In the vicinity of Königstein in the Taunus mountains the Wahnschaffes owned a little château which Frau Wahnschaffe called Christian’s Rest and which was really the property of her son. At first—he was still a boy—Christian had protested against the name. “I don’t need any rest,” he had said. And the mother had answered: “Some day the need of it will come to you.”
Frau Wahnschaffe invited the countess to pass the month of May at Christian’s Rest. It was a charming bit of country, and the delight of the countess was uttered noisily.
Crammon, of course, came too. He observed the countess with Argus eyes, and it annoyed him to watch the frequent conversations between Christian and Letitia.
He sat by the fishpond holding his short, English pipe between his lips. “We must get to Paris. That was our agreement. You know that I promised you Eva Sorel. If you don’t hurry more than fame is doing, you’ll be left out in the cold.”
“Time enough,” Christian answered laughing and pulling a reed from the water.
“Only sluggards say that,” Crammon grunted, “and it’s theact of a sluggard to turn the head of a little goose of eighteen and finally to be taken in by her. These young girls of good family are fit for nothing in the world except for some poor devil whose debts they can pay after the obligatory walk to church. Their manipulations aren’t nearly as harmless as they seem, especially when the girls have chaperones who are so damnably like procuresses that the difference is less than between my waistcoat buttons and my breeches buttons.”
“Don’t worry,” Christian soothed his angry friend. “There’s nothing to fear.”
He threw himself in the grass and thought of Adda Castillo, the beautiful lion-tamer whom he had met in Frankfort. She had told him she would be in Paris in June, and he meant to stay here until then. He liked her. She was so wild and so cold.
But he liked Letitia too. She was so dewy and so tender. Dewy is what he called the liquidness of her eyes, the evasiveness of her being. Daily in the morning he heard her in her tower-room trilling like a lark.
He said: “To-morrow, Bernard, we’ll take the car and drive over to see Adda Castillo and her lions.”
“Splendid!” Crammon answered. “Lions, that’s something for me!” And he gave Christian a comradely thwack on the shoulder.
Judith took Letitia with her to Homburg, and they visited the fashionable shops. The rich girl bought whatever stirred her fancy, and from time to time she turned to her friend and said: “Would you like that? Do try it on! It suits you charmingly.” Suddenly Letitia saw herself overwhelmed with presents; and if she made even a gesture of hesitation, Judith was hurt.
They crossed the market-place. Letitia loved cherries. But when they came to the booth of the huckstress, Judith pushedforward and began to chaffer with the woman because she thought the cherries too dear. The woman insisted on her price, and Judith drew Letitia commandingly away.
She asked her: “What do you think of my brother Christian? Is he very nice to you?” She encouraged Letitia, who was frank, gave her advice and told her stories of the adventures that Christian had had with women. His friends had often entertained her with these romances.
But when Letitia, rocked into security by such sincere sympathy, blushed, and first in silence and with lowered eyes, later in sweet, low words, confessed something of her feeling for Christian, Judith’s mouth showed an edge of scorn; she threw back her head and showed the arrogance of a family that deemed itself a race of kings.
Letitia felt that she had permitted herself to slip into a net. She guarded herself more closely, and Crammon’s warnings would have been needed no longer.
He offered her many. He sought to inspire in her a wholesome fear of the bravery of youth, to attune her mood to the older vintages among men who alone could offer a woman protection and reliance. He was neither so clever nor so subtle as he thought.
With all his jesuitical cultivation, in the end he felt that something about this girl knocked at his heart. No posing to himself helped. His thought spun an annoying web. Was he to prove the truth of the foolish old legend concerning the voice of the blood? Then he must escape from this haunted place!
Letitia laughed at him. She said: “I’m only laughing because I feel that way, Crammon, and because the sky to-day is so blue. Do you understand?”
“O nymph,” sighed Crammon. “I am a poor sinner.” And he slunk away.
Frau Wahnschaffe had decided to arrange a spring festival. It was to illustrate all the splendour which was, on such occasions, traditional in the house of Wahnschaffe. Councils were held in which the major-domo, the housekeeper, the mistress’ companion and the countess took part. Frau Wahnschaffe presided at the sessions with the severity of a judge. The countess was interested principally in the question of food and drink.
“My own darling,” she said to Letitia, “seventy-five lobsters have been ordered, and two hundred bottles of champagne brought up from the cellar. I am completely overwhelmed. I haven’t been so overwhelmed since my wedding.”
Letitia stood there in her slenderness and smiled. The words of the countess were music to her. She wanted to lend wings to the days that still separated her from the festival. She trembled whenever a cloud floated across the sky.
Often she scarcely knew how to muffle the jubilation in her own heart. How wonderful, she thought, that one feels what one feels and that things really are as they are. No poet’s verse, no painter’s vision could vie with the power of her imagination, which made all happenings pure gold and was impenetrable to the shadow of disappointment. Her life was rich—a pure gift of fate.
She merged into one the boundaries of dream and reality. She made up her mind to dream as other people determine to take a walk, and the dim and lawless character of her dream world seemed utterly natural.
One day she spoke of a book that she had read. “It is beautiful beyond belief.” She described the people, the scene, and the moving fortunes of the book with such intensity and enthusiasm that all who heard her were anxious to find the book. But she knew neither its title nor the name of the author. They asked her: “Where is the book? Where didyou get it? When did you read it?” “Yesterday,” she replied. “It must be somewhere about.” She hesitated. She was begged to find it. And while she seemed to be reflecting helplessly, Judith said to her: “Perhaps you only dreamed it all.” She cast down her eyes and crossed her arms over her bosom with an inimitable gesture and answered with a sense of guilt: “Yes, it seems to me that I did merely dream it all.”
Christian asked Crammon: “Do you think that’s mere affectation?”
“Not that,” answered Crammon, “and yet a bit of feminine trickery. God has provided this sex with many dazzling weapons wherewith to overthrow us.”
On the day of the festival Letitia wore a gown of white silk. It was a little dancing frock with many delicate pleats in the skirt and a dark blue sash about her hips. It looked like the foam of fresh milk. When she looked into the mirror she smiled excitedly as though she could not believe her eyes. The countess ran about behind her and said: “Darling, be careful of yourself!” But Letitia did not know what she meant.
There was a sense of intoxication in her when she spoke to the men and women and girls. She had always been fond of people; to-day they seemed irresistible to her. When she met Judith in front of the pavillion, which was bathed in light, she pressed her hands and whispered: “Could life be more beautiful? I am frightened to think this night must end.”
On the meadow in front of the artificial water-fall Christian and some young girls were playing hide and seek after the manner of children. They all laughed as they played; young men formed a circle about them, and watched them half mockingly and half amused.
In the dark trees hung electric bulbs of green glass which were so well concealed that the sward seemed to glow with a light of its own.
Christian played the game with a carelessness that annoyed his partners. The girls wanted it to be taken more seriously, and it vexed them that, in spite of his inattention, he caught them with such ease. The young sister of Meerholz was among them, and Sidonie von Gröben, and the beautiful Fräulein von Einsiedel.
Letitia joined them. She went to the middle of the open space. She let Christian come quite near her. Then she eluded him more swiftly than he had thought possible. He turned to the others, but always Letitia fluttered in front of him. He sought to grasp her, but she was just beyond him. Once he drove her against the box-tree hedge, but she slipped into the foliage and was gone. Her movements, her running and turning, her merry passion had something fascinating; she called from the greenery with the little, laughing cries of a bird. Now he lay in wait for her, and the onlookers became curious.
When she reappeared he feigned not to see her, but suddenly he sped with incredible swiftness to the edge of the fountain’s basin where she stood. But she was a shade swifter still and leapt upon the rock, since all the other ways were blocked, and jumped across the water lightly from stone to stone. Her frock with its delicate pleats and loose sleeves fluttered behind her, and when Christian started in pursuit those below applauded.
Above it was dark. Letitia’s shoes became wet and her foot slipped. But before Christian could grasp her she swung herself upon a huge boulder between two tall pines as though to defend herself there or else climb still farther. But her footing failed her on the damp moss and she uttered a little cry, for she knew that he had caught her now.
He had caught her, caught her as she fell, and now held her in his arms. She was very quiet and tried to calm her fluttering breath. Christian was breathing heavily too, and he wondered why the girl was so still and silent. He felt her lovely form and drew her a little closer with that suppressedlaughter of his that sounded so cold and arrogant. The moonlight poured through the branches and made his face seem of an extraordinary beauty. Letitia saw his strong, white teeth gleam. She slipped from his arms, and put her own right arm about the trunk of one of the trees.
Here was all that she had dreamed of. Here was the breath of danger and the breath of desire, a wilderness and a moonlit night, distant music and a secret meeting. But her blood was quiet, for she was still a child.
Christian looked at the girl pliant against the tree; he saw her dishevelled hair, her dewy eyes and lips; his eyes followed the lines of her body and it seemed to him that he could taste the coolness of her skin and the sweetness of her innocent breath. He did not hesitate to take possession of his booty.
Swiftly he sought her hand, when suddenly he became aware of a toad that with loathsome sloth crept along Letitia’s white frock, first across its hem, then upward toward her hip. He grew pale and turned away. “The others are waiting. We had better turn back,” he said and began to climb downward.
Letitia followed his movements with staring eyes. The fiery emotion which had transformed her to her own vision into a fairy being, a Diana or Melusina, turned to pain and she began to weep. She did not know how to interpret what had happened, and her sorrow lasted until, by a fanciful but charming explanation, she had made it not more intelligible but more consoling in its character. Then she dried her tears and smiled again.
When Letitia arose the toad jumped into the moss. There was no sound.
On the afternoon before the departure of Crammon and Christian there was a violent thunder storm. The two men paced up and down in the upper corridor of the château anddiscussed their plans. In a pause between two peals of thunder Crammon listened and said: “What a queer noise. Did you hear it?”
“Yes,” Christian answered and they followed the direction of the sound.
At the end of the gallery was a mirrored hall, the doors of which were ajar. Crammon opened the door a little wider, peered in and laughed softly in his throat. Christian peered in too, above Crammon’s head, and joined in the laughter.
On the brilliantly polished floor of the room, which contained no furniture except a few couches and armchairs ranged along the walls, Letitia stood in little blue slippers and a pale blue gown and played at ball. Her face had an expression of ecstasy. The all but uninterrupted lightning that turned the mirrors into yellow flame gave her play a ghostliness of aspect.
Now she would toss the ball straight up, now she would throw it against the wall between the mirrors and catch it as it rebounded. At times she let it fall on the floor and clapped her hands or spread out her arms until it leaped up to be caught again. She turned and bent over and threw back her head, or advanced a step or whispered, always smiling and utterly absorbed. After the two had watched her for a while, Crammon drew Christian away, for the lightning made him nervous. He hated an electrical storm and had chosen to walk in the gallery to escape it. He now lit his short pipe and asked peevishly: “Do you understand the girl?”
Christian made no answer. Something lured him back to the threshold of the hall in which Letitia was playing her solitary game. But he remembered the toad on her white dress, and a strange aversion arose in his heart.
He did not love the memory of unpleasant events.
He did not like to speak of the past, whether it was pleasantor not. Nor did it please him to turn back upon a path. If ever it became necessary he soon grew weary.
He did not care for people whose faces showed the strain of intellectual labour, nor such as discoursed of books or of the sciences. Nor did he love the pale or the hectic or the over-eager or those who argued or insisted on the rightness of their opinions. If any one defended an opinion opposed to his own he smiled as courteously as though no difference existed. And it was painful to him to be asked concerning his opinion directly, and rather than bear the burden of a speech of explanation he did not hesitate to feign ignorance.
If in large cities he was forced to walk or ride through the quarters inhabited by the proletarian poor, he hastened as much as possible, compressed his lips, breathed sparingly, and his vexation would give his eyes a greenish glitter.
Once on the street a crippled beggar had caught hold of his great coat. He returned home and presented the coat to his valet. Even in his childhood he had refused to pass places where ragged people were to be seen, and if any one told of misery or need among men he had left the room, full of aversion for the speaker.
He hated to speak or to hear others speak of the functions or needs of the body—of sleep or hunger or thirst. The sight of a human being asleep was repulsive to him. He did not like emphatic leavetakings or the ceremonious greetings of those who had been absent long. He disliked church bells and people who prayed and all things that have to do with the exercise of piety. He was quite without understanding for even the very moderate Protestantism of his father.
He made no demand in words, but instinctively he chose to bear no company but that of well-clad, care-free, and clear-seeing people. Wherever he suspected secrets, hidden sorrows, a darkened soul, a brooding tendency, inner or outer conflicts, he became frosty and unapproachable and elusive. Therefore his mother said: “Christian is a child of the sun and can thriveonly in the sunlight.” She had made an early cult of keeping far from him all that is turbid, distorted, or touched with pain.
On her desk lay the marble copy of a plaster-cast of Christian’s hand—a hand that was not small, but sinewy and delicately formed, capable of a strong grasp, but unused and quiet.
On the trip from Hanau to Frankfort the automobile accident occurred in which young Alfred Meerholz lost his life. Christian was driving, but, as in the old days when the great tree fell, he remained unharmed.
Crammon had accompanied Christian and Alfred as far as Hanau. There he wanted to visit Clementine von Westernach and then proceed to Frankfort by an evening train. Christian had sent the chauffeur ahead to Frankfort the day before in order to make certain purchases.
Christian at once drove at high speed, and toward evening, as the road stretched out before him empty and free of obstacles, he made the car fly. Alfred Meerholz urged him on, glowing in the intoxication of speed. Christian smiled and let the machine do its utmost.
The trees on both sides looked like leaping animals in a photograph; the white riband of the road rolled shimmering toward them and was devoured by the roaring car; the reddening sky and the hills on the horizon seemed to swing in circles; the air seethed in their ears; their bodies vibrated and yearned to be whirled still more swiftly over an earth that revealed all the allurement of its smoothness and rotundity.
Suddenly a black dot arose in the white glare of the road. Christian gave a signal with his horn. The dot quickly assumed human form. Again the signal shrieked. The figure did not yield. Christian grasped the steering wheel more firmly. Alfred Meerholz rose in his seat and shouted. It was too late for the brake. Christian reversed the wheel energetically; it went a trifle too far. There was a jolt, a concussion, a crash,the groan of a splintering tree, a hissing and crackling of flame, a clash and rattle of steel. It was over in a moment.
Christian lay stunned. Then he got up and felt his limbs and body. He could think and he could walk. “All’s right,” he said to himself.
Then he caught sight of the body of his friend. The young man lay under the twisted and misshapen chassis with a crushed skull. A little trickle of scarlet blood ran across the white dust of the road. A few paces to one side stood in surprised stupor the drunken man who had not made way.
People at once began gathering hurriedly from all directions. There was a hotel near by. Christian answered many questions briefly. The drunken man was taken in custody. A physician came and examined young Meerholz’s body. It was placed on a stretcher and carried into the hotel. Christian telegraphed first to General Meerholz, then to Crammon.
His travelling bag had not been injured. While he was changing his clothes, police officers arrived, and took down his depositions concerning the accident. Then he went to the dining-room and ordered a meal and a bottle of wine.
He barely touched the food. The wine he gradually drank.
He saw himself standing in the dim hot-house awaiting Letitia. She had come animated by her excitement. Languishing and jesting she had whispered: “Well, my lord and master?” And he had said to her: “Have the image of a small toad made of gold, and wear the charm about your throat in order to avert the evil magic.”
Her kiss seemed still to be burning on his lips.
At eleven o’clock that night came Crammon, the faithful. “I beg of you, my dear fellow, attend to all necessary arrangements for me,” Christian said. “I don’t want to pass the night here. Adda Castillo will be getting impatient.” He handed Crammon his wallet.
Christian was thinking again of the romantic girl who, like all of her temper, gave without knowing what she gave or towhom, nor knew how long life is. But her kiss burned on his lips. He could not forget it.
Crammon returned. “Everything is settled,” he said in a business like way. “The car will be ready in fifteen minutes. Now let us go and say farewell to our poor friend.”
Christian followed him. A porter led them to a dim storeroom in which the body had been placed until the morrow. A white cloth had been wrapped about the head. At the feet crouched a cat with spotted fur.
Silently Crammon folded his hands. Christian felt a cold breath on his cheeks, but there was no stirring in his breast. When they came out into the open he said: “We must buy a new car in Frankfort. We need not be back here before noon to-morrow. The general cannot possibly arrive until then.”
Crammon nodded. But a surprised look sought the younger man, a look that seemed to ask: Of what stuff are you made?
About him, delicate, noble, proud, there was an icy air—the infinitely glassy clarity that rests on mountains before the dawn.
THE GLOBE ON THE FINGERTIPS OF AN ELFI
Crammonhad been a true prophet. Ten months had sufficed to fix the eyes of the world upon the dancer, Eva Sorel. The great newspapers coupled her name with the celebrated ones of the earth; her art was regarded everywhere as the fine flower of its age.
All those to whose restless spiritual desires she had given form and body were at her feet. The leaders of sorely driven humanity drew a breath and looked up to her. The adorers of form and the proclaimers of new rhythms vied for a smile from her lips.
She remained calm and austere with herself. Sometimes the noise of plaudits wearied her. Hard beset by the vast promises of greedy managers, she felt not rarely a breath of horror. Her inner vision, fixed upon a far and ideal goal, grew dim at the stammered thanks of the easily contented. These, it seemed to her, would cheat her. Then she fled to Susan Rappard and was scolded for her pains.
“We wandered out to conquer the world,” said Susan, “and the world has submitted almost without a struggle. Why don’t you enjoy your triumph?”
“What my hands hold and my eyes grasp gives me no cause to feel very triumphant yet,” Eva answered.
Susan lamented loudly. “You little fool, you’ve literally gone hungry. Take your fill now!”
“Be quiet,” Eva replied, “what do you know of my hunger?”
People besieged her threshold, but she received only a fewand chose them carefully. She lived in a world of flowers. Jean Cardillac had furnished her an exquisite house, the garden terrace of which was like a tropical paradise. When she reclined or sat there in the evening under the softened light of the lamps, surrounded by her gently chatting friends, whose most casual glance was an act of homage, she seemed removed from the world of will and of the senses and to be present in this realm of space only as a beautiful form.
Yet even those who thought her capable of any metamorphosis were astonished when a sudden one came upon her and when its cause seemed to be an unknown and inconsiderable person. Prince Alexis Wiguniewski had introduced the man, and his name was Ivan Michailovitch Becker. He was short and homely, with deep-set Sarmatian eyes, lips that looked swollen, and a straggling beard about his chin and cheeks. Susan was afraid of him.
It was on a December night when the snow was banked up at the windows that Ivan Michailovitch Becker had talked with Eva Sorel for eight hours in the little room spread with Italian rugs. In the adjoining room Susan walked shivering up and down, wondering when her mistress would call for help. She had an old shawl about her shoulders. From time to time she took an almond from her pocket, cracked it with her teeth, and threw the shells into the fireplace.
But on this night Eva did not go to bed, not even when the Russian had left her. She entered her sleeping chamber and let her hair roll down unrestrained so that it hid her head and body, and she sat on a low stool holding her fevered cheeks in her hollow hands. Susan, who had come to help her undress, crouched near her on the floor and waited for a word.
At last her young mistress spoke. “Read me the thirty-third canto of theInferno,” she begged.
Susan brought two candles and the book. She placed the candles on the floor and the volume on Eva’s lap. Then she read with a monotonous sound of lamentation. But towardthe end, especially where the poet speaks of petrified and frozen tears, her clear voice grew firmer and more eloquent.
“Lo pianto stesso lì pianger non lascia;E il duol, che trova in sugli occhi rintoppo,Si volve in entro a far crescer l’ambascia:Chè le lagrime prime fanno groppo,E, sì come visiere di cristallo,Riempion sotto il ciglio tutto il coppo.”[1]
“Lo pianto stesso lì pianger non lascia;E il duol, che trova in sugli occhi rintoppo,Si volve in entro a far crescer l’ambascia:Chè le lagrime prime fanno groppo,E, sì come visiere di cristallo,Riempion sotto il ciglio tutto il coppo.”[1]
“Lo pianto stesso lì pianger non lascia;E il duol, che trova in sugli occhi rintoppo,Si volve in entro a far crescer l’ambascia:Chè le lagrime prime fanno groppo,E, sì come visiere di cristallo,Riempion sotto il ciglio tutto il coppo.”[1]
“Lo pianto stesso lì pianger non lascia;
E il duol, che trova in sugli occhi rintoppo,
Si volve in entro a far crescer l’ambascia:
Chè le lagrime prime fanno groppo,
E, sì come visiere di cristallo,
Riempion sotto il ciglio tutto il coppo.”[1]
When she had finished she was frightened by the gleaming moisture in Eva’s eyes.
Eva arose and bent her head far backward and closed her eyes and said: “I shall dance all that—damnation in hell and then redemption!”
Then Susan embraced Eva’s knees and pressed her cheek against the bronze coloured silk of the girl’s garment and murmured: “You can do anything you wish.”
From that night on Eva was filled with a more urgent passion, and her dancing had lines in which beauty hovered on the edge of pain. Ecstatic prophets asserted that she was dancing the new century, the sunset of old ideas, the revolution that is to come.
When Crammon saw her again she showed the exquisitely cultivated firmness of a great lady and forced his silent admiration. And again there began that restless burning in his heart.
He talked to her about Christian Wahnschaffe and one evening he brought him to her. In Christian’s face there was something radiant. Adda Castillo had drenched it with her passion. Eva felt about him the breath of another woman and her face showed a mocking curiosity. For several secondsthe young man and the dancer faced each other like two statues on their pedestals.
Crammon wondered whether Christian would ever thank him for this service. He gave his arm to Susan, and the two walked to and fro in the picture gallery.
“I hope your blond German friend is a prince,” said Susan with her air of worry.
“He’s a prince travelling incognito in this vale of tears,” Crammon answered. “You’ve made some stunning changes here,” he added, gazing about him. “I’m satisfied with you both. You are wise and know the ways of the world.”
Susan stopped and told him of what weighed upon her mind. Ivan Michailovitch Becker came from time to time, and he and Eva would talk together for many hours. Always after that Eva would pass a sleepless night and answer no questions and have a fevered gleaming in her eyes. And how was one to forbid the marvellous child her indulgence in this mood? Yet it might hold a danger for her. No stray pessimist with awkward hands should be permitted to drag down as with weights the delicate vibrations of her soul. “What do you advise us to do?” she asked.
Crammon rubbed his smooth chin. “I must think it over,” he said, “I must think it over.” He sat down in a corner and rested his head on his hands and pondered.
Eva chatted with Christian. Sometimes she laughed at his remarks, sometimes they seemed strange and astonishing to her. Yet even where she thought her own judgment the better, she was willing to hear and learn. She regarded his figure with pleasure and asked him to get her, from a table in the room, an onyx box filled with semi-precious stones. She wanted to see how he would walk and move, how he would stretch out his arm and hand after the box and give it to her. She poured the stones into her lap and played with them. She let them glide through her fingers, and said to Christian with a smile that he should have become a dancer.
He answered naïvely that he was not fond of dancing in general, but that he would think it charming to dance with her. His speech amused her, but she promised to dance with him. The stones glittered in her hands; a quiver of her mouth betrayed vexation and pride but also compassion.
When she laughed it embarrassed Christian, and when she was silent he was afraid of her thoughts. He had promised to meet Adda Castillo at almost this hour. Yet he stayed although he knew that she would be jealous and make a scene. Eva seemed like an undiscovered country to him that lured him on. Her tone, her gestures, her expression, her words, all seemed utterly new. He could not tear himself away, and his dark blue eyes clung to her with a kind of balked penetration. Even when her friends came—Cardillac, Wiguniewski, d’Autichamps—he stayed on.
But Eva had found a name for him. She called him Eidolon. She uttered that name and played with its sound even as she played with the mani-coloured jewels in her lap.
One night Crammon entered a tavern in the outer boulevards. It was called “Le pauvre Job.” He looked about him for a while and then sat down near a table at which several young men of foreign appearance were conversing softly in a strange tongue.
It was a group of Russian political refugees whose meeting place he had discovered. Their chief was Ivan Michailovitch Becker. Crammon pretended to be reading a paper while he observed his man, whom he recognized from a photograph which Prince Wiguniewski had shown him. He had never seen so fanatical a face. He compared it with a smouldering fire that filled the air with heat and fumes.
He had been told that Ivan Becker had suffered seven years of imprisonment and five of Siberian exile and that manythousands of the young men of his people were wholly devoted to him and would risk any danger or sacrifice at his bidding.
“Here they live in the most brilliant spot of the habitable earth,” Crammon thought angrily, “and plan horrors.”
Crammon was an enemy of violent overthrow. If it did not interfere with his own comfort, he was rather glad to see the poor get the better of the over-fed bourgeois. He was a friend of the poor. He took a condescending and friendly interest in the common people. But he respected high descent, opposed any breach of venerable law, and held his monarch in honour. Every innovation in the life of the state filled him with presentiments of evil, and he deprecated the weakness of the governments that had permitted the wretched parliaments to usurp their powers.
He knew that there was something threatening at the periphery of his world. A stormwind from beyond blew out lamps. What if they should all be blown out? Was not their light and radiance the condition of a calm life?
He sat there in his seriousness and dignity, conscious of his superiority and of his good deeds. As a representative of order he had determined to appeal to the conscience of these rebels if a suitable opportunity were to come. Yet what tormented him was less an anxiety over the throne of the Tsar than one over Eva Sorel. It was necessary to free the dancer from the snares of this man.
An accident favoured his enterprise. One man after another left the neighbouring table and at last Ivan Becker was left alone. Crammon took his glass of absinthe and went over. He introduced himself, referring to his friendship with Prince Wiguniewski.
Silently Becker pointed to a chair.
True to his kind and condescending impulses Crammon assumed the part of an amiable man who can comprehend every form of human aberration. He approached his aim with innocent turns of speech. He scarcely touched the poisonous undergrowth of political contentions. He merely pointed out with the utmost delicacy that, in the West of Europe, the private liberty of certain lofty personages would have to remain untouched unless force were to be used to oppose force. Gentle as his speech was, it was an admonition. Ivan smiled indulgently.
“Though the whole sky were to flare with the conflagrations that devastate your Holy Russia,” Crammon said with conscious eloquence, and the corners of his mouth seemed to bend in right angles toward his square chin, “we will know how to defend what is sacred to us. Caliban is an impressive beast. But if he were to lay his hands on Ariel he might regret it.”
Again Ivan Michailovitch smiled. His expression was strangely mild and gentle, and gave his homely, large face an almost feminine aspect. He listened as though desiring to be instructed.
Crammon was encouraged. “What has Ariel to do with your misery? He looks behind him to see if men kiss the print of his feet. He demands joy and glory, not blood and force.”
“Ariel’s feet are dancing over open graves,” Ivan Michailovitch said softly.
“Your dead are safe at peace,” Crammon answered. “With the living we shall know how to deal.”
“We are coming,” said Ivan Michailovitch still more softly. “We are coming.” It sounded mysterious.
Half fearfully, half contemptuously Crammon looked at the man. After a long pause he said as though casually, “At twelve paces I can hit the ace of hearts four times out of five.”
Ivan Michailovitch nodded. “I can’t,” he said almost humbly, and showed his right hand, which he usually concealed skilfully. It was mutilated.
“What happened to your hand?” Crammon asked in pained surprise.
“When I lay in the subterranean prison at Kazan a keeperforged the chain about me too hard,” Ivan Michailovitch murmured.
Crammon was silent, but the other went on: “Perhaps you’ve noticed too that it’s difficult for me to speak. I lived alone too long in the desert of snow, in a wooden hut, in the icy cold. I became unused to words. I suffered. But that is only a single word: suffering. How can one make its content clear? My body was but a naked scaffolding, a ruin. But my heart grew and expanded. How can I tell it? It grew to be so great, so blood red, so heavy that it became a burden to me in the fearful attempt at flight which I finally risked. But God protected me.” And he repeated softly, “God protected me.”
In Crammon’s mind all ideas became confused. Was this man with his gentle voice and the timid eyes of a girl the murderous revolutionary and hero of possible barricades whom he had expected to meet? In his surprise and embarrassment he became silent.
“Let us go,” said Ivan Michailovitch. “It is late.” He arose and threw a coin on the table and stepped out into the street at Crammon’s side. There he began again, hesitatingly and shyly: “I don’t want to presume to judge, but I don’t understand these people here. They are so certain of themselves and so reasonable. Yet that reasonableness is the completest madness. A beast of the field that feels the tremor of an earthquake and flees is wiser. And another thing: Ariel, the being whom you strive so eloquently to protect, has no moral responsibility. No one thinks of blaming it. What is it but form, gesture, beauty? But don’t you think that the darker hue and deeper power that are born of the knowledge of superhuman suffering might raise art above the interests of idle sybarites? We need heralds who stand above the idioms of the peoples; but those are possibilities that one can only dream of with despair in one’s heart.” He nodded a brief good-night and went.
Crammon felt like a man who had merrily gone out in alight spring suit but had been overtaken by a rainstorm and returns drenched and angry. The clocks were striking two. A lady of the Opéra Comique had been waiting for him since midnight; the key to her apartment was in his pocket. But when he came to the bridge across the Seine he seized the key and, overcome by a violent fit of depression, flung it into the water.
“Sweet Ariel!” He spoke softly to himself. “I kiss the prints of your feet.”
Adda Castillo noticed that Christian was turning from her. She had not expected that, at least not so soon; and as she saw him grow cold, her love increased. But his indifference kept pace with her ardour, and so her passionate heart lost all repose.
She was accustomed to change and, in spite of her youth, had been greatly loved. She had never demanded fidelity before nor practised it. But this man was more to her than any other had been.
She knew who was robbing her of him; she had seen the dancer. When she called Christian to account he frankly admitted as a fact what she had mentioned only as a suspicion in the hope of having it denied. She instituted comparisons. She found that she was more beautiful than Eva Sorel, more harmoniously formed, racier and more impassioned. Her friends confirmed her in this opinion; and yet she felt that the other had some advantage to which she must yield. Neither she nor her flatterers could give it a name. But she felt herself the more deeply affronted.
She adorned her person, she practised all her arts, she unfolded all sides of her wild and entrancing temperament. It was in vain. Then she vowed vengeance and clenched her fists and stamped. Or else she begged and lay on her knees before him and sobbed. One method was as foolish as theother. He was surprised and asked calmly: “Why do you throw aside all dignity?”
One day he told her that they must separate. She turned very white and trembled. Suddenly she took a revolver from her pocket, aimed at him and fired twice. He heard the bullets whiz past his head, one on either side. They hit the mirror and smashed it, and the fragments clattered to the floor.
People rushed to the door. Christian went out and explained that the noise meant no harm and was due to mere carelessness. When he returned he found Adda Castillo lying on the sofa with her face buried in the pillows. He showed no fright and no sense of the danger that he had escaped. He thought merely how annoying such things were and how banal. He took his hat and stick and left the room.
It was long before Adda Castillo arose. She went to the mirror and shivered. There was but one fragment of it left in the frame. But by the help of this fragment she smoothed her coal-black hair.
A few days later she came to see Christian. On the card that she had sent in she begged for an interview of but five minutes. Her farewell performance in Paris was to take place that evening and she begged him to be present at the circus. He hesitated. The glowing eyes in the wax-white face were fixed on him in a mortal terror. It made him uncomfortable, but something like pity stirred within him and he agreed to come.
Crammon accompanied him. They entered just as Adda Castillo’s act was about to begin. The cage with the lions was being drawn into the arena. Their seats were near the front. “They’re getting to be a bit of a bore, these lions,” Crammon grumbled and watched the audience through his glasses.
Adda Castillo in scarlet fleshings, her dark hair loose, her lips and cheeks heavily rouged, entered the cage of the lionness and her four cubs. Perhaps something in the woman’s bearing irritated Teddy, the youngest lion. At all events he backed before her, roared and lifted his paw. Adda Castillo whistled and commanded him with a gesture to leave the mother animal. Teddy crouched and hissed.
At that moment Adda, instead of mastering the beast with her glance, turned to the public and searched the front rows with her sparkling eyes. Teddy leaped on her shoulder. She was down. One cry arose from many throats. The people jumped up. Many fled. Others grew pale but stared in evil fascination at the cage.
At that moment Trilby, the mother animal, came forward with a mighty leap, not to attack her mistress but to save her from the cubs. With powerful blows of her paw she thrust Teddy aside and stood protectingly over the girl who was bleeding from many wounds. But the cubs, greedy for blood, threw themselves on their mother and beat and bit her back and flanks, so that she retreated howling to a corner and left the girl to her fate.
The keepers had rushed up with long spears and hooks, but it was too late. The cubs had bitten their teeth deep into the body of Adda Castillo and torn her flesh to shreds. They did not let go until formaldehyde was sprinkled on her scattered remains.
The cries of pity and terror, the weeping and wringing of hands, the thronging at the gates and the noise of the circus men, the image of a clown who stood as though frozen on a drum, a horse that trotted in from the stables, the sight of the bloody, unspeakably mutilated body in its dripping shreds—none of all this penetrated in any connected or logical form the consciousness of Christian. It seemed to him mere confusion and ghostly whirl. He uttered no sound. Only his face was pale. His face was very pale.
In the motor car on their way to Jean Cardillac, with whom they were to dine, Crammon said: “By God, I wouldn’t like to die between the jaws of a lion. It is a cruel death and an ignominious one.” He sighed and surreptitiously looked at Christian.
Christian had the car stop and asked Crammon to present his excuses to Cardillac. “What are you going to do?” Crammon asked in his astonishment.
And Christian replied that he wanted to be alone, that he must be alone for a little.
Crammon could scarcely control himself. “Alone? You? What for?” But already Christian had disappeared in the crowd.
“He wants to be alone! What an insane notion!” Crammon growled. He shook his head and bade the chauffeur drive on. He drew up the collar of his greatcoat and dedicated a last thought to the unhappy Adda Castillo without assigning any guilt or blame to his friend.
“Eidolon is not as cheerful as usual,” Eva said to Christian. “What has happened? Eidolon mustn’t be sad.”
He smiled and shook his head. But she had heard of the happening at the circus and also knew in what relation Adda Castillo had stood to Christian.
“I had a bad dream,” he said and told her of it.
“I dreamed that I was in a railroad station and wanted to take a train. Many trains came in but roared and passed with indescribable swiftness. I wanted to ask after the meaning of this. But when I turned around I saw behind me in a semi-circle an innumerable throng. And all these people looked at me; but when I approached them, they all drew away slowly and silently with outstretched arms. All about in that monstrous circle they drew silently away from me. It was horrible.”
She passed her hand over his forehead to chase the horror away. But she recognized the power of her touch and was frightened by her image in his eye.
When from the stage where she was bowing amid the flowers and the applause she perceived the touch of his glances she felt in them a threat of enslavement. When on his arm she approached a table and heard the delighted whisper of people at them both, she seemed to herself the victim of a conspiracy, and a hesitation crept into her bearing. When Crammon, practising a strange self-abnegation, spoke of Christian in extravagant terms, and Susan, even in their nocturnal talks, grew mythical concerning his high descent, when Cardillac grew restless and Cornelius Ermelang, the young German poet who adored her, asked questions with his timid eyes—when these things came to pass she feigned coldness and became unapproachable.
She scolded Susan, she made fun of Crammon, she laughed at Jean Cardillac, jestingly she bent her knee to the poet. She confused her entire court of painters, politicians, journalists, and dandies with her incomprehensible mimicry and flexibility, and said that Eidolon was only an illusion and a symbol.
Christian did not understand this—neither this nor her swift withdrawals from him, and then her turning back and luring him anew. A passionate gesture would arise and suddenly turn to reproof, and one of delight would turn into estrangement. It was useless to try to bind her by her own words. She would join the tips of her fingers and turn her head aside and look out of the corners of her eyes at the floor with a cool astuteness.
Once he had driven her into a corner, but she called Susan, leaned her head against the woman’s shoulder and whispered in her ear.
Another time, in order to test her feeling, he spoke of his trip to England. With charmingly curved hands she gathered up her skirt and surveyed her feet.
Another time, in the light and cheerful tone they used to each other, he reproached her with making a fool of him. She crossed her arms and smiled mysteriously, wild and subdued atonce. She looked as though she had stepped out of a Byzantine mosaic.
He knew the freedom of her life. But when he sought for the motives that guided her, he had no means of finding them.
He knew nothing of the intellectual fire of the dancer, but took her to be a woman like any other. He did not see that that which is, in other women, the highest stake and the highest form of life, needed to be in her life but a moment’s inclination and a moment’s gliding by. He did not grasp the form in her, but saw the contour melt in glimmering change. Coming from the sensual regions of one possessed like Adda Castillo, he breathed here an air purified of all sultriness, which intoxicated but also frightened him, which quickened the beat of the heart but sharpened the vision.
Everything was fraught with presages of fate: when she walked beside him; when they rode side by side in the Bois de Boulogne; when they sat in the twilight and he heard her clear and childlike voice; when in the palm garden she teased her little monkeys; when she listened to Susan at the piano and let the bright stones glide through her fingers.
One evening when he was leaving he met Jean Cardillac at the gate. They greeted each other. Then involuntarily Christian stopped and looked after the man, whose huge form threw a gigantic shadow on the steps. Invisible little slaves seemed to follow this shadow, all bearing treasures to be laid at Eva’s feet.
An involuntary determination crystallized in him. It seemed important to measure his strength against this shadow’s. He turned back and the servants let him pass. Cardillac and Eva were in the picture gallery. She was curled up on a sofa, rolled up almost like a snake. Not far from those two, on a low stool, sat Susan impassive but with burning eyes.
“You’ve promised to drive with me to the races at Longchamp, Eva,” said Christian. He stood by the door to show that he desired nothing else.
“Yes, Eidolon. Why the reminder?” answered Eva without moving, but with a flush on her cheeks.
“Quite alone with me——?”
“Yes, Eidolon, quite alone.”
“My dream suddenly came back to me, and I thought of that train that wouldn’t stop.”
She laughed at the naïve and amiable tone of his words. Her eyes grew gentle and she laid her head back on the pillows. Then she looked at Cardillac, who arose silently.
“Good-night,” said Christian and went.
It was during these days that Denis Lay had arrived in Paris. Crammon had expected him and now welcomed him with ardour. “He is the one man living who is your equal and who competes with you in my heart,” Crammon had said to Christian.
Denis was the second son of Lord Stainwood. He had had a brilliant career at Oxford, where his exploits had been the talk of the country. He had formed a new party amid the undergraduates, whose discussions and agitations had spared no time-honoured institutions. At twenty-two he was not only a marksman, hunter, fisherman, sailor, and boxer, but a learned philologist. He was handsome, wealthy, radiant with life, and surrounded by a legend of mad pranks and by a halo of distinction and elegance—the last and finest flower of his class and nation.
Christian recognized his qualities without envy and the two became friends at once. One evening he was entertaining Cardillac, Crammon, Wiguniewski, Denis Lay, the Duchess of Marivaux, and Eva Sorel. And it was on this occasion that Eva, in the presence of the whole company, lightly broke the promise that she had given him.
Denis had expressed the desire to take her to Longchamp in his car. Eva became aware of Christian’s look. It was watchful, but still assured. She held a cluster of grapes in her hand. When she had placed the fruit back on the platebefore her, she had betrayed him. Christian turned pale. He felt that she needed no reminder. She had chosen. It was for him to be quiet and withdraw.
Eva took up the cluster of grapes again. Lifting it on the palm of her hand she said with that smile of dreamy enthusiasm which seemed heartless to Christian now: “Beautiful fruit, I shall leave you until I am hungry for you.”
Crammon raised his glass and cried: “Whoever wishes to do homage to the lady of our allegiance—drink!”
They all drank to Eva, but Christian did not lift his eyes.
On the next night after her performance, Eva had invited several friends to her house. She had danced the chief rôle in the new pantomime called “The Dryads,” and her triumph had been very great. She came home in a cloud of flowers. Later a footman brought in a basket heaped with cards and letters.
She sank into Susan’s arms, happy and exhausted. Every pore of her glowed with life.
Crammon said: “There may be insensitive scoundrels in the world. But I think it’s magnificent to watch a human being on the very heights of life.”
For this saying Eva, with graceful reverence, gave him a red rose. And the burning in his breast became worse and worse.
It had been agreed that Christian and Denis were to have a fencing bout. Eva had begged for it. She hoped not only to enjoy the sight, but to learn something for her own art from the movements of the two young athletes.
The preparations had been completed. In the round hall hung with tapestries, Christian and Denis faced each other. Eva clapped her hands and they assumed their positions. For a while nothing was heard except their swift, muffled, and rhythmical steps and the clash of their foils. Eva stood erect, all eye, drinking in their gestures. Christian’s bodywas slenderer and more elastic than the Englishman’s. The latter had more strength and freedom. They were like brothers of whom one had grown up in a harsh, the other in a mild climate; the one self-disciplined and upheld by a long tradition of breeding, the other cradled in tenderness and somewhat uncertain within. The one was all marrow, the other all radiance. In virility and passion they were equals.
Crammon was in the seventh heaven of enthusiasm.
When the combat was nearly at an end, Cornelius Ermelang appeared, and with him Ivan Michailovitch Becker. Eva had asked Ermelang to read a poem. He and Becker had known each other long, and when he had found the Russian walking to and fro near the gate he had simply brought him up. It was the first time that Ivan showed himself to Eva’s other friends.
Both were silent and sat down.
Christian and Denis had changed back to their usual garments, and now Ermelang was to read. Susan sat down near Becker and observed him attentively.
Cornelius Ermelang was a delicate creature and of a repulsive ugliness. He had a steep forehead, watery blue eyes with veiled glances, a pendulous nether lip, and a yellowish wisp of beard at the extreme end of his chin. His voice was extraordinarily gentle and soft, and had something of the sing-song rhythm of a preacher’s.
The name of the poem was “Saint Francis and Why Men Followed Him,” and its content was in harmony with the traditions and the writings.
Once upon a time Saint Francis was tarrying in the convent of Portiuncula with Brother Masseo of Marignano, who was himself a very holy man and could speak beautifully and wisely concerning God. And for this reason Saint Francis loved him greatly. Now one day Saint Francis returned from the forest where he had been praying, and just as he emerged from the trees Brother Masseo came to meet him and said: “Why thee rather than another? Why thee?”Saint Francis asked: “What is the meaning of thy words?” Brother Masseo replied: “I ask why all the world follows thee, and why every man would see thee and listen to thee and obey thee. Thou art not goodly to look upon, nor learned, nor of noble blood. Why is it that all the world follows thee?” When Saint Francis heard this he was glad in his heart, and he raised his face to Heaven and stood without moving for a long space, because his spirit was lifted up to God. But when he came to himself again, he threw himself upon his knees and praised and thanked God, and full of a devout passion turned to Brother Masseo and spoke: “Wouldst thou know why they follow me, and me always, and me rather than another? This grace has been lent to me by the glance of Almighty God Himself which rests on the good and the evil everywhere. For His holy eyes saw among the sinners on earth none who was more wretched than I, none who was less wise and able, nor any who was a greater sinner. For the miraculous work that He had it in His heart to bring about He found no creature on earth so mean as I. And therefore did He choose me to put to shame the world with its nobility and its pride and its strength and its beauty and its wisdom, in order that it might be known that all power and goodness proceed from Him alone and from no created thing, and that no one may boast before His face. But whoever boast, let him boast in the Lord.” And Brother Masseo was frightened at this answer, which was so full of humility and spoken with such fervour.
And the poem related how Brother Masseo went into the forest out of which Saint Francis had come, and how tones as of organ music came from the tops of the trees and formed more and more clearly the question: Wouldst thou know why? Wouldst thou know? And he cast himself upon the earth, upon the roots and stones, and kissed the roots and stones and cried out: “I know why! I know why!”
The stanzas had a sweetness and an inner ecstasy; their music was muffled and infinitely fluid, with many but shy and half-hidden rimes.
“It is beautiful,” said Denis Lay, who understood German perfectly.
And Crammon said: “It is like an old painting on glass.”
“What I admire most,” said Denis, “is that it brings the figure of Saint Francis very close to one with that magical quality ofcortesiawhich he possessed above all other saints.”
“Cortesia?What does it mean exactly?” Wiguniewski asked. “Does it mean a humble and devout courtesy?”
Eva arose. “That is it,” she said, “just that.” And she made an exquisite gesture with both hands. All looked at her, and she added: “To give what is mine, and only to appear to take what is another’s, that iscortesia.”
During all this conversation Christian had withdrawn himself from the others. Aversion was written on his face. Even during the reading he had hardly been able to keep his seat. He did not know what it was that rebelled in him and irritated him supremely. A spirit of mockery and scorn was in him and fought for some expression. With assumed indifference he called out to Denis Lay, and began to talk to him about the stallion that Lay desired to sell and Christian to possess. He had offered forty thousand francs for it. Now he offered forty-five thousand, and his voice was so loud that all could hear him. Crammon stepped to his side as though to guard him.
“Eidolon!” Eva cried suddenly.
Christian looked at her with a consciousness of guilt. Their eyes met. The others became silent in surprise.
“The beast is worth that anywhere,” Christian murmured, without taking his eyes from Eva.
“Come, Susan,” Eva turned to the woman, and about hermouth curled an expression of bitterness and scorn. “He knows how to fence and how to trade horses. Ofcortesiahe knows nothing. Good-night, gentlemen.” She bowed and slipped through the green hangings.
In consternation the company scattered.
When she had reached her room Eva threw herself into a chair, and in bitterness of spirit hid her face in her hands. Susan crouched near her on the floor, waiting and wondering. When a quarter of an hour had passed she arose and took the clasps out of Eva’s hair and began to comb it.
Eva was passive. She was thinking of her own master and of what he had taught her.
This is what her master had taught her: Train your body to fear and obey the spirit. What you grant the body beyond its necessity makes you its slave. Never be the one seduced. Seduce others, and your way will always be your own to see. Be a secret to others or you grow vulgar to yourself. Give yourself wholly only to your work. Passions of sense lay waste the heart. What one man truly receives of another is never the fullness of the hour or the soul, but lees and dregs that are fructified late and unconsciously.
She had been only twelve, when, persuaded by jugglers and answering the call of her fate, she had left her home in a remote little Franconian town. She was very far from her master then. But the way was pre-determined.
She never lost herself. She glided over difficulties and degradations as the chamois does over boulders and abysses. Whoever saw her amid the strolling jugglers held her to be the kidnapped child of distinguished parents. She was, as a matter of fact, the daughter of an obscure musician named Daniel Nothafft and of a servant girl. A dreamy feeling of pity and admiration united her to her father; her mother she had never known, and so discarded her ill-sounding name.
She was accustomed to pass the night in tents and barns. In towns by the sea she had often slept in the shelter of cliffs wrapped in a blanket. She knew the nocturnal sky with its clouds and stars. She had slept on straw amid the animals too, near asses and dogs, and on the rickety, over-burdened cart had ridden on the roadways through rain and snow. It was a romantic life that recalled another age.
She had had to sew her own costumes and to go through her daily and difficult exercises under the whip of the chief of the jugglers. But she learned the language of the country, and secretly bought at fairs in cities the books of the poets who had used it. Secretly she read, sometimes from pages torn out of the volumes and thus more easily concealed, Béranger, Musset, Victor Hugo, and Verlaine.
She walked the tight rope which, without any protective net below, was slung from gable to gable across the market-places of villages, and she walked as securely as on the ground. Or she acted as the partner of a dancing she-bear or with five poodles who turned somersaults. She was a trapeze artist too, and her greatest trick was to leap from one horse in full gallop to another. When she did that the hurdy-gurdy stopped its music so that the spectators might realize what a remarkable thing they were seeing. She carried the collection plate along the rope, and her glance persuaded many a one to dip into his pocket who had meant to slink away.
It was in villages and little towns lying along the Rhône that she first became aware among the spectators of a man who dragged himself about with difficulty on two crutches. He followed the troupe from place to place, and since his whole attention was fixed on Eva, it was evident that he did so for her sake.
It was after two years of this wandering life that in Lyons she was seized with typhoid fever. Her companions sent her to a hospital. They could not wait, but the chief juggler was to return after a period and fetch her. When he did returnshe was just beginning to convalesce. Suddenly by her bed-side she also saw the man with the crutches. He took the juggler aside and one could see that they were talking about money. From the pressure of her old master’s hand Eva knew that she saw him for the last time.
The man with the crutches was named Lucas Anselmo Rappard. He saved Eva and awakened her. He taught her her art. He took her under his care, and this care was tyrannical enough. He did not set her free again until she had become all that he had desired to make of her.
He had long lived in retirement at Toledo, because there were three or four paintings in the Spanish city that rewarded him for his isolation from the busy world. Also he found that the sun of Spain warmed him through and through, and that he liked the folk.
In spite of his crippled state he journeyed northward once a year to be near the ocean. And like the men of old he went slowly from place to place. His sister Susan was his unfailing companion. It was on one of his return journeys that he had seen Eva quite by chance. The village fairs of this region had long attracted him. And there he found unexpectedly something that stimulated his creative impulse. It was a sculptor’s inspiration. He saw the form in his mind’s eye. Here was the material ready to his hand. The sight of Eva relit an idea in him to which he had long despaired of giving a creative embodiment.
First he called the whole matter a whim. Later, absorbed in his task, he knew the passion of a Pygmalion.
He was forty at that time or a little more. His beardless face was thick-boned, peasant-like, brutal. But on closer observation the intellect shone through the flesh. The greenish-grey eyes, very deep-set in their hollows, had so compelling a glance that they surprised and even frightened others.
This remarkable man had an origin and a fate no less remarkable. His father had been a Dutch singer, his mother a Dalmatian. They had drifted to Courland, where an epidemic killed both at almost the same time. The two children had been taken into the ballet school of the theatre at Riga. Lucas Anselmo justified the most brilliant hopes. His incomparable elasticity and lightness surpassed anything that had yet been seen in a young dancer. At seventeen he danced at the Scala in Milan, and roused the public to a rare exhibition of enthusiasm. But his success was out of its due time—too late or too early. His whole personality had something strange and curiously transplanted; and soon he became estranged from himself and from the inner forces of his life. At twenty a morbid melancholy seized him.
He happened at that time to be dancing in Petrograd. A young but lately married lady of the court fell in love with him. She persuaded him to visit her on a certain night in a villa beyond the city. But her husband had been warned. He pleaded the necessity of going on a journey to make his wife the more secure. Then with his servants he broke into the lovers’ chamber, had the lad beaten cruelly, then tied, and thrown naked into the snow. Here in the bitter cold the unhappy dancer lay for six hours.
A dangerous illness and a permanent crippling of his legs were the result of this violent adventure. Susan nursed him and never left him for an hour. She had always admired and loved him. Now she worshipped him. He had already earned a little fortune, and an inheritance from his mother’s side increased it, so he was enabled to live independently.
A new man developed in him. His deformity gave to his mind the resilience and power that had been his body’s. In a curious way he penetrated all the regions of modern life; and above pain, disappointment, and renunciation, he built a road from the senses to the mind. In his transformation froma dancer to a cripple he divined a deep significance. He now sought an idea and a law; and the harsh contrast between external calm and inner motion, of inner calm and outward restlessness, seemed to him important in any interpretation of mankind and of his age.
At twenty-two he set himself to study Latin, Greek, and Sanskrit. He became a thorough student, and took courses at the German universities. And this strange student, who dragged himself along on crutches, was often an object of curiosity. At the age of thirty he travelled with Susan to India, and lived for four years at Delhi and Benares. He associated with learned Brahmins and received their mystic teachings. Once he had sight of an almost legendary Thibetan priest, who had lived in a cave of the mountains for eighty years, and whom the eternal darkness had blinded, but whom the eternal loneliness had made a saint. The sight of the centenarian moved him, for the first time in his life, to tears. He now understood saintliness and believed in it. And this saint danced: he danced at dawn, turning his blinded eyes to the sun.
He saw the religious festivals in the temple cities on the Ganges, and felt the nothingness of life and the indifference of death when he saw those who had died of pestilence float by hundreds down the stream. He had himself carried into primeval forests and jungles, and saw everywhere in the inextricable coil of life and death each taking the other’s form and impulse—decay becoming birth and putrefaction giving life. He was told of the marble-built city of a certain king, in which dwelled only dancing girls taught by priests. When their flesh faded and their limbs lost their agility, they were slain. They had vowed chastity, and none was permitted to survive the breaking of that vow. He approached the fabled city but could not gain admission. At night he saw the fires on its roofs, and heard the songs of its virginal dancers. Now and then it seemed to him that he heard a cry of death.
This night, with its fires and songs, its unseen dancers and uncertain cries, stored up new energies within his soul.