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When We Dead Awaken Act II · The Henrik Ibsen Library

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  Speaker 1: Act too of When We Dead Awaken by Henrik Ibsen,
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  Speaker 1: translated by William Archer. This is a LibriVox recording. All
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  Speaker 1: LibriVox recordings are in the public domain. For more information
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  Speaker 1: or to volunteer, please visit LibriVox dot org. Act two.
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  Speaker 1: Near a mountain resort, the landscape stretches in the form
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  Speaker 1: of an immense, treeless upland towards a long mountain lake.
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  Speaker 1: Beyond the lake rises a range of peaks with blue
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  Speaker 1: white snow in the clefts. In the foreground on the left,
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  Speaker 1: a purling brook falls in severed streamlets down a steep
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  Speaker 1: wall of rock, and thence flows smoothly over the upland
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  Speaker 1: until it disappears. To the right, dwarf trees, plants, and
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  Speaker 1: stones along the course of the brook. In the foreground.
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  Speaker 1: On the right a hillock with a stone bench on
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  Speaker 1: the top of it. It is a summer afternoon towards sunset.
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  Speaker 1: At some distance over the upland on the other side
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  Speaker 1: of the brook, a troop of children is singing, dancing,
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  Speaker 1: and playing. Some are dressed in peasant costume, others in
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  Speaker 1: town made clothes. Their happy laughter is heard softened by distance.
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  Speaker 1: During the following Professor Rubek is sitting on the bench
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  Speaker 1: with a plaid over his shoulders and looking down at
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  Speaker 1: the children's play. Presently, Maya comes forward from among some
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  Speaker 1: bushes on the upland to the left, well back, and
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  Speaker 1: scans the prospect with her hand shading her eyes. She
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  Speaker 1: wears a flat tourist cap, a short skirt kilted up
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  Speaker 1: reaching only midway between ankle and knee, and high stout
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  Speaker 1: lace boots. She has in her hand a long alpenstock.
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  Speaker 1: At last catches sight of Rubek and calls hello. She
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  Speaker 1: advances over the upland jumps over the brook with the
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  Speaker 1: aid of her alpinstock, and climbs up the hillock.
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  Speaker 2: Oh, I have been rushing about looking for you.
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  Speaker 1: Rubec nods indifferently and asks.
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  Speaker 3: Have you just come from the hotel?
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  Speaker 2: Yes, that was the last place I tried that fly trap.
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  Speaker 1: Looking at her for a moment, I.
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  Speaker 3: Noticed that you are not at the dinner table.
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  Speaker 2: No, we had our dinner in the open air.
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  Speaker 3: We two, We two, what too?
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  Speaker 2: Why a I in that horrid bear killer? Of course?
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  Speaker 3: Oh? He yes.
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  Speaker 2: And the first thing tomorrow morning we are going off
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  Speaker 2: again after bears. Yes, off to kill a brown boy.
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  Speaker 3: Have you found the tracks of any You.
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  Speaker 2: Don't suppose that bears are to be found in the
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  Speaker 2: naked mountains?
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  Speaker 3: Do you fair?
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  Speaker 4: Then?
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  Speaker 2: Far beneath on the lower slopes, in the thickest part
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  Speaker 2: of the forest, places you ordinary townsfolk could never get through.
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  Speaker 3: And you two are going down there tomorrow.
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  Speaker 1: Throwing herself down among the heather.
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  Speaker 2: Yes, so we have arranged, or perhaps we may start
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  Speaker 2: this evening if you have no objection.
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  Speaker 3: That's to say, I far be it from me too.
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  Speaker 2: Of course Lars goes with us with the dogs.
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  Speaker 3: I feel no curiosity as to the movements of mister
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  Speaker 3: Lads and his dogs. Would you know, I'd rather sit
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  Speaker 3: properly on the seat, No, thank you.
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  Speaker 2: I'm lying so delightfully in the soft heather.
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  Speaker 3: I can see that you are tired.
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  Speaker 2: Oh, I almost think I'm beginning to feel tired.
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  Speaker 3: You don't notice it till afterwards, when the excitement is over.
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  Speaker 2: Just so I will lie and close my eyes. Oh Ruback,
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  Speaker 2: how can you endure to sit there listening to those
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  Speaker 2: children's screams, and to watch all the capers they are cutting?
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  Speaker 3: Two, there is something harmonious, almost like music in their moments.
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  Speaker 3: No one then I met all clumsiness, and it amuses
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  Speaker 3: me to sit and watch for these isolated moments when
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  Speaker 3: they come.
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  Speaker 2: Yes, you are always, always an artist, And.
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  Speaker 3: I propose to remind one.
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  Speaker 1: Lying on her side so that her back is turned
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  Speaker 1: to him.
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  Speaker 2: There's not a bit of the artist about him?
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  Speaker 3: Who is it? That's not an artist?
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  Speaker 2: Why he the other one? Course?
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  Speaker 3: The bad hunter? You mean?
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  Speaker 2: Yes, there's not a bit of the artist about him,
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  Speaker 2: not the least little bit.
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  Speaker 3: No, I believe there is no doubt about that.
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  Speaker 2: And so ugly as he.
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  Speaker 1: Is, plucks up a tuftive heather and throws it away,
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  Speaker 1: so ugly, so ugly ish?
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  Speaker 3: Is that why you are so ready to set off
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  Speaker 3: with him out into the wilds?
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  Speaker 2: I don't know.
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  Speaker 1: Turning towards him.
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  Speaker 3: You are ugly too, brewbec Have you only just discovered it?
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  Speaker 2: No?
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  Speaker 1: I have seen it for long, shrugging his shoulders.
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  Speaker 3: One doesn't grow anger. One doesn't grow anger.
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  Speaker 2: From my ear, it's not that sort of ugliness I
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  Speaker 2: mean at all. But there has come to be such
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  Speaker 2: an expression of fatigue, of utter weariness in your eyes
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  Speaker 2: when you deign once in a while to cast a
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  Speaker 2: glance at me.
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  Speaker 3: Have you noticed that nods.
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  Speaker 2: Little by little, this evil look has come into your eyes.
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  Speaker 2: It seems almost as though you were nursing some dark
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  Speaker 2: plot against me.
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  Speaker 3: Indeed, come here and sit beside me, Maya, and let
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  Speaker 3: us talk a little half rising.
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  Speaker 2: Then you will let me sit upon your knee as
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  Speaker 2: I used to in the early days.
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  Speaker 3: No, you mustn't. People can see us from the hotel
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  Speaker 3: moves a little. But you can sit here on the
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  Speaker 3: bench at my side.
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  Speaker 2: No, thank you. In that case, I'd rather lie here
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  Speaker 2: where I am. I can hear you quite.
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  Speaker 1: Well, looks inquiringly at him.
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  Speaker 2: Well, what is it you want to say to me?
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  Speaker 3: What do you think was my real reason for agreeing
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  Speaker 3: to make this tour?
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  Speaker 2: Well, I remember you declared, among other things, that it
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  Speaker 2: was going to do me a tremendous lot of good.
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  Speaker 2: But but, but, but now I don't believe the least
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  Speaker 2: little bit that that was the reason.
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  Speaker 3: Then what is your theory about it? Now?
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  Speaker 2: I think now that it was on account of that pale.
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  Speaker 3: Lady, Madame Fonsetto.
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  Speaker 2: Yes, she who was always hanging about at our heels.
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  Speaker 2: Yesterday she made her appearance up here too.
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  Speaker 3: But what in all the world, Oh, I.
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  Speaker 2: Know you knew her very well, indeed long before you
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  Speaker 2: knew me, and.
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  Speaker 3: Had forgotten her too, long before I knew you.
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  Speaker 2: Sitting upright, Can you forget so easily, Rubec?
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  Speaker 3: Yes, very easily. Indeed, when I want to forget.
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  Speaker 2: Even a woman who has been a model.
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  Speaker 3: To you, when I have no more use for her.
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  Speaker 2: One who has stood to you undressed.
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  Speaker 3: That means nothing, nothing for us artists. And then may
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  Speaker 3: I venture to ask, how was I to guess that
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  Speaker 3: she was in this country? Oh?
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  Speaker 2: You might have seen her name in a visitor's list
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  Speaker 2: in one of the newspapers.
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  Speaker 3: But I had no idea of the name she goes by.
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  Speaker 3: I had never heard of any herponsatto.
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  Speaker 2: Oh well, then I suppose it must have been for
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  Speaker 2: some other reason that you were so set upon this journey.
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  Speaker 3: Yes, maya, it was for another reason, a quiet different reason,
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  Speaker 3: And that is what we should sooner or later have
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  Speaker 3: a clear explanation about heavens.
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  Speaker 2: How solemn you look.
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  Speaker 3: Yes, perhaps a little more solemn than necessary, how so,
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  Speaker 3: and that is a very good thing for us both.
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  Speaker 2: You begin to make me feel curious, Reubec.
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  Speaker 3: Only curious, not a little bit.
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  Speaker 5: Uneasy, shaking her head, not in the least good.
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  Speaker 3: Then listen, you said that day down at the baths
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  Speaker 3: that it seemed to you I had become very nervous.
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  Speaker 2: Of late, Yes, and you really have.
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  Speaker 3: And what do you think can be the reason for that?
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  Speaker 2: How can I tell? Perhaps you have grown weary of
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  Speaker 2: this constant companionship with me?
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  Speaker 3: Constant why not say everlasting daily companionship.
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  Speaker 2: Then here have we two solitary people, lived down there
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  Speaker 2: for four or five mortal years, and scarcely have an
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  Speaker 2: hour away from me each other, We too, all by ourselves.
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  Speaker 3: Well, and then you are.
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  Speaker 2: Not a particularly sociable man, Rubec. You like to keep
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  Speaker 2: to yourself and think your own thoughts. And of course
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  Speaker 2: I can't talk properly to you about your affairs. I
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  Speaker 2: know nothing about art and that sort.
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  Speaker 1: Of thing with an impatient gesture.
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  Speaker 2: And care very little either for that matter.
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  Speaker 3: Well, well, and that's why we generally sit by the
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  Speaker 3: fireside and chat about your affairs.
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  Speaker 2: Oh good, gracious, I have no affairs to chat about.
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  Speaker 3: Well, they are trifles perhaps, But at any rate, the
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  Speaker 3: time passes for us in that way as well as
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  Speaker 3: another may.
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  Speaker 2: Yes, you are right, time passes. It is passing away
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  Speaker 2: from you, Rubec. And I suppose it is really that
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  Speaker 2: that makes you so uneasy, nods vehemently and.
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  Speaker 3: So restless in his seat. No, I shall soon not
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  Speaker 3: be able to endure this pitiful life any longer.
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  Speaker 1: And stands for a moment looking at him.
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  Speaker 2: If you want to get rid of me, you only
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  Speaker 2: have to say so?
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  Speaker 3: Why will you use such phrases? Get rid of you?
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  Speaker 2: Yes, if you want to have done with me, please
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  Speaker 2: say so right out. I will go that instant with.
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  Speaker 1: An almost imperceptible smile.
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  Speaker 3: Do you intend that as a threat, Maya.
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  Speaker 2: There can be no threat for you in what I
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  Speaker 2: said rising, No.
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  Speaker 3: I confess you are right there. You and I cannot
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  Speaker 3: possibly go on living together like this. Well, and then
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  Speaker 3: there is no then about it. Because we two cannot
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  Speaker 3: go on living together alone, it does not necessarily follow
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  Speaker 3: that we must.
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  Speaker 1: Part smiles scornfully, only draw away from each other a little,
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  Speaker 1: you mean, shakes his head.
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  Speaker 3: Even that is not necessary.
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  Speaker 2: Well, then come out with what you want to do
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  Speaker 2: with me.
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  Speaker 3: What I now feel so keenly and so painfully that
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  Speaker 3: I require is to have some one about me who
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  Speaker 3: really and truly stands close to me. Don't I do that?
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  Speaker 1: Rubec waving her aside.
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  Speaker 3: Not in that sense. What I need is the companionship
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  Speaker 3: of another person who can, as it where, complete me
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  Speaker 3: supply what is wanting in me, be one with me
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  Speaker 3: in all my striving.
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  Speaker 2: It's true that things like that are a great deal
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  Speaker 2: too hard for me.
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  Speaker 3: Oh no, they are not at all in your line, Maya.
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  Speaker 2: And heaven knows, I don't want them to be either.
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  Speaker 3: I know that very well. And it was with no
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  Speaker 3: idea of finding any such help in my life work
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  Speaker 3: that I married you.
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  Speaker 1: Observing him closely.
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  Speaker 2: I can see in your face that you are thinking
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  Speaker 2: of someone else.
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  Speaker 3: Indeed, I have never noticed before that you are a
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  Speaker 3: thought reader. But you can see that.
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  Speaker 2: Yes I can. Oh, I know you so well, so well, Rubec.
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  Speaker 3: Then perhaps you can also see who it is I
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  Speaker 3: am thinking of. Yes, indeed I can well have the
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  Speaker 3: goodness too.
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  Speaker 2: You were thinking of that that model you once used
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  Speaker 2: for Do you know the people down at the hotel
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  Speaker 2: think she's mad?
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  Speaker 3: Indeed, and pray, what do people down at the hotel
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  Speaker 3: think of you? And the bar killer?
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  Speaker 2: That has nothing to do with the matter. But it
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  Speaker 2: was this pale lady you were thinking.
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  Speaker 3: Of, precisely of her when I had no more use
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  Speaker 3: for her, And when besides she went away from me,
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  Speaker 3: vanished without a word.
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  Speaker 6: Then you accepted me as a sort of makeshift. I
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  Speaker 6: suppose something of the sort. To tell the truth, little Maya,
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  Speaker 6: for a year or a year and a half, had
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  Speaker 6: lived that lonely and brooding, and had put the last touch,
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  Speaker 6: the very last touch, to my work. The resurrection day
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  Speaker 6: went out over the world and brought me fame and
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  Speaker 6: everything else that heart could desire. But I no longer
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  Speaker 6: allowed my own work. Men's laurels and incescence nauseated me
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  Speaker 6: till I could have rushed away in despair and hidden
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  Speaker 6: myself in the depths of the.
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  Speaker 5: Woods looking at her.
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  Speaker 3: You, who are a thought reader, can you guess what
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  Speaker 3: then occurred to me?
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  Speaker 2: Yes, it occurred to you to make portrait busts of
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  Speaker 2: gentlemen and ladies.
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  Speaker 3: To order, Yes, with animal faces behind the masks. Those
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  Speaker 3: I threw in gratias into the bargain, you understand, But
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  Speaker 3: that was not precisely what I had in my mind.
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  Speaker 2: What then?
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  Speaker 3: It was this that all the talk about the artist's
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  Speaker 3: vocation and the artist's mission and so forth began to
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  Speaker 3: strike me as being very empty and hollow and meaningless
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  Speaker 3: at the bottom.
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  Speaker 2: Then what would you put in its place?
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  Speaker 3: Life?
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  Speaker 2: Life?
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  Speaker 3: Yes, is not life in sunshine and in beauty one
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  Speaker 3: hundred times better worthwhile than to hang about to the
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  Speaker 3: end of your days in a raw, damp hole and
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  Speaker 3: vary yourself to the perpetual struggle with lumps of clay
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  Speaker 3: and blocks of stone.
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  Speaker 2: Yes, I have always thought so, certainly.
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  Speaker 3: And then I had become rich enough to live in
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  Speaker 3: luxury and in indolent covering sunshine. I was able to
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  Speaker 3: build myself the villa on the Lake of Tornis, and
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  Speaker 3: the palazzo in the capital, and all the rest of it.
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  Speaker 2: And last, but not least, you could afford to treat
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  Speaker 2: yourself to me too. You gave me leave to share
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  Speaker 2: in all your treasures.
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  Speaker 3: Did I not promise you to take you up to
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  Speaker 3: a high enough mountain and show you all the glory
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  Speaker 3: of the world.
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  Speaker 2: You have perhaps taken me up with you to a
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  Speaker 2: high enough mountain, rebec, but you have not shown me
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  Speaker 2: all the glory of the world.
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  Speaker 3: How insatiable you are, Maya, absolutely insatiable. But do you
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  Speaker 3: know what is the most hopeless thing of all? Maya?
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  Speaker 3: Can you guess that.
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  Speaker 2: Yes, I suppose it is that you have gone and
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  Speaker 2: tired yourself to me for life.
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  Speaker 3: I would not have expressed myself so heartlessly.
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  Speaker 2: But you would have meant it just as heartlessly.
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  Speaker 3: You have no clear idea of the inner workings of
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  Speaker 3: an artist's.
• 14:26
  Speaker 1: Nature, smiling and shaking her head.
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  Speaker 2: Good heavens, I haven't even a clear idea of the
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  Speaker 2: inner workings of my own nature.
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  Speaker 3: I live at such high speed, Maya, we live so
• 14:37
  Speaker 3: the artists. I, for my part, have lived through a
• 14:42
  Speaker 3: whole lifetime. In the few years we two have known
• 14:45
  Speaker 3: each other, I have become to realize that I am
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  Speaker 3: not at all adapted for seeking happiness in indolent enjoyment.
• 14:55
  Speaker 3: Life does not shape itself that way. For me and
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  Speaker 3: those like me, I must go on working, reducing one
• 15:03
  Speaker 3: work after another, right up to my dying day. That
• 15:07
  Speaker 3: is why I cannot get on with you any longer. Maya,
• 15:11
  Speaker 3: not with you alone?
• 15:13
  Speaker 2: Does that mean in plain language, that you have grown
• 15:16
  Speaker 2: tired of me?
• 15:17
  Speaker 3: Yes, that is what it means. I have grown tired,
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  Speaker 3: intolerably tired, and fettered an unstrung in this life with you.
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  Speaker 3: Now you know it. These are hard and ugly words.
• 15:32
  Speaker 3: I am using. I know that very well, And you
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  Speaker 3: are not at all to blame in this matter that
• 15:39
  Speaker 3: I willingly admit. It is simply and solely I myself,
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  Speaker 3: who have once more undergone a revolution and awakening to
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  Speaker 3: my real life.
• 15:50
  Speaker 1: Involuntarily folding her hands.
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  Speaker 2: Why in all the world should we not part?
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  Speaker 1: Then, looks at her in astonishment.
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  Speaker 3: Should you be willing to.
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  Speaker 1: Shrug her shoulders?
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  Speaker 3: Oh?
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  Speaker 2: Yes, there's nothing else for it, then.
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  Speaker 3: But there is something else for it, There is an alternative.
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  Speaker 1: Holding up her forefinger.
• 16:09
  Speaker 2: Now you are thinking of the pale lady again?
• 16:11
  Speaker 3: Yes, to tell the truth, I cannot help constantly thinking
• 16:16
  Speaker 3: of her ever since I met her again.
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  Speaker 1: A step nearer her.
• 16:20
  Speaker 3: For now I will tell you a secret.
• 16:23
  Speaker 1: Maya well, touching his own breast.
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  Speaker 3: In here, you see, in here I have a little
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  Speaker 3: Brahma locked casket, and in that casket all my sculptor's
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  Speaker 3: vision are stowed up. But when she disappeared and left
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  Speaker 3: no trace, the lock of the casket snapped too, and
• 16:44
  Speaker 3: she had the key, and she took it away with her. You,
• 16:49
  Speaker 3: little Maya, you had no key, So all that the
• 16:54
  Speaker 3: casket contains must lie unused, and the years pass, and
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  Speaker 3: I have no means of getting at the treasure.
• 17:02
  Speaker 1: Trying to repress a subtle smile.
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  Speaker 2: Then get her to open the casket for you again, Maya,
• 17:08
  Speaker 2: For here she is, you see, and no doubt it's
• 17:10
  Speaker 2: on account of this casket that she has come.
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  Speaker 3: I have not said a single word to her on
• 17:15
  Speaker 3: this subject.
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  Speaker 2: Looks innocently at him, My dear rubec Is it worth
• 17:20
  Speaker 2: while to make all this fuss and commotion about so
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  Speaker 2: simple a matter?
• 17:23
  Speaker 3: Do you think this matter is so absolutely simple?
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  Speaker 2: Yes, certainly I think so. Do you attach yourself to
• 17:30
  Speaker 2: whoever you most require?
• 17:32
  Speaker 1: Nods to him?
• 17:33
  Speaker 2: I shall always manage to find a place for myself.
• 17:36
  Speaker 3: That do you mean? Well?
• 17:38
  Speaker 2: I need only take myself off to the villa if
• 17:40
  Speaker 2: it should be necessary. But it won't be for in town,
• 17:44
  Speaker 2: in all that great house of ours, there must surely,
• 17:47
  Speaker 2: with a little good will be enough room for three.
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  Speaker 3: And do you think that would work in the long run?
• 17:53
  Speaker 3: Very well?
• 17:53
  Speaker 2: Then if it won't work, it won't. It is no
• 17:56
  Speaker 2: good talking about it.
• 17:58
  Speaker 3: And what shall we do, then, Maya? If it does
• 18:01
  Speaker 3: not work.
• 18:02
  Speaker 2: Then we two will simply get out of each other's
• 18:04
  Speaker 2: way part entirely. I shall always find something new for
• 18:08
  Speaker 2: myself somewhere in the world, something free, free, free, No
• 18:13
  Speaker 2: need to be anxious about that, Professor.
• 18:15
  Speaker 1: Rubek suddenly points off to the right.
• 18:18
  Speaker 2: Look there, there we have her, there out on the plain,
• 18:23
  Speaker 2: striding like a marble statue. She is coming this way.
• 18:28
  Speaker 1: Stands gazing with his hand over his eyes.
• 18:30
  Speaker 3: Does not she look like the resurrection incarnate? And her
• 18:36
  Speaker 3: I could displace and move into the shade, remodel her
• 18:42
  Speaker 3: fool that I was?
• 18:43
  Speaker 2: What do you mean by that?
• 18:45
  Speaker 3: Nothing? Nothing that you would understand.
• 18:48
  Speaker 1: Irene advances from the right over the upland the children
• 18:52
  Speaker 1: at their play have already caught sight of her and
• 18:54
  Speaker 1: run to meet her. She is now surrounded by them.
• 18:58
  Speaker 1: Some appear confident and at ease, others uneasy and timid.
• 19:02
  Speaker 1: She talks low to them and indicates that they are
• 19:04
  Speaker 1: to go down to the hotel. She herself will rest
• 19:07
  Speaker 1: a little beside the brook. The children run down over
• 19:10
  Speaker 1: the slope to the left. Half way to the back.
• 19:13
  Speaker 1: Irene goes up to the wall of rock and lets
• 19:16
  Speaker 1: the rillets of the cascade flow over her hands, cooling them.
• 19:19
  Speaker 3: Go down and speak to her alone, Rubec, and where
• 19:22
  Speaker 3: will you go in the meantime?
• 19:24
  Speaker 1: Looking significantly at him.
• 19:26
  Speaker 2: Henceforth, I shall go my own ways.
• 19:29
  Speaker 1: She descends from the hillock and leaps over the brook
• 19:31
  Speaker 1: by aid of her alpenstock. She stops beside Irene.
• 19:35
  Speaker 2: Professor Rubek is up there waiting for you, Madam.
• 19:38
  Speaker 4: What does he want?
• 19:39
  Speaker 2: He wants you to help him open a casket that
• 19:41
  Speaker 2: he has snapped too.
• 19:43
  Speaker 4: Can I help him in that?
• 19:45
  Speaker 2: He says, you are the only person that can.
• 19:48
  Speaker 4: Then I must try.
• 19:49
  Speaker 2: Yes, you really must, madam.
• 19:52
  Speaker 1: She goes down by the path to the hotel. In
• 19:55
  Speaker 1: a little while, Professor Rubek comes down to Irene, but
• 19:59
  Speaker 1: stops with the brook between them.
• 20:02
  Speaker 4: She the other one, said that you had been waiting
• 20:06
  Speaker 4: for me.
• 20:07
  Speaker 3: I have waited for you year after year, without myself
• 20:11
  Speaker 3: knowing it.
• 20:12
  Speaker 4: I could not come to you, Arnold. I was lying
• 20:16
  Speaker 4: down there, sleeping the long, deep, dreamful sleep.
• 20:21
  Speaker 3: But now you have awakened.
• 20:23
  Speaker 5: Irene shakes her head.
• 20:25
  Speaker 4: I have the heavy, deep sleep still in my eyes.
• 20:29
  Speaker 3: You shall see that day will dawn and lighten for us.
• 20:32
  Speaker 3: Both do not believe that. I do believe it, and
• 20:36
  Speaker 3: I know it now that I have found you again,
• 20:40
  Speaker 3: risen from the grave, transfigured.
• 20:43
  Speaker 4: Only Risen, Arnold, not transfigured.
• 20:47
  Speaker 1: He crosses over to her by means of stepping stones
• 20:49
  Speaker 1: below the cascade.
• 20:51
  Speaker 3: Where have you been all day?
• 20:52
  Speaker 4: Irene, pointing far far over there, on the great dead waste.
• 20:58
  Speaker 3: You have not your your friend with you to day?
• 21:02
  Speaker 4: I see my friend is keeping a close watch on me.
• 21:06
  Speaker 5: None the less can.
• 21:07
  Speaker 1: She glancing furtively around?
• 21:10
  Speaker 3: You?
• 21:10
  Speaker 4: May be sure she can wherever I may go. She
• 21:14
  Speaker 4: never loses sight of me until one fine sunny morning
• 21:22
  Speaker 4: I shall kill her?
• 21:24
  Speaker 3: Would you do that?
• 21:25
  Speaker 4: With the utmost delight? If only I could manage it?
• 21:30
  Speaker 3: Why do you want to?
• 21:31
  Speaker 4: Because she deals in witchcraft? Only think Arnold. She has
• 21:37
  Speaker 4: changed herself into my shadow?
• 21:40
  Speaker 3: Well, well, well a shadow we must all have.
• 21:44
  Speaker 4: I am my own shadow. Do you not understand that?
• 21:50
  Speaker 3: Yes, yes, Ireen, I understand.
• 21:53
  Speaker 1: He seats himself on a stone beside the brook. She
• 21:56
  Speaker 1: stands behind him, leaning against the wall of rock.
• 22:00
  Speaker 4: Why do you sit there turning your eyes away from me?
• 22:03
  Speaker 3: I dared not, I dare not look at you?
• 22:07
  Speaker 4: Why dare not you look at me? Any more?
• 22:09
  Speaker 3: You have a shadow that tortures me, and I have
• 22:13
  Speaker 3: the crushing weight of my conscience.
• 22:16
  Speaker 4: At last, Ireen?
• 22:19
  Speaker 3: What is it.
• 22:20
  Speaker 1: Motioning him off?
• 22:22
  Speaker 4: Keep still?
• 22:23
  Speaker 1: Still, still, draws a deep breath and says, as though
• 22:27
  Speaker 1: relieved of a burden.
• 22:29
  Speaker 4: Ah, there, now they let me go for this time.
• 22:37
  Speaker 4: Now we can sit down and talk as we used
• 22:39
  Speaker 4: to when I was alive.
• 22:42
  Speaker 3: Oh, if only we could talk as they used to.
• 22:46
  Speaker 4: Sit there where you were sitting. I will sit here
• 22:49
  Speaker 4: beside you.
• 22:50
  Speaker 1: He sits down again. She seats herself on another stone
• 22:54
  Speaker 1: close to him.
• 22:56
  Speaker 4: Now I have come back to you from the uttermost regions, Arnold.
• 23:00
  Speaker 3: Hey, truly from an endless journey.
• 23:04
  Speaker 4: Come home to my lord and Master.
• 23:07
  Speaker 3: To our home, to our own home, Irene.
• 23:12
  Speaker 4: Have you looked for my coming every single day?
• 23:15
  Speaker 3: How? Dad, I look for you with.
• 23:17
  Speaker 1: A sidelong glance.
• 23:19
  Speaker 4: No, I suppose you dared not, for you understood nothing.
• 23:24
  Speaker 3: Was it really not for the sake of some one
• 23:26
  Speaker 3: else that you all of a sudden disappeared from me
• 23:29
  Speaker 3: in that way?
• 23:30
  Speaker 4: Might it not quite well be for your sake?
• 23:33
  Speaker 1: Arnold looks doubtfully at her.
• 23:35
  Speaker 3: I don't understand you.
• 23:37
  Speaker 4: When I had served you with my soul and with
• 23:41
  Speaker 4: my body, when the statue stood there, finished our child,
• 23:46
  Speaker 4: as you called it, Then I laid at your feet
• 23:50
  Speaker 4: the most precious sacrifice of all by effacing myself for
• 23:54
  Speaker 4: all time bows his head.
• 23:57
  Speaker 3: And laying my life waste.
• 23:59
  Speaker 4: It was just that I wanted never, never should you
• 24:04
  Speaker 4: create anything again after you had created that only child
• 24:07
  Speaker 4: of ours.
• 24:09
  Speaker 3: Was the jealousy that moved you? Then?
• 24:12
  Speaker 4: I think it was rather hatred, hatred hatred for me, yes,
• 24:18
  Speaker 4: for you, for the artist who had so lightly and
• 24:21
  Speaker 4: carelessly taken a warm blooded body, a young human life,
• 24:25
  Speaker 4: and worn the soul out of it because you needed
• 24:29
  Speaker 4: it for a work of art.
• 24:31
  Speaker 3: And you can say that, you who threw yourself into
• 24:36
  Speaker 3: my work with such saint like passion and such added joy,
• 24:42
  Speaker 3: that work for which we two met together every morning
• 24:46
  Speaker 3: as for an act of worship.
• 24:48
  Speaker 4: I will tell you one thing, Arnold. Well, I never
• 24:52
  Speaker 4: loved your art before I met you, nor after either,
• 24:57
  Speaker 4: But the artist, Irene, the artist, I hate the artist
• 25:02
  Speaker 4: in me too, in you most of all. When I
• 25:08
  Speaker 4: unclothed myself and stood for you, then I hated you, Arnold.
• 25:13
  Speaker 3: That you did not, Irene, That is not true.
• 25:18
  Speaker 4: I hated you because you could stand there so unmoved, unmoved.
• 25:24
  Speaker 4: Do you think so at any rate? So intolerably self controlled?
• 25:30
  Speaker 4: And because you were an artist, and an artist only
• 25:33
  Speaker 4: not a man, but that statue in the wet living
• 25:40
  Speaker 4: clay that I loved as it rose up, a vital
• 25:47
  Speaker 4: human creature out of those raw, shapeless masses. But that
• 25:55
  Speaker 4: was our creation, our child, mine and your.
• 26:00
  Speaker 3: It was so in spirit and in truth.
• 26:04
  Speaker 4: Let me tell you, Arnold, it is for the sake
• 26:07
  Speaker 4: of this child of ours that I have undertaken this
• 26:10
  Speaker 4: long pilgrimage.
• 26:12
  Speaker 3: For the statues.
• 26:13
  Speaker 4: Call it what you will, I call it our child.
• 26:18
  Speaker 3: And now you want to see it finished in marble,
• 26:22
  Speaker 3: which you always thought so cold. You don't know, perhaps
• 26:27
  Speaker 3: that it is installed in a great museum somewhere far
• 26:30
  Speaker 3: out in the world.
• 26:31
  Speaker 4: I have heard a sort of legend about it.
• 26:34
  Speaker 3: And museums were always horror to you. You call them
• 26:38
  Speaker 3: Gray Waltz.
• 26:39
  Speaker 4: I will make a pilgrimage to the place where my
• 26:42
  Speaker 4: soul and my child's soul lie buried.
• 26:45
  Speaker 3: You must never see that statue again, do you hear? Irene?
• 26:50
  Speaker 3: I implore you never never see it again.
• 26:54
  Speaker 4: Perhaps you think it would mean death to me a
• 26:56
  Speaker 4: second time, clenching his hands together.
• 27:00
  Speaker 3: Oh, I don't know what I think, But how could
• 27:05
  Speaker 3: I ever imagine that you would fix your mind so
• 27:07
  Speaker 3: immoveably on that statue, you who went away from me
• 27:12
  Speaker 3: before it was completed.
• 27:14
  Speaker 4: It was completed. That was why I could go away
• 27:18
  Speaker 4: from you and leave you alone.
• 27:20
  Speaker 1: Sits with his elbows upon his knees, rocking his head
• 27:23
  Speaker 1: from side to side, with his hands before his eyes.
• 27:26
  Speaker 3: It was not what it afterwards became.
• 27:29
  Speaker 1: Quietly but quick as lightning. Half unsheaths a narrow bladed,
• 27:32
  Speaker 1: sharp knife, which she carried in her breast, and asks
• 27:35
  Speaker 1: in a hoarse whisper.
• 27:37
  Speaker 4: Arnold, have you done any evil to our child?
• 27:41
  Speaker 3: Any evil? How can I be sure what you would
• 27:44
  Speaker 3: call it?
• 27:45
  Speaker 4: Tell me at once? What have you done to the child?
• 27:49
  Speaker 3: I will tell you if you will sit and listen
• 27:52
  Speaker 3: quietly to what I say.
• 27:54
  Speaker 1: Hides the knife.
• 27:55
  Speaker 4: I will listen as quietly as a mother can when.
• 27:58
  Speaker 3: She and you must not look at me while I
• 28:01
  Speaker 3: am telling you.
• 28:02
  Speaker 1: Moves to a stone behind his back.
• 28:04
  Speaker 4: I will sit here behind you. Now tell me.
• 28:08
  Speaker 1: Takes his hands from before his eyes and gazes straight
• 28:11
  Speaker 1: in front of him.
• 28:12
  Speaker 3: When I had found you, I knew at once how
• 28:16
  Speaker 3: I should make use of you for my life work.
• 28:19
  Speaker 4: The resurrection day you called your life work, I call
• 28:23
  Speaker 4: it our child.
• 28:25
  Speaker 3: I was inng then with no knowledge of life. The
• 28:28
  Speaker 3: Resurrection I thought would be most beautifully and exquisitely figured
• 28:33
  Speaker 3: as a young, unsullied woman with none of her earth
• 28:36
  Speaker 3: life's experiences, awakening to light and glory, without having to
• 28:41
  Speaker 3: put away from anything ugly and impure.
• 28:43
  Speaker 4: Yes, and so I stand there now in our work.
• 28:48
  Speaker 3: Not absolutely and entirely, so Irene.
• 28:53
  Speaker 4: Not absolutely do I not stand as I always stood
• 28:56
  Speaker 4: for you.
• 28:57
  Speaker 3: I learned worldly wisdoms in the years that followed, Irene,
• 29:01
  Speaker 3: the Resurrection Day became in my mind's eyes something more
• 29:05
  Speaker 3: and something something more complex. The little round plinth on
• 29:11
  Speaker 3: which your figure stood erect and solitary, it no longer
• 29:15
  Speaker 3: offered a room for all the imagery I wanted to add.
• 29:18
  Speaker 1: Groped for her knife, but desists.
• 29:21
  Speaker 4: What imagery did you add?
• 29:22
  Speaker 3: Then?
• 29:23
  Speaker 4: Tell me?
• 29:24
  Speaker 3: I imagined that which I saw with my eyes around
• 29:27
  Speaker 3: me in the world. I had to include it. I
• 29:30
  Speaker 3: could not help it, Irene. I expanded the plinth, made
• 29:34
  Speaker 3: it quiet and spacious, and on it I placed a
• 29:37
  Speaker 3: segment of the curving bursting earth, and up from the
• 29:42
  Speaker 3: fissures of the soil there now swarm men and women
• 29:46
  Speaker 3: with dimly suggested animal faces. Women and men as I
• 29:51
  Speaker 3: knew them in real life.
• 29:53
  Speaker 4: But in the middle of the route there stands the
• 29:55
  Speaker 4: young woman, radiant with the joy of life. Do I
• 29:58
  Speaker 4: not stand so, Arnold?
• 30:00
  Speaker 3: Not quite in the middle. I had, unfortunately, to move
• 30:04
  Speaker 3: that figure a little back for the sake of the
• 30:07
  Speaker 3: general effect, you understand. Otherwise it would have dominated the
• 30:12
  Speaker 3: whole too much.
• 30:14
  Speaker 4: But the joy and the light still transfigures my face.
• 30:18
  Speaker 3: Yes it does, iren in a way, a little subdued,
• 30:22
  Speaker 3: perhaps as my altered idea required.
• 30:26
  Speaker 4: Rising noiselessly, that design expresses the life you now see.
• 30:31
  Speaker 3: Arnold, Yes, I suppose it does.
• 30:35
  Speaker 4: And in that design you have shifted me back, a
• 30:38
  Speaker 4: little toned down to serve as a background figure in
• 30:42
  Speaker 4: a group.
• 30:43
  Speaker 1: She draws the knife.
• 30:45
  Speaker 3: Not a background figure, let us say, utmost, a figure
• 30:50
  Speaker 3: not quite in the foreground, or something of that sort.
• 30:54
  Speaker 1: There you uttered your own doom on the point of striking,
• 30:59
  Speaker 1: turns up, looks at her doom, hastily hides the knife
• 31:03
  Speaker 1: and says, as though choked with agony, my.
• 31:06
  Speaker 4: Whole soul, you and I, we we, we and our
• 31:12
  Speaker 4: child were in that solitary figure.
• 31:15
  Speaker 1: Eagerly taking off his hat and drying the drops of
• 31:18
  Speaker 1: sweat upon his brow.
• 31:19
  Speaker 3: Yes, But let me tell you to how I place
• 31:24
  Speaker 3: myself in the group in front beside a fountain, as
• 31:29
  Speaker 3: it were, Here sits a man weighted down with guilt,
• 31:33
  Speaker 3: who cannot quite free himself from the earth crust. I
• 31:36
  Speaker 3: call him remorse for a forfeited life. He sits there
• 31:41
  Speaker 3: and dips his finger in the pearling stream to wash
• 31:45
  Speaker 3: them clean. And he is gnowed and tortured by the
• 31:49
  Speaker 3: thought that never, never will he succeed, Never, in all
• 31:54
  Speaker 3: eternity will he attain to freedom and the new life
• 31:58
  Speaker 3: he will remaind for were present in his hell. Poet,
• 32:03
  Speaker 3: Why poet.
• 32:04
  Speaker 4: Because you are nerveless and sluggish and full of forgiveness
• 32:08
  Speaker 4: for all the sins of your life. In thought and
• 32:11
  Speaker 4: in act, you have killed my soul. So you model
• 32:15
  Speaker 4: yourself in remorse and self accusation and penance, and with
• 32:20
  Speaker 4: that you think your account is cleared.
• 32:23
  Speaker 3: I am an artist, Irene, and I take no shame
• 32:26
  Speaker 3: to myself for the failities that perhaps cling to me.
• 32:30
  Speaker 3: For I was born to be an artist. You see,
• 32:33
  Speaker 3: and do what I may, I shall never be anything else.
• 32:38
  Speaker 1: Looks at him with a lurking, evil smile and says
• 32:41
  Speaker 1: gently and softly. You are a poet, Arnold softly strokes
• 32:46
  Speaker 1: his hair, You.
• 32:47
  Speaker 4: Dear, great middle aged child. Is it possible that you
• 32:53
  Speaker 4: cannot see that?
• 32:55
  Speaker 3: Why do you keep calling me a poet with malign eyes?
• 32:59
  Speaker 4: Because there is something apologetic in the word, my friend,
• 33:03
  Speaker 4: something that suggests forgiveness of sins and spreads a cloak
• 33:09
  Speaker 4: over all frailty. But I was a human being then,
• 33:16
  Speaker 4: and I too had a life to live, and a
• 33:19
  Speaker 4: human destiny to fulfill, and all that. Look you, I
• 33:24
  Speaker 4: let slip, gave it all up in order to make
• 33:26
  Speaker 4: myself your bondwoman. Oh, it was self murder, a deadly
• 33:32
  Speaker 4: sin against myself, and that sin I can never expiate.
• 33:38
  Speaker 1: She seats herself near him, beside the brook, keeps close,
• 33:42
  Speaker 1: though unnoticed, watch upon him, and as though an absence
• 33:45
  Speaker 1: of mind, plucks some flowers from the shrubs around them.
• 33:48
  Speaker 4: I should have borne children in the world, many children,
• 33:53
  Speaker 4: real children, not such children as are hidden away in
• 33:57
  Speaker 4: grave vaults. That was my occasion. I ought never to
• 34:02
  Speaker 4: have served you, poet.
• 34:05
  Speaker 3: Yet those were beautiful days, Irene, marvelouslie, beautiful days, as
• 34:11
  Speaker 3: I now look back upon them.
• 34:13
  Speaker 1: Looking at him with a soft expression.
• 34:16
  Speaker 4: Can you remember a little word that you said when
• 34:19
  Speaker 4: you had finished finished with me and with our child.
• 34:24
  Speaker 4: Can you remember that little word?
• 34:26
  Speaker 1: Arnold looks inquiringly at her.
• 34:29
  Speaker 3: Did I say a little word then which you still remember? Yes?
• 34:33
  Speaker 4: You did? Can you not recall it?
• 34:37
  Speaker 5: Shaking his head, No, I can't say that.
• 34:40
  Speaker 3: I do not at the present moment at any rate.
• 34:45
  Speaker 4: You took both my hands and pressed them warmly, and
• 34:49
  Speaker 4: I stood there in breathless expectation, and then you said,
• 34:56
  Speaker 4: so now, Irene, I thank you from my heart. This
• 35:02
  Speaker 4: you said has been a priceless episode for me.
• 35:07
  Speaker 1: Looks doubtfully at her.
• 35:09
  Speaker 3: Did I say episode? It is not a word I
• 35:12
  Speaker 3: am in the habit of using.
• 35:14
  Speaker 4: You said episode?
• 35:16
  Speaker 3: Well, well, after all it was in reality an episode.
• 35:22
  Speaker 4: At that word I left you.
• 35:24
  Speaker 3: You take everything so painfully to heart, Irene.
• 35:28
  Speaker 1: Drawing her hand over her forehead.
• 35:30
  Speaker 4: Perhaps you are right. Let us shake off all the
• 35:34
  Speaker 4: hard things that go to the heart.
• 35:36
  Speaker 1: Plucks off the leaves of a mountain rose and strews
• 35:39
  Speaker 1: them on the brook.
• 35:40
  Speaker 4: Look over there, Arnold, there are our birds swimming.
• 35:45
  Speaker 3: What birds are they?
• 35:47
  Speaker 4: Can you not see? Of course? They are flamingoes? Are
• 35:51
  Speaker 4: they not? Rose red?
• 35:53
  Speaker 3: Flamingoes? Do not swim, they only weighed.
• 35:57
  Speaker 4: Then they are not flamingoes, they are seas.
• 36:00
  Speaker 3: They may be sea gulls with red bells.
• 36:03
  Speaker 1: Yes, plucks broad green leaves and throws them into the brook.
• 36:07
  Speaker 3: Now I send out my ships after them.
• 36:10
  Speaker 4: But there must be no harpoon men on board.
• 36:13
  Speaker 3: No, there shall be no harporone men. Can you remember
• 36:17
  Speaker 3: the summer when we used to sit like this outside
• 36:20
  Speaker 3: the little peasant hat on the Lake of Tornets.
• 36:23
  Speaker 4: On Saturday evenings? Yes, when we had finished our week's work.
• 36:29
  Speaker 3: Then too, you used to set bird swimming in the brook.
• 36:33
  Speaker 3: They were water lilies, which you.
• 36:36
  Speaker 4: They were white swans.
• 36:38
  Speaker 3: I meant swans, yes, And I remember that I fastened
• 36:43
  Speaker 3: a great furry leaf to one of the swans. It
• 36:46
  Speaker 3: looked like a boodog leaf.
• 36:48
  Speaker 4: And then it turned into low and Grin's boat with
• 36:52
  Speaker 4: the swan yoked to it.
• 36:54
  Speaker 3: How fond you were of that game, Irene?
• 36:57
  Speaker 4: We played it over and over.
• 36:59
  Speaker 3: Again every single Saturday. I believe all the summer through.
• 37:05
  Speaker 4: You said I was the swan that drew your boat?
• 37:09
  Speaker 3: Did I say so?
• 37:12
  Speaker 4: Yes?
• 37:12
  Speaker 3: I dare say I did. Just see how the seagulls
• 37:17
  Speaker 3: are swimming down the stream.
• 37:20
  Speaker 4: And all your ships have run ashore.
• 37:22
  Speaker 1: Throwing more leaves into the brook.
• 37:24
  Speaker 3: I have ships enough in reserve.
• 37:26
  Speaker 1: Follows the leaves with his eyes, throws more into the brook,
• 37:29
  Speaker 1: and says, after a pause.
• 37:31
  Speaker 3: Irene, I have bought the little peasant had beside the
• 37:35
  Speaker 3: lake of Tornags.
• 37:36
  Speaker 4: Have you bought it? You often said you would if
• 37:39
  Speaker 4: you could afford it.
• 37:41
  Speaker 3: The day came when I could offered it easily enough,
• 37:45
  Speaker 3: and so I bought it.
• 37:46
  Speaker 1: With a sidelong look at him.
• 37:48
  Speaker 4: Then, do you live out there now in our old house?
• 37:53
  Speaker 3: No, I have had it pulled down long ago, and
• 37:57
  Speaker 3: I have built myself a great, handsome, comfortable villa on
• 38:01
  Speaker 3: the side, with the park around it. It is there
• 38:06
  Speaker 3: that we there, that I usually live during the summer.
• 38:10
  Speaker 4: So you and and the other one live out there now.
• 38:15
  Speaker 3: Yes, when my wife and I are not traveling as
• 38:19
  Speaker 3: we are this year.
• 38:21
  Speaker 4: Looking far before, her life was beautiful, beautiful by the
• 38:26
  Speaker 4: lake of Tournets.
• 38:27
  Speaker 3: And yet Aireen, yet we.
• 38:30
  Speaker 4: Too let slip all that life and its beauty?
• 38:34
  Speaker 3: Does repentance come too late? Now?
• 38:37
  Speaker 1: Does not answer, but sit silent for a moment. Then
• 38:40
  Speaker 1: she points over the upland.
• 38:42
  Speaker 4: Look there, Arnold. Now the sun is going down behind
• 38:46
  Speaker 4: the peaks. See what a red glow the level rays
• 38:50
  Speaker 4: cast over all the heathery gnolls out yonder looks where
• 38:54
  Speaker 4: she is pointing.
• 38:55
  Speaker 3: It is long since I have seen a sunset in
• 38:58
  Speaker 3: the mountains.
• 39:00
  Speaker 4: Or a sunrise a sunrise.
• 39:03
  Speaker 3: I don't think I have ever.
• 39:04
  Speaker 1: Seen smiles, as though lost in recollection, I once saw
• 39:09
  Speaker 1: a marvelously lovely sunrise.
• 39:11
  Speaker 3: Did you where was that?
• 39:14
  Speaker 4: High high up on a dizzy mountain top. You beguiled
• 39:20
  Speaker 4: me up there by promising that I should see all
• 39:22
  Speaker 4: the glory of the world, if only I, She stops suddenly.
• 39:26
  Speaker 3: If only you well.
• 39:29
  Speaker 4: I did as you told me, went with you up
• 39:33
  Speaker 4: to the heights, and there I fell upon my knees
• 39:38
  Speaker 4: and worshiped you and served you. Then I saw the sunrise.
• 39:45
  Speaker 3: You could open up all that is locked up in me?
• 39:48
  Speaker 3: Can you not find it in your heart?
• 39:50
  Speaker 5: Irene shaking her head.
• 39:52
  Speaker 4: I no longer have the key to you, Arnold.
• 39:55
  Speaker 3: You have the key, you and you alone possess it.
• 40:01
  Speaker 3: Help me that I may be able to live my
• 40:04
  Speaker 3: life over again.
• 40:06
  Speaker 4: Empty dreams, idle, dead dreams. For the life you and
• 40:11
  Speaker 4: I led, there is no resurrection.
• 40:14
  Speaker 3: Then let us go on playing.
• 40:16
  Speaker 4: Yes, playing, playing only playing.
• 40:20
  Speaker 1: They sit and strew leaves and petals over the brook
• 40:22
  Speaker 1: where they float and sail away up the slope to
• 40:26
  Speaker 1: the left. At the back come Ulfheim and Maya in
• 40:28
  Speaker 1: hunting costume. After them comes the servant with the leash
• 40:32
  Speaker 1: of dogs, with which he goes out to the right,
• 40:35
  Speaker 1: catching sight of them.
• 40:37
  Speaker 3: Ha, there is little Maya going out with the bear hunter.
• 40:41
  Speaker 3: Your lady, yes or the others?
• 40:45
  Speaker 1: Looks around as she is crossing the upland sees the
• 40:48
  Speaker 1: two sitting by the brook and calls out.
• 40:50
  Speaker 2: Good night, professor, dream of me. Now, I am going
• 40:54
  Speaker 2: off on my adventures.
• 40:56
  Speaker 3: What sort of an adventure is this to be?
• 40:58
  Speaker 2: I am going to let life take the place of
• 41:00
  Speaker 2: all the rest.
• 41:02
  Speaker 3: Ha, So you too are going to do that, little Maya.
• 41:06
  Speaker 2: Yes, And I've made a verse about it, And this
• 41:09
  Speaker 2: is how it goes. I am free. I am free.
• 41:12
  Speaker 2: I am free. No more life in the prison for me.
• 41:16
  Speaker 2: I'm free as a bird. I am free for I
• 41:19
  Speaker 2: believe I have awakened now at last.
• 41:22
  Speaker 3: It almost seems so oh.
• 41:24
  Speaker 2: How divinely light one feels on waking.
• 41:27
  Speaker 3: Good night for Maya, and good luck to.
• 41:30
  Speaker 4: Hush, hush for the double sake.
• 41:31
  Speaker 5: Let's have none of your wizard wishes. Don't you see
• 41:33
  Speaker 5: that we are going out to shoot?
• 41:35
  Speaker 3: What will you bring me home from the hunting?
• 41:37
  Speaker 2: Maya, you shall have a bird of prey tomorrow. I
• 41:40
  Speaker 2: shall wing one for you.
• 41:42
  Speaker 3: Yes, do wing things without knowing what you're doing. That
• 41:47
  Speaker 3: has long been quite in your.
• 41:48
  Speaker 1: Way, tossing her head.
• 41:50
  Speaker 2: Oh, just let me take care of myself for the future.
• 41:53
  Speaker 2: And I wish you then goodbye and a good peaceful
• 41:57
  Speaker 2: summer night on the Upland.
• 42:00
  Speaker 3: Thanks, and all the ill luck in the world over
• 42:03
  Speaker 3: you and your hunting there.
• 42:04
  Speaker 5: Now that is wish worth having.
• 42:07
  Speaker 2: Thanks. Thanks, Thanks, professor.
• 42:09
  Speaker 1: They have both crossed the visible portion of the upland
• 42:12
  Speaker 1: and go out through the bushes to the right.
• 42:14
  Speaker 3: A summer night on the Upland, Yes, that would have
• 42:18
  Speaker 3: been life.
• 42:19
  Speaker 1: Suddenly, with a wild expression in her eyes.
• 42:22
  Speaker 4: Will you spend a summer night on the upland with me?
• 42:26
  Speaker 1: Stretching his arms wide.
• 42:28
  Speaker 3: Yes, yes, come, my adored Lord and master, oh ireen.
• 42:36
  Speaker 1: Hoarsely smiling and groping in her breast.
• 42:39
  Speaker 4: It will be only an episode. Hush, do not look round, Arnold.
• 42:46
  Speaker 4: What is it a face that is staring at.
• 42:49
  Speaker 1: Me turns involuntarily.
• 42:52
  Speaker 3: There huh.
• 42:54
  Speaker 1: The Sister of Mercy's head is partly visible among the
• 42:56
  Speaker 1: bushes beside the descent to the left. Her eyes are
• 42:59
  Speaker 1: immod fixed on Irene, rises and says softly.
• 43:05
  Speaker 4: We must part. Then, no, you must remain sitting. Do
• 43:08
  Speaker 4: you hear? You must not go with me?
• 43:10
  Speaker 1: Bends over him and whispers.
• 43:12
  Speaker 4: Till we meet again tonight on the.
• 43:16
  Speaker 3: Upland, and you will come, Irene.
• 43:19
  Speaker 4: Yes, surely I will come.
• 43:21
  Speaker 2: Wait for me.
• 43:22
  Speaker 3: Here summer night on the upland with you.
• 43:27
  Speaker 1: With you his eyes meet hers.
• 43:30
  Speaker 3: Oh, Irene, that might have been our life, and that
• 43:35
  Speaker 3: we are forfeited.
• 43:37
  Speaker 4: We two, we see the irretrievable only when looks inquiringly
• 43:42
  Speaker 4: at her. Then when we dead awaken, shakes his head mournfully.
• 43:47
  Speaker 3: What do vida do you see?
• 43:49
  Speaker 4: Then we see that we have never lived?
• 43:53
  Speaker 1: She goes towards the slope and descends. The Sister of
• 43:56
  Speaker 1: Mercy makes way for her and follows her. Professor Rubeak
• 44:00
  Speaker 1: remains sitting motionless beside the brook. Maya is heard singing
• 44:04
  Speaker 1: triumphantly among the hills.
• 44:07
  Speaker 2: I am free, I am free, I am free. No
• 44:10
  Speaker 2: more life in the prison for me. I am free
• 44:12
  Speaker 2: as a bird. I am free.
• 44:16
  Speaker 1: End of Act two,