The Parisians — Complete. Эдвард Бульвер-Литтон

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СКАЧАТЬ in me? Nothing but this one unintellectual perishable gift of a voice that does but please in uttering the thoughts of others. Doubtless I could make a name familiar for its brief time to the talk of Europe,—a name, what name? a singer’s name. Once I thought that name a glory. Shall I ever forget the day when you first shone upon me; when, emerging from childhood as from a dim and solitary bypath, I stood forlorn on the great thoroughfare of life, and all the prospects before me stretched sad in mists and in rain? You beamed on me then as the sun coming out from the cloud and changing the face of earth; you opened to my sight the fairy-land of poetry and art; you took me by the hand and said, “Courage! there is at each step some green gap in the hedgerows, some, soft escape from the stony thoroughfare. Beside the real life expands the ideal life to those who seek it. Droop not, seek it: the ideal life has its sorrows, but it never admits despair; as on the ear of him who follows the winding course of a stream, the stream ever varies the note of its music,—now loud with the rush of the falls; now low and calm as it glides by the level marge of smooth banks; now sighing through the stir of the reeds; now babbling with a fretful joy as some sudden curve on the shore stays its flight among gleaming pebbles,—so to the soul of the artist is the voice of the art ever fleeting beside and before him. Nature gave thee the bird’s gift of song: raise the gift into art, and make the art thy companion.

      “Art and Hope were twin-born, and they die together.” See how faithfully I remember, methinks, your very words. But the magic of the words, which I then but dimly understood, was in your smile and in your eye, and the queen-like wave of your hand as if beckoning to a world which lay before you, visible and familiar as your native land. And how devotedly, with what earnestness of passion, I gave myself up to the task of raising my gift into an art! I thought of nothing else, dreamed of nothing else; and oh, now sweet to me then were words of praise! “Another year yet,” at length said the masters, “and you ascend your throne among the queens of song.” Then—then—I would have changed for no other throne on earth my hope of that to be achieved in the realms of my art. And then came that long fever: my strength broke down, and the Maestro said, “Rest, or your voice is gone, and your throne is lost forever.” How hateful that rest seemed to me! You again came to my aid. You said, “The time you think lost should be but time improved. Penetrate your mind with other songs than the trash of Libretti. The more you habituate yourself to the forms, the more you imbue yourself with the spirit, in which passions have been expressed and character delineated by great writers, the more completely you will accomplish yourself in your own special art of singer and actress.” So, then, you allured me to a new study. Ah! in so doing did you dream that you diverted me from the old ambition? My knowledge of French and Italian, and my rearing in childhood, which had made English familiar to me, gave me the keys to the treasure-houses of three languages. Naturally I began with that in which your masterpieces are composed. Till then I had not even read your works. They were the first I chose. How they impressed, how they startled me! what depths in the mind of man, in the heart of woman, they revealed to me! But I owned to you then, and I repeat it now, neither they nor any of the works in romance and poetry which form the boast of recent French literature satisfied yearnings for that calm sense of beauty, that divine joy in a world beyond this world, which you had led me to believe it was the prerogative of ideal art to bestow. And when I told you this with the rude frankness you had bid me exercise in talk with you, a thoughtful, melancholy shade fell over your face, and you said quietly, “You are right, child; we, the French of our time, are the offspring of revolutions that settled nothing, unsettled all: we resemble those troubled States which rush into war abroad in order to re-establish peace at home. Our books suggest problems to men for reconstructing some social system in which the calm that belongs to art may be found at last: but such books should not be in your hands; they are not for the innocence and youth of women as yet unchanged by the systems which exist.” And the next day you brought me ‘l’asso’s great poem, the “Gerusalemme Liberata,” and said, smiling, “Art in its calm is here.”

      You remember that I was then at Sorrento by the order of my physician. Never shall I forget the soft autumn day when I sat amongst the lonely rocklets to the left of the town,—the sea before me, with scarce a ripple; my very heart steeped in the melodies of that poem, so marvellous for a strength disguised in sweetness, and for a symmetry in which each proportion blends into the other with the perfectness of a Grecian statue. The whole place seemed to me filled with the presence of the poet to whom it had given birth. Certainly the reading of that poem formed an era in my existence: to this day I cannot acknowledge the faults or weaknesses which your criticisms pointed out; I believe because they are in unison with my own nature, which yearns for harmony, and, finding that, rests contented. I shrink from violent contrasts, and can discover nothing tame and insipid in a continuance of sweetness and serenity. But it was not till after I had read “La Gerusalemme” again and again, and then sat and brooded over it, that I recognized the main charm of the poem in the religion which clings to it as the perfume clings to a flower,—a religion sometimes melancholy, but never to me sad. Hope always pervades it. Surely if, as you said, “Hope is twin-born with art,” it is because art at its highest blends itself unconsciously with religion, and proclaims its affinity with hope by its faith in some future good more perfect than it has realized in the past.

      Be this as it may, it was in this poem so pre-eminently Christian that I found the something which I missed and craved for in modern French masterpieces; even yours,—a something spiritual, speaking to my own soul, calling it forth; distinguishing it as an essence apart from mere human reason; soothing, even when it excited; making earth nearer to heaven. And when I ran on in this strain to you after my own wild fashion, you took my head between your hands and kissed me, and said, “Happy are those who believe! long may that happiness be thine!” Why did I not feel in Dante the Christian charm that I felt in Tasso? Dante in your eyes, as in those of most judges, is infinitely the greater genius; but reflected on the dark stream of that genius the stars are so troubled, the heaven so threatening.

      Just as my year of holiday was expiring, I turned to English literature; and Shakspeare, of course, was the first English poet put into my hands. It proves how childlike my mind still was, that my earliest sensation in reading him was that of disappointment. It was not only that, despite my familiarity with English (thanks chiefly to the care of him whom I call my second father), there is much in the metaphorical diction of Shakspeare which I failed to comprehend; but he seemed to me so far like the modern French writers who affect to have found inspiration in his muse, that he obtrudes images of pain and suffering without cause or motive sufficiently clear to ordinary understandings, as I had taught myself to think it ought to be in the drama.

      He makes Fate so cruel that we lose sight of the mild deity behind her. Compare, in this, Corneille’s “Polyeucte,” with the “Hamlet.” In the first an equal calamity befalls the good, but in their calamity they are blessed. The death of the martyr is the triumph of his creed. But when we have put down the English tragedy,—when Hamlet and Ophelia are confounded in death with Polonius and the fratricidal king, we see not what good end for humanity is achieved. The passages that fasten on our memory do not make us happier and holier: they suggest but terrible problems, to which they give us no solution.

      In the “Horaces” of Corneille there are fierce contests, rude passions, tears drawn from some of the bitterest sources of human pity; but then through all stands out, large and visible to the eyes of all spectators, the great ideal of devoted patriotism. How much of all that has been grandest in the life of France, redeeming even its worst crimes of revolution in the love of country, has had its origin in the “Horaces” of Corneille. But I doubt if the fates of Coriolanus and Caesar and Brutus and Antony, in the giant tragedies of Shakspeare, have made Englishmen more willing to die for England. In fine, it was long before—I will not say I understood or rightly appreciated Shakspeare, for no Englishman would admit that I or even you could ever do so, but before I could recognize the justice of the place his country claims for him as the genius without an equal in the literature of Europe. Meanwhile the ardour I had put into study, and the wear and tear of the emotions which the study called forth, made themselves felt in a return of my former illness, with symptoms still more alarming; and when the year was out I was ordained to rest for perhaps another year before СКАЧАТЬ