CHAPTER IV

When a youth is thrown from the realm of fancy and solitude into a world of realities, one of two things takes place: either a process of reaction sets in, and he fortifies his soul in some faith or tradition; or he clutches greedily at life, becomes intoxicated by it, and loses his foothold. Whatever happens to him depends less upon strength of character than upon chance.

In Ormarr’s case, reality fell short of his expectation in some respects, and in others exceeded it. He felt, also, as if he were born anew, entering upon an existence based on new principles.

With all that he had looked forward to most keenly he was frankly disappointed. On the other hand, he found an order of things, of people and their actions, so alien to his own mind and development that he felt himself an outsider, uncultured and inferior. It seemed to him then, that the only possible way to make up for lost time was to fling himself headlong into this human maelstrom and swim for dear life. And before he was himself aware of it, he was floating with the tide. He soon proved to have all the requisite qualifications for drifting so on the waters of life; he had means enough, and withal a pleasant manner, with a certain air of distinction, gay and yet self-possessed....

It did not occur to him to consider whither he was drifting; there was no time to think. That he saw no land ahead or to either side did not trouble him in the least. Life was pleasant enough—and since its essential aim seemed to be that of making it pleasant, why trouble one’s head about anything?

Fortunately, there was always one plank at hand to which he could turn for safety in case of need—unless he wilfully thrust it from him. And as this resource in itself possessed an extreme fascination for him—the chance of becoming a great artist, a world-famed master—Ormarr never quite lost touch of it, though he found it at times somewhat burdensome, a check upon his natural movements towards pleasure and enjoyment.

His consistency in this respect was largely due to the personality of his teacher, Abel Grahl, who had taken a kind and fatherly interest in the boy from their first meeting. On the day after his arrival at Copenhagen, Ormarr set out from his hotel at a very early hour, and went in search of Grahl. Sera Daniel had instructed him to seek out this man and not rest until he had persuaded him to become his teacher.

“Your career may depend upon it,” were the priest’s parting words.

Abel Grahl was an elderly man, and life had used him hardly. At twenty, he had stood on the threshold of fame: his first appearance as a violinist, in London, had created an unusual stir. Offers of engagements came to him in plenty, but the day before he was to start on a tour, embracing the principal cities of the world, he had managed to hurt his finger slightly while out boating with some friends. Blood-poisoning set in, and the finger had to be amputated. Then for three years he was lost to the world; his friends and relations believed him dead. Suddenly he reappeared in his native town of Copenhagen, a silent, retiring man; no one ever learned where or how he had spent the intervening years. Even his intimates refrained from asking, partly out of regard for his grief, partly for fear of reopening some trouble not yet healed. He made his living as a teacher of music especially with the violin; but his pupils were few, since he mercilessly rejected all save those who showed unusual promise.

He lived a solitary life, in a suite of rooms badly in need of repair. The landlord had given him permission to remove the inner partitions, and turn the whole place into one big studio; the kitchen he used as a bedroom.

Grahl was not in the best of tempers on being awakened at six in the morning by a continued and vigorous ringing at the bell. But at the sight of his visitor, a lad in ill-fitting homespun clothes, with a calfskin bag tucked under his arm (Grahl at once divined that it contained a violin), he found some difficulty in keeping his countenance. He looked at the boy with a faint, good-humoured smile.

Ormarr endeavoured to explain, in very imperfect Danish, the object of his visit.

The old man burst out laughing. Then, noticing the boy’s confusion, he asked him in, and patted him encouragingly on the shoulder.

“Do you mean to say you have come all the way from Iceland to learn the violin? What did you say your name was?”

“Ormarr, son of Ørlygur à Borg.”

“I see, Ormarr à Borg, then.”

“Yes, Ormarr Ørlygsson.”

“Ormarr Ørlygsson. And how did you manage to find me?”

“It was quite easy. I had the address written on a paper, and asked the way.”

“Yes, yes—but I mean, who told you to come to me?”

“Sera Daniel—the priest. I was to come to you and get you to teach me—you and no other. He said my career might depend upon it. And he said if you refused, if you sent me away once or twice or more, I was to try again.”

“H’m. Seems clear enough. And you look as if you were the sort to do it. Well, let me hear what you can do with that instrument of yours.”

Ormarr took out his violin. He was visibly nervous, and it took him some time to tune up.

Abel Grahl could not help remarking to himself that the boy seemed awkward—and perhaps he did not even know his notes. Anyhow, he refrained for the moment from further questioning.

At last Ormarr ran his bow across the strings, put down his bow and violin, took off his coat, and rolled up his sleeves to the elbow.

Grahl watched him, making no sign. He was rather surprised to find himself really interested, and waited impatiently for the boy to begin.

As Ormarr took up his instrument again, the old man asked:

“How old did you say you were?”

Ormarr hesitated. “Fifteen,” he said at length.

Grahl shook his head in despair. Then he checked himself.

“Well, well, we shall see. Go on now, if you are ready.”

Ormarr began to play, without watching the other’s face. He did not see how the man’s expression changed from mere resignation to intense feeling, that drove all the blood from his face. Now and again he frowned, and started slightly, but repressed himself, and left Ormarr to finish at his will.

Ormarr played for ten minutes. At the last stroke of the bow, Grahl leapt to his feet.

“Who wrote that?”

“It’s—it’s only about a sunset.”

“Yes, yes, but where did you get hold of it—the tune?”

“I made it up myself.”

Grahl stared at him, but the boy never flinched. No, those eyes could not lie!

“What else can you play?”

“There’s all the songs they used to sing at home. And the hymns from church.”

“Can you play at sight?”

Ormarr shook his head doubtfully.

“I mean, do you know the written notes?”

“No; I was never taught.” Ormarr felt crushed at the confession.

For fully a quarter of an hour he was kept in suspense; it was like waiting for the summons to execution.

Abel Grahl walked up and down. Now and again he stopped full in front of the boy, scrutinizing him from head to foot. Then he shook his head as if in dismissal, turned away abruptly, and stood for a while at the window, whistling softly to himself; came back and stared at Ormarr once more, looking hard into the dark, glowing eyes that seemed to have grown