Transcriber's Note:
1. Page scan source:
http://www.archive.org/details/oncrossaromance00saffgoog

"Accursed be the hour I raised you from the dust to my
side."--Page 339.

ON THE CROSS

A
Romance of the Passion Play at
Oberammergau

BY

Wilhelmine von Hillern

AND

Mary J. Safford

DREXEL BIDDLE, PUBLISHER

PHILADELPHIA

Copyright, 1902

BY

ANTHONY J. DREXEL BIDDLE.

PRESS OF DREXEL BIDDLE, PHILADELPHIA, U. S. A.

TO

HERR JOHANNES DIEMER,

THE RENOWNED DELIVERER OF THE PROLOGUE IN THE PASSION PLAYS
OF THE LAST DECADE, A TRUE SON OF AMMERGAU, IN WHOSE
UNASSUMING PERSON DWELLS THE CALM, DEEP SOUL OF
THE ARTIST, THE LOYAL SYMPATHIZING FRIEND, IN
WHOSE PEACEFUL HOME I FOUND THE QUIET
AND THE MOOD I NEEDED TO COMPLETE
THIS WORK, IT IS NOW DEDICATED,
WITH GRATEFUL ESTEEM, BY

THE AUTHORESS.

CONTENTS.

[ Introduction.]

[INTRODUCTION.]

It was in the Garden of Gethsemane that the risen Son of God showed Himself, as a simple gardener, to the penitent sinner. The miracle has become a pious tradition. It happened long, long ago, and no eye has ever beheld Him since. Even when the risen Lord walked among the men and women of His own day, only those saw Him who wished to do so.

But those who wish to see Him, see Him now; and those who wish to seek Him, find Him now.

The Garden of Gethsemane has disappeared--the hot sun of the East has withered it. All things are subject to change. The surface of the earth alters and where the olive tree once grew green and the cedar stretched its leafy roof above the head of the Redeemer and the Penitent, there is nothing now save dead, withered leafage.

But the Garden blooms once more in a cool, shady valley among the German mountains. Modern Gethsemane bears the name of Oberammergau. As the sun pursues its course from East to West, so the salvation which came from the East has made its way across the earth to the West. There, in the veins of young and vigorous nations, still flow the living streams that water the seeds of faith on which the miracle is nourished, and the stunted mountain pine which has sprung from the hard rocks of the Ettal Mountain is transformed to a palm tree, the poor habitant of the little mountain village to a God. It is change, and yet constancy amid the change.

The world and its history also change in the passage of the centuries. The event before which the human race sank prostrate, as the guards once did when the risen Christ burst the gates of the tomb, gradually passed into partial oblivion. The thunder with which the veil of the temple was rent in twain died away in the misty distance; heaven closed forever behind the ascended Lord, the stars pursued their old courses in undisturbed regularity; revelations were silent. Men rubbed their eyes as though waking from a dream and began to discuss what portion was truth and what illusion. The strife lasted for centuries. One tradition overthrew another, one creed crowded out another. With sword in hand and the trumpet of the Judgment Day the Ecclesia Militans established the dogma, enforced unity in faith. But peace did not last long under the rule of the church. The Reformation again divided the Christian world, the Thirty Years War, the most terrible religious conflict the earth has ever witnessed began, and in the fury of the battle the combatants forgot the cause of the warfare. Amid the streams of blood, the clouds of smoke rising from burning cities and villages, the ruins of shattered altars, the cross, the holy emblem for which the battle raged, vanished, and when it was raised again, it was still but an emblem of warfare, no longer a symbol of peace.

There is a single spot of earth where, untouched by the tumult of the world, sheltered behind the lofty, inhospitable wall of a high mountain, the idea of Christianity has been preserved in all its simplicity and purity--Oberammergau. As God once suffered the Saviour of the World to be born in a manger, among poor shepherds, He seems to have extended His protecting hand over this secluded nook and reserved the poor mountaineers to repeat the miracle. Concealed behind the steep Ettal mountain was a monastery where, from ancient times, the beautiful arts had been sedulously fostered.

One of the monks was deeply grieved because, in the outside world, iconoclasm was rudely shaking the old forms and, in blind fear, even rejecting religious art as "Romish." As no holy image would be tolerated; the Saviour and His Saints must disappear entirely from the eyes of men. Then, in his distress, the inspiration came that a sacred drama, performed by living beings, could produce a more powerful effect than word or symbol. So it was determined in the monastery that one should be enacted.

The young people in the neighborhood, who had long been schooled by the influence of the learned monks to appreciate beauty, were soon trained to act legends and biblical poems. With increasing skill they gained more and more confidence, till at last their holy zeal led them to show mankind the Redeemer Himself, the Master of the world, in His own bodily form, saying to erring humanity; "Lo, thus He was and thus He will be forever."

And while in the churches paintings and relics were torn from the walls and crucifixes destroyed, the first Passion play was performed, A. D. 1634, under the open sky in the churchyard of Oberammergau--for this spot, on account of its solemn associations, was deemed the fitting place for the holy work. The disgraced image of love, defiled by blood and flames, once more rose in its pure beauty! Living, breathing! The wounds inflicted more than a thousand years before again opened, fresh drops of blood trickled from the brow torn by its diadem of thorns, again the "Continue ye in My love" fell from the pallid lips of the Lamb of God, and what Puritanism had destroyed in its dead form was born anew in a living one. But, amid the confusion and roar of battle, the furious yells of hate, no one heard the gentle voice in the distant nook beyond the mountains.

The message of peace died away, the Crucified One shed His blood unseen.

Years passed, the misery of the people constantly increased, lands were ravaged, the ranks of the combatants thinned.

At last the warriors began to be paralyzed, the raging storm subsided and pallid fear stared blankly at the foes who had at last gained their senses--the plague, that terrible Egyptian Sphinx, lured by the odor of corruption emanating from the long war, stole over the earth, and those at whom she gazed with the black fiery eyes of her torrid zone, sank beneath it like the scorched grass when the simoom sweeps over the desert.

Silence fell, the silence of the grave, for wherever this spectre stalks, death follows.

Fear reconciled enemies and made them forget their rancor in union against the common foe, the cruel, invincible plague. They gazed around them for some helping hand, and once more turned to that over which they had so long quarrelled. Then amid the deathlike stillness of the barren fields, the empty houses, the denuded churches, and the desolated land, they at last heard the little bell behind the Ettal mountain, which every decade summoned the Christian world to the Passion Play, for this was the vow taken by the Ammergau peasants to avert the plague and the divine wrath. Again the ever patient Saviour extended His arms, crying: "Come unto Me, all ye who are weary and heavy laden!" And they did come. They threw themselves at His feet, the wearied, hunted earthlings, stained with dust and blood, and He comforted and refreshed them, while they again recognized Him and learned to understand the meaning of His sacrifice.

Those who thus saw Him and received the revelation announced it to others, who flocked thither from far and near till the little church-yard of Oberammergau became too narrow, and could no longer contain the throngs; the open fields became a sacred theatre to receive the pilgrims, who longed to behold the Redeemer's face.

And, strangely enough, all who took part in the sacred play, seemed consecrated, the plague passed them by, Ammergau alone was spared.

So the pious seed grew slowly, often with periods when it stood still, but the watchful eye can follow it in history.

Peace at last came to the world. Purer airs blew. The Egyptian hyena, satiated, left the ravaged fields, new life bloomed from the graves, and this new life knew naught of the pangs and sufferings of the old. From the brutality and corruption of the long war, the new generation longed for more refined manners, culture, and the pleasures of life. But, as usual after such periods of deprivation and calamity, one extreme followed another. The desire for more refined manners and education led to hyperculture, the love of pleasure into epicureanism and luxury, grace into coquetry, mirth into frivolity. Then came the so-called age of gallantry. The foil took the place of the sword, the lace jabot of the leather jerkin, the smoke of battle gave way to the clouds of powder scattered by heads nodding in every direction.

Masked shepherds and shepherdesses danced upon the graves of a former generation, a new Arcadia was created in apish imitation and peopled with grimacing creatures who tripped about on tiptoe in their high-heeled shoes. Instead of the mediæval representations of martyrs and emaciated saints appeared the nude gods and cupids of a Watteau and his school. Grace took the place of majesty. Instead of moral law, men followed the easy code of convenience and everything was allowable which did not transgress its rules. Thus arose a generation of thoughtless pleasure seekers, which bore within itself a moral pestilence that, in contrast with the "Black Death," might be termed the "Rosy Death" for it breathed upon the cheeks of all whom it attacked the rosy flush of a fever which wasted more slowly, but none the less surely.

And through this rouged, dancing, skipping age, with the click of its high-heeled shoes, its rustling hooped petticoats, its amorous glances and heaving bosoms, the chaste figure of the Man of Sorrows, with a terrible solemnity upon his pallid brow, again and again trod the stage of Ammergau, and whoever beheld Him dropped the flowing bowl of pleasure, while the laugh died on his lips.

Again history and the judgment of the world moved forward. The "Rosy Death" had decomposed and poisoned all the healthful juices of society and corrupted the very heart of the human race--morality, faith, and philosophy, everything which makes men manly, had gradually perished unobserved in the thoughtless whirl. The tinsel and apish civilisation no longer sufficed to conceal the brute in human nature. It shook off every veil and stood forth in all its nakedness. The modern deluge, the French Revolution burst forth. Murder, anarchy, the delirium of fever swept over the earth in every form of horror.

Again came a change, a transformation to the lowest depths of corruption. Grace now yielded to brutality, beauty to ugliness, the divine to the cynical. Altars were overthrown, religion was abjured, the earth trembled under the mass of destroyed traditions.

But from the turmoil of the throng, fiercely rending one another, from the smoke and exhalations of this conflagration of the world, yonder in the German Garden of Gethsemane again rose victoriously, like a Phœnix from its ashes, the denied, rejected God, and the undefiled sun of Ammergau wove a halo of glory around the sublime figure which hung high on the cross.

It was a quiet, victory, of which the frantic mob were ignorant; for they saw only the foe confronting them, not the one battling above. The latter was vanquished long ago, He was deposed, and that settled the matter. The people in their sovereignty can depose and set up gods at pleasure, and when once dethroned, they no longer exist; they are hurled into Tartarus. And as men can not do without a god, they create an idol.

The country groaned beneath the iron stride of the Emperor and, without wishing or knowing it, he became the avenger of the God in whose place he stood. For, as the Thirty Years War ended under the scourge of the pestilence, and the age of mirth and gallantry under the lash of the Revolution, the Revolution yielded to the third scourge, the self-created idol!

He, the man with compressed lips and brow sombre with thought, ruled the unchained elements, became lord of the anarchy, and dictated laws to a universe. But with iron finger he tore open the veins of humanity to mark upon the race the brand of slavery. The world bled from a thousand wounds, and upon each he marked the name "Napoleon."

Then, wan as the moon floats in the sky when the glow of the setting sun is blazing in the horizon, the sovereign of the world in his bloody splendor confronted the pallid shadow of the Crucified One, also robed in a royal mantle, still wet with the blood He had voluntarily shed. They gazed silently at each other--but the usurper turned pale.

At last, at the moment he imagined himself most like Him, God hurled the rival god into the deepest misery and disgrace. The enemy of the world was conquered, and popular hatred, so long repressed, at last freed from the unbearable restraint, poured forth upon the lonely grave at St. Helena its foam of execration and curses. Then the conqueror in Oberammergau extended His arms in pardon, saying to him also: "Verily I say unto thee, To-day shalt thou be with me in paradise."

A time of peace now dawned, the century of thought. After the great exertions of the war of liberation, a truce in political life followed, and the nations used it to make up for what they had lost in the development of civilization during the period of political strife. A flood of ideas inundated the world. All talent, rejoicing in the mental activity which had so long lain dormant, was astir. There was rivalry and conflict for the prize in every department. The rising generation, conscious of newly awakening powers, dared enterprise after enterprise and with each waxed greater. With increasing production, the power of assimilation also increased. Everything grand created in other centuries was drawn into the circle of their own nation as if just discovered. That for which the enlightened minds of earlier days had vainly toiled, striven, bled, now bloomed in luxuriant harvests, and the century erected monuments to those who had been misjudged and adorned them with the harvest garland garnered from the seeds which they had sowed in tears.

What Galvani and Salomon de Cäus, misunderstood and unheard, had planned, now made their triumphal passage across the earth as a panting steam engine or a flashing messenger of light, borne by and bearing ideas.

The century which produced a Schiller and a Goethe first understood a Shakespeare, Sophocles and Euripides rose from the graves where they had lain more than a thousand years, archæology brought the buried world of Homer from beneath the earth, a Canova, a Thorwaldsen, a Cornelius, Kaulbach, and all the great masters of the Renaissance of our time, took up the brushes and chisels of Phidias, Michael Angelo, Raphael, and Rubens, which had so long lain idle. What Aristotle had taught a thousand, and Winckelmann and Lessing a hundred years before, the knowledge of the laws of art, the appreciation of the beautiful, was no longer mere dead capital in the hands of learned men, but circulated in the throbbing veins of a vigorously developing civilization; it demanded and obtained the highest goal.

The circle between the old and the new civilization has closed, every chasm has been bridged. There is an alternate action of old and new forces, a common labor of all the nations and the ages, as if there was no longer any division of time and space, as if there was but one eternal art, one eternal science. Ascending humanity has trodden matter under foot, conquered science, made manufactures useful, and transfigured art.

But this light which has so suddenly flamed through the world also casts its shadows. Progress in art and science matures the judgment, but judgment becomes criticism and criticism negation. The dualism which permeates all creation, the creative and the destructive power, the principle of affirmation and of denial, cannot be shut out even now, but must continue the old contest which has never yet been decided. Critical analysis opposes faith, materialism wars against idealism, pessimism contends with optimism. The human race has reached the outermost limit of knowledge, but this does not content it in its victorious career, it wishes to break through and discover the God concealed behind. Even the heart of a God must not escape the scalpel which nothing withstood. But the barrier is impenetrable. And one party, weary of the fruitless toil, pulls back the aspiring ones. "Down to matter, whence you came. What are you seeking? Science has attained the highest goal, she has discovered the protoplasm whence all organism proceeded. What is the Creator of modern times? A physiological--chemical, vital function within the substance of a cell. Will ye pray to this, suffer for this, ye fools?"

Others turn in loathing from this cynical interpretation of scientific results and throw themselves into the arms of beauty, seeking in it the divinity, and others still wait, battling between earth and heaven, in the dim belief of being nearest to the goal.

It is a tremendous struggle, as though the earth must burst under the enormous pressure of power demanding room, irreconcilable contrasts.

Then amid the heat of the lecture rooms, the throng of students of art and science, comes a long-forgotten voice from the days of our childhood! And the straining eyes suddenly turn from the teachers and the dissecting tables, from the glittering visions of art and the material world to the stage of Oberammergau and the Passion Play.

There stands the unassuming figure with the crown of thorns and the sorrowful, questioning gaze. And with one accord their hearts rush to meet Him and, as the son who has grown rich in foreign lands, after having eaten and enjoyed everything, longs to return to the poverty of his home and falls repentantly at the feet of his forsaken father, the human race, in the midst of this intoxication of knowledge and pleasure, sinks sobbing before the pale flower of Christianity and longingly extends its arms toward the rude wooden cross on which it blooms!

That powerful thinker, Max Müller, says in his comparative study of religions:[^[1]] "When do we feel the blessings of our country more warmly and truly than when we return from abroad? It is the same with regard to religion." That fact is apparent here! It is an indisputable verity that, at the precise period when art and science have attained their highest stages of development, the Oberammergau Passion Play enjoys a degree of appreciation never bestowed before, that during this critical age, from decade to decade, people flock to the Passion Play in ever increasing throngs. Not only the uncultivated and ignorant, nay, the most cultured--artists and scholars, statesmen and monarchs. The poor village no longer has room to shelter all its guests; it is positively startling to see the flood of human beings pour in on the evening before the commencement of the play, stifling, inundating everything. And then it is marvellous to notice how quiet it is on the morning of the play, as it flows into the bare room called the theatre, how it seems as it were to grow calm, as if every storm within or without was subdued under the influence of those simple words, now more than two thousand years old. How wonderful it is to watch the people fairly holding their breath to listen to the simple drama for seven long hours without heeding the time which is far beyond the limit our easily wearied nerves are accustomed to bear.

What is it, for whose sake the highest as well as the lowest, the richest and the poorest, prince and peasant, would sleep on a layer of straw, without a murmur, if no bed could be had? Why will the most pampered endure hunger and thirst, the most delicate heat and cold, the most timid fearlessly undertake the hard journey across the Ettal mountain? Is it mere curiosity to hear a number of poor wood-carvers, peasants, and wood-cutters repeat under the open sky, exposed to sun and rain, in worse German than is heard at school the same old story which has already been told a thousand times, as the enemies of the Passion Play say? Would this bring people every ten years from half the inhabited world, from far and near, from South and North, from the mountains and the valleys, from palaces and huts, across sea and land? Certainly not? What is it then? A miracle?

Whoever has seen the Passion Play understands it, but it is difficult to explain the mystery to those who have not.

The deity remains concealed from our earthly vision and unattainable, like the veiled statue of Sais. Every attempt to raise this veil by force is terribly avenged.

What is gained by those modern Socinians and Adorantes who, with ill-feigned piety, seek to drag the mystery to light and make the God a human being, in order to worship in the wretched puppet themselves? Even if they beheld Him face to face, they would still see themselves only, and He would cry: "You are like the spirit which you understand, not me."

And what do the Pantheists gain who make man God, in order to embrace in Him the unattainable? Sooner or later they will perceive that they have mistaken the effects for the cause, and the form for the essence. Loathing and disappointment will be their lot, as it is the lot of all who have nothing but--human beings.

But those to whom the visible is only the symbol of the invisible which teaches them from the effect to learn the cause, will, with unerring logical correctness, pass from the form to the essence, from the illusion to the truth.

That is the marvel of the modern Gethsemane, which this book will narrate.

[CHAPTER I.]

A PHANTOM

Solemn and lofty against the evening sky towers the Kofel, the land-mark and protecting rock-bulwark of Oberammergau, bearing aloft its solitary cross, like a threatening hand uplifted in menace to confront an advancing foe with the symbol of victory.

Twilight is gathering, and the dark shadow of the mighty protector stretches far across the quiet valley. The fading glow of sunset casts a pallid light upon the simple cross which has stood on the mountain peak for centuries, frequently renewed but always of the same size, so that it can be seen a long distance off by the throngs who journey upward from the valley, gazing longingly across the steep, inhospitable mountains toward the goal of the toilsome pilgrimage.

It is Friday. A long line of carriages is winding like a huge serpent up the Ettal mountain. Amid the throng, two very handsome landaus are especially conspicuous. The first is drawn by four horses in costly harnesses adorned with a coronet, which prance gaily in the slow progress, as if the ascent of the Ettal mountain was but pastime for animals of their breed. In the equipage, which is open, sit a lady and a gentleman, pale, listless, uninterested in their surroundings and apparently in each other; the second one contains a maid, a man servant, and on the box the courier, with the pompous, official manner, which proclaims to the world that the family he has the honor of serving and in whose behalf he pays the highest prices, is an aristocratic one. The mistress of this elegant establishment, spite of her downcast eyes and almost lifeless air, is a woman of such remarkable beauty that it is apparent even amidst the confusion of veils and wraps. Blonde hair, as soft as silk, clusters in rings around her brow and diffuses a warm glow over a face white as a tea rose, intellectual, yet withal wonderfully, tender and sensuous in its outlines. Suddenly, as though curious to penetrate the drooping lids and see the eyes they concealed, the sun bursts through a rift in the clouds, throwing a golden bridge of rays from mountain to mountain. Now the lashes are raised to return the greeting, revealing sparkling dark eyes of a mysterious color, varying every instant as they follow the shimmering rays that glide along the cliff. Then something flashes from a half-concealed cave and the beams linger a moment on a pale face. It is an image of Christ carved in wood which, with uplifted hand, bids the new comers welcome. But those who are now arriving do not understand its language, the greeting remains unanswered.

The sunbeams glide farther on as if saying, "If this is not the Christ you are seeking, perhaps it is he?" And now--they stop. On a rugged peak, illumined by a halo of light, stands a figure, half concealed by the green branches, gazing with calm superiority at the motley, anxious crowd below. He has removed his hat and, heated by the rapid walk, is wiping the perspiration from his brow. Long black locks parted in the middle, float back from a grave, majestic face with a black beard and strangely mournful black, far-seeing eyes. The hair, tossed by the wind, is caught by a thorny branch which sways above the prematurely furrowed brow. The sharp points glow redly in the brilliant sunset light, as if crimsoned with blood from the head which rests dreamily against the trunk. A tremor runs through the form of the woman below; she suddenly sits erect, as though roused from sleep. The wandering rays which sought her eyes also lead her gaze to those of the solitary man above, and on this golden bridge two sparkling glances meet. Like two pedestrians who cannot avoid each other on a narrow path, they look and pause. They grasp and hold each other--one must yield, for neither will let the other pass.

Then the sunbeam pales, the bridge has fallen, and the apparition vanishes in the forest shadows.

"Did you see that?" the lady asked her companion, who had also glanced up at the cliff.

"What should I have seen?"

"Why--that--that--" she paused, uncertain what words to choose. She was going to say, "that man up there," but the sentence is too prosaic, yet she can find no other and says merely, "him up there!" Her companion, glancing skyward, shakes his head.

"Him up there! I really believe, Countess, that the air of Ammergau is beginning to affect you. Apparently you already have religious hallucinations--or we will say, in the language of this hallowed soil, heavenly visions!"

The countess leans silently back in her corner--the cold, indifferent expression returns to the lips which just parted in so lovely a smile. "But what did you see? At least tell me, since I am not fortunate enough to be granted such visions," her companion adds with kindly irony. "Or was it too sublime to be communicated to such a base worldling as I?"

"Yes," she says curtly, covering her eyes with her hand, as if to shut out the fading sunset glow in order to recall the vision more distinctly. Then she remains silent.

Night gradually closes in, the panting train of horses has reached the village. Now the animals are urged into a trot and the drivers turn the solemn occasion into a noisy tumult. The vehicles jolt terribly in the ruts, the cracking of whips, the rattle of wheels, the screams of frightened children and poultry, the barking of dogs, blend in a confused din, and that nothing may be wanting to complete it, a howling gust of wind sweeps through the village, driving the drifting clouds into threatening masses.

"This is all we lacked--rain too!" grumbled the gentleman. "Shall I have the carriage closed?"

"No," replied the Countess, opening her umbrella. "Who would have thought it; the sun was shining ten minutes ago!"

"Yes, the weather changes rapidly in the mountains. I saw the shower rising. While you were admiring some worthy wood-cutter up yonder as a heavenly apparition, I was watching the approaching tempest." He draws the travelling rug, which has slipped down, closer around the lady and himself. "Come what may, I am resigned; when we are in Rome, we must follow the Roman customs. Who would not go through fire and water for you, Countess?" He tries to take her hand, but cannot find it among the shawls and wraps. He bites his lips angrily; he had expected that the hand he sought would gratefully meet his in return for so graceful an expression of loyalty! Large drops of rain beat into his face.

"Not even a clasp of the hand in return for the infernal journey to this peasant hole," he mutters.

The carriages thunder past the church, the flowers and crosses on the graves in the quiet church-yard tremble with the shaking of the ground. The lamps in the parsonage are already lighted, the priest comes to the window and gazes quietly at the familiar spectacle. "Poor travellers! Out in such a storm!"

One carriage after another turns down a street or stops before a house. The Countess and her companion alone have not yet reached their destination. Meantime it has grown perfectly dark. The driver is obliged to stop to shut up the carriage and light the lantern, for the rain and darkness have become so dense and the travellers are drenched. An icy wind, which always accompanies a thunderstorm in the mountain, blows into their faces till they can scarcely keep their eyes open. The servant, unable to see in the gloom, is clumsy in closing the carriage, the hand-bags fall down upon the occupants; the driver can scarcely hold the horses, which are frightened by the crowds in pursuit of lodgings. He is not familiar with the place and, struggling to restrain the plunging four-in-hand, enquires the way in broken sentences from the box, and only half catches the answers, which are indistinct in the tumult. Meantime the other servants have arrived. The Countess orders the courier to drive on with the second carriage and take possession of the rooms which have been engaged. The man, supposing it is an easy matter to find the way in so small a place, moves forward. The Countess can scarcely control her ill humor.

"An abominable journey--the horses overheated by the ascent of the mountain and now this storm. And the lamps won't burn, the wind constantly blows them out. You were right, Prince, we ought to have taken a hired--" She does not finish the sentence, for the ray from one of the carriage lamps, which has just been lighted with much difficulty, falls upon a swiftly passing figure, which looks almost supernaturally tall in the uncertain glimmer. Long, black locks, dripping with moisture, are blown by the wind from under his broad-brimmed hat. He has evidently been surprised by the storm without an umbrella and is hurrying home--not timidly and hastily, like a person to whom a few drops of rain, more or less, is of serious importance, but rather like one who does not wish to be accosted. The countess cannot see his face, he has already passed, but she distinguishes the outlines of the slender, commanding figure in the dark dress, noticing with a rapid glance the remarkably elastic gait, and an involuntary: "There he goes again!" escapes her lips aloud. Obeying a sudden impulse, she calls to the servant: "Quick, ask the gentleman yonder the way to the house of Andreas Gross, where we are going."

The servant follows the retreating figure a few steps and shouts, "Here, you--" The stranger pauses a moment, half turns his head, then, as if the abrupt summons could not possibly be meant for him, moves proudly on without glancing back a second time.

The servant timidly returns. A feeling of shame overwhelms the countess, as though she had committed the blunder of ordering him to address a person of high rank travelling incognito.

"The gentleman wouldn't hear me," says the lackey apologetically, much abashed. "Very well," his mistress answers, glad that the darkness conceals her blushes. A flash of lightning darts from the sky and a sudden peal of thunder frightens the horses. "Drive on," the countess commands; the lackey springs on the box, the carriage rolls forward--a few yards further and the dark figure once more appears beside the vehicle, walking calmly on amid the thunder and lightning, and merely turns his head slightly toward the prancing horses.

The equipage dashes by--the countess leans silently back on the cushions, and shows no further desire to look out.

"Tell me, Countess Madeleine," asks the gentleman whom she has just addressed as 'Prince,' "what troubles you today?"

The countess laughs. "Dear me, how solemnly you put the question! What should trouble me?"

"I cannot understand you," the prince continued. "You treat me coldly and grow enthusiastic over a vision of the imagination which already draws from you the exclamation: 'There he is again!' I cannot help thinking what an uncertain possession is the favor of a lady whose imagination kindles so easily."

"This is charming," the countess tried to jest. "My prince jealous--of a phantom?"

"That is just it. If a phantom can produce such variations in the temperature of your heart toward me, how must my hopes stand?"

"Dear Prince, you know that whether with or without a phantom, I could never yet answer this question which Your Highness frequently condescends to ask me."

"I believe, Countess, that one always stands between us! You pursue some unknown ideal which you do not find in me, the realist, who has nothing to offer you save prosaic facts--his hand, his principality, and an affection for which unhappily he lacks poetic phrases."

"You exaggerate, Prince, and are growing severe. There is a touch of truth--I am always honest--yet, as you know, you are the most favored of all my suitors. Still it is true that an unknown disputes precedence with you. This rival is but the man of my imagination--but the world contains no one like my ideal, so you have nothing to fear."

"What ideal do you demand, Countess, that no one can attain it?"

"Ah! a very simple one, yet you conventional natures will never understand it. It is the simplicity of the lost Paradise to which you can never return. I am by nature a lover of the ideal--I am enthusiastic and need enthusiasm; but you call me a visionary when I am in the most sacred earnest. I yearn for a husband who believes in my ideal, I want no one from whom I must conceal it in order to avoid ridicule, and thus be unable to be true to my highest self. He whom my soul seeks must be at once a man and a child--a man in character and a child in heart. But where in our modern life is such a person to be found? Where is gentleness without feeble sentimentality? Where is there enthusiasm without fantastic vagueness, where simplicity of heart without narrowness of mind? Whoever possesses a manly character and a strong intellect cannot escape the demands which science and politics impose, and this detracts from the emotional life, gives prominent development to concrete thought, makes men realistic and critical. But of all who suffer from these defects of our time, you are the best, Prince!" she adds, smilingly.'

"That is sorry comfort," murmurs the prince. "It is a peculiar thing to have an invisible rival; who will guarantee that some person may not appear who answers to the description?"

"That is the reason I have not yet given you my consent," replies the countess, gravely.

Her companion sighs heavily, makes no reply, but gazes steadfastly into the raging storm. Alter a time he says, softly, "If I did not love you so deeply, Countess Madeleine--"

"You would not bear with me so long, would you?" asks the countess, holding out her hand as if beseeching pardon.

This one half unconscious expression of friendship disarms the irritated man.--He bends over the slender little hand and raises it tenderly to his lips.

"She must yet be mine!" he says under his breath, by way of consolation, like all men whose hopes are doubtful. "I will even dare the battle with a phantom."

[CHAPTER II.]

OLD AMMERGAU

At last, alter a long circuit and many enquiries, the goal was gained. The dripping, sorely shaken equipage stopped with two wheels in a ditch filled with rain water, whose overflow flooded the path to the house. The courier and maid seemed to have missed their way, too, for the second carriage was not there. People hurried out of the low doorway shading small flickering candles with their hands. The countess shrank back. What strange faces these peasants had! An old man with a terribly hang-dog countenance, long grey hair, a pointed Jewish beard, sharp hooked nose, and sparkling eyes! And two elderly women, one short and fat, with prominent eyes and black curling hair, the other a tall, thin, odd-looking person with tangled coal-black hair, hooked nose, and glittering black eyes.

In the mysterious shadows cast by the wavering lights upon the sharply cut faces, the whole group looked startlingly like a band of gypsies.

"Oh! are these Ammergau people?" whispered the countess in a disappointed tone.

"Does Gross, the wood-carver, live here?" the prince enquired.

"Yes," was the reply. "Gross, the stone-cutter. Have you engaged rooms here?"

"We wrote from Tegernsee for lodgings. The Countess von Wildenau," answered the prince.

"Oh yes, yes! Everything is ready! The lady will lodge with us; the carriage and servants can go to the old post-house. I have the honor to bid you good evening," said the old man. "I am sorry you have had such bad weather. But we have a great deal of rain here."

The prince alighted--the water splashed high under his feet.

"Oh Sephi, bring a board, quick; the countess cannot get out here!" cried the old man with eager deprecation of the discomfort threatening the lady. Sephi, the tall, thin woman, dragged a plank from the garden, while a one-eyed dog began to bark furiously.

The plank was laid down, but instantly sunk under the water, and the countess was obliged to wade through the flood. As she alighted, she felt as if she should strike her head against the edge of the overhanging roof--the house was so low. Fresco paintings, dark with age, appeared to stretch and writhe in distorted shapes in the flickering light. The place seemed more and more dismal to the countess.

"Shall I carry you across?" asked the prince.

"Oh no!" she answered reprovingly, while her little foot sought the bottom of the pool. The ice-cold water covered her delicate boot to the ankle. She had been so full of eager anticipation, in such a poetic mood, and prosaic reality dealt her a blow in the face. She shivered as she walked silently through the water.

"Come in, your rooms are ready," said the old man cheeringly.

They passed through a kitchen black with myriads of flies, into an apartment formerly used as the workshop, now converted into a parlor. Two children were asleep on an old torn sofa. In one corner lay sacks of straw, prepared for couches, the owners of the house considered it a matter of course that they should have no beds during the Passion. A smoking kerosene lamp hung from, the dark worm-eaten wooden ceiling, diffusing more smoke than light. The room was so low that the countess could scarcely stand erect, and besides the ceiling had sunk--in the dim, smoke-laden atmosphere the beams threatened to fall at any moment.

A sense of suffocation oppressed the new-comer. She was utterly exhausted, chilled, nervous to the verge of weeping. Her white teeth chattered. She shivered with cold and discomfort. Her host opened a low door into a small room containing two beds, a table, an old-fashioned dark cupboard, and two chairs.

"There," he cried in a tone of great satisfaction, "that is your chamber. Now you can rest, and if you want anything, you need only call and one of my daughters will come in and wait upon you."

"Yes, my good fellow, but where am I to lodge?" asked the prince.

"Oh--then you don't belong together? In that case the countess must sleep with another lady, and the gentleman up here."

He pointed to a little stair-case in the corner which, according to the custom in old peasant houses, led from one room through a trap-door into another directly above it.

"But I can't sleep there, it would inconvenience the lady," said the prince. "Have you no other rooms?"

"Why yes; but they are engaged for to-morrow," replied Andreas Gross, while the two sisters stood staring helplessly.

"Then give me the rooms and send the other people away."

"Oh! I can't do that, sir.--They are promised."

"Good Heavens! Ill pay you twice, ten times as much."

"Why, sir, if you paid me twenty times the price, I could not do it; I must not break my promise!" said the old man with gentle firmness.

"Ah," thought the prince, "he wants to screw me--but I'll manage that, Countess, excuse me a few minutes while I look for another lodging."

"For Heaven's sake, try to find one for me, too. I would rather spend the night in the carriage than stay here!" replied the countess in French.

"Yes, it is horrible! but it will not be difficult to find something better. Good-bye!" he answered in the same language.

"Don't leave me alone with these people too long. Come back soon; I am afraid," she added, still using the French tongue.

"Really?" the prince answered, laughing; but a ray of pleasure sparkled in his eyes.

Meanwhile, the little girl who was asleep on the sofa had waked and now came into the room.

The countess requested every one to retire that she might rest, and the peasants modestly withdrew. But when she tried to fasten the door, it had neither lock nor bolt, only a little wire hook which slipped into a loose ring.

"Oh!" she exclaimed, startled. "I cannot lock it."

"You need have no anxiety," replied the old man soothingly, "we sleep in the next room." But the vicinity of those strange people, when she could not lock the door, was exactly what the countess feared.

She slipped the miserable wire hook into its fastening and sat down on one of the beds, which had no mattresses--nothing but sacking.

Covering her face with her hands, she gave free course to indignant tears. She still wore her hat and cloak, which she had not ventured to take off, from a vague feeling of being encompassed by perils whence she might need to fly at any moment. In such a situation, surely it was safer not to lay aside one's wraps. If the worst came, she would remain so all night. To go to bed in a house where the roof might fall and such strange figures were stealing about, was too great a risk. Beside the bed on which the countess sat was a door, which, amid all the terrors, she had not noticed. Now it seemed as though she heard a scraping noise like the filing of iron. Then came hollow blows and a peculiar rattling. Horrible, incomprehensible sounds! Now a blow fell upon the door, whose fastening was little better than the other. And now another.

"The very powers of hell are let loose here," cried the countess, starting up. Her cold, wet feet seemed paralyzed, her senses were on the verge of failing. And she was alone in this terrible strait. Where were the servants? Perhaps they had been led astray, robbed and murdered--and meanwhile the storm outside was raging in all its fury.

There came another attempt to burst the door which, under two crashing blows, began to yield. The countess, as if in a dream, rushed to the workshop and, almost fainting, called to her aid the uncanny people there--one terror against another. With blanched lips she told them that some one had entered the house, that some madman or fugitive from justice was trying to get in.

"Oh! that is nothing," said Andreas, with what seemed to the terrified woman a fiendish smile, and walking straight to the door, while the countess shrieked aloud, opened it, and--a head was thrust in. A mild, big, stupid face stared at the light with wondering eyes and snorted from wide pink nostrils at the strange surroundings. A bay horse--a good-natured cart horse occupied the next room to the Countess Wildenau!

"You see the criminal. He is a cribber, that is the cause of the horrible noises you heard."

The trembling woman stared at the mild, stupid equine face as though it was a heavenly vision--yet spite of her relief and much as she loved horses, she could not have gone to bed comfortably, since as the door was already half broken down by the elephantine hoofs of the worthy brute, there was a chance that during the night, lured by the aromatic odor of the sea-weed, which formed the stuffing of the bed, the bay might mistake the countess' couch for a manger and rouse her somewhat rudely with his snuffing muzzle.

"Oh, we'll make that all right at once," said Andreas. "We'll fasten him so that he can't get free again, and the carter comes at four in the morning, then you will not be disturbed any more."

"After not having closed my eyes all night," murmured the countess, following the old man to see that he fastened the horse securely. Yes, the room which opened from here by a door with neither lock nor threshold was a stable. Several frightened hens flew from the straw--this, too. "When the horse has left the stable the cocks will begin to crow. What a night after the fatigues of the day!" The old man smiled with irritating superiority, and said:

"Yes, that is the way in the country."

"No, I won't stay here--I would rather spend the night in the carriage. How can people exist in this place, even for a day," thought the countess.

"Won't you have something to eat? Shall my daughter make a schmarren?"[^[2]]

"A schmarren! In that kitchen, with those flies." The countess felt a sense of loathing.

"No, thank you." Even if she was starving, she could not eat a mouthful in this place.

The bay was at last tied and, for want of other occupation, continued to gnaw his crib and to suck the air, a proceeding terribly trying to the nerves of his fair neighbor in the next room. At last--oh joy, deliverance--the second carriage rattled up to the house, bringing the maid and the courier.

"Come in, come in!" called the countess from the window. "Don't have any of the luggage taken off. I shall not stay here."

The two servants entered with flushed faces.

"Where in the world have you been so long?" asked their mistress, imperiously, glad to be able, at last, to vent her ill-humor on some one.

"The driver missed the way," stammered the courier, casting a side glance at the blushing maid. The countess perceived the situation at a glance and was herself again. Fear and timidity, all her nervous weakness vanished before the pride of the offended mistress, who had been kept waiting an hour, at whose close the tardy servants entered with faces whose confusion plainly betrayed that so long a delay was needless.

She drew herself up to her full height, feminine fears forgotten in the pride of the lady of rank.

"Courier, you are dismissed--not another word!"

"Then I beg Your Highness to discharge me, too," said the excited maid, thus betraying herself. A contemptuous glance from the countess rested upon the culprit, but without hesitation, she said, quietly:

"Very well. You can both go to the steward for your wages. Good evening."

Both left the room pale and silent. They had not expected this dismissal, but they knew their mistress' temper and were aware that not another word would be allowed, that no excuse or entreaty would avail. The countess, too, was in no pleasant mood. She was left here--without a maid. For the first time in her life she would be obliged to wait upon herself, unpack all those huge trunks and bags. How could she do it? She was so cold and so weary, too, and she did not even know which of the numerous bags contained dry shoes and stockings. Was she to pull out everything, when she must do the repacking herself? For now she must certainly go to another house, among civilized people, where she could have servants and not be so utterly alone. Oh, if only she had not come to this Ammergau--it was a horrible place! One would hardly purchase the salvation of the world at the cost of such an evening. It was terrible to be in this situation--and without a maid!

And, as trivial things find even the loftiest women fainthearted because they are matters of nerve, and not of character, the lady who had just confronted her servants so haughtily sank down on the bed again and wept like a child.

Some one tapped lightly on the door of the workshop. The countess opened it, and the short, stout sister timidly entered.

"Pardon me, Your Highness, we have just heard that you have discharged your maid and courier, so I wanted to ask whether my sister or I could be of any service? Perhaps we might unpack a little?"

"Thank you--I don't wish to spend the night here and hope that my companion will bring news that he has found other accommodations. I will pay whatever you ask, but I can't possibly stay. Ask your father what he charges, I'll give whatever you wish--only let me go."

The old man was summoned.

"Why certainly, Countess, you can be entirely at ease on that score; if you don't like staying with us, that need not trouble you. You will have nothing to pay--only you must be quick or you will find no lodgings, they are very hard to get now."

"Yes, but you must have some compensation. Just tell me what I am to give."

"Nothing, Countess. We do not receive payment for what is not eaten!" replied Andreas Gross with such impressive firmness that the lady looked at him in astonishment. "The Ammergau people do not make a business of renting lodgings, Countess; that is done only by the foreign speculators who wish to make a great deal of money at this time, and alas! bring upon Ammergau the reputation of extortion! We natives of the village do it for the sake of having as many guests witness the play as possible, and are glad if we meet our expenses. We expect nothing more."

The countess suddenly saw the "hang-dog" face in a very different light! It must have been the dusk which had deceived her. She now thought it an intellectual and noble one, nay the wrinkled countenance, the long grey locks, and clear, penetrating eyes had an aspect of patriarchal dignity. She suddenly realized that these people must have had the masks which their characters require bestowed by nature, not painted with rouge, and thus the traits of the past unconsciously became impressed upon the features. In the same way, among professional actors, the performer who takes character rôles can easily be distinguished from the lover.

"Do you act too?" she asked with interest.

"I act Dathan, the Jewish trader," he said proudly. "I have been in the Play sixty years, for when I was a child three years old I sat in Eve's lap in the tableaux." The countess could not repress a smile and old Andreas' face also brightened.

The little girl, a daughter of the short, plump woman, peeped through the half open door, gazing with sparkling eyes at the lovely lady.

"Whose child is the little one?" asked the countess, noticing her soft curb and beaming eyes.

"She is my grand-daughter, the child of my daughter, Anna. Her father was a foreigner. He ran away, leaving his wife and two children in poverty. So I took them all three into my house again."

The countess looked at the old man's thin, worn figure, and then at the plump mother and child.

"Who supports them?"

"Oh, we help one another," replied Andreas evasively. "We all work together. My son, the drawing teacher, does a great deal for us, too. We could not manage without him." Then interrupting himself with a startled look, as if he might have been overheard, he added, "but I ought not to have said that--he would be very angry if he knew."

"You appear to be a little afraid of your son," said the countess.

"Yes, yes--he is strict, very strict and proud, but a good son."

The old man's eyes sparkled with love and pride.

"Where is he?" asked the countess eagerly.

"Oh, he never allows strangers to see him if he can avoid it."

"Does he act, too?"

"No; he arranges the tableaux, and it needs the ability of a field marshal, for he is obliged to command two or three hundred people, and he keeps them together and they obey him as though he was a general."

"He must be a very interesting person."

At that moment the prince's step was heard in the sitting-room.

"May I come in?"

"Yes, Prince."

He entered, dripping with rain.

"I found nothing except one little room for myself, in a hut even worse than this. All the large houses are filled to overflowing. Satan himself brought us among these confounded peasants!" he said angrily in French.

"Don't speak so," replied the countess earnestly in the same language. "They are saints." The little girl whispered to her mother.

"Please excuse me, Sir; but my child understands French and has just told me that you could get no room for the lady," said Andreas' daughter timidly. "I know where there is one in a very pretty house near by. I will run over as quickly as I can and see if it is still vacant. If you could secure it you would find it much better than ours." She hurried towards the door.

"Stop, woman," called the prince, "you cannot possibly go out; the rain is pouring in torrents, and another shower is rising."

"Yes, stay," cried the countess, "wait till the storm is over."

"Oh, no! lodgings are being taken every minute, we must not lose an instant." The next moment she threw a shawl over her head and left the house. She was just running past the low window--a vivid flash of lightning illumined the room, making the little bent figure stand forth like a silhouette. A peal of thunder quickly followed.

"The storm is just over us," said the prince with kindly anxiety. "We ought not to have let her go."

"Oh, it is of no consequence," said the old man smiling, "she is glad to do it."

"Tell me about these strange people," the prince began, but the countess motioned to him that the child understood French. He looked at her with a comical expression as if he wanted to say: "These are queer 'natives' who give their children so good an education."

The countess went to the window, gazing uneasily at the raging storm. A feeling of self-reproach stole into her heart for having let the kind creature go out amid this uproar of the elements. Especially when these people would take no compensation and therefore lost a profit, if another lodging was found.

It was her loss, and yet she showed this cheerful alacrity.

The little party had now entered the living room. The countess sat on the window sill, while flash after flash of lightning blazed, and peal after peal crashed from the sky. She no longer thought of herself, only of the poor woman outside. The little girl wept softly over her poor mother's exposure to the storm, and slipped to the door to wait for her. The prince, shivering, sat on the bench by the stove. Gross, noticing it, put on more fuel "that the gentleman might dry himself." A bright fire was soon crackling in the huge green stove, the main support of the sunken ceiling.

"Pray charge the fuel to me," said the prince, ashamed.

The old man smiled.

"How you gentle-folks want to pay for everything. We should have needed a fire ourselves." With these words he left the room. The thin sister now thought it desirable not to disturb the strangers and also went out.

"Tell me, Countess," the prince began, leaning comfortably against the warm stove, "may I perfume this, by no means agreeable, atmosphere with a cigarette?"

"Certainly, I had forgotten that there were such things as cigarettes in the world."

"So it seems to me," said the prince, coolly. "Tell me, chère amie, now that you have duly enjoyed all the tremors of this romantic situation, how should you like a cup of tea?"

"Tea?" said the countess, looking at him as if just roused from a dream, "tea!"

"Yes, tea," persisted the prince. "My poor friend, you must have lived an eternity in this one hour among these 'savages' to have already lost the memory of one of the best products of civilization."

"Tea," repeated the countess, who now realized her exhaustion, "that would be refreshing, but I don't know how to get it, I sent the maid away."

"Yes, I met the dismissed couple in a state of utter despair. And I can imagine that my worshipped Countess Madeleine--the most pampered and spoiled of all the children of fortune and the fashionable world--does not know how to help herself. I am by no means sorry, for I shall profit by it. I can now pose as a kind Providence. What good luck for a lover! is it not? So permit me to supply the maid's place--so far as this is practicable. I have tea with me and my valet whom, thank Heaven, I was not obliged to send away, is waiting your order to serve it."

"How kind you are, Prince. But consider that kitchen filled with flies."

"Oh, you need not feel uncomfortable on that score. You are evidently unused to the mountains. I know these flies, they are different from our city ones and possess a peculiar skill in keeping out of food. Try it for once."

"Yes, but we must first ascertain whether I can get the other room," said the countess, again lapsing into despondency.

"My dearest Countess, does that prevent our taking any refreshment? Don't be so spiritless," said the prince laughing.

"Oh, it's all very well to laugh. The situation is tragical enough, I assure you."

"Tragical enough to pay for the trouble of developing a certain grandeur of soul, but not, in true womanly fashion, to lose all composure."

The prince shook the ashes from his cigarette and went to the door to order the valet to serve the tea. When he returned, the countess suddenly came to meet him, held out her hand, and said with a bewitching smile:

"Prince, you are charming to-day, and I am unbearable. I thank you for the patience you have shown."

"Madeleine," he replied, controlling his emotion, "if I did not know your kind heart, I should believe you a Circe, who delighted in driving men mad. Were it not for my cold, sober reason, which you always emphasize, I should now mistake for love the feeling which makes you meet me so graciously, and thus expose myself to disappointment. But reason plainly shows that it is merely the gratitude of a kind heart for a trivial service rendered in an unpleasant situation, and I am too proud to do, in earnest, what I just said in jest--profit by the opportunity."

The countess, chilled and ashamed, drew her hand back. There spoke the dry, prosaic, commonplace man. Had he now understood how to profit by her mood when, in her helpless condition, he appeared as a deliverer in the hour of need, who knows what might have happened! But this was precisely what he disdained. The experienced man of the world knew women well enough to be perfectly aware how easily one may be won in a moment of nervous depression, desperate perplexity and helplessness, yet though ever ready to enjoy every piquant situation, nevertheless or perhaps for that very reason he was too proud to owe to an accident of this kind the woman whom he had chosen for the companion of his life. The countess felt this and was secretly glad that he had spared her and himself a disappointment.

"That is the way with women," he said softly, gazing at her with an almost compassionate expression. "For the mess of pottage of an agreeable situation, they will sell the birthright of their most sacred feelings."

"That is a solemn, bitter truth, such as I am not accustomed to hear from your lips, Prince. But however deep may be the gulf of realism whence you have drawn this experience, you shall not find it confirmed in me."

"That is, you will punish me henceforth by your coldness, while you know perfectly well that it was the sincerity of my regard for you which prompted my act, Countess, that vengeance would be unworthy; a woman like you ought not to sink to the petty sensitiveness of ordinary feminine vanity."

"Oh, Prince, you are always right, and, believe me, if I carried my heart in my head instead of in my breast, that is, if we could love with the intellect, I should have been yours long ago, but alas, my friend, it is so far from the head to the heart."

The Prince lighted another cigarette. No one could detect what was passing in his mind. "So much the worse for me!" he said coldly, shrugging his shoulders.

At that moment a sheet of flame filled the room, and the crashing thunder which followed sounded as if the ceiling had fallen and buried everything under it. The countess seemed bewildered.

"Mother, mother!" shrieked a voice outside. People gathered in the street, voices were heard, shouts, hurrying footsteps and the weeping of the little girl. The prince sprang out of the window, the countess regained her consciousness--of what?

"Some one has been struck by lightning." She hastened out.

A senseless figure was brought in and laid on the bench in the entry. It was the kind-hearted little creature whom her caprice had sent into the storm--perhaps to her death. There she lay silent and pale, with closed lids; her hands were cold her features sharp and rigid like those of a corpse, but her heart still throbbed under her drenched gown. The countess asked the prince to bring cologne and smelling salts from her satchel and skillfully applied the remedies; the prince helped her rub the arteries while she strove to restore consciousness with the sharp essences. Meanwhile the other sister soothed the weeping child. Andreas Gross poured a few drops of some liquid from a dusty flask into the sufferer's mouth, saying quietly, "You must not be so much frightened, I am something of a doctor; it is only a severe fainting fit. The other is worse."

"Were two persons struck?" asked the countess in horror.

"Yes, one of the musicians, the first violin."

A sudden thought darted through the countess' brain, and a feeling of dread stole over her as if there was in Ammergau a beloved life for which she must tremble. Yet she knew no one.

"Please bring a shawl from my room," she said to the prince, and when he had gone, she asked quickly: "Tell me, is the musician tall?"

"Oh, yes."

"Has he long black hair?"

"No, he is fair," replied the old man.

The countess, with a feeling of relief, remained silent, the prince returned. The sick woman opened her eyes and a faint moan escaped her lips.

"Here will be a fine scene," thought the prince. "Plenty of capital can be made out of such a situation. My lovely friend will outweigh every tear with a gold coin."

After a short time the woman regained sufficient consciousness to realize her surroundings and tried to lift her feet from the bench. "Oh, Countess, you will tax yourself too much. Please go in, there is a strong draught here."

"Yes, but you must come with me," said the countess, "try whether you can use your feet."

It was vain, she tried to take a step, but her feet refused to obey her will.

"Alas!" cried the countess deeply moved. "She is paralyzed--and it is my fault."

Anna gently took her hand and raised it to her lips. "Pray don't distress yourself, Countess, it will pass away. I am only sorry that I have caused you such a fright." She tried to smile, the ugly face looked actually beautiful at that moment, and the tones of her voice, whose tremor she strove to conceal, was so touching as she tried to comfort and soothe the self-reproach of the woman who had caused the misfortune that tears filled the countess' eyes.

"How wise she is," said the prince, marvelling at such delicacy and feeling.

"Come," said the countess, "we must get her into the warm rooms."

Andreas Gross, and at a sign from the prince, the valet, carried the sick woman in and laid her on the bench by the stove. The countess held her icy hand, while tears streamed steadily down the sufferer's cheeks.

"Do you feel any pain?" asked the lady anxiously.

"No, oh no--but I can't help weeping because the Countess is so kind to me--I am in no pain--no indeed!" She smiled again, the touching smile which seeks to console others.

"Yes, yes," said the old man, "you need not be troubled, she will be well to-morrow."

The child laid her head lovingly on her mother's breast, a singularly peaceful atmosphere pervaded the room, a modest dignity marked the bearing of the poor peasants. The prince and the countess also sat in thoughtful silence. Suddenly the sick woman started up, "Oh dear, I almost forget the main thing. The lady can have the lodgings. Two very handsome rooms and excellent attendance, but the countess must go at once as soon as the shower is over. They will be kept only an hour. More people will arrive at ten."

"I thank you," said the countess with a strange expression.

"Oh, there is no need. I am only glad I secured the rooms, and that the countess can have attendance," replied the sick woman joyously. "I shall soon be better, then I'll show the way."

"I thank you," repeated the countess earnestly. "I do not want the rooms, I shall stay here."

"What are you going to do?" asked the prince in amazement.

"Yes, I am ashamed that I was so foolish this evening. Will you keep me, you kind people, after I have done you so much injustice, and caused you such harm."

"Oh! you must consult your own pleasure. We shall be glad to have you stay with us, but we shall take no offence, if it would be more pleasant for you elsewhere," said the old man with unruffled kindness.

"Then I will stay."

"That is a good decision, Countess," said the prince. "You always do what is right." He beckoned to Sephi, the thin sister, and whispered a few words. She vanished in the countess' room, returning in a short time with dry shoes and stockings, which she had found in one of the travelling satchels. The prince went to the window and stood there with his back turned to the room. "We must do the best that opportunity permits," he said energetically. "I beg your highness to let this lady change your shoes and stockings. I am answerable for your health, not only to myself, but to society."

The countess submitted to the prince's arrangement, and the little ice-cold feet slid comfortably into the dry coverings, which Sephi had warmed at the stove. She now felt as if she was among human beings and gradually became more at ease. After Sephi had left the room she walked proudly up to the prince in her dry slippers, and said: "Come, Prince, let us pace to and fro, that our chilled blood may circulate once more."

The prince gracefully offered his arm and led her up and down the long work-shop. Madeleine was bewitching at that moment, and the grateful expression of her animated face suited her to a charm.

"I must go," he thought, "or I shall be led into committing some folly which will spoil all my chances with her."

[CHAPTER III.]

YOUNG AMMERGAU

The valet served the tea. The prince had provided for everything, remembered everything. He had even brought English biscuits.

The little repast exerted a very cheering influence upon the depressed spirits of the countess. But she took the first cup to the invalid who, revived by the unaccustomed stimulant, rose at once, imagining that a miracle had been wrought, for she could walk again. The Gross family now left the room. The prince and the countess sipped their tea in silence. What were they to say when the valet, who always accompanied his master on his journeys, understood all the languages which the countess spoke fluently?

The prince was grave and thoughtful. After they had drank the tea, he kissed her hand. "Let me go now--we must both have rest, you for your nerves and I for my feelings. I wish you a good night's sleep."

"Prince, I can say that you have been infinitely charming to-day, and have risen much in my esteem."

"I am glad to hear it, Countess, though a trifle depressed by the consciousness that I owe this favor to a cup of tea and a pair of dry slippers," replied the prince with apparent composure. Then he took his hat and left the room.

And this is love? thought the countess, shrugging her shoulders. What was she to do? She did not feel at all inclined to sleep. People are never more disposed to chat than after hardships successfully endured. She had had her tea, had been warmed, served, and tended. For the first time since her arrival she was comfortable, and now she must go to bed. At ten o'clock in the evening, the hour when she usually drove from the theatre to some evening entertainment.

The prince had gone and the Gross family came in to ask if she wanted anything more.

"No, but you are ready to go to bed, and I ought to return to my room, should I not?" replied the countess.

Just at that moment the door was flung open and a head like the bronze cast of the bust of a Roman emperor appeared. A face which in truth seemed as if carved from bronze, keen eagle eyes, a nose slightly hooked, an imperious, delicately moulded brow, short hair combed upward, and an expression of bitter, sad, but irresistible energy on the compressed lips. As the quick eyes perceived the countess, the head was drawn back with the speed of lightning. But old Gross, proud of his son, called him back.

"Come in, come in and be presented to this lady, people don't run away so."

The young man, somewhat annoyed, returned.

"My son, Ludwig, principal of the drawing school," said old Gross. Ludwig's artist eyes glided over the countess; she felt the glance of the connoisseur, knew, that he could appreciate her beauty. What a delight to see herself, among these simple folk, suddenly reflected in an artist's eyes and find that the picture came back beautiful. How happened so exquisite a crystal, which can be polished only in the workshops of the highest education and art, to be in such surroundings? The countess noted with ever increasing amazement the striking face and the proud poise of the head on the small, compact, yet classically formed figure. She knew at the first moment that this was a man in the true sense of the word, and she gave him her hand as though greeting an old acquaintance from the kingdom of the ideal. It seemed as if she must ask: "How do you come here?"

Ludwig Gross read the question on her lips. He possessed the vision from which even the thoughts must be guarded, or he would guess them.

"I must ask your pardon for disturbing you. I have just come from the meeting and only wanted to see my sister. I heard she was ill."

"Oh, I feel quite well again," the latter answered.

"Yes," said the countess in a somewhat embarrassed tone, "you will be vexed with the intruder who has brought so much anxiety and alarm into your house? I reproach myself for being so foolish as to have wanted another lodging, but at first I thought that the ceiling would fall upon me, and I was afraid."

"Oh, I understand that perfectly when persons are not accustomed to low rooms. It was difficult for me to become used to them again when I returned from Munich."

"You were at the Academy?"

"Yes, Countess."

"Will you not take off your wet coat and sit down?"

"I should not like to disturb you, Countess."

"But you won't disturb me at all; come, let us have a little chat."

Ludwig Gross laid his hat and overcoat aside, took a chair, and sat down opposite to the lady. Just at that moment a carriage drove up. The strangers who had engaged the rooms refused to the prince had arrived, and the family hastened out to receive and help them. The countess and Ludwig were left alone.

"What were you discussing at so late an hour?" asked the countess.

"Doré sent us this evening two engravings of his two Passion pictures; he is interested in our play, so we were obliged to discuss the best way of expressing our gratitude and to decide upon the place where they shall be hung. There is no time for such consultations during the day."

"Are you familiar with all of Doré's pictures?"

"Certainly, Countess."

"And do you like him?"

"I admire him. I do not agree with him in every particular, but he is a genius, and genius has a right to forgiveness for faults which mediocrity should never venture to commit, and indeed never will."

"Very true," replied the lady.

"I think," Ludwig Gross continued, "that he resembles Hamerling. There is kinship between the two men. Hamerling, too, repels us here and there, but with him, as with Doré, every line and every stroke flashes with that electric spark which belongs only to the genuine work of art."

His companion gazed at him in amazement.

"You have read Hamerling?"

"Certainly. Who is not familiar with his 'Ahasuerus?'"[^[3]]

"I, for instance," she replied with a faint blush.

"Oh, Countess, you must read it. There is a vigor, an acerbity, the repressed anguish and wrath of a noble nature against the pitifulness of mankind, which must impress every one upon whose soul the questions of life have ever cast their shadows, though I know not whether this is the case with you."

"More than is perhaps supposed," she answered, drawing a long breath. "We are all pessimists, but Hamerling must be a stronger one than is well for a poet."

"That is not quite correct," replied Ludwig. "He is a pessimist just so far as accords with the poesy of our age. Did not Auerbach once say: 'Pessimism is the grief of the world, which has no more tears!' This applies to Hamerling, also. His poetry has that bitter flavor, which is required by a generation that has passed the stage when sweets please the palate and tears relieve the heart."

"Your words are very true. But how do you explain--it would be interesting to hear from you--how do you explain, in this mood of the times, the attraction which draws such throngs to the Passion Play?"

Ludwig Gross leaned back in his chair, and his stern brow relaxed under the bright influence of a beautiful thought.

"One extreme, as is well known, follows another. The human heart will always long for tears, and the world's tearless anguish will therefore yield to a gentler mood. I think that the rush to our simple play is a symptom of this change. People come here to learn to weep once more."

The countess rested her clasped hands on the table and gazed long and earnestly at Ludwig Gross. Her whole nature was kindled, her eyes lingered admiringly upon the modest little man, who did not seem at all conscious of his own superiority. "To learn to weep!" she repeated, nodding gently. "Yes, we might all need that. But do you believe we shall learn it here?"

Ludwig Gross gazed at her smiling. "You will not ask that question at this hour on the evening of the day after tomorrow."

He seemed to her a physician who possessed a remedy which he knows cannot fail. And she began to trust him like a physician.

"May I be perfectly frank?" she asked in a winning tone.

"I beg that you will be so, Countess."

"I am surprised to find a man like you here. I had not supposed there were such people in the village. But you were away a long time, you are probably no longer a representative citizen of Ammergau?"

Ludwig Gross raised his head proudly. "Certainly I am, Countess. If there was ever a true citizen of Ammergau, I am one. Learn to know us better, and you will soon be convinced that we are all of one mind. Though one has perhaps learned more than another, that is a mere accident; the same purpose, the same idea, unites us all."

"But what binds men of such talent to this remote village? Are you married?"

The bitter expression around the artist's mouth deepened as though cut by some invisible instrument. "No, Countess, my circumstances do not permit it; I have renounced this happiness."

The lady perceived that she had touched a sensitive spot, but she desired to probe the wound to learn whether it might be healed. "Is your salary so small that you could not support a family?"

"If I wish to aid my own family, and that is certainly my first duty, I cannot found a home."

"How is that possible. Does so rich a community pay its teacher so poorly?"

"It does as well as it can, Countess. It has fixed a salary of twelve hundred marks for my position; that is all that can be expected."

"For this place, yes. But if you were in Munich, you would easily obtain twice or three times as much."

"Even five times," answered Ludwig, smiling. "I had offers from two art-industrial institutes, one of which promised a salary of four thousand, the other of six thousand marks per annum. But that did not matter when the most sacred duties to my home were concerned."

"But these are superhuman sacrifices. Who can expect you to banish yourself here and resign everything which the world outside would lavish upon you in the richest measure? Everyone must consider himself first."

"Why, Countess, Ammergau would die out if everybody was of that opinion."

"Oh! let those remain who are suited to the place, who have learned and can do nothing more. But men of talent and education, like you, who can claim something better, belong outside."

"On the contrary, Countess, they belong here," Ludwig eagerly answered. "What would become of the Passion Play if all who have learned and can do something should go away, and only the uneducated and the ignorant remain? Do you suppose that there are not a number of people here, who, according to your ideas, would have deserved 'a better fate?' We have enough of them, but go among us and learn whether any one complains. If he should, he would be unworthy the name of a son of Ammergau!" He paused a moment, his bronzed face grew darker. "Do you imagine," he added, "that we could perform such a work, perform it in a manner which, in some degree, fulfills the æsthetic demand of modern taste, without possessing, in our midst, men of intellect and culture? It is bad enough that necessity compels many a talented native of Ammergau to seek his fortune outside, but the man to whom his home still gives even a bit of bread must be content with it, and without thinking of what he might have gained outside, devote his powers to the ideal interests of his fellow citizens."

"That is a grand and noble thought, but I don't understand why you speak as if the people of Ammergau were so poor. What becomes of the vast sums gained by the Passion Play?"

Ludwig Gross smiled bitterly. "I expected that question, it comes from all sides. The Passion Play does not enrich individuals, for the few hundred marks, more or less, which each of the six hundred actors receives, do not cover the deficit of all the work which the people must neglect. The revenue is partly consumed by the expenses, partly used for the common benefit, for schools and teachers. The principal sums are swallowed by the Leine and the Ammer! The ravages of these malicious mountain streams require means which our community could never raise, save for the receipts of the Passion Play, and even these are barely sufficient for the most needful outlay."

"Is it possible? Those little streams!" cried the countess.

"Would flood all Ammergau," Gross answered, "if we did not constantly labor to prevent it. We should be a poor, stunted people, worn down by fever, our whole mountain valley would be a desolate swamp. The Passion Play alone saves us from destruction--the Christ who once ruled the waves actually holds back from us the destroying element which would gradually devour land and people. But, for that very reason, the individual has learned here, as perhaps nowhere else in the world, to live and sacrifice himself for the community! The community is comprised to us in the idea of the Passion Play. We know that our existence depends upon it, even our intellectual life, for it protects us from the savagery into which a people continually struggling with want and need so easily lapses. It raises us above the common herd, gives even the poorest man an innate dignity and self-respect, which never suffer him to sink to base excesses."

"I understand that," the countess answered.

"Then can you wonder that not one of us hesitates to devote property, life, and every power of his soul to this work of saving our home, our poor, oppressed home, ever forced to straggle for its very existence?"

"What a man!" the countess involuntarily exclaimed aloud. Ludwig Gross had folded his arms across his breast, as if to restrain the pulsations of his throbbing heart. His whole being thrilled with the deepest, noblest emotions. He rose and took his hat, like a person whose principle it is to shut every emotion within his own bosom, and when a mighty one overpowers him, to hide himself that he may also hide the feeling.

"No," cried the countess, "you must not leave me so, you rare, noble-hearted man. You have just done me the greatest service which can be rendered. You have made my heart leap with joy at the discovery of a genuine human being. Ah! it is a cordial in this world of conventional masks! Give me your hand! I am beginning to understand why Providence sent me here. That must indeed be a great cause which rears such men and binds such powers in its service."

Ludwig Gross once more stood calm and quiet before her. "I thank you, Countess, in the name of the cause for which I live and die."

"And, in the name of that cause, which I do not understand, yet dimly apprehend, I beg you, let us be friends. Will you? Clasp hands upon it."

A kindly expression flitted over the grave man's iron countenance, and he warmly grasped the little hand.

"With all my heart, Countess."

She held the small, slender artist-hand in a close clasp, mournfully reading in the calm features of the stern, noble face the story of bitter suffering and sacrifice graven upon it.

[CHAPTER IV.]

EXPELLED FROM THE PLAY

The storm had spent its fury, the winds sung themselves softly to sleep, a friendly face looked down between the dispersing clouds and cast its mild light upon the water, now gradually flowing away. The swollen brooks rolled like molten silver--cold, glittering veins of the giant mountain body, whose crown of snow bestowed by the tempest glimmered with argent lustre in the pallid moonbeams. A breeze, chill and strengthening as the icy breath of eternity, sweeping from the white glaciers, entered the little window against which the countess was dreamily leaning.

Higher and higher rose the moon, more and more transfigured and transparent became the mountains, as if they were no longer compact masses, only the spiritual image of themselves as it may have hovered before the divine creative mind, ere He gave them material form.

The village lay silent before her, and silence pervaded all nature. Yet to the countess it seemed as if it were the stillness which precedes a great, decisive word.

"What hast Thou to say to me, Viewless One? Sacred stillness, what dost thou promise? Will the moment come when I shall understand Thy language, infinite Spirit? Or wilt Thou only half do Thy work in me--only awake the feeling that Thou art near me, speaking to me, merely to let me die of longing for the word I have failed to comprehend.

"Woe betide me, if it is so! And yet--wherefore hast Thou implanted in my heart this longing, this inexplicable yearning, which nothing stills, no earthly advantage, neither the splendor and grandeur Thou hast given me, nor the art and science which Thou didst endow me with capacity to appreciate. On, on, strives my thirsting soul toward the germ of all existence, toward Thee. Fain would I behold Thy face, though the fiery vision should consume me!

"Source of wisdom, no knowledge gives Thee to me; source of love, no love can supply Thy place. I have sought Thee in the temples of beauty, but found Thee not; in the shining spheres of thought, but in vain; in the love of human beings, but no matter how many hearts opened to me, I flung them aside as worthless rubbish, for Thou wert not in them! When will the moment come that Thou wilt appear before me in some noble form suited to Thy Majesty, and tell the sinner that her dim longing, into whatever errors it may have led her, yet obtained for her the boon of beholding Thy face?"

Burning tears glittered in the moonlight in the countess' large, beseeching eyes and, mastered by an inexplicable feeling, she sank on her knees at the little window, stretching her clasped hands fervently towards the shining orb, floating in her mild beauty and effulgence above the conquered, flying clouds. The mountain opposite towered like a spectral form in the moonlit atmosphere, the peak over which she had driven that day, where she had seen that wondrous apparition, that man with the grief of the universe in his gaze! What manner of man must he have been whose glance, in a single moment, awed the person upon whom it fell as if some higher power had given a look of admiration? Why had it rested upon her with such strange reproach, as if saying: "You, too, are a child of the world, like many who come here, unworthy of salvation." Or was he angry with her because she had disturbed him in his reveries? Yet why did he fix his eyes so intently upon hers, that neither could avert them from the other? And all this happened in a single moment--but a moment worthy of being held in remembrance throughout an eternity. Who could he be? Would she see him again? Yes, for in that meeting there was something far beyond mere accident.

An incomprehensible restlessness seized upon her, a longing to solve the enigma, once more behold that face, that wonderful face whose like she had never seen before!

The horse was stamping in its stall, but she did not heed it, the thin candles had burned down and gone out long ago, the worm was gnawing the ancient wainscoting, the clock in the church-steeple struck twelve. A dog howled in the distance, one of the children in the workshop was disturbed by the nightmare, it cried out in its sleep. Usually such nocturnal sounds would have greatly irritated the countess' nerves. Now she had no ears for them, before her lay the whole grand expanse of mountain scenery, bathed in the moonlight, naked as a beautiful body just risen from a glittering flood! And she was seized with an eager longing to throw herself upon the bosom of this noble body, that she, too, might be irradiated with light, steeped in its moist glow and cool in the pure, icy atmosphere emanating from it, her fevered blood, the vague yearning which thrilled her pulses. She hurriedly seized her hat and cloak and stepped noiselessly into the workshop. What a picture of poverty! The sisters and the little girl were lying on the floor upon sacks of straw, the boy was asleep on the "couch," and the old man dozed sitting erect in an antique arm-chair, with his feet on a stool.

"How relative everything is," thought the countess. "To these people even so poor a bed as mine in yonder room is a forbidden luxury, which it would be sinful extravagance to desire. And we, amid our rustling curtains, on our silken cushions, resting on soft down, in rooms illuminated with the magical glow of lamps which pour a flood of roseate light on limbs stretched in comfortable repose, while the bronze angels which support the mirror seem to laugh gaily at each other, and from the toilet table intoxicating perfumes send forth their sweet poison, to conjure up a tropical world of blossom before the drowsy senses! While these sleeping-places here! On the bare floor and straw, lighted by the cold glimmer of the moon, shining through uncurtained windows and making the slumberers' lids quiver restlessly. Not even undressed, cramped by their coarse, tight garments, their weary limbs move uneasily on the hard beds! And this atmosphere! Five human beings in the low room and the soot from the lamp which has been smoking all the evening still filling the air. What lives! What contrasts! Yet these people are content and do not complain of their hard fate! Nay, they even disdain a favorable opportunity of improving it by legitimate gains. Not one desires more than is customary and usual. What pride, what grandeur of self-sacrifice this requires! What gives them this power?"

Old Andreas woke and gazed with an almost terrified expression at the beautiful figure of the countess, standing thoughtfully among the sleepers. Starting up, he asked what she desired.

"Will you go to walk with me, Herr Gross?"

The old man rubbed his eyes to convince himself that he had slept so long that the sun was shining into his room. But no. "It is the moon which is so bright," he said to the countess.

"Why, of course, that is why I want to go out!" she repeated. The old man quickly seized his hat from the chamois horn and stood ready to attend her. "Are you not tired?" she said hesitatingly. "You have not been in bed."

"Oh, that is of no consequence!" was his ready answer. "During the Passion it is always so."

The countess shook her head; she knew that the people here said simply "the Passion," but she could not understand why, during "the Passion," they should neither expect a bed nor the most trivial comfort or why, for the sake of "the Passion," they should endure without a murmur, and without succumbing, every exertion and deprivation. She saw in the broad light which filled the room the old man's bright, keen eyes. "No, these Ammergau people know no fatigue, their task supports them!"

The countess left the room with him. "Ah!" an involuntary exclamation of delight escaped her lips as she emerged into the splendor of the brilliant moonlight, and eagerly inhaled the air which blew cold and strong, yet closed softly around her, strengthening and supporting her like the waves of the sea. And, amid these shimmering, floating mists, this "phosphorescence" of the earth, these waves of melting outlines, softly dissolving shapes--the Kofel towered solitary in sharp relief, like a vast reef of rocks, and on its summit glittered the metal-bound cross, the symbol of Ammergau, sending its beams far and wide in the light of the full moon like the lantern of a lighthouse.

Madeleine von Wildenau stretched out her arms, throwing back her cloak, that her whole form might bathe in the pure element.

"Oh, wash away all earthly dust and earthly ballast, ye surging billows: steal, purify me in thy chaste majesty, queen of the world, heaven-born air of the heights!" Was it possible that hitherto she had been able to live without this bliss, had she lived? No, no, she had not! "Ammergau, thou art the soil I have sought! Thy miracles are beginning!" cried an exultant voice in the soul of the woman so suddenly released from the toils of weary desolation.

Without exchanging many words--for the old man was full of delicacy, and perceived what was passing in the countess' soul--they involuntarily walked in the direction of the Kofel; only when they were passing the house of a prominent actor in the Passion Play, he often thought it his duty to call his companion's attention to it.

Their way now lead them past a small dilapidated tavern which had but two windows in the front. Here the Roman Procurator lay on his bed of straw, enjoying his well-earned night's rest. It was the house of Pilate! Nowhere was any window closed with shutters--there were no thieves in Ammergau! The moon was reflected from every window-pane. They turned into the main street of the village, where the Ammer flowed in its broad, deep channel like a Venetian lagoon. The stately, picturesquely situated houses threw sharp shadows on the water. Here the ancient, venerable "star," whose landlord was one of the musicians, thrust its capacious bow-window into the street; yonder a foot-bridge led to the house of Caiaphas, a handsome building, richly adorned with frescoes representing scenes from ancient history; farther on Judas was sleeping the sleep of the just, rejoicing in the consciousness of having betrayed his master so often! On the other side Mary rested under the richly carved gable with the ancient design of the clover leaf, the symbol of the Trinity, and directly opposite, the milk-wart nodded and swayed on the wall of the churchyard!

A strange feeling stole over the countess as she stood among these consecrated sleepers. As the fragrance of the sleeping flowers floats over a garden at night, the sorrowful spirit of the story of the Passion seemed to rise from these humble resting places, and the pilgrim through the silent village was stirred as though she was walking through the streets of Jerusalem. A street turned to the left between gardens surrounded by fences and shaded by tall, ancient trees. The shadows of the branches, tossed by the wind, flickered and danced with magical grace. "That is the way to the dwelling of the Christ," said old Gross, in a subdued, reverential tone.

The countess involuntarily started. "The Christ," she repeated thoughtfully, pausing. "Can the house be seen?"

"No, not from here. The house is like himself, not very easy to find."

"Is he so inaccessible?" asked the countess, glancing down the mysterious street again as they passed.

"Oh yes," replied Andreas. "He is a peculiar man. It is difficult to approach him. He is a friend of my son, but has little to do with the rest of us."

"But you associate with him?"

"Very little in daily life; he goes nowhere, not even to the ale-house. But in the Passion I am associated with him. I always nail him to the cross," added the old man proudly. "No one is permitted to do that except myself."

The countess listened with eager interest. The brief description had roused her curiosity to the utmost. "How do you do it?" she asked, to keep him to the same subject.

"I cannot explain that to you, but a great deal depends upon having everything exactly right, for, you know, the least mistake might cost him his life."

"How?"

"Why, surely you can understand. Just think, the man is obliged to hang on the cross for twenty minutes. During this time the blood cannot circulate, and he always risks an attack of palpitation of the heart. One incautious movement in the descent from the cross, which should cause the blood to flow back too quickly to the heart, might cause his death."

"That is terrible!" cried the countess in horror. "And does he know it?"

"Why, certainly."

"And still does it!"

Here Andreas gazed at the great lady with a compassionate smile, as if he wanted to say: "How little you understand, that you can ask such a question!"

They walked on silently. The countess was thinking: "What kind of man must this Christ be?" and while thus pondering and striving to form some idea of him, it suddenly flashed upon her that there was but one face which could belong to this man, the face she had seen gazing down upon her from the mountain, as if from some other world. Like a blaze of lightning the thought flamed through her soul. "That must have been he!"

At that moment Gross made a circuit around a gloomy house that had a neglected, tangled garden.

"Who lives there?" asked the countess in surprise, following the old man, who was now walking much faster.

"Oh," he answered sorrowfully, "that is a sad place! There is an unhappy girl there, who sobs and moans all night long so that people hear her outside. I wanted to spare you, Countess."

They had now reached the end of the village and were walking, still along the bank of the Ammer, toward a large dam over which the mountain stream, swollen by the rain, plunged in mad, foaming waves. The spray gleamed dazzlingly white in the moon-rays, the massive beams trembled under the pressure of the unchained volume of water, groaning and creaking with a sinister noise amid the thundering roar until it sounded like the wails of the dying amid the din of battle. The countess shuddered at the demoniac power of this spectacle. High above the steep fall a narrow plank led from one bank of the stream to the other, vibrating constantly with the shock of the falling water. Madeleine's brain whirled at the thought of being compelled to cross it. "The timbers are groaning," she said, pausing. "Does not it sound like a human voice?"

The old man listened. "By heaven! one would suppose so."

"It is a human voice--there--hark--some one is weeping--moaning."

The dam was in the full radiance of the moonlight, the countess and her companion stood concealed by a dense clump of willows, so that they could see without being seen.

Suddenly--what was that? The old man made the sign of the cross. "Heavenly Father, it is she!"

A female figure was gliding across the plank. Like the ruddy glow of flame, mingled with the bluish hue of the moonlight, a mass of red-gold hair gleamed around her head and fluttered in the wind. The beautiful face was ghost-like in its pallor, the eyes were fixed, the very embodiment of despair. Her upper garment hung in tatters about her softly-moulded shoulders, and she held her clasped hands uplifted, not like one who prays, but one who fain would pray, yet cannot. Then with the firm poise of a person seeking death, she walked to the middle of the swaying plank, where the water was deepest, the fall most steep. There she prepared to take the fatal plunge. The countess shrieked aloud and Gross shouted:

"Josepha! Josepha! May God forgive you. Remember your old mother!"

The girl uttered a piercing cry, covered her face with both hands, and flung herself prone on the narrow plank.

But, with the speed of a youth, the old man was already on the bridge, raising the girl. "Shame on you to wish to do such a thing! We must submit to our fate! Now take care that you don't make a mis-step or I, an old man, must leap into the cold water to drag you out again, and you know how much I suffer from the rheumatism." He spoke in low, kindly tones, and the countess secretly admired his shrewdness and tenderness. She watched them breathlessly as the girl, at these words, tried not to slip in order to spare him. But now, as she did not wish to fall, she moved with uncertain, stumbling feet, where she had just seemed to fly. But Andreas Gross led her firmly and kindly. The countess' heart throbbed heavily till they reached the end and, in the utmost anxiety she stretched out her arms to them from the distance. Thank Heaven, there they are! The lady caught the girl by the hand and dragged her on the shore, where she sank silently, like a stricken animal, at her feet. The countess covered the trembling form with her cloak and said a few comforting words.

"Do you know her?" she asked the old man.

"Of course, it is Josepha Freyer, from the gloomy house yonder."

"Freyer? A relative of the Freyer who played the Christ."

"A cousin; yes."

The old man was about to go to the girl's house to bring her mother.

"No, no," said the countess. "I will care for her. What induced the unfortunate girl to take such a step?"

"She was the Mary Magdalene in the last Passion!" whispered the old man. At the words the girl raised her head and burst into violent sobs.

"My child, what has happened!" asked the countess, gazing admiringly at the charming creature, who was as perfect a picture of the penitent Magdalene as any artist could create.

"Why don't you play the Magdalene this time?"

"Don't you know?" asked the girl, amazed that there was any human being still ignorant of her disgrace. "I am not permitted to play now--I am--I have"--she again burst with convulsive sobs and, clasping the countess' knees, cried: "Oh, let me die, I cannot bear it."

"She fell into error," said Gross, in reply to the lady's questioning glance. "A little boy was born last winter. Now she can no longer act, for only those who are pure and without reproach are permitted to take part in the Passion."

"Oh, how harsh!" cried the countess; "And in a land where human beings are so near to nature, and in circumstances where the poor girls are so little guarded."

"Yes, we are aware of that--and Josepha is a heavy loss to us in the play--but these rules have come down to us from our ancestors and must be rigidly maintained. Yet the girl takes it too much to heart, she weeps day and night, so that people never pass the house to avoid hearing her lamentations, and now she wants to kill herself, the foolish lass."

"Oh, it's very well for you to talk, it's very well for you to talk," now burst from the girls lips in accents tremulous with passion. "First, try once what it is to have the whole world point at you. When the Englishmen, and the strangers from all the foreign countries in the world, come and want to see the famous Josepha Freyer, who played in the last Passion, and fairly drag the soul out of your body with their questions about the reason that you no longer act in it. Wait till you have to tell each person the story of your own disgrace, that it may be carried through the whole earth and know that your name is branded wherever men speak of the Passion Play. First try what it is to hide in a corner like a criminal, while they are acting in the Passion, and bragging and giving themselves airs as if they were saints, while thousands upon thousands listen devoutly. Ah, I alone am shut out, and yet I know that no one can act as I do." She drew herself up proudly, and flung the magnificent traditional locks of the Magdalene back on her shoulders. "Just seek such a Magdalene as I was--you will find none. And then to be forced to hear people who are passing ask: 'Why doesn't Josepha Freyer play the Magdalene this year?' And then there are whispers, shrugs, and laughter, some one says, 'then she would suit the character exactly.' And when people pass the house they point at it--it seems as if I could feel it through the walls--and mutter: 'That's where the Penitent lives!' No, I won't bear it. I only waited till there was a heavy storm to make the water deep enough for me to drown myself. And I've been prevented even in this."

"Josepha!" said the countess, deeply moved, "will you go with me--away from Ammergau, to another, a very different world, where you and your disgrace are unknown?"

Josepha gazed at the stranger as if in a dream.

"I believe," the lady added, "that my losing my maid to-day was an act of Providence in your behalf. Will you take her place?"

"Thank heaven!" said old Gross. "Brighter days will dawn for you, Josepha!"

Josepha stood still with her hands clasped, tears were streaming down her cheeks.

"Why, do you hesitate to accept my offer?" asked the countess, greatly perplexed.

"Oh, don't be angry with me--I am sincerely grateful; but what do I care for all these things, if I am no longer permitted to act the Magdalene?" burst in unutterable anguish from the very depths of the girl's soul.

"What an ambition!" said the countess to Andreas in astonishment.

"Yes, that is the way with them all here--they would rather lose their lives than a part in the Passion!" he answered in a low tone. "But, child, you could not always play the Magdalene--in ten years you would be too old for it," he said soothingly to the despairing Josepha.

"Oh that's a very different thing--when we have grown grey with honors, we know that we must give it up--but so--" and again she gazed longingly at the beautiful, deep, rushing water, where it would be so cool, so pleasant to rest--which she had vowed to seek, and now could not keep her word.

"Do you love your child, Josepha?" asked Countess Wildenau.

"It died directly after it was born."

"Do you love your mother?"

"No, she was always unkind and harsh to me, and now she has lost her mind."

"Do you love your lover?" the lady persisted.

"Yes--but he is dead! A poacher shot him--he was a forester."

"Then you have no one for whom you care to live?"

"No one!"

"Then come with me and try whether you cannot love me well enough to make it worth while to live for me! Will you?"

"Yes, your Highness, I will try!" replied the girl, fixing her large eyes with an expression of mingled inquiry and admiration upon the countess. A beautiful glow of gratitude and confidence gradually transfigured the grief-worn face: "I think I could do anything for you."

"Come with me then--at once, poor child--I will save you! Your relatives will not object."

"Oh, no! They will be glad to have me go away."

"And your cousin, the--the--" she does not know herself why she hesitates to pronounce the name.

"The Christ-Freyer?" said Josepha finishing the sentence. "Oh! he has not spoken to me for a year, except to say what was absolutely necessary, he cannot get over my having brought disgrace upon his unsullied name. It has made him disgusted with life here and, if it were not for the Christ, he would not stay in Ammergau. He is so severe in such things."

"So severe!" the countess repeated, thoughtfully.

The clock in the steeple of the Ammergau church struck two.

"It is late," said the countess, "the poor thing needs rest." She wrapped her own cloak around the girl.

"Come, lonely heart, I will warm you."

She turned once more to drink in the loveliness of the exquisite scene.

"Night of miracle, I thank thee."

[CHAPTER V.]

MODERN PILGRIMS

"What do you think. The Countess von Wildenau is founding an Orphan's Home!" said the prince, as, leaving the Gross house, he joined a group of gentlemen who were waiting just outside the door in the little garden.

The news created a sensation; the gentlemen, laughing and jesting, plied him with questions.

"Oh, Mon Dieu, who can understand a woman? Our goddess is sitting in the peasants' living room, with the elderly daughters of the house, indescribable creatures, occupying herself with feminine work."

"Her Highness! Countess Wildenau! Oh, that's a bad joke."

"No, upon my honor! If she had not hung a veil over the window, we could see her sitting there. She has borrowed a calico apron from one of the 'ladies of the house,' and as, for want of a maid, she was obliged to arrange her hair herself, she wears it to-day in a remarkably simple style and looks,"--he kissed his hand to the empty air--"more bewitching than ever, like a girl of sixteen, a regular Gretchen! Whoever has not gone crazy over her when she has been in full dress, will surely do so if he sees her thus."

"Aha! We must see her, too; we'll assail the window!" cried his companions enthusiastically.

"No, no! For Heaven's sake don't do that, on pain of her anger! Prince Hohenheim, I beg you! Count Cossigny, don't knock! St. Génois, au nom de Dieu, she will never forgive you."

"Why not--friends so intimate as we are?"

"I have already said, who can depend upon a woman's whims? Let me explain. I entered, rejoicing in the thought of bringing her such pleasant news. I said: 'Guess whom I met just now at the ticket office, Countess?' The goddess sat sewing."

There was a general cry of astonishment. "Sewing!" the prince went on, "of course, without a thimble, for those in the house did not fit, and there was none among Her Highness' trinkets. So I repeated my question. An icy 'How can I tell?' was the depressing answer, as if at that moment nothing in the world could possibly interest her more than her work! So, unasked and with no display of attention, I was forced to go on with my news. 'Just think, Countess, Prince Hohenheim, the Counts Cossigny, Wengenrode, St. Génois, all Austria, France, and Bavaria have arrived!' I joyously exclaimed. I expected that she would utter a sigh of relief at the thought of meeting men of her world again, but no--she greeted my tidings with a frown."

"Hear, hear!" cried the group.

"A frown! I was forced to persist. 'They are outside, waiting to throw themselves at your feet,' I added. A still darker frown. 'Please keep the gentlemen away, I can see no one, I will see no one.' So she positively announced. I timidly ventured to ask why. She was tired, she could receive no one, she had no time. At last it came out. What do you suppose the countess did yesterday?"

"I dare not guess," replied St. Génois with a malicious glance at the prince, which the latter loftily ignored.

"She sent me away at eleven o'clock and then went wandering about, rhapsodizing over the moonlight with her host, old Gross."

A universal peal of laughter greeted these words. "Countess Wildenau, for lack of an escort, obliged to wander about with an old stone-cutter!"

"Yes, and she availed herself of this virtuous ramble to save the life of a despairing girl, who very opportunely attempted to commit suicide, just at the time the countess was passing to rescue this precious prize. Now she is sitting yonder remodeling one of her charming tailor costumes for this last toy of her caprice. She declares that she loves the wench most tenderly, will never be separated from her; in short, she is playing the novel character of Lady Bountiful, and does not want to be disturbed."

"Did you see the fair orphan?"

"No; she protested that it would be unpleasant for the girl to expose herself to curious glances, so she conceals this very sensitive young lady from profane eyes in her sleeping room. What do you say to all this, Prince?"

"I say," replied Prince Hohenheim, an elderly gentleman with a clearly cut, sarcastic face, a bald forehead, and a low, but distinct enunciation, "that a vivacious, imaginative woman is always influenced by the environment in which she happens to find herself. When the countess is in the society of scholarly people, she becomes extremely learned, if she is in a somewhat frivolous circle, like ours, she grows--not exactly frivolous, but full of sparkling wit, and here, among these devout enthusiasts, Her Highness wishes to play the part of a Stylite. Let us indulge her, it won't last long, a lady's whim must never be thwarted. Ce que femme veut, Dieu le veut!"

"Has the countess also made a vow to fast?" asked Count Cossigny of the Austrian Embassy, and therefore briefly called 'Austria,' "could we not dine together?"

"No, she told me that she would not leave the beloved suicide alone a moment at present, and therefore she intended to dine at home. Yesterday she shuddered at the bare thought of drinking a cup of tea made in that witch's kitchen, and only the fact that my valet prepared it and I drank it first in her presence finally induced her, at ten o'clock last evening, to accept the refreshment. And to-day she will eat a dinner prepared by the ladies of the house. There must really be something dangerous in the air of Ammergau!"

"To persons of the countess' temperament, yes!" replied Prince Hohenheim in his calm manner, then slipping his arm through the prince's a moment, whispered confidentially, as they walked on: "I advise you, Prince Emil, to get her away as soon as possible."

"Certainly, all the arrangements are made. We shall start directly after the performance."

"That is fortunate. To-morrow, then! You have tickets?"

"Oh yes, and what is still better, whole bones."

"That's true," cried Austria, "what a crowd! One might think Sarah Bernhardt was going to play the Virgin Mary."

"It's ridiculous! I haven't seen such a spectacle since the Paris Exposition!" remarked St. Génois.

"It's worse than Baden-Baden at the time of the races," muttered Wengenrode, angrily. "Absurd, what brings the people here?"

"Why, we are here, too," said Hohenheim, smiling.

"Mon Dieu, it must be seen once, if people are in the neighborhood," observed Cossigny.

"Are you going directly after the performance, too?" asked Prince Emil.

"Of course, what is there to do here? No gaming--no ladies' society, and just think, the burgomaster of Ammergau will allow neither a circus nor any other ordinary performance. He was offered forty thousand marks by the proprietor of the Circus Rouannet, if he would permit him to give performances during the Passion Play! Mademoiselle Rouannet told me so herself. Do you suppose that obstinate, stiff-necked Philistine could be persuaded? No, it was not in harmony with the dignity of the Passion Play. He preferred to refuse the 40,000 marks. The Salon Klüber wanted to put up an elegant merry-go-round and offered 12,000 marks for the privilege. Heaven forbid!"

"I believe these people have the mania of ambition," said Wengenrode.

"Say rather of saintship,' corrected Prince Hohenheim.

"Aye, they all consider themselves the holy personages whom they represent. We need only look at this arrogant burgomaster, and the gentleman who personates Christ, to understand what these people imagine themselves."

All joined in the laugh which followed.

"Yes," said Wengenrode, "and the Roman procurator, Pilate, who is a porter or a messenger and so drags various loads about, carried up my luggage to-day and dropped my dressing case containing a number of breakable jars and boxes. 'Stupid blockhead!' I exclaimed, angrily. He straightened himself and looked at me with an expression which actually embarrassed me. 'My name is Thomas Rendner, sir! I beg your pardon for my awkwardness, and am ready to make your loss good, so far as my means shall allow.'"

"Now tell me, isn't that sheer hallucination of grandeur?"

Some of the gentlemen laughed, but Prince Emil and Hohenheim were silent.

"Where shall we go to-morrow evening in Munich to recompense ourselves for this boredom?" asked Cossigny.

"To the Casino, I think!" said the prince.

"Well, then we'll all meet there, shall we?"

The party assented.

"Provided that the countess has no commands for us," observed St. Génois.

"She will not have any," said the prince, "for either the Play will produce an absurd impression which is not to be expected, and then she will feel ashamed and unwilling to grant us our triumph because we predicted it, or her sentimental mood will draw from this farce a sweet poison of emotion, and in that case we shall be too frivolous for her! This must first be allowed to exhale."

"Very true," Hohenheim assented. "You are just the man to cope with this capricious beauty, Prince Emil. Adieu! May you prosper!"

The gentlemen raised their hats.

"Farewell!" said Cossigny, "by the way, I'll make a suggestion. We shall best impress the countess while in this mood, by our generosity; let us heap coals of fire on her head by sending a telegram to the court-gardener to convert the whole palace into a floral temple to welcome her return. It will touch a mysterious chord of sympathy if she meets only these mute messengers of our adoration. When on entering she finds this surprise and remembers how basely she treated us this morning, her heart will be touched and she will invite us to dine the day after to-morrow."

"A capital plan," cried Wengenrode and St. Génois, gaily. "Do your Highnesses agree?"

"Certainly," replied Hohenheim, with formal courtesy, "when the point in question is a matter of gallantry, a Hohenheim is never backward."

"I beg to be allowed to contribute also, but incognito. She would regard such an attention from me as a piece of sentimentality, and it would produce just the contrary effect," Prince Emil answered.

"As you please."

"Let us go to the telegraph office!" cried Wengenrode, eagerly.

"Farewell, gentlemen."

"Au revoir, Prince Emil! Are you going to return to the lionesses' den?"

"Can you ask?" questioned Hohenheim with a significant smile.

"Then early to-morrow morning at the Play, and at night the Casino, don't forget!" Cossigny called back.

The gentlemen, laughing and chatting, strolled down the street to their lodgings. The prince watched them a moment, turned, and went back to the countess.

"I cannot really be vexed with her, if these associates do not satisfy her," he thought.

"Should I desire her to become my wife, if they did? Certainly not. Yet if women only would not rush from one extreme to another? Hohenheim is perfectly right, she ought not to stay here too long, she must go to-morrow."

He had reached the house and entered the neglected old garden where huge gnarled fruit trees, bearing small, stunted fruit, interlaced their branches above a crooked bench. There, in the midst of the rank grass and weeds, sat the countess, her beautiful head resting against the mouldy bark of the old trunk, gazing thoughtfully at the luminous mountains gleaming in the distance through the tangled boughs and shrubbery.

From the adjoining garden of the sculptor Zwink, whose site was somewhat higher, a Diana carved in white stone gazed curiously across, seeming as if she wished to say to the pensive lady who at that moment herself resembled a statue: "Art will create gods for you everywhere!" But the temptation had no effect, the countess seemed to have had no luck with these gods, she no longer believed in them!

"Well, Countess Madeleine, did the light and air lure you out of doors?" asked the prince, joyfully approaching her.

"Oh, I could not bear to stay there any longer. Herr Gross' daughters are finishing the dress. We will dine here, Prince; the meal can be served on a table near the house, under a wild-grape vine arbor. We can wait on ourselves for one day."

"For one day!" repeated the prince with great relief; "oh yes, it can be managed for one day." Thank Heaven, she had no intention of staying here.

"Oh, Prince, see how beautiful, how glorious it is!"

"Beautiful, glorious? Pardon me, but I see nothing to call forth words you so rarely use! You must have narrowed your demands if, after the view of the wondrous garden of the Isola Bella and all the Italian villas, you suddenly take delight in cabbage-stalks, wild-pears, broom, and colt's foot."

"Now see how you talk again!" replied the countess, unpleasantly affected by his words. "Does not Spinoza say: 'Everything is beautiful, and as I lose myself in the observation of its beauty, my pleasure in life is increased.'"

"That has not been your motto hitherto. You have usually found something to criticise in every object. It seems to me that you have wearied of the beautiful and now, by way of a change, find even ugliness fair."

"Very true, my friend. I am satisfied, nothing charms me, nothing satisfies me, not even the loveliest scene, because I always apply to everything the standard of perfection, and nothing attains it." She shook herself suddenly as if throwing off a burden. "This must not continue, the æsthetic intolerance which poisoned every pleasure must end, I will cast aside the whole load of critical analysis and academic ideas of beauty, and snap my fingers at the ghosts of Winckelmann and Lessing. Here in the kitchen-garden, among cabbage-stalks and colt's foot, wild-pear and plum-trees, fanned by the fresh, crystal-clear air of the lofty mountains, whose glaciers shimmer with a bluish light through the branches, in the silence and solitude, I suddenly find it beautiful; beautiful because I am happy, because I am only a human being, free from every restraint, thinking nothing, feeling nothing save the peace of nature, the delight of this repose."

She rested her feet comfortably on the bench and, with her head thrown back, gazed with a joyous expression into the blue air which, after the rain, arched above the earth like a crystal bell.

This mood did not quite please the prince. He was exclusively a man of the world. His thoughts were ruled by the laws of the most rigid logic, whatever was not logically attainable had no existence for him; his enthusiasm reached the highest pitch only in the enjoyment of the noblest products of art and science. He did not comprehend how any one could weary of them, even for a moment, on the one side because his calm temperament did not, like the countess' passionate one, exhaust everything by following it to its inmost core, and he was thus guarded from satiety; on the other because he wholly lacked appreciation of nature and her unconscious grandeur. He was the trained vassal of custom in the conventional, as well as in every other province. The countess, however, possessed some touch of that doctrine of divine right which is ready, at any moment, to cast off the bonds of tradition and artificial models and obey the impulse of kinship with sovereign nature. This was the boundary across which he could not follow her, and he was perfectly aware of it, for he had one of those proud characters which disdain to deceive themselves concerning their own powers. Yet it filled him with grave anxiety.

"What are you thinking of now, Prince?" asked his companion, noticing his gloomy mood.

"That I have not seen you so contented for months, and yet I am unable to understand the cause of this satisfaction. Especially when I remember what it usually requires to bring a smile of pleasure to your lips."

"Dear me, must everything be understood?" cried the beautiful woman, laughing; "there is the pedant again! Must we be perpetually under the curb of self-control and give ourselves an account whether what we feel in a moment of happiness is sensible and authorized? Must we continually see ourselves reflected in the mirror of our self-consciousness, and never draw a veil over our souls and permit God to have one undiscovered secret in them?"

The prince silently kissed her hand. His eyes now expressed deep, earnest feeling, and stirred by emotion, she laid her other hand upon his head:

"You are a noble-hearted man, Prince; though some unspoken, uncomprehended idea stands between us, I know your feelings."

Again the rose and the thorn! It was always so! At the very moment her soft, sweet hand touched him caressingly, she thrust a dagger into his heart. Aye, that was the continual "misunderstanding" which existed between them, the thorn in the every rose she proffered.

Women like these are only tolerable when they really love; when a powerful feeling makes them surrender themselves completely. Where this is not the case, they are, unconsciously and involuntarily, malicious, dangerous creatures, caressing and slaying at the same moment.

First, woe betide the man whom they believe they love. For how often such beings are mistaken in their feelings!

Such delusions do not destroy the woman, she often experiences them, but the man who has shared them with her! Alas for him who has not kept a cool head.

The prince was standing with his back turned to the street, gazing thoughtfully at the beautiful woman with the fathomless, sparkling eyes. Suddenly he saw her start and flush. Turning with the speed of lightning, he followed the direction of her glance, but saw nothing except the figure of a man of unusual height, with long black hair, pass swiftly around the corner and disappear.

"Do you know that gentleman?"

"No," replied the countess frankly, "he is the person whom I saw yesterday as we drove up the mountain."

"Pardon the indiscretion, but you blushed."

"Yes, I felt it, but I don't know why," she answered with an almost artless innocence in her gaze. The prince could not help smiling.

"Countess, Countess!" he said, shaking his finger at her as if she were a child. "Guard your imagination; it will prove a traitor some day."

The countess, as if with a sweet consciousness of guilt, drew down the uplifted hand with a movement of such indescribable grace that no one could have remained angry with her. The prince knelt at her feet an instant, not longer than a blade of grass requires to bend before the breeze and rise again, then he stood erect, somewhat paler than before, but perfectly calm.

"I'll go in and tell my valet to serve our dinner here."

"If you please, Prince," replied the lady, gazing absently down the street.

Andreas Gross entered the garden. "Everything is settled, Your Highness. I have talked with Josepha's relatives and guardian and they will be very glad to have you take her."

"All, even the Christ-Freyer?"

"Certainly, there is no objection."

She had expected something more and looked at the old man as if for the rest of the message, but he added nothing.

"Ought not Freyer to come here, in order to discuss the particulars with me?" she asked at last, almost timidly.

"Why, he goes to see no one, as I told you, and he surely would not come to speak of Josepha, for he is ashamed of her. He says that whatever you do will be satisfactory to him."

"Very well," replied the countess, in a somewhat disappointed tone.

"What a comical tête-à-tête!" a laughing voice suddenly exclaimed behind the fence. The countess started up, but it was too late for escape; she was caught.

A lady, young and elegantly dressed, accompanied by two older ones, eagerly rushed up to her.

"Dear Countess, why have you hidden yourself here at the farthest corner of the village? We have searched all Ammergau for you. Your coat-of-arms on the carriage and your liveries at the old post-house betrayed you. Yes, yes, when people want to travel incognito, they must not journey with genuine Wildenau elegance. We were more cautious. We came in a modest hired conveyance. But what a life this is! I was obliged to sleep on straw last night. Hear and shudder! On straw! Did you have a bed? You have been here since yesterday?"

"Why, Your Highness, pray take breath! Good morning, Baroness! Good morning, Your Excellency!"

The Countess von Wildenau greeted all the ladies somewhat absently, yet very cordially. "Will you condescend to sit on this bench?"

"Oh, you must sit here, too."

"No, It is not large enough, I am already seated."

She had taken her seat on the root of a tree, with her face turned toward the street, in which she seemed to be deeply interested. The ladies were accommodated on the bench, and then followed a conversation which no pen could describe. This, that, and the other thing, matters to which the countess had not given a single thought, an account of everything the new comers had heard about the Ammergau people, the appearance of the Christ, whom they had already met, a handsome man, very handsome, with magnificent hair, and mysterious eyes--not the head of Christ, but rather as one would imagine Faust or Odin; but there was no approaching him, he was so unsociable. Such a pity, it would have been so interesting to talk with him. Rumor asserted that he was in love with a noble lady; it was very possible, there was no other way of explaining his distant manner.

Countess von Wildenau had become very quiet, the eyes bent upon the street had an expression of actual suffering in their depths.

Prince Emil stood in the doorway, mischievously enjoying the situation. It was a just punishment for her capricious whims that now, after having so insolently refused to see her friends, she should be compelled to listen to this senseless chatter.

At last, however, he took pity on her and sent out his valet with the table-cloth and plates.

"Oh, it is your dinner hour!" The ladies started up and Her Highness raised her lorgnette.

"Ah, Prince Emil's valet! So the faithful Toggenburg is with you."

"Certainly, ladies!" said a voice from the door, as the prince came forward. "Only I was too timid to venture into such a dangerous circle."

Peals of laughter greeted him.

"Yes, yes; the Prince of Metten-Barnheim timid!"

"At present I am merely the representative of Countess Wildenau's discharged courier, whose office, with my usual devotion, I am trying to fill, and doing everything in my power to escape the fate of my predecessor."

"That of being sent away?" asked the baroness somewhat maliciously.

Countess Madeleine cast a glance of friendly reproach at him. "How can you say such things, Prince?"

"Your soup is growing cold!" cried the duchess.

"Where does Your Highness dine?"

"At the house of one of the chorus singers, where we are lodging. A man with the bearing of an apostle, and a blacksmith by trade. It is strange, all these people have a touch of ideality about them, and all this beautiful long hair! Haven't you walked through the village yet? Oh, you must, it's very odd; the people who throng around the actors in the Passion Play are types we shall not soon see again. I'm waiting eagerly for to-morrow. I hope our seats will be near. Farewell, dear Countess!" The duchess took the arm of the prince, who escorted her to the garden gate. "I hope you will take care that the countess, under the influence of the Passion, doesn't enter a convent the day after to-morrow."

"Your Highness forgets that I am an incorrigible heretic," laughed Madeleine Wildenau, kissing the two ladies in waiting, in her absence of mind, with a tenderness which they were at a loss to understand.

The prince accompanied the ladies a short distance away from the house, while Madeleine returned to Josepha, as if seeking in the society of the sorrowful, quiet creature, rest from the noisy conversation.

"Really, Countess von Wildenau has an over-supply of blessings. This magnificent widow's dower, the almost boundless revenue from the Wildenau estates, and a host of suitors!" said the baroness, after the prince had taken leave to return to "his idol."

"Yes, but she will lose the revenue if she marries again," replied the duchess. "The will was made in that way by Count Wildenau because his jealousy extended beyond the grave. I know all the particulars. She must either remain a widow or make a very brilliant match; for a woman of her temperament could never accommodate herself to more modest circumstances."

"So she is not a good match?" asked Her Excellency.

"Certainly not, for the will is so worded that on the day she exchanges the name of Wildenau for another, the estates, with the whole income, go to a side branch of the Wildenau family as there are no direct heirs. It is enough to make one hate him, for the Wildenau cousins are extravagant and avaricious men who have already squandered one fortune. The poor countess will then have nothing except her personal property, her few diamonds, and whatever gifts she received from her husband."

"Has she no private fortune?" asked the baroness, curiously.

"You know that she was a Princess Prankenburg, and the financial affairs of the Prankenburg family are very much embarrassed. That is why the beautiful young girl was sacrificed at seventeen to that horrible old Wildenau, who in return was forced to pay her father's debts," the duchess explained.

"Oh, so that's the way the matter stands!" said Her Excellency, drawing a long breath. "Do her various admirers know it? All the gentlemen undoubtedly believe her to be immensely rich."

"Oh, she makes no secret of these facts," replied the duchess kindly. "She is sincere, that must be acknowledged, and she endured a great deal with her nervous old husband. We all know what he was; every one feared him and he tyrannized over his wife. What was all her wealth and splendor to her? One ought not to grudge her a taste of happiness."

"She laid aside her widow's weeds as soon as possible. People thought that very suspicious," observed the baroness in no friendly tone.

"That is exactly why I say: she is better than her reputation, because she scorns falsehood and hypocrisy," replied the duchess, leading the way across a narrow bridge. The two ladies in waiting, lingering a little behind, whispered: "She scorn falsehood and deception! Why, Your Excellency, her whole nature is treachery. She cannot exist a moment without acting some farce! With the pious she is pious, with the Liberals she plays the Liberal, she coquets with every party to maintain her influence as ex-ambassadress. She cannot cease intriguing and plotting. Now she is once more assuming the part of youthful artlessness to bewitch this Prince Emil. Did you see that look of embarrassment just now, like a young girl? It is enough to make one ill!"

"Yes, just see how she has duped that handsome, clever prince, the heir of a reigning family, too," lamented Her Excellency, who had daughters. "It is a shocking affair, he is seen everywhere with her; and yet there is no report of a betrothal! What do the men find in her? She captivates them all, young and old, there is no difference."

"And she is no longer even beautiful. She has faded, lost all her freshness, it is nothing but coquetry!" answered the baroness hastily, for the duchess had stopped and was waiting for the ladies to overtake her. So they walked on in the direction of the Passion Theatre where, on the morrow, they were to behold the God of Love, for whose sake they made this pious pilgrimage.

"You were rightly served, Countess Madeleine," said the prince laughing, as they took their seats at the table. "You sent away your true friends and fell into the hands of these false ones."

"The duchess is not false," answered the countess with a weary look, "she is noble in thought and act."

"Like all who are in a position where they need envy no one," said the prince, pushing aside with his spoon certain little islands of doubtful composition which were floating in the soup. "But believe me, with these few exceptions, no one save men, deals sincerely with an admired woman. Women of the ordinary stamp cannot repress their envy. I should not like to hear what is being said of us by these friends on their way home."

"What does it matter?" answered his companion, leaving her soup untasted.

"Our poor diplomatic corps, which had anticipated so much pleasure in seeing you," the prince began again. "I would almost like to ask you a favor, Countess!"

"What is it?"

"That you will invite us to dine day after to-morrow. The gentlemen have resolved to avenge themselves nobly by offering you an ovation on your return to Munich to-morrow evening."

"Indeed, what is it?"

"I ought not to betray the secret, but I know that you do not like surprises. The Wildenau palace will be transformed into a temple of flowers. Everything is already ordered, it is to be matchless, fairy like!"

The speaker was secretly watching the impression made by his words; he must get her away from this place at any cost! The mysterious figure which had just called to her cheeks a flush for whose sake he would have sacrificed years of his life, then he had noticed--nothing escaped his keen eye and ear--her annoyed, almost jealous expression when the ladies spoke of the "raven-locked" Christ and his love for some high-born dame. She must leave this place ere the whim gained a firm hold. The worthy peasant-performer might not object to the admiration of noble ladies, a pinchback theatre-saint would hardly resist a Countess Wildenau, if she should choose to make him the object of an eccentric caprice.

"It is very touching in the gentlemen," said the countess; "let us anticipate them and invite them to dine the day after to-morrow."

"Ah, there spoke my charming friend, now I am content with you. Will you permit me, at the close of this luxurious meal, to carry the joyous tidings to the gentlemen?"

"Do so," she answered carelessly. "And when you have delivered the invitation, would you do me the favor to telegraph to my steward?"

"Certainly." He pushed back the plate containing an unpalatable cutlet and drew out his note-book to make a memorandum.

"What shall I write?"

"Steward Geres, Wildenau Palace, Munich.--Day after to-morrow, Monday, Dinner at 6 o'clock, 12 plates, 15 courses," dictated the countess.

"There, that is settled. But, Countess, twelve persons! Whom do you intend to invite?"

"When I return the duchess' visit I will ask the three ladies, then Prince Hohenheim and Her Excellency's two daughters will make twelve."

"But that will be terribly wearisome to the neighbors of Her Excellency's daughters."

"Yes, still it can't be helped, I must give the poor girls a chance to make their fortune! With the exception of Prince Hohenheim, you are all in the market!" she said smiling.

"No one could speak so proudly save a Countess Wildenau, who knows that every other woman only serves as a foil," replied the prince, kissing her hand with a significant smile. She was remarkably gracious that day; she permitted her hand to rest in his, there was a shade of apology in her manner. Apology for what? He had no occasion to ponder long--she was ashamed of having neglected a trusted friend for a chimera, a nightmare, which had assumed the form of a man with mysterious black eyes and floating locks. The ladies' stories of the love affairs of the presumptive owner of these locks had destroyed the dream and broken the spell of the nightmare.

"Admirable, it had happened very opportunely."

"But, Countess, the gentlemen will be disappointed, if the ladies, also, come. Would it not be much pleasanter without them? You are far more charming and entertaining when you are the only lady present at our little smoking parties."

"We can have one later. The ladies will leave at ten. Then you others can remain."

"And who will be sent away next, when you are wearied by this après soirée? Who will be allowed to linger on a few minutes and smoke the last cigarette with you?" he added, coaxingly. He looked very handsome at that moment.

"We shall see," replied the countess, and for the first time her voice thrilled with a warmer emotion. Her hand still rested in his, she had forgotten to withdraw it. Suddenly its warmth roused her, and his blue eyes flashed upon her a light as brilliant as the indiscreet glare which sometimes rouses a sleeper.

She released it, and as the dinner was over, rose from the little table.

"Will you go with me to call on the duchess later?" she asked. "If so, I will dress now, while you give the invitation to the gentlemen, and you can return afterward."

"As you choose!" replied the prince in an altered tone, for the slight variation in the lady's mood had not escaped his notice. "In half an hour, then. Farewell!"

[CHAPTER VI.]

THE EVENING BEFORE THE PLAY

Josepha sat in the countess' room at work on her new dress. She was calm and quiet; the delight in finery which never abandons a woman to her latest hour--the poorest peasant, if still conscious, asks for a nicer cap when the priest comes to bring the last sacrament--had asserted its power in her. The countess noticed it with pleasure.

"Shall you finish it soon, Josepha?"

"In an hour, Your Highness!"

"Very well, I shall return about that time, and then we'll try the dress on."

"Oh, your ladyship, it's a sin for me to put on such a handsome gown, nobody will see me."

"Not here, if you don't wish them to do so, but to-morrow evening we shall go to Munich, where you will begin a new life, with no brand upon your brow."

Josepha kissed the countess' hand; a few large tears rolled down on the dress which was to clothe a new creature. Then she helped her mistress to put on a walking toilette, performing her task skillfully and quickly. The latter fixed a long, thoughtful look upon her. "You are somewhat like your cousin, the Christ, are you not?"

"So people say!"

"I suppose he sees a great many ladies?"

"They all run after him, the high as well as the low. And it isn't the strangers only, the village girls are crazy over him, too. He might have any one he wanted, it seems as if he fairly bewitched the women."

"I heard that the reason for his secluded life was that he had a love affair with some noble lady."

"Indeed?" said Josepha carelessly, "I don't know anything about it. I don't believe it, though he would not tell me, even if it were true. Oh, people talk about him so much, that's one reason for the envy. But his secluded life isn't on account of any noble lady! He has had nothing to say to anybody here since they refused to let me take part in the Play and gossiped so much about me. Though he doesn't speak of it, it cuts him to the heart. Alas, I am to blame, and no one else."

Countess Wildenau, obeying a sudden impulse, kissed the girl on the forehead: "Farewell, keep up courage, don't weep, rejoice in your new life; I will soon return."

As she passed out, she spoke to the Gross sisters commending Josepha to their special care.

"The gentlemen are delighted, and send you their most grateful homage," called the prince.

"Then they are all coming?" said Countess Wildenau, taking his arm.

"All, there was no hesitation!" he answered, again noticing in his companion's manner the restlessness which had formerly awakened his anxiety. As they passed down the street together, her eyes were wandering everywhere.

"She is seeking some one," thought the prince.

"Let me tell you that I am charmed with this Ammergau Christ," cried the duchess, as they approached the blacksmith's house. She was sitting in the garden, which contained a tolerably large manure heap, a "Saletl," the name given to an open summer-house, and three fruit-trees, amid which the clothes lines were stretched. On the house was a rudely painted Madonna, life-size, with the usual bunch of flowers, gazing with a peculiar expression at the homage offered to her son, or at least, so it seemed to the countess.

"Have you seen him, Duchess? I am beginning to be jealous!" said the countess with a laugh intended to be natural, but which sounded a little forced.

The visitors entered the arbor; after an exchange of greeting, the duchess told her guests that she had been with the ladies to the drawing-school, where they had met Freyer. The head-master (the son of Countess von Wildenau's host) had presented him to the ladies, and he had been obliged to exchange a few words with them, then he made his escape. They were "fairly wild." His bearing, his dignity, the blended courtesy and reserve of his manner, so modest and yet so proud, and those eyes!

The prince was on coals of fire.

The blacksmith was hammering outside, shoeing a horse whose hoof was so crooked that the iron would not fit. The man's face was dripping with sooty perspiration, yet when he turned it toward the ladies, they saw a classic profile and soft, dreamy eyes.

"Beautiful hair and eyes appear to be a specialty among the Ammergau peasants," said the prince somewhat abruptly, interrupting the duchess. "Look at yonder smith, wash off the soot and we shall have a superb head of Antinous."

"Yes, isn't that true? He is a splendid fellow, too," replied the duchess. "Let us call him here."

The smith was summoned and, wiping the grime from his face with his shirt sleeves, modestly approached. The prince watched with honest admiration the man's gait and bearing, clear-cut, intelligent features, and slender, lithe figure, which betrayed no sign of his hard labor save in the tense sinews and muscles of the arms.

"I must apologize," he said in excellent German--the Ammergau people use dialect only when speaking to one another--"I am in my working clothes and scarcely fit to be seen."

"You have a charming voice. Do you sing baritone?"

"Yes, Your Highness, but I rarely sing at all. My voice unfortunately is much injured by my hard toil, and my fingers are growing too stiff to play on the piano, so I cannot accompany myself."

"Do you play on the piano?"

"Certainly, Your Highness."

"Good Heavens, where did you learn?"

"Here in the village, Your Highness. Each one of us learns to use some instrument, else where should we obtain an orchestra for the Passion?"

"Think of it!" said the duchess in French, "A blacksmith who plays on the piano; peasants who form an orchestra!" Then addressing her host in German, she added, "I suppose you have a church choir!"

"Certainly, Your Highness."

"And what masses do you perform?"

"Oh, nearly all the beautiful ones, some dating from the ancient Cecilian Church music, others from the later masters, Handel, Bach, down to the most modern times. A short time ago I sung Gounod's Ave Maria in the church, and this winter we shall give a Gethsemane by Kempter."

"Is it possible!" said the duchess, "c'est unique! Then you are really all artists and ought not to follow such hard trades."

"Yes, Duchess, but we must live. Our wives and children must be supported. All cannot be wood-carvers, smiths are needed, too. If the artisan is not rough, the trade is no disgrace."

"But have you time, with your business, for such artistic work?"

"Oh, yes, we do it in the evenings, after supper. We meet at half past seven and often practise our music till twelve or even one o'clock."

"Oh, how tired you must be to study far into the night after the labor of the day."

"Oh, that doesn't harm us, it is our recreation and pleasure. Art is the only thing which lifts men above their daily cares! I would not wish to live, if I did not possess it, and we all have the same feeling."

The ladies exchanged glances.

"But, when do you sleep? You must be obliged to rise early in the morning."

"Oh, we Ammergau people are excitable, we need little sleep. To bed at one and up at five gives us rest enough."

"Well, then, you must live well, or you could not bear it."

"Yes, we live very well, we have meat every Sunday," said the smith with much satisfaction.

"C'est touchant!" cried the duchess. "Meat once a week? And the rest of the time?"

"Oh, we eat something made of flour. My wife is an excellent cook, she was the cook in Count P.'s household!" he added with great pride, casting an affectionate glance at the plump little woman, holding a child in her arms, standing at the door of the house. He would gladly have presented this admirable wife to the strangers, but the ladies seemed less interested in her.

"What do you eat in the evening?"

"We have coffee at six o'clock, and drink a few glasses of beer when we meet at the tavern."

"And do all the Ammergau people live so?"

"All. No one wants anything different."

"Even your Christ?"

"Oh, he fares worse than we, he is unmarried and has no one to care for him."

"What a life, dear Countess, what a life!" the duchess, murmured in French.

"But you have a piano in your house. If you are able to get such an instrument, you ought to afford better food," said Her Excellency.

The blacksmith smiled, "If we had had better food, we should not have been able to buy the piano. We saved it from our stomachs."

"That is the true Ammergau spirit," said the countess earnestly. "They will starve to secure a piano. Every endeavor is toward the ideal and the intellectual, for which they are willing to make any personal sacrifice. I have never seen such people."

"Nor have I. It seems as if the Passion Play gave them all a special consecration," answered the duchess.

Countess von Wildenau rose. Her thoughts were so far away that she was about to take leave without remembering her invitation. But Prince Emil said impressively:

"Countess, surely you are forgetting that you intended to invite the ladies--."

"Yes, yes," she interrupted, "it had almost escaped my mind." The smith modestly went back to his work, for the horse was growing restless, and the odor of burnt horn and hair soon pervaded the atmosphere.

Meanwhile the countess delivered her invitation, which was accepted with great enthusiasm.

A stately, athletic man in a blouse, carrying a chest on his shoulder, passed the ladies. The burden was terribly heavy, for even his powerful, well-knit frame staggered under it, and his handsome kingly head was bowed almost to the earth.

"Look, Countess, that is Thomas Rendner the Roman procurator. We shall soon make the acquaintance of the whole company. We sit here in the summer-house like a spider in its web, not a fly can pass unseen."

"Good Heavens, that Pilate!" exclaimed the countess, watching him with sympathizing eyes, "Poor man, to-day panting under an oppressive burden, to-morrow robed in purple and crowned with a diadem, only to exchange them again on the third day, for the porter's dusty blouse, and take the yoke upon himself once more. What a contrast, and yet he loses neither his balance nor his temper! Indeed I think that we can learn as much here outside of the Passion Play, as from the spectacle itself."

"Yes, if we watch with your deep, thoughtful eyes, my dear Countess!" said the duchess, kissing the speaker's brow. "We will discuss this subject farther when we drive with you the day after to-morrow."

The ladies parted. Madeleine von Wildenau, leaning on the prince's arm, walked silently through the crowd which now, on the eve of the play, thronged the narrow streets. The din and tumult were enough to deprive one of sight and hearing. Dazed by the confusion, she clung closely to her companion's arm.

"Good Heavens, is it possible that Christianity still possesses such a power of attraction!" she murmured, involuntarily, while struggling through the throng.

The ground in the Ettal road trembled under the roll of carriage wheels. The last evening train had arrived, and a flood of people and vehicles poured into the village already almost crushed beneath the tide of human beings. Horses half driven to death, dragging at a gallop heavy landaus crowded with six or eight persons. Lumbering wagons containing twenty or thirty travellers just as they had climbed in, sometimes half clinging to the steps or the boxes of the wheels, swayed to and fro; intoxicated, excited by the mad rush and the fear of being left behind--raging and shrieking like a horde of unchained fiends come to disturb the sacred drama rather than pious pilgrims who wished to witness it, the frantic mob poured in. "Sauve qui peut" was the motto, the prince lifted the countess on a small post by the roadside. Just at that moment the fire-brigade marched by to watch the theatre. It was said that several of the neighboring parishes, envious of Ammergau, had threatened to ruin the Play by setting the theatre on fire. Fire engines and strangers' carriages passed pell-mell. The people of Ammergau themselves, alarmed and enraged by the cruel threat, were completely disconcerted; passionate discussions, vehement commands, and urgent entreaties were heard on all sides. Prompt and energetic action was requisite, the fate of all Ammergau was at stake.

The bells now began to ring and at the same moment the first of the twenty-five cannon shots which were to consecrate the morrow's festival was discharged, and the musicians passed through the streets.

The air fairly quivered with the deafening uproar of all these mingling waves of sound. Darkness was gathering, the countess grew giddy, she felt as if she were stifling in the tumult. A pair of horses fell just below them, causing a break in the line of carriages, which the prince used to get his companion across, and she at last reached home, almost fainting. Her soul was stirred to its inmost depths. What was the power which produced such effects?

Was this the calm, petty doctrine, which had been inculcated so theoretically and coldly at the school-room desk and from the pulpit, and with which, when a child, she has been disgusted by an incomprehensible school-catechism? Was this the doctrine which, from earliest childhood, had been nothing more than a wearisome dead letter, to which, as it had become the religion of the state, an official visit to church was due from time to time, just as, on certain days, cards were left on ambassadors and government officials?

The wind still bore from the village the noise of the throngs of people, the ringing of the bells, and the thunder of the cannon, blended with occasional bursts of music. The countess had had similar experiences when tidings of great victories had been received during the last war, but those were facts. For the first time in her life she asked herself if Christianity was a fact? And if not, if it was only an idea, what inherent power, after the lapse of nearly two thousand years, produced such an effect?

Why did all these people come--why did she herself? The human race is homesick, it no longer knows for what; it is only a vague impulse, but one which instinctively draws it in the direction where it perceives a sign, a vestige of what it has lost and forever seeks. Such, she knows it now, such is the feeling of all the throngs that have flocked hither to-day, she realized that at this moment she was a microcosm of weary, wandering mankind seeking for salvation.

And as when, deceived and disappointed in everything, we seek the picture of some dead friend, long since forgotten, and press it weeping to our lips, she clung to the image of the Redeemer. Now that everything had deluded her, no system which had boastfully promised a victory over calamity and death had stood the test, after one makeshift had supplanted another without supplying what was lacking, after all the vaunted remedies of philosophy and materialism proved mere palliatives which make the evil endurable for the moment but do not heal it, suffering, cheated humanity was suddenly seeking the image of the lost friend so long forgotten. But a dead friend cannot come forth from a picture, a painted heart can no longer beat. Could Christ rise again in His image? Could His word live once more on the lips of a stranger? And would the drops of artificial blood, trickling from the brow of the personified Messiah, possess redeeming power?

That was the miracle which attracted the throngs from far and near, that must be the marvel, and tomorrow it would be revealed.

"Of what are you dreaming, Countess Madeleine?" asked the prince after a pause which she had spent in the wild-grape arbor near the house gazing into vacancy, with her head resting on her hand. She looked up, glancing at him as if she had entirely forgotten his presence. "I don't know what is the cause of my emotion, the tumult in the village has stirred me deeply! I feel that only potent things could send such a storm before them, and it seems as if it was the portent of some wonderful event!"

"Good Heavens! What extravagant fancies, my dear Countess! I believe you add to all your rich gifts the dangerous one of poesy! I admire and honor you for it--but I can perceive in this storm nothing save a proof that curiosity is the greatest and most universal trait in human character, and that these throngs desire nothing more than the satisfaction of their curiosity. The affair is fashionable just now, and that explains the whole."

"Prince, I pity you for what you have just said," replied the countess, rising. Her face wore the same cold, lifeless expression as on the day of her arrival.

"But, my dearest friend, for Heavens's sake tell me, did you and I come from any other motive than curiosity?"

"You, no! I, yes!"

"Don't say that, chère amie. You, the scholar, superior to us all in learning; you, the disciple of Schopenhauer, the proud philosopher, the believer in Nirvâna."

"Yes, I, Prince!" cried the countess, "The philosopher who was not happy for an hour, not content for a moment. What is this Nirvâna? A stone idol, which the fruitless speculation of our times has conjured from the rubbish of archæological excavations, and which stares at us with its vacant eyes until we fall into an intellectual hypnotism which we mistake for peace." An expression of bitter sarcasm rested on her lips. "I came here to bring pessimism and Christianity face to face. I thought it would be very novel to see the stone idol Nirvâna, with his hands on his lap and the silence of eternal death on his lips, watch the martyr, dripping with sweat and blood, bear His own cross to the place of execution and cheerfully take up the work where Buddha faltered; on the boundary of non-existence. I wanted to see how the two would treat each other, if for nothing more than a comparative study of religion."

"You are irresistible in your charming mockery, dearest Countess, yet logically I cannot confess myself conquered!" replied the prince. The countess smiled: "Of course, when did a man ever acknowledge that to a woman, where intellectual matters were concerned? A sunny curl, the seductive arch of an upper lip, a pair of blue eyes sparkling with tears will make you lords of creation the dupes of the most ordinary coquette or even the yielding toy of the dullest ignorance. We women all know it! But, if we assail your dry logic, you are as unconquerable as Antæus so long as he stood upon the earth! You, too, could only be vanquished by whoever had the power to lift you from the ground where you stand."

"You might have that power, Countess. Not by your arguments, but by your eyes. You know that one loving glance would not only lift me from the earth but into heaven, and then you could do with me what you would."

"You have forfeited the loving glance! Perhaps it might have rewarded your assent, but it would never purchase it, I scorn bribed judges, for I am sure of my cause!"

"Countess, pardon my frankness: it is a pity that you have so much intellect."

"Why?"

"Because it leads you into sophistical by-ways; your tendency to mysticism gives an apparently logical foundation and thereby strengthens you the more in this dangerous course. A more simple, temperate judgment would guard you from it."

"Well, Prince--" she looked at him pityingly, contemptuously--"may Heaven preserve me from such a judgment as well as from all who may seek to supply its place to me. Excuse me for this evening. I should like to devote an hour to these worthy people and soothe my nerves--I have been too much excited by the scenes we have witnessed. Goodnight, Prince!"

Prince Emil turned pale. "Good-night, Countess. Perhaps to-morrow you will be somewhat more humane in this cat and mouse game; to-day I am sent home with a bleeding wound." With lips firmly compressed, he bowed his farewell and left the garden. Madeleine looked after him: "He is angry. I cannot help him, he deserved it. Oh, foolish man, who deemed yourself so clever! Do you suppose this glowing heart desires no other revelations than those of pure reason? Do you imagine that the arguments of all the philosophical systems of humanity could offer it that for which it longs? Shall I find it? Heaven knows! But one thing is certain, I shall no longer seek it in you."

The sound of moans and low sobs came from the chamber above the countess' room. It was Josepha. Countess Wildenau passed through the little trap-door and entered it. The girl was kneeling beside the bed, with her face buried in the pillows, to shut out the thunder of the cannon and the sound of the bells, which summoned the actors in the sacred Play from which she alone, the sinner, the outcast, was shut out.

Mary Magdalene, too, had sinned and erred, yet she had been suffered to remain near the Lord. She was permitted to touch His divine body and to wipe His feet with her hair! But she was not allowed to render this service to His image! She grasped the mass of wonderful silken locks which fell in loosened masses over her shoulders. What did she care for this beautiful hair now? She would fain cut it off and throw it into the Ammer or, better still, bury it in the earth, the earth on which the Passion Theatre stood. With a hasty movement, she snatched a pair of shears which lay beside the bed, and just as the countess' foot touched the threshold, a sharp, cutting sound was heard and the most beautiful red hair that ever adorned a girl's head fell like a dying flame at her feet. "Josepha, what are you doing?" cried the countess, "Oh, what a pity to lose that magnificent hair!"

"What do I care for it?" sobbed Josepha, "It can never be seen in the Play! When the performance is over, I will slip into the theatre before we leave and bury it under the stage, where the cross stands. There I will leave it, there it shall stay, since I am no longer able to make it serve Him." She threw herself into the countess' arms and hid her tear-stained face upon her bosom. Alas, she was not even allowed to appear among the populace, she alone was banished from the cross, yet she knew that the real Saviour would have suffered her to be at His feet as well as Mary Magdalene.

"Console yourself, Josepha, your belief does not deceive you. The real Christ would not have punished you so cruelly. Men are always more severe than God. Whence should they obtain divine magnanimity, they are so petty. They are like a servant who is arrogant and avaricious for his master because he does not understand his wishes and turns from the door the poor whom his master would gladly have welcomed and refreshed." She kissed the young girl's brow. "Be calm, Josepha, gather up your hair, you shall bury it to-morrow in the earth which is so dear to you. I promise that I will think of you when the other Magdalene appears; your shadow shall stand between her and me, so that I shall see you alone! Will this be a slight consolation to you?"

Josepha, for the first time, looked up into the countess' eyes with a smile. "Yes, it is a comfort. Ah, you are so kind, you take pity on me while all reproach and condemn me."

"Oh, Josepha! If people judged thus, which of us would be warranted in casting the first stone at you?" The countess uttered the words with deep earnestness, and thoughtfully left the room.

[CHAPTER VII.]

THE PASSION PLAY

Day was dawning. The first rays of the morning sun, ever broader and brighter, were darting through the air, whose blue waves surged and quivered under the flaming couisers of the ascending god of day. Aphrodite seemed to have bathed and left her veil in the foam of the wild mountain stream into which the penitent Magdalene had tried to throw herself. Apollo in graceful sport, had gathered the little white clouds to conceal the goddess and they waved and fluttered merrily in the morning breeze around the rushing chariot. Then, as if the thundering hoof-beats of the fiery chargers had echoed from the vaulted arch of the firmament, the solemn roar of cannon announced the approach of the other god, the poor, unassuming, scourged divinity in His beggar-garb. The radiant charioteer above curbed his impatient steeds and gazed down from his serene height upon the conflict, the torturing, silent conflict of suffering upon the bloody battlefield of the timorous earth. Smiling, he shook his divine head, for he could not understand the cause of all this. Why should a god impose upon Himself such misery and humiliation! But he knows that He was a more powerful god, for he was forced to fly from the zenith when the former rose from His grave.--So thought Helios, glancing over at the gentle goddess Selene, whose wan face, paling in his presence, was turned full toward the earth. She could not bear to behold the harrowing spectacle, she was the divinity of peace and slumber, so, averting her mild countenance, she bade Helios farewell and floated away to happier realms.

Blest gods, ye who sit throned in eternal beauty, eternal peace; ye who are untouched by the grief and suffering of the human race, who descend to earth merely to taste the joys of mortals when it pleases ye to add them to your divine delights, look down upon the gods whom sorrowing humanity, laden with the primeval curse, summoned from his heaven to aid, where none of ye aided, to give what none of ye gave, the heart's blood of love! Gaze from your selfish pleasures, ye gay Hellenic deities, behold from your Valhalla, grim divinities of the Norsemen, look hither, ye dull, stupid idols of ancient India, hither where, from love for the human race, a god bleeds upon the martyr's cross--behold and turn pale! For when the monstrous deed is done, and the night has passed. He will cast aside His humble garb and shine in His divine glory. Ye will then be nothing but the rainbow which shimmers in changeful hues above His head! "Excelsior!" echoes a voice through the pure morning-sky and: "Gloria in excelsis, Deo!" peals from the church, as the priests chant the early mass.

An hour later the prince stopped before the door in a carriage to convey the countess to the Passion Theatre, for the way was long and rough.

He gave the Gross sisters strict orders to have everything ready for Countess Wildenau's departure at the close of the performance.

"The carriages must stand packed with the luggage before the theatre when we come out. The new maid must not be late."

Madeleine von Wildenau made no objection to all this, she was very pale and deeply agitated. Ludwig Gross, who was also just going to the theatre, was obliged to enter the carriage, too; the countess would listen to no refusal. The prince looked coldly at him. Ludwig Gross raised his hat, saying courteously:

"May I request an introduction?"

The lady blushed. "Herr Gross, head-master of the drawing-school!" She paused a moment in embarrassment, Ludwig's bronze countenance still retained its expectant expression.

"The Hereditary Prince of Metten-Barnheim," said the prince, relieving the countess' embarrassment, and raising his hat.

The drawing-master's delicate tact instantly perceived Prince Emil's generous intention.

"Pardon me," he said, with a shade of bashfulness, "I did not know that I was in the presence of a gentleman of such high rank--"

"No, no, you were perfectly right," interrupted Prince Emil, who was pleased with the man's modest confidence, and immediately entered into conversation with him. He asked various questions, and Ludwig described how he was frequently compelled to get suitable figures for his tableau from the forests and the fields, because the better educated people all had parts assigned to them, and how difficult it was to work with this untrained material; especially as he had barely two or three minutes to arrange a tableau containing three hundred persons.

The countess gazed absently at the motley throngs surging toward the Passion Theatre. The fresh morning breeze blew into the carriage. All nature was full of gladness, a festal joy which even the countess' richly caparisoned horses seemed to share, for they pranced gaily and dashed swiftly on as if they would fain vie with the sun-god's steeds above. The Bavarian flags on the Passion Theatre fluttered merrily against the blue sky, and now another discharge of cannon announced the commencement of the performance. The carriage made its way with much difficulty through the multitude to the entrance, which was surrounded by natives of Ammergau. Ludwig Gross ordered the driver to stop, and sprang out. All respectfully made way for him, raising their hats: "Ah, Herr Gross! The drawing-master! Good-day!"

"Good-day," replied Ludwig Gross, then unceremoniously giving the countess his arm, requested the prince to follow and led them through several side passages, to which strangers were not admitted, into the space reserved for boxes, where two fine-looking young men, also members of the Gross family, the "ushers" were taking tickets. Ludwig lifted his hat and left them to go to his work. The prince shook hands with him and expressed his thanks. "A cultured man!" he said, after Ludwig had gone. Meanwhile one of the ushers had conducted the countess to her seat.

There directly before her lay the long-desired goal! A huge amphitheatre built in the Greek style. Between the boxes, which overlooked the whole, and the stage, under the open sky, extended a vast space, whose seats rose to the height of a house. The orchestra, too, was roofless, as also were the proscenium and the stage, at whose extreme right and left stood the houses of Pilate and Caiaphas, between which stretched the streets of Jerusalem. The chorus was stationed on the proscenium and here all the great scenes in which the populace took part were performed. The main stage, occupying the centre only, as in the Greek theatre, was a temple-like covered building with a curtain, in a certain sense a theatre within a theatre, where the scenes that required a smaller frame were set. Beyond, the whole was surrounded by the amphitheatre of the lofty mountains gazing down in majestic repose, surmounting and crowning all.

The orchestra was playing the last bars of the overture and the surging and hum of the thousands who were finding their seats had at last ceased. The chorus came forward, all the singers clad in the Greek costume, at their head as choragus Johannes Diemer, arrayed in diadem and toga. A majestic figure of true priestly dignity, he moved across the stage, fully imbued with the spirit of the sublime drama which it was his honorable office to open. Deep silence now reigned throughout the audience. It seemed as if nature herself was listening outside, the whispering morning breeze held its breath, and not a single bird-note was heard. The repose of the Sabbath spread its wings protectingly over the whole scene, that nothing should disturb this consecrated mood.

As the stately figures advanced wearing their costly robes with as much dignity as if they had never been clad in any other garments, or would be forced again to exchange them for the coarse torn blouse of toil; as they began to display the art acquired with such self-sacrificing devotion after a wearisome day of labor, and the choragus in the purest, noblest intonation began the first lines:

"Sink prostrate, overwhelmed with sacred awe,
Oh, human race, bowed by the curse of God!"

the countess' heart was suddenly stirred by a new emotion and tears filled her eyes.

"Eternal God, Thy stammering children hear,
For children's language, aye, is stammering."

In these words the devout lips expressed the sacred meaning underlying the childish pastime, and those who heard it feel themselves once more children--children of the one omnipresent Father.

The prologue was over. The curtain of the central stage rolled up, and the first tableau, the expulsion of Adam and Eve from Paradise, was revealed. Countess Madeleine gazed at it with kindly eyes, for Ludwig Gross' refined artistic instinct was visible to her, his firm hand had shaped the rude material into these graceful lines. A second tableau followed--the Adoration of the Cross. An empty cross, steeped in light, stood on a height worshipped by groups of children and angels. The key-note was thus given and the drama began.--The first scene was before the temple at Jerusalem--the Saviour's entry was expected. Madeleine von Wildenau's heart throbbed heavily. She did not herself know the cause of her emotion--it almost robbed her of breath--will it be he whom she expects, to whom she is bound by some incomprehensible, mysterious spell? Will she find him?

Shouts of "Hosanna!" echoed from the distance--an increasing tumult was audible. A crowd of people, rejoicing and singing praises, poured out of the streets of Jerusalem--the first heralds of the procession appeared, breathlessly announcing His approach.

An indescribable fear overpowered the countess--but it now seemed to her as if she did not dread the man whom she expected to see, but Him he was to personate. The audience, too, became restless, a vibrating movement ran like a faint whisper through the multitude: "He is coming!"

The procession now poured upon the stage, a surging mass--passionately excited people waving palms, and in their midst, mounted on a miserable beast of burden--the Master of the World.

The countess scarcely dared to look, she feared the dismounting, which might shock her æsthetic sense. But lightly as a thought, with scarcely a movement, he had already slipped from the animal, not one of the thousands saw how.

"It is he!" Madeleine's brain whirled, an unspeakable joy overwhelmed her: "When shall I behold thee face to face!" her own words, spoken the evening before, rang in her ears and--the realization was standing before her.

"The Christ!"--a thrill of reverence stirred the throng. Aye, it was He, from head to foot! He had not uttered a word, yet all hearts sank conquered at his feet. Aye, that was the glance, the dignity, the calmness of a God! That was the soul which embraced and cherished a world--that was the heart of love which sacrificed itself for man--died upon the cross.

Now the lips parted and, like an airy, winged genius the words soared upward: A voice like an angel's shouting through the universe: "Peace, peace on earth!"--now clear and resonant as Easter bells, now gentle and tender as a mother's soothing song beside the bed of her sick child. "Source of love--thou art He!"

Mute, motionless, as if transfigured, the countess gazed at the miracle--and with her thousands in the same mood. But from her a secret bond stretched to him--from her alone among the thousands--a prophetic, divine bond, woven by their yearning souls on that night after she had beheld the face from which the God so fervently implored now smiled consent.

The drama pursued its course.

Christ looked around and perceived the traders with their wares, and the tables of the money-changers in the court of the temple. As cloud after cloud gradually rises in the blue sky and conceals the sun, noble indignation darkened the mild countenance, and the eyes flashed with a light which reminded Helios, watching above, of the darts of Zeus.

"My House," saith the Lord, "shall be called a house of prayer, but ye have made it a den of thieves!" And as though His wrath was a power, which emanating from Him acted without any movement of His, a hurricane seemed to sweep over the stands of the traders, while not a single vehement motion destroyed the calmness of the majestic figure. The tables were overthrown, the money rolled on the ground, the cages of the doves burst open, and the frightened birds soared with arrowy speed over the heads of the spectators. The traders raged and shrieked, "My doves, my doves! My money!" and rushed to save the silver coins and scattered wares. But He stood motionless amid the tumult, like the stone of which He said: "Whosoever shall fall upon that stone shall be broken; but on whomsoever it shall fall, it will grind him to powder."

Then, with royal dignity. He swung the scourge over the backs bowed to seize their paltry gains. "Take these things hence, make not my Father's house a house of merchandise!" He did not strike, yet it seemed as though the scourge had fallen, for the dealers fled in wild confusion before the uplifted hand, and terror seized the Pharisees. They perceived that He who stood before them was strong enough to crush them all! His breath had the might of the storm, His glance was consuming flame--His lash felled without striking--He need only will, and "in three days" He would build a new temple as He boasted. Roaring like the sea in a tempest, the exulting populace surrounded Him, yielding to His sway as the waves recede before the breath of the mighty ruler.--Aye, this was the potent spirit of the Jehovah of the Jews, the Zeus of the Greeks, the Jupiter of the Romans. This man was the Son of the God who created Heaven and earth, and it would be an easy matter for the Heir of this power to crush the Pharisees without stirring a finger--if He desired, but that was the point; it was not His will, for His mission was a different one! The head once more drooped humbly, the brow, corrugated with anger, smoothed. "I have done my Father's bidding--I have saved the honor of His House!" The storm died away into a whisper, and the mild gaze rested forgivingly upon His foes.

The countess' virile heart almost rebelled against this humility, and would fain have cried out: "Thou art the Son of God, help Thyself!" Her sense of justice, formed according to human ideas, was opposed to this toleration, this sacrifice of the most sacred rights! Like Helios in the vault above, she could not understand the grandeur, the divinity of self humiliation, of suffering truth and purity to be judged by falsehood and hypocrisy--instead of using His own power to destroy them.

As if the personator of Christ suspected her thoughts he suddenly fixed his glance, above the thousands of heads, directly upon her and like a divine message the words fell from his lips: "But in many hearts, day will soon dawn!" Then, turning with indescribable gentleness to His disciples. He added: "Come, let us go into the temple and there worship the Father!" He walked toward it, yet it did not seem as if his feet moved; He vanished from the spectators' eyes noiselessly, gradually, like the fleeting of a happy moment.

The countess covered her eyes with her hand--she felt as if she were dreaming a sadly beautiful dream. The prince watched her silently, but intently. Nods and gestures of greeting came from the boxes on all sides--from the duchess, the diplomatic corps, and numerous acquaintances who happened to be there--but the countess saw nothing.

The drama went on. It was the old story of the warfare of baseness against nobility, falsehood against truth. The Pharisees availed themselves of the injury to the tradesmen's interests to make them their allies. The populace, easily deluded, was incited against the agitator from "Galilee," who wished to rob them of the faith of their fathers and drive the dealers from the temple. So the conspiracy arose and swelled to an avalanche to crush the sacred head! Christ had dealt a rude blow to all that was base in human nature, but baseness was the greater power, to which even God must succumb while He remained a dweller upon earth. But, even in yielding, He conquered--death bestowed the palm of victory!

Between the first and second act was a tableau, "Joseph sold by his Brethren." With thoughtful discrimination every important incident in the Play was suggested by a corresponding event in the Old Testament, represented by a tableau, in order to show the close connection between the Old and the New Testament and verify the words: "that all things which are written may be fulfilled."

At last the curtain rose again and revealed the Sanhedrim assembled for judgment. Here sat the leaders of the people of Israel, and also of Oberammergau. In the midst was Caiaphas, the High-priest, the Chief of the Sanhedrim, the burgomaster of Ammergau and chief manager of the Passion Play. At his right and left sat the oldest members of the community of Ammergau, an old man with a remarkably fine face and long white beard, as Annas, and the sacristan, an impressive figure, as Nathanael. On both sides, in a wide circle, were the principal men in the parish robed as priests and Pharisees. What heads! What figures! The burgomaster, Caiaphas, rose and, with a brief address, opened the discussion. Poor Son of God, how wilt Thou fare in the presence of this mighty one of earth? The burgomaster was the type of the fanatical, ambitious priest, not a blind, dull zealot--nay, he was the representative of the aristocratic hierarchy, the distinguished men of the highest intelligence and culture. A face rigid as though chiselled from stone, yet animated by an intellect of diabolical superiority, which would never confess itself conquered, which no terror could intimidate, no marvel dazzel, no suffering move. Tall and handsome in the very flower of manhood, with eyes whose glances pierced like javelins, a tiara on his haughty head, robed in all the pomp of Oriental priestly dignity, every clanking ornament a symbol of his arrogant, iron nature, every motion of his delicate white hands, every fold of his artistically draped mantle, every hair of his flowing beard a proof of that perfect conscious mastery of outward ceremonial peculiar to those who are accustomed to play a shrewdly planned part before the public. Thus he stood, terrible yet fascinating, repellent yet attractive, nay to the trained eye of an artist who could appreciate this masterly blending of the most contradictory influences, positively enthralling.

This was the effect produced upon Countess Wildenau. The feeling of indication roused by the incomprehensible humiliation of the divine Martyr almost tempted her to side with the resolute foe who manfully defended his own honor with his god's. A noble-hearted woman cannot withstand the influence of genuine intellectual manfulness, and until the martyrdom of Christ became heroism, the firm, unyielding high-priest exerted an irresistible charm over the countess. The conscious mastery, the genius of the performer, the perfection of his acting, roused and riveted the artistic interest of the cultivated woman, and as, with the people of Ammergau, the individual and the actor are not two distinct personages, as among professional artists, she knew that the man before her also possessed a lofty nature, and the nimbus of Ammergau constantly increased, the spirit ruling the whole obtained still greater sway. The sacristan was also an imposing figure as Nathanael, the second high-priest, who, with all the power of Pharisaical superiority and sophistry, appeared as Christ's accuser. The eloquence of these two judges was overpowered, and into the surging waves of passion, Annas, in his venerable dignity, dropped with steady hand the sharp anchor of cold, pitiless resolve. An imposing, sinister assembly was this great Sanhedrim, and every spectator involuntarily felt the dread always inspired by a circle of stern, cruel despots. Poor Lamb, what will be Thy fate?

Destiny pursued its course. In the next act Christ announced His approaching death to the disciples. Now it seemed as though He bore upon His brow an invisible helm of victory, on which the dove of the Holy Spirit rested with outspread wings. Now He was the hero--the hero who chose death. Yet meekness was diffused throughout His whole bearing, was the impress of His being; the meekness which spares others but does not tremble for itself. A new perception dawned upon the countess: to be strong yet gentle was the highest nobility of the soul--and as here also the character and its personator were one, she knew that the men before her possessed these attributes: strength and gentleness. Now her defiant spirit at last melted and she longed to take Him to her heart to atone for the injustice of the human race. She thanked Simon for receiving the condemned man under his hospitable roof.

"Aye, love Him--I, too, love Him?" she longed to cry out to those who were ministering to Him. But when Mary Magdalene touched and anointed Him she averted her eyes, for she grudged her the privilege and thought of her poor, beautiful penitent at home. As He uttered the words: "Rise, Magdalene. Darkness is gathering, and the wintry storms are raging. Yet be comforted! In the early morning, in the Spring garden, thou wilt see me again!" tears streamed form her eyes; "When will the morning dawn that I shall greet Thee--in the Spring garden, redeeming love?" asked a voice in her heart.

But when Mary appeared and Christ took leave of His mother--when the latter sank upon the breast of her divine son and He consoled her with a voice whose sweetness no ear had ever heard equalled, a feeling which she had never experienced took possession of her: it was neither envy nor jealousy--only a sorrowful longing: "If I were only in her place!"

And when Christ said: "My hour is come; now is my soul troubled; and what shall I say? Father, save me from this hour: but for this cause came I unto this hour!" and Mary, remembering Simeon's words, cried: "Simeon, thy prediction--'a sword shall pierce through thy own soul, also'--is now fulfilled!" the countess, for the first time, understood the meaning of the pictures of Mary with the seven swords in her heart; her own was bleeding from the keenness of her anguish. Now, overpowered with emotion, He again extended His arms: "Mother, mother, receive thy son's fervent gratitude for all the love and faith which thou hast bestowed in the thirty-three years of my life: Farewell, dear mother!"

The countess felt as if she would no longer endure it--that she must sink in a sea of grief and yearning.

"My son, where shall I see Thee again?" asked Mary.

"Yonder, dear mother, where the words of the Scripture shall be fulfilled: 'He is brought as a lamb to the slaughter, and as a sheep before her shearers is dumb, so he openeth not his mouth.'" Then, while the others were weeping over the impending calamity, Christ said: "Be not overcome in the first struggle. Trust in me." And, as He spoke, the loving soul knew that it might rest on Him and be secure.

He moved away. Serene, noble, yet humble, He went to meet His death.

The curtain fell--but this time there was no exchange of greetings from the boxes, the faces of their occupants were covered to conceal the tears of which they were ashamed, yet could not restrain.

The countess and her companion remained silent. Madeleine's forehead rested on her hand--the prince was secretly wiping his eyes.

"People of God, lo, thy Saviour is near! The Redeemer, long promised, hath come!" sang the chorus, and the curtain rising, showed Christ and his disciples on the way to Jerusalem. It was the moment that Christ wept over Jerusalem. Tears of the keenest anguish which can pierce the heart of a God, tears for the sins of the world! "Jerusalem, Jerusalem, if thou hadst known, even thou, at least in this thy day, the things which belongs unto thy peace! But now they are hid from thine eyes."

The disciples entreated their Master not to enter the hostile city and thus avoid the crime which it was destined to commit. Or to enter and show Himself in His power, to judge and to reward.

"Children, what ye desire will be done in its time, but my ways are ordered by my Father, and thus saith the Lord: 'My thoughts are not your thoughts, neither are your ways my ways.'"

And, loyal and obedient, He followed the path of death. Judas alone lingered behind, resolving to leave the fallen greatness which promised no earthly profit and would bring danger and disgrace upon its adherents. In this mood he was met by Dathan, Andreas Gross, who was seeking a tool for the vengeance of the money changers. Finding it in Judas, he took him before the Sanhedrim.

An impressive and touching tableau now introduced a new period, the gathering of manna in the wilderness, which refreshed the starving children of Israel. A second followed: The colossal bunch of grapes from Canaan. "The Lord miraculously fed the multitude in the desert with the manna and rejoiced their hearts with the grapes of Canaan, but Jesus offers us a richer banquet from Heaven. From the mystery of His body and blood flows mercy and salvation!" sang the chorus. The curtain rose again, Christ was at supper with His disciples. He addressed them in words of calm farewell. But they did not yet fully understand, for they asked who would be first in His heavenly kingdom?

His only answer was to lay aside His upper garment, gird, with divine dignity, a cloth about His loins, and kneel to perform for the disciples the humblest service--the washing of their feet.

The human race looked on in breathless wonder--viewless bands of angels soared downward and the demons of pride and defiance in human nature fled and hid themselves in the inmost recesses of their troubled hearts.

Aye, the strong soul of the woman, which had at first rebelled against the patience of the suffering God--now understood it and to her also light came, as He had promised and, by the omnipotent feeling which urged her to the feet of Him who knelt rendering the lowliest service to the least of His disciples, she perceived the divinity of humility!

It was over. He had risen and put on His upper garment; He stood with His figure drawn up to His full height and gazed around the circle: "Now ye are clean, but not all!"--and His glance rested mournfully on Peter, who before the cock crew, would deny Him thrice, and on Judas, who would betray Him for thirty pieces of silver.

Then He again took His seat and, as the presentiment of approaching death transfigures even the most commonplace mortal and illumines the struggling soul at the moment of its separation from the body, so the God transfigured the earthly form of the "Son of Man" and appeared more and more plainly on the pallid face, ere he left the frail husk which He had chosen for His transitory habitation. And as the dying man distributes his property among his heirs, He bequeathed His. But He had nothing to give, save Himself. As the cloud dissolves into millions of raindrops which the thirsting earth drinks, He divided Himself into millions of atoms which, in the course of the ages, were to refresh millions of human beings with the banquet of love. His body and His blood were his legacy. He divided it into countless portions, to distribute it among countless heirs, yet it remained one and the part is to every one the whole. For as an element remains a great unity, no matter into how many atoms it may dissolve--as water is always water whether in single drops or in the ocean--fire always fire in sparks or a conflagration--so Christ is always Christ in the drops of the chalice and the particles of the bread, as well as in His original person, for He, too, is an element, the element of divinity.

As kindred kneel around the bedside of a loved one who is dying, bedew his hand with tears, and utter the last entreaty: "Forgive us, if we have ever wounded you?" the thousands of spectators longed to kneel, and there was not one who did not yearn to press his lips to the wonderful hand which was distributing the bread, and cry: "Forgive us our sins." But as reverence for the dying restrains loud lamentations, the spectators controlled themselves in order not to sob aloud and thus disturb the divine peace throned upon the Conqueror's brow.

Destiny now relentlessly pursued its course. Judas sold his master for thirty pieces of silver, and they were paid to him before the Sanhedrim. The pieces of silver rang on the stone table upon which they were counted out. It seemed as if the clear sound was sharply piercing the world, like the edge of a scythe destined to mow down the holiest things.

The priests exulted, there was joy in the camp of the foes! All that human arrogance and self-conceit could accomplish, raised its head triumphantly in Caiaphas. The regal priest stood so firmly upon the height of his secular power that nothing could overthrow him, and--Jesus of Nazareth must die!

So the evening came when Christ went with the twelve disciples to the Mount of Olives to await His doom.

"Father, the hour is come; glorify thy Son, that thy Son may also glorify thee! I have finished the work which thou gavest me to do--I have manifested thy name unto men! Father, sanctify them through thy truth; that they all may be one, as thou, Father, art in me and I in thee!"

He climbed the lonely mount in the garden of olive trees to pass through the last agony, the agony of death, which seized upon even the Son of God so long as He was still bound by the laws of the human body.

"Father, if thou be willing, let this cup pass from me!"

Here Freyer's acting reached its height; it was no longer semblance, but reality. The sweat fell in burning drops from his brow, and tears streamed from his eyes. "Yet not my will, but Thine be done--Thy sacred will!" Clasping his trembling hands, he flung himself prone on the ground, hiding his tear-stained face, "Father--Thy son--hear Him!"

The throng breathed more and more heavily, the tears flowed faster. The heart of all humanity was touched with the anguished cry: "Oh, sins of humanity, ye crush me--oh, the terrible burden--the bitter cup!"

With this anguish the Son of God first drew near to the human race, in this suffering He first bent down to mortals that they might embrace Him lovingly like a mortal brother. And it was so at this moment, also! They would fain have dragged Him from the threatening cross, defended Him with their own bodies, purchased his release at any cost--too late, this repentance should have come several centuries earlier.

The hour of temptation was over. The disciples had slept and left him alone--but the angel of the Lord had comforted Him, the angel whom God sends to every one who is deserted by men. He was himself again--the Conqueror of the World!

Judas came with the officers and pressed upon the sweet mouth on which the world would fain hang in blissful self-forgetfulness--the traitor's kiss.

"Judas, can you touch those lips and not fall at the feet of Him you have betrayed?" cried a voice in Madeleine von Wildenau's heart. "Can you kiss the lips which so patiently endure the death-dealing caress, and not find your hate transformed to love?" Ah, only the divine can recognize the divine, only sympathetic natures attract one another! Judas is the symbol of the godless world, which would no longer perceive God's presence, even if He came on earth once more. The soldiers, brawny fellows, fell to the ground as He stood before them with the words: "I am Jesus of Nazareth!" and He was forced to say: "Rise! Fear ye not!" that they might accomplish their work--but Judas remained unmoved and delivered Him up.

Christ was a prisoner and descended step by step into the deepest ignominy. But no matter through what mire of baseness and brutality they dragged Him, haling Him from trial to trial--nothing robbed Him of the majesty of the Redeemer! And if His speech had been full of power, so was His silence! Before the Sanhedrim, before Herod, and finally before Pilate, He was the king, and the mighty ones of earth were insignificant in His presence.

"Who knows whether this man is not the son of some god?" murmured the polytheistic Romans--and shrank from the mystery which surrounded the silent One.

The impression here was produced solely by Freyer's imposing calmness and unearthly eyes. The glance he cast at Herod when the latter ordered him to perform a miracle--darken the judgment chamber or transform a roll of papyrus into a serpent--that one glance, full of dignity and gentleness, fixed upon the poor, short-sighted child of the dust was a greater miracle than all the conjuring tricks of the Egyptian Magicians.

But this very silence, this superiority, filled the priest with furious rage and hastened His doom, which He disdained to stay by a single word.

True, Pilate strove to save Him. The humane Roman, with his aristocratic bearing, as Thomas Rendner personated him with masterly skill, formed a striking contrast to the gloomy, fanatical priests, but he was not the man for violent measures, and the furious leaders understood how to present this alternative. The desire to conciliate, the refuge of all weak souls which shrink in terror from catastrophes, had already wrested from him a shameful concession--he had suffered the Innocent One to be delivered to the scourge.

With clenched teeth the spectators beheld the chaste form, bound to the stake and stained with blood, quiver beneath the lashes of the executioner, without a murmur of complaint from the silent lips. And when He had "had enough," as they phrased it, they placed him on a chair, threw a royal mantle about Him, and placed a sceptre of reeds in the hand of the mock-king. But He remained mute. The tormentors grew more and more enraged--they wanted to have satisfaction, to gloat over the moans of the victim--they dealt Him a blow in the face, then a second one. Christ did not move. They thrust Him from the chair so that He fell on the ground--no one ever forgot the beautiful, pathetic figure--but He was still silent! Then one of the executioners brought a crown made of huge thorns; He was raised again and the martyr's diadem was placed upon His brow. The sharp thorns resisted, they would not fit the noble head, so His tormentors took two sticks laid cross-ways, and with them forced the spiked coronals so low on His forehead that drops of blood flowed! Christ quivered under the keen agony--but--He was silent! Then He was dragged out of His blood, a spectacle to the populace.

Again Helios above gave the rein to his radiant coursers--he thought of all the horrors in the history of his divine House, of the Danaides, of the chained Prometheus, and of others also, but he could recall nothing comparable to this, and loathed the human race! Averting his face, he guided his weary steeds slowly downward from the zenith.

The evening breeze blew chill upon the scene of agony.

A furious tumult filled the streets of Jerusalem. The priests were leading the raging mob to the governor's house--fanning their wrath to flame with word and gesture. Caiaphas, Nathanael, the fanatics of Judaism--Annas and Ezekiel, each at the head of a mob, rushed from three streets in an overwhelming concourse. The populace surged like the angry sea, and unchaining yet dominating the elements with word and glance the lofty figure of Caiaphas, the high priest, towered in their midst.

"Shake it off! Cast from you the yoke of the tempter!"

"He has scorned Moses and the prophets--He has blasphemed God--to the cross with the false Messiah!"

"May a curse rest on every one who does not vote for his death--let him be cut off from the hereditary rights of our fathers!"

Thus the four leaders cast their watchword like firebrands among the throngs, and the blaze spread tumultuously.

"The Nazarene must die--we demand judgment," roared the people. New bands constantly flocked in. "Oh, fairest day of Israel! Children, be resolute! Threaten a general insurrection. The governor wished to hear the voice of the people--let him hear it!" shrieked Caiaphas, and his passion stirred the mob to fiercer fury. All pressed forward to the house of Pilate. The doors opened and the governor came out. The handsome, classic countenance of the Roman expressed deep contempt, as he surveyed the frantic mob. Behind him appeared the embodiment of sorrow--the picture of all pictures--the Ecce Homo--which all the artists of the world have striven to represent, yet never exhausted the subject. Here it stood personified--before the eyes of men, and even the governor's voice trembled as he pointed to it.

"Behold, what a man!"

"Crucify him!" was the answer.

Pilate endeavored to give the fury of the mob another victim: the criminal Barabbas was brought forth and confronted with Christ. The basest of human beings and the noblest! But the spectacle did not move them, for the patience and serenity of the Martyr expressed a grandeur which shamed them all, and this was the intolerable offense! The sight of the scourged, bleeding body did not cool their vengeance because they saw that the spirit was unbroken! It must be quelled, that it might not rise in judgment against them, for they had gone too far, the ill-treated victim was a reproach to them--he could not be suffered to live longer.

"Release Barabbas! To death with the Nazarene, crucify him!"

Vainly the governor strove to persuade the people. The cool, circumspect man was too weak to defy these powers of hatred--he would fain save Christ, yet was unwilling to drive the fanatics to extremes. So he yielded, but the grief with which he did so, "to avert a greater misfortune," absolved him from the terrible guilt whose curse he cast upon the leaders' head.

The expression with which he pronounced the sentence, uttered the words: "Then take ye Him and crucify Him!" voices the grief of the man of culture for eternal beauty.

The bloodthirsty mob burst into a yell of exultation when their victim was delivered to them--now they could cool their vengeance on Him! "To Golgotha--hence with him to the place of skulls!"

Christ--and Thy sacrifice is for these. Alas, the day will come, though perchance not for thousands of years, when Thou wilt perceive that they were not worthy of it. But that will be the day of judgment!

A crowd surged though the streets of Jerusalem--in their midst the condemned man, burdened with the instrument of his own martyrdom.

In one corner amid the populace stood Mary, surrounded by a group of friends, and the mother beheld her son urged forward, like a beast which, when it falls, is forced up with lashes and pressed on till it sinks lifeless.

High above in the vaulted heavens, veiled by the gathering dude of evening, the gods whispered to one another with secret horror as they watched the unprecedented sight. Often as they might behold it, they could never believe it.

The procession stopped before a house--Christ sank to the earth.

A man came out and thrust Him from the threshold.

"Hence, there is no place here for you to rest."

Ahasuerus! The tortured sufferer looked at him with the gaze of a dying deer--a single mute glance of agony, but the man on whom it fell nevermore found peace on earth, but was driven from every resting-place, from land to land, from one spot to another--hunted on ceaselessly through the centuries--wandering forever.

"He will die on the road"--cried the first executioner, Christ had dragged Himself a few steps forward, and fell for the second time.

"Drive him on with blows!" shrieked the Pharisees and the people.

"Oh! where is the sorrow like unto my sorrow?" moaned Mary, covering her face.

"He is too weak, some one must help him," said the executioner. He could not be permitted to die there--the people must see Him on the pillory.

His face was covered with sweat and blood--tears flowed from His eyes, but the mute lips uttered no word of complaint. Then His friends ventured to go and render whatever aid was permitted. Veronica offered Him her handkerchief to wipe His face, and when He returned it, it bore in lines of sweat and blood, the portrait which, throughout the ages, has exerted the silent magic of suffering in legend and in art.

Simon of Cyrene took the cross from the sinking form to bear it for Him to Golgotha, and the women of Jerusalem wept. Christ was standing by the roadside exhausted, but when He saw the women with their children, the last words of sorrow for their lost ones rose from His heart to His lips:

"Daughters of Jerusalem, weep not for me, but weep for yourselves, and your children."

"For, behold, the days are coming, in the which they shall say: Blessed are the barren, and the wombs that never bare, and the paps which never gave suck!"

"Then shall they begin to say to the mountains, Fall on us; and to the hills. Cover us."

"For if they do these things in a green tree, what shall be done in the dry?"

"Drive the women away! Spare him no longer--hence to the place of execution!" the priests commanded.

"To Golgotha--Crucify him!" roared the people. The women were driven away; another message from the governor was unheeded, the procession moved steadily on to death.

But Mary did not leave Him. With the few faithful friends she joined her son's march of suffering, for the steadfastness of maternal love was as great as her anguish.

There was a whispering and a murmuring in the air as if the Valkyries and the gods of Greece were consulting whether they should aid the Son of Man. But they were powerless; the sphere of the Christian's god was closed against them.

The scene changed. The chorus, robed in sable mourning cloaks, appeared and began the dirge for the dying God. The simple chant recalled an ancient Anglo-Saxon song of the cross, composed in the seventh century by the skald Caedmon, and which for more than a thousand years lay buried in the mysterious spell of the rune.

[^[4]]Methought I saw a Tree in mid-air hang
Of trees the brightest--mantling o'er with light-streaks;
A beacon stood it, glittering with gold.

All the angels beheld it,
Angel hosts in beauty created.
Yet stood it not a pillory of shame.
Thither turned the gaze
Of spirits blessed,
And of earthly pilgrims
Of noblest nature.
This tree of victory
Saw I, the sin-laden one.

Yet 'mid the golden glitter
Were traces of honor.
Adown the right side
Red drops were trickling.
Startled and shuddering
Noted I the hovering vision
Suddenly change its hue.

Long lay I pondering
Gazing full sadly
At the Saviour's Rood.
When lo, on my ear
Fell the murmur of speech;
These are the words
The forest uttered:

"Many a year ago,
Yet still my mind holds it,
Low was I felled.
The dim forest within
Hacked from my roots,
Haled on by rude woodmen
Bracing sinewy shoulders
Up the steep mountain side,
Till aloft on the summit
Firmly they fastened me.

"I spied the Frey[^[5]] of man with eager haste
Approach to mount me; neither bend nor break
I durst, for so it was decreed above
Though earth about me shook.

"Up-girded him then the young hero,
That was God Almighty,
Strong and steady of mood,
Stept he on the high gallows:
Fearless amongst many beholders
For he would save mankind.
Trembled I when that 'beorn' climbed me,
But I durst not bow to earth."

There hung the Lord of Hosts
Swart clouds veiled the corpse,
The sun's light vanished
'Neath shadows murk.
While in silence drear
All creation wept
The fall of their king.
Christ was on Rood--
Thither from afar
Men came hastening
To aid the noble one.

Everything I saw,
Sorely was I
With sorrows harrowed,
Yet humbly I inclined
To the hands of his servants
Striving much to aid them.

Now from the Rood
The mighty God,
Spear-pierced and blood-besprent,
Gently men lowered;
They laid him down limb-weary,
They stood at the lifeless head,
Gazing at Heaven's Lord,
And he there rests awhile,
Weary after his mickle death-fight.

Such was the paean of Caedmon, mighty among the writers of runes, in the seventh century after the Saviour's death. Now, twelve centuries later, it lived again, and the terrible event was once more enacted, just as the skald had sung, just as it happened nearly two thousand years ago.

What is space, what is time to aught that is rooted in love?

The dirge of the chorus had died away. A strange sound behind the curtain accompanied the last verses--the sound of hammering--could it be? No, it would be too horrible. The audience heard, yet would not hear. A deathlike stillness pervaded the theatre--the blows of the hammer became more and more distinct--the curtain rolled upward--there He lay with His feet toward the spectators, flat upon the cross. And the executioners, with heavy blows, drove nails through His limbs; they pierced the kind hands which had never done harm to any living creature, but wherever they were gently laid, healed all wounds and stilled all griefs; the feet which had borne the divine form so lightly that it seemed to float over the burning sand of the land and the surging waves of the sea, always on a mission of love. Now He lay in suffering on the ground, stretched upon the accursed timbers--half benumbed, like a stricken stag. At the right and left stood the lower crosses of the two criminals. These men merely had their arms thrown over the cross-beams and tied with ropes, only the feet were fastened with nails. Christ alone was nailed by both hands and feet, because the Pharisees were tortured by a foreboding that He could not be wholly killed. Had they dared, they would have torn Him to pieces, and scattered the fragments to the four winds, in order to be sure that He would not rise on the third day, as He had predicted.

The executioners had completed the binding of the thieves. "Now the King of the Jews must be raised."

"Lift the cross! Take hold!" the captain commanded. The spectators held their breath, every heart stood still! The four executioners grasped it with their brawny arms. "Up! Don't let go!"

The cross is ponderous, the men pant, bracing their shoulders against it--their veins swell--another jerk--it sways--"Hold firm! Once more--put forth your strength!" and in a wide sweep it moved upward--all cowered back shuddering at the horrible spectacle.

"It is not, It cannot be!" Yet it is, it can be! Horror thrilled the spectators, their limbs trembled. One grasped another, as if to hold themselves from falling. It was rising, the cross was rising above the world! Higher--nearer! "Brace against it--don't let go!"

It stood erect and was firm.

There hung the divine figure of sorrow, pallid and wan. The nails were driven through the bleeding hands and feet--and the eye which would fain deny was forced to witness it, the heart that would have prevented, was compelled to bear it. But the scene could be endured no longer, the grief restrained with so much difficulty found vent in loud sobs, and the hands trembling with a feverish chill were clasped with the same feeling of adoring love. Unspeakable compassion was poured forth in ceaseless floods of tears, and rose gathering in a cloud of pensive melancholy around the head of the Crucified One to soothe His mortal anguish. By degrees their eyes became accustomed to the scene and gained strength to gaze at it. Divine grace pervaded the slender body, and--as eternal beauty reconciles Heaven and hell and transfigures the most terrible things--horror gradually merged into devout admiration of the perfect human beauty revealed in chaste repose and majesty before their delighted gaze. The countess had clasped her hands over her breast. The world lay beneath her as if she was floating above with Him on the cross. She no longer knew whether he was a man or Christ Himself--she only knew that the universe contained nothing save that form.

Her eyes were fixed upon the superhuman vision, tear after tear trickled down her cheeks. The prince gazed anxiously at her, but she did not notice it--she was entranced. If she could but die now--die at the foot of the cross, let her soul exhale like a cloud of incense, upward to Him.

Darkness was gathering. The murmuring and whispering in the air drew nearer--was it the Valkyries, gathering mournfully around the hero who scorned the aid. Was it the wings of the angel of death? Or was it a flock of the sacred birds which, legend relates, strove to draw out the nails that fastened the Saviour to the cross until their weak bills were crooked and they received the name of "cross-bills."

The sufferer above was calm and silent. Only His lambent eyes spoke, spoke to those invisible powers hovering around Him in the final hour.

Beneath His cross the soldiers were casting lots for His garments--the priests were exulting--the brute cynicism was watching with wolfish greed for the victim to fall into its clutches, while shouting with jeering mocking: If thou be the Son of God, come down from the cross!

He trusted in God; let Him deliver Him now, if He will have Him!--

"Thou that destroyest the temple and buildest it in three days, save thyself. Show thy power, proud King of the Jews!"

The tortured sufferer painfully turned His head.

"Father, forgive them; for they know not what they do.--"

Then one of the malefactors, even in his own death agony, almost mocked Him, but the other rebuked him; "We receive the due reward of our deeds: but this man hath done nothing amiss!" Then he added beseechingly: "Lord, remember me when Thou comest into Thy kingdom."

Christ made the noble answer: "Verily I say unto thee, to-day shalt thou be with me in paradise."

There was a fresh roar of mockery from the Pharisees. "He cannot save himself, yet promises the kingdom of heaven to others."

But the Saviour no longer heard, His senses were failing; He bent His head toward Mary and John. "Woman, behold thy son! Son, behold thy mother!"

The signs of approaching death appeared. He grew restless--struggled for breath, His tongue clung to His palate.

"I thirst."

The sponge dipped in vinegar was handed to him on a long spear.

He sipped but was not refreshed. The agony had reached its climax: "Eloi, Eloi, lama sabachthani?" He cried from the depths of His breaking heart, a wonderful waving motion ran through the noble form in the last throes of death. Then, with a long sigh, He murmured in the tones of an Æolian harp: "It is finished! Father, into Thy hands I commend my spirit!" gently bowed his head and expired.

A crashing reverberation shook the earth. Helios' chariot rolled thundering into the sea. The gods fled, overwhelmed and scattered by the hurrying hosts of heaven. Dust whirled upward from the ground and smoke from the chasms, darkening the air. The graves opened and sent forth their inmates. In the mighty anguish of love, the Father rends the earth as He snatches from it the victim He has too long left to pitiless torture! The false temple was shattered, the veil rent--and amid the flames of Heaven the Father's heart goes forth to meet the maltreated, patient, obedient Son.

"Come, thou poor martyr!" echoed yearningly through the heavens. "Come, thou poor martyr!" repeated every spectator below.

Yet they were still compelled to see the beloved body pierced with a sharp lance till the hot blood gushed forth--and it seemed as if the thrust entered the heart of the entire world! They were still forced to hear the howling of the wolves disputing over the sacred corpse--but at last the tortured soul was permitted to rest.

The governor's hand had protected the lifeless body and delivered it to His followers.

The multitude dispersed, awe-stricken by the terrible portents--the priests, pale with terror, fled to their shattered temple. Golgotha became empty. The jeers and reviling had died away, the tumult in nature had subsided--and the sacred stillness of evening brooded over those who remained. "He has fulfilled His task--He has entered into the rest of the Father." The drops of blood fell noiselessly from the Redeemer's heart upon the sand. Nothing was heard save the low sobbing of the women at the foot of the cross.

Then pitying love approached, and never has a pæan of loyalty been sung like that which the next hour brought. The first blades were now appearing of that love whose seed has spread throughout the world!

Joseph of Arimathea and Nicodemus came with ladders and tools to take down the body.

Ascending, they wound about the lifeless form long bands of white linen, whose ends they flung down from the cross. These were grasped by the friends below as a counterpoise to lower it gently down. Joseph and Nicodemus now began to draw out the nails with pincers; the cracking and splintering of the wood was heard, so firm was the iron.

Mary sat on a stone, waiting resignedly, with clasped hands, for her son. "Noble men, bring me my child's body soon!" she pleaded softly.

The women spread a winding sheet at her feet to receive it.

At last the nails were drawn out and--

"Now from the rood
The mighty God
Men gently lowered."

Cautiously one friend laid the loosened, rigid arms of the dead form upon the other's shoulders, that they might not fall suddenly, Joseph of Arimathea clasped the body: "Sweet, sacred burden, rest upon my shoulders."

He descended the ladder with it. Half carried, half lowered in the bands, the lifeless figure slides to the foot of the instrument of martyrdom.

Nicodemus extended his arms to him: "Come, sacred corpse of my only friend, let me receive you."

They bore Him to Mary--

"They laid Him down limb-weary
They stood at the lifeless head."

that the son might rest once more in the mother's lap.

She clasped in her arms the wounded body of the son born in anguish the second time.

Magdalene knelt beside it. "Let me kiss once more the hand which has so often blessed me." And with chaste fervor the Penitent's lips touched the cold, pierced hand of the corpse.

Another woman flung herself upon Him. "Dearest Master, one more tear upon Thy lifeless body!" And the sobbing whisper of love sounded sweet and soothing like vesper-bells after a furious storm.

But the men stood devoutly silent:

"Gazing at Heaven's Lord,
And He there rests awhile
Weary after his mickle death-fight."

[CHAPTER VIII.]

FREYER

The Play was over. "Christ is risen!" He had burst the sepulchre and hurled the guards in the dust by the sight of His radiant apparition. He had appeared to the Penitent as a simple gardener "early in the morning," as He had promised, and at last had been transfigured and had risen above the world, bearing in His hand the standard of victory.

The flood of human beings poured out of the close theatre into the open air. Not loudly and noisily, as they had come--no, reverently and gravely, as a funeral train disperses after the obsequies of some noble man; noiselessly as the ebbing tide recedes after flood raised by a storm. These were the same people, yet they returned in a far different mood.

The same vehicles in which yesterday the travelers had arrived in so noisy a fashion, now bore them away, but neither shouts nor cracking of whips was heard--the drivers knew that they must behave as if their carriages were filled with wounded men.

And this was true. There was scarcely one who did not suffer as if the spear which had pierced the Saviour's heart had entered his own, who did not feel the wounds of the Crucified One in his own hands and feet! The grief which the people took with them was grand and godlike, and they treasured it carefully, they did not desire to lose any portion of it, for--we love the grief we feel for one beloved--and to-day they had learned to love Christ.

So they went homeward.

The last carriages which drew up before the entrance were those of the countess and her friends. The gentlemen of the diplomatic corps were already standing below, waiting for Countess Wildenau to assign them their seats in the two landaus. But the lady was still leaning against the pillar which supported one end of the box. Pressing her handkerchief to her eyes, she vainly strove to control her tears. Her heart throbbed violently, her breath was short and quick--she could not master her emotion.

The prince stood before her, pale and silent, his eyes, too, were reddened by weeping.

"Try to calm yourself!" he said firmly. "The ladies are still in their box, the duchess seems to expect you to go to her. A woman of the world, like yourself, should not give way so."

"Give way, do you call it?" repeated Madeleine, who did not see that Prince Emil, too, was moved. "We shall never understand each other."

At this moment the ladies left their box and crossed the intervening space. They were the last persons in the theatre. The duchess, without a word, threw her arms around Countess von Wildenau's neck. Her ladies-in-waiting, too, approached with tearful eyes, and when the duchess at last released her friend from her embrace, the baroness whispered: "Forgive me, I have wronged you as well as many others--even yesterday, forgive me." The same entreaty was expressed in Her Excellency's glance and clasp of the hand as she said: "Whoever sees this must repent every unloving word ever uttered; we will never forget that we have witnessed it together."

"I thank you, but I should have borne you no ill will, even had I known what you have now voluntarily confessed to me!" replied the countess, kissing the ladies with dry, burning lips.

"Shall we go?" asked the duchess. "We shall be locked in."

"I will come directly--I beg you--will your Highness kindly go first? I should like to rest a moment!" stammered the countess in great confusion.

"You are terribly unstrung--that is natural--so are we all. I will wait for you below and take you in my carriage, if you wish. We can weep our fill together."

"Your Highness is--very kind," replied the countess, scarcely knowing what she answered.

When the party had gone down stairs, she passionately seized Prince Emil's arm: "For Heaven's sake, help me to escape going with them. I will not, cannot leave. I beseech you by all that is sacred, let me stay here."

"So it is settled! The result is what I feared," said the prince with a heavy sigh. "I can only beg you for your own sake to consider the ladies. You have invited them to dine day after to-morrow--"

"I know it--apologize for me--say whatever you please--you will know--you can manage it--if you have ever loved me--help me! Drive with the ladies--entertain them, that they may not miss me!"

"And the magnificent ovation which the gentlemen have arranged at your home?"

"What do I care for it?"

"A fairy temple awaits you at the Palace Wildenau, and you will stay here? What a pity to lose the beautiful flowers, which must now wither in vain."

"I cannot help it. For Heaven's sake, act quickly--some one is coming!" She was trembling in every limb with fear--but it was no member of the party sent to summon her. A short man with clear cut features stood beside her, shrewd loyal eyes met her glance. "I saw that you were still here, Countess, can I serve you in any way?"

"Thank Heaven, it is Ludwig Gross!" cried the excited woman joyously, taking his arm. "Can you get me to your father's house without being seen?"

"Certainly, I can guide you across the stage, if you wish!"

"Quick, then! Farewell, Prince--be generous and forgive me!"

She vanished.

The prince was too thoroughly a man of the world to betray his feelings even for an instant. The short distance down the staircase afforded him ample time to decide upon his course. The misfortune had happened, and could no longer be averted--but it concerned himself alone. Her name and position must be guarded.

"Have you come without the countess?" called the duchess.

"I must apologize for her, Your Highness. The performance has so completely unstrung her nerves that she is unable to travel to-day. I have just placed her in her landlord's charge promising not only to make her apologies to the ladies, but also endeavor to supply her place."

"Oh, poor Countess Wildenau!" said the duchess, kindly. "Shall we not go to her assistance?"

"Permit me to remind your Highness that we have not a moment to lose, if we wish to catch the train!"

On the Cross: A Romance of the Passion Play at Oberammergau

ON THE CROSS

ARomance of the Passion Play atOberammergau

BY

Wilhelmine von Hillern

AND

Mary J. Safford

DREXEL BIDDLE, PUBLISHER

PHILADELPHIA

Copyright, 1902

BY

ANTHONY J. DREXEL BIDDLE.

PRESS OF DREXEL BIDDLE, PHILADELPHIA, U. S. A.

TO

HERR JOHANNES DIEMER,

CONTENTS.

CHAPTER I.

CHAPTER II.

CHAPTER III.

CHAPTER IV.

CHAPTER V.

CHAPTER VI.

CHAPTER VII.

CHAPTER VIII.

CHAPTER IX.

CHAPTER X.

CHAPTER XI.

CHAPTER XII.

CHAPTER XIII.

CHAPTER XIV.

CHAPTER XV.

CHAPTER XVI.

CHAPTER XVII.

CHAPTER XVIII.

CHAPTER XIX.

CHAPTER XX.

CHAPTER XXI.

CHAPTER XXII.

CHAPTER XXIII.

CHAPTER XXIV.

CHAPTER XXV.

CHAPTER XXVI.

CHAPTER XXVII.

CHAPTER XXVIII.

CHAPTER XXIX.

CHAPTER XXX.

CHAPTER XXXI.

CHAPTER XXXII.

CHAPTER XXXIII.

CHAPTER XXXIV.

CHAPTER XXXV.

CHAPTER XXXVI.

CHAPTER XXXVII.

CHAPTER XXXVIII.

CHAPTER XXXIX.

CHAPTER XL.

CONCLUSION.