But the young countess is gay, and lets her joyousness2 shine on all and everything. One is so glad to forgive her the long morning sleep and the fresh bread, for she squanders4 kindness on the poor and is friendly to every one.
The young countess’s father is a Swedish nobleman, who has lived in Italy all his life, retained there by the loveliness of the land and by one of that lovely land’s beautiful daughters. When Count Henrik Dohna travelled in Italy he had been received in this nobleman’s house, made the acquaintance of his daughters, married one of them, and brought her with him to Sweden.
She, who had always spoken Swedish and had been brought up to love everything Swedish, is happy in the land of the bear. She whirls so merrily in the long dance of pleasure, on L?fven’s shores, that one could well believe she had always lived there. Little she understands what it means to be a countess. There is no state, no stiffness, no condescending5 dignity in that young, joyous3 creature.
[171]
It was the old men who liked the young countess best. It was wonderful, what a success she had with old men. When they had seen her at a ball, one could be sure that all of them, the judge at Munkerud and the clergyman at Bro and Melchior Sinclair and the captain at Berga, would tell their wives in the greatest confidence that if they had met the young countess thirty or forty years ago—
“Yes, then she was not born,” say the old ladies.
And the next time they meet, they joke with the young countess, because she wins the old men’s hearts from them.
The old ladies look at her with a certain anxiety. They remember so well Countess M?rta. She had been just as joyous and good and beloved when she first came to Borg. And she had become a vain and pleasure-seeking coquette, who never could think of anything but her amusements. “If she only had a husband who could keep her at work!” say the old ladies. “If she only could learn to weave!” For weaving was a consolation6 for everything; it swallowed up all other interests, and had been the saving of many a woman.
The young countess wants to be a good housekeeper7. She knows nothing better than as a happy wife to live in a comfortable home, and she often comes at balls, and sits down beside the old people.
“Henrik wants me to learn to be a capable housekeeper,” she says, “just as his mother is. Teach me how to weave!”
Then the old people heave a sigh: first, over Count Henrik, who can think that his mother was a good housekeeper; and then over the difficulty of initiating[172] this young, ignorant creature in such a complicated thing. It was enough to speak to her of heddles, and harnesses, and warps8, and woofs,[2] to make her head spin.
No one who sees the young countess can help wondering why she married stupid Count Henrik. It is a pity for him who is stupid, wherever he may be. And it is the greatest pity for him who is stupid and lives in V?rmland.
There are already many stories of Count Henrik’s stupidity, and he is only a little over twenty years old. They tell how he entertained Anna Stj?rnh?k on a sleighing party a few years ago.
“You are very pretty, Anna,” he said.
“How you talk, Henrik!”
“You are the prettiest girl in the whole of V?rmland.”
“That I certainly am not.”
“The prettiest in this sleighing party at any rate.”
“Alas9, Henrik, I am not that either.”
“Well, you are the prettiest in this sledge10, that you can’t deny.”
No, that she could not.
For Count Henrik is no beauty. He is as ugly as he is stupid. They say of him that that head on the top of his thin neck has descended11 in the family for a couple of hundred years. That is why the brain is so worn out in the last heir.
“It is perfectly12 plain that he has no head of his own,” they say. “He has borrowed his father’s. He does not dare to bend it; he is afraid of losing it,—he is already yellow and wrinkled. The head has[173] been in use with both his father and grandfather. Why should the hair otherwise be so thin and the lips so bloodless and the chin so pointed13?”
He always has scoffers about him, who encourage him to say stupid things, which they save up, circulate, and add to.
It is lucky for him that he does not notice it. He is solemn and dignified14 in everything he does. He moves formally, he holds himself straight, he never turns his head without turning his whole body.
He had been at Munkerud on a visit to the judge a few years ago. He had come riding with high hat, yellow breeches, and polished boots, and had sat stiff and proud in the saddle. When he arrived everything went well, but when he was to ride away again it so happened that one of the low-hanging branches of a birch-tree knocked off his hat. He got off, put on his hat, and rode again under the same branch. His hat was again knocked off; this was repeated four times.
The judge at last went out to him and said: “If you should ride on one side of the branch the next time?”
The fifth time he got safely by.
But still the young countess cared for him in spite of his old-man’s head. She of course did not know that he was crowned with such a halo of stupidity in his own country, when she saw him in Rome. There, there had been something of the glory of youth about him, and they had come together under such romantic circumstances. You ought to hear the countess tell how Count Henrik had to carry her off. The priests and the cardinals15 had been wild with rage that she wished to give up her mother’s religion and become a[174] Protestant. The whole people had been in uproar16. Her father’s palace was besieged17. Henrik was pursued by bandits. Her mother and sisters implored18 her to give up the marriage. But her father was furious that that Italian rabble19 should prevent him from giving his daughter to whomsoever he might wish. He commanded Count Henrik to carry her off. And so, as it was impossible for them to be married at home without its being discovered, Henrik and she stole out by side streets and all sorts of dark alleys20 to the Swedish consulate21. And when she had abjured22 the Catholic faith and become a Protestant, they were immediately married and sent north in a swift travelling-carriage. “There was no time for banns, you see. It was quite impossible,” the young countess used to say. “And of course it was gloomy to be married at a consulate, and not in one of the beautiful churches, but if we had not Henrik would have had to do without me. Every one is so impetuous down there, both papa and mamma and the cardinals and the priests, all are so impetuous. That was why everything had to be done so secretly, and if the people had seen us steal out of the house, they would certainly have killed us both—only to save my soul; Henrik was of course already lost.”
The young countess loves her husband, ever since they have come home to Borg and live a quieter life. She loves in him the glory of the old name and the famous ancestors. She likes to see how her presence softens23 the stiffness of his manner, and to hear how his voice grows tender when he speaks to her. And besides, he cares for her and spoils her, and she is married to him. The young countess cannot imagine that a married woman should not care for her husband.
[175]
In a certain way he corresponds to her ideal of manliness24. He is honest and loves the truth. He had never broken his word. She considers him a true nobleman.
On the 18th of March Bailiff Scharling celebrates his birthday, and many then drive up Broby Hill. People from the east and the west, known and unknown, invited and uninvited, come to the bailiff’s on that day. All are welcome, all find plenty of food and drink, and in the ball-room there is room for dancers from seven parishes.
The young countess is coming too, as she always does where there is to be dancing and merry-making.
But she is not happy as she comes. It is as if she has a presentiment25 that it is now her turn to be dragged-in in adventure’s wild chase.
On the way she sat and watched the sinking sun. It set in a cloudless sky and left no gold edges on the light clouds. A pale, gray, twilight27, swept by cold squalls, settled down over the country.
The young countess saw how day and night struggled, and how fear seized all living things at the mighty28 contest. The horses quickened their pace with the last load to come under shelter. The woodcutters hurried home from the woods, the maids from the farmyard. Wild creatures howled at the edge of the wood. The day, beloved of man, was conquered.
The light grew dim, the colors faded. She only saw chillness and ugliness. What she had hoped, what she had loved, what she had done, seemed to her to be also wrapped in the twilight’s gray light. It was the hour of weariness, of depression, of impotence for her as for all nature.
[176]
She thought that her own heart, which now in its playful gladness clothed existence with purple and gold, she thought that this heart perhaps sometime would lose its power to light up her world.
“Oh, impotence, my own heart’s impotence!” she said to herself. “Goddess of the stifling29, gray twilight. You will one day be mistress of my soul. Then I shall see life ugly and gray, as it perhaps is, then my hair will grow white, my back be bent30, my brain be paralyzed.”
At the same moment the sledge turned in at the bailiff’s gate, and as the young countess looked up, her eyes fell on a grated window in the wing, and on a fierce, staring face behind.
That face belonged to the major’s wife at Ekeby, and the young woman knew that her pleasure for the evening was now spoiled.
One can be glad when one does not see sorrow, only hears it spoken of. But it is harder to keep a joyous heart when one stands face to face with black, fierce, staring trouble.
The countess knows of course that Bailiff Scharling had put the major’s wife in prison, and that she shall be tried for the assault she made on Ekeby the night of the great ball. But she never thought that she should be kept in custody31 there at the bailiff’s house, so near the ball-room that one could look into her room, so near that she must hear the dance music and the noise of merry-making. And the thought takes away all her pleasure.
The young countess dances both waltz and quadrille. She takes part in both minuet and contra-dance; but after each dance she steals to the window in the[177] wing. There is a light there and she can see how the major’s wife walks up and down in her room. She never seems to rest, but walks and walks.
The countess takes no pleasure in the dance. She only thinks of the major’s wife going backwards32 and forwards in her prison like a caged wild beast. She wonders how all the others can dance. She is sure there are many there who are as much moved as she to know that the major’s wife is so near, and still there is no one who shows it.
But every time she has looked out her feet grow heavier in the dance, and the laugh sticks in her throat.
The bailiff’s wife notices her as she wipes the moisture from the window-pane to see out, and comes to her.
“Such misery34! Oh, it is such suffering!” she whispers to the countess.
“I think it is almost impossible to dance to-night,” whispers the countess back again.
“It is not with my consent that we dance here, while she is sitting shut up there,” answers Madame Scharling. “She has been in Karlstad since she was arrested. But there is soon to be a trial now, and that is why she was brought here to-day. We could not put her in that miserable35 cell in the courthouse, so she was allowed to stay in the weaving-room in the wing. She should have had my drawing-room, countess, if all these people had not come to-day. You hardly know her, but she has been like a mother and queen to us all. What will she think of us, who are dancing here, while she is in such great trouble. It is as well that most of them do not know that she is sitting there.”
[178]
“She ought never to have been arrested,” says the young countess, sternly.
“No, that is a true word, countess, but there was nothing else to do, if there should not be a worse misfortune. No one blamed her for setting fire to her own hay-stack and driving out the pensioners37, but the major was scouring38 the country for her. God knows what he would have done if she had not been put in prison. Scharling has given much offence because he arrested the major’s wife, countess. Even in Karlstad they were much displeased39 with him, because he did not shut his eyes to everything which happened at Ekeby; but he did what he thought was best.”
“But now I suppose she will be sentenced?” says the countess.
“Oh, no, countess, she will not be sentenced. She will be acquitted40, but all that she has to bear these days is being too much for her. She is going mad. You can understand, such a proud woman, how can she bear to be treated like a criminal! I think that it would have been best if she had been allowed to go free. She might have been able to escape by herself.”
“Let her go,” says the countess.
“Any one can do that but the bailiff and his wife,” whispers Madame Scharling. “We have to guard her. Especially to-night, when so many of her friends are here, two men sit on guard outside her door, and it is locked and barred so that no one can come in. But if any one got her out, countess, we should be so glad, both Scharling and I.”
“Can I not go to her?” says the young countess. Madame Scharling seizes her eagerly by the wrist[179] and leads her out with her. In the hall they throw a couple of shawls about them, and hurry across the yard.
“It is not certain that she will even speak to us,” says the bailiff’s wife. “But she will see that we have not forgotten her.”
They come into the first room in the wing, where the two men sit and guard the barred door, and go in without being stopped to the major’s wife. She was in a large room crowded with looms41 and other implements42. It was used mostly for a weaving-room, but it had bars in the window and a strong lock on the door, so that it could be used, in case of need, for a cell.
The major’s wife continues to walk without paying any attention to them.
She is on a long wandering these days. She cannot remember anything except that she is going the hundred and twenty miles to her mother, who is up in the ?lfdal woods, and is waiting for her. She never has time to rest She must go. A never-resting haste is on her. Her mother is over ninety years old. She would soon be dead.
She has measured off the floor by yards, and she is now adding up the yards to furlongs and the furlongs to half-miles and miles.
Her way seems heavy and long, but she dares not rest. She wades43 through deep drifts. She hears the forests murmur45 over her as she goes. She rests in Finn huts and in the charcoal-burner’s log cabin. Sometimes, when there is nobody for many miles, she has to break branches for a bed and rest under the roots of a fallen pine.
And at last she has reached her journey’s end, the[180] hundred and twenty miles are over, the wood opens out, and the red house stands in a snow-covered yard. The Klar River rushes foaming46 by in a succession of little waterfalls, and by that well-known sound she hears that she is at home. And her mother, who must have seen her coming begging, just as she had wished, comes to meet her.
When the major’s wife has got so far she always looks up, glances about her, sees the closed door, and knows where she is.
Then she wonders if she is going mad, and sits down to think and to rest. But after a time she sets out again, calculates the yards and the furlongs, the half-miles and the miles, rests for a short time in Finn huts, and sleeps neither night nor day until she has again accomplished47 the hundred and twenty miles.
During all the time she has been in prison she has almost never slept.
And the two women who had come to see her looked at her with anguish48.
The young countess will ever afterwards remember her, as she walked there. She sees her often in her dreams, and wakes with eyes full of tears and a moan on her lips.
The old woman is so pitifully changed, her hair is so thin, and loose ends stick out from the narrow braid. Her face is relaxed and sunken, her dress is disordered and ragged26. But with it all she has so much still of her lofty bearing that she inspires not only sympathy, but also respect.
But what the countess remembered most distinctly were her eyes, sunken, turned inward, not yet deprived of all the light of reason, but almost ready to be[181] extinguished, and with a spark of wildness lurking49 in their depths, so that one had to shudder50 and fear to have the old woman in the next moment upon one, with teeth ready to bite, fingers to tear.
They have been there quite a while when the major’s wife suddenly stops before the young woman and looks at her with a stern glance. The countess takes a step backwards and seizes Madame Scharling’s arm.
The features of the major’s wife have life and expression, her eyes look out into the world with full intelligence.
“Oh, no; oh, no,” she says and smiles; “as yet it is not so bad, my dear young lady.”
She asks them to sit down, and sits down herself. She has an air of old-time stateliness, known since days of feasting at Ekeby and at the royal balls at the governor’s house at Karlstad. They forget the rags and the prison and only see the proudest and richest woman in V?rmland.
“My dear countess,” she says, “what possessed51 you to leave the dance to visit a lonely old woman? You must be very good.”
Countess Elizabeth cannot answer. Her voice is choking with emotion. Madame Scharling answers for her, that she had not been able to dance for thinking of the major’s wife.
“Dear Madame Scharling,” answers the major’s wife, “has it gone so far with me that I disturb the young people in their pleasure? You must not weep for me, my dear young countess,” she continued. “I am a wicked old woman, who deserves all I get. You do not think it right to strike one’s mother?”
“No, but—”
[182]
The major’s wife interrupts her and strokes the curly, light hair back from her forehead.
“Child, child,” she says, “how could you marry that stupid Henrik Dohna?”
“But I love him.”
“I see how it is, I see how it is,” says the major’s wife. “A kind child and nothing more; weeps with those in sorrow, and laughs with those who are glad. And obliged to say ‘yes’ to the first man who says, ‘I love you.’ Yes, of course. Go back now and dance, my dear young countess. Dance and be happy! There is nothing bad in you.”
“But I want to do something for you.”
“Child,” says the major’s wife, solemnly, “an old woman lived at Ekeby who held the winds of heaven prisoners. Now she is caught and the winds are free. Is it strange that a storm goes over the land?
“I, who am old, have seen it before, countess. I know it. I know that the storm of the thundering God is coming. Sometimes it rushes over great kingdoms, sometimes over small out-of-the-way communities. God’s storm forgets no one. It comes over the great as well as the small. It is grand to see God’s storm coming.
“Anguish shall spread itself over the land. The small birds’ nests shall fall from the branches. The hawk’s nest in the pine-tree’s top shall be shaken down to the earth with a great noise, and even the eagle’s nest in the mountain cleft52 shall the wind drag out with its dragon tongue.
“We thought that all was well with us; but it was not so. God’s storm is needed. I understand that, and I do not complain. I only wish that I might go to my mother.”
[183]
She suddenly sinks back.
“Go now, young woman,” she says. “I have no more time. I must go. Go now, and look out for them who ride on the storm-cloud!”
Thereupon she renews her wandering. Her features relax, her glance turns inward. The countess and Madame Scharling have to leave her.
As soon as they are back again among the dancers the young countess goes straight to G?sta Berling.
“I can greet you from the major’s wife,” she says. “She is waiting for you to get her out of prison.”
“Then she must go on waiting, countess.”
“Oh, help her, Herr Berling!”
G?sta stares gloomily before him. “No,” he says, “why should I help her? What thanks do I owe her? Everything she has done for me has been to my ruin.”
“But Herr Berling—”
“If she had not existed,” he says angrily, “I would now be sleeping up there in the forest. Is it my duty to risk my life for her, because she has made me a pensioner36 at Ekeby? Do you think much credit goes with that profession?”
The young countess turns away from him without answering. She is angry.
She goes back to her place thinking bitter thoughts of the pensioners. They have come to-night with horns and fiddles53, and mean to let the bows scrape the strings54 until the horse-hair is worn through, without thinking that the merry tunes55 ring in the prisoner’s miserable room. They come here to dance until their shoes fall to pieces, and do not remember that their old benefactress can see their shadows whirling[184] by the misty56 window-panes. Alas, how gray and ugly the world was! Alas, what a shadow trouble and hardness had cast over the young countess’s soul!
After a while G?sta comes to ask her to dance.
She refuses shortly.
“Will you not dance with me, countess?” he asks, and grows very red.
“Neither with you nor with any other of the Ekeby pensioners,” she says.
“We are not worthy57 of such an honor.”
“It is no honor, Herr Berling. But it gives me no pleasure to dance with those who forget the precepts58 of gratitude59.”
G?sta has already turned on his heel.
This scene is heard and seen by many. All think the countess is right. The pensioners’ ingratitude60 and heartlessness had waked general indignation.
But in these days G?sta Berling is more dangerous than a wild beast in the forest. Ever since he came home from the hunt and found Marianne gone, his heart has been like an aching wound. He longs to do some one a bloody61 wrong and to spread sorrow and pain far around.
If she wishes it so, he says to himself, it shall be as she wishes. But she shall not save her own skin. The young countess likes abductions. She shall get her fill. He has nothing against adventure. For eight days he has mourned for a woman’s sake. It is long enough. He calls Beerencreutz the colonel, and Christian62 Bergh the great captain, and the slow Cousin Christopher, who never hesitates at any mad adventure, and consults with them how he shall avenge63 the pensioners’ injured honor.
[185]
It is the end of the party. A long line of sledges64 drive up into the yard. The men are putting on their fur cloaks. The ladies look for their wraps in the dreadful confusion of the dressing-room.
The young countess has been in great haste to leave this hateful ball. She is ready first of all the ladies. She stands smiling in the middle of the room and looks at the confusion, when the door is thrown open, and G?sta Berling shows himself on the threshold.
No man has a right to enter this room. The old ladies stand there with their thin hair no longer adorned65 with becoming caps; and the young ones have turned up their skirts under their cloaks, that the stiff ruffles66 may not be crushed on the way home.
But without paying any attention to the warning cries, G?sta Berling rushes up to the countess and seizes her.
He lifts her in his arms and rushes from the room out into the hall and then on to the steps with her.
The astonished women’s screams could not check him. When they hurry after, they only see how he throws himself into a sledge with the countess in his arms.
They hear the driver crack his whip and see the horse set off. They know the driver: it is Beerencreutz. They know the horse: it is Don Juan. And in deep distress67 over the countess’s fate they call their husbands.
And these waste no time in questions, but hasten to their sledges. And with the count at their head they chase after the ravisher.
But he lies in the sledge, holding the young countess[186] fast. He has forgotten all grief, and mad with adventure’s intoxicating68 joy, he sings at the top of his voice a song of love and roses.
Close to him he presses her; but she makes no attempt to escape. Her face lies, white and stiffened69, against his breast.
Ah, what shall a man do when he has a pale, helpless face so near his own, when he sees the fair hair which usually shades the white, gleaming forehead, pushed to one side, and when the eyelids70 have closed heavily over the gray eyes’ roguish glance?
What shall a man do when red lips grow pale beneath his eyes?
Kiss, of course, kiss the fading lips, the closed eyes, the white forehead.
But then the young woman awakes. She throws herself back. She is like a bent spring. And he has to struggle with her with his whole strength to keep her from throwing herself from the sledge, until finally he forces her, subdued71 and trembling, down in the corner of the sledge.
“See,” says G?sta quite calmly to Beerencreutz, “the countess is the third whom Don Juan and I have carried off this winter. But the others hung about my neck with kisses, and she will neither be kissed by me nor dance with me. Can you understand these women, Beerencreutz?”
But when G?sta drove away from the house, when the women screamed and the men swore, when the sleigh-bells rang and the whips cracked, and there was nothing but cries and confusion, the men who guarded the major’s wife were wondering.
“What is going on?” they thought. “Why are they screaming?”
[187]
Suddenly the door is thrown open, and a voice calls to them.
“She is gone. He is driving away with her.”
They rush out, running like mad, without waiting to see if it was the major’s wife or who it was who was gone. Luck was with them, and they came up with a hurrying sledge, and they drove both far and fast, before they discovered whom they were pursuing.
But Berg and Cousin Christopher went quietly to the door, burst the lock, and opened it for the major’s wife.
“You are free,” they said.
She came out. They stood straight as ramrods on either side of the door and did not look at her.
“You have a horse and sledge outside.”
She went out, placed herself in the sledge, and drove away. No one followed her. No one knew whither she went.
Down Broby hill Don Juan speeds towards the L?fven’s ice-covered surface. The proud courser flies on. Strong, ice-cold breezes whistle by their cheeks. The bells jingle72. The stars and the moon are shining. The snow lies blue-white and glitters from its own brightness.
G?sta feels poetical73 thoughts wake in him.
“Beerencreutz,” he says, “this is life. Just as Don Juan hurries away with this young woman, so time hurries away with man. You are necessity, who steers74 the journey. I am desire, who fetters75 the will, and she is dragged helpless, always deeper and deeper down.”
“Don’t talk!” cries Beerencreutz. “They are coming after us.”
[188]
And with a whistling cut of the whip he urges Don Juan to still wilder speed.
“Once it was wolves, now it is spoils,” cries G?sta. “Don Juan, my boy, fancy that you are a young elk76. Rush through the brushwood, wade44 through the swamps, leap from the mountain top down into the clear lake, swim across it with bravely lifted head, and vanish, vanish in the thick pine-woods’ rescuing darkness! Spring, Don Juan! Spring like a young elk!”
Joy fills his wild heart at the mad race. The cries of the pursuers are to him a song of victory. Joy fills his wild heart when he feels the countess’s body shake with fright, when he hears her teeth chatter77.
Suddenly he loosens the grip of iron with which he has held her. He stands up in the sledge and waves his cap.
“I am G?sta Berling,” he cries, “lord of ten thousand kisses and thirteen thousand love-letters! Hurra for G?sta Berling! Take him who can!”
And in the next minute he whispers in the countess’s ear:—
“Is not the pace good? Is not the course kingly? Beyond L?fven lies Lake V?ner. Beyond V?ner lies the sea, everywhere endless stretches of clear blue-black ice, and beyond all a glowing world. Rolling thunders in the freezing ice, shrill78 cries behind us, shooting stars above us, and jingling79 bells before us! Forward! Always forward! Have you a mind to try the journey, young, beautiful lady?”
He had let her go. She pushes him roughly away. The next instant finds him on his knees at her feet.
“I am a wretch80, a wretch. You ought not to have angered me, countess. You stood there so[189] proud and fair, and never thought that a pensioner’s hand could reach you. Heaven and earth love you. You ought not to add to the burden of those whom heaven and earth scorn.”
He draws her hands to him and lifts them to his face.
“If you only knew,” he says, “what it means to be an outcast. One does not stop to think what one does. No, one does not.”
At the same moment he notices that she has nothing on her hands. He draws a pair of great fur gloves from his pocket and puts them on her.
And he has become all at once quite quiet. He places himself in the sledge, as far from the young countess as possible.
“You need not be afraid,” he says. “Do you not see where we are driving? You must understand that we do not dare to do you any harm.”
She, who has been almost out of her mind with fright, sees that they have driven across the lake and that Don Juan is struggling up the steep hill to Borg.
They stop the horse before the steps of the castle, and let the young countess get out of the sledge at the door of her own home.
When she is surrounded by attentive81 servants, she regains82 her courage and presence of mind.
“Take care of the horse, Andersson!” she says to the coachman. “These gentlemen who have driven me home will be kind enough to come in for a while. The count will soon be here.”
“As you wish, countess,” says G?sta, and instantly gets out of the sledge. Beerencreutz throws the reins83 to the groom84 without a moment’s hesitation85. And the young countess goes before them and ushers86 them into the hall with ill-concealed malicious87 joy.
[190]
The countess had expected that the pensioners would hesitate at the proposition to await her husband.
They did not know perhaps what a stern and upright man he was. They were not afraid of the inquiry88 he should make of them, who had seized her by force and compelled her to drive with them. She longed to hear him forbid them ever again to set their foot in her house.
She wished to see him call in the servants to point out the pensioners to them as men who thereafter never should be admitted within the doors of Borg. She wished to hear him express his scorn not only of what they had done to her, but also of their conduct toward the old major’s wife, their benefactress.
He, who showed her only tenderness and consideration, would rise in just wrath89 against her persecutors. Love would give fire to his speech. He, who guarded and looked after her as a creature of finer stuff than any other, would not bear that rough men had fallen upon her like birds of prey90 upon a sparrow. She glowed with thirst of revenge.
Beerencreutz, however, walked undaunted into the dining-room, and up to the fire, which was always lighted when the countess came home from a ball.
G?sta remained in the darkness by the door and silently watched the countess, while the servant removed her outer wraps. As he sat and looked at the young woman, he rejoiced as he had not done for many years. He saw so clearly it was like a revelation, although he did not understand how he had discovered it, that she had in her one of the most beautiful of souls.
As yet it lay bound and sleeping; but it would[191] some day show itself. He rejoiced at having discovered all the purity and gentleness and innocence91 which was hidden in her. He was almost ready to laugh at her, because she looked so angry and stood with flushed cheeks and frowning brows.
“You do not know how gentle and good you are,” he thought.
The side of her being which was turned towards the outside world would never do her inner personality justice, he thought. But G?sta Berling from that hour must be her servant, as one must serve everything beautiful and godlike. Yes, there was nothing to be sorry for that he had just been so violent with her. If she had not been so afraid, if she had not thrust him from her so angrily, if he had not felt how her whole being was shaken by his roughness, he would never have known what a fine and noble soul dwelt within her.
He had not thought it before. She had only cared for pleasure-seeking and amusement. And she had married that stupid Count Henrik.
Yes, now he would be her slave till death; dog and slave as Captain Bergh used to say, and nothing more.
He sat by the door, G?sta Berling, and held with clasped hands a sort of service. Since the day when he for the first time felt the flame of inspiration burn in him, he had not known such a holiness in his soul. He did not move, even when Count Dohna came in with a crowd of people, who swore and lamented92 over the pensioners’ mad performance.
He let Beerencreutz receive the storm. With indolent calm, tried by many adventures, the latter stood by the fireplace. He had put one foot up on the[192] fender, rested his elbow on his knee, and his chin on his hand, and looked at the excited company.
“What is the meaning of all this?” roared the little count at him.
“The meaning is,” he said, “that as long as there are women on earth, there will be fools to dance after their piping.”
The young count’s face grew red.
“I ask what that means!” he repeated.
“I ask that too,” sneered93 Beerencreutz. “I ask what it means when Henrik Dohna’s countess will not dance with G?sta Berling.”
The count turned questioning to his wife.
“I could not, Henrik,” she cried. “I could not dance with him or any of them. I thought of the major’s wife, whom they allowed to languish94 in prison.”
The little count straightened his stiff body and stretched up his old-man’s head.
“We pensioners,” said Beerencreutz, “permit no one to insult us. She who will not dance with us must drive with us. No harm has come to the countess, and there can be an end of the matter.”
“No,” said the count. “It cannot be the end. It is I who am responsible for my wife’s acts. Now I ask why G?sta Berling did not turn to me to get satisfaction when my wife had insulted him.”
Beerencreutz smiled.
“I ask that,” repeated the count.
“One does not ask leave of the fox to take his skin from him,” said Beerencreutz.
The count laid his hand on his narrow chest.
“I am known to be a just man,” he cried. “I can pass sentence on my servants. Why should I not be[193] able to pass sentence on my wife? The pensioners have no right to judge her. The punishment they have given her, I wipe out. It has never been, do you understand, gentlemen. It has never existed.”
The count screamed out the words in a high falsetto. Beerencreutz cast a swift glance about the assembly. There was not one of those present—Sintram and Daniel Bendix and Dahlberg and all the others who had followed in—who did not stand and smile at the way he outwitted stupid Henrik Dohna.
The young countess did not understand at first. What was it which should not be considered? Her anguish, the pensioner’s hard grip on her tender body, the wild song, the wild words, the wild kisses, did they not exist? Had that evening never been, over which the goddess of the gray twilight had reigned95?
“But, Henrik—”
“Silence!” he said. And he drew himself up to chide96 her. “Woe to you, that you, who are a woman, have wished to set yourself up as a judge of men,” he says. “Woe to you, that you, who are my wife, dare to insult one whose hand I gladly press. What is it to you if the pensioners have put the major’s wife in prison? Were they not right? You can never know how angry a man is to the bottom of his soul when he hears of a woman’s infidelity. Do you also mean to go that evil way, that you take such a woman’s part?”
“But, Henrik—”
She wailed97 like a child, and stretched out her arms to ward33 off the angry words. She had never before heard such hard words addressed to her. She was so helpless among these hard men, and now her only[194] defender98 turned against her. Never again would her heart have power to light up the world.
“But, Henrik, it is you who ought to protect me.”
G?sta Berling was observant now, when it was too late. He did not know what to do. He wished her so well. But he did not dare to thrust himself between man and wife.
“Where is G?sta Berling?” asked the count.
“Here,” said G?sta. And he made a pitiable attempt to make a jest of the matter. “You were making a speech, I think, count, and I fell asleep. What do you say to letting us go home and letting you all go to bed?”
“G?sta Berling, since my countess has refused to dance with you, I command her to kiss your hand and to ask you for forgiveness.”
“My dear Count Henrik,” says G?sta, smiling, “it is not a fit hand for a young woman to kiss. Yesterday it was red with blood from killing99 an elk, to-day black with soot100 from a fight with a charcoal-burner. You have given a noble and high-minded sentence. That is satisfaction enough. Come, Beerencreutz!”
The count placed himself in his way.
“Do not go,” he said. “My wife must obey me. I wish that my countess shall know whither it leads to be self-willed.”
G?sta stood helpless. The countess was quite white; but she did not move.
“Go,” said the count.
“Henrik, I cannot.”
“You can,” said the count, harshly. “You can. But I know what you want. You will force me to fight with this man, because your whim101 is not to like him. Well, if you will not make him amends102, I shall[195] do so. You women love to have a man killed for your sake. You have done wrong, but will not atone103 for it. Therefore I must do it. I shall fight the duel104, countess. In a few hours I shall be a bloody corpse105.”
She gave him a long look. And she saw him as he was,—stupid, cowardly, puffed106 up with pride and vanity, the most pitiful of men.
“Be calm,” she said. And she became as cold as ice. “I will do it.”
But now G?sta Berling became quite beside himself.
“You shall not, countess! No, you shall not! You are only a child, a poor, innocent child, and you would kiss my hand. You have such a white, beautiful soul. I will never again come near you. Oh, never again! I bring death and destruction to everything good and blameless. You shall not touch me. I shudder for you like fire for water. You shall not!”
He put his hands behind his back.
“It is all the same to me, Herr Berling. Nothing makes any difference to me any more. I ask you for forgiveness. I ask you to let me kiss your hand!”
G?sta kept his hands behind his back. He approached the door.
“If you do not accept the amends my wife offers, I must fight with you, G?sta Berling, and moreover must impose upon her another, severer, punishment.”
The countess shrugged107 her shoulders. “He is mad from cowardice109,” she whispered. “Let me do it! It does not matter if I am humbled110. It is after all what you wanted the whole time.”
“Did I want that? Do you think I wanted that? Well, if I have no hands to kiss, you must see that I did not want it,” he cried.
He ran to the fire and stretched out his hands into[196] it. The flames closed over them, the skin shrivelled up, the nails crackled. But in the same second Beerencreutz seized him by the neck and threw him across the floor. He tripped against a chair and sat down. He sat and almost blushed for such a foolish performance. Would she think that he only did it by way of boast? To do such a thing in the crowded room must seem like a foolish vaunt. There had not been a vestige111 of danger.
Before he could raise himself, the countess was kneeling beside him. She seized his red, sooty hands and looked at them.
“I will kiss them, kiss them,” she cried, “as soon as they are not too painful and sore!” And the tears streamed from her eyes as she saw the blisters112 rising under the scorched113 skin.
For he had been like a revelation to her of an unknown glory. That such things could happen here on earth, that they could be done for her! What a man this was, ready for everything, mighty in good as in evil, a man of great deeds, of strong words, of splendid actions! A hero, a hero, made of different stuff from others! Slave of a whim, of the desire of the moment, wild and terrible, but possessor of a tremendous power, fearless of everything.
She had been so depressed114 the whole evening she had not seen anything but pain and cruelty and cowardice. Now everything was forgotten. The young countess was glad once more to be alive. The goddess of the twilight was conquered. The young countess saw light and color brighten the world.
It was the same night in the pensioners’ wing.
There they scolded and swore at G?sta Berling.[197] The old men wanted to sleep; but it was impossible. He let them get no rest. It was in vain that they drew the bed-curtains and put out the light. He only talked.
He let them know what an angel the young countess was, and how he adored her. He would serve her, worship her. He was glad that every one had forsaken115 him. He could devote his life to her service. She despised him of course. But he would be satisfied to lie at her feet like a dog.
Had they ever noticed an island out in the L?fven? Had they seen it from the south side, where the rugged108 cliff rises precipitously from the water? Had they seen it from the north, where it sinks down to the sea in a gentle slope, and where the narrow shoals, covered with great pines wind out into the water, and make the most wonderful little lakes? There on the steep cliff, where the ruins of an old viking fortress116 still remain, he would build a palace for the young countess, a palace of marble. Broad steps, at which boats decked with flags should land, should be hewn in the cliff down to the sea. There should be glowing halls and lofty towers with gilded117 pinnacles118. It should be a suitable dwelling119 for the young countess. That old wooden house at Borg was not worthy for her to enter.
When he had gone on so for a while, first one snore and then another began to sound behind the yellow-striped curtains. But most of them swore and bewailed themselves over him and his foolishness.
“Friends,” he then says solemnly, “I see the green earth covered with the works of man or with the ruins of men’s work. The pyramids weigh down the earth, the tower of Babel has bored through the sky,[198] the beautiful temples and the gray castles have fallen into ruins. But of all which hands have built, what is it which has not fallen, nor shall fall? Ah, friends, throw away the trowel and the mortar120! Spread your mason’s aprons121 over your heads and lay you down to build bright palaces of dreams! What has the soul to do with temples of stone and clay? Learn to build everlasting122 palaces of dreams and visions!”
Thereupon he went laughing to bed.
When, shortly after, the countess heard that the major’s wife had been set free, she gave a dinner for the pensioners.
And then began hers and G?sta Berling’s long friendship.
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1
embroiders
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| v.（在织物上）绣花( embroider的第三人称单数 )；刺绣；对…加以渲染（或修饰）；给…添枝加叶 | |
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joyousness
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| 快乐，使人喜悦 | |
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joyous
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| adj.充满快乐的；令人高兴的 | |
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squanders
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| v.（指钱，财产等）浪费，乱花( squander的第三人称单数 ) | |
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condescending
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| adj.谦逊的,故意屈尊的 | |
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consolation
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| n.安慰，慰问 | |
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housekeeper
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| n.管理家务的主妇，女管家 | |
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warps
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| n.弯曲( warp的名词复数 )；歪斜；经线；经纱v.弄弯，变歪( warp的第三人称单数 )；使（行为等）不合情理，使乖戾， | |
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alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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sledge
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| n.雪橇，大锤；v.用雪橇搬运，坐雪橇往 | |
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descended
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| a.为...后裔的，出身于...的 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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13
pointed
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| adj.尖的，直截了当的 | |
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dignified
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| a.可敬的，高贵的 | |
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cardinals
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| 红衣主教( cardinal的名词复数 )； 红衣凤头鸟（见于北美，雄鸟为鲜红色）； 基数 | |
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16
uproar
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| n.骚动，喧嚣，鼎沸 | |
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besieged
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| 包围，围困，围攻( besiege的过去式和过去分词 ) | |
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implored
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| 恳求或乞求（某人）( implore的过去式和过去分词 ) | |
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rabble
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| n.乌合之众，暴民；下等人 | |
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alleys
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| 胡同，小巷( alley的名词复数 )； 小径 | |
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consulate
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| n.领事馆 | |
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abjured
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| v.发誓放弃( abjure的过去式和过去分词 )；郑重放弃（意见）；宣布撤回（声明等）；避免 | |
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23
softens
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| （使）变软( soften的第三人称单数 )； 缓解打击； 缓和； 安慰 | |
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24
manliness
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| 刚毅 | |
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presentiment
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| n.预感，预觉 | |
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ragged
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| adj.衣衫褴褛的，粗糙的，刺耳的 | |
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27
twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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28
mighty
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| adj.强有力的；巨大的 | |
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stifling
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| a.令人窒息的 | |
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30
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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31
custody
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| n.监护，照看，羁押，拘留 | |
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backwards
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| adv.往回地，向原处，倒，相反，前后倒置地 | |
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ward
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| n.守卫，监护，病房，行政区，由监护人或法院保护的人（尤指儿童）；vt.守护，躲开 | |
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34
misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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pensioner
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| n.领养老金的人 | |
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pensioners
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| n.领取退休、养老金或抚恤金的人( pensioner的名词复数 ) | |
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38
scouring
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| 擦[洗]净，冲刷，洗涤 | |
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displeased
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| a.不快的 | |
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40
acquitted
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| 宣判…无罪( acquit的过去式和过去分词 )； 使（自己）作出某种表现 | |
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41
looms
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| n.织布机( loom的名词复数 )v.隐约出现，阴森地逼近( loom的第三人称单数 )；隐约出现，阴森地逼近 | |
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42
implements
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| n.工具( implement的名词复数 )；家具；手段；[法律]履行（契约等）v.实现( implement的第三人称单数 )；执行；贯彻；使生效 | |
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43
wades
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| （从水、泥等）蹚，走过，跋( wade的第三人称单数 ) | |
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44
wade
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| v.跋涉，涉水；n.跋涉 | |
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45
murmur
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| n.低语，低声的怨言；v.低语，低声而言 | |
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46
foaming
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| adj.布满泡沫的；发泡 | |
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47
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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48
anguish
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| n.(尤指心灵上的)极度痛苦，烦恼 | |
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49
lurking
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| 潜在 | |
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50
shudder
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| v.战粟，震动，剧烈地摇晃；n.战粟，抖动 | |
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51
possessed
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| adj.疯狂的；拥有的，占有的 | |
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52
cleft
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| n.裂缝；adj.裂开的 | |
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53
fiddles
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| n.小提琴( fiddle的名词复数 )；欺诈；（需要运用手指功夫的）细巧活动；当第二把手v.伪造( fiddle的第三人称单数 )；篡改；骗取；修理或稍作改动 | |
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54
strings
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| n.弦 | |
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55
tunes
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| n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调 | |
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56
misty
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| adj.雾蒙蒙的，有雾的 | |
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57
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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58
precepts
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| n.规诫，戒律，箴言( precept的名词复数 ) | |
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59
gratitude
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| adj.感激，感谢 | |
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60
ingratitude
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| n.忘恩负义 | |
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61
bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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62
Christian
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| adj.基督教徒的；n.基督教徒 | |
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63
avenge
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| v.为...复仇，为...报仇 | |
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64
sledges
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| n.雪橇，雪车( sledge的名词复数 )v.乘雪橇( sledge的第三人称单数 )；用雪橇运载 | |
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65
adorned
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| [计]被修饰的 | |
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66
ruffles
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| 褶裥花边( ruffle的名词复数 ) | |
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67
distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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68
intoxicating
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| a. 醉人的,使人兴奋的 | |
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69
stiffened
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| 加强的 | |
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70
eyelids
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| n.眼睑( eyelid的名词复数 )；眼睛也不眨一下；不露声色；面不改色 | |
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71
subdued
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| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
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72
jingle
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| n.叮当声，韵律简单的诗句；v.使叮当作响，叮当响，押韵 | |
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73
poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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74
steers
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| n.阉公牛，肉用公牛( steer的名词复数 )v.驾驶( steer的第三人称单数 )；操纵；控制；引导 | |
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75
fetters
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| n.脚镣( fetter的名词复数 )；束缚v.给…上脚镣，束缚( fetter的第三人称单数 ) | |
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76
elk
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| n.麋鹿 | |
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77
chatter
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| vi.／n.喋喋不休；短促尖叫；(牙齿)打战 | |
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78
shrill
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| adj.尖声的；刺耳的；v尖叫 | |
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79
jingling
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| 叮当声 | |
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80
wretch
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| n.可怜的人，不幸的人；卑鄙的人 | |
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81
attentive
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| adj.注意的，专心的；关心(别人)的，殷勤的 | |
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82
regains
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| 复得( regain的第三人称单数 )； 赢回； 重回； 复至某地 | |
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reins
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| 感情，激情； 缰( rein的名词复数 )； 控制手段； 掌管； （成人带着幼儿走路以防其走失时用的）保护带 | |
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84
groom
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| vt.给（马、狗等）梳毛，照料，使...整洁 | |
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85
hesitation
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| n.犹豫，踌躇 | |
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86
ushers
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| n.引座员( usher的名词复数 )；招待员；门房；助理教员v.引，领，陪同( usher的第三人称单数 ) | |
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87
malicious
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| adj.有恶意的，心怀恶意的 | |
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inquiry
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| n.打听，询问，调查，查问 | |
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89
wrath
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| n.愤怒，愤慨，暴怒 | |
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90
prey
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| n.被掠食者，牺牲者，掠食；v.捕食，掠夺，折磨 | |
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innocence
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| n.无罪；天真；无害 | |
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92
lamented
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| adj.被哀悼的，令人遗憾的v.（为…）哀悼，痛哭，悲伤( lament的过去式和过去分词 ) | |
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93
sneered
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| 讥笑，冷笑( sneer的过去式和过去分词 ) | |
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94
languish
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| vi.变得衰弱无力，失去活力，（植物等）凋萎 | |
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95
reigned
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| vi.当政，统治（reign的过去式形式） | |
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96
chide
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| v.叱责；谴责 | |
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97
wailed
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| v.哭叫，哀号( wail的过去式和过去分词 ) | |
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98
defender
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| n.保卫者，拥护者，辩护人 | |
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99
killing
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| n.巨额利润；突然赚大钱，发大财 | |
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100
soot
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| n.煤烟，烟尘；vt.熏以煤烟 | |
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101
whim
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| n.一时的兴致，突然的念头；奇想，幻想 | |
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102
amends
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| n. 赔偿 | |
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103
atone
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| v.赎罪，补偿 | |
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104
duel
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| n./v.决斗；(双方的)斗争 | |
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105
corpse
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| n.尸体，死尸 | |
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106
puffed
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| adj.疏松的v.使喷出( puff的过去式和过去分词 )；喷着汽（或烟）移动；吹嘘；吹捧 | |
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107
shrugged
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| vt.耸肩（shrug的过去式与过去分词形式） | |
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108
rugged
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| adj.高低不平的，粗糙的，粗壮的，强健的 | |
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109
cowardice
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| n.胆小，怯懦 | |
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110
humbled
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| adj. 卑下的，谦逊的，粗陋的 vt. 使 ... 卑下，贬低 | |
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111
vestige
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| n.痕迹，遗迹，残余 | |
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112
blisters
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| n.水疱( blister的名词复数 )；水肿；气泡 | |
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113
scorched
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| 烧焦，烤焦( scorch的过去式和过去分词 )； 使（植物）枯萎，把…晒枯； 高速行驶； 枯焦 | |
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114
depressed
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| adj.沮丧的，抑郁的，不景气的，萧条的 | |
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115
Forsaken
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| adj. 被遗忘的, 被抛弃的 动词forsake的过去分词 | |
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116
fortress
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| n.堡垒，防御工事 | |
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117
gilded
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| a.镀金的，富有的 | |
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118
pinnacles
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| 顶峰( pinnacle的名词复数 )； 顶点； 尖顶； 小尖塔 | |
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119
dwelling
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| n.住宅，住所，寓所 | |
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120
mortar
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| n.灰浆，灰泥；迫击炮；v.把…用灰浆涂接合 | |
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121
aprons
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| 围裙( apron的名词复数 )； 停机坪，台口（舞台幕前的部份） | |
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122
everlasting
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| adj.永恒的，持久的，无止境的 | |
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