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When We Dead Awaken Act III · The Henrik Ibsen Library

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  Speaker 1: Act three 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 three.
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  Speaker 1: A wild riven mountain side with sheer precipices at the back.
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  Speaker 1: Snow clad peaks rise to the right and lose themselves
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  Speaker 1: in drifting mists. To the left, on a stone scree
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  Speaker 1: stands an old, half ruined hut. It is early morning,
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  Speaker 1: dawn is breaking, the sun has not yet risen. Maya comes,
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  Speaker 1: flushed and irritated, down over the stone scree. On the left,
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  Speaker 1: Ulfheim follows, half angry, half laughing, holding her fast by
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  Speaker 1: the sleeve, trying to tear herself loose.
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  Speaker 2: Let me go, Let me go, I say, come.
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  Speaker 3: Come, are you going to bite?
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  Speaker 1: Now?
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  Speaker 3: You're a snappish as.
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  Speaker 1: A wolf striking him over the hand me, I tell you,
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  Speaker 1: and be quiet, Oh, confound me.
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  Speaker 2: If I will, then I will not go another step
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  Speaker 2: with you?
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  Speaker 4: Do you hear?
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  Speaker 2: Not a single step?
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  Speaker 3: Ho? Ho? How can you get away from me here
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  Speaker 3: on the wild mountain side?
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  Speaker 2: I will jump over the precipice yonder if need.
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  Speaker 3: Be, and ming'll mesh yourself up into dog's meat. But
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  Speaker 3: juicy morsel, let's go his hold as you please. Jump
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  Speaker 3: over the precipice if you want to. It's a dizzy drop.
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  Speaker 3: There's only one narrow footpath down in that's almost impassable.
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  Speaker 1: Dusts her skirt with her hand and looks at him
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  Speaker 1: with angry eyes.
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  Speaker 2: Well you are a nice one to go hunting with, say,
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  Speaker 2: rather sporting. Oh so you call this sport, do you?
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  Speaker 3: Yes? I venture to take that liberty. It is the
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  Speaker 3: sort of sport I like best.
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  Speaker 1: Of all, tossing her head, Well, I must say, after
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  Speaker 1: a pause, looks searchingly at him.
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  Speaker 2: Why do you let the dogs loose up there?
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  Speaker 1: Blinking his eyes and smiling.
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  Speaker 3: So that they too might do a little hunting on
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  Speaker 3: their own account? Don't you see?
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  Speaker 2: There's not a word of truth in that. It wasn't
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  Speaker 2: for the dog's sake that you let them go.
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  Speaker 3: Well, why did I let them go? Then?
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  Speaker 2: Let us hear you let them go because you wanted
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  Speaker 2: to get rid of Lars. He was to run after
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  Speaker 2: them and bring them in again, you said. And in
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  Speaker 2: the meantime, oh, it was a pretty way to behave.
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  Speaker 3: In the meantime, No matter Lars won't find them, you
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  Speaker 3: may safely swear to that he won't come with them
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  Speaker 3: before the time.
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  Speaker 2: So up, no, I dare say not catching at her
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  Speaker 2: arm for.
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  Speaker 3: Lars he knows my my methods of sport, you see.
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  Speaker 1: Eludes him and measures him with a glance.
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  Speaker 2: Do you know what you look like, mister Ulfheim?
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  Speaker 3: I should think I'm probably most like myself.
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  Speaker 2: Yes, you're exactly right, for you're the living image of
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  Speaker 2: a fawn a han. Yes, precisely a fawn a han.
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  Speaker 3: Isn't that a sort of monster or a kind of
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  Speaker 3: wood demon as you might.
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  Speaker 2: Call it, Yes, just the sort of creature You are,
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  Speaker 2: a thing with a goat's beard and goat legs.
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  Speaker 4: Yes.
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  Speaker 2: And the fawn has horns.
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  Speaker 3: Too, so so has he horns to a.
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  Speaker 2: Pair of ugly horns just like yours? Yes?
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  Speaker 3: Can you see the poor little horns I have?
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  Speaker 4: Yes?
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  Speaker 2: I seem to see them quite plainly taking the dog's
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  Speaker 2: leash out of his pocket.
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  Speaker 3: Then I had better see about tying you.
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  Speaker 2: Have you gone quite mad? Would you tie me?
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  Speaker 3: If I am a demon? Let me be a demon?
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  Speaker 3: So that's the way of it. You can see the horns,
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  Speaker 3: can you?
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  Speaker 4: There?
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  Speaker 2: There? There? Now, try to behave nicely, mister Wilfhine, But
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  Speaker 2: what has become of that hunting castle of yours that
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  Speaker 2: you both did of so much? He said it lay
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  Speaker 2: somewhere hereabouts points with a flourish to the hut.
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  Speaker 3: There you have it before your very.
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  Speaker 2: Eyes looks at him, that old pigs die.
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  Speaker 3: It has harbored more than one king's daughter. I can
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  Speaker 3: tell you.
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  Speaker 2: Was it there that that horrid man you told me
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  Speaker 2: about came to the king's daughter in the form of
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  Speaker 2: a bear?
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  Speaker 3: Yes, my fair companion of the chase, this is the scene.
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  Speaker 1: With a gesture of invitation.
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  Speaker 2: If you would deign to enter, eh, if I ever
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  Speaker 2: set foot on it?
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  Speaker 4: There?
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  Speaker 3: Oh, two people can doze away at summer night and
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  Speaker 3: they're comfortably enough, or whole summer if it comes to that.
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  Speaker 2: Thanks, One would need to have a pretty strong taste
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  Speaker 2: for that kind of thing. But I'm now both tired
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  Speaker 2: of you and the hunting expedition. Now I'm going down
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  Speaker 2: to the hotel before people awaken down there.
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  Speaker 3: How do you propose to get down from here?
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  Speaker 2: That's your affair. There must be a way down somewhere
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  Speaker 2: or other, I suppose, pointing towards the back.
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  Speaker 3: Oh, certainly there is a sort of way right down
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  Speaker 3: the face of the precipice yonder.
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  Speaker 2: There you see, with a little good will.
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  Speaker 3: But just you try if you dare go that way?
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  Speaker 2: Do you think I can't.
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  Speaker 3: Never in this world? If you don't let me help you.
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  Speaker 2: Why then come and help me? What else are you
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  Speaker 2: here for?
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  Speaker 3: Would you rather I should take you on my back nonsense?
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  Speaker 3: Or carry you in my arms?
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  Speaker 2: Now? Do stop talking that rubbish.
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  Speaker 3: I once took a young girl, lifted her up from
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  Speaker 3: the mire of the streets, and carried her in my
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  Speaker 3: arms next my heart. I carried her so I would
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  Speaker 3: warn her all through life she should dash her foot
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  Speaker 3: against the stone, for her shoes were worn very thin
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  Speaker 3: when I found her.
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  Speaker 2: And yet you took her up and carried her next
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  Speaker 2: to your heart.
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  Speaker 3: Took her up out of the gutter, and carried her
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  Speaker 3: as high and as carefully as I could. And do
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  Speaker 3: you know what I got for my reward? No?
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  Speaker 2: What did you get?
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  Speaker 1: Looks at her smiles and nods.
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  Speaker 3: I got the horns, the horns that can see so plainly?
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  Speaker 3: Is not that a comical story? Madame Baar murderess.
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  Speaker 2: Oh yes, comical enough. But I know another story that
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  Speaker 2: is still more comical.
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  Speaker 3: How does that story go?
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  Speaker 2: This is how it goes. There was once a stupid
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  Speaker 2: girl who had both a father and a mother, but
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  Speaker 2: a rather poverty stricken home. Then there came a high
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  Speaker 2: and mighty signor in the midst of all this poverty,
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  Speaker 2: and she took the girl in his arms as you did,
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  Speaker 2: and traveled far far away with her.
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  Speaker 3: Was she so anxious to be with him?
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  Speaker 2: Yes, for she was stupid, you see, And.
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  Speaker 3: He, no doubt was a brilliant and beautiful personage.
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  Speaker 2: Oh no, he wasn't so superlatively beautiful either. But he
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  Speaker 2: pretended that he would take her with him to the
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  Speaker 2: top of the highest mountains, where there were light and
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  Speaker 2: sunshine without ends.
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  Speaker 3: So he was mountaineer, Was he that man?
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  Speaker 2: Yes, he was in his way. Then he took the
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  Speaker 2: girl up with him with a toss of the head,
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  Speaker 2: took her up with him. Finally, you may be sure,
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  Speaker 2: Oh no, he beguiled her into a cold clammy cage,
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  Speaker 2: whereas it seemed to her there was neither sunlight nor
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  Speaker 2: fresh air, but only gilding and great petrified ghosts of
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  Speaker 2: people all around the walls.
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  Speaker 3: Devil take me? But it served her right?
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  Speaker 2: Yes, but don't you think it's quite a comical story
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  Speaker 2: all the same?
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  Speaker 3: Now, listen to me, my good companion of the chase.
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  Speaker 2: Well, what is it? Now?
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  Speaker 3: Should not we too tack our poor shreds of life together?
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  Speaker 2: Is his worship inclined to set up as a patching tailor?
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  Speaker 3: Yes, indeed he is? Might not we too try to
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  Speaker 3: draw the rats together here and there so as to
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  Speaker 3: make some sort of a human life of them.
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  Speaker 2: And when the poor tatters are quite worn out?
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  Speaker 1: What then, with a large gesture.
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  Speaker 3: Then there we shall stand free and serene as man
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  Speaker 3: and woman.
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  Speaker 2: We really are, you with your goat legs, yes.
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  Speaker 3: And you with your well let that pass?
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  Speaker 2: Yes, Come, let us pass on.
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  Speaker 3: Stop whether away a comrade.
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  Speaker 2: Down to the hotel, of course, And afterward then we'll
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  Speaker 2: take polite leave of each other with thanks for pleasant company?
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  Speaker 3: Can we part? We too? Do you think we can?
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  Speaker 4: Yes?
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  Speaker 2: You didn't manage to tie me up.
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  Speaker 3: You know I have a castle to offer you, pointing.
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  Speaker 2: To the hut, a fellow to that one.
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  Speaker 3: It has not fallen to ruin yet, And all.
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  Speaker 2: The glory of the world.
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  Speaker 3: Perhaps the castle, I tell you.
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  Speaker 2: Thanks, I've had enough of castles.
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  Speaker 3: With splendid hunting grounds stretching for miles around it.
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  Speaker 2: Are there works of art too in this castle?
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  Speaker 3: Well? No, it's true there are no works of art, but.
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  Speaker 2: Huh, that's one good thing. At any rate?
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  Speaker 3: Will you go with me then? As far in as
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  Speaker 3: long as I want you?
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  Speaker 2: There is a chamberd of prey keeping watch upon me.
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  Speaker 3: We'll put a bullet in his wing.
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  Speaker 1: Maya looks at him a moment and says, resolutely.
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  Speaker 2: Come then and carry me down into the depths.
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  Speaker 1: Puts his arm round her waist.
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  Speaker 3: It is high time. The mist is upon us.
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  Speaker 2: Is the way down terribly dangerous?
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  Speaker 3: Mountain is more dangerous still.
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  Speaker 1: She shakes him off, goes to the edge of the
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  Speaker 1: precipice and looks over, but starts quickly back. Goes towards her, laughing,
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  Speaker 1: what does.
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  Speaker 3: It make you a little giddy?
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  Speaker 2: Yes, that too, But go and look over those two
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  Speaker 2: coming up.
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  Speaker 1: Goes and bends over the edge of the precipice.
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  Speaker 3: It's only your bird of prey in his strange lady.
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  Speaker 2: Can't we get past them without their seeing us?
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  Speaker 3: Impossible? The path is far too narrow, and there's no
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  Speaker 3: other way down.
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  Speaker 2: Well, well, let us face them here then.
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  Speaker 3: Spoken like a true bear killer, Comrade.
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  Speaker 1: Professor Rubek and I appear over the edge of the
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  Speaker 1: precipice at the back. He has his plaid over his shoulders.
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  Speaker 1: She has a fur cloak thrown loosely over her white dress,
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  Speaker 1: and a swan's down hood over her head, still only
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  Speaker 1: half visible above the edge.
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  Speaker 4: What maya? So we two meet once again.
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  Speaker 2: At your service? Won't you come up?
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  Speaker 1: Professor Rubek climbs right up and holds out his hand
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  Speaker 1: to Irene, who also comes right to the top.
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  Speaker 4: So you two have been all night on the mountain aspire.
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  Speaker 2: I have been hunting.
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  Speaker 1: Yes, you gave me permission, you know, pointing downward.
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  Speaker 3: Have you come up that path there as you saw?
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  Speaker 3: And the strange lady too, yes, of.
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  Speaker 1: Course, with a glance at maya.
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  Speaker 4: Henceforth, the strange Lady and I do not intend our
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  Speaker 4: waste to part.
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  Speaker 3: Don't you know then that it is a deathly dangerous
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  Speaker 3: way you have come.
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  Speaker 4: We thought we would try it, nevertheless, for it did
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  Speaker 4: not seem particularly hard at first.
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  Speaker 3: No, at first, nothing seems hard. But presently you may
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  Speaker 3: come to a tight place where you can neither get
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  Speaker 3: forward nor back. Then you stick fast. Professor Mountain, fast
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  Speaker 3: as we hunters.
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  Speaker 1: Call it, smiles and looks at him.
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  Speaker 4: Am I to take these as oracular utterances.
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  Speaker 3: Lord preserved me from playing the.
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  Speaker 1: Oracle, urgently pointing up towards the heights.
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  Speaker 3: But don't you see that the storm is upon us?
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  Speaker 3: Don't you hear the blast of when.
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  Speaker 4: They sound like the prelude to the Resurrection Day?
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  Speaker 3: They are storm plasts from the peaks. Man, Just look
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  Speaker 3: how the clouds are rolling and sinking. Soon they will
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  Speaker 3: be all around us like a winding sheet with.
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  Speaker 1: A start and shiver. I know that sheet drawing all
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  Speaker 1: time away.
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  Speaker 2: Let us make haste and get down to Professor Rubek.
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  Speaker 3: I cannot help more than one. Take refuge in the hunt.
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  Speaker 3: In the meantime, while the storm lasts. Then I shall
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  Speaker 3: send people up to fetch the two of you away.
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  Speaker 5: To fetch us away. No, no, take you.
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  Speaker 3: By force if necessary, for it's a matter of life
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  Speaker 3: and death here now you know it. To Maya come then,
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  Speaker 3: and don't fear torust yourself in your comrade's hand, clinging
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  Speaker 3: to him.
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  Speaker 2: Oh how I shall rejoice and sing if I get
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  Speaker 2: down with a whole skin.
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  Speaker 1: Begins the descent and calls to the others.
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  Speaker 3: You'll wait then in the hut till the men come
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  Speaker 3: with ropes and fetch you away.
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  Speaker 1: Ulfheim, with Maya in his arms, clambers rapidly but warily
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  Speaker 1: down the precipice. Looks for some time at Professor Rubek
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  Speaker 1: with terror stricken eyes.
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  Speaker 5: Did you hear that, Arnold? Men are coming up to
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  Speaker 5: fetch me away? Many men will come up here.
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  Speaker 4: Do not be alarmed, Ireen.
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  Speaker 5: And she, the woman in black, she will come too,
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  Speaker 5: for she must have missed me long ago. And then
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  Speaker 5: she will seize me, Arnold, and put me in the
• 11:49
  Speaker 5: strait waistcoat. She has it with her in her box.
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  Speaker 5: I have seen it with my own eyes.
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  Speaker 4: Not a soul shall be suffered to touch you.
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  Speaker 5: Oh no, I myself have a res against that.
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  Speaker 1: What results do you mean drawing out the knife? This
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  Speaker 1: tries to seize it?
• 12:07
  Speaker 4: Have you a knife.
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  Speaker 5: Always, always, both day and night in bed as well?
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  Speaker 4: Give me that knife, Irene, concealing it.
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  Speaker 5: You shall not have it. I may very likely find
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  Speaker 5: a use for it myself.
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  Speaker 4: What use can you have for it?
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  Speaker 1: Here looks fixedly at him.
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  Speaker 5: It was intended for you, arnold, for me, as we
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  Speaker 5: were sitting by the leg of townut's last evening.
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  Speaker 4: By the lake off.
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  Speaker 5: Outside the peasant's hut, and playing with swans and water lilies.
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  Speaker 4: What then? What then?
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  Speaker 5: And when I heard you say with such deathly icye coldness,
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  Speaker 5: that I was nothing but an episode in your life?
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  Speaker 4: It was you that said that, Irene, not I.
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  Speaker 5: Then I had my knife out. I wanted to stab
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  Speaker 5: you in the back with it.
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  Speaker 4: And why did you hold your hand?
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  Speaker 5: Because it flashed upon me with a sudden horror that
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  Speaker 5: you were dead, already long ago dead, dead, dead, you
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  Speaker 5: as well as I. We sat there by the like
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  Speaker 5: of town hats, we two clay cold bodies, and played
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  Speaker 5: with each other.
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  Speaker 4: I do not call that being dead. But you do
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  Speaker 4: not understand me?
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  Speaker 5: Then? Where is the burning desire for me that you
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  Speaker 5: fought and battled against when I stood freely forth before
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  Speaker 5: you as the woman arisen from the dead.
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  Speaker 4: Our loves are surely not dead, Irene.
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  Speaker 5: The love that belongs to the life of earth, the beautiful,
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  Speaker 5: miraculous earth life, the inscrutable earth life that is dead
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  Speaker 5: in both of us.
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  Speaker 4: And do you know that just that lull it is
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  Speaker 4: burning and seething in me as hotly as ever before.
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  Speaker 5: And I have you forgotten who I now am be.
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  Speaker 4: Who or what you please for aught? I care for me.
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  Speaker 4: You are the woman I see in my dreams of you.
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  Speaker 5: I have stood on the turn table naked and made
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  Speaker 5: a show of myself to many hundreds of men after you.
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  Speaker 4: It was I that drew you to the turntable, blind,
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  Speaker 4: as then I was I who placed the dead clay imajabo,
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  Speaker 4: the happiness of life, of love.
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  Speaker 5: Looking down too late, too late, not.
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  Speaker 4: By a han's breadth, as all that has passed in
• 14:36
  Speaker 4: the interval lowered you in my eyes.
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  Speaker 5: With head erect, nor in my own.
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  Speaker 4: Well what then? Then we are free, and there is
• 14:46
  Speaker 4: still time for us to live our life.
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  Speaker 1: Irene look sadly at him.
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  Speaker 5: The desire for life is dead in me, Arnold. Now
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  Speaker 5: I have arisen, and I look for you, and I
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  Speaker 5: find you, And then I see that you and life
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  Speaker 5: lie dead, as I.
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  Speaker 4: Have lain ho, how utterly you are as stray, both
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  Speaker 4: in us and around us. Life is fermenting and throbbing
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  Speaker 4: as fiercely as ever.
• 15:16
  Speaker 5: Smiling and shaking her head, the young woman of your
• 15:19
  Speaker 5: resurrection day can see all life lying on its bier.
• 15:24
  Speaker 1: Throwing his arms violently around her.
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  Speaker 4: Then let two of the dead as two for once
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  Speaker 4: live life to its uttermost, before we go down to
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  Speaker 4: our graves again, Arnold. But not here in the half darkness,
• 15:38
  Speaker 4: not here in the hideous tanks shroud flapping around us.
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  Speaker 5: No. No, Up in the light, and in all the
• 15:45
  Speaker 5: glittering glory, up to the peak of promise.
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  Speaker 4: There we will hold our marriage feast. Irene, oh my beloved.
• 15:55
  Speaker 5: The sun may look freely on us, Arnold.
• 15:58
  Speaker 4: All the powers of light freely look corners, and all
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  Speaker 4: the powers of darkness.
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  Speaker 1: Do seizes her hand.
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  Speaker 4: Will you then follow me, oh, my grace given bride,
• 16:09
  Speaker 4: I follow.
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  Speaker 5: You freely and gladly, my Lord and Master, drawing her
• 16:15
  Speaker 5: along with him, he.
• 16:17
  Speaker 4: Must fust pass through the mists, Hireen, and then yes.
• 16:23
  Speaker 5: Through all the mists, and then right up to the
• 16:26
  Speaker 5: summit of the tower that shines in the sunrise.
• 16:30
  Speaker 1: The mist clouds close in over the scene. Professor Rubek
• 16:34
  Speaker 1: and Irene, hand in hand, climb up over the snowfields
• 16:37
  Speaker 1: to the right, and soon disappear among the lower clouds. Keen, storm, gusts,
• 16:42
  Speaker 1: hurtle and whistle through the air, the Sister of Mercy
• 16:46
  Speaker 1: appears upon the stone scree to the left. She stops
• 16:49
  Speaker 1: and looks around silently and searchingly.
• 16:52
  Speaker 2: I am free. I am free. I am free. No
• 16:55
  Speaker 2: more life in the prison for me. I am free
• 16:58
  Speaker 2: as a bird. I am free.
• 17:00
  Speaker 1: Suddenly, a sound like thunder is heard from high up
• 17:03
  Speaker 1: on the snow field, which glides and whirls downwards with
• 17:06
  Speaker 1: headlong speed. Professor Rubek and Irene can be dimly discerned
• 17:11
  Speaker 1: as they are whirled along with the masses of snow
• 17:13
  Speaker 1: and buried in them. Gives a shriek, stretches out her
• 17:17
  Speaker 1: arms towards them, and cries. Irene stands silent a moment,
• 17:24
  Speaker 1: then makes the sign of the cross before her in
• 17:26
  Speaker 1: the air and says, paxpabiscum. Maya's triumphant song sounds from
• 17:32
  Speaker 1: still farther down below. End of Act three, end of
• 17:38
  Speaker 1: When We Dead Awaken by Henrik Ibsen, translated by William Archer,