"If I were quite sure that she is of a proper standing."
"Miss Hilst is a personal friend of the queen of Roumania," I
replied, a little impatiently; "and if there be any honor, it will be
altogether on our side."
"Well, well," muttered my aunt.
"You will come with us to the concert?" I said, turning to Aniela.
"I am afraid not. I shall have to remain with mamma; and besides, I
have some letters to write."
"Oh! if it is a question of wifely tenderness I will not insist."
This ironical remark gave me a momentary relief. "Let her be aware
that I am jealous," I thought; "she herself, her mother, and my aunt
belong to those women of the angelic kind, who do not believe there
can be any evil in the world. Let her understand that I love her,
become familiar with the thought, troubled by it, and fight it. To
bring into her soul a strange, decomposing element, a ferment like
this, is half the battle. We shall see what will happen afterwards."
It was a momentary but great relief, and very much like a wicked
delight. But presently, when alone in the carriage, I felt angry with
myself and disgusted,--disgusted because I became conscious of the
littleness of all I had thought and felt, based as it was upon
overstrung and fanciful nerves worthy an hysterical woman, not a man.
It was a heavy journey, far heavier than the one when after my return
from abroad I went the first time to Ploszow. I was reflecting upon
that terrible incapacity for life which casts its shadow upon my
existence and the existence of those like me, and came to the
conclusion that its main source is the feminine element which
predominates in our character. I do not mean by this that we are
physically effeminate or wanting in manly courage. No! it is something
quite different. Courage and daring we are not deficient in; but as
regards psychical elements, every one of us is a she, not a he. There
is in, us a lack of the synthetic faculty which distinguishes
things that are important from those that are not. The least matter
discourages, hurts, and repulses us; in consequence of which we
sacrifice very great things for small ones. My past is a proof
thereof. I sacrificed inexpressible happiness, my future and the
future of the beloved woman, because I had read in my aunt's letter
that Kromitzki wished to marry her. My nerves took the bit between
their teeth, and carried me where I did not wish to go. This was
nothing but a disease of the will. But it is a feminine disease, not
a masculine one. Is it to be wondered at that I act as an hysterical
woman? It is a misfortune I brought with me into the world, to which
whole generations have contributed their share, as also the conditions
of life in which we exist.
The shaking myself thus free from all responsibility did not give me
any relief. When I arrived at Warsaw I intended to call upon Clara,
but was prevented by a severe headache; which got better towards
evening before my aunt came up.
She found me already dressed, and we drove together to the concert,
which was a great success. Clara's fame had attracted the whole
musical and intelligent world, and the charitable purpose the
aristocratic circles. I saw many people there I knew, among them
Sniatynski and his wife. The concert room was crowded. But I was out
of humor, and everything irritated me. I do not know why, but I felt
afraid Clara's performance would be a failure. When she appeared on
the platform a programme clung to the folds of her dress; I thought it
would make her appear ridiculous. She herself in full evening dress
seemed to me more like a stranger than a friend. I involuntarily asked
myself whether it was the same Clara I was so intimate with. When
the hearty applause had ceased she sat down to the piano, and I
acknowledged to myself that she had a noble and artistic presence,
full of simplicity and quite free of any affectation. On all
faces there was the concentrated attention of people who have no
understanding of art, but like to pass for connoisseurs and judges.
She played Mendelssohn's concerto, which I know by heart,--but whether
it was the thought that much was expected from her, or that the
unusually enthusiastic reception had moved her, she played worse
than I had ever heard her. I was sorry for it and looked at her with
astonishment; our eyes met for a moment. The expression of my face put
the final touch to her confusion, and I heard a few dim notes without
force or expression. I was quite sure now she would fail. Never had
the piano, with its lack of continuity, its sound smothered by the
acoustic properties of the room, seemed to me a more miserable
instrument. At times it seemed as if I heard the sharp, staccato
sounds of a harp. Presently Clara recovered her self-possession, but
upon the whole I thought she had played but indifferently. I was very
much surprised indeed when after she had finished there rose such a
storm of applause as I had not heard even in Paris, where Clara was
received with exceptional enthusiasm. During the short pause, amateurs
and professionals began discussing the music, and in their animated
faces I read perfect satisfaction. The cheering lasted until Clara
reappeared on the platform. She stepped forth with downcast eyes, and
I who could read her face saw what she wanted to express: "You are
very kind, and I thank you for it; but it was not good and I feel
inclined to cry." I too had applauded with the rest, for which I
received a passing glance full of reproach. Clara loves her art too
much to be gratified by undeserved applause. I felt sorry for her, and
should have liked to say a few encouraging words, but the continued
cheering did not permit her to leave the platform. She sat down again
and played Beethoven's Sonata in cis-moll, which was not on the
programme. There is, I believe, no composition in the whole world that
shows with the same distinctness the soul torn by tragic conflict;
especially in the third part of the Sonata, the _Presto-agitato_. The
music evidently responded to the tune of Clara's soul, and certainly
harmonized with my own disposition, for never had I heard Beethoven
interpreted and understood like this before. I am not a musician, but
I suppose even musicians do not know how much there is in that Sonata.
I cannot find another word than "oppressiveness" to describe the
sensation wrought upon the audience. One had a feeling as if mystical
rites were being performed; there rose before me a vast desert, not of
this world, weird and unutterably sad, without shape, half lit up by a
ghostly moon, in the midst of which hopeless despair waited and
sobbed and tore its hair. It was terrible and impressive because so
unearthly; and yet irresistibly attractive,--never had my spirit
come in such close proximity to the infinite. It was almost an
hallucination. I imagined that in the shapeless desert, in the dusk of
a world of shadows, I was searching for somebody dearer to me than the
whole world, one without whom I could not and would not live, and I
searched with the conviction that I should have to search forever and
never find what I was looking for. My heart was so oppressed that at
times I could scarcely breathe. I paid no attention to the mechanical
part of the execution, which no doubt was as perfect as the
expression.
All in the room seemed under the same spell, not excepting Clara
herself.
When she left off playing she remained for a moment with uplifted head
and eyes, lips slightly parted, and face very pale. And it was not
a mere concert effect, it was real inspiration and forgetfulness of
self.
There was a great hush in that crowd, as if they expected something,
or were benumbed by sorrow, or tried to catch the last echo of sobbing
despair, carried away by a wind from the other world.
Presently there happened what probably never happened in a concert
room before. A great tumult arose, and such an outcry as if a
catastrophe were threatening the whole audience. Several musicians
and reporters approached the platform. I saw their heads bowed over
Clara's hands, she had tears on her eyelashes, her face looked still
inspired, but calm and serene. I went with the others to press her
hands.
From the first moment of our acquaintance Clara had always addressed
me in French; now for the first time, returning the pressure of my
hand, she said in German:
"Haben Sie mich verstanden?"
"Ja," I replied, "und ich war sehr unglücklich!" And it was true.
The continuation of the concert was one great triumph. After the
performance Sniatynski and his wife carried Clara off to their house.
I had no wish to go there. When I reached home, I felt so tired that
without undressing I threw myself upon the sofa, and remained there an
hour without moving, yet not asleep.
After a long time I became conscious that I had been thinking about
the young cleric's funeral, Aniela, and death. I rung for lights, and
then began to write.