BUT one day, the fortnight having passed, he failed to put in an appearance. I was heartily disappointed. I spent the rest of the afternoon fathoms down in the blues—like an opium eater deprived of his daily portion. It was Saturday, and as usual at nightfall the shop filled up and the staff of waiters was kept busy. Toward ten o’clock, long before which hour I had ceased altogether to expect him, the door opened and my friend came in. He squeezed up between a couple of Germans at one of the tables, and sat there smoking and reading an evening paper. I had no opportunity to do more than acknowledge the smile of greeting with which he favored me; and it chanced that the table at which he was established fell under the jurisdiction of another waiter. He consumed cigarette after cigarette and read his paper through to the very advertisements on the last page; and still, while the other guests came and went, he staid on. At the hour for shutting up he had not yet shown any disposition to depart. His attendant carried off his empty glass and hovered uneasily around his chair; but he failed to take the hint. At length the proprietor began to turn out the lights. At this he got up, buttoned his overcoat, waved a farewell at me, and passed beyond the door.

I followed soon after. Turning up Second avenue, I felt a hand laid gently upon my shoulder. “I have been waiting for you,” said my friend. “Which way do you walk?” Without pausing for a reply, “You won’t mind my walking with you?” and he linked his arm in mine.

“I was afraid I had seen the last of you for the day,” I answered. “This is a pleasant surprise, I assure you.”

After a few yards in silence he resumed, “I say—oh, by the way, you have never told me your name?”

“My name is Lexow.”

“What? Lexow?—Well, I say, Lexow, without being indiscreet, I should like to ask how under the sun you ever came to be employed as you are around in Herr Schwartz’s saloon.”

“I don’t understand,” I said.

“Oh come now; yes, you do understand, too,” he rejoined. “Don’t take offense and be dignified—We’re both young men, and there’s no use in trying to mystify each other. You needn’t tell me that you have always been a waiter. You’re too intelligent, too much of a gentleman in every way. I’m not blind; and it doesn’t require especially long spectacles to perceive that you are something different from what you would havens believe. I’ve seen a good deal of the world and I’m not prone to romancing. So I don’t fancy that you’re a king in exile or a Russian nobleman or any thing of that sort. But at the same time I’m sure you’re capable of better things than waiting, and I want to know what the trouble is, so that I can help to set you back on the right track.”

“One confidence deserves another. I have told you my name, tell me yours.”

“My name is Merivale, Daniel.—But don’t change the subject.”

“Well, Mr. Merivale, I will say then, that if any other man had spoken to me as you have just done, I should certainly have been offended. I say this not to reproach you, but to show by the fact that I’m not offended how much I think of you. So you mustn’t take offense either when I add that I should prefer to speak of other things.”

“After that I suppose I ought to consider myself snubbed. But, I sha’n’., notwithstanding. I shall simply take the whole confession for granted. Now, Mr. Mysterious, I will venture to make three allegations of fact about you. Promise to set me right if I am wrong. I assure you I am actuated by disinterested motives. All you will have to do will be to say yes or no. Promise.”

“I can’t pledge myself blindfold. But if the ‘allegations of fact’ are within certain limits, I will satisfy you—although I repeat I would prefer a different subject.”

“Capital! Well, then, for a beginner: You are or were or have at some time hoped to be, an artist of some sort—eh?”

“How did you find that out?”—The query escaped involuntarily. For a moment a dread lest he might have discovered my true identity, darkened my mind: but it was transitory.

“You indorse allegation number one! No matter how I found it out. I don’t really know myself—unless it was by that instinct which kindred spirits have for recognizing one another. But now for allegation number two. Its form shall be negative. You are not a painter, a sculptor, an actor, or a poet.”

“No, neither of them.”

“Brava! I could have sworn to it. Therefore you are a musician. And I will have the hardihood to guess that your instrument is the violin.”

“I confess, Mr. Merivale, that you surprise me. You have divined the truth, but for the life of me, I don’t see how.”

“Why, by the simplest of possible means. If one is only observing and has a knack of putting two and two together, most riddles can easily be undone. After our first interview I said, That fellow is above his station; after our second, That fellow is an artist; after our third, I’ll bet my head he is a musician. I have told you it was partly instinct, that made me set you down for an artist. It was partly the tone of your conversation—your tendency to warm up over matters pertaining to the arts, and to cool down when our talk verged the other way. Then a—a certain ignorance that you betrayed about pictures and books and statuary helped on the process of elimination. I concluded that you were a musician—which conclusion was strengthened by the fact of your being a Jew. Music is the art in which the Jews excel. And one day a chance attitude that you assumed, a twist of the neck, a hitch of the shoulder, cried out Violin! as clearly as if by word of mouth—though no doubt the wish fostered the thought, for I have always had a predilection for violinists. Now I will go further and declare that a chagrin of one kind or another is accountable for your present mode of life. A few years ago I should have said: A woman in the case—disappointment in love—and so forth. Now, having become more worldly, I say: Fear of failure, lack of self-confidence. Answer.”

“Since you are such an adept at clairvoyance, I need not answer. But don’t let this thing become one-sided. You too are an artist, as you have hinted and as I had fancied. And your art is?”

“Guess. I’ll wager you’ll never guess.”

“No; I confess I am at a loss. You seem equally familiar with all the arts. One moment I think you are a painter; the next, a sculptor. I’m sure you’re not a musician. And on the whole it seems most probable that you are in some way connected with literature. I don’t know why.”

“Good! You have hit the nail on the head! In spite of my slangy speech and my worldly wisdom, learn that I aspire to become a poet! the poet of the practical, of the every day, of the passions of modern life. As yet, however, I am, as the French put it, in茅dit. The magazines repudiate me. I am too downright, too careless of euphemism, to suit their dainty pages. But this is aside from the point. The point is that I want to hear you play.”

“Impossible. For me music is a thing of the past. I haven’t touched a violin these two years. I shall never touch one again.

“Bah, bah! Excuse my frankness, but don’t be a child. If you haven’t touched your violin for two years, you have allowed two precious years to leak away. All the more reason for stopping the leak at once. Come in.”

“We had arrived in front of an English-basement house in Seventeenth street.

“Come in,” he repeated. “This is where I live.”

“It is too late,” I said.

“Nonsense,” he retorted. “It is never too late. Advance!”

I followed him into the house.

The room to which he conducted me was precisely the sort of room one would have expected. It was chock-full of odds and ends, piled about in hopeless confusion. The walls were hung with a reddish paper, and freckled with framed and unframed pictures—etchings, engravings, water-colors, charcoals, some suspended correctly by wires from the cornice, others pinned up loosely by their corners. The ceiling was tinted to harmonize with the walls. The floor was carpetless, of hard wood, waxed to a high degree of slipperiness, and relieved by a sporadic rug or two. Bits of porcelain and metal ware, specimens of old Italian carving, Chinese sculptures in ivory, rich tapestries, bronze and plaster reproductions of antique statuary, and books of all sizes and descriptions and in all stages of decay, were scattered hither and thither without a pretense to order. On the whole the effect of the room was pleasant, though it resembled somewhat closely that of a curiosity-shop gone mad. My host informed me that it was Liberty Hall and bade me make myself at home. Producing a flagon of Benedictine, he said laconically, “Drink.”

We drank together in silence. Turning his emptied glass upside down, “Now,” he cried, “now for the music. Now you are going to play.”

“Oh, I thought you had forgotten about that,” I answered.

“‘Tis not among my talents to forget,” he declaimed, theatrically. “You must prepare to limber up your fingers.”

“Really, Mr. Merivale,” I insisted, “you don’t know what you are asking. I should no more think of touching a violin to-night than, than—no need of a comparison. The long and short of the matter is that I have the best of reasons for not wanting to play, and that the most you can urge to the contrary won’t alter my resolution. I hate to seem boorish or disobliging, but really I can’t help it. Besides, my instrument is a mile away and unstrung, and it is so late that the other occupants of this house would be annoyed. And as the subject is extremely painful to me, I wish you would let it drop.”

“Oh, if you are going to treat the matter au grand s茅rieux,” said Merivale, “I suppose I must give in. But you have no idea of how disappointed I shall be. As for an instrument, I’ve a fiddle of my own in the next room—one that I scrape on now and then myself. As for the other occupants of this house, I pay double rent on the condition that my quarters are to be my castle, and that I can create as much rumpus in them, day and night, as I desire. If I were disposed to do so, I could make this a broad proposition of ethics, and maintain that as an artist you have no right to decline to exercise your skill. Your talent is given you in trust—a trust which you violate when you bury the talent in the ground. But I won’t go so far as that. I’ll simply ask you as a favor to play for me, and, if after that you are still obstinate, I’ll hold my peace.”

“Well, I am forced to be obstinate. Now let’s change the subject.”

“I bow my head. Only, perhaps you will make a single concession. As I have said, I am the possessor of a fiddle. It is one I picked up in Rome. I bought it of a seedy Italian nobleman; and he claimed it for a rare one—a Stradivari, in fact. I’m no judge of such things, and most likely was taken in. Will you look at it and give me your opinion?”

“Oh, yes, I have no objection to doing that,”

I said, glad to prove myself not altogether churlish.

“Here it is,” he continued, putting the violin into my hands.

It was a beautiful instrument from an optical standpoint. What remained of the varnish was ruddy and crystalline, and as smooth as amber.

The curves were exquisite. It was also either genuinely old or a marvelous imitation. Its interior was dark and dirty—an excellent condition. I could descry no label there—another favorable sign. Was it indeed a Stradivari? Formerly it had been an ambition of mine to play upon a Stradivari; an ambition which I had never had a chance to gratify, because among the dozen so-called Stradivaris that I had come upon here and there, I had found not one but betrayed its fraudulent origin from the instant the bow was drawn across the strings. Something of the old feeling revived in me as I held this instrument in my hands, and before I had thought, my finger mechanically picked the A string. The clear, bell-like tone that responded, caused me to start. I had never heard such a tone as this produced before by the mere picking of a string.

“I believe you have a treasure here,” I exclaimed. “I’m not connoisseur enough to say whether it is a Stradivari; but whoever its maker was, it’s a superb instrument.”

“Do you really think so?” cried Merivale. “Try it with the bow.”

He thrust the bow upon me. Without allowing myself time to hesitate, I touched the bow to the strings: the result was a voice from heaven, so clear, so broad, so sweet, of such magnetic quality, that it actually frightened me, made my heart palpitate, summoned a myriad dead emotions back to life. And yet I felt an irresistible temptation to continue, to push the experiment at least a trifle further.

“Tune it up,” said Merivale.

I complied. That was the final stroke. After I had drawn the bow for a second time across the cat-gut, there was no resisting. I lost possession of myself: ere I knew it, I was pouring my life out through the wonderful voice of the Stradivari.

I don’t remember what I played. Most probably it was a medley of reminiscences. I only remember that for the first few minutes I suffered the tortures of the damned—an army of devils were tugging at my heart-strings—and withal I had no power to restrain the motion of my arm and lay the violin aside. Then, I remember, the pain gradually turned to pleasure, to an immense sense of relief, as though all the woe pent up in the recesses of my soul had suddenly found an outlet and was gushing forth in a tremendous flood of sound. As I felt it ebbing away, like a poison let loose from my veins, somehow time and space were annihilated, facts were undone, truth changed to falsehood. Veronika and I were alone together in the pure realm of spirit while I told her in the million tempestuous variations of my music the whole story of my sorrow and my adoration. I listened to the music precisely as though it had been played by another person; I heard it grow soft and softer and melt into a scarcely audible whisper; I heard it soar away into mighty, passionate crescendi; I heard it modulate swiftly from prayerful minor to triumphant, defiant major; I heard it laugh like a child, plead like a lover, sob like Mary at the tomb of Christ; I heard it wax wrathful like a God in anger. And I—I was caught up and borne away and tossed from high to low by it like a leaf on the bosom of the ocean. And at last I heard the sharp retort of a breaking string; and I sank into a chair, exhausted.

I think I must have come very near to fainting. When I gathered together my senses and opened my eyes I was weak, nerveless, bewildered. Merivale stood in front of me, his gaze fixed upon my face.

“In God’s name,” I heard him say, “tell me what you are. Such music as you have played upsets all my established notions, undermines my philosophy, forces me back in spite of myself to a belief in witchcraft and magic. Are you a Merlin? Have you indeed the secret of enchantment? It is hardly credible that simple human genius wove that wonderful web of melody—which has at last come to an end, thank heaven! If I had had to listen a moment longer, I should have broken down. The strain was too intense. You have taken me with you through hell and heaven.”

Still weak and nerveless, I could not command my voice.

“You are faint,” he exclaimed. “The effort has tired you out. No wonder: here—drink this.” He held a glass to my lips. I drank its contents. Presently I felt a glow of warmth radiating through my limbs. Then I was able to stir and to speak.

“Through hell and heaven,” I repeated, echoing his words. “Yes, we have been through hell and heaven.”

“It was a frightful experience,” he added, “more than I bargained for when I asked you to play.”

“You must forgive me; I was carried away; I had no intention of harrowing you, but I had not played for so long a time that my emotions got the best of me.”

“Oh, don’t talk like that,” he protested. “It was a frightful experience, but it was one I would not have missed. I had never dreamed that music could work such an effect upon me; but now I can understand the ardor with which musicians love their art; I can understand the claims they make in its behalf. It is indeed the most powerful influence that can be brought to bear upon the feelings. For my part I never was so deeply moved before—not even by Dante. But tell me, how did you acquire your wonderful skill? What must your life have been in order that you should play like that?”

“Of ‘wonderful skill’ I have little enough. Tonight perhaps I played with a certain enthusiasm because I was excited. But you attribute too much to me. A musician would have descried a score of faults. My technique has deserted me; but even when I used to practice regularly, I occupied a very low............