Hermine applauds Steppenwolf's newly acquired dancing skills and his newfound appreciation of jazz. She also dismisses his protest that he is too old to learn about love and sex.
Steppenwolf realizes that the treatise was right about the presence of thousands of souls. He believes his friendship with Hermine is awakening those other souls while simultaneously fragmenting his old self. In addition, Steppenwolf realizes that he is a member of the bourgeoisie despite his lifelong attempts to separate himself from them and claim superiority over them.
He discusses music with Pablo, and chastises him for not responding to previous attempts at conversation. Pablo informs him that he did not respond because he "never talk[s] about music." Steppenwolf questions Pablo on the difference between sensual and spiritual music, but Pablo responds that both can be traced back to the musician who initiates the musical experience. Steppenwolf is disappointed by his reply.
Steppenwolf attends a recital, and the old church music reminds him of his former aesthetic lifestyle. Suddenly his friendship with Hermine and her efforts to transform him appear petty and false. He blames Hermine for subduing him in a "strange, dazzling, dizzying, world of hers where [he] would always remain a stranger and where [his] real self pined and wasted away."
He returns to his room and discovers Maria waiting for him in his bed. His anger toward Hermine disappears and is replaced by overwhelming gratitude for "her gift." He has sex with Maria, and they talk at length about her life, Hermine, Pablo, and others who "lived half for art and half for pleasure." Steppenwolf drifts off to sleep but is awakened by old memories.
