Complete Fictional Works of Washington Irving (Illustrated)

by Washington Irving

  Bertha

  What do you utter to yourself?

  Albert

  Nothing, my love — I feel harassed and weary. A little rest, however, will restore me. (He throws his hat upon the table, etc.).

  Bertha

  See, Albert! See — you have extinguished the light.

  Albert

  Never mind, my love — the moon shines bright and clear. Come sit by me and let our souls discourse. Methinks there’s something in this quiet light that calms the breast. The moon is in the full and spreads its tender radiance o’er the forest. Canst thou not draw a happy omen from it, Bertha?

  Bertha

  Alas! this night the moon is in eclipse; and when that happens, I’ve been often told, all evil things have power. They say it is a time of crimes and dangers.

  Albert

  Fond girl! the gossips of the forest have filled thee with these dreams. Believe me, love, these gentle lights of heaven that rule the night are all propitious to the lovers’ fortune. Be of good heart, my girl — the heavens smile on us. Tomorrow makes us one; and then we’ll wear this broad-face moon out, to its last silver rim, in love and happiness.

  Bertha

  Heaven grant it — (pensively) — for oh, should any adverse fortune happen I feel ’twould break my heart.

  ENTER NINA WITH LIGHT

  Nina

  What, Albert here? (Archly) — And all in darkness?

  Bertha

  You forget ’tis moonlight.

  Nina

  Ah, true, the honeymoon. The moon — the moon is everything to you lovers — it seems to me as if this love was all a matter of moonshine. (Goes to the window) — But see — your moonshine will soon be at an end. There are clouds gathering over the distant hills and I heard just now a muttering of thunder.

  Albert

  ’Tis so, indeed. How wild the southern sky looks! (Aside) — I must away; in spite of all my efforts there is a sadness sits upon my heart and sinks me to despondency. Farewell, my love.

  Bertha

  What, so soon, Albert? Go not so soon. Wait till the storm be over.

  Albert

  ‘Twill be too late. It is my night of watch. I have a round to make deep in the forest.

  Bertha

  I do not like this roving thro the forest. You know the night’s unlucky and they tell fearful things about this forest.

  Albert

  Mere tales, my girl. I am to meet a villager at the place where the wolf lies that I killed. He promised to assist me in carrying home the spoil.

  Bertha

  Where does it lie — is it far off?

  Albert

  Down in the valley, near the Wolf’s Glen.

  [While the last three or four speeches by Albert show no particular inconsistency with the character Irving has given him, in order to appreciate the point of his remarks one must take into account the fact that in the original version it was Albert (or rather Max) — instead of Andreas — who had the appointment to meet Caspar in the Wolf’s Glen at twelve o’clock, to make the magic bullets. It is not clear — nor is it at all important — what Irving intended Albert to do after leaving Bertha; but it does seem apparent that in the original Max’s plea that he had an appointment with a villager, and a round to make in the forest, was a mere subterfuge; and that his anxiety to be off was due to the tryst he had with Caspar.]

  ACT II, SCENE II

  [In the MS. Irving does not begin this scene with a description of the Wolf’s Glen, but he prefaces the dialogue with the following note: “I should prefer that the goblin appear in some other manner than from the center of a rock. This shoving aside of canvas, or trap door, has too bare-faced a look of mechanism for any good effect. Those tricks always appear paltry to me. Let him rise through a trap door which is concealed by some small rocks.”]

  (Chorus, etc. Rock opens and Urian appears)

  Urian

  Wherefore am I summoned?

  Caspar

  Mighty spirit, I claim the fulfillment of thy promise — to grant me three years more liberty, Urian Canst thou fulfill the condition?

  Caspar

  I can — I bring this night another votary.

  Urian

  What does he seek?

  Caspar

  Unerring balls.

  Urian

  Seven shalt thou cast — six for him — the seventh flies at my direction.

  Caspar

  I crave that ball as a reward for faithful service.

  Urian

  ’Tis thine. But have a care; mischief it must do — if not to others, to thyself.

  Caspar

  I take the risk, for I know where to send it.

  Urian

  Remember — thy victim or thyself! (Disappears. Andreas appears among the rocks. Omit the appearance of ghosts — they always, to my notion, spoiled the grandeur of the scene of incantation — which ought to have a singleness in its nature. Something magical — not ghostly. Besides, though they might be sent to warn Max (Albert), they would hardly trouble themselves about such a random blade as Andreas).

  Caspar

  (Looking up)

  Ah, art thou here at last? Hasten — it grows late.

  Andreas

  I come, I come. ‘S-blood! this night air and the walking alone in these haunted woods have quite sobered me (Descends the rocks rapidly. The moon is again partially obscured. Andreas looks about him with a troubled and fearful air). Here am I. What am I now to do?

  Caspar

  (Taking a bottle from his pocket)

  First, drink. The night air’s chill and damp —— this will warm thee.

  Andreas

  (Drinks)

  Egad, ’tis fire itself — it warms one’s very marrow.

  Caspar

  (Aside )

  That well may be—’tis from a strange distillery. (Snakes and other reptiles surround Andreas. He endeavours to drive them off). Thou’rt yet a novice. Come within this circle—’tis a magic wall between us and all evil spirits, that reaches from the centre to the firmament. The time approaches. Fear not, whate’er thou see’st or hear’st.’Tis not without severest struggles that Nature yields her secrets up to us weak mortals. Be silent now, until thou see’st me fall and cry for aid. Then call thyself; else, Andreas, we are lost. (He points to the moon which is partially eclipsed) — See — this is the moment; the moon already is eclipsed.

  Author’s Private Note: — In the progress of the incantation let the uproar of the scene gradually increase. The apparition of the Wild Huntsman, hounds, etc., in the air be at the sixth ball — and at the seventh let the trees fall —— rocks roll on the stage, etc., etc., — and the Wild Huntsman appear from behind a rock, etc. But omit the phantasmagoria of Bertha — Death, etc., which in my opinion would give a commonplace character to the whole and be a complete Bathos. The scene as an incantation may be made grand and awful — but care must be taken to avoid all commonplace stage trickery — such as rocks opening by slides — transparencies of queer faces appearing on rocks as in the representation at Dresden, etc. A little use of white, blue, and red fires would heighten the effect).

  ACT III, SCENE I

  (Morning. The outside of a picturesque old Hunting lodge in the gothic style. — A latticed window with a balcony before it, which projects considerably over the stage and is supported by rustic columns, forming a kind of porch to a door. Forest scenery in the background. The sound of hunting horns is heard from time to time in the distance. Enter two of the Duke’s Hunters )

  First Hunter

  A fine morning, comrade, after the storm. Charming weather for the hunt! Who would have thought last night to have had such a daybreak? Faith, I fear’d we should never see the sun again.

  Second Hunter

  The sun — no, nor moon either. Egad, I thought the wind would have blown the very stars out! Did you ever hear such howling and whistling as it made among the forest trees?

  First Hunter


  And then the thunder — how it crashed and bellowed! I’ll warrant, comrade, there’s been pretty work on the east side of the mountain by the Wolf’s Glen. The sky seemed all in a blaze of lightning in that direction.

  Second Hunter

  I came that way this morning. The blasts out of the glen have lain the forest trees before it as flat as bull-rushes. The firs that grew among the cliffs are standing with their roots in the air. The brook that runs through the glen came roaring like a torrent — overflowed its banks and nearly drowned old Karl Brenner in his mill. The old man swears the Wild Huntsman was abroad and that he saw him and his hell-hounds in full cry among the clouds. But hark! the horns are sounding at the hunting camp! Something must be going on there.

  ENTER ANOTHER HUNTSMAN

  Third Hunter

  What! lagging here and losing all the sport?

  First Hunter

  What sport?

  Third Hunter

  What sport? Why, some of the sharpest shooting you ever saw. Don’t you know that Albert and Andreas are shooting for the Ranger’s place? You never saw so dead a match. — Three times have they each shot, and three times has each hit the mark.

  First Hunter

  What, Andreas so sharp a shooter? Who would have thought it! But heaven defend us from that scatter-brained fellow becoming Ranger of the forest. He would turn everything topsy-turvy. But how came you to leave the ground while such sport was going on?

  Third Hunter

  Oh, there’s a respite for an hour. The Duke has ordered the target to be placed at double the distance so that it is next to impossible either should hit the centre; but whoever comes nearest it in the next shot, wins the day.

  First Hunter

  Well, Albert’s my man.

  Second Hunter

  And mine also. Ah, here he comes. (Enter Albert, cheerily). Good morning, comrade.

  Glad to hear you’re in such good shot this morning.

  Albert

  Thank ye, my friends. The spell indeed seems broken. This trusty rifle (shewing his rifle) is once more true to its master. But the trial is not yet over — the next shot will probably be the deciding one.

  Hunters

  Well, good luck to ye — good luck to ye, comrade. (Exeunt).

  Albert (Alone)

  Now to tell my good luck to Bertha. Yonder’s her window. What! still closed and gloomy on a bridal morn! Oh, let me cheer her with my own bright hopes. The day’s success has put new life into me, my heart again beats light and cheerily and shares the freshness of the glorious morning.

  ARIA

  Bertha (At the window)

  Albert, is that you?

  Albert

  It is, my love. But what! — not yet prepared, and our nuptial hour so near at hand?

  Bertha

  Alas, Albert, I have not the heart to make preparations. Whene’er I try to twine a bridal wreath, it seems as tho’ it were my funeral garland.

  Albert

  It is thy anxious mind that turns all things to portents. The night has been to every one a night of horror; but see how sweet and holy is the morn. And know, my girl, once more I am myself; and every shot has been successful.

  Bertha

  (With eagerness)

  Is the trial then over? Thank heaven! thank heaven!

  Albert

  Not over — not quite over, Bertha. The next shot will decide, but now I am myself again I feel a calm assurance of success.

  Bertha

  Would the trial were quite over! Do not chide my weakness, Albert — I am a poor timid girl; forgive me if my weak spirit clogs your bolder nature. Alas! there’s something awful even in a wedding day, and this has been preceded by such omens!

  Albert

  Still thinking of these omens. Come down, my love, and greet me with a smile. Come, deck my bonnet with a gay white rose and trust me, love; we’ll have a merry day of it.

  Bertha

  I come — and with the rose I bring the Hermit’s blessing. (She leaves the window. Enter Bertha below. Approaches Albert with faltering, hesitating manner and voice. In the course of the duet he tries to reassure her. She looks up to him with doubting look as if seeking encouragement — but relapses into pensiveness and her air is thoughtful and unquiet).

  DUET — ALBERT AND BERTHA

  Bertha Ah me!

  Albert

  Come, cheer up, my girl! The bridesmaids and village lasses will soon be here to hail you with the bridal song; and to conduct you to the Duke’s presence — who is in the banquet tent. So brighten up — I cannot miss the mark when you’re the prize. Come, the white rose in my hat — one bright smile — and I’m sure of success!

  (Bertha twirls a rose in his hatband in silence — places it on his head, looks in his face with a pensive smile — retires thoughtfully to the house, — Albert looking wistfully after her. When she reaches the door she turns, kisses her hand and exclaims: Success attend you, Albert!).

  Albert

  It will — it will. And now Andreas, for the final trial.

  ACT III, SCENE II

  (Bertha’s chamber)

  Nina

  Dear, dear Bertha — for heaven’s sake don’t look so gloomy on your wedding morn! Upon my word, you frighten me. I had no idea marriage was such a terrible thing. Why, lud! my dear ‘twill soon be over, and then you’ll think no more of it than all the married folks one sees. Come, cheer up and I’ll go get the wedding wreath that old Agatha has just brought from the village. You’ll look as fine as a little queen. And then we’ll be off to the hunting camp. (Exit).

  Bertha

  (Remains pensive and musing — clasps her hands and looks upward with a sigh)

  Still — still this strange, this unaccountable foreboding presses on my heart. No, no — I’ll not yield to it. There is a Power above that watches over innocence. (Air — Und ob die Wolke). — Oh me — would that the day were happily over! What can it be that thus weighs down my spirits and makes me feel more like a victim than a bride? (Music). Hark! the bridesmaids are coming! Alas, how strange it is! I feel more as if going to a sacrifice than to a marriage altar.

  SONG AND CHORUS OF BRIDESMAIDS. —

  ENTER NINA

  Nina Here it is. — Here’s the wedding wreath, Bertha. Come, no more doleful looks; but dress your face in smiles, while I dress your head with flowers. Come (to the girls), let’s have your pretty chorus again while I crown the bride. (While they sing she kneels before Bertha on the little stool, unties the green ribband which fastens the box and opens it. The girls who are looking over as she opens the box start back with expressions of horror).

  Bertha

  (Throws herself back in alarm)

  Oh, God!

  Nina

  (Prom whom the contents of the box were hidden by the raised lid)

  What’s the matter? (Bertha takes the silver wreath out of the box).

  Nina

  Oh, horrors! A death wreath! This indeed is — (checks herself) — is not to be endured. That stupid half-blind old creature Agatha has brought a wrong box from the shop through mistake. (The girls look at each other with an inquiring air. Bertha fixes her eyes on the silver wreath and clasps her hands together with a look of despondency. Nina considers a moment, then quickly) — Come — Away with this wreath! (Shuts it up in the box). We must have one, however — come, let us make one out of the white roses which the good Hermit gave you.

  Bertha

  Nay, these must I wear in my bosom; they have the Hermit’s blessing.

  Nina

  Ah, but here remain enough beside. (Fetches the rest of the roses, etc., seats herself and wreathes them). Only see what a charming wreath they make and how lovely they look. Now let us go. Come sing, girls, sing. (They repeat the chorus, but with a saddened tone).

  (Exeunt)

  ACT III, SCENE III

  (In the forest, outside of Hunting Lodge)

  ENTER CASPAR

  Caspar

  Th
ree shots — all true to the mark! And with a skill that rivals even witchcraft.’Tis plain the spell of Urian is over, and something holy blesses Albert’s aim. Well then — to my last resort! All his balls exhausted, Andreas must now come to me for further aid. Three of the balls were wasted in the air — one only now remains — the fatal seventh — that precious ball which Urian granted me to fly wherever I please. I’ve destined it for Bertha’s heart; and now I’ve a means pat to my purpose to speed it on its way. That ball is the onflowing of my kindness I give to Andreas. He kills the girl and passes for her murderer; so he’ll be hanged in the full blow of wickedness, and buy me three years further grace from Urian. Enough, Albert! if thou must triumph, thy prize shall cost thee dear! This is true management! But hold — the poor tool comes!

  ENTER ANDREAS, HASTILY

  Andreas

  Caspar, well met! I’ve sought you all the forest over.

  Caspar

  Well met at last then comrade. I greet you on your luck. Did I not tell you these balls would do wonders?