The first day he dined alone in the studio, waited upon by an old woman; the next he was admitted to the family table, with Teufelsbürst and Lilith. The room offered a strange contrast to the study. As far as handicraft, directed by a sumptuous taste, could construct a house-paradise, this was one. But it seemed rather a paradise of demons; for the walls were covered with Teufelsbürst’s paintings. During the dinner, Lilith’s gaze scarcely met that of Wolkenlicht; and once or twice, when their eyes did meet, her glance was so perfectly unconcerned, that Karl wished he might look at her for ever without the fear of her looking at him again. She seemed like one whose love had rushed out glowing with seraphic fire, to be frozen to death in a more than wintry cold: she now walked lonely without her love. In the evenings, he was expected to continue his drawing by lamplight; and at night he was conducted by Teufelsbürst to his chamber. Not once did he allow him to proceed thither alone, and not once did he leave him there without locking and bolting the door on the outside. But he felt nothing except the coldness of Lilith.
Day after day she sat to her father, in every variety of costume that could best show the variety of her beauty. How much greater that beauty might be, if it ever blossomed into a beauty of soul, Wolkenlicht never imagined; for he soon loved her enough to attribute to her all the possibilities of her face as actual possessions of her being. To account for everything that seemed to contradict this perfection, his brain was prolific in inventions; till he was compelled at last to see that she was in the condition of a rose-bud, which, on the point of blossoming, had been chilled into a changeless bud by the cold of an untimely frost. For one day, after the father and daughter had become a little more accustomed to his silent presence, a conversation began between them, which went on until he saw that Teufelsbürst believed in nothing except his art. How much of his feeling for that could be dignified by the name of belief, seeing its objects were such as they were, might have been questioned. It seemed to Wolkenlicht to amount only to this: that, amidst a thousand distastes, it was a pleasant thing to reproduce on the canvas the forms he beheld around him, modifying them to express the prevailing feelings of his own mind.
A more desolate communication between souls than that which then passed between father and daughter could hardly be imagined. The father spoke of humanity and all its experiences in a tone of the bitterest scorn. He despised men, and himself amongst them; and rejoiced to think that the generations rose and vanished, brood after brood, as the crops of corn grew and disappeared. Lilith, who listened to it all unmoved, taking only an intellectual interest in the question, remarked that even the corn had more life than that; for, after its death, it rose again in the new crop. Whether she meant that the corn was therefore superior to man, forgetting that the superior can produce being without losing its own, or only advanced an objection to her father’s argument, Wolkenlicht could not tell. But Teufelsbürst laughed like the sound of a saw, and said: “Follow out the analogy, my Lilith, and you will see that man is like the corn that springs again after it is buried; but unfortunately the only result we know of is a vampire.”
Wolkenlicht looked up, and saw a shudder pass through the frame, and over the pale thin face of the painter. This he could not account for. But Teufelsbürst could have explained it, for there were strange whispers abroad, and they had reached his ear; and his philosophy was not quite enough for them. But the laugh with which Lilith met this frightful attempt at wit, grated dreadfully on Wolkenlicht’s feeling. With her, too, however, a reaction seemed to follow. For, turning round a moment after, and looking at the picture on which her father was working, the tears rose in her eyes, and she said: “Oh! father, how like my mother you have made me this time!” “Child!” retorted the painter with a cold fierceness, “you have no mother. That which is gone out is gone out. Put no name in my hearing on that which is not. Where no substance is, how can there be a name?”
Lilith rose and left the room. Wolkenlicht now understood that Lilith was a frozen bud, and could not blossom into a rose. But pure love lives by faith. It loves the vaguely beheld and unrealised ideal. It dares believe that the loved is not all that she ever seemed. It is in virtue of this that love loves on. And it was in virtue of this, that Wolkenlicht loved Lilith yet more after he discovered what a grave of misery her unbelief was digging for her within her own soul. For her sake he would bear anything—bear even with calmness the torments of his own love; he would stay on, hoping and hoping.—The text, that we know not what a day may bring forth, is just as true of good things as of evil things; and out of Time’s womb the facts must come.
But with the birth of this resolution to endure, his suffering abated; his face grew more calm; his love, no less earnest, was less imperious; and he did not look up so often from his work when Lilith was present. The master could see that his pupil was more at ease, and that he was making rapid progress in his art. This did not suit his designs, and he would betake himself to his further schemes.
For this purpose he proceeded first to simulate a friendship for Wolkenlicht, the manifestations of which he gradually increased, until, after a day or two, he asked him to drink wine with him in the evening. Karl readily agreed. The painter produced some of his best; but took care not to allow Lilith to taste it; for he had cunningly prepared and mingled with it a decoction of certain herbs and other ingredients, exercising specific actions upon the brain, and tending to the inordinate excitement of those portions of it which are principally under the rule of the imagination. By the reaction of the brain during the operation of these stimulants, the imagination is filled with suggestions and images. The nature of these is determined by the prevailing mood of the time. They are such as the imagination would produce of itself, but increased in number and intensity. Teufelsbürst, without philosophising about it, called his preparation simply a love-philtre, a concoction well known by name, but the composition of which was the secret of only a few. Wolkenlicht had, of course, not the least suspicion of the treatment to which he was subjected.
Teufelsbürst was, however, doomed to fresh disappointment. Not that his potion failed in the anticipated effect, for now Karl’s real sufferings began; but that such was the strength of Karl’s will, and his fear of doing anything that might give a pretext for banishing him from the presence of Lilith, that he was able to conceal his feelings far too successfully for the satisfaction of Teufelsbürst’s art. Yet he had to fetter himself with all the restraints that self-exhortation could load him with, to refrain from falling at the feet of Lilith and kissing the hem of her garment. For that, as the lowliest part of all that surrounded her, itself kissing the earth, seemed to come nearest within the reach of his ambition, and therefore to draw him the most.
No doubt the painter had experience and penetration enough to perceive that he was suffering intensely; but he wanted to see the suffering embodied in outward signs, bringing it within the region over which his pencil held sway. He kept on, therefore, trying one thing after another, and rousing the poor youth to agony; till to his other sufferings were added, at length, those of failing health; a fact which notified itself evidently enough even for Teufelsbürst, though its signs were not of the sort he chiefly desired. But Karl endured all bravely.
Meantime, for various reasons, he scarcely ever left the house.