MUSIC LIB. A/IL 50 A33T4E 1908 ALBERT oi 01 oi 61 81 Oi Oi 31 2m ~ TIEFLAND THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES MEREDITH WILLSON LIBRARY STANLEY RING COLLECTION MUSIC LIBRARY J-*-^- PRICE 40 CENTS 0JIOAOO ^^ \ THE ORIGINAL ITALIAN, FRENCH OR GERMAN LIBRETTO WITH A .CORRECT ENGLISH vTRANSLATION.( TIEFLAND i\ W*)' m Published by Inc, FRED. NEW YORK CITY 'THE ONLY CORRECT AND AUTHORIZED EDITION s Tiefland "Tiefland" is a story of Spain: its locale, the Pyrenees mountains ; its characters, the peasants in this tiny village in the valley (the "Tiefland" or "Lovi'lands"), still living under a sort of feudal system; the 'plaster" — Sebastiano — literally owning them all, body and soul. High in the mountains lives Pedro, a shepherd ; simple, guileless, devout — alone — who joyfully greets Nando, the first human being with whom he has spoken in three months. In answer to Nando's question if such loneliness is not terrible, Pedro an- swers that it is all beautiful to him ; he dreams his days and nights away and prays always that God may send him a wife. He admits that he has never spoken with a woman, but he has had a wonderful dream which he repeats to Nando, in which the Madonna has promised him that God will send him a wife. Sebastiano arrives, and with him are Tomasso, the village patriarch, and a woman — Marta ! While Tomasso goes to Pedro's hut to call him, Sebastiano tells Marta his plan : she is to marry Pedro. She refuses, defies, pleads, but Sebastiano is the master, and he remains obdurate. As Pedro comes Marta disappears down the mountain- side. Sebastiano offers Pedro the management of the mill, and Marta as his wife, but he says nothing to Pedro of the relationship existing between himself and Marta. Upon Tomasso's advice and remembering the dream-promise, Pedro joyfully accepts, and departs for the valley. Act I. The interior of the mill; Moruc- cio — the assistant miller — at work. Three of the village women rush in excitedly, ques- tioning Moruccio about Marta's marriage. Moruccio remains morosely silent, but Nuri — a child so simple she doesn't even know the meaning of what she has heard — comes seeking Marta, and innocently tells them all they would know — and even more. One thing she doesn't understand, she says: She knows they all belong to Sebastiano, but she has heard him say that he will be Marta's eternally. How can that be? Marta comes and drives out the women who taunt her. She greets Nuri lovingly, but sends her away also, and — left alone — becomes lost in contemplation of the fate which threatens her — -finally rushing from the mill. Tomasso comes and Moruccio tells him Sebastiano is forcing Marta to marry Pedro to quiet the village gossip, so that Sebas tiano may replenish his fortunes through a rich marriage. Tomasso refuses to believe Moruccio. Pedro arrives, eager for the wedding. Tomasso endeavors to have a word with Sebastiano, but the latter has no time. Before Sebastiano sends them off to the wedding Marta tells him that all is over be- tween them, but Sebastiano whispers that TIEFLAND— Cont'd he will come to her after the ceremony. To- masso finally has an opportunity to talk with Sebastiano, and, becoming suspicious, starts for the church to halt the wedding, but he is too late. After the wedding Marta and Pedro are left alone, but Marta does not respond to Pedro's love-making. He offers her a pres- ent of some money, which she refuses. ' It ia hard-earned money, he tells her. For one of the thalers he has risked his life to protect the master's sheep from a wolf. Marta is touched, but saj's it is late and points to Pedro's room, which is on the opposite side of the mill. Pedro, however, starts toward her room just as a light appears behind hev curtain. Sebastiano has dared to come ! Pedro is unable to understand just what is liappening, but Avhen Marta sits down at the fireplace he lies down on the floor at her feet, to sleep. The second act is the same: Nuri comes to wish them good-morning, but finds Pedro still asleep. When Marta returns and finds them talking together she becomes jealous and drives Nuri out. Pedro goes with her. Tomasso enters, and Marta tells him of her life: how as a child she stood begging with her blind mother. Then they were joined by an old man, and after her mother's death they two had wandered through the country, Marta dancing as he played. They had come here, and Sebastiano had asked them to stay. She was then only thirteen. Sebas- tiano came every day; coaxed and threat- ened; the old man beat her. Finally she yielded. Today, though, during the cere- mony it had come to her that Pedro could and would care for her, protect and love her. Tomasso leaves, telling her she must tell Pedro all. When Pedro comes Marta tries to goad him into killing her, but begs him not to leave her. She finally accuses Pedro of having sold his honor, of having accepted money to marry her, infuriating him so that he does stab her in the arm. Pedro, overcome by remorse, asks how he could kill her when he loves her better than life. They will go back into his mountains and celebrate their marriage. As they start Sebastiano enters. He orders Marta to dance. Pedro interferes, and when Sebas- tiano strikes him Marta tries to make him defend himself, but, in awe of the master, he will not do so. When she finally tells him it was Sebastiano who was in her room Pedro attempts to attack him, but upon Sebastiano's command the villagers carry him away just as Tomasso enters to say that all is off between Sebastiano and his rich bride. Tomasso has told her father all. Pedro finally returns and challenges Sebas- tiano to fight for Marta : the one who sur- vives is to have her. Pedro is victorious, and calls the villagers in. He has killed "The Wolf," and he and Marta are at lib- erty to return to the free air of his moun tains. 1926-1927 Grand Opera Season THURSDAY EVENING, DECEMBER 23, at 8 TIEFLAND (The Lowland) (In Er.glish) Music-Drama in a Prologue and Two Acts. Libretto after A. Guimera by Rudolph Lothar. Enghsh Version of R. H. Klein, adapted for Chicago Civic Opera Co Music by Eugen d' Albert. Sebastiano, a Rich Land Owner Tomaso, the Village Elder, Aged Ninety Moruccio, Mil Marta Pepa . Antonia Rosalia Nuri . Pedro Nando er's Man Hn Sebastiano's Service Shepherds Giacomo Rimini Alexander Kipnis Antonio Nicolich Elsa Alsen Alice d'Hermanoy Irene Pavloska Lorna Doone Jackson Helen Freund Forrest Lamont Jose Mojica Conductor . . xj i-. -.tt i stage Director . . : [ ; ; ; ; ; ; ""^IZLVoZ ^yi.9.^ U"^ ^^t ^a^VNOPSIS ON NEXT PAGE Salhmin Pianos Used Exclusively ENCORES NOT PERMITTED iLSA ALSEN PUBLISHED BY The scene is laid partly on a mountain in the P^V'e' ^^RK, N. Y. ^amsh Lowland of Catalonia at the foot of the Pyrenees Prologue: A Rocky Slope High up in the Pyrenees. Acts I and H: The Interior of the Mill. M 2 TIE F LAND ARGUMENT Pedro is a shepherd lad of the Pyrenees. High above the lowland plains he guards the flocks of Sebastiano, his master, plays his rustic pipe and dreams of a good woman's love. Sebastiano appears in the hills with Marta — bought of a passing vagabond, she is the helpless slave of his brutal passion — and, since he must make a rich marriage, he plans to have innocent Pedro marry her. meaning to enjoy her favor as before. Pedro, ignorant of her past, sees in her the girl of his dreams. Will- ingly he agrees to wed her and to descend to the Catalonian Lowland village to become Sebastiano's miller there. Little NuRi, in Sebastiano's service, unwittingly discloses INL-vrta's shame, and mill folk and villagers mock her and the witless boy on his way from the hills to wed her. In vain Marta begs Sebastiano not to force her into the marriage. His reply is the statement that he will visit her on her bridal night. After the wedding, alone with his wife, Pedro's honest affection — (he gives her all his wealth, the silver dollar awarded him for slaying a wolf) — brings home to the unfortunate girl the shamefulness of her situation. Sebastiano's signal light flashes in her bedroom, but she ignores it, and remains in the mill with her wor- shipping young husband. But the light and Marta's strange behavior, have aroused Pedro's suspicions. Going down into the village he returns knowing Marta is not the pure girl he thought her, but ignorant of her seducer's name. Marta, who loves the boy since she found he was innocent of any knowledge of her guilt, but feels that now she never can win his heart, taunts him, hoping he will slay her. But he, in turn, when his dagger draws her blood, realizes he loves her despite all, and when she passionately admits her own love for him he begs her to leave the miasmic Low- land air and return with him to the high hills, where the winds of heaven blow clean and pure. There — poor victim of an unscrupulous lust — her misfortune shall be forgotten, and they will be happy in their affection. But Sebastiano who enters brutally insists that Marta dance for him, and when Pedro, as she indignantly denounces her betrayer to him, intervenes, he is flung out of the house. The news brought by Tommaso, a village elder, that the rich widow whom Sebastiano hopes to marry will have none of him, maddens the brutal Low- knder. ]\Iarta cries for help as he clasps her, fighting against his kisses, and ?EDR0 leaps through the window. Flinging himself on the infamous mill-owner lie strangles him with his bare hands, as he strangled the wolf in the hills. While he flings the dead body from him the horrified villagers, who have run up and witnessed the struggle stand aghast : they bow to the judgment of God, and hand in hand Pedro and Marta spurn the dust of the Lowlands from their feet as they turn their faces toward the high hills and happiness to come. CHARACTERS SEBASTIANO, a rich landed proprietor TOMMASO, the village elder, aged 80 MORUCCIO, miller's man ROSALIA NURI PEDRO, a shepherd NANDO, a shepherd ^l^T??^ rin Sebastiano's Service^ PEPA ANTONIA J A PRIEST The opera plays partly on a mountain pasturage in the Pyrenees, partly in the Spanish Lowland of Catalonia at the foot of the Pyrenees. Stage directions : Right and left as from the auditorium. TIEFLAND TIEFLAND Music Libraiy 50 B ^4^-7 \ PRELUDE A rocky slope, high up in the Pyrenees. From the extreme foreground the stage slopes upward, almost half as high as the proscenium. On this slope, on the left, stands a primitive shepherd's hut. In front of it a well and a trough. On the left the decliv- ity is lost among boulders. Behind the hill, which thus occupies the whole zvidth of the stage, a deep hol- lozv appears to lie. Beyond the hol- low rise the snow-covered peaks of the Pyrenees in strange fantastic forms. In the center a huge glacier, with an enormous rocky mass he- side it. SCENE I {About 3 o'clock a. m. Starlit sky. The whole background is invisible — veiled in mists. On the stage: dawn, in which the outlines of the hut can just be dimly distinguished. The stage is empty.) Nando (invisible from below) Ohe! Pedro (invisible, above on the left, replies) Ohe! (After a zvhile Nando comes in sight on the right front and Pedro appears above, by the hut.) Pedro The Lord in. heav'n be praised. Nando For evermore! Pedro Is it toward the East your flock you're leading ? Nando Up to the mountains. Pedro Mind the wolves up yonder ! Nando I have my slings and Fve my trusty dog. Pedro And I have faith in God ! (Both now meet on the middle of the hill. From the hollow belozv the tinkle of sheepbells is heard.) 'Twill be a lovely morning. Nando When all the mist has vanished. Pedro Give the good shepherds greeting. Nando Have you not seen them? Pedro Three months have now gone by Since I have seen a living soul ; And 'tis six months ago Since I held speech with any ; And when you disappear behind the mountain, Then many weeks and months may vanish. Nay, perhaps a year, Before I speak a word with human being. Nando And is your lonely life not dreadful? Pedro I glory in my life! I dream by night, and dream by day, And feel so happy. Who could be hap- pier? Two Paternosters ev'ry night I say ; The first I say is for the parents I never knew. But dwelling up aloft by God's high throne, They both are watching, full of love, o'er me. But now my second Paternoster ; That is a special prayer to God Him- self. I beg him ev'ry night To send a wife to make life perfect. *> csa^s? TIEFLAND Nando (laughs) A wife ? Ha, ha ! Do you know wom- en? Why, have you ever talked to one, or seen one? Pedro Not yet. How should a woman come up here? But once a year from afar I have gazed at them When in the vale below to church I went. But I feel certain — that if God de- sires — I, too, shall get a wife all in due sea- son. Nando (laughs) Pedro There is no cause to laugh. I mean it, truly. Last night, as I was lying in my moun- tain shanty, I just had finished saying my first prayer aloud. Starting my second one, But with the first few words I fell asleep. And on my lips my pray'r remained unspoken. And dreaming, suddenly I saw my flock Take refuge in the valley yonder. I gave it chase, and placing a stone In my sling I threw it ahead To keep the sheep from straying fur- ther. The stone dropt in the Lake of Rocca- bruna. The placid water seethes and boils As if it were a caldron. The vapors thicken, then they part asunder. And from their depths arise a mys- terious form. A wondrous shining robe, a snowy arm, A head with flowing golden hair "The witch!" I shriek aloud, "the mountain witch !" But no ! So fair no witch could ever be. And suddenly the raging lake grows placid. The apparition glides across the mere, approaches me. She was so fair that I cannot de- scribe her. And as she came the trees bowed down before her. The buds awoke and turned to flower, and The birds were singing as ne'er be- fore ; They trilled and warbled till the hills resounded. And all the world appeared to welcome her. The apparition smiled and glided up to me. Quite close to me. Then I knelt down before her, And finished saying my second Pater- noster. And now I know who the fair vision was: The Virgin Mary in my dream I saw, She came from heaven to tell me God Will send me wife and happiness. Nando You think that wife and happiness are one? Hear what I tell you : between the two, A bit of heaven and the whole of hell you'll find ! You'll find that out yourself. Be sure of that! Pedro I only wonder From which direction she will come to me? Now mark: within my sling a stone I now am placing. And swinging it around. My eyes are closed. And where the stone will fall, 'tis from that side That she will come to me. (He throzvs the stone) Sebastiano's Voice (from far heloiv on the rigJit) Confound you fellows ! Don't you see That some one's coming? This stone of yours had very nearly hit me ! Nando Why, who comes here? TIEFLAND Pedro What do I care? They can't want me ! Naxdo (looking down info the hollozv) The master's coming ! Don Sebastiano ! Surely you know the master? What- e'er you see Belongs to him. The meadows, pas- tures, corn fields, The wood and river, herd and hut. The village yonder and the mill stream, Ev'rything you can think upon, is his. And in his service are we all, we shep- herds. Those on the mountain-top and in the valley. And next to him, that is the elder Of our village. Full ninety years Tommaso carries on his shoulders. Pedro {rising reluctantly) Into my hut I'm going. If they wish For aught from me, then let them come and fetch me. {He slozvly goes up to the hut) Nando {looking down with eager interest) And with the men there is, if I see right, A comely maiden! What can they be wanting ? {He laughs) Perhaps the Lord has kept His word and sent A wife for our Pedro ! SCENE II {Enter Sebastiano, Marta and ToMMASo) Sebastiano Is Pedro not here? Nando He is inside his cabin yonder. Sebastiano Tommaso. go and fetch him out. {To Nando) And you, bring us bread and milk and cheese. The way was long, and I am hungry. (Tommaso and Nando go up to the hut, which Tommaso enters. Nando busies himself outside — fetches milk, etc.) (Marta and Sebastiano alone in the foreground) MarTa Tell me why you dragged me here ? Sebastiano Leave that to me! Besides, my child, I have got a plan for you. Marta Tell me, sir, for Christ's dear sake. What you purpose. Sebastiano Have no fear ! You have always served me truly. And you know I paid you well. As a beggar-maid you came Wand'ring hither with that ancient Scamp, your father. And you pleased me. So I made your father my miller Just to win your heart, my beauty. Then the mill I gave to you And made you mine in payment. That's no more than fair and equal. Marta Oh, 'tis dreadful; altho' I plead With you to set me free, 'Tis in vain. You are the master. Sebastiano Yes, your master ! And as such I will now command you : (Pedro appears above) Look at that young fellow there ! Handsome, eh, and young and hearty? Him I choose to be your husband. Marta {shrinking back in horror) Rather will I leap down yonder ! Sebastiano Folly ! Madness ! Stay a bit. Wait until I have explained it ! 'Tis no idle whim of mine; What is, that has to be. TIEFLAND Marta Oh, have mercy ! Sebastiano Listen, child, Just because I wish your welfare I choose Pedro for your husband. MarTa (Freeing herself from Sebastiano, who was holding her hand) Let go, sir. I will not, will not! Sebastiano Marta, look at him just once! Marta No! (She zmenches herself free and runs off) (Pedro, who has come quite close, stands staring at her open-mouthed) Pedro Holy Virgin ! Oh, how lovely ! SCENE III Pedro, Sebastiano, Tommaso (Nando has brought vessel tvifh milk, and has then returned to the hut, tvhere he busies himself unconcern- edly.) Sebastiano Well, good Pedro, tell me. pray, Are you quite content here ? Pedro Why, indeed, most gracious master. Sebastiano Don't you wish for something better? Pedro Don't see how ! Sebastiano Shepherd life is very fine. But you surely must know that There are better things than that? Look down there in yonder valley^ Stands a mill of mine. Will you not be miller there? Pedro If there's corn enough to grind Well, why not? Sebastiano And besides this, you're to have The miller's maid as wife. Pedro If the damsel pleases me And I her, I'll not say no. Sebastiano Why, you've seen her! Well, will she do? Pedro Are you making jest of me? Am I dreaming still? Sebastiano Sit down here and hark to me : My mill requires a head Since the miller died. My choice fell on you, my lad. If you care, then leave your hills. You take Marta as your wife And I take you as miller. Pedro Like a swarm of bees all your Words are buzzing round my ears — Are you jesting? Can you mean it? May I thank the saints in heaven? Will my dream be realized? Tommaso Full many miles from here I dwell, Far ofif beyond the mountains. The master came to me. And I gave him your name. Tho' it is many years since I was here, I know you well. You are an honfest fellow ! Say yes, my son, and take what God has sent you, Your master means you well. Thank him for this. May God, Who seeth ev'rything and guides us all. Watch over your new dwelling, and send you Peace and plenty. TIEFLAND Sebastiano Your hand upon it. Pedro Shall? May I? Do you think she'll have me? Won't she object that I'm too plain for her? She may say, "No, thanks !" look on me with scorn ? Sebastiano Leave that to me to answer for ! 'Twill be all right. Pedro She fled at sight of me. Sebastiano Women are like that. Get yourself ready, come down in the valley. Tomorrow is your wedding day — All preparations I have made. Pedro Tomorrow? So much luck tomor- row? TOMMASO Good luck ne'er comes too soon ! Now it is here, don't let it go ! (Sebastiano and Tommaso prepare to depart) Sebastiano 'Tis settled then; I'll wait in the mill And bring your wife to you. Pedro Tomorrow ! Tommaso God's blessing on your path ! (Exeunt Sebastiano and Tommaso) SCENE IV Pedro Nando Pedro Well, did you hear? I've got a wife, a gift from heaven. I'm going down Nando The Lowland tempts you ? The houses there are cramped, the mountains far, The people crowded close together. The sun himself is dull, and gray the daylight. And men fight and nag and quarrel Without ceasing. The Lowland tempts you. Pedro 'Tis my star that calls! See that our flock is safe until our master Sends up another shepherd in my place. (Meamvliile the mists have dispersed and the sun rises in full glory over the glacier.) Now one last greeting to my moun- tains, I know you ev'ry one, ev'ry crag and summit. And ev'ry chasm, and ev'ry peaceful meadow. Here did I bask in thy golden radiance, O sun. Befriend me now, and shine upon my path. (Pedro goes down the path. Al- ready half behind the scenes) See that my flock is safe ; be watchful, Nando ; Mind that the wolf does not come ! Look, how they're flocking and crowd- ing around me ! Farewell, be sure that down below I'the Lowland. I will not forget you! Nor you, my good and trusty dog 1 Farewell ! Think too of me some- times I (He has quite disappeared from sight, his voice sounds from hcloiv, grozv- ing more and more distant.) The sun is shining on my downward path. The Lowland calls me! (His voice dies away) The curtain falls s TIEFLAND ACT ONE The interior of the mill. On the right, the big mill zvheel, zvhich is not work- ing. Above it a very roughly con- structed -ivooden trough which has ■no water in it. On the left, a door approached by tzvo staircases, and hidden by a curtain. On the right, a small door. In the background the hitge entrance gate, through zvhich, when it is open, one can see far into the landscape. Far on the horison tlie outlines of the glacier of the Pre- lude can be distinctly discerned. Above the gate a zvooden gallery runs, at half the height of the Pros- cenium. On the left, in front, a large hcartJi. Sacks of corn, millstones, etc.. lie about. Shortly before sun- set. MoRUCCio alone on the stage, busy sieving corn. The curtain rises SCENE I MoRUCCio, tlic miller's man, Pepa, Antonia, Rosalia, come rushing in. Pepa Tell us pray, is it true? Antonia Is it really true? ROSAUA Tell us ! Speak ! Do answer ! Pepa Do Ije quick and answer ! Is it true that Marta's marrying? i\IORUCCIO (Mcanzvhile laconically goes on empty- ing his sieve and refilling it zvith fresh corn.) "If you wait till the church doors open You will see the bride." Pepa You're to answer what we ask ! Don't you hear? We want to know. . . ROSAUA Whether i\Iarta? Antonia Means to wed. Pepa Is it really true? Rosaeia Or just a rumor ? Antonia Or just a falsehood? Aee Three Do be quick and tell us ! Answer ! Quick ! Your answer I MoRuccio {as above) "If you wait till the church doors open You will see the bride." Pepa Ah ! You're angry ! 'Tis no wonder That Marta won't have you. You would like to be the miller ! It is close upon a year Since the miller went away. But yet Alarta won't take you. Antonia and Rosalia Won't take you! Pepa You're too old. too ugly. You're a crosspatch ! Antonia Grufif and surly ! Rosalia ( coaxingly ) If we beg you very nicely, You'll be kind and tell us, won't you? JMoRUCCio {as before) "If you wait till the church doors open You will see the bride." Antonia You're the one who's waiting. Pepa Where is Marta? Rosalia Yes, where is she? Antonia Is she in the mill ? MoRuccio {shrugs Jiis shoulders) Pepa Let him be, the surly fellow. TIEFLAND SCENE II {The former. Nuri zvJw enters by the gate knitting a jersey. She remains standing on the threshold.) Nuri Good evening ! All my chicks are roosting in the barn at last And are safe asleep. ]\Iay I come in ? Antonia Yes, come in. Nuri And you promise not to scold me As you always do When I come to see ]\Iarta? She loves me well, Better than you. Pepa Any news ? Antonia What's the latest? Rosalia Answer — speak and tell us ! Nuri {absent jnindedly) Why, Vi^hat can I have to tell you? Pepa Have you seen Tommaso? Nuri Yes, I've been to see him. And he told me lots of things. Oh, so many, and so lovely ! The Three Women Well then, tell us what? Nuri He said to me : Look my child, all that you can see Here as far as sight can reach, Ev'rything belongs to our master, To our lord Sebastiano. The cottage where you dwell, The mill beside the stream. My cabin on the mountain side, The manor- farm with turret and high roof Wherein our master lives, All that, and all that is up on the heights And in the vale below, Ev'rything belongs to our master To our lord Sebastiano. Antonia Why there's nothing new in that ! Pepa Things we've known since we were children. Nuri Wait a bit, I know some more — He said to me : If I journey, from today until Tomorrow evening, walking, walking. On and on without a stop. All the fields and all the forests. All the meadows which I see Upon my journey, All the rivers, all the brooklets, Ev'ry waterfall, Ev'rything belongs to our master To our lord Sebastiano And if I catch a butterfly. At liberty I have to set it. For it too belongs to our master. And if a lizard runs across my path, I've no right to chase it. It belongs to our master. The flowers which I'm gathering Belong to him. The liird that sings in the shady tree, And the eagle that circles aloft, They all are his. Ev'rything belongs to our master To our lord Sebastiano. Pepa All this we know quite well. Nuri I didn't; I knew it not; And Tommaso, who has just come down From his mountain home He knows it all. Pepa And where is Tommaso now? 10 TIEFLAND NURI With the master he has climbed up there, High up there, where there are glaciers Lying close beside the meadows. Tis a shepherd lad they fetch. And the shepherd, think — just think — He is coming This very day. is coming here To wed our Marta. The Women Now at last, we've got the truth! MORUCCIO (wlw Jias been going to and fro and has heard all) To the devil with these gossips, Now they've heard the news they wanted ! Antonia What, this evening? At whose com- mand? NURI Whose command? Why 'twas the master. He commands and is obeyed. He commanded the wedding Of Marta and the shepherd. (luiportanfly) Long ago I knew That she belong'd to our master. What that meant I did not know. Antonia What's that you say? NURI I say, what I heard one evening. Pepa Why did you never tell us? NURI I was ashamed to, Can hardly tell you why. The Women Well, then, tell us, hurry, speak ! NURI 'Twas on a summer eve. The moon had risen behind the wil- lows. And I lay resting there. Well, along the pathway Came Marta and the master. I could hear that she was crying, And I heard how she said : "Yes, I know, too well I know That I am yours ! Ne'er shall I escape from you !" Oh, she sobbed so that I scarce Could hear what she was saying. Then the master said : "And tho' you take another for your husband And tho' I take another wife, I'll yet be thine for ever, ever thine !" I heard it with my own ears. She was crying and the master went on whisp'ring. But explain to me, what can it mean? How can the master say to ^Marta He belongs to her? That she's his Is quite simple. For I know he owns us all. But what could he mean by saying: "I'm ever thine, still ever thine?" Pepa 'Tis nought to you what he could mean by it ! MoRUCCIO Be quiet, women, here she comes ! SCENE III The above — Marta {The Women expect Marta to enter by the curtained door and keep their eyes fixed on this. But she comes from the mill and through the door on the right. With drooping head she advances to the center of the stage without perceiving the Women. As soon, hoivever, as she becomes aware of their presence, she hurries out through the curtained door.) NuRi Oh, she is gone. Pepa Marta, Marta, won't you hear? Just to spite you we will come and see your wedding. ROSAEIA Can it be that she will dare, How can she dare to marry? Thus to enter holy wedlock? (Exit MoRuccio throng Ji the gate at the back) TIEFLAND 11 Antonia And the duffer has no notion ? What a donkey ! What a ninny ! No idea and thinks — ha, ha, Thinks that Marta — ha, ha, ha! (All three laugh) NURI Tell me, pray, what makes you laugh? Pepa Surely weddings should be merry ! Rosalia More than ever this wedding! Antonia Ev'rybody will be laughing, When they hear what we've to tell them. That our Marta — ha, ha, ha ! And the shepherd — ha, ha ! What a duffer ! Pepa And we all of us are coming As a bridal escort gay ! Mei Rosalia merry we will make it ! Marta {Appears in the door above on the left crying tvith vexation) Oh, go away ! I want nobody near me? Pepa {hypocritically) But, my dearie, pretty darling. Won't you tell us why ! Antonia As we know it all already ! Marta Leave me. I tell you, leave me, go! Rosalia Why, we only came here darling Marta Go, I tell you, hurry, quick ! {The Women do not stir. Marta seises their baskets ivhich they had set doivn on the ground and throws thevn out of the gate.) Out with them and with you! Pepa Holy Mother, give us help. {Exeunt all the Women) Nuri And I, must I go also, Marta? I'm your little Nuri. Marta {tenderly) You dearie, Nuri, my child? Come, kiss me dear. Nuri Why your cheeks are wet with tears. Marta No, no. Nuri Do be merrv ! Marta Oh, for the merry heart That was mine when a child ! Nevermore shall I be glad! Nevermore shall I be merry! Nuri 'Tis your wedding, is it not? Marta {bitterly) 'Tis my wedding . . . Yes, that is so. Why was I not faithful to my "No"? It is madness, it is wicked, this mar- riage. How unhappy my lot is ! None to help me, none to give me aid ! Nuri I'll stand by you, Marta, I am with you. Marta {without hearing her) No one brings me aid in my sore need 1 And this Pedro, how I hate him ! He my husband? No, rather will I die ! Peace I pray for ! Nought but peace I pray for! {A voice is heard outside) Go, my child, that is Sebastiano. If he sees me weeping He'll beat me I fear. Nuri That he shall not ! 12 T I E F L A X D Marta Would you prevent him? If I were but sure That he would kill me. I'd be weeping, weeping till . . . NURI How you puzzle me ! Who dare do any harm to you? Marta Go, my love, and ask no more — (PusJics NuRi out) SCENE IV AIarta (alone) His am I, his! His property ! Now and ever ! Oh, that he had cast me off ! Now, I shall ne'er escape from him, Never again be free ! Holy Mother of our sorrows ! Wherefore am I punished so? Was I sinful, was I bad? His am I, his, his property. Why this torment? Why this suff'ring? Ah, I'm but a girl and weak, And I wandered by the stream, Had not strength to take the plunge. Free it would have made me — free in death ! Ah, but I was weak and frail ! My resistance melts away before his word ! His am I, his ! His property ! Holy Mother, Virgin Mary, Help me in my hour of need ! (A noise from zvithout) Can they be coming to fetch me? Can it be that lout. May heaven curse him ! I will not see him ! (Exits quickly into her room) SCENE V Outside before the open gate The Peasants He's here ! NURI Where ? Show me where ? Pepa Why, down the hill, can }-ou not see? Rosalia The bridegroom ! Antonia The liridegroom ! (All laugh and hurry off tozcards the left] AIoRuccio (drazvs Tommaso into the center) Here, Tommaso, a word ! Tommaso What is it, friend? ]\IORUCCIO Is this the first time that you have come hither? Tommaso The first, indeed my son — The mountain's lofty summit is my home. And in this vale I never yet set foot. MORUCCIO But Sebastiano our master, him you know ? Tommaso A righteous master, a noble lord, God prosper him ! ]\IORUCCIO WHiy then you do not know? Tommaso Know what ? Explain ! MORUCCIO There's but one point to settle. Whether Pedro is a wicked man Or just a simple fool. Tommaso What is your meaning? Ah, I take you now ! This Marta has slipped thro' your hands ? You wanted her yourself? MoRUCCIO The Lord preserve me! Tommaso Explain yourself then. T I E F L A N D 13 MORUCCIO That is quickly done. {He sits dozvn) She and her father came as beggars to these parts. . . The devil knows whether he was her father — A lovely child, there's no denying. Our lord and master said so too, lord Sebastiano. This mill he gave into the charge of the old rascal. To please the pretty daughter, And he and Marta — The rest you can supply yourself. TOMMASO That is a falsehood ! Must be false I say ! MORUCCIO Nay, let me finish first. 'Tis well that you should learn Why he has got a husband for her now : He's badly off. is lord Sebastiano. The noble lord has debts — He knows not where to turn — The bailiffs press, And his estate goes to the dogs Unless some help be found. This help a wealthy wife Alone can bring him. But he can't get a wife till he has Silenced all the gossip in the neighbor- hood. The time has come when he must break with Marta. The world demands it. And therefore, as you see, His IMarta has to wed this fool. ToMMASo (rises) That is a falsehood. MORUCCIO Find me a man down here Who does not know it ! ToMMASO I won't believe MoRuccio If you're an honest man, you must de- spise All three as I do. ToMMASO Despica1)le rogue ! MoRUCCIO W^ell, then, I see you're not an honest man. (As they are both on the point of as- saulting each other zvith tJieir sticks, the noise of the crozvd outside is heard and they pause.) SCENE VI (Pedro, Moruccio, Nuri, Axtonia, Rosalia, Pepa, Men and Women, noise and crozvd. The dusk gradu- ally deepens into night.) Pepa (outside the gate) He's coming, hurry ! Rosalia Pedro comes. Antonia The Ijridegroom. Several \'oices Long life to him ! Pedro (in the gafczcay) Yes, yes, here I am. Like a chamois fleet down from the mountain I bounded here. Here I am ! But where is she? Where is my sweetheart, my bride? Pepa (calling) Marta ! Marta ! Antonia \A'on't you come out? Your bride- groom has arrived. Pedro (They all crozvd laughingly around him) O Lord Almighty ! All these people ! And all the people here are merry ; One might imagine the whole lot were marrying ! Do you know Alarta ? Of course! She is pretty, is she not? Pepa (ironically) Pretty and fresh ! Antonia Fresh as a rosebud ! 14 TIEFLAND Rosalia I wish you ev'ry joy! Pedro I thank you all. I scarce can think it true, That such good luck is mine. Why just think ! She will be my wife ! I Before my eyes, bright as a rainbow vision, the world is dancing. With happiness my heart will burst. Marta is mine, my wife this very day. TOMMASO (to MORUCCIO) How could you imagine that Sebastia- no? . . . MoRUCCIO If you're curious to know, just ask him. Your lord Sebastiano. Look, he's coming now. SCENE VII (The above. Sebastiano — afterzvards Marta, Nuri, Rosalia, Antonia, Pepa.) Nuri The master's coming ! Our owner and master. (Enter Sebastiano) Sebastiano Has Pedro not arrived? Pedro Yes, here I am ; I'm here, my lord ! Let me kiss your hands most humbly. Sebastiano No, no! And where is Marta? Pepa In her chamber, master. Sebastiano Then go and fetch her out. (Pepa ojf to the left) Sebastiano (to Pedro) To ev'rything I've seen, the priest is on his way, And in an hour you will be man and wife — A vow, a blessing, and the thing is over. Pedro O master, sir, how can I ever thank you? Pepa (coming back from Marta's room ) She'll soon be coming, Marta bids me tell you. Sebastiano What's that you tell me? Soon she'll be coming? Without delay she must be here when I am calling. (He goes to the foot of the stairs and calls up) Marta ! ToMMASO (following Jiiui) Sir, I would speak with you, There's something weighing heavily on my mind. Sebastiano What do I care what's weighing on your mind ? Another time. ToMMASO To save my peace of mind ! Let it be now. (At this moment Marta appears at the head of the stairs) Sebastiano At last. then. (Vexed, to Tommaso.) Later, later ! Marta (coining down) I'm here, my lord, at your command ! (She comes quite close to Sebastiano, softly) Oh, spare me this ! Oh, for the love of heav'n Have pity on my misery ! Sebastiano (aloud) You are not merry, Marta ! Look at your Pedro now; he knows when he is lucky ! Nuri Oh, look, poor Marta's crying. The Women She's crying, unhappy child. TIEFLAND 15 Marta (Quickly wiping away the tears) Who says so? Who? Who saw me crying ? The master commands — and I am merry. Look! I'm laughing. Pedro Xhat is all right. There's nothing merrier Than a wedding. Eh, good people ? {They all laugh. To Marta) How ev'ryone rejoices in our joy! You only have not said a word to me. A single word ! Speak to me then ! Marta We must be going. Sebastiano {pointing to Pedro's coat) Who ever saw a bridegroom In rags and tatters and in ribbons ? I've ordered a garment for you, lad. You must look smart and well attir'd. An elegant young man, a dandy you shall be. 'Tis fitting surely for a bridegroom. The Men {laughing) An elegant young man The Women A dandy! Pedro A dandy? What is that? Rosalia A dandy is a fop. Pedro What is a fop? {All laugh louder) Do you laugh at me? I don't advise it ! With these good fists I'll go for any fellow who will dare. {He seises hold of a lad) What is a fop ? I ask you ! {The Women shriek. It looks as if there were going to be a big fight) Marta The lazy cowards ! They let this yokel give them all a beating. Sebastiano Pedro ! Pedro {Suddenly calming dottm. The excitement ceases) Why I had almost lost my temper. Sebastiano Go and put on your new garments, and get you ready, I see the priest approaching. Pedro You come along, help to adorn me ; We will be merry and laugh today — Is it not my wedding day, my happy day? Let us be glad ! {Exeunt the Men, with Pedro on the right) Pepa {to the Women) Come with me. We'll watch from here. The Women We'll watch from here. {Exeunt through the gate. At this mo- tnent the Priest appears in the gate- way. The Women curtesy rever- ently. ) Tommaso {to Sebastiano) I want to speak to you; 'tis most im- portant. Sebastiano {impatiently) Well, wait for us out there, if it's so pressing, I'll come at once. Tommaso I shall await you, sir. {Exit) {The Priest has advanced and is nozv standing in front of Sebastiano) Sebastiano Reverend sir, you come to fetch the bridal pair. I have to see the bride a moment. Go in advance and I will send the happy couple on. As soon as they have reached the chapel, proceed And do not wait my coming. Join them together. May heaven send blessings On their union. {Exit the Priest) 16 TIEFLAND SCENE VIII ' Marta, Se;bastiano (During the zvhole last scene MarTa has been sitting apathetically on a millstone in the background. Now that the stage is empty, Sebastiano looks at her in silence for a mo- ment.) Sebastiano Marta ! Marta Do with me what you will, but spare me this, Don't give me to this fellow. Sebastiano (derisively) Another man might suit you better ! An elegant soft-spoken gentleman, Who warbles sweet songs with senti- mental grimaces ! And of me you would fain be rid. Have I not guessed it? Forgotten are the benefits I lavish'd on you. This is the thanks for my devotion! (He zvants to caress her, but she turns azvay with repugnance) You know me not. I will not stand defiance, Mine now — mine always ! A