122
" (...)because Miss Temple has generally something to say which is newer than my own reflections; her language is singularly agreeable to me, and the information she communicates is often just what I wished to gain.”
“Well, then, with Miss Temple you are good?”
“Yes, in a passive way: I make no effort; I follow as inclination guides me. There is no merit in such goodness.”
“A great deal: you are good to those who are good to you. It is all I ever desire to be. If people were always kind and obedient to those who are cruel and unjust, the wicked people would have it all their own way: they would never feel afraid, and so
they would never alter, but would grow worse and worse. When we are struck at without a reason, we should strike back again very hard; I am sure we should—so hard as to teach the person who struck us never to do it again.”
“You will change your mind, I hope, when you grow older: as yet you are but a little untaught girl.”
“But I feel this, Helen; I must dislike those who, whatever I do to please them, persist in disliking me; I must resist those who punish me unjustly. It is as natural as that I should love those who show me affection, or submit to punishment when I feel it is deserved.”
“Heathens and savage tribes hold that doctrine, but Christians and civilised nations disown it.” “How? I don’t understand.”
“It is not violence that best overcomes hate—nor vengeance that most certainly heals injury.”
“What then?”
“Read the New Testament, and observe what Christ says, and how He acts; make His word your rule, and His conduct your example.”
“What does He say?”
“Love your enemies; bless them that curse you; do good to them that hate you and despitefully use you. "
― Charlotte Brontë
126
" In his book Real Presences, George Steiner asks us to " imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a " republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer " invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art " embody an expository reflection which they pertain" . In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. " The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, " The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz. "
127
" It is one of the greatest Curses visited upon Mankind, he told me, that they shall fear where no Fear is: this astrological and superstitious Humour disarms men's Hearts, it breaks their Courage, it makes them help to bring such Calamities on themselves. Then he stopped short and looked at me, but my Measure was not yet fill'd up so I begg' d him to go on, go on. And he continued: First, they fancy that such ill Accidents must come to pass, and so they render themselves fit Subjects to be wrought upon; it is a Disgrace to the Reason and Honour of Mankind that every fantasticall Humourist can presume to interpret the Skies (here he grew Hot and put down his Dish) and to expound the Time and Seasons and Fates of Empires, assigning the Causes of Plagues and Fires to the Sins of Men or the Judgements of God. This weakens the Constancy of Humane Actions, and affects Men with Fears, Doubts, Irresolutions and Terrours.
I was afraid of your Moving Picture, I said without thought, and that was why I left.
It was only Clock-work, Nick.
But what of the vast Machine of the World, in which Men move by Rote but in which nothing is free from Danger?
Nature yields to the Froward and the Bold.
It does not yield, it devours: You cannot master or manage Nature.
But, Nick, our Age can at least take up the Rubbidge and lay the Foundacions: that is why we must study the principles of Nature, for they are our best Draught.
No, sir, you must study the Humours and Natures of Men: they are corrupt, and therefore your best Guides to understand Corrupcion.
The things of the Earth must be understood by the sentient Faculties, not by the Understanding.
There was a Silence between us now until Sir Chris. says, Is your Boy in the Kitchin? I am mighty Hungry. "
― Peter Ackroyd , Hawksmoor
