Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself. The Parisians — Complete by Baron Edward Bulwer Lytton Lytton (beautiful books to read TXT) 📖
Book online «The Parisians — Complete by Baron Edward Bulwer Lytton Lytton (beautiful books to read TXT) 📖». Author Baron Edward Bulwer Lytton Lytton
The painter, the sculptor, the musician, seem disposed to invite disciples and welcome acolytes. As for those engaged in the practical affairs of life, fathers mostly wish their sons to be as they have been.
The politician, the lawyer, the merchant, each says to his children, “Follow my steps.” All parents in practical life would at least agree in this,—they would not wish their sons to be poets. There must be some sound cause in the world’s philosophy for this general concurrence of digression from a road of which the travellers themselves say to those whom they love best, “Beware!”
Romance in youth is, if rightly understood, the happiest nutriment of wisdom in after-years; but I would never invite any one to look upon the romance of youth as a thing
“To case in periods and embalm in ink.”Enfant, have you need of a publisher to create romance? Is it not in yourself? Do not imagine that genius requires for its enjoyment the scratch of the pen and the types of the printer. Do not suppose that the poet, the romancier, is most poetic, most romantic, when he is striving, struggling, labouring, to check the rush of his ideas, and materialize the images which visit him as souls into such tangible likenesses of flesh and blood that the highest compliment a reader can bestow on them is to say that they are lifelike: No: the poet’s real delight is not in the mechanism of composing; the best part of that delight is in the sympathies he has established with innumerable modifications of life and form, and art and Nature, sympathies which are often found equally keen in those who have not the same gift of language. The poet is but the interpreter. What of?—Truths in the hearts of others. He utters what they feel. Is the joy in the utterance? Nay, it is in the feeling itself. So, my dear, dark-bright child of song, when I bade thee open, out of the beaten thoroughfare, paths into the meads and river-banks at either side of the formal hedgerows, rightly dost thou add that I enjoined thee to make thine art thy companion. In the culture of that art for which you are so eminently gifted, you will find the ideal life ever beside the real. Are you not ashamed to tell me that in that art you do but utter the thoughts of others? You utter them in music; through the music you not only give to the thoughts a new character, but you make them reproductive of fresh thoughts in your audience.
You said very truly that you found in composing you could put into music thoughts which you could not put into words. That is the peculiar distinction of music. No genuine musician can explain in words exactly what he means to convey in his music.
How little a libretto interprets an opera; how little we care even to read it! It is the music that speaks to us; and how?—Through the human voice. We do not notice how poor are the words which the voice warbles. It is the voice itself interpreting the soul of the musician which enchants and enthralls us. And you who have that voice pretend to despise the gift. What! despise the power of communicating delight!—the power that we authors envy; and rarely, if ever, can we give delight with so little alloy as the singer.
And when an audience disperses, can you guess what griefs the singer may have comforted? what hard hearts he may have softened? what high thoughts he may have awakened?
You say, “Out on the vamped-up hypocrite! Out on the stage-robes and painted cheeks!”
I say, “Out on the morbid spirit which so cynically regards the mere details by which a whole effect on the minds and hearts and souls of races and nations can be produced!”
There, have I scolded you sufficiently? I should scold you more, if I did not see in the affluence of your youth and your intellect the cause of your restlessness. Riches are always restless. It is only to poverty that the gods give content.
You question me about love; you ask if I have ever bowed to a master, ever merged my life in another’s: expect no answer on this from me. Circe herself could give no answer to the simplest maid, who, never having loved, asks, “What is love?”
In the history of the passions each human heart is a world in itself; its experience profits no others. In no two lives does love play the same part or bequeath the same record.
I know not whether I am glad or sorry that the word “love” now falls on my ear with a sound as slight and as faint as the dropping of a leaf in autumn may fall on thine.
I volunteer but this lesson, the wisest I can give, if thou canst understand it: as I bade thee take art into thy life, so learn to look on life itself as an art. Thou couldst discover the charm in Tasso; thou couldst perceive that the requisite of all art, that which pleases, is in the harmony of proportion. We lose sight of beauty if we exaggerate the feature most beautiful.
Love proportioned adorns the homeliest existence; love disproportioned deforms the fairest.
Alas! wilt thou remember this warning when the time comes in which it may be needed?
E——- G———-.
BOOK II.
CHAPTER I.
It is several weeks after the date of the last chapter; the lime-trees in the Tuileries are clothed in green.
In a somewhat spacious apartment on the ground-floor in the quiet locality of the Rue d’Anjou, a man was seated, very still and evidently absorbed in deep thought, before a writing-table placed close to the window.
Seen thus, there was an expression of great power both of intellect and of character in a face which, in ordinary social commune, might rather be noticeable for an aspect of hardy frankness, suiting well with the clear-cut, handsome profile, and the rich dark auburn hair, waving carelessly over one of those broad open foreheads, which, according to an old writer, seem the “frontispiece of a temple dedicated to Honour.”
The forehead, indeed, was the man’s most remarkable feature. It could not but prepossess the beholder. When, in private theatricals, he had need to alter the character of his countenance, he did it effectually, merely by forcing down his hair till it reached his eyebrows. He no longer then looked like the same man.
The person I describe has been already introduced to the reader as Graham Vane. But perhaps this is the fit occasion to enter into some such details as to his parentage and position as may make the introduction more satisfactory and complete.
His father, the representative of a very ancient family, came into possession, after a long minority, of what may be called a fair
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