Oh and, while we're on the subject of blossoms and leaves, Rainer has only ever seen grammar school pupils among the other competition winners at the awards ceremonies in the Vienna schools board offices, which is because grammar school pupils can express themselves, they can write down what they feel when they see a tulip or a lilac bush. What they feel is Joy. And Hope for the Future. Even if someone else is capable of feeling Joy, it doesn't mean he can write it down, without making any mistakes, not by a long chalk. The language they speak isn't the language of high culture, it is the language of their own, which is not recognised. In Austrian usage there is a vast and gaping rift between these two linguistic levels, which comes from the inequality of Man. And will continue in perpetuity. Not Man, the inequality. All it takes is for one speaker to use the imperfect, and lo, the other no longer understands him. That is what happens to Hans with Rainer. Hans is awkward, Rainer is articulate.
Rainer's talent for writing was already recognised back then, now he is out to make it his definitive profession. In his case, his profession will also be his hobby, which is ideal. Many people claim that this is how things are with them. Usually that is untrue. If a plumber or a butcher claims his profession is also his hobby, it is undoubtedly untrue. Nor do you believe it if a tram driver or bricklayer claims as much. If a doctor says his hobby is healing and helping people, you're more inclined to give credence to the statement. Healing and helping can be both leisuretime pursuits and jobs at one and the same time. Hobby is a word that is rapidly gaining currency. The Yanks have gone, their language remains, hooray.
Reluctantly Rainer now notes that Hans, the jerk, is not his own tool at present but the jazz musicians'. Hans is zooming hither and thither, zealously folding up music stands, cramming double basses in canvas wraps, alternately closing and opening the piano depending on what he's told, wiping out trumpets, stacking the scores in piles and distributing them once again when he's given the order, picking up chairs and putting them down and scraping them along, undoing everything he's so carefully accomplished simply because one of them snaps that he's done something wrong, asking how long it takes to learn to play the flute, sax, trombone, bass, etc. Piano takes longest, no doubt, learning to play the piano is the best policy, like honesty, which this Rainer is about to make an end of. I'd like to do something like that some day too! Being able to play an instrument must be nice. Perhaps even nicer than being a gym teacher or an academic. In a minute, after the last number, 'Chattanooga Choo Choo,' he'll lug a whole lot of heavy things outside along with a crowd of other idiot volunteers, where another good-natured fool will let his car be misused for the transport of instruments, just to be part of it all for once, which is all that counts (see above) because winning isn't everything. A number of questions remain unanswered: Is it difficult? How long does learning to read music take? What is the correct way to tune a violin? Who do you approach if you seriously want to learn to play an instrument? I'll volunteer first thing in the morning. The things you like doing, you do voluntarily. Working on heavy current is something you have to do, though. That will have to be given up.
I can't stand it any more! explodes Rainer, breaking out of his thoughts and into Hans's. What he was just thinking was: I spit on you all! With your packed lunches and fat bellies. I am gigantic, I walk on the ceiling, you can all see me, clear as day, right, that's me! He snatches the clarinet case which eager Hans is about to help carry outside out of the lackey's paws and smashes it down on his head, it makes a roaring sound and the wind instrument inside it howls. Hey you, yells the musician in question, have you gone crazy?
The amateur clarinettist, a law student, does not understand the expression this prompts on Rainer's face (impenetrable, expressionless) and so ignores it. If he only knew what Rainer is thinking about him right now! Rainer is thinking: I'd like to rip your throat open with a meathook. The chemist's son has no idea that this is what he's thinking and thus has no occasion to be afraid, but Rainer is proud of having thought something so brutal. Soon it will be done, for real. At Rainer's table the plotting and planning is begun in earnest. I can't be saying everything four times, that goes for you too, Anna, though you know about it in rough outline. Being my sister. Sophie must know, since she is the woman I love, and Hans, seeing that he's the one who'll be doing the dirty work, will be put in the know as well, always assuming he can grasp what it's all about. Which is by no means certain. Are you coming, Anni, or aren't you? She is not coming yet because, perceiving a unique opportunity, she is casually trickling off Chopin's etude for the black keys at the piano, casually but a great deal of practice has to be put in at home if something like this is to result, and she's about to start on something from The Well-Tempered Clavier when the jazz pianist (a medical student) comes up: Kid, you're in the wrong groove, why not forget it and go on home to Mummy and keep up the practising, but not here, not in a cool joint like this. This isn't a music school, you come here when you've finished music school or you've taught yourself to play. But if there's anything else I can teach you, honey, I'll be glad to, stop by again when you've got some tits. With Annamother around, teaching yourself anything is quite out of the question, you have to have expert tutors, nothing else will do.
A cold shiver goes through Anna because she has discovered that possibly she is not quite perfect and has to go on developing further, a notion she rejects. She has already reached the finish and has nothing more to lose. The fact that there might be something else ahead of her drives her crazy, because as far as she's concerned she's done it all, and murderous feelings surge within her.
There must be nothing more to come, only absolute nothingness, where there are no moral standards, such as this student no doubt still has, even if he talks to a woman in a way that seems coarse. As she goes by she knocks a half-empty glass of beer and splosh, there go the contents all over the know-it-all young academic's brand new blue jeans, they'll have to be washed, which will mean a little more wear and tear, which will hurt the student's finances. Fine.
Rainer is going on at Sophie, who is sipping lemonade, she shouldn't gabble, she should listen, though she isn't saying anything anyway. What Hans thinks is that if she doesn't want to listen to him (to obey him), she ought to feel (him). But Sophie does not want to listen (or obey), she wants to see. She wants to see Hans lift the heaviest of heavy objects, and even heavier ones, with the greatest of ease. There isn't a single soft spot on his torso, though hopefully there are soft spots inside him. Rainer's torso, by contrast, has something of a chicken about it. A chicken that has been totally starved of sun and almost totally of feed for a long time. Still, he doesn't just cluck, that's true.
Hans flings himself into an armchair and describes in broad outline (the details are yet to come) his future music studies, which will enable him to give pleasure to people and help them relax and will make him successful. Down, boy, says Rainer. But he goes on to say how the old woman gets up his nose with her stupid envelopes and the work she did for the Party when she was young, that is why I want to get my distance from all that, maybe musically. Rainer says he'll hit him in the gob in a moment. In a low trawl, Sophie says: Leave him alone.
Anna: You could bore the pants off the Goethe memorial on the Ring, Hans.
Sophie: Don't be so arrogant.
Hans: See that, Anna? When a woman loves a man and she can't show it and doesn't want to show it either, she'll stand up for him in front of other people. In doing so, she realises what her own feelings are, in spite of herself. I've seen it in films, time and again. Anna zaps her hand between his legs, not a bad spot. Are you two at it again, breezes Sophie. Hans shoves away the unloved hand, which he nonetheless still needs from time to time, and is ashamed. Sophie is not supposed to know. Though she is supposed to suspect. And to want it herself. On the one hand, Anna now wants to punish him, and on the other she is afraid that he doesn't want to do it with her any more. Although she was good, no doubt about it.