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common human enterprise. It was like the gnawing pain of useless apostasy, a sort of shame before his own betrayed nature; and, in addition, he also suffered from plain, downright remorse.
He deemed himself guilty of Morrison's death. A rather absurd feeling, since no one could possibly have foreseen the horrors of the cold, wet summer lying in wait for poor Morrison at home.
It was not in Heyst's character to turn morose; but his mental state was not compatible with a sociable mood. He spent his evenings sitting apart
. on the veranda of Schomberg's hotel. The lamentations of string instruments issued from the building in the hotel compound, the approaches to which were decorated with Japanese paper lanterns strung up between the trunks of several big trees Scraps of tunes more or less plaintive reached his ears. They pursued him even into his bedroom, which opened into an upstairs veranda. The fragmentary and rasping character of these sounds made their intrusion inexpressibly tedious in the long run. Like most dreamers, to whom it is given sometimes to hear the music of the spheres, Heyst, the wanderer of the Archipelago, had a taste for silence which he had been able to gratify for years. The islands are very quiet. One sees them lying about, clothed in their dark garments of leaves, in a great hush of
silver and azure, where the sea without murmurs meets the sky in a ring of magic stillness. A sort of smiling somnolence broods over them; the very voices of their people are soft and subdued, as if afraid to break some protecting spell.
Perhaps this was the very spell which had enchanted Heyst in the early days. For him, however, that was broken. He was no longer enchanted, though he was still a captive of the islands. He had no intention to leave them ever. Where could he have gone to, after all these years ? Not a single soul belonging to him lived anywhere on earth. Of this fact—not such a remote one, after all—he had only lately become aware; for it is failure that makes a man enter into himself and reckon up 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 feelings.
Meantime Schomberg watched Heyst out of the corner of his eye. Towards the unconscious object of his enmity he preserved a distant Lieutenant-ofthe-Reserve 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 new 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 glow of 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 concert-hall." In his desperate mood Heyst ascended three steps, lifted a 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 remairing, 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 Zangiacomo 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