"Then speak."
CHAPTER XXXVIII
THE TRAGI-COMEDY AT GRUSINO
The double wedding was to be celebrated. The whole of the tenantry had been commanded to attend. The courtyard of the castle had been thronged with wondering serfs from early dawn. Two couples—one handsome, the other loathsome—were to be married that day.
The preparations were on a magnificent scale. For three whole days the castle cooks had been engaged in making the national dishes. Long floral walks had been erected in the courtyard; the gateway had been converted into a triumphal arch by means of wreaths and colored transparencies. In the centre of the great courtyard was a stage erected, covered with gay-hued carpets of goat's hair. Upon it stood a table bearing an image of the Virgin Mary, the covered plate in which were the wedding-rings, a goblet, bread and salt—in fine, everything required for the ceremony preceding the marriage service. For there is much to be gone through before a bridal couple reaches the church portion of the ceremony—much to be gone through at the hands of the bystanders, the groomsmen, bridesmaids, and wedding-mother.
The wedding-mother has an important part to play. Until they arrive at the church doors she is the principal personage.
Daimona is the wedding-mother in this instance. She is marrying one of her serfs to her slave; she is mother to both. The high-backed chair upon the tribune is for her. At first sound of the bells the ceremony begins. From the priest's house the bridesmaids bring the bride in her bridal array. Diabolka's dress glistens with heavy gold embroidery; a costly girdle encircles her slender waist, on her neck hangs a fivefold necklace of gold coins; her head-dress is of precious stones. One might think she was a princess. From the opposite side resounds a horn, and the bridegroom, Schinko, is seen advancing with his supporters and groomsmen; his coal-black, curly hair, falling on to his shoulders, betraying, despite the national costume, the bridegroom's Indian descent.
The groomsmen welcome the approaching bride with song, and follow the bridal pair to the altar. From out the stables the second couple are now brought. Wild screeches and the squeak of the bagpipe accompany them in their progress. The pomp of wedding garments only serves to make them more ridiculous. They are received with mocking rhymes, which seem to please them highly. Both are very drunk; they kiss every one who comes in their way; but as they near each other they cut hideous grimaces at one another; and as they go up to the altar steps the bride gives the bridegroom a good pinch on the arm, while the bridegroom deals her out a smart kick with his foot.
This couple is also placed at the table, so that bridegrooms and brides stand one at each corner.
At the second peal of bells the wedding-mother descends with her whole retinue from the castle. The retinue is composed of twelve female slaves, clad in white, who line the steps on either side. The wedding-mother mounts the tribune alone, and takes her seat upon the throne.
She is dressed like a queen, and wears a purple mantle; her cap of marten-skin is embroidered with gold and pearls; her face painted white and red. She begins the ceremony.