The Magic Mountain (5 page)

Grandfather set the vessel back on the tray, and let the boy look into the smooth, faintly golden inside, which caught the light from the window in the ceiling. “Yes,” he said, “it will soon be eight years since we held you over it, and the water flowed into it from your baptism. Lassen, the sexton of St. Jacob’s, poured it into our good Pastor Bugenhagen’s hand, and it ran out over your little topknot and into the basin. We had warmed it, so it should not frighten you and make you cry, and you did not; you cried beforehand, though, so loud that Bugenhagen could hardly get on with the service, but you stopped when you felt the water—and that, let us hope, was out of respect for the Holy Sacrament. A few days from now it will be forty-four years since your blessed father was a baby at the baptismal font, and it was over his head the water flowed into the basin. That was here in this house, where he was born, in front of the middle dining-room window, and old Pastor Hezekiel was still alive. He was the man the French nearly shot when he was young, because he preached against their burning and looting. He has been with God these many years. Then, five-and-seventy years ago, I was the youngster whose head they held over this selfsame basin; that was in the dining-room too, and the minister spoke the very words that were spoken when you and your father were baptized, and the clear, warm water flowed over my head precisely the same way—there wasn’t much more hair than there is now—and fell into this golden bowl just as it did over yours.”

The little one looked up at Grandfather’s narrow grey head, bending over the basin

as it had in the time he described. A familiar feeling pervaded the child: a strange, dreamy, troubling sense: of change in the midst of duration, of time as both flowing and persisting, of recurrence in continuity—these were sensations he had felt before on the like occasion, and both expected and longed for again, whenever the heirloom was displayed.

As a young man he was aware that the image of his grandfather was more deeply and clearly imprinted on his mind, with greater significance, than those of his own parents. The fact might rest upon sympathy and physical likeness, for the grandson resembled the grandfather, in so far, that is, as a rosy youth with the down on his chin might resemble a bleached, rheumatic septuagenarian, Yet it probably spoke even more for that which was indeed the truth, that the grandfather had been the real personality, the picturesque figure of the family.

Long before Hans Lorenz Castorp’s passing, his person and the things for which he stood had ceased to be representative of his age. He had been a typical Christian gentleman, of the Reformed faith, of a strongly conservative cast of mind, as obstinately convinced of the right of the aristocracy to govern as if he had been born in the fourteenth century, when the labouring classes had begun to make head against the stout resistance of the free patriciate and wrest from it a place and voice in the councils of the ancient city. He had little use for the new. His active years had fallen in a decade of rapid growth and repeated upheavals, a decade of progress by forced marches, which had made continual demands on the public capacity for enterprise and self-sacrifice. Certainly he had no part or lot, old Castorp, in the brilliant triumph of the modern spirit that followed hard upon. It was not his fault; he had held far more with ancestral ways and old institutions than with ruinous schemes for widening the harbour, or godless and rubbishing plans for a great metropolis. He had put on the brakes; he had whittled things down wherever he could; and if matters had gone to his liking, the administration would have continued to wear the same old-fashioned, idyllic guise as, in his time, his own office did.

Such, in his lifetime and afterwards, was the figure the old man presented to the eye of his fellow burghers; and such, in essentials, was he also to the childish gaze of little Hans Castorp, who knew naught of affairs of state, and whose formless, uncritical judgments were rather the fruit of mere lively perceptions. Yet they persisted into later life, as the elements of a perfectly conscious memory-picture, which defied expression or analysis, but was none the less positive for all that. We repeat that natural sympathy was in play here too, the close family tie and essential intimacy which not infrequently leaps over an intervening generation.

Senator Castorp was tall and lean. The years had bent his back and neck, but he tried to counteract the curvature by pressure in another direction; drawing down his mouth with sedulous dignity, though the lips were shrunken against the bare gums, for he had lost all his teeth, and put in the false ones only to eat. It was this posture also which helped to steady an incipient shaking of the head, gave him his look of being sternly reined up, and caused him to support his chin on his neckcloth in the manner so congenial to little Hans Castorp’s taste.

He loved his snuff-box—it was a longish, gold-inlaid tortoise-shell one—and on account of his snuff-taking, used a red pocket-handkerchief, the corner of which always hung out of the back pocket of his coat. If this foible added a quaint touch to his appearance, yet the effect was only of a slight negligence or licence due to age, which length of days either consciously and cheerfully permits itself, or else brings in its train without the victim’s being aware. If weakness it were, it was the only one the sharp eye of the child ever noted in his grandfather’s exterior. But the old man’s everyday appearance was not his real and authentic one, either to the seven-year-old child, or to the memory of the grown man in after years. That was different, far finer and truer; it was Grandfather as he appeared in a life-size portrait which had once hung in the house of Hans Castorp’s own parents, had moved over with him to the Esplanade on their death, and now hung above the great red satin sofa in the reception-room.

The painting showed Hans Lorenz Castorp in his official garb as Councillor: the sober, even godly, civilian habit of a bygone century, which a commonwealth both self-assertive and enterprising had brought with it down the years and retained in ceremonial use in order to make present the past and make past the present, to bear witness to the perpetual continuity of things, and the perfect soundness of its business signature. Senator Castorp stood at full length on a red-tiled floor, in a perspective of column and pointed arch. His chin was dropped, his mouth drawn down, his blue, musing eyes, with the tear ducts plain beneath them, directed toward the distant view. He wore the black coat, cut full like a robe, more than knee-length, with a wide trimming of fur all round the edge; the upper sleeves were wide and puffed and furtrimmed too, while from beneath them came the narrow under-sleeves of plain cloth, then lace cuffs, which covered the hands to the knuckles. The slender, elderly legs were cased in black silk stockings; the shoes had silver buckles. But about his neck was the broad, starched ruff, pressed down in front and swelling out on the sides, beneath which, for good measure, a fluted jabot came out over the waistcoat. Under his arm he held the old-fashioned, broad-brimmed hat that tapered to a point at the top.

It was a capital painting, by an artist of some note, in an old-masterish style that suited the subject and was reminiscent of much Spanish, Dutch, late Middle Ages work. Little Hans Castorp had often looked at it; not, of course, with any knowledge of art, but with a larger, even a fervid comprehension. Only once—and then only for a moment—had he ever seen Grandfather as he was here represented, on the occasion of a procession to the
Rathaus
. But he could not help feeling that this presentment was the genuine, the authentic grandfather, and the everyday one merely subsidiary, not entirely conformable—a sort of interim grandfather, as it were. For it was clear that the deviations and idiosyncrasies presented by his everyday appearance were due to incomplete, perhaps even unsuccessful adaptation; they were the not quite eradicable vestiges of Grandfather’s pure and genuine form. The choker collar and band, for instance, were old-fashioned; an adjective it would have been impossible to apply to that admirable article of apparel whose interim representative they were: namely, the ruff. The same was true of the outlandish top-hat Grandfather wore, with the bellshaped crown, to which the broad-brimmed felt in the painting corresponded, only with a higher degree of actuality; and of the voluminous frock-coat, whose archetype and original was for little Hans Castorp the lace- and fur-trimmed ceremonial garment.

Thus he was glad from his heart that it should be the authentic, the perfect grandfather who lay there resplendent on that day when he came to take last leave of him. It was in the room where so often they had sat facing each other at table; and now, in the centre, Hans Lorenz Castorp was lying in a silver-mounted coffin, upon a begarlanded bier. He had fought out the attack on his lungs, fought long and stoutly, despite his air of being at home in the life of the day only by dint of his powers of adaptability. One hardly knew whether he had won or lost in the struggle; but in any case there he lay, with a stern yet satisfied expression, on his bed of state. He had altered with the illness, his nose looked sharp and thin; the lower half of his body was hidden by a coverlet on which lay a palm branch; the head was lifted high by the silken pillow, so that his chin rested beautifully in the front swell of the ruff. Between the hands, half-shrouded in their lace cuffs, their visibly cold, dead fingers artfully arranged to simulate life, was stuck an ivory cross. He seemed to gaze, beneath drooping lids, steadfastly down upon it.

Hans Castorp had probably seen his grandfather several times at the beginning of this last illness, but not toward the end. They had spared him the sight of the struggle, the more easily that it had been mostly at night; he had only felt it through the surcharged atmosphere of the house, old Fiete’s red eyes, the coming and going of the doctors. What he gathered as he stood now by the bier in the dining-room, was that Grandfather had finally and formally surmounted his interim aspect and assumed for all time his true and adequate shape. And that was a gratifying result, even though old Fiete continually wept and shook his head, even though Hans Castorp himself wept, as he had at sight of the mother he had abruptly been bereft of, and the father who, so little time after her, lay in his turn still and strange before the little boy’s eyes. Thus for the third time in so short a space and in such young years did death play upon the spirit and senses—but chiefly on the senses—of the lad. The sight was no longer strange, it was already right familiar; and as on those earlier occasions, only in still greater degree, he bore himself in the presence of death with a responsible air, quite self-controlled, showing no nervous weakness, if some natural dejection. He was unaware of the practical result the loss would mean to his own life, or else with childlike indifference was instinctively confident that he would be taken care of somehow; thus, at the bier, he displayed both an uncomprehending coolness and a detached alertness of observation, to which were added, on this third occasion, a feeling and expression of connoisseurship. And something more, a peculiar, precocious variation: he seemed no longer to think of tears—either the frequent outburst of grief or the contagion from the grief of others—as a natural reaction. In three or four months after his father’s passing he had forgotten about death; but now he remembered, and all the impressions of that time recurred, precise, immediate, and piercing in their transcendent strangeness.

Reduced to order and put into words, they would have been something like the following. In one aspect death was a holy, a pensive, a spiritual state, possessed of a certain mournful beauty. In another it was quite different. It was precisely the opposite, it was very physical, it was material, it could not possibly be called either holy, or pensive, or beautiful—not even mournful. The solemn, spiritual side expressed itself in the ceremonial lying-in state of the corpse, in the fan-leaved palm and the wealth of flowers, all which symbolized the peace of God and the heavenly kingdom, as did even more explicitly the ivory cross stuck between the dead fingers of what was once Grandfather, and the bust of Christ by Thorwaldsen at the head of the bier, with towering candelabra on either side. It was these last that gave a churchly air to the scene. All such arrangements had their more precise justification in the fact that Grandfather was now clothed forever in his true and proper guise. But over and above that
raison d’être
they had another, of a more profane kind, of which little Hans Castorp was distinctly aware, though without admitting it in so many words. One and all of them, but expressly the flowers, and of these more expressly the hosts of tuberoses, were there to palliate the other aspect of death, the side which was neither beautiful nor exactly sad, but somehow almost improper—its lowly, physical side—to slur it over and prevent one from being conscious of it.

It was this other aspect of death that made Grandfather himself look so strange; not like Grandfather at all, more like a life-size wax doll, which death had put in his place to be the centre of all this pious and reverent spectacle. He who lay there—or, more correctly, that which lay there—was not Grandfather himself, but a shell, made, as Hans Castorp was aware, not of wax, but of its own substance, and only of that. Therein, precisely, was the impropriety. It was scarcely sad at all—as things are not which have to do with the body and only with it. Little Hans Castorp regarded that substance, waxy yellow, and fine-grained like cheese, of which the life-size figure was made, the face and hands of what had been Grandfather. A fly had settled on the quiet brow, and began to move its proboscis up and down. Old Fiete shooed it cautiously away, taking care not to touch the forehead of the dead, putting on a seemly air of absent-mindedness—of obscurantism, as it were—as though he neither might nor would take notice of what he was doing. This correctness of demeanour obviously had to do with the fact that Grandfather was now no longer anything but body. But the fly, after a circling flight, came to rest on Grandfather’s fingers, close to the ivory cross. And Hans Castorp, watching, thought he detected, more plainly than ever before, a familiar, strange exhalation, faint, yet oddly clinging—he blushed to find that it made him think of a former schoolfellow, who was avoided by his classmates because he suffered from a certain unpleasant affection—for the drowning out of which the tuberoses were there, and which, with all their lovely luxuriance and the strong-ness of their scent, they yet failed to overpower.