 chief resort. It was kept by a man whom I had met at the synagogue of the Sons of Antomir, a former cantor who now supplemented his income from the store by doing occasional service as a wedding bard. The musicians, singers, and music-teachers who made the place their headquarters had begun by taking an interest in me, but the dimes and nickels I was now unceasingly "borrowing" of them had turned me into an outcast in their eyes. I felt it keenly. I would sulk around the store, anxious to leave, and loitering in spite of myself. There was a piano in the store, upon which they often played. This, their talks of music, and their venomous gossip had an irresistible fascination for me

I noticed that morbid vanity was a common disease among them. Some of them would frankly and boldly sing their own panegyrics, while others, more discreet and tactful, let their high opinions of themselves be inferred. Nor could they conceal the grudges they bore one another, the jealousies with which they were eaten up. I thought them ludicrous, repugnant, and yet they lured me. I felt that some of those among them who were most grotesque and revolting in their selfishness had something in their make-up—certain interests, passions, emotions, visions— which placed them above the common herd. This was especially true of a spare, haggard-looking violinist, boyish of figure and cat-like of manner, with deep dark rings under his insatiable blue eyes. He called himself Octavius. He was literally consumed by the blaze of his own conceit and envy. When he was not in raptures over the poetry, subtlety, or depth of his own playing or compositions, he would give way to paroxysms of malice and derision at the expense of some other musician, from his East Side rivals all the way up to Sarasate, who was then at the height of his career and had recently played in New York. Wagner was his god, yet no sooner would somebody else express admiration for Wagner music than he would offer to show that all the good things in the works of the famous German were merely so many paraphrased plagiarisms from the compositions of other men. He possessed a phenomenal memory. He seemed to remember every note in every opera, symphony, oratorio, or concerto that anybody ever mentioned, and there was not a piece of music by a celebrated man but he was ready to "prove" that it had been stolen from some other celebrated man

His invective was particularly violent when he spoke of those Jewish immigrants in the musical profession whose success had
