Uncle Hubi ventured to ask casually one evening, “Wouldn’t it be easier if he just moved right in?” Predictably, he was supported by Aunt Sophie, though a bit absentmindedly and mechanically: “Well, that’s quite true, it would be simpler. Why, Hubi’s absolutely correct!” And we all stood and waited to see Aunt Sophie placing her arm around Wolf Goldmann’s frail shoulders and leading him into the dining room, while we, lowering our heads under the stag antlers along the walls, followed the woman and the boy, intensely aware of the symbolism and its justified ludicrousness.
Stiassny, of course, was in his element. His colorless eyes watched Geib pushing the chair under Aunt Sophie and promptly coming over to show me the same attention. Then, while serving, Geib saw to it that Aunt Sophie did not fill the plate for Wolf, who was sitting next to her—“I’ll serve him myself; it’s easier!”—which would have left me waiting at the lower end of the table. Instead, Geib made sure to serve all the others, and myself, with special care and a discreet nod to the juiciest piece, until it was finally the “little Jew” ’s turn. Stiassny’s beautiful lips then parted in his most ashen smile: “May I offer my congratulations. The loyal vassals have not all defected as yet. The ferment of decomposition has not yet eaten its way through.” He laughed, and Uncle Hubi shushed him, blurting out, “Stiassny, I find that rather distasteful!”
The old intimacy of kinfolk between Uncle Hubi and myself now grew into a friendship — the lucid and autumnally rich friendship of a boy and an old man, the kind that is cleansed of the passions between people of the same age and entirely given to perceptive kindness and unconditional trust. He took me on outings — inspections in the brewery and the nurseries — and the invitations were ostentatiously proffered whenever Aunt Sophie commented that it was our duty to do everything in our power to enable a genius like young Goldmann to have the best possible training. She declared that she agreed completely with his father, Dr. Goldmann, that it would be a crime to put the boy wonder, who was ready to perform, before an audience now; they should do all they could to foster his personal maturation as well as the development of his virtuoso abilities. To be sure, she did not go so far as to make contact with Dr. Goldmann himself, but used Stiassny to inform the father of her views, aims, and decisions regarding young Goldmann.
Aunt Sophie’s designs for educating a genius, which were occasionally communicated to us, too, with poignant eagerness, would prompt Uncle Hubi to turn to me pointedly and ask, “Are you coming out to the farm with me? I have to check something about the sheep. I think they’re driving them regularly into the new preserve by the river.” And then, quite uncharacteristically, he would address Aunt Sophie tangentially, so to speak, as she sat at the breakfast table, wrapped in thought and spreading honey on her roll. “I don’t think we’ll be back for lunch,” he said. “We’ll eat out with the steward. Stiassny will most likely say that we need have no illusions about the gap that we’ll be leaving—nicht wahr, Stiassny?”
I loved riding out to the farm, and not only because it was conducive to my training as Count Sàndor’s emulator. I would listen attentively to all of Uncle Hubi’s tips and pointers, which he would illustrate by anecdotes; having spent his life on horseback, and being an old cavalry officer, he had made riding an ideology, the metaphor of a way of life, and despite his pyknic constitution, he was an excellent horseman. But beyond all this, I was very satisfied when I said to myself that the sight of the two of us riding through the village must have made an impact on the street urchins, the boys who had been about to humiliate me when Haller, the blacksmith, saved me from them as from a swarm of flies. Now they had to be convinced of the power behind me, which someday I myself would represent and embody.
For it was more and more obvious that Uncle Hubi intended to make me his successor. He began systematically to integrate me into the circle of his chores, duties, and activities. And, needless to say, it was once again Stiassny who could not help putting this situation into words.
“I have recently seen a little color in one’s cheeks, which has caused me some worry about one’s honorable state of health,” he said. “Could this possibly come from one’s now growing seriously into one’s role of heir apparent? I mean, it appears no longer as a fiction, as a carefully considered possibility and hallucination, but instead has finally found the concrete relationship of function. One is learning one’s future métier, nicht wahr? One is being confirmed in one’s task, albeit for the moment only by holding the horses of one’s predecessor in the chain of inherited duties, and whisking away the flies from those selfsame horses with a leafy twig, while Herr Uncle has his hours of chitchat with the steward about the situation and how to improve it. But still and all, one is present, one does listen, one is initiated and instructed. Why, that must strengthen one’s self-esteem, mustn’t it? Or am I mistaken? But then who am I to know of such matters? Still, the groom will one day be a cavalier and landowner, just as the squire becomes a full-fledged knight. Perhaps one no longer feels so utterly rejected and excluded from the loftier status that attaches our honorable hostess to young Goldmann. One is strengthened by the notion of becoming something definite, however different from and less spectacular than what one’s more gifted friend is through his piano-playing. One must admit, of course, that what he is doing is quite extraordinary. But this very perfection, nicht wahr, this ruthless perfection that mercilessly excludes and degrades whatever is not equally consummate, making anything of middle rank a blasphemy — this very perfection has something cold and hard-hearted about it, something relentlessly and repulsively self-righteous. People talk so much about the demonic nature of the artist — yet that which strikes us as demonic is nothing else than this repulsiveness, the unconditional and absolute, together with the profound attraction exerted upon us by perfection. If I am expressing myself not altogether intelligibly (after all, as we know, I am considered a muddled orator in this house): that which one is to become and perhaps is already becoming, thanks to our Herr Uncle’s kindhearted intention, namely a good, solid husbandman, is certainly not of the same rank as an artist; but, by way of compensation, it is more human, more outgoing, more universal. One becomes something that previous generations have been — nothing out of the ordinary, to be sure, but with a self-conception and a self-confidence that are painfully lacking in the artist. Whereas one need only be what one is, upright and modest, he, the artist, is committed to self-realization at every instant. He must act in order to be what he is, and by thus acting he challenges and tests himself anew, risking his existence. His life is an incessant gamble — and most especially when, as one’s Frau Aunt maintains, he is a budding genius, an extraordinary individual; but, alas, he is these things in a wild isolation, which makes him an outsider to society. In contrast, it must be very agreeable — nay, downright inspiring — to know that one is unproblematically one of many similar beings in a safe, tried-and-true species, in the simple, unimpeachable existence of a farmer and — with a correspondingly venerable and traditional prosperity — an aristocrat.”
These words sounded comforting and eased my mind, since it was beyond me to figure out the provocation that Stiassny, with his wonted perfidy, must have inserted. For a while, I more calmly accepted Wolf Goldmann’s greater claim to my aunt’s attention and — I had reason to fear — affection. I forced myself to act toward him with that chivalrous generosity which guards the aristocrat against the ignominy of being resented; and I acted as though our friendship were not the least bit changed or even strained. Once, when I asked him to interrupt his morning practice briefly to come and see a nest of young owlets in the hayloft above the stables, he snapped: “Go tell your grandmother about your stupid owlets!” But when, with unassailable aristocratic equanimity, I rejoined that he had not practiced around the clock in earlier days, he said, “You just don’t know what it means, playing your Bösendorfer instead of the old crate at home!” (To my surprise, he used a clear and proper German before relapsing into his sloppily impudent yiddling.) “Maybe you can see it this way: it’s like getting off that old gray nag biting the dust out there, and then mounting one of the fiery mustangs from your cowboy-and-Indian stories. Ya see? You goyim have to have everything translated into zoology before you understand it. Like your uncle, when he explains your master brewer’s psychology in terms of a horse that’s been ridden to death. You goyim know more about animals than people.”