source, and the painful impression was increased because at the very moment of looking down the East London street from the top of the omnibus, I had been sharply and painfully reminded of "The Vision of Sudden Death" which had confronted De Quincey one summer's night as he was being driven through rural England on a high mail coach. Two absorbed lovers suddenly appear between the narrow, blossoming hedgerows in the direct path of the huge vehicle which is sure to crush them to their death. De Quincey tries to send them a warning shout, but finds himself unable to make a sound because his mind is hopelessly entangled in an endeavor to recall the exact lines from the Iliad which describe the great cry with which Achilles alarmed all Asia militant. Only after his memory responds is his will released from its momentary paralysis, and he rides on through the fragrant night with the horror of the escaped calamity thick upon him, but he also bears with him the consciousness that he had given himself over so many years to classic learning—that when suddenly called upon for a quick decision in the world of life and death, he had been able to act only through a literary suggestion.
This is what we were all doing, lumbering our minds with literature that only served to cloud the really vital situation spread before our eyes. It seemed to me too preposterous that in my first view of the horror of East London I should have recalled De Quincey's literary description of the literary suggestion which had once paralyzed him. In my disgust it all appeared a hateful, vicious circle which even the apostles of culture themselves admitted, for had not one of the greatest among the moderns plainly said that "conduct, and not culture is three fourths of human life."
For two years in the midst of my distress over the poverty which, thus suddenly driven into my consciousness, had become to me the "Weltschmerz," there was mingled a sense of futility, of misdirected energy, the belief that the pursuit of cultivation would not in the end bring either solace or relief. I gradually reached a conviction that the first generation of college women had taken their learning too quickly, had departed too suddenly from the active, emotional life led by their grandmothers and great-grandmothers; that the contemporary education of young women had developed too exclusively the power of acquiring knowledge and of merely receiving impressions; that somewhere in the process of 'being educated' they had lost that simple and almost automatic response to the human appeal, that old healthful reaction resulting in activity from the mere presence of suffering or of helplessness; that they are so sheltered and pampered they have no chance even to make "the great refusal."
In the German and French pensions, which twenty-five years ago were crowded with American mothers and their daughters who had crossed the seas in search of culture, one often found the mother making real connection with the life about her, using her inadequate German with great fluency, gaily measuring the enormous sheets or exchanging recipes with the German Hausfrau, visiting impartially the nearest kindergarten and market, making an atmosphere of her own, hearty and genuine as far as it went, in the house and on the street. On the other hand, her daughter was critical and uncertain of her linguistic acquirements, and only at ease when in the familiar receptive attitude afforded by the art gallery and opera house. In the latter she was swayed and moved, appreciative of the power and charm of the music, intelligent as to the legend and poetry of the plot, finding use for her trained and developed powers as she sat "being cultivated" in the familiar atmosphere of the classroom which had, as it were, become sublimated and romanticized.
I remember a happy busy mother who, complacent with the knowledge that her daughter daily devoted four hours to her music, looked up from her knitting to say, "If I had had your opportunities when I was young, my dear, I should have been a very happy girl. I always had musical talent, but such training as I had, foolish little songs and waltzes and not time for half an hour's practice a day."
The mother did not dream of the sting her words left and that the sensitive girl appreciated only too well that her opportunities were fine and unusual, but she also knew that in spite of some facility and much good teaching she had no genuine talent and never would fulfill the expectations of her friends. She looked back upon her mother's girlhood with positive envy because it was so full of happy industry and extenuating obstacles, with undisturbed opportunity to believe that her talents were unusual. The girl looked wistfully at her mother, but had not the courage to cry out what was in her heart: "I might believe I had unusual talent if I did not know what good music was; I might enjoy half an hour's practice a day if I were busy and happy the rest of the time. You do not know what life means when all the difficulties are removed! I am simply smothered and sickened with advantages. It is like eating a sweet dessert the first thing in the morning."
This, then, was the difficulty, this sweet dessert in the morning and the assumption that the sheltered, educated girl has nothing to do with the bitter poverty and the social maladjustment which is all about her, and which, after all, cannot be concealed, for it breaks through poetry and literature in a burning tide which overwhelms her; it peers at her in the form of heavy-laden market women and underpaid street laborers, gibing her with a sense of her uselessness.
I recall one snowy morning in Saxe-Coburg, looking from the window of our little hotel upon the town square, that we saw crossing and recrossing it a single file of women with semicircular, heavy, wooden tanks fastened upon their backs. They were carrying in this primitive fashion to a remote cooling room these tanks filled with a hot brew incident to one stage of beer making. The women were bent forward, not only under the weight which they were bearing, but because the tanks were so high that it would have been impossible for them to have lifted their heads. Their faces and hands, reddened in the cold morning air, showed clearly the white scars where they had previously been scalded by the hot stuff which splashed if they stumbled ever so little on their way. Stung into action by one of those sudden indignations against cruel conditions which at times fill the young with unexpected energy, I found myself across the square, in company with mine host, interviewing the phlegmatic owner of the brewery who received us with exasperating indifference, or rather received me, for the innkeeper mysteriously slunk away as soon as the great magnate of the town began to speak. I went back to a breakfast for which I had lost my appetite, as I had for Gray's "Life of Prince Albert" and his wonderful tutor, Baron Stockmar, which I had been reading late the night before. The book had lost its fascination; how could a good man, feeling so keenly his obligation "to make princely the mind of his prince," ignore such conditions of life for the multitude of humble, hard-working folk. We were spending two months in Dresden that winter, given over to much reading of "The History of Art" and after such an experience I would invariably suffer a moral revulsion against this feverish search after culture. It was doubtless in such moods that I founded my admiration for Albrecht Durer, taking his wonderful pictures, however, in the most unorthodox manner, merely as human documents. I was chiefly appealed to by his unwillingness to lend himself to a smooth and cultivated view of life, by his determination to record its frustrations and even the hideous forms which darken the day for our human imagination and to ignore no human complications. I believed that his canvases intimated the coming religious and social changes of the Reformation and the peasants' wars, that they were surcharged with pity for the downtrodden, that his sad knights, gravely standing guard, were longing to avert that shedding of blood which is sure to occur when men forget how complicated life is and insist upon reducing it to logical dogmas.
The largest sum of money that I ever ventured to spend in Europe was for an engraving of his "St. Hubert," the background of which was said to be from an original Durer plate. There is little doubt, I am afraid, that the background as well as the figures "were put in at a later date," but the purchase at least registered the high-water mark of my enthusiasm.
The wonder and beauty of Italy later brought healing and some relief to the paralyzing sense of the futility of all artistic and intellectual effort when disconnected from the ultimate test of the conduct it inspired. The serene and soothing touch of history also aroused old enthusiasms, although some of their manifestations were such as one smiles over more easily in retrospection than at the moment. I fancy that it was no smiling matter to several people in our party, whom I induced to walk for three miles in the hot sunshine beating down upon the Roman Campagna, that we might enter the Eternal City on foot through the Porta del Popolo, as pilgrims had done for centuries. To be sure, we had
