Christmas in Austria; or, Fritzl's friends — Background and Themes
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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.
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?”
“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!”
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.
“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?”
“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!”
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!”
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.
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.
From the opening scene on the snow-covered stones of the Stephansplatz, Frances Bartlett establishes a story built on contrasts: the boy Fritzl dances to keep warm while playing violin snatches of Hungarian folk songs and Viennese waltzes, yet not a single kreutzer falls into his hand. The narrative moves swiftly between the cold cathedral porch and the warm, solemn interior, then later to the imperial palace. This movement between public square and private sanctuary, between poverty and royalty, is the structural backbone of the tale. Bartlett repeatedly uses doorways and thresholds—the Riesenthor, the carved portals, the salon door—as points of transition, each time shifting the story’s emotional register.
Dancing on Snow, Playing for Nothing
The first chapter introduces Fritzl and his terrier Tzandi as a pair of “little spirits” slipping into St. Stephen’s Cathedral. Bartlett’s prose emphasizes motion: the boy dances, plays snatches of melody, and seeks shelter in doorways. The cold is palpable—the boy’s “little body forgot how poorly it was clad” only through rapid motion. The violin, inherited from a blind musician, is both livelihood and companion. The scene is anchored in specific Viennese geography: the Stephansplatz, the Riesenthor, the cathedral’s sculptured niches. The narrative voice is close to Fritzl’s perspective, using his hopeful logic: Santa Claus will enter through the Giant’s Gate, so waiting there is sensible. This blend of practical desperation and childlike faith sets the tone for the entire work.
From Cathedral to Palace: Thresholds Crossed
Bartlett structures the story as a series of boundary crossings. Fritzl and Tzandi move from the snowy square into the cathedral, then from the cathedral to an unknown destination, and finally into the imperial palace. Each threshold is marked by a door or gate: the carved portals opening, the salon door through which the Hofmeister tries to bar Tzandi’s way. The most dramatic crossing occurs when Tzandi trots uninvited into the salon, “ears and tail erect in the pride of victory.” The dog’s entrance shatters the solemnity, prompting the Emperor to laugh and declare him a welcome guest. These movements are not merely spatial; they signal shifts in social standing and emotional temperature. The palace scenes contrast sharply with the opening: warmth, light, and ceremony replace cold and neglect.
The Emperor’s Voice and the Silent Prince
In the later chapters, the Emperor speaks directly, his voice trembling “a little, from excitement and relief.” Bartlett gives him a formal yet warm register: “Good friends and mine own people,” he begins, and later addresses Tzandi as “Monsieur Tzandi.” The Prince Max is largely silent, his condition conveyed through physical description: he is lifted from a wheeled chair, stands steadily, and walks into his grandfather’s arms. The narrative withholds internal commentary, letting the boy’s actions speak. Fritzl, too, is reduced to watching and feeling—“it seemed as if everyone must hear the beating of his heart.” Bartlett uses the Emperor’s speech to connect the present to history, mentioning Mozart playing for the Empress a hundred years earlier, linking the boy’s violin to a famous predecessor.
Recurring Images: Music, Dogs, and Doorways
Three images recur throughout the excerpts: music, the terrier, and thresholds. Fritzl’s violin appears in the opening dance, in the cathedral, and is implicitly present in the palace. Tzandi is a constant companion, mirroring Fritzl’s emotions—dancing when he dances, anxious when he is anxious. The dog’s final entrance is a comic and triumphant reversal of the earlier evictions. Doorways structure the plot: the Riesenthor, the cathedral porch, the salon door. Each crossing changes the characters’ circumstances. Bartlett also uses light and dark: the snow-covered square, the dim cathedral, the bright salon. These patterns give the story a fairy-tale logic, where movement through space equals change in fortune. The reader is invited to watch for each new threshold and what lies beyond.
Readers will find that Bartlett’s story rewards attention to its physical details: the feel of snow, the sound of a violin in an empty square, the weight of a ceremonial robe. The narrative moves quickly, but its emotional beats depend on small gestures—a hand slipped into another’s, a dog’s wagging tail. The historical setting is lightly sketched, but the human dynamics are clear. Approach this as a tale of unlikely connections, where a boy and his dog cross paths with power, and where music and loyalty prove more valuable than gold.
That Viennese story stayed with me—how needing shelter can open a door to something unexpected. It reminded me of another quiet book, Lady Mary and Her Nurse; Or, A Peep into the Canadian Forest — Text and Context, where a child’s small questions find gentle answers in the woods. Both feel like warm rooms remembered long after the fire is out.
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Gwendolyn Parks - 1 week ago
{'positive': 'A charming Christmas story set in Austria, filled with delightful descriptions of local traditions and the magic of the season. The friendship between the protagonists is heartwarming, and the snowy backdrop creates a cozy atmosphere perfect for holiday reading. A wonderful way to introduce children to different cultures.', 'neutral': "The book offers a nice glimpse into Austrian Christmas traditions and has a festive spirit. However, the storyline is quite simple and the characters lack depth. It's a pleasant read for younger children, but older kids might find it a bit thin on plot.", 'negative': "The title suggests a quirky twist, but the story is disappointingly bland. The 'Fritzl's Friends' element is barely developed, and the narrative feels disjointed. The writing is mediocre, and the characters are forgettable. A missed opportunity to create an engaging and unique holiday story."}
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Benjamin Johnson
1 week ago