Bashan and I, Thomas Mann [to read list .TXT] 📗

Bashan and I

By Thomas Mann.

Table of Contents Titlepage Imprint Foreword Bashan and I I: Bashan Puts in His Appearance II: How We Acquired Bashan III: A Few Items Regarding Bashan’s Character and Manner of Life IV: The Hunting-Grounds V: The Chase Colophon Uncopyright Imprint

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Foreword

It was during the war that Thomas Mann, one of the great modern stylists, wrote this simple little idyll as a refuge and relief. It was a flight from the hideous realities of the world to the deeper realities of Nature, from the hate and inhumanity of man to the devotion and lovableness of the brute. This delectable symphony of human and canine psychology, of love of nature and of pensive humour, struck the true note of universality, a document packed with greater potencies in this direction than the deliberate, idealistic manifestos of the pacifists. It is for these reasons that the book has acquired a permanent charm, value, and significance, not only beyond the confines of the war and the confines of the author’s own land and language, but also beyond those of the period.

In every land there still exists the same friendly and primitive relation between man and the dog, brought to its fullest expression of strength and beauty in the environment of the green world, rural or suburban.

Simple and unpretentious as a statement by Francis d’Assisi, yet full of a gentle modern sophistication and humour, this little work will bring delight and refreshment to all who seek flight from the heavy-laden hour. It is, moreover, one of the most subtle and penetrating studies of the psychology of the dog that has ever been written⁠—tender yet unsentimental, realistic and full of the detail of masterly observation and description, yet in its final form and precipitation a work of exquisite literary art.

H. G. S.

Bashan and I I Bashan Puts in His Appearance

When spring, which all men agree is the fairest season of the year, comes round again and happens to do honour to its name, I love to go for half an hour’s stroll in the open air before breakfast. I take this stroll whenever the early chorus of the birds has succeeded in rousing me betimes⁠—because I had been wise enough to terminate the preceding day at a seemly hour. And then I go walking⁠—hatless⁠—in the spacious avenue in front of my house, and sometimes in the parks which are more distant. Before I capitulate to the day’s work, I long to draw a few draughts of young morning air and to taste the joy of the pure early freshness of things. Standing on the steps which lead down from my front door, I give a whistle. This whistle consists of two tones, a base tone and a deeper quarter-tone⁠—as though I were beginning the first notes of the second phrase of Schubert’s unfinished symphony, a signal which may be regarded as equal in tonal value to a name of two syllables.

The very next moment, as I go on towards the garden gate, a sound is heard in the distance, a sound at first almost inaudible, then growing rapidly nearer and clearer⁠—a sound such as might ensue if a metal tag were to be set clinking against the brass trimmings of a leather collar. Then, as I turn round, I see Bashan curving in swift career around the corner of the house and heading for me full tilt as though he intended to knock me over. His efforts cause him to shorten his underlip a bit, so that two or three of his lower front teeth are laid bare. How splendidly they gleam in the early sun!

Bashan comes straight from his kennel. This is situated behind the house under the floor of the veranda, which is supported on pillars. It is probable that, after a night of diverse and unknown adventures, he had been enjoying a short morning doze in this kennel, until my two-syllabic whistle roused him to swift activity. This kennel or miniature hut is equipped with curtains made of coarse material, and is lined with straw. Thus it chances that a stray straw or two may be clinging to Bashan’s coat⁠—already rather ruffled up from his lying and stretching⁠—or that one of these refractory straws may even be left sticking between his toes. This is a vision which always reminds me of the old Count Moor in Schiller’s Robbers⁠—as I once saw him in a most vivid and imaginative production, coming out of the Hunger Tower, with a straw between two of his toes.

Involuntarily I take up a flank position to the charging Bashan as he comes storming onward⁠—an attitude of defence⁠—for his apparent intention of lunging himself between my feet and laying me low is most amazingly deceptive. But always at the last moment and just before the collision, he manages to put on the brakes and to bring himself to⁠—something which testifies to his physical