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August Strindberg

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Fornying-2English40,915 wordsAge-adapted versionEnglish36,950 wordsEstimated level: age 14English15 pages
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The FatherRun: 2026-11-08 20:17BokRobot · Page 1 / 123

The Father

A CAPTAIN OF CAVALRYLAURA, his wife
BERTHA, their daughter

ACT I

[The Captain's sitting room. There is a door slightly to the right at the back. In the middle of the room, a large round table strewn with newspapers and magazines. On the right, a leather-covered sofa and table. In the right-hand corner, a private door. On the left, a door leading to the inner room and a desk with a clock on it. Game bags, guns and other weapons hang on the walls. Army coats hang near the door at the back. On the large table stands a lighted lamp.]

[rings; an orderly enters.]

ORDERLYYes, Captain.
CAPTAINIs Nöjd out there?
ORDERLYHe's waiting for orders in the kitchen.
CAPTAINIn the kitchen again, is he? Send him in at once.
ORDERLYYes, Captain. [Goes.]
PASTORWhat's the matter now?
CAPTAINOh, the rascal has been carrying on with the servant girl again; he's certainly a bad lot.
PASTORWhy, Nöjd got into the same trouble the year before last, didn't he?
CAPTAINYes, you remember? Would you be good enough to give him a friendly talking-to? Perhaps you can make some impression on him. I've sworn at him and flogged him too, but it hasn't had the least effect.
PASTORAnd so you want me to preach to him? What effect do you suppose the word of God will have on a rough trooper?
CAPTAINWell, it certainly has no effect on me.
PASTORI know that well enough.
CAPTAINTry it on him, anyway.

[Nöjd comes in.]

CAPTAINWhat have you been up to now, Nöjd?
NÖJDGod save you, Captain, but I couldn't talk about it with the Pastor here.
PASTORDon't be afraid of me, my boy.
CAPTAINYou had better confess, or you know what will happen.
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NÖJDWell, you see, it was like this: we were at a dance at Gabriel's, and then—then Ludwig said—
CAPTAINWhat has Ludwig got to do with it? Stick to the truth.
NÖJDYes, and Emma said, "Let's go into the barn—"

CAPTAIN.—Oh, so it was Emma who led you astray, was it?
NÖJDWell, not far from it. You know that unless the girl is willing, nothing ever happens.
CAPTAINNever mind all that: Are you the father of the child or not?
NÖJDWho knows?
CAPTAINWhat's that? Don't you know?
NÖJDWhy, no—that is, you can never be sure.
CAPTAINWeren't you the only one?
NÖJDYes, that time, but you can't be sure for all that.
CAPTAINAre you trying to put the blame on Ludwig? Is that what you're up to?
NÖJDWell, you see, it isn't easy to know who's to blame.
CAPTAINYes, but you told Emma you would marry her.
NÖJDOh, a fellow's always got to say that—

CAPTAIN [to Pastor.] This is terrible, isn't it?
PASTORIt's the same old story all over again. See here, Nöjd, you surely ought to know whether you're the father or not?
NÖJDWell, of course I was involved with the girl—but you know yourself, Pastor, that it doesn't necessarily mean anything.
PASTORLook here, my lad, we're talking about you now. Surely you won't leave the girl alone with the child. I suppose we can't force you to marry her, but you should provide for the child—that you shall do!
NÖJDWell, then, so must Ludwig, too.
CAPTAINThen the case will have to go to court. I can't ferret out the truth of all this, nor do I care to. So be off with you now.
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PASTOROne moment, Nöjd. H'm—don't you think it dishonorable to leave a girl destitute like that with her child? Don't you think so? Don't you see that such conduct— — —h'm— —h'm— — —
NÖJDYes, if only I knew for certain that I was the father of the child, but you can't be sure of that, Pastor, and I don't see much fun in slaving all your life for another man's child. Surely you, Pastor, and the Captain can understand that for yourselves.
CAPTAINBe off.
NÖJDGod save you, Captain. [Goes.]
CAPTAINBut keep out of the kitchen, you rascal! [To Pastor.] Now, why didn't you get after him?
PASTORWhat do you mean?
CAPTAINWhy, you only sat there and mumbled something or other.
PASTORTo tell the truth, I really don't know what to say. It is a pity about the girl, yes, and a pity about the lad, too. For think if he were not the father. The girl can nurse the child for four months at the orphanage, and then it will be permanently provided for, but it will be different for him. The girl can get a good place afterwards in some respectable family, but the lad's future may be ruined if he is dismissed from the regiment.
CAPTAINUpon my soul, I should like to be in the magistrate's shoes and judge this case. The lad is probably not innocent — one can't be sure — but we do know that the girl is guilty, if there is any guilt in the matter.
PASTORWell, well, I judge no one. But what were we talking about when this stupid business interrupted us? It was about Bertha and her confirmation, wasn't it?
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CAPTAINYes, but it was certainly not in particular about her confirmation but about her whole welfare. This house is full of women who all want to have their say about my child. My mother-in-law wants to make a Spiritualist of her. Laura wants her to be an artist; the governess wants her to be a Methodist, old Margret a Baptist, and the servant-girls want her to join the Salvation Army! It won't do to try to make a soul in patches like that. I, who have the chief right to try to form her character, am constantly opposed in my efforts. And that's why I have decided to send her away from home.
PASTORYou have too many women trying to run this house.
CAPTAINYou're right! It's like walking into a cage full of tigers—if I didn't hold a red-hot iron under their noses, they'd tear me to pieces at any moment. And you laugh, you rascal! Wasn't it enough that I married your sister, without you foisting your old stepmother on me too?
PASTORBut good heavens, a man can't have stepmothers in his own house!
CAPTAINNo, you think it's better to have mothers-in-law in someone else's house!
PASTOROh well, we all have some burden in life.
CAPTAINBut mine is certainly too heavy. I have my old nurse into the bargain, who treats me as if I ought still to wear a bib. She is a good old soul, to be sure, and she must not be dragged into such talk.
PASTORYou must keep a tight rein on the womenfolk. You let them run things too much.
CAPTAINNow will you please tell me how I'm supposed to keep order among the womenfolk?
PASTORLaura was brought up with a firm hand, but although she is my own sister, I must admit she was pretty troublesome.
CAPTAINLaura certainly has her faults, but with her it isn't so serious.
PASTOROh, speak out—I know her.
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CAPTAINShe was brought up with romantic ideas, and it has been hard for her to find herself, but she is my wife—

PASTOR And because she is your wife she is the best of wives? No, my dear fellow, it is she who really wears on you most.
CAPTAINWell, anyway, the whole house is topsy-turvy. Laura won't let Bertha leave her, and I can't allow her to remain in this bedlam.
PASTOROh, so Laura won't? Well, then, I'm afraid you're in for trouble. When she was a child, if she set her mind on something, she would play dead dog until she got it, and then, likely as not, she would give it back, explaining that it wasn't what she wanted, but that she had had her own way.
CAPTAINSo she was like that even then? H'm—she really gets into such a passion sometimes that I worry about her and am afraid she's ill.
PASTORBut what do you want to do with Bertha that's so unpardonable? Can't you compromise?
CAPTAINYou mustn't think I want to make a prodigy of her or an image of myself. I don't want to be a procurer for my daughter and educate her exclusively for matrimony, for then if she were left unmarried she might have bitter days. On the other hand, I don't want to influence her toward a career that requires a long course of training which would be entirely thrown away if she should marry.
PASTORWhat do you want, then?
CAPTAINI want her to be a teacher. If she remains unmarried she will be able to support herself, and at any rate she wouldn't be any worse off than the poor schoolmasters who have to share their salaries with a family. If she marries she can use her knowledge in the education of her children. Am I right?
PASTORQuite right. But, on the other hand, hasn't she shown such talent for painting that it would be a great pity to crush it?
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CAPTAINNo! I showed her sketches to an eminent painter, and he says they're only the kind of thing that can be learned at schools. But then a young fop came here in the summer who, of course, understands the matter much better, and he declared that she had colossal genius, and so that settled it to Laura's satisfaction.
PASTORWas he quite taken with Bertha?
CAPTAINThat goes without saying.
PASTORThen God help you, old man, for in that case I see no hope. This is pretty bad—and, of course, Laura has her supporters—in there?
CAPTAINYes, you may be sure of that; the whole house is already up in arms, and, between ourselves, it is not exactly a noble conflict that is being waged from that quarter.
PASTORDon't you think I know that?
CAPTAINYou do?
PASTORI do.
CAPTAINBut the worst of it is that it strikes me Bertha's future is being decided out of spiteful motives. They hint that men had better be careful, because women can do this or that nowadays. All day long, incessantly, it is a conflict between man and woman. Are you going? No, stay for supper. I have no special inducements to offer, but do stay. You know I am expecting the new doctor. Have you seen him?
PASTORI caught a glimpse of him as I came along. He looked pleasant and reliable.
CAPTAINThat's good. Do you think it's possible he may become my ally?
PASTORWho can tell? It depends on how much he has been among women.
CAPTAINBut won't you really stay?
PASTORNo thanks, my dear fellow; I promised to be home for supper, and the wife gets uneasy if I am late.
CAPTAINUneasy? Angry, you mean. Well, as you will. Let me help you with your coat.
PASTORIt's certainly pretty cold tonight. Thanks. You must take care of your health, Adolf; you seem rather nervous.
CAPTAINNervous?
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PASTORYes, you are not really very well.
CAPTAINHas Laura put that into your head? She has treated me for the last twenty years as if I were at the point of death.
PASTORLaura? No, but you make me uneasy about you. Take care of yourself—that's my advice! Good-bye, old man; but didn't you want to talk about the confirmation?
CAPTAINNot at all! I assure you that matter will have to take its course in the ordinary way at the cost of the clerical conscience, for I am neither a believer nor a martyr.
PASTORGood-bye. Love to Laura. [Goes.]

[The Captain opens his desk and seats himself at it. Takes up account books.]

PASTORCAPTAIN [Figuring.] Thirty-four—nine, forty-three—seven, eight, fifty-six—

LAURA [Coming in from inner room.] Will you be kind enough—
CAPTAINOne moment! Sixty-six—seventy-one, eighty-four, eighty-nine, ninety-two, one hundred. What is it?
LAURAAm I disturbing you?
CAPTAINNot at all. Housekeeping money, I suppose?
LAURAYes, housekeeping money.
CAPTAINPut the accounts down there and I'll go over them.
LAURAThe accounts?
CAPTAINYes.
LAURAAm I supposed to keep accounts now?
CAPTAINOf course you are to keep accounts. Our affairs are in a precarious condition, and in case of a liquidation, accounts are necessary, or one is liable to punishment for being careless.
LAURAIt's not my fault that our affairs are in a precarious condition.
CAPTAINThat is exactly what the accounts will decide.
LAURAIt's not my fault that our tenant doesn't pay.
CAPTAINWho recommended this tenant so warmly? You! Why did you recommend a—good-for-nothing, as we might call him?
LAURABut why did you rent to this good-for-nothing?
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CAPTAINBecause I was not allowed to eat in peace, nor sleep in peace, nor work in peace, till you women got that man here. You wanted him so that your brother might be rid of him, your mother wanted him because I didn't want him, the governess wanted him because he reads his Bible, and old Margret because she had known his grandmother from childhood. That's why he was taken, and if he hadn't been taken, I'd be in a madhouse by now or lying in my grave. However, here is the housekeeping money and your pin money. You may give me the accounts later.

LAURA [Curtesies.] Thanks so much. Do you too keep an account of what you spend besides the housekeeping money?
CAPTAINThat doesn't concern you.
LAURANo, that's true—just as little as my child's education concerns me. Have the gentlemen reached a decision after this evening's conference?
CAPTAINI had already made my decision, so all that remained was to discuss it with the one friend that I share with the family. Bertha is to go to boarding school in town and starts in a fortnight.
LAURATo which boarding school, if I may venture to ask?
CAPTAINProfessor Säfberg's.
LAURAThat freethinker!
CAPTAINBy law, children must be raised in their father's faith.
LAURAAnd the mother has no say in the matter?
CAPTAINNone at all. She has sold her birthright through a legal transaction and forfeited her rights in exchange for the man's responsibility to care for her and her children.
LAURAThat means she has no rights concerning her child.
CAPTAINNo, none at all. Once you have sold your goods, you cannot get them back and still keep the money.
LAURABut what if both the father and the mother agreed?
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CAPTAINDo you think that could ever happen? I want her to live in town; you want her to stay at home. The arithmetic result would be that she remains at the railway station, midway between the train and home. This is a knot that cannot be untied, you see.
LAURAThen it must be cut. What did Nöjd want here?
CAPTAINThat is an official secret.
LAURAWhich the whole kitchen knows!
CAPTAINGood, then you must know it.
LAURAI do know it.
CAPTAINAnd is your judgment already made up?
LAURAMy judgment is the judgment of the law.
CAPTAINBut the law does not say who the child's father is.
LAURANo, but one usually knows that.
CAPTAINWise minds claim that one can never know.
LAURAThat's strange. Can one never know who a child's father is?
CAPTAINNo; so they claim.
LAURAHow remarkable! How is it, then, that the father has such control over the children?
CAPTAINHe has control only when he has taken on the responsibilities of the child, or has had them forced upon him. But in wedlock, of course, there is no doubt about the fatherhood.
LAURAThere is no doubt, then?
CAPTAINWell, I should hope not.
LAURABut if the wife has been unfaithful?
CAPTAINThat is another matter. Was there anything else you wanted to say?
LAURANothing.
CAPTAINThen I shall go up to my room, and perhaps you would be kind enough to let me know when the doctor arrives. [Closes desk and rises]
LAURACertainly.

[The Captain exits through the primate door to the right.]

CAPTAINAs soon as he arrives. I don't want to seem rude to him, you understand. [Exits.]
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LAURAI understand. [Looks at the money she is holding in her hands.]

MOTHER-IN-LAW'S VOICE [From within.] Laura!
LAURAYes.
MOTHER-IN-LAW'S VOICEIs my tea ready?

[In the doorway to the inner room]

LAURAIn just a moment.

[Laura goes toward the hall door at the back as the orderly opens it.]

ORDERLYDoctor Ostermark.
DOCTORMadam!

[She advances and offers her hand.]

LAURAWelcome, Doctor—you are most heartily welcome. The Captain is out, but he will be back soon.
DOCTORI hope you will excuse my coming so late, but I have already had to pay some professional visits.
LAURADo sit down.
DOCTORThank you.
LAURAYes, there is a great deal of illness in the neighborhood just now, but I hope it will agree with you here. For us country people living in such isolation, it is of great value to find a doctor who is interested in his patients, and I hear so many nice things about you, Doctor, that I hope the pleasantest relations will exist between us.
DOCTORYou are indeed kind, and I hope for your sake that my visits to you will not often be caused by necessity. Your family is, I believe, as a rule in good health—
LAURAFortunately we have been spared acute illnesses, but still things are not altogether as they should be.
DOCTORIndeed?
LAURAHeaven knows, things are not as might be wished.
DOCTORReally, you alarm me.
LAURAThere are some circumstances in a family which, through honor and conscience, one is forced to conceal from the whole world—
DOCTORExcepting the doctor.
LAURAExactly. It is therefore my painful duty to tell you the whole truth immediately.
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DOCTORShouldn't we postpone this conference until I have the honor of being introduced to the Captain?
LAURANo! You must hear me out before you see him.
DOCTORSo it concerns him, then?
LAURAYes, to him, my poor, dear husband.
DOCTORYou alarm me, indeed, and believe me, I sympathize with your misfortune.

[Taking out handkerchief]

LAURAMy husband's mind is affected. Now you know everything, and you may judge for yourself when you see him.
DOCTORWhat do you say? I have read the Captain's excellent treatises on mineralogy with admiration, and I have found that they display a clear and powerful intellect.
LAURAReally? How happy I would be if we should all prove to be mistaken.
DOCTORBut of course it is possible that his mind might be affected in other directions.
LAURAThat is just what we fear, too. You see, he sometimes has the most extraordinary ideas, which, of course, one might expect in a learned man, if they did not have a disastrous effect on the welfare of his whole family. For instance, one of his whims is buying all kinds of things.
DOCTORThat’s serious; but what does he buy?
LAURAWhole boxes of books that he never reads.
DOCTORThere’s nothing strange about a scholar buying books.
LAURAYou don’t believe what I’m saying?
DOCTORWell, madam, I am convinced that you believe what you are saying.
LAURATell me, is it reasonable to think that someone could see what is happening on another planet by looking through a microscope?
DOCTORDoes he say he can do that?
LAURAYes, that is what he says.
DOCTORThrough a microscope?
LAURAThrough a microscope, yes.
DOCTORThis is serious, if that’s the case.
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LAURA“If that’s the case!” Then you have no faith in me, Doctor, and here I sit confiding the family secret to—
DOCTORIndeed, Madam, I am honored by your confidence, but as a physician I must investigate and observe before giving an opinion. Has the Captain ever shown any symptoms of indecision or instability of will?
LAURAHas he! We have been married twenty years, and he has never yet made a decision without changing his mind afterward.
DOCTORIs he obstinate?
LAURAHe always insists on having his own way, but once he has got it he drops the whole matter and asks me to decide.
DOCTORThis is serious, and demands close observation. The will, you see, is the mainspring of the mind, and if it is affected the whole mind goes to pieces.
LAURAGod knows how I have taught myself to humor his wishes through all these long years of trial. Oh, if you knew what a life I have endured with him—if you only knew.
DOCTORYour misfortune touches me deeply, and I promise you to see what can be done. I pity you with all my heart, and I beg you to trust me completely. But after what I have heard I must ask you to avoid suggesting any ideas that might make a deep impression on the patient, for in a weak brain they develop rapidly and quickly turn to monomania or fixed ideas.
LAURAYou mean to avoid arousing suspicions?
DOCTORExactly. You can make the insane believe anything, simply because they are receptive to everything.
LAURAIndeed? Then I understand. Yes—yes. [A bell rings inside.] Excuse me, my mother wishes to speak with me. One moment— —Ah, here is Adolf.

[Captain comes in through private door.]

CAPTAINOh, you're here already, Doctor? Very welcome.
DOCTORCaptain! It is a great pleasure to meet such a celebrated man of science.
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CAPTAINOh, I beg of you. The duties of service do not allow me to make any very profound investigations, but I believe I am now really on the track of a discovery.
DOCTORIndeed?
CAPTAINYou see, I have submitted meteoric stones to spectrum analysis, with the result that I have found carbon—that is to say, a clear trace of organic life. What do you say to that?
DOCTORCan you see that with a microscope?
CAPTAINLord, no—with the spectroscope.
DOCTORThe spectroscope! Pardon. Then you will soon be able to tell us what is happening on Jupiter.
CAPTAINNot what is happening, but what has happened. If only the confounded booksellers in Paris would send me the books; but I believe all the booksellers in the universe have conspired against me. Think of it, for the last two months not a single one has ever answered my communications, neither letters nor abusive telegrams. I shall go mad over it, and I can't imagine what's the matter.
DOCTOROh, I suppose it's the usual carelessness; you mustn't let it vex you so.
CAPTAINBut the devil of it is I shall not get my treatise done in time, and I know they are working along the same lines in Berlin. But we shouldn't be talking about this—but about you. If you care to live here we have rooms for you in the wing, or perhaps you would rather live in the old quarters?
DOCTORJust as you like.
CAPTAINNo, as you like. Which is it to be?
DOCTORYou must decide that, Captain.
CAPTAINNo, it's not for me to decide. You must say which you prefer. I have no preference in the matter, none at all.
DOCTOROh, but I really cannot decide.
CAPTAINFor heaven's sake, Doctor, say which you prefer. I have no choice in the matter, no opinion, no wishes. Haven't you got enough character to know what you want? Answer me, or I shall be provoked.
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DOCTORWell, if it rests with me, I prefer to live here.
CAPTAINThank you—forgive me, Doctor, but nothing annoys me so much as to see people undecided about anything. [Nurse comes in.] Oh, there you are, Margret. Do you happen to know whether the rooms in the wing are in order for the Doctor?
NURSEYes, sir, they are.
CAPTAINVery well. Then I won't detain you, Doctor; you must be tired. Goodbye, and welcome once more. I shall see you tomorrow, I hope.
DOCTORGood evening, Captain.
CAPTAINI daresay my wife has given you some idea of conditions here, so that you have some sense of how things stand?
DOCTORYes, your excellent wife has given me a few hints about this and that—just what a stranger needs. Good evening, Captain.

[To Nurse]

CAPTAINWhat do you want, you old dear? What is it?
NURSENow, little Master Adolf, just listen—
CAPTAINYes, Margret, you're the only one I can listen to without having spasms.
NURSENow, listen, Mr. Adolf. Don't you think you should meet her halfway and come to an agreement with the mistress in this fuss over the child? Just think of a mother—
CAPTAINThink of a father, Margret.
NURSEThere, there, there. A father has something besides his child, but a mother has nothing but her child.
CAPTAINJust so, you old dear. She has only one burden, but I have three, and I have her burden too. Don't you think that I should hold a better position in the world than that of a poor soldier if I had not had her and her child?
NURSEWell, that isn't what I wanted to talk about.
CAPTAINI can well believe that, for you wanted to make it appear that I am in the wrong.
NURSEDon't you believe, Mr. Adolf, that I wish you well?
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CAPTAINYes, dear friend, I do believe it; but you don't know what is for my good. You see it isn't enough for me to have given the child life, I want to give her my soul, too.
NURSESuch things I don't understand. But I do think that you ought to be able to agree.
CAPTAINYou are not my friend, Margret.
NURSEI? Oh, Lord, what are you saying, Mr. Adolf? Do you think I could forget that you were my child when you were little?
CAPTAINWell, my dear, have I forgotten it? You have been like a mother to me, and you always stood by me when everyone was against me, but now, when I really need you, you desert me and go over to the enemy.
NURSEThe enemy!

CAPTAIN: Yes, the enemy! You know well enough how things are in this house! You have seen everything from the beginning.
NURSEIndeed I have seen! But God knows why two people should torment the life out of each other; two people who are otherwise so good and wish all others well. The mistress is never like that to me or to others—
CAPTAINOnly to me, I know. But let me tell you, Margret, if you desert me now, you will be doing wrong. For now they have begun to weave a plot against me, and that doctor is not my friend.
NURSEOh, Mr. Adolf, you believe evil of everybody. But you see, it's because you don't have the true faith; that's just what it is.
CAPTAINYes, you and the Baptists have found the only true faith. You are indeed lucky!
NURSEAnyway, I'm not unhappy like you, Mr. Adolf. Humble your heart and you will see that God will make you happy in your love for your neighbor.
CAPTAINIt's a strange thing that as soon as you speak of God and love, your voice becomes hard and your eyes fill with hate. No, Margret, surely you do not have the true faith.
NURSEYes, go on being proud and hard in your learning, but it won't amount to much when it comes to the test.
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CAPTAINHow mightily you talk, humble heart. I know very well that knowledge is of no use to you women.
NURSEYou ought to be ashamed of yourself. But in spite of everything, old Margret cares most for her great big boy, and he will come back to the fold when it's stormy weather.
CAPTAINMargret! Forgive me, but believe me when I say that there is no one here who wishes me well but you. Help me, for I feel that something is going to happen here. What it is, I don't know, but something evil is on the way. [Scream from within.] What's that? Who's that screaming?

[Berths enters from inner room.]

BERTHAFather! Father! Help me; save me.
CAPTAINMy dear child, what is it? Speak!
BERTHAHelp me. She wants to hurt me.
CAPTAINWho wants to hurt you? Tell me! Speak!
BERTHAGrandmother! But it's my fault, because I deceived her.
CAPTAINTell me more.
BERTHAYes, but you mustn't say anything about it. Promise me you won't.
CAPTAINTell me what it is, then.

[Nurse goes.]

BERTHAIn the evening she usually turns the lamp down, and then she makes me sit at a table holding a pen over a piece of paper. And then she says that the spirits are to write.
CAPTAINWhat is all this—and you have never told me about it?
BERTHAForgive me, but I dared not, because Grandmother says the spirits take revenge if one talks about them. And then the pen writes, but I don't know whether I'm doing it or not. Sometimes it goes well, but sometimes it won't go at all, and when I am tired nothing comes, but she wants it to come all the same. And tonight I thought I was writing beautifully, but then Grandmother said it was all from Stagnelius, and that I had deceived her, and then she got terribly angry.
CAPTAINDo you believe that there are spirits?
BERTHAI don't know.
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CAPTAINBut I know that there are none.
BERTHABut Grandmother says that you don't understand, Father, and that you do much worse things—you who can see to other planets.
CAPTAINDoes she say that! Does she say that? What else does she say?
BERTHAShe says you can't work witchcraft.
CAPTAINI never said I could. You know what meteoric stones are—stones that fall from other heavenly bodies. I can examine them and learn whether they contain the same elements as our world. That's all I can tell you.
BERTHABut Grandmother says there are things she can see that you can't.
CAPTAINThen she's lying.
BERTHAGrandmother doesn't tell lies.
CAPTAINWhy doesn't she?
BERTHAThen Mother tells lies too.
CAPTAINH'm!
BERTHAAnd if you say that Mother lies, I can never believe in you again.
CAPTAINI have not said so; and so you must believe me when I tell you that it is for your future good that you should leave home. Will you? Will you go to town and learn something useful?
BERTHAOh yes, I would love to go to town, away from here, anywhere. If only I can see you sometimes—often. Oh, it is so gloomy and awful in there all the time, like a winter night, but when you come home, Father, it is like a spring morning when they take off the double windows.
CAPTAINMy beloved child! My dear child!
BERTHABut, Father, you'll be good to Mother, won't you? She cries so often.
CAPTAINH'm—so you want to go to town?
BERTHAYes, yes.
CAPTAINBut if Mother doesn't want you to go?
BERTHABut she must let me.
CAPTAINBut what if she won't?
BERTHAWell, then I don't know what will happen. But she must! She must!
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CAPTAINWill you ask her?
BERTHAYou must ask her very nicely; she wouldn't pay any attention to my asking.
CAPTAINH'm! Now if you wish it, and I wish it, and she doesn't wish it, what shall we do then?
BERTHAOh, then it will all be in a tangle again! Why can't you both—

[Laura comes in.]

LAURAOh, so Bertha is here. Then perhaps we should hear her own opinion, since the question of her future has to be decided.
CAPTAINThe child can hardly have any well-grounded opinion about what a young girl's life is likely to be, while we, on the contrary, can more easily judge what it may be, as we have seen so many young girls grow up.
LAURABut since we are of different opinions, Bertha must be the one to decide.
CAPTAINNo, I let no one usurp my rights, neither women nor children. Bertha, leave us.

[Bertha goes out.]

LAURAYou were afraid of hearing her opinion, because you thought it would be to my advantage.
CAPTAINI know that she wishes to go away from home, but I also know that you have the power to change her mind to suit your pleasure.
LAURAOh, am I really so powerful?
CAPTAINYes, you have a fiendish power of getting your own way; but so does anyone who is unscrupulous about how it is accomplished. How did you get Doctor Norling away, for instance, and how did you get this new doctor here?
LAURAYes, how did I manage that?
CAPTAINYou insulted the other one so much that he left, and made your brother recommend this fellow.
LAURAWell, that was quite simple and legitimate. Is Bertha to leave home now?
CAPTAINYes, she is to start in a fortnight.
LAURAThat is your decision?
CAPTAINYes.
LAURAThen I must try to prevent it.
CAPTAINYou cannot.
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LAURACan't I? Do you really think I would trust my daughter to wicked people and let them teach her that everything her mother has instilled in her is mere foolishness? Why, she would despise me for the rest of her life afterward!
CAPTAINDo you think a father should allow ignorant and conceited women to teach his daughter that he is a charlatan?
LAURAIt matters less to the father.
CAPTAINWhy so?
LAURABecause the mother is closer to the child, since it has been discovered that no one can tell for certain who a child's father is.
CAPTAINHow does that apply to this case?
LAURAYou do not know whether you are Bertha's father or not.
CAPTAINI don't know?
LAURANo; what no one knows, you surely cannot know.
CAPTAINAre you joking?
LAURANo; I am only making use of your own teaching. For that matter, how do you know that I have not been unfaithful to you?
CAPTAINI believe you capable of almost anything, but not that, nor that you would talk about it if it were true.
LAURASuppose that I was prepared to bear anything, even to being despised and driven out, everything for the sake of being able to keep and control my child, and that I am truthful now when I declare that Bertha is my child, but not yours. Suppose—
CAPTAINStop now!
LAURAJust suppose this. In that case your power would be at an end.
CAPTAINOnce you had proved that I was not the father.
LAURAThat would not be difficult! Would you like me to do so?
CAPTAINStop!
LAURAOf course, I would only need to state the name of the real father and give all the details of place and time. For instance—when was Bertha born? In the third year of our marriage.
CAPTAINStop now, or else—
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LAURAOr else what? Shall we stop now? Think carefully about everything you do and decide, and whatever you do, don't make yourself ridiculous.
CAPTAINI consider all this most deplorable.
LAURAWhich makes you all the more ridiculous.
CAPTAINAnd you?
LAURAOh, we women are really too clever.
CAPTAINThat's why one can't contend with you.
LAURAThen why provoke contests with a superior enemy?
CAPTAINSuperior?
LAURAYes, it's strange, but I have never looked at a man without knowing myself to be his superior.
CAPTAINThen you shall be made to see your superior for once, so that you will never forget it.
LAURAThat will be interesting.

[comes in]

NURSESupper is served. Will you come in?
LAURAVery well.

[Captain lingers; sits down with a magazine in an armchair near the table.]

LAURAAren't you coming in to supper?
CAPTAINNo, thanks. I don't want anything.
LAURAWhat, are you annoyed?
CAPTAINNo, but I'm not hungry.
LAURACome, or they will ask unnecessary questions—be good now. You won't? Stay there, then. [Goes.]
NURSEMr. Adolf! What is this all about?
CAPTAINI don't know what it is. Can you explain to me why you women treat an old man as if he were a child?
NURSEI don't understand it, but it must be because all you men, great and small, are women's children, every man of you.
CAPTAINBut no women are born of men. Yes, but I am Bertha's father. Tell me, Margret, don't you believe it? Don't you?
NURSELord, how silly you are. Of course you are your own child's father. Come and eat now, and don't sit there and sulk. There, there, come now.
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CAPTAINGet out, woman. To hell with the hags. [Goes to private door.] Svärd, Svärd!

[Orderly comes in.]

ORDERLYYes, Captain.
CAPTAINHitch up the covered sleigh at once.
NURSECaptain, listen to me.
CAPTAINOut, woman! At once!

[The orderly leaves.]

NURSEGood Lord, what's going to happen now?

[The Captain puts on his cap and coat and prepares to go out.]

CAPTAINDon't expect me home before midnight. [He leaves.]
NURSELord preserve us, whatever will become of this!

ACT II

[The same scene as in the previous act. A lighted lamp is on the table; it is night. The Doctor and Laura are discovered at rise of curtain.]

DOCTORFrom what I gathered during my conversation with him, the case is not fully proved to me. In the first place, you made a mistake in saying that he had arrived at these astonishing results about other heavenly bodies by means of a microscope. Now that I have learned that it was a spectroscope, he is not only cleared of any suspicion of insanity, but has rendered a great service to science.
LAURAYes, but I never said that.
DOCTORMadam, I made careful notes of our conversation, and I remember that I asked about this very point because I thought I had misunderstood you. One must be very careful in making such accusations when a certificate in lunacy is in question.
LAURAA certificate in lunacy?
DOCTORYes, you must surely know that an insane person loses both civil and family rights.
LAURANo, I didn't know that.
DOCTORThere was another matter that struck me as suspicious. He said his communications to his booksellers had gone unanswered. May I ask whether, out of mistaken kindness, you intercepted them?
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LAURAYes, I did. It was my duty to protect the family's interests, and I couldn't let him ruin us all without some intervention.
DOCTORForgive me, but I don't think you can have considered the consequences of such an act. If he discovers your secret interference in his affairs, he will have grounds for suspicion, and it will grow like an avalanche. Besides, by doing this you have thwarted his will and irritated him even more. You must have felt for yourself how the mind rebels when one's deepest desires are thwarted and one's will is crossed.
LAURAHaven't I felt that!
DOCTORThink, then, what he must have gone through.

[Rising]

LAURAIt is midnight and he hasn't come home. Now we may fear the worst.
DOCTORBut tell me what actually happened this evening after I left. I must know everything.
LAURAHe raved in the wildest way and had the strangest ideas. For instance, that he is not the father of his child.
DOCTORThat is strange. How did such an idea come into his head?
LAURAI really can't imagine, unless it was because he had to question one of the men about supporting a child, and when I tried to defend the girl, he grew excited and said no one could tell who was the father of a child. God knows I did everything to calm him, but now I believe there is no help for him. [Cries.]
DOCTORBut this cannot go on. Something must be done here without, of course, arousing his suspicions. Tell me, has the Captain ever had such delusions before?
LAURASix years ago things were in the same state, and then he himself confessed in his own letter to the doctor that he feared for his reason.
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DOCTORYes, yes, yes, this is a story that has deep roots, and the sanctity of family life—and so on—of course I cannot ask about everything, but must limit myself to appearances. What is done can't be undone, more's the pity, yet the remedy should be based upon all the past. Where do you think he is now?
LAURAI have no idea, he has such wild streaks.
DOCTORWould you like me to stay until he returns? To avoid suspicion, I could say I came to see your mother, who isn't well.
LAURAYes, that will do very nicely. Don't leave us, Doctor; if you only knew how troubled I am! But wouldn't it be better to tell him outright what you think of his condition?
DOCTORWe never do that unless the patient mentions the subject himself, and very seldom even then. It depends entirely on the case. But we mustn't sit here; perhaps I had better go into the next room; it will look more natural.
LAURAYes, that will be better, and Margret can sit here. She always waits up when he is out, and she is the only one who has any power over him. [Goes to the door on the left] Margret, Margret!
NURSEYes, Ma'am. Has the master come home?
LAURANo; but you are to sit here and wait for him, and when he does come, you are to say my mother is ill and that's why the doctor is here.
NURSEYes, yes. I'll see that everything is all right.

[Opens the door to the inner rooms]

LAURAWill you come in here, Doctor?
DOCTORThank you.

[The Nurse sits down at the table, picks up a hymn book and her glasses, and reads.]

NURSEAh, yes, ah yes! [Reads half aloud]
Ah, woe is me, how sad a thing
is life within this vale of tears.
Death's angel triumphs like a king
and calls aloud to all the spheres—
Vanity, all is vanity.
Yes, yes! Yes, yes!

[Reads again]

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NURSEAll that on earth has life and breath
must fall to earth before his spear,
and sorrow, saved alone from death,
inscribes above the mighty bier:
Vanity, all is vanity.
Yes, yes.

[Comes in with a coffee pot and some embroidery. She speaks in a low voice.]

BERTHAMargret, may I sit with you? It is so frightfully lonely up there.
NURSEFor goodness' sake, are you still up, Bertha?
BERTHAYou see, I want to finish Father's Christmas present. And here's something you'll like.
NURSEBut bless my soul, this won't do. You have to be up in the morning, and it's past midnight now.
BERTHAWhat does it matter? I don't dare sit up there alone. I believe the spirits are at work.
NURSEYou see, just what I said. Mark my words, this house wasn't built on a lucky spot. What did you hear?
BERTHAJust think, I heard someone singing up in the attic!
NURSEIn the attic? At this hour?
BERTHAYes, it was such a sorrowful, melancholy song! I've never heard anything like it. It sounded as if it came from the store-room, where the cradle stands, you know, to the left— — —
NURSEDear me, dear me! And such a fearful night. It seems as if the chimneys will blow down. "Ah, what then is this earthly life, but grief, affliction, and great strife? Even when it has seemed fairest, it can be deemed nothing but pain." Ah, dear child, may God give us a good Christmas!
BERTHAMargret, is it true that Father is ill?
NURSEYes, I'm afraid he is.
BERTHAThen we can't keep Christmas Eve? But how can he be up and around if he is ill?
NURSEYou see, my child, the kind of illness he has doesn't keep him from being up. Hush, there's someone out in the hall. Go to bed now and take the coffee pot away, or the master will be angry.

[Going out with tray]

BERTHAGood night, Margret.
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NURSEGood night, my child. God bless you.

[Captain comes in and takes off his overcoat.]

CAPTAINAre you still up? Go to bed.
NURSEI was only waiting till— —

[The Captain lights a candle, opens his desk, sits down at it, and takes letters and newspapers out of his pocket.]

NURSEMr. Adolf.
CAPTAINWhat do you want?
NURSEThe old mistress is ill and the doctor is here.
CAPTAINIs it anything dangerous?
NURSENo, I don't think so. Just a cold.

[Gets up]

CAPTAINMargret, who was the father of your child?
NURSEOh, I've told you many and many a time; it was that scamp Johansson.
CAPTAINAre you sure that it was he?
NURSEHow childish you are; of course I'm sure when he was the only one.
CAPTAINYes, but was he sure that he was the only one? No, he could not be, but you could be sure of it. There is a difference, you see.
NURSEWell, I can't see any difference.
CAPTAINNo, you can't see it, but the difference is there all the same. [Turns the pages of a photo album on the table.] Do you think Bertha looks like me?
NURSEOf course! You two are as alike as two peas in a pod.
CAPTAINDid Johansson confess that he was the father?
NURSEHe was forced to!
CAPTAINHow terrible! Here comes the Doctor. [Doctor comes in.] Good evening, Doctor. How is my mother-in-law?
DOCTOROh, it's nothing serious—just a slight sprain of the left ankle.
CAPTAINI thought Margret said it was a cold. There seem to be different opinions about the same case. Go to bed, Margret.

[Nurse goes. A pause.]

CAPTAINHave a seat, Doctor.

[Sits]

DOCTORThank you.
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CAPTAINIs it true that you get striped foals if you cross a zebra with a mare?

[Astonished]

DOCTORAbsolutely true.
CAPTAINIs it true that the foals remain striped if the breed is continued with a stallion?
DOCTORYes, that is true as well.
CAPTAINThat is to say, under certain conditions a stallion can sire striped foals, or the opposite?
DOCTORYes, so it seems.
CAPTAINSo an offspring's resemblance to the father proves nothing?
DOCTORWell— — —
CAPTAINThat is to say, paternity cannot be proven.
DOCTORH'm— —well— —
CAPTAINYou are a widower, aren't you, and have had children?
DOCTORYe-es.
CAPTAINDid you never feel ridiculous as a father? I know of nothing so ludicrous as seeing a father leading his children by the hand around the streets, or hearing a father talk about his children. "My wife's children," he ought to say. Did you ever feel how false your position was? Were you never afflicted with doubts—I won't say suspicions, for, as a gentleman, I assume that your wife was above suspicion.
DOCTORNo, really, I never was; but, Captain, I believe Goethe says a man must take his children on good faith.
CAPTAINIt's risky to take anything on good faith where a woman is concerned.
DOCTOROh, there are so many kinds of women.
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CAPTAINModern investigations have pronounced that there is only one kind! Lately I have recalled two instances in my life that make me believe this. When I was young I was strong and, if I may boast, handsome. Once, while I was making a trip on a steamer and sitting with a few friends in the saloon, the young stewardess came and flung herself down by me, burst into tears, and told us that her sweetheart was drowned. We sympathized with her, and I ordered some champagne. After the second glass I touched her foot; after the fourth her knee, and before morning I had consoled her.
DOCTORThat was just a winter fly.
CAPTAINNow comes the second instance—and that was a real summer fly. I was at Lyskil. There was a young married woman staying there with her children, but her husband was in town. She was religious, had extremely strict principles, preached morals to me, and was, I believe, entirely honorable. I lent her a book, two books, and when she was leaving, she returned them, strange to say! Three months later, in those very books I found her card with a declaration on it. It was innocent, as innocent as a declaration of love can be from a married woman to a strange man who never made any advances. Now comes the moral: Just don't have too much faith.
DOCTORDon't have too little faith either.
CAPTAINNo, but just enough. But, you see, Doctor, that woman was so unconsciously dishonest that she talked to her husband about the fancy she had taken to me. That's what makes it dangerous—this very unconsciousness of their instinctive dishonesty. That is a mitigating circumstance, I admit, but it cannot nullify judgment, only soften it.
DOCTORCaptain, your thoughts are taking a morbid turn, and you ought to control them.
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CAPTAINYou must not use the word morbid. Steam boilers, as you know, explode at a certain pressure, but the same pressure is not needed for all boiler explosions. You understand? However, you are here to watch me. If I were not a man I should have the right to make accusations or complaints, as they are so cleverly called, and perhaps I should be able to give you the whole diagnosis, and, what is more, the history of my disease. But unfortunately, I am a man, and there is nothing for me to do but, like a Roman, fold my arms across my breast and hold my breath till I die.
DOCTORCaptain, if you are ill, it will not reflect upon your honor as a man to tell me all. In fact, I ought to hear the other side.
CAPTAINYou have had enough in hearing the one, I imagine. Do you know when I heard Mrs. Alving eulogizing her dead husband, I thought to myself what a damned pity it was the fellow was dead. Do you suppose that he would have spoken if he had been alive? And do you suppose that if any of the dead husbands came back they would be believed? Good night, Doctor. You see that I am calm, and you can retire without fear.
DOCTORGood night, then, Captain. I'm afraid. I can be of no further use in this case.
CAPTAINAre we enemies?
DOCTORFar from it. But it is too bad we cannot be friends. Good night.

[Goes. The Captain follows the Doctor to the door at back and then goes to the door at left and opens it slightly.]

CAPTAINCome in, and we'll talk. I heard you out there listening. [Laura, embarrassed. Captain sits at desk.] It is late, but we must come to some decision. Sit down. [Pause.] I have been at the post office tonight to get my letters. From these it appears that you have been keeping back my mail, both coming and going. The consequence of which is that the loss of time has as good as destroyed the result I expected from my work.
LAURAIt was an act of kindness on my part, as you neglected the service for this other work.
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CAPTAINIt was hardly kindness, for you were quite sure that some day I should win more honor from that than from the service; but you were particularly anxious that I should not win such honors, for fear your own insignificance would be emphasized by it. In consequence of all this I have intercepted letters addressed to you.
LAURAThat was a noble act.
CAPTAINYou see, you have, as you might say, a high opinion of me. It appears from these letters that, for some time past, you have been arraying my old friends against me by spreading reports about my mental condition. And you have succeeded in your efforts, for now not more than one person exists, from the Colonel down to the cook, who believes that I am sane. Now these are the facts about my illness: my mind is sound, as you know, so that I can take care of my duties in the service as well as my responsibilities as a father; my feelings are more or less under my control, as my will has not been completely undermined; but you have gnawed and nibbled at it so that it will soon slip the cogs, and then the whole mechanism will slip and go to smash. I will not appeal to your feelings, for you have none; that is your strength; but I will appeal to your interests.
LAURALet me hear.
CAPTAINYou have succeeded in arousing my suspicions to such an extent that my judgment is no longer clear, and my thoughts begin to wander. This is the approaching insanity that you are waiting for, which may come at any time now. So you are face to face with the question whether it is more to your interest that I should be sane or insane. Consider. If I go under I shall lose the service, and where will you be then? If I die, my life insurance will fall to you. But if I take my own life, you will get nothing. Consequently, it is to your interest that I should live out my life.
LAURAIs this a trap?
CAPTAINTo be sure. But it rests with you whether you will run around it or stick your head into it.
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LAURAYou say that you will kill yourself! You won't do that!
CAPTAINAre you sure? Do you think a man can live when he has nothing and no one to live for?
LAURAYou surrender, then?
CAPTAINNo, I offer peace.
LAURAThe conditions?
CAPTAINThat I may keep my reason. Free me from my suspicions, and I give up the conflict.
LAURAWhat suspicions?
CAPTAINAbout Bertha's origin.
LAURAIs there any doubt about that?
CAPTAINYes, I have doubts, and you have awakened them.
LAURAI?
CAPTAINYes, you have dropped them into my ears like henbane, and circumstances have strengthened them. Free me from the uncertainty; tell me outright that it is true, and I will forgive you beforehand.
LAURAHow can I acknowledge a sin that I have not committed?
CAPTAINWhat does it matter, when you know that I won't divulge it? Do you think a man would go and broadcast his own shame?
LAURAIf I say it isn't true, you won't be convinced; but if I say it is, then you will be convinced. You seem to hope it is true!
CAPTAINYes, strangely enough; it must be, because the first supposition can't be proved; the latter can be.
LAURAHave you any ground for your suspicions?
CAPTAINYes and no.
LAURAI believe you want to prove me guilty, so that you can get rid of me and then have absolute control over the child. But you won't catch me in any such snare.
CAPTAINDo you think I would want to be responsible for another man's child if I were convinced of your guilt?
LAURANo, I'm sure you wouldn't, and that's what makes me know you lied just now when you said you would forgive me beforehand.
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CAPTAIN[Rises.] Laura, save me and my sanity. You don't seem to understand what I'm saying. If the child isn't mine, I have no control over her and don't want any—and that's precisely what you do want, isn't it? But perhaps you want even more—to have power over the child while still having me support you.
LAURAPower, yes! What has this whole life-and-death struggle been for, if not power?
CAPTAINTo me it has meant more. I do not believe in an afterlife; the child was my future life. That was my idea of immortality—perhaps the only kind that has any basis in reality. If you take that away from me, you cut off my life.
LAURAWhy didn't we separate in time?
CAPTAINBecause the child bound us together; but the bond became a chain. And how did it happen; how? I have never thought about this, but now memories rise up accusingly, perhaps condemningly. We had been married two years and had no children; you know why. I fell ill and lay at the point of death. During a lucid interval of the fever I heard voices out in the drawing-room. It was you and the lawyer talking about the fortune that I still possessed. He explained that you could inherit nothing because we had no children, and he asked you if you were expecting to become a mother. I did not hear your reply. I recovered and we had a child. Who is its father?
LAURAYou.
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CAPTAINNo, I am not. Here is a buried crime that is beginning to stink, and what a hellish crime! You women have been compassionate enough to free the black slaves, but you have kept the white ones. I have worked and slaved for you, your child, your mother, your servants; I have sacrificed promotion and career; I have endured torture, flagellation, sleeplessness, and worry for your sake, until my hair has grown gray; and all so that you might enjoy a life without care, and when you grew old, enjoy life over again in your child. I have borne everything without complaint, because I thought myself the father of your child. This is the commonest kind of theft, the most brutal slavery. I have had seventeen years of penal servitude and have been innocent. What can you give me in return for that?
LAURANow you are quite mad.
CAPTAINThat is your hope! And I see how you have labored to conceal your crime. I sympathized with you because I did not understand your grief. I have often lulled your evil conscience to rest when I thought I was driving away morbid thoughts. I have heard you cry out in your sleep and not wanted to listen. I remember now, the night before last—Bertha's birthday—it was between two and three in the morning, and I was sitting up reading; you shrieked, "Don't, don't!" as if someone were strangling you; I knocked on the wall—I didn't want to hear any more. I have had my suspicions for a long time, but I did not dare to hear them confirmed. All this I have suffered for you. What will you do for me?
LAURAWhat can I do? I will swear by God and all I hold sacred that you are Bertha's father.
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CAPTAINWhat use is that when you have often said that a mother can and ought to commit any crime for her child? I implore you, as a wounded man begs for a death blow, to tell me all. Don't you see I'm as helpless as a child? Don't you hear me complaining as to a mother? Won't you forget that I am a man, that I am a soldier who can tame men and beasts with a word? Like a sick man I only ask for compassion. I lay down the tokens of my power and implore you to have mercy on my life.

[Laura approaches him and lays her hand on his brow.]

LAURAWhat! You are crying, man!
CAPTAINYes, I am crying, although I am a man. But has not a man eyes? Has not a man hands, limbs, senses, thoughts, passions? Is he not fed with the same food, hurt by the same weapons, warmed and cooled by the same summer and winter as a woman? If you prick us, do we not bleed? If you tickle us, do we not laugh? And if you poison us, do we not die? Why shouldn't a man complain, a soldier weep? Because it is unmanly? Why is it unmanly?
LAURAWeep then, my child, as if you were with your mother once more. Do you remember when I first came into your life, I was like a second mother? Your great strong body needed nerves; you were a giant child that had either come too early into the world, or perhaps was not wanted at all.
CAPTAINYes, that’s how it was. My father’s and my mother’s will was against my coming into the world, and so I was born without a will. I thought I was completing myself when you and I became one, and so you were allowed to rule, and I, the commander at the barracks and before the troops, became obedient to you, grew through you, looked up to you as to a more highly gifted being, listened to you as if I had been your undeveloped child.
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LAURAYes, that’s the way it was, and that is why I loved you as my child. But you know—you must have seen—that when the nature of your feelings changed and you appeared as my lover, I blushed, and your embraces were a joy followed by a remorseful conscience, as if my blood were ashamed. The mother became the mistress. Ugh!
CAPTAINI saw it, but I did not understand. I believed you despised me for my unmanliness, and I wanted to win you as a woman by being a man.
LAURAYes, but there was the mistake. The mother was your friend, you see, but the woman was your enemy, and love between the sexes is strife. Do not think that I gave myself; I did not give, but took—what I wanted. But you had one advantage. I felt that, and I wanted you to feel it.
CAPTAINYou always had the advantage. You could hypnotize me when I was wide awake, so that I neither saw nor heard, but merely obeyed; you could give me a raw potato and make me imagine it was a peach; you could force me to admire your foolish caprices as though they were strokes of genius. You could have influenced me to crime—yes, even to mean, paltry deeds. Because you lacked intelligence, instead of carrying out my ideas you acted on your own judgment. But when at last I awoke, I realized that my honor had been corrupted, and I wanted to blot out the memory by a great deed, an achievement, a discovery, or an honorable suicide. I wanted to go to war, but was not permitted. It was then that I threw myself into science. And now, when I was about to reach out my hand to gather in its fruits, you chop off my arm. Now I am dishonored and can live no longer, for a man cannot live without honor.
LAURABut a woman?
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CAPTAINYes, for she has her children, which he does not. But like the rest of mankind, we lived our lives as children, unconscious, full of imagination, ideals, and illusions, and then we awoke; it was all over. But we awoke with our feet on the pillow, and the one who woke us was himself a sleepwalker. When women grow old and cease to be women, they get beards on their chins; I wonder what men get when they grow old and cease to be men. Those who crowed were no longer roosters but capons, and the pullets answered their call, so that when we thought the sun was about to rise, we found ourselves in the bright moonlight amid ruins, just as in the good old days. It had only been a brief morning slumber with wild dreams, and there was no awakening.
LAURADo you realize you should have been a poet!
CAPTAINWho knows.
LAURAI'm sleepy now, so if you have any more fantastic visions, save them for tomorrow.
CAPTAINFirst, a little more about realities. Do you hate me?
LAURAYes, sometimes, when you are a man.
CAPTAINThis is like racial hatred. If it is true that we are descended from monkeys, at least it must be from two separate species. We are certainly not like one another, are we?
LAURAWhat are you trying to say with all this?
CAPTAINI feel that one of us must lose this struggle.
LAURAWhich one?
CAPTAINThe weaker one, of course.
LAURAAnd the stronger will be in the right?
CAPTAINAlways, since he has the power.
LAURAThen I am in the right.
CAPTAINDo you have the power already, then?
LAURAYes, and a legal power with which I will place you under the control of a guardian.
CAPTAINUnder a guardian?
LAURAAnd then I shall educate my child without listening to your fantastic notions.
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CAPTAINAnd who will pay for the education when I am no longer here?
LAURAYour pension will pay for it.

[Threateningly]

CAPTAINHow can you have me put under a guardian?

[Takes out a letter]

LAURAWith this letter, an attested copy of which is in the hands of the board of lunacy.
CAPTAINWhat letter?

[Moving backward toward the door on the left]

LAURAYours! Your declaration to the doctor that you are insane. [The Captain stares at her in silence.] Now you have fulfilled your function as an unfortunately necessary father and breadwinner; you are not needed any longer and you must go. You must go, since you have realized that my intellect is as strong as my will, and since you will not stay and acknowledge it.

[The Captain goes to the table, seizes the lighted lamp and hurls it at Laura, who disappears backward through the door.]

ACT III

[Same scene. Another lamp on the table. The private door is barricaded with a chair.]

[to the Nurse]

LAURADid he give you the keys?
NURSEGive them to me—no! God help me, but I took them from the master's clothes that Nöjd had set out to brush.
LAURAOh, so Nöjd is on duty today?
NURSEYes, Nöjd.
LAURAGive me the keys.
NURSEYes, but this seems like downright stealing. Do you hear him walking up there, ma'am? Back and forth, back and forth.
LAURAIs the door well barred?
NURSEOh, yes, it's barred well enough!
LAURAControl your feelings, Margret. We must be calm if we are to be saved. [Knock.] Who is it?

[Opens door to hall]

NURSEIt's Nöjd.
LAURALet him come in.

[Comes in]

NÖJDA message from the Colonel.
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LAURAGive it to me [Reads] Ah!—Nöjd, have you taken all the cartridges out of the guns and pouches?
NÖJDYes, Ma'am.
LAURAGood, wait outside while I answer the Colonel's letter. [Nöjd goes. Laura writes.]
NURSEListen. What on earth is he doing up there now?
LAURABe quiet while I write.

[The sound of sawing is heard.]

[Half to herself]

NURSEOh, God have mercy on us all! Where will this end?
LAURAHere, give this to Nöjd. And my mother must not know anything about all this. Do you hear?

[The Nurse goes out. Laura opens the drawers of the desk and takes out papers. The Pastor enters, takes a chair and sits down near Laura by the desk.]

PASTORGood evening, sister. I've been away all day, as you know, and only just got back. Terrible things have been happening here.
LAURAYes, brother, never have I gone through such a night and such a day.
PASTORI see that you are none the worse for it all.
LAURANo, God be praised, but think what might have happened!
PASTORTell me one thing: how did it begin? I have heard so many different versions.
LAURAIt began with his wild idea that he was not Bertha's father, and ended with him throwing the lighted lamp in my face.
PASTORBut this is dreadful! It is fully developed insanity. And what is to be done now?
LAURAWe must try to prevent further violence, and the doctor has sent to the hospital for a straitjacket. In the meantime I have sent a message to the Colonel, and I am now trying to straighten out the affairs of the household, which he has carried on in a most reprehensible manner.
PASTORThis is a deplorable story, but I have always expected something of the sort. Fire and powder must end in an explosion. What have you got in the drawer there?
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[Has pulled out a drawer in the desk]

LAURALook, he has hidden everything here.

[Looking into drawer]

PASTORGood Heavens, here is your doll and here is your christening cap and Bertha's rattle; and your letters; and the locket. [Wipes his eyes.] After all, he must have loved you very dearly, Laura. I never kept such things!
LAURAI believe he used to love me, but time—time changes so many things.
PASTORWhat is that big paper? The receipt for a grave! Yes, better the grave than the lunatic asylum! Laura, tell me, are you blameless in all this?
LAURAI? Why should I be to blame because a man goes out of his mind?
PASTORWell, well, I shan't say anything. After all, blood is thicker than water.
LAURAWhat are you daring to suggest?

[Looking at her penetratingly]

PASTORNow, listen!
LAURAYes?
PASTORYou can hardly deny that it suits you quite well to be able to raise your child as you wish?
LAURAI don't understand.
PASTORHow I admire you!
LAURAMe? H'm!
PASTORAnd I am supposed to become the guardian of that free-thinker! Do you know, I have always regarded him as a weed in our garden.

[Laura gives a short laugh, then suddenly becomes serious.]

LAURAAnd you dare say that to me—his wife?
PASTORYou are strong, Laura, incredibly strong. You are like a fox in a trap: you would rather gnaw off your own leg than let yourself be caught! Like a master thief—no accomplice, not even your own conscience. Look at yourself in the glass! You dare not!
LAURAI never use a looking glass!
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PASTORNo, you dare not! Let me look at your hand. Not a tell-tale blood stain, not a trace of insidious poison! A little innocent murder that the law cannot reach, an unconscious crime—unconscious! What a splendid idea! Do you hear how he is working up there? Take care! If that man gets loose he will make short work of you.
LAURAYou talk so much, you must have a bad conscience. Accuse me if you can!
PASTORI cannot.
LAURAYou see! You can't, and so I'm innocent. You look after your ward, and I'll look after mine! Here comes the doctor.

[The Doctor enters.]

[Rising]

LAURAGood evening, Doctor. At least you will help me, won't you? But unfortunately there isn't much that can be done. Do you hear how he's carrying on up there? Are you convinced now?
DOCTORI'm convinced that an act of violence has been committed, but the question now is whether that act of violence can be considered an outbreak of passion or of madness.
PASTORBut apart from the actual outbreak, you must admit that he has "fixed ideas."
DOCTORI think your ideas, Pastor, are far more fixed.
PASTORMy settled views about the highest things are—
DOCTORLet's leave settled opinions out of this. Madam, it is up to you to decide whether your husband is guilty to the extent of imprisonment and a fine, or should be put in an asylum! How would you classify his behavior?
LAURAI cannot answer that now.
DOCTORThat is to say, you have no decided opinion as to what will be most advantageous to the interests of the family? What do you say, Pastor?
PASTORWell, there will be a scandal in either case. It is not easy to say.
LAURABut if he is only sentenced to a fine for violence, he will be able to repeat the violence.
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DOCTORAnd if he is sent to prison, he will soon be out again. Therefore we consider it most advantageous for all parties that he should be immediately treated as insane. Where is the nurse?
LAURAWhy?
DOCTORShe must put the straitjacket on the patient once I have talked to him and given the order! But not before. I have—the—garment out here. [Goes out into the hall and returns with a large bundle.] Please ask the nurse to come in here.

[Laura rings.]

PASTORDreadful! Dreadful!

[Nurse comes in.]

[Takes out the straitjacket]

DOCTORI want you to pay attention to this. We want you to slip this jacket on the Captain from behind, you understand, when I find it necessary to prevent another outbreak of violence. You notice it has very long sleeves to prevent his moving, and they are to be tied at the back. Here are two straps that go through buckles which are afterwards fastened to the arm of a chair or the sofa or whatever is convenient. Will you do it?
NURSENo, Doctor, I can't do that; I can't.
LAURAWhy don't you do it yourself, Doctor?
DOCTORBecause the patient distrusts me. You, Madam, would seem to be the one to do it, but I fear he distrusts even you.

[Laura's face changes for an instant.]

DOCTORPerhaps you, Pastor—
PASTORNo, I must ask to be excused.

[Nöjd comes in.]

LAURAHave you delivered the message already?
NÖJDYes, Madam.
DOCTOROh, is that you, Nöjd? You know the situation here; you know that the Captain is not in his right mind, and you must help us take care of him.
NÖJDIf there is anything I can do for the Captain, you may be sure I will do it.
DOCTORYou must put this jacket on him—
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NURSENo, he shan't touch him. Nöjd might hurt him. I would rather do it myself, very, very gently. But Nöjd can wait outside and help me if necessary. He can do that.

[There is loud knocking at the private door.]

DOCTORThere he is! Put the jacket under your shawl on the chair, and you must all go out for the time being, and the Pastor and I will receive him, for that door won't hold out many minutes. Now go.

NURSE [Going out left.] The Lord help us!

[Laura locks the desk, then goes out left. Nöjd goes out back. After a moment the private door is forced open, with such violence that the lock is broken and the chair is thrown into the middle of the room. The Captain comes in with a pile of books under his arm, which he puts on the table.]

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CAPTAINThe whole thing is to be read here, in every book. So I wasn't out of my mind after all! Here it is in the Odyssey, book one, verse 215, page 6 of the Upsala translation. It is Telemachus speaking to Athene. "My mother indeed maintains that he, Odysseus, is my father, but I myself know it not, for no man yet hath known his own origin." And this suspicion is harbored by Telemachus about Penelope, the most virtuous of women! Beautiful, eh? And here we have the prophet Ezekiel: "The fool saith; behold here is my father, but who can tell whose loins engendered him." That's quite clear! And what have we here? The History of Russian Literature by Mersläkow. Alexander Pushkin, Russia's greatest poet, died of torture from the reports circulated about his wife's unfaithfulness rather than by the bullet in his breast, from a duel. On his deathbed he swore she was innocent. Ass, ass! How could he swear to it? You see, I read my books. Ah, Jonas, are you here? and the doctor, naturally. Have you heard what I answered when an English lady complained about Irishmen who used to throw lighted lamps in their wives' faces? "God, what women," I cried. "Women," she gasped. "Yes, of course," I answered. "When things go so far that a man, a man who loved and worshipped a woman, takes a lighted lamp and throws it in her face, then one may know."
PASTORKnow what?
CAPTAINNothing. One never knows anything. One only believes. Isn't that true, Jonas? One believes and then one is saved! Yes, to be sure. No, I know that one can be damned by his faith. I know that.
DOCTORCaptain!
CAPTAINSilence! I don't want to talk to you; I won't listen to you repeating their chatter in there, like a telephone! In there! You know! Look here, Jonas, do you believe you are the father of your children? I remember you had a tutor in your house who had a handsome face, and people gossiped about him.
PASTORAdolf, take care!
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CAPTAINReach under your toupee and feel whether there aren't two bumps there. By my soul, I believe he's turning pale! Yes, yes, they will talk; but, good Lord, they talk so much. Still, we married men are a lot of ridiculous dupes. Isn't that true, Doctor? How was it with your marriage bed? Didn't you have a lieutenant in the house, eh? Wait a moment and I'll make a guess—his name was—[whispers in the Doctor's ear]. You see, he's turning pale too! Don't be disturbed. She is dead and buried, and what's done can't be undone. By the way, I knew him well, and he is now—look at me, Doctor—No, straight in my eyes—a major in the cavalry! By God, I believe he has horns too.

[Tortured]

DOCTORCaptain, won't you talk about something else?
CAPTAINDo you see? He immediately wants to talk about something else when I mention horns.
PASTORDo you know, Adolf, that you are insane?
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CAPTAINYes, I know that well enough. But if I had charge of your illustrious brain for a while, I'd soon shut you up too! I may be mad, but how did I become so? That's no concern of yours, and it's no concern of anyone's. But you want to talk about something else now. [Takes the photograph album from the table.] Good Lord, that's my child! Mine? We can never know. Do you know what we would have to do to be sure? First, one should marry to gain society's respect, then be divorced soon after and become lovers, and finally adopt the children. Then at least one would be sure they were one's adopted children. Isn't that right? But how can any of that help us now? What can hold me back now that you have taken my belief in immortality from me? What use are science and philosophy to me when I have nothing to live for? What can I do with life when I am dishonored? I grafted my right arm, half my brain, half my marrow onto another trunk, because I believed they would knit together and grow into a more perfect tree, and then someone came with a knife and cut below the graft, and now I am only half a tree. But the other half keeps growing with my arm and half my brain, while I wither and die, for they were the best parts I gave away. Now I want to die. Do with me as you will. I am nothing anymore.

[Buries his head in his arms on the table. The Doctor whispers to the Pastor, and they go out through the door on the left. Soon afterward Bertha comes in.]

[Goes up to the Captain]

BERTRAAre you ill, Father?

[Looks up dazed]

CAPTAINI?
BERTHADo you know what you've done? Do you know that you threw the lamp at Mother?
CAPTAINDid I?
BERTHAYes, you did. Just think, what if she had been hurt?
CAPTAINWhat difference would that have made?
BERTHAYou're not my father when you talk like that.
CAPTAINWhat's that you say? I'm not your father? How do you know that? Who told you? And who is your father, then? Who?
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BERTHANot you, anyway.
CAPTAINStill not me? Who, then? Who? You seem to be well informed. Who told you? That I should live to see my own child come and tell me to my face that I'm not her father! But don't you know that you disgrace your mother when you say that? Don't you know that it's to her shame if it's true?
BERTHADon't say anything bad about Mother, do you hear?
CAPTAINNo; you all hold together against me! And you always have.
BERTHAFather!
CAPTAINDon't use that word again!
BERTHAFather, father!

[Draws her to him]

CAPTAINBertha, dear, dear child, you are my child! Yes, yes; it cannot be otherwise. It is so. The other was only sickly thoughts that come with the wind like pestilence and fever. Look at me so that I may see my soul in your eyes!—But I see her soul, too! You have two souls, and you love me with one and hate me with the other. But you must love only me! You must have only one soul, or you will never have peace, nor will I. You must have only one mind, which is the child of my mind, and one will, which is my will.
BERTHABut I don't want to, I want to be myself.
CAPTAINYou must not. You see, I am a cannibal, and I want to eat you. Your mother wanted to eat me, but she was not allowed to. I am Saturn who ate his children because it had been prophesied that they would eat him. To eat or be eaten! That is the question. If I do not eat you, you will eat me, and you have already shown your teeth! But don't be frightened, my dear child; I won't harm you. [Goes and takes a revolver from the wall.]

[Trying to escape]

BERTHAHelp, Mother, help! He wants to kill me.

[Comes in]

NURSEMr. Adolf, what is it?

[Examining revolver]

CAPTAINHave you taken the cartridges out?
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NURSEYes, I put them away while I was tidying up. But sit down and be quiet, and I'll get them out again!

[She takes the Captain by the arm and gets him into a chair, into which he sinks feebly. Then she takes out the straitjacket and goes behind the chair. Bertha slips out left.]

NURSEMr. Adolf, do you remember when you were my dear little boy and I tucked you in at night and used to say to you, "God who holds his children dear"? And do you remember how I used to get up in the night and give you a drink, how I would light the candle and tell you stories when you had bad dreams and couldn't sleep? Do you remember all that?
CAPTAINKeep talking, Margret; it soothes my head so. Tell me more.
NURSEOh yes, but then you must listen! Do you remember when you took the big kitchen knife and wanted to carve boats with it, and how I came in and had to get the knife away from you by tricking you? You were just a little child who didn't understand, so I had to trick you, because you didn't know it was for your own good. "Give me that snake," I said, "or it will bite you!" and then you let go of the knife. [Takes the revolver out of the Captain's hand.] And then when you had to be dressed and didn't want to, I had to coax you and say that you should have a coat of gold and be dressed like a prince. And then I took your little blouse that was made of green wool and held it up in front of you and said, "Both arms in," and then I said, "Now sit nice and still while I button it down the back," [She puts the straitjacket on] and then I said, "Get up now and walk across the floor like a good boy so I can see how it fits." [She leads him to the sofa.] And then I said, "Now you must go to bed."
CAPTAINWhat did you say? Was I to go to bed when I was dressed—damnation! What have you done to me? [Tries to get free.] Ah! You cunning devil of a woman! Who would have thought you had so much wit. [Lies down on the sofa.] Trapped, shorn, outwitted, and not even able to die!
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NURSEForgive me, Mr. Adolf, forgive me, but I wanted to keep you from killing your child.
CAPTAINWhy didn't you let me? You say life is hell and death the kingdom of heaven, and that children belong to heaven.
NURSEHow do you know what comes after death?
CAPTAINThat is the only thing we know, but of life we know nothing! Oh, if only one had known from the beginning.
NURSEMr. Adolf, humble your hard heart and cry to God for mercy; it is not yet too late. It was not too late for the thief on the cross, when the Saviour said, "Today shalt thou be with me in Paradise."
CAPTAINAre you already croaking for a corpse, you old crow?

[Nurse takes a hymnbook out of her pocket.]

[Calls]

CAPTAINNöjd, is Nöjd out there?

[Nöjd comes in.]

CAPTAINThrow this woman out! She wants to suffocate me with her hymnbook. Throw her out the window, or up the chimney, or anywhere.
NÖJD[Looks at Nurse.] Heaven help you, Captain, but I can't do that, I can't. If it were only six men, but a woman!
CAPTAINCan't you manage one woman, eh?
NÖJDOf course I can—but—well, you see, it’s strange, but one never wants to lay hands on a woman.
CAPTAINWhy not? Haven’t they laid hands on me?
NÖJDYes, but I can’t, Captain. It’s just as if you asked me to strike the Pastor. It’s second nature, like religion—I can’t!

[Laura comes in and motions Nöjd to go.]

CAPTAINOmphale, Omphale! Now you play with the club while Hercules spins your wool.

[Goes to the sofa]

LAURAAdolf, look at me. Do you believe that I am your enemy?
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CAPTAINYes, I do. I believe that all of you are my enemies! My mother was my enemy when she did not want to bring me into the world because I was to be born in pain, and she robbed my embryonic life of its nourishment and made a weakling of me. My sister was my enemy when she taught me that I must be submissive to her. The first woman I embraced was my enemy, for she gave me ten years of illness in return for the love I gave her. My daughter became my enemy when she had to choose between me and you. And you, my wife, you have been my arch-enemy, because you never let up on me till I lay here lifeless.
LAURAI don't know that. I never thought or intended what you think I did. It may be that a dim desire to get rid of you as an obstacle lay at the bottom of it, and if you see any design in my behavior, it is possible that it existed, although I was unconscious of it. I have never thought about how it all came about, but it is the result of the course you yourself laid out, and before God and my conscience I feel that I am innocent, even if I am not. Your existence has lain like a stone on my heart—lain so heavily that I tried to shake off the oppressive burden. This is the truth, and if I have unconsciously struck you down, I ask your forgiveness.
CAPTAINAll that sounds plausible. But how does it help me? And whose fault is it? Perhaps spiritual marriages! Formerly one married a wife; now, one enters into partnership with a business woman, or goes to live with a friend—and then one ruins the partner and dishonors the friend! What has become of love, healthy sensuous love? It died in the transformation. And what is the result of this love in shares, payable to the bearer without joint liability? Who is the bearer when the crash comes? Who is the fleshly father of the spiritual child?
LAURAAnd as for your suspicions about the child, they are absolutely groundless.
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CAPTAINThat's just what makes it so horrible. If at least there were any grounds for them, it would be something to get hold of, to cling to. Now there are only shadows that hide themselves in the bushes and stick out their heads and grin; it is like fighting with the air, or firing blank cartridges in a sham fight. A fatal reality would have called forth resistance, stirred life and soul to action; but now my thoughts dissolve into air, and my brain grinds a void until it is on fire. Put a pillow under my head, and throw something over me; I am cold. I am terribly cold!

[Laura takes her shawl and spreads it over him. Nurse goes to get a pillow.]

LAURAGive me your hand, friend.
CAPTAINMy band! The hand that you have bound! Omphale! Omphale!—But I feel your shawl against my mouth; it is as warm and soft as your arm, and it smells of vanilla, like your hair when you were young! Laura, when you were young, and we walked in the birch woods, with the primroses and the thrushes—glorious, glorious! Think how beautiful life was, and what it is now. You didn't want it to be like this, nor did I, and yet it happened. Who, then, rules over life?
LAURAGod alone rules—
CAPTAINThe God of strife, then! Or the Goddess, perhaps, nowadays.—Take away the cat that is lying on me! Take it away!

[Nurse brings in a pillow and takes the shawl away.]

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CAPTAINGive me my army coat!—Throw it over me! [Nurse gets the coat and puts it over him.] Ah, my rough lion skin that you wanted to take away from me! Omphale! Omphale! You cunning woman, champion of peace and contriver of man's disarmament. Wake, Hercules, before they take your club away from you! You would wile our armor from us too, and make believe that it is nothing but glittering finery. No, it was iron, let me tell you, before it ever glittered. In olden days the smith made the armor; now it is the seamstress. Omphale! Omphale! Rude strength has fallen before treacherous weakness. Out on you, infernal woman, and damnation on your sex! [He raises himself to spit but falls back on the sofa.] What have you given me for a pillow, Margret? It is so hard, and so cold, so cold. Come and sit near me. There. May I put my head on your knee? So!—This is warm! Bend over me so that I can feel your breast! Oh, it is sweet to sleep against a woman's breast, a mother's or a mistress's, but the mother's is sweetest.
LAURAWould you like to see your child, Adolf?
CAPTAINMy child? A man has no children; it is only woman who has children, and therefore the future is hers when we die childless. Oh, God, who holds his children dear!
NURSEListen, he is praying to God.
CAPTAINNo, you put me to sleep, for I am tired, so tired. Good night, Margret, and blessed be you among women.

[He raises himself but falls with a cry onto the nurse's lap. Laura goes to the left and calls the Doctor, who comes in with the Pastor.]

LAURAHelp us, Doctor, if it isn’t too late. Look, he has stopped breathing.

DOCTOR [Feels the Captain’s pulse.] It’s a stroke.
PASTORIs he dead?
DOCTORNo, he may yet come back to life, but to what an awakening we cannot tell.
PASTOR"First death, and then the judgment."
DOCTORNo judgment, no accusations — you who believe that a God shapes man's destiny must take this to him.
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NURSEAh, Pastor, with his last breath he prayed to God.

[To Laura]

PASTORIs that true?
LAURAIt is.
DOCTORIn that case—which I understand as little as the cause of his illness—my skill is at an end. You try yours now, Pastor.
LAURAIs that all you have to say at this deathbed, Doctor?
DOCTORThat is all! I know no more. Let him speak who knows more.

[Bertha comes in from the left and runs to her mother.]

BERTHAMother, Mother!
LAURAMy child, my own child!
PASTORAmen.
CURTAIN*****
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Countess Julie

CHARACTERSCOUNTESS JULIE, twenty-five years old
JEAN, a valet, thirty
KRISTIN, a cook, thirty-five
FARM SERVANTSThe action takes place on Saint John's Night, the midsummer festival that has survived from pagan times.

[SCENE.—A large kitchen. The ceiling and walls are partly covered with draperies and greenery. The back wall slants upward from the left side of the scene. On the back wall, to the left, are two shelves filled with copper kettles, iron casseroles and tin pans. The shelves are trimmed with fancy scalloped paper. To the right of the middle is a large arched entrance with glass doors, through which one sees a fountain with a statue of Cupid, syringa bushes in bloom and tall poplars. In the left corner of the scene is a large stove with a hood decorated with birch branches. To the right are the servants' dining table, made of white pine, and a few chairs. At the end of the table stands a Japanese jar filled with syringa blossoms. The floor is strewn with juniper branches.]

[Near the stove are an icebox, a sink and a dish table. A large old-fashioned bell hangs over the door, and to the left of the door is a speaking tube.]

[Kristin stands at the stove, cooking something. She wears a light cotton dress and a kitchen apron. Jean comes in wearing livery; he carries a large pair of riding boots with spurs, which he sets down on the floor.]

JEANTonight Miss Julie is crazy again, absolutely crazy.
KRISTINSo—you're back at last.
JEANI went to the station with the Count, and on my way back I stopped in at the barn, where they were dancing, and there I found Miss Julie leading the dance with the gamekeeper. As soon as she caught sight of me, she rushed straight over and asked me to waltz—and then she waltzed like—well, I've never seen anything like it in my life! Ah—she's out of her mind tonight.
KRISTINShe always has been. But never as much as in the past two weeks, since her engagement was broken off.
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JEANYes, what about that gossip? He seemed like a fine fellow, even if he wasn't rich! Ach! There's so much nonsense talked about them. [Seats himself at the table.] It's strange about Miss Julie, though—preferring to stay here at home among these people, eh, rather than go away with her father to visit her relatives, eh?
KRISTINShe's probably ashamed about breaking it off with her intended.
JEANNo doubt! But he was a promising sort all the same. Do you know, Kristin, how it happened? I saw it, even though I didn't let on.
KRISTINNo—did you see it?
JEANYes, indeed, I did. They were out in the stable yard one evening, and she was "training" him, as she called it. Do you know what happened? She made him leap over her riding whip, the way you teach a dog to jump. He jumped it twice and got a lash each time; but the third time he snatched the whip out of her hand and broke it into pieces. And then he vanished!
KRISTINWas that how it happened? No, surely not!
JEANYes, that's exactly how it happened. But what have you got for me that's good, Kristin?
KRISTIN[She takes things from the pans on the stove and serves them to him.] Oh, it's just a bit of kidney I cut out of the veal steak for you.

[Smelling the food]

JEANSplendid! My favorite delicacy. [Feeling the plate.] But you might have warmed the plate.
KRISTINYou're fussier than the Count once you get started. [Tweaks his hair.]
JEANDon't pull my hair! You know how sensitive I am.
KRISTINOh—there, there! You know I was only loving you.

[Jean eats, and Kristin opens a bottle of beer.]

JEANBeer on midsummer night—no thank you! I have something better than that myself. [Takes a bottle of wine from the table drawer.] Yellow seal, how's that? Now give me a glass—a wine glass, you understand, of course, when one drinks the genuine.
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KRISTIN[Fetches a glass. Then goes to the stove and puts on a casserole.] Heaven help the woman who gets you for her husband. Such a fussbudget!
JEANOh, talk! You ought to be glad to get such a fine fellow as I am. And I don't think it's done you any harm that I'm considered your intended. [Tastes the wine.] Excellent, very excellent! Just a little too cold. [Warms the glass with his hands.] We bought this at Dijon. It stood at four francs a litre in bulk; then of course there was the duty besides. What are you cooking now that smells so infernally?
KRISTINOh, it's some devil's mess that Miss Julie must have for Diana.
JEANWatch your words, Kristin. But why should you stand there cooking for that damned dog on a holiday evening? Is it sick, eh?
KRISTINYes, it's sick. Diana sneaked out with the gatekeeper's mongrels and now something is wrong. Miss Julie can't stand that.
JEANMiss Julie has a great deal of pride about some things—but not enough about others! Just like her mother in her lifetime; she thrived best in the kitchen or the stable, but she must always drive tandem—never one horse! She would go about with soiled cuffs, but she had to have the Count's crest on her cuff buttons. And as for Miss Julie, she doesn't take much care of her appearance either. I should say she isn't refined. Why, just now out there she pulled the forester away from Anna's side and asked him to dance with her. We wouldn't do things that way. But when the highborn wish to unbend, they become vulgar. Splendid she is though! Magnificent! Ah, such shoulders and—
KRISTINOh, don't exaggerate. I've heard what Clara, who dresses her sometimes, has to say—I have.
JEANHa! Clara—you women are always jealous of each other. I've been out riding with her—!!! And such a dancer!
KRISTINCome now, Jean, don't you want to dance with me when I'm through?
JEANOf course I want to.
KRISTINThat is a promise?
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JEANPromise! When I say I will do a thing, I do it! Thanks for the supper—it was excellent.

[Pushes the cork into the bottle with a bang. Miss Julie appears in the doorway, speaking to someone outside.]

JULIEI'll be back soon, but don't let things wait for me.

[Jean quickly puts the bottle in the table drawer and rises very respectfully.]

[Enter Miss Julie and goes to Kristin.]

JULIEIs it done?

[Kristin indicating Jean's presence.]

[Gallantly]

JEANHave you secrets between you?
JULIE[Flipping handkerchief in his face]. Curious, are you?
JEANHow sweet that violet perfume is!

[Coquettishly]

JULIEImpudence! Do you appreciate perfumes too? Dance—that you can do splendidly. [Jean looks towards the cooking stove.] Don't look. Away with you.

[Inquisitive but polite]

JEANIs it some troll's dish that you two are concocting for midsummer night? Something to pierce the future with and evoke the face of your intended?

[Sharply]

JULIETo see him one must have sharp eyes. [To Kristin.] Put it into a bottle and cork it tight. Come now, Jean, and dance a schottische with me.

[Jean hesitates.]

JEANI don't wish to be impolite to anyone, but—this dance I promised to Kristin.
JULIEOh, she can have another—isn't that so, Kristin? Won't you lend Jean to me?
KRISTINIt's not for me to say. If Miss Julie is so gracious, it's not for me to say no. [To Jean]. Go, and be grateful for the honor.
JEANWell said—but not wishing any offense, I wonder if it is prudent for Miss Julie to dance twice in succession with her servant, especially as people are never slow to find meaning in—

[Breaking out]

JULIEIn what? What sort of meaning? What were you going to say?

[Taken aback]

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JEANSince Miss Julie does not understand, I must speak plainly. It may look strange to prefer one of your—underlings—to others who covet the same honor—
JULIETo prefer—what a thought! I, the lady of the house! I honor the people with my presence, and now that I feel like dancing, I want to have a partner who knows how to lead, to avoid being ridiculous.
JEANAs Miss Julie commands. I'm here to serve.

[Mildly]

JULIEYou mustn't take that as a command. Tonight we're all in a holiday mood—full of gladness, and rank is cast aside. So give me your arm! Don't be alarmed, Kristin; I won't take your sweetheart away from you.

[Jean offers his arm. They exit.]

JULIE[PANTOMIME.—Played as though the actress were really alone. Turns her back to the audience when necessary. Does not look out into the auditorium. Does not hurry as though fearing the audience might grow restless. Soft violin music from the distance, schottische time. Kristin hums with the music. She cleans the table; washes a plate, wipes it and puts it in the china closet. Takes off her apron and then opens the drawer of the table and takes out a small hand mirror and props it against a flower pot on the table. Lights a candle and heats a hairpin with which she crimps her hair around her forehead. After that she goes to the door at the back and listens. Then she returns to the table and sees the Countess's handkerchief, picks it up, smells it, then smooths it out and folds it. Enter Jean.]
JEANShe's crazy, I tell you! To dance like that! And people stand grinning at her behind the doors. What do you say to that, Kristin?
KRISTINOh, didn't I say she's been acting strange lately? But isn't it my turn to dance now?
JEANYou're not angry because I let myself be led by the nose?
KRISTINNo, not for such a little thing. You know that well enough. And I know my place too—

[Puts his arm around her waist]

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JEANYou're a pretty smart girl, Kristin, and you ought to make a good wife.

[Enter Miss Julie.]

[Disagreeably surprised, but with forced gaiety]

JULIEYou're a charming cavalier to run away from your partner.
JEANOn the contrary, Miss Julie, I have hurried back to my neglected one, as you see.

[Changing the subject]

JULIEDo you know, you dance wonderfully well! But why are you wearing livery on a holiday night? Take it off at once.
JEANWill you excuse me—my coat is hanging there. [Goes right and takes the coat.]
JULIEDoes it embarrass you to change your coat in front of me? Go to your room, then—or else stay, and I'll turn my back.
JEANWith your permission, Miss Julie.

[Exit Jean right. His arm is visible as he changes his coat.]

[To Kristin]

JULIEIs Jean your sweetheart, then, since he's so devoted?
KRISTINSweetheart? Yes, if you please. Sweetheart—that's what they call it.
JULIECall it?
KRISTINOh, Miss Julie has a sweetheart of her own, and—
JULIEYes, we were engaged—
KRISTINBut it came to nothing.

[Enter Jean in black frock coat.]

JULIETres gentil, Monsieur Jean, tres gentil.
JEANVous voulez plaisanter, Mademoiselle.
JULIEEt vous voulez parler francais? Where did you learn that?
JEANIn Switzerland, where I was a butler at the largest hotel in Lucerne.
JULIEWhy, you look like a gentleman in your frock coat. Charmant! [Seats herself by the table.]
JEANYou flatter me!
JULIEFlatter! [Picking him up on the word.]
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JEANMy natural modesty forbids me to believe that you could mean these pleasant things you say to a—such as I am—and therefore I allowed myself to fancy that you overrate or, as it is called, flatter.
JULIEWhere did you learn to use words like that? Have you frequented the theatres much?
JEANI have frequented many places, I have!
JULIEBut you were born here in this neighborhood?
JEANMy father was a deputy public prosecutor, and I saw Miss Julie when she was a child—though she didn't see me!
JULIENo, really?
JEANYes, I remember one time in particular. But I shouldn't talk about that.
JULIEOh yes, do, when was it?
JEANNo, really—not now, another time perhaps.
JULIE"Another time" is good for nothing. Is it so dreadful, then?
JEANNot dreadful—but it goes against the grain. [Turns and points to Kristin, who has fallen asleep in a chair near the stove.] Look at her.
JULIEShe'll make a charming wife! Does she snore too?
JEANNo, but she talks in her sleep.

[Cynically]

JULIEHow do you know she talks in her sleep?

[Boldly]

JEANI've heard her.[Pause and they look at each other.]
JULIEWhy don't you sit down?
JEANI can't allow myself to do that in your presence.
JULIEBut if I command you?
JEANThen I obey.
JULIESit down, then. But wait—can’t you get me something to drink first?
JEANI don’t know what’s in the icebox. Probably nothing but beer.
JULIEIs beer nothing? My taste is so simple that I prefer it to wine.

[Jean takes out beer and serves it on a plate.]

JEANAllow me.
JULIEWon’t you drink too?
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JEANI’m no friend to beer—but if Miss Julie commands.

[Gaily]

JULIECommands! As a polite cavalier, I should think you might join your lady.
JEANLooking at it that way, you're quite right. [Opens another bottle of beer and fills glass.]
JULIEGive me a toast!

[Jean hesitates.]

[Mockingly]

JULIEOld as he is, I believe the man is bashful!

[On his knee with mock gallantry, raises glass]

JEANHere's to my lady of the house!
JULIEBravo! Now you must kiss my slipper, and then everything will be perfect.

[Jean hesitates, then takes her foot and kisses it lightly.]

JULIESplendid! You should have been an actor.

[Rising]

JEANBut this mustn't go any further, Miss Julie. What if someone were to come in and see us?
JULIEWhat harm would that do?
JEANIt would simply give them something to gossip about. And if Miss Julie only knew how their tongues were wagging just now—then—
JULIEWhat did they say? Tell me. And sit down now.

[Sitting]

JEANI don't want to hurt you, but they used an expression—threw out hints of a certain kind—but you're not a child, you can understand. When someone sees a lady drinking alone with a man at night—let alone a servant—then—
JULIEThen what? And besides, we're not alone. Kristin is here.
JEANSleeping! Yes.
JULIEThen I'll wake her. [Rises.] Kristin, are you asleep?
KRISTIN[In her sleep.] Bla—bla—bla—bla.
JULIEKristin! She certainly can sleep. [Goes to Kristin.]
KRISTIN[In her sleep]. The Count's boots are polished—put on the coffee—soon—soon—soon. Oh—h-h-h—puh! [Breathes heavily. Julie takes her by the nose.]
JULIEWon't you wake up?

[Sternly]

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JEANDon't disturb those who are sleeping.

[Sharply]

JULIEWhat?
JEANAnyone who has stood over a hot stove all day is tired by nightfall. One should respect the weary.
JULIEThat's a kind thought—and I honor it. [Offers her hand.] Thanks for the suggestion. Come out with me now and pick some syringas.

[Kristin has woken up and goes to her room, right, in a sort of sleep-stupefied way.]

JEANWith Miss Julie?
JULIEWith me.
JEANBut that wouldn't do—decidedly not.
JULIEI don't understand you. Is it possible that you imagine that I—
JEANNo—not I, but people.
JULIEWhat? That I'm in love with my coachman?
JEANI am not presumptuous, but we have seen instances—and with the people nothing is sacred.
JULIEI believe he is an aristocrat!
JEANYes, I am.
JULIEBut I step down— —
JEANDon't step down, Miss Julie. Listen to me—no one would believe that you stepped down of your own accord; people always say that one falls down.
JULIEI think better of people than you do. Come—and try them—come!

[Dares him with a look.]

JEANDo you know that you are wonderful?
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JULIEPerhaps. But so are you. Everything is wonderful, for that matter. Life, people—everything. Everything is wreckage that drifts over the water until it sinks, sinks. I have the same dream now and then, and at this moment I am reminded of it. I find myself seated at the top of a high pillar, and I see no possible way to get down. I grow dizzy when I look down, but down I must. But I'm not brave enough to throw myself; I cannot hold fast, and I long to fall—but I don't fall. And yet I can find no rest or peace until I come down to earth; and if I came down to earth, I would wish myself down in the ground. Have you ever felt like that?
JEANNo, I dream that I'm lying in a dark wood under a tall tree, and I would go up—up to the top, where I can look far out over the beautiful landscape where the sun is shining. I climb—climb, to plunder the birds' nests up there where the golden eggs lie, but the tree trunk is so thick, so smooth, and the first branch is so high! But I know that if I reached the first branch, I would climb as if on a ladder, to the top. I haven't reached it yet, but I will reach it, if only in the dream.
JULIEHere I stand talking about dreams with you. Come now, let's go out in the park.

[She offers her arm and they start.]

JEANWe should sleep on nine midsummer flowers tonight, and then our dreams would come true.

[She turns; Jean quickly puts a hand over his eye.]

JULIEWhat is it—something in your eye?
JEANOh, it's nothing—just a speck. It will be all right in a moment.
JULIEIt was some dust from my sleeve that brushed against you. Now sit down and let me look for it. [Pulls him into a chair and looks into his eye.] Now sit still, perfectly still. [Uses the corner of her handkerchief on his eye. Strikes his hand.] So—will you mind? I believe you're trembling, strong man that you are. [Touching his arm.] And such arms!

JEAN [Warningly.] Miss Julie!
JULIEYes, Monsieur Jean!
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JEANCareful. I'm only a man!
JULIEWill you sit still! There, now it's gone! Kiss my hand and thank me!

[Jean rises.]

JEANMiss Julie, listen to me. Kristin has gone to bed now—will you listen to me—
JULIEKiss my hand first.
JEANListen to me—
JULIEKiss my hand first.
JEANYes, but blame yourself.
JULIEFor what?
JEANFor what? Are you a child at twenty-five? Don't you know that it is dangerous to play with fire?
JULIENot for me. I am insured!
JEANNo, you are not. But even if you are, there is inflammable material in the neighborhood.
JULIEMight that be you?
JEANYes, not because it is I, but because I'm a young man—

[Scornfully]

JULIEWith such a grand opportunity—what inconceivable presumption! A Don Juan, perhaps! Or a Joseph! On my soul, I believe he is a Joseph!
JEANYou do?
JULIEAlmost.

[Jean rushes towards her and tries to take her in his arms to kiss her.]

[Gives him a box on the ear]

JULIEShame on you.
JEANAre you in earnest, or fooling?
JULIEIn earnest.
JEANThen you really meant it a moment ago, too. You play too seriously with what is dangerous. Now I'm tired of playing and beg to be excused so I can get on with my work. The Count must have his boots in time, and it is long past midnight. [Jean picks up boots.]
JULIEPut those boots away.
JEANNo, that is my work, which it is my duty to do, but I was not hired to be your plaything, and that I shall never be. I think too well of myself for that.
JULIEYou are proud.
JEANIn some ways—not in others.
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JULIEHave you ever been in love?
JEANWe don’t use that word, but I’ve liked many girls. Once I made myself ill because I couldn’t have the one I wanted—ill, you understand, like the princesses in the Arabian Nights who couldn’t eat or drink for love sickness.
JULIEWho was she? [Jean is silent.] Who was she?
JEANThat you could not make me tell.
JULIENot if I ask you as an equal, as a—friend? Who was she?
JEANIt was you!

[Julie seats herself.]

JULIEHow extravagant!
JEANYes, if you like, it was ridiculous. That was the story I hesitated to tell, but now I'm going to tell it. Do you know how people in high life look from the underworld? No, of course you don't. They look like hawks and eagles whose backs one seldom sees, for they soar up above. I lived in a hovel provided by the state, with seven brothers and sisters and a pig; out on a barren stretch where nothing grew, not even a tree, but from the window I could see the Count's park walls with apple trees rising above them. That was the garden of paradise; and there stood many angry angels with flaming swords protecting it; but for all that I and other boys found the way to the tree of life—now you despise me.
JULIEOh, all boys steal apples.
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JEANYou say that, but you despise me all the same. No matter! Once I went into the garden of paradise—I was there to weed the onion beds with my mother! Near the orchard stood a Turkish pavilion, shaded and overgrown with jasmine and honeysuckle. I didn't know what it was used for, and I had never seen anything so beautiful. People passed in and out, and one day—the door was left open. I sneaked in and saw walls covered with pictures of kings and emperors, and there were red-fringed curtains at the windows—now you understand what I mean—I—[breaks off a spray of syringa and puts it to her nostrils.] I had never been in the castle, and how my thoughts leaped—and there they returned ever after. Little by little the longing came over me to experience for once the pleasure of—enfin, I sneaked in and was bewildered. But then I heard someone coming—there was only one exit for the great folk, but for me there was another, and I had to choose that. [Julie, who has taken the syringa, lets it fall on the table.] Once out, I started to run, scrambled through a raspberry hedge, rushed over a strawberry bed, and came to a stop on the rose terrace. For there I saw a figure in a white dress and white slippers and stockings—it was you! I hid under a heap of weeds, under, you understand, where the thistles pricked me, and lay on the damp, rank earth. I gazed at you walking among the roses. And I thought that if it is true that the thief on the cross could enter heaven and dwell among the angels, it was strange that a pauper child on God's earth could not go into the castle park and play with the Countess' daughter.

[pensively]

JULIEDo you believe that all poor children would have such thoughts under those conditions?

[hesitates, then in a positive voice]

JEANThat all poor children—yes, of course, of course!
JULIEIt must be a terrible misfortune to be poor.

[with deep pain and great chagrin]

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JEANOh, Miss Julie, a dog may lie on a Countess's couch, a horse may be caressed by a lady's hand, but a servant—yes, yes, sometimes there's enough in a man, whatever he may be, to lift himself up in the world, but how often does that happen! But to return to the story, do you know what I did? I ran down to the mill dam and threw myself in with my clothes on—and was pulled out and got a thrashing. But the following Sunday, when the whole family went to visit my grandmother, I managed to stay at home; I scrubbed myself well, put on my best clothes, such as they were, and went to church so that I might see you. I saw you. Then I went home with my mind made up to put an end to myself. But I wanted to do it beautifully and without pain. Then I happened to remember that elderberry blossoms are poisonous. I knew where there was a big elderberry bush in full bloom, and I stripped it of its riches and made a bed of it in the oat-bin. Have you ever noticed how smooth and glossy oats are? As soft as a woman's arm.—Well, I got in and let down the cover, fell asleep, and when I awoke I was very ill, but I didn't die—as you see. What I wanted—I don't know. You were unattainable, but through the vision of you I was made to realize how hopeless it was to rise above the conditions of my birth.
JULIEYou tell it well! Were you ever at school?
JEANA little, but I have read a good deal and gone to the theatres. And besides, I have always heard the talk of fine folks, and from them I have learned most.
JULIESo you listen to what we are saying?
JEANYes, indeed, I do. And I have heard much when I've been on the coachbox. One time I heard Miss Julie and a lady—
JULIEOh, what was it you heard?
JEANHm! that's not so easy to tell. But I was astonished and could not understand where you had heard such things. Well, perhaps at bottom there's not so much difference between people and—people.
JULIEOh, shame! We don't behave as you do when we are engaged.
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JEAN[Eyeing her]. Are you sure of that? It's no use playing the innocent with me.
JULIEI gave my love to a rascal.
JEANThat's what they always say afterward.
JULIEAlways?
JEANAlways, I believe, as I have heard the expression many times before under the same circumstances.
JULIEWhat circumstances?
JEANThose we've been talking about. The last time I— —
JULIESilence. I don't wish to hear any more.
JEANWell, then I beg to be excused so I may go to bed.
JULIEGo to bed! On midsummer night?
JEANYes, dancing out there with that lot hasn't been any fun for me.
JULIEThen get the key for the boat and row me out over the lake. I want to see the sun rise.
JEANIs that wise?
JULIEOne would think you were afraid for your reputation.
JEANWhy not? I don't want to be made ridiculous. I'm not willing to be driven out without references, now that I'm going to settle down. And I feel I owe something to Kristin.
JULIEOh, so it's Kristin now—
JEANYes, but you too. Take my advice: go up and go to bed.
JULIEShall I obey you?
JEANFor once—for your own sake. I beg of you. Night is creeping on, and sleepiness makes one irresponsible and the brain grows hot. Go to your room. In fact—if I hear rightly, some of the people are coming for me. If they find us here—then you are lost.

[The chorus is heard approaching, singing.]

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JEAN"There came two ladies out of the woods
Tridiridi-ralla tridiridi-ra.
One of them had wet her foot,
Tridiridi-ralla-la.

"They talked of a hundred dollars,
Tridiridi-ralla tridiridi-ra.
But neither had hardly a dollar,
Tridiridi-ralla-la.

"The mitten I'm going to send you,
Tridirichi-ralla tridiridi-ra.
For another I'm going to jilt you,
Tridiridi-ralla tridiridi-ra."
JULIEI know the people, and I love them, and they respect me. Let them come—you shall see.
JEANNo, Miss Julie, they don't love you. They take your food and spit upon your kindness, believe me. Listen to them, listen to what they're singing! No! Don't listen!

[Listening]

JULIEWhat are they singing?
JEANSomething suggestive, about you and me.
JULIEInfamous! How horrible! And how cowardly!
JEANThe pack is always cowardly. And in a battle like this, one can only run away.
JULIERun away? Where? We can't get out, and we can't go to Kristin.
JEANInto my room, then. Necessity knows no law. You can depend on me, for I am your true, genuine, respectful friend.
JULIEBut what if they found you there?
JEANI'll turn the key, and if they try to break in, I'll shoot. Come—come!
JULIE[R_5]
[Meaningfully.] You promise me—?
JEANI swear...

[She exits R. Jean follows her.]

[BALLET.—The farm folk enter in holiday dress with flowers in their hats, a fiddler in the lead. They carry a keg of home-brewed beer and a smaller keg of gin, both decorated with greens, which are placed on the table. They help themselves to glasses and drink. Then they sing and dance a country dance to the melody of "There came two ladies out of the woods." When that is over, they go out, singing.]

[Enter Julie alone. She sees the havoc the visitors have made, clasps her hands, takes out her powder box, and powders her face. Enter Jean, exuberant.]

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JEANThere, you see, and you heard them. Do you think it's possible for us to stay here any longer?
JULIENo, I don't. But what's to be done?
JEANFly! Travel—far from here!
JULIETravel—yes—but where?
JEANTo Switzerland—to the Italian lakes. You've never been there?
JULIENo—is it beautiful there?
JEANOh, an eternal summer! Oranges, trees, laurels—oh!
JULIEBut what will we do there?
JEANI'll open a first-class hotel for first-class patrons.
JULIEA hotel?
JEANThat is life—you'll see! New faces constantly, different languages. Not a moment for boredom. Always something to do night and day—the bell ringing, the trains whistling, the omnibus coming and going and all the while the gold pieces rolling into the till—that is life!
JULIEYes, that is life. And I—?
JEANThe mistress of the establishment—the ornament of the house. With your looks—and your manners—oh, it's a sure success! Colossal! You could sit like a queen in the office and set the slaves in action by touching an electric button. The guests line up before your throne and shyly lay their riches on your desk. You can't believe how people tremble when they get their bills—I can salt the bills and you can sweeten them with your most bewitching smile—ha, let us get away from here—[Takes a time table from his pocket] immediately—by the next train. We can be at Malmö at 6.30, Hamburg at 8.40 tomorrow morning, Frankfort the day after and at Como by the St. Gothard route in about—let me see, three days. Three days!
JULIEAll that is well enough, but Jean—you must give me courage. Take me in your arms and tell me that you love me.

[Hesitatingly]

JEANI will—but I daren't—not again in this house. I love you of course—do you doubt that?

[Shyly and with womanliness]

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JULIEYou! Say thou to me! Between us there can be no more formality. Say thou.
JEANI can't—There must be formality between us—as long as we are in this house. There is the memory of the past—and there is the Count, your father. I have never known anyone else for whom I have such respect. I need only to see his gloves lying in a chair to feel my own insignificance. I have only to hear his bell to start like a nervous horse—and now as I see his boots standing there so stiff and proper I feel like bowing and scraping. [Gives boots a kick]. Superstitions and prejudices taught in childhood can't be uprooted in a moment. Let us go to a country that is a republic where they'll stand on their heads for my coachman's livery—on their heads shall they stand—but I shall not. I am not born to bow and scrape, for there's stuff in me—character. If I only get hold of the first limb, you shall see me climb. I'm a coachman today, but next year I shall be a proprietor, in two years a gentleman of income; then for Roumania where I'll let them decorate me and can, mark you, can end a count!
JULIEBeautiful, beautiful!
JEANOh, in Romania you can buy a title cheap—so you can be a countess just the same—my countess!
JULIEWhat do I care about all that—which I now cast behind me. Say that you love me—otherwise, what am I without it?
JEANI'll say it a thousand times afterward, but not here. Above all, let's have no sentimentality now, or everything will fall through. We must look at this matter coldly, like sensible people. [Takes out a cigar and lights it.] Now sit down there, and I'll sit here, and we'll talk it over as if nothing had happened.

[Staggered]

JULIEOh, my God, have you no feeling?
JEANI? No one living has more feeling than I do, but I can restrain myself.
JULIEA moment ago you could kiss my slipper, and now—

[Harshly]

JEANThat was—then. Now we have other things to think about.
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JULIEDon't speak harshly to me.
JEANNot harshly, but wisely. One folly has been committed—commit no more. The Count may be here at any moment, and before he comes, our fate must be settled. How do my plans for the future strike you? Do you approve of them?
JULIEThey seem acceptable enough. But one question. For such a great undertaking a large capital is necessary—do you have that?

[Chewing his cigar]

JEANI? To be sure. I have my regular occupation, my unusual experience, my knowledge of different languages—that is capital that counts, I should say.
JULIEBut with all that you could not buy a railway ticket.
JEANThat's true, and that's why I'm looking for a backer who can provide the funds.
JULIEHow can that be done at a moment's notice?
JEANThat's for you to say, if you wish to be my companion.
JULIEI can't—I have nothing myself.

[A pause.]

JEANThen the whole matter falls through— —
JULIEAnd— —
JEANThings remain as they are.
JULIEDo you think I could stay under this roof after— Do you think I'd let people point at me in scorn, or that I could ever look my father in the face again? Never! Take me away from this humiliation and disgrace. Oh, what have I done! Oh, my God, what have I done! [Weeping.]
JEANSo you're starting in that tone now. What have you done? The same as many before you.
JULIEAnd now you despise me. I'm falling! I'm falling!
JEANFall down to my level, and I'll lift you up afterwards.
JULIEWhat strange power drew me to you—the weak to the strong—the falling to the rising—or is this love? This—love! Do you know what love is?
JEANI? Yes! Do you think it's the first time?
JULIEWhat language, what thoughts.
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JEANI am what life has made me. Don't be nervous and play the high and mighty, for now we are on the same level. Look here, my little girl, let me offer you a glass of something extra fine. [Opens drawer of table and takes out wine bottle, then fills two glasses that have been already used.]
JULIEWhere did you get that wine?
JEANFrom the cellar.
JULIEMy father's Burgundy.
JEANWhat's the matter—isn't that good enough for the son-in-law?
JULIEAnd I drink beer—I!
JEANThat only proves your taste is worse than mine.
JULIEThief!
JEANDo you intend to tattle?
JULIEOh ho! An accomplice to a house thief. Was I drunk—have I been sleepwalking tonight—on midsummer night, the night for innocent play—
JEANInnocent, eh!

[Pacing back and forth]

JULIEIs there anyone on earth as miserable as I am?
JEANWhy are you doing this, after such a conquest? Think of Kristin in there—don't you think she has feelings too?
JULIEI thought so a little while ago, but I don't any more. A servant is a servant.
JEANAnd a whore is a whore.

[Falls to her knees with clasped hands]

JULIEOh, God in heaven, end my wretched life, save me from this mire into which I'm sinking—Oh, save me, save me.
JEANI can't deny that it hurts me to see you like this.
JULIEAnd you who wanted to die for me.
JEANIn the oat-bin? Oh, that was only talk.
JULIEThat is to say—a lie!

[Beginning to show sleepiness]

JEANEr—er, almost. I believe I read something of the sort in a newspaper about a chimney-sweep who made a deathbed for himself out of syringa blossoms in a wood-bin—[laughs] because they were going to arrest him for non-support of his children.
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JULIESo you are such a—
JEANWhat better could I have hit on! One must always be romantic to capture a woman.
JULIEWretch! Now you have seen the eagle's back, and I suppose I am to be the first limb—
JEANAnd the limb is rotten—

[Without seeming to hear]

JULIEAnd I am to be the hotel's signboard—
JEANAnd I the hotel—
JULIEAnd sit behind the desk and lure guests in and overcharge them—
JEANOh, that'll be my business.
JULIEThat a soul can be so degraded!
JEANLook to your own soul.
JULIELackey! Servant! Stand up when I speak to you.
JEANDon't you dare to moralize to me. Lackey, eh! Do you think you have shown yourself finer than any maid-servant tonight?

[Crushed]

JULIEThat is right, strike me, trample on me, I deserve nothing better. I have done wrong, but help me now. Help me out of this if there is any possible way.

[Softens somewhat]

JEANI don't care to shirk my share of the blame, but do you think any one of my position would ever have dared to raise his eyes to you if you yourself had not invited it? Even now I am astonished—
JULIEAnd proud.
JEANWhy not? Though I must admit the conquest was too easy to be exciting.
JULIEGo on, strike me again—

[Rising]

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JEANNo, forgive me instead for what I said. I do not strike the unarmed, least of all a woman. But I can't deny that from a certain point of view it gives me satisfaction to know that it is the glitter of brass, not gold, that dazzles us from below, and that the eagle's back is grey like the rest of him. On the other hand, I'm sorry to have to realize that all I have looked up to is not worth while, and it pains me to see you fallen lower than your cook, as it pains me to see autumn blossoms whipped to pieces by the cold rain and turned into—dirt!
JULIEYou speak as though you were already my superior.
JEANAnd so I am! For I can make you a countess, and you could never make me a count.
JULIEBut I am born of a count, which you can never be.
JEANThat may be true, but I could be the father of counts—if—
JULIEBut you are a thief—that I am not.
JEANThere are worse things than that, and for that matter, when I serve in a house I regard myself as a member of the family, a child of the house, as it were. And one doesn't consider it theft if children pick a berry from full bushes. [With renewed passion] Miss Julie, you are a glorious woman—too good for the likes of me. You have been the victim of an infatuation, and you want to disguise this fault by fancying that you love me. But you do not—unless perhaps my outer self attracts you. And then your love is no better than mine. But I cannot be satisfied with that, and your real love I can never awaken.
JULIEAre you sure of that?
JEANYou mean that we could get along with such an arrangement? There's no doubt about my loving you—you are beautiful, you are elegant—[Goes to her and takes her hand] accomplished, lovable when you wish to be, and the flame that you awaken in a man does not die easily. [Puts his arm around her] You are like hot wine with strong spices, and your lips—

[Tries to kiss her. Julie pulls herself away slowly.]

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JULIELeave me—I'm not to be won this way.
JEANHow then? Not with caresses and beautiful words? Not by thoughts for the future, to save humiliation? How then?
JULIEHow? I don't know. I don't know! I shrink from you the way I would from a rat. But I can't escape you.
JEANEscape with me.
JULIEEscape? Yes, we have to escape. But I'm so tired. Give me a glass of wine. [Jean fills a glass with wine; Julie looks at her watch.] We have to talk it over first, because we still have a little time left.

[She empties the glass and sets it out for more.]

JEANDon't drink too much. It'll go to your head.
JULIEWhat harm will that do?
JEANWhat harm? It's foolish to get drunk. But what did you want to say?
JULIEWe have to go away, but we have to talk first. That is, I have to speak, because until now you've done all the talking. You've told me about your life—now I'll tell you about mine, and then we'll know each other through and through before we set off wandering together.
JEANOne moment—forgive me. Think carefully about whether you'll regret having told your life's secrets.
JULIEAren't you my friend?
JEANYes. Sometimes. But don't rely on me.
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JULIEYou only say that. And besides, I have no secrets. You see, my mother was not of noble birth. She was brought up with ideas of equality, women's freedom and all that. She had very decided opinions against marriage, and when my father courted her she declared that she would never be his wife—but she did so all the same. I came into the world against my mother's wishes, I discovered, and was brought up like a child of nature by my mother, and taught everything that a boy must know as well; I was to be an example of a woman being as good as a man—I was made to go about in boy's clothes and take care of the horses and harness and saddle and hunt, and all such things; in fact, all over the estate the women servants were taught to do men's work, with the result that the property came near being ruined—and so we became the laughing stock of the countryside. At last my father must have awakened from his bewitched condition, for he revolted and ran things according to his own ideas. My mother became ill—what it was I don't know, but she often had cramps and acted queerly—sometimes hiding in the attic or the orchard, and would even be gone all night at times. Then came the big fire, which of course you have heard about. The house, the stables—everything was burned, under circumstances that pointed strongly to an incendiary, for the misfortune happened the day after the quarterly insurance was due and the premiums sent in by father were strangely delayed by his messenger so that they arrived too late. [She fills a wine glass and drinks.]
JEANDon't drink any more.
JULIEOh, what does it matter? My father was utterly at a loss to know where to get money to rebuild with. Then my mother suggested that he try to borrow from a man who had been her friend in her youth—a brick manufacturer here in the neighborhood. My father made the loan, but wasn't allowed to pay any interest, which surprised him. Then the house was rebuilt. [Julie drinks again.] Do you know who burned the house?
JEANHer ladyship, your mother?
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JULIEDo you know who the brick manufacturer was?
JEANYour mother's lover?
JULIEDo you know whose money it was?
JEANJust a moment—that I don't know.
JULIEIt was my mother's.
JEANThe Count's—that is to say, unless there was a contract.
JULIEThere was no contract. My mother had some money that she hadn't wanted kept in my father's keeping, and so she had entrusted it to her friend's care.
JEANWho kept it.
JULIEQuite right—he held on to it. All this came to my father's knowledge. He couldn't proceed against him, wasn't allowed to pay his wife's friend, and couldn't prove that it was his wife's money. That was my mother's revenge for his taking the reins of the household into his own hands. At that time he was ready to shoot himself. Gossip had it that he had tried and failed. Well, he lived it down—and my mother paid the full penalty for her misdeed. Those were five terrible years for me, as you can imagine. I sympathized with my father, but I took my mother's part, for I didn't know the true circumstances. Through her I learned to distrust and hate men, and I swore to her never to be a man's slave.
JEANBut you became engaged to the Lieutenant Governor.
JULIEOnly to make him my slave.
JEANBut he didn't care to be that.
JULIEHe wanted to be, soon enough, but I grew tired of him.
JEANYes—I noticed that—in the stable yard!
JULIEWhat do you mean?
JEANI saw how he broke off the engagement.
JULIEThat's a lie. I was the one who broke it off. Did he say he broke it off—the wretch!
JEANI don't believe he was a wretch. You hate men, Miss Julie.
JULIEMost of them. Sometimes one is weak—
JEANYou hate me?
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JULIEExcessively. I could see you shot—
JEANLike a mad dog?
JULIEExactly!
JEANBut there's nothing here to shoot with. What shall we do, then?

JULIE [Rousing herself]. We must get away from here—travel.
JEANAnd torture each other to death?
JULIENo—to enjoy ourselves for a few days, a week—as long as we can. And then to die.
JEANDie! How silly. I think it's better to start the hotel.

[Not heeding him]

JULIEBy the Lake of Como, where the sun always shines, where the laurel is green at Christmas and the oranges glow.
JEANThe Lake of Como is a rain trap. I never saw any oranges there except on fruit stands. But it's a good resort, and there are many villas to rent to loving couples. That's a very profitable business. Do you know why? They take leases for at least half a year, but they usually leave in three weeks.

[Naively]

JULIEWhy after three weeks?
JEANWhy? They quarrel, of course, but the rent must be paid all the same. Then you re-let, and so one after another they come and go, for there is plenty of love, although it doesn't last long.
JULIESo you don't want to die with me?
JEANI don't want to die at all—both because I enjoy living and because I consider suicide a crime against Him who gave us life.
JULIESo you believe in God?
JEANYes. Of course I do, and I go to church every other Sunday—but I'm tired of all this, and I'm going to bed.
JULIEDo you think I'd let myself be satisfied with an ending like that? Do you know what a man owes a woman he's hit— —

[Takes out a silver coin and throws it on the table]

JEANExcuse me, I don't want to owe anything to anyone.

[Pretending not to notice the insult]

JULIEDo you know what the law demands?
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JEANI know that the law demands nothing of a woman who seduces a man.

[Again not heeding him]

JULIEDo you see any way out of it other than to travel?—wed—and separate?
JEANAnd if I protest against this misalliance?
JULIEMisalliance!
JEANYes, for me. Because you see, I have a finer ancestry than you, since I have no firebug in my family.
JULIEHow do you know?
JEANYou can't prove otherwise. We have no family records except those kept by the police. But I have read your pedigree in a book on the drawing-room table. Do you know who founded your family? It was a miller whose wife found favor with the king during the Danish War. I have no such ancestry.
JULIEThis is my reward for opening my heart to someone so unworthy, with whom I have talked about my family honor.
JEANDishonor—yes, I said it. I told you not to drink, because then one talks too freely, and one should never talk.
JULIEOh, how I repent all this. If only you loved me!
JEANFor the last time—what do you mean? Shall I weep, shall I jump over your riding whip, shall I kiss you, lure you to Lake Como for three weeks, and then—what do you want, anyway? This is getting tiresome. But that's the way it always is when you get mixed up in women's affairs. Miss Julie, I see that you are unhappy, I know that you suffer, but I can't understand you. Among my kind there is no nonsense of this sort; we love as we play when work gives us time. We haven't the whole day and night for it like you.
JULIEYou must be good to me and speak to me as though I were a human being.
JEANBe one yourself. You spit on me and expect me to stand for it.
JULIEHelp me, help me. Just tell me what to do—show me a way out of this!
JEANIn heaven's name, if only I knew myself.
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JULIEI have been raving, I have been mad, but is there no means of deliverance?
JEANStay here at home and say nothing. No one knows.
JULIEImpossible. These people know it, and Kristin.
JEANThey don't know it and could never suspect such a thing.

[Hesitating]

JULIEBut—it might happen again.
JEANThat is true.
JULIEAnd the consequences?

[Frightened]

JEANConsequences—where were my wits that I didn't think of that! There's only one thing to do. Get away from here immediately. I can't go with you or they'll suspect. You must go alone—away from here—anywhere.
JULIEAlone? Where? I can't.
JEANYou must—and before the Count returns. If you stay, we know how it will be. Once you've taken a false step, it's likely to happen again since the harm is already done, and you grow more and more daring until at last everything is discovered. Write to the Count afterward and confess everything—except that it was I. That he could never guess, and I don't think he'll be so anxious to know who it was, anyway.
JULIEI'll go if you'll go with me.
JEANAre you raving again? Miss Julie running away with her coachman? All the papers would be full of it, and the Count could never live through that.
JULIEI can't go—I can't stay. Help me, I'm so tired—so weary. Command me, set me in motion—I can't think anymore—can't act—
JEANLook at what kind of creatures you aristocrats are! Why do you bristle and turn up your noses as if you were the lords of creation? Very well—I'll command you! Go upstairs and get dressed, and make sure you have travelling money, then come back down. [She hesitates.] Go now.

[She still hesitates. He takes her hand and leads her to the door.]

JULIESpeak gently to me, Jean.
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JEANA command always sounds harsh. Now you know how it feels.

[Exit Julie.]

[Jean sighs with relief, sits down at the table, takes out a notebook and pencil, and counts aloud now and then until Kristin comes in, dressed for church.]

KRISTINGood heavens, what a sight this is. What's been going on here?
JEANOh, Miss Julie dragged in the people. Have you been sleeping so soundly that you didn't hear anything?
KRISTINI've slept like a log.
JEANAnd already dressed for church!
KRISTINYe-es, [Sleepily] didn't you promise to go to early service with me?
JEANYes, quite so, and there you have my stock and front. All right.

[He seats himself. Kristin putting on his stock.]

[Sleepily]

JEANWhat is the text today?
KRISTINSt. John's Day! It is of course about the beheading of John the Baptist.
JEANI'm afraid it'll drag on terribly—that. Hey, you're choking me. I'm so sleepy, so sleepy.
KRISTINWhat have you been up to all night? You actually look green in the face.
JEANI've been sitting here talking to Miss Julie.
KRISTINOh, you don't know your place.

[Pause.]

JEANListen, Kristin.
KRISTINWell?
JEANIt's strange about her when you think it over.
KRISTINWhat is queer?
JEANThe whole thing.

[Pause. Kristin looks at the half-empty glasses on the table.]

KRISTINHave you two been drinking together as well?
JEANYes!
KRISTINFor shame. Look me in the eye.
JEANYes.
KRISTINIs it possible? Is it possible?

[After reflecting]

JEANYes, it is.
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KRISTINUgh! I would never have believed that. For shame, for shame!
JEANYou're not jealous of her?
KRISTINNo, not of her. But if it had been Clara or Sophie—then I would have scratched your eyes out. So that's what happened—how, I can't understand! No, that wasn't very nice!
JEANAre you angry with her?
KRISTINNo, but with you. That was mean of you, very mean. Poor girl. Do you know what—I don't want to stay in this house any longer, where one can't respect one's betters.
JEANWhy should one respect them?
KRISTINYes, you can say that—you're so smart. But I don't want to serve people who behave like that. It reflects on you, I think.
JEANYes, but it's a comfort that they're not a bit better than we are.
KRISTINNo, I don't think so, for if they're not better, there's no use in our trying to better ourselves in this world. And to think of the Count! Think of him, who has had so much sorrow all his days! No, I don't want to stay in this house any longer! And to think of it being with someone like you! If it had been the Lieutenant—
JEANWhat's that?
KRISTINYes! He was good enough, to be sure, but there's a difference between people just the same. No, this I can never forget. Miss Julie, who was always so proud and indifferent to men! One never would believe that she would give herself—and to one like you! She who was ready to have Diana shot because she would run after the gatekeeper's mongrels. Yes, I say it—and here I won't stay any longer, and on the twenty-fourth of October I go my way.
JEANAnd then?
KRISTINWell, since we've come to talk about it, it's high time you looked around for something else, since we're going to get married.
JEANWell, what'll I look for? A married man couldn't get a place like this.
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KRISTINNo, of course not. But you could take a gatekeeper's job or look for a watchman's position in some factory. The government's plums are few, but they are sure. And then the wife and children get a pension—

[With a grimace]

JEANThat's all very fine—all that, but it's not exactly in my line to think about dying for my wife and children just now. I must confess that I have slightly different aspirations.
KRISTINAspirations? Aspirations—anyway, you have obligations. Think of those, you.
JEANDon't irritate me with talk about my obligations. I know my own business. [He listens.] We'll have plenty of time for all this some other day. Go and get ready and we'll be off to church.

[Listening]

KRISTINWho's that walking upstairs?
JEANI don't know—unless it's Clara.

[Starting to go]

KRISTINIt could never be the Count who has come home without anyone hearing him?

[Frightened]

JEANThe Count! I can't believe that. He would have rung the bell.
KRISTINGod help us! Never have I been mixed up in anything like this!

[Exit Kristin. The sun has risen and lights up the scene. Presently the sunshine comes in through the windows at an angle. Jean goes to the door and motions. Enter Julie, dressed for travelling, carrying a small bird cage covered with a cloth, which she places on a chair.]

JULIEI am ready!
JEANHush, Kristin is stirring!

[Julie is frightened and nervous throughout the following scene.]

JULIEDoes she suspect anything?
JEANShe knows nothing. But good heavens, how you look!
JULIEWhy?
JEANYou're pale as a ghost.

[Sighs]

JULIEAm I? Oh, the sun is rising, the sun!
JEANAnd now the troll's spell is broken.
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JULIEThe trolls have indeed been at work tonight. But listen, Jean—come with me. I have enough money.
JEANPlenty?
JULIEEnough to start with. Come with me, because I can't go alone—today, midsummer day. Think of the stuffy train, packed in with crowds of people staring at one; the long stops at the stations when one would rather be speeding away. No, I cannot, I cannot! And then the memories, childhood memories of midsummer day—the church decorated with birch branches and syringa blossoms; the festive dinner table with relatives and friends, the afternoon in the park, music, dancing, flowers and games—oh, one may fly, fly, but anguish and remorse follow in the baggage wagon.
JEANI'll go with you—if we leave at once—before it's too late.
JULIEGo and get dressed, then. [She picks up the birdcage.]
JEANBut no baggage! That would give us away.
JULIENothing but what we can take in the coupé.

[Jean has picked up his hat.]

JEANWhat do you have there?
JULIEIt's only my canary. I cannot—will not—leave it behind.
JEANSo we're to lug a birdcage along with us. Are you crazy? Let go of it.
JULIEIt's all I'm taking from home. The only living creature that cares for me. Don't be harsh—let me take it with me.
JEANLet go of the cage and don't talk so loud. Kristin will hear us.
JULIENo, I won't leave it to strange hands. I'd rather see it dead.
JEANGive me the creature. I'll take care of it.
JULIEYes, but don't hurt it. Don't—no, I can't.
JEANLet go. I can do it.

[Takes the canary from the cage]

JULIEOh, my little siren. Must your mistress part with you?
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JEANPlease don't make a scene. Your welfare, your very life, is at stake. So—quickly. [Snatches the bird from her, goes to the chopping block, and picks up the meat chopper.] You should have learned how to chop off a chicken's head instead of shooting with a revolver. [He chops off the bird's head.] Then you wouldn't swoon at the sight of a drop of blood.

[Shrieks]

JULIEKill me too. Kill me! You, who can butcher an innocent bird without a tremble. Oh, how I recoil from you. I curse the moment I first saw you. I curse the moment I was conceived in my mother's womb.
JEANCome now! What good is your cursing? Let's be off.

[Looks toward the chopping block as though obsessed by the thought of the slain bird]

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JULIENo, I cannot. I must see—hush, a carriage is passing. Don't you think I can stand the sight of blood? You think I am weak. Oh, I should like to see your blood flowing—to see your brain on the chopping block, all your sex swimming in a sea of blood. I believe I could drink out of your skull, bathe my feet in your breast and eat your heart cooked whole. You think I am weak; you believe that I love you because my life has mingled with yours; you think that I would carry your offspring under my heart and nourish it with my blood—give birth to your child and take your name! Listen, you—what are you called, what is your family name? But I'm sure you have none. I should be "Mrs. Gate-Keeper," perhaps, or "Madame Dumpheap." You dog with my collar on, you lackey with my father's hallmark on your buttons. I play rival to my cook—oh—oh—oh! You believe that I am cowardly and want to run away. No, now I shall stay. The thunder may roll. My father will return—and find his desk broken into—his money gone! Then he will ring—that bell. A scuffle with his servant—then sends for the police—and then I tell all—everything! Oh, it will be beautiful to have it all over with—if only that were the end! And my father—he'll have a shock and die, and then that will be the end. Then they will place his swords across the coffin—and the Count's line is extinct. The serf's line will continue in an orphanage, win honors in the gutter and end in prison.
JEANNow it is the king's blood talking. Splendid, Miss Julie! Only keep the miller in his sack.

[Enter Kristin with prayer-book in hand.]

[Hastening to Kristin and falls in her arms as though seeking protection]

JULIEHelp me, Kristin, help me against this man.

[Cold and unmoved]

KRISTINWhat kind of performance is this for a holy day morning? What does this mean—this noise and fuss?
JULIEKristin, you are a woman—and my friend. Beware of this wretch.

[A little embarrassed and surprised]

JEANWhile the ladies are arguing, I'll go and shave.
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[Jean exits, R.]

JULIEYou must understand me—you must listen to me.
KRISTINNo—I can't make sense of all this nonsense. Where might you be going in your traveling dress?—and he had his hat on! Eh?
JULIEListen to me, Kristin, listen to me and I'll tell you everything.
KRISTINI don't want to know anything—
JULIEYou must listen to me—
KRISTINWhat about it? Is it that nonsense with Jean? That doesn't concern me at all. I won't get mixed up in that, but if you're trying to lure him into running away with you, then we must put a stop to it.

[Nervously]

JULIETry to be calm now, Kristin, and listen to me. I can't stay here, and Jean can't stay here. Since that's true, we must leave—Kristin.
KRISTINHm, hm!

[Brightening up]

JULIEBut I have an idea—what if the three of us were to go away—to foreign parts. To Switzerland, and set up a hotel together—I have money, you see—and Jean and I would back the whole thing, and you could run the kitchen. Won't that be fine? Say yes, now—and come with us—there everything would be arranged—say yes! [Throws her arms around Kristin and coaxes her].

[Cold and reflecting]

KRISTINHm—hm!

[Presto tempo]

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JULIEYou've never been out and traveled, Kristin. You should see something of the world. You can't imagine how pleasant it is to travel by train—new faces all the time, new countries—and we'll go to Hamburg—and on the way we'll see the zoological gardens—you'll like that—then we'll go to the theater and hear opera—and when we get to Munich there'll be the museum—there are Rubens and Raphaels and all the great painters you know—you've heard of Munich—where King Ludwig lived—the King, you know, who went mad. Then we'll see his palace—a palace like those in the sagas—and from there it isn't far to Switzerland—and the Alps, the Alps mind you, with snow in mid-summer. And oranges grow there and laurel—green all the year round if—[Jean is seen in the doorway R., stropping his razor on the strop which he holds between his teeth and left hand. He listens and nods his head approvingly now and then. Julie continues, tempo prestissimo] And there we'll take a hotel and I'll sit taking the cash while Jean greets the guests—goes out and markets—writes letters—that will be life, you may believe—then the train whistles—then the omnibus comes—then a bell rings upstairs, then in the restaurant—and then I make out the bills—and I can salt them—you can't think how people tremble when they get their bill—and you—you can sit like a lady—of course you won't have to stand over the stove—you can dress finely and neatly when you show yourself to the people—and you with your appearance—Oh, I'm not flattering you, you can catch a husband some fine day—a rich Englishman perhaps—they are so easy to—[Slowing up] to catch— —Then we'll be rich—and then we'll build a villa by Lake Como—to be sure it rains sometimes—but [becoming languid] the sun must shine too sometimes— — —although it seems dark— — —and if not—we can at least travel homeward—and come back—here—or some other place.
KRISTINListen now. Does Miss Julie believe all this?

[Julie going to pieces.]

JULIEDo I believe it?
KRISTINYes.

[Tired]

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JULIEI don't know. I don't believe in anything any more. [Sinks down on bench, and takes her head in her hand on the table.] In nothing—nothing!

[Turns to R. and looks toward Jean]

KRISTINSo—you intended to run away?

[Rather shamefaced, comes forward and puts the razor on the table]

JEANRun away? That's putting it rather strongly. You heard Miss Julie's plan—I think it might be carried out.
KRISTINNow listen to that! Was it meant that I should be her cook—

[Sharply]

JEANBe so good as to use proper language when you speak of your mistress.
KRISTINMistress?
JEANYes.
KRISTINNo—listen! Listen to him!
JEANYes, you listen—you need to, and talk less. Miss Julie is your mistress, and for the same reason that you don't respect her now, you shouldn't respect yourself.
KRISTINI have always had so much respect for myself—
JEANThat you never had any left for others!
KRISTINI have never lowered my position. Let anyone say, if they can, that the Count's cook has had anything to do with the riding master or the swineherd. Let them come and say it!
JEANYes, you happened to get a fine fellow. That was your good luck.
KRISTINYes, a fine fellow—who sells the Count's oats from his stable.
JEANIs it your place to say anything—you, who earn a commission on all the groceries and take a bribe from the butcher?
KRISTINWhat's that?
JEANAnd you no longer have any respect for your master and mistress—you, you!

[Glad to change the subject]

KRISTINAre you coming to church with me? You need a good sermon for what you've done.
JEANNo, I'm not going to church today. You can go alone—and confess what you've done.
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KRISTINYes, that I will do, and I shall come back with so much forgiveness that there will be enough for you too. The Savior suffered and died on the cross for all our sins, and when we go to Him in faith and a repentant spirit, He takes our sins upon Himself.
JULIEDo you believe that, Kristin?
KRISTINThat is my life's belief, as true as I stand here. And that was my childhood's belief that I have kept since my youth, Miss Julie. And where sin overflows, there mercy overflows also.
JULIEOh, if I only had your faith. Oh, if—
KRISTINYes, but you see that is not given without God's particular grace, and that is not allotted to all, that!
JULIEWho are the chosen?
KRISTINThat is the great secret of the Kingdom of Grace, and the Lord has no respect for persons. But there the last shall be first.
JULIEBut then has he respect for the last—the lowliest person?

[Continuing]

KRISTINIt is easier for a camel to pass through the eye of a needle than for a rich man to enter the Kingdom of Heaven. That's the way it is, Miss Julie. However—now I am going—alone. And on my way I shall stop in and tell the stable boy not to let any horses go out in case any one wants to get away before the Count comes home. Good bye.

[Exit Kristin.]

JEANSuch a devil. And all this because of your confounded canary!

[Tired]

JULIEOh, don't mention the canary—do you see any way out—any end to this?

[Thinking]

JEANNo.
JULIEWhat would you do in my place?
JEANIn your place—wait. As a noble lady, as a woman—fallen—I don't know. Yes, now I know.

JULIE [She picks up the razor from the table and gestures as if to say] This?
JEANYes. But I shouldn't be the one to do it, mark you, for there is a difference between us.
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JULIEBecause you are a man and I am a woman? What other difference is there?
JEANThat very difference—of man and woman.

[Razor in hand]

JULIEI want to do it—but I can't. My father couldn't either that time when he should have done it.
JEANNo, he was right not to do it—he had to avenge himself first.
JULIEAnd now my mother avenges herself again through me.
JEANHaven't you loved your father, Miss Julie?
JULIEYes, deeply. But I have probably hated him too—I must have—without being aware of it. And it is thanks to my father's upbringing that I have learned to scorn my own sex. Between the two of them they have made me half man, half woman. Whose fault is it for what has happened—my father's? My mother's? My own? I don't have anything of my own. I don't have a thought that wasn't my father's—not a passion that wasn't my mother's. And last of all, from my betrothed, the idea that all people are equal. For that I now call him a wretch. How can it be my own fault then? Throw the burden on Jesus as Kristin did? No, I am too proud, too intelligent, thanks to my father's teaching.— —And that a rich man cannot enter the Kingdom of Heaven—that is a lie, and Kristin, who has money in the savings bank—she surely cannot enter there. Whose fault is it? What does it concern us whose fault it is? It is I who must bear the burden and the consequences.
JEANYes, but— —

[Two sharp rings on the bell are heard. Julie starts to her feet. Jean changes his coat.]

JEANThe Count—has returned. Think if Kristin has— [Goes up to the speaking tube and listens.]
JULIENow he has seen the desk!

[Speaking into the tube]

JEANIt is Jean, Excellency. [Listens.] Yes, Excellency. [Listens.] Yes, Excellency—right away—immediately, Excellency. Yes—in half an hour.

[In great agitation]

JULIEWhat did he say? In Heaven's name, what did he say?
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JEANHe wants his boots and coffee in half an hour.
JULIEIn half an hour, then. Oh, I'm so tired—I'm incapable of feeling, not able to be sorry, not able to go, not able to stay, not able to live—not able to die. Help me now. Command me—I will obey like a dog. Do me this last service—save my honor. Save his name. You know what I have the will to do—but cannot do. You will it and command me to carry out your will.
JEANI don't know why—but now I can't either.—I don't understand myself. It's absolutely as though this coat does it—but I can't command you now. And ever since the Count spoke to me——I can't account for it—but oh, it's that damned servant at my back—I believe if the Count came in here now and told me to cut my throat, I'd do it on the spot.
JULIEPretend you are him—and I am you. You could act so well a little while ago when you knelt at my feet. Then you were a nobleman—or haven't you ever been to the theater and seen the hypnotist—[Jean nods] He says to his subject, "Take the broom," and he takes it; he says, "Sweep," and he sweeps.
JEANThen the subject must be asleep!

[Ecstatically]

JULIEI am already asleep. The whole room is like smoke before me—and you are like a tall black stove, like a man dressed in black clothes with a high hat; and your eyes gleam like hot coals when the fire is dying; and your face is a white spot like fallen ashes. [The sunshine is coming in through the windows and falls on Jean. Julie rubs her hands as though warming them before a fire.] It is so warm and good—and so bright and quiet!

[Takes razor and puts it in her hand]

JEANThere's the broom. Go now while it's still light—out to the hayloft—and—[He whispers in her ear.]

[Rousing herself]

JULIEThanks. And now I'll go to rest. But tell me this—can the foremost receive the gift of Grace? Say it, even if you don't believe it.
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JEANThe foremost? No, I can't say that. But wait, Miss Julie—you are no longer among the foremost, since you are of the lowliest.
JULIEThat's true, I am the lowliest—the lowliest of the lowly. Oh, now I can't go. Tell me once more that I must go.
JEANNo, now I can't either—I can't.
JULIEAnd the first shall be last— — —
JEANDon't think. You take my strength from me, too, so that I become cowardly.—What— —I thought I heard the bell!— — No! To be afraid of the sound of a bell! But it's not the bell—it's someone behind the bell, the hand that sets the bell in motion—and something else that sets the hand in motion. But stop your ears, stop your ears. Then he will only ring louder and keep on ringing until it's answered—and then it is too late! Then come the police and then—[Two loud rings on the bell are heard. Jean collapses for a moment but immediately straightens up.] It is horrible! But there is no other way. Go!

[Countess Julie goes out resolutely.]

CURTAIN*****
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The Outlaw

CHARACTERSTHORFINN, Earl of Iceland
VALGERD, his wife
GUNLÖD, their daughter
GUNNAR, a Crusader
ORM, a minstrel, foster brother to Thorfinn
A MESSENGERThe action takes place in Iceland.

[SCENE—A hut, door at the back, window-holes on the right and left, closed by big heavy wooden shutters. Wooden benches against the walls, the high bench, a sort of rude throne, at the left. The uprights of this high bench are carved with images of the gods Odin and Thor. From the wall beams hang swords, battle axes and shields. Near the high bench stands a harp. Gunlöd stands at an open window-hole peering out; through the opening one catches a glimpse of the sea lighted by the aurora borealis. Valgerd sits by the fire, which is in the middle of the room, spinning.]
VALGERDClose the window-hole.

[Gunlöd is silent.]

VALGERDGunlöd!
GUNLÖDDid you speak, Mother?
VALGERDWhat are you doing?
GUNLÖDI am watching the sea.
VALGERDWhen will you learn to forget?
GUNLÖDTake everything from me, but not my memories!
VALGERDLook forward, not back.
GUNLÖDWho reproaches a strong Viking who looks back as he leaves his native shore?
VALGERDYou have had three winters to say your farewell.
GUNLÖDYou speak the truth—three winters! For summer never came here!
VALGERDWhen the floating ice melts, spring will be here.
GUNLÖDThe Northern Lights melt no ice.
VALGERDNor do your tears.
GUNLÖDYou never saw me weep.
VALGERDBut I have heard you. As long as you do that, you are a child.
GUNLÖDI am not a child.
VALGERDIf you would be a woman, suffer in silence.
GUNLÖDI will cast sorrow from me, mother.
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VALGERDNo, no—bury it, as your deepest treasure. The seed must not lie on top of the earth if it is to sprout and ripen. You have a deep sorrow. It should bear great gladness—and great peace.

[After a pause]

GUNLÖDI shall forget.
VALGERDEverything?
GUNLÖDI shall try.
VALGERDCan you forget your father's hardness?
GUNLÖDThat I have forgotten.
VALGERDCan you forget that there was a time when your forefathers’ dwelling stood on the shore at Brövik? Where the south wind sang in the oak wood when the ice-bound seas ran free—where the hemlocks gave off their fragrance and the finches twittered among the linden trees—and Balder, the god of spring and joy, lulled you to sleep on the green meadows? Can you forget all this as you listen to the sea gulls’ plaints on these bare rocks and cliffs, and the cold storms from the north howl through the stunted birches?
GUNLÖDYes!
VALGERDCan you forget the friend of your childhood, from whom your father tore you to save you from the white Christ?

[in desperation]

GUNLÖDYes, yes!
VALGERDYou are weeping.

[Disturbed]

GUNLÖDSomeone is walking out there. Perhaps Father is coming home.
VALGERDWill you remember every day without tears that we now dwell in the land of ice—fugitives from the kingdom of Svea and hated here by the Christ-men? But we have suffered no loss of greatness, even though we have not been baptized and kissed the bishop's hand. Have you spoken to any of the Christians since we have been here?

[After a pause]

GUNLÖDNo. Tell me, mother, is it true that father is to be Erl here in Iceland, too?
VALGERDDon't let that trouble you, child.
GUNLÖDThen I'm afraid he will fare badly with the Christians.
VALGERDYou fear that?
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GUNLÖDSome one is out there.

[Anxiously]

VALGERDDid you see the ship lying in the inlet this morning?
GUNLÖDWith heartfelt gladness!
VALGERDDid it bear the figurehead of Thorfinn?
GUNLÖDThat I could not make out.
VALGERDBe careful, girl.
GUNLÖDIs it tonight that I may go out?
VALGERDTomorrow—you know that well.

GUNLÖD Mother!

[Going]

VALGERDMind the fire. [Valgerd goes.]

[Gunlöd looks after her mother, then cautiously takes a crucifix from her breast, puts it on the high bench, and falls to her knees.]

GUNLÖDChrist, Christ, forgive me the lie I told. [Springs up, noticing the images of the gods on the high bench.] No, I cannot pray before these wicked images. [She looks for another place.] Holy St. Olof, holy—oh, I can't remember what the bishop named her! God! God! Cast me not into purgatory for this sin! I will repeat the whole long prayer of the monks—credo, credo—in patrem—oh, I have forgotten that too. I shall give five tall candles for the altar of the mother of God the next time I go to the chapel—Credo, in patrem omnipotentem—[Kissing the crucifix eagerly.]

[A song is heard outside the hut, accompanied by a lyre.]

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GUNLÖDA crusader went out to the Holy Land,
O, Christ, take the maiden's soul in hand,
And to your kingdom bring her!
I'll return, mayhap, when the spruce trees bloom.

Summers three he wanders far from thee,
Where nightingales sing their delight,
And masses he holds both day and night,
At the holy sepulchre's chapel.
I'll return, mayhap, when the spruce trees bloom.

When the palm trees bud on Jordan's strand,
Then makes he a prayer to God,
That he may return to his native land,
And press to his heart his love.
I'll return, my love, when the spruce trees bloom.

GUNLÖD [At the beginning of the song she springs up, then listens with growing agitation and eagerness. When the song is over, she goes toward the door to bolt it, but so slowly that Gunnar is able to enter before she slips the bolt. Gunnar is dressed in the costume of a crusader, with a lyre slung across his shoulder.]
GUNNARGunlöd! [They embrace. Gunlöd pulls away and goes toward the door.] You are afraid of me? What is it, Gunlöd?
GUNLÖDYou never took me in your arms before!
GUNNARWe were children then!

GUNLÖD You are right—we were children then. What means that silver falcon on your shield? I saw it on your ship's bow this morning, too.
GUNNARYou saw my ship—you knew my song, and yet you would have barred the door against me! What am I to make of this, Gunlöd?
GUNLÖDOh, do not ask me anything! My spirit is so restless—just sit, and let me talk to you.

[Sits]

GUNNARYou are silent.
GUNLÖDYou are silent too.

[Pulls her to his side]

GUNNARGunlöd, Gunlöd—has the snow fallen so heavily that memories have grown cold—even the mountains here burst forth with fire—and you are as cold as a snow wind—but speak—speak! Why are you here in Iceland—and what has happened?
GUNLÖDTerrible things—and more may follow if you stay here any longer. [Springs up] Go, before my father comes.
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GUNNARDo you think I would leave you now—I, who have sought you for long years? When I could not find you in the home land, I went to the wars against the Saracens to seek you on the other side of the grave. But my time had not yet come; when the fourth spring came, I heard through wandering merchants that you were to be found here. Now I have found you—and you wish me to leave you in this heathen darkness.
GUNLÖDI am not alone!
GUNNARYour father does not love you—your mother does not understand you, and they are both heathen.
GUNLÖDI have friends among the Christians.
GUNNARThen you have become a Christian, Gunlöd!—the holy virgin has heard my prayer.
GUNLÖDYes, yes! Oh, let me kiss the cross you bear on your shoulder—the one you got at the holy sepulchre!
GUNNARNow I give you a brother Christian's kiss—the first, Gunlöd, you have from me.
GUNLÖDYou must never kiss me again.
GUNNARBut tell me, how did you become a Christian?
GUNLÖDFirst I believed in my father—he was so strong; then I believed in my mother—she was so good; last I believed in you—you were so strong and good—and so beautiful; and when you went away—I stood alone—I could never believe in myself—I was so weak; then I thought of your God, whom you so often begged me to love—and I prayed to Him.
GUNNARAnd the old gods—
GUNLÖDI have never been able to believe in them—although my father commanded me to—they are wicked.
GUNNARWho taught you to pray? Who gave you the crucifix?
GUNLÖDThe bishop.
GUNNARAnd no one knows?
GUNLÖDNo—I have had to lie to my mother, and that troubles me.
GUNNARAnd your father hid you here so the Christians wouldn't get you?
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GUNLÖDYes—and now he's expected home from Norway with followers, since he's to be Earl of the island.
GUNNARGod forbid!
GUNLÖDYes—yes—but you mustn't delay. He's expected home tonight.
GUNNARGood—out there beyond Hjärleif's headland lies my ship. Out to sea! There's a land wind, and before the first cockcrow we'll be beyond pursuit.
GUNLÖDYes! Yes!
GUNNARSoon we should be in Östergötland—where the summer is still green—and there you'll live in my castle, which I've built where your father's house stood.
GUNLÖDDoesn't it still stand?
GUNNARNo—it was burned.
GUNLÖDBy the Christians?
GUNNARYou are so passionate, Gunlöd!
GUNLÖDI am sorry to say I would rather be a heathen.
GUNNARWhat are you saying, girl!
GUNLÖD[After a pause]. Forgive me, forgive me—I am in such a wild mood—and when I see the Christians, who should be examples, commit such deeds—
GUNNARCrush out that thought, Gunlöd—it is ungodly. Do you see this wreath?
GUNLÖDWhere did you gather it?
GUNNARDo you recognize the flowers, Gunlöd?
GUNLÖDThey grew in my father's garden—may I keep them?
GUNNARGladly—but why do you want them when we are going to journey there ourselves?
GUNLÖDI shall look at them all winter long—the hemlock will remind me of the green woods and the anemones of the blue sky.
GUNNARAnd when they are withered—
GUNLÖDI do not think of that.
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GUNNARThen come with me from this dreary land—far away, and there where our childhood was spent we will live as free as the birds among the flowers and sunshine. There you shall not go in stealth to the temple of the Lord when the bells tell you of the Sabbath. Oh, you shall see the new chapel with its vaulted roof and high pillared aisles. And hear the acolytes singing when the bishop lights the incense on the high altar. There you shall solemnize the service of God with those of Christ and you shall feel your heart cleansed of sin.
GUNLÖDShall I fly—leave my mother?
GUNNARShe will forgive you in time.
GUNLÖDBut my father would call me cowardly, and that I would never allow.
GUNNARThat you must endure for the sake of your belief.
GUNLÖDThorfinn's daughter was never cowardly.
GUNNARYour father does not love you, and he will hate you when he learns of your conversion.
GUNLÖDThat he may do—but he shall never despise me.
GUNNARYou are surrendering your love, Gunlöd.
GUNLÖDLove!—I remember—there was a maiden—she had a friend who went away—afterward, she was never glad again—she only sat sewing silk and gold—what she was making no one knew—and when they asked her, she would only weep. And when they asked her why she wept, she never answered—only wept. She grew pale of cheek, and her mother made ready her shroud.—Then an old woman came and said it was love. Gunnar—I never wept when you went away, as father says it is weak to shed tears; I never sewed silk and gold, for my mother has never taught me to do so—did I not love, then?
GUNNARHave you often thought of me during these years?
GUNLÖDI have dreamed of you so often, and this morning, when I stood by the window where I so willingly linger and, gazing out over the sea, I saw your ship come up out of the east, I grew uneasy, though I did not know it was your ship.
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GUNNARWhy do you gaze so willingly out over the sea?
GUNLÖDYou ask so many questions!
GUNNARWhy did you want to close the door against me?
GUNLÖD[Silent].
GUNNARWhy didn't you close it?
GUNLÖD[Silent].
GUNNARWhy are you silent?

[Gunlöd bursts into tears.]

GUNNARYou weep, Gunlöd, and do you know why? I know—you love! [Takes her in his arms and kisses her.]
GUNLÖD[Tearing herself away] You must not kiss me! Go!
GUNNARYes—and you shall go with me.
GUNLÖDI do not care to be commanded by you—and I shall not obey.
GUNNARThe volcano gives forth fire—and burns itself out!
GUNLÖDYou have destroyed my peace—forever! Go and let me forget you.
GUNNARDo you know what the silver falcon with the ribbon stands for? It is the symbol of the wild girl I shall tame.
GUNLÖD[With force]. You! Go before I hate you!—No one yet has bent my will!
GUNNARThe wild fire of the viking's blood still burns in your veins, but it shall be quenched. A day and a night shall I wait for you. And you will come—mild as a dove seeking shelter, although you now would fly above the clouds like a wild falcon. But I still hold the ribbon in my hand—that is your love, which you cannot tear away. When twilight falls again you will come. Till then, farewell. [Goes to the door and stops.]
GUNLÖD[Silent.]
GUNNAR[Going.] Farewell.
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GUNLÖDWe shall see, proud knight, who comes first. When this garland shall bloom again, then shall I come. [Throws garland in fire. She watches it burn in a thoughtful mood. When it is quite burnt she breaks into tears again and falls on her knees.] God! God! Soften my proud spirit! Oh, that he should leave me! [Hastens to door. At same moment Valgerd enters, passes Gunlöd, and goes to fire.]
VALGERDWhy did you not tend the fire?
GUNLÖD[Silent.]

[Putting her hand against Gunlöd's heart]

VALGERDYou have a secret!
GUNLÖDYes, mother, yes.
VALGERDHide it well.
GUNLÖDOh, I must speak—I can't bear it any longer.
VALGERDWhen did you ever see a mother who did not know her daughter's secrets?
GUNLÖDWho told you mine?

[Harshly]

VALGERDDry your tears.

[A pause.]

GUNLÖDOh, let me go out—into the mountains—down to the shore. It is so stifling here.
VALGERDGo up to the loft—you can be alone there. [Enter a thrall.] What do you want?
THRALLThe Erl's trumpets can be heard beyond the rocks, and the storm is growing.
VALGERDHas darkness fallen?
THRALLYes, and a terrible darkness it is.

[A pause.]

GUNLÖDSend out a boat—two—as many as can be found.
THRALLAll the boats are out for the hunt.
GUNLÖDLight the beacon fires.
THRALLAll the fuel is so soaked with rain that we haven't had so much as a twig on the hearth all evening.
VALGERDAway!
THRALLHow will it go for the Erl?
VALGERDIs that any concern of yours?

[Thrall goes.]

GUNLÖDYou have not forgotten your wrong!
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VALGERDNor my revenge! No one lays hands on an Erl's daughter!
GUNLÖDSo be it. Now your moment has come—take your revenge—I'll show you how—like this. [Takes a lighted torch.] Put this torch in the window-hole on the right and you ruin him. Put it in the left and you save him—

[Interrupts]

VALGERDGive me the torch and leave me.
GUNLÖDThere is a sacrifice that can appease your gods. Sacrifice your revenge.
VALGERD[Takes the torch, hesitates, and goes quickly to the left window-hole and places it there. Trumpets are heard.] You struck me, Thorfinn—I swore revenge—I shall humble you with a kind deed.

[Unseen by Valgerd, has entered and falls on her mother's neck.]

GUNLÖDThanks, Mother.

[Disconcerted]

VALGERDHaven't you gone—
GUNLÖDI'm going now. [Gunlöd exits.]

[Alone by the window opening]

VALGERDYou cry for help, you mighty man, who always helped yourself. [Trumpets are heard.] Where is your might now—where is your kingdom—[A gust of wind blows out the lit torch. Valgerd, terribly frightened, takes the torch and lights it.] Oh, he will perish! What shall I do? Pray? To whom? Odin? Njard? Ogir? I have called on them for four times ten years, but they have never answered. I have sacrificed, but they have never helped. You, God, however you may be called—you mighty one who bids the sun to rise and set, you tremendous one who rules over the winds and water—to you will I pray, to you will I sacrifice my revenge if you will save him.

[Orm enters unnoticed.]

ORMGood evening to you, Valgerd. Put on your cloak—the wind is sharp.

VALGERD [Disconcerted, takes down the torch and closes the window opening.] Welcome, Orm.
ORMThanks.
VALGERDHow is it with you, Orm?
ORMTolerable enough—once you get near the big logs.

[Irritated]

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VALGERDHow did the journey go, I mean?
ORMThat is a long story.
VALGERDMake it short.
ORMWell, as you know, we went to Norway, seeking men and timber.
VALGERDOrm!
ORMValgerd!
VALGERDYou haven't said a word about the Erl.
ORMHave you asked a single word about your mate?
VALGERDWhere is he? Is he alive?
ORMI don't know.
VALGERDYou don't know? You, his foster brother? Where did you last see him?
ORMFar out in the gulf. It was merry out there, you can be sure. You should have seen him swimming with my lyre in his hand. The seaweed was so tangled in his beard and hair that you could almost believe it was Neptune himself. Just then a wave as big as a house came—
VALGERDAnd then?
ORMAnd then—I saw my lyre no more.
VALGERDOrm! You jest while your lord and brother may be perishing out there! I command you—go at once and seek him! Do you hear?
ORMWhy, what is the matter? You were never before so concerned about your mate! You might find time to give me a drink of ale before I go.
VALGERDWarm your knees by the hearth. I shall go—and defy wind and storm.
ORM[Taking her hounds]. Woman, woman—after all, you are a woman!

[Angry]

VALGERDLet go of my hand.
ORMNow the Erl is saved!
VALGERDSaved?
ORMYes, you have been given back to him—and that is his voice now. [Goes.]

[Voices of Thorfinn and Orm are heard outside; Thorfinn laughing loudly.]

VALGERDThe Erl comes—he laughs—I have never heard that before—oh, something terrible is approaching! [Wrings her hands.]

[Enter Thorfinn and Orm.]

[Laughing]

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THORFINNThat was a murderous sight—
ORMYes, I promise you!
VALGERDWelcome home, mate.
THORFINNThanks, wife. Have you been out in the rain? Your eyes are wet.
VALGERDYou are so merry!
THORFINNMerry? Yes—yes.
VALGERDWhat became of your ships?
ORMThey went to the bottom—all but one.

[To Thorfinn]

VALGERDAnd yet you can be so cheerful?
THORFINNHa! Ha! Timber grows in plenty in the north!
ORMNow perhaps we might have something life-giving.
THORFINNWell said! Fetch some ale, wife, and let's be merry.
ORMAnd we'll thank the gods who saved us.
THORFINNWhen will you ever outgrow those sagas, Orm?
ORMWhy do you force your wife and daughter to believe in them?
THORFINNWomenfolk should have gods.
ORMWho do you believe helped you out there in the storm?
THORFINNI helped myself.
ORMAnd yet you cried out to Ake-Thor when the big wave swallowed you.
THORFINNThere you lie.
ORMOrm never lies.
THORFINNOrm is a poet!
ORMThorfinn must have swallowed too much seawater when he cried for help, to have such a bitter tongue.
THORFINNTake care of your own tongue, Orm.

[Valgerd with drinking horns.]

VALGERDHere, foster brothers, I drink to your oath of friendship and better luck on your next voyage.
THORFINNI forbid you to speak of that again. [They drink. Thorfinn takes the horn hastily from his mouth and asks] Where is the child?

[Troubled]

VALGERDShe is in the loft.
THORFINNCall her here.
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VALGERDShe's not well.

[Looks sharply at Valgerd]

THORFINNShe will come!
VALGERDYou don't mean that.
THORFINNDid you hear what was said?
VALGERDIt is not your last.
THORFINNA man has only one, though a woman must always have the last word.

[Weakly]

VALGERDYou mock me.
THORFINNYou are angry, I believe.
VALGERDYou're laughing so much tonight.

[Exits.]

THORFINNOrm! I've just had a thought.
ORMIf it's a great one, you'd better hide it. Great thoughts are scarce these days.
THORFINNDid you notice my wife?
ORMI never notice other men's wives.
THORFINNHow kind and gentle she was.
ORMShe pitied you.
THORFINNPitied me?
ORMYes, because sorrow that laughs is the laughter of death, she thought.
THORFINNA woman cannot think.
ORMNo, not with her head, but with her heart. That is why she has a smaller head but a bigger breast than we do.
THORFINNForebodings of evil torture me.
ORMPoor Thorfinn.
THORFINNMy child! Orm! When she comes, bid her drink from the horn to Asa-Odin.
ORMThe fox scents against the wind. I understand.
THORFINNBe ready—they are coming.
ORMDo not be hard on the child, Thorfinn, or you will have me to answer to.

[Valgerd and Gunlöd enter. The latter is heavy with sleep.]

GUNLÖDWelcome home, Father.
THORFINNAre you telling the truth?
GUNLÖD[Silent.]
THORFINNYou are ill, aren't you?
GUNLÖDI am not quite myself.
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THORFINNI fear so.

[Waving a drinking horn over the fire]

ORMCome, Gunlöd, and empty this sacred horn to Odin, who saved your father from shipwreck.

[All empty their horns except Gunlöd.]

[Tremblingly]

THORFINNDrink, Gunlöd.

[Gunlöd throws the horn on the floor and goes to Thorfinn and buries her head in his lap.]

GUNLÖDHear me, father. I am a Christian. Do with me what you will—my soul you cannot destroy. God and the Saints will protect it.

[Thorfinn is beside himself with grief and rage. He rises, pushes Gunlöd away from him, and tries to speak, but words fail him. He sits on his high bench again in silence. Orm goes to the women and speaks quietly to them. They go toward the door. Suddenly Gunlöd turns.]

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GUNLÖDNo! I won't go. I must speak, so that you, my father, may not go to the grave with a lie—for your whole life has been a lie! I shall sacrifice the child's respect—love I have never felt—and prove to you what terrible guilt you have gathered on your head. Know, then, that you have taught me to hate—for when did you ever give me love? You taught me to fear the great Erl Thorfinn, and you have succeeded, because I tremble before your harshness. I respect your many scars and great deeds, but you never taught me to love my father. You always thrust me away when I wanted to come to you—you poisoned my soul, and now you see God's punishment. You have made me a criminal—for such I am at this moment, but it cannot be otherwise. Why do you hate my belief? Because it is love and yours is hate! Oh, father, father, I want to kiss the clouds from your brow. I wanted to caress your white locks and make you forget the sorrows that whitened them. I wanted to support you when your steps began to falter—Oh! forget what I have said—open your arms [falls on her knees] and take me to your heart. Look at me tenderly—just once before it is too late. Speak one word—[springs to her feet] Oh, your glance freezes me! You will not! I shall pray for power to love you. [Bursts into tears and goes out, followed by Valgerd. Orm goes forward to Thorfinn.]
THORFINNSing for me, Orm.
ORMOrm sings nothing but lies.
THORFINNLie, then.
ORMWas the truth so bitter?
THORFINNWhat do you say?
ORMNever mind. You shall hear more from me later.
THORFINNOrm, you are my friend!
ORMH'm—of course!
THORFINNI lack peace.
ORMThere are two ways to gain peace: one is never to do anything one regrets—the other is never to regret anything one does!
THORFINNBut what if one has already done what one regrets?
ORMThorfinn! That is to say, you regret your harshness toward your child?
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[Angry]

THORFINNI regret nothing. And as far as the child is concerned, you had better hold your tongue!
ORMListen, Thorfinn—have you ever thought about what your life has been?
THORFINNThinking is for old women—doing has been my life.
ORMWhat do you intend to do now?
THORFINNWhat do I intend to do now?
ORMYes.

[Shaken, he is silent.]

ORMYou see how even a little thought struck you—think, then, if a big thought should come. Why don't you dare to look back? Because you are afraid of the sights you would see.
THORFINNLet the past remain buried.
ORMNo, I will tear the corpses from their graves, and they shall stare at you with their empty eye sockets until you tremble with anguish and fear—and you shall see that, for all your strength, you were not a man.
THORFINNWhat are you saying, madman?
ORMYes, shout—you are still a boy. Yes, you—I have seen big, tall children with bushy beards and gray hair and crooked backs as well.
THORFINNHold your tongue, Orm.
ORMShout until the hut trembles—you cannot shout down the truth.
THORFINNSilence, before I strike you!
ORMStrike! Strike me dead—tear the tongue out of my mouth—the truth shall be blasted into your ears with copper trumpets: "Your life has been a lie."

[With repressed anger and pain]

THORFINNOrm, I beg you—say no more.
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ORMYes, Thorfinn, I will speak. Feel how the earth trembles beneath you. That means an earthquake! The whole earth trembles these days, for she is about to give birth. She will bring forth in terrible pain a glorious hero. Open your eyes and look. Do you see how the east wars with the west? It is love's first conflict—the new bride trembles under the elder's embraces, she struggles and suffers—but soon she will rejoice, and thousands of torches will be lit and radiate peace and gladness, because he will be born, the young, the strong, the beautiful princeling, who will rule over all peoples and whose sceptre is called love and whose crown is called light and whose name is the new age! Thorfinn! Do you remember the saga about Thor at Utgarda-Loke? He lifted the cat so high that the trolls turned pale; he drank so deep from the horn that the trolls trembled—but when the old woman brought him to his knees, the trolls laughed. It was the age that vanquished him, and it is the age you have warred against, and which has slain you—it is the lord of the age, it is God who has crushed you.
THORFINNI have never known any god but my own strength, and that god I believe in!
ORMYou don't know him—you who have so long been at feud with him. It was he who drove you from your native land, and you thought you were escaping him. It was he who struck your ships to splinters and swallowed up your treasures and ended your power. It was he who tore your child from you—and you said you lacked peace! It was he—[Messenger enters.]
MESSENGERAre you Earl Thorfinn?
THORFINNI am.
MESSENGERDid you carry out the coastal massacre at Reyd-fiord last spring?

[Unmoved]

THORFINNI did.
MESSENGERYou plundered and burned Hallfred at Thorvalla?
THORFINNYes.
MESSENGERAnd then you disappeared.

[Silent.]

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MESSENGERThe Allting has now declared you an outlaw and pronounced you a felon. Your house is to be burned to the ground, and anyone who wishes may take your life. Your enemies are close at hand, so flee while there is still time—make your escape tonight.

[Messenger goes out and there is a long pause.]

ORMDo you know who that was?
THORFINNYou may well ask that.
ORMIt was a messenger from that old woman who felled Thor—the age!
THORFINNYou talk like an old woman.
ORMThis age does not want to use force, but you have violated it, and it strikes you.
THORFINNThis age cannot endure strength, so it worships weakness.
ORMWhen you came to this island, you swore peace. You have broken your oath, you have violated your honor, so you must die like a felon.
THORFINNDo you too call me a felon?
ORMYes.
THORFINNWould you dare break an oath? Would you dare to be called a felon?

[Silent.]

THORFINNPoor wretch! It is you who put shackles on me when I want to fly! Like a snake you coil yourself around my legs. Let go of me!
ORMWe have sworn the oath of foster-brothers.
THORFINNI break it!
ORMYou cannot.
THORFINNThen I'll kick you out of the way.
ORMThat will be our death.
THORFINNAre you a man, Orm?
ORMI have become a poet, nothing more.
THORFINNThen you have become nothing.
ORMI knew what I wanted, but I could not attain it. You could attain anything, but you did not know what you wanted.
THORFINNThank you for your song. Farewell.
ORMWho will sing your death song?
THORFINNThe ravens, no doubt.
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ORMDo you dare to die, Thorfinn?
THORFINNI dare more! I dare to be forgotten!
ORMYou were always stronger than I. Farewell. We'll meet again. [Orm goes out.]
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THORFINNAlone! Alone! Alone! [Pause.] I remember one autumn, when the equinoctial storm raged over England's sun, my dragon ship was wrecked and I was tossed up on the rocks alone. Afterward everything grew calm. Oh, what long days and nights! Only the cloudless sky above and endlessly the deep blue sea around me. Not a sound of any living creature! Not even the gulls to wake me with their screeching! Not even a breeze stirred the waves to lap against the stones. It seemed as if I myself were dead! Loudly I talked and shouted, but the sound of my voice frightened me, and thirst bound my tongue. Only the even beat of my heart in my breast told me that I was alive! But after a moment's listening I heard it no longer and, trembling, I rose to my feet, and so it was each time until, senseless, I swooned. When at last I revived I heard the slow beats of a heart beside me and a deep breathing that was not mine, and courage revived in my soul. I looked about—it was a seal seeking rest; it gazed at me with its moist eyes as if filled with compassion for me. Now I was no longer alone! I stretched out my hand to caress its rough body; then it fled and I was doubly alone. Again I am on the rocks! What do I fear? Yes, loneliness! What is loneliness? It is I, myself! Who am I then to fear myself? Am I not Erl Thorfinn, the strong, who has bowed thousands of wills to his? Who never asked for friendship or love but himself bore his own sorrows! No! No! I am another! And therefore Thorfinn the strong fears Thorfinn the weak! Who stole my strength? Who struck me down? Was it the sea? Have I not vanquished the sea three times ten voyages? And it, has defeated me but once—but then to the death! It was the stronger. It was a God. But who subdued the sea that lately raged? Who? Who? Who? It was the stronger! Who are you then, the stronger! Oh, answer, that I may believe! He does not answer!—All is silent!—Again I hear my heart beating. Oh, help, help! I am cold, I freeze—[Goes to door and calls Valgerd.]

[Enter a thrall.]

THRALLYou called, Master Erl?

[Recovering himself]

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THORFINNYou were mistaken.
THRALLYes, master.
THORFINNHow many men are we?
THRALLOh—half of threescore, I think.
THORFINNAre you afraid to die, thrall?
THRALLHow can I be, when I believe that I shall be saved?

[Crosses himself.]

THORFINNWhat does that mean?
THRALLThe bishop has taught us to do that.
THORFINNI forgot that you are a Christian.
THRALLDo you wish me to stay in your service when you are a heathen?
THORFINNI want to prove how little I respect their belief. We must put double bolts on the north gate!
THRALLYes, Master, but the belief is stronger than a hundred bolts.
THORFINNWho questioned you? [Pause.] What happened when you became Christians here on the island?
THRALLOh, it was easier than anyone would think. They only poured water on us, and the bishop read from a big book, and then they gave us each a white shirt.
THORFINNTell the twelve strongest to take their new axes—do you hear?

[Starting to go]

THRALLYes, Master.
THORFINNWait. [Pause.] Do you remember what was written in that big book?
THRALLI don't remember much of it, but there was something about two thieves who were hanged on crosses along with the Son of God. But one of them went to heaven.
THORFINNDid they pour water on him, too?
THRALLThe bishop didn't say.
THORFINNDo you know whether there are any horses in the stable?
THRALLThey must be out at pasture—but I'll go and see. [Starts to go.]
THORFINNYou mustn't leave me—stay. [Pause.] Could you die in peace tonight?
THRALLYes, if I only had time for a prayer first.
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THORFINNDoes that bring peace to anyone?
THRALLOh, yes, Master.

[Rises and takes up a goblet]

THORFINNYou shall have this if you pray for me.
THRALLThat is not enough.
THORFINNYou shall have ten, but if you ever tell anyone of this—I will take your life.
THRALLIt would not help even if you gave me a hundred. You must pray yourself.
THORFINNI cannot, but I command you to pray.
THRALLI will obey—but you will see that it does not help. [Praying.] Jesus Christ, have pity on this poor sinner who begs for mercy.
THORFINNThat's a lie. I never begged for anything!
THRALLYou see now that it doesn't help.
THORFINNGive me my armor and help me buckle it.

[Helping]

THRALLYou are not keeping still. I can't fasten the buckles.
THORFINNWretch!
THRALLBut your whole body is shaking.
THORFINNThat's a lie!

[Valgerd and Gunlöd enter.]

THRALLMay I go now?
THORFINNGo.

[Coming forward]

VALGERDYou called me.
THORFINNThat's not true.
VALGERDYour enemies are upon you.
THORFINNWhat concern is that of yours?
VALGREDGet ready. I have heard what has happened.
THORFINNThen it is best that you [indicating both Valgerd and Gunlöd] hide yourselves in the cellar passage.

[Another messenger enters.]

MESSENGERErl Thorfinn, we are here. Will you surrender to our superior strength?

[Silent.]

MESSENGERYou do not answer. Let the women go, for we shall burn your home. [Thorfinn is silent.] Your answer!
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[Gunlöd, who has been standing by the door, comes forward and takes a battle axe from the wall.]

GUNLÖDI give you your answer! Ill must Erl Thorfinn have brought up his daughter, and little would his wife have loved him if they should desert him now. Here is your answer. [Throws battle axe at messenger's feet.]
MESSENGERYou are stronger than I thought, Thorfinn. For your daughter's sake you shall have a chance to fall like a hero and not as a felon. Make ready for open conflict—out on the field. [Goes out.]

[to Valgerd]

THORFINNOut on you, cowardly, faithless woman, to guard my treasure so ill! To make my child my enemy.
GUNLÖDO, my father, am I your enemy?
THORFINNYou are a Christian; but it is not too late yet. Will you deny the white Christ?
GUNLÖDNever! But I will follow you to death.
VALGERDThorfinn, you call me cowardly. I can suffer that, but faithless—there you wrong me. I have not loved you as warmly as the southern women are said to love, yet have I been faithful to you throughout life and I have sworn to go with you in death—as is the ancient custom. [Opens a trap door in floor.] Look, here have I prepared my grave, here would I die under these smoky beams that have witnessed my sorrows—and with those [points to the carved images of Thor and Odin on uprights of high bench] who guided us here. I want to go with the flames, and in the smoke shall my spirit rise to Ginde to receive charity and peace.
GUNLÖDAnd I am to be left alone afterward! Oh, let me go with you.
VALGERDNo, child, you are young. You may yet flourish in a gentler clime. But the old fir tree dies where it stands.
GUNLÖDFather, father, you must not die. I will save you!
THORFINNYou?
GUNLÖDYour kinsman Gunnar is lying off Hjärleif's headland with his men. Send one of the thralls to him by a roundabout way and he will come.
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THORFINNSo! It was from that well that you drew your courage. Keep your help and go if you will.
GUNLÖDYou shall not think me a coward. I am going with you, mother. You cannot stop me.

[Thorfinn goes to the door, trying to conceal his emotion.]

VALGERDNo! Stay, Thorfinn, and for once bare your great soul so that I may read its dim runes.
THORFINNIf you cannot interpret them now, then may this runic stone crumble to dust unread.
VALGERDYou are not the hard stone you seem to be. You have feelings. Show them. Let them flow forth, and you shall know peace!
THORFINNMy feelings are my heart's blood. Would you see it?

[The clatter of arms is heard outside and continues until Thorfinn returns. Thorfinn starts to go out when he hears the chatter.]

VALGERDOh, stay and say a word of farewell!
THORFINNWoman, you tear down my strength with your feelings. Let me go! The play has begun!
VALGERDSay farewell, at least.

[Restraining his feelings with effort]

THORNFINNFarewell, child. [Goes out.]
VALGERDNo one will bend that man.
GUNLÖDGod will!
VALGERDHis hardness is great.
GUNLÖDGod's mercy is greater!
VALGERDFarewell, my child.
GUNLÖDDo you dare leave me behind, alone?

[Embracing Gunlöd]

VALGERDAre you prepared?
GUNLÖDThe holy virgin prays for me.
VALGERDI trust in the God of love.
GUNLÖDAnd in the mother of God.
VALGERDI do not know her.
GUNLÖDYou must believe in her.
VALGERDMy belief is not your belief.

[Embracing Valgerd]

GUNLÖDForgive me.
VALGERDNow to your place.
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[Gunlöd opens the wooden shutter at the window-hole and looks out. Valgerd takes the torch and places herself by the trap door in the floor.]

GUNLÖDThe strife is sharp.
VALGERDDo you see the Erl?
GUNLÖDHe stands at the gate.
VALGERDHow fares he?
GUNLÖDEverything falls before him.
VALGERDDoes he grow weary?
GUNLÖDStill he stands straight— — —Look at those terrible northern lights.
VALGERDHave many fallen?
GUNLÖDI cannot tell. They are moving away from the threshing yard. Oh, the heavens are red as blood!

[Pause.]

VALGERDSpeak! What do you see?

[With joy]

GUNLÖDThe silver falcon!
VALGERDIt's an ill omen.
GUNLÖDFather is coming.
VALGERDIs he wounded?
GUNLÖDOh, he's falling now!
VALGERDClose the window-hole and trust in God.
GUNLÖDNo, not yet. Wait a moment.
VALGREDAre you afraid?

[Going toward the door]

GUNLÖDNo! No!

[The sounds of the conflict gradually fade.]

GUNLÖDTHORFINN [enters, pale and wounded]. Stay!

[Valgerd goes to him. Pause.]

[On the high bench]

THORFINNCome here.

[Valgerd and Gunlöd go to him. Thorfinn strokes Gunlöd's hair, kisses her forehead, then presses Valgerd's hand.]

[Kissing Valgerd]

THORFINNNow you see my heart's blood.

[Valgerd rises to get a torch.]

VALGERDNow our parting is over.
THORFINNStay and live with your child.
VALGERDMy oath!
THORFINNMy whole life has been a broken oath, and yet I hope— — —It is better to live— — —
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[Orm enters wounded. Stops at the door.]

ORMMay I come in?
THORFINNCome in.
ORMHave you found peace now?

[Caressing the woman]

THORFINNSoon, soon!
ORMThen we are ready for the journey.

[Looks at Valgerd and Gunlöd]

THORFINNNot yet.

[Sits on bench]

ORMHurry, if you want company.
THORFINNOrm, are you a Christian?
ORMYou may well ask.
THORFINNWhat are you, then—a riddle?
ORMI was everything. I was nothing. I was a poet.
THORFINNDo you believe in anything?
ORMI've come to believe in something.
THORFINNWhat gave you that?
ORMDoubt, misfortune, sorrow.

[To Valgerd]

THORFINNValgerd, give me your hand—so. Hold fast—tighter—you must not let go until—the end.

[Gunnar comes in and stops by the door.]

THORFINNWho comes?
GUNNARYou know me!
THORFINNI know your voice, but my eyes do not see you.
GUNNARI am your kinsman, Gunnar.

[After a pause]

THORFINNStep forward.

[Gunnar stays where he is, looking at Gunlöd with a questioning expression.]

THORFINNIs he here?

[Gunlöd rises and walks slowly to Gunnar with her head bowed. She takes his hand and leads him to Thorfinn. They kneel.]

[Placing his hands on their heads]

THORFINNEternal — — — Creating — — — God—[Dies.]
CURTAIN*****
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The Stronger

MMEX., an actress, married
MLLEY., an actress, unmarried

[SCENE—The corner of a ladies' cafe. Two small iron tables, a red velvet sofa, several chairs. Enter Mme. X., dressed in winter clothes, carrying a Japanese basket on her arm.]

[MLLE. Y. sits with a half-empty beer bottle before her, reading an illustrated paper, which she later exchanges for another.]

MME. XGood afternoon, Amelie. You're sitting here alone on Christmas Eve like a poor bachelor!
MLLE. Y[Looks up, nods, and resumes her reading.]
MME. XDo you know, it really hurts me to see you like this—alone in a café, and on Christmas Eve, too. It makes me feel the way I did once when I saw a bridal party in a Paris restaurant: the bride sat reading a comic paper while the groom played billiards with the witnesses. Huh, I thought, with a beginning like that, what will follow, and what will be the end? He played billiards on his wedding eve! [Mlle. Y. starts to speak.] And she read a comic paper, you mean? Well, they are not altogether the same thing.

[A waitress enters, places a cup of chocolate before Mme. X., and exits.]

MME. XYou know what, Amelie? I think you would have been better off keeping him! Do you remember I was the first to say, "Forgive him"? Do you remember that? You would be married now and have a home. Remember that Christmas when you went out to visit your fiancé's parents in the country? How you reveled in the happiness of home life and truly longed to leave the theatre forever? Yes, Amelie dear, home is the best of all, the theatre comes next, and children—well, you don't understand that.
MLLE. Y[Looks up scornfully.]

[Mme. X. takes a few sips from the cup, then opens her basket and shows Christmas presents.]

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MME. XNow you'll see what I bought for my little piggies. [Picks up a doll.] Look at this! This is for Lisa, ha! Do you see how she can roll her eyes and turn her head, eh? And here is Maja's popgun. [Loads it and shoots at Mlle. Y.]
MLLE. Y[Makes a startled gesture.]
MME. XDid I frighten you? Do you think I'd like to shoot you, eh? On my soul, I do believe you did! If you wanted to shoot me, it wouldn't be so surprising, because I stood in your way—and I know you can never forget that—although I was completely innocent. You still believe I schemed and got you out of the Stora Theatre, but I didn't. I didn't do that, even though you think so. Well, it makes no difference what I say to you. You still believe I did it. [Picks up a pair of embroidered slippers.] And these are for my better half. I embroidered them myself—I can't stand tulips, but he wants tulips on everything.
MLLE. Y[Looks up ironically and curiously.]
MME. X[Putting a hand in each slipper.] What little feet Bob has! What? And you should see what a splendid stride he has! You've never seen him in slippers! [Mlle. Y. laughs aloud.] Look! [She makes the slippers walk on the table. Mlle. Y. laughs loudly.] And when he is grumpy he stamps like this with his foot. "What! damn those servants who can never learn to make coffee. Oh, now those creatures haven't trimmed the lamp wick properly!" And then there are draughts on the floor and his feet are cold. "Ugh, how cold it is; the stupid idiots can never keep the fire going." [She rubs the slippers together, one sole over the other.]
MLLE. Y[Shrieks with laughter.]
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MME. XAnd then he comes home and has to hunt for his slippers, which Marie has stuck under the chiffonier—oh, but it's sinful to sit here and make fun of one's husband this way when he is kind and a good little man. You ought to have had such a husband, Amelie. What are you laughing at? What? What? And you see he's true to me. Yes, I'm sure of that, because he told me himself—what are you laughing at?—that when I was touring in Norway that brazen Frêdêrique came and wanted to seduce him! Can you fancy anything so infamous? [Pause.] I'd have torn her eyes out if she had come to see him when I was at home. [Pause.] It was lucky that Bob told me about it himself and that it didn't reach me through gossip. [Pause.] But would you believe it, Frêdêrique wasn't the only one! I don't know why, but the women are crazy about my husband. They must think he has influence about getting them theatrical engagements, because he is connected with the government. Perhaps you were after him yourself. I didn't use to trust you any too much. But now I know he never bothered his head about you, and you always seemed to have a grudge against him someway.

[Pause. They look at each other in a puzzled way.]

MME. XCome and see us this evening, Amelie, and show us that you're not put out with us—not put out with me at any rate. I don't know, but I think it would be uncomfortable to have you for an enemy. Perhaps it's because I stood in your way [rallentando] or—I really—don't know why—in particular.

[Pause. Mlle. Y. stares at Mme. X curiously.]

[Thoughtfully]

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MME. XOur acquaintance has been so strange. When I first saw you, I was afraid of you—so afraid that I didn't dare let you out of my sight; no matter when or where, I always found myself near you—I didn't dare make an enemy of you, so I became your friend. But there was always discord whenever you came to our house, because I saw that my husband couldn't stand you, and the whole thing seemed as wrong to me as an ill-fitting gown—and I did all I could to make him friendly toward you, but with no success until you became engaged. Then a violent friendship sprang up between you, so that all at once it looked as though you both dared show your real feelings only once you were safe—and then—how was it afterward? I didn't become jealous—strange to say! And I remember at the christening, when you acted as godmother, I made him kiss you—he did so, and you became so confused—as it were; I didn't notice it then—didn't think about it afterward, either—have never thought about it until—now! [Rises suddenly.] Why are you silent? You haven't said a word this whole time, but you have let me go on talking! You have sat there, and your eyes have drawn out of me all these thoughts that lay like raw silk in its cocoon—thoughts—suspicious thoughts, perhaps. Let me see—why did you break your engagement? Why do you never come to our house anymore? Why won't you come to see us tonight?

[Mlle. Y. appears as if about to speak.]

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MME. XHush, you don't need to say a word—I understand it all! It was because—and because—and because! Yes, yes! Now everything adds up. That's it. Fie, I won't sit at the same table as you. [Moves her things to another table.] That's why I had to embroider tulips—which I hate—on his slippers, because you're fond of tulips; that's why [Throws the slippers on the floor] we go to Lake Mälaren in the summer, because you don't like salt water; that's why my boy is named Eskil—because it's your father's name; that's why I wear your colors, read your authors, eat your favorite dishes, drink your drinks—chocolate, for instance; that's why—oh—my God—it's terrible when I think about it; it's terrible. Everything, everything came from you to me, even your passions. Your soul crept into mine like a worm into an apple, ate and ate, bored and bored, until nothing was left but the rind and a little black dust inside. I wanted to get away from you, but I couldn't; you lay there like a snake and charmed me with your black eyes; I felt that when I lifted my wings they only dragged me down; I lay in the water with my feet bound, and the harder I struggled to keep up, the deeper I sank, down and down, until I reached the bottom, where you lay like a giant crab to clutch me in your claws—and there I lie now.

I hate you, hate you, hate you! And you just sit there silent—silent and indifferent; indifferent whether it's a new moon or a waning moon, Christmas or New Year's, whether others are happy or unhappy; without the power to hate or to love; as quiet as a stork by a rat hole—you couldn't scent your prey and capture it, but you could lie in wait for it! You sit here in your corner of the café—did you know it's called "The Rat Trap" because of you?—and read the papers to see if misfortune hasn't befallen someone, to see if someone hasn't been given notice at the theater, perhaps; you sit here and calculate about your next victim and reckon your chances of recompense like a pilot in a shipwreck. Poor Amelie, I pity you nevertheless, because I know you are unhappy—unhappy like someone who has been wounded, and angry because you are wounded. I can't be angry with you, no matter how much I want to be, because you come out the weaker one. Yes, all that with Bob doesn't trouble me. What is that to me, after all? And what difference does it make whether I learned to drink chocolate from you or from someone else? [Sips a spoonful from her cup.]

Besides, chocolate is very healthful. And if you taught me how to dress—tant mieux!—that has only made me more attractive to my husband; so you lost and I won there. Well, judging by certain signs, I believe you have already lost him; and you certainly intended that I should leave him—do as you did with your fiancé and regret as you now regret; but, you see, I don't do that—we mustn't be too exacting. And why should I take only what no one else wants?

Perhaps, take it all in all, I am at this moment the stronger one. You received nothing from me, but you gave me much. And now I seem like a thief, since you have awakened and find I possess what is your loss. How could it be otherwise when everything is worthless and sterile in your hands? You can never keep a man's love with your tulips and your passions—but I can keep it. You can't learn how to live from your authors, as I have learned. You have no little Eskil to cherish, even if your father's name was Eskil. And why are you always silent, silent, silent? I thought that was strength, but perhaps it is because you have nothing to say! Because you never think about anything! [Rises and picks up slippers.]

Now I'm going home—and take the tulips with me—your tulips! You are unable to learn from another; you can't bend—therefore, you broke like a dry stalk. But I won't break! Thank you, Amelie, for all your good lessons. Thanks for teaching my husband how to love. Now I'm going home to love him. [Goes.]
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