The collected works of Henrik Ibsen, Vol. 01 (of 11)Ibsen, Henrik
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The collected works of Henrik Ibsen, Vol. 01 (of 11)
Ibsen, Henrik
Ibsen, Henrik, 1828-1906 -- Translations into English; Norwegian drama -- Translations into English
SIGNË.
But, Gudmund, wait—you have still to see
How I’ve shielded your harp from the dust and the rust.
[_As she goes out to the left._
You shall teach me all of your songs! You must!
GUDMUND.
[_Softly, as he follows her with his eyes._]
She has flushed to the loveliest rose of May,
That was yet but a bud in the morning’s ray.
SIGNË.
[_Returning with the harp._]
Behold!
GUDMUND.
[_Taking it._]
My harp! As bright as of yore!
[_Striking one or two chords._
Still the old chords ring sweet and clear—
On the wall, untouched, thou shalt hang no more.
MARGIT.
[_Looking out at the back._]
Our guests are coming.
SIGNË.
[_While_ GUDMUND _preludes his song._]
Hush—hush! Oh, hear!
GUDMUND.
[_Sings._]
I roamed through the uplands so heavy of cheer;
The little birds quavered in bush and in brere;
The little birds quavered, around and above:
Wouldst know of the sowing and growing of love?
It grows like the oak tree through slow-rolling years;
’Tis nourished by dreams, and by songs, and by tears;
But swiftly ’tis sown; ere a moment speeds by,
Deep, deep in the heart love is rooted for aye.
[_As he strikes the concluding chords, he goes
towards the back, where he lays down his harp._
SIGNË.
[_Thoughtfully, repeats to herself._]
But swiftly ’tis sown; ere a moment speeds by,
Deep, deep in the heart love is rooted for aye.
MARGIT.
[_Absently._] Did you speak to me?—I heard not clearly—?
SIGNË.
I? No, no. I only meant—
[_She again becomes absorbed in dreams._
MARGIT.
[_Half aloud; looking straight before her._]
It grows like the oak tree through slow-rolling years;
’Tis nourished by dreams, and by songs and by tears.
SIGNË.
[_Returning to herself._] You said that—?
MARGIT.
[_Drawing her hand over her brow._] Nay, ’twas nothing.
Come, we must go meet our guests.
[BENGT _enters with many_ GUESTS, _both men and
women, through the passageway._
Public-domain text, read in full here on John Shaqi.
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