"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.