text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/105

RV 95 (BUDDENBROOKS) fingernails, was waiting to discipline him in the detested “tables.” But first he was to recite to Papa a poem painfully learned by heart, with Ida Jungmann’s help, in the little balcony on the second floor.

He leaned against the piano, in his blue sailor suit with the white V front and the wide linen collar with a big sailor’s knot coming out beneath. His thin legs were crossed, his body and head a little inclined in an attitude of shy, unconscious grace. Two or three weeks before, his hair had been cut, as not only his fellow pupils, but the master as well, had laughed at it; but his head was still covered with soft abundant ringlets, growing down over the forehead and temples. His eyelids drooped, so that the long brown lashes lay over the deep blue shadows; and his closed lips were a little wry.

He knew well what would happen. He would begin to cry, would not be able to finish for crying; and his heart would contract, as it did on Sundays in St. Mary’s, when Herr Pfühl played on the organ in a certain piercingly solemn way. It always turned out that he wept when they wanted him to do something—when they examined him and tried to find out what he knew, as Papa so loved to do. If only Mamma had not spoken of getting excited! She meant to be encouraging, but he felt it was a mistake. There they stood, and looked at him. They expected, and feared, that he would break down—so how was it possible not to? He lifted his lashes and sought Ida’s eyes. She was playing with her watch-chain, and nodded to him in her usual honest, crabbed way. He would have liked to cling to her and have her take him away; to hear nothing but her low, soothing voice, saying “There, little Hanno, be quiet, you need not say it.”

“Well, my son, let us hear it,” said the Senator, shortly. He had sat down in an easy-chair by the table and was waiting. He did not smile—he seldom did on such occasions. Very serious, with one eyebrow lifted, he

RV 95 (95)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/106

RV 96 (BUDDENBROOKS) measured little Hanno with cold and scrutinizing glance.

Hanno straightened up. He rubbed one hand over the piano’s polished surface, gave a shy look at the company, and, somewhat emboldened by the gentle looks of Grandmamma and Aunt Tony, brought out, in a low, almost a hard voice: “ ‘The Shepherd’s Sunday Hymn,’ by Uhland.”

“Oh, my dear child, not like that,” called out the Senator. “Don’t stick there by the piano and cross your hands on your tummy like that! Stand up! Speak out! That’s the first thing. Here, stand here between the curtains. Now, hold your head up—let your arms hang down quietly at your sides.”

Hanno took up his position on the threshold of the living-room and let his arms hang down. Obediently he raised his head, but his eyes—the lashes drooped so low that they were invisible. They were probably already swimming in tears.

“ ‘This is the day of our—’ ”

he began, very low. His father’s voice sounded loud by contrast when he interrupted: “One begins with a bow, my son. And then, much louder. Begin again, please: ‘Shepherd’s Sunday Hymn’—”

It was cruel. The Senator was probably aware that he was robbing the child of the last remnant of his self-control. But the boy should not let himself be robbed. He should have more manliness by now. “ ‘Shepherd’s Sunday Hymn,’ ” he repeated encouragingly, remorselessly.

But it was all up with Hanno. His head sank on his breast, and the small, blue-veined right hand tugged spasmodically at the brocaded portière.

“ ‘I stand alone on the vacant plain,’ ”

he said, but could get no further. The mood of the verse possessed him. An overmastering self-pity took away his voice, and the tears could not be kept back: they rolled

RV 96 (96)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/107

RV 97 (BUDDENBROOKS) out from beneath his lashes. Suddenly the thought came into his mind: if he were only ill, a little ill, as on those nights when he lay in bed with a slight fever and sore throat, and Ida came and gave him a drink, and put a compress on his head, and was kind—He put his head down on the arm with which he clung to the portière, and sobbed.

“Well,” said the Senator, harshly, “there is no pleasure in that.” He stood up, irritated. “What are you crying about? Though it is certainly a good enough reason for tears, that you haven’t the courage to do anything, even for the sake of giving me a little pleasure! Are you a little girl? What will become of you if you go on like that? Will you always be drowning yourself in tears, every time you have to speak to people?”

“I never will speak to people, never!” thought Hanno in despair.

“Think it over till this afternoon,” finished the Senator, and went into the dining-room. Ida Jungmann knelt by her fledgling and dried his eyes, and spoke to him, half consoling, half reproachful.

The Senator breakfasted hurriedly, and the Frau Consul, Tony, Clothilde, and Christian meanwhile took their leave. They were to dine with Gerda, as likewise were the Krögers, the Weinschenks, and the three Misses Buddenbrook from Broad Street, while the Senator, willy-nilly, must be present at the dinner in the Ratskeller. He hoped to leave in time to see his family again at his own house.

Sitting at the be-garlanded table, he drank his hot tea out of a saucer, hurriedly ate an egg, and on the steps took two or three puffs of a cigarette. Grobleben, wearing his woollen scarf in defiance of the July heat, with a boot over his left forearm and the polish-brush in his right, a long drop pendent from his nose, came from the garden into the front entry and accosted his master at the foot of the stairs, where the brown bear stood with his tray. RV 97 (97)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/108

RV 98 (BUDDENBROOKS) “Many happy returns, Herr Sen’ter, many happy—’n’ one is rich ’n’ great, ’n’ t’other’s pore—”

“Yes, yes, Grobleben, you’re right, that’s just how it is!” And the Senator slipped a piece of money into the hand with the brush, and crossed the entry into the anteroom of the office. In the office the cashier came up to him, a tall man with honest, faithful eyes, to convey, in carefully selected phrases, the good wishes of the staff. The Senator thanked him in a few words, and went on to his place by the window. He had hardly opened his letters and glanced into the morning paper lying there ready for him, when a knock came on the door leading into the front entry, and the first visitors appeared with their congratulations.

It was a delegation of granary labourers, who came straddling in like bears, the corners of their mouths drawn down with befitting solemnity and their caps in their hands. Their spokesman spat tobacco-juice on the floor, pulled up his trousers, and talked in great excitement about “a hun’erd year” and “many more hun’erd year.” The Senator proposed to them a considerable increase in their pay for the week, and dismissed them. The office staff of the revenue department came in a body to congratulate their chief. As they left, they met in the doorway a number of sailors, with two pilots at the head, from the “Wullenwewer” and the “Friederike Överdieck,” the two ships belonging to the firm which happened at the time to be in port. Then there was a deputation of grain-porters, in black blouses, knee-breeches, and top-hats. And single citizens, too, were announced from time to time: Herr Stuht from Bell-Founders’ Street came, with a black coat over his flannel shirt, and Iwersen the florist, and sundry other neighbours. There was an old postman, with watery eyes, earrings, and a white beard—an ancient oddity whom the Senator used to salute on the street and call him Herr Postmaster: he came, stood in the doorway, and cried out “Ah bain’t come fer that, Herr Sen’ter! Ah knows as iverybody gits summat as comes here to-day, but ah bain’t RV 98 (98)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/109

RV 99 (BUDDENBROOKS) come fer that, an’ so ah tells ye!” He received his piece of money with gratitude, none the less. There was simply no end to it. At half past ten the servant came from the house to announce that the Frau Senator was receiving guests in the salon.

Thomas Buddenbrook left his office and hurried upstairs. At the door of the salon he paused a moment for a glance into the mirror to order his cravat, and to refresh himself with a whiff of the eau-de-cologne on his handkerchief. His body was wet with perspiration, but his face was pale, his hands and feet cold. The reception in the office had nearly used him up already. He drew a long breath and entered the sunlit room, to be greeted at once by Consul Huneus, the lumber dealer and multi-millionaire, his wife, their daughter, and the latter’s husband, Senator Dr. Gieseke. These had all driven in from Travemünde, like many, others of the first families of the town, who were spending July in a cure which they interrupted only for the Buddenbrook jubilee.

They had not been sitting for three minutes in the elegant arm-chairs of the salon when Consul Överdieck, son of the deceased Burgomaster, and his wife, who was a Kistenmaker, were announced. When Consul Huneus made his adieux, his place was taken by his brother, who had a million less money than he, but made up for it by being a senator.

Now the ball was open. The tall white door, with the relief of the singing cupids above it, was scarcely closed for a moment; there was a constant view from within of the great staircase, upon which the light streamed down from the skylight far above, and of the stairs themselves, full of guests either entering or taking their leave. But the salon was spacious, the guests lingered in groups to talk, and the number of those who came was for some time far greater than the number of those who went away. Soon the maid-servant gave up opening and shutting the door that led into the salon and left it wide open, so that the guests stood in the corridor as well. There was the drone and buzz of conversation in

RV 99 (99)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/110

RV 100 (BUDDENBROOKS) masculine and feminine voices, there were handshakings, bows, jests, and loud, jolly laughter, which reverberated among the columns of the staircase and echoed from the great glass panes of the skylight. Senator Buddenbrook stood by turns at the top of the stairs and in the bow-window, receiving the congratulations, which were sometimes mere formal murmurs and sometimes loud and hearty expressions of good will. Burgomaster Dr. Langhals, a heavily built man of elegant appearance, with a shaven chin nestling in a white neck-cloth, short grey mutton-chops, and a languid diplomatic air, was received with general marks of respect. Consul Eduard Kistenmaker, the wine-merchant, his wife, who was a Möllendorpf, and his brother and partner Stephan, Senator Buddenbrook’s loyal friend and supporter, with his wife, the rudely healthy daughter of a landed proprietor, arrive and pay their respects. The widowed Frau Senator Möllendorpf sits throned in the centre of the sofa in the salon, while her children, Consul August Möllendorpf and his wife Julchen, born Hagenström, mingle with the crowd. Consul Hermann Hagenström supports his considerable weight on the balustrade, breathes heavily into his red beard, and talks with Senator Dr. Cremer, the Chief of Police, whose brown beard, mixed with grey, frames a smiling face expressive of a sort of gentle slyness. State Attorney Moritz Hagenström, smiling and showing his defective teeth, is there with his beautiful wife, the former Fräulein Puttfarken of Hamburg. Good old Dr. Grabow may be seen pressing Senator Buddenbrook’s hand for a moment in both of his, to be displaced next moment by Contractor Voigt. Pastor Pringsheim, in secular garb, only betraying his dignity by the length of his frock coat, comes up the steps with outstretched arms and a beaming face. And Herr Friedrich Wilhelm Marcus is present, of course. Those gentlemen who come as delegates from any body such as the Senate, the Board of Trade, or the Assembly of Burgesses, appear in frock coats. It is half-past eleven. The heat is intense. The lady of the house withdrew a quarter of an hour ago. RV 100 (100)


text:
Page:The Harveian oration 1903.djvu/41

 the genetic relations of the several components of the organs, it served as a fresh starting point for the investigation of biological problems, since it was recognised that the life of the organism was but the life of the cell, differing only in degree of completeness; and the full realisation of what is meant by specialisation of function being dependent on differentiation of structure became apparent.

With entire appreciation of the complexity of the phenomena presented by the living cell, Brücke forty years ago affirmed that this must imply the existence of some structural arrangement in the cell substance, some degree of organisation, some further stage than had hitherto been detected in the disposition of the material which subserves function. Setting aside the obvious distinction into cell-contents nucleus and attraction-sphere, and the separation of the first into cell-protoplasm and the metabolic products thereof (such as starch, fat, glycogen and pigment granules), attention has been directed towards discovering in the apparently homogeneous protoplasm some evidence of structure. Numerous observers long ago described a fibrillar arrangement in this material, a view that later gave place to the assertion that it is rather to be regarded as of a reticular nature, the protoplasm forming a network or meshwork "the nodal

title: Page:The Harveian oration 1903.djvu/41


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/111

RV 101 (BUDDENBROOKS) Suddenly there is a hubbub below the vestibule door, a stamping and shuffling of feet, as of many people entering together; and a ringing, noisy voice echoes through the whole house. Everybody rushes to the landing, blocks up the doors to the salon, the dining-room, and the smoking-room, and peers down. Below is a group of fifteen or twenty men with musical instruments, headed by a gentleman in a brown wig, with a grey nautical beard and yellow artificial teeth, which he shows when he talks. What is happening? It is Consul Peter Döhlmann, of course: he is bringing the band from the theatre, and mounts the stairs in triumph, swinging a packet of programmes in his hand!

The serenade in honour of the hundredth anniversary of the firm of Johann Buddenbrook begins: in these impossible conditions, with the notes all running together, the chords drowning each other, the loud grunting and snarling of the big bass trumpet heard above everything else. It begins with “Now let us all thank God,” goes over into the adaptation of Offenbach’s “La Belle Hélène,” and winds up with a pot-pourri of folk-songs—quite an extensive programme! And a pretty idea of Döhlmann’s! They congratulate him on it; and nobody feels inclined to break up until the concert is finished. They stand or sit in the salon and the corridor; they listen and talk.

Thomas Buddenbrook stood with Stephan Kistenmaker, Senator Dr. Gieseke, and Contractor Voigt, beyond the staircase, near the open door of the smoking-room and the flight of stairs up to the second storey. He leaned against the wall, now and then contributing a word to the conversation, and for the rest looking out into space across the balustrade. It was hotter than ever, and more oppressive; but it would probably rain. To judge from the shadows that drove across the skylight there must be clouds in the sky. They were so many and moved so rapidly that the changeful, flickering light on the staircase came in time to hurt the eyes. Every other minute the brilliance of the gilt chandelier and the brass instruments

RV 101 (101)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/112

RV 102 (BUDDENBROOKS) below was quenched, to blaze out the next minute as before. Once the shadows lasted a little longer, and six or seven times something fell with a slight crackling sound upon the panes of the skylight—hail-stones, no doubt. Then the sunlight streamed down again.

There is a mood of depression in which everything that would ordinarily irritate us and call up a healthy reaction, merely weighs us down with a nameless, heavy burden of dull chagrin. Thus Thomas brooded over the break-down of little Johann, over the feelings which the whole celebration aroused in him, and still more over those which he would have liked to feel but could not. He sought again and again to pull himself together, to clear his countenance, to tell himself that this was a great day which was bound to heighten and exhilarate his mood. And indeed the noise which the band was making, the buzz of voices, the sight of all these people gathered in his honour, did shake his nerves; did, together with his memories of the past and of his father, give rise in him to a sort of weak emotionalism. But a sense of the ridiculous, of the disagreeable, hung over it all—the trumpery music, spoiled by the bad acoustics, the banal company chattering about dinners and the stock market—and this very mingling of emotion and disgust heightened his inward sense of exhaustion and despair.

At a quarter after twelve, when the musical program was drawing to a close, an incident occurred which in no wise interfered with the prevailing good feeling, but which obliged the master of the house to leave his guests for a short time. It was of a business nature. At a pause in the music the youngest apprentice in the firm appeared, coming up the great staircase, overcome with embarrassment at sight of so many people. He was a little, stunted fellow; and he drew his red face down as far as possible between his shoulders and swung one long, thin arm violently back and forth to show that he was perfectly at his ease. In the other hand he had a telegram. He mounted the steps, looking everywhere for his

RV 102 (102)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/113

RV 103 (BUDDENBROOKS) master, and when he had discovered him he passed with blushes and murmured excuses through the crowds that blocked his way.

His blushes were superfluous—nobody saw him. Without looking at him or breaking off their talk, they slightly made way, and they hardly noticed when he gave his telegram to the Senator, with a scrape, and the latter turned a little away from Kistenmaker, Voigt, and Gieseke to read it. Nearly all the telegrams that came to-day were messages of congratulation; still, during business hours, they had to he delivered at once.

The corridor made a bend at the point where the stairs mounted to the second storey, and then went on to the back stairs, where there was another, a side entrance into the dining-room. Opposite the stairs was the shaft of the dumbwaiter, and at this point there was a sizable table, where the maids usually polished the silver. The Senator paused here, turned his back to the apprentice, and opened the dispatch.

Suddenly his eyes opened so wide that any one seeing him would have started in astonishment, and he gave a deep, gasping intake of breath which dried his throat and made him cough.

He tried to say “Very well,” but his voice was inaudible in the clamour behind him. “Very well,” he repeated; but the second word was only a whisper.

As his master did not move or turn round or make any sign, the hump-backed apprentice shifted from one foot to the other, then made his outlandish scrape again and went down the back stairs.

Senator Buddenbrook still stood at the table. His hands, holding the dispatch, hung weakly down in front of him; he breathed in difficult, short breaths through his mouth; his body swayed back and forth, and he shook his head meaninglessly, as if stunned. “That little bit of hail,” he said, “that little bit of hail.” He repeated it stupidly. But gradually his breathing grew longer and quieter, the move-

RV 103 (103)


text:
Page:The Harveian oration 1903.djvu/42

 points of which appear as individual granules." The imperfect loculi formed by this disposition of fibrils were described as being occupied by a more fluid material. Objections were raised to this explanation, and the more recent description with which the name of Bütschli is associated attributes to the protoplasm a "foam-structure, which depends upon the presence within a uniform ground mass of a large number of extremely fine vacuoles lying almost at the limit of microscopic visibility, and- so close together that their walls consist of relatively thin lamellæ." (Verworn.)

But these and several other views as to the intimate structure of the living cell-protoplasm which describe it "as being composed of two substances, one of which is disposed as a contractile net according to some, as a relatively rigid framework according to others, or as free filaments; or whether it be built up of a more solid material and of a more fluid material which occupies the minute spaces or vacuoles which are hollowed out in the former," have not met with universal acceptance, and there are still those who regard these relatively coarse

title: Page:The Harveian oration 1903.djvu/42


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/114

RV 104 (BUDDENBROOKS) ment of his body less; his half-shut eyes clouded over with a weary, broken expression, and he turned around, slowly nodding his head, opened the door into the dining-room, and went in. With bent head he crossed the wide polished floor and sat down on one of the dark red sofas by the window. Here it was quiet and cool. The sound of the fountain came up from the garden, and a fly buzzed on the pane. There was only a dull murmur from the front of the house.

He laid his weary head on the cushion and closed his eyes. “That’s good, that’s good,” he muttered, half aloud, drawing a deep breath of relief and satisfaction; “Oh, that is good!”

He lay five minutes thus, with limbs relaxed and a look of peace upon his face. Then he sat up, folded the telegram, put it in his breast pocket, and rose to rejoin his guests.

But in the same minute he sank back with a disgusted groan upon the sofa. The music—it was beginning again; an idiotic racket, meant to be a galop, with the drum and cymbals marking a rhythm in which the other instruments all joined either ahead of or behind time; a naïve, insistent, intolerable hullabaloo of snarling, crashing, and feebly piping noises, punctuated by the silly tootling of the piccolo.

RV 104 (104)


text:
Page:The Harveian oration 1903.djvu/43

 of structure in cells as the results of post mortem change or of fixing reagents. To such the living protoplasm is a homogeneous colloid, and its "peculiar and transcendental qualities are associated with molecular rather than with molar structure."

What is said as to the cell-contents applies also to the nucleus in which a reticular or meshwork appearance is described by some, as others would regard the actual living condition as one of perfect homogeneity.

In this uncertain state the question of the intimate structure of the living cell-protoplasm must at present be left, so far as the same is capable of investigation by the microscope and its accessories. But, whilst fully recognising that with further improvements in method and in means this problem will be solved, it none the less seems certain, consistently with the present hypotheses as to the nature of the cosmos, that however far the eye may be able to penetrate, there will still remain behind and beyond a molecular or atomic structure, for the understanding of which other branches of scientific enquiry must be employed. "The organism," says Virchow, "is not an individual but a social mechanism. An exact anatomical analysis of this mechanism always brings us at last to cells; they are the ultimate constituents of all tissues

title: Page:The Harveian oration 1903.djvu/43


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/115

Bach, Sebastian Bach, dear lady!” cried Edmund Pfühl, Herr Edmund Pfühl, the organist of St. Mary’s, as he strode up and down the salon with great activity, while Gerda, smiling, her head on her hand, sat at the piano; and Hanno listened from a big chair, his hands clasped round his knees. “Certainly, as you say, it was he through whom the victory was achieved by harmony over counterpoint. He invented modern harmony, assuredly. But how? Need I tell you how? By progressive development of the contrapuntal style—you know it as well as I do. Harmony? Ah, no! By no means. Counterpoint, my dear lady, counterpoint! Whither, I ask you, would experiments in harmony have led? While I have breath to speak, I will warn you against mere experiments in harmony!”

His zeal as he spoke was great, and he gave it free rein, for he felt at home in the house. Every Wednesday afternoon there appeared on the threshold his bulky, square, high-shouldered figure, in a coffee-coloured coat, whereof the skirts hung down over his knees. While awaiting his partner, he would open lovingly the Bechstein grand piano, arrange the violin parts on the stand, and then prelude a little, softly and artistically, with his head sunk, in high contentment, on one shoulder.

An astonishing growth of hair, a wilderness of tight little curls, red-brown mixed with grey, made his head look big and heavy, though it was poised easily upon a long neck with an extremely large Adam’s apple that showed above his low collar, The straight, bunchy moustaches, of the same colour as the hair, were more prominent than the small snub nose.

RV 105 (105)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/116

RV 106 (BUDDENBROOKS) His eyes were brown and bright, with puffs of flesh beneath them; when he played they looked as though their gaze passed through whatever was in their way and rested on the other side. His face was not striking, but it had at least the stamp of a strong and lively intelligence. His eyelids were usually half drooped, and he had a way of relaxing his lower jaw without opening his mouth, which gave him a flabby, resigned expression like that sometimes seen on the face of a sleeping person.

The softness of his outward seeming, however, contrasted strongly with the actual strength and self-respect of his character. Edmund Pfühl was an organist of no small repute, whose reputation for contrapuntal learning was not confined within the walls of his native town. His little book on Church Music was recommended for private study in several conservatories, and his fugues and chorals were played now and then where an organ sounded to the glory of God. These compositions, as well as the voluntaries he played on Sundays at Saint Mary’s, were flawless, impeccable, full of the relentless, severe logicality of the Strenge Satz. Such beauty as they had was not of this earth, and made no appeal to the ordinary layman’s human feeling. What spoke in them, what gloriously triumphed in them, was a technique amounting to an ascetic religion, a technique elevated to a lofty sacrament, to an absolute end in itself. Edmund Pfühl had small use for the pleasant and the agreeable, and spoke of melody, it must be confessed, in slighting terms. But he was no dry pedant, notwithstanding. He would utter the name of Palestrina in the most dogmatic, awe-inspiring tone. But even while he made his instrument give out a succession of archaistic virtuosities, his face would be all aglow with feeling, with rapt enthusiasm, and his gaze would rest upon the distance as though he saw there the ultimate logicality of all events, issuing in reality. This was the musician’s look; vague and vacant precisely because it abode in the kingdom of a purer, profounder, more absolute logic

RV 106 (106)


text:
Page:The story of the flute (IA storyofflute1914fitz).djvu/188

 cantata, The Spectre's Bride. In this work he has allotted the instrument a most charming obligato to the principal soprano aria ("Oh, Virgin Mother"), in which he shows how fully he appreciated its lower register, going down to the lowest note. In his Stabat Mater and his Sclavonic , The Spectre's Bride, "Where art thou, Father?"

Rhapsody he uses the low Ba note not found on most flutesand in his Second Symphony the topmost C♮. In The Spectre's Bride he employs the flute to imitate the persistent crowing of the cock at sunrise, and also to


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/117

RV 107 (BUDDENBROOKS) than that which shapes our verbal conceptions and thoughts.

His hands were large and soft, apparently boneless, and covered with freckles. His voice, when he greeted Gerda Buddenbrook, was low and hollow, as though a bite were stuck in his throat: “Good morning, honoured lady!”

He rose a little from his seat, bowed, and respectfully took the hand she offered, while with his own left he struck the fifths on the piano, so firmly and clear that she seized her Stradivarius and began to tune the strings with practised ear.

“The G minor concerto of Bach, Herr Pfühl. The whole adagio still goes badly, I think.”

And the organist began to play. But hardly were the first chords struck, when it invariably happened that the corridor door would open gently, and without a sound little Johann would steal across the carpet to an easy-chair, where he would sit, his hands clasped round his knees, motionless, and listen to the music and the conversation.

“Well, Hanno, so you want a little taste of music, do you?” said Gerda in a pause, and looked at her son with her shadowy eyes, in which the music had kindled a soft radiance.

Then he would stand up and put out his hand to Herr Pfühl with a silent bow, and Herr Pfühl would stroke with gentle affection the soft light-brown hair that hung gracefully about brow and temples.

“Listen, now, my child,” he would say, with mild impressiveness; and the boy would look at the Adam’s apple that went up and down as the organist spoke, and then go back to his place with his quick, light steps, as though he could hardly wait for the music to begin again.

They played a movement of Haydn, some pages of Mozart, a sonata of Beethoven. Then, while Gerda was picking out some music, with her violin under her arm, a surprising thing happened: Herr Pfühl, Edmund Pfühl, organist at St. Mary’s, glided over from his easy interlude into music of

RV 107 (107)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/118

RV 108 (BUDDENBROOKS) an extraordinary style; while a sort of shame-faced enjoyment showed upon his absent countenance. A burgeoning and blooming, a weaving and singing rose beneath his fingers; then, softly and dreamily at first, but ever clearer and clearer, there emerged in artistic counterpoint the ancestral, grandiose, magnificent march motif—a mounting to a climax, a complication, a transition; and at the resolution of the dominant the violin chimed in, fortissimo. It was the overture to Die Meistersinger.

Gerda Buddenbrook was an impassioned Wagnerite. But Herr Pfühl was an equally impassioned opponent—so much so that in the beginning she had despaired of winning him over.

On the day when she first laid some piano arrangements from Tristan on the music-rack, he played some twenty-five beats and then sprung up from the music-stool to stride up and down the room with disgust painted upon his face.

“I cannot play that, my dear lady! I am your most devoted servant—but I cannot. That is not music—believe me! I have always flattered myself I knew something about music—but this is chaos! This is demagogy, blasphemy, insanity, madness! It is a perfumed-fog, shot through with lightning! It is the end of all honesty in art. I will not play it!” And with the words he had thrown himself again on the stool, and with his Adam’s apple working furiously up and down, with coughs and sighs, had accomplished another twenty-five beats. But then he shut the piano and cried out:

“Oh, fie, fie! No, this is going too far. Forgive me, dear lady, if I speak frankly what I feel. You have honoured me for years, and paid me for my services; and I am a man of modest means. But I must lay down my office, I assure you, if you drive me to it by asking me to play these atrocities! Look, the child sits there listening—would you then utterly corrupt his soul?”

But let him gesture as furiously as he would, she brought

RV 108 (108)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/119

RV 109 (BUDDENBROOKS) him over—slowly, by easy stages, by persistent playing and persuasion.

“Pfühl,” she would say, “be reasonable, take the thing calmly. You are put off by his original use of harmony. Beethoven seems to you so pure, clear, and natural, by contrast. But remember how Beethoven himself affronted his contemporaries, who were brought up in the old way. And Bach—why, good Heavens, you know how he was reproached for his want of melody and clearness! You talk about honesty—but what do you mean by honesty in art? Is it not the antithesis of hedonism? And, if so, then that is what you have here. Just as much as in Bach. I tell you, Pfühl, this music is less foreign to your inner self than you think!”

“It is all juggling and sophistry—begging your pardon,” he grumbled. But she was right, after all: the music was not so impossible as he thought at first. He never, it is true, quite reconciled himself to Tristan, though he eventually carried out Gerda’s wish and made a very clever arrangement of the Liebestod for violin and piano. He was first won over by certain parts of Die Meistersinger; and slowly a love for this new art began to stir within him. He would not confess it—he was himself aghast at the fact, and would pettishly deny it when the subject was mentioned. But after the old masters had had their due, Gerda no longer needed to urge him to respond to a more complex demand upon his virtuosity; with an expression of shame-faced pleasure, he would glide into the weaving harmonies of the Leit-motiv. After the music, however, there would be a long explanation of the relation of this style of music to that of the Strenge Satz; and one day Herr Pfühl admitted that, while not personally interested in the theme, he saw himself obliged to add a chapter to his book on Church Music, the subject of which would be the application of the old key-system to the church- and folk-music of Richard Wagner.

Hanno sat quite still, his small hands clasped round his

RV 109 (109)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/120

RV 110 (BUDDENBROOKS) knees, his mouth, as usual, a little twisted as his tongue felt out the hole in a back tooth. He watched his mother and Herr Pfühl with large quiet eyes; and thus, so early, he became aware of music as an extraordinarily serious, important, and profound thing in life. He understood only now and then what they were saying, and the music itself was mostly far above his childish understanding. Yet he came again, and sat absorbed for hours—a feat which surely faith, love, and reverence alone enabled him to perform.

When only seven, he began to repeat with one hand on the piano certain combinations of sound that made an impression on him. His mother watched him smiling, improved his chords, and showed him how certain tones would be necessary to carry one chord over into another. And his ear confirmed what she told him.

After Gerda Buddenbrook had watched her son a little, she decided that he must have piano lessons.

“I hardly think,” she told Herr Pfühl, “that he is suited for solo work; and on the whole I am glad, for it has its bad side apart from the dependence of the soloist upon his accompanist, which can be very serious too;—if I did not have you, for instance!—there is always the danger of yielding to more or less complete virtuosity. You see, I know whereof I speak. I tell you frankly that, for the soloist, a high degree of ability is only the first step. The concentration on the tone and phrasing of the treble, which reduces the whole polyphony to something vague and indefinite in the consciousness, must surely spoil the feeling for harmony—unless the person is more than usually gifted—and the memory as well, which is most difficult to correct later on. I love my violin, and I have accomplished a good deal with it; but to tell the truth, I place the piano higher. What I mean is this: familiarity with the piano, as a means of summarizing the richest and most varied structures, as an incomparable instrument for musical reproduction, means for me a clearer, more intimate and comprehensive intercourse with music.

RV 110 (110)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/121

RV 111 (BUDDENBROOKS) Listen, Pfühl. I would like to have you take him, if you will he so good. I know there are two or three people here in the town who give lessons—women, I think. But they are simply piano-teachers. You know what I mean. I feel that it matters so little whether one is trained upon an instrument, and so much whether one knows something about music. I depend upon you. And you will see, you will succeed with him. He has the Buddenbrook hand. The Buddenbrooks can all strike the ninths and tenths—only they have never set any store by it,” she concluded, laughing. And Herr Pfühl declared himself ready to undertake the lessons.

From now on, he came on Mondays as well as Wednesdays, and gave little Hanno lessons, while Gerda sat beside them. He went at it in an unusual way, for he felt that he owed more to his pupil’s dumb and passionate zeal than merely to employ it in playing the piano a little. The first elementary difficulties were hardly got over when he began to theorize, in a simple way, with graphic illustrations, and to give his pupil the foundations of the theory of harmony. And Hanno understood. For it was all only a confirmation of what he had always known.

As far as possible, Herr Pfühl took into consideration the eager ambition of the child. He spent much thought upon the problem, how best to lighten the material load that weighed down the wings of his fancy. He did not demand too much finger dexterity or practice of scales. What he had in mind, and soon achieved, was a clear and lively grasp of the key system on Hanno’s part, an inward, comprehensive understanding of its relationships, out of which would come, at no distant day, the quick eye for possible combinations, the intuitive mastery over the piano, which would lead to improvisation and composition. He appreciated with a touching delicacy of feeling the spiritual needs of this young pupil, who had already heard so much, and directed it toward the acquisition of a serious style. He would not disillusionize the deep solemnity of his mood by making him

RV 111 (111)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/122

RV 112 (BUDDENBROOKS) practise commonplaces. He gave him chorals to play, and pointed out the laws controlling the development of one chord into another.

Gerda, sitting with her embroidery or her book, just beyond the portières, followed the course of the lessons.

“You outstrip all my expectations,” she told Herr Pfühl, later on. “But are you not going too fast? Aren’t you getting too far ahead? Your method seems to me eminently creative—he has already begun to try to improvise a little. But if the method is beyond him, if he hasn’t enough gift, he will learn absolutely nothing.”

“He has enough gift,” Herr Pfühl said, and nodded. “Sometimes I look into his eyes, and see so much lying there—but he holds his mouth tight shut. In later life, when his mouth will probably be shut even tighter, he must have some kind of outlet—a way of speaking—”

She looked at him—at this square-built musician with the red-brown hair, the pouches under the eyes, the bushy moustaches, and the inordinate Adam’s apple—and then she put out her hand and said: “Thank you, Pfühl. You mean well by him. And who knows, yet, how much you are doing for him?”

Hanno’s feeling for his teacher was one of boundless gratitude and devotion. At school he sat heavy and hopeless, unable, despite strenuous coaching, to understand his tables. But he grasped without effort all that Herr Pfühl told him, and made it his own—if he could make more his own that which he had already owned before. Edmund Pfühl, like a stout angel in a tail-coat, took him in his arms every Monday afternoon and transported him above all his daily misery, into the mild, sweet, grave, consoling kingdom of sound.

The lessons sometimes took place at Herr Pfühl’s own house, a roomy old gabled dwelling full of cool passages and crannies, in which the organist lived alone with an elderly housekeeper. Sometimes, too, little Buddenbrook was allowed to sit up with the organist at the Sunday service in

RV 112 (112)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/123

RV 113 (BUDDENBROOKS) St. Mary’s—which was quite a different matter from stopping below with the other people, in the nave. High above the congregation, high above Pastor Pringsheim in his pulpit, the two sat alone, in the midst of a mighty tempest of rolling sound, which at once set them free from the earth and dominated them by its own power; and Hanno was sometimes blissfully permitted to help his master control the stops.

When the choral was finished, Herr Pfühl would slowly lift his fingers from the keyboard, so that only the bass and the fundamental would still be heard, in lingering solemnity; and after a meaningful pause, the well-modulated voice of Pastor Pringsheim would rise up from under the soundingboard in the pulpit. Then it happened not infrequently that Herr Pfühl would, quite simply, begin to make fun of the preacher: his artificial enunciation, his long, exaggerated vowels, his sighs, his crude transitions from sanctity to gloom. Hanno would laugh too, softly but with heart-felt glee; for those two up there were both of the opinion—which neither of them expressed—that the sermon was silly twaddle, and that the real service consisted in that which the Pastor and his congregation regarded merely as a devotional accessory: namely, the music.

Herr Pfühl, in fact, had a constant grievance in the small understanding there was for his accomplishments down there among the Senators, Consuls, citizens, and their families. And thus, he liked to have his small pupil by him, to whom he could point out the extraordinary difficulties of the passages he had just played. He performed marvels of technique. He had composed a melody which was just the same read forward or backward, and based upon it a fugue which was to be played “crab-fashion.” But after performing this wonder: “Nobody knows the difference,” he said, and folded his hands in his lap with a dreary look, shaking his head hopelessly. While Pastor Pringsheim was delivering his sermon, he whispered to Hanno: “That was a crab-fashion imitation, Johann. You don’t know what that is yet. It is

RV 113 (113)


text:
Page:The story of the flute (IA storyofflute1914fitz).djvu/189

 depict the hero leaping over the wall (by a very rapid diatonic run from G′ to G′′). In "The Ride" the piccolo is used most effectively. In this work we also find a very elaborate cadenza, written, strange to say, for the second flute accompanying the voice.

Grieg in his Peer Gynt Suite, No. 1 ("Morning"), has a quiet passage for solo flute, and later on in the same piece he writes gracefully for two flutes in thirds. In Olav Trygvason he uses two piccolos in thirds along with a flute in some effective chromatic runs, whilst in accompaniment , Peer Gynt. to his song Henrik Vergeland he assigns to the piccolo only four notes: the piccolo player here certainly earns his fee easily! In his Second Suite ("Danse Arabe") Grieg used two piccolos with drum and triangle.

The modern school of French composers make great use of the flute, frequently writing for it passages of


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/124

RV 114 (BUDDENBROOKS) the imitation of a theme composed backward instead of forward—a very, very difficult thing. Later on, I will show you what an imitation in the Strenge Satz involves. As for the ‘crab,’ I would never ask you to try that. It isn’t necessary. But do not believe those who tell you that such things are trifles, without any musical value. You will find the crab in musicians of all ages. But exercises like that are the scorn of the mediocre and the superficial musician. Humility, Hanno, humility—is the feeling one should have. Don’t forget it.”

On his eighth birthday, April 15th, 1869, Hanno played before the assembled family a fantasy of his own composition. It was a simple affair, a motif entirely of his own invention, which he had slightly developed. When he showed it to Herr Pfühl, the organist, of course, had some criticism to make.

“What sort of theatrical ending is that, Johann? It doesn’t go with the rest of it. In the beginning it is all pretty good; but why do you suddenly fall from B major into the six-four chord on the fourth note with a minor third? These are tricks; and you tremolo here, too—where did you pick that up? I know, of course: you have been listening when I played certain things for your mother. Change the end, child: then it will be quite a clean little piece of work.”

But it appeared that Hanno laid the greatest stress precisely on this minor chord and this finale; and his mother was so very pleased with it that it remained as it was. She took her violin and played the upper part, and varied it with runs in demi-semi-quavers. That sounded gorgeous: Hanno kissed her out of sheer happiness, and they played it together to the family on the 15th of April.

The Frau Consul, Frau Permaneder, Christian, Clothilde, Herr and Frau Consul Kröger, Herr and Frau Director Weinschenk, the Broad Street Buddenbrooks, and Therese Weichbrodt were all bidden to dinner at four o’clock, with the Senator and his wife, in honour of Hanno’s birthday; and

RV 114 (114)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/125

RV 115 (BUDDENBROOKS) now they sat in the salon and looked at the child, perched on the music-stool in his sailor suit, and at the elegant, foreign appearance his mother made as she played a wonderful cantilena on the G string, and then, with profound virtuosity, developed a stream of purling, foaming cadences. The silver on the end of her bow gleamed in the gas-light.

Hanno was pale with excitement, and had hardly eaten any dinner. But now he forgot all else in his absorbed devotion to his task, which would, alas, be all over in ten minutes! The little melody he had invented was more harmonic than rhythmic in its structure; there was an extraordinary contrast between the simple primitive material which the child had at his command, and the impressive, impassioned, almost overrefined method with which that material was employed. He brought out each leading note with a forward inclination of the little head; he sat far forward on the music-stool, and strove by the use of both pedals to give each new harmony an emotional value. In truth, when Hanno concentrated upon an effect, the result was likely to be emotional rather than merely sentimental. He gave every simple harmonic device a special and mysterious significance by means of retardation and accentuation; his surprising skill in effects was displayed in each chord, each new harmony, by a suddenly introduced pianissimo. And he sat with lifted eyebrows, swaying back and forth with the whole upper part of his body. Then came the finale, Hanno’s beloved finale, which crowned the elevated simplicity of the whole piece. Soft and clear as a bell sounded the E minor chord, tremolo pianissimo, amid the purling, flowing notes of the violin. It swelled, it broadened, it slowly, slowly rose: suddenly, in the forte, he introduced the discord C sharp, which led back to the original key, and the Stradivarius ornamented it with its welling and singing. He dwelt on the dissonance until it became fortissimo. But he denied himself and his audience the resolution; he kept it back. What would it be, this resolution, this enchanting, satisfying absorption into the

RV 115 (115)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/126

RV 116 (BUDDENBROOKS) B major chord? A joy beyond compare, a gratification of overpowering sweetness! Peace! Bliss! The kingdom of Heaven: only not yet—not yet! A moment more of striving, hesitation, suspense, that must become well-nigh intolerable in order to heighten the ultimate moment of joy.—Once more—a last, a final tasting of this striving and yearning, this craving of the entire being, this last forcing of the will to deny oneself the fulfilment and the conclusion, in the knowledge that joy, when it comes, lasts only for the moment. The whole upper part of Hanno’s little body straightened, his eyes grew larger, his closed lips trembled, he breathed short, spasmodic breaths through his nose. At last, at last, joy would no longer be denied. It came, it poured over him; he resisted no more. His muscles relaxed, his head sank weakly on his shoulder, his eyes closed, and a pathetic, almost an anguished smile of speechless rapture hovered about his mouth; while his tremolo, among the rippling and rustling runs from the violin, to which he now added runs in the bass, glided over into B major, swelled up suddenly into forte, and after one brief, resounding burst, broke off.

It was impossible that all the effect which this had upon Hanno should pass over into his audience. Frau Permaneder, for instance, had not the slightest idea what it was all about. But she had seen the child’s smile, the rhythm of his body, the beloved little head swaying enraptured from side to side —and the sight had penetrated to the depths of her easily moved nature.

“How the child can play! Oh, how he can play!” she cried, hurrying to him half-weeping and folding him in her arms. “Gerda, Tom, he will be a Meyerbeer, a Mozart, a—” As no third name of equal significance occurred to her, she confined herself to showering kisses on her nephew, who sat there, still quite exhausted, with an absent look in his eyes.

“That’s enough, Tony,” the Senator said softly. “Please don’t put such ideas into the child’s head.”

RV 116 (116)


text:
Page:The Harveian oration 1903.djvu/44

 as they were their origins. Hence we call them the living elements, and hence we regard them as the anatomical basis of all biological analysis, whether it has a physiological or a pathological object in view. The cells are composed of organic chemical substances, which are not themselves alive, but the mechanical arrangement of which determines the direction and power of their activity."

Before proceeding to consider the next and chemical stage of structure it would be well shortly to indicate some of the living phenomena which have either already received or still await their explanation in the intimate histology of the cell. Most important of these is contractility, whether this be manifested as irregular amceboid movements, the rhythmic wavings of cilia, or the orderly and more highly differentiated contraction of muscular tissue. The ebb and flow of the more diffluent portions into and out of the reticulum of the spongio-plasm—the "streaming" as it has been termed—is a step towards explaining—apart altogether from the attempt to express protoplasmic movement in terms of inorganic phenomena, such as has been done—those alternate contractions and expansions of the bioplasm due to reciprocal rearrangements of its particles, which constitute one of the

title: Page:The Harveian oration 1903.djvu/44


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/127

was, in his heart, far from pleased with the development of little Johann.

Long ago he had led Gerda Arnoldsen to the altar, and all the Philistines had shaken their heads. He had felt strong and bold enough then to display a distinguished taste without harming his position as a citizen. But now, the long-awaited heir, who showed so many physical traits of the paternal inheritance—did he, after all, belong entirely to the mother’s side? He had hoped that one day his son would take up the work of the father’s lifetime in his stronger, more fortunate hands, and carry it forward. But now it almost seemed that the son was hostile, not only to the surroundings and the life in which his lot was cast, but even to his father as well.

Gerda’s violin-playing had always added to her strange eyes, which he loved, to her heavy, dark-red hair and her whole exotic appearance, one charm the more. But now that he saw how her passion for music, strange to his own nature, utterly, even at this early age, possessed the child, he felt in it a hostile force that came between him and his son, of whom his hopes would make a Buddenbrook—a strong and practical-minded man, with definite impulses after power and conquest. In his present irritable state it seemed to him that this hostile force was making him a stranger in his own house.

He could not, himself, approach any nearer to the music practised by Gerda and her friend Herr Pfühl; Gerda herself, exclusive and impatient where her art was concerned, made it cruelly hard for him. RV 117 (117)


text:
Page:The Harveian oration 1903.djvu/45

 most striking characteristics of the living organism.

The complicated changes connected with nuclear division, known as 'mitosis,' which underlie all cell-multiplication, and hence are of such importance in growth and development, are only realised as the result of those microscopic investigations which have been directed towards discovering a structural organisation of the cell itself.

The germ-plasm and the problems of heredity connected therewith can only be discussed in terms of cell structure with any probability of satisfactory results.

Possibly also the varied morphological characters presented by the fully developed living constituents of the tissues, developed as they have been through successive stages from cells of almost identical appearance in the blastoderm, may be more fully understood when the structure of their protoplasm is more accurately known. The so-called specificity of cells and its limitations—metaplastic interchanges—so important in the study of tumour formation, is an aspect of this same question.

From the earliest recorded times there has prevailed an idea which ascribed to matter an ultimate composition of indivisible

title: Page:The Harveian oration 1903.djvu/45


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/128

RV 118 (BUDDENBROOKS) Never had he dreamed that music was so essentially foreign to his family as now it seemed. His grandfather had enjoyed playing the flute, and he himself always listened with pleasure to melodies that possessed a graceful charm, a lively swing, or a tender melancholy. But if he happened to express his liking for any such composition, Gerda would be sure to shrug her shoulders and say with a pitying smile, “How can you, my friend? A thing like that, without any musical value whatever!”

He hated this “musical value.” It was a phrase which had no meaning for him save a certain chilling arrogance. It drove him on, in Hanno’s presence, to self-assertion. More than once he remonstrated angrily, “This constant harping on musical values, my dear, strikes me as rather tasteless and opinionated.” To which she rejoined: “Thomas, once for all, you will never understand anything about music as an art, and, intelligent as you are, you will never see that it is more than an after-dinner pleasure and a feast for the ears. In every other field you have a perception of the banal—in music not. But it is the test of musical comprehension. What pleases you in music? A sort of insipid optimism, which, if you met with it in literature, would make you throw down the book with an angry or sarcastic comment. Easy gratification of each unformed wish, prompt satisfaction before the will is even roused—that is what pretty music is like—and it is like nothing else in the world. It is mere flabby idealism.”

He understood her; that is, he understood what she said. But he could not follow her: could not comprehend why melodies which touched or stirred him were cheap and worthless, while compositions which left him cold and bewildered possessed the highest musical value. He stood before a temple from whose threshold Gerda sternly waved him back—and he watched while she and the child vanished within.

He betrayed none of his grief over this estrangement,

RV 118 (118)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/129

RV 119 (BUDDENBROOKS) though the gulf seemed to widen between him and his little son. The idea of suing for his child’s favour seemed frightful to him. During the day he had small time to spare; at meals he treated him with a friendly cordiality that had at times a tonic severity. “Well, comrade,” he would say, giving him a tap or two on the back of the head and seating himself opposite his wife, “well, and how are you? Studying? And playing the piano, eh? Good! But not too much piano, else you won’t want to do your task, and then you won’t go up at Easter.” Not a muscle betrayed the anxious suspense with which he waited to see how Hanno took his greeting and what his reply would be. Nothing revealed his painful inward shrinking when the child merely gave him a shy glance of the gold-brown, shadowy eyes—a glance that did not even reach his father’s face—and bent again over his plate.

It was monstrous for him to brood over this childish clumsiness. It was his fatherly duty to occupy himself a little with the child: so, while the plates were changed, he would examine him and try to stimulate his sense for facts. How many inhabitants were there in the town? What streets led from the Trave to the upper town? What were the names of the granaries that belonged to the firm? Out with it, now; speak up! But Hanno was silent. Not with any idea of wounding or annoying his father! But these inhabitants, these streets and granaries, which were normally a matter of complete indifference to him, became positively hateful when they were made the subject of an examination. However lively he was beforehand, however gaily he had laughed and talked with his father, his mood would go down to zero at the first symptom of an examination, and his resistance would collapse entirely. His eyes would cloud over, his mouth take on a despondent droop, and he would be possessed by a feeling of profound regret at the thoughtlessness of Papa, who surely knew that such tests came to nothing and only spoiled the whole meal time for everybody! With eyes

RV 119 (119)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/130

RV 120 (BUDDENBROOKS) swimming in tears he looked down at his plate. Ida would nudge him and whisper to him: the streets, the granaries. Oh, that was all useless, perfectly useless. She did not under¬ stand. He did know the names—at least some of them. It would have been easy to do what Papa asked—if only he were not possessed and prevented by an overpowering sadness! A severe word from his father and a tap with the fork against the knife rest brought him to himself with a start. He cast a glance at his mother and Ida and tried to speak. But the first syllables were already drowned in sobs. “That’s enough,” shouted the Senator, angrily. “Keep still—you needn’t tell me! You can sit there dumb and silly all the rest of your life!” And the meal would he finished in uncomfortable silence.

When the Senator felt troubled about Hanno’s passionate preoccupation with his music, it was this dreaminess, this weeping, this total lack of freshness and energy, that he fixed upon.

All his life the boy had been delicate. His teeth had been particularly bad, and had been the cause of many painful illnesses and difficulties. It had nearly cost him his life to cut his first set; the gums showed a constant tendency to inflammation, and there were abscesses, which Mamsell Jungmann used to open with a needle at the proper time. Now his second teeth were beginning to come in, and the suffering was even greater. He had almost more pain than he could bear, and he spent many sleepless, feverish nights. His teeth, when they came, were as white and beautiful as his mother’s; but they were soft and brittle, and crowded each other out of shape when they came in; so that little Hanno was obliged, for the correction of all these evils, to make the acquaintance early in life of a very dreadful man—no less than Herr Brecht, the dentist, in Mill Street.

Even this man’s name was significant: it suggested the frightful sensation in Hanno’s jaw when the roots of a tooth were pulled, lifted, and wrenched out; the sound of it made

RV 120 (120)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/131

RV 121 (BUDDENBROOKS) Hanno’s heart contract, just as it did when he cowered in an easy-chair in Herr Brecht’s waiting-room, with the faithful Jungmann sitting opposite, and looked at the pictures in a magazine, while he breathed in the sharp-smelling air of the room and waited for the dentist to open the door of the operating-room, with his polite and horrible “Won’t you come in, please?”

This operating-room possessed one strange attraction, a gorgeous parrot with venomous little eyes, which sat in a brass cage in the corner and was called, for unknown reasons, Josephus. He used to say “Sit down; one moment, please,” in a voice like an old fish-wife’s; and though the hideous circumstances made this sound like mockery, yet Hanno felt for the bird a curious mixture of fear and affection. Imagine—a parrot, a big, bright-coloured bird, that could talk and was called Josephus! He was like something out of an enchanted forest; like Grimm’s fairy tales, which Ida read aloud to him. And when Herr Brecht opened the door, his invitation was repeated by Josephus in such a way that somehow Hanno was laughing when he went into the operating-room and sat down in the queer big chair by the window, next the treadle machine.

Herr Brecht looked a good deal like Josephus. His nose was of the same shape, above his grizzled moustaches. The bad thing about him was that he was nervous, and dreaded the tortures he was obliged to inflict. “We must proceed to extraction, Fräulein,” he would say, growing pale. Hanno himself was in a pale cold sweat, with staring eyes, incapable of protesting or running away; in short, in much the same condition as a condemned criminal. He saw Herr Brecht, with the forceps in his sleeve, bend over him, and noticed that little beads were standing out on his bald brow, and that his mouth was twisted. When it was all over, and Hanno, pale and trembling, spat blood into the blue basin at his side, Herr Brecht too had to sit down, and wipe his forehead and take a drink of water. RV 121 (121)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/132

RV 122 (BUDDENBROOKS) They assured little Johann that this man would do him good and save him suffering in the end. But when Hanno weighed his present pains against the positive good that had accrued from them, he felt that the former far outweighed the latter; and he regarded these visits to Mill Street as so much unnecessary torture. They removed four beautiful white molars which had just come in, to make room for the wisdom teeth expected later: this required four weeks of visits, in order not to subject the boy to too great a strain. It was a fearful time!—a long drawn-out martyrdom, in which dread of the next visit began before the last one, with its attendant exhaustion, was fairly over. When the last tooth was drawn, Hanno was quite worn out, and was ill in bed for a week.

This trouble with his teeth affected not only his spirits but also the functioning of all his other organs. What he could not chew he did not digest, and there came attacks of gastric fever, accompanied by fitful heart action, according as the heart was either weakened or too strongly stimulated. And there were spells of giddiness, while the pavor nocturnus, that strange affliction beloved of Dr. Grabow, continued unabated. Hardly a night passed that little Johann did not start up in bed, wringing his hands with every mark of unbearable anguish, and crying out piteously for help, as though some one were trying to choke him or some other awful thing were happening. In the morning he had forgotten it all. Dr. Grabow’s treatment consisted of giving fruit-juice before the child went to bed; which had absolutely no effect.

The physical arrests and the pains which Hanno suffered made him old for his age; he was what is called precocious; and though this was not very obvious, being restrained in him, as it were, by his own unconscious good taste, still it expressed itself at times in the form of a melancholy superiority. “How are you, Hanno?” somebody would ask: his grandmother or one of the Broad Street Buddenbrooks. A little resigned curl of the lip, or a shrug of the shoulders in their blue sailor suit, would be the only answer. RV 122 (122)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/133

RV 123 (BUDDENBROOKS) “Do you like to go to school?”

“No,” answered Hanno, with quiet candour—he did not consider it worth while to try to tell a lie in such cases.

“No? But one has to learn writing, reading, arithmetic—”

“And so on,” said little Johann.

No, he did not like going to school—the old monastic school with its cloisters and vaulted classrooms. He was hampered by his illnesses, and often absent-minded, for his thoughts would linger among his harmonic combinations, or upon the still unravelled marvel of some piece which he had heard his mother and Herr Pfühl playing; and all this did not help him on in the sciences. These lower classes were taught by assistant masters and seminarists, for whom he entertained mingled feelings: a dread of possible future punishments and a secret contempt for their social inferiority, their spiritual limitations, and their physical unkemptness. Herr Tietge, a little grey man in a greasy black coat, who had taught in the school even in the time of the deceased Marcellus Stengel; who squinted abominably and sought to remedy this defect by wearing glasses as thick and round as a ship’s port-holes—Herr Tietge told little Johann how quick and industrious his father had been at figures. Herr Tietge had severe fits of coughing, and spat all over the floor of his platform.

Hanno had, among his schoolmates, no intimates save one. But this single bond was very close, even from his earliest school days. His friend was a child of aristocratic birth but neglected appearance, a certain Count Mölln, whose first name was Kai.

Kai was a lad of about Hanno’s height, dressed not in a sailor suit, but in shabby clothes of uncertain colour, with here and there a button missing, and a great patch in the seat. His arms were too long for the sleeves of his coat, and his hands seemed impregnated with dust and earth to a permanent grey colour; but they were unusually narrow and elegant, with long fingers and tapering nails. His head was

RV 123 (123)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/134

RV 124 (BUDDENBROOKS) to match: neglected, uncombed, and none too clean, but endowed by nature with all the marks of pure and noble birth. The carelessly parted hair, reddish-blond in colour, waved back from a white brow, and a pair of light blue eyes gleamed bright and keen from beneath. The cheek bones were slightly prominent: while the nose, with its delicate nostrils and slightly aquiline curve, and the mouth, with its short upper lip, were already quite unmistakable and characteristic.

Hanno Buddenbrook had seen the little count once or twice, even before they met at school, when he took his walks with Ida northward from the Castle Gate. Some distance outside the town, nearly as far as the first outlying village, lay a small farm, a tiny, almost valueless property without even a name. The passer-by got the impression of a dunghill, a quantity of chickens, a dog-hut, and a wretched, kennel-like building with a sloping red roof. This was the manor-house, and therein dwelt Kai’s father, Count Eberhard Mölln.

He was an eccentric, hardly ever seen by anybody, busy on his dunghill with his dogs, his chickens, and his vegetable-patch: a large man in top-boots, with a green frieze jacket. He had a bald head and a huge grey beard like the tail of a turnip; he carried a riding-whip in his hand, though he had no horse to his name, and wore a monocle stuck into his eye under the bushy eyebrow. Except him and his son, there was no Count Mölln in all the length and breadth of the land any more: the various branches of a once rich, proud, and powerful family had gradually withered off, until now there was only an aunt, with whom Kai’s father was not on terms. She wrote romances for the family story-papers, under a dashing pseudonym. The story was told of Count Eberhard that when he first withdrew to his little farm, he devised a means of protecting himself from the importunities of peddlers, beggars, and busy-bodies. He put up a sign which read: “Here lives Count Mölln. He wants nothing, buys

RV 124 (124)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/135

RV 125 (BUDDENBROOKS) nothing, and gives nothing away.” When the sign had served its purpose, he removed it.

Motherless—for the Countess had died when her child was born, and the housework was done by an elderly female—little Kai grew up like a wild animal, among the dogs and chickens; and here Hanno Buddenbrook had looked at him shyly from a distance, as he leaped like a rabbit among the cabbages, romped with the dogs, and frightened the fowls by turning somersaults.

They met again in the schoolroom, where Hanno probably felt again his first alarm at the little Count’s unkempt exterior. But not for long. A sure instinct had led him to pay no heed to the outward negligence; had shown him instead the white brow, the delicate mouth, the finely shaped blue eyes, which looked with a sort of resentful hostility into his own; and Hanno felt sympathy for this one alone among all his fellows. But he would never, by himself, have taken the first steps; he was too timid for that. Without the ruthless impetuosity of little Kai they might have remained strangers, after all. The passionate rapidity of his approach even frightened Hanno, at first. The neglected little count sued for the favour of the quiet, elegantly dressed Hanno with a fiery, aggressive masculinity impossible to resist. Kai could not, it is true, help Hanno with his lessons. His untamed spirits were as hostile to the “tables” as was little Buddenbrook’s dreamy abstractedness, But he gave him everything he had: glass bullets, wooden tops, even a broken lead pistol which was his dearest treasure. During the recess he told him about his home and the puppies and chickens, and walked with him at midday as far as he dared, though Ida Jungmann, with a packet of sandwiches, was always waiting for her fledgling at the school gate. It was from Ida that Kai heard little Buddenbrook’s nickname; he took it up, and never called him henceforth by anything else.

One day he demanded that Hanno, instead of going to the

RV 125 (125)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/136

RV 126 (BUDDENBROOKS) Mill-wall, should take a walk with him to his father’s house to see the baby guinea-pigs. Fräulein Jungmann finally yielded to the teasing of the two children. They strolled out to the noble domain, viewed the dunghill, the vegetables, the fowls, dogs, and guinea-pigs, and even went into the house, where in a long low room on the ground floor. Count Eberhard sat in defiant isolation, reading at a clumsy table. He asked crossly what they wanted.

Ida Jungmann could not be brought to repeat the visit. She insisted that, if the two children wished to be together, Kai could visit Hanno instead. So for the first time, with honest admiration, but no trace of shyness, Kai entered Hanno’s beautiful home. After that he went often. Soon nothing but the deep winter snows prevented him from making the long way back again for the sake of a few hours with his friend.

They sat in the large play-room in the second storey and did their lessons together. There were long sums that covered both sides of the slate with additions, subtractions, multiplications, and divisions, and had to come out to zero in the end; otherwise there was a mistake, and they must hunt and hunt till they had found the little beast and exterminated him. Then they had to study grammar, and learn the rules of comparison, and write down very neat, tidy examples underneath. Thus: “Horn is transparent, glass is more transparent, light is most transparent.” They took their exercise-books and conned sentences like the following: “I received a letter, saying that he felt aggrieved because he believed that you had deceived him.” The fell intent of this sentence, so full of pitfalls, was that you should write ei where you ought to write ie, and contrariwise. They had, in fact, done that very thing, and now it must he corrected. But when all was finished they might put their books aside and sit on the window-ledge while Ida read to them.

The good soul read about Cinderella, about the prince who could not shiver and shake, about Rumpelstiltskin, about Rapunzel and the Frog Prince—in her deep, patient voice, her

RV 126 (126)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/137

RV 127 (BUDDENBROOKS) eyes half-shut, for she knew the stories by heart, she had read them so often. She wet her finger and turned the page automatically.

But after a while Kai, who possessed the constant craving to do something himself, to have some effect on his surroundings, would close the book and begin to tell stories himself. It was a good idea, for they knew all the printed ones, and Ida needed a rest sometimes, too. Kai’s stories were short and simple at first, but they expanded and grew bolder and more complicated with time. The interesting thing about them was that they never stood quite in the air, but were based upon a reality which he presented in a new and mysterious light. Hanno particularly liked the one about the wicked enchanter who tortured all human beings by his malignant art; who had captured a beautiful prince named Josephus and turned him into a green-and-red parrot, which he kept in a gilded cage. But in a far distant land the chosen hero was growing up, who should one day fearlessly advance at the head of an invincible army of dogs, chickens, and guinea-pigs and slay the base enchanter with a single sword-thrust, and deliver all the world—in particular, Hanno Buddenbrook—from his clutches. Then Josephus would be restored to his proper form and return to his kingdom, in which Kai and Hanno would be appointed to high offices.

Senator Buddenbrook saw the two friends together now and then, as he passed the door of the play-room. He had nothing against the intimacy, for it was clear that the two lads did each other good. Hanno gentled, tamed, and ennobled Kai, who loved him tenderly, admired his white hands, and, for his sake, let Ida Jungmann wash his own with soap and a nail-brush. And if Hanno could absorb some of his friend’s wild energy and spirits, it would be welcome, for the Senator realized keenly the constant feminine influence that surrounded the boy, and knew that it was not the best means for developing his manly qualities.

The faithful devotion of the good Ida could not be repaid

RV 127 (127)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/138

RV 128 (BUDDENBROOKS) with gold. She had been in the family now for more than thirty years. She had cared for the previous generations with self-abnegation; but Hanno she carried in her arms, lapped him in tender care, and loved him to idolatry. She had a naïve, unshakable belief in his privileged station in life, which sometimes went to the length of absurdity. In whatever touched him she showed a surprising, even an unpleasant effrontery. Suppose, for instance, she took him with her to buy cakes at the pastry-shop: she would poke among the sweets on the counter and select a piece for Hanno, which she would coolly hand him without paying for it—the man should feel himself honoured, indeed! And before a crowded show-window she would ask the people in front, in her west-Prussian dialect, pleasantly enough, but with decision, to make a place for her charge. He was so uncommon in her eyes that she felt there was hardly another child in the world worthy to touch him. In little Kai’s case, the mutual preference of the two children had been too strong for her. Possibly she was a little taken by his name, too. But if other children came up to them on the Mill-wall, as she sat with Hanno on a bench, Fräulein Jungmann would get up almost at once, make some excuse or other—it was late, or there was a draught—and take her charge away. The pretexts she gave to little Johann would have led him to believe that all his contemporaries were either scrofulous of full of “evil humours,” and that he himself was a solitary exception; which did not tend to increase his already deficient confidence and ease of manner.

Senator Buddenbrook did not know all the details; but he saw enough to convince him that his son’s development was not taking the desired course. If he could only take his upbringing in his own hands, and mould his spirit by daily and hourly contact! But he had not the time. He perceived the lamentable failure of his occasional efforts: he knew they only strained the relations between father and son. In his mind was a picture which he longed to reproduce: it was a

RV 128 (128)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/139

RV 129 (BUDDENBROOKS) picture of Hanno’s great-grandfather, whom he himself had known as a boy: a clear-sighted man, jovial, simple, sturdy, humorous—why could not little Johann grow up like that? If only he could suppress or forbid the music, which was surely not good for the lad’s physical development, absorbed his powers, and took his mind from the practical affairs of life! That dreamy nature—did it not almost, at times, border on irresponsibility?

One day, some three quarters of an hour before dinner, Hanno had gone down alone to the first storey. He had practised for a long time on the piano, and now was idling about in the living-room. He half lay, half sat, on the chaise-longue, tying and untying his sailor’s knot, and his eyes, roving aimlessly about, caught sight of an open portfolio on his mother’s nut-wood writing-table. It was the leather case with the family papers. He rested his elbow on the sofa-cushion, and his chin in his hand, and looked at the things for a while from a distance. Papa must have had them out after second breakfast, and left them there because he was not finished with them. Some of the papers were sticking in the portfolio, some loose sheets lying outside were weighted with a metal ruler, and the large gilt-edged notebook with the motley paper lay there open.

Hanno slipped idly down from the sofa and went to the writing-table. The book was open at the Buddenbrook family tree, set forth in the hand of his various forbears, including his father; complete, with rubrics, parentheses, and plainly marked dates. Kneeling with one knee on the desk-chair, leaning his head with its soft waves of brown hair on the palm of his hand, Hanno looked at the manuscript sidewise, carelessly critical, a little contemptuous, and supremely indifferent, letting his free hand toy with Mamma’s gold-and-ebony pen. His eyes roved all over these names, masculine and feminine, some of them in queer old-fashioned writing with great flourishes, written in faded yellow or thick black ink, to which little grains of sand were sticking. At the very bottom, in

RV 129 (129)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/140

RV 130 (BUDDENBROOKS) Papa’s small, neat handwriting that ran so fast over the page, he read his own name, under that of his parents: Justus, Johann, Kaspar, born April 15, 1861. He liked looking at it. He straightened up a little, and took the tuler and pen, still rather idly; let his eye travel once more over the whole genealogical host; then, with absent care, mechanically and dreamily, he made with the gold pen a beautiful, clean double line diagonally across the entire page, the upper one heavier than the lower, just as he had been taught to embellish the page of his arithmetic book. He looked at his work with his head on one side, and then moved away.

After dinner the Senator called him up and surveyed him with his eyebrows drawn together.

“What is this? Where did it come from? Did you do it?”

Hanno had to think a minute, whether he really had done it; and then he answered “Yes.”

“What for? What is the matter with you? Answer me! What possessed you, to do such a mischievous thing?” cried the Senator, and struck Hanno’s cheek lightly with the rolled-up notebook.

And little Johann stammered, retreating, with his hand to his cheek, “I thought—I thought—there was nothing else coming.”

RV 130 (130)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/141

when the family gathered at table on Thursdays, under the calmly smiling gaze of the immortals on the walls, they had a new and serious theme. It called out on the faces of the female Buddenbrooks, at least the Broad Street ones, an expression of cold restraint. But it highly excited Frau Permaneder, as her manner and gestures betrayed. She tossed back her head, stretched out her arms before her, or flung them above her head as she talked; and her voice showed by turns anger and dismay, passionate opposition and deep feeling. She would pass over from the particular to the general, and talk in her throaty voice about wicked people, interrupting herself with the little cough that was due to poor digestion. Or she would utter little trumpetings of disgust: Teary Trietschke, Grünlich, Permaneder! A new name had now been added to these, and she pronounced it in a tone of indescribable scorn and hatred: “The District Attorney!”

But when Director Hugo Weinschenk entered—late, as usual, for he was overwhelmed with work; balancing his two fists and weaving about more than ever at the waist of his frockcoat—and sat down at table, his lower lip hanging down with its impudent expression under his moustaches, then the conversation would come to a full stop, and heavy silence would brood over the table until the Senator came to the rescue by asking the Director how his affair was going on—as if it were an ordinary business dealing.

Hugo Weinschenk would answer that things were going very well, very well indeed, they could not go otherwise; and then he would blithely change the subject. He was much more sprightly than he used to be; there was a certain lack of re-

RV 131 (131)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/142

RV 132 (BUDDENBROOKS) straint in his roving eye, and he would ask ever so many times about Gerda Buddenbrook’s fiddle without getting any reply. He talked freely and gaily—only it was a pity his flow of spirits prevented him from guarding his tongue; for he now and then told anecdotes which were not at all suited to the company. One, in particular, was about a wet-nurse who prejudiced the health of her charge by the fact that she suffered from flatulence. Too late, or not at all, he remarked that his wife was flushing rosy red, that Thomas, the Frau Consul and Gerda were sitting like statues, and the Misses Buddenbrook exchanging glances that were fairly boring holes in each other. Even Riekchen Severin was looking insulted at the bottom of the table, and old Consul Kröger was the single one of the company who gave even a subdued snort.

What was the trouble with Director Weinschenk? This industrious, solid citizen with the rough exterior and no social graces, who devoted himself with an obstinate sense of duty to his work alone—this man was supposed to have been guilty, not once but repeatedly, of a serious fault: he was accused of, he had been indicted for, performing a business manœuvre which was not only questionable, but directly dishonest and criminal. There would be a trial, the outcome of which was not easy to guess. What was he accused of? It was this: certain fires of considerable extent had taken place in different localities, which would have cost his company large sums of money. Director Weinschenk was accused of having received private information of such accidents through his agents, and then, in wrongful possession of this information, of having transferred the back insurance to another firm, thus saving his own the loss. The matter was now in the hands of the State Attorney, Dr. Moritz Hagenström.

“Thomas,” said the Frau Consul in private to her son, “please explain it to me. I do not understand. What do you make of the affair?”

“Why, my dear Mother,” he answered, “what is there to say? It does not look as though things were quite as they

RV 132 (132)


text:
Page:The story of the flute (IA storyofflute1914fitz).djvu/190

 delicate filigree and arabesques. They use the instrument "rather to ornament and brighten a subject than to propound it." Sometimes, however, this degenerates into mere tinsel. Perhaps the most noticeable point about the modern use of the flute is the frequency of passages on the lower register, whose peculiar and unique beauty has been fully recognised by many recent composers. No one has more fully grasped the capabilities of the instrument than Bizetwho assigns the , Carmen, Act III., Introductory March. march in Act iii. of Carmen to the flute, playing staccato and pianissimo in the low register, with fine effect; so again in the Seguidilla, No. 10. Other fine flute passages in this work are the Entr'acte (ii.), where the two flutes play running passages in thirds along , Carmen, Seguidilla, No. 10.


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/143

RV 133 (BUDDENBROOKS) should be—unfortunately. It seems unlikely to me that Weinschenk is as guilty as people think. In the modern style of doing business, there is a thing they call usance. And usance—well, imagine a sort of manœuvre, not exactly open and above-board, something that looks dishonest to the man in the street, yet perhaps quite customary and taken for granted in the business world: that is usance. The boundary line between usance and actual dishonesty is extremely hard to draw. Well—if Weinschenk has done anything he shouldn’t, he has probably done no more than a good many of his colleagues who will not get caught. But—I don’t see much chance of his being cleared. Perhaps in a larger city he might be, but here everything depends on cliques and personal motives. He should have borne that in mind in selecting his lawyer. It is true that we have no really eminent lawyer in the whole town, nobody with superior oratorical talent, who knows all the ropes and is versed in dubious transactions. All our jurists hang together; they have family connections, in many cases; they eat together; they work together, and they are accustomed to considering each other. In my opinion, it would have been clever to take a town lawyer. But what did Weinschenk do? He thought it necessary—and this in itself makes his innocence look doubtful—to get a lawyer from Berlin, a Dr. Breslauer, who is a regular rake, an accomplished orator and up to all the tricks of the trade. He has the reputation of having got so-and-so many dishonest bankrupts off scot-free. He will conduct this affair with the same cleverness—for a consideration. But will it do any good? I can see already that our town lawyers will band together to fight him tooth and nail, and that Dr. Hagenström’s hearers will already be prepossessed in his favour. As for the witnesses: well, Weinschenk’s own staff won’t be any too friendly to him, I’m afraid. What we indulgently call his rough exterior—he would call it that, himself, too—has not made him many friends. In short, Mother, I am looking forward to trouble. It will be a pity for Erica, if it turns

RV 133 (133)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/144

RV 134 (BUDDENBROOKS) out badly; but I feel most for Tony. You see, she is quite right in saying that Hagenström is glad of the chance. The thing concerns all of us, and the disgrace will fall on us too; for Weinschenk belongs to the family and eats at our table. As far as I am concerned, I can manage. I know what I have to do: in public, I shall act as if I had nothing whatever to do with the affair. I will not go to the trial—although I am sorry not to, for Breslauer is sure to be interesting. And in general I must behave with complete indifference, to protect myself from the imputation of wanting to use my influence. But Tony? I don’t like to think what a sad business a conviction will be for her. She protests vehemently against envious intrigues and calumniators and all that; but what really moves her is her anxiety lest, after all her other troubles, she may see her daughter’s honourable position lost as well. It is the last blow. She will protest her belief in Weinschenk’s innocence the more loudly the more she is forced to doubt it. Well, he may be innocent, after all. We can only wait and see, Mother, and be very tactful with him and Tony and Erica. But I’m afraid—”

It was under these circumstances that the Christmas feast drew near, to which little Hanno was counting the days, with a beating heart and the help of a calendar manufactured by Ida Jungmann, with a Christmas tree on the last leaf.

The signs of festivity increased. Ever since the first Sunday in Advent a great gaily coloured picture of a certain Ruprecht had been hanging on the wall in grandmama’s dining-room. And one morning Hanno found his covers and the rug beside his bed sprinkled with gold tinsel. A few days later, as Papa was lying with his newspaper on the livingroom sofa, and Hanno was reading “The Witch of Endor” out of Gerock’s “Palm Leaves,” an “old man” was announced. This had happened every year since Hanno was a baby—and yet was always a surprise. They asked him in, this “old

RV 134 (134)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/145

RV 135 (BUDDENBROOKS) man,” and he came shuffling along in a big coat with the fur side out, sprinkled with bits of cotton-wool and tinsel. He wore a fur cap, and his face had black smudges on it, and his beard was long and white. The beard and the big, bushy eyebrows were also sprinkled with tinsel. He explained—as he did every year—in a harsh voice, that this sack (on his left shoulder) was for good children, who said their prayers (it contained apples and gilded nuts) ; but that this sack (on his right shoulder) was for naughty children. The “old man” was, of course, Ruprecht; perhaps not actually the real Ruprecht—it might even be Wenzel the barber, dressed up in Papa’s coat turned fur side out—but it was as much Ruprecht as possible. Hanno, greatly impressed, said Our Father for him, as he had last year—both times interrupting himself now and again with a little nervous sob—and was permitted to put his hand into the sack for good children, which the “old man” forgot to take away.

The holidays came, and there was not much trouble over the report, which had to be presented for Papa to read, even at Christmas-time. The great dining-room was closed and mysterious, and there were marzipan and ginger-bread to eat—and in the streets, Christmas had already come. Snow fell, the weather was frosty, and on the sharp clear air were borne the notes of the barrel-organ, for the Italians, with their velvet jackets and their black moustaches, had arrived for the Christmas feast. The shop-windows were gay with toys and goodies; the booths for the Christmas fair had been erected in the market-place; and wherever you went you breathed in the fresh, spicy odour of the Christmas trees set out for sale.

The evening of the twenty-third came at last, and with it the present-giving in the house in Fishers’ Lane. This was attended by the family only—it was a sort of dress rehearsal for the Christmas Eve party given by the Frau Consul in Meng Street. She clung to the old customs, and reserved the twenty-fourth for a celebration to which the whole family

RV 135 (135)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/146

RV 136 (BUDDENBROOKS) group was bidden; which, accordingly, in the late afternoon, assembled in the landscape-room.

The old lady, flushed of cheek, and with feverish eyes, arrayed in a heavy black-and-grey striped silk that gave out a faint scent of patchouli, received her guests as they entered, and embraced them silently, her gold bracelets tinkling. She was strangely excited this evening—“Why, Mother, you’re fairly trembling,” the Senator said when he came in with Gerda and Hanno. “Everything will go off very easily.” But she only whispered, kissing all three of them, “For Jesus Christ’s sake—and my blessed Jean’s.”

Indeed, the whole consecrated programme instituted by the deceased Consul had to be carried out to the smallest detail; and the poor lady fluttered about, driven by her sense of responsibility for the fitting accomplishment of the evening’s performance, which must be pervaded with a deep and fervent joy. She went restlessly back and forth, from the pillared hall where the choir-boys from St. Mary’s were already assembled, to the dining-room, where Riekchen Severin was putting the finishing touches to the tree and the table-full of presents, to the corrodor full of shrinking old people—the “poor” who were to share in the presents—and back into the landscape-room, where she rebuked every unnecessary word or sound with one of her mild sidelong glances. It was so still that the sound of a distant hand-organ, faint and clear like a toy music-box, came across to them through the snowy streets. Some twenty persons or more were sitting or standing about in the room; yet it was stiller than a church—so still that, as the Senator cautiously whispered to Uncle Justus, it reminded one more of a funeral!

There was really no danger that the solemnity of the feast would be rudely broken in upon by youthful high spirits. A glance showed that almost all the persons in the room were arrived at an age when the forms of expression are already long ago fixed. Senator Thomas Buddenbrook, whose

RV 136 (136)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/147

RV 137 (BUDDENBROOKS) pallor gave the lie to his alert, energetic, humorous expression; Gerda, his wife, leaning back in her chair, the gleaming, blue-ringed eyes in her pale face gazing fixedly at the crystal prisms in the chandelier; his sister, Frau Permaneder: his cousin, Jürgen Kröger, a quiet, neatly-dressed official; Friederike, Henriette, and Pfiffi, the first two more long and lean, the third smaller and plumper than ever, but all three wearing their stereotyped expression, their sharp, spiteful smile at everything and everybody, as though they were perpetually saying “Really—it seems incredible!” Lastly, there was poor, ashen-grey Clothilde, whose thoughts were probably fixed upon the coming meal.—Every one of these persons was past forty. The hostess herself, her brother Justus and his wife, and little Therese Weichbrodt were all well past sixty; while old Frau Consul Buddenbrook, Uncle Gotthold’s widow, born Stüwing, as well as Madame Kethelsen, now, alas almost entirely deaf, were already in the seventies.

Erica Weinschenk was the only person present in the bloom of youth; she was much younger than her husband, whose cropped, greying head stood out against the idyllic landscape behind him. When her eyes—the light blue eyes of Herr Grünlich—rested upon him, you could see how her full bosom rose and fell without a sound, and how she was beset with anxious, bewildered thoughts about usance and book-keeping, witnesses, prosecuting attorneys, defence, and judges. Thoughts like these, un-Christmaslike though they were, troubled everybody in the room. They all felt uncanny at the presence in their midst of a member of the family who was actually accused of an offence against the law, the civic weal, and business probity, and who would probably be visited by shame and imprisonment. Here was a Christmas family party at the Buddenbrooks’—with an accused man in the circle! Frau Permaneder’s dignity became majestic, and the smile of the Misses Buddenbrook more and more pointed.

And what of the children, the scant posterity upon whom

RV 137 (137)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/148

RV 138 (BUDDENBROOKS) rested the family hopes? Were they conscious too of the slightly uncanny atmosphere? The state of mind of the little Elisabeth could not be fathomed. She sat on her bonne’s lap in a frock trimmed by Frau Permaneder with satin bows, folded her small hands into fists, sucked her tongue, and stared straight ahead of her. Now and then she would utter a brief sound, like a grunt, and the nurse would rock her a little on her arm. But Hanno sat still on his footstool at his mother’s knee and stared up, like her, into the chandelier.

Christian was missing—where was he? At the last minute they noticed his absence. The Frau Consul’s characteristic gesture, from the corner of her mouth up to her temple, as though putting back a refractory hair, became frequent and feverish. She gave an order to Mamsell Severin, and the spinster went out through the hall, past the choir-boys and the “poor” and down the corridor to Christian’s room, where she knocked on the door.

Christian appeared straightway; he limped casually into the landscape-room, rubbing his bald brow. “Good gracious, children,” he said, “I nearly forgot the party!”

“You nearly forgot—” his mother repeated, and stiffened.

“Yes, I really forgot it was Christmas. I was reading a book of travel, about South America.—Dear me, I’ve seen such a lot of Christmases!” he added, and was about to launch out upon a description of a Christmas in a fifth-rate variety theatre in London—when all at once the church-like hush of the room began to work upon him, and he moved on tip-toe to his place, wrinkling up his nose.

“Rejoice, O Daughter of Zion!” sang the choir-boys. They had previously been indulging in such audible practical jokes that the Senator had to get up and stand in the doorway to inspire respect. But now they sang beautifully. The clear treble, sustained by the deeper voices, soared up in pure, exultant, glorifying tones, bearing all hearts along with them: softening the smiles of the spinsters, making the old folk look in upon themselves and back upon the past; easing

RV 138 (138)