There came another development in the[178] evening, when the four friends were smoking and chatting, as was their custom after the ladies had retired8 for the night. They were in the music-room with Saxe at the piano, where he had been playing from time to time. Now, however, he had ceased, and rested motionless, with his eyes fixed9 on the sheet of manuscript left by Abernethey, in a wearisome wondering as to the message that might lie concealed10 within that bare presentment of the song of gold—as he had come to call the composition. Billy Walker had steadfastly11 maintained his belief that the clue to the treasure was hidden there, and Saxe was impressed by the idea, although his reason declared it folly12.
Presently, Billy aroused himself from the luxury of the morris chair, where he had been communing with an especially black cigar, heaved himself erect13 with a groan14, and crossed the room to the piano. He stood for a little while in silence, staring down at the written page on the rack.
“What’s that?” he demanded. He pointed15 to the three measures that stood alone at the head of the sheet.
[179]
[Listen]
The phrase to which Billy Walker pointed was scrawled17 in a fashion that was rather slovenly18 as compared with the remainder of the manuscript. Hitherto, in spite of the many times he had studied the manuscript, Saxe had given small heed19 to this fragment[180] of writing, which preceded the song of gold. Now, however, at his friend’s instigation, he examined it with scrupulous20 care before he spoke21. Then, he shook his head in discouragement, as he struck the notes on the keyboard.
“It doesn’t mean anything, Billy,” he declared.
“But what’s it there for, if it doesn’t mean anything?” the other persisted.
“Why,” Saxe answered, “I suppose it’s simply that the old man had some sort of an idea, and jotted22 down a note concerning it. You see, it’s at the top of the page. He did nothing more with it. Afterward, he used the same sheet to write the gold song on. He was a miser23, you know.”
“Yes, I know,” Billy conceded. “All the same, I think, in this instance, he would have been comparatively extravagant24. I still believe that the bit there has some significance.”
Saxe shook his head emphatically.
[181]For a long minute the two were silent, regarding the manuscript intently, with knit brows. Then, of a sudden, Billy’s rough voice boomed forth26 a question:
“Aren’t there letters on a staff of music? What are the letters there?”
“Much good may they do you!” he said; and his tone was sarcastic28. “The letters are, B, E, D, A, C. Might be a word in Magyar, for all I know. It isn’t from any language more common, I fancy.”
Billy snorted indignantly.
“It’s not altogether impossible that it should be a word from some language or other,” he answered, stoutly29. “But we’ll investigate it more closely on an English basis first. Now, what—exactly—does that Italian word mean, there over the music. And what’s it doing there, anyhow?”
“It’s a word to guide the player in his interpretation,” he replied. “It means that this particular phrase should be played with[182] great slowness.”
Billy pondered this statement for a time, then vented32 a lusty sigh of disappointment. Presently, however, his expression took on animation again, for curiosity had hit on a new point of interest.
“They, too, mean nothing—absolutely nothing!” he exclaimed. “They’re in the same class as ‘Bedac’.”
“According to my theory concerning this affair,” Billy asserted with an air of dogmatism, “you are wrong in thus dismissing, one after another, the possibilities of the situation. Now, we have before us a manuscript, which is undoubtedly35 the work of the man who left this gold to you, if you could find it. He explicitly36 stated in his communication to you that the clue to the hiding-place was clear enough. You might infer, since the money was left you in this fashion, that the clue would be of a musical sort. He was a musician. Music was his one specialty37. It is also your own specialty. It is, then, the[183] most natural thing in the world to suppose that, in one way or another, music would play a chief part in this matter. Following the sequence of facts, we come next to one that follows logically in the line of argument. For we come upon a piece of music, which is in manuscript. It is actually, we are convinced, a piece composed by the late Mr. Abernethey. We have ascertained38 from his secretary that it is written in his own handwriting. Finally, we are sure that it is the only thing coming directly from him that there is in the house, which offers by its individuality a possibility of having a cryptic39 meaning of the sort required by us in the prosecution40 of the search.
“I repeat my firm belief that in this page of music lies the clue to the late Mr. Abernethey’s secret. If I am right, then any single character on this sheet may be of vital importance. You sneer41 at ‘Bedac,’ which at first glance seems gibberish, and nothing more. There remains42 the possibility, nevertheless, that it may have a meaning of prime importance to you. A fortune may depend on your learning the meaning of that word.[184] Don’t dismiss it after just one glance. Don’t sneer at it—and those two vertical lines! You say, they are void of purport44. The fact is that they don’t belong there—from your musical standpoint. Well, they’re there, notwithstanding. The late Mr. Abernethey put them there. Perhaps they stood for something to him, in spite of the fact that they don’t to you. Anyhow, don’t sneer at them—yet. Wait, at least, until you’ve really studied them. As far as our present knowledge goes, this paper must hold the clue. I tell you, it’s worth working on—hard!”
The harsh, sonorous46 voice in this long harangue47 had soon cut short the desultory48 chat between Roy and David, who had listened almost from the beginning with attention, while smiling a little at the earnestness of the speaker in pursuing his argument.
“Well, Billy,” David remarked, “you’re the one to work out the problem on logical lines. You’ve told the rest of us often enough that we can’t reason.” The other two nodded assent49, smiling cheerfully on the[185] nonplussed50 oracle51.
“I’m horribly handicapped by my ignorance of music,” he confessed, wryly52. Then, his rough features settled into lines of resolve, and his voice fairly roared in the echoing room: “But, by the Lord! I’ll do it—I’ll work that thing out, if I have to learn music first!”
There came a shout of laughter from the three; the vision of Billy Walker thus engaged was too ludicrous! Notwithstanding their merriment, there came no relaxation53 of the set purpose in the speaker’s face. It was evident that he was wholly sincere in his announcement. Indeed, no sooner had the mirth exhausted54 itself than he craved55 a first lesson.
“Tell me about the letters that are on the staff,” he besought56 Saxe, who good-naturedly complied, with a smile still on his lips.
“Then, that’s all the letters there are in musical notation57,” Billy exclaimed, when the instructor58 paused. There was distinct disappointment in his voice. “Only, A, B, C, D, E, F, G. That’s bad. Yet there are two[186] vowels60, A and E, and E is the most important vowel59.” He fell silent, standing45 moveless before the piano, with his gaze fixed on the manuscript in a brown study. “Bedac!” he muttered, after a little; and Saxe, hearing, smiled again. “And those vertical lines!” he mused61 aloud. Saxe kindly62 volunteered some information as to the purpose served by bars to separate the measures. When he ceased, Billy propounded63 a question, which was an affirmation: “Then, there is a measure with nothing in it?”
“Oh, in a way!” Saxe replied. “Only, this isn’t really a measure. It’s merely a mistake the old man happened to make—that’s all.”
“Why isn’t it a measure?” came the crisp demand.
“Because, if it were really meant for a measure, it would contain something, either notes or rests, or both.”
“You may thank your lucky stars I’m not a musician,” Billy declared, and he snorted loudly in contempt. “You’re hide-bound, so to speak, by the technique of your art. Thank heaven, I have an open mind. Because the thing is different, you assert that[187] it can’t possibly have any meaning. For my part, on the contrary, the fact that it’s different is just why I suspect it to be of importance. I give the late Mr. Abernethey credit for some cleverness. Also, I deem him to have been capable of a bit of originality65. The manner of his will suggests that possibility, at least. If he amused himself by evolving a musical cipher66, I’ll warrant he didn’t construct a mere64 tonic67 sol-fa—whatever that may be—which any piano-banger could sing at sight to this tune43 here. I’ve always thought that much knowledge of technique was deadening. Now, I know it. The critic knows technique perfectly68; the genius never does. Here, I’ll take it. You’ll do no good, muddling69 over it!” With this pronouncement, Billy Walker rudely leaned forward, and snatched the sheet of music from the rack, and stalked away with it to the morris chair, leaving Saxe well content with such ending of the inquisition.
It was a half-hour later. Saxe had joined Roy and David, and the three were talking pleasantly of many things as they smoked. Throughout the whole time, Billy had[188] remained huddled70 in the easy chair, his cigar, unlighted, clenched71 firmly between his teeth, his fierce, shaggy brows drawn72 down, his little, dull eyes set steadfastly on the sheet of music, which lay on his knees. Occasionally, there sounded an unintelligible73 mumbling74 from his lips, or a raucous75 grunt76 of dissatisfaction. Then, with disconcerting abruptness77, the scholar lifted his head, ran his hands roughly through the bristling78, unkempt thatch79 of hair, and exploded into Gargantuan80 laughter.
The three regarded him in perplexity, smiling a little under the contagion81 of his merriment. He gave no heed to their questions for a full minute, but continued his rollicking mirth.
“Well, I’ve made the first step toward the treasure,” he announced, at last. The rolling volume of his voice was more thunderous even than its wont82.
Came a chorus of ejaculations and questions from the others, as they sprang to their feet, and crowded about him.
Billy waved his hand imperiously for silence.
[189]“But it’s only the first step, remember!” he warned. “The first step! And, incidentally, it proves that I was right about the value of this document.” He flourished the music aloft, in a gesture of triumph.
“Tell us! Tell us!” was the cry.
Billy regarded his friends quizzically.
“It’s only the first step that I have taken, remember,” he admonished83. “But, as Saint Augustine said, it’s the first step that counts. The miser’s gold is somewhere at the bottom of the lake.”
There followed an interval84 of astounded85 silence. It was broken by Roy with an exclamation86 of bewilderment:
“But—” he began. Then, he halted in confusion. He had been on the point of saying something concerning the secret vault87 in the music-room, and had checked himself only just in time. The others, however, had given no attention to his utterance88, and he sighed with relief. It had flashed on him that his own knowledge in a way corroborated89 the statement by Billy, inasmuch as he found the vault empty.
“How? How?” Saxe was clamoring;[190] David added his insistence90.
“It was simplicity itself,” he assured them. “It was only necessary for me to learn music, and the matter soon became clear.” Saxe and the others fairly gaped92 at the na?ve assumption on the part of their friend that, in five minutes, he had mastered the art, but they did not care to question his complacency just then. “Being unhampered by over-much technique,” the oracle continued, with buoyant self-satisfaction, “I was able to investigate with an open mind, examining all the facts.” He paused to grin exultantly93 on the expectant trio, and then resumed his explanation:
“I had before me two determined94 facts, which gave no information in themselves, but required perhaps only the addition of other facts to become significant. Now, observe this lone16 bit of music at the head of the page.” He held up the sheet, so that the others could note the phrase at the top.
[191]“The first fact of which I was possessed,” Billy went on, “thanks to the tuition in music afforded me by Saxe, was this: that the letters of the fragment are, B, E, D, A, C, in such order. At the outset of my logical examination, I attempted variations in this order, as offering the simplest solution of the puzzle. After some experimenting, I became convinced that the secret was not concealed in a changed sequence of the letters. Next, then, I set myself to a consideration of the second fact. This consisted in the knowledge that the bit of music contained a measure that was not a measure. That is to say, there was the marking of a measure by two vertical lines, but nothing in that measure, neither notes nor rests. This impressed me as of importance in all probability. The same fact that led Saxe to disregard it, led me to scrutinize95 it with particularity.” Again, Billy paused, to allow his hearers a moment in which to meditate96 on the shrewdness of his reasoning. When he went on speaking, his voice carried a note of increased contentment:
“Above this measure that is no measure,[192] this measure that is empty, I perceived a pointer, of a size sufficient even to have attracted the notice of my friend here, hide-bound in technique as he is—but it did not. The pointer directed attention straight to a letter—a letter placed exactly over the measure that isn’t a measure because it’s empty. That letter thus pointed out is L. It fitted very well into the blank place with the other letters. So, where before we had only, B, E, D, A, C, we now have, B, E, D, L, A, C.” Billy ceased speaking, and surveyed the others happily.
“Well, why don’t you go on?” David demanded, impatiently.
Billy regarded the questioner in genuine astonishment, tinged97 with contempt. His gaze darted98 to the other two, and, on realizing that they, as well, were still uncomprehending, he groaned99.
“Non-rationalizing nincompoops!” was his candid100 murmur101 of reprobation102. “Oh, well, I shall explain, if it be possible to your understanding,” he said gently, with an assumption of infinite patience. “As you musical sharps are aware, the musical notation comprises only[193] seven letters, namely——”
“Oh, never mind that!” Saxe cried. “We know!”
“Pardon me,” was the retort. “You only know it as a matter of technical knowledge, not as a fact from which to reason. The point is that there’s no K in the musical scale.”
“Well?” The monosyllable snapped from Roy. His face was set intently, the chin a little forward, the eyes hard.
“The thing is simply this,” Billy answered, beaming. “The late Mr. Abernethey, on account of the lack of the letter K in the musical notation, was compelled to resort to an expedient103. He could not indicate the word ‘Lake’ on his cipher, since he was without either L or K. He evaded104 the difficulty by employing the initial letter from a word of direction, Largo105, which provided the necessary L, and he got around the lack of the letter K by using the French word for Lake—lac. This fragment at the head of the sheet spells for us, ‘Bedlac’.” He pointed to the phrase again, as he concluded.
“So, we have only to do a bit of translating[194] from the French lac into the English lake, and then to amplify106 by supplying the obvious preposition and article, and the writing declares clearly: ‘The Bed of the Lake.’ It now remains for us to study this page until we learn just where under the water of the lake out there the gold is lying. Somewhere, somehow, this music tells!”
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1
astonishment
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| n.惊奇，惊异 | |
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2
protracted
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| adj.拖延的；延长的v.拖延“protract”的过去式和过去分词 | |
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3
afterward
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| adv.后来；以后 | |
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4
realization
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| n.实现；认识到，深刻了解 | |
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5
heinousness
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animation
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| n.活泼，兴奋，卡通片／动画片的制作 | |
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7
encumbered
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| v.妨碍，阻碍，拖累( encumber的过去式和过去分词 ) | |
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8
retired
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| adj.隐退的，退休的，退役的 | |
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9
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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10
concealed
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| a.隐藏的，隐蔽的 | |
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11
steadfastly
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| adv.踏实地，不变地；岿然；坚定不渝 | |
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12
folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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13
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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14
groan
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| vi./n.呻吟，抱怨；(发出)呻吟般的声音 | |
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15
pointed
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| adj.尖的，直截了当的 | |
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16
lone
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| adj.孤寂的，单独的；唯一的 | |
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17
scrawled
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| 乱涂，潦草地写( scrawl的过去式和过去分词 ) | |
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18
slovenly
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| adj.懒散的，不整齐的，邋遢的 | |
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19
heed
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| v.注意，留意；n.注意，留心 | |
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20
scrupulous
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| adj.审慎的，小心翼翼的，完全的，纯粹的 | |
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21
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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22
jotted
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| v.匆忙记下( jot的过去式和过去分词 )；草草记下，匆匆记下 | |
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23
miser
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| n.守财奴，吝啬鬼 (adj.miserly) | |
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24
extravagant
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| adj.奢侈的；过分的；(言行等)放肆的 | |
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drearily
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| 沉寂地，厌倦地，可怕地 | |
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26
forth
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| adv.向前；向外，往外 | |
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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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28
sarcastic
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| adj.讥讽的，讽刺的，嘲弄的 | |
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stoutly
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| adv.牢固地，粗壮的 | |
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outright
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| adv.坦率地；彻底地；立即；adj.无疑的；彻底的 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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vented
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| 表达，发泄（感情，尤指愤怒）( vent的过去式和过去分词 ) | |
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33
vertical
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| adj.垂直的，顶点的，纵向的；n.垂直物，垂直的位置 | |
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34
shrugged
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| vt.耸肩（shrug的过去式与过去分词形式） | |
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undoubtedly
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| adv.确实地，无疑地 | |
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explicitly
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| ad.明确地，显然地 | |
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specialty
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| n.(speciality)特性，特质；专业，专长 | |
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ascertained
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| v.弄清，确定，查明( ascertain的过去式和过去分词 ) | |
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cryptic
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| adj.秘密的，神秘的，含义模糊的 | |
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40
prosecution
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| n.起诉，告发，检举，执行，经营 | |
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41
sneer
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| v.轻蔑；嘲笑；n.嘲笑，讥讽的言语 | |
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42
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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43
tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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44
purport
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| n.意义，要旨，大要；v.意味著，做为...要旨，要领是... | |
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45
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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46
sonorous
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| adj.响亮的，回响的；adv.圆润低沉地；感人地；n.感人，堂皇 | |
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47
harangue
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| n.慷慨冗长的训话，言辞激烈的讲话 | |
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48
desultory
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| adj.散漫的，无方法的 | |
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49
assent
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| v.批准，认可；n.批准，认可 | |
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50
nonplussed
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| adj.不知所措的，陷于窘境的v.使迷惑( nonplus的过去式和过去分词 ) | |
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51
oracle
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| n.神谕，神谕处，预言 | |
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52
wryly
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| adv. 挖苦地，嘲弄地 | |
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53
relaxation
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| n.松弛，放松；休息；消遣；娱乐 | |
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54
exhausted
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| adj.极其疲惫的，精疲力尽的 | |
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55
craved
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| 渴望，热望( crave的过去式 )； 恳求，请求 | |
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56
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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57
notation
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| n.记号法，表示法，注释；[计算机]记法 | |
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58
instructor
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| n.指导者，教员，教练 | |
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59
vowel
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| n.元音；元音字母 | |
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60
vowels
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| n.元音，元音字母( vowel的名词复数 ) | |
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61
mused
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| v.沉思，冥想( muse的过去式和过去分词 )；沉思自语说（某事） | |
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62
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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63
propounded
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| v.提出（问题、计划等）供考虑[讨论]，提议( propound的过去式和过去分词 ) | |
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64
mere
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| adj.纯粹的；仅仅，只不过 | |
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65
originality
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| n.创造力，独创性；新颖 | |
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66
cipher
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| n.零；无影响力的人；密码 | |
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tonic
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| n./adj.滋补品，补药，强身的，健体的 | |
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68
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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69
muddling
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| v.弄乱，弄糟( muddle的现在分词 )；使糊涂；对付，混日子 | |
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70
huddled
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| 挤在一起（huddle的过去式与过去分词形式） | |
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71
clenched
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| v.紧握，抓紧，咬紧( clench的过去式和过去分词 ) | |
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72
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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73
unintelligible
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| adj.无法了解的，难解的，莫明其妙的 | |
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74
mumbling
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| 含糊地说某事，叽咕，咕哝( mumble的现在分词 ) | |
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75
raucous
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| adj.(声音)沙哑的，粗糙的 | |
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76
grunt
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| v.嘟哝；作呼噜声；n.呼噜声，嘟哝 | |
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77
abruptness
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| n. 突然，唐突 | |
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78
bristling
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| a.竖立的 | |
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79
thatch
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| vt.用茅草覆盖…的顶部；n.茅草(屋) | |
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80
gargantuan
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| adj.巨大的，庞大的 | |
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81
contagion
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| n.(通过接触的疾病)传染；蔓延 | |
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82
wont
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| adj.习惯于；v.习惯；n.习惯 | |
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83
admonished
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| v.劝告( admonish的过去式和过去分词 )；训诫；（温和地）责备；轻责 | |
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84
interval
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| n.间隔，间距；幕间休息，中场休息 | |
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85
astounded
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| v.使震惊(astound的过去式和过去分词)；愕然；愕；惊讶 | |
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86
exclamation
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| n.感叹号，惊呼，惊叹词 | |
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87
vault
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| n.拱形圆顶，地窖，地下室 | |
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88
utterance
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| n.用言语表达，话语，言语 | |
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89
corroborated
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| v.证实，支持（某种说法、信仰、理论等）( corroborate的过去式 ) | |
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90
insistence
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| n.坚持；强调；坚决主张 | |
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91
preened
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| v.（鸟）用嘴整理（羽毛）( preen的过去式和过去分词 ) | |
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92
gaped
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| v.目瞪口呆地凝视( gape的过去式和过去分词 )；张开，张大 | |
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93
exultantly
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| adv.狂欢地，欢欣鼓舞地 | |
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determined
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| adj.坚定的；有决心的 | |
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95
scrutinize
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| n.详细检查，细读 | |
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96
meditate
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| v.想，考虑，（尤指宗教上的）沉思，冥想 | |
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97
tinged
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| v.（使）发丁丁声( ting的过去式和过去分词 ) | |
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98
darted
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| v.投掷，投射( dart的过去式和过去分词 )；向前冲，飞奔 | |
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99
groaned
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| v.呻吟( groan的过去式和过去分词 )；发牢骚；抱怨；受苦 | |
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100
candid
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| adj.公正的，正直的；坦率的 | |
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101
murmur
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| n.低语，低声的怨言；v.低语，低声而言 | |
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102
reprobation
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| n.斥责 | |
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103
expedient
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| adj.有用的，有利的；n.紧急的办法，权宜之计 | |
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104
evaded
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| 逃避( evade的过去式和过去分词 )； 避开； 回避； 想不出 | |
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105
largo
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| n.广板乐章；adj.缓慢的，宽广的；adv.缓慢地，宽广地 | |
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106
amplify
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| vt.放大，增强；详述，详加解说 | |
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