half-articulate voices⁠—he leapt with new enthusiasm. From the fainter shadowings of his own life, he sensed instinctively the vaster tragedy of theirs. His soul yearned to give voice and being to this human thing. He early turned to the sorrow songs. He sat at the faltering feet of Paul Laurence Dunbar and he asked (as we sadly shook our heads) for some masterpiece of this world-tragedy that his soul could set to music. And then, so characteristically, he rushed back to England, composed a half-dozen exquisite harmonies haunted by slave-songs, led the Welsh in their singing, listened to the Scotch, ordered great music festivals in all England, wrote for Beerbohm Tree, took on another music professorship, promised a trip to Germany, and at last, staggering home one night, on his way to his wife and little boy and girl, fell in his tracks and in four days was dead, at the age of thirty-seven. They say that in his death-throe he arose and facing some great, ghostly choir raised his last baton, while all around the massive silence rang with the last mist-music of his dying ears.

He was buried from St. Michael’s on September 5, 1912, with the acclaim of kings and music masters and little children and to the majestic melody of his own music. The tributes that followed him to his grave were unusually hearty and sincere. The head of the Royal College calls the first production of Hiawatha one of the most remarkable events in modern English musical history and the trilogy one of the most universally-beloved works of modern English music. One critic calls Taylor’s a name “which with that of Elgar represented the nation’s most individual output” and calls his “Atonement” “perhaps the finest passion music of modern times.” Another critic speaks of his originality: “Though surrounded by the influences that are at work in Europe today, he retained his individuality to the end, developing his style, however, and evincing new ideas in each succeeding work. His untimely death at the age of thirty-seven, a short life⁠—like those of Schubert, Mendelssohn, Chopin, and Hugo Wolf⁠—has robbed the world of one of its noblest singers, one of those few men of modern times who found expression in the language of musical song, a lyricist of power and worth.”

But the tributes did not rest with the artist; with peculiar unanimity they sought his “sterling character,” “the good husband and father,” the “staunch and loyal friend.” And perhaps I cannot better end these hesitating words than with that tribute from one who called this master, friend, and whose lament cried in the night with more of depth and passion than Alfred Noyes is wont in his self-repression to voice:

“Through him, his race, a moment, lifted up
Forests of hands to beauty, as in prayer,
Touched through his lips the sacramental cup
And then sank back, benumbed in our bleak air.”

Yet, consider: to many millions of people this man was all wrong. First, he ought never to have been born, for he was the mulatto son of a white woman. Secondly, he should never have been educated as a musician⁠—he should have been trained, for his “place” in the world and to make him satisfied therewith. Thirdly, he should not have married the woman he loved and who loved him, for she was white and the niece of an Oxford professor. Fourthly, the children of such a union⁠—but why proceed? You know it all by heart.

If he had been black, like Paul Laurence Dunbar, would the argument have been different? No. He should never have been born, for he is a “problem.” He should never be educated, for he cannot be educated. He should never marry, for that means children and there is no place for black children in this world.


In the treatment of the child the world foreshadows its own future and faith. All words and all thinking lead to the child⁠—to that vast immortality and the wide sweep of infinite possibility which the child represents. Such thought as this it was that made the Master say of old as He saw baby faces:

“And whosoever shall offend one of these little ones, it is better for him that a millstone were hanged about his neck and he were cast into the sea.”

And yet the mothers and fathers and the men and women of my race must often pause and ask: Is it worth while? Ought children be born to us? Have we any right to make human souls face what we face today? The answer is clear: If the great battle of human right against poverty, against disease, against color prejudice is to be won, it must be won, not in our day, but in the day of our children’s children. Ours is the blood and dust of battle; theirs the rewards of victory. If, then, they are not there because we have not brought them into the world, we have been the guiltiest factor in conquering ourselves. It is our duty, then, to accomplish the immortality of black blood, in order that the day may come in this dark world when poverty shall be abolished, privilege be based on individual desert, and the color of a man’s skin be no bar to the outlook of his soul.

If it is our duty as honest colored men and women, battling for a great principle, to bring not aimless rafts of children to the world, but as many as, with reasonable sacrifice, we can train to largest manhood, what in its inner essence shall that training be, particularly in its beginning?

The first temptation is to shield the child⁠—to hedge it about that it may not know and will not dream of the color line. Then when we can no longer wholly shield, to indulge and pamper and coddle, as though in this dumb way to compensate. From this attitude comes the multitude of our spoiled, wayward, disappointed children. And must we not blame ourselves? For while the motive was pure

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