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remote one, after all—he had only lately become aware; for it is failure that makes a man enter into himself and reckon his resources. And though he had made up his mind to retire from the world in hermit fashion, yet he was irrationally moved by this sense of loneliness which had come to him in the hour of renunciation. It hurt him. Nothing is more painful than the shock of sharp contradictions that lacerate our intelligence and our feelings.

Meantime Schomberg watched Heyst out of the corner of his eye. Towards the unconscious object of his enmity he preserved a distant Lieutenant-of-theReserve demeanour. Nudging certain of his customers with his elbow, he begged them to observe what airs "that Swede" was giving himself.

"I really don't know why he has come to stay in my house. This place isn't good enough for him. I wish to goodness he had gone somewhere else to show off his superiority. Here I have got up this series of concerts for you gentlemen, just to make things a little brighter generally; and do you think he'll condescend to step in and listen to a piece or two of an evening? Not he. I know him of old. There he sits at the dark end of the piazza, all the evening long—planning some hew swindle, no doubt. For twopence I would ask him to go and look for quarters somewhere else; only one doesn't like to treat a white man like that out in the tropics. I don't know how long he means to stay, but I'm willing to bet a trifle that he'll never work himself up to the point of spending the fifty cents of entrance money for the sake of a little good music."

Nobody cared to bet, or the hotel-keeper would have lost. One evening Heyst was driven to desperation by the rasped, squeaked, scraped snatches of tunes pursuing him even to his hard couch, with a mattress as thin as a pancake and a diaphanous mosquito net. He descended among the trees, where the soft glowof- t Japanese lanterns picked out parts of their great rugged trunks, here and there, in the great mass of darkness under the lofty foliage. More lanterns, of the shape of cylindrical concertinas, hanging in a row from a slack string, decorated the doorway of what Schomberg called grandiloquently "my concerthall." In his desperate mood Heyst ascended three steps, lifted a calico curtain, and went in.

The uproar in that small, barn-like structure, built of imported pine boards, and raised clear of the ground, was simply stunning. An instrumental uproar, screaming, grunting, whining, sobbing, scraping, squeaking, some kind of lively air; while a grand piano, operated upon by a bony, red-faced woman with bad-tempered nostrils, rained hard notes like hail through the tempest of fiddles. The small platform was filled with white muslin dresses and crimson sashes slanting from shoulders provided with bare arms, which sawed away without respite. Zangiacomo conducted. He wore a white mess-jacket, a black dress waistcoat, and white trousers. His longish, tousled hair and his great beard were purpleblack. He was horrible. The heat was terrific. There were perhaps thirty people having drinks at several little tables. Heyst, quite overcome by the volume of noise, dropped into a chair. In the quick time of that music, in the varied, piercing clamour of the strings, in the movements of the bare arms, in the low dresses, the coarse faces, the stony eyes of the executants, there was a suggestion of brutality—something cruel, sensual, and repulsive.

"This is awful!" Heyst murmured to himself.

But there is an unholy fascination in systematic noise. He did not flee from it incontinently, as one might have expected him to do. He remained, astonished at himself for remaining, since nothing could have been more repulsive to his tastes, more painful to his senses, and, so to speak, more contrary to his genius, than this rude exhibition of vigour. The horrible band was not making music; it was simply murdering silence with a vulgar, ferocious energy. One felt as if witnessing a deed of violence; and that impression was so strong that it seemed marvellous to see the people sitting so quietly on their chairs, drinking so calmly out of their glasses, and giving no signs of distress, anger or fear. Heyst averted his gaze from the unnatural spectacle of their indifference.

When the piece of music came to an end, the relief was so great that he felt slightly dizzy, as if a chasm of silence had yawned at his feet. When he raised his eyes, the audience, most perversely, was exhibiting signs of animation and interest in their faces and the women in white muslin dresses were coming down in pairs from the platform into the body of Schomberg's "concert-hall." They dispersed themselves all over the place. The male creature with the hooked nose and purple-black beard disappeared somewhere. This was the interval during which, as the astute Schomberg had stipulated, the members of the orchestra were encouraged to favour the members of the audience with their company—that is, such members as seemed inclined to fraternize with the arts in a familiar and generous manner; the symbol of familiarity and generosity consisting in offers of refreshment.

The procedure struck Heyst as highly incorrect. However, the impropriety of Schomberg's ingenious scheme was defeated by the circumstance that most of the women were no longer young, and that none of them had ever been beautiful. Their more or less worn cheeks were slightly rouged; but apart from that fact, which might have been simply a matter of routine, they did not seem to take the success of the scheme unduly to heart. The impulse to fraternize with the arts being obviously weak in the audience, some of the musicians sat down listlessly at unoccupied tables, while others went on perambulating the central passage arm in arm, glad enough, no doubt, to stretch their legs while resting their arms. Their crimson sashes gave a factitious touch of gaiety to the smoky atmosphere of the concert-hall; and Heyst felt a sudden pity for these beings exploited, hopeless, devoid of charm and grace, whose fate of cheerless dependence invested their coarse and joyless features with a touch of pathos.

Heyst was temperamentally sympathetic. To have them passing and repassing close to his little table was painful to him. He was preparing to rise and go out when he noticed that two white muslin dresses and crimson sashes had not yet left the platform. One of these dresses concealed the raw-boned frame of the woman with the bad-tempered curve to her nostrils. She was no less a personage than Mrs. Zangiacomo. She had left the piano, and, with her back to the hall, was preparing the parts for the second half of the concert, with a brusque, impatient action of her ugly elbows. This task done, she turned, and, perceiving the other white muslin dress motionless on a chair in the second row, she strode toward it between the music-stands with an aggressive and masterful gait. On the lap of that dress there lay, unclasped and idle, a pair of small hands, not very white, attached to well formed arms. The next detail Heyst was led to observe was the arrangement of the hair— two thick brown tresses rolled round an attractively shaped head.

"A girl, by Jove!" he exclaimed mentally.

It was evident that she was a girl. It was evident in the outline of the shoulders, in the slender white bust springing up, barred slantwise by the crimson sash, from the bell-shaped spread of muslin skirt hiding the chair on which she sat averted a little from the body of the hall. Her feet, in low white shoes, were crossed prettily.

She had captured Heyst's awakened faculty of observation; he had the sensation of a new experience. That was because his faculty of observation had never before been captured by any feminine creature in that marked and exclusive fashion. He looked at her anxiously, as no man ever looks at another man; and he positively forgot where he was. He had lost touch with his surroundings. The big woman, advancing, concealed the girl from his sight for a. moment. She

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