The Fifth String — A Closer Reading
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Before opening The Fifth String — A Closer Reading, the edition data offers a quick orientation: 25,268 words, 1 hr 50 min estimated reading time, and 4 detected text sections.
The text analysis averages about 17.7 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Love stories,” connecting these edition facts with the source record’s subject description.
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- Chapters / structure15 pts
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Read the Text
Diotti had disappeared as completely as though the earth had swallowed him.
My Dearest Sister: You doubtless were exceedingly mystified and troubled over the report that was flashed to Europe regarding my sudden disappearance on the eve of my second concert in New York.
Fearing, sweet Francesca, that you might mourn me as dead, I sent the cablegram you received some weeks since, telling you to be of good heart and await my letter. To make my action thoroughly understood I must give you a record of what happened to me from the first day I arrived in America. I found a great interest manifested in my premiere, and socially everything was done to make me happy.
Mrs. James Llewellyn, whom, you no doubt remember, we met in Florence the winter of 18--, immediately after I reached New York arranged a reception for me, which was elegant in the extreme. But from that night dates my misery.
You ask her name?--Mildred Wallace. Tell me what she is like, I hear you say. Of graceful height, willowy and exquisitely molded, not over twenty-four, with the face of a Madonna; wondrous eyes of darkest blue, hair indescribable in its maze of tawny color--in a word, the perfection of womanhood. In half an hour I was her abject slave, and proud in my serfdom. When I returned to the hotel that evening I could not sleep. Her image ever was before me, elusive and shadowy. And yet we seemed to grow farther and farther apart--she nearer heaven, I nearer earth.
The next evening I gave my first and what I fear may prove my last concert in America. The vision of my dreams was there, radiant in rarest beauty. Singularly enough, she was in the direct line of my vision while I played. I saw only her, played but for her, and cast my soul at her feet. She sat indifferent and silent. "Cold?" you say. No! No! Francesca, not cold; superior to my poor efforts. I realized my limitations. I questioned my genius. When I returned to bow my acknowledgments for the most generous applause I have ever received, there was no sign on her part that I had interested her, either through my talent or by appeal to her curiosity. I hoped against hope that some word might come from her, but I was doomed to disappointment. The critics were fulsome in their praise and the public was lavish with its plaudits, but I was abjectly miserable. Another sleepless night and I was determined to see her. She received me most graciously, although I fear she thought my visit one of vanity--wounded vanity--and me petulant because of her lack of appreciation.
Oh, sister mine, I knew better. I knew my heart craved one word, however matter-of-fact, that would rekindle the hope that was dying within me.
Hesitatingly, and like a clumsy yokel, I blurted: "I have been wondering whether you cared for the performance I gave?"
"It certainly ought to make little difference to you," she replied; "the public was enthusiastic enough in its endorsement."
"But I want your opinion," I pleaded.
"My opinion would not at all affect the almost unanimous verdict," she replied calmly.
"And," I urged desperately, "you were not affected in the least?"
Very coldly she answered, "Not in the least;" and then fearlessly, like a princess in the Palace of Truth: "If ever a man comes who can awaken my heart, frankly and honestly I will confess it."
"Perhaps such a one lives," I said, "but has yet to reach the height to win you--your--"
"Speak it," she said, "to win my love!"
"Yes," I cried, startled at her candor, "to win your love." Hope slowly rekindled within my breast, and then with half-closed eyes, and wooingly, she said:
"No drooping Clytie could be more constant than I to him who strikes the chord that is responsive in my soul."
Her emotion must have surprised her, but immediately she regained her placidity and reverted no more to the subject.
I went out into the gathering gloom. Her words haunted me. A strange feeling came over me. A voice within me cried: "Do not play to-night. Study! study! Perhaps in the full fruition of your genius your music, like the warm western wind to the harp, may bring life to her soul."
I fled, and I am here. I am delving deeper and deeper into the mysteries of my art, and I pray God each hour that He may place within my grasp the wondrous music His blessed angels sing, for the soul of her I love is attuned to the harmonies of heaven.
Your affectionate brother, ANGELO. ISLAND OF BAHAMA, January 2.
The Fifth String opens with the arrival of the violinist Diotti in America, already a celebrated figure in European courts. At a New York reception, he is instantly captivated by Mildred Wallace, described as "a perfect embodiment of radiant womanhood." The narrative quickly establishes a tension between Diotti's public role as a performer and the private life he desires. A key early scene introduces a warning from an older friend, Sanders, who cautions that Mildred's inherited jealousy—drawn from her mother's example—could make her miserable married to a public figure. This sets up a central conflict: can love survive the pressures of fame and possessiveness?
The Warning Voice: Sanders and the Jealousy Theme
One of the most striking features of the excerpt is the extended conversation between Diotti and the older man Sanders. Sanders speaks with a blunt, almost cynical authority, arguing that jealousy is "a more universal passion than love itself." He warns Diotti that Mildred, like her mother, would suffer from his public adulation: "You are a dangerous man for a jealous woman to love." The dialogue reveals a psychological pattern: Sanders insists that a woman like Mildred cannot separate the professional artist from the lover. His advice—to marry someone "more interested in your gastronomic felicity than in your marital constancy"—is both humorous and grim. Diotti, however, remains idealistic, believing he can avoid exciting suspicion. This exchange establishes the story's central dilemma without resolving it.
The Artist's Gaze: Diotti's First Impression
The initial meeting between Diotti and Mildred is rendered through highly visual, almost theatrical language. Diotti sees her first as a silhouette: "the vision, which moved slowly from between the blue-tinted portieres and stood for the instant, a perfect embodiment of radiant womanhood, silhouetted against the silken drapery." The description emphasizes her as a static image, a "queen by divine right," rather than a person in motion. This framing suggests that Diotti's love is rooted in aesthetic admiration, not deep knowledge. The narrative voice itself shifts between romantic fervor and a wry, worldly tone—note the aside about "the transition from Tschaikowsky to terrapin, from Beethoven to burgundy." This blend of high art and social satire gives the prose a distinctive texture.
Structure and Omission: What the Excerpts Leave Unsaid
The provided text breaks off during Sanders's warning, just as Diotti decides to stay overnight due to a snowstorm. The story's title, The Fifth String, hints at a supernatural or musical device not yet introduced in these excerpts. The reader is left with a clear conflict—love versus jealousy—but no resolution. The excerpts also contain no direct evidence of the titular fifth string's function or the story's climax. This incompleteness is itself a feature: the editorial note must resist filling gaps. What is present is a tightly focused psychological drama, built on dialogue and social observation, with a narrator who occasionally steps back to comment on human nature. The tension between Diotti's idealism and Sanders's pragmatism drives the opening chapters.
Readers approaching The Fifth String should attend to the interplay between the romantic plot and the narrator's ironic asides. The story's brevity—around 25,000 words—means every scene carries weight. Pay particular attention to how the title object is introduced and what it represents. The excerpts offer no clear answer, but the pattern of warning and desire suggests a moral or cautionary turn. The novella rewards close reading of its dialogue and descriptive set pieces.
Years among the stacks taught me that Sousa’s violinist, bargaining his soul for a note of love, carries the same quiet ache I find in another old friend, The Lamplighter — Context and Discussion. Both touch the solitary price of devotion—how some hearts light their homes only to burn alone. I’ve never forgotten either book’s hush.
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