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Updated: June 9, 2025
In spite of his importunity, her steadfast purpose remains unmoved; but the Dutchman overhears Erik's passionate appeal and, believing Senta to be untrue to himself, rushes on board his ship and hastily puts out to sea. Senta's courage rises to the occasion. Though the Dutchman has cast her off, she remains true to her vows.
Professor Kellton was a scholar, not a scientist. He didn't know beans about hyperdrive engines, but he knew how to do library research. They came to the edge of High Garden Terrace at the escalator, long motionless, its moving parts rusted fast, that led down to the Mall, and at the bottom of it was Senta's, the tables under the open sky. A crowd was already gathering.
Vanderdecken at once begins his story, and the pair sing a duet, which I will deal with shortly; for the moment I need only remind the reader that Senta's mind was made up in advance. When the Dutchman, almost warningly, reminds her that it is nothing less than a life's devotion he demands, she proudly answers, "Whoever you are, whatever the curse on you, I will share your life and your doom."
The girls in their song have been felicitating themselves that if they are zealous at their spinning their lovers will give them the golden earnings they bring home from the south. "You naughty child," Mary says to Senta, at the end of the song, "if you do not spin, you will receive no present from your Schatz!" Senta's companions laugh at this. "There is no need for her to hurry.
The dinner, Conn knew, would be the best he had eaten in five years, and afterward they would sit in the dim glow of Beta Gartner, sipping coffee and liqueurs, smoking and talking and visiting back and forth from one table to another, as they always did in the evenings at Senta's.
Senta's was an almost pathetic and very obvious desire to be considered daring, pantherine, seductive, dangerous. Jim, fancying he understood her perfectly, played into her hand. He would not flirt with her, but he took her at her own valuation, and they saw a good deal of each other.
He has heard Senta's exclamation, witnessed her strange condition, and affected by it differently from all the others cries, heart-struck, "Senta, Senta, are you determined to destroy me?" "Oh, help us, Erik," the others appeal to him; "She is out of her senses!"
The Dutchman, he said, grew out of Senta's ballad; but I have already shown that this statement was a mere piece of self-deception: not the whole of the Dutchman, not one-tenth of it, grows out of Senta's ballad; Senta's ballad is not an oak-trunk with all the solos, duets, choruses and the rest growing out as branches with leaves grow from a trunk it is a scaffold-pole upon which these things are tacked in an almost unparalleled fervour of imagination.
Compare Daland's song in the Dutchman with Wolfram's description of how Elisabeth has pined, or Senta's last passages in the final scene with Elisabeth's salute to the hall of song.
The Dutchman is there to give character and atmosphere to the piece, but dramatically he is nothing more than Senta's opportunity personified. The girls spin on; a kind of forewoman, Mary, upbraids Senta with idling and staring at the picture and dreaming away her life for the girl is quite open about her sympathy with the accursed seafaring man.
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