On occasion, Margaret and May Thurston wandered away together in long strolls by the lake shore, or over the hills through the forest. By the circumstances of such companionship,[63] a considerable degree of intimacy13 was soon established between the two girls, which was inexpressibly comforting to the secretary. She would have delighted to tell this new friend of the engagement that existed between herself and the engineer, but she had passed her word not to do so, and it never occurred to her as possible that she should break it. At times, Masters joined the girls in their rambles14, but that avaricious15 gentleman, though eager to press his suit with Margaret could not often bear to absent himself from the scene of operations that had to do with the treasure. So, for the most part, he either joined the group on the porch, or gave himself over to loitering hidden in the woods, at a point a few hundred yards to the south, where a thick screen of undergrowth effectually offered a barrier against observation from the cottage. By such espionage16, he was sure to be instantly advised concerning any discovery of a clue, as it would create excitement among those on the piazza17. He would have preferred to remain constantly among the searchers, but this was patently impossible. Masters was by no means lacking in shrewdness, however great his shortcomings[64] in the way of respect for meum et tuum, and he was both sensitive and sensible enough to know that his company was not especially agreeable to Temple and his friends in their exploration of the house.
It was, in truth, rather curious to note the various opinions held in reference to the engineer by the four men engaged in seeking Abernethey’s treasure. Masters had been introduced to them by May on the morning after their arrival at the cottage, and had shown himself as friendly as possible. But, in accordance with the usual effect he had on men, the impression created by him on each of the four was distinctly unpleasant. Saxe Temple felt an intuitive dislike, which he was at no pains to explain. Billy Walker regarded the engineer with a mingling18 of amusement and disdain19, ill concealed20, and he did not scruple21 afterward22 to describe the visitor as a peculiarly obnoxious23 romantic pirate, with a flamboyant24 veneer25 of the Quartier Latin. But he refused to take the fellow with much seriousness. In this respect, he differed from Roy Morton, who made it a rule to be uniformly suspicious of all things and all persons, and lived up to this rule[65] with finical fidelity26. He immediately characterized the engineer as a completely base and designing person, one of whom all decent and honest men might well beware. He proved his contentions27 quite to his own satisfaction by physiognomy, by phrenology, by chiromancy28, by the sixth sense and by the fourth dimension. David Thwing, who was ordinarily a kindly29 soul, made some small effort to combat the severity of Roy’s strictures, but the philanthropic attempt failed dismally30 of appreciation—which result troubled David not at all, since his heart was not in the task.
Ensued a week of feverish31 activity on the part of Saxe and his friends, in which Billy Walker was as busy as any, although his toil32 was exclusively mental, while his body remained in its customary lethargic33 condition. By day and by night, he devoted34 himself to examination of the problem that confronted his friend, and by day and by night the other three carried out his every suggestion. Unfortunately, however, for Saxe’s hopes of inheritance, their first hurried search of the cottage resulted in naught save weariness and dismay. Of anything in the nature of a clue, they found[66] no least trace.
Billy Walker delivered the final decree in a council held by the four, after dinner on the seventh day. It had so chanced that the friends were alone together in the chief room of the cottage, which was the music-room.
“I’ve addled35 my wits in vain,” Billy Walker confessed, dolefully. “Until there shall have been an accumulation of new intellectual energy on my part, I shall be able to offer you no theory as to the actual hiding-place so ingeniously selected by the late lamented36 Mr. Abernethey—to whose ashes, peace! While I am thus recuperating37, however, you, my children, shall not be idle—oh, by no manner of means. On the contrary, you shall be very busy, indeed, after the method prescribed by inexorable logic38.”
“I’m beginning to think that a little luck just now would help more than a lot of logic,” Saxe declared, gloomily.
“Listen to the oracle39, anyhow,” David Thwing urged, in his always kindly voice. “You see,” he went on whimsically, “Billy is a specialist in thinking: he doesn’t do anything except think. So, we must respect his[67] thinking. Otherwise, we could not respect our friend at all.” David’s big, protruding40 eyes, magnified by the heavy lenses of his eyeglasses, beamed benignantly on his three companions.
“Panegyrics apart,” he resumed, in his roughly rumbling44 tones, “there appears at this time but one course of procedure. To wit: Tomorrow morning, you must start on an exhaustive search of the whole house. Hitherto, you have made only a superficial examination. This has failed miserably45. Now, the scrutiny46 must be made microscopic47.”
There could be no gainsaying48 the utterance49. As the speaker had declared, it was the command of the inevitable50 logic presented by the situation. The hearers gave grumbling51 assent52 to the wisdom of the suggestion—with the exception of Roy Morton, who, curled lazily in the depths of the morris chair, was staring vacantly at the elaborate carving53 of the wainscoting, and smoking an especially fat Egyptian cigarette. Now, he[68] suddenly sat upright, and his gaze was turned on his companions, who had looked up at his abrupt54 movement. Roy’s eyes were hard; his chin was thrust forward, in the fashion characteristic of him when the spirit of combat flared55 high, which, to tell the truth, was rather often. He spoke56 with apparent seriousness, but Thwing, who had been through some adventures of a violent sort in his company, noted57 that a significant excess of amiability58 in his tones, which was always to be heard on critical occasions, was now wanting.
“There’s only one simple and sure way to success,” Roy declared authoritatively59. “We must burgle.”
There were ejaculations of astonishment60 from his curious hearers.
“It’s this way,” he explained blandly61, fixing his steel-blue eyes grimly on the wondering Billy Walker. “We must rifle the lawyer’s safe. Of course, the lawyer whom Abernethey employed has exact instructions as to how to come on the treasure. All we have to do, then, is to break into his office, carrying an oxy-acetylene blow-pipe, cut[69] open the safe, find the secret instructions, copy them off, and afterward duly retrieve62 the gold at our leisure; besides,” he concluded, with great complacency, “I know a first-class safe-blower, to help us on the job. I did him a favor once. He’ll be glad to do me a kindness, in turn.”
A chorus of protests came from Saxe and Billy, to which, at last, with much apparent reluctance63, Roy yielded, and definitely, though sulkily, withdrew his ingenious predatory plan. But David, the while, chuckled64 contentedly65, for he was apt at a jest—and, too, he had known Roy more closely than had the other two.
Since the working schedule had been thus happily determined66 on the side of law and order, the friends gave themselves over to an interval67 of social relaxation68 for the remainder of the evening, during which period, at the suggestion of David, the subject of the treasure was taboo69. Roy, who was fond of music, and had himself once possessed70 no mean measure of skill on the violoncello, now besought71 Saxe to try the piano, for hitherto their whole attention had[70] been given to the business in hand, to the exclusion72 of all else. David, also, who doted on music, though without any technical training, added his entreaties73. Billy Walker, who esteemed74 music about as highly as a cat does water, was complacent75 enough not to protest, which was the utmost that might be expected of him under the circumstances. Saxe went to the piano very willingly, for he was in a mood of nervous tension that craved76 the emotional relaxation of harmony.
Saxe played with a good degree of excellence77 in his technique, although he was far from being such a master of the instrument as had been the dead owner. But the essential charm of the younger man’s interpretation78 lay in the delicate truth of his sympathy. His intelligent sensitiveness seemed, indeed, catholic in its scope. Whether he toyed daintily with a graceful79 appoggiatura from Chopin, or crashed an astonishing dissonance from Strauss, he equally felt and revealed the emotion that had been in the composer’s soul. Hardly had he begun, when Mrs. West entered from the porch, and after her came Margaret. Presently,[71] May made her appearance, with Masters at her side. Only Jake and his wife, in the kitchen, remained unattracted. They had already heard from their late master sufficient music to last them a lifetime. The audience was sympathetic enough to encourage the player, and Saxe remained at the piano for a long time, to the satisfaction of all his hearers—even that of Billy Walker, who was shamelessly dozing80.
Finally, the musician’s attention, during a pause, was attracted to a stack of music, which was lying on top of a cabinet, at the right of the piano. He rose, and, going to it, began glancing over the sheets. His eyes lighted with admiration81 as he noted the various compositions in the collection. In this examination of the music, he realized, as he had not done hitherto, the virtuosity82 of that dead miser who had made him the possible heir to wealth. For here was naught save the most worthy83 in the world of musical art. There was not a single number of the many assembled that was not a masterpiece of its kind. In its entirety, the series presented the very highest forms of musical[72] expression, the supreme84 achievement, both intellectual and emotional, in the art. For the first time, Saxe felt a gust85 of tenderness toward the lonely old man, for the sake of their brotherhood86 in a great love. And, then, at the very bottom of the heap, Saxe came on a single sheet, which drew his particular attention.
The page showed a few measures written in manuscript. This fact alone was sufficient to make the sheet distinctive87 in the collection, inasmuch as it was solitary88 of its sort. Every other composition was from editions by the best publishers. With his newly-aroused interest in Abernethey, it befell that Saxe was pleased thus to come on a composition which, he made sure, must have been from the pen of Abernethey himself. Yet, as he scanned the few bars, the young man experienced a feeling of vivid disappointment, for the work was by no possibility of a kind to compel particular admiration; so, at least, it seemed to him just then. With a sense of disillusionment concerning the quality of the dead miser’s genius, Saxe carried the sheet of music to the piano,[73] where he placed it on the rack, then began to play. As the first chord sounded, May Thurston, seated in a chair near the door, made a movement of surprise. Afterward, as she rested quietly in her place, there lay on her face a look of melancholy89 that was very near dejection.
The music that Saxe played was this:
[Listen]
[74]Thus, Saxe Temple played the few simple phrases, over which the old miser had lingered so long one desolate90 night. But, now, a vast difference appeared in the manner with which the music was sped. Abernethey had rendered the composition with astonishing intensity91 of emotion. He had interpreted the harsh measures with exquisite92, though melancholy, tenderness; he had clanged them forth93 with the spirit of frantic94 appeal, with hot passion in the uncouth95 numbers, with crass96, savage97 abandonment—again, with the superimposing of mighty98 harmonies, vast, massive, dignified99. Now, the genius was gone from the reading. Saxe Temple felt no least degree of sympathy for this crude, unpleasant fragment. On the contrary, the piece affected100 him only disagreeably. To his musical sense, this creation by the miser was peculiarly offensive. Yet, through some subliminal101 channel, the stark102 sequence of the rhythm laid thrall103 on him, so that he ran over the score not once, but many times. Nevertheless, he always set the music forth nakedly, unadorned by any graces of variety in the interpretation,[75] undraped by ingenious Harmonies. He played merely the written notes, played them with precision—reluctantly; and, when finally, he had made an end, he still sat on at the piano, staring toward the written page, as one vaguely104 troubled by a mystery.
It was May Thurston who broke the little interval of silence that followed after the music ended:
“I’ve heard that before, Mr. Temple,” she said; “many, many times.”
Saxe whirled on the piano stool to face the girl.
“Yes,” he said, and there was a note of bewilderment in his voice; “I should imagine so. As it is in manuscript, it was probably composed by Mr. Abernethey himself. But I must say that I’m greatly disappointed in it. I can’t discover any particular merit in it. You know, he left me all his manuscripts. I’ve had no time to look at them, however, as they only arrived the day we left New York. So, I was especially interested in this, to learn something of him, and this teaches me nothing at all concerning him, or, if it does—” He broke off, unwilling[76] to voice his candid105 judgment106 of the manuscript’s merits. He turned to Roy, who lounged in a window seat, smoking the inevitable cigarette. “What did you think of it?” he demanded.
“Perfectly ghastly!” came the sententious answer. “I was wondering what on earth you were up to—and hoping for the best. Yes, ghastly!”
May Thurston laughed, but there was little merriment in her notes.
“That’s exactly what it is—ghastly!” She shuddered107 slightly, and glanced across the room toward Margaret, as if in quest of sympathy. “It is ghastly. It got on my nerves frightfully. Mr. Abernethey was forever playing it, along at the last—and I used to enjoy his playing so, too! I love music, and he was simply wonderful. I’ve heard most of the great players, and it seems to me that he was as good as any of them. His technique was magnificent. He told me once that, since many years, he had had an absolute mastery of the instrument physically108. He had only to think and to feel the spirit of the music. He said that the sympathetic[77] response of his body was wholly automatic.”
“That is the ideal, of course,” Saxe agreed, with a sigh. “I only wish that I had attained109 to it myself! Perhaps, he weakened a bit at the last—when he did this, you know?” He looked at May inquiringly, as he made the suggestion.
But the girl shook her head, resolutely110.
“No!” she said, with an air of finality. “Up to the very day of his death, there was no breaking down of Mr. Abernethey’s mind. Yet, he was always playing that piece at the last. Only, he played it in a thousand ways—never twice alike—and always ghastly!” Again the girl shuddered slightly.
“That’s curious,” Saxe said. He swung about on the piano-stool, and sat staring somberly at the written page.
“Now, I liked that piece,” he declared, genially113. “It’s got some swing to it, some go—yes, rather! Best thing you’ve played, if anybody asks me.”
[78]“Nobody did,” Roy retorted, sourly.
As a matter of fact, Billy Walker, though totally tone-deaf, had been granted a considerable capacity for the enjoyment114 of rhythm. The composition that distressed115 May Thurston by its ghastliness had cheered him with the steady drumming of its chords; the law of compensation works in curious ways.
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1
miser
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| n.守财奴，吝啬鬼 (adj.miserly) | |
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2
isolated
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| adj.与世隔绝的 | |
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dwelling
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| n.住宅，住所，寓所 | |
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varied
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| adj.多样的，多变化的 | |
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bustling
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| adj.喧闹的 | |
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naught
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| n.无，零 [=nought] | |
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7
tranquillity
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| n. 平静, 安静 | |
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8
chronic
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| adj.(疾病)长期未愈的，慢性的；极坏的 | |
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9
exertion
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| n.尽力，努力 | |
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contented
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| adj.满意的，安心的，知足的 | |
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sprawled
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| v.伸开四肢坐[躺]( sprawl的过去式和过去分词)；蔓延；杂乱无序地拓展；四肢伸展坐着（或躺着） | |
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12
commodious
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| adj.宽敞的；使用方便的 | |
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13
intimacy
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| n.熟悉，亲密，密切关系，亲昵的言行 | |
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rambles
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| （无目的地）漫游( ramble的第三人称单数 )； （喻）漫谈； 扯淡； 长篇大论 | |
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15
avaricious
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| adj.贪婪的，贪心的 | |
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16
espionage
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| n.间谍行为，谍报活动 | |
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piazza
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| n.广场；走廊 | |
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18
mingling
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| adj.混合的 | |
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disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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concealed
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| a.隐藏的，隐蔽的 | |
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scruple
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| n./v.顾忌，迟疑 | |
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afterward
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| adv.后来；以后 | |
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obnoxious
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| adj.极恼人的，讨人厌的，可憎的 | |
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24
flamboyant
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| adj.火焰般的，华丽的，炫耀的 | |
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veneer
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| n.(墙上的)饰面，虚饰 | |
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fidelity
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| n.忠诚，忠实；精确 | |
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contentions
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| n.竞争( contention的名词复数 )；争夺；争论；论点 | |
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chiromancy
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| n.手相术 | |
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kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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30
dismally
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| adv.阴暗地，沉闷地 | |
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31
feverish
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| adj.发烧的，狂热的，兴奋的 | |
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32
toil
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| vi.辛劳工作，艰难地行动；n.苦工，难事 | |
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lethargic
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| adj.昏睡的，懒洋洋的 | |
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34
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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addled
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| adj.（头脑）糊涂的，愚蠢的；（指蛋类）变坏v.使糊涂( addle的过去式和过去分词 )；使混乱；使腐臭；使变质 | |
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lamented
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| adj.被哀悼的，令人遗憾的v.（为…）哀悼，痛哭，悲伤( lament的过去式和过去分词 ) | |
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37
recuperating
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| v.恢复（健康、体力等），复原( recuperate的现在分词 ) | |
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38
logic
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| n.逻辑(学)；逻辑性 | |
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oracle
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| n.神谕，神谕处，预言 | |
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protruding
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| v.（使某物）伸出，（使某物）突出( protrude的现在分词 )；凸 | |
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41
dubiously
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| adv.可疑地，怀疑地 | |
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42
lauded
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| v.称赞，赞美( laud的过去式和过去分词 ) | |
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43
grunted
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| （猪等）作呼噜声( grunt的过去式和过去分词 )； （指人）发出类似的哼声； 咕哝着说 | |
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44
rumbling
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| n. 隆隆声, 辘辘声 adj. 隆隆响的 动词rumble的现在分词 | |
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45
miserably
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| adv.痛苦地；悲惨地；糟糕地；极度地 | |
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46
scrutiny
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| n.详细检查，仔细观察 | |
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47
microscopic
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| adj.微小的，细微的，极小的，显微的 | |
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48
gainsaying
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| v.否认，反驳( gainsay的现在分词 ) | |
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49
utterance
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| n.用言语表达，话语，言语 | |
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50
inevitable
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| adj.不可避免的，必然发生的 | |
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51
grumbling
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| adj. 喃喃鸣不平的, 出怨言的 | |
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52
assent
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| v.批准，认可；n.批准，认可 | |
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53
carving
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| n.雕刻品，雕花 | |
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54
abrupt
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| adj.突然的，意外的；唐突的，鲁莽的 | |
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55
Flared
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| adj. 端部张开的, 爆发的, 加宽的, 漏斗式的 动词flare的过去式和过去分词 | |
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56
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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57
noted
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| adj.著名的，知名的 | |
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58
amiability
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| n.和蔼可亲的，亲切的，友善的 | |
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59
authoritatively
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| 命令式地，有权威地，可信地 | |
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60
astonishment
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| n.惊奇，惊异 | |
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61
blandly
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| adv.温和地，殷勤地 | |
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62
retrieve
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| vt.重新得到，收回；挽回，补救；检索 | |
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63
reluctance
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| n.厌恶，讨厌，勉强，不情愿 | |
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64
chuckled
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| 轻声地笑( chuckle的过去式和过去分词 ) | |
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65
contentedly
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| adv.心满意足地 | |
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determined
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| adj.坚定的；有决心的 | |
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67
interval
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| n.间隔，间距；幕间休息，中场休息 | |
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68
relaxation
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| n.松弛，放松；休息；消遣；娱乐 | |
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69
taboo
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| n.禁忌，禁止接近，禁止使用；adj.禁忌的；v.禁忌，禁制，禁止 | |
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70
possessed
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| adj.疯狂的；拥有的，占有的 | |
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71
besought
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| v.恳求，乞求（某事物）( beseech的过去式和过去分词 )；(beseech的过去式与过去分词) | |
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exclusion
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| n.拒绝，排除，排斥，远足，远途旅行 | |
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entreaties
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| n.恳求，乞求( entreaty的名词复数 ) | |
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esteemed
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| adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 )；敬重；认为；以为 | |
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complacent
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| adj.自满的；自鸣得意的 | |
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craved
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| 渴望，热望( crave的过去式 )； 恳求，请求 | |
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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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interpretation
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| n.解释，说明，描述；艺术处理 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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80
dozing
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| v.打瞌睡,假寐 n.瞌睡 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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82
virtuosity
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| n.精湛技巧 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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gust
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| n.阵风，突然一阵（雨、烟等），（感情的）迸发 | |
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brotherhood
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| n.兄弟般的关系，手中情谊 | |
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distinctive
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| adj.特别的，有特色的，与众不同的 | |
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solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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desolate
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| adj.荒凉的，荒芜的；孤独的，凄凉的；v.使荒芜，使孤寂 | |
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intensity
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| n.强烈，剧烈；强度；烈度 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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forth
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| adv.向前；向外，往外 | |
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frantic
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| adj.狂乱的，错乱的，激昂的 | |
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uncouth
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| adj.无教养的，粗鲁的 | |
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crass
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| adj.愚钝的，粗糙的；彻底的 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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mighty
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| adj.强有力的；巨大的 | |
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dignified
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| a.可敬的，高贵的 | |
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affected
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| adj.不自然的，假装的 | |
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subliminal
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| adj.下意识的，潜意识的；太弱或太快以至于难以觉察的 | |
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102
stark
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| adj.荒凉的；严酷的；完全的；adv.完全地 | |
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103
thrall
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| n.奴隶；奴隶制 | |
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vaguely
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| adv.含糊地，暖昧地 | |
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candid
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| adj.公正的，正直的；坦率的 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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107
shuddered
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| v.战栗( shudder的过去式和过去分词 )；发抖；（机器、车辆等）突然震动；颤动 | |
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physically
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| adj.物质上，体格上，身体上，按自然规律 | |
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109
attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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resolutely
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| adj.坚决地，果断地 | |
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111
erect
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| n./v.树立，建立，使竖立；adj.直立的，垂直的 | |
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112
brazenly
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| adv.厚颜无耻地；厚脸皮地肆无忌惮地 | |
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113
genially
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| adv.亲切地，和蔼地；快活地 | |
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114
enjoyment
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| n.乐趣；享有；享用 | |
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115
distressed
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| 痛苦的 | |
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