But how is it? If the antagonism of those elements that increase life and those that weaken it is necessary, must they therefore exist eternally beside each other, and to which side will the final victory incline? "If ye knew what I know, ye would weep much and laugh little:" with these words of Mohammed's _Abu Telfan_ closes. Accordingly the ideal, symbolized in _The Hunger Pastor_ by the cobbler's luminous ball that accompanies Hans Unwirrsch everywhere, here finds only a place of refuge in the secluded "Katzenmühle" (cat's mill). Deep resignation is the predominant mood of this work. And in the _The Dead-Wagon_ the place of the shining ball is taken even by the hearse, and the motto of this book is, "The _Canaille_ is lord and remains lord." Antonie Häusler falls into the power of her rascally grandfather, and attempts to rescue her fail. Nevertheless chevalier von Gläubigern reports to Jane Warwolf: "I got there in time, she is happy! Believe no one who tries to tell you that she died in misery. * * * Pay no attention to Hennig and those others about us, they know nothing * * *" The chevalier is right. Antonie died, but in the triumph of martyrdom, and this triumph, still and unnoticed as it was, continues to burn in the hearts of the three old people whom we leave at the end of the novel in the home for the old and sick in Krodebeck. The circle of our trilogy is closed. Light and darkness war against each other in all three parts. In _The Hunger Pastor_ love and work finally win both external and internal victory; in _Abu Telfan_ we are left full of worry that light is diminishing more and more; in the _The Dead-Wagon_ the deepest shadows prevail, the noble and the life-affirming forces experience external defeat, but they remain unconquerable in themselves.