Gülich—Echoes? Ah, the councillor likes that, just like a little girl. Ist so sentimental.[1]
Roubal.—He is; he has a mouth like a water-mill.
The hunter's horn ceases, applause is heard to the left, behind the scenes.
Gülich.—Und nun kommt die böhmische Muse.[2]
Roubal.—Who, which?
Gülich (With a laugh).—Have you talked yet with the magistrate's wife?
Roubal.—With Mrs. Rettig? What do you take me for? I avoid her whenever I can. (With a spiteful sneer.) I should never be equal to it. A man doesn't know what to say to such an exalted woman.
Scene III
The same, Mrs. Roller, Mrs. Roubínek.
Mrs. Roller comes in from the rear at the left; on her left arm she carries a bag for a ball of yarn, knitting needles, and a stocking. Mrs. Roubínek carries a ball of yarn.
Gülich.—Ach, geehrte Damen,[3] you too are off for a protected nook? Perhaps in den Tempel der Verschwiegenheit?[4]
Mrs. Roller.—O no, it is cold there. But we are running away. I really don't care to listen and stand there among such a conglomeration of all sorts of people.
Gülich.—And of queer shoemakers. Well, the magistrate's wife invited all that crowd.
Roubal.—Well, let's be going.
Mrs. Roubínek.—And why those declamations? The girls are the losers by them; they come here to dance.
Mrs. Roller.—Our Máli was complaining too.
Mrs. Roubínek.—And such a good dancer. Ein schwebender Engel.[5]
Roubal (To Gulich in a low voice)—Properly called an elephant.
Mrs. Roubínek.—But what is queerest of all, Lenka, the tax-collector's daughter, is constantly in the circle of dancers! She doesn't leave it for a moment, she passes from partner to partner: the students will not let her go.
