"Clear a passage on both sides, so that you can pass from your room into mine.—Now, leave the door ajar.—When La Cibot comes to take your place (and she is capable of coming an hour earlier than usual), you can go away to bed as if nothing had happened, and look very tired. Try to look sleepy. As soon as she settles down into the armchair, go into the closet, draw aside the muslin curtains over the glass door, and watch her. . . . Do you understand?"
"I oondershtand; you belief dat die pad voman is going to purn der vill."
"I do not know what she will do; but I am sure of this—that you will not take her for an angel afterwards.—And now play for me; improvise and make me happy. It will divert your thoughts; your gloomy ideas will vanish, and for me the dark hours will be filled with your dreams. . . ."
Schmucke sat down at the piano. Here he was in his element; and in a few moments, musical inspiration, quickened by the pain with which he was quivering and the consequent irritation that followed came upon the kindly German, and, after his wont, he was caught up and borne above the world. On one sublime theme after another he executed variations, putting into them sometimes Chopin's sorrow, Chopin's Raphael-like perfection; sometimes the stormy Dante's grandeur of Liszt—the two musicians who most nearly approach Paganini's temperament. When execution reaches this supreme degree, the executant stands beside the poet, as it were; he is to the composer as the actor is to the writer of plays, a divinely inspired interpreter of things divine. But that night, when Schmucke gave Pons an earnest of diviner symphonies, of that heavenly music for which Saint Cecile let fall her instruments, he was at once Beethoven and Paganini, creator and interpreter. It was an outpouring of music inexhaustible as the nightingale's song—varied and full of delicate undergrowth as the forest flooded with her trills; sublime as the sky overhead. Schmucke played as he had never played before, and the soul of the old musician listening to him rose to ecstasy such as Raphael once painted in a picture which you may see at Bologna.
A terrific ringing of the door-bell put an end to these visions. The first-floor lodgers sent up a servant with a message. Would Schmucke please stop the racket overhead. Madame, Monsieur, and Mademoiselle Chapoulot had been wakened, and could not sleep for the noise; they called his attention to the fact that the day was quite long enough for rehearsals of theatrical music, and added that people ought not to "strum" all night in a house in the Marais.—It was then three o'clock in the morning. At half-past three, La Cibot appeared, just as Pons had predicted. He might have actually heard the conference between Fraisier and the portress: "Did I not guess exactly how it would be?" his eyes seemed to say as he glanced at Schmucke, and, turning a little, he seemed to be fast asleep.
Schmucke's guileless simplicity was an article of belief with La Cibot (and be it noted that this faith in simplicity is the great source and secret of the success of all infantine strategy); La Cibot, therefore, could not suspect Schmucke of deceit when he came to say to her, with a face half of distress, half of glad relief:
"I haf had a derrible night! a derrible dime of it! I vas opliged to play to keep him kviet, and the virst-floor lodgers vas komm up to tell me to be kviet! . . . It was frightful, for der life of mein friend vas at shtake. I am so tired mit der blaying all night, dat dis morning I am all knocked up."
"My poor Cibot is very bad, too; one more day like yesterday, and he will have no strength left. . . . One can't help it; it is God's will."
"You haf a heart so honest, a soul so peautiful, dot gif der Zipod die, ve shall lif togedder," said the cunning Schmucke.
The craft of simple, straightforward folk is formidable indeed; they are exactly like children, setting their unsuspected snares with the perfect craft of the savage.