第20章 CHAPTER IV THE SNARE OF PREPARATION(3)

The mother did not dream of the sting her words left and that the sensitive girl appreciated only too well that her opportunities were fine and unusual, but she also knew that in spite of some facility and much good teaching she had no genuine talent and never would fulfill the expectations of her friends. She looked back upon her mother's girlhood with positive envy because it was so full of happy industry and extenuating obstacles, with undisturbed opportunity to believe that her talents were unusual.

The girl looked wistfully at her mother, but had not the courage to cry out what was in her heart: "I might believe I had unusual talent if I did not know what good music was; I might enjoy half an hour's practice a day if I were busy and happy the rest of the time. You do not know what life means when all the difficulties are removed! I am simply smothered and sickened with advantages.

It is like eating a sweet dessert the first thing in the morning."

This, then, was the difficulty, this sweet dessert in the morning and the assumption that the sheltered, educated girl has nothing to do with the bitter poverty and the social maladjustment which is all about her, and which, after all, cannot be concealed, for it breaks through poetry and literature in a burning tide which overwhelms her; it peers at her in the form of heavy-laden market women and underpaid street laborers, gibing her with a sense of her uselessness.

I recall one snowy morning in Saxe-Coburg, looking from the window of our little hotel upon the town square, that we saw crossing and recrossing it a single file of women with semicircular, heavy, wooden tanks fastened upon their backs. They were carrying in this primitive fashion to a remote cooling room these tanks filled with a hot brew incident to one stage of beer making. The women were bent forward, not only under the weight which they were bearing, but because the tanks were so high that it would have been impossible for them to have lifted their heads. Their faces and hands, reddened in the cold morning air, showed clearly the white scars where they had previously been scalded by the hot stuff which splashed if they stumbled ever so little on their way. Stung into action by one of those sudden indignations against cruel conditions which at times fill the young with unexpected energy, I found myself across the square, in company with mine host, interviewing the phlegmatic owner of the brewery who received us with exasperating indifference, or rather received me, for the innkeeper mysteriously slunk away as soon as the great magnate of the town began to speak. I went back to a breakfast for which I had lost my appetite, as I had for Gray's "Life of Prince Albert" and his wonderful tutor, Baron Stockmar, which I had been reading late the night before. The book had lost its fascination; how could a good man, feeling so keenly his obligation "to make princely the mind of his prince," ignore such conditions of life for the multitude of humble, hard-working folk. We were spending two months in Dresden that winter, given over to much reading of "The History of Art" and after such an experience I would invariably suffer a moral revulsion against this feverish search after culture. It was doubtless in such moods that I founded my admiration for Albrecht Durer, taking his wonderful pictures, however, in the most unorthodox manner, merely as human documents. I was chiefly appealed to by his unwillingness to lend himself to a smooth and cultivated view of life, by his determination to record its frustrations and even the hideous forms which darken the day for our human imagination and to ignore no human complications. I believed that his canvases intimated the coming religious and social changes of the Reformation and the peasants' wars, that they were surcharged with pity for the downtrodden, that his sad knights, gravely standing guard, were longing to avert that shedding of blood which is sure to occur when men forget how complicated life is and insist upon reducing it to logical dogmas.

The largest sum of money that I ever ventured to spend in Europe was for an engraving of his "St. Hubert," the background of which was said to be from an original Durer plate. There is little doubt, I am afraid, that the background as well as the figures "were put in at a later date," but the purchase at least registered the high-water mark of my enthusiasm.

The wonder and beauty of Italy later brought healing and some relief to the paralyzing sense of the futility of all artistic and intellectual effort when disconnected from the ultimate test of the conduct it inspired. The serene and soothing touch of history also aroused old enthusiasms, although some of their manifestations were such as one smiles over more easily in retrospection than at the moment. I fancy that it was no smiling matter to several people in our party, whom I induced to walk for three miles in the hot sunshine beating down upon the Roman Campagna, that we might enter the Eternal City on foot through the Porta del Popolo, as pilgrims had done for centuries. To be sure, we had really entered Rome the night before, but the railroad station and the hotel might have been anywhere else, and we had been driven beyond the walls after breakfast and stranded at the very spot where the pilgrims always said "Ecco Roma," as they caught the first glimpse of St. Peter's dome. This melodramatic entrance into Rome, or rather pretended entrance, was the prelude to days of enchantment, and I returned to Europe two years later in order to spend a winter there and to carry out a great desire to systematically study the Catacombs. In spite of my distrust of "advantages" I was apparently not yet so cured but that I wanted more of them.