"Genius"
By ELINOR MORDAUNT
(From Hutchinson's Magazine and The Century Magazine)
1921, 1922
I have written before of Ben Cohen, with his eternal poring and humming over the scores of great masters; of the timber-yard at Canning Town, for ever changing and for ever the same, devouring forests with the eternal wind-like rush of saws, slide of gigantic planes; practical and chill; wrapped in river-fogs, and yet exotic with the dust of cedar, camphor, paregoric.
In those days Ben Cohen was wont to read music as other boys read their penny- dreadfuls, avidly, with the imagined sounds like great waves for ever a-rush through his soul.
In the very beginning it was any music, just music. Then for a while Wagner held him. Any Wagnerian concert, any mixed entertainment which included Wagner--it seemed as though he sniffed them upon the breeze--and he would tramp for miles, wait for hours; biting cold, sleet, snow, mud, rain, all alike disregarded by that persistence which the very poor must bring to the pursuit of pleasure, the capture of cheap seats.
Once ensconced, regardless of hard, narrow seats, heights, crowds, his passion of adoration and excitement took him, shook him, tore him so that it was wonder his frail body did not split in two, render up the soul coming forth as Lazarus from the sepulchre. It was indeed, if you knew little Ben Cohen, him, himself, difficult to realise that his body had anything more to do with him than the yellow-drab water-proof which is a sort of uniform--a species of charity, covering a multitude of sins of poverty, shabbiness, thread-bareness--had to do with the real Jenny Bligh.
And yet, Ben Cohen's body was more completely his than one might have imagined. Jenny could, and indeed did, slough off her disguise on Sundays or rare summer days; but Ben and that self which was apart from music--that wildly-beating heart, pulsing blood, flooding warmth, grateful as the watchman's fire in the fog-sodden yard, that little fire over which he used to hang, warming his stiffened hands--were, after all, amazingly one.
The thing surprised him even more than it surprised any one else; above all, when it refused to be separated from his holy of holies, crept, danced, smiled its way through the most portentous scores--a thrilling sense of Jenny Bligh, all crotchets and quavers, smiles and thrills, quaint homeliness, sudden dignity.
By the time he first met Jenny he was clear of Wagner, had glanced a little patronisingly at Beethoven, turned aside and enwrapped himself in the sombre splendour of Bach, right away from the world; then, harking back, with a fresh vision, a sudden sense of the inevitable, had anchored himself in the solemn, wide-stretching harbourage of Beethoven.
It was like a return from a long voyage, tearing round a world full of beauty and interest, and yet, at the same time, full of pettiness, fuss, annoyance: a home-coming beyond words. There was a sense of eternity, a harmony which drew everything to itself, smoothing out the pattern of life, the present life and the life to come, so crumpled that, up to this time, he had had no real idea of the meaning of it.
All at once everything was immensely right, with Jenny as an essential and inevitable part of the rightness. He felt this so strongly that he never stopped to wonder if other people felt it as plainly as he did.
Apart from all this, he was bound by the inarticulateness of his class. His Jewish blood lent him a wider and more picturesque vocabulary than most, and yet it stopped at any discussion of his feelings.
We have an idea that what we call the "common people" are more communicative on such subjects than we are; but this is not so. They talk of their physical ailments and sensations, but they are deeply shy upon the subject of their feelings. Ben's mother would discuss the state of her inside, the deaths of her relations and friends; his own birth, down to the smallest detail. But she would never have dreamt of telling her son that she loved him, desired his love, hungered for his coming, grieved at his going.
Ben himself put none of his feeling for Beethoven into words, above all to his mother; she would not have understood him if he had. He said nothing of Jenny, either, save as a girl he'd met, a girl he was going to bring home to tea; but she understood that without any words; that was courting, part of the business of human nature; much like the preparation of meals.
It was odd, coming to think of it--might have been ridiculous, save that ridicule was the sort of thing which could find no possible lodgment with Ben--that his determination to devote his whole musical life to Beethoven, to interpret him as no Englishman had ever done before, should have been synonymous with his sacred, heady, and yet absolute determination to marry Jenny Bligh.
Jenny worked in the jam-factory, and there was something of the aroma of ripe fruit about her: ripe strawberries, raspberries, plums, damsons. She was plumpish and fresh: very red lips and very bright eyes, reddish-brown, the colour of blackberry leaves in autumn, with hair to