He was beginning to use human language.
"That's good! Good!" he exclaimed to himself. "Famous!… Awfully famous! (Schrecklich famos!) But, damme!" He growled in astonishment. "What is it?"
He had risen on his seat, was stretching for wind, making a trumpet with his hand, talking to himself, laughing with pleasure, or at certain odd harmonies, just putting out his tongue as though to moisten his lips. An unexpected modulation had such an effect on him that he got up suddenly with an exclamation, and came and sat at the piano by Christophe's side. He did not seem to notice that Christophe was there. He was only concerned with the music, and when the piece was finished he took the book and began to read the page again, then the following pages, and went on ejaculating his admiration and surprise as though he had been alone in the room.
"The devil!" he said. "Where did the little beast find that?…"
He pushed Christophe away with his shoulders and himself played certain passages. He had a charming touch on the piano, very soft, caressing and light. Christophe noticed his fine long, well-tended hands, which were a little morbidly aristocratic and out of keeping with the rest. Hassler stopped at certain chords and repeated them, winking, and clicking with his tongue. He hummed with his lips, imitating the sounds of the instruments, and went on interspersing the music with his apostrophes in which pleasure and annoyance were mingled. He could not help having a secret initiative, an unavowed jealousy, and at the same time he greedily enjoyed it all.
Although he went on talking to himself as though Christophe did not exist, Christophe, blushing with pleasure, could not help taking Hassler's exclamations to himself, and he explained what he had tried to do. At first Hassler seemed not to pay any attention to what the young man was saying, and went on thinking out loud; then something that Christophe said struck him and he was silent, with his eyes still fixed on the music, which he turned over as he listened without seeming to hear. Christophe grew more and more excited, and at last he plumped into confidence, and talked with naïve enthusiasm about his projects and his life.
Hassler was silent, and as he listened he slipped hack into his irony. He had let Christophe take the book from his hands; with his elbow on the rack of the piano and his hand on his forehead, he looked at Christophe, who was explaining; his work with youthful ardor and eagerness. And he smiled bitterly as he thought of his own beginning, his own hopes, and of Christophe's hopes, and all the disappointments that lay in wait for him.
Christophe spoke with his eyes cast down, fearful of losing the thread of what he had to say. Hassler's silence encouraged him. He felt that Hassler was watching him and not missing a word that he said, and he thought he had broken the ice between them, and he was glad at heart. When he had finished he shyly raised his head—confidently, too—and looked at Hassler. All the joy welling in him was frozen on the instant, like too early birds, when he saw the gloomy, mocking eyes that looked into his without kindness. He was silent.
After an icy moment, Hassler spoke dully. He had changed once more; he affected a sort of harshness towards the young man. He teased him cruelly about his plans, his hopes of success, as though he were trying to chaff himself, now that he had recovered himself. He set himself coldly to destroy his faith in life, his faith in art, his faith in himself. Bitterly he gave himself as an example, speaking of his actual works in an insulting fashion.
"Hog-waste!" he said. "That is what these swine want. Do you think there are ten people in the world who love music? Is there a single one?"