he next day Goldmund could not bring himself to go to work. As on many other joyless days, he roamed about the city. He saw housewives and servants go to market. He loitered around the fountain at the fish market and watched the fish venders and their burly wives praise their wares, watched them pull the cool silvery fish out of the barrels and offer them for sale, saw the fish open their mouths in pain, their gold eyes rigid with fear as they quietly gave in to death, or resisted it with furious desperation. He was gripped by pity for these animals and by a sad annoyance with human beings. Why were people so numb and crude, so unthinkably stupid and insensitive? How could those fishermen and fishwives, those haggling shoppers not see these mouths, the deathly frightened eyes and wildly flailing tails, the gruesome, useless, desperate battle, this unbearable transformation from mysterious, miraculously beautiful animals—the quiet last shiver that ran across the dying skin before they lay dead and spent—into flattened, miserable slabs of meat for the tables of those jovial paunches? These people saw nothing, knew nothing, and noticed nothing; nothing touched them. A poor, graceful animal could expire under their very eyes, or a master could express all the hope, nobility, and suffering, all the dark tense anguish of human life, in the statue of a saint with shudder-inducing tangibility—they saw nothing, nothing moved them! They were gay; they were busy, important, in a hurry; they shouted, laughed, bumped into each other, made noise, told jokes, screamed over two pennies, felt fine, were orderly citizens, highly satisfied with themselves and the world. Pigs, that's what they were, filthier and viler than pigs! Of course he had only too often been one of them, had felt happy among them, had pursued their girls, had gaily eaten baked fish from his plate without being horrified. But sooner or later, as though by magic, joy and calm would suddenly desert him; all fat plump illusions, all his self-satisfaction and self-importance, and idle peace of mind fell away. Something plunged him into solitude and brooding, made him contemplate suffering and death, the vanity of all undertaking, as he stared into the abyss. At other times a sudden joy blossomed from the hopeless depth of uselessness and horror, a violent infatuation, the desire to sing a beautiful song, to draw. He had only to smell a flower or play with a cat, and his childlike agreement with life came back to him. This time, too, it would come back. Tomorrow or the day after, the world would be good again, it would be wonderful. At least it was so until the sadness returned, the brooding, the remorse for dying fish and wilting flowers, the horror of insensitive, piglike, staring-but-not-seeing human existence. It was at such moments that Viktor always came to his mind. With torturing curiosity and deep anguish, he would think of the lanky wayfarer whom he had stabbed between the ribs and left lying on pine boughs covered with blood. And he wondered what had become of Viktor. Had the animals eaten him completely, had anything remained of him? The bones probably, and perhaps a few handfuls of hair. And what would become of the bones? How long was it, decades or just years, until bones lost their shape and crumbled into the earth?

As he watched the goings-on in the marketplace, feeling pity for the fish and disgust for the people, anguished by the melancholy in his heart and a bitter hatred against the world and himself, he once more thought of Viktor. Perhaps someone had found and buried him? And in that case, had all the flesh fallen from the bones, had it all rotted off, had the worms devoured everything? Was there still hair on the skull, and brows above the hollows of the eyes? And what had remained of Viktor's life, which had been so full of adventures and stories, the fantastic playfulness of his odd jests? Was there nothing else left alive of this human existence, which had, after all, not been ordinary, other than the few stray memories his murderer had of him? Was there still a Viktor in the dreams of women who had once loved him? Or had every vestige of him disappeared and dissolved? Thus it happened to everyone and everything: a brief flowering that soon wilted and was soon covered by snow. All the things that had flowered in him when he arrived in this city a few years ago, burning with desire for art, with deep anxious respect for Master Niklaus—what was still alive of them? Nothing, nothing more than was left of poor lanky Viktor's boastful silhouette. If somebody had told him a few years ago that the day would come when Niklaus would recognize him as an equal and demand his master's licence from the guild, he would have believed all the happiness in the world was in his hands. And now this achievement was nothing but a faded flower, a dried-up, joyless thing.

In the middle of these thoughts Goldmund suddenly had a vision. It lasted only an instant, a lightning flash: he saw the face of the universal mother, leaning over the abyss of life, with a lost smile that was both beautiful and gruesome. She was looking at birth and death, at flowers, at rustling autumn leaves, at art, at decay.

Everything had the same meaning to the universal mother. Her chilling smile hung above everything like a moon, sad and pensive. The dying carp on the cobblestones of the fish market was as dear to her as Goldmund; she was as fond of the scattered bones of the Viktor who had once tried to steal his gold as she was of his master's proud cool young daughter Lisbeth.

The lightning flash was gone; the mysterious mother face had vanished. But the pale glow continued to tremble deep in Goldmund's soul, the beat of life, of pain, of longing agitated his heart. No, no, he did not want the satiated happiness of the others, of fish venders, of burghers, of busy people. Let them go to hell. Oh, her twitching pale face, her fully ripe late-summer mouth, her heavy lips on which the immense fatal smile trembled like wind and moonlight!

Goldmund went to the master's house. It was toward noon, and he waited until he heard Niklaus leave his work and go to wash his hands. Then he went in.

"May I say a few words to you, Master, while you're washing your hands and putting on your jacket? I'm starving for a mouthful of truth. I want to say something to you that I might perhaps be able to say right now and never again. I must speak to a human being and perhaps you are the only one who can understand. I'm not speaking to the man with the famous workshop who is honored by so many assignments from great cities and cloisters, who has two assistants and a rich, beautiful house. I'm speaking to the master who made the madonna in the cloister outside the city, the most beautiful statue I know. I have loved and venerated this man; to become like him seemed to me the highest goal on earth. Now I have made a statue, my statue of St. John. It's not made as perfectly as your madonna; but that can't be helped. I have no plans for other statues, no idea that demands execution. Or rather, there is one, the remote image of a saint that I'll have to make some day, but not just yet. In order to be able to make it, I must see and experience much, much more. Perhaps I'll be able to make it in three or four years, or in ten years, or later, or never. But until then, Master, I don't want to work as an artisan, lacquering statues and carving pulpits and leading an artisan's life in the workshop. I don't want to earn money and become like other artisans. I don't want that. I want to live and roam, to feel summer and winter, experience the world, taste its beauty and its horrors. I want to suffer hunger and thirst, and to rid and purge myself of all I have lived and learned here with you. One day I would like to make something as beautiful and deeply moving as your madonna—but I don't want to become like you and lead your kind of life."

The master had washed and dried his hands. He turned and looked at Goldmund. His face was stern, but not angry.

"You have spoken," he said, "and I have listened. Don't worry now. I'm not expecting you to come to work, although there is much to be done. I don't consider you an assistant; you need freedom. I'd like to discuss a few things with you, dear Goldmund; not now, in a couple of days. In the meantime, you may spend your hours as you please. You see, I am much older than you and have learned a few things. I think differently than you do, but I understand you and what goes on in your mind. In a few days I'll send for you. We'll talk about your future; I have all kinds of plans. Until then, be patient! I know only too well how one feels when one has finished a piece of work that was important to one; I know this emptiness. It passes, believe me."

Goldmund left, dissatisfied. The master meant well, but how could he be of help? Goldmund knew a spot along the river where the water was not deep; its bed was covered with shards and all kinds of rubbish that fishermen had thrown there. He sat down on the embankment wall and looked into the water. He loved water very much; all water attracted him. From this spot, one could look through the streaming, crystal-threaded water and see the dark vague bottom, see a vague golden glitter here and there, an enticing sparkle, bits of a broken plate perhaps or a worn-out sickle, or a smooth flat stone or a polished tile, or it might be a mud fish, a fat turbot or redeye turning around down there, a ray of light catching for an instant the bright fins of its scales and belly—one could never make out what precisely was there, but there were always enchantingly beautiful, enticing, brief vague glints of drowned golden treasure in the wet black ground. All true mysteries, it seemed to him, were just like this mysterious water; all true images of the soul were like this: they had no precise contour or shape: they only could be guessed at, a beautiful distant possibility that was veiled in many meanings. Just as something inexpressibly golden or silvery blinked for a quivering instant in the twilight of the green river depths, an illusion that contained, nevertheless, the most blissful promise, so the fleeting profile of a person, seen half from the back, could sometimes promise something infinitely beautiful, something unbearably sad. In the same way a lantern hung under a cart at night, painting giant spinning shadows of wheel spokes on walls, could for a moment create a shadow play that seemed as full of incidents and stories as the work of Homer. And one's nightly dreams were woven of the same unreal, magic stuff, a nothing that contained all the images in the world, an ocean in whose crystal the forms of all human beings, animals, angels, and demons lived as ever ready possibilities.

He was absorbed in the game. With lost eyes he stared into the drifting river, saw shapeless shimmerings at the bottom, kings' crowns and women's bare shoulders. One day in Mariabronn, he recalled, he had seen similar shape-dreams and magical transformations in Greek and Latin letters. Hadn't he once talked about it with Narcissus? When had that been, how many hundred years ago? Oh, Narcissus! To be able to see him, to speak with him for an hour, hold his hand, hear his calm, intelligent voice, he would gladly have given his two gold pieces.

How could these things be so beautiful, this golden glow underneath the water, these shadows and insinuations, all these unreal, fairylike apparitions—so inexpressibly beautiful and delightful, when they were the exact opposite of the beauty an artist might create? The beauty of those undistinguishable objects was without form and consisted of nothing but mystery. This was the very opposite of the form and absolute precision of works of art. Nothing was as mercilessly clear and definite as the line of a drawn mouth or a head carved in wood. Precisely to the fraction of an inch, he could have retraced the underlip or the eyelids of Niklaus's madonna statue; nothing was indefinite there, nothing deceptive, nothing vague.

Goldmund was absorbed in his thoughts. He could not understand how that which was so definite and formal could affect the soul in the same manner as that which was intangible and formless. One thing, however, did become clear to him—why so many perfect works of art did not please him at all, why they were almost hateful and boring to him, in spite of a certain undeniable beauty. Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing because they aroused the desire for the highest and did not fulfill it. They lacked the most essential thing—mystery. That was what dreams and truly great works of art had in common: mystery.

Goldmund continued his thought: It is mystery I love and pursue. Several times I have seen it beginning to take shape; as an artist, I would like to capture and express it. Some day, perhaps, I'll be able to. The figure of the universal mother, the great birthgiver, for example. Unlike other figures, her mystery does not consist of this or that detail, of a particular voluptuousness or sparseness, coarseness or delicacy, power or gracefulness. It consists of a fusion of the greatest contrasts of the world, those that cannot otherwise be combined, that have made peace only in this figure. They live in it together: birth and death, tenderness and cruelty, life and destruction. If I only imagined this figure, and were she merely the play of my thoughts, it would not matter about her, I could dismiss her as a mistake and forget about her. But the universal mother is not an idea of mine; I did not think her up, I saw her! She lives inside me. I've met her again and again. She appeared to me one winter night in a village when I was asked to hold a light over the bed of a peasant woman giving birth: that's when the image came to life within me. I often lose it; for long periods it remains remote; but suddenly it flashes clear again, as it did today. The image of my own mother, whom I loved most of all, has transformed itself into this new image, and lies encased within the new one like the pit in the cherry.

As his present situation became clear to him, Goldmund was afraid to make a decision. It was as difficult as when he had said farewell to Narcissus and to the cloister. Once more he was on an important road: the road to his mother. Would this mother-image one day take shape, a work of his hands, and become visible to all? Perhaps that was his goal, the hidden meaning of his life. Perhaps; he didn't know. But one thing he did know: it was good to travel toward his mother, to be drawn and called by her. He felt alive. Perhaps he'd never be able to shape her image, perhaps she'd always remain a dream, an intuition, a golden shimmer, a sacred mystery. At any rate, he had to follow her and submit his fate to her. She was his star.

And now the decision was at his fingertips; everything had become clear. Art was a beautiful thing, but it was no goddess, no goal—not for him. He was not to follow art, but only the call of his mother. Why continue to perfect the ability of his hands? Master Niklaus was an example of such perfection, and where did it lead? It led to fame and reputation, to money and a settled life, and to a drying up and dwarfing of one's inner senses, to which alone the mystery was accessible. It led to making pretty, precious toys, all kinds of ornate altars and pulpits, St. Sebastians and cute, curly angels' heads at four guilders a piece. Oh, the gold in the eye of a carp, the sweet thin silvery down at the edge of a butterfly's wing were infinitely more beautiful, alive, and precious than a whole roomful of such works of art.

A boy came singing down the river road. Sometimes his singing was interrupted by a bite into a big piece of white bread he was carrying in his hand. Goldmund saw him and asked him for a small piece of bread, scratched out some of the soft crumb with two fingers, and formed tiny balls with it. He leaned over the embankment railing and threw the bread balls slowly, one by one, into the water, saw the white ball sink into the darkness, saw pushing fish heads swarm around it until it disappeared into one of the mouths. With deep satisfaction he saw ball after ball go under and disappear. Then he felt hungry and went to see one of his loves who served as a maid in a butcher's house and whom he called "My Lady of Sausages and Hams." With the usual whistle he called her to the window of her kitchen, expecting her to give him a little nourishing something to slip in his pockets and eat outdoors, high above the river on one of the vine-covered hills where thick red soil glistened healthily under the full grape leaves, where small blue hyacinths with the delicate scent of fruit blossomed in the spring.

But this seemed to be his day of decisions and realizations. As Kathrine appeared at the window, smiling down to him out of her coarsened face, as he stretched out his hand to make the habitual signal, he suddenly remembered all the other times he had stood waiting in the same manner. With boring precision he foresaw everything that would happen in the next few minutes: she would recognize his signal, step back, reappear promptly at the back door with a morsel in her hand, smoked sausages perhaps, which he would accept, and, he'd stroke her a little and press her to him as she expected of him. Suddenly it seemed infinitely stupid and ugly to provoke this whole mechanical sequence of often experienced things and play his part in it, to receive the sausage, to feel her sturdy breasts press against him, and squeeze her a little as though in payment. Suddenly he thought he saw a trait of soul-less habit in her dear coarse face, something mechanical and unmysterious in her friendly smile, something unworthy of him. His gesture froze in mid-air; the smile froze on his face. Was he still in love with her, did he really still desire her? No, he had been there too often. All too often he had seen this selfsame smile and smiled back without a prompting from his heart. What had still been all right yesterday was suddenly no longer possible today. The girl was still standing there, looking, but he had turned away, vanished from the street, determined never to go back there again. Let someone else stroke those breasts! Let someone else eat those delicious sausages! How this fat, happy city stuffed and squandered day in, day out! How lazy, spoiled, and fastidious these fat burghers were, for whom so many sows and calves were killed every day, so many poor, beautiful fish pulled from the river! And he—how spoiled and rotten he had become, how disgustingly like the fat burghers! To a wanderer in a snow-covered field, a dried-up prune or an old crust of bread tasted more delicious than a whole meal here with the prosperous guildsmen. Oh, the roaming life, freedom, the heath in the moonlight, the animal tracks peered at attentively in the gray-dewed morning grass! Here in the city, among the well-established burghers, everything was so easy and cost so little, even love. He had had enough of it. Suddenly he spat on it. Life here had lost its meaning; it was a marrowless bone. As long as the master had been an example and Lisbeth a princess, it had been beautiful, it had made sense; it had been bearable as long as he was working on his St. John. Now that it was over, the perfume was gone and the flower had wilted. He was swept up in a violent wave. A sudden awareness of impermanence washed over him, a feeling that often deeply tortured and intoxicated him. Everything was soon wilted, every desire quickly exhausted; nothing remained but bones and dust. But one thing did remain: the eternal mother, basic, ancient, forever young, with her sad, cruel smile of love. Again he saw her for an instant: a giant figure with stars in her hair. Dreamily she sat on the edge of the world, plucking flower after flower, life after life, with a playful hand, slowly dropping them into the bottomless void.

During these days, while Goldmund floated through the familiar city in a drunken depression of bidding farewell, watching a wilted piece of life fade away behind him, Master Niklaus took great pains to provide for his future and tried to make his restless guest settle down forever. He persuaded the guild to issue Goldmund a master's diploma and conceived a plan to tie Goldmund to him forever, not as a subordinate, but as an associate, with whom he would discuss and execute all important orders and share in the earnings. It might be a risk, not least because of Lisbeth, because the young man would of course soon become his son-in-law. But even the best assistant Niklaus had ever paid wages to could not have made a statue like Goldmund's St. John. Besides, he was growing old; had fewer ideas and less creative force, and he did not want to see his famous workshop sink to the level of ordinary craftsmanship. Goldmund would not be easy to handle, but he had to take the risk.

The master worried and speculated. He would enlarge the back workroom for Goldmund, give him the room in the attic and present him with beautiful new clothes for his acceptance by the guild. Carefully he sounded out Lisbeth's feelings. She had been expecting something of the sort since the meal that noon. And Lisbeth was not opposed to it. If the fellow could be persuaded to settle down and become a master of his craft, she had no objection. There were no obstacles on her side. And if Master Niklaus and his craft did not fully succeed in taming this gypsy, Lisbeth was sure she could achieve the rest.

Everything was ready, the bait had been laid appetizingly before the trap for the bird to walk in. The master sent for Goldmund, who had not shown himself of late. Once more he was invited to dinner. Again he appeared brushed and pressed; again he sat in the beautiful, somewhat oversolemn room; again he drank toasts to master and daughter, until finally the daughter left the room and Niklaus brought forth his great plan and made his offer.

"I think you've understood me," he said, concluding his surprising disclosure, "and I need not tell you that probably no young man has ever been promoted to master as rapidly, without even serving the required apprenticeship, and then placed in such a warm nest. Your fortune is made, Goldmund."

Goldmund looked at his master with embarrassed surprise, pushed the mug away although it was still half full. He had expected that Niklaus would scold him a little because of the days he had lost loafing, and then propose that he stay with him as his assistant. And now this. He felt sad and constrained, sitting across the table from this man. He could not find a ready answer.

The master's face grew slightly tense and disappointed when his honorable offer was not accepted immediately with joyful modesty. He stood up and said: "Well, my proposal comes unexpectedly. Perhaps you'd like to think about it. It does offend me a little that it should be this way; I had thought I was giving you a great joy. But never mind, take your time and think it over."

"Master," Goldmund said, fighting for words, "don't be angry with me! I thank you with all my heart for your goodwill, and even more for the patience with which you have taught me. I'll never forget how deeply indebted I am to you. But I need no time to think it over, I have long since decided."

"Decided what?"

"I had made my decision before I accepted your invitation and before I had any idea of your honorable offer. I'm not going to remain here any longer, I'm going back on the road."

Niklaus turned pale and looked at him darkly.

"Master," begged Goldmund, "I do not wish to offend you, believe me. I have told you my decision. Nothing can change it. I must leave, I must travel, I must be free. Let me thank you cordially once again, and let us bid each other a friendly farewell."

He held out his hand; he was close to tears. Niklaus did not take his hand. His face had turned white; he was pacing the room, faster and faster, his steps echoing with rage. Never had Goldmund seen him like that.

Suddenly the master stopped, made a dreadful effort to control himself, and said, looking past Goldmund, through clenched teeth: "All right, go then if you must! But go at once! Do not force me ever to see you again! I don't want to do or say anything that I might regret later. Go!"

Once more Goldmund held out his hand. The master looked as though he were going to spit at it. Goldmund turned, now also pale, and walked softly out of the room. Outside he put on his cap and crept down the stairs, letting his hand brush over the carved heads; downstairs he entered the small workshop in the courtyard, stood for a while in farewell in front of his St. John, and left the house with a pain in his heart that was deeper than when he left the knight's castle and poor Lydia.

At least it had gone quickly! At least nothing unnecessary had been said! That was his only consolation as he crossed the threshold. Suddenly street and city became transformed, had the unfamiliar face that familiar things take on when our heart has taken leave of them. He looked back at the door of the house: it had become the door to a strange house that was now closed to him.

Back in his room Goldmund began to prepare for his departure. Not much preparation was necessary; he merely had to say farewell. There was a picture on the wall that he had painted, a gentle madonna, and a few trifles that he had acquired: a Sunday hat, a pair of dancing shoes, a roll of drawings, a small lute, a number of small clay figures he had modeled; a few presents from women: a bunch of artificial flowers, a rubyred drinking glass, a hard old heart-shaped cookie, and similar odds and ends. Each piece had a meaning and a story, had been dear to him and was now only cumbersome clutter, of which he could take nothing along. He traded the ruby glass for his landlord's good strong hunting knife, which he sharpened at the whetting stone in the courtyard. He crumbled up the cookie and fed it to the chickens in the yard next door, gave the painting of the madonna to his landlady and was given a useful gift in exchange: an old leather satchel and ample provisions for the road. He packed his few shirts in the satchel with a couple of small drawings rolled over a piece of broomstick, and put in the food. Everything else had to stay behind.

There were several women in the city to whom he should have said farewell; he had slept with one of them only yesterday, without telling her of his plans. Romantic souvenirs had a way of attaching themselves to one when one wanted to move on, but they were not to be taken seriously. He said farewell to no one but the owners of the house. He did that in the evening, so he could leave very early the next morning.

And yet there was someone who got up in the morning and asked him into the kitchen for a cup of hot milk just as he was about to sneak out. It was the daughter of the house, a child of fifteen, a quiet sickly creature with beautiful eyes who had a defect of the hip that made her limp. Her name was Marie. With a sleepless face, completely pale but carefully dressed and combed, she served him hot milk and bread in the kitchen and seemed very sad to see him leave. He thanked her and out of pity kissed her goodbye on her narrow mouth. Reverently, with closed eyes, she received his kiss.