Vanishing Roads
And Other Essays
By
Richard Le Gallienne
1915
TO
ROBERT HOBART DAVIS
DEAR BOB: It is quite a long time now since you and I first caught sight of each other and became fellow wayfarers on this Vanishing Road of the world. O quite a lot of years now, Bob! Yet I control my tendency to shiver at their number from the fact that we have travelled them, always within hailing distance of each other, I with the comfortable knowledge that near by I had so good a comrade, so true a friend.
For this once, by your leave, we won't "can" the sentiment,—to use an idiom in which you are the master-artist on this continent,—but I, at least, will luxuriate in retrospect, as I write your name by way of dedication to this volume of essays, for some of which your quick-firing mind is somewhat more than editorially responsible. You were one of the first to make me welcome to a country of which, even as a boy, I used prophetically to dream as my "promised land," little knowing that it was indeed to be my home, the home of my spirit, as well as the final resting-place of my household gods; and, having you so early for my friend, is it to be wondered at if I soon came to regard the American humourist as the noblest work of God?
There is yet, I trust, much left of the Vanishing Road for us to travel together; and I hope that, when the time comes for us both to vanish over the horizon line, we may exit still within hail of each other,—so that we may have a reasonable chance of hitting the trail together on the next route, whatever it is going to be.
Always yours,
RICHARD LE GALLIENNE.
Rowayton, December 25, 1914.
For their discernment in giving the following essays their first opportunity with the reader the writer desires to thank the editors of The North American Review, Harper's Magazine, The Century, The Smart Set, Munsey's, The Out-Door World, and The Forum.
CONTENTS
[ II.—WOMAN AS A SUPERNATURAL BEING]
[ III.—THE LACK OF IMAGINATION AMONG MILLIONAIRES ]
[ IV.—THE PASSING OF MRS. GRUNDY ]
[ VII.—THE PERSECUTIONS OF BEAUTY ]
[ VIII.—THE MANY FACES—THE ONE DREAM ]
[ IX.—THE SNOWS OF YESTER-YEAR ]
[ X.—THE PSYCHOLOGY OF GOSSIP ]
[ XI.—THE PASSING AWAY OF THE EDITOR ]
[ XII.—THE SPIRIT OF THE OPEN ]
[ XIII.—AN OLD AMERICAN TOW-PATH ]
[ XIV.—A MODERN SAINT FRANCIS ]
[ XV.—THE LITTLE GHOST IN THE GARDEN ]
[ XVI.—THE ENGLISH COUNTRYSIDE ]
[ XVII.—LONDON—CHANGING AND UNCHANGING ]
[ XVIII.—THE HAUNTED RESTAURANT ]
[ XIX.—THE NEW PYRAMUS AND THISBE ]
[ XX.—TWO WONDERFUL OLD LADIES ]
[ XXI.—A CHRISTMAS MEDITATION ]
[ XXII.—ON RE-READING WALTER PATER ]
[ XXIII.—THE MYSTERY OF "FIONA MACLEOD" ]
[ XXIV.—FORBES-ROBERTSON: AN APPRECIATION ]
[ XXV.—A MEMORY OF FRÉDÉRIC MISTRAL ]
[ XXVI.—IMPERISHABLE FICTION ]
[ XXVII.—THE MAN BEHIND THE PEN ]
[ XXVIII.—BULLS IN CHINA-SHOPS ]
[ XXIX.—THE BIBLE AND THE BUTTERFLY ]
Vanishing Roads
I
VANISHING ROADS
Though actually the work of man's hands—or, more properly speaking, the work of his travelling feet,—roads have long since come to seem so much a part of Nature that we have grown to think of them as a feature of the landscape no less natural than rocks and trees. Nature has adopted them among her own works, and the road that mounts the hill to meet the sky-line, or winds away into mystery through the woodland, seems to be veritably her own highway leading us to the stars, luring us to her secret places. And just as her rocks and trees, we know not how or why, have come to have for us a strange spiritual suggestiveness, so the vanishing road has gained a meaning for us beyond its use as the avenue of mortal wayfaring, the link of communication between village and village and city and city; and some roads indeed seem so lonely, and so beautiful in their loneliness, that one feels they were meant to be travelled only by the soul. All roads indeed lead to Rome, but theirs also is a more mystical destination, some bourne of which no traveller knows the name, some city, they all seem to hint, even more eternal.
Never more than when we tread some far-spreading solitude and mark the road stretching on and on into infinite space, or the eye loses it in some wistful curve behind the fateful foliage of lofty storm-stirred trees, or as it merely loiters in sunny indolence through leafy copses and ferny hollows, whatever its mood or its whim, by moonlight or at morning; never more than thus, eagerly afoot or idly contemplative, are we impressed by that something that Nature seems to have to tell us, that something of solemn, lovely import behind her visible face. If we could follow that vanishing road to its far mysterious end! Should we find that meaning there? Should we know why it stops at no mere market-town, nor comes to an end at any seaport? Should we come at last to the radiant door, and know at last the purpose of all our travel? Meanwhile the road beckons us on and on, and we walk we know not why or whither.
Vanishing roads do actually stir such thoughts, not merely by way of similitude, but just in the same way that everything in Nature similarly stirs thoughts beyond the reaches of our souls; as moonlit waters stir them, or the rising of the sun. As I have said, they have come to seem a part of natural phenomena, and, as such, may prove as suggestive a starting-point as any other for those speculations which Nature is all the time provoking in us as to why she affects us thus and thus. These mighty hills of multitudinous rock, piled confusedly against the sky—so much granite and iron and copper and crystal, says one. But to the soul, strangely something besides, so much more. These rolling shapes of cloud, so fantastically massed and moulded, moving in rhythmic change like painted music in the heaven, radiant with ineffable glories or monstrous with inconceivable doom. This sea of silver, "hushed and halcyon," or this sea of wrath and ravin, wild as Judgment Day. So much vapour and sunshine and wind and water, says one.
Yet to the soul how much more!
And why? Answer me that if you can. There, truly, we set our feet on the vanishing road.
Whatever reality, much or little, the personifications of Greek Nature-worship had for the ancient world, there is no doubt that for a certain modern temperament, more frequently met with every day, those personifications are becoming increasingly significant, and one might almost say veritably alive. Forgotten poets may, in the first instance, have been responsible for the particular forms they took, their names and stories, yet even so they but clothed with legend presences of wood and water, of earth and sea and sky, which man dimly felt to have a real existence; and these presences, forgotten or banished for a while in prosaic periods, or under Puritanic repression, are once more being felt as spiritual realities by a world coming more and more to evoke its divinities by individual meditation on, and responsiveness to, the mysterious so-called natural influences by which it feels itself surrounded. Thus the first religion of the world seems likely to be its last. In other words, the modern tendency, with spiritually sensitive folk, is for us to go direct to the fountain-head of all theologies, Nature herself, and, prostrating ourselves before her mystery, strive to interpret it according to our individual "intimations," listening, attent, for ourselves to her oracles, and making, to use the phrase of one of the profoundest of modern Nature-seers, our own "reading of earth." Such was Wordsworth's initiative, and, as some one has said, "we are all Wordsworthians today." That pagan creed, in which Wordsworth passionately wished himself suckled, is not "outworn." He himself, in his own austere way, has, more than any one man, verified it for us, so that indeed we do once more nowadays
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathèd horn.
Nor have the dryads and the fauns been frighted away for good. All over the world they are trooping back to the woods, and whoso has eyes may catch sight, any summer day, of "the breast of the nymph in the brake." Imagery, of course; but imagery that is coming to have a profounder meaning, and a still greater expressive value, than it ever had for Greece and Rome. All myths that are something more than fancies gain rather than lose in value with time, by reason of the accretions of human experience. The mysteries of Eleusis would mean more for a modern man than for an ancient Greek, and in our modern groves of Dodona the voice of the god has meanings for us stranger than ever reached his ears. Maybe the meanings have a purport less definite, but they have at least the suggestiveness of a nobler mystery. But surely the Greeks were right, and we do but follow them as we listen to the murmur of the wind in the lofty oaks, convinced as they of the near presence of the divine.
The word by seers or sibyls told
In groves of oak or fanes of gold,
Still floats upon the morning wind,
Still whispers to the willing mind.
Nor was it a vain thing to watch the flight of birds across the sky, and augur this or that of their strange ways. We too still watch them in a like mood, and, though we do not interpret them with a like exactitude, we are very sure that they mean something important to our souls, as they speed along their vanishing roads.
This modern feeling of ours is quite different from the outworn "pathetic fallacy," which was a purely sentimental attitude. We have, of course, long since ceased to think of Nature as the sympathetic mirror of our moods, or to imagine that she has any concern with the temporal affairs of man. We no longer seek to appease her in her terrible moods with prayer and sacrifice. We know that she is not thinking of us, but we do know that for all her moods there is in us an answering thrill of correspondence, which is not merely fanciful or imaginative, but of the very essence of our beings. It is not that we are reading our thoughts into her. Rather we feel that we are receiving her thoughts into ourselves, and that, in certain receptive hours, we are, by some avenue simpler and profounder than reason, made aware of certitudes we cannot formulate, but which nevertheless siderealize into a faith beyond the reach of common doubt—a faith, indeed, unelaborate, a faith, one might say, of one tenet: belief in the spiritual sublimity of all Nature, and, therefore, of our own being as a part thereof.
In such hours we feel too, with a singular lucidity of conviction, that those forces which thus give us that mystical assurance are all the time moulding us accordingly as we give up ourselves to their influence, and that we are literally and not fancifully what winds and waters make us; that the poetry, for instance, of Wordsworth was literally first somewhere in the universe, and thence transmitted to him by processes no less natural than those which produced his bodily frame, gave him form and feature, and coloured his eyes and hair.
It is not man that has "poetized" the world, it is the world that has made a poet out of man, by infinite processes of evolution, precisely in the same way that it has shaped a rose and filled it with perfume, or shaped a nightingale and filled it with song. One has often heard it said that man has endowed Nature with his own feelings, that the pathos or grandeur of the evening sky, for instance, are the illusions of his humanizing fancy, and have no real existence. The exact contrary is probably the truth—that man has no feelings of his own that were not Nature's first, and that all that stirs in him at such spectacles is but a translation into his own being of cosmic emotions which he shares in varying degrees with all created things. Into man's strange heart Nature has distilled her essences, as elsewhere she has distilled them in colour and perfume. He is, so to say, one of the nerve-centres of cosmic experience. In the process of the suns he has become a veritable microcosm of the universe. It was not man that placed that tenderness in the evening sky. It has been the evening skies of millions of years that have at length placed tenderness in the heart of man. It has passed into him as that "beauty born of murmuring sound" passed into the face of Wordsworth's maiden.
Perhaps we too seldom reflect how much the life of Nature is one with the life of man, how unimportant or indeed merely seeming, the difference between them. Who can set a seed in the ground, and watch it put up a green shoot, and blossom and fructify and wither and pass, without reflecting, not as imagery but as fact, that he has come into existence, run his course, and is going out of existence again, by precisely the same process? With so serious a correspondence between their vital experience, the fact of one being a tree and the other a man seems of comparatively small importance. The life process has but used different material for its expression. And as man and Nature are so like in such primal conditions, is it not to be supposed that they are alike too in other and subtler ways, and that, at all events, as it thus clearly appears that man is as much a natural growth as an apple-tree, alike dependent on sun and rain, may not, or rather must not, the thoughts that come to him strangely out of earth and sky, the sap-like stirrings of his spirit, the sudden inner music that streams through him before the beauty of the world, be no less authentically the working of Nature within him than his more obviously physical processes, and, say, a belief in God be as inevitable a blossom of the human tree as apple-blossom of the apple?
If this oracular office of Nature be indeed a truth, our contemplation of her beauty and marvel is seen to be a method of illumination, and her varied spectacle actually a sacred book in picture-writing, a revelation through the eye of the soul of the stupendous purport of the universe. The sun and the moon are the torches by which we study its splendid pages, turning diurnally for our perusal, and in star and flower alike dwells the lore which we cannot formulate into thought, but can only come indescribably to know by loving the pictures. "The meaning of all things that are" is there, if we can only find it. It flames in the sunset, or flits by us in the twilight moth, thunders or moans or whispers in the sea, unveils its bosom in the moonrise, affirms itself in mountain-range and rooted oak, sings to itself in solitary places, dreams in still waters, nods and beckons amid sunny foliage, and laughs its great green laugh in the wide sincerity of the grass.
As the pictures in this strange and lovely book are infinite, so endlessly varied are the ways in which they impress us. In our highest moments they seem to be definitely, almost consciously, sacerdotal, as though the symbolic acts of a solemn cosmic ritual, in which the universe is revealed visibly at worship. Were man to make a practice of rising at dawn and contemplating in silence and alone the rising of the sun, he would need no other religion. The rest of the day would be hallowed for him by that morning memory and his actions would partake of the largeness and chastity of that lustral hour. Moonlight, again, seems to be the very holiness of Nature, welling out ecstatically from fountains of ineffable purity and blessedness. Of some moonlight nights we feel that if we did what our spirits prompt us, we should pass them on our knees, as in some chapel of the Grail. To attempt to realize in thought the rapture and purification of such a vigil is to wonder that we so seldom pay heed to such inner promptings. So much we lose of the best kind of joy by spiritual inertia, or plain physical sloth; and some day it will be too late to get up and see the sunrise, or to follow the white feet of the moon as she treads her vanishing road of silver across the sea. This involuntary conscience that reproaches us with such laxity in our Nature-worship witnesses how instinctive that worship is, and how much we unconsciously depend on Nature for our impulses and our moods.
Another definitely religious operation of Nature within us is expressed in that immense gratitude which throws open the gates of the spirit as we contemplate some example of her loveliness or grandeur. Who that has stood by some still lake and watched a stretch of water-lilies opening in the dawn but has sent out somewhere into space a profound thankfulness to "whatever gods there be" that he has been allowed to gaze on so fair a sight. Whatever the struggle or sorrow of our lives, we feel in such moments our great good fortune at having been born into a world that contains such marvels. It is sufficient success in life, whatever our minor failures, to have beheld such beauty; and mankind at large witnesses to this feeling by the value it everywhere attaches to scenes in Nature exceptionally noble or exquisite. Though the American traveller does not so express it, his sentiment toward such natural spectacles as the Grand Cañon or Niagara Falls is that of an intense reverence. Such places are veritable holy places, and man's heart instinctively acknowledges them as sacred. His repugnance to any violation of them by materialistic interests is precisely the same feeling as the horror with which Christendom regarded the Turkish violation of the Holy Sepulchre. And this feeling will increase rather than decrease in proportion as religion is recognized as having its shrines and oracles not only in Jerusalem, or in St. Peter's, but wherever Nature has erected her altars on the hills or wafted her incense through the woodlands.
After all, are not all religions but the theological symbolization of natural phenomena; and the sacraments, the festivals, and fasts of all the churches have their counterparts in the mysterious processes and manifestations of Nature? and is the contemplation of the resurrection of Adonis or Thammuz more edifying to the soul than to meditate the strange return of the spring which their legends but ecclesiastically celebrate? He who has watched and waited at the white grave of winter, and hears at last the first faint singing among the boughs, or the first strange "peeping" of frogs in the marshes; or watches the ghost-like return of insects, stealing, still half asleep, from one knows not where—the first butterfly suddenly fluttering helplessly on the window-pane, or the first mud-wasp crawling out into the sun in a dazed, bewildered way; or comes upon the violet in the woods, shining at the door of its wintry sepulchre: he who meditates these marvels, and all the magic processional of the months, as they march with pomp and pathos along their vanishing roads, will come to the end of the year with a lofty, illuminated sense of having assisted at a solemn religious service, and a realization that, in no mere fancy of the poets, but in very deed, "day unto day uttereth speech and night unto night sheweth knowledge."
Apart from this generally religious influence of Nature, she seems at times in certain of her aspects and moods specifically to illustrate or externalize states of the human soul. Sometimes in still, moonlit nights, standing, as it were, on the brink of the universe, we seem to be like one standing on the edge of a pool, who, gazing in, sees his own soul gazing back at him. Tiny creatures though we be, the whole solemn and majestic spectacle seems to be an extension of our own reverie, and we to enfold it all in some strange way within our own infinitesimal consciousness. So a self-conscious dewdrop might feel that it enfolded the morning sky, and such probably is the meaning of the Buddhist seer when he declares that "the universe grows I."
Such are some of the more august impressions made upon us by the pictures in the cosmic picture-book; but there are also times and places when Nature seems to wear a look less mystic than dramatic in its suggestiveness, as though she were a stage-setting for some portentous human happening past or to come—the fall of kings or the tragic clash of empires. As Whitman says, "Here a great personal deed has room." Some landscapes seem to prophesy, some to commemorate. In some places not marked by monuments, or otherwise definitely connected with history, we have a curious haunted sense of prodigious far-off events once enacted in this quiet grassy solitude—prehistoric battles or terrible sacrifices. About others hangs a fateful atmosphere of impending disaster, as though weighted with a gathering doom. Sometimes we seem conscious of sinister presences, as though veritably in the abode of evil spirits. The place seems somehow not quite friendly to humanity, not quite good to linger in, lest its genius should cast its perilous shadow over the heart. On the other hand, some places breathe an ineffable sense of blessedness, of unearthly promise. We feel as though some hushed and happy secret were about to be whispered to us out of the air, some wonderful piece of good fortune on the edge of happening. Some hand seems to beckon us, some voice to call, to mysterious paradises of inconceivable green freshness and supernaturally beautiful flowers, fairy fastnesses of fragrance and hidden castles of the dew. In such hours the Well at the World's End seems no mere poet's dream. It awaits us yonder in the forest glade, amid the brooding solitudes of silent fern, and the gate of the Earthly Paradise is surely there in yonder vale hidden among the violet hills.
Various as are these impressions, it is strange and worth thinking on that the dominant suggestion of Nature through all her changes, whether her mood be stormy or sunny, melancholy or jubilant, is one of presage and promise. She seems to be ever holding out to us an immortal invitation to follow and endure, to endure and to enjoy. She seems to say that what she brings us is but an earnest of what she holds for us out there along the vanishing road. There is nothing, indeed, she will not promise us, and no promise, we feel, she cannot keep. Even in her tragic and bodeful seasons, in her elegiac autumns and stern winters, there is an energy of sorrow and sacrifice that elevates and inspires, and in the darkest hours hints at immortal mornings. She may terrify, but she never deadens, the soul. In earthquake and eclipse she seems to be less busy with destruction than with renewed creation. She is but wrecking the old, that
... there shall be
Beautiful things made new, for the surprise
Of the sky-children.
As I have thus mused along with the reader, a reader I hope not too imaginary, the manner in which the phrase with which I began has recurred to my pen has been no mere accident, nor yet has it been a mere literary device. It seemed to wait for one at every turn of one's theme, inevitably presenting itself. For wherever in Nature we set our foot, she seems to be endlessly the centre of vanishing roads, radiating in every direction into space and time. Nature is forever arriving and forever departing, forever approaching, forever vanishing; but in her vanishings there seems to be ever the waving of a hand, in all her partings a promise of meetings farther along the road. She would seem to say not so much Ave atque vale, as Vale atque ave. In all this rhythmic drift of things, this perpetual flux of atoms flowing on and on into Infinity, we feel less the sense of loss than of a musical progression of which we too are notes.
We are all treading the vanishing road of a song in the air, the vanishing road of the spring flowers and the winter snows, the vanishing roads of the winds and the streams, the vanishing road of beloved faces. But in this great company of vanishing things there is a reassuring comradeship. We feel that we are units in a vast ever-moving army, the vanguard of which is in Eternity. The road still stretches ahead of us. For a little while yet we shall experience all the zest and bustle of marching feet. The swift-running seasons, like couriers bound for the front, shall still find us on the road, and shower on us in passing their blossoms and their snows. For a while the murmur of the running stream of Time shall be our fellow-wayfarer—till, at last, up there against the sky-line, we too turn and wave our hands, and know for ourselves where the road wends as it goes to meet the stars. And others will stand as we today and watch us reach the top of the ridge and disappear, and wonder how it seemed to us to turn that radiant corner and vanish with the rest along the vanishing road.
II
WOMAN AS A SUPERNATURAL BEING
The boy's first hushed enchantment, blent with a sort of religious awe, as in his earliest love affair he awakens to the delicious mystery we call woman, a being half fairy and half flower, made out of moonlight and water lilies, of elfin music and thrilling fragrance, of divine whiteness and softness and rustle as of dewy rose gardens, a being of unearthly eyes and terribly sweet marvel of hair; such, too, through life, and through the ages, however confused or overlaid by use and wont, is man's perpetual attitude of astonishment before the apparition woman.
Though she may work at his side, the comrade of his sublunary occupations, he never, deep down, thinks of her as quite real. Though his wife, she remains an apparition, a being of another element, an Undine. She is never quite credible, never quite loses that first nimbus of the supernatural.
This is true not merely for poets; it is true for all men, though, of course, all men may not be conscious of its truth, or realize the truth in just this way. Poets, being endowed with exceptional sensitiveness of feeling and expression, say the wonderful thing in the wonderful way, bring to it words more nearly adequate than others can bring; but it is an error to suppose that any beauty of expression can exaggerate, can indeed more than suggest, the beauty of its truth. Woman is all that poets have said of her, and all that poets can never say:
Always incredible hath seemed the rose,
And inconceivable the nightingale—
and the poet's adoration of her is but the articulate voice of man's love since the beginning, a love which is as mysterious as she herself is a mystery.
However some may try to analyse man's love for woman, to explain it, or explain it away, belittle it, nay, even resent and befoul it, it remains an unaccountable phenomenon, a "mystery we make darker with a name." Biology, cynically pointing at certain of its processes, makes the miracle rather more miraculous than otherwise. Musical instruments are no explanation of music. "Is it not strange that sheep's guts should hale souls out of men's bodies?" says Benedick, in Much Ado About Nothing, commenting on Balthazar's music. But they do, for all that, though no one considers sheep's gut the explanation. To cry "sex" and to talk of nature's mad preoccupation with the species throws no light on the matter, and robs it of no whit of its magic. The rainbow remains a rainbow, for all the sciences. And woman, with or without the suffrage, stenographer or princess, is of the rainbow. She is beauty made flesh and dwelling amongst us, and whatever the meaning and message of beauty may be, such is the meaning of woman on the earth—her meaning, at all events, for men. That is, she is the embodiment, more than any other creature, of that divine something, whatever it may be, behind matter, that spiritual element out of which all proceeds, and which mysteriously gives its solemn, lovely and tragic significance to our mortal day.
If you tell some women this of themselves, they will smile at you. Men are such children. They are so simple. Dear innocents, how easily they are fooled! A little make-up, a touch of rouge, a dash of henna—and you are an angel. Some women seem really to think this; for, naturally, they know nothing of their own mystery, and imagine that it resides in a few feminine tricks, the superficial cleverness with which some of them know how to make the most of the strange something about them which they understand even less than men understand it.
Other women indeed resent man's religious attitude toward them as sentimental, old-fashioned. They prefer to be regarded merely as fellow-men. To show consciousness of their sex is to risk offence, and to busy one's eyes with their magnificent hair, instead of the magnificent brains beneath it, is to insult them. Yet when, in that old court of law, Phryne bared her bosom as her complete case for the defence, she proved herself a greater lawyer than will ever be made by law examinations and bachelor's degrees; and even when women become judges of the Supreme Court, a development easily within sight, they will still retain the greater importance of being merely women. Yes, and one can easily imagine some future woman President of the United States, for all the acknowledged brilliancy of her administration, being esteemed even more for her superb figure.
It is no use. Woman, if she would, "cannot shake off the god." She must make up her mind, whatever other distinctions she may achieve, to her inalienable distinction of being woman; nothing she can do will change man's eternal attitude toward her, as a being made to be worshipped and to be loved, a being of beauty and mystery, as strange and as lovely as the moon, the goddess and the mother of lunatics. What a wonderful destiny is hers! In addition to being the first of human beings, all that a man can be, to be so much else as well; to be, so to say, the president of a railroad and yet a priestess of nature's mysteries; a stenographer at so many dollars a week and yet a nymph of the forest pools—woman, "and yet a spirit still." Not without meaning has myth endowed woman with the power of metamorphosis, to change at will like the maidens in the legend into wild white swans, or like Syrinx, fleeing from the too ardent pursuit of Pan, into a flowering reed, or like Lamia, into a jewelled serpent—
Eyed like a peacock, and all crimson barr'd;
And full of silver moons.
Modern conditions are still more favourable than antique story for the exhibition of this protean quality of woman, providing her with opportunities of still more startling contrasts of transformation. Will it not be a wonderful sight in that near future to watch that woman judge of the Supreme Court, in the midst of some learned tangle of inter-state argument, turn aside for a moment, in response to a plaintive cry, and, unfastening her bodice, give the little clamourer the silver solace it demands! What a hush will fall upon the assembled court! To think of such a genius for jurisprudence, such a legal brain, working in harmony—with such a bosom! So august a pillar of the law, yet so divine a mother.
As it is, how piquant the contrast between woman inside and outside her office hours! As you take her out to dinner, and watch her there seated before you, a perfumed radiance, a dewy dazzling vision, an evening star swathed in gauzy convolutions of silk and lace—can it be the same creature who an hour or two ago sat primly with notebook and pencil at your desk side, and took down your specification for fireproofing that new steel-constructed building on Broadway? You, except for your evening clothes, are not changed; but she—well, your clients couldn't possibly recognize her. As with Browning's lover, you are on the other side of the moon, "side unseen" of office boy or of subway throng; you are in the presence of those "silent silver lights and darks undreamed of" by the gross members of your board of directors. By day—but ah! at evening under the electric lights, to the delicate strains of the palm-shaded orchestra! Man is incapable of these exquisite transformations. By day a gruff and hurried machine—at evening, at best, a rapt and laconic poker player. A change with no suggestion of the miraculous.
Do not let us for a moment imagine that because man is ceasing to remove his hat at her entrance into crowded elevators, or because he hustles her or allows her to hang by the straps in crowded cars, that he is tending to forget this supernaturalism of woman. Such change in his manners merely means his respect for her disguise, her disguise as a business woman. By day she desires to be regarded as just that, and she resents as untimely the recognition of her sex, her mystery, and her marvel during business hours. Man's apparent impoliteness, therefore, is actually a delicate modern form of chivalry. But of course his real feelings are only respectfully masked, and, let her be in any danger or real discomfort, or let any language be uttered unseemly for her ears, and we know what promptly happens. Barring such accidents, man tacitly understands that her incognito is to be respected—till the charming moment comes when she chooses to put it aside and take at his hands her immemorial tribute.
So, you see, she is able to go about the rough ways, taking part even in the rough work of the world, literally bearing what the fairy tales call a charmed life. And this, of course, gives her no small advantage in the human conflict. So protected, she is enabled, when need arises, to take the offensive, with a minimum of danger. Consider her recent campaign for suffrage, for example. Does any one suppose that, had she been anything but woman, a sacrosanct being, immune from clubs and bullets, that she would have been allowed to carry matters with such high victorious hand as in England—and more power to her!—she has of late been doing. Let men attempt such tactics, and their shrift is uncomplimentarily short. It may be said that woman enjoys this immunity with children and curates, but, even so, it may be held that these latter participate in a less degree in that divine nature with which woman is so completely armoured.
How with this rage shall beauty hold a plea,
Whose action is no stronger than a flower?
exclaims Shakespeare.
But there is indeed the mystery, for, though its "action is no stronger than a flower," the power wielded by beauty in this world, and therefore by woman as its most dynamic embodiment, is as undeniable as it is irresistible. "Terrible as an army with banners" was no mere figure of lovesick speech. It is as plain a truth as the properties of radium, and belongs to the same order of marvel. Such scientific discoveries are particularly welcome as demonstrating the power of the finer, as contrasted with the more brutally obvious, manifestations of force; for they thus illustrate the probable nature of those spiritual forces whose operations we can plainly see, without being able to account for them. A foolish phrase has it that "a woman's strength is in her helplessness." "Helplessness" is a curious term to use for a mysteriously concentrated or super-refined form of strength. "Whose action is no stronger than a flower." But is the action of a flower any less strong because it is not the action of a fist? As a motive force a flower may be, and indeed has time and again been, stronger than a thousand fists. And what then shall we say of the action of that flower of flowers that is woman—that flower that not only once or twice in history has
... launched a thousand ships
And burned the topless towers of Ilium.
Woman's helplessness, forsooth! On the contrary, woman is the best equipped fighting machine that ever went to battle. And she is this, not from any sufferance on the part of man, not from any consideration on his part toward her "weakness," but merely because he cannot help himself, because nature has so made her.
No simple reasoning will account for her influence over man. It is not an influence he allows. It is an influence he cannot resist, and it is an influence which he cannot explain, though he may make believe to do so. That "protection," for example, which he extends to her from the common physical perils with which he is more muscularly constituted to cope—why is it extended? Merely out of pity to a weaker being than himself? Does other weakness always command his pity? We know that it does not. No, this "protection" is but a part of an instinctive reverence, for which he can give no reason, the same kind of reverence which he has always given to divine beings, to any manifestation or vessel of the mysteriously sacred something in human life. He respects and protects woman from the same instinct which makes him shrink from profaning an altar or robbing a church, or sends him on his knees before any apparition supposedly divine. Priests and women are often classed together, but not because the priests are regarded as effeminately "helpless"; rather because both are recognized as ministers of sacred mysteries, both belong to the spiritual sphere, and have commerce with the occult holiness of things. Also be it remarked that this "protection" is chiefly needed against the brutality and bestiality of man's own heart, which woman and religion alike rather hold in subjection by their mysterious influence than have to thank for any favours of self-control. Man "protects" woman because he first worships her, because, if she has for him not always the beauty of holiness, she at least always suggests the holiness of beauty.
Now when has man ever suggested holiness to the most adoring woman? I do not refer to the professional holiness of saints and ecclesiastics, but to that sense of hallowed strangeness, of mystic purity, of spiritual exquisiteness, which breathes from a beautiful woman and makes the touch of her hand a religious ecstasy, and her very garments a thrilling mystery. How impossible it is to imagine a woman writing the Vita Nuova, or a girl feeling toward a boy such feelings of awe and worship as set the boy Dante a-tremble at his first sight of the girl Beatrice.
At that moment [he writes], I say most truly that the spirit of life, which hath its dwelling in the secretest chamber of the heart, began to tremble so violently that the least pulse of my body shook therewith; and in trembling it said these words: "Ecce deus fortior me, qui veniens dominabitur mihi. (Here is a deity stronger than I, who, coming, shall rule over me.)"
And, loverlike, he records of "this youngest of the angels" that "her dress on that day was of a most noble colour, a subdued and goodly crimson, girdled and adorned in such sort as best suited with her very tender age." Ah! that "little frock," that sacred little frock we first saw her in! Don't we all know it? And the little handkerchief, scented like the breath of heaven, we begged as a sacred relic! And—
Long after you are dead
I will kiss the shoes of your feet....
Yes! anything she has worn or touched; for, as a modern writer has said:
Everything a woman wears or touches immediately incarnates something of herself. A handkerchief, a glove, a flower—with a breath she endows them with immortal souls.
Waller with his girdle, Donne with "that subtle wreath of hair about his arm," the mediaeval knight riding at tourney with his lady's sleeve at his helm, and all relic-worshipping lovers through the ages bear witness to that divine supernaturalism of woman. To touch the hem of that little frock, to kiss the mere imprint of those little feet, is to be purified and exalted. But when did man affect woman in that way? I am tolerably well read in the poetry of woman's emotions, but I recall no parallel expressions of feeling. No passionate apostrophes of his golf stockings come to my mind, nor wistful recollections of the trousers he wore on that never-to-be-forgotten afternoon. The immaculate collar that spanned his muscular throat finds no Waller to sing it:
A narrow compass—and yet there
Dwelt all that's good, and all that's fair,
and probably the smartest negligée shirt that ever sported with the summer winds on a clothes-line has never caused the smallest flutter in feminine bosoms. The very suggestion is, of course, absurd—whereas with women, in very deed, it is as with the temple in Keats's lines:
... even as the trees
That whisper round a temple become soon
Dear as the temple's self.
Properly understood, therefore, the cult of the skirt-dancer has a religious significance, and man's preoccupation with petticoats is but the popular recognition of the divinity of woman. All that she is and does and wears has a ritualistic character, and she herself commands our reverence because we feel her to be the vessel of sacred mysteries, the earthly representative of unearthly powers, with which she enjoys an intimacy of communication denied to man. It is not a reasonable feeling, or one to be reasoned about; and that is why we very properly exempt woman from the necessity of being reasonable. She is not, we say, a reasonable being, and in so saying we pay her a profound compliment. For she transcends reason, and on that very account is mysteriously wise, the wisest of created things—mother-wise. When we say "mother-wit," we mean something deeper than we realize—for what in the universe is wiser than a mother, fed as she is through the strange channels of her being with that lore of the infinite which seems to enter her body by means of organs subtler than the brain?
A certain famous novelist meant well when recently he celebrated woman as "the mother of the male," but such celebration, while ludicrously masculine in its egotistic limitation, would have fallen short even if he had stopped to mention that she was the mother of the female, too; for not merely in the fact that she is the mother of the race resides the essential mystery of her motherhood. We do not value woman merely, if one may be permitted the expression, as a brood mare, an economic factor controlling the census returns. Her gift of motherhood is stranger than that, and includes spiritual affinities and significances not entirely represented by visible babes. Her motherhood is mysterious because it seems to be one with the universal motherhood of nature, one with the motherhood that guards and warms to life the eggs in the nest and the seeds in the hollows of the hills, the motherhood of the whole strange vital process, wherever and howsoever it moves and dreams and breaks into song and flower. And, as nature is something more than a mother, so is woman. She is a vision, an outward and visible sign of an inward and spiritual grace and goodness at the heart of life; and her beauty is the sacred seal which the gods have set upon her in token of her supernatural meaning and mission; for all beauty is the message of the immortal to mortality. Always when man has been in doubt concerning his gods, or in despair amid the darkness of his destiny, his heart has been revived by some beatific vision;
Some shape of beauty moves away the pall
From our dark spirits.
Woman is our permanent Beatific Vision in the darkness of the world.
III
THE LACK OF IMAGINATION AMONG MILLIONAIRES
Considering the truly magical power of money, it must often have struck the meditative mind—particularly that class of meditative mind whose wealth consists chiefly in meditation—to what thoroughly commonplace uses the modern millionaire applies the power that is his: in brief, with what little originality, with what a pitiful lack of imagination, he spends his money. One seldom hears of his doing a novel or striking thing with it.
On the contrary, he buys precisely the same things as his fellow-millionaires, the same stereotyped possessions—houses in Fifth Avenue and Newport, racehorses, automobiles, boxes at the opera, diamonds and dancing girls; and whether, as the phrase is, he makes good use of his wealth, or squanders it on his pleasures, the so-called good or bad uses are alike drearily devoid of individuality. Philanthropist or profligate, the modern millionaire is one and the same in his lack of initiative. Saint or sinner, he is one or the other in the same tame imitative way.
The rich men of the past, the splendid spendthrifts of antiquity, seem usually to have combined a gift of fancy with their wealth, often even something like poetry; and their extravagances, however extreme, had usually a saving grace of personal whim to recommend them to lovers of the picturesque. Sardanapalus and Heliogabalus may have been whatever else you please, but they were assuredly not commonplace; and the mere mention of their names vibrates with mankind's perennial gratitude for splendour and colossal display, however perverse, and even absurd. The princes of the Italian Renaissance were, of course, notable examples of the rich man as fantast, probably because they had the good sense to seek the skilled advice of poets and painters as to how best to make an artistic display of their possessions. Alas, no millionaire today asks a poet's or painter's assistance in spending his money; yet, were the modern millionaire to do so, the world might once more be delighted with such spectacles as Leonardo devised for the entertainments at the Villa Medici—those fanciful banquets, where, instead of a mere vulgar display of Medici money—"a hundred dollars a plate," so to say—whimsical wit and beauty entered into the creation of the very dishes. Leicester's famous welcoming of Elizabeth to Kenilworth was perhaps the last spectacular "revel" of its kind to strike the imagination; though we must not fail to remember with gratitude the magnificent Beckford, with his glorious "rich man's folly" of Fonthill Abbey, a lordly pleasure house which naturally sprang from the same Aladdin-like fancy which produced "Vathek."
I but mention one or two such typical examples at random to illustrate the difference between past and present. At present the rich man's paucity of originality is so painful that we even welcome a certain millionaire's penchant for collecting fleas—he, it is rumoured, having paid as much as a thousand dollars for specimens of a particularly rare species. It is a passion perhaps hard to understand, but, at least, as we say, it is "different." Mr. Carnegie's more comprehensible hobby for building libraries shows also no little originality in a man of a class which is not as a rule devoted to literature. Another millionaire I recently read of, who refused to pay the smallest account till it had run for five years, and would then gladly pay it, with compound interest at five per cent., has something refreshing about him; while still another rich eccentric, who has lived on his yacht anchored near the English coast for some fifteen years or so in order to avoid payment of his American taxes, and who occasionally amuses himself by having gold pieces heated white hot and thrown into the sea for diving boys to pick them up, shows a quaint ingenuity which deserves our gratitude. Another modern example of how to spend, or waste, one's money picturesquely was provided by the late Marquis of Anglesey, a young lord generally regarded as crazy by an ungrateful England. Perhaps it was a little crazy in him to spend so much money in the comparatively commonplace adventure of taking an amateur dramatic company through the English provinces, he himself, I believe, playing but minor rôles; but lovers of Gautier's Le Capitaine Fracasse will see in that but a charmingly boyish desire to translate a beloved dream into a reality—though his creditors probably did not take that view. Neither, one can surmise, did those gentlemen sufficiently appreciate his passion for amassing amazing waistcoats, of which some seven hundred were found in his wardrobe at his lamented death; or strange and beautiful walking sticks, a like prodigious collection of which were among the fantastic assets which represented his originally large personal fortune on the winding up of his earthly affairs. Among these unimaginative creditors were, doubtless, many jewellers who found it hard to sympathize with his lordship's genial after-dinner habit, particularly when in the society of fair women, of plunging his hand into his trousers pocket and bringing it forth again brimming over with uncut precious stones of many colours, at the same time begging his companion to take her choice of the moonlit rainbowed things. The Marquis of Anglesey died at the early age of twenty-nine, much lamented, as I have hinted—by his creditors, but no less sincerely lamented, too, by those for whom his flamboyant personality and bizarre whims added to that gaiety of nations sadly in need today of such figures. A friend of mine owns two of the wonderful waistcoats. Sometimes he wears one as we lunch together, and on such occasions we always drink in silence to the memory of his fantastic lordship.
These examples of rich men of our own time who have known how to spend their money with whim and fancy and flourish are but exceptions to my argument, lights shining, so to say, in a great darkness. As a general rule, it is the poor or comparatively poor man, the man lacking the very necessary material of the art, who is an artist of this kind. It is the man with but little money who more often provides examples of the delightful way of spending it. I trust that Mr. Richard Harding Davis will not resent my recalling a charming feat of his in this connection. Of course Mr. Davis is by no means a poor man, as all we who admire his writings are glad to know. Still, successful writer as he is, he is not yet, I presume, on a Carnegie or Rockefeller rating; and, at the time which I am about to recall, while already famous and comparatively prosperous, he had not attained that security of position which is happily his today. Well, I suppose it was some twelve or fifteen years ago—and of course I am only recalling a story well known to all the world—that, chancing to be in London, and wishing to send a surprise message to a lady in Chicago who afterward became his wife, he conceived the idea of sending it by messenger boy from Charing Cross to Michigan Avenue; and so the little lad, in the well-known uniform of hurry, sped across the sea, as casually as though he were on an errand from Charing Cross to Chancery Lane, raced across nearly half the continent, as casually as though he were on an errand from Wall Street to Park Row, and finding the proper number in Michigan Avenue, placed the far travelled letter in the lady's hand, no doubt casually asking for a receipt. This I consider one of the most romantic compliments ever paid by a lover to his lady. What millionaire ever had a fancy like that?
Or what millionaire ever had a fancy like this? There was living in New York some ten years ago a charming actor, not unknown to the public and much loved by his friends for, among his other qualities, his quaint whims. Good actor as he was, like many other good actors he was usually out of an engagement, and he was invariably poor. It was always his poorest moment that he would choose for the indulgence of an odd, and surely kindly, eccentricity. He would half starve himself, go without drinks, forswear tobacco, deny himself car fares, till at last he had saved up five dollars. This by no means easy feat accomplished, he would have his five-dollar bill changed into five hundred pennies, filling his pockets with which, he would sally forth from his lodging, and, seeking neighbourhoods in which children most abound, he would scatter his arduously accumulated largess among the scrambling boys and girls, literally happy as a king to watch the glee on the young faces at the miraculous windfall. We often wondered that he was not arrested for creating a riot in the public streets, a disturber of the public traffic. Had some millionaire passed by on one of those ecstatic occasions, there is no question but that he would have been promptly removed to Bellevue as a dangerous lunatic.
Or what millionaire ever had a fancy like this? Passing along Forty-second Street one afternoon, I came upon a little crowd, and joining it I found that it was grouped in amused curiosity, and with a certain kindness, round an old hatless Irishman, who was leaning against a shop front, weeping bitterly, and, of course, grotesquely. The old man was very evidently drunk, but there was something in his weeping deeply pitiful for all that. He was drunk, for certain; but no less certainly he was very unhappy—unhappy over some mysterious something that one or two kindly questioners tried in vain to discover. As we all stood helplessly looking on and wondering, a tall, brisk young man, of the lean, rapid, few-worded American type, pushed in among us, took a swift look at the old man, thrust a dollar bill into his hand, said "Forget it"—no more—and was gone like a flash on his way. The old man fumbled the note in a daze, but what chiefly interested me was the amazed look on the faces of the little crowd. It was almost as if something supernatural had happened. All eyes turned quickly to catch sight of that strange young man; but he was already far off striding swiftly up the street. I have often regretted that I checked my impulse to catch up with him—for it seemed to me, too, that I had never seen a stranger thing. Pity or whim or whatever it was, did ever a millionaire do the like with a dollar, create such a sensation or have so much fun with so small a sum? No; millionaires never have fancies like that.
Another poor man's fancy is that of a friend of mine, a very poor young lawyer, whose custom it is to walk uptown from his office at evening, studying the faces of the passers-by. He is too poor to afford dollar bills. He must work his miracles with twenty-five-cent pieces, or even smaller coins; but it is with this art of spending money as with any other art: the greatness of the artist is shown by his command over an economy of material; and the amount of human happiness to be evoked by the dispensation of a quarter into the carefully selected hand, at the artistically chosen moment, almost passes belief. Suppose, for example, you were a sandwich man on a bleak winter day, an old weary man, with hope so long since faded out of your heart that you would hardly know what the word meant if you chanced to read it in print. Thought, too, is dead within you, and feeling even so numbed that you hardly suffer any more. Practically you are a man who ought to be in your coffin—at peace in Potter's field—who, by the mere mechanic habit of existence, mournfully parades the public streets, holding up a banner with some strange device, the scoff of the pitiless wayfarer—as like as not supporting against an empty stomach the savoury advertisement of some newly opened restaurant. Suppose you were that man, and suddenly through the thick hopelessness, muffling you around as with a spiritual deafness, there should penetrate a kind voice saying: "Try and keep up your heart, friend; there are better days ahead"; and with the voice a hand slipping into yours a coin, and with both a kind smile, a cheery "Good-bye," and a tall, broad-shouldered figure, striding with long, so to say, kindly legs up the street—gone almost before you knew he was there. I think it would hardly matter to you whether the coin were a quarter or a dime; but what would matter would be your amazement that there still was any kindness left on the earth; and perhaps you might almost be tempted to believe in God again. And then—well, what would it matter to any one what you did with your miraculous coin? This is my friend's favourite way of spending his money. To the extent of his poor means he has constituted himself the Haroun Al Raschid of the sandwich men.
After all, I suppose that most of us, if put into the possession of great wealth, would find our greatest satisfaction in the spending of it much after the fashion of my poor lawyer friend—that is, in the artistic distribution of human happiness. I do not, of course, for a moment include in that phrase those soulless systems of philanthropy by which a solid block of money on the one side is applied to the relief of a solid block of human misery on the other, useful and much to be appreciated as such mechanical charity of course is. It is not, indeed, the pious use of money that is my theme, but rather how to get the most fun, the most personal and original fun, out of it.
The mention of the great caliph suggests a rôle which is open to any rich man to play, the rôle of the Haroun Al Raschid of New York. What a wonderful part to play! Instead of loitering away one's evenings at the club, to doff one's magnificence and lose oneself in the great nightly multitude of the great city, wandering hither and thither, watching and listening, and, with one's cheque-book for a wand, play the magician of human destinies—bringing unhoped-for justice to the oppressed, succour as out of heaven to the outcast, and swift retribution, as of sudden lightning, to the oppressor. To play Providence in some tragic crisis of human lives; at the moment when all seemed lost to step out of the darkness and set all right with a touch of that magic wand. To walk by the side of lost and lonely men, an unexpected friend; to scribble a word on a card and say, "Present this tomorrow morning at such a number Broadway and see what will happen," and then to disappear once again into the darkness. To talk with sad, wandering girls, and arrange that wonderful new hats and other forms of feminine hope shall fall out of the sky into their lonely rooms on the morrow. To be the friend of weary workmen and all that toil by night while the world is asleep in soft beds. To come upon the hobo as he lies asleep on the park bench and slip a purse into his tattered coat, and perhaps be somewhere by to see him wake up in the dawn, and watch the strange antics of his joy—all unsuspected as its cause. To go up to the poor push-cart man, as he is being hurried from street corner to street corner by the police, and say: "Would you like to go back to Italy? Here is a steamer ticket. A boat sails for Genoa tomorrow. And here is a thousand dollars. It will buy you a vineyard in Sicily. Go home and bid the signora get ready." And then to disappear once more, like Harlequin, to flash your wand in some other corner of the human multitude. Oh, there would be fun for one's money, something worth while having money for!
I offer this suggestion to any rich man who may care to take it up, free of charge. It is a fascinating opportunity, and its rewards would be incalculable. At the end of the year how wise one would be in the human story—how filled to overflowing his heart with the thought of the joy he would thus have brought to so many lives—all, too, in pure fun, himself having had such a good time all the while!
IV
THE PASSING OF MRS. GRUNDY
"Death of Mrs. Grundy!" Imagine opening one's newspaper some morning and finding in sensational headlines that welcome news. One recalls the beautiful old legend of the death of Pan, and how—false report though it happily was—there once ran echoing through the world a long heartbroken sigh, and a mysterious voice was heard wailing three times from land to land, "Great Pan is dead!" Similarly, on that happy morning I have imagined, one can imagine, too, another sigh passing from land to land, the sigh of a vast relief, of a great thankfulness for the lifting of an ineffable burden, as though the earth stretched its limbs and drew great draughts of a new freedom. How wildly the birds would sing that morning! And I believe that even the church bells would ring of themselves!
Such definite news is not mine to proclaim, but if it cannot be announced with certitude that Mrs. Grundy is no more, it may, at all events, be affirmed without hesitation that she is on her deathbed, and that surely, if slowly, she is breathing her last. Yes, that poisonous breath, which has so long pervaded like numbing miasma the free air of the world, will soon be out of her foolish, hypocritical old body; and though it may still linger on here and there in provincial backwoods and suburban fastnesses, from the great air centres of civilization it will have passed away forever.
The origin of Mrs. Grundy is shrouded in mystery. In fact, though one thus speaks of her as so potent a personification, she has of course never had any real existence. For that very reason she has been so hard to kill. Nothing is so long-lived as a chimera, nothing so difficult to lay as a ghost. From her first appearance, or rather mention, in literature, Mrs. Grundy has been a mere hearsay, a bugaboo being invented to frighten society, as "black men" and other goblins have been wickedly invented by nurses to frighten children. In the old play itself where we first find her mentioned by name, she herself never comes on the stage. She is only referred to in frightened whispers. "What will Mrs. Grundy say?" is the nervous catchword of one of the characters, much in the same way as Mrs. Gamp was wont to defer to the censorious standards of her invisible friend "Mrs. Harris." In the case of the last named chimera, it will be recalled that the awful moment came when Mrs. Gamp's boon companion, Batsey Prig, was sacrilegious enough to declare her belief that no such person as "Mrs. Harris" was, or ever had been, in existence. So the awful atheistic moment has come for Mrs. Grundy, too, and an oppressed world at last takes courage to say that no such being as Mrs. Grundy has ever really existed, or that, even if she has, she shall exist no more. What will Mrs. Grundy say? Who cares nowadays—and so long as nobody cares, the good lady is as dead as need be.
Mrs. Grundy, of course, is man's embodied fear of his neighbour, the creation of timid souls who are afraid of being themselves, and who, instead of living their lives after their own fashion and desires, choose to live them in hypocritical discomfort according to the standards of others, standards which in their turn may be held insincerely enough from fear of someone else, and so on without end—a vicious circle of insincere living being thus created, in which no man is or does anything real, or as he himself would naturally prefer to be and to do. It is evident that such a state of mutual intimidation can exist only in small communities, economically interdependent, and among people with narrow boundaries and no horizons. If you live in a village, for example, and are dependent on the good opinion of your neighbours for your means of existence, your morals and your religious belief must be those of the village, or you are liable to starve. It is only the rich man in a village who can do as he pleases. The only thing for the dependent individualist in a village to do is to go somewhere else, to some place where a man may at the same time hold his job and his opinions, a place too big to keep track of its units, too busy to ask irrelevant questions, and so diverse in its constituents as to have generated tolerance and free operation for all.
Now, in spite of its bigness, the world was till quite recently little more than a village, curiously held in subjection by village superstitions and village ethics, narrow conceptions of life and conduct; but the last twenty years have seen a remarkable enlargement of the human spirit, a reassertion of the natural rights of man as against the figments of prurient and emasculate conventions, to which there is no parallel since the Renaissance. Voices have been heard and truths told, and multitudes have listened gladly that aforetime must take shelter either in overawed silence or in utterance so private that they exerted no influence; and the literature of the day alone, literature of wide and greedy acceptance, is sufficient warrant for the obituary announcement which, if not yet, as I said, officially made, is already writing in the hearts, and even in the actions, of society. The popularity of such writers as Meredith and Hardy, Ibsen and Nietzsche, Maeterlinck and Walt Whitman, constitutes a writing on the wall the significance of which cannot be gainsaid. The vogue alone of Mr. Bernard Shaw, apostle to the Philistines, is a portent sufficiently conclusive. To regard Mr. Shaw either as a great dramatist or an original philosopher is, of course, absurd. He, of all men, must surely be the last to imagine such a vain thing about himself; but even should he be so self-deluded, his immense coarse usefulness to his day and generation remains, and the value of it can hardly be overestimated. What others have said for years as in a glass darkly, with noble seriousness of utterance, he proclaims again through his brazen megaphone, with all the imperturbable aplomb of an impudent showman, having as little self-respect as he has respect for his public; and, as a consequence, that vast herd of middle-class minds to whom finer spirits appeal in vain hear for the first time truths as old as philosophy, and answer to them with assenting instincts as old as humanity. Truth, like many another excellent commodity, needs a vulgar advertisement, if it is to become operative in the masses. Mr. Shaw is truth's vulgar advertisement. He is a brilliant, carrying noise on behalf of freedom of thought; and his special equipment for his peculiar revivalist mission comes of his gift for revealing to the common mind not merely the untruth of hypocrisy, but the laughableness of hypocrisy, first of all. He takes some popular convention, that of medicine or marriage or what you will, and shows you not merely how false it is but how ludicrously false. He purges the soul, not with the terror and pity of tragedy, but with the irresistible laughter of rough-and-tumble farce. To think wrongly is, first of all, so absurd. He proves it by putting wrong thinking on the stage, where you see it for yourself in action, and laugh immoderately. Perhaps you had never thought how droll wrong thinking or no thinking was before; and while you laugh with Shaw at your side-splitting discovery, the serious message glides in unostentatiously—wrong thinking is not merely laughable; it is also dangerous, and very uncomfortable. And so the showman has done his work, the advertiser has sold his goods, and there is so much more truth in circulation in unfamiliar areas of society.
That word "society" naturally claims some attention at the hands of one who would speak of Mrs. Grundy, particularly as she has owed her long existence to a general misconception as to what constitutes "society," and to a superstitious terror as to its powers over the individual. Society—using the word in its broad sense—has heretofore been regarded as a vague tremendous entity imposing a uniformity of opinion and action on the individual, under penalty of a like vague tremendous disapproval for insubordination. Independent minds, however, have from time to time, and in ever increasing numbers, ventured to do their own will and pleasure in disregard of this vague tremendous disapproval, and have, strange to say, found no sign of the terrible consequences threatened them, with the result that they, and the onlookers, have come to the conclusion that this fear of society is just one more bugaboo of timorous minds, with no power over the courageous spirit. From a multitude of such observations men and women have come more and more to draw the conclusion that the solidarity of society is nothing but a myth, and that so-called society is merely a loosely connected series of independent societies, formed by natural selection among their members, each with its own codes and satisfactions; and that a man not welcome in one society may readily find a home for himself in another, or indeed, if necessary, and if he be strong enough, rest content with his own society of one.
There was a time when a doubt as to the credibility of the book of Genesis or a belief in the book of Darwin made the heretic a lonely man, but nowadays he is hardly likely to go without friends. Besides, men and women of strong personal character are not usually indiscriminately gregarious. On the contrary, they are apt to welcome any disparity between them and their neighbours which tends to safeguard their leisure and protect them against the social inroads of irrelevant persons. I recall the case of a famous novelist, who, himself jealous of his own proper seclusion, permitted the amenities of his neighbours to pleasure his wife who was more sociably inclined, and smilingly allowed himself to be sacrificed once a week on the altar of a domestic "at home" day. It was amusing to see him in his drawing-room on Fridays, surrounded by every possible form of human irrelevancy—men and women well enough in their way, of course, but absolutely unrelated, if not antipathetic to him and all he stood for—heroically doing his best to seem really "at home." But there came a time when he published a book of decidedly "dangerous" tendencies, if not worse, and then it was a delight to see how those various nobodies fled his contact as they would the plague. His drawing-room suddenly became a desert, and when you dropped in on Fridays you found there—only the people he wanted. "Is not this," he would laughingly say, "a triumph of natural selection? See how simply, by one honest action, I have cut off the bores!"
To cut off the bores! Yes, that is the desperate attempt that any man or woman who would live their own lives rather than the lives of others is constantly engaged in making; and more and more all men and women are realizing that there is only one society that really counts, the society of people we want, rather than the people who want us or don't want us or whom we don't want. And nowadays the man or woman must be uncomfortable or undesirable, indeed, who cannot find all the society he or she can profitably or conveniently handle, be their opinions and actions never so anti-Grundy. Thus the one great fear that more than any other has kept Mrs. Grundy alive, the fear of being alone in the world, cut off from such intercourse with our fellows as most of us feel the need of at times, has been put an end to by the ever increasing subdivision of "society" into friendly seclusions and self-dependent communities of men and women with like ways and points of view, however disapproved in alien circles. What "shocks" one circle will seem perfectly natural in another; and one great truth should always be held firmly in mind—that the approval of one's neighbours has never yet paid a man's bills. So long as he can go on paying those, and retain the regard of the only society he values—that of himself and a few friends—he can tell Mrs. Grundy to go—where she belongs. And this happily is—almost—as true nowadays for woman as for man; which is the main consideration, for, it need hardly be said, that it has been on her own sex that the tyranny of Mrs. Grundy has weighed peculiarly hard.
Had that tyranny been based on a genuine moral ideal, one would have some respect for it, but, as the world has always known, it has been nothing of the sort. On the contrary, it has all along been an organized hypocrisy which condoned all it professed to censure on condition that it was done in unhealthy secrecy, behind the closed doors of a lying "respectability." All manner of uncleanness had been sanctioned so long as it wore a mask of "propriety," whereas essentially clean and wholesome expressions of human nature, undisguised manifestations of the joy and romance of life, have been suppressed and confounded with their base counterfeits merely because they have sought the sunlight of sincerity rather than the shade where evil does well to hide. Man's proper delight in the senses, the natural joy of men and women in each other, the love of beauty, naked and unashamed, the romantic emotions, and all that passionate vitality that dreams and builds and glorifies the human story: all this, forsooth, it has been deemed wrong even to speak of, save in colourless euphemisms, and their various drama has had to be carried on by evasion and subterfuge pitiably silly indeed in this robustly procreative world. Silly, but how preposterous, too, and no longer to be endured.
It was a gain indeed to drag these vital human interests into the arena of undaunted discussion, but things are clearly seen to have already passed beyond that stage. Discussion has already set free in the world braver and truer ideals, ideals no longer afraid of life, but, in the courage of their joyousness, feasibly close to all its breathing facts. Men and women refuse any longer to allow their most vital instincts to be branded with obloquy, and the fulness of their lives to be thwarted at the bidding of an impure and irrational fiction of propriety. On every hand we find the right to happiness asserted in deeds as well as words. The essential purity of actions and relations to which a merely technical or superstitious irregularity attaches is being more and more acknowledged, and the fanciful barriers to human happiness are everywhere giving way before the daylight of common sense. Love and youth and pleasure are asserting their sacred natural rights, rights as elemental as those forces of the universe by which the stars are preserved from wrong, and the merely legal and ecclesiastical fictions which have so long overawed them are fleeing like phantoms at cockcrow. It is no longer sinful to be happy—even in one's own way; and the extravagances of passion, the ebullitions of youth, and the vagaries of pleasure are no longer frowned down by a sour-visaged public opinion, but encouraged, or, if necessary, condoned, as the dramatic play of natural forces, and as welcome additions to the gaiety of nations. The true sins against humanity are, on the other hand, being exposed and pilloried with a scientific eye for their essential qualities.
... The cold heart, and the murderous tongue,
The wintry soul that hates to hear a song,
The close-shut fist, the mean and measuring eye,
And all the little poisoned ways of wrong.
Man's virtues and vices are being subjected to a re-classification, in the course of which they are entertainingly seen, in no few instances, to be changing places. The standards of punishment applied by Dante to his inferno of lost souls is being, every year, more closely approximated; warm-blooded sins of instinct and impulse, as having usually some "relish of salvation" in them, are being judged lightly, when they are accounted sins at all, and the cold-hearted sins of essential selfishness, the sins of cruelty and calculation and cowardice, are being nailed up as the real crimes against God and man. The individual is being allowed more and more to be the judge of his own actions, and all actions are being estimated more in regard to their special relation and environment, as the relativity of right and wrong, that most just of modern conceptions, is becoming understood. The hidden sins of the pious and respectable are coming disastrously into the light, and it no longer avails for a man to be a pillar of orthodoxy on Sundays if he be a pillar of oppression all the rest of the week; while the negative virtues of abstinence from the common human pleasures go for less than nothing in a world that no longer regards the theatre, the race course, and the card table, or even a beautiful woman, as under the especial wrath of God. No, the Grundy "virtues" are fast disappearing, and piano legs are once more being worn in their natural nudity. The general trend is unmistakable and irresistible, and such apparent contradictions of it as occasionally get into the newspapers are of no general significance; as when, for example, some exquisitely refined Irish police officer suppresses a play of genius, or blushingly covers up the nakedness of a beautiful statue, or comes out strong on the question of woman's bathing dress when some sensible girl has the courage to go into the water with somewhat less than her entire walking costume; or, again, when some crank invokes the blue laws against Sunday golf or tennis; or some spinster association puts itself on record against woman's smoking: all these are merely provincial or parochial exceptions to the onward movement of morals and manners, mere spasmodic twitchings, so to say, of the poor old lady on her deathbed. We know well enough that she who would so sternly set her face against the feminine cigarette would have no objection to one of her votaries carrying on an affair with another woman's husband—not the least in the world, so long as she was careful to keep it out of the courts. And such is a sample of her morality in all her dealings. Humanity will lose no real sanctity or safeguard by her demise; only false shame and false morality will go—but true modesty, "the modesty of nature," true propriety, true religion—and incidentally true love and true marriage—will all be immeasurably the gainers by the death of this hypocritical, nasty-minded old lady.
V
MODERN AIDS TO ROMANCE
There have, of course, in all ages been those who made a business of running down the times in which they lived—tiresome people for whom everything had gone to the dogs—or was rapidly going—uncomfortable critics who could never make themselves at home in their own century, and whose weary shibboleth was that of some legendary perfect past.
In Rome this particular kind of bore went by the name of laudator temporis acti; and, if we have no such concise Anglo-Saxon phrase for the type, we still have the type no less ubiquitously with us. The bugbear of such is "modern science," or "modern thought," a monster which, we are frequently assured, is fast devouring all the beautiful and good in human life, a Moloch fed on the dreams and ideals and noble faiths of man. Modernity! For such "modernity" has taken the place of "Anti-Christ." These sad, nervous people have no eye for the beautiful patterns and fantasies of change, none of that faith which rejoices to watch "the roaring loom of time" weaving ever new garments for the unchanging eternal gods. In new temples, strangely enough, they see only atheism, instead of the vitality of spiritual evolution; in new affirmations they scent only dangerous denials. With the more grave misgivings of these folk of little faith this is not the place to deal, though actually, if there were any ground for belief in a modern decay of religion, we might seriously begin to believe in the alleged decay of romance.
Yes, romance, we not infrequently hear, is dead. Modern science has killed it. It is essentially a "thing of the past"—an affair presumably of stage-coaches, powdered wigs, and lace ruffles. It cannot breathe in what is spoken of as "this materialistic age."
The dullards who repeat these platitudes of the muddle-headed multitude are surely the only people for whom they are true. It is they alone who are the materialists, confusing as they do the spirit of romance with its worn-out garments of bygone fashions. Such people are so clearly out of court as not to be worth controverting, except for the opportunity they give one of confidently making the joyous affirmation that, far from romance being dead in our day, there never was a more romantic age than ours, and that never since the world began has it offered so many opportunities, so many facilities for romance as at the present time.
In fact, a very little thinking will show that of all those benefited by "the blessings of modern science," it is the lovers of the community who as a body have most to be thankful for. Indeed, so true is this that it might almost seem as though the modern laboratory has been run primarily from romantic motives, to the end that the old reproach should be removed and the course of true love run magically smooth. Valuable as the telephone may be in business affairs, it is simply invaluable in the affairs of love; and mechanicians the world over are absorbed in the problem of aerial flight, whether they know it or not, chiefly to provide Love with wings as swift as his desire.
Distance may lend enchantment to those whom we prefer to appreciate from afar, but nearness is the real enchantment to your true lover, and distance is his natural enemy. Distance and the slow-footedness of Time are his immemorial evils. Both of these modern science has all but annihilated. Consider for a moment the conditions under which love was carried on in those old days which some people find so romantic. Think what a comparatively short distance meant then, with snail-paced precarious mails, and the only means of communication horses by land, and sailing ships by sea. How men and women had the courage to go on long journeys at all away from each other in those days is hard to realize, knowing what an impenetrable curtain of silence and mystery immediately fell between them with the winding of the coach horn, or the last wave of the plumed hat as it disappeared behind the last turning of the road—leaving those at home with nothing for company but the yearning horizon and the aching, uncommunicative hours. Days, weeks, months, even years, must go by in waiting for a word—and when at last it came, brought on lumbering wheels or at best by some courier on his steaming mud-splashed mount, precious as it was, it was already grown old and cold and perhaps long since untrue.
Imagine perhaps being dependent for one's heart news on some chance soldier limping back from the wars, or some pilgrim from the Holy Land with scallop shell and staff!
Distance was indeed a form of death under such conditions—no wonder men made their wills as they set out on a journey—and when actual physical death did not intervene, how much of that slow death-in-life, that fading of the memory and that numbing of the affections which absence too often brings, was even still more to be feared. The loved face might indeed return, looking much the same as when it went away, but what of the heart that went a-journeying, too? What even of the hearts that remained at home?
The chances of death and disaster not even modern science can forestall, though even these it has considerably lessened; but that other death of the heart, which comes of the slow starvation of silence and absence, it may be held to have all but vanquished. Thanks to its weird magicians, you may be seas or continents away from her whom your soul loveth, yet "at her window bid good-morrow" as punctually as if you lived next door; or serenade her by electricity—at all hours of the night. If you sigh in New York, she can hear you and sigh back in San Francisco; and soon her very face will be carried to you at any moment of the day along the magic wires. Nor will you need to wait for the postman, but be able to read her flowerlike words as they write themselves out on the luminous slate before you, at the very moment as she leans her fragrant bosom upon her electric desk three thousand miles away. If this isn't romantic, one may well ask what is!
To take the telephone alone, surely the romance of Pyramus and Thisbe, with their primitive hole in the wall, was a tame affair compared with the possibilities of this magic toy, by means of which you can talk with your love not merely through a wall but through the Rocky Mountains. You can whisper sweet nothings to her across the sounding sea, and bid her "sleep well" over leagues of primeval forest, and through the stoniest-hearted city her soft voice will find its way. Even in mid-ocean the "wireless" will bring you news of her mal-de-mer. And more than that; should you wish to carry her voice with you from place to place, science is once more at your service with another magic toy—the phonograph—by which indeed she can still go on speaking to you, if you have the courage to listen, from beyond the grave.
The telegraph, the telephone, the "wireless," the phonograph, the electric letter writer—such are the modern "conveniences" of romance; and, should an elopement be on foot, what are the fastest post-chaise or the fleetest horses compared with a high-powered automobile? And when the airship really comes, what romance that has ever been will compare for excitement with an elopement through the sky?
Apart from the practical conveniences of these various new devices, there is a poetic quality about the mere devices themselves which is full of fascination and charm. Whether we call up our sweetheart or our stockbroker, what a thing of enchantment the telephone is merely in itself! Such devices turn the veriest prose of life into poetry; and, indeed, the more prosaic the uses to which we put them, the more marvellous by contrast their marvel seems. Even our businesses are carried on by agencies more mysterious and truly magical than anything in the Arabian Nights, and all day long we are playing with mysterious natural laws and exquisite natural forces as, in a small way, when boys we used to delight in our experiments with oxygen and hydrogen and Leyden jars. Science has thus brought an element of romantic "fun," so to speak, even into our stores and our counting-houses. I wonder if "Central" realizes what a truly romantic employment is hers?
But, pressed into the high service of love, one sees at once what a poetic fitness there is in their employ, and how our much-abused modern science has found at last for that fastidious god an appropriately dignified and beautiful ministrant. Coarse and vulgar indeed seem the ancient servitors and the uncouth machinery by which the divine business of the god was carried on of old. Today, through the skill of science, the august lightning has become his messenger, and the hidden gnomes of air and sea hasten to do his bidding.
Modern science, then, so far from being an enemy of romance, is seen on every hand to be its sympathetic and resourceful friend, its swift and irresistible helper in its serious need, and an indulgent minister to its lighter fancies. Be it whim or emergency, the modern laboratory is equally at the service of romance, equally ready to gratify mankind with a torpedo or a toy.
Not only, however, has modern science thus put itself at the service of romance, by supplying it with its various magic machinery of communication, but modern thought—that much maligned bugbear of timorous minds—has generated an atmosphere increasingly favourable to and sympathetic with the romantic expression of human nature in all its forms.
The world has unmistakably grown younger again during the last twenty years, as though—which, indeed, is the fact—it had thrown off an accumulation of mopishness, shaken itself free from imaginary middle-aged restrictions and preoccupations. All over the world there is a wind of youth blowing such as has not freshened the air of time since the days of Elizabeth. Once more the spring of a new Renaissance of Human Nature is upon us. It is the fashion to be young, and the age of romance both for men and women has been indefinitely extended. No one gives up the game, or is expected to, till he is genuinely tired of playing it. Mopish conventions are less and less allowed to restrict that free and joyous play of vitality dear to the modern heart, which is the essence of all romance. More and more the world is growing to love a lover, and one has only to read the newspapers to see how sympathetic are the times to any generous and adventurous display of the passions.
This more humane temper is the result of many causes. The disintegration of religious superstition, and the substitution in its stead of spiritual ideals closer to the facts of life, is one of these. All that was good in Puritanism has been retained by the modern spirit, while its narrowing and numbing features, its anti-human, self-mortifying, provincial side have passed or are passing in the regenerating sunlight of what one might call a spiritual paganism, which conceives of natural forces and natural laws as inherently pure and mysteriously sacred. Thus the way of a man with a maid is no longer a shamefaced affair, but it is more and more realized that in its romance and its multifarious refinements of development are the "law and the prophets," the "eternal meanings" of natural religion and social spirituality.
Then, too, the spread of democracy, resulting in the breaking down of caste barriers, is all to the good of romance. Swiftly and surely Guelph and Ghibelline and break-neck orchard walls are passing away. If Romeo and Juliet make a tragedy of it nowadays, they have only to blame their own mismanagement, for the world is with them as it has never been before, and all sensible fathers and mothers know it.
Again, the freer intercourse between the sexes tends incalculably to smooth that course of true love once so proverbially rough, but now indeed in danger of being made too unexcitingly smooth. Yet if, as a result, certain old combinations of romance are becoming obsolete, new ones, no less picturesque, and even more vital in their drama, are being evolved every day by the new conditions. Those very inroads being so rapidly and successfully made by woman into the immemorial business of man, which are superficially regarded by some as dangerous to the tenderer sentiments between men and women, are, on the contrary, merely widening the area of romance, and will eventually develop, as they can be seen already developing, a new chivalry and a new poetry of the sexes no less deep and far more many-sided than the old. The robuster comradeship between the two already resulting from the more active sharing of common interests cannot but tend to a deeper and more exhilarating union of man and woman, a completer, intenser marriage literally of true minds as well as bodies than was possible in the old régime, when the masculine and feminine "spheres" were kept so jealously distinct and only allowed to touch at the elementary points of relationship. There has always been a thrill of adventure when either has been admitted a little farther into the other's world than was customary. How thrilling, therefore, will it be when men and women entirely share in each other's lives, without fictitious reserves and mysteries, and face the whole adventure of life squarely and completely together, all the more husband and wife for being comrades as well—as many men and women of the new era are already joyously doing.
And, merely on the surface, what a new romantic element woman has introduced into the daily drudgery of men's lives by her mere presence in their offices! She cannot always be beautiful, poor dear, and she is not invariably gracious, it is true; yet, on the whole, how much the atmosphere of office life has gained in amenity by the coming of the stenographer, the typewriter, and the telephone girl, not to speak of her frequent decorative value in a world that has hitherto been uncompromisingly harsh and unadorned! Men may affect to ignore this, and cannot afford indeed to be too sensitive to these flowery presences that have so considerably supplanted those misbegotten young miscreants known as office-boys, a vanishing race of human terror; yet there she is, all the same, in spite of her businesslike airs and her prosaic tasks, silently diffusing about her that eternal mystery which she can never lose, be her occupations never so masculine.
There she is with her subtly wreathed hair and her absurd little lace handkerchiefs and her furtive powder puff and her bits of immemorial ornaments and the soft sound of her skirts and all the rest of it. Never mind how grimly and even brusquely you may be dictating to her specifications for steel rails or the like, little wafts of perfume cannot help floating across to your rolltop desk, and you are a man and she is a woman, for all that; and, instead of having her with you at fag ends of your days, you have her with you all day long now—and your sisters and your sweethearts are so much the nearer to you all day for her presence, and, whether you know it or not, you are so much the less a brute because she is there.
Where the loss to romance comes in in these admirable new arrangements of modern commerce it is hard to see. Of course a new element of danger is thus introduced into the routine of our daily lives, but when was danger an enemy to romance? The "bright face" of this particular "danger" who would be without? The beloved essayist from whom that last phrase is, of course, adapted, declared, as we all know, that to marry is "to domesticate the recording angel." One might say that the modern business man has officialized the ministering angel—perhaps some other forms of angel as well.
In their work, then, as in their play, men and women are more and more coming to share with each other as comrades, and really the fun of life seems in no wise diminished as a consequence. Rather the contrary, it would seem, if one is to judge from the "Decameron" of the newspapers. Yet it is not very long ago that man looked askance at woman's wistful plea to take part even in his play. He had the old boyish fear that she would spoil the game. However, it didn't take him long to find out his mistake and to know woman for the true "sport" that she can be. And in that discovery it was another invention of that wicked modern science that was the chief, if humble seeming, factor, no less than that eclipsed but inexpressibly useful instrument (of flirtation) in the hands of a kind providence, the bicycle.
The service of the bicycle to the "emancipation of woman" movements has perhaps never been acknowledged by the philosopher; but a little thought will make evident how far-reaching that service has been. When that near day arrives on which woman shall call herself absolutely "free," should she feel inclined to celebrate her freedom by some monument of her gratitude, let the monument be neither to man nor woman, however valiant in the fight, but simply let it take the form of an enthroned and laurelled bicycle—for the moment woman mounted that apparently innocent machine, it carried her on the high-road to freedom. On that she could go not only where she pleased, but—what is even more to the point—with whom she pleased. The free companionship of man and woman had begun. Then and forever ended the old system of courtship, which seems so laughable and even incredible today. One was no longer expected to pay court to one's beloved, sitting stiffly on straight-backed chairs in a chill drawing-room in the non-conducting, or non-conducive, presence of still chillier maiden aunts. The doom of the duenna was sounded; the chill drawing-room was exchanged for "the open road" and the whispering woodland; and soon it is to come about that a man shall propose to his wife high up in the blue heavens, in an airship softly swaying at anchor in the wake of the evening star.
VI
THE LAST CALL
I don't know whether or not the cry "Last call for the dining-car" affects others as it affects me, but for me it always has a stern, fateful sound, suggestive of momentous opportunity fast slipping away, opportunity that can never come again; and, on the occasions when I have disregarded it, I have been haunted with a sense of the neglected "might-have-been."
Not, indeed, that the formless regret has been connected with any illusions as to the mysterious quality of the dinner that I have thus foregone. I have been well enough aware that the only actual opportunity thus evaded has been most probably that of an unusually bad dinner, exorbitantly paid for. The dinner itself has had nothing to do with my feeling, which, indeed, has come of a suggestiveness in the cry beyond the occasion, a sense conveyed by the words, in combination with the swift speeding along of the train, of the inexorable swift passage and gliding away of all things. Ah! so soon it will be the last call—for so many pleasant things—that we would fain arrest and enjoy a little longer in a world that with tragic velocity is flowing away from us, each moment, "like the waters of the torrent." O yes, all too soon it will be the "last call" in dead earnest—the last call for the joy of life and the glory of the world. The grass is already withering, the flower already fading; and that bird of time, with so short a way to flutter, is relentlessly on the wing.
Now some natures hear this call from the beginning of their lives. Even their opulent spendthrift youth is "made the more mindful that the sweet days die," by every strain of music, by every gathered flower. All their joy is haunted, like the poetry of William Morris, with the wistful burden of mortality. Even the summer woodlands, with all their pomp and riot of exuberant green and gold, are anything but safe from this low sweet singing, and in the white arms of beauty, pressed desperately close as if to imprison the divine fugitive moment, the song seems to come nearest. Who has not held some loved face in his hands, and gazed into it with an almost agonizing effort to realize its reality, to make eternally sure of it, somehow to wrest possession of it and the transfiguring moment for ever, all the time pierced with the melancholy knowledge that tomorrow all will be as if this had never been, and life once more its dull disenchanted self?
Too soon shall morning take the stars away,
And all the world be up and open-eyed,
This magic night be turned to common day—
Under the willows on the riverside.
Youth, however, can afford to enjoy even its melancholy; for the ultimate fact of which that melancholy is a prophecy is a long way off. If one enchanted moment runs to an end, it may be reasonably sure for a long time yet of many more enchanted moments to come. It has as yet only taken a bite or two into the wonderful cake. And, though its poets may warn it that "youth's a stuff does not endure," it doesn't seriously believe it. Others may have come to an end of their cake, but its cake is going to last for ever. Alas, for the day when it is borne in upon us with a tragic suddenness, like a miser who awakens to find that he has been robbed of his hoard, that unaccountably the best part of the cake has been eaten, that perhaps indeed only a few desperate crumbs remain. A bleak laughter blends now with that once luxurious melancholy. There is a song at our window, terribly like the mockery of Mephistopheles. Our blood runs cold. We listen in sudden fear. It is life singing out its last call.
The time of this call, the occasion and the manner of it, mercifully vary with individuals. Some fortunate ones, indeed, never hear it till they lie on their deathbeds. Such have either been gifted with such a generous-sized cake of youth that it has lasted all their lives, or they have possessed a great art in the eating of it. Though I may add here that a cautious husbanding of your cake is no good way. That way you are liable to find it grown mouldy on your hands. No, oddly enough, it is often seen that those who all their lives have eaten their cake most eagerly have quite a little of it left at the end. There are no hard and fast rules for the eating of your cake. One can only find out by eating it; and, as I have said, it may be your luck to disprove the proverb and both eat your cake and have it.
For a dreary majority, however, the cake does come to an end, and for them henceforth, as Stevenson grimly put it, the road lies long and straight and dusty to the grave. For them that last call is apt to come usually before sunset—and the great American question arises: What are they going to do about it? That, of course, every one must decide for himself, according to his inclinations and his opportunities. But a few general considerations may be of comfort and even of greater value.
There is one thing of importance to know about this last call, that we are apt to imagine we hear it before we actually do, from a nervous sense that it is about time for it to sound. Our hair perhaps is growing grey, and our years beginning to accumulate. We hypnotize ourselves with our chronology, and say with Emerson:
It is time to grow old,
To take in sail.
Well and good, if it is and we feel like it; but may be it isn't, and we don't. Youth is largely a habit. So is romance. And, unless we allow ourselves to be influenced by musty conventions and superstitions, both habits may be prolonged far beyond the moping limits of custom, and need never be abandoned unless we become sincerely and unregretfully tired of them. I can well conceive of an old age like that of Sophocles, as reported by Plato, who likened the fading of the passions with the advance of age to "being set free from service to a band of madmen."
When a man feels so, all is well and comfortable with him. He has retired of his own free will from the banquet of life, having had his fill, and is content. Our image of the last call does not apply to him, but rather to those who, with appetites still keen, are sternly warned that for them, willy-nilly, the banquet must soon end, and the prison fare of prosaic middle age be henceforth their portion. No more ortolans and transporting vintages for them. Nothing but Scotch oatmeal and occasional sarsaparilla to the end of the chapter. No wonder that some, hearing this dread sentence, go half crazy in a frenzied effort to clutch at what remains, run amok, so to say, in their despairing determination to have, if need be, a last "good time" and die. Their efforts are apt to be either distasteful or pathetically comic, and the world is apt to be cynically contemptuous of the "romantic" outbursts of aging people. For myself, I always feel for them a deep and tender sympathy. I know that they have heard that last fearful call to the dining-car of life—and, poor souls, they have probably found it closed. Their mistake has been in waiting so long for the call. From various causes, they have mismanaged their lives. They have probably lived in a numbing fear of their neighbours, who have told them that it is bad manners to eat one's cake in public, and wicked to eat it in private; and any one who is fool enough to allow his neighbours to live his life for him instead of living it himself deserves what he gets, or rather doesn't get.
A wholesome oblivion of one's neighbours is the beginning of wisdom. Neighbours, at the best, are an impertinent encroachment on one's privacy, and, at the worst, an unnatural hindrance to our development. Generally speaking, it is the man or woman who has lived with least fear of his neighbours, who is least likely to hear that last call. Nothing in retrospect is so barren as a life lived in accordance with the hypocrisies of society. For those who have never lived, and are now fain to begin living when it is too late, that last call comes indeed with a ghastly irony. But for those who have fearlessly lived their lives, as they came along, with Catullus singing their vivamus atque amemus, and practising it, too; for those, if indeed the last call must come, they will be able to support it by the thought that, often as in the past life has called to them, it has never called to them in vain. We are apt sometimes to belittle our memories, but actually they are worth a good deal; and should the time come when we have little to look forward to, it will be no small comfort to have something to look back on. And it won't be the days when we didn't that we shall recall with a sense of possession, but the days and nights when we most emphatically did. Thank God, we did for once hold that face in our hands in the woodland! Thank God, we did get divinely drunk that wild night of nights in the city!
Wilt thou yet take all, Galilean? But these thou
shalt not take,
The laurel, the palms and the paean, the breast of the
nymphs in the brake.
It is the fine excesses of life that make it worth living. The stalks of the days are endurable only because they occasionally break into flower. It is our sins of omission alone that we come in the end to regret. The temptations we resisted in our youth make themselves rods to scourge our middle age. I regret the paradoxical form these platitudes have unconsciously taken, for that they are the simplest truth any honest dying man would tell you. And that phrase recalls a beautiful poem by "E. Nesbit" which has haunted me all my life, a poem I shall beg leave to quote here, because, though it is to be found in that poet's volume, it is not, I believe, as well known as it deserves to be by those who need its lesson. I quote it, too, from memory, so I trust that the length of time I have remembered it may be set to my credit against any verbal mistakes I make.
"If, on some balmy summer night,
You rowed across the moon path white,
And saw the shining sea grow fair
With silver scales and golden hair,
What would you do?"
"I would be wise
And shut my ears and shut my eyes,
Lest I should leap into the tide
And clasp the seamaid as I died."
"But if you thus were strong to flee
From sweet spells woven of moon and sea,
Are you quite sure that you would reach,
Without one backward look, the beach?"
"I might look back, my dear, and then
Row straight into the snare again,
Or, if I safely got away—
Regret it to my dying day."
He who liveth his life shall live it. It is a grave error to give ourselves grudgingly to our experiences. Only in a whole-hearted surrender of ourselves to the heaven-sent moment do we receive back all it has to give us, and by the active receptivity of our natures attract toward us other such moments, as it were, out of the sky. An ever-ready romantic attitude toward life is the best preservative against the ennui of the years. Adventures, as the proverb says, are to the adventurous, and, as the old song goes:
He either fears his fate too much
Or his deserts are small,
That dares not put it to the touch
To gain or lose it all.
And the spirit of the times is happily growing more clement toward a greater fulness and variety of life. The world is growing kinder toward the fun and foolishness of existence, and the energetic pursuit of joy is no longer frowned down by anaemic and hypocritical philosophies. The old gods of energy and joy are coming to their own again, and the lives of strong men and fair women are no longer ruled over by a hierarchy of curates and maiden aunts; in fact, the maiden aunt has begun to find out her mistake, and is out for her share of the fun and the foolishness with the rest. Negative morality is fast becoming discredited, and many an old "Thou shalt not" is coming to seem as absurd as the famous Blue Laws of Connecticut. "Self-development, not self-sacrifice,"—a favourite dictum of Grant Allen's,—is growing more and more to be the formula of the modern world; and, if a certain amount of self-sacrifice is of necessity included in a healthy self-development, the proportion is being reduced to a rational limit. One form of self-sacrifice, at all events, is no longer demanded of us—the wholesale sacrifice of our own opinions. The possibility that there may be two opinions or a dozen or a hundred on one matter, and that they may be all different, yet each one of them right in its proper application, has dawned forcibly on the world, with the conception of the relativity of experience and the modification of conditions. Nowadays we recognize that there are as many "rights" and as many "wrongs" as there are individuals; and to be happy in our own way, instead of somebody else's, is one of the first laws of nature, health, and virtue. Many an ancient restriction on personal vitality is going the way of the old sumptuary laws. We have all of us amusing memories of those severe old housekeepers who for no inclemency of the weather would allow a fire in the grate before the first of October, and who regarded a fire before that date as a positive breach of the moral law. Such old wives are a type of certain old-fashioned moralists whose icy clutch on our warm-blooded humanity we no longer suffer. Nowadays we light our fires as we have a mind to, and if we prefer to keep them going all the year round, it is no one's business but our own. Happy is the man who, when the end comes, can say with Landor:
I warmed both hands before the fire of life;
It sinks and I am ready to depart.
Such a one will have little need to fear that last call of which I have been writing. In Kipling's phrase, he has taken his fun where he found it, and his barns are well stocked with the various harvests of the years. Not his the wild regret for having "safely got away." Rather he laughs to remember how often he was taken captive by the enchantments of the world, how whenever there was any piece of wildness afoot he was always found in the thick of it. When the bacchantes were out on Mount Cithaeron, and the mad Evoe! Evoe! rang through the moonstruck woods, be sure he was up and away, with ardent hands clutched in the flying tresses. Ah! the vine leaves and the tiger skins and the ivory bodies, the clash of the cymbals and the dithyramb shrilling up to the stars! "If I forget thee, O golden Aphrodite!" He is no hypocrite, no weary "king ecclesiast," shaking his head over the orgies of sap and song in which he can no longer share. He frankly acknowledges that then came in the sweet o' the year, and he is still as young as the youngest by virtue of having drunk deep of the only elixir, the Dionysiac cup of life.
At the same time, while he may not ungratefully rejoice with Sophocles at being "set free from service to a band of madmen," that ripening of his nature which comes most fruitfully of a generous exercise of its powers will have instinctively taught him that secret of the transmutation of the passions which is one of the most precious rewards of experience. It is quite possible for a lifelong passion for fair women to become insensibly and unregretfully transmuted into a passion for first editions, and you may become quite sincerely content that a younger fellow catch the flying maiden, if only you can catch yon flitting butterfly for your collection. And, strangest of all, your grand passion for your own remarkable self may suffer a miraculous transformation into a warm appreciation for other people. It is true that you may smile a little sadly to find them even more interesting than yourself. But such passing sadness has the relish of salvation in it. Self is a weary throne, and the abdication of the ego is to be free of one of the burdens rather than the pleasures of existence.
But, to conclude, it is all too possible that you who read this may have no such assets of a wilful well spent life to draw on as he whom I have pictured. It may be that you have starved your emotions and fled your opportunities, or you may simply have had bad luck. The golden moments seldom came your way. The wilderness of life has seldom blossomed with a rose. "The breast of the nymph in the brake" and "the chimes at midnight" were not for you. And there is a menacing murmur of autumn in the air. The days are shortening, and the twilight comes early, with a chilly breath. The crickets have stopped singing, and the garden is sad with elegiac blooms. The chrysanthemum is growing on the grave of the rose. Perhaps already it is too late—too late for life and joy. You must take to first editions and entomology and other people's interests in good earnest. But no! Suddenly on the wind there comes a cry—a sound of cymbals and flutes and dancing feet. It is life's last call. You have one chance left. There is still Indian summer. It is better than nothing. Hurry and join the music, ere it be too late. For this is the last call!
When time lets slip a little perfect hour,
Take it, for it will not come again.
VII
THE PERSECUTIONS OF BEAUTY
All religions have periods in their history which are looked back to with retrospective fear and trembling as eras of persecution, and each religion has its own book of martyrs. The religion of beauty is no exception. Far from it. For most other religions, however they may have differed among themselves, have agreed in fearing beauty, and even in Greece there were stern sanctuaries and ascetic academes where the white bosom of Phryne would have pleaded in vain. Christianity has not been beauty's only enemy, by any means; though, when the Book of Martyrs of Beauty comes to be written, it will, doubtless, be the Christian persecutions of beauty that will bulk largest in the record—for the Beauty of Holiness and the Holiness of Beauty have been warring creeds from the beginning.
At the present moment, there is reason to fear, or to rejoice—according to one's individual leanings—that the Religion of Beauty is gaining upon its ancient rival; for perhaps never since the Renaissance has there been such a widespread impulse to assert Beauty and Joy as the ideals of human life. As evidence one has but to turn one's eyes on the youth of both sexes, as they rainbow the city thoroughfares with their laughing, heartless faces, evident children of beauty and joy, "pagan" to the core of them, however ostensibly Christian their homes and their country. In our time, at all events, Beauty has never walked the streets with so frank a radiance, so confident an air of security, and in her eyes and in her carriage, as in her subtly shaped and subtly scented garments, so conspicuous a challenge to the musty, outworn, proprieties to frown upon her all they please. From the humblest shop-girl to the greatest lady, there is apparent an intention to be beautiful, sweet maid, and let who will be hum-drum, at whatever cost, by whatever means. This, of course, at all periods, has been woman's chief thought, but till recently, in our times, she has more or less affected a certain secrecy in her intention. She has hinted rather than fully expressed it, as though fearing a certain flagrancy in too public an exhibition of her enchantments. It has hardly seemed proper to her heretofore to be as beautiful in the public gaze as in the sanctuary of her boudoir. But now, bless you, she has no such misgivings, and the flower-like effect upon the city streets is as dazzling as if, some fine morning in Constantinople, all the ladies of the various harems should suddenly appear abroad without their yashmaks, setting fire to the hearts and turning the heads of the unaccustomed male. Or, to make comparison nearer home, it is almost as startling as if the ladies of the various musical comedies in town should suddenly be let loose upon our senses in broad daylight, in all the adorable sorceries of "make-up" and diaphanous draperies. I swear that it can be no more thrilling to penetrate into that mysterious paradise "behind the scenes," than to walk up Fifth Avenue one of these summer afternoons, in the present year of grace,—humming to one's self that wistful old song, which goes something like this:
The girls that never can be mine!
In every lane and street
I hear the rustle of their gowns,
The whisper of their feet;
The sweetness of their passing by,
Their glances strong as wine,
Provoke the unpossessive sigh—
Ah! girls that never can be mine.
So audacious has Beauty become in these latter days, so proudly she walks abroad, making so superb an appeal to the desire of the eye, thighed like Artemis, and bosomed like Aphrodite, or at whiles a fairy creature of ivory and gossamer and fragrance, with a look in her eyes of secret gardens; and so much is the wide world at her feet, and one with her in the vanity of her fairness—that I sometimes fear an impending dies irae, when the dormant spirit of Puritanism will reassert itself, and some stern priests thunder from the pulpit of worldly vanities and the wrath to come. Indeed, I can well imagine in the near future some modern Savonarola presiding over a new Bonfire of Vanities in Madison Square, on which, to the droning of Moody and Sankey's hymns, shall be cast all the fascinating Parisian creations, the puffs and rats, the powder and the rouge, the darling stockings, and all such concomitant bewitcheries that today make Manhattan a veritable Isle of Circe, all to go up in savage sectarian flame, before the eyes of melancholy young men, and filling all the city with the perfume of beauty's holocaust. At street corners too will stand great books in which weeping maidens will sign their names, swearing before high heaven, to wear nothing but gingham and bed-ticking for the dreary remainder of their lives. Such a day may well come, as it has often come before, and certainly will, if women persist in being so deliberately beautiful as they are at present.
It is curious how, from time immemorial, man seems to have associated the idea of evil with beauty, shrunk from it with a sort of ghostly fear, while, at the same time drawn to it by force of its hypnotic attraction. Strangely enough, beauty has been regarded as the most dangerous enemy of the soul, and the powers of darkness that are supposed to lie in wait for that frail and fluttering psyche, so precious and apparently so perishable, are usually represented as taking shapes of beguiling loveliness—lamias, loreleis, wood nymphs, and witches with blue flowers for their eyes. Lurking in its most innocent forms, the grim ascetic has affected to find a leaven of concupiscence, and whenever any reformation is afoot, it is always beauty that is made the first victim, whether it take the form of a statue, a stained-glass window, or a hair-ribbon. "Homeliness is next to Godliness," though not officially stated as an article of the Christian creed, has been one of the most active of all Christian tenets. It has always been easier far for a rich man to enter the kingdom of heaven than a gloriously beautiful woman. Presumably such a one might be in danger of corrupting the saints, somewhat unaccustomed to such apparitions.
In this Christian fear and hatred of beauty the democratic origin of the Christian religion is suggestively illustrated, for beauty, wherever found, is always mysteriously aristocratic, and thus instinctively excites the fear and jealousy of the common people. When, in the third century, Christian mobs set about their vandalistic work of destroying the "Pagan" temples, tearing down the beautiful calm gods and goddesses from their pedestals, and breaking their exquisite marble limbs with brutish mallets, it was not, we may be sure, of the danger to their precious souls they were thinking, but of their patrician masters who had worshipped these fair images, and paid great sums to famous sculptors for such adornment of their sanctuaries. Perhaps it was human enough, for to those mobs beauty had long been associated with oppression. Yet how painful to picture those golden marbles, in all their immortal fairness, confronted with the hideousness of those fanatic ill-smelling multitudes. Wonderful religionists, forsooth, that thus break with foolish hands and trample with swinish hoofs the sacred vessels of divine dreams. Who would not
rather be
A Pagan suckled in a creed outworn,—
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathèd horn.
One can imagine the priest of such a violated sanctuary stealing back in the quiet moonlight, when all the mob fury had passed away, seeking amid all the wrack of fallen columns, and shattered carvings, for any poor fragments of god or goddess at whose tranquil fair-ordered altar he had ministered so long; and gathering such as he might find,—maybe a mighty hand, still the hand of a god, albeit in overthrow, or some marble curls of the sculptured ambrosial locks, or maybe the bruised breast of the goddess, white as a water-lily in the moon. Then, seeking out some secret corner of the sacred grove, how reverently he would bury the precious fragments away from profane eyes, and go forth homeless into a mysterious changing world, from which glory and loveliness were thus surely passing away. Other priests, as we know, more fortunate than he, had forewarnings of such impending sacrilege, and were able to anticipate the mob, and bury their beautiful images in safe and secret places, there to await, after the lapse of twelve centuries, the glorious resurrection of the Renaissance. A resurrection, however, by no means free from danger, even in that resplendent dawn of intelligence; for Christianity was still the enemy of beauty, save in the Vatican, and the ignorant priest of the remote village where the spade of the peasant had revealed the sleeping marble was certain to declare the beautiful image an evil spirit, and have it broken up forthwith and ground for mortar, unless some influential scholar, or powerful lord touched with "the new learning," chanced to be on hand to save it from destruction. Yes! even at that time when beauty was being victoriously born again, the mad fear of her raged with such panic in certain minds that, when Savonarola lit his great bonfire so subtle a servant of beauty as Botticelli, fallen into a sort of religious dotage, cast his own paintings into the flames—to the lugubrious rejoicings of the sanctimonious Piagnoni—as Savonarola's followers were called; predecessors of those still gloomier zealots who, two centuries later, were to turn England into a sort of whitewashed prison, with crop-headed psalm-singing religious maniacs for gaolers. When Charles the First
bow'd his comely head
Down, as upon a bed,
at Whitehall, Beauty also laid her head upon the block at his side. Ugliness, parading as piety, took her place, and once more the breaking of images began, the banishment of music, the excommunication of grace, and gentle manners, and personal adornments. Gaiety became penal, and a happy heart or a beautiful smile was of the devil,—something like hanging matters—but happy hearts and beautiful smiles must have been rare things in England during the Puritan Commonwealth. Such as were left had taken refuge in France, where men might worship God and Beauty in the same church, and where it was not necessary, as at Oxford, to bury your stained-glass windows out of the reach of the mob—those
Storied windows richly dight
Casting a dim religious light,
which even the Puritan Milton could thus celebrate. Doubtless, that English Puritan persecution was the severest that Beauty has been called upon to endure. She still suffers from it, need one say, to this day, particularly in New England, where if the sculptured images of goddess and nymph are not exactly broken to pieces by the populace, it is from no goodwill towards them, but rather from an ingrained reverence for any form of property, even though it be nude, and where, at all events, they are under the strict surveillance of a highly proper and respectable police, those distinguished guardians of American morals.
It is worth while to try and get at the reason for this wide-spread, deep-rooted, fear of beauty: for some reason there must surely be. Such instinctive feelings, on so broad a scale, are not accidental. And so soon as one begins to analyse the attitude of religion towards beauty, the reason is not far to seek.
All religions are made up of a spiritual element and a moral element, the moral element being the temporary, practical, so to say, working side of religion, concerned with this present world, and the limitations and necessities of the various societies that compose it. The spiritual element, the really important part of religion, has no concern with Time and Space, temporary mundane laws, or conduct. It concerns itself only with the eternal properties of things. Its business is the contemplation and worship of the mystery of life, "the mystery we make darker with a name."
Now, great popular religions, designed as they are for the discipline and control of the great brute masses of humanity, are almost entirely occupied with morality, and what passes in them for spirituality is merely mythology, an element of picturesque supernaturalism calculated to enforce the morality with the multitude. Christianity is such a religion. It is mostly a matter of conduct here and now upon the earth. Its mystic side does not properly belong to it, and is foreign to, not to speak of its being practically ignored by, the average "Christian." It is a religion designed to work hand in hand with a given state of society, making for the preservation of such laws and manners and customs as are best fitted to make that society a success here and now, a worldly success in the best sense of the term. Mohammedanism is a similar religion calculated for the needs of a different society. Whatever the words or intentions of the founders of such religions, their kingdoms are essentially of this world. They are not mystic, or spiritual, or in anyway concerned with infinite and eternal things. Their business is the moral policing of humanity. Morality, as of course its name implies, is a mere matter of custom, and therefore varies with the variations of races and climates. It has nothing to do with spirituality, and, in fact, the best morals are often the least spiritual, and vice versa. It will be understood then that any force which is apt to disturb this moral, or more exactly speaking social, order will meet at once with the opposition of organized "religions" so called, and the more spiritual it is, the greater will be the opposition, for it will thus be the more dangerous.
Now one begins to see why Beauty is necessarily the bugbear, more or less, of all religions, or, as I prefer to regard them, "organized moralities"; for Beauty is neither moral nor immoral, being as she is a purely spiritual force, with no relations to man's little schemes of being good and making money and being knighted and so forth. For those who have eyes to see, she is the supreme spiritual vision vouchsafed to us upon the earth—and, as that, she is necessarily the supreme danger to that materialistic use and wont by which alone a materialistic society remains possible. For this reason our young men and maidens—particularly our young men—must be guarded against her, for her beauty sets us adream, prevents our doing our day's work, makes us forget the soulless occupations in which we wither away our lives. The man who loves beauty will never be mayor of his city, or even sit on the Board of Aldermen. Nor is he likely to own a railroad, or be a captain of industry. Nor will he marry, for her money, a woman he does not love. The face of beauty makes all such achievements seem small and absurd. Such so-called successes seem to him the dreariest forms of failure. In short, Beauty has made him divinely discontented with the limited human world about him, divinely incapable of taking it seriously, or heeding its standards or conditions. No wonder society should look upon Beauty as dangerous, for she is constantly upsetting its equilibrium and playing havoc with its smooth schemes and smug conventions. She outrages the "proprieties" with "the innocence of nature," and disintegrates "select" and "exclusive" circles with the wand of Romance. For earthly possessions or rewards she has no heed. For her they are meaningless things, mere idle dust and withered leaves. Her only real estate is in the moon, and the one article of her simple creed—"Love is enough."
Love is enough: though the world be a-waning
And the woods have no voice but the voice of complaining,
Though the sky be too dark for dim eyes to discover
The gold-cups and daisies fair blooming thereunder,
Though the hills beheld shadows, and the sea a dark wonder
And this day draw a veil over all deeds passed over,
Yet their hands shall not tremble, their feet shall not falter;
The void shall not weary, the fear shall not alter
These lips and these eyes of the loved and the lover.
Those who have looked into her eyes see limitless horizons undreamed of by those who know her not, horizons summoning the soul to radiant adventures beyond the bounds of Space and Time. The world is so far right in regarding beauty with a sort of superstitious dread, as a presence almost uncanny among our mere mortal concerns, a daemonic thing,—which is what the world has meant when it has, not unnaturally, confused it with the spirits of evil; for surely it is a supernatural stranger in our midst, a fairy element, and, like the lorelei and the lamia, it does beckon its votaries to enchanted realms away and afar from "all the uses of the world." Therefore, to them also it brings the thrill of a different and nobler fear—the thrill of the mortal in presence of the immortal. A strange feeling of destiny seems to come over us as we first look into the beautiful face we were born to love. It seems veritably an apparition from another and lovelier world, to which it summons us to go with it. That is what we mean when we say that Love and Death are one; for Death, to the thought of Love, is but one of the gates to that other world, a gate to which we instinctively feel Love has the key. That surely is the meaning of the old fairy-stories of men who have come upon the white woman in the woodland, and followed her, never to be seen again of their fellows, or of those who, like Hylas, have met the water-nymph by the lilied spring, and sunk with her down into the crystal deeps. The strange earth on which we live is just such a place of enchantment, neither more nor less, and some of us have met that fair face, with a strange suddenness of joy and fear, and followed and followed it on till it vanished beyond the limits of the world. But our failure was that we did not follow that last white beckoning of the hand—
And I awoke and found me here
On the cold hill's side.
VIII
THE MANY FACES—THE ONE DREAM
Among the many advantages of being very young is one's absolute certainty that there is only one type of beautiful girl in the world. That type we make a religion. We are its pugnacious champions, and the idea of our falling in love with any other is too preposterous even for discussion. If our tastes happen to be for blondness, brunettes simply do not exist for us; and if we affect the slim and willowy in figure, our contempt for the plump and rounded is too sincere for expression. Usually the type we choose is one whose beauty is somewhat esoteric to other eyes. We are well aware that photographs do it no justice, and that the man in the street—who, strangely enough, we conceive as having no eye for beauty—can see nothing in it. Thank Heaven, she is not the type that any common eye can see. Heads are not turned in her wake as she passes along. Her beauty is not "obvious." On the contrary, it is of that rare and exquisite quality which only a few favoured ones can apprehend—like the beauty of a Whistler or a Corot, and we have been chosen to be its high-priest and evangelist. It is our secret, this beautiful face that we love, and we wonder how any one can be found to love the other faces. We even pity them, those rosy, rounded faces, with their bright unmysterious eyes and straight noses and dimpled chins. How fortunate for them that the secret of the beauty we love has been hidden from their lovers. Sheer Bouguereau! Neither more nor less.
In fact, the beauty we affect is aggressively spiritual, and in so far as beauty is demonstrably physical we dismiss it with disdain. Our ideal, indeed, might be said to consist in a beauty which is beautiful in spite of the body rather than by means of it; a beauty defiantly clothed, so to say, in the dowdiest of fleshly garments—radiantly independent of such carnal conditions as features or complexion. Our ideal of figure might be said to be negative rather than positive, and that "little sister" mentioned in Solomon's Song would bring us no disappointment.
We are often heard to say that beauty consists chiefly, if not entirely, in expression, that it is a transfiguration from within rather than a gracious condition of the surface, that the shape of a nose is no matter, and that a beautifully rounded chin or a fine throat has nothing to do with it—indeed, is rather in the way than otherwise. We point to the fact—which is true enough—that the most famous beauties of antiquity were plain women—plain, that is, according to the conventional standards.
We also maintain—again with perfect truth—that mystery is more than half of beauty, the element of strangeness that stirs the senses through the imagination. These and other perfectly true truths about beauty we discover through our devotion to the one face that we love—and we should hardly have discovered them had we begun with the merely cherry-ripe. It is with faces much as it is with books. There is no way of attaining a vital catholic taste in literature so good as to begin by mastering some difficult beautiful classic, by devoting ourselves in the ardent receptive period of youth to one or two masterpieces which will serve as touchstones for us in all our subsequent reading. Some books engage all our faculties for their appreciation, and through the keen attentiveness we are compelled to give them we make personal discovery of those principles and qualities of all fine literature which otherwise we might never have apprehended, or in which, at all events, we should have been less securely grounded.
So with faces: it is through the absorbed worship, the jealous study, of one face that we best learn to see the beauty in all the other faces—though the mere thought that our apprehension of its beauty could ever lead us to so infidel a conclusion would seem heresy indeed during the period of our dedication. The subtler the type, the more caviare it is to the general, the more we learn from it. We become in a sense discoverers, original thinkers, of beauty, taking nothing on authority, but making trial and investigation always for ourselves. Such beauty brings us nearer than the more explicit types to that mysterious threshold over which beauty steps down to earth and dwells among us; that well-spring of its wonder; the point where first its shining essence pours its radiance into the earthly vessel.
The perfect physical type hides no little of its own miracle through its sheer perfection, as in the case of those masterpieces which, as we say, conceal their art. It is often through the face externally less perfect, faces, so to say, in process of becoming beautiful, that we get glimpses of the interior light in its divine operation. We seem to look into the very alembic of beauty, and see all the precious elements in the act of combination. No wonder we should deem these faces the most beautiful of all, for through them we see, not beauty made flesh, but beauty while it is still spirit. In our eager fanaticism, indeed, we cannot conceive that there can be beauty in any other types as well. Yet, because we chance to have fallen under the spell of Botticelli, shall there be no more Titian? Our taste is for a beauty of dim silver and faded stars, a wistful twilight beauty made of sorrow and dreams, a beauty always half in the shadow, a white flower in the moonlight. We cannot conceive how beauty, for others, can be a thing of the hot sun, a thing of purple and orange and the hot sun, a thing of firm outlines, superbly concrete, marmoreal, sumptuous, magnificently animal.
The beauty we love is very silent. It smiles softly to itself, but never speaks. How should we understand a beauty that is vociferously gay, a beauty of dash and dance, a beauty of swift and brilliant ways, victoriously alive?
Perhaps it were well for us that we should never understand, well for us that we should preserve our singleness of taste through life. Some contrive to do this, and never as long as they live are unfaithful to the angel-blue eyes of their boyish love. Moralists have perhaps not realized how much continence is due to a narrowness of aesthetic taste. Obviously the man who sees beauty only in blue eyes is securer from temptation than the man who can see beauty in brown or green eyes as well; and how perilous is his state for whom danger lurks in all beautiful eyes, irrespective of shape, size, or colour! And, alas! it is to this state of eclecticism that most of us are led step by step by the Mephistopheles of experience.
As great politicians in their maturity are usually found in the exact opposite party to that which they espoused in their youth, so men who loved blondness in boyhood are almost certain to be found at the feet of the raven-haired in their middle age, and vice versa. The change is but a part of that general change which overtakes us with the years, substituting in us a catholic appreciation of the world as it is for idealist notions of the world as we see it, or desire it to be. It is a part of that gradual abdication of the ego which comes of the slow realization that other people are quite as interesting as ourselves—in fact, a little more so,—and their tastes and ways of looking at things may be worth pondering, after all. But, O when we have arrived at this stage, what a bewildering world of seductive new impressions spreads for us its multitudinous snares! No longer mere individuals, we have not merely an individual's temptations to guard against, but the temptations of all the world. Instead of being able to see only that one type of beauty which first appealed to us, our eyes have become so instructed that we now see the beauty of all the other types as well; and we no longer scorn as Philistine the taste of the man in the street for the beauty that is robustly vital and flamboyantly contoured. Once we called it obvious. Now we say it is "barbaric," and call attention to its perfection of type.
The remembrance of our former injustice to it may even awaken a certain tenderness towards it in our hearts, and soon we find ourselves making love to it, partly from a vague desire to make reparation to a slighted type, and partly from the experimental pleasure of loving a beauty the attraction of which it was once impossible for us to imagine. So we feel when the charm of some old master, hitherto unsympathetic, is suddenly revealed to us. Ah! it was this they saw. How blind they must have thought us!
Brown eyes that I love, will you forgive me that I once looked into blue eyes as I am looking now into yours? Hair black as Erebus, will you forgive these hands that once loved to bathe in a brook of rippled gold? Ah! they did not know. It was in ignorance they sinned. They did not know.
O my beautiful cypress, stately queen of the garden of the world, forgive me that once I gave to the little shrub-like women the worship that is rightly yours!
Lady, whose loveliness is like white velvet, a vineyard heavy with golden grapes, abundant as an orchard of apple blossoms, forgive that once I loved the shadow women, the sad wreathing mists of beauty, the silvery uncorseted phantoms of womanhood. It was in ignorance I sinned. I did not know.
Ah! That Mephistopheles of experience! How he has led us from one fair face to another, teaching us, one by one, the beauty of all. No longer lonely sectarians of beauty, pale prophets of one lovely face, there is now no type whose secret is hidden from us. The world has become a garden of beautiful faces. The flowers are different, but they are all beautiful. How is it possible for us, now that we know the charm of each one, to be indifferent to any, or to set the beauty of one above the other? We have learned the beauty of the orchid, but surely we have not unlearned the rose; and would you say that orchid or rose is more beautiful than the lily? Surely not. They are differently beautiful, that is all.
Are blue eyes more beautiful than brown? I thought so once, but now I see that they are differently beautiful, that is all. Nor is gold hair more beautiful than black any more, or black than gold. They are differently beautiful, that is all. Nor is thy white skin, O Saxon lady, more beautiful than hers of tropic bronze.
Come sad, or come with laughter, beautiful faces; come like stars in dreams, or come vivid as fruit upon the bough; come softly like a timid fawn, or terrible as an army with banners; come silent, come singing ... you are all beautiful, and none is fairer than another—only differently fair.
And yet ... and yet ... Experience is indeed Mephistopheles in this: We must pay him for all this wisdom. Is it the old price? Is it our souls? I wonder.
This at least is true: that, while indeed he has opened our eyes to all this beauty that was hidden to us, shown us beauty, indeed, where we could see but evil before, we miss something from our delight in these faces. We can appreciate more beauty, but do we appreciate any quite as much as in those old days when we were such passionate monotheists of the beautiful? Alas! We are priests no more, are we even lovers? But we are wonderful connoisseurs.
It is our souls.
IX
THE SNOWS OF YESTER-YEAR
Mais où sont les neiges d'antan? As I transcribe once more that ancient sigh, perhaps the most real sigh in all literature, it is high mid-summer, and the woodland surrounding the little cabin in which I am writing lies in a trance of green and gold, hot and fragrant and dizzy with the whirring of cicadas, under the might of the July sun. Bees buzz in and out through my door, and sometimes a butterfly flits in, flutters a while about my bookshelves, and presently is gone again, in search of sweets more to his taste than those of the muses, though Catullus is there, with
Songs sweeter than wild honey dripping down,
Which once in Rome to Lesbia he sang.
As I am caught by the dream-drowsy spell of the hot murmuring afternoon, and my eyes rest on the thick vines clustering over the rocks, and the lush grasses and innumerable underbrush, so spendthrift in their crowding luxuriance, I try to imagine the ground as it was but four months ago still in the grasp of winter, when the tiniest blade of grass, or smallest speck of creeping green leaf, seemed like a miracle, and it was impossible to realize that under the broad snowdrifts a million seeds, like hidden treasure, were waiting to reveal their painted jewels to the April winds. Snow was plentiful then, to be had by the ton—but now, the thought suddenly strikes me, and brings home with new illuminating force Villon's old refrain, that though I sought the woodland from end to end, ransacked its most secret places, not one vestige of that snow, so lately here in such plenty, would it be possible to find. Though you were to offer me a million dollars for as much as would fill the cup of a wild rose, say even a hundred million, I should have to see all that money pass me by. I can think of hardly anything that it couldn't buy—but such a simple thing as last year's snow!
Could there be a more poignant symbol of irreclaimable vanished things than that so happily hit on by the old ballade-maker:
Nay, never ask this week, fair lord,
Where they are gone, nor yet this year,
Save with thus much for an overword—
But where are the snows of yester-year?
Villon, as we know, has a melancholy fondness for asking these sad, hopeless questions of snow and wind. He muses not only of the drift of fair faces, but of the passing of mighty princes and all the arrogant pride and pomp of the earth—"pursuivants, trumpeters, heralds, hey!" "Ah! where is the doughty Charlemagne?" They, even as the humblest, "the wind has carried them all away." They have vanished utterly as the snow, gone—who knows where?—on the wind. "'Dead and gone'—a sorry burden of the Ballad of Life," as Thomas Lowell Beddoes has it in his Death's Jest Book. "Dead and gone!" as Andrew Lang re-echoes in a sweetly mournful ballade:
Through the mad world's scene
We are drifting on,
To this tune, I ween,
"They are dead and gone!"
"Nought so sweet as melancholy," sings an old poet, and, while the melancholy of the exercise is undoubted, there is at the same time an undeniable charm attaching to those moods of imaginative retrospect in which we summon up shapes and happenings of the vanished past, a tragic charm indeed similar to that we experience in mournful music or elegiac poetry.
For, it is impossible to turn our eyes on any point of the starlit vista of human history, without being overwhelmed with a heart-breaking sense of the immense treasure of radiant human lives that has gone to its making, the innumerable dramatic careers now shrunk to a mere mention, the divinely passionate destinies, once all wild dream and dancing blood, now nought but a name huddled with a thousand such in some dusty index, seldom turned to even by the scholar, and as unknown to the world at large as the moss-grown name on some sunken headstone in a country churchyard. What an appallingly exuberant and spendthrift universe it seems, pouring out its multitudinous generations of men and women with the same wasteful hand as it has filled this woodland with millions of exquisite lives, marvellously devised, patterned with inexhaustible fancy, mysteriously furnished with subtle organs after their needs, crowned with fairy blossoms, and ripening with magic seeds,—such a vast treasure of fragrant sunlit leafage, all produced with such elaborate care, and long travail, and all so soon to vanish utterly away!
Along with this crushing sense of cosmic prodigality, and somewhat lighting up its melancholy, comes the inspiring realization of the splendid spectacle of human achievement, the bewildering array of all the glorious lives that have been lived, of all the glorious happenings, under the sun. Ah! what men this world has seen, and—what women! What divine actors have trod this old stage, and in what tremendous dramas have they taken part! And how strange it is, reading some great dramatic career, of Caesar, say, or Luther, or Napoleon, or Byron, to realize that there was a time when they were not, then a time when they were beginning to be strange new names in men's ears, then all the romantic excitement of their developing destinies, and the thunder and lightning of the great resounding moments of their lives—moments made out of real, actual, prosaic time, just as our own moments are made, yet once so splendidly shining on the top of the world, as though to stay there forever, moments so glorious that it would seem that Time must have paused to watch and prolong them, jealous that they should ever pass and give place to lesser moments!
Think too of those other fateful moments of history, moments not confined to a few godlike individuals, but participated in by whole nations, such moments as that of the great Armada, the French Revolution, or the Declaration of American Independence. How strangely it comes upon one that these past happenings were once only just taking place, just as at the moment of my writing other things are taking place, and clocks were ticking and water flowing, just as they are doing now! How wonderful, it seems to us, to have been alive then, as we are alive now, to have shared in those vast national enthusiasms, "in those great deeds to have had some little part"; and is it not a sort of poor anti-climax for a world that has gone through such noble excitement to have sunk back to this level of every day! Alas! all those lava-like moments of human exaltation—what are they now, but, so to say, the pumice-stone of history. They have passed as the summer flowers are passing, they are gone with last year's snow.
But the last year's snow of our personal lives—what a wistful business it is, when we get thinking of that! To recall certain magic moments out of the past is to run a risk of making the happiest present seem like a desert; and for most men, I imagine, such retrospect is usually busied with some fair face, or perhaps—being men—with several fair faces, once so near and dear, and now so far. How poignantly and unprofitably real memory can make them—all but bring them back—how vividly reconstruct immortal occasions of happiness that we said could not, must not, pass away; while all the time our hearts were aching with the sure knowledge that they were even then, as we wildly clutched at them, slipping from our grasp!
That summer afternoon,—do you too still remember it, Miranda?—when, under the whispering woodland, we ate our lunch together with such prodigious appetite, and O! such happy laughter, yet never took our eyes from each other; and, when the meal was ended, how we wandered along the stream-side down the rocky glen, till we came to an enchanted pool among the boulders, all hushed with moss and ferns and overhanging boughs—do you remember what happened then, Miranda? Ah! nymphs of the forest pools, it is no use asking me to forget.
And, all the time, my heart was saying to my eyes:—"This fairy hour—so real, so magical, now—some day will be in the far past; you will sit right away on the lonely outside of it, and recall it only with the anguish of beautiful vanished things." And here I am today surely enough, years away from it, solitary on its lonely outside!
I suppose that the river, this summer day, is making the same music along its rocky bed, and the leafy boughs are rustling over that haunted pool just the same as when—but where are the laughing ripples—ah! Miranda—that broke with laughter over the divinely troubled water, and the broken reflections, as of startled water-lilies, that rocked to and fro in a panic of dazzling alabaster?
They are with last year's snow.
Meriel of the solemn eyes, with the heart and the laughter of a child, and soul like the starlit sky, where should one look for the snows of yester-year if not in your bosom, fairy girl my eyes shall never see again. Wherever you are, lost to me somewhere among the winding paths of this strange wood of the world, do you ever, as the moonlight falls over the sea, give a thought to that night when we sat together by a window overlooking the ocean, veiled in a haze of moonlit pearl, and, dimly seen near shore, a boat was floating, like some mystic barge, as we said, in our happy childishness, waiting to take us to the Land East of the Sun and West of the Moon? Ah! how was it we lingered and lingered till the boat was no more there, and it was too late? Perhaps it was that we seemed to be already there, as you turned and placed your hand in mine and said: "My life is in your hand." And we both believed it true. Yes! wherever we went together in those days, we were always in that enchanted land—whether we rode side by side through London streets in a hansom—"a two-wheeled heaven" we called it—(for our dream stretches as far back as that prehistoric day—How old one of us seems to be growing! You, dear face, can never grow old)—or sat and laughed at clowns in London music halls, or wandered in Surrey lanes, or gazed at each other, as if our hearts would break for joy, over the snow-white napery of some country inn, and maybe quoted Omar to each other, as we drank his red wine to the immortality of our love. Perhaps we were right, after all. Perhaps it could never die, and Time and Distance are perhaps merely illusions, and you and I have never been apart. Who knows but that you are looking over my shoulder as I write, though you seem so far away, lost in that starlit silence that you loved. Ah! Meriel, is it well with you, this summer day? A sigh seems to pass through the sunlit grasses. They are waving and whispering as I have seen them waving and whispering over graves.
Such moments as these I have recalled all men have had in their lives, moments when life seemed to have come to miraculous flower, attained that perfect fulfilment of its promise which else we find only in dreams. Beyond doubt there is something in the flawless blessedness of such moments that links our mortality with super-terrestrial states of being. We do, in very deed, gaze through invisible doors into the ether of eternal existences, and, for the brief hour, live as they, drinking deep of that music of the infinite which is the divine food of the enfranchised soul. Thence comes our exaltation, and our wild longing to hold the moment for ever; for, while it is with us, we have literally escaped from the everyday earth, and have found the way into some other dimension of being, and its passing means our sad return to the prison-house of Time, the place of meetings and partings, of distance and death.
Part of the pang of recalling such moments is a remorseful sense that perhaps we might have held them fast, after all. If only we might bring them back, surely we would find some way to dwell in them for ever. They came upon us so suddenly out of heaven, like some dazzling bird, and we were so bewildered with the wonder of their coming that we stretched out our hands to seize them, only when they were already spreading their wings for flight. But O if the divine bird would but visit us again! What golden nets we would spread for him! What a golden cage of worship we would make ready! Our eyes would never leave his strange plumage, nor would we miss one note of his strange song. But alas! now that we are grown wise and watchful, that "moment eternal" comes to us no more. Perhaps too that sad wisdom which has come to us with the years would least of all avail us, should such moments by some magic chance suddenly return. For it is one of the dangers of the retrospective habit that it incapacitates us for the realization of the present hour. Much dwelling on last year's snow will make us forget the summer flowers. Dreaming of fair faces that are gone, we will look with unseeing eyes into the fair faces that companion us still. To the Spring we say: "What of all your blossom, and all your singing! Autumn is already at your heels, like a shadow; and Winter waits for you like a marble tomb." To the hope that still may beckon we say: "Well, what though you be fulfilled, you will pass, like the rest. I shall see you come. We shall dwell together for a while, and then you will go; and all will be as it was before, all as if you had never come at all." For the retrospective mood, of necessity, begets the anticipatory; we see everything finished before it is begun, and welcome and valediction blend together on our lips. "That which hath been is now; and that which is to be hath already been."
In every kiss sealed fast
To feel the first kiss and forebode the last—
that is the shadow that haunts every joy, and sicklies o'er every action of him whom life has thus taught to look before and after.
Youth is not like that, and therein, for older eyes, lies its tragic pathos. Superficial—or, if you prefer it, more normal—observers are made happy by the spectacle of eager and confident young lives, all abloom and adream, turning towards the future with plumed impatient feet. But for some of us there is nothing quite so sad as young joy. The playing of children is perhaps the most unbearably sad thing in the world. Who can look on young lovers, without tears in their eyes? With what innocent faith they are taking in all the radiant lies of life! But perhaps a young mother with her new-born babe on her breast is the most tragical of all pictures of unsuspecting joy, for none of all the trusting sons and daughters of men is destined in the end to find herself so tragically, one might say cynically, fooled.
Cynically, I said; for indeed sometimes, as one ponders the lavish heartless use life seems to make of all its divinely precious material—were it but the flowers in one meadow, or the butterflies of a single summer day—it does seem as though a cruel cynicism inhered somewhere in the scheme of things, delighting to destroy and disillusionize, to create loveliness in order to scatter it to the winds, and inspire joy in order to mock it with desolation. Sometimes it seems as though the mysterious spirit of life was hardly worthy of the vessels it has called into being, hardly treats them fairly, uses them with an ignoble disdain. For, how generously we give ourselves up to life, how innocently we put our trust in it, do its bidding with such fine ardours, striving after beauty and goodness, fain to be heroic and clean of heart—yet "what hath man of all his labours, and of the vexation of his heart, wherein he hath laboured under the sun." Yea, dust, and fallen rose-leaves, and last year's snow.
And yet and yet, for all this drift and dishonoured decay of things, that retrospective mood of ours will sometimes take another turn, and, so rare and precious in the memory seem the treasure that it has lost, and yet in imagination still holds, that it will not resign itself to mortal thoughts of such manifest immortalities. The snows of yester-year! Who knows if, after all, they have so utterly vanished as they seem. Who can say but that there may be somewhere in the universe secret treasuries where all that has ever been precious is precious still, safely garnered and guarded for us against some wonderful moment which shall gather up for us in one transfiguring apocalypse all the wonderful moments that have but preceded us into eternity. Perhaps, as nothing is lost in the world, so-called, of matter, nothing is lost too in the world of love and dream.
O vanished loveliness of flowers and faces,
Treasure of hair, and great immortal eyes,
Are there for these no safe and secret places?
And is it true that beauty never dies?
Soldiers and saints, haughty and lovely names,
Women who set the whole wide world in flames,
Poets who sang their passion to the skies,
And lovers wild and wise:
Fought they and prayed for some poor flitting gleam
Was all they loved and worshipped but a dream?
Is Love a lie and fame indeed a breath?
And is there no sure thing in life—but death?
Ah! perhaps we shall find all such lost and lovely things when we come at length to the Land of Last Year's Snow.
X
THE PSYCHOLOGY OF GOSSIP
According to the old Scandinavian fable of the cosmos, the whole world is encircled in the coils of a vast serpent. The ancient name for it was the Midgard serpent, and doubtless, for the old myth-maker, it had another significance. Today, however, the symbol may still hold good of a certain terrible and hideous reality.
Still, as of old, the world is encircled in the coils of a vast serpent; and the name of the serpent is Gossip. Wherever man is, there may you hear its sibilant whisper, and its foul spawn squirm and sting and poison in nests of hidden noisomeness, myriad as the spores of corruption in a putrefying carcass, varying in size from some hydra-headed infamy endangering whole nations and even races with its deadly breath, to the microscopic wrigglers that multiply, a million a minute, in the covered cesspools of private life.
Printed history is so infested with this vermin, in the form of secret memoirs, back-stairs diarists, and boudoir eavesdroppers, that it is almost impossible to feel sure of the actual fact of any history whatsoever. The fame of great personages may be literally compared to the heroic figures in the well-known group of the Laocoön, battling in vain with the strangling coils of the sea-serpent of Poseidon. We scarcely know what to believe of the dead; and for the living, is it not true, as Tennyson puts it, that "each man walks with his head in a cloud of poisonous flies"?
What is this evil leaven that seems to have been mixed in with man's clay at the very beginning, making one almost ready to believe in the old Manichean heresy of a principle of evil operating through nature, everywhere doing battle with the good? Even from the courts of heaven, as we learn from the Book of Job, the gossip was not excluded; and how eternally true to the methods of the gossip in all ages was Satan's way of going to work in that immortal allegory! Let us recall the familiar scene with a quoted verse or two:
Now there was a day when the sons of God came to present themselves before the Lord, and Satan [otherwise, the Adversary] came also among them.
And the Lord said unto Satan, "Whence comest thou?" Then Satan answered the Lord, and said: "From going to and fro in the earth, and from walking up and down in it."
And the Lord said unto Satan: "Hast thou considered my servant Job, that there is none like him in the earth, a perfect and an upright man, one that feareth God, and escheweth evil?"
Then Satan answered the Lord, and said, "Doth Job fear God for nought?"
Here we have in a nutshell the whole modus operandi of the gossip in all ages, and as he may be observed at any hour of the day or night, slimily engaged in his cowardly business. "Going to and fro in the earth, walking up and down in it," everywhere peering and listening, smiling and shrugging, here and there dropping a hint, sowing a seed, leering an innuendo; seldom saying, only implying; leaving everywhere trails of slime, yet trails too vague and broken to track him by, secure in his very cowardice.
"Doth Job fear God for nought?" He only asks, observe. Affirms nothing. Only innocently wonders. Sows a doubt, that's all—and leaves it to work.
The victim may possibly be set right in the end, as was Job; but meanwhile he has lost his flocks and his herds, his sons and his daughters, and suffered no little inconvenience from a loathsome plague of boils. Actually—life not being, like the Book of Job, an allegory—he very seldom is set right, but must bear his losses and his boils with what philosophy he can master till the end of the chapter.
The race to which Job belonged presents perhaps the most conspicuous example of a whole people burdened throughout its history with a heritage of malignant gossip. In the town of Lincoln, in England, there exists to this day, as one of its show places, the famous "Jew's House," associated with the gruesome legend of "the boy of Lincoln"—a child, it was whispered, sacrificed by the Jews at one of their pastoral feasts. Such a wild belief in child-sacrifice by the Jews was widespread in the Middle Ages, and is largely responsible, I understand, even at the present day, for the Jewish massacres in Russia.
Think of the wild liar who first put that fearful thought into the mind of Europe! Think of the holocausts of human lives, and all the attendant agony of which his diabolical invention has been the cause! What criminal in history compares in infamy with that unknown—gossip?
A similar madness of superstition, responsible for a like cruel sacrifice of innocent lives, was the terrible belief in witchcraft. Having its origin in ignorance and fear, it was chiefly the creation of hearsay carried from lip to lip, beginning with the deliberate invention of lying tongues, delighting in evil for its own sake, or taking advantage of a ready weapon to pay off scores of personal enmity. At any time to a period as near to our own day as the early eighteenth century, nothing was easier than to rid oneself of an enemy by starting a whisper going that he or she held secret commerce with evil spirits, was a reader of magical books, and could at will cast spells of disease and death upon the neighbours or their cattle.
You had but to be recluse in your habits and eccentric in your appearance, with perhaps a little more wisdom in your head and your conversation than your fellows, to be at the mercy of the first fool or knave who could gather a mob at his heels, and hale you to the nearest horse-pond. Statement and proof were one, and how ready, and indeed eager, human nature was to believe the wildest nonsense told by witless fool or unscrupulous liar, the records of such manias as the famous Salem trials appallingly evidence. Men high in the state, as well as helpless old women in their dotage, disfigured with "witch-moles" or incriminating beards on their withered faces, were equally vulnerable to this most fearful of weapons ever placed by ignorance in the hands of the malignant gossip.
In such epidemics of tragic gossip we see plainly that, whatever individuals are originally responsible, society at large is all too culpably particeps criminis in this phenomenon under consideration. If the prosperity of a jest be in the ears that hear it, the like is certainly true of any piece of gossip. Whoever it may be that sows the evil seed of slander, the human soil is all too evilly ready to receive it, to give it nurture, and to reproduce it in crops persistent as the wild carrot and flamboyant as the wild mustard.
There is something mean in human nature that prefers to think evil, that gives a willing ear and a ready welcome to calumny, a sort of jealousy of goodness and greatness and things of good report.
Races and nations are thus ever ready to believe the worst of one another. In all times it has been in this field of inter-racial and international prejudice that the gossip has found the widest scope for his gleeful activity, sowing broadcast dissensions and misunderstandings which have persisted for centuries. They are the fruitful cause of wars, insuperable barriers to progress, fabulous growths which the enlightenment of the world painfully labours to weed out, but will perhaps never entirely eradicate.
Race-hatred is undoubtedly nine-tenths the heritage of ancient gossip. Think of the generations of ill-feeling that kept England and France, though divided but by a narrow strait, "natural enemies" and misunderstood monsters to each other. In a less degree, the friendship of England and America has been retarded by international gossips on both sides. And as for races and nations more widely separated by distance or customs, no lies have been bad enough for them to believe about one another.
It is only of late years that Europe has come to regard the peoples of the Orient as human beings at all. And all this misunderstanding has largely been the work of gossip acting upon ignorance.
It is easy to see how in the days of difficult communication, before nations were able to get about in really representative numbers to make mutual acquaintance, they were completely at the mercy of a few irresponsible travellers, who said or wrote what they pleased, and had no compunction about lying in the interests of entertainment. The proverbial "gaiety of nations" has always, in a great degree, consisted in each nation believing that it was superior to all others, and that the natives of other countries were invariably hopelessly dirty and immoral, to say the least. Such reports the traveller was expected to bring home with him, and such he seldom failed to bring.
Even at the present time, when intercourse is so cosmopolitan, and some approach to a sense of human brotherhood has been arrived at, the old misconceptions die hard. Nations need still to be constantly on their guard in believing all that the telegraph or the wireless is willing to tell them about other countries. Electricity, many as are its advantages for cosmopolitan rapprochements, is not invariably employed in the interests of truth, and newspaper correspondents, if not watched, are liable to be an even more dangerous form of international gossip than the more leisurely fabulist of ancient time.
When we come to consider the operation of gossip in the lives of individuals, the disposition of human nature to relish discrediting rumour is pitifully conspicuous. We know Hamlet's opinion on the matter:
Let Hercules himself do what he may,
The cat will mew, and dog will have his day.
And again:
Be thou as chaste as ice, as pure as snow,
Thou shalt not escape calumny.
This, it is to be feared, is merely the sad truth, for mankind, while it admires both greatness and goodness, would seem to resent the one and only half believe in the other. At all events, nothing is more to its taste than the rumour that detracts from the great or sullies the good; and so long as the rumour be entertaining, it has little concern for its truth.
Froude, in writing of Caesar, has this to say admirably to our purpose:
In ages which we call heroic, the saint works miracles, the warrior performs exploits beyond the strength of natural man. In ages less visionary, which are given to ease and enjoyment, the tendency is to bring a great man down to the common level, and to discover or invent faults which shall show that he is or was but a little man after all. Our vanity is soothed by evidence that those who have eclipsed us in the race of life are no better than ourselves, or in some respects worse than ourselves; and if to these general impulses be added political or personal animosity, accusations of depravity are circulated as surely about such men, and are credited as readily as under other influences are the marvellous achievements of a Cid or a St. Francis.
The absurdity of a calumny may be as evident as the absurdity of a miracle; the ground for belief may be no more than a lightness of mind, and a less pardonable wish that it may be true. But the idle tale floats in society, and by and by is written down in books and passes into the region of established realities.
The proportion of such idle tales seriously printed as history can never, of course, be computed. Sometimes one is tempted to think that history is mainly "whole cloth." Certainly the lives of such men as Caesar are largely made up of what one might term illustrative fictions rather than actual facts. The story of Caesar and Cleopatra is probably such an "illustrative fiction," representing something that might very well have happened to Caesar, whether it did so or not. At all events, it does his fame no great harm, unlike another calumny, which, as it does not seem "illustrative"—that is, not in keeping with his general character—we are at liberty to reject. Both alike, however, were the product of the gossip, the embodied littleness of human nature endeavouring then, as always, to minimize and discredit the strong man, who, whatever his actual faults, at least strenuously shoulders for his fellows the hard work of the world.
The great have usually been strong enough to smile contempt on their traducers—Caesar's answer to an infamous epigram of the poet Catullus was to ask him to dinner—but even so, at what extra cost, what "expense of spirit in a waste of shame," have their achievements been bought, because of these curs that bark forever at the heels of fame!
And not always have they thus prevailed against the pack. Too often has the sorry spectacle been seen of greatness and goodness going down before the poisonous tongues and the licking jaws. Even Caesar himself had to fall at last, his strong soul perhaps not sorry to escape through his dagger-wounds from so pitiably small a world; and the poison in the death-cup of Socrates was not so much the juice of the hemlock as the venom of the gossips of Athens.
In later times, no service to his country, no greatness of character, can save the noble Raleigh from the tongues determined to bring him to the block; and, when the haughty head of Marie Antoinette must bow at last upon the scaffold, the true guillotine was the guillotine of gossip. It was such lying tales as that of the diamond necklace that had brought her there. All Queen Elizabeth's popularity could not save her from the ribaldry of scandal, nor Shakespeare's genius protect his name from the foulest of stains.