Beside Still Waters, Arthur Christopher Benson [good books for high schoolers .txt] 📗

their business to interpret life, to investigate emotion; but the musician was engaged with an art that was almost mathematical in its purity and isolation; he worked under the strictest law, and though it required a severe and strong intellectual grip, it was not a process which had any connection with emotions or with life. But Hugh always felt himself to be inside the charmed circle, and though he knew but little of the art, musical talk always had a deep interest for him, and he seemed to divine and understand more than he could explain or express.

But still it was true that music had played no part in his intellectual development; he had never approached it on that side; it had merely ministered to him at intervals a species of emotional stimulus; it had seemed to him to speak a language, dim and unintelligible, but the purport of which he interpreted to be somehow high and solemn. There seemed indeed to be nothing in the world that spoke in such mysterious terms of an august destiny awaiting the soul. The origin, the very elements of the joy of music were so absolutely inexplicable. There seemed to be no assignable cause for the fact that the mixture of rhythmical progress and natural vibration should have such a singular and magical power over the human soul, and affect it with such indescribable emotion.

He had sometimes seen, half with amusement, half with a far deeper interest, the physical effect which the music of some itinerant piano-organ would produce upon street children; they seemed affected by some curious intoxication; their gestures, their smiles, their self-conscious glances, their dancing movements, so unnatural in a sense, and yet so instinctive, made the process appear almost magical in its effects. Though it did not affect him so personally, it seemed to have a similarly intoxicating effect on Hugh's own mind. Even if the particular piece that he was listening to had no appeal to his spirit, even if it were only a series of lively cascades of tripping notes, his thoughts, he found, took on an excited, an irrepressible tinge. But if on the other hand the time and the mood were favourable, if the piece were solemn or mournful, or of a melting sweetness, it seemed for a moment to bring a sense of true values into life, to make him feel, by a silent inspiration, the rightness and the perfection of the scheme of the world.

One evening a friend of Hugh's, who was organist of one of the important college chapels, took him and a couple of friends into the building. It had been a breathlessly hot summer day, but the air inside had a coolness and a peace which revived the languid frame. It was nearly dark, but the great windows smouldered with deep fiery stains, and showed here and there a pale face, or the outline of a mysterious form, or an intricacy of twined tabernacle-work. Only a taper or two were lit in the shadowy choir; and a light in the organ-loft sent strange shadows, a waving hand or a gigantic arm, across the roof, while the quiet movements of the player were heard from time to time, the passage of his feet across the gallery, or the rustling of the leaves of a book. Hugh and his friends seated themselves in the stalls; and then for an hour the great organ uttered its voice--now a soft and delicate strain, a lonely flute or a languid reed outlining itself upon the movement of the accompaniment; or at intervals the symphony worked up to a triumphant outburst, the trumpets crashing upon the air, and a sudden thunder outrolling; the great pedals seeming to move, like men walking in darkness, treading warily and firmly; until the whole ended with a soft slow movement of perfect simplicity and tender sweetness, like the happy dying of a very old and honourable person, who has drunk his fill of life and blessings, and closes his eyes for very weariness and gladness, upon labour and praise alike.

The only shadow of this beautiful hour was that in this rapt space of tranquil reflection one seemed to have harmonised and explained life, joy and disaster alike, to have wound up a clue, to have brought it all to a peaceful and perfect climax of silence, like a tale that is told; and then it was necessary to go out to the world again with all its bitterness, its weariness, its dissatisfaction--till one almost wondered whether it was wise or brave to have chased and captured this strange phantom of imagined peace.

Yes, it was wise sometimes, Hugh felt sure! to have refused it would have been like refusing to drink from a cool and bubbling wayside spring, as one fared on a hot noon over the shimmering mountain-side--refused, in a spirit of false austerity, for fear that one would thirst again through the dreary leagues ahead. As long as one remembered that it was but an imagined peace, that one had not attained it, it was yet well to remember that the peace was real, that it existed somewhere, even though it was still shut within the heart of God. However slow the present progress, however long the road, it was possible to look forward in hope, to know that one would move more blithely and firmly when the time should come for the desired peace to be given one more abundantly; it helped one, as one stumbled and lingered, to look a little further on, and to say, "I will run the way of Thy commandments, when Thou hast set my heart at liberty."


XXXIV

Pictorial Art--Hand and Soul--Turner--Raphael--Secrets of Art

Hugh's professional life had given him little opportunity for indulging artistic tastes. He had been very fond as a boy of sketching, especially architectural subjects; it had trained his powers of observation; but there had come a time when, as a young man, he had deliberately laid his sketching aside. The idea in his mind had been that if one desired to excel in any form of artistic expression, one must devote all one's artistic faculty to that. He had been conscious of a certain diffuseness of taste, a love of music and a love of pictorial art being both strong factors in his mind; but he was also dimly conscious that he matured slowly; that he had none of the facile grasp of difficult things which characterised some of his more able companions; his progress was always slow, and he arrived at mastery through a long wrestling with inaccuracy and half knowledge; his perception was quick, but his grasp feeble, while his capacity for forgetting and losing his hold on things was great. He therefore made a deliberate choice in the matter, guided, he now felt, rather by a kind of intuition than by any very definite principle, and determined to restrict his artistic energies to a single form of art. His father, he remembered, had remonstrated with him, and had said that by giving up sketching he was sacrificing a great resource of recreation and amusement. He had no answer at the time to the criticism, but it seemed to him that he knew his own mind in the matter, and that as he could not hope, he thought, to attain to any real excellence in draughtsmanship, it had better be cut off altogether, and his energies, such as they were--he knew that the spring was not a copious one--confined to a more definite channel.

As life went on, and as time became more and more precious, as his literary work more and more absorbed him, he drew away from the artistic region; in his early years of manhood he had travelled a good deal, and the seeing of pictures had always been part of the programme; but his work became heavier, and the holidays had tended more and more to be spent in some quiet English retreat, where he could satisfy his delight in nature, and re-read some of the old beloved books. A certain physical indolence was also a factor, an indolence which made wandering in a picture-gallery always rather a penance; but he contrived at intervals to go and look at pictures in London in a leisurely way, both old and new; and he had one or two friends who possessed fine works of art, which could be enjoyed calmly and quietly. He was aware that he was losing some catholicity of mind by this--but he knew his limitations, and more and more became aware that his constitutional energy was not very great, and needed to be husbanded. He was quite aware that he was not what would be called a cultivated person, that his knowledge both of art and music was feeble and amateurish; but he saw, or thought he saw, that people of wide cultivation often sacrificed in intensity what they gained in width; and as he became gradually aware that the strongest faculty he possessed was the literary faculty, he saw that he could not hope to nourish it without a certain renunciation. He had no taste for becoming an expert or a connoisseur; he had not the slightest wish to instruct other people, or to arrive at a technical and professional knowledge of art. He was content to leave it to be a rare luxury, a thing which, when the opportunity and the mood harmonised, could open a door for him into a beautiful world of dreams. He was quite aware that he often liked what would be called the wrong things; but what he was on the look-out for in art was not technical perfection or finished skill, but a certain indefinable poetical suggestion, which pictures could give him, when they came before him in certain moods. The mood, indeed, mattered more than the picture; moreover it was one of the strangest things about pictorial art, that the work of certain artists seemed able to convey poetical suggestion, even when the poetical quality seemed to be absent from their own souls. He knew a certain great artist well, who seemed to Hugh to be an essentially materialistic man, fond of sport and society, of money, and the pleasures that money could buy, who spoke of poetical emotion as moonshine, and seemed frankly bored by any attempt at the mystical apprehension of beautiful things, who could yet produce, by means of his mastery of the craft, pictures full of the tenderest and loveliest emotion and poetry. Hugh tried hard to discern this quality in the man's soul, tried to believe that it was there, and that it was deliberately disguised by a pose of bluff unaffectedness. But he came to the conclusion that it was not there, and that the painter achieved his results only by being able to represent with incredible fidelity the things in nature that held the poetical quality. On the other hand he had a friend of real poetical genius, who was also an artist, but who could only produce the stiffest and hardest works of art, that had no quality about them except the quality of tiresome definiteness. This was a great mystery to Hugh; but it ended eventually, after a serious endeavour to appreciate what was approved by the general verdict to be of supreme artistic value, in making him resolve that he would just follow his own independent taste, and discern whatever quality of beauty he could, in such art as made an appeal to him. Thus he was not even an eclectic; he was a mere amateur; he treated art just as a possible vehicle of poetical suggestion, and allowed it to speak