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kissed her lips or her hand that she said, “Ach! Ach!” and then “Good-night, dear.” Arrived in his own room, Nathanael would break out with, “Oh! what a brilliant—what a profound mind! Only you—you alone understand me.” And his heart trembled with rapture when he reflected upon the wondrous harmony which daily revealed itself between his own and his Olimpia’s character; for he fancied that she had expressed in respect to his works and his poetic genius the identical sentiments which he himself cherished deep down in his own heart in respect to the same, and even as if it was his own heart’s voice speaking to him. And it must indeed have been so; for Olimpia never uttered any other words than those already mentioned. And when Nathanael himself in his clear and sober moments, as, for instance, directly after waking in a morning, thought about her utter passivity and taciturnity, he only said, “What are words—but words? The glance of her heavenly eyes says more than any tongue of earth. And how can, anyway, a child of heaven accustom herself to the narrow circle which the exigencies of a wretched mundane life demand?”
    Professor Spalanzani appeared to be greatly pleased at the intimacy that had sprung up between his daughter Olimpia and Nathanael, and showed the young man many unmistakable proofs of his good feeling towards him; and when Nathanael ventured at length to hint very delicately at an alliance with Olimpia, the Professor smiled all over his face at once, and said he should allow his daughter to make a perfectly free choice. Encouraged by these words, and with the fire of desire burning in his heart, Nathanael resolved the very next day to implore Olimpia to tell him frankly, in plain words, what he had long read in her sweet loving glances,—that she would be his forever. He looked for the ring which his mother had given him at parting; he would present it to Olimpia as a symbol of his devotion, and of the happy life he was to lead with her from that time onwards. Whilst looking for it he came across his letters from Clara and Lothair; he threw them carelessly aside, found the ring, put it in his pocket, and ran across to Olimpia. Whilst still on the stairs, in the entrance-passage, he heard an extraordinary hubbub; the noise seemed to proceed from Spalanzani’s study. There was a stamping—a rattling—pushing—knocking against the door, with curses and oaths intermingled. “Leave hold—leave hold—you monster—you rascal—staked your life and honour upon it?—Ha! ha! ha! ha!—That was not our wager—I, I made the eyes—I the clock-work.—Go to the devil with your clock-work—you damned dog of a watch-maker—be off—Satan—stop—you paltry turner—you infernal beast!—stop—begone—let me go.” The voices which were thus making all this racket and rumpus were those of Spalanzani and the fearsome Coppelius. Nathanael rushed in, impelled by some nameless dread. The Professor was grasping a female figure by the shoulders, the Italian Coppola held her by the feet; and they were pulling and dragging each other backwards and forwards, fighting furiously to get possession of her. Nathanael recoiled with horror on recognising that the figure was Olimpia. Boiling with rage, he was about to tear his beloved from the grasp of the madmen, when Coppola by an extraordinary exertion of strength twisted the figure out of the Professor’s hands and gave him such a terrible blow with her, that he reeled backwards and fell over the table all amongst the phials and retorts, the bottles and glass cylinders, which covered it: all these things were smashed into a thousand pieces. But Coppola threw the figure across his shoulder, and, laughing shrilly and horribly, ran hastily down the stairs, the figure’s ugly feet hanging down and banging and rattling like wood against