The next morning, Wilhelm’s mother informs him that his father is “very greatly discontented” with his frequent visits to the theater and intends to forbid them (29), viewing such pursuits as useless. Wilhelm questions this narrow idea of usefulness, arguing that not all value lies in material gain. His mother urges moderation, noting that his father feels neglected and blames her for encouraging Wilhelm’s early interest in plays through a childhood puppet theater. Wilhelm enthusiastically defends this memory, recalling the Christmas on which he saw a puppet-show performance of the story of David and Goliath. Wilhelm retrieves the puppets, feeling briefly transported back to his childhood, and carefully stores them in his room.

The narrator reflects that first love brings the “highest happiness of existence” (32), as Wilhelm is experiencing in his attachment to Mariana. His imagination heightens his passion, combining his love for her with his enthusiasm for the theater. Mariana’s situation and her fear that they’ll be caught add urgency and tenderness to her behavior and deepen their intimacy. Wilhelm organizes his life to satisfy his family while secretly visiting her at night. One evening, he brings his childhood puppets, amusing Mariana despite Barbara’s scorn. Later, Wilhelm nostalgically recounts his first experience with the “magic” puppet theater.

The narrative goes back in time to Wilhelm’s childhood. His father refuses to let him attend the puppet show again, believing that frequent pleasures lose value, but the lieutenant who created the theater arranges a second showing for the children. This time, Wilhelm’s enjoyment shifts to “the pleasure of examining and scrutinizing” (35). He seeks to understand how the illusion works, realizing that the puppets neither speak nor move on their own. During the performance, he sees the figures stored together and the mechanism that operates them. This discovery unsettles him; curiosity replaces enchantment, and he reflects that he still understands “nothing” about how the parts work together.

After the puppet show, the young Wilhelm searches for access to forbidden spaces, especially the storeroom. One day, finding it unlocked, he discovers a chest containing the puppets. Attempting to handle them, he becomes frightened when they tangle and hastily withdraws, taking only a written copy of the play. He memorizes it, reciting lines to impress his parents. His mother eventually questions him, leading to his confession. With the lieutenant’s support, Wilhelm is allowed to engage more openly with the puppet theater, though his father maintains a reserved and controlling attitude toward such pleasures, fearing that children will degenerate into “excess and presumption” (38).

In the present, Wilhelm continues to recount his childhood. The lieutenant allowed him to observe and assist behind the scenes of the puppet theater. He experienced great excitement, though an early mistake during a performance disrupted the illusion and drew laughter, which troubled him despite the adults’ “unanimous approval.” He devoted increasing time to staging plays, experimenting with new material from books, and adapting his puppets to different roles. His growing imaginative engagement included creating scenery, effects, and costumes. However, his enthusiasm led to constant revisions and incomplete projects, so his original play could no longer be performed.

During this narration, Mariana listens with polite attention. Wilhelm asks to hear about her “first lively impressions” (41), but Barbara convinces Wilhelm to continue with his own story.

The young Wilhelm joins in group games, equipping his companions with handmade armor and weapons. Though these activities entertain others, they soon lose their appeal for him. His imagination turns to the “ideas of chivalry” (43), especially the poem Jerusalem Delivered. Inspired, Wilhelm plans to stage scenes from the poem. Practical difficulties arise, however, and despite the help of the lieutenant, the performance collapses when the actors forget their roles. The failure deeply embarrasses Wilhelm, who insists that he will think “long and well” before staging a play in the future (45).

Back in the present, Mariana grows drowsy as Wilhelm continues his account. He describes how, despite earlier failures, his desire to stage every story he encountered persisted. He read numerous plays, often imagining himself in multiple roles and overestimating his abilities. These amusements developed his memory and expressive skills, though they also fostered vanity. Romantic attachments emerged among the boys and girls he played with, giving rise to rivalries and distractions. Wilhelm became increasingly devoted to the theater, rejecting the “mercantile life” his father planned for him. He recalls composing a poem contrasting commerce with the dramatic muse, choosing the latter. He ends by affirming his love for Mariana, though she has fallen asleep and hears little of his conclusion.

Wilhelm spends his days and nights absorbed in his love for Mariana, feeling “as if inspired with new life” (49). He comes to see her as essential to his existence and imagines that their bond ennobles both of them. Mariana, however, experiences moments of inner conflict. Her brief happiness awakens a painful awareness of regret but no means of change. Her attachment to Wilhelm intensifies as the threat of losing him grows. In contrast, Wilhelm interprets their relationship as destiny. He envisions leaving his family, pursuing the theater, and becoming “the future founder of [a] national theatre” (50).

Wilhelm prepares for departure, discarding anything connected with his former mercantile life while keeping literary works. Werner, Wilhelm’s friend, enters and criticizes Wilhelm’s habit of beginning projects without finishing them. Wilhelm defends abandoning unsuitable pursuits, while Werner argues for discipline. Their conversation turns to commerce, which Werner praises as not only profitable but also intellectual and rewarding. Wilhelm suggests that such concerns overlook life’s deeper purpose. Werner counters by presenting “the whole mercantile concern” as a noble and expansive activity (54). Wilhelm doesn’t agree but at least respects his friend’s opinion.

Wilhelm’s and Werner’s fathers share a belief in commerce as “the noblest calling” (55). However, where Old Meister values wealth and quality, maintaining a fiscally orderly but joyless household, Old Werner lives more sociably, enjoying company as well as practical business. The two agree to send Wilhelm on a commercial journey to gain experience. Wilhelm receives the news with secret delight, seeing an opportunity to pursue his own plans and interpreting it as “the signal of a guiding fate” (57). That evening, he visits Mariana and shares his intention to establish himself and later return for her. Mariana responds with emotion but uncertainty, offering affection rather than a clear answer.

Mariana awakens in deep “despondency” after Wilhelm’s departure, overwhelmed by the prospect of losing him and facing Norberg’s return. Barbara attempts to console her, but Mariana interprets a troubling dream of Wilhelm’s as a warning of their separation. She and Barbara are dependent on Norberg and uncertain about their future. Barbara proposes a calculated arrangement in which she maintains both relationships. Though Mariana agrees passively, her inner conflict remains unresolved.

Wilhelm arrives at a merchant’s house, where he finds disorder caused by the stepdaughter’s elopement with an actor. The situation unsettles him, as the denunciations seem to anticipate judgment on his own “private scheme.” He witnesses the capture of the couple and follows them to the courthouse, where proceedings are conducted awkwardly. The young woman defends her actions with dignity, asserting her love and right to choose her partner, while officials interpret her words harshly. Her lover speaks more cautiously, but their mutual devotion is evident. Wilhelm is deeply moved by their situation, imagining Mariana in similar circumstances. He resolves to assist them, urging leniency and seeking permission to speak privately with the young man.

Wilhelm speaks privately with the young man, Melina, offering to mediate with his bride’s parents. Melina expresses gratitude but declares his intention to abandon the stage and seek a stable civil position. Wilhelm is surprised and argues that acting is a noble pursuit. Melina, however, describes the profession as insecure, humiliating, and dependent on “the ever-altering caprices of the public” (67). After leaving, Wilhelm reflects that true fulfillment depends on inner vocation, not circumstance. The next day, he successfully persuades the parents to permit the marriage. They refuse, however, to provide a dowry or support Melina with a position, forcing Melina to return to theatrical life.

The narrator reflects on Wilhelm’s idealized love, showing how he projects his emotions onto Mariana and finds beauty in everything connected with her, even the “chaotic” mess of her bedroom and the artificiality of the stage. After witnessing the consequences of the elopement, Wilhelm returns home, where Werner confronts him with accusations about Mariana’s character and motives. Wilhelm rejects these claims, asserting his trust in “faithfulness and virtue” (74). He visits Mariana again, and her affection restores his confidence. Their conversation turns to the beginnings of their relationship, and Wilhelm leaves resolved to carry out his plans.

Wilhelm delays his departure for a few days and writes a letter to Mariana, seeking a clear answer to his proposal. In the letter, he declares his devotion and interprets her earlier reserve as modest consent. He urges her to accept, proposing a secret marriage ceremony. He outlines his plan to join a theater company under a manager named Serlo, establish himself, and then return for her. Wilhelm expresses certainty in his success and believes that their union will bring them both “celestial joys.”

Wilhelm postpones delivering the letter after an uneasy visit during which Mariana appears distant. She tells him not to return that night. He restlessly wanders the streets, meets a stranger, and engages in a conversation on art and destiny, contrasting reason with unthinking reliance on fate. Later, he hires musicians to play beneath Mariana’s window and gives himself over to passionate reverie, imagining their union like a “golden dream.” As he leaves, he believes he sees a shadowy figure departing her house, which unsettles him. Upon returning home, he discovers a letter hidden in Mariana’s neckerchief, revealing another lover’s intimacy and abruptly shattering his idealized vision of her.