CORNELL UNIVERSITY LIBRARY Joseph Whitmore Barry dramatic library THE GIFT OP TWO FRIENDS OF Cornell University 1934 _^ „_ Cornel] University Library PT 8175.B497K3 1913 Karen Borneman, Lynggaard & co.: 3 1924 026 301 923 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924026301923 THE MODERN DRAMA SERIES EDITED BY EDWIN BJORKMAN KAREN BORNEMAN : LYNGGAARD & CO. TWO PLAYS BY HJALMAR BERGSTROM KAREN BORNEMAN LYNGGAARD & CO. TWO PLAYS BY HJALMAR BERGSTROM TRANSLATED FROM THE DANISH WITH AN INTRODUCTION BY EDWIN BJORKMAN NEW YORK MITCHELL KENNERLEY MCMXIII COPYRIGHT RESERVED BY THE GYLDENDAHL PUBLISHING COMPANY COPYRIGHT, 1913, BY MITCHELL KENNERLEY ALL DRAMATIC RIGHTS RESERVED BY EDWIN BJORKMAN /< 4 Lf3s- 3 ^ THB'FLIMPTON- PRESS NORWOOD- MASS- U-S>A CONTENTS PAGE iNTBODtrCTION vii Chronological List of Plats by Hjalmar Beegstrom xvii Karen Borneman 1 Ltnggaabd & Co. 93 INTRODUCTION DENMARK was the first Scandinavian country to have a drama of its own. Holberg (1684!-1754<) has justly been called a " Northern Moliere." Oehlen- schlager (1779-1850) has, perhaps with less justice, been classed with Schiller. In their own day, and for a long time afterward, those pioneers stood wholly alone. But it was nevertheless on the foundations laid by them that the modem Scandinavian drama, with its world-encircling influence, was built by Ibsen and Bjomson about the middle of the last century. From Norway the torch was passed on to Strindberg in Sweden, and by him it seems to have been restored once more to Denmark, where, during the last decade, a group of young playwrights have been producing works that are rapidly spreading their fame throughout the Western world. Hjalmar Bergstrom is among the foremost members of this group, and one whose reputation has grown more quickly than that of anyone else. His first dra- matic work was completed little more than ten years ago, and already two of his plays have been translated into half a dozen languages and performed in a still greater number of countries. They are the plays con- tained in this volume, both of which have had the honor of being forbidden by hostile censors : " Karen Borne- viii INTRODUCTION man " in Denmark on account of its alleged " immor- ality," and " Lynggaard & Co." in Russia on account of its supposedly dangerous social tendencies. And as usual when work thus singled out for official condemna- tion possesses genuine merit, the action meant to harm the author has proved helpful in the end. That, in view of Russian conditions, the censorship in that country might be logically exercised against " Lynggaard & Co.," may be admitted without preju- dice to the work in question. That, on the other hand, the Danish authorities had any warrant whatsoever for their attempt to brand " Karen Borneman " as im- moral, cannot under any circumstances be admitted. Of course, its splendid art would constitute no defense, were its spirit not as pure as its form. But rarely has that ever vexatious question of sexual morality been set forth with more artistic restraint or with more sincere effort at seeing and presenting both sides of it. In their eagerness to incriminate the author, the de- fenders of the " old " morality charged him with having made a grotesque caricature out of the figure standing as the main representative of that morality within the play — namely, KarerCs father, the old professor of theology. Yet it is only necessary to glance at the play itself in order to see that this figure has been drawn with the tenderest sympathy, and with a fidelity to life that could hardly be imagined apart from such sympathy. What might possibly give offense to those inclined to identify themselves with that figure is not any ridicule cast upon it by the author, but the deep and true pathos naturally surrounding it. Like all who strive to dam the onward sweep of human progress, Professor Bornemcm is foredoomed to defeat and the INTRODUCTION ix suffering that goes with it — and this suffering is, as usual, rendered doubly acute by the fact that he mis- takes his personal defeat for a defeat of life itself and what is best in it. Justice — implacable justice — is one of the chief characteristics of Mr. Bergstrom's dramatic vision. This quality makes itself felt in " Lynggaard & Co." to such an extent that those who want the drama always to present a clashing of types arbitrarily designated as " good " or " bad " cannot fail to suffer disappoint- ment. It is a drama without a hero, and also — one might say — without an end. It belongs conspicuously to that class of works, ever on the increase, which, to quote a keen Austrian critic (Robert F. Arnold), " end with an opening of new perspectives rather than with a conclusion in the old sense." Mr. Bergstrom's play is next kin to those of Shaw, Galsworthy, Granville Barker, and St. John Hankin. And whether or no it be suited to our individual preferences, it should be studied as a work pointing toward the road most likely to be followed by the drama in its future development. There is, in this disconcerting play, not one person who can be held wholly right or wrong. Nor is there one proposition involved in its plot that can be thus classed with any degree of safety. As in life, so in the play, the " truth " for which the characters wrestle is hopelessly divided between them, and obscured by in- numerable considerations and interests that one moment appear selfish and in the next almost unselfish. Above all and everything stands the author, impartial as one of nature's own forces, calmly sympathetic as a mother watching the little jealousies of children among whom INTRODUCTION she has no chosen favorite, and this is what he seems to be saying to us : " Can you understand it? For I cannot ! And so, in order that we may study this riddle to better advan- tage, I have put it down without fear or favor, just as I have seen it." The creator of " Lynggaard & Co." and " Karen Borneman " was bom at Copenhagen in 1868. His father was a skilled mechanic who had emigrated to the Danish capital from the Swedish province of Scania across the Sound. His mother was a native of Den- mark and the daughter of an artisan. The circum- stances of his parents were small, and the home poor. But the boy was an only child, and so things turned out better than might have been expected. He was a quiet, dreamy child, passionately fond of reading, and living much by himself. His favorite reading was found in the plays of Holberg and Oehlenschlager — already referred to — and these he read and re- read, mostly by himself, but sometimes, of a Sunday afternoon, aloud to his parents. And his first at- tempt at authorship, dating back to his thirteenth year, took the form of some verses added to one of Oehlenschlager's tragedies. As he read them aloud to- gether with the original, he found to his unspeakable pride that his parents " did n't discover any diiference." At school he did so well that his teachers helped him to free attendance at one of those higher schools through which the way must needs lie to the university. Thus he was saved from a watchmaker's shop, where his father had meant to apprentice him, but that materializ- ation of his first youthful ambitions had to be paid for in humiliation instead of money. " Nobody who has INTRODUCTION xi not gone through it himself," he wrote not long ago, " can know what bitter experiences lie in wait for him who is torn out of his natural surroundings and trans- planted into a higher social stratum; nobody who has not had such an experience can know what a proud boy has to suffer when admitted gratis to a school where the rest of the pupils are paying for their tuition." He graduated with honor into the university, feeling that " he owed that much to the principal in return for the free schooling bestowed on him." Entering the university at twenty, he had at once to begin earning a living by tutoring. At the same time, however, he pursued his studies eagerly, giving special attention to experimental psychology and modern philology. It was only toward the end of his course that he realized how the studies failed to provide for an entire side of his being. They brought him plenty of food for his intel- lect, but none whatever for his imagination; and so, after a sort of spiritual crisis, he decided to restore the disturbed balance by creative activity of his own. In 1893 he obtained his degree of Ph.D. From that year until 1905 he taught in the Commercial High School at Copenhagen. At the same time he was assidu- ously busy with his pen. Between 1894 and 1900 he published three novels and a volume of short stories without attracting any marked attention. Then, in 1902, his first play, " Ida's Wedding," brought him instantaneous recognition as a man of great promise. The work in question, which has never been staged, fore- shadowed " Karen Borneman." The theme was closely related to that of the later play, but it was treated much more sensationally and with less aloofness, al- xii INTRODUCTION though even in that firstling of his dramatic genius Mr. Bergstrom knew how to deal fairly with types and opinions foreign to his own spirit. In " Mint Street 39," completed two years later, he drew frankly and freely on his childhood experiences. One might say that the hero of the play is the old house itself, rather than this or that person. By de- grees we are familiarized with the atmosphere of each floor, from basement to attic. And as a picture of life as lived by the small middle class of Denmark, " Mint Street 39 " is said to have few equals. But it was only with " Lynggaard & Co.," dating from 1905, that he found his real gift. He has caUed it a drama, but it might as well be called a comedy. It is typical of the ultra-modern tendency to mix tragical and comical elements on the stage just as they are mixed in life — that is, so intimately that it is almost impossible to distinguish one from the other. Of its social bearings, the author himself has this to say : " As far as I have been able to keep it so, the play is without any tendency, for what interests me as artist is not the solution of social problems, but the char- acters themselves and their respective attitudes toward the issue involved." The struggle between capital and labor constitutes only one of several conflicts that furnish motive power for the events in " Lynggaard & Co." Another one is the struggle between individuals of dilFerent types for the control of the power inherent in vast capitalistic organizations. A third one is contained in the almost unbridgable differences between those members 'of the propertied classes who take satisfaction in the privi- leges springing from their exceptional position and INTRODUCTION xiii those who have begun to feel their position as a " sin." A few words here and there indicate the extent to which the author's sympathies lie with the class from which he has risen, and yet he is never tempted into any foolish idealization of the workman as he now exists. " Karen Bomeman " was planned at Florence, sketched in Paris, and finished at Barbizon in 1907. Mr. Bergstrom was still in France when the news reached him that the performance of his play had been interdicted by the Censor, backed by the Minister of Justice. The latter official was none but the notorious Alberti, who was later tried and found guilty on the charge of embezzling millions of money placed in trust with him. Hurrying home, Mr. Bergstrom found the capital in a state of wild turmoil, all on account of his play. The newspapers were full of it, most of them taking side against the government. Protest meetings were held for and against. The matter was even brought up in the Rigsdag, where Alberti met the inter- pellation with a vicious attack on the play. On the side of the author stood all the best men in the country, and among them such champions of modern thought as George Brandes and Professor Harald Hoffding. Yet the government had its way for the time being, and it was not until a new administration had come into office that the ban was taken off the play. But in Russia, where " Lynggaard & Co." had aroused so many fears, " Karen Borneman " was played with- out a protest. Since then Mr. Bergstrom has written four more plays : " The Golden Fleece," his only drama with a historical theme, dealing with the life of the great Danish sculptor Thorwaldsen ; " The Birthday Party," xiv INTRODUCTION a charming and clever one-act piece throwing sharp light on the love-life among the women who " have been left behind " ; " In the Swim," a full-length play which, to quote the author himself, might have derived its dramatic idea from Hamlet's words : " To be honest, as this world goes, is to be one man picked out of ten thousand " ; and finally, " The Way to God," a drama meant for reading only, into which its author has poured a lot of material — ideas and dreams and specu- lations — that could find no place within the narrower and more conventional limits prescribed by the stage. The hero of " In the Swim " is a sincere, clean, honest politician with a leaning toward the ideas of Henry George, which have long been popular in Den- mark. He is set against a background of graft and corruption such as now and then becomes epidemic in every country. Every one around him is working for selfish interests and thinks him like the rest. When he cannot be reached directly, a trap is set for him, and he is compromised by the assistance of his selfish, pleasure-loving wife, thus bringing him to the tragic end in store for one who dares to remain honest among ten thousand dishonest fellowmen. There are two central figures in " The Way to God " — a couple of friends starting into life with high ideals. Caught in the snares set by their own dreams, they " sell their souls to the Evil One." One of them is a poetical nature that wants to revel in beauty, and to him the tempter comes with the suggestion that nothing is more sensuously exciting than to sell at two dollars what has been bought for one. The other friend is a hater of tyrants, and he is caught by a promise of power. Money and power they get, but it leads only INTRODUCTION xv to more money and power. They become reduced to machines used by their own faculties without regard to ends lying beyond themselves. In the end the money-maker turns into a life-despising ascetic and believes that he has found a " way to God " through his discovery that " the nature of God is the humor that surpasses all reason." His final remark is: " Blessed are those who know that there is nothing in anything." His friend, the man of power, is also saved — for when he dies, the Evil One, bent on having his price, finds " that the man had never had a soul." " The Way to God " has caused some critics to ac- cuse its author of " intellectual nihUism." As I have not yet had a chance to read the work, I cannot tell what basis it may furnish for such an accusation, but I am inclined to think it a slim one. Mr. Bergstrom is a true child of the new day which thinks that there must be at least two sides to every " truth." And I believe that his striving at impartial rendering of life as it is, must be held the very antithesis of a cynical acceptance of whatever happens as " equally good." Perhaps nothing can serve better to indicate his true position than this passage (quoted with his permission) from a recent letter : " Having never worked in accordance with any pro- gramme, I have not been led into preparing any for- mulas as to what poetry is or should be. In regard to this question I can only say what personal ex- perience has taught me. Now and then men are bom, for whom imaginative writing constitutes the only pos- sible mode of reaction to the impressions, pleasant or unpleasant, which they receive from the outside world. And at times it is also granted such men to set free xvi INTRODUCTION something within their fellow men — and this is their true reward. To me one of the main characteristics of all good art lies in its striving to make truth seem probable; and on its success at doing so its beauty is founded." CHRONOLOGICAL LIST OF PLAYS BY HJALMAR BERGSTROM Ida's Wedding (Idas Bryllup), 1902; Mint Stseet 39 (Montergade 89), 1904; Lynggaaed & Co., 1905 ; Kaken Boeneman, 1907 ; The Golden Fleece (Det gyldne Skind), 1908; The Birthday Paety (Dame-Te), 1910; In the Swim (Med i Dansen), 1910; The Way to God (Vejen til Gud), 1912. KAREN BORNEMAN A DEAMA IN FOUK ACTS 1907 PERSONS Keisten Boeneman .... a professor of theology Cecilia His wife Kaken, a newspaper writer ^ Peter, a law student V- . . . . Their children Thoba J Dk. Schou The family physician Strandgaard A sculptor Hansine Moller A " Living-Out " Maid A Woman Typist •The action takes place in the home of Professor Borneman and lasts from early morning until late in the afternoon of the same day. The time is the present. KAREN BORNEMAN THE FIRST ACT A dining-room. At the back, double doors leading to a hallway. A buffet is placed across the rear corner at the left. The corresponding corner at the right is cut off a/nd contains a narrow wimdow opening on a court. In front of this window, a serving table. Dou- ble doors at the left lead to the living-room. Beyond them, a linen closet. A stove of majolica tiles occupies the centre of the right wall. Near the stove, toward the front, a couple of comfortable easy-chairs. In the cen- tre of the room, a dining-table, on which stands a purring tea urn and the necessary tea things. Above the table, a gasolier with only one jet lighted. Dining- room chairs. The furniture gives an impression of old- fashioned cosiness. It is a dark morning in October. The " Living-Out " Maid, a poorly looking girl of fourteen, is seated at the dinner-table, with her elbows on the table and her thumbs buried in her ears. She is deeply absorbed in the reading of a morning newspaper. Hansine M oiler, a woman in her forties, enters through the door at the back, carrying a trayful of cups, plates, and such things. HANSINE Well, if I ever ! There 's that girl reading the paper instead of 'tending to her work. If I may ask : why do you think you are here? 4 KABEN BORNEMAN [act i MAID {scornfully throwing away the paper) Yes, that 's something to make a fuss about, ain't it? Naw — the evening papers for mine ! HANSiNE {putting down the tray) I don't want any more of that tone, if we two are to work together. MAID Work together! You must have been bom a long while ago, Hansine — before slavery was abolished. HANSINE Perhaps ; but for all that one may have a little more experience than a whipper-snapper like you. Now, if you please, fold up the paper nicely and set out the cups. MAID {falling to with a good will) Experience — fudge ! I suppose you don't know I 'm engaged, Hansine.'' HANSINE Engaged ! MAID I bet that ""s more than you have ever been. HANSINE And who 's the — fortunate one — if I may take the liberty to ask. MAID What does it matter to you? — He 's mate on board a ship. HANSINE So you 're having some foolishness with a cabin-boy, are you? MAID He 's going to be a mate, I tell you. ACT i] KAREN BORNEMAN 5 HANSINE And why don't you stay here nights anyhow, instead of drifting in at eight or nine in the morning, just as it happens to suit you? MAID Stay here nights ? No, thanks ! I don't like being assaulted. HANSINE What 's that? MAID Lord, have n't you heard about it, Hansine? That *s why Sophie had to quit and you had to come back here. HANSINE What kind of nonsense is that? MAID Lord! The other night, when Sophie was sleeping as hard as she could, home comes the young gentle- man, and gets into her room, and wants to assault her — or something worse. Sophie, she yelled and jumped out of bed with nothing but her nightie on. Then came the professor, and the missus — great scandal! The next day Sophie had to leave, and that 's how we came to think of you, Hansine. You had been here before, and, of course, we had to have a real old one. Sophie told me all this herself. HANSiNte (looking thoughtful) So little Peter has turned out that way, has he? Hm — tell me — how long did Sophie's connection with the place last? MAID What? 6 KAKEN BORNEMAN [act i HANSINE How long did she work here, I mean? MAID How could I know? She was here when I came, and that 's more 'n a month ago. HANSINE {^mysteriously) You never heard her speak of Miss Gertrude, did you? MAID Who ^s that? hanSine One of the daughters. MAID Is there another daughter? HANSINE {nodding confidentially) She 's sick, and they 've put her into an institution as incurable. MAID (deeply interested) Lord, Hansine, go on and tell ! Gee, but that 's exciting ! HANSINE Sh ! Here 's the missus ! [The Maid bustles out scornfully through the doors at the rear. MRS. BORNEMAN (fit pleasant, quiet lady in the middle fifties; enters from the left) Good morning, Hansine. HANSINE Good morning, ma'am. MRS. BORNEMAN Well, how does it feel to be back here again? HANSINE Thank you, ma'am — it 's like getting home again. Of course, a hotel job is interesting enough — it's , ACT i] KAREN BORNEMAN 7 always exciting about the tips — but a home is a home after all. {Picks up a letter from the mail that has been placed beside the Professor's plate on the dimmg-tahle) And here 's a letter for you, ma'am. MES. BOENEMAN Thank you, not now. You have forgotten that in our house the mail is never opened until after morn- ing prayers. HANSINE That 's right, and there 's tea with the morning prayers. At the hotel it was always a full service of coffee, with honey on the side. {Goes toward the background, but turns around at the door) And that reminds me, ma'am — don't you think we 'd better put the bedroom curtains to wash? They look as if they needed it, MES. BOENEMAN Yes, I think we had better. And then you '11 see that everything is ready tomorrow morning, won't you? With plenty of hot water? HANSINE Yes, ma'am. (Goes out through the door at the back) PEOEESSOE BOENEMAN (enters from the right; he is past sixty-five, white-haired amd beardless; his pale eyes convey an impression of meditative unconscious- ness of the surrownding reality) Good morning, my dear, good morning! MES. BOENEMAN (busy with the tea things) Good morning, dear! Have you slept well? PEOEESSOE No, I can't say that I have. Every time I woke up, I began to think of poor Gertrude. 8 KAREN BORNEMAN [act i MRS. BORNEMAN Oh, I hope to heaven we '11 hear good news today, — but I dare hardly believe it. PRorEssoa (with a sigh) No, I fear there is not much hope in that direction — the Lord help us! At what time do you expect Dr. Schou? MRS. BORNEMAN Some time during the day — that 's all I know. He did n't think he could get back until last night, with the late train. PROFESSOR It was really kind of him to do this for us. MRS. BORNEMAN Yes, I was very glad when he offered to go down there. A physician can undoubtedly get much more definite information out of the superintendent than any one of us. PROFESSOR Well, taking it all in all, it is very agreeable to have a man like Dr. Schou for famUy physician. MRS. BORNEMAN And yet you didn't like him very well at first, if I remember right.? PROFESSOR It was principally his public activities I did n't quite like. MRS. BORNEMAN Are you thinking of his agitation for a crematorium.'' PROFESSOR That, too. I don't mind having anybody look at a purely secular problem from a secular viewpoint, but ACT i] KAREN BORNEMAN 9 that time he was mixed up with something — and with persons — that gave the whole business an ap- pearance of intentional hostility toward the Christian religion. Personally he impresses me as being very agreeable and very capable — but not exactly cheerful — MRS. BOENEMAN Well, it isn't very pleasant to be a widower at his age. PROFESSOH. No, of course not. (Looking at his watch) The children are up, I hope? I have a lecture at ten. MES. BOENEMAN They '11 be here in a minute. (After a brief pause) Really, I 'm very glad to hear you speak so approv- ingly of Dr. Schou. PEOrESSOE Is that so." Why? MES. BOENEMAN (with « somcwhat embarrassed smile) Oh — of course, I don't know if I am absolutely right — but it shouldn't surprise me if his thoughts had begun to run toward Karen. PEOFESSOE Toward Karen? MES. BOENEMAN Why, that 's how it looks to me. For instance, I think he made rather too much out of her bronchitis last Spring. He called here almost every day all that time. And now this offer of his to go down there and find out about Gertrude — PEOFESSOE Could it be possible? 10 KAREN BORNEMAN [act i MBS. BORNEMAN And I have been watching Karen lately. I am sure he has made an impression on her. PUOFESSOE. Well, well — I declare! I may as well tell you frankly that, for many reasons, I should feel myself relieved of a serious and burdensome responsibility if Karen were properly provided for. MRS. BORNEMAN But first of all we should feel happy on her account. PROrESSOB. Of course, that 's the way we should be looking at it, dear, that 's the way ! But I should n't be honest if I didn't confess that, just in regard to Karen, I shall feel a great personal relief to know her once for all out of what she is now mixed up with. MRS. BORNEMAN I don't think there is any reason to find fault with Karen. She is a good, hard-working girl — no mat- ter what you may have to say against some of the things in which she is interested. PROFESSOR At bottom, yes, I am perfectly willing to believe she is as good as she can be. But when I think of the other children — poor Gertrude excepted, of course — but all the rest have brought us nothing but happiness ! MRS. BORNEMAN {with a Simile) And Peter.? PROFESSOR I don't want to give another thought to that stupid affair of Peter's. He is so young, and Sophie was ACT i] KAREN BORNEMAN 11 a dangerous girl to have in the house. But Selma — with full license as a public school teacher; and little Elsa — a trained nurse: those are tasks that suit a woman beautifully. But Karen, on whom we bestowed a coUege course at that — MBS. BORNEMAN She has the best head in the lot. PKOFESSOB. Undoubtedly — but to think that she should become a writer for the newspapers, with all it implies — I don't like it, Cecilia, I don't like it. MES. BORNEMAN You must bear in mind that times have changed since we were young. PROFESSOR A young girl of respectable and well-known family who spends most of her nights in a newspaper office — and what sort of a newspaper besides? MRS. BORNEMAN She says that all the best writers are on the staff of that paper. It is an honor to write for it, she says. PROFESSOR A malicious sheet, that 's what it is ! Let that be as it may, however — but her translations — MRS. BORNEMAN I have seen them highly praised. PROFESSOR That is not the point, Cecilia — what kind of books is it she translates? A lot of disgusting filth, the very existence of which should be unknown to a decent young girl! 12 KAREN- BORNEMAN [act i MRS. BOBNEMAN It 's the work of men who rank among the greatest in the world's literature, she says. PEOFESSOa Yes, that 's what her publisher is shouting all the time. And each time something new appears, he 's tactless enough to get the papers to print that the translator is the daughter of Kristen Bomeman, the well known professor of theology, so that I seem to be lending the support of my name and of my authority to Mr. Maupassant and Mr. Zola and a lot of other guttersnipes with whose very names I am unfamiliar. Well, pardon my violence, but the whole thing is really most disagreeable to me. MES. BOBNEMAN I cannot see how any reasonable person, with the least sense of justice, can hold you responsible for what a grown-up daughter of yours happens to be translating at the request of a bookdealer, PBOFESSOB Not directly, perhaps, but indirectly, my dear — in- directly it has proved rather disagreeable to me. During my lectures at the university — you know there are mischief-makers even among our theological students — I have twice had the disagreeable experi- ence of seeing the most indecent of the books trans- lated by my daughter passing from desk to desk — with the name of Karen Borneman printed on the cover. And it was perfectly clear that they hoped I should notice it and become confused by it. You cannot imagine how disagreeable it was to me, and, of course, I could n't do anything about it. It gave me the same sense of my daughter's public prostitution ACT i] KAREN BORNEMAN 13 as I had the day I visited the art exhibition — well, I didn't even want to tell you about that. MRS. BOENEMAN What was it? PEOFESSOa Oh, in reality it was n't anything at all, of course. But among the sculpture there was a statue of natu- ral size, showing a nude young woman — a rather shameless piece of work, which made me wonder how the jury could have admitted it — well, anyhow you can imagine my disagreeable surprise when I dis- covered that the head bore an accidental, but quite remarkable resemblance to that of Karen. The face was exactly hers. MEs. BOENEMAN (astotiished) At the present exhibition ' — a piece of sculpture — that "s very strange. PEOFESSOE Well, things of that kind will happen. It 's some- thing against which one cannot guard oneself. But I assure you that I experienced exactly the same dis- gusting sensation as I did during those lectures. This indecent statue became to me a sort of visible expression of the manner in which respectable people must be regarding Karen — as publicly disgraced. MES. BOENEMAN {after a brief pause) Well, Kristen, I don't know if any such regards for our own ease of mind entitle us parents to put ob- stacles in the way of what our children want to do. It does n't seem so to me. PEOFESSOE It 's such a diificult matter to decide — I have to admit it — when the children are compelled to sup- 14 KAREN BORNEMAN [act i port themselves. But some consideration ought to be shown us nevertheless. It 's as I said — if only Karen were married to some decent fellow — MKs. BOENEMAN (checMng him) Hm! KAEEN (enters from the left; twenty-eight years old; of refined, cultured appearance ; happy and refreshed after a good night's sleep) Good morning! PBOFESSOK Good morning. MRS. BORNEMAN Good morning, Karen. {Pause, KAREN (suddenly serious) You seem to be so silent — it is n't — did Dr. Schou call last night.'' MRS. BORNEMAN No, I don't expect him until today. KAREN Oh, I thought perhaps — (Goes to the dimng-table and begins to look over the mail) MRS. BORNEMAN (ttdmonishingly) Karen, don't you know that it displeases your father before — KAREN (puts down a letter) It can't be a sacrilege to look at the outside of the letters. MBS. BORNEMAN (disapproWTigly) Karen ! KAREN (with a glance at her father"^ Cheer up, papa! I am not as bad as I pretend to be. (Going up to him) When you were young, did you never feel overwhelmingly happy in the morning? ACT i] KAREN BORNEMAN 15 PROFESSOK Every morning of my life I have felt a deep happiness and gratitude because a new day was granted me — and so I have done whether times were good or bad. KAREN So you don't think the Lord can be satisfied with our just being happy at life in a general sort of way? (With a sudden change of tone) But you look so tired, papa — are you not well? PEOFESSOE I did n't get much sleep last night. [Peter and Thora enter noisily from the left, Thora, who is ahead, shuts the door in Peter's face and tries to keep him from coming in. All at once she lets go her hold, so that he plunges head foremost into the room. Peter is twenty, and Thora sixteen. MRS. BORNEMAN Children, children! Don't you know that your father does n't want that kind of thing before — ? [All seat themselves in silence aroumd the table. The Professor sits at the rear end. Mrs. Borneman amd Peter sit at the left side. Karen and Thora at the right, PROFESSOR Now, children, we '11 be quiet and let each one say his own prayers, [He covers his face with his hands and remains in silent worship. Mrs. Borneman folds her hands and bends her head. Karen is looking straight ahead. After a moment of general silence, Peter makes a face at Thora, who, in spite of her folded hands, barely manages to keep serious. When the prayer is over, Mrs. Borneman serves tea. 16 KAREN BORNEMAN [act i PSOFESSOK (^who has been glancing over a letter, hold- ing it very close to his face) Well, well! I declare! THORA That 's good news, papa — I can see it. MES. BOKNEMAN What is it, dear — you look quite excited? PEOFESSOR Why, it 's from my publisher. Think of it — the first edition of " Marriage and Christian Morality " is sold out, and they 're going to print a new one. That means eight hundred crowns, my dear. MRS. BORNEMAN What do you say to that, children. J" THORA I say: a new coat for me! PETER And I say : long live marriage and Christian mor — (^stops abruptly) THORA (tittering) Sophie — [Peter gives her a secret kick under the table. PROFESSOR (who has read through the letter again) Well, I must say that this book of mine has been un- usually blessed. KAREN What 's in your letter, mother? You look so pleased through and through. It must be from Henrik, MRS. BORNEMAN (stUl deep in the letter) Yes, it 's from your brother Henrik — he 's writing from the parsonage — and he has a son that weighs nine pounds. PROFESSOR (pleased) No, is that so? ACT i] KAREN BORNEMAN 17 PETER He 's thrifty. MES. BOENEMAN And finally he asks if we could n't let him have a thousand crowns — he 's willing to pay interest on them, he says. [^Oppressive pause, PETEE Hm! THOKA There goes my coat ! PEOFESSOE One thousand crowns? MES. BOENEMAN Yes. PEOFESSOE I have to go in and get my spectacles and see for myself what he writes. {Rises and takes the letter) KAEEN Don't you want me to get them for you, father? PEOEESSOE No, thank you, dear, you won't be able to find them. {He goes out to the right) THOEA {after her father is well out of the room) Nine pounds — is that so very much? PETEE It 's a good deal too much of the kind. MES. BOENEMAN {shttkimg her head) Peter! KAEEN That 's the fifth one — in six years. MES. BOENEMAN {mth a little sigh) Well, I really cannot see how he expects to get along with such a flock of children and such a small parish. 18 KAREN BORNEMAN [act i PETEK Why he lives contrary to all statistics. MBS. BOKNEMAN What do you mean? PETEE (with self-importance) We learn from statistics that the number of children born is directly proportionate to the economical status. [Thora bursts into joyful tittering. MRS. BORNEMAN I hope you don't get too learned, Peter dear. — And here 's a letter for you, Thora. THORA (eagerly) A letter for me.'' PETER (snatching the letter out of his mother's hand) Hm — hm ! It 's a man's writing — that 's perfectly plain ! THORA (in a rapture) It must be from Katherine then — she writes just like a man. PETER (handing the letter) Hm — and there is a photograph in it. THORA Give me the letter ! PETER Let 's have a look at Katherine — perhaps she looks like a man also? THORA You just dare, Peter! Have you forgotten Soph — \^As Professor Borneman returns at that moment, all merriment subsides, and Peter gives up the letter, which Thora makes haste to hide away in her dress. ACT i] KAREN BORNEMAN 19 PEOFESSOE It 's doubly fortunate that this new edition of " Mar- riage and Christian Morality " was called for^ just now. MES. BOENEMAN Yes, if you look at it that way. — Don't you want a little more tea, dear? PEOFESSOE No, thank you, dear. [^The whole family gets up from the table. PEOFESSOE It seems to me as if you had also had a letter, Karen? KAEBN {who is standing a little apart, with a letter in her hand, and sunk in deep thoughts) Yes. MES. BOENEMAN {trying to catch the eye of her hus- band) Perhaps it 's a secret, dear — EAEEN No, it 's also from a publisher. PEOFESSOE {disappointed) Oh! PETEE {directing his words chiefly to the grateful ear of Thora) Perhaps they want a new edition of " Jeanne's Bridal Night "? MES. BOENEMAN Something good, is n't it, Karen? KAEEN My publisher wants me to translate the writings of Anatole France. Of course, it 's an important task that cannot fail to bring distinction — but — MES. BOENEMAN But what? 20 KAREN BORNEMAN [act i KAEEN For business reasons he wants me to leave for Paris at once, and to stay there until the work is done. PEOFESSOB, For business reasons — what does that mean? KAREN Well — it 's to be a subscription work, and when it *s announced he intends to put notices in the papers saying that the translator has gone to live at Paris in order to be in a position to consult the author himself. He offers to send me 300 crowns a month regularly. MES. BOENEMAN Do you mean to go? [Karen makes a gesture as if she did n't know what to reply. THOEA (with an ecstatic gla/nce upwards) Paris ! PETEE Three hundred a month — some people are lucky ! PEOFESSOE Tell me, Karen, what kind of an author is this — (he has forgotten the name) KAEEN Anatole France — PEOEESSOE Yes. KAEEN Why, it 's rather hard to teU in a few words, but he is already regarded as a classic. PETEE He is one of those moral fellows. I read one of his books — and it seemed to make a new man of me. ACT i] KAREN BORNEMAN 21 THORA Oh, but I envy you, Karen. — Paris ! — " For every- thing at Paris is terribly grand — " MES. BOENEMAN {looJcvng hard at Karen) It does n't strike me that the thought of it is making you very happy, Karen. Last time you were going to Paris, you acted quite differently about it. KAEEN Oh, I don't know. This sudden proposition has taken me somewhat by surprise. But now I '11 have to see about it — ; [The Professor and Mrs. Borneman look knowmgli/ at each other. PEOPEssoE (after consulting his watch) Well, good-by, children. MES. BOENEMAN Wait a moment, dear, and I '11 go with you. I wanted to get some errands done so I can be back before Dr. Schou arrives. [The Professor leaves throiigh the door at the hack. Mrs. Borneman and Thora go out to the left. The Maid enters. While she is clearing off the table, Peter keeps staring at her with all his might. Her only re- sponse is to look as sulky as possible. Karen sits buried in her own thoughts for a while. PETER (completely lost in observation of the Maid's every movement) What a generation that 's coming after Gs ! If one were only in a position to marry at once! But I suppose you are already engaged, my dear young lady — [The Maid begins to titter, but controls herself quickly and looks once more highly indignant. 22 KAREN BORNEMAN [act i PETER That 's what I thought. Over-subscribed. But perhaps there is still hope of getting on the waiting list, — My dear lady, can't I help you? [He opens the rear door for her with great solemnity, KAEEN Don't mind him, Laura, and you don't need to come back. I '11 put away the cloth myself. [She puts away the tea urn a/nd brushes the crumbs off the tablecloth. Peter begins to whistle. KAEEN Give me a hand! {They fold up the tablecloth to- gether, Peter whistling and making various fancy steps) Well, you are in high spirits, Peter. PETEE I — in high spirits — not a bit. It 's all on the sur- face. Oh, no, my existence is far too lamentable. KAKEN In what way? You lack nothing. PETEE There is n't much fun in it for me, is there? KAEEN Why don't you bring some friends home with you now and then? That would also get you out a little more. PETEE Fine place to bring friends to ! Do you know what they call this establishment of ours? KAEEN No. PETEE " The House of the Holy Ghost." Some of them were here for dinner — and grace ! ACT i] KAREN BORNEMAN 23 KAEEN Well, it did n't hurt them, PETER It makes me cross to think you 're going to leave, Karen. KAKEN Oh, does it — why? PETEE You 're like an open window in this house. Ugh, when I think ahead of what our life is going to be now — and our Sunday evenings. Can you imagine any- thing worse? There 's brother Adolph, looking sour as he can be. Thirty- two years old, a B.A. and a private tutor, 2,500 crowns a year, has to be up at 8 o'clock Monday morning to drill kids. There 's Selma, already an old maid and a public school teacher, has to be up at 8 o'clock next morning. There 's Elsa, stinking of carbolic acid, and having to be up next morning at 8 o'clock. KAEEN (^continues jestingly) And there 's Karen, with ink on her fingers — and not exactly a spring chicken either. PETEE But you don't give the impression of an old maid. KAEEN That 's a fine one ! PETEE I should like to know how many hundred Sunday even- ings we '11 have to sit here like that. Do you call that life ? I feel almost like running away. KAEEN To where? 24 KAREN BORNEMAN [act i PETEB, China, Japan, South Africa — any old place. Do you know what I have figured out? KAREN What? PETEE I am twenty years old, a law student, normally gifted, reasonably industrious — and it will take twenty years more before I can hope to support myself, wife and children. That 's statistically proved ! KAREN It 's well then that you have n't got wife or children. PETER That 's anything but well for a fellow of my age. Now is just the time I should have a wife. If I once get to forty, then it does n't matter any longer. (^Im- petuously) No, now, now, now! KAREN (with a Tcindly smile) You must be in love, Peter. PETER (dreamily) Do you know Ellen Hall? KAREN (shakimg her head) How old is she? PETER (with a triumphant ring in his voice) Eighteen ! (In subdued ecstasy) Oh, Karen — every night before I fall asleep, and every morning before I wake up — (with a sigh) and then it 's all so ut- terly hopeless. KAREN Yes, she would be thirty-eight by that time. PETER U-uh ! The world mechanism must be at fault some- where. I have to look it up in the statistics. ACT i] KAREN BORNEMAN 25 KAEEN Yes, find the fault, Peter ! (^She turns out the gets jet that is still burning) PETER Well, I 'm off to the coach. (Hd stops at the win- dow and looks at the rain which is coming down hard) What a weather — what a country — ugh ! KABEN Do you want me to give you a piece of good advice, sonny? PETEE Good advice? KAEEN You would like to earn some money at once, leave home, and enjoy life a little? PETEE Oh, what a dream you are unfolding! KAEEN Go into newspaper work ! PETEE {stricJcen all hut dumb) Newsp — KAEEN Newspaper work. PETEE Karen, I feel as if I had discovered a new continent ! What a fool I have been — and I who write with such ease. But the Old Man — he '11 erupt sacred ire. KAEEN There is already one of the kind in our family. PETEE I '11 let the coach go hang today, Karen. I 'm off for a good long walk outside the city — I 'm just ready to burst. The Old Man must give in. Why, it 's 26 KAREN BORNEMAN [act i almost in the Bible : better do newspaper work than burn ! {He goes out quickly to the left) HANsiNE (enters from the rear, armouncing) Dr. Schou! KAREN Let him come in. \^Hansine goes out. DR. SCHOU {enters from the rear; about forty years old; of distinguished appearance) Good morning. KAREN Good morning, Dr. Schou. DR. SCHOU I hear that neither the Professor nor your mother is at home, but I did n't think I could leave without hav- ing seen you. KAREN That 's very kind of you. Won't you sit down? I fear the sitting-room is n't ready yet. [They sit down at the right near the foreground. DR. SCHOU You know I went to see the superintendent about your sister yesterday.? KAREN I can hear from your voice that there is no hope of improvement. DR. SCHOU You are right, I am sorry to say. Physically the pa- tient is doing very well, but in other respects — KAREN {painfully m,oved) Did you see her.'' DR. SCHOU I could n't make myself do so. ACT i] KAREN BORNEMAN 27 KAEEN And yet I thought you were accustomed to that sort of thing? DK. SCHOU Your mother has told me she looks very much like you — and I could n't bear it. KAEEN I want to thank you sincerely for doing us this favor. All of us feel very grateful. DE. SCHOU It was only what might be expected of me. KAEEN I have wished so much that there might be some spark of hope at least. Principally for my father's sake. DE. SCHOU Do you think he feels it more than the rest of you? KAEEN I am not sure, but it seems to me as if he had begun to look so old lately, and so tired. Of course, you have only known him a few years now. But you should have seen him as he used to be — strong and master- ful — a really magnificent man. DE. SCHOU Your father is n't seventy yet? KAEEN Sixty-five — which is n't so very much. Are your parents stiU living? DE. SCHOU Both of them died years ago. KAEEN Then it must be hard for you to understand how it feels — what a pang of regret it sometimes gives you — to see your father passing away day by day. It 28 KAREN BORNEMAN [act i fills you with such a desire to be good to him, to cuddle him, to let your eyes rest in his all the time — for tomorrow it may be too late, perhaps — DB.. SCHOtr Oh, that 's somethiug I can well understand. KAEEN Now, when I have to go away, I dread to press his hand in farewell. I know, when the moment comes, that I shall feel it is for the last time. DE. scHou {becoming attentive) Are you going away.? KAEEN I shall probably go to Paris. DR.. SCHOU To Paris.? KAEEN Yes. DR. SCHOtr For a visit only — or to stay? KAEEN For a couple of years at least. DE. SCHOU Then it is not a pleasure trip? KAEEN No. You know that I live " by my pen," as they call it. My publisher wants me to go to Paris in order to translate Anatole France's work right on the spot. DE. SCHOU Is that so? When do you mean to go? KAEEN Perhaps tomorrow. DE. SCHOU Have you closed the contract? ACT i] KAREN BORNEMAN 29 KABEN No, I have just received the offer. Dtt. SCHOU And you are — pleased at the prospect? KAEBN Well, why not ? I have nothing that actually ties me here. DR. SCHOU (disappointed) No, I suppose not — EAB.EN Of course, there are a few persons whom I value and whom I shall miss — DE. SCHOU I don't know if I dare count myself among them .'' KAEEN (smiling). You know very well ! [^Pause. DR. SCHOU It will seem very lonely when you are gone, Miss Borneman. [Karen smiles deprecatingly. DR. SCHOU I mean it seriously. As the years go by, the people you really care to meet grow fewer and fewer. And now, when the Winter is at the door, and the long, lonely evenings — KAREN I shall send you many friendly thoughts. \Piano music is heard from the sitting-room, and both listen for a while in sUetice. KAREN (with a smile) That must be Thora who is having a sentimental attack. 30 KAREN BORNEMAN [act i DB. scHou {recognizing the melody) " To me you 're like a blossom, so fair and sweet and pure." I have always found those words so pretty. And then the end : " And I pray that the Lord may keep you — so fair and sweet and pure." Don't you feel the same way about them? KABEN {with a half -suppressed sigh) Yes — it sounds rather pretty. And a little old- fashioned. But, of course, they were like that — DB. SCHOU Oh, I think it must always be the same — " so fair and sweet and pure." (Rising) Well, unfortunately, I must go on. But I '11 take the liberty to call again later for a talk with your mother. KAEEN (rising) You 're always welcome, Dr. Schou. DE. scHOtr (smiling) I suppose the contract won't be signed today — it 's the thirteenth. KAEEN (with a responsive smile) I 'm glad you reminded me. Then it will have "to wait till tomorrow. DB. SCHOU (nodding gaily) Good-by — for a little whUe ! [^They shake hands. Karen sees him out. On her re- turn she looks thoughtful. Then a happy smile flits over her face. THOBA (peeping in through the door at the left) Are you alone.'' (Rushes up to Karen and embraces her; then she begins to whirl arovmd like a dancing dervish) KAEEN What 's the matter, Thora? Have you gone crazy? ACT i] KAREN BORNEMAN 31 THOKA {keeping up her dance) Oh, if you only knew ! KAREN How foolish you are, Thora. THOEA But you could n't understand, of course. It 's like a fairy tale — always the youngest first. (Stops dan- cing) Are you not at all curious .'' KAUEN It is n't very hard to guess. THOEA {dancing) Oh, you 're always so patronizing. But then I won't teU you anything either. EAEEN So the letter was from one of your beaux.'' THOEA (^contemptuously) Pooh, beaux — those kids! (Makes another dive at Karen a/nd embraces her with heedless violence) Oh — life is wonderful! (Drawing hack from Karen again) But you 're a tedious lot — all of you ! (Pulls out photograph and kisses it) KAEEN Well, can I have a look at him, Thora.? THOEA Not for anything! (Ecstatically, with closed eyes) Because I love him ! KAEEN (sits down at the right) How old is he, Thora? THOEA (with enthusiasm) Eighteen ! — And he writes verse, and he puts it to music. What was it now.'' (She takes out a letter) " May God forever keep you so fair and sweet and pure." (With a sudden, comical change of tone) 32 KAREN BORNEMAN [act i Why pure anyhow? {^Her eyes fall upon Karen, who is staring sadly into nothingness) But what is it, Karen? — Why, you 're crying? (Goes to her sister and bends down over her) KAREN (with tears in her eyes, strokes Thora's cheek gently) Nothing in particular, dear. What was it he wrote? " May God forever keep you — " THORA (slowly) " So fair and sweet — " KAREN (with a significant nod) " and pure ! " [As the curtain falls, she sits staring sadly into space, CURTAIN THE SECOND ACT The sitting-room. At the back, double doors leading to a hallway. When they are open, the outside door to the stairway can be seen. Against the rear wall, on either side of the doorway, a small, old-fashioned cabinet of mahogany. Halfway down at the left double doors lead to the dining-room. Nearer the background, on the same side, there is a single door. A stove of white glazed tiles occupies the middle of the right wall. On the same side, near the background, stands a chiffonier of mahogany, while, at the end toward the audience, a single door leads to Professor Borrveman's study. In the centre of the room there is a large roumd table, with comfortable chairs grouped around it. Near the fore- ground, at the left, a small table, sofa, and a couple of chairs. The walls are decorated with a few old-fash- ioned oil-paintings, some family portraits, etc. A couple of hours have passed since the close of the previous act. Mrs. Borneman is seated on the sofa at the left, occu- pied with some needlework. Peter is sitting on a chair right opposite her. He seems to be in very bad humor. Mas. BOE.NEMAN {with a sly smile) And so the audience came to an end. PETEB. Yes, that typewriter lady arrived. And now she is rattling out the words of wisdom that issue from father's exalted lips. That 's something to suit him ! 34 KAREN BORNEMAN [act n Now he can talk for hours without being interrupted, and tomorrow it will aU be noted down by the stu- dents — also without the least protest. Pish ! Mas. BOB.NEMAN Well, Peter, I could have foretold the result in ad- vance. You 're no diplomatist. PETEB. That kind of treatment makes me sore: one, two, three, march — and done with ! You don't even get a chance to say what you want. One might think he was talking to a freshman. MES. BOENEMAN Now, Peter, what 's the reason you want to give up the law all at once and begin to write for the papers.? PETEE {hard pressed for an answer) Well, I don't know — it 's like this — one might call it, perhaps — need of self-expression. Yes, need of self-expression is the word. MES. BOENEMAN {smiUng as before) So you feel an irresistible need to express yourself in public? PETEE Well — yes. And then I should also like to earn some money, and become a littl& more independent, and live like other young fellows. MES. BOENEMAN In other words — move away from home. PETEE Now, you — one can talk to you. You '11 under- stand, I 'm sure, that it 's no particular fun to live in a room meant for the servants, with Hansine next door, and with hardly any furniture but the big closet where you keep the linen, and a lot of lumber. But ACT ii] KAREN BORNEMAN 35 it 's perfectly plain to me that I '11 never get away from home until I make some radical change. (^He gets up and begins to walk bach and forth) MRS. BOKNEMAN Now, my boy, how would it be if we two agreed on a more sensible arrangement for the future.'' PETEE (stopping still) In what "way? MES. BOENEMAN You stick to the law — PETEE Thanks, I know all about that, {Walks back and forth again) MRS. BORNEMAN But — [Peter interrupts his walking again. MRS. BORNEMAN If you can earn some money on the side, do so. And I '11 see that you get away from here — to one of the college dormitories, if to no better place. PETER You '11 never put that through. MRS. BOENEMAN Beginning next month, I shall have your room fixed up for the maid, so that she can stay here all the time — there 's plenty to do for her also. PETER (enthusiastically) Oh, mother! MRS. BORNEMAN But don't talk any more to your father about it. PETER I believe I '11 have to take a good long walk and think 36 KAREN BORNEMAN [act ii it over. {He leaves quickly through the upper door at the left) PROFESSOR {opens the door at the right in order to see if his wife is in the room; then he enters) Oh, Cecilia, I hope you '11 write to Henrik this very day and wish him luck on account of the newcomer — from all of us, MRS. BORNEMAN Yes, I meant to do so. PROFESSOR And I suppose we had hetter promise him that thou- sand crowns. But, of course, it 's out of the question that he should pay any interest. MRS. BORNEMAN I have thought a great deal about that thousand crowns, Kristen. I am not quite sure that we have the right to — PROFESSOR But now, when eight hundred has come dropping from the sky, so to speak.'' MRS. BORNEMAN When you think of it, Kristen — there 's Adolph wearing himself out by teaching both morning and night. He and his wife deny themselves everything in order to put aside a little money, so that he may be able to publish his doctor's thesis. What would n't eight hundred crowns mean to them.'' And, after all, he 's also our son. PROFESSOR True enough, my dear, but I cannot help thinking it more important to bring a child into the world than to get out a book. If Adolph came to me and said: ACT ii] KAREN BORNEMAN 37 we expect to have a child, father — can you lend me some money ? Then he would get it. MRS. BOENEMAN I don't see how Adolph, with his income as tutor, could afford to bring up any children.'' PEOFESSOE Has Henrik more to live on.'' MES. BOENEMAN Yes, he has more, to begin with ; and he has hopes of getting still more by and by ; and finally, it 's only by mulcting all the rest of us that he can make both ends meet. The children he gets are paid for by the entire family. PEOEESSOE What do you mean by that.'' MES. BOENEMAN Oh, you know perfectly well. We are not the only ones who have had to send him hundreds and hundreds of crowns. During these years, Karen and Elsa and Selma have had to deny themselves many a simple pleasure in order to send what they could spare to the parsonage. But most of all I pity Adolph, who per- haps has to forego children because he feels that he cannot afford them. PROEESSOE But we have no right to think like that, Cecilia. A marriage without children — it means the shirking of a duty. MES. BOENEMAN Oh, I don't know. If he escapes a certain amount of trouble that way, he has also to miss a proportionate amount of happiness. And one thing balances the other, it seems to me. 38 KAREN BORNEMAN [act n PROFESSOB. Really, Cecilia, it impresses me most painfully to hear you utter such opinions. I had even thought of speaking earnestly to Adolph about this matter as soon as I had a chance — and it would hurt me, it would hurt me very much, if you encouraged him in such a deplorable error. MES. BORNEMAN I have never said a word to him about it, so you need not worry on that score. What I cannot see is simply how it can be held any special merit to put children into the world without the least regard for the outcome. PKOFESSOB We must n't think like that, Cecilia. It 's to doubt the Divine Providence. And in our little country nobody has died from hunger as yet. MRS. BORNEMAN Not all at once, but I think there 's more than one who has died of it by degrees. PROFESSOR That is n't a Christian way of looking at it, Cecilia. It has been forbidden us to take thought of the morrow. These childless marriages — they are among the saddest signs of the time. MRS. BORNEMAN But what are people to do when they cart^t afford it? PROFESSOR (^seriously disturbed) Dearest Cecilia, here I am sending out edition after edition of the main opus of my lifetime, " Marriage and Christian Morality," and I imagine myself to have accomplished something by it, and then I have ACT ii] KAREN BORNEMAN 39 to listen to such opinions from those that are nearest and dearest to me. MRS. BORNEMAN (with a Sigh, as she drops her needle- work into her lap) It seems to me awfully hard to find a way out of this. PROFESSOR Hard to find a way — and why.? Because in our self-righteousness we are going our own ways instead of following the plain commandment of the Lord. Believe me, there is only one kind of marriage that brings a blessing with it — the one that is instituted to put children into the world. With this in view, marriage is sacred and pleasing to the Lord. MRS. BORNEMAN So it is not enough for two people to live together in mutual love.'' PROFESSOR (^warming up as he talks) No, Cecilia — that has nothing whatever to do with marriage. What is so inconceivably glorious about marriage is just that, through it, God has delegated His own creative power to us sinful human beings — that He has almost made us share His own divine om- nipotence. Now try reaUy hard to think of this, my dear — how marvellous it is. In the morning of the ages, the first human couple was created by the Lord Himself, but of all the gifts He bestowed on them, there was none more splendid than the ability, through all coming time, as long as the world would last, to bring ever new generations into sharing the joys of life on this earth, and the hope of a still more blessed existence beyond! For this reason the only moral marriage is the one instituted to bring children into the world. Thereby man and woman 40 KAREN BORNEMAN [act ii are at once given a purpose lying outside of them- selves. And believe me, whenever the time is out of joint, you have to seek the roots of the evil right here. Poets and philosophers in plenty are always found ready to bedizen men's errors and obfuscate their views. It works for a time, but not very long, for man miist have a purpose outside of himself, and two human beings, who are to live life together, must have a common purpose of that kind. The Lord has meant life to be like that — and it 's something we cannot get away from. MRS. BORNEMAN (ztiho Titts teen listening thoughtfully) Perhaps you are right, Kristen — looking at it from that side. PROFESSOR Yes, you may be sure that I am right — I am eter- nally right! TYPIST (after knocMng at the study door, she opens it ajar ) I don't know, professor, if you — PROFESSOR Now I 'm coming. (Rising) You '11 write to Hen- rik then. MRS. BORNEMAN Yes. [The Professor goes out to the right. His wife drops into a deep reverie. HANsiNE (enters from the rear, amnouncing) Dr. Schou. [Mrs. Bomeman indicates by a nod that she will re- ceive him. DR. scHou (entering from the rear) Good morning, Mrs. Bomeman. ACT n] KAREN BORNEMAN 41 MRS. BoaNEMAN {who Jias risen and gone to meet him) Good morning, my dear doctor. DR, SCHOTJ ' I don't know if" Miss Karen has already — MRS. BORNEMAN She has told me what you said. Of course, it was what we feared. Don't you want to sit down, doctor.? {Both seat thennselves at the table in the centre) The superintendent. Dr. Sachs, has practically weaned me of the habit of hoping. DR. SCHOU I am sorry that my own impression was the same yesterday. Once it has reached a state of apathy — MRS. BORNEMAN {trying to master her grief) Well, it won't help to worry any more than we have already done. DR. SCHOTI Physically there is no trouble whatever. MRS. BORNEMAN Which makes it still worse, I had almost said — \^Pause. DB. SCHOU Of course. Dr. Sachs and I talked the matter over pretty thoroughly — MRS. BORNEMAN Did he say anything that might be of interest to us.? DR. SCHOU He told me about the sad and unusual circumstances under which the original crisis occurred. MRS. BORNEMAN {somewhat startled) Oh — he told you about that? 42 KAREN BORNEMAN [act ii DB, SCHOU I can assure you, it made a very deep impression on me. MKS. BORNEMAN Yes, it 's a wonder that one gets over such things at all! And then, to think that perhaps it might have been avoided — that seems to me almost the worst part of the whole thing. DB. SCHOU In regard to that we cannot know anything with certainty. MES. BORNEMAN (with emphasis) On that point I have my own opinion. Dr. Schou, and there are some authorities who share it — [Dr. Schou shrugs his shoulders. MRS. BORNEMAN Well, now I want to thank you very much for your kindness. Of course, the very certainty brings a certain relief with it, sad as it may be. — But now, seeing that you have learned of the regretful events leading up to it, there is a request I should like to make of you. DR. SCHOTJ Perhaps your other children don't know anything about it.? MRS. BORNEMAN Not only they, but, as chance would have it, my husband was not at home when this affliction befell us — and I have never told him just how it happened. DR. SCHOU I shall not say a word — MRS. BORNEMAN That part of our sorrow I have kept to myself. ACT n] KAREN BORNEMAN 43 DE. SCHOF I cannot but admire the force of character this must have required. MRS. BORNEMAN It has n't been easy, I can tell you. (Pause) But now I thank you very, very much. DR. SCHOU (prising) Pardon me, madam, but do you think it would be possible for me to get a brief talk with the profes- sor — preferably in private.'' MRS. BORNEMAN Yes, my husband is at home. And I '11 let him know at once. {She goes out to the right) PROFESSOR {enters from the right) Good morning, doctor. BR. SCHOU Good morning, professor. PROFESSOR- I hope you will pardon me for not asking you into my study — I have a young girl at work copying some manuscripts. Won't you be seated, please? {They sit down at the table in the centre) And I want to thank you heartily for all the trouble you took yesterday. DH. SCHOU I have only to regret that I could n't bring you some better news. PROFESSOR {largely to himself) Oh, if one could only cry out of a candid heart: " The Lord gave, and the Lord hath taken away ; blessed be the name of the Lord ! " {After a brief pause) Well, was there anything in particular that you wanted to speak to me about.? U KAREN BORNEMAN [act ii DE. SCHOU Yes, it is with a particular purpose in mind that I have asked to see you. — As you know, perhaps, I lost my wife some years ago — a loss that touched me very painfully. At first I believed that I should never become myself again, and in order to bear up under my sorrow I plunged into a lot of public affairs, in which until then I had only had a theo- retical interest. In that manner I got through the worst, but of any real happiness in this life I had no hope. It was about that time I had the fortune of becoming your family physician — and I mean what I say in calling it a fortune, for from the first day I saw your daughter. Miss Karen, it was as if my old longing for life and happiness had returned — and so it has been ever since. Without as yet having spoken any final and decisive word to your daughter, I believe myself nevertheless so sure of the outcome, that now I dare to appeal for your ap- proval of an eventual marriage. PRorEssoB. (pleased) Well, that 's — DK. SCHOTJ If it should appear strange to you that I choose this somewhat old-fashioned way — PEOFESSOR Not at all, doctor. On the contrary, it pleases me very much. In my own day I did the same thing — DE. SCHOTT — one of my reasons is this, that if you have had in mind a son-in-law with a certain life view — Chris- tian, let us say — then I must at once say for myself — ACT ii] KAREN BORNEMAN 45 PKOFESSOa I don't feel that I have any right to meddle with your views on life, or on things transcendental, and the less so because I fear that, unluckily, my daugh- ter at heart does not share the faith of whose bless- ings I have done my best to make her a participant. DK. SCHOU I was very anxious that we should come to a clear understanding on this point from the start. PEOFESSOR It is enough to me that, in you, I have found a righteous, earnest and honest man, who has already once lived in happy union with a wife. DE. SCHOU So I have, but without daring to claim any merit for myself on that account — she never caused me a single sorrow but that of dying so young. PEOFESSOE Well, my dear doctor, so far as I am concerned there will be no difficulty, and I don't care to hide the fact that I feel heartily grateful to you for your wish to marry Karen. The position she has chosen in life is at once uncertain and conducive to so much that — at any rate I don't like very much. An as- sured future on her part will be a great consolation to me in my old age. DE. SCHOU I am very thankful to you for your consent. (Rises) PEOFESSOE {also riswig) There is one thing, however, that I must say right here. I have no fortune, and you know the modest size of a professor's income — 46 KAREN BORNEMAN [act ii DE. SCHOU That question need not figure in the present case, professor — I possess a completely equipped home. PKOPESSOR So much the better. But there is also something I want you to promise me — that the future offspring of your and Karen's marriage will be baptized and, at least during their school-age, brought up in the Christian faith. DK. SCHOU This I promise you. PaOFESSOE Thank you. Well, then I do hope and wish that the step you are now taking may prove a genuine bless- ing both to yourself and to my dear daughter. As far as my wife is concerned — knowing, as I do, what a good impression you have made on her — I can safely assure you of her hearty consent. {Takes Dr. Schou's right hand between both of his own) You have brought joy to my old age — may the Lord be with you! DE. SCHOtr Thank you! PEOFESSOE There I hear Karen coming — I shall not be in the way. {Goes out to the right) KAREN (enters from the rear) Good morning again, Dr. Schou. Are you sitting here all alone? Haven't you seen anybody? DE. SCHOU I have talked with both your mother and your father — but I should also like very much to have a talk with you. ACT u] KAREN BORNEMAN 47 KAREN That 's nice of you. {She sits down at the table in the centre) DR. SCHOU And concerning a serious matter at that. KAREN (mockingly) You quite scare me. DR. SCHOU (with embarrassment) I don't know exactly how I 'm going to get it said. But when, about a year ago, I entered this house for the first time as physician, I was feeling like a man who has already received his due share of life's happiness, and who can expect no more of it. KAREN (Tenth nervous vivacity) Yes, you looked as grave as a grave that time. DR. SCHOU (earnestly) Yes, that was just what I did — for all my joy had just been buried. KAREN Forgive my thoughtless expression — I did n't mean to hurt you. I know very well how much you lost in your wife — DR. SCHOU You haven't hurt me at all. But if, in spite of everything, I have recovered courage and joy of life and, I might as well say, youth — it is you I have to thank for it. [Karen smiles deprecatingly. DR. scHOu (eagerly) I mean it in all seriousness. From the very first time I saw you and up to this moment — it has for me been nothing but a continued return to life. 48 KAREN BORNEMAN [act ii And I was not uttering empty words when I told you this morning, as you were talking of going away, that I should feel lonely as never before if you were not here so that I could see you, at least now and then, and that I should think with horror of a Winter without you — not to speak of whole years. For this reason I regard it a lucky coinci- dence that I happened to meet you just after you had received this offer from your publisher: who knows otherwise how long time may have passed before I had managed to tell you what 's in my heart ? And now, my dear Miss Karen, I suppose you can guess the rest — all I want to say is how happy you would make me by becoming my wife. KAREN Well, my dear Dr. Schou — I may as well confess at once that, of course, I have noticed, and let it be seen that I noticed, how you of late have devel- oped an increasingly good opinion of me and my person. I expected also that some time it would have to come to an explanation between us. And from your first visit this morning until a short while ago, I have even been seeking various lonely spots to consider the possibility that some day you might propose to me. ( Growing serious) For everything is not as simple and easy as you prob- ably suppose — DE. SCHOU I understand perfectly that you may hesitate in reaching a decision, even if, personally, perhaps, I am not antipathetic — KAEEN (with a sigh) Oh, my dear doctor, it is n't that. ACT ii] KAREN BORNEMAN 49 DR. SCHOU The life I have to offer you will, of course, be noth- ing but a quiet routine, even if — looked at from my own viewpoint — it may appear quite rich and full because of my love for you. And, of course, I don't know whether this will seem sufficient to you. The life you are now leading and have been accus- tomed to for years must have its own attractions, free and untrammelled as I suppose it is — especially in comparison with merely peaceful domestic happiness. KAREN , Oh, no — I believe every woman who has reached a certain age — and you know I am twenty-eight — will, without hesitation, prefer a limited but secure existence by the side of an honest man to the most unlimited personal freedom. DR. SCHOU You said you had been thinking the matter over today — did you arrive at any conclusion ? KAREN I did arrive at a conclusion. [Pause. DR. SCHOU I can read nothing in your face. KAREN I don't know exactly how to express myself. But this much is clear, that perhaps it would be wiser — or at least easier for myself — to say no to your honest offer of marriage — and this in spite of the fact that I have come to like you a great deal and very well can imagine myself living happily with you. But when after all — and after careful considera- tion — I dorCt say no, it is because of my confi- dence that you are the liberal-minded and advanced 50 KAREN BORNEMAN [act ii man I have taken you for — a confidence in which I have been strengthened by your public utterances. DK. SCHOU {with some uncertainty) I hope I shall not disappoint your confidence in this respect, although personally I don't think that opin- ions of a certain form, or identical opinions, are required in order to enable two people who love each other to live happily together. — But, anyhow, I believe myself to have a fairly open-minded view of life's relations — if that is what you mean. KABEN Yes, it is exactly what I mean, and it is because of my confidence of it that I now make this confession to you. {Speaking with effort) Some years ago I — lived with a man. BE. scHOu {rising in consternation) Lived with — KAKEN Lived with a man. Yes, now you know it. \^Pause. DE. SCHOU {walking back and forth, deeply stirred) I hope you pardon me, but your — confession has overwhelmed me. KAEEN {tentatively) You are a widower yourself. You may regard me as a widow or — a divorced wife. DE. SCHOU Have you — or have you had — a child? KAKEN No. DE. SCHOU {painfully impressed) Oh, I see — [^Pause. KAEEN {humbly) I have watched the splendid work you have done for ACT ii] KAREN BORNEMAN 51 the saving of fallen women in our country. You might regard me as one of your — fallen women. DR. SCHOU The best of them begem by putting a child into the world. l^Pame. KAEEN (coldly) All right, then. I was mistaken after all. I believed you to be more liberal in your views. DE. SCHOU More liberal in my views? Even the most liberal view must have a limit — and mine does not go be- yond the point where squalor begins. KAEEN Squalor? DE. SCHOTT Yes. KAEEN I don't understand. DE. SCHOIT There is something at just that point, a clear line of demarcation — KAEEN (after a brief silence) It would, indeed, have been a great deal easier for me to say no. And better, I perceive. DE. SCHOU (with a deep sigh) It would also have been easier for me if you had done so. (He sits down, staring right ahead; pause) KAEEN (leaning toward Mm and trying to smile) Do you really think it so very dreadful that I have I'oved before? DE. SCHOU Loved — no! (Rising) But that kind of thing — not for a moment would I be able to forget — 62 KAREN BORNEMAN [act ii KAEEN {indignantly, as she also gets up) Doctor, how dare you! J^ phase of my life that at least to me is sacred, and you cast reflections on it, that — DR. scHOu {caindy) You are quite right. Of course, it is something that no longer concerns me. ( With grief) But you have to forgive a man who sees his whole world come to an end — {Pause) There is something I must tell you — something I deeply regret at this moment — that a while ago, just before you came in, I asked your father's approval. KAEEN {with agitation) You have talked to my father? DE. SCHOU Yes, unfortunately. KAEEN That you could have spared me. DE. SCHOU It was stupid of me, but, of course, I could n't know. — But now I '11 be forced, in some way or another, to tell him — KAEEN {preoccupied) Yes, I suppose so. DK. SCHOU But.I '11 do it discreetly. \^He goes quietly out through the rear. Karen re- mains sitting in the same place, stirred to the very depths of her soul. CUETAIN THE THIRD ACT The sitting-room. A few hours have passed. The door to the hallway stands open. Hansine is seen open- ing the outside door for Strandgaard. HANSINE Oh, is that you again? STEANDGAARD (« man in the early thirties; his appear- ance is that of an artist who has made his way from the bottom — without sign of social or intellectual refinement; but his eyes are radiant with the culture that springs from the practice of an art requiring manual dexterity; his glance is observant and thoughtful; for the moment he conveys the impres- sion of being somewhat excited) Yes, it 's me. And you have n't dared to tell that I have been here before? HANSINE Oh, mercy, no ! STBANDGAARD Is she at home now? HANSINE (after a look at the overclothes hanging in the hallway) Her coat is there — so I guess she must be in her room. STRANDGAARD Good. Will you please bring her out then. HANSINE Wait a minute, my dear. What name am I to give her? 54 KAREN BORNEMAN [act m STEANDGAAUD Here 's my card — if you please. HANsiNE (reading) Strandgaard — sculp — STKANDGAARD " Sculpteur " — that means sculptor. HANSINE Is that so? All right, I'll tell her. STKANDGAAED {holding her hack) And if she should take it into her mind that she does n't want to see me, will you please tell her that in such a case I '11 simply make myself at home right here until she appears — even if I have to stay here the whole day! HANSINE (o little frightened by him) Yes, yes, now I '11 tell her. [^She goes through the door at the left rear. In the meantime Strandgaard walks nervously up amd down. Karen enters through the door by which Hansvne left. STUANDGAARD How are you, Karen? [Karen stands unbending and silent. STRANDGAARD Thank you for wanting to see me. KAREN Wanting to? STRANDGAARD Yes. KAREN I guess I was forced to it, unless I wanted to expose myself to worse things. ACT m] KAREN BORNEMAN 55 STEANDGAAED (onth emotion) I had to see you once more. {Looks around with some embarrassment) Have n't you a room of your own? EAEEN Yes, of course. STEANDGAAED Can't we go in there? KAEEN No, we cannot. STEANDGAAED {with a sweeping gesture of his arm) This general assembly hall — KAEEN (nervously) Now please do me the favor of leaving at once. You ought to understand how unpleasant — STEANDGAAED You have avoided me on the street; you have not answered my letters — there was nothing else left for me. KAEEN Well, be seated then, and let us have it over. [They sit down at the left, near the foreground, Karen on the sofa, Strandgaard on a chair oppo- site her. STEANDGAAED How pale and sick you look, Karen, KAEEN Oh, it 's only a little headache. STEANDGAAED And you are not happy either, Karen — I can see it by your looks. 56 KAREN BORNEMAN [act m KAE.EN What do you want of me? Tell it quick. You un- derstand, I hope, that I am on pins and needles. STKANDGAAED Heavens, what harm can there be in the visit of an old friend from Paris? {Lowering his voice) If you knew what I have passed through since we met the last time, you would look a little more kindly at me. KAUEN I am perfectly willing to look at you with kindness, but it does n't mean anything. STRAND GAAED I have had such a hard time of it, Karen. KAEEN Yes, but now that 's over. STRANDGAAED So you know? KAEEN I keep Le Journal, and I have read both of the gold medal and the sale. Of course, I know what that means. STRANDGAAED {without boastfulness) Well, now I cannot help becoming a rich man. But it has been dearly paid for, Karen. I don't think I '11 ever get over the years that have passed. KAEEN It is n't my fault, is it? STEANDGAARD It seems to me you have had revenge enough. KAREN Don't let us begin all over again. ACT m] KAREN BORNEMAN 57 STKANDGAAKD From the day you left me at the Gare du Nord and up to a couple of months ago — those in hell could n't be worse off. How could you do it, and do it in that manner — KAEEN The scene you made at the station that day was very painful. It was something I think you could have spared me. STEANDGAAED I know very well that I was beside myself, and if the police had n't taken care of me, I should probably have made for the river. And then to wait three years — three whole years — for the miserable sum needed to bring me up here so that I could see you — just see you! Such wretched poverty! I can hardly understand how I lived through it. And then never to get an answer to my letters. Of course, I know that when I try to write — it sort of gets away from me — I have n't your education — KAEEN I never opened them. STEANDGAAED (touched to the quick) Karen ! KAEEN For it had to be done with. Irrevocably done with. STEANDGAAED Three years have passed since then, Karen — we ought to be able to look calmly at it now. KAEEN So I did from the first. STEANDGAAED No, you could n't at that time. And I — I was n't 58 KAREN BORNEMAN [act hi even allowed to say a word in my defence. And then, when you left all of a sudden — it was like a sword cut ! But now you must hear me. KAREN And if you had a hundred excuses to offer — dispose of it you cannot. Our relation was based on one thing only — ^ on a trust beyond all betrayal ! And you — you not only deceived me, but you did so in a mean and unworthy way. Were we not living together like people properly married? Did n't I stand by you in your struggle? Did n't I give myself to you as a wife to her husband? And all the time you kept up that other — faugh ! STEANDGAAED Now, Karen, for once I want the chance to say my say ! Now I have been turning it and twisting it for three years, so that I know it by heart. When I de- ceived you, as you call it — and now I swear by all that is precious and holy — I was not deceiving you ! Not for a single minute did I cheat you out of any- thing belonging to you. You see, Karen, of us two, it was you who had culture and refinement and learn- ing. What did I have? What was I? An ignorant, uneducated fellow; a mere workman out of a public school. And for that reason I looked up to you as a higher being, and I did so more and more every day — yes, every hour that went by I saw more and more clearly the chasm separating us. I loved you as a swineherd would love a princess — a real swineherd, and not a prince in disguise! But do you know, Karen, all there was in me of the swineherd demanded its own rights as well — it was like a boil ready to burst. But my relation to you I wanted to keep clean ACT m] KAREN BORNEMAN 59 and beautiful. And I could n't do it in any other way — not that time. KAKEN That is just what I call deceiving me. You deceived me in regard to one side of your own nature. And I who wanted you only as you were — STEANDGAAED You don't know what you are saying — what an abyss — KAEEN The relation between us two had to be chemically purified, so to speak — STEANDGAAED I wanted so badly that we two should be able to look at each other with unflinchiag eyes. KAEEN And all there was in you of sensual abandon — that had to be passed on to another. STEANDGAAED Out of respect for you. KAEEN But you forgot one thing. STEANDGAAED What? KAEEN That we women also want to be that other one! STEANDGAAED (stares speechlessly at her for a moment; then he leans close to her and says in subdued hut passionate tone) You love me still ! I can see it — you are consumed with desire, just as I am! KAEEN {drawing back from him) No, and a thousand times no ! 60 KAREN BORNEMAN [act m STRANDGAAKD You lie to yourself ! KAUEN Don't you understand that the man who lets a woman feel that she is not enough for him — and not enough as woman, at that — he offends her to the very bot- tom of her soul. STEANDGAARD I never said anything of the kind ! KAEEN (almost hoarsely) Just there lies that sin against love which is never forgiven — never ! \Paibse. STRANDGAARD Karen — it seemed to me as if fortune had held out her hand to me at last. And so she has, and if I cling to it and don't let go — not for a moment dare I tire and let go — she will pull me up, right up to the top. Yet I know this much with stupefying certainty — if you cast me aside now, then I cannot — then I shall give up and roll down again. All that we were dream- ing of in the old days, when, from the heights of Mont- martre, we watched the setting of the sun — aU that we can have now : a fine house and children, company and travels — all that we can have — I have orders ahead for several years — fortune has held out her hand to me. But I want to get still higher up; I want to be of some importance out there ; I want to have influence. You seem to be born for that kind of thing, Karen — you, with your refinement and self- assurance. By your side I shall find every salon open to me. We '11 get married, both in church and civilly. The papers are ready ! And you '11 see that even your father wiU treat me like an equal when I intro- ACT m] KAREN BORNEMAN 61 duce myself to him in new black company coat, with the ribbon of the Legion of Honor on the lapel ! \^For a moment Karen smiles indulgently at him. STEANDGAARD My lord, Karen, are you not already a part of all this? The statue to which I owe it all — the one that has brought me gold and name and future — it 's the one for which you posed in those years of hardship. Only now could I finish it — after three years full of love that wished for nothing. That much was needed to raise it above the dirt and corruption of earthly things, up to the point where it now stands. — Did n't you feel anything of all this when you saw it again .f" KAKEN (uncompreJiendingli/) When I saw it again.'' STEANDGAAED Have n't you even seen it yet.? KAEEN Where ? STEANDGAAED Here, at the exhibition — Grand Prix du Salon? KAEEN (appalled) And that you have dared! STEANDGAAED What do you mean.'' KAEEN What I mean ? To exhibit me publicly, so that every- body can see who it is — here, in this city ! STEANDGAAED Why, did n't you care as much as I did, that time, to get it into the Salon. 62 KAREN BORNEMAN [act m KAEEN That time — yes, but now, after what has happened since then! STEANDGAAED I cannot see that it makes any difference. KAREN {^angrily) So, you cannot? Then, of course, you cannot under- stand either, that I feel myself outraged in my inner- most soul, that I feel myself publicly prostituted by your tactlessness. Such a minimum of delicacy I had expected of you at least — in spite of everything ! STRANDGAARD (piqued) Oho ! So I am not fine enough for you — that 's what it is ! You have otherwise no reason to play prude or act the fine lady : you — KAREN (turning pale) What do you mean? STRANDGAARD After what you had permitted yourself before a simple fellow like myself had the honor — KAREN Mr. Strandgaard! STRANDGAARD I am not malicious, Karen, but by the living God — if anybody offends me, and I have a weapon at hand — \^Karen has in the meantime rung for the servant. Hansine enters from the left. KAREN Will you show this gentleman out ! [Flushed with excitement Karen goes out to the left. Hansine has already opened the door to the hallway. Strandgaard grabs his hat, hisses out something, and ACT m] KAREN BORNEMAN 63 hurries out, Hansine leaves the door of the sitting- room open, so that she can be seen opening the outer door for Strandgaard. She does n't close it after him, but remains listening, as if she could hear some- body coming up the stairs and wanted to see who it was. Shortly afterwards Professor Borneman appears. HANSnJE I heard you coming, Professor. PROFESSOE (while Hansine helps him to take off his overcoat) AVhat kind of man was that you just let out, Hansine? HANSINE That was Mr. Strandgaard, a sculptor. He has been calling on Miss Karen. PKOFESSOE (becoming attentive) A sculptor named Strandgaard? HANSINE Yes — such a peculiar fellow. PEOI'ESSOR Hm — won't you please tell my wife that I should like to speak to her. HANSINE Yes, sir. And then a messenger called with a letter for you. It 's on your desk, sir. PEOFESSOR Thank you. [Hansine goes out to the left, the Professor to the right. A moment later Mrs. Borneman enters from the left, and at the same time the Professor returns with an open letter and a printed pamphlet in his hand. 64! KAREN BORNEMAN [act in MRS. BOENEMAN What is it, Kristen — you look so upset? PEOPEssoii {with a quiver in his voice) Here 's a letter from Dr. Schou. Mas. BOENEMAN Something unpleasant? PEOFESSOB This is how it reads : " My dear Professor Borne- man : — I regret deeply that my talk with your daughter today revealed an unexpected, but insuper- able hindrance. Under such circumstances I am sure you wiU understand and approve my desire not to continue as your family physician." MES. BOENEMAN I don't understand at all, Kristen. PEOFESSOE An unexpected, but insuperable hindrance — MES. BOENEMAN I don't understand how I could have been so mistaken. PEOFESSOE There is something behind this, Cecilia. There is surely something behind this. MES. BOENEMAN How do you mean? PEOFESSOE Did you see anything, of that man Strandgaard who just called on Karen? MES. BOENEMAN ( tums pale, hut manages to control her- self) I have neither seen nor heard anybody — I was taking a little nap in my chair when Hansine called me. Has anybody been here to see Karen? ACT m] KAREN BORNEMAN 65 PROFESSOR A sculptor named Strandgaard. I met him on the stairs just now. Hansine told me who he was. MRS. BORNEMAN Yes, but what could that have to do with Schou's re- markable letter.? PROFESSOR Perhaps more than we imagine. MRS. BORNEMAN X)o you mean that Karen might be secretly engaged to — ? But then I can't understand her behavior toward Dr. Schou. PROFESSOR Secretly engaged, you say. May I ask this : is a young girl likely to pose as a model, naked, for one to whom she is secretly engaged.'' MRS. BORNEMAN What are you talking of, Kristen? PROFESSOR Will you look at this — the catalogue of the exhibi- tion. Can't you see ? " Strandgaard, sculptor, Paris — at present, Hotel Savoy, Copenhagen." MRS. BORNEMAN Well, what of it.? PROFESSOR Do you remember I told you this morning of a dis- gusting statue I had seen at the exhibition? MRS. BORNEMAN The one that resembled Karen.? PROFESSOR It is by this same man Strandgaard who, only a quar- ter of an hour ago, called on Karen here in our own house. 66 KAREN BORNEMAN [act hi MES. BORNEMAN But what in the world is this, Kristen? Why, it 's a thing — something we cannot even speak to Karen of. PKOFESSOE (ringing for the servant) Yes, speak to Karen is just what we have to do. We must get some light into all this. I can have no peace until it is explained. MES. BOENEMAN And what are you going to say.'' [Hansvne enters from the left. PEOFESSOE I should like to talk to Miss Karen, Will you please ask her to come here at once. {Hansine leaves) We must have full explanation, Cecilia. Uncertainty is ten times worse. Can't you see that there must be something behind this.'' All of it cannot be pure coin- cidence, can it."" MES. BOENEMAN But above all, Kristen — be careful about it. KAEEN {enters and looks expectantly at her parents; when neither of them makes a begirmimg, she says) Hansine said that you wanted to speak to me. [The Professor hands her Dr. Schou's letter. KAEEN (reads it with evident emotion) Yes, that is correct. PEOFESSOE And you have no — further remark to add? [Karen looks uncomprehendingly at her father. MES. BOENEMAN We cannot understand it, Karen dear — considering the way you have always talked of Dr. Schou, and behaved toward him. It has made us very unhappy, and we don't understand. ACT in] KAREN BORNEMAN 67 puoFESsoa (a* Karen remains silent) Are you tied to anybody else? KABEN No. MRS. BOENEMAN Then we don't understand at all. And are you not going to help us, Karen? KAEEN Why, there proved to be a hindrance. If this hin- drance lay in him or in me — I cannot decide it my- self for the moment. {In a tired voice) But you must n't ask me any more. PEOEESSOE Is there nothing you want to confide to me, Karen? We might go into my room. You look as if there were something that weighed on your conscience. [Karen shakes her head. PEOEESSOE Or would you rather confide it to your mother? KAEEN No. You must n't ask me any more, PEOFESSOE Remember, Karen, that to make confession, freely and openly — that 's the road. KAEEN This is a matter you have no right to ask me about. MEs. BOENEMAN (^glancing apprehensively at her hus- ha/nd) If you yourself, Karen, don't feel any craving to relieve your heart — then we won't press you to do so either. We thought only there might be some- thing we could help you to get through. 68 KAREN BORNEMAN [act ra KAEEN But you must understand that there are matters which one has to settle within oneself. MES. BOENEMAN (^with an imploring glance at her hus- band) Yes, yes, of course. Just as you say, Karen. PEOFESSOE (with trembling voice) But then there is something else, Karen — something we have an absolute right to have explained — some- thing which it is your daughterly duty — MEs. BOENEMAN {trying to intercede) No, dear, not now ! PEOFESSOE {very much agitated) Yes, now is just the time. MES. BOENEMAN I can see that Karen is not well. PEOFESSOE That does n't matter at all. — Karen, answer me hon- estly and truthfully: have you posed as model for that man Strandgaard.'' [Karen stands silent with tightly closed lips. PEOFESSOE Do you know, or don't you, that at this moment you are publicly exhibited — naked, and the likeness per- fect, so that anybody can walk in from the street and have a look at you.'' MES. BOENEMAN You ought to know, Karen, whether you have had anything to do with it or not. KAEEN I knew nothing whatever about it until today. PEOFESSOE That 's no answer. It 's merely an evasion. But then you know this man Strandgaard, and you were talk- ACT III] KAREN BORNEMAN 69 ing with him in here only a few minutes ago — that 's something you don't deny, do you? KAREN I knew him at Paris. PEOFESSOE. All right! (Goes out into the hallway and begins to put on his overclothes) MRS. BORNEMAN {runs after him, very much alarmed) What is it you mean to do.'' PROFESSOR {while getting into his overcoat) What I mean to do? I want to get hold of that scamp and demand an explanation of his impudence. MRS. BORNEMAN Let US discuss the matter sensibly first. PROFESSOR This calls for immediate action. I am going to de- mand that the statue be taken away this very day and that he be publicly called to account for it. MRS. BORNEMAN Do come in and let us — PROFESSOR It 's no use — KAREN {with desperate resolution) Well, for God's sake, let me then go and see him myself. PROFESSOR {testily) Suppose we keep His name out of this dirty business. KAREN Father ! ( trying to hold him hack) PROFESSOR Let go ! Where did I put that catalogue with his ad- dress in it? {Returns to the sitting-room to look for it) 70 KAREN BORNEMAN [act ra MBS. BOENEMAN (^ttlso trying to hold hrni back) Kristen, I am so afraid that the excitement of talking with him will be too much for you. Why, you are already shaking with emotion. KAEEN I 'm sure — I who know him — that nothing will come out of it but intolerable humiliation for you, and that would hurt me so much, father. PROrESSOK Well, if you were to foUow me shrieking through the streets, you could n't keep me from seeing this matter to an end. It 's my wUl to carry on this warfare to the bitter end, even if it has to come to a public scandal. KAREN" (with emphasis) The scandal might prove worse than you imagine, father. PaOEESSOE I don't see how it can become worse than it is. (Dis- covers the catalogue) Oh, there it is! (Goes out into the hallway again) MES. BOENEMAN But, Kristen, don't you see that Karen is fainting: Come and help ! KAEEN (who has sunk down on a chair, her face blanched) There was a relationship between me and that man at Paris — now you know it. [Painful pause. MES. BOENEMAN (patting Karen's head mechanically in her despair) My poor child ! PEOEESSOE (forcing himself to be calm) So he has seduced you. Then we must hope that the scoundrel has enough sense of honor left to marry ACT III] KAREN BORNEMAN 71 you. (He picks up his hat and umbrella, which he had previously laid down on the table) KAREN (with a ■final summoning of her strength) It was I who broke the relation between us. I have just turned him away for the last time. PEOFESSOB. So much the better if you are making the difficulties. Then there is still hope. (He goes out through the rear door in a state of violent excitement) CUETAIN THE FOURTH ACT Professor Bornemcm's study at the hour of dusk. In the left wall, two windows. A desk stands against the rear wall at the extreme left. To the right of the desk there is a single door leading to the sitting-room. The rest of that wall is covered with bookcases. In the right wall, near the background, there is a door leading to the hallway. A stove occupies the middle of that wall. Near the foreground stands another bookcase. A big work-table, surrounded by chairs, stands in the centre of the room, so that the length of the table paral- lels the rear wall. Mrs. Borneman sits motionless in front of the stove, staring at the fire. Hansine comes in from the right with a lighted lamp which she places on the table. She pulls the window curtains together. MRS. BOKNEMAN If anybody should ask for my husband or myself, we are not at home to anybody. You understand, Hansine.'' HANSINE Oh, yes, ma'am. [Pause. MRS, BORNEMAN (speaking like one carrying out an or- der under hypnotic influence) Has the wash been put to soak.? HANSINE Yes, ma'am. ACT iv] KAREN BORNEMAN 73 MRS. BOENEMAN And you remembered — the linen by itself? HANSINE Yes, ma'am. MES. BOENEMAN That 's good. {Hansime goes out to the right. Mrs. Borneman re- mains motionless as before. Then she hears somebody entering the hallway from the outside. She rises, lis- tens a moment, and goes to open the door at the right. MES. BOENEMAN I have been sitting in here, Kristen, in order not to be disturbed. [Professor Borneman enters from the right. He has a look as if, somehow, he had aged and shrunJc. MES. BOENEMAN {looking at Mm in suspense) Did you see anybody ? PROFEssoE {in a toneless voice) Yes. MES. BOENEMAN How — did he take it ? [The Professor sinks exhausted down on a chair. MES. BOENEMAN {with emotion) My poor Kristen, how it has taken it out of you ! PEOPESSOE {almost sobbing) What can I have done — an old man like me — what can I have done ! {He gets up and walks to and fro) Four children I have had to lay in their graves ; one daughter is incurably insane — that 's what I have had to live through, and yet I tell you, all of it was as nothing compared with the blow I have just received. 74 KAREN BORNEMAN [act iv MRS. BOENEMAN But you yourself insisted on it, Kristen. PROFESsoE {with a deep sigh) Yes, I insisted on it. MRS. BORNEMAN Both Karen and — PROFESSOR {fiercely) Don't mention that name to me ! — But, then, I could n't guess what was still in store for me. Yes, indeed, it would have been much better if I had shut myself up quietly with my sorrow and my shame. — There I was, ready to caU a perfect stranger to account in the name of morality and my trampled rights as a father. Full of indignation as I was, I spoke with authority and threatened him violently, as if he were a cowardly scamp who had seduced a young girl — and with a word, only one word, that man struck me such a blow that all of a sudden I felt little and almost compelled to ask his pardon for my impertinence. MRS. BORNEMAN But, merciful heavens, what could he say that was worse than what we already knew.'' PROFESSOR What he could say ? He looked at me as if he had n't understood, and said — (he carmot get his lips to shape the words) MRS. BORNEMAN But what did he say.'' PROFESSOR " Your daughter was not a virgin when I became acquainted with her." That was all he said. [The pause that follows is tense with emotion. Mrs. ACT iv] KAREN BORNEMAN 75 Borneman sits down, overwhelmed, hut preserving her outward composure. PROFESSOE All the way home I have been calling the Lord to account — God forgive me my sin ! But I cannot grasp it. I cannot grasp why, in my old age, I should be punished so incomprehensively hard. And at the very point concerning which I knew that I have never, never been too easy-going with my chil- dren's upbringing. In regard to this one point my conscience is clear: that much I dare say without any self-righteousness. I have searched and scruti- nized the conduct of my own life from beginning to end, but I cannot find the spot. For a spot there must be — a spot on which I should be able to put my finger and say: here lies the cause! At some one spot there must exist a reason why the punish- ment of the Lord is hitting us so crushingly hard at this moment. For the visitations of the Lord are never meaningless. MRS. BORNEMAN Then the fault must lie with me, as there have been two of us to bring up the children, PROEESSOR With you.? MRS. BORNEMAN Yes, PROFESSOR What do you mean anyhow.'' MRS. BORNEMAN What you would call a good conscience in regard to that point — I don't have it. But I have neverthe- less acted in the belief of doing what was right. 76 KAREN BORNEMAN [act iv PEOFESSOE But what have you been doing, woman? MES, BOENEMAN I knew that Karen was living with Strandgaard in Paris. puoFESsoE (^appalled) You knew — MES. BOENEMAN Yes, PEOEESSOE You cannot be aware of what you are saying — you must be ill, Cecilia. MES. BOENEMAN (shaMug her head) No, my dear, I am perfectly responsible. PEOFESSOE Did Karen make a confession to you.? MES. BOENEMAN Never. Some well-meaning soul wrote me from Paris to let me know — at the time Karen was staying there, about three years ago — but I paid no at- tention to it. PEOFESSOE What 's that you are saying? You paid — MES. BOENEMAN I paid no attention to it. First of all, it was already too late when I learned of it — the calamity had already occurred. PEOEESSOE And secondly — MES. BOENEMAN And secondly, I did not regard that calamity quite as great as most other people would have done in my place — ICT iv] KAREN BORNEMAN 77 •* IBOPESSOB. Have I ceased to understand the words I hear — (^He leans against a chair as if seized with dizziness) It is as if the ground were shaking under my feet — {Controlling himself with effort) And to me, your liusband, you did n't even show that letter ! MBS. BOKNEMAN 1 have never shown that letter to anybody. peopessoe Tou have acted in a sinful, self-willed manner — but you wUl have to defend yourself before the Lord on ttat account. — And when Karen returned from Paris — MES. BOENEMAN I hive never said a word about it to Karen. PE0FE3S0E (^crushed) Verily, the visitation of the Lord was not an accident. MES, BOENEMAN Yes, I suppose that 's the way you have to look at it — from your viewpoint — PEOFESSOE Miserable mother — on the Day of Judgment you will have much to answer for. MES. BOEITEMAN I am fully aware of what I have to answer for, both to God and men. [Pause. PEOFESSOE May I see that letter? MES. BOENEMAN When you had left a while ago, and Karen went to her own room in despair, I took that old letter from its hiding-place and sent Hansine in to Karen with 78 KAREN BORNEMAN [act rv it — and with the message, that nobody but I hud ever read that letter! In this way I believe it las filled its mission, though not as it was originally meant — [Pause. PROFESSOa What you have done shocks me deeply, but I am abso- lutely horror-stricken at your — your frivolous con- ception of a young girl's innocence and chastity. How in the world can a mother — MRS. BOENEMAN Perhaps just a mother, if she has the will to see and understand — PROFESSOIl I know no longer either what I shall believe or whom I shall believe. Tell me at least that you are lying, CecUia — tell me that you have lied yourself guilty in order to protect your child! MRS. BORNEMAN I have not at all lied myself guilty, Kristen. PROFESSOR What an abyss of horror is suddenly opening itself at my feet! My own wife, my own child! — But, miserable woman, you must at least have had some reason — there must at least have been some reason for the desperate sin you committed.'' MRS. BORNEMAN Yes — there was a reason. For ten whole years I have gone here and kept it hidden from you. Every day of those years I have had to struggle in order to keep it to myself and spare you. But now I can no longer do so. — The reason was Gertrude's mis- fortune. ACT iv] KAREN BORNEMAN 79 PROFESSOK Gertrude's misfortune? What in the world has that to do with this? MRS. BORNEMAN Be quiet for a moment, dear Kristen, and listen to me. Now I must for once talk to a finish. — That day, years ago, when Karl Herman came to you and asked for Gertrude's hand, then he and Gertrude were already engaged and had been so for a long time in secret. Well, you had learned from various " well- meaning " persons that the young man's past had not been " pure " — as it had n't, of course. PROFESSOR Oh, he was really a disgusting fellow, that man, MRS. BORNEMAN I don't quite know what to say to that, my dear Kristen — but anyhow you cross-examined him as if you had had a regular criminal before you, and the whole thing was so painful that he left in anger. And you came very near treating Gertrude in the same fashion, after you had first made her confess that she knew with what kind of man she had been dealing — for in that respect he had proved himself honest enough. PROFESSOR I should do the same thing over again today if a man came to me whom I suspected. MRS. BORNEMAN But you did n't see the results of what you did. As you walked out of the room that day, and I was left alone with Gertrude — it was as if something within the girl had snapped, and then everything within her 80 KAREN BORNEMAN [act iv seemed to tumble down. But neither then nor later did you notice how she gradually sank into a state of sluggish melancholy, until one day the disaster • occurred. And so horrible it was, that even now I can hardly make myself speak of it. — ■ Well, it was that day, you know — we had already gone to the country, whUe you were still in the city. The other children had gone to a dance and were to stay away over night, but Gertrude had remained at home. Toward evening I was sitting by myself in the pavillion. Then all of a sudden Hansine came rush- ing in with her dreadful tale — - PEOFEssoR {looking at her uncomprehendingly') You are not telling me anything that I don't already know, Cecilia. MRS. BORNEMAN Yes, unfortunately, I am. Hansine came rushing in and yelled out something I did n't catch. A little while afterwards they brought Gertrude back. — They had found her on the highroad where she was walking about stark naked, trying to stop the men that went by. (She begins to cry) PROFESSOR (sinking together) Oh, my God ! Oh, my God ! MRS. BORNEMAN (wiping her eyes and controlling her- self) Now you know the connection. After that day I had my own thoughts about such things, and I began to talk them over with our old physician. And finally he admitted I was right. Anyhow, he had to grant me that the catastrophe might never have occurred if Gertrude had married. PROFESSOR What could he know about that.-* ACT ivj KAREN BORNEMAN 81 MES. BOENEMAN Oh, he knew a great deal more than he would own up to — I saw it very well. — Suddenly I understood the whole thing. Gertrude and Karl Herman had been going around together for a long time, secretly en- gaged — kept in that dangerous state of engagement when two young people mutually excite each other without daring to go further. Then their relation was abruptly broken off. Let us grant that there may have been some morbid tendency in her — al- though we had never noticed anything of the kind — at this time everything in her that until then had been artificially repressed found an outlet, but through false channels. And the horrible thing of it is — the thing I can never get over — that per- haps it might have been avoided. — There lies be- hind all this something that is stronger than our- selves, something capable of taking revenge. — You cannot imagine what a mother has to go through with grown-up daughters who do not get married in time — that is, if she has eyes to see with. — There must be something wrong in all this — something that we human beings have not arranged properly — PROFESSOR I shall never admit that you are right, never — not even now, when I feel the deepest pity for you. Under all circumstances there is only one thing to do for us Christians : to obey the commandments of God, how- ever unreasonable they may appear to us for the moment. They constitute the only guidance we possess. MRS. BOENEMAN Oh, well, then each one of us will have to keep his 82 KAREN BORNEMAN [act iv views to himself. But from that day I have — after careful consideration — done what I could to let our children live the life of youth, sexually and other- wise, in as much freedom as possible. The result of your educational method, my dear Kristen, is our poor Gertrude, who is now confined in an insane asylum, as incurable. The result of my method is Karen, I suppose. I don't know if it is very sinful to say so, but I feel much less burdened by guilt than I should if conditions were reversed. [The Professor sits staring silently ahead. MRS. BORNEMAN So now I have laid bare the only secrets I ever kept from you. Perhaps you will now come to see Karen's behavior in another light, and to judge her in a different manner than you would otherwise. Without her being aware of it, it is I who have been back of everything, I who have been too easy-going, and for this I am ready to assume the responsibility. [Karen enters quietly from the rear and remains for a moment standing in hesitation near the door; she looks self-controlled. Mrs. Borneman gets up and gives her a glance as if to say: " Come only! " KAREN {^throws her arms around her mother's neck and cries with tear-filled eyes ) Mother, mother — that letter! l^Mrs. Borneman pats her gently; it is evident that she is deeply moved. KAREN And here I have been living all these years without realizing what a mother I had ! l^Mrs. Borneman pats her as before, while at the same time her compassionate glance calls the atten- ACT iv] KAREN BORNEMAN 83 Hon of Karen to her father, who has remained in Ms attitude of silent collapse. KAKEN (^moved to pity hy the sight of his figure, which seems to have aged visibly in a short time) Yes, father dear, it hurts me, hurts me very, very much, to see your despair and sorrow, and I should feel a thousand times more at ease if I were really con- scious of some guilt, so that I could throw myself at your feet and ask your pardon. But that I can- not do. PROFESSOK (^quietly disconsolate) My poor misguided child! Not even the conviction of sin is yours — how, then, can salvation be possible? KAEEN Conviction of sin — no, I have n't got it. But now I want both of you to listen calmly to what I have to say. Then you can declare me guilty or innocent afterwards, when I am gone. MES. BOENEMAN So you are going.'' KAEEN I leave tonight. MES. BOENEMAN What is it you have to say to us, Karen.'' KAEEN I should like so much to leave this place in peace and understanding, if understanding be possible. Before, when there was nothing but misery in sight, I thought merely of getting away from here, and later I meant to write and try to defend myself. But when this letter came, then I could n't. Then I felt that I should never get peace without having said what I want to say. 84 KAREN BORNEMAN [act iv PROFEssou ( trying to be calm — hut Ms voice is quiver- ing) Well, well, child, speak out then what 's in your heart. MRS. BOENEMAN We '11 listen to you calmly, Karen. KAREN Thank you ! [She sits down at the big table in the centre, facing 'the audience. The Professor is sitting at the left of the stage, Mrs. Borneman at the right. KAREN The sum and substance of it is this: I have been married twice. PROCESSOR Don't let us bedeck our actions with words — you mean that you have had relations with two men. KAREN I mean that twice during my life — with years be- tween — I have given myself, body and soul, to the man I loved, firmly determined to remain faithful to him unto death. PROFESSOR (ma toneless voice) So he was right, that man — MRS. BORNEMAN Twice during your life — how could that happen to you, Karen.'' KAREN {^showing emotion) He who was the first love of my youth died. You never knew him — unfortunately, for he was the best, the noblest man I have ever met. He was a young newspaper man and a promising novelist. To marry in ordinary fashion was entirely out of the question. His books brought him nothing. He lived ACT iv] KAREN BORNEMAN 85 hardly long enough to see his talent and his aspira- tions recognized — it did n't come until after his death. As a newspaper writer he earned his living, and no more — for the sake of his future he had to do as little as possible of other things in order to find time for his real work. And I — I was almost completely dependent on you at that time. But it did n't seem to us that this ought to stand in the way of our love. And loving each other honestly and dearly as we did, why shouldn't we belong to each other? Our happiness was not lessened by the fact that we had to keep it to ourselves. — Only two years were granted us of that life in common. Then he died suddenly. Well, as I look back at that time now, I cannot understand where I found strength to live through it, cut off, as I was, from all chance of sharing my sorrow with others. Think only of hav- ing to appear here among you with an everyday smile on my face and death itself in my heart ! {^Smiling through tears) For at that time I did n't know what a mother I had ! MES. BOENEMAN (mOVed) My poor Karen ! [Pause. KAEEN Then I went to Paris — a few years later. And when I had been there a time, it seemed as if life should have begun to surge within me once more. And there I met my second husband. — To be just to myself, I must make a distinction between the way I look upon him now and the way I saw him then. Sure of himself and of his future he was to such an extent that his certainty became contagious. Pa- tient and persistent also, like the workman's son 86 KAREN BORNEMAN [act iv he is. And always going at life with a whoop. At that time his struggles as an artist had just begun, and he tackled them with firm-set teeth, living chiefly by the defiance that was in him. I and others were literally infected by his faith in life and the future. I felt so safe in his presence, and, besides, he was always treating me with a sort of awkward chivalry that rather touched me. Then came the Spring! You don't know what the Spring means at Paris. It is as if one were lifted out of one's own self; and I felt such a sweet longing once more to mean something to another human being. And one even- ing, when we were standing together on Montmartre, looking out over the million-thronged city that he was to conquer some time, we made an agreement for life. Of course, there was n't much to live on, but nevertheless we made a little home for ourselves, and once more I had a delicious sense of meaning in my existence — of a meaning that reached beyond the passing moment. I knew and felt also that 1 meant something to his art — I was almost as much a part of it as he was himself. MKS. BORNEMAN But why did n't you just marry in the ordinary way, seeing that you had a home and meant to stay to- gether anyhow.'' KAKEN Why, that was something we might just as well have done, but we did n't care about it for our own sake. After all, it has only a meaning when the children come, and then there is always time enough. PROFESSOK (^sTiarfly) And you owed no consideration to us? « ACT iv] KAREN BORNEMAN 87 KAKEN He would n't have stood the test as a son-in-law in this house. [The Professor flinches at the reference and makes no reply. MEs. BOENEMAN {^disapprovingly) Karen ! [Pause. KAEEN Well, thus everything looked bright and pleasant for a couple of years, until one fine day — MES. BOENEMAN What then? KAEEN {sadly) Until one day I saw that it was nothing but a mirage. He was deceiving me — PEOFESSOE Of course. What was there to prevent him.'' KAEEN Oh, things of that kind occur in regular marriages also. MES. BOENEMAN And then .J* KAEEN Then I broke off our relation at once and irrevocably. The foundation on which it was built had collapsed. — And well it was, when it happened, that we had no children. — Of course, as I tell it now, it sounds so dispassionate and commonplace, but at that time, at the moment when I knew with certainty, it was as if the whole world had gone to pieces about me, and as if only one thing had remained on top of the pUed-up fragments: a twisted and caricatured 88 KAREN BORNEMAN [act iv image of the man I had trusted and respected. Where I had been blind before, there I became all at once clear-eyed, mercilessly clear-eyed — for the first time since we had begun to live together I noticed that he was eating with his knife! (^After a brief pause) Yes, thus looks the life-course of your "ruined" child! PROFESSOB Yes, indeed, a ruined child of a ruined time, who can call that a defence! But what can be expected of a time that refuses to see any difference between chastity and lewdness? But, believe me, punishment will not be lacking — well-earned punishment ! KAEEN I can see no cause for punishment, either of myself or others. PB.OFESSOE As long as you don't want to see this, there can be no chance of salvation ! KAEEN Of caurse, it would have been ever so much more easy for me if, while I was still quite young, some pre- sentable man, with all his papers in perfect order and a financially secure future, had come and asked for me — PEOFESSOR More easy for you ! Who says that life is to be easy.'' Where is that written? It is exactly that kind of opinions that form the devil's bait. And yet I could have forgiven you everything — your wan- tonness and your defiance — if you had taken the consequences and had a child! If you had had ten illegitimate children — better that than none at all ! ACT iv] KAREN BORNEMAN 89 But you have arrogantly defied the very command- ments of nature, which are nothing but the com- mandments of God! KAREN Do you really think I acted out of arrogance? Do you think I am a perfect monster of a woman, who has never felt any longing for a baby? Not me does your anger hit, but that society which will not re- gard it as an inevitable duty to recognize the right of every human being to have children — as a right, mark you, and not as it is now : a privilege reserved for the richest and the poorest. There are thousands of us to whom this right is denied — thousands of men as well as women. But we, too, are human be- ings, with love longings and love instincts, and we will not let us be cheated out of the best thing life holds ! PKOFESSOB {with strong indignation) And I '11 tell you this much : old as I am, I will not grant myself a single day's rest during the years that are left me, but will keep on brandishing the rod of discipline which our time so badly needs. If the Lord has meant anything at all by giving me a strumpet for daughter, it must be that. Believe me, you shall not have sinned in vain ! MRS. BORNEMAN {reprovinglf/) Kristen ! KAREN (angrily) Strumpet of a daughter — that 's just the cry raised at us by those philistines who base their properly established marriages on the most sor- did calculations, with the sole object in view of put- ting into the world a new lot of equally sordid philis- tines ! The only thing still wanting would be that 90 KAREN BORNEMAN [act iv those people were allowed to look down upon us, and to rule us, who have to pay for their children, but who don't care in addition to let ourselves be robbed of the most beautiful among the passions bestowed on man. PEOFESSOK It was bestowed on man for the service of a certain purpose — a purpose that is the end of life itself. KAREN Life has no other ends than those we make for our- selves ! — Strumpet of a daughter — once before to- day that word was thrown into my face by the high and mighty gentleman who did me the honor of pro- posing to me. Our "liberal" doctor! If I had been a widow or a divorced woman — he would have taken me ! But I had merely loved — and it offended his " sense of beauty ! " And he shuddered at me as if I had been plague-stricken ! That 's the way our liberalism thinks and feels — our " established " lib- eralism. It establishes man's liberty — oh, mercy, yes ! But believe me, the day will come when we, too, will demand it as our right — demand the chance to live our own lives as we choose and as we can, without being held worse on that account. Of course, I know that this is not an ideal, but merely a makeshift, meant to serve until at last a time comes which recognizes the right of every human being to continue its life through the race. PROFESSOR (^terrified, staring into vacancy) Rather insanity than that ! KAREN You have no knowledge either of our time or of life as both really are. I have lived where the struggle ACT iv] KAREN BORNEMAN 91 for bread is carried on with clenched fists, and there, I can assure you, many things look different from what they do in the quiet study of a university pro- fessor. — But I believe you understand me, mother, and that, in your innermost heart, you admit that I am right. MBS. BOIINEMAN I wash my hands of it, Karen — I don't dare to think that far — KAEEN All right, then ! But I can assure you — although my own fate does n't seem so very enviable — that I would n't change with my poor respectable sister. I have, after all, lived for a time during those few years of youth that are granted us human beings only once in our lifetime, and that will never, never come back again. What have those other ones got out of their enforced duty and virtue except bitterness ■ — ■ bitter- ness and emptiness? I have, after aU, felt the full- ness of life within me while there was still time, and I don't regret it ! PEOFESSOR (^struggling not to become overwhelmed by his emotion) I recall the evening you were born, Karen — it had cost your mother many pangs — and the first time I went in to look at you. Then I went into my closet and thanked the Lord because a new little soul had been entrusted to my care. At that time I did n't think that one day, as an old man, I should have to live through the sorrow of seeing my own child delivered into the hands of Satan! (Once more he sinks together) MES. BOENEMAN (ffoes up to hvm and strokes him gently) Have pity on your father ! 92 KAREN BORNEMAN [act iv KAEEN {observing her parents with deep emotion) Yes — I do pity you, father ! Don't think my heart is made of stone. — The sorrow I have done you can- not be greater than the one I feel within myself at this moment, when perhaps I see you for the last time! But how can I help that I am the child of a time that you don't understand? We have never wanted to hurt each other, of course — ^but I sup- pose it is the law of life that nothing new can come into the world without pain — {She goes out quietly) CUETAIN LYNGGAARD & CO. A DEAMA IN FOUE ACTS 1905 PERSONS Lynggaaed . . . Owner of the Lynggaard Distilleries Harriet His wife Jacob » , . , . _ } Their children liSTEID ' MiKKELSEN, a theologian and retired high school teacher Father of Mrs. Lynggaard George Heymann, Manager of the Lynggaard Distilleries Mrs. Olsen A widow Edward Her son A Servant at the Lynggaards' The action, which takes place in our own day, is laid in the Lynggaard residence, near Copenhagen, and lasts from one afternoon to the next. LYNGGAARD & CO. THE FIRST ACT A large, expensively furnished draimng-room. A very wide doorway, covered by draperies of thick velvet, leads to the conservatory which lies back of the drawing-room. To the right of the doorway is a wimr dow with small deep-set panes. There are two doors in each one of the side walls. The rear door at the right leads to the hall; the forward door on the same side, to Lynggaard's private room; the rear door at the left, to the dining-room, and the forward door on that side, to Mrs. Lynggaard' s private sitting-room. Strict consistency of style has not been aimed at, hut several conspicuous pieces of furniture — cabinets, a chest of drawers, mirrors — are rococo. Tables and chairs are scattered about the room in convenient groups. The centre of the left wall is occupied by a stove, artistically executed in black marble. All the walls are covered by splendid canvases belonging to the famous Lynggaard collection. Miniature statues and precious vases take the place of bric-a-brac. It is early evening in October. A few of the pear- shaped bulbs in the pendant electrolier are lit up. The Servant is arranging the coffee-table at the right in the foreground. After having regulated the alcohol lamp under the hanging pot, he goes over to 96 LYNGGAAKD & CO, [act i the stove, takes a look at a thermometer and puts more wood on the fire; finally/ he withdraws to the rear of the room in a waiting position. Estrid, eighteen years old, light-haired, enters from the dining-room, leaving the door ajar behind her. ESTEiD (with a friendly nod at the Servant, who stands at attention) Thank you. We '11 look after our- selves. [The Servant goes out to the right. Estrid walks around for a while as if lost in thought. Then she returns to the dining-room, whence the sound of voices has been issuing in the meantime. ESTEID (clapping her hands) Listen here! You must come now. The coifee is ready. [Estrid goes up to the coffee-table, Lynggaard and Mihkelsen appear in the doorway. Lynggaard is a tall man in the later fifties. His manners are easy without being careless. He is dressed in a comfort- able sack coat — as it would never occur to him. to put on evening dress for dimmer when no guests were expected. His father-in-law, Mikkelsen, the former high school teache'r, is erect and buoyant in spite of his seventy years. He is white-haired and wears a white, pointed beard. He is always dressed in a black frock coat, looks very distinguished, and re- minds one of a marquis from the days of the Second Empire. For the moment both are surrounded by the atmosphere of satisfaction produced by a good dinner. They have only taken a few steps into the room, when Lynggaard stops Mikkelsen, turns around and shapes his right hand into a tube. ACT i] LYNGGAARD & CO. 97 through which he studies some object in the dining- room. LYNGGAAEB You ought to have a look at it from here. Like this. Splendid, is n't it.'' I think, however, it should hang a little lower. MIKKELSEN What did you say the painter's name was.? LYNGGAAED Watts — George Watts. This is his famous " Irish Famine." It 's in the Holland House at London. MIKKELSEN You don't mean to say it is a copy? XYNGGAAED Copy! What are you talking of.-" It 's a sketch — the original sketch made by the master himself. MiKKEXSEN {with a crafty twinkle in his eyes) Well — and the price of it.'' LYNGGAARD (winkvng at him to he quiet) Just see how that light in the background harmonizes with the mood of the picture. And the figures ! Do you notice how hopelessly the man is staring into vacancy.'' I don't think hunger and distress have ever found a more striking expression. Look at his clenched fists — that fellow would be capable of in- discretions. And his wife knows it. See how she is putting her hand on his to calm him. And then that starved baby at her empty breast! You get cold shivers along your spine if you continue to look at those staring eyes of his. That 's what I call misery — misery brought to the verge of desperate self-help. Splendid ! Marvellous ! ( They come fur- ther into the room) And as to the price — it 's like 98 LYNGGAARD & CO, [act i putting your money into four per cent, government bonds. ESTBiD (^serving the coffee) Now, grandfather, the coifee is getting cold. MIKKELSEN Thanks, dear — just a small cup. [Lynggaard and Mikkelsen sit down at the table. liYNGGAARD And then to think that it 's the only Watts in this country ! [Mr*. Lynggaard enters from the dining-room, clos- ing the door behind her. She is forty-five, but looks older. Her figure is slender and refined. Her face indicates stagnation and introspection mixed with a suggestion of suffering. She wears a very simple black dress, which combines with her noiseless man- ner of moving about to make the beholder think of a nun. She sits down quietly at her usual place by the coffee-table, where her piece of knitting, with its long wooden needles, has already been laid out for her by Estrid. She makes the impression of being very nervous. ESTEiD (^with the coffee pot) Large or small cup, mother.? MES. liYNGGAAKD Thank you, I don't want any. {^Estrid pours out a cup for herself and sits down. Mrs. Lynggaard takes hold of her knitting. The coffee is drunk in silence. Then the gentlemen attend to their cigars, while Estrid lights a cigarette. MES. LYNGGAAKD Oh, that smoking, Estrid — ! ACT i] LYNGGAARD & CO. 99 ESTRID Oh, what ! I smoke only one a day — while you are looking. MRS. LYNGGAAED Are you done with your lessons for the day.f" ESTEID I am ahead, if you please. [Brief pause. MIKKELSEN WeU, the summer is gone again. LTNGGAAKD Did your trip tire you.'' MIKKELSEN So little that I am surprised at it. ESTRID Tell me, grandfather, did n't anything of interest happen to you in all that time — something really exciting? MIKKELSEN No, thank heaven! ESTRID An elderly man of the world like you, who is going the rounds of his friends (after a glance at her mother) without anybody to watch over him, he might have a lot of fun. MRS. LYNGGAARD Estrid — your language! ESTRID Were you bored, grandfather.? MIKKELSEN Not more than I could bear. Oh, the summer vaca- tion meant something else in those days when I was still a teacher and had to cram down religion and mathematics in the morning, while I was tutoring 100 LYNGGAARD & CO. [act i in the afternoon. — But tell me now, what has hap- pened to you, Essie? ESTEID To me? I should like to know what could happen to me? Oh, I don't know anything more tedious than our summers in the country. Then we don't see a single soul for five whole months. MRS. LYNGGAARD But we have peace. ESTEID I don't know anything more tedious than peace. lYNGGAAED {stUl full of Ms Ticwly acquired treasure, says to MiJckelsen) And do you know, it came within an inch of going to the Fiirstenberg Gallery at Gothenburg. MIKKELSEN Oh — the " Famine " in the dining-room — ESTRID Now, if you have n't anything else to talk of but that tedious picture, I '11 rather go up to my room and read. — Oh, I must tell you, mother — Hansen came and asked me if we don't think he has given good care to the conservatory. There I was — none of us having been near it yet. MRS. ITNGGAAED And it 's a shame we have n't, Estrid. Let us go at once. Of course, it 's what he has been waiting for all the time. [She and Estrid rise a/nd go toward the background, where Estrid turns on the electric light in the con- servatory. The light shows between the draperies. Then they go into the conservatory, the draperies re- maimmg parted after they have left. ACT i] LYNGGAARD & CO. 101 i/YNGGAAED {in a sefious tOTie after a short pause) Tell me, what kind of impression do you get of Harriet? MIKKELSEN It seems to me as if she had hardly opened her mouth since I came home. LYNGGAARD So you have noticed it.'' MIKKELSEN What kind of summer has she had.r* LYNGGAARD Not the slightest change. Of course, I had to have another talk with Dr. Benzon. MIKKELSEN Well.? LYNGGAARD Oh, he merely shrugged his shoulders and said: " Well, she 's in the difficult period." MIKKELSEN And yet I can't understand — not how it could go so far. If she had money troubles, then I could under- stand ; but qualms because of having too much ■ — 1 1 simply don't understand a word of the whole thing. LYNGGAARD And it 's getting worse and worse, I think. She can hardly sleep nights on account of her brooding. MIKKELSEN I can't see how it will be possible to bring her back to reason. LYNGGAARD Heaven knows, I do aU I can to humor her notions. Personally, she is denying herself almost everything. 102 LYNGGAARD & CO. [act i But I try neither to force nor to coax her. She has her full liberty. MIKKELSEN I suppose there is nothing else to do. LYNGGAARD Of her own will she is living in positive poverty. — Well, there is something I have n't even cared to let you know, as it seemed so perfectly ludicrous. But let me tell you now. During these last years, when, at rare intervals, we have been obliged to give a din- ner, just so as not to oiJend people too much — and, of course, Estrid had to get out a little — then I have every time had to pay Harriet the exact cost of the party for distribution among her poor. What do you say to that? [Mikkelsen shakes his head. LYNGGAARD I hate that kind of charity. And it is n't stinginess that makes me say so — you know that from year to year I give away quite a little myself, but always publicly. Whenever there is a cause with a lot of good names back of it, and with everything publicly reported and controlled, then you '11 also find on the lists : " Peter Lynggaard, 500 crowns." But I insist that charity should be public. — And then I have to lie to her all the time. She cannot guess either what we make or what we spend. Or what I put into my art collection. Do you know to what extent I was bled on account of that last acquisition in there.'' MIKKELSEN I noticed you did n't want to come out with it before. LYNGGAARD 20,000. ACT i] LYNGGAARt) & CO. 103 MIKKELSEN 20,000 ! That 's a lot of money so near the end of the month. liYNGGAAKD She thinks it cost one thousand — so now you know. The other day she wanted me to pay " poor tax " on account of my art investments also, but I '11 be hanged if I do. MIEEEI/SEN That would be the only thing wanting. liTNGGAARD (^with a sigh) I can't say it 's very pleasant. And yet I had hoped matters would improve when Jacob left home — for as long as he was here, they did nothing but turn each other's heads with their speculations. MIKKELSEN I pity you — indeed, I do ! XTNGGAARD Everything puts her in a funereal mood these days. A while ago I expected to give her a fine occasion, when I had to tell her we must be ready for another strike. MIKKELSEN Have you to face that kind of entertainment again.'' LYNGGAARD I hope, with the help of God — and of Heymann — that we '11 escape it. But you never can tell — and so I wanted to prepare her. MIKKELSEN I suppose a strike would be rather inconvenient just now.'' LTNGGAARD Inconvenient ! I 'U tell you this much : a strike at this moment might lead to a very serious crisis. 104 LYNGGAARD & CO. [act i MIKXELSEN Oh, well — a solid old business ! LYNGGAARD Let me tell you candidly: the competition with the Consolidated Distilleries has gradually been carried to such a point that, literally, we are incapable of standing a raise of wages of — let us say, half a crown a day per head — if there is to be any sense in run- ning the plant at all. You cannot imagine what it has meant to keep the ship floating of late — just working the pumps all the time, I tell you. And suppose it had been those other fellows instead of me who had Heymann to run things — we should have been done for. MIKKELSEN Oh, is that the way big capital is fixed? (Putting his hand on his coat so that he can feel the pocJcethook inside) It makes me feel as if my little pension as teacher were actually beginning to sweU. LYNGGAARD Do you know what a strike would cost us at this moment .'' MIKKELSEN Well.? LYNGGAARD Suppose we put it at one thousand crowns a day, right out of our pockets. That 's no small matter, I should say. MIKKELSEN I should notice it — LYNGGAARD Of course, it 's my fault, because I have never put aside any reserve funds. That I admit. Well, we 'U ACT i] LYNGGAARD & CO. 105 have to trust in Heymann. He has steered us past a few reefs before now. (^He picJcs up a cigar which he studies in a preoccupied fashion without lighting it — and he shows that there is something of impor- tance on his mind, which he wants to have said) And there is something else, of still greater importance, that I might as well tell you at the same time. There is a great change at hand — MIKKELSEN My dear fellow, you look quite overcome — LYNGGAARD (^putting away the cigar) Next Monday the Lynggaard Distilleries wiU be in- corporated as a stock company. MIKKELSEN {startled) What's that — as a stock company? LYNGGAABD Yes. MIKKELSEN Next Monday. But, heavens and earth, Lynggaard, what does it mean? LTNGGAAED For this reason, I am glad you came home today. For Harriet, I teU you, is about to lose her head completely on that account. And I thought that per- haps you — MIKKELSEN Really, Lynggaard, I can't get over it. Is it — is it in order to get through the strike? LYNGGAARD Not at all. There are entirely different reasons. — You see, if I had a son — MIKKELSEN You don't count Jacob? 106 LYNGGAARD & CO. [act i liYNGGAABD Have you forgotten how he used to look when he was spreading himself in the easy-chairs here? It was n't much — but served up with tremendous pretensions. Just the way he had of saying modern — have you never heard him say modern? — it was enough to make you explode. No, Jacob is fit for only one thing on this earth: to get an endowed bed in some asylum as quickly as possible. MIKKELSEN And that 's how you came to think of forming a stock company? lYNGGAARD WeU, to begin with, I can't say that the thought of it appealed very much to me. I have been accus- tomed to a personal relationship with the plant ever since I was a child. And then all of a sudden to find myself quite impersonally on the outside, as a direc- tor in a stock company, as a mere cutter of coupons — well, of course, times have changed. In the days of my father we were personally acquainted with every single workman in the place. His family rela- tions, his sorrows, his joys — we had a share in all of it. In a word — regular patriarchal conditions. And on the part of the men — deference ; absolute deference. Those times are past, you see. — Now it has gone so far that I am never sure my lordly work- men wiU respond if I happen to greet them first. Or suppose it should be a question of some kind of negotiation. — In the days of my father wages were regulated by agreement between two persons equally independent. And nowadays — if I were to go over to my own plant for the purpose of negotiating with ACT i] LYNGGAARD & CO. 107 my workmen — why, they would think me crazy. I should n't be the least bit surprised at being turned out of my own premises in accordance with the warn- ing displayed everywhere : " No outsiders admitted." No, in these days we negotiate like great powers at war — on neutral territory — through ambassadors, congresses, and — MIKKELSEN So the distillery is going to be put into stock. LYNGGAAKD (persisting with his own line of thought) And then it is true, as Heymann has discovered, that I simply don't take an interest in conducting the busi- ness as I used to. And I don't have to, either. Hey- mann looks to everything, and he has no other in- terests. And now, when old age may be expected to come knocking at my door any day, this is a con- venient way of winding up the business while there is still time — MIKKELSEN Heymann will take charge of the management then.'' LYNGGAAED Heymann is going to be managing director. MIKKELSEN So-0. And Jacob, the heir-apparent. LYNGGAARD Jacob will inherit the coupons. MIKKELSEN And the shears. But what made you think of this all at once.'' LYNGGAARD Oh, originally it was rather Heymann's idea than mine. 108 LYNGGAARD & CO, [act i MiKKELSEN (with empJiasis) Well, well. LYNGGAARD One day he turned up with the whole plan ready, and all calculations made, down to the smallest detail. MIKKELSEN Exactly as when he was one of my pupils. That boy could never make himself raise a decimal. It caused him outright suffering — physical suffering — to stop at anything not absolutely correct — that is, if he was dealing with applied numbers, such as crowns, or dollars, or anything like that. LYNGGAARD Oh, of course. — And then Heymann and I have been talking back and forth all summer, as often as I came into the city. MIKKELSEN Well, my dear fellow, all I can say is this : if it "s Heymann's idea, then you don't need to worry. LYNGGAARD (witli finality) It is only a question of getting accustomed to it. — Oh, you have n't seen the picture in artificial light. Now I '11 show you. (He opens the dining-room door and picks up an electric lamp which stands on a small table and has a long wire attached to it, so that it may conveniently be moved to any part of the room; he turns on the lamp and holds it so that the rays, which are collected by a reflector, fall across the dining-room) Delightful ! MIKKELSEN (with a glance around the drawing-room) Soon you won't have place for any more, Lynggaard. How much have you spent on your collection, alto- gether .'' ACT i] LYNGGAARD & CO. 109 LYNGGAARD (wrapped in contemplation of the picture) Those eyes — they are the embodiment of all human misery! (Zra reply to Mikkelsen) Oh, fully one million. MIKKELSEN To get that much, a goodly number of drinks have to be consumed — that is, by other people. LYNGGAARD You are perfectly right. But how did you want me to use my money, anyhow.'' MIKKELSEN Oh, of course! LYNGGAARD {tuming out the lamp and putting it back in its place) I might have torn down this shed here, and put up a more pretentious residence in its place, with stables, and a park, and that sort of thing. But I have n't done so — out of humanitarian reasons. MIKKELSEN Humanitarian reasons? LYNGGAARD I mean, out of consideration for the workmen. It would only cause bad blood, if they were to have a palace before their eyes from day to day. And it seems to me that a humane employer ought to show that kind of consideration. Well, and then I think also there is something beautiful in the fact that all these people who have been drinking my whisky year after year, have been forced, without knowing it, to serve a great idea. You have to lead the masses — that, you see, is the main point. (Pointing proudly at the pictures on the walls) What you see about 110 LYNGGAARD & CO. [act i you is the output of my plant transformed into its highest potency of refinement. MIKKELSEN Rectified, so to speak! LYNGGAAKD Exactly. And if I ever succeed in realizing my cherished dream of building a special gaUery for it, I shall bequeath the entire collection to the nation. ( With modesty) That 's the only monument I want. MIKKELSEN The Lynggaard Collection. With two stars in Baedeker ! I/YNGGAAUD For it would hurt me a great deal to think that some day it might be scattered all over the world. MIKKELSEN But what is there to prevent you from getting that gallery? LYNGGAABD The lack of half a million crowns, or more. Oh, if I could only keep from buying anything new for a few years ! But I cannot. Every time there is an oppor- tunity, I get caught. (In a low voice) I had ac- tually to sell some real estate in order to raise those 20,000. I had already exceeded my allowance for the year. (As Mrs. Lynggaard and Estrid return) Sh! ESTKiD (turning out the lights in the conservatory) Have you finished talking about that picture now.'' MIKKELSEN We have just finished. [Mikkelsen, Estrid and Mrs. Lynggaard resume their former seats. For lack of something better, Estrid ACT i] LYNGGAARD & CO. Ill picks up a piece of knitting like that on which her mother is occupied. Lynggaard, who has lit a cigar, walks about the room in a listless fashion. MIKEELSEN Hm — have you heard anything from Jacob recently? ESTEID He said in his last letter that he would stay through the Winter in Italy. MIKKELSEN Oh, is that so? ESTEID (after a brief pause) Do you know what I think? MIKEEI.SEN No. ESTEID I think Jacob is going to turn Catholic. MiKKELSEN (os if he could not be sure of what he heard) What — Catholic? iiYNGGAAED {speaking where he happens to be at the moment, with his back turned to the rest) Nonsense! ESTEID Now, don't you say so ! At least, that was the only thing I could make out of his last letter. And be- sides, I think it would be becoming to him. I am sure it would fit splendidly with his smooth-shaven face and embroidered waistcoats. liYNGGAAED (making a wry face) And it is so modern ! [Estrid gives vent to an appreciative giggle, without daring to look up. MES. i-YNGGAAED (severely) It seems to me, you might speak with more respect of such things. 112 LYNGGAARD & CO. [act i LYNGGAAED Heavens, as far as I care, he may turn himself into a monk. What I don't want is to pay for his wax candles. MUS. LYNGGAARD Peter ! liYNGGAAED Councillor Bang has told me in strictest confidence what it has cost him to have his son come home a Catholic. The boys who take that turn are an ex- pensive lot. MKS. liYNGGAAKD You have never understood Jacob. LYNGGAARD Oh, I don't think he is so very hard to see through. A fellow who has never in his life done a thing show- ing the slightest evidence of motive or purpose. — At his age I had graduated with honors from the Polytechnic and was running the plant. MRS. LYNGGAARD Well, he may do so yet. LYNGGAARD Not if I can help it. MiKKELSEN (^trying to smooth matters out) I had an idea that Jacob was bringing home all the latest tricks in the distillery business. LYNGGAARD The Lord help us, is all I can say. MRS. LYNGGAARD None of us can tell what returns he may bring home from his trip. LYNGGAARD No; I, at least, haven't received any reports. (To ACT i] LYNGGAARD & CO. 113 Mikhelsen) You ought to have seen him as he ap- peared in my room the day before he started. (^Point- ing to a family portrait in oval ■frame) He was dressed up like his own great-grandfather, Peter Jacob Lynggaard, a worshipful whisky distiller of this city — with sideboards, stock, and all. One of his hands rested on the back of a chair, while the other one was tucked into the breast of his coat. To this senile youngster I permitted myself to ad- dress the following words : " Now, my son, have all the fun you care for while you are abroad " — at which the gentleman shrugged his shoulders indul- gently — " and I '11 give you the money, if you will only promise me for once, incidentally, to pull your- self together and learn — anything." MIKKELSEN A very generous offer. LYNGGAARD Less than three months later there came a fool letter to Harriet — for, of course, he does n't correspond with me — saying that, unless his soul should perish utterly, or some such nonsense, he must get away from the factory towns, where everything was worse than in hell. And so the fellow runs off to Italy because there are no factory chimneys in that country. MKS. IiYNGGAARD (sJlttrply) You are now talking of things, Peter, for the under- standing of which you are wholly unqualified. LYNGGAAKD I know it, my dear. I lack a sense for the higher spiritual life of this house — being nothing but a whisky distiller. 114. LYNGGAARD & CO. [act i MES. lYNGGAAED Jacob happens to possess a more refined nature — MIK]?ELSEN Which he got from me. MES. LYNGGAAED And recently he has been passing through a serious spiritual crisis. LYNGGAAED All right ! If I can afford to buy paintings that cost — (ore the verge of betraying himself) — that cost one thousand crowns, I can also afford to have a son with a spiritual crisis. All I permit myself to remark is that I have no illusions in regard to Jacob. I used to do a lot of worrying about it until Hey- mann spoke the saving word: stock company. MES. LYNGGAAED Did it ever occur to you that some day your son might call you to account for it ? LYNGGAAED Call me to account.? MES. LYNGGAAED That 's what I said. Some day your son wiU step into this room, mature and masterful, ready to take his place in the business, and then he will find himself on the outside, without having received a word of warning from you. But I know very well who is back of it. Heymann it is who has managed to blind you and ensnare you. Ever since the day he first put his foot in this place — ever since the first time I beheld his treacherous face — ESTEiD {unpleasantly impressed) But, mother — ACT i] LYNGGAARD & CO. 115 LYNGGAAKD You have always been down on Jews, Harriet — that 's all there is to it. MIKKELSEN Precisely ! lYNGGAABD And it 's the only thing you can say against Hey- mann. And he has — with my guidance, of course — made the Lynggaard Distilleries the foremost in the country. That 's all ! But what 's the use of our chewing over that old story again? SERVANT {entering) Mr. Heymann. liYNGGAAKD Ask Mr. Heymann to come in. ' [The Servant goes out. MES. ITNGGAARD Was that also necessary? ESTEiD (^giving a few hurried touches to her hair) But we have to receive him decently the first even- ing — MIKKELSEN Are you going to discuss the stock company? l/YNGGAAED Only a few minor points. We '11 organize next Monday. [Mrs. Lynggaard takes out her watch and compares the time of it with that of the clock on the mantel- piece. The Servant opens the door for Heymann. George Heymawn,, a very distinguished looking gen- tleman of thirty-five, enters with a portfolio under his arm. His manner is self-possessed and shows a certain aristocratic, but not at all offensive, for- 116 LYNGGAARD & CO. [act i mality. His jet-black, glossy hair is carefully parted on one side. His face is striking, hut not of marked Jewish type. His smoothly shaven cheeks show a bluish tint. There is both warmth and depth in his eyes at times, and when he wants to, his entire face may be lit up by a delicate smile. Heymann hows ceremoniously to Mrs. Lynggaard, who responds very stiffly. Estrid rises and holds out her hand to him, ESTRID Good evening, Mr. Heymann? HEYMANN Good evening, Miss Lynggaard. You have got a nice burn. ESTEID Yes, and freckles. HEYMANN But it 's becoming to you. ESTRID (^who has been trying to control herself, hursts suddenly into open laughter) Goodness gracious, Mr. Heymann — where 's your moustache? HEYMANN It flatters me extremely to have you ask for it. ESTEID Oh, how vain you are! So you want to be a regular Adonis ? HEYMANN My reasons were quite prosaic. Miss Lynggaard. I could n't keep myself from chewing it when I was alone. [Estrid shakes her head, as if to say: " I don't be- lieve you! " MiKKELSEN {having risen, holds out his hand cordially) Happy to see Your Highness again! ACT i] LYNGGAARD & CO. 117 HEYMANN (replies with a smile only, as he shakes hands with Mikkelsen; then he turns to Lynggaard) Per- haps you are not in a mood for business tonight? LYNGGAAB.D On the contrary. Let us get at it at once, Mas. LYNGGAARD (mWlgf) Before you and Mr. Heymann begin, Peter, perhaps you would let me have a couple of minutes. There is something I should like very much to talk over with you at once, I/YNGGAAED That depends on Heymann. HEYMANN Oh, please — I have plenty of time, LYNGGAARD ( ^o his Wife) Should we go into your room.? (^They go out to the left) MRS. LYNGGAARD (^turning around in the doorway) I think it 's time for you to go up and start on your lessons, Estrid, dear. ESTRID Pooh — I '11 be done with that in no time. ( To Heymann) Now, Mr. Heymann, I know what you are going to look like. HEYMANN I fear the worst. ESTRID You '11 look like a German actor, or like one of those Italian tenors — a real heart-kiUer — mm ! HEYMANN Thanks! ESTRID But you were much more awe-inspiring before. For 118 LYNGGAARD & CO. [act i then you looked like a mixture of circus director and lion-tamer. Good-night, Mr. Heymann. HEYMANN Good-night, Miss Lynggaard. It seems to me that your likenesses come from a rather strange world. ESTEID Oh, there is always grandfather, you know, when I want to go to the city. MIKKELSEN Hush! ESTEID Anyhow, you are not quite to be trusted, Mr. Hey- mann. You notice, I hope, that mother sends me away when you are here. And I obey her, as you see. (^She goes out to the right, giving him a roguish nod as she is about to leave the room) MIKKELSEN {who has been an interested observer of the little scene) So, Heymann, we are going to issue stock.? HEYMANN The trend of things is in that direction. MIKKELSEN May I ask by whom the invitation to subscribe for stock is signed.'' HEYMANN Pirst of all, of course, by the Under-Secretary — MIKKELSEN Thank you, then the rest don't matter. HEYMANN (smiUng) Perhaps not. MIKKELSEN Otherwise he is not a bad fellow to get in connection with — ACT i] LYNGGAARD & CO. 119 HEYMANN The Under-Secretary is a very agreeable man to deal with. MiKKELSEN {lookvog hard at him for a moment) You have my respect, Heymann. HEYMANN Hope I won't be unworthy of it. MIKKELSEN And my admiration. My deepest admiration. HEYMANN I am glad not to have disappointed the expectations of my old teacher. MIKKELSEN You become managing director — ? HEYMANN I suppose I 'U remain what I have been during the last ten years. MIKKELSEN In regard to usefulness, yes. But the title of direc- tor is not to be sneezed at. HEYMANN It will make me a little more independent. But then I am about old enough for that. MIKKELSEN Indeed, you are. " The devil stay a servant longer ! " — But candidly speaking, Heymann, I cannot suffi- ciently admire the very convenient moment you have chosen for this reorganization — HEYMANN To a large extent it has been chosen by the cir- cumstances. 120 LYNGGAARD & CO. [act i MIKKELSEN Let it go at that. But then the circumstcmces have chosen a very convenient moment. HEYMANN You say that so — meaningly. MIKKELSEN I mean simply that you should be grateful to the cir- cumstances because they occurred during the summer vacation, when you could have my dear, easy-going son-in-law all to yourself, free from any influence but that of your clear-headed reasoning — HEYMANN In all seriousness — it had to happen just now — for many reasons. MIKKELSEN I think so, too. And there is another piece of luck that seems almost providential: Jacob, the heir- apparent — abroad. You admit it? HEYMANN {speofcmg like one not to be trifled with) Yes, if Mr. Jacob should have in mind to offer any opposition, then I admit it is lucky for the business that he is away for the moment. MIKKELSEN Your hand, if you please. {They smile at each other •with what almost amounts to mutual understanding) What was it I said long ago, while you were still my pupil.'' "For conquest and honor was Heymann bom: It 's plainly writ in the stars." HEYMANN (in a lighter tone) Well, well — it was n't yesterday that I sat on the pupil's bench and you at the teacher's desk, Mr. ACT i] LYNGGAARD & CO. 121 Mikkelsen. But I have not yet forgotten what I owe ypu. MIKKELSEN You are the only one of my pupils in whom I can take any pride. And do you know why I think that 's so? Because you had me in mathematics only. HEYMANN {with a STTlile) Well, of course, there were reasons why I did n't have you in religion, too. MIKKELSEN And you may praise yourself lucky on that account. Nothing but bunglers have cojpe out of the boys I had in both subjects. And how could it be otherwise? Of what use was it that I gave the boys a correct idea of life in mathematics, teaching them how to figure interest and compound interest up to ten and twenty per cent, a year? Of what use was it, I say, when, during my courses in religion, I had to hammer into their heads that whosoever loans money and takes interest upon it, he is guilty before the Lord? Of what use was it that, in my hours of mathematics, I taught them how to invest money in notes and stocks and government bonds, when, right on top of it, I had to forbid them to lay up treasures which moth and rust corrupt, or to enrich themselves un- righteously by Mammon? How could they become anything but bunglers ? No, Heymann, praise your- self lucky on account of your one-sided upbringing. It has been fruitful. HEYMANN And yet there was an occasion when I felt glad that you were also teaching religion. Well, I suppose you have long ago forgotten that story, Mr. Mikkelsen? 122 LYNGGAARD & CO. [act i It happened during one of your hours that my com- rades were teasing me in the way of children — for children are so often merciless — and one of them used the word sheeny so that you heard it. Then you pulled the fellow out on the floor and gave him such a beating that I was afraid you might kill him out- right. It 's the only time I can recall you to have given a boy a serious licking. ( With a touch of feel- ing in his voice) I think, from that day, I could have gone through fire for you — for a thing like that a poor Jewish boy can never forget, and particularly not when it is the religious teacher who — MiKKELSEN {^pressing hack a tear) But it happened in mathematics. (^Confidentially) May I give you a piece of good advice in regard to what you are up to now: {with emphasis) strike while the iron is hot! lYNGGAAED (returning from the left) Now, Heymann, I am at your service. [Lynggaard and Heymarm go out to the right. Im- mediately afterwards Mrs. Lynggaard enters from the left. She resumes her former position and be- gins to knit again. Mikkelsen walks back and forth for a while, watching her. It is plain that his search- ing looks make her nervous. Pause. MES. LYNGGAAUD (lookvng at her watch and comparing it with the clock on the mantelpiece) Is n't the clock fast.? MIKKELSEN (taking out his watch) No, rather a little slow. [Pause. MRS. LYNGGAARD Did you have good weather all the time? ACT i] LYNGGAARD & CO. 123 MIKEEIiSEN It rained all the time. [Mrs. Lynggaard looks again at her watch. MiKKELSEN (stopping right in front of her) You are iU, Harriet ! MES. LYNGGAAKD (pretending to be surprised) What has put that into your head? MIEEELSEN You are shaking as you sit there. MBS. LTNGGAAED (who bareltf can keep her knitting still) I? Not at all. MIKEEIiSEN You have acted peculiarly all the time, and now you cannot even control your hands. Just see, how they are shaking! MEs. LYNGGAAED (resolwtely putting wmay the knit- ting) Oh, well, then I suppose I am ill. MIKKELSEN (sitting down beside her) Don't you think it might be of help if we talked the matter over — if we had a real heart-to-heart talk.? MES. LYNGGAAED You wouldn't understand me, father; and even if you did, it would n't help. MIKKELSEN You mean then, that you are too ill to be cured? MES. LYNGGAAED At times I have feared it. MIKKELSEN I am sorry for your husband, Harriet. MES. LYNGGAAED (sUSpicioUsly) Has he been complaining to you? MIKKELSEN Never. But I can see for myself. 124 LYNGGAARD & CO. [act i MRS. LYNGGAABD For I don't think those about me have any reason for complaint. To that extent I have been able to control myself — so far, at least. MIKKELSEN Don't you think it might help if you went abroad for a time - — you and Lynggaard and Estrid? MEs. LYNGGAARD {shakifig her head) There is only one who understands me. MIKKELSEN And that is.!" MRS. LYNGGAARD Jacob. MIKKELSEN Oh. — Well, would n't you like to join Jacob abroad this Winter.? MRS. LYNGGAARD Out there it would n't be of any use. If Jacob were here, he might rid me of it — MIKKELSEN Rid you of what.!" MRS. LYNGGAARD {with Complete self-abandon) This horrible dread that is always with me. MIKKELSEN So what troubles you is stiU — your wealth? MRS. LYNGGAARD It has nearly driven me out of my reason. MIKKELSEN Then it is more serious than I thought. MRS. LYNGGAARD It is about as serious as it would be safe to let it become. \_Pause. ACT i] LYNGGAARD & CO. 125 MIKKELSEN Tell me, Harriet, as you look back, about what time do you think it began? MRS. LYNGGAARD It began about ten years ago. During the big strike. But I can hardly bear to think of it even. It was so dreadful. MIKKELSEN Oh, heavens, was it that story about — what was it his name was — Olsen.'' MRS. LYNGGAARD I don't think, father, that you have any idea about the real nature of that " story " — as you call it. MIXKELSEN No, it happened before I moved into the house. MRS. LYNGGAARD It was the first time I became aware what a strike means. MIKKELSEN But otherwise you got through with it splendidly — thanks to Heymann. MRS. LYNGGAARD You did n't live through it, father. Or you would n't be speaking like that. MIKKELSEN What happened to him — that man Olsen.? He killed himself, did he? MRS. LYNGGAARD (absorbed in her memories) 1 shall never forget the day when the people went back to work. I was watching them from my bed- room window. For four months they had been starv- ing — starving, do you understand? — they and theirs. Then they turned up again one winter morn- 126 LYNGGAARD & CO. [act i ing before daylight, and there they stood and shiv- ered in the yards. They had no over-clothes, of course, and they were shaking both from cold and from weakness. And then their faces were all covered with beards, so that one could n't recognize them. There they stood and waited a long time, a very long time. ... At last Heymann appeared in the door- way and read something from a paper. It was the conditions of surrender, I suppose. None of them looked up. Then, as they were about to walk in and begin working, Heymann stopped them by hold- ing up his hand, and he said something I couldn't hear. But after a little while I saw Olsen standing all by himself in a cleared space. {A shiver rims through her at the recollection) Once I saw a pic- ture of an execution in a prison yard. ... It lasted only a few seconds. Then Olsen said a few words to his comrades and walked away, looking white as a ghost. The crowd opened up to let him pass through. Then the rest stood there for a while looking so strangely depressed and not knowing what to do. And at last they went in, one by one, bent and broken. . . . MIKKELSEN Olsen was n't allowed to go back to work? MKS. lYNGGAABD It was he who had been their leader, and it was his fault that thiey had held out as long as they did. And then Olsen began to look for work elsewhere, but none of the other companies would have anything to do with him. MiKKELSEN (^shvuggmg his shovlders) War is war. ACT i] LYNGGAARD & CO. 127 MES. LYNGGAARD A few months later, as I was taking a walk, I was stopped on the street by Olsen's wife. I tell you, the way she looked made my heart shrink within me. Her husband was completely broken down, she told me. And on top of it aU he had taken to drink. Every- thing she and the children could scrape together, he spent on whisky. She herself was so far gone with her eighth child that she would soon have to quit work. — Then I went home to my husband and begged and prayed him to take Olsen back and make a man of him again. It was the first time during our marriage that I saw him beside himself with rage. There came into his eyes such an evil expression that I wish I had never seen it, for I have never since been able to forget it entirely. But, of course, I guessed who was back of it. (^With emphasis) Then I did the most humiliating thing I have ever done : I went in secret to Heymann and pleaded for that discharged workman. MIKEELSEN Well, and Heymann? MES. LYN6GAAED Since that moment I hate Heymann. There I was, humbling myself before him. And he measured me with cold eyes and said : " If I am to be in charge of this plant, madam, I must ask once for all and absolutely, that no outsiders interfere with the run- ning of it." MIKKELSEN I don't see that he could have done anything else. MES. LYNGGAARD What I cannot forgive myself is that I let myself 128 LYNGGAARD & CO. [act i be imposed upon by that man. I behaved like a coward. At that moment I should have gone to my husband and said : " This is what has happened — now you must choose between Heymann and me ! " But I was so cowardly that I didn't even tell my husband what I had done. MIKKELSEN Nor was it proper for you to go behind your hus- band's back like that. MEs. LYNGGAAED (with an expression of abject horror in her fixed gaze) A little afterwards this thing hap- pened. It was one of the first warm summer days, and I was walking in the garden with Jacob. At that time a splendid old chestnut tree was growing in one comer. And there, in the midst of green leaves and singing birds, Olsen was hanging, cold and dead. And the flies were crawling in and out of his face. . . . {She trembles visibly) MIKKELSEN Yes, life is cruel. MRS. liYNGGAABD And there I perceived for the first time how utterly poor a human being may become. Anything so piti- ful and miserable I had never seen before. There was no sign of underclothing between his trousers and the vest. And I don't know why, but it seemed almost as if this was what hurt me most — much more than that he had hanged himself. . . . And since that day I haven't known a single hour of happiness. {Pause, MIKKELSEN {who hus risen and is walking to and fro) There is only one small thing that you have left out of the story. A small thing that I happen to know. ACT i] LYNGGAARD & CO. 129 MRS. LYNGGAARD What is it? MirKELSEN One day during the strike Heymann had to pass a group of workmen in front of the plant here. Just as he was walking by, one of them cried something after him in a loud voice, and then all the rest of them set up a yell. The voice was that of Olsen, and what he cried out was : " Dirty Jew! " — Perhaps that might change the story a little bit? MRS. LYNGGAAE.D Not in the least! MIKKELSEN No-0? MRS. LYNGGAARD It was just what I kept saying within myself that day in Heymann's office. MIKKELSEN I am glad you didn't get to the point of saying it aloud. MRS. LYNGGAARD And since that day Olsen is haunting this house. He follows Heymann like a shadow, inseparably. And Heymann knows it. And I think he knows that I can see it. . . . [Mikkelsen shakes his head with a worried expression. MRS. LYNGGAARD Since that day every cent I receive in this house is blood-money. It is sticky, and it clings to my fingers. There is a feeling to It like that of some coins I once received in change from a butcher, when I was a young girl — 130 LYNGGAARD & CO. [act i MIKKELSEN You are overwrought, Harriet. MES. LYNGGAAB.D Then He too was overwrought who said : " If thou wilt be perfect, go and sell that thou hast, and give to the poor, and come and follow Me," For that I cannot do — I cannot do it — MIEKEI.SEN No, of course, you cannot. MRS. LTNGGAAED And yet it is so written. MIKKELSEN But it was not said to a wife with husband and chil- dren, but to a young man. And he couldn't do it either. But who can assert that he was lost for that reason? MES. LYNGGAARD Lost or not lost — what do you think his life was from the moment he had heard those words .'' His life on this earth, I mean. MIKKELSEN History has kept no record of it. MRS. LYNGGAARD But I know. From that moment to the end of his days, he was suffering worse than if he had been in hell. {She sinks together in despair) \Pause. MIKKELSEN Tell me, Harriet, has it ever occurred to you to have a sensible talk with Dr. Benzon.? MRS. LYNGGAARD Why should I have a talk with him? ACT i] LYNGGAARD & CO. 131 MIKKELSEN Oh, it is never possible to tell where the soul ends and the body begins — MES. LYNGGAARD And I don't think Dr, Benzon knows either. MIKKELSEN Have you never taken anybody into your confidence ? MEs. LYNGGAAED (after some consideration) Oh, several years ago I even went to see Pastor Madsen. MIKKELSEN Pastor Madsen — your own minister? MES. LYNGGAAED Yes. MIKKELSEN (suppressing a smile) Why did you go to see that lump of fat? MRS. LYNGGAAED Oh, after all, one might expect him to have given life some thought. MIKKELSEN And what did Pastor Madsen have to say? MES. LYNGGAAED Before I went to him, I had searched the Bible from end to end, according to my best ability. There, I thought, it must be found in such manner that one might go by it. MIKKELSEN For such purposes it is a rather poor book. MES. LYNGGAAED It has always been so easy for you to scoff, father. MIKKELSEN I am in dead earnest. The Bible is absolutely no 132 LYNGGAARD & CO. [act i proper reading for capitalists. But tell me what Pastor Madsen said? MRS. liTNGGAAED My impression is that he tried to squirm out of it. MIKKELSEN Of course. Or I should have been very much mis- taken in him. MES. LYNGGAARD How can such a man be a minister.? MIKKELSEN When you don't go to Pastor Madsen with any im- pertinent questions, there is nothing the matter with him at all. And for that matter, I was the man who recommended him to his present position. MRS. LYNGGAARD How could you do it.? MIKKELSEN He was splendidly fitted for it. I had tutored him myself and knew him pretty well. You see, when Lynggaard proceeded to build a church of his own, there were certain reasons for it — MRS. LYNGGAARD After the big strike, you mean.? MIKKELSEN Exactly. At that time I said to Lynggaard: "I don't think it will help, but if you want that kind of a man, you should take Kristen Barfod Madsen. For him I can vpuch. He will preach what is wanted of him. MRS. LYNGGAARD Yes, but he has to preach what is written in the Bible. ACT i] LYNGGAARD & CO. 133 MIKKELSEN His strength lies in the interpretation — MRS. LYNGGAAED Oh, I see. That, too ! In a word, he let himself be tied. MIKKELSEN The term is too strong, Harriet. Entirely too strong. It actually suggests a contract. And I am not even sure that there was what is generally called a tacit agreement — MES. LYNGGAAED How can you talk like that, father, without becoming aroused by your own words P MIKKELSEN Aroused.'' I am too old, my dear. I have seen too much. — And for that matter, we did the same thing in regard to the school for the workmen's children and the teachers employed in it: we selected them with care. MES. LYNGGAAED Is that the way in which the existing society is being held together.'' MIKKELSEN Yes, about like that. {Rubbing his hands compla- cently) But, of course, it creaks in the joints now and then. MES. LYNGGAAED And you can be a party to that kind of thing, father.'' I don't understand it. MIKKELSEN Oh, in the long run life might easily prove bore- some, my dear, if it were not a little — higgledy- piggledy. . . . 134. LYNGGAARD & CO. [act i MRS. LYNGGAAED {looTcmg hard at Mm) It seems almost as if you were taking that dread away from me — MIKKELSEN Well, my dear, there is really no reason to be so very solemn about the whole matter. MES. I/YNGGAAKD For I have also been afraid that it might be insanity. That my own tormented brain produced all my worries. That perhaps there was nothing corre- sponding to it in the outside world — MiKKELSEN (rmragr) Heavens! It is perfectly possible to look at the world from that side also. I merely think you should leave it to those who have reason for it. They '11 attend to it, you may be sure. (^He walks up and down with his hands folded behind him) MRS. LYNGGAARD {following him with her eyes) It seems almost as if you had rid me of the last vestige of doubt by what you have just said. {Rising with the mien of one having formed an inexorable de- cision) Yes, that 's how I feel. {Stopping her father with one hand and pointing with the other at the door leading into Lynggaard's room) Do you know what 's happening in there.'' If not, I can tell you. From the time he broke the great strike up to this moment — for ten whole years — Heymann has been striving incessantly, day by day, to get all the power in his own hands. ( With increasing emotion) And what is happening in there at this moment means that from now on Heymann is going to be in sole control of the business, and that the last trace of human consideration is to be extinguished ! But once more during our lifetime we may come to stand face ACT i] LYNGGAARD & CO. 135 to face, my dear Heymann, and it may prove that I am not the one I was the last time I measured my strength with yours ! MIKKELSEN I am afraid you will draw the shorter straw. MRS. I.YNGGAARD We '11 see. But I have made a high and holy promise to myself of one thing : that what 's going on in there shall never come to anything ! MIEEELSEN Have you lost all sense and reason? MKS. LYNGGAAKD (with a trmmphant glance at him) Because, you see, Jacob — MiKKELSEN (^Staggered) Harriet ! [Mrs. Lynggaard is already nodding as if in. con- firmation of what he is going to ask, MIKKELSEN You have sent for Jacob? MUS. LYNGGAAUD Yes. MIKKELSEN And you expect him? MSS. LYNGGAAKD In a few moments. MIKKELSEN (vehemently) And that you have dared — behind your husband's back? MES. LYNGGAAB.I) Yes. MIKKELSEN And now you are going to meddle in matters you don't understand? 136 LYNGGAARD & CO. [act i MKS. LYNGGAARD That 's why I have brought Jacob home. MIKKELSEN Jacob? MES. LYNGGAAED Yes, none but Jacob; that much despised Jacob. For the fact of it is that he has not been wasting his year abroad as all of you think. He has been study- ing foreign conditions — not from the viewpoint of the employers, but from that of the workmen. MIKKELSEN Oh, I see. MES. LYNGGAAED And there will be war to the hilt between those in there and us ! MIKKELSEN (^witJi a glancc at the clock on the mantel- piece) If only he does n't get here too late. MES. LYNGGAAED He is coming! If he were not, he would have tele- graphed. \^A knock is heard at the door leading to the hall. At the sound of it, Mrs. Lynggaard is visibly startled. MES. LYNGGAAED Who is it.? [In comes Mrs, Olsen. She is a shabbily dressed woman of about fifty-three, bent and worn and pre- maturely aged. Her glance is v/nsteady, and she has become accustomed to the attitude of one pos- sessed of a standing grievance. MES. OLSEN {looking around m confusion) You '11 please pardon me very much, missus. I guess I got in the wrong way. ACT i] LYNGGAARD & CO. 137 MES. LYNGGAABD Who showed you the way, Mrs. Olsen? M£S. OLSEN It was the young lady. I was going to the kitchen first, as I 'm used to, and as you 've told me to, missus. And it was the young lady what took me this way herself. And seeing as my eyes has gone back on me, I thought I was all right. M&S. XYNGGAAED Did you have anything to tell me in private, Mrs. Olsen? MBS. OLSEN Lord, no ! But it was the young lady, missus, what said you always felt so happy when you saw me. MIKKELSEN Yes, you look very inspiring, Mrs. Olsen. MBS. OLSEN (a little oppressed hy the presence of Mikkelsen) Well, sir, it takes something wet to keep up one's courage, the way things is going. , . . MBS. LYNGGAABD This is Olsen's widow, father. MIKKELSEN I guessed that much. MES. OLSEN Yes, Olsen, he came to a sad Wd here at the works — But of course, missus has been so extremously fine both to me and mine all the time since. So perhaps it was almost for the better it happened as it hap- pened. But that sort of thing one does n't see until long after. And then Pastor Madsen, he 's also showed how it had to happen according to the Bible. [Faiise. 138 LYNGGAARD & CO. [act i MES. X.YNGGAAKD All the same, I think you have something on your mind, Mrs. Olsen. MES. OLSEN Well — it 's only that I expect Edward to get out tonight or in the morning. MES. lYNGGAAKD Are you expecting your son home again? MES. OLSEN Yes, time runs on. And now those years are up — MIKKELSEN Oh, have you also had a son abroad? [Mrs. Lynggaard signals to him not to ask amy more questions. MIKKELSEN {grasping the situation) Oh, I see. MES. LYNGGAAKD But why did n't he get out the other time you were expecting him? MES. OLSEN They made it longer for him, as I am sure you re- member, missus. MES. LYNGGAAED Well, I hope everything will turn out good and de- cent with him after this. MES. OLSEN The Lord has kept His hand over him so far, thank heaven. — If I only had a little something to make it look pleasant like when he gets here. For, of course, one knows well enough that when the place is cold and nothing on the table, there ain't no real push to what one says about keeping straight. ACT i] LYNGGAARD & CO. 139 MIKKELSEN Tell me now, Mrs. Olsen, how did it really happen that your son — got on the wrong side of things.'' MUS. OLSEN I '11 tell you right away, sir. When one loses one's father, just after one 's turned thirteen, then it 's easy to know what 's going to happen. Not but that missus has looked after him something grand ever since. {With emphasis) But I guess that's just what he could n't stand — MES. LYNGGAAUD What do you mean by that, Mrs. Olsen ? ME.S. OLSEN Well, missus, I hope you '11 please not take it badly, for of course you ain't gone and done it with any harm in mind. And, of course, you 've been extrem- ously fine about it all the time. But I do believe as it 's you what 's spoiled him, missus. MES. LYNGGAAED What are you saying? Have I spoiled your son? MES. OLSEN Of course, one ought n't to say such things. MES. LYNGGAAED Listen now, Mrs. Olsen — I want to know all about this. Now you have to speak out. MES. OLSEN Of course, one thinks of such a lot, this way and that, when things go the wrong way in life. And as I think back to when Edward was a little fellow, there was n't the least bit that was bad in him until he got to do with you, missus. MES. LYNGGAAED You don't mean to say — 14.0 LYNGGAARD & CO. [act i MES. OLSEN The Lord forbid! But, of course, missus, you was always so kindly minded as to give him what the young gentleman left off — both velvet clothes and jackets of wool and whole suits for a fine young gentleman — and heaven knows it was a pleasure to touch it. But for all that I don't think he should have had it. MRS. IiYNGGAASD I thought it was the clothing that came hardest. MBS. OLSEN It would have been much better had you bought him something to wear. As it was, he got to look like a rich man's child what had seen better days. The other boys, they was jealous and poked fun at him, and that put all sorts of things into his head. And then, of course, missus, you was so extremously down- right as to let him play with your own son, the young mister, as he grew up. And putting one thing to the other — it was more than he could stand. MIKKELSEN So it was hard to get him to do anything? MES. OLSEN Well, his head was fuU of all sorts of thoughts, sir, and then he got to have feelings about things just like rich people. . . . MES. XYNGGAAED But after all, Mrs. Olsen, we got him the chance to learn the trade of a painter. MES. OLSEN Yes, but there 's such a lot of time without nothing to do in that trade, months at a time, and Edward ACT i] LYNGGAARD & CO. 141 was always fired ahead of the rest. And most of the time he was going around here in the young gentle- man's left-off clothes, and reading all the story-books the young gentleman was so kind as to loan him. MIKKEIiSEN What kind of books were those, Mrs. Olsen.*' MES. OLSEN Oh, most of it was rebellimous things turned out by Russians and that sort of people. And then he was going such a lot to instructivous lecturings. And it was more than he could stand. [Pause, MRS. LYNGGAARD Don't you think now, Mrs. Olsen, that we might try together to make a decent and useful person out of him.'' MRS. OI.SEN Yes. — If there was only a little something to make things a little pleasant like with when he 's coming home. MRS. LYNGGAARD Oh, I am sure we can manage that. MRS. OLSEN And then, if you '11 please not take it badly, missus — but if the young gentleman should happen to have some old clothes lying around, for, of course, Edward ain't got nothing at all of no kind when he comes out. MRS. LYNGGAARD But I thought you were just saying — MRS. OLSEN Well, that was most when he was a little fellow, and it was velvet and such elegant stuff. And if I only don't tell where it 's come from — 142 LYNGGAARD & CO. [act i MES. LYNGGAARD I shall see if I have anything at hand. If so, it will be sent to him. MRS. OLSEN Well, then I '11 say good-bye and much thanks to you. (She seems to hesitate about leaving) MIKKELSEN Good-bye, Mrs. Olsen! [Mrs. Lynggaard accompanies Mrs. Olsen to the door and smuggles a hill into her hand. Mrs. Olsen leaves. MRS. LYNGGAARD (coming back into the room) Oh, it 's so difficult, it 's so very difficult. MIEEELSEN Otherwise she is rather a sensible woman, that Mrs. Olsen. And she is right! MRS. LYNGGAARD (pensively) The poor are always right — [Lynggaard and Heymami enter from the right. LYNGGAARD Let us then say Monday at — HEYMANN Three-thirty. [Lynggaard goes across to the dining-room door, opens it, turns on the portable light and begins to study his new picture. Mrs. Lynggaard has resumed her former place at the table and is sunk in deep thought, her work lying untouched on her lap. Mikkelsen gets hold of Heymann quickly and brings him over to the left foreground. MIKKELSEN (speaking in a low voice) Is everything in order.'' ACT i] LYNGGAARD & CO. 143 HEYMANN Next Monday at three-thirty we '11 organize the Lynggaard DistUleries, Incorporated. MIKKELSEN And is there nothing that might interfere? HEYMANN What are you having in mind? MIKKELSEN Jacob Lynggaard is expected home tonight. Within a few moments. He has been telegraphed for. HEYMANN (with a glance at Mrs. Lynggaard) Oh, is that so ! I am very much obliged to you ! [Heymann is starting toward Lynggaard when ex- cited voices are heard in the hall. Mrs. Lynggaard leaps up. Estrid comes rushing in. ESTRID Hooray! Do you know who 's here? [Jacob enters through the door that has been left open by Estrid. MKS. LYNGGAAED Jacob ! [Jacob runs up to his mother and embraces her. LYNGGAAED What in the world — HEYMANN (between his teeth) Damn! MIKKELSEN (rubbing his hands contentedly) Higgledy-piggledy I CUETAIN THE SECOND ACT The same room on the mornmg of the next day. The draperies in the rear are drawn apart amd the doors are open, making it possible to look vnto the conservatory. The place is full of evergreens, creepers, etc. In the centre of it stands a basin of porphyry, with a single jet of water rising out of it. Here and there a marble statue is visible between the plants. The rays of the morning sun fall slantingly into the room. [The Servant opens the hall door to let in Heymaim. HEYMANN Will you please announce me at once. [The Servant bows and goes out. Heymarm walks impatiently back and forth. lYNGGAAUD {^enters from the hall dressed for horseback riding) Good morning, my dear fellow. Anything pressing? HEYMANN We are going to hold the meeting today. lYNGGAARD What 's the meaning of that.-* HEYMANN I just had the Under-Secretary on the 'phone — he is forced to leave for London tonight — it 's impossi- ble for him to postpone his going. lYNGGAAED Are we ready for it? ACT n] LYNGGAARD & CO. 145 HEYMANN Absolutely ready. liTNGGAABD But, heavens and earth, man, all the rest — HEYMANN I have had every one on the 'phone — all can attend at four-thirty. LYNGGAARD Well, let it go at that, then. Otherwise it 's strange about the Secretary — on such a short notice — HEYMANN There must be important reasons. LYNGGAAED I suppose so. And how about the strike, Heymann? HEYMANN There is to be a conference at my office in a few minutes. LYNGGAAED All right. At four-thirty, then. HEYMANN At four-thirty. lYNGGAAED All right. \^Estrid enters from the dining-room. ESTEID Good morning, father. Good morning, Mr. Hey- mann. LYNGGAAED Good morning, dear. [Heymamn bows to Estrid. XYNGGAAED Was there anything else.? 146 LYNGGAARD & CO. [act ii HEYMANN Not for the moment. I-YNGGAAED I am going for a ride now, but I '11 be home again for breakfast, if there should be anything. Good morn- ing. (^Goes out) HEYMANN Good morning. \^For a moment Hermann is watching Estrid, who has sat down at the table in the foreground and fallen to with a will on her work from the previous evening — an immense piece of knitting, with long wooden needles. ESTEID Sit down, Mr. Heymann, and be entertaining. HEYMANN I should like nothing better — but duty is calling. ESTBID Same here. HEYMANN Woollen smocks for neglected orphans as usual.? ESTEID Woollen smocks.'' No, it has come to petticoats now — woollen petticoats for neglected old hags. Thirty turns a day! Pish! HEYMANN I suppose it is n't wise to come near you while that 's on? ESTRID No, you had better look out — I hiss like a hot iron if you touch me! HEYMANN Good morning, and — I hope you have a good time ! ACT ii] LYNGGAARD & CO. 147 [As Heymarm goes out, Jacob enters from the hall. At the sight of him Jacob starts. They exchange very formal and barely visible nods. Jacob Lyng- gaard is a young man of about twenty-five, whose brownish hair and beard, cut so as to make him re- semble a certain modern Christ type, are his most conspicuous features. And yet there is nothing " sweet " about him. His forehead is low. His com- plexion is that of a man spending much of his time in the open air. His eyes have a dreamy expression. He wears a gray flannel shirt and no coat. JACOB Is father in his room? ESTBID Good morning, Jacob. Father has just gone for a ride. JACOB For a ride.'' ESTBID Yes, but he 'U be home for breakfast. JACOB Oh. ESTBID Have you had a look around this morning? JACOB {with an expression of displeasure on his face) I have been over to the plant. ESTBID And greeted familiar faces? JACOB That 's why I went at least. , . . ESTBID You say that as if you had been disappointed. 148 LYNGGAARD & CO. [act ii JACOB I went over there in the friendliest spirit. ESTBID And they did n't fall on your neck? JACOB Not exactly. Either they did n't want to recognize me, or they did n't dare — something was the matter. ESTE.ID There is mischief brewing, all right. JACOB What do you mean? ESTMD I am thinking of the strike which is in the air. They are asking for higher wages again. JACOB Yes, so I hear. ESTRID Yes, more, more, more, more — but where is it to come from, I ask. Father says that he is actually losing on the plant. JACOB I don't think that has to be taken literally. — Well, the relation between them and me is going to be dif- ferent in the future. Perhaps it was just as well they received me as they did — to begin with. (He walks up and down) ESTK.ID There now! {Being done with the amownt of work prescribed for the day, she stands up and takes a good look at her brother) But the way you look, Jacob ! What has become of those embroidered waist- coats that were buttoned up to your chin? And what a beard you have grown, like a regular bogyman! ACT n] LYNGGAARD & CO. 149 And flannel shirt! No, my boy, you looked much more chic before you went abroad. JACOB Perhaps. But the Jacob you recall was a pretty useless individual, who was n't quite at home any- where in this world. ESTK.ID I don't know anything about that. But it seems to me you were more in style with the rooms before. Now you look like somebody who has stepped into an office on some errand and means to go out again at once. Yes, that 's how you look. — Listen, Jacob, your return should be celebrated, don't you think? Oh, you must see the new evening dress I have got. It is — well, I don't say anything more. JACOB I fear we shall not have much time for celebrations to begin with, Estrid. There will be more serious things to attend to. But I hope that in the future every workday will become a day of celebration. ESTMD That kind of thing does n't interest me, Jacob. I want some fun. JACOB Fun." ESTBID Yes — frankly speaking. JACOB That 's a poor thing to build your life on. ESTBID All right, there goes the celebration ! And tomorrow you go to work in the plant? 150 LYNGGAARD & CO. [act n JACOB Today — at once. You can be sure, there is going to be a thorough cleaning-up here. ESTBID Is everything so old-fashioned? JACOB Everything must be made over. This is to be a model plant — the plant of the future. ESTEID What do you think father wiU say to that.'* JACOB Mother and I will win him over to our ideas. ESTBID Yes, but — HeymannP JACOB Heymann ? ESTBID Is n't he to be managing director? JACOB Not this time, I think. ESTBID No? And I thought it was aU settled. JACOB Much may happen before Monday. But for that matter, of course, Heymann is free to stay or leave in the new conditions. ESTBID Jacob, dear, are you not reckoning without the host? For let me tell you, it is Heymann who holds the whip in this house. And when he cracks it, then you feel as if you were in the circus, and the band plays, and the whole show begins to dance. And when Heymann wants to be managing director, he '11 be it. ACT n] LYNGGAARD & CO. 151 JACOB (^startled) You seem to be thinking an awful lot of Heymann. One might almost believe that — ESTKID You have no right to believe anything at all, ( With raised forefinger as if she were talking to a dog) Now sit — nice doggie! (Jacob sits down) That 's it! And let me tell you this much, my dear Jacob, that if you can get the better of Heymaim, then I '11 think you a pretty big fellow. JACOB If he resists, he 'U have to get out. [^Estrid puts her hand over Jacob's mouth so that his beard is hidden by it. JACOB (^wants to push away her hand) What are you up to ? ESTRiD {still covering his beard with her hand) Still — couche! Do you know, Jacob, in spite of this viking beard you have put on — you have kept your sweet, childish face and your faithful eyes. JACOB But don't stake too much on it. ESTRID (gathers up her knitting amd goes out by way of the dining-room) Good morning, Jacob ! [Mikkelsen enters a moment later from the hall. MIKKELSEN Good morning, Your Highness, good morning! JACOB Good morning, grandfather. MIKKELSEN I have just been thinking of you during my morning walk. There was something in the ideas you ad- vanced last night that interested me a whole lot, I 152 LYNGGAARD & CO. [act n tell you. If you have nothing more important to do, I should like to have a few points — suppose we sit down? JACOB With great pleasure. {They sit down) MIKKELSEN You see, Jacob, when a man gets aa old as I am, then — \^He is vnterrupted by a loud knock at the hall door. A moment later Edward Olsen enters. He is dressed in the identical outfit worn by Jacob on his return the night before. He is smooth-shaven and his hair is cropped close to the scalp. He does n't look very attractive — but perhaps this is only because one knows that he has just come out of prison. He is about 23 or ^^. His manner shows a mixture of awkwardness and self-assurance, so that one might describe his chief characteristic as impudent timidity. Peculiar to him is a concave movement of the right hand, reversing the curve generally described by the hand in such a gesture. This movement he uses like a period or a dash to close an utterance. It is always accompanied by a slight bending of his head toward the left. After having entered, he remains standing for a moment at the door. He has his left glove on. The other, which is pretty badly worn, is dangling between the fingers of his right hand. OLSEN Excuse my forwardness. Nobody was there to hand in my card. But if my presence is n't agreeable, I '11 — JACOB {goes to meet him, but not without hesitation) Not at all. Please come in. If I can be of any help — ■ ACT ii] LYNGGAARD & CO, 153 OLSEN Of help? If my visit is to be regarded in that light, then I prefer to forego the honor and to recommend myself at once — JACOB I 'm sorry — I did n't mean it that way. OLSEN Well, I wanted only to point out that I haven't come to ask anything of anybody. I came up here to greet an old friend and playmate of my childhood days. {After a glance at Mikkelsen) That gentle- man over there — I have n't the honor. JACOB My grandfather, Mr. Mikkelsen. {To Mikkelsen) I don't know whether you are acquainted with Ed- ward Olsen.'' MIKKELSEN Pleased to meet you. I am acquainted with your mother. OLSEN {unpleasantly impressed, hut with a show of bravado) A very respectable woman, but without any higher interests. JACOB Won't you sit down? I don't think my room is ready yet, or we might go up there. OLSEN {with a quick glance around the room) Perhaps I don't suit the surroundings? I regret that I have to present myself in a somewhat shabby outfit — I am just back from a tour. Have n't had time to order anything new yet. {To Mikkelsen, as he sits down) With your permission. MIKKELSEN Perhaps you wish a private talk with my grandson? 154 LYNGGAAKD & CO. [act ii OLSEN Not at all, sir. As I have already remarked, there is nothing at all behind my visit. [Pause. JACOB We have n't seen each other for quite a long while. OLSEN It is n't my fault. Leaving aside certain direct — legitimate obstacles — I have done nothing to break oif our relationship. I don't want to offend — but there is one thing I should like to make sure of before we go further. For I notice that it will be em- barrassing, if I am to speak freely and naturally — JACOB What is it.? OLSEN Are first names still in order? JACOB As you please, Edward. OLSEN All right. {To Mikkelsen) It 's incredible how per- plexing little things like that can be. MIKKELSEN They can be perplexing like the dickens. OLSEN (fo Jacob) Well, Jacob, as an old chum, I want first of all to wish you welcome home. I hear you have been travelling. JACOB I have just got back. OLSEN I have also been away — some time. JACOB {embarrassed) It happened before I left, you know. ACT ii] LYNGGAARD & CO, 155 OLSBN Quite right. And, in fact, that was just what I came for. It would interest me very much to hear what you think of me on that account. I want you to speak out. JACOB (troubled) It made all of us feel very sorry at the time — OLSEN You may save your pity. That was n't what I came for. May I ask if you know what I was charged with.? JACOB I know only what I read in the papers at the time or heard others say. OLSEN All right. (With a glance at Milckelsen) You see, I am totally indifferent as to what the rabble, or the ruling mob, thinks of me. But by you, with whom I have shared like a brother all that was best in me, both as a boy and later — by you I don't want to be thought a low-down criminal. That 's the reason I came up to see you. JACOB You must n't believe that I have ever thought of it as anything but a youthful slip. OLSEN There, now — a youthful slip ! It was just as well that I came. — No, Jacob, what I was charged with was the conscious deed of a mature man. That 's what I wanted you to know. — What did the papers have to say about it, anyhow ? I have n't yet had time to look it up at the library. Don't be bashful, my boy, but speak plainly. 156 LYNGGAARD & CO. [act n JACOB Oh, of course, they spoke of you as — MiKKELSEN {enjoying each separate word) They spoke of you as a crook, dangerous criminal, and counterfeiter. OLSEN That 's what I thought. Did they print my picture.? JACOB I don't think so. OLSEN Well, it does n't matter. JACOB But what was your idea of trying to make money in that way? OLSEN Gentlemen, may I ask your fuU attention for a moment ? MIKKELSEN We are on tenterhooks. OLSEN You have heard of Spartacus, the famous leader in the war of the slaves, the first one to organize the struggle of the oppressed against the brutal power of the upper classes. You have heard of his noble struggle and tragic end, killed, as he was, by Crassus, the most bloated of all the capitalists in ancient times. Gentlemen, do you know the oath of Spartacus ? JACOB I know the statue with that name. OLSEN All right. (^Jumping up and beating his breast) ACT n] LYNGGAARD & CO. 157 The Spartacus of our own day, that 's me, you know ! Exactly — me! The goal for which I am heading has been set for me by fate itself, and I am obeying blindly. (Placing himself in front of Jacob) Do you think I have ever forgotten the death of my unfortunate father? Do you think I have ever for- gotten the moment when they brought him home.'' JACOB (ill at ease) No, of course not. OLSEN Such a moment puts its mark on a man. Since that day I have only had one purpose in life: to avenge my father. (With softening voice) But the ways of fate are marvellous. It was its will that you and I should grow up together as brothers. And a good and faithful brother I have been to you. You can't say anything else, can you.'' JACOB We had a lot of fun playing together as boys. OLSEN And yet hatred rose up within me at times, so that I thought seriously of killing you, of choking you, of stringing you up. For it seemed to me, there could be no better way of striking at your father. And at other times it was you I hated. And then I thought of taking the life of your father. For it seemed to me there could be no sense or justice in your going about here forever without having felt what I had had to suffer. — Well, those were, after all, what I might call the innocent thoughts of a child. MIKKELSEN Indeed ! 158 LYNGGAARD & CO. [act ii OLSEN As I grew up and my vision expanded, I saw, of course, that your father was not the murderer, but that there was something referred to as " conditions." — And if I were not an atheist, I might say that the Lord should be held responsible for them on the Judgment Day. MIEEELSEN So you are an atheist, young man? OLSEN A very violent atheist. I might even be tempted into calling myself an anti-deist. For it would appeal to me to know that there was a God, and that I was his most important antagonist. I"am a declared enemy of all authority, all religion. — But I am getting away from the conditions. That discovery took a burden off my heart. After that I could look at you, Jacob, without being constantly reminded of the fact that you were the son of a murderer. And from that moment dates the pardon of yourself and your father. I issued a pardon for both of you. — The date of it is noted in my diary of that time. MIEEELSEN That 's what I call magnanimity. OLSEN Yes, my dear sir, you laugh at it. But Spartacus did not forget his oath. He had merely come to see that the blow must be aimed at society. JACOB Tell me about it. OLSEN Well, then I went to work — (to Mikhelsen) for I earn my living by the toil of my hands, as the ACT n] LYNGGAAKD & CO. 159 Apostles did before me. By profession I am a painter. Well, my work brought me together with a German comrade, who had travelled a great deal and to whom I revealed my plans. He had connec- tions all over Europe, and in that way we organized gradually an international union for the realization of my plan. At a certain date everything was to be ready, and the bomb was to explode. MIKKELSEN So you are an anarchist.'' OLSEN Anti-anarchist. {To Jacob) Did it ever occur to you what would be the result if some day we suc- ceeded in producing gold at a cheap price.'' JACOB No, it did n't. OLSEN Gentlemen, try to figure out what the final results would be! Capital would simply be done for. The present social order would be dissolved by a single blow. Am I not right.? No more capital; no more interest, or compound interest — all the four rules of arithmetic made superfluous! MIKKELSEN {with ironical gravity) All the four rules of arithmetic made superfluous, and also the reckoning of interest ! No, young man, now you are going too far. I can stand for a lot, but to abolish, as you would, the two principal staffs on which mankind has to lean in this life -^ religion and arithmetic — never ! I have been a teacher in both of them. Into both I have put the fairly per- sistent labors of a long life. My Bible commentaries were famous in their day. Mikkelsen's " Arithmetical 160 LYNGGAARD & CO. [act n Primer " is still in use at the present day. And then you come here and want to tell me that all of it would be made superfluous. No, anything that can bring a man a pension of two thousand a year in his old age — that can never in all eternity become superfluous ! There 's my opinion ! OLSEN My dear sir, if you give more thought to it, you '11 have to admit that I am right. — However, in our enlightened days we have outgrown the thought of making gold. But to make paper money — that 's no trick at all. JACOB And yet it never succeeds. OLSEN Yes, I am the first one who ever succeeded in making them just as good as genuine — water mark and all. At the trial, the experts could n't tell the difference. HIEEELSEN But you were found out. OLSEN Was that my fault.'' There I was, hard at work, when my lamp exploded. Then some chemical prep- arations took fire. In a moment the whole room was in flames. I had to run. People came rushing up — and there was the whole secret, or at least enough of it to convict me. It cost me two years. JACOB But what was your plan."* OLSEN At the same time, don't you know, there were scores of my fellow-conspirators at work turning out bills all over the world, pile after pile — for you must ACT ii] LYNGGAARD & CO. 161 understand that it was a question of hundreds of millions. Did it ever occur to you what a single million means.'' MIKKELSEN It does n't impress me at all, young man. To an old teacher of mathematics a couple of millions more or less cut no figure whatever. OLSEN The way in which they were to be circulated had also been planned — the idea was brilliant, I can tell you, positively brilliant. JACOB What happened to the rest? OLSEN Lord, man, I got out yesterday. How can I know.? Perhaps they are waiting for me with the proceeds. JACOB But you don't mean to start again where you left off.'' OLSEN Oh, no, that plan was rotten. There is something that upsets the whole thing. A mere trifle. I have speculated until I was almost crazy, I tell you, abso- lutely crazy, just to get by it. But it 's entirely im- possible because of that one trifling thing. JACOB Thank heaven ! OLSEN But it does n't matter. I have a much better plan than that. JACOB Edward, is there nothing I can do for you.'' OLSEN {with pathos) If a son of the man who tortured the father of 162 LYNGGAARD & CO. [act n Spartacus to death had come and asked him : " Is there nothing I can do for you, young man? " — what do you think Spartacus would have answered? {^Jacobs is too embarrassed to reply. OLSEN You can see for yourself, can't you. {Now there is pride in his tone) Jacob — I don't wish to humiliate you. A little while ago I myself held out a concilia- tory hand to the world — it was misunderstood — I came just now from Heymann. JACOB From Heymann? OLSEN Yes. I looked him up at his office. It is so and so, I said. I am so and so, son of so and so. At the present time I am at work on a great plan for the improvement of the whole world. When I have put it through, money will play no part whatever, either to you or me — until that time I must be financially secure. Then I oiFered my services to the firm for a few hours a day at any price — I think I used the expression a la suite. MIKKELSEN And Heymann? OLSEN I suppose he is a very capable man within his own limited field, but as to any wider outlook — in a word, he showed me the door. [At that moment Estrid approaches through the con- servatory, walking in a golden mist of sunlight. As she enters the room, Mikkelsen gives her a signal, and she leaves at once by way of the dining-room at the left. But Edward Olsen has caught sight of her. ACT ii] LYNGGAARD & CO. 163 And he stands awestruck as if confronted by a vision from above. OLSEN Was that — was that Estrid? JACOB It was my sister. [For a moment Olsen clutches at the table as if seized with dizziness. Then he sits down in silence. JACOB Are you not well? OLSEN It 's nothing. Perhaps it comes from my not having seen the sun shine for two years. (He looks around) It 's a fine place. {Suddenly he pulls himself together and rises) These are no proper surroundings for a man. You should get away from here and move down to me, Jacob. Then something might come out of you yet. ( With a concave movement of the hand in direction of Mikkelsen ) Sir! {Is about to go) JACOB Would it mean a lot to you to become connected with the plant.? OLSEN {shrugging Ms shoulders) It was only a hand I held out to the world. JACOB You shall have that position. And you '11 hear from me very soon. OLSEN {once more rising to his own proper level) If you desire an interview, I receive at my old place. At home from ten-fifteen to eleven. {He makes an- other concave gesture and leaves) JACOB {coming down toward the foreground again) What do you say, grandfather.'' 164 LYNGGAARD & CO. [act ii MIKKELSEN I say that his future is quite assured. JACOB What do you mean? MIKKELSEN I mean that the fellow wiU not be allowed to go loose very long. JACOB And you would calmly watch such ability going to waste? MIKKELSEN With perfect equanimity. Nature is rich enough without it, my boy. JACOB You '11 see that if his ability is turned in the right direction — you '11 see — MIKKELSEN I hope you won't have to regret that friendship, Jacob — he would probably be less dangerous as an enemy. [Estrid has been holding the dini/ng-room door ajar and peeping in before she ventures to enter, JACOB You '11 see. (To Estrid) Do you know where mother is? ESTEID Mother is upstairs. [Jacob goes out to the right. ESTRID TeU me, grandfather, that man in here, was n't he that queer fellow Olsen, who has been in prison? MIKKELSEN Yes, the Lord preserve us, dear! ACT ii] LYNGGAARD & CO. 165 ESTKID What did he want? He looked so funny. MIKKELSEN He came to call on Jacob. ESTEID Is it customary to make calls like that when you come out of prison? MIKKELSEN So it seems. ESTRiD (seating herself on a low stool at the feet of Mikkelsen and looking up at him) Does n't it make you cross at times to be so old, grandfather? MIKKELSEN On the contrary, I have never been more satisfied in my life. ESTRID It seems to me it ought to be so sad to think that everything is over. MIKKELSEN Nothing is over but all the bother you have had. To be old, dear, is like sitting in an easy-chair read- ing a good book. . . . ESTEID Well, that is n't much. MIKKELSEN But what has set you thinking of old age? ESTEID I'll tell you, grandfather: just that I think life is so delightful. MIKKELSEN And yesterday it seemed to me you were quite dis- satisfied. 166 LYNGGAARD & CO. [act ii ESTRID So I was. I don't know exactly how to put it — Yes — it seems to me, life might be marvellously delightful. It is as if I could feel within myself what it might be. MiKKELSEN {stroMng her hair) If you had a good friend — ESTUID Yes, a real good friend. MIKKELSEN A friend that made your heart warm — ESTKID Oh, grandfather, how can you say anything like that ! Then I can never really talk to you again. MIKKELSEN WeU, but now you have got Jacob home again. There is a friend for you. ESTRID Jacob is tedious. MIKKELSEN Already ? ESTEID He has such a lot of views. MIKKELSEN Yes, and views are not entertaining. ESTEID I should say not ! And mother is also tedious. Everything is unbearable at home. MIKKELSEN I fear you are very much dissatisfied with the family, Essie dear. J" ESTKID Frankly speaking, grandfather, if it were not for ACT ii] LYNGGAARD & CO. 167 you, I should n't have anybody to talk to. Mother, you know — I can never get her interested in any- thing that I really care for. She won't even let me have on a low-necked dress when I am going out. MIKKELSEN And couldn't you by some wile get a low-necked dress made for yourself.? ESTRiD (with a sly smile) It 's done. MIKKELSEN Well, I had my suspicions. ESTEID It 's very low-necked, but frightfully sweet. MIKKELSEN And it 's becoming.'' ESTRID I 'm really afraid it 's a little too much — the last time it made Heymann behave quite — MIKKELSEN Heymann .'' ESTEID Yes, Mr. Heymann — MIKKELSEN Does he help you to put it on? ESTRID Now, there, grandfather — I really can't talk with you. MIKKELSEN I understand you perfectly, Essie dear. So you have met Mr. Heymann in company? ESTRID Yes ; think only, I met him at the Bangs — the Coun- 168 LYNGGAARD & CO. [act n cillor, you know — and he had never been there before, MIKKELSEN I am sure you '11 meet him again, both at that and other places. ESTEID But, grandfather, you 're actually pumping me ! That 's not nice of you at all. MIKKELSEN I? Not in the least. We were only talking of your dress. ESTEID And then, grandfather, mother wants me to wait again in the " Good Samaritan " this winter. It opens today. And I don't want to. MIKKELSEN Why not.? ESTEID It 's so tedious. They are seated at long, tedious wooden tables. And then there are young ladies out of the better families — and they go around waiting on them. MIKKELSEN But that 's splendid, Essie dear. ESTEID No, it is n't. How could it be any pleasure to serve the kind of food they are getting? It 's nothing but skim milk and bread with margarine on it. Oh, if you could only give them a real feast ! MIKKELSEN I suppose it 's a little hard to make the guests feel as if they had had a good dinner. ACT n] LYNGGAARD & CO. 169 ESTUID I 'm ashamed, I tell you, when I have to go around with the tray and ask them if they want more of that fat stuff. MIKKELSEN Then, my dear, you have n't got the proper charit- able spirit. ESTKID I don't know, grandfather, but all the charity in which I have taken part with mother — it has been so cautious and so shabby. I have never helped to make a single human being really happy. — But I suppose it comes from all this responsibility — MIKKELSEN What responsibility.'' ESTRID Don't you know that a dreadful responsibility is resting on us in this life.'' MIKKELSEN And it weighs on you.'' ESTEID Well, you see, if responsibility was something you had certain hours a day, like my knitting, and then you were done with it. But it 's always there, and it gets worse as you grow older, mother says. And that 's the reason I want to marry a man who is no longer young, when I marry. MIKKELSEN Now, Essie, I don't quite foUow you. ESTEID Oh, the yowng people you meet at dances and such things, they are always talking a lot about the seriousness of life, and your mission in life, and 170 LYNGGAARD & CO. [act ii man and woman having to fight their way together to an understanding, and all that sort of thing. But men who are no longer quite so young — they never talk like that. MIKKELSEN There is something in that. ESTRID And don't you understand, grandfather — when I get married, then I want to have some fun. I want to have an awful lot of fun. And I don't want any responsibility. When I become engaged, I '11 demand that he take the entire responsibility upon himself, all through life, for all I do. I never want to hear a word about responsibility. For I have heard enough of it, both at home and between dances. MIKKELSEN You seem to know what you want. ESTRID And then I want children. I want a whole lot of cute little kids who raise a frightful racket. MIKKELSEN You have never taught in a school. ESTRID (after considering her words carefully) And I think they should have black hair — MIKKELSEN (with emphasis) Then you '11 have to choose a very dark man. ESTRID (jumping) Oh, grandfather, it 's impossible to be in the same room with you. Now I am going. I have gone. Good morning! [Estrid goes out quickly through the dining-room. At the same moment Lynggaard enters from his room. ACT n] LYNGGAARD & CO. 171 MiKKELSEN {rising) Well, what has His Highness got to say about his son's sudden appearance on the battlefield? LYNGGAARD Jacob? You '11 have to pardon me, but I have had more important things to think of. MIKKELSEN The strike? LYNGGAAED That too. It is Saturday — it may come at six o'clock tonight. MIKKELSEN Do you really think so? LYNGGAAED I am afraid Heymann is too inclined to make light of it. MIKKELSEN Does he think the workmen will come round? LYNGGAAED No. But he thinks we should give in. And when Heymann talks like that, then the situation is serious. MIKKELSEN But if you are willing, then — LYNGGAAED Yes, we — but our competitors. It looks as if the Consolidated Distilleries wanted a strike. If I am not very much mistaken, there has been a lot of over-production on their part. And consequently they could use a strike at the present moment to hit me pretty hard • — very hard, indeed — if they should care to look at the matter from a very short-sighted viewpoint. 172 LYNGGAARD & CO. [act ii MIKKEISEN Is Heymann carrying on the negotiations with the Consolidated Distilleries ? LYNGGAAED Yes. MIKKELSEN Hm ! It 's too bad you have n't got that stock com- pany ready yet — LYNGGAARD (mtfsteriously) At four-thirty this afternoon. Don't say a word about it. MIKKELSEN Ho-ho ! LYNGGAARD (^Speaking as one of superior intelligence) It was the only thing left to do. MIKKELSEN Of course. LYNGGAARD And then a lucky chance would have it that we can use the Under-Secretary as an excuse — he 's going abroad tonight, don't you know.? MIKKELSEN I see. So I suppose you have been pretty busy this morning — LYNGGAARD Heymann has looked after it. MIKKELSEN I quite see. LYNGGAARD Sh — there 's Harriet now ! [Mrs. Lynggaard comes from her own room. In comparison with the day before, she looks excited and happy. ACT ii] LYNGGAARD & CO. 173 MRS. LYNGGAARD Good morning, father. Have you been out for a walk already.'' MIKKELSEN Not yet, my dear. {Happy at the chance of getting away) But now I am going to take advantage of the fine weather. I '11 see you both later. (^Goes out to the right) MRS. LYNGGAARD Have you given any thought to the fact that Jacob is with us again? LYNGGAARD I should prefer that he had n't come. MRS. LYNGGAARD It is easy to hear that you have n't had a real talk with him yet. LYNGGAARD I had enough of him last night, Harriet. I think he is worse than he was before. Now he has a lot of social views to air besides. We were spared that much, at least, before he went abroad. MRS. LYNGGAARD But don't you see the change that has taken place in him.? Don't you see that this one year has made a man of him.'' LYNGGAARD I see that he has grown a beard. MRS. LYNGGAARD It means, then, that you don't want to see. LYNGGAARD The first and foremost thing you can expect of a grown-up man is that he is capable of seeing a 174 LYNGGAARD & CO. [act ii certain coherence in life, or evolution, or whatever you please to call it. But Jacob cannot see any coherence in anything. He is regarding the world as a pure — how shall I put it.? — as a purely me- chanical mixture of isolated and accidental irra- tionalities. MES. LYNGGAARD Perhaps he sees a coherence where you cannot see it at all. LYNGGAAUD Why, he 's like a regular infant having had no ex- perience whatever. All that he was roaring about last night — well, I never heard of anything so be- yond all sense of responsibility or purpose ! A couple of times it gave me a real uncanny sensation. Pure anarchism ! It would n't surprise me the least, if some fine day he began to bombard society with dynamite and was blown up by it himself. MRS. LYNGGAARD The responsibility for Jacob's future will fall on you, Peter. If you turn him away now, when he has come home more desirous of doing something than he was ever before — then you '11 have to bear the conse- quences yourself. LYNGGAARD (after a pause) There is something that has been troubling me, Harriet. It has been troubling me eve* since yes- terday. . . . Was it you that sent for Jacob? MRS. LYNGGAARD (after a brief hesitation) Yes. LYNGGAARD (looking at her dejectedly) It seemed to me that my suspicion was mean — but then I was right after all. ACT n] LYNGGAAHD & CO. 175 MES. LYNGSAAED I wanted to give you a final chance to think the matter over before it was too late. LYNGGAAED Oh, that 's it ! \^A moment of painful silence follows. Lynggaard walks hack and forth. Jacob enters from the hall. JACOB Good morning, father ! [Lynggaard continues to walk as before without answering. Jacob and Mrs. Lynggaard exchange glances. liYNGGAAED It is just as well that we get through with this at once, Jacob. . . . What was the reason for this head- long home-coming of yours ? JACOB Oh — principally it was a single word in mother's latest letter that decided me. lYNGGAAED What word was that, if I may ask.'' JACOB If you 'U have a little patience with me, I shall try to explain myself as well as I can. iiYNGGAAED (sitting down) I am at your service. JACOB (also seating himself) First of all I want to tell you then, father, that I am really thankful to you for sending me out of the country. You cannot imagine how this year has stirred me up. You can see it, can't you, both of you? (His glance toward his father meets with no response) 176 LYNGGAARD & CO. [act ii Mas. LYNGGAARD I saw it at once, Jacob, the moment you got in yesterday. JACOB I used to feel so depressed here at home. I found life hopeless in every direction. I saw nothing around me that I could joyfully take hold of. I don't know — but it seemed to me that the time in which we were living — this much-praised century of technical achievement — was pretty rotten. And to cap the climax, I was sent out myself to fill my head with all that technical stuff. And so I tried to do, too, honestly and earnestly, I/YNGGAAKD That 's more than I expected of you. JACOB Until one day I realized that it was a very subordi- nate matter. XYNGGAAED A subordinate matter? JACOB Yes. But I had reached the verge of despair before that became clear to me. ... I shall never forget the impressions I received while looking out of the car window on my way through Western Prussia and Bel- gium, and, coming home, through Saxony. Well, once upon a time you made that trip yourself, father — lYNGGAAED A magnificent trip! JACOB I should think that your sense of beauty, at least, ought to have shrunk from the forest of chimneys and all those factory horrors — ACT ii] LYNGGAARD & CO. 177 LYNGGAAttD The more chimneys, the greater prosperity. JACOB Well, the effect on me was quite different. I assure you, it was as if my heart had been withered by what I saw. ( Warmmg up as he talks on) In endless series they rushed by me, those smoke-filled hells from which hope has been excluded. They are never reached by the rays of the sun — which are kept out by us. Pale as a moon hangs the sun in the sky — you can look at it with unprotected eyes. Steel wires are strung above the streets, and along the wires coal scuttles glide incessantly back and forth through the air. I think I 'd rather sit in a prison cell all my life, staring at a bare wall, than have to look at such horrors day in and day out. There is es- pecially one picture that has eaten itself ineradica- bly into my retina — for it was repeated hundreds of times. First a small forest comes sweeping by, and hidden within it — so that the workmen may not see the splendors, and so that the others may not be bothered by the horrors — lies a palace, with a park and a lake, with swans and bathing place : that 's the residence of the factory owner. Then come the factories with their flaming gullets, their smoke-belch- ing chimneys, and their railroad trains — all of it electrically lighted night and day. And close to all this lie the homes of the workmen. lYNGGAAED Yes, of course; how could it be otherwise.'' JACOB I speak of it as the homes of the workmen. But do you know what such a home implies down there.? 178 LYNGGAARD & CO. [act ii It is the tiniest thing I have seen in the whole world. For it is nothing but a window shade, behind which they have a chance to multiply. MES. LYNGGAAUD That is frightful ! XTNGGAARD Well, they are a lot better off around here. JACOB In the midst of such a cluster of sheds occupied by the workmen lies the church. In the course of a few hours, don't you know, hundreds of such churches pass by. And they look as if they had come from the same factory every one, made to order and ready for immediate use. They almost gave me the im- pression of being made out of corrugated iron. lYNGGAAED Yes, they don't compare with my church, JACOB And if for a moment a piece of open country ap- pears, it is overrun with soldiers at drill. They are training guns or practising at rifle ranges — for if some day it should become necessary — don't you see. . . . Throughout the six days of the week the military form a cordon around the city, but on the seventh the minister stands up in the midst of it to preach the spirit of obedience to authority. I/TNGGAAED Which seems to be well needed. JACOB And then to think that in such darksome and horror- filled corners of the world, into which the sun can never reach; where the air, night and day, is filled with coal dust and fog and stink; where bayonets ACT ii] LYNGGAARD & CO. 179 form palisades around them — there millions of peo- ple have to live and die — people like you and me — people whose lives are worn out by toil and care, and who never, never may catch, or even imagine, a single glimpse of the world's beauty. MES. LYNGGAAED Terrible! JACOB All the time I was there, I felt like choking. . . . It was worst of aU at Birnbach, a little factory town buried a yard deep in dirt at the bottom of a kettle- shaped valley. I/YNGGAAKD Birnbach ! The factories there are regular monsters — they are using up the water power to the very last drop. JACOB It was there it occurred to me one evening to attend a meeting of workmen. And there I got a first glim- mer of understanding — I.YN6GAARD Understanding of what? JACOB Of how those people endure life. MES. LYNGGAARD How can they.'' JACOB What supports them, so that they don't take their own lives or rebel singly and to no use — it is that they form part of a movement, part of the great movement of the time itself. All of a sudden I under- stood this. And a sadness took hold of me. For at that moment I understood also that I had been 180 LYNGGAARD & CO. [act ii born into a time that has no use for me. And so I ran away from the whole thing, for I could not see what to do about it, LYNGGAABD Well, and then you went to Italy.? JACOB Yes. But I could n't get rid of the impression made on me by that labor meeting at Birnbach. I couldn't. In the midst of my efforts to enjoy some splendid palace, or an old church, or a courthouse, there it was again! I could take no joy in their beauty because of the thought of what had been paid for the building of them — in the form of in- justice and abuse of human beings. MRS. LYNGGAABD I understand, Jacob. JACOB And for that reason it seemed to me at times that I was unfitted for this woi:ld. Had I been a Catholic — then I think I should have entered a monastery. MES. LYNGGAAED But then the change came, didn't it? JACOB Of course, after all it was not without its influence to be going around there among the memories of great days that have passed. I used to wish myself back to those days. I used to wish that I had been living in the days of the Renaissance, at the time of the early Christians, during the Revolution at Paris, and always it seemed to me that the time in which I had to live was miserable. One evening, as I was sitting in the Colosseum with a couple of country- men, I explained all this to them. And then one of ACT ii] LYNGGAARD & CO. 181 them said : " That 's all right, but suppose now that you, with your education and social position, had been living at Rome in the days of Nero, and that, on some occasion, you had come to hear one of Paul's sermons — don't you think it probable that you would have gone away in total indifference, with- out the least sense of having heard anything in par- ticular? Those that are always full of enthusiasm for the great days that have passed," he said, " those are not the ones that could ever experience such days." . . . That struck me. Once more I saw be- fore me that labor meeting at Birnbach. On that evening I had not known the time of my visitation. But now it became all of a sudden clear to me — in a flash — that the time in which I am living is a great one, and that the movement going on around us is the greatest movement ever known in history. {He rises and begins to walk to and fro) LYNGGAARD And now you want to become a labor leader for a change .'' JACOB {stopping) From that moment I consecrated my life to the solu- tion of the greatest problem that has ever confronted humanity, [Pause. MES. LTNGGAAED This is what I have been dreaming — JACOB And yet I should probably not have come home at this time — for there is so much that has to be studied, and thought out, and laid a basis for, don't you know. It was so delightful to be all by myself down there, deep in my books and my studies, with my 182 LYNGGAARD & CO, [act n eye fixed on a clear, tangible goal — I who had never known what it was to take pleasure in my work! But then came mother's letter, and when I read the word company in it, then — LYNGGAARD Well, what then? JACOB Then I closed my books at once and started home. For there is one thing I have learned during my visits to the factory towns of other countries: no matter how badly off the workmen may be in places run by a private owner in person ; no matter how far he goes in his exploitation of them — there is nevertheless always something left of a human re- lationship between him and his subordinates. But wherever a place is run by a company, there the workmen are a thousand times worse off. The stock company — it is our own day's most devilish in- vention; it knows of no considerations or scruples in any direction; it is an infernal machine pure and simple — that 's what it is ! When I read that word company, then I felt that I had to get home. {^Sits down) liYNGGAAKD And may I ask what you have in mind to do on that account.'' JACOB Only one thing, father. To persuade you into letting everything remain as before, while — until — I.YNGGAAKD Until what.? JACOB Till we have time, I mean, to talk over the details ACT II] LYNGGAARD & CO. 183 of how to run the plant so that, some time in the future, it may be regarded as a model from a hu- manitarian viewpoint. LYNGGAAED There is plenty of time for that, my boy — let us only get at your plans for the future at once. JACOB Oh, such a thing can't be done on the spot — LYNGGAARD {tauntingly) Perhaps you have n't got that far in your books? M£S. liYNGGAABD But Jacob must have time for it, Peter. LYNGGAAED I am afraid the wait will be too long for us. JACOB All I hoped was that we might leave everything as it used to be until I could think out the new methods that are to be tried. When those methods had stood the test, then there would be quite a different chance for me to step forward as one speaking with authority. LYNGGAAED Step forward — where do you intend to step for- ward? JACOB I am speaking of my future aims, of my work on behalf of the great movement of the time. lYNGGAAED {Hsmg after a glance at his watch) Now I have a proposition to make to you, Jacob. I and Heymann will see that the methods of this plant become as devilishly mean as we possibly can make them. We can promise you to surpass even those monster institutions at Birnbach — so after 184 LYNGGAARD & CO. [act ii this you won't need to go abroad in order to study methods of exploitation at first hand. All you have to do is to arrange a study and watchtower for yourself in your old room. As before, you will get everything free in this house until you think you can support yourself as a labor leader. I believe that 's the arrangement which will suit all of us best. — And now you will have to pardon me. I am afraid Heymann is already waiting for me. {Starts to leave) MES. LYNGGAARD (rising) Peter! This goes too far. I suppose that Jacob still counts for a little more than Heymann in this house — JACOB {rising) Well, father, when you take it like that, then I have to act accordingly. Your offer of free support I prefer not to accept. The thought of what I have cost this house already is weighing heavily on me, considering where the money has come from. LTNGGAAKD And yet you have condescended heretofore — JACOB I hope that my future will expiate the sin that taints the money of this house. liYNGGAAED {enraged) May I ask what you mean — or what you take me for.'' A usurer, or a thief? JACOB I have used no such words. liYNGGAAKD What the devil are those scruples that you make such a show of? What is there in my relations to ACT ii] LYNGGAARD & CO. 185 my workmen that you can find fault with ? Am I not paying maximum wages? JACOB I suppose you pay just as much as you have to. LYNGGAARD Have I not built decent, wholesome houses for my workmen.'' JACOB For which they have to pay a proper consideration. LYNGGAAB.D Have I not built a school which their children can attend free of charge.'' MBS. LYNGGAAED In order that the right kind of views may be ham- mered into them while they are young enough. LYNGGAAKD They are learning what they ought to learn, and what wiU do them most good. Have I not built a church for them.'' Am I not paying a minister out of my own pocket.'' MES. LYNGGAAED And you revise his sermons without extra charge. JACOB I think the rents paid by the workmen more than cover the salaries you give to the minister and the teacher. LYNGGAAED May I ask if both of you are clean out of your heads .'' On my soul, one might think that you were not quite sane ! One might think — SERVANT (enters) Mr. Heymann is waiting in your room, sir. LYNGGAAED {controlling himself ztfhUe the Servant is in 186 LYNGGAARD & CO. [act ii the room) All right. Ask him to excuse me for a moment. I '11 be there at once. {The Servant goes out) Well, now I have spent a good half-hour lis- tening to your interesting expositions, Jacob, and I have not yet been able to discover what is your plan. For heaven's sake, man, you must have some kind of plan. Do you know it yourself, or don't you? JACOB I should have liked to prepare you for it by degrees instead of blurting it out all at once. MES. LYNGGAARD You ought to understand, Peter, what this means to Jacob. LYNGGAAED Let me have it, Jacob. Let me have it righf in the face. I am ready for the worst. [^Jacob remains silent. LTNGGAAED There you see — you are not sure yourself ! — Lis- ten then to one more word before we close the dis- cussion of this matter. Bear in mind for once what the Lynggaard Distilleries have meant not only to our own family, but in the history of this country. They were established by your great-grandfather, Peter Jacob Lynggaard, who began as a young man in a miserable backyard in the old part of the city, with a single workman and a small boy to help him. Since that day, which should be treasured by you, as it is by me, as the most noteworthy day in the annals of our family — since that day three generations of us have labored unceasingly for the advancement of the business, so that today the plant is regarded as a model and an ornament to the country. Since that ACT n] LYNGGAARD & CO. 187 day the Lynggaard Distilleries have advanced un- ceasingly, and never — not even during the most serious crises — have they taken a single step back- ward. And why? Because we have always moved ahead with the time. And when now, after careful and mature consideration, we are changing the whole manner of conducting the business, then we are once more proving the strength of our vitality by moving with the time. And when, within a very short time, I shall take this significant step and thus conclude the transition to a new time that sees in the stock com- pany the most effective form of organization for a great industry, I shall also be fully conscious of my responsibilities, while at the same time I shall feel that I am acting in accordance with the spirit of my ancestors. — And now, Jacob, I ask you, as the future heir to the Lynggaard name and the Lyng- gaard traditions, to answer me frankly and honestly : What would you do if, at this moment, the business were your own.'' JACOB Then I should present it to the workmen's organiza- tion. LYNGGAARD Oh, that 's what you would do, my little Jacob ! Well, that was all I wanted to know. It 's time, then, that we get Heymann placed at the head of it. (^He intends to leave) MES. LYNGGAARD (^stepping in front of him) Peter! LYNGGAARD If you stand on your heads, it wiU nevertheless be as I have said. The company is formed. The formal 188 LYNGGAARD & CO. [act n organization takes place at f our- thirty ' this after- noon. MRS. LYNGGAARD (o« if paralyzed) What are you saying? JACOB This afternoon.'' LYNGGAARD Yes. MRS. LYNGGAARD When — was that decided.'' LYNGGAARD This morning. MRS. LYNGGAARD {with suddeu light on what has been happening) I see. JACOB Before you go, father, listen to a final word. I have come here to take up the fight against the world's injustice, and that fight is life to me. I have no power to force my views upon you, and you have no power to force yours on me, but you must know this much : that • from the moment you make Heymann managing director, I am no longer your son - — then you have once for all chosen between him and me. LYNGGAARD As you please. But there is one thing that you should know : I '11 rather go childless into my grave than witness the destruction of the business inherited from my ancestors. {He goes quickly into his own room) JACOB (for a moment he stands as if lost; then he sits down at the table, his eyes fixed in a hopeless stare; finally he rises again, looks around and says with ACT n] LYNGGAARD & CO. 189 deep feeling) Well, then there is nothing left for me to do here — MRS. LYNG6AAED Jacob — go up to your room and pack your trunk. Get ready to leave at once. [Jacob looks at her without comprehension of her meaning. MRS. LYNGGAARD It 's now my turn to give your father his choice. CURTAIN THE THIRD ACT The same room about three o'clock. Mikkelsen is seated in one of the easy-chairs, read- ing a newspaper. The door to the hall is opened and Edward Olsen is admitted by the Servant, who withdraws again on seeing Mikkelsen. oiiSEN {who remains standing in the background) Excuse me — MIKKELSEN {rising) Not at all. I am extremely delighted to see you again, WiU you please come nearer? OLSEN It was really Jacob to whom I wished to speak a few words. MIKKELSEN I don't think he is at home. But won't you sit down? Perhaps I can — OLSEN {seating himself) Thanks. Just for a moment. MIKKELSEN {who has olso sat down) Perhaps I might take a message for you? OLSEN As you please. Hm — Perhaps you recall our con- sultation this morning, Mr. Mikkelsen, and that Jacob offered me a more important position at the works ? ACT in] LYNGGAARD & CO. 191 MIKEELSEN I remember that there was some talk about a small job, but I don't think it has materialized yet. OLSEN Well — I have come to resign my position. HI£KEIiSEN Already? OlSEK I renounce it. MIKKELSEN Perhaps you prefer your former profession? OLSEN Far from it, my dear sir. MIKKELSEN Oh, you don't? OLSEN If you were familiar with my viewpoint, you would know that I am absolutely opposed to all one-sided trade specialization. It smothers — according to my own experience — the universally human in us. A steady position — no matter how good — you are tied by it. I shall have no time left. MIKKELSEN What are you having in mind, Mr. Olsen ? — You must do something to live. OLSEN Your remark is perfectly correct. WeU, for the present — this winter, at least — I intend to get through as unemployed. MIKKELSEN As unemployed! Well, I have heard of all sorts of occupations in my life, but — 192 LYNGGAARD & CO. [act m OLSEN For I must say that it has pleased me extremely to watch the interest with which our time is embracing the unemployed. This is a matter that has come very much to the front during the few years I have been away. I don't know, Mr. Mikkelsen, whether you keep track of all the latest movements of our time — MIKKELSEN Oh, yes. In a way. OLSEN I bought a paper ( taking out a newspaper from one of Ms inside pockets) and I must say that if, in these days, you want to keep up with your position as unemployed, then it is quite out of the question to undertake anything else. This is only for today, Saturday. (Looking for something in the paper) Here it is. Do you want to hear.'' " At 3 p. m. — Lecture for the unemployed. In the big auditorium of the Music Palace. Mr. Vestergaard of the Royal Theatre will read Shakespeare's Midsummer Night's Dream. Mendelssohn's music will be rendered by members of the Royal Orchestra. At 4 p. m. — For the unemployed. Lecture with stereopticon slides by Professor E. Petersen: The Digestive Apparatus of — " {he has to turn the page) MIKKELSEN ■ — of the unemployed. OLSEN " — of Man. At 6 p. m. — Opening of the Good Samaritan. The unemployed will be welcomed by Mr. Borch, member of the Stock Exchange, and Mrs. Blad (wife of Admiral Blad). An address of thanks ACT in] LYNGGAARD & CO. 193 on behalf of those present will be delivered by Mr. Henriksen, a workman of many years' unemployment who holds the record as guest of the Samaritan. Music has been promised by the band of the Royal Guards. At 7 p. m. — For the unemployed. The Dark Side of Modern Society will be explained by Aaron Hansen, B.S. At 8 p. m. — Free dancing classes for the unemployed," etc., etc. MIKKEISEN I must say that the programme is laid out with a great deal of care, OLSBN But it makes the day slip by, does n't it? MIKKELSEN Yes, Olsen, you 're certainly exposed to a great deal ■ of strain. As far as I can see, it will be necessary in the end to establish a Recreation Home for the Overworked Unemployed. OLSEN (pocketing the newspaper as he rises) Pardon me for breaking away, but I should like to take in the overture to the Midsummer Night's Dream. MiKKELSEN (^rising, too) Don't let me detain you, Mr. Olsen. (As he is about to escort Olsen to the door) Oh, that 's right, while I remember it. You seemed to be very much inter- ested in that fellow — Spartacus.'' OI-SEN I am thinking of him all the time. MIKKELSEN Are you familiar with the latest conclusions arrived at by science in regard to this matter.'' 194 LYNGGAARD & CO, [act m OLSEN Unfortunately I have not had the chance to keep myself posted during the last couple of years. MIKKELSEN It 's rather funny, I must say. For it has become possible to prove that Spartacus was not at all a son of the man whom he thought his father, and by whose dead body he took his famous oath. OLSEN {as if overcome) What is that you say.'' MIKKELSEN Don't you think there is something tragic about the way in which he — moved by a wholly false suppo- sition — went and wasted his powers and his life on a hopeless cause? OLSEN Why did you tell me that? Just now, when I was in such need of an exalted model. Just now, when I was seeing the goal so clearly ahead of me. MIKKELSEN To me it seems quite exciting to imagine what might have become of Spartacus — of a man with his ability — if one of those who knew about it had told him in time. OLSEN And he was the son of — whom? MiKKELSEN (with emphasis) He was the son of a very noble Roman. {Looks searchingly at Olsen) OLSEN You are hiding something from me — MIKKELSEN {shruggifig his shoulders) I don't know more than what I have read. ACT m] LYNGGAARD & CO. 195 OLSEN (squeezing his gloves as if he meant to crush them) Good-bye, sir — and thank you for your information ! (He goes out ) [MikJcelsen remains standing in the same spot in evi- dent enjoyment of the effect produced hy his words. LYNGGAARD (entering from his room) So you are home at last — thank heaven ! I have been looking for you. MIKKEISEN You look quite upset, my dear boy. What is the matter.? lYNGGAARD Don't ask me, MIKKEISEN Upstairs they are slamming the doors and puUing trunks about as if they meant to break everything to pieces. ITNGGAAKD The place has become a madhouse since yesterday. MIEKEIiSEX Is anything the matter with Jacob? LYNGGAARD Oh, you '11 think me a liar when I teU you. Harriet and Jacob, my wife and my own son — why, upon my soul it does sound like sheer insanity — they have been in secret correspondence with each other all the time while we were preparing to organize the company — they have formed a regular conspiracy against me. And then, when Harriet noticed that the thing was coming to a head, she wrote or tele- graphed for Jacob in order to have him here at the crucial moment. What do you say to that.? And the fellow comes flying in here as if shot out of a 196 LYNGGAARD & CO. [act m gun, and filled full of all sorts of undigested reforma- tory ideas — well, you heard him last night, did n't you? And he wants to stop the organization of the company and turn the business into some kind of socialistic cooperative venture. A couple of hours ago they arranged a regular family council. Jacob made a lot of noise, and he was backed by Harriet, who was just spitting and hissing with her old hatred toward Heymann. Great family upheaval! And then I told Jacob in a decent way to go to hell. MIKKELSEN Maybe that *s what they are making preparations for upstairs. LYNGGAARD And do you know what happened next.? Harriet be- came positively hysterical, and this is what it ended up in: that if the company is organized this after- noon according to schedule, then Harriet wUl leave on the night express, together with Jacob. She is, in all seriousness, going away from house and home. MIKKELSEN For how long.'' LYNGGAARD For how long.'' Forever. That is to say, until Hey- mann is driven out of the business. In other words, on her part it amounts to actual separation. MIKKELSEN So that 's what was coming. Well, I declare ! — In other words, you are given the choice between your wife and Heymann. LYNGGAARD Yes. It sounds like insanity, doesn't it.? But seri- ously speaking, what do you think I should do.? At ACT 11 LYNGGAARD & CO. 197 this particular moment, when my mind is full of a thousand other things — strikes, and the selling of stock, and so on — That 's what I wanted to ask you about. Do you think you can talk some reason into her? MIKKELSEN No, that 's something I have given up trying long LYNGGAABD Of course, as her husband I must have some means of controlling her. I am not familiar with the law, in its details, but I feel sure I can simply demand that she stay here. MIKKELSEN You should n't do that. LYNGGAARD But what do you want me to do? MIKKELSEN Let her go, my dear fellow. LYNGGAARD Are you talking seriously? MIKKELSEN I am. LYNGGAAED So you advise a separation — you, her own father ? MIKKELSEN For the moment, yes. I must tell you quite frankly, that even if you succeed in preventing her from going away, you '11 have a perfect hell in the future. Be- lieve me, for what I say is based on the marital ex- perience of a long life. When your wife develops sudden notions, you must submit at once. If such a notion is promptly satisfied, there is nothing fur- 198 LYNGGAARD & CO. [act m ther to it. For that reason I tell you: let her leave! And rather today than tomorrow. (After a brief pause) There is only one other thing I should advise. XYNGGAAEOD And that is? MIKKELSEN Let Estrid go with her. XYNGGAAUD Estrid.? MIEEELSEK Yes. LYNGGAAED But why.? MIKKELSEN Estrid is a sensible girl. You have to explain to her that her mother is ill, and so on. She must go along. LYNGGAAUD But if they don't want to take her along? MIKKELSEN She must go. Once she is on the train, I guess they won't put her off along the road. LYNGGAAH.D But I don't see what I gain by it. MIKKELSEN What you gain is that the whole thing gets a per- fectly natural and innocent appearance. Mrs. Lyng- gaard with son and daughter go to the South for the ^Winter. You will join them when the business per- mits you, and so on. And in that case I think it would be very strange if the whole matter didn't get smoothed out. ACT III] LYNGGAARD & CO. 199 LYNGGAARD You think so? MIKKELSEN Can you tell me what Harriet is to occupy herself with in the long run down there? Where is she to find her daily portion of worry? And as to Jacob — let him grow a few years older, and you will be- hold wonders. I have never yet, among grown-up men of the property-holding class, found any philoso- phy but that which asserts the validity of capital. And I should be very much mistaken if Jacob did n't some time find his peace in a gentle, progressive, safe and sane, socio-radical moderation. . . . Do as I say. Let it blow over. LYNGGAARD You have really taken a weight from my heart. I think you are right. I '11 go up and talk to Estrid at once. [Lynggaard goes out through the dinmg-room. Mikhelsen rubs his hands m glee at the good advice he has given. A moment later the Servant enters from Lynggaard's room. MIKKELSEN Are you looking for my son-in-law? SERVANT Mr. Heymann wants to speak to Mr. Lynggaard. MIKKELSEN Please show Mr. Heymann in here. {The Servant goes out to the right. Shortly after- ward Heymann enters from Lynggaard's room. He carries a portfolio under his arm. MIKKELSEN How are you, my dear fellow? (^Heymann returns 200 LYNGGAARD & CO. [act m his salute) My son-in-law will be here in a moment. Won't you sit down and wait? {They seat them- selves; then Mikkelsen says slyly) Why, the Under- Secretary came very near putting us in a hole — HEYMANN {unswermg in the same tone) It almost looked like it this morning — MIKKELSEN Well, things of that kind will happen. But now the company is as good as an accomplished fact, is n't it? HEYMANN Practically. MIKKELSEN So there is stiU something lacking.? HEYMANN We have still to have this protocol signed. They will be here in an hour {with a faint smile) : the Under- Secretary, Councillor Bang, the bankers Levison and Meyer, the lawyers, and a few others. Then we 'U sign. At six it will be announced to the heads of our departments — and that means the matter is finished. MIKKELSEN Are you quite sure now, Heymann, that nothing can interfere .'' HEYMANN It sounds almost as if you had something in mind. MIKKELSEN In your place I should n't feel quite so confident. HEYMANN {becoming serious) You mean that — ? MIKKELSEN In all such matters it seems to me that you can never ACT m] LYNGGAARD & CO. 201 feel quite secure until the signatures have had time to dry. HEYMANN Now you are a little too pessimistic, I think. Bar- ring earthquakes and other natural phenomena that cannot be foreseen — MIKKELSEN Earthquakes, you said. " Earthquake " is good. That 's exactly what the house barometer is indi- cating just now. HEYMANN (growiug serious again) Is anything brewing? MIKKELSEN (after a cautious glance around the room) I am your friend, Heymann, and I am also a friend of the house, and I believe it is to the advantage of both parties that I acquaint you with the conditions prevailing here just now. These are the facts. Jacob has returned, as I thought, for the exclusive purpose of preventing the organization of the company. He has become a socialist, and he wants to have the busi- ness run in a socialistic spirit, and he has the sup- port of my- daughter, who — has a fondness for that kind of ideas. Just now those two are staking everything to put their campaign through, and they have a whole hour left to labor with Lynggaard. HEYMANN Is that so.'' MIKKELSEN Well, what do you say now.? HEYMANN Oh, it 's lucky that Lynggaard knows how we are situated. He realizes just as well as I do, that the thing is practically inevitable. 202 LYNGGAARD & CO. [act m MIKKELSEN Perhaps that 's so, my dear Heymann. But there is something else you should know. The moment the company is formed and you are made managing director, my daughter will leave this house and her home forever. You can see that the matter has been carried to extremes — for it means a separation. HEYMANN {startled) Separation! Well, you must pardon my question, but do you think your daughter quite responsible in this matter? MIKKELSEN That 's a question I can't undertake to answer, but she has plenty of will power — having got it from me. At this moment Lynggaard has to choose be- tween his wife and you. What do you say to that? HEYMANN All I can say is that I hope, both for his own sake and for the sake of the business, that Lynggaard does n't lose his nerve at the crucial moment. MIKKELSEN That 's very nice of you, Heymann. But as far as you are concerned, you don't care in the least? HEYMANN I wouldn't say that. As long as I am connected with the business here, I am, of course, interested in its continuation and advancement. But in regard to this matter I cannot do anything beyond what I have done. I have no right to meddle in family affairs, and shall have no reason to do so. But this much is clear: if the company does not materialize, and if the intention is that Mrs. Lynggaard and Jacob are to conduct the business hereafter, then it ACT m] LYNGGAARD & CO, 203 is out of the question for me to let my future be tied up with it in any way. I shall then resign at MIEKELSEN AU right. But personally you would prefer that the company was formed? HEYMANN Yes. MIKKELSEN That 's also what I supposed. And when L'ynggaard consulted me a moment ago, I advised him calmly to let his wife take her departure. Well, perhaps you consider that a strange piece of advice, consider- ing that Mrs. Lynggaard is my only daughter. . . . HEYMANN I think your advice very sensible in every respect. MIEKELSEN I must say, you are not troubled by any senti- mentalism. HEYMANN To be so would not be wise. For I have to teU you quite candidly, that the decision to be made means a whole lot more to Lynggaard than to me. To the business it means life or death — and that 's as plain as I can put it. MIKEELSEN Oh, is that the state of affairs? But do you really think that you have made the entire bearing and scope of the situation sufficiently clear to my son- in-law? HEYMANN (cauUousli/) What do you mean by the entire scope of the situation? 204. LYNGGAARD & CO. [act in MIKKELSEN I mean simply — - so completely that he understands it. HEYMANN I have made it as clear as I could. Of course, I have been more careful and considerate in my expressions than I am to you now — but the figures that accom- panied my reports were not to be misunderstood. MIKKELSEN Then we '11 have to rely on the force of those figures. HEYMANN But how strongly Lynggaard may cling to his prin- ciples at the critical moment — that 's quite another question. MIKKELSEN (^CTaftilt/) If I know you at all, Heymann, you have got a final trump of some kind up your sleeve for an emergency. HEYMANN I cannot quite make out what you have in mind, Mr. Mikkelsen. MIKKELSEN Nothing definite — I am merely thinking of some sort of bond that would form a close tie between Lynggaard and yourself. HEYMANN I have nothing but the rational arguments — very good ones, too — which I have been using aU the time. MIKKELSEN Rational arguments ? — Rational arguments don't count for much in this world, Heymann. A single hypnotist can do more with a brass button on which ACT m] LYNGGAARD & CO. 205 he lets the light play, than ten philosophers with their rational arguments. HEYMANN That trump to which you referred — of what nature could it be? MIKKELSEN Now, for instance, during the transactions of this afternoon — of course, without resorting to any ex- cessive capitalization could n't one-half of a million, or some such little sum, be left free? HETMANN One-half of a million ! Why, it 's rather late in the day. And what good would it do anyhow? MIKKELSEN It might be turned into just such a brass button for Lynggaard to gaze at until the trance comes. HEYMANN Are you thinking of some additional art acquisitions. MIKKELSEN I am thinking of a gallery, my dear fellow, with the name of Lynggaard in gUt letters abo'-'e the entrance. HEYMANN (^with « suhtlc smile) Unfortunately I have to use that trump — further on in the game. MIKKELSEN You have my respect, Heymann, Your plans are becoming a little too vast for me. I can see that you have outgrown not only my small primer in arith- metic, but the " larger course " too. HEYMANN Perhaps. And I don't doubt that I '11 get the com- pany organized. But there is another feature of the matter that I don't see what to do about. For if I 206 ^LYNGGAARD & CO, [act m put through what I want, the situation afterward will become just as unpleasant on account of these domestic disturbances. MIKKELSEN Well, I thought of that, too. It may easily become very annoying to Heymann, I thought. And for that reason I gave my son-in-law another piece of advice. HEYMANN And that was? MIKKELSEN That when his wife and Jacob leave the house, he should let Estrid go with them — in order to pre- serve the appearance of domestic harmony. HEYMANN (smiUng) I think I still have something to learn from my old teacher. — But do you also expect the young lady to be wUling? MIKKELSEN If nothing else will help, I hope you, will know how to make her see what a tremendous lot is at stake here. \^Estrid comes rushing in from the hall. ESTEiD (beside herself and speaking while still im the doorway) Oh, grandfather, I want you to help me! MIKKELSEN (rising quickly and going to meet her) But what is the matter, my dear? ESTRID Father wants me to go away this evening with mother and Jacob, and I don't want to. I don't want to, I tell you. There is something behind it that I am not to know. I don't want to! (She stops suddenly as she catches sight of Heymann, who has also risen) ACT m] LYNGGAARD & CO. 207 MIKKELSEISr I fear you '11 have to do it just the same, Estrid dear. ESTEID But what in the world is going on here? MIKKELSEN I think Mr. Heymann can explain that much better than I. Pardon me a moment. — I '11 be right back. (^He goes out to the right) ESTRID (looking at Heymawn) Yes, there you are — eavesdropping ! HEYMANN Well, how could I help it, considering the way you have of taking people unawares.'' (In a lower voice) But if you only knew how becoming it was to you to come flying in like that, you would n't be looking as angry as you are now. ESTEID ( trying to he conventionally polite) Won't you be seated, Mr. Heymann.-' I think my father will be here in a moment. HEYMANN (in the same tone, but with a suggestion of a smile) Thank you. Miss Lynggaard, the honor is almost more than I can accept. \They sit down. Pause. ESTEID It looks as if we were going to have a beautiful Fall — 1 HEYMANN Uncommonly beautiful. I don't know, Miss Lyng- gaard, if you study the reports of the Meteorological Institute — the barometer is high all over Europe — ESTEID I am very much interested in the metro — metro — 208 LYNGGAARD & CO. [act m HEYMANN Meteorological — Yes, the word is a little hard. ESTRID I know perfectly how to spell it, Mr. Heymann. [^Pause. HEYMANN (looTcmg at his watch) Your father does n't seem to be coming. I am sorry, but I have to interrupt our pleasant conversation. {^Rising) I wish you a happy journey. Miss Lyng- gaard. ESTEiD {her voice trembling) Why has everybody all at once become so cruel to me? (^Rising) It 's perfectly wonderful how easy it is for the world to do without one. I used to think my being here was a pleasure to some people — at least to father and grandfather. But no ! Not one of them cares the least when I go away. I think this is a nasty world! HEYMANN But it may happen at times, Miss Estrid, that a per- son has to sacrifice himself. ESTEID I don't think tfou ever did it. HEYMANN My purpose has always been laid within myself. ESTaiD Yes, to make oneself important, that 's the thing ! — Mother is no more ill now than she has ever been. Until now father has never been able to get her to travel. No, I just won't do it! Now I'll go up and tell them at once, so that they '11 understand it. They can't drag me out of here, can they.'' What was that you said. J* Something about purpose — ACT m] LYNGGAARD & CO. 209 HEYMANN Suppose I should ask you to go tonight — ask you to do so for my sake. ESTBiB {^eagerly) Are you going along, too? (Then her own question fills her with embarrassment) HEYMANN (smiUng) No, I stay. ESTEID That superior smile is not at all becoming to you. HEYMANN It was only an association of ideas that made me very happy. ESTKID You ought to be ashamed of yourself. — Will you answer me honestly : what are they trying to do with me? HEYMANN It would be hard for me to tell you in a rush like this. Why, somebody may come at any moment. But I beg of you: do this, not for anybody else's sake, but for my sake ! ESTEID All right, then. I '11 submit — for your sake. HEYMANN Thank you. When the time comes, I shall explain what you have done for me. ESTEID (lingering) Then I '11 go up and pack. Good-bye ! HEYMANN Good-bye ! ESTEID You are looking so strangely at me. 210 LYNGGAARD & CO. [act in HEYMANN I am thinking of the fact that what neither your father nor your grandfather could get you to do, you are now doing because I asked you. ESTRiD (^casually) It 's stupid of me, I suppose. HEYMANN (^somewhttt disappointed) Well, good luck on your trip, then! ESTEID Now you have that strange look again. HEYMANN Will you promise to think of me now and then out there — ESTEID I cannot quite make you out, Mr. Heymann. Some- times I think you are nice, and sometimes I think you are just as bad as — what shall I say? — as a cat playing with a mouse. HEYMANN And yet I am about to commit a great folly at this moment — ESTEID (misimderstanding him) Oh, you don't commit any follies, Mr. Heymann. HEYMANN It seems all at once as if I were buying high and selling low — and that is something a business man hardly . . . ESTEID I don't understand what you mean. HEYMANN No — there is something I must teU you before you go. (^Looks at her lovingly) ACT m] LYNGGAARD & CO, 211 ESTKiD (closing her eyes and putting one hand to her forehead, she says in little more than a whisper) Tell it! HETMANN I love you. \^With sudden abandon of all resistance, Estrid throws her arms aroumd his neck. HEYMANN (caressiug her hair) Essie dear! ESTEID Oh, you should n't say that yet, Mist — George ! — Please say it again! ESTEID Essie, my dear little girl ! ESTEID (tearing herself loose) Grandfather must know this. HETMANN So he shall, but not at once. We must wait a while yet. ESTEID Why? HEYMANN There is something I have to arrange first. ESTEID What is it? HEYMANN A great plan in regard to the business, which I must get your father to approve, and it might hap- pen that he opposed it in the last moment. ESTEID Yes, but if you only tell him — HEYMANN But to use my new position in this house is just what I don't want — 212 LYNGGAARD & CO. [act ni ESTRID But why not? HEYMANN Come here and let me whisper it to you. [Estrid nestles close to him. HEYMANN Because I love you so much. I don't want to have you mixed up in our week-day affairs. ESTEID I suppose it must be right when you say so, you who are so clever. — But I must go after all.'' HEYMANN I am afraid you must. But I think I can explain the whole matter to you before you leave. Will you promise me one thing, Estrid.'' ESTRID Thousands of things ! HEYMANN Will you continue to love me, no matter what hap- pens in this house today.'' ESTRID Hush! [Mrs. Lynggaard enters from the dining-room and stops in surprise at seeing Estrid and Hermann all by themselves. ESTRID {assuming a tone of indifference) Well, good-bye, Mr. Heymann, and take care of yourself. I suppose we won't see each other again before I leave. {Holding out her hand to him) HEYMANN (w ffl svmUar tone) I hardly think so, Miss Lynggaard. I hope you '11 enjoy the trip. ACT m] LYNGGAARD & CO. 213 MES. LYNGGAAaD (to Estvid) May I ask where «/0M are going? ESTBID With you and Jacob, of course. I decided, after all, to go along. MES. LYNGGAAED May I ask who has made this arrangement? ESTEID Oh, father is bound to have it that way. HES. I.YNGGAAED Is that so? Will you do me the favor, Estrid, to ask your father to come here at once? He is in grand- father's room. j^Estrid goes out through the dining-room. Mrs. Lynggaard rings for the Servant, who enters a mo- ment later. MES. XYNGGAAED (to the Servant) ' Please ask my son to come here at once. [The Servant goes out. Pause. HEYMANN (taking up the portfolio) Perhaps you would rather see that I waited in your husband's room, madam? MES. lYNGGAAED On the contrary, I prefer that you remain here. HEYMANN As you wish. [Pause. Lynggaard enters from the left. Scenting a storm, he makes straight for Heymann. liYNGGAAED Oh, my dear Heymann, I hear you have been waiting ever so long. Why did n't you send for me? 214. LYNGGAARD & CO. [act HEYMANN It did n't matter at all. I have had excellent coi pany. [Jacob enters from the hall. LYNGGAAKD Is that the protocol concerning the organization? HEYMANN It is. LYNGGAAKD That 's splendid. Suppose we go into my room. MRS. LYNGGAARD Peter, I should like to say a word before you ai Mr. Heymann go. LYNGGAARD Well, Heymann, step into my room for a moment, MRS. LYNGGAARD What I have to say concerns Mr. Heymann too. LYNGGAARD {alarmed) What is it, my dear.'' MRS. LYNGGAARD Only this — that if you think you can get out i this by sending Estrid with me, you are very mui mistaken. LYNGGAARD {^Unpleasantly impressed) My dear Harriet, it has not been our custom settle family affairs in the presence of outsiders. MRS. LYNGGAARD No, we have n't done so, but if we have to do it no you know very well with whom the fault lies. Evi in such a matter as this idea of giving me Estrid fi company, I can discern Mr. Heymann's conduct the business. And that 's something you would nev have discovered for yourself, Peter. ACT III] LYNGGAARD & CO. 215 LYNGGAAED (^irately) What are you talking of? HEYMANN (speaking simidtaneously with Lynggaard) Madam — ! LYNGGAARD I have to apologize to you on account of this painful scene. My wife is overwrought and extremely ner- vous these days, I am sorry to say. MES. LYNGGAAED You may spare all your apologies. But one thing is certain : Estrid must be kept outside of all this ! LYNGGAAED You don't know, Harriet, how painful all this is to me — MES. LYNGGAAED It is n't any less painful to me. But it has to be said. (Raising her voice) And now I ask you for the last time, Peter : for whom do you care more — your son and your wife, or that strange gentleman over there.'' LYNGGAAED But that question is a piece of insanity, Harriet — sheer insanity! MES. LYNGGAAED {with increasing force) There is the protocol that was to be signed. All right. If you throw it into the fire at once, so that I can see it burn, then you '11 save what can stiU be saved of our relationship. If not, then it 's all over — all over. But, you understand, I want to see it burn! LYNGGAAED ( Ms voice showing serious concern) My dear Heymann, my wife's trouble is more serious than I thought. Please telephone and call off the 216 LYNGGAARD & CO. [act ii meeting. You '11 have to ask them to pardon us fo: postponing it on such short notice. Things havi happened within my family — of such a nature tha' it is impossible. Will you do me that favor? MRS. LYNGGAARD (stepping in between) No postponements! Now or never! I want to se( that protocol burn ! LYNGGAARD (^trying to calm her) My dear Harriet, you are not well — JACOB Don't let us carry matters to an extreme, mother There is a whole lot to be gained by a postponement HEYMANN I agree completely with Mrs. Lynggaard. This mat ter will not bear a postponement. You '11 have t( decide at once, on the spot ! LYNGGAARD {suddeuLy assuming an air of superiority I want the matter postponed. HEYMANN I didn't think I should have to remind you of i1 my dear Lynggaard. For you ought to know jus as well as I, that this decision means life or deat to the entire business. LYNGGAARD I don't know anything of the kind. HEYMANN But you have to admit — LYNGGAARD I admit nothing at all. HEYMANN All right, then. Let it go at that. I have only t point out to you then, that as soon as you abando the plan of forming a company, which we have no ACT ra] LYNGGAARD & CO. 217 had in preparation for six months, then I feel com- pelled to resign at once. A business conducted by your wife and son, that is something on which I cannot base my future. LYNGGAARD Conducted by my wife and son — .'' MES. LYNGGAAED There you see, Peter! The whole thing is nothing but purely selfish speculation! HEYMANN Of course. What in the world could I base my actions on, if not on purely selfish speculations.'' Can you tell me that.? JACOB There are nobler motives in life, Mr. Heymann, but perhaps you are not aware of them. HEYMANN Will you please name them.'' JACOB The sacrifice of oneself for greater purposes is one of them. HEYMANN Well, that kind of luxuries may be afforded by you and those who, like you, have been horn to a position and who have never had to fight for their existence. But I, who have raised myself from the very bottom to where I am now — I have had nothing but myself and my own ends to cling to. And besides, that 's something yoti have good reason to be thankful for. LYNGGAAED My dear Heymann, don't let us push the matter too far. I should regret to have this day break" up a 218 LYNGGAARD & CO. [act m relationship that has lasted many years and that I may even speak of as one of personal friendship. HEYMANN I should regret it, too. But in the situation facing us at this moment, there is more, much more involved than either you or your wife seem to suspect. LYNGGAAED What do you mean by that? HEYMANN For that reason I think it better, under existing cir- cumstances, to let you know the entire scope and bearing of the matter. And if I have not done so before, it was because I thought it to the advantage of all parties concerned that I kept back as much as I have. But, of course, we can't stand here like chil- dren talking back and forth about a thing we don't understand. So I must ask you to listen quietly to me for a few moments. — You are familiar with the manner in which, during recent years, we have had to compete with the Consolidated DistiUerie's. When, at one time, they approached us for the pur- pose of an agreemeht about minimum prices on all products, you rejected their overtures scornfully — I don't even think you answered them. LYNGGAAED Of course not. HEYMANN I don't know if that was such a matter of course — but that 's what you did anyhow. I had nothing to do with the matter — you did n't even ask my advice at the time. lyYNGGAAED It was out of the question for the firm of Lynggaard ACT m] LYNGGAARD & CO. 219 to act as if it recognized, or even suspected, the ex- istence of such robbers. HEYMANN But a little later their existence was brought home to us pretty hard. lYNGGAAED It 's all a question of time, my dear fellow. How long do you think they can keep it going? HEYMANN (with o shrug of Ms shoulders) That 's exactly what I wanted to let you know now. Last year, about this time, I received from the Con- solidated Distilleries an offer of the position as man- aging director. ZYNGGAARD What! And you never told me a word about it .J" MES. LYNGGAARD There you can hear. It *s getting better and better ! HEYMANN I refused their offer. lYNGGAAED Oh, of course — the only thing wanting would have been that you had accepted it, too. HEYMANN I don't know what gives you the right to take that for granted. LYNGGAARD I consider it the meanest form of competition that I have ever heard of in all my days. To undersell, to overbid, to bribe — oh, the devil take it ! HEYMANN It seems to me that your remarks are not, what I might say, quite to the point. Mercy, man, neither of us was born yesterday, I guess ! And we know 220 LYNGGAARD & CO. [act m that morality is one thing and business morality another. LYNGGAARD I think, Heymann, that their offer was nothing less than an insult to you. To suspect you of forgetting all that you owe this firm . . . HEYMANN I don't owe you anything whatever, my dear Lyng- gaard. The moment I leave here, it will be you who are in debt to me. MRS. LYNGGAARD Well, I declare ! LYNGGAARD I must say ! — You seem to forget, my dear Hey- mann, that you were nothing but a student just out of college when you began your career here way down at the bottom; that in the course of fifteen years you have been promoted year after year ; that you have outstripped everybody else until you now hold a position of higher responsibility than anybody else in the business. HEYMANN I have not at all forgotten, Mr. Lynggaard. But I hope you don't think me blind to the fact that this dazzling advancement was granted me out of regard not for me, but for yourself. You had a use for me, and you have used me — and there is nothing to be said against that. — However, I refused that offer which, financially, was quite attractive, and very flat- tering besides — although this is something I don't put much stress on — for as a rule a man gets more appreciation from those with whom he is not con- nected. In reply to my refusal they told me I can ACT m] LYNGGAARD & CO. 221 have the position any time I care to take it. Which means that if I so choose, I can become managing director of the Consolidated Distilleries at this very moment, MES. LYNGGAAED Are you going to stand that, Peter? LYNGGAARD Is that a threat.'' HEYMANK Now you are underestimating me, my dear Lyng- gaard. When I refused that offer last year, and did n't even use it to make my position here more independent and more remunerative — XYNGGAARD I don't think you have any reason to complain of your salary, Heymann! HEYMANN Oh, don't let us waste words on the trifling sums that I have received from time to time. XYNGGAAED Trifling sums ! The salary of a cabinet minister ! HEYMANN Well, if you must enter on that question, Lynggaard, then I think that, if the account between us were balanced — on one side what you have paid out to me, and on the other what I have brought the firm of added income during the same time — then I think you would be owing me a small fortune. But please don't let us waste time on that kind of useless con- sideration. — When I refused that offer, I did so because I had more far-reaching plans. LYNGGAARD Dare I ask what those great plans were.'' 222 LYNGGAARD & CO. [act m HEYMANN Yes, my plan had in mind the combination of all the big distilleries into one business. LYNGGAAUD I thought that was what the others proposed. HEYMANN To complete the trust and control the entire market, we lack — the Lynggaard Distilleries, LYNGGAAKD (thuTiderstruck) The Lynggaard Distilleries ! Do you hear that — the Lynggaard Distilleries ! You must have lost your reason, Heymann. That 's — why, that 's sheer megalomania ! HEYMANN I foresaw that you would take it in that way, Lyng- gaard, and it is just to make the transition as easy as possible for you, that we are to form a stock company this afternoon. XYNGGAAKI) If the whole matter did n't strike me as ludicrous, Heymann, I might be tempted into using some pretty strong expressions about you and your behavior. HEYMANN Ludicrous is not the word for it, Lynggaard — the situation is too tremendous. You see, all this I wanted to spare you, and out of personal devotion to you, I chose a rather circuitous approach instead of making straight for my goal. Once we had got to the stock company, then I thought that the next step — our entrance into the trust — would not seem such a great leap. And if I am now forced to lay open the entire project In a single stroke, the ACT ni] LYNGGAARD & CO. 223 fault is not mine — it is your wife who has to hear the responsihility. MRS. LYNGGAARD Peter ! JACOB (speaking at the same time as his mother) Have n't you had enough of this, father ? LYNGGAARD It is really touching, Heymann! HEYMANN But even as the matter stands at present, you may perhaps be able to see that I am the master of the situation, and not you: that it is for me to decide when we shall buy out your business, and how much we shall pay for it. LYNGGAARD But we won't sell, my dear boy, we won't sell. The Lynggaard Distilleries are not a piece of merchan- dise. The Lynggaard Distilleries are — they are an institution, a sort of inalienable inheritance. HEYMANN Nevertheless it would be better for you to think it all over again while I am still here. For personally I should find it very unpleasant if some day I had to give you the choice between selling out and getting crushed. ' LYNGGAARD (beside himself, pointing at the door) Mr. Heymann! HEYMANN As you please. (He throws the portfolio on the table) There you are! Good-bye! (Goes out to the right) CURTAIN THE FOURTH ACT The same room about five o'clock m the afternoon. Lynggaard is standing in the middle of the floor, busjly engaged in relating what has happened. MikJcel- sen is seated in an easy-chair near the table at the left. He is deeply interested and evidently enjoying the tale. LYNGGAARD Well, that 's how it happened. And how does a thing like that come to happen? One word leads to an- other. One, two, three — and it has happened. MIKKELSEN It means, then, that the softheads are in control . . . LYNGGAAKD Don't you believe it ! If you do, you don't know me very well. And if Harriet and Jacob imagine any- thing of the kind, they '11 find themselves mistaken. (Zre a superior tone) But they will soon be made acquainted with the situation, which involves a great deal more than they suspect. — No, now as ever there is only one will that rules, namely my own. . . . But nevertheless it provokes me to have that blatherskite come prancing around here as if he were in a position to threaten me. MIKKELSEN Did you part irreconcilably.? LYNGGAARD (fls if Sampling the taste of the word) Irreconcilably.'' You know how I am. I lose my ACT iv] LYNGGAARD & CO. 225 temper — but I don't carry a grudge. After a couple of days I have forgotten all about it. MIKKELSEN So it did n't come to a final breach between you? LYNGGAAED Oh, don't you understand, it 's that sort of a situa- tion — afterwards it 's impossible to recall the exact details. Perhaps I did act rather overbearingly toward him — for really I could n't take him quite seriously, and, of course, he was feeling a little squashed when he left. MIKKELSEN I see. Well, my experience is that you should never in the world let it come to an actual breach. It means nothing but a throwing away of your most powerful weapons. LYNGGAARD But what provoked me most — and, of course, made it pretty hard to keep my temper — was when he came to Tne, who has taught him the business, and bragged about his great plan, as he called it — and then it proved to be nothing but a good old idea of my own. MIKKELSEN (completely surprised) Have you been thinking of a greater combination.'' LYNGGAAKD I have not been thinking of anything else for the last two years, my dear sir. The stock company was to be the first step, don't you know — MIKKELSEN I must say that I could never have believed it. Well, well! — Have you ever confided your plans to him."" 226 LYNGGAARD & CO. [act iv LYNGGAAED I suppose I must have been dropping hints. MIKKELSEN Well, well, otherwise I thought that your principal idea was to keep the family name alive among future generations. The name of Lynggaard — lYNGGAAED And for that very reason it was to be : " The Con- solidated Distilleries, Lynggaard & Co." MIKKEIiSEN Really, that is n't bad ! LYNGGAARD And then that bungler comes here and wants to spoil the whole thing for me. I have to admit — that was the hardest blow of aU. MIKKELSEN Yes, I can understand that. He would be capable of calling it Heymann & Co. LYNGGAARD But now we '11 show our little Heymann a thing or two. MIKKELSEN Yes, it will be very exciting. LYNGGAARD It 's clear that I have largely myself to blame. I gave him too much of my confidence. Toward the last there was n't a detail of the business with which I had not acquainted him. And, of course, that was an error. You ought never to have anything but specialists around you — as many specialists as possible. It 's more than a fellow like that can stand. And in the end he thinks himself indispensable — and so he jumps the traces. ACT iv] LYNGGAARD & CO. 227 MIKKELSEN Of course, Heymann did prove himself very capable. And I suppose you '11 feel the competition when he goes over to the others. For after all, it was he who kept them at bay in the past. lYNGGAAED That 's what they have in mind, of course, but those gentlemen forget that in the past they had only Heymann to reckon with, and now they '11 find me at the helm ! MIEEEItSEN Oh, yes, that does make a difference. — However, in one respect you do Heymann wrong. ITNGGAAED In which respect? MIKKELSEN I had a talk with him a short while ago — lYNGGAAED Have you — have you talked with him after — ? MIKKELSEN This was before the smash-up. lYNGGAAED (^mth disappointment) Oh. MIKKELSEN Part of what he said seemed rather obscure to me at the time, and it is only now I can grasp the full implication of his words. We were just speaking about the name of Lynggaard. And it seems to me that there was a great deal of sense in what he said. For three generations now, he said, the name of Lynggaard has stood for unlimited confidence on the Exchange, while in the history of the country it has stood for the ascendancy of the great middle class. 228 LYNGGAARD & CO. [act i But with you, Lynggaard — and those were his ow words — the name has reached its culmination. LYNGGAAED Possibly ! And it won't be easy to carry on the tas I leave behind me. MIKKELSEN In the future, he said, family names will cease t count. The industrial form of the future will be th stock company and the trust. And just for tha reason he thought that you ought to end monumer tally, so to speak. And in memory of the famil that has reached its climax in you, and also in meir ory of that phase of universal history of which yo form the culminating point, he wanted to build museum on publicly owned ground, bearing the nam of Lynggaard in golden letters above the entranci LYNGGAARD And the money.'' MIKKELSEN That 's what I asked, but that one-half of a millio more or less did n't seem to bother him. Oh, dea me, in a case like this, where such tremendous value are involved, all that 's needed is -the rounding-o: of a sum here and there to produce your extra on( half of a million. Of course, you don't reckon wit decimal fractions in the promoting of stock con panies. — Well, the idea is, after all, your own. Tl: Lynggaard Distilleries, which have sprung from tl. labors performed by three generations in the servic of their country, he said further — they cannot 1: valued in money. Even if you fixed the sum at th or that, without stinting it, there would nevertheles remain a certain debt of honor. There is somethin ACT iv] LYNGGAARD & CO. 229 about it which cannot be repaid in money — some- thing like the debt which a nation incurs toward a great and rare artist. LYNGGAAED That *s exactly what I have felt myself. [Pause. MIKKELSEN I thought it was my duty to tell you about this — just now. LYNGGAAED It 's perfectly right, all of it — if only he had not lost his head. [Mikkelsen shrugs his shoulders. Pause. MIKKELSEN And how about the strike? What bearing wiU all this have on the strike? LYNGGAAED The strike? Oh, it will be on at six o'clock — I should be very much mistaken if that does n't prove Heymann's first move against me. MIKKELSEN Yes, he 's devilishly clever, that fellow. — Where 's Harriet ? LYNGGAAED She has gone to the Good Samaritan. It 's to be opened today. MIKKELSEN Yes, that 's the way of the world. As one door is slammed, another is thrown open. At six you close the shop to your workmen ; at seven she serves them hot supper. [The telephone rings m Lynggaard's room. LYNGGAAED The telephone! 230 LYNGGAARD & CO. [act MiKKELSEN {rising) Don't let me keep you. I '11 go up and rest a lit before dinner. [Lynggaard goes into his room. Mikkelsen goes o through the dining-room. A few moments later M; Lynggaard and Jacob enter from the hall, Lyn gaard comes back from his room. liYNGGAAED {letting his face drop into folds of fatig at the sight of his family) Oh, there you are ! MES. LYNGGAARD How are you, dear? You look so tired. LYNGGAARD {with the looks of a martyr) Please don't mind me. MRS. LYNGGAARD Don't you think it was a perfect miracle that was forced to show his true colors at last.? LYNGGAARD Indeed. MRS. LYNGGAARD I assure you, I feel more at ease than I have done many and many a year. It seems positively as once more the air in our home had become fit breathe. LYNGGAARD Yes, if we could only live on air, Harriet. JACOB You '11 see, father, that when all of us take hold ai work together, you and mother and I — MRS. LYNGGAARD I am so thankful that your eyes have been openi at last, Peter. I only thought you dealt too gent with him. ACT iv] LYNGGAARD & CO. 231 LYNGGAAED Yes, you talk and you are happy — if only the serv- ice you have rendered me does n't prove a little awkward, my dear friends. MES. LVNGGAAED I shall never regret what I have done, Peter ! Never ! And some day you will thank me for it. JACOB Didn't you hear, father, that you and the business meant nothing to him, and his own lust of power everything? It seems to me that what cleverness he has is like a two-edged sword. lYNGGAAED What is done, is done, and I am perfectly ready to shoulder the blame, but nevertheless I regret it. — The fact of it is, that I — at least in the last few years — have been a solitary man in my own home. And the terrible consequences of it have been brought home to me today. MES. liYNGGAAED It is n't my fault that you have n't trusted me, Peter. I have warned you against him these last ten years. So in that respect my conscience is at peace. LYNGGAAED Warned, warned! Don't you think, Harriet, that I can see for myself? I saw a whole lot more than you — but I closed my eyes to it. MES. LYNGGAAED Then I don't understand you at all, Peter. lYNGGAAED I saw everything, Harriet. I saw, as the years went by, that I should have no successor within my own family. I don't want to say anything against you, 232 LYNGGAARD & CO. [act i Jacob, but one who is a dreamer and a visionary can not conduct a big business when the competition de mands that the man at the head wake up keen an( bright every blessed morning. I saw that Heymani was a man of future, and I tried to tie him to m; service by the strongest interests possible. MES. LYNGGAARD And he has abused your trust in him shamefully. I/YNGGAAED Not shamefully. If he did abuse my trust, he di so with great tact and consideration — that much must grant him. Every improvement 'he made — h always let it appear that it was my plan he wa carrying out, and he did so without a wink. H always let me feel that I was master of my owi house, and that is a feeling one learns to appreciat when each passing year makes it clearer that the fac has turned into a fiction. He was as considerate — as a son should be toward his old father. Mas. LYNGGAARD That you can still be so deceived — ! LYNGGAARD Then you and Jacob, my wife and son, pushed in lik two outsiders who don't understand. I don't re proach you — but I '11 tell you what it was you die for I don't think the truth of it has ever occurrei to you. You forced us — Heymann and myself — t unmask. Just that — to unmask ' — which was some thing we had never done before, not even betwee ourselves. {Pause) If it had n't come to this smasl up, then, you see, I should have had a care-free ol age, and you, too, would have been provided fo when I died. For appearance's sake, Jacob, I sec ACT iv] LYNGGAARD & CO. 233 you abroad to study the conditions out there. I did n't expect much to come out of it, but I wanted so badly to have one of my own name among those at the head, even if there could only be a semblance of reason for his presence. There you have the ins and outs of it! — In a few years I shall be an old man. And, of course, it is a little hard at my age to have, once more, to pick up something to which I have actually been a stranger for years. But I shall do it without complaint — JACOB You call me a dreamer and a visionary — LYNGGAARD You are twenty-five, Jacob, but I have not yet seen you produce the equal of our smallest coin in value. JACOB Well, if it depends on that, father, then it seems to me that you yourself have been a dreamer and a visionary, too. What has been the aim of your life.'' Not to produce anything of value — I guess years have passed since you did anything of the kind, and you have n't needed it either. Has not your aim been to gather beauty within your own walls.'' All this beauty you have gathered here — does it not represent the dream of your life.'' I, too, have my dream — to create human happiness. So I fear that either one of us is just as much a dreamer as the other. LTNGGAAED {olmost flattered, but still speaking in a melancholy tone) Perhaps you are right, my boy. Perhaps I am also a dreamer and a visionary. All right. Then I 'U sacrifice my dream to yours. Go ahead — the business is yours. 234 LYNGGAARD & CO. [act iv JACOB What do you mean, father? LYNGGAAED Everything is ready for the sacrifice — everything. You may sell every scrap of my collection if it will enable you to buy human happiness. MRS. LYNGGAAKD (^admiringly) Peter! LYNGGAAED (waving aside her approval hy a discreet movement of his hand) For the present I think we shall have our hands full keeping our heads above water. For now, children, there will be war to the hilt — something we have n't had before. At six o'clock the strike begins. MES. LYNGGAAED The strike! LYNGGAAED Yes, I have just received a telephone message. The negotiations with the men have been broken off. MES. LYNGGAAED That is Heymann, of course — LYNGGAAED Yes, that 's Heymann. It is his first blow. [Pause. JACOB What does this strike mean to us, father? LYNGGAAED To begin with, it means one thousand crowns a day out of my pocket. MES. LYNGGAAED And the men — think what it will mean to the men, Peter ! And think of the relations between them and US — strife and hatred where there might be good- will and mutual understanding. ACT iv] LYNGGAARD & CO. 235 JACOB It must be stopped! liYNGGAAUD How are you going to stop it? JACOB Are the demands of the men so unreasonable, then? Are they impossible to meet? lYNGGAAED They are unreasonable because they are impossible. Under existing conditions absolutely impossible. Even if I should overlook the fact that I am bound by the action taken recently by the employers' or- ganization — suppose, I say, that I overlook this, and accede to the demands of the men — then it might still be possible to come out ahead, in spite of the low prices our products are now bringing. But the moment I did so, Heymann's next move would be to press down the prices still further, and the result would simply be that we had to run at a loss. That's life! JACOB But it ought to be possible to explain this to the men. liTNGGAAED Explain to the men? Do you think they are moved by reason and insight? No, they merely take orders from headquarters. Of course, if you could get them to break away from their union — but the man who can do that is not yet born. No, my boy, there are things in this world that are impossible, JACOB I am going to try the impossible! 236 LYNGGAARD & CO. [act iv LYNGGAAED Are you crazy? JACOB I am going to them. I '11 speak to them. Speak like a comrade. Explain the circumstances to them as they are. Say to them : this is how it is, my friends. If you '11 be patient and give us time, so that to- gether we carry the load and the loss through this critical period, then you shall also share in the re- ward of the struggle when the day of prosperity comes. Just let me talk to them. I know what words can achieve with them. Did n't I see it at Birnbach.'' I '11 explain all my plans for the future to them. We shall come to have a position all apart. We shall be at the head of the onward march. You 'U see that they '11 understand. For it will be a question of helping to build up their own future. lYNGGAAaD I don't believe they '11 understand a word of the whole matter. JACOB I can feel that I shall succeed. For as I am going to speak, no one has ever spoken to them. No one belonging to our side. And you can be sure it will impress them to discover that what I have to say is n't mere wind, but that it rests on a strong and clear vision of the future. MES. LYNGGAAUD Let him try it, Peter. No employer has ever spoken to them like that — like one human being to another. JACOB You '11 see that we are going to understand each other, they and I. Did n't I see how those fellows ACT iv] LYNGGAARD & CO. 237 at Birnbach were affected — and yet the speaker was only a man out of their own midst. I shall tell them about that meeting at Birnbach. I shall make the bond between us so strong — MKS. liYNGGAAED Do it, Jacob. They '11 be touched by your enthu- siasm. They '11 feel that you mean well with them. JACOB You '11 see that it is possible, father. In one stroke I 'U tear Heymann's entire net of intrigue to pieces. LYNGGAAKD I am a whole lifetime ahead of you in the study of this world, my boy, and I have my doubts. But go ahead and do what you want. My best wishes go with you. JACOB Never before have I felt such faith in myself. If this strike were a mountain, I think I could move it. {Goes out to the right) MEs. lYNGGAAUD {enraptured) This is the greatest moment of my life [Pause. Mrs. Lynggaard sits down at the table at the right. She lets one arm rest across the table, on which her fingers are drwmmvng softly, while her gaze is lost in contemplation of her own thoughts. Lynggaard walks to and fro. After a time a loud altercation is heard from the hall. The Servant opens the door and tries to keep Edward Olsen out in order to get a chance to announce Mm, but the latter pushes him aside and steps right into the room. I.YNGGAAED Who are you.? 238 LYNGGAARD & CO- [act iv OLSEN So you don't know me, Mr. Lynggaard? lYNGGAAED I don't understand — for whom are you looking? OLSEN Perhaps you, madam, will do me the honor of intro- ducing my humble person to Mr. Lynggaard.'' Mus. LYNGGAAUD (who has Hsen) I don't know if I 'm right — are you not Edward Olsen — Mr. Olsen, I mean.'' OlSEN Edward, yes — let us stick to that name for the present. MES. LYNGGAARD It 's Mrs. Olsen's son, Peter. I/YNGGAABD Mrs. Olsen.? MES. LYNGGAAED The widow of Olsen, don't you know.'' OLSEN Exactly. You are perfectly right, madam. It is always better to say no more than one knows to be true. Son of Mrs. Olsen, widow of Olsen — perfectly right. — However, it looks as if Mr. Lynggaard were not very pleased at seeing the first-bom of Mrs. Olsen once more. LYNGGAAED If you want to see me, you '11 have to do so at the office, and not here. They '11 tell you over there when I am to be seen. OLSEN I have nothing to hide, Mr. Lynggaard. The pres- ence of your wife is no embarrassment to me. ACT iv] LYNGGAARD & CO. 239 LYNGGAAED {as he is about to ring for the Servant) I think, my dear man, you had better — MKS. liYNfiGAAED {stoppmg her husband and giving him a sign) What 's on your mind, Edward Olsen? You look as if you were troubled by some- thing. OLSEN Right you are, madam. I have something very seri- ous on my mind, if I may presume so far as to demand your attention for a few moments. MRS. LYNGGAAED Sit down, please. OLSEN (seating himself) Of course, I could n't possibly fail to notice — and I am a pretty sharp observer, if I may say so myself — that during my upbringing and further education, certain more or less valuable contributions came to my mother — and as such I continue to regard Mrs. Olsen — from this house. liYNGGAAED What 's the meaning of that? MES. LYNGGAAED (with a wimk at her husband) Oh, nothing to speak of, Peter — mere trifles. OLSEN Perhaps you are thinking of cast-off clothes and such things. No, if that had been all — but my mother also received contributions in cash, Mr. Lynggaard. She was forced to acknowledge it herself a while ago, when I examined her. LYNGGAAED If that 's so, I don't think you have the least reason to be embarrassed by it, Mr. Olsen. 240 LYNGGAARD & CO. [act OLSEN {rising) Sometimes they give a very unsavory name to th kind of contributions, Mr, Lynggaard. MRS. LYNGGAAED If you think that your mother has been taking alir and if it 's that which is troubling you, then I mu say that the little money in question was n't aln but must be regarded from a wholly different viei point, Mr. Olsen. OLSEN I think so, too, madam — from a wholly differe: viewpoint. And when I put together the money r ceived and the somewhat privileged position whii I, the first-born of Mrs. Olsen, was granted durii my upbringing and further education — I won't si in this house, but in the vicinity of it — then pe haps some other name than alms might be foui much more fitting, Mr. Lynggaard. liYNGGAAED Before your hot-headedness gets entirely away wi you, my dear man, you had better tell us in pla words what you want. I hope you understand th we have other things to do than to waste time ( that kind of conundrums. OLSEN All right. I have come here in all friendliness to a you, sir, and you, madam, to tell me whose son I a: MRS. LYNGGAARD What in the world has made you come here and a that all of a sudden.'' OLSEN A great deal depends on the answer to that questic I have made a sacred vow, and this is to settle wheth ACT iv] LYNGGAARD & CO. 241 I am still bound by it or may hold myself released from it. For / don't intend to repeat the tragedy of Spartacus after having become acquainted with the latest conclusions of science ! [The ensuing dumb play between Lynggaard and Mrs. Lynggaard mdicates that they consider him out of Ms reason. MES. lYNGGAAED I think you had better go home to your mother, Mr. Olsen. She will teU you, I am sure. OLSEN She '11 only squirm out of it, I know. That 's what they all do in such cases. I had an idea of bringing her along for the sake of confrontation — but she would n't come. XYNGGAAED (putting Ms hand on Olsen' s shoulder) Now, young fellow, you had better get out of here while everybody is good-tempered. OLSEN Keep your advice to yourself, Mr. Lynggaard. I don't mean to stir from the spot until you tell me whose son I am. liYNGGAARD Well, you are not my son, at any rate. So you can now pass on the question to the next man — OLSEN Are you ready to take oath on that.-" LYNGGAAKD Yes, hang it, I am. But that will have to be enough now. OXSEN Then, madam, will you please explain those contri- butions of money.? — Don't you see that you can't ! 242 LYNGGAARD & CO. [act i Mas. LYNGGAAED As you insist. You probably know that your fathf came to an unhappy end — OLSEN Olsen was found hanging from a tree. MES. LYNGGAAED For that reason I have, out of my own pocket, pai your mother a small widow's pension. That 's all. OLSEN Then I am the son of Olsen — ? liYNGGAAED I presume so. MES. LYNGGAAED Of course you are the son of Olsen. OLSEN All right. Then I know where I stand. Thank yov That was all I came for. So he who died the ma] tyr's death was my father after all. Thou shalt 1: avenged, father! (^Hurries out to the right) LYNGGAAED That was a horrid story, Harriet. Was n't that tli chap who was sent to jail? MES. LYNGGAAED He has just come out. {She sits down as before) LYNGGAAED He 's as crazy as a loon. Don't you think it 'a ou duty to do something about it, Harriet? I mean, t try to help his mother get him into some institution MES. LYNGGAAED Unfortunately, I don't think he 's as crazy as h appears. LYNGGAAED Unfortunately, you say? ACT iv] LYNGGAARD & CO. 243 MKS. liYNGGAAKD Yes, I say unfortunately. LYNGGAAED What do you mean, dear? MES. LYNGGAAED I mean — tell me, Peter, do you think it 's possible to cause actual harm by being good to other people? Do you think that by trying to help them, one may come to meddle in an arbitrary and harmful manner with other people's destinies, so that everything goes wrong for them? XYNGGAAED AH charity should be open. But really, I don't understand what you have in mind? MES. LYNGGAAED I '11 explain further some other time, when I have n't got so much else to think of — [Brief silence. Then a deafening hubbub is heard from the direction in which the distilleries are: loud yelling, scornful laughter and shrill whistlings. MES. LYNGGAAED (jwmps up in a fright) What is it? [Lynggaard runs to the window. The noise is re- MES. LYNGGAAED Por heaven's sake, what is it? LYNGGAAED There is nothing to be seen, ESTEiD (^comes running from the di/ning-room) What is up, anyhow? MES. LYNGGAAED {hurrying toward the door) Jacob — it must be Jacob — ! 244 LYNGGAARD & CO. [act : LYNGGAAKD (^stopping her) You must n't! I'll — MiKKELSEN (^enters from the left) What is happening at the plant? [Jacob returns, pale with emotion. MES. LYNGGAAED Jacob — what is it ? JACOB (^after a brief pause) They just howled me down, [The ensuing pause is vibrant with suppressed fee ing. ESTBID What did you go over for, Jacob? JACOB (^sits down in a state of utter dejection) Don't ask me. LYNGGAAKD ( to Estrid and Mikhelsen) Jacob wanted to talk reason into the men. MES. LYNGGAAED And they hissed you? JACOB Yes. MES. LYNGGAAED Who did it? JACOB Everybody. One began. Then all the rest took : up. All of them! XYNGGAAED Well, now you have found out what it means. MES. LYNGGAAKD I sent my own son to them — and they hissed hin I can't understand — What do you think of i Jacob ? ACT iv] LYNGGAARD & CO. 245 JACOB They were right, mother. They couldn't do any- thing else. MRS. LYNGGAAKD Right.? Never! To hiss at my son! At you, who went to them as a friend and ally — and they hissed you! — What are you going to do, Peter? LYNGGAAUD What am I going to do? Nothing. MES. liYNGGAARD Are you not going to do anything? LYNGGAARD (^shaking Ms head) All you can do is to close your eyes and pretend that nothing has happened. . . . They have n't hissed at me so far. But I suppose that will come next. But I can't see, Jacob, how you will be able to show your face among them after this. JACOB (meekly) Don't mind me, father. Do what you think right. I can see, anyhow, that I must shape my life in a different fashion. ESTRID Why don't you send for Heymann? He can handle them. lAn embarrassed silence prevails, but the face of Mikkelsen lights up. ESTRID Why are you so silent all of a sudden? LYNGGAARD, Heymann is no longer connected with the business. ESTRID What is that you are saying, father? 246 LYNGGAARD & CO. [act MIKKELSEN Don't you know that, my dear? Heymann has come managing director of the other distilleries. '. has gone over to the enemy. l/YNGGAARD I don't think it has gone that far yet. {He beg to walk up and down) MES. LYNGGAAKD Go ahead and do what you want, Peter — and wl you are thinking of. Don't pay any attention to i I no longer think myself capable of judging the cc ditions. I did believe that the road from one rig] eous human will to another was shorter than, appj ently, it is — LYNGGAAED You talk of taking steps and taking steps! I cai see that there is any step to take. And I am to p no attention to you ! That 's very easy to say. B let me ask: has this situation been produced by ] or by you? I can't see anything else to do, but close up shop at six o'clock and then take a vacatic MIEEELSEN If I be permitted to express an opinion, I thi Estrid has uttered the only sensible and practic word in this matter. ESTEID What did I say? MIKKELSEN You asked why Heymann was n't sent for. LYNGGAAED Oh, between us, you know very well how highly esteem Heymann's ability, but you know also wh ACT iv] LYNGGAARD & CO. 247 conditions Heymann would dictate if I were to send for him now. MIKKEliSEN He would make no other conditions, Lynggaard, than to be permitted to carry out your own plans for the future. [Lynggaard shrugs his shoulders, HIEEELSEN I really think you should hold out a friendly hand to him. I.YNGGAAED Too late. UIEKELSEN Of course, — JACOB If you could do it, father — maybe there is nothing else to do from your viewpoint? LYNGGAAKD And you say that? JACOB I do. MBS. I.YN6GAABD Do you mean it seriously, Jacob? JACOB Yes. And I '11 tell you why. Until now I have be- lieved that I could reach my ideals by peaceful and conciliatory measures. I don't believe so any longer. MES. LTNGGAAB.D What do you mean, Jacob? JACOB I mean that if I am to help the cause for which I am willing to sacrifice my life, then I must take sides once for all. And if I am to be understood 248 LYNGGAARD & CO. [act iv by those for whom I want to labor, then I must be- come as one of them. MRS. LYNGGAAED Of those that hissed at you .'' JACOB Yes. For back of all that evil fire with which their eyes were aflame — back of the hatred and distrust bom out of many thousand years of oppression — or call it, if you please, the plebeian's hatred of the patrician — back of all this lay nevertheless a feel- ing which I respect, and which I have never fully understood until now. Those people don't care to have anything given to them. They don't want any- thing for which they have to be thankful — they want to win it for themselves by war. And believe me, the offspring of those people will become our nobility. MIKKELSEN The devil, they wUl ! — However, the boy is right. There is eternal right in what he says. War is the only known form of existence that is quite worthy of our human estate. MES. LYNGGAARD I don't understand you. Is there, then, no more place in the world for pity and charity.'' JACOB I don't think there is, mother. I don't think charity ever did anything but harm in this world. For it is charity that delays the onward march of justice. MIKKELSEN Yes, it has always come in handy. JACOB And for that reason I must become as one of them. If they are to trust me, I must take my place among ACT iv] LYNGGAARD & CO. 249 them, and I must earn my bread as a workman does. And for that reason I cannot take over your business, father. MRS. LYNGGAAKD I cannot tell what my share may be in all this, but from now on you must act on your own responsi- bility. My feeling is that I no longer can tell what is right and wrong. — But this was not the way I pictured the future to myself, Jacob. [Pause. MIKKELSEN I say: Heymann! liYNGGAAED Yes, you say Heymann, but what does it help.? What I have to ask is this: can one of you suggest a way in which I could do what you propose without losing all my self-respect? There are things, damn it, which you can't do for decency's sake ! MIKKELSEN Of course, it would n't do for you to go to him. LYNGGAAED Who could, then? There is no one else whose hu- miliation would give him any pleasure. MIKKELSEN If I be permitted — I think we should send Estrid. LYNGGAARD Estrid? ESTRID I won't do it. MIKKELSEN (witJi ft sl^ glunce at Estrid) If I am not very much mistaken, Estrid should be splendidly fitted for that mission. LYNGGAARD You don't want us to be made ridiculous, do you? 250 LYNGGAARD & CO. [act iv MIKKELSEN I don't think Heymann would find it at all ridiculous, if Estrid — ESTKID But, grandfather ! MIKKELSEN Don't be afraid, dear — I won't give you away. ESTEID Oh, but you are disgusting, grandfather! MES. LYNGGAARD {having become attentive) What do you mean, father? MIKKELSEN Oh, the Lord keep my tongue! All I say is this: send Estrid, and you '11 behold miracles. MRS. LYNGGAARD What is it, Estrid? You do look so funny! ESTRID Goodness gracious, but you are an inquisitive lot ! MIKKELSEN Oh, well, you don't need to say anything, Estrid. ESTRID No, because you can see it for yourself, I suppose. LYNGGAARD What? ESTRID That I am engaged to him ! [Pause. LYNGGAARD En — engaged to Heymann! ESTRID Yes. LYNGGAARD Since when? ACT iv] LYNGGAARD & CO. 251 ESTKID This afternoon. LYNGGAARD What time this afternoon? ESTEID When I asked you to come down to mother. LYNGGAAED So it happened before. . . • And it was my son-in- law I treated in such a manner! I certainly owe that man an apology — Our behavior was most im- proper, Harriet, absolutely improper. Harriet, don't you hear? It was our son-in-law we treated like that. (To Estrid) But, child, why did n't you let us know? You might have dropped a word when you called me. Of course, I thought you looked a little queer. ESTRID No, father, I couldn't, because we are secretly en- gaged. For George said — UIEKEIiSEN Do you hear — she calls him Greorge ! ESTRID I can't call him Mr. Heymann, can I? MIKKELSEN Well, what was it he said, Essie, dear? What did George say? ESTRID Oh, mother came and interrupted us — LYNGGAARD There you see, Harriet, how you are always inter- rupting — and what did he say, Estrid? ESTRID I didn't quite understand. But I was not to tell 252 LYNGGAARD & CO. [act iv anybody about our engagement. As far as I under- stood him, there was to be a great change in the business, and he wanted to put it through only by making you see the good reasons for it, and there- fore he didn't want to force your decision by ap- pearing here as a son-in-law. Well, it was something like that, anyhow. MIKKELSEN Now, children, you can see that you have misjudged him. liYNGGAAED We have misjudged him shamefully. And you, Har- riet, who thought he was our enemy — MES. LYNGGAAED [with a Sigh of resignation) Well, well, I suppose I was mistaken. LYNGGAAED You have always been mistaken in regard to that man, Harriet. You have never seen anything but selfish calculations behind everything he did. ESTEiD (going to Mrs. Lynggaard) Of course, mother, I expect that he is not the man you wanted me to have. MEs. -LTiSGGAK&T) {^deeplymoved) I have nothing at all to say about that, my dear little girl. But at any rate I '11 — respect your choice. And the responsibility for it will have to rest upon yourself. ESTEID (imable to repress a smile) Responsibility — MES. LYNGGAAED Well, what is that to smile at? ESTEID Oh, there was something I quite forgot when — ACT iv] LYNGGAARD & CO. 253 MIKKEIiSEN Well, Estrid, how about sending for Heymann? ESTRID I won't do it. (With roguish seriousness) As a daughter of the house, I don't want to exert any pressure on him. MBS. rTNGGAABI) And you won't have to do it, either. If anybody is to go for Heymann, that one must be me, and no- body else. ESTEiD (falling on her nech) Thank you, mother, thank you! lYNGGAABD Are you going to do it? MKS. lYNGGAAED Yes, just let me write a few words. [^She sits down and writes a few words on a card; then she rings for the Servant and asks him to de- liver it. LYNGGAAED And do you also think he '11 come on your invitation? MKS. LYNGGAARD (with emphasis) Yes, he will! ESTRID Hush, what *s that? [Cheering is heard im the distance. Then singing that keeps time with the approaching tramp-tramp of many feet. It is the men who are leaving the plant in a body while singing, " The day is dawning, com- rades." Mrs. Lynggaard shrinks in fear from the sound. Jacob, who has been lost in his own thoughts, goes to the window and gazes wistfully at the throng 254 LYNGGAARD & CO. [act iv outside. And unable to restrain her curiosity, Estrid takes place beside him. JACOB Now the strike has begun. ESTRID They are going to pass this way. MES. lYNGGAAED Come away from the window, child. One can never tell what they may be up to. ESTRID Oh, they look very peaceful. — There goes that fel- low — Edward Olsen. He is marching with the rest. MiKKELSEN {interested) Is Olsen there, too.'' ESTRID Yes, he 's singing louder than anybody else. MIKKEISEN That's good. Then he may get some discipline — which he surely needs. [The marching workmen are right outside and their song rings out clear and strong. MIKKELSEN Yes, we all know that song. Really, tynggaard, it 's a great mistake that you employers have nothing of the same kind. Why don't you also march and sing like that? liYNGGAARD Oh, what is there for us to sing of? MIKKELSEN Exactly. Bad people sing no songs, as the Germans say. [The men have passed and the song is dying out in the distance. ACT iv] LYNGGAARD & CO. 255 JACOB {as he leaves the window and comes hack into the room, says solemnly) That was the future going by! SERVANT (anmotmces) Mr. Heymann! CUETAIN •Vojj VwMwwv.^^m'y ^^ '^ J*"^ ^A DANISH PLAYWRIGHT Karon Borneman; Lynggaard & Co. Two plays by Hjalmar Bergstrom. Trans- lated from the Danish with an In- troduction by Edwin Bjbrkman. New York; Mitchell Kennerley. These plays form a volume in the Modern Drama series of translations, edited by Mr. Bjorkman. This particu- lar book presents to English readers for the first time some of the work of one of a considerable group of contem- porary Danish dramatists whose produc- tions are attracting favorable notice at home. To those already familiar with mod- ern Danish literature the volume offers significant evidence of the persistence of traditional literary tendencies. Since the time of Holberg Danish authors have, in general, been interested to in- terpret ideas current in contemporary ; European thought in terms of national i life. Bergstrom's work is closely relat- I ed to recent German and English drama ' and is distinctive only in those places where one can recognize Danish reac- tions upon familiar ideas. In the gener- al reader, therefore, these plays will hardly arouse much interest. They will be to him but one word more upon hack- neyed themes. "Karen Borneman" (1907), a discus- sion of what Mr. Bjorkman calls "that ever-vexatious ciuestion of sexual moral- ■Ity," Is clearly reminiscent of Suder- mann's "Magda" ("Heimat"). It be- comes, however, particularly as inter- preted by Mr. Bjorkman in his intro- duction, representative of certain "mod- ern"' pleas for sexual freedom for wo- man. The implications of the piece seemed so vicious, indeed, to the Danish censor that its production was for a time forbidden at borne. Karen Bornoman, a I young woman known to the public as We translator of Zola and Maupassant, js the daughter of a professor of theology in Copen- hagen. Her literary duties take her to Paris, where she acquires and eagerly applies advanced ideas of temporary mating. She then returns to Copen- hagen and showers noble scorn upon all ' who object to her conduct. A "liberal" j doctor receives her lofty contempt by refusing to marry her after he has dis- covered what her past has been. When i the father learns, with a horror that Is supposed to be fussy and old-fashioned, I that she has been the mistress of a brutal young artist, he goes to the sculp- tor to insist that he marry his dangh-j ter. He is made to understand, as is Col. Schwartz in "Magda," that his daughter has been the mistress of more than one. Unlike the German officer, however, he does not then become the centre of a moving tragedy in which natural impulses of many sorts clash impressively. He merely goes home and calls his daughter a strumpet. This name she is old-fashioned enough to re- sent, so that she answers her father with passionate words of justification. She prophesies the coming of a day when women will demand their liberty as a right, meaning their freedom to enjoy fully in their own way "the most beautiful among the passions bestowed upon man." Then feeling a movement of filial sor- row for her father, who is a pathetic figure, Mr. Bjorkman explains, "like all who strive to dam the onward sweep of human progress," she remarks sad- ly: "I suppose it is the law of life that nothing new can come into the world without pain." Whereupon she walks quietly out and the play ends — or, rath- er, stops, for both the author and his in- terpreter are a bit scornful about dra- matic conclusions in the old sense. A modern author must show disinterested pnrlnaifv Tn bofrrnv TTrtnrol nftmrinf irtTio Is for him to be guilty of artistic im- pudence. His judgment must in no way encroach ypon the judicial freedom of his observation, which, it is hinted, is a much higher artistic faculty. This play ends, then, merely with "the opening of new vistas." The vista in this case is meant to be a realization that Karen's demands for the indulgence of sexual caprice are a part "of the onward sweep of human progress." Though "Lynggaard & Co." (1905) is a product of the same artistic notions. It is a more interesting play. Like Hauptmann's "Weavers" and Galswor- thy's "Strife," it is concerned with In- dustrial conflicts. Tlie scene is laid in the home of the capitalist, about whom persons representing different attitudes towards labor are grouped — the idle dilettante, the scheming efficient mana- ger, the improvident philanthropist, and the impractical Socialist. The author shows skilfully the various points of view without indicating his preference for any one. The play also merely closes, not, however, until the socialis- tic son of the capitalist has had time to speak of a procession of singing strik- ers as "the future going by." Mr. Bjorkman is not always happy In rendering the idiom of familiar conver- sation into English. In these plays he tends to reduce all his dialogue to too low a colloquial level, and he still per- sists in using repeatedly one or two ut- terly un-English Teutonisms.