Part 15 (2/2)

Melitta did not know what to answer. She felt too deeply that the gypsy woman could not act differently, and that she, in her place, would have done the same. And yet could she let the two go out again into the wide world? To see Oldenburg's little daughter, whom he yearned after, whom he was searching for everywhere, disappear once more, after an accident such as might never happen again in all her life, had brought her right in her path--she could not bear the thought, and like a child that feels how helpless and friendless it is, she broke into tears.

The gypsy woman seemed to be touched. She took Melitta's hand and kissed it.

”You are very kind, I know,” she said; ”I know it well. I would rather give you the Czika than anybody else.”

She reflected deeply. Suddenly she took Melitta's hand once more and led her aside.

”Do you know,” she asked, ”who Czika's father is?”

”Yes.”

”And are you doing what you do for the father's sake, or for your own?”

Melitta's cheeks reddened.

”For the sake of both,” she replied, after some hesitation.

”Where are you going to now?”

”Home--to Berkow.”

”And are you going to stay there?”

”Yes; at least during the winter.”

”Then listen to me. I swear to you by the Great Spirit, I will bring you the Czika as soon as I feel that I am to be gathered to my fathers.

That may be very soon. More I cannot promise; more I dare not say.”

Melitta felt that she must be satisfied with this promise. She knew the character of the Brown Countess too well not to be aware that if she had once formed a resolution, all persuasion was in vain. She re-entered her carriage, therefore, sadly, after having embraced Xen.o.bia and the child once more, and soon was out of sight.

The rattling of the wheels and the trot of the horses were no longer heard. The gypsies were still sitting by the wayside.

Another carriage came up in the direction of Fichtenau. One could hear from afar off the cries of the driver, and the clanking of chains which formed part of the harness.

A few minutes later the wagon appeared out of the mist. It was a huge box--a whole house on four wheels, stuffed up to the roof and high above the roof with chests and boxes, kettle drums and trombones, stage scenery, poles and ladders, and all kinds of kitchen utensils and stage property. The four horses who drew this Noah's Ark had hard work of it.

Before the wagon a number of men were walking on foot--Cotterby, the Egyptian; the artist of the gigantic cask, Mr. Stolsenberg; and the clown, Pierrot. All these gentlemen wore gay-colored shawls around the neck, and had short pipes in their mouths. From the open windows of the ark the crying of children was heard, and the scolding voice of Mamselle Adele. Behind the wagon followed, apparently in eager conversation, the director, Mr. Schmenckel (also with a bright shawl around the neck and a pipe in his mouth), and a man in a blue blouse, with a heavy stick in his hand, and an old slouched hat on his head.

Director Schmenckel had made his acquaintance a few nights before under very peculiar circ.u.mstances, in the drinking-hall of the Green Hat; he had met him since very frequently at the same tavern, and found him quite unexpectedly that morning, ready to join the rope-dancers, just as they were leaving the village.

When the wagon reached the cross-roads the driver stopped to let the horses breathe.

The gypsy woman with her child stepped up and was vociferously greeted by the rope-dancers.

Mr. Schmenckel shook hands with her, and patted the Czika paternally on her brown cheeks.

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