its roots injured humanity, and Gronski did not desire to injure anybody, much less his own people. For this reason the ecclesiastic, contending that all was vanity, wrangled within him, with the patriot who said, for instance, that national suffering was not in vain. But this state of affairs bred within him such incessant discord that he envied men of action who journey through life without any whys or wherefores, as well as people who absolutely succumb to one great feeling.
For the old notary and Marynia, such a great feeling was music; so that as often as Gronski saw them together, so often did he have before his eyes a living example that things do exist with which one can fill out his life from dawn until the last moments,--if only one does not subject them to a too close analysis.
IV
At the supper the aged notary was occupied solely with music and Marynia. To the others, with the exception of the lady of the house, upon whom permission for the concert depended, he replied irascibly; especially to Dolhanski, who several times tried to elicit from him some information about the will. His angry and apoplectic face cleared up only after Pani Krzycki announced that she would have no objections to devoting the remainder of the evening to decorous music, and that she herself would be glad to listen to Marynia, whom she had not heard since the last charitable concert in Krynica.
Towards the close of the supper the old gentleman again began to get impatient, remarking that it was a pity to waste time in eating, and discussing even music, if light and frivolous, with profane individuals who had no conception of the real art. He became more interested after listening to the reasonings of Gronski, who began to talk about the origin of music and refute the Darwinian theory that songs and the sounds of the primitive string instruments arose in some misty era of the human race from the amorous declarations and calls of men and women in the forests. Gronski shared the opinion of those who against these views cited the fact that among the most savage tribes no traces of love-songs exist, but in their place are found war-songs and martial music. The theory of calling through the forests appeared to the ladies more poetical. Gronski placated them with the statement that this did not lessen the civilizing importance of music, that it, with the dance, was one of the first factors which promoted among the scattered tribes of men a certain organization.
"The Papuans," he said, "who gather together for the performance of a war or ceremonial dance in accordance with the rhythm of even their wildest music, by that act alone submit to something, introduce some kind of order, and form the first social ties."
"That means," observed Dolhanski, "that every nation owes its origin to some primitive 'high-diddle-diddle, the cat and the fiddle.'"
"Of course it is so," angrily answered the old notary.
Afterwards turning to Gronski, he said: "Please proceed. We can at least learn something."
"Yes, please proceed," repeated Marynia.
So Gronski began further to speak of the history of music; how through the entire course of ages it served war, ceremonies of state, as well as religious and secular, and how considerably later it outspread its own wings, on which it soars as at present, like an eagle, over the entire human race.
"A strange art," he concluded; "the most primitive; yet to-day resting more than any other upon science; the most precisely confined within certain technical requirements, as if bound by dams and dykes; yet the most illimitable, the most mystical; overflowing the borders of existence and life. Perhaps this gives it such incomprehensible power over the human soul; speaking the least expressive of tongues and at the same time the most idealistic. It is the most powerful spur to action. Yes, to the Polish regiments in the battle of Gravelotte the Prussian bands played 'Poland is not yet lost,' and everywhere you may behold the same. Play to the Frenchmen the 'Marseillaise,' the Germans 'Wacht am Rhein,' how their hands begin to quiver! Even the eyes of phlegmatic Englishmen and Americans sparkle when they hear 'Rule Britania' or 'Yankee Doodle.' Strange art!--the most cosmopolitan and at the same time the most national,--universal and individual."
"One thing you did not say and that is that of all arts it is the purest," added Pani Otocka.
"Attempts have been made to illegitimatize it," answered Gronski, "but licentiousness never can be rhythmical nor harmonical, and for that reason from these attempts there was born an antichrist of music."
But Ladislaus, who was a trifle bored and would have preferred to talk with the light-haired Miss Anney, spoke out with the evident desire to close the discussion.
"Yes, it is plain that not only every nation but every man has his own music. I, for instance, am always willing to hear a concert or an opera, but I admit, that when sometimes the boys and girls at work in the field sing until the pitchforks and harrows ring, that is the only music for me."
"Slavonian, Lechite, Piast--come to my arms," drawled Dolhanski.
Ladislaus blushed a little from fear that the young Englishwoman and his refined female relatives might judge him too rustical, but they glanced at him with a certain sympathy. Only the beard of the old classical notary drooped with his nose in a manner boding no good, and from his lips he mumbled a half-distinct grumble:
"To some folks it is sufficient, when anything jingles in their ears."
But recollecting that it would not be agreeable to Pani Krzycki if caustic remarks were directed against her son, he cast an uneasy look at her and became silent.
The supper was finished. The company went to the salon in which prevailed coolness and the slight scent of jasmine blown in from the garden by the light evening breezes before the windows were closed. In the glass doors appeared the big full moon, which but recently arose slowly in the heaven, still ruddy after a bath in the evening twilight. Pani Otocka sat at the piano; beside her the notary began to blow, as if with anger, into the flute; while behind them stood Marynia with a violin at her shoulder. Gronski with rapture gazed at her luxuriant dark hair; her peaceful, arched eyebrows under a forehead plainly immaculate; her small countenance; her slender, growing, childlike form, and thought that this sight alone would suffice for music, or at least that such a violinist might pass for its incarnation and symbol. Ladislaus, although he had previously enlisted in the ranks of the English faction, could not remove his eyes from her. After completing his university education, he had accompanied his mother on a journey to Italy. He visited various galleries and, though he lacked solid artistic culture, nevertheless the thought crossed his mind that this maiden with the bright and peaceful countenance, bending over the violin, might have served the old masters as a model for Saint Cecilia or for one of those angelic violin-players which he had seen in the paintings of Fra Angelico.
The other listeners, like Pani Krzycki, her children, the instructress, and Miss Anney, gazed at her as if at a miracle-working image. Only one, Laskowicz, young Stas' tutor, did not share in the general rapture. He was a medical student who, owing to the closing of the university, was earning money by teaching for the further pursuit of his studies, and he found himself, together with his inexorable hatred for the "pampered" of this world, like Pilate in Credo, in this country home. His convictions by this time were not a secret to anybody in Jastrzeb; he was tolerated, however, with that improvident indulgence of which the Polish nobility is only capable, upon the principle that "the greatest radical must eat," and also in the hope that Stas was yet too young to be infected with the "evil spirit" by his tutor.
To Laskowicz, when he looked at the gentle young lady, it seemed that she was a flower which grew higher than the hands of a proletaire could reach; therefore she was bred to the injury of
