•ohlLkl^^^}:^^
The Plays of Maurice Maeterlinck
MIMMIiiilil
i
THE PLAYS
OF
Maurice Maeterlinck
PRINCESS MALEINE-THE INTRUDER
THE BLIND • THE SEVEN
PRINCESSES
TRANSLATED BY
RICHARD HOVEY
New York
DUFFIELD & COMPANY
1908
COPYRIGHT, 1894, BY
STONB AND KIMBALL
TAis edition published Julyy iqob
by Duffield b' Company
JAN 1 4 !949
The Trow Press, N. Y.
Contents.
PAGB
INTRODUCTION I
PRINCESS MALEINE 1 3
THE INTRUDER 209
THE BLIND 261
THE SEVEN PRINCESSES 321
Modern Symbolism
and
Maurice Maeterlinck.
Modern Symbolism and Maurice
Maeterlinck.
IN a broad sense, all language is symbolism
and all art is language. To the artist the
material universe is a medium through which
to express the immaterial realities of thought
and feeling. There cannot be art except where
the two elements are present together, — the
immaterial passion, action or reflection, and
the material embodiment by which it is made
manifest through the senses to the instinct, in-
telligence and imagination of humanity. The
one is the symbol — it would not exceed the
modesty of prose to say, the sacrament of
the other.
But Symbolism, as the name of a school, evi-
dently demands a narrower definition. It must
be distinguished from Realism on the one hand,
and from Expressionism on the other, and these
distinctions arise from radical psychological dif-
ferences in men. Without presuming to divide
mankind by hard and fast lines into classes, it
may be said generally that there are three ways
of looking at the world, and that every indi-
4 Introduction.
vidual adopts one of these ways predominantly.
There are those of " yellow primrose " celebrity,
who see the material appearance and nothing
beside. To another class the impression of the
sensible object is relatively faint, and the im-
portant thing seems to be the idea, the general
principle. The third type concerns itself chiefly
with people, and has a tendency in many cases
to conceive even inanimate things as having a
fictitious kind of personality. The first is the
natural, the second the ethical, the third the
poetic mind. One views the world as thing,
one as law, or abstract intelligence, one as per-
sonality. Not that any one has one of these
outlooks to the absolute exclusion of the other
two. The human soul is not so simple as all
that. But now toward one, now toward another
of these sub-conscious philosophies the indi-
vidual and the race alike veer, and art veers
with them. If the thing be uppermost in men's
minds, we shall have an imitative and realistic
output ; if the soul, a poetic, perhaps even a
dramatic one. If the abstract idea dominate,
art turns to symbolism of necessity. The body
is its own majestic speech, and the emotions of
the soul have their instinctive and spontaneous
language, but for the idea expression must be
forcibly created. The life and the heart find
utterance through natural correspondences, —
Introduction. j
metaphors that exist by the constitution of
things ; but for the mental we must find arti-
ficial correspondences, allegories, and consciously
invented symbols.
As with everything else, there is a rhythm in
the recurrence of artistic schools. This idea
seems to be true, though popular. But the
recurrence is never in exactly the same form.
The symbolism of to-day, diverse as are the
forms it takes in the work of Mallarm^ in
France, of Maeterlinck in Belgium, of Gilbert
Parker in England, and Bliss Carman in America^
has yet a general character that differentiates
it from the symbolism of other periods. It by
no means of necessity involves a complete and
consistent allegory. Its events, its personages,,
its sentences rather imply than definitely state
an esoteric meaning. The story, whether ro-
mantic as ** The Seven Princesses " or realistic
as " The Intruder," lives for itself and produces
no impression of being a masquerade of morali-
ties ; but behind every incident, almost behind
every phrase, one is aware of a lurking univer-
sality, the adumbration of greater things. One
is given an impression of the thing symbolized
rather than a formulation. Not only is the alle-
gory not reached by the primitive device of
personification, but it shows no trace of being
in any way made to order. It is an allegory
6 Introduction.
that will never bite anybody — but the Browning
societies. Instead of looking at marionettes
with most gross and palpable strings, we see a
living picture, with actuality and motive suffi-
cient to itself, while yet we cannot rid ourselves
of the haunting presence of vast figures in the
wings. It is perfectly clear that the invisible
"Intruder" is Death, that *^The Blind" is the
symbol of a world lost in the dark forest of
unfaith and unknowledge, — its ancient guide,
the Church, sitting dead in the midst of the
devotees and them of little faith, who all alike
have lost the swift vision of the intuition and
can inform themselves of their situation only by
the slow uncertain groping of the reason. In
vain they seek for a guide in animal instinct, in
the glimmer of vision possessed by the poet, —
who turns aside and gathers flowers, — in some
power of insight fancied in insanity, in the new-
born future that cannot utter yet its revelation.
But these correspondences must not be pursued
too curiously. They are intended to appeal to
the imagination and the emotions, not to the
mere ingenuity of the intellect.
In this new movement Maeterlinck is not
alone. Such symbolism, suggestive rather than
cut-and-dried, is the same that Gilbert Parker
uses in " Pierre and His People." So in one
of the stories in that volume the Man and the
Introduction. 7
Stone, existing primarily for their own simple
terrific story, are lifted up at the same time into
Titanic primitive types. Charles G, D. Roberts'
tales of animals, such as " The Young Ravens
that call upon Him," are symbolic in the same
way, not with the artificial symbolism of " vEsop's
Fables" and "Reineke Fuchs," but by reveal-
ing in the simple truth of animal life a universal
meaning. The symbol is not invented ; the
thing is found to be symbolic. This, if not the
final word of poetry, has always been its first
word, and it promises well for the poetic quality
of the literature that is to be, that the strongest
of the young writers of to-day have a tendency
to myth-making.
This is the more convincing, that this move-
ment is not the imitation by the many of the
eccentricities of one, but the spontaneous and
independent development, in writers alien in
race, residence, and experience, of similar traits
and methods. It is possible, of course, though
not probable, that Ibsen was under the influence
of Maeterlinck to some extent in writing " The
Master- Builder," — a play of sheer symbolism if
ever one was written. Mallarm^, probably the
greatest French poet since Hugo, is surrounded
by an enthusiastic circle of disciples, and Mae-
terlinck may have fallen under the charm of
his personality and his conversation. And yet,
8 Introduction.
barring the symbolic principle which they hold
in common, it would be difficult to find two
writers more unlike than Maeterlinck and Mal-
larm6. Wilham Sharp's "Vistas" and Oscar
Wilde's " Salom^ " might perhaps not have
been written had the authors been less familiar
with the contemporary literature of the Conti-
nent. But Carman, Roberts, and Parker have
evidently reached their results without any com-
munication with France or Belgium. Their work
is saner, fresher, and less morbid. The clear
air of the lakes and prairies of Canada blows
through it. It has not the kind of likeness that
comes of imitation, and I doubt if one of the
three has ever given any special consideration
to Maeterlinck, or is familiar with his books.
Symbolism, then, is not a school, in the sense
of a clique. It is a drift in art, that has of late
years begun to set in wherever the arts flourish.
It is obtaining in painting, among the most
extreme radicals, as well as in literature. It
would be interesting to trace the connection
between English Pre-Raphaelitism and the new
movement, between the pictures of the ecole
symboliste and those of Watts and Burne-Jones,
between the new poets and Rossetti ; but it is
my intention here rather to indicate some of
the points that are suggested by the new school,
than to pursue any of them exhaustively.
Introduction. 9
Two things individualize Maeterlinck from
the rest of the school, — the peculiarity of his
technique, and the limitation of his emotional
range. His conceptions are romantic to the
last degree, and so also is their setting, except
perhaps in " L'Intruse " and *' Int^rieur ; " but
the dialogue is written in a language of the sim-
plest realism. His vocabulary usually, except
in some of the stage directions, though chosen
with nicety, is hardly more copious than that
of a peasant. The simple iteration character-
istic of all real conversation, but especially of
the conversation of Frenchmen, is imitated to
an extent to which even Dumas pere, who was
a master of its effectiveness, never pushed it.
But this iteration is not used merely for the
sake of realism. It is part of a general appre-
ciation and effective use of the principle of
parallelism in art.
Parallelism has been better understood in
decorative art than in any other. Its value for
expression has been but meagrely recognized.
In poetry, since its magnificent uses by the
Hebrews, it has been chiefly confined to its
most artificial form of antithesis and to the
subordinating and decorative purposes of metre
and rhyme. MaeterHnck is almost, if not quite
alone among modern writers in so using it as
to confirm the general dictum of Delsarte for
lO Introduction.
all the arts, that parallelism, in its usual uses
a principle of convention, of weakness, or of
subordination, may become, simply by being
carried a step further, a powerful instrument to
express the shadow-land of human emotions.
For his use of iterations of phrase in the
dialogue, MaeterHnck has been criticised more
severely than for anything else he has done.
It has been called "mere Ollendorf" and held
up to unsparing ridicule. But in almost every
instance the reviewers who have waxed so face-
tious, have supported their position by quoting
snatches of dialogue isolated from all connec-
tion with the scene of which they are part and
which is their justification. In no case have
they indicated the exceptional circumstances,
the emotions of amazement, of horror, of hys-
terical fear, which accompany the extreme in-
stances they cite. Not that I would claim any
literary impeccability for Maeterlinck ; far from
it. He walks continually on the dangerous
border between the tragic and the ridiculous,
and it would be strange indeed if he never
made a misstep ; but in the main it must be
confessed that he has a cool head and a sure
footing. He has been accused of a lack of
humor, but it is rather a restriction to one
kind of humor, — the hysterical mirth of tragic
crises, the grin on the everlasting skull.
I
Introduction. 1 1
For this is the other characteristic that sepa-
rates Maeterlinck from his fellows, — his restric-
tion, whether voluntary or of necessity, to a
single mood. His master-tone is always terror
— terror, too, of one type, — that of the church-
yard. If other emotions are presented, they are
transposed into this key. He is a poet of the
sepulchre, like Poe, — as masterly in his own
method as Poe was in his, and destined, per-
haps, to exert the same wide influence. His
devotion to the wormy side of things may
prevent him from ever becoming popular; yet
Poe's ghastly tales won more than a narrow
circle of readers, and "Dr. Jekyll and Mr.
Hyde " crowded the theatres. At any rate,
whether M. Maeterlinck's subjects please or
not, the method which he and the others
whom I have mentioned have adopted, is not
likely to become obsolete as long as the world
still hearkens to the parables of the Man of
Nazareth.
Richard Hovey..
Princess Maleine.
Persons.
HjALMAR, King of one part of Holland,
Marcellus, King of another part of Holland.
Prince Hjalmar, son of King Hjalmar.
Little Allan, son of Queen Anne.
Angus, friend of Prince Hjalmar.
Stephano, ) „ - -,
officers of Marcellus.
Vanox,
A Chamberlain.
A Physician.
A Madman.
Three Poor Men.
Two Old Peasants, A Cowherd.
Lords, Officers, A Cook, A Cripple, Pilgrims,
Peasants, Servants, Beggars, Vagabonds,
Children, etc.
Anne, Queen of Jutland.
Godeliva, wife of King Marcellus.
Princess Maleine, daughter of Marcellus and
Godeliva.
Princess Uglyane, daughter of Queen Anne.
Maleine's Nurse.
Seven Nuns.
An Old Woman.
Maids of Honor, Servants, Peasant-Women, etc,
A big black dog called Pluto.
The first Act is at Harlingen ; the others at the castle
of Ysselmonde and its neighborhood.
Princess Maleine.
ACT FIRST.
Scene I. — The gardens of the castle.
Enter Stephano and Vanox.
VANOX.
What time is it?
STEPHANO.
It must be midnight, judging by the moon.
VANOX.
I think it will rain.
STEPHANO.
Yes ; there are great clouds in the west. We
shall not be relieved until the fete is ended.
VANOX.
That will not be before daybreak.
STEPHANO.
Oh! oh! Vanox!
\_Here a comet appears over the castle.
VANOX.
What?
1 8 Princess Maleine.
STEPHANO.
Again the comet of the other night !
VANOX.
It is enormous.
STEPHANO.
It looks as though it dripped blood on the
castle.
{Here a shower of stars seems to fall upon
the castle.
VANOX.
The stars are falling on the castle ! Look !
look ! look !
STEPHANO.
I never saw such a shower of stars ! You
would say Heaven wept over this betrothal.
VANOX.
They say all this presages great disasters.
STEPHANO.
Yes, — wars, perhaps, or the death of kings.
Such omens were observed when the old king
Marcellus died.
VANOX.
They say those stars with long girl's- hair
announce the death of princesses.
STEPHANO.
They say . . . they say many things.
I
Princess Maleine. 19
VANOX.
Princess Maleine will dread the future.
STEPHANO.
In her place, I should dread the future without
the warning of the stars.
VANOX.
Yes ; old Hjalmar seems to me strange
enough. . . .
STEPHANO.
Old Hjalmar? Listen: I dare not say all
I know ; but one of my uncles is chamberlain
to Hjalmar. Well, then, if I had a daughter,
I would not give her to Prince Hjalmar.
VANOX.
I don't know. . . . Prince Hjalmar. . . .
STEPHANO.
Oh ! It is not on account of Prince Hjalmar,
but his father ! . . .
VANOX.
They say that his wits . . .
STEPHANO.
Ever since that strange Queen Anne came
from Jutland, where she was dethroned, after
the old king, her husband, had been cast into
prison, — ever since she came to Ysselmonde,
20 Princess Maleine.
they have been saying . . . they have been
saying ... in short, old Hjalmar is more than
seventy years old, and I think he loves her
rather too much for his age.
VANOX.
Oh ! Oh !
STEPHANO.
That is what they say. — And I dare not
speak all I know. — But do not forget what I
have said to-day.
VANOX.
Then, poor little princess !
STEPHANO.
Oh, I do not like the look of this betrothal !
See, it is raining already !
VANOX.
And perhaps a storm, yonder. A bad night.
[An Attendant passes with a lantern^ How
goes the fete ?
ATTENDANT.
Look at the windows.
VANOX.
Oh, the lights are not out there.
ATTENDANT.
And will not be to-night. I never saw such
a revel. Old King Hjalmar is absolutely drunk.
He kissed our King Marcellus, he . . .
Princess Maleine. 21
VANOX.
And the betrothed couple?
ATTENDANT.
Oh ! the betrothed couple are not drinking
much. Well, good-night. I am going to the
kitchen. They are not drinking plain water
down there, either. . . . Good-night.
l^Exit Attendant.
VANOX.
The sky is turning black, and the moon is
strangely red.
stephano.
It rains torrents. Now, while the rest drink,
let us . . .
[Here the brilliantly lighted windows of the
castle, at the further end of the garden,
suddenly fly to pieces. Cries, rumors,
tumult.]
VANOX.
Oh!
stephano.
What is the matter?
VANOX.
They are smashing the windows !
STEPHANO.
Afire!
22 Princess Maleine.
VANOX.
They are fighting in the hall.
[Princess Maleine, dishevelled and in tears,
is seen running past at the further end of
the garden.]
STEPHANO.
The Princess !
VANOX.
Where is she running?
STEPHANO.
She is weeping.
VANOX.
They are fighting in the hall.
STEPHANO.
Let us go see.
[Cries, uproar; the gardens fill with officers,
servants, etc. The doors of the castle are
violently flung open, and King Hjalmar
appears on the steps, surrounded by cour-
tiers and halberdiers. Above the castle,
the comet. The shower of stars continues.]
KING HJALMAR.
Ignoble Marcellus ! You have done a mon-
strous thing to-day. Come, my horses, my
horses ! I am going ! I am going ! I am going !
And I leave you your Maleine, with her green face
and her white eyelashes ! And I leave you with
your old Godeliva. But wait ! You shall go
on your knees across your marshes. And I shall
Princess Maleine.
23
come to celebrate your betrothal with all my
halberdiers and all the ravens in Holland for
the funereal feast. Let us be gone ! We shall
meet again. Ha ! Ha ! Ha ! . . .
\_Exitj with his Courtiers.
Scene H. — An apartment in the castle.
Queen Godeliva, Princess Maleine, and
Nurse discovered at their spinning-wheels ^
singing.
The nuns are lying sick,
Lying sick — it is their hour —
The nuns are lying sick,
Lying sick in the tower.
GODELIVA.
Come, weep no more, Maleine; dry your
tears and go down into the garden. It is noon,
nurse.
That 's just what I 've been telling her all the
morning, madam ! What 's the use of spoiling
your eyes ? When she opened her window this
morning, she looked out at a road that leads to
the forest and fell a-crying. Then I asked her,
'* Are you looking already at the road that leads
to the tower, Maleine? "
GODELIVA.
Do not speak of that.
24 Princess Maleine.
NURSE.
Oh, yes, though ; we must speak of it ; there
will be much speaking of it by and by. Well,
then, I asked : " Are you looking already at
the road that leads to the tower where they
once shut up the poor Duchess Anne because
she loved a prince they would not let her love? "
GODELIVA.
Do not speak of that.
NURSE.
On the contrary, we must speak of it ; there
will be much speaking of it by and by. Well,
then, I asked . . . Here comes the King.
[^Enter Marcellus.
MARCELLUS.
Well, Maleine?
MALEINE.
Sire?
MARCELLUS.
Did you love Prince Hjalmar?
MALEINE.
I did, sire.
MARCELLUS.
Poor child ! But do you love him still ?
MALEINE.
I do, sire.
Princess Maleine. 25
MARCELLUS.
You love him still?
MALEINE.
I do.
MARCELLUS.
You love him still, after . . •
GODELTVA.
My lord, do not frighten her !
MARCELLUS.
I am not frightening her ! . . . See here, I
come as a true father should, and I am think-
ing only of your happiness, Maleine. Let us
look at this dispassionately. You know what
has happened : old King Hjalmar has outraged
me without reason; or, rather, I guess his
reasons only too well. He has shamefully
affronted your mother, he has insulted you
more basely still, and had he not been my
guest, had he not been there under the hand
of God, he would never have gone forth from
my castle ! Well, never mind that now. — But
is it with us you should be angry? With your
mother? With me? Come now, answer,
Maleine?
MALEINE.
No, sire.
26 Princess Maleine.
MARCELLUS.
Then what is the use of weeping? As for
Prince Hjalmar, it is better you should forget
him henceforth. Besides, how could you love
him seriously ! You have hardly seen each
other. And at your age the heart is like wax ;
it can be fashioned as you will. Hjalmar' s
name was as yet written only in the clouds, a
storm has risen and washed it all away; from
this night you will think of it no more. Besides,
do you believe you would have been really
happy at Hjalmar's court? I do not mean the
Prince; the Prince is but a child; but his
father. You know well enough that people are
afraid to speak of him ; you know well enough
that there is not a more gloomy court in Hol-
land; you know that his castle has perhaps
strange secrets. But you do not know what
folk say of that alien Queen who has come with
her daughter to the castle of Ysselmonde, and
I will not repeat what they say ; for I would
not pour poison into your heart. — But you
were about to enter, all alone, a fearful forest
of intrigue and suspicion. — Come now, answer,
Maleine. Did not all this alarm you? And
was it not a little against your will that you were
going to espouse Prince Hjalmar?
MALEINE.
No, sire.
r
Princess Maleine. 27
MARCELLUS.
Very well. But now answer me frankly.
Old King Hjalmar must not be allowed to
triumph. We are going to have a great war on
your account, Maleine. I know that Hjalmar's
ships surround Ysselmonde and are about to
sail, perhaps before the full moon ; on the other
hand, the Duke of Burgundy, who has loved
you for a long time . . . \_turning to the
Queen] ... I do not know whether your
mother . . .
GODELIVA.
Yes, my lord.
MARCELLUS.
Well?
GODELIVA.
She should be prepared little by little. . . .
MARCELLUS.
Let her speak ! . . . Well, Maleine?
MALEINE.
Sire?
MARCELLUS.
You do not understand ?
MALEINE.
What, sire?
28 Princess Maleine.
MARCELLUS.
You promise me to forget Hjalmar?
MALEINE.
Sire . . .
MARCELLUS.
You say? — You still love Hjalmar?
MALEINE.
I do, sire.
MARCELLUS.
" I do, sire ! " Oh ! devils and tempests !
She avows that impudently; she dares to tell
me that without shame. She has seen Hjalmar
once only, for one single afternoon, and now
she is hotter than hell.
My lord !
GODELIVA.
MARCELLUS.
Be silent. " I do, sire ! " And she is not
yet fifteen ! Oh, one could kill them on the
spot ! For fifteen years I have only lived for
her ! For fifteen years I have held my breath
in her presence ! For fifteen years we have
hardly dared to breathe for fear of her troubled
glance ! For fifteen years I have turned my
court into a convent ; and the day when I
come to look into her heart . . .
Princess Maleine. 29
GODELIVA.
My lord ! . . .
NURSE.
May she not love, like another? Are you
going to put her under glass ? Is this any rea-
son to scream at the top of your voice at a
child ? She has done nothing wrong !
MARCELLUS.
Oh ! she has done nothing wrong ! . . .
Now, in the first place, you hold your peace,
... I am not speaking to you, and it is doubt-
less at your prompting, you go-between . . .
GODELIVA.
My lord !
NURSE.
Go-between ! — I, a go-between !
MARCELLUS.
Will you ever let me speak ? Begone ! be-
gone, both of you ! Oh ! I know well enough
you have put your heads together, and that the
era of intrigues has begun now, — but wait ! —
Begone, begone ! Oh ! tears, tears ! \_Exeunt
GoDELivA and Nurse.] Now, then, Maleine,
first close the doors. Now that we are alone, I
wish to forget all. They have been giving you
bad advice, and I know that among themselves
women form strange projects. Not that 1 have
30 Princess Maleine.
anything against Prince Hjalmar ; but you must
be reasonable. Do you promise me to be
reasonable ?
MALEINE.
Yes, sire.
MARCELLUS.
Ah ! you see ! Then you will not think any
longer of this marriage ? . . .
MALEINE.
Yes.
MARCELLUS.
Yes ? — You mean you will forget Hjalmar ?
MALEINE.
No.
MARCELLUS.
You do not yet renounce Hjalmar?
MALEINE.
No.
MARCELLUS.
And if I compel you? And if I imprison
you ? And if I separate you forever from your
Hjalmar with his Uttle girl's face? What say
you ? \_She weeps. "] Ah ! So ! Begone ; we
shall see ! Begone !
[Exeunt separately.
Princess Maleine. 31
Scene III. — A forest
Enter Prince Hjalmar and Angus.
PRINCE HJALMAR.
I was sick ; and the stench of all those dead
bodies ! the stench of all those dead bodies !
And now I feel as though the night and the
forest had sprinkled a little water on my
eyes. . . .
ANGUS.
Nothing remains but the trees.
HJALMAR.
Did you see old King Marcellus die?
ANGUS.
No, but I saw something else. Yesterday
evening, in your absence, they set fire to the
castle, and old Queen Godeliva ran through
the flames with the servants. They threw
themselves into the ditches, and I think they
all perished.
HJALMAR.
And Princess Maleine ? Was she there ?
ANGUS.
I did not see her.
HJALMAR.
Did the others?
32 Princess Maleine.
ANGUS.
Nobody saw her ; no one knows where she is.
HJALMAR.
She is dead?
ANGUS.
They say she is dead.
HJALMAR.
My father is terrible !
ANGUS.
Did you love her already?
HJALMAR.
Whom?
ANGUS.
Princess Maleine?
HJALMAR.
I saw her only once . . . But yet she had a
way of casting down her eyes — and of folding
her hands — so — and strange white eyelashes !
— And her look ! It was as though one were
suddenly in a great pool of fresh water ... I
do not remember very well ; but I should like
to see that strange look once again.
ANGUS,
What is that tower on the knoll yonder ?
Princess Maleine. 33
HJALMAR.
It looks like an old windmill; it has no
9vindows.
ANGUS.
There is an inscription on this side.
HJALMAR.
An inscription?
ANGUS.
Yes ... in Latin.
HJALMAR.
Can you read it ?
ANGUS.
Yes ; but it is very old. Let me see : —
Olim inclusa
Anna duels sa
Anno . . .
there is too much moss over all the rest.
HJALMAR.
Let us sit down here.
ANGUS.
*' Ducissa Anna " — that is the name of the
mother of your betrothed.
HJALMAR.
Of Uglyane's mother? — Yes.
34 Princess Maleine.
ANGUS.
That was a "yes" slower and colder than
snow.
HJALMAR.
Good Lord ! the time for a "yes " of flame is
far enough from me now.
ANGUS.
Yet Uglyane is pretty.
HJALMAR.
I am afraid of her.
ANGUS.
Oh!
HJALMAR.
There is a little kitchen-maid's soul at the
bottom of her green eyes.
ANGUS.
Oh ! oh ! But then, why do you consent ?
HJALMAR.
What good not to consent ? I am sick to die
of it one of these twenty-thousand nights we
have to live ; and I want rest ! rest ! rest !
Besides . . . whether it be she or another who
will call me " darling Hjalmar," in the moon-
light, while she pinches my nose . . . what mat-
ters ? Faugh ! — Have you noticed my father's
sudden fits of anger, since Queen Anne came to
Princess Maleine.
35
Ysselmonde ? I do not know what is going on ;
but there is something wrong ; and I am begin-
ning to have strange suspicions. I am afraid
of the Queen.
ANGUS.
And yet she loves you like a son.
HJALMAR.
Like a son ? . . . I cannot say ; and I have
strange thoughts. She is more beautiful than
her daughter, and that is a great evil at the
outset. She is working Hke a mole at I know
not what ; she has roused my poor old father
against Marcellus, and she has let loose this
war. There is something underneath it all.
ANGUS.
There is. She wants to make you marry
Uglyane. There is nothing infernal in that.
HJALMAR.
There is something else.
ANGUS.
Oh ! I know ! Once married she will send
you to Jutland to fight on the icebergs for
the little throne she usurped; and to deliver
her poor husband, perhaps, who must be very
uneasy, waiting for her. For when so beautiful
a queen is wandering alone about the world, of
course there must be episodes.
^6 Princess Maleine.
HJALMAR.
There is something else.
ANGUS.
What?
HJALMAR.
You will know some day. Let us go.
ANGUS.
Toward the city?
HJALMAR.
Toward the city? There is no longer a city;
there is no longer anything but corpses between
the crumbled walls ! [Exeunt
Scene IV. — A vaulted chamber in a tower.
Princess Maleine and Nurse discovered,
NURSE.
It is three days since I began working to
loosen the stones of this tower, and I have not
a nail left at the end of my poor fingers. You
will be able to boast that you were the death of
me. But there it is ; you must disobey ; you
must escape from the palace, you must join
Hjalmar. And here we are, in this tower;
here we are, between heaven and earth, above
the trees of the forest! Didn't I warn you?
Princess Maleine. 37
Did n't I tell you so ? I knew your father well
enough. — Is it after the war that we are to be
released ?
MALEINE.
My father said so.
NURSE.
But this war will never end. How many
days have we been in this tower? How many
days have I seen neither moon nor sun? And
wherever I lay my hands, I find mushrooms
and bats ; and I saw this morning we had no
water left.
This morning?
MALEINE.
NURSE.
Ay, this morning. What are you laughing
at? It is no laughing matter. If we do not
succeed in getting this stone out to-day, there
is nothing left for us but to say our prayers.
My God ! My God ! What can I have done
to be put into this tomb, with the rats and the
spiders and the mushrooms ? / did not rebel,
I was not insolent, as you were ! Would it
have been so difficult to feign submission, and
give up this weeping willow of a Hjalmar who
would not lift his little finger to deliver us?
MALEINE.
Nurse !
3 8 Princess Maleine.
NURSE.
Ay ; nurse ! I shall soon be nurse to the
earthworms on your account. And to think
that but for you I should be sitting quietly at
this very moment in the kitchen, or warming
myself in the sun in the garden, waiting for the
bell to call me to breakfast ! Good God ! Good
God ! What can I have done that I ... Oh I
Maleine ! Maleine ! Maleine !
What?
MALEINE.
The stone !
NURSE.
The . . .
MALEINE.
NURSE.
Yes — it has moved.
MALEINE.
The stone has moved?
NURSE.
It has moved ! It is loosened ! The sun-
light comes through the mortar ! Look, look !
There is some on my gown ! There is some
on my hands ! There is some on your face !
There is some on the walls ! Put the lamp
out. There is some everywhere. I am going
to push the stone out.
Princess Maleine. 39
MALEINE.
Does it still stick?
NURSE.
Yes, but it is nothing ! there, in that comer ;
give me your spindle ! Oh, it will not fall ! . . .
MALEINE.
Can you see anything through the chinks?
NURSE.
Yes, yes ! — no ! only the sunlight.
Is it sunlight?
MALEINE.
NURSE.
Yes, yes, it is sunlight ! Look, look ! It is
silver and pearls on my gown ; and it is warm
as milk on my hands !
MALEINE.
Let me look too !
NURSE.
Do you see anything?
MALEINE.
I am dazzled !
NURSE.
How strange that we see no trees ! Let me
look ! vi^
40 Princess Maleine.
MALEINE.
Where is my mirror?
NURSE.
I see better.
MALEINE.
Do you see any trees ?
NURSE.
No. We are probably above the trees. But
there is wind a blowing. I am going to try to
push the stone out. Oh ! \_They start back
before the rays of sunlight that rush in, and
remain silent a moment at the farther end of
the room."] I cannot see any more.
MALEINE.
Go and look ! Go and look ! I am afraid.
NURSE.
Close your eyes. I think I am struck blind.
MALEINE.
I shall go and look myself.
NURSE.
Well?
MALEINE.
Oh ! it is a furnace ! and I have nothing but
red wheels in my eyes.
Princess Maleine. 41
NURSE.
But don't you see anything ?
MALEINE.
Not yet ! Yes, yes ! The sky is all blue.
And the forest ! Oh ! the whole forest ! . . «
NURSE.
Let me look !
MALEINE.
Wait ! I am beginning to see.
NURSE.
Do you see
the city?
MALEINE.
No.
NURSE,
And the castle ?
MALEINE.
No.
NURSE.
It must be on the other side.
MALEINE.
And yet . .
. There is the sea.
NURSE.
There is the
sea?
«• • • •
42 Princess Maleine.
MALEINE.
Yes, yes ; the sea. It is green.
NURSE.
But, then, you ought to see the city. Let
me look !
MALEINE.
I see the lighthouse !
NURSE.
You see the lighthouse ?
MALEINE.
Yes ; I think it is the lighthouse.
NURSE.
But, then, you ought to see the city.
MALEINE.
I do not see the city.
NURSE.
You do not see the city?
MALEINE.
I do not see the city.
NURSE.
You do not see the belfry?
MALEINE.
No.
Princess Maleine. 43
NURSE.
This is extraordinary.
MALEINE.
1 see a ship, out at sea.
NURSE.
Is there a ship out at sea?
MALEINE.
With white sails ! . . .
NURSE.
Where is it?
MALEINE.
Oh ! the sea-wind is blowing through my
hair ! — But there are no more houses along
the roads !
NURSE.
What ? Do not speak outside so ; I cannot
hear a word.
MALEINE.
There are no more houses along the roads !
NURSE.
There are no more houses along the roads ?
MALEINE.
There are no more steeples across the
country !
44 Princess Malelne.
NURSE.
There are no more steeples across the
country?
MALEINE.
There are no more windmills on the
meadows !
NURSE.
No more windmills on the meadows?
MALEINE.
I do not recognize anything.
NURSE.
Let me look. — There is not a single peasant
left in the fields. Oh ! the great stone bridge is
down. — But what have they done to the draw-
bridges? There is a farm yonder that has been
burned. — And another ! — And another ! — And
another ! And ... Oh ! Maleine ! Maleine !
Maleine !
MALEINE.
What?
NURSE.
Everything is burned ! Everything is burned !
Everything is burned !
MALEINE.
Everything is . . . ?
Princess Maleine. 45
NURSE.
Everything is burned, Maleine ! Everything
is burned ! Oh ! I see now ! . . . There is
nothing left.
MALEINE.
It is not true. Let me see 1
NURSE.
As far as the eye can reach, everything is
burned. The whole city is nothing but a heap
of black bricks ! I can see nothing of the
castle but the moats filled with stones. There
is no man nor beast in the fields. Nothing but
ravens in the meadows. Nothing but the trees
left F+anding !
MALEINE.
Why, then . . .
Oh!
!
NURSE.
[Curtain.]
ACT SECOND.
Scene I. — A forest
Enter Princess Maleine and Nurse.
MALEESTE.
Oh ! how dark it is here !
nurse.
How dark? how dark? Is a forest lit up
like a ball-room? I have seen forests darker
than this, — and where there were wolves and
wild boars. Indeed, I do not know that there
are none here ; but at least, thank Heaven, a
little moonlight and starlight falls between the
trees.
maleine.
Do you know the road now, nurse ?
nurse.
The road? No, indeed ; I do not know the
road. I never knew the road; do you sup-
pose I know all the roads? You wanted to
go to Ysselmonde ; / followed you ; and now
see where you have brought us, after walking
me for the last twelve hours up and down this
Princess Malelne. 47
torest, where we shall die of hunger, unless we
are devoured first by the bears and wild boars ;
and all that to go to Ysselmonde, where you
will be finely received by Prince Hjalmar, when
he sees you coming, skin and bones, as pale as
a wax figure, and as poor as a beggar.
MALEINE.
Men !
Enter three Poor Men.
POOR MEN.
Good-evening.
NURSE.
Good-evening. Where are we ?
FIRST POOR MAN.
In the forest.
SECOND POOR MAN.
What are you doing here ?
NURSE.
We are lost.
SECOND POOR MAN.
Are you alone ?
NURSE.
Yes — no, we are here with two men.
SECOND POOR MAN.
Where are they?
48 Princess Maleine.
NURSE.
Looking for the road.
SECOND POOR MAN.
Are they far off?
NURSE.
No ; they are coming back.
SECOND POOR MAN.
Who is that girl ? Is she your daughter ?
NURSE.
Yes, she is my daughter.
SECOND POOR MAN.
She does not say anything; is she dumb?
NURSE.
No ; she is not of this country.
SECOND POOR MAN.
Your daughter is not of this country?
NURSE.
Yes, yes ; she is, but she is ill.
SECOND POOR MAN.
She is thin. How old is she ?
NURSE.
She is fifteen.
Princess Maleine. 49
SECOND POOR MAN.
Ho ! Ho ! Then she is beginning to.
Where are those two men?
NURSE.
They must be close by.
SECOND POOR MAN.
I hear nothing.
NURSE.
Because they are not making any noise.
SECOND POOR MAN.
Will you come with us?
THIRD POOR MAN.
Do not speak evil words in the forest.
MALEINE.
Ask them the way to Ysselmonde.
NURSE.
Which is the way to Ysselmonde ?
FIRST POOR MAN.
To Ysselmonde ?
NURSE.
Yes.
FIRST POOR MAN.
That way.
50 Princess Maleine.
MALEINE.
Ask them what has happened.
NURSE.
What has happened?
FIRST POOR MAN.
Happened?
NURSE.
Yes ; there has been a war?
FIRST POOR MAN.
Yes ; there has been a war.
MALEINE.
Ask them if it be true that the King and
Queen are dead.
NURSE.
Is it true that the King and Queen are dead ?
FIRST POOR MAN.
The King and Queen?
NURSE.
Yes ; King Marcellus and Queen Godeliva.
FIRST POOR MAN.
Yes, I believe they are dead.
MALEINE.
They are dead ?
Princess Maleine. 51
SECOND POOR MAN.
Yes, I believe they are dead ; everybody is
dead in that part of the country.
MALEINE.
But you do not know when they died?
SECOND POOR MAN.
No.
MALEINE.
You do not know how?
SECOND POOR MAN.
No.
THIRD POOR MAN.
The poor never know anything.
MALEINE.
Have you seen Prince Hjalmar?
FIRST POOR MAN.
Yes.
SECOND POOR MAN.
He is going to be married.
MALEINE.
Prince Hjalmar going to be married ?
SECOND POOR MAN.
Yes.
I Princess Maleine.
MALEINE.
To whom ?
FIRST POOR MAN.
I don't know.
MALEINE.
When is he going to be married ?
SECOND POOR MAN.
I don't know.
NURSE.
Where could we sleep to night?
SECOND POOR MAN.
With us.
FIRST POOR MAN.
Go to the hermit's.
NURSE.
What hermit?
FIRST POOR MAN.
Below there at the cross-roads of the " four
Judases."
NURSE.
At the cross-roads of the "four Judases"?
THIRD POOR MAN.
Don't shriek that name so in the darkness.
Princess Maleine. ^j
Scene II. — A hall in the castle.
King Hjalmar and Queen Anne discovered^
embracing.
ANNE.
My glorious conqueror !
KING.
Anne ! {Kisses her,
ANNE.
Hush ! Your son !
Enter Prince Hjalmar; he goes to an open
window f without perceiving them,
prince hjalmar.
It rains ; there is a burial in the graveyard.
They have dug two graves, and the dies irce
comes into the house. There is not a window
but looks out on the graveyard ; it eats into the
very gardens of the castle ; and the last graves
come down as far as the pond. They are
opening the cofifin ; I shall close the window.
ANNE.
My lord !
hjalmar.
Ha ! I did not see you.
ANNE.
We have just come in.
54 Princess Maleine.
HJALMAR.
Ah!
ANNE.
What were you thinking of, my lord ?
HJALMAR.
Of nothing, madam.
ANNE.
Of nothing? At the end of the month, my
lord, . . .
HJALMAR.
At the end of the month, madam ?
ANNE.
Your happy wedding-day.
HJALMAR.
Yes, madam.
ANNE.
Why do you come no nearer, my lord?
KING.
Ay, come nearer, Hjalmar.
ANNE.
Why is it you are so cold, my lord? Are
you afraid of me ? Yet you are almost my son ;
and I love you like a mother, — perhaps more
than a mother. Give me your hand.
•
Princess Maleine. 55
HJALMAR.
My hand, madam ?
ANNE.
Yes, your hand; and look into my eyes.
Do you not see there that I love you? You
have never kissed me — to this day.
HJALMAR.
Kiss you, madam ?
ANNE.
Ay, kiss me; did you not kiss your mother?
I would kiss you every day. — I dreamt of you
last night.
HJALMAR.
Of me, madam ?
ANNE.
Yes, of you. I will tell you my dream some
day. — Your hand is quite cold, and your cheeks
are burning. Give me your other hand.
HJALMAR.
My other hand ?
ANNE.
Yes. It is cold, too, and pale as a hand of
snow. I would warm those hands again. — Are
you ill?
HJALMAR.
Yes, madam.
^6 Princess Maleine.
ANNE.
Our love will heal you. [^Exeunl.
Scene III. — A street in the village.
Enter Princess Maleine and Nurse.
MALEINE.
{Leaning over the parapet of a bridge^ I do
not know myself any longer when I look in the
water.
nurse.
Fasten your cloak; the gold fringe of your
gown can be seen, — some peasants are
coming.
Enter two old Peasants.
FIRST peasant.
There 's the girl.
second peasant.
The one who came to-day?
FIRST peasant.
Yes ; with an old woman.
second peasant.
Where does she come from ?
FIRST peasant.
Nobody knows.
Princess Maleine. 57
SECOND PEASANT.
That does not speak well for her.
FIRST PEASANT.
She 's the talk of the whole village.
SECOND PEASANT.
There 's nothing extraordinary about her,
all the same.
FIRST PEASANT.
She 's thin.
SECOND PEASANT.
Where is she living?
FIRST PEASANT.
At the Blue Lion.
SECOND PEASANT.
Has she money?
FIRST PEASANT.
They say so.
SECOND PEASANT.
We must see. \_Exeunt
Enter a Cowherd.
COWHERD.
Good- evening !
MALEINE AND NURSE.
Good-evening !
58 Princess Maleine.
COWHERD.
Fine weather to-night.
NURSE.
Yes, rather fine.
COWHERD.
Thanks to the moon.
NURSE.
Yes.
COWHERD.
But it was hot during the day.
NURSE.
Oh ! yes, it was hot during the day.
COWHERD.
[Going down towards the water ^ I am
going to bathe.
NURSE.
To bathe?
COWHERD.
Yes ; I am going to undress here.
NURSE.
To undress in our presence?
COWHERD.
Yes.
•
Princess Maleine. 59
NURSE.
[^To Maleine.] Come away I
COWHERD.
Have you never seen a man stark naked ?
Enter^ runnings an Old Woman, in tears. She
begins screaming at the door of the Blue
Lion Inn.
OLD WOMAN.
Help! Help! My God ! My God I Open
the door, quick ! They 're murdering each
other with big carving-knives.
TIPPLERS.
[ opening the door."] What is the matter ?
OLD WOMAN.
My son ! My poor son ! They 're murder-
ing each other with big knives ! With big
carving-knives !
VOICES FROM THE WINDOWS.
What 's the matter ?
TIPPLERS.
A fight !
VOICES FROM THE WINDOWS.
Oh, we are coming down to see !
6o Princess Maleine.
TIPPLERS.
Where are they?
OLD WOMAN.
Behind the Golden Star; he is fighting
with the blacksmith about that girl who came
to the village to-day ; they are both bleeding
already !
TIPPLERS.
Both bleeding already ?
OLD WOMAN.
There 's blood on the walls, already.
SOME.
There 's blood on the walls, already?
OTHERS.
Let us go and look. Where are they ?
OLD WOMAN.
Behind the Golden Star. You can see them
from here.
TIPPLERS,
You can see them from here? — With big
carving-knives ? — How they must be bleeding !
— Look out, there ! the Prince !
[They re-enter the Blue Lion, dragging
in the Old Woman, who screams and
struggles ]
'
Princess Maleine. 6i
Enter Prince Hjalmar and Angus.
MALEINE.
\To Nurse. '\ Hjalmar !
NURSE.
Hide yourself.
\_Exeunt Maleine and Nurse.
ANGUS.
Did you see that little peasant girl?
HJALMAR.
A glimpse ... a mere glimpse.
ANGUS.
She looks strange.
HJALMAR.
I do not like her.
ANGUS.
I find her admirable myself, and I shall
mention her to Princess Uglyane ; she needs a
maid-servant. Oh, how pale you are I
HJALMAR.
Am I pale?
ANGUS.
Wonderfully pale. Are you ill?
62 Princess Maleine.
HJALMAR.
No. It is the strange heat of this autumn
day. I have felt all day as if I were living in
a room full of the fever-stricken ; and now this
night, cold as a cellar ! I have not gone out-
side the castle to-day, and the damp of the
night took hold on me in the avenue.
ANGUS.
Be careful ! There are many sick in the
village.
HJALMAR.
Yes, it is the marshes ; and behold, I am in
the midst of marshes myself.
ANGUS.
What?
HJALMAR.
I saw almost to-day the flame of sins to which
as yet I dare not give a name.
ANGUS.
I do not understand you,
HJALMAR.
No more did I understand certain words of
Queen Anne. I am afraid to understand them.
ANGUS.
What has happened to-day?
*
Princess Maleine. 6^
HJALMAR.
A little thing ; but I am afraid of what I shall
see beyond my wedding-day. Oh ! oh ! look
yonder, Angus !
[Here the King and Queen Anne are seen
kissing at one of the windows of the castle.]
ANGUS.
Beware ; do not look ; they will see us.
HJALMAR.
No ; we are in darkness, and their room is
lighted. But look, how red the sky has grown
over the castle.
ANGUS.
There will be a storm to-morrow.
HJALMAR.
And yet she does not love him. . . ,
ANGUS.
Let us go.
HJALMAR.
I dare not look any longer at that sky. God
knows what colors it has taken over our heads
to-day. You do not know what I beheld this
afternoon in that castle, where I believe the
very stones are poisonous, where the touch of
Queen Anne's hands made me sweat more than
the September sun on the walls.
ANGUS.
Oh, what has happened?
64 Princess Maleine.
HJALMAR.
Let US not speak of it any more. — Where is
that little peasant girl ?
[Outcries from within the Blue Lion.']
ANGUS.
What is that?
HJALMAR.
I do not know. There has been a strange
unrest in the village all the afternoon. Let us
go. You will understand some day what I have
said. \Exeunt.
A TIPPLER.
[ opening the inn-door?^ He has gone !
ALL THE TIPPLERS.
[ On the threshold^] He has gone. — Now,
we may go and see. — How they must be bleed-
ing ! — Perhaps they are dead. \Exeunt.
Scene IV. — An apartment in the castle.
Queen Anne, Princess Uglyane, Princess
Maleine, dressed as a maid-servant^ and
another maid- servant discovered.
ANNE.
Bring another cloak. — I think the green one
will go better.
Princess Maleine. 65
UGLYANE.
I do not want it. — A peacock-green velvet
cloak over a sea-green gown !
ANNE.
I don't know . . .
UGLYANE.
"/ don't know! I don't know/" You
never know, when others are concerned !
ANNE.
Come, don't get in a temper. I meant well
in suggesting it. You will be scarlet when you
get to the trysting-place.
UGLYANE.
I shall be scarlet when I get to the trysting-
place ! Oh, it is enough to make one throw
one's self out of the window. You don't know
what to imagine next to torment me !
ANNE.
Uglyane ! Uglyane ! Come, come. — Bring
another cloak.
MAID-SERVANT.
This one, madam?
66 Princess Maleine.
UGLYANE.
Yes, — oh, yes !
ANNE.
Yes, — turn round. Yes, this is infinitely
better.
UGLYANE.
And my hair ! — so ?
ANNE.
It should be smoothed a little more on the
forehead.
UGLYANE.
Where is my mirror?
ANNE.
Where is her mirror? [7^ Maleine.] You
are not doing anything ! Bring her mirror !
— She has been here a week, and she will
never know anything. — Have you come from
the moon ? — Come now, make haste. Where
are you?
MALEINE.
Here, madam.
UGLYANE.
Now, do not incline that mirror so ! — I can
see all the weeping willows of the garden in it ;
they seem to be weeping over your face.
Princess Maleine. 67
ANNE.
Yes, so, — but let them flow down her back.
— Unfortunately, it will be too dark in the
wood. . . .
UGLYANE.
It will be dark?
ANNE.
He will not see you — there are great clouds
across the moon.
UGLYANE.
But why does he wish me to come to the
garden ? If it were in July, or even by daylight,
— but at night, in the fall of the year ! It is
cold ! raining ! windy ! Shall I wear any
jewels ?
ANNE.
Of course. — But we are going —
[ Whispers in her ear,
UGLYANE.
Yes.
ANNE.
\To Maleine ayid the other maid- servant.']
You may go ; and do not return until you are
called for.
[Exeunt Princess Maleine and other
maid- sell) ant.
68 Princess Maleine.
Scene V. — A corridor in the castle.
Enter Princess Maleine. — She goes to a
door at the end of the passage and knocks.
ANNE {within).
Who *s there?
MALEINE.
I.
ANNE.
Who are you?
MALEINE.
Princess Ma ... the new maid- servant.
ANNE.
\^Partly opening the door."] What do you
want here?
MALEINE.
I have come on an errand from . . .
ANNE.
Do not come in. Well?
MALEINE.
I have come on an errand from Prince
Hjalmar.
ANNE.
Yes, yes ! She is coming ! she is coming.
In one minute ! It is not yet eight. Leave us.
I
Princess Maleine. 6g
MALEINE.
An officer told me that he was away.
ANNE.
Who was away?
MALEDJE,
Prince Hjalmar.
ANNE.
Prince Hjalmar is away?
MALEINE.
He has left the castle.
ANNE.
Where has he gone ?
UGLYANE.
[Wtfhin.'] What is the matter?
ANNE.
The Prince has left the castle.
UGLYANE.
[/« f/ie doorway, "] What?
ANNE.
The prince has left the castle I
MALEINE.
Yes.
70 Princess Maleine.
UGLYANE.
Impossible !
ANNE.
Where has he gone?
MALEINE.
I do not know. I think he went toward the
forest; and he sends word that he will not be
able to come to the tryst.
ANNE.
Who told you so?
MALEINE.
An officer.
ANNE.
What officer?
MALEINE.
I do not know his name.
ANNE.
Where is this officer?
MALEINE.
He went away with the Prince.
ANNE.
Why didn't he come here himself?
MALEINE.
I told him you wished to be, .alone.
Princess Maleine. 71
ANNE.
Who told you to say that? My God ! What
can have happened ? Go away !
[^Door closes. Exit Maleine.
Scene VI. — A wood within a park,
HJALMAR.
She told me to await her by the fountain. I
have a wish to see her in the dusk. ... I would
see if the night will give her pause. — Will she
not have a little silence in her heart? — I never
saw the autumn wood more weird than to-night.
I never saw the wood darker than to-night. By
what light shall we see each other? I cannot
make out my own hands. — But what are all
those points of light about me ? Have all the
owls in the park come here ? Away ! Away !
To the graveyard ! back to the dead ! {Throws^
earth at them.'] Are you the guests for a wed-
ding night? Here I am with hands like a
grave-digger's now ! — Oh, I shall not come
back here very often ! — Hark, she is coming !
— Is it the wind ? — Oh ! how the leaves are
falling about me now ! There is a tree that is
absolutely stripped. And how the clouds fidget
across the moon ! — Ah ! these are weeping-
willow leaves that are falling so on my hands.
— Oh ! I should not have come hither ! — I
never saw the wood more grewsome than to-
night. — I never saw so many ill omens as
to-night. — She comes !
72 Princess Maleine.
Enter Princess Maleine.
MALEINE.
Where are you, my lord?
HJALMAR.
Here.
MALEINE.
But where ? — I cannot see.
HJALALVR.
Here, by the fountain. — We shall see each
other by the light of the water. It is uncanny
here this evening.
MALEINE.
Yes, — I am afraid ! — ah ! I have found
you.
HJALMAR.
Why are you trembling ?
MALEINE.
I am not trembling.
HJALMAR.
I cannot see you ; come this way, there is
more light here ; and throw back your head a
little to the sky. — You too look weird to-night.
— One would say my eyes had just opened to-
night. — One would say my heart was opening
to-night. — Indeed, I believe you are really
beautiful. — Oh, you are strangely beautiful.
Princess Maleine. 73
Uglyane ! — I think I must never have looked
at you until now. — Oh, I think you are
strangely beautiful. — There is something about
you this evening. . . . Let us go somewhere
else, in the light. — Come !
MALEINE.
Not yet.
HJALMAR.
Uglyane ! Uglyane !
[Kisses her; the fountain, agitated by the
wind, collapses and splashes them.]
MALEINE.
Oh ! What have you done ?
HJALMAR.
It is the fountain.
MALEINE.
Oh ! Oh !
HJALMAR.
It is the wind.
MALEINE.
I am afraid.
HJALMAR.
Do not think of that any longer. Let us go
further away. Let us not think of that any
more. Oh ! Oh ! Oh ! I am wet all over.
MALEINE.
There is some one weeping here.
74 Princess Maleine.
HJALMAR.
Some one weeping here ?
MALEINE.
I am afraid.
HJALMAR.
Listen ; it is the wind.
MALEINE.
But what are all those eyes up in the trees?
HJALMAR.
Where ? Oh, those are the owls. They have
come back. I will drive them away. \_Thro'ws
earth at them.'] Away ! Away !
MALEINE.
There is one of them that will not go.
HJALMAR.
Where is it?
MALEINE.
On the weeping willow.
HJALMAR.
Away !
MALEINE.
He does not move.
HJALMAR.
Away ! Away ! \_Throws earth at the owL
Princess Maleine. 75
MALEINE.
Oh ! you have thrown earth on me.
HJALMAR.
. I have thrown earth on you?
MALEINE.
Yes ; it fell back on me.
HJALMAR.
Oh, my poor Uglyane !
MALEINE.
I am afraid.
HJALMAR.
Afraid — at my side ?
MALEINE.
There are flames there between the trees.
HJALMAR.
It is nothing, — it is summer lightning ; it
has been very sultry to-day.
MALEINE.
I am afraid. Oh ! who is moving the earth
about us?
HJALMAR.
It is nothing ; it is a mole, — a poor little
mole at work.
76
Princess Malelne.
MALEINE.
I am
afraid. . . .
HJALMAR.
But^
we are within the park here
MALEINE.
Are there walls about the park?
HJALMAR.
Of course ; there are walls and ditches about
the park.
MALEINE.
And can nobody enter?
HJALMAR.
No, — but there are many unknown things
that enter, in spite of all.
MALEINE.
My nose is bleeding.
HJALMAR.
Your nose is bleeding?
MALEINE.
Yes. Where is my handkerchief?
HJALMAR.
Let us go to the basin.
MALEINE.
Oh ! my gown is all stained with blood
Princess Maleine. 77
my
already.
HJALMAR.
Uglyane ! Uglyane ! Has it stopped ?
[_A pause,
MALEINE.
Yes.
HJALMAR.
What are you thinking of?
MALEENE.
I am sad.
HJALMAR.
You are sad? What are you thinking of,
Uglyane?
MALEINE.
I am thinking of Princess Maleine.
HJALMAR.
What did you say ?
MALEINE.
I am thinking of Princess Maleine.
HJALMAR.
Do you know Princess Maleine r*
MALEINE.
I am Princess Maleme.
yS Princess Maleinc.
HJALMAR.
What?
MALEINE.
I am Princess Maleine.
HJALMAR.
You are not Uglyane ?
MALEINE.
I am Princess Maleine.
HJALMAR.
You are Princess Maleine ? You are Princess
Maleine ? But she is dead !
MALEINE.
I am Princess Maleine.
[The moon comes out between the trees, and
reveals Princess Maleine.]
HJALMAR.
Oh, Maleine ! — Whence come you? And
how have you come so far? How can you
have come so far?
MALEINE.
I do not know.
HJALMAR.
O God ! O God ! O God ! O God ! What
have I escaped to-day ! What a stone you
have rolled away this night ! O God ! From
what tomb have I risen this evening ! — Maleine !
Princess Maleine. 79
Maleine ! What shall we do now ? — Maleine !
. . . I believe I am in heaven, up to the
heart ! . . .
MALEINE.
Oh ! and so do I.
[The fountain sobs strangely and expires]
BOTH.
^Turning roundJ] Oh !
MALEINE.
What can it be ? What can it be now ?
HJALMAR.
Do not weep ; do not be afraid. It is the
fountain.
MALEINE.
What is happening here ? What is going to
happen ? Let me go away ! Let me go away !
Let me go away !
HJALMAR.
Do not weep.
MALEINE.
Take me away.
HJALMAR {looking toward the fountain).
It is dead ; let us go somewhere else.
\_Exeunt.
[Curtain.]
ACT THIRD.
Scene I. — An apartment in the castle.
The King. Enter Prince Hjalmar.
HJALMAR.
Father?
king.
Hjalmar !
HJALMAR.
I wish to speak to you, father.
KING.
What do you wish to speak to me about ?
HJALMAR.
Are you ill, father?
KING.
Yes, I am ill ; and see how old I am getting.
My hair has almost all fallen out. See how
my hands shake now ; and I feel as though I
had all the fires of hell in my head.
HJALMAR.
Father ! My poor father ! You should go
away, — somewhere else, perhaps, — I do not
know. . . .
Princess Malelne. 8i
KING.
I cannot go away ! — Why have you come
here ? I am expecting somebody.
HJALMAR.
I wished to speak to you.
KING.
Of what?
HJALMAR.
Of Princess Maleine.
KING.
Of what ? — I can hardly hear any more.
HJALMAR.
Of Princess Maleine. Princess Maleine has
come back.
KING.
Princess Maleine has come back !
HJALMAR.
Yes.
KING.
But she
is dead
!
HJALMAR.
She has
come back.
KING.
But she
is dead
— I saw her.
82 Princess Malelne.
HJALMAR.
She has come back.
KING.
Where is she?
HJALMAR.
Here.
KING.
Here, in the castle?
HJALMAR.
Yes.
KING.
Show her to me ; I would like to see her !
HJALMAR.
Not yet. — Father, I can no longer espouse
Uglyane.
KING.
You can no longer espouse Uglyane ?
HJALMAR.
I never loved any one but Princess Maleine.
KING.
It is impossible, Hjalmar ! — Hjalmar ! —
Besides, she will go away.
HJALMAR.
Who?
KING.
Anne.
Princess Maleine. 83
HJALMAR.
It must be broken to her gradually.
KING.
I?— I break it to her? — Hark! ... I
think she is coming up the staircase. My
God! — My God! What will happen? —
Hjalmar, wait ! . . . \_Exit.
HJALMAR.
Father ! My poor father ! — She will kill
him before the month is ended.
[Re-enter King.
KING.
Do not let her know yet — not to-day.
{Exit.
HJALMAR.
My God ! My God ! — I think I hear him
in the oratory. — She is coming here. — For
some days she has followed me Uke my shadow.
{Enter Queen Anne.] Good-evening, madam.
ANNE.
Oh ! it is you, Hjalmar. — I did not ex-
pect . . .
HJALMAR.
I wished to speak to you, madam.
ANNE.
You have never had anything to say to me.
. . . Are we alone?
84 Princess Maleine.
HJALMAR.
Yes, madam.
ANNE.
Then come here by me. Sit here by me.
HJALMAR.
But one word, madam. — Did you ever hear
of Princess Maleine ?
ANNE.
Of Princess Maleine ?
HJALMAR.
Yes, madam.
ANNE.
Yes, Hjalmar ; — but she is dead.
HJALMAR.
They say she lives, perhaps.
ANNE.
But it was the king himself who slew her.
HJALMAR.
They say she lives, perhaps.
ANNE.
So much the better for her.
HJALMAR.
Perhaps you will see her.
Princess Maleine. 85
ANNE.
Oh ! Oh ! Oh ! In the next world, you
mean ?
HJALMAR.
Oh ! {Exit.
ANNE.
Where are you going, my lord? And why
do you flee from me ? — Why do you flee from
me ? \Exit.
Scene II. — A festal hall in the castle.
King, Queen Anne, Hjalmar, Uglyane, Angus,
Maids-of-Honor, Lords, etc.
Dancing. Music.
ANNE.
Come here by me, my lord ; you seem trans-
figured to-night.
HJALMAR.
Is not my betrothed at my side?
ANNE.
Let me put my hand on your heart a mo-
ment. Oh ! It beats its wings already as if
it would fly away toward I know not what
heaven.
HJALMAR.
Your hand alone retains it, madam.
86 Princess Maleine.
ANNE.
I do not understand. ... I do not under-
stand. You will explain that to me later. \_T(?
the King.] You are sad, my lord; what are
you thinking of?
KING.
I? — I am not sad; but I am getting very
old.
ANNE.
Come, do not speak so on a gala night !
Admire your son, rather. Is he not admirable
in that black and violet silk doublet? And
have I not chosen a handsome spouse for my
daughter?
HJALMAR.
Madam, I am going away to join Angus. He
will throw a little water on the fire, whereas you
only pour oil on it.
ANNE.
Do not return drenched by the rain of his
fine speeches . . .
HJALMAR.
They will fall in broad sunlight !
ANGUS.
Hjalmar ! Hjalmar !
Princess Maleine. 87
HJALMAR.
Oh, I know what you are going to say ; but
this has nothing to do with what you think.
ANGUS.
You are no longer yourself to-day. What
happened to you yesterday evening?
HJALMAR.
Yesterday evening ? — Oh, strange things hap-
pened yesterday evening. — But I would rather
not speak of them at present. Go some night
into the wood in the park, near the fountain ;
and you will notice that it is only at certain
times and when you are looking at them, that
things keep still like good children and do not
seem strange and wild; but as soon as your
back is turned on them, they begin making
faces at you, and playing naughty tricks.
ANGUS.
I do not understand.
HJALMAR.
No more do I ; but I would rather live among
men, — were they all against me.
ANGUS.
What?
HJALMAR.
Do not go away far !
88 Princess Maleine.
ANGUS.
Why?
HJALMAR.
I do not know yet.
ANNE. ■
Will you soon have done, my lord? One
does not abandon his betrothed so. . . .
HJALMAR.
I fly, madam. [71? Uglyane.] Angus has
just told me of a strange adventure, Uglyane.
UGLYANE.
Really?
HJALMAR.
Yes, — it is about a young girl ; a poor
young girl who lost all the money she had.
UGLYANE.
Oh!
HJALMAR.
Yes ! she has lost all her money. . . . And
she wishes to marry him, in spite of all. She
waits for him in the garden every evening ; she
pursues him in the moonlight ; he has no longer
a moment's rest.
UGLYANE.
What is he going to do ?
Princess Maleine. 89
HJALMAR.
He does not know at all. I told him to have
the drawbridges raised, and place a man-at-arms
at every door, so that she may not enter again.
But he will not.
UGLYANE.
Why?
HJALMAR.
I don't know at all. — Oh ! my dear Uglyane !
ANGUS.
[71? HjALMAR.] Do you not shiver as you
pass into the ice-caverns of marriage ?
HJALMAR.
We shall make them caverns of flame.
KING.
[/« a loud voue.^ I cannot see any dancing
at all from here.
ANNE.
But you are not three steps from the dancers,
my lord.
KING.
I thought I was far away from them.
ANGUS.
IT(? HjALMAR.] Have you noticed how pale
and weary your father has been looking for
some time?
90
Princess Maleine.
HJAT.MAR.
Yes, yes.
• • •
ANGUS.
He has grown
Strangely old of late
KING.
[/« a loud voice.'\ I believe death is begin-
ning to knock at my door.
[All shudder. A pause. Music suddenly
ceases. Knocking at the door.]
ANNE.
Some one is knocking at the little door.
HJALMAR.
Come in !
[The door opens, partly revealing Princess
Maleine in long white bridal robes.]
ANNE.
Who comes ?
HJALMAR.
Princess Maleine !
ANNE.
Who?
HJALMAR.
Princess Maleine !
KING.
Close the door !
Princess Maleine. 91
ALL.
Close the door !
HJALMAR.
Why close the door? [King swoons,
ANGUS.
Help ! Help ! The King is fainting.
A MAID OF HONOR.
Go get a glass of water.
HJALMAR.
Father ! — Help me ! . . .
ANOTHER MAID OF HONOR.
Go get a priest !
A LORD.
open the windows !
ANGUS.
Stand back ! Stand back !
HJALMAR.
Call a physician. Let us carry him to his
bed. Help me.
ANGUS.
There is a strange storm about the castle
to-night. [^Exeunt.
92
Princess Maleine.
Scene III. — Before the castle.
Enter the King and Queen Anne.
KING.
But perhaps we could send the little maid
away?
ANNE.
And meet her again to-morrow? Or must
we wait for a sea of troubles ; must we wait
until Hjalmar rejoin her? Must we . . .
KING.
My God ! My God ! What do you want
me to do?
ANNE.
You will do what you please ; but you must
choose between that girl and me.
KING.
You never know what he thinks. . . .
ANNE.
I am sure he does not love her. He thought
her dead. Did you see one tear roll down
upon his cheeks?
KING.
They do not always roll down the cheeks.
Princess Maleine. 93
ANNE.
He would not have thrown himself into
Uglyane's arms.
KING.
Wait a few days. — He might die of it. . . ,
ANNE.
We will wait. — He will not notice.
KING.
I have no other child. . . .
ANNE.
The more reason you should make him
happy. — Beware, now ! Here he comes with
his waxen beggar girl ; he has been taking her
for a walk round the marshes, and the night
air has already made her greener than if she
had been drowned these four weeks. \^Enter
Prince Hjalmar and Princess Maleine.]
Good-evening, Hjalmar ! — Good-evening, Ma-
leine ! You have taken a little walk.
HJALMAR.
Yes, madam.
ANNE.
It would be better, though, not to go out in
the evening. Maleine must be careful. She
seems to me a little pale, already. The air of
the marshes is very injurious.
94
Princess Maleine.
MALEINE.
So I have been told, madam.
ANNE.
Oh ! it is downright poison !
HJALMAR.
We had not been out all day, and the moon-
light enticed us ; we have been to look at the
windmills along the canal.
ANNE.
You should be careful at first; I was sick
myself.
KING.
Every one is sick on arriving here.
HJALMAR.
There are many sick in the village.
KING.
And many dead in the graveyard.
ANNE.
Come, come ; do not frighten this child.
Enter The Madman.
HJALMAR.
Maleine, the madman 1
Princess Maleine. g^
MALEINE.
Oh!
ANNE.
Have you not seen him before, Maleine?
Don't be afraid, don't be afraid ; he is harmless.
He wanders about like this every evening.
HJALMAR.
Every night he goes digging graves in the
orchard.
MALEINE.
Why?
HJALMAR.
No one knows.
MALEINE.
Is he pointing at me with his finger?
HJALMAR.
Yes ; pay no attention to him.
MALEINE.
He is making the sign of the cross.
THE MADMAN.
Oh ! Oh ! Oh !
MALEINE.
I am afraid.
HJALMAR.
He has a frightened look.
96 Princess Maleine.
THE MADMAN.
Oh ! Oh ! Oh !
HJALMAR.
He is going away. \_Exit The Madman.
ANNE.
When will the wedding be, Maleine ?
HJALMAR.
Before the end of the month, if my father
will consent.
KING.
Yes, yes.
ANNE.
You know I remain here until your wedding ;
and so does Uglyane. Oh ! poor Uglyane !
Hjalmar, Hjalmar, how you have deserted her !
HJALMAR.
Madam ! . . .
ANNE.
Oh ! you need have no remorse ; it is better
to tell you at once. She was obeying her
father more than her heart. She was fond of
you, though ; but what would you have ? She
was brought up and passed her whole childhood
with her cousin. Prince Osric, and such things
are not forgotten. She cried all the tears in
her poor little heart when she took leave of
him; and I had to drag her here.
«
Princess Maleine. 97
MALEINE.
There is something black coming.
KING.
Whom do you mean?
HJALMAR.
What?
MALEINE.
There is something black coming.
HJALMAR.
Where?
MALEINE.
Yonder ; in the fog, by the graveyard.
HJALMAR.
Oh ! that is the seven nuns.
MALEINE.
Seven nuns !
ANNE.
Yes ! They are coming to spin for youi
wedding.
Enter Nurse and the Seven Nuns.
NURSE.
Good- evening ! Good- evening, Maleine I
SEVEN NUNS.
Good- evening !
^8 Princess Maleine.
ALL.
Good-evening, sisters.
MALEINE.
Oh ! what is she carrying?
HJALMAR.
Who?
MALEINE.
The third one ; the oldest?
NURSE.
It is linen for you, Maleine.
[^Exeunt Seven Nuns. A church bell rings
without,
HJALMAR.
The bell is ringing for vespers. — Come,
Maleine.
MALEINE.
I am cold.
HJALMAR.
You are pale, let us go in.
MALEINE.
Oh ! what a number of crows there are
around us. \_Croakings.
HJALMAR.
Come in !
Princess Maleine. 99
MALEINE.
What are all those flames over the marshes ?
[Will-o'-the-wisps are seen over the marshes.]
NURSE.
They say they are souls.
HJALMAR.
They are will-o'-the-wisps. — Come !
MALEINE.
Oh ! there is a long one going toward the
graveyard.
HJALMAR.
Come ! Come !
KING.
I shall go in, too. Anne, are you coming?
ANNE.
I follow you. \_Exeuni King, Hjalmar and
Maleine.] Maleine appears rather unwell. She
must be taken care of.
NURSE.
She is a little pale, madam. But she is not
ill. She is stronger than you think.
ANNE.
I should not be astonished if she fell sick.
{^Exit with Nurse.
I
lOO Princess Maleine.
Scene IV, — A room in the Physician's house.
Enter the Physician.
PHYSICIAN.
She has asked me for poison. There is a
mystery over the castle, and I believe its walls
will fall upon our heads. And woe to the little
ones in the house ! There are already strange
rumors in the air, and it seems to me that on
the other side of this world they are beginning
to be a little uneasy about adultery. Mean-
while, the people here wade in misery up to
their lips ; and the old King will die in the
Queen's bed before the end of the month. . . .
He has been growing strangely white for several
weeks ; and his mind begins to totter, as well
as his body. I must not be caught in the
midst of the storms that are coming. It is
time I should be gone ; it is time I should be
gone 1 I have no desire to go bhndly with her
into that hell ! I must give her some almost
harmless poison to deceive her; but I shall
break silence before they close a tomb. Mean-
while I wash my hands of it. I will not be
killed trying to hold up a crumbling tower !
{^Exit.
\
Princess Maleine. loi
Scene V. — A courtyard in the castle.
Enter King.
KING.
My God ! My God ! Would I were else-
where ! Would I might sleep until the month
were ended ! I should be glad to die ! She
leads me Hke a poor spaniel ; she is going to
drag me into a forest of crimes, and the flames
of hell are about my path. My God ! If I
could but retrace my steps ! Was there no
way to send the little maid out of the country?
I wept this morning when I saw her ill. Could
she but leave this poisonous castle ! I want to
go away, no matter where ! No matter where !
Would I might see the towers crumble into the
pool. I fancy everything I eat is poisoned ;
and the very sky looks poisonous to-night. But,
my God ! the poison in that poor little white
body. Oh! Oh! Oh! [^«/<?r Queen Anne.]
They are coming?
ANNE.
Yes ; they are coming.
KING.
I am going away.
ANNE.
What?
I02 Princess Maleine.
KING.
I am going away ; I cannot look upon it any
longer.
ANNE.
What is that? You are going to stay. Sit
there ! Don't look so strange.
KING.
Do I look strange ?
ANNE.
Yes, they will observe it. Try to look happy.
KING.
Oh ! Oh 1 Happy !
ANNE.
Now, then ; be silent. They are here !
KING.
My God ! My God ! How pale she is !
Enter Prince Hjalmar, Maleine, and
Little Allan.
ANNE.
Well, Maleine, how do you feel?
MALEINE.
A little better ; a little better.
1
Princess Maleine. 103
ANNE.
You look brighter ; sit down here, Maleine ;
I have had cushions brought; the air is very
pure this evening.
KING.
The stars are out.
ANNE.
I do not see any.
KING.
I thought I saw some over there.
ANNE.
Where are your
wits ?
KING.
I do not know.
ANNE.
Are you comfortable, Maleine?
MALEINE.
Yes, yes.
ANNE.
Are you tired ?
MALEINE.
A little, madam.
ANNE.
Let me put this cushion under your elbow.
104 Princess Maleine.
MALEINE.
Thank you, madam.
HJALMAR.
She is so patient. Oh ! my poor Maleine !
ANNE.
Come, come ; it is nothing. You must take
courage. It is the air of the marshes. Uglyane
is sick, too.
HJALMAR.
Uglyane is sick?
ANNE.
She is sick, like Maleine ; she no longer
leaves her room.
KING.
Maleine would do better to leave the castle.
ANNE.
What?
KING.
I was saying that Maleine would do better,
perhaps, to go elsewhere. . . .
HJALMAR.
I have said so as well.
ANNE.
Where would she go ?
Princess Maleine. 105
KING.
I do not know.
ANNE.
No, no ; it is better she should remain here ;
she will get used to the air of the marshes.
Good heavens, I have been sick myself. Where
would she be better nursed than here? Is it
not best she should remain here?
Oh ! Oh !
What?
Yes ! Yes !
KING.
ANNE.
KING.
ANNE.
Good ! — Well, well, Allan ; what 's the mat-
ter? Why do you stare at us so, child?
Come, kiss me ; now go and play with your
ball.
LITTLE ALLAN.
Is Ma-a-leine si-ick?
ANNE.
Yes, a little.
LITTLE ALLAN.
Very, very, ve-ry si-ick?
io6 Princess Maleine.
ANNE.
No, no.
LITTLE ALLAN.
Wo-on't she play with me any mo-ore ?
ANNE.
Yes, yes, she will play with you again; will
you not, Maleine?
LITTLE ALLAN.
Oh ! the wi-indmill has sto-opped !
ANNE.
What?
LITTLE ALLAN.
The wi-indmill has sto-opped !
ANNE.
What windmill ?
LITTLE ALLAN.
The-ere ; the black wi-indmill !
ANNE.
Well, that is because the miller has gone
to bed.
LITTLE ALLAN.
I-is he si-ick ?
Princess Maleine. 107
ANNE.
I do not know ! Now, then, be quiet ; go-
and play.
LITTLE ALLAN.
Why is Ma-a-leine shutting her eyes?
ANNE.
She is tired.
LITTLE ALLAN.
0-open your eyes, Ma-a-leine !
ANNE.
Now, will you leave us in quiet; go and
play. . . .
LITTLE ALLAN.
0-pen your eyes, Ma-a-leine !
ANNE.
Go and play; go and play. Ah, you have
put on your black velvet mantle, Maleine.
MALEINE.
Yes, madam.
HJALMAR.
It is rather melancholy.
ANNE.
It is admirable. [7<? the King.] Have yoin
noticed it, my lord ?
io8 Princess Maleine,
KING.
I?
ANNE.
Yes, you?
KING.
What?
ANNE.
Where are your wits ? I am speaking of the
black velvet mantle.
KING.
I see a cypress yonder making signs to me.
ALL.
What?
KING.
I see a cypress yonder making sigtis to me.
ANNE.
Have you fallen asleep ? Are you dreaming ?
KING.
I?
ANNE.
I was speaking of the black velvet mantle,
KING.
Oh ! — Yes, it is very beautiful. . . .
Princess Maleine.
09
ANNE.
Oh ! Oh ! Oh ! he had fallen asleep. —
How do you feel, Maleine?
MALEINE.
Better, better.
KING.
No, no ! It is too horrible.
HJALMAR.
What is the matter ?
ANNE.
What is so horrible now?
KING.
Nothing ] nothing !
ANNE.
Be careful what you say. You are frightening
everybody.
KING.
I? Frightening everybody?
ANNE.
Oh ! please do not be forever repeating what
we say ! What is the matter with you to-night ?
Are you ill?
HJALMAR.
You are sleepy, father?
no Princess Maleine.
KING.
No, no ; I am not sleepy !
ANNE.
What are you thinking about ?
KING.
Maleine ?
MALEINE.
Sire?
KING.
I have never yet kissed you, have I ?
MALEINE.
No, sire.
KING.
May I kiss you to-night?
MALEINE.
Certainly, sire.
KING.
\_Kissing her.~\ Oh, Maleine ! Maleine I
MALEINE.
Sire ? — what troubles you ?
KING.
My hair is turning white, you see.
MALEINE.
Do you love me a little to-day?
Princess Maleine. 1 1 1
KING.
Oh, yes, Maleine ! . . . Give me your little
hand ! — Oh ! oh ! It is still as hot as a little
fire. . . .
MALEINE.
What can be troubling him? Now what can
be the matter?
ANNE.
Come, come. You are making her cry.
KING.
I would that I were dead !
ANNE.
Pray, do not say any more such things to-
night.
HJALMAR.
Let us be gone !
\_Here a strange knock is heard at the gates,
ANNE.
Some one is knocking.
HJALMAR.
Who can be knocking at this hour?
ANNE.
No one answers. \Another knock,
KING.
Who can it be ?
112 Princess Maleine.
HJALMAR.
Knock a little louder ; they do not hear you.
ANNE.
They do not open the gates so late.
HJALMAR.
They do not open the gates so late. Come
back to-morrow. \_Another knock.
KING.
Oh! Oh! Oh! {Another knock.
ANNE.
What can they be knocking with ?
HJALMAR.
I do not know.
ANNE.
Go and look.
HJALMAR.
I will. \ opens the gate.
ANNE.
Who is it?
HJALMAR.
I do not know. I can't see very well.
ANNE.
Come in !
MALEINE.
I am cold.
Princess Maleine. iij
HJALMAR.
There is no one here.
ALL.
There is no one there ?
HJALMAR.
It is dark ; I see no one.
ANNE.
Then it is the wind ; it must be the wind.
HJALMAR.
Yes, I think it is the cypress.
KING.
Oh!
ANNE.
Would it not be best for us to go in?
HJALMAR.
Yes. [Exeunt.
fCURTAIN.]
ACT FOURTH.
Scene I. — In the gardens. Enter Hjalmar.
HJALMAR.
She has been following me like a dog of late.
She was at one of the windows of the tower ;
she saw me cross the bridge in the garden, and
here she comes, at the end of the walk. — I
shall go away. [Exit.
Enter Queen Anne.
ANNE.
He avoids me of late. I fear his suspicions
are aroused. I will not wait any longer. That
poison will drag along till the Day of Judg-
ment. I can no longer trust anybody ; I think
the King is going mad. I have to keep him
constantly under my eyes. He keeps wander-
ing about Maleine's chamber, and I believe he
wants to give her warning. — I have taken the
key of that room away. It is time to make an
end of it. — Ah ! Here is the nurse ! She is
always with the girl. She must be sent away
to-day. Good-morning, nurse.
Enter Nurse.
NURSE.
Good-morning, good-morning, madam.
Princess Malelne. 115
ANNE.
Fine weather, is it not, nurse ?
NURSE.
Yes, madam ; rather warm, though, — rather
warm for this time of the year.
ANNE.
These are the last of the sunny days ; we
must enjoy them.
NURSE.
I have no longer had time to come into the
garden since Maleine has been ill.
ANNE.
Is she better?
NURSE.
Yes ; a little better perhaps ; but weak, so
weak always, and pale, so pale !
ANNE.
I saw the physician this morning ; he told
me that, above all, she needed rest.
NURSE.
So he told me.
ANNE.
He even advises that she should be left alone,
and that no one go into her room, unless she
calls.
ii6 Princess Maleine.
NURSE.
He said nothing of the kind to me.
ANNE.
He must have forgotten ; perhaps they did
not dare tell you, for fear of giving you pain.
NURSE.
He was wrong ; he was wrong.
ANNE.
Yes, he was wrong.
NURSE.
I have just gathered a few bunches of grapes
for her.
ANNE.
Are there grapes already?
NURSE.
Yes ; I found some along the wall. She likes
them so much. . . .
ANNE.
They look very fine.
NURSE.
I intended to give them to her after mass;
but I will wait until she is well.
1
Princess Maleine. 117
ANNE.
You will not have to wait long.
\_Church bell sounds.
NURSE.
Good heavens, they are ringing for mass ! I
nearly forgot it was Sunday.
ANNE.
I am going to mass myself. Exeunf.
Scene II. — A kitchen tn the castle.
Maids, Cooks, Servani^, etc. — The Seven Nuns
sit at their spinning-wheels at the farther
end of the hall, chanting Latin hymns in
a mur?fiur.
A MAN COOK.
We are going to have a thunder storm.
A man-servant.
I just came from the garden, and I never saw
such a sky ; it *s as black as the pool.
A MAID-SERVANT.
Six o'clock, and I can no longer see any-
thing. The lamps must be lighted.
ANOTHER MAID-SERVANT.
It is still as death.
Ii8 Princess Maleine.
THIRD MAID-SERVANT.
I am afraid.
COOK.
You need not be afraid.
AN OLD WOMAN-SERVANT.
Oh, look at the sky ! I am over seventy
years old, and have never seen a sky like that.
A MAN-SERVANT.
Quite true.
A NUN.
Is there any holy water?
A MAID-SERVANT.
Yes, yes.
ANOTHER NUN.
Where is it?
COOK.
Wait till it thunders.
Enter a maid-servant.
MAID-SERVANT.
The Queen wishes to know whether Master
Allan's supper is ready ?
COOK.
Of course not ; it 's not yet seven. He
always sups at seven.
«
Princess Maleine. 1195
MAID-SERVANT.
He is to sup earlier this evening.
COOK.
And why?
MAID-SERVANT.
I know nothing about it.
COOK.
Here 's a pretty story. I should have been*
told before.
Enter a Second Maid-servant.
SECOND maid-servant.
Where is Master Allan's supper?
COOK.
"Where is Master Allan's supper?" I can-
not prepare his supper while you are making
the sign of the cross.
SECOND MAID-SERVANT.
An egg and a little broth will do. I am to
put him to bed immediately afterwards,
A MAID-SERVANT.
Is he sick?
SECOND MAID-SERVANT.
Oh, no ! he is not sick.
I20 Princess Maleine.
ANOTHER MAID-SERVANT.
Then, what has happened?
SECOND MAID-SERVANT.
I know nothing about it. [T^? the Cook.]
She does not want the egg boiled too hard.
Enter a Third Maid -servant.
THIRD MAID-SERVANT.
We are not to attend the Queen to-night.
MAID-SERVANTS.
What?
THIRD MAID-SERVANT.
We are not to attend the Queen to-night.
She will undress alone.
MAID-SERVANTS.
Oh ! so much the better.
THIRD MAID- SERVANT.
All the lights are to be lit in her chamber.
A MAID-SERVANT.
All the lights?
THIRD MAID-SERVANT.
Yes.
Princess Maleine. I2i
A MAID-SERVANT.
But why all the lights?
THIRD MAID-SERVANT.
I know nothing about it. That is her order.
ANOTHER MAID-SERVANT.
What is the matter with her to-nigbt?
A MAN-SERVANT.
She is to meet somebody.
ANOTHER MAN-SERVANT.
The King.
ANOTHER MAN-SERVANT.
Or Prince Hjalmar.
Enter a Fourth Maid-servant.
FOURTH MAID-SERVANT.
Some water is to be carried up to the Queen's
chamber.
A MAID-SERVANT.
Water? Why, there is some there.
FOURTH MAID-SERVANT.
There will not be enough.
122 Princess Maleine.
A MAN-SERVANT.
Is she going to bathe ?
A COOK.
Are you the ones that bathe her?
A MAID-SERVANT.
Yes.
COOK.
Oh, la, la !
A MAN-SERVANT.
She is stark naked, then?
A MAID-SERVANT.
Naturally.
MAN-SERVANT.
By Jove ! {_A flash of lightning.
ALL.
Lightning ! \They make the sig?i of the cross,
A NUN.
Do be silent, now ! You will draw the light-
ning. You will draw the lightning upon us all !
I shall not remain here, for one.
THE OTHER NUNS.
Nor I ! Nor I ! Nor I ! Nor I ! Nor I !
Nor I!
\_Exeunt hurriedly ^ making the sign of the
cross.
Princess Maleine. z2j
Scene III. — Princess Maleine's chamber.
Princess Maleine discovered stretched out upon
her bed; a large black dog quivering in a
corner,
MALEINE.
Here, Pluto ! here, Pluto ! They have left
me all alone. They have left me all alone on
a night like this. Hjalmar has not come to see
me. My nurse has not come to see me to-day ;
and when I call, no one answers. Something
has happened in the castle. ... I have not
heard a sound all day ; you would think it was
inhabited by the dead. — Where are you, poor
old dog ? Are you going to desert me, too ? —
Where are you, my poor Pluto? — I cannot see
you in the darkness ; you are as black as the
room. — Is it you I see in the corner? — Oh, it
is your eyes that gleam in the corner ! Oh,
close your eyes, for God's sake ! Here, Pluto \
Here, Pluto ! \Storm begins without.'] Is it
you I see trembling in the corner? I never
saw such trembling ! He is making all the fur-
niture tremble. — Have you seen something?
— Answer me, my poor Pluto. Is anybody in
the room ? Come here, Pluto ; come here ! —
Oh, come near me, upon my bed. — Indeed,
you seem as though you would quiver to death
in that corner. [Rises and goes towards the dogy
who recoils and hides under the furniture^
Where are you, my poor Pluto? — Oh, your
eyes are on fire now. — But why are you afraid
124 Princess Malelne.
of me to-night ? — I am going back to bed.
[^Lies down again."] If I could sleep a little !
— My God ! My God ! How sick I am ! And
yet I do not know what it is ; no one knows
what it is ; the physician does not know what
it is ; my nurse does not know what it is ;
Hjalmar does not know what it is. . . . [_The
wind stirs the bed-curtains.'] Oh ! some one
is touching my bed-curtains. Who is touch-
ing my bed-curtains? Is anybody in my
room ? — There must be somebody in my
room. — • Oh ! here is the moonlight coming
into the room. — What can that shadow be
on the tapestry ? — I beheve the crucifix is
swinging on the wall. Who is touching the
crucifix? My God ! My God ! I cannot stay
here any longer. \_Rises and goes to the door,
which she tries to open.] They have locked me
in ! Open the door, for the love of God !
There is something in my room. — I shall die
if you leave me here alone ! Nurse ! Nurse !
Where are you? Hjalmar! Hjalmar! Hjalmar!
Where are you ? \_Returns to bed.] I dare not
leave my bed again. — I shall turn toward the
other side. — Then I shall not see what is there
on the wall. \Sonie white garments lying on a
priedieu are slowly stirred by the wind.] Oh !
there is some one on the priedieu. \_Turns
to the other side.] Oh I the shadow is still
on the wall. \_Turns back again.] Oh ! some-
thing is still on the priedieu. Oh ! Oh ! Oh !
Oh ! Oh ! I must try to shut my eyes.
Princess Maleine. 125
\^Creaking of furniture ajid the wind ?tioaning7\
Oh! Oh! Oh! What is the matter now?
There are noises in my room ! \^Rises^^ I
must see what is on the priedieu. — I was
afraid of my wedding dress ! But what is the
shadow on the tapestry. {^Pulls the tapestry
aside.'] It is on the wall now ! Let me drink
a little water. {Drinks^ and puts the glass
down on a piece of furniture^ Oh ! how the
rushes in my room cry out ! And when I
walk, the whole room begins to speak. I think
it is the shadow of the cypress ; there is a
cypress in front of my window. \_Goes to the
window.] What a gloomy room they have
given me I {Thunder.] I can see nothing
but tombstones by the flash of the lightning;
and I fear lest the dead enter by the windows.
Oh ! what a storm in the graveyard ! What a
gale in the weeping willows ! I am going back
to bed. \_Lies down again.] I can hear
nothing more now; and the moonlight has
left the room. I can hear nothing more now.
I would rather hear some sound. \_Listens.]
There are footsteps in the corridor, — strange
footsteps, strange footsteps ! . . . They are
whispering about my chamber; and I hear
hands on the door. \_The dog begins to howL]
Pluto ! Pluto ! Some one is coming in. —
Pluto ! Pluto ! Pluto ! Do not howl so !
My God ! My God ! I think my heart will
die!
126 Princess Maleine.
Scene IV. — A corridor in the castle.
Enter, at the end of the corridor, the King and
Queen Anne. — The King carries a light.
The storm continues,
ANNE.
I think the storm will be terrible to-night;
there was a fearful gale in the courtyard ; one
of the old weeping willows has fallen into the
pool.
KING.
Let us not do it.
ANNE.
What?
KING.
Is there no other way ?
ANNE.
Come.
KING.
The seven nuns !
[The Seven Nuns are heard coming, and sing-
ing litanies.]
A NUN.
[In the distance.] Propitius esto !
THE OTHER NUNS.
Parce nobis, Domine!
«
Princess Maleine. 127
A NUN.
Propitius esto.f
THE OTHERS.
Exaudi nos, Dotnine!
A NUN.
Ab omni malof
THE OTHERS.
Libera noSy Domine!
A NUN.
Ab omni peccato I
THE OTHERS.
Libera nos, Domine!
[They enter in single file, the leader carrying
a lantern, the seventh a prayer-book.]
A NUN.
Ab ira tua,
THE OTHERS.
Libera nos, Domine/
A NUN.
A subitanea et improvisa morte!
THE OTHERS.
Libera nos, Domine!
A NUN.
Ab insidiis diaboli.
128 Princess Maleine.
THE OTHERS.
Libera noSy JDominef
A NUN.
[Passing before the King and Queen.] A
spiritu fornicationis.
the others.
Libera nos^ Domine!
A NUN.
Ab ira et odio et omni mala voluntate,
the others.
Libera noSy Domine/
[Exeunt; their voices continue in the
distance.
A NUN.
Afulgure et tempestate.
the others.
Libera noSy Domine /
A NUN.
[Far off.] A morfe perpetua,
THE others.
Libera noSy Domine/
Princess Malelne. 129
ANNE.
They are gone ! — Come !
KING.
Oh ! let us not do it to-day !
ANNE.
Why?
KING.
It thunders so terribly !
ANNE.
Her cries will not be heard. Come 1
KING.
Let us wait a little still.
ANNE.
Hush ! This is the door. . .
KING.
Is this the door? ... My God ! My God !
My God !
ANNE.
Where is the key?
KING.
Let us go to the end of the corridor ; there
may be some one there.
ANNE,
Where is the key?
130 Princess Maleine.
KING.
Let us wait until to-morrow.
ANNE.
How is it possible? Come, the key! the
key !
KING.
I believe I have forgotten it.
ANNE.
It is impossible. I gave it to you.
KING.
I cannot find it.
ANNE.
I put it in your cloak.
KING.
It is no longer there. I will go look
for it. . . .
Where?
Elsewhere.
ANNE.
KING.
ANNE.
No, no; stay here. You would not come
back again.
Princess Maleine. 131
KING.
Yes, yes ! I will come back.
ANNE.
I shall go myself. Remain here. Where
is it?
Kmo.
I do not know. In my bedroom. . . .
ANNE.
But you will go away?
KING.
Oh, no ; I will stay. I will stay here.
ANNE.
But you must have the key. I put it in your
cloak. Look. We have no time to lose.
KING.
I cannot find it.
ANNE.
Let me see. — Here it is, of course ! Now
be reasonable, Hjalmar; and do not play the
child to-night. ... Do you no longer love me ?
[ Would kiss him.
KING.
[Repelling her."] No, no ! Not now.
ANNE.
Open the door !
132 Princess Maleine.
KING.
Oh ! Oh ! Oh ! I should be less afraid at
the gate of hell ! There is only a little girl
behind this door ; she cannot . . .
ANNE.
Open the door !
KING.
She cannot hold a flower in her hands ! She
trembles when she holds a poor little flower in
her hands ; and I . . .
ANNE.
Come, come ! Do not make a scene ; this
is not the proper moment. — We have no time
to lose !
KING.
I cannot find the keyhole.
ANNE.
Give me the light; it shakes as though the
corridor were about to tumble down.
KING.
I cannot find the keyhole.
ANNE.
You are trembling?
KDJG.
No ; . . . well, yes ... a little. But I can
no longer see anything.
Princess Maleine,
33
ANNE.
Give me the key. [ Opening the doorJ] Go
in ! [ The black dog crawls out of the chamber,
KING.
There was something came out.
ANNE.
Yes.
KING.
There was something came out.
ANNE.
Be silent.
KING.
What can it be that came out of the room ?
ANNE.
I do not know. — Go in ; go in ; go in.
\_They enter the chamber.
Scene V. — Princess Maleine's chafnber.
Princess Maleine discovered motionless upon
her bed, horror-struck and listening. Enter
the King and Queen Anne. The storm
increases.
king.
I want to know what went out from the
room. . . .
134
Princess Maleine.
Go on ! go on
ANNE.
KING.
Let me go see what went out from the room.
ANNE.
Be silent. She is there !
KING.
She is dead ! — Let us be gone !
ANNE.
She is afraid.
KING.
Let us be gone ! I hear her heart beat even
here.
ANNE.
Go on ; are you going mad ?
KING.
She is looking at us. Oh ! Oh !
ANNE.
Now, then ! She 's but a little girl ! — Good-
night, Maleine. — Do you not hear me, Maleine ?
We come to bid you good-night. — Are you
sick, Maleine ? Do you not hear me ? Maleine !
Maleine ! [Maleine nods.
KING.
Oh!
Princess Maleine.
135
ANNE.
You are terrifying ! — Maleine ! Maleine 1
Have you lost your voice?
MALEINE.
Good . . . night ! . . .
ANNE.
Oh, then ! you are alive still. — Have you all
you need? — Let me lay aside my cloak, though.
[Lays her cloak on a piece of furniture^ and
draws near the bed.~\ Let me see. — Oh ! this,
pillow is very hard. — Let me arrange your hair.
— But why do you look at me so, Maleine?
Maleine ! — I have come to pet you a Httle. —
Where is the pain? — You tremble as if you
were going to die; why, you make the very
bed tremble. — I have simply come to pet you
a little. — Do not look at me so. One needs to
be petted at your age ; I will be your poor dear
mamma to you. — Let me arrange your hair. —
Now, then, lift your head a little. I will tie
your hair with this. — Lift your head a little.
So. \_Fasses a cord about Maleine's neck^
MALEINE.
\_Jumping out of ded.~\ Oh ! what have you
put about my neck?
ANNE.
Nothing ! nothing ! It is nothing. Do not
scream !
136
Princess Maleine
MALEINE.
Ah! Ah
!
ANNE.
Stop her !
Stop
her!
KING.
What? What?
ANNE.
She is going to scream ! She is going to
scream !
KING.
I cannot ! . . .
MALEINE.
You are going to ... oh ! you are going
to . . .
ANNE.
{^Seizing Maleine.] No, no !
Maleine.
Mamma ! Mamma I Nurse ! Nurse ! Hjal-
mar I Hjalmar ! Hjalmar !
ANNE.
\_To Ejng.] Where are you?
KING.
Here ! Here \
Princess Maleine.
137
MALEINE.
{Following Anne on her knees.^ Wait ! O !
wait a little ! Anne ! Madam ! King ! King !
King ! Hjalmar ! — Not to-day ! — No, no, not
now ! . . .
ANNE.
Are you going to follow me about the world
on your knees? {JDraws the cord tighter.
MALEINE.
\_Falling in the 7niddle of the chamber.']
Mamma! ... Oh ! Oh ! Oh !
\_The King goes to a seat,
ANNE.
She moves no longer. It is done already. —
Where are you ? Help me. She is not dead. —
Are you sitting?
king.
Yes, yes, yes !
ANNE.
Hold her feet; she is struggling. She is
going to get up.
KING.
What feet? What feet? Where are they?
ANNE.
There! There! There! Pull!
138 Princess Maleine.
KING.
I cannot ! I cannot !
ANNE.
But do not make her suffer needlessly !
{Here the hail beats suddenly against the
windows,
KING.
Oh!
ANNE.
What have you done ?
KING.
The windows ! Some one is knocking at the
windows !
ANNE.
Knocking at the windows?
KING.
Yes, yes ! With fingers — oh ! millions of
fingers ! \Another downpour.
ANNE.
It is hail.
KING.
Hail?
ANNE.
Yes.
KING.
Is it really hail?
Princess Maleine. 139
ANNE.
Yes ; I have seen for myself. — Her eyes are
glazing.
KING.
I want to go ! I am going ! I am going !
ANNE.
What? what? — Wait, wait ! — She is dead.
[Here the wind violently blows open a window,
and a vase on the sill, containing a lily, falls
noisily into the room.]
KING.
Oh, oh ! — and now ! — What is the matter
now?
ANNE.
Nothing ; it is the lily. The lily has fallen.
KING.
Some one opened the window.
ANNE.
It was the wind. [Thunder and lightning.
KING.
Was it really the wind ?
ANNE.
Yes, yes; you hear it well enough. Take
away the other lily. It is going to fall, too.
140 Princess Maleine.
KING.
Where? Where?
ANNE.
There ! There ! In the window. It 's go-
ing to fall ; it is going to fall ! Some one will
hear it.
KING.
[Taking the lily.'] Where must I put it?
Where must I put it?
ANNE.
Where you choose, of course. On the floor ;
on the floor.
KING.
I do not know where ; I do not know
where. ...
ANNE.
Now, do not stand there with the lily in your
hands. It shakes as if it were in the midst of
a storm ! It is going to fall !
KING.
Where must I put it?
ANNE.
Where you choose ; on the floor — any-
where. . . .
KING.
Here?
Princess Maleine. 141
ANNE.
Yes, yes 1 [Maleine moves slightly,
KING.
Oh!
ANNE.
What? What?
KING.
Umitating Maleine's movement.'] She has ! . . .
ANNE.
She is dead ; she is dead. Come here.
KING.
I?
ANNE.
Yes. Her nose is bleeding. — Give me your
handkerchief.
KING.
My ... my handkerchief ?
ANNE.
Yes.
KING.
No, no ! not mine ! not mine !
[Here the Madman appears at the window,
which has remained open, and suddenly
chuckles.]
ANNE.
There is somebody there 1 There is some-
body at the window.
142 Princess Maleine.
KING.
Oh ! Oh ! Oh !
ANNE.
It is the Madman ! He has seen the Hght. —
He will tell all. —Kill him!
[The King runs to window and strikes the
Madman with his sword.]
THE MADMAN.
IFalling^^ Oh! Oh! Oh!
ANNE.
Is he dead ?
KING.
He has fallen ! He has fallen into the moat.
He is drowning ! Hark ! Hark ! . . .
[Sounds of water-splash audible,
ANNE.
Is there any one in the neighborhood?
KING.
He is drowning ; he is drowning ! Listen !
ANNE.
Is there any one in the neighborhood?
\^Thunder and lightning.
KING.
Lightning ! Lightning !
ANNE.
What?
I
Princess Maleine. 143
JONG.
It rains ! it rains ! it hails ! it hails ! It
thunders ! it thunders !
ANNE.
What are you doing there at the window?
KING.
It is raining ! It is raining on me ! — it is
pouring on my head ! I wish I were on the
lawn ! I wish I were out of doors ! it is pouring
on my head ! It would take all the water of
the Flood to baptize me, now ! The whole sky
is shattering hail on my head ! The whole
sky is shattering lightnings on my head !
ANNE.
You are going mad ! You will get struck by
lightning !
KING.
It is hailing; it is hailing upon my head.
The hailstones are like crows' eggs.
ANNE.
You are going mad ! You will get stoned to
death. — You are bleeding already. — Close the
window.
KING.
I am thirsty.
ANNE.
Drink, then. There is some water in this
glass.
144 Princess Maleine.
KING.
Where?
ANNE,
There; it is still half full.
KING.
Did she drink from this glass?
ANNE.
Yes; perhaps.
KING.
Is there no other glass?
[^Empties the glass and rinses it
ANNE.
No, — what are you doing?
KING.
She is dead. \_Strange sounds of rubbing
and a noise of paws against the doorj] Oh !
ANNE.
There is a scratching at the door 1
KING.
They scratch ! they scratch !
ANNE.
Be quiet I
KING.
It is not a hand.
Princess Maleine. 145
ANNE.
I do not know what it is.
KING.
Let us take care ! Oh ! Oh ! Oh !
ANNE.
Hjalmar ! Hjalmar ! What is the matter
with you?
KING.
What? What?
ANNE.
You frighten me ! You are going to fall !
Drink, — drink a little.
KING.
Yes, yes.
ANNE.
Some one is walking in the corridor.
KING.
He will come in.
ANNE.
Who will?
KING.
He — he — who —
[^Afakes a gesture of scratching,
ANNE.
Be quiet. — Some one is singing.
146
Princess Maleine.
VOICES.
[In the corridor.] De profundis clamavi ad
te, Domine : Domine^ exaudi vocem ineam !
ANNE.
It is the seven nuns going to the kitchen.
VOICES.
[In the corridor.] Fiant aures tuce inten-
denies, in vocem deprecationis mece.
[King lets fall the glass and decanter.
ANNE.
What have you done ?
KING.
It is not my fault. . . .
ANNE.
They must have heard the noise. . . . They
will come in. . . .
VOICES.
[Retreating down the corridor.] Si ini-
quitates observaveris, Domine: Domine^ quis
sustinebit ?
ANNE.
They have gone; they are going to the
kitchen.
Princess Maleine. 147
KING.
Let me go too ! Let me go too ! Let me
go with them ! Open the door for me !
[ Goes to the door.
ANNE.
\_Bolding him back.'] What are you about?
Where are you going? Are you mad?
KING.
I wish to go with them ! They are already
on the lawn. . . . They are at the edge of
the pool now. . . . There is a breeze ; it is
raining ; there is water ; there is air ! — Oh !
if you had at least put her to death in the open
air ! But here, in a little room ! — In a poor
little room ! I am going to open the windows.
ANNE.
But it thunders ! Are you going mad ? I
would have done better to come alone. . . .
KING.
Yes ! yes !
ANNE.
You would have washed your hands of it,
would you not? But now . . .
KING.
I did not kill her ! I had no hand in it. It
was you who killed her. 'Twas you; 'twas
you ; 't was you !
148
Princess Maleine.
ANNE.
Well ; well ; be quiet. — We will see after-
wards. Only do not scream so.
KING.
Do not say it was I again, or I will kill you
too. 'T was you! 'T was you!
ANNE.
Oh, do not shout like one possessed ! They
will hear you at the other end of the corridor.
KING.
Have I been heard ? [^Knocking at the door.
ANNE.
Some one is knocking. Do not stir.
\Knocking.
KING.
What is going to happen ? What is going to
happen now?
Put out the light.
[Knocking,
ANNE.
KING.
Oh!
ANNE.
I tell you to put out the light.
KING.
No.
Princess Maleine. 149
ANNE.
I will put it out myself.
[/%^/f the light out Knocking.
NURSE {without),
Maleine ! Maleine !
ANNE.
It is the nurse. . . .
KING.
Oh ! oh ! The nurse, the good, good nurse !
Let me see the nurse ! Let us open the door I
Let us open the door !
ANNE.
Be silent ; for God's sake, be silent.
NURSE {without).
Maleine ! Maleine ! Are you asleep?
KING.
Yes ; yes ; yes ; oh !
ANNE.
Be silent !
NURSE {without.)
Maleine ! — my poor little Maleine ! — You
no longer answer? You no longer wish to
answer me? — She must be in a deep sleep.
fSO
Princess Maleine.
KING.
Oh ! Oh ! — a deep sleep ! [^Knocking.
ANNE.
Be silent !
NURSE {without).
Maleine ! — my poor little Maleine ! I have
brought you some beautiful white grapes and
a little broth. They say you cannot eat ; but
I know you are very weak; I know you are
hungry. — Maleine ! Maleine ! Let me in.
KING.
Oh! Oh! Oh!
ANNE.
Do not weep. She will go . . .
NURSE {without).
Good heavens ! here comes Hjalmar with
little Allan. He will see that I have brought
her some fruit. Let me hide it under my
cloak.
KING.
Hjalmar is coming 1
ANNE.
Yes.
KING.
And little Allan.
Princess Maleine.
151
ANNE.
I know it. Be silent !
HJALMAR {without).
Who 's there ?
NURSE {without).
It is I, my lord.
HJALMAR {without).
Oh ! it is you, nurse. It is so dark in this
corridor ... I did not recognize you. What
are you doing here?
NURSE {without).
I was on my way to the kitchen ; and I saw
the dog in front of the door. . . .
HJALMAR {without).
Oh ! it 's Pluto ! — Here, Pluto !
ANNE.
It was the dog.
KING.
What?
ANNE.
It was the dog that was scratching —
NURSE {without).
He was in Maleine's room. I cannot tell
how he got out. . . .
152 Princess Maleine.
HJALMAR (without).
Is she no longer in her room ?
NURSE (without).
I do not know ; she does not answer.
HJALMAR (without).
She is asleep.
NURSE (without).
He will not get away from the door.
HJALMAR (without).
Leave him alone ; dogs have strange notions.
But what a storm, nurse ! What a storm ! . . .
NURSE (without).
And little Allan not abed yet !
HJALMAR (without).
He is looking for his mother ; he cannot find
his mother.
LriTLE ALLAN (without) .
My ma-a-ma is lost.
HJALMAR (without).
He insists upon seeing her before going to
sleep. He has not had her blessing. You do
not know where she is.
Princess Maleine. 153
NURSE {without).
No.
LITTLE ALLAN {wtthouf).
My ma-a-ma is lost.
HJALMAR {without).
She cannot be found.
LITTLE ALLAN {without) .
My ma-a-ma is lost, lo-ost, lo-ost. Oh!
Oh! Oh!
KING.
Oh!
ANNE.
He is sobbing.
NURSE {without).
Come, do not weep; here is your ball; I
found it in the garden.
LITTLE ALLAN {withoUt) .
Oh! Oh! Oh!
[Muffled strokes against the door.]
KING.
Listen ! listen !
ANNE.
It is little Allan playing ball against the door.
154 Princess Maleine.
KING.
They will come in. — I am going to lock the
door.
ANNE.
It is locked.
KING.
IGoing to the door.'] The bolts ! the bolts !
A2>JNE.
Gently ! Gently 1
HJALMAR {without).
Why is the dog sniffing under the door so?
NURSE {without).
He wants to be let in; he is always with
Maleine.
HJALMAR {without).
Do you think she will be able to go out
to-morrow?
NURSE {without).
Yes, yes. She is cured. — Well, Allan, what
are you doing there? — You have quit play?
You listen at doors? Oh, the naughty little
boy, listening at doors !
LITTLE ALLAN {without) .
There is a little bo-oy behind the door I
Princess Maleine. 155
ANNE.
What does he say?
HJALMAR {without).
You should never listen at doors. Misfor-
tunes come from listening at doors.
LITTLE ALLAN {Wtthout),
There is a little bo-oy behind the door I
ANNE.
He has heard you ! . . ,
KING.
Yes ; yes ; I think he has.
ANNE.
He hears your heart or your teeth.
KING.
Can my teeth be heard ?
ANNE.
I hear them even here. Close your mouth
tightly.
KING.
I?
ANNE.
Now, do not lie down against the door. Go
away.
156 Princess Maleine.
KING.
Where? where?
ANNE.
Here ! here !
LITTLE ALLAN (wtthouf) .
There is a little bo-oy behind the door.
HJALMAR {without).
Come away ; you are sleepy.
NURSE {without).
Come j you are a naughty little boy.
LITTLE ALLAN {without) ,
1 want to see the little bo-oy ! . . .
NURSE {without).
Yes; you shall see him to-morrow. Come,
we are going now to find mamma. Do not
cry. Come !
LITTLE ALLAN (without) .
I want to see the little boy. Oh ! Oh ! 1
will tell my ma-a-ma. Oh ! Oh !
NURSE (without).
And I shall tell mamma you waked Maleine,
Come, Maleine is sick.
Princess Maleinc. 157
LITTLE ALLAN {wtthout),
Ma-a-leine is wo-orse ?
NURSE (without).
Come ; you will wake Maleine.
LITTLE ALLAN (wttkout, tnore distant) .
No ; no ; I won't wake Ma-a-leine. I wo-on't
lea-ke Ma-a-leine !
ANNE.
Have they gone ?
KING.
Yes j yes. Let us go. I am going to open
the door. The key ! The key ! Where is the
key?
ANNE.
Here. — Wait a moment. — Let us carry her
to her bed.
KING.
Who?
ANNE.
She . . .
KING.
I '11 have no more to do with it !
ANNE.
But they will see she was strangled. Help
me I
15? Princess Maleine.
KING.
I '11 have no more to do with it ! Come I
Come ! Come !
ANNE.
Help me to take off the cord 1
KING.
Come ! Come !
ANNE.
I cannot take off the cord ! A knife ! A
knife !
KING.
Oh ! what has she about her neck? What
is it that glitters about her neck ? Come with
me ! Come with me !
ANNE.
It is nothing. It is a necklace of rubies.
Your knife !
KING.
I '11 have no more to do with it ! I '11 have
no more to do with it, I tell you. Were the
dear God on his knees before me ! ... I
would sweep Him out of the way ; I would
sweep Him out of the way ! I '11 have no
more to do with it ! Oh ! here is — here
is . . .
ANNE.
What? What?
Princess Maleine. 159
KING.
Here is ! ... Oh ! Oh ! Oh !
\_Opens the door ^ feeling his way, and flees.
ANNE.
Where is he? ... He has fled. . . . What
did he see? ... I see nothing. ... He has
run against the walls of the corridor. . . . He
has fallen at the end of the corridor. ... I
will not stay here alone. [^Exit.
[Curtain.]
ACT FIFTH.
Scene I. — A pari of the graveyard befori
the castle,
A great crowd. The storm continues,
AN OLD WOMAN.
The lightning has struck the windmilL
ANOTHER WOMAN.
I saw it fall.
A PEASANT.
Yes, yes. A blue ball ! A blue ball !
ANOTHER PEASANT.
The windmill is on fire ; its sails are on fire !
A CHILD.
It is turning. It is turning still !
ALL.
Oh! ,
AN OLD MAN.
Did you ever see a night like this?
1
Princess Maleine. i6i
A PEASANT.
Look at the castle ! the castle I
ANOTHER PEASANT.
Is it on fire ? — Yes.
A THIRD PEASANT.
No, no ; those are green flames ; there are
green flames on the ridges of all the roofs 1
A WOMAN.
I believe the world is coming to an end.
ANOTHER WOMAN.
Let us not stay here in the graveyard !
A PEASANT.
Wait ! Let us wait a little ! They are light-
ing all the windows on the ground-floor.
A BEGGAR.
There is a fete.
ANOTHER BEGGAR.
They are going to eat.
AN OLD MAN.
There is a window on the ground-floor that
has not been lighted.
A SERVANT FROM THE CASTLE.
It is Princess Maleine 's room.
1 62 Princess Maleine.
A PEASANT.
That?
SERVANT.
Yes ; she is ill.
A VAGABOND {entering).
There is a huge man-of-war in the harbor.
ALL.
A huge man-of-war?
VAGABOND.
A huge black vessel; and no sailors to be
seen about it.
AN OLD MAN.
It is the Last Judgment.
\The moon appears above the castle.
ALL.
The moon ! The moon ! The moon !
A PEASANT.
It is black : it is black ! What is the matter
with it?
THE SERVANT.
An eclipse ! An eclipse !
{^Lightning and violent thunder.
ALL.
The lightning has struck the castle.
Princess Maleine. 163
A PEASANT.
Did you see the castle shake ?
ANOTHER PEASANT.
All the towers tottered !
A WOMAN.
The large cross over the chapel moved ! —
... It moves ! It moves !
SEVERAL.
Yes, yes ; it is going to fall ! it is going to
fall!
OTHERS.
It is falling ! it is falling ! with the roof of
the turret !
A PEASANT.
It has fallen into the moat.
AN OLD MAN.
There will be great calamities !
ANOTHER OLD MAN.
It is like a hell about the castle.
A WOMAN.
I tell you it is the Last Judgment.
ANOTHER WOMAN.
Let us not stay in the graveyard.
164 Princess Maleine.
A THIRD WOMAN.
The dead will rise !
A PILGRIM,
I think it is the judgment of the dead !
A WOMAN.
Do not tread on the graves.
ANOTHER WOMAN.
ITo the children?^ Do not tread on the
tombstones 1
A PEASANT.
\Rushing in.'] One of the arches of the
bridge has fallen in.
ALL.
Of the bridge ? What bridge ?
PEASANT.
The stone bridge of the castle. You can no
longer get into the castle.
AN OLD MAN.
I have no desire to get into it.
ANOTHER OLD MAN.
I would not be there ! . . .
AN OLD WOMAN.
Nor I!
Princess Maleine. 165
THE SERVANT.
Look at the swans ! Look at the swans !
ALL.
Where? Where are they?
THE SERVANT.
In the moatj under Princess Maleine's
window !
SEVERAL.
What ails them? Look! What ails them?
OTHERS.
They are flying away ! They are flying away !
They are all flying away !
A PILGRIM.
There is one that does not fly away !
A SECOND PILGRIM.
There is blood on its wings.
A THIRD PILGRIM.
It is floating on its back.
ALL.
It is dead.
A PEASANT.
The window is opening.
THE SERVANT.
It is Princess Maleine's window !
1 66 Princess Maleine.
ANOTHER PEASANT.
There is nobody there. [^A pause,
SOME WOMEN.
It opens !
OTHER WOMEN.
Let us be gone ! Let us be gone !
{They flee, terrified^
THE MEN.
What now? What now?
ALL THE WOMEN.
No one knows. {Exeunt^ running,
SOME MEN.
Why, what can have happened?
OTHER MEN.
Nothing ! nothing ! {Exeunt^ running,
ALL.
But why are you running? There 's nothing
the matter ! Nothing the matter !
{Exeunt, running.
A CRIPPLE.
A window is opening. ... A window is
opening. . . . They are afraid. . . . There 's
nothing the matter !
\Crawls off, terrified, on his hands.
Princess Maleine. 167
Scene II. — A hail in front of the castle
chapel.
A crowd of Lords, Courtiers, Ladies, <?/^.,
in waiting. The storm continues,
A LORD.
\At window."] Have you ever seen such a
night?
ANOTHER LORD.
Oh, look at the firs ! Come and look at the
fir forest from this window. It bends to the
very ground amidst the lightning. — It is like
a river of lightning !
ANOTHER LORD.
And the moon ? Have you seen the moon ?
SECOND LORD.
I never saw moon more fearful.
THIRD LORD.
The eclipse will not end before ten o'clock.
FIRST LORD.
And the clouds. Oh, look at the clouds \
Vou would say they were herds of black ele-
phants ! They have been passing these three
hours over the castle !
SECOND LORD.
They make it tremble from cellar to garret 1
l68 Princess Maleine.
HJALMAR.
What time is it?
FIRST LORD.
Nine o'clock.
HJALMAR.
We have been waiting for the King for more
than an hour !
THIRD LORD.
No one knows yet where he is ?
HJALMAR.
The seven nuns saw him last in the corridor.
SECOND LORD.
About what time ?
HJALMAR.
About seven.
SECOND LORD.
Had he given no indication of . . . ?
HJALMAR.
He said nothing. Something must have
happened. I am going to see. \_ExiL
SECOND LORD.
One knows not what may happen on such
nights.
Princess Maleine. 169
THIRD LORD.
But Queen Anne, where is she ?
FIRST LORD.
She was with him.
THIRD LORD.
Oh! well then!
SECOND LORD.
On such a night !
FIRST LORD.
Beware ! The walls are listening.
Enter Chamberlain.
ALL.
Well?
chamberlain.
No one knows where he is. . , .
A LORD.
Some misfortune must have happened to him.
chamberlain.
We must wait. I have been all over the
castle. I have questioned everybody. No one
knows where he is.
A lord.
\i must be time we were at chapel; listen,
the seven nuns are there already.
[^Distant chanting.
lyo Princess Maleine.
ANOTHER LORD.
[A^ window,'] Come here ! Come here !
Look at the river.
LORDS.
[^Running.'] What is the matter?
A LORD.
There are three ships in the storm !
A MAID OF HONOR.
I dare not look at such a river any longer.
ANOTHER MAID OF HONOR.
Do not lift the curtains ! Do not lift the
curtains !
A LORD.
All the walls shake as though they had the
fever.
ANOTHER LORD.
\_Ai another window.'] Here, here; come
here.
SEVERAL.
What?
OTHERS.
I will not look out any more.
LORD.
All the animals have taken refuge in the
graveyard ! There are peacocks in the cy-
presses. There are owls on the tombstones.
All the sheep of the village are crouching on
the graves.
Princess Malelne. 171
ANOTHER LORD.
You would say it was a festival in Hell !
A MAID OF HONOR.
Draw the curtains ! Draw the curtains !
AN ATTENDANT.
\^Entering.'] One of the towers has fallen
into the pool !
A LORD.
One of the towers ? . , j
ATTENDANT.
The little tower of the chapel.
THE CHAMBERLAIN.
That 's no matter. It was in ruins.
LORD.
One would think himself in the outskirts of
Hell.
THE WOMEN.
My God ! My God ! What will happen?
CHAMBERLAIN.
There 's no danger. The castle would defy
the Flood !
[Here an old Lord opens the window, A
dog howls outside. — Silence]
172 Princess Maleine.
ALL.
What is it?
THE OLD LORD.
A dog howling.
A WOMAN.
Do not open that window again.
Enter Prince Hjalmar.
A LORD.
Prince Hjalmar !
ALL.
You have seen him, my lord ?
HJALMAR.
I have seen nothing !
SEVERAL LORDS.
Why, then ? . . .
HJALMAR.
I know nothing about it.
Enter Angus.
ANGUS.
Open the doors ! The King is coming.
ALL.
You have seen him?
Princess Maleine. 173
ANGUS.
Yes.
HJALMAR.
Where has he been ?
ANGUS.
I do not know.
HJALMAR.
And Queen Anne ?
ANGUS.
She is with him.
HJALMAR.
Did you speak to him ?
ANGUS.
Yes.
HJALMAR.
What did he say?
ANGUS.
He did not answer.
HJALMAR.
You are pale.
ANGUS.
I have been startled.
HJALMAR.
By what?
74
Princess
Maleine
ANGUS.
You will
see!
A LORD.
Open the doors ! I hear him.
ANNE.
[ Without'] Go in, sire.
KING.
\_Wiihoui.'] I am ill. ... I shall not go
in. ... I would rather not go to chapel. . . .
ANNE.
\_Ai the door,] Go in ! Go in !
Enter the King and Queen Anne.
KING.
I am ill. ... Do not mind me.
HJALMAR.
You are ill, father?
KING.
Yes, yes.
HJALMAR.
What ails you ?
KING.
I do not know.
ANNE.
It is this fearful
night !
Princess Maleine. 175
KING.
Ay, a fearful night !
ANNE.
Let us go to prayers.
KING.
But why are you all silent?
HJALMAR.
Father, what is that on your hair?
KING.
On my hair?
HJALMAR.
There is blood upon your hair.
KmG.
Upon my hair? — Oh ! it is my own.
\^Laughter.'] — But why do you laugh? It is
no laughing matter.
ANNE.
He had a fall in the corridor.
[^Knocking at the little door,
A LORD.
Some one is knocking at the little door. . . .
KING.
Ay, there is knocking at all the doors here !
I will have no more knocking at the doors !
76 Princess Maleine.
ANNE.
[To a lord."] Sir, will you go see . . . ?
LORD.
[ Opening the door.'] It is the nurse, madam.
KING.
Who?
LORD.
The nurse, sire.
ANNE.
[Rising.] Wait, it is for me. . . .
HJALMAR.
But let her come in ! let her come in !
Enter Nurse.
NURSE.
I think it is raining into Maleine 's room.
KING.
What?
NURSE.
I think it is raining into Maleine's room.
ANNE.
You must have heard the rain against the
panes.
NURSE.
May I not open the door?
Princess Maleine. I77
ANNE.
No ! no ! She needs rest.
NURSE.
May I not go in?
ANNE.
No ; no ; no !
KING.
No ; no ; no !
NURSE.
You would say the King had fallen in the
snow.
KING.
What?
ANNE.
Now, what are you doing here ? Begone !
begone ! [^Exii Nurse.
HJALMAR.
She is right. Your hair seems to be all
white. Is it an effect of light?
ANNE.
Yes, there is too much light.
KING.
But why do you all look at me so ? — Have
you never seen me before ?
lyS
Princess Maleine.
ANNE.
Come ; let us go into the chapel ; the office
will be finished. Come, come.
KING.
No, no, I would rather not pray to-night.
HJALMAR.
Not pray, father?
KING.
Yes, yes ; but not in the chapel. .
not feel well . . . not at all well.
I do
ANNE.
Sit down awhile, my lord.
HJALMAR.
Father, what is the matter?
ANNE.
Cease, cease ; question him no further ; he
was taken unawares by the storm ; let him
have time to collect himself a Httle. — Let us
speak of something else.
HJALMAR.
Shall we not see Princess Uglyane to-night ?
ANNE.
No, not to-night ; she is still sick.
Princess Maleine. 179
KING.
J[T(? HjALMAR.] I would like to be in your
place.
HJALMAR.
One would think we too were ill ? It seems
to me we all look green to-night.
KING.
What do you mean ?
HJALMAR.
What, father?
KING.
What do you mean? You had better speak
out frankly?
ANNE.
You did not understand. — You were ab-
sorbed. — I was saying that Uglyane is still
ailing, though she is better.
ANGUS.
And Princess Maleine, Hjalraar?
HJALMAR.
You will see her here before the end of . . .
[Here the small door which the Nurse had
left ajar begins to bang in the wind. The
lights flicker]
KING.
[/Rising.'] Oh !
i8o Princess Maleine.
ANNE.
Be seated ! be seated ! It is the door bang-
ing. Be seated ; it is nothing.
HJALMAR.
Father, what is the matter to-night ?
ANNE.
Do not persist; he is ill. \_To a lord.'\
Would you go and close the door?
KING.
Oh, close well the doors ! — But why do you
walk on tiptoe so ?
HJALMAR.
Is there a corpse in the hall?
KING.
What? What?
HJALMAR.
He looks as if he were walking round a bier.
KING.
Why do you speak only of fearsome things
to-night?
HJALMAR.
But, father ! . . .
ANNE.
Let us talk of something else. Is there not
some more cheerful subject?
Princess Maleine. i8i
A MAID OF HONOR.
Let us speak a little of Princess Maleine. . . .
KING.
[i?m«^.] Can it be that ? Can it be . . . ?
ANNE.
Be seated ; be seated !
KING.
But do not speak of Pr . . •
ANNE.
Why should we not speak of Princess Ma-
leine ? — It seems to me the lights bum badly
to-night.
HJALMAR.
The wind has blown out several of them !
KING.
Light them all. Yes, light them all. \_Lamps
are relighted.'] It is too light now I Do you
see me?
HJALMAR.
But, father ! . . .
KING.
But why do you all look at me?
ANNE.
Put out the lights. His eyes are very weak.
[ One of the Lords rises to leave the room.
k
1 82 Princess Maleine.
KING.
Where are you going?
LORD.
Sire, I . . .
KING.
You must remain ; you must remain here.
I allow no one to leave the hall. You must
remain about me.
ANNE.
Be seated; be seated. You cast a gloom
over everybody.
KING.
Is any one touching the tapestries?
HJALMAR.
Why, no, father !
KING.
There is one piece that . . .
HJALMAR.
It is the wind.
KING.
Why has that tapestry been hung there ?
HJALMAR.
Why, it has always been there ; it is the
" Slaughter of the Innocents."
Princess Maleine. i8j
KING.
I don't want to see it there ! I don't want
to see it there ! Take it away !
[The tapestry is pulled aside, and another
appears, depicting " The Last Judgment."]
KING.
This has been done purposely !
HJALMAR.
Pray you, father?
KING.
Oh, avow it. You have done it purposely,
and I know right well what you mean.
A MAID OF HONOR.
What says the King?
ANNE.
Do not mind him ; he has been terrified by
this awful night I
HJALMAR.
Father! my poor father ! what is it ails you?
A MAID OF HONOR.
Sire, will you have a glass of water?
KING.
Yes, yes. — Oh ! no ! no ! — Indeed, all I do,
all I do . . .
184 Princess Maleine.
HJALMAR.
My father ! Sire . . .
A MAID OF HONOR.
The King is distracted.
HJALMAR.
My father !
• •
ANNE.
Sire, your son speaks to you.
HJALMAR.
Father, why do you keep turning your head ?
KING.
Wait a little ! Wait a little !
HJALMAR.
But why do you turn your head?
KING.
I felt something on my neck . .
ANNE.
Come, come, do not be afraid of everything.
HJALMAR.
There is no one behind you.
Princess Maleine. 183
ANNE.
Say no more ... say no more. Let us go
into the chapel. Do you hear the nuns ?
[Muffled distant chanting. Queen Anne goes
to the chapel door. The King follows her
and then returns to his seat.]
KING.
No ; no ! Do not open the doors yet !
ANNE.
Are you afraid to enter? — Why, there is no
more danger there than here. Why should the
lightning strike the chapel rather than else-
where ? Let us go in.
KING.
Let us wait a little longer. Let us stay here
together. — Do you think God forgives every-
thing ? I have always loved you so far. — I
have never done you harm — so far — so far,
have I?
ANNE.
Come, come, no one questions that. — It
seems the storm has caused great damage.
ANGUS.
They say the swans have flown away.
HJALMAR.
There is one that is dead.
86 Princess Maleine.
KING.
\_Startkd.'] Well, well, say it, if you know
it ! You have made me suffer enough already !
Out with it all, at once. But do not come here
and . . .
ANNE.
Be seated ! be seated, pray !
HJALMAR.
Father ! Father ! What has happened ?
KING.
Let us go in !
[Lightning and thunder ; one of the Seven
Nuns throws the chapel door open out-
wards, and looks into the hall. The others
are heard singing the litanies of the Blessed
Virgin — "Rosa mystica, — ora pro nobis.
— Turris davidica, etc., while a great red
light from the stained-glass windows and
the illumined tabernacle suddenly floods the
King and Queen Anne.]
KING.
Who arranged all this?
ALL.
What? What? What is the matter?
KING.
There is some one who knows all ! There is
some one here who has arranged all this ; but
I must know —
Princess Maleine. 187
ANNE.
\Tearing him away ^ Come away ! Come
away !
KING.
There is some one who saw it 1
ANNE.
Why, it is the moon. . . . Come away.
KING.
But it is damnable cowardice ! There is
some one who knows all ! There is some one
who saw it, and who dares not say so !
ANNE.
Why, it is the tabernacle ! ... Let us be
gone ! . . .
KING.
Yes 1 Yes I Yes !
ANNE.
Come away ! Come away !
\_Exit hurriedly through the door opposite
the chapel, with the King.
SEVERAL.
Where are they going?
OTHERS.
What is the matter?
1 88 Princess Maleine.
A LORD.
All the fir-woods are on fire !
ANGUS.
Misfortunes walk to-night. \_Exeunt,
Scene III. — A corridor in the castle.
The black dog scratching at a door. Enter
Nurse, bearing a light.
NURSE.
That dog is still at Maleine's door ! — Pluto !
Pluto ! What are you doing there ? — Whatever
can he mean by scratching at that door ? — You
will wake my poor Maleine ! Away ! Away !
Away ! \_Stamps her foot.'] Good heavens,
how scared he looks ! Can it be that some
accident has happened? Has any one trod on
your paw, my poor Pluto ! Come here, let us
go to the kitchen ! \_Dog returns to the door.]
Again at that door ! Again at that door ! But
what is the matter, then, behind that door?
Do you want to be near Maleine ? — She is
asleep ; I hear nothing ! Come ! Come ! You
will wake her.
Enter Prince Hjalmar.
HJALMAR.
Who goes there?
Princess Maleine. 189
NURSE.
It is I, my lord.
HJALMAR.
Oh ! it is you, nurse ? Here still ?
NURSE.
I was going to the kitchen, and I noticed the
black dog scratching at that door.
HJALMAR.
At that door again ? Here, Pluto ! Here
Pluto !
NURSE.
Is the office finished?
HJALMAR.
Yes ... my father was very strange to-night.
NURSE.
And the Queen in a bad humor ! . . .
HJALMAR.
I believe he has the fever ; we must watch
over him. Great evils might come to pass. . . .
NURSE.
Indeed, evils are not asleep.
HJALMAR.
I do not know what is happening to-night !
It is not well — what is happening to-night.
He is scratching at that door again ! . . .
190
Princess Maleine.
NURSE.
Here, Pluto ! Give me your paw !
HJALMAR.
I am going to the garden for awhile.
NURSE.
Has it stopped raining ?
HJALMAR.
I think not.
NURSE.
He is scratching at that door again ! Here,
Pluto 1 Come here ! Sit up, Pluto, sit up !
[The dog barks.]
HJALMAR.
Don't bark now. ... I will lead him away.
He will end by waking Maleine. Come, Pluto !
Pluto ! Pluto !
NURSE.
He is back again at the door.
HJALMAR.
He will not leave that door?
NURSE.
But what is there, then, behind the door?
Princess Maleine. 191
HJALMAR.
He must go away. Go away ! Go away !
[Kicks the dog, who howls, but returns tc
scratch at the door.]
NURSE.
He is scratching, scratching and sniffing.
HJALMAR.
He smells something under the door.
NURSE.
There must be something. . . .
HJALMAR.
Go and look. . . .
NURSE.
The room is locked ; I have not the key.
HJALMAR.
Who has the key?
NURSE.
Queen Anne.
HJALMAR.
Why does she have the key?
NURSE.
I know nothing about it.
HJALMAR.
Knock gently.
192 Princess Maleine,
NURSE.
I shall wake her.
HJALMAR.
Let us listen !
NURSE.
I hear nothing.
HJALMAR.
Knock softly. \_She knocks gently three
times.
NURSE.
I hear nothing.
HJALMAR.
Knock a little louder.
[As she knocks the last time, the tocsin
sounds suddenly as though it were being
rung within the chamber.]
NURSE.
Ah!
HJALMAR.
The bells ! The tocsin 1
NURSE.
The window must be open,
HJALMAR.
Yes, yes, go in !
NURSE.
The door is open !
}
Princess Ma
ileine.
"^92
HJALMAR.
Was it locked ?
NURSE.
It was
locked just now !
HJALMAR.
Go in
.
[Nurse
enfers the chamber.
f- •>
Nurse.
[ Coming out of ike chamber. '\ My light was
blown out as I opened the door. . . . But I
saw something ....
HJALMAR,
What? What?
NURSE.
I do not know. The window is open. —
I think she has fallen . . .
Maleine ?
HJALMAR.
NURSE.
Yes. — Quick !
quick !
What?
HJALMAR.
A light !
NURSE.
I have none.
HJALMAR.
194
Princess Maleine.
NURSE.
There is a lamp at the end of the corridor.
Go fetch it !
HJALMAR.
I will. {^Exit
NURSE.
\Jn the doorway.'] Maleine ! Where are
you, Maleine ? Maleine ! Maleine ! Maleine !
Re-enter Hjalmar.
HJALMAR.
I cannot unfasten it. Where is your lamp ?
I will go light it from the other. \Exit.
nurse.
Yes. — Maleine ! Maleine ! Maleine ! Are
you ill? It is I! My God! My God!
Maleine 1 Maleine ! Maleine !
Re-enter Hjalmar with the light,
HJALMAR.
Go in!
\_Hands light to Nurse, who re-enters the room,
NURSE.
\From within the room.] Ah !
HJALMAR.
[/« the doorway^ What now? What now?
What is the matter?
Princess Maleine. 195
NURSE.
She is dead ! I tell you, she is dead ! She
is dead ! she is dead !
HJALMAR.
She is dead ? Maleine dead I
NURSE.
Yes ! yes ! yes ! yes ! yes ! Come in ! come
in ! come in !
HJALMAR.
[^Entering chamber.'] Dead ? Is she dead ?
NURSE.
Maleine ! Maleine ! Maleine She is cold !
I believe she is cold !
HJALMAR.
She is cold.
NURSE.
Oh ! Oh ! Oh ! [ Wind bangs and closes
the door.
Scene IV. — Princess Maleine's chamber.
HjALMAR and Nurse. During the whole of this
scene the tocsin is heard sounding without,
NURSE.
Help me ! Help me !
HJALMAR.
What? How? How?
196 Princess Maleine.
NURSE.
She is stiff. My God ! My God ! Maleine !
Maleine !
HJALMAR.
But her eyes are open ! . . . .
NURSE.
She has been strangled! Her neck, her
neck, her neck ! See !
HJALMAR.
Yes ! yes ! yes !
NURSE.
Call! Call! Shout!
HJALMAR.
Yes, yes, yes. Oh ! Oh ! — {^Exit With-
outr\ Hurry I hurry ! Strangled ! Strangled !
Maleine ! Maleine ! Maleine ! Strangled ! Stran-
gled I Strangled I Oh 1 Oh ! Oh ! Strangled !
Strangled ! Strangled !
[He is heard rushing down the corridor, beat-
ing the doors and the walls]
A MAN-SERVANT.
\Tn the corridor.'] What's happened?
What's happened? What's happened?
HJALMAR.
[/« the corridor.'] Strangled ! Strangled !
t
Princess Maleine. 197
NURSE.
Maleine ! Maleine ! Help ! Help !
MAN-SERVANT.
\_Entering.'] It was the madman ! He has
been found under the window !
NURSE.
The madman !
MAN-SERVANT.
Yes ! yes ! He is in the moat ! He is
dead !
NURSE.
The window is open !
MAN-SERVANT.
Oh ! poor little Princess !
Enter Angus, Lords, Ladies, Maids, Servants,
and the Seven Nuns, with lights,
ALL.
What is it ? — What has happened ?
MAN-SERVANT.
Some one has killed the little Princess ....
SEVERAL.
Some one has killed the little Princess ? . . .
OTHERS.
Maleine ?
198 Princess Maleinc.
MAN-SERVANT.
Yes, I think it was the madman.
A LORD.
I told you misfortunes were coming !
NURSE.
Maleine I Maleine ! My poor httle Maleine !
. . . Help me.
A NUN.
There 's nothing to be done !
ANOTHER NUN.
She is cold !
THIRD NUN.
She is rigid !
FOURTH NUN.
Close her eyes.
FIFTH NUN.
They are set.
SIXTH NUN.
Her hands must be folded.
SEVENTH NUN.
It is too late.
A LADY.
IFainHng.'] Oh! Oh! Oh!
NURSE.
Help me to lift Maleine 1 Help me ! My
God ! My God 1 Help me !
Princess Maleine. 199
MAN-SERVANT.
She weighs no more than a bird.
[A great outcry in the corridor )
KING.
[Wi/houf.'] Ah! Ah! Ah! Ah! Ah!
They have seen it ! They have seen it ! I am
coming ! I 'm coming ! I 'm coming !
ANNE.
[ Without.'] Stop ! Stop ! You are mad !
KING.
Come along ! Come along ! With me !
With me ! \_Enter King, dragging Queen Anne
along.'] She and I ! I would rather out with
it, at last. We did it, between us 1
ANNE.
He has gone mad 1 Help me.
king.
No, I am not mad. She killed Maleine 1
ANNE.
He is mad. Take him away ! He is hurt-
ing me ! Some dreadful thing will happen.
king.
It was she ! It was she ! And I ! I ! I !
I was here, too.
200 Princess Maleine.
HJALMAR.
What? What?
KING.
She strangled her. " So ! So ! Look ! look !
look ! Some one was knocking at the windows !
Ah ! ah ! ah ! ah ! ah ! I see her red cloak
there, over Maleine ! Look ! look ! look !
HJALMAR.
[To Queen Anne.] How came that red
cloak here?
ANNE.
But what has happened ?
HJALMAR.
How came that cloak here ?
ANNE.
But you can see he is mad.
HJALMAR.
Answer me I how came it here ?
ANNE.
Is it mine?
HJALMAR.
Ay, yours ! yours ! yours I yours !
ANNE.
Oh, let me go ! You hurt me.
Princess Malelne. 201
HJALMAR.
How came it here! how? how? — You
have . . .
ANNE.
Well? Well?
HJALMAR.
Oh, you whore ! whore ! whore ! monstr —
monstrous whore ! . . There ! There ! There !
There ! There ! [Stabs her repeatedly.
ANNE.
Oh! Oh! Oh! {She dies,
SEVERAL.
He has stabbed the Queen !
OTHERS.
Seize him !
HJALMAR.
You will poison the crows and the worms !
ALL.
She is dead ! . . .
ANGUS.
Hjalmar ! Hjalmar !
HJALMAR.
Leave me, leave me ! — So ! So ! So !
\Stabbi7ig himself?^ Maleine ! Maleine 1 Ma-
leine ! — Oh, father ! father ! . . . \Falls,
KING.
Oh 1 oh ! oh !
202 Princess Malelne.
HJALMAR.
Maleine ! Maleine ! Give me her little
hand. — Oh ! Oh ! Open the windows ! Yes,
yes! Oh! Oh! {He dies.
NURSE.
A handkerchief 1 A handkerchief ! He will
die!
ANGUS.
He is dead.
NURSE.
Raise him. The blood is choking him.
A LORD.
He is dead.
KING.
Oh ! Oh ! Oh ! I had never wept since
the Flood. But now I am in hell up to the
eyes. — Oh ! look, look, at their eyes. They
will leap out upon me like frogs !
ANGUS.
He is mad.
KING.
No, no, but I have lost all courage ! . . . Oh,
it is enough to draw tears from the pavements
of hell !
ANGUS.
Take him away ; he can no longer bear the
sight of it.
Princess Maleine. 2oj
KING.
No, no. Let me remain. I dare not be left
alone any more. Where now is the fair Queen
Anne ? Anne ! . . . Anne ! . . . She is all dis-
torted. . . I do not love her at all any more.
. . . My God ! How miserable one looks
when dead ! I would not kiss her any more
now. . . . Put something over her. . . .
NURSE.
And over Maleine, too. . . . Maleine ! Ma-
leine 1 ... Oh ! Oh ! Oh 1
KING.
I shall never kiss anybody again, in all my
life, since I have seen all this. Where now is
our poor little Maleine? \_Takes Maleine's
hand.'\ — Oh ! She is cold as an earth-worm. —
She came down like an angel into my arms.
. . . But *t was the wind that killed her !
ANGUS.
Let us take him away ; for God's sake, let uj
take him away.
NURSE.
Yes ! yes !
A LORD.
Let us wait a moment.
204 Princess Maleine.
KING.
Have you any black feathers? We should
have black feathers to know if the Queen still
lives. . . . She was a beautiful woman, do you
know ? — Do you hear my teeth ?
[The dawn comes into the room.]
ALL.
What?
KING.
Do you hear my teeth?
NURSE.
It is the bells, my lord. . . .
KING.
No ; it is my heart, then ! Oh ! I loved
them dearly, all three, you see ! I should like
to drink a little.
NURSE.
{Bringing a glass of water."] Here is some
water I
KING.
Thank you. {Drinks eagerly..
NURSE.
Do not drink so. . . . You are in a sweat.
KING.
I am so thirsty.
Princess Maleine. 205
NURSE.
Come away, my poor lord ! Let me wipe
your forehead.
KING.
Yes ! — Aie ! You have hurt me. I fell in
the corridor. ... I was frightened.
NURSE.
Come away, come away. Let us go.
KING.
They will feel cold on the flag-stones ! . . .
She cried out ; " Mamma ! " and then, " Oh !
Oh! Oh!" 'Tis pity, is it not? A poor
little maid ! But 't was the wind ! Oh ! never
throw the windows open ! It must have been
the wind. . . . There were blind vultures in
the wind to-night ! — Do not let her little
hands hang loose upon the floor. You are
nearly treading on her hands. — Oh ! Oh !
Take care !
NURSE.
Come away ; come away. Let every one go
to bed. It is time. Come, come.
KING.
Yes, yes, yes, it is too hot here. . . . Put
out the lights, and let us go into the garden ;
it will be cool on the lawn after the rain. I
want a little rest. Oh ! look, the sun !
[The sunlight enters the room]
2o6 Princess Maleine.
NURSE.
Come away ; come away ; let us go into the
garden.
KING.
But you must lock up little Allan ! I will not
have him come and frighten me again !
NURSE.
Yes, yes, we shall lock him up. Come away ;
come away.
KING.
Have you the key?
NURSE.
Yes; come.
KING.
Yes ; help me. I find it a little hard to walk.
... I am a poor little old man. My legs no
longer work ; but my head is all right. [^Lean-
ing on the Nurse.] Am I not hurting you ?
NURSE.
No, no j lean firmly.
KING.
You must not be angry with me, must you ?
I who am the oldest, I find it hard to die.
There, there ! now it 's over. I am glad it is
over ; for I had the whole world on my heart.
Princess Maleine. 207
NURSE.
Come away, my poor lord.
KING.
My God ! My God ! She is waiting novr
on the wharves of hell.
NURSE.
Come away ! Come away !
KING.
Is there any one here that fears the curse oi
the dead?
ANGUS.
Ay, my lord, I do.
KING.
Well ! close their eyes, then, and let us be
gone.
NURSE.
Yes, yes. Come hence ! Come hence !
KING.
I come ; I come. Oh ! Oh ! how lone 1
shall be now ! I stand in woe up to my
ears. At seventy-seven years ! Where are
you now?
NURSE.
Here ! Here !
2o8 Princess Maleine.
KING.
You will not be angry with me ? — Let us go
to breakfast. Will there be salad for breakfast ?
I should like a little salad. . . .
NURSE.
Yes ; yes. There will be some.
KING.
I do not know why ; I am a little sad to-day.
— My God ! My God ! How unhappy the
dead look ! \_Exit with Nurse.
ANGUS.
Another night like this, and all our heads will
be white.
[Exeunt all, except the Seven Nuns, who intone
the Miserere, while carrying the corpses to
the bed. The bells cease. Nightingales
are heard without. A cock jumps on the
window-sill and crows.]
[Curtain.]
I
The Intruder.
To Edmond Picard^
Persons.
The Grandfather. {He is blind.)
The Father.
The Uncle.
The Three Daughters.
The Sister of Charity.
The Maid-servant.
The jcem in modern times.
The Intruder.
[A gloomy room in an old chateau. A door
on the right, a door on the left, and a small
secret door in one corner. At the back„
stained-glass windows, in which green is the
dominant color, and a glass door opening
upon a terrace. A big Dutch clock in a
corner. A lighted lamp.]
THE THREE DAUGHTERS.
Come here, grandfather. Sit under the
lamp.
THE GRANDFATHER.
It seems to me it is not very light here.
THE FATHER.
Shall we go out on the terrace, or shall we
stay in the room ?
THE UNCLE.
Would n't it be better to stay here ? It has
rained all the week, and the nights are damp
and cold.
THE ELDEST DAUGHTER.
The stars are out, though.
i2i4 The Intruder.
THE UNCLE.
Oh, the stars — that makes no difference.
THE GRANDFATHER.
We had better stay here. You don't know
what may happen.
THE FATHER.
We need have no more anxiety. She is out
of danger. . . .
THE GRANDFATHER.
I believe she is not doing well.
THE FATHER.
Why do you say that?
THE GRANDFATHER.
I have heard her voice.
THE FATHER.
But since the doctors assure us that we may
be easy. . . .
THE UNCLE.
You know quite well your father-in-law likes
to alarm us needlessly.
THE GRANDFATHER.
I do not see things as you do.
The Intruder. 215^
THE UNCLE.
Then you should trust to us, who do see.
She was looking very well this afternoon. She
is sleeping quietly now ; and we are not going
needlessly to poison the first pleasant evening
fortune gives us. . . . It seems to me we have
a right to rest, and even to laugh a Httle, with-
out being afraid, this evening.
THE FATHER.
That is true ; this is the first time I have felt
at home, as if I were in my own household,
since this terrible child-birth.
THE UNCLE.
Once sickness enters a house, it is as if there
were a stranger in the family.
THE FATHER.
And then, you see, too, outside the family,
you can count on no one.
THE UNCLE.
You are quite right.
THE GRANDFATHER.
Why couldn't I see my poor daughter
to-day ?
THE UNCLE.
You know very well that the doctor forbade it
ii6 The Intruder.
THE GRANDFATHER.
I do not know what to think.
THE UNCLE.
It is useless to alarm yourself.
THE GRANDFATHER.
[Pointing to the door on the left.'] She can-
not hear us ?
THE FATHER.
We will not speak loudly enough; besides,
the door is very thick, and then the Sister of
Charity is with her, and will warn us if we are
making too much noise.
THE GRANDFATHER.
\_Pointing to the door on the right."] He can-
not hear us ?
THE FATHER.
No, no.
THE GRANDFATHER.
He sleeps?
THE FATHER.
I suppose SO.
THE GRANDFATHER.
We ought to go and see.
The Intruder. 217
THE UNCLE.
He would give me more anxiety than your
wife, this Httle fellow. It is several weeks since
he was bom, and he has hardly moved ; he has
not uttered a single cry yet ; you would say he
was a wax baby.
THE GRANDFATHER.
I believe he will be deaf, and perhaps
dumb. . . . That is what comes of marrying
cousins. . . . \Reproachful silence,
THE FATHER.
I am almost angry with him for the suffering
he has caused his mother.
THE UNCLE.
You must be reasonable ; it is not the poor
little fellow's fault. — He is all alone in that
room?
THE FATHER.
Yes ; the doctor no longer allows him to
remain in his mother's room.
THE UNCLE.
But the nurse is with him ?
THE FATHER.
No; she has gone to rest a moment; she
has well earned it these last few days. — Ursula,
just run and see if he is asleep.
21 8 The Intruder.
THE ELDEST DAUGHTER.
Yes, father.
[The three sisters get up, and go into th«
room on the right, hand in hancT]
THE FATHER.
At what time is our sister coming ?
THE UNCLE.
About nine o'clock, I believe.
THE FATHER.
It is after nine. I would have liked her to
come this evening ; my wife was quite bent on
seeing her.
THE UNCLE.
She is sure to come. Is it the first time she
has ever come here ?
THE FATHER.
She has never entered the house.
THE UNCLE.
It is very difficult for her to leave her
convent.
THE FATHER.
She will be alone ?
THE UNCLE.
I think one of the nuns will accompany her.
They cannot go out alone.
I
The Intruder. 219
THE FATHER.
She is the Superior, though.
THE UNCLE.
The rule is the same for all.
THE GRANDFATHER.
You are no longer anxious?
THE UNCLE.
Why should we be anxious? There is no
need to keep returning to that? There is
nothing more to fear.
THE GRANDFATHER.
Your sister is older than you ?
THE UNCLE.
She is the eldest of us all.
THE GRANDFATHER.
I do not know what ails me ; I feel uneasy.
I wish your sister were here.
THE UNCLE.
She will come ; she promised to.
THE GRANDFATHER.
I wish this evening were over !
[The Three Daughters come in again.]
.<^
220 The Intruder.
THE FATHER.
He sleeps?
THE ELDEST DAUGHTER.
Yes, father ; very soundly.
THE UNCLE.
What shall we do while we are waiting?
THE GRANDFATHER.
Waiting for what ?
THE UNCLE.
Waiting for our sister.
THE FATHER.
You see nothing coming, Ursula ?
THE ELDEST DAUGHTER.
[^/ the window.'\ No, father.
THE FATHER.
And in the avenue ? — You see the avenue ?
THE DAUGHTER.
Yes, father; it is moonlight, and I see the
avenue as far as the cypress wood.
THE GRANDFATHER.
And you see no one, Ursula ?
THE DAUGHTER.
No one, grandfather.
The Intruder. 221
THE UNCLE.
How is the weather ?
THE DAUGHTER.
Very fine. Do you hear the nightingales?
THE UNCLE.
Yes, yes !
THE DAUGHTER.
A little wind is rising in the avenue.
THE GRANDFATHER.
A little wind in the avenue, Ursula?
THE DAUGHTER.
Yes ; the trees are stirring a little.
THE UNCLE.
It is surprising that my sister should not be
here yet.
THE GRANDFATHER.
I do not hear the nightingales any longer,
Ursula.
THE DAUGHTER.
I believe some one has come into the garden,
grandfather.
THE GRANDFATHER.
Who is it ?
222 The Intruder.
THE DAUGHTER.
I do not know ; I see no one.
THE UNCLE.
Because there is no one there.
THE DAUGHTER.
There must be some one in the garden ; the
nightingales are silent all at once.
THE GRANDFATHER.
I hear no footsteps, though.
THE DAUGHTER.
It must be that some one is passing near the
pond, for the swans are frightened.
ANOTHER DAUGHTER.
/ All the fish of the pond are rising suddenly.
THE FATHER.
You see no one?
THE DAUGHTER.
No one, father.
THE FATHER.
But yet the pond is in the moonlight. . . .
THE DAUGHTER.
Yes ; I can see that the swans are frightened.
I
The Intruder.
THE UNCLE.
223
I am sure it is my sister that frightens them.
She must have come in by the httle gate.
THE FATHER.
I cannot understand why the dogs do not
bark.
THE DAUGHTER.
I see the watch- dog in the back of his
kennel. — The swans are crossing to the other
bank ! . . ,
THE UNCLE.
They are afraid of my sister. I will go and
see. \_He calls. ~\ Sister! sister! Is it you?
— There is no one there.
THE DAUGHTER.
I am sure that some one has come into the
garden. You will see.
THE UNCLE.
But she would answer me.
THE GRANDFATHER.
Are not the nightingales beginning to sing
again, Ursula?
THE DAUGHTER.
I no longer hear a single one in all the fields.
224 The Intruder.
THE GRANDFATHER.
And yet there is no noise.
THE FATHER.
There is a stillness of death.
THE GRANDFATHER.
It must be some stranger that frightens them,
for if it were one of the household, they would
not be silent.
THE DAUGHTER.
There is one on the big weeping willow. — It
has flown away ! . . .
THE UNCLE.
Are you going to talk about nightingales all
night ?
THE GRANDFATHER.
Are all the windows open, Ursula?
THE DAUGHTER.
The glass door is open, grandfather.
THE GRANDFATHER.
It seems to me that the cold comes into the
room.
THE DAUGHTER.
There is a Httle wind in the garden, grand-
father, and the rose leaves are falling.
%
The Intruder. 225
THE FATHER.
Well, shut the door, Ursula. It is late.
THE DAUGHTER.
Yes, father. — I cannot shut the door, father.
THE TWO OTHER DAUGHTERS.
We cannot shut the door.
THE GRANDFATHER.
Why, children, what is the matter with the
door?
THE UNCLE.
You need not say that in such an extraor-
dinary voice. I will go and help them.
THE ELDEST DAUGHTER.
We do not quite succeed in closing it.
THE UNCLE.
It is because of the damp. Let us all push
together. . . . There must be something be-
tween the doors.
THE FATHER.
The carpenter will set it right to-morrow.
THE GRANDFATHER.
Is the carpenter coming to-morrow?
226 The Intruder.
THE DAUGHTER.
Yes, grandfather; he is coming to work in
the cellar.
THE GRANDFATHER.
He will make a noise in the house ! . . .
THE DAUGHTER.
I will tell him to work quietly.
[All at once the sound of the sharpening of a
scythe is heard outside.]
THE GRANDFATHER.
ISfarfk^.^ Oh !
THE UNCLE.
Ursula, what is that ?
THE DAUGHTER.
I don't quite know; I think it is the gar-
dener. I cannot see very well ; he is in the
shadow of the house.
THE FATHER.
It is the gardener going to mow.
THE UNCLE.
He mows by night?
THE FATHER.
Is not to-morrow Sunday ? — Yes. — I noticed
that the grass was very high about the house.
The Intruder. 227
THE GRANDFATHER.
It seems to me his scythe makes as much
noise —
THE DAUGHTER.
He is mowing near the house.
THE GRANDFATHER.
Can you see him, Ursula ?
THE DAUGHTER.
No, grandfather ; he is in the dark.
THE GRANDFATHER.
It seems to me his scythe makes as much
noise —
THE DAUGHTER.
That is because you have a very sensitive ear,
grandfather.
THE GRANDFATHER.
I am afraid he will wake my daughter.
THE UNCLE.
We hardly hear him.
THE GRANDFATHER.
I hear him as if he were mowing in the house.
THE UNCLE.
She will not hear it ; there is no danger.
228 The Intruder.
THE FATHER.
It seems to me the lamp is not burning well
this evening.
THE UNCLE.
It wants filling.
THE FATHER.
I saw it filled this morning. It has burnt
badly ever since the window was shut.
THE UNCLE.
I think the chimney is dim.
THE FATHER.
It will bum better soon.
THE DAUGHTER.
Grandfather is asleep. He has not slept
before for three nights.
THE FATHER.
He has been very worried.
THE UNCLE.
He always worries too much. There are
times when he will not listen to reason.
THE FATHER.
It is quite excusable at his age.
THE UNCLE.
God knows what we shall be like at his age !
The Intruder. 229
THE FATHER.
He is nearly eighty years old.
THE UNCLE.
Well, then, he has a right to be strange.
THE FATHER.
Perhaps we shall be stranger than he is.
THE UNCLE.
One does not know what may happen. He
is odd sometimes.
THE FATHER.
He is like all the blind.
THE UNCLE.
They reflect too much.
THE FATHER.
They have too much time to spare.
THE UNCLE.
They have nothing else to do.
THE FATHER.
And, besides, they have no amusements*
THE UNCLE.
That must be terrible.
230 The Intruder.
THE FATHER.
It seems they get used to it.
THE UNCLE.
I cannot imagine that.
THE FATHER.
They are certainly to be pitied.
THE UNCLE.
Not to know where one is, not to know
whence one has come, not to know whither
one is going, no longer to distinguish midday
from midnight, nor summer from winter. . . .
And always that darkness, that darkness ! . . .
I would rather not live. ... Is it absolutely
incurable ?
THE FATHER.
It appears so.
THE UNCLE.
But he is not absolutely blind ?
THE FATHER.
He can distinguish a strong light.
THE UNCLE.
Let us take care of our poor eyes.
THE FATHER.
He often has strange ideas.
The Intruder. 231
THE UNCLE.
There are times when he is not amusing.
THE FATHER.
He says absolutely everything he thinks.
THE UNCLE.
But formerly he was not like this?
THE FATHER.
No ; formerly he was as rational as we are ;
he never said anything extraordmary. It is
true, Ursula encourages him a little too much ;
she answers all his questions —
THE UNCLE. W^_t
It would be better not to answer. It 's a I ^^
mistaken kindness to him. [7>« o'clock strikes, \
THE GRANDFATHER.
[ Waking up.'] Am I facing the glass door ?
THE DAUGHTER.
You have had a good sleep, grandfather?
THE GRANDFATHER.
Am I facing the glass door?
THE DAUGHTER.
Yes, grandfather.
232 The Intruder.
THE GRANDFATHER.
There is no one at the glass door?
THE DAUGHTER.
No, grandfather ; I see no one.
THE GRANDFATHER.
I thought some one was waiting. No one
has come, Ursula ?
THE DAUGHTER.
No one, grandfather.
THE GRANDFATHER.
[TJ? the Uncle and Father.] And your
sister has not come?
THE uncle.
It is too late ; she will not come now. It is
not nice of her.
THE FATHER.
I begin to be anxious about her.
[A noise, as of some one coming into the house.]
THE UNCLE.
She is here ! Did you hear?
THE FATHER.
Yes ; some one has come in at the basement.
I
The Intruder. 2^3
THE UNCLE.
It must be our sister. I recognized her step.
THE GRANDFATHER.
I heard slow footsteps.
THE FATHER.
She came in very softly.
THE UNCLE.
She knows there is sickness. . . .
THE GRANDFATHER.
I hear nothing more now.
THE UNCLE.
She will come up immediately ; they will tell
her we are here.
THE FATHER.
I am glad she has come.
THE UNCLE.
I was sure she would come this evening.
THE GRANDFATHER.
She is a long time coming up.
THE UNCLE.
However, it must be she.
234 The Intruder.
THE FATHER.
We are not expecting any one else.
THE GRANDFATHER.
I hear no noise in the basement.
THE FATHER.
I will call the maid. We must know what to
expect. \_He pulls the be II- rope.
THE GRANDFATHER.
I hear a noise on the stairs already,
THE FATHER.
It is the maid coming up.
THE GRANDFATHER.
It seems to me she is not alone.
THE FATHER.
It is because the maid makes so much
noise. . . .
THE GRANDFATHER.
It seems to me she is not alone.
THE FATHER.
She is getting terribly stout ; I believe she is
dropsical.
The Intruder. 235
THE UNCLE.
It is time you got rid of her ; you will have
her on your hands.
THE GRANDFATHER.
I hear your sister's step !
THE FATHER.
I hear no one but the maid.
THE GRANDFATHER.
It is your sister ! It is your sister !
\_A knock at the secret door^
THE UNCLE.
She is knocking at the door of the private
stairway.
THE FATHER.
I will go open it myself, because that little
door makes too much noise ; it is only used
when we want to come up without being seen.
\He partly opens the little door ; the Maid-
servant remains outside in the opening^ Where
are you?
THE maid-servant.
Here, sir.
THE GRANDFATHER.
Your sister is at the door.
THE UNCLE.
I see no one but the maid.
^^6 The Intruder.
THE FATHER.
There is no one there but the maid. [To
the Maid-servant.] Who was it who came into
the house?
THE MAID-SERVANT.
Came into the house, sir?
THE FATHER.
Yes j some one came just now ?
THE SERVANT.
'1^0 one came, sir.
«
THE GRANDFATHER.
Who is it sighs so ?
THE UNCLE.
It is the maid ; she is out of breath.
THE GRANDFATHER.
Is she crying?
THE UNCLE.
Why, no ; why should she be crying ?
THE FATHER.
\To the Maid-servant.] No one came in
just now?
THE MAID-SERVANT.
No, sir.
The Intruder. ^37
THE FATHER.
But we heard the door open !
THE MAID -SERVANT.
It was I shutting the door, sir.
THE FATHER.
It was open?
THE MAID-SERVANT.
Yes, sir.
THE FATHER.
Why was it open, at this hour?
THE MAID-SERVANT.
I do not know, sir. / had shut it.
THE FATHER.
But then who was it opened it?
THE MAID-SERVANT.
I do not know, sir. Some one must have
gone out after me, sir.
THE FATHER.
You must be careful.' — Don't push the door;
you know what a noise it makes !
THE MAID- SERVANT.
But I am not touching the door, sir.
238 The Intruder.
THE FATHER.
But you are. You push as if you were trying
to get into the room.
THE MAID-SERVANT.
But I am three steps away from the door,
sir.
THE FATHER.
Don't talk quite so loudly.
THE GRANDFATHER.
Are you putting out the light ?
THE ELDEST DAUGHTER.
No, grandfather.
THE GRANDFATHER.
It seems to me it is dark all at once.
THE FATHER.
[71? the Maid -SERVANT.] You may go down
now ; but do not make so much noise on the
stairs.
THE MAID-SERVANT.
I did not make any noise on the stairs, sir.
THE FATHER.
I tell you, you made a noise. Go down
softly ; you will wake your mistress.
The Intruder. 239
THE MAID-SERVANT.
It was not 1 who made a noise, sir.
THE FATHER.
And if any one comes now, say that we are
not at home.
THE UNCLE.
Yes ; say that we are not at home.
THE GRANDFATHER.
\_Shuddering.'] You must not say that !
THE FATHER.
. . . Except to my sister and the doctor.
THE UNCLE.
When will the doctor come ?
THE FATHER.
He will not be able to come before midnight
[He shuts the door. A clock is heard striking |
eleven.]
THE GRANDFATHER.
She has come in?
THE FATHER.
Who, pray?
THE GRANDFATHER.
The maid.
lly-*
240 The Intruder.
THE FATHER.
Why, no ; she has gone downstairs.
THE GRANDFATHER.
I thought she was sitting at the table.
THE UNCLE.
The maid?
THE GRANDFATHER.
Yes.
THE UNCLE.
Well, that 's all that was lacking.
THE GRANDFATHER.
No one has come into the room?
THE FATHER.
Why no ; no one has come in.
THE GRANDFATHER.
And your sister is not here ?
THE UNCLE.
Our sister has not come. Where have your
thoughts wandered?
THE GRANDFATHER.
You want to deceive me.
THE UNCLE.
Deceive you?
The Intruder. 241
THE GRANDFATHER.
Ursula, tell me the truth, for the love of God !
THE ELDEST DAUGHTER.
Grandfather ! Grandfather ! what is the matter
with you?
THE GRANDFATHER.
Something has happened ! ... I am sure
my daughter is worse ! . . .
THE UNCLE.
Are you dreaming?
THE GRANDFATHER.
You do not want to tell me ! ... I see
plainly there is something 1 . . .
THE UNCLE.
In that case you see better than we.
THE GRANDFATHER.
Ursula, tell me the truth.
THE DAUGHTER.
But we are telling you the truth, grandfather I
THE GRANDFATHER.
You are not speaking in your natural voice.
THE FATHER.
That is because you frighten her.
1^2 The Intruder.
THE GRANDFATHER.
Your voice is changed, — yours, too !
THE FATHER.
But you are going mad !
[He and the Uncle make signs to each other
that the Grandfather has lost his reason.]
THE GRANDFATHER.
I hear plainly that you are afraid.
THE FATHER.
But what should we be afraid of?
THE GRANDFATHER.
Why do you want to deceive me ?
THE UNCLE.
Who thinks of deceiving you ?
THE GRANDFATHER.
Why have you put out the light?
THE UNCLE.
But the light has not been put out ; it is as
light as before.
THE DAUGHTER.
It seems to me the lamp has gone down.
THE FATHER.
I see as well as usual.
The Intruder. 243
THE GRANDFATHER.
I have millstones on my eyes ! Children,
tell me what is happening here ! Tell me, for
the love of God, you who can see ! I am here,
all alone, in darkness without end ! I do not
know who seats himself beside me ! I do
not know what is happening two steps from
me ! . . . Why were you speaking in a low
voice just now?
THE FATHER.
No one spoke in a low voice.
THE GRANDFATHER.
You spoke in a low voice at the door.
THE FATHER.
You heard all I said.
THE GRANDFATHER.
You brought some one into the room.
THE FATHER.
But I tell you no one has come in !
THE GRANDFATHER.
Is it your sister or a priest ? — You must not
try to deceive me. — Ursula, who was it that
came in?
THE DAUGHTER.
No one, grandfather.
244 The Intruder.
THE GRANDFATHER.
You must not try to deceive me ; I know
what I know ! — How many are we here ?
THE DAUGHTER.
There are six of us about the table,
grandfather.
THE GRANDFATHER.
You are all about the table ?
THE DAUGHTER.
Yes, grandfather.
THE GRANDFATHER.
You are there, Paul?
THE FATHER.
Yes.
THE GRANDFATHER.
You are there, Oliver?
THE UNCLE.
Why, yes ; why, yes ; I am here, in my usual
place. This is not serious, is it ?
THE GRANDFATHER.
You are there, Genevieve ?
ONE OF THE DAUGHTERS.
Yes, grandfather.
The Intruder. 245
THE GRANDFATHER.
You are there, Gertrude ?
ANOTHER DAUGHTER.
Yes, grandfather.
THE GRANDFATHER.
You are here, Ursula?
THE ELDEST DAUGHTER.
Yes, grandfather, by your side.
THE GRANDFATHER.
And who is that sitting there?
THE DAUGHTER.
Where do you mean, grandfather? — There
is no one.
THE GRANDFATHER.
There, there — in the midst of us !
THE DAUGHTER.
But there is no one, grandfather.
THE FATHER.
We tell you there is no one !
THE GRANDFATHER.
But you do not see, any of you !
246 The Intruder
THE UNCLE.
Oh, come now ; you are joking.
THE GRANDFATHER.
I have no wish to joke, I can assure you.
THE UNCLE.
Well, then, believe those that see.
THE GRANDFATHER.
[ Undecidedly.'] I thought there was some one.
^ . . I believe I shall not live much longer. . . .
THE UNCLE.
Why should we go to work to deceive you ?
What good would that do?
THE FATHER.
We ought clearly to tell you the truth.
THE UNCLE.
What good would it do to deceive each other ?
THE FATHER.
You could not live long without finding it out.
THE GRANDFATHER.
I wish I were at home !
THE FATHER.
But you are at home here !
'
The Intruder. 247
THE UNCLE.
Are we not at home ?
THE FATHER.
Are you among strangers?
THE UNCLE.
You are strange this evening.
THE GRANDFATHER.
It is you who seem strange to me I
THE FATHER.
Do you want anything?
THE GRANDFATHER.
I do not know what ails me.
THE UNCLE.
Will you take anything?
THE ELDEST DAUGHTER.
Grandfather ! grandfather ! What do you
want, grandfather?
THE GRANDFATHER.
Give me your little hands, my children.
THE THREE DAUGHTERS.
Yes, grandfather.
248 The Intruder.
THE GRANDFATHER.
Why are you all three trembling, my children ?
THE ELDEST DAUGHTER.
We are hardly trembling at all, grandfather.
THE GRANDFATHER.
I believe you are all three pale.
THE ELDEST DAUGHTER.
It is late, grandfather, and we are tired.
THE FATHER.
You must go to bed, and grandfather too
would do better to take a little rest.
THE GRANDFATHER.
I could not sleep to-night !
THE UNCLE.
We will wait for the doctor.
THE GRANDFATHER.
Prepare me for the truth !
THE UNCLE.
But there is no truth !
THE GRANDFATHER.
Then I do not know what there is !
The Intruder. 249
THE UNCLE.
I tell you there is nothing at all !
THE GRANDFATHER.
I would like to see my poor daughter !
THE FATHER.
But you know very well that is impossible ;
she must not be wakened needlessly.
THE UNCLE.
You will see her to-morrow.
THE GRANDFATHER.
We hear no sound in her room.
THE UNCLE.
I should be uneasy if I heard any sound.
THE GRANDFATHER.
It is very long since I saw my daughter. . . .
I took her hands yesterday evening, but I could
not see her ! ... I no longer know what she
is becoming. ... I no longer know how she
is. ... I am no longer familiar with her face.
. . . She must have changed in these weeks !
... I felt the Httle bones of her cheeks under
my hands. . . . There is nothing but the dark-
ness between her and me, and all of you ! . . .
This is not Ufe — this is not living ! . . . You
sit there, all of you, with open eyes that look at
250 The Intruder.
my dead eyes, and not one of you has pity ! . . .
I do not know what ails me. ... No one tells
what ought to be told me. . . . And everything
is terrifying when you dream of it ! . . . But
why do you not speak?
THE UNCLE.
What would you have us say, since you will
not believe us ?
THE GRANDFATHER.
You are afraid of betraying yourselves I
THE FATHER.
Do be reasonable now.
THE GRANDFATHER.
For a long time something has been hidden
from me here ! . . . Something has happened
in the house. . . . But I begin to understand
now. ... I have been deceived too long ! —
You think, then, that I shall never find out any-
thing?— There are moments when I am less
blind than you, you know ! . . . Have I not
heard you whispering, for days and days, as
if you were in the house of some one who had
hanged himself? — I dare not say what I knc-v
this evening. . . . But I will know the truth !
I shall wait for you to tell me the truth ; but I
have known it for a long time, in spite of you ! —
And now, I feel that you are all as pale as the
dead !
The Intruder. 251
THE THREE DAUGHTERS.
Grandfather ! grandfather ! What is the
matter, grandfather?
THE GRANDFATHER.
It is not of you that I speak, my children ;
no, it is not of you that I speak. ... I know-
quite well you would tell me the truth, if they
were not by ! . . . And besides, I am sure they
are deceiving you also. . . . You will see,
children, you will see ! ... Do I not hear
all three of you sobbing?
THE UNCLE.
For my part, I will not stay here.
THE FATHER.
Can my wife really be so ill?
THE GRANDFATHER.
You need not try to deceive me any longer ;
it is too late now, and I know the truth better
than you ! . . .
THE UNCLE.
But after all we are not blind, are we ?
THE FATHER.
Would you like to go into your daughter's
room? There is a mistake here and a misun-
derstanding that should end. — Would you? . . .
252 The Intruder.
THE GRANDFATHER.
No, no ; not now . . . not yet. . . .
THE UNCLE.
You see plainly, you are not reasonable.
THE GRANDFATHER.
One never knows all that a man has been
unable to say in his life ! . . . Who was it
made that noise?
THE ELDEST DAUGHTER.
It is the flickering of the lamp, grandfather.
THE GRANDFATHER.
It seems to me it is very unsteady — very
unsteady.
THE DAUGHTER.
It is the cold wind that vexes it ... it is
the cold wind that vexes it. . . .
THE UNCLE.
There is no cold wind, the windows are shut.
THE DAUGHTER.
I think it is going out.
THE FATHER.
The oil must be out.
The Intruder. 253
THE DAUGHTER.
It has gone entirely out.
THE FATHER.
We cannot stay like this in the dark.
THE UNCLE.
Why not ? I am already accustomed to it.
THE FATHER.
There is a light in my wife's room^
THE UNCLE.
We will take it by and by, when the doctor
has come.
THE FATHER.
It is true, we see well enough ; there is light
from outside.
THE GRANDFATHER.
Is it light outside ?
THE FATHER.
Lighter than here.
THE UNCLE.
For my part, I would as soon talk in the dark.
THE FATHER.
So would I. \_Silence.
254 The Intruder.
THE GRANDFATHER.
It seems to me the clock makes such a
noise ! . . .
THE ELDEST DAUGHTER.
That is because we are not speaking now,
grandfather.
THE GRANDFATHER.
But why are you all silent ?
THE UNCLE.
Of what would you have us speak ? — You
are not in earnest to-night.
THE GRANDFATHER.
Is it very dark in the room ?
THE UNCLE.
It is not very light. [Silence,
THE GRANDFATHER.
I do not feel well, Ursula ; open the window
a little.
THE FATHER.
Yes, daughter ; open the window a little ; I
begin to feel the want of air myself.
[The girl opens the window.
THE UNCLE.
I positively beheve we have stayed shut up
too long.
The Intruder. 255
THE GRANDFATHER.
Is the window open, Ursula ?
THE DAUGHTER.
Yes, grandfather ; it is wide open.
THE GRANDFATHER.
One would not have said it was open ; there
is not a sound outside.
THE DAUGHTER.
No, grandfather ; there is not the least sounds
THE FATHER.
The silence is extraordinary !
THE DAUGHTER.
One could hear an angel's step.
THE UNCLE.
That is the reason I do not like the country.
THE GRANDFATHER.
I wish I could hear some sound. What time
is it, Ursula?
THE DAUGHTER.
Almost midnight, grandfather.
[Here the Uncle begins to walk up and down
the room.]
THE GRANDFATHER.
Who is it walking around like that?
2^6 The Intruder.
THE UNCLE.
I It is I ! it is I ! Do not be frightened ! I
■ feel the need of walking a little. ISt/ence.'] —
But I am going to sit down again, — I do not
see where I am going. [_St7en<:e.
THE GRANDFATHER.
I wish I were somewhere else !
THE DAUGHTER.
Where would you like to go, grandfather?
THE GRANDFATHER.
I do not know where, — into another room —
no matter where ! no matter where ! . . .
THE FATHER.
Where should we go ?
THE UNCLE.
It is too late to go anywhere else.
[Silence. They are sitting motionless, round
the table.]
THE GRANDFATHER.
What is that I hear, Ursula?
THE DAUGHTER.
Nothing, grandfather ; it is the leaves falling.
Yes, it is the leaves falling on the terrace.
The Intruder. 257
THE GRANDFATHER.
Go shut the window, Ursula.
THE DAUGHTER.
Yes, grandfather.
[She shuts the window, comes back, and sits
down.]
THE GRANDFATHER.
I am cold. [Silence, The three sisters kiss
each other,'] What is it I hear now?
THE FATHER.
It is the three sisters kissing each other.
THE UNCLE.
It seems to me they are very pale this
evening. [Silence.
THE GRANDFATHER.
What is it I hear now, Ursula?
THE DAUGHTER.
Nothing, grandfather; it is the clasping of
my hands. \_Silence.
THE GRANDFATHER.
What is it I hear ? what is it I hear, Ursula ?
THE DAUGHTER.
I do not know, grandfather; perhaps my
sisters — they are trembling a little.
258 The Intruder.
THE GRANDFATHER.
I am afraid, too, my children.
[Here a ray of moonlight penetrates through
a corner of the stained glass, and spreads
strange gleams here and there in the room.
Midnight strikes, and at the last stroke it
seems to some that a sound is heard, very
vaguely, as of some one rising in all haste]
THE GRANDFATHER.
\_Shuddering with peculiar horror^ Who is
it that rose?
THE UNCLE.
Ko one rose !
: THE FATHER.
I did not rise !
THE THREE DAUGHTERS.
Nor I ! . . . Nor I ! . . . Nor I !
THE GRANDFATHER.
Some one rose from the table 1
THE UNCLE.
Light the lamp !
[Here suddenly a wail of fright is heard it
the child's room, on the right; and thl'
wail continues, with gradations of terror
until the end of the scene.]
THE FATHER.
Listen ! the child !
The Intruder. 259
THE UNCLE.
He has never cried before !
THE FATHER.
Let us go and look !
THE UNCLE.
The light ! The light !
[At this moment a hurrying of headlong
heavy steps is heard in the room on the
left. — Then a deathly stillness. — They
listen in a dumb terror, until the door
opens slowly, and the light from the next
room falls into that in which they are wait-
ing. The Sister of Charity appears on the
threshold, in the black garments of her
order, and bows as she makes the sign of
the cross, to announce the death of the
wife. They understand, and, after a mo-
ment of hesitation and fright, silently enter
the chamber of death, while the Uncle
politely effaces himself at the doorstep, to
let the three young girls pass. The blind
man, left alone, rises and gropes excitedly
about the table in the darkness.
THE GRANDFATHER.
Where are you going? — Where are you
going ? — My children ! — They have left me
all alone !
[Curtain.]
The Blind.
To Charles Fan Lerberghe.
Persons.
The Priest.
Three Men Who Were Born Blind.
A Very Old Blind Man.
Fifth Blind Man {who is also deaf).
Sixth Blind Man (who can distinguish light
and darkness).
Three Old Blind Women in Prayer.
A Very Old Blind Woman.
A Young Blind Girl.
A Blind Madwoman.
An Infant, child of the Madwoman.
A Dog.
The Blind,
[An ancient Norland forest, with an eternal
look, under a sky of deep stars.
In the centre, and in the deep of the night, a
very old priest is sitting, wrapped in a great
black cloak. The chest and the head,
gently upturned and deathly motionless,
rest against the trunk of a giant hollow
oak. The face is fearsome pale and of an
immovable waxen lividness, in which the
purple lips fall slightly apart. The dumb,
fixed eyes no longer look out from the
visible side of Eternity and seem to bleed
with immemorial sorrows and with tears.
The hair, of a solemn whiteness, falls in
stringy locks, stiff and few, over a face
more illuminated and more weary than all
that surrounds it in the watchful stillness
of that melancholy wood. The hands, piti-
fully thin, are clasped rigidly over the
thighs.
On the right, six old men, all blind, are sitting
on stones, stumps and dead leaves.
On the left, separated from them by an up-
rooted tree and fragments of rock, six
women, also blind, are sitting opposite the
old men. Three among them pray and
mourn without ceasing, in a muffled voice.
Another is old in the extreme. The fifth,
in an attitude of mute insanity, holds on
her knees a little sleeping child. The sixth
is strangely young, and her whole body is
266 The Blind.
drenched with her beautiful hair. They,
as well as the old men, are all clad in the
same ample and sombre garments. Most
of them are waiting, with their elbows on
their knees and their faces in their hands ;
and all seem to have lost the habit of in-
effectual gesture and no longer turn their
heads at the stifled and uneasy noises of
the Island. Tall funereal trees, — yews,
weeping- willows, cypresses, — cover them
with their faithful shadows. A cluster of
long, sickly asphodels is in bloom, not far
from the priest, in the night. It is un-
usually oppressive, despite the moonlight
that here and there struggles to pierce for
an instant the glooms of the foliage.]
FIRST BLIND MAN {wko was bom blind) .
He has n't come back yet ?
SECOND BLIND MAN {wlio also was bom blind).
You have awakened me.
FIRST BLIND MAN.
I was sleeping, too.
THIRD BLIND MAN {also borti blind),
I was sleeping, too.
FIRST BLIND MAN.
He has n't come yet ?
SECOND BLIND MAN.
I hear nothing coming.
The Blind. 267
THIRD BLIND MAN.
It is time to go back to the Asylum.
FIRST BLIND MAN.
We ought to find out where we are.
SECOND BLIND MAN.
It has grown cold since he left.
FIRST BLIND MAN.
We ought to find out where we are !
THE VERY OLD BLIND MAN,
Does any one know where we are ?
THE VERY OLD BLIND WOMAN.
We were walking a very long while ; we must
be a long way from the Asylum.
FIRST BLIND MAN.
Oh ! the women are opposite us ?
THE VERY OLD BLIND WOMAN.
We are sitting opposite you.
FIRST BLIND MAN.
Wait, I am coming over where you are.
\He rises and gropes in the dark.'] — Where
are you ? — Speak ! let me hear where you
are !
268 The Blind.
THE VERY OLD BLIND WOMAN.
Here ; we are sitting on stones.
FIRST BLIND MAN.
[^Advances and stumbles against the fallen
tree and the rocksJ] There is something be-
tween us.
SECOND BLEND MAN.
We had better keep our places.
THIRD BUND MAN.
Where are you sitting ? — Will you come
over by us?
THE VERY OLD BLIND WOMAN.
We dare not rise !
THIRD BLIND MAN.
Why did he separate us ?
FIRST BLIND MAN.
I hear praying on the women's side.
SECOND BLIND MAN.
Yes ; the three old women are praying.
FIRST BLIND MAN.
This is no time for prayer !
The Blind. 269
SECOND BLIND MAN.
You will pray soon enough, in the dormitory !
[The three old women continue their prayers.]
THIRD BLIND MAN.
I should like to know who it is I am sitting
by.
SECOND BLIND MAN.
I think I am next to you. \They feel about
them.~\
THIRD BLIND MAN.
We can't reach each other.
FIRST BLIND MAN.
Nevertheless, we are not far apart. \^He
feels about him and strikes with his staff the fifth
blind man^ who utters a muffled groanJ\ The
one who cannot hear is beside us.
SECOND BLIND MAN.
I don't hear everybody; we were six just
now.
FIRST BLIND MAN.
I am going to count. Let us question the
women, too ; we must know what to depend
upon. I hear the three old women praying all
the time ; are they together ?
THE VERY OLD BLIND WOMAN.
They are sitting beside me, on a rock.
270 The Blind.
FIRST BLIND MAN.
I am sitting on dead leaves.
THIRD BLIND MAN.
And the beautiful blind girl, where is she?
THE VERY OLD BLIND WOMAN.
She is near them that pray.
SECOND BLIND MAN.
Where is the mad woman, and her child?
THE YOUNG BLIND GIRL.
He sleeps ; do not awaken him !
FIRST BLIND MAN.
Oh ! how far away you are from us ! I thought
you were opposite me !
THIRD BLIND MAN.
We know — nearly — all we need to know.
Let us chat a little, while we wait for the priest
to come back.
THE VERY OLD BLIND WOMAN.
He told us to wait for him in silence.
THIRD BLIND MAN.
We are not in a church.
THF VERY OLD BLIND WOMAN.
You do not know where we are.
The Blind. 271
THIRD BLIND MAN.
I am afraid when I am not speaking.
SECOND BUND MAN.
Do you know where the priest went ?
THIRD BLIND MAN.
I think he leaves us for too long a time.
FIRST BLIND MAN.
He is getting too old. It looks as though he
himself has no longer seen for some time.
He will not admit it, for fear another should
come to take his place among us ; but I sus-
pect he hardly sees at all any more. We
must have another guide ; he no longer listens
to us, and we are getting too numerous. He
and the three nuns are the only people in the
house who can see ; and they are all older than
we are ! — I am sure he has misled us and that
he is looking for the road. Where has he gone ?
— He has no right to leave us here. . . .
THE VERY OLD BLIND MAN.
He has gone a long way : I think he said so
to the women.
FIRST BLIND MAN.
He no longer speaks except to the women?
— Do we no longer exist ? — We shall have to
complain of him in the end.
272 The Blind.
THE VERY OLD BLIND MAN.
To whom will you complain ?
FIRST BLIND MAN.
I don't know yet ; we shall see, we shall see.
— But where has he gone, I say ? — I am asking
the women.
THE VERY OLD BLIND WOMAN.
He was weary with walking such a long time.
I think he sat down a moment among us. He
has been very sad and very feeble for several
days. He is afraid since the physician died.
He is alone. He hardly speaks any more. I
don't know what has happened. He insisted
on going out to-day. He said he wished to
see the Island, a last time, in the sunshine,
before winter came. The winter will be very
long and cold, it seems, and the ice comes
already from the North. He was very uneasy,
too : they say the storms of the last few days
have swollen the river and all the dikes are
shaken. He said also that the sea frightened
him ; it is troubled without cause, it seems, and
the coast of the Island is no longer high enough.
He wished to see ; but he did not tell us what
he saw. — At present, I think he has gone to
get some bread and water for the mad woman.
He said he would have to go a long way,
perhaps. We must wait.
The Blind. 273
THE YOUNG BLIND GIRL.
He took my hands when he left; and his
hands shook as if he were afraid. Then he
kissed me
FIRST BLIND MAN.
Oh! oh!
THE YOUNG BLIND GIRL.
I asked him what had happened. He told
me he did not know what was going to happen.
He told me the reign of old men was going to
end, perhaps. . . .
FIRST BLIND MAN.
What did he mean by saying that ?
THE YOUNG BLIND GIRL.
I did not understand him. He told me he
was going over by the great lighthouse.
FIRST BLIND MAN.
Is there a lighthouse here ?
THE YOUNG BLIND GIRL.
Yes, at the north of the Island. I beHeve
we are not far from it. He said he saw the
Hght of the beacon even here, through the
leaves. He has never seemed more sorrowful
than to-day, and I believe he has been weeping
for several days. I do not know why, but I
wept also without seeing him. I did not hear
274 The Blind.
him go away. I did not question him any
further. I was aware that he smiled very
gravely; I was aware that he closed his eyes
and wished to be silent. . . .
FIRST BLIND MAN.
He said nothing to us of all that !
THE YOUNG BLIND GIRL.
You do not listen when he speaks !
THE VERY OLD BUND WOMAN.
You all murmur when he speaks !
SECOND BLIND MAN.
He merely said "Good-night" to us when
he went away.
THIRD BLIND MAN.
It must be very late.
FIRST BLIND MAN.
He said " Good-night " two or three times
when he went away, as if he were going to
sleep. I was aware that he was looking at me
when he said "Good-night; good-night." —
The voice has a different sound when you look
at anyone fixedly.
FIFTH BLIND MAN.
Pity the blind !
The Blind. 275
FIRST BLIND MAN.
Who is that, talking nonsense ?
SECOND BUND MAN.
I think it is he who is deaf.
FIRST BLIND MAN.
Be quiet ! — This is no time for begging !
THIRD BLIND MAN.
Where did he go to get his bread and water?
THE VERY OLD BLIND WOMAN.
He went toward the sea.
THIRD BLIND MAN.
Nobody goes toward the sea like that at his
age !
SECOND BLIND MAN.
Are we near the sea ?
THE OLD BLIND WOMAN.
Yes ; keep still a moment ; you will hear it.
[Murmur of a sea, near by and very calm,
against the cliffs.]
SECOND BLIND MAN.
I hear only the three old women praying.
THE VERY OLD BUND WOMAN.
Listen well; you will hear it across their
prayers.
276 The Blind.
SECOND BLIND MAN.
Yes j I hear something not far from us.
THE VERY OLD BLIND MAN.
It was asleep ; one would say that it awaked.
FIRST BLIND MAN.
He was wrong to bring us here ; I do not
like to hear that noise.
THE VERY OLD BLIND MAN.
You know quite well the Island is not large.
It can be heard whenever one goes outside
the Asylum close.
SECOND BLIND MAN.
I never listened to it.
THIRD BLIND MAN.
It seems close beside us to-day; I do not
like to hear it so near.
SECOND BLIND MAN.
No more do I ; besides, we did n't ask to go
out from the Asylum.
THIRD BLIND MAN.
We have never come so far as this ; it was
needless to bring us so far.
The Blind. 277
THE VERY OLD BLIND WOMAN.
The weather was very fine this morning ; he
wanted to have us enjoy the last sunny days,
before shutting us up all winter in the Asylum.
FIRST BLIND MAN.
But I prefer to stay in the Asylum.
THE VERY OLD BLIND WOMAN.
He said also that we ought to know some-
thing of the little Island we live on. He
himself had never been all over it; there is a
mountain that no one has climbed, valleys one
fears to go down into, and caves into which no
one has ever yet penetrated. Finally he said
we must not always wait for the sun under the
vaulted roof of the dormitory ; he wished to
lead us as far as the seashore. He has gone
there alone.
THE VERY OLD BLIND MAN.
He is right. We must think of living.
FIRST BLIND MAN.
But there is nothing to see outside !
SECOND BLIND MAN.
Are -we in the sun, now ?
THIRD BLIND MAN.
Is the sun still shining?
278 The Blind.
SIXTH BLIND MAN.
I think not : it seems very late.
SECOND BLIND MAN.
What time is it?
THE OTHERS.
I do not know. — Nobody knows.
SECOND BLIND MAN.
Is it light still? \_To the sixth blind man.']
— Where are you ? — How is it, you who can
see a little, how is it ?
SIXTH BLIND MAN.
I think it is very dark ; when there is sun-
light, I see a blue line under my eyelids. I
did see one, a long while ago ; but now, I no
longer perceive anything.
FIRST BLIND MAN.
For my part, I know it is late when I am
hungry : and I am hungry.
THIRD BLIND MAN.
Look up at the sky; perhaps you will see
something there !
[All lift their heads skyward, with the excep-
tion of the three who were bom blind, wh«
continue to look upon the ground.]
SIXTH BUND MAN.
I do not know whether we are under the sky.
The Blind. 279
FIRST BLIND MAN.
The voice echoes as if we were in a cavem.
THE VERY OLD BLIND MAN.
I think, rather, that it echoes so because it is
evening.
THE YOUNG BLIND GIRL.
It seems to me that I feel the moonlight on
my hands.
THE VERY OLD BLIND WOMAN.
I believe there are stars ; I hear them.
THE YOUNG BLIND GIRL.
So do I.
FIRST BLIND MAN.
I hear no noise.
SECOND BLIND MAN.
I hear only the noise of our breathing.
THE VERY OLD BLIND MAN.
I believe the women are right.
FIRST BUND MAN.
I never heard the stars.
THE TWO OTHERS WHO WERE BORN BLIND.
Nor we, either.
[A flight of night birds alights suddenly in the
foliage.]
28o The Blind.
SECOND BLIND MAN.
Listen ! listen ! — what is up there above
us ? — Do you hear ?
THE VERY OLD BLIND MAN.
Something has passed between us and the
sky !
SIXTH BLIND MAN.
There is something stirring over our heads ;
but we cannot reach there !
FIRST BLIND MAN.
I do not recognize that noise. — I should like
to go back to the Asylum.
SECOND BLIND MAN.
We ought to know where we are !
SIXTH BLIND MAN.
I have tried to get up ; there is nothing but
thorns about me ; I dare not stretch out my
hands.
THIRD BLIND MAN.
We ought to know where we are !
THE VERY OLD BLIND MAN.
We cannot know !
SIXTH BLIND MAN.
n
We must be very far from the house. I no
longer understand any of the noises.
The Blind. 281
THIRD BLIND MAN.
For a long time I have smelled the odor of
dead leaves —
SIXTH BLIND MAN.
Is there any of us who has seen the Island in
the past, and can tell us where we are ?
THE VERY OLD BLIND WOMAN.
We were all blind when we came here.
FIRST BLIND MAN.
We have never seen.
SECOND BLIND MAN.
Let us not alarm ourselves needlessly. He
will come back soon ; let us wait a little longer.
But in the future, we will not go out any more
with him.
THE VERY OLD BLIND MAN.
We cannot go out alone.
FIRST BLIND MAN.
We will not go out at all. I had rather not
go out.
SECOND BLIND MAN.
We had no desire to go out. Nobody asked
him to.
282 The Blind.
THE VERY OLD BLIND WOMAN.
It was a feast-day in the Island ; we always
go out on the great holidays.
THIRD BLIND MAN.
He tapped me on the shoulder while I was
still asleep, saying : " Rise, rise ; it is time, the
sun is shining ! " — Is it? I had not perceived
it. I never saw the sun.
THE VERY OLD BLIND MAN.
/ have seen the sun, when I was very young.
THE VERY OLD BLIND WOMAN.
So have I ; a very long time ago ; when I
was a child; but I hardly remember it any
longer.
THIRD BLIND MAN.
Why does he want us to go out every time
the sun shines? Who can tell the difference?
I never know whether I take a walk at noon or
at midnight.
SIXTH BLIND MAN.
I had rather go out at noon ; I guess vaguely
then at a great white light, and my eyes make
great efforts to open.
THIRD BLIND MAN.
I prefer to stay in the refectory, njar the sea-
coal fire ; there was a big fire this morning. . . .
I
The Blind. 283
SECOND BLIND MAN.
He could take us into the sun in the court-
yard. There the walls are a shelter ; you can-
not go out when the gate is shut, — I always
shut it. — Why are you touching my left elbow ?
FIRST BLIND MAN.
I have not touched you. I can't reach you.
SECOND BLIND MAN.
I tell you somebody touched my elbow f
FIRST BLIND MAN.
It was not any of us.
SECOND BLIND MAN.
I should like to go away.
THE VERY OLD BLIND WOMAN.
My God ! my God ! Tell us where we are !
FIRST BLIND MAN.
We cannot wait for eternity.
[A clock, very far away, strikes twelve slowly.]
THE VERY OLD BLIND WOMAN.
Oh, how far we are from the asylum !
THE VERY OLD BLIND MAN. \
It is midnight. !
284 The Blind.
SECOND BLIND MAN.
It is noon. — Does any one know ? — Speak !
SIXTH BLIND MAN.
I do not know, but I think we are in the
dark.
FIRST BLIND MAN.
I don't know any longer where I am; we
slept too long —
SECOND BLIND MAN.
I am hungry.
THE OTHERS.
We are hungry and thirsty.
SECOND BLIND MAN.
Have we been here long?
THE VERY OLD BLIND WOMAN.
It seems as if I had been here centuries !
SIXTH BLIND MAN.
I begin to understand where we are. . . .
THIRD BLIND MAN.
We ought to go toward the side where it
struck midnight. . . .
[All at once the night birds scream exultingly
in the darkness.!
The Blind. 285
FIRST BUND MAN.
Do you hear ? — Do you hear ?
SECOND BLIND MAN.
We are not alone here !
THIRD BLIND MAN.
I suspected something a long while ago : we
are overheard. — Has he come back ?
FIRST BLIND MAN.
I don't know what it is : it is above us.
SECOND BLIND MAN.
Did the others hear nothing? — You are
always silent !
THE VERY OLD BLIND MAN.
We are listening still.
THE YOUNG BLIND GIRL.
I hear wings about me !
THE VERY OLD BLIND WOMAN.
My God ! my God ! Tell us where we are !
SIXTH BLIND MAN.
I begin to understand where we are. . . . The
Asylum is on the other side of the great river ;
we crossed the old bridge. He led us to the
north of the Island. We are not far from the
286 The Blind.
river, and perhaps we shall hear it if we listen
a moment. . . . We must go as far as the
water's edge, if he does not come back. . . .
There, night and day, great ships pass, and the
sailors will perceive us on the banks. It is
possible that we are in the wood that surrounds
the lighthouse ; but I do not know the way out.
. . . Will any one follow me ?
FIRST BLIND MAN.
Let us remain seated ! — Let us wait, let us
wait. We do not know in what direction the
great river is, and there are marshes all about
the Asylum. Let us wait, let us wait. . . . He
will return .... he must return !
SIXTH BLIND MAN.
Does any one know by what route we came
here? He explained it to us as he walked.
FIRST BLIND MAN.
I paid no attention to him.
SIXTH BLIND MAN.
Did any one listen to him ?
THIRD BLIND MAN.
We must listen to him in the future.
SIXTH BLIND MAN.
Were any of us born on the Island?
The Blind. 287
THE VERY OLD BLIND MAN.
You know very well we came from else-
where.
THE VERY OLD BLIND WOMAN.
We came from the other side of the sea.
FIRST BLIND MAN.
I thought I should die on the voyage.
SECOND BLIND MAN.
So did I ; we came together.
THIRD BLIND MAN.
We are all three from the same parish.
FIRST BLIND MAN.
They say you can see it from here, on a clear
day, — toward the north. It has no steeple.
THIRD BLIND MAN.
We came by accident.
THE VERY OLD BLIND WOMAN.
I come from another direction. ...
SECOND BLIND MAN.
From where ?
THE VERY OLD BLIND WOMAN.
I dare no longer dream of it. ... I hardly
remember any longer when I speak of it. . . .
It was too long ago. ... It was colder there
than here. . . .
288 The Blind.
THE YOUNG BLIND GIRL.
I come from very far. . . .
FIRST BLIND MAN.
Well, from where ?
THE YOUNG BLIND GIRL.
I could not tell you. How would you have
me explain ! — It is too far from here ; it is
beyond the sea. I come from a great country.
... I could only make you understand by
signs : and we no longer see. ... I have wan-
dered too long. . . . But I have seen the sun-
light and the water and the fire, mountains,
faces, and strange flowers. . . . There are none
such on this Island ; it is too gloomy and
too cold. ... I have never recognized their
perfume since I saw them last. . . . And I
have seen my parents and my sisters. ... I
was too young then to know where I was. . . .
I still played by the seashore. . . . But oh, how
I remember having seen ! . . . One day I saw
the snow on a mountain-top. . . I began to
distinguish the unhappy . . .
FIRST BLIND MAN.
What do you mean?
THE YOUNG BLIND GIRL.
I distinguish them yet at times by their
voices. ... I have memories which are clearer
when I do not think upon them. . . .
The Blind. 289
FIRST BLIND MAN,
I have no memories.
[A flight of large migratory birds pass clamor-
ously, above the trees.]
THE VERY OLD BLIND MAN.
Something is passing again across the sky !
SECOND BLIND MAN.
Why did you come here ?
THE VERY OLD BLIND MAN.
Of whom do you ask that ?
SECOND BLIND MAN.
Of our young sister.
THE YOUNG BLIND GIRL.
I was told he could cure me. He told me I
would see some day; then I could leave the
Island. . . .
FIRST BLIND MAN.
We all want to leave the Island !
SECOND BLIND MAN.
We shall stay here always.
THIRD BLIND MAN.
He is too old ; he will not have time to cure
us.
290
The Blind.
THE YOUNG BLIND GIRL.
My lids are shut, but I feel that my eyes are
alive. . . .
FIRST BLIND MAN.
Mine are open.
SECOND BLIND MAN.
I sleep with my eyes open.
THIRD BLIND MAN.
Let us not talk of our eyes !
SECOND BLIND MAN.
It is not long since you came, is it?
THE VERY OLD BLIND MAN.
One evening at prayers I heard a voice on
the women's side that I did not recognize ; and
I knew by your voice that you were very
young. ... I would have liked to see you, to
hear you. . . .
FIRST BLIND MAN.
I did n't perceive anything.
SECOND BLIND MAN.
He gave us no warning.
SIXTH BLIND MAN.
They say you are beautiful as a woman who
comes from very far.
The Blind. 291
THE YOUNG BLIND GIRL.
I have never seen myself.
THE VERY OLD BLIND MAN.
We have never seen each other. We ask j"
and we reply ; we live together, we are always \
together, but we know not what we are ! . , . ;
In vain we touch each other with both hands ; j
the eyes learn more than the hands. ... I
SIXTH BLIND MAN.
I see your shadows sometimes, when you are '
in the sun.
THE VERY OLD BLIND MAN.
We have never seen the house in which we
live ; in vain we feel the walls and the win-
dows ; we do not know where we live ! . . .
THE VERY OLD BLIND WOMAN.
They say it is an old chateau, very gloomy
and very wretched, where no light is ever seen
except in the tower where the priest has his
room.
FIRST BLIND MAN.
There is no need of light for those who do
not see.
SIXTH BLIND MAN.
When I tend the flock, in the neighborhood
of the Asylum, the sheep return of themselves
when they see at nightfall that light in the
tower . , . They have never misled me.
292 The Blind.
THE VERY OLD BLIND MAN.
Years and years we have been together, and
we have never seen each other ! You would
say we were forever alone ! ... To love, one
must see.
THE VERY OLD BLIND WOMAN.
I dream sometimes that I see . . .
THE VERY OLD BLIND MAN.
I see only in my dreams . . .
FIRST BLIND MAN.
I do not dream, usually, except at midnight
SECOND BLIND MAN.
Of what can one dream where the hands are
motionless ?
[A flurry of wind shakes the forest, and the
leaves fall, thick and gloomily.]
FIFTH BLIND MAN.
Who touched my hands?
FIRST BLIND MAN.
Something is falHng about us !
THE VERY OLD BLIND MAN.
That comes from above ; I don't know what
it is . . .
The Blind. 293
FIFTH BLIND MAN.
Who touched my hands ? — I was asleep ; let
me sleep !
THE VERY OLD BLIND MAN.
Nobody touched your hands.
FIFTH BLIND MAN.
Who took my hands ? Answer loudly j ^ "un
a little hard of hearing . . .
THE VERY OLD BLIND MAN.
We do not know ourselves.
FIFTH BLIND MAN,
Has some one come to give us warning?
FIRST BLIND MAN.
It is useless to reply ; he hears nothing.
THIRD BLIND MAN.
It must be admitted, the deaf are very
unfortunate.
THE VERY OLD BLEND MAN.
I am weary of staying seated.
SIXTH BLIND MAN.
I am weary of staying here.
294
The Blind.
SECOND BLIND MAN.
It seems to me we are so far from one
another. . . . Let us try to get a little nearer
together, — it is beginning to get cold. . . .
THIRD BLIND MAN.
I dare not rise ! We had better stay where
we are.
THE VERY OLD BLIND MAN.
We do not know what there may be among
us.
SIXTH BLIND MAN.
I think both my hands are in blood ; I would
like to stand up.
THIRD BUND MAN.
You are leaning toward me, — I hear you.
[The blind madwoman rubs her eyes violently,
groaning and turning obstinately toward the
motionless priest.]
FIRST BLIND MAN.
I hear still another noise. . . .
THE VERY OLD BLIND WOMAN.
I think it is our unfortunate sister rubbing
her eyes.
SECOND BLIND MAN.
She is never doing anything else ; I hear her
every night.
The Blind. 295
THIRD BLIND MAN.
She is mad -, she never speaks.
THE VERY OLD BLIND WOMAN.
She has never spoken since she had her child.
, . . She seems ahvays to be afraid. . . .
THE VERY OLD BLIND MAN.
You are not afraid here, then?
FIRST BLIND MAN.
Who?
THE VERY OLD BLIND MAN.
All the rest of us.
THE VERY OLD BLIND WOMAN. :
Yes, yes ; we are afraid. \
THE YOUNG BLIND GIRL.
We have been afraid for a long time.
FIRST BLIND MAN.
Why did you ask that?
THE VERY OLD BLIND MAN.
I do not know why I asked it. . . . There is
something here I do not understand. ... It
seems to me I hear weeping all at once among
us. . . .
FIRST BLIND MAN.
There is no need to fear ; I think it is the
madwoman.
296 The Blind.
THE VERY OLD BLIND MAN.
There is something else beside. ... I am
sure there is something else beside. ... It is
not that alone that makes me afraid.
THE VERY OLD BLIND WOMAN.
She always weeps when she is going to give
suck to her child.
FIRST BLIND MAN.
She is the only one that weeps so.
THE VERY OLD BLIND WOMAN.
They say she sees still at times.
i FIRST BLIND MAN.
You do not hear the others weep.
THE VERY OLD BLIND MAN.
To weep, one must see.
THE YOUNG BLIND GIRL.
I smell an odor of flowers about us.
FIRST BLIND MAN.
I smell only the smell of the earth.
THE YOUNG BLIND GIRL.
There are flowers, — there are flowers about
us.
The Blind. 297
SECOND BLIND MAN.
I smell only the smell of the earth.
THE VERY OLD BLIND WOMAN,
I caught the perfume of flowers in the
wind. . . .
THIRD BLIND MAN.
I smell only the smell of the earth.
THE VERY OLD BLIND MAN.
I believe the women are right.
SIXTH BLIND MAN.
Where are they ? — I will go pluck them.
THE YOUNG BLIND GIRL.
At your right. Rise !
[The sixth blind man rises slowly and advances
groping, and stumbling against the bushes
and trees, toward the asphodels, which he
breaks and crushes on his way.]
THE YOUNG BLIND GIRL.
I hear you breaking the green stalks. Stop !
stop !
FIRST BLIND MAN.
Don't worry yourselves about flowers, but
think of getting home.
SIXTH BLIND MAN.
I no longer dare return on my steps.
298 The Blind.
10QBI6 BUND caau
Yoa need not letmn. — Wait. — [Sk£ nses,^
Oh, how cold the eaith is! It is gomg to
freeze. — [Ske mtftmmirf wiA^mt kesiitUi»m
inmtntt ike sirm^ge^^mie m^^dth: hU sie is
si^^ m Ae m^gU^rk^^ ef ike JUmers, i^j^
Me w^firm^ted ine wed ike Jre^gmemis ef ivrit]
Tbey ue beie. — I cannot leich them; they
are on your side.
scan BEJKD MAX.
I believe I am ploddng diem.
[He nfaKlcs Ae acaUteicd floimrs, grafini^,
nd offets them to her; the wsht faiids
flymmty.]
THE TOCNG BLXKD GDtL.
It seems to me I saw these floweis m the old
days. ... I no loi^ser know their name. . . .
Alas» how sickly dkcy are, and how soft the stems
are! I baldly reoogniae them. ... I think it
is Idle flower of the dead.
[She twines die aaphodds in her hair.]
THE ¥EKr 0U> BtlKD atAN.
I bear the noise of your hair.
THE TODSIG JBUESD GISL.
It istiie flowcis.
THE y/EKl OLD BUND MAM.
We shall not see yoo. . . .
The Blind. 299
THE YOUNG BLIND GIRL.
I shall not see myself, any more. ... I am
cold.
[At this moment the wind rises in the forest,
and the sea roars suddenly and with vio-
lence against cliffs very near.]
FIRST BUND MAN.
It thunders !
SECOND BUND MAN.
I think there is a storm rising.
THE VERY OLD BLIND WOMAN.
I think it is the sea.
THIRD BLIND MAN.
The sea ? — Is it the sea ? — But it is hardly
two steps from us ! — It is at our feet ! I hear
it all about me ! — It must be something else !
THE YOUNG BUND GIRL.
I hear the noise of breakers at my feet.
FIRST BUND MAN.
I think it is the wind in the dead leaves,
THE VERY OLD BLIND MAN.
I think the women are right.
THIRD BUND MAN.
It will come here !
300 The Blind.
FIRST BLIND MAN.
What direction does the wind come from ?
SECOND BLIND MAN.
It comes from the sea.
THE VERY OLD BLIND MAN.
It always comes from the sea. The sea
surrounds us on all sides. It cannot come
from anywhere else. . . .
FIRST BLIND MAN.
Let us not keep on thinking of the sea !
SECOND BLIND MAN.
We must think of it. It will reach us soon.
FIRST BLIND MAN.
You do not know if it be the sea.
SECOND BLIND MAN.
I hear its surges as if I could dip both hands
in them. We cannot stay here ! It is perhaps
all about us.
THE VERY OLD BLIND MAN.
Where would you go?
SECOND BLIND MAN.
No matter where ! no matter where ! I will
not hear this noise of waters any longer ! Let
IIS go ! Let us go !
The Blind. 301
THIRD BLIND MAN.
I think I hear something else. — Listen !
[A sound of footfalls is heard, hurried and fai
away, in the dead leaves.]
FIRST BLIND MAN.
There is something coming this way.
SECOND BLIND MAN.
He is coming ! He is coming ! He is
coming back !
THIRD BLIND MAN.
He is coming with little quick steps, like a
little child.
SECOND BLIND MAN.
Let US make no complaints to him to-day.
THE VERY OLD BLIND WOMAN.
I believe that is not the step of a man !
[A great dog enters in the forest, and passes
in front of the blind folk. — Silence.]
FIRST BLIND MAN.
Who 's there ? — Who are you ? — Have pity
on us, we have been waiting so long ! . . .
\_The dog stops ^ and coming to the blind man,
puts his fore paws on his knees."] Oh, oh,
what have you put on my knees ? What is it ?
... Is it an animal? — I believe it is a dog.
. . . Oh, oh, it is the dog, it is the Asylum dog !
Come here, sir, come here ! He comes to save
us ! Come here ! come here, sir !
302 The Blind.
THE OTHERS.
Come here, sir ! come here !
FIRST BLIND MAN.
He has come to save us ! He has followed
our tracks all the way ! He is licking my hands
as if he had just found me after centuries ! He
howls for joy ! He is going to die for joy !
Listen, Hsteu !
THE OTHERS.
Come here ! Come here !
THE VERY OLD BLIND MAN.
Perhaps he is running ahead of some-
body . . .
FIRST BLIND MAN.
No, no, he is alone. — I hear nothing coming.
— We need no other guide ; there is none
better. He will lead us wherever we want to
go ; he will obey us . . .
THE VERY OLD BLIND WOMAN.
I dare not follow him. . . .
THE YOUNG BLIND GIRL.
Nor I.
FIRST BLIND MAN.
Why not? His sight is better than ours.
The Blind. 303
SECOND BLIND MAN.
Don't listen to the women !
THIRD BLIND MAN.
I believe there is a change in the sky. I
breathe freely. The air is pure now . . .
THE VERY OLD BLIND WOMAN.
It is the sea wind passing about us.
SIXTH BLIND MAN.
It seems to me it is getting lighter ; I believe
the sun is rising . . .
THE VERY OLD BLIND WOMAN.
I believe it is getting colder. . . .
FIRST BLIND MAN.
We are going to find our way again. He is
dragging me ! ... he is dragging me. He is
drunk with joy ! — I can no longer hold him
back ! . . . Follow me, follow me. We are
going back to the house ! . . .
[He rises, dragged by the dog, who leads him
to the motionless priest, and stops.]
THE OTHERS.
Where are you ? Where are you ? — Where
are you going ? — Take care !
304 The Blind.
FIRST BLIND MAN.
Wait, wait ! Do not follow me yet; I will
come back ... He is stopping. — What is the
matter with him? — Oh, oh, I touched some-
thing very cold !
SECOND BLIND MAN.
What are you saying ? — We can hardly hear
your voice any longer.
FIRST BLIND MAN.
I have touched — I believe I am touching a
face !
THIRD BLIND MAN.
What are you saying? — We hardly under-
stand you any longer. What is the matter with
you ? — Where are you ? — Are you already so
far away?
FIRST BLIND MAN.
Oh, oh, oh ! — I do not know yet what it is.
— There is a dead man in the midst of us.
THE OTHERS.
A dead man in the midst of us ? — Where
are you? Where are you?
FIRST BLIND MAN.
There is a dead man among us, I tell you !
Oh, oh, I touched a dead man's face ! — You
are sitting beside a dead man ! One of us
The Blind. 305
must have died suddenly. Why don't you
speak, so that I may know who are still alive ?
Where are you ? — Answer ! answer, all of you 1
[The blind folk reply in turn, with the excep-
tion of the madwoman and the deaf man.
The three old women have ceased their
prayers.]
FIRST BLIND MAN.
I no longer distinguish your voices . . .
You all speak alike ! . . . Your voices are all
trembling.
THIRD BLIND MAN.
There are two that have not answered . . .
Where are they?
[He touches with his stick the fifth blind man.]
FIFTH BLIND MAN.
Oh ! oh ! I was asleep ; let me sleep I
SIXTH BLIND MAN.
It is not he. — Is it the madwoman?
THE VERY OLD BLIND WOMAN.
She is sitting beside me ; I can hear that she
is alive . . .
FIRST BLIND MAN.
I believe ... I believe it is the priest ! —
He is standing up ! Come, come, come !
3o6 The Blind.
SECOND BLIND MAN.
He is standing up ?
THIRD BLIND MAN.
Then he is not dead !
THE VERY OLD BLIND MAN.
Where is he?
SIXTH BLIND MAN.
Let us go see !
[They all rise, with the exception of the mad-
woman and the fifth blind man, and advance,
groping, toward the dead.]
SECOND BUUD man.
Is he here ? — Is it he ?
THIRD BLIND MAN.
Yes, yes, I recognize him.
FIRST BLIND MAN.
My God .! my God ! what will become of us ?
THE VERY OLD BLIND WOMAN.
Father ! father ! — Is it you ? Father, what
has happened ? — What is the matter ? —
Answer us ! — We are all about you. Oh !
oh! oh!
THE VERY OLD BLIND MAN.
Bring some water ; perhaps he still lives.
The Blind. 307
SECOND BLIND MAN.
Let US try ... He might perhaps be able
to take us back to the Asylum . . .
THIRD BLIND MAN.
It is useless ; I no longer hear his heart. —
He is cold.
FIRST BLIND MAN.
He died without speaking a word.
THIRD BLIND MAN.
He ought to have forewarned us.
SECOND BLIND MAN.
Oh ! how old he was ! . . . This is the first
time I ever touched his face . . .
THIRD BLIND MAN.
[ Feeling the corpse^ He is taller than we.
SECOND BLIND MAN.
His eyes are wide open. He died with his
hands clasped.
FIRST BLIND MAN.
It was unreasonable to die so . . ,
SECOND BLIND MAN.
He is not standing up, he is sitting on a
stone.
3o8 The Blind.
THE VERY OLD BLIND WOMAN.
My God ! my God ! I did not dream of
such a thing ! . . . such a thing ! . . . He has
been sick such a long time . . . He must have
suffered to-day . . . Oh, oh, oh ! — He never
complained ; he only pressed our hands . . .
One does not always understand . . . One
never understands ! . . . Let us go pray about
him ; go down on your knees . . .
[The women kneel, moaning.]
FIRST BLIND MAN.
I dare not go down on my knees.
SECOND BLIND MAN.
You cannot tell what you might kneel on
here.
THIRD BLIND MAN.
Was he ill? . . . He did not tell us . . .
SECOND BLIND MAN.
I heard him muttering in a low voice as he
went away. I think he was speaking to our
young sister. What did he say ?
FIRST BLIND MAN.
She will not answer.
SECOND BLIND MAN,
Will you no longer answer us ? — Where are
you, I say? — Speak.
The Blind. 309
THE VERY OLD BLIND WOMAN.
You made him suffer too much; you have
made him die. . . . You would not go on ; you
would sit down on the stones of the road to
eat ; you have grumbled all day ... I heard
him sigh ... He lost heart. . . .
FIRST BLIND MAN.
Was he ill? Did you know it?
THE VERY OLD BLIND MAN.
We knew nothing . . . We never saw him.
. . . When did we ever know anything behind
our poor dead eyes? ... He never com-
plained. Now it is too late ... I have seen
three die . . . but never in this way ! . . . Now
it is our turn.
FIRST BLIND MAN.
It was not I that made him suffer. — I said
nothing.
SECOND BLIND MAN.
No more did I. We followed him without
saying anything.
THIRD BLIND MAN.
He died, going after water for the mad-
woman.
FIRST BLIND MAN.
What are we going to do now? Where shall
we go?
3IO The Blind.
THIRD BLIND MAN.
Where is the dog?
FIRST BLIND MAN.
Here; he will not go away from the dead
man.
THIRD BLIND MAN.
Drag him away ! Take him off, take him
off!
FIRST BLIND MAN.
He will not leave the dead man.
SECOND BLIND MAN.
We cannot wait beside a dead man. We
cannot die here in the dark.
THIRD BLIND MAN.
Let us remain together ; let us not scatter ;
let us hold one another by the hand ; let us all
sit on this stone . . . Where are the others?
. . . Come here, come, come !
THE VERY OLD BLIND MAN.
Where are you?
THIRD BLIND MAN.
Here; I am here. Are we all together? —
Come nearer me. — Where are your hands ?
— It is very cold.
The Blind. 311
THE YOUNG BLIND GIRL.
Oh, how cold your hands are !
THIRD BLIND MAN.
What are you doing?
THE YOUNG BLIND GIRL.
I was putting my hands on my eyes; I
thought I was going to see all at once . . .
FIRST BLIND MAN.
Who is weeping so ?
THE VERY OLD BLIND WOMAN.
It is the madwoman sobbing.
FIRST BLIND MAN.
And yet she does not know the truth.
THE VERY OLD BLIND MAN.
I think we are going to die here.
THE VERY OLD BLIND WOMAN.
Perhaps some one will come . . .
THE VERY OLD BLIND MAN.
Who else would come ? . . .
THE VERY OLD BLIND WOMAN.
I do not know.
312 The Blind.
FIRST BLIND MAN.
I think the nuns will come out from the
Asylum . . .
THE VERY OLD BLIND WOMAN.
They do not go out after dark.
THE YOUNG BLIND GIRL.
They never go out.
SECOND BLIND MAN.
I think the men at the great lighthouse will
perceive us . . .
THE VERY OLD BLIND MAN.
They never come down from their tower.
THIRD BLIND MAN.
They will see us, perhaps. . . .
THE VERY OLD BLIND WOMAN.
They look always out to sea.
THIRD BLIND MAN.
It is cold.
THE VERY OLD BLIND MAN.
Listen to the dead leaves. I believe it is
freezing.
THE YOUNG BLIND GIRL.
Oh ! how hard the earth is !
The Blind. 313
THIRD BLIND MAN.
I hear on my left a sound I do not under-
stand.
THE VERY OLD BLIND MAN.
It is the sea moaning against the rocks.
THIRD BLIND MAN.
I thought it was the women.
THE VERY OLD BLIND WOMAN.
I hear the ice breaking under the surf.
FIRST BLIND MAN.
Who is shivering so? It shakes everybody
on the stone.
SECOND BLIND MAN.
I can no longer open my hands.
THE VERY OLD BUND MAN.
I hear again a sound I do not understand.
FIRST BLIND MAN.
Who is shivering so among us? It shakes
the stone.
THE VERY OLD BLIND MAN.
I think it is a woman.
THE VERY OLD BLIND WOMAN.
I think the madwoman is shivering the
hardest.
314 The Blind.
THIRD BLIND MAN.
We do not hear her child.
THE VERY OLD BLIND WOMAN.
I think he is still nursing.
THE VERY OLD BLIND MAN.
He is the only one who can see where we
are !
FIRST BLIND MAN.
I hear the north wind.
SIXTH BLIND MAN.
I think there are no more stars ; it is going
to snow.
SECOND BLIND MAN.
Then we are lost 1
THIRD BLIND MAN.
If any one sleeps, he must be aroused.
THE VERY OLD BLIND MAN.
Nevertheless, I am sleepy.
[A sudden gust sweeps the dead leaves around
in a whirlwind.]
THE YOUNG BLIND GIRL,
Do you hear the dead leaves ? — I believe
some one is coming toward us.
The Blind. 315
SECOND BLIND MAN.
It is the wind ; listen !
THIRD BLIND MAN.
No one will ever come.
THE VERY OLD BLIND MAN,
The great cold will come . . .
THE YOUNG BLIND GIRL.
I hear walking far off.
FIRST BLIND MAN.
I hear only the dead leaves.
THE YOUNG BLIND GIRL.
I hear walking far away from us.
SECOND BLIND MAN.
I hear only the north wind.
THE YOUNG BLIND GIRL.
I tell you, some one is coming toward us..
THE VERY OLD BLIND WOMAN.
I hear a sound of very slow footsteps.
THE VERY OLD BLIND MAN.
I believe the women are right.
[It begins to snow in great flakes.}
3i6 The Blind.
FIRST BLIND MAN.
Oh, oh ! what is it falling so cold upon my
hands ?
SIXTH BLIND MAN.
It is snowing.
FIRST BLIND MAN.
Let us press close to one another.
THE YOUNG BLIND GIRL.
No, but Hsten ! The sound of footsteps !
THE VERY OLD BLIND WOMAN.
For God's sake, keep still an instant.
THE YOUNG BLIND GIRL.
They come nearer ! they come nearer !
listen !
[Here the child of the blind madwoman begins
suddenly to wail in the darkness.]
THE VERY OLD BLIND MAN.
The child is crying.
THE YOUNG BLIND GIRL.
He sees ! he sees ! He must see something
if he cries. [^Ske seizes the child in her arms
and advances in the direction fi'07n which the
sound of footsteps see?ns to come. The other
women follow her anxiously and surround her.']
I am going to meet him.
The Blind. 317
THE VERY OLD BLIND MAN.
Take care.
THE YOUNG BLIND GIRL.
Oh, how he cries ! — What is the matter with
him? — Don't cry. — Don't be afraid ; there is
nothing to frighten you, we are here ; we are
all about you. — What do you see ? — Don't be
afraid at all. — Don't cry so ! — What do you
see ? — Tell me, what do you see ?
THE VERY OLD BLIND WOMAN.
The sound of footsteps draws nearer and
nearer : listen, listen !
THE VERY OLD BLESTD MAN.
I hear the rustling of a gown against the
dead leaves.
SIXTH BLIND MAN.
Is it a woman ?
THE VERY OLD BLIND MAN.
Is it a noise of footsteps ?
FIRST BLIND MAN.
Can it be perhaps the sea in the dead leaves?
THE YOUNG BLIND GIRL.
No, no ! They are footsteps, they are foot-
steps, they are footsteps !
3i8 The Blind.
THE VERY OLD BLIND WOMAN.
We shall know soon. Listen to the dead
teaves.
THE YOUNG BLIND GIRL.
I hear them, I hear them almost beside us ;
listen, Usten ! — What do you see ? What do
you see?
THE VERY OLD BLIND WOMAN.
Which way is he looking ?
THE YOUNG BLIND GIRL.
He keeps following the sound of the steps. —
Look, look ! When I turn him away, he turns
back to see . . . He sees, he sees, he sees ! —
He must see something strange !
THE VERY OLD BLIND WOMAN [stepping forward'] .
Lift him above us, so that he may see better.
THE YOUNG BLIND GIRL.
Stand back, stand back. [She raises the
child above the group of blind folk.'] — The foot-
steps have stopped amongst us.
THE VERY OLD BLIND WOMAN.
They are here 1 They are in the midst of
us ! . . .
The Blind. 319
THE YOUNG BLIND GIRL.
Who are you? \_Silence,
THE VERY OLD BLIND WOMAN.
Have pity on us !
[Silence. — The child weeps more desperately.]
[Curtain.]
The Seven Princesses.
Persons.
The Old King.
The Old Queen.
The Prince.
The Seven Princesses.
A Messenger.
Chorus of Sailors.
The Seven Princesses.
[A spacious hall of marble, with laurel, laven-
der, and lilies in porcelain vases. A flight
of seven white marble steps divides the
whole hall lengthwise, and seven princesses,
in white gowns and with bare arms, lie
sleeping on these steps, which are furnished
with cushions of pale silk. A silver lamp
shines on their sleep. At the Imck of the
hall, a door with powerful bolts. To the
right and left of this door large windows
whose panes reach down to the level of
the tiles. Behind these windows, a terrace.
The sun is just setting, and through the
panes a dark, marshy country is seen, with
pools and forests of oaks and pines. Ver-
tically with one of the windows, between
huge willows, a gloomy canal without a
bend, on the horizon of which a large man-
of-war approaches.
The old King, the old Queen and the Mes-
senger come forward upon the terrace and
watch the approach of the man-of-war.]
THE QUEEN.
It comes with all sails set. . , .
THE KING.
I do not see it well through the fog. . , .
I
326 The Seven Princesses.
QUEEN.
They are rowing — they are all rowing. . . .
I believe they are going to come to the very
windows of the chateau. . . . You would say
it had a thousand feet . . . the sails touch
the branches of the willows. . . .
KING.
It looks larger than the canal. . . .
QUEEN.
They are stopping. . . .
KING.
I do not know how they will be able to go
back. . . .
QUEEN.
They are stopping . . . they are stopping.
They are coming to anchor. . . . They are
making fast to the willows. ... Oh ! oh ! I
beheve the prince is coming down — . . .
KING.
Just look at the swans. . . . They are going
to meet him. . . . They are going to see what
it is. . . .
QUEEN.
Are they still asleep ?
[They come and look through the windows
into the hall.]
I
The Seven Princesses. 327
KING.
Let us wake them. ... I told you so a long
while ago ; they must be wakened. . . ,
QUEEN.
Let us wait till he come. ... It is too late
now. . . . He is here ; he is here ! — My God,
my God ! what shall we do ? — I dare not ! I
dare not ! . . . They are too ill. . . .
KING.
Shall I open the door?
QUEEN.
No, no ! Wait ! Let us wait ! — Oh, how
they sleep ! how they still sleep ! . . . They do
not know he has come back — they do not
know he is here. ... I dare not wake them
. . . the physician forbade it . . . let us not
wake them. . . . Let us not wake them yet.
. . . Oh, oh ! I hear a sound of footsteps
on the bridge. . . .
KING.
He is here ! He is here ! . . . He is at the
foot of the terrace ! . . .
\_They leave the window.
QUEEN.
Where is he ? Where is he ? — Is it he ? —
I should no longer know him ! . . . Yes, yes ;
I should know him still ! Oh, how tall he is !
328 The Seven Princesses.
^
how tall he is ! He is at the foot of the steps !
. . . Marcellus ! Marcellus ! Is it you ? Is it
you ? — Come up ! come up ! We are so old —
we can no longer come down to you. . . . Come
up ! come up ! come up !
KING.
Take care you do not fall ! ... the steps
are very old . . . they all shake. . . . Take
care ! . . .
QUEEN.
Come up ! come up ! come up !
[The Prince ascends to the terrace and throws
himself in the arms of the King and Queen.]
THE PRINCE.
My poor grandam ! My poor grandfather !
\_They kiss.
QUEEN.
Oh, how handsome you are ! — How you have
grown, my child ! — How tall you are, my little
Marcellus ! — I do not see you well ; my eyea
are full of tears. . . .
PRINCE.
Oh, my poor grandam, how white your hair
is ! . . . Oh, my poor grandfather, how white
your beard is ! . . .
KING.
We are poor little old people; our turn is
coming. . . .
The Seven Princesses. 329
PRINCE.
Grandfather, grandfather, why do you bend
so?
KING.
I am always bent. . . .
QUEEN.
We have waited for you so long ! . . .
PRINCE.
Oh, my poor grandam, how you tremble this
evening ! . . .
QUEEN.
I always tremble so, my child. . . .
PRINCE.
Oh, my poor grandfather ! Oh, my poor
grandam ! I hardly know you any longer. . . .
KING.
No more do I ! no more do I ! I no longer
see very well. . . .
QUEEN.
Where have you been so long, my child ? -^
Oh, how tall you are ! — You are taller than we !
. . . There, there, I am weeping as if you were
dead !
PRINCE.
Why do you receive me with tears in your
eyes?
330 The Seven Princesses.
QUEEN.
No, no, it is not tears, my child. ... It is
not the same thing as tears. . . . Nothing has
happened. . . . Nothing has happened. . . .
PRINCE.
Where are my seven cousins?
QUEEN.
Here, here ; Hsten, listen. ... do not speak
too loud ; they sleep still ; we must not speak
of those who sleep . . .
PRINCE.
They sleep ? . . . Are they still living, — all
seven? . . .
QUEEN.
Yes, yes, yes ; take care, take care. . . . They
are asleep here ; they are always asleep. . . .
PRINCE.
They are always asleep? . . . What? what?
what? — Do they — ? ... all seven! all
seven ! . . .
QUEEN.
Oh, oh, oh ! what did you think? . . . what
did you dare think, Marcellus, Marcellus?
Take care ! — They are here ; come, look
through the window . . . come, look. . . .
Quick, quick ; come quick ! It is time to see
them. . . .
[They draw near the windows and look into
the hall. A long silence.]
I
I
The Seven Princesses. 331
PRINCE.
It is my seven cousins? ... I do not see
plainly. . . .
QUEEN.
Yes, yes ; they are all seven there on the steps.
... Do you see them ? Do you see them ?
PRINCE.
I see only some white shadows. . . .
QUEEN.
It is your seven cousins ! . . . Do you see
them in the mirrors? . . .
PRDJCE.
It is my seven cousins ? . . .
QUEEN.
Pray, look in the mirrors at the very end of
the hall . . . you will see them ; you will see
them. . . . Come here, come here; you will
see better, perhaps.
PRINCE.
I see ! I see ! I see ! I see them, — all
seven ! . . . One, two, three \_he hesitates a
moment'], four, five, six, seven. ... I hardly
recognize them. ... I do not recognize them,
at all. . . . Oh, how white they are, all seven !
. . . Oh, how fair they are, all seven ! . . . Oh,
how pale they are, all seven ! . . . But why do
all the seven sleep ?
22^ The Seven Princesses.
QUEEN.
They always sleep. . . . They have slept
here since noon. . . . They are so ill ! . . .
You can no longer wake them. . . . They did
not know you were about to come. . . . We
have not dared wake them. . . . We must wait.
. . . They must awake of themselves. . . . They
are not happy ; it is not our fault. . . . We are
too old, too old ; everybody is too old for them.
. . . People are too old without knowing it. . . .
PRINCE.
Oh, how beautiful they are ! how beautiful
they are ! . . .
QUEEN.
They hardly live any longer since they have
been here ; — they have been here ever since
their parents died. ... It is too cold in this
chateau. . . . They come from the warm coun-
tries. . . . They are alway seeking the sun-
shine ; but there is almost none. . . . There
was a little on the canal this morning; but
the trees are too tall; there is too much
shade ; there is nothing but shade. . . . There
are too many fogs, and the sky is never clear.
... — Oh, how you look at them ! — Do you
see anything extraordinary?
PRINCE.
Oh, how pale they are, all seven !
The Seven Princesses. ^^3
QUEEN.
They are still fasting. . . . They could not
stay in the garden any longer ; the lawn daz-
zled them. . . . They have the fever. . . .
They returned this noon holding one another
by the hand. . . . They are so weak they can
hardly walk alone now. . . . They shook with
fever, — all seven. And no one knows what
ails them. . . . They sleep here every day.
PRINCE.
They are strange. . . . Oh, oh, they are
strange ! . . . I dare no longer look at them.
Is this their bedchamber?
QUEEN.
No, no ; it is not their bedchamber. . . . You
see plainly; there are no beds. Their seven
little beds are above, — in the tower. . . . They
are here, waiting for the night.
PRINCE.
I begin to make them out. . . .
QUEEN.
Draw near, draw near ; but do not touch
the windows. . . . You will see better when tht
sun has set; it is too light still outside. . . ..
You will see better soon. Stand close to the
window-panes; but make no noise. . . .
334
The Seven Princesses.
PRINCE.
Oh, how light it is in the hall ! . , •
QUEEN.
It will be lighter still when the night has
come. ... It is about to fall. . . .
KING.
What is that about to fall?
QUEEN.
I spoke of the night. — Do you see anything?
PRINCE.
There is a great crystal vase upon a tripod. . . .
QUEEN.
That is nothing; it is water; they are so
thirsty when they wake ! . . .
PRINCE.
But why is that lamp burning?
QUEEN.
They always light it. They knew they would
sleep a long time. They lighted it this noon
that they might not wake in the darkness. . . .
They are afraid of the dark. . . .
PRINCE.
They have grown tall !
The Seven Princesses. 335
QUEEN.
They are growing yet. . . . They are getting
too tall. ... It is perhaps that which makes
them so ill. ... Do you recognize them?
PRINCE.
I should recognize them, perhaps, if I saw
them in broad daylight. . . .
QUEEN.
You have played so often with them when
they were little. . . . Open your eyes. . . .
PRINCE.
I see plainly only their little bare feet. . . .
KING.
\_Looking in at another window."] I cannot
see in very clearly this evening. . . .
PRINCE.
They are too far from us. . . .
QUEEN.
There is something over the mirrors this
evening; I do not see quite what it is. . . .
PRINCE.
There is a mist over the window-panes. . . .
I am going to see if I can wipe it away. . . .
22^ The Seven Princesses.
QUEEN.
No, no ! do not touch the window ! They
would wake with a start ! — It is on the inside ;
it is on the other side ; it is the heat of the
hall. . . .
PRINCE.
Six of them I can make out very well ; but
there is one in the middle. . . .
KING.
They all look alike ; I only distinguish them
by their necklaces of precious stones. . . .
PRINCE.
There is one I cannot see well. . . ,
QUEEN.
Which do you like best?
PRINCE.
The one you cannot see well. . . ,
QUEEN.
Which ? I am a little hard of hearing. ...
PRINCE.
The one you cannot see well. . . .
KING.
Which one is it you cannot see well? I
hardly see any of them.
The Seven Princesses. 337
PRINCE.
The one in the middle. . . .
QUEEN.
I knew well you would see her only ! . . .
PRINCE.
Who is it ?
QUEEN.
You know well who it is ; I need not tell you.
PRINCE.
It is Ursula?
QUEEN.
Why, yes ; why, yes ; why, yes ! You know
well it is Ursula ! it is Ursula ! It is Ursula,
who has waited for you for seven years ! all
night long ! all night long ! all day long ! all
day long 1 ... Do you recognize her ? . . .
PRINCE.
I do not see her well ; there is a shadow over
her. . . .
QUEEN.
Yes, there is a shadow over her; I do not
know what it is. . . .
PRINCE.
I think it is the shadow of a column. ... I
shall see her better soon, when the sun has
wholly set. . . .
2^S The Seven Princesses.
QUEEN.
No, no ; it is no shadow of the sun. . . .
PRINCE.
We shall see if the shadow moves away. . . .
KING.
I see what it is ; it is the shadow of the lamp.
QUEEN.
She is lying differently from the others. . . .
KING.
She sleeps more soundly, that is all. . . .
PRINCE.
She sleeps like a little child. . . .
KING.
Come to this window; you will see better,
perhaps.
PRINCE.
\_Going to another window^ I see her no
better. It is the face I cannot see. . . .
QUEEN.
Come to this window; you will see better
perhaps. . . .
PRINCE.
\_Going to another window."] I see her no
better. ... It is very difficult to see her. . . .
One would say she was hiding. . . .
The Seven Princesses. 339
QUEEN.
The face is almost invisible. . . .
PRINCE.
I see the body very well, but I do not make
out the face. ... I think it is entirely turned
heavenward. . . .
QUEEN.
But you look only at one ! . . .
PRINCE.
\_Still looking.'] She is taller than the
others. . . .
QUEEN.
But do not look always at the only one we
cannot see. . . . There are six others ! . . .
PRINCE.
I look at them, too. . . . Oh, how clearly one
can see the others ! . . .
QUEEN.
Do you recognize them ? — There is Genevieve,
— Helen, — and Christabel . . . and on the
other side there is Magdalen, — Clara, — and
Claribel with the emeralds. ... — Just see ;
I beUeve they are holding each other, all
seven, by the hand. . . . They fell asleep,
taking hold of hands. . . . Oh, oh ! the little
sisters ! . . . You would say they were afraid
of losing each other in their sleep. . . . My
God, my God ! I wish they would awake ! . . .
340 The Seven Princesses.
PRINCE.
Yes, yes; let us wake them. . . . Will you
let me wake them? . . .
QUEEN.
No, no ; not yet, not yet. . . . Let us not
look at them any more ; come, do not look at
them any more ; they will suddenly have bad
dreams. ... I will look at them no more ; I
will look at them no more. ... I might break
the glass ! . . . Let us not look at them any
more, we should be frightened ! . . . Come
away, come away, to the foot of the terrace ;
we will talk of other things ; we have so many
things to say. . . . Come away, come away ;
they will be afraid if they turn over ; they will
be afraid if they see us at all the windows. [21?
the old King.] You too, you too ; come away,
do not glue your white beard to the panes so
. . . you do not know how terrifying you are !
... — For the love of God, do not stay, both
of you, at the windows ! . . . Oh, come away ;
come away, I tell you ! . . . You do not know
what is going to happen. . . . Come here,
come here, turn away, turn away ! Look the
other way ! Look the other way a moment !
. . . They are ill, they are ill ! . . . Let us go
further away. . . . Let them sleep alone ! . . .
PRINCE,
[ Turntng.~\ What is the matter ? — Why, what
is the matter ? — Oh, how dark it is without ! . . ,
Where are you ? I cannot find you. . . .
The Seven Princesses. 341
KING.
Wait a moment ; you have the Hght of the
hall in your eyes still. ... I do not see either.
. . . Come. We are here. . . .
[^Thcy leave the windows.
PRINCE.
Oh, how dark it is in the fields ! . . . Where
are we?
KING.
The sun has set. . . .
QUEEN.
Marcellus; why did you not come sooner,
Marcellus ?
PRINCE.
The messenger has told you ; I have thought
only of coming. . . ,
QUEEN.
They have waited for you so many years !
They have been always in this marble hall ;
they have watched the canal day and night. . . .
On sunny days they have gone on the other
bank . . . there is a hill there, from which you
can see further; you cannot see the sea; but
you can see the rocks. . . .
PRINCE.
What is that gleam under the trees?
342 The Seven Princesses.
KING.
It is the canal by which you came ; there is
always a gleam on the water. . . .
PRINCE.
Oh, how dark it is to-night ! — I no longer
know where I am ; I am like a stranger
here. . . .
KING.
The sky is overcast suddenly. . . .
PRINCE.
There is a breeze in the willows. . . .
KING.
There is a breeze day and night in the
willows ; we are not far from the sea. —
Listen; it rains already. . . .
PRINCE.
One would say there was weeping about the
chateau. . . .
KING.
It is the rain falling on the water; it is a
very gentle rain. . . .
QUEEN.
One would say there was weeping in the
sky. . . .
PRINCE.
Oh, how the water sleeps between the
walls ! . . .
The Seven Princesses. 343
QUEEN.
It always sleeps so ; it is very old too. . . .
PRINCE.
The swans have sought shelter under the
bridge. . . .
KING.
And here are peasants bringing home their
flocks. . . .
PRINCE.
They seem to me very old and very poor. . . .
KING.
They are very poor ; I am king of very
poor people. ... It is beginning to grow
cold. . . .
PRINCE.
What is there yonder, across the water?
KING.
Down there ? — It was some flowers ; the cold
has killed them. . . .
[At this moment, far off across the fields
a monotonous song is heard, of which the
refrain only can be distinguished, taken up
in chorus at regular intervals.]
FAR-AWAY VOICES.
The Atlantic ! The Atlantic !
KING.
What is that?
344 The Seven Princesses.
PRINCE.
It is the sailors ; — I think they are turning
the ship ; they are preparing to depart. . . .
FAR-AWAY VOICES.
We shall return no more ! We shall return
no more !
QUEEN.
Already all its sails are set. . . .
PRINCE.
They depart to-night. . . .
FAR-AWAY VOICES.
The Atlantic ! The Atlantic !
KING.
Is it true that they will return no more ?
PRINCE.
I do not know; perhaps it will not be the
same ones. . . .
FAR-AWAY VOICES.
We shall return no more ! We shall return
no more !
QUEEN.
You do not look happy, my child.
PRINCE.
I ? — Why should I not be happy ? — I came
to see her, and I have seen her ... I can see
The Seven Princesses.
345
her nearer if I will ... I can sit by her side
if I will. . . . Can I not open the doors and
take her hand ? I may kiss her when I will ;
I have only to wake her. Why should I be
unhappy ?
QUEEN.
You do not look happy, though ! . . . I
am nearly seventy-five years old now . . . and I
have been waiting for you always ! ... It
is not you, not you ! ... It is no longer
you ! . . .
[She turns away her head and sobs.]
KING.
What is the matter? Why, what is the
matter? Why do you weep all at once?
QUEEN.
It is nothing ; it is nothing ; — it is not I
who weep. ... Do not mind me ; — one weeps
often without reason ; — I am so old to-day. —
It is over. . . .
PRINCE.
I shall look happier soon. . . .
QUEEN.
Come, come; they are perhaps there with
open eyes. . . . Give me your hand ; lead me
to the windows; let us go look in at the
windows. . . .
346 The Seven Princesses.
FAR-AWAY VOICES.
The Atlantic ! The Atlantic !
[They all return and look through the windows
PRINCE.
I cannot see yet. ... It is too light. . . .
QUEEN.
There is something changed in the hall ! . .
KING.
I see nothing at all.
PRINCE.
It is brighter than before. . . .
QUEEN.
It is not the same ; there is something
changed in the hall. . . .
PRINCE.
My eyes are not yet used to the light. . . .
QUEEN.
They are no longer all in the same posi-
tion ! . . .
PRINCE.
Yes, yes ; I believe they have made a little
movement. . . .
I
The Seven Princesses. 347
QUEEN.
Oh, oh ! Christabel and Claribel ? . . . See,
see ! . . . They were holding Ursula by the
hand. . . . They no longer hold their sister by
the hand. . . . They have let go her hands. . . .
They have turned the other way. . . .
PRINCE.
They were on the point of waking. . . .
QUEEN.
We have come too late ! We have come
too late ! . . .
KING.
I see only the lilies by the windows : — they
are closed. . . .
PRINCE.
They know it is nightfall. . . .
KING.
And yet there is a light there. . . .
PRINCE.
She is holding one of her hands strangely. . • .
QUEEN.
Who is?
PRINCE.
Ursula. ...
34^ The Seven Princesses.
QUEEN.
What is that hand? ... I did not see it
just now. ...
PRINCE.
The others concealed it. . . .
KING.
I do not know what you mean ; I do not
even see the mirrors. . . .
QUEEN.
She will be hurt ! ... She will be hurt ! . . .
She cannot sleep so ; it is not natural ... I
wish she would put down her hand a little. —
My God, my God, grant that she put down
that little hand ! . . . Her Uttle arm must ache
there so long ! . . .
PRINCE.
I see nothing to sustain it . . .
QUEEN.
I cannot see her sleep so ... I never yet
saw her sleep so. . . . It is not a good sign.
... It is not a good sign ! . . . She will never
be able to move her hand again. . . .
KING.
There is no reason to be so disturbed. . . .
PRINCE.
The others sleep more simply. . . .
The Seven Princesses. 349
QUEEN.
How tight their eyes are shut ! How tight
their eyes are shut ! . . . Oh, oh ! the Httle
sisters ! the little sisters ! . . . What shall we
do ? — Oh, what shall we do about it ? . . .
KING.
Take care, do not speak so close to the
windows. . . .
QUEEN.
I am not so close as you think. ...
KING.
Your mouth is on the panes. . . .
PRINCE.
I see something else — something very in-
distinct. . . .
QUEEN.
So do I, so do I. There is something I am
beginning to see. ... It stretches out to the
door. . . .
PRINCE.
There is something on the marble slabs. . . .
It is not a shadow. ... It cannot be a shadow.
... I cannot be clear what it is. . . . It
might be her hair. . . .
QUEEN.
But why has she not bound up her hair ? . . .
All the others have bound up their hair. . . .
Look. . . .
350 The Seven Princesses.
PRINCE.
I tell you it is her hair ! ... It stirs. . . .
Oh, her hair is beautiful ! ... It is not the
hair of a sick woman. . . .
QUEEN.
She does not arrange it so for sleeping. . . .
You would say she had intended to go out.
PRINCE.
She said nothing to you ? . . .
QUEEN.
She said this noon as she closed the door :
" Above all, do not wake us." — Then I kissed
her, not to see that she was sad. . . .
PRINCE.
They will be cold with their little feet almost
naked on the marble !
QUEEN.
Yes, yes ; they will be cold ! — Oh, do not
look so eagerly ! ^To the King.] Nor you
either ! Nor you either ! — Do not look every
moment ! Do not look all the time ! — Let
us not all look together ! . . . They are not
happy ! They are not happy ! . . .
KING.
What is it now, all at once ? — Are you the
only one that may see, pray? — Why, what is
The Seven Princesses.
35
the matter with you this evening ? — You are
not reasonable any more ... I do not under-
stand you . . . Everybody else must look the
other way; everybody else must shut their
eyes. . . . But this concerns us as much as
you, I think. . . .
QUEEN.
Oh, I know it concerns you. ... Do not
speak so, for the love of God ! . . . Oh, oh !
. . . Do not look at me ! Do not look at me
just now ! . . . My God, my God ! how motion-
less they are ! . . .
KING.
They will not wake to-night ; we would do
better to go and sleep too. . . .
QUEEN.
Let us wait still ; let us wait still. . . . We
shall see perhaps what it is. . . .
KING.
We cannot look forever through the window-
panes ; something must be done. . . .
PRINCE.
Perhaps we could wake them from here. . . .
KING.
I am going to knock softly on the door.
352
The Seven Princesses.
QUEEN.
No, no ! Never ! Never ! . . . Oh ! No,
not you, not you ! You would knock too
loud. . . . Take care ! Oh, take care ! They
are afraid of everything ... I will knock my-
self on the window, if it must be. . . . They
must see who knocks. . . . Wait, wait. . . .
[She knocks very softly at the window,
PRINCE.
They do not wake. . . .
KING.
I see nothing at all. . . .
QUEEN.
I am going to knock a little louder. . . .
\She knocks again at the window.'] They do
not stir yet . . . \_The Queen knocks again
at the window^ — You would say the hall
was full of cotton ... — Are you sure this
is sleep ? — Perhaps they have fainted . . .
I cannot see them breathe . . . \_The Queen
knocks again at another window] : Knock a
little harder . . . Knock on the other panes !
Oh, oh! these little panes are thick! [The
Queen and the Prince knock anxiously with
both hands.] How motionless they are ! How
motionless they are ! — It is the heavy sleep of
the sick ... It is the sleep of fever, which
will not go away ... I want to see them
near ! . . . They do not hear the noise we
The Seven Princesses. 353
make. ... It is not a natural sleep. ... It is
not a healthy sleep ... I dare not knock
harder. . . .
PRINCE.
[^Listening against the panes."] I do not
hear the least noise. . . .
[A long silence.
QUEEN.
l^I/er face against the panes and in a sudden
burst of tears,] Oh, how they sleep ! how
they sleep ! . . . My God, my God ! deliver
them, deliver them ! — How their little hearts
sleep ! — You cannot hear their little hearts !
— It is a fearful sleep ! — Oh, oh ! how fearful
people are, asleep ! ... I am always afraid in
their sleeping-room ! ... I no longer see their
little souls ! . . . Where then are their little
souls ! . . . They make me afraid ! they make
me afraid ! — It is now that I see it ! . . . How
they sleep, the little sisters ! Oh, how they
sleep, how they sleep ! . . . I beHeve they will
sleep forever ! . . . My God, my God, I pity
them ! . . . They are not happy ! they are not
nappy ! . . . Now I see it all ! . . . Seven little
souls all night ! . . . Seven little helpless souls !
. . . Seven little friendless souls ! . . . Their
mouths are wide open. . . . Seven little open
mouths ! . . . Oh, I am sure they are thirsty !
... I am sure they are terribly thirsty ! . . .
And all their eyes shut ! . . . Oh, how alone
354 The Seven Princesses.
they are ; all seven ! all seven ! all seven ! . . .
And how they sleep ! How they sleep ! —
How they sleep, the little queens ! ... 1 am
sure they do not sleep ! . . . Oh, what a sleep !
what a deep sleep ! . . . Oh, wake the dear
hearts ! Wake the little queens ! . . . Wake
the little sisters ! All the seven ! all the seven !
... I cannot bear to see them so any longer !
My God, my God, I pity them ! I pity them !
And I dare not wake them ! . . . Oh, the light
is so faint ! ... so faint ! ... so faint . . .
And I dare not wake them ! . . . \_She sods
desperately against the window.]
KING.
What is the matter? — What is the matter
now ? — Come, come, look no longer ; it is
better not to see them. . . . Come, come,
come. [^He tries to take her away,
PRINCE.
Grandmother ! grandmother ! . . . What
have you seen? what have you seen? — I
have seen nothing. . . . There is nothing,
there is nothing. ...
KING.
\To the Prince.] It is nothing, it is noth-
ing ; do not mind her ; it is old age, it is the
night. . . . She is unnerved. — Women must
weep. She weeps often in the night. \To the
Queen.] Come, come, come here. . . . You
The Seven Princesses. 355
will fall ! — Take care. . . . Lean on me. . . .
Do not weep any more ; do not weep any
more, come. . . . \^Hg kisses her tenderly S\
It is nothing; they are sleeping. . . . We
sleep, too. . . . We all sleep so. . . . Have
you never seen any one sleep?
QUEEN.
Never ! Never as to-night ! — Open the
door ! Open the door ! ... No one loves
them enough ! . . . No one can love them !
— Open the door ! Open the door ! . . .
KING.
Yes; yes; we will open the door. ... Be
calm, be calm, — think no more of it ; we will
open it, we will open it. I ask nothing better ;
I told you to open it, just now, and you would
not. . . . Now, now, do not weep any more.
... Be reasonable. ... I am old too, but I
am reasonable. Now, now, do not weep any
more. . . .
QUEEN.
There, there ; it is over ; I will weep no more,
I will weep no more. . . . They must not hear
me weeping when they wake. . . .
KING.
Come, come, I shall open the door very softly ;
we will go in together. . . . \^He tries to open
the door ; the lock grates , and, inside the hall,
the latch can be seen to lift and fall back again.'}
356 The Seven Princesses.
Oh, oh I what is the matter with the lock, I
wonder? — I cannot open the door . . . push
a Uttle. ... 1 do not know what it can be.
... I did not know it was so hard to get into
this hall. . . . Will you try? [7%^Queen /r/Vj
in her turn, without successJ] It does not
open. ... I believe they have drawn the
bolts. . . . Yes, yes; the door is locked; it
will not open. . . .
QUEEN.
They always lock it. . . . Oh, oh ! do not
abandon them so ! . . . They have slept so
long !
PRINCE.
We might open a window. . . .
KING.
The windows do not open.
PRINCE.
It seems to me it is not so light in the hall. . . .
KING.
It is just as light there ; but the sky is clearing.
— Do you see the stars ?
PRINCE.
What shall we do ?
KING.
I do not know. . . . — There is another
entrance. . . .
The Seven Princesses. 357
PRINCE.
There is another entrance?
QUEEN.
No ! no ! I know what you mean ! . . .
Not that way ! not that way ! I will not go
down ! . . .
KING.
We will not go down; we will stay here;
Marcellus will go alone. . . .
QUEEN.
Oh, no, no, no ! . . . Let us wait. . . .
KING.
But, after all, what will you have us do? —
There is no other way to get into the hall ...
that is as clear as possible. . . .
PRINCE.
There is another entrance?
KING.
Yes ; there is still a little entrance . . . you
cannot see it from here . . . but you will easily
find it. You must go down underneath- . . .
PRINCE.
Where must I go down?
35^ The Seven Princesses.
KING.
Come here. \_IIe draws him a little aside."]
It is not a door . . . you could not call it a
door ... it is a trap, rather ... it is a
movable slab in the floor. It is quite at the
back of the hall. . . . You must go through
the vaults . . . you understand. . . . Then
come up again. . . . You will need a lamp . . .
you might lose yourself . . . you might dash
yourself against the . . . the marble ... do
you understand ? . . . Take care ; there are
chains between the . . . the little passages.
. . . But you should know the way. . . . You
went down there more than once formerly. . . .
PRINCE.
I went down there more than once formerly?
KING.
Why, yes ; why, yes ; where your mother . . .
PRINCE.
Where my mother . . . ? — Ah, is it there I
must go ? . . .
KING.
[_Makes a sign with his head."] It is there. —
And where your father also . . .
PRINCE.
Yes, yes ; I remember . . . and where others
also . . .
i
The Seven Princesses. 359
KING.
You understand ! . . . The stone is not
cemented ; you have only to push a little. . . .
But be careful. . . . There are some slabs that
are not regular. ... Be on your guard for a
bust that bends its head a little across the path
... it is marble. . . . There is a cross, too,
with arms a little long ... be on your guard
... do not hurry ; you have plenty of time. . . .
PRINCE.
And it is there I must go? . . .
KING.
It is there ! . . . He must have a lamp.
\_IIe goes to the edge of the terrace and calls ^
A lamp ! a lamp ! a little lamp \ . . . \_To the
Prwce.] We will wait here at the windows.
. - . We are too old to go down there. . . .
We could not climb up again. , , . \A lighted
lamp is brought.'] Ah, ah, here is the lamp;
*Ake the little lamp. . . .
PRINCE.
Yes, yes ; the little lamp. . . .
[At this moment great cries of joy from the
sailors are heard suddenly without. The
masts, yards, and sails of the ship are
illuminated, in the midst of the darkness,
on the horizon of the canal, among the
willows.]
KING.
Oh, oh, what is that ?
360 The Seven Princesses.
PRINCE.
It is the sailors. . . . They are dancing on
the bridge ; they are tipsy. . . .
KING.
They have Ughted up the ship. . . .
PRINCE.
It is the joy of departure. . . . They are
just leaving. ...
KING.
Well, will you go down ? ... It is this way.
QUEEN.
No, no, do not go there ! ... Do not go
that way ! ... do not wake them ! do not
wake them ! . . . You know they must have
rest ! ... I am afraid ! . . .
PRINCE.
I will not wake the others, if you wish. . . .
I will wake one only. . . .
QUEEN.
Oh ! oh ! oh !
KING.
Make no noise as you enter. . . .
PRINCE.
I am afraid they will not recognize me. . . .
The Seven Princesses. 361
KING.
There is no danger. . . . Eh, eh ! take care
of the Httle lamp ! . . . Don't you see there is
a wind ? . . . the wind will blow it out ! . . .
PRINCE.
I fear they will not all wake at once.
KING.
What does that matter? ... Do not wake
them roughly, that is all.
PRINCE.
I shall be all alone before them. ... I shall
look as if . . . they will be afraid. . . .
KING.
You will only wake them after putting the
stone back in its place. . . . They will not
notice anything. . . . They do not know what
there is under the hall where they sleep. . . .
PRINCE.
They will take me for a stranger. . . .
KING.
We will be at the windows. — Go down ; go
down. — Take care of the lamp. — Above all,
do not lose yourself in the vaults ; they are of
362 The Seven Princesses.
a great depth. ... Be careful to put the slab
back. . . . Come up as soon as possible. . . .
We will wait at the windows. ... Go down,
go down ; — careful ! careful ! . . .
[The Prince leaves the terrace ; the old King
and the old Queen look through the win-
dows, with their faces against the panes. —
A long silence.]
FAR-AWAY VOICES.
The Atlantic 1 The Atlantic !
KING.
\_Turning his head and looking toward the
canalJ] Ah, ah ! they are going. . . . They
will have a fair wind to-night. . . .
FAR-AWAY VOICES.
We shall return no more ! We shall return
no more !
KING.
\_Looking toward the canaL"] They will be
on the open sea before midnight. . . .
VOICES.
\JFarther and farther away.'] The Atlantic !
The Atlantic !
KING.
[Looking into the hall.'] If only he does not
lose himself in the darkness. . . .
The Seven Princesses. 36J
VOICES.
\_Almosi inaudible.'\ We shall return no
more ! We shall return no more !
[A silence; the ship disappears among the
willows.]
KING.
\_Looking toward the canal.'\ You cannot
see them any longer. — \Looking into the ha//,']
He has not come yet? — \_Looking toward the
canatJ] — The ship is no longer there ! — \_To
the Queen.] — You pay no attention ? — You
do not answer ? — VVhere are you ? Look at
the canal. — They have gone ; they will be on
the open sea before midnight. . . .
QUEEN.
\_Dtstractedly.'] They will be on the open
sea before midnight. . . .
KING.
\_Looking into the hail.'] Can you see the
slab he should lift? — It is covered with in-
scriptions ; — it must be hidden by the laurels.
— He has grown tall, Marcellus, has he not ? —
We would have done better to wake them
before he landed. — I told you so. — We should
have avoided all these scenes. — I do not know
why he did not look happy this evening. —
They were wrong to draw the bolts ; I will
have them taken off. — If only his lamp does
not go out ! — Where are you ? — Do you see
anything? — Why do you not answer? — If only
he does not lose himself in the darkness ! —
Are you listening to me ?
364 The Seven Princesses.
QUEEN.
If only he does not lose himself in the
darkness ! . . .
KING.
You are right. — Do you not find it is begin-
ning to grow cold ? — They will be cold on the
marble. — It seems to me he is taking his
time. — If only his little lamp does not go out !
— Why do you not answer? What are you
dreaming about?
QUEEN.
If only his little lamp . . . ! The stone !
the stone ! the stone ! . . .
KING.
Is he there ? — Is he coming in ? — I cannot
see that far. ...
QUEEN.
It rises ! it rises ! . . . There is a light ! . . .
look . . . listen ! listen ) — It creaks on its
hinges ! . . .
KING.
I told him to go in very softly. . . .
QUEEN.
Oh, he is coming in very softly. . . . See,
see, he is putting his hand through with the
lamp. . . .
The Seven Princesses. ^6^
KING.
Yes, yes ; I see the little lamp. . . . Why
does he not enter at once ? . . .
QUEEN.
He cannot. . . . He is lifting the stone very
slowly. . . . Yes, yes ; very slowly . . . Oh,
how it creaks ! how it creaks ! how it creaks !
. . . They will wake with a start !
KING.
I cannot see very well what is going on . . .
I know the stone is very heavy. . . .
QUEEN.
He enters . . . He comes up . . . He comes
up more and more slowly . . . Oh, but the
stone cries now ! . . . oh, oh ! it cries ! it
cries ! It wails like a child ! . . . He is half
in the hall ! . . . Three steps more ! three
steps more ! \^Clapping her hands. '\ He is
in the hall ! He is in the hall ! . . . Look !
look ! . . . They wake ! . . . They all wake
with a start ! . . .
KING.
Has he let the slab fall ?
[The Prince, letting go the sepulchral slab he
has just lifted, stops, lamp in hand, at the
foot of the marble steps. Six of the prin-
cesses, at the last grating of the hinges,
open their eyes, stir a moment on the edge
of sleep, and then rise simultaneously at
^66 The Seven Princesses.
his approach, their arms raised in slow
attitudes of waking. One only, Ursula,
remains stretched on her back on the mar-
ble steps, motionless, in the midst of her
sisters, who exchange with the Prince a
long look full of marvellings, bewilderments
and silences.]
QUEEN.
[^Af the windows r^ Ursula ! Ursula ! Ursula !
. . . She does not wake ! . . .
KING.
Patience ! patience ! — She sleeps a little
heavily. . . .
QUEEN.
[Crying out^ her face against the windows^
Ursula ! Ursula ! — Wake her ! [^Knocking on
the windows^] Marcellus ! Marcellus ! —
Wake her ! Wake her too ! Ursula ! Ursula !
. . . Marcellus ! Marcellus ! . . . She has not
heard ! . . . Ursula ! Ursula ! Arise ! He
is there ! He is there ! ... It is time ! It
is time ! — [^Knocking at another windowJ]
Marcellus ! Marcellus ! Look before you !
look ! She is sleeping still ! . . . \_Knocking
at another window j\ — Oh, oh ! — Christabel !
Christabel! Claribel ! Claribel ! . . . Clara!
Clara ! Oh, Clara ! ... She has not heard !
. . . [Knocking constantly and violently on the
windows.'] Ursula ! Ursula ! He has come
back ! He is there ! He is there ! ... It is
time ! It is time ! . . .
The Seven Princesses. 367
KING.
[A/so knocking at the windowsJ] Yes ; yes ;
wake her ! . . . Oh, wake her ! . . . We are
waiting. . . .
[The Prince, unheeding the noises outside,
approaches in silence the one who has not
risen. He gazes upon her a moment, hesi-
tates, bends his knee and touches one of
the arms lying bare and inert on the silken
cushions. At the contact of the flesh he
rises suddenly, with a long and sweeping
look of terror at the six princesses, who
remain mute and are extremely pale. They,
at first undecided and trembling with the
desire to flee, stoop finally with a unani-
mous movement over their prostrate sister,
lift her, and, in the deepest silence, bear the
body, already rigid, with head dishevelled
and stiff, to the highest of the seven mar-
ble steps; while the Queen, the King, and
the people of the chateau, who have hurried
to the scene, knock and cry out violently
at all the windows of the hall : these two
scenes take place simultaneously.]
QUEEN.
She is not asleep ! She is not asleep ! — It
is not sleep ! It is not sleep ! It is no longer
sleep ! [She runs desperately from window to
window; she knocks at them, she shakes the
iron bars ; she stafnps and her white unknotted
hair is seen quivering against the panes.'] She
is no longer sleeping, I tell you ! [To the
King.] Oh ! oh ! oh ! you are a man of
stone ! . . . Cry out ! cry out ! cry out ! For
God's sake ! cry out, I tell you ! I scream
368 The Seven Princesses.
myself to death and he does not understand !
— Run ! run ! cry ! cry ! He has seen
nothing ! nothing ! nothing ! nothing ! never !
never ! never ! . . .
KING.
What? what? What is it? What is it?
Where must I cry out?
QUEEN.
Down there ! down there ! Everywhere !
everywhere ! on the terrace ! over the water !
over the meadows ! . . . Cry ! cry ! cry ! . . .
KING.
\^0n the edge of the terrace^ Oh ! . . .
oh ! . . . Hurry ! hurry ! here ! here ! . . .
Ursula ! Ursula ! . . . There is something the
matter ! . . .
QUEEN.
\_At the windows.'] Ursula ! Ursula ! . . .
Pour some water on her ! . . . — Yes, yes, do
that, my child . . . It is perhaps not . . . ! Oh,
oh, oh ! . . . her little head ! . . . \Servitors,
soldiers, peasants, women, run up on the terrace
with torches and lanterns.] Ursula ! Ursula !
.... It is perhaps not that ... It may be
nothing at all ! ... Eh ! eh ! Claribel ! Clar-
ibel ! Take care ! ... She will fall ! ... Do
not tread on her hair ! . . . Open ! open ! — She
will wake ! she will wake ! . . . water ! water !
water ! — Open ! open ! the door ! the door !
The Seven Princesses. 369
the door ! ... No one can get in ! Every-
thing is locked ! everything is locked ! . . .
You are deaf as dead folk ! . . . [2<? those about
her,'] Help me ! — You are horrible people !
My hands ! . . . My hands ! . . , You see my
hands ? . . . Help me ! help me ! Oh, oh !
It is late ! ... It is too late ? ... It is too
late ! . . . closed ! closed ! closed ! . . .
ALL.
\_Shaktng the door and knocking at all the win-
dows^ Open ! open ! open ! open ! . . .
[A black curtain falls brusquely.]
^
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