"Oh, but I shall hope to see you again. You must come and say good-bye to me. Now I must leave you."
"Good-bye, and again thank you," she said.
She came with me to the door, and down the stairs. Max walked in front, and went on to open the door and see that my carriage was in readiness. For an instant I clasped her hand.
"I shan't see you again," she whispered. "Good-bye."
I left her standing on the lowest step, her head proudly erect and a smile on her lips. It was as she said, I did not see her again; for they went to the country the next day, and when Max came to take a formal leave of me she excused herself on the score of indisposition.
To complete the picture I ought to describe the wrath of those who had formed Hammerfeldt's _entourage_, the gleeful satisfaction of the opposing party, the articles in the journals, the speculations, guesses, and assertions as to my reasons, temper, intention, and expressions. I should paint also my mother's mingled annoyance and relief, vexation that I favoured the Liberals, and joy that the Countess von Sempach went to Paris; Victoria's absolute bewilderment and ineffectual divings and fishings for anything that might throw light on so mysterious a matter; William Adolphus' intense self-complacency in my following of his advice, accompanied by a patronizing rebuke for my having thought it necessary to "do it so abruptly." All these good people, as they acted their little parts and filled their corners of the stage, had their own ideas of the meaning of the play and their own estimate of the importance of the characters. They all fitted into their places in my conception of it, so that not one was superfluous; all were needed, and all worked in unconsciousness to heighten the irony, to point the comedy, and to frame the tragedy in its most effective, most incongruous setting. For in this real life the stage-manager takes no pains to have all things in harmony nor to lead us through gradual and well-attempered emotions to the climax of exalted feeling, nor to banish from our sight all that jars and clashes with the pathos of the piece. Rather he works by contrasts, by strange juxtapositions, by surprises, careless how many of the audience follow his mind, not heeding dissatisfaction or pleasure, recking nothing whether we applaud or damn his play.