Artists and patrons -- Fiction; Authors and readers -- Fiction; Humorous stories; Italy -- Fiction; Satire
Calamy broke silence for the first time since they had entered the room.
“But I don’t know why you complain of being misunderstood,” he said,
smiling. “I should have thought that it was much more disagreeable to be
understood. One can get annoyed with imbeciles for failing to understand
what seems obvious to oneself; one’s vanity may be hurt by their
interpretation of you—they make you out to be as vulgar as themselves.
Or you may feel that you have failed as an artist, in so far as you
haven’t managed to make yourself transparently plain. But what are all
these compared to the horrors of being understood—completely understood?
You’ve given yourself away, you’re known, you’re at the mercy of the
creatures into whose keeping you have committed your soul—why, the
thought’s terrifying. If I were you,” he went on, “I’d congratulate
myself. You have a public which likes your books, but for the wrong
reasons. And meanwhile you’re safe, you’re out of their reach, you
possess yourself intact.”
“Perhaps you’re right,” said Miss Thriplow. Mr. Cardan understood her,
she reflected, or at least understood part of her—an unreal, superficial
part, it was true; but still, she had to admit, a part. And it certainly
wasn’t agreeable.
------------------------------------------------------------------------
CHAPTER VI
To be torn between divided allegiances is the painful fate of almost
every human being. Pull devil, pull baker; pull flesh, pull spirit; pull
love, pull duty; pull reason and pull hallowed prejudice. The conflict,
in its various forms, is the theme of every drama. For though we have
learnt to feel disgust at the spectacle of a bull-fight, an execution or
a gladiatorial show, we still look on with pleasure at the contortions
of those who suffer spiritual anguish. At some distant future date, when
society is organised in a rational manner so that every individual
occupies the position and does the work for which his capacities really
fit him, when education has ceased to instil into the minds of the young
fantastic prejudices instead of truths, when the endocrine glands have
been taught to function in perfect harmony and diseases have been
suppressed, all our literature of conflict and unhappiness will seem
strangely incomprehensible; and our taste for the spectacle of mental
torture will be regarded as an obscene perversion of which decent men
should feel ashamed. Joy will take the place of suffering as the
principal theme of art; in the process, it may be, art will cease to
exist. A happy people, we now say, has no history; and we might add that
happy individuals have no literature. The novelist dismisses in a
paragraph his hero’s twenty years of happiness; over a week of misery
and spiritual debate he will linger through twenty chapters. When there
is no more misery, he will have nothing to write about. Perhaps it will
be all for the best.
Public-domain text, read in full here on John Shaqi.
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