The Project Gutenberg eBook of Christmas in Austria; or, Fritzl's friends This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Christmas in Austria; or, Fritzl's friends Author: Frances Bartlett Illustrator: Bertha Davidson Hoxie Release date: October 6, 2022 [eBook #69097] Language: English Original publication: United States: Dana Estes & Company, 1910 Credits: Charlene Taylor, Krista Zaleski, Thiers Halliwell and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) *** START OF THE PROJECT GUTENBERG EBOOK CHRISTMAS IN AUSTRIA; OR, FRITZL'S FRIENDS *** [Illustration] Christmas in Austria or Fritzl’s Friends [Illustration] BY FRANCES BARTLETT ILLUSTRATED BY BERTHA D. HOXIE [Illustration] BOSTON DANA ESTES & COMPANY PUBLISHERS _Copyright, 1910_ BY DANA ESTES & COMPANY _All rights reserved_ CHRISTMAS IN AUSTRIA _Electrotyped and Printed by THE COLONIAL PRESS C. H. Simonds & Co., Boston, U.S.A._ CHRISTMAS IN AUSTRIA OR FRITZL’S FRIENDS CHAPTER I On the snow covered stones of the Stephansplatz of Vienna, Fritzl and Tzandi danced joyously. The boy Fritzl because it was Christmas Eve. Because also in the rapid motion his little body forgot how poorly it was clad. While Tzandi, the terrier of “Schottisch” or Scottish ancestry, danced because anything his small master did was pleasing in his sight, and to be copied, if possible. Under Fritzl’s chin was tucked a violin; and as the boy danced he played snatches of melody: bits of Hungarian folk songs, and bars of the waltzes the Viennese love, which set the feet of the passers-by moving more swiftly. But not one kreutzer had been slipped into the boy’s hand, although it was Christmas Eve. Now Fritzl and Tzandi had no home. For only that Christmas Eve, the cross old woman, of whose cellar they had made a pitiful refuge, had warned them of what they might expect, if they came within her house again. Indeed, neither Fritzl nor Tzandi could remember any home save the cellar, and before that, the attic where they had lived with the blind musician, who, dying, had left his cherished violin to the little boy, whose heart and fingers were overflowing with music. “I tell you what, Tzandi,” cried Fritzl, as toward midnight boy and dog sought shelter in one doorway after another of the Stephansplatz, only to be driven forth: “There’s a lovely corner by the Riesenthor! I forgot all about it till now. Let’s go there, it’s the very place! ’Course Santa Claus will go through that very door into the cathedral, and can hear us when we tell him we’re waiting for him. Why, just as easy, Tzandi!” So they crept into one of the sculptured niches of the “Giant’s Gate,” where the great wings of the angels announcing the birth of the Christ Child made an insufficient shelter. Suddenly the carved portals opened, and one of the sacristans of the cathedral came forth, and looked about the now almost deserted square. Then like two little spirits, Fritzl and Tzandi slipped into the porch, and from there into the solemn church. Once Tzandi looked up anxiously into his master’s face, as if he feared that Santa Claus might not find them there. “Of course he will,” laughed Fritzl, answering the dog’s silent question; “Why, I’m surprised you didn’t know he’ll be sure to come in here to say ‘Merry Christmas’ to the Blessed Mother, first thing in the morning!” Tzandi wagged his tail in relief, as if his last fear were quieted. Like shadows, through the shadows of the vast nave passed boy and dog, straight to the statue of the Blessed Mother. And upon the pavement at her feet, safely hidden in the shelter made by the sculptures of her shrine, they nestled closely against each other. “Now isn’t this the very beautifullest place in all the world to be in Christmas Eve?” asked Fritzl drowsily, dropping his head upon Tzandi’s shaggy hide. And Tzandi, already half asleep, wagged his tail blissfully. CHAPTER II “Merry Christmas! Merry Christmas! It’s time to get up, little master,” barked Tzandi, as the first pale gleams of the Christmas sunrise crept through the painted window above the high altar of St. Stephans. “Merry Christmas! Merry Christmas! So it is,” answered Fritzl sleepily; “but does your head too feel awful funny, Tzandi? All light and hot? And your feet all cold and heavy?” By a languid wag of his tail, Tzandi assured his master that all was indeed as he had said. “I tell you what it is,” said the boy; “we’re just hungry. And Santa Claus hasn’t come. I s’pose there are so many children in Vienna, he couldn’t help being late getting around to us. Oh, but don’t you wish he’d come!” A frantic wagging of Tzandi’s tail, and the thrusting of his cold nose into his master’s hand, answered as plainly as words could have done. “Let’s go out to the Stephansplatz,” went on Fritzl, rising weakly to his feet; “and I’ll play, and you shall dance, and surely, Christmas morning, someone will give us some kreutzers. And--and--” The words trailed off drowsily. The boy shook himself impatiently. “I never felt so sleepy as this before,” he thought; “and Christmas too!” Then after an awkward little “reverence” before the Blessed Mother, and a “Merry Christmas” whispered softly to her, Fritzl went down the broad nave to the Riesenthor, pushed open one of its portals slowly, and with his violin held closely to him, and followed by Tzandi, went without, and stood, a forlorn little figure, upon the broad stone step. The hour for early mass had not yet come, but the Stephansplatz was already filled with people, singing Christmas carols. The booths were fringed with evergreen; every window was a blaze of color; and the people, as they walked or danced along, waved boughs of hemlock, so that the square looked almost as if the long vanished pine forests were once more growing in Old Vienna. “Now what did I tell you, Tzandi,” Fritzl cried triumphantly, if somewhat shakily. “Just look at all those boys and girls! ’Course Santa Claus hasn’t forgotten us, but he couldn’t help being a bit late, Tzandi dear. Any minute now, he may come!” Suddenly, from the direction of the Graben, came the sound of cheering. The crowd opened, like great waves parted by some mighty wind, and into the Stephansplatz came a closed carriage drawn by two black horses. Slowly it passed along, the white-haired man within bowing kindly to right and left, straight to where Fritzl and Tzandi waited, at the Riesenthor. At the foot of the steps, the carriage stopped. A groom in quiet livery opened the door. And wrapped in furs from head to feet, the white-haired man stepped out. Beneath his bushy eyebrows, eyes as clear and blue as those of a child looked forth. And the lips under the heavy white moustache were smiling, as he mounted the steps. Fritzl gave a little gasp of pure delight. Deaf to the words the crowd were crying, of the identity of the white-haired, fur-wrapped figure, he had no doubt. It must be Santa Claus. The relaxed little figure straightened; the thin little hands were outstretched; and lifting his happy eyes to the friendly ones looking straight into them, Fritzl cried: “Tzandi, Tzandi, he’s come!” And fell, a limp little heap, at the feet of “Unser Franz.” [Illustration] CHAPTER III Just about the time when Fritzl and Tzandi waked, that Christmas morning, two little children within the palace at Schönbrunn were welcoming the Christ Child’s Day. One, a boy of eleven, known throughout Austria-Hungary as “the little lame Prince,” was the Archduke Maximilian. The other, a girl of nine, was the Archduchess Elizabeth. But to each other, and the imperial family at Vienna, they were known as “Max” and “Betty.” [Illustration] Max had been the first to waken; but for a time he laid very still, cuddled within the soft blankets of his bed, his young heart beating happily, at the thought of what the day was to bring to him. Ever since he was born, the little Prince had been crippled. But for nearly two years, the famous surgeon of the Kinderspitzel of Vienna had been treating him; and this Christmas Day he was to walk, for the first time in his life. And all the great empire of Austria-Hungary was waiting for the test, almost as eagerly as he. For when the good Emperor, his grandfather, should cease to reign, Max would be “Unser Kaiser” to millions of people. Suddenly there came a knock at the door. “Merry Christmas, and come in, Betty!” called Max excitedly. And a small girl, crying as excitedly, “Merry Christmas, Maxchen, and I knew perfectly well you’d say it first!” pushed open the door, and running across the room, threw herself down by Maxchen’s bed, flinging her soft arms around her brother’s neck. “Oh, Betty, Betty,” he cried, as he nestled against her, “it seems almost too good to be true! Only it must come true, mustn’t it, Christmas Day?” “’Course it must,” agreed Betty stoutly; “why, didn’t the Herr Doctor tell you it would come true, this very day?” “Yes,” breathed Max softly. “And there’s nothing in the world, the Herr Doctor doesn’t know,” declared Betty; “and I love him.” “So do I,” cried Max; “almost as much as Grandpapa Franzchen!” For by that name, born of affection, was the august Emperor of Austria-Hungary known to his grandchildren. “Betty,” the boy cried abruptly, “the very first race we’ll run will be from there,” pointing to the “Gloriette,” shining like a jewel in the sunrise light,--“straight to the edge of the lily pond. And--and--I’ll beat you, you little girl!” “Can’t!” answered Betty, stretching out her slim straight legs, and looking at them with confidence. “Can!” Max cried delightedly. And then they both laughed, and cuddled together more closely. “Do you remember,” Max went on, “that boy we watched, in the rose garden, running races with his dog, one day last summer? The boy with a violin under his arm?” Yes, Betty remembered. “My, how he ran!” sighed Max, “and we called and called to him, and finally made ‘Goggles’” (this the most dignified of the tutors of the Prince) “go after him. But of course he couldn’t run fast enough, and the boy got quite away. I wish I could find that boy. Betty,” rising on one elbow, “when I walk, I will! I do so want that boy and that dog!” “Why,” laughed matter-of-fact Betty, “you’ve heaps of boys to play with, and heaps of dogs!” “But not one boy who can play the violin. And not one dog that can dance.” “Well, that dog was a dear,” Betty agreed cordially; “and--why, Maxchen,” she went on, “we’ll ask Grandpapa Franzchen to get the boy and the dog for us, this very Christmas Day. We’ll--” But the little maid’s blithe voice was interrupted by the sound of footsteps in the corridor. The door opened softly, “His Majesty the Emperor and the Herr Doctor,” was solemnly announced. And into the sunlit room, two stately men came. We know quite well how “Unser Franz” looked. We saw him, that very morning, speaking kindly to Fritzl and Tzandi, at the Riesenthor. “Merry Christmas--Merry Christmas, dear Grandpapa Franzchen and dear Herr Doctor!” cried the children. And Betty slipped quickly to the floor, and curtsied demurely to the Emperor. “Merry Christmas, Merry Christmas!” returned the Emperor and Doctor gaily, who had wisely given the children the longed-for chance to say it first. Then the old Kaiser caught Betty up in his arms, and kissed her forehead. “Now God bless thee, Liebchen,” he said, seating himself in the great chair beside the bed, and bending over and kissing Max on both his cheeks. Then, with an arm around each grandchild, he looked up at the Herr Doctor, standing straight and tall beside him. A very king of men was the Herr Doctor, with stalwart shoulders, and kindly grave eyes, the color of the sea, when the sky is clouded. “Well, your Highness,” he said, in a voice as tender as his eyes, “all ready to walk to-night?” “Yes, sir,” answered Max bravely, but nestling closer against his grandfather. Then the Herr Doctor looked down into the anxious face of the old Emperor. “Your Majesty need have no fear of the result of to-night’s test,” he said softly, “the little lad will walk.” “And Grandpapachen,” cried Betty, breaking into the solemn pause which followed, “he’s going to run races with the boy and the dog! The boy with the fiddle, and the dog that can dance, you know,” she explained rapidly. “Why, Grandpapa Franzchen,” stroking his white hair with her dimpled hand, “Max wants that boy and that dog, _so!_ Please get them for him, dear Grandpapa Emperor!” When Betty commenced her story of the races to be run with a boy who carried a violin, and a little dog that could dance, a strange look had flashed into the Emperor’s eyes. This deepened to one of amazement, and then his whole face glowed with the thought within his heart. It seemed that he was going to be able to give even more pleasure than he had hoped. “Well, Maxchen,” he laughed, “thou hast set thy grandfather a hard task! To find, in his great city of Vienna, a boy who plays the fiddle and who has a dog that dances! But he will try, Liebchen,” patting his grandson’s head softly. “Would you know them, should you see them again, little ones?” he cried, quite as excited now as the children. “Why, of course we would,” laughed Betty, for herself and Max too: “there are only--_they_--you know, Grandpapa dear!” “I will commence to search for them this moment,” announced the Emperor gaily, lifting Betty to the floor and rising from his chair, “and the Herr Doctor shall help me! But what wilt thou do with them, beside run races, should I find them for thee?” he asked Max. “I will make them happy,” said the little lame Prince. As the two men were leaving the room, the Herr Doctor turned. “Your Highness,” he said, “where will you go first, when you walk to-night?” “To my Emperor,” answered the boy proudly, raising one little hand in salute. CHAPTER IV Fritzl lifted his heavy eyelids, and looked about him, first languidly, then wonderingly. Gone were the Riesenthor and the Stephansplatz, and in place of them was a quiet room, lined with books and hung with tapestries. But the friendly eyes into which his gazed were still those of “Santa Claus,” and the friendly hand which had touched his bare head on the steps of the Giant’s Gate, held one of his own. His violin lay on the couch beside him, while a warm little tongue licking his hand, and the subdued but joyous thumping of a stubby tail against the polished floor, told that Tzandi was near. So, all his fears relieved, Fritzl looked up happily to the man who sat beside him, and asked: “Is this your house, dear Santa Claus?” “I shall have to tell him,” said “Unser Franz” to himself. Then aloud: “Yes, little lad, it is my house. But it is the palace of Schönbrunn, and I am only the Kaiser.” “Well, I s’pose you can’t help it,” sighed Fritzl, “but I truly thought you were Santa Claus. You look exactly like him!” “Thank you,” replied the Emperor meekly, “and I will try to be like him. Indeed, he sent me to thee, little lad, so do not be disappointed. Another year thou shalt surely see him. I--your Emperor--promise thee. And now, what wilt thou choose first as a gift from him?” “Something to eat for Tzandi and me,” leapt the swift reply. “Bless my heart,” laughed “Unser Franz,” ringing a silver bell on the table beside him. Then, as a servant appeared, he said, “Bring broth and bread and milk for the little lad.” “Oh, yes,” he went on, answering the question in Fritzl’s eyes, “Tzandi has already eaten all that he possibly could.” Then while Fritzl, propped with pillows on the broad lounge, ate hungrily, they talked together. “What is thy name, little lad?” [Illustration] “Fritzl, sir--I mean, Your Majesty,” remembering the words he had heard the servant use. “Fritzl--and what else?” “Nothing else,” firmly, “just Fritzl.” “But who were thy father and mother?” “I never had any,” the boy answered gravely. “Once there was Josef, the blind fiddler, but since he went to heaven, there’s only been just the violin and Tzandi and me.” “And what art thou going to be, when thou art a man?” “A great violinist!” flashed the prompt answer. “And so thou shalt be, little Fritzl, if I can help thee to it.” When the boy had eaten the broth and bread, “Unser Franz” rose. “Now stay thou here, child, and rest,” he said; “after I have wished my own dear little ones ‘Merry Christmas,’ I will come back to thee.” But the Emperor returned sooner than Fritzl had expected. “For what dost thou think our Prince wishes most, this Christmas morning?” he said excitedly, “why, a little boy who can play the fiddle, and a little dog that can dance. Come thou with me straight to him, Fritzchen!” [Illustration] Tucking his violin carefully under his arm, the boy slipped one small hand into the hand of the Emperor, and followed by Tzandi, they went from the room. At the end of a long corridor, the Emperor stopped before a closed door. “Go thou in alone, Fritzl,” he said softly, opening the door: “there are two little friends within who will welcome thee.” Very quietly, as if nothing more could surprise him, that day of miracles, Fritzl crossed the threshold, and stood within the room. At one of the bay windows overlooking the terraced garden, sat the little lame Prince and his sister, their curly heads bent over a book. “The dog looks something like the one that boy had,” Fritzl heard the Prince say wistfully. “Only he hasn’t such a dear funny tail as--” But Betty never finished her sentence. Tzandi, having been quiet as long as seemed to him desirable, gave a soft little whine. The brother and sister turned swiftly. “It’s the boy with the violin!” cried Max. “It’s the dog!” cried Betty. CHAPTER V “I told you so, Maxchen!” Betty announced triumphantly, as a half hour later, explanations having been finished, the three children and Tzandi clustered on the tiger skin, before the fire of pine logs. “I told you Grandpapa Franzchen would bring them to you. There isn’t anything in this world he can’t do. And now, Fritzl, commence at the very first beginning, and tell it all over again!” “Oh, poor Fritzl,” she cried, slipping a warm hand into his, as he came to that part of his story, where Tzandi and he were driven out of the doorways, in which they had sought shelter, the night before. “Poor little Fritzl,” echoed the Prince, “all cold and lonely!” “I wasn’t exactly lonely,” said Fritzl loyally, looking down at Tzandi at his feet, sleeping the sleep of a well-fed dog, “but I was awful hungry!” “Well,” cried the small Archduchess stoutly, “it was the very last time, Fritzl. You sha’n’t be hungry or cold any more, ever again!” “Sit thou closer to me, Fritzchen,” commanded the Prince: “now I will tell thee my story.” Then he told Fritzl how he had never been able to run or walk like other boys. How, for nearly two years, the famous surgeon had been treating him. How, that very Christmas night, he was to walk for the first time. “But if he fail?” faltered Fritzl, tears of anxiety in his eyes and voice. “He will not fail,” the Prince said proudly: “he never fails anyone--my Herr Doctor! And now, Fritzl,” all a boy’s love of fun flashing into his eyes, “make Tzandi dance!” And _how_ Tzandi danced! Back and forth, up and down the room, while Fritzl fiddled merrily, and Max and Betty clapped their hands in delight. For Tzandi realized that the time had come for him to do honor to his little master’s training, and never did a dog dance as he, that Christmas Day! He was still waltzing blithely, his fore paws waving ecstatically in the air, when the Emperor came into the room. “I have come to hear thee fiddle, Fritzl,” he said, taking Betty into his arms, and seating himself in the great arm-chair beside the Prince. “Play me one of the dances my children of Hungary love.” So Fritzl played, standing proudly yet very modestly before his Kaiser. And the old Emperor, closing his eyes, saw once more that village on the Danube, where, a boy about the age of the three children, he had been taught to dance the czardas; heard once more the chant of the pines, and the laughter of the Hungarian peasants, who had danced with him. “Little lad,” he said, as the song died plaintively away, “God has given thee the greatest of his gifts. And now,” he went on, “play that which shall make these children think of the brave deeds of their ancestors.” And Fritzl played: deep chords and crashing measures, underneath which was the tramp of feet, and the clash of sword blades. “Grandpapa, Grandpapa,” cried Max excitedly, “canst thou not hear them? The tramp of the men and the tramp of the horses of Rudolph, going forth to victory over Ottokar of Bohemia?” [Illustration] “Oh, and the sound of swords drawn swiftly,” Betty cried, nestling closer into her grandfather’s arms. “And now,” said “Unser Franz” softly, “play thou that song which neither thou nor these other little orphaned ones ever heard. The song that mothers sing.” Again Fritzl played: and the sound was like the ripple of quiet waters, like the rustle of rain-drenched poplar leaves, like the cadence of a woman’s voice, hushing her little child to sleep upon her breast. Again the Emperor closed his eyes, and saw his mother’s face, and heard the song his beautiful wife used to sing to their only son, long dead. Then, brushing the tears from his eyes, he cried cheerily to Fritzl: “Play thou the ‘Kaiser Hymn!’ And then,” kissing the forehead of the boy beside him, “the Prince must rest.” Fritzl drew himself to his tallest, tucked his violin more firmly under his chin, and to its measures sang in his clear young voice, the other children joining eagerly,-- “Gott erhalte, Gott beschütze, unsern Kaiser, unser Land!” CHAPTER VI In the “Blue Salon” of Schönbrunn, the imperial family awaited the coming of the Emperor and the Prince, talking together softly, not only of “Maxchen,” as they called him lovingly, but of Fritzl, whose story had spread throughout the palace. At last, the Hofmeister threw open impressively the east door of the salon, and across its threshold, and down the pathway made for him by his family, the Emperor passed slowly. Lightly holding his right hand, trying to walk demurely, but fluttering along like a white rosebud softly blown, was the little Archduchess Betty. Tightly clinging to his left hand, walked a boy, holding a violin. Behind, went the Archduke Max, in his wheeled chair, and beside him was the great surgeon. At the dais, on one side of the salon, the three children and the Herr Doctor halted, while the Emperor mounted its steps, and bowing to those assembled, who curtsied and bowed deeply in return, took his seat upon the golden throne. It was all very solemn and stately. And Fritzl felt rather lonely. He missed Tzandi, among all these strange and awe-inspiring people. “I wonder,” he thought to himself, “if they’re both dreams--last night, in the Stephansplatz, and here, to-night!” Now just at that moment there came the sound of subdued but excited voices at the east door of the salon. The dignified Hofmeister was seen to plunge wildly forward, in a vain attempt to bar the way. And then--and then--(as long as he lives, Fritzl says he can never forget the mingling of surprise and joy and shame which flooded his heart) a little terrier dog, ears and tail erect in the pride of victory, trotted through the door, and across the room to the three children, grouped at the foot of the throne. Looking up into Fritzl’s scarlet face, he wagged his stumpy tail joyously, and giving three sharp little barks of salutation, sat up on his hind legs, his fore paws waving politely. One ear erect, the other drooping in that deprecating fashion, which means that a little dog knows he is doing what he should not, but really can not help it. How he reached his master remains a mystery unto this day. But there he was. Laughing heartily with the rest, the Emperor said, “Although an uninvited, thou art a welcome guest, Monsieur Tzandi!” While Max and Betty patted his shaggy head, as he trotted from one to the other, licking their hands with his soft red tongue. Suddenly, the Emperor nodded to the Herr Doctor. The face of the little Prince grew white; but there was no trace of fear or doubt in the blue eyes, lifted to the great surgeon’s face. Betty tried to smile bravely at him, creeping closer to Fritzl, and slipping her hand within his. While to Fritzl himself it seemed as if everyone must hear the beating of his heart, so frightened was he. Then, very tenderly, the Herr Doctor lifted the Prince from his wheeled chair, and stood him carefully on the dais, a few feet from the Emperor’s throne. Involuntarily, both Betty and Fritzl moved nearer, each stretching out a trembling hand as if to help him. But Max stood steadily. “Maxchen, Maxchen,” called softly the Emperor, his face as white as his snowy hair, “come thou to me, dear child!” [Illustration] The boy gave a last look into the good Doctor’s eyes, which were strangely dim. “Go thou, little lad,” said the surgeon gently. Then the Prince walked bravely into his grandfather’s outstretched arms. CHAPTER VII When the tumult of congratulation had somewhat subsided, and Max had walked proudly back to the great surgeon (happiest perhaps of all those present), the Emperor rose, and silence fell upon the room. His voice trembled a little, from excitement and relief, but the fresh color had come back to his kind face. “Good friends and mine own people,” he said, “of that which the Herr Doctor has done for the Prince--for me--for you--for the empire--I can not speak. There are no words for that which is within my heart. Only my life henceforth can prove its gratitude.” Then beckoning to Fritzl, who mounted the steps of the dais fearlessly, and stood beside him, the Emperor continued: “Somewhat over a hundred years ago this Christmas night, a little lad, one Mozart, sat at yonder spinet, and played to our great Empress and her children. To-night, a little lad shall play to you. This little lad, Fritzl, whom I believe God means to become as great a musician, as became that child of long ago. He has known cold and hunger and neglect. But he has been a brave lad, and none of these things shall he ever know again.” “Now Fritzchen, play to these thy friends,” he commanded kindly, reseating himself upon his golden throne. Slim and straight, in his suit of black velvet, Fritzl stood beside him, looking about the brilliant room. At first he was timid and the little hand which raised the violin to his shoulder trembled. But looking into the gentle face beside him, and down at the smiling ones of the good Herr Doctor, Max and Betty and Tzandi, he thought of nothing but pleasing them. So, wholly forgetting himself, he cuddled his violin closely under his chin, and whispering to it lovingly, played. Played as he had played that afternoon, in the quiet chamber to the Emperor and his grandchildren; and all curiosity and indifference died away, and those who listened, held their breath in surprised delight. For he brought to them the cool sweet breath of pine woods, the ripple of April leaves, the sound of voices long unheard but never to be forgotten. And when at last, at the Emperor’s request, he played “the song that mothers sing,” into many eyes which for long had not felt them, crept tears. Then his bow dropped and he looked wistfully into the Emperor’s face. There was a moment of absolute silence, and then the room re-echoed with applause. It came with such a crash that once more Fritzl was frightened, and shrank closer to the Kaiser. Seeing the boy was overwrought, “Unser Franz” said quickly, “Now he shall play for you the noblest hymn our ‘Vater Haydn’ ever wrote. And then, the little ones shall dance!” [Illustration] Once again, Fritzl lifted his shining bow. The voices of the people joined that of the violin, and “Gott erhalte, Gott beschütze” rang through the room, as it had never before been sung there. For every heart rejoiced that the little Prince could walk, and they knew that to the lad who played to them, God had given the gift of genius. Then the Emperor ordered the salon prepared for the children to dance. The older members of the imperial family made their obeisances and departed. And at last, only the children of the house of Habsburg and a few of the younger matrons remained with the Emperor. Once more the great Christmas tree blazed with candles, while about it danced the children hand in hand. Then Fritzl tuned his violin carefully. “May I play for them to dance?” he said. “Unser Franz” nodded a smiling consent. Then, back and forth over the tense strings flew the gleaming bow, and the waltz the elder Strauss wrote for the music and dance loving Viennese, and which they love above all others--“Die Schöne Blaue Donau”--vibrated through the Blue Salon. Back and forth, like butterflies, danced the children, curls and ribbons blowing, little feet twinkling on the polished floor, while the Emperor beat time on the arms of his throne and smiled happily, greeting them all as they fluttered by. At the foot of the throne, two boys watched the dancing. The “little lame Prince,” lame no longer. The little “waif,” a waif no longer, and to-day, one of the world’s great violinists. “Thou wilt be dancing with them, next Christmas, Liebchen,” said the Emperor, patting his grandson’s curly head. “Ye-e-s, sir,” assented Max, without enthusiasm; “but oh, Grandpapa Franzchen,” he cried excitedly, “I’d rather run races in the garden with Betty and Fritzl and Tzandi!” “Well, thou canst do both,” laughed “Unser Franz.” “Oh dear me,” sighed Betty, as the candles having burnt low in the sconces, and upon the great tree, the last good nights were being said: “Christmas is all over!” “It will come again next year, little sister, it always does,” consoled Max, “and next year it will be nicer for Fritzl, because he missed the Christmas tree last night, you know, Betty!” “It _couldn’t_ be nicer,” cried Fritzl, smiling gratefully at the little brother and sister: “it’s the very most beautifullest Christmas that ever was!” And Tzandi, whirling delightedly on his hind legs, barked an ecstatic assent. [Illustration] Transcriber’s Notes Italics are represented thus _italic_. The following corrections have been applied to the text: Page 12 - ...“Now God bless thee, Liebchen,’... _changed to_ ...“Now God bless thee, Liebchen,”... Page 12 - ...demurely to to the Emperor.... _changed to_ ...demurely to the Emperor.... Page 28 - ...the lad who played to them’... _changed to_ ...the lad who played to them,... *** END OF THE PROJECT GUTENBERG EBOOK CHRISTMAS IN AUSTRIA; OR, FRITZL'S FRIENDS *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.