Yours sincerely,
ROSE-MARIE SCHMIDT.
XLII
Galgenberg, Aug. 31st.
Dear Mr. Anstruther,—Yes, of course he does. He plays every evening. And every evening I go and listen, either in the orchard beneath the open window or, more ceremoniously, inside the room with or without Papa. I find it a pleasant thing. I am living in a bath of music. And I hope you don't expect me to agree with your criticism of music as a stirrer-up of, on the whole, second-rate emotions. What are second-rate emotions? Are they the ones that you have? And was it to have them stirred that you used to journey so often to Munich and Mottl? Stirred up I certainly am. Not in the way, I admit, in which a poem of Milton's does it, not affected in the least as I am affected by, for instance, the piled-up majesty of the poem on Time, but if less nobly still very effectually. There; I have apparently begun to agree with you. Well, I do see, the moment I begin to consider, that what is stirred is less noble. I do see that what I feel when I listen to music is chiefly Wehmuth, and I don't think much of Wehmuth. You have no word for it. Perhaps in England you do not have just that form of sentiment. It is a forlorn thing, made up mostly of vague ingredients,—vague yearnings, vague regrets, vague dissatisfactions. When it comes over you, you remember all the people who are absent, and you are sad; and the people who are dead, and you sigh; and the times you have been naughty, and you groan. I do see that a sentiment that makes you do that is not the highest. It is profitless, sterile. It doesn't send you on joyfully to the next thing, but keeps you lingering in the dust of churchyards, barren places of the past which should never be revisited by the wholesome-minded. Now this looks as though I were agreeing with you quite, but I still don't. You put it so extremely. It is so horrid to think that even my emotions may be second-rate. I long ago became aware that my manners were so, but I did like to believe there was nothing second-rate about my soul. Well, what is one to do? Never be soft? Never be sad? Or sorry? Or repentant? Always stay up at the level of Milton's Time poem, or of his At a Solemn Musick, strung high up to an unchanging pitch of frigid splendor and nobleness? It is what I try to aim at. It is what I would best like. Then comes our friend of the red tie, and in the cool of the day when the world is dim and scented shakes a little fugue of Bach's out of his fiddle, a sparkling, sly little fugue, frolicsome for all its minor key, a handful of bright threads woven together, twisted in and out, playing, it would seem, at some game of hide-and-seek, of pretending to want to catch each other into a tangle, but always gayly coming out of the knots, each distinct and holding on its shining way till the meeting at the end, the final embrace when the game is over and they tie themselves contentedly together into one comfortable major chord,—our friend plays this, this manifestly happy thing, and my soul listens, and smiles, and sighs, and longs, and ends by being steeped in Wehmuth. I choose the little fugue of Bach as an instance, for of all music it is aimed most distinctly at the intellect, it is the furthest removed from Wehmuth; and if it has this effect on me I will not make you uncomfortable by a description of what the baser musics do, the musics of passion, of furious exultations and furious despairs. But my vague wish for I do not know what, gentle, and rather sweetly resigned when the accompaniment is Bach, swells suddenly while I listen to them into a terrifying longing that rends and shatters my soul.
What private things I tell you. I wouldn't if I were talking. I would be affected by your actual presence. But writing is so different, and so strange; at once so much more and so much less intimate. The body is safe—far away, unassailable; and the spirit lets itself go out to meet a fellow spirit with the frankness it can never show when the body goes too, that grievous hinderer of the communion of saints, that officious blunderer who can spoil the serenest intercourse by a single blush.
Johanna came in just there. She was decked in smiles, and wanted to say good-by till to-morrow morning. It is her night out, and she really looked rather wonderful to one used to her kitchen condition. Her skin, cleansed from week-day soilure, was surprisingly fair; her hair, waved more beautifully than mine will ever be, was piled up in bright imposing masses; her starched white dress had pink ribbons about it; she wore cotton gloves; and held the handkerchief I lend her on these occasions genteelly by its middle in her hand. Every second Sunday she descends the mountain at sunset, the door-key in her pocket, and dances all night in some convivial Gasthof in the town, coming up again at sunrise or later according to the amount of fun she was having. On the Monday I do nearly everything alone, for she sleeps half the day, and the other half she doesn't like being talked to. She is a good servant, and she would certainly go if we tried to get her in again under the twelve hours. On the alternate Sundays we allow her to have her young man up for the afternoon and evening. He is a trumpeter in the regiment stationed in Jena, and he brings his trumpet to fill up awkward silences. Engaged couples of that kind don't seem able to talk much, so that the trumpet is a great comfort to them. Whenever conversation flags he whips it out and blows a rousing blast, giving her time to think of something to say next. I had to ask him to do it in the garden, for the first time it nearly blew our roof, which isn't very tightly on, off. Now he and she sit together on a bench outside the door, and the genius down the hill with the exclusive ears suffers, I am afraid, rather acutely. Papa and I wander as far away as we can get among the mountains.
It is rather dreadful when they quarrel. Then, of course, Johanna sulks as girls will, and sulks are silent things, so that the trumpet has to fill up a yawning gulf and never leaves off at all. Last Sunday it blew the whole time we were out, and I expected when I got home to find the engagement broken off. We stayed away as long as we could, climbing higher and higher, wandering further and further, supping at last reluctantly on cucumber salad and cold herrings in the little restaurant up on the Schweizerhohe because the trumpet wouldn't stop and we didn't dare go home till it did. Its blasts pursued us even into the recesses of the dingy wooden hall we took our ears into, vainly trying to carry them somewhere out of range. It seemed to be a serious quarrel. We had a depressing meal. We both esteem Johanna with the craven esteem you feel for a person, at any moment capable of giving notice, who does all the unpleasant things you would otherwise have to do yourself. The state of her temper seriously affects our peace. You see, the house is small, and if her trumpeter has been unsatisfactory and she throws the saucepans about or knocks the broom in sweeping against all the wooden things like doors and skirting-boards, it makes an unendurable clatter and puts an end at once to Papa's work and to my equally earnest play. If, her nerves being already on edge, I were to suggest to her even smilingly to be quiet, she would at once give notice—I know she would—and the dreary search begin again for that impossible treasure you in England call a paragon and we in Jena call a pearl. Where am I to find a clean, honest, strong pearl, able to cook and willing to come and live in what is something like an unopened oyster-shell, so shut-up, so cut-off so solitary would her existence here be, for eight pounds a year? It is easy for you august persons who never see your servants, who have so many that by sheer force of numbers they become unnoticeable, to deride us who have only one for being so greatly at her mercy. I know you will deride. I see your letter already: 'Dear Fräulein Schmidt, Is not your attitude toward the maid Johanna unworthy?' It isn't unworthy, because it is natural. Defiantly I confess that it is also cringing. Well, it is natural to cringe under the circumstances. So would you. I dare say if your personal servant is a good one, and you depend much on him for comfort, you do do it as it is. And there are very few girls in Jena who would come out of it and take a situation on the side of a precipice for eight pounds a year. Really the wages are small, balanced against the disadvantages. And wages are going up. Down in Jena a good servant can get ten pounds a year now without much difficulty. So that it behooves us who cannot pay such prices to humor Johanna.
About nine the trumpet became suddenly dumb. Papa and I, after waiting a few minutes, set out for home, conjecturing as we went in what state we should find Johanna. Did the silence mean a rupture or a making-up? I inclined toward the rupture, for how can a girl, I asked Papa, murmur mild words of making-up to a lover engaged in blowing a trumpet? Papa said he didn't know; and engrossed by fears we walked home without speaking.