Fortunately, Sonka was not disturbed much; even in this establishment she was too homely. No one paid any attention to her splendid eyes, and they took her only in those instances when there was no other at hand. The pharmacist sought her out and came every evening to her. But cowardice, or a special Hebrew fastidiousness, or, perhaps, even physical aversion, would not permit him to take the girl and carry her away with him from the house. He would sit whole nights through near her, and, as of yore, patiently waited until she would return from a chance guest; created scenes of jealousy for her and yet loved her still, and, sticking in the daytime behind the counter in his drug store and rolling some stinking pills or other, ceaselessly thought of her and yearned. CHAPTER VI. Immediately at the entrance to a suburban cabaret an artificial flower bed shone with vari-colored lights, with electric bulbs instead of flowers; and just such another fiery alley of wide, half-round arches, narrowing toward the end, led away from it into the depths of the garden. Further on was a broad, small square, strewn with yellow sand; to the left an open stage, a theatre, and a shooting gallery; straight ahead a stand for the military band (in the form of a seashell) and little booths with flowers and beer; to the right the long terrace of the restaurant. Electric globes from their high masts illuminated the small square with a pale, dead-white brightness. Against their frosted glass, with wire nets stretched over them, beat clouds of night moths, whose shadows—confused and large—hovered below, on the ground. Hungry women, too lightly, dressily, and fancifully attired, preserving on their faces an expression of care-free merriment or haughty, offended unapproachability, strolled back and forth in pairs, with a walk already tired and dragging. All the tables in the restaurant were taken—and over them floated the continuous noise of knives upon plates and a motley babel, galloping in waves. It smelt of rich and pungent kitchen fumes. In the middle of the restaurant, upon a stand, Roumanians in red frocks were playing; all swarthy, white-toothed, with the faces of whiskered, pomaded apes, with their hair licked down. The director of the orchestra, bending forward and affectedly swaying, was playing upon a violin and making unseemly sweet eyes at the public—the eyes of a man-prostitute. And everything together—this abundance of tiresome electric lights, the exaggeratedly bright toilettes of the ladies, the odours of modish, spicy perfumes, this ringing music, with willful slowings up of the tempo, with voluptuous swoonings in the transitions, with the tempestuous passages screwed up—everything fitted the one to the other, forming a general picture of insane and stupid luxury, a setting for an imitation of a gay, unseemly carouse.