Anarchistbanjo's World

OD by Karl Hans Strobl and translated by Joe E Bandel

He projected images onto a light-sensitive plate with a lens; everyone was talking about it, everyone flocked to the young man; all of Vienna wanted to stand before his lens—it had become a lucrative business, Schuh had money in abundance. He had also made pictures of the entire Reichenbach family, each one individually and all together with the Freiherr in the middle—no doubt, it was living reality, so vivid and faithful as no painter could reproduce.

Thus, it was by no means the Freiherr’s intention to completely fall out with Schuh, and the neglect of Hermine’s botanical work wasn’t so serious either, since Schuh helped her with it too. When Reichenbach expressed his dissatisfaction, it was probably more because he had grown accustomed to occasionally picking at her to spur her on to higher achievements.

Reinhold also provided ample occasion for disapproving criticism. Although they now lived in the city, he sometimes stayed out in the evenings and excused himself with his studies, but then he was surely huddled with the other students in some back room, holding conversations about “freedom” and “people’s wishes.” Over this part of his life, he spread deliberate obscurity. How much he had been incited to defiance was shown by the fact that he dared to retort to his father that he was no schoolboy, that rascal, and that one had to rebuke him sternly to make him crumple and then stand at attention again.

Even with Ottane’s household management, Reichenbach had much to criticize. His reproaches brought forth tears.

“And how long are these sessions with this Herr Heiland supposed to last?”

“Heiland says my picture will be the best he’s ever painted.”

“Nonsense, this picture-painting! Look at Schuh, you step in front of his apparatus and in a few hours have a picture, more similar than any painter could ever make.”

“Heiland says that Daguerreotypy will never be able to replace painting. Daguerreotypy is mechanics, but painting is art.”

“Briefly,” the Freiherr cut off Ottane’s thread, “I want this matter to come to an end once and for all.”

Perhaps Reichenbach’s mood would have been considerably better if he had come to a more intimate understanding with Therese Dommeyr. The fame of the actress was still on the rise; her star shone over the Viennese theater sky; so many people took an interest in her art and her existence; ultimately, it was no wonder if little was left for the individual. She also came to Bäckergasse, fluttered through the rooms, had pastries and a glass of Spanish wine served, rang out with her bell-like laughter, told theater stories, rearranged the knick-knacks on the dressers and cabinets, moved the embroidered and crocheted covers from one place to another, and then vanished again.

As soon as she was gone, Ottane, who never showed herself during such visits, reappeared, sniffed with a wrinkled nose at the foreign scent, put the table runners and sofa covers back in their original places, and also returned the knick-knacks to their spots.

Sometimes Therese came laden with bile and on the verge of bursting. “I beg you, Baron, have you any idea? This rabble at the theater, such a bunch! By my soul, I’ll pull myself together and run away from them.” They had annoyed her; they didn’t appreciate her enough, things didn’t always go her way; the colleagues were full of envy and spun intrigues, the male colleagues were after her, but Therese didn’t care about them, let them go, and then they switched to the enemy side. She wept a little, she scolded like a magpie, she called down God’s judgment on the whole theater gang, she screamed and shook herself, and in all that commotion, she was as charming as ever.

“Yes, the theater is hot ground,” Reichenbach said cautiously, “ultimately, you’ll get tired of it and want to flee into a bourgeois existence.”

“Do you think so?” Therese let the handkerchief sink, which she had stuffed into her mouth to stifle her crying fit. “Oh,” and she made sorrowful innocent eyes, the expression of a deeply wronged child, “I think, after all, I’m lost for that. A bourgeois existence… and married, ultimately a comedienne?” And the look of those innocent eyes became so penetrating that it sent a shiver, hot and cold, down Reichenbach’s back.

Yes, she offered, so to speak, samples of her iridescent, light-hearted personality and left behind an increased appetite for more after every visit. But before any grasping or holding, she slipped away smoothly and agilely like a glittering little fish.

On a winter evening, Severin announced Doctor Eisenstein.

Reichenbach was just in his laboratory, engaged in investigations on magnetism, prompted by Schuh. Eisenstein? What reason had Eisenstein to seek him out? For if he thought that Reichenbach had changed his mind and now thought differently about his suit, he wanted to thoroughly dispel that misconception. Reichenbach stiffened, and as the doctor entered, he saw the Freiherr armored in icy inaccessibility before him.

“I come,” the doctor began at once, “to ask for your advice.”

“What is your pleasure?”

“You see me somewhat embarrassed… it is namely a case in which I’ve reached the end of my art. I have a patient.”

“I am no physician, Herr Doktor; turn to a colleague.”

Eisenstein shook his head: “That wouldn’t help me. The colleagues don’t think beyond the tips of their noses. I need a man who has an unprejudiced eye for the new, who looks beyond the obvious, who at the same time masters the entire field of physics—in short, a man like you.”

“Very flattering,” said Reichenbach, buttoned up to the top.

“It concerns, namely, phenomena that seem to have a certain similarity to magnetic facts.” Yes, Eisenstein paid no attention to Reichenbach’s mockingly dismissive tone; he seemed so filled with the matter that he had no ear for it. It might be animal magnetism, as Mesmer and his pupils had taught, and yet much was different again; one was compelled to consider purely magnetic phenomena in physics, and since the Freiherr was precisely in this field—Eisenstein cast a quick sidelong glance at the apparatus—possessed of experience like no other… One couldn’t very well go to someone else with these enigmatic matters. Reichenbach was no ossified scholar; he wasn’t bound by prejudices; he had even advocated for Semmelweis; he was equipped as a researcher with the superiority of a sage.

“Who is your patient?” asked Reichenbach.

“Frau Hofrätin Reißnagel.”

“Very well,” said the Freiherr after a moment’s reflection, “I will accompany you.”

They walked through the snow flurry the short distance to Kohlmarkt, where the Hofrätin lived. He didn’t want to prejudge the examination, said Eisenstein; the Freiherr might form his own judgment about the phenomena. Only with the case history must he familiarize him in outline. About two years ago, the Hofrätin had been seized by the illness that was, so to speak, fashionable back then. The Freiherr might perhaps recall—symptoms of a cold, sniffles, cough, headaches, high fever, nothing otherwise extraordinary; the distressing thing, however, were the consequences. After a duration of a few days of the cold subsiding, but then came the most unpleasant surprises. Lung inflammations, joint inflammations, leg inflammations, heart diseases, some of them with fatal outcomes. It seemed some kind of poison had remained in the body, which then chose an organ to lodge in and wreak havoc. In the case of Frau Hofrätin Reißnagel, it was as if the poison had struck the head, at least since then those strange states had set in, a lapse of consciousness for certain durations. It had occurred particularly often in recent times that she had undertaken things of which she later could not remember, she had left the house and stayed away without afterward being able to say where she had been. Her soul would occasionally fall, so to speak, into a twilight, from which she returned dazed and without memory of what had happened. Added to this, and alongside it, was that heightened sensitivity, of which the Freiherr would now be able to convince himself.

They had meanwhile arrived in front of the old house where the Hofrat lived, climbed the stairs, the old maid opened the door, and Eisenstein led the Freiherr, after he had taken off his coat, straight into the sick woman’s room.

Upon entering, Reichenbach found himself in such complete darkness that he dared not take a step. He stood still, but from the depths of the impenetrable blackness came a sound and then a faint voice: “Is that you, Baron Reichenbach?”

“It is I, gracious lady. Has Eisenstein told you—?”

“Eisenstein has told me nothing. I know it’s you; I felt you coming before the door.”

If Eisenstein had said nothing, how could the Hofrätin know who had stepped into the dark room, and what did it mean that she had felt him before the door?

“Why is it so dark here?” asked Reichenbach.

“I cannot tolerate the light,” came the faint reply.

“The windows are draped with cloths; opposite, a streetlamp is burning.”

“The Frau Hofrätin cannot sleep if the moon shines into the bedroom,” Eisenstein added from the darkness, with conscientious matter-of-factness. “Is this the bedroom?”

“Not really,” said Eisenstein, “it is the Frau Hofrätin’s room. But she sleeps here. She cannot tolerate the proximity of another; confinement is oppressive to her. You will recall that she became unwell at your place back then, and then she wanted to lie with her face to the wall, which she cannot do over there.”

Nerves, thought Reichenbach, what beyond nerves, as is so common with women, or could the Hofrätin perhaps even—? But Eisenstein should have known that.