May 29, 2020

The Mysterious Picture part 3

“Youshall soon have some better fare than that,” answered the Landgrave, “but whereis this donkey of yours?”

“Ileft him on the Grande Place,” Ulenspiegel said, “opposite the palace; and Ishould be most obliged if he could be given lodging for the night, some straw,and a little fodder.”

TheLandgrave gave immediately instructions to one of his pages that Ulenspiegel`sdonkey should be treated even as his own.

Thehour for supper soon arrived, and the meal was like a wedding festival. Hotmeats smoked in the dishes, wine flowed like water, while Ulenspiegel and theLandgrave grew both as red as burning coals. Ulenspiegel also became verymerry, but His Highness was somewhat pensive even in his cups.

“Ourpainter,” said he suddenly, “will have to paint our portrait, for it is a greatsatisfaction to a mortal prince to bequeath to his descendants the memory ofhis countenance.”

“SirLandgrave,” answered

The Mysterious Picture part 5

“Verywell,” said the Landgrave, and at his command the aforesaid notabilitiesappeared. Ulenspiegel took his stand in front of the curtain, which was stillcarefully drawn.

“MyLord Landgrave,” he said “and you, Madame the Landgravine, and you, my Lord ofLuneburg, and you others, fine ladies and valiant captains, know that behindthis curtain have I portrayed to the best of my abilities, your faces, everyone warlike or gentle, as the case may be. It will be quite easy for each oneof you to recognize himself. And that you are anxious to see yourselves is onlynatural. But I pray you, have patience and suffer me to speak a word or twobefore the curtain is drawn. Know this, fair ladies and valiant captains: allyou that are of noble blood shall behold my paintings and rejoice. But if therebe any among you that is of low or humble birth, such an one will see nothingbut a blank wall. So there! And now, have the goodness to open wide your nobleeyes.”


The Mysterious Picture part 4

Thelady went away, and now there appeared a young maid-of- honor, fair, fresh andcomely, only that she lacked three teeth under her upper lip.

“Sirpainter,” said she, “if you do not paint me smiling and showing through myparted lips a perfect set of teeth, I`ll have you chopped up into small piecesat the hands of my gallant. There he is, look at him.”

Andshe pointed to that captain of artillery who a while ago had been playing diceon the palace steps. And she went her way.

Theprocession continued until at last Ulenspiegel was left alone with theLandgrave. The Landgrave said to him, “My friend, let me warn you that if yourpainting has the misfortune to be inaccurate or false to all these variousphysiognomies by so much as a single feature, I will have your throat cut as ifyou were a chicken.”

“IfI am to have my head cut off,” thought Ulenspiegel, “if I am to be drawn andquartered, chopped up into small pieces a

The Mysterious Picture part 2

TheMysterious Picture is found in Section 33 of the First Book. Translated byGeoffrey Whitworth in the volume, The Legend of Tyl Ulenspiegel, published byChatto and Windus, by whose permission it is here used. There is no title inthe original.

The Mysterious Picture

Theretwo captains of artillery were playing dice upon the steps of the palace, andone of them, a red-haired man of gigantic stature, soon noticed Ulenspiegel ashe approached modestly upon his ass, gazing down upon them and their game.

“Whatdo you want?” said the captain, “you fellow, with your starved pilgrim`s face?”

“Iam extremely hungry,” answered Ulenspiegel, “and if I am a pilgrim, it isagainst my will.”

“Anyou are hungry,” replied the captain, “go, eat the next gallows- cord you cometo, for such cords are prepared for vagabonds like you.”

“SirCaptain,” answered Ulenspiegel, “only give me the f

The Mysterious Picture part 1



Itwas not until 1880 that the Belgians could claim to have established anindisputably original literature of their own. Before that time a few nationalwriters, like Henri Conscience, made a sporadic appearance, but either theyjoined the ranks of French writers in Paris or they remained more or lessisolated phenomena in their own country.

Midwaybetween the earlier period and the foundation of Max Waller`s epoch-makingmagazine, La Jeune Belgique, in 1880, stood Charles de Coster, whose Legend ofTyl Ulenspiegel is now regarded as one of the chief sources of inspiration tothe generations that followed. But De Coster died before the opening of theperiod that marks the birth of a genuine Belgian literature.

ModernBelgium is rich in prose fiction. Though Maeterlinck spe-cialized in the dramaand the essay, and Verhaeren was essentially a poet, the most significantproducts of the