“I can well believe it, Herr Martini. People who are not behind the scenes get strange ideas of what a poet's life must be like.”
“Quite conceivably, Royal Highness. But it is, taken all round, by no means a very glorious life, I can assure you, especially as we aren't poets every hour of the twenty-four. In order that a poem of that sort may come into existence from time to time—who would believe how much idleness and boredom and peevish laziness is necessary? The motto on a picture postcard is often a whole day's work. We sleep a lot, we idle about with heads feeling like lead. Yes, it's too often a dog's life.”
Some one knocked lightly on the white-lacquered door. It was Neumann's signal that it was high time for Klaus Heinrich to change his clothes and have himself freshened up. For there was to be a club concert that evening in the Old Schloss.
Klaus Heinrich rose. “I've been gossiping,” he said; for that was the expression he used at such moments. And then he dismissed Herr Martini, wished him success in his poetical career, and accompanied the poet's respectful withdrawal with a laugh and that rather theatrical up and down movement of the hand which was not always equally effective, but which he had brought to a high pitch of perfection.
Such was the Prince's conversation with Axel Martini, the author of “Evoë!” and “The Holy Life.” It gave him food for thought, it continued to occupy his mind after it had ended. He continued to think over it while Neumann was reparting his hair and helping him on with the dazzling full-dress coat with the stars, during the club concert at Court, and for several days afterwards, and he tried to reconcile the poet's statements with the rest of the experiences which life had vouchsafed to him.
This Herr Martini, who, while the unhealthy flush glowed under his eyes, kept crying: “How beautiful, how strong is life!” yet was careful to go to bed at ten, shut himself off from life on hygienic grounds, as he said, and avoided every serious tie with it—this poet with his frayed collar, his watery eyes, and his envy of the young Weber who scorched over the country with village girls: he left a mixed impression, it was difficult to come to any certain conclusion about him. Klaus Heinrich expressed it, when he told his sister of the meeting, by saying: “Things are none too comfortable and easy for him, that's quite obvious, and that certainly entitles him to our sympathy. But somehow, I'm not sure if I'm glad to have met him, for he has something deterrent about him, Ditlinde—yes, after all, he's certainly a little repulsive.”
VII
IMMA
Fräulein von Isenschnibbe had been well informed. On the very evening of the day on which she had brought the Princess zu Reid the great news, the Courier published the announcement of Samuel Spoelmann's, the world-renowned Spoelmann's, impending arrival, and ten days later, at the beginning of October (it was the October of the year in which Grand Duke Albrecht had entered his thirty-second and Prince Klaus Heinrich his twenty-sixth year), thus barely giving time for public curiosity to reach a really high point, his arrival became a fact, a plain actuality on an autumn-tinged, entirely ordinary week-day, which was destined to impress itself on the future as a date to be remembered for ever.
The Spoelmanns arrived by special train—that was the only distinction about their debut to start with, for everybody knew that the “Prince's suite” in the “Spa Court” Hotel was by no means dazzlingly magnificent. A few idlers, guarded by a small detachment of policemen, had gathered behind the platform barriers; some representatives of the press were present. But whoever expected anything out of the ordinary was disappointed. Spoelmann would almost have passed unrecognized, he was so unimposing. For a long time people took his family physician for him (Doctor Watercloose, people said he was called), a tall American, who wore his hat on the back of his head and kept his mouth distended in a perpetual smile between his close-trimmed white whiskers, the while he half-closed his eyes. It was not till the last moment that people learned that it was the little clean-shaven man in the faded overcoat, he who wore his hat pulled down over his eyes, who was the actual Spoelmann, and the spectators were agreed that there was nothing striking about him. All sorts of stories had been in circulation about him; some witty fellow had spread the report that Spoelmann had front teeth of solid gold and a diamond set in the middle of each. But although the truth or untruth of this report could not be tested at once—for Spoelmann did not show his teeth, he did not laugh, but rather seemed angry and irritated by his infirmity—yet when they saw him nobody was any longer inclined to believe it.
As for Miss Spoelmann, his daughter, she had turned up the collar of her fur coat, and stuffed her hands in the pockets, so that there was hardly anything to be seen of her except a pair of disproportionately big brown-black eyes, which swept the crowd with a serious look whose meaning it was hard to interpret. By her side stood the person whom the onlookers identified as her companion, the Countess Löwenjoul, a woman of thirty-five, plainly dressed and taller than either of the Spoelmanns, who carried her little head with its thin smooth hair pensively on one side, and kept her eyes fixed in front of her with a kind of rigid meekness. What without question attracted most attention was a Scottish sheep-dog which was led on a cord by a stolid-looking servant—an exceptionally handsome, but, as it appeared, terribly excitable beast, that leaped and danced and filled the station with its frenzied barking.