the Dutchman follow him closely, bids the sailors raise the anchor, and sails out of the little harbour to the merry accompaniment of a nautical chorus:—
‘Through thunder and storm from distant seas,
My maiden, come I near;
Over towering waves, with southern breeze,
My maiden, am I here.
My maiden, were there no south wind,
I never could come to thee:
O fair south wind, to me be kind!
My maiden, she longs for me.
Hoho! Halloho!’
The next scene represents a room in Daland's house. The rough walls are covered with maps and charts, and on the farther partition there is a striking portrait of a pale, melancholy looking man, who wears a dark beard and a foreign dress.
The air is resonant with the continual hum of the whirling spinning-wheels, for the maidens are all working diligently under the direction of Maria, the housekeeper, and soon begin their usual spinning chorus. Their hands and feet work busily while two verses of the song are sung, and all are remarkably diligent except Senta, who sits with her hands in her lap, gazing in rapt attention at the portrait of the Flying Dutchman, whose mournful fate has touched her tender heart, and whose haunting eyes have made her indulge in many a long day-dream. Roused from her abstraction by the chiding voice of Mary, and by her companions, who twit her with having fallen in love with a shadow instead of thinking only of her lover Erik, the hunter, Senta resumes her work, and to still their chatter sings them the ballad of the Flying Dutchman. When she has described his aimless wanderings and his mournful doom, which naught can change until he finds a maiden who will pledge him her entire faith, the girls mockingly interrupt her to inquire whether she would have the courage to love an outcast and to follow a spectral wooer. But when Senta passionately declares she would do it gladly, and ends by fervently praying that he may soon appear to put her love and faith to the test, they are almost as much alarmed as Erik, who enters the room in time to hear this enthusiastic outburst.
Turning to Mary, the housekeeper, he informs her that Daland's ship has just sailed into the harbour in company with another vessel, whose captain and crew he doubtless means to entertain. At these tidings the wheels are all set aside, and the maidens hasten to help prepare the food for the customary feast. Senta alone remains seated by her wheel, and Erik, placing himself beside her, implores her not to leave him for another, but to put an end to his sorrows by promising to become his wife. His eloquent pleading has no effect upon her, however, and when he tries to deride her fancy for the pictured face, and to awaken her pity for him by describing his own sufferings, she scornfully compares them to the Dutchman's unhappy fate:—
‘Oh, vaunt it not!
What can thy sorrow be?
Know'st thou the fate of that unhappy man?
Look, canst thou feel the pain, the grief,
With which his gaze on me he bends?
Ah! when I think he has ne'er found relief,
How sharp a pang my bosom rends!’
Erik, beside himself with jealousy, finally tells her that he has had an ominous dream, in which he saw her greet the dark stranger, embrace him tenderly, and even follow him out to sea, where she was lost. But all this pleading only makes Senta more obstinate in her refusal of his attentions, and more eager to behold the object of her romantic attachment, who at that very moment enters the house, following her father, who greets her tenderly. The sudden apparition of the stranger, whose resemblance to the portrait is very striking, robs Senta of all composure, and it is only when her father has gently reproved her for her cold behaviour that she bids him welcome.
Daland then explains to his daughter that his guest is a wanderer and an exile, although well provided with this world's goods, and asks her whether she would be willing to listen to his wooing, and would consent to ratify his conditional promise by giving the stranger her hand:—
‘Wilt thou, my child, accord our guest a friendly welcome,
And wilt thou also let him share thy kindly heart?
Give him thy hand, for bridegroom it is thine to call him,
If thou but give consent, to-morrow his thou art.’
Wholly uninfluenced by the description of the stranger's wealth which her father gives her, but entirely won by the Flying Dutchman's timidly expressed hope that she will not refuse him the blessing he has so long and so vainly sought, Senta hesitates no longer, but generously promises to become his wife, whatever fate may await her:—
‘Whoe'er thou art, where'er thy curse may lead thee,
And me, when I thy lot mine own have made,—
Whate'er the fate which I with thee may share in,
My father's will by me shall be obeyed.’
This promise at first fills the heart of the Flying Dutchman with the utmost rapture, for he is thinking only of himself, and of his release from the curse, but soon he begins to love the innocent maiden through whom alone he can find rest. Then he also remembers that, if she fail, she too will be accursed, and, instead of urging her as before, he now tries to dissuade her from becoming his wife by depicting life at his side in the most unenticing colours, and by warning her that she must die if her faith should waver. Senta, undeterred by all these statements, and eager if necessary to sacrifice herself for her beloved, again offers to follow him, and once more a rapturous thrill passes through his heart:—
Here is my hand! I will not rue,
But e'en to death will I be true.
She gives her hand! I conquer you,
Dread powers of Hell, while she is true.’
Daland returns into the room in time to see that they have agreed to marry, and proposes that their wedding should take place immediately, and be celebrated at the same time as the feast which he generally gives all his sailors at the end of a happy journey.
The third act of this opera represents both ships riding at anchor in a rocky bay, near which rises Daland's picturesque Norwegian cottage. All is life and animation on board the Norwegian vessel, where the sailors are dancing and singing in chorus, but the black-masted ship appears deserted, and is as quiet as the tomb.
When the sailors have ended their chorus, the pretty peasant girls come trooping down to the shore, bringing food and drink for both crews, which they hail from the shore. The Norwegian sailors promptly respond to their call, and, hastening ashore, they receive their share of the feast; but the phantom vessel remains as lifeless as before. In vain the girls offer the provisions they have brought, in vain the other crew taunt the sleepers, there is no answer given. The provisions are then all bestowed upon the Norwegians, who eat and drink most heartily ere they resume their merry chorus. Suddenly, however, the Dutch sailors rouse themselves, appear on deck, and prepare to depart, while singing about their captain, who has once more gone ashore in search of the faithful wife who alone can save him. Blue flames hover over the phantom ship, and the sound of a coming storm is borne upon the breeze. The Norwegian sailors sing louder than ever to drown this ominous sound, but they are soon too alarmed to sing, and hasten into their cabins making the sign of the cross, which evokes a burst of demoniac laughter from the phantom crew.
The storm and lights subside as quickly and mysteriously as they appeared, and all is quiet once more as Senta comes down to the shore. Erik, meeting her, implores her to listen to his wooing, which once found favour, and to forget the stranger whom her father has induced her to accept on such short notice. Senta listens patiently to his plea, which does not in the least shake her faith in her new lover, or change her resolution
