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Beside Still Waters, a fiction by Arthur C. Benson |
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Chapter 9. Art--The End Of Art |
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_ Chapter IX. Art--The End of Art It seemed strange to Hugh to sit there as he did, in his quiet house beside the stream, with an active professional life behind him, and wonder what the next act would be. His time was now filled with an editorial task which would demand all his energies, or rather a large part of them; but editorial work, however interesting in itself--and the interest of his particular work was great--left one part of the mind unsatisfied; that part of the mind which desired to create some beautiful thing. Hugh's difficulty was this, that he had no very urgent message, to use a dignified word, to deliver to the world. Nowadays, to appeal to the world, it is necessary to do things, it would seem, in rather a strident way, to blow a trumpet, or wave a flag, or command an army, or reform a department of state, or control a railroad. Hugh had neither the power nor the will to write a virile book or a powerful story, or to take imagination captive. He did not wish to head a revolt against anything in particular. The day of the old, grim, sinister tyrannies, he felt, in the western corner of the world, was over, and the kind of tyranny that vexed his spirit was a far more secret and subtle distortion of liberty. It was the rule of conventionality that he desired to destroy, the appetite for luxury, and power, and excitement, and strong sensation. He would have liked to do something to win men back to the joys that were within the reach of all, the joys of peaceful work, and simplicity, and friendship, and quiet hopefulness. These were what seemed to Hugh to be the staple of life, and to be within the reach of so many people. And yet he had no mission. He could only detest the loud voices of the world and its feverish excitements, with all his heart; and on the other hand he loved with increasing contentment the gentler and beautiful background of life, that enacted itself every day in garden and field and wood; the quiet waiting things, the old church seen over orchards and cottage-roofs, the deep pool in the reedy river, dreaming its own quiet dreams, whatever passed in the noisy world. He was sure that those things would bring peace to many weary spirits, if they could but learn to love them. Artists and musicians, Hugh felt, were the happiest of all people; for they made the beautiful thing that might stand by itself, without need of comment. The graceful boy or girl that they painted, undimmed by age and evil experience, looked down at you from the canvas with a pure and radiant smile, and became as it were a spring of clear water, where a soul might bathe and be clean. Or the picture of some silent woodland place, some lilied pool on a golden summer afternoon--how the peace of it came into the spirit, how it seemed to assure the heart that God loved beauty best, lavishing it with an unwearied hand, even where there could be none to behold it but Himself! Then the musician,--how he wove the airy stuff of sound, so that the pathos of the world, its heavy mysteries, its sunlit joys, started into life, embracing the soul, and bidding it not be faithless or blind. These were the pure gifts of art, the spells before which the dull conventions of the world, its noise and dust, crumbled into the ugly ashes that they really were. Beside those magical secrets the clumsy art of the writer stood abashed. Those tints, those notes were such definite things; but in the grosser and more tainted medium with which writers dealt, where so much depended upon association and point of view, there was so much less certainty of producing the effect intended, that one faltered and lost faith. One thing was certain, that it was useless to _search_ for a mission; the purpose must descend from heaven, as the eagle pounced on Ganymede, and carry the trembling and awed minister high above the heads of men. But the only thing that the faithful writer could do was to map out some little piece of quiet work, make no vast design, seek for no large sovereignty; and then work patiently on with ever-present enjoyment, learning his art, gaining skill and mastery over his vast and complex instrument, till he gained certainty of touch and the power of saying, with perfect lucidity, with pure transparency of phrase, exactly what he meant; and then, behind his art, to live resolutely in his simple creed, whatever article of it he could master, sure of this, that if his inspiration came, he would be able to present it worthily; and if it did not come--well, his would have been a grave, quiet, gracious life, like the life of a song-bird that had never had an audience, or a stream which dropped in crystal cataracts from unvisited rocks, upon which no gazer's eye had ever fallen. And so there shaped itself what must be for the lover of the beautiful the first article of his faith, the thought that the happiness of art came in the making, the weighing, the disposing, and not in the recognition of the triumph by others; and that the temptation to gain a hearing, to touch hearts, to sway emotions was a natural one enough, but that it must be the first of all to be discarded, as one set foot in the enchanted world, among the dim valleys and rock-ridges, the thickets and the plains, that stretched beyond the sunset and on to the sea's rim,--that wider, more shadowy, more remote world of awe and mystery which lay so near, outside the window, at the opening of a door, at the sound of a voice, the glance of an eye, and in which one's busy fevered life was set, like the print of the wind's footstep in the crisping wave, on the surface of some vast unfathomable sea. _ |
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