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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/4782-h.zip b/4782-h.zip Binary files differnew file mode 100644 index 0000000..492ee19 --- /dev/null +++ b/4782-h.zip diff --git a/4782-h/4782-h.htm b/4782-h/4782-h.htm new file mode 100644 index 0000000..86df762 --- /dev/null +++ b/4782-h/4782-h.htm @@ -0,0 +1,5461 @@ +<?xml version="1.0" encoding="us-ascii"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + When We Dead Awaken, by Henrik Ibsen. + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of When We Dead Awaken, by Henrik Ibsen + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: When We Dead Awaken + +Author: Henrik Ibsen + +Commentator: William Archer + +Translator: William Archer + +Release Date: February 17, 2010 [EBook #4782] +Last Updated: January 26, 2013 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK WHEN WE DEAD AWAKEN *** + + + + +Produced by Sonia K, and David Widger + + + + + + +</pre> + <p> + <br /><br /> + </p> + <h1> + WHEN WE DEAD AWAKEN + </h1> + <p> + <br /><br /> + </p> + <h2> + By Henrik Ibsen. + </h2> + <p> + <br /><br /> + </p> + <h3> + Introduction and translation by William Archer + </h3> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h2> + Contents + </h2> + <table summary="" style="margin-right: auto; margin-left: auto"> + <tr> + <td> + <p class="toc"> + <a href="#link2H_INTR"> INTRODUCTION. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0003"> WHEN WE DEAD AWAKEN. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0004"> ACT FIRST. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0005"> ACT SECOND. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0006"> ACT THIRD. </a> + </p> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_INTR" id="link2H_4_0003"> + <!-- H2 anchor --> </a> + </p> + <h2> + INTRODUCTION. + </h2> + <p> + From <i>Pillars of Society</i> to <i>John Gabriel Borkman</i>, Ibsen's + plays had followed each other at regular intervals of two years, save when + his indignation over the abuse heaped upon <i>Ghosts</i> reduced to a + single year the interval between that play and <i>An Enemy of the People</i>. + <i>John Gabriel Borkman</i> having appeared in 1896, its successor was + expected in 1898; but Christmas came and brought no rumour of a new play. + In a man now over seventy, this breach of a long-established habit seemed + ominous. The new National Theatre in Christiania was opened in September + of the following year; and when I then met Ibsen (for the last time) he + told me that he was actually at work on a new play, which he thought of + calling a "Dramatic Epilogue." "He wrote <i>When We Dead Awaken</i>," says + Dr. Elias, "with such labour and such passionate agitation, so + spasmodically and so feverishly, that those around him were almost + alarmed. He must get on with it, he must get on! He seemed to hear the + beating of dark pinions over his head. He seemed to feel the grim + Visitant, who had accompanied Alfred Allmers on the mountain paths, + already standing behind him with uplifted hand. His relatives are firmly + convinced that he knew quite clearly that this would be his last play, + that he was to write no more. And soon the blow fell." + </p> + <p> + <i>When We Dead Awaken</i> was published very shortly before Christmas + 1899. He had still a year of comparative health before him. We find him in + March 1900, writing to Count Prozor: "I cannot say yet whether or not I + shall write another drama; but if I continue to retain the vigour of body + and mind which I at present enjoy, I do not imagine that I shall be able + to keep permanently away from the old battlefields. However, if I were to + make my appearance again, it would be with new weapons and in new armour." + Was he hinting at the desire, which he had long ago confessed to Professor + Herford, that his last work should be a drama in verse? Whatever his + dream, it was not to be realised. His last letter (defending his attitude + of philosophic impartiality with regard to the South African war) is dated + December 9, 1900. With the dawn of the new century, the curtain descended + upon the mind of the great dramatic poet of the age which had passed away. + </p> + <p> + <i>When We Dead Awaken</i> was acted during 1900 at most of the leading + theatres in Scandinavia and Germany. In some German cities (notably in + Frankfort on Main) it even attained a considerable number of + representatives. I cannot learn, however, that it has anywhere held the + stage. It was produced in London, by the State Society, at the Imperial + Theatre, on January 25 and 26, 1903. Mr. G. S. Titheradge played Rubek, + Miss Henrietta Watson Irene, Miss Mabel Hackney Maia, and Mr. Laurence + Irving Ulfheim. I find no record of any American performance. + </p> + <p> + In the above-mentioned letter to Count Prozor, Ibsen confirmed that + critic's conjecture that "the series which ends with the Epilogue really + began with <i>The Master Builder</i>." As the last confession, so to + speak, of a great artist, the Epilogue will always be read with interest. + It contains, moreover, many flashes of the old genius, many strokes of the + old incommunicable magic. One may say with perfect sincerity that there is + more fascination in the dregs of Ibsen's mind than in the "first sprightly + running" of more common-place talents. But to his sane admirers the + interest of the play must always be melancholy, because it is purely + pathological. To deny this is, in my opinion, to cast a slur over all the + poet's previous work, and in great measure to justify the criticisms of + his most violent detractors. For <i>When We Dead Awaken</i> is very like + the sort of play that haunted the "anti-Ibsenite" imagination in the year + 1893 or thereabouts. It is a piece of self-caricature, a series of echoes + from all the earlier plays, an exaggeration of manner to the pitch of + mannerism. Moreover, in his treatment of his symbolic motives, Ibsen did + exactly what he had hitherto, with perfect justice, plumed himself upon + never doing: he sacrificed the surface reality to the underlying meaning. + Take, for instance, the history of Rubek's statue and its development into + a group. In actual sculpture this development is a grotesque + impossibility. In conceiving it we are deserting the domain of reality, + and plunging into some fourth dimension where the properties of matter are + other than those we know. This is an abandonment of the fundamental + principle which Ibsen over and over again emphatically expressed—namely, + that any symbolism his work might be found to contain was entirely + incidental, and subordinate to the truth and consistency of his picture of + life. Even when he dallied with the supernatural, as in <i>The Master + Builder</i> and <i>Little Eyolf</i>, he was always careful, as I have + tried to show, not to overstep decisively the boundaries of the natural. + Here, on the other hand, without any suggestion of the supernatural, we + are confronted with the wholly impossible, the inconceivable. How remote + is this alike from his principles of art and from the consistent, + unvarying practice of his better years! So great is the chasm between <i>John + Gabriel Borkman</i> and <i>When We Dead Awaken</i> that one could almost + suppose his mental breakdown to have preceded instead of followed the + writing of the latter play. Certainly it is one of the premonitions of the + coming end. It is Ibsen's <i>Count Robert of Paris</i>. To pretend to rank + it with his masterpieces is to show a very imperfect sense of the nature + of their mastery. + </p> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0003" id="link2H_4_0003"> + <!-- H2 anchor --> </a> + </p> + <div class="play"> + <h1> + WHEN WE DEAD AWAKEN. + </h1> + <h3> + A DRAMATIC EPILOGUE. + </h3> + CHARACTERS. +<pre xml:space="preserve"> + PROFESSOR ARNOLD RUBEK, a sculptor. + MRS. MAIA RUBEK, his wife. + THE INSPECTOR at the Baths. + ULFHEIM, a landed proprietor. + A STRANGER LADY. + A SISTER OF MERCY. + + Servants, Visitors to the Baths, and Children. +</pre> + <p> + The First Act passes at a bathing establishment on the coast; the Second + and Third Acts in the neighbourhood of a health resort, high in the + mountains. + </p> + <a name="link2H_4_0004" id="link2H_4_0004"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT FIRST. + </h2> +<pre xml:space="preserve"> + [Outside the Bath Hotel. A portion of the main building can be seen + to the right. + + An open, park-like place with a fountain, groups + of fine old trees, and shrubbery. To the left, a little pavilion + almost covered with ivy and Virginia creeper. A table and chair + outside it. At the back a view over the fjord, right out to sea, + with headlands and small islands in the distance. It is a calm, + warm and sunny summer morning. + + [PROFESSOR RUBEK and MRS. MAIA RUBEK are sitting in basket chairs + beside a covered table on the lawn outside the hotel, having just + breakfasted. They have champagne and seltzer water on the table, + and each has a newspaper. PROFESSOR RUBEK is an elderly man of + distinguished appearance, wearing a black velvet jacket, and + otherwise in light summer attire. MAIA is quite young, with + a vivacious expression and lively, mocking eyes, yet with a + suggestion of fatigue. She wears an elegant travelling dress. +</pre> + MAIA. + <p> + [Sits for some time as though waiting for the PROFESSOR to say + something, then lets her paper drop with a deep sigh.] Oh dear, dear, + dear—! + </p> + PROFESSOR RUBEK. + <p> + [Looks up from his paper.] Well, Maia? What is the matter with you? + </p> + MAIA. + <p> + Just listen how silent it is here. + </p> + PROFESSOR RUBEK. + <p> + [Smiles indulgently.] And you can hear that? + </p> + MAIA. + <p> + What? + </p> + PROFESSOR RUBEK. + <p> + The silence? + </p> + MAIA. + <p> + Yes, indeed I can. + </p> + PROFESSOR RUBEK. + <p> + Well, perhaps you are right, <i>mein Kind</i>. One can really hear the + silence. + </p> + MAIA. + <p> + Heaven knows you can—when it's so absolutely overpowering as it is + here— + </p> + PROFESSOR RUBEK. + <p> + Here at the Baths, you mean? + </p> + MAIA. + <p> + Wherever you go at home here, it seems to me. Of course there was noise + and bustle enough in the town. But I don't know how it is—even the + noise and bustle seemed to have something dead about it. + </p> + PROFESSOR RUBEK. + <p> + [With a searching glance.] You don't seem particularly glad to be at + home again, Maia? + </p> + MAIA. + <p> + [Looks at him.] Are you glad? + </p> + PROFESSOR RUBEK. + <p> + [Evasively.] I—? + </p> + MAIA. + <p> + Yes, you, who have been so much, much further away than I. Are you + entirely happy, now that you are at home again? + </p> + PROFESSOR RUBEK. + <p> + No—to be quite candid—perhaps not entirely happy— + </p> + MAIA. + <p> + [With animation.] There, you see! Didn't I know it! + </p> + PROFESSOR RUBEK. + <p> + I have been too long abroad. I have drifted quite away from all this—this + home life. + </p> + MAIA. + <p> + [Eagerly, drawing her chair nearer him.] There, you see, Rubek! We had + much better get away again! As quickly as ever we can. + </p> + PROFESSOR RUBEK. + <p> + [Somewhat impatiently.] Well, well, that is what we intend to do, my + dear Maia. You know that. + </p> + MAIA. + <p> + But why not now—at once? Only think how cozy and comfortable we + could be down there, in our lovely new house— + </p> + PROFESSOR RUBEK. + <p> + [Smiles indulgently.] We ought by rights to say: our lovely new home. + </p> + MAIA. + <p> + [Shortly.] I prefer to say house—let us keep to that. + </p> + PROFESSOR RUBEK. + <p> + [His eyes dwelling on her.] You are really a strange little person. + </p> + MAIA. + <p> + Am I so strange? + </p> + PROFESSOR RUBEK. + <p> + Yes, I think so. + </p> + MAIA. + <p> + But why, pray? Perhaps because I'm not desperately in love with mooning + about up here—? + </p> + PROFESSOR RUBEK. + <p> + Which of us was it that was absolutely bent on our coming north this + summer? + </p> + MAIA. + <p> + I admit, it was I. + </p> + PROFESSOR RUBEK. + <p> + It was certainly not I, at any rate. + </p> + MAIA. + <p> + But good heavens, who could have dreamt that everything would have + altered so terribly at home here? And in so short a time, too! Why, it + is only just four years since I went away— + </p> + PROFESSOR RUBEK. + <p> + Since you were married, yes. + </p> + MAIA. + <p> + Married? What has that to do with the matter? + </p> + PROFESSOR RUBEK. + <p> + [Continuing.] —since you became the Frau Professor, and found + yourself mistress of a charming home—I beg your pardon—a + very handsome house, I ought to say. And a villa on the Lake of Taunitz, + just at the point that has become most fashionable, too—. In fact + it is all very handsome and distinguished, Maia, there's no denying + that. And spacious too. We need not always be getting in each other's + way— + </p> + MAIA. + <p> + [Lightly.] No, no, no—there's certainly no lack of house-room, and + that sort of thing— + </p> + PROFESSOR RUBEK. + <p> + Remember, too, that you have been living in altogether more spacious and + distinguished surroundings—in more polished society than you were + accustomed to at home. + </p> + MAIA. + <p> + [Looking at him.] Ah, so you think it is <i>I</i> that have changed? + </p> + PROFESSOR RUBEK. + <p> + Indeed I do, Maia. + </p> + MAIA. + <p> + I alone? Not the people here? + </p> + PROFESSOR RUBEK. + <p> + Oh yes, they too—a little, perhaps. And not at all in the + direction of amiability. That I readily admit. + </p> + MAIA. + <p> + I should think you must admit it, indeed. + </p> + PROFESSOR RUBEK. + <p> + [Changing the subject.] Do you know how it affects me when I look at the + life of the people around us here? + </p> + MAIA. + <p> + No. Tell me. + </p> + PROFESSOR RUBEK. + <p> + It makes me think of that night we spent in the train, when we were + coming up here— + </p> + MAIA. + <p> + Why, you were sound asleep all the time. + </p> + PROFESSOR RUBEK. + <p> + Not quite. I noticed how silent it became at all the little roadside + stations. I heard the silence—like you, Maia— + </p> + MAIA. + <p> + H'm,—like me, yes. + </p> + <p> + PROFESSOR RUBEK. —and that assured me that we had crossed the + frontier—that we were really at home. For the train stopped at all + the little stations—although there was nothing doing at all. + </p> + MAIA. + <p> + Then why did it stop—though there was nothing to be done? + </p> + PROFESSOR RUBEK. + <p> + Can't say. No one got out or in; but all the same the train stopped a + long, endless time. And at every station I could make out that there + were two railway men walking up and down the platform—one with a + lantern in his hand—and they said things to each other in the + night, low, and toneless, and meaningless. + </p> + MAIA. + <p> + Yes, that is quite true. There are always two men walking up and down, + and talking— + </p> + <p> + PROFESSOR RUBEK. —of nothing. [Changing to a livelier tone.] But + just wait till to-morrow. Then we shall have the great luxurious steamer + lying in the harbour. We'll go on board her, and sail all round the + coast—northward ho!—right to the polar sea. + </p> + MAIA. + <p> + Yes, but then you will see nothing of the country—and of the + people. And that was what you particularly wanted. + </p> + PROFESSOR RUBEK. + <p> + [Shortly and snappishly.] I have seen more than enough. + </p> + MAIA. + <p> + Do you think a sea voyage will be better for you? + </p> + PROFESSOR RUBEK. + <p> + It is always a change. + </p> + MAIA. + <p> + Well, well, if only it is the right thing for you— + </p> + PROFESSOR RUBEK. + <p> + For me? The right thing? There is nothing in the world the matter with + me. + </p> + MAIA. + <p> + [Rises and goes to him.] Yes, there is, Rubek. I am sure you must feel + it yourself. + </p> + PROFESSOR RUBEK. + <p> + Why my dearest Maia—what should be amiss with me? + </p> + MAIA. + <p> + [Behind him, bending over the back of his chair.] That you must tell me. + You have begun to wander about without a moment's peace. You cannot rest + anywhere—neither at home nor abroad. You have become quite + misanthropic of late. + </p> + PROFESSOR RUBEK. + <p> + [With a touch of sarcasm.] Dear me—have you noticed that? + </p> + MAIA. + <p> + No one that knows you can help noticing it. And then it seems to me so + sad that you have lost all pleasure in your work. + </p> + PROFESSOR RUBEK. + <p> + That too, eh? + </p> + MAIA. + <p> + You that used to be so indefatigable—working from morning to + night! + </p> + PROFESSOR RUBEK. + <p> + [Gloomily.] Used to be, yes— + </p> + MAIA. + <p> + But ever since you got your great masterpiece out of hand— + </p> + PROFESSOR RUBEK. + <p> + [Nods thoughtfully.] "The Resurrection Day"— + </p> + <p> + MAIA. —the masterpiece that has gone round the whole world, and + made you so famous— + </p> + PROFESSOR RUBEK. + <p> + Perhaps that is just the misfortune, Maia. + </p> + MAIA. + <p> + How so? + </p> + PROFESSOR RUBEK. + <p> + When I had finished this masterpiece of mine—[Makes a passionate + movement with his hand]—for "The Resurrection Day" is a + masterpiece! Or was one in the beginning. No, it is one still. It must, + must, must be a masterpiece! + </p> + MAIA. + <p> + [Looks at him in astonishment.] Why, Rubek—all the world knows + that. + </p> + PROFESSOR RUBEK. + <p> + [Short, repellently.] All the world knows nothing! Understands nothing! + </p> + MAIA. + <p> + Well, at any rate it can divine something— + </p> + PROFESSOR RUBEK. + <p> + Something that isn't there at all, yes. Something that never was in my + mind. Ah yes, that they can all go into ecstasies over! [Growling to + himself.] What is the good of working oneself to death for the mob and + the masses—for "all the world"! + </p> + MAIA. + <p> + Do you think it is better, then—do you think it is worthy of you, + to do nothing at all but portrait-bust now and then? + </p> + PROFESSOR RUBEK. + <p> + [With a sly smile.] They are not exactly portrait-busts that I turn out, + Maia. + </p> + MAIA. + <p> + Yes, indeed they are—for the last two or three years—ever + since you finished your great group and got it out of the house— + </p> + PROFESSOR RUBEK. + <p> + All the same, they are no mere portrait-busts, I assure you. + </p> + MAIA. + <p> + What are they, then? + </p> + PROFESSOR RUBEK. + <p> + There is something equivocal, something cryptic, lurking in and behind + these busts—a secret something, that the people themselves cannot + see— + </p> + MAIA. + <p> + Indeed? + </p> + PROFESSOR RUBEK. + <p> + [Decisively.] I alone can see it. And it amuses me unspeakably.—On + the surface I give them the "striking likeness," as they call it, that + they all stand and gape at in astonishment—[Lowers his voice]—but + at bottom they are all respectable, pompous horse-faces, and + self-opinionated donkey-muzzles, and lop-eared, low-browed dog-skulls, + and fatted swine-snouts—and sometimes dull, brutal bull-fronts as + well— + </p> + MAIA. + <p> + [Indifferently.] All the dear domestic animals, in fact. + </p> + PROFESSOR RUBEK. + <p> + Simply the dear domestic animals, Maia. All the animals which men have + bedevilled in their own image—and which have bedevilled men in + return. [Empties his champagne-glass and laughs.] And it is these + double-faced works of art that our excellent plutocrats come and order + of me. And pay for in all good faith—and in good round figures too—almost + their weight in gold, as the saying goes. + </p> + MAIA. + <p> + [Fills his glass.] Come, Rubek! Drink and be happy. + </p> + PROFESSOR RUBEK. + <p> + [Passes his hand several times across his forehead and leans back in his + chair.] I am happy, Maia. Really happy—in a way. [Short silence.] + For after all there is a certain happiness in feeling oneself free and + independent on every hand—in having at ones command everything one + can possibly wish for—all outward things, that is to say. Do you + not agree with me, Maia? + </p> + MAIA. + <p> + Oh yes, I agree. All that is well enough in its way. [Looking at him.] + But do you remember what you promised me the day we came to an + understanding on—on that troublesome point— + </p> + PROFESSOR RUBEK. + <p> + [Nods.] —on the subject of our marriage, yes. It was no easy + matter for you, Maia. + </p> + MAIA. + <p> + [Continuing unruffled.] —and agreed that I was to go abroad with + you, and live there for good and all—and enjoy myself.—Do + you remember what you promised me that day? + </p> + PROFESSOR RUBEK. + <p> + [Shaking his head.] No, I can't say that I do. Well, what did I promise? + </p> + MAIA. + <p> + You said you would take me up to a high mountain and show me all the + glory of the world. + </p> + PROFESSOR RUBEK. + <p> + [With a slight start.] Did I promise you that, too? + </p> + MAIA. + <p> + Me too? Who else, pray? + </p> + PROFESSOR RUBEK. + <p> + [Indifferently.] No, no, I only meant did I promise to show you—? + </p> + <p> + MAIA. —all the glory of the world? Yes, you did. And all that + glory should be mine, you said. + </p> + PROFESSOR RUBEK. + <p> + That is sort of figure of speech that I was in the habit of using once + upon a time. + </p> + MAIA. + <p> + Only a figure of speech? + </p> + PROFESSOR RUBEK. + <p> + Yes, a schoolboy phrase—the sort of thing I used to say when I + wanted to lure the neighbours' children out to play with me, in the + woods and on the mountains. + </p> + MAIA. + <p> + [Looking hard at him.] Perhaps you only wanted to lure me out to play, + as well? + </p> + PROFESSOR RUBEK. + <p> + [Passing it off as a jest.] Well, has it not been a tolerable amusing + game, Maia? + </p> + MAIA. + <p> + [Coldly.] I did not go with you only to play. + </p> + PROFESSOR RUBEK. + <p> + No, no, I daresay not. + </p> + MAIA. + <p> + And you never took me up with you to any high mountain, or showed me— + </p> + PROFESSOR RUBEK. + <p> + [With irritation.] —all the glory of the world? No, I did not. + For, let me tell you something: you are not really born to be a + mountain-climber, little Maia. + </p> + MAIA. + <p> + [Trying to control herself.] Yet at one time you seemed to think I was. + </p> + PROFESSOR RUBEK. + <p> + Four or five years ago, yes. [Stretching himself in his chair.] Four or + five years—it's a long, long time, Maia. + </p> + MAIA. + <p> + [Looking at him with a bitter expression.] Has the time seemed so very + long to you, Rubek? + </p> + PROFESSOR RUBEK. + <p> + I am beginning now to find it a trifle long. [Yawning.] Now and then, + you know. + </p> + MAIA. + <p> + [Returning to her place.] I shall not bore you any longer. + </p> +<pre xml:space="preserve"> + [She resumes her seat, takes up the newspaper, and begins turning + over the leaves. Silence on both sides. +</pre> + PROFESSOR RUBEK. + <p> + [Leaning on his elbows across the table, and looking at her teasingly.] + Is the Frau Professor offended? + </p> + MAIA. + <p> + [Coldly, without looking up.] No, not at all. + </p> +<pre xml:space="preserve"> + [Visitors to the baths, most of them ladies, begin to pass, + singly and in groups, through the park from the right, and + out to the left. + + [Waiters bring refreshments from the hotel, and go off behind + the pavilion. + + [The INSPECTOR, wearing gloves and carrying a stick, comes from + his rounds in the park, meets visitors, bows politely, and + exchanges a few words with some of them. +</pre> + THE INSPECTOR. + <p> + [Advancing to PROFESSOR RUBEK's table and politely taking off his hat.] + I have the honour to wish you good morning, Mrs. Rubek.—Good + morning, Professor Rubek. + </p> + PROFESSOR RUBEK. + <p> + Good morning, good morning Inspector. + </p> + THE INSPECTOR. + <p> + [Addressing himself to MRS. RUBEK.] May I venture to ask if you have + slept well? + </p> + MAIA. + <p> + Yes, thank you; excellently—for my part. I always sleep like a + stone. + </p> + THE INSPECTOR. + <p> + I am delighted to hear it. The first night in a strange place is often + rather trying.—And the Professor—? + </p> + PROFESSOR RUBEK. + <p> + Oh, my night's rest is never much to boast of—especially of late. + </p> + THE INSPECTOR. + <p> + [With a show of sympathy.] Oh—that is a pity. But after a few + weeks' stay at the Baths—you will quite get over that. + </p> + PROFESSOR RUBEK. + <p> + [Looking up at him.] Tell me, Inspector—are any of your patients + in the habit of taking baths during the night? + </p> + THE INSPECTOR. + <p> + [Astonished.] During the night? No, I have never heard of such a thing. + </p> + PROFESSOR RUBEK. + <p> + Have you not? + </p> + THE INSPECTOR. + <p> + No, I don't know of any one so ill as to require such treatment. + </p> + PROFESSOR RUBEK. + <p> + Well, at any rate there is some one who is in the habit of walking about + the park by night? + </p> + THE INSPECTOR. + <p> + [Smiling and shaking his head.] No, Professor—that would be + against the rules. + </p> + MAIA. + <p> + [Impatiently.] Good Heavens, Rubek, I told you so this morning—you + must have dreamt it. + </p> + PROFESSOR RUBEK. + <p> + [Drily.] Indeed? Must I? Thank you! [Turning to the INSPECTOR.] The fact + is, I got up last night—I couldn't sleep—and I wanted to see + what sort of night it was— + </p> + THE INSPECTOR. + <p> + [Attentively.] To be sure—and then—? + </p> + PROFESSOR RUBEK. + <p> + I looked out at the window—and caught sight of a white figure in + there among the trees. + </p> + MAIA. + <p> + [Smiling to the INSPECTOR.] And the Professor declares that the figure + was dressed in a bathing costume— + </p> + <p> + PROFESSOR RUBEK. —or something like it, I said. Couldn't + distinguish very clearly. But I am sure it was something white. + </p> + THE INSPECTOR. + <p> + Most remarkable. Was it a gentleman or a lady? + </p> + PROFESSOR RUBEK. + <p> + I could almost have sworn it was a lady. But then after it came another + figure. And that one was quite dark—like a shadow—. + </p> + THE INSPECTOR. + <p> + [Starting.] A dark one? Quite black, perhaps? + </p> + PROFESSOR RUBEK. + <p> + Yes, I should almost have said so. + </p> + THE INSPECTOR. + <p> + [A light breaking in upon him.] And behind the white figure? Following + close upon her—? + </p> + PROFESSOR RUBEK. + <p> + Yes—at a little distance— + </p> + THE INSPECTOR. + <p> + Aha! Then I think I can explain the mystery, Professor. + </p> + PROFESSOR RUBEK. + <p> + Well, what was it then? + </p> + MAIA. + <p> + [Simultaneously.] Was the professor really not dreaming? + </p> + THE INSPECTOR. + <p> + [Suddenly whispering, as he directs their attention towards the + background on the right.] Hush, if you please! Look there—don't + speak loud for a moment. + </p> +<pre xml:space="preserve"> + [A slender lady, dressed in fine, cream-white cashmere, and + followed by a SISTER OF MERCY in black, with a silver cross + hanging by a chain on her breast, comes forward from behind + the hotel and crosses the park towards the pavilion in front + on the left. Her face is pale, and its lines seem to have + stiffened; the eyelids are drooped and the eyes appear as + though they saw nothing. Her dress comes down to her feet + and clings to the body in perpendicular folds. Over her head, + neck, breast, shoulders and arms she wears a large shawl of + white crape. She keeps her arms crossed upon her breast. + She carries her body immovably, and her steps are stiff and + measured. The SISTER's bearing is also measured, and she has + the air of a servant. She keeps her brown piercing eyes + incessantly fixed upon the lady. WAITERS, with napkins on + their arms, come forward in the hotel doorway, and cast + curious glances at the strangers, who take no notice of + anything, and, without looking round, enter the pavilion. +</pre> + PROFESSOR RUBEK. + <p> + [Has risen slowly and involuntarily, and stands staring at the closed + door of the pavilion.] Who was that lady? + </p> + THE INSPECTOR. + <p> + She is a stranger who has rented the little pavilion there. + </p> + PROFESSOR RUBEK. + <p> + A foreigner? + </p> + THE INSPECTOR. + <p> + Presumably. At any rate they both came from abroad—about a week + ago. They have never been here before. + </p> + PROFESSOR RUBEK. + <p> + [Decidedly; looking at him.] It was she I saw in the park last night. + </p> + THE INSPECTOR. + <p> + No doubt it must have been. I thought so from the first. + </p> + PROFESSOR RUBEK. + <p> + What is this lady's name, Inspector? + </p> + THE INSPECTOR. + <p> + She has registered herself as "Madame de Satow, with companion." We know + nothing more. + </p> + PROFESSOR RUBEK. + <p> + [Reflecting.] Satow? Satow—? + </p> + <p> + MAIA. [Laughing mockingly.] Do you know any one of that name, Rubek? Eh? + </p> + PROFESSOR RUBEK. + <p> + [Shaking his head.] No, no one.—Satow? It sounds Russian—or + in all events Slavonic. [To the INSPECTOR.] What language does she + speak? + </p> + THE INSPECTOR. + <p> + When the two ladies talk to each other, it is in a language I cannot + make out at all. But at other times she speaks Norwegian like a native. + </p> + PROFESSOR RUBEK. + <p> + [Exclaims with a start.] Norwegian? You are sure you are not mistaken? + </p> + THE INSPECTOR. + <p> + No, how could I be mistaken in that? + </p> + PROFESSOR RUBEK. + <p> + [Looks at him with eager interest.] You have heard her yourself? + </p> + THE INSPECTOR. + <p> + Yes. I myself have spoken to her—several times.—Only a few + words, however; she is far from communicative. But— + </p> + PROFESSOR RUBEK. + <p> + But Norwegian it was? + </p> + THE INSPECTOR. + <p> + Thoroughly good Norwegian—perhaps with a little north-country + accent. + </p> + PROFESSOR RUBEK. + <p> + [Gazing straight before him in amazement, whispers.] That too? + </p> + MAIA. + <p> + [A little hurt and jarred.] Perhaps this lady has been one of your + models, Rubek? Search your memory. + </p> + PROFESSOR RUBEK. + <p> + [Looks cuttingly at her.] My models? + </p> + MAIA. + <p> + [With a provoking smile.] In your younger days, I mean. You are said to + have had innumerable models—long ago, of course. + </p> + PROFESSOR RUBEK. + <p> + [In the same tone.] Oh no, little Frau Maia. I have in reality had only + one single model. One and only one—for everything I have done. + </p> + THE INSPECTOR. + <p> + [Who has turned away and stands looking out to the left.] If you'll + excuse me, I think I will take my leave. I see some one coming whom it + is not particularly agreeable to meet. Especially in the presence of + ladies. + </p> + PROFESSOR RUBEK. + <p> + [Looking in the same direction.] That sportsman there? Who is it? + </p> + THE INSPECTOR. + <p> + It is a certain Mr. Ulfheim, from— + </p> + PROFESSOR RUBEK. + <p> + Oh, Mr. Ulfheim— + </p> + <p> + THE INSPECTOR. —the bear-killer, as they call him— + </p> + PROFESSOR RUBEK. + <p> + I know him. + </p> + THE INSPECTOR. + <p> + Who does not know him? + </p> + PROFESSOR RUBEK. + <p> + Very slightly, however. Is he on your list of patients—at last? + </p> + THE INSPECTOR. + <p> + No, strangely enough—not as yet. He comes here only once a year—on + his way up to his hunting-grounds.—Excuse me for the moment— + </p> +<pre xml:space="preserve"> + [Makes a movement to go into the hotel. +</pre> + <p> + ULFHEIM's VOICE. + </p> + <p> + [Heard outside.] Stop a moment, man! Devil take it all, can't you stop? + Why do you always scuttle away from me? + </p> + THE INSPECTOR. + <p> + [Stops.] I am not scuttling at all, Mr. Ulfheim. + </p> +<pre xml:space="preserve"> + [ULFHEIM enters from the left followed by a servant with a + couple of sporting dogs in leash. ULFHEIM is in shooting + costume, with high boots and a felt hat with a feather in + it. He is a long, lank, sinewy personage, with matted hair + and beard, and a loud voice. His appearance gives no precise + clue to his age, but he is no longer young.] +</pre> + ULFHEIM. + <p> + [Pounces upon the INSPECTOR.] Is this a way to receive strangers, hey? + You scamper away with your tail between your legs—as if you had + the devil at your heels. + </p> + THE INSPECTOR. + <p> + [Calmly, without answering him.] Has Mr. Ulfheim arrived by the steamer? + </p> + ULFHEIM. + <p> + [Growls.] Haven't had the honour of seeing any steamer. [With his arms + akimbo.] Don't you know that I sail my own cutter? [To the SERVANT.] + Look well after your fellow-creatures, Lars. But take care you keep them + ravenous, all the same. Fresh meat-bones—but not too much meat on + them, do you hear? And be sure it's reeking raw, and bloody. And get + something in your own belly while you're about it. [Aiming a kick at + him.] Now then, go to hell with you! + </p> +<pre xml:space="preserve"> + [The SERVANT goes out with the dogs, behind the corner of the + hotel.] +</pre> + THE INSPECTOR. + <p> + Would not Mr. Ulfheim like to go into the dining-room in the meantime? + </p> + ULFHEIM. + <p> + In among all the half-dead flies and people? No, thank you a thousand + times, Mr. Inspector. + </p> + THE INSPECTOR. + <p> + Well, well, as you please. + </p> + ULFHEIM. + <p> + But get the housekeeper to prepare a hamper for me as usual. There must + be plenty of provender in it—and lots of brandy—! You can + tell her that I or Lars will come and play Old Harry with her if she + doesn't— + </p> + THE INSPECTOR. + <p> + [Interrupting.] We know your ways of old. [Turning.] Can I give the + waiter any orders, Professor? Can I send Mrs. Rubek anything? + </p> + PROFESSOR RUBEK. + <p> + No thank you; nothing for me. + </p> + MAIA. + <p> + Nor for me. + </p> +<pre xml:space="preserve"> + [The INSPECTOR goes into the hotel. +</pre> + ULFHEIM. + <p> + [Stares at them for a moment; then lifts his hat.] Why, blast me if here + isn't a country tyke that has strayed into regular tip-top society. + </p> + PROFESSOR RUBEK. + <p> + [Looking up.] What do you mean by that, Mr. Ulfheim? + </p> + ULFHEIM. + <p> + [More quietly and politely.] I believe I have the honour of addressing + no less a person than the great Sculptor Rubek. + </p> + PROFESSOR RUBEK. + <p> + [Nods.] I remember meeting you once or twice—the autumn when I was + last at home. + </p> + ULFHEIM. + <p> + That's many years ago, now. And then you weren't so illustrious as I + hear you've since become. At that time even a dirty bear-hunter might + venture to come near you. + </p> + PROFESSOR RUBEK. + <p> + [Smiling.] I don't bite even now. + </p> + MAIA. + <p> + [Looks with interest at ULFHEIM.] Are you really and truly a + bear-hunter? + </p> + ULFHEIM. + <p> + [Seating himself at the next table, nearer the hotel.] A bear-hunter + when I have the chance, madam. But I make the best of any sort of game + that comes in my way—eagles, and wolves, and women, and elks, and + reindeer—if only it's fresh and juicy and has plenty of blood in + it. + </p> +<pre xml:space="preserve"> + [Drinks from his pocket-flask. +</pre> + MAIA. + <p> + [Regarding him fixedly.] But you like bear-hunting best? + </p> + ULFHEIM. + <p> + I like it best, yes. For then one can have the knife handy at a pinch. + [With a slight smile.] We both work in a hard material, madam—both + your husband and I. He struggles with his marble blocks, I daresay; and + I struggle with tense and quivering bear-sinews. And we both of us win + the fight in the end—subdue and master our material. We never rest + till we've got the upper hand of it, though it fight never so hard. + </p> + PROFESSOR RUBEK. + <p> + [Deep in thought.] There's a great deal of truth in what you say. + </p> + ULFHEIM. + <p> + Yes, for I take it the stone has something to fight for too. It is dead, + and determined by no manner of means to let itself be hammered into + life. Just like the bear when you come and prod him up in his lair. + </p> + MAIA. + <p> + Are you going up into the forests now to hunt? + </p> + ULFHEIM. + <p> + I am going right up into the high mountain.—I suppose you have + never been in the high mountain, madam? + </p> + MAIA. + <p> + No, never. + </p> + ULFHEIM. + <p> + Confound it all then, you must be sure and come up there this very + summer! I'll take you with me—both you and the Professor, with + pleasure. + </p> + MAIA. + <p> + Thanks. But Rubek is thinking of taking a sea trip this summer. + </p> + PROFESSOR RUBEK. + <p> + Round the coast—through the island channels. + </p> + ULFHEIM. + <p> + Ugh—what the devil would you do in those damnable sickly gutters—floundering + about in the brackish ditchwater? Dishwater I should rather call it. + </p> + MAIA. + <p> + There, you hear, Rubek! + </p> + ULFHEIM. + <p> + No, much better come up with me to the mountain—away, clean away, + from the trail and taint of men. You cant' think what that means for me. + But such a little lady— + </p> +<pre xml:space="preserve"> + [He stops. + + [The SISTER OF MERCY comes out of the pavilion and goes into + the hotel. +</pre> + ULFHEIM. + <p> + [Following her with his eyes.] Just look at her, do! That night-crow + there!—Who is it that's to be buried? + </p> + PROFESSOR RUBEK. + <p> + I have not heard of any one— + </p> + ULFHEIM. + <p> + Well, there's some one on the point of giving up the ghost, then—in + on corner or another.—People that are sickly and rickety should + have the goodness to see about getting themselves buried—the + sooner the better. + </p> + MAIA. + <p> + Have you ever been ill yourself, Mr. Ulfheim. + </p> + ULFHEIM. + <p> + Never. If I had, I shouldn't be here.—But my nearest friends—they + have been ill, poor things. + </p> + MAIA. + <p> + And what did you do for your nearest friends? + </p> + ULFHEIM. + <p> + Shot them, of course. + </p> + PROFESSOR RUBEK. + <p> + [Looking at him.] Shot them? + </p> + MAIA. + <p> + [Moving her chair back.] Shot them dead? + </p> + ULFHEIM. + <p> + [Nods.] I never miss, madam. + </p> + MAIA. + <p> + But how can you possibly shoot people! + </p> + ULFHEIM. + <p> + I am not speaking of people— + </p> + MAIA. + <p> + You said your nearest friends— + </p> + ULFHEIM. + <p> + Well, who should they be but my dogs? + </p> + MAIA. + <p> + Are your dogs your nearest friends? + </p> + ULFHEIM. + <p> + I have none nearer. My honest, trusty, absolutely loyal comrades—. + When one of them turns sick and miserable—bang!—and there's + my friend sent packing—to the other world. + </p> +<pre xml:space="preserve"> + [The SISTER OF MERCY comes out of the hotel with a tray on which + is bread and milk. She places it on the table outside the + pavilion, which she enters. +</pre> + ULFHEIM. + <p> + [Laughs scornfully.] That stuff there—is that what you call food + for human beings! Milk and water and soft, clammy bread. Ah, you should + see my comrades feeding. Should you like to see it? + </p> + MAIA. + <p> + [Smiling across to the PROFESSOR and rising.] Yes, very much. + </p> + ULFHEIM. + <p> + [Also rising.] Spoken like a woman of spirit, madam! Come with me, then! + They swallow whole great thumping meat-bones—gulp them up and then + gulp them down again. Oh, it's a regular treat to see them. Come along + and I'll show you—and while we're about it, we can talk over this + trip to the mountains— + </p> +<pre xml:space="preserve"> + [He goes out by the corner of the hotel, MAIA following him. + + [Almost at the same moment the STRANGE LADY comes out of the + pavilion and seats herself at the table. + + [The LADY raises her glass of milk and is about to drink, but + stops and looks across at RUBEK with vacant, expressionless + eyes. +</pre> + PROFESSOR RUBEK. + <p> + [Remains sitting at his table and gazes fixedly and earnestly at her. At + last he rises, goes some steps towards her, stops, and says in a low + voice.] I know you quite well, Irene. + </p> + THE LADY. + <p> + [In a toneless voice, setting down her glass.] You can guess who I am, + Arnold? + </p> + PROFESSOR RUBEK. + <p> + [Without answering.] And you recognise me, too, I see. + </p> + THE LADY. + <p> + With you it is quite another matter. + </p> + PROFESSOR RUBEK. + <p> + With me?—How so? + </p> + THE LADY. + <p> + Oh, you are still alive. + </p> + PROFESSOR RUBEK. + <p> + [Not understanding.] Alive—? + </p> + THE LADY. + <p> + [After a short pause.] Who was the other? The woman you had with you—there + at the table? + </p> + PROFESSOR RUBEK. + <p> + [A little reluctantly.] She? That was my—my wife. + </p> + THE LADY. + <p> + [Nods slowly.] Indeed. That is well, Arnold. Some one, then, who does + not concern me— + </p> + PROFESSOR RUBEK. + <p> + [Nods.] No, of course not— + </p> + <p> + THE LADY. —one whom you have taken to you after my lifetime. + </p> + PROFESSOR RUBEK. + <p> + [Suddenly looking hard at her.] After your—? What do you mean by + that, Irene? + </p> + IRENE. + <p> + [Without answering.] And the child? I hear the child is prospering too. + Our child survives me—and has come to honour and glory. + </p> + PROFESSOR RUBEK. + <p> + [Smiles as at a far-off recollection.] Our child? Yes, we called it so—then. + </p> + IRENE. + <p> + In my lifetime, yes. + </p> + PROFESSOR RUBEK. + <p> + [Trying to take a lighter tone.] Yes, Irene.—I can assure you "our + child" has become famous all the wide world over. I suppose you have + read about it. + </p> + IRENE. + <p> + [Nods.] And has made its father famous too.—That was your dream. + </p> + PROFESSOR RUBEK. + <p> + [More softly, with emotion.] It is to you I owe everything, everything, + Irene—and I thank you. + </p> + IRENE. + <p> + [Lost in thought for a moment.] If I had then done what I had a right to + do, Arnold— + </p> + PROFESSOR RUBEK. + <p> + Well? What then? + </p> + IRENE. + <p> + I should have killed that child. + </p> + PROFESSOR RUBEK. + <p> + Killed it, you say? + </p> + IRENE. + <p> + [Whispering.] Killed it—before I went away from you. Crushed it—crushed + it to dust. + </p> + PROFESSOR RUBEK. + <p> + [Shakes his head reproachfully.] You would never have been able to, + Irene. You had not the heart to do it. + </p> + IRENE. + <p> + No, in those days I had not that sort of heart. + </p> + PROFESSOR RUBEK. + <p> + But since then? Afterwards? + </p> + IRENE. + <p> + Since then I have killed it innumerable times. By daylight and in the + dark. Killed it in hatred—and in revenge—and in anguish. + </p> + PROFESSOR RUBEK. + <p> + [Goes close up to the table and asks softly.] Irene—tell me now at + last—after all these years—why did you go away from me? You + disappeared so utterly—left not a trace behind— + </p> + IRENE. + <p> + [Shaking her head slowly.] Oh Arnold—why should I tell you that + now—from the world beyond the grave. + </p> + PROFESSOR RUBEK. + <p> + Was there some one else whom you had come to love? + </p> + IRENE. + <p> + There was one who had no longer any use for my love—any use for my + life. + </p> + PROFESSOR RUBEK. + <p> + [Changing the subject.] H'm—don't let us talk any more of the past— + </p> + IRENE. + <p> + No, no—by all means let us not talk of what is beyond the grave—what + is now beyond the grave for me. + </p> + PROFESSOR RUBEK. + <p> + Where have you been, Irene? All my inquiries were fruitless—you + seemed to have vanished away. + </p> + IRENE. + <p> + I went into the darkness—when the child stood transfigured in the + light. + </p> + PROFESSOR RUBEK. + <p> + Have you travelled much about the world? + </p> + IRENE. + <p> + Yes. Travelled in many lands. + </p> + PROFESSOR RUBEK. + <p> + [Looks compassionately at her.] And what have you found to do, Irene? + </p> + IRENE. + <p> + [Turning her eyes upon him.] Wait a moment; let me see—. Yes, now + I have it. I have posed on the turntable in variety-shows. Posed as a + naked statue in living pictures. Raked in heaps of money. That was more + than I could do with you; for you had none.—And then I turned the + heads of all sorts of men. That too, was more than I could do with you, + Arnold. You kept yourself better in hand. + </p> + PROFESSOR RUBEK. + <p> + [Hastening to pass the subject by.] And then you have married, too? + </p> + IRENE. + <p> + Yes; I married one of them. + </p> + PROFESSOR RUBEK. + <p> + Who is your husband? + </p> + IRENE. + <p> + He was a South American. A distinguished diplomatist. [Looks straight in + front of her with a stony smile.] Him I managed to drive quite out of + his mind; mad—incurably mad; inexorably mad.—It was great + sport, I can tell you—while it was in the doing. I could have + laughed within me all the time—if I had anything within me. + </p> + PROFESSOR RUBEK. + <p> + And where is he now? + </p> + IRENE. + <p> + Oh, in a churchyard somewhere or other. With a fine handsome monument + over him. And with a bullet rattling in his skull. + </p> + PROFESSOR RUBEK. + <p> + Did he kill himself? + </p> + IRENE. + <p> + Yes, he was good enough to take that off my hands. + </p> + PROFESSOR RUBEK. + <p> + Do you not lament his loss, Irene? + </p> + IRENE. + <p> + [Not understanding.] Lament? What loss? + </p> + PROFESSOR RUBEK. + <p> + Why, the loss of Herr von Satow, of course. + </p> + IRENE. + <p> + His name was not Satow. + </p> + PROFESSOR RUBEK. + <p> + Was it not? + </p> + IRENE. + <p> + My second husband is called Satow. He is a Russian— + </p> + PROFESSOR RUBEK. + <p> + And where is he? + </p> + IRENE. + <p> + Far away in the Ural Mountains. Among all his gold-mines. + </p> + PROFESSOR RUBEK. + <p> + So he lives there? + </p> + IRENE. + <p> + [Shrugs her shoulders.] Lives? Lives? In reality I have killed him— + </p> + PROFESSOR RUBEK. + <p> + [Start.] Killed—! + </p> + IRENE. + <p> + Killed him with a fine sharp dagger which I always have with me in bed— + </p> + PROFESSOR RUBEK. + <p> + [Vehemently.] I don't believe you, Irene! + </p> + IRENE. + <p> + [With a gentle smile.] Indeed you may believe it, Arnold. + </p> + PROFESSOR RUBEK. + <p> + [Looks compassionately at her.] Have you never had a child? + </p> + IRENE. + <p> + Yes, I have had many children. + </p> + PROFESSOR RUBEK. + <p> + And where are your children now? + </p> + IRENE. + <p> + I killed them. + </p> + PROFESSOR RUBEK. + <p> + [Severely.] Now you are telling me lies again! + </p> + IRENE. + <p> + I have killed them, I tell you—murdered them pitilessly. As soon + as ever they came into the world. Oh, long, long before. One after the + other. + </p> + PROFESSOR RUBEK. + <p> + [Sadly and earnestly.] There is something hidden behind everything you + say. + </p> + IRENE. + <p> + How can I help that? Every word I say is whispered into my ear. + </p> + PROFESSOR RUBEK. + <p> + I believe I am the only one that can divine your meaning. + </p> + IRENE. + <p> + Surely you ought to be the only one. + </p> + PROFESSOR RUBEK. + <p> + [Rests his hands on the table and looks intently at her.] Some of the + strings of your nature have broken. + </p> + IRENE. + <p> + [Gently.] Does not that always happen when a young warm-blooded woman + dies? + </p> + PROFESSOR RUBEK. + <p> + Oh Irene, have done with these wild imaginings—! You are living! + Living—living! + </p> + IRENE. + <p> + [Rises slowly from her chair and says, quivering.] I was dead for many + years. They came and bound me—laced my arms together behind my + back—. Then they lowered me into a grave-vault, with iron bars + before the loop-hole. And with padded walls—so that no one on the + earth above could hear the grave-shrieks—. But now I am beginning, + in a way, to rise from the dead. + </p> +<pre xml:space="preserve"> + [She seats herself again.] +</pre> + PROFESSOR RUBEK. + <p> + [After a pause.] In all this, do you hold me guilty? + </p> + IRENE. + <p> + Yes. + </p> + PROFESSOR RUBEK. + <p> + Guilty of that—your death, as you call it. + </p> + IRENE. + <p> + Guilty of the fact that I had to die. [Changing her tone to one of + indifference.] Why don't you sit down, Arnold? + </p> + PROFESSOR RUBEK. + <p> + May I? + </p> + IRENE. + <p> + Yes.—You need not be afraid of being frozen. I don't think I am + quite turned to ice yet. + </p> + PROFESSOR RUBEK. + <p> + [Moves a chair and seats himself at her table.] There, Irene. Now we two + are sitting together as in the old days. + </p> + IRENE. + <p> + A little way apart from each other—also as in the old days. + </p> + PROFESSOR RUBEK. + <p> + [Moving nearer.] It had to be so, then. + </p> + IRENE. + <p> + Had it? + </p> + PROFESSOR RUBEK. + <p> + [Decisively.] There had to be a distance between us— + </p> + IRENE. + <p> + Was it absolutely necessary, Arnold? + </p> + PROFESSOR RUBEK. + <p> + [Continuing.] Do you remember what you answered when I asked if you + would go with me out into the wide world? + </p> + IRENE. + <p> + I held up three fingers in the air and swore that I would go with you to + the world's end and to the end of life. And that I would serve you in + all things— + </p> + PROFESSOR RUBEK. + <p> + As the model for my art— + </p> + <p> + IRENE. —in frank, utter nakedness— + </p> + PROFESSOR RUBEK. + <p> + [With emotion.] And you did serve me, Irene—so bravely—so + gladly and ungrudgingly. + </p> + IRENE. + <p> + Yes, with all the pulsing blood of my youth, I served you! + </p> + PROFESSOR RUBEK. + <p> + [Nodding, with a look of gratitude.] That you have every right to say. + </p> + IRENE. + <p> + I fell down at your feet and served you, Arnold! [Holding her clenched + hand towards him.] But you, you,—you—! + </p> + PROFESSOR RUBEK. + <p> + [Defensively.] I never did you any wrong! Never, Irene! + </p> + IRENE. + <p> + Yes, you did! You did wrong to my innermost, inborn nature— + </p> + PROFESSOR RUBEK. + <p> + [Starting back.] I—! + </p> + IRENE. + <p> + Yes, you! I exposed myself wholly and unreservedly to your gaze—[More + softly.] And never once did you touch me. + </p> + PROFESSOR RUBEK. + <p> + Irene, did you not understand that many a time I was almost beside + myself under the spell of all your loveliness? + </p> + IRENE. + <p> + [Continuing undisturbed.] And yet—if you had touched me, I think I + should have killed you on the spot. For I had a sharp needle always upon + me—hidden in my hair— [Strokes her forehead meditatively.] + But after all—after all—that you could— + </p> + PROFESSOR RUBEK. + <p> + [Looks impressively at her.] I was an artist, Irene. + </p> + IRENE. + <p> + [Darkly.] That is just it. That is just it. + </p> + PROFESSOR RUBEK. + <p> + An artist first of all. And I was sick with the desire to achieve the + great work of my life. [Losing himself in recollection.] It was to be + called "The Resurrection Day"—figured in the likeness of a young + woman, awakening from the sleep of death— + </p> + IRENE. + <p> + Our child, yes— + </p> + PROFESSOR RUBEK. + <p> + [Continuing.] It was to be the awakening of the noblest, purest, most + ideal woman the world ever saw. Then I found you. You were what I + required in every respect. And you consented so willingly—so + gladly. You renounced home and kindred—and went with me. + </p> + IRENE. + <p> + To go with you meant for me the resurrection of my childhood. + </p> + PROFESSOR RUBEK. + <p> + That was just why I found in you all that I required—in you and in + no one else. I came to look on you as a thing hallowed, not to be + touched save in adoring thoughts. In those days I was still young, + Irene. And the superstition took hold of me that if I touched you, if I + desired you with my senses, my soul would be profaned, so that I should + be unable to accomplish what I was striving for.—And I still think + there was some truth in that. + </p> + IRENE. + <p> + [Nods with a touch of scorn.] The work of art first—then the human + being. + </p> + PROFESSOR RUBEK. + <p> + You must judge me as you will; but at that time I was utterly dominated + by my great task—and exultantly happy in it. + </p> + IRENE. + <p> + And you achieved your great task, Arnold. + </p> + PROFESSOR RUBEK. + <p> + Thanks and praise be to you, I achieved my great task. I wanted to + embody the pure woman as I saw her awakening on the Resurrection Day. + Not marvelling at anything new and unknown and undivined; but filled + with a sacred joy at finding herself unchanged—she, the woman of + earth—in the higher, freer, happier region—after the long, + dreamless sleep of death. [More softly.] Thus did I fashion her.—I + fashioned her in your image, Irene. + </p> + IRENE. + <p> + [Laying her hands flat upon the table and leaning against the back of + her chair.] And then you were done with me— + </p> + PROFESSOR RUBEK. + <p> + [Reproachfully.] Irene! + </p> + IRENE. + <p> + You had no longer any use for me— + </p> + PROFESSOR RUBEK. + <p> + How can you say that! + </p> + <p> + IRENE. —and began to look about you for other ideals— + </p> + PROFESSOR RUBEK. + <p> + I found none, none after you. + </p> + IRENE. + <p> + And no other models, Arnold? + </p> + PROFESSOR RUBEK. + <p> + You were no model to me. You were the fountainhead of my achievement. + </p> + IRENE. + <p> + [Is silent for a short time.] What poems have you made since? In marble + I mean. Since the day I left you. + </p> + PROFESSOR RUBEK. + <p> + I have made no poems since that day—only frittered away my life in + modelling. + </p> + IRENE. + <p> + And that woman, whom you are now living with—? + </p> + PROFESSOR RUBEK. + <p> + [Interrupting vehemently.] Do not speak of her now! It makes me tingle + with shame. + </p> + IRENE. + <p> + Where are you thinking of going with her? + </p> + PROFESSOR RUBEK. + <p> + [Slack and weary.] Oh, on a tedious coasting-voyage to the North, I + suppose. + </p> + IRENE. + <p> + [Looks at him, smiles almost imperceptibly, and whispers.] You should + rather go high up into the mountains. As high as ever you can. Higher, + higher,—always higher, Arnold. + </p> + PROFESSOR RUBEK. + <p> + [With eager expectation.] Are you going up there? + </p> + IRENE. + <p> + Have you the courage to meet me once again? + </p> + PROFESSOR RUBEK. + <p> + [Struggling with himself, uncertainly.] If we could—oh, if only we + could—! + </p> + IRENE. + <p> + Why can we not do what we will? [Looks at him and whispers beseechingly + with folded hands.] Come, come, Arnold! Oh, come up to me—! + </p> +<pre xml:space="preserve"> + [MAIA enters, glowing with pleasure, from behind the hotel, + and goes quickly up to the table where they were previously + sitting.] +</pre> + MAIA. + <p> + [Still at the corner of the hotel, without looking around.] Oh, you may + say what you please, Rubek, but—[Stops, as she catches sight of + IRENE]—Oh, I beg your pardon—I see you have made an + acquaintance. + </p> + PROFESSOR RUBEK. + <p> + [Curtly.] Renewed an acquaintance. [Rises.] What was it you wanted with + me? + </p> + MAIA. + <p> + I only wanted to say this: you may do whatever you please, but <i>I</i> + am not going with you on that disgusting steamboat. + </p> + PROFESSOR RUBEK. + <p> + Why not? + </p> + MAIA. + <p> + Because I want to go up on the mountains and into the forests—that's + what I want. [Coaxingly.] Oh, you must let me do it, Rubek.—I + shall be so good, so good afterwards! + </p> + PROFESSOR RUBEK. + <p> + Who is it that has put these ideas into your head? + </p> + MAIA. + <p> + Why he—that horrid bear-killer. Oh you cannot conceive all the + marvelous things he has to tell about the mountains. And about life up + there! They're ugly, horrid, repulsive, most of the yarns he spins—for + I almost believe he's lying—but wonderfully alluring all the same. + Oh, won't you let me go with him? Only to see if what he says is true, + you understand. May I, Rubek? + </p> + PROFESSOR RUBEK. + <p> + Yes, I have not the slightest objection. Off you go to the mountains—as + far and as long as you please. I shall perhaps be going the same way + myself. + </p> + MAIA. + <p> + [Quickly.] No, no, no, you needn't do that! Not on my account! + </p> + PROFESSOR RUBEK. + <p> + I want to go to the mountains. I have made up my mind to go. + </p> + MAIA. + <p> + Oh thanks, thanks! May I tell the bear-killer at once? + </p> + PROFESSOR RUBEK. + <p> + Tell the bear-killer whatever you please. + </p> + MAIA. + <p> + Oh thanks, thanks, thanks! [Is about to take his hand; he repels the + movement.] Oh, how dear and good you are to-day, Rubek! + </p> +<pre xml:space="preserve"> + [She runs into the hotel. + + [At the same time the door of the pavilion is softly and + noiselessly set ajar. The SISTER OF MERCY stands in the + opening, intently on the watch. No one sees her. +</pre> + PROFESSOR RUBEK. + <p> + [Decidedly, turning to IRENE.] Shall we meet up there then? + </p> + IRENE. + <p> + [Rising slowly.] Yes, we shall certainly meet.—I have sought for + you so long. + </p> + PROFESSOR RUBEK. + <p> + When did you begin to seek for me, Irene? + </p> + IRENE. + <p> + [With a touch of jesting bitterness.] From the moment I realised that I + had given away to you something rather indispensable, Arnold. Something + one ought never to part with. + </p> + PROFESSOR RUBEK. + <p> + [Bowing his head.] Yes, that is bitterly true. You gave me three or four + years of your youth. + </p> + IRENE. + <p> + More, more than that I gave you—spend-thrift as I then was. + </p> + PROFESSOR RUBEK. + <p> + Yes, you were prodigal, Irene. You gave me all your naked loveliness— + </p> + <p> + IRENE. —to gaze upon— + </p> + <p> + PROFESSOR RUBEK. —and to glorify— + </p> + IRENE. + <p> + Yes, for your own glorification.—And the child's. + </p> + PROFESSOR RUBEK. + <p> + And yours too, Irene. + </p> + IRENE. + <p> + But you have forgotten the most precious gift. + </p> + PROFESSOR RUBEK. + <p> + The most precious—? What gift was that? + </p> + IRENE. + <p> + I gave you my young, living soul. And that gift left me empty within—soulless. + [Looking at him with a fixed stare.] It was that I died of, Arnold. + </p> +<pre xml:space="preserve"> + [The SISTER OF MERCY opens the door wide and makes room for her. + She goes into the pavilion. +</pre> + PROFESSOR RUBEK. + <p> + [Stands and looks after her; then whispers.] Irene! + </p> + <a name="link2H_4_0005" id="link2H_4_0005"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT SECOND. + </h2> +<pre xml:space="preserve"> +[Near a mountain resort. The landscape stretches, in the form of + an immense treeless upland, towards a long mountain lake. Beyond + the lake rises a range of peaks with blue-white snow in the clefts. + In the foreground on the left a purling brook falls in severed + streamlets down a steep wall of rock, and thence flows smoothly + over the upland until it disappears to the right. Dwarf trees, + plants, and stones along the course of the brook. In the + foreground on the right a hillock, with a stone bench on the + top of it. It is a summer afternoon, towards sunset. +</pre> +<pre xml:space="preserve"> +[At some distance over the upland, on the other side of the brook, + a troop of children is singing, dancing, and playing. Some are + dressed in peasant costume, others in town-made clothes. Their + happy laughter is heard, softened by distance, during the + following. +</pre> +<pre xml:space="preserve"> +[PROFESSOR RUBEK is sitting on the bench, with a plaid over his + shoulders, and looking down at the children's play. +</pre> +<pre xml:space="preserve"> +[Presently, MAIA comes forward from among some bushes on the upland + to the left, well back, and scans the prospect with her hand + shading her eyes. She wears a flat tourist cap, a short skirt, + kilted up, reaching only midway between ankle and knee, and high, + stout lace-boots. She has in her hand a long alpenstock. +</pre> + MAIA. + <p> + [At last catches sight of RUBEK and calls.] Hallo! + </p> +<pre xml:space="preserve"> + [She advances over the upland, jumps over the brook, with the + aid of her alpenstock, and climbs up the hillock. +</pre> + MAIA. + <p> + [Panting.] Oh, how I have been rushing around looking for you, Rubek. + </p> + PROFESSOR RUBEK. + <p> + [Nods indifferently and asks.] Have you just come from the hotel? + </p> + MAIA. + <p> + Yes, that was the last place I tried—that fly-trap. + </p> + PROFESSOR RUBEK. + <p> + [Looking at her for moment.] I noticed that you were not at the + dinner-table. + </p> + MAIA. + <p> + No, we had our dinner in the open air, we two. + </p> + PROFESSOR RUBEK. + <p> + "We two"? What two? + </p> + MAIA. + <p> + Why, I and that horrid bear-killer, of course. + </p> + PROFESSOR RUBEK. + <p> + Oh, he. + </p> + MAIA. + <p> + Yes. And first thing to-morrow morning we are going off again. + </p> + PROFESSOR RUBEK. + <p> + After bears? + </p> + MAIA. + <p> + Yes. Off to kill a brown-boy. + </p> + PROFESSOR RUBEK. + <p> + Have you found the tracks of any? + </p> + MAIA. + <p> + [With superiority.] You don't suppose that bears are to be found in the + naked mountains, do you? + </p> + PROFESSOR RUBEK. + <p> + Where, then? + </p> + MAIA. + <p> + Far beneath. On the lower slopes; in the thickest parts of the forest. + Places your ordinary town-folk could never get through— + </p> + PROFESSOR RUBEK. + <p> + And you two are going down there to-morrow? + </p> + MAIA. + <p> + [Throwing herself down among the heather.] Yes, so we have arranged.—Or + perhaps we may start this evening.—If you have no objection, + that's to say? + </p> + PROFESSOR RUBEK. + <p> + I? Far be it from me to— + </p> + MAIA. + <p> + [Quickly.] Of course Lars goes with us—with the dogs. + </p> + PROFESSOR RUBEK. + <p> + I feel no curiosity as to the movements of Mr. Lars and his dogs. + [Changing the subject.] Would you not rather sit properly on the seat? + </p> + MAIA. + <p> + [Drowsily.] No, thank you. I'm lying so delightfully in the soft + heather. + </p> + PROFESSOR RUBEK. + <p> + I can see that you are tired. + </p> + MAIA. + <p> + [Yawning.] I almost think I'm beginning to feel tired. + </p> + PROFESSOR RUBEK. + <p> + You don't notice it till afterwards—when the excitement is over— + </p> + MAIA. + <p> + [In a drowsy tone.] Just so. I will lie and close my eyes. + </p> +<pre xml:space="preserve"> + [A short pause. +</pre> + MAIA. + <p> + [With sudden impatience.] Ugh, Rubek—how can you endure to sit + there listening to these children's screams! And to watch all the capers + they are cutting, too! + </p> + PROFESSOR RUBEK. + <p> + There is something harmonious—almost like music—in their + movements, now and then; amid all the clumsiness. And it amuses me to + sit and watch for these isolated moments—when they come. + </p> + MAIA. + <p> + [With a somewhat scornful laugh.] Yes, you are always, always an artist. + </p> + PROFESSOR RUBEK. + <p> + And I propose to remain one. + </p> + MAIA. + <p> + [Lying on her side, so that her back is turned to him.] There's not a + bit of the artist about him. + </p> + PROFESSOR RUBEK. + <p> + [With attention.] Who is it that's not an artist? + </p> + MAIA. + <p> + [Again in a sleepy tone.] Why, he—the other one, of course. + </p> + PROFESSOR RUBEK. + <p> + The bear-hunter, you mean? + </p> + MAIA. + <p> + Yes. There's not a bit of the artist about him—not the least + little bit. + </p> + PROFESSOR RUBEK. + <p> + [Smiling.] No, I believe there's no doubt about that. + </p> + MAIA. + <p> + [Vehemently, without moving.] And so ugly as he is! [Plucks up a tuft of + heather and throws it away.] So ugly, so ugly! Isch! + </p> + PROFESSOR RUBEK. + <p> + Is that why you are so ready to set off with him—out into the + wilds? + </p> + MAIA. + <p> + [Curtly.] I don't know. [Turning towards him.] You are ugly, too, Rubek. + </p> + PROFESSOR RUBEK. + <p> + Have you only just discovered it? + </p> + MAIA. + <p> + No, I have seen it for long. + </p> + PROFESSOR RUBEK. + <p> + [Shrugging his shoulders.] One doesn't grow younger. One doesn't grow + younger, Frau Maia. + </p> + MAIA. + <p> + It's not that sort of ugliness that I mean at all. But there has come to + be such an expression of fatigue, of utter weariness, in your eyes—when + you deign, once in a while, to cast a glance at me. + </p> + PROFESSOR RUBEK. + <p> + Have you noticed that? + </p> + MAIA. + <p> + [Nods.] Little by little this evil look has come into your eyes. It + seems almost as though you were nursing some dark plot against me. + </p> + PROFESSOR RUBEK. + <p> + Indeed? [In a friendly but earnest tone.] Come here and sit beside me, + Maia; and let us talk a little. + </p> + MAIA. + <p> + [Half rising.] Then will you let me sit upon your knee? As I used to in + the early days? + </p> + PROFESSOR RUBEK. + <p> + No, you mustn't—people can see us from the hotel. [Moves a + little.] But you can sit here on the bench—at my side. + </p> + MAIA. + <p> + No, thank you; in that case I'd rather lie here, where I am. I can hear + you quite well here. [Looks inquiringly at him.] Well, what is it you + want to say to me? + </p> + PROFESSOR RUBEK. + <p> + [Begins slowly.] What do you think was my real reason for agreeing to + make this tour? + </p> + MAIA. + <p> + Well—I remember you declared, among other things, that it was + going to do me such a tremendous lot of good. But—but— + </p> + PROFESSOR RUBEK. + <p> + But—? + </p> + MAIA. + <p> + But now I don't believe the least little bit that that was the reason— + </p> + PROFESSOR RUBEK. + <p> + Then what is your theory about it now? + </p> + MAIA. + <p> + I think now that it was on account of that pale lady. + </p> + PROFESSOR RUBEK. + <p> + Madame von Satow—! + </p> + MAIA. + <p> + Yes, she who is always hanging at our heels. Yesterday evening she made + her appearance up here too. + </p> + PROFESSOR RUBEK. + <p> + But what in all the world—! + </p> + MAIA. + <p> + Oh, I know you knew her very well indeed—long before you knew me. + </p> + PROFESSOR RUBEK. + <p> + And had forgotten her, too—long before I knew you. + </p> + MAIA. + <p> + [Sitting upright.] Can you forget so easily, Rubek? + </p> + PROFESSOR RUBEK. + <p> + [Curtly.] Yes, very easily indeed. [Adds harshly.] When I want to + forget. + </p> + MAIA. + <p> + Even a woman who has been a model to you? + </p> + PROFESSOR RUBEK. + <p> + When I have no more use for her— + </p> + MAIA. + <p> + One who has stood to you undressed? + </p> + PROFESSOR RUBEK. + <p> + That means nothing—nothing for us artists. [With a change of + tone.] And then—may I venture to ask—how was I to guess that + she was in this country? + </p> + MAIA. + <p> + Oh, you might have seen her name in a Visitor's List—in one of the + newspapers. + </p> + PROFESSOR RUBEK. + <p> + But I had no idea of the name she now goes by. I had never heard of any + Herr von Satow. + </p> + MAIA. + <p> + [Affecting weariness.] Oh well then, I suppose it must have been for + some other reason that you were so set upon this journey. + </p> + PROFESSOR RUBEK. + <p> + [Seriously.] Yes, Maia—it was for another reason. A quite + different reason. And that is what we must sooner or later have a clear + explanation about. + </p> + MAIA. + <p> + [In a fit of suppressed laughter.] Heavens, how solemn you look! + </p> + PROFESSOR RUBEK. + <p> + [Suspiciously scrutinising her.] Yes, perhaps a little more solemn than + necessary. + </p> + MAIA. + <p> + How so—? + </p> + PROFESSOR RUBEK. + <p> + And that is a very good thing for us both. + </p> + MAIA. + <p> + You begin to make me feel curious, Rubek. + </p> + PROFESSOR RUBEK. + <p> + Only curious? Not a little bit uneasy. + </p> + MAIA. + <p> + [Shaking her head.] Not in the least. + </p> + PROFESSOR RUBEK. + <p> + Good. Then listen.—You said that day down at the Baths that it + seemed to you I had become very nervous of late— + </p> + MAIA. + <p> + Yes, and you really have. + </p> + PROFESSOR RUBEK. + <p> + And what do you think can be the reason of that? + </p> + MAIA. + <p> + How can I tell—? [Quickly.] Perhaps you have grown weary of this + constant companionship with me. + </p> + PROFESSOR RUBEK. + <p> + Constant—? Why not say "everlasting"? + </p> + MAIA. + <p> + Daily companionship, then. Here have we two solitary people lived down + there for four or five mortal years, and scarcely have an hour away from + each other.—We two all by ourselves. + </p> + PROFESSOR RUBEK. + <p> + [With interest.] Well? And then—? + </p> + MAIA. + <p> + [A little oppressed.] You are not a particularly sociable man, Rubek. + You like to keep to yourself and think your own thoughts. And of course + I can't talk properly to you about your affairs. I know nothing about + art and that sort of thing— [With an impatient gesture.] And care + very little either, for that matter! + </p> + PROFESSOR RUBEK. + <p> + Well, well; and that's why we generally sit by the fireside, and chat + about your affairs. + </p> + MAIA. + <p> + Oh, good gracious—I have no affairs to chat about. + </p> + PROFESSOR RUBEK. + <p> + Well, they are trifles, perhaps; but at any rate the time passes for us + in that way as well as another, Maia. + </p> + MAIA. + <p> + Yes, you are right. Time passes. It is passing away from you, Rubek.—And + I suppose it is really that that makes you so uneasy— + </p> + PROFESSOR RUBEK. + <p> + [Nods vehemently.] And so restless! [Writhing in his seat.] No, I shall + soon not be able to endure this pitiful life any longer. + </p> + MAIA. + <p> + [Rises and stands for a moment looking at him.] If you want to get rid + of me, you have only to say so. + </p> + PROFESSOR RUBEK. + <p> + Why will you use such phrases? Get rid of you? + </p> + MAIA. + <p> + Yes, if you want to have done with me, please say so right out. And I + will go that instant. + </p> + PROFESSOR RUBEK. + <p> + [With an almost imperceptible smile.] Do you intend that as a threat, + Maia? + </p> + MAIA. + <p> + There can be no threat for you in what I said. + </p> + PROFESSOR RUBEK. + <p> + [Rising.] No, I confess you are right there. [Adds after a pause.] You + and I cannot possibly go on living together like this— + </p> + MAIA. + <p> + Well? And then—? + </p> + PROFESSOR RUBEK. + <p> + There is no "then" about it. [With emphasis on his words.] Because we + two cannot go on living together alone—it does not necessarily + follow that we must part. + </p> + MAIA. + <p> + [Smiles scornfully.] Only draw away from each other a little, you mean? + </p> + PROFESSOR RUBEK. + <p> + [Shakes his head.] Even that is not necessary. + </p> + MAIA. + <p> + Well then? Come out with what you want to do with me. + </p> + PROFESSOR RUBEK. + <p> + [With some hesitation.] What I now feel so keenly—and so painfully—that + I require, is to have some one about me who really and truly stands + close to me— + </p> + MAIA. + <p> + [Interrupts him anxiously.] Don't I do that, Rubek? + </p> + PROFESSOR RUBEK. + <p> + [Waving her aside.] Not in that sense. What I need is the companionship + of another person who can, as it were, complete me—supply what is + wanting in me—be one with me in all my striving. + </p> + MAIA. + <p> + [Slowly.] It's true that things like that are a great deal too hard for + me. + </p> + PROFESSOR RUBEK. + <p> + Oh no, they are not at all in your line, Maia. + </p> + MAIA. + <p> + [With an outburst.] And heaven knows I don't want them to be, either! + </p> + PROFESSOR RUBEK. + <p> + I know that very well.—And it was with no idea of finding any such + help in my life-work that I married you. + </p> + MAIA. + <p> + [Observing him closely.] I can see in your face that you are thinking of + some one else. + </p> + PROFESSOR RUBEK. + <p> + Indeed? I have never noticed before that you were a thought-reader. But + you can see that, can you? + </p> + MAIA. + <p> + Yes, I can. Oh, I know you so well, so well, Rubek. + </p> + PROFESSOR RUBEK. + <p> + Then perhaps you can also see who it is I am thinking of? + </p> + MAIA. + <p> + Yes, indeed I can. + </p> + PROFESSOR RUBEK. + <p> + Well? Have the goodness to—? + </p> + MAIA. + <p> + You are thinking of that—that model you once used for— + [Suddenly letting slip the train of thought.] Do you know, the people + down at the hotel think she's mad. + </p> + PROFESSOR RUBEK. + <p> + Indeed? And pray what do the people down at the hotel think of you and + the bear-killer? + </p> + MAIA. + <p> + That has nothing to do with the matter. [Continuing the former train of + thought.] But it was this pale lady you were thinking of. + </p> + PROFESSOR RUBEK. + <p> + [Calmly.] Precisely, of her.—When I had no more use for her—and + when, besides, she went away from me—vanished without a word— + </p> + MAIA. + <p> + Then you accepted me as a sort of makeshift, I suppose? + </p> + PROFESSOR RUBEK. + <p> + [More unfeelingly.] Something of the sort, to tell the truth, little + Maia. For a year or a year and a half I had lived there lonely and + brooding, and had put the last touch—the very last touch, to my + work. "The Resurrection Day" went out over the world and brought me fame—and + everything else that heart could desire. [With greater warmth.] But I no + longer loved my own work. Men's laurels and incense nauseated me, till I + could have rushed away in despair and hidden myself in the depths of the + woods. [Looking at her.] You, who are a thought-reader—can you + guess what then occurred to me? + </p> + MAIA. + <p> + [Lightly.] Yes, it occurred to you to make portrait-busts of gentlemen + and ladies. + </p> + PROFESSOR RUBEK. + <p> + [Nods.] To order, yes. With animals' faces behind the masks. Those I + threw in gratis—into the bargain, you understand. [Smiling.] But + that was not precisely what I had in my mind. + </p> + MAIA. + <p> + What, then? + </p> + PROFESSOR RUBEK. + <p> + [Again serious.] It was this, that all the talk about the artist's + vocation and the artist's mission, and so forth, began to strike me as + being very empty, and hollow, and meaningless at bottom. + </p> + MAIA. + <p> + Then what would you put in its place? + </p> + PROFESSOR RUBEK. + <p> + Life, Maia. + </p> + MAIA. + <p> + Life? + </p> + PROFESSOR RUBEK. + <p> + Yes, is not life in sunshine and in beauty a hundred times better worth + while than to hang about to the end of your days in a raw, damp hole, + and wear yourself out in a perpetual struggle with lumps of clay and + blocks of stone? + </p> + MAIA. + <p> + [With a little sigh.] Yes, I have always thought so, certainly. + </p> + PROFESSOR RUBEK. + <p> + And then I had become rich enough to live in luxury and in indolent, + quivering sunshine. I was able to build myself the villa on the Lake of + Taunitz, and the palazzo in the capital,—and all the rest of it. + </p> + MAIA. + <p> + [Taking up his tone.] And last but not least, you could afford to treat + yourself to me, too. And you gave me leave to share in all your + treasures. + </p> + PROFESSOR RUBEK. + <p> + [Jesting, so as to turn the conversation.] Did I not promise to take you + up to a high enough mountain and show you all the glory of the world? + </p> + MAIA. + <p> + [With a gentle expression.] You have perhaps taken me up with you to a + high enough mountain, Rubek—but you have not shown me all the + glory of the world. + </p> + PROFESSOR RUBEK. + <p> + [With a laugh of irritation.] How insatiable you are, Maia.! Absolutely + insatiable! [With a vehement outburst.] But do you know what is the most + hopeless thing of all, Maia? Can you guess that? + </p> + MAIA. + <p> + [With quiet defiance.] Yes, I suppose it is that you have gone and tied + yourself to me—for life. + </p> + PROFESSOR RUBEK. + <p> + I would not have expressed myself so heartlessly. + </p> + MAIA. + <p> + But you would have meant it just as heartlessly. + </p> + PROFESSOR RUBEK. + <p> + You have no clear idea of the inner workings of an artist's nature. + </p> + MAIA. + <p> + [Smiling and shaking her head.] Good heavens, I haven't even a clear + idea of the inner workings of my own nature. + </p> + PROFESSOR RUBEK. + <p> + [Continuing undisturbed.] I live at such high speed, Maia. We live so, + we artists. I, for my part, have lived through a whole lifetime in the + few years we two have known each other. I have come to realise that I am + not at all adapted for seeking happiness in indolent enjoyment. Life + does not shape itself that way for me and those like me. I must go on + working—producing one work after another—right up to my + dying day. [Forcing himself to continue.] That is why I cannot get on + with you any longer, Maia—not with you alone. + </p> + MAIA. + <p> + [Quietly.] Does that mean, in plain language, that you have grown tired + of me? + </p> + PROFESSOR RUBEK. + <p> + [Bursts forth.] Yes, that is what it means! I have grown tired—intolerably + tired and fretted and unstrung—in this life with you! Now you know + it. [Controlling himself.] These are hard, ugly words I am using. I know + that very well. And you are not at all to blame in this matter;—that + I willingly admit. It is simply and solely I myself, who have once more + undergone a revolution—[Half to himself]—and awakening to my + real life. + </p> + MAIA. + <p> + [Involuntarily folding her hands.] Why in all the world should we not + part then? + </p> + PROFESSOR RUBEK. + <p> + [Looks at her in astonishment.] Should you be willing to? + </p> + MAIA. + <p> + [Shrugging her shoulders.] Oh yes—if there's nothing else for it, + then— + </p> + PROFESSOR RUBEK. + <p> + [Eagerly.] But there is something else for it. There is an alternative— + </p> + MAIA. + <p> + [Holding up her forefinger.] Now you are thinking of the pale lady + again! + </p> + PROFESSOR RUBEK. + <p> + Yes, to tell the truth, I cannot help constantly thinking of her. Ever + since I met her again. [A step nearer her.] For now I will tell you a + secret, Maia. + </p> + MAIA. + <p> + Well? + </p> + PROFESSOR RUBEK. + <p> + [Touching his own breast.] In here, you see—in here I have a + little bramah-locked casket. And in that casket all my sculptor's + visions are stored up. But when she disappeared and left no trace, the + lock of the casket snapped to. And she had the key—and she took it + away with her.—You, little Maia, you had no key; so all that the + casket contains must lie unused. And the years pass! And I have no means + of getting at the treasure. + </p> + MAIA. + <p> + [Trying to repress a subtle smile.] Then get her to open the casket for + you again— + </p> + PROFESSOR RUBEK. + <p> + [Not understanding.] Maia—? + </p> + <p> + MAIA. —for here she is, you see. And no doubt it's on account of + this casket that she has come. + </p> + PROFESSOR RUBEK. + <p> + I have not said a single word to her on this subject! + </p> + MAIA. + <p> + [Looks innocently at him.] My dear Rubek—is it worth while to make + all this fuss and commotion about so simple a matter? + </p> + PROFESSOR RUBEK. + <p> + Do you think this matter is so absolutely simple? + </p> + MAIA. + <p> + Yes, certainly I think so. Do you attach yourself to whoever you most + require. [Nods to him.] I shall always manage to find a place for + myself. + </p> + PROFESSOR RUBEK. + <p> + Where do you mean? + </p> + MAIA. + <p> + [Unconcerned, evasively.] Well—I need only take myself off to the + villa, if it should be necessary. But it won't be; for in town—in + all that great house of ours—there must surely, with a little good + will, be room enough for three. + </p> + PROFESSOR RUBEK. + <p> + [Uncertainly.] And do you think that would work in the long run? + </p> + MAIA. + <p> + [In a light tone.] Very well, then—if it won't work, it won't. It + is no good talking about it. + </p> + PROFESSOR RUBEK. + <p> + And what shall we do then, Maia—if it does not work? + </p> + MAIA. + <p> + [Untroubled.] Then we two will simply get out of each other's way—part + entirely. I shall always find something new for myself, somewhere in the + world. Something free! Free! Free!—No need to be anxious about + that, Professor Rubek! [Suddenly points off to the right.] Look there! + There we have her. + </p> + PROFESSOR RUBEK. + <p> + [Turning.] Where? + </p> + MAIA. + <p> + Out on the plain. Striding—like a marble stature. She is coming + this way. + </p> + PROFESSOR RUBEK. + <p> + [Stands gazing with his hand over his eyes.] Does not she look like the + Resurrection incarnate? [To himself.] And her I could displace—and + move into the shade! Remodel her—. Fool that I was! + </p> + MAIA. + <p> + What do you mean by that? + </p> + PROFESSOR RUBEK. + <p> + [Putting the question aside.] Nothing. Nothing that you would + understand. + </p> +<pre xml:space="preserve"> + [IRENE advances from the right over the upland. The children + at their play have already caught sight of her and run to + meet her. She is now surrounded by them; some appear confident + and at ease, others uneasy and timid. She talks low to them + and indicates that they are to go down to the hotel; she + herself will rest a little beside the brook. The children + run down over the slope to the left, half way to the back. + IRENE goes up to the wall of rock, and lets the rillets of + the cascade flow over her hands, cooling them. +</pre> + MAIA. + <p> + [In a low voice.] Go down and speak to her alone, Rubek. + </p> + PROFESSOR RUBEK. + <p> + And where will you go in the meantime? + </p> + MAIA. + <p> + [Looking significantly at him.] Henceforth I shall go my own ways. + </p> +<pre xml:space="preserve"> + [She descends form the hillock and leaps over the brook, by aid + of her alpenstock. She stops beside IRENE. +</pre> + MAIA. + <p> + Professor Rubek is up there, waiting for you, madam. + </p> + IRENE. + <p> + What does he want? + </p> + MAIA. + <p> + He wants you to help him to open a casket that has snapped to. + </p> + IRENE. + <p> + Can I help him in that? + </p> + MAIA. + <p> + He says you are the only person that can. + </p> + IRENE. + <p> + Then I must try. + </p> + MAIA. + <p> + Yes, you really must, madam. + </p> +<pre xml:space="preserve"> + [She goes down by the path to the hotel. + + [In a little while PROFESSOR RUBEK comes down to IRENE, but stops + with the brook between them. +</pre> + IRENE. + <p> + [After a short pause.] She—the other one—said that you had + been waiting for me. + </p> + PROFESSOR RUBEK. + <p> + I have waited for you year after year—without myself knowing it. + </p> + IRENE. + <p> + I could not come to you, Arnold. I was lying down there, sleeping the + long, deep, dreamful sleep. + </p> + PROFESSOR RUBEK. + <p> + But now you have awakened, Irene! + </p> + IRENE. + <p> + [Shakes her head.] I have the heavy, deep sleep still in my eyes. + </p> + PROFESSOR RUBEK. + <p> + You shall see that day will dawn and lighten for us both. + </p> + IRENE. + <p> + Do not believe that. + </p> + PROFESSOR RUBEK. + <p> + [Urgently.] I do believe it! And I know it! Now that I have found you + again— + </p> + IRENE. + <p> + Risen from the grave. + </p> + PROFESSOR RUBEK. + <p> + Transfigured! + </p> + IRENE. + <p> + Only risen, Arnold. Not transfigured. + </p> +<pre xml:space="preserve"> + [He crosses over to her by means of stepping-stones below the + cascade. +</pre> + PROFESSOR RUBEK. + <p> + Where have you been all day, Irene? + </p> + IRENE. + <p> + [Pointing.] Far, far over there, on the great dead waste— + </p> + PROFESSOR RUBEK. + <p> + [Turning the conversation.] You have not your—your friend with you + to-day, I see. + </p> + IRENE. + <p> + [Smiling.] My friend is keeping a close watch on me, none the less. + </p> + PROFESSOR RUBEK. + <p> + Can she? + </p> + IRENE. + <p> + [Glancing furtively around.] You may be sure she can—wherever I + may go. She never loses sight of me— [Whispering.] Until, one fine + sunny morning, I shall kill her. + </p> + PROFESSOR RUBEK. + <p> + Would you do that? + </p> + IRENE. + <p> + With the utmost delight—if only I could manage it. + </p> + PROFESSOR RUBEK. + <p> + Why do you want to? + </p> + IRENE. + <p> + Because she deals in witchcraft. [Mysteriously.] Only think, Arnold—she + has changed herself into my shadow. + </p> + PROFESSOR RUBEK. + <p> + [Trying to calm her.] Well, well, well—a shadow we must all have. + </p> + IRENE. + <p> + I am my own shadow. [With an outburst.] Do you not understand that! + </p> + PROFESSOR RUBEK. + <p> + [Sadly.] Yes, yes, Irene, I understand. + </p> +<pre xml:space="preserve"> + [He seats himself on a stone beside the brook. She stands behind + him, leaning against the wall of rock. +</pre> + IRENE. + <p> + [After a pause.] Why do you sit there turning your eyes away from me? + </p> + PROFESSOR RUBEK. + <p> + [Softly, shaking his head.] I dare not—I dare not look at you. + </p> + IRENE. + <p> + Why dare you not look at me any more? + </p> + PROFESSOR RUBEK. + <p> + You have a shadow that tortures me. And I have the crushing weight of my + conscience. + </p> + IRENE. + <p> + [With a glad cry of deliverance.] At last! + </p> + PROFESSOR RUBEK. + <p> + [Springs up.] Irene—what is it! + </p> + IRENE. + <p> + [Motioning him off.] Keep still, still, still! [Draws a deep breath and + says, as though relieved of a burden.] There! Now they let me go. For + this time.—Now we can sit down and talk as we used to—when I + was alive. + </p> + PROFESSOR RUBEK. + <p> + Oh, if only we could talk as we used to. + </p> + IRENE. + <p> + Sit there, where you were sitting. I will sit here beside you. + </p> +<pre xml:space="preserve"> + [He sits down again. She seats herself on another stone, close + to him. +</pre> + IRENE. + <p> + [After a short interval of silence.] Now I have come back to you from + the uttermost regions, Arnold. + </p> + PROFESSOR RUBEK. + <p> + Aye, truly, from an endless journey. + </p> + IRENE. + <p> + Come home to my lord and master— + </p> + PROFESSOR RUBEK. + <p> + To our home;—to our own home, Irene. + </p> + IRENE. + <p> + Have you looked for my coming every single day? + </p> + PROFESSOR RUBEK. + <p> + How dared I look for you? + </p> + IRENE. + <p> + [With a sidelong glance.] No, I suppose you dared not. For you + understood nothing. + </p> + PROFESSOR RUBEK. + <p> + Was it really not for the sake of some one else that you all of a sudden + disappeared from me in that way? + </p> + IRENE. + <p> + Might it not quite well be for your sake, Arnold? + </p> + PROFESSOR RUBEK. + <p> + [Looks doubtfully at her.] I don't understand you—? + </p> + IRENE. + <p> + When I had served you with my soul and with my body—when the + statue stood there finished—our child as you called it—then + I laid at your feet the most precious sacrifice of all—by effacing + myself for all time. + </p> + PROFESSOR RUBEK. + <p> + [Bows his head.] And laying my life waste. + </p> + IRENE. + <p> + [Suddenly firing up.] It was just that I wanted! Never, never should you + create anything again—after you had created that only child of + ours. + </p> + PROFESSOR RUBEK. + <p> + Was it jealously that moved you, then? + </p> + IRENE. + <p> + [Coldly.] I think it was rather hatred. + </p> + PROFESSOR RUBEK. + <p> + Hatred? Hatred for me? + </p> + IRENE. + <p> + [Again vehemently.] Yes, for you—for the artist who had so lightly + and carelessly taken a warm-blooded body, a young human life, and worn + the soul out of it—because you needed it for a work of art. + </p> + PROFESSOR RUBEK. + <p> + And you can say that—you who threw yourself into my work with such + saint-like passion and such ardent joy?—that work for which we two + met together every morning, as for an act of worship. + </p> + IRENE. + <p> + [Coldly, as before.] I will tell you one thing, Arnold. + </p> + PROFESSOR RUBEK. + <p> + Well? + </p> + IRENE. + <p> + I never loved your art, before I met you.—Nor after either. + </p> + PROFESSOR RUBEK. + <p> + But the artist, Irene? + </p> + IRENE. + <p> + The artist I hate. + </p> + PROFESSOR RUBEK. + <p> + The artist in me too? + </p> + IRENE. + <p> + In you most of all. When I unclothed myself and stood for you, then I + hated you, Arnold— + </p> + PROFESSOR RUBEK. + <p> + [Warmly.] That you did not, Irene! That is not true! + </p> + IRENE. + <p> + I hated you, because you could stand there so unmoved— + </p> + PROFESSOR RUBEK. + <p> + [Laughs.] Unmoved? Do you think so? + </p> + <p> + IRENE. —at any rate so intolerably self-controlled. And because + you were an artist and an artist only—not a man! [Changing to a + tone full of warmth and feeling.] But that statue in the wet, living + clay, that I loved—as it rose up, a vital human creature, out of + those raw, shapeless masses—for that was our creation, our child. + Mine and yours. + </p> + PROFESSOR RUBEK. + <p> + [Sadly.] It was so in spirit and in truth. + </p> + IRENE. + <p> + Let me tell you, Arnold—it is for the sake of this child of ours + that I have undertaken this long pilgrimage. + </p> + PROFESSOR RUBEK. + <p> + [Suddenly alert.] For the statue's—? + </p> + IRENE. + <p> + Call it what you will. I call it our child. + </p> + PROFESSOR RUBEK. + <p> + And now you want to see it? Finished? In marble, which you always + thought so cold? [Eagerly.] You do not know, perhaps, that it is + installed in a great museum somewhere—far out in the world? + </p> + IRENE. + <p> + I have heard a sort of legend about it. + </p> + PROFESSOR RUBEK. + <p> + And museums were always a horror to you. You called them grave-vaults— + </p> + IRENE. + <p> + I will make a pilgrimage to the place where my soul and my child's soul + lie buried. + </p> + PROFESSOR RUBEK. + <p> + [Uneasy and alarmed.] You must never see that statue again! Do you hear, + Irene! I implore you—! Never, never see it again! + </p> + IRENE. + <p> + Perhaps you think it would mean death to me a second time? + </p> + PROFESSOR RUBEK. + <p> + [Clenching his hands together.] Oh, I don't know what I think.—But + how could I ever imagine that you would fix your mind so immovably on + that statue? You, who went away from me—before it was completed. + </p> + IRENE. + <p> + It was completed. That was why I could go away from you—and leave + you alone. + </p> + PROFESSOR RUBEK. + <p> + [Sits with his elbows upon his knees, rocking his head from side to + side, with his hands before his eyes.] It was not what it afterwards + became. + </p> + IRENE. + <p> + [Quietly but quick as lightning, half-unsheathes a narrow-bladed sharp + knife which she carried in her breast, and asks in a hoarse whisper.] + Arnold—have you done any evil to our child? + </p> + PROFESSOR RUBEK. + <p> + [Evasively.] Any evil?—How can I be sure what you would call it? + </p> + IRENE. + <p> + [Breathless.] Tell me at once: what have you done to the child? + </p> + PROFESSOR RUBEK. + <p> + I will tell you, if you will sit and listen quietly to what I say. + </p> + IRENE. + <p> + [Hides the knife.] I will listen as quietly as a mother can when she— + </p> + PROFESSOR RUBEK. + <p> + [Interrupting.] And you must not look at me while I am telling you. + </p> + IRENE. + <p> + [Moves to a stone behind his back.] I will sit here, behind you.—Now + tell me. + </p> + PROFESSOR RUBEK. + <p> + [Takes his hands from before his eyes and gazes straight in front of + him. When I had found you, I knew at once how I should make use of you + for my life-work. + </p> + IRENE. + <p> + "The Resurrection Day" you called your life-work.—I call it "our + child." + </p> + PROFESSOR RUBEK. + <p> + I was young then—with no knowledge of life. The Resurrection, I + thought, would be most beautifully and exquisitely figured as a young + unsullied woman—with none of our earth-life's experiences—awakening + to light and glory without having to put away from her anything ugly and + impure. + </p> + IRENE. + <p> + [Quickly.] Yes—and so I stand there now, in our work? + </p> + PROFESSOR RUBEK. + <p> + [Hesitating.] Not absolutely and entirely so, Irene. + </p> + IRENE. + <p> + [In rising excitement.] Not absolutely—? Do I not stand as I + always stood for you? + </p> + PROFESSOR RUBEK. + <p> + [Without answering.] I learned worldly wisdom in the years that + followed, Irene. "The Resurrection Day" became in my mind's eye + something more and something—something more complex. The little + round plinth on which your figure stood erect and solitary—it no + longer afforded room for all the imagery I now wanted to add— + </p> + IRENE. + <p> + [Groped for her knife, but desists.] What imagery did you add then? Tell + me! + </p> + PROFESSOR RUBEK. + <p> + I imagined that which I saw with my eyes around me in the world. I had + to include it—I could not help it, Irene. I expanded the plinth—made + it wide and spacious. And on it I placed a segment of the curving, + bursting earth. And up from the fissures of the soil there now swarm men + and women with dimly-suggested animal-faces. Women and men—as I + knew them in real life. + </p> + IRENE. + <p> + [In breathless suspense.] But in the middle of the rout there stands the + young woman radiant with the joy of light?—Do I not stand so, + Arnold? + </p> + PROFESSOR RUBEK. + <p> + [Evasively.] Not quite in the middle. I had unfortunately to move that + figure a little back. For the sake of the general effect, you + understand. Otherwise it would have dominated the whole too much. + </p> + IRENE. + <p> + But the joy in the light still transfigures my face? + </p> + PROFESSOR RUBEK. + <p> + Yes, it does, Irene—in a way. A little subdued perhaps—as my + altered idea required. + </p> + IRENE. + <p> + [Rising noiselessly.] That design expresses the life you now see, + Arnold. + </p> + PROFESSOR RUBEK. + <p> + Yes, I suppose it does. + </p> + IRENE. + <p> + And in that design you have shifted me back, a little toned down—to + serve as a background-figure—in a group. + </p> +<pre xml:space="preserve"> + [She draws the knife. +</pre> + PROFESSOR RUBEK. + <p> + Not a background-figure. Let us say, at most, a figure not quite in the + foreground—or something of that sort. + </p> + IRENE. + <p> + [Whispers hoarsely.] There you uttered your own doom. + </p> +<pre xml:space="preserve"> + [On the point of striking. +</pre> + PROFESSOR RUBEK. + <p> + [Turns and looks up at her.] Doom? + </p> + IRENE. + <p> + [Hastily hides the knife, and says as though choked with agony.] My + whole soul—you and I—we, we, we and our child were in that + solitary figure. + </p> + PROFESSOR RUBEK. + <p> + [Eagerly, taking off his hat and drying the drops of sweat upon his + brow.] Yes, but let me tell you, too, how I have placed myself in the + group. In front, beside a fountain—as it were here—sits a + man weighed down with guilt, who cannot quite free himself from the + earth-crust. I call him remorse for a forfeited life. He sits there and + dips his fingers in the purling stream—to wash them clean—and + he is gnawed and tortured by the thought that never, never will he + succeed. Never in all eternity will he attain to freedom and the new + life. He will remain for ever prisoned in his hell. + </p> + IRENE. + <p> + [Hardly and coldly.] Poet! + </p> + PROFESSOR RUBEK. + <p> + Why poet? + </p> + IRENE. + <p> + Because you are nerveless and sluggish and full of forgiveness for all + the sins of your life, in thought and in act. You have killed my soul—so + you model yourself in remorse, and self-accusation, and penance—[Smiling.] + —and with that you think your account is cleared. + </p> + PROFESSOR RUBEK. + <p> + [Defiantly.] I am an artist, Irene. And I take no shame to myself for + the frailties that perhaps cling to me. For I was born to be an artist, + you see. And, do what I may, I shall never be anything else. + </p> + IRENE. + <p> + [Looks at him with a lurking evil smile, and says gently and softly.] + You are a poet, Arnold. [Softly strokes his hair.] You dear, great, + middle-aged child,—is it possible that you cannot see that! + </p> + PROFESSOR RUBEK. + <p> + [Annoyed.] Why do you keep on calling me a poet? + </p> + IRENE. + <p> + [With malign eyes.] Because there is something apologetic in the word, + my friend. Something that suggests forgiveness of sins—and spreads + a cloak over all frailty. [With a sudden change of tone.] But I was a + human being—then! And I, too, had a life to live,—and a + human destiny to fulfil. And all that, look you, I let slip—gave + it all up in order to make myself your bondwoman.—Oh, it was + self-murder—a deadly sin against myself! [Half whispering.] And + that sin I can never expiate! + </p> +<pre xml:space="preserve"> + [She seats herself near him beside the brook, keeps close, though + unnoticed, watch upon him, and, as though in absence of mind, + plucks some flowers form the shrubs around them. +</pre> + IRENE. + <p> + [With apparent self-control.] I should have borne children in the world—many + children—real children—not such children as are hidden away + in grave-vaults. That was my vocation. I ought never to have served you—poet. + </p> + PROFESSOR RUBEK. + <p> + [Lost in recollection.] Yet those were beautiful days, Irene. + Marvellously beautiful days—as I now look back upon them— + </p> + IRENE. + <p> + [Looking at him with a soft expression.] Can you remember a little word + that you said—when you had finished—finished with me and + with our child? [Nods to him.] Can you remember that little word, + Arnold? + </p> + PROFESSOR RUBEK. + <p> + [Looks inquiringly at her.] Did I say a little word then, which you + still remember? + </p> + IRENE. + <p> + Yes, you did. Can you not recall it? + </p> + PROFESSOR RUBEK. + <p> + [Shaking his head.] No, I can't say that I do. Not at the present + moment, at any rate. + </p> + IRENE. + <p> + You took both my hands and pressed them warmly. And I stood there in + breathless expectation. And then you said: "So now, Irene, I thank you + from my heart. This," you said, "has been a priceless episode for me." + </p> + PROFESSOR RUBEK. + <p> + [Looks doubtfully at her.] Did I say "episode"? It is not a word I am in + the habit of using. + </p> + IRENE. + <p> + You said "episode." + </p> + PROFESSOR RUBEK. + <p> + [With assumed cheerfulness.] Well, well—after all, it was in + reality an episode. + </p> + IRENE. + <p> + [Curtly.] At that word I left you. + </p> + PROFESSOR RUBEK. + <p> + You take everything so painfully to heart, Irene. + </p> + IRENE. + <p> + [Drawing her hand over her forehead.] Perhaps you are right. Let us + shake off all the hard things that go to the heart. [Plucks off the + leaves of a mountain rose and strews them on the brook.] Look there, + Arnold. There are our birds swimming. + </p> + PROFESSOR RUBEK. + <p> + What birds are they? + </p> + IRENE. + <p> + Can you not see? Of course they are flamingoes. Are they not rose-red? + </p> + PROFESSOR RUBEK. + <p> + Flamingoes do not swim. They only wade. + </p> + IRENE. + <p> + Then they are not flamingoes. They are sea-gulls. + </p> + PROFESSOR RUBEK. + <p> + They may be sea-gulls with red bills, yes. [Plucks broad green leaves + and throws them into the brook.] Now I send out my ships after them. + </p> + IRENE. + <p> + But there must be no harpoon-men on board. + </p> + PROFESSOR RUBEK. + <p> + No, there shall be no harpoon-men. [Smiles to her.] Can you remember the + summer when we used to sit like this outside the little peasant hut on + the Lake of Taunitz? + </p> + IRENE. + <p> + [Nods.] On Saturday evenings, yes,—when we had finished our week's + work— + </p> + <p> + PROFESSOR RUBEK. —And taken the train out to the lake—to + stay there over Sunday— + </p> + IRENE. + <p> + [With an evil gleam of hatred in her eyes.] It was an episode, Arnold. + </p> + PROFESSOR RUBEK. + <p> + [As if not hearing.] Then, too, you used to set birds swimming in the + brook. They were water-lilies which you— + </p> + IRENE. + <p> + They were white swans. + </p> + PROFESSOR RUBEK. + <p> + I meant swans, yes. And I remember that I fastened a great furry leaf to + one of the swans. It looked like a burdock-leaf— + </p> + IRENE. + <p> + And then it turned into Lohengrin's boat—with the swan yoked to + it. + </p> + PROFESSOR RUBEK. + <p> + How fond you were of that game, Irene. + </p> + IRENE. + <p> + We played it over and over again. + </p> + PROFESSOR RUBEK. + <p> + Every single Saturday, I believe,—all the summer through. + </p> + IRENE. + <p> + You said I was the swan that drew your boat. + </p> + PROFESSOR RUBEK. + <p> + Did I say so? Yes, I daresay I did. [Absorbed in the game.] Just see how + the sea-gulls are swimming down the stream! + </p> + IRENE. + <p> + [Laughing.] And all your ships have run ashore. + </p> + PROFESSOR RUBEK. + <p> + [Throwing more leaves into the brook.] I have ships enough in reserve. + [Follows the leaves with his eyes, throws more into the brook, and says + after a pause.] Irene,—I have bought the little peasant hut beside + the Lake of Taunitz. + </p> + IRENE. + <p> + Have you bought it? You often said you would, if you could afford it. + </p> + PROFESSOR RUBEK. + <p> + The day came when I could afford it easily enough; and so I bought it. + </p> + IRENE. + <p> + [With a sidelong look at him.] Then do you live out there now—in + our old house? + </p> + PROFESSOR RUBEK. + <p> + No, I have had it pulled down long ago. And I have built myself a great, + handsome, comfortable villa on the site—with a park around it. It + is there that we— [Stops and corrects himself.] —there that + I usually live during the summer. + </p> + IRENE. + <p> + [Mastering herself.] So you and—and the other one live out there + now? + </p> + PROFESSOR RUBEK. + <p> + [With a touch of defiance.] Yes. When my wife and I are not travelling—as + we are this year. + </p> + IRENE. + <p> + [Looking far before her.] Life was beautiful, beautiful by the Lake of + Taunitz. + </p> + PROFESSOR RUBEK. + <p> + [As though looking back into himself.] And yet, Irene— + </p> + IRENE. + <p> + [Completing his thought.] —yet we two let slip all that life and + its beauty. + </p> + PROFESSOR RUBEK. + <p> + [Softly, urgently.] Does repentance come too late, now? + </p> + IRENE. + <p> + [Does not answer, but sits silent for a moment; then she points over the + upland.] Look there, Arnold,—now the sun is going down behind the + peaks. See what a red glow the level rays cast over all the heathery + knolls out yonder. + </p> + PROFESSOR RUBEK. + <p> + [Looks where she is pointing.] It is long since I have seen a sunset in + the mountains. + </p> + IRENE. + <p> + Or a sunrise? + </p> + PROFESSOR RUBEK. + <p> + A sunrise I don't think I have ever seen. + </p> + IRENE. + <p> + [Smiles as though lost in recollection.] I once saw a marvellously + lovely sunrise. + </p> + PROFESSOR RUBEK. + <p> + Did you? Where was that? + </p> + IRENE. + <p> + High, high up on a dizzy mountain-top.—You beguiled me up there by + promising that I should see all the glory of the world if only I— + </p> +<pre xml:space="preserve"> + [She stops suddenly. +</pre> + PROFESSOR RUBEK. + <p> + If only you—? Well? + </p> + IRENE. + <p> + I did as you told me—went with you up to the heights. And there I + fell upon my knees and worshipped you, and served you. [Is silent for a + moment; then says softly.] Then I saw the sunrise. + </p> + PROFESSOR RUBEK. + <p> + [Turning at him with a scornful smile.] With you—and the other + woman? + </p> + PROFESSOR RUBEK. + <p> + [Urgently.] With me—as in our days of creation. You could open all + that is locked up in me. Can you not find it in your heart, Irene? + </p> + IRENE. + <p> + [Shaking her head.] I have no longer the key to you, Arnold. + </p> + PROFESSOR RUBEK. + <p> + You have the key! You and you alone possess it! [Beseechingly.] Help me—that + I may be able to live my life over again! + </p> + IRENE. + <p> + [Immovable as before.] Empty dreams! Idle—dead dreams. For the + life you and I led there is no resurrection. + </p> + PROFESSOR RUBEK. + <p> + [Curtly, breaking off.] Then let us go on playing. + </p> + IRENE. + <p> + Yes, playing, playing—only playing! + </p> +<pre xml:space="preserve"> + [They sit and strew leaves and petals over the brook, where they + float and sail away. + + [Up the slope to the left at the back come ULFHEIM and MAIA in + hunting costume. After them comes the SERVANT with the leash + of dogs, with which he goes out to the right. +</pre> + PROFESSOR RUBEK. + <p> + [Catching sight of them.] Ah! There is little Maia, going out with the + bear-hunter. + </p> + IRENE. + <p> + Your lady, yes. + </p> + PROFESSOR RUBEK. + <p> + Or the other's. + </p> + MAIA. + <p> + [Looks around as she is crossing the upland, sees the two sitting by the + brook, and calls out.] Good-night, Professor! Dream of me. Now I am + going off on my adventures! + </p> + PROFESSOR RUBEK. + <p> + [Calls back to her.] What sort of an adventure is this to be? + </p> + MAIA. + <p> + [Approaching.] I am going to let life take the place of all the rest. + </p> + PROFESSOR RUBEK. + <p> + [Mockingly.] Aha! So you too are going to do that, little Maia? + </p> + MAIA. + <p> + Yes. And I've made a verse about it, and this is how it goes: + </p> +<pre xml:space="preserve"> + [Sings triumphantly.] + + I am free! I am free! I am free! + No more life in the prison for me! + I am free as a bird! I am free! + For I believe I have awakened now—at last. +</pre> + PROFESSOR RUBEK. + <p> + It almost seems so. + </p> + MAIA. + <p> + [Drawing a deep breath.] Oh—how divinely light one feels on + waking! + </p> + PROFESSOR RUBEK. + <p> + Good-night, Frau Maia—and good luck to— + </p> + ULFHEIM. + <p> + [Calls out, interposing.] Hush, hush!—for the devil's sake let's + have none of your wizard wishes. Don't you see that we are going out to + shoot— + </p> + PROFESSOR RUBEK. + <p> + What will you bring me home from the hunting, Maia? + </p> + MAIA. + <p> + You shall have a bird of prey to model. I shall wing one for you. + </p> + PROFESSOR RUBEK. + <p> + [Laughs mockingly and bitterly.] Yes, to wing things—without + knowing what you are doing—that has long been quite in your way. + </p> + MAIA. + <p> + [Tossing her head.] Oh, just let me take care of myself for the future, + and I wish you then—! [Nods and laughs roguishly.] Good-bye—and + a good, peaceful summer night on the upland! + </p> + PROFESSOR RUBEK. + <p> + [Jestingly.] Thanks! And all the ill-luck in the world over you and your + hunting! + </p> + ULFHEIM. + <p> + [Roaring with laughter.] There now, that is a wish worth having! + </p> + MAIA. + <p> + [Laughing.] Thanks, thanks, thanks, Professor! + </p> +<pre xml:space="preserve"> + [They have both crossed the visible portion of the upland, and go + out through the bushes to the right. +</pre> + PROFESSOR RUBEK. + <p> + [After a short pause.] A summer night on the upland! Yes, that would + have been life! + </p> + IRENE. + <p> + [Suddenly, with a wild expression in her eyes.] Will you spend a summer + night on the upland—with me? + </p> + PROFESSOR RUBEK. + <p> + [Stretching his arms wide.] Yes, yes,—come! + </p> + IRENE. + <p> + My adored lord and master! + </p> + PROFESSOR RUBEK. + <p> + Oh, Irene! + </p> + IRENE. + <p> + [Hoarsely, smiling and groping in her breast.] It will be only an + episode— [Quickly, whispering.] Hush!—do not look round, + Arnold! + </p> + PROFESSOR RUBEK. + <p> + [Also in a low voice.] What is it? + </p> + IRENE. + <p> + A face that is staring at me. + </p> + PROFESSOR RUBEK. + <p> + [Turns involuntarily.] Where! [With a start.] Ah—! + </p> +<pre xml:space="preserve"> + [The SISTER OF MERCY's head is partly visible among the bushes + beside the descent to the left. Her eyes are immovably fixed + on IRENE. +</pre> + IRENE. + <p> + [Rises and says softly.] We must part then. No, you must remain sitting. + Do you hear? You must not go with me. [Bends over him and whispers.] + Till we meet again—to-night—on the upland. + </p> + PROFESSOR RUBEK. + <p> + And you will come, Irene? + </p> + IRENE. + <p> + Yes, surely I will come. Wait for me here. + </p> + PROFESSOR RUBEK. + <p> + [Repeats dreamily.] Summer night on the upland. With you. With you. [His + eyes meet hers.] Oh, Irene—that might have been our life.—And + that we have forfeited—we two. + </p> + IRENE. + <p> + We see the irretrievable only when— + </p> +<pre xml:space="preserve"> + [Breaks off. +</pre> + PROFESSOR RUBEK. + <p> + [Looks inquiringly at her.] When—? + </p> + IRENE. + <p> + When we dead awaken. + </p> + PROFESSOR RUBEK. + <p> + [Shakes his head mournfully.] What do we really see then? + </p> + IRENE. + <p> + We see that we have never lived. + </p> +<pre xml:space="preserve"> + [She goes towards the slope and descends. + + [The SISTER OF MERCY makes way for her and follows her. + PROFESSOR RUBEK remains sitting motionless beside the brook. +</pre> + MAIA. + <p> + [Is heard singing triumphantly among the hills.] + </p> +<pre xml:space="preserve"> + I am free! I am free! I am free! + No more life in the prison for me! + I am free as a bird! I am free! +</pre> + <a name="link2H_4_0006" id="link2H_4_0006"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT THIRD. + </h2> +<pre xml:space="preserve"> +[A wild riven mountain-side, with sheer precipices at the back. + Snow-clad peaks rise to the right, and lose themselves in drifting + mists. To the left, on a stone-scree, stands an old, half-ruined + hut. It is early morning. Dawn is breaking. The sun has not + yet risen. +</pre> +<pre xml:space="preserve"> +[MAIA comes, flushed and irritated, down over the stone-scree on the + left. ULFHEIM follows, half angry, half laughing, holding her + fast by the sleeve. +</pre> + MAIA. + <p> + [Trying to tear herself loose.] Let me go! Let me go, I say! + </p> + ULFHEIM. + <p> + Come, Come! are you going to bite now? You're as snappish as a wolf. + </p> + MAIA. + <p> + [Striking him over the hand.] Let me, I tell you? And be quiet! + </p> + ULFHEIM. + <p> + No, confound me if I will! + </p> + MAIA. + <p> + Then I will not go another step with you. Do you hear?—not a + single step! + </p> + ULFHEIM. + <p> + Ho, ho! How can you get away from me, here, on the wild mountain-side? + </p> + MAIA. + <p> + I will jump over the precipice yonder, if need be— + </p> + ULFHEIM. + <p> + And mangle and mash yourself up into dogs'-meat! A juicy morsel! [Lets + go his hold.] As you please. Jump over the precipice if you want to. + It's a dizzy drop. There's only one narrow footpath down it, and that's + almost impassable. + </p> + MAIA. + <p> + [Dusts her skirt with her hand, and looks at him with angry eyes.] Well, + you are a nice one to go hunting with! + </p> + ULFHEIM. + <p> + Say rather, sporting. + </p> + MAIA. + <p> + Oh! So you call this sport, do you? + </p> + ULFHEIM. + <p> + Yes, I venture to take that liberty. It is the sort of sport I like best + of all. + </p> + MAIA. + <p> + [Tossing her head.] Well—I must say! [After a pause; looks + searchingly at him.] Why did you let the dogs loose up there? + </p> + ULFHEIM. + <p> + [Blinking his eyes and smiling.] So that they too might do a little + hunting on their own account, don't you see? + </p> + MAIA. + <p> + There's not a word of truth in that! It wasn't for the dogs' sake that + you let them go. + </p> + ULFHEIM. + <p> + [Still smiling.] Well, why did I let them go then? Let us hear. + </p> + MAIA. + <p> + You let them go because you wanted to get rid of Lars. He was to run + after them and bring them in again, you said. And in the meant-time—. + Oh, it was a pretty way to behave! + </p> + ULFHEIM. + <p> + In the meantime? + </p> + MAIA. + <p> + [Curtly breaking off.] No matter! + </p> + ULFHEIM. + <p> + [In a confidential tone.] Lars won't find them. You may safely swear to + that. He won't come with them before the time's up. + </p> + MAIA. + <p> + [Looking angrily at him.] No, I daresay not. + </p> + ULFHEIM. + <p> + [Catching at her arm.] For Lars—he knows my—my methods of + sport, you see. + </p> + MAIA. + <p> + [Eludes him, and measures him with a glance.] Do you know what you look + like, Mr. Ulfheim? + </p> + ULFHEIM. + <p> + I should think I'm probably most like myself. + </p> + MAIA. + <p> + Yes, there you're exactly right. For you're the living image of a faun. + </p> + ULFHEIM. + <p> + A faun? + </p> + MAIA. + <p> + Yes, precisely; a faun. + </p> + ULFHEIM. + <p> + A faun! Isn't that a sort of monster? Or a kind of a wood demon, as you + might call it? + </p> + MAIA. + <p> + Yes, just the sort of creature you are. A thing with a goat's beard and + goat-legs. Yes, and the faun has horns too! + </p> + ULFHEIM. + <p> + So, so!—has he horns too? + </p> + MAIA. + <p> + A pair of ugly horns, just like yours, yes. + </p> + ULFHEIM. + <p> + Can you see the poor little horns <i>I</i> have? + </p> + MAIA. + <p> + Yes, I seem to see them quite plainly. + </p> + ULFHEIM. + <p> + [Taking the dogs' leash out of his pocket.] Then I had better see about + tying you. + </p> + MAIA. + <p> + Have you gone quite mad? Would you tie me? + </p> + ULFHEIM. + <p> + If I am a demon, let me be a demon! So that's the way of it! You can see + the horns, can you? + </p> + MAIA. + <p> + [Soothingly.] There, there, there! Now try to behave nicely, Mr. + Ulfheim. [Breaking off.] But what has become of that hunting-castle of + yours, that you boasted so much of? You said it lay somewhere + hereabouts. + </p> + ULFHEIM. + <p> + [Points with a flourish to the hut.] There you have it, before your very + eyes. + </p> + MAIA. + <p> + [Looks at him.] That old pig-stye! + </p> + ULFHEIM. + <p> + [Laughing in his beard.] It has harboured more than one king's daughter, + I can tell you. + </p> + MAIA. + <p> + Was it there that that horrid man you told me about came to the king's + daughter in the form of a bear? + </p> + ULFHEIM. + <p> + Yes, my fair companion of the chase—this is the scene. [With a + gesture of invitation.] If you would deign to enter— + </p> + MAIA. + <p> + Isch! If ever I set foot in it—! Isch! + </p> + ULFHEIM. + <p> + Oh, two people can doze away a summer night in there comfortably enough. + Or a whole summer, if it comes to that! + </p> + MAIA. + <p> + Thanks! One would need to have a pretty strong taste for that kind of + thing. [Impatiently.] But now I am tired both of you and the hunting + expedition. Now I am going down to the hotel—before people awaken + down there. + </p> + ULFHEIM. + <p> + How do you propose to get down from here? + </p> + MAIA. + <p> + That's your affair. There must be a way down somewhere or other, I + suppose. + </p> + ULFHEIM. + <p> + [Pointing towards the back.] Oh, certainly! There is a sort of way—right + down the face of the precipice yonder— + </p> + MAIA. + <p> + There, you see. With a little goodwill— + </p> + <p> + ULFHEIM. —but just you try if you dare go that way. + </p> + MAIA. + <p> + [Doubtfully.] Do you think I can't? + </p> + ULFHEIM. + <p> + Never in this world—if you don't let me help you. + </p> + MAIA. + <p> + [Uneasily.] Why, then come and help me! What else are you here for? + </p> + ULFHEIM. + <p> + Would you rather I should take you on my back—? + </p> + MAIA. + <p> + Nonsense! + </p> + <p> + ULFHEIM. —or carry you in my arms? + </p> + MAIA. + <p> + Now do stop talking that rubbish! + </p> + ULFHEIM. + <p> + [With suppressed exasperation.] I once took a young girl—lifted + her up from the mire of the streets and carried her in my arms. Next my + heart I carried her. So I would have borne her all through life—lest + haply she should dash her foot against a stone. For her shoes were worn + very thin when I found her— + </p> + MAIA. + <p> + And yet you took her up and carried her next your heart? + </p> + ULFHEIM. + <p> + Took her up out of the gutter and carried her as high and as carefully + as I could. [With a growling laugh.] And do you know what I got for my + reward? + </p> + MAIA. + <p> + No. What did you get? + </p> + ULFHEIM. + <p> + [Looks at her, smiles and nods.] I got the horns! The horns that you can + see so plainly. Is not that a comical story, madam bear-murderess? + </p> + MAIA. + <p> + Oh yes, comical enough! But I know another story that is still more + comical. + </p> + ULFHEIM. + <p> + How does that story go? + </p> + MAIA. + <p> + This is how it goes. There was once a stupid girl, who had both a father + and a mother—but a rather poverty-stricken home. Then there came a + high and mighty seigneur into the midst of all this poverty. And he took + the girl in his arms—as you did—and travelled far, far away + with her— + </p> + ULFHEIM. + <p> + Was she so anxious to be with him? + </p> + MAIA. + <p> + Yes, for she was stupid, you see. + </p> + ULFHEIM. + <p> + And he, no doubt, was a brilliant and beautiful personage? + </p> + MAIA. + <p> + Oh, no, he wasn't so superlatively beautiful either. But he pretended + that he would take her with him to the top of the highest of mountains, + where there were light and sunshine without end. + </p> + ULFHEIM. + <p> + So he was a mountaineer, was he, that man? + </p> + MAIA. + <p> + Yes, he was—in his way. + </p> + ULFHEIM. + <p> + And then he took the girl up with him—? + </p> + MAIA. + <p> + [With a toss of the head.] Took her up with him finely, you may be sure! + Oh no! he beguiled her into a cold, clammy cage, where—as it + seemed to her—there was neither sunlight nor fresh air, but only + gilding and great petrified ghosts of people all around the walls. + </p> + ULFHEIM. + <p> + Devil take me, but it served her right! + </p> + MAIA. + <p> + Yes, but don't you think it's quite a comical story, all the same? + </p> + ULFHEIM. + <p> + [Looks at her moment.] Now listen to me, my good companion of the chase— + </p> + MAIA. + <p> + Well, what it is now? + </p> + ULFHEIM. + <p> + Should not we two tack our poor shreds of life together? + </p> + MAIA. + <p> + Is his worship inclined to set up as a patching-tailor? + </p> + ULFHEIM. + <p> + Yes, indeed he is. Might not we two try to draw the rags together here + and there—so as to make some sort of a human life out of them? + </p> + MAIA. + <p> + And when the poor tatters were quite worn out—what then? + </p> + ULFHEIM. + <p> + [With a large gesture.] Then there we shall stand, free and serene—as + the man and woman we really are! + </p> + MAIA. + <p> + [Laughing.] You with your goat-legs yes! + </p> + ULFHEIM. + <p> + And you with your—. Well, let that pass. + </p> + MAIA. + <p> + Yes, come—let us pass—on. + </p> + ULFHEIM. + <p> + Stop! Whither away, comrade? + </p> + MAIA. + <p> + Down to the hotel, of course. + </p> + ULFHEIM. + <p> + And afterward? + </p> + MAIA. + <p> + Then we'll take a polite leave of each other, with thanks for pleasant + company. + </p> + ULFHEIM. + <p> + Can we part, we two? Do you think we can? + </p> + MAIA. + <p> + Yes, you didn't manage to tie me up, you know. + </p> + ULFHEIM. + <p> + I have a castle to offer you— + </p> + MAIA. + <p> + [Pointing to the hut.] A fellow to that one? + </p> + ULFHEIM. + <p> + It has not fallen to ruin yet. + </p> + MAIA. + <p> + And all the glory of the world, perhaps? + </p> + ULFHEIM. + <p> + A castle, I tell you— + </p> + MAIA. + <p> + Thanks! I have had enough of castles. + </p> + <p> + ULFHEIM. —with splendid hunting-grounds stretching for miles + around it. + </p> + MAIA. + <p> + Are there works of art too in this castle? + </p> + ULFHEIM. + <p> + [Slowly.] Well, no—it's true there are no works of art; but— + </p> + MAIA. + <p> + [Relieved.] Ah! that's one good thing, at any rate! + </p> + ULFHEIM. + <p> + Will you go with me, then—as far and as long as I want you? + </p> + MAIA. + <p> + There is a tame bird of prey keeping watch upon me. + </p> + ULFHEIM. + <p> + [Wildly.] We'll put a bullet in his wing, Maia! + </p> + MAIA. + <p> + [Looks at him a moment, and says resolutely.] Come then, and carry me + down into the depths. + </p> + ULFHEIM. + <p> + [Puts his arm round her waist.] It is high time! The mist is upon us! + </p> + MAIA. + <p> + Is the way down terribly dangerous? + </p> + ULFHEIM. + <p> + The mountain is more dangerous still. + </p> +<pre xml:space="preserve"> + [She shakes him off, goes to the edge of the precipice and looks + over, but starts quickly back. +</pre> + ULFHEIM. + <p> + [Goes towards her, laughing.] What? Does it make you a little giddy? + </p> + MAIA. + <p> + [Faintly.] Yes, that too. But go and look over. Those two, coming up— + </p> + ULFHEIM. + <p> + [Goes and bends over the edge of the precipice.] It's only your bird of + prey—and his strange lady. + </p> + MAIA. + <p> + Can't we get past them—without their seeing us? + </p> + ULFHEIM. + <p> + Impossible! The path is far too narrow. And there's no other way down. + </p> + MAIA. + <p> + [Nerving herself.] Well, well—let us face them here, then! + </p> + ULFHEIM. + <p> + Spoken like a true bear-killer, comrade! + </p> +<pre xml:space="preserve"> + [PROFESSOR RUBEK and IRENE appear over the edge of the precipice + at the back. He has his plaid over his shoulders; she has a + fur cloak thrown loosely over her white dress, and a swansdown + hood over her head. +</pre> + PROFESSOR RUBEK. + <p> + [Still only half visible above the edge.] What, Maia! So we two meet + once again? + </p> + MAIA. + <p> + [With assumed coolness.] At your service. Won't you come up? + </p> +<pre xml:space="preserve"> + [PROFESSOR RUBEK climbs right up and holds out his hand to IRENE, + who also comes right to the top. +</pre> + PROFESSOR RUBEK. + <p> + [Coldly to MAIA.] So you, too, have been all night on the mountain,—as + we have? + </p> + MAIA. + <p> + I have been hunting—yes. You gave me permission, you know. + </p> + ULFHEIM. + <p> + [Pointing downward.] Have you come up that path there? + </p> + PROFESSOR RUBEK. + <p> + As you saw. + </p> + ULFHEIM. + <p> + And the strange lady too? + </p> + PROFESSOR RUBEK. + <p> + Yes, of course. [With a glance at MAIA.] Henceforth the strange lady and + I do not intend our ways to part. + </p> + ULFHEIM. + <p> + Don't you know, then, that it is a deadly dangerous way you have come? + </p> + PROFESSOR RUBEK. + <p> + We thought we would try it, nevertheless. For it did not seem + particularly hard at first. + </p> + ULFHEIM. + <p> + No, at first nothing seems hard. But presently you may come to a tight + place where you can neither get forward nor back. And then you stick + fast, Professor! Mountain-fast, as we hunters call it. + </p> + PROFESSOR RUBEK. + <p> + [Smiles and looks at him.] Am I to take these as oracular utterances, + Mr. Ulfheim? + </p> + ULFHEIM. + <p> + Lord preserve me from playing the oracle! [Urgently, pointing up towards + the heights.] But don't you see that the storm is upon us? Don't you + hear the blasts of wind? + </p> + PROFESSOR RUBEK. + <p> + [Listening.] They sound like the prelude to the Resurrection Day. + </p> + ULFHEIM. + <p> + They are storm-blasts form the peaks, man! Just look how the clouds are + rolling and sinking—soon they'll be all around us like a + winding-sheet! + </p> + IRENE. + <p> + [With a start and shiver.] I know that sheet! + </p> + MAIA. + <p> + [Drawing ULFHEIM away.] Let us make haste and get down. + </p> + ULFHEIM. + <p> + [To PROFESSOR RUBEK.] I cannot help more than one. Take refuge in the + hut in the mean-time—while the storm lasts. Then I shall send + people up to fetch the two of you away. + </p> + IRENE. + <p> + [In terror.] To fetch us away! No, no! + </p> + ULFHEIM. + <p> + [Harshly.] To take you by force if necessary—for it's a matter of + life and death here. Now, you know it. [To MAIA.] Come, then—and + don't fear to trust yourself in your comrade's hands. + </p> + MAIA. + <p> + [Clinging to him.] Oh, how I shall rejoice and sing, if I get down with + a whole skin! + </p> + ULFHEIM. + <p> + [Begins the descent and calls to the others.] You'll wait, then, in the + hut, till the men come with ropes, and fetch you away. + </p> +<pre xml:space="preserve"> + [ULFHEIM, with MAIA in his arms, clambers rapidly but warily down + the precipice. +</pre> + IRENE. + <p> + [Looks for some time at PROFESSOR RUBEK with terror-stricken eyes.] Did + you hear that, Arnold?—men are coming up to fetch me away! Many + men will come up here— + </p> + PROFESSOR RUBEK. + <p> + Do not be alarmed, Irene! + </p> + IRENE. + <p> + [In growing terror.] And she, the woman in black—she will come + too. For she must have missed me long ago. And then she will seize me, + Arnold! And put me in the strait-waistcoat. Oh, she has it with her, in + her box. I have seen it with my own eyes— + </p> + PROFESSOR RUBEK. + <p> + Not a soul shall be suffered to touch you. + </p> + IRENE. + <p> + [With a wild smile.] Oh no—I myself have a resource against that. + </p> + PROFESSOR RUBEK. + <p> + What resource do you mean? + </p> + IRENE. + <p> + [Drawing out the knife.] This! + </p> + PROFESSOR RUBEK. + <p> + [Tries to seize it.] Have you a knife? + </p> + IRENE. + <p> + Always, always—both day and night—in bed as well! + </p> + PROFESSOR RUBEK. + <p> + Give me that knife, Irene! + </p> + IRENE. + <p> + [Concealing it.] You shall not have it. I may very likely find a use for + it myself. + </p> + PROFESSOR RUBEK. + <p> + What use can you have for it, here? + </p> + IRENE. + <p> + [Looks fixedly at him.] It was intended for you, Arnold. + </p> + PROFESSOR RUBEK. + <p> + For me! + </p> + IRENE. + <p> + As we were sitting by the Lake of Taunitz last evening— + </p> + PROFESSOR RUBEK. + <p> + By the Lake of— + </p> + <p> + IRENE. —outside the peasant's hut—and playing with swans and + water-lilies— + </p> + PROFESSOR RUBEK. + <p> + What then—what then? + </p> + <p> + IRENE. —and when I heard you say with such deathly, icy coldness—that + I was nothing but an episode in your life— + </p> + PROFESSOR RUBEK. + <p> + It was you that said that, Irene, not I. + </p> + IRENE. + <p> + [Continuing.] —then I had my knife out. I wanted to stab you in + the back with it. + </p> + PROFESSOR RUBEK. + <p> + [Darkly.] And why did you hold your hand? + </p> + IRENE. + <p> + Because it flashed upon me with a sudden horror that you were dead + already—long ago. + </p> + PROFESSOR RUBEK. + <p> + Dead? + </p> + IRENE. + <p> + Dead. Dead, you as well as I. We sat there by the Lake of Taunitz, we + two clay-cold bodies—and played with each other. + </p> + PROFESSOR RUBEK. + <p> + I do not call that being dead. But you do not understand me. + </p> + IRENE. + <p> + Then where is the burning desire for me that you fought and battled + against when I stood freely forth before you as the woman arisen from + the dead? + </p> + PROFESSOR RUBEK. + <p> + Our love is assuredly not dead, Irene. + </p> + IRENE. + <p> + The love that belongs to the life of earth—the beautiful, + miraculous earth-life—the inscrutable earth-life—that is + dead in both of us. + </p> + PROFESSOR RUBEK. + <p> + [Passionately.] And do you know that just that love—it is burning + and seething in me as hotly as ever before? + </p> + IRENE. + <p> + And I? Have you forgotten who I now am? + </p> + PROFESSOR RUBEK. + <p> + Be who or what you please, for aught I care! For me, you are the woman I + see in my dreams of you. + </p> + IRENE. + <p> + I have stood on the turn-table-naked—and made a show of myself to + many hundreds of men—after you. + </p> + PROFESSOR RUBEK. + <p> + It was I that drove you to the turn-table—blind as I then was—I, + who placed the dead clay-image above the happiness of life—of + love. + </p> + IRENE. + <p> + [Looking down.] Too late—too late! + </p> + PROFESSOR RUBEK. + <p> + Not by a hairsbreadth has all that has passed in the interval lowered + you in my eyes. + </p> + IRENE. + <p> + [With head erect.] Nor in my own! + </p> + PROFESSOR RUBEK. + <p> + Well, what then! Then we are free—and there is still time for us + to live our life, Irene. + </p> + IRENE. + <p> + [Looks sadly at him.] The desire for life is dead in me, Arnold. Now I + have arisen. And I look for you. And I find you.—And then I see + that you and life lie dead—as I have lain. + </p> + PROFESSOR RUBEK. + <p> + Oh, how utterly you are astray! Both in us and around us life is + fermenting and throbbing as fiercely as ever! + </p> + IRENE. + <p> + [Smiling and shaking her head.] The young woman of your Resurrection Day + can see all life lying on its bier. + </p> + PROFESSOR RUBEK. + <p> + [Throwing his arms violently around her.] Then let two of the dead—us + two—for once live life to its uttermost—before we go down to + our graves again! + </p> + IRENE. + <p> + [With a shriek.] Arnold! + </p> + PROFESSOR RUBEK. + <p> + But not here in the half darkness! Not here with this hideous dank + shroud flapping around us— + </p> + IRENE. + <p> + [Carried away by passion.] No, no—up in the light, and in all the + glittering glory! Up to the Peak of Promise! + </p> + PROFESSOR RUBEK. + <p> + There we will hold our marriage-feast, Irene—oh, my beloved! + </p> + IRENE. + <p> + [Proudly.] The sun may freely look on us, Arnold. + </p> + PROFESSOR RUBEK. + <p> + All the powers of light may freely look on us—and all the powers + of darkness too. [Seizes her hand.] Will you then follow me, oh my + grace-given bride? + </p> + IRENE. + <p> + [As though transfigured.] I follow you, freely and gladly, my lord and + master! + </p> + PROFESSOR RUBEK. + <p> + [Drawing her along with him.] We must first pass through the mists, + Irene, and then— + </p> + IRENE. + <p> + Yes, through all the mists, and then right up to the summit of the tower + that shines in the sunrise. + </p> +<pre xml:space="preserve"> + [The mist-clouds close in over the scene—PROFESSOR RUBEK and + IRENE, hand in hand, climb up over the snow-field to the right + and soon disappear among the lower clouds. Keen storm-gusts + hurtle and whistle through the air. + + [The SISTER OF MERCY appears upon the stone-scree to the left. + She stops and looks around silently and searchingly. +</pre> + MAIA. +<pre xml:space="preserve"> + I am free! I am free! I am free! + No more life in the prison for me! + I am free as a bird! I am free! + + [Suddenly a sound like thunder is heard from high up on the snow- + field, which glides and whirls downwards with headlong speed. + PROFESSOR RUBEK and IRENE can be dimly discerned as they are + whirled along with the masses of snow and buried in them. +</pre> + THE SISTER OF MERCY. + <p> + [Gives a shriek, stretches out her arms towards them and cries.] Irene! + </p> +<pre xml:space="preserve"> + [Stands silent a moment, then makes the sign of the cross before + her in the air, and says. +</pre> + <p> + Pax vobiscum! + </p> +<pre xml:space="preserve"> + [MAIA's triumphant song sounds from still farther down below. +</pre> + <br /> + </div> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of When We Dead Awaken, by Henrik Ibsen + +*** END OF THIS PROJECT GUTENBERG EBOOK WHEN WE DEAD AWAKEN *** + +***** This file should be named 4782-h.htm or 4782-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/4/7/8/4782/ + +Produced by Sonia K, and David Widger + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: When We Dead Awaken + +Author: Henrik Ibsen + +Commentator: William Archer + +Translator: William Archer + +Release Date: December, 2003 [EBook #4782] +Posting Date: February 17, 2010 + + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK WHEN WE DEAD AWAKEN *** + + + + +Produced by Sonia K + + + + + +WHEN WE DEAD AWAKEN + +By Henrik Ibsen. + + +Introduction and translation by William Archer. + + + + +INTRODUCTION. + + +From _Pillars of Society_ to _John Gabriel Borkman_, Ibsen's plays had +followed each other at regular intervals of two years, save when his +indignation over the abuse heaped upon _Ghosts_ reduced to a single +year the interval between that play and _An Enemy of the People_. _John +Gabriel Borkman_ having appeared in 1896, its successor was expected in +1898; but Christmas came and brought no rumour of a new play. In a +man now over seventy, this breach of a long-established habit seemed +ominous. The new National Theatre in Christiania was opened in September +of the following year; and when I then met Ibsen (for the last time) he +told me that he was actually at work on a new play, which he thought of +calling a "Dramatic Epilogue." "He wrote _When We Dead Awaken_," +says Dr. Elias, "with such labour and such passionate agitation, so +spasmodically and so feverishly, that those around him were almost +alarmed. He must get on with it, he must get on! He seemed to hear +the beating of dark pinions over his head. He seemed to feel the grim +Visitant, who had accompanied Alfred Allmers on the mountain paths, +already standing behind him with uplifted hand. His relatives are firmly +convinced that he knew quite clearly that this would be his last play, +that he was to write no more. And soon the blow fell." + +_When We Dead Awaken_ was published very shortly before Christmas 1899. +He had still a year of comparative health before him. We find him in +March 1900, writing to Count Prozor: "I cannot say yet whether or not +I shall write another drama; but if I continue to retain the vigour of +body and mind which I at present enjoy, I do not imagine that I shall be +able to keep permanently away from the old battlefields. However, if I +were to make my appearance again, it would be with new weapons and +in new armour." Was he hinting at the desire, which he had long ago +confessed to Professor Herford, that his last work should be a drama in +verse? Whatever his dream, it was not to be realised. His last letter +(defending his attitude of philosophic impartiality with regard to the +South African war) is dated December 9, 1900. With the dawn of the new +century, the curtain descended upon the mind of the great dramatic poet +of the age which had passed away. + +_When We Dead Awaken_ was acted during 1900 at most of the leading +theatres in Scandinavia and Germany. In some German cities (notably +in Frankfort on Main) it even attained a considerable number of +representatives. I cannot learn, however, that it has anywhere held the +stage. It was produced in London, by the State Society, at the Imperial +Theatre, on January 25 and 26, 1903. Mr. G. S. Titheradge played Rubek, +Miss Henrietta Watson Irene, Miss Mabel Hackney Maia, and Mr. Laurence +Irving Ulfheim. I find no record of any American performance. + +In the above-mentioned letter to Count Prozor, Ibsen confirmed that +critic's conjecture that "the series which ends with the Epilogue really +began with _The Master Builder_." As the last confession, so to speak, +of a great artist, the Epilogue will always be read with interest. It +contains, moreover, many flashes of the old genius, many strokes of the +old incommunicable magic. One may say with perfect sincerity that there +is more fascination in the dregs of Ibsen's mind than in the "first +sprightly running" of more common-place talents. But to his sane +admirers the interest of the play must always be melancholy, because it +is purely pathological. To deny this is, in my opinion, to cast a slur +over all the poet's previous work, and in great measure to justify the +criticisms of his most violent detractors. For _When We Dead Awaken_ is +very like the sort of play that haunted the "anti-Ibsenite" imagination +in the year 1893 or thereabouts. It is a piece of self-caricature, a +series of echoes from all the earlier plays, an exaggeration of manner +to the pitch of mannerism. Moreover, in his treatment of his symbolic +motives, Ibsen did exactly what he had hitherto, with perfect justice, +plumed himself upon never doing: he sacrificed the surface reality +to the underlying meaning. Take, for instance, the history of Rubek's +statue and its development into a group. In actual sculpture this +development is a grotesque impossibility. In conceiving it we are +deserting the domain of reality, and plunging into some fourth dimension +where the properties of matter are other than those we know. This is an +abandonment of the fundamental principle which Ibsen over and over again +emphatically expressed--namely, that any symbolism his work might be +found to contain was entirely incidental, and subordinate to the truth +and consistency of his picture of life. Even when he dallied with the +supernatural, as in _The Master Builder_ and _Little Eyolf_, he was +always careful, as I have tried to show, not to overstep decisively +the boundaries of the natural. Here, on the other hand, without any +suggestion of the supernatural, we are confronted with the wholly +impossible, the inconceivable. How remote is this alike from his +principles of art and from the consistent, unvarying practice of his +better years! So great is the chasm between _John Gabriel Borkman_ and +_When We Dead Awaken_ that one could almost suppose his mental breakdown +to have preceded instead of followed the writing of the latter play. +Certainly it is one of the premonitions of the coming end. It is Ibsen's +_Count Robert of Paris_. To pretend to rank it with his masterpieces is +to show a very imperfect sense of the nature of their mastery. + + + + + +WHEN WE DEAD AWAKEN. + +A DRAMATIC EPILOGUE. + + +CHARACTERS. + + + PROFESSOR ARNOLD RUBEK, a sculptor. + MRS. MAIA RUBEK, his wife. + THE INSPECTOR at the Baths. + ULFHEIM, a landed proprietor. + A STRANGER LADY. + A SISTER OF MERCY. + + Servants, Visitors to the Baths, and Children. + + +The First Act passes at a bathing establishment on the coast; the Second +and Third Acts in the neighbourhood of a health resort, high in the +mountains. + + + + +ACT FIRST. + + + [Outside the Bath Hotel. A portion of the main building can be seen + to the right. + + An open, park-like place with a fountain, groups + of fine old trees, and shrubbery. To the left, a little pavilion + almost covered with ivy and Virginia creeper. A table and chair + outside it. At the back a view over the fjord, right out to sea, + with headlands and small islands in the distance. It is a calm, + warm and sunny summer morning. + + [PROFESSOR RUBEK and MRS. MAIA RUBEK are sitting in basket chairs + beside a covered table on the lawn outside the hotel, having just + breakfasted. They have champagne and seltzer water on the table, + and each has a newspaper. PROFESSOR RUBEK is an elderly man of + distinguished appearance, wearing a black velvet jacket, and + otherwise in light summer attire. MAIA is quite young, with + a vivacious expression and lively, mocking eyes, yet with a + suggestion of fatigue. She wears an elegant travelling dress. + + +MAIA. + +[Sits for some time as though waiting for the PROFESSOR to say +something, then lets her paper drop with a deep sigh.] Oh dear, dear, +dear--! + + +PROFESSOR RUBEK. + +[Looks up from his paper.] Well, Maia? What is the matter with you? + + +MAIA. + +Just listen how silent it is here. + + +PROFESSOR RUBEK. + +[Smiles indulgently.] And you can hear that? + + +MAIA. + +What? + + +PROFESSOR RUBEK. + +The silence? + + +MAIA. + +Yes, indeed I can. + + +PROFESSOR RUBEK. + +Well, perhaps you are right, _mein Kind_. One can really hear the +silence. + + +MAIA. + +Heaven knows you can--when it's so absolutely overpowering as it is +here-- + + +PROFESSOR RUBEK. + +Here at the Baths, you mean? + + +MAIA. + +Wherever you go at home here, it seems to me. Of course there was noise +and bustle enough in the town. But I don't know how it is--even the +noise and bustle seemed to have something dead about it. + + +PROFESSOR RUBEK. + +[With a searching glance.] You don't seem particularly glad to be at +home again, Maia? + + +MAIA. + +[Looks at him.] Are you glad? + + +PROFESSOR RUBEK. + +[Evasively.] I--? + + +MAIA. + +Yes, you, who have been so much, much further away than I. Are you +entirely happy, now that you are at home again? + + +PROFESSOR RUBEK. + +No--to be quite candid--perhaps not entirely happy-- + + +MAIA. + +[With animation.] There, you see! Didn't I know it! + + +PROFESSOR RUBEK. + +I have been too long abroad. I have drifted quite away from all +this--this home life. + + +MAIA. + +[Eagerly, drawing her chair nearer him.] There, you see, Rubek! We had +much better get away again! As quickly as ever we can. + + +PROFESSOR RUBEK. + +[Somewhat impatiently.] Well, well, that is what we intend to do, my +dear Maia. You know that. + + +MAIA. + +But why not now--at once? Only think how cozy and comfortable we could +be down there, in our lovely new house-- + + +PROFESSOR RUBEK. + +[Smiles indulgently.] We ought by rights to say: our lovely new home. + + +MAIA. + +[Shortly.] I prefer to say house--let us keep to that. + + +PROFESSOR RUBEK. + +[His eyes dwelling on her.] You are really a strange little person. + + +MAIA. + +Am I so strange? + + +PROFESSOR RUBEK. + +Yes, I think so. + + +MAIA. + +But why, pray? Perhaps because I'm not desperately in love with mooning +about up here--? + + +PROFESSOR RUBEK. + +Which of us was it that was absolutely bent on our coming north this +summer? + + +MAIA. + +I admit, it was I. + + +PROFESSOR RUBEK. + +It was certainly not I, at any rate. + + +MAIA. + +But good heavens, who could have dreamt that everything would have +altered so terribly at home here? And in so short a time, too! Why, it +is only just four years since I went away-- + + +PROFESSOR RUBEK. + +Since you were married, yes. + + +MAIA. + +Married? What has that to do with the matter? + + +PROFESSOR RUBEK. + +[Continuing.] --since you became the Frau Professor, and found yourself +mistress of a charming home--I beg your pardon--a very handsome house, I +ought to say. And a villa on the Lake of Taunitz, just at the point that +has become most fashionable, too--. In fact it is all very handsome and +distinguished, Maia, there's no denying that. And spacious too. We need +not always be getting in each other's way-- + + +MAIA. + +[Lightly.] No, no, no--there's certainly no lack of house-room, and that +sort of thing-- + + +PROFESSOR RUBEK. + +Remember, too, that you have been living in altogether more spacious +and distinguished surroundings--in more polished society than you were +accustomed to at home. + + +MAIA. + +[Looking at him.] Ah, so you think it is _I_ that have changed? + + +PROFESSOR RUBEK. + +Indeed I do, Maia. + + +MAIA. + +I alone? Not the people here? + + +PROFESSOR RUBEK. + +Oh yes, they too--a little, perhaps. And not at all in the direction of +amiability. That I readily admit. + + +MAIA. + +I should think you must admit it, indeed. + + +PROFESSOR RUBEK. + +[Changing the subject.] Do you know how it affects me when I look at the +life of the people around us here? + + +MAIA. + +No. Tell me. + + +PROFESSOR RUBEK. + +It makes me think of that night we spent in the train, when we were +coming up here-- + + +MAIA. + +Why, you were sound asleep all the time. + + +PROFESSOR RUBEK. + +Not quite. I noticed how silent it became at all the little roadside +stations. I heard the silence--like you, Maia-- + + +MAIA. + +H'm,--like me, yes. + + +PROFESSOR RUBEK. --and that assured me that we had crossed the +frontier--that we were really at home. For the train stopped at all the +little stations--although there was nothing doing at all. + + +MAIA. + +Then why did it stop--though there was nothing to be done? + + +PROFESSOR RUBEK. + +Can't say. No one got out or in; but all the same the train stopped a +long, endless time. And at every station I could make out that there +were two railway men walking up and down the platform--one with a +lantern in his hand--and they said things to each other in the night, +low, and toneless, and meaningless. + + +MAIA. + +Yes, that is quite true. There are always two men walking up and down, +and talking-- + + +PROFESSOR RUBEK. --of nothing. [Changing to a livelier tone.] But just +wait till to-morrow. Then we shall have the great luxurious steamer +lying in the harbour. We'll go on board her, and sail all round the +coast--northward ho!--right to the polar sea. + + +MAIA. + +Yes, but then you will see nothing of the country--and of the people. +And that was what you particularly wanted. + + +PROFESSOR RUBEK. + +[Shortly and snappishly.] I have seen more than enough. + + +MAIA. + +Do you think a sea voyage will be better for you? + + +PROFESSOR RUBEK. + +It is always a change. + + +MAIA. + +Well, well, if only it is the right thing for you-- + + +PROFESSOR RUBEK. + +For me? The right thing? There is nothing in the world the matter with +me. + + +MAIA. + +[Rises and goes to him.] Yes, there is, Rubek. I am sure you must feel +it yourself. + + +PROFESSOR RUBEK. + +Why my dearest Maia--what should be amiss with me? + + +MAIA. + +[Behind him, bending over the back of his chair.] That you must tell me. +You have begun to wander about without a moment's peace. You cannot rest +anywhere--neither at home nor abroad. You have become quite misanthropic +of late. + + +PROFESSOR RUBEK. + +[With a touch of sarcasm.] Dear me--have you noticed that? + + +MAIA. + +No one that knows you can help noticing it. And then it seems to me so +sad that you have lost all pleasure in your work. + + +PROFESSOR RUBEK. + +That too, eh? + + +MAIA. + +You that used to be so indefatigable--working from morning to night! + + +PROFESSOR RUBEK. + +[Gloomily.] Used to be, yes-- + + +MAIA. + +But ever since you got your great masterpiece out of hand-- + + +PROFESSOR RUBEK. + +[Nods thoughtfully.] "The Resurrection Day"-- + + +MAIA. --the masterpiece that has gone round the whole world, and made +you so famous-- + + +PROFESSOR RUBEK. + +Perhaps that is just the misfortune, Maia. + + +MAIA. + +How so? + + +PROFESSOR RUBEK. + +When I had finished this masterpiece of mine--[Makes a passionate +movement with his hand]--for "The Resurrection Day" is a masterpiece! Or +was one in the beginning. No, it is one still. It must, must, must be a +masterpiece! + + +MAIA. + +[Looks at him in astonishment.] Why, Rubek--all the world knows that. + + +PROFESSOR RUBEK. + +[Short, repellently.] All the world knows nothing! Understands nothing! + + +MAIA. + +Well, at any rate it can divine something-- + + +PROFESSOR RUBEK. + +Something that isn't there at all, yes. Something that never was in my +mind. Ah yes, that they can all go into ecstasies over! [Growling to +himself.] What is the good of working oneself to death for the mob and +the masses--for "all the world"! + + +MAIA. + +Do you think it is better, then--do you think it is worthy of you, to do +nothing at all but portrait-bust now and then? + + +PROFESSOR RUBEK. + +[With a sly smile.] They are not exactly portrait-busts that I turn out, +Maia. + + +MAIA. + +Yes, indeed they are--for the last two or three years--ever since you +finished your great group and got it out of the house-- + + +PROFESSOR RUBEK. + +All the same, they are no mere portrait-busts, I assure you. + + +MAIA. + +What are they, then? + + +PROFESSOR RUBEK. + +There is something equivocal, something cryptic, lurking in and behind +these busts--a secret something, that the people themselves cannot see-- + + +MAIA. + +Indeed? + + +PROFESSOR RUBEK. + +[Decisively.] I alone can see it. And it amuses me unspeakably.--On the +surface I give them the "striking likeness," as they call it, that they +all stand and gape at in astonishment--[Lowers his voice]--but at bottom +they are all respectable, pompous horse-faces, and self-opinionated +donkey-muzzles, and lop-eared, low-browed dog-skulls, and fatted +swine-snouts--and sometimes dull, brutal bull-fronts as well-- + + +MAIA. + +[Indifferently.] All the dear domestic animals, in fact. + + +PROFESSOR RUBEK. + +Simply the dear domestic animals, Maia. All the animals which men have +bedevilled in their own image--and which have bedevilled men in return. +[Empties his champagne-glass and laughs.] And it is these double-faced +works of art that our excellent plutocrats come and order of me. And +pay for in all good faith--and in good round figures too--almost their +weight in gold, as the saying goes. + + +MAIA. + +[Fills his glass.] Come, Rubek! Drink and be happy. + + +PROFESSOR RUBEK. + +[Passes his hand several times across his forehead and leans back in his +chair.] I am happy, Maia. Really happy--in a way. [Short silence.] +For after all there is a certain happiness in feeling oneself free and +independent on every hand--in having at ones command everything one can +possibly wish for--all outward things, that is to say. Do you not agree +with me, Maia? + + +MAIA. + +Oh yes, I agree. All that is well enough in its way. [Looking at +him.] But do you remember what you promised me the day we came to an +understanding on--on that troublesome point-- + + +PROFESSOR RUBEK. + +[Nods.] --on the subject of our marriage, yes. It was no easy matter for +you, Maia. + + +MAIA. + +[Continuing unruffled.] --and agreed that I was to go abroad with you, +and live there for good and all--and enjoy myself.--Do you remember what +you promised me that day? + + +PROFESSOR RUBEK. + +[Shaking his head.] No, I can't say that I do. Well, what did I promise? + + +MAIA. + +You said you would take me up to a high mountain and show me all the +glory of the world. + + +PROFESSOR RUBEK. + +[With a slight start.] Did I promise you that, too? + + +MAIA. + +Me too? Who else, pray? + + +PROFESSOR RUBEK. + +[Indifferently.] No, no, I only meant did I promise to show you--? + + +MAIA. --all the glory of the world? Yes, you did. And all that glory +should be mine, you said. + + +PROFESSOR RUBEK. + +That is sort of figure of speech that I was in the habit of using once +upon a time. + + +MAIA. + +Only a figure of speech? + + +PROFESSOR RUBEK. + +Yes, a schoolboy phrase--the sort of thing I used to say when I wanted +to lure the neighbours' children out to play with me, in the woods and +on the mountains. + + +MAIA. + +[Looking hard at him.] Perhaps you only wanted to lure me out to play, +as well? + + +PROFESSOR RUBEK. + +[Passing it off as a jest.] Well, has it not been a tolerable amusing +game, Maia? + + +MAIA. + +[Coldly.] I did not go with you only to play. + + +PROFESSOR RUBEK. + +No, no, I daresay not. + + +MAIA. + +And you never took me up with you to any high mountain, or showed me-- + + +PROFESSOR RUBEK. + +[With irritation.] --all the glory of the world? No, I did not. For, let +me tell you something: you are not really born to be a mountain-climber, +little Maia. + + +MAIA. + +[Trying to control herself.] Yet at one time you seemed to think I was. + + +PROFESSOR RUBEK. + +Four or five years ago, yes. [Stretching himself in his chair.] Four or +five years--it's a long, long time, Maia. + + +MAIA. + +[Looking at him with a bitter expression.] Has the time seemed so very +long to you, Rubek? + + +PROFESSOR RUBEK. + +I am beginning now to find it a trifle long. [Yawning.] Now and then, +you know. + + +MAIA. + +[Returning to her place.] I shall not bore you any longer. + + [She resumes her seat, takes up the newspaper, and begins turning + over the leaves. Silence on both sides. + + +PROFESSOR RUBEK. + +[Leaning on his elbows across the table, and looking at her teasingly.] +Is the Frau Professor offended? + + +MAIA. + +[Coldly, without looking up.] No, not at all. + + [Visitors to the baths, most of them ladies, begin to pass, + singly and in groups, through the park from the right, and + out to the left. + + [Waiters bring refreshments from the hotel, and go off behind + the pavilion. + + [The INSPECTOR, wearing gloves and carrying a stick, comes from + his rounds in the park, meets visitors, bows politely, and + exchanges a few words with some of them. + + +THE INSPECTOR. + +[Advancing to PROFESSOR RUBEK's table and politely taking off his hat.] +I have the honour to wish you good morning, Mrs. Rubek.--Good morning, +Professor Rubek. + + +PROFESSOR RUBEK. + +Good morning, good morning Inspector. + + +THE INSPECTOR. + +[Addressing himself to MRS. RUBEK.] May I venture to ask if you have +slept well? + + +MAIA. + +Yes, thank you; excellently--for my part. I always sleep like a stone. + + +THE INSPECTOR. + +I am delighted to hear it. The first night in a strange place is often +rather trying.--And the Professor--? + + +PROFESSOR RUBEK. + +Oh, my night's rest is never much to boast of--especially of late. + + +THE INSPECTOR. + +[With a show of sympathy.] Oh--that is a pity. But after a few weeks' +stay at the Baths--you will quite get over that. + + +PROFESSOR RUBEK. + +[Looking up at him.] Tell me, Inspector--are any of your patients in the +habit of taking baths during the night? + + +THE INSPECTOR. + +[Astonished.] During the night? No, I have never heard of such a thing. + + +PROFESSOR RUBEK. + +Have you not? + + +THE INSPECTOR. + +No, I don't know of any one so ill as to require such treatment. + + +PROFESSOR RUBEK. + +Well, at any rate there is some one who is in the habit of walking about +the park by night? + + +THE INSPECTOR. + +[Smiling and shaking his head.] No, Professor--that would be against the +rules. + + +MAIA. + +[Impatiently.] Good Heavens, Rubek, I told you so this morning--you must +have dreamt it. + + +PROFESSOR RUBEK. + +[Drily.] Indeed? Must I? Thank you! [Turning to the INSPECTOR.] The fact +is, I got up last night--I couldn't sleep--and I wanted to see what sort +of night it was-- + + +THE INSPECTOR. + +[Attentively.] To be sure--and then--? + + +PROFESSOR RUBEK. + +I looked out at the window--and caught sight of a white figure in there +among the trees. + + +MAIA. + +[Smiling to the INSPECTOR.] And the Professor declares that the figure +was dressed in a bathing costume-- + + +PROFESSOR RUBEK. --or something like it, I said. Couldn't distinguish +very clearly. But I am sure it was something white. + + +THE INSPECTOR. + +Most remarkable. Was it a gentleman or a lady? + + +PROFESSOR RUBEK. + +I could almost have sworn it was a lady. But then after it came another +figure. And that one was quite dark--like a shadow--. + + +THE INSPECTOR. + +[Starting.] A dark one? Quite black, perhaps? + + +PROFESSOR RUBEK. + +Yes, I should almost have said so. + + +THE INSPECTOR. + +[A light breaking in upon him.] And behind the white figure? Following +close upon her--? + + +PROFESSOR RUBEK. + +Yes--at a little distance-- + + +THE INSPECTOR. + +Aha! Then I think I can explain the mystery, Professor. + + +PROFESSOR RUBEK. + +Well, what was it then? + + +MAIA. + +[Simultaneously.] Was the professor really not dreaming? + + +THE INSPECTOR. + +[Suddenly whispering, as he directs their attention towards the +background on the right.] Hush, if you please! Look there--don't speak +loud for a moment. + + [A slender lady, dressed in fine, cream-white cashmere, and + followed by a SISTER OF MERCY in black, with a silver cross + hanging by a chain on her breast, comes forward from behind + the hotel and crosses the park towards the pavilion in front + on the left. Her face is pale, and its lines seem to have + stiffened; the eyelids are drooped and the eyes appear as + though they saw nothing. Her dress comes down to her feet + and clings to the body in perpendicular folds. Over her head, + neck, breast, shoulders and arms she wears a large shawl of + white crape. She keeps her arms crossed upon her breast. + She carries her body immovably, and her steps are stiff and + measured. The SISTER's bearing is also measured, and she has + the air of a servant. She keeps her brown piercing eyes + incessantly fixed upon the lady. WAITERS, with napkins on + their arms, come forward in the hotel doorway, and cast + curious glances at the strangers, who take no notice of + anything, and, without looking round, enter the pavilion. + + +PROFESSOR RUBEK. + +[Has risen slowly and involuntarily, and stands staring at the closed +door of the pavilion.] Who was that lady? + + +THE INSPECTOR. + +She is a stranger who has rented the little pavilion there. + + +PROFESSOR RUBEK. + +A foreigner? + + +THE INSPECTOR. + +Presumably. At any rate they both came from abroad--about a week ago. +They have never been here before. + + +PROFESSOR RUBEK. + +[Decidedly; looking at him.] It was she I saw in the park last night. + + +THE INSPECTOR. + +No doubt it must have been. I thought so from the first. + + +PROFESSOR RUBEK. + +What is this lady's name, Inspector? + + +THE INSPECTOR. + +She has registered herself as "Madame de Satow, with companion." We know +nothing more. + + +PROFESSOR RUBEK. + +[Reflecting.] Satow? Satow--? + + +MAIA. [Laughing mockingly.] Do you know any one of that name, Rubek? Eh? + + +PROFESSOR RUBEK. + +[Shaking his head.] No, no one.--Satow? It sounds Russian--or in all +events Slavonic. [To the INSPECTOR.] What language does she speak? + + +THE INSPECTOR. + +When the two ladies talk to each other, it is in a language I cannot +make out at all. But at other times she speaks Norwegian like a native. + + +PROFESSOR RUBEK. + +[Exclaims with a start.] Norwegian? You are sure you are not mistaken? + + +THE INSPECTOR. + +No, how could I be mistaken in that? + + +PROFESSOR RUBEK. + +[Looks at him with eager interest.] You have heard her yourself? + + +THE INSPECTOR. + +Yes. I myself have spoken to her--several times.--Only a few words, +however; she is far from communicative. But-- + + +PROFESSOR RUBEK. + +But Norwegian it was? + + +THE INSPECTOR. + +Thoroughly good Norwegian--perhaps with a little north-country accent. + + +PROFESSOR RUBEK. + +[Gazing straight before him in amazement, whispers.] That too? + + +MAIA. + +[A little hurt and jarred.] Perhaps this lady has been one of your +models, Rubek? Search your memory. + + +PROFESSOR RUBEK. + +[Looks cuttingly at her.] My models? + + +MAIA. + +[With a provoking smile.] In your younger days, I mean. You are said to +have had innumerable models--long ago, of course. + + +PROFESSOR RUBEK. + +[In the same tone.] Oh no, little Frau Maia. I have in reality had only +one single model. One and only one--for everything I have done. + + +THE INSPECTOR. + +[Who has turned away and stands looking out to the left.] If you'll +excuse me, I think I will take my leave. I see some one coming whom it +is not particularly agreeable to meet. Especially in the presence of +ladies. + + +PROFESSOR RUBEK. + +[Looking in the same direction.] That sportsman there? Who is it? + + +THE INSPECTOR. + +It is a certain Mr. Ulfheim, from-- + + +PROFESSOR RUBEK. + +Oh, Mr. Ulfheim-- + + +THE INSPECTOR. --the bear-killer, as they call him-- + + +PROFESSOR RUBEK. + +I know him. + + +THE INSPECTOR. + +Who does not know him? + + +PROFESSOR RUBEK. + +Very slightly, however. Is he on your list of patients--at last? + + +THE INSPECTOR. + +No, strangely enough--not as yet. He comes here only once a year--on his +way up to his hunting-grounds.--Excuse me for the moment-- + + [Makes a movement to go into the hotel. + + +ULFHEIM's VOICE. + +[Heard outside.] Stop a moment, man! Devil take it all, can't you stop? +Why do you always scuttle away from me? + + +THE INSPECTOR. + +[Stops.] I am not scuttling at all, Mr. Ulfheim. + + [ULFHEIM enters from the left followed by a servant with a + couple of sporting dogs in leash. ULFHEIM is in shooting + costume, with high boots and a felt hat with a feather in + it. He is a long, lank, sinewy personage, with matted hair + and beard, and a loud voice. His appearance gives no precise + clue to his age, but he is no longer young.] + + +ULFHEIM. + +[Pounces upon the INSPECTOR.] Is this a way to receive strangers, hey? +You scamper away with your tail between your legs--as if you had the +devil at your heels. + + +THE INSPECTOR. + +[Calmly, without answering him.] Has Mr. Ulfheim arrived by the steamer? + + +ULFHEIM. + +[Growls.] Haven't had the honour of seeing any steamer. [With his arms +akimbo.] Don't you know that I sail my own cutter? [To the SERVANT.] +Look well after your fellow-creatures, Lars. But take care you keep them +ravenous, all the same. Fresh meat-bones--but not too much meat on them, +do you hear? And be sure it's reeking raw, and bloody. And get something +in your own belly while you're about it. [Aiming a kick at him.] Now +then, go to hell with you! + + [The SERVANT goes out with the dogs, behind the corner of the + hotel.] + + +THE INSPECTOR. + +Would not Mr. Ulfheim like to go into the dining-room in the meantime? + + +ULFHEIM. + +In among all the half-dead flies and people? No, thank you a thousand +times, Mr. Inspector. + + +THE INSPECTOR. + +Well, well, as you please. + + +ULFHEIM. + +But get the housekeeper to prepare a hamper for me as usual. There must +be plenty of provender in it--and lots of brandy--! You can tell her +that I or Lars will come and play Old Harry with her if she doesn't-- + + +THE INSPECTOR. + +[Interrupting.] We know your ways of old. [Turning.] Can I give the +waiter any orders, Professor? Can I send Mrs. Rubek anything? + + +PROFESSOR RUBEK. + +No thank you; nothing for me. + + +MAIA. + +Nor for me. + + [The INSPECTOR goes into the hotel. + + +ULFHEIM. + +[Stares at them for a moment; then lifts his hat.] Why, blast me if here +isn't a country tyke that has strayed into regular tip-top society. + + +PROFESSOR RUBEK. + +[Looking up.] What do you mean by that, Mr. Ulfheim? + + +ULFHEIM. + + +[More quietly and politely.] I believe I have the honour of addressing +no less a person than the great Sculptor Rubek. + + +PROFESSOR RUBEK. + +[Nods.] I remember meeting you once or twice--the autumn when I was last +at home. + + +ULFHEIM. + +That's many years ago, now. And then you weren't so illustrious as I +hear you've since become. At that time even a dirty bear-hunter might +venture to come near you. + + +PROFESSOR RUBEK. + +[Smiling.] I don't bite even now. + + +MAIA. + +[Looks with interest at ULFHEIM.] Are you really and truly a +bear-hunter? + + +ULFHEIM. + +[Seating himself at the next table, nearer the hotel.] A bear-hunter +when I have the chance, madam. But I make the best of any sort of game +that comes in my way--eagles, and wolves, and women, and elks, and +reindeer--if only it's fresh and juicy and has plenty of blood in it. + + [Drinks from his pocket-flask. + + +MAIA. + +[Regarding him fixedly.] But you like bear-hunting best? + + +ULFHEIM. + +I like it best, yes. For then one can have the knife handy at a pinch. +[With a slight smile.] We both work in a hard material, madam--both your +husband and I. He struggles with his marble blocks, I daresay; and I +struggle with tense and quivering bear-sinews. And we both of us win +the fight in the end--subdue and master our material. We never rest till +we've got the upper hand of it, though it fight never so hard. + + +PROFESSOR RUBEK. + +[Deep in thought.] There's a great deal of truth in what you say. + + +ULFHEIM. + +Yes, for I take it the stone has something to fight for too. It is dead, +and determined by no manner of means to let itself be hammered into +life. Just like the bear when you come and prod him up in his lair. + + +MAIA. + +Are you going up into the forests now to hunt? + + +ULFHEIM. + +I am going right up into the high mountain.--I suppose you have never +been in the high mountain, madam? + + +MAIA. + +No, never. + + +ULFHEIM. + +Confound it all then, you must be sure and come up there this very +summer! I'll take you with me--both you and the Professor, with +pleasure. + + +MAIA. + +Thanks. But Rubek is thinking of taking a sea trip this summer. + + +PROFESSOR RUBEK. + +Round the coast--through the island channels. + + +ULFHEIM. + +Ugh--what the devil would you do in those damnable sickly +gutters--floundering about in the brackish ditchwater? Dishwater I +should rather call it. + + +MAIA. + +There, you hear, Rubek! + + +ULFHEIM. + +No, much better come up with me to the mountain--away, clean away, from +the trail and taint of men. You cant' think what that means for me. But +such a little lady-- + + [He stops. + + [The SISTER OF MERCY comes out of the pavilion and goes into + the hotel. + + +ULFHEIM. + +[Following her with his eyes.] Just look at her, do! That night-crow +there!--Who is it that's to be buried? + + +PROFESSOR RUBEK. + +I have not heard of any one-- + + +ULFHEIM. + +Well, there's some one on the point of giving up the ghost, then--in on +corner or another.--People that are sickly and rickety should have the +goodness to see about getting themselves buried--the sooner the better. + + +MAIA. + +Have you ever been ill yourself, Mr. Ulfheim. + + +ULFHEIM. + +Never. If I had, I shouldn't be here.--But my nearest friends--they have +been ill, poor things. + + +MAIA. + +And what did you do for your nearest friends? + + +ULFHEIM. + +Shot them, of course. + + +PROFESSOR RUBEK. + +[Looking at him.] Shot them? + + +MAIA. + +[Moving her chair back.] Shot them dead? + + +ULFHEIM. + +[Nods.] I never miss, madam. + + +MAIA. + +But how can you possibly shoot people! + + +ULFHEIM. + +I am not speaking of people-- + + +MAIA. + +You said your nearest friends-- + + +ULFHEIM. + +Well, who should they be but my dogs? + + +MAIA. + +Are your dogs your nearest friends? + + +ULFHEIM. + +I have none nearer. My honest, trusty, absolutely loyal comrades--. When +one of them turns sick and miserable--bang!--and there's my friend sent +packing--to the other world. + + [The SISTER OF MERCY comes out of the hotel with a tray on which + is bread and milk. She places it on the table outside the + pavilion, which she enters. + + +ULFHEIM. + +[Laughs scornfully.] That stuff there--is that what you call food for +human beings! Milk and water and soft, clammy bread. Ah, you should see +my comrades feeding. Should you like to see it? + + +MAIA. + +[Smiling across to the PROFESSOR and rising.] Yes, very much. + + +ULFHEIM. + +[Also rising.] Spoken like a woman of spirit, madam! Come with me, then! +They swallow whole great thumping meat-bones--gulp them up and then gulp +them down again. Oh, it's a regular treat to see them. Come along and +I'll show you--and while we're about it, we can talk over this trip to +the mountains-- + + [He goes out by the corner of the hotel, MAIA following him. + + [Almost at the same moment the STRANGE LADY comes out of the + pavilion and seats herself at the table. + + [The LADY raises her glass of milk and is about to drink, but + stops and looks across at RUBEK with vacant, expressionless + eyes. + + +PROFESSOR RUBEK. + +[Remains sitting at his table and gazes fixedly and earnestly at her. +At last he rises, goes some steps towards her, stops, and says in a low +voice.] I know you quite well, Irene. + + +THE LADY. + +[In a toneless voice, setting down her glass.] You can guess who I am, +Arnold? + + +PROFESSOR RUBEK. + +[Without answering.] And you recognise me, too, I see. + + +THE LADY. + +With you it is quite another matter. + + +PROFESSOR RUBEK. + +With me?--How so? + + +THE LADY. + +Oh, you are still alive. + + +PROFESSOR RUBEK. + +[Not understanding.] Alive--? + + +THE LADY. + +[After a short pause.] Who was the other? The woman you had with +you--there at the table? + + +PROFESSOR RUBEK. + +[A little reluctantly.] She? That was my--my wife. + + +THE LADY. + +[Nods slowly.] Indeed. That is well, Arnold. Some one, then, who does +not concern me-- + + +PROFESSOR RUBEK. + +[Nods.] No, of course not-- + + +THE LADY. --one whom you have taken to you after my lifetime. + + +PROFESSOR RUBEK. + +[Suddenly looking hard at her.] After your--? What do you mean by that, +Irene? + + +IRENE. + +[Without answering.] And the child? I hear the child is prospering too. +Our child survives me--and has come to honour and glory. + + +PROFESSOR RUBEK. + +[Smiles as at a far-off recollection.] Our child? Yes, we called it +so--then. + + +IRENE. + +In my lifetime, yes. + + +PROFESSOR RUBEK. + +[Trying to take a lighter tone.] Yes, Irene.--I can assure you "our +child" has become famous all the wide world over. I suppose you have +read about it. + + +IRENE. + +[Nods.] And has made its father famous too.--That was your dream. + + +PROFESSOR RUBEK. + +[More softly, with emotion.] It is to you I owe everything, everything, +Irene--and I thank you. + + +IRENE. + +[Lost in thought for a moment.] If I had then done what I had a right to +do, Arnold-- + + +PROFESSOR RUBEK. + +Well? What then? + + +IRENE. + +I should have killed that child. + + +PROFESSOR RUBEK. + +Killed it, you say? + + +IRENE. + +[Whispering.] Killed it--before I went away from you. Crushed +it--crushed it to dust. + + +PROFESSOR RUBEK. + +[Shakes his head reproachfully.] You would never have been able to, +Irene. You had not the heart to do it. + + +IRENE. + +No, in those days I had not that sort of heart. + + +PROFESSOR RUBEK. + +But since then? Afterwards? + + +IRENE. + +Since then I have killed it innumerable times. By daylight and in the +dark. Killed it in hatred--and in revenge--and in anguish. + + +PROFESSOR RUBEK. + +[Goes close up to the table and asks softly.] Irene--tell me now +at last--after all these years--why did you go away from me? You +disappeared so utterly--left not a trace behind-- + + +IRENE. + +[Shaking her head slowly.] Oh Arnold--why should I tell you that +now--from the world beyond the grave. + + +PROFESSOR RUBEK. + +Was there some one else whom you had come to love? + + +IRENE. + +There was one who had no longer any use for my love--any use for my +life. + + +PROFESSOR RUBEK. + +[Changing the subject.] H'm--don't let us talk any more of the past-- + + +IRENE. + +No, no--by all means let us not talk of what is beyond the grave--what +is now beyond the grave for me. + + +PROFESSOR RUBEK. + +Where have you been, Irene? All my inquiries were fruitless--you seemed +to have vanished away. + + +IRENE. + +I went into the darkness--when the child stood transfigured in the +light. + + +PROFESSOR RUBEK. + +Have you travelled much about the world? + + +IRENE. + +Yes. Travelled in many lands. + + +PROFESSOR RUBEK. + +[Looks compassionately at her.] And what have you found to do, Irene? + + +IRENE. + +[Turning her eyes upon him.] Wait a moment; let me see--. Yes, now I +have it. I have posed on the turntable in variety-shows. Posed as a +naked statue in living pictures. Raked in heaps of money. That was more +than I could do with you; for you had none.--And then I turned the +heads of all sorts of men. That too, was more than I could do with you, +Arnold. You kept yourself better in hand. + + +PROFESSOR RUBEK. + +[Hastening to pass the subject by.] And then you have married, too? + + +IRENE. + +Yes; I married one of them. + + +PROFESSOR RUBEK. + +Who is your husband? + + +IRENE. + +He was a South American. A distinguished diplomatist. [Looks straight +in front of her with a stony smile.] Him I managed to drive quite out of +his mind; mad--incurably mad; inexorably mad.--It was great sport, I can +tell you--while it was in the doing. I could have laughed within me all +the time--if I had anything within me. + + +PROFESSOR RUBEK. + +And where is he now? + + +IRENE. + +Oh, in a churchyard somewhere or other. With a fine handsome monument +over him. And with a bullet rattling in his skull. + + +PROFESSOR RUBEK. + +Did he kill himself? + + +IRENE. + +Yes, he was good enough to take that off my hands. + + +PROFESSOR RUBEK. + +Do you not lament his loss, Irene? + + +IRENE. + +[Not understanding.] Lament? What loss? + + +PROFESSOR RUBEK. + +Why, the loss of Herr von Satow, of course. + + +IRENE. + +His name was not Satow. + + +PROFESSOR RUBEK. + +Was it not? + + +IRENE. + +My second husband is called Satow. He is a Russian-- + + +PROFESSOR RUBEK. + +And where is he? + + +IRENE. + +Far away in the Ural Mountains. Among all his gold-mines. + + +PROFESSOR RUBEK. + +So he lives there? + + +IRENE. + +[Shrugs her shoulders.] Lives? Lives? In reality I have killed him-- + + +PROFESSOR RUBEK. + +[Start.] Killed--! + + +IRENE. + +Killed him with a fine sharp dagger which I always have with me in bed-- + + +PROFESSOR RUBEK. + +[Vehemently.] I don't believe you, Irene! + + +IRENE. + +[With a gentle smile.] Indeed you may believe it, Arnold. + + +PROFESSOR RUBEK. + +[Looks compassionately at her.] Have you never had a child? + + +IRENE. + +Yes, I have had many children. + + +PROFESSOR RUBEK. + +And where are your children now? + + +IRENE. + +I killed them. + + +PROFESSOR RUBEK. + +[Severely.] Now you are telling me lies again! + + +IRENE. + +I have killed them, I tell you--murdered them pitilessly. As soon as +ever they came into the world. Oh, long, long before. One after the +other. + + +PROFESSOR RUBEK. + +[Sadly and earnestly.] There is something hidden behind everything you +say. + + +IRENE. + +How can I help that? Every word I say is whispered into my ear. + + +PROFESSOR RUBEK. + +I believe I am the only one that can divine your meaning. + + +IRENE. + +Surely you ought to be the only one. + + +PROFESSOR RUBEK. + +[Rests his hands on the table and looks intently at her.] Some of the +strings of your nature have broken. + + +IRENE. + +[Gently.] Does not that always happen when a young warm-blooded woman +dies? + + +PROFESSOR RUBEK. + +Oh Irene, have done with these wild imaginings--! You are living! +Living--living! + + +IRENE. + +[Rises slowly from her chair and says, quivering.] I was dead for many +years. They came and bound me--laced my arms together behind my back--. +Then they lowered me into a grave-vault, with iron bars before the +loop-hole. And with padded walls--so that no one on the earth above +could hear the grave-shrieks--. But now I am beginning, in a way, to +rise from the dead. + + [She seats herself again.] + + +PROFESSOR RUBEK. + +[After a pause.] In all this, do you hold me guilty? + + +IRENE. + +Yes. + + +PROFESSOR RUBEK. + +Guilty of that--your death, as you call it. + + +IRENE. + +Guilty of the fact that I had to die. [Changing her tone to one of +indifference.] Why don't you sit down, Arnold? + + +PROFESSOR RUBEK. + +May I? + + +IRENE. + +Yes.--You need not be afraid of being frozen. I don't think I am quite +turned to ice yet. + + +PROFESSOR RUBEK. + +[Moves a chair and seats himself at her table.] There, Irene. Now we two +are sitting together as in the old days. + + +IRENE. + +A little way apart from each other--also as in the old days. + + +PROFESSOR RUBEK. + +[Moving nearer.] It had to be so, then. + + +IRENE. + +Had it? + + +PROFESSOR RUBEK. + +[Decisively.] There had to be a distance between us-- + + +IRENE. + +Was it absolutely necessary, Arnold? + + +PROFESSOR RUBEK. + +[Continuing.] Do you remember what you answered when I asked if you +would go with me out into the wide world? + + +IRENE. + +I held up three fingers in the air and swore that I would go with you +to the world's end and to the end of life. And that I would serve you in +all things-- + + +PROFESSOR RUBEK. + +As the model for my art-- + + +IRENE. --in frank, utter nakedness-- + + +PROFESSOR RUBEK. + +[With emotion.] And you did serve me, Irene--so bravely--so gladly and +ungrudgingly. + + +IRENE. + +Yes, with all the pulsing blood of my youth, I served you! + + +PROFESSOR RUBEK. + +[Nodding, with a look of gratitude.] That you have every right to say. + + +IRENE. + +I fell down at your feet and served you, Arnold! [Holding her clenched +hand towards him.] But you, you,--you--! + + +PROFESSOR RUBEK. + +[Defensively.] I never did you any wrong! Never, Irene! + + +IRENE. + +Yes, you did! You did wrong to my innermost, inborn nature-- + + +PROFESSOR RUBEK. + +[Starting back.] I--! + + +IRENE. + +Yes, you! I exposed myself wholly and unreservedly to your gaze--[More +softly.] And never once did you touch me. + + +PROFESSOR RUBEK. + +Irene, did you not understand that many a time I was almost beside +myself under the spell of all your loveliness? + + +IRENE. + +[Continuing undisturbed.] And yet--if you had touched me, I think I +should have killed you on the spot. For I had a sharp needle always upon +me--hidden in my hair-- [Strokes her forehead meditatively.] But after +all--after all--that you could-- + + +PROFESSOR RUBEK. + +[Looks impressively at her.] I was an artist, Irene. + + +IRENE. + +[Darkly.] That is just it. That is just it. + + +PROFESSOR RUBEK. + +An artist first of all. And I was sick with the desire to achieve the +great work of my life. [Losing himself in recollection.] It was to be +called "The Resurrection Day"--figured in the likeness of a young woman, +awakening from the sleep of death-- + + +IRENE. + +Our child, yes-- + + +PROFESSOR RUBEK. + +[Continuing.] It was to be the awakening of the noblest, purest, most +ideal woman the world ever saw. Then I found you. You were what I +required in every respect. And you consented so willingly--so gladly. +You renounced home and kindred--and went with me. + + +IRENE. + +To go with you meant for me the resurrection of my childhood. + + +PROFESSOR RUBEK. + +That was just why I found in you all that I required--in you and in no +one else. I came to look on you as a thing hallowed, not to be touched +save in adoring thoughts. In those days I was still young, Irene. And +the superstition took hold of me that if I touched you, if I desired you +with my senses, my soul would be profaned, so that I should be unable +to accomplish what I was striving for.--And I still think there was some +truth in that. + + +IRENE. + +[Nods with a touch of scorn.] The work of art first--then the human +being. + + +PROFESSOR RUBEK. + +You must judge me as you will; but at that time I was utterly dominated +by my great task--and exultantly happy in it. + + +IRENE. + +And you achieved your great task, Arnold. + + +PROFESSOR RUBEK. + +Thanks and praise be to you, I achieved my great task. I wanted to +embody the pure woman as I saw her awakening on the Resurrection Day. +Not marvelling at anything new and unknown and undivined; but filled +with a sacred joy at finding herself unchanged--she, the woman of +earth--in the higher, freer, happier region--after the long, dreamless +sleep of death. [More softly.] Thus did I fashion her.--I fashioned her +in your image, Irene. + + +IRENE. + +[Laying her hands flat upon the table and leaning against the back of +her chair.] And then you were done with me-- + + +PROFESSOR RUBEK. + +[Reproachfully.] Irene! + + +IRENE. + +You had no longer any use for me-- + + +PROFESSOR RUBEK. + +How can you say that! + + +IRENE. --and began to look about you for other ideals-- + + +PROFESSOR RUBEK. + +I found none, none after you. + + +IRENE. + +And no other models, Arnold? + + +PROFESSOR RUBEK. + +You were no model to me. You were the fountainhead of my achievement. + + +IRENE. + +[Is silent for a short time.] What poems have you made since? In marble +I mean. Since the day I left you. + + +PROFESSOR RUBEK. + +I have made no poems since that day--only frittered away my life in +modelling. + + +IRENE. + +And that woman, whom you are now living with--? + + +PROFESSOR RUBEK. + +[Interrupting vehemently.] Do not speak of her now! It makes me tingle +with shame. + + +IRENE. + +Where are you thinking of going with her? + + +PROFESSOR RUBEK. + +[Slack and weary.] Oh, on a tedious coasting-voyage to the North, I +suppose. + + +IRENE. + +[Looks at him, smiles almost imperceptibly, and whispers.] You should +rather go high up into the mountains. As high as ever you can. Higher, +higher,--always higher, Arnold. + + +PROFESSOR RUBEK. + +[With eager expectation.] Are you going up there? + + +IRENE. + +Have you the courage to meet me once again? + + +PROFESSOR RUBEK. + +[Struggling with himself, uncertainly.] If we could--oh, if only we +could--! + + +IRENE. + +Why can we not do what we will? [Looks at him and whispers beseechingly +with folded hands.] Come, come, Arnold! Oh, come up to me--! + + [MAIA enters, glowing with pleasure, from behind the hotel, + and goes quickly up to the table where they were previously + sitting.] + + +MAIA. + +[Still at the corner of the hotel, without looking around.] Oh, you +may say what you please, Rubek, but--[Stops, as she catches sight of +IRENE]--Oh, I beg your pardon--I see you have made an acquaintance. + + +PROFESSOR RUBEK. + +[Curtly.] Renewed an acquaintance. [Rises.] What was it you wanted with +me? + + +MAIA. + +I only wanted to say this: you may do whatever you please, but _I_ am +not going with you on that disgusting steamboat. + + +PROFESSOR RUBEK. + +Why not? + + +MAIA. + +Because I want to go up on the mountains and into the forests--that's +what I want. [Coaxingly.] Oh, you must let me do it, Rubek.--I shall be +so good, so good afterwards! + + +PROFESSOR RUBEK. + +Who is it that has put these ideas into your head? + + +MAIA. + +Why he--that horrid bear-killer. Oh you cannot conceive all the +marvelous things he has to tell about the mountains. And about life up +there! They're ugly, horrid, repulsive, most of the yarns he spins--for +I almost believe he's lying--but wonderfully alluring all the same. Oh, +won't you let me go with him? Only to see if what he says is true, you +understand. May I, Rubek? + + +PROFESSOR RUBEK. + +Yes, I have not the slightest objection. Off you go to the mountains--as +far and as long as you please. I shall perhaps be going the same way +myself. + + +MAIA. + +[Quickly.] No, no, no, you needn't do that! Not on my account! + + +PROFESSOR RUBEK. + +I want to go to the mountains. I have made up my mind to go. + + +MAIA. + +Oh thanks, thanks! May I tell the bear-killer at once? + + +PROFESSOR RUBEK. + +Tell the bear-killer whatever you please. + + +MAIA. + +Oh thanks, thanks, thanks! [Is about to take his hand; he repels the +movement.] Oh, how dear and good you are to-day, Rubek! + + [She runs into the hotel. + + [At the same time the door of the pavilion is softly and + noiselessly set ajar. The SISTER OF MERCY stands in the + opening, intently on the watch. No one sees her. + + +PROFESSOR RUBEK. + +[Decidedly, turning to IRENE.] Shall we meet up there then? + + +IRENE. + +[Rising slowly.] Yes, we shall certainly meet.--I have sought for you so +long. + + +PROFESSOR RUBEK. + +When did you begin to seek for me, Irene? + + +IRENE. + +[With a touch of jesting bitterness.] From the moment I realised that I +had given away to you something rather indispensable, Arnold. Something +one ought never to part with. + + +PROFESSOR RUBEK. + +[Bowing his head.] Yes, that is bitterly true. You gave me three or four +years of your youth. + + +IRENE. + +More, more than that I gave you--spend-thrift as I then was. + + +PROFESSOR RUBEK. + +Yes, you were prodigal, Irene. You gave me all your naked loveliness-- + + +IRENE. --to gaze upon-- + + +PROFESSOR RUBEK. --and to glorify-- + + +IRENE. + +Yes, for your own glorification.--And the child's. + + +PROFESSOR RUBEK. + +And yours too, Irene. + + +IRENE. + +But you have forgotten the most precious gift. + + +PROFESSOR RUBEK. + +The most precious--? What gift was that? + + +IRENE. + +I gave you my young, living soul. And that gift left me empty +within--soulless. [Looking at him with a fixed stare.] It was that I +died of, Arnold. + + [The SISTER OF MERCY opens the door wide and makes room for her. + She goes into the pavilion. + + +PROFESSOR RUBEK. + +[Stands and looks after her; then whispers.] Irene! + + + + +ACT SECOND. + + +[Near a mountain resort. The landscape stretches, in the form of + an immense treeless upland, towards a long mountain lake. Beyond + the lake rises a range of peaks with blue-white snow in the clefts. + In the foreground on the left a purling brook falls in severed + streamlets down a steep wall of rock, and thence flows smoothly + over the upland until it disappears to the right. Dwarf trees, + plants, and stones along the course of the brook. In the + foreground on the right a hillock, with a stone bench on the + top of it. It is a summer afternoon, towards sunset. + +[At some distance over the upland, on the other side of the brook, + a troop of children is singing, dancing, and playing. Some are + dressed in peasant costume, others in town-made clothes. Their + happy laughter is heard, softened by distance, during the + following. + +[PROFESSOR RUBEK is sitting on the bench, with a plaid over his + shoulders, and looking down at the children's play. + +[Presently, MAIA comes forward from among some bushes on the upland + to the left, well back, and scans the prospect with her hand + shading her eyes. She wears a flat tourist cap, a short skirt, + kilted up, reaching only midway between ankle and knee, and high, + stout lace-boots. She has in her hand a long alpenstock. + + +MAIA. + +[At last catches sight of RUBEK and calls.] Hallo! + + [She advances over the upland, jumps over the brook, with the + aid of her alpenstock, and climbs up the hillock. + + +MAIA. + +[Panting.] Oh, how I have been rushing around looking for you, Rubek. + + +PROFESSOR RUBEK. + +[Nods indifferently and asks.] Have you just come from the hotel? + + +MAIA. + +Yes, that was the last place I tried--that fly-trap. + + +PROFESSOR RUBEK. + +[Looking at her for moment.] I noticed that you were not at the +dinner-table. + + +MAIA. + +No, we had our dinner in the open air, we two. + + +PROFESSOR RUBEK. + +"We two"? What two? + + +MAIA. + +Why, I and that horrid bear-killer, of course. + + +PROFESSOR RUBEK. + +Oh, he. + + +MAIA. + +Yes. And first thing to-morrow morning we are going off again. + + +PROFESSOR RUBEK. + +After bears? + + +MAIA. + +Yes. Off to kill a brown-boy. + + +PROFESSOR RUBEK. + +Have you found the tracks of any? + + +MAIA. + +[With superiority.] You don't suppose that bears are to be found in the +naked mountains, do you? + + +PROFESSOR RUBEK. + +Where, then? + + +MAIA. + +Far beneath. On the lower slopes; in the thickest parts of the forest. +Places your ordinary town-folk could never get through-- + + +PROFESSOR RUBEK. + +And you two are going down there to-morrow? + + +MAIA. + +[Throwing herself down among the heather.] Yes, so we have arranged.--Or +perhaps we may start this evening.--If you have no objection, that's to +say? + + +PROFESSOR RUBEK. + +I? Far be it from me to-- + + +MAIA. + +[Quickly.] Of course Lars goes with us--with the dogs. + + +PROFESSOR RUBEK. + +I feel no curiosity as to the movements of Mr. Lars and his dogs. +[Changing the subject.] Would you not rather sit properly on the seat? + + +MAIA. + +[Drowsily.] No, thank you. I'm lying so delightfully in the soft +heather. + + +PROFESSOR RUBEK. + +I can see that you are tired. + + +MAIA. + +[Yawning.] I almost think I'm beginning to feel tired. + + +PROFESSOR RUBEK. + +You don't notice it till afterwards--when the excitement is over-- + + +MAIA. + +[In a drowsy tone.] Just so. I will lie and close my eyes. + + [A short pause. + +MAIA. + +[With sudden impatience.] Ugh, Rubek--how can you endure to sit there +listening to these children's screams! And to watch all the capers they +are cutting, too! + + +PROFESSOR RUBEK. + +There is something harmonious--almost like music--in their movements, +now and then; amid all the clumsiness. And it amuses me to sit and watch +for these isolated moments--when they come. + + +MAIA. + +[With a somewhat scornful laugh.] Yes, you are always, always an artist. + + +PROFESSOR RUBEK. + +And I propose to remain one. + + +MAIA. + +[Lying on her side, so that her back is turned to him.] There's not a +bit of the artist about him. + + +PROFESSOR RUBEK. + +[With attention.] Who is it that's not an artist? + + +MAIA. + +[Again in a sleepy tone.] Why, he--the other one, of course. + + +PROFESSOR RUBEK. + +The bear-hunter, you mean? + + +MAIA. + +Yes. There's not a bit of the artist about him--not the least little +bit. + + +PROFESSOR RUBEK. + +[Smiling.] No, I believe there's no doubt about that. + + +MAIA. + +[Vehemently, without moving.] And so ugly as he is! [Plucks up a tuft of +heather and throws it away.] So ugly, so ugly! Isch! + + +PROFESSOR RUBEK. + +Is that why you are so ready to set off with him--out into the wilds? + + +MAIA. + +[Curtly.] I don't know. [Turning towards him.] You are ugly, too, Rubek. + + +PROFESSOR RUBEK. + +Have you only just discovered it? + + +MAIA. + +No, I have seen it for long. + + +PROFESSOR RUBEK. + +[Shrugging his shoulders.] One doesn't grow younger. One doesn't grow +younger, Frau Maia. + + +MAIA. + +It's not that sort of ugliness that I mean at all. But there has come to +be such an expression of fatigue, of utter weariness, in your eyes--when +you deign, once in a while, to cast a glance at me. + + +PROFESSOR RUBEK. + +Have you noticed that? + + +MAIA. + +[Nods.] Little by little this evil look has come into your eyes. It +seems almost as though you were nursing some dark plot against me. + + +PROFESSOR RUBEK. + +Indeed? [In a friendly but earnest tone.] Come here and sit beside me, +Maia; and let us talk a little. + + +MAIA. + +[Half rising.] Then will you let me sit upon your knee? As I used to in +the early days? + + +PROFESSOR RUBEK. + +No, you mustn't--people can see us from the hotel. [Moves a little.] But +you can sit here on the bench--at my side. + + +MAIA. + +No, thank you; in that case I'd rather lie here, where I am. I can hear +you quite well here. [Looks inquiringly at him.] Well, what is it you +want to say to me? + + +PROFESSOR RUBEK. + +[Begins slowly.] What do you think was my real reason for agreeing to +make this tour? + + +MAIA. + +Well--I remember you declared, among other things, that it was going to +do me such a tremendous lot of good. But--but-- + + +PROFESSOR RUBEK. + +But--? + + +MAIA. + +But now I don't believe the least little bit that that was the reason-- + + +PROFESSOR RUBEK. + +Then what is your theory about it now? + + +MAIA. + +I think now that it was on account of that pale lady. + + +PROFESSOR RUBEK. + +Madame von Satow--! + + +MAIA. + +Yes, she who is always hanging at our heels. Yesterday evening she made +her appearance up here too. + + +PROFESSOR RUBEK. + +But what in all the world--! + + +MAIA. + +Oh, I know you knew her very well indeed--long before you knew me. + + +PROFESSOR RUBEK. + +And had forgotten her, too--long before I knew you. + + +MAIA. + +[Sitting upright.] Can you forget so easily, Rubek? + + +PROFESSOR RUBEK. + +[Curtly.] Yes, very easily indeed. [Adds harshly.] When I want to +forget. + + +MAIA. + +Even a woman who has been a model to you? + + +PROFESSOR RUBEK. + +When I have no more use for her-- + + +MAIA. + +One who has stood to you undressed? + + +PROFESSOR RUBEK. + +That means nothing--nothing for us artists. [With a change of tone.] +And then--may I venture to ask--how was I to guess that she was in this +country? + + +MAIA. + +Oh, you might have seen her name in a Visitor's List--in one of the +newspapers. + + +PROFESSOR RUBEK. + +But I had no idea of the name she now goes by. I had never heard of any +Herr von Satow. + + +MAIA. + +[Affecting weariness.] Oh well then, I suppose it must have been for +some other reason that you were so set upon this journey. + + +PROFESSOR RUBEK. + +[Seriously.] Yes, Maia--it was for another reason. A quite different +reason. And that is what we must sooner or later have a clear +explanation about. + + +MAIA. + +[In a fit of suppressed laughter.] Heavens, how solemn you look! + + +PROFESSOR RUBEK. + +[Suspiciously scrutinising her.] Yes, perhaps a little more solemn than +necessary. + + +MAIA. + +How so--? + + +PROFESSOR RUBEK. + +And that is a very good thing for us both. + + +MAIA. + +You begin to make me feel curious, Rubek. + + +PROFESSOR RUBEK. + +Only curious? Not a little bit uneasy. + + +MAIA. + +[Shaking her head.] Not in the least. + + +PROFESSOR RUBEK. + +Good. Then listen.--You said that day down at the Baths that it seemed +to you I had become very nervous of late-- + + +MAIA. + +Yes, and you really have. + + +PROFESSOR RUBEK. + +And what do you think can be the reason of that? + + +MAIA. + +How can I tell--? [Quickly.] Perhaps you have grown weary of this +constant companionship with me. + + +PROFESSOR RUBEK. + +Constant--? Why not say "everlasting"? + + +MAIA. + +Daily companionship, then. Here have we two solitary people lived down +there for four or five mortal years, and scarcely have an hour away from +each other.--We two all by ourselves. + + +PROFESSOR RUBEK. + +[With interest.] Well? And then--? + + +MAIA. + +[A little oppressed.] You are not a particularly sociable man, Rubek. +You like to keep to yourself and think your own thoughts. And of course +I can't talk properly to you about your affairs. I know nothing about +art and that sort of thing-- [With an impatient gesture.] And care very +little either, for that matter! + + +PROFESSOR RUBEK. + +Well, well; and that's why we generally sit by the fireside, and chat +about your affairs. + + +MAIA. + +Oh, good gracious--I have no affairs to chat about. + + +PROFESSOR RUBEK. + +Well, they are trifles, perhaps; but at any rate the time passes for us +in that way as well as another, Maia. + + +MAIA. + +Yes, you are right. Time passes. It is passing away from you, +Rubek.--And I suppose it is really that that makes you so uneasy-- + + +PROFESSOR RUBEK. + +[Nods vehemently.] And so restless! [Writhing in his seat.] No, I shall +soon not be able to endure this pitiful life any longer. + + +MAIA. + +[Rises and stands for a moment looking at him.] If you want to get rid +of me, you have only to say so. + + +PROFESSOR RUBEK. + +Why will you use such phrases? Get rid of you? + + +MAIA. + +Yes, if you want to have done with me, please say so right out. And I +will go that instant. + + +PROFESSOR RUBEK. + +[With an almost imperceptible smile.] Do you intend that as a threat, +Maia? + + +MAIA. + +There can be no threat for you in what I said. + + +PROFESSOR RUBEK. + +[Rising.] No, I confess you are right there. [Adds after a pause.] You +and I cannot possibly go on living together like this-- + + +MAIA. + +Well? And then--? + + +PROFESSOR RUBEK. + +There is no "then" about it. [With emphasis on his words.] Because we +two cannot go on living together alone--it does not necessarily follow +that we must part. + + +MAIA. + +[Smiles scornfully.] Only draw away from each other a little, you mean? + +PROFESSOR RUBEK. + +[Shakes his head.] Even that is not necessary. + + +MAIA. + +Well then? Come out with what you want to do with me. + + +PROFESSOR RUBEK. + +[With some hesitation.] What I now feel so keenly--and so +painfully--that I require, is to have some one about me who really and +truly stands close to me-- + + +MAIA. + +[Interrupts him anxiously.] Don't I do that, Rubek? + + +PROFESSOR RUBEK. + +[Waving her aside.] Not in that sense. What I need is the companionship +of another person who can, as it were, complete me--supply what is +wanting in me--be one with me in all my striving. + + +MAIA. + +[Slowly.] It's true that things like that are a great deal too hard for +me. + + +PROFESSOR RUBEK. + +Oh no, they are not at all in your line, Maia. + + +MAIA. + +[With an outburst.] And heaven knows I don't want them to be, either! + + +PROFESSOR RUBEK. + +I know that very well.--And it was with no idea of finding any such help +in my life-work that I married you. + + +MAIA. + +[Observing him closely.] I can see in your face that you are thinking of +some one else. + + +PROFESSOR RUBEK. + +Indeed? I have never noticed before that you were a thought-reader. But +you can see that, can you? + + +MAIA. + +Yes, I can. Oh, I know you so well, so well, Rubek. + + +PROFESSOR RUBEK. + +Then perhaps you can also see who it is I am thinking of? + + +MAIA. + +Yes, indeed I can. + + +PROFESSOR RUBEK. + +Well? Have the goodness to--? + + +MAIA. + +You are thinking of that--that model you once used for-- [Suddenly +letting slip the train of thought.] Do you know, the people down at the +hotel think she's mad. + + +PROFESSOR RUBEK. + +Indeed? And pray what do the people down at the hotel think of you and +the bear-killer? + + +MAIA. + +That has nothing to do with the matter. [Continuing the former train of +thought.] But it was this pale lady you were thinking of. + + +PROFESSOR RUBEK. + +[Calmly.] Precisely, of her.--When I had no more use for her--and when, +besides, she went away from me--vanished without a word-- + + +MAIA. + +Then you accepted me as a sort of makeshift, I suppose? + + +PROFESSOR RUBEK. + +[More unfeelingly.] Something of the sort, to tell the truth, little +Maia. For a year or a year and a half I had lived there lonely and +brooding, and had put the last touch--the very last touch, to my work. +"The Resurrection Day" went out over the world and brought me fame--and +everything else that heart could desire. [With greater warmth.] But I no +longer loved my own work. Men's laurels and incense nauseated me, till I +could have rushed away in despair and hidden myself in the depths of the +woods. [Looking at her.] You, who are a thought-reader--can you guess +what then occurred to me? + + +MAIA. + +[Lightly.] Yes, it occurred to you to make portrait-busts of gentlemen +and ladies. + + +PROFESSOR RUBEK. + +[Nods.] To order, yes. With animals' faces behind the masks. Those I +threw in gratis--into the bargain, you understand. [Smiling.] But that +was not precisely what I had in my mind. + + +MAIA. + +What, then? + + +PROFESSOR RUBEK. + +[Again serious.] It was this, that all the talk about the artist's +vocation and the artist's mission, and so forth, began to strike me as +being very empty, and hollow, and meaningless at bottom. + + +MAIA. + +Then what would you put in its place? + + +PROFESSOR RUBEK. + +Life, Maia. + + +MAIA. + +Life? + + +PROFESSOR RUBEK. + +Yes, is not life in sunshine and in beauty a hundred times better worth +while than to hang about to the end of your days in a raw, damp hole, +and wear yourself out in a perpetual struggle with lumps of clay and +blocks of stone? + + +MAIA. + +[With a little sigh.] Yes, I have always thought so, certainly. + + +PROFESSOR RUBEK. + +And then I had become rich enough to live in luxury and in indolent, +quivering sunshine. I was able to build myself the villa on the Lake of +Taunitz, and the palazzo in the capital,--and all the rest of it. + + +MAIA. + +[Taking up his tone.] And last but not least, you could afford to +treat yourself to me, too. And you gave me leave to share in all your +treasures. + + +PROFESSOR RUBEK. + +[Jesting, so as to turn the conversation.] Did I not promise to take you +up to a high enough mountain and show you all the glory of the world? + + +MAIA. + +[With a gentle expression.] You have perhaps taken me up with you to a +high enough mountain, Rubek--but you have not shown me all the glory of +the world. + + +PROFESSOR RUBEK. + +[With a laugh of irritation.] How insatiable you are, Maia.! Absolutely +insatiable! [With a vehement outburst.] But do you know what is the most +hopeless thing of all, Maia? Can you guess that? + + +MAIA. + +[With quiet defiance.] Yes, I suppose it is that you have gone and tied +yourself to me--for life. + + +PROFESSOR RUBEK. + +I would not have expressed myself so heartlessly. + + +MAIA. + +But you would have meant it just as heartlessly. + + +PROFESSOR RUBEK. + +You have no clear idea of the inner workings of an artist's nature. + + +MAIA. + +[Smiling and shaking her head.] Good heavens, I haven't even a clear +idea of the inner workings of my own nature. + + +PROFESSOR RUBEK. + +[Continuing undisturbed.] I live at such high speed, Maia. We live so, +we artists. I, for my part, have lived through a whole lifetime in the +few years we two have known each other. I have come to realise that I +am not at all adapted for seeking happiness in indolent enjoyment. Life +does not shape itself that way for me and those like me. I must go on +working--producing one work after another--right up to my dying day. +[Forcing himself to continue.] That is why I cannot get on with you any +longer, Maia--not with you alone. + + +MAIA. + +[Quietly.] Does that mean, in plain language, that you have grown tired +of me? + + +PROFESSOR RUBEK. + +[Bursts forth.] Yes, that is what it means! I have grown +tired--intolerably tired and fretted and unstrung--in this life with +you! Now you know it. [Controlling himself.] These are hard, ugly words +I am using. I know that very well. And you are not at all to blame in +this matter;--that I willingly admit. It is simply and solely I myself, +who have once more undergone a revolution--[Half to himself]--and +awakening to my real life. + + +MAIA. + +[Involuntarily folding her hands.] Why in all the world should we not +part then? + + +PROFESSOR RUBEK. + +[Looks at her in astonishment.] Should you be willing to? + + +MAIA. + +[Shrugging her shoulders.] Oh yes--if there's nothing else for it, +then-- + + +PROFESSOR RUBEK. + +[Eagerly.] But there is something else for it. There is an alternative-- + + +MAIA. + +[Holding up her forefinger.] Now you are thinking of the pale lady +again! + + +PROFESSOR RUBEK. + +Yes, to tell the truth, I cannot help constantly thinking of her. Ever +since I met her again. [A step nearer her.] For now I will tell you a +secret, Maia. + + +MAIA. + +Well? + + +PROFESSOR RUBEK. + +[Touching his own breast.] In here, you see--in here I have a little +bramah-locked casket. And in that casket all my sculptor's visions are +stored up. But when she disappeared and left no trace, the lock of +the casket snapped to. And she had the key--and she took it away with +her.--You, little Maia, you had no key; so all that the casket contains +must lie unused. And the years pass! And I have no means of getting at +the treasure. + + +MAIA. + +[Trying to repress a subtle smile.] Then get her to open the casket for +you again-- + + +PROFESSOR RUBEK. + +[Not understanding.] Maia--? + + +MAIA. --for here she is, you see. And no doubt it's on account of this +casket that she has come. + + +PROFESSOR RUBEK. + +I have not said a single word to her on this subject! + + +MAIA. + +[Looks innocently at him.] My dear Rubek--is it worth while to make all +this fuss and commotion about so simple a matter? + + +PROFESSOR RUBEK. + +Do you think this matter is so absolutely simple? + + +MAIA. + +Yes, certainly I think so. Do you attach yourself to whoever you most +require. [Nods to him.] I shall always manage to find a place for +myself. + + +PROFESSOR RUBEK. + +Where do you mean? + + +MAIA. + +[Unconcerned, evasively.] Well--I need only take myself off to the +villa, if it should be necessary. But it won't be; for in town--in all +that great house of ours--there must surely, with a little good will, be +room enough for three. + + +PROFESSOR RUBEK. + +[Uncertainly.] And do you think that would work in the long run? + + +MAIA. + +[In a light tone.] Very well, then--if it won't work, it won't. It is no +good talking about it. + + +PROFESSOR RUBEK. + +And what shall we do then, Maia--if it does not work? + + +MAIA. + +[Untroubled.] Then we two will simply get out of each other's way--part +entirely. I shall always find something new for myself, somewhere in the +world. Something free! Free! Free!--No need to be anxious about that, +Professor Rubek! [Suddenly points off to the right.] Look there! There +we have her. + + +PROFESSOR RUBEK. + +[Turning.] Where? + + +MAIA. + +Out on the plain. Striding--like a marble stature. She is coming this +way. + + +PROFESSOR RUBEK. + +[Stands gazing with his hand over his eyes.] Does not she look like the +Resurrection incarnate? [To himself.] And her I could displace--and move +into the shade! Remodel her--. Fool that I was! + + +MAIA. + +What do you mean by that? + + +PROFESSOR RUBEK. + +[Putting the question aside.] Nothing. Nothing that you would +understand. + + [IRENE advances from the right over the upland. The children + at their play have already caught sight of her and run to + meet her. She is now surrounded by them; some appear confident + and at ease, others uneasy and timid. She talks low to them + and indicates that they are to go down to the hotel; she + herself will rest a little beside the brook. The children + run down over the slope to the left, half way to the back. + IRENE goes up to the wall of rock, and lets the rillets of + the cascade flow over her hands, cooling them. + + +MAIA. + +[In a low voice.] Go down and speak to her alone, Rubek. + + +PROFESSOR RUBEK. + +And where will you go in the meantime? + + +MAIA. + +[Looking significantly at him.] Henceforth I shall go my own ways. + + [She descends form the hillock and leaps over the brook, by aid + of her alpenstock. She stops beside IRENE. + + +MAIA. + +Professor Rubek is up there, waiting for you, madam. + + +IRENE. + +What does he want? + + +MAIA. + +He wants you to help him to open a casket that has snapped to. + + +IRENE. + +Can I help him in that? + + +MAIA. + +He says you are the only person that can. + + +IRENE. + +Then I must try. + + +MAIA. + +Yes, you really must, madam. + + [She goes down by the path to the hotel. + + [In a little while PROFESSOR RUBEK comes down to IRENE, but stops + with the brook between them. + + +IRENE. + +[After a short pause.] She--the other one--said that you had been +waiting for me. + + +PROFESSOR RUBEK. + +I have waited for you year after year--without myself knowing it. + + +IRENE. + +I could not come to you, Arnold. I was lying down there, sleeping the +long, deep, dreamful sleep. + + +PROFESSOR RUBEK. + +But now you have awakened, Irene! + + +IRENE. + +[Shakes her head.] I have the heavy, deep sleep still in my eyes. + + +PROFESSOR RUBEK. + +You shall see that day will dawn and lighten for us both. + + +IRENE. + +Do not believe that. + + +PROFESSOR RUBEK. + +[Urgently.] I do believe it! And I know it! Now that I have found you +again-- + + +IRENE. + +Risen from the grave. + + +PROFESSOR RUBEK. + +Transfigured! + + +IRENE. + +Only risen, Arnold. Not transfigured. + + [He crosses over to her by means of stepping-stones below the + cascade. + + +PROFESSOR RUBEK. + +Where have you been all day, Irene? + + +IRENE. + +[Pointing.] Far, far over there, on the great dead waste-- + + +PROFESSOR RUBEK. + +[Turning the conversation.] You have not your--your friend with you +to-day, I see. + + +IRENE. + +[Smiling.] My friend is keeping a close watch on me, none the less. + + +PROFESSOR RUBEK. + +Can she? + + +IRENE. + +[Glancing furtively around.] You may be sure she can--wherever I may +go. She never loses sight of me-- [Whispering.] Until, one fine sunny +morning, I shall kill her. + + +PROFESSOR RUBEK. + +Would you do that? + + +IRENE. + +With the utmost delight--if only I could manage it. + + +PROFESSOR RUBEK. + +Why do you want to? + + +IRENE. + +Because she deals in witchcraft. [Mysteriously.] Only think, Arnold--she +has changed herself into my shadow. + + +PROFESSOR RUBEK. + +[Trying to calm her.] Well, well, well--a shadow we must all have. + + +IRENE. + +I am my own shadow. [With an outburst.] Do you not understand that! + + +PROFESSOR RUBEK. + +[Sadly.] Yes, yes, Irene, I understand. + + [He seats himself on a stone beside the brook. She stands behind + him, leaning against the wall of rock. + + +IRENE. + +[After a pause.] Why do you sit there turning your eyes away from me? + + +PROFESSOR RUBEK. + +[Softly, shaking his head.] I dare not--I dare not look at you. + + +IRENE. + +Why dare you not look at me any more? + + +PROFESSOR RUBEK. + +You have a shadow that tortures me. And I have the crushing weight of my +conscience. + + +IRENE. + +[With a glad cry of deliverance.] At last! + + +PROFESSOR RUBEK. + +[Springs up.] Irene--what is it! + + +IRENE. + +[Motioning him off.] Keep still, still, still! [Draws a deep breath and +says, as though relieved of a burden.] There! Now they let me go. For +this time.--Now we can sit down and talk as we used to--when I was +alive. + + +PROFESSOR RUBEK. + +Oh, if only we could talk as we used to. + + +IRENE. + +Sit there, where you were sitting. I will sit here beside you. + + [He sits down again. She seats herself on another stone, close + to him. + + +IRENE. + +[After a short interval of silence.] Now I have come back to you from +the uttermost regions, Arnold. + + +PROFESSOR RUBEK. + +Aye, truly, from an endless journey. + + +IRENE. + +Come home to my lord and master-- + + +PROFESSOR RUBEK. + +To our home;--to our own home, Irene. + + +IRENE. + +Have you looked for my coming every single day? + + +PROFESSOR RUBEK. + +How dared I look for you? + + +IRENE. + +[With a sidelong glance.] No, I suppose you dared not. For you +understood nothing. + + +PROFESSOR RUBEK. + +Was it really not for the sake of some one else that you all of a sudden +disappeared from me in that way? + + +IRENE. + +Might it not quite well be for your sake, Arnold? + + +PROFESSOR RUBEK. + +[Looks doubtfully at her.] I don't understand you--? + + +IRENE. + +When I had served you with my soul and with my body--when the statue +stood there finished--our child as you called it--then I laid at your +feet the most precious sacrifice of all--by effacing myself for all +time. + + +PROFESSOR RUBEK. + +[Bows his head.] And laying my life waste. + + +IRENE. + +[Suddenly firing up.] It was just that I wanted! Never, never should you +create anything again--after you had created that only child of ours. + + +PROFESSOR RUBEK. + +Was it jealously that moved you, then? + + +IRENE. + +[Coldly.] I think it was rather hatred. + + +PROFESSOR RUBEK. + +Hatred? Hatred for me? + + +IRENE. + +[Again vehemently.] Yes, for you--for the artist who had so lightly and +carelessly taken a warm-blooded body, a young human life, and worn the +soul out of it--because you needed it for a work of art. + + +PROFESSOR RUBEK. + +And you can say that--you who threw yourself into my work with such +saint-like passion and such ardent joy?--that work for which we two met +together every morning, as for an act of worship. + + +IRENE. + +[Coldly, as before.] I will tell you one thing, Arnold. + + +PROFESSOR RUBEK. + +Well? + + +IRENE. + +I never loved your art, before I met you.--Nor after either. + + +PROFESSOR RUBEK. + +But the artist, Irene? + + +IRENE. + +The artist I hate. + + +PROFESSOR RUBEK. + +The artist in me too? + + +IRENE. + +In you most of all. When I unclothed myself and stood for you, then I +hated you, Arnold-- + + +PROFESSOR RUBEK. + +[Warmly.] That you did not, Irene! That is not true! + + +IRENE. + +I hated you, because you could stand there so unmoved-- + + +PROFESSOR RUBEK. + +[Laughs.] Unmoved? Do you think so? + + +IRENE. --at any rate so intolerably self-controlled. And because you +were an artist and an artist only--not a man! [Changing to a tone full +of warmth and feeling.] But that statue in the wet, living clay, that +I loved--as it rose up, a vital human creature, out of those raw, +shapeless masses--for that was our creation, our child. Mine and yours. + + +PROFESSOR RUBEK. + +[Sadly.] It was so in spirit and in truth. + + +IRENE. + +Let me tell you, Arnold--it is for the sake of this child of ours that I +have undertaken this long pilgrimage. + + +PROFESSOR RUBEK. + +[Suddenly alert.] For the statue's--? + + +IRENE. + +Call it what you will. I call it our child. + + +PROFESSOR RUBEK. + +And now you want to see it? Finished? In marble, which you always +thought so cold? [Eagerly.] You do not know, perhaps, that it is +installed in a great museum somewhere--far out in the world? + + +IRENE. + +I have heard a sort of legend about it. + + +PROFESSOR RUBEK. + +And museums were always a horror to you. You called them grave-vaults-- + + +IRENE. + +I will make a pilgrimage to the place where my soul and my child's soul +lie buried. + + +PROFESSOR RUBEK. + +[Uneasy and alarmed.] You must never see that statue again! Do you hear, +Irene! I implore you--! Never, never see it again! + + +IRENE. + +Perhaps you think it would mean death to me a second time? + + +PROFESSOR RUBEK. + +[Clenching his hands together.] Oh, I don't know what I think.--But how +could I ever imagine that you would fix your mind so immovably on that +statue? You, who went away from me--before it was completed. + + +IRENE. + +It was completed. That was why I could go away from you--and leave you +alone. + + +PROFESSOR RUBEK. + +[Sits with his elbows upon his knees, rocking his head from side to +side, with his hands before his eyes.] It was not what it afterwards +became. + + +IRENE. + +[Quietly but quick as lightning, half-unsheathes a narrow-bladed sharp +knife which she carried in her breast, and asks in a hoarse whisper.] +Arnold--have you done any evil to our child? + + +PROFESSOR RUBEK. + +[Evasively.] Any evil?--How can I be sure what you would call it? + + +IRENE. + +[Breathless.] Tell me at once: what have you done to the child? + + +PROFESSOR RUBEK. + +I will tell you, if you will sit and listen quietly to what I say. + + +IRENE. + +[Hides the knife.] I will listen as quietly as a mother can when she-- + + +PROFESSOR RUBEK. + +[Interrupting.] And you must not look at me while I am telling you. + + +IRENE. + +[Moves to a stone behind his back.] I will sit here, behind you.--Now +tell me. + + +PROFESSOR RUBEK. + +[Takes his hands from before his eyes and gazes straight in front of +him. When I had found you, I knew at once how I should make use of you +for my life-work. + + +IRENE. + +"The Resurrection Day" you called your life-work.--I call it "our +child." + + +PROFESSOR RUBEK. + +I was young then--with no knowledge of life. The Resurrection, I +thought, would be most beautifully and exquisitely figured as a young +unsullied woman--with none of our earth-life's experiences--awakening +to light and glory without having to put away from her anything ugly and +impure. + + +IRENE. + +[Quickly.] Yes--and so I stand there now, in our work? + + +PROFESSOR RUBEK. + +[Hesitating.] Not absolutely and entirely so, Irene. + + +IRENE. + +[In rising excitement.] Not absolutely--? Do I not stand as I always +stood for you? + + +PROFESSOR RUBEK. + +[Without answering.] I learned worldly wisdom in the years that +followed, Irene. "The Resurrection Day" became in my mind's eye +something more and something--something more complex. The little round +plinth on which your figure stood erect and solitary--it no longer +afforded room for all the imagery I now wanted to add-- + + +IRENE. + +[Groped for her knife, but desists.] What imagery did you add then? Tell +me! + + +PROFESSOR RUBEK. + +I imagined that which I saw with my eyes around me in the world. I had +to include it--I could not help it, Irene. I expanded the plinth--made +it wide and spacious. And on it I placed a segment of the curving, +bursting earth. And up from the fissures of the soil there now swarm men +and women with dimly-suggested animal-faces. Women and men--as I knew +them in real life. + + +IRENE. + +[In breathless suspense.] But in the middle of the rout there stands the +young woman radiant with the joy of light?--Do I not stand so, Arnold? + + +PROFESSOR RUBEK. + +[Evasively.] Not quite in the middle. I had unfortunately to move +that figure a little back. For the sake of the general effect, you +understand. Otherwise it would have dominated the whole too much. + + +IRENE. + +But the joy in the light still transfigures my face? + + +PROFESSOR RUBEK. + +Yes, it does, Irene--in a way. A little subdued perhaps--as my altered +idea required. + + +IRENE. + +[Rising noiselessly.] That design expresses the life you now see, +Arnold. + + +PROFESSOR RUBEK. + +Yes, I suppose it does. + + +IRENE. + +And in that design you have shifted me back, a little toned down--to +serve as a background-figure--in a group. + + [She draws the knife. + + +PROFESSOR RUBEK. + +Not a background-figure. Let us say, at most, a figure not quite in the +foreground--or something of that sort. + + +IRENE. + +[Whispers hoarsely.] There you uttered your own doom. + + [On the point of striking. + + +PROFESSOR RUBEK. + +[Turns and looks up at her.] Doom? + + +IRENE. + +[Hastily hides the knife, and says as though choked with agony.] My +whole soul--you and I--we, we, we and our child were in that solitary +figure. + + +PROFESSOR RUBEK. + +[Eagerly, taking off his hat and drying the drops of sweat upon his +brow.] Yes, but let me tell you, too, how I have placed myself in the +group. In front, beside a fountain--as it were here--sits a man weighed +down with guilt, who cannot quite free himself from the earth-crust. +I call him remorse for a forfeited life. He sits there and dips his +fingers in the purling stream--to wash them clean--and he is gnawed and +tortured by the thought that never, never will he succeed. Never in all +eternity will he attain to freedom and the new life. He will remain for +ever prisoned in his hell. + + +IRENE. + +[Hardly and coldly.] Poet! + + +PROFESSOR RUBEK. + +Why poet? + + +IRENE. + +Because you are nerveless and sluggish and full of forgiveness for +all the sins of your life, in thought and in act. You have killed +my soul--so you model yourself in remorse, and self-accusation, and +penance--[Smiling.] --and with that you think your account is cleared. + + +PROFESSOR RUBEK. + +[Defiantly.] I am an artist, Irene. And I take no shame to myself for +the frailties that perhaps cling to me. For I was born to be an artist, +you see. And, do what I may, I shall never be anything else. + + +IRENE. + +[Looks at him with a lurking evil smile, and says gently and softly.] +You are a poet, Arnold. [Softly strokes his hair.] You dear, great, +middle-aged child,--is it possible that you cannot see that! + + +PROFESSOR RUBEK. + +[Annoyed.] Why do you keep on calling me a poet? + + +IRENE. + +[With malign eyes.] Because there is something apologetic in the word, +my friend. Something that suggests forgiveness of sins--and spreads +a cloak over all frailty. [With a sudden change of tone.] But I was a +human being--then! And I, too, had a life to live,--and a human destiny +to fulfil. And all that, look you, I let slip--gave it all up in order +to make myself your bondwoman.--Oh, it was self-murder--a deadly sin +against myself! [Half whispering.] And that sin I can never expiate! + + [She seats herself near him beside the brook, keeps close, though + unnoticed, watch upon him, and, as though in absence of mind, + plucks some flowers form the shrubs around them. + + +IRENE. + +[With apparent self-control.] I should have borne children in the +world--many children--real children--not such children as are hidden +away in grave-vaults. That was my vocation. I ought never to have served +you--poet. + + +PROFESSOR RUBEK. + +[Lost in recollection.] Yet those were beautiful days, Irene. +Marvellously beautiful days--as I now look back upon them-- + + +IRENE. + +[Looking at him with a soft expression.] Can you remember a little word +that you said--when you had finished--finished with me and with our +child? [Nods to him.] Can you remember that little word, Arnold? + + +PROFESSOR RUBEK. + +[Looks inquiringly at her.] Did I say a little word then, which you +still remember? + + +IRENE. + +Yes, you did. Can you not recall it? + + +PROFESSOR RUBEK. + +[Shaking his head.] No, I can't say that I do. Not at the present +moment, at any rate. + + +IRENE. + +You took both my hands and pressed them warmly. And I stood there in +breathless expectation. And then you said: "So now, Irene, I thank you +from my heart. This," you said, "has been a priceless episode for me." + + +PROFESSOR RUBEK. + +[Looks doubtfully at her.] Did I say "episode"? It is not a word I am in +the habit of using. + + +IRENE. + +You said "episode." + + +PROFESSOR RUBEK. + +[With assumed cheerfulness.] Well, well--after all, it was in reality an +episode. + + +IRENE. + +[Curtly.] At that word I left you. + + +PROFESSOR RUBEK. + +You take everything so painfully to heart, Irene. + + +IRENE. + +[Drawing her hand over her forehead.] Perhaps you are right. Let us +shake off all the hard things that go to the heart. [Plucks off the +leaves of a mountain rose and strews them on the brook.] Look there, +Arnold. There are our birds swimming. + + +PROFESSOR RUBEK. + +What birds are they? + + +IRENE. + +Can you not see? Of course they are flamingoes. Are they not rose-red? + + +PROFESSOR RUBEK. + +Flamingoes do not swim. They only wade. + + +IRENE. + +Then they are not flamingoes. They are sea-gulls. + + +PROFESSOR RUBEK. + +They may be sea-gulls with red bills, yes. [Plucks broad green leaves +and throws them into the brook.] Now I send out my ships after them. + + +IRENE. + +But there must be no harpoon-men on board. + + +PROFESSOR RUBEK. + +No, there shall be no harpoon-men. [Smiles to her.] Can you remember the +summer when we used to sit like this outside the little peasant hut on +the Lake of Taunitz? + + +IRENE. + +[Nods.] On Saturday evenings, yes,--when we had finished our week's +work-- + + +PROFESSOR RUBEK. --And taken the train out to the lake--to stay there +over Sunday-- + + +IRENE. + +[With an evil gleam of hatred in her eyes.] It was an episode, Arnold. + + +PROFESSOR RUBEK. + +[As if not hearing.] Then, too, you used to set birds swimming in the +brook. They were water-lilies which you-- + + +IRENE. + +They were white swans. + + +PROFESSOR RUBEK. + +I meant swans, yes. And I remember that I fastened a great furry leaf to +one of the swans. It looked like a burdock-leaf-- + + +IRENE. + +And then it turned into Lohengrin's boat--with the swan yoked to it. + + +PROFESSOR RUBEK. + +How fond you were of that game, Irene. + + +IRENE. + +We played it over and over again. + + +PROFESSOR RUBEK. + +Every single Saturday, I believe,--all the summer through. + + +IRENE. + +You said I was the swan that drew your boat. + + +PROFESSOR RUBEK. + +Did I say so? Yes, I daresay I did. [Absorbed in the game.] Just see how +the sea-gulls are swimming down the stream! + + +IRENE. + +[Laughing.] And all your ships have run ashore. + + +PROFESSOR RUBEK. + +[Throwing more leaves into the brook.] I have ships enough in reserve. +[Follows the leaves with his eyes, throws more into the brook, and says +after a pause.] Irene,--I have bought the little peasant hut beside the +Lake of Taunitz. + + +IRENE. + +Have you bought it? You often said you would, if you could afford it. + + +PROFESSOR RUBEK. + +The day came when I could afford it easily enough; and so I bought it. + + +IRENE. + +[With a sidelong look at him.] Then do you live out there now--in our +old house? + + +PROFESSOR RUBEK. + +No, I have had it pulled down long ago. And I have built myself a great, +handsome, comfortable villa on the site--with a park around it. It is +there that we-- [Stops and corrects himself.] --there that I usually +live during the summer. + + +IRENE. + +[Mastering herself.] So you and--and the other one live out there now? + + +PROFESSOR RUBEK. + +[With a touch of defiance.] Yes. When my wife and I are not +travelling--as we are this year. + + +IRENE. + +[Looking far before her.] Life was beautiful, beautiful by the Lake of +Taunitz. + + +PROFESSOR RUBEK. + +[As though looking back into himself.] And yet, Irene-- + + +IRENE. + +[Completing his thought.] --yet we two let slip all that life and its +beauty. + + +PROFESSOR RUBEK. + +[Softly, urgently.] Does repentance come too late, now? + + +IRENE. + +[Does not answer, but sits silent for a moment; then she points over +the upland.] Look there, Arnold,--now the sun is going down behind the +peaks. See what a red glow the level rays cast over all the heathery +knolls out yonder. + + +PROFESSOR RUBEK. + +[Looks where she is pointing.] It is long since I have seen a sunset in +the mountains. + + +IRENE. + +Or a sunrise? + + +PROFESSOR RUBEK. + +A sunrise I don't think I have ever seen. + + +IRENE. + +[Smiles as though lost in recollection.] I once saw a marvellously +lovely sunrise. + + +PROFESSOR RUBEK. + +Did you? Where was that? + + +IRENE. + +High, high up on a dizzy mountain-top.--You beguiled me up there by +promising that I should see all the glory of the world if only I-- + + [She stops suddenly. + + +PROFESSOR RUBEK. + +If only you--? Well? + + +IRENE. + +I did as you told me--went with you up to the heights. And there I +fell upon my knees and worshipped you, and served you. [Is silent for a +moment; then says softly.] Then I saw the sunrise. + + +PROFESSOR RUBEK. + +[Turning at him with a scornful smile.] With you--and the other woman? + + +PROFESSOR RUBEK. + +[Urgently.] With me--as in our days of creation. You could open all that +is locked up in me. Can you not find it in your heart, Irene? + + +IRENE. + +[Shaking her head.] I have no longer the key to you, Arnold. + + +PROFESSOR RUBEK. + +You have the key! You and you alone possess it! [Beseechingly.] Help +me--that I may be able to live my life over again! + + +IRENE. + +[Immovable as before.] Empty dreams! Idle--dead dreams. For the life you +and I led there is no resurrection. + + +PROFESSOR RUBEK. + +[Curtly, breaking off.] Then let us go on playing. + + +IRENE. + +Yes, playing, playing--only playing! + + [They sit and strew leaves and petals over the brook, where they + float and sail away. + + [Up the slope to the left at the back come ULFHEIM and MAIA in + hunting costume. After them comes the SERVANT with the leash + of dogs, with which he goes out to the right. + + +PROFESSOR RUBEK. + +[Catching sight of them.] Ah! There is little Maia, going out with the +bear-hunter. + + +IRENE. + +Your lady, yes. + + +PROFESSOR RUBEK. + +Or the other's. + + +MAIA. + +[Looks around as she is crossing the upland, sees the two sitting by +the brook, and calls out.] Good-night, Professor! Dream of me. Now I am +going off on my adventures! + + +PROFESSOR RUBEK. + +[Calls back to her.] What sort of an adventure is this to be? + + +MAIA. + +[Approaching.] I am going to let life take the place of all the rest. + + +PROFESSOR RUBEK. + +[Mockingly.] Aha! So you too are going to do that, little Maia? + + +MAIA. + +Yes. And I've made a verse about it, and this is how it goes: + + [Sings triumphantly.] + + I am free! I am free! I am free! + No more life in the prison for me! + I am free as a bird! I am free! + For I believe I have awakened now--at last. + + +PROFESSOR RUBEK. + +It almost seems so. + + +MAIA. + +[Drawing a deep breath.] Oh--how divinely light one feels on waking! + + +PROFESSOR RUBEK. + +Good-night, Frau Maia--and good luck to-- + + +ULFHEIM. + +[Calls out, interposing.] Hush, hush!--for the devil's sake let's have +none of your wizard wishes. Don't you see that we are going out to +shoot-- + + +PROFESSOR RUBEK. + +What will you bring me home from the hunting, Maia? + + +MAIA. + +You shall have a bird of prey to model. I shall wing one for you. + + +PROFESSOR RUBEK. + +[Laughs mockingly and bitterly.] Yes, to wing things--without knowing +what you are doing--that has long been quite in your way. + + +MAIA. + +[Tossing her head.] Oh, just let me take care of myself for the future, +and I wish you then--! [Nods and laughs roguishly.] Good-bye--and a +good, peaceful summer night on the upland! + + +PROFESSOR RUBEK. + +[Jestingly.] Thanks! And all the ill-luck in the world over you and your +hunting! + + +ULFHEIM. + +[Roaring with laughter.] There now, that is a wish worth having! + + +MAIA. + +[Laughing.] Thanks, thanks, thanks, Professor! + + [They have both crossed the visible portion of the upland, and go + out through the bushes to the right. + + +PROFESSOR RUBEK. + +[After a short pause.] A summer night on the upland! Yes, that would +have been life! + + +IRENE. + +[Suddenly, with a wild expression in her eyes.] Will you spend a summer +night on the upland--with me? + + +PROFESSOR RUBEK. + +[Stretching his arms wide.] Yes, yes,--come! + + +IRENE. + +My adored lord and master! + + +PROFESSOR RUBEK. + +Oh, Irene! + + +IRENE. + +[Hoarsely, smiling and groping in her breast.] It will be only an +episode-- [Quickly, whispering.] Hush!--do not look round, Arnold! + + +PROFESSOR RUBEK. + +[Also in a low voice.] What is it? + + +IRENE. + +A face that is staring at me. + + +PROFESSOR RUBEK. + +[Turns involuntarily.] Where! [With a start.] Ah--! + + [The SISTER OF MERCY's head is partly visible among the bushes + beside the descent to the left. Her eyes are immovably fixed + on IRENE. + + +IRENE. + +[Rises and says softly.] We must part then. No, you must remain sitting. +Do you hear? You must not go with me. [Bends over him and whispers.] +Till we meet again--to-night--on the upland. + + +PROFESSOR RUBEK. + +And you will come, Irene? + + +IRENE. + +Yes, surely I will come. Wait for me here. + + +PROFESSOR RUBEK. + +[Repeats dreamily.] Summer night on the upland. With you. With you. [His +eyes meet hers.] Oh, Irene--that might have been our life.--And that we +have forfeited--we two. + + +IRENE. + +We see the irretrievable only when-- + + [Breaks off. + + +PROFESSOR RUBEK. + +[Looks inquiringly at her.] When--? + + +IRENE. + +When we dead awaken. + + +PROFESSOR RUBEK. + +[Shakes his head mournfully.] What do we really see then? + + +IRENE. + +We see that we have never lived. + + [She goes towards the slope and descends. + + [The SISTER OF MERCY makes way for her and follows her. + PROFESSOR RUBEK remains sitting motionless beside the brook. + + +MAIA. + +[Is heard singing triumphantly among the hills.] + + I am free! I am free! I am free! + No more life in the prison for me! + I am free as a bird! I am free! + + + + +ACT THIRD. + + +[A wild riven mountain-side, with sheer precipices at the back. + Snow-clad peaks rise to the right, and lose themselves in drifting + mists. To the left, on a stone-scree, stands an old, half-ruined + hut. It is early morning. Dawn is breaking. The sun has not + yet risen. + +[MAIA comes, flushed and irritated, down over the stone-scree on the + left. ULFHEIM follows, half angry, half laughing, holding her + fast by the sleeve. + + +MAIA. + +[Trying to tear herself loose.] Let me go! Let me go, I say! + + +ULFHEIM. + +Come, Come! are you going to bite now? You're as snappish as a wolf. + + +MAIA. + +[Striking him over the hand.] Let me, I tell you? And be quiet! + + +ULFHEIM. + +No, confound me if I will! + + +MAIA. + +Then I will not go another step with you. Do you hear?--not a single +step! + + +ULFHEIM. + +Ho, ho! How can you get away from me, here, on the wild mountain-side? + + +MAIA. + +I will jump over the precipice yonder, if need be-- + + +ULFHEIM. + +And mangle and mash yourself up into dogs'-meat! A juicy morsel! [Lets +go his hold.] As you please. Jump over the precipice if you want to. +It's a dizzy drop. There's only one narrow footpath down it, and that's +almost impassable. + + +MAIA. + +[Dusts her skirt with her hand, and looks at him with angry eyes.] Well, +you are a nice one to go hunting with! + + +ULFHEIM. + +Say rather, sporting. + + +MAIA. + +Oh! So you call this sport, do you? + + +ULFHEIM. + +Yes, I venture to take that liberty. It is the sort of sport I like best +of all. + + +MAIA. + +[Tossing her head.] Well--I must say! [After a pause; looks searchingly +at him.] Why did you let the dogs loose up there? + + +ULFHEIM. + +[Blinking his eyes and smiling.] So that they too might do a little +hunting on their own account, don't you see? + + +MAIA. + +There's not a word of truth in that! It wasn't for the dogs' sake that +you let them go. + + +ULFHEIM. + +[Still smiling.] Well, why did I let them go then? Let us hear. + + +MAIA. + +You let them go because you wanted to get rid of Lars. He was to run +after them and bring them in again, you said. And in the meant-time--. +Oh, it was a pretty way to behave! + + +ULFHEIM. + +In the meantime? + + +MAIA. + +[Curtly breaking off.] No matter! + + +ULFHEIM. + +[In a confidential tone.] Lars won't find them. You may safely swear to +that. He won't come with them before the time's up. + + +MAIA. + +[Looking angrily at him.] No, I daresay not. + + +ULFHEIM. + +[Catching at her arm.] For Lars--he knows my--my methods of sport, you +see. + + +MAIA. + +[Eludes him, and measures him with a glance.] Do you know what you look +like, Mr. Ulfheim? + + +ULFHEIM. + +I should think I'm probably most like myself. + + +MAIA. + +Yes, there you're exactly right. For you're the living image of a faun. + + +ULFHEIM. + +A faun? + + +MAIA. + +Yes, precisely; a faun. + + +ULFHEIM. + +A faun! Isn't that a sort of monster? Or a kind of a wood demon, as you +might call it? + + +MAIA. + +Yes, just the sort of creature you are. A thing with a goat's beard and +goat-legs. Yes, and the faun has horns too! + + +ULFHEIM. + +So, so!--has he horns too? + + +MAIA. + +A pair of ugly horns, just like yours, yes. + + +ULFHEIM. + +Can you see the poor little horns _I_ have? + + +MAIA. + +Yes, I seem to see them quite plainly. + + +ULFHEIM. + +[Taking the dogs' leash out of his pocket.] Then I had better see about +tying you. + + +MAIA. + +Have you gone quite mad? Would you tie me? + + +ULFHEIM. + +If I am a demon, let me be a demon! So that's the way of it! You can see +the horns, can you? + + +MAIA. + +[Soothingly.] There, there, there! Now try to behave nicely, Mr. +Ulfheim. [Breaking off.] But what has become of that hunting-castle +of yours, that you boasted so much of? You said it lay somewhere +hereabouts. + + +ULFHEIM. + +[Points with a flourish to the hut.] There you have it, before your very +eyes. + + +MAIA. + +[Looks at him.] That old pig-stye! + + +ULFHEIM. + +[Laughing in his beard.] It has harboured more than one king's daughter, +I can tell you. + + +MAIA. + +Was it there that that horrid man you told me about came to the king's +daughter in the form of a bear? + + +ULFHEIM. + +Yes, my fair companion of the chase--this is the scene. [With a gesture +of invitation.] If you would deign to enter-- + + +MAIA. + +Isch! If ever I set foot in it--! Isch! + + +ULFHEIM. + +Oh, two people can doze away a summer night in there comfortably enough. +Or a whole summer, if it comes to that! + + +MAIA. + +Thanks! One would need to have a pretty strong taste for that kind of +thing. [Impatiently.] But now I am tired both of you and the hunting +expedition. Now I am going down to the hotel--before people awaken down +there. + + +ULFHEIM. + +How do you propose to get down from here? + + +MAIA. + +That's your affair. There must be a way down somewhere or other, I +suppose. + + +ULFHEIM. + +[Pointing towards the back.] Oh, certainly! There is a sort of +way--right down the face of the precipice yonder-- + + +MAIA. + +There, you see. With a little goodwill-- + + +ULFHEIM. --but just you try if you dare go that way. + + +MAIA. + +[Doubtfully.] Do you think I can't? + + +ULFHEIM. + +Never in this world--if you don't let me help you. + + +MAIA. + +[Uneasily.] Why, then come and help me! What else are you here for? + + +ULFHEIM. + +Would you rather I should take you on my back--? + + +MAIA. + +Nonsense! + + +ULFHEIM. --or carry you in my arms? + + +MAIA. + +Now do stop talking that rubbish! + + +ULFHEIM. + +[With suppressed exasperation.] I once took a young girl--lifted her up +from the mire of the streets and carried her in my arms. Next my heart I +carried her. So I would have borne her all through life--lest haply she +should dash her foot against a stone. For her shoes were worn very thin +when I found her-- + + +MAIA. + +And yet you took her up and carried her next your heart? + + +ULFHEIM. + +Took her up out of the gutter and carried her as high and as carefully +as I could. [With a growling laugh.] And do you know what I got for my +reward? + + +MAIA. + +No. What did you get? + + +ULFHEIM. + +[Looks at her, smiles and nods.] I got the horns! The horns that you can +see so plainly. Is not that a comical story, madam bear-murderess? + + +MAIA. + +Oh yes, comical enough! But I know another story that is still more +comical. + + +ULFHEIM. + +How does that story go? + + +MAIA. + +This is how it goes. There was once a stupid girl, who had both a father +and a mother--but a rather poverty-stricken home. Then there came a high +and mighty seigneur into the midst of all this poverty. And he took the +girl in his arms--as you did--and travelled far, far away with her-- + + +ULFHEIM. + +Was she so anxious to be with him? + + +MAIA. + +Yes, for she was stupid, you see. + + +ULFHEIM. + +And he, no doubt, was a brilliant and beautiful personage? + + +MAIA. + +Oh, no, he wasn't so superlatively beautiful either. But he pretended +that he would take her with him to the top of the highest of mountains, +where there were light and sunshine without end. + + +ULFHEIM. + +So he was a mountaineer, was he, that man? + + +MAIA. + +Yes, he was--in his way. + + +ULFHEIM. + +And then he took the girl up with him--? + + +MAIA. + +[With a toss of the head.] Took her up with him finely, you may be sure! +Oh no! he beguiled her into a cold, clammy cage, where--as it seemed +to her--there was neither sunlight nor fresh air, but only gilding and +great petrified ghosts of people all around the walls. + + +ULFHEIM. + +Devil take me, but it served her right! + + +MAIA. + +Yes, but don't you think it's quite a comical story, all the same? + + +ULFHEIM. + +[Looks at her moment.] Now listen to me, my good companion of the +chase-- + + +MAIA. + +Well, what it is now? + + +ULFHEIM. + +Should not we two tack our poor shreds of life together? + + +MAIA. + +Is his worship inclined to set up as a patching-tailor? + + +ULFHEIM. + +Yes, indeed he is. Might not we two try to draw the rags together here +and there--so as to make some sort of a human life out of them? + + +MAIA. + +And when the poor tatters were quite worn out--what then? + + +ULFHEIM. + +[With a large gesture.] Then there we shall stand, free and serene--as +the man and woman we really are! + + +MAIA. + +[Laughing.] You with your goat-legs yes! + + +ULFHEIM. + +And you with your--. Well, let that pass. + + +MAIA. + +Yes, come--let us pass--on. + + +ULFHEIM. + +Stop! Whither away, comrade? + + +MAIA. + +Down to the hotel, of course. + + +ULFHEIM. + +And afterward? + + +MAIA. + +Then we'll take a polite leave of each other, with thanks for pleasant +company. + + +ULFHEIM. + +Can we part, we two? Do you think we can? + + +MAIA. + +Yes, you didn't manage to tie me up, you know. + + +ULFHEIM. + +I have a castle to offer you-- + + +MAIA. + +[Pointing to the hut.] A fellow to that one? + + +ULFHEIM. + +It has not fallen to ruin yet. + + +MAIA. + +And all the glory of the world, perhaps? + + +ULFHEIM. + +A castle, I tell you-- + + +MAIA. + +Thanks! I have had enough of castles. + + +ULFHEIM. --with splendid hunting-grounds stretching for miles around it. + + +MAIA. + +Are there works of art too in this castle? + + +ULFHEIM. + +[Slowly.] Well, no--it's true there are no works of art; but-- + + +MAIA. + +[Relieved.] Ah! that's one good thing, at any rate! + + +ULFHEIM. + +Will you go with me, then--as far and as long as I want you? + + +MAIA. + +There is a tame bird of prey keeping watch upon me. + + +ULFHEIM. + +[Wildly.] We'll put a bullet in his wing, Maia! + + +MAIA. + +[Looks at him a moment, and says resolutely.] Come then, and carry me +down into the depths. + + +ULFHEIM. + +[Puts his arm round her waist.] It is high time! The mist is upon us! + + +MAIA. + +Is the way down terribly dangerous? + + +ULFHEIM. + +The mountain is more dangerous still. + + [She shakes him off, goes to the edge of the precipice and looks + over, but starts quickly back. + + +ULFHEIM. + +[Goes towards her, laughing.] What? Does it make you a little giddy? + + +MAIA. + +[Faintly.] Yes, that too. But go and look over. Those two, coming up-- + + +ULFHEIM. + +[Goes and bends over the edge of the precipice.] It's only your bird of +prey--and his strange lady. + + +MAIA. + +Can't we get past them--without their seeing us? + + +ULFHEIM. + +Impossible! The path is far too narrow. And there's no other way down. + + +MAIA. + +[Nerving herself.] Well, well--let us face them here, then! + + +ULFHEIM. + +Spoken like a true bear-killer, comrade! + + [PROFESSOR RUBEK and IRENE appear over the edge of the precipice + at the back. He has his plaid over his shoulders; she has a + fur cloak thrown loosely over her white dress, and a swansdown + hood over her head. + + +PROFESSOR RUBEK. + +[Still only half visible above the edge.] What, Maia! So we two meet +once again? + + +MAIA. + +[With assumed coolness.] At your service. Won't you come up? + + [PROFESSOR RUBEK climbs right up and holds out his hand to IRENE, + who also comes right to the top. + + +PROFESSOR RUBEK. + +[Coldly to MAIA.] So you, too, have been all night on the mountain,--as +we have? + + +MAIA. + +I have been hunting--yes. You gave me permission, you know. + + +ULFHEIM. + +[Pointing downward.] Have you come up that path there? + + +PROFESSOR RUBEK. + +As you saw. + + +ULFHEIM. + +And the strange lady too? + + +PROFESSOR RUBEK. + +Yes, of course. [With a glance at MAIA.] Henceforth the strange lady and +I do not intend our ways to part. + + +ULFHEIM. + +Don't you know, then, that it is a deadly dangerous way you have come? + + +PROFESSOR RUBEK. + +We thought we would try it, nevertheless. For it did not seem +particularly hard at first. + + +ULFHEIM. + +No, at first nothing seems hard. But presently you may come to a tight +place where you can neither get forward nor back. And then you stick +fast, Professor! Mountain-fast, as we hunters call it. + + +PROFESSOR RUBEK. + +[Smiles and looks at him.] Am I to take these as oracular utterances, +Mr. Ulfheim? + + +ULFHEIM. + +Lord preserve me from playing the oracle! [Urgently, pointing up towards +the heights.] But don't you see that the storm is upon us? Don't you +hear the blasts of wind? + + +PROFESSOR RUBEK. + +[Listening.] They sound like the prelude to the Resurrection Day. + + +ULFHEIM. + +They are storm-blasts form the peaks, man! Just look how the clouds are +rolling and sinking--soon they'll be all around us like a winding-sheet! + + +IRENE. + +[With a start and shiver.] I know that sheet! + + +MAIA. + +[Drawing ULFHEIM away.] Let us make haste and get down. + + +ULFHEIM. + +[To PROFESSOR RUBEK.] I cannot help more than one. Take refuge in the +hut in the mean-time--while the storm lasts. Then I shall send people up +to fetch the two of you away. + + +IRENE. + +[In terror.] To fetch us away! No, no! + + +ULFHEIM. + +[Harshly.] To take you by force if necessary--for it's a matter of life +and death here. Now, you know it. [To MAIA.] Come, then--and don't fear +to trust yourself in your comrade's hands. + + +MAIA. + +[Clinging to him.] Oh, how I shall rejoice and sing, if I get down with +a whole skin! + + +ULFHEIM. + +[Begins the descent and calls to the others.] You'll wait, then, in the +hut, till the men come with ropes, and fetch you away. + + [ULFHEIM, with MAIA in his arms, clambers rapidly but warily down + the precipice. + + +IRENE. + +[Looks for some time at PROFESSOR RUBEK with terror-stricken eyes.] Did +you hear that, Arnold?--men are coming up to fetch me away! Many men +will come up here-- + + +PROFESSOR RUBEK. + +Do not be alarmed, Irene! + + +IRENE. + +[In growing terror.] And she, the woman in black--she will come too. For +she must have missed me long ago. And then she will seize me, Arnold! +And put me in the strait-waistcoat. Oh, she has it with her, in her box. +I have seen it with my own eyes-- + + +PROFESSOR RUBEK. + +Not a soul shall be suffered to touch you. + + +IRENE. + +[With a wild smile.] Oh no--I myself have a resource against that. + + +PROFESSOR RUBEK. + +What resource do you mean? + + +IRENE. + +[Drawing out the knife.] This! + + +PROFESSOR RUBEK. + +[Tries to seize it.] Have you a knife? + + +IRENE. + +Always, always--both day and night--in bed as well! + + +PROFESSOR RUBEK. + +Give me that knife, Irene! + + +IRENE. + +[Concealing it.] You shall not have it. I may very likely find a use for +it myself. + + +PROFESSOR RUBEK. + +What use can you have for it, here? + + +IRENE. + +[Looks fixedly at him.] It was intended for you, Arnold. + + +PROFESSOR RUBEK. + +For me! + + +IRENE. + +As we were sitting by the Lake of Taunitz last evening-- + + +PROFESSOR RUBEK. + +By the Lake of-- + + +IRENE. --outside the peasant's hut--and playing with swans and +water-lilies-- + + +PROFESSOR RUBEK. + +What then--what then? + + +IRENE. --and when I heard you say with such deathly, icy coldness--that +I was nothing but an episode in your life-- + + +PROFESSOR RUBEK. + +It was you that said that, Irene, not I. + + +IRENE. + +[Continuing.] --then I had my knife out. I wanted to stab you in the +back with it. + + +PROFESSOR RUBEK. + +[Darkly.] And why did you hold your hand? + + +IRENE. + +Because it flashed upon me with a sudden horror that you were dead +already--long ago. + + +PROFESSOR RUBEK. + +Dead? + + +IRENE. + +Dead. Dead, you as well as I. We sat there by the Lake of Taunitz, we +two clay-cold bodies--and played with each other. + + +PROFESSOR RUBEK. + +I do not call that being dead. But you do not understand me. + + +IRENE. + +Then where is the burning desire for me that you fought and battled +against when I stood freely forth before you as the woman arisen from +the dead? + + +PROFESSOR RUBEK. + +Our love is assuredly not dead, Irene. + + +IRENE. + +The love that belongs to the life of earth--the beautiful, miraculous +earth-life--the inscrutable earth-life--that is dead in both of us. + + +PROFESSOR RUBEK. + +[Passionately.] And do you know that just that love--it is burning and +seething in me as hotly as ever before? + + +IRENE. + +And I? Have you forgotten who I now am? + + +PROFESSOR RUBEK. + +Be who or what you please, for aught I care! For me, you are the woman I +see in my dreams of you. + + +IRENE. + +I have stood on the turn-table-naked--and made a show of myself to many +hundreds of men--after you. + + +PROFESSOR RUBEK. + +It was I that drove you to the turn-table--blind as I then was--I, who +placed the dead clay-image above the happiness of life--of love. + + +IRENE. + +[Looking down.] Too late--too late! + + +PROFESSOR RUBEK. + +Not by a hairsbreadth has all that has passed in the interval lowered +you in my eyes. + + +IRENE. + +[With head erect.] Nor in my own! + + +PROFESSOR RUBEK. + +Well, what then! Then we are free--and there is still time for us to +live our life, Irene. + + +IRENE. + +[Looks sadly at him.] The desire for life is dead in me, Arnold. Now I +have arisen. And I look for you. And I find you.--And then I see that +you and life lie dead--as I have lain. + + +PROFESSOR RUBEK. + +Oh, how utterly you are astray! Both in us and around us life is +fermenting and throbbing as fiercely as ever! + + +IRENE. + +[Smiling and shaking her head.] The young woman of your Resurrection Day +can see all life lying on its bier. + + +PROFESSOR RUBEK. + +[Throwing his arms violently around her.] Then let two of the dead--us +two--for once live life to its uttermost--before we go down to our +graves again! + + +IRENE. + +[With a shriek.] Arnold! + + +PROFESSOR RUBEK. + +But not here in the half darkness! Not here with this hideous dank +shroud flapping around us-- + + +IRENE. + +[Carried away by passion.] No, no--up in the light, and in all the +glittering glory! Up to the Peak of Promise! + + +PROFESSOR RUBEK. + +There we will hold our marriage-feast, Irene--oh, my beloved! + + +IRENE. + +[Proudly.] The sun may freely look on us, Arnold. + + +PROFESSOR RUBEK. + +All the powers of light may freely look on us--and all the powers +of darkness too. [Seizes her hand.] Will you then follow me, oh my +grace-given bride? + + +IRENE. + +[As though transfigured.] I follow you, freely and gladly, my lord and +master! + + +PROFESSOR RUBEK. + +[Drawing her along with him.] We must first pass through the mists, +Irene, and then-- + + +IRENE. + +Yes, through all the mists, and then right up to the summit of the tower +that shines in the sunrise. + + [The mist-clouds close in over the scene--PROFESSOR RUBEK and + IRENE, hand in hand, climb up over the snow-field to the right + and soon disappear among the lower clouds. Keen storm-gusts + hurtle and whistle through the air. + + [The SISTER OF MERCY appears upon the stone-scree to the left. + She stops and looks around silently and searchingly. + + +MAIA. + + I am free! I am free! I am free! + No more life in the prison for me! + I am free as a bird! I am free! + + [Suddenly a sound like thunder is heard from high up on the snow- + field, which glides and whirls downwards with headlong speed. + PROFESSOR RUBEK and IRENE can be dimly discerned as they are + whirled along with the masses of snow and buried in them. + + +THE SISTER OF MERCY. + +[Gives a shriek, stretches out her arms towards them and cries.] Irene! + + [Stands silent a moment, then makes the sign of the cross before + her in the air, and says. + +Pax vobiscum! + + [MAIA's triumphant song sounds from still farther down below. + + + + + + +End of the Project Gutenberg EBook of When We Dead Awaken, by Henrik Ibsen + +*** END OF THIS PROJECT GUTENBERG EBOOK WHEN WE DEAD AWAKEN *** + +***** This file should be named 4782.txt or 4782.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/4/7/8/4782/ + +Produced by Sonia K + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: When We Dead Awaken + +Author: Henrik Ibsen + +Release Date: December, 2003 [EBook #4782] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on March 24, 2002] + +Edition: 10 + +Language: English + +Character set encoding: ASCII + +*** START OF THE PROJECT GUTENBERG EBOOK WHEN WE DEAD AWAKEN *** + + + + +Produced by Sonia K. + + + + + + + + + + +WHEN WE DEAD AWAKEN + +By Henrik Ibsen. + + +Introduction and translation by William Archer. + + + + +INTRODUCTION. + + +From _Pillars of Society_ to _John Gabriel Borkman_, Ibsen’s plays had +followed each other at regular intervals of two years, save when his +indignation over the abuse heaped upon _Ghosts_ reduced to a single +year the interval between that play and _An Enemy of the People_. +_John Gabriel Borkman_ having appeared in 1896, its successor was +expected in 1898; but Christmas came and brought no rumour of a new +play. In a man now over seventy, this breach of a long-established +habit seemed ominous. The new National Theatre in Christiania was +opened in September of the following year; and when I then met Ibsen +(for the last time) he told me that he was actually at work on a new +play, which he thought of calling a "Dramatic Epilogue." "He wrote +_When We Dead Awaken_," says Dr. Elias, "with such labour and such +passionate agitation, so spasmodically and so feverishly, that those +around him were almost alarmed. He must get on with it, he must get +on! He seemed to hear the beating of dark pinions over his head. He +seemed to feel the grim Visitant, who had accompanied Alfred Allmers +on the mountain paths, already standing behind him with uplifted hand. +His relatives are firmly convinced that he knew quite clearly that this +would be his last play, that he was to write no more. And soon the +blow fell." + +_When We Dead Awaken_ was published very shortly before Christmas 1899. +He had still a year of comparative health before him. We find him in +March 1900, writing to Count Prozor: "I cannot say yet whether or not +I shall write another drama; but if I continue to retain the vigour of +body and mind which I at present enjoy, I do not imagine that I shall +be able to keep permanently away from the old battlefields. However, +if I were to make my appearance again, it would be with new weapons +and in new armour." Was he hinting at the desire, which he had long +ago confessed to Professor Herford, that his last work should be a +drama in verse? Whatever his dream, it was not to be realised. His +last letter (defending his attitude of philosophic impartiality with +regard to the South African war) is dated December 9, 1900. With the +dawn of the new century, the curtain descended upon the mind of the +great dramatic poet of the age which had passed away. + +_When We Dead Awaken_ was acted during 1900 at most of the leading +theatres in Scandinavia and Germany. In some German cities (notably +in Frankfort on Main) it even attained a considerable number of +representatives. I cannot learn, however, that it has anywhere held +the stage. It was produced in London, by the State Society, at the +Imperial Theatre, on January 25 and 26, 1903. Mr. G. S. Titheradge +played Rubek, Miss Henrietta Watson Irene, Miss Mabel Hackney Maia, +and Mr. Laurence Irving Ulfheim. I find no record of any American +performance. + +In the above-mentioned letter to Count Prozor, Ibsen confirmed that +critic's conjecture that "the series which ends with the Epilogue +really began with _The Master Builder." As the last confession, so +to speak, of a great artist, the Epilogue will always be read with +interest. It contains, moreover, many flashes of the old genius, many +strokes of the old incommunicable magic. One may say with perfect +sincerity that there is more fascination in the dregs of Ibsen's mind +than in the "first sprightly running" of more common-place talents. +But to his sane admirers the interest of the play must always be +melancholy, because it is purely pathological. To deny this is, in +my opinion, to cast a slur over all the poet's previous work, and in +great measure to justify the criticisms of his most violent detractors. +For _When We Dead Awaken_ is very like the sort of play that haunted +the "anti-Ibsenite" imagination in the year 1893 or thereabouts. It +is a piece of self-caricature, a series of echoes from all the earlier +plays, an exaggeration of manner to the pitch of mannerism. Moreover, +in his treatment of his symbolic motives, Ibsen did exactly what he +had hitherto, with perfect justice, plumed himself upon never doing: +he sacrificed the surface reality to the underlying meaning. Take, +for instance, the history of Rubek's statue and its development +into a group. In actual sculpture this development is a grotesque +impossibility. In conceiving it we are deserting the domain of +reality, and plunging into some fourth dimension where the properties +of matter are other than those we know. This is an abandonment of the +fundamental principle which Ibsen over and over again emphatically +expressed--namely, that any symbolism his work might be found to +contain was entirely incidental, and subordinate to the truth and +consistency of his picture of life. Even when he dallied with the +supernatural, as in _The Master Builder_ and _Little Eyolf_, he was +always careful, as I have tried to show, not to overstep decisively +the boundaries of the natural. Here, on the other hand, without any +suggestion of the supernatural, we are confronted with the wholly +impossible, the inconceivable. How remote is this alike from his +principles of art and from the consistent, unvarying practice of his +better years! So great is the chasm between _John Gabriel Borkman_ +and _When We Dead Awaken_ that one could almost suppose his mental +breakdown to have preceded instead of followed the writing of the +latter play. Certainly it is one of the premonitions of the coming +end. It is Ibsen's _Count Robert of Paris_. To pretend to rank it +with his masterpieces is to show a very imperfect sense of the nature +of their mastery. + + + + +WHEN WE DEAD AWAKEN. + +A DRAMATIC EPILOGUE. + + + +CHARACTERS. + + +PROFESSOR ARNOLD RUBEK, a sculptor. +MRS. MAIA RUBEK, his wife. +THE INSPECTOR at the Baths. +ULFHEIM, a landed proprietor. +A STRANGER LADY. +A SISTER OF MERCY. + + Servants, Visitors to the Baths, and Children. + + + The First Act passes at a bathing establishment on the + coast; the Second and Third Acts in the + neighbourhood of a health resort, high + in the mountains. + + + + +ACT FIRST. + + +[Outside the Bath Hotel. A portion of the main building can be seen + to the right. An open, park-like place with a fountain, groups + of fine old trees, and shrubbery. To the left, a little pavilion + almost covered with ivy and Virginia creeper. A table and chair + outside it. At the back a view over the fjord, right out to sea, + with headlands and small islands in the distance. It is a calm, + warm and sunny summer morning. + +[PROFESSOR RUBEK and MRS. MAIA RUBEK are sitting in basket chairs + beside a covered table on the lawn outside the hotel, having just + breakfasted. They have champagne and seltzer water on the table, + and each has a newspaper. PROFESSOR RUBEK is an elderly man of + distinguished appearance, wearing a black velvet jacket, and + otherwise in light summer attire. MAIA is quite young, with + a vivacious expression and lively, mocking eyes, yet with a + suggestion of fatigue. She wears an elegant travelling dress. + + +MAIA. + +[Sits for some time as though waiting for the PROFESSOR to say +something, then lets her paper drop with a deep sigh.] Oh dear, dear, +dear---! + + +PROFESSOR RUBEK. + +[Looks up from his paper.] Well, Maia? What is the matter with you? + + +MAIA. + +Just listen how silent it is here. + + +PROFESSOR RUBEK. + +[Smiles indulgently.] And you can hear that? + + +MAIA. + +What? + + +PROFESSOR RUBEK. + +The silence? + + +MAIA. + +Yes, indeed I can. + + +PROFESSOR RUBEK. + +Well, perhaps you are right, _mein Kind_. One can really hear the +silence. + + +MAIA. + +Heaven knows you can--when it's so absolutely overpowering as it is +here--- + + +PROFESSOR RUBEK. + +Here at the Baths, you mean? + + +MAIA. + +Wherever you go at home here, it seems to me. Of course there was +noise and bustle enough in the town. But I don't know how it is-- +even the noise and bustle seemed to have something dead about it. + + +PROFESSOR RUBEK. + +[With a searching glance.] You don't seem particularly glad to be at +home again, Maia? + + +MAIA. + +[Looks at him.] Are you glad? + + +PROFESSOR RUBEK. + +[Evasively.] I---? + + +MAIA. + +Yes, you, who have been so much, much further away than I. Are you +entirely happy, now that you are at home again? + + +PROFESSOR RUBEK. + +No--to be quite candid--perhaps not entirely happy--- + + +MAIA. + +[With animation.] There, you see! Didn't I know it! + + +PROFESSOR RUBEK. + +I have been too long abroad. I have drifted quite away from all this +--this home life. + + +MAIA. + +[Eagerly, drawing her chair nearer him.] There, you see, Rubek! We +had much better get away again! As quickly as ever we can. + + +PROFESSOR RUBEK. + +[Somewhat impatiently.] Well, well, that is what we intend to do, my +dear Maia. You know that. + + +MAIA. + +But why not now--at once? Only think how cozy and comfortable we +could be down there, in our lovely new house--- + + +PROFESSOR RUBEK. + +[Smiles indulgently.] We ought by rights to say: our lovely new home. + + +MAIA. + +[Shortly.] I prefer to say house--let us keep to that. + + +PROFESSOR RUBEK. + +[His eyes dwelling on her.] You are really a strange little person. + + +MAIA. + +Am I so strange? + + +PROFESSOR RUBEK. + +Yes, I think so. + + +MAIA. + +But why, pray? Perhaps because I'm not desperately in love with +mooning about up here---? + + +PROFESSOR RUBEK. + +Which of us was it that was absolutely bent on our coming north +this summer? + + +MAIA. + +I admit, it was I. + + +PROFESSOR RUBEK. + +It was certainly not I, at any rate. + + +MAIA. + +But good heavens, who could have dreamt that everything would have +altered so terribly at home here? And in so short a time, too! Why, +it is only just four years since I went away--- + + +PROFESSOR RUBEK. + +Since you were married, yes. + + +MAIA. + +Married? What has that to do with the matter? + + +PROFESSOR RUBEK. + +[Continuing.] --since you became the Frau Professor, and found +yourself mistress of a charming home--I beg your pardon--a very +handsome house, I ought to say. And a villa on the Lake of Taunitz, +just at the point that has become most fashionable, too--. In fact +it is all very handsome and distinguished, Maia, there's no denying +that. And spacious too. We need not always be getting in each +other's way--- + + +MAIA. + +[Lightly.] No, no, no--there's certainly no lack of house-room, and +that sort of thing--- + + +PROFESSOR RUBEK. + +Remember, too, that you have been living in altogether more spacious +and distinguished surroundings--in more polished society than you were +accustomed to at home. + + +MAIA. + +[Looking at him.] Ah, so you think it is _I_ that have changed? + + +PROFESSOR RUBEK. + +Indeed I do, Maia. + + +MAIA. + +I alone? Not the people here? + + +PROFESSOR RUBEK. + +Oh yes, they too--a little, perhaps. And not at all in the direction +of amiability. That I readily admit. + + +MAIA. + +I should think you must admit it, indeed. + + +PROFESSOR RUBEK. + +[Changing the subject.] Do you know how it affects me when I look at +the life of the people around us here? + + +MAIA. + +No. Tell me. + + +PROFESSOR RUBEK. + +It makes me think of that night we spent in the train, when we were +coming up here--- + + +MAIA. + +Why, you were sound asleep all the time. + + +PROFESSOR RUBEK. + +Not quite. I noticed how silent it became at all the little roadside +stations. I heard the silence--like you, Maia--- + + +MAIA. + +H'm,--like me, yes. + + +PROFESSOR RUBEK. + +--and that assured me that we had crossed the frontier--that we were +really at home. For the train stopped at all the little stations-- +although there was nothing doing at all. + + +MAIA. + +Then why did it stop--though there was nothing to be done? + + +PROFESSOR RUBEK. + +Can't say. No one got out or in; but all the same the train stopped a +long, endless time. And at every station I could make out that there +were two railway men walking up and down the platform--one with a +lantern in his hand--and they said things to each other in the night, +low, and toneless, and meaningless. + + +MAIA. + +Yes, that is quite true. There are always two men walking up and down, +and talking--- + + +PROFESSOR RUBEK. + +--of nothing. [Changing to a livelier tone.] But just wait till to- +morrow. Then we shall have the great luxurious steamer lying in +the harbour. We'll go on board her, and sail all round the coast-- +northward ho!--right to the polar sea. + + +MAIA. + +Yes, but then you will see nothing of the country--and of the people. +And that was what you particularly wanted. + + +PROFESSOR RUBEK. + +[Shortly and snappishly.] I have seen more than enough. + + +MAIA. + +Do you think a sea voyage will be better for you? + + +PROFESSOR RUBEK. + +It is always a change. + + +MAIA. + +Well, well, if only it is the right thing for you--- + + +PROFESSOR RUBEK. + +For me? The right thing? There is nothing in the world the matter +with me. + + +MAIA. + +[Rises and goes to him.] Yes, there is, Rubek. I am sure you must +feel it yourself. + + +PROFESSOR RUBEK. + +Why my dearest Maia--what should be amiss with me? + + +MAIA. + +[Behind him, bending over the back of his chair.] That you must tell +me. You have begun to wander about without a moment's peace. You +cannot rest anywhere--neither at home nor abroad. You have become +quite misanthropic of late. + + +PROFESSOR RUBEK. + +[With a touch of sarcasm.] Dear me--have you noticed that? + + +MAIA. + +No one that knows you can help noticing it. And then it seems to me +so sad that you have lost all pleasure in your work. + + +PROFESSOR RUBEK. + +That too, eh? + + +MAIA. + +You that used to be so indefatigable--working from morning to night! + + +PROFESSOR RUBEK. + +[Gloomily.] Used to be, yes--- + + +MAIA. + +But ever since you got your great masterpiece out of hand--- + + +PROFESSOR RUBEK. + +[Nods thoughtfully.] "The Resurrection Day"--- + + +MAIA. + +--the masterpiece that has gone round the whole world, and made you +so famous--- + + +PROFESSOR RUBEK. + +Perhaps that is just the misfortune, Maia. + + +MAIA. + +How so? + + +PROFESSOR RUBEK. + +When I had finished this masterpiece of mine--[Makes a passionate +movement with his hand]--for "The Resurrection Day" is a masterpiece! +Or was one in the beginning. No, it is one still. It must, must, +must be a masterpiece! + + +MAIA. + +[Looks at him in astonishment.] Why, Rubek--all the world knows that. + + +PROFESSOR RUBEK. + +[Short, repellently.] All the world knows nothing! Understands +nothing! + + +MAIA. + +Well, at any rate it can divine something--- + + +PROFESSOR RUBEK. + +Something that isn't there at all, yes. Something that never was in +my mind. Ah yes, that they can all go into ecstasies over! [Growling +to himself.] What is the good of working oneself to death for the mob +and the masses--for "all the world"! + + +MAIA. + +Do you think it is better, then--do you think it is worthy of you, to +do nothing at all but portrait-bust now and then? + + +PROFESSOR RUBEK. + +[With a sly smile.] They are not exactly portrait-busts that I turn +out, Maia. + + +MAIA. + +Yes, indeed they are--for the last two or three years--ever since you +finished your great group and got it out of the house--- + + +PROFESSOR RUBEK. + +All the same, they are no mere portrait-busts, I assure you. + + +MAIA. + +What are they, then? + + +PROFESSOR RUBEK. + +There is something equivocal, something cryptic, lurking in and behind +these busts--a secret something, that the people themselves cannot +see--- + + +MAIA. + +Indeed? + + +PROFESSOR RUBEK. + +[Decisively.] I alone can see it. And it amuses me unspeakably.--On +the surface I give them the "striking likeness," as they call it, that +they all stand and gape at in astonishment--[Lowers his voice]--but +at bottom they are all respectable, pompous horse-faces, and self- +opinionated donkey-muzzles, and lop-eared, low-browed dog-skulls, and +fatted swine-snouts--and sometimes dull, brutal bull-fronts as well--- + + +MAIA. + +[Indifferently.] All the dear domestic animals, in fact. + + +PROFESSOR RUBEK. + +Simply the dear domestic animals, Maia. All the animals which men have +bedevilled in their own image--and which have bedevilled men in return. +[Empties his champagne-glass and laughs.] And it is these double-faced +works of art that our excellent plutocrats come and order of me. And +pay for in all good faith--and in good round figures too--almost their +weight in gold, as the saying goes. + + +MAIA. + +[Fills his glass.] Come, Rubek! Drink and be happy. + + +PROFESSOR RUBEK. + +[Passes his hand several times across his forehead and leans back +in his chair.] I am happy, Maia. Really happy--in a way. [Short +silence.] For after all there is a certain happiness in feeling +oneself free and independent on every hand--in having at ones command +everything one can possibly wish for--all outward things, that is to +say. Do you not agree with me, Maia? + + +MAIA. + +Oh yes, I agree. All that is well enough in its way. [Looking at +him.] But do you remember what you promised me the day we came to +an understanding on--on that troublesome point--- + + +PROFESSOR RUBEK. + +[Nods.] --on the subject of our marriage, yes. It was no easy matter +for you, Maia. + + +MAIA. + +[Continuing unruffled.] --and agreed that I was to go abroad with +you, and live there for good and all--and enjoy myself.--Do you +remember what you promised me that day? + + +PROFESSOR RUBEK. + +[Shaking his head.] No, I can't say that I do. Well, what did I +promise? + + +MAIA. + +You said you would take me up to a high mountain and show me all the +glory of the world. + + +PROFESSOR RUBEK. + +[With a slight start.] Did I promise you that, too? + + +MAIA. + +Me too? Who else, pray? + + +PROFESSOR RUBEK. + +[Indifferently.] No, no, I only meant did I promise to show you---? + + +MAIA. + +--all the glory of the world? Yes, you did. And all that glory should +be mine, you said. + + +PROFESSOR RUBEK. + +That is sort of figure of speech that I was in the habit of using once +upon a time. + + +MAIA. + +Only a figure of speech? + + +PROFESSOR RUBEK. + +Yes, a schoolboy phrase--the sort of thing I used to say when I wanted +to lure the neighbours' children out to play with me, in the woods and +on the mountains. + + +MAIA. + +[Looking hard at him.] Perhaps you only wanted to lure me out to play, +as well? + + +PROFESSOR RUBEK. + +[Passing it off as a jest.] Well, has it not been a tolerable amusing +game, Maia? + + +MAIA. + +[Coldly.] I did not go with you only to play. + + +PROFESSOR RUBEK. + +No, no, I daresay not. + + +MAIA. + +And you never took me up with you to any high mountain, or showed me--- + + +PROFESSOR RUBEK. + +[With irritation.] --all the glory of the world? No, I did not. For, +let me tell you something: you are not really born to be a mountain- +climber, little Maia. + + +MAIA. + +[Trying to control herself.] Yet at one time you seemed to think +I was. + + +PROFESSOR RUBEK. + +Four or five years ago, yes. [Stretching himself in his chair.] Four +or five years--it's a long, long time, Maia. + + +MAIA. + +[Looking at him with a bitter expression.] Has the time seemed so +very long to you, Rubek? + + +PROFESSOR RUBEK. + +I am beginning now to find it a trifle long. [Yawning.] Now and +then, you know. + + +MAIA. + +[Returning to her place.] I shall not bore you any longer. + + [She resumes her seat, takes up the newspaper, and begins turning + over the leaves. Silence on both sides. + + +PROFESSOR RUBEK. + +[Leaning on his elbows across the table, and looking at her teasingly.] +Is the Frau Professor offended? + + +MAIA. + +[Coldly, without looking up.] No, not at all. + + [Visitors to the baths, most of them ladies, begin to pass, + singly and in groups, through the park from the right, and + out to the left. + + [Waiters bring refreshments from the hotel, and go off behind + the pavilion. + + [The INSPECTOR, wearing gloves and carrying a stick, comes from + his rounds in the park, meets visitors, bows politely, and + exchanges a few words with some of them. + + +THE INSPECTOR. + +[Advancing to PROFESSOR RUBEK's table and politely taking off his hat.] +I have the honour to wish you good morning, Mrs. Rubek.--Good morning, +Professor Rubek. + + +PROFESSOR RUBEK. + +Good morning, good morning Inspector. + + +THE INSPECTOR. + +[Addressing himself to MRS. RUBEK.] May I venture to ask if you have +slept well? + + +MAIA. + +Yes, thank you; excellently--for my part. I always sleep like a stone. + + +THE INSPECTOR. + +I am delighted to hear it. The first night in a strange place is often +rather trying.--And the Professor---? + + +PROFESSOR RUBEK. + +Oh, my night's rest is never much to boast of--especially of late. + + +THE INSPECTOR. + +[With a show of sympathy.] Oh--that is a pity. But after a few weeks' +stay at the Baths--you will quite get over that. + + +PROFESSOR RUBEK. + +[Looking up at him.] Tell me, Inspector--are any of your patients in +the habit of taking baths during the night? + + +THE INSPECTOR. + +[Astonished.] During the night? No, I have never heard of such +a thing. + + +PROFESSOR RUBEK. + +Have you not? + + +THE INSPECTOR. + +No, I don't know of any one so ill as to require such treatment. + + +PROFESSOR RUBEK. + +Well, at any rate there is some one who is in the habit of walking +about the park by night? + + +THE INSPECTOR. + +[Smiling and shaking his head.] No, Professor--that would be against +the rules. + + +MAIA. + +[Impatiently.] Good Heavens, Rubek, I told you so this morning--you +must have dreamt it. + + +PROFESSOR RUBEK. + +[Drily.] Indeed? Must I? Thank you! [Turning to the INSPECTOR.] +The fact is, I got up last night--I couldn't sleep--and I wanted to +see what sort of night it was--- + + +THE INSPECTOR. + +[Attentively.] To be sure--and then---? + + +PROFESSOR RUBEK. + +I looked out at the window--and caught sight of a white figure in +there among the trees. + + +MAIA. + +[Smiling to the INSPECTOR.] And the Professor declares that the +figure was dressed in a bathing costume--- + + +PROFESSOR RUBEK. + +--or something like it, I said. Couldn't distinguish very clearly. +But I am sure it was something white. + + +THE INSPECTOR. + +Most remarkable. Was it a gentleman or a lady? + + +PROFESSOR RUBEK. + +I could almost have sworn it was a lady. But then after it came another +figure. And that one was quite dark--like a shadow---. + + +THE INSPECTOR. + +[Starting.] A dark one? Quite black, perhaps? + + +PROFESSOR RUBEK. + +Yes, I should almost have said so. + + +THE INSPECTOR. + +[A light breaking in upon him.] And behind the white figure? Following +close upon her---? + + +PROFESSOR RUBEK. + +Yes--at a little distance--- + + +THE INSPECTOR. + +Aha! Then I think I can explain the mystery, Professor. + + +PROFESSOR RUBEK. + +Well, what was it then? + + +MAIA. + +[Simultaneously.] Was the professor really not dreaming? + + +THE INSPECTOR. + +[Suddenly whispering, as he directs their attention towards the +background on the right.] Hush, if you please! Look there--don't +speak loud for a moment. + + [A slender lady, dressed in fine, cream-white cashmere, and + followed by a SISTER OF MERCY in black, with a silver cross + hanging by a chain on her breast, comes forward from behind + the hotel and crosses the park towards the pavilion in front + on the left. Her face is pale, and its lines seem to have + stiffened; the eyelids are drooped and the eyes appear as + though they saw nothing. Her dress comes down to her feet + and clings to the body in perpendicular folds. Over her head, + neck, breast, shoulders and arms she wears a large shawl of + white crape. She keeps her arms crossed upon her breast. + She carries her body immovably, and her steps are stiff and + measured. The SISTER's bearing is also measured, and she has + the air of a servant. She keeps her brown piercing eyes + incessantly fixed upon the lady. WAITERS, with napkins on + their arms, come forward in the hotel doorway, and cast + curious glances at the strangers, who take no notice of + anything, and, without looking round, enter the pavilion. + + +PROFESSOR RUBEK. + +[Has risen slowly and involuntarily, and stands staring at the closed +door of the pavilion.] Who was that lady? + + +THE INSPECTOR. + +She is a stranger who has rented the little pavilion there. + + +PROFESSOR RUBEK. + +A foreigner? + + +THE INSPECTOR. + +Presumably. At any rate they both came from abroad--about a week ago. +They have never been here before. + + +PROFESSOR RUBEK. + +[Decidedly; looking at him.] It was she I saw in the park last night. + + +THE INSPECTOR. + +No doubt it must have been. I thought so from the first. + + +PROFESSOR RUBEK. + +What is this lady's name, Inspector? + + +THE INSPECTOR. + +She has registered herself as "Madame de Satow, with companion." We +know nothing more. + + +PROFESSOR RUBEK. + +[Reflecting.] Satow? Satow---? + + +MAIA. +[Laughing mockingly.] Do you know any one of that name, Rubek? Eh? + + +PROFESSOR RUBEK. + +[Shaking his head.] No, no one.--Satow? It sounds Russian--or in all +events Slavonic. [To the INSPECTOR.] What language does she speak? + + +THE INSPECTOR. + +When the two ladies talk to each other, it is in a language I cannot +make out at all. But at other times she speaks Norwegian like a +native. + + +PROFESSOR RUBEK. + +[Exclaims with a start.] Norwegian? You are sure you are not +mistaken? + + +THE INSPECTOR. + +No, how could I be mistaken in that? + + +PROFESSOR RUBEK. + +[Looks at him with eager interest.] You have heard her yourself? + + +THE INSPECTOR. + +Yes. I myself have spoken to her--several times.--Only a few words, +however; she is far from communicative. But--- + + +PROFESSOR RUBEK. + +But Norwegian it was? + + +THE INSPECTOR. + +Thoroughly good Norwegian--perhaps with a little north-country accent. + + +PROFESSOR RUBEK. + +[Gazing straight before him in amazement, whispers.] That too? + + +MAIA. + +[A little hurt and jarred.] Perhaps this lady has been one of your +models, Rubek? Search your memory. + + +PROFESSOR RUBEK. + +[Looks cuttingly at her.] My models? + + +MAIA. + +[With a provoking smile.] In your younger days, I mean. You are said +to have had innumerable models--long ago, of course. + + +PROFESSOR RUBEK. + +[In the same tone.] Oh no, little Frau Maia. I have in reality had +only one single model. One and only one--for everything I have done. + + +THE INSPECTOR. + +[Who has turned away and stands looking out to the left.] If you'll +excuse me, I think I will take my leave. I see some one coming whom +it is not particularly agreeable to meet. Especially in the presence +of ladies. + + +PROFESSOR RUBEK. + +[Looking in the same direction.] That sportsman there? Who is it? + + +THE INSPECTOR. + +It is a certain Mr. Ulfheim, from--- + + +PROFESSOR RUBEK. + +Oh, Mr. Ulfheim--- + + +THE INSPECTOR. + +--the bear-killer, as they call him--- + + +PROFESSOR RUBEK. + +I know him. + + +THE INSPECTOR. + +Who does not know him? + + +PROFESSOR RUBEK. + +Very slightly, however. Is he on your list of patients--at last? + + +THE INSPECTOR. + +No, strangely enough--not as yet. He comes here only once a year--on +his way up to his hunting-grounds.--Excuse me for the moment--- + + [Makes a movement to go into the hotel. + + +ULFHEIM's VOICE. + +[Heard outside.] Stop a moment, man! Devil take it all, can't you +stop? Why do you always scuttle away from me? + + +THE INSPECTOR. + +[Stops.] I am not scuttling at all, Mr. Ulfheim. + + [ULFHEIM enters from the left followed by a servant with a + couple of sporting dogs in leash. ULFHEIM is in shooting + costume, with high boots and a felt hat with a feather in + it. He is a long, lank, sinewy personage, with matted hair + and beard, and a loud voice. His appearance gives no precise + clue to his age, but he is no longer young.] + + +ULFHEIM. + +[Pounces upon the INSPECTOR.] Is this a way to receive strangers, +hey? You scamper away with your tail between your legs--as if you +had the devil at your heels. + + +THE INSPECTOR. + +[Calmly, without answering him.] Has Mr. Ulfheim arrived by the +steamer? + + +ULFHEIM. + +[Growls.] Haven't had the honour of seeing any steamer. [With his arms +akimbo.] Don't you know that I sail my own cutter? [To the SERVANT.] +Look well after your fellow-creatures, Lars. But take care you keep +them ravenous, all the same. Fresh meat-bones--but not too much meat +on them, do you hear? And be sure it's reeking raw, and bloody. And +get something in your own belly while you're about it. [Aiming a kick +at him.] Now then, go to hell with you! + + [The SERVANT goes out with the dogs, behind the corner of the + hotel.] + + +THE INSPECTOR. + +Would not Mr. Ulfheim like to go into the dining-room in the meantime? + + +ULFHEIM. + +In among all the half-dead flies and people? No, thank you a thousand +times, Mr. Inspector. + + +THE INSPECTOR. + +Well, well, as you please. + + +ULFHEIM. + +But get the housekeeper to prepare a hamper for me as usual. There +must be plenty of provender in it--and lots of brandy--! You can +tell her that I or Lars will come and play Old Harry with her if +she doesn't--- + + +THE INSPECTOR. + +[Interrupting.] We know your ways of old. [Turning.] Can I give +the waiter any orders, Professor? Can I send Mrs. Rubek anything? + + +PROFESSOR RUBEK. + +No thank you; nothing for me. + + +MAIA. + +Nor for me. + + [The INSPECTOR goes into the hotel. + + +ULFHEIM. + +[Stares at them for a moment; then lifts his hat.] Why, blast me +if here isn't a country tyke that has strayed into regular tip-top +society. + + +PROFESSOR RUBEK. + +[Looking up.] What do you mean by that, Mr. Ulfheim? + + +ULFHEIM. + + +[More quietly and politely.] I believe I have the honour of addressing +no less a person than the great Sculptor Rubek. + + +PROFESSOR RUBEK. + +[Nods.] I remember meeting you once or twice--the autumn when I was +last at home. + + +ULFHEIM. + +That's many years ago, now. And then you weren't so illustrious as I +hear you've since become. At that time even a dirty bear-hunter might +venture to come near you. + + +PROFESSOR RUBEK. + +[Smiling.] I don't bite even now. + + +MAIA. + +[Looks with interest at ULFHEIM.] Are you really and truly a bear- +hunter? + + +ULFHEIM. + +[Seating himself at the next table, nearer the hotel.] A bear-hunter +when I have the chance, madam. But I make the best of any sort of +game that comes in my way--eagles, and wolves, and women, and elks, +and reindeer--if only it's fresh and juicy and has plenty of blood +in it. + + [Drinks from his pocket-flask. + + +MAIA. + +[Regarding him fixedly.] But you like bear-hunting best? + + +ULFHEIM. + +I like it best, yes. For then one can have the knife handy at a pinch. +[With a slight smile.] We both work in a hard material, madam--both +your husband and I. He struggles with his marble blocks, I daresay; +and I struggle with tense and quivering bear-sinews. And we both +of us win the fight in the end--subdue and master our material. We +never rest till we've got the upper hand of it, though it fight never +so hard. + + +PROFESSOR RUBEK. + +[Deep in thought.] There's a great deal of truth in what you say. + + +ULFHEIM. + +Yes, for I take it the stone has something to fight for too. It is +dead, and determined by no manner of means to let itself be hammered +into life. Just like the bear when you come and prod him up in his +lair. + + +MAIA. + +Are you going up into the forests now to hunt? + + +ULFHEIM. + +I am going right up into the high mountain.--I suppose you have never +been in the high mountain, madam? + + +MAIA. + +No, never. + + +ULFHEIM. + +Confound it all then, you must be sure and come up there this very +summer! I'll take you with me--both you and the Professor, with +pleasure. + + +MAIA. + +Thanks. But Rubek is thinking of taking a sea trip this summer. + + +PROFESSOR RUBEK. + +Round the coast--through the island channels. + + +ULFHEIM. + +Ugh--what the devil would you do in those damnable sickly gutters-- +floundering about in the brackish ditchwater? Dishwater I should +rather call it. + + +MAIA. + +There, you hear, Rubek! + + +ULFHEIM. + +No, much better come up with me to the mountain--away, clean away, +from the trail and taint of men. You cant' think what that means +for me. But such a little lady--- + + [He stops. + + [The SISTER OF MERCY comes out of the pavilion and goes into + the hotel. + + +ULFHEIM. + +[Following her with his eyes.] Just look at her, do! That night-crow +there!--Who is it that's to be buried? + + +PROFESSOR RUBEK. + +I have not heard of any one--- + + +ULFHEIM. + +Well, there's some one on the point of giving up the ghost, then--in +on corner or another.--People that are sickly and rickety should have +the goodness to see about getting themselves buried--the sooner the +better. + + +MAIA. + +Have you ever been ill yourself, Mr. Ulfheim. + + +ULFHEIM. + +Never. If I had, I shouldn't be here.--But my nearest friends--they +have been ill, poor things. + + +MAIA. + +And what did you do for your nearest friends? + + +ULFHEIM. + +Shot them, of course. + + +PROFESSOR RUBEK. + +[Looking at him.] Shot them? + + +MAIA. + +[Moving her chair back.] Shot them dead? + + +ULFHEIM. + +[Nods.] I never miss, madam. + + +MAIA. + +But how can you possibly shoot people! + + +ULFHEIM. + +I am not speaking of people--- + + +MAIA. + +You said your nearest friends--- + + +ULFHEIM. + +Well, who should they be but my dogs? + + +MAIA. + +Are your dogs your nearest friends? + + +ULFHEIM. + +I have none nearer. My honest, trusty, absolutely loyal comrades--. +When one of them turns sick and miserable--bang!--and there's my +friend sent packing--to the other world. + + [The SISTER OF MERCY comes out of the hotel with a tray on which + is bread and milk. She places it on the table outside the + pavilion, which she enters. + + +ULFHEIM. + +[Laughs scornfully.] That stuff there--is that what you call food for +human beings! Milk and water and soft, clammy bread. Ah, you should +see my comrades feeding. Should you like to see it? + + +MAIA. + +[Smiling across to the PROFESSOR and rising.] Yes, very much. + + +ULFHEIM. + +[Also rising.] Spoken like a woman of spirit, madam! Come with me, +then! They swallow whole great thumping meat-bones--gulp them up and +then gulp them down again. Oh, it's a regular treat to see them. +Come along and I'll show you--and while we're about it, we can talk +over this trip to the mountains--- + + [He goes out by the corner of the hotel, MAIA following him. + + [Almost at the same moment the STRANGE LADY comes out of the + pavilion and seats herself at the table. + + [The LADY raises her glass of milk and is about to drink, but + stops and looks across at RUBEK with vacant, expressionless + eyes. + + +PROFESSOR RUBEK. + +[Remains sitting at his table and gazes fixedly and earnestly at her. +At last he rises, goes some steps towards her, stops, and says in a +low voice.] I know you quite well, Irene. + + +THE LADY. + +[In a toneless voice, setting down her glass.] You can guess who I +am, Arnold? + + +PROFESSOR RUBEK. + +[Without answering.] And you recognise me, too, I see. + + +THE LADY. + +With you it is quite another matter. + + +PROFESSOR RUBEK. + +With me?--How so? + + +THE LADY. + +Oh, you are still alive. + + +PROFESSOR RUBEK. + +[Not understanding.] Alive---? + + +THE LADY. + +[After a short pause.] Who was the other? The woman you had with +you--there at the table? + + +PROFESSOR RUBEK. + +[A little reluctantly.] She? That was my--my wife. + + +THE LADY. + +[Nods slowly.] Indeed. That is well, Arnold. Some one, then, who does +not concern me--- + + +PROFESSOR RUBEK. + +[Nods.] No, of course not--- + + +THE LADY. + +--one whom you have taken to you after my lifetime. + + +PROFESSOR RUBEK. + +[Suddenly looking hard at her.] After your--? What do you mean by +that, Irene? + + +IRENE. + +[Without answering.] And the child? I hear the child is prospering +too. Our child survives me--and has come to honour and glory. + + +PROFESSOR RUBEK. + +[Smiles as at a far-off recollection.] Our child? Yes, we called it +so--then. + + +IRENE. + +In my lifetime, yes. + + +PROFESSOR RUBEK. + +[Trying to take a lighter tone.] Yes, Irene.--I can assure you "our +child" has become famous all the wide world over. I suppose you have +read about it. + + +IRENE. + +[Nods.] And has made its father famous too.--That was your dream. + + +PROFESSOR RUBEK. + +[More softly, with emotion.] It is to you I owe everything, everything, +Irene--and I thank you. + + +IRENE. + +[Lost in thought for a moment.] If I had then done what I had a right +to do, Arnold--- + + +PROFESSOR RUBEK. + +Well? What then? + + +IRENE. + +I should have killed that child. + + +PROFESSOR RUBEK. + +Killed it, you say? + + +IRENE. + +[Whispering.] Killed it--before I went away from you. Crushed it-- +crushed it to dust. + + +PROFESSOR RUBEK. + +[Shakes his head reproachfully.] You would never have been able to, +Irene. You had not the heart to do it. + + +IRENE. + +No, in those days I had not that sort of heart. + + +PROFESSOR RUBEK. + +But since then? Afterwards? + + +IRENE. + +Since then I have killed it innumerable times. By daylight and in the +dark. Killed it in hatred--and in revenge--and in anguish. + + +PROFESSOR RUBEK. + +[Goes close up to the table and asks softly.] Irene--tell me now +at last--after all these years--why did you go away from me? You +disappeared so utterly--left not a trace behind--- + + +IRENE. + +[Shaking her head slowly.] Oh Arnold--why should I tell you that now-- +from the world beyond the grave. + + +PROFESSOR RUBEK. + +Was there some one else whom you had come to love? + + +IRENE. + +There was one who had no longer any use for my love--any use for my +life. + + +PROFESSOR RUBEK. + +[Changing the subject.] H'm--don't let us talk any more of the past--- + + +IRENE. + +No, no--by all means let us not talk of what is beyond the grave--what +is now beyond the grave for me. + + +PROFESSOR RUBEK. + +Where have you been, Irene? All my inquiries were fruitless--you +seemed to have vanished away. + + +IRENE. + +I went into the darkness--when the child stood transfigured in the +light. + + +PROFESSOR RUBEK. + +Have you travelled much about the world? + + +IRENE. + +Yes. Travelled in many lands. + + +PROFESSOR RUBEK. + +[Looks compassionately at her.] And what have you found to do, Irene? + + +IRENE. + +[Turning her eyes upon him.] Wait a moment; let me see--. Yes, now I +have it. I have posed on the turntable in variety-shows. Posed as a +naked statue in living pictures. Raked in heaps of money. That was +more than I could do with you; for you had none.--And then I turned +the heads of all sorts of men. That too, was more than I could do +with you, Arnold. You kept yourself better in hand. + + +PROFESSOR RUBEK. + +[Hastening to pass the subject by.] And then you have married, too? + + +IRENE. + +Yes; I married one of them. + + +PROFESSOR RUBEK. + +Who is your husband? + + +IRENE. + +He was a South American. A distinguished diplomatist. [Looks straight +in front of her with a stony smile.] Him I managed to drive quite out +of his mind; mad--incurably mad; inexorably mad.--It was great sport, +I can tell you--while it was in the doing. I could have laughed within +me all the time--if I had anything within me. + + +PROFESSOR RUBEK. + +And where is he now? + + +IRENE. + +Oh, in a churchyard somewhere or other. With a fine handsome monument +over him. And with a bullet rattling in his skull. + + +PROFESSOR RUBEK. + +Did he kill himself? + + +IRENE. + +Yes, he was good enough to take that off my hands. + + +PROFESSOR RUBEK. + +Do you not lament his loss, Irene? + + +IRENE. + +[Not understanding.] Lament? What loss? + + +PROFESSOR RUBEK. + +Why, the loss of Herr von Satow, of course. + + +IRENE. + +His name was not Satow. + + +PROFESSOR RUBEK. + +Was it not? + + +IRENE. + +My second husband is called Satow. He is a Russian--- + + +PROFESSOR RUBEK. + +And where is he? + + +IRENE. + +Far away in the Ural Mountains. Among all his gold-mines. + + +PROFESSOR RUBEK. + +So he lives there? + + +IRENE. + +[Shrugs her shoulders.] Lives? Lives? In reality I have killed +him--- + + +PROFESSOR RUBEK. + +[Start.] Killed---! + + +IRENE. + +Killed him with a fine sharp dagger which I always have with me in +bed--- + + +PROFESSOR RUBEK. + +[Vehemently.] I don't believe you, Irene! + + +IRENE. + +[With a gentle smile.] Indeed you may believe it, Arnold. + + +PROFESSOR RUBEK. + +[Looks compassionately at her.] Have you never had a child? + + +IRENE. + +Yes, I have had many children. + + +PROFESSOR RUBEK. + +And where are your children now? + + +IRENE. + +I killed them. + + +PROFESSOR RUBEK. + +[Severely.] Now you are telling me lies again! + + +IRENE. + +I have killed them, I tell you--murdered them pitilessly. As soon as +ever they came into the world. Oh, long, long before. One after the +other. + + +PROFESSOR RUBEK. + +[Sadly and earnestly.] There is something hidden behind everything +you say. + + +IRENE. + +How can I help that? Every word I say is whispered into my ear. + + +PROFESSOR RUBEK. + +I believe I am the only one that can divine your meaning. + + +IRENE. + +Surely you ought to be the only one. + + +PROFESSOR RUBEK. + +[Rests his hands on the table and looks intently at her.] Some of the +strings of your nature have broken. + + +IRENE. + +[Gently.] Does not that always happen when a young warm-blooded woman +dies? + + +PROFESSOR RUBEK. + +Oh Irene, have done with these wild imaginings--! You are living! +Living--living! + + +IRENE. + +[Rises slowly from her chair and says, quivering.] I was dead for +many years. They came and bound me--laced my arms together behind +my back--. Then they lowered me into a grave-vault, with iron bars +before the loop-hole. And with padded walls--so that no one on the +earth above could hear the grave-shrieks--. But now I am beginning, +in a way, to rise from the dead. + + [She seats herself again.] + + +PROFESSOR RUBEK. + +[After a pause.] In all this, do you hold me guilty? + + +IRENE. + +Yes. + + +PROFESSOR RUBEK. + +Guilty of that--your death, as you call it. + + +IRENE. + +Guilty of the fact that I had to die. [Changing her tone to one of +indifference.] Why don't you sit down, Arnold? + + +PROFESSOR RUBEK. + +May I? + + +IRENE. + +Yes.--You need not be afraid of being frozen. I don't think I am quite +turned to ice yet. + + +PROFESSOR RUBEK. + +[Moves a chair and seats himself at her table.] There, Irene. Now we +two are sitting together as in the old days. + + +IRENE. + +A little way apart from each other--also as in the old days. + + +PROFESSOR RUBEK. + +[Moving nearer.] It had to be so, then. + + +IRENE. + +Had it? + + +PROFESSOR RUBEK. + +[Decisively.] There had to be a distance between us--- + + +IRENE. + +Was it absolutely necessary, Arnold? + + +PROFESSOR RUBEK. + +[Continuing.] Do you remember what you answered when I asked if you +would go with me out into the wide world? + + +IRENE. + +I held up three fingers in the air and swore that I would go with you +to the world's end and to the end of life. And that I would serve you +in all things--- + + +PROFESSOR RUBEK. + +As the model for my art--- + + +IRENE. + +--in frank, utter nakedness--- + + +PROFESSOR RUBEK. + +[With emotion.] And you did serve me, Irene--so bravely--so gladly +and ungrudgingly. + + +IRENE. + +Yes, with all the pulsing blood of my youth, I served you! + + +PROFESSOR RUBEK. + +[Nodding, with a look of gratitude.] That you have every right to say. + + +IRENE. + +I fell down at your feet and served you, Arnold! [Holding her clenched +hand towards him.] But you, you,--you--! + + +PROFESSOR RUBEK. + +[Defensively.] I never did you any wrong! Never, Irene! + + +IRENE. + +Yes, you did! You did wrong to my innermost, inborn nature--- + + +PROFESSOR RUBEK. + +[Starting back.] I--! + + +IRENE. + +Yes, you! I exposed myself wholly and unreservedly to your gaze-- +[More softly.] And never once did you touch me. + + +PROFESSOR RUBEK. + +Irene, did you not understand that many a time I was almost beside +myself under the spell of all your loveliness? + + +IRENE. + +[Continuing undisturbed.] And yet--if you had touched me, I think I +should have killed you on the spot. For I had a sharp needle always +upon me--hidden in my hair-- [Strokes her forehead meditatively.] +But after all--after all--that you could--- + + +PROFESSOR RUBEK. + +[Looks impressively at her.] I was an artist, Irene. + + +IRENE. + +[Darkly.] That is just it. That is just it. + + +PROFESSOR RUBEK. + +An artist first of all. And I was sick with the desire to achieve the +great work of my life. [Losing himself in recollection.] It was to +be called "The Resurrection Day"--figured in the likeness of a young +woman, awakening from the sleep of death--- + + +IRENE. + +Our child, yes--- + + +PROFESSOR RUBEK. + +[Continuing.] It was to be the awakening of the noblest, purest, most +ideal woman the world ever saw. Then I found you. You were what I +required in every respect. And you consented so willingly--so gladly. +You renounced home and kindred--and went with me. + + +IRENE. + +To go with you meant for me the resurrection of my childhood. + + +PROFESSOR RUBEK. + +That was just why I found in you all that I required--in you and in +no one else. I came to look on you as a thing hallowed, not to be +touched save in adoring thoughts. In those days I was still young, +Irene. And the superstition took hold of me that if I touched you, +if I desired you with my senses, my soul would be profaned, so that +I should be unable to accomplish what I was striving for.--And I +still think there was some truth in that. + + +IRENE. + +[Nods with a touch of scorn.] The work of art first--then the human +being. + + +PROFESSOR RUBEK. + +You must judge me as you will; but at that time I was utterly dominated +by my great task--and exultantly happy in it. + + +IRENE. + +And you achieved your great task, Arnold. + + +PROFESSOR RUBEK. + +Thanks and praise be to you, I achieved my great task. I wanted to +embody the pure woman as I saw her awakening on the Resurrection Day. +Not marvelling at anything new and unknown and undivined; but filled +with a sacred joy at finding herself unchanged--she, the woman of earth +--in the higher, freer, happier region--after the long, dreamless sleep +of death. [More softly.] Thus did I fashion her.--I fashioned her in +your image, Irene. + + +IRENE. + +[Laying her hands flat upon the table and leaning against the back of +her chair.] And then you were done with me--- + + +PROFESSOR RUBEK. + +[Reproachfully.] Irene! + + +IRENE. + +You had no longer any use for me--- + + +PROFESSOR RUBEK. + +How can you say that! + + +IRENE. + +--and began to look about you for other ideals--- + + +PROFESSOR RUBEK. + +I found none, none after you. + + +IRENE. + +And no other models, Arnold? + + +PROFESSOR RUBEK. + +You were no model to me. You were the fountainhead of my achievement. + + +IRENE. + +[Is silent for a short time.] What poems have you made since? In +marble I mean. Since the day I left you. + + +PROFESSOR RUBEK. + +I have made no poems since that day--only frittered away my life in +modelling. + + +IRENE. + +And that woman, whom you are now living with---? + + +PROFESSOR RUBEK. + +[Interrupting vehemently.] Do not speak of her now! It makes me tingle +with shame. + + +IRENE. + +Where are you thinking of going with her? + + +PROFESSOR RUBEK. + +[Slack and weary.] Oh, on a tedious coasting-voyage to the North, +I suppose. + + +IRENE. + +[Looks at him, smiles almost imperceptibly, and whispers.] You should +rather go high up into the mountains. As high as ever you can. Higher, +higher,--always higher, Arnold. + + +PROFESSOR RUBEK. + +[With eager expectation.] Are you going up there? + + +IRENE. + +Have you the courage to meet me once again? + + +PROFESSOR RUBEK. + +[Struggling with himself, uncertainly.] If we could--oh, if only we +could---! + + +IRENE. + +Why can we not do what we will? [Looks at him and whispers beseechingly +with folded hands.] Come, come, Arnold! Oh, come up to me---! + + [MAIA enters, glowing with pleasure, from behind the hotel, + and goes quickly up to the table where they were previously + sitting.] + + +MAIA. + +[Still at the corner of the hotel, without looking around.] Oh, you +may say what you please, Rubek, but--[Stops, as she catches sight of +IRENE]--Oh, I beg your pardon--I see you have made an acquaintance. + + +PROFESSOR RUBEK. + +[Curtly.] Renewed an acquaintance. [Rises.] What was it you wanted +with me? + + +MAIA. + +I only wanted to say this: you may do whatever you please, but _I_ am +not going with you on that disgusting steamboat. + + +PROFESSOR RUBEK. + +Why not? + + +MAIA. + +Because I want to go up on the mountains and into the forests--that's +what I want. [Coaxingly.] Oh, you must let me do it, Rubek.--I shall +be so good, so good afterwards! + + +PROFESSOR RUBEK. + +Who is it that has put these ideas into your head? + + +MAIA. + +Why he--that horrid bear-killer. Oh you cannot conceive all the +marvelous things he has to tell about the mountains. And about life +up there! They're ugly, horrid, repulsive, most of the yarns he spins +--for I almost believe he's lying--but wonderfully alluring all the +same. Oh, won't you let me go with him? Only to see if what he says +is true, you understand. May I, Rubek? + + +PROFESSOR RUBEK. + +Yes, I have not the slightest objection. Off you go to the mountains-- +as far and as long as you please. I shall perhaps be going the same +way myself. + + +MAIA. + +[Quickly.] No, no, no, you needn't do that! Not on my account! + + +PROFESSOR RUBEK. + +I want to go to the mountains. I have made up my mind to go. + + +MAIA. + +Oh thanks, thanks! May I tell the bear-killer at once? + + +PROFESSOR RUBEK. + +Tell the bear-killer whatever you please. + + +MAIA. + +Oh thanks, thanks, thanks! [Is about to take his hand; he repels the +movement.] Oh, how dear and good you are to-day, Rubek! + + [She runs into the hotel. + + [At the same time the door of the pavilion is softly and + noiselessly set ajar. The SISTER OF MERCY stands in the + opening, intently on the watch. No one sees her. + + +PROFESSOR RUBEK. + +[Decidedly, turning to IRENE.] Shall we meet up there then? + + +IRENE. + +[Rising slowly.] Yes, we shall certainly meet.--I have sought for you +so long. + + +PROFESSOR RUBEK. + +When did you begin to seek for me, Irene? + + +IRENE. + +[With a touch of jesting bitterness.] From the moment I realised +that I had given away to you something rather indispensable, Arnold. +Something one ought never to part with. + + +PROFESSOR RUBEK. + +[Bowing his head.] Yes, that is bitterly true. You gave me three or +four years of your youth. + + +IRENE. + +More, more than that I gave you--spend-thrift as I then was. + + +PROFESSOR RUBEK. + +Yes, you were prodigal, Irene. You gave me all your naked loveliness--- + + +IRENE. + +--to gaze upon--- + + +PROFESSOR RUBEK. + +--and to glorify--- + + +IRENE. + +Yes, for your own glorification.--And the child's. + + +PROFESSOR RUBEK. + +And yours too, Irene. + + +IRENE. + +But you have forgotten the most precious gift. + + +PROFESSOR RUBEK. + +The most precious--? What gift was that? + + +IRENE. + +I gave you my young, living soul. And that gift left me empty within +--soulless. [Looking at him with a fixed stare.] It was that I died +of, Arnold. + + [The SISTER OF MERCY opens the door wide and makes room for her. + She goes into the pavilion. + + +PROFESSOR RUBEK. + +[Stands and looks after her; then whispers.] Irene! + + + + +ACT SECOND. + + +[Near a mountain resort. The landscape stretches, in the form of + an immense treeless upland, towards a long mountain lake. Beyond + the lake rises a range of peaks with blue-white snow in the clefts. + In the foreground on the left a purling brook falls in severed + streamlets down a steep wall of rock, and thence flows smoothly + over the upland until it disappears to the right. Dwarf trees, + plants, and stones along the course of the brook. In the + foreground on the right a hillock, with a stone bench on the + top of it. It is a summer afternoon, towards sunset. + +[At some distance over the upland, on the other side of the brook, + a troop of children is singing, dancing, and playing. Some are + dressed in peasant costume, others in town-made clothes. Their + happy laughter is heard, softened by distance, during the + following. + +[PROFESSOR RUBEK is sitting on the bench, with a plaid over his + shoulders, and looking down at the children's play. + +[Presently, MAIA comes forward from among some bushes on the upland + to the left, well back, and scans the prospect with her hand + shading her eyes. She wears a flat tourist cap, a short skirt, + kilted up, reaching only midway between ankle and knee, and high, + stout lace-boots. She has in her hand a long alpenstock. + + +MAIA. + +[At last catches sight of RUBEK and calls.] Hallo! + + [She advances over the upland, jumps over the brook, with the + aid of her alpenstock, and climbs up the hillock. + + +MAIA. + +[Panting.] Oh, how I have been rushing around looking for you, Rubek. + + +PROFESSOR RUBEK. + +[Nods indifferently and asks.] Have you just come from the hotel? + + +MAIA. + +Yes, that was the last place I tried--that fly-trap. + + +PROFESSOR RUBEK. + +[Looking at her for moment.] I noticed that you were not at the +dinner-table. + + +MAIA. + +No, we had our dinner in the open air, we two. + + +PROFESSOR RUBEK. + +"We two"? What two? + + +MAIA. + +Why, I and that horrid bear-killer, of course. + + +PROFESSOR RUBEK. + +Oh, he. + + +MAIA. + +Yes. And first thing to-morrow morning we are going off again. + + +PROFESSOR RUBEK. + +After bears? + + +MAIA. + +Yes. Off to kill a brown-boy. + + +PROFESSOR RUBEK. + +Have you found the tracks of any? + + +MAIA. + +[With superiority.] You don't suppose that bears are to be found in +the naked mountains, do you? + + +PROFESSOR RUBEK. + +Where, then? + + +MAIA. + +Far beneath. On the lower slopes; in the thickest parts of the forest. +Places your ordinary town-folk could never get through--- + + +PROFESSOR RUBEK. + +And you two are going down there to-morrow? + + +MAIA. + +[Throwing herself down among the heather.] Yes, so we have arranged. +--Or perhaps we may start this evening.--If you have no objection, +that's to say? + + +PROFESSOR RUBEK. + +I? Far be it from me to--- + + +MAIA. + +[Quickly.] Of course Lars goes with us--with the dogs. + + +PROFESSOR RUBEK. + +I feel no curiosity as to the movements of Mr. Lars and his dogs. +[Changing the subject.] Would you not rather sit properly on the +seat? + + +MAIA. + +[Drowsily.] No, thank you. I'm lying so delightfully in the soft +heather. + + +PROFESSOR RUBEK. + +I can see that you are tired. + + +MAIA. + +[Yawning.] I almost think I'm beginning to feel tired. + + +PROFESSOR RUBEK. + +You don't notice it till afterwards--when the excitement is over--- + + +MAIA. + +[In a drowsy tone.] Just so. I will lie and close my eyes. + + [A short pause. + +MAIA. + +[With sudden impatience.] Ugh, Rubek--how can you endure to sit there +listening to these children's screams! And to watch all the capers +they are cutting, too! + + +PROFESSOR RUBEK. + +There is something harmonious--almost like music--in their movements, +now and then; amid all the clumsiness. And it amuses me to sit and +watch for these isolated moments--when they come. + + +MAIA. + +[With a somewhat scornful laugh.] Yes, you are always, always an +artist. + + +PROFESSOR RUBEK. + +And I propose to remain one. + + +MAIA. + +[Lying on her side, so that her back is turned to him.] There's not +a bit of the artist about him. + + +PROFESSOR RUBEK. + +[With attention.] Who is it that's not an artist? + + +MAIA. + +[Again in a sleepy tone.] Why, he--the other one, of course. + + +PROFESSOR RUBEK. + +The bear-hunter, you mean? + + +MAIA. + +Yes. There's not a bit of the artist about him--not the least little +bit. + + +PROFESSOR RUBEK. + +[Smiling.] No, I believe there's no doubt about that. + + +MAIA. + +[Vehemently, without moving.] And so ugly as he is! [Plucks up a +tuft of heather and throws it away.] So ugly, so ugly! Isch! + + +PROFESSOR RUBEK. + +Is that why you are so ready to set off with him--out into the wilds? + + +MAIA. + +[Curtly.] I don't know. [Turning towards him.] You are ugly, too, +Rubek. + + +PROFESSOR RUBEK. + +Have you only just discovered it? + + +MAIA. + +No, I have seen it for long. + + +PROFESSOR RUBEK. + +[Shrugging his shoulders.] One doesn't grow younger. One doesn't +grow younger, Frau Maia. + + +MAIA. + +It's not that sort of ugliness that I mean at all. But there has come +to be such an expression of fatigue, of utter weariness, in your eyes +--when you deign, once in a while, to cast a glance at me. + + +PROFESSOR RUBEK. + +Have you noticed that? + + +MAIA. + +[Nods.] Little by little this evil look has come into your eyes. It +seems almost as though you were nursing some dark plot against me. + + +PROFESSOR RUBEK. + +Indeed? [In a friendly but earnest tone.] Come here and sit beside +me, Maia; and let us talk a little. + + +MAIA. + +[Half rising.] Then will you let me sit upon your knee? As I used to +in the early days? + + +PROFESSOR RUBEK. + +No, you mustn't--people can see us from the hotel. [Moves a little.] +But you can sit here on the bench--at my side. + + +MAIA. + +No, thank you; in that case I'd rather lie here, where I am. I can +hear you quite well here. [Looks inquiringly at him.] Well, what is +it you want to say to me? + + +PROFESSOR RUBEK. + +[Begins slowly.] What do you think was my real reason for agreeing to +make this tour? + + +MAIA. + +Well--I remember you declared, among other things, that it was going +to do me such a tremendous lot of good. But--but--- + + +PROFESSOR RUBEK. + +But---? + + +MAIA. + +But now I don't believe the least little bit that that was the reason--- + + +PROFESSOR RUBEK. + +Then what is your theory about it now? + + +MAIA. + +I think now that it was on account of that pale lady. + + +PROFESSOR RUBEK. + +Madame von Satow---! + + +MAIA. + +Yes, she who is always hanging at our heels. Yesterday evening she +made her appearance up here too. + + +PROFESSOR RUBEK. + +But what in all the world---! + + +MAIA. + +Oh, I know you knew her very well indeed--long before you knew me. + + +PROFESSOR RUBEK. + +And had forgotten her, too--long before I knew you. + + +MAIA. + +[Sitting upright.] Can you forget so easily, Rubek? + + +PROFESSOR RUBEK. + +[Curtly.] Yes, very easily indeed. [Adds harshly.] When I want +to forget. + + +MAIA. + +Even a woman who has been a model to you? + + +PROFESSOR RUBEK. + +When I have no more use for her--- + + +MAIA. + +One who has stood to you undressed? + + +PROFESSOR RUBEK. + +That means nothing--nothing for us artists. [With a change of tone.] +And then--may I venture to ask--how was I to guess that she was in +this country? + + +MAIA. + +Oh, you might have seen her name in a Visitor's List--in one of the +newspapers. + + +PROFESSOR RUBEK. + +But I had no idea of the name she now goes by. I had never heard of +any Herr von Satow. + + +MAIA. + +[Affecting weariness.] Oh well then, I suppose it must have been for +some other reason that you were so set upon this journey. + + +PROFESSOR RUBEK. + +[Seriously.] Yes, Maia--it was for another reason. A quite different +reason. And that is what we must sooner or later have a clear +explanation about. + + +MAIA. + +[In a fit of suppressed laughter.] Heavens, how solemn you look! + + +PROFESSOR RUBEK. + +[Suspiciously scrutinising her.] Yes, perhaps a little more solemn +than necessary. + + +MAIA. + +How so---? + + +PROFESSOR RUBEK. + +And that is a very good thing for us both. + + +MAIA. + +You begin to make me feel curious, Rubek. + + +PROFESSOR RUBEK. + +Only curious? Not a little bit uneasy. + + +MAIA. + +[Shaking her head.] Not in the least. + + +PROFESSOR RUBEK. + +Good. Then listen.--You said that day down at the Baths that it seemed +to you I had become very nervous of late--- + + +MAIA. + +Yes, and you really have. + + +PROFESSOR RUBEK. + +And what do you think can be the reason of that? + + +MAIA. + +How can I tell---? [Quickly.] Perhaps you have grown weary of this +constant companionship with me. + + +PROFESSOR RUBEK. + +Constant--? Why not say "everlasting"? + + +MAIA. + +Daily companionship, then. Here have we two solitary people lived +down there for four or five mortal years, and scarcely have an hour +away from each other.--We two all by ourselves. + + +PROFESSOR RUBEK. + +[With interest.] Well? And then---? + + +MAIA. + +[A little oppressed.] You are not a particularly sociable man, Rubek. +You like to keep to yourself and think your own thoughts. And of +course I can't talk properly to you about your affairs. I know +nothing about art and that sort of thing-- [With an impatient +gesture.] And care very little either, for that matter! + + +PROFESSOR RUBEK. + +Well, well; and that's why we generally sit by the fireside, and chat +about your affairs. + + +MAIA. + +Oh, good gracious--I have no affairs to chat about. + + +PROFESSOR RUBEK. + +Well, they are trifles, perhaps; but at any rate the time passes for +us in that way as well as another, Maia. + + +MAIA. + +Yes, you are right. Time passes. It is passing away from you, Rubek. +--And I suppose it is really that that makes you so uneasy--- + + +PROFESSOR RUBEK. + +[Nods vehemently.] And so restless! [Writhing in his seat.] No, I +shall soon not be able to endure this pitiful life any longer. + + +MAIA. + +[Rises and stands for a moment looking at him.] If you want to get +rid of me, you have only to say so. + + +PROFESSOR RUBEK. + +Why will you use such phrases? Get rid of you? + + +MAIA. + +Yes, if you want to have done with me, please say so right out. And I +will go that instant. + + +PROFESSOR RUBEK. + +[With an almost imperceptible smile.] Do you intend that as a threat, +Maia? + + +MAIA. + +There can be no threat for you in what I said. + + +PROFESSOR RUBEK. + +[Rising.] No, I confess you are right there. [Adds after a pause.] +You and I cannot possibly go on living together like this--- + + +MAIA. + +Well? And then---? + + +PROFESSOR RUBEK. + +There is no "then" about it. [With emphasis on his words.] Because +we two cannot go on living together alone--it does not necessarily +follow that we must part. + + +MAIA. + +[Smiles scornfully.] Only draw away from each other a little, you +mean? + +PROFESSOR RUBEK. + +[Shakes his head.] Even that is not necessary. + + +MAIA. + +Well then? Come out with what you want to do with me. + + +PROFESSOR RUBEK. + +[With some hesitation.] What I now feel so keenly--and so painfully-- +that I require, is to have some one about me who really and truly +stands close to me--- + + +MAIA. + +[Interrupts him anxiously.] Don't I do that, Rubek? + + +PROFESSOR RUBEK. + +[Waving her aside.] Not in that sense. What I need is the +companionship of another person who can, as it were, complete me-- +supply what is wanting in me--be one with me in all my striving. + + +MAIA. + +[Slowly.] It's true that things like that are a great deal too hard +for me. + + +PROFESSOR RUBEK. + +Oh no, they are not at all in your line, Maia. + + +MAIA. + +[With an outburst.] And heaven knows I don't want them to be, either! + + +PROFESSOR RUBEK. + +I know that very well.--And it was with no idea of finding any such +help in my life-work that I married you. + + +MAIA. + +[Observing him closely.] I can see in your face that you are thinking +of some one else. + + +PROFESSOR RUBEK. + +Indeed? I have never noticed before that you were a thought-reader. +But you can see that, can you? + + +MAIA. + +Yes, I can. Oh, I know you so well, so well, Rubek. + + +PROFESSOR RUBEK. + +Then perhaps you can also see who it is I am thinking of? + + +MAIA. + +Yes, indeed I can. + + +PROFESSOR RUBEK. + +Well? Have the goodness to---? + + +MAIA. + +You are thinking of that--that model you once used for-- [Suddenly +letting slip the train of thought.] Do you know, the people down at +the hotel think she's mad. + + +PROFESSOR RUBEK. + +Indeed? And pray what do the people down at the hotel think of you +and the bear-killer? + + +MAIA. + +That has nothing to do with the matter. [Continuing the former train +of thought.] But it was this pale lady you were thinking of. + + +PROFESSOR RUBEK. + +[Calmly.] Precisely, of her.--When I had no more use for her--and +when, besides, she went away from me--vanished without a word--- + + +MAIA. + +Then you accepted me as a sort of makeshift, I suppose? + + +PROFESSOR RUBEK. + +[More unfeelingly.] Something of the sort, to tell the truth, little +Maia. For a year or a year and a half I had lived there lonely and +brooding, and had put the last touch--the very last touch, to my work. +"The Resurrection Day" went out over the world and brought me fame-- +and everything else that heart could desire. [With greater warmth.] +But I no longer loved my own work. Men's laurels and incense nauseated +me, till I could have rushed away in despair and hidden myself in the +depths of the woods. [Looking at her.] You, who are a thought-reader +--can you guess what then occurred to me? + + +MAIA. + +[Lightly.] Yes, it occurred to you to make portrait-busts of gentlemen +and ladies. + + +PROFESSOR RUBEK. + +[Nods.] To order, yes. With animals' faces behind the masks. Those +I threw in gratis--into the bargain, you understand. [Smiling.] But +that was not precisely what I had in my mind. + + +MAIA. + +What, then? + + +PROFESSOR RUBEK. + +[Again serious.] It was this, that all the talk about the artist's +vocation and the artist's mission, and so forth, began to strike me +as being very empty, and hollow, and meaningless at bottom. + + +MAIA. + +Then what would you put in its place? + + +PROFESSOR RUBEK. + +Life, Maia. + + +MAIA. + +Life? + + +PROFESSOR RUBEK. + +Yes, is not life in sunshine and in beauty a hundred times better worth +while than to hang about to the end of your days in a raw, damp hole, +and wear yourself out in a perpetual struggle with lumps of clay and +blocks of stone? + + +MAIA. + +[With a little sigh.] Yes, I have always thought so, certainly. + + +PROFESSOR RUBEK. + +And then I had become rich enough to live in luxury and in indolent, +quivering sunshine. I was able to build myself the villa on the Lake +of Taunitz, and the palazzo in the capital,--and all the rest of it. + + +MAIA. + +[Taking up his tone.] And last but not least, you could afford to +treat yourself to me, too. And you gave me leave to share in all +your treasures. + + +PROFESSOR RUBEK. + +[Jesting, so as to turn the conversation.] Did I not promise to take +you up to a high enough mountain and show you all the glory of the +world? + + +MAIA. + +[With a gentle expression.] You have perhaps taken me up with you to +a high enough mountain, Rubek--but you have not shown me all the glory +of the world. + + +PROFESSOR RUBEK. + +[With a laugh of irritation.] How insatiable you are, Maia.! +Absolutely insatiable! [With a vehement outburst.] But do you know +what is the most hopeless thing of all, Maia? Can you guess that? + + +MAIA. + +[With quiet defiance.] Yes, I suppose it is that you have gone and +tied yourself to me--for life. + + +PROFESSOR RUBEK. + +I would not have expressed myself so heartlessly. + + +MAIA. + +But you would have meant it just as heartlessly. + + +PROFESSOR RUBEK. + +You have no clear idea of the inner workings of an artist's nature. + + +MAIA. + +[Smiling and shaking her head.] Good heavens, I haven't even a clear +idea of the inner workings of my own nature. + + +PROFESSOR RUBEK. + +[Continuing undisturbed.] I live at such high speed, Maia. We live +so, we artists. I, for my part, have lived through a whole lifetime +in the few years we two have known each other. I have come to realise +that I am not at all adapted for seeking happiness in indolent +enjoyment. Life does not shape itself that way for me and those like +me. I must go on working--producing one work after another--right up +to my dying day. [Forcing himself to continue.] That is why I cannot +get on with you any longer, Maia--not with you alone. + + +MAIA. + +[Quietly.] Does that mean, in plain language, that you have grown +tired of me? + + +PROFESSOR RUBEK. + +[Bursts forth.] Yes, that is what it means! I have grown tired-- +intolerably tired and fretted and unstrung--in this life with you! +Now you know it. [Controlling himself.] These are hard, ugly words +I am using. I know that very well. And you are not at all to blame +in this matter;--that I willingly admit. It is simply and solely I +myself, who have once more undergone a revolution--[Half to himself]-- +and awakening to my real life. + + +MAIA. + +[Involuntarily folding her hands.] Why in all the world should we not +part then? + + +PROFESSOR RUBEK. + +[Looks at her in astonishment.] Should you be willing to? + + +MAIA. + +[Shrugging her shoulders.] Oh yes--if there's nothing else for it, +then--- + + +PROFESSOR RUBEK. + +[Eagerly.] But there is something else for it. There is an +alternative--- + + +MAIA. + +[Holding up her forefinger.] Now you are thinking of the pale lady +again! + + +PROFESSOR RUBEK. + +Yes, to tell the truth, I cannot help constantly thinking of her. Ever +since I met her again. [A step nearer her.] For now I will tell you +a secret, Maia. + + +MAIA. + +Well? + + +PROFESSOR RUBEK. + +[Touching his own breast.] In here, you see--in here I have a little +bramah-locked casket. And in that casket all my sculptor's visions +are stored up. But when she disappeared and left no trace, the lock +of the casket snapped to. And she had the key--and she took it away +with her.--You, little Maia, you had no key; so all that the casket +contains must lie unused. And the years pass! And I have no means +of getting at the treasure. + + +MAIA. + +[Trying to repress a subtle smile.] Then get her to open the casket +for you again--- + + +PROFESSOR RUBEK. + +[Not understanding.] Maia---? + + +MAIA. + +--for here she is, you see. And no doubt it's on account of this +casket that she has come. + + +PROFESSOR RUBEK. + +I have not said a single word to her on this subject! + + +MAIA. + +[Looks innocently at him.] My dear Rubek--is it worth while to make +all this fuss and commotion about so simple a matter? + + +PROFESSOR RUBEK. + +Do you think this matter is so absolutely simple? + + +MAIA. + +Yes, certainly I think so. Do you attach yourself to whoever you +most require. [Nods to him.] I shall always manage to find a place +for myself. + + +PROFESSOR RUBEK. + +Where do you mean? + + +MAIA. + +[Unconcerned, evasively.] Well--I need only take myself off to the +villa, if it should be necessary. But it won't be; for in town--in +all that great house of ours--there must surely, with a little good +will, be room enough for three. + + +PROFESSOR RUBEK. + +[Uncertainly.] And do you think that would work in the long run? + + +MAIA. + +[In a light tone.] Very well, then--if it won't work, it won't. It +is no good talking about it. + + +PROFESSOR RUBEK. + +And what shall we do then, Maia--if it does not work? + + +MAIA. + +[Untroubled.] Then we two will simply get out of each other's way-- +part entirely. I shall always find something new for myself, somewhere +in the world. Something free! Free! Free!--No need to be anxious +about that, Professor Rubek! [Suddenly points off to the right.] +Look there! There we have her. + + +PROFESSOR RUBEK. + +[Turning.] Where? + + +MAIA. + +Out on the plain. Striding--like a marble stature. She is coming this +way. + + +PROFESSOR RUBEK. + +[Stands gazing with his hand over his eyes.] Does not she look like +the Resurrection incarnate? [To himself.] And her I could displace-- +and move into the shade! Remodel her--. Fool that I was! + + +MAIA. + +What do you mean by that? + + +PROFESSOR RUBEK. + +[Putting the question aside.] Nothing. Nothing that you would +understand. + + [IRENE advances from the right over the upland. The children + at their play have already caught sight of her and run to + meet her. She is now surrounded by them; some appear confident + and at ease, others uneasy and timid. She talks low to them + and indicates that they are to go down to the hotel; she + herself will rest a little beside the brook. The children + run down over the slope to the left, half way to the back. + IRENE goes up to the wall of rock, and lets the rillets of + the cascade flow over her hands, cooling them. + + +MAIA. + +[In a low voice.] Go down and speak to her alone, Rubek. + + +PROFESSOR RUBEK. + +And where will you go in the meantime? + + +MAIA. + +[Looking significantly at him.] Henceforth I shall go my own ways. + + [She descends form the hillock and leaps over the brook, by aid + of her alpenstock. She stops beside IRENE. + + +MAIA. + +Professor Rubek is up there, waiting for you, madam. + + +IRENE. + +What does he want? + + +MAIA. + +He wants you to help him to open a casket that has snapped to. + + +IRENE. + +Can I help him in that? + + +MAIA. + +He says you are the only person that can. + + +IRENE. + +Then I must try. + + +MAIA. + +Yes, you really must, madam. + + [She goes down by the path to the hotel. + + [In a little while PROFESSOR RUBEK comes down to IRENE, but stops + with the brook between them. + + +IRENE. + +[After a short pause.] She--the other one--said that you had been +waiting for me. + + +PROFESSOR RUBEK. + +I have waited for you year after year--without myself knowing it. + + +IRENE. + +I could not come to you, Arnold. I was lying down there, sleeping the +long, deep, dreamful sleep. + + +PROFESSOR RUBEK. + +But now you have awakened, Irene! + + +IRENE. + +[Shakes her head.] I have the heavy, deep sleep still in my eyes. + + +PROFESSOR RUBEK. + +You shall see that day will dawn and lighten for us both. + + +IRENE. + +Do not believe that. + + +PROFESSOR RUBEK. + +[Urgently.] I do believe it! And I know it! Now that I have found +you again--- + + +IRENE. + +Risen from the grave. + + +PROFESSOR RUBEK. + +Transfigured! + + +IRENE. + +Only risen, Arnold. Not transfigured. + + [He crosses over to her by means of stepping-stones below the + cascade. + + +PROFESSOR RUBEK. + +Where have you been all day, Irene? + + +IRENE. + +[Pointing.] Far, far over there, on the great dead waste--- + + +PROFESSOR RUBEK. + +[Turning the conversation.] You have not your--your friend with you +to-day, I see. + + +IRENE. + +[Smiling.] My friend is keeping a close watch on me, none the less. + + +PROFESSOR RUBEK. + +Can she? + + +IRENE. + +[Glancing furtively around.] You may be sure she can--wherever I may +go. She never loses sight of me-- [Whispering.] Until, one fine +sunny morning, I shall kill her. + + +PROFESSOR RUBEK. + +Would you do that? + + +IRENE. + +With the utmost delight--if only I could manage it. + + +PROFESSOR RUBEK. + +Why do you want to? + + +IRENE. + +Because she deals in witchcraft. [Mysteriously.] Only think, Arnold-- +she has changed herself into my shadow. + + +PROFESSOR RUBEK. + +[Trying to calm her.] Well, well, well--a shadow we must all have. + + +IRENE. + +I am my own shadow. [With an outburst.] Do you not understand that! + + +PROFESSOR RUBEK. + +[Sadly.] Yes, yes, Irene, I understand. + + [He seats himself on a stone beside the brook. She stands behind + him, leaning against the wall of rock. + + +IRENE. + +[After a pause.] Why do you sit there turning your eyes away from me? + + +PROFESSOR RUBEK. + +[Softly, shaking his head.] I dare not--I dare not look at you. + + +IRENE. + +Why dare you not look at me any more? + + +PROFESSOR RUBEK. + +You have a shadow that tortures me. And I have the crushing weight of +my conscience. + + +IRENE. + +[With a glad cry of deliverance.] At last! + + +PROFESSOR RUBEK. + +[Springs up.] Irene--what is it! + + +IRENE. + +[Motioning him off.] Keep still, still, still! [Draws a deep breath +and says, as though relieved of a burden.] There! Now they let me +go. For this time.--Now we can sit down and talk as we used to--when +I was alive. + + +PROFESSOR RUBEK. + +Oh, if only we could talk as we used to. + + +IRENE. + +Sit there, where you were sitting. I will sit here beside you. + + [He sits down again. She seats herself on another stone, close + to him. + + +IRENE. + +[After a short interval of silence.] Now I have come back to you from +the uttermost regions, Arnold. + + +PROFESSOR RUBEK. + +Aye, truly, from an endless journey. + + +IRENE. + +Come home to my lord and master--- + + +PROFESSOR RUBEK. + +To our home;--to our own home, Irene. + + +IRENE. + +Have you looked for my coming every single day? + + +PROFESSOR RUBEK. + +How dared I look for you? + + +IRENE. + +[With a sidelong glance.] No, I suppose you dared not. For you +understood nothing. + + +PROFESSOR RUBEK. + +Was it really not for the sake of some one else that you all of a +sudden disappeared from me in that way? + + +IRENE. + +Might it not quite well be for your sake, Arnold? + + +PROFESSOR RUBEK. + +[Looks doubtfully at her.] I don't understand you---? + + +IRENE. + +When I had served you with my soul and with my body--when the statue +stood there finished--our child as you called it--then I laid at your +feet the most precious sacrifice of all--by effacing myself for all +time. + + +PROFESSOR RUBEK. + +[Bows his head.] And laying my life waste. + + +IRENE. + +[Suddenly firing up.] It was just that I wanted! Never, never +should you create anything again--after you had created that only +child of ours. + + +PROFESSOR RUBEK. + +Was it jealously that moved you, then? + + +IRENE. + +[Coldly.] I think it was rather hatred. + + +PROFESSOR RUBEK. + +Hatred? Hatred for me? + + +IRENE. + +[Again vehemently.] Yes, for you--for the artist who had so lightly +and carelessly taken a warm-blooded body, a young human life, and +worn the soul out of it--because you needed it for a work of art. + + +PROFESSOR RUBEK. + +And you can say that--you who threw yourself into my work with such +saint-like passion and such ardent joy?--that work for which we two +met together every morning, as for an act of worship. + + +IRENE. + +[Coldly, as before.] I will tell you one thing, Arnold. + + +PROFESSOR RUBEK. + +Well? + + +IRENE. + +I never loved your art, before I met you.--Nor after either. + + +PROFESSOR RUBEK. + +But the artist, Irene? + + +IRENE. + +The artist I hate. + + +PROFESSOR RUBEK. + +The artist in me too? + + +IRENE. + +In you most of all. When I unclothed myself and stood for you, then I +hated you, Arnold--- + + +PROFESSOR RUBEK. + +[Warmly.] That you did not, Irene! That is not true! + + +IRENE. + +I hated you, because you could stand there so unmoved--- + + +PROFESSOR RUBEK. + +[Laughs.] Unmoved? Do you think so? + + +IRENE. + +--at any rate so intolerably self-controlled. And because you were +an artist and an artist only--not a man! [Changing to a tone full +of warmth and feeling.] But that statue in the wet, living clay, +that I loved--as it rose up, a vital human creature, out of those +raw, shapeless masses--for that was our creation, our child. Mine +and yours. + + +PROFESSOR RUBEK. + +[Sadly.] It was so in spirit and in truth. + + +IRENE. + +Let me tell you, Arnold--it is for the sake of this child of ours +that I have undertaken this long pilgrimage. + + +PROFESSOR RUBEK. + +[Suddenly alert.] For the statue's---? + + +IRENE. + +Call it what you will. I call it our child. + + +PROFESSOR RUBEK. + +And now you want to see it? Finished? In marble, which you always +thought so cold? [Eagerly.] You do not know, perhaps, that it is +installed in a great museum somewhere--far out in the world? + + +IRENE. + +I have heard a sort of legend about it. + + +PROFESSOR RUBEK. + +And museums were always a horror to you. You called them grave- +vaults--- + + +IRENE. + +I will make a pilgrimage to the place where my soul and my child's +soul lie buried. + + +PROFESSOR RUBEK. + +[Uneasy and alarmed.] You must never see that statue again! Do you +hear, Irene! I implore you--! Never, never see it again! + + +IRENE. + +Perhaps you think it would mean death to me a second time? + + +PROFESSOR RUBEK. + +[Clenching his hands together.] Oh, I don't know what I think.--But +how could I ever imagine that you would fix your mind so immovably on +that statue? You, who went away from me--before it was completed. + + +IRENE. + +It was completed. That was why I could go away from you--and leave +you alone. + + +PROFESSOR RUBEK. + +[Sits with his elbows upon his knees, rocking his head from side to +side, with his hands before his eyes.] It was not what it afterwards +became. + + +IRENE. + +[Quietly but quick as lightning, half-unsheathes a narrow-bladed sharp +knife which she carried in her breast, and asks in a hoarse whisper.] +Arnold--have you done any evil to our child? + + +PROFESSOR RUBEK. + +[Evasively.] Any evil?--How can I be sure what you would call it? + + +IRENE. + +[Breathless.] Tell me at once: what have you done to the child? + + +PROFESSOR RUBEK. + +I will tell you, if you will sit and listen quietly to what I say. + + +IRENE. + +[Hides the knife.] I will listen as quietly as a mother can when she--- + + +PROFESSOR RUBEK. + +[Interrupting.] And you must not look at me while I am telling you. + + +IRENE. + +[Moves to a stone behind his back.] I will sit here, behind you.-- +Now tell me. + + +PROFESSOR RUBEK. + +[Takes his hands from before his eyes and gazes straight in front of +him. When I had found you, I knew at once how I should make use of +you for my life-work. + + +IRENE. + +"The Resurrection Day" you called your life-work.--I call it "our +child." + + +PROFESSOR RUBEK. + +I was young then--with no knowledge of life. The Resurrection, I +thought, would be most beautifully and exquisitely figured as a young +unsullied woman--with none of our earth-life's experiences--awakening +to light and glory without having to put away from her anything ugly +and impure. + + +IRENE. + +[Quickly.] Yes--and so I stand there now, in our work? + + +PROFESSOR RUBEK. + +[Hesitating.] Not absolutely and entirely so, Irene. + + +IRENE. + +[In rising excitement.] Not absolutely--? Do I not stand as I always +stood for you? + + +PROFESSOR RUBEK. + +[Without answering.] I learned worldly wisdom in the years that +followed, Irene. "The Resurrection Day" became in my mind's eye +something more and something--something more complex. The little +round plinth on which your figure stood erect and solitary--it no +longer afforded room for all the imagery I now wanted to add--- + + +IRENE. + +[Groped for her knife, but desists.] What imagery did you add then? +Tell me! + + +PROFESSOR RUBEK. + +I imagined that which I saw with my eyes around me in the world. I +had to include it--I could not help it, Irene. I expanded the plinth +--made it wide and spacious. And on it I placed a segment of the +curving, bursting earth. And up from the fissures of the soil there +now swarm men and women with dimly-suggested animal-faces. Women and +men--as I knew them in real life. + + +IRENE. + +[In breathless suspense.] But in the middle of the rout there stands +the young woman radiant with the joy of light?--Do I not stand so, +Arnold? + + +PROFESSOR RUBEK. + +[Evasively.] Not quite in the middle. I had unfortunately to move +that figure a little back. For the sake of the general effect, you +understand. Otherwise it would have dominated the whole too much. + + +IRENE. + +But the joy in the light still transfigures my face? + + +PROFESSOR RUBEK. + +Yes, it does, Irene--in a way. A little subdued perhaps--as my altered +idea required. + + +IRENE. + +[Rising noiselessly.] That design expresses the life you now see, +Arnold. + + +PROFESSOR RUBEK. + +Yes, I suppose it does. + + +IRENE. + +And in that design you have shifted me back, a little toned down--to +serve as a background-figure--in a group. + + [She draws the knife. + + +PROFESSOR RUBEK. + +Not a background-figure. Let us say, at most, a figure not quite in +the foreground--or something of that sort. + + +IRENE. + +[Whispers hoarsely.] There you uttered your own doom. + + [On the point of striking. + + +PROFESSOR RUBEK. + +[Turns and looks up at her.] Doom? + + +IRENE. + +[Hastily hides the knife, and says as though choked with agony.] My +whole soul--you and I--we, we, we and our child were in that solitary +figure. + + +PROFESSOR RUBEK. + +[Eagerly, taking off his hat and drying the drops of sweat upon his +brow.] Yes, but let me tell you, too, how I have placed myself in +the group. In front, beside a fountain--as it were here--sits a man +weighed down with guilt, who cannot quite free himself from the earth +-crust. I call him remorse for a forfeited life. He sits there and +dips his fingers in the purling stream--to wash them clean--and he is +gnawed and tortured by the thought that never, never will he succeed. +Never in all eternity will he attain to freedom and the new life. He +will remain for ever prisoned in his hell. + + +IRENE. + +[Hardly and coldly.] Poet! + + +PROFESSOR RUBEK. + +Why poet? + + +IRENE. + +Because you are nerveless and sluggish and full of forgiveness for all +the sins of your life, in thought and in act. You have killed my soul +--so you model yourself in remorse, and self-accusation, and penance-- +[Smiling.] --and with that you think your account is cleared. + + +PROFESSOR RUBEK. + +[Defiantly.] I am an artist, Irene. And I take no shame to myself +for the frailties that perhaps cling to me. For I was born to be an +artist, you see. And, do what I may, I shall never be anything else. + + +IRENE. + +[Looks at him with a lurking evil smile, and says gently and softly.] +You are a poet, Arnold. [Softly strokes his hair.] You dear, great, +middle-aged child,--is it possible that you cannot see that! + + +PROFESSOR RUBEK. + +[Annoyed.] Why do you keep on calling me a poet? + + +IRENE. + +[With malign eyes.] Because there is something apologetic in the word, +my friend. Something that suggests forgiveness of sins--and spreads +a cloak over all frailty. [With a sudden change of tone.] But I was +a human being--then! And I, too, had a life to live,--and a human +destiny to fulfil. And all that, look you, I let slip--gave it all +up in order to make myself your bondwoman.--Oh, it was self-murder--a +deadly sin against myself! [Half whispering.] And that sin I can +never expiate! + + [She seats herself near him beside the brook, keeps close, though + unnoticed, watch upon him, and, as though in absence of mind, + plucks some flowers form the shrubs around them. + + +IRENE. + +[With apparent self-control.] I should have borne children in the +world--many children--real children--not such children as are hidden +away in grave-vaults. That was my vocation. I ought never to have +served you--poet. + + +PROFESSOR RUBEK. + +[Lost in recollection.] Yet those were beautiful days, Irene. +Marvellously beautiful days--as I now look back upon them--- + + +IRENE. + +[Looking at him with a soft expression.] Can you remember a little +word that you said--when you had finished--finished with me and with +our child? [Nods to him.] Can you remember that little word, Arnold? + + +PROFESSOR RUBEK. + +[Looks inquiringly at her.] Did I say a little word then, which you +still remember? + + +IRENE. + +Yes, you did. Can you not recall it? + + +PROFESSOR RUBEK. + +[Shaking his head.] No, I can't say that I do. Not at the present +moment, at any rate. + + +IRENE. + +You took both my hands and pressed them warmly. And I stood there in +breathless expectation. And then you said: "So now, Irene, I thank +you from my heart. This," you said, "has been a priceless episode +for me." + + +PROFESSOR RUBEK. + +[Looks doubtfully at her.] Did I say "episode"? It is not a word I +am in the habit of using. + + +IRENE. + +You said "episode." + + +PROFESSOR RUBEK. + +[With assumed cheerfulness.] Well, well--after all, it was in reality +an episode. + + +IRENE. + +[Curtly.] At that word I left you. + + +PROFESSOR RUBEK. + +You take everything so painfully to heart, Irene. + + +IRENE. + +[Drawing her hand over her forehead.] Perhaps you are right. Let us +shake off all the hard things that go to the heart. [Plucks off the +leaves of a mountain rose and strews them on the brook.] Look there, +Arnold. There are our birds swimming. + + +PROFESSOR RUBEK. + +What birds are they? + + +IRENE. + +Can you not see? Of course they are flamingoes. Are they not +rose-red? + + +PROFESSOR RUBEK. + +Flamingoes do not swim. They only wade. + + +IRENE. + +Then they are not flamingoes. They are sea-gulls. + + +PROFESSOR RUBEK. + +They may be sea-gulls with red bills, yes. [Plucks broad green leaves +and throws them into the brook.] Now I send out my ships after them. + + +IRENE. + +But there must be no harpoon-men on board. + + +PROFESSOR RUBEK. + +No, there shall be no harpoon-men. [Smiles to her.] Can you remember +the summer when we used to sit like this outside the little peasant hut +on the Lake of Taunitz? + + +IRENE. + +[Nods.] On Saturday evenings, yes,--when we had finished our week's +work--- + + +PROFESSOR RUBEK. + +--And taken the train out to the lake--to stay there over Sunday--- + + +IRENE. + +[With an evil gleam of hatred in her eyes.] It was an episode, Arnold. + + +PROFESSOR RUBEK. + +[As if not hearing.] Then, too, you used to set birds swimming in the +brook. They were water-lilies which you--- + + +IRENE. + +They were white swans. + + +PROFESSOR RUBEK. + +I meant swans, yes. And I remember that I fastened a great furry leaf +to one of the swans. It looked like a burdock-leaf--- + + +IRENE. + +And then it turned into Lohengrin's boat--with the swan yoked to it. + + +PROFESSOR RUBEK. + +How fond you were of that game, Irene. + + +IRENE. + +We played it over and over again. + + +PROFESSOR RUBEK. + +Every single Saturday, I believe,--all the summer through. + + +IRENE. + +You said I was the swan that drew your boat. + + +PROFESSOR RUBEK. + +Did I say so? Yes, I daresay I did. [Absorbed in the game.] Just +see how the sea-gulls are swimming down the stream! + + +IRENE. + +[Laughing.] And all your ships have run ashore. + + +PROFESSOR RUBEK. + +[Throwing more leaves into the brook.] I have ships enough in reserve. +[Follows the leaves with his eyes, throws more into the brook, and says +after a pause.] Irene,--I have bought the little peasant hut beside +the Lake of Taunitz. + + +IRENE. + +Have you bought it? You often said you would, if you could afford it. + + +PROFESSOR RUBEK. + +The day came when I could afford it easily enough; and so I bought it. + + +IRENE. + +[With a sidelong look at him.] Then do you live out there now--in +our old house? + + +PROFESSOR RUBEK. + +No, I have had it pulled down long ago. And I have built myself a +great, handsome, comfortable villa on the site--with a park around +it. It is there that we-- [Stops and corrects himself.] --there that +I usually live during the summer. + + +IRENE. + +[Mastering herself.] So you and--and the other one live out there now? + + +PROFESSOR RUBEK. + +[With a touch of defiance.] Yes. When my wife and I are not +travelling--as we are this year. + + +IRENE. + +[Looking far before her.] Life was beautiful, beautiful by the Lake +of Taunitz. + + +PROFESSOR RUBEK. + +[As though looking back into himself.] And yet, Irene--- + + +IRENE. + +[Completing his thought.] --yet we two let slip all that life and +its beauty. + + +PROFESSOR RUBEK. + +[Softly, urgently.] Does repentance come too late, now? + + +IRENE. + +[Does not answer, but sits silent for a moment; then she points over +the upland.] Look there, Arnold,--now the sun is going down behind +the peaks. See what a red glow the level rays cast over all the +heathery knolls out yonder. + + +PROFESSOR RUBEK. + +[Looks where she is pointing.] It is long since I have seen a sunset +in the mountains. + + +IRENE. + +Or a sunrise? + + +PROFESSOR RUBEK. + +A sunrise I don't think I have ever seen. + + +IRENE. + +[Smiles as though lost in recollection.] I once saw a marvellously +lovely sunrise. + + +PROFESSOR RUBEK. + +Did you? Where was that? + + +IRENE. + +High, high up on a dizzy mountain-top.--You beguiled me up there by +promising that I should see all the glory of the world if only I--- + + [She stops suddenly. + + +PROFESSOR RUBEK. + +If only you--? Well? + + +IRENE. + +I did as you told me--went with you up to the heights. And there I +fell upon my knees and worshipped you, and served you. [Is silent +for a moment; then says softly.] Then I saw the sunrise. + + +PROFESSOR RUBEK. + +[Turning at him with a scornful smile.] With you--and the other woman? + + +PROFESSOR RUBEK. + +[Urgently.] With me--as in our days of creation. You could open all +that is locked up in me. Can you not find it in your heart, Irene? + + +IRENE. + +[Shaking her head.] I have no longer the key to you, Arnold. + + +PROFESSOR RUBEK. + +You have the key! You and you alone possess it! [Beseechingly.] +Help me--that I may be able to live my life over again! + + +IRENE. + +[Immovable as before.] Empty dreams! Idle--dead dreams. For the +life you and I led there is no resurrection. + + +PROFESSOR RUBEK. + +[Curtly, breaking off.] Then let us go on playing. + + +IRENE. + +Yes, playing, playing--only playing! + + [They sit and strew leaves and petals over the brook, where they + float and sail away. + + [Up the slope to the left at the back come ULFHEIM and MAIA in + hunting costume. After them comes the SERVANT with the leash + of dogs, with which he goes out to the right. + + +PROFESSOR RUBEK. + +[Catching sight of them.] Ah! There is little Maia, going out with +the bear-hunter. + + +IRENE. + +Your lady, yes. + + +PROFESSOR RUBEK. + +Or the other's. + + +MAIA. + +[Looks around as she is crossing the upland, sees the two sitting by +the brook, and calls out.] Good-night, Professor! Dream of me. Now +I am going off on my adventures! + + +PROFESSOR RUBEK. + +[Calls back to her.] What sort of an adventure is this to be? + + +MAIA. + +[Approaching.] I am going to let life take the place of all the rest. + + +PROFESSOR RUBEK. + +[Mockingly.] Aha! So you too are going to do that, little Maia? + + +MAIA. + +Yes. And I've made a verse about it, and this is how it goes: + + [Sings triumphantly.] + + I am free! I am free! I am free! + No more life in the prison for me! + I am free as a bird! I am free! + For I believe I have awakened now--at last. + + +PROFESSOR RUBEK. + +It almost seems so. + + +MAIA. + +[Drawing a deep breath.] Oh--how divinely light one feels on waking! + + +PROFESSOR RUBEK. + +Good-night, Frau Maia--and good luck to--- + + +ULFHEIM. + +[Calls out, interposing.] Hush, hush!--for the devil's sake let's +have none of your wizard wishes. Don't you see that we are going +out to shoot--- + + +PROFESSOR RUBEK. + +What will you bring me home from the hunting, Maia? + + +MAIA. + +You shall have a bird of prey to model. I shall wing one for you. + + +PROFESSOR RUBEK. + +[Laughs mockingly and bitterly.] Yes, to wing things--without knowing +what you are doing--that has long been quite in your way. + + +MAIA. + +[Tossing her head.] Oh, just let me take care of myself for the +future, and I wish you then--! [Nods and laughs roguishly.] +Good-bye--and a good, peaceful summer night on the upland! + + +PROFESSOR RUBEK. + +[Jestingly.] Thanks! And all the ill-luck in the world over you and +your hunting! + + +ULFHEIM. + +[Roaring with laughter.] There now, that is a wish worth having! + + +MAIA. + +[Laughing.] Thanks, thanks, thanks, Professor! + + [They have both crossed the visible portion of the upland, and go + out through the bushes to the right. + + +PROFESSOR RUBEK. + +[After a short pause.] A summer night on the upland! Yes, that would +have been life! + + +IRENE. + +[Suddenly, with a wild expression in her eyes.] Will you spend a +summer night on the upland--with me? + + +PROFESSOR RUBEK. + +[Stretching his arms wide.] Yes, yes,--come! + + +IRENE. + +My adored lord and master! + + +PROFESSOR RUBEK. + +Oh, Irene! + + +IRENE. + +[Hoarsely, smiling and groping in her breast.] It will be only an +episode-- [Quickly, whispering.] Hush!--do not look round, Arnold! + + +PROFESSOR RUBEK. + +[Also in a low voice.] What is it? + + +IRENE. + +A face that is staring at me. + + +PROFESSOR RUBEK. + +[Turns involuntarily.] Where! [With a start.] Ah---! + + [The SISTER OF MERCY's head is partly visible among the bushes + beside the descent to the left. Her eyes are immovably fixed + on IRENE. + + +IRENE. + +[Rises and says softly.] We must part then. No, you must remain +sitting. Do you hear? You must not go with me. [Bends over him +and whispers.] Till we meet again--to-night--on the upland. + + +PROFESSOR RUBEK. + +And you will come, Irene? + + +IRENE. + +Yes, surely I will come. Wait for me here. + + +PROFESSOR RUBEK. + +[Repeats dreamily.] Summer night on the upland. With you. With you. +[His eyes meet hers.] Oh, Irene--that might have been our life.--And +that we have forfeited--we two. + + +IRENE. + +We see the irretrievable only when-- + + [Breaks off. + + +PROFESSOR RUBEK. + +[Looks inquiringly at her.] When---? + + +IRENE. + +When we dead awaken. + + +PROFESSOR RUBEK. + +[Shakes his head mournfully.] What do we really see then? + + +IRENE. + +We see that we have never lived. + + [She goes towards the slope and descends. + + [The SISTER OF MERCY makes way for her and follows her. PROFESSOR + RUBEK remains sitting motionless beside the brook. + + +MAIA. + +[Is heard singing triumphantly among the hills.] + + I am free! I am free! I am free! + No more life in the prison for me! + I am free as a bird! I am free! + + + + +ACT THIRD. + + +[A wild riven mountain-side, with sheer precipices at the back. + Snow-clad peaks rise to the right, and lose themselves in drifting + mists. To the left, on a stone-scree, stands an old, half-ruined + hut. It is early morning. Dawn is breaking. The sun has not + yet risen. + +[MAIA comes, flushed and irritated, down over the stone-scree on the + left. ULFHEIM follows, half angry, half laughing, holding her + fast by the sleeve. + + +MAIA. + +[Trying to tear herself loose.] Let me go! Let me go, I say! + + +ULFHEIM. + +Come, Come! are you going to bite now? You're as snappish as a wolf. + + +MAIA. + +[Striking him over the hand.] Let me, I tell you? And be quiet! + + +ULFHEIM. + +No, confound me if I will! + + +MAIA. + +Then I will not go another step with you. Do you hear?--not a single +step! + + +ULFHEIM. + +Ho, ho! How can you get away from me, here, on the wild mountain-side? + + +MAIA. + +I will jump over the precipice yonder, if need be--- + + +ULFHEIM. + +And mangle and mash yourself up into dogs'-meat! A juicy morsel! +[Lets go his hold.] As you please. Jump over the precipice if you +want to. It's a dizzy drop. There's only one narrow footpath down +it, and that's almost impassable. + + +MAIA. + +[Dusts her skirt with her hand, and looks at him with angry eyes.] +Well, you are a nice one to go hunting with! + + +ULFHEIM. + +Say rather, sporting. + + +MAIA. + +Oh! So you call this sport, do you? + + +ULFHEIM. + +Yes, I venture to take that liberty. It is the sort of sport I like +best of all. + + +MAIA. + +[Tossing her head.] Well--I must say! [After a pause; looks +searchingly at him.] Why did you let the dogs loose up there? + + +ULFHEIM. + +[Blinking his eyes and smiling.] So that they too might do a little +hunting on their own account, don't you see? + + +MAIA. + +There's not a word of truth in that! It wasn't for the dogs' sake +that you let them go. + + +ULFHEIM. + +[Still smiling.] Well, why did I let them go then? Let us hear. + + +MAIA. + +You let them go because you wanted to get rid of Lars. He was to run +after them and bring them in again, you said. And in the meant-time--. +Oh, it was a pretty way to behave! + + +ULFHEIM. + +In the meantime? + + +MAIA. + +[Curtly breaking off.] No matter! + + +ULFHEIM. + +[In a confidential tone.] Lars won't find them. You may safely swear +to that. He won't come with them before the time's up. + + +MAIA. + +[Looking angrily at him.] No, I daresay not. + + +ULFHEIM. + +[Catching at her arm.] For Lars--he knows my--my methods of sport, +you see. + + +MAIA. + +[Eludes him, and measures him with a glance.] Do you know what you +look like, Mr. Ulfheim? + + +ULFHEIM. + +I should think I'm probably most like myself. + + +MAIA. + +Yes, there you're exactly right. For you're the living image of +a faun. + + +ULFHEIM. + +A faun? + + +MAIA. + +Yes, precisely; a faun. + + +ULFHEIM. + +A faun! Isn't that a sort of monster? Or a kind of a wood demon, as +you might call it? + + +MAIA. + +Yes, just the sort of creature you are. A thing with a goat's beard +and goat-legs. Yes, and the faun has horns too! + + +ULFHEIM. + +So, so!--has he horns too? + + +MAIA. + +A pair of ugly horns, just like yours, yes. + + +ULFHEIM. + +Can you see the poor little horns _I_ have? + + +MAIA. + +Yes, I seem to see them quite plainly. + + +ULFHEIM. + +[Taking the dogs' leash out of his pocket.] Then I had better see +about tying you. + + +MAIA. + +Have you gone quite mad? Would you tie me? + + +ULFHEIM. + +If I am a demon, let me be a demon! So that's the way of it! You +can see the horns, can you? + + +MAIA. + +[Soothingly.] There, there, there! Now try to behave nicely, Mr. +Ulfheim. [Breaking off.] But what has become of that hunting-castle +of yours, that you boasted so much of? You said it lay somewhere +hereabouts. + + +ULFHEIM. + +[Points with a flourish to the hut.] There you have it, before your +very eyes. + + +MAIA. + +[Looks at him.] That old pig-stye! + + +ULFHEIM. + +[Laughing in his beard.] It has harboured more than one king's +daughter, I can tell you. + + +MAIA. + +Was it there that that horrid man you told me about came to the king's +daughter in the form of a bear? + + +ULFHEIM. + +Yes, my fair companion of the chase--this is the scene. [With a +gesture of invitation.] If you would deign to enter--- + + +MAIA. + +Isch! If ever I set foot in it--! Isch! + + +ULFHEIM. + +Oh, two people can doze away a summer night in there comfortably +enough. Or a whole summer, if it comes to that! + + +MAIA. + +Thanks! One would need to have a pretty strong taste for that kind of +thing. [Impatiently.] But now I am tired both of you and the hunting +expedition. Now I am going down to the hotel--before people awaken +down there. + + +ULFHEIM. + +How do you propose to get down from here? + + +MAIA. + +That's your affair. There must be a way down somewhere or other, I +suppose. + + +ULFHEIM. + +[Pointing towards the back.] Oh, certainly! There is a sort of way-- +right down the face of the precipice yonder--- + + +MAIA. + +There, you see. With a little goodwill--- + + +ULFHEIM. + +--but just you try if you dare go that way. + + +MAIA. + +[Doubtfully.] Do you think I can't? + + +ULFHEIM. + +Never in this world--if you don't let me help you. + + +MAIA. + +[Uneasily.] Why, then come and help me! What else are you here for? + + +ULFHEIM. + +Would you rather I should take you on my back---? + + +MAIA. + +Nonsense! + + +ULFHEIM. + +--or carry you in my arms? + + +MAIA. + +Now do stop talking that rubbish! + + +ULFHEIM. + +[With suppressed exasperation.] I once took a young girl--lifted her +up from the mire of the streets and carried her in my arms. Next my +heart I carried her. So I would have borne her all through life-- +lest haply she should dash her foot against a stone. For her shoes +were worn very thin when I found her--- + + +MAIA. + +And yet you took her up and carried her next your heart? + + +ULFHEIM. + +Took her up out of the gutter and carried her as high and as carefully +as I could. [With a growling laugh.] And do you know what I got for +my reward? + + +MAIA. + +No. What did you get? + + +ULFHEIM. + +[Looks at her, smiles and nods.] I got the horns! The horns that you +can see so plainly. Is not that a comical story, madam bear-murderess? + + +MAIA. + +Oh yes, comical enough! But I know another story that is still more +comical. + + +ULFHEIM. + +How does that story go? + + +MAIA. + +This is how it goes. There was once a stupid girl, who had both a +father and a mother--but a rather poverty-stricken home. Then there +came a high and mighty seigneur into the midst of all this poverty. +And he took the girl in his arms--as you did--and travelled far, far +away with her--- + + +ULFHEIM. + +Was she so anxious to be with him? + + +MAIA. + +Yes, for she was stupid, you see. + + +ULFHEIM. + +And he, no doubt, was a brilliant and beautiful personage? + + +MAIA. + +Oh, no, he wasn't so superlatively beautiful either. But he pretended +that he would take her with him to the top of the highest of mountains, +where there were light and sunshine without end. + + +ULFHEIM. + +So he was a mountaineer, was he, that man? + + +MAIA. + +Yes, he was--in his way. + + +ULFHEIM. + +And then he took the girl up with him---? + + +MAIA. + +[With a toss of the head.] Took her up with him finely, you may be +sure! Oh no! he beguiled her into a cold, clammy cage, where--as it +seemed to her--there was neither sunlight nor fresh air, but only +gilding and great petrified ghosts of people all around the walls. + + +ULFHEIM. + +Devil take me, but it served her right! + + +MAIA. + +Yes, but don't you think it's quite a comical story, all the same? + + +ULFHEIM. + +[Looks at her moment.] Now listen to me, my good companion of the +chase--- + + +MAIA. + +Well, what it is now? + + +ULFHEIM. + +Should not we two tack our poor shreds of life together? + + +MAIA. + +Is his worship inclined to set up as a patching-tailor? + + +ULFHEIM. + +Yes, indeed he is. Might not we two try to draw the rags together here +and there--so as to make some sort of a human life out of them? + + +MAIA. + +And when the poor tatters were quite worn out--what then? + + +ULFHEIM. + +[With a large gesture.] Then there we shall stand, free and serene-- +as the man and woman we really are! + + +MAIA. + +[Laughing.] You with your goat-legs yes! + + +ULFHEIM. + +And you with your--. Well, let that pass. + + +MAIA. + +Yes, come--let us pass--on. + + +ULFHEIM. + +Stop! Whither away, comrade? + + +MAIA. + +Down to the hotel, of course. + + +ULFHEIM. + +And afterward? + + +MAIA. + +Then we'll take a polite leave of each other, with thanks for pleasant +company. + + +ULFHEIM. + +Can we part, we two? Do you think we can? + + +MAIA. + +Yes, you didn't manage to tie me up, you know. + + +ULFHEIM. + +I have a castle to offer you--- + + +MAIA. + +[Pointing to the hut.] A fellow to that one? + + +ULFHEIM. + +It has not fallen to ruin yet. + + +MAIA. + +And all the glory of the world, perhaps? + + +ULFHEIM. + +A castle, I tell you--- + + +MAIA. + +Thanks! I have had enough of castles. + + +ULFHEIM. + +--with splendid hunting-grounds stretching for miles around it. + + +MAIA. + +Are there works of art too in this castle? + + +ULFHEIM. + +[Slowly.] Well, no--it's true there are no works of art; but--- + + +MAIA. + +[Relieved.] Ah! that's one good thing, at any rate! + + +ULFHEIM. + +Will you go with me, then--as far and as long as I want you? + + +MAIA. + +There is a tame bird of prey keeping watch upon me. + + +ULFHEIM. + +[Wildly.] We'll put a bullet in his wing, Maia! + + +MAIA. + +[Looks at him a moment, and says resolutely.] Come then, and carry me +down into the depths. + + +ULFHEIM. + +[Puts his arm round her waist.] It is high time! The mist is upon us! + + +MAIA. + +Is the way down terribly dangerous? + + +ULFHEIM. + +The mountain is more dangerous still. + + [She shakes him off, goes to the edge of the precipice and looks + over, but starts quickly back. + + +ULFHEIM. + +[Goes towards her, laughing.] What? Does it make you a little giddy? + + +MAIA. + +[Faintly.] Yes, that too. But go and look over. Those two, coming +up--- + + +ULFHEIM. + +[Goes and bends over the edge of the precipice.] It's only your bird +of prey--and his strange lady. + + +MAIA. + +Can't we get past them--without their seeing us? + + +ULFHEIM. + +Impossible! The path is far too narrow. And there's no other way +down. + + +MAIA. + +[Nerving herself.] Well, well--let us face them here, then! + + +ULFHEIM. + +Spoken like a true bear-killer, comrade! + + [PROFESSOR RUBEK and IRENE appear over the edge of the precipice + at the back. He has his plaid over his shoulders; she has a + fur cloak thrown loosely over her white dress, and a swansdown + hood over her head. + + +PROFESSOR RUBEK. + +[Still only half visible above the edge.] What, Maia! So we two meet +once again? + + +MAIA. + +[With assumed coolness.] At your service. Won't you come up? + + [PROFESSOR RUBEK climbs right up and holds out his hand to IRENE, + who also comes right to the top. + + +PROFESSOR RUBEK. + +[Coldly to MAIA.] So you, too, have been all night on the mountain,-- +as we have? + + +MAIA. + +I have been hunting--yes. You gave me permission, you know. + + +ULFHEIM. + +[Pointing downward.] Have you come up that path there? + + +PROFESSOR RUBEK. + +As you saw. + + +ULFHEIM. + +And the strange lady too? + + +PROFESSOR RUBEK. + +Yes, of course. [With a glance at MAIA.] Henceforth the strange lady +and I do not intend our ways to part. + + +ULFHEIM. + +Don't you know, then, that it is a deadly dangerous way you have come? + + +PROFESSOR RUBEK. + +We thought we would try it, nevertheless. For it did not seem +particularly hard at first. + + +ULFHEIM. + +No, at first nothing seems hard. But presently you may come to a tight +place where you can neither get forward nor back. And then you stick +fast, Professor! Mountain-fast, as we hunters call it. + + +PROFESSOR RUBEK. + +[Smiles and looks at him.] Am I to take these as oracular utterances, +Mr. Ulfheim? + + +ULFHEIM. + +Lord preserve me from playing the oracle! [Urgently, pointing up +towards the heights.] But don't you see that the storm is upon us? +Don't you hear the blasts of wind? + + +PROFESSOR RUBEK. + +[Listening.] They sound like the prelude to the Resurrection Day. + + +ULFHEIM. + +They are storm-blasts form the peaks, man! Just look how the clouds +are rolling and sinking--soon they'll be all around us like a winding +-sheet! + + +IRENE. + +[With a start and shiver.] I know that sheet! + + +MAIA. + +[Drawing ULFHEIM away.] Let us make haste and get down. + + +ULFHEIM. + +[To PROFESSOR RUBEK.] I cannot help more than one. Take refuge in +the hut in the mean-time--while the storm lasts. Then I shall send +people up to fetch the two of you away. + + +IRENE. + +[In terror.] To fetch us away! No, no! + + +ULFHEIM. + +[Harshly.] To take you by force if necessary--for it's a matter of +life and death here. Now, you know it. [To MAIA.] Come, then--and +don't fear to trust yourself in your comrade's hands. + + +MAIA. + +[Clinging to him.] Oh, how I shall rejoice and sing, if I get down +with a whole skin! + + +ULFHEIM. + +[Begins the descent and calls to the others.] You'll wait, then, in +the hut, till the men come with ropes, and fetch you away. + + [ULFHEIM, with MAIA in his arms, clambers rapidly but warily down + the precipice. + + +IRENE. + +[Looks for some time at PROFESSOR RUBEK with terror-stricken eyes.] +Did you hear that, Arnold?--men are coming up to fetch me away! Many +men will come up here--- + + +PROFESSOR RUBEK. + +Do not be alarmed, Irene! + + +IRENE. + +[In growing terror.] And she, the woman in black--she will come too. +For she must have missed me long ago. And then she will seize me, +Arnold! And put me in the strait-waistcoat. Oh, she has it with her, +in her box. I have seen it with my own eyes--- + + +PROFESSOR RUBEK. + +Not a soul shall be suffered to touch you. + + +IRENE. + +[With a wild smile.] Oh no--I myself have a resource against that. + + +PROFESSOR RUBEK. + +What resource do you mean? + + +IRENE. + +[Drawing out the knife.] This! + + +PROFESSOR RUBEK. + +[Tries to seize it.] Have you a knife? + + +IRENE. + +Always, always--both day and night--in bed as well! + + +PROFESSOR RUBEK. + +Give me that knife, Irene! + + +IRENE. + +[Concealing it.] You shall not have it. I may very likely find a use +for it myself. + + +PROFESSOR RUBEK. + +What use can you have for it, here? + + +IRENE. + +[Looks fixedly at him.] It was intended for you, Arnold. + + +PROFESSOR RUBEK. + +For me! + + +IRENE. + +As we were sitting by the Lake of Taunitz last evening--- + + +PROFESSOR RUBEK. + +By the Lake of--- + + +IRENE. + +--outside the peasant's hut--and playing with swans and water-lilies--- + + +PROFESSOR RUBEK. + +What then--what then? + + +IRENE. + +--and when I heard you say with such deathly, icy coldness--that I was +nothing but an episode in your life--- + + +PROFESSOR RUBEK. + +It was you that said that, Irene, not I. + + +IRENE. + +[Continuing.] --then I had my knife out. I wanted to stab you in the +back with it. + + +PROFESSOR RUBEK. + +[Darkly.] And why did you hold your hand? + + +IRENE. + +Because it flashed upon me with a sudden horror that you were dead +already--long ago. + + +PROFESSOR RUBEK. + +Dead? + + +IRENE. + +Dead. Dead, you as well as I. We sat there by the Lake of Taunitz, +we two clay-cold bodies--and played with each other. + + +PROFESSOR RUBEK. + +I do not call that being dead. But you do not understand me. + + +IRENE. + +Then where is the burning desire for me that you fought and battled +against when I stood freely forth before you as the woman arisen from +the dead? + + +PROFESSOR RUBEK. + +Our love is assuredly not dead, Irene. + + +IRENE. + +The love that belongs to the life of earth--the beautiful, miraculous +earth-life--the inscrutable earth-life--that is dead in both of us. + + +PROFESSOR RUBEK. + +[Passionately.] And do you know that just that love--it is burning +and seething in me as hotly as ever before? + + +IRENE. + +And I? Have you forgotten who I now am? + + +PROFESSOR RUBEK. + +Be who or what you please, for aught I care! For me, you are the woman +I see in my dreams of you. + + +IRENE. + +I have stood on the turn-table-naked--and made a show of myself to many +hundreds of men--after you. + + +PROFESSOR RUBEK. + +It was I that drove you to the turn-table--blind as I then was--I, who +placed the dead clay-image above the happiness of life--of love. + + +IRENE. + +[Looking down.] Too late--too late! + + +PROFESSOR RUBEK. + +Not by a hairsbreadth has all that has passed in the interval lowered +you in my eyes. + + +IRENE. + +[With head erect.] Nor in my own! + + +PROFESSOR RUBEK. + +Well, what then! Then we are free--and there is still time for us to +live our life, Irene. + + +IRENE. + +[Looks sadly at him.] The desire for life is dead in me, Arnold. Now +I have arisen. And I look for you. And I find you.--And then I see +that you and life lie dead--as I have lain. + + +PROFESSOR RUBEK. + +Oh, how utterly you are astray! Both in us and around us life is +fermenting and throbbing as fiercely as ever! + + +IRENE. + +[Smiling and shaking her head.] The young woman of your Resurrection +Day can see all life lying on its bier. + + +PROFESSOR RUBEK. + +[Throwing his arms violently around her.] Then let two of the dead-- +us two--for once live life to its uttermost--before we go down to our +graves again! + + +IRENE. + +[With a shriek.] Arnold! + + +PROFESSOR RUBEK. + +But not here in the half darkness! Not here with this hideous dank +shroud flapping around us--- + + +IRENE. + +[Carried away by passion.] No, no--up in the light, and in all the +glittering glory! Up to the Peak of Promise! + + +PROFESSOR RUBEK. + +There we will hold our marriage-feast, Irene--oh, my beloved! + + +IRENE. + +[Proudly.] The sun may freely look on us, Arnold. + + +PROFESSOR RUBEK. + +All the powers of light may freely look on us--and all the powers of +darkness too. [Seizes her hand.] Will you then follow me, oh my +grace-given bride? + + +IRENE. + +[As though transfigured.] I follow you, freely and gladly, my lord +and master! + + +PROFESSOR RUBEK. + +[Drawing her along with him.] We must first pass through the mists, +Irene, and then--- + + +IRENE. + +Yes, through all the mists, and then right up to the summit of the +tower that shines in the sunrise. + + [The mist-clouds close in over the scene--PROFESSOR RUBEK and + IRENE, hand in hand, climb up over the snow-field to the right + and soon disappear among the lower clouds. Keen storm-gusts + hurtle and whistle through the air. + + [The SISTER OF MERCY appears upon the stone-scree to the left. + She stops and looks around silently and searchingly. + + +MAIA. + + I am free! I am free! I am free! + No more life in the prison for me! + I am free as a bird! I am free! + + [Suddenly a sound like thunder is heard from high up on the snow- + field, which glides and whirls downwards with headlong speed. + PROFESSOR RUBEK and IRENE can be dimly discerned as they are + whirled along with the masses of snow and buried in them. + + +THE SISTER OF MERCY. + +[Gives a shriek, stretches out her arms towards them and cries.] Irene! + + [Stands silent a moment, then makes the sign of the cross before + her in the air, and says. + +Pax vobiscum! + + [MAIA's triumphant song sounds from still farther down below. + + + + + + + + + +End of the Project Gutenberg EBook of When We Dead Awaken, by Henrik Ibsen + +*** END OF THE PROJECT GUTENBERG EBOOK WHEN WE DEAD AWAKEN *** + +This file should be named wwddw10.txt or wwddw10.zip +Corrected EDITIONS of our eBooks get a new NUMBER, wwddw11.txt +VERSIONS based on separate sources get new LETTER, wwddw10a.txt + +Produced by Sonia K. + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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