THURE. Among your friends.

AXEL. My friends keep no gardens. Now, don't you hamper me when I try to get up on firm ground! When I am there I'll pull you up, too.

THURE. [To hisWIFE] He doesn't want to help us, Anna!

AXEL. I cannot—not this moment! Do you think it reasonable that I, who am seeking a job myself, should have to seek one for you, too? What would people be saying, do you think? "There, now," they would say, "we've got not only him but his relatives to look after!" And then they would drop me entirely.

THURE. [Looks at his watch; then to his wife] We've got to go.

AXEL. Why must you go so soon?

THURE. We have to take the child to a doctor.

AXEL. For the Lord's sake, have you a child, too?

WIFE. Yes, we have. And a sick child, which lost its health when we had to move out into the kitchen so that the auction could be held.

AXEL. And all this for my sake! It's enough to drive me crazy! For my sake! So that I might become a famous man!—And what is there I can do for you?—Do you think it would have been better if I had stayed at home?—No, worse—for then I should have been nothing but a poor teacher, who certainly could not have been of any use to you whatever.—Listen, now! You go to the doctor, but come back here after a while. In the meantime I'll think out something.

THURE. [To hisWIFE] Do you see now, that he wants to help us?

WIFE. Yes, but can he do it? That's the question.

THURE. He can do anything he wants.

AXEL. Don't rely too much on it—or the last state may prove worse than the first.—Oh, merciful heavens, to think that you have a sick child, too! And for my sake!

THURE. Oh, I guess it isn't quite as bad as it sounds.

WIFE. Yes, so you say, who don't know anything about it——

THURE. Well, Axel, we'll see you later then.

LINDGRENappears in the doorway.

WIFE. [ToTHURE] Did you notice he didn't introduce us—to the chamberlain?

THURE. Oh, shucks, what good would that have been?

[They go out.

FOURTH SCENE

AXEL. LINDGREN,who is shabbily dressed, unshaved, apparently fond of drinking, and looking as if he had just got out of bed.

AXELis startled for a moment at the sight ofLINDGREN.

LINDGREN. You don't recognise me?

AXEL. Yes, now I do. But you have changed a great deal.

LINDGREN. Oh, you think so?

AXEL. Yes, I do, and I am surprised to find that these years can have had such an effect——

LINDGREN. Three years may be pretty long.—And you don't ask me to sit down?

AXEL. Please—but I am rather in a hurry.

LINDGREN. You have always been in a hurry.

[He sits down; pause.

AXEL. Why don't you say something unpleasant?

LINDGREN. It's coming, it's coming!

[He wipes his spectacles; pause.

AXEL. How much do you need?

LINDGREN. Three hundred and fifty.

AXEL. I haven't got it, and I can't get it.

LINDGREN. Oh, sure!—You don't mind if I help myself to a few drops?

He pours out a drink from the bottle brought by theWAITERforTHURE.

AXEL. Won't you have a glass of wine with me instead?

LINDGREN. No—why?

AXEL. Because it looks bad to be swilling whisky like that.

LINDGREN. How very proper you have become!

AXEL. Not at all, but it hurts my reputation and my credit.

LINDGREN. Oh, you have credit? Then you can also give me a lift, after having brought me down.

AXEL. That is to say: you are making demands?

LINDGREN. I am only reminding you that I am one of your victims.

AXEL. Then, because of the gratitude I owe you, I shall bring these facts back to your mind: that you helped me through the university at a time when you had plenty of money; that you helped to get my thesis printed——

LINDGREN. That I taught you the methods which determined your scientific career; that I, who then was as straight as anybody, exercised a favourable influence on your slovenly tendencies; that, in a word, I made you what you are; and that, finally, when I applied for an appropriation to undertake this expedition, you stepped in and took it.

AXEL. No, I got it. Because I, and not you, was held to be the man for the task.

LINDGREN. And that settled me! Thus, one shall be taken, and the other left!—Do you think that was treating me fairly?

AXEL. It was what the world calls "ungrateful," but the task was achieved, and by it science was enriched, the honour of our country upheld, and new regions opened for the use of coming generations.

LINDGREN. Here's to you!—You have had a lot of oratorical practice—But have you any idea how unpleasant it feels to play the part of one used up and cast off?

AXEL. I imagine it must feel very much like being conscious of ingratitude, and I can only congratulate you at not finding yourself in a position as unpleasant as my own.—But let us return to reality. What can I do for you?

LINDGREN. What do you think?

AXEL. For the moment—nothing.

LINDGREN. And in the next moment you are gone again. Which means that this would be the last I saw of you.

[He pours out another drink.

AXEL. Will you do me the favour of not finishing the bottle? I don't want the servants to suspect me of it.

LINDGREN. Oh, go to hell!

AXEL. You don't think it's pleasant for me to have to call you down like this, do you?

LINDGREN. Say—do you want to get me a ticket for the banquet to-night?

AXEL. I am sorry to say that I don't think you would be admitted.

LINDGREN. Because—-

AXEL. You are drunk!

LINDGREN. Thanks, old man!—Well, will you let me have a look at your botanical specimens, then?

AXEL. No, I am going to describe them myself for the Academy.

LINDGREN. How about your ethnographical stuff?

AXEL. No, that's not my own.

LINDGREN. Will you—let me have twenty-five crowns?

AXEL. As I haven't more than twenty myself, I can only give you ten.

LINDGREN. Rotten!

AXEL. Thus stand the affairs of the man everybody envies. Do you think there is anybody in whose company I might feel happy? Not one! Those that are still down hate me for climbing up, and those already up fear one coming from below.

LINDGREN. Yes, you are very unfortunate!

AXEL. I am! And I can tell you that after my experience during the last half-hour, I wouldn't mind changing place with you. What a peaceful, unassailable position he holds who has nothing to lose! What a lot of interest and sympathy those that are obscure and misunderstood and over-looked always arouse! You have only to hold out your hand and you get a coin. You have only to open your arms, and there are friends ready to fall into them. And then what a powerful party behind you—formed of the millions who are just like you! You enviable man who don't realise your own good fortune!

LINDGREN. So you think me that far down, and yourself as high up as all that?—Tell me, you don't happen to have read to-day's paper? [He takes a newspaper from his pocket.

AXEL. No, and I don't care to read it either.

LINDGREN. But you ought to do it for your own sake.

AXEL. No, I am not going to do it—not even foryoursake. It is as if you said: "Come here and let me spit at you." And then you are silly enough to demand that I shall come, too.—Do you know, during these last minutes I have become more and more convinced that if I had ever come across you in the jungle, I should beyond all doubt have picked you off with my breech-loader?

LINDGREN. I believe it—beast of prey that you are!

AXEL. It isn't safe to settle accounts with one's friends, or with persons with whom one has been intimate, for it is hard to tell in advance who has most on the debit side. But as you are bringing in a bill, I am forced to look it over.—You don't think it took me long to discover that back of all your generosity lay an unconscious desire to turn me into the strong arm which you lacked—to make me do for you what you couldn't do for yourself? I had imagination and initiative—you had nothing but money and—"pull." So I am to be congratulated that you didn't eat me, and I may be excused for eating you—my only choice being to eat or be eaten!

LINDGREN. You beast of prey!

AXEL. You rodent, who couldn't become a beast of prey—although that was just what you wished! And what you want at this moment is not so much to rise up to me as to pull me down to where you are.—If you have anything of importance to add, you had better hurry up, for I am expecting a visit.

LINDGREN. From your fiancée?

AXEL. So you have snooped that out, too?

LINDGREN. Sure enough! And I know what Marie, the deserted one, thinks and says—I know what has happened to your brother and his wife——

AXEL. Oh, you know my fiancée? For, you see, it so happens that I am not yet engaged!

LINDGREN. No, but I knowherfiancé.

AXEL. What does that mean?

LINDGREN. Why, she has been running around with another fellow all the time—So you didn't know that?

AXEL. [As he listens for something going on outside] Oh, yes, I knew of it, but I thought she was done with him—See here, if you'll come back in a quarter of an hour, I'll try to get things arranged for you in some way or another.

LINDGREN. Is that a polite way of showing me the door?

AXEL. No, it's an attempt to meet an old obligation. Seriously!

LINDGREN. Well, then I'll go—and come back—Good-bye for a while.

FIFTH SCENE

AXEL.LINDGREN.TheWAITER.Then theFIANCÉ,dressed in black, with a blue ribbon in the lapel of his coat.

WAITER. There's a gentleman here who wants to see you.

AXEL. Let him come in.

TheWAITERgoes out, leaving the door open behind him. TheFIANCÉenters.

LINDGREN. [Observing the newcomer closely] Well, good-bye.

AXEL—and good luck! [He goes out.

AXEL. Good-bye.

SIXTH SCENE

AXEL.TheFIANCÉ[much embarrassed]

AXEL. With whom have I the honour——?

FIANCÉ. My name is not a name in the same way as yours, Doctor, and my errand concerns a matter of the heart——

AXEL. Oh, do you happen to be—You know Miss Cecilia?

FIANCÉ. I am the man.

AXEL. [Hesitating for a moment; then with decision] Please be seated. [He opens the door and beckons theWAITER.

TheWAITERenters.

AXEL. [To theWAITER] Have my bill made out, see that my trunk is packed, and bring me a carriage in half an hour.

WAITER. [Bowing and leaving] Yes, Doctor.

AXEL. [Goes up to theFIANCÉand sits down on a chair beside him] Now let's hear what you have to say?

FIANCÉ. [After a pause, with unction] There were two men living in the same city, one rich and the other poor. The rich man had sheep and cattle in plenty. The poor man owned nothing but one ewe lamb——

AXEL. What does that concern me?

FIANCÉ. [As before] One ewe lamb, which he had bought and was trying to raise.

AXEL. Oh, life's too short. What do you want? Are you and Miss Cecilia still engaged?

FIANCÉ. [Changing his tone] I haven't said a word about Miss Cecilia, have I?

AXEL. Well, sir, you had better get down to business, or I'll show you the door. But be quick about it, and get straight to the point, without any frills——

FIANCÉ. [Holding out his snuff-box] May I?

AXEL. No, thanks.

FIANCÉ. A great man like you has no such little weaknesses, I suppose?

AXEL. As you don't seem willing to speak, I shall. Of course, it is none of your business, but it may do you good to learn of it, as you don't seem to know it: I am regularly engaged to Miss Cecilia, who formerly was your fiancée.

FIANCÉ. [Startled] Who was?

AXEL. Because she has broken with you.

FIANCÉ. I know nothing about it.

AXEL. [Taking a ring from the pocket of his waistcoat]That's strange, but now you do know. And here you can see the ring she has given me.

FIANCÉ. So she has broken with me?

AXEL. Yes, as she couldn't be engaged to two men at the same time, and as she had ceased to care for you, she had to break with you. I might have told you all this in a more decent fashion, if you hadn't stepped on my corns the moment you came in.

FIANCÉ. I didn't do anything of the kind.

AXEL. Cowardly and disingenuous—cringing and arrogant at the same time!

FIANCÉ. [Gently] You are a hard man, Doctor.

AXEL. No, but I may become one. You showed no consideration for my feelings a moment ago. You sneered, which I didn't. And that's the end of our conversation.

FIANCÉ. [With genuine emotion] I feared that you might take away from me my only lamb—but you wouldn't do that, you who have so many——

AXEL. Suppose I wouldn't—are you sure she would stay with you anyhow?

FIANCÉ. Put yourself in my place, Doctor——

AXEL. Yes, if you'll put yourself in mine.

FIANCÉ. I am a poor man——

AXEL. So am I! But judging by what I see and hear, you have certain bliss waiting for you in the beyond. That's more than I have.—And, furthermore, I have taken nothing away from you: I have only received what was offered me. Just as you did!

FIANCÉ. And I who had been dreaming of a future for this young woman—a future full of brightness——

AXEL. Pardon me a piece of rudeness, but you began it: are you so sure that the future of this young woman will not turn out a great deal brighter by my side?

FIANCÉ. You are now reminding me of my humble position as a worker——

AXEL. No, I am reminding you of that young woman's future, which you have so much at heart. And as I am told that she has ceased to care for you, but does care for me, I am only taking the liberty to dream of a brighter future for her with the man she loves than with the man she doesn't love.

FIANCÉ. You are a strong man, you are, and we little ones were born to be your victims!

AXEL. See here, my man, I have been told that you got the better of another rival for Cecilia's heart, and that you were not very scrupulous about the means used for the purpose. How do you think thatvictimliked you?

FIANCÉ. He was a worthless fellow.

AXEL. From whom you saved the girl! And now I save her from you! Good-bye!

SEVENTH SCENE

AXEL.TheFIANCÉ.CECILIA.

FIANCÉ. Cecilia!

CECILIAdraws back from him.

FIANCÉ. You seem to know your way into this place?

AXEL. [To theFIANCÉ] You had better disappear!

CECILIA. I want some water!

FIANCÉ. [Picking up the whisky bottle from the table] The bottle seems to be finished!—Beware of that man, Cecilia!

AXEL. [Pushing theFIANCÉout through the door] Oh, your presence is wholly superfluous—get out!

FIANCÉ. Beware of that man, Cecilia! [He goes out.

EIGHTH SCENE

AXEL.CECILIA.

AXEL. That was a most unpleasant incident, which you might have spared me—both by breaking openly with him and by not coming to my room.

CECILIA. [Weeping] So I am to be scolded, too?

AXEL. Well, the responsibility had to be fixed, and now, when that's done—we can talk of something else.—How are you, to begin with?

CECILIA. So, so!

AXEL. Not well, that means?

CECILIA. How are you?

AXEL. Fine—only a little tired.

CECILIA. Are you going with me to see my aunt this after-noon?

AXEL. No, I cannot, for I have to drive out.

CECILIA. And that's more fun, of course. You go out such a lot, and I—never!

AXEL. Hm!

CECILIA. Why do you say "hm"?

AXEL. Because your remark made an unpleasant impression on me.

CECILIA. One gets so many unpleasant impressions these days——

AXEL. For instance?

CECILIA. By reading the papers.

AXEL. So you have been reading those scandalous stories about me! And you believe them?

CECILIA. One doesn't know what to believe.

AXEL. So you really suspect me of being the unscrupulous fellow pictured in those stories? And as you are nevertheless willing to marry me, I must assume that you are moved by purely practical considerations and not by any personal attraction.

CECILIA. You speak so harshly, as if you didn't care for me at all!

AXEL. Cecilia—are you willing to leave this place with me in fifteen minutes?

CECILIA. In fifteen minutes! For where!

AXEL. London.

CECILIA. I am not going with you until we are married.

AXEL. Why?

CECILIA. Why should we leave like that, all of a sudden?

AXEL. Because—it's suffocating here! And if I stay, they'll drag me down so deep that I'll never get up again.

CECILIA. How strange! Are you as badly off as that?

AXEL. Do you come with me, or do you not?

CECILIA. Not until we are married—for afterward you would never marry me.

AXEL. So that's your faith in me!—Will you sit down for a moment, then, while I go in and write a couple of letters?

CECILIA. Am I to sit here alone, with all the doors open?

AXEL. Well, don't lock the door, for then we are utterly lost. [He goes out to the left.

CECILIA. Don't be long!

She goes up to the door leading to the hallway and turns the key in the lock.

NINTH SCENE

CECILIAalone for a moment. ThenMARIEenters.

CECILIA. Wasn't the door locked?

MARIE. Not as far as I could see!—So it was meant to be locked?

CECILIA. I haven't the honour?

MARIE. Nor have I.

CECILIA. Why should you?

MARIE. How refined! Oh, I see! So it's you! And I am the victim—for a while!

CECILIA. I don't know you.

MARIE. But I know you pretty well.

CECILIA. [Rises and goes to the door at the left] Oh, you do? [Opening the door and speaking toAXEL] Come out here a moment!

TENTH SCENE

CECILIA.MARIE.AXEL.

AXEL. [Entering; toMARIE] What do you want here?

MARIE. Oh, one never can tell.

AXEL. Then you had better clear out.

MARIE. Why?

AXEL. Because what there was between us came to an end three years ago.

MARIE. And now there is another one to be thrown on the scrap heap?

AXEL. Did I ever give you any promises that were not kept? Have I ever owed you anything? Have I ever said a word about marriage? Have we had any children together? Have I been the only one to receive your favours?

MARIE. But now you mean to be the only one? With that one over there!

CECILIA. [Goes up toMARIE] What do you mean?—I don't know you!

MARIE. No, but there was a time when you did know me. And I remember that when we met in the streets we called each other by our first names. [ToAXEL] And now you are going to marry her? No, you know, you are really too good for that!

AXEL. [ToCECILIA] Have you known that woman before?

CECILIA. No.

MARIE. You ought to be ashamed of yourself? I simply didn't recognise you at first because of your swell clothes——

AXELgazes intently atCECILIA.

CECILIA. [ToAXEL] Come—I'll go with you!

AXEL. [Preoccupied] In a moment! Just wait a while! I am only going in to write another letter—But now we'll close the door first of all.

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