Victory. Джозеф Конрад

called grandiloquently “my concert-hall.” In his desperate mood Heyst ascended three steps, lifted a calico curtain, and went in.

      The uproar in that small, barn-like structure, built of imported pine boards, and raised clear of the ground, was simply stunning. An instrumental uproar, screaming, grunting, whining, sobbing, scraping, squeaking some kind of lively air; while a grand piano, operated upon by a bony, red-faced woman with bad-tempered nostrils, rained hard notes like hail through the tempest of fiddles. The small platform was filled with white muslin dresses and crimson sashes slanting from shoulders provided with bare arms, which sawed away without respite. Zangiacomo conducted. He wore a white mess-jacket, a black dress waistcoat, and white trousers. His longish, tousled hair and his great beard were purple-black. He was horrible. The heat was terrific. There were perhaps thirty people having drinks at several little tables. Heyst, quite overcome by the volume of noise, dropped into a chair. In the quick time of that music, in the varied, piercing clamour of the strings, in the movements of the bare arms, in the low dresses, the coarse faces, the stony eyes of the executants, there was a suggestion of brutality—something cruel, sensual and repulsive.

      “This is awful!” Heyst murmured to himself.

      But there is an unholy fascination in systematic noise. He did not flee from it incontinently, as one might have expected him to do. He remained, astonished at himself for remaining, since nothing could have been more repulsive to his tastes, more painful to his senses, and, so to speak, more contrary to his genius, than this rude exhibition of vigour. The Zangiacomo band was not making music; it was simply murdering silence with a vulgar, ferocious energy. One felt as if witnessing a deed of violence; and that impression was so strong that it seemed marvellous to see the people sitting so quietly on their chairs, drinking so calmly out of their glasses, and giving no signs of distress, anger, or fear. Heyst averted his gaze from the unnatural spectacle of their indifference.

      When the piece of music came to an end the relief was so great that he felt slightly dizzy, as if a chasm of silence had yawned at his feet. When he raised his eyes, the audience, most perversely, was exhibiting signs of animation and interest in their faces, and the women in white muslin dresses were coming down in pairs from the platform into the body of Schomberg’s “concert-hall.” They dispersed themselves all over the place. The male creature with the hooked nose and purple-black beard disappeared somewhere. This was the interval during which, as the astute Schomberg had stipulated, the members of the orchestra were encouraged to favour the members of the audience with their company—that is, such members as seemed inclined to fraternize with the arts in a familiar and generous manner; the symbol of familiarity and generosity consisting in offers of refreshment.

      The procedure struck Heyst as highly incorrect. However, the impropriety of Schomberg’s ingenious scheme was defeated by the circumstance that most of the women were no longer young, and that none of them had ever been beautiful. Their more or less worn cheeks were slightly rouged, but apart from that fact, which might have been simply a matter of routine, they did not seem to take the success of the scheme unduly to heart. The impulse to fraternize with the arts being obviously weak in the audience, some of the musicians sat down listlessly at unoccupied tables, while others went on perambulating the central passage: arm in arm, glad enough, no doubt, to stretch their legs while resting their arms. Their crimson sashes gave a factitious touch of gaiety to the smoky atmosphere of the concert-hall; and Heyst felt a sudden pity for these beings, exploited, hopeless, devoid of charm and grace, whose fate of cheerless dependence invested their coarse and joyless features with a touch of pathos.

      Heyst was temperamentally sympathetic. To have them passing and repassing close to his little table was painful to him. He was preparing to rise and go out when he noticed that two white muslin dresses and crimson sashes had not yet left the platform. One of these dresses concealed the raw-boned frame of the woman with the bad-tempered curve to her nostrils. She was no less a personage than Mrs. Zangiacomo. She had left the piano, and, with her back to the hall, was preparing the parts for the second half of the concert, with a brusque, impatient action of her ugly elbow. This task done, she turned, and, perceiving the other white muslin dress motionless on a chair in the second row, she strode towards it between the music-stands with an aggressive and masterful gait. On the lap of that dress there lay, unclasped and idle, a pair of small hands, not very white, attached to well-formed arms. The next detail Heyst was led to observe was the arrangement of the hair—two thick, brown tresses rolled round an attractively shaped head.

      “A girl, by Jove!” he exclaimed mentally.

      It was evident that she was a girl. It was evident in the outline of the shoulders, in the slender white bust springing up, barred slantwise by the crimson sash, from the bell-shaped spread of muslin skirt hiding the chair on which she sat averted a little from the body of the hall. Her feet, in low white shoes, were crossed prettily.

      She had captured Heyst’s awakened faculty of observation; he had the sensation of a new experience. That was because his faculty of observation had never before been captured by any feminine creature in that marked and exclusive fashion. He looked at her anxiously, as no man ever looks at another man; and he positively forgot where he was. He had lost touch with his surroundings. The big woman, advancing, concealed the girl from his sight for a moment. She bent over the seated youthful figure, in passing it very close, as if to drop a word into its ear. Her lips did certainly move. But what sort of word could it have been to make the girl jump up so swiftly? Heyst, at his table, was surprised into a sympathetic start. He glanced quickly round. Nobody was looking towards the platform; and when his eyes swept back there again, the girl, with the big woman treading at her heels, was coming down the three steps from the platform to the floor of the hall. There she paused, stumbled one pace forward, and stood still again, while the other—the escort, the dragoon, the coarse big woman of the piano—passed her roughly, and, marching truculently down the centre aisle between the chairs and tables, went out to rejoin the hook-nosed Zangiacomo somewhere outside. During her extraordinary transit, as if everything in the hall were dirt under her feet, her scornful eyes met the upward glance of Heyst, who looked away at once towards the girl. She had not moved. Her arms hung down; her eyelids were lowered.

      Heyst laid down his half-smoked cigar and compressed his lips. Then he got up. It was the same sort of impulse which years ago had made him cross the sandy street of the abominable town of Delli in the island of Timor and accost Morrison, practically a stranger to him then, a man in trouble, expressively harassed, dejected, lonely.

      It was the same impulse. But he did not recognize it. He was not thinking of Morrison then. It may be said that, for the first time since the final abandonment of the Samburan coal mine, he had completely forgotten the late Morrison. It is true that to a certain extent he had forgotten also where he was. Thus, unchecked by any sort of self consciousness, Heyst walked up the central passage.

      Several of the women, by this time, had found anchorage here and there among the occupied tables. They talked to the men, leaning on their elbows, and suggesting funnily—if it hadn’t been for the crimson sashes—in their white dresses an assembly of middle-aged brides with free and easy manners and hoarse voices. The murmuring noise of conversations carried on with some spirit filled Schomberg’s concert-room. Nobody remarked Heyst’s movements; for indeed he was not the only man on his legs there. He had been confronting the girl for some time before she became aware of his presence. She was looking down, very still, without colour, without glances, without voice, without movement. It was only when Heyst addressed her in his courteous tone that she raised her eyes.

      “Excuse me,” he said in English, “but that horrible female has done something to you. She has pinched you, hasn’t she? I am sure she pinched you just now, when she stood by your chair.”

      The girl received this overture with the wide, motionless stare of profound astonishment. Heyst, vexed with himself, suspected that she did not understand what he said. One could not tell what nationality these women were, except that they were of all sorts. But she was astonished almost more by the near presence of the man himself, by his largely bald head, by the white brow, the sunburnt cheeks, the long, horizontal moustaches of crinkly bronze hair, by the kindly expression of the man’s blue eyes looking into her own. He saw the stony amazement in hers give way to a momentary alarm, which