This tone became a monstrous serpent that plunged its fangs into Baruch's brain and hissed one implacable tone, the tone B. The drum roared the same tone; the voices twined about the crucified Jew and beat back sleep, beat back death itself.
The evening of the fourth day Baruch Mendoza was more pallid than his robe; his eyes looked like twin stars, they so glittered, and the fire in them was hardly of this earth. His cheek-bones started through the skin; beard and hair hung in damp masses about the ghastly face and head; his lips were parted in a contemptuous grin, and there was a strained, listening look on the countenance: he was listening for the key that was slaying him, and he saw it now, saw it in the flesh, a creeping, crawling, shapeless thing that slowly strangled his life. All his soul had flown to his ears, all his senses were lodged in the one sense of hearing, and as he heard again and again the Lord's Prayer in the key of B the words that compose it separated themselves from the tone and assumed an individual life. The awful power of the spoken word assailed him, and "Our Father who art in heaven" became for Baruch a divine gigantic cannibal, devouring the planets, the stars, the firmament, the cosmos, as he created them. The heavens were copper, and there gleamed and glared the glance of an eyeball burning like a sun, and so threatening that the spirit of the atheist was consumed as a scroll in the flame. He cried aloud, "If there is a God, let Him come from on high and save me!" The drum sounded more fiercely, a monk moistened with water the tortured man's lips, and Baruch groaned when the cowled choir chaunted, "Pater noster, qui es in cœlis!"
"Give us this day our daily bread." He asked himself if he had ever known hunger and thirst; then other letters of fire came into his brain, but through the porches of his ears. "And forgive us our trespasses as we forgive those who trespass against us." Could he, he whispered to his soul—could he forgive these devils that sang like angels? He almost shivered in his attempt to smile; and loathing life heard with sardonic amusement: "Lead us not into temptation, but deliver us from evil!"
"Amen," groaned Baruch Mendoza. Again the drum boomed dolorously, and monkish voices intoned: "Pater noster, qui es in cœlis!"
There was no dawn, no eve in this brassy hell of music. The dripping monotone of voices, the dreary pelting of the drum never ceased; and the soul of the unbeliever was worn slowly away. The evening of the seventh day the Grand Inquisitor, standing at his side, noticed with horror the resemblance to the Master, and piously crossed himself.
Seeing the end was nigh, for there was thin froth on the shrivelled gums of the man, the mild-voiced Inquisitor made a sign to the black friar, and in a moment the music that had never ceased for six days was no longer heard, though the air continued to hum with the vibrations of the diabolical tone. The black friar knelt beside the dying one, and drawing an ivory crucifix from his habit held it to Mendoza's face. Baruch, aroused by the cessation of the torturing tonality, opened his eyes, which were as black as blood, saw the symbol of Christianity, and with a final effort forced from his cracked lips:
"Thou traitor!" As he attempted to blaspheme the sacred image he died, despairingly invoking Adonai.
Then rolled forth in rich, triumphant tones the music of "Our Father who art in heaven," while the drum sonorously sounded in the key of B, and the mode was major.