"Thy work, Sah-luma, is worthy of thyself! … need I say more? … Thou hast most aptly proved thy claim upon, the whole world's gratitude, … such lofty thoughts, . . such noble discourse upon love,—such high philosophy, wherein the deepest, dearest dreams of life are grandly pictured in enduring colors,—these things are gifts to poor humanity whereby it MUST become enriched and proud! Thy name, bright soul, shall be as a quenchless star on the dark brows of melancholy Time, . . men gazing thereat shall wonder and adore,—and even I, the least among thy friends, may also win from thee a share of glory! For, simply to know thee,—to listen to thy heaven-inspired utterance, might bring the most renownless student some reflex of thine honor! Yes, thou art great, Sah-luma! … great as the greatest of earth's gifted sons of song!—and with all my heart I offer thee my homage, and pride myself upon the splendor of thy fame!"
And as the eager, enthusiastic words came from his lips, he beheld Sah-luma's beautiful countenance brighten more and more, till it appeared mysteriously transfigured into a majestic Angel-face that for one brief moment startled him by the divine tenderness of its compassionate smile! This expression, however, was transitory,—it passed, and the dark eyes of the Laureate gleamed with a merely serene and affectionate complacency as he said:
"I thank thee for thy praise, good Theos!—thou art indeed the friendliest of critics! Hadst thou THYSELF been the author of 'Nourhalma' thou couldst not have spoken with more ardent feeling! Were Zabastes like thee, discerningly just and reasonable, he would be all unfit for his vocation,—for 'tis an odd circumstance that praise in the public news-sheet does a writer more harm than good, while ill-conditioned and malicious abuse doth very materially increase and strengthen his reputation. Yet, after all, there is a certain sense in the argument,—for if much eulogy be penned by the cheap scribes, the reading populace at once imagine these fellows have been bribed to give their over-zealous approval, or that they are close friends and banquet-comrades of the author whom they arduously uphold, . . whereas, on the contrary, if they indulge in bitter invective, flippant gibing, or clumsy satire, like my amiable Zabsastes here…" and he made an airy gesture toward the silent yet evidently chafing Critic, .."(and, mark you!-HE is not bribed, but merely paid fair wages to fulfil his chosen and professed calling)—why, thereupon the multitude exclaim—'What! this poet hath such enemies?—nay, then, how great a genius he must be!"—and forthwith they clamor for his work, which, if it speak not for itself, is then and only then to be deemed faulty, and meriting oblivion. 'Tis the People's verdict which alone gives fame."
"And yet the people are often ignorant of what is noblest and best in literature!" observed Theos musingly.
"Ignorant in some ways, yes!" agreed Sah-luma—"But in many others, no! They may be ignorant as to WHY they admire a certain thing, yet they admire it all the same, because their natural instinct leads them so to do. And this is the special gift which endows the uncultured masses with an occasional sweeping advantage over the cultured few,—the superiority of their INSTINCT. As in cases of political revolution for example,—while the finely educated orator is endeavoring by all the force of artful rhetoric to prove that all is in order and as it should be, the mob, moved by one tremendous impulse, discover for themselves that everything is wrong, and moreover that nothing will come right, unless they rise up and take authority, . . accordingly, down go the thrones and the colleges, the palaces, the temples, and the law-assemblies, all like so many toys before the resistless instinct of the people, who revolt at injustice, and who feel and know when they are injured, though they are not clever enough to explain WHERE their injury lies. And so, as they cannot talk about it coherently, any more than a lion struck by an arrow can give a learned dissertation on his wound, they act, . . and the heat and fury of their action upheaves dynasties! Again,—reverting to the question of taste and literature,—the mob, untaught and untrained in the subtilties of art, will applaud to the echo certain grand and convincing home-truths set forth in the plays of the divine Hyspiros,—simply because they instinctively FEEL them to be truths, no matter how far they themselves may be from acting up to the standard of morality therein contained. The more highly cultured will hear the same passages unmoved, because they, in the excess of artificially gained wisdom, have deadened their instincts so far, that while they listen to a truth pronounced, they already consider how best they can confute it, and prove the same a lie! Honest enthusiasm is impossible to the over-punctilious and pedantic scholar,—but on the other hand, I would have it plainly understood that a mere brief local popularity is not Fame, . . No! for the author who wins the first never secures the last. What I mean is, that a book or poem to be great, and keep its greatness hereafter, must be judged worthy by the natural instinct of PEOPLES. Their decision, I own, may be tardy,—their hesitation may be prolonged through a hundred or more years,—but their acceptance, whether it be declared in the author's life-time or ages after his death, must be considered final. I would add, moreover, that this world-wide decision has never yet been, and never will be, hastened by any amount of written criticism,—it is the responsive beat of the enormous Pulse of Life that thrills through all mankind, high and low, gentle and simple,—its great throbs are slow and solemnly measured,—yet if once it answers to a Poet's touch, that Poet's name is made glorious forever!"
He spoke with a rush of earnestness and eloquence that was both persuasive and powerful, and he now stood silent and absorbed, his dreamy eyes resting meditatively on the massive bust of the immortal personage he called Hyspiros, which smiled out in serene, cold whiteness from the velvet-shadowed shrine it occupied. Theos watched him with fascinated and fraternal fondness, . . did ever man possess so dulcet a voice, he thought? … so grave and rich and marvellously musical, yet thrilling with such heart-moving suggestions of mingled pride and plaintiveness?
"Thou art a most alluring orator, Sah-luma!" he said suddenly—"Methinks I could listen to thee all day and never tire!"
"I' faith, so could not I!" interposed Zabastes grimly. "For when a bard begins to gabble goose-like platitudes which merely concern his own vocation, the gods only know when he can be persuaded to stop! Nay, 'tis more irksome far than the recitation of his professional jingle—for to that there must in time come a merciful fitting end, but, as I live, if 'twas my custom to say prayers, I would pray to be delivered from the accursed volubility of a versifier's tongue! And perchance it will not be considered out of my line of duty if I venture to remind my most illustrious and renowned MASTER—" this with a withering sneer,—"that if he has any more remarkable nothings to dictate concerning this particularly inane creation of his fancy 'Nourhalma,' 'twill be well that we should proceed therewith, for the hours wax late and the sun veereth toward his House of Noon."
And he spread out fresh slips of papyrus and again prepared his long quill.
Sah-luma smiled, as one who is tolerant of the whims of a hired buffoon,—and, this time seating himself in his ebony chair, was about to commence dictating his Second Canto when Theos, yielding to his desire to speak aloud the idea that had just flashed across his brain said abruptly: