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diff --git a/old/68417-0.txt b/old/68417-0.txt deleted file mode 100644 index 686aae1..0000000 --- a/old/68417-0.txt +++ /dev/null @@ -1,1346 +0,0 @@ -The Project Gutenberg eBook of The lighting of the Christmas tree, by -Selma Lagerlöf - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The lighting of the Christmas tree - -Authors: Selma Lagerlöf - Josephine L. Palmer - Annie L. Thorp - -Editor: Gertrude Buck - -Release Date: June 28, 2022 [eBook #68417] - -Language: English - -Produced by: Tim Lindell and the Online Distributed Proofreading Team at - https://www.pgdp.net (This file was produced from images - generously made available by The Internet Archive/American - Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK THE LIGHTING OF THE CHRISTMAS -TREE *** - - - - - - TRANSCRIBER’S NOTE - - - Text in italics is shown in _underscores_. - - Text in Small Caps was converted to ALL CAPS. - - Punctuation and text was retained as in the original except for - a change on page 17, “and exit upstairs” to “and exits upstairs”. - - - - - The Lighting of the - Christmas Tree - - In the Vassar Series of Plays - Edited by Gertrude Buck - - - Adapted by Josephine L. Palmer and Annie L. - Thorp, by permission of Messrs. Doubleday, - Page & Co., from “The Christmas Guest,” by - Selma Lagerlof. - - Samuel French: Publisher - - 28-30 West Thirty-eighth St. : New York - - LONDON - - Samuel French, Ltd. - - 26 SOUTHAMPTON STREET, STRAND - - - - - COPYRIGHT, 1917, BY JOSEPHINE L. PALMER AND - ANNIE L. THORP - - COPYRIGHT, 1921, BY SAMUEL FRENCH - - _All Rights Reserved_ - -“THE LIGHTING OF THE CHRISTMAS TREE” is fully protected by copyright, -and all rights are reserved. - -Permission to act, to read publicly, or to make any use of this play -must be obtained from Samuel French, 28-30 West 38th Street, New York -City. - -It may be presented by amateurs upon payment of a royalty of five -dollars for each performance, payable to Samuel French one week before -the date when the play is given. - -Professional rates quoted on application. - -Whenever this play is produced the following notice must appear on all -programs, printing and advertising for the play: Produced by special -arrangement with Samuel French of New York. - - - - -THE VASSAR SERIES OF PLAYS - - -Every play in this series has been written by a member of the -Play-Writing Class at Vassar College. But each play as printed is the -product of a group-activity. Not merely an individual seated at a desk, -but a community working together in a theater, is responsible for it in -its final form. - -Some of these plays have been “tried out” by the Vassar Dramatic -Workshop and some by the Community Theatre of Poughkeepsie, New -York. By the coöperative efforts of all who were associated in these -enterprises--actors, committee workers and financial supporters--these -plays have been given a sympathetic and intelligent production before -audiences also intelligent and sympathetic, whose reaction has afforded -the writers much valuable criticism. In the preliminary readings -and rehearsals, also, occasional weak points which had escaped the -ordeal of class criticism came to light and were strengthened by the -author’s revision. In fact, the plays as they appear in this series -are literally a collaboration of the writers with innumerable friendly -critics in the play-writing class, the cast and the audience. And it -would be ungracious to put the fruits of this collaboration at the -service of the public without grateful acknowledgment to all those who -have in any way helped to establish and carry on the Vassar Dramatic -Workshop or the Community Theatre of Poughkeepsie. - -In recent years there has been an increasing demand for well-written, -dramatically effective one-act plays, suitable for production by -semi-professional companies or by amateur organizations of serious -purpose and some degree of training. To aid in supplying this demand -is the purpose of the Vassar Series of Plays. Other plays written by -members of the Play-Writing Class at Vassar College may be secured in -typewritten form by application to The Workshop Bureau of Plays, Vassar -College. - -All the plays in this series are protected by copyright. A royalty of -five dollars for each production must be paid to Samuel French, 28-30 -West 38th Street, New York City, at least one week before the date of -the performance. - - - - -LIGHTING OF THE CHRISTMAS TREE - -PRODUCING THE PLAY - - -The beautiful Swedish national costumes should be used for this play. -Any good reference book on the costumes of various nations and many -books about travel in Sweden will furnish illustrations that may be -copied, varying the colors when necessary to produce a harmonious -relation with one another. Since this is a modern play, only the -servants, who are, of course, peasants, would be likely to wear these -costumes on ordinary occasions, but members of the upper classes -sometimes assume them for the festivities of the Christmas season. We -may, therefore, take advantage of this possibility, to increase the -picturesqueness of our play by using the colorful Swedish dress for all -the characters. - -A real Swedish interior, carefully reproduced from trustworthy -illustrations, would also be effective. Not all the furniture found -in any illustration should, of course, be used for the stage setting. -A few pieces only should be chosen, with a view to composing without -unnecessary “clutter” into a beautiful and characteristically Swedish -whole. - -The lines of this play are exceptionally simple in their phrasing and -yet so full of meaning that no word or syllable should be lost by the -audience. An intelligent, sympathetic rendering of each speech is -especially important, but clear-cut enunciation and a beautiful quality -of voice are also very desirable, particularly for Olga, Liljekrona and -the two children. - -Olga is obviously the very heart of this play. She makes a -charming picture with the little boys over the Christmas tree, the -candle-lighting in the windows, and the story of the Christ-Child’s -wanderings. Her tender love for her home and her instinctive fear of -any influence which may tend to lower its ideals or to draw Liljekrona -away from it, must be so clearly brought out in the acting (as it is -in the lines) that the audience will understand and even partially -sympathize with her anxiety to be rid of the drunken vagrant, Ruster. - -This anxiety is sharpened by the approach of the Christmas season, -which she feels should be celebrated as a beautiful home festival, -just by themselves. But even as Olga carries her point and Ruster is -about to leave the house, she is assailed by remorse for the selfish -impulse to protect her home at the unfortunate old man’s expense. This -should be clearly indicated in the tone and manner with which she asks -Liljekrona to give Ruster something extra for Christmas and to lend him -his fur coat. - -The departure of Ruster ends the first stage of the play’s action, -in which Olga has attempted to secure happiness for herself and her -household by the refusal of her hospitality to some one in sore need -of it. Ruster had seemed to her a discordant element when present, but -his absence seems to bring ten-fold more unhappiness. All the Christmas -preparations go wrong. Sigurd’s cookie-dough figure of the Christ-Child -“doesn’t look like anything,” the E string of Liljekrona’s fiddle has -snapped and he has no new one, Torstein has gone to drive Ruster and -they cannot dance without him, the sheaves for the sparrows have been -forgotten, and finally Liljekrona withdraws to his own room to play the -stormy music which Olga understands as a portent of his return to the -old life of wandering. - -In this section of the play, Liljekrona controls the action and should -dominate the scene. Olga attempts, in vain, to infuse joy into the -Christmas observances. Liljekrona’s bitterly self-reproachful speech -about the lonely and the hungry people,--“When they pass so close -as to touch our sleeve,--we do not see them, we do not stop them, -but let them plod their path alone,”--shows that he will no longer -deceive himself as to the heartlessness of their own action. And when -he says--“Your candles are too late. The door is closed. The voice is -gone,”--Olga sees that on the eve of Christmas and in the name of its -fitting observance, she has betrayed its very spirit of hospitality and -kindness. - -The sound of the music from Liljekrona’s room, full of the old, wild -passion for the open road, brings to Olga realization of the price -she must pay for this mistake, “if God does not work a miracle in the -night.” Her intense suffering at this point marks the crucial moment -in the play and must be conveyed by action and facial expression as -well as by a poignant rendering of the lines. The moment must be -held perceptibly, after she sinks into her chair, until the sound of -sleighbells, at first far off and gradually approaching, breaks the -spell. - -The bells usher in the third stage of the action, which is markedly -different in feeling-tone from the other two. Instead of the fear and -the cloaked unkindness of the first scene and the growing self-reproach -of the second, we have the exaltation of complete surrender to generous -impulse. Olga’s joy in the “miracle” which she so little deserved or -expected must shine from her face and from every word and action, as -soon as she realizes that Ruster has indeed returned and she has a -chance to repair the wrong she has done. Her inspiration to ask Ruster -to look after the children while she is out of the room should be so -acted as to show that there is something behind her simple request. -She will prove her gratitude for this chance to atone, by trusting her -dearest treasures to the man she had feared to have remain in the house -with them. - -The scene of the children with Ruster gives the actor an opportunity -to show the battered, dissipated old man, afraid of the innocent -eyes of the children, but gradually put at his ease by their -complete unconsciousness and their real interest in the one thing he -knows,--flute-playing. Ruster’s complete collapse when the children’s -absorption in reading allows him to realize his own desolate situation, -and Olga’s offer to make him their tutor, need only be played with -entire simplicity and sincerity by both actors, to bring tears to the -eyes of many people in the audience. - -Olga’s explanation to Liljekrona of her plans for Ruster and why she -is taking this great risk, bring her once more into a position of -leadership. This is emphasized by the action, as first Liljekrona, then -the children and finally Ruster, kiss Olga’s hand, while her curtain -speech to Ruster gives the needed touch of humility and graciousness to -her exaltation. - -The curtain should be raised quickly after it has been lowered, so as -to make the tableau of the lighting of the tree seem, as it is, an -essential part of the play. - - GERTRUDE BUCK. - - - - -CHARACTERS - - - LITTLE RUSTER: a flute-player. - LILJEKRONA: a violinist, host of Lofdala. - OLGA: his wife. - OSWALD } - SIGURD } his little sons. - HALLA: the cook. - TORSTEIN: the man-servant. - -First produced by the Vassar Dramatic Workshop, December 16, 1916. - - - - -THE LIGHTING OF THE CHRISTMAS TREE - - - SCENE: _The living-room of_ LOFDALA, _a Swedish manor house. It - is the afternoon before Christmas and the room has an atmosphere - of comfort and warmth; outside it is snowing. To the left is a - large Swedish fireplace, with its hanging black chimney-hood, - crane and shining kettles. A high wooden bench, a table and - armchair are drawn close to the fire. A heavy, iron-hinged door - opens outdoors at the center back. On either side are windows. At - the left a door leads into the kitchen, and at the right a flight - of stairs leads to the bedrooms. By the stairs stands a Christmas - tree as yet unlighted. There is a music cabinet against the back - wall, left; and an oblong table at the right; a carved wooden - chest stands beside the fireplace._ - - TIME: _about 1890_. - - OLGA _is discovered arranging candles on the tree. She - is slender and moderately tall, with large eyes and rich dark - hair braided about her head. She wears Swedish holiday dress._ - - (_Enter_ OSWALD _and_ SIGURD, _running downstairs with their - hands full of cotton. They are six and four years old_, OSWALD - _being a little the taller. They are bright-faced, tow-headed - little boys, and are dressed in their embroidered holiday - suits._ OSWALD _stops halfway down, and leaning over the - banisters drops bits of cotton on the tree_.) - -OSWALD. See, Mother, it’s snowing. - -SIGURD. Look, Mother--it’s snowing. (_Turns at the foot of the stairs -and runs back to_ OSWALD.) - -OSWALD. Don’t make such big flakes, Sigurd. - -SIGURD. But I’m making it snow hard. - -OSWALD. Oh, look, that fell on a candle. - -OLGA. We need some more snow over here. Come down and make it snow on -these branches. - -OSWALD. But, Mother, we need some most on this side--like this. - -SIGURD. Where is Father? - -OLGA. He has gone out with Torstein in the sledge to gather green -boughs to make the house look like Christmas. - -SIGURD. It’ll soon be Christmas, Mother. When can we light the candles? - -OLGA. When Father comes home. Have we used up all the snow, Oswald? - -OSWALD. Yes, I will get some more. (_Starts upstairs._) Oh! (_Draws -back as he discovers_ RUSTER, _who has just entered and is standing on -the landing. He is unkempt and his shabby, black coat is buttoned up -to his chin. His eyes are small and blurred and his dark hair stands -out like a cloud about his head. But he is not wholly unattractive. His -features are well-formed and his black mustache is twirled at a proud -angle. He carries his music pen and manuscript. His voice is cracked -and harsh._) - -OLGA. (_Looking up_) Why, Ruster! - -RUSTER. (_Shivering_) I thought you might be having punch. My bones -are frozen working up in that cold room. It would take a taste of -hell-fire to warm me up. (_Drinking from his flask._) - -OLGA. (_Turning toward the boys--raising her hand as if to silence_ -RUSTER) The punch has not been made yet, Ruster. Children, have you -forgotten your Christmas cookies? Halla will help you make them if you -run out to her. - -OSWALD. Oh, I know what I want to make. - -SIGURD. What, Oswald?--What? - -OSWALD. I want a raisin in mine. (_Pushing open the door._) Can I, -Halla? - - (_Exeunt to kitchen._ OLGA _crosses to_ RUSTER.) - -OLGA. If you are cold, Ruster, why not stay here by the fire and copy -your music? Is there much more to do? - -RUSTER. (_Seating himself and arranging pages_) Liljekrona says there -is no hurry. When will he be home? - -OLGA. As soon as he has filled the sledge with boughs, for he knows we -need him here on Christmas Eve. (_She goes to the window. Sleighbells -are heard._) There they are, coming up the drive. We must have some -place to put the branches. (_She spreads a cloth on the floor._ RUSTER -_steals a drink from his flask. The door opens. Enter_ LILJEKRONA. _He -is a tall, finely erect man, clad in a heavy fur coat that is covered -with snow. As he takes off his cap, he discloses a mass of light hair -brushed back from an unusually high forehead. His face is at once -sensitive and strong. He carries a load of boughs._) Well, what an -armful you have! - -LILJEKRONA. (_Gaily_) Tell the children I have brought home the whole -forest for our Christmas. - -OLGA. Put down your forest over here. Was it very cold? - -LILJEKRONA. There has been a fine flurry all morning. (OLGA _helps him -off with his coat_.) But the fire feels good! - -RUSTER. This is the warmest place in the house. - -LILJEKRONA. How is it going? (_Looking over_ RUSTER’S _shoulder_.) You -haven’t forgotten how a page ought to look, have you, Ruster? - -RUSTER. No, I can copy, but I cannot play. I have almost forgotten the -sound of my flute. Nobody wants a flute-player nowadays! They do not -care for music any more in Varmland and they do not want to learn. - -LILJEKRONA. Yes, Varmland is not like Ekeby when we knew it. - -RUSTER. It’s a pity we ever left there, Liljekrona! We have never had -such playing since--you with your violin and I with my flute. Old -Torwaldson waving his angry stick! By Heaven, he called the souls out -of us! - -LILJEKRONA. Yes, the violins sobbing--then the horns, the winds, the -basses--each breaking over the other in thundering waves. - -RUSTER. Holy Mother!--that was living! - -LILJEKRONA. And from one patron off on the road to another, and along -the way, what gay evenings in the tent and at the inn when a man was -free from care! - -RUSTER. How you could play then! Shall I forget that night in Olaf’s -garden? You made your fiddle sing as though your heart were in tune -with its strings. But now, Christ’s blood! you never play like that. - -OLGA. He plays more beautifully now than he ever did at Ekeby. - -LILJEKRONA. No, there is not so much time for practice here. - -RUSTER. And the old spirit has gone out of you. - -LILJEKRONA. I sometimes think so myself. It is hard to settle down -after a life of wandering. Something wild keeps crying in my soul, -bidding me be off again. - -OLGA. Why is not home the place for music, Liljekrona? Surely those who -love you most care most to hear. Must you seek your inspiration from -strangers? - -LILJEKRONA. No, Olga, you are more to me than a world of strangers. It -is you alone who hold me here. - -RUSTER. Yes--you have a warm fire and a full cellar to keep you at -home. (LILJEKRONA _shrugs and turns away impatiently_.) But what about -the man who has not money enough to fill his flask? (_Bitterly._) My -horse, and carriole, and fur coat--they’re all gone! (_Drinks, then -laughs boisterously._) But still I have friends--lots of friends in -Varmland, and they’re always glad to see me and give me a cup of cheer! -(_He drains his flask and wipes his mustache with the back of his -hand._ LILJEKRONA _rises disgustedly and crosses the room_.) - -OLGA. (_Pointedly_) Have you more copying to do still, Ruster? - -RUSTER. (_Blinking at her_) The “Folksong” is almost finished. I was -thinking, Liljekrona--that when that is done, there are two others you -showed me yesterday, that would go well with this. - -LILJEKRONA. It is better alone. - -RUSTER. But those two shepherd songs. I took the book to my room. Wait -till I bring it down. (_He rises unsteadily. Exit._) - -OLGA. (_Going to_ LILJEKRONA) Liljekrona, don’t give him more copying, -or we shall be obliged to keep him over Christmas. - -LILJEKRONA. He must be somewhere. - -OLGA. Our Christmas is spoiled if he stays. He is so dirty and he -drinks so. And think how bad it is for the children. - -LILJEKRONA. But he is an old friend. - -OLGA. Yet on Christmas Eve--we have kept thinking how happy we should -be, telling stories and dancing about the tree. And you would play -our favorite tunes. (_She looks wistfully about the partly decorated -room._) But now all the pleasure is gone if Ruster stays! - -LILJEKRONA. Formerly you were glad to see him. - -OLGA. Yes--we all were. But not since he has become a drunkard. And, -Liljekrona, I am afraid---- - -LILJEKRONA. Afraid of what, dear? - -OLGA. (_Impetuously_) Let him go somewhere else for Christmas. - -LILJEKRONA. How can we send him away? It would be inhospitable. Nobody -wants him any more than we do. - -OLGA. But the children, Liljekrona. - - (_Enter_ RUSTER _with book_.) - -RUSTER. Here it is. (_Handing book to_ LILJEKRONA.) - -LILJEKRONA. Yes, I remember. - -RUSTER. Shall I copy them? - -LILJEKRONA. No--I can play these from the book. - -RUSTER. This is a poor transcription. It should be written in D instead -of F. - -LILJEKRONA. Well, I can transpose it. - -RUSTER. I have not copied the words for the “Folksong.” Do you want it -done? - -LILJEKRONA. No, it will do as it is. - -RUSTER. Well then, it is finished. (_Half-heartedly._) I suppose I must -be going. (_Glances toward the window._) - -LILJEKRONA. (_Indifferently_) You had better stay where you are over -Christmas. - -RUSTER. (_Catching the note in_ LILJEKRONA’S _voice, and with -indignant pride_.) What do you mean, Liljekrona, shall I stay here -because I have nowhere else to go? Why, only think how they are -standing and waiting for me in the big ironworks in the parish of -Bro. The guest-room will be already in order and the glass of welcome -filled. I must hurry. I only do not know to whom I should go first. - -LILJEKRONA. Very well, you may go if you will. - -RUSTER. (_Emphatically_) Yes, I must go--at once. - - (_Enter_ TORSTEIN _with logs for the fire_.) - -OLGA. If you wish, Torstein will drive you down. Are the horses still -harnessed, Torstein? - -TORSTEIN. Yes, Ma’am. - -OLGA. Then bring the sledge around. - -RUSTER. And bring it at once. I have only to get my treasures and I am -ready. (_Picks up his music pen and exits upstairs._) - -TORSTEIN. He’s not going to stay over Christmas? - -OLGA. You must hurry back, Torstein. The snow is getting deep. - - (_Exit_ TORSTEIN. LILJEKRONA _looks over the music sheets on - table, and takes money from his pocket_.) - -OLGA. You will slip in something for Christmas? - -LILJEKRONA. Of course. - -OLGA. (_Taking down fur coat and warming it_) Will you lend him your -big coat? Torstein can bring it back. (_After a pause._) As long as he -wishes to go himself, it is as well to let him. - - (_Enter_ RUSTER _with his belongings tied up in a blue-striped - cotton handkerchief, and his flute under his arm_.) - -LILJEKRONA. (_Meeting him and giving him what he has earned_) That is -always poor payment for art, Ruster, but it may serve you, somehow. - -RUSTER. (_Dazedly_) Yes. - -OLGA. Will you put on this coat, Ruster? (_Helping him into coat._) You -must keep warm, and watch that your hands and face are well covered. -And tell Torstein where to take you in Bro. - -RUSTER. (_Shaking himself together and going toward door_) I’ll -be there in time for a glass of punch and the Christmas tree at -Erickson’s--or Oscar’s--or---- - - (LILJEKRONA _opens the door for him and he goes out slowly_.) - -OLGA. (_Calling after him_) A happy Christmas to you! - -LILJEKRONA. (_Faintly_) Good luck, Ruster. - -RUSTER. (_Dully, from without_) Good-bye. - - (LILJEKRONA _closes the door and they look out the window until - the sleighbells jingle off_. OLGA _turns back to the room_.) - -OLGA. Now as soon as the boughs are up, we shall be ready for our -Christmas tree. Don’t you think some holly would be nice for the table, -Liljekrona? (_As_ LILJEKRONA _does not answer, she stoops and picks up -sprigs of holly from the pile of branches, then goes to the kitchen -door and calls_.) Children, what are you doing? Come and bring your -play in here. (_She arranges the holly in a brass bowl on the long -table._ LILJEKRONA _begins to put the boughs up over the door_.) - - (_Enter_ OSWALD, _carrying with great care a board with some - dough on it, and_ SIGURD _running ahead with his fingers covered - with dough_.) - -SIGURD. (_Running to_ LILJEKRONA) Father! See my fat dough fingers. - -LILJEKRONA. What are you making, Sigurd? - -OSWALD. Christmas things for Halla to bake. - -SIGURD. Then they will be brown and we can eat them just like the round -cookies. See, Mother. - -OSWALD. Only these aren’t round cookies, Mother. (_Sits down on the -floor with the dough._) - -SIGURD. No. There is a Christmas tree. - -OSWALD. And I made a star. - -SIGURD. And I’m going to make---- (_Runs and whispers to his mother._) - -OLGA. A what, dear? - -OSWALD. (_Looking up from the floor_) A little Christ-Child we’re going -to make. - -SIGURD. A little bit of a baby Christ-Child. - -OLGA. (_Kissing his forehead_) That will be a lovely Christmas task. - -OSWALD. (_Getting up and pulling at_ LILJEKRONA, _who yields_) Look, -Father! Look at my cookie! To-night I’ll eat it for supper. - -LILJEKRONA. Yes. (_Pause._) I wonder how many little boys will be -eating their Christmas cookies to-night, and how many will be without a -bite of Christmas dinner, hungry and cold. - -OSWALD. Won’t they have any Christmas dinner, Father? - -LILJEKRONA. Some won’t. (_He turns back and continues to put up -boughs._) - -SIGURD. Why won’t those little boys have any Christmas dinner, Mother? - -OLGA. Father meant, dear, that some children are too poor to buy any. - -OSWALD. Where are the poor children? - -OLGA. I’m afraid there are some in every village, Oswald. - -SIGURD. In our valley, Mother? - -OLGA. Yes, dear, I’m afraid there are. - -OSWALD. Then, Mother, if Sigurd and I made some good cookies, could we -take them down to those poor children? - -OLGA. If only we knew just where we could find them, Oswald. It is hard -sometimes to know where the lonely people are, and the hungry ones. - -LILJEKRONA. And when they pass so close as to touch our sleeve on the -way we do not see them, we do not stop them, but let them plod their -path alone. - -OLGA. (_Stung by_ LILJEKRONA’S _remark_) It is a good thought, Oswald. -Take them out to Halla now, so she can bake them before to-morrow. - -SIGURD. I can’t make a Christ-Child, Mother. _(With a sob._) It doesn’t -look like _anything_. - -OSWALD. (_With a laugh_) It looks like a star. - -OLGA. (_Rising_) Let me see, dear. I think Mother would know what that -was. Take it to Halla and she will bake it. Then wash those sticky -hands. It is time to light the tree. (_Exeunt_ OSWALD _and_ SIGURD. -_Takes violin from the cabinet and gives it to_ LILJEKRONA.) You will -play for us to dance?--one of the old polkas, Liljekrona. - -LILJEKRONA. (_Pettishly_) My E string has snapped. - -OLGA. Well, put on a new one. Quick, before the children come back. - - (LILJEKRONA _goes slowly upstairs with his violin_. OLGA _pulls - out the tree from the corner and starts to light the candles with - a taper. Enter_ HALLA _with a punch bowl and the glasses, which - she places on the long table_. OSWALD _and_ SIGURD _follow, each - carrying a plate of cakes_.) - -OSWALD. Mother! Are you lighting the tree instead of Father? - -OLGA. Yes. Do you want to help? - -OSWALD. Oh, yes. - -SIGURD. And I want to, too. - -OLGA. You shall, dear. But first put the cakes on the table. (OSWALD -_and_ SIGURD _deposit their cakes and run to the tree_. OLGA _gives her -taper to_ SIGURD.) Here, Sigurd, first the low ones--there. (_Lighting -another taper._) Now, Oswald. Can you do it, dear? - -OSWALD. You light those, Mother. (_Pointing to higher ones._) - -OLGA. There. - -SIGURD. The top one of all isn’t lit, Mother. - -OLGA. No, Father is the only one who can reach that. We’ll have to -leave it. Come, Halla. - - (_Enter_ LILJEKRONA _by the stairs without his violin_.) - -OLGA. We’re all ready for a polka. - -LILJEKRONA. I have no new string for my fiddle. - -OLGA. But you _can_ play on three strings. - -LILJEKRONA. I can remember no polkas. - -OLGA. (_Approaching him persuasively_) Why, Liljekrona, can’t you play -anything? Sha’n’t we be able to dance at all? - -LILJEKRONA. Torstein is not back yet. He is the best dancer of all. -Perhaps it was hard to find the house. (_Goes to the window._) - -OLGA. Well then, we’ll wait our dancing for Torstein, and have our -punch and cakes while they are hot. - -LILJEKRONA. The sparrows are twittering about the window sill most -miserably. Where is the pole with the sheaves for them? - -OLGA. I did not think of it till now. Did you remember, Halla? - -HALLA. No, I didn’t. Poor little things! - -LILJEKRONA. How is it that you forgot on this day, of all days? Do old -customs mean nothing to you? Or is it the heartlessness of those who -shut their eyes to the meaning of old beliefs? At Ekeby no one ever -forgot! - -OLGA. (_Disturbed_) No, my dear, we are not heartless. The sheaves -shall be put out as soon as Torstein returns. Come, shall we have our -punch and cakes? Children, are you hungry? - -OSWALD. I am. - -SIGURD. I want a cookie from my plate. - -LILJEKRONA. And there are no candles in the windows. Nothing is done as -it used to be. (_He seats himself on the wooden bench._) - -OLGA. Oh, why--why, I had intended to light the candles. (_Goes to -mantel._) Come, children, before you have your cookies will you help -Mother? (_She takes from the shelf above the fireplace two wooden -frames, in each of which is set a row of candles. She lights them and -gives one to each of the boys._) Careful. Put them on the windowsills. - -OSWALD. I want mine in this window. You put yours over there, Sigurd. - -OLGA. Halla, take the punch to the table by the fire. (OLGA _seats -herself near_ LILJEKRONA.) Come, children. (OSWALD _and_ SIGURD _come -to her side_.) Sigurd, do you know why we put candles in the windows on -Christmas Eve? - -OSWALD. So that people can see where we live! - -OLGA. Yes--dear; and there is a story that the little Christ-Child goes -about on Christmas Eve looking for a welcome. (_She pours some punch -for_ LILJEKRONA, _who is looking intently at her_.) - -SIGURD. And if he sees our lights, Mother, will he come to our house? - -OLGA. Yes, dear, and when you hear him say: “Behold I stand at the -door and knock----” (_She passes glass of punch to_ LILJEKRONA.) - -LILJEKRONA. (_Ignoring it, and meeting her glance with a steady gaze_) -“And if any man hear my voice and will open the door, I will come in -and sup with him, and he with me.” Your candles are too late. The door -is closed. The voice is gone. (_Rises and exits slowly to his room._) - -OSWALD. (_After a pause_) Why did Father go away, Mother? - -HALLA. Is it anything the matter with the punch, Ma’am? - -OLGA. (_Hesitating_) No, Halla, it’s not the punch--I think he’s -not--very happy---- - -SIGURD. Won’t he come back, Mother? Who will tell us stories? - - (_Wild music is heard from_ LILJEKRONA’S _room. It rises and - falls in passionate rushes and casts a spell over those who - listen_.) - -OLGA. (_Rising suddenly at the sound_) He is playing. Why--he has not -played like that since he came home. It is his great heart full of -revolt from all that is small about us. “You thought to bind me,” he is -saying, “you thought to make me as small-minded as yourselves.” Oh, I -was wrong! I thought to shut out unhappiness, but with it I have shut -out love. To-morrow he will be gone, if God does not work a miracle -in the night. (_She sinks into her chair and covers her face with her -hands. The boys sit quite still and look with awe at their mother._ -HALLA _wrings her hands in a half-understanding and miserable way_.) - - (_Sleighbells are heard._ HALLA _goes to the window_.) - -HALLA. It must be Torstein come back again at last. No, there are two -of them. And yet that’s Torstein. He’s getting out. He’s helping the -other. (_In a tone of horror._) Why, it must be Ruster with him! - -OLGA. (_Until now heedless, looking and drying her eyes_) _Ruster_, did -you say, Halla? Has Ruster come back again? (_She approaches the window -and looks out._) Surely it is he! (_She opens the door. The two men -enter. They are covered with snow._ TORSTEIN _is blue with the cold, -and_ RUSTER _seems half-frozen. His mustache hangs down over his mouth. -He leans on_ TORSTEIN. _The children jump up from the floor._) Ruster, -you are welcome back to Lofdala. (_She loosens his coat and leads him, -with_ TORSTEIN’S _help, to the fire_. HALLA _draws up the armchair into -which_ RUSTER _sinks weakly. The children watch._) - -TORSTEIN. (_Apologetically_) I had to bring him back, Ma’am. At every -house they were either going away over Christmas, or were crowded with -company. They didn’t even ask him to get out of the sledge. And the -snow was so thick I thought we’d both be frozen. - -OLGA. You did well to bring him, Torstein. (_She rubs_ RUSTER’S _hands -to give them life_. TORSTEIN _stands by the fire_.) Halla, is the punch -still hot? - -HALLA. Yes, Ma’am. - -OLGA. Then pour out a glass. It will warm him. - - (HALLA _pours out two glasses. One she gives to_ TORSTEIN, _the - other_ OLGA _holds to_ RUSTER’S _lips_.) - -TORSTEIN. (_Smacking his lips_) Um! That puts life into you! (_Sets -down his glass._) Well, I must drive the horses around, or they’ll be -drifted in. - - (_Exit by front door._ OSWALD _and_ SIGURD _watch from the - window_.) - -RUSTER. (_Gaining consciousness and looking about with a sad, puzzled -expression_) How did I come here again? It is strange, all strange to -be in Liljekrona’s house--I thought---- (_Abruptly._) Why are you so -kind to me? I am only an old broken-down instrument.... - -OLGA. We are glad to see you, Ruster! And I want you to think--you have -never been away. Let me have your wet coat. (_Helps him out of it._) -Halla will dry it in the kitchen. - - (_Exit_ HALLA _with coat_.) - -OLGA. (_Refilling his glass and putting it on the table by him_) Are -you warmer now? - -RUSTER. Yes--quite warm, thank you. - -OSWALD. (_Offering the cookie he has been holding_) Here’s a cookie. -(SIGURD, _who is about to eat the last fragment of his, stops and holds -it out to_ RUSTER.) - -RUSTER. (_Starting up suddenly_) I can’t stay here! I am of no -use--here--or anywhere! - -OLGA. (_Putting a hand on his arm_) You are mistaken, Ruster. You may -help, if you will. I must attend to setting the table for dinner and -the children will be quite forsaken. Will you look after them a little? - -RUSTER. (_Rising, alarmed_) I can’t do that!--Why, I--they---- - - (_Exit_ OLGA, _resolutely_. RUSTER _looks after her, then turns, - and seeing his glass of punch on the table, starts to pick it up. - He encounters the steady gaze of the children, restrains himself - and fumbles in his pocket. He draws out his flute and blows a - note on it. The boys come closer._) - -OSWALD. How do you do that? (RUSTER _does not answer, but blows again_.) - -SIGURD. Why do you lift your fingers? - -RUSTER. To make the notes. - -SIGURD. Let me try! (RUSTER _places his little fingers over two of the -stops_. SIGURD _blows, but no sound comes_. OSWALD _laughs_.) - -OSWALD. Let _me_ try! (RUSTER _shows him also--but still no tone_.) How -do you do it? (_He tries again._) - -RUSTER. I blow in here. (_Showing them._) And I keep the holes covered -with my fingers. When I want to make a note, I lift up a finger, like -this. (_He blows._) - -SIGURD. Blow another. - -RUSTER. (_Blows another. Then both over again_) This is A and this is B. - -OSWALD. A and B. You can’t play _them_. They’re letters. - -RUSTER. Yes, and in music they are the names of the notes. (_Takes out -a score and with a crayon makes a few notes._) This is the way they -look. - -SIGURD. Let me see. - -OSWALD. No! That’s not right! That’s not what’s in our storybook! -See--I’ll show you. (_He runs to music cabinet, and from lower cupboard -pulls out a battered cloth book._) - -RUSTER. (_To_ SIGURD) Can this boy spell his name? - -SIGURD. Yes--S I G U R D! - -OSWALD. See--look at _our_ book. There isn’t any A and B like that! -That is A and that is B. (_Pointing._) - -RUSTER. Can you read that? - -OSWALD. Yes, I can read it. - - (_Enter_ OLGA _with tablecloth, glasses and silver. She smiles at - the group and quietly begins to arrange the table._) - -OSWALD. (_Reading_) “Far away, in the deep forest there once grew----” - -BOTH CHILDREN. “A pretty Fir-_Tree_. The sun shone full upon _him_, the -breeze played freely around _him_, and in the n--n----” (_Looking up -questioningly at_ RUSTER.) - -RUSTER. “Neigh-bor-hood.” - -OSWALD. “Neighborhood grew many Fir-Trees.” - -BOTH CHILDREN. “Some older, some younger.” - -OSWALD. (_Turning from the book_) Look--I’ll draw you a fir-tree. (_He -draws on_ RUSTER’S _music score--spreading it on the floor_.) - -SIGURD. (_Slowly_) “But the little Fir-Tree was not happy; he was -always long--longing to be tall; he th--th----” - - (RUSTER, _who during the last part of the reading has been paying - no attention, suddenly covers his face with his hands. His - shoulders shake a little._ SIGURD _looks up frightened_. OLGA - _crosses quickly to him_.) - -OLGA. (_Gently_) Ruster--Ruster! Don’t feel badly! - -RUSTER. (_Sobbing softly_) Yes--I am of no use any more. - -OLGA. (_Sympathetically_) I know--I know. You cannot make a living by -your music and you are destroying yourself with brandy. You have been -turned away from every door where you have knocked. But, Ruster---- - -RUSTER. Yes, I am worn out. I ought to be thrown away! Nobody needs me. - -OLGA. But don’t you see that to be with the children, as to-night, -would be something for you? If you would teach children you would be -welcomed everywhere. Look at them, Ruster! (_She places the boys in -front of him._) Look at them! - -RUSTER. (_Blinking_) I dare not! - -OLGA. (_Laughing joyously_) Then you must accustom yourself to them, -Ruster! Perhaps you could help them with their reading. They need a -schoolmaster! (_Turning to children triumphantly._) How would you like -that, children? - - (_Enter_ LILJEKRONA, _violin under his arm_. RUSTER _remains - motionless by the fireplace with bowed head_.) - -LILJEKRONA. Why are you laughing, Olga, what is it? - -OLGA. Nothing--but that Ruster has come again! - -LILJEKRONA. (_Perplexed_) Ruster here again? - -OLGA. (_Beaming_) Yes, and he is going to stay with us to teach our -little boys. - -LILJEKRONA. Ruster! (_With amazement_) You have asked him to teach----? - -OLGA. Yes, Oswald and Sigurd. He has been helping them this afternoon. - -LILJEKRONA. But--has he promised to give up----? - -OLGA. He has promised nothing. But there is much about which he must be -careful when he has to look little children in the eyes every day. - -LILJEKRONA. You’re sure he can do it? - -OLGA. (_Not heeding_) If it had not been Christmas, perhaps I should -not have ventured; but if our Lord dared to place His own son among us -sinners, surely we can dare to let our children try to save a human -soul. - - (LILJEKRONA’S _face twitches and twists. He gently kisses his - wife’s hand as if asking forgiveness._) - -LILJEKRONA. The children must come and kiss their Mother’s hand! (_They -do so, though not just knowing why._) - -OLGA. (_Going to_ RUSTER _and holding out her hand_) Ruster, it is you -who have made our Christmas happy. (_He kisses her hand._) - - - CURTAIN - - (_The lifted curtain reveals the whole family gathered about the - tree_, HALLA, TORSTEIN _and all, while_ LILJEKRONA _lights the - topmost candle_.) - -*** END OF THE PROJECT GUTENBERG EBOOK THE LIGHTING OF THE CHRISTMAS -TREE *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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