Part 25

Johanna had arisen too. Eva remarked the little figure. She gave Crammon to understand that he had a duty toward his companion, and that she would not refuse an introduction to the unknown girl, on whose face enthusiasm and homage were so touchingly to be seen. Crammon introduced Johanna in his most ceremonious manner. Johanna grew pale and red and curtsied. She seemed to herself suddenly so negligible that she was overcome with shame. Then she tore off the three yellow roses at her corsage, and held them out to Eva with a sudden and yet timid gesture. Eva liked this impulse. She felt its uniqueness and veracity, and therefore knew its value.

IV

Christian and Amadeus wandered across the Quai Kokerill in Antwerp.

A great transatlantic liner lay, silent and empty, at the pier. The steerage passengers waited at its side for the hour of their admission. They were Polish peasants, Russian Jews, men and women, young ones and aged ones, children and sucklings. They crouched on the cold stones or on their dirty bundles. They were themselves dirty, neglected, weary, dully brooding--a melancholy and confused mass of rags and human bodies.

The mighty globe of the sun rolled blood-red and quivering over the waters.

Christian and Amadeus stopped. After a while they went on, but Christian desired to turn back, and they did so. At a crossing near the emigrants’ camp, a line of ten or twenty donkey-carts cut off the road. The carts looked liked bisected kegs on wheels, and were filled with smoked mackerels.

“Buy mackerels!” the cart-drivers cried. “Buy mackerels!” And they cracked their whips.

A few of the emigrants approached and stared hungrily; they consulted with others, who were already looking for coins in their pockets, until finally a few determined ones proceeded to make a purchase.

Then Christian said to Voss: “Let us buy the fish and distribute them. What do you think?”

Amadeus was ill pleased. He answered. “Do as you wish. Great lords must have their little pleasures.” He felt uncomfortable amid the gathering crowd.

Christian turned to one of the hucksters. It was difficult to make the man understand normal French, but gradually he succeeded. The huckster summoned the others, and there followed excited chatter and gesticulations. Various sums were named and considered and rejected. This process bored Christian; it threatened to be endless. He offered a sum that represented a considerable increase over the highest price named, and handed his wallet to Amadeus that the men might be paid. Then he said to the increasing throng of emigrants in German: “The fish are yours.”

A few understood his words, and conveyed their meaning to the others. Timidly they ventured forward. A woman, whose skin was yellow as a lemon from jaundice, was the first to touch a fish. Soon hundreds came. From all sides they brought baskets, pots, nets, sacks. A few old men kept the crowd in order. One of these, who wore a flowing white beard and a long Jewish coat, bowed down thrice before Christian. His forehead almost touched the earth.

A sudden impulse compelled Christian to see in person to the just distribution of the fish. He turned up his sleeves, and with his delicate hands threw the greasy, malodourous fish into the vessels held out for them. He laughed as he soiled his fingers. The hucksters and some idle onlookers laughed too. They thought him a crazy, young Englishman out for a lark. Suddenly his gorge rose at the odour of the fish, and even more at the odour of these people. He smelled their clothes and their breath, and gagged at the thought of their teeth and fingers, their hair and shoes. A morbid compulsion forced him to think of their naked bodies, and he shuddered at the idea of their flesh. So he stopped, and slipped away into the twilight.

His hands still reeked of the smoked fish. He walked through the streets that had had nothing to do with his adventure and the night seemed empty.

Amadeus Voss had escaped. He waited in front of the hotel. There the line of motor cars had gathered that was to accompany Eva on her journey to Germany. Among the travellers were Crammon and Johanna Schöntag.

V

In October the weather turned hot on the Rio de la Plata. All day one had to stay in the house. If one opened a window, living fire seemed to stream in. Once Letitia fainted, when she wanted to air her stuffy room, and opened one of the wooden shutters.

The only spot that offered some shade and coolness toward evening was an avenue of palms beside the river. Sometimes, during the brief twilight, Letitia and her young sister-in-law Esmeralda would steal away to that place. Their road passed the ranchos, the wretched cave-like huts in which the native workmen lived.

Once Letitia saw the people of the ranchos merrily feasting and in their best garments. She asked for the reason, and was told that a child had died. “They always celebrate when some one dies,” Esmeralda told her. “How sad must their lives be to make them so in love with death.”

The avenue of palms was forbidden ground. When darkness came, the bushes rustled, and furtive men slipped back and forth. Not long before the mounted police had caught a sailor here who was wanted for a murder in Galveston. Somehow Letitia dreamed of him. She was sure he had killed his man through jealousy and bore the marks of a beautiful tragedy.

One evening she had met in this spot a young naval officer, who was a guest on a neighbouring estate. Letitia exchanged glances with him, and from that time on he sought some way of approaching her. But she was like a prisoner, or like a Turkish woman in a harem. So she determined to outwit her guards; she really fell in love with the young officer. Her imagination made an heroic figure of him, and she began to long for him.

The heat increased. Letitia could not sleep at night. The mosquitoes hummed sweetishly, and she cried like a little child. By day she locked herself in her room, stripped off her clothes, and lay down on the cold tiles.

Once she was lying thus with arms outstretched. “I’m like an enchanted princess,” she thought, “in an enchanted castle.”

Some one knocked at the door, and she heard Stephen’s voice calling her. Idly she raised her head, and from under her heavy lids gazed down at her naked body. “What a bore it is,” she thought, “what a terrible bore always to be with the same man. I want others too.” She did not answer, and let her head droop, and rubbed her glowing cheek against the warm skin of her upper arm. It pleased the master of the harem out there to beg for admission; but Letitia did not open the door.

After a while she heard a tumult in the yard--laughter, the cracking of whips, the report of rifles, and the cries of beasts in torment. She jumped up, slipped into a silk dressing gown, opened the window that gave on the verandah, and peered out.

Stephen had tied together the tails of two cats by means of a long fuse. Along the fuse were fastened explosive bits of firework. The hissing little rockets singed the cats’ fur, and the glowing cord burned into their flesh. The cats tumbled about in their agony and howled. Stephen goaded them and followed them. His brothers, bent over the balustrade, roared with delight. Two Indians, grave and silent, watched from the gate.

Stephen had, of course, counted on Letitia’s opening the door in her curiosity. A few great leaps, and he was beside her. Esmeralda, who was in the plot, had at once faced Letitia and prevented her from locking the door. White with rage, and with raised fist, he stormed across the threshold. She fell to her knees, and hid her face in her hands.

“Why do you beat me?” she moaned, in horror and surprise. But he did not touch her.

His teeth gnashed. “To teach you to obey.”

She sobbed. “Be careful! It’s not only me you’re hurting now!”

“Damnation, what are you saying?” He stared at her crouching figure.

“You’re hurting two now.” Letitia enjoyed fooling him. Her tears were now tears of pity for herself.

“Woman, is that true?” he asked. Letitia peered furtively between her fingers, and thought mockingly: “It’s like the last act of a cheap opera.” She nodded with a gesture of pain, and determined to deceive him with the naval officer.

Stephen gave a howl of triumph, danced about, threw himself down beside her, and kissed her arms, her shoulders, and her neck. At the windows and doors appeared Doña Barbara, Esmeralda, Stephen’s brothers, and the servants. He lifted Letitia on his strong shoulders, and carried her about on the verandah. He roared his orders: a feast was to be prepared, an ox slaughtered, champagne to be put on ice.

Letitia had no qualms of conscience. She was glad to have made a fool of him.

When old Gunderam learned the cause of the rejoicing in his house, he chuckled to himself. “Fooled all the same, my sly lawyer man. In spite of the written agreement, you won’t get the Escurial, not for a good while, even if she has a whole litter.” With an unappetizing, broken little comb he smoothed his iron grey beard, and poured eau de Cologne on his head, until his hair, which was still thick, dripped.

But, strangely enough, the lie that Letitia had told in her terror turned out to be the truth. In a few days she was sure. Secretly she was amazed. Every morning she stood before the mirror, and looked at herself with a strange respect and a subtle horror. But she was unchanged. Her mood became gently melancholy, and she threw a kiss to her image in the glass.

Since they were now afraid of crossing her wishes, she was permitted to attend a ball given by Señor and Señora Küchelbäcker, and it was there that she made the formal acquaintance of the naval lieutenant, Friedrich Pestel.

VI

Felix Imhof and the painter Weikhardt met at the exhibition of the “secessionists” in Munich. For a while they strolled through the rooms, and looked at the paintings; then they went out on the terrace, and sat down at a table that commanded a view of the park.

It was in the early afternoon, and the odours of oil and turpentine from within blended with the fragrance of the sun-warmed plants.

Imhof crossed his long legs, and yawned affectedly. “I’m going to leave this admirable home of art and letters for some months,” he declared. “I’m going to accompany the minister of colonial affairs to South West Africa. I’m anxious to see how things are going there. Those people need looking after. Then, too, it’s a new experience, and there will be hunting.”

Weikhardt was utterly self-absorbed. He was full of his own annoyances, his inner and outer conflicts, and therefore spoke only of himself. “I am to copy a cycle by Luini for the old Countess Matuschka,” he said. “She has several blank walls in her castle in Galicia, and she wants tapestries for them. But the old creature is close as the bark on the tree, and her bargaining is repulsive.”

Imhof also pursued his own thoughts. “I’ve read a lot about Stanhope recently,” he said. “A tremendous fellow, modern through and through, reporter and conquistador at the same time. The blacks called him the ‘cliff-breaker.’ It makes one’s mouth water. Simply tremendous!”

Weikhardt continued: “But I dare say I’ll have to accept the commission. I’ve come to the end of my tether. It’ll be good to see the old Italians again, too. In Milan there’s a Tintoretto that’s adorable. I’m on the track of a secret. I’m doing things that will count. The other day I finished a picture, a simple landscape, and took it to an acquaintance of mine. He has a rather exquisite room, and there we hung it. The walls had grey hangings, and the furnishings were in black and gold. He’s a rich man and wanted to buy the picture. But when I saw how much he liked it, and saw, too, the delicate, melancholy harmony of its colours with the tints of the room, I felt a sudden flash of encouragement. I couldn’t bear to talk money, and I simply gave him the thing. He accepted it quietly enough, but he continued saying: ‘How damned good it is!’”

“It’ll take my thoughts off myself, this little trip to the Southern Hemisphere,” said Imhof. “I’m not exactly favoured of fortune just now. To be frank--everything’s in the deuce of a mess. My best horse went to smash, my favourite dog died, my wife took French leave of me, and my friends avoid me--I don’t know why. My business is progressing backward, and all my speculations end in losses. But, after all, what does it matter? I say to myself: Never say die, old boy! Here’s the great, beautiful world, and all the splendour and variety of life. If you complain, you deserve no better. My sandwich has dropped into the mud. All right; I must get a fresh one. Whoever goes to war must expect wounds. The main thing is to stick to your flag. The main thing is faith--quite simple faith.”

It was still a question which of the two would first turn his attention from himself, and hear his companion’s voice. Weikhardt, whose eyes had grown sombre, spoke again: “O this dumb loneliness in a studio, with one’s hundred failures, and the ghosts of one’s thousand hours of despair! I have a chance to marry, and I’m going to take it, too. The girl has no money, to be sure, but she has a heart. She’s not afraid of my poverty, and comprehends the necessary quixotism of an artist’s life. She comes of a Protestant family of very liberal traditions, but two years ago she became a Catholic. When I first met her I was full of suspicion, and assumed all sorts of reasons for her step except the simple and human ones. It’s very difficult to see the simple and the human things, and still more difficult to do them. Gradually I understood what it means--to believe! and I understood what is to be reverenced in such faith. It is faith itself that is sacred, not that in which the faith is placed. It doesn’t matter what one has faith in--a book, a beast, a man, a star, a god. But it must be pure faith--immovable and unconquerable. Yes, I quite agree with you--we need simple faith.”

So they had found each other through a word. “When do I get my picture, your Descent from the Cross?” Imhof inquired.

Weikhardt did not answer the question. As he talked on, his smooth, handsome, boyish face assumed the aspect of a quarrelsome old man’s. Yet his voice remained gentle and slow, and his bearing phlegmatic. “Humanity to-day has lost its faith,” he continued. “Faith has leaked out like water from a cracked glass. Our age is tyrannised by machinery: it is a mob rule without parallel. Who will save us from machinery and from business? The golden calf has gone mad. The spirit of man kowtows to a warehouse. Our watchword is to be up and doing. We manufacture Christianity, a renaissance, culture, et cetera. If it’s not quite the real thing, yet it will serve. Everything tends toward the external--toward expression, line, arabesque, gesture, mask. Everything is stuck on a hoarding and lit by electric lamps. Everything is the very latest, until something still later begins to function. Thus the soul flees, goodness ceases, the form breaks, and reverence dies. Do you feel no horror at the generation that is growing up? The air is like that before the flood.”

“Create, O artist, and don’t philosophize,” Imhof said gently.

Weikhardt was shamed a little. “It’s true,” he said, “we have no means of knowing the goal of it all. But there are symptoms, typical cases that leave little room for hope. Did you hear the story of the suicide of the German-American Scharnitzer? He was pretty well known among artists. He used to go to the studios himself, and buy whatever took his fancy. He never bargained. Sometimes he would be accompanied by a daughter of eighteen, a girl of angelic beauty. Her name was Sybil, and he used to buy pictures for her. She was especially fond of still-life and flower pieces. The man had been in California and made millions in lumber. Then he returned to the fatherland to give the girl an atmosphere of calm and culture. Sybil was his one thought, his hope, his idol and his world. He had been married but a short time. His wife, it is said, ran away from him. All that a life of feverish activity had left him of deep feeling and of hope for the future was centred in this child. He saw in her one girl in a thousand, a little saint. And so indeed she seemed--extraordinarily dainty, proud and ethereal. One would not have dared to touch her with one’s finger. When the two were together, a delightful sense of harmony radiated from them. The father, especially, seemed happy. His voluntary death caused all the more consternation. No one suspected the motive; it was assumed that he had suffered a moment of madness. But he left behind him a letter to an American friend which explained everything. He had been indisposed one day, and had had to stay in bed. Sybil had invited several girl friends to tea, and the little company was in a room at the other end of their suite. But all the doors between were open, even the last was slightly ajar, so that the murmur of the girls’ voices came to him inarticulately. A sudden curiosity seized him to know what they were saying. He got up, slipped into a dressing gown, went softly through the intervening rooms, and listened at the door. The conversation was about the future of these girls--the possibilities of love, happiness, and marriage. Each gave her ideas. Finally it was Sybil’s turn to speak her thoughts. At first she refused; but they urged her again and again. She said she took no interest in emotions of any sort; she didn’t yearn for love; she wasn’t able to feel even gratitude to any one. What she expected of marriage was simply liberation from a galling yoke. She wanted a man who could give her all that life held--boundless luxury and high social position--and who, moreover, would be abjectly at her feet. That, she said, was her program, and she intended to carry it out too. The other girls fell silent. None answered. But that hour poisoned the father’s soul. This cynicism, uttered by the pure and spiritual voice of the child he adored and thought a miracle of depth and sweetness, the child on whom he had wasted all he was and had, plunged him into an incurable melancholy, and caused him finally to end his life.”

“My dear fellow,” cried Imhof, and waved his arm, “that man wasn’t a lumber merchant, he was a minor poet.”

“It’s possible that he was,” Weikhardt replied, and smiled; “quite possible. What does it alter? I admire a man who cannot survive the destruction of all his ideals. It’s better than to be a cliff-breaker, I assure you. Most people haven’t any ideals to be destroyed. They adapt themselves endlessly, and become vulgar and sterile.” Again his eyes grew sombre, and he added, half to himself: “Sometimes I dream of one who neither rises nor falls, of one who walks on earth whole and unchangeable, unswerving and unadaptable. Perfectly unadaptable. It is of such an one that I dream.”

Imhof jumped up, and smoothed his coat. “Talk, talk!” he rattled, in the disagreeable military tone that he assumed in his moments of pseudo-virility. “Talk won’t improve things.” He passed his arm through Weikhardt’s, and as they left the terrace, which had been gradually filling with other guests, he recited, boldly, unashamed, and in the same tone, the alcaic stanza of Hölderlin:

“Still man will take up arms against all who breathe; Compelled by pride and dread he consumes himself in conflict, and destroys the lovely Flower of his peace that is brief of blooming.”

VII

On their first evening in Hamburg, Crammon rented a box in the playhouse, and invited Christian, Johanna Schöntag, and Herr Livholm, one of the directors of the Lloyd, to be his guests. He had made the latter’s acquaintance in the hotel where he had gone to pay Eva a visit of welcome. He had liked the man, who cut a good figure, and so he had added him to the party in order, as he put it, to keep the atmosphere normal by the presence of an entirely neutral person.

“Social skill,” he was accustomed to say, “is not unlike skill in cookery and serving. Between two heavy, rich dishes there must be one like foam that stimulates the palate quite superficially. Otherwise the meal has no style.”

The play was a mediocre comedy, and Christian was frankly bored. Crammon thought it his duty to show a condescending and muffled amusement, and now and then he gave Christian a gentle poke, to persuade him also to show some appreciation of the performance. Johanna was the only one who was genuinely amused. The source of her amusement was an actor to whom a serious rôle had been assigned, but who talked with such silly affectation and false importance that every time he appeared she had to hold her lacy handkerchief to her lips to smother her laughter.

Occasionally Christian gave the girl a far and estranged glance. She wasn’t either agreeable or the reverse; he did not know what to make of her. This feeling of his had not changed since he had first seen her during the journey in Eva’s company.

She felt the coldness of his glance. Her merriment did not vanish; but on the lower part of her face appeared a scarcely perceptible shadow of disappointment.

As though seeking for help, she turned to Christian. “The man is terribly funny, don’t you think so?” It was characteristic of her to end a question with a negative interrogation.

“He’s certainly worth seeing,” Christian agreed politely.

The door of the box opened, and Voss entered. He was faultlessly dressed for the occasion; but no one had expected or invited him. They looked at him in astonishment. He bowed calmly and without embarrassment, stood quite still, and gave his attention to the stage.

Crammon looked at Christian. The latter shrugged his shoulders. After a while Crammon arose, and with sarcastic courtesy pointed to his seat. Voss shook his head in friendly refusal, but immediately thereafter assumed once more his air of humility and abjectness. He stammered: “I was in the stalls and looked up. I thought there was no harm in paying a visit.” Suddenly Crammon went out, and was heard quarrelling with the usher. Johanna had become serious, and looked down at the audience. Christian, as though to ward off disagreeable things, ducked his shoulders a little. The people in the near-by seats became indignant at the noise Crammon was making. Herr Livholm felt that the proper atmosphere had hardly been preserved. Amadeus Voss alone showed himself insensitive to the situation.

He stood behind Johanna, and thought: “The hair of this woman has a fragrance that turns one dizzy.” At the end of the act he withdrew, and did not return.

Late at night, when he had him alone, Crammon vented his rage on Christian. “I’ll shoot him down like a mad dog, if he tries that sort of thing again! What does the fellow think? I’m not accustomed to such manners. Damned gallow’s bird--where’d he grow up? Oh, my prophetic soul! I always distrusted people with spectacles. Why don’t you tell him to go to hell? In the course of my sinful life, I’ve come in contact with all kinds of people; I know the best and I know the dregs; but this fellow is a new type. Quite new, by God! I’ll have to take a bromide, or I won’t be able to sleep.”

“I believe you are unjust, Bernard,” answered Christian, with lowered eyes. But his face was stern, reserved, and cold.

VIII

Amadeus Voss submitted the following plan to Christian: to go to Berlin, first as an unmatriculated student, and later to prepare himself for the state examination in medicine.

Christian nodded approvingly, and added that he intended to go to Berlin shortly too. Voss walked up and down in the room. Then he asked brusquely: “What am I to live on? Am I to address envelopes? Or apply for stipends? If you intend to withdraw your friendship and assistance, say so frankly. I’ve learned to wade through the mud. The new kind won’t offer more resistance than the old.”