“What do you wish?” he asked as he tuned the fiddle.
Ingolby laughed good-humouredly. “Something Eastern; something you’d play for yourself if you were out by the Caspian Sea. Something that has life in it.”
Jethro continued to tune the fiddle carefully and abstractedly. His eyes were half-closed, giving them a sulky look, and his head was averted. He made no reply to Ingolby, but his head swayed from side to side in that sensuous state produced by self-hypnotism, so common among the half-Eastern races. By an effort of the will they send through the nerves a flood of feeling which is half-anaesthetic, half-intoxicant. Carried into its fullest expression it drives a man amok or makes of him a howling dervish, a fanatic, or a Shakir. In lesser intensity it produces the musician of the purely sensuous order, or the dancer that performs prodigies of abandoned grace. Suddenly the sensuous exaltation had come upon Jethro Fawe. It was as though he had discharged into his system from some cells of his brain a flood which coursed like a stream of soft fire.
In the pleasurable pain of such a mood he drew his bow across the strings with a sweeping stroke, and then, for an instant, he ran hither and thither on the strings testing the quality and finding the range and capacity of the instrument. It was a scamper of hieroglyphics which could only mean anything to a musician.
“Well, what do you think of him?” Ingolby asked as the Romany lowered the bow. “Paganini—Joachim—Sarasate—any one, it is good enough,” was the half-abstracted reply.
“It is good enough for you—almost, eh?”
Ingolby meant his question as a compliment, but an evil look shot into the Romany’s face, and the bow twitched in his hand. He was not Paganini or Sarasate, but that was no reason why he should be insulted.
Ingolby’s quick perception saw, however, what his words had done, and he hastened to add: “I believe you can get more out of that fiddle than Sarasate ever could, in your own sort of music anyhow. I’ve never heard any one play half so well the kind of piece you played this afternoon. I’m glad I didn’t make a fool of myself buying the fiddle. I didn’t, did I? I gave five thousand dollars for it.”
“It’s worth anything to the man that loves it,” was the Romany’s response. He was mollified by the praise he had received.
He raised the fiddle slowly to his chin, his eyes wandering round the room, then projecting themselves into space, from which they only returned to fix themselves on Ingolby with the veiled look which sees but does not see—such a look as an oracle, or a death-god, or a soulless monster of some between-world, half-Pagan god would wear. Just such a look as Watts’s “Minotaur” wears in the Tate Gallery in London.