On the Heights. Auerbach Berthold
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to wait, he went off to purchase the rifle.
Meanwhile, Walpurga was sitting by the window and imagining how the folks at home would be talking of her great power, and how, at the Chamois, they would have so much to say about her, and that the innkeeper's wife, who had always looked down upon her, would almost burst with envy.
Walpurga laughed and was pleased to think that the envious and proud would be angry at her good fortune. This, indeed, seemed her greatest delight, and at all events, was the thought on which she dwelt longest. Another reason may have been that the joy of the virtuous is more quickly exhausted than the angry and evil speeches of the wicked, which keep fermenting and sending bubbles to the surface long after they have been uttered. Walpurga remained sitting by the window, her lips silently moving, as if she were repeating to herself the words of those who envied and were angry at her, until, at last, Countess Irma addressed her:
"I can see how happy you are. Yes, Walpurga, if we could only do good to some fellow-creature every moment, we would be the happiest beings under the sun. Don't you see, Walpurga, the real divine grace of a prince lies in his being able to do good at any moment?"
"I understand that quite well," answered Walpurga. "A king is like the sun which shines down on all, and refreshes the trees near by, as well as the flowers in the distant, hidden valley; it does good to men and beast and everything. Such a king is a messenger from God; but he must be careful to remain one, for being lord over all pride and lust may overpower him. He's just given life to Thomas, and all the prison doors open as they do in the fable when they say: 'Open sesame,' Oh, you good king! don't let them spoil you, and always have such kindhearted people about you as my Countess Irma."
"Thanks," said Irma. "I now know you perfectly. Believe me, all the books in the world contain nothing better and nothing more than does your heart; and, although you cannot write, it has been so much the more plainly written there.--But let us be quiet and sensible. Come, you must take your writing lesson."
They sat down together, and Irma taught Walpurga how to use the pen. Walpurga said that she did not care to write single letters, and that she would prefer having a word to copy.
Irma wrote the word "pardon" for her. Walpurga filled a whole sheet with that word, and when Irma left the room, she took the writing with her, saying:
"I shall preserve this as a memento of this hour."
CHAPTER III.
"What can be the matter with the queen?--"
--"Her majesty," added Mademoiselle Kramer.
--"What can it be?" said Walpurga; "for some days, the prince--"
"His royal highness," said Mademoiselle Kramer.
--"Has hardly been noticed by her. Before that, whenever she saw the child and held it to her heart, she always seemed lifted up to the skies, and once said to me: 'Walpurga, didn't it make you feel as if you'd become a girl again, free and independent of everything? To me, the world is nothing but myself and my child'--and now she hardly looks at it, just as if her having had a child were a dream. There must be great trouble in a mother's heart--"
"Royal mother," said Mademoiselle Kramer.
--"When she doesn't care to look at her child."
The queen's heart was, in truth, torn by a mighty struggle.
Her feelings had, for months past, been of a most distressing and excited nature. There was one point on which she dared not even think aloud, and which she would have thought profaned by speaking of it to others. It was her wish to determine for herself, and she had done so. Ever since she had become a mother, she had felt as if separated from the rest of the world. When she thought of her child and, above all, when she clasped it to her heart, she felt as if nothing more remained to be done. She and the child were her world; all else was as nothing. And yet she loved the king with all her heart, and ardently desired that their union should be so complete that they be one in feeling, in belief, and in affection.
The thought that they ought to be united in all things, constantly grew upon her. Father, mother and child should be as one, praying to the same God, with the same thoughts, and in the same words.
The isolation of the sick chamber only helped to strengthen these thoughts, and, now that she was about to return to the world, she longed to make the bond that united her to the king, perfect in the highest sense.
She was allowed to do but little talking, and, therefore, did not indulge in conversation. After a few days had passed, she had a Madonna, by Filippo Lippi the younger, brought to her dimly lighted chamber. She gazed at the picture for hours, and it seemed to be looking at her in return--the two mothers were one in bliss.
The canon visited her and found her in this devotional frame of mind. With trembling lips, she confided to him her desire to belong to the church of her husband and child. He lent a ready assent to the request that she might be spared all dogmatic teachings. When the canon had left, she became oppressed with a sense of fear. There goes a man, thought she, who bears my secret with him. He had promised to keep it to himself and thus prove himself worthy her confidence. But the secret had, nevertheless, ceased to be entirely her own.
She soon quieted her fears, and a glow of delight overspread her features at the thought that, although she was now a mother, there was yet another sublime and exalted function which would perfect her union with her husband and furnish one more proof of her great love for him.
In the fullness of life, the thought of death occurred to her, and she ordered another painting to be placed on the easel before her. It was the Maria Ægyptica, by Ribera.
The queen often felt as if she must seek the glance of the penitent. But those eyes, instead of beholding aught, seem as if listening: not in alarm, for an angel is calling to her--but submissive and trustful, for she is used to the sound of heavenly voices. Instead of representing the penitent daughter of the king as crushed and bruised from having mortified the flesh, the artist has made her features expressive of restored, childlike innocence and youthful beauty--a nude figure, divested of all raiment, wrapped in the long, fair tresses that descend to her knees. She is kneeling beside the open grave that is to receive her. Her blue eyes gaze into eternity; her lips are closed, as if in pain, and above her hovers an angel who spreads the mantle of mercy over her and exclaims: "Thou art forgiven!" Forgiven and redeemed, she sinks into the grave.
The ascetic tone of the picture fully accorded with the queen's mood, and the canon often found her lost in ecstatic admiration of it.
Although Doctor Gunther disapproved of this mute companionship, his wishes and his orders were alike unavailing. It was the first time that this man, who was so highly esteemed by the queen, had encountered obstinacy and unyielding defiance at her hands. When Irma saw the picture, she carelessly remarked that the position of the eyes was faulty, but that the artist had skillfully availed himself of this fault in order to produce a peculiar expression. The queen pressed her hand to her heart--she was alone in her feelings and wished to remain so.
Walpurga was successful where both Gunther and Irma had failed.
"Is that a forest-sprite?" asked she,
"What's that?"
"Out our way, they tell of the forest-sprites. They haunt the mountains on ghost-nights, and can wrap themselves in their long hair."
The queen related the legend of Maria Ægyptica to Walpurga. She was a princess who had led a dissolute life. Suddenly, she left the palace and, renouncing all pleasures, went out into the desert, where she supported herself on roots and lived many years, until all her clothes fell from her body: and, when her dying hour arrived, an angel descended from above and spread the mantle of mercy over her--
"That's all very good and pretty," said Walpurga, "but, no offense to you, my queen, it seems a sin to have such a terrible