Marta of the Lowlands \(Terra Baixa\): A Play in ... - Forgotten Books

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VOLUM E S IN DRAMA LEAGUE SE RIE S OF PLAY

I

By CH AR L E S K

.

I I A Tho us a nd Ye ar s Ago By PE R C Y M .

I I I The Gr e at .

Gale oto

E NY ON

CK

A

AY

E

By Jo sfi E CH E GAR A Y

S unk en B ell

By GERH AR T H A UPTM A NN

V Ma r y Goe s Fir st

By H E NR Y AR TH U R J ON E S

IV The .

.

VI H e r H usba nd s ’

.

VI I Chang e .

VII I

.

Mar ta

o f the

Wife

By A E .

.

T H OM A S

By J O FRANCI S .

.

Lo wla nds B y ANG E L GUIM E RA

O the r Vo lum es in Pr ep a r a t io n

M A RTA T H E LO WL A N ( Ter r a

B a ix a)

A Pl a y in Th r e e Ac t s BY

AN GE L

TRAN

GUI M E RA

SLATED I NTO SPANI SH

BY

A N D I N T O E N G LI S H BY

WALLACE WI TH

GILLPATRI CK

NTR ODUCT I ON BY JOH N GARRE TT UNDE RH ILL

GAR

AN I

DEN CI TY COM PANY

DOUBLE DAY PAGE ,

1 914 EV

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2 °t 4 1 6

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Copyr ight, 1 902 by MAR BUR G GI L L PATRI CK ,

“

TH E

WOLF

”

I N TROD UC T I O N

If he is to

appe ar

in

a

p r o p e r pe r sp ec tive , Ang el

Guim e ra m ust be c o ns ide r e d in a do uble aspe c t fi rst as the chie f and be st kno wn m o de r n r e pr e se nta t ive o f a lite r atur e by no m e a ns a t all we ll kno wn and sec o ndl y as o ne o f the m o s t fo r c e ful m os t r e so ur ce ful a nd m o st m aste r ful o f t he dr a m a t is ts o f o ur t im e The C a t a la n la ngu a g e is o ne o f t he Ro m a nc e fam ily -

,

,

,

,

,

,

.

d Sp a nish a lso fr o m the La tin, but

t o whic h the ne ighbo ur ing Fr e nc h

b elo ng

.

Like t h e m it de r ive s

an

ffi nity is with the Pr o ve nga l The m e diae val tr o ub a do ur s o ve r r a n C a t al o nia a nd Va le nc ia quit e as the y di d th e ir o wn Pr o ve nc e and C at al an a tta ine d its g r e a te s t de v e l o p m e nt sh o r t l y a ft e r war d dur ing the fo ur tee nth a nd fi ft e e nth c e nt ur ies at th e hands o f Ramén Lull a nd Ausies Marc h The unio n o f the Sp a nish K in g do ms u n de r Fer dinand a nd I sa be ll a a nd the H o us e o f H ap sbur g r e duc e d the la n gua ge to a po s itio n little be tte r than tha t o f a dialec t by the b eginning o f th e las t c e ntur y I ts sta tus in it s c losest

a

.

,

,

,

.

,

.

[V ]

I N TR OD U CTI O N

B a r c e l o na a p tl

y

c o m pa r e

p e r io d e

ffo r t

in

ding p r o vinc e s might be th a t o f t he G a e lic a t t he sa m e

d t he

s ur r o u n

an

d to

Ir e la nd

was ina ug u r a te d

po s it io n

an

d

u se ,

m o re

t h e l a ng u a ge

g u a ge

Be r e ng ue r s

yst e m a tic t o r e s to r e it t o its fo r m e r e sp e c ia ll y as a l it e r a r y l a n

of

t he

1 8 40 a

i

a nc e nt

s

duk e do m

of

d So le r we r e t h e

Ve r da g ue r

.

ye a r

Abo u t t he

.

an

c

t he

hie f

t he l a tte r viva l With th e l ap se o f ye a r s the y ga ve in t he dr a m a wa y t o wr it e r s s u c h a s Igna c io Ig le s ias a nd t h e p a int e r po e t R u sifi o l b ut t he fi r st a nd fo r e m o s t o f t he m a ll by r ight o f s e nio r it y no w as o f ac hie ve m e n t a nd r e p u t a t io n is Ange l G uim e r a Ang e l G u im e r a was b o r n in Sa nt a C r uz de Te ne r ife in t he la te r fo r tie s H is fa the r was a C a ta l a n Whe n se ve n ye a r s o f a ge he was t a ke n to B a r c e l o na a nd while s till y o ung as s o c ia t e d h im se lf wit h t h e C at a la n l it e r a r y m o ve m e nt All o f h is wr it ings a r e na m e s

in the

e a r lie r

d a ys

of

th e

re

.

-

,

,

.

,

.

.

,

.

in tha t t o ng ue c o n st r a int

b ut

l

a so

c e l o na

S p a nis h h e

The r e

.

p e o p l e , no t

.

o nl

y in

in t he

it se l f

,

ar e

t he

sp e a ks

t o -da y

c o unt r

c it ie s a nd e

t o wh o m

l ar ge

y dis t r ic ts

ve n

in t he

S p a nis h is

Fo r m a ny m e a ns

with

a se ns e o f

num be r s of

C a t a lo nia

c a p ita l o f a

of

se a le d

Ba r

bo o k

.

ye ar s the se pe r s o ns we r e witho u t a ny o f lite ra r y e xp r e ssio n whe t he r t hr o u h the g [ vi ] ,

I N T ROD U CT I O N

pr inting pr e ss

o r up o n

t he

st a ge

S c ho l a r s

.

ne g l e c t e

d

th e ir t o ngue ; t he go ve r nm e nt dis c o ur a ge d its gr o wt h a ut oc r a t ic

Th e

r e p r e ss i e

t e nde nc ie s

v

a nd

of

.

t he

v a l h ad m a de fo r its de bas e m e nt t o th e p l a ne o f th e vulga r Gu im e r a s fir s t p l a y s we r e the r e a nd s o c ia lly unfi t fo r e a c te d be fo r e so c ie t ie s o f a m a te ur s in a nd a bo ut

c e nt ur ie s

p r ec e ding th e N a p o le o nic

uph e a

’

.

B a r c e lo na ; th e r e wa s c o m m e r c ia l s t a ge

S o l e r whic h ,

int o th e Tea tr e Ca ta la , of

h o u se s

.

of

c it

ne e ds

im m e dia t e

y

l e as t de sir a bl e

whic h we r e At le ngt h

.

t h e Tea tr e Rom ea ,

m a ny

,

Pe r fo r m a nc e s we r e give n in th e

as

C a t a lan Th e a t r e t he pur e nc o u r a ge m e nt o f dr a m a in

or

whic h was the

C a t a la n

iz a t io n kno wn

o r ga n

fo r m e d in the ye a r 1 864 by Fr e d p r e s e ntly b e c a m e m e t a m o r pho s e d ’

po se

p l ac e fo r th e m up o n t he

A lo c a l

.

La Ga ta h a d be e n e r ic h

no

s

it ua t e d in

s e c t io ns

of

th e

va r io us

s ec ur e d

a

t o m e e t t he

ho m e wa s

o ne o f c it

y

.

p la y

th e

fo un d in o lde r

d

an

I n this h o use

f the p r inc ip a l p r o du c tio ns o f t he ne w m o ve The c a p a c it y o f th e m e nt fi r st sa w t he ligh t o

.

Rom

ea so o n

pr o

ve d

t oo

sm a

ll

,

a nd

was t r a ns fe r r e d t o t he Noval a is

Gr ac ia vast

a nd subse que nt l

ho use

,

by fa r

in the pr o vinc e

y

th e Tea tr e Ca ta lci f

on

t h e Pas e o

de

t o t he Te a tr e Pr incip a l ,

the l ar ge st

.

vii

a udit o r ium

t o be

a

fo und

I N T ROD U CTI ON

An

au

dr a m a

no w

die nc e h ad

u nde r t a king

An

.

in its inc e p t io n

a l t r uis t ic

fin a nc ia l

a nd o th e r

ba s is ,

c r e a te d

be e n

whic h h a d b e e n p u r e ly h a d be e n p u t u p o n a fi r m

d inde pe nde nt C a t a l a n

an

the a t r e s , m o r e m e r c e na r y in

i

t a n e o u s ly c o ul

d

a nd

up

h a ve b e e n

no t

m a tte r

i

sp r ng n g

t he

of

st a ge

f

su c c e ss ul

gr a m m a r ia ns h a d s we p t

d p r e j u dic e s

an

t o t he p o p ul ar

sp e e c h

ling t o

a

wide

c ir c l e

an

c hist ic a git a t io n c as t a

m o ve m e nt

,

wa s

g e nt l e

a

of

rea

m inis t r a tio ns

o ld

igno r a nc e l e a r ning

de r s

a

fr o m of

Fina lly

.

a

se p a r a t is t a n d a na r o

ve r

p as s io n

no se ns e ac a de m ic c ry

a

ph il o l o gis ts

sa nc t io n o f

p o lit ic a l h ue

do wing it with

fa r

of

wa y t he

vir ule nt

en

whic h we r e in viva l

a

i

e n t e r p r se

an

A C a t a la n da ily p r e ss was

.

d a t t im e s

p e r sist e nt

“

sp o n

h ad it be e n m e r e ly

d br o u g ht t h e

an

a pp e a

s uc h

A g e ne r a tio n

.

we r e

c h a r a c te r ,

Yet

.

fo r t he C a t a la n

who l e

th e

a nd

v it ality

Th e C a t a la n

.

re

t he Pr o ve nca l , u nde r t he

Fr édér ic

Mis tr a l

Th e r e

.

lie s b e t we e n th e m m o r e th a n t he bo r de r p r o vinc e R o uss ill o n

of

.

In m a ny

a ll

t he s e

ye a r s

r e l a t io ns

vitie s Guim e r a h a d

a

pa r t

.

Fo r

he h as m a int a ine d t he m o s t intim a t e

with Pe r e Alda ve r t , e dito r

se p a r a t is t

his pl a y s

a c ti

of

p e r io dic a l La Rena ix e nsa , a nd

p o e m s h a v e be e n

[ v iii ]

t he

so m e t

im e

wh o s e p r e s s B ut he p ublish e d at

.

I NT

ha s s

no t a s so c ia t e d

y m p a th y

the Fe r r e r

m uc h

as

fe a t u r e s

him s e lf with ,

fo r , the sc

ho o l

fr o m

ROD U CTI O N

l

Fe w c it ie s in E ur o p e

.

th e

l

sa ut a r

y

c h e c ks

p ublic a tio n t he

of

A

.

s

ho r t dis

Pi, is t h e

Ofi c e

“

( Th e C a t a la n

O f th e t he a t r e

whic h he is th e

he a d

o n sa l e ,

i

r e s t r a nts .

La E scena Ca ta l a na

o r ga n

a c kno wle dg e d

.

a ll

Here

of

h is wo r ks

ar e

t o ge th e r with th e p o r t r a its

of

t o be th o se

fa m o us upo n his sc e ne H e r e to o r e nde zv o u s o f h is fo l l o we r s th e y o u nge r

who ha ve be c o m e

wr it e r s o f h is

.

sc ho o l

h e h as b u ilt

up

.

.

Th is is the

U nde r t he

be a u t iful c h ur c h o f S a nt a o

z

a nd

,

t ive

a c c lim a t i e

to

G uim e r a h as o ppo se d t he se e xc e sse s t a nc e fr o m h is do o r in the Plassa de l

is t h e

as

Fr e nc h t r a de -u nio nis m with o u t , ho we ve r ,

do m e s t ic a t ing its

fo und

fl a gr a nt

l ibe r a l p r o p a ga nda

a tt e m p t

,

of

a nd

unp l e a sa n t

more

o f a s o m e wh a t s o r did

sp ir it o f

fe l t gr e a t t he l e f t Of h a v e s uffe r e d

h a s he

r a dic a s o f

e xtr e m e

B a r c e l o na h as do ne in the th e

no r

f th e p as t

t he ne w spir it

a ge s o f

i

o r g a niza t io n

ve r y

s

,

whic h

ha d o w O f t he

Ma r ia de l Pi

,

C a t a la n

,

so r e p r e s e nt a

a r c h it e c t ur e a nd a r t ,

—ho w diffe r e nt

fr o m the o ld wh ic h lie s s l e e p ing be hind the m e ll o we d faca de a t it s d o o r ! Guim e r a s de m o c r a cy is a de m o c r a c y o f c ha r a c t e r His e nde a v o u r h a s a l wa y s be e n st r s

,

in de e d

,

’

.

a pp ea l

t o t he high e st

a nd

be st in th e

! ix !

na t ur e o f

IN T ROD U CTI O N

vil to dist inguish th e a s ur e de ve l o p m e nt fo r t h e a p r e a r i n b d o o y p p g g e fr e e if h l l b n hi s e o l e s a e r o a c h o f t h a t d a w h p p y p no t in na m e a nd in fo r m ye t no ne t h e l e ss in fac t as t h e fu t ur e s h a ll de t e r m ine in it s se aso n be c a us e the c o u nt r

ym e n

,

t o p o int

th e

o ut

e

,

,

,

,

,

p r e p a r a tio n h as b e e n

Th e m o st Obvio us

c o m p le te

y

l

a na o g

.

t o th e C a t a l a n is the

viva l unde r th e dir e c tio n o f La dy Gr e go r y a nd M r Ye a ts B ut the m o st no ta ble a c hie v e m e nt s o f t h e Ir ish h a v e be e n t o d a t e the his t o r ic a l a nd le ge nda r y r e c o ns t r uc t io ns Of a nc ie nt m a t e r ia l a t t he h a nds o f La dy G r e go r y a nd D r H y de The Abbe y Th e a t r e is st ill in t he e xp e r i m e nt a l s t a ge Th e C a t a l a n h as a tt a ine d its m a j o r ity I t s his t o r y m ight we ll be a B ibl e t o tho s e O f s im il a r fa iths I t has pr o d uc e d in E nr ic h B o rr as the fo r e Ir ish lite r a r y

re

.

.

.

.

.

.

.

m o st

rea

lis t ic

a nd

t r a gic

ac t o r o f

Sp a in

,

a nd

in M a r

ga r ida K ir g u the m o st

distingu ishe d a nd p o p ul a r o f it s y o u nge r ac t r e ss e s Y e t this fa c t is no t in its e lf so r e m a r ka ble The c r e a t io n o f a t h e a t r e is no t b e yo n d t he p o we r s o f a far se e ing gif t e d a nd r e so l ut e m a n On t h e gr a nd Sc ale the fe a t h a d be e n a c c o m p lish e d in Sp a in be fore by Lo pe de Ve g a O t he r t h e a t r e s e r e s o ur c es h a v e be e n l im ite d a nd the t e c hnic al av r a h t w h o ex pe r fo r m a nc e s h as no t bee n ve r a; y [x ] .

.

-

,

,

.

.

m

,

I N T ROD U CTI O N

high

h a ve

ve r the less b e e n the c r adl e o f gr e a t The fa c t whic h is r e m a r ka ble is t ha t a a c to r s po e t wh o se fir st e ffo r ts we r e e nl ist e d in t he c a use o f a m o v e m e nt whic h was p u r e ly a r t ific ia l sh o uld h a v e be c o m e witho ut s ac r ific e e ithe r o f p ur p o se o r o f ide a ls a nd With o ut dim inutio n o f s inc e r it y pe r ha p s th e m o s t p r a c t ic a l a nd t e c hnic a lly pr o fi c ie nt o f t he dr a m a ,

ne

.

'

,

,

t ist s o f t o - day

I t is

no t ne c e ssar

t he a t r e O f

p o we r

.

a nd

G uim e r a

blunt ne ss

m e la nc h o ly

.

K

unde

ve r y

t o pr o c e e d

t o p e r c e ive t h e

th e na t u r e

is sing ul a r ly s im p l e of

y

his gift s

of

a nd sinc e r e

e e n,

fa r int o t he

H e is

.

— dir e c t

quic kl y

se ns

O f h is

so u r c e

it ive

a

m a n wh o

t o t he p o int a lm o st

r the bur de ns o f tim e he is ,

e qu a

to

lly

inc ap a ble Of p a r tis a ns h ip o r Of de ny ing his be lie fs The se qua lit ie s a r e in s o m e de gr e e e vide nt fr o m the

.

be ginning livid

as

.

TO th e m is

j o ine d

t he ba r e ne r v e , fl

illumina t ing who le

sing

la r ly

W

s c e ne s as

b

V

ivid,

nly a nd

t

dir e c t light

o

f

fr o m no whe r e p r e pa re d fo r a nd de p e nde nt upo n no a r t ific e o f t he p l a ywr ight s s to c k ye t a t t h e sa m e t im e m o r e e ffe c tive t h a n th e m This is th e h a llm a r k a ll b e c a use s o p a t e nt ly t r u e H e is a s up r e m e m aste r o f sit u a tio n o f his ge nius t r u th ,

se e m ingl

y

a

s um m o ne d

,

’

,

.

.

[ xi ]

I N T ROD U CT I O N

t he

no t

wh ic h

a l o ne ,

e l a bo r a t e

Odds

f ll y c o ns tr u c te d c a lc ula t e d c lim a x e s bo u t t hr o u gh sc e ne s o f a r e br o u gh t a

c ar e u

o

,

p r e p a r a t io n

f t he be s t ; th e se

S c r ibe , the l a bo r io u s e r a,

it s

no

i

e xp e r e nc e o f a

cra

.

,

i

s it u a t o n

invo l ve d, e s se nc e

s t a nt ly

h is

ks

ft ine ss Of a G u im S a r do u

t he m e r e

ar e

as

wh e n h is m ind is a ligh t g o e s s t r a igh t t o t he h e a r t

O f t he or

in t h e s e h e

a l t h o u gh

,

whic h p r e se nt s it se l f wh e th e r t r iv ia l ,

l a y s ba r e t he dr a m a t ic m o m e nt in

a nd

int e nse

a nd

by t he

r e al

sp e c t a to r

dis t inc t ive

it y

t o b e p e r c e ive d in

,

j ust

as

do wm e nt

en

an

d t r ue

C e r t a in ly

.

This is

.

living

no

wr it e r has p o sses se d t his gift in so s t r iking a de g r e e S h ake spe a r e was his fi r s t m a s t e r I n t he fi e ld o f .

.

c ha r a c t e r

as

r e m a ine d

his m o de l

we ll

as

in t he e

ve r

s inc e

h o we ve r t o t r a c e the l e a ding ,

is the infl ue nc e of

t he ir

who m !

y

o u ng

sh ip

p l a ys

of

th e

o r ill a

se r

ve d

a l so

I t is

.

f H u go

t h e Sp a nis h

sa t

no t

f o th e r h a nds

is th e b e s t kn o wn

E c he g a r a y

was

o

sc ho o l o

c o unt e r p a r t s

dr a m a

i

r o m a nt c

.

a nd

S c r ibe ,

At t h e ir

in th e p o e t ic dr a m a

!

Th e r e

.

as

i i

Gu im e r a s

wr itt e n in b l a k n

diffic ul t ,

of

r o m a nt c s t s ,

’

.

h e has

.

fe e t

th e

i

a pp r e nt c e

His

i

e a r l er

fo r m whic h is u nc o nge nia l t o S a nish th o u h e as il y p g p o ss ible t o C a t a la n in whic h the dist inc t ive e ffe c ts Of t e E n g h lish m e tr e m ay be o bt a ine d As e m p l o ye d by him are

ve

e ! , a

,

.

[ x ii ]

,

I N T ROD UCT I O N

E nglish pe r fo r m a nc e s h a ve t a ke n plac e The r e p r e se nt a t iv e p l a ys a r e L Anim a M or ta no

.

’

So ul

”

a nd

)

Lo Fil l del Rey

e xtr ao r dina r

H e r e th a t

v

o f im a gina ti e

de t a il

“

Mo r e Dead

’

( The K ing s

y a nd c h a r a c t e r istic d sugg e st io n

an

c o m man

ar e a l r e a

d

dy se e n

.

“

La s M onjas de S a nt Aym dn ( Th e N uns o f S t Ay ” m a n ) is a p e r fe r vid r o m a nc e in whic h Pe te r the .

H e rm it

a pp e a r s

as

br e a thing t he ve r y

o ne

o

f th e le a din g

sp ir it o f

c h a r ac te rs ,

t h e m e diaeva l t im e s

.

The p r o duc tio n o f E n P élvo r a ( 1 893 ) m ar ks th e Ve r se is e xc hange d fo r a do p t io n o f a ne w m a nne r '

.

pr o s e

.

The

r o m a nt ic

c hie

but

f

int e r e st is

s o c io l o g ic a l

Th e infl u e nc e

no

lo nge r p a t r io t ic no r

Pol vo r a is t he wo r king

.

Ibse n be c o m e s p r e do mina nt Th e p la y is a pl a y with a p u r p o se de a ling with t he industr ia l pr o b le m a nd as su c h c r e a t e d a t o nc e a As in m o st wr it ing o f t he p r o fo und im p r e ss io n kind ther e is a c e r t a in c o nt r a dic t io n b e t we e n the th e sis wh ic h th e a ut h o r h as t o p r o p o u nd a nd what wo ul d o the r wis e h a ve bee n the na tur a l c o ur se o f the sto r y The e l e m e nt o f didac t ic is m was unc o n ge nial t o Guim e ra s mind With a single no ta ble e xc e pt io n it do e s no t r e a pp e a r ; t h e re a lis m re m a ins m an

.

of

.

,

,

.

.

.

’

.

,

a nd

up o n

it he

no w

co nc e nt r a t e s

his

M aria Ro sa, is the pl ay in which we fi r st [ xiV l

a tte nt io n.

u

e nco nter

I N T R OD U C T I O N

the wr it e r an

of

inte r na t io na l

int im a t e kno wle dge

pe ne t r a t ing

of

i

t he life

ym p a thy fo r a c ons um m a t e

of

th e p o o r

s

It

r e pu t a t o n .

.

re

ve a l s

t he p e o p l e ,

It

e st a

a

blishe s

afts m a n in t he m inute in the we l ding t o ge th e r o f th e a pp a r e nt ly inc o ns e Th e que nt ia l int o th e m o st m o m e nt o us effe c t s c ha nc e r e m a r k a t t a ins in h is h a nds t he s ig nifi c a nc e H e is as Ma nue l B ue no o f t he kil l ing o f a S c a r p ia has p o int e d o ut a n ins up e r a ble m as t e r o f e nv ir o n

G uim e r a as

‘

cr

,

.

'

.

,

,

o f se tt ing

m e nt ,

a nd

c o l o u r ul

f

a

c o m p le t e

o r dinar il a nd a ll

t he

p ic t ur e sque

d

c o m m an

y unde r st o o d

o f a ll

sc e ne ,

,

of

s it ua t o n as

i

c l im a x ,

t he

t he

“

a pp e a r

im po r t a nt

d

an

r ea

l

.

If

t he

m ina te s in Ter r a B a ix a , kno wn in E ng l is h the Lo wla nds ,

g e nius

th a n .

In

a ny

a

p l a y wh ic h t he

o th e r

s t r e ngt

h

of

tho r o ughly typ ic a l

v a r io us i

a nd

it is

sc e ne ,

,

a

plea ding fo r

se ns e

fo r m e r It

.

ar e

c ul

Ma r ta

as

bine s in g r e a t e r a sp e c t s

h um a n

s

of

his

y m p a th y

,

de t a il it is

r e a listic

.

Like M a r ia Rosa M ar ta is in

c om

a c t o n,

im a gina t ive il lu m ina t io n,

a nd s o

”

big

was the p o e t ic th is is t h e th e a t r ic p e r io d

de gr e e

th e

t h e p a r a ph e r na lia by whic h the se t hings

m a de to

of

of

a r ts

With the se is ble nde d

.

t h e a t r ic

of

t he

of

fa t e

the he lp le ss

[!

a

tr a g e dy

The

.

o f c o ndit io n,

a c t io n

is

a n d unfo r t una te V

]

a

dum b

who

ar e

I N T RO D U CT I ON o f ne c e ss it

y

i

l

pa r t c u a r

ly

by th e

e x p o se d

I t is in t h is wa y,

o f s o c ie t

y

a nd no t

t hr o ugh t he p r o m ul g a t io n

t o the blo ws

o f c h a nc e

.

Guim e r a s wo r k m a y b e

so c io l o gic a l

Ma r ta

a nd

d M a ne lic h

an

c o m ing

ar e

d t o be

t he p e as a nt

o p p o s it io n

int o

with .

fl ic t whic h is he r e p o sit e d t he

s

,

dr a m a

lie s

O t he r p l a y s

.

t he m o no l o gue

st

ill

e xc e

i

r e m a ns as

die s

lo c a l

oi

of

t he

t e c hnic a ll y ;

fr o m

th e

ding p la y s , a ndL a P ec ad or a

.

a r e a nu m

c us t o m s a nd c o u nt r

bi

s uc c e e

R u nning W a t e r

B e side s th e s e t r a ge die s , t he r e

a r ta

h e r it a g e

a

p o e t ic da y , t o be disc ar de d in th e

A ygu a qu e c or r e

ignific a nc e

l M

ar

In th e

t r a r y p o we r , t yp ifi e d in Se b as t ian t he l o r d c on

or

sa i

’

t h e l a bo u r e r

ys t e m

o f a ny s

t he o r y , t h a t .

iz a t io n

o r ga n

y

b e r Of

c ome

life da t ing

fr o m

fa r c e The l as t ph as e is th a t o f t he r e j e c t io n o f t h e a t r ic Guim e r a ha d alr e ady sho wn in M a ria Ro s a de v ic e ho w t o wr it e c o m p e lling dr a m a with a p a u c it y o f H e h a d l o ng s it ua t io n but c o nv inc ing so l u tio n be e n a ble t o s e c ur e t he m a xim um e ffec t witho u t r e lia n c e up o n a ny a dv e nt it io u s a id de p e nding s o l e l y

t his t im e

.

The r e is

a ls o s o m e

.

.

.

,

up o n a

th e na t u r a l

o pp o sitio n o f c h a r ac t e r

dr o it ne ss in t he p o int Of a t t a c k

with his

l

e a b o r a te l

sc e ne s as

.

He

an

no w

d

up o n

dis p e ns e s

y c o m p o unde d str uc tur e a nd t a kes the y a r e s ugge st e d by th e na t ur a l un [ x vi ]

I N T R OD U CTI O N

fol ding o f his happe ning

fr o m o ve r

ffi c e s to

se as

ac t o f

peo ple live sc e nes

the

j

8. c h anc e

ho m e fi r st

su

s ub e c t

ar e

s

fo r it

as

s

im ple

do wn

at

ve nt

The

ac t .

an

e

(

“

Lo ne ly

a single

or

sa il o r

r e t ur ns

with tho se

th e t a ble

g a th e r ing , tha t is

S ol S o le t .

A

.

all

;

at

but it is the

d

The se

an

With o u t a ny str iving fo r dr a m a tic all y p r es e nted as

e

ffe ct

the

a ny upo n

st a ge .

Fo r

t im e

Guim e ra h ad e nj o ye d a c o ns ider a ble po pular ity in I ta l y a nd it h ad c o m e a b o ut t ha t a num be r o f his p l a ys h a d be e n ado p t e d int o the r e pe r to r y o f the Sic ilia n p e as a nt pl a ye r s One o f the m La Pec ador a was p r o m ine nt in a g r o ss p e r ve rsio n upo n t he E ur o p e a n a nd Am e r ic a n t o ur s o f Gr as so so m e

,

.

,

,

and

lVIim i Aguglia

pla ye r s was

.

The m e th o d

the se

Sic il ia n

a n e x t r e m e na t ur a lis t ic se ns a tio na lis m ,

whic h fur the r was t h a t

of

t he y

T he

c hose

of

t o p r e se nt

bee n im par te d

.

the na t ive pl ay s o r igina l

whic h

im pe tus had

to th e pe as a nt dr a m a in It a ly

Ve r ga in his Ca va llenla Rustic a na

,

a com

me lo dr am a t ic sit ua t io n a nd na t ur a lis m

a

by

bina tio n o f

fte r the

pro

With the lap se o f tim e the natur a listic e le m e nt was g re a tl y ac c e ntua te d by Luigi C a p uana o f C a ta nia in M alia as s u bs e que nt ly by his follo wers in the imita tio ns which tha t play cedure o f

the

o ld

fo r m ul as

.

,

[ x vfi ]

I N T RODU CTI ON c a lle

d

fo r th

t he r e is r e gar

d the ir

s t o ne

sa i

d,

t o the

It a lian

t e c h niqu e

in the

the sa r

t he

a nd

of

o

m e a ns

p o ints ,

o

f

h a s br o u ght t o it

fir s t

I n Lo Ca m i del S o l

(

“

of

fo r t u ne

e

art

ffe c tive

of

nec e s

l y p uts

as i e

d s e e ks

o ut a

an

He

.

d

su r r e n

de r s

t o be wr itt e n , he m us t b e

d

st a n

.

NO

o t he r

o u ts ide o f

wr it e r

h skill

.

the g e ne r a l

m o r e th a n p as s ing m e ntio n

a

high ly

th e m e diae va l .

an

Whe n the his to r y

.

The Pa t h wa y

in the Le v a nt

th e m o st

i

c o ns c o u s

m as t e r s

h a s g ive n in his m a t u r it y e xp lo it s o f

c o ur s e

enes afa ir e ,

i

de s e r ving

th e

a ba ndo ning

a n a p p r o xim a t o n o f s uc

Se ve r a l wo r ks whic h

t he

sc

i

comes

its

of

In

.

e xp r e ss o n

f thing s t o his

t h e p e as a nt p l a y

c a no n a r e

a c qu ir e d a s uffi

t o be the a t r ic a lly sinc e r e

fr e e r

ve r

The gre a t p riz es

.

dy be e n his

,

a c c o u nt e d a m o ng

of

p la y

d the like h e

t he se h u sks of

l

c lim a xe s a n

a tt e m p t

t r ue r

”

we ll m a de a rea

o

t o t he p e asa nt t he a t r e

-

m e c h a nis m

e nt ir e

y

wh e n sh e h a d

cam e

the dr a m a ha d

,

th e b o a r ds , p as s e d

This was th e Opp o s it e

.

“

an

,

.

o ff

D u se

d

He

.

e xp e r t

h igh e r

t he a t r e

Guim e r a

of

of

a c te

d s te pp ing Mim i Aguglia h a ving

t r a ining g r o und

s t a ge a s a

s o m e th ing

to

it was

c ie nt

a

S igno r C a p ua na h as p o int e d o ut th at t e nde nc y a m o ng t h e p e a sa nt a c t o r s t o .

H e h as

m o de r n

[ x v iii ]

of

th e

S un

”

)

.

he

c o l o ur e d a c c o unt

C a ta l a n c o m p o se

so

ldie r s

of

d

so m e

of

i m e lo dr am as

r o m a nt c

.

I N T R OD U CTI O N

J esns de Na za r eth is C hr ist

th e

up o n

s t a ge

t r ac t in t he int e r e s t a tt a ine d a of

ve r s e

,

P oesia s

a nd

Ca nta s

b e s ide s

my ’

Gu im e r a s his dr a m as

,

r e pu

a

r e p ut a t io n

a l tho ugh

was

in t he

c

ivic life

m us t

it was

a c o m p e t ito r

of

a r e a lso

.

vo lum e s H y m ns t o

t wo

o c c as io na

u l t im a t e l

as

a

t he a t r ic a l

whic h h as

,

la P a tr ia

v o l um e O f

be c a m e kno wn t o t he p ublic

figur e

a

a

blic a nis m

Th e r e

.

of

H is l a t e s t p r o duc t io n is

.

of

vo gu e

wide

t he l ife

of

Yo ung Que e n

The

La Reyna J ove

p r e se nt a t io n

a

y

l p r o se

r e st u p o n

p o e t th a t h e

H e h a s be e n a

B a r c e lo n a

e

ve r

.

fir s t

fa m il ia r

i

s nc e

.

He

in t he J oc hs Flo r a l s de B a r c e lo na ,

or

Ga m e s o f B a r c e lo na in 1 8 75 a nd t wo ye a r s la te r c a r r ie d o ff the thr e e a wa r ds O f p a tr io t is m fa it h a nd l o ve whic h a r e t he p r iz e s o f th e s e p o e t ic fe st iv a ls as t he y h a ve be e n r e v iv e d sinc e th e middl e o f t h e last c e nt u r y in imit a t io n o f th e C o ns is t o r y o f t he Ga y S a be r Of t he t r o u ba do ur s im p o r t e d into B a r G uim e r a c e l o na fr o m To u lo us e in t he y e a r 1 3 93 Flo r a l

,

,

,

,

,

,

,

.

.

bec a m e M estr e of

t he Fl o r a l

en

Ga i S a ber ,

Ga m e s

.

in 1 889 Pr e side nt

a nd

H e is the

t o br e ak t hr o ugh the limit a t io ns

fi r st o

f

of

the C a t a la ns

a n o bsc ur e

lo c a l

y t he ne w lite r a tur e o f h is c o untr y m e n be yo n d the bo un da r ie s o f Sp a in H is p l ay s h a ve bee n t r ans late d int o m o r e tha n twe nty la nguage s t o ng ue

a nd

to

c ar r

.

.

! xix !

I n 1 909

a

gr e a t

de m o ns tr a t io n

p la c e in B ar c e lo na , wh e r e

in his ho no ur too k

a s t a t ue

of

t he

she p h e r

“

d

Ma r ta o f th e Lo wla nds was unve il e d in the Pa r k o f Mo ntj uic h as a t r ib ute to his fa m e With th e tr ans l a t io n o f t his pl a y he is no w intr o d uc e d to E nglis h a n d Am er ic a n r e a der s J OH N M ane lic h , h e r o

of

,

.

.

[! ! ]

T RAN SLATO R S

PR E FAC E

’

Ma rt a o f t h e Lo wla nds t he fir st o f t h e G u im e r a y n li sh c a m e t o th e Am e r i e i n E l r e n d e r d s a t o b e g p Wh e n G a l ve s t o n c a n t h e a t r e by wa y o f Me x ic o ,

!

,

.

s uffe r ing

wa s

Me x ic o

’

l e a ding

s

f

of er a

de s ir ing t o

y

,

p la y

Ba ixa ) was a nd

c

“ .

ho s e n

M a r t a Of as

t r e a t m e nt wo ul d of

m e m be r s

s t r ic ke n

be ne fit fo r th e

a

t he Lo wl a nds V ir

a tt r a c t a n a u die nc e

t h e E nglish

Am e r ic a n

a nd

Am e r ic a n

him in t he

c o ns u l t ing

wo r k who se

I t was du e t o t he p r e se nc e in t h e

”

( Ter r a

ile t he m e inc l uding

c o l o nie s

au

he r

C a r do na ,

Fr a nc is c o

a c to r ,

fl o o d,

a nd

Vir g ini a Fa br e g as ,

ho no ur e d t h e wr it e r by

c ho ic e o f a

a nd

o f e a r t h qu a k e

a c t r e ss ,

l e a ding

a nd

hu s ba nd

c it

th e h o r r o r s

.

die nc e t h at

Guido Mar bu r g fo r m e r l y a n a c to r in t ha t t h e p l ay e ve nt ua ll y r e a c hed t h e o ur the a tr e M r Ma r bu r g a pp r e c ia t e d its p o ss i Am e r ic a n s t ag e bilit ie s im m e dia t e ly se c ur e d t he r ight s fr o m t h e a ut h o r a nd as ke d t he wr it e r t o u nde r t a ke t he t r a ns night o f

Mr

.

,

,

.

.

,

,

l a t io n “

.

M ar t a

of

t he Lo wla nds

l ish by M r H a r r is o n The a tr e N e w ,

st a ge d

.

Yo r k

,

by M r s Fiske .

e nt r u st e d

E lisc u

Gr e y

.

.

to

was pr o duc e d in E ng Fis ke

in 1 903 .

.

at

I t was

The p a r t

C o r o nna Ric c a r do

th e

of

h e a r se d

a nd

Ma r t a was fi r st

d l a t e r t o Fe r na nda

an

H o ba r t B o s wo r th pl a y e d t he ! ! II

re

Ma nh a tta n

l

rOe o

f

Ma ne

!

TRAN SLATO R S ’

PRE F AC E

fo llo wing ye a r it was p la ye d thr o ugh o u t C a lifo r nia a nd t he W e s t by Flo r e nc e R o be r t s wit h H o ba r t B o swo r th Me l bo ur ne M ac D o we ll a nd Lu Th e p l a y c iu s H e nde r so n su c c e ss ive ly a s M a ne lic h was r e vive d by M r Fiske in 1 907 fo r Mada m e K a lic h An d in 1 91 0 wit h H e nr y K o lke r as M a ne lic h Ma r t in H a r ve y and his wife a nd l e a ding 1 91 1 a c t r e ss N ina de S il v a u s e d th e p l a y e n t o ur t hr o ugh “ The o ut Gr e at B r it a in p r e fe r r ing fo r it as t it l e The p l a y ha s bee n se e n in Fr anc e Lo wla nd Wo lf Ge r m a ny Ita ly S er via a nd in S o uth Am e r ic a In Sp a in t he l e a din g r oles we r e c r e at e d by M ar ia Gu e r r e r o a nd h e r hu sba nd Fe r n a ndo D ia z de M e ndo z a I ts t he m e fo r m s t h e b as is fo r t he o pe r a o f d Albe r t lic h

The

.

,

,

,

.

.

.

,

,

,

,

,

”

.

,

.

,

,

,

.

,

’

e nt itl e d

I n t he t he

“

Tie fl a nd

st a g e

” .

ve r sio n

so lil o qu ie s a nd

I t be ing t he p r o pe r

Ma r t a

of

m o st

of

t he

o ffi c e o f a

fo r e ign wo r k as fa ith f ull y print e d in it s e nt ir e t y

as

of

asides

th e Lo wla nds ,

h a ve been

t r a ns l at o r t o

ren

c ut

de r

.

a

m ay be , the pla y is he r e

.

W G .

.

PE R S ON S OF

TH E D R AM A

MA RTA p e a sa nt gir l ANT ONI A p e a sa nt wo m a n PEPA a p e a sa nt wo m a n N U RI a c hild M AN E L I C H a she phe r d SEBA STI AN a l a nde d p r o p r ie t o r ,

,

,

,

,

,

T OM AS ,

MO SEN JO SE NA ND O PE LUCA

,

an

innk e e pe r

an o

M ORR U CH O

ve r se er F a r m l a b o ur e r s

I

AC T

A mounta ino u s

SCENE !

m ill-ho use in the

le a ds to at

bac k of stage ,

bac k

f

o

a r e seen

on

on

a sm a ll

the left,

in is ga ined by ,

f

p lements ,

s a c ks o

ther e is

pine ta ble

a

s ta ge

a nd surr o u nded

E ar ly

do or ,

a sho r t

r ep lac e ;

c over ed

by a

fl ight of step s;

with

a sm a

r oc

ks

a nd

tr ees;

ll shed is visible;

a r e sc a tter e

e tc

,

d m illing im

.

;

in fr ont

o

,

by p l a in woo den c ha ir s

fter noo n

a

la r ge fi

f the fi r ep la ce with a n u nlighted la mp up on it

f whea t ,

a

door

l a r ge door , thr ough whic h

in this dir ec tion; r ight o

r ight a sm a ll

the l eft the r e is

sta ge , r ight, a

towar d the

TIM E !

the

the dista nt m o unta ins ,

the m ill is

.

-

c o u ntr y; o n

bedr oom;

a

cr eto nne c ur ta

at

in the

a c tion occ ur s

The

f Cata lonia in S pa in entr a nc e ha ll or co ur t of a

r e gio n o

When

.

the

.

c ur ta

in

r ises ,

M ORRU CH O is disc over ed sifting whe at

.

M ORR U CH O whe a t

’

l

s c e an

to the m aste r

.

Wha t do e s it m a tte r whe the r t he I t b e lo ngs o r wh e t h e r it a in t c le a n ? Wha t do I c a r e ? ’

.

E nter P E PA with a sm a ll ba sket of kidney beans

PE PA

.

Go o d afte rnoo n

.

[3l

.

M ARTA

M OR R U C H O

OF

H e r e t he y

.

LOWLAN D S

TH E

ar e

The p a r t r idge s !

!

E nter ANT ONI A ANT ONI A

H e llo

.

M o r r u c ho !

,

H e l lo !

M OR R U C H O P EPA

see m

’

do e s n t to

o ur

We ve ’

.

c o me

I sn t

If we

it

’

.

t o ke e p

Ma r t a

so

y

c o mpan

’

didn t

l

c o se

[S ugges

c om e

? ’

[still sifting] Tha t s so ! [c a lling o ut] H e r e we a r e ! C o m e

M O RR U C H O ANT O N I A

It

.

And t he m ill

p o ss ib le , do e s it ?

h o us e , t o o !

tive l oo k]

.

.

.

o ut ,

wo m a n !

M OR R U C H O c ame

I

.

’

do n t t hink sh e ll ’

t o p r y a bo u t , y o u

P EPA

Be

.

o ff, e h

?

begins she lling bea ns ] ANT ONI A [in

we dding PEPA

.

a

lo w

m ay

We

’

ll

as

c o m e ! so

we ll be

se e

!

]

’

ofl

a nd

.

Ask him

.

.

[S e a ts he r self

H e lp m e , Ant o nia vo ic e

if yo u

a b o ut

t he

will

she

.

W a it !

ANT ONIA

.

GO

on!

PE P A [r a ising voic e] Sa y M o r r uc ho m a r r y o r no t Ma r t a ? .

M OR R U C H O At t he do o r

[witho u t of

t he

,

no tic ing c h ur c h ,

99

[4]

,

he r begins hum m ing] t he br ide is wait ing

MARTA

wh e n she

’

lit t le

s a

OF

ol

de r t he br e e d ,

fting

si

[he begins

be l o s t

wo u ld be P EPA

.

Ma r t a !

a

p it y

Yo u Th a t

’

’

r a ge se l

f

! “

,

.

re

’

M OR R U C H O

PEPA

.

i

c o ul dn

t m arr y

no w

fa t h e r m a r r y Ma r t a

yo u ve ’

’

[singing] !

wa ll o we d yo ur

die d, yo u

s

“

s

,

a nd

y o ur

sa i

d to

I m t he mil le r ’

At t h e doo r

of

t he

” .

c hur c

h

,

NUR I .

’

wit h yo u ! “ At t h e do o r o f t he c h ur c h

E v e r y m a n h as

.

p e o p l e will l e t h im h a ve

NU RI

it

Y o u h a ve pr e c io us litt le sh a m e M o r r u c ho

M OR R U C H O o t he r

a nd

the m a tt e r

s

s ng

W h e n Ma r t a No w I l l

p a r t r idge s will

la ughing]

a nd

m a d be c a u s e y o u

wh a t

s

Y e s,

’

of

.

M OR R U C H O [s inging] ! P EPA

LOWLAND S

TH E

I

in, knitting

c o m es

’

ve

s

h ut

as

m uc h

s

ha m e

as

.

a

woo lle n

ja c ket

.

m y t ur ke y s fo r t he

up

.

night

.

M ay

I c o m e in ? ANT O NI A C o m e in c h il d ! N U RI We ll yo u a lwa ys fight se e M a r t a t h a t s why I as ke d .

.

,

,

’

m o r e fo r m e t ha n yo u do P EPA

NU RI

.

.

Will yo u be Pe p a , t a ke

a nd

I

c o me

Ma r t a

to

c ar e s

.

qu ie t ? up

m e whe n

t he

[6]

G a bble r ! st it c he s

in this

j ac ke t

MA RTA

fo r me br iar s

r unnin

LO WLAN D S

TH E ’

a nd

the y

c a u g ht

o n so m e

.

PEPA

NU RI PEPA abo ut

I wa s

.

OF

.

Lo o k !

.

I t is

NU RI

PEPA

c a ll s

t his

a

j ac ke t !

j a c ke t !

a

We ll we ll ,

.

it

Sh e

yo ur

st o p

,

gabbin

’

a nd

t e ll us

.

W ha t h a v e I t o t e l l ? What did we se nd yo u

.

.

Mut to nh e ad ! NU RI Oh His wife wa s .

,

,

ye s

t o t he inn fo r ?

but t he innke e p e r wa s n t t he r e

t ho u gh

’

Sh e t o ld m e

.

s uc h

.

t hing s

what t hi ngs she did t e ll m e ! ANT ON IA [with inter est]

NU RI se e

We ll

.

a ll

,

( sh e

yo u live in

All this t hat yo u

h e t o ld m e

s

be lo ngs t o t he

we ll ?

W e ll

.

Ma st e r Se bast ian !

m e a nt

o ur s

)

,

t he h o use

th e inn, t he m ill , t he

far mho use a ll be lo ng t o t he m ast er PEPA We ll ! Th a t is ne ws ! AN T ONI A And didn t s he t e ll yo u a ny t hing e lse ? NURI Inde e d sh e did ! Wa it t ill I r e m e m be r ! She sa id if I wa lk e d a nd wa lk e d u ntil t o m o r r o w e ve r y mit e o f gr o und I wa l ke d o ve r wo uld b e lo ng t o Maste r Se ba st ian I c a t c h a bir d I m ust le t it If a liza r d r uns ac r o ss go be c ause it s t he m a s te r s my p ath I mustn t sm a sh it with a r o c k b ec a use it s [7] ”

.

,

.

’

.

.

-

,

.

’

’

.

,

’

,

’

,

MARTA the m a st e r

’

s

If I

.

LOWLAND S

TH E

se e a

fi sh in th e

it, be c a u s e if

c at c h

tr y to

OF

I

h o o k it

r ive r ,

’

I m u st n t ’

by the gills it s S e b ast ian ! ,

j ust the s am e a s if I ho o ke d Ma st e r ANT O NIA What st uff ! P E PA [a ngr ily] I t wa s M a r t a s we dding we .

’

.

ask a bout

yo u t o

NURI

.

his wife

M a rt a

’

s

PE PA

.

S tup id !

!

y fo ur da ys sinc e To mas a nd a nd t h e y do n t kno w a nyt hing a b o ut

B ut it c am e ,

se nt

’

s o nl

’

we dding

.

Whe r e was

To m as ?

Oh ! he h ad go ne t o l o o k fo r the she phe r d ANT ONI A Wh a t she phe r d? N UB I

.

.

.

N URI

.

Why

h e ph e r d !

t he

,

s

The

c o m in

’

who is

o ne

fr o m fa r o ff t o m ar r y Ma r t a to night To night ! D o yo u he a r Ant o nia ? PE PA ANT ONI A [wagging her hea d] I tho ugh t a s m uc h ! M ORRU CH O [r etur ning to his wor k] No w the y -

.

-

.

,

.

.

kno w

.

PE PA

.

And who

It was Se b a st ia n

.

se nt

To mas t o

fe t ch the she phe r d ?

No ?

N URI [unwilling to a nswer ] Le t m e al o ne ANT ONI A Answe r c hild ! If yo u do n t NUR I [p etula ntly] We ll it wa s th e m as te r yo ur m ast e r and m ine a nd To mas s a nd Mar t a s The y will b e m a r r ie d b e c a u se he wa nts the m to be .

.

’

.

,

.

,

’

,

,

’

,

.

,

[8]

MARTA

OF

LOWLANDS

TH E

be c a us e h e is t he m a st e r

a nd

[Ofi er s '

.

ya r n to AN

IA ] H o ld this yar n fo r m e ! Y o u didn t want ANT ONI A [to M OR R U CH O]

TON

.

’

.

us

to

kno w !

[M ORR U C H O la ughs ] We ll no w we kno w PEPA .

,

,

we dding if we bu r s t

We ll I

.

I

,

a nd

m ast e r ,

we ll go to t he

.

M OR R U CH O [to N U RI ] NU RI

a nd

’

kne w

t h a t whe n

wo ul d h a ve t o m ar r y

H o ity-t o it y !

.

Ma r t a

b e lo nge d t o t he

h e t o ld h e r t o m a r r y ,

s he

.

’

Wha t is the c hild t a lk in a bo ut ? NU R I I sa y I kne w it be c a u se o ne da y I he a r d it ; but I didn t t e ll yo u wh a t I h e a r d be c a u se I wa s I do n t kno w why but I wa s a sha m e d Te ll u s wh a t wa s it ? ANT ONI A PEPA Y e s t e l l us ! NU RI We ll list e n ! One e ve ning I wa s in t he wo o ds with m y t ur ke y s a nd I sa w Ma st e r S e ba st ian The y didn t see a nd Ma r t a c o min up t h e p a t h The y we r e wa lkin a lo ng slo wly a nd Ma r t a me “ I kno w I m ust a lwa y s wa s c r yin An d sh e sa id be long t o yo u [she imita tes the p laintive voic e of “ MAR TA ] a nd t he m ast e r sa id And I b e l o ng t o [She imita tes yo u e ve n if yo u m a r r y a nd I m a r r y PEPA

.

,

.

’

,

’

.

,

.

.

.

,

.

,

,

’

’

-

.

’

.

’

.

,

”

,

’3

,

.

,

[

9

]

M ARTA the gr ufi

'

fu nny ! sh e

OF

f SEBA STIAN]

vo ic e o

Ma rt a

we ll

,

LOWLAND S

THE

o

f

D o yo u h e a r ?

.

c o ur se , e

b e lo ng s t o t he m a st e r , l ike

m a st e r st a nd

sa

id he b e lo nge d t o

t ha t ;

ve r y

a ll

Ma r t a !

o

f

I

o ne

kno ws

but t he

us ; c an

H ow

’

t unde r

yo u ?

c an

PE PA [signifi c a ntly] Didn t I t e ll yo u Ant o nia ? ANT ONI A We ll didn t I kno w it ? M ORR U CH O [s ha king his hea d] E ve n t he c hildr e n m u st h a ve a finge r in t he p ie ! NU RI B ut will yo u t e ll m e ho w the m aste r c an be lo ng t o Ma r t a ? M ORR U CH O H u sh c hil d ! NU RI We ll do n t yo u kno w? And if yo u do kno w why sh o uldn t I kno w? She b e l o ngs t o him ’

.

,

’

.

,

.

.

.

,

’

.

,

’

,

,

he be lo ngs t o he r

a nd

t a ngle t h a n t h is

o ld

th e r e

’

It

wo r se

s

a

a

war ning

ya r n !

M ORR U C H O [he p uts fi nger to lip s H u sh ! M a r t a ! to ne]

a nd

in

.

[ They

think

the ho u s e

M AR TA bo wed,

M AR TA is

c om ing

fr om within

d tur n in tha t dir ec tion;

an

com es

in the

a nd, o n seeing

with hea d

entr a nc e

the

wo m en

but

,

enter s

the

hou se quic kly ]

ANT ONIA

m ill !

[seeing her ]

Lo o k !

.

I tho ught

[

10

]

She

c a me

fr o m the

MARTA PEPA

Le t

.

’

s se e

OF

LOWLAND S

THE

wh a t she

sa

y s whe n

s

he

se e s u s

!

Ma r ta !

[Ca lling] ANT O NIA

[sneering] S ayin he r pr a ye r s ! PE PA [c a lling] Ma r t a ! Ma r t a ! ANT ONI A We a r e wa iting ! Wh a t s t h at to he r ? PEPA I wish I h a d M ORR U CH O [going to wa r d the mill] ’

.

.

.

’

.

.

yo ur to ngues be twee n PE PA [c a lling] We .

t he mills t o ne s ’

go in

re

’

.

yo ur we dding

to

.

Ain t yo u gla d ? ’

NUR I [delighte d] pe o p le

ac t

J OS E

,

.

We

m ust t e ll

H e r e t he y

.

a nd

I sha ll

The n

se e

ho w

whe n t he y g e t m a r r ie d !

ANT ONI A PEPA

Oh ye s !

.

NAND O

a nd

N a ndo !

a r e no w !

enter

p lem ents ,

Jo sé

fr om witho u t with farm im ,

a nd

gr eatly

excited

.

Jo s fi We kno w a ll a bo ut it ! NAN D O The y r e t o be m ar r ie d to night thing ve r y sec r e t t he p a pe r s t he pr ie s t .

’

-

,

thing

ve r y e ve r y

e

.

,

.

PEPA

.

We ll I ,

gues s we kno w it , t o o !

J OS E We kne w it be fo r e yo u did Pe luc a t o ld us ANT ONIA We kne w it be fo r e yo u did fo r Nur i t o l d us .

.

.

,

.

.

[

11

l

MARTA

PEPA

TH E

And t he innke e pe r

.

N AN D O

PE PA

OF

’

s

wife to l d h e r

.

An d th e innke e per him se lf t o l d Pe luc a

.

Who ?

.

LOWLAND S

.

To mas ?

NAND O To mas ANT ONI A [in a wa r ning vo ic e so the other s will spea k Mar t a s in the r e m a kin he r se lf pre tt y softly] The y c a n t fo o l m e ! J o s ic [lo wering his voic e] The mast e r s be e n h unt in a h us b and fo r h e r fo r a The y b o th lo ng t im e ; but he c o u ldn t fi nd o ne wante d a m a n wh o wo ul d b e like a dum b b r ut e b ut th e y c o ul dn t fi nd m o r e so th a n a ny o f us .

.

’

’

.

.

’

.

’

’

’

.

’

PE PA

Go

.

ANT ON I A

.

on!

Go

o n,

[NURI listens

Jo sé !

a ttentively

in wide-eyed

astonish

m ent ]

JOSE ’

yin

sa

no t

.

or

We ll To mas t he he r m it who is alway do in the wr o ng thin g to l d t he master ,

,

’

,

m e anin

’

a ny

h ar m

t ha t h e kne w

he r d , who h a d live d a ll his life t ain

was

of

th e C a br e r iz a ,

a m o ng

up

a

lad

a sh e p

,

the re in t he m o un

th e g o a ts ,

and

th a t he

ft a s do ugh Wh e n the m as te r hea r d him say t hat a b o ut M ane l ic h t h a t s t he she phe r d s nam e he b e ga n t o l au gh b ec a use he a l re a dy kne w him M anelich s her d b e lo ngs to Se b a stian We ll the so

.

’

’

,

.

’

.

”2 1

.

,

MARTA a bo u t

le as t

e xpe c t

P EPA

ve r ybo dy ;

d whe n the y

an

it , t he y ll fi nd t he who le t o wn no w

yo u kn o w it

at

the

a ll .

To m as is in fi n e b u s ine ss !

.

NA ND O

e

’

And

.

LOWLAND S

THE

it ! Pe l u c a h as t o l d

we dding

th ing

OF

Th e

Yes !

.

a b o ut

S e bas t ian

m a n do n t kno w ’

o ld a nd

M a r ta ;

he

’

s o nl

a ny

y bee n at

f o ur da ys ANT ONI A We ll I ll t e ll him ! J OS E Y es do ! Ta lk ! Ta lk ! And the m as te r will t a ke a wa y o u r ho use a nd o u r l a nd ! PE PA [to ANT ONI A] Yo u ll kee p yo ur m o uth shut ! J Os fB The m as te r is a lwa ys r ig ht ! NA ND O Th at s why he s t he m as t e r ! J O SH [in exp la na tor y to ne] We a r e b e asts ! P EPA We ll yo u m ay be ANT O NI A Who a r e yo u c a llin be as ts ? J OS E The o ne s I m lo o kin a t NA ND O Th a t s it ! The o ne s he s lo o kin a t ! t he inn

.

’

.

.

,

,

’

.

.

’

’

.

.

.

,

’

.

’

’

.

’

’

’

.

[All begin ta lking a ngr ily a t the sa m e time ] NA ND O [wa r ningly] Sh h h ! H e re c o m e s Ma rta ! -

.

M A R TA

co m e s

-

fr om

do or

o n r ig

ht

.

M AR TA [im p er io u sl y] Ou t o f h e r e a ll o f yo u ! PEPA Yes we kno w al l a b o ut it Miss ! .

.

M AR TA

,

.

Go !

[

14

]

MARTA

JO S E

We

.

c ame

[M AR TA

.

My

We ll !

.

M AR TA

in

.

GO

.

Wh a t

be a ns !

e it

s

a

M AR TA [a side]

d g o q uic kl y to pic k up the bea ns ]

We

.

’

yo u

re

,

go in

re

to

we

’

se e

no o ne

ve n give

e

re

go in

’

he r e

!

N u r i?

me

N o w le a ve m e !

]

’

we dding da y !

No t

.

Pe p a , he lp

.

h e r high h o r s e !

s on

yo ur

.

isses her weeping

’

She

I wish

.

And

’

.

NUR I [go ing to war d her ] Y es come M AR TA [K

t ige r !

he r !

fi ne te m p e r fo r

a

a

way !

nic e

’

an

,

PE PA [to M AR TA ] yo u r e

a nd

o

f the door ]

out o

AN T ONIA [begins m e wit h th es e be a ns ! ’

f bea ns

the ba sket

up

Th a t

m ist r e ss ,

no t th e

to

Go h o m e !

.

ANT ONI A PEPA

LO WLAN DS

THE

c a tc hes

thr ows it

M AR TA

OF

me

kiss !

a

[P u shes her

gently a wa y]

NU RI

Ma rt a !

Po o r

.

ting her ha nd to her

Sh e

’

s

ve r y unh appy !

Why

c he ek

]

,

my

[Put

c he e k

is

l

al

we t ! They a ll go

o ut,

M AR TA [a lone] sinc e

I

’

[Pau se ]

ve

NUR I lo o king bac k a t M AR TA ’

.

I m

I

i d!

cr e

I o ught

to

no t c r

ying !

Why

,

it

’

s

.

ye a r s

fo r go tte n ho w ! h a ve t o ld S e bast ian I wo ul d no t t h o u gh t

15

l

’

I d

MARTA

m a r r y t ha t m a n

y!

C a n yo u

se e

m ar r y !

Why

no thing

c an

’

t

ye s ,

he did be fo r e ! t o t ur n m e

if he wo uld !

sa

Fo r S e bas t ian,

.

Oh m y m o the r ! ,

w me

[Cha nging

wa nt m e t o m a r r y e xc ept

I m

I m u st m a r r y ! And I m ust the y l e a ve m e a lo ne ? I wa n t no w t ha t I c a n we e p a l o ne

B ut if Se b ast ian

as

more !

no t ?

’

no w ?

me

a lo ne

a g a in !

me,

Y e t , why

[P a use ]

be e n a be as t ,

dr ive m e t o

sho ul d no t

Fo r h im le ss t h a n no bo dy

no bo d

I h a ve

LOWL AN D S

T HE

th a t h e

wit h h im !

c hur c h

t o be

OF

bu t

th e r e

he wo ul d st r ike

’

s

[ With

o ut

H e do e s n t

tone ]

’

way

no o t he r e xu lta t o n

i

] Oh a wfu l life !

fr e e

,

fr ee fr o m this B ut h e ne ve r will ! I m ba d ! [With depr ession ] If I we r e no t ba d I wo u ld h a ve r un a wa y lo ng a go o r dr o wne d m y s e l f in t he B ut I m a c o wa r d ! po o l [Liste ns ] Wh o s tha t ? Pe r ha p s it s M a ne lic h ! I T o be

’

,

’

.

’

wo n t ’

NU R I

se e

’

him !

co m es

[She

PE PA

To mas is

.

To mAs

[e nte r ing]

M O RR U C H O TOMA

S

b ec a use

.

he

.

bo unding in, fo l lo wed by TOM AS , M ORR U CH O,

NU RI

go e s in ho us e

com

Ain t t he ’

.

He

’

c an

s

’

on

t fi nd

.

ing !

Ay !

.

ANT O NI A

a nd

s

H o w t ir e d

I

he p he r d

min ?

the a ny

16

roa

d

o ne

l

.

co

If

am

!

’

he

a in

’

t , it

’

s

t o m ind h is go a ts

.

MARTA

OF

So yo u c an t e ll Ma r t a We dding ,

N UR I [excitedly] M ORR U CH O she

ge t s

y

re ad

be lls

the

fo r the

’

I ll t e ll h e r !

.

a l o ne

’

She ll

!

c o me

whe n

.

[c huc kling]

TOMAS

a nd r ing

,

Le t he r

.

LOWLAND S

THE

.

Whe n I think o f it

t h a t it

I who m a de t his m a r r ia ge I m a s ha pp y as And is M a ne lic h h a ppy t o o ? ANT ONI A TOM AS H a pp y ? The p oo r l a d s a s h a ppy as he d j ust be e n bo r n We ll I ve he a r d he s a p e r fe c t c lo wn ! PEPA A blo c khe a d ! ANT ONI A ’

was

,

,

.

’

.

if

’

.

’

’

.

,

.

I ll t ell To mas ! M ORRU C H O [a side] TOM AS Wh o t o ld yo u so ? M a ne lic h is ’

.

is

.

an a nge l ;

he

’

s

b e t te r t h a n

with a he a r t str a ngle a a nd

t he

NU RI

of

the

m an

sa m e as

Oh ,

.

I

bu tt e r

t he y

whit e br e a d a nd a

sa m e a s

did

kno w he

’

p a ir

o f ar m s

t he y wo uld

a

wo lf !

s

go o d

wit h

a nd

a

a

to

wo lf

pr e tt y , t oo !

PEPA B e still c hild ! ANT ONI A B ut t e ll u s abo ut y o ur j o ur ne y ! The r e s no thing t o t e ll ! I go t TOM AS [delighted] the r e at da ybr e a k a nd whe n I fo und m yse lf sa fe in the c or r a l a m o ng t he she e p a nd th e go at s I be ga n to sing The n the do gs b e ga n b a r kin a nd M a ne lic h .

,

.

’

.

,

,

,

’

.

,

17

1

MA RTA c a m e r u nnin

he

j um p e d

’

THE

LOWLAN DS

wit h h is gu n

o ut

fo r

OF

jo y

He

.

’

.

more

s

Wh e n he sa w m e in lo ve wit h Ma r t a

,

th a n

but Wh e n p e o p le a r e in lo ve t h e y j um p ho w do t he y ge t in l o ve ? TOM AS De a r c hild ! I t s a t hing that a in t Yo u ll le a r n it t a ught in t h e B ible no r in s c h o o l ! M a ne lic h didn t kno w a l l by yo u r se l f ! s o m e da y NU R I

.

’

’

.

’

’

bu t he kno ws

no w !

All da y lo ng he

’

s

t a lkin to ’

Mar t a ! ANT ON I A Wh a t s t hat ? Ma r t a we nt up the r e ? P E PA The b o l d t h ing ! To r un a ft e r him ! TOM AS N o no ! Y o u do n t u nde r s t a nd a t a ll ! M a ne lic h ha s na m e d a g o a t Mar ta a nd he s a lwa ys t a lkin t o h e r I t s M a r t a h e r e a nd Ma r ta ’

.

’

.

’

.

,

’

”

,

’

’

.

t he r e ,

to him

a nd

Th o s e g o a t s kno w

.

PE PA

the p o o r t hing kno ws h e r na m e

D id yo u

.

ANT O NI A

Th a t

.

ve r ?

e ’

s

a

a nd r u ns

he ap !

fo o l !

The

wh a t t he m ast e r want s

fo o l ! TOM AS

The r e , t he r e !

.

It

’

s

t im e

he r e ! NU RI

.

Le t

[All ANT ONI A

’

s

go

a nd

m e e t him !

tu r n to wa r d the ga te .

Co m e

on!

]

the

bo y was

MARTA

NU RI

LOWLAND S

THE

[ They go

H urr y !

.

M ORRU C H O TOM AS

OF

M ORR U C H O

.

To mas !

.

Wh at

.

o ut

is it , bo y ? yo u ne ve r he re

We r e

S ay !

.

be fo r e

ho nest ? TOM AS

No

.

M ORR U CH O To MAs

’

No r

.

I

o

M ORRU C H O

.

a nd

’

a

’

s

ho use ?

p ie c e

th e r e ne a r t he

I m ge tt in

.

m aste r

t he

ve r

’

th e wife

th e inn

at

was wo r kin

s u nc l e

had t o qu it

Why ?

so n !

No !

.

Se bas t ian

,

’

ol

c it

y;

but

S e bast ian ga ve

d! fo r

me

l a nd fo r

of

us

t o live in

So !

us

.

The n yo u do n t kno w ’

I

a ny

thing ?

TOM AS

Wha t

.

M ORR U CH O TOMAS yo u

.

a bo ut , so n ?

Why

,

t he we ddin!

S pe a k pl a in, la d !

.

’

I do n t

un

de r sta nd

.

M ORR U C H O

.

All

r ig

ht ,

I

If M a ne lic h is

will !

a

foo l as th e y say he is he o u ght n t t o m a r r y Ma r ta If he a in t a foo l a nd has so m e pr ide a bo ut him ’

,

,

.

’

,

m uc h le ss TOM AS yo u

en

,

.

[c huc kling]

.

The t r o ub le with yo u is , la d,

vy him !

M ORR U CH O if she was

co

.

I wo ul dn t ha ve Ma r ta wit h go l d ! And I ll t e ll yo u

E nvy him !

ve re d o ve r

’

’

19

l

M ARTA

h ing

so m e t

fo r

a no t

e l se ,

’

m a kin

Yo u re ’

.

]

a ngr y

Wh a t do

.

’

a nic e

’

m ess

of

yo u m e an ?

yo u do n t kno w

If

.

yo u do n t kno w ! I m lo o kin

c as e

he r m as t e r

M ORR U CH O

LOWL ANDS

THE

’

in

it be t wee n yo u ! TOM AS [getting

OF

M ar ta

’

’

s

h ist o r y ,

le ar n it ! TOM AS

Mart a

.

M ORRU CH O

’

Te ll it to m e !

hist o r y ?

s

Ma r t a was a litt le th ing be ggin o n t h e r o a d with h e r fa t he r or a m a n who sa id he was he r fa th e r Se bas t ian to o k the m in and ga ve th e o l d m a n the m ill H e s kind he a r te d is the mas te r ! TOM AS I t was a n ac t o f c ha r it y e vil to ngue ! M ORRU CH O A fi ne ac t o f c h ar ity ! D o n t the who le wo r ld kno w tha t M a r t a a nd Se b astian eh It

.

’

sh o r t

s

h!

e no ug

’

,

.

’

.

,

,

.

,

’

.

no w

do yo u

TOM AS e

vil

[excitedly]

It

.

’

s

no t tr ue

!

Ge t

o ut o f here ,

see

yo u ha ve

t o ngue !

M ORR U CH O

hand in it TOMAS

M

unde r s t a nd?

.

.

th a t

.

’

I h a ve

ORR U C H O.

TOM AS

E vil t o ngue , e h ?

M

M ORR U CH O

wh a t I

s

a

s ee

Y es !

Th a t

s c hie f-m a ke r

s

a

!

ha nd in it ? ’

I

Yo u

what I

sa y

t ha t ?

s ay !

!

’

.

We ll se e who is the biggest misc hief

ma ke r

l 90 l

!

MAR TA

M A N E LI C H

OF

R u nmin

.

PE PA [ca lling]

’

Whe

ye s !

M a r ta !

.

LO WL AND S

TH E

Ma r t a !

re

is sh e ?

Yo ur

b e a u is

he r e ! ANT ON I A

An d yo u sh o uld

.

ne

ke e p

ve r

yo ur be a u

wa itin ! ’

TO MAS

’

S he ll

.

c o me

S h e ll ’

!

M AN E L I C H [lo o king a t tho se

Wha t

g in !

lo t

a

[ The y a ll la ugh

I

And

ba c k ]

a nd c ome s

a nd

yo u

’

re

do n t wa nt t o t hink ’

me !

a bo ut

p eo p le t h e r e

H e goes

.

Bu t

of

co

him ]

ar e

.

H o ly Vir

in t h e wo r ld !

lo o ks in the doo r a ll

h a pp y !

So

at

left

am

I!

t h e m o u nt a ins !

a bo ut

Wh e n I think a bo ut the m o unt a ins I m sa d ! I ve le ft a ll m y go a t s a nd m y do gs up t he r e a nd t h e po o r t h ings lo ve m e lik e a b r o t h e r t ho ugh I s a y it who Ah To m as t he y ll h a ve a h a r d t im e sh o u ldn t ! wit h m e a wa y ! Wh o will s a ve t h e m fr o m the wo lf ? ’

’

,

,

’

,

H e m ay

me

fe e l

come

,

[D ejec tedly]

t o -night !

Tha t m akes

ba d !

[A ll la ugh

,

a nd a t

la st M AN E L I CH la ughs in

genu o usly; he the n lo o ks towar d the door to

N U RI

.

funny

Co me ,

M AN E L I CH

wo lf e ve r

if M AR TA is

How

.

TOM AS

see

.

c o me

no t

]

And ho w go o d !

he is !

r e st a

I m ’

c o m ing

a ga in

bit , la d ! t ir e d !

do wn he r e ? 22

l

Te ll m e ,

do e s the

M ARTA

M ORR U CH O

.

OF

LO WLANDS

THE

Yo u

So m e t im e s !

Unless Go d he lp s yo u [All la ugh m a liciously

’

ll

se e

[Aside ]

!

.

othe r

M AN E L I C H think yo u

TOMAS

le a ve

] [sur p r ised]

we r e

a ll

ma ke signs to

a nd

Anybo dy wo ul d

We ll !

.

’

go in t o be m a r r ie d !

The r e , the r e , t ha t wil l do !

.

ea ch

Le a ve

us

us

M AN E LI C H

.

c o me s

Mar t a

No ! No ! [Deta i ns them ]

B ut whe n

.

She

’

pr e t t y ,

h?

[H e goes fr om one to a nother a sking if she is not p r etty ] PEPA Pr e tty ! Th a t she is a nd fr e sh ! Fr e sh a bo ve a ll ! ANT ONI A We ll I sho u ld say so like a he a d o f lettuc e l e ft o ut o ve r night ! ye s !

s

e

.

.

,

M AN E L I CH [im p a tiently] Why do n AN T ONI A She s wa shin he r fac e ! .

’

’

t

she c o m e

?

’

.

M ANE LI CH [delightedly]

[All laugh] ANT ONI A Yes .

a nd she

PEPA us

.

ho w it

,

fo r yo u

ca

me

MANE LI CH

.

[ They a ll

J u st t o

cr y

’

wa shin it fo r m e !

she s

wa shin

1t

fo r yo u

p a ss the t im e , wo n t yo u t e ll

a bo u t ?

Y es !

s

’

M ay she wa sh it h ar d !

do e s we ll ! Say !

She

.

’

’

Y o u kno w

t he

Why no t ? Tell

us

!

l 23 l

Tell

us

l

we dding !

MARTA

OF

N U R I [going to his s ide]

[M A N E LI CH at

sea ts

his side; he

LOWLAND S

TH E

I m g o in t o lis t e n he r e ! ’

’

.

him se lf

the ta bl e;

on

her

c a r ess es

NUR I is

tim e to tim e;

fr o m

he p u ts his legs over the ta ble, tho ugh it wer e a r oc k o n the m o unta in ]

fi na lly M A N E LI C H

We ll

.

as

yo u m u s t kno w t h a t up the r e

,

in t he m o unt a ins, whe n it be g ins t o ge t da r k, t he Po o r t hings ! fi r st t hing I do is t o dr ive in m y go a ts .

The n

I p ut

lio ns !

m y do g s

I e ve r y

Th e n

ge ts m e ,

p r a y e r s ; fi r st

a

on

g ua r d

Th e y

.

g o int o th e hut ,

p a t e r no s te r ,

an

br a ve r tha n

re

b e fo r e t h e

a nd

wit h o ut mis sin

night ,

’

’

d the n

o ne ,

I

s le e p

s ay

a no t he r

my

p at e r

whic h m a ke s t wo p a t e r no st e r s [H e looks fr om o ne to a no ther for appr ova l All nod a ssent] no s t e r ,

.

.

The

fir s t

fo r t he

so ul s o f

be c a u se t h e y lo ve d

bo th

.

And t he

go o d wife !

a

Why

a nno ye d a t

;

a nd

o ne

so

is

e no ugh

fo r

do yo u kno w

p a t e r no st e r ,

m y m o t he r ,

t h e Lo r d

wo ul d

d me

se n

la ugh; M ORR U CH O has gone to the a p a r t, l o o king c r estfa ll en; M AN E LI CH

[All

ga te; TOM AS is

is

fa t he r

e a c h o t he r so

o t he r

wh a t it is fo r ?

my

their l a ughter ]

It

’

s no t hin

’

t o l a ugh

at !

[ They l a ugh a ga in] We ll the ne x t m a n tha t la ughs I ll give him s o m e t hin t ha t ll kee p him la ughin fo r a ,

’

’

’

’

we e k ! TOMAS

[a side]

.

H o ly

Vir gin ! 24

l

I

’

c an

t

be lie ve it !

MARTA

NU RI t ellin

’

Go

.

o n,

OF

go

LOWLAND S

THE

It

on!

’

lo ve ly , wha t

s

yo u r e ’

us !

Y e s so it is M AN E LI CH [sm iling aga in] ye s ! We ll ! One night I go in a nd I s ay the fir st p a te r no st e r fo r m y fat he r a nd m y m o th e r a nd be g in th e .

,

,

,

bu t

o th e r ,

I

do n t

all o f a sudde n ,

And

fi nish

’

t he

l

i

sc a tt e r n

I

Br e fi a l,

t il]

me

he r e

’

,

a nd

c h a sin at

last

he r d go t

I

an

I

of

to o k m y

it,

a m a sle e p .

fr ight e ne d a nd r a n

,

t her e , t o wa r d t he l a g o o n the h e r d flyin

t he he r d

’

d

ge t s m e

s eep

I dr e am ed t ha t the

it ; fo r in t he m iddle

sl ing , a nd

f

be fo r e

’

put in

o

a st o ne

[he ta kes slingfr om side a s though to thr ow with it] d a way it we nt !

an

I t fe ll in th e m iddle

d the wa te r be ga n t o

h

an

blac k sm o ke the r e we r e tr ail in

’

e

a nd

r us

bo il

d in t he m idst

c a m e up , a n

ye s

a nd a r m s , a nd

o ut a c r o ss

t he

wa t e r

,

lo ng

a nd

of

ro

t he l a g o o n

d

an

of

t hic k

a

t he

s

mo ke

be s th a t we nt

was

th e r e

no e nd

I do n t kno w whe the r t he y we r e wit c he s o r whe the r t he y we r e no t wit c he s ! One o f the m was be a ut iful like the Vir g in t h e y c a rr y in the pr o c e ssio n o n Sun da y I kne lt do wn a nd fi n ishe d sa yin t he pat e r no st e r a nd t he n I we nt t o slee p a ga in ; so I c o uldn t t e ll whe t he r it was th e wit c h o r the Vir g in Al l I kno w is she t o ld m e I wo uld be m arr ied soo n [All m ur m ur I t wa s a to the m

.

’

[P a use ]

,

.

,

’

,

’

.

,

.

l 25 l

,

OF

MAR TA

witc h M a ne lic h ,

m o r ning

ve r y

An d t h a t

witc h!

a

,

LO WLAND S

THE

I saw t hr e e m u le s wit h th r ee r ide r s o f fle sh a nd blo o d I ha d c o m e o u t o f t he fo g a nd u p t h e m o u nt a in j u st t im e t o c ut o ff a kid s he a d a nd p ut it to br o il o n t h e c o a ls a nd t he n I l a u gh e d ! [P a use ] We ll ,

,

.

’

,

,

c a t in

we we r e a nd

,

“

s a id ,

wha t I

kno w ! m ar ry

a

ys

d,

”

“

sa id,

[ To

Yes !

.

c o u ld

t a lk

M A N E LI CH

I!

I

c o ur se

It

!

’

s

Wo uldn t yo u kno w I do n t

’

do n t

’

,

wo u ldn t

,

”

l ike

yo u

fe e l

Why !

he r d,

’

’

fe e l !

sh e p

to ’

yo u do n t

if sh e like d m e , Y ou

r e m e mber ?

’

c a me o

with t he m as t e r

ve r whe r e I was

And t he m as t e r

t he a r

!

I

is de a d

a nd

no w, a nd s e e

,

so

.

t o o k he r

a nd

sa id

he r

lo w

fa t he r

g a ve t he m t he m ill ne x t t o m y h o u se ;

fa t h e r we ll

And he !

And

Ma r t a

So !

.

so she c o u ldn a nd

of

,

a

o ne side ,

TOM AS ]

TOM AS yo u

Why

if sh e wa s p r e tt y

a nd

lle d m e

t o be

H e m a de m e

kno w h o w h e m a de m e

I

”

And

p r e tt y gir l ? “

“

sa i

be e n !

m ille r ?

ca

c o nt e nt e d

I

And h e

”

a

wh e n t he m as t e r

And

ve a lwa

be

r a th e r

,

Ar e yo u

M a ne lic h ? ’

’

t h e pl a c e nee ds

a

m ill e r

if yo u wo uld like t o m ar r y

’

a nd .

in, t he

Lo o k

Mar ta ! We ll

And I ll p a y a l l t he e xpe nse s o f th e we dding , I we nt c lo se r a nd lo o ke d a t Ma r t a a nd I like d he r .

,

ve r

y muc h but ,

,

ve r

y

m uc h ! 26

And

l

I

.

t o ld th e m as te r ,

MARTA

LOWLAND S

OF THE

The n t he m ast e r we nt

All r ight , I ll m a r ry he r ! ’

up

to

Mar ta

d

an

,

if she like d m e ; m e ant

“

Yes

I fo llo we d

a nd sh e

An d

” .

h im ,

a nd

no dde d

he

d he r

he r h e a d, whic h

wa nt e d t o l a u gh

I

as ke

[in m ysti

but she wa s c r yin ; a nd so it se e m e d t o fi ed to ne] B ut I c o ul dn t ; a nd I be ga n me I o ught t o c r y t o o to l augh ; a nd I l a ughe d so ha r d t he m o u nt a ins t r e m ble d a nd t he g o a ts we r e fr ight e ne d a nd t he do g s We ll ! And be gan ba r kin ! [ With m u c h na ivete] ’

’

.

,

,

,

’

so

swee t he a r ts

we we r e AN T ONIA PEPA

Wha t

.

Go o d

.

M AN E LI CH his finger s]

l uc k yo u ha ve h a d, M a ne lic h !

l uc k inde e d !

Ye s !

.

!

like t ha t !

fi xe d [snapp ing nigh t I o nly s a id o ne

a ll

I t was

Tha t

p at e r no st e r , bec a use th e Lo r d h a d

s e nt

me

wha t do yo u say t o t he dr e a m ? the wit c h o r was it t he Vir gin ? And

no w,

NUR I

The

.

Vir gin !

Th e

a

wife

Wa s

.

it

Vir gin !

M ORR U CH O [a side to TOM AS] TOMAS H us h !

The witc h !

.

.

[NUR I lo o king fr om the The m ast e r ! The NUR I .

SEB ASTI AN

a nd

M O SEN the

c ome

shed o n

[

27

entr a nce

m as t e r !

in

the

]

]

.

M ORR U CH O go es to

r ight.

MA RTA

SEB A S TI AN M A N E LI C H

OF

LOWLAND S

THE

.

H as M a ne l ic h

.

Here

I

c o me

?

[H e

m ast e r !

am ,

a ttem

pts

SE BA STI AN S ha nd] ‘ SEBA STI AN [r ebufi ing him] The re the r e Th will do ! And M a r t a ? TOM AS Sh e s inside SEBA STI AN [to M O SEN] Te ll he r t o co m e o u [M O SEN goes to c a ll her ] E ve r ything is ar r a nge d ’

kiss

,

.

.

.

’

.

.

.

th e p a p e r s

m a r r ied

at

[ To M AN E LI CH ]

a nd a ll .

t he in

M AN E LI CH

.

Y o u wil l 1

a t o nc e .

Mas te r

’

if it wa sn t fo r th e

I

r e s p ec t

c an

’

t t a lk m uc h

— m as t e r — ii I

bl was n

f I d hug to o har d [H e a ttempts to em br a SEBA STI AN ] SE BA STI AN [r ep ulsing him] Ma ny thanks ! Th!

a r a id

’

.

will do !

M o s EN [c om ing fr om within] S h e is SEBA STIAN [im p a tiently] Ma r t a ! .

c o ming

.

.

TOM AS [in lo w

b ast ian SEBA STIAN

vo ic e

]

.

I

m us t

sp e a

k to yo u Sc ,

.

Go d !

.

No ! Ano the r t im e

The gir l h as

c o m e at

M AR TA MAR TA

[scornfully]

come s

.

las t

.

M a r ta !

Th an

.

fr om within

Wha t

l 28 ]

.

a

hur r y we

are

in !

MA RTA

OF

LOWLAND S

TH E

SEB ASTI AN [ir o nic a ll y] Tr ue ! We t his fi ne fe llo w in his we dding c lo the s ! .

l a ugh, a nd nu dge

[All begin to “

ing ,

M AN E L I CH

Fine fe ll ow !

We ll

.

,

m ust

dec k

eac h o the r , r ep ea t

Fine fe ll o w ! ’

t he r e

s no t

’

h in t o l a u gh a t

.

If

fe llo w m e a ns t o th r o w fa r t h er with the ’ sling t h a n a nyb o d y t o l e a p fr o m c l iff t o c lifl like the g o a ts t o c a r r y M a r t a o n m y sh o u lde r t hr o ugh the de e p p l a c e s in t he r ive r whe n t he sno w c o m e s do wn t he n I a m a fi ne fe llo w ! [PE LU CA a nd NA ND O a r e convulsed with

t o be

fi ne

a

,

,

,

l a u ghter ]

PE LU CA H ur r y m a n ! Yo u ll lo o k like c l o t he s Ma dr id

Co m e

.

’

.

o ne o

a nd c ha nge

f tho se da ndies

y o ur fr o m

.

[L a ughing a ga in immo der a te ly] NA ND O Tha t s it a da ndy ! ’

.

“

[All sho ut A da ndy ! A da ndy ! ANT ONI A [to M A N E LI C H ] Go o n a nd be a dandy M AN E LI CH [l a ughing] Y e s a da ndy ! [B ecom ing ser io u s ] B ut wha t is a da ndy ? [ To PE LU CA ] .

.

,

.

.

Wh a t

do yo u m e a n,

[ The wom e n

Te ll m e ! them ]

Wh a t

NA ND O

eh

.

am

Wh y

,

I?

?

[Rushe s sc r ea m

at

him in

The me n

.

Te ll m e !

m an

do n t kn o w

I 30

’

.

]

a r a ge

]

s epar a te

MA RTA

M O S EN m ea ns

Do n t ’

.

we ll

a s

thin g

la ugh]

ge t

m a d M a ne lic h

[r ele a sing PE L U CA ] Why didn t yo u

D a ndy

.

.

B ut wha t is

]

I ll br ea k ’

e

ve r y bo ne

Oh we ll tha t

.

’

a ngr y a ga in

ing

LOWLAND S

THE

.

M A N E LI CH a no th e r

OF

’

,

,

s

[Becom swe ll e h ? [All

s ay s o

a

? ,

in yo u , if yo u do n t ’

[H e r u shes a t them; they a ll r ec ede ] SEBA STIAN M a ne lich ! M AR TA [a side] Th e y r e a fr a id o f him t oo ! We ll didn t the y m a ke m e m ad ? M AN E LI CH SEBA STI AN Tha t will do ! Yo ur we dding c lo th e s

t e ll m e

.

.

’

,

.

’

.

,

.

ar e

in t ha t

M O SEN M ’

em

r oo m

Y es ,

.

AN E LI CH on

[P ointing to she d o n t he y r e in the r e

I m

r ight

]

’

.

[good natur edly]

’

.

.

-

no t

m ad !

.

All

No thin

r

ight

c o ul

’

I ll ’

.

d

p ut

m ake m e

m a d t o -da y !

follo wed by a ll the TOM AS a nd M O SEN ]

[H e

PE PA [to t he

go e s

the

ou t,

o ther

wom en]

.

Le t

’

s

o the r

go

me n

and

sa ve

lo o k in

windo w

.

ANT O NI A [a nd the

o the r

wome n]

o n.

[M AR TA TOM AS

.

sinks

S e ba stian,

into

.

Co m e

o n ! c ome

[ The y go c ha ir by ta bl e ]

I m u st I31 l

spe a k

with yo u

.

o ut.

LOWLAND S

MARTA OF THE

SE BA S TIAN in

a

m o m e nt

.

Wait fo r

me

o utsi e

d

I ll be the re ’

.

.

[H e goes out ee p him a wa y fro m m e a nd see th a t a ll is r e a dy a t the inn wh e n t he y a r r ive ; ha ve the m m arr ie d at o nc e with o ut wait ing for m e I ll wa it fo r yo u SEBAS TI AN [to M O S E N] K

TOM AS

’

.

.

.

,

.

.

,

B e tt e r

so .

M O SEN To m as

.

M o rr ucho has bla bbe d

e

ve ryt hing

to

.

SE BA STI AN Se nd M o rr u c ho awa y .

is to th ink th a t M an e lic h kno ws a ll

Lis t e n !

.

a nd

She will des pise him t he m o re M O SEN Ne ve r fe ar !

se nt s .

t ha t

Mar ta he

c on

.

.

SE B A STI AN

.

No w l e a ve m e alo ne wit h he r

dr essing M AR TA ]

M AR TA [star ting

.

[Ad

Ma rt a !

]

up

.

I will

Se b as tian !

no t

marr y

t h a t m an !

SEB AS TI AN Y o u do n t like him eh ? M AR TA No ! SEBA S TIAN Ah ! Y o u wante d a husban d to r oc k Ne w yo u to slee p a t night ! Y o u s aid t o y o ur s e lf ne w fo r tune ! Y o u we r e r e a dy t o fo r ge t ye ar me a nd e ver ything ! Yo u ve fo r go tt e n ho w I p ic ke d yo u up o ut o f t he r a in like a fro g in a ditc h Y o u do n t lo ve m e Ma rt a ’

.

,

.

.

,

”

’

,

’

,

.

l 39 l

.

M ARTA

OF

LOWLAND S

THE

M A R TA [r eceding in fright] S e bas t ia n ! s a ke do n t m a ke m e m arr y tha t m a n ! ’

by t he

Go d

Fo r

.

I be g

’

s

yo u ,

so ul o f

SEB A STI AN

dea d in

Le a ve th e

.

So he

p eac e !

disgust s yo u does h e ? ,

M AR TA

Y e s yes

.

,

SEB A STI AN

Why

.

kno w h o w gl a d

t h at

,

I am

’

s

wha t

I want !

t o h e ar yo u

sa y

You

it !

do n t ’

D o yo u

think , if h e p le ase d yo u, I d le t yo u m a r r y him ? ’

No t if it

m e my

c o st

M AR TA

f ar ms ;

no t

if it

c o st

m e m y lif e !

H o ly

Vir gin ! C an it be the r e is a m a n who kno wing wh a t I a m wishe s t o m a r r y m e ? Oh fo r hi m it is sha m e ful and fo r yo u a nd fo r a nd fo r e v e r y bo dy ! me SEBA STI AN We ll he r e yo u ha ve him ! I ve fo und t he m a n ! I was a c hil d whe n yo u kne w m e I m M AR TA Yo u no t wh a t I a m fo r m o ne y ; yo u kno w I m no t a t wha t didn t buy m e but yo u a r e buy in g him but yo u a r e b uying him p r ic e I do n t kn o w no ! SEBA STI AN No t fo r m o ne y Ma r t a I we ll he ll ne ve r die o f h un g ive him t he m ill a nd Yo u B ut y o u r e no t to le t o n yo u kn o w ge r un de r st a nd ? .

,

,

,

’

.

,

’

.

.

’

.

’

,

’

.

,

.

’

,

’

.

.

[La ughter is he ar d o utside ] 33 l

MARTA

OF

LOWLANDS

THE

I will no t m a rry h im ! I ll run a way ; I ll dr o wn m y s e lf in t he p o nd SEBA STIAN Yo u ll no t r un a wa y no r yo u ll no t d ro wn yo ur se l f in th e po nd no r yo u ll no t le a ve me ! in m y wa y bad it m ay be B ec a use I lo ve yo u but I lo ve yo u a nd I do n t wa nt yo u t o le a ve o ff lo ving m e ! I ll ne ve r give yo u up ! I ll be to r n to p iec es fir st ! [ Cha nging to ne a nd sp ea king quic kly] Y o u kno w ho w it is as we ll a s I do — th at I a m r uine d tha t I m us t m ar ry t h at wo m a n to sa ve my far ms Ano th e r thing ! wh e n yo u a nd M a ne lic h ar e m a rr ie d m y un c l e will b r e a k h is wil l in whic h he disinh e r ite d m e We m ust be c r a fty yo u and I and fo o l th e m a ll The y a r e a ll wo r se th a n we ar e wo r se tha n I ! B e c a u se I ba d a s I a m kno w how t o lo ve ; and I ll lo ve yo u t ill I die ! And I ll die be fo r e I ll give yo u up ! S e b as t ian ! D o n t fo r c e m e to m a rr y ! M AR TA a nd I ll go a way yo u ll be free witho ut l ying a nd witho ut sh am e I t is Go d s will Se b as M AR TA

’

.

’

.

’

’

,

.

’

,

,

’

,

’

’

,

.

,

,

.

,

,

.

,

,

’

’

’

’

.

’

’

’

.

SE BA STIAN

,

Lo s e yo u ?

[H e c atc hes her r oughly by the a r m ] No ! No t if t he far m s a r e lo st and we are l o st ! Yo u ll sta y h e r e a nd yo u ll ma r r y t hat be as t a nd yo u ll o be y m e fo r lo ve o r fe ar it m atters .

,

’

’

,

’

,

,

34

l

MAR TA ’

Yo u ll

no t !

re

be l

OF a

a ll

ft e r

Will yo u o be y ? S e b ast ian ! M AR TA SEBA STIAN [he grip s

LO WLAND S

THE

Ans we r !

ye ar s ?

t he se

S e bas t ian !

.

her

]

a rm

Will

.

yo u

o

be y ?

Answe r !

M AR TA

.

S e b a st ié n !

SEBA STIAN

Will

.

kn o w m e ye t !

M AR TA

.

Y o u hu r t m e ! o be

yo u

y I

’

Y o u do n t

sa y ?

,

Ans we r m e !

I will o be y ! SE B A STIAN [r elea sing

I will

Y o u h ur t m e

Le t m e g o !

o be

y

ye s ,

he r ]

NA ND O NAN D O c l o t he s

.

be y !

.

H e do e s n t wa nt t o put ’

on

his we dding

H e do esn t wa nt t o be

M AN E LI CH M A N E LI C H B es ide s ,

ente r s .

’

.

d the

an

o ff !

o ther

No I do n t ! ,

.

’

who ha ve

a

da ndy

m en

l e a ve

o ff

enter ed a nd a r e

c om e

! 35

in

.

l

at

m y sh e e p s kins

jo stling him ]

Y o u hu ddl e wo r s e th a n t he

[

.

The y will l a u gh

’

I do n t wa nt t o

c r o wd

st o r m

in

o

.

J O SE

ke e p

,

com e s

J O SE

the

Y e s yo u will

.

.

me !

[ To

H er e ,

she e p

in

a

MA RTA

THE ID WLANDS

OF

We ll as yo u like t he n ! Ma rt a ! M a rt a ! Le t u s go ! [M AR TA hesita te s ] Y e s le t us go ; but M AR TA [a side to SEB A S TI AN] a ll is o ve r b e t we e n us SEBA STI AN [snee r ing] All is o ve r e h ? NA ND O As so o n as t he y a r e m a r r ie d we ll r ing

SE B A STI AN

.

,

,

.

.

.

,

’

.

t he be ll s

.

NUR I [ofi er ing m a ntilla to M A R TA ] H e r e s yo ur m a nt ill a M a r t a Nur i ! M AR TA Oh Nur i NURI Y o u do lo ve m e do n t yo u ? [She em br a c es M A R TA ] M AR TA Le t m e l oo k a t yo u ! Give m e a kis s no ! [P u shing he r fr om her ] Le a ve m e ! SEBA STIAN To t he inn e ve r ybo dy ! TOM AS [in a lo w vo ic e to SEBA S TI AN whil e the o ther s N o ! The y m us t no t be m a r r ie d till a r e go ing o ut] ’

'

.

.

,

.

,

’

,

.

.

.

,

,

.

I

Sp e a k

with yo u

SEBA STI AN c o me

.

.

Le t th e m go

The y wil l wait t ill I

.

.

M O SEN [a side to

SEB A STI A N [in th e m be m a r r ie d

M AN E LI C H The r e go t he

SEB A S TI AN]

lo w

vo ic e

a t o nc e

[fo llo wing she e p

!

]

.

Go wit h th e m

.

I ll ’

.

h

o t er s

H up a ! 36

H o w sh a ll we fi x it ?

]

a t t e nd

]

o ut

.

,

t o him

H up a !

a nd

le t

.

H upa !

The r e go the go ats !

MARTA

OF

SEBA STI AN Wh y t h e TOM AS [tr iump ha ntly] .

ha s

sho u lder

com e

D O yo u h e a r ,

]

M OR R U CH O

SEBA STIAN

er ce ly

]

[fi

Out

.

o

I

Th e r e !

e

vil

I

.

s a ll a

sa i

d

a nd

in with bundle

’

it

t r u t h is

,

.

RU C H O

LOWLAND S

THE

lie !

[M OR

!

so

za r a p e

his

over

t o ngu e ?

t o ld y o u t h e t r u t h !

N e ve r l e t m e

f he r e !

se e

yo u

a g a in !

TOM AS a ll

th e se

Aft e r

Sc a m p !

.

e a t in

’

t he m as t e r

’

s

br e ad

ye a r s !

M ORR U C H O

Do n t ’

.

c a ll

yo u

SEBA STI AN [thr e a teningly]

me

Ge t

.

a sc a m p o ut

of

!

he r e

if

’

yo u do n t

[squ a r ing of ]

M OR R U C H O TOM AS

.

ne

He

.

ve r ha d be e n SEBA STI AN

a in

’

t m y m as t e r ,

Be

O ff

with yo u yo u ,

M OR R U CH O [thr owing ca

ll m e

t e l l him

by t h e ba c k

a ll

a c ur

c o rr al

of

tha t

ga te

Y ou

c re ep

.

.

bu ndle

did t e ll To m as he r e

c u r t a in

ve nted

a side

c ome

.

[SEBA STI AN

SE BA STI AN

I

?

Y ou

!

d

an

I wish

he

.

.

Y ou

do n t ?

t o t he m a st e r ?

Wh a t

M ORR U C H O

I

And wha t if

.

’

I

’

at

to

by TOMAS ]

Le t m e go !

I 38 l

!

a nd

n ight , a

yo u

s tr ike

zar ape] I didn t .

but

ft e r

t h r o u gh t h e

ve se e n

a ttem p ts

c ur

’

dar k,

c o r r ido r ,

.

him , but is pr e

M ARTA

M ORR U C H O lyin ! ’

LOWLAND S

THE

M ay Go d

.

And if H e

SEBA STI AN]

OF

st r ike

do e sn t ’

t a ke

m e de a d if I m ’

le t h im

,

t h a t I m ly ’

o a th

[p ointing in !

Le t

’

to

s se e

if he will !

SEBA STI AN

M ORR U CH O r ecover s

C o m e To m as !

.

Le a ve th is

,

You

.

his bundle

se e

a nd

I t o ld yo u the

!

.

Yo ur wife has TOM AS [exc itedly]

he r e ?

.

t r u th

.

[H e

za r a p e ]

M O SEN

M O SEN [to TOM AS]

fo o l !

in

c om es

We ll ! ha d

a ll

No

.

Wh a t t he

ar e

c a ndl e s

yo u do ing t o light

.

t he y m u st no t be

no

m a r r ie d

SEBA STI AN [a side to M O SEN] To m as is no t t o l e a ve t his p l a c e D o yo u u nde r s t a nd ? [H e go e s o u t TOM AS N o no th e y m u s t no t b e m a r r ie d ! [H e a ttempts to fo llo w SEBA STI AN ] M O SEN [deta ining him ] Wh e r e ar e yo u go ing ? TOM AS I m g o in t o s t o p t he m a r r ia ge ! M ORR U CH O H u r r y th e n [ To M O S EN] Le t the .

.

.

,

.

.

’

’

.

o ld

.

.

.

m a n go !

TOM AS

.

O Go d !

Po o r M a ne l ic h !

The y m ust

[ The be lls begin r inging] The be lls ! I t is t oo l a t e ! My Go d ! Wh a t ha ve I do ne t o t ha t po o r bo y ? 0 Go d ! fo r g ive m e ! no t

be m ar r ie d !

.

39

l

M ARTA

M ORR U C H O TOM AS

OF

Go o d bye

G o o d bye -

.

To m as !

-

.

,

LOWLAND S

THE

,

[H o lds

so n !

his

out

ar m s

to

M OR R U CH O ]

[em br a c ing him ] sa id Go o d bye !

M ORR U C H O

wo r ds I

’

ve

Fo r g ive

.

t he

har d

-

.

[M ORR U C H O goes o u t; TOM AS sinks into a c ha ir ; M O SEN go es to e ntr a nc e; no ise is hea r d of p eo p l e

TOM AS

my

a pp r o a c hing

]

I fe e l a s t ho u gh t h e r e was My he a d is o n fi r e !

.

ne c k !

r ises

[H e

he a r d,

wildly

a nd

c om ing

hes

.

a nd

ne a r er ,

Lo ng live the br id egr oom ! br ide !

her

f

o

M O SEN of

.

ar e

c r ying,

Long live the

M AR TA fi r s t with the gr o u nd; NUR I with her a r m

All

e yes o n

a bo ut

b o ut

Vo ic es

o ut

r us

n ea r er

a r o pe a

enter no isily;

,

,

M AR TA S wa ist; M AN E LI C H in the m idst ’

the m e n ,

who

ar e

Th a t will do

p o king fu n

no w !

To

him ]

at

y o ur

ho m e s

,

a ll

yo u !

M A N E LI C H

Th e y

.

’

re

l ike t h e he r d fo r

g o a t s h e r e , g o a t s t he r e

[All go M O SEN [the a nd

go o d

o u t ex c e p t

[M AR TA

o nl

M AN E LI CH

l a st to l ea ve]

night t o

If I

.

No w

.

yo u !

sinks

into

a c ha r

i ]

40

]

y

a ll

t he

wo r ld

h a d m y sling !

a nd

c lo se

M AR TA ]

yo ur

doo r ,

M ARTA

OF

LOWLAND S

THE

If 1 ha d m y M A N E LI C H [loo king after thec r owd] sling a nd a g o o d r o c k, I d fi x t h o se c a t t l e ! [H e tur ns .

’

Ma r t a !

suddenl y

]

M AR TA [c om ing to her self]

Wh at is

.

it ?

Wh a t do

yo u wa nt ?

M AN E LI CH M A R TA dishes

on

I d

sa id c l o se

C lo se it

.

.

the ta ble ]

M AN E LI C H ’

He

.

Ho !

.

h a ve

r a th e r

’

st o r

t his no is e !

I c o ul dn

[str etc hing him se lf]

no w t o

t ha n

a ll

[H e

the r e !

s it

he r e be side m e

we do n t ’

The r e

.

nee d t he m

m in t h e m o unt a ins

t st a nd it lo ng !

’

r e st

thr o ws him se lf

up

I?

[S he r ises a nd begins fi xing the All is o ve r H u m ! M a y be I m no t t ir e d !

t hu nde r

a

sh a l l

the do o r

on ar e

t h e se

m y b o ne s

the gr o u nd] no

as

I do

Co m e

c h a ir s up

st ic ks

cha ir s] — e h M a r t a ?

Ah

,

t he r e

[p o inting to

'

,

M AR TA

.

Wh at ?

M AN E LI C H M AR TA

.

.

C o m e he r e !

No !

L e a ve m e

a l o ne

!

Wild ! [ To M AR TA ] All r ight If yo u a c t t hat wa y I wo n t t e ll yo u so m e thing ! [La ughing sheepishly] I ve fo r go t t e n it a l r e a dy Whe n a fe ll o w is h app y I be lie ve it m a ke s him m o r e o f a m utt o nh e a d t h a n e ve r [H e gets up a nd se ar c he s M AN E LI CH [a side]

.

.

’

’

.

.

his pockets, the n his br east

,

fi

a nd

41

l

na lly ta kes o ut a

hand

s

MARTA

ker c hief tied by the It

’

he a vy !

s

M AR TA

OF

c or ner s

Sh e didn t ’

Oh

.

LOWLAND S

THE

We ll ’

]

e xp e c t

a g a in ?

We ll see ! [Aloud] Mart a !

se e

this !

Le t m e

’

!

al o ne

!

M A N E LI C H [a side] Sh e s t he Wildest t hing I e ver ha d t o do with [ S pr e ads o ut the ha ndker chief on the ’

.

.

ta ble ]

Lo o k !

It

qu a r ter ]

ker c hief]

s a

this ?

se e

[H e

ta kes up

a

[ Thr ows it bac k in the ha nd I e ve r e ar ne d I ve a lways

p e se t a !

The fi r st

ke pt it t o

it ha s

’

D o yo u

’

o ne

.

if it wo u ld gro w An d lo o k loo k gr o wn ! [H a ndl ing the silver a nd copp er coins ] se e

.

Up th e r e wh e n I c o unt e d th e m th e y so unde d diffe re nt !

I like the wa y the y so un d no w ! I t m ust be b ec a use yo u r e he r e ! We ll ! We ll ! [P ic ks up a do llar ] Se e t his do ll a r ? S e e this st a in ? I t s b loo d my Mas te r Se bas blo o d ! The m ast e r g a ve it t o m e ’

'

’

t ian

Go d ble ss him !

c a tc hes

her ha nd to m a ke her to uc h the

To uc h it !

To u ch it !

[H e

co in; she r esists,

but witho ut aver sion ]

M AR TA

Will yo u be quie t ? M AN E LI CH We ll ? I l l kis s it ! .

[H e kisses the do llar a nd thr ows it bac k in the ha ndker chief] Up the re e ve r y night a wo lf wo u ld c o m e t o the fo ld ; a nd e ve r y m o r nin a do g p a ws up with h is e u t r ails t o r n o ut a nd a sh ee p o r a l a m b missin ; a nd I c ur sin m yse lf ! Till o ne night I went and hid ’

.

,

,

’

,

,

’

’

[

49

]

M ARTA

be hind t he

r o c ks

in the he a ve ns

ca r t

in t he he a ve ns

d

the

t he n t o

a r e se

d I l ist e nin

so m e t

a t o nc e

hin big ’

se

I

r o un

All

.

Th e

d, t ill

d

r o und a n

f

a c ar t

’

’

no t h in ! ’

Th e c ol

the

ke p t

st a r s

a no ise

,

d m o r nin

on

.

c

’

of

t re a d

d

an

th e

Th e n

.

h ee p ,

s

,

I

,

com e

He

.

I

.

d st o o d whe r e

r an an

c am e ,

m a de

the hilt

a

a nd

I

pum

’

t o ge t he r we

He a r d t he

d wit h m y

an

a nd

m y b r e a st

sh ee p , r ig

ht

a ga in st

dr o ve th e knife in t o

him

at

,

I

kne w th e wo l f m u s t

dr a ggin t he

gr a b

.

,

ba r e wit h m y knife in m y h a nd

ar m s

,

a x le

o

h o ke d m e

th e ble a t in

a nd

,

! t ill it

’

’

t u r nin

,

so

d

an

sh e e p

h e a r t he a

,

l ike t ha t ve r m e My h a ir st o o d o n e nd

d da r k spr a ng

an

’

We ll

.

d t o t we l ve

c o u l d a l m o st

I he a r d

,

do gs

me

o

Th e

h e r e in m y br e as t m y h e a r t we nt p um

pum

bar e

Th e

.

r o un

ve n

I fe lt ho t br e a t h o n m y ne c k a nd

wa ite d

t h a t ke e p g o in

sta r s ,

wa t e r dr ipp in

wind in t h e t r e e s !

c r e ak

ve n

o ne , a n

sno w

a nd

yo u kno w wh a t it is ?

in t he h e a ve ns t ur ne d t he

be lls

L OWLA N D S

like t h e whe e ls

a nd r o u nd,

c ar t

TH E

by the ba r r a nc a

c ar t

r o un

OF

r o lle

d in t o th e ba r r a nc a ;

I bit in the wo lf , the wo l f bit in m e ; h e ho wlin

’

ho wlin lo ude r ye t ; m y

my

’

’

’

te e t h then sc ar .

a ga inst

s a ys

in

a

fa c e

his t e e t h

[H e Tha t

plac id tone ]

[Pointing

to his lip ]

[

a g a ins t

43

]

fac e

his

s

ho w

I

suddenly,

p a u ses ’

,

,

I

go t t his

MARTA

M A R TA [m oved

OF

LO WLAND S

TH E

inter ested]

a nd

wha t

An d

.

wh a t

M A N E LI C H

The

No thin ! ’

.

ne x t

da y

he p

so m e s

he r ds

fo und u s in the ba r r a nc a ! t h e she e p t h e wo lf de a d ; a nd I h a l f de a d a nd The y t o o k m e t o wit h bit e s a nd sc r at c he s ,

.

a nd r ubbe d

m e with t a ll o w a nd

fe w da y s th e m a st e r do lla r o p e ne

do lla r

As

.

d

I we nt

c am e

s no w

wa t e r ;

a nd

up

de a d ;

ve r e d

co

t he hu t ,

d in

an

a

ga ve m e this

quic k, to kiss his h a nd, t he wo und

a g a in ; a nd

th a t

’

s

h o w t h e bl o o d

c ame on

t he

Mas te r S e bas t l a n pr o m ise d m e a do lla r fo r e ve r y wo lf I kill e d ; b u t s inc e th e n I h a ve n t kille d a .

’

singl e o ne

[ This la st with m uc h tr a nquil lity]

.

M AR TA [r ecover ing he r self]

M a ne lic h it is

.

,

ve r

y

l a te !

M A N E LI C H [pic king up ha ndker c hief a nd ofi er ing it to her ] We ll ta ke this t he r e a r e t we nt y -fo ur '

.

,

do lla r s

yo u t a ke

M AR TA to

yo u r

.

r oo

No

c are of

no

th e m !

t he y

ar e

y o ur s !

Ta ke th e m

m!

M A N E L I CH

.

To m y

r oo m

?

To

o ur s ,

yo u m e an

go

go t o

t he r e !

M AR TA ro o m

.

.

Light

[P ointing

M ANE LI CH

.

y o ur

dle ,

c an

a nd

shed a t r ight

yo ur

go o d night ! This my r o o m ? And that yo urs ? to

]

[ 44 ]

.

And

MARTA OF THE

M A R TA

Le a ve m e !

Le a ve m e !

.

M A N E L I CH

Y o u h a ve

.

LOWLAND S

sa

id

su c h

th ings !

’

I

do n t

d!

u nde r st a n

M AR TA

No

.

! I

no

b ec a use I m ha l f m a d

wh at t he y he

sa ys

this

d no thing ! It s it s be c a use I do n t kno w

’

’

’

s

do ne with m e !

ve

M A N E L I CH

’

ve sa i

it

’

’

’

Wh a t the y

.

’

do ne with

ve

light p a sses bac k of the

a

M A R TA [sta r ting in ho r r o r S e b ast ian ! Oh wr e t c h !

,

yo u ?

c u r ta in

a nd sp ea king

[As

]

in a n a side]

.

,

M AN E LI CH a l o ne ?

’

W ho

M AR TA

.

What is th at ? A light ? Ar e we no t

.

s

N0

in the r e ? o ne

!

M AN E LI CH [gr asping his knife] W e ll , I l l M A R TA [inte r po sing betwe en him a nd do or ] ’

se e

.

You

se e

yo u

o nl

y

No !

I

sa y

no

Th e y h a ve put it

?

M AR TA

.

.

Oh ,

I

wa s t h e r e ?

.

[Light

!

o ut

disa ppea r s ]

!

gue ss t h e r e was no light !

t h o ught yo u

M A N E LI C H

Why

No !

lea ve it al o ne !

The light was th e re

M AN E LI C H

.

!

s a w o ne

!

’

,

didn t yo u

Y e s , a nd I

sa w

it !

Y ou

j ust

sa y

And yo u

th e light

yo u

sa

it , t o o !

M AR TA

I didn t ’

.

M AN E L I C H

see

it !

Y o u didn t ’

.

You se e a

I 46 l

sa

id yo u

light ?

sa

w it !

w

MARTA

M AR TA

No !

.

M AN E L I CH M AR TA

M AN E L I CH M AR TA ]

I

M A R TA

No !

Y o u didn t

.

didn t ’

s e e a.

nigh t

pointing to the do or

light ?

t e ll

me

r ega r ding

s ee a

light ?

a n a side

]

[ To M A N E L I CH

!

.

,

Y o u he a r d wh at I t o l d I kno w — yo u

yes

ins ide t he r e

I

a g a in

I didn t

a lo ne

he r e

]

,

’

,

d sp e a king in

o n r ight

Yes

.

!

an

yo u !

M AN E LI CH

it ?

[H e sta nds m o tio nless

her se lf

[sea ting

I m ust p as s the

se e

no r yo u , e it he r

,

No !

.

LOWLAND S

THE

’

No

.

OF

but

nee dn

no t

No t ye t !

’

t

ye t !

[H e sinks slo wly to the gr ou nd his eyes r iveted o n the c u rt a in ] Th e wr e t c h ! H e has a lwa y s M AR TA [a side] ,

.

[M AN E L I C H is e dging a lo ng the Th is po o r c r e a t u r e t hinks gr ou nd to wa r d M AR TA ] I do n t he a r him ! [M AN E LI CH softly ta kes up the bee n

a

wr e t c h !

’

f M AR TA

hem

o

’

s

gown

a nd

p r e s se s

it

his

to

lips ]

M AN E LI C H [so bbing] but up

no t as

.

He re

h e r h usb a nd

no

c l o se as

be side he r

if I wa s

the r e in m y hut in t h e m o u nt a ins

t he p r a y e r

my wife

my wife

fo r m y no

fa t he r

be c a u se

l

a o ne

I m u st

sa y

m y m o t he r

a nd

I ha ve m y wife

I h a ve

a nd

[H e folds his ha nds 47 l

,

c l o ses

his eyes

a nd

MAR TA

lifts his

face

br ea ks down

M AR TA

to

OF

THE

H ea ven]

so bbing

LOWLAND S Our

]

[aside] 0 Go d ! M A N E LI CH [loo king a r o und stea lthily All is a sle e p in th e fo l d ! No —th e .

,

c o me

no t co m e

no t c o m e

!

ACT

SCENE !

The

II

in Ac t I

sa m e a s

S ever a l da ys have

.

ela psed.

TIM E !

E a r ly

fo r eno o n

M A N E L I CH is disc over ed

.

NU RI is knitting the

sea ted, a nd

M A N E LI CH [in depr esse d to ne] c o me

ye ste r da y

,

sa m e

jac ket

.

Why

.

didn t yo u ’

N ur i?

NUR I It was a ll t he fa ult o f the t ur ke ys Y o u kno w I h a ve t o t a ke e m o ut in t he m o r nin a nd in the afte r noo n t oo B ut t o da y th e su n bu r ne d s o I .

.

’

’

-

shut

’

e m up

ins te ad

in t h e

c o r r a l a nd c a m e

to

M a ne lic h

s ee

.

M ANE LI CH

NURI and loo

,

.

,

.

ks

Yo u r e ’

.

Oh de a r !

’

I m

,

i

a nx o us

M AN E LI CH ’

.

Wha t abo ut ? s o a fr a id Ma r t a

,

.

She

h wishe d she wa s like m e

s e

yo u, she hate s m e !

,

N ur i

l

at

.

[She

gets

up

] c ome

!

Sh e

use

d

t o kis s m e ,

a nd sa y

sinc e sh e

m ar r ie d

B ut

.

.

will

u se d

She loo ks 51

d

wo r r ie d !

so

ly to wa r d the door

NURI I m to lo ve m e Mar t a did .

c hil

go o d

a

me

so

[look

MARTA OF T HE ing

fi

er c ely

]

wo ul d

s he

t ho u gh

as

LOWLANDS me

e at

do n t h a t e he r , be c ause I kno w she lo ve s yo u

up

I

.

’

M AN E LI CH

NUR I

Lo ve s m e ?

.

Why

.

begins wa l king

.

of

,

c o u r se

up a nd

M AN E LI C H [

!

Wh a t

down]

’

s

th e

No thin ! M A N E L I CH [se a ting him self] N UR I I say she ha te s m e be c au se

r ises

d

an

m att e r ?

’

.

e

ve rybo dy

M o sén

at o u r

a nd

,

she

,

.

ho us e

D o yo u kno w

,

.

t o l d him

do n t kno w wha t

M o sén who is t he m a j o r do m o ,

d thr e at e ne d e ve r yb o dy

she c alled

’

I

an

,

ca m e

a nd sa i

d

to

ho use

th e y we r e no t t o

m e to t he m ill b ac kbit in pe o p l e ; t ha t no a ny b us ine ss a bo u t th e m ill , u nl e ss th e y

wh e at t o b e gr o u nd You M AN E LI CH

a nd

o ur

’

co

hate s

o ne

had

br o u ght

.

.

say

the y

we r e backbitin

’

so m e

bo dy ?

N UR I

That

wh at

Mo sen sa id M AN E LI CH What a bo ut ? N URI I do n t kno w The fo lks a t ho m e al wa y s th e s a m e The y t alk a bo ut e ve r ybo dy M AN E LI CH Wha t a goo d little thing yo u .

’

s

.

.

’

.

.

.

a re

.

.

ar e ,

Nu r i ! c o ntented

N URI [ver y

kno w what I m t hinkin ’

M AN E LI CH

.

What

a nd

sm iling

bo ut ! do yo ur sist e r s ’

]

.

You

’

do n t

a

52

l

sa y a

bo ut

me ?

MARTA

M A N E LI C H

N URI

I

.

do n t kno w

a nd

The n a

I

s a y,

j ac ke t !

Wh N UR I

m ass ,

d wit c h e s , tha t make m e

e

bea ut iful

ve r ybody

sa

ys

?

Wh a t

Why y e st e r da y

.

lo t

.

of

.

I t m ay be the .

Poo r M a ne lich !

.

’

’

”

can

j u st

as

Oh

.

r e a so n

a re

no

Y o u, t oo !

[

54

I

.

,

sa

’

.

whe n will the

l

Up there ,

no

!

m e n up the r e ; pe rhaps

Poo r M ane lich ! .

and

e

.

M ANE LI CH [wildly]

yo u,

fro m

yin ? the y a lwa y s do

I n th e l o wlands , ye s !

be c a us e the re

’

ve r yt hing ? be lie ve the wo r l d is ve ry

t e ll him

,

know

c o m in

a b o ut

And wh a t we r e t h e y

I

a ll

no t t o no t ic e t he m

M a ne lic h do yo u

.

So the y

wh e n I was

,

Po o r M a ne lic h

M AN E LI CH

NURI

d

s ec o n

’

t h e m we r e t a lkin

c o m e , so

N UR I wic ke d ?

s

,

so

?

e l se

M A N E LI CH [in de sp er a tio n]

th a t

“

Poo r M ane lic h !

.

l

M A N E LI CH

’

An d in the

.

’

,

mast e r

yo u ?

an

walke d by c lo s e p r e t e ndin

N URI

I like

a nd

Po o r M a ne lic h, I m go in to m a ke him

a t e se

a

ta lk,

”

M AN E LI CH it !

so

ar e

“

a nd

Y o u kno w why

’

wo l ve s

bec aus e

p lac e ,

c r o ss ?

p l a c e , be c ause yo u t e ll m e t hose nice

,

f

,

.

We ll in the fir st a r a id,

M a r t a is Th e y ta lk

sa y

’

st o r ie s a bo ut

LOWLANDS

THE

D o t he y

.

t a lkin

st o p

ne ve r

OF

MARTA

NUR I you

It

.

a ny

’

’

be c a use I m

so r r

y ! M a ne lic h

ha ve n t ’

,

No !

.

’

Im

a ll a l o ne

a nd

;

it

s ee m s

’

I m

t o o m a ny !

NUR I as

LOWLA ND S

THE

br o the r s ?

M AN E LI CH o ne

s

OF

big

D o yo u wish yo u ha d

.

as

I

am

a

litt le

br o the r j ust ,

?

M ANE LI CH [car essing her ] M AR TA

Po o r lit t le Nur i !

.

fr om within

come s

Ma r t a ! NUR I [to M AN E LI CH ] M ANE LI CH D o n t m o ve ! .

.

I must

go !

’

.

M AR TA [a sid e] If he were ing to he r

r e a ll

Nur i !

.

She is

y suffe r ing

[S he

a lwa

h e wo u ldn t ’

,

ys with him ! fee l like t a lk

fi r ep lac e fa ns the fl a m e a nd The fi r e wo n t bur n plac es a n ea r the n ja r on the fir e ] to — day ! I t se e m s t o ac t so o n p ur p o s e ! Wha t a r e they ta lking a b o ut ? The y do n t e v e n loo k at m e ! Why sho uld t he y ? [Fier c ely] I do n t wa nt him t o ta lk to Nur i ! [D ejectedly] But wha t r ight h a ve I .

goes to

,

,

’

’

’

to

say

what he

NURI

.

She

’

s

sh a ll

go ne !

do ?

[S he

We ll we we r e ,

goes within

quie t , b o t h

.

of

us !

M ANE LI CH

NUR I

.

.

And why we r e yo u quie t , Nur i?

B e c a use

I was

c o unt in

we r e yo u quie t ? 55

l

’

stitc he s .

Why

M ARTA

M

AN E LI CH

NU R I

M AN E L I C H wo r l d it

I

.

se e m s

’

I wa s c o u nt in days yo u lo ve M a r t a ve r y m u c h ? Mo r e tha n a nyt hing e lse in

.

c an

’

The r e

I

I fe l t

he r ,

saw

like

I s a w he r “ s a y in Y ou .

’

,

kne w we ll h o w t o m a ke m e lo ng fo r yo u ! c ame

yo u

t o ld y o u

NURI he a r

a

!

”

You

?

fo o l e r y !

S uc h

s

t ime

Ba h !

Te l l m e , t e ll m e , M a ne lic h

.

If

I

I lo v e t o

bo ut it !

l o o kin fo r

wo nde r in

a l o ne

so m e t

“ ,

wa t c h e d t h e lo wl a nds

ve

’

h in !

Th e as

su n s

fa r

Yo u

’

ll

No !

ne

Yo u

No M a ne lic h ,

M AN E L I CH

.

I

p ut

!

no

,

ll

a st o ne

d t hr e e tim e s , with m y

r o un as

ha r d

to

s ee

as

a

I

c o ul d

wh e r e it

.

The n

c am e

was m y wife , gr o win

’

up

e

I

do wn,

56

]

o

ve r

a ll

I

ll th e lo wl a nds is m y ,

ne

ve r

I fo und

o ut

g ue ss !

H o w did yo u ? in t he

ye s

a nd

like

’

c o u l d s e e , a nd

s

sling , swung

hut ,

o p e ne d

fo r m e , fo r m e

[

hinin

gue ss ho w

ve r ’

I

as

,

whe r e she was ! .

’

At wh a t sp o t in

wife ?

N UR I

I

fie lds

t he hill s , t he ’

yo u kne w h o w m a ny t im e s whe n

If

.

t he r e

up ’

fu t u r e

se e

It

’

a ll

M A N E LI CH

I wa s

the

lo ve d h e r lo ng be fo r e

I

la st

at

.

t t e ll yo u h o w m u c h , Nur i !

to me

And whe n

LOWLAND S

THE

B e c a u se

.

Do

.

OF

a nd

my

e

it

thr e w it

ye s

,

quic k,

th e r e , whe re it

fe ll

a n a r mful o f ro ses

,

MARTA

NURI

OF

LOWLANDS

THE

And whe r e did it

.

M AN E LI CH

To war d the lo wlands ;

.

the m o unta in

fa ll ?

And

.

ne ve r to war

fro m the l o wlands

c am e

d

Ma r ta

[H e bows his head in his

fr o m the l owl ands ! hands ] ’

NURI

.

to o

.

c ry, o ne

Do n t

c r y,

M a ne lich !

Yo u ll m ake ’

[She brightens quic kly] c o m in

ha d bee n

’

B ut

me

supp o se so m e

whe n yo u shut , a nd it

t he m o unt a in

up

were thr o win the st o ne with yo ur ’

e

ye s

had str uc k him !

M AN E LI CH str uc k

It

.

m e her e

NURI

ve r

M AN E LI CH

[Pla c ing his ha nd o n his hear t] B e c a use

.

fo o l blind t o so me tim e s t he blind see and he

a

but m e ; it

st r u c k a ny o ne

D oe s yo ur he a r t

.

may be

.

ne

,

a c he ?

I kno w wha t I kno w I the things o f t he wo r l d but .

,

The re wa s

.

was st o ne blind

us e

I wo uld give him milk

Why ?

a

d to c om e

fr o m th e

blind m an up

th e re ,

a nd

Whe n the r ain c a ught him a nd t h e l i htin fl as he d he a lwa y s g c o ver e d his e ye s with his ha nds ; so I sa y th at a l tho ugh he was blind th e fl a sh o f the lightnin has made him se e We ll I m like that bl ind m an the lightnin e nte r e d my e ye s a nd I ha ve se e n go a t s

.

’

,

’

,

’

.

,

’

.

MARTA

r etur ns

fr om the ho use

57

l

.

MARTA

M A R TA

[a side]

OF

'

,

fi er ing

o

M A R TA he r e

I m

.

wo n t ’

sh e

so

.

se e

I do n t wa nt t o

D o yo u he a r m e ?

I

se e

yo u

do n t wa nt yo u t o ’

’

.

,

[S he

.

to the fi

’

’

th e

s

M a ne lic h ?

Ma r t a t u r ns m e o ut ! I do n t t ur n yo u o ut ! Oh I do n t kno w Whe n the y m att e r with m e ! [A side ] se e ,

ds like

t alk t o m e , it

c l a sp s

r e , sea ts

s o m e t hing

s o un

.

her se lf,

H o l d t his !

m a ke it bu r n !

M AR TA NU R I

.

a nd

ta kes

up

the fi

jac ket

,

re

etc

I ll go fa n t he fi r e ! ’

[Appr o a c hing M AR TA ]

.

s

he go es

— fa n ]

,

to

M AN E

Ma r t a c an t Give it t o m e ! ’

N0 !

G ive

.

p o u nding in

her tem p l es with her ha nds ;

N U R I [giving the ba s ket with

]

no t c r yin ! ’

’

,

You

.

M AR TA

bu r n

ha ndke r c hief]

a

he r e !

NU R I

wh a t

[r efu sing]

’

List e n Nu r i !

.

a ga in !

c o me

I

Nu r i !

’

M AN E LI C H

L CH

him

t his h a ndk e r c h ie f

Mar ta ! Take yo u r e c r yin !

he r e

[Alo u d]

S till he r e !

.

NU R I [to M A N E LI CH ’

LOWLA ND S

THE

it t o m e

,

Ma r t a ;

yo u

c an

’

t m ake it

.

M AR TA

[f r a ntic a lly] [ha lf c r ying]

NURI M AR TA

.

Go !

.

Go I ,

sa y !

Why ?

B e c a us e I do n t wa nt yo u h e r e ! ’

.

[a ngr ily] We ll I wo n t go te lls me to ! I gue ss he s t he m aste r ! NU R I

’

.

,

’

58

l

t ill

M a ne lic h

MARTA

OF

M A RTA [deje c te dly] M A N E LI CH

.

Nu r i !

.

LOWLAND S

THE

Y e s , he

’

Do

Ma r t a

as

s

t h e m a st e r

.

If

t e ll s yo u !

ys go yo u m ust go ! Ma r t a is in he r ho use N o M a ne lic h no ! M A R TA Ta ke M A NE LI C H [to NUR I giving her the ba s ket]

she sa

.

,

,

,

.

.

,

this

a nd

M AR TA NUR I

po o r l itt le gir l !

go .

Nu r i

[c r ying]

M AN E LI CH M AR TA

y

st a

.

st a

I do n t wa nt yo u t o g o !

We ll I

.

,

Do n t ’

.

y

’

No !

’

m g o in

I ll g o wit h yo u

Nur i

c r y,

You

no w !

’

’

.

sh a ll no t

.

I wa nt yo u t o

!

here !

M AN E LI CH

Y o u wa nt m e t o st ay ?

.

Me?

Wha t

fo r ?

M AR TA NUR I

.

.

D o wh a t yo u like ! c r yin

She is

’

!

Do n t yo u be lie ve it ! Why we r e a s happy a lwa y s l a u ghin a nd a lwa y s t o ge t h e r lo o k lo o k h o w sh e s l a u ghin ! [M A R TA so bs convulsive ly] And I t he sa m e a lwa y s l a ughin a lway s l a ughin ! Co m e o n Nur i ! M AN E LI CH

’

’

.

,

’

’

’

’

,

’

,

[Go es M AR TA [a lone]

.

o ut

with NUR I la ughing for cedly

.

,

Al wa y s t o ge t he r !

He

d

s ai

,

al

ways t o ge the r ! And h e is wa it ing fo r S e b as t ian t o co me so he c a n te ll him a ll a nd go b ac k up t her e ! ,

,

M ARTA

Oh

,

I

OF

ve r co me ! I ho pe he I ne ve r lo ve d him ; a nd no w h e a r t ! If he ne ve r c a m e

ho pe S e bast ian will

will s ta y a wa y

a

lwa ys !

I h a te him wit h

a ll

LOWLA ND S

THE

my

ne

b ac k wh o kno ws p e r h aps M a ne lic h wo ul d fo r giv e m e ! H e is so g o o d ! And h e do e s lo v e m e ; I kno w he l o ve s m e ! H e t h inks I do n t h e ar him ’

whe n he d

an

ne

c omes

c r ie s

ve r

fo r Nur i ! se e

s ta r ts

to go

in the door

TOM AS TOM AS

I

o ut,

.

in

up

-

He

]

c r ying ,

s

h a ll

no t !

ha lf-a ngr y, ,

are

yo u go in

I do n t kno w !

’ ,

s

he

comes

Ma r t a ?

N o whe r e !

M a ne lic h go o ut be c a use he is no t h e r e

c ame

h e le a v e s m e

]

I

.

B ut he

d by T OM AS who

’

.

knee ls do wn

M a ne lic h !

a nger

[H a lf s to p p e

a nd

wo r d

no t a

but is

Wh e r e

.

M AR TA

to m e

’

!

ht ,

po o r

c r es

[S pr inging We ll see !

We ll ’

i

ye s ,

s p e a ks

a t nig

t o m y doo r

saw

.

,

d tha t is why

an

I

ca n

’

t be a r to

fe llo w

he is de sp e r a t e ! M A R TA [on the defensive] And why is he de spe r at e ? TOM AS We ll t ha t is a que st io n ! H as he no eye s

se e

h im p o o r ,

.

.

to

se e

,

t he who l e

M A R TA TOM AS

.

.

wo r l d l a ughin

’

him ?

Th e wo r ld is b a d !

Ba d

ye s

wa nt t o kno w what m e why

at

ve r y

I sha l l

sa y

ba d !

And

whe n M a ne lic h

I m ade the mar r ia ge be twee n yo u

I 60 l

no w

.

I

asks

MARTA

whe n she was the

wo r ld is

de a d !

”

OF

litt le t hing

a

whe n

a nd

And

I

a l wa

l

I se e

I

yo u

se e

say ,

t h a nk Go d fo r t a kin he r nea r er , a nd

And if yo u h a d die d a o ne

I

And whe n

.

“

wha t

B e tte r

’

M A R TA [dr a wing

up

LOWLA ND S

TH E

ys

fi r st a l o ne

in

a nd

?

.

a s

ignifi c a nt tone]

if

s

An d if

.

h e h a d gr o wn s

he ha d m e t

S e b ast ian ? TOM AS

[c over ing his

ea r s

I t was yo u who

St o p !

M AR TA [we eping] H a ve yo u

no pit

i

d him !

c a nno t

,

Wic ke d

gir l !

d S e ba s t ian !

r uine

Oh I

y?

St o p !

.

r u ne

I

.

]

I!

O

be a r it !

Go d !

Oh le t .

m e die !

[a side in wo nde r ] Sh e s c r yin ! M A R TA E ve r y o ne a g a ins t m e a ga inst m e be c au se I m a l o ne ! I ne ve r kne w t il l no w h o w a l o ne ! The r e do n t c r y ! I m a n o ld fo o l a nd TOM AS a nd t ho u gh yo u do n t de se r ve m y e y e s a r e we a k if y o u ke e p o n I sh a ll c r y t oo it t he r e M A R TA Oh ! I wa nt t o t e ll yo u a ll I do n t wa nt t o he ar it fo r I TOM AS [s nive lling] sha ll be lie ve a ll yo u s a y a nd it will a ll be a lie ! M A R TA A lie ? Lis te n a nd yo u will se e whe t he r TOM AS

’

’

.

.

’

’

.

’

,

,

’

,

,

.

.

’

.

,

,

.

it is

a

lie !

TOM AS quic k

,

as

.

We ll

yo u

,

t e ll m e t he n ,

c an !

69

l

a nd

ge t thr o ugh

as

MAR TA

OF

LOWLA ND S

THE

M AR TA [dr ying her tea r s r e solutel y] t o m a ke m e a ng r y t h a t I ne ve r ha d a ,

m o t he r ; t ha t

t he r e in t he p o nd

o ut

TOM AS ne

t h a t gr o w

.

?

But I

ne

ve r

be lie ve d it

,

I did h a ve

.

I

u se

be r we do o r

a

m o t he r

a

,

d

.

She was blind

t o be g , do wn t he r e in t he

u se d

sit o n

to

high !

o h , so

I

.

b ut I did h a ve m y m o the r ;

a ny o ne e l se ,

ha d

re mem

with

fr o gs

like t he

no r a

’

a nd

she

se e

fa t h e r

sa y,

N o I didn t be lie ve tha t !

ve r ! ve r

You

.

M AR TA ne

wa s bo r n

I

The y

.

t he

st e p s o

The r e we

f

us e d

c it

y

I

.

a c hur c h ,

to

sit a n

d

Whe n did we be gin ? Wh o kno ws ? B e fo re I wa s bo r n I t hink ! I ne v e r s a w m y m o t he r a ny so ! E ve n o t he r wa y e xc e p t wit h he r h a nd o u t be g

.

,

,

a t night ,

wh e n

s

he wa s

as le e p , she

wo ul d ho ld

o ut

One da y we we r e no t t he o nl y o ne s be gging a t t he c hur c h do o r A m a n c a m e a nd sa t be side u s a nd I t ho u gh t h e he r h and

It

.

u se d

fr ight e n

to

me !

.

,

c o uldn

’

s ee , e it he r

t

we r e blind a r ed

.

fa c e

he

ne

sp o

ke

ve r a

a ll

pe o p l e wh o be gg e d

it wa s , t h a t m a n

whit e h air

came

to live

he h a d

with

d m y m o th e r wo u l d fig ht ; la u gh e d a nd se e m e d ve r y ha p py

So m e t im e s h e t im e s th e y

e nd o f

T he a nd

I th o u ght

.

me,

wo r d t o m e

.

no r

he

ne

ve r

So it we nt

l 63 l

on

.

so m e

an

st r u c k

us

.

But

p e tt e d m e , no r

fo r

ye a r s

.

One

MARTA

OF

LOWLANDS

TH E

m o r ning m y m o t he r did no t wa ke up I wa s so st o o d by t he be d a nd c r ie d .

t h o ught blind pe o p le no e

ye s

to

TOM AS

sur pr ise d.

e

ye s

de a d

no ne t o c r y

with !

de a d ?

m o t he r

loo ke d wo r se t ha n

wit h h e r h a n d fo r

a sk

I

t ha t if t he y had

c ry ;

And th a t m a n wo ul d

t ho ugh she was go ing t o

o th e r

t he m an

fo r t he dea t h o f m y m o the r

he r

l a y t he r e as

yo u r

Y e s , de a d !

c o mfo r t e d

t

,

And was

.

m o the r

c o ul dn

’

wit h th e y h a d

se e

.

M AR TA be

a nd

,

,

o ut

no t

my p oo r as she

e ve r

.

It

see m e

so m e thing

d

in the

wo r l d

.

TOM AS [wiping his e yes]

I sho uld

Go

c ry !

M AR TA

Po o r

.

Ma r t a

o n,

go

,

c

hil d !

I to ld yo u

on!

We ll yo u kno w t h e m a n to o k me with him whe n t he y we nt t o bu r y m y m o t he r And whe n we tur ne d t o l e a ve t he gr a ve I do n t kno w why “ I said t o him wit ho u t t hinking An d wha t sha ll we H e was c r y ing and he t o o k my do no w fa the r ? ha nd and said C o m e with m e m y da ught e r ! TOM AS Go o n ! go o n ! M AR TA The r e isn t m uc h m o r e t o te ll Whe n .

,

,

.

’

,

,

,

,

,

”

,

,

.

’

.

.

o ne

walks in th e

o ne

falls

r o ad

whe r e

ll th e wo r l d goe s, o ne m ay wa lk slo wly ; but whe n o ne fal ls int o a bar r anc a , t o the

quic kl y

c hur c h

.

do o r

[Cha nging to be g

l 64 l

a

ton e ] a nd a ll

We

we nt bac k

th e time I

was

M AR T A gr o wing “

a nd

sa

bo t h

Ye s

id,

.

a

b ig g ir l

c it

y

We

fie lds ;

a

b ig

Se bas t ian

’

ho m e ;

wa lke d

-

.

a

on

a nd

be gg ing , t ill a ll

t he

t he n we ,

day

o ut o f

c ame

t he

t o t h e se

d we t o o k she lt e r in

t he m as t e r

ve r y

,

sh u t

st o r m c a m e o n , a n

sa id

we m ight st a y he r e e

,

y

us

da y we

o ne

r a n a wa

full

o

f p e o p le

him se lf wa s t he r e ; t he y m a de m e a nd

sa id ,

And

be gga r s t o

wa lke d t ill we

a nd

m ill ; it wa s

s

I

Th a t he wo u ld lo o k fo r wo r k fo r

he a r d t he y we r e lo o king fo r the m up in

One day

.

if we s ho uld t r y t o ge t wo r k

B ut we we nt

.

LOWLA N DS

TH E

ge tt ing t o b e

Fa t he r

he

OF

,

I

wa s p r e tt y

a nd

h e g a ve

s ing

a nd

da nc e ,

The n h e t o ld

.

us

t he m as t e r

t h e m ill ; h e

d b r o u gh t m e p r e s e nt s ; if

an

I

us

c ame

r an a

wa y

fr o m h im he wa s fur io u s ; h e sa id I wa s no th ing ; t hat I wa s like the fr o gs th e y fi nd in t he p o nd a ft e r a r a in ; I a nd wit h t h r e a t s a nd c a r e s se s bl o ws a nd n e gle c t witho ut c a m e t o b e wh a t I a m wit ho ut kno wing ,

,

kno wing TOM AS

Go d will

Po o r c hil d !

.

Po o r c hil d !

Ah Se ba st ian, ,

ve r fo r give yo u Wh a t c o uld I do ? R u n away ? I m p o s M AR TA sible ! K ill m y se lf ? I t wa s a sin ; I wa s a fr a id ; I was o nl y a c hil d ; a nd t he n be s ide s o ne is bo r n to live I m b a d bu t I m no t a ll no t t o die so so o n ! ba d ; a nd I wo u ld so like t o be go o d if so m e o ne ne

.

.

,

,

’

’

,

,

65

l

MARTA

OF

LOWLA N DS

TH E

y he lp me ! Do n t de sp ise m e ! Oh if M ane lic h wo ul d o nl y h e lp m e t o be go o d ! I m arr ie d M a ne lic h dis him b ec a use S e b a st ian m a de m e t he n b e c a us e I tho ugh t t he m a st er gust e d m e wo uld

’

o nl

,

.

ha d bo u ght him

.

And

st

il l , in

of

sp it e

a ll

— the

disgust whe n we le ft t he c hur c h I s a id t o m yse lf with o u t wa nt ing t o t ha t h e was m ine fo r be tt e r o r wo r se — m y husb a nd in t h e sight I o f Go d ; t h a t h e b e lo ng e d t o m e a nd no b o dy e lse ne ve r be fo r e ha d a nyt hing o r a ny bo dy that be lo nge d suffe r ing

the

,

,

,

,

.

to m e

a l o ne .

TOM As

And if Se b ast ian

.

c o me s

b a c k ? And if

No !

H e m u st not

yo u

M A R TA [p a ssio na tely] c om e

No !

.

ba c k !

TOM AS

B ut if he do e s ?

.

I ha ve M a ne l ic h no w H e will de fe nd he m u st ! If he do e s no t he is m o re wic ke d me m o r e c o war dly tha n I a m ! TOM AS B ut wha t if h e de spise s yo u ? What if M AR TA

.

.

,

,

.

he

no

lo nge r lo ve s yo u ?

M AR TA l o ve m e !

doe s lo ve

.

No

,

no , yo u sh all no t sa y th at

I kno w me !

do yo u he a r ?

it

And

.

de spise I l o ve him I

H e m ay

I

I lo ve

him

l

66

ba d

l

as

I

!

He

does

m e , b ut he

l o ve him v

am

I

ca n

MARTA

lo v e

no o ne

s

OF

h a l l de ny m e t ha t !

wha t lo ve m e a nt t ill TOM AS

Why

.

M AR TA

no t

I

ne

kne w

ve r

h a d M a ne l ic h

I

te ll M

And ho w do e s

.

LOWLA NDS

THE

Mar t a ?

a ne l ic h a ll ,

wo m a n t e ll

a

t h ings

s uc h

to he r h us b a nd ?

TOM AS

M A R TA

,

the

Wit h

Ah !

.

sa m e a s

wo ul d

l

c ea

ve

t o t he

y o u ve

t o ld

me

.

yo u it is diffe r e n t , but wit h

with M a ne lic h

him

ar e

Why

.

’

oh,

r oo

f

of

I

c a nn o t ;

m y t o ngue

Why

m y m o u th !

ho u r s t o ge t he r wit h o ut sp e a king

,

we

wo r d !

What

t ho ugh

I we r e

a

t o r t ur e !

TOM AS

Po o r g ir l ! p o o r gir l !

.

M A R TA

.

H e lp m e

t a lk t o m e

[S he

yo u r da ugh

s top s su

as

ddenly

p uts her

a nd

ha nd to her lip s ] TOM AS

S a y it

.

da ught e r ! gir l o ne

Y e s,

t he r e

a

s ay

,

I

it ,

as

wil l h e lp yo u !

ar e

a

go o d

a l wa

ys

be e n

You

go o d g ir l ; yo u h a ve

’

ye s

I sa y yo u ha ve ; a nd e ve n if yo u ha ve n t

in wa nt ing t o be go o d yo u the r e ! po o r c hild p o o r c hil d !

M AR TA [weeping] TOMAS [liste ning]

M AR TA the m !

we r e m y

t h o ugh yo u

.

goo d

[H e

em br ac es

.

Oh To mas !

.

Who

.

Th e r e ! her ]

,

is

Oh t h o se wo m e n ! ,

Se nd th e m

ar e

a wa

y! 67

c o m ing ?

I

do n t wa nt t o ’

B ut yo u will

l

c o me

se e

b ac k ?

MARTA

OF

Y e s , ye s ! a l l r ight

TH E

K

LOWLAND S

e e p up

yo ur

c o ur a

ge Ma rt a ,

,

.

Go o d bye ! Goo d bye !

do n t wa nt t ho se wo me n

I

-

’

[S he go es within

-

.

PE PA a nd ANT ONIA

E nter

.

PE PA Lo o k ! The r e s To mas ! ANT O NIA Why wha t s the m a tte r ? ’

.

He

’

.

’

c r yin

,

’

s

bee n

!

TOM AS

It

.

’

t he

s

s m o ke

M a r ta

!

c o ul

’

dn t

m ake

the fi r e bur n !

PE PA p ut

C o me

.

us o ut

on

in Ant o nia !

Mo sen

!

We ll

,

sa i

d

wit h whe a t fo r

e xc e pt

’

no o ne

t he m ill

see

was t o

.

It

’

s

if the y ll ’

c o me

he r e

t he m aste r

’

s

o r de r s .

TOM AS

dr ive n

We ll

.

,

t he n,

yo u

’

d be tt e r go

be fo r e

yo u

’

o ut .

[NA ND O c a lls fr om o utsid e ] H e llo th e r e ! NA ND O PE PA [la ughing] C o m e o n in .

.

.

J o s fc

enter s

J o s fz

H e re

NAND O

a nd

.

’

with half

-

s so m e

P E L U CA

f whe at o n his bac k

sac k o

.

Whe a t fo r the mill c om e

68

in with

l

.

f wheat

sac ks o

.

re

MARTA

OF

LOWLAN DS

TH E

[r ela tes the fo llo wing with m u ch r elish] We ll sir o nc e upo n a t im e S t M ic h ae l a nd the D e vil ha d a qua r r e l ; b e c a u s e t h e de vil sa id a ll wo m e n we re g abble r s a nd sc a nda l m o nge r s a nd S t NIich ae l sa id TOM AS

.

,

.

,

-

.

,

t he r e m ust be

was

no t

So St

.

l e as t

at

wo m a n

o ne

Mic hae l

.

,

fo r the wo m an wh o wa s

t o th e

c am e

no t a

no t a sc a nda l — m o ng e r , a nd

so m e whe r e e a rt h ,

g a bb le r ,

wh o was

a nd

who

t o lo o k

wh o wa s

hussy

no t a

.

PE PA We ll this is nic e ! The o l d fo o l ! ANT ONI A le t s h e ar the r e st ! J o s a Ne ve r m ind g o o n TOM AS We ll sir St Mic h a e l wa lke d a nd wa lke d .

,

.

’

.

,

.

a nd

,

.

,

,

h e didn t fi nd t he wo m a n h e wa s lo o kin fo r ’

’

And he g o t so t ir e d he sa t do wn t o o f a he dge o f h o ne y suc kle On t he ,

r e st

.

he dge the r e we r e

Mic ha e l t hr o ugh t alk, red

a nd sa id

t he h e dge

he m u s t b e

fac e ; a nd he

was

sur e l

he wo r e m u st be s t o le n

Mic hae l a m o ng

no thin a nd

’

,

a nd

sm ilin

’

a

a

.

,

y

.

po o r o ld wo m a n was

d t he y

s aw

t he

St

.

The n t he y be gan to

dr unk a r d h e h ad ,

ya

thie f

o ne

him , but

swee t l

d

o t he r si e o f

an

m ust h a ve bee n r o bbin

bo ut

in t he sha de

t he

s uc h a

ve r y c lo the s

fo r he was dr esse d like S t

t he m the r e wa s

bad

wo m e n

so m e

.

We ll asl ee p

70

ol

j u st

’

a c hur ch .

d wo m a n who ke pt lo o kin

th a t night ,

,

at

B ut

d

sa i

him

whe n t he

in h er be d, St

]

’

.

.

Mic hael

MARTA c a m e a nd c a ught co

a nd c a r r ie d

the

sa

I br ing yo u the

!

o ut

ys

ol

,

d wo m a n he la ugh s She

he wa s bo r n !

”

that

s a ll

tha t

AN T ONI A

PE PA

De m o n

c omes

a nd

bee n de a f

s

,

s al

l

yo u

see

,

j u st

ANT ONIA

.

t he

We

of

h a nge l, r e g io n.

de m o ns !

t he

D e vil a nd

d dum b

t ha t

’

s a ll

e

I

red

in

whe n h e

h e l a u gh s

an

,

,

d he

an

ve r

s inc e

kno w

[H e go es o ut la ughing

.

H e t hin ks he

.

,

ar c

she e t ,

wo m a n in t he wo r ld

’

s sm a r t

sa m e

.

!

H e wishe s he h a dn t ha d

.

f an

t he infe r na l

’

ma rr ia ge ,

has !

’

’

So

s

’

o

t he t e r r ibl e he a t ins ide ,

Why !

“

of

o ne

Ou t

g a bble r

no t a

t he

wr a ppe d h e r in t he

h e r t o t he g at e s

fa c e fr o m

see s

up ,

s t o o d a n d sh o u t e d

The r e h e

who is

he r

LOWLAN D S

THE

gr a y he a d wit h h is wings

ve r e d he r

Co m e

OF

a

finge r in

t he

.

h a ve n t do ne ’

a ny

h a r m , b u t he

Poo r M a ne lic h !

JO SE We ll he h a d the l au gh o n yo u that t im e ! NAND O And a go o d o ne ! PELU CA H e m a de m e l a u gh t o o ! Im a gine S t Mic hae l c a r r yin o ff the o l d wo m a n ! H u sh ! h er e c o m e s M a ne lic h ! AN T ON IA .

,

.

.

,

.

’

.

MANE LI C H enter s a nd sits a t ta bl e without notic ing them M AN E LI CH maste r

’

s c o mm

I c an

’

to day -

d t his

t

st a n

a ny

I ll t e ll him ’

.

l

71

l

lo ng e r !

a ll , a nd

.

Th e

t he n

MARTA ’

I ll go r a ge

b ac k

WLAND S

THE LO

a l o ne

the re , t o die

up

of

[cr eeping

a nd

a nd

’

.

.

PE PA

.

s

tha t ?

,

Goo d

M A NE L I C H

PE LU CA

imita ting

H upa !

H up a !

.

behind him

up

Who M AN E LI CH [ta m ing quic kly] Jo s h Goo d m o r ning M ane lic h ! m o r ning ! yo u want ?

Wha t do

.

I s t he r e

.

M ANE L I CH

y o ur

gr ie f

!

ANT ONIA

him]

OF

e no ug

Y e s , a nd to

Wa t e r ?

.

h wa te r to

r un

spar e

t he

!

mill ?

Le ave

wh e at in th e re !

[PE LU CA c a rr ies his whe a t in shed a nd r eturns ] ANT O NI A H o w c r o ss y o u loo k M a ne lic h ! M AN E L I CH I lo o k a s I a lway s do J o s fiz H e s no t him se lf s inc e he le ft o ff te nding .

,

.

.

’

.

his go a ts ! P E PA

.

We ll

ANT O NI A

no w

B ut

.

te nd h e r

,

she

he has

M a r ta

Mar ta ! ’

do e sn t

nee

d

any

o ne

to

t e nds h e rse lf !

[All la ugh cover tly] M AN E L I CH tr y t o hi de

ANT ONI A P E PA

.

.

Why do yo u la ugh ?

yo ur la ughin ? We re no t l a ughin ’

’

.

No we

a s she sa ys

And why do yo u

,

’

’

re no t

!

l a ughin , M a ne lich ! [La ughs ’

it] 79

l

MA RTA

OF

LOWLA ND S

TH E

J O SE We ha ve so m e whe a t to be gr o und M AR TA The m ill is t he r e PE PA Oh we r e in no hurr y ; so we r e j ust

.

.

.

.

’

’

.

a

while

r e st in

,

.

M AR TA to

’

You

.

c a n r e st o uts ide

Y o u ve ’

!

no c al l

in h e r e !

c ome

[ They

o ut,

go

“

c la im ing , cr a

loo king ba c k

N o w we ll ’

s ee

,

“

zy m a n !

M a r ta

c u r io u s ly, a nd e x

’

“

”

!

He

in for it

s

’

s

like

a

no w

M A N E LI C H [sitting a t the ta ble] M o r r uc h o ! The y s a id M o r r uc h o ! The n t ha t m a n wa s M o r r uc ho ! .

M AR TA Po o r M

No w fo r dinne r

.

a ne lic

M A N E L I CH

h!

I

c an

’

a nd c ut

t he n he r s

[P a u se ]

Y e s he r s ! ,

h a d no thing t o r ie d

m e to

t h o ug ht

of

fe a r fr o m

me

at

.

o ff

dinne r !

a

him !

I

Th a t night

t o h a ve g o ne in t he r e , .

su c h

t be a r t o l o o k

M o r r uc h o !

.

a nd

his he a d

o ug

ht d

an

T h e y t h o u gh t t h e y

Th a t

’

s

why t he y m ar

Ma r ta We ll t he n I ne ve r [P a use ] a ny t hing b a d B ut no w ye s ! No w .

,

,

.

ye s !

M AR TA ’

I m t ir e d

.

H ow

o f se e ing

de sp is ing m e flo o r , him !

o nl

s

y

.

ha ll h im

a

m a ke him

lwa y s t he

spe a k?

,

as

so m e t

M a ne lic h ! 74

l

How?

s a m e , s il e nt a n

Le t h im be a t m e dr a g m e

tr e a t m e

[Ca lling ]

I

d

a

bo ut t he

hing t ha t be l o ng s to

MARTA

OF

LOWLANDS

THE

M A N E L I C H [disr egar ding her ] think s he was a c hil d ! a ga in

M AR TA [c a lls

M ane lic h !

[H e

in

To hea r he r

.

loud but

a

sweet

yo u d ’

vo ic e]

.

r ises

] Dinne r is re a dy ! Oh dinne r ! Y e s dinne r ! [H e ta ke s M ANE LI CH a knife a nd begins c u tting the br e a d; MAR TA has go ne I t wo ul dn t be m uc h to Aside ] to the fi r ep l ac e a nd l e ss he r s ! c ut o ff a m a n s he a d [H is eyes m eet M AR TA S a s she c om es fr om the fi r ep lace ] If sh e .

,

,

’

.

’

’

wo ul dn t lo o k ’

knife

ah

me

at

do wn the

sava ge ly

]

M AR TA

.

C o m e , M a ne lic h !

iron po t fr o m the and the n he r self]

M AN E L I CH

.

[She has br o ught

fi r eplac e fr om whic h she ,

Oh , ho w

I

use

ve ry m o uthful c h o ke s M AR TA Go d he lp m e !

He re

[H e thr ows

!

e

d

to

e at

ser ves

up

an

him

th e r e !

me !

.

Ye s ! M A N E LI CH [eying her contemp tuo usly] he lp yo u ! Y o u [H e sto ps a br uptly] .

M AR TA

[eager ly]

yo u go ing to

M

AN E LI CH

M AR TA

.

.

Wha t ?

Go

on !

Go d

Wha t we r e

say ?

[tur ning a way]

Spe ak fo r

o nc e

[

75

.

in

]

No thing !

No thing !

yo ur life !

I be g

yo u

MARTA

M AR TA

OF

THE

LOWLA ND S

Fo r

.

M AN E L I CH

who m ?

Fo r

.

hi m ?

Fo r

[Rising

H o w t his wo m a n disg ust s m e !

E no u gh

o

M AR TA

I l l go b ac k t o m y m o u nt a ins !

f t his !

’

No M a ne lic h

.

[Aside ] a br up tly]

,

no

,

Liste n

!

a nd

fo r give

me !

M AN E LI C H

I fo r give yo u ? [H e l a ughs wildly] Te ll m e ! Wh a t h a ve I e ve r do ne to yo u ? Why sh o u l d yo u de c e ive m e ? Sp e a k ! Why did yo u ? M A RTA

Fo r give yo u ?

.

Why

,

why

I

B e c a u se

.

,

was

no thing

no bo

ha d

Be

I kne w was t o o b e y ! I didn t kno w yo u ne ve r e ve n no t ic e d yo u I didn t kno w wha t ’

c a u se a ll

I

dy !

.

’

.

lo ve m e a nt M a ne lic h ! ,

M AN E LI CH d

an

no t t h a t

Te ll m e ! an

W e ll

.

m an ?

B e c a u se

d t hi nkin

ning towa r d

me

’

a

,

t he n , why did yo u m a r r y m e ,

[With

I do n

’

fur y] Te ll m e ! t kn o w a nd I wa nt t o kno w a dd ed ,

bo ut it is dr ivin m e m a d ! ’

her ]

Te l l m e !

Why

'

[Run

did yo u ?

Te ll

t e ll m e

M A R TA

.

Oh

,

I

c a nno t

Yo u ll ’

!

h a te m e m o r e

t h an yo u do no w !

M A N E L I CH

.

H a t e yo u !

K ill yo u is wh a t

I o ught

t o do !

MARTA

.

Oh !

K ill me ?

[ 76 ]

I wish yo u wo ul d !

MARTA

OF

LOWLA ND S

THE

M AN E LI CH [r ushing to wa r d he r thr ea teningly] S to p !

.

st o p

M A R TA [rising a nd in a ta u nting voic e] I ve foo le d a nd I l a ugh in a nd I m gl a d I fo o le d y o u yo u ’

.

’

yo ur fac e ic ally] t h is

as

He

ve r y

’

e

ve r ybo dy

s c o ming

la ughs hyster

I m wa it ing fo r him ’

igh t !

o -n

[M A N E LI C H

m inu t e !

c atc he s up

t

[S he

do e s !

r uns

to the ta ble

a nd

the knife ]

M AN E LI CH

And this

.

ve r y

’

’

minute I m g o in to

kill yo u !

M AR TA [c a tc hing his l eft wo n t kill m e ! ’

a g a in ! see

I

[La ughs ]

’

foo le d

ve

Le t

’

s

ar m

]

Psh aw !

.

And I ll ’

yo u !

foo l

if yo u kill m e !

se e

Yo u yo u

Le t

’

s

!

M ANE LI CH [dr a wing ba c k in ho r r or

a nd sinking

into

] No no ! I c a nn o t M AR TA Oh c o wa r d ! Th a t s ho ws yo u so ld yo ur se lf fo r m o ne y ! [M AN E LI CH r u she s a t her and in the a c ha ir

.

,

.

str uggl e she

,

is wo unded in the

M AN E LI CH C ur se M AR TA [exultingly] .

.

ar m

]

yo u !

Ah !

at

M AN E LI CH [thr owing a wa y Wh at h a ve I do ne ? 0 Go d ! M ARTA [suppor ting her se lf la ughing fr antic a lly] B loo d ! .

[

78

]

la s t ! the

knife in ho rror ]

a ga ins t

the ta ble

.

a nd

My bloo d ! And yo u

MARTA

OF

LOWLAND S

THE

Wha t jo y ! W ha t jo y ! C o m e st r ike h e r e ! h e r e ! [P ointing to her br ea st] M AN E LI CH [ter r ifi ed a nd weep ing he sinks into a No ! no ! cha ir ] M AR TA Oh I c a nno t go o n l iv ing so ! I h a ve bee n the m o s t wic ke d wo m a n in t he wo r ld ! And I Oh t h a t life c a nn o t undo wh a t I h a v e do ne ! t he r e is no p o we r th a t c a n u ndo it ! tha t pas t life B e fo r e I c o u ldn t te ll c o m e he r e ! Co m e he r e — but no w y o u r e go ing t o kill m e I ll t e l l o u y did it

yo u !

,

.

.

,

,

’

’

’

— a ll ! o u a ll

[Little by little she ha s wo n M AN E L I CH

y

hea r t; he is a nd a lmo st

in his

M A N E LI C H M AR T A

.

in

se a te d

.

a

ar ms

lo w c ha ir ;

she

is

on

’

s

her knee s

]

Te ll m e !

The y h a ve

Te ll m e ! a lwa

ys

t r e a t e d m e like th e

fee t ! Oh kill m e ! I c a n t kill yo u Ma r t a — no I c a n t ! M AN E L I C H e ve r B ec a use I lo ve yo u a nd I ve l o ve d yo u a nd I I was a l um p o f sno w sinc e up t he r e ! m e lt e d whe n I sa w yo u ! And a fe w da ys a go whe n I c a m e do wn fr o m the m o u nt a ins t o m a r r y yo u I c a m e le a p in like the wa te r th a t le ap s do wn t o r un int o t he o c e a n Th e y sa y the o c e a n is b itt e r ! We ll le t it be so ! I lo ve yo u I do n t kno w why ! Pe r haps be c a u se y o u ve de c e ive d m e o r be c a use I ve

dir t

unde r

t he ir

,

’

’

,

,

.

’

’

,

.

’

,

’

’

,

79

l

MARTA

OF

wa r m bl o o d

fe lt yo ur

THE

LOWL A ND S

m y h a nd !

on

B e c a us e I

’

ve

fr o m yo ur lip s a nd the fr a gr a nc e o f y o ur h a ir ! I o nly wa nt t o kiss yo u t o h o ld yo u in my arms t ight t ight t ill life is c o nf o u nde d br e a the d t h e br e a t h

,

,

in de a t h

like

a nd

be as t t o ge the r

yo u

a nd a g a inst

de nly a nd

at

the

d l ike

m an

a

an

wit h yo u

a nd

t he wo r l d

c ur ta in a s

tho ugh

t he m

t a ke he r

c o me

M A R TA

fr o m

i

[H e lo o ks r em em ber ing

s ud

the light,

N o w le t t h e m

Le t t h e m

me !

m an

a nd a g a nst

bea r s her in the opp osite dir ec tio n ]

c o m e a nd

be as t

a

c ome

!

Le t

!

O H e a ve ns !

.

M AN E LI CH [tr ying to kiss her ] M A R TA [she esc ap es fr om him]

Ma r ta !

.

No !

No !

.

M A N E L I CH [p u r su ing her ] Ma r ta ! M AR TA No ! Fo r give m e t his wa y I no ! do n t wa nt yo u t o fo r give m e this wa y ! Y o u do n t .

.

’

’

kno w

a ll !

B ut y o u m us t

kno w

a ll

a nd

fr o m

m e

!

M A N E LI CH The se e

sky

.

Y es

,

a ll

is bla c k with

yo u wh e n yo u

M AR TA

.

W e ll

M AN E L I C H

.

,

B ut

!

a ll

no t

do wn he r e

this mis e r y !

,

Ma r t a !

Go d do e sn t ’

sp e a k !

up

the r e , t h e n

Y e s , le t

us

is fo r give n a nd no t hing is

go !

d

.

no w !

ve r yt hing E ve n the de a d

Up the r e

c o r r up te

80

d

an

e

MARTA

OF

THE

M AR TA [to M AN E LI CH ]

LOWLAND S

D o n t le a ve m e ! SEBA STI AN [c o ntentedly] Ma r ta ! I t s a ll se ttle d do yo u he ar ? The we dding ! H e r fa the r will a r r ive t o night [ To M OS EN ] Y o u c a n im a gine wh a t fo r t o l o o k o ve r t h e l a nd B ut wha t s the m a tte r he r e ? [I ndic a ting M AR TA ] M O SEN [gr inning] Ask h e r M AN E LI CH I will t e ll him ! [ To SEBA STI AN ] I m go in ba c k a nd M a r t a s go in with up t he r e ’

.

’

.

-

.

.

’

.

.

.

.

’

’

’

’

me !

SEBA STI AN [going c lo se to M AR TA ] Ma r ta ! Wh at is h e sa y ing ? Answer m e ! [Ca tc he s he r r o ughly by .

arm

]

Answe r m e !

M A R TA [doggedly] Y e s ! We r e go ing up the r e ! SEBA STI AN Ma r ta ! Ma r ta ! Ar e yo u c r a zy ? ’

.

.

[S ha kes her

sa va gely

by the

M AN E LI C H [inter posing]

Mar t a ! SEBA STI AN And wh a t

do in

’

it

’

] Mas te r

a rm .

,

se e

wh at

yo u r e ’

s

.

M AN E LI C H

.

is t h a t t o yo u ?

She is m ine

she

is m y wife !

SE B A STI AN [sneer ingly] Yo ur s ? Ma r ta yo ur s ? M A R TA Yes ! I am ! SE BA STI AN Ma r ta ! M A R TA I to ld yo u it was a ll o ver ! [She star ts to .

.

.

.

go

o ut

with M AN E LI C H ]

l 82 l

M AR TA

SEBA STI AN

a nd

men

c a ll

,

t he m e n ,

goes to the doo r

.

Wh y

s

c om e

in ]

wom en

SEBA STI AN a lwa y s be e n

LOWLAND S

THE

Mo s an

.

fe llo w o ut ! [MOSEN M A N E LI C H

OF

yo ur

a nd c a lls

]

h a ll the y t ur n m e

I

B e c a u se

.

am

t ur n t his

a nd

[ The

o ut ?

m as te r he r e ,

as

I

d t he ir m a s te r

m as t e r ,

an

[P ointing to M AR TA ] Do n t lis te n t o him M a ne lic h ! M AR TA

h a ve ,

a nd

he r s !

Co m e !

’

,

.

Le t

us

go !

M AN E LI CH

SEBA STI AN

[ They sta r t to

Co m e !

.

Ah !

.

yo u ll ’

go

]

o ut

t a ke he r , will yo u ?

[S tr ikes him ] [fur io usly] Wh a t !

Ta ke

tha t , yo u do g !

M A NE L I CH

M ARTA

.

.

M a ne lic h !

Yo u

Y o u le t h im

str ike

s tr ike

me ?

yo u ?

Oh ! I sha ll go m a d ! M AN E LI CH [weeping wildly] Ye s he is the m a s t e r ! H e is th e m ast e r ! .

,

M AR TA

.

This m a n yo u yo u

The

Ah ! s ay

m ast e r !

is the m as te r

Lis t e n, M a ne lic h !

is the m a n

do

unde r s t a nd?

M AN E LI CH

BASTI AN

,

Se ba s t ia n !

.

bu t is

towa r d the door

.

se

Ah !

ized by the

[H e o ther s

]

MO SEN Out with him ! JO SE H e wo uld kill the .

m as ter !

.

[

83

]

r u shes a t

SE

d dr agged

an

MA RTA

OF

THE

M AN E LI CH [str uggling]

.

LO WLAND S blo o d !

Blo o d !

wa nt

I

blo o d

SEB A STI AN M A N E LI C H

D o n t le t him go ! I wa nt yo ur life ’

.

.

life

y o ur

I

wa nt it !

SEB A STI AN [ta u ntingly] M A R TA M a ne lic h !

.

Ma r t a

is m ine !

.

M AN E LI CH

yo u r s yo u ye t

m en; M

.

’

she s

Y o u lie m ine

a nd

y o u l l be ’

I ll h a ve yo u ye t ! ’

T

AR A a ttemp ts

sinister sm ile ,

bar s her

fo llo w wa y]

to

Ma r t a

yo u lie

[H e but

m ine is

no t

I ll ha ve ’

c ast o ut

by the

SE BA S TIAN with ,

ACT III The

SC EN E !

S unset

TI M E ! ar e

sa m e

f

o

.

.

the

da y

sa m e

J O SE

.

a nd

discover ed! they a r e ta lking slo wly a nd

NA ND O

seem

m uc h

depr essed

.

JO SE

.

ha nd

I do n t fee l r ight ’

on

,

[H e puts his

Na ndo !

his hea r t]

NAND O [no dding

to war d ho use]

Spe ak lo w, m a n !

.

M art a ll he a r yo u ! ’

J OS E thing

We ve do ne ’

.

b a d thing , N a ndo ,

a

a

ba d

.

NAND O [r aising his voic e] Tha t s so we h a v e ! I do n t se e h o w we c a n e ve r ho ld o ur he a ds up a gain ! JOSE Do n t ye ll so m a n ! D o n t yo u kno w Mart a s r e stin ? NAND O We did wr o ng t o t hr o w M a ne lic h o u t JOSE I kno w we did ! But wha t we ve go t to ’

.

’

’

’

.

,

’

’

.

.

’

.

do

no w

well

,

is t o ke e p quie t

be c ause

we did

.

We

did wh a t we did

If we h a dn t ’

.

s e p a r a te

M ane lic h wo ul d ha ve kille d S e ba stian ! 87

l

d th e m

,

MARTA

NA ND O s

Oh !

.

OF

LO WLAND S

TH E

t he m

Sep a r a te

ho ul dn t h a ve thr o wn M a ne lic h ’

Tha t was t a kin h im

a wa

’

ba d wa y t o o ,

lo nge r ;

a ny

I

.

a nd

’

te ll yo u I m no t

I

wh e n

ve r y p l a in t o him J OSE Yo u r e r ight !

se e

him

like

o ut

his wife ,

y fr o m

on

do g

a

a nd

S e bas t ia n

’

in

s s

.

a

ide

’

’

,

bu t we

ye s ;

I m go in t o ta lk

.

So

’

.

like it , why, he

NA ND O H e J O SE Y e s ! .

’

ne e dn t ’

his

He

[Putting

.

vo ic e

]

wa l kin

’

s

’

is n t he ? ’

up

And he lo o ks wo r r ie d

PE LU CA NAND O PE LU CA

Oh !

.

And

.

an ox ;

I

did

t ha t h e

.

r un ! r unnin

the m as t e r

cou

lowering

.

h a ve yo u bee n no w

a nd

br e a th

f

ente r s o u t o

How

Wha t

.

d do wn with

an

his ha nd to his mo uth

PE LU CA

tha n

.

t h e r e no w,

s o ut

.

M o s én

And if he doe sn t

I!

am

’

sa

ld ha ve go ne

’

fo r ?

ys I m slo we r fas te r him se lf ’

.

J OSE Wh e r e did th e m as te r se nd yo u ? PE LU CA [puttingfi nger to lip ] Do n t te ll a nybo dy ! H e se nt m e t o t e ll t he gua r ds tha t he h a d t ur ne d a .

’

.

m a n na m e d M a ne lic h into the

lo o k

o ut

fo r him

,

d ke e p

an

whe n we we r e t ur nin him ’

t he m aste r

.

We ll I ,

’

ve

s tr e e t ;

a n e ye o n

o ut

fo r the m t o him ; be c a us e

h e swo re he wo ul d kill

do ne wha t t he m as ter t o ld

I 88 l

MARTA

OF

TH E

LOWLAND S

PE PA [a ngr ily] H a ve n t I to ld yo u I did ask he r a nd she wo ul d n t a nswe r m e ? Who is t ha t ANT ONI A [com ing fr om within] ’

.

,

’

.

i

sc r e a m n

J OS E

so

?

Ant o nia ,

.

o f a ll

’

he r e !

c ome

Wh a t do

yo u think

t his ?

Wh a t do I th ink? I think it s a ll se tt le d ! H a v e n t the y t ur ne d M a ne lic h o u t ? We ll Ma r ta will go b a c k t o Se bas tian a s she was be fo r e ANT ONI A

’

.

’

,

.

,

And M a ne lic h will go b a c k t o h is g o a ts ,

be fo r e

And e ve r y t hing will be

.

PE PA Do n t ne ve r go b a c k to ’

.

fo o lish

be

,

Se b as t ian !

as

I m

M a ne lic h wh e n th e y t u r ne d h im ,

o f h is

t he t o p

he was

it wa s be fo r e

Anto nia ! ’

as

M a r ta

s ur e o f

o ut

vo ic e th a t he d kill the ’

he

it ! s

m a st e r

.

will

As fo r

h o ut e d

at

E ve r y

.

bo dy kno ws th a t ! PE LU CA We do n t kno w a nything a bo ut it ! NA ND O We didn t he a r a nything ! PE PA I m go in bac k t o Ma r ta Pe r haps she ’

.

’

.

’

’

.

.

’

ll

sa y so m e th ing .

J O SE H ush ! H e r e c o m e s Se bastian ! NA ND O I ll p r e t e nd I m a bse nt m inde d ANT O NI A I m go in [Goes to war d M A R TA S .

’

’

-

.

’

.

r oom

.

’

’

.

]

SE BA STIAN l 90 l

enter s .

MARTA

OF

THE

LOWLAND S

SEBA STI AN Anto nia ! I m go in t o st a y wit h M ar t a ANT ONI A SEB A STI AN [a ngr ily] D id yo u he a r m e c a ll Co m e he r e ! [ANT ONI A app r oac hes r e luc ta ntly] .

’

’

.

.

yo u ?

.

H ow

is she ?

ANT ONI A

Sh e

.

SEBA STI AN quic k

a bo u t

ANT ONI A ta kes

’

ly in do wn ’

s

Te ll h e r

.

I m go in !

.

a sea t a p a r t

e

.

d be

he r e

an

goes in

.

SEBA STI AN

witho ut notic ing the o ther s ]

f a t h e r o f t h e o t he r will be j ust m y luc k t o

And t he

.

t o -nigh t ,

ve r ything

voic e a s

[S he

’

SEBA STI AN [a side] have

c o me

’

it ! ’

o ne c o m ing

to

a nd she s c r yin ’

i

eh !

r u ne

It

d by t h a t c lo wn !

tho ugh disc over ing the

o ther s

]

[Ra ising his Oh y o u r e ’

,

Y o u se e h o w t h is M a ne lic h h a s

he r e , a r e yo u ?

d,

ve d him fr o m s ta r va tio n ? Tha t s wha t o ne ge t s fo r sho wing fa vo ur s t o a be as t ! NAN D O I t do e sn t do t o s ho w fa vo ur s ! J O SE [to NA ND O] I tho ugh t yo u sa id yo u we r e do yo u

,

a

ft e r I

a c te

’

sa

’

.

.

’

go in t o t a lk pl a in t o h im !

NA ND O Y e s a nd yo u sa id yo u wo uld ! JOSE We ll I did say so a nd yo u ll se e ! SEBA STIAN [a side] She is wo r se tha n he is ! .

,

’

.

,

,

.

a

fte r

a ll

gesture]

M a ne lic h but

Ma r t a

[he

m a kes

he r !

a

Fo r

co ntemptu o u s

M ARTA

OF

LOWLAN D S

TH E

J O SE Mas t e r ! SEBA STI AN [str iking the ta ble with his fi st] What ? J OSE [f r ightened] N o thin ! I didn t s ay a ny .

.

’

’

.

t hing !

[laughing] Y o u h e a r d h im Isn t it so ? he s a id he wo ul d kill m e PE LU CA [indic a ting the o ther s] The y sa y they

SEBA STI AN

You

.

a r e a ll

wit ne sse s

’

.

.

.

h e a r d him !

NA ND O [a lso him

indic a ting the

o the r s

]

The y he ar d

.

ye s !

J OSE I I so m e da y s I m p r e tty de a f SEBA STI AN [igno r ing them ] She wo n t c o m e e h ? She diso be y s m e ! NA ND O [to J O SE] Yo u r e a fr a id ! J OSE Yo u ll se e ! And t he n it ll be yo ur tur n ! [App r oac hing SEBA STI AN ] Mas te r ! SEBA S TI AN W e ll wh a t is it ? M a ne lic h he se e ms t o be J OSE Why er Plu c ky is n t he ? e h m a s te r ? pl uc ky SE B A STI AN [furio usly] Pluc ky ? H e s a do g and ’

.

.

’

,

.

’

.

’

’

.

.

,

.

’

,

,

’

.

a

be a s t !

J O SE Tha t s it t h a t s wha t I m e a nt ye s ! NA ND O [ste pping forwa r d] No w it s m y t ur n ! [Alo ud] We ll I say M a ne lic h SE BA STIAN What ? ’

’

.

’

.

,

.

92

l

MARTA

SEB A STI AN [a side]

OF

They

.

LOWLAND S

THE

M O S EN

’

r e a ll a ga inst

enter s

.

M OSEN We ll he r e I a m ! SEBA STI AN Wha t no w ? H a ve .

me !

,

.

be e n

yo u

t o the

h o use ?

M OSEN

Y e s,

.

a nd

de vil

is th e

th e r e

to

pay

the r e !

SE BA STI AN

W ha t !

.

S o m e thing

e ls e

?

I sha ll

go

m ad !

M OSEN The fa the r h a s a r r ive d SEBA STI AN D a m n the o ld m a n ! M O SEN Sh a ll we go t o th e h o u se ? SEBA S TI AN I ll go late r Fo r m e M a r ta c o m e s be fo r e e v e r y thing e l s e in t h e wo r ld M OSEN I t do e s n t se e m p o ss ible S e bas t ia n .

.

.

.

’

.

.

,

.

’

,

.

wha t yo u

us e d

t o be ,

wh a t yo u

a nd

SEBA S TI AN [impa tiently]

.

ar e

!

L e a v e m e ! l e a ve

Go !

me !

M OS EN m an

.

B lind

s usp e c t s e

wo r se

ve r y thing !

t ha n

th a t

blind !

Ma r t a

’

s

The

Old

we dding wa s

fa r c e ; th a t yo u t ur ne d M a ne lic h o ut be c a use yo u we r e j e a lo u s o f him S e b a st ian ! S e bas t ian ! H e sa ys h e will b r e a k o ff t he we dd ing I f he c o m e s h e r e a

.

.

yo u

ar e

lo st

.

l 94 l

MARTA

OF

LOWLANDS

TH E

SEBA STIAN [cha nging his tone]

Le !

Co m e , c ome !

.

go !

us

M O S EN

Tha nk Go d !

.

J O SE SE BASTIAN e ye o n

No

.

D O yo u

[ The y

NA ND O

Y o u will

.

the m il l

o ut .

go

a nd

[Ca lling ]

st a

y

in

c om e

.

d

o u tsi e

is t o

o ne

H e ll o the r e !

come

d ke e p a n no o ne is to

an

in,

unde r s t a nd?

no d a s sent]

MO SEN Le t us go ! SEB A STIAN Y e s le t us go But I ll c o m e b ac k I ll c o m e b ac k if I lo se e ve r y thing MO SEN Be c ar e ful ! M o r r uc ho is still he r e a nd .

’

.

,

.

’

.

,

.

was

with M a ne l ic h

see n

b

H e h as be e n pr o wling

.

the mill

If yo u c o m e

h e r e , h e will t e ll

Mane we ll yo u kno w wh a t h e t hr e a t e ne d lic h and SEBA STIAN Wha t do I c a r e ? I ll c o m e bac k ! a o ut

.

.

,

,

’

.

[SEB A STI AN a nd M OSEN go o u t a s J O S E NAN Do PE LU CA a nd the women enter ] ,

,

,

,

NA ND O o ut o f

It

.

his

see m s a s

s

go ing

se nses .

ANT ONI A

ANT ON IA

.

no t go in to ’

th o u gh the m as te r

’

com es

Le a ve he r

y with

st a

,

he r

fr om within

Pe p a ! a ny

l 95 l

.

Le ave he r !

lo nger !

Im ’

MARTA

OF

LO WLAND S

THE

PE PA [c oming fr om within] Wha t a l o o k she has Why ho w da r k it is ! [She lights a o n h e r fa c e ! c a ndle a t the fi r ep l ac e ] J O S E Wha t s up ? Wo n t she c o m e o ut ? No sh e wo n t a nd she wo n t ! ANT O NI A PE PA I ll no t p u t up with he r no nse ns e any lo nge r ! Sh e t a kes no no t ic e o f us ! Why sho ul d we st ay ? Th a t s s o ! Le t s all go ho m e ! ANT ONI A J O S E [myster io us ly] We m ust n t m o ve fr o m her e .

,

’

’

.

’

.

’

,

’

.

’

’

.

’

.

t ill S e b astian

c om es

.

[NU RI is hea r d weeping in the dista nce ] NAND O H a r k ! Th e r e s so m e bo dy c ryin J O S E I t s Nu r i ! ’

’

.

’

.

NUR I

e nter s , c r ying

’

.

N URI I m tir e d o f s t ayin a lo ne ! I do n t want t o st ay in the ho u s e a l l a lo ne ! PE PA Co m e he r e c hil d J O SE I do n t bla m e yo u Nur i N URI Y o u ne ve r think o f m e ; it was so dar k a wf ul d ar k a nd I wa s s c ar e d o h it fr ighte ns me to t hink h o w s c a re d I was And whe n I was ye t r unnin I tho ught so m e b o dy was a fte r m e [She ’

’

.

.

,

.

’

.

.

,

.

,

.

’

,

loo ks

over

.

her

sho ulder

] Oh l 96 l

,

h ow I did

r un

and

MA RTA p o t bo ilin

bo dy !

fac e

’

a ll

OF

LOWLAND S

TH E

e no u gh

it was

l

a o ne

n h a l i R u n s l a u h f a s ham ed [ g g ,

ANT ONI A

on

ANT ONI A

’

to

sc a r e a ny

a nd

hides her

S br ea st]

Wh a t a c hild ! She h as sc ar e d m e too ! NUR I [lea ving ANT ONI A ] Wh e r e is Ma r t a ? ANT ON I A She s ly in do wn NUR I Po o r thing [She loo ks a t eac h one in tur n Whe r e is They l o wer their eyes ] qu estio ningly Ma no lic h ? PE PA I s upp o se he s in the r e NU RI Whe r e ? NA ND O Why inside t he r e PE PA H e s p r o b a b ly as le e p J OSE Y e s a s le e p ,

.

.

’

’

.

.

.

.

.

’

.

.

.

.

.

,

’

.

.

.

.

[All N UR I

Why

.

ANT ONI A

NURI J O SE

.

f

]

ho w

funny

co n u se d ,

W e ll

,

ac t

yo u

h o w do yo u wa nt

! us

to

a c t , c hil

d?

Why do n t yo u go ho m e ? Why yo u se e Nur i we r e wa itin ’

.

’

.

wa it in

l oo k

,

,

’

,

’

NA ND O Fo r Se b as t ia n be c a use he to ld us to st a y h e r e a nd wa t c h NUR I W a t c h wh a t ? J O SE C hildr e n sho uldn t as k so m a ny que stio ns ! .

,

.

’

.

[ They a ll

no d a sse nt to

98

l

this ]

MARTA

OF

THE

LOWLANDS

NURI [beginning to cr y a ga in] I wa nt t o se e Ma ne lic h ! H e is n t h e r e ! [S he sta r ts to go within ] PE PA [deta ining her ] S to p sc r e a m in ! ANT ONI A Wh e r e a r e yo u go in ? NUR I [stam ping her foo t] I wa nt to se e him ! I .

’

’

.

’

.

.

wa nt t o

M a ne lic h !

se e

NAND O Will yo u st o p c r yin ? NUR I No I wo n t st o p c r yin ’

.

’

.

Do n t ’

.

so m e

!

to qu ie t her ]

f

I m

.

sc r e a m s o

a r a id

’

kno w

ha pp e ne d t o M a ne lic h !

[ They tr y

NUR I

.

,

thing a wful h a s

PE PA

I

’

he

’

s

’

I m

de a d

f

a r a id

yo u ve ’

kille d him !

JOSE Do n t be fo o lish c hild ! We h a ve n t kille d We ve do ne no thin b ut t ur n him o u t o f a nybo dy ! ’

’

.

,

’

’

d

the ho use

NA ND O

NURI

an

Yes

.

,

no w

a nd no w

Oh I m ’

.

we wish we h a dn t ! ’

,

so

we wish we h a dn t ! ’

Why

gla d !

the n, h e ll ’

,

come

bac k !

JO SE Wha t is she sa yin ? NUR I I ll go a nd te ll him NAND O [ta king her by ar m ] ’

.

’

to

.

want him t o

NU RI

c o me

bac k

come

’

.

Th e m a st e r do e sn t

.

[r esisting] Le t m e go ! Le t M AR TA [c a lling fr om the door of her l 99 l .

b ac k !

m e go ! r o om

]

.

N ur i !

MA RTA

OF

THE

LOWLAND S

[r unning to her ] Ma r ta ! o h Mar t a ! M A R TA [a pp ea r ing in do or a nd em br ac ing N URI ] N ur i ! [S he c o m e s for wa r d lea ning on NU RL ] NURI Po o r Ma r ta ! D o yo u kno w a bo ut Mane lic h ? The y ve t ur ne d him o ut the y re tur ne d him o ut as if h e wa s no bo dy M A R TA I kno w N ur i I kno w ! H e lp me to walk de ar ! PE PA We ll he lp yo u M AR TA N o ! D o n t t o uc h m e ! J O SE Why we y o u kno w we o nly o b eye d o r de r s M AR TA [weeping] Y e s I kn o w yo u o nl y o beye d l a ugh ing a t M a ne lic h o r de r s ha t ing m e yo u o nly o b e y e d o r de r s ! Wh a t ha r m h as M ane lic h e ver do ne yo u ? N URI D o n t c r y Ma r t a ! [Wipe s her own eyes a nd then M AR TA S ] M AR TA And no w why do n t yo u want N ur i N U RI

,

.

.

.

’

’

.

.

,

,

,

’

.

.

’

.

.

,

.

.

,

’

.

,

’

’

.

c all

to

h im ?

I wa nt

t he r e

up

th er e r e ac h

Wha t

him ?

is

o ne

the r e to

ar e

la u gh

at

the high e s t p e a k, if we

we ll go highe r ye t ; ’

is t he r e

to go with h im

wh e r e no

h ar m

a nd

st

]

he

s

c alls

with m y husb and, p e o pl e

no us

.

where

And whe n we

ill h e ar yo u l aughing,

wh e n we

1 00

if

c o me

whe re Go d

MARTA

M A R TA

.

.

D o n t l e a v e m e N ur i ! No I ll s t a y wit h yo u Ma r t a ,

,

[S he sm iles sadly and sp ea ks a s J ust yo u a nd m e t o ge the r c hild]

.

a

.

l

the door ] a

it !

No w wha t sha ll

Th e r e !

.

bo ut M a ne lic h ?

I

Oh N u r i ! ,

t he y

c l o se

it

Sha l l we t a lk .

t he do o r ?

c o se

c l o se

Y e s,

NUR I [c lo sing M A R TA

.

N ur i

D o yo u wa nt m e t o .

No bo dy

’

tho ugh addr essing

we do ?

LOWLAND S

TH E

’

NU R I l o ve s yo u like

M AR TA

OF

s

ha ll die

o

f te r r o r !

The se

fa lling o n m e a nd be h ind the m I se e S e bas t ian ! I sh u t m y e y e s no t t o se e him a nd h e is h e r e fo r c ing m e to go be side m e with h im ! Oh no —no — no t t h a t ! I m us t ge t I m u st go t o M a ne lic h ! I do n t o ut o f h e r e N u r i ! kno w whe r e he is but if I c a n o nl y ge t o u t o f he r e

wa lls

se e m

!

,

’

,

,

,

’

I ll fi nd h im !

NUR I M AR TA NUR I

Oh de a r !

.

I m

,

Why

.

,

yo u t o ge t

o ut

so

mad

with

m y se lf !

N u r i?

I

B e c a u se

.

a

’

of

’

do n t kno w h o w

he r e

r

igh t

a wa

I

y

c an

but

he lp r igh t

wa y !

M AR T A S e ba s t ian

.

Y e s, c o m es

do n t l e t him ’

N URI

.

r ig

a wa

y

,

Nur i,

r ight a wa

O Go d ! do n t le t him ’

!

come

Oh , if I

ht

com e

!

c o ul

d

o nl

y think o f a way !

1 02

y!

If

MAR TA

M AR TA wa t c hing if the y

Th e y

.

I

so

,

’

can

’

[N UR I loo ks ,

M AR TA

NUR I

t ge t

a

’

,

g at e ,

You

.

wa y

un

de r

t he

Lo o k , N ur i,

.

r e a ll

t he y

so

se e ,

Wa it !

.

t he r e

o ut

with

o u t a nd s ta m p s

Y e s ye s th e y

.

ne a r t h e

light

a ll

re

LOWLAND S

THE

s

he d ,

a nd se e

t he r e ?

ar e

NURI

OF

t he r e is no

[S he thinks

’

t he r e !

c a n se e

] The y ve r a ge

l e ft

yo u if yo u go

c h a nc e

a

o ut .

no ne

!

mo m ent a nd br ightens

a

quic kly]

M AR TA

NUR I pl a n

.

Wh at ?

.

K

.

You

M AR TA

Wh a t ? iss m e M a r t a [K isses he r ] sh a ll ge t a wa y !

I

.

,

h a ve

a

N ur i !

.

NURI [a s tho ugh ta lking to a c hild] The r e t he r e Se e h o w h a pp y she is ! Y o u p o o r de a r ! .

[K

issing her

a ga in

M AR TA

B ut N ur i

h o w,

de a r ?

H ush sh sh !

Do n t

t alk

.

] The y will

se e

me !

NURI

.

te ll yo u

-

yo u

’

re

’

-

go in

’

t o ge t

a wa

so

lo u d wh e n

And it

y!

’

s

I

N ur i

‘

who

’

s

Nur i ! muc h ,

Yo u

he lpin yo u ! ’

Te ll him I a nd

’

ve

’

ll t e ll

t h o u g ht

tha t whe n he has

me wo r d if he thinks

Ma nalic h

a bo u t

M AR TA [incr edulo usly]

.

me !

him ,

a bo u t

a c h a nc e

t h a t it was

h e is t o

Oh I m ’

,

so

B ut h o w, Nu r i?

1 03

]

oh,

so

se nd

h a p py !

H o w?

MARTA

NUR I

yo u sh ut t he do o r a nd a ll

be g in r unnin

da r k

ning to

a

b o ut

,

Why

,

o

I

o ut ,

go

t he r e wh e r e the y

ve r

d p l a yin with the m

ar e ,

’

an

o ut

th e light

u nde r s t a n

d

Te ll m e

no !

,

whe n

o ut , a nd

Y o u p ut

.

No de ar

.

,

D o yo u

l a ugh]

.

’

t he r e

o ut

M AR TA NUR I

I l l go ’ I ll g o

.

LOWLAND S

TH E

’

Lis t e n !

.

OF

h o w st up id yo u

s

[Begin

.

no w ? a ga in,

ar e ,

It

.

’

N ur i !

Ma r t a !

'

Whe n

I m p la yin with t he m , I ll kic k th e l ight with m y fo o t I t will fa ll o ve r a nd go o ut a nd the she d will ’

’

’

,

.

be

al

a nd

l da r k

I ll ’

Th e y will g o in t he m ill t o light it

.

fo llo w the m

t he n, yo u

M AR TA

o pe n

la ugh in

,

the do o r

Yes !

,

NUR I We ll no w M AR TA [ner vo usly] .

,

,

.

’

d p us hin the m

an

a nd r un

Oh Nu r i !

.

’

’

I m go in ;

,

a nd

.

Right

Yes ! ’

Wa it !

a ga in

so

be

H ow

s

a wa

y! I

y!

read

ha ll

kno w

whe n

NUR I

Th a t

.

’

s so

!

H o w wil l yo u kno w ?

Wha t

I l l la ugh [ Thinks intently] Oh ye s o nc e ve r y l o u d a nd th e n yo u o p e n the do o r M AR TA Yes t he n I ll o pe n the do o r ! Oh hur r y N ur i h ur r y ! NURI K iss m e ! t he r e ! [K issing her r epea tedly] The r e M AR TA a

’

bo th e r !

,

,

,

.

’

.

,

,

,

.

.

Go d will ble ss yo u de a r c hild ! N UR I Whe n I l a ugh l o u d ! ,

.

1 04

]

MARTA

OF

THE

LOWLAND S

SEBA STI AN Who s the r e ? M A R TA [in a l o w frightened voic e] Ah ! Se b as tian ! SEBAS TI AN Wh o s the r e ? Oh ! is it yo u ? Whe re ’

.

.

,

’

.

we r e yo u go ing ? M AR TA [a side]

Go d he lp m e ! SE BA STIAN [c atc hing her by the .

a rm

D o yo u m e ! Whe re

]

.

Whe r e we r e yo u go ing ? Ans we r we r e yo u go ing a t this h o u r o f th e night ? Le t m e g o ! M AR TA [tr ying to esc ap e] SEBA STI AN H o w yo u t r e m ble ! Yo u r e half de a d fr o m fe ar ! [H e p ushe s her fr om him sco r nfully] M AR TA [aside] Oh if I c o uld o nly die no w ! SEBAS TIAN Take o ff tha t ha ndke r c hie f it be tr a ys yo u ! Ah ha ! S o yo u we re r unning a way ! M AR TA Y e s I was a nd no o ne sh all st o p m e ! SEBAS TIAN [g lo a tingly] Tha t s the way I lik e yo u

he a r ?

.

’

.

.

,

.

,

.

,

’

.

like t h a t

yes

M AR TA

.

like th a t !

Le t m e go !

SE BA S TI AN [la ughing Le t yo u go ! M AR TA

sa tiric a lly

]

.

Le t

yo u

go !

’

Do n t l a ugh a t m e Se bastia n ! SEBA STI AN D o n t l a u gh a t yo u ? Wha t shall .

,

’

.

do th e n ? ,

fo o t ?

I

Tea r yo u to pie c es a nd t r a m ple you under N o , no ! B e tter t o l a ugh a t you !

MAR TA

.

Le ave me ,

or

kill me !

106

]

MARTA

SEBA STI AN kill yo u ?

.

OF

TH E

Le t yo u go

[H e go es

,

LOWLAND S Or go m yse lf ? shuts a nd bo lts it]

eh ?

to the doo r ,

[fo llowing him ] No ! no ! SEBA STI AN No w we r e a lo ne sh u t yo u a nd I ! Th e wo r ld e nds he r e fo r us M AR TA

.

’

.

that

’

s

Or

in t he wo r ld

t he

e a r th

the

in he r e a nd a ll

sky

e

ve r y

thing is he r e !

M AR TA [shr inking

SEBA STIAN a ga inst

.

a wa y

in ho r r or ]

No w t e ll m e

m e in this way ?

0 Go d !

.

why yo u ha ve t ur ne d

Y o u who

o ugh t

t o th a nk

Wh a t ha ve I

t o t ha nk

me !

M AR TA

Oh inf a m o us !

.

,

yo u fo r ?

Tha t yo u h a ve dr a gg e d m e in the dir t

m a de m e

an

o utc as t

yo u le t m e liv e ,

Oh

be fo r e ?

,

o nl

y

be f o r e G o d t o m a ke m e

I

c o wa r d

yo u

a nd

vile r

no w

th a n

h a t e yo u

I

th at

was

c o wa r d

c o war d !

SEBA STI AN [in no

! do n t ’

M AR TA

sa y

th a t !

Yes

.

su pp lica ting

,

I

Do n t ’

sa y

to ne]

.

Mar t a !

No !

yo u h a t e m e !

ha t e y o u !

SEBA STI AN [seizing her a nd plac ing his ha nd over her mo uth] H ush ! h us h ! Y o u lo ve m e yo u sha ll lo ve m e ! I h a v e sac r ifi c e d e ve r y thing fo r yo u ! I suffe r e d like o ne o f t he da m ne d wh e n I ga v e yo u t o that m a n ! D o n t te ll m e yo u lo ve him no no t .

’

1 07

MARTA

OF

THE

LO WLANDS

[H e sinks into a c ha ir by the ta ble his hea d in his ha nds ] M AR TA Will it pa in yo u to kno w I lo ve Ma ne lic h ? O Go d I t ha nk Thee fo r giving m e o ne m o m e nt s ha ppines s ! Y e s I lo ve him with a ll m y h e ar t with a ll m y bl o o d I with a ll m y life lo ve him ! SE BAS TIAN [r ushing a t her ] S to p ! S to p M A R TA I ll s ay it t ill yo u c ho ke m e ! I t s t he o nl y thing I ve e ve r be e n a ble t o s a y witho ut t ha t !

,

.

,

’

,

.

’

’

.

’

sh a m e

!

SE BAS TIAN S to p I te ll yo u ! [ Thr ea tening her ] M AR TA [as tho ugh r eme m ber ing] I m us t de fe nd m y se lf fo r him o nl y fo r him ! Ma r t a is no thing bu t th e wife o f Ma nolic h ye s ! SEBA S TIAN Y o u m e a nt t o r uin m e a nd yo u ve do ne it yo u ve do ne it ! B e c a use I wo ul dn t le a ve a nd I wo n t l e a ve yo u with t h a t man yo u .

,

.

’

.

,

’

’

’

,

who s e

na m e s e ts

me

on

M AR TA [sto pping her

fi re !

ea r s

with he r fi nger s]

I wo n t ’

.

lis te n !

SEBA STIAN yo u

sh a ll

M AR TA

.

Y o u we r e m ine

yo u

are

mine

be m ine ! .

M ay th e

e ar t h

fir s t ! 1 08

o pe n

a nd swa llo

w me

MAR TA

M AR TA

.

OF

LO WLAND S

TH E

M a ne lic h !

MAN E LI CH [a dva nc es

a nd

ta kes her in his

arm s

]

.

Ma r ta ! SEB A STI AN [wildly] H o w did yo u ge t in he r e ? I c a m e th e wa y yo u use d to c o m e M AN E LI CH o f m a s te r a nd thie f ! by yo ur do o r I waite d fo r I fo llo we d yo u I c lim be d the wa ll with yo u .

.

m y na il s a nd

we

’

with m y tee th

a nd

I m he re

r e al o ne

SEB A STIAN

.

B e g o ne with yo u

M ANE LI CH [to M AR TA B e go ne ! thinks

a nd

’

a nd

,

’

I ll

or

la ughing

H e thinks h e is s t ill m as t e r ! th a t

so

I

m us t be ar it

a ll

!

fer ocio usly] Mar ta he

.

[ Tur ning

to

SEBA STI AN ] N o no I a m m a ste r no w ! SE BA STI AN [sta rt ing to go o ut] Y o u maste r ? We ll se e ! M A R TA [in wa r ning vo ic e] M a ne lic h ! M AN E LI CH [inter po sing] No c o war d ! I t e ll she yo u we re al o ne yo u a n d I ! I c o m e fo r her .

,

.

’

.

.

’

is m ine !

And I

fo r yo u

com e

’

’

fo r I m go in to kil l

yo u !

SEB A STI AN M A N E LI C H

SEBA STI AN M AN E LI CH

.

Me?

.

Y ou !

You!

I

can

.

.

,

Y o u kill m e ?

to o ,

And

kill m e n !

wo l ve s !

I [

1 10

]

The re

yo u have

MARTA

OF

THE

LOWLAND S

Mar ta ! D o yo u wa nt he r ? The r e she is we ll fight fo r he r ! [M AN E LI C H dr a ws his knife ] SEB ASTIAN I h a ve no knife ! M ANE LI CH [thr owing the knife a wa y] I do n t nee d it ! Wha t ha ve yo u do ne ? M AR TA No w we r e e qua l ! Wha t ar e yo u M AN E LI CH ’

.

’

.

.

’

.

wait in fo r ? ’

SEBA STI AN

’

.

Yo u ll

se e

[H e

!

knife; M AN E LI C H inte r cep ts

r uns

a nd c linc

to

sei e

z

the

hes with him;

SEB ASTI AN is er ec t when the y c ome to gether ] AS H BAAR TA Y o u wa nt e d t he knife M AN E LI CH [H e seiz es SEBA S TIAN by the thr o a t] SEB ASTIAN C ur se yo u ! .

.

c o wa r

d!

.

D ie ! M ANE LI CH [c ho king him ] My Go d ! My Go d ! M AR TA .

D ie !

.

M AN E LI CH

.

Wr e t c h !

M AR TA [fa lling on her knees] D ie ! D ie ! D ie ! M AN E LI CH .

.

’

the thr o at at arm s length ]

Wo l f ! H o ly Vir gin !

C o war d !

[H olding him by D ie with yo ur fac e to he r !

[He casts him at M AR TA S feet] MAR TA Me r c iful C h r is t ! [She r ises in horr or ] M ANELI CH The r e yo u h a ve him ! [H e r uns to ’

.

.

door

and op ens

it]

C o m e in

a

ll

of

[ The men and wome n cr owd in] 111

yo u !

M ARTA

OF

TH E

LOWLAND S

Wh a t h as h a pp e ne d ? M AN E L I CH Yo u r m as te r c a lle d yo u ! J O SE [bending over SEBA S TI AN] De ad ! PE PA D e a d ! NA ND O

.

.

.

.

M AN E LI CH

.

l a ugh

La ugh

a ll

of

yo u !

W ’

e re

le a vin th e lo wla nds ! ’

M AR TA [r unning quic kl y !

to him]

.

Y e s , ye s

t a ke m e

Ma ke way the r e ! I kille d the wo lf ! [H e points to SEBA STI AN ] I kille d the wo l f ! [M A NE a nd lo o ks L I C H e ncir c le s M AR TA with his r ight a r m into he r fac e; she r etur ns his lo o k tr em bling ter r ifi ed; M AN E LI CH

.

,

,

with

a

p owerfu l

s

we ep

mo u nta ins; M A R TA

f the left

o

a rm ,

they go

no ds asse nt;

,

he p oints to the o ut

quic kly, the

p eople fa lling bac k to ma ke wa y for them ]

U T N

C R AI

.

TH E COUNTRY LIFE PRE SS , GARD E N CITY , NE W Y ORK