you had better get away as quickly as you can, for it
will be too late when Teargeld rises."

"You need not explain," exclaimed Maskull. "We know your reputation,
and we have come to hear your music. But what's that organ for on your
forehead?"

Earthrid glared, and smiled, and glared again.

"That is for rhythm, which is what changes noise into music. Don't stand
and argue, but go away. It is no pleasure to me to people the island
with corpses. They corrupt the air, and do nothing else."

Darkness now crept swiftly on over the landscape.

"You are rather bigmouthed," said Maskull coolly. "But after we have
heard you play, perhaps I shall adventure a tune myself."

"You? Are you a musician, then? Do you even know what music is?"

A flame danced in Gleameil's eyes.

"Maskull thinks music reposes in the instrument," she said in her
intense way. "But it is in the soul of the Master."

"Yes," said Earthrid, "but that is not all. I will tell you what it is.
In Threal, where I was born and brought up, we learn the mystery of the
Three in nature. This world, which lies extended before us, has three
directions. Length is the line which shuts off what is, from what is
not. Breadth is the surface which shows us in what manner one thing of
what-is, lives with another thing. Depth is the path which leads
from what-is, to our own body. In music it is not otherwise. Tone is
existence, without which nothing at all can be. Symmetry and Numbers
are the manner in which tones exist, one with another. Emotion is the
movement of our soul toward the wonderful world that is being created.
Now, men when they make music are accustomed to build beautiful tones,
because of the delight they cause. Therefore their music world is based
on pleasure; its symmetry is regular and charming, its emotion is sweet
and lovely.... But my music is founded on painful tones; and thus its
symmetry is wild, and difficult to discover; its emotion is bitter and
terrible."

"If I had not anticipated its being original, I would not have come
here," said Maskull. "Still, explain--why can't harsh tones have simple
symmetry of form? And why must they necessarily cause more profound
emotions in us who listen?"

"Pleasures may harmonise. Pains must clash; and in the order of their
clashing lies the symmetry. The emotions follow the music, which is
rough and earnest."

"You may call it music," remarked Maskull thoughtfully, "but to me it
bears a closer resemb