That is a rough analogy of the doctrine of Walt Whitman; namely, that the individual, soul and body, is a polity; and that the true life is to be found in a harmonious co-operation of body and soul. The reason is not at liberty to deride or to neglect the bodily desires, even the meanest and basest of them, because every desire, whether of soul or body, is the expression of something that exists in the animating principle. Take, for example, the case of physical passion. That, in its ultimate analysis, is the instinct for propagating life, the transmission and continuance of vitality. The reason must not ignore or deplore it, but direct it into the proper channels; it may indicate the dangers that it incurs; but merely to thwart it, to regard it with shame and horror, is to establish an internecine warfare. The true function is rather to ennoble the physical desire by the just concurrence of the soul. But the essence of the situation is co-operation and not coercion; and each must be ready to compromise. If the physical nature will not compromise with the reason, the disasters of unbridled passion follow; if the reason will not co-operate with the physical desire, the result is a sterile intellectualism, a life of starved and timid experience. It was here, of course, that Walt Whitman's view gave offence; he thought of civilisation as a conventional system, cultivating a false shame and an ignoble reserve about bodily processes. But the vital truth of his doctrine lies in the fact that many of our saddest, because most remediable, disasters are caused by a timid reticence about the strongest force that animates the world, the force of reproduction. Whitman felt, and truly felt, that reason and sentiment have outrun discretion. It may be asked, indeed, how this terror of all outspokenness has developed in the human race, so that parents cannot bear to speak to their children about an experience which they will be certain to make acquaintance with in some far more violent and base form. Does this shrinking delicacy, this sacred reserve, mean nothing, it may be asked? Well, it may be said, if this sensitiveness is so valuable that it must not be required to anticipate tenderly and faithfully what will be communicated in a grosser form, then silence is justified, and not otherwise. But to transfer this reticence about a matter of awful concern to some other region of morals, what should we think of the parent who so feared to lessen the affection of a child by rebuking it for a lie or a theft as to let it go out into the world ignorant that either was reprobated? Whitman's argument would rather be that a parent should say to a child, "There is a force within you which will to a large extent determine the happiness of your life; it must be guarded and controlled. You will probably not be able to ignore or disregard it, and you must bring it into harmonious co-operation with mind and reason and duty. There is nothing that is shameful about its being there; indeed, it is the dominant force in the world. The shameful thing is to use it shamelessly." Yet the attitude of parents too often is to treat the subject, not as if it were sacred, but as if it were unmentionable; so that the very fact of the child's own origin would seem to be an essentially shameful thing.

The Greeks, it is true, had an instinct for the thought of the vital interdependence of body and soul; but they thought too much of the glowing manifestation of the health and beauty of youth, and viewed the decay and deformity of the human frame too much as a disgrace and an abasement. But here again comes in the largeness of Whitman's presentment, that whatever disasters befall the body, whether through drudgery or battle, disease or sin, they are all parts of a rich and large experience, not necessarily interrupting the co-operation of mind and matter. This is the strongest proof of Whitman's faith in the essential brotherhood of man, that such horrors and wretchednesses do not seem to him to interrupt the design, or to destroy the possibility of a human sympathy which is instinctive rather than a matter of devout effort. Whitman is here on the side of the very greatest and finest human spirits, in that he is shocked and appalled by nothing. He does not call it the best of worlds, but it is the only world that he knows; and the glowing interest, the passionate emotion, the vital rush and current of it, prove beyond all doubt that we are in touch with something very splendid and magnificent indeed, and that no misdeed or disaster forfeits our share in the inheritance. He is utterly at variance with the hideous Calvinistic theory, that God sent some of His creatures into the world for their pain and ruin. Whatever happens to your body or your soul, says Whitman, it is worth your while to live and to have lived. He adopts no facile system of compensations and offsets. He rather protests with all his might that, however broken your body or fatuous your mind, it is a good thing for you to have taken a hand in the affair; and that the essence of the whole situation has not been your success, your dignity, your comfortable obliteration of half your faculties, or on the other hand your failure, your vileness, or your despair, but that just at the time and place at which the phenomenon called yourself took place, that intricate creature, with its bodily needs and desires, its joys of the senses, its outlook on the strange world, took shape and made you exactly what you are, and nothing else. As he says in one of his finest apologues:

Through birth, life, death, burial, the means are provided, nothing is scanted.

Through angers, losses, ambition, ignorance, ennui, what you are picks its way.

3

Then too Walt Whitman claims to be the poet, not of the past or even only of the present, but the singer of the future. He says in The Backward Glance, which I have already quoted, and which must be carefully read by anyone who wishes to understand his work—at least in so far as he understood it himself,—"Isolated advantages in any rank or grace or fortune—the direct or indirect threads of all the poetry of the past—are in my opinion distasteful to the republican genius. . . . Established poems, I know, have the very great advantage of chanting the already performed, so full of glories, reminiscences dear to the minds of men." And he says too that, "The educated world seems to have been growing more and more ennuied for ages, leaving to our time the inheritance of it all." And he further says: "The ranges of heroism and loftiness with which Greek and feudal poets endow'd their godlike or lordly born characters, I was to endow the democratic averages of America. I was to show that we, here and to-day, are eligible to the grandest and the best—more eligible now than any times of old were."

This is a lofty claim, boldly advanced and maintained; and here I am on uncertain ground, because I do not suppose that I can realise what the democratic spirit of America really is. Granted, however, that it is a free and a noble spirit, I feel a doubt as to whether it is possible for any nation, at any time in the world's history, really to take a new start. The American nation is not a new nation; it is in a sense a very old' nation. It has had a perfectly new and magnificent field for its energies, and it has made a sweep of the old conventions; but it cannot get rid of its inheritance of temperament; and I think that, so far as I can judge, it is too anxious to emphasize its sense of revolt, its consciousness of newness of life. Whitman himself would not be so anxious to declare the ennui of the old, if he did not feel himself in a way trammelled by it. The moment that a case is stated with any vehemence, that moment it is certain that the speaker has antagonists in his eye. There is a story of Professor Blackie at Edinburgh making a tirade against the stuffiness of the old English universities to Jowett, the incisive Master of Balliol. At the end, he said generously, "I hope you people at Oxford do not think that we are your enemies up here?" "No," said Jowett drily; "to tell the truth, we don't think about you at all!" The man who is really making a new beginning, serenely confident in his strength, does not, as Professor Blackie did, concern himself with his predecessors at all. Perhaps, indeed, the democratic spirit of America may be quietly glorying in its strength, and may be merely waiting till it suits it to speak. But I do not think it can be said to have found full expression. It seems to me—I may well be wrong—that in matters of culture, the American is far more seriously bent on knowing what has been done in the past even than the Englishman. The Englishman takes the past for granted; he is probably more deeply and instinctively penetrated with its traditions than he knows; but ever since the Romantic movement began in England, about a century ago, the general tendency is anarchical and anti-classical. Writers like Wordsworth, Browning, Carlyle, Ruskin, had very little deference about them. They did not even trouble to assert their independence; they said what they thought, and as they thought it. But the spirit of American literature does not on the whole appear to me to be a democratic spirit. It has not, except in the case of Walt Whitman himself, shown any strong tendency to invent new forms or to ventilate new ideas. It has not broken out into crude, fresh, immature experiments. It has rather worked as the Romans did, who anxiously adopted and imitated Greek models, admiring the form but not comprehending the spirit. A revolt in literary art, such as the Romantic movement in England, has no time to concern itself with the old forms and traditions. Writers like Wordsworth, Keats, Shelley, Byron, Walter Scott, had far too much to say for themselves to care how the old classical schools had worked. They used the past as a quarry, not as a model. But the famous American writers have not originated new forms, or invented a different use of language; they have widened and freshened traditions, they have not thrown them overboard. Neither, if I interpret facts rightly, have the Americans developed a new kind of aristocracy. Whitman's talk of democratic averages is beside the point. The process of levelling up and levelling down only produces low standards. What the world needs, whether in England or America, is a new sort of aristocracy—simple, disinterested, bold, sympathetic, enthusiastic men, of clear vision and free thought. And what the democracy needs is not an envious dislike of all prominence and greatness, but an eye for all greatness, and an admiration for all courage and largeness of soul. England suspects, perhaps erroneously, that America has founded an aristocracy of wealth and influence and physical prowess, rather than an aristocracy of simplicity and fearlessness. One believes that the competitive, the prize-winning spirit, is even more dominant in America than in England. No one doubts the fierce energy and the aplomb of America; but can it be said that IDEAS, the existence of which is the ultimate test of national vigour, are really more prevalent in America than in England? It all depends, of course, upon whether one values the Greek or the Roman ideal more highly, the interest, that is, of life, or the desire to rule and prosper. If the aim of civilisation is orderliness, then the Roman aim is the better; but if the aim is spiritual animation, then the Greeks are the winners. Yet in the last century, England has been more fruitful in ideas than America, although America is incomparably more interested in education than England is.

But it is hard to balance these things. What remains is the fact that Walt Whitman has drawn a fine democratic ideal. His democrat is essentially a worker, with every sort of vigorous impulse, living life in an ecstasy of health and comradeship, careless of money and influence and position, content to live a simple life, finding beauty, and hope, and love, and labour, enough, in the spirit of the great dictum of William Morris, that the reward of labour is life—not success or power or wealth, but the sense of living fully and freely.

I do not claim that this spirit exists in England yet; but does it exist in America? What, in fact, constitutes the inspiration of the average American; what does he expect to find in life, and to make of life? Whitman has no doubt at all. But in what other American writer does this ideal find expression?

4

It remains to say a few words about the artistic methods of Walt Whitman. He himself claims no artistic standard whatever. He says that he wishes to create an atmosphere; and that his one aim has been suggestiveness. "I round and finish little, if anything; and could not consistently with my scheme. The reader will always have his or her part to do, just as much as I have had mine."

He says that his purpose has been "not to carry out in the approved style some choice plot of fortune or misfortune, or fancy, or fine thoughts, or incidents or courtesies—all of which has been done overwhelmingly and well, probably never to be excelled . . . but to conform with and build on the concrete realities and theories of the universe furnished by science, and henceforth the only irrefragable basis for anything, verse included—to root both influences in the emotional and imaginative action of the modern time, and dominate all that precedes or opposes them." He adds, "No one will get at my verses who insists upon viewing them as a literary performance, or attempt at such performance, or as aiming mainly toward art or aestheticism."

It is, of course, quite true that no writer is bound by traditions of art, and there is no one who need consider how the thing has been done before, or follow a prescribed code. But for all that, art is not a thing of rules made and enforced by critics. All that critics can do is to determine what the laws of art are; because art has laws underlying it which are as certain as the laws of gravity, even if they are not known. The more permanent art is, the more it conforms to these laws; because the fact is that there is a vital impulse in the human mind towards the expression of beauty, and a vital discrimination too as to the form and method of that expression. Architecture, for instance, and music, are alike based upon instinctive preferences in human beings, the one for geometrical form, the other for the combination of vibrations. It is a law of music, for instance, that the human being prefers an octave in absolute unison, and not an octave of which one note is a semitone flat. That is not a rule invented by critics; it is a law of human perception and preference. Similarly there is undoubtedly a law which determines human preferences in poetry, though a far more complicated law, and not yet analysed. The new poet is not a man who breaks the law, but one who discovers a real extension of it.

The question then, roughly, is this: Whitman chose to express himself in a species of poetry, based roughly upon Hebrew poetry, such as we have in the Psalms and Prophets. If this is a true expansion of the aesthetic law of poetry, then it is a success; if it is not a true expansion, but only a wilful variation, not consonant with the law, it is a failure.

Now there are many effects in Whitman which are, I believe, inconsistent with the poetical law. Not to multiply instances, his grotesque word-inventions—"Me imperturbe!" "No dainty dolce affettuoso I," "the drape of the day"—his use of Greek and Latin and French terms, not correctly used and not even rightly spelt, his endless iterations, lists, catalogues, categories, things not clearly visualised or even remotely perceived, but swept relentlessly in, like the debris of some store-room, all these are ugly mannerisms which simply blur and encumber the pages. The question is not whether they offend a critical and cultured mind, but whether they produce an inspiring effect upon any kind of mind.

Then too his form constantly collapses, as though he had no fixed scheme in his mind. There are many poems which begin with an ample sweep, and suddenly crumble to pieces, as though he were merely tired of them.

Then again there seem to me to be some simply coarse, obscene, unpleasant passages, not of relentless realism but of dull inquisitiveness. They do not attract or impress; they do not provide a contrast or an emphasis. They simply lie, like piles of filth, in rooms designed for human habitation. If it is argued that art may use any materials, I can only fall back upon my belief that such passages are as instinctively repulsive to the artistic sense as strong-smelling cheeses stacked in a library! There is no moral or ethical law against such a practice; but the aesthetic conscience of humanity instinctively condemns it. When I examine the literature which has inspired and attracted the minds of humanity, whether trained or untrained, I find that they avoid this hideous intrusion of nastiness; and I am inclined to infer that writers who introduce such episodes, and readers who like them, have some other impulse in view, which is neither the sense of beauty nor the perception of art. But if Whitman, or anyone else, can convert the world to call this art, and to enjoy it as art, then he will prove that he understands the law of preference better than I do.

But when all this has been said and conceded, there yet remain countless passages of true and vital beauty, exquisite phrases, haunting pictures, glimpses of perfect loveliness. His poems of comradeship and the open air, his pictures of family life, have often a magical thrill of passion, leaving one rapturous and unsatisfied, believing in the secrets behind the world, and hoping for a touch of like experience.

If I may take one poem as typical of the best that is in Whitman— and what a splendid best!—it shall be "Out of the Cradle Endlessly Rocking," from the book called Sea-drift. I declare that I can never read this poem without profound emotion; it is here that he fully justifies his claim to atmosphere and suggestiveness; the nesting birds, the sea's edge, with its "liquid rims and wet sands"—what a magical phrase!—the angry moan of the breakers under the yellow, drooping moon, the boy with his feet in the water, and the wind in his hair—this is all beyond criticism.

Demon or bird! (said the boy's soul) Is it indeed toward your mate you sing? or is it mostly to me? For I, that was a child, my tongue's use sleeping, now I have heard you Now in a moment I know what I am for,—I awake, And already a thousand singers, a thousand songs, clearer, louder and more sorrowful than yours, A thousand warbling echoes have started to life within me, never to die.

And then he cries to the waves to tell him what they have been whispering all the time.

Whereto answering, the sea, Delaying not, hurrying not, Whisper'd me through the night and very plainly before day-break, Lisp'd to me the low and delicious word death.

This theme, it will be remembered, is worked out more fully in the Lincoln poem, "When Lilacs Last in the Dooryard Bloom'd," with the "Song of Death," too long, alas, to quote here—it would be delightful even to inscribe the words—which seems to me for splendour of language, sweetness of rhythm, and stateliness of cadence—to say nothing of the magnificence of the thought—to be incontestably among the very greatest poems of the world.

If Whitman could always have written so! Then he need hardly have said that the strongest and sweetest songs remained to be sung; but this, and many other gems of poetry, lie in radiant fragments among the turbid and weltering rush of his strange verse; and thus one sees that if there is indeed a law of art, it lies close to the instinct of suppression and omission. One may think anything; one may say most things; but if one means to sway the human heart by that one particular gift of words, ordered and melodiously intertwined, one must heed what experience tells the aspirant—that no fervour of thought, or exuberance of utterance, can make up for the harmony of the firmly touched lyre, and the music of the unuttered word.



V

CHARM



There is a little village here near Cambridge the homely, summer- sounding name of which is Haslingfield. It is a straggling hamlet of white-walled, straw-thatched cottages, among orchards and old elms, full of closes of meadow-grass, and farmsteads with ricks and big-timbered barns. It has a solid, upstanding Tudor church, with rather a grand tower, and four solid corner turrets; and it has, too, its little bit of history in the manor-house, of which only one high-shouldered wing remains, with tall brick chimneys. It stands up above some mellow old walls, a big dove-cote, and a row of ancient fish-ponds. Here Queen Elizabeth once spent a night upon the wing. Close behind the village, a low wold, bare and calm, with a belt or two of trees, runs steeply up.

The simplest and quietest place imaginable, with a simple and remote life, hardly aware of itself, flowing tranquilly through it; yet this little village, by some felicity of grouping and gathering, has the rare and incomparable gift of charm. I cannot analyse it, I cannot explain it, yet at all times and in all lights, whether its orchards are full of bloom and scent, and the cuckoo flutes from the holt down the soft breeze, or in the bare and leafless winter, when the pale sunset glows beyond the wold among the rifted cloud-banks, it has the wonderful appeal of beauty, a quality which cannot be schemed for or designed, but which a very little mishandling can sweep away. The whole place has grown up out of common use, trees planted for shelter, orchards set for fruit, houses built for convenience. Only in the church and the manor is there any care for seemliness and stateliness. There are a dozen villages round about it which have sprung from the same needs, the same history; and yet these have missed the unconsidered charm of Haslingfield, which man did not devise, nor does nature inevitably bring, but which is instantly recognisable and strangely affecting.

Such charm seems to arise partly out of a subtle orderliness and a simple appropriateness, and partly from a blending of delicate and pathetic elements in a certain unascertained proportion. It seems to touch unknown memories into life, and to give a hint of the working of some half-whimsical, half-tenderly concerned spirit, brooding over its work, adding a touch of form here and a dash of colour there, and pleased to see, when all is done, that it is good.

If one looks closely at life, one sees the same quality in humanity, in men and women, in books and pictures, and yet one cannot tell what goes to the making of it. It seems to be a thing which no energy or design can capture, but which alights here and there, blowing like the wind at will. It is not force or originality or inventiveness; very often it is strangely lacking in any masterful quality at all; but it has always just the same wistful appeal, which makes one desire to understand it, to take possession of it, to serve it, to win its favour. It is as when the child in Francis Thompson's poem seems to say, "I hire you for nothing." That is exactly it: there is nothing offered or bestowed, but one is at once magically bound to serve it for love and delight. There is nothing that one can expect to get from it, and yet it goes very far down into the soul; it is behind the maddening desire which certain faces, hands, voices, smiles excite—the desire to possess, to claim, to know even that no one else can possess or claim them, which lies at the root of half the jealous tragedies of life.

Some personalities have charm in a marvellous degree, and if, as one looks into the old records of life, one discovers figures that seem to have laid an inexplicable hold on their circles, and to have passed through life in a tempest of applause and admiration, one may be sure that charm has been the secret.

Take the case of Arthur Hallam, the inspirer of "In Memoriam." I remember hearing Mr. Gladstone say, with kindled eye and emphatic gesture, that Arthur Hallam was the most perfect being physically, morally, and intellectually that he had ever seen or hoped to see. He said, I remember, with a smile: "The story of Milnes Gaskell's friendship with Hallam was curious. You must know that people fell in love very easily in those days; there was a Miss E— of whom Hallam was enamoured, and Milnes Gaskell abandoned his own addresses to her in favour of Hallam, in order to gain his friendship."

Yet the portrait of Hallam which hangs in the provost's house at Eton represents a rosy, solid, rather heavy-featured young man, with a flushed face,—Mr. Gladstone said that this was caused by overwork,—who looks more like a young country bumpkin on the opera-bouffe stage than an intellectual archangel.

Odder still, the letters, poems, and remains of Hallam throw no light on the hypnotic effect he produced; they are turgid, elaborate, and wholly uninteresting; nor does he seem to have been entirely amiable. Lord Dudley told Francis Hare that he had dined with Henry Hallam, the historian, who was Arthur Hallam's father, in the company of the son, in Italy, adding, "It did my heart good to sit by and hear how the son snubbed the father, remembering how often the father had unmercifully snubbed me."

There is a hint of beauty in the dark eyes and the down-dropped curve of the mobile lip in the portrait, and one need not quote "In Memoriam" to prove how utterly the charm of Hallam subjugated the Tennyson circle. Wit, swiftness of insight, beauty, lovableness— all seem to have been there; and it remains that Arthur Hallam was worshipped and adored by his contemporaries with a fierce jealousy of devotion. Nothing but the presence of an overmastering charm can explain this conspiracy of praise; and perhaps there is no better proof of it than that his friends could detect genius in letters and poems which seem alike destitute of promise and performance.

There is another figure of earlier date who seems to have had the same magnetic gift in an even more pre-eminent degree. There is a portrait by Lawrence of Lord Melbourne that certainly gives a hint, and more than a hint, of the extraordinary charm which enveloped him; the thick, wavy hair, the fine nose, the full, but firmly moulded, lips, are attractive enough. But the large, dark eyes under strongly marked eyebrows, which are at once pathetic, passionate, ironical, and mournful, evoke a singular emotion. Every gift that men hold to be advantageous was showered upon Melbourne. He was well born, wealthy, able; he was full of humour, quick to grasp a subject, an omnivorous reader and student, a famous sportsman. He won the devotion of both men and women. His marriage with the lovely and brilliant Lady Caroline Ponsonby, whose heart was broken and mind shattered by her hopeless passion for Byron, showed how he could win hearts. There is no figure of all that period of whom one would rather possess a personal memoir. Yet despite all his fame and political prestige, he was an unhappy, dissatisfied man, who tasted every experience and joy of life, and found that there was nothing in it.

The dicta of his that are preserved vibrate between cynicism, shrewdness, wisdom, and tenderness. "Stop a bit," he said, as the cabinet went downstairs after a dinner to discuss the corn laws. "Is it to lower the price of bread or isn't it? It doesn't much matter which, but we must all say the same thing." Yet, after all, it is the letters and diaries of Queen Victoria that reveal the true secret of Melbourne's charm. His relation to his girl- sovereign is one of the most beautiful things in latter-day history. Melbourne loved her half paternally, half chivalrously, while it is evident that the Queen's affection for her gallant and attractive premier was of a quality which escaped her own perception. He humoured her, advised her, watched over her; in return, she idolised him, noted down his smallest sayings, permitted him to behave and talk just as he would. She lovingly records his little ways and fancies—how he fell asleep after dinner, how he always took two apples, and hid one in his lap while he ate the other.

"I asked him if he meant to cat it. He thought not, and said, 'But I like to have the power of doing so.' I observed, hadn't he just as well the power of doing so when the apples were in the dish on the table? He laughed and said, 'Not the FULL power.'"

Melbourne was full of prejudices and whims and hatreds, but his charity was boundless, and he always had a good word for an enemy. He excused the career of Henry VIII to the Queen by saying, "You see, those women bothered him so." And when he was superseded by Peel, he combated the Queen's dislike of her new premier, and did his best to put Peel in a favourable light. When Peel made his first appearance at Windsor, shy and awkward, and holding himself like a dancing-master, it was Melbourne who broke the awkward pause by going up to Peel, and saying in an undertone, "For God's sake, go and talk to the Queen!" When I was privileged to work through all Melbourne's letters to the Queen, so carefully preserved and magnificently bound, I was greatly touched by the sweetness and tenderness of them, the gentle ironical flavour, the delicate freedom, and the little presents and remembrances they exchanged up to the end.

Melbourne can hardly be called a very great man,—he had not the purpose or tenacity for that, and he thought both too contemptuously and too indulgently of human nature,—but I know of no historical figure who is more wholly transfused and penetrated by the aroma of charm. Everything that he did and said had some distinction and unusualness: perceptive observation, ripe wisdom, and, with it all, the petulant attractiveness of the spoiled and engaging child. And yet even so, one is baffled, because it is not the profundity or the gravity of what he said that impresses; it is rather the delicate and fantastic turn he gave to a thought or a phrase that makes his simplest deductions from life, his most sensible bits of counsel, appear to have something fresh and interesting about them, though prudent men have said much the same before, and said it heavily and solemnly.

Not that charm need be whimsical and freakish, though it is perhaps most beautiful when there is something of the child about it, something naive and unconventional. There are men, of whom I think that Cardinal Newman was pre-eminently one, who seem to have had the appeal of a pathetic sort of beauty and even helplessness. Newman seems to have always been surprised to find himself so interesting to others, and perhaps rather over-shadowed by the responsibility of it. He was romantically affectionate, and the tears came very easily at the call of emotion. Such incidents as that when Newman said good-bye to his bare room at Littlemore, and kissed the door-posts and the bed in a passion of grief, show what his intensity of feeling might be.

It is not as a rule the calm and controlled people who have this attractiveness for others; it is rather those who unite with an enchanting kind of playfulness an instinct to confide in and to depend upon protective affection. Very probably there is some deep- seated sexual impulse involved, however remotely and unconsciously, in this species of charm. It is the appeal of the child that exults in happiness, claims it as a right, uses it with a pretty petulance,—like the feigned enmity of the kitten and the puppy,— and when it is clouded over, requires tearfully that it shall be restored. That may seem an undignified comparison for a prince of the church. But Newman was artist first, and theologian a long way afterward; he needed comfort and approval and even applause; and he evoked, together with love and admiration, the compassion and protective chivalry of his friends. His writings have little logical or intellectual force; their strength is in their ineffable and fragrant charm, their ordered grace, their infinite pathos.

The Greek word for this subtle kind of beauty is charis, and the Greeks are worth hearing on the subject, because they, of all the nations that ever lived, were penetrated by it, valued it, looked out for it, worshipped it. The word itself has suffered, as all large words are apt to suffer, when they are transferred to another language, because the big, ultimate words of every tongue connote a number of ideas which cannot be exactly rendered by a single word in another language. Let us be mildly philological for a moment, and realise that the word charis in Greek is the substantive of which the verb is chairo, to rejoice. We translate the word charis by the English word "grace," which means, apart from its theological sense, a rich endowment of charm and beauty, a thing which is essentially a gift, and which cannot be captured by taking thought. When we say that a thing is done with a perfect grace, we mean that it seems entirely delightful, appropriate, seemly, and beautiful. It pleases every sense; it is done just as it should be done, easily, courteously, gently, pleasantly, with a confidence which is yet modest, and with a rightness that has nothing rigid or unamiable about it. To see a thing so done, whatever it may be, leaves us with an envious desire that we might do the thing in the same way. It seems easy and effortless, and the one thing worth doing; and this is where the moral appeal of beauty lies, in the contagious sort of example that it sets. But when we clumsily translate the word by "grace," we lose the root idea of the word, which has a certain joyfulness about it. A thing done with charis is done as a pleasure, naturally, eagerly, out of the heart's abundance; and that is the appeal of things so done to the ordinary mind, that they seem to well up out of a beautiful and happy nature, as the clear spring rises from the sandy floor of the pool. The act is done, or the word spoken, out of a tranquil fund of joy, not as a matter of duty, or in reluctant obedience to a principle, but because the thing, whatever it is, is the joyful and beautiful thing to do.

And so the word became the fundamental idea of the Christian life: the grace of God was the power that floods the whole of the earlier teaching of the gospel, before the conflict with the ungracious and suspicious world began—the serene, uncalculating life, lived simply and purely, not from any grim principle of asceticism, but because it was beautiful to live so. It stood for the joy of life, as opposed to its cares and anxieties and ambitions; it was beautiful to share happiness, to give things away, to live in love, to find joy in the fresh mintage of the earth, the flowers, the creatures, the children, before they were clouded and stained by the strife and greed and enmity of the world. The exquisite quality of the first soft touches of the gospel story comes from the fact that it all rose out of a heart of joy, an overflowing certainty of the true values of life, a determination to fight the uglier side of life by opposing to it a simplicity and a sweetness that claimed nothing, and exacted nothing but a right to the purest sort of happiness—the happiness of a loving circle of friends, where the sacrifice of personal desires is the easiest and most natural thing in the world, because such sacrifice is both the best reward and the highest delight of love. It was here that the strength of primitive Christianity lay, that it seemed the possession of a joyful secret that turned all common things, and even sorrow and suffering, to gold. If a man could rejoice in tribulation, he was on his way to be invulnerable.

It is not a very happy business to trace the decay of a great and noble idea; but one can catch a glimpse of the perversion of "grace" in the hands of our Puritan ancestors, when it became a combative thing, which instead of winning the enemies of the Lord by its patient sweetness, put an edge on the sword of holiness, and enabled the staunch Christian to hew the Amalekites hip and thigh; so that the word, which had stood for a perfectly peaceful and attractive charm, became the symbol of righteous persecution, and flowered in cries of anguish and spilled blood.

We shall take a long time before we can crawl out of the shadow of that dark inheritance; but there are signs in the world of an awakening brotherliness; and perhaps we may some day come back to the old truth, so long mishandled, that the essence of all religion is a spirit of beauty and of joy, bent on giving rather than receiving; and so at last we may reach the perception that the fruitful strength of morality lies not in its terror, its prohibitions, its coercions, but in its good-will, its tolerance, its dislike of rebuke and censure, its rapturous acceptance of all generous and chivalrous and noble ways of living.

And thus, then, I mean by charm not a mere superficial gracefulness which can be learned, as good manners are learned, through a certain code of behaviour, but a thing which is the flower and outward sign of a beautiful attitude to life; an eagerness to welcome everything which is fine and fresh and unstained; that turns away the glance from things unlovely and violent and greedy not in a disapproving or a self-righteous spirit, because it is respectable to be shocked, but in a sense of shame and disgrace that such cruel and covetous and unclean things should be. If one takes a figure like that of St. Francis of Assisi, who for all the superstition and fanaticism with which the record is intermingled, showed a real reflection and restoration of the old Christian joy of life, we shall see that he had firm hold of the secret. St. Francis's love of nature, of animals, of flowers, of children, his way of breaking into song about the pleasant things of earth, his praise of "our sister the Water, because she is very serviceable to us and humble and clean," show the outrush of an overpowering joy. He had the courage to do what very few men and women ever dare to do, and that is to make a clean sweep of property and its complications; but even so, the old legend distorts some of this into a priggish desire to set a good example, to warn and rebuke and improve the occasion. But St. Francis's asceticism is the only kind of asceticism that has any charm, the self-denial, namely, that springs from a sense of enjoyment, and is practised from a feeling of its beauty, and not as a matter of timid and anxious calculation. It is true that St. Francis was haunted by the medieval nightmare of the essential vileness of the body, and spurred it too hard. But apart from this, one recognises in him a poet, and a man of ineffable charm, who found the company of sinners at least as attractive as the company of saints, for the simple reason that the sinner is often enough well meaning and humble, and is spared at least the ugliness of respectable self- righteousness, which is of all things most destructive of the sense of proportion, and most divorced from natural joy. St. Francis took human nature as he found it, and recognised that failure has a beauty which is denied to success, for the simple reason that conscious failure makes a man both grateful and affectionate, while success too often makes him cold and hard.

And there is thus a wonderful fragrance about all that St. Francis did and said, though he must have been sorely tried by his stupid and pompous followers, who constantly misunderstood and misrepresented him, and dragged into the light what was meant to be the inner secret of his soul. There are few figures in the roll of saints so profoundly beautiful and touching as that of St. Francis, because he had in a pre-eminent degree that childlike freshness and trustfulness which is the secret of all charm.

Charm is of course not the same thing as beauty, but only a subdivision of it. There are many things in nature and in art, from the Matterhorn to "Samson Agonistes," that have no charm, but that appeal to a different range of emotions, the sublime, the majestic, the awe-inspiring, things in the presence of which we are hardly at ease; but charm is essentially a comfortable quality, something that one gathers to one's heart, and if there is a mystery about it, as there is about all beautiful things, it is not a mystery of which one would be afraid to know the secret. Charm is the quality which makes one desire to linger upon one's pilgrimage, that cries to the soul to halt, to rest, to be content. It is intimate, reassuring, and appealing; and the shadow of it is the gentle pathos, which is in itself half a luxury of sadness, in the thought that sweet things must have an end. As Herrick wrote to the daffodils:

Stay, stay Until the hasting day Has run But to the evensong: And, having prayed together, we Will go with you along.

We have short time to stay, as you, We have as short a spring; As quick a growth to meet decay As you, or anything.

In such a mood as that there is no sense of terror or despair at the quick-coming onset of death; no more dread of what may be than there is when the hamlet, with its little roofs and tall trees, is folded in the arms of the night, as the sunset dies behind the hill. Beauty may be a terrible thing, as in the sheeted cataract, with all its boiling eddies, or in the falling of the lightning from the womb of the cloud. There is desolation behind that, gigantic movement, ruthless force; but charm comes like a signal of security and good-will, and even its inevitable end is lit with something of mercy and quietness. The danger of charm is that it is the mother of sentiment; and the danger of sentiment is not that it is untrue, but that it takes from us the sense of proportion; we begin to be unable to do without our little scenes and sunsets; and the eye gets so used to dwelling upon the flower-strewn pleasaunce, with its screening trees, that it cannot bear to face the far horizon, with its menace of darkness and storm.

Yet we are very grateful to those who can teach us to turn our eyes to the charm which surrounds us, and a life which is lived without such perception is apt to be a rough and hurrying thing, even though it may also be both high and austere. Like most of life, the true success lies in not choosing one force and neglecting another, but in an expectant kind of compromise. The great affairs and facts of life flash upon us, whether we will or no; and even the man whose mind is bent upon the greatest hopes and aims may find strength and consolation in the lesser and simpler delights. Mighty spirits like, let us say, Carlyle and Ruskin, were not hampered or distracted from their further quest by the microscopic eye, the infinite zest for detail, which characterised both. No one ever spoke so finely as Carlyle of the salient features of moorland and hill, and the silence so deep that it was possible to hear the far- off sheep cropping the grass; no one ever noted so instantaneously the vivid gesture or the picturesque turn of speech, or dwelt more intently upon the pathetic sculpture of experience seen in the old humble workaday faces of country-folk. No one ever delighted more ecstatically than Ruskin in the colour of the amber cataract, with its soft, translucent rims, its flying spray, or in the dim splendours of some half-faded fresco, or in the intricate facade of the crumbling, crag-like church front. But they did not stay there; indeed, Carlyle, in his passionate career among verities and forces, hardly took enough account of the beauty so patiently entwined with mortal things; while Ruskin's sharpest agonies were endured when he found, to his dismay, that men and women could not be induced by any appeal or invective to heed the message of beauty.

It is true that, however we linger, however passionately we love the small, sweet, encircling joys and delights of life, the tragic experience comes to us, whether we will or no. None escapes. And thus our care must be not to turn our eyes away from what in sterner moments we are apt to think mere shows and vanities, but to use them serenely and temperately. St. Augustine, in a magnificent apologue upon the glories and subtleties of light, can only end by the prayer that his heart may not thereby be seduced from heavenly things; but that is the false kind of asceticism, and it is nothing more than a fear of life, if our only concern with it is to shun and abhor the joy it would fain give us. But we may be sure that life has a meaning for us in its charm and loveliness; not the whole meaning, but still an immense significance. To make life into a continuous flight, a sad expectancy, a perpetual awe, is wilfully to select one range of experiences and to neglect its kindness and its good-will. We may grow weak in our sentiment if we make a tragedy out of life, if we cannot bear to have our comfortable arrangements disordered, our little circle of pleasures broken through. The triumph is to be ready for the change, and to know that if the perfect summer day comes to an end, the power that shaped it so, and made the heart swift to love it, has yet larger surprises and glories in store. If we do that, then the charm of life takes its place in our spirits as the evidence of something joyful, wistful, pleasant, bound up with the essence of things; if it disappears, like the gold or azure thread of the tapestry, it is only to emerge in the pattern farther on; and the victory is not to attach ourselves to the particular touches of beauty and fineness which we see in the familiar scene and the well-loved circle, but to recognise beauty as a spirit, a quality which is for ever making itself felt, for ever beckoning and whispering to us, and which will not fail us even if for a time the urgent wind drives us far into the night and the storm, among the crash of the breakers, and the scream of loud winds over the sea.



VI

SUNSET



The liquid kindling of the twilight, the western glow of clear- burning fires, bringing no weariness of heat but the exquisite coolness of darkling airs, is of all the ceremonial of the day the most solemn and sacred moment. The dawn has its own splendours, but it brightens out of secret mists and folded clouds into the common light of day, when the burden must be resumed and the common business of the world renewed again. But the sunset wanes from glory and majesty into the stillness of the star-hung night, when tired eyes may close in sleep, and rehearse the mystery of death; and so the dying down of light, with the suspension of daily activities, is of the nature of a benediction. Dawn brings the consecration of beauty to a new episode of life, bidding the soul to remember throughout the toil and eagerness of the day that the beginning was made in the innocent onrush of dewy light; but when the evening comes, the deeds and words of the daylight are irrevocable facts, and the mood is not one of forward-looking hope and adventure, but of unalterable memory, and of things dealt with so and not otherwise, which nothing can henceforward change or modify. If in the morning we feel that we have power over life, in the evening we know that, whether we have done ill or well, life's power over ourselves has been asserted, and that thus and thus the record must stand.

And so the mood of evening is the larger and the wiser mood, because we must think less of ourselves and more of God. In the dawn it seems to us that we have our part to play, and that nothing, not even God, can prevent us from exercising our will upon the life about us; but in the evening we begin to wonder how much, after all, we have the strength to effect; we see that even our desires and impulses have their roots far back in a past which no restlessness of design or energy can touch; till we end by thankfulness that we have been allowed to feel and to experience the current of life at all. I sat the other day by the bedside of an old and gracious lady, the widow of a great artist, whose works with all their shapely form and dusky flashes of rich colour hung on the walls of her room. She had lived for many years in the forefront of a great fellowship of art and endeavour; she had seen and known intimately all the greatest figures in the art and literature of the last generation; and she was awaiting with perfect serenity and dignity the close. She said to me with a deep emotion, "Ah, the only thing that I desire is that I may continue to FEEL—that brings suffering in abundance with it, but while we suffer we are at least alive. Once or twice in my life I have felt the numbness of anguish, when a blow had fallen, and I could not even suffer. That is the only thing which I dread—not death, nor silence, but only the obliteration of feeling and love." That was a wonderful saying, full of life and energy. She did not wish to recall the old days, nor hanker after them with an unsatisfied pain; and I saw that an immortal spirit dwelt in that frail body, like a bird in an outworn cage.

However much one may enjoy the onrush and vividness of life—I for one find that, though vitality runs now in more definite and habitual channels, though one has done with making vague impulsive experiments, though one wastes less time in undertaking doubtful enterprises, yet there is a great gain in the concentration of energy, and in the certain knowledge of what one's definite work really is.

Far from finding the spring and motion of life diminished, I feel that the current of it runs with a sharper and clearer intensity, because I have learned my limitations, and expend no energy in useless enterprises. I have learned what the achievements are which come joyfully bearing their sheaves with them, and what are the trivial and fruitless aims. When I was younger I desired to be known and recognised and deferred to. I wanted to push my way discreetly into many companies, to produce an impression, to create a sense of admiration. Now as the sunset draws nearer, and the enriched light, withdrawn from the farther horizon, begins to pulsate more intensely in the quarter whence it must soon altogether fade, I begin to see that vague and widely ranging effects have a thinness and shallowness about them. It is a poor thing just to see oneself transiently reflected in a hundred little mirrors. There is no touch of reality about that. Little greetings, casual flashes of courteous talk, petty compliments—these are things that fade as soon as they are born. The only thing worth doing is a little bit of faithful and solid work, something given away which costs one real pain, a few ideas and thoughts worked patiently out, a few hearts really enlivened and inspirited. And then, too, comes the consciousness that much of one's cherished labour is of no use at all except to oneself; that work is not a magnificent gift presented to others, but a wholesome privilege conceded to oneself, that the love which brought with it but a momentary flash of self-regarding pleasure is not love at all, and that only love which means suffering—not delicate regrets and luxurious reveries, but hard and hopeless pain—is worth the name of love at all. Those are some of the lights of sunset, the enfolding gleams that are on their way to death, and which yet testify that the light which wanes and lapses here, drawn reluctantly away from dark valley and sombre woodland, is yet striding ahead over dewy uplands and breaking seas, past the upheaving shoulder of the world.

But best of all the gifts of sunset to the spirit is the knowledge that behind all the whirling web of daylight, beyond all the noise and laughter and appetite and drudgery of life, lies the spirit of beauty that cannot be always revealed or traced in the louder and more urgent pageantry of the day. The sunset has the power of weaving a subtle and remote mystery over a scene that by day has nothing to show but a homely and obvious animation. I was travelling the other day and passed, just as the day began to decline, through the outskirts of a bustling, seaport town. It had all the interest and curiosity of life. Crowded warehouses, swinging up straw-packed crates into projecting penthouses; steamers with red-stained funnels, open-mouthed tubes, gangways, staircase heads, dangling boats, were moored by bustling wharves. One could not divine the use of half the strangely shaped objects with which the scene was furnished, or what the business could be of all the swarming and hurrying figures. Deep sea-horns blew and whistles shrilled, orders were given, hands waved. It was life at its fullest and busiest, but it was life demanding and enforcing its claim and concealing its further purposes. It was just a glimpse of something full of urgent haste, but pleasanter to watch than to mix with; then we passed through a wilderness of little houses, street after street, yard after yard. Presently we were rushing away from it all past a lonely sea-creek that ran far up into the low-lying land. That had a more silent life of its own; old dusky hulks lay at anchor in the channel; the tide ebbed away from mudflats and oozy inlets, the skeletons of worn-out boats stood up out of the weltering clay. Gradually, as the sun went down among orange stains and twisted cloud-wreaths, the creek narrowed and beyond lay a mysterious promontory with shadowy woods and low bare pasture-lands, with here and there a tower standing up or a solitary sea-mark, or a hamlet of clustered houses by the water's edge, while the water between grew paler and stiller, reflecting the wan green of the sky. It is not easy to describe the effect of this scene, thus magically transfigured, upon the mind; but it is a very real and distinct emotion, though its charm depends upon the fact that it shifts the reality of the world to a further point, away from the definite shapes and colours, the tangible and visible relations of things, which become for an instant like a translucent curtain through which one catches a glimpse of a larger and more beautiful reality. The specific hopes, fears, schemes, designs, purposes of life, suddenly become an interlude and not an end. They do not become phantasmal and unreal, but they are known for a brief moment as only temporary conditions, which by their hardness and sharpness obscure a further and larger life, existing before they existed, and extending itself beyond their momentary pact and influence. All that one is engaged in busily saying and doing and enacting is seen in that instant to be only as a ripple on a deep pool. It does not make the activities of life either futile or avoidable; it only gives the mystical sense, that however urgent and important they may seem, there is something further, larger, greater, beyond them, of which they are a real part, but only a part.

Moreover, in my own experience, the further secret, whatever it is, is by no means wholly joyful and not at all light-hearted. It seems to me at such times that it is rather solemn, profound, serious, difficult, and sad. But it is not a heavy or depressing sadness— indeed, the thought is at once hopeful and above everything beautiful. It has nothing that is called sentimental about it. It is not full of rest and content and peace; it is rather strong and stern, though it is gentle too; but it is the kind of gentle strength which faces labour and hardness, not troubled by them, and indeed knowing that only thus can the secret be attained. There is no hint of easy, childlike happiness about the mood; there is a happiness in it, but it is an old and a wise happiness that has learned how to wait and is fully prepared for endurance. There is no fretfulness in it, no chafing over dreams unrealised, no impatience or disappointment. But it does not speak of an untroubled bliss—rather of a deep, sad and loving patience, which expects no fulfilment, no easy satisfaction of desire.

It always seems to me that the quality which most differentiates men is the power of recognising the Unknown. Some natures acquiesce buoyantly or wretchedly in present conditions, and cannot in any circumstances look beyond them; some again have a deep distaste for present conditions whatever they are; and again there are some who throw themselves eagerly and freely into present conditions, use experience, taste life, enjoy, grieve, dislike, but yet preserve a consciousness of something above and beyond. The idealist is one who has a need in his soul to worship, to admire, to love. The mistake made too often by religious idealists is to believe that this sense of worship can only be satisfied by religious and, even more narrowly, by ecclesiastical observance. For there are many idealists to whom religion with its scientific creeds and definite dogmas seems only a dreary sort of metaphysic, an attempt to define what is beyond definition. But there are some idealists who find the sense of worship and the consciousness of an immortal power in the high passions and affections of life. To these the human form, the spirit that looks out from human eyes, are the symbols of their mystery. Others find it in art and music, others again in the endless loveliness of nature, her seas and streams, her hills and woods. Others again find it in visions of helping and raising mankind out of base conditions, or in scientific investigation of the miraculous constitution of nature. It has a hundred forms and energies; but the one feature of it is the sense of some vast and mysterious Power, which holds the world in its grasp—a Power which can be dimly apprehended and even communicated with. Prayer is one manifestation of this sense, though prayer is but a formulation of one's desires for oneself and for the world.

But the essential and vital part of the mystery is not what the soul asks of it, but the signals which it makes to the soul. And here I am but recording my own experience when I say that the lights and gleams of sunset, its golden inlets and cloud-ripples, the dusky veil it weaves about the world, is for my own spirit the solemnity which effects for me what I believe that the mass effects for a devoted Catholic—the unfolding in hints and symbols of the mysteries of God. An unbeliever may look on at a mass and see nothing but the vesture and the rite, a drama of woven paces and waving hands, when a believer may become aware of the very presence of the divine. And the sunset has for me that same unveiling of the beauty of God; it illumines and transfigures life; it shows me visibly and sacredly that beauty pure and stainless runs from end to end of the universe, and calls upon me to adore it, to prostrate myself before its divine essence. The fact that another may see it carelessly and indifferently makes no difference. It only means that not thus does he perceive God. But, for myself, I know no experience more wholly and deeply religious than when I pass in solitude among deep stream-fed valleys, or over the wide fenland, or through the familiar hamlet, and see the dying day flame and smoulder far down in the west among cloudy pavilions or in tranquil spaces of clear sky. Then the well-known land whose homely, day- long energies I know seems to gather itself together into a far and silent adoration, to commit itself trustfully and quietly to God, to receive His endless benediction, and in that moment to become itself eternal in a soft harmony of voiceless praise and passionate desire.



VII

THE HOUSE OF PENGERSICK



There are days—perhaps it is well that they are not more common— when by some singular harmony of body and spirit, every little sound and sight strikes on the senses with a peculiar sharpness and distinctness of quality, has a keen and racy savour, and comes as delightfully home to the mind as cool well-water to thirsty lips. Everything seems in place, in some well-designed combination or symphony of the senses; and more than that—the sound, the sight, whatever it be, sets free a whole train of far-reaching and mysterious thoughts, that seem to flash the secret of life on the spirit—or rather hint it in a tender, smiling way, as a mother nods a delighted acquiescence to the eager questions of a child face to face with some happy surprise. That day of January was just such a day to me, as we drove along the dreary road from Marazion to Helston, by ruined mine-towers with their heaps of scoriae, looking out to the sea on the one hand, and on the other to the low, monotonous slopes of tilth and pasture, rising and falling like broad-backed waves, with here and there a wild and broken wood of firs, like the forest of Broceliande, or a holt of wind-brushed, fawn-coloured ash-trees, half empurpled by the coming of spring, in some rushy dingle by the stream side.

It was a cool grey day, with a haze over the sea, the gusty sky of yesterday having hardened into delicate flakes of pearly cloud, like the sand on some wave-beaten beach. It was all infinitely soft and refreshing to the eye, that outspread pastoral landscape, seen in a low dusk, like the dusk of a winter dawn.

It was then that in a little hollow to our right we saw the old House of Pengersick—what a grim, lean, hungry sort of name! We made our way down along a little road, the big worn flints standing up out of the gravel, by brakes of bramble, turf-walls where the ferns grew thick, by bits of wild upland covered with gorse and rusty bracken, and down at last to the tiny hamlet—four or five low white houses, in little gardens where the escallonia grew thick and glossy, the purple veronica bloomed richly, and the green fleshy mesembryanthemum tumbled and dripped over the fences. The tower itself rose straight out of a farmyard, where calves stared through the gate, pigs and hens routed and picked in the mire. I have seldom seen so beautiful a bit of building: it was a great square battlemented tower, with a turret, the mullioned windows stopped up with sea-worn boulders. The whole built of very peculiar stone, of a dark grey tinge, weathered on the seaward side to a most delicate silvery grey, with ivy sprawling over it in places, like water shot out from a pail over a stone floor. There were just a few traces of other buildings in the sheds and walls, and bits of carved stonework piled up in a rockery. No doubt the little farm itself and the cottages were all built out of the ruins.

From the tower itself—it has a few bare rooms filled with farm lumber—one can see down the valley to the long grey line of the Prah sands, and the low dusky cliffs of Hove point, where the waves were breaking white.

I suppose it needed to be a strong place. The Algiers and Sallee pirates used to make descents upon this coast till a comparatively recent date. As late as 1636 they kidnapped seven boats and forty- two fishermen off the Manacles, none of whom were ever heard of again. Eighty fishermen from Looe were captured in one day, and there is a complaint extant from the justices of Cornwall to the lord lieutenant that in one year Cornwall had lost above a thousand mariners thus!

But there was also another side to the picture; the natives all along this coast were dreadful wreckers and plunderers themselves, and made little account of burning a ship and knocking the survivors on the head. The very parish, Germoe, in which Pengersick stands, had as bad a name as any in Cornwall:

God keep us from rocks and shelving sands, And save us from Breage and Germoe men's hands,

runs the old rhyme. And there is an evil old story of how a treasure ship, the St. Andrew of Portugal, went ashore at Gunwalloe in January 1526. There were thousands of cakes of copper and silver on board, plate, pearls, jewels, chains, brooches, arras, satins, velvets, sets of armour for the King of Portugal, and a huge chest of coined gold.

The wretched crew got most of the treasure to land and stacked it on the cliffs, when John Milliton of Pengersick, with a St. Aubyn and a Godolphin, came down with sixty armed men, and took all the treasure away. Complaints were made, and the three gentlemen protested that they had but ridden down to save the crew, had found them destitute, and had even given them money. But I daresay the big guest-chamber of Pengersick was hung with Portuguese arras for many a long year afterwards.

The Millitons died out, and their land passed by purchase or marriage to the descendants of another of the three pious squires, Godolphin of Godolphin—and belongs to-day to his descendant, the Duke of Leeds.

One would have thought that men could not have borne to live so, in such deadly insecurity. But probably they troubled their heads little about the pirates, kept the women and children at home, and set a retainer on the cliff in open weather, to scan the offing for the light-rigged barques, while poorer folk took their chance. We live among a different set of risks now, and think little of them, as the days pass.

The life of the tower was simple and hardy enough—some fishing and hunting, some setting of springes on the moor for woodcock and rabbits, much farmwork, solid eating and drinking, and an occasional carouse—a rude, plentiful, healthy life, perhaps not as far removed from our own as we like to believe.

But the old tower spoke to me to-day of different things, of the buried life of the past, of the strange drift of human souls through the world for their little span of life, love, and sorrow, and all so pathetically ignorant of what goes before and follows after, why it so comes about, and what is the final aim of the will we blindly serve. Here was a house of men, I said to myself, with the same hopes and fears and fancies as myself, and yet none of them, could I recall them, could give me any reason for the life we thus hurriedly live, so much of it entirely joyful and delightful, so much of it distasteful and afflicting. On a sunny day of summer, with the sea a sapphire blue, set with great purple patches, the scent of the gorse in the air, the sound of the clear stream in one's ears, what could be sweeter than to live? and even on dark days, when the wind volleys up from the sea, and the rain dashes on the windows, and the gulls veer and sail overhead, the great guest- room with its fire of wreckage, the women working, the children playing about, must have been a pleasant place enough. But even to the strongest and boldest of the old squires the end came, as the waggon with the coffin jolted along the stony lane, and the bell of Germoe came faintly over the hill.

But I could not think of that to-day, with a secret joy in my heart; I thought rather of the splendid mystery of life, that seems to screen from us something more gracious still—the steep velvet sky full of star-dust, the flush of spring in sunlit orchards, the soft, thunderous echoes of great ocean billows, the orange glow of sunset behind dark woods: all that background of life; and then the converse of friend with friend, the intercepted glance of wondering eyes, the whispered message of the heart. All this, and a crowd of other sweet images and fancies came upon me in a rush to-day, like scents from a twilight garden, as I watched the old silvery tower stand up bluff and square, with the dark moorland behind it, and the little houses clustering about its feet.



VIII

VILLAGES



I wonder if any human being has ever expended as much sincere and unrequited love upon the little pastoral villages about Cambridge as I have. No one ever seems to me to take the smallest interest in them or to know them apart or to remember where they are. It is true that it takes a very faithful lover to distinguish instantly and impeccably between Histon, Hinxton, Hauxton, Harston, and Harlton; but to me they have all of them a perfectly distinct quality, and make a series of charming little pastoral pictures in the mind. Who shall justly and perfectly assess the beautiful claims of Great and Little Eversden? I doubt if any inhabitant of Cambridge but myself and one friend of mine, a good man and true, could do it. Yet it is as pleasant to have a connoisseurship in villages as to have a connoisseurship in wines or cigars, though it is not so regarded.

What is the charm of them? That I cannot say. It is a mystery, like the charm of all sweet things; and further, what is the meaning of love for an inanimate thing, with no individuality, no personality, no power of returning love? The charm of love is that one discerns some spirit making signals back. "I like you to be here, I trust you, I am glad to be with you, I wish to give you something, to increase your joy, as mine is increased." That, or something like that, is what one reads in the eyes and faces and gestures of those whom one dares to love. One would otherwise be sadly and mournfully alone if one could not come across the traces of something, some one whose heart leaps up and whose pulse quickens at the proximity of comrade and friend and lover. But even so there is always the thought of the parting ahead, when, after the sharing of joy, each has to go on his way alone.

Then, one may love animals; but that is a very strange love, for the man and the animal cannot understand each other. The dog may be a true and faithful comrade, and there really is nothing in the world more wonderful than the trustful love of a dog for a man. One may love a horse, I suppose, though the horse is a foolish creature at best; one may have a sober friendship with a cat, though a cat does little more than tolerate one; and a bird can be a merry little playfellow: but the terror of wild animals for men has something rather dreadful about it, because it stands for many centuries of cruel wrong-doing.

And one may love, too, with a wistful sort of love the works of men, pictures, music, statues; but that, I think, is because one discerns a human figure at the end of a vista—a figure hurrying away through the ages, but whom one feels one could have loved had time and place only allowed.

But when it comes to loving trees and flowers, streams and hills, buildings and fields, what is it that happens? I have a perfectly distinct feeling about these little villages hereabouts. Some are to me like courteous strangers, some like dull and indifferent people, some like pleasant, genial folk whom I am mildly pleased to see; but with some I have a real and devoted friendship. I like visiting them, and if I cannot visit them, I think of them; when I am far away the thought of them comes across me, and I am glad to think of them waiting there for me, nestling under their hill, the smoke going up above the apple-orchards.

One or two of them are particularly beloved because I visited them first thirty years ago, when I was an undergraduate, and the thought of the old days and the old friendships springs up again like a sweet and far-off fragrance when I enter them. Yet I do not know any of the people who live in these villages, though by dint of going there often there are a few people by whom I am recognised and saluted.

But let me take one village in particular, and I will not name it, because one ought not to publish the names of those whom one loves. What does it consist of? It straggles along a rough and ill-laid lane, under a little wold, once a sheep-walk, now long ploughed up. The soil of the wold is pale, so that in the new-ploughed fields there rest soft, creamlike shadows when the evening sun falls aslant. There are two or three substantial farmhouses of red brick, comfortable old places, with sheds and ricks and cattle-byres and barns close about them. And I think it is strange that the scent of a cattle-byre, with its rich manure and its oozing pools, is not ungrateful to the human sense. It ought to be, but it is not. It gives one, by long inheritance, no doubt, a homelike feeling.

Then there are many plastered, white-walled, irregular cottages, very quaint and pretty, perhaps a couple of centuries old, very ill built, no doubt, but enchanting to look at; there is a new schoolhouse, very ugly at present, with its smart red brick and its stone facings—ugly because it does not seem to have grown up out of the place, but to have been brought there by rail; and there are a few new yellow-brick cottages, probably much pleasanter to live in than the old ones, but with no sort of interest or charm. The whole is surrounded by little fields, orchards, closes, paddocks, and a good many great elms stand up above the house-roofs. There is one quaint old farm, with a moat and a dove-cote and a fine, old mellow brick wall surrounded by little pollarded elms, very quiet and characteristic; and then there is a big, ancient church, by whom built one cannot divine, because there is no squire in the village, and the farmers and labourers could no more build such a church now than they could build a stellar observatory. It would cost nowadays not less than ten thousand pounds, and there is no record of who gave the money or who the architect was. It has a fine tower and a couple of solid bells; it has a few bits of good brass-work, a chandelier and some candlesticks, and it has a fine eighteenth-century tomb in a corner, with a huge slab of black basalt on the top, and a heraldic shield and a very obsequious inscription, which might apply to anyone, and yet could be true of nobody. Why the particular old gentleman should want to sleep there, or who was willing to spend so much on his lying in state, no one knows, and I fear that no one cares except myself.

There are a few little bits of old glass in the church, in the traceries of the windows, just enough to show that some one liked making pretty things, and that some one else cared enough to pay for them. And then there is a solid rectory by the church, inhabited for centuries by fellows of a certain Cambridge college. I do not expect that they lived there very much. Probably they rode over on Sundays, read two services, and had a cold luncheon in between; perhaps they visited a sick parishioner, and even came over on a week-day for a marriage or a funeral; and I daresay that in the summer, when the college was deserted, they came and lived there for a few weeks, rather bored, and longing for the warm combination room and the college port and the gossip and stir of the place.

That is really all, I think. And what is there to love in all that?

Well, it is a little space of earth in which life has been going on for I daresay a thousand years. The whole place has grown slowly up out of the love and care and work of man. Perhaps there were nothing but little huts and hovels at first, with a tiny rubble church; then the houses grew a little bigger and better. Perhaps it was emptied again by the Black Death, which took a long toll of victims hereabouts. Shepherds, ploughmen, hedgers, ditchers, farmers, an ale-house-keeper, a shopkeeper or two, and a priest— that has been the village for a thousand years. Patient, stupid, toilsome, unimaginative, kindly little lives, I daresay. Not much interested in one another, ill educated, gossipy, brutish, superstitious, but surprised perhaps into sudden passions of love, and still more surprised perhaps by the joys of fatherhood and motherhood; with children of all ages growing up, pretty and engaging and dirty and amusing and naughty, fading one by one into dull and sober age, and into decrepitude, and the churchyard at the end of all!

Well, I think all that pathetic and mysterious, and beautiful with the beauty that reality has. I want to know who all the folks were, what they looked like, what they cared about or thought about, how they made terms with pain and death, what they hoped, expected, feared, and what has become of them. Everyone as urgently and vehemently and interestedly alive as I myself, and yet none of them with the slightest idea of how they got there or whither they were going—the great, helpless, good-natured, passive army of men and women, pouring like a stream through the world, and borne away on the wings of the wind. They were glad to be alive, no doubt, when the sun fell on the apple-orchard, and the scent of the fruit was in the air, and the bees hummed round the blossoms, when people smile at each other and say kind and meaningless things; they were afraid, no doubt, as they lay in pain in the stuffy attics, with the night wind blustering round the chimney-stack, and hoped to be well again. Then there were occasions and treats, the Sunday dinner, the wedding, the ride in the farm-cart to Cambridge, the visit of the married sister from her home close by. I do not suppose they knew or cared what was happening in the world. War and politics made little difference to them. They knew about the weather, they cared perhaps about their work, they liked the Sunday holiday—all very dim and simple, thoughts not expressed, feelings not uttered, experience summed up in little bits of phrases. Yet I like to think that they were pleased with the look of the place without knowing why. I don't deceive myself about all this, or make it out as idyllic. I don't exactly wish to have lived thus, and I expect it was coarse, greedy, dull, ugly, a great deal of it; but though I can think fine thoughts about it, and put my thoughts into musical words, I do not honestly believe that my life, my hopes, my feelings differ very much from the experience of these old people.

Of course I have books and pictures and intellectual fancies and ideas; but that is only an elaborate game that I play, the things I notice and recognise: but I expect the old hearts and minds were at work, too, noticing and observing and recording; and all my flourish of talk and thought is only a superficial affair.

And what consecrates and lights up the little place for me, touches it with golden hues, makes it moving, touching, beautiful, is the thought of all that strange, unconscious life, the love and hate, the fear and the content, the joy and sorrow, that has surged to and fro among the thatched roofs and apple-orchards so many centuries before I came into being, and will continue when I am trodden into the dust.

When I came here first thirty years ago, exploring with a friend long dead the country-side, it was, I am sure, the same thought that made the place beautiful. I could not then put it into words; I have learned to do that since, and word-painting is a very pleasant pastime. It was a hot, bright summer day—I recall the scent of the clover in the air—and there came on me that curious uplifting of the heart, that wonder as to what all the warmth and scent, the green-piled tree, the grazing cows, the children trotting to and fro, could possibly mean, or why it was all so utterly delightful. It was not a religious feeling, but there was a sense of a great, good-natured, beauty-loving mind behind it all—a mind very like our own, and yet even then with a shadow striking across it—the shadow of pain and grief and hollow farewells.

I was not a very contented boy in those days, in some bewilderment of both mind and heart, having had my first experience that life could be hard and intricate. The world was sweeter to me, though not so interesting as it now is; but I had just the same deep desire as I have now, though it has not been satisfied, to find something strong and secure and permanent, some heart to trust utterly and entirely, something that could understand and comfort and explain and reassure, a power which one could clasp hands with, as a child lays its delicate finger in a strong, enfolding palm, and never be in any doubt again. It is one's weakness which is so tiring, so disappointing; and yet I do not want a careless, indifferent, brutal, healthy strength at all. It is the strength of love and peace that I want, not to be afraid, not to be troubled. It is all somewhere, I do not doubt:

Yet, oh, the place could I but find!

I have been through my village this very day. The sun was just beginning to slope to the west; the sun poured out his rays of gold from underneath the shadow of a great, dark, up-piled cloud—the long rays which my nurse used to tell me were sucking up water, but which I believed to be the eye of God. The trees were bare, but the elm-buds were red, and the willow-rods were crimson with spring; the little stream bubbled clearly off the hill; and the cottage gardens were full of up-thrusting blades; while the mezereons were all aflame with bloom. Life moving, pausing, rushing past! I wonder. When I pass the gate, if I see the dawn of that other morning, I cannot help feeling that I shall want to see my little village again, to loiter down the lane among the white-gabled houses. Shall I be much wiser then than I am now? Shall I have seen or heard something which will set my anxious mind at rest? Who can tell me? And yet the old, gnarled apple-boughs, with the blue sky behind them, and the new-springing grass all seem to hold the secret, which I want as much to interpret and make my own as when I wandered through the hamlet under the wold more than thirty years ago.



IX

DREAMS



There is a movement nowadays among the philosophers who study the laws of thought, to lay a strong emphasis upon the phenomena of dreams; what part of us is it that enacts with such strange zest and vividness, and yet with so mysterious a disregard of ordinary motives and conventions, the pageant of dreams? Like many other things which befall us in daily life, dreams are so familiar a fact, that we often forget to wonder at the marvellousness of it all. The two points about dreams which seem to me entirely inexplicable are: firstly, that they are so much occupied with visual impressions, and secondly, that though they are all self- invented and self-produced, they yet contrive to strike upon the mind with a marvellous freshness of emotion and surprise. Let us take these two points a little more in detail.

When one awakes from a vivid dream one generally has the impression of a scene of some kind, which has been mainly received through the medium of the eye. I suppose that this varies with different people, but my own dreams are rather sharply divided into certain classes. I am oftenest a silent spectator of landscapes of ineffable beauty, such as a great river, as blue as sapphire, rolling majestically down between vast sandstone cliffs, or among wooded hills, piled thick with trees rich in blossom; or I see stately buildings crowded together among woodlands, with long carved fronts of stone and airy towers. These dreams are peculiarly uplifting and stimulating, and I wake from them with an extraordinary sense of beauty and wonder; or else I see from some window or balcony a great ceremony of some quite unintelligible kind proceeding, a procession with richly dressed persons walking or riding, or a religious pomp taking place in a dim pillared interior. All such dreams pass by in absolute silence. I have no idea where I am, nor what is happening, nor am I curious to know. No voice is upraised, and there is no one at hand to converse with.

Then again there are dreams of which the substance is animated and vivid conversation. I have long and confidential talks with people like the Pope or the Tsar of Russia. They ask my advice, they quote my books, and I am surprised to find them so familiar and accessible. Or I am in a strange house with an unknown party of guests, and person after person comes up to tell me all kinds of interesting facts and details. Or else, as often happens to me, I meet people long since dead; I dream constantly, for instance, about my father. I see him by chance at a railway station, we congratulate ourselves upon the happy accident of meeting; he takes my arm, he talks smilingly and indulgently; and the only way in which the knowledge that he is dead affects the dream is that I feel bewildered at having seen so little of him of late, and even ask him where he has been for so long that we have not met oftener.

Very occasionally I hear music in a dream. I well remember hearing four musicians with little instruments like silver flutes play a quartet of infinite sweetness; but most of my adventures take place either among fine landscapes or in familiar conversation.

At one time, as a child, I had an often repeated dream. We were then living in an old house at Lincoln, called the Chancery. It was a large rambling place, with some interesting medieval features, such as a stone winding staircase, a wooden Tudor screen, built into a wall, and formerly belonging to the chapel of the house, There were, moreover, certain quite unaccountable spaces, where the external measurements of passages did not correspond with the measurement of rooms within. This fact excited our childish imagination, and probably was the origin of the dream.

It always began in the same way. I would appear to be descending a staircase which led up into a lobby, and would find that a certain step rattled as I trod upon it. Upon examination the step proved to be hinged, and on opening it, the head of a staircase appeared, leading downwards. Though, as I say, the dream was often repeated, it was always with the same shock of surprise that I made the discovery. I used to squeeze in through the opening, close the step behind me, and go down the stairs; the place was dimly lighted with some artificial light, the source of which I could never discover. At the bottom a large vaulted room was visible, of great extent, fitted with iron-barred stalls as in a stable. These stalls were tenanted by animals; there were dogs, tigers, and lions. They were all very tame, and delighted to see me. I used to go into the stalls one by one, feed and play with the animals, and enjoy myself very much. There was never any custodian to be seen, and it never occurred to me to wonder how the animals had got there, nor to whom they belonged. After spending a long time with my menagerie, I used to return; and the only thing that seemed of importance to me was that I should not be seen leaving the place. I used to raise the step cautiously and listen, so as to be sure that there was no one about; generally in the dream some one came down the stairs over my head; and I then waited, crouched below, with a sense of delightful adventure, until the person had passed by, when I cautiously extricated myself. This dream became quite familiar to me, so that I used to hope in my mind, on going to bed, that I might be about to see the animals. but I was often disappointed, and dreamed of other things. This dream visited me at irregular intervals for I should say about two or three years, and then I had it no more; but the singular fact about it was that it always came with the same sense of wonder and delight, and while actually dreaming it, I never realised that I had seen it before.

The only other tendency to a recurring dream that I have ever noticed was in the course of the long illness of which I have written elsewhere; my dreams were invariably pleasant and agreeable at that time; but I constantly had the experience in the course of them of seeing something of a profound blackness. Sometimes it was a man in a cloak, sometimes an open door with an intensely black space within, sometimes a bird, like a raven or a crow; oftenest of all it took the shape of a small black cubical box, which lay on a table, without any apparent lid or means of opening it. This I used to take up in my hands, and find very heavy; but the predominance of some intensely black object, which I have never experienced before or since, was too marked to be a mere coincidence; and I have little doubt that it was some obscure symptom of my condition, and had some definite physical cause. Indeed, at the same time, I was occasionally aware of the presence of something black in waking hours, not a thing definitely seen, but existing dimly in a visual cell. After I recovered, this left me, and I have never seen it since.

These are the more coherent kind of dreams; but there is another kind of a vaguely anxious character, which consist of endless attempts to catch trains, or to fulfil social engagements, and are full of hurry and dismay. Or one dreams that one has been condemned to death for some unknown offence, and the time draws near; some little while ago I spent the night under these circumstances interviewing different members of the Government in a vain attempt to discover the reasons for my condemnation; they could none of them give me a specific account of the affair, and could only politely deplore that it was necessary to make an example. "Depend upon it," said Mr. Lloyd-George to me, "SUBSTANTIAL justice will be done!" "But that is no consolation to me," I said. "No," he replied kindly, "it would hardly amount to that!"

But out of all this there emerges the fact that after a vivid dream, one's memory is full of pictures of things seen quite as distinctly, indeed often more distinctly, than in real life. I have a clearer recollection of certain dream-landscapes than I have of many scenes actually beheld with the eye; and this sets me wondering how the effect is brought about, and how the memory is enabled to store what appears to be a visual impression, by some reflex action of the nerves of sight.

Then there is the second point, that of the lively emotions stirred by dreams. It would really appear that there must be two distinct personalities at work, without any connection between them, one unconsciously inventing and the other consciously observing. I dreamed not long ago that I was walking beside the lake at Riseholme, the former palace of the bishops of Lincoln, where I often went as a child. I saw that the level of the lake had sunk, and that there was a great bank of shingle between the water and the shore, on which I proceeded to pace. I was attracted by something sticking out of the bank, and on going up to it, I saw that it was the base of a curious metal cup. I pulled it out and saw that I had found a great golden chalice, much dimmed with age and weather. Then I saw that farther in the bank there were a number of cups, patens, candlesticks, flagons, of great antiquity and beauty. I then recollected that I had heard as a child (this was wholly imaginary, of course) that there had once been a great robbery of cathedral plate at Lincoln, and that one of the bishops had been vaguely suspected of being concerned in it; and I saw at once that I had stumbled on the hoard, stowed there no doubt by guilty episcopal hands—I even recollected the name of the bishop concerned.