or two years Goldmund worked on this group and from the second year on he was given Erich as an apprentice. In the balustrade for the staircase he created a small paradise. With ecstasy he carved a graceful wilderness of trees, brush, and herbs, with birds in the branches, and the heads and bodies of animals emerging everywhere. In the midst of this peacefully sprouting primitive garden, he depicted several scenes from the life of the patriarchs. This industrious life was rarely interrupted. There was seldom a day now when working was impossible for him, when restlessness or boredom made him disgusted with his art. But when he did feel bored or restless he'd give his apprentice a chore and walk or ride into the countryside to breathe in the memory-filled perfume of the free and wandering life of the forest, or visit a peasant's daughter, or hunt, or lie for hours in the green staring into the vaulted halls of treetops, into the sprouting wilderness of ferns and juniper. He would always return after a day or two. Then he'd attack his work with renewed passion, greedily carve the luxuriant herbs, gently, tenderly coax human heads from the wood, forcefully cut a mouth, an eye, a pleated beard. Beside Erich only Narcissus knew the statues and he came often to the workshop, which at times was his favorite place in the cloister. He looked on with joy and astonishment. Everything his friend had carried in his restless, stubborn, boyish heart was coming to flower. There it grew and blossomed, a creation, a small surging world: a game perhaps, but certainly no less worthy a game than playing with logic, grammar, and theology.

Pensively he once said: "I'm learning a great deal from you, Goldmund. I'm beginning to understand what art is. Formerly it seemed to me that, compared to thinking and science, it could not be taken altogether seriously. I thought something like this: since man is a dubious mixture of mind and matter, since the mind unlocks recognition of the eternal to him, while matter pulls him down and binds him to the transitory, he should strive away from the senses and toward the mind if he wishes to elevate his life and give it meaning. I did pretend, out of habit, to hold art in high esteem, but actually I was arrogant and looked down upon it. Only now do I realize how many paths there are to knowledge and that the path of the mind is not the only one and perhaps not even the best one. It is my way, of course; and I'll stay on it. But I see that you, on the opposite road, on the road of the senses, have seized the secret of being just as deeply and can express it in a much more lively fashion than most thinkers are able to do."

"Now you understand," Goldmund said, "that I can't conceive of thoughts without images?"

"I have long since understood it. Our thinking is a constant process of converting things to abstractions, a looking away from the sensory, an attempt to construct a purely spiritual world. Whereas you take the least constant, the most mortal things to your heart, and in their very mortality show the meaning of the world. You don't look away from the world; you give yourself to it, and by your sacrifice to it raise it to the highest, a parable of eternity. We thinkers try to come closer to God by pulling the mask of the world away from His face. You come closer to Him by loving His creation and re-creating it. Both are human endeavors, and necessarily imperfect, but art is more innocent."

"I don't know, Narcissus. But in overcoming life, in resisting despair, you thinkers and theologians seem to succeed better. I have long since stopped envying you for your learning, dear friend, but I do envy your calm, your detachment, your peace."

"You should not envy me, Goldmund. There is no peace of the sort you imagine. Oh, there is peace of course, but not anything that lives within us constantly and never leaves us. There is only the peace that must be won again and again, each new day of our lives. You don't see me fight, you don't know my struggles as Abbot, my struggles in the prayer cell. A good thing that you don't. You only see that I am less subject to moods than you, and you take that for peace. But my life is struggle; it is struggle and sacrifice like every decent life; like yours, too."

"Let's not quarrel about it, Narcissus. You don't see all my struggles either. And I don't know whether or not you are able to understand how I feel when I think that this work will soon be finished, that it will be taken away and set in its place. Then I will hear a few praises and return to a bare workroom, depressed about all the things that I did not achieve in my work, things you others can't even see, and inside I'll feel as robbed and empty as the workshop."

"That may be so," said Narcissus. "Neither of us can ever understand the other completely in such things. But there is one realization all men of good will share: in the end our works make us feel ashamed, we have to start out again, and each time the sacrifice has to be made anew."

A few weeks later Goldmund's big work was finished and set in its place. An old experience repeated itself: his work became the possession of others, was looked at, judged, praised; and he was lauded, honored, but his heart and his workshop stood empty and he no longer knew whether the work had been worth the sacrifice. On the day of the unveiling he was invited to the fathers' table for a festive meal at which the oldest wine of the house was served. Goldmund enjoyed the excellent fish and venison, and even more than by the old wine was warmed by the interest and joy of Narcissus, who praised him and honored his work.

A new work, which the Abbot had asked for and ordered, was already sketched out, an altar for the Mary chapel in Neuzell, which belonged to the cloister and in which a father from Mariabronn officiated as priest. For this altar Goldmund wanted to make a statue of the madonna, and to eternalize in her one of the unforgettable figures of his youth, beautiful fearful Lydia, the knight's daughter. Otherwise this commission was of little importance to him; it seemed suitable to him for Erich's assistant's project. If Erich did well, he'd have a good permanent partner who could replace him, free him to do those works that alone were still close to his heart. With Erich, he chose the wood for the altar and had him prepare it. Often Goldmund left him alone; he had resumed his roaming, his long walks in the woods. Once he was absent for several days, and Erich notified the Abbot, who also feared that Goldmund might have left for good. But he came back, worked for a week on the statue of Lydia, then began to roam again.

He was troubled. Since the completion of his big work his life had been in disorder. He missed early mass; he was deeply restless and dissatisfied. Now he often thought of Master Niklaus and wondered if he himself would not become soon what Niklaus had been, a hard-working and settled master in his craft, but unfree and unyoung. Recently a small adventure had given him food for thought: on one of his wandering days he had found a young peasant girl named Franziska, whom he liked. He had tried to charm her, had employed all the arts of seduction he knew. The girl listened gladly to his chatting, laughed delighted at his jokes, but she refused his advances, and for the first time he realized that, to a young woman, he seemed an old man. He had not gone back, but he had not forgotten. Franziska was right. He was older; he felt it himself, and it was not because of a few premature gray hairs and a few wrinkles around his eyes, but rather something in his being, in his mind. He found himself old, found that he had become strangely similar to Master Niklaus. With ill humor he observed himself and shrugged. He had grown cautious and tame; he was no longer an eagle or a hare; he had become a domestic animal. When he roamed about now, he was looking for the perfume of the past, for memories of his former adventures rather than for new freedom. Like a dog, he looked longingly and distrustfully for the lost scent. And after he had been away for a day or two, loafed a bit and caroused, something drew him irresistibly back. He had a bad conscience. He felt this workshop waiting for him, felt responsible for the altar he had begun, for the prepared wood, for his assistant Erich. He was no longer free, no longer young. He made a firm resolution: after the Lydia-Mary was finished, he wanted to go on a trip and try wandering once more. It was not good to live in a cloister for so long, with men only. It might be good for monks, but not for him. One could speak intelligently with men, and they understood an artist's work, but all the rest—chatting, tenderness, games, love, pleasure without thought—did not flourish among men, for that one needed women, wandering, freedom, and ever new impressions. Everything around him was a little gray and serious here, a little heavy and manly, and he had become contaminated; it had crept into his blood. The thought of a trip consoled him. He kept to his work courageously in order to be free sooner. And as Lydia's figure gradually came toward him out of the wood, as he draped the strict folds of her dress over her knees, a deep, painful joy overtook him, a nostalgic falling in love with the image, with the beautiful shy girl figure, with his memory of that time, with his first love, his first travels, his youth. Reverently he worked at the delicate image, felt it one with the best within him, with his youth, with his most tender memories. It was a joy to form her inclined neck, her friendly-sad mouth, her elegant hands, the long fingers, the beautifully arched cups of her fingernails. Erich, too, would stare at the figure with admiration and loving respect whenever he had a free moment.

When she was almost finished, Goldmund showed her to the Abbot. Narcissus said: "That is a beautiful work, my dear friend. We have nothing in the whole cloister that measures up to it. I must confess to you that I worried about you on several occasions during the last months. I saw that you were restless and disturbed, and when you disappeared and stayed away for more than a day, I sometimes thought with sorrow: perhaps he's never coming back. And now you have carved this wonderful statue. I am happy for you and proud of you."

"Yes," Goldmund said, "the statue turned out rather well. But now listen to me, Narcissus. In order to make this a good statue, I needed my entire youth, my wandering, my love affairs, my courtship of many women. That is the source at which I have drunk. Soon the well will be empty; I feel dry in my heart. I'll finish this Mary, but then I'll take a good long vacation, I don't know for how long. I'll retrace my youth and all that was once so dear to me. Can you understand that? Well, yes. You know I was your guest, and I've never taken any payment for my work here …"

"I often offered it to you," interrupted Narcissus.

"Yes, and now I'll accept it. I'll have new clothes made, and when they're ready, I'll ask you for a horse and a few gold pieces and then I'll ride out into the world. Say nothing, Narcissus, and do not be sad. It is not that I don't like it here any more; I couldn't be better off anywhere else. Something else is at stake. Will you fulfill my wish?"

They spoke about it no more. Goldmund had made for himself a plain riding outfit and boots, and as summer drew near, he completed the Mary figure as though it were his last work. With loving care he gave the hands, the face, the hair their finishing touch. It might almost have seemed that he was prolonging his work, that he was quite happy to be slightly delayed again and again by these final delicate touches to the figure. Days passed, and always there was something new for him to arrange. Although Narcissus felt deeply sad about the approaching farewell, he sometimes smiled a little about Goldmund's being in love, about his not being able to tear himself away from the Mary statue.

But one day Goldmund surprised him; suddenly he came to take his leave. He had made up his mind during the night. In his new clothes, with a new cap, he came to Narcissus to say goodbye. He had already confessed and communed some time ago. Now he came to bid farewell and be given the blessing for the road. The leavetaking came hard to both of them, and Goldmund acted with a brusquesness and indifference he did not feel in his heart.

"Will I ever see you again?" asked Narcissus.

"Oh yes, if your pretty nag does not break my neck, you will certainly see me again. Besides, without me, there wouldn't be anyone left to call you Narcissus and cause you to worry. So don't fear. Yes, and don't forget to keep an eye on Erich. And let no one touch my statue! She must remain standing in my room, as I have said before, and you are not to let the key out of your hand."

"Are you looking forward to the journey?"

Goldmund blinked.

"Well, I was looking forward to it; that's quite true. But now that I'm about to ride off, it feels less amusing than one might think. You'll laugh at me, but I don't like going away; and this dependence does not please me. It is like an illness; young healthy men don't have that. Master Niklaus was that way, too. Well, let's not chat about useless stuff! Bless me, dear friend; I want to leave."

He rode off.

In his thoughts, Narcissus was greatly concerned about his friend. He worried about him and missed him. Would he ever come back? Now this strange and lovable person was again following his crooked, will-less path, roaming the world with desire and curiosity, following his strong dark drives, stormy and insatiable, a grown child. Might God be with him; might he come back safe and sound. Again he would fly hither and thither, the butterfly, commit new sins, seduce women, follow his instincts, would perhaps again be involved in murder, danger, and imprisonment and might perish that way. How much worry this blond boy caused one! He complained about growing old, all the while looking out of such boyish eyes! How one had to fear for him. And yet, deep down in his heart, Narcissus was happy about Goldmund. It pleased him very much that this stubborn child was so difficult to tame, that he had such caprices, that he had broken out again to shake off his antlers.

Every day the Abbot's thoughts returned at one time or another to his friend, with love and longing, gratitude and worry, occasionally also with doubt and self-reproach. Should he not perhaps have shown his friend more clearly how much he loved him, how little he wished him to be other than he was, how rich he had become through his being and his art? He had not said much about it, perhaps not enough—who could tell if he might not have been able to keep him?

But he had not only been enriched by Goldmund. He had also grown poorer because of him, poorer and weaker, and it was certainly good that he had not shown that to his friend. The world in which he lived and made his home, his world, his cloister life, his priestly office, his scholarly being, his well-constructed thought edifice—all this had often been shaken to its foundations by his friend and was now filled with doubt. Certainly, seen from the point of view of the cloister, from the point of view of reason and morality, his own life was better, righter, steadier, more orderly, more exemplary. It was a life of order and strict service, an unending sacrifice, a constantly renewed striving for clarity and justice. It was much purer, much better than the life of an artist, vagrant, and seducer of women. But seen from above, with God's eyes—was this exemplary life of order and discipline, of renunciation of the world and of the joys of the senses, of remoteness from dirt and blood, of withdrawal into philosophy and meditation any better than Goldmund's life? Had man really been created to live a regulated life, with hours and duties indicated by prayer bells? Had man really been created to study Aristotle and Saint Thomas, to know Greek, to extinguish his senses, to flee the world? Had God not created him with senses and instincts, with blood-colored darknesses, with the capacity for sin, lust, and despair? These were the questions around which the Abbot's thoughts circled when they dwelt on his friend. Yes, and was it not perhaps more childlike and human to lead a Goldmund-life, more courageous, more noble perhaps in the end to abandon oneself to the cruel stream of reality, to chaos, to commit sins and accept their bitter consequences rather than live a clean life with washed hands outside the world; laying out a lonely harmonious thought-garden, strolling sinlessly among one's sheltered flower beds. Perhaps it was harder, braver and nobler to wander through forests and along the highways with torn shoes, to suffer sun and rain, hunger and need, to play with the joys of the senses and pay for them with suffering.

At any rate, Goldmund had shown him that a man destined for high things can dip into the lowest depths of the bloody, drunken chaos of life, and soil himself with much dust and blood, without becoming small and common, without killing the divine spark within himself, that he can err through the thickest darkness without extinguishing the divine light and the creative force inside the shrine of his soul. Narcissus had looked deeply into his friend's chaotic life, and neither his love for him nor his respect for him dwindled. Oh no, since he had seen those miraculous still-life images, radiant with inner harmony, come into being under Goldmund's stained hands, those intent faces glowing with spirit, those innocent plants and flowers, those imploring or blessed hands, all those audacious, gentle, proud, or sacred gestures, since then he knew very well that an abundance of light and the gifts of God dwelt in the fickle heart of this artist and seducer.

It had been easy for him to seem superior to Goldmund in their conversations, to oppose his discipline and intellectual order to his friend's passions. But was not every small gesture of one of Goldmund's figures, every eye, every mouth, every branch and fold of gown worth more? Was it not more real, alive, and irreplaceable than everything a thinker could achieve? Had not this artist, whose heart was so full of conflict and misery, fashioned symbols of need and striving for innumerable people, contemporary and future, figures to which the reverence and respect, the deepest anguish and longing of countless people would turn for consolation, confirmation, and strength?

Smiling and sad, Narcissus remembered all the times since their early youth when he had guided and taught his friend. Gratefully his friend had accepted, always admitting Narcissus's superiority and guidance. And then, quietly, he had fashioned his works, born of the tempest and suffering of his ragged life: no words, no instructions, no explanations, no warnings, but authentic, heightened life. How poor he himself was by comparison, with his knowledge, his cloister discipline, his dialectics!

These were the questions around which his thoughts turned. Just as he had once, many years ago, intervened roughly, almost brutally, in Goldmund's youth and placed his life in a new sphere, so his friend had preoccupied him since his return, had shaken him, had forced him to doubt and self-examination. He was his equal; Narcissus had given him nothing that had not been given back to him many times over.

The friend who had ridden off left him much time for thought. Weeks passed. The chestnut tree had long since lost its blossoms; the milky lightgreen beech leaves had long since turned dark, firm, and hard; the storks long since had hatched their young on the entrance tower and taught them to fly. The longer Goldmund stayed away, the more Narcissus realized how important he had been to him. He had several learned fathers in the house, an expert on Plato, an excellent grammarian, and one or two subtle theologians. And there were among the monks a few faithful, serious, honest souls. But he had no equal, no one with whom he could seriously measure himself. This irreplaceable thing only Goldmund had given him. It was hard to renounce it again now. He thought of his absent friend with longing.

Often he went to the workshop, to encourage the assistant Erich, who continued working at the altar and eagerly awaited his master's return. Sometimes the Abbot unlocked Goldmund's room, where the Mary figure stood, lifted the cloth from the figure carefully and stayed with her awhile. He knew nothing of the figure's origin; Goldmund had never told him Lydia's story. But he felt everything; he saw that the girl's form had long lived in Goldmund's heart. Perhaps he had seduced her, perhaps betrayed and left her. But, truer than the most faithful husband, he had taken her along in his soul, preserving her image until finally, perhaps after many years in which he had never seen her again, he had fashioned this beautiful, touching statue of a girl and captured in her face, her bearing, her hands all the tenderness, admiration, and longing of their love. He read much of his friend's history, too, in the figures of the lectern pulpit in the refectory. It was the story of a wayfarer, of an instinctive being, of a homeless, faithless man, but what had remained of it here was all good and faithful, filled with living love. How mysterious this life was, how deep and muddy its waters ran, yet how clear and noble what emerged from them.

Narcissus struggled. He mastered himself; he did not betray his calling. He deviated in no way from his strict service. But he suffered from a sense of loss and from the recognition of how much his heart, which was to belong only to God and to his office, was attached to his friend.