The Son of Clemenceau. Александр Дюма-сын

his daughter rebuked him in their language with an indignant tone, which brought him to his senses in an instant. She seized him by the arm, and hurried him away at last.

      After a brief survey of the defeated man, wavering between the fear that he had killed him and the prompting to see to his hurts, if the case were not fatal, the student took to flight in the direction the beautiful girl had chosen. He well knew that this was a grave matter, and that he trod on burning ground. At twenty paces farther, he remembered his cloak, but on the bridge were now clustered several shadows vying with Baboushka in picking up the coin before raising the unfortunate Von Sendlingen.

      Not a light had appeared at the windows of the houses, not a window had opened for a night-capped head to be thurst forth, not a voice had echoed the Jewess's call for the watch. It was not to be doubted that Footbridge street had allowed more murderous outrages to occur without anyone running the risk of catching a cold or a slash of a sabre.

      "A cut-throat quarter, that is it," remarked the student, still too excited to feel the cold and want of his outer garment. "After all, one cannot travel from Berlin to Paris without getting some soot on the cheek and a cinder or two in the eye. In the same way it is not possible to see life and go through this world without being smeared with a little blood or smut."

      While talking to himself, he smoothed his dress and curled his dark and fine moustache, projecting horizontally and not drooping. He had walked so fast that he had overtaken the Jews, delayed as the girl was by her father's lameness, and having to carry the violin in its case which she had recovered and preciously guarded.

      "What an audacious bully that was," the student continued; "but even a good cat loses a mouse now and then."

      The pair seemed to expect him to join them, but as he was about to do so, at the mouth of a narrow and unlighted alley, he heard the measured tramp of feet indicating the patrol.

      Already the character of the streets and houses changed: there were vistas of those large buildings which give one the impression that Munich is planned on too generous a scale for its population. Only here and there was a roof or front suggestive of the Middle Ages, and they may have been in imitation; the others were stately and were classical, and the avenues became spacious.

      All at once, while the student was watching the semi-military constables approach, he heard an uproar toward the bridge. The major had been discovered by quite another sort of folk than the allies of Baboushka, and the alarm was given.

      To advance was to invite an arrest which would result in no pleasant investigation.

      He had tarried too long as it was. The watchman's horn—tute-horn—sounded at the bridge and the squad responded through their commander; whistles also shrilled, being police signals. The student was perceived. It was a critical moment. The next moment he would be challenged, and at the next, have a carbine or sabre levelled at his breast. He retired up the alley, precipitately, wondering where the persons whom he befriended had disappeared so quickly.

      A very faint light gleamed from deeply within, at the end of a crooked passage through a lantern-like projection at a corner. A number of iron hooks bristled over his head as if for carcasses at a butchers, although their innocent use was to hang beds on them to air. On a tarnished plate he deciphered "ARTISTES' ENTRANCE," and while perplexed, even as the gendarmes appeared at the mouth of this blind-alley, a long and taper hand was laid on his arm and a voice, very, very sweet, though in a mere murmur, said irresistibly:

      "Come! come in, or you will be lost!" He yielded, and was drawn into a corridor under the oriel window, where the air was pungent with the reek of beer, tobacco-smoke, orange-peel, cheese and caraway seeds.

      CHAPTER III.

       "THE JINGLE-JANGLE."

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      The person to whom the shapely hand and musical voice belonged, conducted the student along the narrow passage to a turning where she halted, under a lamp with a reflector which threw them in that position into the shade. The passage was divided by the first lobby, and on the lamp was painted, back to back: "Men," "Ladies;" besides, a babble of feminine voices on the latter side betrayed, as the intruder suspected from the previous placard, that he had entered a place of entertainment by the stage-door, a Tingel-Tangel, or Jingle-Jangle, as we should say.

      It was the Jewess who was the Ariadne to this maze. Seen in the light, at close range, with the enchanting smile which a woman always finds for the man who has won her gratitude by supplementing her deficiency in strength and courage with his own, she was worthier love than ever. At this view, too, he was sure that, unlike too many of the divas of these spielungs, or dens, she was not one of the stray creatures who sell pleasure to some and give it to others, and for themselves keep only shame—fatal ignominy, wealth at best very unsubstantial, and if, at last, winners, they laugh—one would rather see them weeping.

      "What's your name?" she inquired, quickly. "I am Rebecca Daniels, whom they call on the Bills 'La Belle Stamboulane'—though I have never been farther east than Prague," she added with a contemptuous smile. "That was my father, whose maltreatment you so promptly but I fear so severely chastised. But your name?" impatiently.

      "I am a student of Wilna University, traveling according to custom of the college, through Germany and to make the Italian Art Tour. I am Claudius Ruprecht."

      "Not noble?" she inquired, sadly, on hearing two Christian names and none of family, for her people treasure the pride of ancestry.

      "I am an orphan. I never knew my family. Perhaps, as I am of age, I shall soon be informed. But—"

      "Enough! time is getting on, and we cannot long stay in privacy here—the passage-way for the performers. This is Freyers' Hall, where I sing—where I was a player. But my father can speak to you in the public room and see to your safety—for I fear this night's affair will end ill. But do not you fear! neither my father nor I have the powerlessness which that noble ruffian seemed to think is ours. You, at least, shall be saved—even though you killed that brute."

      "I do not think that, unless his head is not so hard as his heart."

      She opened a narrow door in the dirty wall. It was brighter in the capacious place thus shown.

      "Go in and sit down anywhere. My father will be with you in a few minutes. We were so delayed that they feared we would not arrive for 'our turn.' They were glad of the excuse—I fancy they were told it might occur—and they are trying to break our agreement. But never mind! that is but a bread-and-butter business for us. For you, it will be life and death, if that officer be slain."

      Claudius, the student, mechanically obeyed the gentle impulsion her hand imparted to him on the shoulder, and walked through the side-door. A number of benches were before him with corresponding narrow tables, and he sat down at one, and looked round.

      He found himself in a very long, rectangular hall, low in the ceiling in proportion to the length, once brightly decorated, but faded, smoked and tarnished. On the walls, in panels, between tinted pilasters of a pseudo-Grecian design, were views of the principal towns of Germany and Austria, the details obliterated in the upper part by smoke and in the lower by greasy heads and hands. Around the sides, a dais held benches and tables similar to those on the floor. At the far end was a bar for beer and other liquors less popular, and an entrance from a main street, screened and indirect, down steps at another level than the rear or stage door. Where Claudius sat was a small stage with footlights and curtain complete, and an orchestra for a miniature piano such as are used in yachts, and six musicians; the performers sat to face the audience respectfully in the good Old German style.

      The lighting was by means of clusters of gas-jets at intervals in the long ceiling and along the walls. The announcement of the items of attraction appearing on the stage was made by changeable sliding cards in framework at the sides of the stage; to the left the name of the scena was exhibited, that of the artist on the other.

      When Claudius took his seat, the other