into his hands during the search; but he flung them aside indifferently, found the ring, put it up, and hastened over to Olympia.
Already on the steps, in the hall, he heard a strange noise, which seemed to proceed from Spalanzani's room. There was a stamping, a clattering, a pushing, a hurling against the door, intermingled with curses and imprecations.
"Let go, let go, rascal!—scoundrel! Body and soul ventured in it? Ha, ha, ha! that I never will consent to—I, made the eyes, I the clockwork—stupid blockhead with your clockwork—accursed dog of a bungling watch-maker—off with you—Satan—stop, pipe-maker—infernal beast—hold—begone—let go!"
These words were uttered by the voices of Spalanzani, and the hideous Coppelius, who was thus raging and clamoring. Nathaniel rushed in, overcome by the most inexpressible anguish. The professor held a female figure fast by the shoulders, the Italian Coppola grasped it by the feet, and thus they were tugging and pulling, this way and that, contending for the possession of it, with the utmost fury. Nathaniel started back with horror, when in the figure he recognized Olympia. Boiling with the wildest indignation, he was about to rescue his beloved from these infuriated men, but at that moment Coppola, turning himself with the force of a giant, wrenched the figure from the professor's hand, and then with the figure itself gave him a tremendous blow, which made him reel and fall backwards over the table, where vials, retorts, bottles and glass cylinders were standing. All these were dashed to a thousand shivers. Now Coppola flung the figure across his shoulders, and, with frightful, yelling laughter, dashed down the stairs, so that the feet of the figure, which dangled in the ugliest manner, rattled with a wooden sound on every step. Nathaniel stood paralyzed; he had seen but too plainly that Olympia's waxen, deadly pale countenance had no eyes, but black holes instead—she was, indeed, a lifeless doll. Spalanzani was writhing on the floor; the
