The Tales of Haunted Nights (Gothic Horror: Bulwer-Lytton-Series). Эдвард Бульвер-Литтон
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of forty-five what will be Clarence Glyndon? Your ambition shall decide that question also!”
“If all men were as worldly as you,” said Glyndon, rising, “there would never have been an artist or a poet!”
“Perhaps we should do just as well without them,” answered Mervale. “Is it not time to think of dinner? The mullets here are remarkably fine!”
CHAPTER 2.IX.
Wollt ihr hoch auf ihren Flugeln schweben,
Werft die Angst des Irdischen von euch!
Fliehet aus dem engen dumpfen Leben
In des Ideales Reich!
“Das Ideal und das Leben.”
Wouldst thou soar heavenward on its joyous wing?
Cast off the earthly burden of the Real;
High from this cramped and dungeoned being, spring
Into the realm of the Ideal.
As some injudicious master lowers and vitiates the taste of the student by fixing his attention to what he falsely calls the Natural, but which, in reality, is the Commonplace, and understands not that beauty in art is created by what Raphael so well describes—namely, The Idea Of Beauty In The Painter’s Own Mind; and that in every art, whether its plastic expression be found in words or marble, colours or sounds, the servile imitation of Nature is the work of journeymen and tyros—so in conduct the man of the world vitiates and lowers the bold enthusiasm of loftier natures by the perpetual reduction of whatever is generous and trustful to all that is trite and coarse. A great German poet has well defined the distinction between discretion and the larger wisdom. In the last there is a certain rashness which the first disdains—
“The purblind see but the receding shore, Not that to which the bold wave wafts them o’er.”
Yet in this logic of the prudent and the worldly there is often a reasoning unanswerable of its kind.
You must have a feeling—a faith in whatever is self-sacrificing and divine, whether in religion or in art, in glory or in love; or Common-sense will reason you out of the sacrifice, and a syllogism will debase the Divine to an article in the market.
Every true critic in art, from Aristotle and Pliny, from Winkelman and Vasari to Reynolds and Fuseli, has sought to instruct the painter that Nature is not to be copied, but exalted; that the loftiest order of art, selecting only the loftiest combinations, is the perpetual struggle of Humanity to approach the gods. The great painter, as the great author, embodies what is possible to man, it is true, but what is not common to mankind. There is truth in Hamlet; in Macbeth, and his witches; in Desdemona; in Othello; in Prospero, and in Caliban; there is truth in the cartoons of Raphael; there is truth in the Apollo, the Antinous, and the Laocoon. But you do not meet the originals of the words, the cartoons, or the marble, in Oxford Street or St. James’s. All these, to return to Raphael, are the creatures of the idea in the artist’s mind. This idea is not inborn, it has come from an intense study. But that study has been of the ideal that can be raised from the positive and the actual into grandeur and beauty. The commonest model becomes full of exquisite suggestions to him who has formed this idea; a Venus of flesh and blood would be vulgarised by the imitation of him who has not.
When asked where he got his models, Guido summoned a common porter from his calling, and drew from a mean original a head of surpassing beauty. It resembled the porter, but idealised the porter to the hero. It was true, but it was not real. There are critics who will tell you that the Boor of Teniers is more true to Nature than the Porter of Guido! The commonplace public scarcely understand the idealising principle, even in art; for high art is an acquired taste.
But to come to my comparison. Still less is the kindred principle comprehended in conduct. And the advice of worldly prudence would as often deter from the risks of virtue as from the punishments of vice; yet in conduct, as in art, there is an idea of the great and beautiful, by which men should exalt the hackneyed and the trite of life. Now Glyndon felt the sober prudence of Mervale’s reasonings; he recoiled from the probable picture placed before him, in his devotion to the one master-talent he possessed, and the one master-passion that, rightly directed, might purify his whole being as a strong wind purifies the air.
But though he could not bring himself to decide in the teeth of so rational a judgment, neither could he resolve at once to abandon the pursuit of Viola. Fearful of being influenced by Zanoni’s counsels and his own heart, he had for the last two days shunned an interview with the young actress. But after a night following his last conversation with Zanoni, and that we have just recorded with Mervale—a night coloured by dreams so distinct as to seem prophetic, dreams that appeared so to shape his future according to the hints of Zanoni that he could have fancied Zanoni himself had sent them from the house of sleep to haunt his pillow—he resolved once more to seek Viola; and though without a definite or distinct object, he yielded himself up to the impulse of his heart.
CHAPTER 2.X.
O sollecito dubbio e fredda tema
Che pensando l’accresci.
Tasso, Canzone vi.
(O anxious doubt and chilling fear that grows by thinking.)
She was seated outside her door—the young actress! The sea before her in that heavenly bay seemed literally to sleep in the arms of the shore; while, to the right, not far off, rose the dark and tangled crags to which the traveller of to-day is duly brought to gaze on the tomb of Virgil, or compare with the cavern of Posilipo the archway of Highgate Hill. There were a few fisherman loitering by the cliffs, on which their nets were hung to dry; and at a distance the sound of some rustic pipe (more common at that day than at this), mingled now and then with the bells of the lazy mules, broke the voluptuous silence—the silence of declining noon on the shores of Naples; never, till you have enjoyed it, never, till you have felt its enervating but delicious charm, believe that you can comprehend all the meaning of the Dolce far niente (The pleasure of doing nothing.); and when that luxury has been known, when you have breathed that atmosphere of fairy-land, then you will no longer wonder why the heart ripens into fruit so sudden and so rich beneath the rosy skies and the glorious sunshine of the South.
The eyes of the actress were fixed on the broad blue deep beyond. In the unwonted negligence of her dress might be traced the abstraction of her mind. Her beautiful hair was gathered up loosely, and partially bandaged by a kerchief whose purple colour served to deepen the golden hue of her tresses. A stray curl escaped and fell down the graceful neck. A loose morning-robe, girded by a sash, left the breeze. That came ever and anon from the sea, to die upon the bust half disclosed; and the tiny slipper, that Cinderella might have worn, seemed a world too wide for the tiny foot which it scarcely covered. It might be the heat of the day that deepened the soft bloom of the cheeks, and gave an unwonted languor to the large, dark eyes. In all the pomp of her stage attire—in all the flush of excitement before the intoxicating lamps—never had Viola looked so lovely.
By the side of the actress, and filling up the threshold—stood Gionetta, with her arms thrust to the elbow in two huge pockets on either side of her gown.
“But I assure you,” said the nurse, in that sharp, quick, ear-splitting tone in which the old women of the South are more than a match for those of the North—“but I assure you, my darling, that there is not a finer cavalier in all Naples, nor a more beautiful, than this Inglese; and I am told that all these Inglesi are much richer than they seem. Though they have no trees in their country, poor people! and instead of twenty-four they have only twelve hours to the day, yet I hear that they shoe their horses with scudi; and since they cannot (the poor heretics!) turn grapes into wine, for they have