He spluttered insulting words. Willems looked at him coolly.
"I assure you, Almayer," he said, gently, "that I have good grounds for my demand."
"Your cursed impudence!"
"Believe me, Almayer, your position here is not so safe as you may think. An unscrupulous rival here would destroy your trade in a year. It would be ruin. Now Lingard's long absence gives courage to certain individuals. You know?—I have heard much lately. They made proposals to me . . . You are very much alone here. Even Patalolo . . ."
"Damn Patalolo! I am master in this place."
"But, Almayer, don't you see . . ."
"Yes, I see. I see a mysterious ass," interrupted Almayer, violently. "What is the meaning of your veiled threats? Don't you think I know something also? They have been intriguing for years—and nothing has happened. The Arabs have been hanging about outside this river for years—and I am still the only trader here; the master here. Do you bring me a declaration of war? Then it's from yourself only. I know all my other enemies. I ought to knock you on the head. You are not worth powder and shot though. You ought to be destroyed with a stick—like a snake."
Almayer's voice woke up the little girl, who sat up on the pillow with a sharp cry. He rushed over to the chair, caught up the child in his arms, walked back blindly, stumbled against Willems' hat which lay on the floor, and kicked it furiously down the steps.
"Clear out of this! Clear out!" he shouted.
Willems made an attempt to speak, but Almayer howled him down.
"Take yourself off! Don't you see you frighten the child—you scarecrow! No, no! dear," he went on to his little daughter, soothingly, while Willems walked down the steps slowly. "No. Don't cry. See! Bad man going away. Look! He is afraid of your papa. Nasty, bad man. Never come back again. He shall live in the woods and never come near my little girl. If he comes papa will kill him—so!" He struck his fist on the rail of the balustrade to show how he would kill Willems, and, perching the consoled child on his shoulder held her with one hand, while he pointed toward the retreating figure of his visitor.
"Look how he runs away, dearest," he said, coaxingly. "Isn't he funny. Call 'pig' after him, dearest. Call after him."
The seriousness of her face vanished into dimples. Under the long eyelashes, glistening with recent tears, her big eyes sparkled and danced with fun. She took firm hold of Almayer's hair with one hand, while she waved the other joyously and called out with all her might, in a clear note, soft and distinct like the pipe of a bird:—
"Pig! Pig! Pig!"
CHAPTER TWO
A sigh under the flaming blue, a shiver of the sleeping sea, a cool breath as if a door had been swung upon the frozen spaces of the universe, and with a stir of leaves, with the nod of boughs, with the tremble of slender branches the sea breeze struck the coast, rushed up the river, swept round the broad reaches, and travelled on in a soft ripple of darkening water, in the whisper of branches, in the rustle of leaves of the awakened forests. It fanned in Lakamba's campong the dull red of expiring embers into a pale brilliance; and, under its touch, the slender, upright spirals of smoke that rose from every glowing heap swayed, wavered, and eddying down filled the twilight of clustered shade trees with the aromatic scent of the burning wood. The men who had been dozing in the shade during the hot hours of the afternoon woke up, and the silence of the big courtyard was broken by the hesitating murmur of yet sleepy voices, by coughs and yawns, with now and then a burst of laughter, a loud hail, a name or a joke sent out in a soft drawl. Small groups squatted round the little fires, and the monotonous undertone of talk filled the enclosure; the talk of barbarians, persistent, steady, repeating itself in the soft syllables, in musical tones of the never-ending discourses of those men of the forests and the sea, who can talk most of the day and all the night; who never exhaust a subject, never seem able to thresh a matter out; to whom that talk is poetry and painting and music, all art, all history; their only accomplishment, their only superiority, their only amusement. The talk of camp fires, which speaks of bravery and cunning, of strange events and of far countries, of the news of yesterday and the news of to-morrow. The talk about the dead and the living—about those who fought and those who loved.
Lakamba came out on the platform before his own house and sat down—perspiring, half asleep, and sulky—in a wooden armchair under the shade of the overhanging eaves. Through the darkness of the doorway he could hear the soft warbling of his womenkind, busy round the looms where they were weaving the checkered pattern of his gala sarongs. Right and left of him on the flexible bamboo floor those of his followers to whom their distinguished birth, long devotion, or faithful service had given the privilege of using the chief's house, were sleeping on mats or just sat up rubbing their eyes: while the more wakeful had mustered enough energy to draw a chessboard with red clay on a fine mat and were now meditating silently over their moves. Above the prostrate forms of the players, who lay face downward supported on elbow, the soles of their feet waving irresolutely about, in the absorbed meditation of the game, there towered here and there the straight figure of an attentive spectator looking down with dispassionate but profound interest. On the edge of the platform a row of high-heeled leather sandals stood ranged carefully in a level line, and against the rough wooden rail leaned the slender shafts of the spears belonging to these gentlemen, the broad blades of dulled steel looking very black in the reddening light of approaching sunset.
A boy of about twelve—the personal attendant of Lakamba—squatted at his master's feet and held up towards him a silver siri box. Slowly Lakamba took the box, opened it, and tearing off a piece of green leaf deposited in it a pinch of lime, a morsel of gambier, a small bit of areca nut, and wrapped up the whole with a dexterous twist. He paused, morsel in hand, seemed to miss something, turned his head from side to side, slowly, like a man with a stiff neck, and ejaculated in an ill-humoured bass—
"Babalatchi!"
The players glanced up quickly, and looked down again directly. Those men who were standing stirred uneasily as if prodded by the sound of the chief's voice. The one nearest to Lakamba repeated the call, after a while, over the rail into the courtyard. There was a movement of upturned faces below by the fires, and the cry trailed over the enclosure in sing-song tones. The thumping of wooden pestles husking the evening rice stopped for a moment and Babalatchi's name rang afresh shrilly on women's lips in various keys. A voice far off shouted something—another, nearer, repeated it; there was a short hubbub which died out with extreme suddenness. The first crier turned to Lakamba, saying indolently—
"He is with the blind Omar."
Lakamba's lips moved inaudibly. The man who had just spoken was again deeply absorbed in the game going on at his feet; and the chief—as if he had forgotten all about it already—sat with a stolid face amongst his silent followers, leaning back squarely in his chair, his hands on the arms of his seat, his knees apart, his big blood-shot eyes blinking solemnly, as if dazzled by the noble vacuity of his thoughts.
Babalatchi had gone to see old Omar late in the afternoon. The delicate manipulation of the ancient pirate's susceptibilities, the skilful management of Aissa's violent impulses engrossed him to the exclusion of every other business—interfered with his regular attendance upon his chief and protector—even disturbed his sleep for the last three nights. That day when he left his own bamboo hut—which stood amongst others in Lakamba's campong—his heart was heavy with anxiety and with doubt as to the success of his intrigue. He walked slowly, with his usual air of detachment from his surroundings,
