MINERVA BRACE NORTON

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CHICAGO
A.C. McCLURG AND COMPANY
1889


Copyright
By A.C. McClurg and Company
A.D. 1889


TO MY HUSBAND,

WHOSE GENEROUS SYMPATHY MADE POSSIBLE THESE PAGES;

To my Countrymen and Countrywomen

WHO HAVE VISITED BERLIN;

TO THOSE WHO HOPE TO GO THERE,

AND TO THE

LARGER NUMBER OF ARMCHAIR TRAVELLERS,

I Dedicate this Book.

M.B.N.


CONTENTS.


decoration for the top of page 9.
t of that vast, dim section of society, which, lying between those luxurious walks on whose behalf there are easy suppositions and that darkness of misery which, in addition to being picturesque, brings philanthropy also to the writer's aid, constitutes really, in extent and expressiveness, the substance of every nation. In England, where the fashion of fiction still sets mainly to the country-house and the hunting-field, and yet more novels are published than anywhere else in the world, that thick twilight of mediocrity of condition has been little explored. May it yield triumphs in the years to come!"

The great merit of M. de Maupassant as a writer is his frank and masculine directness. He sees life clearly, and he undertakes to describe it as he sees it, in concise and vigorous language. He is a realist, yet without the gloominess of Zola, over whom he claims one great advantage, that of possessing a rich sense of humor, and a large share of the old Gallic wit. His pessimism, indeed, is inexorable, and he pushes the misfortune, or more often the degradation, of his characters to its extreme logical conclusion. Yet, even in his saddest stories, the general design is rarely sordid. For a long while he was almost exclusively concerned with impressions of Normandy; a little later he became one of the many painters of Paris. Then he traveled widely, in the south of Europe, in Africa; wherever he went he took with him a quick and sensitive eye for the aspects of nature, and his descriptive passages, which are never pushed to a tiresome excess of length, are often faultlessly vivid. He attempted, with a good deal of cleverness, to analyze character, but his real power seems to lie in describing, in a sober style and with a virile impartiality, the superficial aspects of action and intrigue.


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[1] For valuable help in these ideas I am indebted to Mr. J. W. Harvey. I should like to quote verbatim one or two remarks of his on the subject, taken from a recent letter: "Human motion gives the convergence of time (inner sense) and space (outer sense), the spirit and the body. Time, which we are in our inner selves, is more dissociable from us than space, which only our bodies have; the one (time) can be interpreted emotionally and directly by a time-sense; the other (space) symbolically, by a space-sense, which is sight."

To speak of the rhythm of painting may seem fanciful, but I think that is only lack of familiarity. The expression is used here with no intention of metaphor. Great pictures have a very marked and real rhythm, of colour, of line, of feeling. The best prose-writing has equally a distinct rhythm.

There was never an age in the history of art when rhythm played a more important part than it does to-day. The teaching of M. Dalcroze at Hellerau is a brilliant expression of the modern desire for rhythm in its most fundamental form—that of bodily movement. Its nature and origin have been described elsewhere; it is for me to try and suggest the possibilities of its influence on every other art, and on the whole of life.

Let it be clearly understood from the first that the rhythmic training at Hellerau has an importance far deeper and more extended than is contained in its immediate artistic beauty, its excellence as a purely musical training, or its value to physical development. This is not a denial of its importance in these three respects. The beauty of the classes is amazing; the actor, as well as the designer of stage-effects, will come to thank M. Dalcroze for the greatest contribution to their art that any age can show. He has recreated the human body as a decorative unit. He has shown how men, women and children can group themselves and can be grouped in designs as lovely as any painted design, with the added charm of movement. He has taught individuals their own power of gracious motion and attitude. Musically and physically the results are equally wonderful. But the training is more than a mere musical education; it is also emphatically more than gymnastics.

Perhaps in the stress laid on individuality may be seen most easily the possibilities of the system. Personal effort is looked for in every pupil. Just as the learner of music must have the "opportunity of expressing his own musical impressions with the technical means which are taught him,"[1] so the pupil at Hellerau must come to improvise from the rhythmic sense innate in him, rhythms of his own.[2]

[1] Cf. supra, p. 28.

[2] A good example of the fertility and variety of the individual effort obtained at Hellerau was seen at the AuffÜhrung given on December 11, 1911. Two pupils undertook to realize a Prelude of Chopin, their choice falling by chance on the same Prelude. But hardly a movement of the two interpretations was the same. The first girl lay on the ground the whole time, her head on her arm, expressing in gentle movements of head, hands and feet, her idea of the music. At one point near the end, with the rising passion of the music, she raised herself on to her knees; then sank down again to her full length.

The second performer stood upright until the very end. At the most intense moment her arms were stretched above her head; at the close of the music she was bowed to the ground, in an attitude expressive of the utmost grief. In such widely different ways did the same piece of music speak to the individualities of these two girls.

To take a joy in the beauty of the body, to train his mind to move graciously and harmoniously both in itself and in relation to those around him, finally, to make his whole life rhythmic—such an ideal is not only possible but almost inevitable to the pupil at Hellerau. The keenness which possesses the whole College, the delight of every one in their work, their comradeship, their lack of self-consciousness, their clean sense of the beauty of natural form, promises a new and more harmonious race, almost a realization of Rousseau's ideal, and with it an era of truly rhythmic artistic production.

That the soil is ready for the new seed may be shown by a moment's consideration of what I consider to be a parallel development in painting. There is in Munich a group of artists who call themselves Der Blaue Reiter. They are led by a Russian, Wassily Kandinsky, and a German, Franz Marc, and it is of Kandinsky's art that I propose to speak. Kandinsky is that rare combination, an artist who can express himself in both words and paint. His book—Über das Geistige in der Kunst[1]—is an interesting and subtle piece of aesthetic philosophy. His painting is a realization of the attempt to paint music. He has isolated the emotion caused by line and colour from the external association of idea. All form in the ordinary representative sense is eliminated. But form there is in the deeper sense, the shapes and rhythms of the innerer Notwendigkeit, and with it, haunting, harmonious colour. To revert to a former metaphor, painting has been brought into the centre of the scale. As Kandinsky says in his book: "Shades of colour, like shades of sound, are of a much subtler nature, cause much subtler vibrations of the spirit than can ever be given by words." It is to achieve this finer utterance, to establish a surer and more expressive connexion between spirit and spirit, that Kandinsky is striving. His pictures are visions, beautiful abstractions of colour and line which he has lived himself, deep down in his inmost soul. He is intensely individual, as are all true mystics; at the same time the spirit of his work is universal.

[1] Über das Geistige in der Kunst. Piper Verlag, MÜnchen, 3 Marks. See also vol. i. of der Blaue Reiter. Piper Verlag, 10 Marks.

In this, then, as in so much else, Kandinsky and Dalcroze are advancing side by side. They are leading the way to the truest art, and ultimately to the truest life of all, which is a synthesis of the collective arts and emotions of all nations, which is, at the same time, based on individuality, because it represents the inner being of each one of its devotees.

Michael T. H. Sadler.


Printed by Butler & Tanner, Frome and London.

A Plastic Exercise.





< You have vowed to do it."

"Yes, father."

"That's good, my son. Embrace me. Farewell. I am going to break up, I'm sure. Tell them they may come in."

Young Hautot embraced his father, groaning while he did so; then, always docile, he opened the door, and the priest appeared in a white surplice, carrying the holy oils.

But the dying man had closed his eyes, and he refused to open them again, he refused to answer, he refused to show, even by a sign, that he understood.

He had spoken enough, this man; he could speak no more. Besides he now felt his heart calm; he wanted to die in peace. What need had he to make a confession to the deputy of God, since he had just done so to his son, who constituted his own family?

He received the last rites, was purified and absolved, in the midst of his friends and his servants on their bended knees, without any movement of his face indicating that he still lived.

He expired about midnight, after four hours' convulsive movements, which showed that he must have suffered dreadfully in his last moments.


PART II

It was on the following Tuesday that they buried him, the shooting opened on Sunday. On his return home, after having accompanied his father to the cemetery, CÉsar Hautot spent the rest of the day weeping. He scarcely slept at all on the following night, and he felt so sad on awakening that he asked himself how he could go on living.

However, he kept thinking until evening that, in order to obey the last wish of his father, he ought to repair to Rouen next day, and see this girl Catholine Donet, who resided in the Rue d'Eperlan in the third story, second door. He had repeated to himself in a whisper, just as a little boy repeats a prayer, this name and address, a countless number of times, so that he might not forget them, and he ended by lisping them continually, without being able to stop or to think of what it was, so much were his tongue and his mind possessed by the appellation.

According, on the following day, about eight o'clock, he ordered Graindorge to be yoked to the tilbury, and set forth, at the quick trotting pace of the heavy Norman horse, along the high road from the Ainville to Rouen. He wore his black frock coat drawn over his shoulders, a tall silk hat on his head, and on his legs his breeches with straps; and he did not wish, on account of the occasion, to dispense with the handsome costume, the blue overall which swelled in the wind, protected the cloth from dust and from stains, and which was to be removed quickly on reaching his destination the moment he had jumped out of the coach.

He entered Rouen accordingly just as it was striking ten o'clock, drew up, as he had usually done at the Hotel des Bon-Enfants, in the Rue des Trois-Mares, submitted to the hugs of the landlord and his wife and their five children, for they had heard the melancholy news; after that, he had to tell them all the particulars about the accident, which caused him to shed tears, to repel all the proffered attentions which they sought to thrust upon him merely because he was wealthy, and to decline even the breakfast they wanted him to partake of, thus wounding their sensibilities.

Then, having wiped the dust off his hat, brushed his coat and removed the mud stains from his boots, he set forth in search of the Rue de l'Eperlan, without venturing to make inquiries from anyone, for fear of being recognized and arousing suspicions.

At length, being unable to find the place, he saw a priest passing by, and, trusting to the professional discretion which churchmen possess, he questioned the ecclesiastic.

He had only a hundred steps farther to go; it was exactly the second street to the right.

Then he hesitated. Up to that moment, he had obeyed, like a mere animal, the expressed wish of the deceased. Now he felt quite agitated, confused, humiliated, at the idea of finding himself—the son—in the presence of this woman who had been his father's mistress. All the morality which lies buried in our breasts, heaped up at the bottom of our sensuous emotions by centuries of hereditary instruction, all that he had been taught since he had learned his catechism about creatures of evil life, to instinctive contempt which every man entertains towards them, even though he may marry one of them, all the narrow honesty of the peasant in his character, was stirred up within him, and held him back, making him grow red with shame.

But he said to himself:

"I promised the father, I must not break my promise."

Then he gave a push to the door of the house bearing the number 18, which stood ajar, discovered a gloomy-looking staircase, ascended three flights, perceived a door, then a second door, came upon the string of a bell, and pulled it. The ringing, which resounded in the apartment before which he stood, sent a shiver through his frame. The door was opened, and he found himself facing a young lady very well dressed, a brunette with a fresh complexion who gazed at him with eyes of astonishment.

He did not know what to say to her, and she who suspected nothing, and who was waiting for the other, did not invite him to come in. They stood looking thus at one another for nearly half-a-minute, at the end of which she said in a questioning tone:

"You have something to tell me Monsieur?" He falteringly replied:

"I am M. Hautot's son."

She gave a start, turned pale, and stammered out as If she had known him for a long time:

"Monsieur CÉsar?"

"Yes."

"And what next?"

"I have come to speak to you on the part of my father."

She articulated:

"Oh my God!"

She then drew back so that he might enter. He shut the door and followed her into the interior. Then he saw a little boy of four or five years playing with a cat, seated on a floor in front of a stove, from which rose the steam of dishes which were being kept hot.

"Take a seat," she said.

He sat down.

She asked:

"Well?"

He no longer ventured to speak, keeping his eyes fixed on the table which stood in the center of the room, with three covers laid on it, one of which was for a child. He glanced at the chair which had its back turned to the fire. They had been expecting him. That was his bread which he saw, and which he recognized near the fork, for the crust had been removed on account of Hautot's bad teeth. Then, raising his eyes, he noticed on the wall his father's portrait, the large photograph taken at Paris the year of the exhibition, the same as that which hung above the bed in the sleeping apartment at Ainville.

The young woman again asked:

"Well, Monsieur CÉsar?"

He kept staring at her. Her face was livid with anguish; and she waited, her hands trembling with fear.

Then he took courage.

"Well, Mam'zelle, papa died on Sunday last just after he had opened the shooting."

She was so much overwhelmed that she did not move. After a silence of a few seconds, she faltered in an almost inaudible tone:

"Oh! it is not possible!"

Then, on a sudden, tears showed themselves in her eyes, and covering her face with her hands, she burst out sobbing.

At that point the little boy turned round, and, seeing his mother weeping, began to howl. Then, realizing that this sudden trouble was brought about by the stranger, he rushed at CÉsar, caught hold of his breeches with one hand, and with the other hit him with all his strength on the thigh. And CÉsar remained agitated, deeply affected, with this woman mourning for his father at one side of him, and the little boy defending his mother at the other. He felt their emotion taking possession of himself, and his eyes were beginning to brim over with the same sorrow; so, to recover her self-command, he began to talk:

"Yes," he said, "the accident occurred on Sunday, at eight o'clock—."

And he told, as if she were listening to him, all the facts without forgetting a single detail, mentioning the most trivial matters with the minuteness of a countryman. And the child still kept assailing him, making kicks at his ankles.

When he came to the time at which his father had spoken about her, her attention was caught by hearing her own name, and, uncovering her face she said:

"Pardon me! I was not following you; I would like to know—If you did not mind beginning over again."

He related everything at great length, with stoppages, breaks and reflections of his own from time to time. She listened to him eagerly now perceiving with a woman's keen sensibility all the sudden changes of fortune which his narrative indicated, and trembling with horror, every now and then, exclaiming:

"Oh, my God!"

The little fellow, believing that she had calmed down, ceased beating CÉsar, in order to catch his mother's hand, and he listened, too, as if he understood.

When the narrative was finished, young Hautot continued:

"Now we will settle matters together in accordance with his wishes."

"Listen: I am well off he has left me plenty of means. I don't want you to have anything to complain about—"

But she quickly interrupted him.

"Oh, Monsieur CÉsar, Monsieur CÉsar, not to-day. I am cut to the heart—another time—another day. No, not to-day. If I accept, listen! 'Tis not for myself—no, no, no, I swear to you. 'Tis for the child. Besides this provision will be put to his account."

Thereupon, CÉsar scared, divined the truth, and stammering:

"So then—'tis his—the child?"

"Why, yes," she said.

And Hautot, Junior, gazed at his brother with a confused emotion, intense and painful.

After a lengthened silence, for she had begun to weep afresh, CÉsar, quite embarrassed, went on:

"Well, then, Mam'zelle Donet I am going. When would you wish to talk this over with me?"

She exclaimed:

"Oh! no, don't go! don't go. Don't leave me all alone with Emile. I would die of grief. I have no longer anyone, anyone but my child. Oh! what wretchedness, what wretchedness. Mousieur CÉsar! Stop! Sit down again. You will say something more to me. You will tell me what he was doing over there all the week."

And CÉsar resumed his seat, accustomed to obey.

She drew over another chair for herself in front of the stove, where the dishes had all this time been simmering, took Emile upon her knees, and asked CÉsar a thousand questions about his father with reference to matters of an intimate nature, which made him feel without reasoning on the subject, that she had loved Hautot with all the strength of her frail woman's heart.

And, by the natural concatenation of his ideas—which were rather limited in number—he recurred once more to the accident, and set about telling the story over again with all the same details.

When he said:

"He had a hole in his stomach—you could put your two fists into it."

She gave vent to a sort of shriek, and the tears gushed forth again from her eyes.

Then seized by the contagion of her grief, CÉsar began to weep, too, and as tears always soften the fibers of the heart, he bent over Emile whose forehead was close to his own mouth, and kissed him.

The mother, recovering her breath, murmured:

"Poor lad, he is an orphan now!"

"And so am I," said CÉsar.

And they ceased to talk.

But suddenly the practical instinct of the housewife, accustomed to be thoughtful about many things, revived in the young woman's breast.

"You have perhaps taken nothing all the morning, Monsieur CÉsar."

"No, Mam'zelle."

"Oh! you must be hungry. You will eat a morsel."

"Thanks," he said, "I am not hungry; I have had too much trouble."

She replied:

"In spite of sorrow, we must live. You will not refuse to let me get something for you! And then you will remain a little longer. When you are gone, I don't know what will become of me."

He yielded after some further resistance, and, sitting down with his back to the fire, facing her, he ate a plateful of tripe, which had been bubbling in the stove, and drank a glass of red wine. But he would not allow her to uncork the bottle of white wine. He several times wiped the mouth of the little boy, who had smeared all his chin with sauce.

As he was rising up to go, he asked:

"When would you like me to come back to speak about this business to you, Mam'zelle Donet?"

"If it is all the same to you, say next Thursday, Monsieur CÉsar. In that way, I would lose none of my time, as I always have my Thursdays free."

"That will suit me—next Thursday."

"You will come to lunch. Won't you?"

"Oh! On that point I can't give you a promise."

"The reason I suggested is that people can chat better when they are eating. One has more time too."

"Well, be it so. About twelve o'clock, then."

And he took his departure, after he had again kissed little Emile, and pressed Mademoiselle Donet's hand.


PART III

The week appeared long to CÉsar Hautot. He had never before found himself alone, and the isolation seemed to him insupportable. Till now, he had lived at his father's side, just like his shadow, followed him into the fields, superintended the execution of his orders, and, when they had been a short time separated, again met him at dinner. They had spent the evenings smoking their pipes, face to face with one another, chatting about horses, cows or sheep, and the grip of their hands when they rose up in the morning might have been regarded as a manifestation of deep family affection on both sides.

Now CÉsar was alone, he went vacantly through the process of dressing the soil of autumn, every moment expecting to see the tall gesticulating silhouette of his father rising up at the end of a plain. To kill time, he entered the houses of his neighbors, told about the accident to all who had not heard of it, and sometimes repeated it to the others. Then, after he had finished his occupations and his reflections, he would sit down at the side of a road, asking himself whether this kind of life was going to last for ever.

He frequently thought of Mademoiselle Donet. He liked her. He considered her thoroughly respectable, a gentle and honest young woman, as his father had said. Yes, undoubtedly she was an honest girl. He resolved to act handsomely towards her, and to give her two thousand francs a year, settling the capital on the child. He even experienced a certain pleasure in thinking that he was going to see her on the following Thursday and arrange this matter with her. And then the notion of this brother, this little chap of five, who was his father's son, plagued him, annoyed him a little, and, at the same time, exhibited him. He had, as it were, a family in this brat, sprung from a clandestine alliance, who would never bear the name of Hautot, a family which he might take or leave, just as he pleased, but which would recall his father.

And so, when he saw himself on the road to Rouen on Thursday morning, carried along by Graindorge trotting with clattering foot-beats, he felt his heart lighter, more at peace than he had hitherto felt it since his bereavement.

On entering Mademoiselle Donet's apartment, he saw the table laid as on the previous Thursday with the sole difference that the crust had not been removed from the bread. He pressed the young woman's hand, kissed Emile on the cheeks, and sat down, more at ease than if he were in his own house, his heart swelling in the same way. Mademoiselle Donet seemed to him a little thinner and paler. She must have grieved sorely. She wore now an air of constraint in his presence, as if she understood what she had not felt the week before under the first blow of her misfortune, and she exhibited an excessive deference towards him, a mournful humility, and made touching efforts to please him, as if to pay him back by her attentions for the kindness he had manifested towards her. They were a long time at lunch talking over the business, which had brought him there. She did not want so much money. It was too much. She earned enough to live on herself, but she only wished that Emile might find a few sous awaiting him when he grew big. CÉsar held out, however, and even added a gift of a thousand francs for herself for the expense of mourning.

When he had taken his coffee, she asked:

"Do you smoke?"

"Yes—I have my pipe."

He felt in his pocket. Good God! He had forgotten it! He was becoming quite woebegone about it when she offered him a pipe of his father that had been shut up in a cupboard. He accepted it, took it up in his hand, recognized it, smelled it, spoke of its quality in a tone of emotion, filled it with tobacco, and lighted it. Then, he set Emile astride on his knee, and made him play the cavalier, while she removed the tablecloth, and put the soiled plates at one end of the sideboard in order to wash them as soon as he was gone.

About three o'clock, he rose up with regret, quite annoyed at the thought of having to go.

"Well! Mademoiselle Donet," he said, "I wish you good evening, and am delighted to have found you like this."

She remained standing before him, blushing, much affected, and gazed at him while she thought of the other.

"Shall we not see one another again?" she said.

He replied simply:

"Why, yes, mam'zelle, if it gives you pleasure."

"Certainly, Monsieur CÉsar. Will next Thursday suit you then?"

"Yes, Mademoiselle Donet."

"You will come to lunch, of course?"

"Well—if you are so kind as to invite me, I can't refuse."

"It is understood, then, Monsieur CÉsar—next Thursday at twelve, the same as to-day."

"Thursday at twelve, Mam'zelle Donet!"


                                                                                                                                                                                                                                                                                                           

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