Bildungsromans; English fiction -- 20th century; Women musicians -- Fiction
The fierceness of her indignation brought Catherine face to face with
one other thing that she had never hitherto realized. And that was
the absurd grandiloquence of her ambition. There was nothing that
Razounov has said of which she could legitimately complain. He had
even complimented her to the extent of saying that she would make a
good player if she were careful, and that she might earn plenty of
money as a pianist. Surely that was encouraging! ... No, it was not.
For he had also told her that she was not a genius, and would never be
supreme in her art. Well, what of that? Had she ever had the conceited
effrontery to think she _was_ a genius? Catherine decided no, not
exactly that, but ... The fact was, Catherine, without knowing it, had
inclined to give herself the benefit of the doubt. At any rate, she had
always been serenely confident of the doubt. Quite unconsciously she
had developed an opinion of herself to which there were no adequate
frontiers. She was a supreme egoist, and her life had come to be
worth living only on false understandings. Every book she read, every
speech or sermon she listened to, occasioned in her the feeling:
“How does that fit in with me?” At a school prize-giving once the
speaker--a local vicar--had given an address to the scholars in which
he mentioned the three things which a human being might legitimately
desire--fine physique, genius, and strength of character. When he came
to the consideration of the second, he said: “Of course, we’re none
of us geniuses, but----” Catherine (she was only fourteen then) had
been rather contemptuous of this modesty, “Of course, I suppose he
_has_ to say that, and yet how does he know whether ...” she had
thought. To her his sweeping declaration savoured of the rash. It had
been the same on many occasions. Somewhere at the back of Catherine’s
mind had always been the supposition, so patent as to be almost
axiomatic, that she was different from other people. That difference
was, on the whole, the difference of superiority. She had done things
that no other girl of her age and acquaintance had done. She had left
home with five and sevenpence half-penny, obtained lodgings on her own,
and kept herself by work. She had played at concerts (one concert to
be precise). A young man who, whatever his drawbacks, was undeniably
clever, had fallen desperately in love with her. Her own father, pining
of remorse, had cut his throat to prove to her his undying affection.
And the invitation to meet Razounov had at first seemed merely a
further rung on the ladder of fame. There was no doubt about it: she
was marvellous, extraordinary, a constant surprise both to herself and
to other people. Her very faults became demi-virtues. Passionate she
felt herself to be. After reading _Tess of the d’Urbervilles_ her
instinctive thought had been: “Am I like Tess?” And she had frequently
asked herself the question: “Am I a genius?” and had shirked a plain
answer.
Public-domain text, read in full here on John Shaqi.
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