Stool, Veil, Harp, Mirror
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Nicht lange, so trat eine der schönen Dienerinnen Liliens hervor, brachte den elfenbeinernen Feldstuhl, und nöthigte, mit freundlichen Gebärden, die Schöne sich zu setzen; bald darauf kam die zweyte, die einen feuerfarbigen Schleier trug und das Haupt ihrer Gebieterin damit mehr zierte als bedeckte; die dritte übergab ihr die Harfe, und kaum hatte sie das prächtige Instrument an sich gedrückt, und einige Töne aus den Saiten hervorgelockt, als die erste mit einem hellen runden Spiegel zurückkam, sich der Schönen gegenüber stellte, ihre Blicke auffing und ihr das angenehmste Bild, das in der Natur zu finden war, darstellte. Der Schmerz erhöhte ihre Schönheit, der Schleier ihre Reize, die Harfe ihre Anmuth, und so sehr man hoffte ihre traurige Lage verändert zu sehen, so sehr wünschte man ihr Bild ewig wie es gegenwärtig erschien, fest zu halten.
Not long after, one of Lily's beautiful maidservants stepped forward, brought the ivory camp-stool, and with friendly gestures urged the fair one to sit down; soon after came the second, who carried a fire-coloured veil and with it adorned rather than covered her mistress's head; the third handed her the harp, and she had scarcely pressed the splendid instrument to her and coaxed a few tones from the strings, when the first came back with a bright round mirror, placed herself opposite the fair one, caught her glances and presented to her the most pleasing image to be found in nature. Grief heightened her beauty, the veil her charms, the harp her grace, and as much as one hoped to see her sad situation changed, so much did one wish to hold her image fast forever as it now appeared.
Lily's three maidservants come forward one after another with a camp-stool, a veil, a harp and a mirror, composing her grief into a picture.
<p>The maidservants do not console Lily; they arrange her. One brings the ivory stool, the second sets the fire-coloured veil so that it zierte mehr als bedeckte, adorned more than covered, the third hands her the harp, and the first returns with the round mirror. Prop by prop a weeping woman is composed into a finished picture of grief, and the German keeps the ladder explicit: der Schmerz erhöhte ihre Schönheit, grief heightened her beauty, the veil her charms, the harp her grace.</p><p>The last sentence names the double edge, and it is the undercurrent: one hopes to see her sad situation changed and at the same time wishes to hold her image fast forever, ewig. That is the oldest conflict in art, between helping the sufferer and admiring the suffering. The mirror is the sharpest detail; Lily is shown her own sorrow as the most pleasing image in nature, and for a moment she looks at it.</p>
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