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New images surrounded Goldmund in this city; a new life began for him. Landscape and city had received him happily, entigly, generously, and so did this new life, with joy and many promises. Although sorrow and awareness remained essentially untouched in his soul, life, on the surface, played for him in rainbow colors. The gayest and lightest period in Goldmunds life had begun. Outwardly, the rich bishops city offered itself in all its arts; there were women, and hundreds of pleasant games and images. On the inside, his awakening craftsmanship offered new sensations and experiences. With the masters help he found lodgings in the house of a gilder at the fish market, and at the masters as well as at the gilders he learned how to handle wood, plaster, colors, varnish, and gold leaf.Goldmund was not one of those forsaken artists who, though highly gifted, never find the right means of expression. Quite a number of people are able to feel the beauty of the world profoundly and vastly, and to carry high, noble images in their souls, but they are uo exteriorize these images, to create them for the enjoyment of others, to unicate them. Goldmund did not suffer from this lack. The use of his hands came easily to him; he enjoyed learning the tricks and practices of the craft, and he easily learo play the lute with panions in the evening after work and to dan Sundays in the village. He lear easily; it came by itself. He worked hard at wood carving, met with difficulties and disappois, spoiled a few pieces of good wood, and severely cut his fingers several times. But he quickly surmouhe beginnings and acquired skill. Still, the master was often dissatisfied with him and would say: "Fortunately we know that youre not my apprentiy assistant, Goldmund. Fortunately we know that youve wandered in from the woods and that youll go back there some day. Anybody who didnt know that youre a homeless drifter and not a burgher or artisan might easily succumb to the temptation to ask this or that of you, the things every master demands of his men. You dont work badly at all when youre in the mood. But last week you loafed for two days. Yesterday you slept half the day in the courtyard workshop, instead of polishing the two angels you were supposed to polish."
The master was right, and Goldmund listened in silence, without justifying himself. He knew he was not a reliable, hard-w man. As long as a task fasated him, posed problems, or made him happily aware of his skill, hed work zealously. He did not like heavy manual work, or chores that were not difficult but demaime and appliany of the faithful, patient parts of craftsmanship were often pletely unbearable to him. It sometimes made him wonder. Had those few years of wandering been enough to make him lazy and unreliable? Was his mothers iance growing in him and gaining the upper hand? Or was something else missing? He thought of his first years in the cloister, when he had been such a good and zealous student. Why had he managed so much patiehen? Why did he lack it now; why had he been able to learn Latin syntax and all those Greek aorists iigably, although, at the bottom of his heart, they were quite unimportant to him? Occasionally hed muse about that. Love had steeled his will; love had given him wings. His life had been a stant courtship of Narcissus, whose love one could woo only by esteem and reition. In those days he was able to slave for hours and days in exge for an appreciative glance from the beloved teacher. Finally the desired goal had been reached: Narcissus had bee his friend and, strangely enough, it had been that learned Narcissus who had shown him his lack of aptitude for learning, who had jured up his lost mothers image. Instead of learning, monkhood, and virtue, powerful drives and instincts had bee his masters: sex, women, desire for independence, wandering. Then he saw the masters madonna and discovered the artist within himself. He had taken a new road, had settled down again. Where did he stand now? Where was his road leading him? Where did the obstacles stem from?
At first he was uo defi. He knew only this: that he greatly admired Master Niklaus, but in no way loved him as he had Narcissus, and that he took occasional delight in disappointing and annoying him. This, it seemed, was lio the trasts in the masters nature. The figures by Niklauss hand, at least the best among them, were revered examples foldmund, but the master himself was not an example.
Beside the artist who had carved the madonna with the saddest, most beautiful mouth, beside the knowing seer whose hands knew magically how to transform deep experiend intuition into tangible forms, there was another Master Niklaus: a somewhat stern and fearful father and guildsman, a ho led a quiet, slightly c life with his daughter and an ugly servant in his quiet house, who violently resisted Goldmunds stro impulses, who had settled into a calm, moderate, orderly, respectable life.
Although Goldmund veed his master, although he would never have permit>９９ｌiｂ?</a>ted himself to question others about him or to judge him in front of others, he knew after a year to the smallest detail all that was to be known about Niklaus. This master meant mu. He loved him as much as he hated him; he could not stay away from him. Gradually, with love and with suspi, with always vigilant curiosity, the pupil peed the hidden ers of the masters nature and of his life. He saw that Niklaus allowed her apprentior assistant to live in his house, although there would have been room enough. He saw that he rarely went out and equally rarely invited guests to his house. He observed that he loved his beautiful daughter with toug jealousy, and that he tried to hide her from everyone. He also khat behind the strict, premature abstinence of the widowers life, instincts were still at play, that the master could straransform and rejuvenate himself when an order occasionally called him to travel for a few days. And once, in a stratle towhey were setting up a carved pulpit, he had also observed that Niklaus had destinely visited a whore one evening and that he bad beeless and ill-humored for days afterwards.
As time went on, something other than this curiosity tied Goldmund to the masters house and preoccupied his mind. The masters beautiful daughter Lisbeth attracted him greatly. He rarely got to see her; she never came into the workshop and he could not determine whether her brittleness and reserve with men was imposed by her father or art of her own nature. He could not overlook the fact that the master never again invited him for a meal, that he tried to make aing with her difficult. Lisbeth was a most precious, sheltered young girl; he could not hope to have a love affair with her, or a marriage. Besides, anyone who wao marry her would have to e from a good family, be a member of one of the higher guilds and probably have money and a house besides.
Lisbeths beauty, so different from that of the gypsies and peasant women, had attracted Goldmunds eyes that first day. There was something about her that he could not decipher, something strahat violently attracted him but also made him suspicious, irritated him even. Her great calm and innoce, her well-mannered purity were not childlike. Behind all her courtesy and ease lay a hidden ess, a dession, and for that reason her innoce did not move him, or make him defenseless (he could never have seduced a child), but annoyed and provoked him. As soon as her figure became slightly familiar to him as an inner image, he felt the urge to create a statue of her, not the way she was now, but an awakened, sensuous, suffering face, a Magdalene, not a young virgien dreamed of seeing her calm, beautiful, immobile face distorted iasy or pain, of seeing it unfold and yield its secret.
There was another face alive in his soul, although it did not altogether belong to him, a face he loo capture and re-create artistically, but again and again it drew bad shrouded itself: his mothers face. It was no lohe face that had appeared to him one day, from the depths of lost memories, after his versation with Narcissus. It had slowly ged during his days of wandering, his nights of love, during his spells of longing, while his life was in danger, when he was close to death: it had grown richer, deeper, subtler. This was no longer his own mother; her traits and colors had by and by given way to an impersonal mother image, of Eve, of the mother of men. The way some of Master Niklauss madonnas powerfully expressed the suffering mother of God with a perfe that seemed unsurpassable to Goldmund, he hoped that one day, when he was more mature and surer of his craft, he would be able to create the image of the worldly mother, the Eve-mother, as she lived in his heart, his oldest, most cherished image; an inner image that had once been the memory of his own mother, of his love of her, but was now in stan?99liｂ.ransformation and growth. The faces of Lise, the gypsy, of the knights daughter Lydia, of many other women had fused with that inal image. Eaew woman added to it, eaew insight, each experiend event worked at it and fashios traits. The figure he hoped to be able to make visible some day was not to represent any specifian, but the source of life itself, the inal mother. Many times he thought he saw it; often it appeared in his dreams. But he could not have said anything about this Eves face, or about what it was to express, except that he wa to show the intimate relationship of ecstasy to pain ah.
Goldmund learned a great deal in the course of a year. He became an able draftsman; occasionally, beside wood carving, Niklaus also let him try his hand at modeling with clay. His first successful work was a clay figure, a good two spans high. It was the sweet, seductive figure of little Julie, Lydias sister. The master praised this work but did not fulfill Goldmunds wish to have it cast ial; he found the figure too unchaste and worldly to bee its godfather. Then Goldmund started w on a statue of Narcissus, in wood, portraying the Apostle John. If successful, Niklaus wao include the figure in a crucifixion group he had been issioo execute and on which his two assistants had been w exclusively for quite some time, leaving the final touches to the master.
Goldmund worked with profound love at the statue of Narcissus. He rediscovered himself in this work, found his skill and his soul agaiime he got off the track, which happened often enough. Love affairs, dances, drinking with w panions, dice playing, and many brawls would get him violently involved; hed stay away from the workshop for a day or more, or stand distracted and grumpy over his bench. But at his St. John, whose cherished, pensive features came to meet him out of the wood with greater and greater purity, he worked only during hours of readiness, with devotion and humility. During these hours he was her glad nor sad, knew her al longings nor the flight of time. Again he felt the reverent, light, crystal feeling in his heart with which he had once abandoned himself to his friend, happy to be guided by him. It was not he who was standing there, creating an image of his own will. It was the other man rather; it was Narcissus who was making use of the artists hands in order to step out of the fleeting transitions of life, to express the pure image of his being.
This, Goldmund sometimes felt with a shudder, was the way true art came about. This was how the masters unfettable madonna had been made, which he had visited in the cloister again and again on many a Sunday. The few good pieces among the old statues which were standing upstairs in the masters foyer had e into being in this secret, sacred manner. And one day that other, the unique image, the ohat was even more hidden and venerable to him, the mother of men, would e about in the same manner. Ah, if only the hand of man could create such works of art, such holy, essential images, untainted by will or vanity. But it was not that way. Other images were created: pretty, delightful things, made with great mastery, the joy of art lovers, the or of churches and town halls—beautiful things certainly, but not sacred, not true images of the soul. He knew many such works, not only by Niklaus and other masters—works that, in spite of their delicad craftsmanship, were nothing but playthings. To his shame and sorrow he had already felt that in his ow, had felt in his hands how an artist put such pretty things in the world, out of delight in his own skill, out of ambition and dissipation.
When he realized this for the first time, he grew deathly sad. Ah, it was not worth being an artist in order to make little angel figures and similar frivolities, no matter how beautiful. Perhaps the others, the artisans, the burghers, those calm, satisfied souls might find it worthwhile, but not he. To him, art and craftsmanship were worthless uhey burned like the sun and had the power of storms. He had no use for anything that brought only fort, pleasantness, only small joys. He was searg for other things. A dainty for a madonna, fashioned like lacework aifully goldleafed, was no task for him, no matter how well paid. Why did Master Niklaus accept all these orders? Why did he have two assistants? Why did he listen for hours to those senators and prelates who ordered a pulpit or a portal from him with their measuring sticks in their hands? He had two reasons, two shabby reasons: he wao be a famous artist flooded with issions, and he wao pile up money, not for any great achievement or pleasure but for his daughter, who had long since bee a rich girl, money for her dowry, for lace collars and brocade gowns and a walnut jugal bed with precious covers and linens. As though the beautiful girl could not e to know love just as well in a hayloft.
His mothers blood stirred deeply in Goldmund in the course of such refles; he felt the pride and disdain of the homeless for the settled, the proprietors. At times craft and master were so repulsive to him that he often came close to running away. More than ohe master angrily regretted having taken on this difficult, unreliable fellow who often tried his patieo the utmost. The things he learned about Goldmunds life, about his indiffereo money and ownership, his desire to squander, his many love affairs, his frequent brawls, did not make him more sympathetic; he had taken a gypsy into his house, a stranger. Nor had it escaped him with what eyes this vagrant looked at his daughter Lisbeth. If he, heless, forced himself to be patient, it was not out of a sense of duty or out of fear, but because of the St. Johns statue, which he watched e into being. With a feeling of love and kinship of the soul that he did not quite admit to himself, the master watched this gypsy, who had run to him out of the forest, shape his wooden disciple after the moving, beautiful, yet clumsy drawing that had made him keep Goldmund at the time. He saw how slowly and capriciously, but tenaciously, unerringly, Goldmund fashiohe wooden statue of the disciple. The master did not doubt that it would be finished some day, in spite of all Goldmunds moods and interruptions, that it would be a work the like of whiot one of his assistants was able to make, a work that eve masters did not often aplish. In spite of the many things the master disliked in his pupil, of the many scoldings he gave him, of his frequent fits e—he never said a word about the St. John.
During these years Goldmund had gradually lost the rest of the adolest grad boyishhat had pleased so many. He had bee a beautiful, strong man, much desired by women, little popular with men. His mind, his inner face, had greatly ged as well sihe days Narcissus awakened him from the happy sleep of his cloister years. World and wandering had molded him. From the pretty, gentle, pious, willing cloister student whom everybody liked, another being had emerged. Narcissus had awakened him, women had made him aware, the wandering had brushed the down from him. He had no friends; his heart beloo women. They could win him easily: one longing look was enough. He found it hard to resist a woman and respoo the slightest hint. In spite of his strong sense of beauty, of his preference for the very young in the bloom of spring, hed let himself be moved and seduced by women of little beauty who were no longer young. On the dance floor hed sometimes end up with a disced elderly girl whom no one wanted, whod win him by the pity he felt for her, and not pity alone, but also a stantly vigilant curiosity. As soon as he gave himself to a womaher it lasted weeks or just hours—she became beautiful to him, and he gave himself pletely. Experieaught him that every woman was beautiful and able t joy, that a mousy creature whom men ignored was capable of extraordinary fire aion, that the wilted had a more maternal, mly sweet tenderness, that eaan had her secrets and her charms, and to unlock these made him happy. In that respect, all women were alike. Lack of youth or beauty was always balanced by some special gesture. But not every woman could hold him equally long. He was just as loving and grateful toward the ugly as toward the you and prettiest; he never loved halfway. But some women tied him to them more strongly after three or ten nights of love; others were exhausted after the first time and fotten.
Love aasy were to him the only truly warming things that gave lif..s value. Ambition was unknown to him; he did not distinguish between bishop and beggar. Acquisition and ownership had no hold over him; he felt pt for them. Never would he have made the smallest sacrifice for them; he was earning ample money and thought nothing of it. Women, the game of the sexes, came first on his list, and his frequent accesses of melancholy and disgust grew out of the knowledge that desire was a transitory, fleeting experiehe rapid, s, blissful burning of desire, its brief, longing flame, its rapid extin—this seemed to him to tain the kernel of all experience, became to him the image of all the joys and sufferings of life. He could give in to this melancholy and shudder at all things transitory with the same abando with which he gave in to love. This melancholy was also a form of love, of desire. As ecstasy, at the peak of blissful tension, is certain that it must vanish and die with the breath, his innermost loneliness and abandoo melancholy was certain that it would suddenly be swallowed by desire, by new abandoo the light side of life. Death aasy were ohe mother of life could be called love or desire; she could also be called death, grave, or decay. Eve was the mother. She was the source of bliss as well as of death; eternally she gave birth aernally she killed; her love was fused with cruelty. The longer he carried her image within him, the more it became a parable and a sacred symbol to him.
Not with words and sciousness, but with a deeper knowledge of his blood, he khat his road led to his mother, to desire and to death. The father side of life—mind and will—were not his home. Narcissus was at home there, and only now Goldmu peed by his friends words and uood them fully, saw in him his terpart, and this he also expressed iatue of St. John and made it visible. He could long for Narcissus to the point of tears; he could dream of him wonderfully—but he could not reach him, he could not bee like him.
Secretly Goldmund also sensed what being an artist meant to him, how his intense love of art could also occasionally turn to hatred. He could, not with thoughts but with emotions, make many different distins: art was a union of the father and mother worlds, of mind and blood. It might start in utter sensuality ao total abstra; then again it might inate in pure cept and end in bleeding flesh. Any work of art that was truly sublime, not just a good jugglers trick; that was filled with the eternal secret, like the masters madonna; every obviously genuine work of art had this dangerous, smiling double face, was male-female, a merging of instind pure spirituality. One day his Eve-mother would bear this double face more than any other statue, if he succeeded in making her.
In art, in being an artist, Goldmund saw the possibility of reg his deepest tradis, or at least of expressing newly and magnifitly the split in his nature. But art was not just a gift. It could not be had for nothing; it cost a great deal; it demanded sacrifices. For over three years Goldmund sacrificed his most essential he thing he needed most o desire and love: his freedom. Being free, drifting in a limitless world, the hazards of wandering, being alone and indepe—all that he had renounced. Others might judge him fickle, insubordinate, and overly indepe when he ed workshop and work during an occasional furious fling. To him, this life was slavery; often it embittered him and seemed unbearable. her the master nor his future nor need demanded his obedie was art itself.
Art, such a spiritual goddess in appearance, required so may things! One needed a roof over ones head, and tools, woods, clay, cold, effort and patience. He had sacrificed the wild freedom of the woods to this goddess, the intoxication of the wide world, the harsh joys of dahe pride of misery, and this sacrifice had to be made again and again, chokingly, with ched teeth.
Part of this sacrifice was recoverable. A few of his love adventures, his fights with rivals stituted a small revenge against the slavelike sedentary order of his present life. All his emprisoned wildness, all the caged-in strength of his nature steamed out of this escape valve; he became a known and feared rowdy. A sudden atta a dark side street, on his way to see a girl or on the way home from a dance; a couple of blows from a stick, throwing himself around with lightning swifto pass from defeo attack, to press the panting eo him, to land a fist uhe enemys , him by the hair, or throttle him mightily—all these things tasted good to Goldmund and cured his dark moods for a while. And the women liked it, too.
All this gave him plenty to do, and it all made sense as long as he was w on his St. John. It took a long time. The last delicate shapings of fad hands were done in solemn, patient tration. He fihe statue in a small wooden shed behind the assistants workshop. Then the hour of m came when the work was finished. Goldmuched a broom, swept the shed meticulously , gently brushed the last sawdust from his Saints hair, and stood in front of his statue for a long time, an hour or longer, filled with the solemn feeling of a rare and great experience which he might perhaps know one more time in the course of his life or which might remain unique. A man on the day of his wedding or on the day he is knighted, a woman after the birth of her first child might feel such emotions in the heart: a deep rever<u>藏书网</u>ence, a great earness, and at the same time a secret fear of the moment when this high, unique experience would be over, classified, swallowed by the routine of the days.
He saw his friend Narcissus, the guide of his adolest years, clad in the robe and role of the beautiful, favorite disciple, stand listening with lifted fad an expression of stillness, devotion, and reverehat was like the budding of a smile. Suffering ah were not unknown to this beautiful, pious, spiritualized face, to this slender figure that seemed to be floating, to these graceful, piously raised long hands, although they were filled with youth and inner music; but despair was unknown to them, and disorder, and rebellion. The soul of those raits might be gay or sad, but its pitch ure, it suffered no discordant note.
Goldmund stood and plated his work. His plation began as a meditation in front of the moo his youth and friendship, but it ended in a tempest of sorrow and heavy thoughts. There his work was, the beautiful disciple would remain, his delicate fl would never end. But he, the maker, would have to part with his work; tomorrow it would no longer be his, would no longer be waiting for his hands, would grow and unfold uhem no longer, was no longer a refuge to him, a solation, a purpose in his life. He remained behiy. And therefore it seemed to him that it would be best to say farewell today not only to his St. John but also to the master, to the city, to art. There was nothing here for him to do any more; no images filled his soul that he might have carved. The longed-for image of images, the figure of the mother of men, was not yet accessible to him, would not be accessible for a long time. Should he go back to polishing little angel figures now and carving ors?
He tore himself away and walked over to the masters workshop. Softly he entered and stood at the door, until Niklaus noticed him and called out to him.
"What is it, Goldmund?"
"My statue is finished. Perhaps youll e and take a look at it before you go up to eat."
"Gladly. Ill e right now."
Together they walked over, leaving the door open for more light. Niklaus had not seen the figure for a while; he had left Goldmund undisturbed at his work. Now he exami with silent attention. His closed face grew beautiful and light; Goldmund saw his stern eyes groy.
"It is good," the master said. "It is very good. It is your assistants piece, Goldmund. Now you have finished learning. Ill show yure to the men at the guild and demand that they make you a master for it; you deserve it."
Goldmund did not value the guild very highly, but he knew how much appreciation the masters words meant, and he was glad.
While Niklaus walked slowly around the figure of St. John, he said with a sigh: "This figure is full of piety and light. It is grave, but filled with joy and peaight think that the man who made this had nothing but light and joy in his heart."
Goldmund smiled.
"You know that I did not portray myself in this figure, but my dearest friend. It is he whht light and peace to the picture, not I. It was not really I who made the statue; he gave it into my soul."
"That may be so," said Niklaus. "It is a secret how such a work es into being. I am not particularly humble, but I must say: I have made many works that fall far behind yours, not in craft and care, but in truth. No, you probably know yourself that such a work ot be repeated. It is a secret."
"Yes," Goldmund said. "When the figure was finished and I looked at it, I thought: you t make that again. And therefore I think, Master, that Ill soon go back to wandering."
Astonished and annoyed, Niklaus looked at him. His eyes had grown stern again.
"Well speak about that. For you, work should really begin now. This is not the moment to run away. But take this day off, and at noon youll be my guest."
At noon Goldmund appeared washed and bed, in his Sunday clothes. This time he knew how much it meant and what a rare honor it was to be io the masters table. As he climbed the stairs to the foyer that was crowded with statues, his heart was far from being filled with the reverend anxious joy of the other time, that first time when he had stepped into these beautiful quiet rooms with poundi.
Lisbeth, too, was dressed up and wore a of stones around her neck, and besides carp and wihere was another surprise for dihe master gave Goldmund a leather purse taining two gold pieces, his salary for the fiatue.
This time he did not sit in silence while father and daughter talked. Both spoke to him, they drank toasts. Goldmunds eyes were busy. He used this opportunity to study carefully the beautiful girl with the distinguished, slightly ptuous face, and his eyes did not ceal how much she pleased him. She treated him courteously, but he felt disappoihat she did not blush row animated. Again he wished fervently to make this beautiful immobile face speak, to force it to surres secret.
After the meal he thahem, lingering a while before the statues in the foyer. During the afternoorolled through the city, an aimless idler. He had beely honored by the master, beyond all expectation. Why did it not make him happy? Why did all this honor have su uive taste?
Heeding a whim, he rented a horse and rode out to the cloister where he had first seen work by the master and heard his hat had been a few years ago; it seemed unthinkably longer. He visited the madonna in the cloister churd agaiatue delighted and quered him. It was more beautiful than his St. John. It was similar ih and mystery, and superior in craft, in free, gravity-less floating. Now he saw details in the work that only an artist sees, soft delicate movements in the gown, audacities in the formation of the long hands and fingers, sensitive utilization of the grain of the wood. All these beauties were nothing pared to the whole, to the simplicity ah of the vision, but they were there heless, beauties of whily the blessed were capable, those who kheir craft pletely. In order to be able to create a work like this, one had not only to carry images in ones soul; one also had to have inexpressibly trained, practiced eyes and hands. Perhaps it was after all worthwhile to plaes entire life at the service of art, at the expense of freedom and broad experience, if only in order to be able oo make something this beautiful, something that had not only been experienced and envisioned and received in love, but also executed to the last detail with absolute mast９9ｌib?ery? It was an important question.
Late at night Goldmuuro the city on a tired horse. A tavern still stood open. There he took bread and wihen he climbed up to his room at the fish market, not at peace with himself, full of questions, full of doubts.
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