I did not rest, until we were permitted to go once again. The play was "Doctor Faust or God, man, and devil". It would be to no avail, if I attempted to put the impression this play had on me into words. This was not Goethe's Faust, but the Faust of the ancient, traditional tale, not a drama summing up the entire philosophy of a great poet and a bit more, but rather a scream to heaven for redemption from the torment and fear of the worldly life, emerging directly from the deepest depth of the people's soul. I heard, I felt this scream, and I joined in with it, though I was just a poor, ignorant boy, hardly nine years old then. Goethe's Faust would not have been able to tell me, as a child, anything; to be honest, it still does not tell me even today what it probably wanted to tell and should have told mankind; but those puppets spoke loudly, almost too loudly, and what they said was great, infinitely great, because it was so simple, so infinitely simple: a devil, who may only return to God, if he brings that human soul along! And those strings, those strings, which are all reaching upwards, straight into heaven! And everything, everything moving down there is attached to the cross, to pain, torment, the sufferings of this world. Whatever is not attached to this cross is obsolete, is motionless, is dead from heaven's perspective! Of course, the latter thoughts did not occur to me then yet, not for a long time; but grandmother talked in this manner, though not thus clearly, and whatever part of it I did not see vividly before my very eyes, I nevertheless started to sense in some uncertain manner. Being a member of the students' choir, I had to attend church two times on Sundays and holidays, and I enjoyed it. I cannot remember ever having missed any of these religious services. But I am honest enough to say that, in spite of all the spiritually uplifting experiences I had there, I never came home from church with such an indescribably deep impression, as that time from the puppet-show. Since that night, up to this day, I regard the theatre as a place through the gates of which nothing impure, ugly, or unholy must ever intrude. When I asked the cantor, who had thought up and written down this play, he answered that this had not been a single person, but rather the soul of the entire human race, and a great, famous German poet, Wolfgang Goethe by name, had turned it into a wonderful work of art, written not for puppets, but for living human beings. At this point, I quickly interjected: "Cantor, I also want to become such a great poet, writing not for puppets, but for living human beings! How do I have to go about it?" Then, he gave me a long look with an almost pitiful smile and answered: "Go about it however you like, my boy, you'll end up sacrificing your work and your existence for nothing more than puppets most of the time." Of course, I was not able to understand this response until later; but those two nights had