Chapter II (2)

Mumme got up. He was tall and pale, with trembling hands and extraordinarily large round glasses. He had trouble with his eyes, and was so short-sighted that he could not possibly read standing up from a book on the desk before him. He had to learn, and he had learned. But to-day he had not expected to be called up; he was, besides, painfully ungifted; and he stuck after the first few words. Dr. Mantelsack helped him, he helped him again in a sharper tone, and for the third time with intense irritation. But when Mumme came to a final stop, the _Ordinarius_ was mastered by indignation.

“This is entirely insufficient, Mumme. Sit down. You cut a disgraceful figure, let me tell you, sir. A _cretin_! Stupid and lazy both--it is really too much.”

Mumme was overwhelmed. He looked the child of calamity, and at this moment everybody in the room despised him. A sort of disgust, almost like nausea, mounted again in Hanno Buddenbrook’s throat; but at the same time he observed with horrid clarity all that was going forward. Dr. Mantelsack made a mark of sinister meaning after Mumme’s name, and then looked through his notebook with frowning brows. He went over, in his disgust, to the order of the day, and looked to see whose turn it really was. There was no doubt that this was the case: and just as Hanno was overpowered by this knowledge, he heard his name--as if in a bad dream.

“Buddenbrook!” Dr. Mantelsack had said “Buddenbrook.” The scale was in the air again. Hanno could not believe his senses. There was a buzzing in his ears. He sat still.

“Herr Buddenbrook!” said Dr. Mantelsack, and stared at him sharply through his glasses with his prominent sapphire-blue eyes. “Will you have the goodness?”

Very well, then. It was to be. It had to come. It had come differently from his expectations, but still, here it was, and he was none the less lost. But he was calm. Would it be a very big row? He rose in his place and was about to utter some forlorn and absurd excuse to the effect that he had “forgotten” to study the lines, when he became aware that the boy ahead of him was offering him his open book.

This boy, Hans Hermann Kilian, was a small brown lad with oily hair and broad shoulders. He had set his heart on becoming an officer, and was so possessed by an ideal of comradeship that he would not leave in the lurch even little Buddenbrook, whom he did not like. He pointed with his finger to the place.

Hanno gazed down upon it and began to read. With trembling voice, his face working, he read of the Golden Age, when truth and justice flourished of their own free will, without laws or compulsions. “Punishment and fear did not exist,” he said, in Latin. “No threats were graven upon the bronze tablets, nor did those who came to petition fear the countenance of the judges....” He read in fear and trembling, read with design badly and disjointedly, purposely omitted some of the elisions that were marked with pencil in Kilian’s book, made mistakes in the lines, progressed with apparent difficulty, and constantly expected the master to discover the fraud and pounce upon him. The guilty satisfaction of seeing the open book in front of him gave him a pricking sensation in his skin; but at the same time he had such a feeling of disgust that he intentionally deceived as badly as possible, simply to make the deceit seem less vulgar to himself. He came to the end, and a pause ensued, during which he did not dare look up. He felt convinced that Dr. Mantelsack had seen all, and his lips were perfectly white. But at length the master sighed and said:

“Oh, Buddenbrook! _Si tacuisses!_ You will permit me the classical thou, for this once. Do you know what you have done? You have conducted yourself like a vandal, a barbarian. You are a humourist, Buddenbrook; I can see that by your face. If I ask myself whether you have been coughing or whether you have been reciting this noble verse, I should incline to the former. Timm showed small feeling for rhythm, but compared to you he is a genius, a rhapsodist! Sit down, unhappy wretch! You have studied the lines, I cannot deny it, and I am constrained to give you a good mark. You have probably done your best. But tell me--have I not been told that you are musical, that you play the piano? How is it possible? Well, very well, sit down. You have worked hard--that must suffice.”

He put a good mark down in his book, and Hanno Buddenbrook took his seat. He felt as Timm, the rhapsodist had felt before him--that he really deserved the praise which Dr. Mantelsack gave him. Yes, at the moment he was of the opinion that he was, if rather a dull, yet an industrious pupil, who had come off with honour, comparatively speaking. He was conscious that all his schoolmates, not excepting Hans Hermann Kilian, had the same view. Yet he felt at the same time somewhat nauseated. Pale, trembling, too exhausted to think about what had happened, he closed his eyes and sank back in lethargy.

Dr. Mantelsack, however, went on with the lesson. He came to the verses that were to have been prepared for to-day, and called up Petersen. Petersen rose, fresh, lively, sanguine, in a stout attitude, ready for the fray. Yet to-day, even to-day, was destined to see his fall. Yes, the lesson-hour was not to pass without a catastrophe far worse than that which had befallen the hapless, short-sighted Mumme.

Petersen translated, glancing now and then at the other page of his book, which should have had nothing on it. He did it quite cleverly: he acted as though something there distracted him--a speck of dust, perhaps, which he brushed with his hand or tried to blow away. And yet--there followed the catastrophe.

Dr. Mantelsack made a sudden violent movement, which was responded to on Petersen’s part by a similar movement. And in the same moment the master left his seat, dashed headlong down from his platform, and approached Petersen with long, impetuous strides.

“You have a crib in your book,” he said as he came up.

“A crib--I--no,” stammered Petersen. He was a charming lad, with a great wave of blond hair on his forehead and lovely blue eyes which now flickered in a frightened way.

“You have no crib in your book?”

“A crib, Herr Doctor? No, really, I haven’t. You are mistaken. You are accusing me falsely.” Petersen betrayed himself by the unnatural correctness of his language, which he used in order to intimidate the master. “I am not deceiving you,” he repeated, in the greatness of his need. “I have always been honourable, my whole life long.”

But Dr. Mantelsack was all too certain of the painful fact.

“Give me your book,” he said coldly.

Petersen clung to his book; he raised it up in both hands and went on protesting. He stammered, his tongue grew thick. “Believe me, Herr Doctor. There is nothing in the book--I have no crib--I have not deceived you--I have always been honourable--”

“Give me your book,” repeated the master, stamping his foot.

Then Petersen collapsed, and his face grew grey.

“Very well,” said he, and delivered up his book. “Here it is. Yes, there is a crib in it. You can see for yourself; there it is. But I haven’t used it,” he suddenly shrieked, quite at random.

Dr. Mantelsack ignored this idiotic lie, which was rooted in despair. He drew out the crib, looked at it with an expression of extreme disgust, as if it were a piece of decaying offal, thrust it into his pocket, and threw the volume of Ovid contemptuously back on Petersen’s desk.

“Give me the class register,” he said in a hollow voice.

Adolf Todtenhaupt dutifully fetched it, and Petersen received a mark for dishonesty which effectually demolished his chances of being sent up at Easter. “You are the shame of the class,” said Dr. Mantelsack.

Petersen sat down. He was condemned. His neighbour avoided contact with him. Every one looked at him with a mixture of pity, aversion, and disgust. He had fallen, utterly and completely, because he had been found out. There was but one opinion as to Petersen, and that was that he was, in very truth, the shame of the class. They recognized and accepted his fall, as they had the rise of Timm and Buddenbrook and the unhappy Mumme’s mischance. And Petersen did too.

Thus most of this class of twenty-five young folk, being of sound and strong constitution, armed and prepared to wage the battle of life as it is, took things just as they found them, and did not at this moment feel any offence or uneasiness. Everything seemed to them to be quite in order. But one pair of eyes, little Johann’s, which stared gloomily at a point on Hans Hermann Kilian’s broad back, were filled, in their blue-shadowed depths, with abhorrence, fear, and revulsion. The lesson went on. Dr. Mantelsack called on somebody, anybody--he had lost all desire to test any one. And after Adolf Todtenhaupt, another pupil, who was but moderately prepared, and did not even know what “_patula Jovis arbore_” meant, had been called on, Buddenbrook had to say it. He said it in a low voice, without looking up, because Dr. Mantelsack asked him, and he received a nod of the head for the answer.

And now that the performance of the pupils was over, the lesson had lost all interest. Dr. Mantelsack had one of the best scholars read at his own sweet will, and listened just as little as the twenty-four others, who began to get ready for the next class. This one was finished, in effect. No one could be marked on it, nor his interest or industry judged. And the bell would soon ring. It did ring. It rang for Hanno, and he had received a nod of approbation. Thus it was.

“Well!” said Kai to Hanno, as they walked down the Gothic corridor with their classmates, to go to the chemistry class, “what do you say now about the brow of Caesar? You had wonderful luck!”

“I feel sick, Kai,” said little Johann, “I don’t like that kind of luck. It makes me sick.” Kai knew he would have felt the same in Hanno’s place.

The chemistry hall was a vaulted chamber like an amphitheatre with benches rising in tiers, a long table for the experiments, and two glass cases of phials. The air in the classroom had grown very hot and heavy again; but here it was saturated with an odour of sulphuretted hydrogen from a just-completed experiment, and smelled abominable. Kai flung up the window and then stole Adolf Todtenhaupt’s copy-book and began in great haste to copy down the lesson for the day. Hanno and several others did the same. This occupied the entire pause till the bell rang, and Dr. Marotzke came in.

This was the “deep one,” as Kai and Hanno called him. He was a medium-sized dark man with a very yellow skin, two large lumps on his brow, a stiff smeary beard, and hair of the same kind. He always looked unwashed and unkempt, but his appearance probably belied him. He taught the natural sciences, but his own field was mathematics, in which subject he had the reputation of being an original thinker. He liked to hold forth on the subject of metaphysical passages from the Bible; and when in a good-natured or discursive mood, he would entertain the boys of the first and second forms with marvellous interpretations of mysterious passages. He was, besides all this, a reserve officer, and very enthusiastic over the service. As an official who was also in the army, he stood very well with Director Wulicke. He set more store by discipline than any of the other masters: he would review the ranks of sturdy youngsters with a professional eye, and he insisted on short, brisk answers to questions. This mixture of mysticism and severity was not, on the whole, attractive.

The copy-books were shown, and Dr. Marotzke went around and touched each one with his finger. Some of the pupils who had not done theirs at all, put down other books or turned this one back to an old lesson; but he never noticed.

Then the lesson began, and the twenty-five boys had to display their industry and interest with respect to boric acid, and chlorine, and strontium, as in the previous period they had displayed it with respect to Ovid. Hans Hermann Kilian was commended because he knew that BaSO_{4}, or barytes, was the metal most commonly used in counterfeiting. He was the best in the class, anyhow, because of his desire to be an officer. Kai and Hanno knew nothing at all, and fared very badly in Dr. Marotzke’s notebook.

And when the tests, recitation, and marking were over, the interest in chemistry was about exhausted too. Dr. Marotzke began to make a few experiments; there were a few pops, a few coloured gases; but that was only to fill out the hour. He dictated the next lesson; and then the third period, too, was a thing of the past.

Everybody was in good spirits now--even Petersen, despite the blow he had received. For the next hour was likely to be a jolly one. Not a soul felt any qualms before it, and it even promised occasion for entertainment and mischief. This was English, with Candidate Modersohn, a young philologian who had been for a few weeks on trial in the faculty--or, as Kai, Count Mölln, put it, he was filling a limited engagement with the company. There was little prospect, however, of his being re-engaged. His classes were much too entertaining.

Some of the form remained in the chemistry hall, others went up to the classroom; nobody needed to go down and freeze in the courtyard, because Herr Modersohn was in charge up in the corridors, and he never dared send any one down. Moreover, there were preparations to be made for his reception.

The room did not become in the least quieter when it rang for the fourth hour. Everybody chattered and laughed and prepared to see some fun. Count Mölln, his head in his hands, went on reading Roderick Usher. Hanno was audience. Some of the boys imitated the voices of animals; there was the shrill crowing of a cock; and Wasservogel, in the back row, grunted like a pig without anybody’s being able to see that the noise came from his inside. On the blackboard was a huge chalk drawing, a caricature, with squinting eyes, drawn by Timm the rhapsodist. And when Herr Modersohn entered he could not shut the door, even with the most violent efforts, because there was a thick fir-cone in the crack; Adolf Todtenhaupt had to take it away.

Candidate Modersohn was an undersized, insignificant looking man. His face was always contorted with a sour, peevish expression, and he walked with one shoulder thrust forward. He was frightfully self-conscious, blinked, drew in his breath, and kept opening his mouth as if he wanted to say something if he could only think of it. Three steps from the door he trod on a cracker of such exceptional quality that it made a noise like dynamite. He jumped violently; then, in these straits, he smiled exactly as though nothing had happened and took his place before the middle row of benches, stooping sideways, in his customary attitude, and resting one palm on the desk in front of him. But this posture of his was familiar to everybody; somebody had put some ink on the right spot, and Herr Modersohn’s small clumsy hand got all inky. He acted as though he had not noticed, laid his wet black hand on his back, blinked, and said in a soft, weak voice: “The order in the classroom leaves something to be desired.”

Hanno Buddenbrook loved him in that moment, sat quite still, and looked up into his worried, helpless face. But Wasservogel grunted louder than ever, and a handful of peas went rattling against the window and bounced back into the room.

“It’s hailing,” somebody said, quite loudly. Herr Modersohn appeared to believe this, for he went without more ado to the platform and asked for the register. He needed it to call the names from, for, though he had been teaching the class for five or six weeks, he hardly knew any of them by name.

“Feddermann,” he said, “will you please recite the poem?”

“Absent,” shouted a chorus of voices. And there sat Feddermann, large as life, in his place, shooting peas with great skill and accuracy.

Herr Modersohn blinked again and selected a new name. “Wasservogel,” he said.

“Dead,” shouted Petersen, attacked by a grim humour. And the chorus, grunting, crowing, and with shouts of derision, asseverated that Wasservogel was dead.

Herr Modersohn blinked afresh. He looked about him, drew down his mouth, and put his finger on another name in the register. “Perlemann,” he said, without much confidence.

“Unfortunately, gone mad,” uttered Kai, Count Mölln, with great clarity and precision. And this also was confirmed by the chorus amid an ever-increasing tumult.

Then Herr Modersohn stood up and shouted in to the hubbub: “Buddenbrook, you will do me a hundred lines imposition. If you laugh again, I shall be obliged to mark you.”

Then he sat down again. It was true that Hanno had laughed. He had been seized by a quiet but violent spasm of laughter, and went on because he could not stop. He had found Kai’s joke so good--the “unfortunately” had especially appealed to him. But he became quiet when Herr Modersohn attacked him, and sat looking solemnly into the Candidate’s face. He observed at that moment every detail of the man’s appearance: saw every pathetic little hair in his scanty beard, which showed the skin through it; saw his brown, empty, disconsolate eyes; saw that he had on what appeared to be two pairs of cuffs, because the sleeves of his shirt came down so long; saw the whole pathetic, inadequate figure he made. He saw more: he saw into the man’s inner self. Hanno Buddenbrook was almost the only pupil whom Herr Modersohn knew by name, and he availed himself of the knowledge to call him constantly to order, give him impositions, and tyrannize over him. He had distinguished Buddenbrook from the others simply because of his quieter behaviour--and of this he took advantage to make him feel his authority, an authority he did not dare exert upon the real offenders. Hanno looked at him and reflected that Herr Modersohn’s lack of fine feeling made it almost impossible even to pity him! “I don’t bully you,” he addressed the Candidate, in his thoughts: “I don’t share in the general tormenting like the others--and how do you repay me? But so it is, and so will it be, always and everywhere,” he thought; and fear, and that sensation almost amounting to physical nausea, rose again in him. “And the most dreadful thing is that I can’t help seeing through you with such disgusting clearness!”

At last Herr Modersohn found some one who was neither dead nor crazy, and who would take it upon himself to repeat the English verse. This was a poem called “The Monkey,” a poor childish composition, required to be committed to memory by these growing lads whose thoughts were already mostly bent on business, on the sea, on the coming conflicts of actual life.

“Monkey, little, merry fellow,
Thou art nature’s punchinello....”

There were endless verses--Kassbaum read them, quite simply, out of his book. Nobody needed to trouble himself about what Herr Modersohn thought. The noise grew worse and worse, the feet shuffled and scraped on the dusty floor, the cock crowed, the pig grunted, peas filled the air. The five-and-twenty were drunk with disorder. And the unregulated instincts of their years awoke. They drew obscene pictures on pieces of paper, passed them about, and laughed at them greedily.

All at once everything was still. The pupil who was then reciting interrupted himself; even Herr Modersohn got up and listened. They heard something charming: a pure, bell-like sound, coming from the bottom of the room and flowing sweetly, sensuously, with indescribably tender effect, on the sudden silence. It was a music-box which somebody had brought, playing “_Du, du, liegst mir am Herzen_” in the middle of the English lesson. But precisely at that moment when the little melody died away, something frightful ensued. It broke like a sudden storm over the heads of the class, unexpected, cruel, overwhelming, paralyzing.

Without anybody’s having knocked, the door opened wide with a great shove, and a presence came in, high and huge, growled, and stood with a single stride in front of the benches. It was the Lord God.

Herr Modersohn grew ashy pale and dragged down the chair from the platform, dusting it with his handkerchief. The pupils had sprung up like one man. They pressed their arms to their sides, stood on their tip-toes, bent their heads, and bit their tongues in the fervour of their devotion. The deepest silence reigned. Somebody gasped with the effort he made--then all was still again.

Director Wulicke measured the saluting columns for a while with his eye. He lifted his arm with its dirty funnel-shaped cuff, and let it fall with the fingers spread out, as if he were attacking a keyboard. “Sit down,” he said in his double-bass voice.

The pupils sank back into their seats. Herr Modersohn pulled up the chair with trembling hands, and the Director sat down beside the dais. “Please proceed,” he said. That was all, but it sounded as frightful as if the words he uttered had been “Now we shall see, and woe to him who--”

The reason for his coming was clear. Herr Modersohn was to give evidence of his ability to teach, to show what the lower second had learned in the six or seven hours he had been with them. It was a question of Herr Modersohn’s existence and future. The Candidate was a sorry figure as he stood on the platform and called again on somebody to recite “The Monkey.” Up to now it had been only the pupils who were examined, but now it was the master as well. Alas, it went badly on both sides! Herr Director Wulicke’s appearance was entirely unexpected, and only two or three of the pupils were prepared. It was impossible for Herr Modersohn to call up Adolf Todtenhaupt for the whole hour on end; after “The Monkey” had been recited once, it could not be asked for again, and so things were in a bad way. When the reading from Ivanhoe began, young Count Mölln was the only person who could translate it at all, he having a personal interest in the novel. The others hemmed and hawed, stuttered, and got hopelessly stuck. Hanno Buddenbrook was called up and could not do a line. Director Wulicke gave utterance to a sound that was as though the lowest string of his double-bass had been violently plucked, and Herr Modersohn wrung his small, clumsy, inky hands repeating plaintively over and over. “And it went so well--it always went so well!”

He was still saying it, half to the pupils and half to the Director, when the bell rang. But the Lord God stood erect with folded arms before his chair and stared in front of him over the heads of the class. Then he commanded that the register be brought, and slowly marked down for laziness all those pupils whose performances of the morning had been deficient--or entirely lacking--six or seven marks at one fell swoop. He could not put down a mark for Herr Modersohn, but he was much worse than the others. He stood there with a face like chalk, broken, done for. Hanno Buddenbrook was among those marked down. And Director Wulicke said besides, “I will spoil all your careers for you.” Then he went.

The bell rang; class was over. It was always like that. When you expected trouble it did not come. When you thought all was well--then, the catastrophe. It was now impossible for Hanno to go up at Easter. He rose from his seat and went drearily out of the room, seeking the aching back tooth with his tongue.

Kai came up to him and put his arm across his shoulders. Together they walked down to the courtyard, among the crowd of excited comrades, all of whom were discussing the extraordinary event. He looked with loving anxiety into Hanno’s face and said, “Please forgive, Hanno, for translating. It would have been better to keep still and get a mark. It’s so cheap--”

“Didn’t I say what ‘_patula Jovis arbore_’ meant?” answered Hanno. “Don’t mind, Kai. That doesn’t matter. One just mustn’t mind.”

“I suppose that’s true. Well, the Lord God is going to ruin your career. You may as well resign yourself, Hanno, because if it is His inscrutable will--. Career--what a lovely word ‘career’ is! Herr Modersohn’s career is spoilt too. He will never get to be a master, poor chap! There are assistant masters, you may know, and there are head masters; but never by any chance a plain master. This is a mystery not to be revealed to youthful minds; it is only intended for grown-ups and persons of mature experience. An ordinary intelligence might say that either one is a master or one is not. I might go up to the Lord God or Herr Marotzke and explain this to him. But what would be the result? They would consider it an insult, and I should be punished for insubordination--all for having discovered for them a much higher significance in their calling than they themselves were aware of! No, let’s not talk about them--they’re all thick-skinned brutes!”

They walked about the court; Kai made jokes to help Hanno forget his bad mark, and Hanno listened and enjoyed.

“Look, here is a door, an outer door. It is open, and outside there is the street. How would it be if we were to go out and take a little walk? It is recess, and we have still six minutes. We could easily be back in time. But it is perfectly impossible. You see what I mean? Here is the door. It is open, there is no grating, there is nothing, nothing whatever to prevent us. And yet it is impossible for us to step outside for even a second--it is even impossible for us to think of doing so. Well, let’s not think of it, then. Let’s take another example: we don’t say, for instance, that it is nearly half-past twelve. No, we say, ‘It’s nearly time for the geography period’! You see? Now, I ask, is this any sort of a life to lead? Everything is wrong. Oh, Lord, if the institution would just once let us out of her loving embrace!”

“Well, and what then? No, Kai, we should just have to do something then; here, at least we are taken care of. Since my Father died Herr Stephan Kistenmaker and Pastor Pringsheim have taken over the business of asking me every day what I want to be. I don’t know. I can’t answer. I can’t be anything. I’m afraid of everything--”

“How can anybody talk so dismally? What about your music?”

“What about my music, Kai? There is nothing to it. Shall I travel round and give concerts? In the first place, they wouldn’t let me; and in the second place, I should never really know enough. I can play very little. I can only improvise a little when I am alone. And then, the travelling about must be dreadful, I imagine. It is different with you. You have more courage. You go about laughing at it all--you have something to set against it. You want to write, to tell wonderful stories. Well, that _is_ something. You will surely become famous, you are so clever. The thing is, you are so much livelier. Sometimes in class we look at each other, the way we did when Petersen got marked because he read out of a crib, when all the rest of us did the same. The same thought is in both our minds--but you know how to make a face and let it pass. I can’t. I get so tired of things. I’d like to sleep and never wake up. I’d like to die, Kai! No, I am no good. I can’t want anything. I don’t even want to be famous. I’m afraid of it, just as much as if it were a wrong thing to do. Nothing can come of me, that is perfectly sure. One day, after confirmation-class, I heard Pastor Pringsheim tell somebody that one must just give me up, because I come of a decayed family.”

“Did he say that?” Kai asked with deep interest.

“Yes; he meant my Uncle Christian, in the institution in Hamburg. One must just give me up--oh, I’d be so happy if they would! I have so many worries; everything is so hard for me. If I give myself a little cut or bruise anywhere, and make a wound that would heal in a week with anybody else, it takes a month with me. It gets inflamed and infected and makes me all sorts of trouble. Herr Brecht told me lately that all my teeth are in a dreadful condition--not to mention the ones that have been pulled already. If they are like that now, what will they be when I am thirty or forty years old? I am completely discouraged.”

“Oh, come,” Kai said, and struck into a livelier gait. “Now you must tell me something about your playing. I want to write something marvellous--perhaps I’ll begin it to-day, in drawing period. Will you play this afternoon?”

Hanno was silent a moment. A flush came upon his face, and a painful, confused look.

“Yes, I’ll play--I suppose--though I ought not. I ought to practise my sonatas and études and then stop. But I suppose I’ll play; I cannot help it, though it only makes everything worse.”

“Worse?”

Hanno was silent.

“I know what you mean,” said Kai after a bit, and then neither of the lads spoke again.

They were both at the same difficult age. Kai’s face burned, and he cast down his eyes. Hanno looked pale and serious; his eyes had clouded over, and he kept giving sideways glances.

Then the bell rang, and they went up.

The geography period came next, and an important test on the kingdom of Hesse-Nassau. A man with a red beard and brown tail-coat came in. His face was pale, and his hands were very full of pores, but without a single hair. This was “the clever one,” Dr. Mühsam. He suffered from occasional haemorrhages, and always spoke in an ironic tone, because it was his pose to be considered as witty as he was ailing. He possessed a Heine collection, a quantity of papers and objects connected with that cynical and sickly poet. He proceeded to mark the boundaries of Hesse-Nassau on the map that hung on the wall, and then asked, with a melancholy, mocking smile, if the gentlemen would indicate in their books the important features of the country. It was as though he meant to make game of the class and of Hesse-Nassau as well; yet this was an important test, and much dreaded by the entire form.

Hanno Buddenbrook knew next to nothing about Hesse-Nassau. He tried to look on Adolf Todtenhaupt’s book; but Heinrich Heine, who had a penetrating observation despite his suffering, melancholy air, pounced on him at once and said: “Herr Buddenbrook, I am tempted to ask you to close your book, but that I suspect you would be glad to have me do so. Go on with your work.”

The remark contained two witticisms. First, that Dr. Mühsam addressed Hanno as Herr Buddenbrook, and, second, that about the copy-book. Hanno continued to brood over his book, and handed it in almost empty when he went out with Kai.

The difficulties were now over with for the day. The fortunate ones who had come through without marks, had light and easy consciences, and life seemed like play to them as they betook themselves to the large well-lighted room where they might sit and draw under the supervision of Herr Drägemüller. Plaster casts from the antique stood about the room, and there was a great cupboard containing divers pieces of wood and doll-furniture which served as models. Herr Drägemüller was a thick-set man with a full round beard and a smooth, cheap brown wig which stood out in the back of the neck and betrayed itself. He possessed two wigs, one with longer hair, the other with shorter; if he had had his beard cut he would don the shorter wig as well. He was a man with some droll peculiarities of speech. For instance, he called a lead pencil a “lead.” He gave out an oily-alcoholic odour; and it was said of him that he drank petroleum. It always delighted him to have an opportunity to take a class in something besides drawing. On such occasions he would lecture on the policy of Bismarck, accompanying himself with impressive spiral gestures from his nose to his shoulder. Social democracy was his bugbear--he spoke of it with fear and loathing. “We must keep together,” he used to say to refractory pupils, pinching them on the arm. “Social democracy is at the door!” He was possessed by a sort of spasmodic activity: would sit down next a pupil, exhaling a strong spirituous odour, tap him on the forehead with his seal ring, shoot out certain isolated words and phrases like “Perspective! Light and shade! The lead! Social democracy! Stick together!”--and then dash off again.

Kai worked at his new literary project during this period, and Hanno occupied himself with conducting, in fancy, an overture with full orchestra. Then school was over, they fetched down their things, the gate was opened, they were free to pass, and they went home.

Hanno and Kai went the same road together as far as the little red villa, their books under their arms. Young Count Mölln had a good distance farther to go alone before he reached the paternal dwelling. He never wore an overcoat.

The morning’s fog had turned to snow, which came down in great white flocks and rapidly became slush. They parted at the Buddenbrook gate; but when Hanno was half-way up the garden Kai came back to put his arm about his neck. “Don’t give up--better not play!” he said gently. Then his slender, careless figure disappeared in the whirling snow.

Hanno put down his books on the bear’s tray in the corridor and went into the living-room to see his mother. She sat on the sofa reading a book with a yellow paper cover, and looked up as he crossed the room. She gazed at him with her brown, close-set, blue-shadowed eyes; as he stood before her, she took his head in both her hands and kissed him on the brow.

He went upstairs, where Fräulein Clementine had some luncheon ready for him, washed, and ate. When he was done he took out of his desk a packet of little biting Russian cigarettes and began to smoke. He was no stranger to their use by now. Then he sat down at the harmonium and played something from Bach: something very severe and difficult, in fugue form. At length he clasped his hands behind his head and looked out the window at the snow noiselessly tumbling down. Nothing else was to be seen; for there was no longer a charming little garden with a plashing fountain beneath his window. The view was cut off by the grey side-wall of the neighbouring villa.

Dinner was at four o’clock, and Hanno, his mother, and Fräulein Clementine sat down to it. Afterward Hanno saw that there were preparations for music in the salon, and awaited his mother at the piano. They played the Sonata Opus 24 of Beethoven. In the adagio the violin sang like an angel; but Gerda took the instrument from her chin with a dissatisfied air, looked at it in irritation, and said it was not in time. She played no more, but went up to rest.

Hanno remained in the salon. He went to the glass door that led out on the small verandah and looked into the drenched garden. But suddenly he took a step back and jerked the cream-coloured curtains across the door, so that the room lay in a soft yellow twilight. Then he went to the piano. He stood for a while, and his gaze, directed fixed and unseeing upon a distant point, altered slowly, grew blurred and vague and shadowy. He sat down at the instrument and began to improvise.

It was a simple _motif_ which he employed--a mere trifle, an unfinished fragment of melody in one bar and a half. He brought it out first, with unsuspected power, in the bass, as a single voice: indicating it as the source and fount of all that was to come, and announcing it, with a commanding entry, by a burst of trumpets. It was not quite easy to grasp his intention; but when he repeated and harmonized it in the treble, with a timbre like dull silver, it proved to consist essentially of a single resolution, a yearning and painful melting of one tone into another--a short-winded, pitiful invention, which nevertheless gained a strange, mysterious, and significant value precisely by means of the meticulous and solemn precision with which it was defined and produced. And now there began more lively passages, a restless coming and going of syncopated sound, seeking, wandering, torn by shrieks like a soul in unrest and tormented by some knowledge it possesses and cannot conceal, but must repeat in ever different harmonies, questioning, complaining, protesting, demanding, dying away. The syncopation increased, grew more pronounced, driven hither and thither by scampering triplets; the shrieks of fear recurred, they took form and became melody. There was a moment when they dominated, in a mounting, imploring chorus of wind-instruments that conquered the endlessly thronging, welling, wandering, vanishing harmonies, and swelled out in unmistakable simple rhythms--a crushed, childlike, imposing, imploring chorale. This concluded with a sort of ecclesiastical cadence. A _fermate_ followed, a silence. And then, quite softly, in a timbre of dull silver, there came the first _motif_ again, the paltry invention, a figure either tiresome or obscure, a sweet, sentimental dying-away of one tone into another. This was followed by a tremendous uproar, a wild activity, punctuated by notes like fanfares, expressive of violent resolve. What was coming? Then came horns again, sounding the march; there was an assembling, a concentrating, firm, consolidated rhythms; and a new figure began, a bold improvisation, a sort of lively, stormy hunting song. There was no joy in this hunting song; its note was one of defiant despair. Signals sounded through it; yet they were not only signals but cries of fear; while throughout, winding through it all, through all the writhen, bizarre harmonies, came again that mysterious first _motif_, wandering in despair, torturingly sweet. And now began a ceaseless hurry of events whose sense and meaning could not be guessed, a restless flood of sound-adventures, rhythms, harmonies, welling up uncontrolled from the keyboard, as they shaped themselves under Hanno’s labouring fingers. He experienced them, as it were; he did not know them beforehand. He sat a little bent over the keys, with parted lips and deep, far gaze, his brown hair covering his forehead with its soft curls. What was the meaning of what he played? Were these images of fearful difficulties surmounted flames passed through and torrents swum, castles stormed and dragons slain? But always--now like a yelling laugh, now like an ineffably sweet promise--the original _motif_ wound through it all, the pitiful phrase with its notes melting into one another! Now the music seemed to rouse itself to new and gigantic efforts: wild runs in octaves followed, sounding like shrieks; an irresistible mounting, a chromatic upward struggle, a wild relentless longing, abruptly broken by startling, arresting pianissimi which gave a sensation as if the ground were disappearing from beneath one’s feet, or like a sudden abandonment and sinking into a gulf of desire. Once, far off and softly warning, sounded the first chords of the imploring prayer; but the flood of rising cacophonies overwhelmed them with their rolling, streaming, clinging, sinking, and struggling up again, as they fought on toward the end that must come, must come this very moment, at the height of this fearful climax--for the pressure of longing had become intolerable. And it came; it could no longer be kept back--those spasms of yearning could not be prolonged. And it came as though curtains were rent apart, doors sprang open, thorn-hedges parted of themselves, walls of flame sank down. The resolution, the redemption, the complete fulfilment--a chorus of jubilation burst forth, and everything resolved itself in a harmony--and the harmony, in sweet _ritardando_, at once sank into another. It was the _motif_, the _first motif_! And now began a festival, a triumph, an unbounded orgy of this very figure, which now displayed a wealth of dynamic colour which passed through every octave, wept and shivered in tremolo, sang, rejoiced, and sobbed in exultation, triumphantly adorned with all the bursting, tinkling, foaming, purling resources of orchestral pomp. The fanatical worship of this worthless trifle, this scrap of melody, this brief, childish harmonic invention only a bar and a half in length, had about it something stupid and gross, and at the same time something ascetic and religious--something that contained the essence of faith and renunciation. There was a quality of the perverse in the insatiability with which it was produced and revelled in: there was a sort of cynical despair; there was a longing for joy, a yielding to desire, in the way the last drop of sweetness was, as it were, extracted from the melody, till exhaustion, disgust, and satiety supervened. Then, at last; at last, in the weariness after excess, a long, soft arpeggio in the minor trickled through, mounted a tone, resolved itself in the major, and died in mournful lingering away.

Hanno sat still a moment, his chin on his breast, his hands in his lap. Then he got up and closed the instrument. He was very pale, there was no strength in his knees, and his eyes were burning. He went into the next room, stretched himself on the chaise-lounge, and remained for a long time motionless.

Later there was supper, and he played a game of chess with his mother, at which neither side won. But until after midnight he still sat in his room, before his harmonium, and played--played in thought only, for he must make no noise. He did this despite his firm intention to get up the next morning at half-past five, to do some most necessary preparation.

This was one day in the life of little Johann.