[ While he is speaking,
Mercedes
and Severo lead him to the arm-
chair on the right.
chair on the right.
Warner - World's Best Literature - v06 to v10 - Cal to Fro
Why do you feign smiles that end in sighs!
--
How lovely in her sorrow! And I am to blame for all!
Ines — No, father.
Lorenco - How cruel I am! Ah! you think it, although you
do not say it.
Edward - Inez is an angel. Rebellious thoughts can find no
place in her heart; but who that sees her can fail to think it and
to say it ?
## p. 5105 (#277) ###########################################
JOSÉ ECHEGARAY
5105
Lorenzo— No one; you are right.
Edward [with energy] - If I am right, then you are wrong.
Lorenzo - I am right also. There is something more pallid
than the pallid brow of a lovesick maiden; there is something
sadder than the sad tears that fall from her beautiful eyes; some-
thing more bitter than the smile that contracts her lips; some-
thing more tragic than the death of her beloved.
Edward (with scornful vchemence] — And what is that pallor,
what are those tears, and what the tragedies you speak of?
Lorenso — Insensate! [Seising him by the arm. ] The pallor
of crime, the tears of remorse, the consciousness of our own vile-
ness.
Edward — And it would be vile, and criminal, and a source of
remorse, to make Inez happy ?
Lorenso [despairingly] – It ought not to be so — but it would!
[Pause. ] And this it is that tortures me. This is the thought
that is driving me mad!
Ines — No, father, do not say that! Follow the path you have
marked out for yourself, without thought of me. What does it
matter whether I live or die ?
Lorenso— Inez!
Ines But do not vacillate — and above all, let no one see
that you vacillate; let your speech be clear and convincing as it
let not anger blind you. Be calm, be calm, father; I
implore it of you in the name of God.
Lorenzo What do you mean by those words ? I do not un-
derstand you.
Inez – Do I rightly know myself what I mean? There - I
am going. I do not wish to pain you.
Edward [to Lorenzo] -- Ah, if you would but listen to your
heart; if you would but silence the cavilings of your conscience.
Ines [to Edward] - Leave him in peace - come with me; do
not anger him, or you will make him hate you.
Lorenzo — Poor girl! She too struggles, but she too will con-
quer! [With an outburst of pride. ] She will show that she is
indeed my daughter!
is now;
[Inez and Edward go up the stage; passing the study door, Inez sces the
keepers and gives a start of horror. 1
Ines - What sinister vision affrights my gaze! -- No, father, do
not enter there.
IX--320
## p. 5106 (#278) ###########################################
5106
JOSE ECHEGARAY
Edward - Come, come, my Inez!
Ines [to her father] — No, no, I entreat you'
Lorenzo [approaching her] - Inez!
Ines — Those men there — look!
[Inez stretches out her hand toward the study; Don Lorenzo stands and fol-
lows her gaze.
At this moment the keepers, hearing her cry, show
themselves between the curtains. ]
Edward [leading Ines away] — At last!
Lorenso— Now I am more tranquil! The wound is mortal!
I feel it here in my heart! I thank thee, merciful God!
Dr. Tomás and Dr. Bermúdez enter and stop to observe Don Lorenzo.
Dr. Tomás -- There he is— sitting in the arm-chair.
Dr. Bermúde: — Unfortunate man!
Lorenzo [rising, aside] - Ah, miserable being! Still cherishing
impossible hopes. Impossible ? And what if they honestly be-
lieve that I – [Despairingly] Ah! If they loved me they would
not believe it. [Pause. ) Did I not hear Inez- the child of my
heart — speak of remorse? Why should she speak of remorse?
[Aloud, with increasing agitation. ] They are all wretches! They
would almost be glad that I should die. But no: I will not die
until I have fulfilled my duty as an honorable man; until I have
put the climax to my madness.
Dr. Tomás [laying his hand on Don Lorenzo's shoulder] -
Lorenzo
Lorenzo [turning, recognizes him and draws back angrily] –
He!
Dr. Tomás - Let me present to you Dr. Bermúdez, one of
my best friends. [Pause. Don Lorenzo regards both strangely. ]
Dr. Bermúdez [to Dr. Tomás, in a low voice] - See the effort
he makes to control himself; he is vaguely conscious of his con-
dition—there is not a doubt left on my mind.
Lorenzo—One of your best friends, one of your best friends —
Dr. Bermúdez [aside to Dr. Tomás] — The idea is escaping
him, and he is striving to retain it.
Lorenzo [ironically] - If he is one of your best friends, then
your loyalty is a guarantee for his.
## p. 5107 (#279) ###########################################
JOSÉ ECHEGARAY
5107
Dr. Bermides [aside, to Dr. Tomás] — At last he has found
the word. But notice how unnatural is the tone of his voice.
[Aloud. ] I have come to be a witness, according to what Dr.
Tomás tells me, of a very noble action.
Lorenzo — And of an act of base treachery also.
Dr. Tomás - Lorenzo!
Dr. Bermúdez [aside, to Dr. Tomás) — Let him go on talking.
Lorenzo — And of an exemplary punishment.
Dr. Bermúdez [aside to Dr. Tomás] - A serious case, my
friend, a serious case.
Lorenzo [to Dr. Tomos] — Call everybody: those of the house-
hold and strangers alike. Let them assemble here, and here
await my orders, while I go to fulfill my duty yonder. What are
you waiting for?
Dr. Bermúdes [aside, to Dr. Tomás] - Let him have his way;
call them.
[Dr. Tomás rings a bell; a servant enters, to whom he speaks in a low
voice and who then goes out. ]
Lorenzo — It is the final trial; I could almost feel pity for the
traitors. Ah! I am sustained by the certainty of my triumph.
Be still, my heart. There they are - there they are.
I do not
wish to see them. To treat me thus who loved them so dearly!
- I do not wish, and yet my eyes turn toward them — seeking
them — seeking them!
no, no.
It cannot be!
Lorenzo — Inez! It cannot be! She!
My child!
(Hurries towards her with outstretched arms.
Inez runs to him. ]
Innes
Father!
[Dr. Bermúdez hastens to interpose, and separates them forcibly. ]
Dr. Bermudes — Come, come, Don Lorenzo; you might hurt
your daughter seriously.
Lorenzo (seizing him by the arm and shaking him violently] –
Wretch! Who are you to part me from my child ?
Dr. Tomás - Lorenzo!
Edward — Don Lorenzo!
Angela — My God!
## p. 5108 (#280) ###########################################
5108
JOSÉ ECHEGARAY
(The women group themselves instinctively together, Inez in her mother's
arms, the duchess beside them. Dr. Tomás and Edward hasten to
free Bermúdez from Don Lorenzo's grasp. )
Lorenco [aside, controlling himself]-So! The imbeciles think
it is another access of madness! Ha, ha, ha! (Laughing with
suppressed laughter. All watch him. ]
Dr. Bermúdes [aside to Dr. Tomás]— It is quite clear.
Angela [aside]— Oh, my poor Lorenzo!
Ines [aside] - My poor father!
Lorenzo [aside]-Now you shall see how my madness will
end. Before I leave this house, with what pleasure will I turn
that doctor out of it. Courage! The coming struggle inspires
me with new strength. What! Is a man to be declared mad
because he is resolved to do his duty ? Ah, it cannot be!
Humanity is neither so blind nor so base as that. Enough! I
must be calm. Treachery has begun its work; then let the pun-
ishment begin too. [Aloud. ] The hour has come for me to per-
form a sacred duty, though a most painful one. It would be
useless to ask you to witness formalities which the law requires,
but which you would only find irksome. The representative of
the law awaits me in yonder room; and in obedience to another
and a higher law, I am going now to renounce a fortune which
is not mine, and a name which neither I nor my family can con-
scientiously bear longer. After this is done I will return here,
and with my wife, and - and my daughter — and let no one
seek to dissuade me from my purpose, for it would be in vain
I will leave this house which has been for me in the past the
abode of love and happiness, but which is to-day the abode of
treachery and baseness. Gentlemen [to Dr. Tomás and Dr. Ber-
múde), lead the way; I beg you to do so.
[All slowly enter the study. On the threshold Lorenzo casts a last look at
Inez. ]
Translation made for (A Library of the World's Best Literature,' by Mary J.
Serrano
## p. 5109 (#281) ###########################################
JOSÉ ECHEGARAY
5109
FROM THE GREAT GALEOTO)
[In the scenes which are here cited the poison of slander begins to work.
Don Severo, uttering the anonymous gossip of the world, has implanted in the
mind of his middle-aged brother Don Julian the first suspicion of the honor
of his young wife Teodora and the loyalty of his adopted son Ernest. Teo-
dora, who has been warned by Mercedes, Don Severo's wife, overhears the
accusing words of her brother-in-law, who is talking with her husband in an
inner apartment; and horror-struck, is about to fly from the room. ]
Julian [inside] - Let me go!
Mercedes (inside] - No, for Heaven's sake!
Julian — It is they. I will go!
Teodora (to Ernest] - Go! go!
Severo [to Ernest] - You shall give me satisfaction for this!
Ernest - I will not refuse it.
Enter Julian, pale and disordered; wounded and seemingly in a dying
condition, supported by Mercedes. Don Severo stations himself at the
right, Teodora and Ernest remain in the background.
Julian — Together! Where are they going? — Stop them!
They shun my presence! Traitors!
[He makes a movement as if to rush toward them, but his strength fails
him and he totters. ]
Severo [hurrying to his assistance] — No, no.
Julian — They deceived me — they lied to me! Wretches!
[ While he is speaking, Mercedes and Severo lead him to the arm-
chair on the right. ] There— look at them - she and Ernest!
Why are they together ?
Teodora and Ernest (separating] — No!
Julian - Why do they not come to me? Teodora!
Teodora (stretching out her arms, but without advancing] -
My Julian!
Julian - Here, on my heart ! [Teodora runs to Julian and
throws herself into his arms. He presses her convulsively to his
breast. Pause. ] You see! - You see! [To his brother. ] I know
that she deceives me! I press her in my arms
I press her in my arms- I right kill her
if I would — and she would deserve it - but I look at her - I
look at her and I cannot!
Teodora — Julian!
Julian - And he ? [Pointing to Ernest. ]
Ernest - Sir!
## p. 5110 (#282) ###########################################
5110
JOSÉ ECHEGARAY
Julian — And I loved him! Be silent and come hither. [Ernest
advances. ] You see she is still mine. [Presses her closer. ]
Teodora - Yours - yours!
Julian - Do not act a part! Do not lie to me!
Mercedes - For God's sake! [Trying to calm him. ]
Severo - Julian!
Julian [to both] - Peace. Be silent. [To Teodora. ]
[To Teodora. ] I di-
vined your secret. I know that you love him. [Teodora and
Ernest try to protest, but he will not let them. ] Madrid knows it
too — all Madrid!
Ernest - No, father.
Teodora - No.
Julian — They would still deny it! When it is patent to all!
When I feel it in every fibre of my being, for the fever that
consumes me has illuminated my mind with its flame!
Ernest - All these fancied wrongs are the offspring of a fe-
vered imagination, of delirium! Hear me, sir -
Julian – You will lie to me again!
Ernest - She is innocent! [Pointing to Teodora. ]
Julian - I do not believe you.
Ernest — By my father's memory I swear it!
Julian - You profane his name and his memory by the oath.
Ernest — By my mother's last kiss —
Julian -- It is no longer on your brow.
Ernest — By all you hold most sacred, father, I swear it, I
swear it!
Julian — Let there be no oaths, no deceitful words, no pro-
tests.
Ernest — Well, then, what do you wish ?
Teodora — What do you wish ?
Julian - Deeds!
Ernest — What does he desire, Teodora ? What would he
have us do ?
Teodora — I do not know. What can we do, what can we do,
Ernest ?
Julian [watching them with instinctive distrust) - Ah, would
you deceive me to my very face? You are laying your plans
together, wretches! Do I not see it?
Ernest - These are the imaginings of fever.
Julian — Fever, yes! The fire of fever has consumed the
bandage with which you both blindfolded me, and at last I see
## p. 5111 (#283) ###########################################
JOSÉ ECHEGARAY
5111
clearly! And now why do you gaze on each other? why, trai-
tors ? Why do your eyes shine, Ernest ? Speak. Their bright-
ness is not the brightness of tears. Come nearer
nearer still.
[Draws Ernest to him, bends his head, and so forces him to his knees.
Don Julian thus remains between Teodora, who stands at his side,
and Ernest, who kneels at his feet. Don Julian passes his hand
over Ernest's eyes. ]
Julian - I was right - It is not with tears! They are dry!
Ernest - Pardon! — Pardon!
Julian — You ask my pardon? Then you confess your guilt.
Ernest --- No!
Julian - Yes!
Ernest — It is not that!
Julian — Then look into each other's eyes before me.
Severo— Julian!
Mercedes - Sir!
Julian [to Teodora and Ernest] - You are afraid, then ? You
do not love each other like brother and sister, then? If you do,
prove it! Let your souls rise to your eyes and in my presence
mingle their reflection there, that so I may see, watching them
closely, if that brightness is the brightness of light or of fire.
You too, Teodora — I will have it so. Come — both; nearer still!
[Forces Teodora to kneel before him, draws their faces together, and com-
pels them to look at each other. )
Teodora (freeing herself by a violent effort] - Oh no!
Ernest [also tries to release himself, but Julian holds him in
his grasp] - I cannot!
Julian You love each other! You love each other! I see it
clearly! [To Ernest. Your life!
Ernest - Yes.
Julian— Your blood!
Ernest — All!
Julian [keeping him on his knees] — Remain there.
Teodora - Julian! [Restraining him. ]
Julian — Ah, you defend him, you defend him.
Teodora - Not for his sake.
Severo — In Heaven's name -
Julian [to Severo] - Silence! Bad friend! bad son! [Holding
him at his feet. ]
## p. 5112 (#284) ###########################################
5112
JOSÉ ECHEGARAY
Ernest - Father!
Julian — Disloyal! Treacherous!
Ernest — No, father.
Julian — Thus do I brand you as a traitor on the cheek
now with my hand, soon with my sword! [With a supreme effort
he raises himself and strikes Ernest on the face. ]
Ernest [rises to his feet with a terrible cry and retreats, cover-
ing his face with his hands] – Ah!
Severo – Justice! [Stretching out his hand toward Ernest. ]
Teodora — My God! [Hides her face with her hands and falls
into a chair. ]
Mercedes [to Ernest, exculpating Julian]— It was delirium!
[These four exclamations in rapid succession. A moment of stupor; Julian
still standing and regarding Ernest, Mercedes and Serero trying to
calm him.
Julian — It was not delirium, it was chastisement, by Heaven!
What! Did you think your treachery would go unpunished, in-
grate!
Mercedes — Let us go, let us go!
Severo— Come, Julian.
Julian —Yes, I am going.
(Walks with difficulty toward his room, supported by Severo and Mercedes,
stopping from time to time to look back at Ernest and Teodora. ]
Mercedes - Quick, Severo!
Julian — Look at them, the traitors! It was justice! Was it
not justice ? So I believe.
Severo — For God's sake, Julian! For my sake!
Julian —You, you alone, of all the world, have loved me truly.
[Embraces him. ]
Severo-Yes, I alone!
Julian [stops near the door and looks at them again]— She
weeps for him
and does not follow me. She does not even
look at me; she does not see that I am dying - yes, dying!
Scvcro – Julian!
Julian - Wait, wait! [Pauses on the threshold. Dishonor
for dishonor! – Farewell, Ernest ! [Exeunt Julian, Severo, and
Mercedes. ]
Translation made for A Library of the World's Best Literature,' by Mary J.
Serrano
## p. 5113 (#285) ###########################################
5113
THE EDDAS
(ICELANDIC; NINTH TO THIRTEENTH CENTURIES)
BY WILLIAM H. CARPENTER
HE fanciful but still commonly believed meaning of the word
«Edda,” which even many of the dictionaries explain as
great-grandmother,” does not, after all, inaptly describe by
suggestion the general character of the work to which it is given.
The picture of an ancient dame at the fireside, telling tales and
legendary lore of times whose memory has all but disappeared, is a by
no means inappropriate personification, even if it has no other foun-
dation. In point of fact, Edda' as the title of a literary work has
nothing whatsoever to do with a great-grandmother, but means "the
art of poetry," "poetics"; and only by an extension of its original
use does it belong to all that is now included under it.
There are in reality two (Eddas,' which are in a certain sense con-
nected in subject-material, but yet in more ways than one are wholly
distinct. As originally applied, the name now used collectively un-
questionably belonged to the one, variously called, to distinguish it
from the other, the Younger Edda,' on account of the relative age
of its origin; the Prose Edda, since in its greater part it is written
in prose; and the (Snorra Edda,' the Edda of Snorri, from the author
of the work in its original form. In contradistinction to this, the
other is called the Elder Edda,' the Poetical Edda,' and from the
name of its once assumed author, the (Sæmundar Edda,' the Edda
of Sæmund.
Legitimately and by priority of usage, the name (Edda' belongs
to the first-named work alone. In the form in which it has ulti-
mately come down to us, this is the compilation of many hands at
widely different times; but in its most important and fundamental
parts it was undoubtedly either written by the Icelander Snorri him-
self, or under his immediate supervision.
Snorri Sturluson, its author, both from the part he played in
national politics in his day and from his literary legacy to the pres-
ent, is altogether the most remarkable man in the history of Iceland.
He was born in 1179, his father, Sturla Thordarson, being one of the
most powerful chieftains of the island. As was the custom of the
time, he was sent from home to be fostered, remaining away until his
## p. 5114 (#286) ###########################################
5114
THE EDDAS
foster-father's death, or until he was nineteen years old; his own father
in the meantime having died as well. He entered upon active life with
but little more than his own ambition to further him; but through his
brother's influence he made the following year a brilliant marriage,
and thus laid the foundation of his power, which thereafter steadily
grew. In 1215 Snorri was elected “Speaker of the Law) for the Com-
monwealth. At the expiration of his term of service in the summer
of 1218 he went to Norway, where he was received with extraordinary
hospitality both by King Hakon, who made him his liegeman, and by
the King's father-in-law, Earl Skuli. On the authority of some of the
sagas, he is said to have promised the latter at this time to use his
influence to bring Iceland under the dominion of Norway. Two years
later he returned to Iceland, taking back with him as a present from
the King a ship and many other valuable gifts. In 1222 he was again
made “Speaker of the Law,” which post he now held continuously
for nine years.
Iceland, as the Commonwealth neared its end, was torn apart by
the jealous feuds of the chieftains. A long series of complications
had aroused a bitter hostility to Snorri among his own relatives. In
1229, he found it necessary to ride to the Althing at the head of
eight hundred men. The matter did not then come to an open rup-
ture, but in 1239 it finally resulted in a regular battle, in which
Snorri's faction was worsted. To avoid consequences he immediately
after fled to Norway. Unwisely, he here gave his adherence to Earl
Skuli, now at odds with the King, and thereby incurred the active
displeasure of the latter; who, evidently fearing the use of Snorri's
power against him, forbade him by letter to return to Iceland. The
command was disregarded, however, and he presently was back again
in his native land. In 1240 Skuli was slain, and shortly afterward
King Hakon seems to have resolved upon Snorri's death. Using
Arni, a son-in-law of the Icelander, as a willing messenger, he sent a
letter to Gissur, another son-in-law, between whom and his father-in-
law an active feud was on foot, demanding that he send the latter a
prisoner to Norway, or if that were impossible, to kill him. Gissur
accordingly, with seventy men at his back, came to Snorri's farm-
stead Reykjaholt on the night of the 22d of September, 1241, when
the old chieftain was mercilessly slain in the cellar, where he had
taken refuge, by an unknown member of the band.
In spite of his political life, Snorri found opportunity for abundant
literary work. The Icelandic Annals' say that he compiled the
Edda' and many other books of historical learning, and Icelandic
sagas. Of these, however, only two have come down to us: his
“Edda' and the sagas of the Norse kings, known since the seven-
teenth century as the Heimskringla,' the best piece of independent
## p. 5115 (#287) ###########################################
THE EDDAS
5115
prose literature, and in its bearing the most important series of sagas,
of all the number that are left to attest the phenomenal literary
activity of the Icelanders.
Snorri's Edda' — both as he, the foremost poet of his day, ori-
ginally conceived it, and with its subsequent additions— is a handbook
for poets, an Ars poetica, as its name itself signifies. That it served
its purpose as a recognized authority is discoverable from the refer-
ences to it in later Icelandic poets, where “rules of Edda,” “laws of
Edda,” «Eddic art,” and “Edda” are of frequent occurrence, as indi-
cating an ideal of poetical expression striven for by some and depre-
cated by others. As Snorri wrote it, the “Edda' was an admirably
arranged work in three parts: the Gylfaginning,' a compendium of
the old mythology, the knowledge of which in Snorri's day was fast
dying out; the "Skáldskaparmál,' a dictionary of poetical expressions,
many of which, contained in ancient poems, were no longer intelligi-
ble; and the Háttatal,' a poem or rather series of poems, exemplify-
ing in its own construction the use and kinds of metre. As it has
come down to us, it has been greatly added to and altered. A long
preface filled with the learning of the Middle Ages now introduces
the whole; the introductions and conclusions of the parts of the
work have been extended; several old poems have been included; a
Skáldatal, or list of skalds, has been added, as have also several
grammatical and rhetorical tracts, — some of which are of real his-
torical value.
With regard to matter and manner, the parts of Snorri's (Edda'
are as follows:- The Gylfaginning' (the Delusion of Gylfi) is a
series of tales told in answer to the questions of Gylfi, a legendary
Swedish king, who comes in disguise to the gods in Asgard to learn
the secret of their power. By way of illustration it quotes, among
other poetical citations, verses from several of the lays of the Elder
The Skáldskaparmál' (Poetical Diction) is also in great part
in the form of questions and answers.
It contains under separate
heads the periphrases, appellatives, and synonyms used in ancient
verse, which are often explained by long tales; and like the preced-
ing part, it also is illustrated by numerous poetical quotations here,
particularly from the skalds. The Háttatal? (Metres), finally, con-
sists of three poems: the first an encomium on the Norwegian king
Hakon, and the others on Earl Skuli.
How lovely in her sorrow! And I am to blame for all!
Ines — No, father.
Lorenco - How cruel I am! Ah! you think it, although you
do not say it.
Edward - Inez is an angel. Rebellious thoughts can find no
place in her heart; but who that sees her can fail to think it and
to say it ?
## p. 5105 (#277) ###########################################
JOSÉ ECHEGARAY
5105
Lorenzo— No one; you are right.
Edward [with energy] - If I am right, then you are wrong.
Lorenzo - I am right also. There is something more pallid
than the pallid brow of a lovesick maiden; there is something
sadder than the sad tears that fall from her beautiful eyes; some-
thing more bitter than the smile that contracts her lips; some-
thing more tragic than the death of her beloved.
Edward (with scornful vchemence] — And what is that pallor,
what are those tears, and what the tragedies you speak of?
Lorenso — Insensate! [Seising him by the arm. ] The pallor
of crime, the tears of remorse, the consciousness of our own vile-
ness.
Edward — And it would be vile, and criminal, and a source of
remorse, to make Inez happy ?
Lorenso [despairingly] – It ought not to be so — but it would!
[Pause. ] And this it is that tortures me. This is the thought
that is driving me mad!
Ines — No, father, do not say that! Follow the path you have
marked out for yourself, without thought of me. What does it
matter whether I live or die ?
Lorenso— Inez!
Ines But do not vacillate — and above all, let no one see
that you vacillate; let your speech be clear and convincing as it
let not anger blind you. Be calm, be calm, father; I
implore it of you in the name of God.
Lorenzo What do you mean by those words ? I do not un-
derstand you.
Inez – Do I rightly know myself what I mean? There - I
am going. I do not wish to pain you.
Edward [to Lorenzo] -- Ah, if you would but listen to your
heart; if you would but silence the cavilings of your conscience.
Ines [to Edward] - Leave him in peace - come with me; do
not anger him, or you will make him hate you.
Lorenzo — Poor girl! She too struggles, but she too will con-
quer! [With an outburst of pride. ] She will show that she is
indeed my daughter!
is now;
[Inez and Edward go up the stage; passing the study door, Inez sces the
keepers and gives a start of horror. 1
Ines - What sinister vision affrights my gaze! -- No, father, do
not enter there.
IX--320
## p. 5106 (#278) ###########################################
5106
JOSE ECHEGARAY
Edward - Come, come, my Inez!
Ines [to her father] — No, no, I entreat you'
Lorenzo [approaching her] - Inez!
Ines — Those men there — look!
[Inez stretches out her hand toward the study; Don Lorenzo stands and fol-
lows her gaze.
At this moment the keepers, hearing her cry, show
themselves between the curtains. ]
Edward [leading Ines away] — At last!
Lorenso— Now I am more tranquil! The wound is mortal!
I feel it here in my heart! I thank thee, merciful God!
Dr. Tomás and Dr. Bermúdez enter and stop to observe Don Lorenzo.
Dr. Tomás -- There he is— sitting in the arm-chair.
Dr. Bermúde: — Unfortunate man!
Lorenzo [rising, aside] - Ah, miserable being! Still cherishing
impossible hopes. Impossible ? And what if they honestly be-
lieve that I – [Despairingly] Ah! If they loved me they would
not believe it. [Pause. ) Did I not hear Inez- the child of my
heart — speak of remorse? Why should she speak of remorse?
[Aloud, with increasing agitation. ] They are all wretches! They
would almost be glad that I should die. But no: I will not die
until I have fulfilled my duty as an honorable man; until I have
put the climax to my madness.
Dr. Tomás [laying his hand on Don Lorenzo's shoulder] -
Lorenzo
Lorenzo [turning, recognizes him and draws back angrily] –
He!
Dr. Tomás - Let me present to you Dr. Bermúdez, one of
my best friends. [Pause. Don Lorenzo regards both strangely. ]
Dr. Bermúdez [to Dr. Tomás, in a low voice] - See the effort
he makes to control himself; he is vaguely conscious of his con-
dition—there is not a doubt left on my mind.
Lorenzo—One of your best friends, one of your best friends —
Dr. Bermúdez [aside to Dr. Tomás] — The idea is escaping
him, and he is striving to retain it.
Lorenzo [ironically] - If he is one of your best friends, then
your loyalty is a guarantee for his.
## p. 5107 (#279) ###########################################
JOSÉ ECHEGARAY
5107
Dr. Bermides [aside, to Dr. Tomás] — At last he has found
the word. But notice how unnatural is the tone of his voice.
[Aloud. ] I have come to be a witness, according to what Dr.
Tomás tells me, of a very noble action.
Lorenzo — And of an act of base treachery also.
Dr. Tomás - Lorenzo!
Dr. Bermúdez [aside, to Dr. Tomás) — Let him go on talking.
Lorenzo — And of an exemplary punishment.
Dr. Bermúdez [aside to Dr. Tomás] - A serious case, my
friend, a serious case.
Lorenzo [to Dr. Tomos] — Call everybody: those of the house-
hold and strangers alike. Let them assemble here, and here
await my orders, while I go to fulfill my duty yonder. What are
you waiting for?
Dr. Bermúdes [aside, to Dr. Tomás] - Let him have his way;
call them.
[Dr. Tomás rings a bell; a servant enters, to whom he speaks in a low
voice and who then goes out. ]
Lorenzo — It is the final trial; I could almost feel pity for the
traitors. Ah! I am sustained by the certainty of my triumph.
Be still, my heart. There they are - there they are.
I do not
wish to see them. To treat me thus who loved them so dearly!
- I do not wish, and yet my eyes turn toward them — seeking
them — seeking them!
no, no.
It cannot be!
Lorenzo — Inez! It cannot be! She!
My child!
(Hurries towards her with outstretched arms.
Inez runs to him. ]
Innes
Father!
[Dr. Bermúdez hastens to interpose, and separates them forcibly. ]
Dr. Bermudes — Come, come, Don Lorenzo; you might hurt
your daughter seriously.
Lorenzo (seizing him by the arm and shaking him violently] –
Wretch! Who are you to part me from my child ?
Dr. Tomás - Lorenzo!
Edward — Don Lorenzo!
Angela — My God!
## p. 5108 (#280) ###########################################
5108
JOSÉ ECHEGARAY
(The women group themselves instinctively together, Inez in her mother's
arms, the duchess beside them. Dr. Tomás and Edward hasten to
free Bermúdez from Don Lorenzo's grasp. )
Lorenco [aside, controlling himself]-So! The imbeciles think
it is another access of madness! Ha, ha, ha! (Laughing with
suppressed laughter. All watch him. ]
Dr. Bermúdes [aside to Dr. Tomás]— It is quite clear.
Angela [aside]— Oh, my poor Lorenzo!
Ines [aside] - My poor father!
Lorenzo [aside]-Now you shall see how my madness will
end. Before I leave this house, with what pleasure will I turn
that doctor out of it. Courage! The coming struggle inspires
me with new strength. What! Is a man to be declared mad
because he is resolved to do his duty ? Ah, it cannot be!
Humanity is neither so blind nor so base as that. Enough! I
must be calm. Treachery has begun its work; then let the pun-
ishment begin too. [Aloud. ] The hour has come for me to per-
form a sacred duty, though a most painful one. It would be
useless to ask you to witness formalities which the law requires,
but which you would only find irksome. The representative of
the law awaits me in yonder room; and in obedience to another
and a higher law, I am going now to renounce a fortune which
is not mine, and a name which neither I nor my family can con-
scientiously bear longer. After this is done I will return here,
and with my wife, and - and my daughter — and let no one
seek to dissuade me from my purpose, for it would be in vain
I will leave this house which has been for me in the past the
abode of love and happiness, but which is to-day the abode of
treachery and baseness. Gentlemen [to Dr. Tomás and Dr. Ber-
múde), lead the way; I beg you to do so.
[All slowly enter the study. On the threshold Lorenzo casts a last look at
Inez. ]
Translation made for (A Library of the World's Best Literature,' by Mary J.
Serrano
## p. 5109 (#281) ###########################################
JOSÉ ECHEGARAY
5109
FROM THE GREAT GALEOTO)
[In the scenes which are here cited the poison of slander begins to work.
Don Severo, uttering the anonymous gossip of the world, has implanted in the
mind of his middle-aged brother Don Julian the first suspicion of the honor
of his young wife Teodora and the loyalty of his adopted son Ernest. Teo-
dora, who has been warned by Mercedes, Don Severo's wife, overhears the
accusing words of her brother-in-law, who is talking with her husband in an
inner apartment; and horror-struck, is about to fly from the room. ]
Julian [inside] - Let me go!
Mercedes (inside] - No, for Heaven's sake!
Julian — It is they. I will go!
Teodora (to Ernest] - Go! go!
Severo [to Ernest] - You shall give me satisfaction for this!
Ernest - I will not refuse it.
Enter Julian, pale and disordered; wounded and seemingly in a dying
condition, supported by Mercedes. Don Severo stations himself at the
right, Teodora and Ernest remain in the background.
Julian — Together! Where are they going? — Stop them!
They shun my presence! Traitors!
[He makes a movement as if to rush toward them, but his strength fails
him and he totters. ]
Severo [hurrying to his assistance] — No, no.
Julian — They deceived me — they lied to me! Wretches!
[ While he is speaking, Mercedes and Severo lead him to the arm-
chair on the right. ] There— look at them - she and Ernest!
Why are they together ?
Teodora and Ernest (separating] — No!
Julian - Why do they not come to me? Teodora!
Teodora (stretching out her arms, but without advancing] -
My Julian!
Julian - Here, on my heart ! [Teodora runs to Julian and
throws herself into his arms. He presses her convulsively to his
breast. Pause. ] You see! - You see! [To his brother. ] I know
that she deceives me! I press her in my arms
I press her in my arms- I right kill her
if I would — and she would deserve it - but I look at her - I
look at her and I cannot!
Teodora — Julian!
Julian - And he ? [Pointing to Ernest. ]
Ernest - Sir!
## p. 5110 (#282) ###########################################
5110
JOSÉ ECHEGARAY
Julian — And I loved him! Be silent and come hither. [Ernest
advances. ] You see she is still mine. [Presses her closer. ]
Teodora - Yours - yours!
Julian - Do not act a part! Do not lie to me!
Mercedes - For God's sake! [Trying to calm him. ]
Severo - Julian!
Julian [to both] - Peace. Be silent. [To Teodora. ]
[To Teodora. ] I di-
vined your secret. I know that you love him. [Teodora and
Ernest try to protest, but he will not let them. ] Madrid knows it
too — all Madrid!
Ernest - No, father.
Teodora - No.
Julian — They would still deny it! When it is patent to all!
When I feel it in every fibre of my being, for the fever that
consumes me has illuminated my mind with its flame!
Ernest - All these fancied wrongs are the offspring of a fe-
vered imagination, of delirium! Hear me, sir -
Julian – You will lie to me again!
Ernest - She is innocent! [Pointing to Teodora. ]
Julian - I do not believe you.
Ernest — By my father's memory I swear it!
Julian - You profane his name and his memory by the oath.
Ernest — By my mother's last kiss —
Julian -- It is no longer on your brow.
Ernest — By all you hold most sacred, father, I swear it, I
swear it!
Julian — Let there be no oaths, no deceitful words, no pro-
tests.
Ernest — Well, then, what do you wish ?
Teodora — What do you wish ?
Julian - Deeds!
Ernest — What does he desire, Teodora ? What would he
have us do ?
Teodora — I do not know. What can we do, what can we do,
Ernest ?
Julian [watching them with instinctive distrust) - Ah, would
you deceive me to my very face? You are laying your plans
together, wretches! Do I not see it?
Ernest - These are the imaginings of fever.
Julian — Fever, yes! The fire of fever has consumed the
bandage with which you both blindfolded me, and at last I see
## p. 5111 (#283) ###########################################
JOSÉ ECHEGARAY
5111
clearly! And now why do you gaze on each other? why, trai-
tors ? Why do your eyes shine, Ernest ? Speak. Their bright-
ness is not the brightness of tears. Come nearer
nearer still.
[Draws Ernest to him, bends his head, and so forces him to his knees.
Don Julian thus remains between Teodora, who stands at his side,
and Ernest, who kneels at his feet. Don Julian passes his hand
over Ernest's eyes. ]
Julian - I was right - It is not with tears! They are dry!
Ernest - Pardon! — Pardon!
Julian — You ask my pardon? Then you confess your guilt.
Ernest --- No!
Julian - Yes!
Ernest — It is not that!
Julian — Then look into each other's eyes before me.
Severo— Julian!
Mercedes - Sir!
Julian [to Teodora and Ernest] - You are afraid, then ? You
do not love each other like brother and sister, then? If you do,
prove it! Let your souls rise to your eyes and in my presence
mingle their reflection there, that so I may see, watching them
closely, if that brightness is the brightness of light or of fire.
You too, Teodora — I will have it so. Come — both; nearer still!
[Forces Teodora to kneel before him, draws their faces together, and com-
pels them to look at each other. )
Teodora (freeing herself by a violent effort] - Oh no!
Ernest [also tries to release himself, but Julian holds him in
his grasp] - I cannot!
Julian You love each other! You love each other! I see it
clearly! [To Ernest. Your life!
Ernest - Yes.
Julian— Your blood!
Ernest — All!
Julian [keeping him on his knees] — Remain there.
Teodora - Julian! [Restraining him. ]
Julian — Ah, you defend him, you defend him.
Teodora - Not for his sake.
Severo — In Heaven's name -
Julian [to Severo] - Silence! Bad friend! bad son! [Holding
him at his feet. ]
## p. 5112 (#284) ###########################################
5112
JOSÉ ECHEGARAY
Ernest - Father!
Julian — Disloyal! Treacherous!
Ernest — No, father.
Julian — Thus do I brand you as a traitor on the cheek
now with my hand, soon with my sword! [With a supreme effort
he raises himself and strikes Ernest on the face. ]
Ernest [rises to his feet with a terrible cry and retreats, cover-
ing his face with his hands] – Ah!
Severo – Justice! [Stretching out his hand toward Ernest. ]
Teodora — My God! [Hides her face with her hands and falls
into a chair. ]
Mercedes [to Ernest, exculpating Julian]— It was delirium!
[These four exclamations in rapid succession. A moment of stupor; Julian
still standing and regarding Ernest, Mercedes and Serero trying to
calm him.
Julian — It was not delirium, it was chastisement, by Heaven!
What! Did you think your treachery would go unpunished, in-
grate!
Mercedes — Let us go, let us go!
Severo— Come, Julian.
Julian —Yes, I am going.
(Walks with difficulty toward his room, supported by Severo and Mercedes,
stopping from time to time to look back at Ernest and Teodora. ]
Mercedes - Quick, Severo!
Julian — Look at them, the traitors! It was justice! Was it
not justice ? So I believe.
Severo — For God's sake, Julian! For my sake!
Julian —You, you alone, of all the world, have loved me truly.
[Embraces him. ]
Severo-Yes, I alone!
Julian [stops near the door and looks at them again]— She
weeps for him
and does not follow me. She does not even
look at me; she does not see that I am dying - yes, dying!
Scvcro – Julian!
Julian - Wait, wait! [Pauses on the threshold. Dishonor
for dishonor! – Farewell, Ernest ! [Exeunt Julian, Severo, and
Mercedes. ]
Translation made for A Library of the World's Best Literature,' by Mary J.
Serrano
## p. 5113 (#285) ###########################################
5113
THE EDDAS
(ICELANDIC; NINTH TO THIRTEENTH CENTURIES)
BY WILLIAM H. CARPENTER
HE fanciful but still commonly believed meaning of the word
«Edda,” which even many of the dictionaries explain as
great-grandmother,” does not, after all, inaptly describe by
suggestion the general character of the work to which it is given.
The picture of an ancient dame at the fireside, telling tales and
legendary lore of times whose memory has all but disappeared, is a by
no means inappropriate personification, even if it has no other foun-
dation. In point of fact, Edda' as the title of a literary work has
nothing whatsoever to do with a great-grandmother, but means "the
art of poetry," "poetics"; and only by an extension of its original
use does it belong to all that is now included under it.
There are in reality two (Eddas,' which are in a certain sense con-
nected in subject-material, but yet in more ways than one are wholly
distinct. As originally applied, the name now used collectively un-
questionably belonged to the one, variously called, to distinguish it
from the other, the Younger Edda,' on account of the relative age
of its origin; the Prose Edda, since in its greater part it is written
in prose; and the (Snorra Edda,' the Edda of Snorri, from the author
of the work in its original form. In contradistinction to this, the
other is called the Elder Edda,' the Poetical Edda,' and from the
name of its once assumed author, the (Sæmundar Edda,' the Edda
of Sæmund.
Legitimately and by priority of usage, the name (Edda' belongs
to the first-named work alone. In the form in which it has ulti-
mately come down to us, this is the compilation of many hands at
widely different times; but in its most important and fundamental
parts it was undoubtedly either written by the Icelander Snorri him-
self, or under his immediate supervision.
Snorri Sturluson, its author, both from the part he played in
national politics in his day and from his literary legacy to the pres-
ent, is altogether the most remarkable man in the history of Iceland.
He was born in 1179, his father, Sturla Thordarson, being one of the
most powerful chieftains of the island. As was the custom of the
time, he was sent from home to be fostered, remaining away until his
## p. 5114 (#286) ###########################################
5114
THE EDDAS
foster-father's death, or until he was nineteen years old; his own father
in the meantime having died as well. He entered upon active life with
but little more than his own ambition to further him; but through his
brother's influence he made the following year a brilliant marriage,
and thus laid the foundation of his power, which thereafter steadily
grew. In 1215 Snorri was elected “Speaker of the Law) for the Com-
monwealth. At the expiration of his term of service in the summer
of 1218 he went to Norway, where he was received with extraordinary
hospitality both by King Hakon, who made him his liegeman, and by
the King's father-in-law, Earl Skuli. On the authority of some of the
sagas, he is said to have promised the latter at this time to use his
influence to bring Iceland under the dominion of Norway. Two years
later he returned to Iceland, taking back with him as a present from
the King a ship and many other valuable gifts. In 1222 he was again
made “Speaker of the Law,” which post he now held continuously
for nine years.
Iceland, as the Commonwealth neared its end, was torn apart by
the jealous feuds of the chieftains. A long series of complications
had aroused a bitter hostility to Snorri among his own relatives. In
1229, he found it necessary to ride to the Althing at the head of
eight hundred men. The matter did not then come to an open rup-
ture, but in 1239 it finally resulted in a regular battle, in which
Snorri's faction was worsted. To avoid consequences he immediately
after fled to Norway. Unwisely, he here gave his adherence to Earl
Skuli, now at odds with the King, and thereby incurred the active
displeasure of the latter; who, evidently fearing the use of Snorri's
power against him, forbade him by letter to return to Iceland. The
command was disregarded, however, and he presently was back again
in his native land. In 1240 Skuli was slain, and shortly afterward
King Hakon seems to have resolved upon Snorri's death. Using
Arni, a son-in-law of the Icelander, as a willing messenger, he sent a
letter to Gissur, another son-in-law, between whom and his father-in-
law an active feud was on foot, demanding that he send the latter a
prisoner to Norway, or if that were impossible, to kill him. Gissur
accordingly, with seventy men at his back, came to Snorri's farm-
stead Reykjaholt on the night of the 22d of September, 1241, when
the old chieftain was mercilessly slain in the cellar, where he had
taken refuge, by an unknown member of the band.
In spite of his political life, Snorri found opportunity for abundant
literary work. The Icelandic Annals' say that he compiled the
Edda' and many other books of historical learning, and Icelandic
sagas. Of these, however, only two have come down to us: his
“Edda' and the sagas of the Norse kings, known since the seven-
teenth century as the Heimskringla,' the best piece of independent
## p. 5115 (#287) ###########################################
THE EDDAS
5115
prose literature, and in its bearing the most important series of sagas,
of all the number that are left to attest the phenomenal literary
activity of the Icelanders.
Snorri's Edda' — both as he, the foremost poet of his day, ori-
ginally conceived it, and with its subsequent additions— is a handbook
for poets, an Ars poetica, as its name itself signifies. That it served
its purpose as a recognized authority is discoverable from the refer-
ences to it in later Icelandic poets, where “rules of Edda,” “laws of
Edda,” «Eddic art,” and “Edda” are of frequent occurrence, as indi-
cating an ideal of poetical expression striven for by some and depre-
cated by others. As Snorri wrote it, the “Edda' was an admirably
arranged work in three parts: the Gylfaginning,' a compendium of
the old mythology, the knowledge of which in Snorri's day was fast
dying out; the "Skáldskaparmál,' a dictionary of poetical expressions,
many of which, contained in ancient poems, were no longer intelligi-
ble; and the Háttatal,' a poem or rather series of poems, exemplify-
ing in its own construction the use and kinds of metre. As it has
come down to us, it has been greatly added to and altered. A long
preface filled with the learning of the Middle Ages now introduces
the whole; the introductions and conclusions of the parts of the
work have been extended; several old poems have been included; a
Skáldatal, or list of skalds, has been added, as have also several
grammatical and rhetorical tracts, — some of which are of real his-
torical value.
With regard to matter and manner, the parts of Snorri's (Edda'
are as follows:- The Gylfaginning' (the Delusion of Gylfi) is a
series of tales told in answer to the questions of Gylfi, a legendary
Swedish king, who comes in disguise to the gods in Asgard to learn
the secret of their power. By way of illustration it quotes, among
other poetical citations, verses from several of the lays of the Elder
The Skáldskaparmál' (Poetical Diction) is also in great part
in the form of questions and answers.
It contains under separate
heads the periphrases, appellatives, and synonyms used in ancient
verse, which are often explained by long tales; and like the preced-
ing part, it also is illustrated by numerous poetical quotations here,
particularly from the skalds. The Háttatal? (Metres), finally, con-
sists of three poems: the first an encomium on the Norwegian king
Hakon, and the others on Earl Skuli.
