The Education of Henry Adams

carried an image of the Virgin round his neck, or stuck in his hat, like Louis XI. In mere time he was a lost soul that had strayed by chance to the twentieth century, and forgotten where it came from. He writhed and cursed at his ignorance, much as Adams did at his own, but in the opposite sense. St. Gaudens was a child of Benvenuto Cellini, smothered in an American cradle. Adams was a quintessence of Boston, devoured by curiosity to think like Benvenuto. St. Gaudens’s art was starved from birth, and Adams’s instinct was blighted from babyhood. Each had but half of a nature, and when they came together before the Virgin of Amiens they ought both to have felt in her the force that made them one; but it was not so. To Adams she became more than ever a channel of force; to St. Gaudens she remained as before a channel of taste.

For a symbol of power, St. Gaudens instinctively preferred the horse, as was plain in his horse and Victory of the Sherman monument. Doubtless Sherman also felt it so. The attitude was so American that, for at least forty years, Adams had never realized that any other could be in sound taste. How many years had he taken to admit a notion of what Michelangelo and Rubens were driving at? He could not say; but he knew that only since 1895 had he begun to feel the Virgin or Venus as force, and not everywhere even so. At Chartres⁠—perhaps at Lourdes⁠—possibly at Cnidos if one could still find there the divinely naked Aphrodite of Praxiteles⁠—but otherwise one must look for force to the goddesses of Indian mythology. The idea died out long ago in the German and English stock. St. Gaudens at Amiens was hardly less sensitive to the force of the female energy than Matthew Arnold at the Grande Chartreuse. Neither of them felt goddesses as power⁠—only as reflected emotion, human expression, beauty, purity, taste, scarcely even as sympathy. They felt a railway train as power, yet they, and all other artists, constantly complained that the power embodied in a railway train could never be embodied in art. All the steam in the world could not, like the Virgin, build Chartres.

Yet in mechanics, whatever the mechanicians might think, both energies acted as interchangeable force on man, and by action on man all known force may be measured. Indeed, few men of science measured force in any other way. After once admitting that a straight line was the shortest distance between two points, no serious mathematician cared to deny anything that suited his convenience, and rejected no symbol, unproved or unproveable, that helped him to accomplish work. The symbol was force, as a compass-needle or a triangle was force, as the mechanist might prove by losing it, and nothing could be gained by ignoring their value. Symbol or energy, the Virgin had acted as the greatest force the Western world ever felt, and had drawn man’s activities to herself more strongly than any other power, natural or supernatural, had ever done; the historian’s business was to follow the track of the energy; to find where it came from and where it went to; its complex source and shifting channels; its values, equivalents, conversions. It could scarcely be more complex than radium; it could hardly be deflected, diverted, polarized, absorbed more perplexingly than other radiant matter. Adams knew nothing about any of them, but as a mathematical problem of influence on human progress, though all were occult, all reacted on his mind, and he rather inclined to think the Virgin easiest to handle.

The pursuit turned out to be long and tortuous, leading at last to the vast forests of scholastic science. From Zeno to Descartes, hand in hand with Thomas Aquinas, Montaigne, and Pascal, one stumbled as stupidly as though one were still a German student of 1860. Only with the instinct of despair could one force one’s self into this old thicket of ignorance after having been repulsed a score of entrances more promising and more popular. Thus far, no path had led anywhere, unless perhaps to an exceedingly modest living. Forty-five years of study had proved to be quite futile for the pursuit of power; one controlled no more force in 1900 than in 1850, although the amount of force controlled by society had enormously increased. The secret of education still hid itself somewhere behind ignorance, and one fumbled over it as feebly as ever. In such labyrinths, the staff is a force almost more necessary than the legs; the pen becomes a sort of blind-man’s dog, to keep him from falling into the gutters. The pen works for itself, and acts like a hand, modelling the plastic material over and over again to the form that suits it best. The form is never arbitrary, but is a sort of growth like crystallization, as any artist knows too well; for often the pencil or pen runs into side-paths and shapelessness, loses its relations, stops or is bogged. Then it has to return on its trail, and recover, if it can, its line of force. The result of a year’s work depends more on what is struck out than on what is left in; on the sequence of the main lines of thought, than on their play or variety. Compelled once more to lean heavily on this support, Adams covered more thousands of pages with figures as formal as though they were algebra, laboriously striking out, altering, burning, experimenting, until the year had expired, the Exposition had long been closed, and winter drawing to its end, before he sailed from Cherbourg, on January 19, 1901, for home.

XXVI

Twilight (1901)

While the world that thought itself frivolous, and submitted meekly to hearing itself decried as vain, fluttered through the Paris Exposition, jogging the futilities of St. Gaudens, Rodin, and Besnard, the world that thought itself serious, and showed other infallible marks of coming mental paroxysm,