Stefan Zweig - The Society of the Crossed Keys

I had dined at midday with the Duchess of M, a relation of my family, and after supper I didn’t feel tired enough to go to bed yet. So I went to the gaming hall, strolled among the tables without playing myself, and watched the mingled company in my own special way. I repeat, in my own special way, the way my dead husband had once taught me when, tired of watching, I complained of the tedium of looking at the same faces all the time: the wizened old women who sat for hours before venturing a single jetton, the cunning professionals, the demi-mondaines of the card table, all that dubious chance-met company which, as you’ll know, is considerably less picturesque and romantic than it is always painted in silly novels, where you might think it the fleur d’élégance and aristocracy of Europe. Yet the casino of twenty years ago, when real money, visible and tangible, was staked and crackling banknotes, gold Napoleons and pert little five-franc pieces rained down, was far more attractive than it is today, with a solid set of folk on Cook’s Tours tediously frittering their characterless gaming chips away in the grand, fashionably renovated citadel of gambling. Even then, however, I found little to stimulate me in the similarity of so many indifferent faces, until one day my husband, whose private passion was for chiromancy—that’s to say, divination by means of the hand—showed me an unusual method of observation which proved much more interesting, exciting and fascinating than standing casually around. In this method you never look at a face, only at the rectangle of the table, and on the table only at the hands of the players and the way they move. I don’t know if you yourself ever happen to have looked at the green table, just that green square with the ball in the middle of it tumbling drunkenly from number to number, while fluttering scraps of paper, round silver and gold coins fall like seedcorn on the spaces of the board, to be raked briskly away by the croupier or shovelled over to the winner like harvest bounty. If you watch from that angle, only the hands change—all those pale, moving, waiting hands around the green table, all emerging from the ever-different caverns of the players’ sleeves, each a beast of prey ready to leap, each varying in shape and colour, some bare, others laden with rings and clinking bracelets, some hairy like wild beasts, some damp and writhing like eels, but all of them tense, vibrating with a vast impatience. I could never help thinking of a racecourse where the excited horses are held back with difficulty on the starting line in case they gallop away too soon; they quiver and buck and rear in just the same way. You can tell everything from those hands, from the way they wait, they grab, they falter; you can see an avaricious character in a claw-like hand and a spendthrift in a relaxed one, a calculating man in a steady hand and a desperate man in a trembling wrist; hundreds of characters betray themselves instantly in their way of handling money, crumpling or nervously creasing notes, or letting it lie as the ball goes round, their hands now weary and exhausted. Human beings give themselves away in play—a cliché, I know, but I would say their own hands give them away even more clearly in gambling. Almost all gamblers soon learn to control their faces—from the neck up, they wear the cold mask of impassivity; they force away the lines around their mouths and hide their agitation behind clenched teeth, they refuse to let their eyes show uneasiness, they smooth the twitching muscles of the face into an artificial indifference, obeying the dictates of polite conduct. But just because their whole attention is concentrated on controlling the face, the most visible part of the body, they forget their hands, they forget that some people are watching nothing but those hands, guessing from them what the lips curved in a smile, the intentionally indifferent glances wish to conceal. Meanwhile, however, their hands shamelessly reveal their innermost secrets. For a moment inevitably comes when all those carefully controlled, apparently relaxed fingers drop their elegant negligence. In the pregnant moment when the roulette ball drops into its shallow compartment and the winning number is called, in that second every one of those hundred or five hundred hands spontaneously makes a very personal, very individual movement of primitive instinct. And if an observer like me, particularly well-informed as I was because of my husband’s hobby, is used to watching the hands perform in this arena, it is more exciting even than music or drama to see so many different temperaments suddenly erupt. I simply cannot tell you how many thousands of varieties of hands there are: wild beasts with hairy, crooked fingers raking in the money like spiders; nervous, trembling hands with pale nails that scarcely dare to touch it; hands noble and vulgar, hands brutal and shy, cunning hands, hands that seem to be stammering—but each of these pairs of hands is different, the expression of an individual life, with the exception of the four or five pairs of hands belonging to the croupiers. Those hands are entirely mechanical, and with their objective, businesslike, totally detached precision function like the clicking metal mechanism of a gas meter by comparison with the extreme liveliness of the gamblers’ hands. But even those sober hands produce a surprising effect when contrasted with their racing, passionate fellows; you might say they were wearing a different uniform, like policemen in the middle of a surging, agitated riot. And then there is the personal incentive of getting to know the many different habits and passions of individual pairs of hands within a few days; by then I had always made acquaintances among them and divided them, as if they were human beings, into those I liked and those I did not. I found the greed and incivility of some so repulsive that I would always avert my gaze from them, as if from some impropriety. Every new pair of hands to appear on the table, however, was a fresh experience and a source of curiosity to me; I often quite forgot to look at the face which, surrounded by a collar high above them, was set impassively on top of an evening shirt or a glittering décolletage, a cold social mask.

When I entered the gaming hall that evening, passed two crowded tables, reached a third, and was taking out a few coins, I was surprised to hear a very strange sound directly opposite me in the wordless, tense pause that seems to echo with silence and always sets in as the ball, moving sluggishly, hesitates between two numbers. It was a cracking, clicking sound like the snapping of joints. I looked across the table in amazement. And then I saw—I was truly startled!—I saw two hands such as I had never seen before, left and right clutching each other like doggedly determined animals, bracing and extending together and against one another with such heightened tension that the fingers’ joints cracked with a dry sound like a nut cracking open. They were hands of rare beauty, unusually long, unusually slender, yet taut and muscular—very white, the nails pale at their tips, gently curving and the colour of mother-of-pearl. I kept watching them all evening, indeed I kept marvelling at those extraordinary, those positively unique hands—but what surprised and alarmed me so much at first was the passion in them, their crazily impassioned expressiveness, the convulsive way they wrestled with and supported each other. I knew at once that I was seeing a human being overflowing with emotion, forcing his passion into his fingertips lest it tear him apart. And then—just as the ball, with a dry click, fell into place in the wheel and the croupier called out the number—at that very moment the two hands suddenly fell apart like a pair of animals struck by a single bullet. They dropped, both of them, truly dead and not just exhausted; they dropped with so graphic an expression of lethargy, disappointment, instant extinction, as if all was finally over, that I can find no words to describe it. For never before or since have I seen such speaking hands, hands in which every muscle was eloquent and passion broke almost tangibly from the pores of the skin. They lay on the green table for a moment like jellyfish cast up by the sea, flat and dead. Then one of them, the right hand, began laboriously raising itself again, beginning with the fingertips; it quivered, drew back, turned on itself, swayed, circled, and suddenly reached nervously for a jetton, rolling the token uncertainly like a little wheel between the tips of thumb and middle finger. And suddenly it arched, like a panther arching its back, and shot forwards, positively spitting the hundred-franc jetton out on the middle of the black space. At once, as if at a signal, the inactive, slumbering left hand was seized by excitement too; it rose, slunk, crawled over to its companion hand, which was trembling now as if exhausted by throwing down the jetton, and both hands lay there together trembling, the joints of their fingers working away soundlessly on the table, tapping slightly together like teeth chattering in a fever—no, I had never seen hands of such expressive eloquence, or such spasmodic agitation and tension. Everything else in this vaulted room, the hum from the other halls around it, the calls of the croupiers crying their wares like market traders, the movement of people and of the ball itself which now, dropped from above, was leaping like a thing possessed around the circular cage that was smooth as parquet flooring—all this diversity of whirling, swirling impressions flitting across the nerves suddenly seemed to me dead and dull compared to those two trembling, breathing, gasping, waiting, freezing hands, that extraordinary pair of hands which somehow held me spellbound.