Читать книгу A Tramp's Sketches - Stephen Graham - Страница 23

Rostof on the Don is always beautiful when one leaves it to go south. Nothing can efface from my mind the picture of it as I saw it when first going to the Caucasus. The sunset illumined it with the hues of romance. All the multiplicity of its dingy buildings shone as if lit up from within, and their dank and mouldy greens and blues and yellows became burning living colours. The town lay spread out upon the high banks of the Don and every segment of it was crowned with a church. The gilt domes blazed in the sunlight and the crosses above them were changed into pure fire. Round about the town stretched the grey-green steppe, freshened by the river-side, but burned down to the suffering earth itself on the horizon. Then over all, like God's mercy harmonising man's sins, the effulgence of a light-blue southern sky.

By that scene I have understood the poet's thought—

To draw one beauty into the heart's core

And keep it changeless.

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Yet how transient is the appearance of beauty. It has an eternity not in itself but in the heart. Thus I look out at the ever-changing ocean and suddenly, involuntarily ejaculate, "How beautiful!" yet before I can call another to witness the scene it has changed. Only in the heart the beauty is preserved. Thus we see a woman in her youth and beauty, and then in a few years look again and find her worn and old. The beauty has passed away; its eternity is in the heart.

We have a choice, to live in the shadow and shine of the outer life where visions fade, or to live with all the beauty we have ever known, where it is treasured, in the heart. Choosing the former we at last perish with the world, but choosing the latter we ourselves receive an immortality in the here and now. The one who chooses the latter shall never grow old, and the beauty of his world can never pass away.

* * * * *

Nietzsche could not tolerate the doctrine of the "immaculate perception" of Beauty. To him Beauty was une promesse de bonheur; Beauty was a lure and a temptation, it had no virtue in itself, but its value lay in the service rendered to the ulterior aims of Nature. Thus the beauty hung in woman's face was a device of the Life-force for the continuance of the race; strange beauty lured men to strange ends, and one of these ends the German philosopher divined and named as the Superman. Even the beauty of Nature was merely a temptation of man's will. The Kantian conception of the disinterested contemplation of Beauty Nietzsche likened to the moon looking at the earth at night and giving the earth only dreams; but the Stendhalian conception of Beauty as a promise of happiness he likened to the sun looking at the earth and causing her to bear fruit.

Darwin as much as said, "Beauty has been the gleam which the instinct of the race has followed in its upward development. Beauty has been the genius of Evolution." Thus science has lent its authority to philosophy. The idea is charming. In its power it is irresistible. It certainly dominates modern literary art, being the principal dynamic of Ibsen and Bernard Shaw and all their followers.

It is a very important matter. There can be nothing more important in literary art, and indeed in one's articulate conception of the meaning of life, than the notion of what is beautiful. What if this conception be narrow, what if it be simply a generalisation, a generalisation from too few observations? What if the wish were father to the thought?

The only test of philosophy and art is experience. And it is the wanderer, the life-explorer without irrelevant preoccupations, who is the true naturalist, collecting experiences and making maps for spiritual eyes. What then does the wanderer note?

First, that the knowledge of the beautiful is an affirmation. Something in the soul suddenly rises up and ejaculates "Yes" to some outside phenomenon, and then he is aware that he is looking at Beauty. As he gazes he knows himself in communion with what he sees—sometimes that communion is a great joy and sometimes a great sadness. Thus, looking at the opening of dawn he is filled with gladness, his spirits rising with the sun; he wishes to shout and to sing. He is one with the birds that have begun singing and with all wild Nature waking refreshed after the night. But looking out at evening of the same day over the grey sea he is failed with unutterable sorrow.

I remember how all night long in the North region, where the light does not leave the sky, I looked out at the strange beauty of the white night and felt all the desolateness of the world, all the exiledom of man upon it. There was no lure, no temptation in that. The Aeolian harp of the heart does not always discourse battle music, and on this night it was as if an old sad minstrel sat before me and played unendingly one plaint, the story of a lost throne, of a lost family, lost children, a lost world. Thus a thought came to me: "We are all the children of kings; on our spiritual bodies are royal seals. Sometime or other we were abandoned on this beautiful garden, the world. We expected some one to return for us; but no one came. We lived on, and to forget homesickness devised means of pleasure, diversions, occupations, games. Some have entirely forgotten the lost heritage and the mystery of their abandonment; their games absorbed them, they have become gamblers, they have theories of chance, their talk is all of Progress of one sort or another. They forget the great mystery of life. We tramps and wanderers remember. It is our religion to remember, to count nothing as important beside the initial mystery. For us it is sweeter to remember than to forget. The towns would always have us forget, but in the country we always remember again. What is beautiful is every little rite that reminds us of our mysteries."

This is a most persistent experience, and Beauty thereby promises us happiness, but in a strange way seems to tell of happiness past. It lures not forward unless to the exploration of the "prison-house" once more.

Even the beauty of woman is not always a lure. There is a beauty in woman which makes one glad, but there is the beauty that haunts one like a great sadness, besides the beauty that draws one nearer to her. There is the seductive beauty of Cleopatra, but there is also the almost repulsive beauty of Medea, and besides both there is the mysterious beauty of Helen or of Eve.

Beauty is also a great possession, and that is another conception, another mystery. We lie like a mirror in the presence of Beauty, and it builds the very temple of our souls. Beauty is the gold of earthly experience. It is essentially that which in looking round our eyes like best, that which they say swiftly "Yes" to. We enter into communion with the beautiful as with a beloved object. We make it part of ourselves. We absorb it into that which is integral and immortal—our very essence. "A thing of beauty is a joy for ever: its loveliness can never pass away" is a truth of experience, not the idle fancy of the poet. For to have seen the beautiful is not inconsequential, it is not even a responsibility entirely your own; the beautiful thing has also seen you. Henceforth your life can never be quite the same, and the beautiful thing looked upon has either become less or more beautiful.