Bildungsromans; English fiction -- 20th century; Women musicians -- Fiction
The air was clean and clear as after a storm. She saw nothing but
sheer absurdity in herself. She went back to Gifford Road and threw
her whole soul into Chopin. That she was able to do so seemed to be
convincing proof of what she desired to prove. She wrote half a dozen
letters, and as she methodically stamped the envelopes one after
another she thought: This is life! Not emotional fireworks, but the
sheer methodical doing of one thing after another. And I am not in
love.... From the businesslike stamping of her envelopes she extracted
that subtle consolation. Somehow there existed in her the weird idea
that being in love would militate against the successful stamping of
envelopes. She was immensely, incalculably pleased at the decision
she had come to. Thereafter, every action of hers confirmed it. When
she went for a motor drive into the Forest and enjoyed it thoroughly,
she thought: This shows that I cannot be in love. And when she played
Chopin she felt vaguely: A person in love would not play Chopin like
this.... She discovered that platonic friendship meant the friendship
of men and women devoid of ulterior motives.... Henceforth she was a
passionate disciple of platonism, ignorant of the fact that a disciple
of platonism must never be passionate. She applied platonism thus: I
can be friendly with him without being in love with him. I can be and
shall be. He is capable of platonic friendship: so am I....
§ 2
A time came when she told herself: I am changing.... She was becoming
more serious, less impressionable. Or so, at any rate, it seemed.
Conversations with him had given her intellect a stimulus. She read
Shaw and Ibsen, not so much to give herself ideas (though that result
was inevitable) as to provide fascinating topics of discussion with
him. For in those days Shaw was a rising and Ibsen a waning star in
the intellectual firmament. Platonism was ever in her mind. She and
Verreker met with moderate frequency, for his position as her concert
organizer involved much business intercourse. They talked music and
politics and economics and literature, and always she was afraid of
two things, lest the conversation might flag, and lest she might make
some absurd remark which would betray the poverty of her knowledge.
And yet when she managed to discuss with him intelligently she never
imagined that she was deceiving him. She knew that he knew that all her
knowledge was recently acquired, that her brain was only slightly above
average, that she only imperfectly comprehended most of the topics
she ventured remarks upon. An occasional remark of rank stupidity was
almost inevitable under such conditions, and she knew it would not
surprise him. He had no illusions about her which she could break. And
yet the fear always hung over her when she was with him that some day
she might say something irrevocably, catastrophically absurd. It was
almost a relief to her when their meetings were over. The sensation
Public-domain text, read in full here on John Shaqi.
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