“Heavens, Christian,” cried Tony. “What rubbish! How can your hands feel satisfied?”
“Why, yes, of course—can’t you understand that? I mean—” he made a painstaking effort to express and explain. “You can shut your fist, you see. You don’t make a violent effort, of course, because you are tired from your work. But it isn’t flabby; it doesn’t make you feel irritable. You have a sense of satisfaction in it; you feel easy and comfortable—you can sit quite still without feeling bored.”
Everyone was silent. Then Thomas said in a casual tone, so as not to show that he disagreed: “It seems to me that one doesn’t work for the sake of—” He broke off and did not continue. “At least, I have different reasons,” he added after a minute. But Christian did not hear. His eyes roamed about, sunk in thought; and he soon began to tell a story of Valparaiso, a tale of assault and murder of which he had personal knowledge. “Then the fellow ripped out his knife—” For some reason Thomas never applauded these tales. Christian was full of them, and Madame Grünlich found them vastly entertaining. The Frau Consul, Clara, and Clothilde sat aghast, and Mamsell Jungmann and Erica listened with their mouths open. Thomas used to make cool sarcastic comments and act as if he thought Christian was exaggerating or hoaxing—which was certainly not the case. He narrated with colour and vividness. Perhaps Thomas found unpleasant the reflection that his younger brother had been about and seen more of the world than he! Or were his feelings of repulsion due to the glorification of disorder, the exotic violence of these knife- and revolver-tales? Christian certainly did not trouble himself over his brother’s failure to appreciate his stories. He was always too much absorbed in his narrative to notice its success or lack of success with his audience, and when he had finished he would look pensively or absently about the room.
But if in time the relations between the two brothers came to be not of the best, Christian was not the one who thought of showing or feeling any animosity against his brother. He silently took for granted the preeminence of his elder, his superior capacity, earnestness, and respectability. But precisely this casual, indiscriminate acknowledgment irritated Thomas, for it had the appearance of setting no value upon superior capacity, earnestness, or respectability.
Christian appeared not to notice the growing dislike of the head of the firm. Thomas’s feelings were indeed quite justifiable; for unfortunately Christian’s zeal for business visibly decreased, even after the first week, though more after the second. His little preparations for work, which, in the beginning, wore the air of a prolonged and refined anticipation: the reading of the paper, the after-breakfast cigarette, the cognac, began to take more and more time, and finally used up the whole morning. It gradually came about that Christian freed himself largely from the constraint of office hours. He appeared later and later with his breakfast cigarette to begin his preparations for work; he went at midday to eat at the Club, and came back late or not at all.
This Club, to which mostly unmarried business men belonged, occupied comfortable rooms in the first storey of a restaurant, where one could eat and meet in unrestrained and sometimes not altogether harmless conversation—for there was a roulette table. Even some of the more light-minded fathers of families, like Justus Kröger and, of course, Peter Döhlmann, were members, and police senator Crema was here “the first man at the hose.” That was the expression of Dr. Gieseke—Andreas Gieseke, the son of the Fire Commissioner and Christian’s old schoolmate. He had settled as a lawyer in the town, and Christian renewed the friendship with him, though he ranked as rather a wild fellow. Christian—or, as he was called everywhere, Chris—had known them all more or less in the old days, for nearly all of them had been pupils of Marcellus Stengel. They received him into the Club with open arms; for, while neither business men nor scholars found him a genius, they recognized his amusing social gifts. It was here that he gave his best performances and told his best stories. He did the virtuoso at the club piano and imitated English and transatlantic actors and opera singers. But the best things he did were stories of his affairs with women, related in the most harmless and entertaining way imaginable—adventures that had befallen him on shipboard, on trains, in St. Paul’s, in Whitechapel, in the virgin forest. There was no doubt that Christian’s weakness was for women. He narrated with a fluency and power that entranced his listeners, in an exhaustless stream, with his somewhat plaintive, drawling voice, burlesque and innocent, like an English humourist. He told a story about a dog that had been sent in a satchel from Valparaiso to San Francisco and was mangy to boot. Goodness knew what was the point of the anecdote—in his mouth it was indescribably comic. And while everybody about him writhed with laughter, unable to leave off, he himself sat there cross-legged, a strange, uneasy seriousness in his face with its great hooked nose, his thin, long neck, his sparse light-red hair and little round deep-set eyes. It almost seemed as if the laugh were at his expense, as if they were laughing at him. But that never occurred to him.
At home his favourite tales were about his office in Valparaiso. He told of the extreme heat there, and about a young Londoner, named Johnny Thunderstorm, a ne’er-do-well, an extraordinary chap, whom he had “never seen do a stroke of work, God
