gain ice was floating down the rivers, and a scent of violets rose from under the rotten leaves. Goldmund walked through the colorful seasons: his insatiable eyes drank in the forests, the mountains, the clouds; he wandered from farm to farm, from village to village, from woman to woman. Many a cool evening he'd sit anguished, with aching heart, under a lighted window; from its rosy shimmer radiated all that was happiness and home and peace on earth, all that was lovely and unreachable for him. Everything repeated itself over and over, all the things he thought he had come to know so well; everything returned, and yet different each time: the long walks across field and heath, or along stony roads, sleeping in the summer forest, strolls through villages, trailing after bands of young girls coming home, hand in hand, from turning over the hay or gathering hops; the first shudder of autumn, the first angry frosts—everything came back: once, twice, endlessly the colorful ribbon rolled past his eyes.

Much rain, much snow had fallen on Goldmund. One day he climbed uphill through a sparse beech forest already light green with buds. From the mountain ridge he saw a new landscape lying at his feet; it gladdened his eyes and a flood of expectations, desires, and hopes gushed through his heart. For several days he had known that he was close to this region; he had been looking forward to it. Now, during this noon hour, it came as a surprise and his first visual impression confirmed and strengthened his expectations. Through gray trunks and softly swaying branches he looked down into a valley lying green and brown, furrowed by a wide river that shimmered like blue glass. He felt that his pathless roaming through landscapes of heath, forest, and solitude, with an isolated farm here and there, or a shabby village, was over for a long time. Down there the river flowed, and along the river ran one of the most beautiful and famous roads in the empire. A rich and bountiful land lay there, barges and boats sailed there, the road led to beautiful villages, castles, cloisters, and prosperous towns, and anyone who so desired could travel along that road for days and weeks and not fear that it would suddenly peter out in a forest or in humid reeds like those miserable peasant paths. Something new lay ahead and he was looking forward to it.

That evening he came to a beautiful village, wedged between the river and red vineyards along the wide highway. The pretty woodwork on the gabled houses was painted red; there were arched entranceways and narrow alleys full of stone steps. A forge threw a red fiery glow across the street; he heard the clear ringing of the anvil. Goldmund snooped about in every alley and corner, sniffed at cellar doors for the smell of wine barrels and along the riverbank for the cool fish odor of the water; he inspected church and cemetery and did not forget to look for a good barn for the night. But first he wanted to try his luck at the priest's house and ask for food. A plump, red-headed priest asked him questions and Goldmund told him the story of his life, with a few omissions and additions. Thereupon he was given a friendly reception and spent the evening in long conversation over good food and wine. The next day he continued his journey on the highway, along the river. He saw barges and rafts float by; he passed horse carts, and some of them gave him a ride for a stretch of the way. The spring days sped by, filled with color: villages and small towns received him; women smiled behind garden fences, knelt in the brown earth, planting bulbs; young girls sang in the village streets in the evening.

A young servant girl in a mill pleased him so much he spent two days in the area and tried to get to know her. She liked to laugh and chat with him; he thought he would have been happy to work at the mill and stay there forever. He sat with the fishermen; he helped the carters feed and comb their horses, was given bread and meat and a ride in exchange. The sociable world of travelers did him good after the long loneliness; with a good meal every day, after so much hunger, he gladly let himself be carried along by the joyous wave. It swept him on, and the closer he got to the bishop's city, the more crowded and joyful the highway became.

In one village he took an evening stroll along the river, with the trees already in leaf. The water ran quietly, mightily; the current sighed and gushed under the overhanging roots of trees; the moon came up over the hill, casting light on the river and shadows under the trees. He came upon a girl who was sitting there, weeping: she had quarreled with her lover; he had walked off and left her. Goldmund sat down beside her and listened to her sorrowful tale; he caressed her hand, told her about the forest and the deer, comforted her a little, made her laugh a little, and she permitted him a kiss. But at that point her young man came back looking for her; he had calmed down and regretted the quarrel. When he found Goldmund sitting beside her, he threw himself upon him and hammered at him with both fists. Goldmund had difficulty defending himself, but finally he fought the fellow off, and watched him run cursing toward the village; the girl had long since fled. But Goldmund did not trust the truce; he renounced his bed for the night and wandered on half the night in the moonlight, through a silent silver world, extremely content, glad of his strong legs, until the dew washed the white dust from his shoes and he suddenly felt tired, lay down under the next tree, and fell asleep. It was broad daylight when he was awakened by something tickling his face. He brushed it aside with a sleepy, groping hand, fell asleep again, was once more awakened by the tickling; a peasant girl was standing there, looking at him, tickling him with the tip of a willow switch. He stumbled to his feet. With a smile they nodded to each other; she led him into a shed, where the sleeping was more comfortable. There they lay together for a while, then she ran off and came back with a small pail of milk, still warm from the cow. He gave her a blue hair ribbon he had recently found in the street, and they kissed once more before he wandered on. Her name was Franziska; he was sorry to leave her.

That evening he found shelter in a cloister, and the next morning he went to mass. A thousand memories welled up in his heart; the cool stone air of the dome and the flapping of sandals in the marble corridors felt movingly familiar. After mass, when the cloister church had grown quiet, Goldmund remained on his knees. His heart was strangely moved; he had had many dreams that night. He felt the urge to unburden himself of his past, to change his life somehow, he knew not why; perhaps it was only the memory of Mariabronn and of his pious youth that moved him. He felt the urge to confess and purify himself. Many small sins, many small vices had to be admitted, but most heavily he felt burdened by the death of Viktor, who had died by his hand. He found a father and confessed to him, especially the knife stabs in poor Viktor's neck and back. Oh, how long since he had been to confession! The number and weight of his sins seemed considerable to him; he was willing to do a stiff penance for them. But his confessor seemed familiar with the life of the wayfarers: he was not shocked; he listened calmly. Earnest and friendly, he reprimanded and warned without speaking of damnation.

Relieved, Goldmund stood up, prayed in front of the altar as the father had ordered and was about to leave the church when a ray of sunshine fell through one of the windows. His eyes followed it; in a side chapel he saw a statue that spoke to him so strongly and attracted him so much that he turned toward it with loving eyes and looked at it with reverence and deep emotion. It was a wooden madonna. Delicately, gently she leaned forward; the blue cloak hung from her narrow shoulders; she stretched out a delicate, girlish hand, and the expression of her eyes above the grieving mouth and the gracefully rounded forehead were so alive and beautiful, so deeply permeated with spirit that Goldmund thought he had never seen anything like it anywhere before. He could not look enough at the mouth, at the lovely angle of the inclined neck. It seemed to him that he saw something standing there that he had often seen in dreams and inklings, something he had often wished for. Several times he turned to go; again and again the statue drew him back.

When he finally turned to leave, the father confessor was standing behind him.

"Do you find her beautiful?" he asked in a friendly tone.

"Inexpressibly beautiful," said Goldmund.

"That's what some people say," said the priest. "Others say that this is no mother of God, that she is much too modern and worldly, that the whole thing is untrue and exaggerated. There is a great deal of controversy about it. So you like her; I'm glad. We've had her only for a year, a donation from a benefactor of our order. She was made by Master Niklaus."

"Master Niklaus? Who is he, where does he live? Do you know him? Tell me about him, please! What a magnificent, blessed man who can create a work like that."

"I don't know much about him. He is a carver in our bishop's city, a day's journey from here; he has a great reputation as an artist. Artists usually are no saints, he's probably no saint either, but he certainly is a gifted, high-minded man. I have seen him a few times …"

"Oh, you have seen him! What does he look like?"

"You seem completely fascinated with him, my son. Well, go to see him then, and give him regards from Father Bonifazius."

Goldmund thanked him exuberantly. The father walked off with a smile; for a long time Goldmund stood before the mysterious statue, whose bosom seemed to heave and in whose face so much pain and sweetness were living side by side that it made his heart ache.

He left the church a changed man. His feet carried him through a completely changed world. Since that moment in front of the sweet saintly wooden figure, Goldmund possessed something he had not possessed before, something he had so often mocked or envied in others: a goal! He had a goal. Perhaps he would reach it; perhaps his whole, ragged existence would grow meaningful and worthwhile. This new feeling filled him with joy and fear and gave wings to his steps. The gay, beautiful highway on which he was walking was no longer what it had been the day before, a festive playground, a cozy place to be. Now it was only a road that led to the city, to the master. Impatiently he hurried on. He arrived before evening: towers rose from behind walls; he saw chiseled escutcheons and painted signs over the city gates, entered with pounding heart, hardly noticing the noise and bustle in the streets, the knights on their horses, the carts and carriages. Neither knights nor carriages, city nor bishop mattered to him. He asked the very first person he met where Master Niklaus lived, and was deeply disappointed when the man didn't know who Master Niklaus was.

He came to a square surrounded by stately houses, many painted or decorated with images. Over the door of a house stood the figure of a lansquenet in robust, laughing colors. It was not as beautiful as the statue in the cloister church, but it had such a way of pushing out its calves and sticking its bearded chin into the world that Goldmund thought this figure might have been made by the same master. He walked into the house, knocked at doors, climbed stairs; finally he ran into a squire in a fur-trimmed velvet coat and asked him where he might find Master Niklaus. What did he want from him, the squire asked in return. Goldmund had difficulty holding himself back, to say merely that he had a message for him. Thereupon the squire told him the name of the street on which the master lived. By the time Goldmund had asked his way there, night had fallen. Anxious but happy, he stood outside the master's house, looking up at the windows; he almost ran up to the door. But it was already late, he was sweaty and dusty from the day's march. He mastered his impatience and waited. For a long time he stood outside the house. He saw a light go on in a window, and just as he was about to leave, he saw a figure step to the window, a very beautiful blond girl with the gentle shimmer of lamplight flowing through her hair from the back.

The next morning, after the city had awakened and become noisy, Goldmund washed his face and hands in the cloister where he had been a guest for the night, slapped the dust from his clothes and shoes, found his way back to the master's street and knocked at the door of the house. A servant appeared who first refused to lead him to the master, but he managed to soften the old woman's resistance, and finally she led him into a small hall. It was a workshop and the master was standing there, a leather apron around his waist: a bearded, tall man of forty or fifty, Goldmund thought. He scanned the stranger with piercing, pale blue eyes and asked curtly what he desired. Goldmund delivered Father Bonifazius's greetings.

"Is that all?"

"Master," Goldmund said with baited breath, "I saw your madonna in the cloister there. Oh, don't give me such an unfriendly look; nothing but love and veneration have brought me to you. I am not a fearful man, I have lived a wanderer's life, sampled forest, snow, and hunger; I'm not afraid of anyone, but I am afraid of you. I have only a single gigantic desire, which fills my heart to the point of pain."

"And what desire is that?"

"To become your apprentice and learn with you."

"You are not the only young man to wish that. But I don't like apprentices, and I already have two assistants. Where do you come from and who are your parents?"

"I have no parents, I come from nowhere. I was a student in a cloister, where I learned Latin and Greek. Then I ran away, and for years I have wandered the roads, until today."

"And what makes you think you should become an image carver? Have you ever tried anything similar before? Have you any drawings?"

"I've made many drawings, but I no longer have them. But let me tell you why I wish to learn this art. I have done a great deal of thinking and seen many faces and figures and thought about them, and some of these thoughts have tormented me and given me no peace. It has struck me how a certain shape, a certain line recurs in a person's structure, how a forehead corresponds to the knee, a shoulder to the hip, and how, deep down, it corresponds to the nature and temperament of the person who possesses that knee, that shoulder, that forehead, and fuses with it. And another thing has struck me: one night, as I had to hold a light for a woman who was giving birth, I saw that the greatest pain and the most intense ecstasy have almost the same expression."

The master gave the stranger a piercing look. "Do you know what you are saying?"

"Yes, Master, it is the truth. And it was that precisely that I found expressed in your madonna, to my utter delight and consternation, that is why I have come. Oh, there is such suffering in the beautiful delicate face, and at the same time all the suffering is also pure joy, a smile. When I saw that, a fire shot through me; all my year-long thoughts and dreams seemed confirmed. Suddenly they were no longer useless; I knew immediately what I had to do and where I had to go. Dear Master Niklaus, I beg you with all my heart, let me learn with you!"

Niklaus had listened attentively, without making a friendlier face.

"Young man," he said, "you know surprisingly well how to speak about art, and it puzzles me that, young as you are, you have so much to say about ecstasy and pain. I'd gladly chat with you about this some evening over a mug of wine. But look: to speak pleasantly and intelligently with each other is not the same as living and working together for a couple of years. This is a workshop. Work is carved here, not conversation. What a man may have thought up and know how to express does not count here; here only what he can make with his hands counts. You seem to mean what you say. Therefore I'll not simply send you on your way again. We'll see if you can do anything at all. Did you ever shape anything in clay or wax?"

Goldmund found himself thinking of a dream he had long ago in which he had modeled small clay figures that had stood up and grown into giants. But he did not mention it and said that he had never tried.

"Good. You'll draw something then. There is a table; you'll find paper and charcoal. Sit down and draw, take your time, you can stay till noon or evening. Perhaps that will tell me what you are good for. Now then, we have talked enough. I'll do my work; you'll do yours."

Goldmund sat in the chair Niklaus had indicated to him, in front of the drawing table. He was in no hurry to accomplish his task. First he sat, waiting and silent like an apprehensive student. With curiosity and love he stared toward the master, whose back was half turned and who continued to work at a small clay figure. Attentively he studied this man, whose stern, already slightly graying head and hard, though noble and animated artisan's hands held such graceful magic. He looked different than Goldmund had imagined: older, more modest, soberer, much less radiant and heart-winning, and not in the least happy. The merciless sharpness of his probing eyes was now concentrated on his work. Freed from it, Goldmund minutely took in the master's entire figure. This man, he thought, might also have been a scholar, a quiet earnest searcher, who has dedicated himself to a task that many predecessors have begun before him, that he will one day leave to his successors, a tenacious, long-lived never-ending work, the accumulation of the effort and dedication of many generations. At least this was what Goldmund read from the master's head: great patience, years of study and thinking, great modesty, and an awareness of the dubious value of all human undertaking, but also faith in his mission. The language of his hands was something else again; there was a contradiction between the hands and the head. These hands reached with firm but extremely sensitive fingers into the clay they were molding. They treated the clay like a lover's hands treat the willing mistress: lovingly, with tenderly swaying emotion, greedy but without distinguishing between taking and giving, filled with desire but also with piety, masterful and sure as though from the depth of ancient experience. Goldmund watched these blessed hands with delighted admiration. He would have liked to draw the master, had it not been for the contradiction between face and hands which paralyzed him.

For about an hour he watched the steadily working artist, full of searching thoughts about the secret of this man. Then another image began to form inside him, to become visible in front of his soul, the image of the man he knew best of all, whom he had loved deeply and greatly admired; and this image was without flaw or contradiction, although it too bore many lines and recalled many struggles. It was the image of his friend Narcissus. It grew more and more tangible, became an entity, a whole. The inner law of the beloved person appeared more and more clearly in his picture: the noble head shaped by the mind; the beautiful controlled mouth, tightened and ennobled by the service to the mind; the slightly sad eyes; the haggard shoulders animated with the fight for spirituality; the long neck; the delicate, distinguished hands. Not since his departure from the cloister had he seen his friend so clearly, possessed his image so completely within him.

As though in a dream, will-less and yet eager, Goldmund cautiously began to draw. With loving fingers he brushed reverently over the figure that lived in his heart; he forgot the master, himself, and the place at which he sat. He did not notice the light slowly wandering across the workshop, or the master looking over at him several times. Like a sacrificial ritual he accomplished the task that had been given him, that his heart had given him: to gather his friend's image and preserve it the way it lived in his soul today. Without thinking of it, he felt he was paying back a debt, showing his gratitude.

Niklaus stepped up to the drawing table and said: "It's noon. I'm going to eat; you can come along. Let's see—did you draw something?"

He stepped behind Goldmund and looked at the large sheet. Then he pushed him aside and carefully took the sheet in his able hands. Goldmund had come out of his dream and was now looking at the master with anxious expectation. The master stood, holding the drawing in both hands, looking at it very carefully with his sharp stern light-blue eyes.

"Who is the man you have drawn here?" he asked after a while.

"My friend, a young monk and scholar."

"Fine. Wash your hands, there's a well in the yard. Then we'll go and eat. My assistants aren't here, they're working outside the city."

Obediently Goldmund went out, found the courtyard and the well, washed his hands and would have given much to know the masters thoughts. When he came back, the master was gone; he heard him rummaging about in the adjoining room. When he reappeared, he too had washed himself and wore a beautiful cloth jacket instead of the apron; he looked solemn and imposing. He led the way, up a flight of stairs—there were small carved angels' heads on the walnut banister posts—lined with old and new statues, into a beautiful room with floor, walls, and ceiling of polished wood; a table had been in the window corner. A young girl came running in. Goldmund knew her; it was the beautiful girl of the evening before.

"Lisbeth," the master said, "bring another plate. I've brought a guest. He is—well, I don't even know his name yet."

Goldmund said his name.

"Goldmund then. Is dinner ready?"

"In a minute, Father."

She fetched a plate, ran out and soon returned with the maid, who served the meal: pork with lentils and white bread. During the meal the father spoke of this and that with the girl, Goldmund sat in silence, ate a little and felt very ill at ease and apprehensive. The girl pleased him greatly, a stately, beautiful figure, almost as tall as her father, but she sat, well-mannered and completely inaccessible as though behind glass, and did not speak to the stranger, or look at him.

When they finished eating, the master said: "I'll rest for half an hour. You go down to the workshop or stroll around a bit outside. Afterwards we'll talk."

Goldmund bowed slightly and went out. It had been an hour or more since the master had seen his drawing, and he had not said a word about it. Now he had to wait another half hour! Well, there was nothing he could do about it; he waited. He did not go into the workshop; he did not want to see his drawing again just now. He went into the courtyard, sat down on the edge of the well, and watched the thread of water trickling endlessly from the pipe into the deep stone dish, making tiny waves as it fell, always carrying a little air down with it, which kept rising up in white pearls. He saw his own face in the dark mirror of the well and thought that the Goldmund who was looking up at him from the water had long since ceased being the Goldmund of cloister days, or Lydia's Goldmund, or even the Goldmund of the forests. He thought that he, that all men, trickled away, changing constantly, until they finally dissolved, while their artist-created images remained unchangeably the same.

He thought that fear of death was perhaps the root of all art, perhaps also of all things of the mind. We fear death, we shudder at life's instability, we grieve to see the flowers wilt again and again, and the leaves fall, and in our hearts we know that we, too, are transitory and will soon disappear. When artists create pictures and thinkers search for laws and formulate thoughts, it is in order to salvage something from the great dance of death, to make something that lasts longer than we do. Perhaps the woman after whom the master shaped his beautiful madonna is already wilted or dead, and soon he, too, will be dead; others will live in his house and eat at his table—but his work will still be standing a hundred years from now, and longer. It will go on shimmering in the quiet cloister church, unchangingly beautiful, forever smiling with the same sad, flowering mouth.

He heard the master come downstairs and ran into the workshop. Master Niklaus was pacing; several times he looked at Goldmund's drawing; finally he walked to the window and said, in his somewhat hesitant, dry manner: "It is customary for an apprentice to study at least four years, and for his father to pay for the apprenticeship." He paused and Goldmund thought the master was afraid that he could not pay him. Quick as lightning, he pulled out his knife, cut the stitches around the hidden gold piece, and held it up. Niklaus watched him in surprise and broke out laughing when Goldmund handed him the coin.

"Ah, is that what you thought?" he laughed. "No, young man, you keep your gold piece. Listen now. I told you how our guild customarily deals with apprentices. But I am no ordinary master, nor are you an ordinary apprentice. Usually an apprentice begins his apprenticeship at thirteen or fourteen, fifteen at the latest, and half of his learning years are spent running errands and playing the servant. But you are a grown man; according to your age, you could long have been journeyman or master even. Our guild has never had a bearded apprentice. Besides, as I told you before, I don't like to keep an apprentice in my house. Nor do you look like a man who lets himself be ordered about."

Goldmund's impatience was at its peak. Every new thoughtful word from the master put him on tenterhooks; it all seemed disgustingly boring and pedantic to him. Vehemently he cried: "Why do you tell me all this, if you don't want to make me your apprentice?"

Firmly the master continued: "I have thought about your request for an hour. Now you must have the patience to listen to me. I have seen your drawing. It has faults, but it is beautiful. If it were not beautiful, I would have given you half a guilder and sent you on your way and forgotten about you. That is all I wish to say about the drawing. I would like to help you become an artist; perhaps that is your destiny. But you're too old to become an apprentice. And only an apprentice who has served his time can become journeyman and master in our guild. Now you know the conditions. But you shall be allowed to give it a try. If you can maintain yourself in this city for a while, you may come to me and learn a few things. There will be no obligation, no contract, you can leave again whenever you choose. You may break a couple of carving knives in my workshop and ruin a couple of woodblocks, and if we see that you're no wood carver, you'll have to try your skill at other things. Does that satisfy you?"

Ashamed and moved, Goldmund had heard his words.

"I thank you with all my heart," he cried. "I am homeless; I'll be able to keep alive in this city as well as in the woods. I understand that you don't wish to assume responsibility for me as for a young apprentice. I consider it a great fortune to be allowed to learn from you. I thank you from the bottom of my heart for doing this for me."