The Dramatic Works of Gerhart Hauptmann, Volume IHauptmann, Gerhart
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The Dramatic Works of Gerhart Hauptmann, Volume I
Hauptmann, Gerhart
German drama -- Translations into English
[_Whose expression had become a little more friendly, assumes, during
LOTH'S last speech, his former hostile and suspicious look. Without
taking further notice of LOTH he has, during the last few moments, given
his exclusive attention to his work._] Beast of a scythe!
[_LOTH, still seated, first observes the old man with a quiet smile
and then looks out into the awakening morning._
_Through the gateway are visible far stretches of clover field and
meadow. Between them meanders a brook whose course is marked by
alders and willows. A single mountain peak towers on the horizon. All
about, larks have begun their song, and their uninterrupted trilling
floats, now from near, now from far, into the farm yard._
LOTH
[_Getting up._] One ought to take a walk. The morning is magnificent.
[_The clatter of wooden shoes is heard. Some one is rapidly coming
down the stairs that lead from the stable loft. It is GUSTE._
GUSTE
[_A rather stout maid-servant. Her neck is bare, as are her arms and legs
below the knee. Her naked feet are stuck in wooden shoes. She carries a
burning lantern._] Good morning father Beipst!
[_BEIPST growls._]
GUSTE
[_Shading her eyes with her hand looks after LOTH through the gate._]
What kind of a feller is that?
BEIPST
[_Embittered._] He can make fools o' beggars ... He can lie like a parson
... Jus' let him tell you his stories. [_He gets up._] Get the
wheelbarrows ready, girl!
GUSTE
[_Who has been washing her legs at the well gets through before
disappearing into the cow stable._] Right away, father Beipst.
LOTH
[_Returns and gives BEIPST a tip._] There's something for you. A man can
always use that.
BEIPST
[_Thawing at once, quite changed and with sincere companionableness._]
Yes, yes, you're right there, and I thank ye kindly.--I suppose you're
the company of the son-in-law over there? [_Suddenly very voluble._] You
know, if you want to go walkin' out there, you know, toward the hill,
then you want to keep to the left, real close to the left, because to the
right, there's clefts. My son, he used to say, the reason of it was, he
used to say, was because they didn't board the place up right, the miners
didn't. They gets too little pay, he used to say, and then folks does
things just hit or miss, in the shafts you know.--You see? Over yonder?
Always to the left! There's holes on t'other side. It wasn't but only
last year and a butter woman, just as she was, sudden, sunk down in the
earth, I don't know how many fathoms down. Nobody knew whereto. So I'm
tellin' you--go to the left, to the left and you'll be safe.
[_A shot is heard. BEIPST starts up as though he had been struck and
limps out a few paces into the open._
LOTH
Who, do you think, is shooting so early?
BEIPST
Who would it be excep' that rascal of a boy?
LOTH
What boy?
BEIPST
Will Kahl--our neighbour's son here ... You just wait, you! I've seen
him, I tell you. He shoots larks.
LOTH
Why, you limp!
Public-domain text, read in full here on John Shaqi.
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