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Wandering about, Micawber-like, in hopes that something might turn up, he reached Posen, and there either met or heard of the Polish Count, Ladislas Kasincsky, who was seeking a tutor for his only son. His accomplishments, and perhaps, also, a certain aristocratic grace of manner unconsciously caught from the Baron von Herisau, speedily won for him the favor of the Count and Countess Kasincsky, and emboldened him to hope for the hand of the Countess’ sister, Helmine —-, to whom he was no doubt sincerely attached. Here Johann Helm, or “Jean,” a confidential servant of the Count, who looked upon the new tutor as a rival, yet adroitly flattered his vanity for the purpose of misleading and displacing him, appears upon the stage. “Jean” first detected Otto’s passion; “Jean,” at an epicurean dinner, wormed out of Otto the secret of the Herisau documents, and perhaps suggested the part which the latter afterwards played.

This “Jean” seemed to me to have been the evil agency in the miserable history which followed. After Helmine’s rejection of Otto’s suit, and the flight or captivity of Count Kasincsky, leaving a large sum of money in Otto’s hands, it would be easy for “Jean,” by mingled persuasions and threats, to move the latter to flight, after dividing the money still remaining in his hands. After the theft, and the partition, which took place beyond the Polish frontier, “Jean” in turn, stole his accomplice’s share, together with the Von Herisau documents.

Exile and a year’s experience of organized mendicancy did the rest.

Otto Lindenschmidt was one of those natures which possess no moral elasticity–which have neither the power nor the comprehension of atonement. The first real, unmitigated guilt–whether great or small–breaks them down hopelessly. He expected no chance of self- redemption, and he found none. His life in America was so utterly dark and hopeless that the brightest moment in it must have been that which showed him the approach of death.

My task was done. I had tracked this weak, vain, erring, hunted soul to its last refuge, and the knowledge bequeathed to me but a single duty. His sins were balanced by his temptations; his vanity and weakness had revenged themselves; and there only remained to tell the simple, faithful sister that her sacrifices were no longer required. I burned the evidences of guilt, despair and suicide, and sent the other papers, with a letter relating the time and circumstances of Otto Lindenschmidt’s death, to the civil authorities of Breslau, requesting that they might be placed in the hands of his sister Elise.

This, I supposed, was the end of the history, so far as my connection with it was concerned. But one cannot track a secret with impunity; the fatality connected with the act and the actor clings even to the knowledge of the act. I had opened my door a little, in order to look out upon the life of another, but in doing so a ghost had entered in, and was not to be dislodged until I had done its service.

In the summer of 1867 I was in Germany, and during a brief journey of idlesse and enjoyment came to the lovely little watering-place of Liebenstein, on the southern slope of the Thuringian Forest. I had no expectation or even desire of making new acquaintances among the gay company who took their afternoon coffee under the noble linden trees on the terrace; but, within the first hour of my after-dinner leisure, I was greeted by an old friend, an author, from Coburg, and carried away, in my own despite, to a group of his associates. My friend and his friends had already been at the place a fortnight, and knew the very tint and texture of its gossip. While I sipped my coffee, I listened to them with one ear, and to Wagner’s overture to “Lohengrin” with the other; and I should soon have been wholly occupied with the fine orchestra had I not been caught and startled by an unexpected name.