Wagner

One day we took the train and went down to Mannheim to see King Lear played in German. It was a mistake. We sat in our seats three whole hours and never understood anything but the thunder and lightning; and even that was reversed to suit German ideas, for the thunder came first and the lightning followed after.... Another time we went to Mannheim and attended a shivaree—otherwise an opera—the one called Lohengrin. The banging and slamming and booming and crashing were something beyond belief. The racking and pitiless pain of it remains stored up in my memory alongside the memory of the time that I had my teeth fixed. There were circumstances which made it necessary for me to stay through the four hours to the end, and I stayed; but the recollection of that long, dragging, relentless season of suffering is indestructible. To have to endure it in silence, and sitting still, made it all the harder. I was in a railed compartment with eight or ten strangers, of the two sexes, and this compelled repression; yet at times the pain was so exquisite that I could hardly keep the tears back. At those times, as the howlings and wailings and shriekings of the singers, and the ragings and roarings and explosions of the vast orchestra rose higher and higher, and wilder and wilder, and fiercer and fiercer, I could have cried if I had been alone. Those strangers would not have been surprised to see a man do such things who was being gradually skinned, but they would have marveled at it here, and made remarks about it, no doubt, whereas there was nothing in the present case which was an advantage over being skinned. There was a wait of half an hour at the end of the first act, and I could have gone out and rested during that time, but I could not trust myself to do it, for I felt that I should desert and stay out. There was another wait of half an hour toward nine o’clock, but I had gone through so much by that time that I had no spirit left, and so had no desire but to be let alone.

I do not wish to suggest that the rest of the people there were like me, for, indeed, they were not. Whether it was that they naturally liked that noise, or whether it was that they had learned to like it by getting used to it, I did not at that time know; but they did like it—this was plain enough. While it was going on they sat and looked rapt and grateful as cats do when one strokes their backs; and whenever the curtain fell they rose to their feet, in one solid mighty multitude, and the air was snowed thick with waving handkerchiefs, and hurricanes of applause swept the place. This was not comprehensible to me. Of course, there were many people there who were not under compulsion to stay; yet the tiers were as full at the close as they had been at the beginning. This showed that the people liked it....

I suppose there are two kinds of music—one kind which one feels, just as an oyster might, and another sort which requires a higher faculty, a faculty which must be assisted and developed by teaching. Yet if base music gives certain of us wings, why should we want any other? But we do. We want it because the higher and better like it. But we want it without giving it the necessary time and trouble; so we climb into that upper tier, that dress circle, by a lie; we pretend we like it. I know several of that sort of people—and I propose to be one of them myself when I get home with my fine European education.

Midnight Entertainment

At last all sleepiness forsook me. I recognized the fact that I was hopelessly and permanently wide-awake. Wide-awake, and feverish and thirsty. When I had lain tossing there as long as I could endure it, it occurred to me that it would be a good idea to dress and go out in the great square and take a refreshing wash in the fountain, and smoke and reflect there until the remnant of the night was gone.

I believed I could dress in the dark without waking Harris. I had banished my shoes after the mouse, but my slippers would do for a summer night. So I rose softly, and gradually got on everything—down to one sock. I couldn’t seem to get on the track of that sock, any way I could fix it. But I had to have it; so I went down on my hands and knees, with one slipper on and the other in my hand, and began to paw gently around and rake the floor, but with no success. I enlarged my circle, and went on pawing and raking. With every pressure of my knee, how the floor creaked! and every time I chanced to rake against any article, it seemed to give out thirty-five or thirty-six times more noise than it would have in the daytime. In those cases I always stopped and held my breath till I was sure Harris had not awakened—then I crept along again. I moved on and on, but I could not find the sock; I could not seem to find anything but furniture. I could not remember that there was much furniture in the room when I went to bed, but the place was alive with it now—especially chairs—chairs everywhere—had a couple of families moved in, in the meantime? And I never could seem to glance on one of those chairs, but always struck it full and square with my head. My temper rose, by steady and sure degrees, and as I pawed on and on, I fell to making vicious comments under my breath.

Finally, with a venomous access of irritation, I said I would leave without the sock; so I rose up and made straight for the door—as I supposed—and suddenly confronted my dim spectral image in the mirror. It startled the breath out of me, for an instant; it was also showed me that I was lost, and had no sort of idea where I was. When I realized this, I was so angry that I had to sit down on the floor and take hold of something to keep from lifting the roof off with an explosion of opinion. If there had been only one mirror, it might possibly have helped to locate me; but there were two, and two were as bad as a thousand; besides, these were on opposite sides of the room. I could see the dim blur of the windows, but in my turned-around condition they were exactly where they ought not to be, and so they only confused me instead of helping me.

I started to get up, and knocked down an umbrella; it made a noise like a pistol-shot when it struck that hard, slick, carpetless floor; I grated my teeth and held my breath—Harris did not stir. I set the umbrella slowly and carefully against the wall, but as soon as I took my hand away, its heel slipped from under it and down it came again with another bang. I shrunk together and listened a moment in silent fury—no harm done, everything quiet. With the most painstaking care and nicety I stood the umbrella up once more, took my hand away, and down it came again.

I have been strictly reared, but if it had not been so dark and solemn and awful there in that lonely, vast room, I do believe I should have said something then which could not have been put in a Sunday-school book without injuring the sale of it. If my reasoning powers had not been already sapped dry by my harassments, I would have known better than to try to set an umbrella on end on one of those glassy German floors in the dark; it can’t be done in the daytime without four failures to one success. I had one comfort, though—Harris was yet still and silent—he had not stirred.

The umbrella could not locate me—there were four standing around the room, and all alike. I thought I would feel along the wall and find the door in that way. I rose up and began this operation, but raked down a picture. It was not a large one, but it made noise enough for a panorama. Harris gave out no sound, but I felt that if I experimented any further with the pictures I should be sure to wake him. Better give up trying to get out. Yes, I would find King Arthur’s Round Table once more—I had already found it several times—and used it for a base of departure on an exploring tour for my bed; if I could find my bed I could find my water-pitcher. I would quench my raging thirst and turn in. So I started on my hands and knees, because I could go faster that way, and with more confidence, too, and not knock things down. By and by I found the table—with my head—rubbed the bruise a little, then rose up and started, with hands abroad and fingers spread, to balance myself. I found a chair; then the wall; then another chair; then a sofa; then an alpenstock, then another sofa; this confounded me, for I had thought there was only one sofa. I hunted up the table again and took a fresh start; found some more chairs.

It occurred to me, now, as it ought to have done before, that as the table was round, it was therefore no value as a place to aim from; so I moved off once more and at random among the wilderness of chairs and sofas—wandered off into unfamiliar regions, and presently knocked a candlestick off a mantelpiece and knocked off a lamp, grabbed at the lamp and knocked off a water-pitcher with a rattling crash, and thought to myself, “I’ve found you at last—I judged I was close upon you.” Harris shouted “murder,” and “thieves,” and finished with “I’m absolutely drowned.”

The crash had roused the house. Mr. X. pranced in, in his long night-garment, with a candle, young Z. after him with another candle; a procession swept in at another door, with candles and lanterns—landlord and two German guests in their nightgowns, and a chambermaid in hers.

I looked around; I was at Harris’s bed, a sabbath day’s journey from my own. There was only one sofa; it was against the wall; there was only one chair where a body could get at it—I had been revolving around it like a planet, and colliding with it like a comet half the night.

I explained how I had been employing myself, and why. Then the landlord’s party left, and the rest of us set about our preparations for breakfast, for the dawn was ready to break. I glanced furtively at my pedometer, and found I had made 47 miles. But I did not care, for I had come out for a pedestrian tour anyway.

Foreign Quotations

I have a prejudice against people who print things in a foreign language and add no translation. When I am the reader, and the author considers me able to do the translating myself, he pays me quite a nice compliment—but if he would do the translating for me I would try to get along without the compliment.

Reflections on the Ant

Now and then, while we rested, we watched the laborious ant at his work. I found nothing new in him—certainly nothing to change my opinion of him. It seems to me that in the matter of intellect the ant must be a strangely overrated bird. During many summers, now, I have watched him, when I ought to have been in better business, and I have not yet come across a living ant that seemed to have any more sense than a dead one. I refer to the ordinary ant, of course; I have had no experience of those wonderful Swiss and African ones which vote, keep drilled armies, hold slaves, and dispute about religion. Those particular ants may be all that the naturalist paints them, but I am persuaded that the average ant is a sham. I admit his industry, of course; he is the hardest working creature in the world—when anybody is looking—but his leather-headedness is the point I make against him. He goes out foraging, he makes a capture, and then what does he do? Go home? No—he goes anywhere but home. He doesn’t know where home is. His home may be only three feet away,—no matter, he can’t find it. He makes his capture, as I have said; it is generally something which can be of no sort of use to himself or anybody else; it is usually seven times bigger than it ought to be; he lifts it bodily up in the air by main force and starts; not toward home, but in the opposite direction; not calmly and wisely, but with a frantic haste which is wasteful of his strength; he fetches up against a pebble, and instead of going around it, he climbs over it backwards dragging his booty after him, tumbles down on the other side, jumps up in a passion, kicks the dust off his clothes, moistens his hands, grabs his property viciously, yanks it this way, then that, shoves it ahead of him a moment, turns tail and lugs it after him another moment, gets madder and madder, then presently hoists it into the air and goes tearing away in an entirely new direction; comes to a weed; it never occurs to him to go around it; no, he must climb it; and he does climb it, dragging his worthless property to the top—which is as bright a thing to do as it would be for me to carry a sack of flour from Heidelberg to Paris by way of Strasburg steeple; when he gets up there he finds that that is not the place; takes a cursory glance at the scenery and either climbs down again or tumbles down, and starts off once more—as usual in a new direction. At the end of half an hour, he fetches up within six inches of the place he started from and lays his burden down; meantime he has been over all the ground for two yards around, and climbed all the weeds and pebbles he came across. Now he wipes the sweat from his brow, strokes his limbs, and then marches aimlessly off, in as violent a hurry as ever. He traverses a good deal of zig-zag country, and by and by stumbles on his same booty again. He does not remember ever having seen it before; he looks around to see which is not the way home, grabs his bundle and starts; he goes through the same adventures he had before; finally stops to rest, and a friend comes along. Evidently the friend remarks that a last year’s grasshopper leg is a very noble acquisition, and inquires where he got it. Evidently the proprietor does not remember exactly where he did get it, but thinks he got it “around here somewhere.” Evidently the friend contracts to help him freight it home. Then, with a judgment peculiarly antic (pun not intentional), they take hold of opposite ends of that grasshopper leg and begin to tug with all their might in opposite directions. Presently they take a rest and confer together. They decide that something is wrong, they can’t make out what. Then they go at it again, just as before. Same result. Mutual recriminations follow. Evidently each accuses the other of being an obstructionist. They warm up, and the dispute ends in a fight. They lock themselves together and chew each other’s jaws for a while; then they roll and tumble on the ground till one loses a horn or a leg and has to haul off for repairs. They make up and go to work again in the same old insane way, but the crippled ant is at a disadvantage; tug as he may, the other one drags off the booty and him at the end of it. Instead of giving up, he hangs on, and gets his shins bruised against every obstruction that comes in the way. By and by, when that grasshopper leg has been dragged all over the same old ground once more, it is finally dumped at about the spot where it originally lay, the two perspiring ants inspect it thoughtfully and decide that dried grasshopper legs are a poor sort of property after all, and then each starts off in a different direction to see if he can’t find an old nail or something else that is heavy enough to afford entertainment and at the same time valueless enough to make an ant want to own it.

Foreign Quotations Again

When really learned men write books for other learned men to read, they are justified in using as many learned words as they please—their audience will understand them; but a man that writes a book for the general public to read is not justified in disfiguring his pages with untranslated foreign expressions. It is an insolence toward the majority of the purchasers, for it is a very frank and impudent way of saying, “Get the translations made yourself, if you want them; this book is not written for the ignorant classes.” There are men who know a foreign language so well and have used it so long in their daily life that they seem to discharge whole volleys of it into their English writings unconsciously, and so they omit to translate, as much as half the time. That is a great cruelty to nine out of ten of the man’s readers. What is the excuse for this? The writer would say he only uses the foreign language where the delicacy of his point cannot be conveyed in English. Very well, then he writes his best things for the tenth man, and he ought to warn the other nine not to buy his book. However, the excuse he offers is at least an excuse; but there is another set of men who... know a word here and there, of a foreign language, or a few beggarly little three-word phrases, filched from the back of the dictionary, and these they are continually peppering into their literature, with a pretense of knowing that language—what excuse can they offer? The foreign words and phrases which they use have their exact equivalents in a nobler language—English; yet they think they “adorn their page” when they say Strasse for street, and Bahnhof for railway station, and so on—flaunting these fluttering rags of poverty in the reader’s face, and imagining he will be ass enough to take them for the sign of untold riches held in reserve.

The Jungfrau

There was something subduing in the influence of that silent and solemn and awful presence; one seemed to meet the immutable, the indestructible, the eternal, face to face, and to feel the trivial and fleeting nature of his own existence the more sharply by the contrast. One had the sense of being under the brooding contemplation of a spirit, not an inert mass of rocks and ice—a spirit which had looked down, through the slow drift of the ages, upon a million vanished races of men, and judged them; and would judge a million more—and still be there, watching, unchanged and unchangeable, after all life should be gone and the earth have become a vacant desolation.

While I was feeling these things, I was groping, without knowing it, toward an understanding of what the spell is which people find in the Alps, and in no other mountains—that strange, deep, nameless influence, which once felt, cannot be forgotten—once felt, leaves always behind it a restless longing to feel it again—a longing which is like homesickness; a grieving, haunting yearning, which will plead, implore, and persecute till it has its will. I met dozens of people, imaginative and unimaginative, cultivated and uncultivated, who had come from far countries and roamed through the Swiss Alps year after year—they could not explain why. They had come first, they said, out of idle curiosity, because everybody talked about it; they had come since because they could not help it, and they should keep on coming, while they lived, for the same reason; they had tried to break their chains and stay away, but it was futile; now, they had no desire to break them. Others came nearer formulating what they felt: they said they could find perfect rest and peace nowhere else when they were troubled; all frets and worries and chafings sank to sleep in the presence of the benignant serenity of the Alps: the Great Spirit of the Mountain breathed his own peace upon their hurt minds and sore hearts, and healed them; they could not think base thoughts or do mean and sordid things here, before the visible throne of God.

Climbing the Gemmi Pass

When we began that ascent, we could see a microscopic chalet perched away up against heaven on what seemed to be the highest mountain near us. It was on our right, across the narrow head of the valley. But when we got up abreast it on its own level, mountains were towering high above on every hand, and we saw that its altitude was just about that of the little Gasternthal which we had visited the evening before. Still it seemed a long way up in the air, in that waste and lonely wilderness of rocks. It had an unfenced grass-plot in front of it which seemed about as big as a billiard table, and this grass plot slanted so sharply downwards, and was so brief, and ended so exceedingly soon at the verge of the absolute precipice, that it was a shuddery thing to think of a person’s venturing to trust his foot on an incline so situated at all. Suppose a man stepped on an orange peel in that yard; there would be nothing for him to seize; nothing could keep him from rolling; five revolutions would bring him to the edge, and over he would go. What a frightful distance he would fall!—for there are very few birds that fly as high as his starting-point. He would strike and bounce, two or three times, on his way down, but this would be no advantage to him. I would as soon take an airing on the slant of a rainbow as in such a front yard. I would rather, in fact, for the distance down would be about the same, and it is pleasanter to slide than to bounce.

Descent of Gemmi Pass

We began our descent, now, by the most remarkable road I have ever seen. It wound in corkscrew curves down the face of the colossal precipice—a narrow way, with always the solid rock wall at one elbow, and perpendicular nothingness at the other. We met an everlasting procession of guides, porters, mules, litters, and tourists climbing up this steep and muddy path, and there was no room to spare when you had to pass a tolerably fat mule. I always took the inside, when I heard or saw the mule coming, and flattened myself against the wall. I preferred the inside, of course, but I should have had to take it anyhow, because the mule prefers the outside. A mule’s preference—on a precipice—is a thing to be respected. Well, his choice is always the outside. His life is mostly devoted to carrying bulky panniers and packages which rest against his body—therefore he is habituated to taking the outside edge of mountain paths, to keep his bundles from rubbing against rocks or banks on the other. When he goes into the passenger business he absurdly clings to his old habit, and keeps one leg of his passenger always dangling over the great deeps of the lower world while that passenger’s heart is in the highlands, so to speak. More than once I saw a mule’s hind foot cave out over the outer edge and send earth and rubbish into the bottomless abyss; and I noticed that upon these occasions the rider, whether male or female, looked tolerably unwell.

There was one place where an 18–inch breadth of light masonry had been added to the verge of the path, and as there was a very sharp turn, here, a panel of fencing had been set up there at some ancient time, as a protection. This panel was old and gray and feeble, and the light masonry had been loosened by recent rains. A young American girl came along on a mule, and in making the turn the mule’s hind foot caved all the loose masonry and one of the fence posts overboard; the mule gave a violent lurch inboard to save himself, and succeeded in the effort, but the girl turned as white as the snow of Mont Blanc for a moment.

The path here was simply a groove cut in the face of the precipice; there was a four-foot breadth of solid rock under the traveler, and a four-foot breadth of solid rock just above his head, like the roof of a narrow porch; he could look out from this gallery and see a sheer summitless and bottomless wall of rock before him, across a gorge or crack a biscuit’s toss in width—but he could not see the bottom of his own precipice unless he lay down and projected his nose over the edge. I did not do this, because I did not wish to soil my clothes.

Alp Climbing

There is probably no pleasure equal to the pleasure of climbing a dangerous Alp; but it is a pleasure which is confined strictly to people who can find pleasure in it. I have not jumped to this conclusion; I have traveled to it per gravel train, so to speak. I have thought the whole thing out, and am quite sure I am right. A born climber’s appetite for climbing is hard to satisfy; when it comes upon him he is like a starving man with a feast before him; he may have other business on hand, but it must wait. Mr. Girdlestone had had his usual summer holiday in the Alps, and had spent it in the usual way, hunting for unique chances to break his neck; his vacation was over, and his luggage packed for England, but all of a sudden a hunger had come upon him to climb the tremendous Weisshorn once more, for he had heard of a new and utterly impossible route up it. His baggage was unpacked at once, and now he and a friend, laden with knapsacks, ice-axes, coils of rope, and canteens of milk, were just setting out. They would spend the night high up among the snows, somewhere, and get up at two in the morning and finish the enterprise. I had a strong desire to go with them, but forced it down—a feat which Mr. Girdlestone, with all his fortitude, could not do.

The Old Masters

We visited the picture galleries and the other regulation “sights” of Milan—not because I wanted to write about them again, but to see if I had learned anything in twelve years. I afterwards visited the great galleries of Rome and Florence for the same purpose. I found I had learned one thing. When I wrote about the Old Masters before, I said the copies were better than the originals. That was a mistake of large dimensions. The Old Masters were still unpleasing to me, but they were truly divine contrasted with the copies. The copy is to the original as the pallid, smart, inane new waxwork group is to the vigorous, earnest, dignified group of living men and women whom it professes to duplicate. There is a mellow richness, a subdued color, in the old pictures, which is to the eye what muffled and mellowed sound is to the ear. That is the merit which is most loudly praised in the old picture, and is the one which the copy most conspicuously lacks, and which the copyist must not hope to compass. It was generally conceded by the artists with whom I talked, that that subdued splendor, that mellow richness, is imparted to the picture by age. Then why should we worship the Old Master for it, who didn’t impart it, instead of worshiping Old Time, who did? Perhaps the picture was a clanging bell, until time muffled it and sweetened it.

In conversation with an artist in Venice, I asked,

“What is it that people see in Old Masters? I have been in the Doge’s palace and I saw several acres of very bad drawing, very bad perspective, and very incorrect proportions. Paul Veronese’s dogs do not resemble dogs; all the horses look like bladders on legs; one man had a right leg on the left side of his body; in the large picture where the Emperor (Barbarossa?) is prostrate before the Pope, there are three men in the foreground who are over thirty feet high, if one may judge by the size of a kneeling little boy in the center of the foreground; and according to the same scale, the Pope is 7 feet high and the Doge is a shriveled dwarf of 4 feet.”

The artist said:

“Yes, the Old Masters often drew badly; they did not care much for truth and exactness in minor details; but after all, in spite of bad drawing, bad perspective, bad proportions, and a choice of subjects which no longer appeal to people as strongly as they did three hundred years ago, there is a something about their pictures which is divine—a something which is above and beyond the art of any epoch since—a something which would be the despair of artists but that they never hope or expect to attain it, and therefore do not worry about it.”

That is what he said—and he said what he believed; and not only believed, but felt.

Reasoning—especially reasoning without technical knowledge—must be put aside, in cases of this kind. It cannot assist the inquirer. It will lead him, in the most logical progression, to what, in the eyes of the artists, would be a most illogical conclusion. Thus: bad drawing, bad proportions, bad perspective, indifference to truthful detail, color which gets its merit from time, and not from the artist—these things constitute the Old Master; conclusion, the Old Master was a bad painter, the Old Master was not an Old Master at all, but an Old Apprentice. Your friend the artist will grant your premises, but deny your conclusion; he will maintain that notwithstanding this formidable list of confessed defects, there is still a something that is divine and unapproachable about the Old Master, and that there is no arguing the fact away by any system of reasoning whatever.

I can believe that. There are women who have an indefinable charm in their faces which makes them beautiful to their intimates; but a cold stranger who tried to reason the matter out and find this beauty would fail. He would say of one of these women: This chin is too short, this nose is too long, this forehead is too high, this hair is too red, this complexion is too pallid, the perspective of the entire composition is incorrect; conclusion, the woman is not beautiful. But her nearest friend might say, and say truly, “Your premises are right, your logic is faultless, but your conclusion is wrong, nevertheless; she is an Old Master—she is beautiful, but only to such as know her; it is a beauty which cannot be formulated, but it is there just the same.”

I found more pleasure in contemplating the Old Masters this time than I did when I was in Europe in former years, but still it was a calm pleasure; there was nothing overheated about it.