The Instruments Imitated All
These Sounds With A Marvelous Exactness.
More than one
man started to raise his umbrella when the storm burst
forth and the sheets of mimic
Rain came driving by;
it was hardly possible to keep from putting your hand
to your hat when the fierce wind began to rage and shriek;
and it was NOT possible to refrain from starting when
those sudden and charmingly real thunder-crashes were
let loose.
I suppose the "Fremersberg" is a very low-grade music;
I know, indeed, that it MUST be low-grade music, because it
delighted me, warmed me, moved me, stirred me, uplifted me,
enraptured me, that I was full of cry all the time,
and mad with enthusiasm. My soul had never had such a
scouring out since I was born. The solemn and majestic
chanting of the monks was not done by instruments,
but by men's voices; and it rose and fell, and rose again
in that rich confusion of warring sounds, and pulsing bells,
and the stately swing of that ever-present enchanting air,
and it seemed to me that nothing but the very lowest
of low-grade music COULD be so divinely beautiful.
The great crowd which the "Fremersberg" had called out was
another evidence that it was low-grade music; for only
the few are educated up to a point where high-grade music
gives pleasure. I have never heard enough classic music
to be able to enjoy it. I dislike the opera because I want
to love it and can't.
I suppose there are two kinds of music - one kind which
one feels, just as an oyster might, and another sort
which requires a higher faculty, a faculty which must
be assisted and developed by teaching. Yet if base music
gives certain of us wings, why should we want any other?
But we do. We want it because the higher and better
like it. We want it without giving it the necessary
time and trouble; so we climb into that upper tier,
that dress-circle, by a lie; we PRETEND we like it.
I know several of that sort of people - and I propose
to be one of them myself when I get home with my fine
European education.
And then there is painting. What a red rag is to a bull,
Turner's "Slave Ship" was to me, before I studied art.
Mr. Ruskin is educated in art up to a point where that
picture throws him into as mad an ecstasy of pleasure
as it used to throw me into one of rage, last year,
when I was ignorant. His cultivation enables him - and me,
now - to see water in that glaring yellow mud, and natural
effects in those lurid explosions of mixed smoke and flame,
and crimson sunset glories; it reconciles him - and me,
now - to the floating of iron cable-chains and other
unfloatable things; it reconciles us to fishes swimming
around on top of the mud - I mean the water. The most of
the picture is a manifest impossibility - that is to say,
a lie; and only rigid cultivation can enable a man to find
truth in a lie. But it enabled Mr. Ruskin to do it,
and it has enabled me to do it, and I am thankful for it.
A Boston newspaper reporter went and took a look at the Slave
Ship floundering about in that fierce conflagration of reds
and yellows, and said it reminded him of a tortoise-shell
cat having a fit in a platter of tomatoes. In my then
uneducated state, that went home to my non-cultivation,
and I thought here is a man with an unobstructed eye.
Mr. Ruskin would have said: This person is an ass.
That is what I would say, now. [1]
1. Months after this was written, I happened into the National
Gallery in London, and soon became so fascinated with the
Turner pictures that I could hardly get away from the place.
I went there often, afterward, meaning to see the rest
of the gallery, but the Turner spell was too strong;
it could not be shaken off. However, the Turners
which attracted me most did not remind me of the Slave Ship.
However, our business in Baden-Baden this time,
was to join our courier. I had thought it best
to hire one, as we should be in Italy, by and by,
and we did not know the language. Neither did he.
We found him at the hotel, ready to take charge of us.
I asked him if he was "all fixed." He said he was.
That was very true. He had a trunk, two small satchels,
and an umbrella. I was to pay him fifty-five dollars
a month and railway fares. On the continent the railway
fare on a trunk is about the same it is on a man.
Couriers do not have to pay any board and lodging.
This seems a great saving to the tourist - at first.
It does not occur to the tourist that SOMEBODY pays that
man's board and lodging. It occurs to him by and by,
however, in one of his lucid moments.
CHAPTER XXV
[Hunted by the Little Chamois]
Next morning we left in the train for Switzerland,
and reached Lucerne about ten o'clock at night.
The first discovery I made was that the beauty of the lake
had not been exaggerated. Within a day or two I made
another discovery. This was, that the lauded chamois
is not a wild goat; that it is not a horned animal;
that it is not shy; that it does not avoid human society;
and that there is no peril in hunting it. The chamois is
a black or brown creature no bigger than a mustard seed;
you do not have to go after it, it comes after you;
it arrives in vast herds and skips and scampers all over
your body, inside your clothes; thus it is not shy,
but extremely sociable; it is not afraid of man, on the
contrary, it will attack him; its bite is not dangerous,
but neither is it pleasant; its activity has not been
overstated - if you try to put your finger on it,
it will skip a thousand times its own length at one jump,
and no eye is sharp enough to see where it lights.
A great deal of romantic nonsense has been written
about the Swiss chamois and the perils of hunting it,
whereas the truth is that even women and children
hunt it, and fearlessly; indeed, everybody hunts it;
the hunting is going on all the time, day and night,
in bed and out of it.
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