The Indian Lily and Other Stories Part 34

"My name is Thea," she giggles.

"But _who_ are you?" I ask again.

"Who? Nonsense. Come, pull me! But no; you can't fly. I'll pull you.

That will go quicker."

And she arises. Heavens! What a form! Magnificently the hips curve over the fallen girdle; in how n.o.ble a line are throat and bosom married. No sculptor can achieve the like.

With her slender fingers she grasps the blue, embroidered riband that is attached to the neck of the harp. She grasps it with the gesture of one who is about to pull a sleigh.

"Come," she cries again. I dare not understand her. Awkwardly I crouch on the strings.

"I might break them," I venture.

"You little shaver," she laughs. "Do you know how light you are? And now, hold fast!"

I have scarcely time to grasp the golden frame with both hands. I hear a mighty rustling in front of me. The mighty wings unfold. My sleigh floats and billows in the air. Forward and upward goes the roaring flight.

Far, far beneath me lies the paternal hut. Scarcely does its light penetrate to my height. Gusts of snow whirl about my forehead. Next moment the light is wholly lost. Dawn breaks through the night. A warm wind meets us and blows upon the strings so that they tremble gently and lament like a sleeping child whose soul is troubled by a dream of loneliness.

"Look down!" cried my faery, turning her laughing little head toward me.

Bathed in the glow of spring I see an endless carpet of woods and hills, fields and lakes spread out below me. The landscape gleams with a greenish silveriness. My glance can scarcely endure the richness of the miracle.

"But it has become spring," I say trembling.

"Would you like to go down?" she asks.

"Yes, yes."

At once we glide downward. "Guess what that is!" she says.

An old, half-ruined castle rears its granite walls before me.... A thousand year old ivy wreathes about its gables.... Black and white swallows dart about the roofs.... All about arises a thicket of hawthorn in full bloom.... Wild roses emerge from the darkness, innocently agleam like children's eyes. A sleepy tree bends its boughs above them.

There is life at the edge of the ancient terrace where broad-leaved clover grows in the broken urns. A girlish form, slender and lithe, swinging a great, old-fashioned straw hat, having a shawl wound crosswise over throat and waist, has stepped forth from the decaying old gate. She carries a little white bundle under her arm, and looks tentatively to the right and to the left as one who is about to go on a journey.

"Look at her," says my friend.

The scales fall from my eyes.

"That is Lisbeth," I cried out in delight, "who is going to the mayor's farm."

Scarcely have I mentioned that farm but a fragrance of roasting meat rises up to me. Clouds of smoke roll toward me, dim flames quiver up from it. There is a sound of roasting and frying and the seething fat spurts high. No wonder; there's going to be a wedding. "Would you like to see the executioner's sword?" my friend asks.

A mysterious shudder runs down my limbs.

"I'd like to well enough," I say fearfully.

A rustle, a soft metallic rattle--and we are in a small, bare chamber.... Now it is night again and the moonlight dances on the rough board walls.

"Look there," whispers my friend and points to a plump old chest.

Her laughing face has grown severe and solemn. Her body seems to have grown. n.o.ble and lordly as a judge she stands before me.

I stretch my neck; I peer at the chest.

There it lies, gleaming and silent, the old sword. A beam of moonlight glides along the old blade, drawing a long, straight line. But what do those dark spots mean which have eaten hollows into the metal?

"That is blood," says my friend and crosses her arms upon her breast.

I shiver but my eyes seem to have grown fast to the terrible image.

"Come," says Thea.

"I can't."

"Do you want it?"

"What? The sword?"

She nods. "But may you give it away? Does it belong to you?"

"I may do anything. Everything belongs to me."

A horror grips me with its iron fist. "Give it to me!" I cry shuddering.

The iron lightening gleams up and it lies cold and moist in my arms.

It seems to me as though the blood upon it began to flow afresh.

My arms feel dead, the sword falls from them and sinks upon the strings. These begin to moan and sing. Their sounds are almost like cries of pain.

"Take care," cries my friend. "The sword may rend the strings; it is heavier than you."

We fly out into the moonlit night. But our flight is slower than before. My friend breathes hard and the harp swings to and fro like a paper kite in danger of fluttering to earth.

But I pay no attention to all that. Something very amusing captures my senses.

Something has become alive in the moon which floats, a golden disc, amid the clouds. Something black and cleft twitches to and fro on her nether side. I look more sharply and discover a pair of old riding-boots in which stick two long, lean legs. The leather on the inner side of the boots is old and worn and glimmers with a dull discoloured light. "Since when does the moon march on legs through the world?" I ask myself and begin to laugh. And suddenly I see something black on the upper side of the moon--something that wags funnily up and down. I strain my eyes and recognise my old friend Muenchausen's phantastic beard and moustache. He has grasped the edges of the moon's disc with his long lean fingers and laughs, laughs.

"I want to go there," I call to my friend.

She turns around. Her childlike face has now become grave and madonna like. She seems to have aged by years. Her words echo in my ear like the sounds of broken chimes.

"He who carries the sword cannot mount to the moon."

My boyish stubbornness revolts. "But I want to get to my friend Muenchausen."

"He who carries the sword has no friend."