Emilius exclaims, _No bread! Can such things be?_ No other man could have been so ignorant of what goes on in the world, as to marvel at such a common occurrence; yet Emilius, it is quite certain, would be surprised, when awaked from his dreams, to behold the face of real life; so that this exclamation is, as it were, a great toe from which to construct one who is anything rather than a Hercules. Indeed the whole scene of the peasant's marriage, which at first sight may appear like a somewhat idle digression, brought in for no better reason than amusement, is absolutely necessary to the tale as a work of art: it not only shows the character of Emilius in a fresh and important point of view, not only supplies him with fuel, so that he is ready to burn at the approach of the first spark, as for the former scene he had been prepared by the arousal of his feelings in the ball-room; which, besides, cast a mysterious haze over the scene, and leave it half doubtful how much of the crime was actually perpetrated: the peasant's wedding is necessary as a contrast, as a complement, and as a relief to the other marriage; nor can that calm and masterly irony, which is among the first elements in the mind of a great poet, be more clearly manifested, than it is here, where the pomp and rejoicing of the great and wealthy are suddenly turned 'into sorrow and lamentation and dismay;' while the poor and the abashed and the despised are enabled to pass their days in what to them is comfort, and to obtain the enjoyment of a day 'unto which in after-times they may look back with delight.' Everything about the one marriage seems happy; everything about the other seems wretched; but neither is what it seems: they who seem happy are a prey to extravagant and sinful desires; those who seem wretched have moderate wishes, and, though they have offended, have not done it wantonly or in malice; they are making what seems to them the only atonement in their power, and 'the fellow bears the creature the same good-will, though she is such a sorry bit of clay'; therefore the end of each marriage is according, not unto the outward show and promise, but unto that which lies within the heart. It is thus that poetical justice endeavours, so far as it may, to anticipate the sentence of Omniscient justice. LAST WILL AND TESTAMENT.--THE HOUSE OF WEEPING. _From Jean Paul Frederick Richter._