Memoirs of Arthur Hamilton, B. A. Of Trinity College, Cambridge | Page 6

He rarely read the Bible, he told me, and then only in great masses at a sitting; and the one thing that he disliked with an utter hatred was theology of a settled and orthodox type, though next to the four books I have mentioned, "The Christian Year" and "Ecce Homo" were his constant companions.
He did not care for history; he used to lament it. "I have but a languid interest in facts, qua facts," he said; "and I try to arrive at history through biography. I like to disentangle the separate strands, one at a time; the fabric is too complex for me."
He had the greatest delight in topography. "That is why," he used to say, "I delight in a flat country. The idea of space is what I want. I like to see miles at a glance. I like to see clouds league-long rolling up in great masses from the horizon--cloud perspective. I rejoice in seeing the fields, hedgerow after hedgerow, farm after farm, push into the blue distance. It makes me feel the unity and the diversity of life; a city bewilders and confuses me, but a great tract of placid country gives me a broad glow of satisfaction."
He went for a walking tour in the fens, and returned enchanted. "By Ely," he said, "the line crosses a gigantic fen--Whittlesea mere in old days--and on a clear day you can see at least fifteen miles either way. As we crossed it a great skein of starlings rose out of a little holt, and streamed north; the herons or quiet cattle stood along the huge dykes. You could see the scattered figures of old labourers in the fields, and then for miles and miles the squat towers, at which you were making, staring over the flat, giving you a thrill every time you sighted them, and right away west the low hills that must have been the sandy downs that blocked the restless plunging sea; they must have looked for centuries over rollers and salt marsh and lagoon, felt the tread of strange herds and beasts about them till they have become the quiet slopes of a sunny park or the simple appendages of a remote hill farm."
But his greatest delight was in music. He knew a smattering of it scientifically, enough to follow up subjects and to a certain extent to recognize chords. There occurs in one of his letters to me the following passage, which I venture to quote. He is speaking of the delight of pure sound as apart from melody:
"I remember once," he writes, "being with a great organist in a cathedral organ-loft, sitting upon the bench at his side. He was playing a Mass of Schubert's, and close to the end, at the last chord but two--he was dying to a very soft close, sliding in handles all over the banks of stops--he nodded with his head to the rows of pedal stops with their red labels, as though to indicate where danger lay. 'Put your hand on the thirty-two foot,' he said. There it was '_Double open wood 32 ft._' And just as his fingers slid on to the last chord, 'Now,' he said.
"Ah! that was it; the great wooden pipe close to my ear began to blow and quiver; and hark! not sound, but sensation--the great rapturous stir of the air; a drowsy thunder in the roof of nave and choir; the grim saints stirred and rattled ill their leaded casements, while the melodious roar died away as softly as it had begun, sinking to silence with many a murmurous pulsation, many a throb of sighing sound."
Organ-playing, organ music, was the one subject on which I have heard him wax enthusiastic. His talk and his letters always become rhetorical when he deals with music; his musical metaphors are always carefully worked out; he compares a man of settled purpose, in whose life the "motive was very apparent," to "the great lazy horns, that you can always hear in the orchestra pouring out their notes hollow and sweet, however loud the violins shiver or the trumpets cry." He often went up to London to hear music. The St. James's Hall Concerts were his especial delight. I find later a description of the effect produced on him by Wagner.
"I have just come back from the Albert Hall, from hearing the 'Meistersanger,' Wagner himself conducting. I may safely say I think that I never experienced such absolute artistic rapture before as at certain parts of this; for instance, in the overture, at one place where the strings suddenly cease and there comes a peculiar chromatic waft of wind instruments, like a ghostly voice rushing across. I have never felt anything like it; it swept one right away, and gave one a sense of deep