Galgenberg, Aug. 25th.
Dear Mr. Anstruther,—Very well; I won't quarrel; I will be friends,—friends, that is, so long as you allow me to be so in the only right and possible way. Don't murder too many grouse. Think of my disapproving scowl when you are beginning to do it, and then perhaps your day of slaughter will resolve itself into an innocent picnic on the moors, alone with sky and heather and a bored, astonished dog. Are you not glad now that you went to Scotland instead of coming to Jena to find the Schmidts not at home? Surely long days in the heather by yourself will do much toward making you friends with life. I think those moors must be so beautiful. Really very nearly as good as my Galgenberg. My Galgenberg, by the bye, has left off being quite so admirably solitary as it was at first. The neighbor is, as I told you, extremely friendly, so is his wife, though I do not set such store by her friendliness as I do by his, for, frankly, I find men are best; and they have a son who is an Assessor in Berlin. You know what an Assessor is, don't you?—it is a person who will presently be a Landrath. And you know what a Landrath is? It's what you are before you turn into a Regierungsrath. And a Regierungsrath is what you are before you are a Geheimrath. And a Geheimrath, if he lives long enough and doesn't irritate anybody in authority, becomes ultimately that impressive and glorious being a Wirklicher Geheimrath—implying that before he was only in fun—mit dem Pr鋎ikat Excellenz. And don't say I don't explain nicely, because I do. Well, where was I? Oh, yes; at the son. Well, he appeared a fortnight ago, brown and hot and with a knapsack, having walked all the way from Berlin, and is spending his holiday with his people. For a day or two I thought him quite ordinary. He made rather silly jokes, and wore a red tie. Then one evening I heard lovely sounds, lovely, floating, mellow sounds coming up in floods through the orchard into my garden where I was propped against a tree-trunk watching a huge yellow moon disentangling itself slowly from the mists of Jena,—oh, but exquisite sounds, sounds that throbbed into your soul and told it all it wanted to hear, showed it the way to all it was looking for, talked to it wonderfully of the possibilities of life. First they drew me on to my feet, then they drew me down the garden, then through the orchard, nearer and nearer, till at last I stood beneath the open window they were coming from, listening with all my ears. Against the wall I leaned, holding my breath, spell-bound, forced to ponder great themes, themes of life and death, the music falling like drops of liquid light in dark and thirsty places. I don't know how long it lasted or how long I stood there after it was finished, but some one came to the window and put his head out into the freshness, and what do you think he said? He said, 'Donnerwetter, wie man im Zimmer schwitzt.' And it was the son, brown and hot, and with a red tie.
'Ach, Fr鋟lein Schmidt,' said he, suddenly perceiving me. 'Good evening. A fine evening. I did not know I had an audience.'
'Yes,' said I, unable at once to adjust myself to politenesses.
'Do you like music?'
'Yes,' said I, still vibrating.
'It is a good violin. I picked it up—' and he told me a great many things that I did not hear, for how can you hear when your spirit refuses to come back from its journeyings among the stars?
'Will you not enter?' he said at last. 'My mother is fetching up some beer and will be here in a moment. It makes one warm playing.'
But I would not enter. I walked back slowly through the long orchard grass between the apple-trees trees. The moon gleamed along the branches. The branches were weighed down with apples. The place was full of the smell of fruit, of the smell of fruit fallen into the grass, that had lain there bruised all day in the sun. I think the beauty of the world is crushing. Often it seems almost unbearable, calling out such an acuteness of sensation, such a vivid, leaping sensitiveness of feeling, that indeed it is like pain.
But what I want to talk about is the strange way good things come out of evil. It really almost makes you respect and esteem the bad things, doing it with an intelligent eye fixed on the future. Here is our young friend down the hill, a young man most ordinary in every way but one, so ordinary that I think we must put him under the heading bad, taking bad in the sense of negation, of want of good, here he is, robust of speech, fond of beer, red of tie, chosen as her temple by that delicate lady the Muse of melody. Apparently she is not very particular about her temples. It is true while he is playing at her dictation she transforms him wholly, and I suppose she does not care what he is like in between. But I do. I care because in between he thinks it pleasant to entertain me with facetiousness, his mother hanging fondly on every word in the amazing way mothers, often otherwise quite intelligent persons, do. Since that first evening he has played every evening, and his taste in music is as perfect as it is bad in everything else. It is severe, exquisite, exclusive. It is the taste that plays Mozart and Bach and Beethoven, and wastes no moments with the Mendelssohn sugar or the lesser inspiration of Brahms. I tried to strike illumination out of him on these points, wanted to hear his reasons for a greater exclusiveness than I have yet met, went through a string of impressive names beginning with Schumann and ending with Wagner and Tchaikowsky, but he showed no interest, and no intelligence either, unless a shrug of the shoulder is intelligent. It is true he remarked one day that he found life too short for anything but the best—'That is why,' he added, unable to forbear from wit, 'I only drink Pilsner.'
'What?' I cried, ignoring the Pilsner, 'and do not these great men'—again I ran through a string of them—'do not they also belong to the very best?'
'No,' he said; and would say no more. So you see he is obstinate as well as narrow-minded.
Of course such exclusiveness in art is narrow-minded, isn't it? Besides, it is very possible he is wrong. You, I know, used to perch Brahms on one of the highest peaks of Parnassus (I never thought there was quite room enough for him on it), and did you not go three times all the way to Munich while you were with us to hear Mottl conduct the Ring? Surely it is probable a person of your all-round good taste is a better judge than a person of his very nearly all-round bad taste? Whatever your faults may be, you never made a fault in ties, never clamored almost ceaselessly for drink, never talked about schwitzen, nor entertained young women from next door with the tricks and facetiousness of a mountebank. I wonder if his system were carried into literature, and life were wholly concentrated on the half dozen absolutely best writers, so that we who spread our attention out thin over areas I am certain are much too wide knew them as we never can know them, became part of them, lived with them and in them, saw through their eyes and thought with their thoughts, whether there would be gain or loss? I don't know. Tell me what you think. If I might only have the six mightiest books to go with me through life I would certainly have to learn Greek because of Homer. But when it comes to the very mightiest, I cannot even get my six; I can only get four. Of course when I loosely say six books I mean the works of six writers. But beyond my four I cannot get; there must be a slight drop for the other two,—very slight, hardly a drop, rather a slight downward quiver into a radiance the faintest degree less blazing, but still a degree less. These two would be Milton and Virgil. The other four—but you know the other four without my telling you. I am not sure that the Assessor is not right, and that one cannot, in matters of the spirit, be too exclusive. Exclusiveness means concentration, deeper study, minuter knowledge; for we only have a handful of years to do anything in, and they are quite surely not enough to go round when going round means taking in the whole world.
On the other hand, wouldn't my speech become archaic? I'm afraid I would have a tendency that would grow to address Papa in blank verse. My language, even when praying him at breakfast to give me butter, would be incorrigibly noble. I don't think Papa would like it. And what would he say to a daughter who was forced by stress of concentration on six works to go through life without Goethe? Goethe, you observe, was not one of the two less glorious and he certainly was not one of the four completely glorious. I begin to fear I should miss a great deal by my exclusions. It would be sad to die without ever having been thrilled by Werther, exalted by Faust, amazed by the Wahlverwandtschaften, sent to sleep by Wilhelm Meister. To die innocent of any knowledge of Schiller's Glocke, with no memory of strenuous hours spent getting it by heart at school, might be quite pleasant. But I think it would end by being tiring to be screwed up perpetually to the pitch of the greatest men's greatest moments. Such heights are not for insects like myself. I would hang very dismally, with drooping head and wings, on those exalted hooks. And has not the soul too its longings at times for a dressing-gown and slippers? And do you see how you could do without Boswell?
Yours sincerely,
ROSE-MARIE SCHMIDT.