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Updated: May 9, 2025
I was obviously a tyrant to them. Besides this, I thought Tausig's curious conduct at my hotel suspicious. I was told that he took his meals in the downstairs restaurant, after which he climbed up past my floor to the fourth storey, to pay long visits to Countess Krockow.
I stole past Mason, sleeping with his forehead on the type-writer keys he'll be lettered like the obelisk when he wakes up and crept into the next room to see just what Tausig keeps in that private desk of his. Oh, yes, it was locked. But hadn't I been carrying the key to it every minute for the last forty-eight hours? There must be a mine of stuff in that desk of Tausig's, Mag.
His clumsy and importunate behaviour and the idiotic messages evidently of his own invention which he brought me from Bulow drove me in the end to show him the door with great emphasis, for I too was carried away by Tausig's lively annoyance at this very officious intruder.
I couldn't tell Fred Obermuller that I was making over his play, soul and as much body as I could remember, to Tausig's secretary. He'd have found that harder to believe than the other thing. It hasn't been a very happy week for me, I can tell you, Maggie. But I forgot it all, every shiver and ache of it, when I came into the office that morning, as usual, and found Mason alone.
Tausig's conception of the barcarolle was this: "There are two persons concerned in the affair; it is a love scene in a discrete gondola; let us say this mise-en-scene is the symbol of a lover's meeting generally." "This is expressed in thirds and sixths; the dualism of two notes persons is maintained throughout; all is two-voiced, two- souled.
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