then convinced, that my path as an author would also be a lonely one up to the end of my life. What I was looking for, could not be found in daily life. What I wanted was something absolutely beyond a common person. And what I deemed right, was most probably wrong for other people. Furthermore, I could not forget that I was a convicted criminal. Therefore, to stay entirely to myself and not to bother any more valuable people with my presence, seemed to be the natural thing to do. I was no expert on art. Perhaps, the others were right; I could be mistaken. In any case, my ideal kept me going: In the end of my life, once I was fully matured, a great, beautiful work of poetry was to be created, a symphony of redeeming thoughts, in which I ventured to produce light out of my darkness, happiness out of my misfortune, joy out of my torment. This was for later, when death will first announce his presence. But for now, my job was to learn, to learn a lot and to prepare myself for this great project, so that it would not fail. Now, I would write fables and parables, in order to extract the truth and the reality out of them in the end of my life and to put these onto the stage! But these parables are not short texts like, for example, those wonderful parables of Christ, but long narratives, in which many characters appear and act out their parts. And they are numerous; they were meant to fill a large number of volumes and supply the material for that other great task, later on, with which I want to conclude my work. Thus, they cannot be carefully executed paintings, but only pen-and-ink drawings, only sketches, first exercises, études [a], which must not be measured by those standards which only apply to genuine works of art. I am neither able, nor willing, nor allowed to be another Paul Heyse [b], who has achieved perfection in this art, but rather my task is to chisel crude blocks of marble and alabaster from highly situated quarries, to be used in subsequent works of art, the shape of which I cannot more than hint, because the time to create them is not yet available to me. I give these very hints in these fables, which are interjected into my narrative parables and form the spots on which the interest of the reader is concentrated. Therefore, art critics do not need to deal with my traveller's tales, because it is not my intention at all to give them an artistic form or even perfection. They have to be like the simple, plain arm- and foot-bracelets of the Arabian women, which are meant to be nothing more than silver rings. Their value is in the metal, not in the work. A painter, hastily drawing sketches in preparation for a great painting, would surely be astonished by a critic, measuring these sketches by the same standards, he would then later have to use on the painting. [a] études: studies, exercises (French) [b] Paul Heyse (1830-1914) won the Nobel Prize for literature in 1910.