Emberlin made a pause in his narrative.
“What was Eupompus doing?” I asked.
“He was, of course,” said Emberlin, “occupied in giving splendour to Art by Numbers. And this, as far as I can gather from Zuylerius, is how it all happened. He just suddenly fell in love with numbers — head over ears, amorous of pure counting. Number seemed to him to be the sole reality, the only thing about which the mind of man could be certain. To count was the one thing worth doing, because it was the one thing you could be sure of doing right. Thus, art, that it may have any value at all, must ally itself with reality — must, that is, possess a numerical foundation. He carried the idea into practice by painting the first picture in his new style. It was a gigantic canvas, covering several hundred square feet — I have no doubt that Eupompus could have told you the exact area to an inch — and upon it was represented an illimitable ocean covered, as far as the eye could reach in every direction, with a multitude of black swans. There were thirty-three thousand of these black swans, each, even though it might be but a speck on the horizon, distinctly limned. In the middle of the ocean was an island, upon which stood a more or less human figure having three eyes, three arms and legs, three breasts and three navels. In the leaden sky three suns were dimly expiring. There was nothing more in the picture; Zuylerius describes it exactly. Eupompus spent nine months of hard work in painting it. The privileged few who were allowed to see it pronounced it, finished, a masterpiece. They gathered round Eupompus in a little school, calling themselves the Philarithmics. They would sit for hours in front of his great work, contemplating the swans and counting them; according to the Philarithmics, to count and to contemplate were the same thing.
Eupompus’ next picture, representing an orchard of identical trees set in quincunxes, was regarded with less favour by the connoisseurs. His studies of crowds were, however, more highly esteemed; in these were portrayed masses of people arranged in groups that exactly imitated the number and position of the stars making up various of the more famous constellations. And then there was his famous picture of the amphitheatre, which created a furore among the Philarithmics. Zuylerius again gives us a detailed description. Tier upon tier of seats are seen, all occupied by strange Cyclopean figures. Each tier accommodates more people than the tier below, and the number rises in a complicated but regular progression. All the figures seated in the amphitheatre possess but a single eye, enormous and luminous, planted in the middle of the forehead: and all these thousands of single eyes are fixed, in a terrible and menacing scrutiny, upon a dwarf-like creature cowering pitiably in the arena.... He alone of the multitude possesses two eyes.
“I would give anything to see that picture,” Emberlin added, after a pause. “The colouring, you know; Zuylerius gives no hint, but I feel somehow certain that the dominant tone must have been a fierce brick-red — a red granite amphitheatre filled with a red-robed assembly, sharply defined against an implacable blue sky.”
“Their eyes would be green,” I suggested.
Emberlin closed his eyes to visualize the scene and then nodded a slow and rather dubious assent.
“Up to this point,” Emberlin resumed at length, “Zuylerius’ account is very clear. But his descriptions of the later philarithmic art become extremely obscure; I doubt whether he understood in the least what it was all about I will give you such meaning as I manage to extract from his chaos. Eupompus seems to have grown tired of painting merely numbers of objects. He wanted now to represent Number itself. And then he conceived the plan of rendering visible the fundamental ideas of life through the medium of those purely numerical terms into which, according to him, they must ultimately resolve themselves. Zuylerius speaks vaguely of a picture of Eros, which seems to have consisted of a series of interlacing planes. Eupompus’ fancy seems next to have been taken by various of the Socratic dialogues upon the nature of general ideas, and he made a series of illustrations for them in the same arithmogeometric style. Finally there is Zuylerius’ wild description of the last picture that Eupompus ever painted. I can make very little of it. The subject of the work, at least, is clearly stated; it was a representation of Pure Number, or God and the Universe, or whatever you like to call that pleasingly inane conception of totality. It was a picture of the cosmos seen, I take it, through a rather Neoplatonic camera obscura — very clear and in small. Zuylerius suggests a design of planes radiating out from a single point of light. I dare say something of the kind came in. Actually, I have no doubt, the work was a very adequate rendering in visible form of the conception of the one and the many, with all the intermediate stages of enlightenment between matter and the Fans Deitatis. However, it’s no use speculating what the picture may have been going to look like. Poor old Eupompus went mad before he had completely finished it and, after he had dispatched two of the admiring Philarithmics with a hammer, he flung himself out of the window and broke his neck. That was the end of him, and that was how he gave splendour, regrettably transient, to Art by Numbers.”
Emberlin stopped. We brooded over our pipes in silence; poor old Eupompus!
That was four months ago, and to-day Emberlin is a confirmed and apparently irreclaimable Philarithmic, a quite wholehearted Eupompian.
It was always Emberlin’s way to take up the ideas that he finds in books and to put them into practice. He was once, for example, a working alchemist, and attained to considerable proficiency in the Great Art. He studied mnemonics under Bruno and Raymond Lully, and constructed for himself a model of the latter’s syllogizing machine, in hopes of gaining that universal knowledge which the Enlightened Doctor guaranteed to its user. This time it is Eupompianism, and the thing has taken hold of him. I have held up to him all the hideous warnings that I can find in history. But it is no use.
There is the pitiable spectacle of Dr Johnson under the tyranny of an Eupompian ritual, counting the posts and the paving-stones of Fleet Street. He himself knew best how nearly a madman he was.
And then I count as Eupompians all gamblers, all calculating boys, all interpreters of the prophecies of Daniel and the Apocalypse; then too the Elberfeld horses, most complete of all Eupompians.
And here was Emberlin joining himself to this sect, degrading himself to the level of counting beasts and irrational children and men, more or less insane. Dr Johnson was at least born with a strain of the Eupompian aberration in him; Emberlin is busily and consciously acquiring it. My expostulations, the expostulations of all his friends, are as yet unavailing. It is in vain that I tell Emberlin that counting is the easiest thing in the world to do, that when I am utterly exhausted, my brain, for lack of ability to perform any other work, just counts and reckons, like a machine, like an Elberfeld horse. It all falls on deaf ears; Emberlain merely smiles and shows me some new numerical joke that he has discovered. Emberlin can never enter a tiled bathroom now without counting how many courses of tiles there are from floor to ceiling. He regards it as an interesting fact that there are twenty-six rows of tiles in his bathroom and thirty-two in mine, while all the public lavatories in Holborn have the same number. He knows now how many paces it is from any one point in London to any other. I have given up going for walks with him. I am always made so distressingly conscious by his preoccupied look, that he is counting his steps.
His evenings, too, have become profoundly melancholy; the conversation, however well it may begin, always comes round to the same nauseating subject. We can never escape numbers; Eupompus haunts us. It is not as if we were mathematicians and could discuss problems of any interest or value. No, none of us are mathematicians, least of all Emberlin. Emberlin likes talking about such points as the numerical significance of the Trinity, the immense importance of its being three in one, not forgetting the even greater importance of its being one in three. He likes giving us statistics about the speed of light or the rate of growth in fingernails. He loves to speculate on the nature of odd and even numbers. And he seems to be unconscious how much he has changed for the worse. He is
happy in an exclusively absorbing interest. It is as though some mental leprosy had fallen upon his intelligence.
In another year or so, I tell Emberlin, he may almost be able to compete with the calculating horses on their own ground. He will have lost all traces of his reason, but he will be able to extract cube roots in his head. It occurs to me that the reason why Eupompus killed himself was not that he was mad; on the contrary, it was because he was, temporarily, sane. He had been mad for years, and then suddenly the idiot’s self-complacency was lit up by a flash of sanity. By its momentary light he saw into what gulfs of imbecility he had plunged. He saw and understood, and the full horror, the lamentable absurdity of the situation made him desperate. He vindicated Eupompus against Eupompianism, humanity against the Philarithmics. It gives me the greatest pleasure to think that he disposed of two of that hideous crew before he died himself.
Sir Hercules
THE INFANT WHO was destined to become the fourth baronet of the name of Lapith was born in the year 1740. He was a very small baby, weighing not more than three pounds at birth, but from the first he was sturdy and healthy. In honour of his maternal grandfather, Sir Hercules Occam of Bishop’s Occam, he was christened Hercules. His mother, like many other mothers, kept a notebook, in which his progress from month to month was recorded. He walked at ten months, and before his second year was out he had learnt to speak a number of words. At three years he weighed but twenty-four pounds, and at six, though he could read and write perfectly and showed a remarkable aptitude for music, he was no larger and heavier than a well-grown child of two. Meanwhile, his mother had borne two other children, a boy and a girl, one of whom died of croup during infancy, while the other was carried off by smallpox before it reached the age of five. Hercules remained the only surviving child.
On his twelfth birthday Hercules was still only three feet and two inches in height. His head, which was very handsome and nobly shaped, was too big for his body, but otherwise he was exquisitely proportioned and, for his size, of great strength and agility. His parents, in the hope of making him grow, consulted all the most eminent physicians of the time. Their various prescriptions were followed to the letter, but in vain. One ordered a very plentiful meat diet; another exercise; a third constructed a little rack, modelled on those employed by the Holy Inquisition, on which young Hercules was stretched, with excruciating torments, for half an hour every morning and evening. In the course of the next three years Hercules gained perhaps two inches. After that his growth stopped completely, and he remained for the rest of his life a pigmy of three feet and four inches. His father, who had built the most extravagant hopes upon his son, planning for him in his imagination a military career equal to that of Marlborough, found himself a disappointed man. “I have brought an abortion into the world,” he would say, and he took so violent a dislike to his son that the boy dared scarcely come into his presence. His temper, which had been serene, was turned by disappointment to moroseness and savagery. He avoided all company (being, as he said, ashamed to show himself, the father of a lusus nature, among normal, healthy human beings), and took to solitary drinking, which carried him very rapidly to his grave; for the year before Hercules came of age his father was taken off by an apoplexy. His mother, whose love for him had increased with the growth of his father’s unkindness, did not long survive, but little more than a year after her husband’s death succumbed, after eating two dozen of oysters, to an attack of typhoid fever.
Hercules thus found himself at the age of twenty-one alone in the world, and master of a considerable fortune, including the estate and mansion of Crome. The beauty and intelligence of his childhood had survived into his manly age, and, but for his dwarfish stature, he would have taken his place among the handsomest and most accomplished young men of his time. He was well read in Greek and Latin authors, as well as in all the moderns of any merit who had written in English, French, or Italian. He had a good ear for music, and was no indifferent performer on the violin, which he used to play like a bass viol, seated on a chair with the instrument between his legs. To the music of the harpsichord and clavichord he was extremely partial, but the smallness of his hands made it impossible for him ever to perform upon these instruments. He had a small ivory flute made for him, on which, whenever he was melancholy, he used to play a simple country air or jig, affirming that this rustic music had more power to dear and raise the spirits than the most artificial productions of the masters. From an early age he practised the composition of poetry, but, though conscious of his great powers in this art, he would never publish any specimen of his writing. “My stature,” he would say, “is reflected in my verses; if the public were to read them it would not be because I am a poet, but because I am a dwarf.” Several MS. books of Sir Hercules’s poems survive. A single specimen will suffice to illustrate his qualities as a poet
In ancient days, while yet the world was young,
Ere Abram fed his flocks or Homer sung;
When blacksmith Tubal tamed creative fire,
And Jabal dwelt in tents and Jubal struck the lyre;
Flesh grown corrupt brought forth a monstrous birth
And obscene giants trod the shrinking earth,
Till God, impatient of their sinful brood,
Gave rein to wrath and drown’d them in the Flood.
Teeming again, repeopled Tellus bore
The lubber Hero and the Man of War;
Huge towers of Brawn, topp’d with an empty Skull,
Witlessly bold, heroically dull.
Long ages pass’d and Man grown more refin’d,
Slighter in music but of vaster Mind,
Smiled at his grandsire’s broadsword, bow and bill,
And learn’d to wield the Pencil and the Quill.
The glowing canvas and the written page
Immortaliz’d his name from age to age,
His name emblazon’d on Fame’s temple wall;
For Art grew great as Humankind grew small.
Thus man’s long progress step by step we trace;
The Giant dies, the hero takes his place;
The Giant vile, the dull heroic Block:
At one we shudder and at one we mock.
Man last appears. In him the Soul’s pure flame
Bums brightlier in a not inord’nate frame.
Of old when Heroes fought and Giants swarmed,
Men were huge mounds of matter scarce inform’d;
Wearied by leavening so oast a mass,
The spirit slept and all the mind was crass.
The smaller carcase of these later days
Is soon inform’d; the Soul unwearied plays
And like a Pharos darts abroad her mental rays.
But can we think that Providence will stay
Man’s footsteps here upon the upward way?
Mankind in understanding and in grace
Advanc’d so far beyond the Giants’ race?
Hence impious thought! Still led by GOD’S own Hand,
Mankind proceeds towards the Promised Land.
A time will come (prophetic, I descry
Remoter dawns along the gloomy sky),
When happy mortals of a Golden Age
Will backward turn the dark historic page,
And in our vaunted race of Men behold
A form as gross, a Mind as dead and cold,
As we in Giants see, in warriors of old.
A time will come, wherein the soul shall be
From all superfluous matter wholly free:
When the light body, agile as a fawn’s,
Shall sport with grace along the velvet lawns.
Nature’s most delicate and final birth,
Mankind perfected shall possess the earth.
But ah, not yet! For still the Giants’ race,
Huge, though diminish’d, tramps the Earth’s fair face;
Gross and repulsive, yet perversely proud,
Men of their imperfections boast aloud.
Vain of their bulk, of all they still retain
Of giant ugliness absurdly vain;
At all that’s small they point their stupid scorn
And, monsters, think themselves divinely born.
Sad is the Fate of those, ah, sad indeed,
The rare precursors of the nobler breed!
Who come man’s golden glory to foretell,
But pointing Heav’nwards live themselves in Hell.
As soon as he came into the estate, Sir Hercules set about remodelling his household. For though by no means ashamed of his deformity — indeed, if we may judge from the poem quoted above, he regarded himself as being in many ways superior to the ordinary race of man — he found the presence of full-grown men and women embarrassing. Realizing, too, that he must abandon all ambitions in the great world, he determined to retire absolutely from it and to create, as it were, at Crome a private world of his own, in which all should be proportionable to himself. Accordingly, he discharged all the old servants of the house and replaced them gradually, as he was able to find suitable successors, by others of dwarfish stature. In the course of a few years he had assembled about himself a numerous household, no member of which was above four feet high and the smallest among them scarcely two feet and six inches. His father’s dogs, such as setters, mastiffs, greyhounds, and a pack of beagles, he sold or gave away as too large and too boisterous for his house, replacing them by pugs and King Charles spaniels and whatever other breeds of dog were the smallest. His father’s stable was also sold. For his own use, whether riding or driving, he had six black Shetland ponies, with four very choice piebald animals of New Forest breed.
Complete Works of Aldous Huxley Page 424
