The Erckmann-Chatrian MEGAPACK ®. Emile Erckmann

to the reading; the old clock stood in the corner ticking seconds; farther on in the shadow were girls’ faces and young men, talking seriously to them about Jacob and Rachel by way of love-making.

      And this good family seemed penetrated with the truth of the sacred story; the old man in broken accents was reading aloud the edifying history of the settlement of the children of Israel in the Land of Canaan—

      “This is the Land of Promise—the land promised to Abraham and Isaac and Jacob your fathers—that you may be multiplied in it as the stars of heaven for multitude, and as the sand which is upon the seashore. And none shall disturb you, for ye are the chosen people.”

      The moon, which had veiled her light for a few minutes, reappeared, and hearing no more sounds of voices, I looked round, and her clear cold rays fell in the great empty hall. Not a figure, not a shade, was left. The moonlight poured its silver flood upon the floor, and in the distance the forms of a few trees stood out against the dark purple sky.

      But now suddenly the high walls appeared lined with books, the old spinet gave way to the secrétaire of some man of learning, whose full-bottomed wig was peering above the back of a red-leather arm-chair. I could hear the quill coursing over the paper. The learned man, buried in thought, never moved; the silence was oppressive.

      But fancy my astonishment when, slowly turning, the great scholar faced me, and I recognised the portrait of the famous lawyer Gregorius, marked No. 253 in the portrait-gallery at Darmstadt.

      How on earth had this personage walked out of his grave?

      I was asking myself this question when, in a hollow sepulchral voice, he pronounced these words:—

      “Dominorum, ex jurè Quintio, est jus utendi et abutendi quatenus naturalis ratio patitur.”

      As this sapient precept dropped oracularly from his lips, a word at a time, his figure faded and turned pale. With the last word he had passed out of existence.

      What more shall I tell you, my dear friends? For hours, twenty generations came defiling past me in Hans Burckhardt’s ancient mansion—Christians and Jews, nobles and commoners, fools and wise men of high art, and men of mere prose. Every one proclaimed his indefeasible right to the property; every one firmly believed himself sole lord and master of all he surveyed. Alas! Death breathed upon one after another, and they were all carried out, each as his turn came!

      I was beginning to be familiar with this strange phantasmagoria. Each time that any of these honest folks turned round and declared to me, “This is mine!” I laughed and said, “Wait a bit, my fine fellow!—you will melt away just like the rest!”

      At last I began to feel tired of it, when far away—very far—the cock crowed, announcing the dawn of day. His piercing call began to rouse the sleeper. The leaves rustled with the morning air; a slight shiver shook my frame; I felt my limbs gradually regaining their freedom, and, resting upon my elbow, I gazed with rapture upon the silent wide-spread land. But what I saw presently did not tend to exalt my spirits.

      Along the little winding path to the cemetery were moving, in solemn procession, all the ghosts that had visited me in the night. Step by step they approached the decaying moss-grown door of the sacred inclosure; that silent, mournful march of spectres under the dim grey light of early morning was a gaunt and fearful sight.

      And as I lay, more dead than alive, with gaping mouth and my face wet with cold perspiration, the head of the dismal line melted and disappeared among the weeping willows.

      There were not many spectres, left, and I was beginning to feel a little more composed, when the very last, my uncle Christian himself, turned round to me under the mossy gate and beckoned me to follow! A distant faint ironical voice said—

      “Caspar! Caspar! come! Six feet of this ground belong to you!”

      Then he too disappeared.

      A streak of crimson and purple stretched across the eastern sky announced the coming day.

      I need not tell you that I did not accept my uncle Christian’s invitation, though I am quite aware that a similar call will one day arrive from One who must be obeyed. The remembrance of my brief abode at Burckhardt’s fort has wonderfully brought down the great opinion I had once formed of my own importance, for the vision of that night taught me that though orchards and meadows may not pass away their owners do, and this fact compels to serious reflection upon the nature of our duties and responsibilities.

      I therefore wisely resolved not to risk the loss of manly energy and of the best prizes of life by tarrying at that Capua, but to betake myself, without further loss of time, to the pursuit of music as a science, and I hope to produce next year, at the Royal Theatre of Berlin, an opera which, I hope, will disarm all criticism at once.

      I have come to the final conclusion that glory and renown, which speculative people speak of as if they were mere smoke, is, after all, the most enduring good. Life and a noble reputation do not depart together; on the contrary, death confirms well-deserved glory and adds to it a brighter lustre.

      Suppose, for instance, that Homer returned to life, no one would dispute with him his claim to be the author of the Iliad, and each would vie with the rest to do honour to the father of epic poetry. But if peradventure some rich landowner of that day came back to assert a claim to the fields, the woods, the pastures of which he used to be so proud, ten to one he would be received like a thief and perhaps die a miserable death.

3 A hectare is 2.5 acres.

      THE BEAR-BAITING

      “If any one thing distresses my dear aunt,” said Caspar, “more than my fondness for Sébaldus Dick’s tavern, it is that there is an artist in the family!

      “Dame Catherine would have been glad to see me an advocate, a priest, or a councillor. If I had become a councillor, like Monsieur Andreas Van Berghem; if I had snuffled out long and weary sentences, caressing my lace bands with dainty finger-tips, with what esteem and veneration would not that worthy woman have regarded monsieur her nephew! She would have greeted Monsieur le Conseiller Caspar with profound respect; she would have set before me her best preserves, she would have poured out for me, in the midst of her circle of gossips, just a drop of Muscadel of the year XI. with—

      “Pray take this, monsieur le conseiller; I have but two bottles left!”

      Anything that monsieur my nephew Caspar, conseiller at the court of justice, could do would certainly have been perfectly right and suitable, and quite perfect in its way.

      Alas for the vanity of human wishes! the poor woman’s ambition was never to be gratified. Her nephew is plain Caspar—Caspar Diderich; he has no title, no wand of office, no big wig—he is just an artist! and Dame Catherine has running in her head the old proverb, “Beggarly as an artist,” which distresses her more than she can tell.

      At first I used to try to make her understand that a true artist is worthy of great respect, that his works sometimes endure for ages, and are admired by many successive generations, and that, in point of fact, a good artist is quite as good as a councillor. Unhappily, I failed to convince her; she merely shrugged her shoulders, clasped her hands in despair, and vouchsafed no answer.

      I would have done anything to convert my aunt Catherine to my views—anything; but I would rather die than sacrifice art and an artist’s life, music, painting, and Sébaldus’s tavern!

      Sébaldus’s tavern is delightful. It is the corner house between the narrow Rue des Hallebardes and the little square De la Cigogne. As soon as you are through the archway you find within a spacious square court, with old carved wooden galleries all round it, and a wooden staircase to reach it; everywhere are scattered in disorder small windows of last century with leaden sashes, skylights, and air-holes; old wooden posts are nearly yielding under the weight of a roof that threatens to sink in. The barn, the rows of casks piled up in a corner, the cellar door at the left, a pigeon-cote forming the point of the gable end; then, again, beneath the galleries, other darkened windows in the same style, where you