With the assistance of a young musician, later the well-known composer and Concert Director, Victor Bendix, I plunged into the mysteries of thorough-bass, and went so far as to write out the entire theory of harmonics. I learnt to express myself in the barbaric language of music, to speak of minor scales in fifths, to understand what was meant by enharmonic ambiguity. I studied voice modulation, permissible and non- permissible octaves; but I did not find what I hoped. I composed a few short tunes, which I myself thought very pretty, but which my young master made great fun of, and with good reason. One evening, when he was in very high spirits, he parodied one of them at the piano in front of a large party of people. It was a disconcerting moment for the composer of the tune.
A connection between metrical art and thorough-bass was not discoverable. Neither were there any unbreakable laws governing thorough-bass. The unversed person believes that in harmonics he will find quite definite rules which must not be transgressed. But again and again he discovers that what is, as a general rule, forbidden, is nevertheless, under certain circumstances, quite permissible.
Thus he learns that in music there is no rule binding on genius. And perhaps he asks himself whether, in other domains, there are rules which are binding on genius.
XX.
I had lived so little with Nature. The Spring of 1865, the first Spring I had spent in the country--although quite near to Copenhagen--meant to me rich impressions of nature that I never forgot, a long chain of the most exquisite Spring memories. I understood as I had never done before the inborn affection felt by every human being for the virgin, the fresh, the untouched, the not quite full-blown, just as it is about to pass over into its maturity. It was in the latter half of May. I was looking for anemones and violets, which had not yet gone to seed. The budding beech foliage, the silver poplar with its shining leaves, the maple with its blossoms, stirred me, filled me with Spring rapture. I could lie long in the woods with my gaze fastened on a light-green branch with the sun shining through it, and, as if stirred by the wind, lighted up from different sides, and floating and flashing as if coated with silver. I saw the empty husks fall by the hundred before the wind. I followed up the streams in the wood to their sources. For a while a rivulet oozed slowly along. Then came a little fall, and it began to speak, to gurgle and murmur; but only at this one place, and here it seemed to me to be like a young man or woman of twenty. Now that I, who in my boyhood's days had gone for botanical excursions with my master and school-fellows, absorbed myself in every plant, from greatest to least, without wishing to arrange or classify any, it seemed as though an infinite wisdom in Nature were being revealed to me for the first time.
As near to Copenhagen as Söndermarken, stood the beech, with its curly leaves and black velvet buds in their silk jackets. In the gardens of Frederiksberg Avenue, the elder exhaled its fragrance, but was soon over; the hawthorn sprang out in all its splendour. I was struck by the loveliness of the chestnut blooms. When the blossom on the cherry-trees had withered, the lilac was out, and the apple and pear-trees paraded their gala dress.
It interested me to notice how the colour sometimes indicated the shape, sometimes produced designs quite independently of it. I loitered in gardens to feast my eyes on the charming grouping of the rhubarb leaves no less than on the exuberance of their flowers, and the leaves of the scorzonera attracted my attention, because they all grew in one plane, but swung about like lances.
And as my habit was, I philosophised over what I saw and had made my own, and I strove to understand in what beauty consisted. I considered the relations between beauty and life; why was it that artificial flowers and the imitation of a nightingale's song were so far behind their originals in beauty? What was the difference between the beauty of the real, the artificial and the painted flower? Might not Herbart's Aesthetics be wrong, in their theory of form? The form itself might be the same in Nature and the imitation, in the rose made of velvet and the rose growing in the garden. And I reflected on the connection between the beauty of the species and that of the individual. Whether a lily be a beautiful flower, I can say without ever having seen lilies before, but whether it be a beautiful lily, I cannot. The individual can only be termed beautiful when more like than unlike to the ideal of the species. And I mused over the translation of the idea of beauty into actions and intellectual conditions. Was not the death of Socrates more beautiful than his preservation of Alcibiades' life in battle?--though this was none the less a beautiful act.
XXI.
In the month of July I started on a walking tour through Jutland, with the scenery of which province I had not hitherto been acquainted; travelled also occasionally by the old stage-coaches, found myself at Skanderborg, which, for me, was surrounded by the halo of mediaeval romance; wandered to Silkeborg, entering into conversation with no end of people, peasants, peasant boys, and pretty little peasant girls, whose speech was not always easy to understand. I studied their Juttish, and laughed heartily at their keen wit. The country inns were often over-full, so that I was obliged to sleep on the floor; my wanderings were often somewhat exhausting, as there were constant showers, and the night rain had soaked the roads. I drove in a peasant's cart to Mariager to visit my friend Emil Petersen, who was in the office of the district judge of that place, making his home with his brother-in-law and his very pretty sister, and I stayed for a few days with him. Here I became acquainted with a little out-of-the-world Danish town. The priest and his wife were an interesting and extraordinary couple. The priest, the before-mentioned Pastor Ussing, a little, nervous, intelligent and unworldly man, was a pious dreamer, whose religion was entirely rationalistic. Renan's recently published Life of Jesus was so far from shocking him that the book seemed to him in all essentials to be on the right track. He had lived in the Danish West Indies, and there he had become acquainted with his wife, a lady with social triumphs behind her, whose charms he never wearied of admiring. The mere way in which she placed her hat upon her head, or threw a shawl round her shoulders, could make him fall into ecstasies, even though he only expressed his delight in her in half-facetious terms. This couple showed me the most cordial kindness; to their unpractised, provincial eyes, I seemed to be a typical young man of the world, and they amazed me with the way in which they took it for granted that I led the dances at every ball, was a lion in society, etc. I was reminded of the student's words in Hostrup's vaudeville: "Goodness! How innocent they must be to think me a dandy!" and vainly assured them that I lived an exceedingly unnoticed life in Copenhagen, and had never opened a ball in my life.