Celibates Part 33

'People don't interest me. I am interested in things much more than in people--in pictures, in music, in sculpture. When I'm abroad I like the streets, I like to see people moving about, I like to watch the spectacle of life, but I do not care to make acquaintances. As I grow older it seems to me that a process of alienation is going on between me and others.'

They stopped on the landings of the staircases; they lingered in the pa.s.sages, and, speaking of his admiration of the pagan world, John said: 'It knew how to idealise, it delighted in the outward form, but it raised it, invested it with a sense of aloofness.... You know what I mean.' He looked inquiringly at Mr. Hare, and, gesticulating with his fingers, said, 'You know what I mean.' 'A beyond?'

'Yes; that's the word--a beyond. There must be a beyond. In Wagner there is none. That is his weakness. He is too perfect. Never since the world began did an artist realise himself so completely. He achieved all he desired, therefore something is wanting. A beyond is wanting.... I do not say that I have changed my opinion regarding Wagner, I still admire him: but I no longer accept his astonis.h.i.+ng ingenuities for inspiration. No, I'm not afraid to say it, I bar nearly the whole first act of Parsifal. For instance, Gurnemanz's long narrative, into which is introduced all the motives of the opera--is merely beautiful musical handicraft, and I cannot accept handicraft, however beautiful, for inspiration. I rank much higher the entrance of Kundry--her evocation of Arabia.... That is a real inspiration! The over-praised choruses are beautiful, but again I have to make reservations. These choruses are, you know, divided into three parts.

The chorus of the knights is ordinary enough, the chorus of the young men I like better, but I can only give my unqualified admiration to the chorus of the children. Again, the chorus of the young girls in the second act is merely beautiful writing, and there is no real inspiration until we get to the great duet between Kundry and Parsifal. The moment Kundry calls to Parsifal, "Parsifal... Remain!"

those are the words, I think, Wagner inspiration begins, then he is profound, then he says interesting things.' John opened the door of his room.

In the centre of the floor was an oak table--a table made of sharp slabs of oak laid upon a frame that was evidently of ancient design, probably early German, a great, gold screen sheltered a high canonical chair with elaborate carvings, and on a reading-stand close by lay the ma.n.u.script of a Latin poem.

The parson looked round for a seat, but the chairs were like cottage stools on high legs, and the angular backs looked terribly knife-like.

'Shall I get you a pillow from the next room? Personally I cannot bear upholstery. I cannot conceive anything more hideous than a padded armchair. All design is lost in that infamous stuffing. Stuffing is a vicious excuse for the absence of design. If upholstery were forbidden by law to-morrow, in ten years we should have a school of design. Then the necessity of composition would be imperative.'

'I daresay there is a good deal in what you say; but tell me, don't you find these chairs very uncomfortable? Don't you think that you would find a good comfortable arm-chair very useful for reading purposes?'

'No, I should feel far more uncomfortable on a cus.h.i.+on than I do on this bit of hard oak. Our ancestors had an innate sense of form that we have not. Look at these chairs, nothing can be plainer; a cottage stool is hardly more simple, and yet they are not offensive to the eye. I had them made from a picture by Albert Durer.'

Mr. Hare smoked in silence, uncertain how far John was in earnest, how far he was a.s.suming an att.i.tude of mind. Presently he walked over to the book-cases. There were two: one was filled with learned-looking volumes bearing the names of Latin authors; and the parson, who prided himself on his Latinity, was surprised, and a little nettled, to find so much ignorance proved upon him. With Tertullian, St. Jerome, and St. Augustine, he was acquainted, but of Lactantius Hibernicus Exul, Angilbert, he was obliged to admit he knew nothing--even the names were unknown to him.

In the book-case on the opposite side of the room there were complete editions of Landor and Swift, then came two large volumes on Leonardo da Vinci. Raising his eyes, the parson read through the t.i.tles: Browning's works; Tennyson in a cheap seven-and-six edition; Swinburne, Pater, Rossetti, Morris, two novels by Rhoda Broughton, d.i.c.kens, Thackeray, Fielding, and Smollett; the complete works of Balzac, Gautier's _Emaux et Camees_, Salammbo, L'a.s.sommoir; Carlyle, Newman, Byron, Sh.e.l.ley, Keats, and the dramatists of the Restoration.

At the end of a long silence Mr. Hare said glancing once again at the Latin authors, and walking towards the fire:

"Tell me, John, are those the books you are writing about? Supposing you explain to me, in a few words, the line you are taking. Your mother tells me that you intend to call your book the History of Christian Latin."

"Yes, I had thought of using that t.i.tle, but I am afraid it is a little too ambitious. To write the history of a literature extending over at least eight centuries would entail an appalling amount of reading; and besides, only a few, say a couple of dozen writers out of some hundreds, are of the slightest literary interest, and very few indeed of any real aesthetic value.

"Ah!" he said, as his eye lighted on a certain name, 'here is Marbodius, a great poet; how well he understood women! Listen to this:

'"Femina, dulce malum, pariter favus atque venenum, Melle linens gladium cor confodit et sapientum.

Quis suasit primo vet.i.tum gustare parenti?

Femina. Quis partem natas vitiare coegit?

Femina. Quis fortem spoliatum crine peremit?

Femina. Quis justi sacrum caput ense recidit?

Femina, quae matris c.u.mulavit crimine crimen, Incestum gravem graviori caede notavit....

"Chimeram Cui non immerito fertur data forma triformis, Nam pars prima leo, pars ultima cauda draconis, Et mediae partes nil sunt nisi fervidus ignis."'

'Well, of course, that quite carries out your views of women. And now tell me what I am to say to your mother. Will you come home for Christmas?'

'I suppose I must. I suppose it would seem unkind if I didn't. I wonder why I dislike the place? I cannot think of it without a revulsion of feeling.'

'I won't argue that point with you, but I think you ought to come home.'

'Why come home? Come home and marry my neighbour's daughter--one of those Austin girls, for instance? Fancy my settling down to live with one them, and undertaking to look after her all my life; walking after her carrying a parasol and a shawl. Don't you see the ludicrous side?

I always see a married man carrying a parasol and a shawl--a parasol and a shawl, the symbols of his office.' John laughed loudly.

'The swinging of a censer and the chanting of Latin responses are equally absurd if--'

'Do you think so?'

'Ritual is surely not the whole of religion?'

'No. But we were speaking of several rituals, and Catholic ritual seems to me more dignified than that of the shawl and parasol. The social life of the nineteenth century, that is to say, drawing-rooms, filled with half-dressed women, present no attraction for me. You and my mother think because I do not wish to marry and spend some small part of my time in this college that I intend to become a priest.

Marry and bring up children, or enter the Church! There is nothing between, so you say, having regard for my Catholicism. But there is an intermediate state, the onlooker. However strange it may seem to you, I do a.s.sure you that no man in the world has less vocation for the priesthood than I. I am merely an onlooker, the world is my monastery.

I am an onlooker.'

'Is not that a very selfish att.i.tude?'

'My att.i.tude is this. There is a mystery. No one denies that. An explanation is necessary, and I accept the explanation offered by the Roman Catholic Church. I obey Her in all her instruction for the regulation of life; I s.h.i.+rk nothing, I omit nothing, I allow nothing to come between me and my religion. Whatever the Church says I believe, and so all responsibility is removed from me. But this is an att.i.tude of mind which you as a Protestant cannot sympathise with.'

'I know, my dear John, I know your life is not a dissolute one; but your mother is very anxious--remember you are the last. Is there no chance of your ever marrying?'

'I fear I am not suited to married life. There is a better and a purer life to lead... an inner life, coloured and permeated with feelings and tones that are intensely our own. He who may live this life shrinks from any advent.i.tious presence that might jar it.'

'Maybe, it certainly would take too long to discuss--I should miss my train. But tell me, are you coming home for Christmas?'

'Yes, yes; I have some estate business to see to. I shall be home for Christmas. As for your train ... will find out all about your train presently... you must stay to dinner.'

III.

'I was very much alarmed, my dear John, about your not sleeping. Mr.

Hare told me you said that you went two or three nights without closing your eyes, and that you had to have recourse to sleeping draughts.'

'Not at all, mother, I never took a sleeping draught but twice in my life.'

'Well, you don't sleep well, and I am sure it is those college beds.

But you will be far more comfortable here. You are in the best bedroom in the house, the one in front of the staircase, the bridal chamber; and I have selected the largest and softest feather-bed in the house.'

'My dear mother, if there is one thing more than another I dislike, it is a feather-bed. I should not be able to close my eyes; I beg of you to have it taken away.'

Mrs. Norton's face flushed. 'I cannot understand, John; it is absurd to say that you cannot sleep on a feather-bed. Mr. Hare told me you complained of insomnia, and there is no surer way of losing your health. It is owing to the hardness of those college mattresses, whereas in a feather-bed--'

'There is no use in our arguing that point, mother. I say I cannot sleep on a feather-bed---'

'But you have not tried one; I don't believe you ever slept on a feather-bed in your life.'

'Well, I am not going to begin now.'

'We haven't another bed aired, and it is really too late to ask the servants to change your room.'

'Well, then, I shall be obliged to sleep at the hotel in Henfield.'

'You should not speak to your mother in that way; I will not have it.'