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The Education of Henry Adams

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rigorously consequent, he could fix for a familiar moment a necessary sequence of human movement. The result had satisfied him as little as at Harvard College. Where he saw sequence, other men saw something quite different, and no one saw the same unit of measure. He cared little about his experiments and less about his statesmen, who seemed to him quite as ignorant as himself and, as a rule, no more honest; but he insisted on a relation of sequence, and if he could not reach it by one method, he would try as many methods as science knew. Satisfied that the sequence of men led to nothing and that the sequence of their society could lead no further, while the mere sequence of time was artificial, and the sequence of thought was chaos, he turned at last to the sequence of force; and thus it happened that, after ten years' pursuit, he found himself lying in the Gallery of Machines at the Great Exposition of 1900, his historical neck broken by the sudden irruption of forces totally new. Since no one else showed much concern, an elderly person without other cares had no need to betray alarm. The year 1900 was not the first to upset schoolmasters. Copernicus and Galileo had broken many professorial necks about 1600; Columbus had stood the world on its head towards 1500; but the nearest approach to the revolution of 1900 was that of 310, when Constantine set up the Cross. The rays that Langley disowned, as well as those which he fathered, were occult, supersensual, irrational; they were a revelation of mysterious energy like that of the Cross; they were what, in terms of mediaeval science, were called immediate modes of the divine substance. The historian was thus reduced to his last resources. Clearly if he was bound to reduce all these forces to a common value, this common value could have no measure but that of their attraction on his own mind. He must treat them as they had been felt; as convertible, reversible, interchangeable attractions on thought. He made up his mind to venture it; he would risk translating rays into faith. Such a reversible process would vastly amuse a chemist, but the chemist could not deny that he, or some of his fellow physicists, could feel the force of both. When Adams was a boy in Boston, the best chemist in the place had probably never heard of Venus except by way of scandal, or of the Virgin except as idolatry; neither had he heard of dynamos or automobiles or radium; yet his mind was ready to feel the force of all, though the rays were unborn and the women were dead. Here opened another totally new education, which promised to be by far the most hazardous of all. The knife-edge along which he must crawl, like Sir Lancelot in the twelfth century, divided two kingdoms of force which had nothing in common but attraction. They were as different as a magnet is from gravitation, supposing one knew what a magnet was, or gravitation, or love. The force of the Virgin was still felt at Lourdes, and seemed to be as potent as X-rays; but in America neither Venus nor Virgin ever had value as force -- at most as sentiment. No American had ever been truly afraid of either. This problem in dynamics gravely perplexed an American historian. The Woman had once been supreme; in France she still seemed potent, not merely as a sentiment, but as a force. Why was she unknown in America? For evidently America was ashamed of her, and she was ashamed of herself, otherwise they would not have strewn fig-leaves so profusely all over her. When she was a true force, she was ignorant of fig-leaves, but the monthly-magazine-made American female had not a feature that would have been recognized by Adam. The trait was notorious, and often humorous, but any one brought up among Puritans knew that sex was sin. In any previous age, sex was strength. Neither art nor beauty was needed. Every one, even among Puritans, knew that neither Diana of the Ephesians nor any of the Oriental goddesses was worshipped for her beauty. She was goddess because of her force; she was the animated dynamo; she was reproduction -- the greatest and most mysterious of all energies; all she needed was to be fecund. Singularly enough, not one of Adams's many schools of education had ever drawn his attention to the opening lines of Lucretius, though they were perhaps the finest in all Latin literature, where the poet invoked Venus exactly as Dante invoked the Virgin: -- "Quae quondam rerum naturam sola gubernas." The Venus of Epicurean philosophy survived in the Virgin of the Schools: -- "Donna, sei tanto grande, e tanto vali, Che qual vuol grazia, e a te non ricorre, Sua disianza vuol volar senz' ali." All this was to American thought as though it had never existed. The true American knew something of the facts, but nothing of the feelings; he read the letter, but he never felt the law. Before this historical chasm, a mind like that of Adams felt itself helpless; he turned from the Virgin to the Dynamo as though he were a Branly coherer. On one side, at the Louvre and at Chartres, as he knew by the record of work actually done and still before his eyes, was the highest energy ever known to man, the creator four-fifths of his noblest art, exercising vastly more attraction over the human mind than all the steam-engines and dynamos ever dreamed of; and yet this energy was unknown to the American mind. An American Virgin would never dare command; an American Venus would never dare exist. The question, which to any plain American of the nineteenth century seemed as remote as it did to Adams, drew him almost violently to study, once it was posed; and on this point Langleys were as useless as though they were Herbert Spencers or dynamos. The idea survived only as art. There one turned as naturally as though the artist were himself a woman. Adams began to ponder, asking himself whether he knew of any American artist who had ever insisted on the power of sex, as every classic had always done; but he could think only of Walt Whitman; Bret Harte, as far as the magazines would let him venture; and one or two painters, for the flesh-tones. All the rest had used sex for sentiment, never for force; to them, Eve was a tender flower, and Herodias an unfeminine horror. American art, like the American language and American education, was as far as possible sexless. Society regarded this victory over sex as its greatest triumph, and the historian readily admitted it, since the moral issue, for the moment, did not concern one who was studying the relations of unmoral force. He cared nothing for the sex of the dynamo until he could measure its energy. Vaguely seeking a clue, he wandered through the art exhibit, and, in his stroll, stopped almost every day before St. Gaudens's General Sherman, which had been given the central post of honor. St. Gaudens himself was in Paris, putting on the work his usual interminable last touches, and listening to the usual contradictory suggestions of brother sculptors. Of all the American artists who gave to American art whatever life it breathed in the seventies, St. Gaudens was perhaps the most sympathetic, but certainly the most inarticulate. General Grant or Don Cameron had scarcely less instinct of rhetoric than he. All the others -- the Hunts, Richardson, John La Farge, Stanford White -- were exuberant; only St. Gaudens could never discuss or dilate on an emotion, or suggest artistic arguments for giving to his work the forms that he felt. He never laid down the law, or affected the despot, or became brutalized like Whistler by the brutalities of his world. He required no incense; he was no egoist; his simplicity of thought was excessive; he could not imitate, or give any form but his own to the creations of his hand. No one felt more strongly than he the strength of other men, but the idea that they could affect him never stirred an image in his mind. This summer his health was poor and his spirits were low. For such a temper, Adams was not the best companion, since his own gaiety was not folle; but he risked going now and then to the studio on Mont Parnasse to draw him out for a stroll in the Bois de Boulogne, or dinner as pleased his moods, and in return St. Gaudens sometimes let Adams go about in his company. Once St. Gaudens took him down to Amiens, with a party of Frenchmen, to see the cathedral. Not until they found themselves actually studying the sculpture of the western portal, did it dawn on Adams's mind that, for his purposes, St. Gaudens on that spot had more interest to him than the cathedral itself. Great men before great monuments express great truths, provided they are not taken too solemnly. Adams never tired of quoting the supreme phrase of his idol Gibbon, before the Gothic cathedrals:

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