The Project Gutenberg EBook of Lucky Pehr, by August Strindberg This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Lucky Pehr Author: August Strindberg Translator: Velma Swanston Howard Release Date: August 8, 2009 [EBook #8510] Last Updated: January 25, 2013 Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK LUCKY PEHR *** Produced by Nicole Apostola, and David Widger
OLD MAN IN THE TOWER.
PEHR.
LISA.
FAIRY.
ELF.
RATS [NILLA AND NISSE].
BUTLER.
ASSESSOR.
PETITIONER.
FIRST FRIEND.
SECOND FRIEND.
A WOMAN.
PILLORY.
STATUE.
WAGONMAKER.
SHOEMAKER.
CHIROPODIST.
STREET-PAVER.
RELATIVE.
BURGOMASTER.
ONE OF THE PEOPLE.
CHAMBERLAIN OF THE CALIPH.
AMEER.
COURT HISTORIAN.
COURT MULLAH.
GRAND VIZIER.
POET LAUREATE.
BRIDE.
SINGER.
DEATH.
WISE MAN.
SAINT BARTHOLOMEW.
SAINT LAURENCE.
BROOM.
PALL.
A VOICE.
Townspeople, Dancers, Viziers, Courtiers,
Court Attendants, etc.
ACT I.—Room in a Church Tower.
ACT II.—[a] Forest—[b] Rich Man's Banquet Hall.
ACT III.-Public Square and Town Hall.
ACT IV.—[a] Caliph's Palace—[b] Seashore.
ACT V.—Country Church [Interior].
TIME: Middle Ages.
A Solis ortus cardine
Et usque terrae limitem
Christum canamus principem
Natum Maria Virgini.
[Old Man comes up tower steps and enters carrying a rat-trap, a
barley-sheaf and a dish of porridge, which he sets down on the floor.]
OLD MAN. Now the elf shall have his Christmas porridge. And this year he
has earned it honestly—twice he awakened me when I fell asleep and
forgot the tower shutters; once he rang the bell when fire broke loose.
Merry Christmas, Elf! and many of them. [Takes up rat-trap and sets it.]
Here's your Christmas mess, Satan's rats!
A VOICE. Curse not Christmas!
OLD MAN. I believe there are spirits about to-night—Ugh! it's the
cold increasing; then the beams always creak, like an old ship. Here's
your Christmas supper. Now perhaps you'll quit gnawing the bell-rope and
eating up the tallow, you accursed pest!
A VOICE. Curse not Christmas!
OLD MAN. The spooks are at it again! Christmas eve—yes, yes!
[Places rat-trap on the floor.] There! Now they have their portion. And
now comes the turn of the feathered wretches. They must have grain, of
course, so they can soil the tin roof for me. Such is life! The church
wardens pay for it, so it's not my affair. But if I were to ask for an
extra shilling two in wages—that they couldn't afford. That
wouldn't be seen! But when one sticks out a grain-sheaf on a pole once a
year, it looks generous. Ah, that one is a fine fellow!—and
generosity is a virtue. Now, if we were to share and share alike, I
should get back my porridge, which I gave to the elf. [Shakes sheaf and
gathers the grain into a bowl.]
A VOICE. He robs Christmas! He robs Christmas!
OLD MAN. Now I'll put this thing on the pole so that it will look like a
symbol, and as a symbol it will also be of service—for it shows
what is not to be found within. [He puts sheaf through window and hangs
it on pole, then shakes his fist at town below.] Oh, you old human pit
down there! I spit on you! [Spits through window; comes down and sees
the burning candle before the Virgin's picture.] This must be the boy's
doings! The times are not such that one burns up candles needlessly.
[Snuffs out light and puts the candle into his pocket.]
A VOICE. Woe! Woe! [Head of Virgin shakes three times and a bright ray
of light darts out from the head.]
OLD MAN. [Shrinking.] Is hell let loose to-night?
A VOICE. Heaven!
OLD MAN. Pehr, Pehr! Where are you? My eyes! Light the candles—My
son, my son!
VIRGIN'S IMAGE. MySON!
OLD MAN. [Groping his way toward the stairs.] My eyes! Hell-fire! [He
rushes down the steps.]
[Two rats, Nisse and Nilla, come on right, one behind the other. They
have mourning veils swathed about their tails.]
NISSE. I say, it smells like roast pig!
NILLA. Oh, I promise you! Be careful, Nisse! I see the trap over there.
[Sits on hind legs.] 'Twas in that very trap that our little ones were
lost! O dear, dear, dear!
NISSE. If we could only hit upon some trick to play on the bad old man
it would do my bowels good! Can you see if he has left anything about
which he values?
NILLA. Suppose we gnaw the ropes so the bells will tumble down on his
head—
NISSE. Why, Nilla! you know that I have only one poor tooth left in my
head.
NILLA. But I have two—and where there's a will there's—but
you, you have no feeling for your children!
NISSE. Come now! we shan't quarrel on Christmas Eve.
NILLA. Hush! What have we here?
NISSE. A dish of porridge—
NILLA. Which the old man has left—
NISSE. For the elf. He's afraid of him!
NILLA. Now I know! We'll eat up the porridge so—
NISSE. The elf will get after him—
NILLA. And he can raise the mischief when he gets angry. [They are over
by the dish now, and eating.]
NISSE. Oh, move along and make room for me!
NILLA. Hush! It creaks in the stairs.
NISSE. Now I see the bottom of the dish; there's the lump of butter!
NILLA. Help me with this corner.
NISSE. Ah!—now we'll wipe our mouths and run. [They scurry off
left.]
[Elf slides down bell-rope.]
ELF. [Walks about and searches.] Where's my Christmas porridge? I
scented its aroma a long way off. It will taste good to me on a cold
night, like this. I hope he has given me a big lump of butter this year,
since I have been so good to him. [Loosens belt.] There! get you ready,
my stomach. I'll let out two holes in the belt, which will make it about
right. [He sees dish.] Ah, ha! what's this? Empty dishes! What has come
over the old man-hater? Has he grown stingy and arrogant, or does he
mock me, when he sets out an empty dish! There has been porridge here
[smells]—butter, too! Well, well, old man! I'm sorry for you, but
I shall have to punish you. The elf is for the purpose of punishing and
rewarding. I must sit down and think out some real Christmas
gift. [Sits in chair.] Let me see! The old man shuts himself up in this
place with his son, whom he wishes to shield from the evils and shams of
the world. The old man has seen much of the world, and hates it; the
young one has never been beyond the church door and has seen the world
only from the tower. But I know that it tempts him, just because he has
seen it like this—from a bird's-eye view. The old man has but one
wish in life—that his son shall succeed him and thus be spared the
struggles of life and the cruelty of men. It is this wish which I shall
cross; it is his only vulnerable point. Well and good! I'll call his
godmother. She shall take the boy in hand and show him all the glories
of the world; afterwards, there will be nothing more for the old man to
do in the matter. The dreams of youth—I know their powers. Well,
then! [Blows a whistle.]
[Fairy dressed like an old witch, with brown cloak and cane, emerges
from behind a post.]
FAIRY. Good evening, lad.
ELF. Good evening, old lady. Can you corrupt a young man?—Oh!
understand me aright.
FAIRY. That depends—
ELF. It won't go in that costume! You see, it's a question of the old
man's son.
FAIRY. Our Pehr?
ELF. Just he! Hush, old lady, I'm talking now! The boy is very dear to
my heart—that he has been ever since his birth. We—you and I—stood
sponsor for him, and we each have our duties. His education is being
neglected; he has seen nothing of the world, although he is fifteen
to-day. I want him to go out and look around so he will be a credit to
us. Have you anything against it?
FAIRY. Nothing. But I fear that he will meet with difficulties out there
which we cannot adjust, since our power does not extend beyond these
church walls.
ELF. True; and I must search my brain for another idea. Ah—I have
it! We'll each give him his godgift, which can serve him in all
conditions of life.
FAIRY. And what shall you give? Let us hear!
ELF. Life is rather ticklish, as you know, and the boy is young! He has
not as yet, through proper training, had time to learn all the arts by
which one gains one's wishes. Now, I ask nothing more of life, for I
know what it gives; therefore he shall have my wish-ring. And you?
FAIRY. I daresay that gift is a good one, but when once he has got all
that he wished for, he will have made his journey like the blind;
therefore I shall give him a gift which will show him matter's face
value—I shall give him good company on the way.
ELF. Feminine?
FAIRY. Naturally.
ELF. You're a wise one! No—now you shall take charge of the lad
and see that he gets away.
FAIRY. But how? He fears and obeys his father.
ELF. Fiddlesticks! Do your hokus-pokus and show him all the glories down
there, in the Christmas-bedecked homes. Then it will go fast enough!
FAIRY. Do you think so?
ELF. I know the young. Here's my ring—and now to business!
FAIRY. Is it right to play with human destiny?
ELF. We only play with human beings, their destinies we do not control.
Soon or late, the boy will go out into the world, and he is better
equipped than many who have faced life before him. When his journey is
over, we can discuss the subject more at length. Are you ready?
FAIRY. [Going toward post.] Immediately. [Fairy disappears.]
ELF. Then I'll whistle. [Disappears behind the other post.]
[Pehr comes down steps leading from top of tower.]
PEHR. Who's there?
FAIRY. [Appears suddenly, dressed in white.] Your godmother, Pehr. Don't
you know me?
PEHR. Ah! you are the one who caught me in your arms that time, when I
fell from the tower. What do you want of me to-day?
FAIRY. I want to give you a Christmas gift.
PEHR. A gift? What is that?
FAIRY. Something that gives one pleasure.
PEHR. Pleasure?
FAIRY. Fulfillment of one's wishes.
PEHR. Wishes! Now I begin to understand.
FAIRY. When standing out there on the balcony, have you never felt as if
something were drawing you—sort of enticing you down?
PEHR. Yes, that I have felt. You see the black streak over there, where
light and darkness meet? In the daytime it looks different; and when the
wind blows, it moves.
FAIRY. The forest.
PEHR. What is it like in the forest?
FAIRY. It is cool and delightful.
PEHR. That's well! Thither I am drawn, sometimes, so powerfully that I
want to rush through the tower window and soar, like the birds in the
air!
FAIRY. Beyond the borders of the forest?
PEHR. Is there something beyond?
FAIRY. There lies the world.
PEHR. The world! What is that?
FAIRY. Would you like to see it?
PEHR. Is it pleasant?
FAIRY. Some say it is; the majority say it is not. Come over here and I
will show you some pictures from that checkered panorama which people
call life. [Transparency curtain.]
Do you see the great house on the square, where all the windows are
lighted? The rich man lives there. Now look into the rooms. On the table
there is a lighted Christmas-tree laden with all kinds of gifts: the
golden fruits of the tropics from across the seas; earth's hidden
treasures, to which people bend the knee and which in their dazzling
settings reflect the lights. But, do you see the light in the faces of
the little children? That is the earth-life's sun—that is happiness—which
is something you do not know, poor child! But you shall know it. You
want to, do you not?
PEHR. Who is the good fairy that walks about and gives the children the
golden fruits?
FAIRY. That is the mother.
PEHR. Mother?—I don't understand.
FAIRY. You, too, had a mother, but she died when you were very young.
PEHR. And the old man in the corner, with the mild look in his eyes?
FAIRY. He is the father, who in memory is living over his childhood.
PEHR. The father! But he looks so pleasant.
FAIRY. Yes, for he loves some one besides himself.
PEHR. And the youth who puts his arm around the young girl's waist—[Eagerly.]
Now he presses his face against hers—their lips meet—what
does that mean? Does one speak like that in life?
FAIRY. That is love's way of speaking.
PEHR. Love! Then it must be glorious to see it all!
FAIRY. Wait! Now look up there, in the gable window—a single
candle burns, a poor, wretched light. [Tableau.]
PEHR. Poverty! That I know. Show me something pretty!
FAIRY. [Regarding him.] You are pleasure loving. Very well!—Look
again up there, around the same Christmas light—it shines dimly
but warmly on the contented table of poverty.
PEHR. No! I want to see something beautiful.
FAIRY. Really! Is there anything more beautiful than—but, wait!
you shall see—Now look over yonder—toward the castle, where
the King lives. [Tableau.]
PEHR. Oh!
FAIRY. Do you see the beautiful robes, the glittering jewels? Do you see
how the walls reflect the brilliant lights and how in the middle of
winter real roses and blue lilies are in bloom?
PEHR. Oh!
FAIRY. And the young girls, with the flowing locks, who serve wine in
silver goblets—
PEHR. There I want to be!
FAIRY. And now stewards, in white, carry on the dishes.
PEHR. Oh!
FAIRY. The heralds rap on the floor with their staves—the trumpets
sound—[Three strokes of a bell are heard; the tower chamber takes
on its former appearance.] Alas! the time is up. Pehr, do you wish to go
out and taste of life?
PEHR. Yes, yes!
FAIRY. Good and bad?
PEHR. Bad? That I think I know; the good I would learn to know.
FAIRY. You think so? But you shall soon see that all which seems good is
not good, and all that seems bad is not bad.
PEHR. Only let me get out—and away from here!
FAIRY. You may go; but first I want to give you, as a help on your
journey, a gift which will be of service to you. When you have it, you
will have been given more than others, and therefore more will be
required of you at some future time.
PEHR. Let me see it!
FAIRY. This ring has the power to grant you all your wishes—to
your credit, but to no one's harm.
PEHR. That's a fine ring! But what will the old man say?
FAIRY. He is only going to meet with his just punishment—punishment
for his selfishness.
PEHR. Yes, that is just. All the same I feel sorry for him.
FAIRY. Do not grieve for him; I shall watch over his sorrow.
PEHR. Sorrow! Nothing else? Sorrow, he says, is the one pleasure in
life. Let him sit and enjoy it then. I shall probably furnish him with
opportunities.
FAIRY. And lastly, young man, will you take provisions from the Wise
Man?
PEHR. What should they be?—Good advice?
FAIRY. Yes.
PEHR. Alas, I have such quantities of that!
FAIRY. I know that, and I know its fate. Farewell then! May life so
teach you to live that when your journey is over you shall be—whether
great or obscure; successful or unsuccessful; learned or ignorant—a
man, and above all, a manly man. Farewell! [Fairy disappears in column.]
PEHR. [Alone.] Well, Pehr, you are going out into life! Others before
you have probably done likewise. But is it, then, so difficult out
there? To be sure I have stood on the church roof and watched the
throngs of people down in the street crawl around each other, going and
coming. To me they appear so quiet and orderly, and I don't see that
they trample on one another, although they are as thick as gnats. That
dogs and apprentices fight sometimes, that I have seen, but grown folk—never!
The old man and I never fight, although we pass each other on the stairs
ten times a day. True, he has beaten me, but I have never beaten him;
and other people may not be so bad either, if the truth were told.
Wasn't there a fire the other day in the house of a rich merchant and
didn't a lot of poor wretches come running from all directions, and
didn't they go up to the rich man's place and save his goods? Oh, yes, I
saw how they took silver pieces from his table and carried them far out
of the city, where they hid them behind haystacks so the silver wouldn't
be burned up. Wasn't that kind of them? We shall see, we shall see!
Meanwhile, my dear Pehr, you shall go out and have a look at the world
and make use of your gifts. [Examines ring.] Let's see! What shall I
wish for first?
[Old man enters as if through wall.]
PEHR. Oh! so the old man is here. I did not hear your footsteps on the
stairs. Which way did you come?
OLD MAN. [Alarmed.] Did you see?
PEHR. No.
OLD MAN. Let me look at you! [Gazes fixedly at him.] Something has
happened here—
PEHR. Nothing—nothing whatever!
OLD MAN. My son, it will soon be midnight. Don't you want to retire to
your room so that I may lock you in?
PEHR. You always want to shut me in! Tell me, Father, have you never
meant to let me out in the world? Surely you cannot have thought that I
should sit here forever, and dry up!
OLD MAN. I have seen life; I know its Sodom apples—therefore I
wish to shield you.
PEHR. But life is not as sour as you say, perhaps.
OLD MAN. What do you know about it?
PEHR. Oh, I can see things from my high place! Come here and I will show
you.
OLD MAN. What can you show me that I do not already know?
PEHR. [Leads Old Man to the window.] Look! Do you see the great house on
the square?
OLD MAN. Yes; but make haste! Before the clock strikes twelve, you must
be in bed.
PEHR. Do you see the Christmas-tree, with its gold and silver?
OLD MAN. Only paper, boy!
PEHR. And the golden fruits of the tropics?
OLD MAN. Worm-eaten—
PEHR. And the sun—Happiness—how it shines on the children's
faces!
OLD MAN. Between times distorted by envy—
PEHR. And the old man who sits there, contented and happy—
OLD MAN. It's a lie! He trembles in his heart for the house rent, which
must be paid on the new year—
PEHR. He—the rich man?
OLD MAN. Hides his approaching downfall!
PEHR. And those young people—Do you see how he stretches his arm—
OLD MAN. After the father's money bag!
PEHR. Shame on you! Their lips meet—
OLD MAN. In lust!
PEHR. What is that?—Ah! Now look up there, at the gable window,
with the single light—
OLD MAN. Prompted by caution, which demands darkness—
PEHR. By the glow of contentment's calm light—
OLD MAN. Which they stole from the spice stall, and their delight is in
planning the next expedition to the city market. I know it, do you hear!
And up there, in the palace, where the lights glisten by the thousands
and mirror themselves in the wines' sour streams—there they roll—empty
heads and empty hearts—who say that they think and feel for the
people's welfare! There they roll, between bottles and dishes—
PEHR. Why do you talk so fast? Let me continue—
OLD MAN. No! Away with you and obey, boy!
PEHR. Yes, away from here! I want to go out and see the world. I want to
see child-faces—even if they can be clouded by envy's cankerworm!
I want to taste the fruit of the tropics even if it is worm-eaten! I
would drink the wine though it were gall, and I want to put my arm
around a maid's waist, even if a bankrupt father does sit at the hearth
stone! I want silver and gold—if in the end it is nothing but
dross!
OLD MAN. Hell-fire! who's been here?
A VOICE. Curse not Christmas!
PEHR. What can this mean? It is so strange here to-night—stranger
than usual. Father, look at me! Why, that's not his face!
OLD MAN. [Kneeling.] My son! Listen to your father—obey the old
man, who wishes you only good; remain within these peaceful walls!
PEHR. It is too late!
OLD MAN. What do I see?—that ring! who gave it to you? [Tries to
take the ring from Pehr.]
PEHR. Who are you? You are not my father!
OLD MAN. Your guilty, your unhappy father, who is bound by the
witchcraft of the Powers! [Old Man is transformed into a big black cat.]
PEHR. Jesu Maria, help! [Bright rays dart out from Virgin's image; clock
strikes twelve.]
PEHR. The witch! The witch! Away, unclean spirit! [Cat vanishes.] And
now—[opens tower shutters] for life! [Fingers ring.] To the
forest. [Going through window.] Out!
CURTAIN.
[Solo Recitative.]
Hail to thee, Burgomaster!
Hail to thee, benefactor!
Life burns our deeds within its envious fire,
But mem'ry, like a phoenix from the pyre,
Rises on stalwart wing to waft them higher.
SHOEMAKER. Well whistled, Wagonmaker! Any signs of the grog yet?
WAGONMAKER. Go on, Shoemaker! Now comes the aria; it must be rendered
with feeling. Then you shall see that the burgomaster will wake up!
SHOEMAKER. [Sings aria.]
ARIA.
The breath of the rose and carnation-bud's fragrance, 'mongst
wonder-flowers' fated!
As false at heart
As glitter-wave,
She held toward him her billowy hair,
Where all the ocean's freshness breathes.
And lily so red and lily so white
Confidingly muse on death and life.
CHIROPODIST. That was a rare strophe! But it doesn't seem to have any
special bearing upon the subject and our present conditions. Where did
you get it?
SHOEMAKER. Well, you see, I have an apprentice at home who is one of
your idealists; he does things of this sort when he's free, on Sundays.
WAGONMAKER. If I may venture an opinion, I think it inconceivably
difficult to get at the pith of the strophe.
SHOEMAKER. That's just the fine point, you see! But hush—methinks
we have the rain here. [Puts on coat.]
WAGONMAKER. Do the gentlemen think it worth while to stand here in the
rain and get soaked on that old duffer's account?
SHOEMAKER. But we are paid to support the song and we must at least do
the trio before we go; for when we all pitch in together the object
itself won't be able to sleep! The oration, on the other hand, can be
given at any time; besides, there is too small a public for so big a
speech. We'll take the trio—do, mi, sol, do. It is not as ideal as
the aria, but it evinces greater familiarity with the specific
conditions. [Rain patters, wind increases.]
CHIROPODIST. Damned if I stand here any longer and catch cold for that
old charlatan! Remuneration? Six marks each! One can do without that.
WAGONMAKER. I think so, too.
SHOEMAKER. Were you not in on the subscription for the statue, perhaps?
Were you not there and helped, with a medallion, to turn him into a
great man?
WAGONMAKER. Well, we had to, didn't we? otherwise they would have downed
us.
SHOEMAKER. True—but it is ungrateful not to respect his memory. I
shall sing the trio alone.
CHIROPODIST. Oh, you can do it—you, with your sou'wester! I'm
going home to breakfast. [Flings wreath on pedestal, dashes hood of
cloak over head and runs off.]
WAGONMAKER. This is the last time I'm going to lend myself to such
tomfoolery! Good-bye!
SHOEMAKER. [Alone.] And now I'm going to the burgomaster's for a brandy.
But first, I must deliver my speech to the old man on the pedestal; then
my conscience will be easier. [Talks to statue.] You think, you old
Schulze, it is for your sake that we sing, for your sake that we
speechify; can't you comprehend that we do so for our own sakes? We need
a big man to push forward when we turn out to be too little ourselves.
We need your word to quote, since no one credits ours. Our little town
needed your statue in order to become a great city; your insignificant
relatives needed your statue to help them get on and find occupation in
this troublesome world—and therefore, mark you, you stand so high
above us all—a figure for naught but ciphers! Now you have heard a
true remark, you poor wretch! the first and the last you'll hear,
perhaps—[Alarmed.] Surely no one has been listening to what I
said? Ah! here comes the great man's relative.
[Enter Relative.]
RELATIVE. Good morning, Shoemaker. Have you heard—have you heard
of the scurrilous attack?
SHOEMAKER. What now? What's up, Herr Relative?
RELATIVE. A reformer has come to the city; haven't you read his
broad-sheet?
SHOEMAKER. No, no!
RELATIVE. Oh, it is unprecedented—read for yourself!
SHOEMAKER. I'm too agitated to read; you read it.
RELATIVE. Then listen to what the scoundrel writes:﹃A quarter of a
century has hardly elapsed since Burgomaster Schulze gladdened this
community with weighty improvements as regards its street paving, by
giving us in place of the old sand-ground rough cobble stones.﹄Do you
hear! Do you hear!
SHOEMAKER. Yes, I hear. But that was not very alarming.
RELATIVE. Not alarming! Doesn't he call him Burgomaster Schulze? One
does not say burgomaster of a dead man—one says Our Illustrious—Does
not the wretch write about rough cobble stones? Does he not attempt with
that to undermine his worth?
SHOEMAKER. But one cannot call it an attack, if he says that cobble
stones are rough when they are rough.
RELATIVE. Of course they are rough, but one must not say that they are
when a great man is responsible for them. Have a care, Master Shoemaker!
I see that you are a sceptic. Have a care—you know the
consequences!
SHOEMAKER. For God's sake, I'm no sceptic! Haven't I been standing here
chanting odes to brother Schulze?
RELATIVE. Brother! If you were a brother to him in life, please remember
that all titles are annulled by death. Will you admit that this is an
attack?
SHOEMAKER. Of course I will—Have I said anything to the contrary?
Can you prove that I said anything to the contrary?
RELATIVE. No; but be careful! We hold Common Council here on the square
at nine o'clock, when that reformer will speak for his cause. Do you
know what he wants?
SHOEMAKER. No.
RELATIVE. Can you imagine it! He wants to repave all our streets with
flagstones.
SHOEMAKER. But that's rather considerate of him.
RELATIVE. [Laughs ironically.] Considerate? Oh, very! How will it go,
for example just to mention your calling—how will it go with the
precious shoemaking trade when the people no longer wear out any shoes?
SHOEMAKER. What—what say you? Forgive me, my friend, but you are
right. However, I'm not thinking of my humble calling, but of all the
poor innocent working men who will be robbed of their bread—and of
their poor wives and children!
HANS. [At window, makes faces.] Poor unfortunate workingmen!
RELATIVE. You see, you see! [Pointing to statue.] He was the friend of
the poor, and he was a man that knew what he did!
SHOEMAKER. You may depend upon it that both the wagonmaker and the
chiropodist will share my opinion.
RELATIVE. Am I quite sure of that?
SHOEMAKER. In life and in death!
RELATIVE. Happy the people who respect their great men! [Runs.]
[Enter populace. Relative is talking with the wagonmaker and the
chiropodist.] [The Courthouse clock strikes nine; two trumpeters and a
drummer come on and sound a call. When the music has ceased Pehr enters,
and is joined by Street-Paver.]
PEHR. Good morning, master. How do you think this matter will go for me?
STREET-PAVER. Badly, very badly!
PEHR. Don't the people want improvements, then?
STREET-PAVER. There's no question as to that—it's a question of
the great man's reputation, which you have attacked.
PEHR. Have I attacked him? [Rain has ceased.]
STREET-PAVER. You called him burgomaster, and that title has
become a by-word in the town; you said that his paving stones were rough—in
a word, you have expressed the common opinion of the man, therefore you
are ruined.
PEHR. It's a very remarkable world that we live in!
STREET-PAVER. It's rather see-saw, and has its little eccentricities,
but do not try to help it, sir, for then it will send you straight to
tophet!
PEHR. The people are dissatisfied and when one wants to dig up the cause
of their dissatisfaction, they throw stones at one! [A boy thrusts a
leaflet into their hands, hurries along and distributes more among the
populace.]
PEHR. [Glances at leaflet.] But this is outrageous! They have sketched
us. Have I a nose like that?
STREET-PAVER. They have hit us off rather well—but surely I
haven't such ears!
PEHR. I can't understand this—Yesterday the editor was for the
cause and to-day he abuses me.
STREET-PAVER. Public opinion, you see! He said to me, also, that he
approved of this movement, but that he stared not defy public opinion.
PEHR. A curious way of working for his cause! Who, then, is public
opinion for him?
STREET-PAVER. First, the customers; then the burgomaster, money, and
power.
PEHR. Then why did he caricature you?
STREET-PAVER. Because I entered into your proposition. As a matter of
course, I did it because I could make money by it. Meantime, he is
selling hundreds of these poems to-day—[Trumpets and drum sound;
Burgomaster, Councilmen and Clerks come out into speakers' cage.]
BURGOMASTER. Well, my children, you must have heard that an impostor has
come to town.
ONE OF THE PEOPLE. He's no impostor; he is a reformer.
BURGOMASTER. It comes to the same thing—but you must hold your
tongue, my lad, you have no vote!
PEHR. Herr Burgomaster, I would beg that my proposition be presented in
a proper manner before this honored popular assembly—
BURGOMASTER. Just listen to him! We know his proposition and it simply
remains for us to express ourselves. Well and good, I consign it to the
madhouse! It is the man's wish—think of it, my children! that all
may be permitted to tread upon smooth pavements. So long as Our Lord
creates different kinds of human beings, there must be different kinds
of stones on our streets. Is there anybody who would add further
remarks?
ONE OF THE PEOPLE. That isn't true! Our Lord does not create different
kinds of human beings.
BURGOMASTER. Who gave you permission to shriek?
ONE OF THE PEOPLE. Since we have no voice in things, we may at least be
allowed to shriek!
BURGOMASTER. Yes, shriek, and I'll put you in the lockup! There is no
one, of course, who has something to add?
RELATIVE. Herr Burgomaster, as a man of honor, may I not be permitted to
enter a protest against the scandalous attack that has been made?
PEHR. I challenge the relative!
BURGOMASTER. And I, on the other hand, attach more weight to the
Relative's utterance since he is allied to a great man; that is always
the community's best guarantee—
ROOSTER. [From hen-coop outside the shoemaker's.] Cockelicoo!
BURGOMASTER. What's that devilish racket?
ONE OF THE PEOPLE. That's one who is blessed with a voice!
ROOSTER. Cockelicoo!
ONE OF THE PEOPLE. Arrest him! [Laughter and groans.]
BURGOMASTER. Quiet, back there! Secondly: Said adventurer has spoken
outrageously of the administration in that he has made defamatory
speeches against the city's departed burgomaster. We would hear a few
impartial citizens—Master Shoemaker, what, in your opinion, does
he merit?
SHOEMAKER. I vote with the administration.
BURGOMASTER. Quite right; he should be held in contempt. What say you,
Master Chiropodist?
CHIROPODIST. I concur.
BURGOMASTER. And the wagonmaker?
WAGONMAKER. I have the honor to agree with the last speaker.
ONE OF THE PEOPLE. Those who have the right to speak are silent.
BURGOMASTER. Silence, back there! On the ground of what has already been
advanced, with the support of conclusive evidence, the adventurer named
Pehr [no family name] is hereby sentenced for vicious utterances against
the administration to stand in the pillory two hours, later to be
expelled from the city, to his everlasting disgrace and as a warning to
others.
PEHR. Herr Burgomaster, the proofs are lacking.
BURGOMASTER. We require none. Axiom, or self-evident points, neither can
nor need be proved. Away with him! [Pehr is led off.]
BURGOMASTER. Thirdly: In consideration of the vexatious as well as
unforeseen incident that the city's dogs give unseemly expression to
their inward feelings for the hideous around the pedestal of Hans
Schulze's statue, an appropriation is demanded for an iron railing
around the same. Surely no one will refuse a deserving man such trifling
act of respect?
QUALIFIED VOTERS. No!
ONE OF THE PEOPLE. That is the first time we've heard the voters say no!
BURGOMASTER. Officer, put him in the lockup! The question has been
answered, then, in the affirmative.
QUALIFIED VOTERS. Yes.
ONE OF THE PEOPLE. [Makes noise like a sheep.] B-a-a-a! [An instant of
laughter and commotion.]
BURGOMASTER. The Common Council is adjourned. [Trumpets and drum sound,
after which silence on stage.]
RELATIVE. [To Shoemaker.] He's an uncommonly firm expeditor, that
burgomaster.
SHOEMAKER. He ought to be in the Legislature—then it would go a
little faster with the common motions.
[Burgomaster, Councilmen and Secretary go into Courthouse. People
continue to circulate on square; Street-paver keeps aloof.]
SHOEMAKER. [To Chiropodist, Wagonmaker and Relative.] Gentlemen, won't
you sit down and drink a glass of ale with me?
CHIROPODIST, WAGONMAKER, RELATIVE. Thank you!
SHOEMAKER. [At door, gives order; Hans brings on ale.] Well, Herr
Relative, you did not choose to be present this morning at the memorial
fest for your illustrious kinsman?
RELATIVE. Where was the need of my going out in the rain? You were there
with the Society.
SHOEMAKER. The whole Society! There were three of us.
RELATIVE. Did you sing?
CHIROPODIST. Yes, a little.
RELATIVE. [Laughing.] Were there many people?
WAGONMAKER. Not a soul!
RELATIVE. And the burgomaster—
SHOEMAKER. Overslept himself.
RELATIVE. [Laughing.] Have you seen the Morning Crow?
ALL. No.
RELATIVE. [Takes up a pamphlet.] Would you like to hear, then—"Tribute.
The customary tribute paid by the Schulze Society to the memory of our
worthy citizen, whom we commemorate in bronze on the city's public
square, took place this morning in presence of a great crowd of people
that greeted the memorial songs, sung in honor of the illustrious
departed, with hearty applause. The songs were rendered by the great
chorus with the usual precision and good ensemble. The oration, which
had been prepared with the utmost care, was delivered in clear, resonant
tones by the worthy shoemaker, Pumpen-Block. Among the notables present
we observed the city's burgomaster, the kinsman of the departed, and
others." [All laugh.]
RELATIVE. Isn't that rich?
ALL. Oh, it's priceless!—You wrote that.
RELATIVE. By the by, have you seen the cartoon of the reformer and the
street-paver? It's capital!
SHOEMAKER. But it was a bit extravagant to caricature them in that way!
RELATIVE. Oh, no sensible person has anything against the proposition;
but that it should fall into such hands—Hush, here he comes!
[Pehr is led on by guards, who place him in the pillory and adjust
neck-irons. The populace nudge each other and point at him. Shoemaker's
company slightly embarrassed. Enter a lyre player and an old blind
woman, with a painted canvas on a pole. Old woman sings and points at
canvas, which is painted in six panels—one for each stanza.]
OLD WOMAN.
There was a guileless youth
Who heard the people's wail;
Lawgivers sat in the square
And gaily quaffed their ale.
The youth to the people said:
"I would make your pathway fair!"
"There's trouble," the rulers cried,
"Sedition breeds in the air."
Still they sat in the square,
And still they quaffed their ale;
They talked of the people's good,
But heard not the people's wail.
The youth in the pillory stood,
For there he'd been given his place;
In the wag'nmaker's hen-coop the cock crew
As of yore in Caiphas' palace.
The great respect the law,
Their own renown they buy
With statues and tombs and gold
To praise them when they die.
The people pass under the yoke,
They wail through the vigils of night,
And wait till the cock shall crow
To herald an era of light.
[Shoemaker's company make wry faces and pretend not to be listening; the
people are interested and drop pennies into the old woman's bank. The
women are moved to tears and wipe their eyes now and then.]
RELATIVE. [To shoemaker.] Have you many orders now-a-days?
SHOEMAKER. Oh, so-so—
OLD WOMAN. Give the old blind woman a coin?
CHIROPODIST. Begging is prohibited, don't you know that?
ONE OF THE PEOPLE. She's not begging; she asks remuneration.
SHOEMAKER. What kind of rot is he talking?
ONE OF THE PEOPLE. The Schulze Society is paid to sing for the statue
yonder, but the men pocket the coins and stay away. This morning only
three were there.
SHOEMAKER. [To his guests.] Think, they know all that goes on, the
villains!
OLD WOMAN. Give the blind old woman a coin!
RELATIVE. One must pay, to boot, for her croaking?
ONE OF THE PEOPLE. She sings better than the shoemaker sang this
morning, when we stood round the corner listening to him. He certainly
does not sing ideally about carnations and roses, but a true word spoken
at the right moment is also ideal!
RELATIVE. If you don't go, old hag, you'll be locked up!
[Thunder and lightning, wind, rain, commotion.]
SHOEMAKER. Egad! it's raining again. Step inside, gentlemen. [They break
up.]
OLD WOMAN. Must that poor wretch in the pillory stand out in the rain?
RELATIVE. If my kinsman, who is so great a personage, can stand outside,
then that fellow may as well stay where he is.
SHOEMAKER. It cools these reformers off so nicely to get a little cold
water over them. [Trips, stubs toe against a stone.] The damned cobble
stones! [Hops into house on one leg. Exit all but Pehr and Old Woman—Lisa.]
LISA. [Throws off disguise.] Well, Pehr! You have become a famous man;
your name is now on every one's lips, your picture is being carried
round on all streets and public squares and the people hail you as a
reformer. Are you satisfied?
PEHR. Yes, Lisa, now I am satisfied with being a reformer!
LISA. Shall you leave your work half-done?
PEHR. Yes, Lord save us! If only I can escape with my skin.
LISA. You sought glory and renown—
PEHR. But all do that!
LISA. Not all. But you had the approval of the people.
PEHR. The people! They have nothing to say.
LISA. So it was the approval of the great that you wanted. Then stand
there and be ashamed! You did not even believe in the cause for which
you stood.
PEHR. Frankly, I think it a matter of slight consequence whether one
walks upon smooth or rough stones.
LISA. When one walks in calfskin boots—yes; but not when one goes
barefooted!
PEHR. Moreover, the community isn't worth a straw; the whole thing is
only a sham! The common good, the common good—one never
talks of anything else. What, then, is the common good? It strikes me as
being an agreement between a few private individuals.
LISA. It should be everyone's good, but it isn't. Make it so, and it
will be so.
PEHR. I want to—oh, I want to do it, but I haven't the power!
LISA. Then get it, Pehr, and let's see if I have made a mistake.
PEHR. [Breaks irons and comes down stage.] You shall see, Lisa, that I
will do something big when I have the power.
LISA. Why something big? Something good would be better.
PEHR. But you must always be by my side, Lisa. What was it that the bird
in the wood sang?
LISA. That I will tell you next time.
PEHR. No, now!
LISA. He said: "I love you!"
PEHR. Won't you love me, Lisa?
LISA. Yes, when you love me.
PEHR. But I do!
LISA. No, you do not; so far you love only yourself. Out again, Pehr,
and learn something! There are not many wishes left to you; the greatest
but most dangerous one is ahead of you—Power! That is the highest
thing a frail mortal can attain. But woe to him who misuses it! He is
the world's greatest criminal, for he makes a caricature of Our Blessed
Lord! Farewell, King! thy crown awaits thee! [Disappears.]
PEHR. Oh, my queen!
CURTAIN.
Dated, etc.
OMAR.
Correct?
MULLAH. Correct.
[Enter Pehr—Grand Vizier and Royal Historian having entered just
before him. Ameer jumps up from the floor with the genealogical chart;
Royal Historian stands quietly and jots down in a book what he hears.]
VIZIER. Will it please Your Highness to scan this ancestral chart, which
our—and the Kingdom's Ameer has made of Your Highness' illustrious
old family tree.
PEHR. My ancestral chart? I have never known of any relative but my
father, the old sexton.
VIZIER. [Pretends not to hear.] It begins with a great and glorious name—Caliph
Omar—
PEHR. Caliph Omar! What kind of fish is that?
VIZIER. [Sternly.] That is no fish. He was a great and honorable ruler.
PEHR. Be that as it may, but I was born in wedlock and not between satin
sheets, good gentlemen!
VIZIER. It does not become a ruler to be selfish; he must in all
particulars sacrifice his personal interests and tastes for the welfare
of the people.
PEHR. Very good; but does the welfare of the people demand that I shall
be illegitimate?
VIZIER. Yes.
PEHR. Then hand me the paper! [Ameer delivers ancestral chart and a
pen.] It begins with a lie, and will probably end with theft. [Signs.]
VIZIER. There remains a slight formality—Will it please Your
Highness to sign this paper also. [Mullah presents Renunciation Act.]
PEHR. What now?
VIZIER. Your Highness need not trouble himself to road; it is only a
matter of form.
PEHR. Renounce my forefathers' Faith—But that outrageous!
VIZIER. Political considerations—the people's welfare—
PEHR. I must become a Mohammedan and may not drink a glass of wine?
VIZIER. There are substitutes in all politics.
PEHR. What are they?
VIZIER. Compromises, modifications—
PEHR. Circumventions, eh?
VIZIER. Will it please Your Highness to sign?
PEHR. But I shall despise myself if I begin with a low action, and all
the more will the people have the right to despise me!
VIZIER. The people demand that the ruler sacrifice all personal
considerations for their welfare.
PEHR. Their welfare, then, is to be built upon a lie and a crime?
VIZIER. [Goes toward window.] Your Highness, the people await their
chief. They are always ready to offer their sweat and blood for the
ruler, therefore they demand, also, that the ruler make his sacrifices.
PEHR. Is what you say true? Well, then, give it me! [Accepts paper—hesitates.]
The belfry, the chimes, the singing, the lights, Christmas—all
pass before mine eyes! No more Christmas Eve! Life is so pitiless; it
only demands, but never gives anything!
VIZIER. Your Highness, the people are clamoring! They would see their
chief in the attire of the old caliphs—the crown and sceptre await
to be borne anew by a branch of the old ancestral tree.
PEHR. [Catches sight of crown and sceptre.] Ah! Vizier, who can command
me to forswear my faith?
VIZIER. The laws.
PEHR. Who made the laws?
VIZIER. Our forefathers.
PEHR. They were weak mortals, like ourselves. Well and good, I'll make
over all the laws!
VIZIER. The Caliph does not reconstruct laws, for our form of
administration has not given him law-making rights.
PEHR. What is the form of administration in this land?
VIZIER. Constitutional Despotism.
PEHR. Answer! Am I Caliph, or not?
VIZIER. You will be as soon as you have affixed your signature.
PEHR. Then hand me the paper! [Signs. Enter Viziers, Court Attendants,
etc. Crowning Ceremony.]
PEOPLE. [Without.] Long live Omar the twenty-seventh! Allah, Allah,
Allah!
VIZIER. Will it please Your Royal Highness to ascend the throne and
begin the reign?
PEHR. That will be quite diverting. Admit the people!
VIZIER. The people? The people have nothing to do with the Government!
PEHR. But surely I shall have someone to rule over?
VIZIER. That is done in writing. [Takes out a few documents.]
PEHR. Proceed!
VIZIER. In order to spare Your Royal Highness the weighty burdens of
government on this, the first day of his reign, we have tabled all
petitions but one, which can very easily be disposed of.
PEHR. That was stupid, but it can't be helped now. Let's hear it!
VIZIER. Aschmed Sheik, with face in the dust and with his heart's
prayers, begs that he may go over to the Sunnees' faith.
PEHR. What is the Sunnees' faith?
VIZIER. It is a sect, a dangerous sect.
PEHR. In what particular does it differ from the—ahem!—true
doctrine?
VIZIER. A true Moslem greets Allah in this manner—[crosses hands
on breast] but a sectarian does like this—[Pinches his nose and
pokes his fingers into his ears.]
PEHR. [Laughing.] Well, can't the man poke his fingers in his ears?
VIZIER. No; the laws of the land do not permit it.
PEHR. There is no religious liberty, then?
VIZIER. Yes, for the true faith.
PEHR. But for the others?
VIZIER. There must be no others!
PEHR. Then I shall give them religious liberty!
VIZIER. That the Caliph can not do.
PEHR. Who can, then?
VIZIER. The Government alone.
PEHR. Who is the government?
[Vizier and all others present place a finger to mouth.]
PEHR. A secret?
VIZIER. That is the constitutional despotism's secret.
PEHR. But I had the liberty of changing the religion?
VIZIER. Politics is another matter!
PEHR. Then God save all peoples from politics! Must I begin my reign
with the refusal of an humble petition?
VIZIER. Your Highness cannot begin better than by strengthening the laws
of the realm.
PEHR. But I'll never sign!
VIZIER. It is not necessary; the Administration will attend to that. The
Cabinet is adjourned. Will it please Your Highness to lay aside his
official attire and return to private life, with its petty diversions.
The Chamberlain is at Your Highness' service. [Goes.]
[The Chamberlain removes Caliph's crown and sceptre and conducts him to
divan. Enter Dancers, Singers and Poet Laureate. The Dance.]
PEHR. What is this company?
CHAMBERLAIN. This is the Court.
PEHR. Why do they wear such short dresses? I do not like that custom.
CHAMBERLAIN. It is the custom of the country, Your Highness.
PEHR. This at least is not politics.
CHAMBERLAIN. The first Court Singer begs that she may entertain Your
Highness with an idealistic song written by the celebrated poet
laureate, Hourglass-Link.
PEHR. Be good enough to entertain me!
SINGER. [With lute, sings.]
Then say farewell to Horaire, the march is already broken.
O army, hast thou the strength to say a farewell!
PEHR. Where's the rhyme?
POET LAUREATE. There are no rhymes in this kind of poetry.
PEHR. That's bad! Continue—
AMEER. [Aside to historian.] He's not long for this place.
SINGER. Your Highness must pardon me, but I am indisposed to-day.
PEHR. Chamberlain, is there not something in the constitution called
bastinado?
[Panic.]
CHAMBERLAIN. Assuredly—but—
PEHR. [To singer.] Continue, then!
SINGER. [Sings.] Marble brow, flowing hair, sparkling rows of teeth,
She steps as light as the pacer, lest she soil her hoof in the mud.
PEHR. Mud? I don't like dirt in poetry. Go on!
SINGER. Swelling bosom, slender waist, throbbing now anew;
As she gives each fresh embrace, she is like to break in two!
PEHR. Oh—!
SINGER. O happy man with perfume laden
Man of high estate!
Who may in some dreary hour
Hold her in his sweet embrace.
PEHR. That will do! Where's the author? Author!
POET LAUREATE. Your Highness, I have not learned to flatter.
PEHR. Haven't you? That's a poor poet laureate! Then play up your
strophe so we may hear if you lie.
POET LAUREATE. Your Highness—surely I can never question—
PEHR. Don't talk—just reel off!
POET LAUREATE.
The soul hath lost itself since love's flame it hath grasped,
Nor doth it awaken to reason, under the witchcraft of eyes.
But my love for hinds I leave—
PEHR. Pardon—what did you say?
POET LAUREATE. [Irritated.]
My love for hinds I leave and cherish a noble prince, Generous and well born—nor tainted by low base deeds; The prince who hath vanquished his foemen. Whatever the cost might be, Strong in the Faith is he! Heresy's dreaded scourge!PEHR. [Springs to his feet.] Do you mean it seriously or are you joking? POET LAUREATE. I mean it seriously, Your Highness. How should anything else be— PEHR. Indeed! It is in all seriousness, then, that you praise my low actions? POET LAUREATE. Your Highness stands as high above low actions as the sun above a mud-puddle! PEHR. I know you and your gang, counterfeiter! You call me, who foreswore my faith, the Defender of the Faith; you say that I, a bell-ringer's son, am of royal descent; that I am generous, who refused to grant the first humble petition presented since my coming to the throne! I know you, for your kind is to be found the world over. You live for thought and immortality, you say; but you are never seen when a thought is to be born; you are never felt when it comes to a question of immortality. But around heaped up dishes, in the sunlight of affluence and power, there you swarm, like fat meat flies, only to fly away that you may set black specks upon those who can let themselves be slain for both thought and immortality. Out of my sight, liar! I would have your head removed did I not see the shadow of a purpose in your presence. A poor ruler is forced by political considerations to do so many despicable things that he would die of shame did he not have an institution like you to dull his conscience continually. Go! I would be alone. CHAMBERLAIN. Your Highness, it cannot be. PEHR. It can be! [All go out except Pehr and Royal Historian.] PEHR. What are you waiting for? What do you do? HISTORIAN. I am writing Your Highness' history. PEHR. So you are Court Historian. HISTORIAN. Royal— PEHR. What matter, once you're dead! But what shall you write about? I have never carried on any wars. HISTORIAN. That is just what I wish to speak about. Your Highness only need turn to the Minister of War— PEHR. Then he will arrange one; that is his occupation, and for that he is paid 20,000 shekels. HISTORIAN. It is the people, Your Highness, who— PEHR. Conduct the wars. The Minister of War makes them, while we sit at home and take the glory—the shame we never take. [Enter Vizier.] VIZIER. The bride is waiting. PEHR. The bride! Who? Where? What does it mean? VIZIER. Your Highness' consort. PEHR. Lisa! She loves me still, despite all my faults? Conduct her hither. She shall bring the fresh air of the forest into these musty halls! VIZIER. Your Highness wished first to sign the marriage contract. PEHR. I'm forever writing! No, this time I don't have to read. [Signs.] Now, Royal Historian, you can put down at least one action in my life that was not crime! [Vizier and Historian go.] [Bride, veiled in Oriental fashion, is ushered in; attendants withdraw immediately; from behind is heard soft music.] PEHR. [Runs toward bride.] Lisa, Lisa! You always come like a sunbeam when the clouds thicken—always like a friend in the dark hour! BRIDE. [Raises veil.] My name is not Lisa. PEHR. Not Lisa—What does this mean? Treachery! Who are you then? BRIDE. Your consort. PEHR. My consort! BRIDE. [Indifferently.] The Administration had three candidates for you: The Vizier's choice fell upon me because my father threatened you with a tariff treaty. PEHR. The administration's candidate—tariff treaties—what does that signify? BRIDE. Politics require that princes shall sacrifice their personal considerations for the good of the people. PEHR. Politics require—But does the good of the people require any princes? BRIDE. I don't know—but it's done once for all, and now you are my husband. Have the goodness to be happy, or you will be miserable. PEHR. Are you happy? BRIDE. I am nothing. PEHR. Do you love me? BRIDE. No, certainly not! And you me? PEHR. No! BRIDE. You love your Lisa? PEHR. And you your— BRIDE. Ali. PEHR. O misery and lamentation! BRIDE. Calm yourself a moment—One moment, while they come in and congratulate us. The bridal procession is waiting without. Silence! They are nearing; stand at my side! PEHR. Must I go forth again, and jest? BRIDE. Obey me, for I'm a wise woman! When they go I shall tell you my plan. Here they come! Look pleasant, husband, else they will say that I made you unhappy. PEHR. Dear old father, how right you were! Black is black and can never be white. [Pehr and bride seat themselves on divan and assume a sentimental attitude.] [Enter Singers, Dancers, Chamberlain, Ameer, Royal Historian, Vizier.]
Chorus of women sing:
Joyous the loving hearts
That bleed from cupid's darts!
Ye nightingales and ye roses sing,
Noble halls and courtyards ring!
The Caliph's court rejoices
And echoes love's true voices.
[Pehr and bride hide their agitation.]
VIZIER. Caliph, a happy people, whom you find assembled here, at the
foot of the throne, rejoice as they see happiness, like a sun, beam in
your eyes to shine on the white rose which long hath sought the tall
oak's trunk to lean upon; a happy people, youthful princess, rejoice in
your good fortune and hope that your tree may have off-shoots with fresh
rose buds, which, at some future day, may spread joy and bliss, like a
spring rain, over land and kingdom!
[Pehr leaps up and draws his sword, bride attempts in vain to calm him.]
PEHR. Hell and Damnation! You grand vizier of lies! and you, dressed up
adventurers, are you my people! Are these hired maidens, with their
venal tricks, my people who pay taxes to us that we may say nay to their
humblest request? No! I have never seen my people. Is this young woman,
whom you have placed by my side, my mate who loves me? No—She is a
heifer that you have let into my stall; she is an imp who is to shoot
branches on the genealogical tree; she is an administration's candidate
who makes happy her spouse with a tariff treaty. You call us happy
because we pretend to be; but we are most unhappy, for we stand near the
brink of a crime, which, praise God, we shall never commit. I curse you,
palace! dedicated as a temple of lies. Down in the dust with you, false
family tree! [Genealogical chart drops from wall and rolls up on floor.]
Break into shatters, crown and sceptre, tyranny's symbols! [Crown and
sceptre come down with a crash.] Tumble throne, where unrighteousness is
seated! [Throne collapses. Thunder, lightning, storm.] Scatter like
decoys, fortune hunters and outcasts that have placed yourselves between
noble and commoner! [All but bride disappear. To bride.] You lamb of
sacrifice, be free like myself! Now I want to go out into Nature and see
if honor and decency do not still live! [Bride vanishes; Pehr remains
standing, hands to face, until scene is changed.]
SCENE TWO.
Seashore with wreckage of cast up seaweed, etc. To left an up-rooted
oak-stump, fishing tackle and hulk of a wrecked vessel. Background: open
sea; seamews float on waves. To right cliff-shore with pine woods; lower
down is a hut.
PEHR. Where am I? I breathe freer—All evil thoughts flee! I sense
a perfume as of old romances; I hear a murmur, like far-away streams;
the ground under me is soft as a bed. Ah—it is the seashore!
O Sea! Thou Mother Earth's good mother! Be greeted by an old and
withered heart Which comes that it may be by thy moist winds Swept clean
and freshened; Which comes to thy salt waves for cleansing baths And
healing for the sores the world's lies and madness gave to it. Blow
wind, and fill with thy pure air My lungs, that breathed in
pois'n-filled vapours; Sing wave, and let mine ear be soothed By the
harmonies of thy pure tones, As I stand here 'mongst the wreckage on the
strand, A wreck myself, which the breakers cast upon the sand When the
vessel crashed 'gainst the sharp cliff-rocks! Be greeted, Sea, that
nurses healthy thoughts And recreates the soul in shrunken body When
every spring thy billows break And gull and swallow chatter 'bove thy
wave, To wak'n anew the joy of life, and strength, and hope!
[Sees hut.]
What's this? A human habitation! Not even here is a moment's peace
granted me—Maledictions!
A VOICE. Curse not!
[It darkens and the sea begins to rise, moving toward him during
following speech so that he is forced down stage.]
PEHR. Who spoke? [Tries to flee toward left and is met by elk.] Wild
beasts stop me! [Tries to flee toward right, but is intercepted by
bulls.] Even here—Back! [Animals come on stage and crowd around
him.] They surround me! Help! [Runs to but and knocks.] Is no one here?
Help, help! [Attempts to cast himself into the sea, but sea-serpents and
dragons rise up.] Ah, nature, even you are a savage monster that would
devour all you come upon! You, my last friend, tricked me also—What
terror's visions! The sea would swallow me. What is my life worth more?
Come, Death, and set me free! [Sea gradually subsides.]
[Enter Death; beasts vanish.]
DEATH. Here am I, at your service! What would you me?
PEHR. [Cowers, but recovers himself.] Oh, really!—It was nothing
especially pressing—
DEATH. You called me!
PEHR. Did I actually do that? Well, it is only a form of speech which we
use; I really want nothing of you.
DEATH. But I want something of you! Stand straight on your legs and I'll
cut; it will be over in no time. [Raises scythe.]
PEHR. Mercy, mercy! I don't want to die!
DEATH. Bosh! What has life to offer you who have no wishes left?
PEHR. That one does not know; if one might stop to consider, then
perhaps—
DEATH. Oh, you have had ample time; now it is too late. Straighten your
back so that you may fall like a real world-hater! [Lifts scythe.]
PEHR. No, no, for God's sake, wait a little—
DEATH. You're a timid beggar! Live on then if you think it anything; but
don't regret it later. I shall not come again for a long time. [Starts
to go.]
PEHR. No, no, no! don't leave me alone—
DEATH. Alone? Why, you have lovely Nature!
PEHR. Yes, it's all very well when the weather is fine and the sun
shines, but thus late—
DEATH. You see now that you cannot live without your fellow men. Knock
three times on the door over yonder, and you will find company. [Death
vanishes. Pehr knocks three times on door of hut; the Wise Man comes
out.]
WISE MAN. Whom seek you?
PEHR. A human being! In short—I'm unhappy.
WISE MAN. Then you should not seek human beings, for they cannot help
you.
PEHR. I know it, yet I would neither live nor die; I have suffered all,
and my heart will not break!
WISE MAN. You are young, and do not know the human heart. In here I have
lately been pondering the causes of mankind's misery. Would you like to
see how the little object called the human heart looks? [Steps into hut
and returns presently with a casket and a lantern, which he hangs on a
tree.]
You see the little three-cornered muscle, which now has ceased to beat—Once
it throbbed with rage, thumped with joy, cramped with sorrow, swelled
with hope. You see that it is divided into two large chambers: In one
lives the good, in the other the evil—or, with a word, there sits
an angel on one side of the wall and a devil on the other. When they
chance to be at odds with each other—which happens quite often—there
is unrest in the person and he fancies the heart will burst—but it
doesn't, for the walls are thick. Oh, yes, look at this one! Do you see
thousands of little scars from needle thrusts? They did not go through,
but the pricks remain nevertheless.
PEHR. Who has borne this heart, Wise Man?
WISE MAN. The unhappiest of humans.
PEHR. And who was that?
WISE MAN. It was a man. Do you see the marks of a heel; do you see the
nail-prints? It was a woman that trampled on this heart for twenty-six
years.
PEHR. And he did not tire?
WISE MAN. Yes, he grew weary one Christmas Eve and freed himself from
her. As a punishment, he came under the ban of the Powers; he cannot
die, although his heart has been taken from him.
PEHR. Can he never be released from the spell?
WISE MAN. When his son shall have found a faithful woman and brought her
home a bride, then the spell will be broken. But that can never be
because his son is gone forever.
PEHR. What has become of him?
WISE MAN. He went out in the world.
PEHR. Then why can he never get any bride, poor boy!
WISE MAN. Because one who loves only himself can never love anyone else.
PEHR. He means the old man, my father. [Wise Man sinks through floor;
but vanishes. It begins to dawn.]
PEHR. "He who loves only himself "—So said Lisa also—But I
hate myself, I loathe myself after the cowardly things I have done, and
I love Lisa! Yes, I love her, I love her! [Sun shines on waves and
lights up pine woods to right; clouds disperse. A boat is seen out at
sea, it comes nearer and nearer and Lisa is seen at the rudder. She
beckons to Pehr as the boat recedes.]
Sea-gulls in the air, tell her! Sunbeams, carry my words on your pillars
of fire, and bear them to her. But where must I seek thee—where?
[Boat is seen on horizon a moment.] It is she! Now, ring, fulfill my
last wish and take me to her! The ring is gone! Woe, what does this
augur? Is my story ended, or shall it now begin perhaps? Lisa, my soul's
belovéd! [He runs up on cliff and waves.] If you hear me, answer; if you
see me, give me a sign! Ah—she turns out toward the fjord—Well,
then, storm and sea, that separate me from all that my heart loves, I
challenge you to battle for the highest prize! [Pushes out boat drawn up
on shore.]
Blow, wind, and rock, wave! My weak keel shall cleave you like a sword.
On, my boat, even though we miss the goal, let us struggle on till we
sink!
CURTAIN.
End of the Project Gutenberg EBook of Lucky Pehr, by August Strindberg
*** END OF THIS PROJECT GUTENBERG EBOOK LUCKY PEHR ***
***** This file should be named 8510-h.htm or 8510-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/8/5/1/8510/
Produced by Nicole Apostola, and David Widger
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase『Project
Gutenberg』is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the『Right
of Replacement or Refund』described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.