E-text prepared by Douglas Levy

THE FEAST AT SOLHOUG.

by

HENRIK IBSEN

From The Collected Works of Henrik Ibsen, Volume 1
Revised and Edited by William Archer

Translation by William Archer and Mary Morrison

INTRODUCTION*

Exactly a year after the production of Lady Inger of Ostrat—that is to say on the "Foundation Day" of the Bergen Theatre, January 2, 1866—The Feast at Solhoug was produced. The poet himself has written its history in full in the Preface to the second edition. The only comment that need be made upon his rejoinder to his critics has been made, with perfect fairness as it seems to me, by George Brandes in the following passage:** "No one who is unacquainted with the Scandinavian languages can fully understand the charm that the style and melody of the old ballads exercise upon the Scandinavian mind. The beautiful ballads and songs of Des Knaben Wunderhorn have perhaps had a similar power over German minds; but, as far as I am aware, no German poet has has ever succeeded in inventing a metre suitable for dramatic purposes, which yet retained the mediaeval ballad's sonorous swing and rich aroma. The explanation of the powerful impression produced in its day by Henrik Hertz's Svend Dyring's House is to be found in the fact that in it, for the first time, the problem was solved of how to fashion a metre akin to that of the heroic ballads, a metre possessing as great mobility as the verse of the Niebelungenlied, along with a dramatic value not inferior to that of the pentameter. Henrik Ibsen, it is true, has justly pointed out that, as regards the mutual relations of the principal characters, Svend Dyring's House owes more to Kleist's Kathchen von Heubronn than The Feast at Solhoug owes to Svend Dyring's House. But the fact remains that the versified parts of the dialogue of both The Feast at Solhoug and Olaf Liliekrans are written in that imitation of the tone and style of the heroic ballad, of which Hertz was the happily-inspired originator. There seems to me to be no depreciation whatever of Ibsen in the assertion of Hertz's right to rank as his model. Even the greatest must have learnt from some one."

But while the influence of Danish lyrical romanticism is apparent in the style of the play, the structure, as it seems to me, shows no less clearly that influence of the French plot-manipulators which we found so unmistakably at work in Lady Inger. Despite its lyrical dialogue, The Feast at Solhoug has that crispiness of dramatic action which marks the French plays of the period. It may indeed be called Scribe's Bataille de Dames writ tragic. Here, as in the Bataille de Dames (one of the earliest plays produced under Ibsen's supervision), we have the rivalry of an older and a younger woman for the love of a man who is proscribed on an unjust accusation, and pursued by the emissaries of the royal power. One might even, though this would be forcing the point, find an analogy in the fact that the elder woman (in both plays a strong and determined character) has in Scribe's comedy a cowardly suitor, while in Ibsen's tragedy, or melodrama, she has a cowardly husband. In every other respect the plays are as dissimilar as possible; yet it seems to me far from unlikely that an unconscious reminiscence of the Bataille de Dames may have contributed to the shaping of The Feast at Solhoug in Ibsen's mind. But more significant than any resemblance of theme is the similarity of Ibsen's whole method to that of the French school—the way, for instance, in which misunderstandings are kept up through a careful avoidance of the use of proper names, and the way in which a cup of poison, prepared for one person, comes into the hands of another person, is, as a matter of fact, drunk by no one but occasions the acutest agony to the would-be poisoner. All this ingenious dovetailing of incidents and working-up of misunderstandings, Ibsen unquestionably learned from the French. The French language, indeed, is the only one which has a word—quiproquo—to indicate the class of misunderstanding which, from Lady Inger down to the League of Youth, Ibsen employed without scruple.

Ibsen's first visit to the home of his future wife took place after the production of The Feast at Solhoug. It seems doubtful whether this was actually his first meeting with her; but at any rate we can scarcely suppose that he knew her during the previous summer, when he was writing his play. It is a curious coincidence, then, that he should have found in Susanna Thoresen and her sister Marie very much the same contrast of characters which had occupied him in his first dramatic effort, Catilina, and which had formed the main subject of the play he had just produced. It is less wonderful that the same contrast should so often recur in his later works, even down to John Gabriel Borkman. Ibsen was greatly attached to his gentle and retiring sister-in-law, who died unmarried in 1874.

The Feast at Solhoug has been translated by Miss Morison and myself, only because no one else could be found to undertake the task. We have done our best; but neither of us lays claim to any great metrical skill, and the light movement of Ibsen's verse is often, if not always, rendered in a sadly halting fashion. It is, however, impossible to exaggerate the irregularity of the verse in the original, or its defiance of strict metrical law. The normal line is one of four accents: but when this is said, it is almost impossible to arrive at any further generalisation. There is a certain lilting melody in many passages, and the whole play has not unfairly been said to possess the charm of a northern summer night, in which the glimmer of twilight gives place only to the gleam of morning. But in the main (though much better than its successor, Olaf Liliekrans) it is the weakest thing that Ibsen admitted into the canon of his works. He wrote it in 1870 as "a study which I now disown"; and had he continued in that frame of mind, the world would scarcely have quarrelled with his judgment. At worst, then, my collaborator and I cannot be accused of marring a masterpiece; but for which assurance we should probably have shrunk from the attempt.

W. A.

*Copyright, 1907, by Charles Scribner's Sons. **Ibsen and Bjornson. London, Heinmann, 1899, p.88

THE FEAST AT SOLHOUG (1856)

THE AUTHOR'S PREFACE TO THE SECOND EDITION

PREFACE

I wrote The Feast at Solhoug in Bergen in the summer of 1855—that is to say, about twenty-eight years ago.

The play was acted for the first time on January 2, 1856, also at Bergen, as a gala performance on the anniversary of the foundation of the Norwegian Stage.

As I was then stage-manager of the Bergen Theatre, it was I myself who conducted the rehearsals of my play. It received an excellent, a remarkably sympathetic interpretation. Acted with pleasure and enthusiasm, it was received in the same spirit. The "Bergen emotionalism," which is said to have decided the result of the latest elections in those parts, ran high that evening in the crowded theatre. The performance ended with repeated calls for the author and for the actors. Later in the evening I was serenaded by the orchestra, accompanied by a great part of the audience. I almost think that I went so far as to make some kind of speech from my window; certain I am that I felt extremely happy.

A couple of months later, The Feast of Solhoug was played in Christiania. There also it was received by the public with much approbation, and the day after the first performance Bjornson wrote a friendly, youthfully ardent article on it in the Morgenblad. It was not a notice or criticism proper, but rather a free, fanciful improvisation on the play and the performance.

On this, however, followed the real criticism, written by the real critics.

How did a man in the Christiania of those days—by which I mean the years between 1850 and 1860, or thereabouts—become a real literary, and in particular dramatic, critic?

As a rule, the process was as follows: After some preparatory exercises in the columns of the Samfundsblad, and after the play, the future critic betook himself to Johan Dahl's bookshop and ordered from Copenhagen a copy of J. L. Heiberg's Prose Works, among which was to be found—so he had heard it said—an essay entitled On the Vaudeville. This essay was in due course read, ruminated on, and possibly to a certain extent understood. From Heiberg's writings the young man, moreover, learned of a controversy which that author had carried on in his day with Professor Oehlenschlager and with the Soro poet, Hauch. And he was simultaneously made aware that J. L. Baggesen (the author of Letters from the Dead) had at a still earlier period made a similar attack on the great author who wrote both Axel and Valborg and Hakon Jarl.

A quantity of other information useful to a critic was to be extracted from these writings. From them one learned, for instance, that taste obliged a good critic to be scandalised by a hiatus. Did the young critical Jeronimuses of Christiania encounter such a monstrosity in any new verse, they were as certain as their prototype in Holberg to shout their "Hoity-toity! the world will not last till Easter!"

The origin of another peculiar characteristic of the criticism then prevalent in the Norwegian capital was long a puzzle to me. Every time a new author published a book or had a little play acted, our critics were in the habit of flying into an ungovernable passion and behaving as if the publication of the book or the performance of the play were a mortal insult to themselves and the newspapers in which they wrote. As already remarked, I puzzled long over this peculiarity. At last I got to the bottom of the matter. Whilst reading the Danish Monthly Journal of Literature I was struck by the fact that old State-Councillor Molbech was invariably seized with a fit of rage when a young author published a book or had a play acted in Copenhagen.

Thus, or in a manner closely resembling this, had the tribunal qualified itself, which now, in the daily press, summoned The Feast at Solhoug to the bar of criticism in Christiania. It was principally composed of young men who, as regards criticism, lived upon loans from various quarters. Their critical thought had long ago been thought and expressed by others; their opinions had long ere now been formulated elsewhere. Their aesthetic principles were borrowed; their critical method was borrowed; the polemical tactics they employed were borrowed in every particular, great and small. Their very frame of mind was borrowed. Borrowing, borrowing, here, there, and everywhere! The single original thing about them was that they invariably made a wrong and unseasonable application of their borrowings.

It can surprise no one that this body, the members of which, as critics, supported themselves by borrowing, should have presupposed similar action on my part, as author. Two, possibly more than two, of the newspapers promptly discovered that I had borrowed this, that, and the other thing form Henrik Hertz's play, Svend Dyring's House.

This is a baseless and indefensible critical assertion. It is evidently to be ascribed to the fact that the metre of the ancient ballads is employed in both plays. But my tone is quite different from Hertz's; the language of my play has a different ring; a light summer breeze plays over the rhythm of my verse: over that or Hertz's brood the storms of autumn.

Nor, as regards the characters, the action, and the contents of the plays generally, is there any other or any greater resemblance between them than that which is a natural consequence of the derivation of the subjects of both from the narrow circle of ideas in which the ancient ballads move.

It might be maintained with quite as much, or even more, reason that Hertz in his Svend Dyring's House had borrowed, and that to no inconsiderable extent, from Heinrich von Kleist's Kathchen von Heilbronn, a play written at the beginning of this century. Kathchen's relation to Count Wetterstrahl is in all essentials the same as Tagnhild's to the knight, Stig Hvide. Like Ragnhild, Kathchen is compelled by a mysterious, inexplicable power to follow the man she loves wherever he goes, to steal secretly after him, to lay herself down to sleep near him, to come back to him, as by some innate compulsion, however often she may be driven away. And other instances of supernatural interference are to be met with both in Kleist's and in Hertz's play.

But does any one doubt that it would be possible, with a little good—or a little ill-will, to discover among still older dramatic literature a play from which it could be maintained that Kleist had borrowed here and there in his Kathchen von Heilbronn? I, for my part, do not doubt it. But such suggestions of indebtedness are futile. What makes a work of art the spiritual property of its creator is the fact that he has imprinted on it the stamp of his own personality. Therefore I hold that, in spite of the above-mentioned points of resemblance, Svend Dyring's House is as incontestably and entirely an original work by Henrick Hertz as Katchen von Heilbronn is an original work by Heinrich von Kleist.

I advance the same claim on my own behalf as regards The Feast at Solhoug, and I trust that, for the future, each of the three namesakes* will be permitted to keep, in its entirety, what rightfully belongs to him.

In writing The Feast of Solhoug in connection with Svend Dyring's House, George Brandes expresses the opinion, not that the former play is founded upon any idea borrowed from the latter, but that it has been written under an influence exercised by the older author upon the younger. Brandes invariably criticises my work in such a friendly spirit that I have all reason to be obliged to him for this suggestion, as for so much else.

Nevertheless I must maintain that he, too, is in this instance mistaken. I have never specially admired Henrik Hertz as a dramatist. Hence it is impossible for me to believe that he should, unknown to myself, have been able to exercise any influence on by dramatic production.

As regards this point and the matter in general, I might confine myself to referring those interested to the writings of Dr. Valfrid Vasenius, lecturer on Aesthetics at the University of Helsingfors. In the thesis which gained him his degree of Doctor of Philosophy, Henrik Ibsen's Dramatic Poetry in its First stage (1879), and also in Henrik Ibsen: The Portrait of a Skald (Jos. Seligman & Co., Stockholm, 1882), Valsenious states and supports his views on the subject of the play at present in question, supplementing them in the latter work by what I told him, very briefly, when we were together at Munich three years ago.

But, to prevent all misconception, I will now myself give a short account of the origin of The Feast at Solhoug.

I began this Preface with the statement that The Feast at Solhoug was written in the summer 1855.

In 1854 I had written Lady Inger of Ostrat. This was a task which had obliged me to devote much attention to the literature and history of Norway during the Middle Ages, especially the latter part of that period. I did my utmost to familiarise myself with the manners and customs, with the emotions, thought, and language of the men of those days.

The period, however, is not one over which the student is tempted to linger, nor does it present much material suitable for dramatic treatment.

Consequently I soon deserted it for the Saga period. But the Sagas of the Kings, and in general the more strictly historical traditions of that far-off age, did not attract me greatly; at that time I was unable to put the quarrels between kings and chieftains, parties and clans, to any dramatic purpose. This was to happen later.

In the Icelandic "family" Sagas, on the other hand, I found in abundance what I required in the shape of human garb for the moods, conceptions, and thoughts which at that time occupied me, or were, at least, more or less distinctly present in my mind. With these Old Norse contributions to the personal history of our Saga period I had had no previous acquaintance; I had hardly so much as heard them named. But now N. M. Petersen's excellent translation— excellent, at least, as far as the style is concerned—fell into my hands. In the pages of these family chronicles, with their variety of scenes and of relations between man and man, between woman and woman, in short, between human being and human being, there met me a personal, eventful, really living life; and as the result of my intercourse with all these distinctly individual men and women, there presented themselves to my mind's eye the first rough, indistinct outlines of The Vikings at Helgeland.

How far the details of that drama then took shape, I am no longer able to say. But I remember perfectly that the two figures of which I first caught sight were the two women who in course of time became Hiordis and Dagny. There was to be a great banquet in the play, with passion-rousing, fateful quarrels during its course. Of other characters and passions, and situations produced by these, I meant to include whatever seemed to me most typical of the life which the Sagas reveal. In short, it was my intention to reproduce dramatically exactly what the Saga of the Volsungs gives in epic form.

I made no complete, connected plan at that time; but it was evident to me that such a drama was to be my first undertaking.

Various obstacles intervened. Most of them were of a personal nature, and these were probably the most decisive; but it undoubtedly had its significance that I happened just at this time to make a careful study of Landstad's collection of Norwegian ballads, published two years previously. My mood of the moment was more in harmony with the literary romanticism of the Middle Ages than with the deeds of the Sagas, with poetical than with prose composition, with the word-melody of the ballad than with the characterisation of the Saga.

Thus it happened that the fermenting, formless design for the tragedy, The Vikings at Helgeland, transformed itself temporarily into the lyric drama, The Feast at Solhoug.

The two female characters, the foster sisters Hiordis and Dagny, of the projected tragedy, became the sisters Margit and Signe of the completed lyric drama. The derivation of the latter pair from the two women of the Saga at once becomes apparent when attention is drawn to it. The relationship is unmistakable. The tragic hero, so far only vaguely outlined, Sigurd, the far-travelled Viking, the welcome guest at the courts of kings, became the knight and minstrel, Gudmund Alfson, who has likewise been long absent in foreign lands, and has lived in the king's household. His attitude towards the two sisters was changed, to bring it into accordance with the change in time and circumstances; but the position of both sisters to him remained practically the same as that in the projected and afterwards completed tragedy. The fateful banquet, the presentation of which had seemed to me of the first importance in my original plan, became in the drama the scene upon which its personages made their appearance; it became the background against which the action stood out, and communicated to the picture as a whole the general tone at which I aimed. The ending of the play was, undoubtedly, softened and subdued into harmony with its character as drama, not tragedy; but orthodox aestheticians may still, perhaps, find it indisputable whether, in this ending, a touch of pure tragedy has not been left behind, to testify to the origin of the drama.

Upon this subject, however, I shall not enter at present. My object has simply been to maintain and prove that the play under consideration, like all my other dramatic works, is an inevitable outcome of the tenor of my life at a certain period. It had its origin within, and was not the result of any outward impression or influence.

This, and no other, is the true account of the genesis of The
Feast at Solhoug.

Henrik Ibsen.
Rome, April, 1883.

*Heinrich von Kleist, Henrik Hertz, Henrik Ibsen.

THE FEAST AT SOLHOUG

CHARACTERS

BENGT GAUTESON, Master of Solhoug.
MARGIT, his wife.
SIGNE, her sister.
GUDMUND ALFSON, their kinsman.
KNUT GESLING, the King's sheriff.
ERIK OF HEGGE, his friend.
A HOUSE-CARL.
ANOTHER HOUSE-CARL.
THE KING'S ENVOY.
AN OLD MAN.
A MAIDEN.
GUESTS, both MEN and LADIES.
MEN of KNUT GESLING'S TRAIN.
SERVING-MEN and MAIDENS at SOLHOUG.

The action passes at Solhoug in the Fourteenth Century.

PRONUNCIATION OF NAMES: Gudmund=Goodmund. The g in "Margit" and in "Gesling" is hard, as in "go," or in "Gesling," it may be pronounced as y—"Yesling." The first o in Solhoug ought to have the sound of a very long "oo."

Transcriber's notes:

—Signe and Hegge have umlauts above the e's, the
ultimate e only in Hegge.
—Passages that are in lyric form are not indented
and have the directorial comments to the right of
the character's name.

THE FEAST AT SOLHOUG

PLAY IN THREE ACTS

ACT FIRST

A stately room, with doors in the back and to both sides. In front on the right, a bay window with small round panes, set in lead, and near the window a table, on which is a quantity of feminine ornaments. Along the left wall, a longer table with silver goblets and drinking-horns. The door in the back leads out to a passage-way,* through which can be seen a spacious fiord-landscape.

BENGT GAUTESON, MARGIT, KNUT GESLING and ERIK OF HEGGE are seated around the table on the left. In the background are KNUT's followers, some seated, some standing; one or two flagons of ale are handed round among them. Far off are heard church bells, ringing to Mass.

*This no doubt means a sort of arcaded veranda running along the outer wall of the house.

ERIK.

[Rising at the table.] In one word, now, what answer have you to make to my wooing on Knut Gesling's behalf?

BENGT.

[Glancing uneasily towards his wife.] Well, I—to me it seems— [As she remains silent.] H'm, Margit, let us first hear your thought in the matter.

MARGIT.

[Rising.] Sir Knut Gesling, I have long known all that Erik of Hegge has told of you. I know full well that you come of a lordly house; you are rich in gold and gear, and you stand in high favour with our royal master.

BENGT.

[To KNUT.] In high favour—so say I too.

MARGIT.

And doubtless my sister could choose her no doughtier mate—

BENGT.

None doughtier; that is what I say too.

MARGIT.

—If so be that you can win her to think kindly of you.

BENGT.

[Anxiously, and half aside.] Nay—nay, my dear wife—

KNUT.

[Springing up.] Stands it so, Dame Margit! You think that your sister—

BENGT.

[Seeking to calm him.] Nay, nay, Knut Gesling! Have patience, now. You must understand us aright.

MARGIT.

There is naught in my words to wound you. My sister knows you only by the songs that are made about you—and these songs sound but ill in gentle ears.

No peaceful home is your father's house.
With your lawless, reckless crew,
Day out, day in, must you hold carouse—
God help her who mates with you.
God help the maiden you lure or buy
With gold and with forests green—
Soon will her sore heart long to lie
Still in the grave, I ween.

ERIK.

Aye, aye—true enough—Knut Gesling lives not overpeaceably. But there will soon come a change in that, when he gets him a wife in his hall.

KNUT.

And this I would have you mark, Dame Margit: it may be a week since, I was at a feast at Hegge, at Erik's bidding, whom here you see. I vowed a vow that Signe, your fair sister, should be my wife, and that before the year was out. Never shall it be said of Knut Gesling that he brake any vow. You can see, then, that you must e'en choose me for your sister's husband—be it with your will or against it.

MARGIT.

Ere that may be, I must tell you plain,
You must rid yourself of your ravening train.
You must scour no longer with yell and shout
O'er the country-side in a galloping rout;
You must still the shudder that spreads around
When Knut Gesling is to a bride-ale bound.
Courteous must your mien be when a-feasting you ride;
Let your battle-axe hang at home at the chimney-side—
It ever sits loose in your hand, well you know,
When the mead has gone round and your brain is aglow.
From no man his rightful gear shall you wrest,
You shall harm no harmless maiden;
You shall send no man the shameless hest
That when his path crosses yours, he were best
Come with his grave-clothes laden.
And if you will so bear you till the year be past,
You may win my sister for your bride at last.

KNUT.

[With suppressed rage.] You know how to order your words cunningly, Dame Margit. Truly, you should have been a priest, and not your husbands wife.

BENGT.

Oh, for that matter, I too could—

KNUT.

[Paying no heed to him.] But I would have you take note that had a sword-bearing man spoken to me in such wise—

BENGT.

Nay, but listen, Knut Gesling—you must understand us!

KNUT.

[As before.] Well, briefly, he should have learnt that the axe sits loose in my hand, as you said but now.

BENGT.

[Softly.] There we have it! Margit, Margit, this will never end well.

MARGIT.

[To KNUT.] You asked for a forthright answer, and that I have given you.

KNUT.

Well, well; I will not reckon too closely with you, Dame Margit. You have more wit than all the rest of us together. Here is my hand;—it may be there was somewhat of reason in the keen-edged words you spoke to me.

MARGIT.

This I like well; now are you already on the right way to amendment. Yet one word more—to-day we hold a feast at Solhoug.

KNUT.

A feast?

BENGT.

Yes, Knut Gesling: you must know that it is our wedding day; this day three years ago made me Dame Margit's husband.

MARGIT.

[Impatiently, interrupting.] As I said, we hold a feast to-day. When Mass is over, and your other business done, I would have you ride hither again, and join in the banquet. Then you can learn to know my sister.

KNUT.

So be it, Dame Margit; I thank you. Yet 'twas not to go to Mass that I rode hither this morning. Your kinsman, Gudmund Alfson, was the cause of my coming.

MARGIT.

[Starts.] He! My kinsman? Where would you seek him?

KNUT.

His homestead lies behind the headland, on the other side of the fiord.

MARGIT.

But he himself is far away.

ERIK.

Be not so sure; he may be nearer than you think.

KNUT.

[Whispers.] Hold your peace!

MARGIT.

Nearer? What mean you?

KNUT.

Have you not heard, then, that Gudmund Alfson has come back to Norway? He came with the Chancellor Audun of Hegranes, who was sent to France to bring home our new Queen.

MARGIT.

True enough, but in these very days the King holds his wedding- feast in full state at Bergen, and there is Gudmund Alfson a guest.

BENGT.

And there could we too have been guests had my wife so willed it.

ERIK.

[Aside to KNUT.] Then Dame Margit knows not that—?

KNUT.

[Aside.] So it would seem; but keep your counsel. [Aloud.] Well, well, Dame Margit, I must go my way none the less, and see what may betide. At nightfall I will be here again.

MARGIT.

And then you must show whether you have power to bridle your unruly spirit.

BENGT.

Aye, mark you that.

MARGIT.

You must lay no hand on your axe—hear you, Knut Gesling?

BENGT.

Neither on your axe, nor on your knife, nor on any other weapon whatsoever.

MARGIT.

For then can you never hope to be one of our kindred.

BENGT.

Nay, that is our firm resolve.

KNUT.

[To MARGIT.] Have no fear.

BENGT.

And what we have firmly resolved stands fast.

KNUT.

That I like well, Sir Bengt Gauteson. I, too, say the same; and
I have pledged myself at the feast-board to wed your kinswoman.
You may be sure that my pledge, too, will stand fast.—God's peace
till to-night!

[He and ERIK, with their men, go out at the back.
[BENGT accompanies them to the door. The sound of the bells
has in the meantime ceased.

BENGT.

[Returning.] Methought he seemed to threaten us as he departed.

MARGIT.

[Absently.] Aye, so it seemed.

BENGT.

Knut Gesling is an ill man to fall out with. And when I bethink me, we gave him over many hard words. But come, let us not brood over that. To-day we must be merry, Margit!—as I trow we have both good reason to be.

MARGIT.

[With a weary smile.] Aye, surely, surely.

BENGT.

Tis true I was no mere stripling when I courted you. But well I wot I was the richest man for many and many a mile. You were a fair maiden, and nobly born; but your dowry would have tempted no wooer.

MARGIT.

[To herself.] Yet was I then so rich.

BENGT.

What said you, my wife?

MARGIT.

Oh, nothing, nothing. [Crosses to the right.] I will deck me with pearls and rings. Is not to-night a time of rejoicing for me?

BENGT.

I am fain to hear you say it. Let me see that you deck you in your best attire, that our guests may say: Happy she who mated with Bengt Gauteson.—But now must I to the larder; there are many things to-day that must not be over-looked.

[He goes out to the left.

MARGIT. [Sinks down on a chair by the table on the right.]

'Twas well he departed. While here he remains
Meseems the blood freezes within my veins;
Meseems that a crushing mighty and cold
My heart in its clutches doth still enfold.
[With tears she cannot repress.

He is my husband! I am his wife!
How long, how long lasts a woman's life?
Sixty years, mayhap—God pity me
Who am not yet full twenty-three!
[More calmly after a short silence.

Hard, so long in a gilded cage to pine;
Hard a hopeless prisoner's lot—and mine.
[Absently fingering the ornaments on the table, and beginning
to put them on.

With rings, and with jewels, and all of my best
By his order myself I am decking—
But oh, if to-day were my burial-feast,
'Twere little that I'd be recking.
[Breaking off.

But if thus I brood I must needs despair;
I know a song that can lighten care.
[She sings.

The Hill-King to the sea did ride;
—Oh, sad are my days and dreary—
To woo a maiden to be his bride.
—I am waiting for thee, I am weary.—

The Hill-King rode to Sir Hakon's hold;
—Oh, sad are my days and dreary—
Little Kirsten sat combing her locks of gold.
—I am waiting for thee, I am weary.—

The Hill-King wedded the maiden fair;
—Oh, sad are my days and dreary—
A silvern girdle she ever must wear.
—I am waiting for thee, I am weary.—

The Hill-King wedded the lily-wand,
—Oh, sad are my days and dreary—
With fifteen gold rings on either hand.
—I am waiting for thee, I am weary.—

Three summers passed, and there passed full five;
—Oh, sad are my days and dreary—
In the hill little Kirsten was buried alive.
—I am waiting for thee, I am weary.—

Five summers passed, and there passed full nine;
—Oh, sad are my days and dreary—
Little Kirsten ne'er saw the glad sunshine.
—I am waiting for thee, I am weary.—

In the dale there are flowers and the birds' blithe song;
—Oh, sad are my days and dreary—
In the hill there is gold and the night is long.
—I am waiting for thee, I am weary.—
[She rises and crosses the room.

How oft in the gloaming would Gudmund sing
This song in may father's hall.
There was somewhat in it—some strange, sad thing
That took my heart in thrall;
Though I scarce understood, I could ne'er forget—
And the words and the thoughts they haunt me yet.
[Stops horror-struck.

Rings of red gold! And a belt beside—!
'Twas with gold the Hill-King wedded his bride!
[In despair; sinks down on a bench beside the table on
the left.

Woe! Woe! I myself am the Hill-King's wife!
And there cometh none to free me from the prison of my life.

[SIGNE, radiant with gladness, comes running in from
the back.

SIGNE.

[Calling.] Margit, Margit,—he is coming!

MARGIT.

[Starting up.] Coming? Who is coming?

SIGNE.

Gudmund, our kinsman!

MARGIT.

Gudmund Alfson! Here! How can you think—?

SIGNE.

Oh, I am sure of it.

MARGIT.

[Crosses to the right.] Gudmund Alfson is at the wedding-feast in the King's hall; you know that as well as I.

SIGNE.

Maybe; but none the less I am sure it was he.

MARGIT.

Have you seen him?

SIGNE.

Oh, no, no; but I must tell you—

MARGIT.

Yes, haste you—tell on!

SIGNE.

'Twas early morn, and the church bells rang,
To Mass I was fain to ride;
The birds in the willows twittered and sang,
In the birch-groves far and wide.
All earth was glad in the clear, sweet day;
And from church it had well-nigh stayed me;
For still, as I rode down the shady way,
Each rosebud beguiled and delayed me.
Silently into the church I stole;
The priest at the altar was bending;
He chanted and read, and with awe in their soul,
The folk to God's word were attending.
Then a voice rang out o'er the fiord so blue;
And the carven angels, the whole church through,
Turned round, methought, to listen thereto.

MARGIT.

O Signe, say on! Tell me all, tell me all!

SIGNE.

'Twas as though a strange, irresistible call
Summoned me forth from the worshipping flock,
Over hill and dale, over mead and rock.
'Mid the silver birches I listening trod,
Moving as though in a dream;
Behind me stood empty the house of God;
Priest and people were lured by the magic 'twould seem,
Of the tones that still through the air did stream.
No sound they made; they were quiet as death;
To hearken the song-birds held their breath,
The lark dropped earthward, the cuckoo was still,
As the voice re-echoed from hill to hill.

MARGIT.

Go on.

SIGNE.

They crossed themselves, women and men;
[Pressing her hands to her breast.

But strange thoughts arose within me then;
For the heavenly song familiar grew:
Gudmund oft sang it to me and you—
Ofttimes has Gudmund carolled it,
And all he e'er sang in my heart is writ.

MARGIT.

And you think that it may be—?

SIGNE.

I know it is he! I know it? I know it! You soon shall see!
[Laughing.

From far-off lands, at the last, in the end,
Each song-bird homeward his flight doth bend!
I am so happy—though why I scarce know—!
Margit, what say you? I'll quickly go
And take down his harp, that has hung so long
In there on the wall that 'tis rusted quite;
Its golden strings I will polish bright,
And tune them to ring and to sing with his song.

MARGIT. [Absently.]

Do as you will—

SIGNE. [Reproachfully.]

Nay, this in not right.
[Embracing her.

But when Gudmund comes will your heart grow light—
Light, as when I was a child, again.

MARGIT.

So much has changed—ah, so much!—since then—

SIGNE.

Margit, you shall be happy and gay!
Have you not serving-maids many, and thralls?
Costly robes hang in rows on your chamber walls;
How rich you are, none can say.
By day you can ride in the forest deep,
Chasing the hart and the hind;
By night in a lordly bower you can sleep,
On pillows of silk reclined.

MARGIT. [Looking toward the window.]

And he comes to Solhoug! He, as a guest!

SIGNE.

What say you?

MARGIT. [Turning.]

Naught.—Deck you out in your best.
That fortune which seemeth to you so bright
May await yourself.

SIGNE.

Margit, say what you mean!

MARGIT. [Stroking her hair.]

I mean—nay, no more! 'Twill shortly be seen—;
I mean—should a wooer ride hither to-night—?

SIGNE.

A wooer? For whom?

MARGIT.

For you.

SIGNE. [Laughing.]

For me?
That he'd ta'en the wrong road full soon he would see.

MARGIT.

What would you say if a valiant knight
Begged for your hand?

SIGNE.

That my heart was too light
To think upon suitors or choose a mate.

MARGIT.

But if he were mighty, and rich, and great?

SIGNE.

O, were he a king, did his palace hold
Stores of rich garments and ruddy gold,
'Twould ne'er set my heart desiring.
With you I am rich enough here, meseeems,
With summer and sun and the murmuring streams,
And the birds in the branches quiring.
Dear sister mine—here shall my dwelling be;
And to give any wooer my hand in fee,
For that I am too busy, and my heart too full of glee!

[SIGNE runs out to the left, singing.

MARGIT.

[After a pause.] Gudmund Alfson coming hither! Hither—to Solhoug? No, no, it cannot be.—Signe heard him singing, she said! When I have heard the pine-trees moaning in the forest afar, when I have heard the waterfall thunder and the birds pipe their lure in the tree-tops, it has many a time seemed to me as though, through it all, the sound of Gudmund's songs came blended. And yet he was far from here.—Signe has deceived herself. Gudmund cannot be coming.

[BENGT enters hastily from the back.

BENGT.

[Entering, calls loudly.] An unlooked-for guest my wife!

MARGIT.

What guest?

BENGT.

Your kinsman, Gudmund Alfson! [Calls through the doorway on the right.] Let the best guest-room be prepared—and that forthwith!

MARGIT.

Is he, then, already here?

BENGT.

[Looking out through the passage-way.] Nay, not yet; but he cannot be far off. [Calls again to the right.] The carved oak bed, with the dragon-heads! [Advances to MARGIT.] His shield- bearer brings a message of greeting from him; and he himself is close behind.

MARGIT.

His shield-bearer! Comes he hither with a shield-bearer!

BENGT.

Aye, by my faith he does. He has a shield-bearer and six armed men in his train. What would you? Gudmund Alfson is a far other man than he was when he set forth to seek his fortune. But I must ride forth to seek him. [Calls out.] The gilded saddle on my horse! And forget not the bridle with the serpents' heads! [Looks out to the back.] Ha, there he is already at the gate! Well, then, my staff—my silver-headed staff! Such a lordly knight—Heaven save us!—we must receive him with honour, with all seemly honour!

[Goes hastily out to the back.

MARGIT. [Brooding]

Alone he departed, a penniless swain;
With esquires and henchmen now comes he again.
What would he? Comes he, forsooth, to see
My bitter and gnawing misery?
Would he try how long, in my lot accurst,
I can writhe and moan, ere my heart-strings burst—
Thinks he that—? Ah, let him only try!
Full little joy shall he reap thereby.
[She beckons through the doorway on the right. Three
handmaidens enter.

List, little maids, what I say to you:
Find me my silken mantle blue.
Go with me into my bower anon:
My richest of velvets and furs do on.
Two of you shall deck me in scarlet and vair,
The third shall wind pearl-strings into my hair.
All my jewels and gauds bear away with ye!
[The handmaids go out to the left, taking the ornaments
with them.

Since Margit the Hill-King's bride must be,
Well! don we the queenly livery!

[She goes out to the left.
[BENGT ushers in GUDMUND ALFSON, through the pent-house
passage at the back.

BENGT.

And now once more—welcome under Solhoug's roof, my wife's kinsman.

GUDMUND.

I thank you. And how goes it with her? She thrives well in every way, I make no doubt?

BENGT.

Aye, you may be sure she does. There is nothing she lacks. She has five handmaidens, no less, at her beck and call; a courser stands ready saddled in the stall when she lists to ride abroad. In one word, she has all that a noble lady can desire to make her happy in her lot.

GUDMUND.

And Margit—is she then happy?

BENGT.

God and all men would think that she must be; but, strange to say—

GUDMUND.

What mean you?