Howards End
Austria, France. But he had fought without visualising the results of
victory. A hint of the truth broke on him after Sedan, when he saw the
dyed moustaches of Napoleon going grey; another when he entered Paris,
and saw the smashed windows of the Tuileries. Peace came--it was all
very immense, one had turned into an Empire--but he knew that some
quality had vanished for which not all Alsace-Lorraine could compensate
him. Germany a commercial Power, Germany a naval Power, Germany with
colonies here and a Forward Policy there, and legitimate aspirations in
the other place, might appeal to others, and be fitly served by
them; for his own part, he abstained from the fruits of victory, and
naturalised himself in England. The more earnest members of his family
never forgave him, and knew that his children, though scarcely English
of the dreadful sort, would never be German to the back-bone. He had
obtained work in one of our provincial universities, and there married
Poor Emily (or Die Englanderin, as the case may be), and as she had
money, they proceeded to London, and came to know a good many people.
But his gaze was always fixed beyond the sea. It was his hope that the
clouds of materialism obscuring the Fatherland would part in time, and
the mild intellectual light re-emerge. “Do you imply that we Germans are
stupid, Uncle Ernst?” exclaimed a haughty and magnificent nephew. Uncle
Ernst replied, “To my mind. You use the intellect, but you no longer
care about it. That I call stupidity.” As the haughty nephew did not
follow, he continued, “You only care about the things that you can use,
and therefore arrange them in the following order: Money, supremely
useful; intellect, rather useful; imagination, of no use at all.
No”--for the other had protested--“your Pan-Germanism is no more
imaginative than is our Imperialism over here. It is the vice of a
vulgar mind to be thrilled by bigness, to think that a thousand square
miles are a thousand times more wonderful than one square mile, and
that a million square miles are almost the same as heaven. That is
not imagination. No, it kills it. When their poets over here try to
celebrate bigness they are dead at once, and naturally. Your poets
too are dying, your philosophers, your musicians, to whom Europe has
listened for two hundred years. Gone. Gone with the little courts that
nurtured them--gone with Esterhazy and Weimar. What? What’s that? Your
universities? Oh yes, you have learned men, who collect more facts
than do the learned men of England. They collect facts, and facts, and
empires of facts. But which of them will rekindle the light within?”
To all this Margaret listened, sitting on the haughty nephew’s knee.
It was a unique education for the little girls. The haughty nephew would
be at Wickham Place one day, bringing with him an even haughtier wife,
both convinced that Germany was appointed by God to govern the world.
Aunt Juley would come the next day, convinced that Great Britain had
been appointed to the same post by the same authority. Were both these
loud-voiced parties right? On one occasion they had met and Margaret
with clasped hands had implored them to argue the subject out in her
presence. Whereat they blushed, and began to talk about the weather.
“Papa,” she cried--she was a most offensive child--“why will they not
discuss this most clear question?” Her father, surveying the parties
grimly, replied that he did not know. Putting her head on one side,
Margaret then remarked, “To me one of two things is very clear; either
God does not know his own mind about England and Germany, or else these
do not know the mind of God.” A hateful little girl, but at thirteen
she had grasped a dilemma that most people travel through life without
perceiving. Her brain darted up and down; it grew pliant and strong. Her
conclusion was, that any human being lies nearer to the unseen than any
organisation, and from this she never varied.
Helen advanced along the same lines, though with a more irresponsible
tread. In character she resembled her sister, but she was pretty, and so
apt to have a more amusing time. People gathered round her more readily,
especially when they were new acquaintances, and she did enjoy a little
homage very much. When their father died and they ruled alone at Wickham
Place, she often absorbed the whole of the company, while Margaret--both
were tremendous talkers--fell flat. Neither sister bothered about this.
Helen never apologised afterwards, Margaret did not feel the slightest
rancour. But looks have their influence upon character. The sisters
were alike as little girls, but at the time of the Wilcox episode their
methods were beginning to diverge; the younger was rather apt to entice
people, and, in enticing them, to be herself enticed; the elder went
straight ahead, and accepted an occasional failure as part of the game.
Little need be premised about Tibby. He was now an intelligent man of
sixteen, but dyspeptic and difficile.
CHAPTER V
It will be generally admitted that Beethoven’s Fifth Symphony is the
most sublime noise that has ever penetrated into the ear of man. All
sorts and conditions are satisfied by it. Whether you are like Mrs.
Munt, and tap surreptitiously when the tunes come--of course, not so as
to disturb the others--or like Helen, who can see heroes and shipwrecks
in the music’s flood; or like Margaret, who can only see the music; or
like Tibby, who is profoundly versed in counterpoint, and holds the full
score open on his knee; or like their cousin, Fraulein Mosebach, who
remembers all the time that Beethoven is echt Deutsch; or like Fraulein
Mosebach’s young man, who can remember nothing but Fraulein Mosebach: in
any case, the passion of your life becomes more vivid, and you are bound
to admit that such a noise is cheap at two shillings. It is cheap, even
if you hear it in the Queen’s Hall, dreariest music-room in London,
though not as dreary as the Free Trade Hall, Manchester; and even if
you sit on the extreme left of that hall, so that the brass bumps at you
before the rest of the orchestra arrives, it is still cheap.
“Whom is Margaret talking to?” said Mrs. Munt, at the conclusion of the
first movement. She was again in London on a visit to Wickham Place.
Helen looked down the long line of their party, and said that she did
not know.
“Would it be some young man or other whom she takes an interest in?”
“I expect so,” Helen replied. Music enwrapped her, and she could not
enter into the distinction that divides young men whom one takes an
interest in from young men whom one knows.
“You girls are so wonderful in always having--Oh dear! one mustn’t
talk.”
For the Andante had begun--very beautiful, but bearing a family likeness
to all the other beautiful Andantes that Beethoven had written, and,
to Helen’s mind, rather disconnecting the heroes and shipwrecks of the
first movement from the heroes and goblins of the third. She heard the
tune through once, and then her attention wandered, and she gazed at the
audience, or the organ, or the architecture. Much did she censure
the attenuated Cupids who encircle the ceiling of the Queen’s
Hall, inclining each to each with vapid gesture, and clad in sallow
pantaloons, on which the October sunlight struck. “How awful to marry a
man like those Cupids!” thought Helen. Here Beethoven started decorating
his tune, so she heard him through once more, and then she smiled at
her Cousin Frieda. But Frieda, listening to Classical Music, could not
respond. Herr Liesecke, too, looked as if wild horses could not make him
inattentive; there were lines across his forehead, his lips were parted,
his pince-nez at right angles to his nose, and he had laid a thick,
white hand on either knee. And next to her was Aunt Juley, so British,
and wanting to tap. How interesting that row of people was! What diverse
influences had gone to the making! Here Beethoven, after humming and
hawing with great sweetness, said “Heigho,” and the Andante came to an
end. Applause, and a round of “wunderschoning” and pracht volleying from
the German contingent. Margaret started talking to her new young man;
Helen said to her aunt: “Now comes the wonderful movement: first of all
the goblins, and then a trio of elephants dancing”; and Tibby implored
the company generally to look out for the transitional passage on the
drum.
“On the what, dear?”
“On the drum, Aunt Juley.”
“No; look out for the part where you think you have done with the
goblins and they come back,” breathed Helen, as the music started with
a goblin walking quietly over the universe, from end to end. Others
followed him. They were not aggressive creatures; it was that that made
them so terrible to Helen. They merely observed in passing that there
was no such thing as splendour or heroism in the world. After the
interlude of elephants dancing, they returned and made the observation
for the second time. Helen could not contradict them, for, once at all
events, she had felt the same, and had seen the reliable walls of youth
collapse. Panic and emptiness! Panic and emptiness! The goblins were
right. Her brother raised his finger; it was the transitional passage on
the drum.
For, as if things were going too far, Beethoven took hold of the goblins
and made them do what he wanted. He appeared in person. He gave them
a little push, and they began to walk in a major key instead of in a
minor, and then--he blew with his mouth and they were scattered! Gusts
of splendour, gods and demigods contending with vast swords, colour
and fragrance broadcast on the field of battle, magnificent victory,
magnificent death! Oh, it all burst before the girl, and she even
stretched out her gloved hands as if it was tangible. Any fate was
titanic; any contest desirable; conqueror and conquered would alike be
applauded by the angels of the utmost stars.
And the goblins--they had not really been there at all? They were only
the phantoms of cowardice and unbelief? One healthy human impulse would
dispel them? Men like the Wilcoxes, or ex-President Roosevelt, would
say yes. Beethoven knew better. The goblins really had been there. They
might return--and they did. It was as if the splendour of life might
boil over and waste to steam and froth. In its dissolution one heard the
terrible, ominous note, and a goblin, with increased malignity, walked
quietly over the universe from end to end. Panic and emptiness! Panic
and emptiness! Even the flaming ramparts of the world might fall.
Beethoven chose to make all right in the end. He built the ramparts up.
He blew with his mouth for the second time, and again the goblins were
scattered. He brought back the gusts of splendour, the heroism, the
youth, the magnificence of life and of death, and, amid vast roarings of
a superhuman joy, he led his Fifth Symphony to its conclusion. But the
goblins were there. They could return. He had said so bravely, and that
is why one can trust Beethoven when he says other things.
Helen pushed her way out during the applause. She desired to be alone.
The music had summed up to her all that had happened or could happen in
her career.
She read it as a tangible statement, which could never be superseded.
The notes meant this and that to her, and they could have no other
meaning, and life could have no other meaning. She pushed right out of
the building and walked slowly down the outside staircase, breathing the
autumnal air, and then she strolled home.
“Margaret,” called Mrs. Munt, “is Helen all right?”
“Oh yes.”
“She is always going away in the middle of a programme,” said Tibby.
“The music has evidently moved her deeply,” said Fraulein Mosebach.
“Excuse me,” said Margaret’s young man, who had for some time been