Chapter II (1)

Warren spent another week in Leipzig with his friend. No man was easier to live with: to every suggestion of Hermann's he invariably answered, "Very well;" and if Hermann proposed nothing, he was quite content to remain seated in a comfortable arm-chair by the fireside, holding a book which he scarcely looked at, and watching the long rolls of smoke from his pipe. He disliked new acquaintances; nevertheless, the friends to whom Hermann introduced him found in him a quiet, unobtrusive, and well-informed companion. He pleased everybody. There was something strange and yet attractive in his person; there was a "charm" about him, people said. Hermann felt the attraction without being able to define in what it consisted. Their former friendship had been renewed unreservedly. The kind of fascination that Warren exercised over all those who approached him often led Hermann to think that it was not unlikely that in his youth he had inspired a real love in Ellen Gilmore.

One evening Hermann took his friend to the theatre, where a comic piece was being performed. In his young days Warren had been very partial to plays of that kind, and his joyous peals of laughter on such occasions still rang in the ears of his friend. But the attempt was a complete failure. Warren watched the performance without showing the slightest interest, and never even smiled. During the opening scenes he listened with attention, as though he were assisting at some performance of the legitimate drama; then, as if he could not understand what was going on before his eyes, he turned away with a wearied air and began looking at the audience. When, at the close of the second act, Hermann proposed that they should leave the house, he answered readily:

"Yes, let us go; all this seems very stupid--we will be much better at home. There is a time for all things, and buffoonery suits me no longer."

There was nothing left in Warren of the friend that Hermann had known fifteen years before. He loved him none the less; on the contrary, to his affection for him had been superadded a feeling of deep compassion. He would have made great sacrifices to secure his friend's happiness, and to see a smile light up the immovable features and the sorrowful dulness of the eye. His friendly anxiety had not been lost upon Warren; and when the latter took his leave, he said with emotion:

"You wish me well, my old friend, I see it and feel it; and, believe me, I am grateful. We must not lose sight of each other again--I will write regularly."

A few days later, Hermann received a letter for his friend. It was an American letter, and the envelope was stamped with the initials "E. H." They were those of Ellen Howard, the heroine of Warren's sad history. He forwarded the letter immediately, and wrote at the same time to his friend: "I hope the inclosed brings you good news from America." But in his reply Warren took no notice of this passage, and made no allusion to Ellen. He only spoke of the new house in which he had just settled himself--"to end," as he said, "his days;" and he pressed Hermann to come and join him. The two friends at last agreed to pass Christmas and New Year's Day together; but when December came, Warren urged his friend to hasten his arrival.

"I do not feel well," he wrote, "and am often so weary that I stay at home all day. I have made no new acquaintances, and, most likely, will make none. I am alone. Your society would give me great pleasure. Come; your room is ready, and will be, I trust, to your liking. There is a large writing table and tolerably well-filled book-shelves; you can write there quite at your ease, without fear of disturbance. Come as soon as possible, my dear friend. I am expecting you impatiently."

Hermann happened to be at leisure, and was able to comply with his friend's wish, and to go to him in the first week of December. He found Warren looking worn and depressed. It was in vain he sought to induce him to consult a physician. Warren would reply:

"Doctors can do nothing for my complaint. I know where the shoe pinches. A physician would order me probably to seek relaxation and amusement, just as he would advise a poor devil whose blood is impoverished by bad food to strengthen himself with a generous diet and good wine. The poor man could not afford to get the good living, and I do not know what could enliven or divert me. Travel? I like nothing so well as sitting quietly in my arm-chair. New faces? They would not interest me--yours is the only company I prefer to solitude. Books? I am too old to take pleasure in learning new things, and what I have learned has ceased to interest me. It is not always easy to get what might do one good, and we must take things as they are."

Hermann noticed, as before, that his friend ate little, but that, on the other hand, he drank a great deal. The sincere friendship he felt for him emboldened him to make a remark on the subject.

"It is true," said Warren, "I drink too much; but what can I do? Food is distasteful to me, and I must keep up my strength somehow. I am in a wretched state; my health is ruined."

One evening, as the two friends were seated together in Warren's room, while the wind and sleet were beating against the window-panes, the invalid began of his own accord to speak about Ellen.

"We now correspond regularly," he said. "She tells me in her last letter that she hopes soon to see me. Do you know, Hermann, that she is becoming an enigma for me? It is very evident that she does not treat me like other people, and I often wonder and ask myself what I am in her eyes? What does she feel towards me? Love? That is inadmissible. Pity, perhaps? This then, is the end of my grand dreams--to be an object of pity? I have just answered her letter to say that I am settled here with the fixed intention of ending my useless existence in quiet and idleness. Do you remember a scene in Henry Heine's 'Reisebilder,' when a young student kisses a pretty girl, who lets him have his own way and makes no great resistance, because he has told her, 'I will be gone to-morrow at dawn, and I will never see you again'? The certainty of never seeing a person again gives a man the courage to say things that otherwise he would have kept hidden in the most secret depths of his being. I feel that my life is drawing to a close. Do not say no, my dear friend; my presentiments are certain. I have written it to Ellen. I have told her other things besides. What folly! All I have ever done has been folly or chimera. I end my life logically, in strict accordance with my whole Past, by making my first avowal of love on my deathbed. Is not that as useless a thing as can be?"

Hermann would have wished to know some particulars about this letter; but Warren replied, somewhat vaguely, "If I had a copy of my letter, I would show it to you willingly. You know my whole story, and I would not be ashamed to lay before you my last act of folly. I wrote about a fortnight ago, when I felt sure that death was drawing near. I was in a fever, not from fear--Death gains but little by taking my life--but from a singular species of excitement. I do not remember what were the words I used. Who knows? Perhaps this last product of my brain may have been quite a poetical performance. Never mind! I do not repent of what I have done; I am glad that Ellen should know at last that I have loved her silently and hopelessly. If that is not disinterested, what is?" he added with a bitter smile.

Christmas went by sadly. Warren was now so weak that he could scarcely leave his bed for two or three hours each day. Hermann had taken upon himself to send for a doctor, but this latter had scarcely known what to prescribe. Warren was suffering from no special malady; he was dying of exhaustion. Now and then, during a few moments, which became daily more rare and more brief, his vivacity would return; but the shadow of Death was already darkening his mind.

On New Year's Eve he got up very late. "We will welcome in the New Year," he said to Hermann. "I hope it may bring you happiness; I know it will bring me rest." A few minutes before midnight he opened the piano, and played with solemnity, and as if it had been a chorale, a song of Schumann's, entitled "To the Drinking-cup of a Departed Friend." Then, on the first stroke of midnight, he filled two glasses with some old Rhenish wine, and raised his own glass slowly. He was very pale, and his eyes were shining with feverish light. He was in a state of strange and fearful excitement. He looked at the glass which he held, and repeated deliberately a verse of the song which he had just been playing. "The vulgar cannot understand what I see at the bottom of this cup." Then, at one draught, he drained the full glass.

While he was thus speaking and drinking, he had taken no notice of Hermann, who was watching him with consternation. Recovering himself at length, he exclaimed, "Another glass, Hermann! To friendship!" He drained this second glass, like the first, to the very last drop; and then, exhausted by the effort he had made, he sank heavily on a chair. Soon after, Hermann led him, like a sleepy child, to his bed.

During the days that followed, he was unable to leave his room; and the doctor thought it right to warn Hermann that all the symptoms seemed to point to a fatal issue.

On the 8th of January a servant from the hotel in the little neighboring town brought a letter, which, he said, required an immediate answer. The sick man was then lying almost unconscious. Hermann broke the seal without hesitation, and read as follows:

"MY DEAR FRIEND,--A visit to Europe which my father had long planned has at last been undertaken. I did not mention it to you, in order to have the pleasure of surprising you. On reaching this place, I learn that the illness of which you spoke in your last letter has not yet left you. Under these circumstances, I will not venture to present myself without warning you of my arrival, and making sure that you are able to receive me. I am here with my brother, who, like myself, would not come so near to you without seeing you. My father has gone on to Paris, where Francis and I will join him in a few days. ELLEN."

Hermann, after one instant's thought, took up his hat and dismissed the messenger, saying he would give the answer himself. At the hotel he sent in his card, with the words, "From Mr. Warren," and was immediately ushered into Ellen's presence.

She was alone. Hermann examined her rapidly. He saw an extremely beautiful woman, whose frank and fearless eyes were fixed on him with a questioning look.

Hermann had not frequented the society of women much, and was usually rather embarrassed in their presence. But on this occasion he thought only of his friend, and found no difficulty in explaining the motive of his visit. He told her his friend was ill--very ill--dying--and that he had opened the letter addressed to Warren. Ellen did not answer for some time; she seemed not to have understood what she had heard. After a while her eyes filled with tears, and she asked whether she could see Mr. Warren. On Hermann answering in the affirmative, she further inquired whether her brother might accompany her.

"Two visitors might fatigue the invalid too much," said Hermann; "your brother may come later."

"Are you not afraid that my visit may tire him?"

"I do not think so; it will make him very happy."

Ellen only took a few minutes to put on her hat and cloak, and they started. The short journey was accomplished in silence. When they reached the house, Hermann went in first to see how the dying man was. He was lying in his bed, in the delirium of fever, muttering incoherent sentences. Nevertheless he recognized Hermann, and asked for something to drink. After having allayed his thirst, he closed his eyes, as if to sleep.

"I have brought you a friend," said Hermann; "will you see him?"

"Hermann? He is always welcome."

"No; it is a friend from America."

"From America?...I lived there many years...How desolate and monotonous were the shores I visited!..."

"Will you see your friend?"

"I am carried away by the current of the river. In the distance I see dark and shadowy forms; there are hills full of shade and coolness...but I will never rest there."

Hermann retired noiselessly, and returned almost immediately with Ellen.

Warren, who had taken no notice of him, continued to follow the course of his wandering thoughts.

"The river is drawing near to the sea. Already I can hear the roar of the waves...The banks are beginning to be clothed with verdure...The hills are drawing nearer....It is dark now. Here are the big trees beneath which I have dreamed so often. A radiant apparition shines through their foliage....It comes towards me... Ellen!"

She was standing beside the bed. The dying man saw her, and without showing the least surprise, said with a smile, "Thank God! you have come in time. I knew you were coming."

He murmured a few unintelligible words, and then remained silent for a long while. His eyes were wide open. Suddenly he cried, "Hermann!"

Hermann came and stood beside Ellen.

"The pendulum...You know what I mean?" A frank childish smile--the smile of his student days--lighted up his pallid face. He raised his right hand, and tracing in the air with his forefinger a wide semicircle, to imitate the oscillation of a pendulum, he said, "Then." He then figured in the same manner a more limited and slower movement, and after repeating it several times, said, "Now." Lastly, he pointed straight before him with a motionless and almost menacing finger, and said with a weak voice, "Soon."

He spoke no more, and closed his eyes. The breathing was becoming very difficult.

Ellen bent, over him, and called him softly, "Henry, Henry!" He opened his eyes. She brought her mouth close to his ear, and said, with a sob, "I have always loved you."

"I knew it from the first," he said, quietly and with confidence.

A gentle expression stole over his countenance, and life seemed to return. Once more he had the confident look of youth. A sad and beautiful smile played on his lips; he took the hand of Ellen in his, and kissed it gently.

"How do you feel now?" inquired Hermann.

The old answer, "Very well."

His hands were plucking at the bedclothes, as if he strove to cover his face with them. Then his arms stiffened and the fingers remained motionless.

"Very well," he repeated.

He appeared to fall into deep thought. There was a long pause. At last he turned a dying look, fraught with tender pity and sadness, towards Ellen, and in a low voice, which was scarcely audible, he said these two words, with a slight emphasis on the first--"PERFECTLY well."

THE BOOKBINDER OF HORT

BY

LEOPOLD VON SACHER-MASOCH

From "Jewish Tales," published by A.C. McClurg & Co.

Copyright, 1894, by A.C. McClurg & Co.

Looking abroad from the table-land of Esced, over the Hungarian plain that stretches from the foot of Mount Matra to Szolnok, and finally merges into the horizon where the silver thread of the Theiss winds its way, the eye is attracted by a smiling section of country whose vineyards and cornfields gleam brightly in the sun. This fair spot is neither a park nor grove nor pleasant woodland, but the imposing village of Hort, its pretty white houses half concealed by a wealth of trees and shrubbery.

In this village lived a Jewish bookbinder, Simcha Kalimann, a wit and bel esprit, the oracle of the entire province, the living chronicle of his times and people.

Reviewing in reverie the procession of events in his own life, Kalimann could see, as in a mirror, the phases through which his co-religionists in Hungary had passed in their efforts toward liberty. He had lived during that dark period when the Jew dared claim no rights among his fellow-countrymen. He had suffered evil, he had endured disgrace, and the storehouse of his memory held many a tragi-comic picture of the days that were no more. But he had also lived in times when the spirit of tolerance took possession of men's minds, and he had been swept along on that tidal movement inaugurated by Count Szechenyi, the greatest of Hungarians, through his celebrated book, "Light."

The revolution of 1848 brought about the new Hungarian Constitution, and put an end to feudal government. Light penetrated into the darksome streets of the Ghetto, and through the windows opened to receive the Messiah, a saviour entered proclaiming liberty and equality to the downtrodden and oppressed.

Crushed and forsaken, as all Israel was, it gratefully responded to this message of universal brotherhood.

The Hungarian Jew had found a country, and from that moment he had thrown aside his native timidity, and found the strength to display his patriotism with an ardor and enthusiasm worthy of the cause. Thousands quitted the Ghettos, and gathered around the tricolored flag. Among the warm-hearted soldiers was Simcha Kalimann. He followed Kossuth as a simple honved (volunteer), and fought at Kapolna, Vaitzen, and Temesvar.

High hopes and golden dreams were succeeded by despondency and disillusion; then supervened years of impatient waiting,--a standing with folded arms when so much remained to be done, a time of despair, of restless suffering. But the Jew had acquired his franchise, and gratefully he remembered those to whom he owed this priceless blessing.

When the Austro-Hungarian Convention gave Hungary her king and constitution, the hearts of the people of the Ghetto beat high. This time, however, liberty did not make her entry with clang of arms and beat of drum,--peace and reconciliation were her handmaidens, and progress followed in her footsteps.

It was at this epoch in Hungary's history that Israelites began to speak the language of the country, and to accept Hungarian names. To her credit be it said that no such shameful sale was made as disgraced the time of Joseph II., when surnames were sold, according to their attractiveness or desirability, to the highest bidder.

Consequently, as a high-sounding name cost no more than a simple one, Kalimann chose the most imposing he could find, and, his country's hero in mind, called himself Sandor Hunyadi. This historic title revived, as it were, his latent patriotism, and, digging his gun and cartridge-box from their hiding-place in the garden where he had carefully buried them after the capitulation of Vilagos, he proudly hung these trophies of his prowess over his bed, and rejoiced in the memories of his martial exploits.

Liberty and religious peace held equal sway. Reciprocal kindliness and toleration spread light where darkness had been, and scattered the shadows of prejudice.

Hunyadi, or Kalimann, was regarded in Hort as a freethinker. This was scarcely just; he was pious, and strictly discharged his religious observances, emancipating himself at the same time from those distinctions in dress and customs which he deemed neither in accordance with Mosaic law nor with his ideas of progress.

He followed the observance of wearing his hat while at synagogue, but during no other religious ceremony; troubled himself but little regarding the dietary laws; dressed as his Christian neighbor did; and strictly prohibited any superstitious practices in his house. He even permitted his wife to let her hair grow,--a bold innovation.

His appearance was by no means suggestive of the hero. Short, thin, and insignificant-looking, with hair that frizzled beyond all thought of disentanglement, a tanned and freckled skin, flaxen moustache, and gray eyes that blinked continuously, Kalimann had truly no cause for vanity. Besides, he was excessively near-sighted, and as his large spectacles were taken from their red case only when he read or worked, it not unfrequently happened that when he took his walk abroad he would mistake a tall post for the chief magistrate of the county, and salute it with his most respectful bow; or, with a composure born of self-complacency, it would be his misfortune to pass by Madame Barkany, his best customer, with a vacant stare, under the impression that the fair apparition was linen hung to bleach in the sun.

Kalimann worked alone with a little apprentice named Hersch, whom he had indentured far more from charity than necessity, since the worthy bookbinder felt within him that love for his art which would have enabled him to bind the entire literature of Europe with no greater aid than his good right arm. He was a conscientious, faithful workman, and, as a rule, his entire days were spent in his shop; when necessity demanded he would toil on late into the night by the light of a tallow candle, or an ill-smelling lamp.

His work was his pride; reading his delight. If a single dark spot clouded the surface of this simple honest life, that shadow fell from the portly form of Mrs. Rachel Kalimann, or Rose Hunyadi, as it was that lady's pleasure now to be called. It would be unjust, however, to the handsome woman, whose buxom proportions served, as it were, to give weight to the establishment, to say that her faults were of a serious nature; she was, at the most, insensible to her husband's intellectual aspirations, which she termed, with more vigor than the occasion demanded, "stuff and nonsense."

Quotations from the Talmud and the Scriptures were equally impotent to quell the torrent of the worthy woman's eloquence when she felt that the occasion demanded her timely interference; in vain Kalimann supported his side of the question by citing from the book of Job: "The gold and the crystal cannot equal it, and the exchange of it shall not be for jewels of fine gold. No mention shall be made of coral or of pearls; for the price of wisdom is above rubies." [Footnote: See Job xxviii. 17, 18.]

Rose would retort curtly: "What can I buy with your wisdom? Will it give me wherewith to eat and to drink, and to clothe myself? No! Very well then, what is the good of it?"

The learned bookbinder would, as a rule, sigh and silently abandon the argument when it had reached this stage, but at times his composure would break down under the strain imposed on it. Disputes and quarrels would ensue, but in the end Kalimann would capitulate, his conjugal love overcoming his anger and resentment.

Occasionally, however, he would endeavor to escape his wife's vigilance, and take refuge in a remote corner with one of his treasured volumes. On one of these "secret" evenings she surprised him in the poultry house, at his side a small lantern shedding a doubtful light upon a fine edition of "Hamlet" on his lap. Rose read him a long lecture, and commanded him to retire at once. The good man obeyed, but carried "Hamlet" to bed with him, turning once more to his Shakespeare for refreshment and sweet content. He had scarcely read half a page, when his spouse rose in all her majesty and blew out the candle.

Kalimann was desperate, and yet resistance would have been unwise. Sadly resigned, he turned his head upon the pillow, and soon snored in unison with Hersch. A half-hour of profound silence, then the culprit rose, and making sure that his wife was sleeping the sleep of the just, he cautiously took his book and spectacles, glided out of doors, and sitting upon the old moss-grown bench in front of the house, continued the tragedy of the Danish prince by the light of the moon.

Yes, he loved his books with passion and tenderness; but not having means wherewith to buy them, he read every book that was entrusted to him to bind. Not being the collector of the volumes in his workshop, chance alone being responsible for the heterogeneous display,--to-day a sentimental love-tale, to-morrow a medical treatise, the next day a theological work,--it followed that the poor little bookbinder's head was filled with as confused a mass of lore, religious and profane, as ever cast in its lot in the sum of human knowledge. The more a book pleased him, the longer did the owner have to wait for it; and it was only after repeated insistence that the coveted volume was placed in the rightful possessor's hands.

Naturally, Kalimann's prices varied according to the work required, or the cost of material; but when it came to the question of ornamental finishing or decorative impressions, his customer's orders were totally ignored, and he it was who decided upon the finishing according to the subject or the value of the work.

When he carried the books back to his customers, he would always tie them up carefully in a large colored handkerchief, and, while unwrapping them, would embrace the opportunity of expressing his views upon their contents; at times, however, he regarded the open assertion of his opinion as dangerous, and could not be induced to pass judgment. On these occasions he never failed to say with a sorrowful shake of the head, "While we are living we may not speak, when we are dead it is too late!"

There lived in Hort at this time a wealthy and pretty widow, Mrs. Zoe Barkany by name, originally Sarah Samuel. From her, Kalimann would get his novels and classical literature; these he bound in pale blues and greens and brilliant scarlets, ornamenting them with a golden lyre, surmounted with an arrow-pierced heart. He worked upon these bindings con amore, and, transported by his love of the aesthetic, would occasionally give vent to his enthusiasm, and venture observations bordering upon the chivalrous. In each and every heroine of the plays and romances he devoured, he could see the captivating face and figure of Mrs. Barkany.

Entering the fair widow's garden one morning, and discovering her seated on a rustic bench, dressed in white, a guitar in her hand, he exclaimed, with a reverential bow: "Ah, mon Dieu, there sits Princess Eboli!" (the heroine in "Don Carlos"). Another time seeing her in a. morning gown of Turkish stuff, he declared she must be sitting for the picture of Rebecca in "Ivanhoe." In short, Mrs. Barkany very soon learned to anticipate her bookbinder's speeches, and would say, with a pretty smile: "Well, am I Esmeralda to-day?" or, "I wager that I am reminding you of the Duchess; tell me, am I right or not?"

Binding works on jurisprudence for the notary, he developed his philosophy of law; returning some volumes to the village doctor, he surprised that worthy by launching forth with enthusiasm into a disquisition on medicine; and dropping in one fine day at Professor Gambert's,--the pensioned schoolmaster,--he proved himself no mean adversary in a discussion upon natural history. He invariably approached a subject with a refreshing originality, and on one occasion maintained with an obstinacy born of conviction that the reason Moses had prohibited the Jews from eating pork was because he had discovered the trichina.

Simcha Kalimann had taken upon himself the office of censor in his village, as may be seen by the following incident. The widow had given him a richly illustrated German edition of "Nana" to bind. At dusk one evening he discovered his apprentice crouched in a corner by the window, evidently intensely amused over the illustrations. He quietly seized the culprit by the hair, shook him as he would a puppy, and then, putting on his spectacles, began inspecting the volume himself. At first he shook his head, then took off his glasses and rubbed them as though they were playing him some prank, and finally closed the book with an expression of profound disgust.

Mrs. Barkany awaited the return of her "Nana" with unruffled patience; finally she despatched her cook Gutel with an order for the book. Kalimann was ready with his excuses, and after a fortnight's delay the widow found her way into the workshop, and began suing for the book in person.

"I want my copy of 'Nana,'" she began.

"Nana?" Kalimann went on with his work.

"You have not bound it yet?"

"No, madame."

"But when am I to have it?" "You are not to have that book at all."

"What! You talk absurdly."

"We merit trust, the Count will own;
For nothing's left of flesh or bone,"

quoted Kalimann from Schiller's ballad "The Forge." "As for 'Nana,' I've simply pushed it in the stove."

"Kalimann, this is going too far."

"It is not a book for a Jewish woman to own."

The widow flushed indignantly, but would not yield the victory to her adversary.

"If you have burned my book you must give me an equivalent."

"With pleasure," replied the bookbinder, and taking down a picture from the wall, he begged her acceptance of it. It represented a scene from Schiller's "Song of the Bell," a fair young woman, surrounded by her children, seated on the balcony of her house. As title to the picture were printed these lines:

"The house spreadeth out,
And in it presides
The chaste gentle housewife,
The mother of children;
And ruleth metely
The household discreetly."

Our bookbinder had a reverential admiration for all scholars, poets, or artists, irrespective of race or creed. Awaiting the widow in her library one day, his attention was attracted by an engraving representing Schiller at Carlsbad seated upon an ass. His eyes filled with tears at the sight. "A man like that," he exclaimed, "riding upon an ass! While ordinary people like Baron Fay or Mr. de Mariassy ride about proudly on horses."

Later on it occurred to him that Balaam too was mounted on an ass, and he derived a measure of consolation from the thought that Schiller was a prophet as well. Would it be venturesome to say that in Kalimann there was the stuff for poet or prophet?

In addition to his trade, our bookbinder carried on another pursuit which was quite lucrative in its way, and one universally well established among all Jewish communities of Eastern Europe. Kalimann was Cupid's secretary: in other words, he wrote love-letters for those who could neither read nor write. The opportunity thus vouchsafed his native tendency toward sentiment helped not only to swell the hearts of his clients with gratitude, but also to swell his own slender income. Thus it was that the fire of his poetic genius was enkindled, and thus it was he became the Petrarch of Hort.

One day Gutel Wolfner, Mrs. Barkany's cook, came to him with the request that he would write a letter for her to a friend at Gyongos.

"Well, well, little one," said the scribe, "so Love's arrow has reached you at last!"

"Heaven preserve me!" cried the girl, "he is not named Love, but Mendel Sucher, and he has never drawn a bow in his life."

Gutel now gave the bookbinder a general idea of the letter she wished written, and inquired the price.

"That will not depend upon the length of the epistle," he replied, "but upon its quality." Thereupon he read aloud to her his tariff.

1st. A friendly letter ................... 10 kreutzers 2d. A kind and well-intentioned letter ... 15 " 3d. A tender letter ...................... 20 " 4th. A touching letter ................... 30 " 5th. A letter that goes straight to the heart ................................ 1/2 florin

"Very good; a friendly letter will do well enough this time," said the girl, as she deposited her ten kreutzers on the table.

"I will write a kind and well-intentioned letter for you for the same price as a friendly one," said Kalimann, gallantly.

Mendel Sucher received the missive the following day, and as his scholarship was as limited as Gutel's, he forthwith sought out Saul Wahl, a lawyer's clerk at Gyongos, likewise a member of the same erotic profession as the bookbinder of Hort. Wahl read Kalimann's letter to the smiling recipient with such pathos that Mendel was completely overcome. Placing twenty kreutzers on the table, the happy swain begged the clerk to write as finely turned a letter to Gutel as the one she had sent him.

Saul, who had at a glance recognized Kalimann's calligraphy, said to himself: "It will go hard with me but I will show the bookbinder that they know how to write letters at Gyongos, and can also quote from the classic authors."

He at once wrote Gutel a missive so thickly interlarded with quotations from the Song of Solomon, from Goethe, Petofi, Heine, and Chateaubriand, that when Kalimann read the billet-doux to the blushing girl her head was quite turned.

The bookbinder himself scratched his head and muttered: "This Saul is a man of letters; his style is vigorous! Who would have thought it?"

The correspondence between Gutel and Mendel, or rather between Kalimann and Saul, flourished for some time. If Kalimann addressed Mendel as "my cherished friend," "my turtle dove," Saul on his side would intersperse throughout his letters such expressions as "your gazelle-like eyes," "your fairy form," "your crimson lips," "your voice rivalling the music of the celestial spheres."

Kalimann's "friendly" letter was followed by those of the tender and touching variety, and finally Gutel decided upon sacrificing her half florin and sending one that "would go straight to the heart." To make assurance doubly sure she supplemented her silver piece by a bottle of wine. Her amanuensis poured out a glass, emptied it at a draught, smacked his lips, and began to write. Suddenly, however, he stopped, and turning to the girl, said: "Do you know, Gutel, that wine of yours was a happy inspiration, but the great poet Hafiz was not alone inspired by the spirit of wine, he placed a great virtue upon the crimson lips of pretty girls."

Gutel was not slow to understand.

"As I have given you a half florin and a bottle of wine," she said, in a shamefaced way, wiping her mouth with the corner of her apron the while, "I see no reason why I should not add a touch of my lips as well." So saying she gave the happy bookbinder a hearty kiss. The consequence of all this was that the pen flew over the paper, and when Kalimann read the letter for Gutel's approval the tender-hearted girl burst into tears of emotion.

As for Mendel, when Saul read him this letter going "straight to the heart," he could contain himself no longer; rushing from the house he flew to the factory where he worked, and asked his employer, Mr. Schonberg, to permit him to quit his service.

"What is the matter with you?" cried Schonberg. "Why do you wish to leave? Do you want more wages?"

"No, no, Mr. Schonberg, that is not the reason. But--but I can stay no longer here at Gyongos, I must go to Hort."

"To Hort? What is the reason of that?"

For reply the dazed fellow held out the letter for him to read. Schonberg glanced over it, and smiled. "This Kalimann," he murmured, "is a deuce of a fellow. The world has lost a novelist in him. But let me see how I can arrange matters. Mendel," he continued, turning to the open-mouthed lover, "you shall stay here, and you shall marry your Gutel. I will give you two or three rooms in the factory for your housekeeping, and Mrs. Barkany will give the girl her trousseau. How does that strike you?"

Mendel beamed. He would have thrown himself on his employer's neck, but resisted the impulse, and, instead, brushed the back of his hand across his eyes. Schonberg gave him a day's holiday, and the happy fellow lost no time in making his way to Hort, and subsequently into the arms of his inamorata. Mrs. Barkany gave Gutel the trousseau, and the marriage took place at harvest-time.

At one end of the table, in the seat of honor next to the rabbi, sat the bookbinder of Hort. All had been his work, and, truth to tell, this was not the first happy couple he had been the means of bringing together.

When it was his turn to deliver a toast in honor of the bride and groom, he rose, filled his glass, and holding it in his hand, declaimed from his favorite poet Schiller, and with an enthusiasm worthy the occasion:

"Honor to women! round Life they are wreathing
Roses, the fragrance of Heaven sweet-breathing!"

THE EGYPTIAN FIRE-EATER

BY

RUDOLPH BAUMBACH

From "Summer Legends," translated by Helen B. Dole. Published by T. Y. Crowell & Co.

Copyright, 1888, by T.Y. Crowell & Co

Next Easter he must go to N--to school.--Fact.--It is high time; he is eleven years old, and here he is running wild with the street-boys.--That's what I say."

He, that is, I, hung my head, and I felt more like crying than laughing. I had passed eleven sunny boyhood years in the little country town, I stood in high esteem among my playmates, and would rather be the first in the ranks of my birthplace than second in the metropolis.

Through the gray mist, which surrounded my near future like a thick fog, gleamed only one light, but a bright, attractive light; that was the theatre, the splendor of which I had already learned to know. The white priests in the "Magic Flute," Sarastro's lions, the fire-spitting serpents, and the gay, merry Papageno,--such things could not be seen at home; and when my parents promised me occasional visits to the theatre, as a reward for diligence in study and exemplary conduct, I left the Eden of my childhood, half consoled.

Young trees, transplanted at the proper time, soon take root. After a tearful farewell to my friends and a slight attack of home-sickness, I was quite content. I was received into the second class at the gymnasium, and drank eagerly of the fountain of knowledge; a certain Frau Eberlein, with whom I found board and lodging, cared for my bodily welfare.

She was a widow, and kept a little store, in which, with the assistance of a shop-girl, she served customers, who called from morning to night. She dealt principally in groceries and vegetables, but besides these, every conceivable thing was found piled up in her shop: knitting-yarn, sheets of pictures, slate-pencils, cheese, pen-knives, balls of twine, herring, soap, buttons, writing-paper, glue, hairpins, cigar-holders, oranges, fly-poison, brushes, varnish, gingerbread, tin soldiers, corks, tallow candles, tobacco-pouches, thimbles, gum-balls, and torpedoes. Besides, she prepared, by means of essences, peach brandy, maraschino, ros solis, and other liqueurs, as well as an excellent ink, in the manufacture of which I used to help her. She rejoiced in considerable prosperity, lived well, and did not let me want for anything.

My passion for the theatre was a source of great anxiety to good Frau Eberlein. She did not have a very good opinion of the art in general, but the comedy she despised from the bottom of her heart. Therefore she made my visiting the theatre as difficult as possible, and it was only after long discussions, and after the shop-girl had added her voice, that she would hand over the necessary amount for purchasing a ticket. The shop-girl was an oldish person, as thin as a giraffe which had fasted for a long time, and was very well read. She subscribed regularly to a popular periodical with the motto, "Culture is freedom," and Frau Eberlein was influenced somewhat by her judgment. This kind-hearted woman was friendly towards me, and as often as her employer asked, "Is the play a proper one for young people?" she would answer, "Yes," and Frau Eberlein would have to let me go.

Those were glorious evenings. Long before it was time for the play to begin, I was in my seat in the gallery, looking down from my dizzy height, into the house, still unlighted. Now a servant comes and lights the lamps in the orchestra. The parquet and the upper seats fill, but the reserved seats and the boxes are still empty. Now it suddenly grows light; the chandelier comes down from an opening in the ceiling. The musicians appear and tune their instruments. It makes a horrible discord, but still it is beautiful. The doors slam; handsomely dressed ladies, in white cloaks, gay officers, and civilians in stiff black and white evening dress take their seats in the boxes. The conductor mounts his elevated seat and now it begins. The overture is terribly long, but it comes to an end. Ting-aling-aling,--the curtain rises. Ah!--

I soon decided in my own mind that it should be my destiny, some time, to delight the audience from the stage, but I was still undecided whether I would devote myself to the drama or the opera, for it seemed to me an equally desirable lot to shoot charmed bullets in "Der Freischutz," or, hidden behind elderberry bushes, to shoot at tyrannical Geslers in "William Tell." In the meantime I learned Tell's monologue, "Along this narrow path the man must come," by heart, and practised the aria, "Through the forest, through the meadows."

Providence seemed to favor my plan, for it led me into an acquaintance with a certain Lipp, who, on account of his connections, was in a position to pave my way to the stage.

Lipp was a tall, slender youth, about sixteen years old, with terribly large feet and hands. He usually wore a very faded, light-blue coat, the sleeves of which hardly came below his elbows, and a red vest. He had a rather stooping gait, and a beaming smile continually played about his mouth. Besides, the poor fellow was always hungry, and it was this peculiarity which brought about our acquaintance.

On afternoons when there was no school, and I went out on the green to play ball with my companions or fly my kite, Frau Eberlein used to put something to eat in my pocket. Lipp soon spied it out, and he knew how to get a part, or even the whole of my luncheon for himself. He would pick up a pebble off the ground, slip it from one hand to the other several times, then place one fist above the other, saying:

"This hand, or that?
Burned is the tail of the cat.
Which do you choose?
Upper or under will lose!"

If I said "upper," the stone was always in the lower hand, and vice versa. And Lipp would take my apple from me with a smile, and devour it as if he were half-famished.

Why did I allow it? In the first place because Lipp was beyond me in years and in strength, and in the second place, because he was the son of a very important personage. His father was nothing less than the doorkeeper of the theatre; a splendid man with a shining red nose and coal-black beard reaching to his waist. The wise reader now knows how young Lipp came by a light-blue coat and red vest.

My new friend from his earliest years had been constantly on the stage. He played the gamin in folk-scenes and the monster in burlesques. Besides, he was an adept at thunder and lightning; by means of cracking a whip and the close imitation of the neighing of horses, he announced the approaching stage-coach; he lighted the moon in "Der Freischutz;" and with a kettle and pair of tongs gave forewarning of the witches' hour. When I opened my heart to Lipp and confided to him that I wanted to go on the stage, he reached out his broad hand to me with emotion and said, "And so do I." Hereupon we swore eternal friendship, and Lipp promised as soon as possible to procure me an opportunity for putting my dramatic qualifications to the test. From that hour his manner changed towards me. Before, he had treated me with some condescension, but now his behavior towards me was more like that of a colleague. Moreover, the game of chance for my lunch came to an end, for from that time forth I shared it with him like a brother.

The fine fellow kept his promise to make a way for me to go on the stage. A few evenings later ("Der Freischutz" was being played), I stood with a beating heart behind the scenes, and friend Lipp stood by my side. In my hand I held a string, with which I set the wings of the owl in the wolf's glen in rhythmic motion. My companion performed the wild chase. By turns he whistled through his fingers, cracked a whip, and imitated the yelping of the hounds. It was awfully fine.

"You did your part splendidly," said Lipp to me at the end of the scene; "next time you must go out on the stage."

I swam in a sea of delight. A short time after, "Preciosa" was given, and Lipp told me that I could play the gypsy boy. They put a white frock on me and wound red bands crosswise about my legs. Then a chorister took me by the hand and led me up and down the back of the stage two or three times. That was my first appearance.

It was also my last. The affair became known. In school I received a severe reprimand, and in addition, as a consequence of the airy gypsy costume, a cold with a cough, which kept me in bed for a day or two.

"It serves you right," said Frau Eberlein. "He who will not hear must feel. This comes from playing in the theatre. If your blessed grandmother knew that you had been with play-actors she would turn in her grave."

Crushed and humiliated, I swallowed the various teas which my nurse steeped for me one after another. But with each cup I had to listen to an instructive story about the depravity of actors. In order to lead me back from the way of the transgressors to the path of virtue, Frau Eberlein painted with glowing colors; one story in particular, in which occurred three bottles of punch-essence never paid for, made a deep impression on me. But Frau Eberlein's anecdotes failed to make me change my resolves.

Soon after, something very serious happened. Lipp's father, the doorkeeper of the theatre, after drinking heavily, fell down lifeless by the card-table in the White Horse; and my friend, in consequence of this misfortune, came under the control of a cold-hearted guardian, who had as little comprehension of the dramatic art as Frau Eberlein. Lipp was given over to a house-painter, who, invested with extended authority, took the unfortunate fellow as an apprentice.

Lipp was inconsolable at the change in his lot. The smile disappeared from his face, and I too felt melancholy when I saw him going along the street in his paint-bespattered clothes, the picture of despair.

One day I met the poor fellow outside the city gate, where the last houses stand, painting a garden fence with an arsenic-green color. "My good friend," he said, with a melancholy smile, "I cannot give you my hand, for there is paint on it; but we are just the same as ever." Then he spoke of his disappointed hopes. "But," he continued, "because they are deferred, they are not put off for ever, and these clouds" (by this he referred to his present apprenticeship as painter) "will pass away. The time will come--I say no more about it; but the time will come." Here Lipp stopped speaking and dipped his brush in the paint-pot, for his master was coming around the corner of the house.

One day Lipp disappeared. The authorities did everything in their power to find him, but in vain; and since, at that time, the river, on which the city stood, had overflowed its banks, it was decided that Lipp had perished. The only person who did not share in this opinion was myself. I had a firm conviction that he had gone out into the wide world to seek his fortune, and that some day he would turn up again as a celebrated artist and a successful man. But year after year passed by and nothing was heard of Lipp.

I had entered upon my fifteenth year, was reading Virgil and Xenophon, and could enumerate the causes which brought the Roman empire to ruin. But in the midst of my classical studies I did not lose sight of the real aim of my life, the dramatic art; and as the stage had been closed to me since my first appearance, I studied in my own room the roles in which I hoped to shine later. Then I had already tried my skill as a dramatic author, and in my writing-desk lay concealed a finished tragedy. It was entitled "Pharaoh." In it occurred the seven plagues of Egypt and the miracles of Moses; but Pharaoh's destruction in the Red Sea formed the finale from which I promised myself the most brilliant success.

Therefore I went about dressed as a regular artist. My schoolmates imitated the University students,--wore gay-colored caps, dark golden-red bands, and carried canes adorned with tassels; but I wore over my wild hair a pointed Calabrian hat, around my neck a loose silk handkerchief fastened together in an artistic knot, and in unpleasant weather a cloak, the red-lined corner of which I threw picturesquely over my left shoulder.

In this attire I went about in my native town, where I was accustomed to spend my summer vacations. The boys on the street made sport of me by their words and actions, but I thought, "What does the moon care when the dog bays at her!" and holding my head high, I walked past the scoffers.

Every year, in the month of August, a fair was held in the little town. On the common, tents and arbors were put up, where beer and sausages were furnished. Further entertainment was provided in the way of rope-dancers, jugglers, a Punch-and-Judy show, fortune-tellers, monstrosities, wax figures, and tragedies.

As a spoiled city youth, I considered it decidedly beneath my dignity to take part in the people's merry-making; but I couldn't get out of it, and so I went with my parents and brothers and sisters to the opening of the festival out in the park, and walked more proudly than ever under my Calabrian hat.

The sights were inspected one after another, and in the evening we all sat together in the front row of a booth, the proprietor of which promised to exhibit the most extraordinary thing that had ever been seen. The spectacle was divided into three parts. In the first a little horse with a large head was brought out, which answered any questions asked him by nodding, shaking, and beating his hoofs. In the second part two trained hares performed their tricks. With their forelegs they beat the drum, fired off pistols, and in the "Battle with the Hounds" they put to flight a whining terrier.

The proprietor had kept the best of all--that is, the Egyptian fire-eater, called "Phosphorus"--for the last part. The curtain went up for the third time, and on the stage, in fantastic scarlet dress, with a burning torch in his left hand, there stood a tall--ah! a form only too well known to me. It was Lipp, who had been looked upon as dead.

I saw how the unfortunate fellow with a smile put a lump of burning pitch in his mouth, and then everything began to swim around me. I pulled my hat down over my eyes, made my way through the crowd howling their applause, and staggered home exhausted.

During the rest of the festival I kept myself in strict seclusion. I announced that I was not well, and this was really no untruth, for I was very miserable. "That is because he is growing," said my anxious mother; and I assented, and swallowed submissively the family remedies which she brought to me.

At last the fair was over, and the Egyptian fire-eater had left the town. But the poor fellow did not go far. In the city where he exhibited his skill he was recognized and arrested, because he had avoided service in the army. To be sure, he was set free again after a few weeks as unqualified; but in the meantime his employer with the performing hares had gone nobody knew where, and Lipp was left solely dependent on his art, which he practised for some time in the neighboring towns and villages.

The end of his artistic career is sad and melancholy. He fell a victim to his calling. As an ambitious man he enlarged his artistic capabilities; he ate not only pitch but also pieces of broken glass, and an indigestible lamp-chimney was the cause of his destruction.