I had two literary men staying with me a week ago, both of them accomplished writers, and interested in their art, not professionally and technically only, but ardently and enthusiastically. I here label them respectively Musgrave and Herries. Musgrave is a veteran writer, a man of fifty, who makes a considerable income by writing, and has succeeded in many departments—biography, criticism, poetry, essay-writing; he lacks, however, the creative and imaginative gift; his observation is acute, and his humour considerable; but he cannot infer and deduce; he cannot carry a situation further than he can see it. Herries on the other hand is a much younger man, with an interest in human beings that is emotional rather than spectacular; while Musgrave is interested mainly in the present, Herries lives in the past or the future. Musgrave sees what people do and how they behave, while Herries is for ever thinking how they must have behaved to produce their present conditions, or how they would be likely to act under different conditions. Musgrave's one object is to discover what he calls the truth; Herries thrives and battens upon illusions. Musgrave is fond of the details of life, loves food and drink, conviviality and social engagements, new people and unfamiliar places—Herries is quite indifferent to the garniture of life, lives in great personal discomfort, dislikes mixed assemblies and chatter, and has a fastidious dislike of the present, whatever it is, from a sense that possibilities are so much richer than performances. Musgrave admits that he has been more successful as a writer than he deserves; Herries is likely, I think, to disappoint the hopes of his friends, and will not do justice to his extraordinary gifts, from a certain dreaminess and lack of vitality. Musgrave loves the act of writing, and is always full to the brim of matter. Herries dislikes composition, and is yet drawn to it by a sense of fearful responsibility. Neither have, fortunately, the least artistic jealousy. Herries regards a man like Musgrave with a sort of incredulous stupefaction, as a stream of inexplicable volume. Herries has to Musgrave all the interest of a very delicate and beautiful type, whose fastidiousness he can almost envy. As a rule, literary men will not discuss their art among themselves; they have generally arrived at a sort of method of their own, which may not be ideal, but which is the best practical solution for themselves, and they would rather not be disquieted about it; literary talk, too, tends to partake of the nature of shop, and busy men, as a rule, like to talk the shop of their recreations rather than the shop of their employment. But Musgrave will discuss anything; and as for Herries, writing is not an occupation, so much as a divine vocation which he regards with a holy awe.
The discussion began at dinner, and I was amused to see how it affected the two men. Musgrave, by an incredible mental agility, contrived to continue to take a critical interest in the meal and the argument at the same time; Herries thrust away an unfinished plate, refused what was offered to him, pushed his glasses about as if they were chessmen, filled the nearest with water at intervals—he is a rigid teetotaller—and drank out of them alternately with an abstracted air.
The point was the question of literary finish, and the degree to which it can or ought to be practised. Herries is of the school of Flaubert, and holds that there may be several ways of saying a thing, but only one best way, and that it is alike the duty and the goal of the writer to find that way. This he enunciated with some firmness.
"No," said Musgrave, "I think that is only a theory, and breaks down, as all theories do, when it is put in practice: look at all the really big writers: look at Shakespeare—to me his work gives the impression of being both hasty and uncorrected. If he says a thing in one way, and while he is doing it thinks of a more telling form of expression, he doesn't erase the first statement; he merely says it over again more effectively. He is full of lapses and inappropriate passages—and it is that very thing which gives him such an air of reality."
"Well, there is a good deal in that," said Herries, "but I do not see how you are going to prove that it is not deliberate. Shakespeare wrote like that in his plays, breathlessly and eagerly, because that was the aim he had in view; if he makes one of his people say a thing tamely, and then more pointedly, it is because it is exactly what people do in real life, and Shakespeare was thinking with their mind for the time being. He is behind the person he has made, moving his arms, looking through his eyes, breathing through his mouth; and just as life itself is hurried and inconsequent, so the perfection of art is, not to be hurried and inconsequent, but to give one the impression of being so. I don't believe he left his work uncorrected out of mere impatience. Look at the way he wrote when he was writing in a different manner—look at the Sonnets, for instance—there is plenty of calculated art there!"
"Yes," I said, "there is art there, but I don't think it is very deliberate art. I don't believe they were written SLOWLY. Of course one can hardly be breathless in a sonnet. The rhymes are all stretched across the ground, like wires, and one has to pick one's way among them."
"Well, take another instance," said Musgrave. "Look at Scott. He speaks himself of his 'hurried frankness of execution.' His proof-sheets are the most extraordinary things, full of impossible sentences, lapses of grammar, and so forth. He did not do much correcting himself, but I believe I am right in saying that his publishers did, and spent hours in reducing the chaos to order."
"Oh, of course I don't deny," said Herries, "that volume and vitality are what matters most. Scott's imagination was at once prodigious and profound. He seems to me to have said to his creations, 'Let the young men now arise and play before us.' But I don't think his art was the better for his carelessness. Great and noble as the result was, I think it would have been greater if he had taken more pains. Of course one regards men of genius like Scott and Shakespeare with a kind of terror—one can forgive them anything; but it is because they do by a sort of prodigal instinct what most people have to do by painful effort. If one's imagination has the poignant rightness of Scott's or Shakespeare's, one's hurried work is better than most people's finished work. But people of lesser force and power, if they get their stitches wrong, have to unpick them and do it all over again. Sometimes I have an uneasy sense, when I am writing, that my characters are feeling as if their clothes do not fit. Then they have to be undressed, so to speak, that one may see where the garments gall them. Now, take a book like Madame Bovary, painfully and laboriously constructed—it seems obvious enough, yet the more one reads it the more one becomes aware how every stroke and detail tell. What almost appals me about that book is the way in which the end is foreseen in the beginning, the way in which Flaubert seems to have carried the whole thing in his head all the time, to have known exactly where he was going and how fast he was going."
"That is perfectly true," I said. "But take an instance of another of Flaubert's books, Bouvard et Pecuchet, where the same method is pursued with what I can only call deplorable results. Every detail is perfect of its kind. The two grotesque creatures take up one pursuit after another, agriculture, education, antiquities, horticulture, distilling perfumes, making jam. In each they make exactly the absurd mistakes that such people would have made; but one loses all sense of reality, because one feels that they would not have taken up so many things; it is only a collection of typical absurdities. Given the men and the particular pursuit, it is all natural enough, but one wearies of the same process being applied an impossible number of times, just as Flaubert was often so intolerable in real life, because he ran a joke to death, and never knew when to put it down. The result in Bouvard et Pecuchet is a lack of proportion and subordination. It is like one of the early Pre-Raphaelite pictures, in which every detail is painted with minute perfection. It was all there, no doubt, and it was all exactly like that; but that is not how the human eye apprehends a scene. The human mind takes a central point, and groups the accessories round it. In art, I think everything depends upon centralisation. Two lovers part, and the birds' faint chirp from the leafless tree, the smouldering rim of the sunset over misty fields, are true and symbolical parts of the scene; but if you deal in botany and ornithology and meteorology at such a moment, you cloud and dim the central point—you digress when you ought only to emphasise."
"Oh yes," said Herries with a sigh, "that is all right enough—it all depends upon proportion; and the worst of all these discussions on points of art is that each person has to find his own standard—one can't accept other people's standards. To me Bouvard et Pecuchet is a piece of almost flawless art—it is there—it lives and breathes. I don't like it all, of course, but I don't doubt that it happened so. There must be an absolute rightness behind all supreme writing. Art must have laws as real and immutable and elaborate as those of science and metaphysics and religion—that is the central article of my creed."
"But the worst of that theory is," I said, "that one lays down canons of taste, which are very neat and pretty; and then there comes some new writer of genius, knocks all the old canons into fragments, and establishes a new law. Canons of art seem to me sometimes nothing more than classifications of the way that genius works. I find it very hard to believe that there is a pattern, so to speak, for the snuffers and the candlesticks, revealed to Moses in the mount. It was Moses' idea of a pair of snuffers, when all is said."
"I entirely agree," said Musgrave; "the only ultimate basis of all criticism is, 'I like it because I like it'—and the connoisseurs of any age are merely the people who have the faculty of agreeing, I won't say with the majority, but with the majority of competent critics."
"No, no," said Herries, raising his mournful eyes to Musgrave's face, "don't talk like that! You take my faith away from me. Surely there must be some central canon of morality in art, just as there is in ethics. For instance, in ethics, is it conceivable that cruelty might become right, if only enough people thought it was right? Is there no absolute principle at all? In art, what about the great pictures and the great poems, which have approved themselves to the best minds in generation after generation? Their rightness and their beauty are only attested by critics, they are surely not created by them? My view is that there is an absolute law of beauty, and that we grow nearer to it by slow degrees. Sometimes, as with the Greeks, people got very near to it indeed. Is it conceivable, for instance, that men could ever come to regard the Venus of Milo as ugly?"
"Why yes," said Musgrave, laughing, "I suppose that if humanity developed on different lines, and a new type of beauty became desirable, we might come to look upon the Venus of Milo as a barbarous and savage kind of object, a dreadful parody of what we had become, like a female chimpanzee. To a male chimpanzee, the wrinkled brow, the long upper lip, the deeply indented lines from nose to mouth, of a female chimpanzee in the prime of adolescence, is, I suppose, almost intolerably dazzling and adorable—beauty can only be a relative thing, when all is said."
"We are drifting away from our point," I said. "The question really is whether, as art expands, the principles become fewer or more numerous. My own belief is that the principles do become fewer, but the varieties of expression more numerous. Keats tried to sum it up by saying, 'Beauty is Truth, Truth Beauty'; but it is not a successful maxim, because, as a peevish philosopher said, 'Why in that case have two words for the same thing?'"
"But it is true, in a sense, for all that," said Herries. "What we HAVE learnt is that the subject is of very little importance in art—it is the expression that matters. Genre pictures, plots of novels, incidents of plays—they are all rather elementary things. Flaubert looked forward to a time in art when there should be no subjects at all, when art should aspire to the condition of music, and express the intangible."
"I confess," said Musgrave, laughing, "that that statement conveys nothing to me. A painter, on that line, would depict nothing, but simply produce a sort of harmony of colour. A picture would become simply a texture of colour-vibrations. My own view is rather that it is a question of accurate observation, followed by an extreme delicacy and suggestiveness of expression. Some people would say that it was all a question of reality; and that the point is that the writer shall suggest a reality to his reader, even though the picture he evoked in the reader's mind was not the same as the picture in his own mind—but that is to me pure symbolism."
"Exactly," said Herries, "and the more symbolical that art becomes, the purer it becomes—that is precisely what I am aiming at."
"Well," I said, "that gives me an opportunity of making a confession. I have never really been able to understand what technical symbolism in art is. A symbol in the plain sense is something which recalls or suggests to you something else; and thus the whole of art is pure symbolism. The flick of colour gives you a distant woodland, the phrase gives you a scene or an emotion. Five printed words upon a page make one suffer or rejoice imaginatively; and my idea of the most perfect art is not the art which gives one a sense of laborious finish, but the art in which you never think of the finish at all, but only of the thing described. The end of effort is to conceal effort, as the old adage says. Some people, I suppose, attain it through a series of misses; but the best art of all goes straight to the heart of the thing."
"Yes," said Musgrave, "my own feeling is that the mistake is to consider it can only be done in one way. Each person has his own way; but I agree in thinking that the best art is the most effortless."
"From the point of view of the onlooker, perhaps," said Herries, "but not from the point of view of the craftsman. The pleasure of art, for the craftsman, is to see what the difficulty was, and to discern how the artist triumphed over it. Think of the delightful individual roughness of old work as opposed to modern machine-made things. There is an appropriate irregularity, according to the medium employed. The workmanship of a gem is not the same as that of a building; the essence of the gem is to be flawless; but in the building there is a pleasure in the tool-dints, like the pleasure of the rake-marks on the gravel path. Of course music must be flawless too—firm, resolute, inevitable, because the medium demands it; but in a big picture—why, the other day I saw a great oil-painting, a noble piece of art—I came upon it in the Academy, by a side door close upon it. The background was a great tangled mass of raw crude smears, more like coloured rags patched together than paint; but a few paces off, the whole melted into a great river-valley, with deep water-meadows of summer grass and big clumps of trees. That is the perfect combination. The man knew exactly what he wanted—he got his effect—the structure was complete, and yet there was the added pleasure of seeing how he achieved it. That is the kind of finish I desire."
"Yes, of course," said Musgrave, "we should all agree about that; but my feeling would be that the way to do it is for the artist to fill himself to the brim with the subject, and to let it burst out. I do not at all believe in the painful pinching and pulling together of a particular bit of work. That sort of process is excellent practice, but it seems to me like the receipt in one of Edwin Lear's Nonsense Books for making some noisome dish, into which all sorts of ingredients of a loathsome kind were to be put; and the directions end with the words: 'Serve up in a cloth, and throw all out of the window as soon as possible.' It is an excellent thing to take all the trouble, if you throw it away when it is done; you will do your next piece of real work all the better; but for a piece of work to have the best kind of vitality, it must flow, I believe, easily and sweetly from the teeming mind. Take such a book as Newman's Apologia, written in a few weeks, a piece of perfect art—but then it was written in tears."
"But on the other hand," said I, "look at Ariosto's Orlando; it took ten years to write and sixteen more to correct—and there is not a forced or a languid line in the whole of it."
"Yes," said Musgrave, "it is true, of course, that people must do things in their own way. But, on the whole, the best work is done in speed and glow, and derives from that swift handling a unity, a curve, that nothing else can give. What matters is to have a clear sense of structure, and that, at all events, cannot be secured by poky and fretful treatment. That is where intellectual grasp comes in. But, even so, it all depends upon what one likes, and I confess that I like large handling better than perfection of detail."
"I believe," I said, "that we really all agree. We all believe in largeness and vitality as the essential qualities. But in the lesser kinds of art there is a delicacy and a perfection which are appropriate. An attention to minutiae which the graving of a gem or the making of a sonnet demands is out of place in a cathedral or an epic. We none of us would approve of hasty, slovenly, clumsy work anywhere; all that is to be demanded is that such irregularity as can be detected should not be inappropriate irregularity. What we disagree about is only the precise amount of finish which is appropriate to the particular work. Musgrave would hold, in the case of Flaubert, that he was, in his novels, trying to give to the cathedral the finish of the gem, and polishing a colossal statue as though it were a tiny statuette."
"Yes," said Herries mournfully, "I suppose that is right; though when I read of Flaubert spending hours of torture in the search for a single epithet, I do not feel that the sacrifice was made in vain if only the result was achieved."
"But I," said Musgrave, "grudge the time so spent. I would rather have more less-finished work than little exquisite work—though I suppose that we shall come to the latter sometime, when the treasures of art have accumulated even more hopelessly than now, and when nothing but perfect work will have a chance of recognition. Then perhaps a man will spend thirty years in writing a short story, and twenty more in polishing it! But at present there is much that is unsaid which may well be said, and I confess that I do not hanker after this careful and troubled work. It reminds me of the terrible story of the Chinaman who spent fifty years in painting a vase which cracked in the furnace. It seems to me like the worst kind of waste."
"And I, on the other hand," said Herries gravely, "think that such a life is almost as noble a one as I can well conceive."
His words sounded to me like a kind of pontifical blessing pronounced at the end of a liturgical service; and, dinner now being over, we adjourned to the library. Then Musgrave entertained us with an account of a squabble he had lately had with a certain editor, who had commissioned him to write a set of papers on literary subjects, and then had objected to his treatment. Musgrave had trailed his coat before the unhappy man, laid traps for him by dint of asking him ingenuous questions, had written an article elaborately constructed to parody derisively the editor's point of view, had meekly submitted it as one of the series, and then, when the harried wretch again objected, had confronted him with illustrative extracts from his own letters. It was a mirthful if not a wholly good-natured performance. Herries had listened with ill-concealed disgust, and excused himself at the end of the recital on the plea of work.
As the door closed behind him, Musgrave said with a wink, "I am afraid my story has rather disgusted our young transcendentalist. He has no pleasure in a wholesome row; he thinks the whole thing vulgar—and I believe he is probably right; but I can't live on his level, though I am sure it is very fine and all that."
"But what do you really think of his work?" I said. "It is very promising, isn't it?"
"Yes," said Musgrave reflectively, "that is just what it is—he has got a really fine literary gift; but he is too uncompromising. Idealism in art is a deuced fine thing, and every now and then there comes a man who can keep it up, and can afford to do so. But what Herries does not understand is that there are two sides to art—the theory and the practice. It is just the same with a lot of things—education, for instance, and religion. But the danger is that the theorists become pedantic. They get entirely absorbed in questions of form, and the plain truth is that however good your form is, you have got to get hold of your matter too. The point after all is the application of art to life, and you have got to condescend. Things of which the ultimate end is to affect human beings must take human beings into account. If you aim at appealing only to other craftsmen, it becomes an erudite business: you become like a carpenter who makes things which are of no use except to win the admiration of other carpenters. Of course it may be worth doing if you are content with indicating a treatment which other people can apply and popularise. But if you isolate art into a theory which has no application to life, you are a savant and not an artist. You can't be an artist without being a man, and therefore I hold that humanity comes first. I don't mean that one need be vulgar. Of course I am a mere professional, and my primary aim is to earn an honest livelihood. I frankly confess that I don't pose, even to myself, as a public benefactor. But Herries does not care either about an income, or about touching other people. Of course I should like to raise the standard. I should like to see ordinary people capable of perceiving what is good art, and not so wholly at the mercy of conventional and melodramatic art. But Herries does not care twopence about that. He is like the Calvinist who is sure of his own salvation, has his doubts about the minister, and thinks every one else irreparably damned. As I say, it is a lofty sort of ideal, but it is not a good sign when that sort of thing begins. The best art of the world—let us say Homer, Virgil, Dante, Shakespeare—was contributed by people who probably did not think about it as art at all. Fancy Homer going in for questions of form! It is always, I believe, a sign of decadence when formalism begins. It is just like religion, which starts with a teacher who has an overwhelming sense of the beauty of holiness; and then that degenerates into theology. These young men are to art what the theologians are to religion. They lose sight of the object of the whole thing in codification and definition. My own idea of a great artist is a man who finds beauty so hopelessly attractive and desirable that he can't restrain his speech. It all has to come out; he cannot hold his peace. And then a number of people begin to see that it was what they had been vaguely admiring and desiring all the time; and then a few highly intellectual people think that they can analyse it, and produce the same effects by applying their analysis. It can't be done so; art must have a life of its own."
"Yes," I said, "I think you are right. Herries is ascetic and eremitical—a beautiful thing in many ways; but there is no transmission of life in such art; it is a sterile thing after all, a seedless flower."
"Let us express the vulgar hope," said Musgrave, "that he may fall in love; that will bring him to his moorings! And now," he added, "we will go to the music-room and I will see if I cannot tempt the shy bird from his roost." And so we did—Musgrave is an excellent musician. We flung the windows open; he embarked upon a great Bach "Toccata"; and before many bars were over, our idealist crept softly into the room, with an air of apologetic forgiveness.
I suppose that every one knows by experience how certain days in one's life have a power of standing out in the memory, even in a tract of pleasant days, all lit by a particular brightness of joy. One does not always know at the time that the day is going to be so crowned; but the weeks pass on, and the one little space of sunlight, between dawn and eve, has orbed itself
"into the perfect starWe saw not, when we moved therein."
The thing that in my own case most tends to produce this "grace of congruity," as the schoolmen say, is the presence of the right companion, and it is no less important that he should be in the right mood. Sometimes the right companion is tiresome when he should be gracious, or boisterous when he should be quiet; but when he is in the right mood, he is like a familiar and sympathetic guide on a mountain peak. He helps one at the right point; his desire to push on or to stop coincides with one's own; he is not a hired assistant, but a brotherly comrade. On the day that I am thinking of I had just such a companion. He was cheerful, accessible, good-humoured. He followed when I wanted to lead, he led when I was glad to follow. He was not ashamed of being unaffectedly emotional, and he was not vaporous or quixotically sentimental. He did not want to argue, or to hunt an idea to death; and we had the supreme delight of long silences, during which our thoughts led us to the same point, the truest test that there is some subtle electrical affinity at work, moving viewlessly between heart and brain.
What no doubt heightened the pleasure for me was that I had been passing through a somewhat dreary period. Things had been going wrong, had tied themselves into knots. Several people whose fortunes had been bound up with my own had been acting perversely and unreasonably—at least I chose to think so. My own work had come to a standstill. I had pushed on perhaps too fast, and I had got into a bare sort of moorland tract of life, and could not discern the path in the heather. There did not seem any particular task for me to undertake; the people whom it was my business to help, if I could, seemed unaccountably and aggravatingly prosperous and independent. Not only did no one seem to want my opinion, but I did not feel that I had any opinions worth delivering. Who does not know the frame of mind? When life seems rather an objectless business, and one is tempted just to let things slide; when energy is depleted, and the springs of hope are low; when one feels like the family in one of Mrs. Walford's books, who all go out to dinner together, and of whom the only fact that is related is that "nobody wanted them." So fared it with my soul.
But that morning, somehow, the delicious sense had returned, of its own accord, of a beautiful quality in common things. I had sought it in vain for weeks; it had behaved as a cat behaves, the perverse, soft, pretty, indifferent creature. It had stared blankly at my beckoning hand; it had gambolled away into the bushes when I strove to capture it, and looked out at me when I desisted with innocent grey eyes; and now it had suddenly returned uncalled, to caress me as though I had been a long-lost friend, diligently and anxiously sought for in vain. That morning the very scent of breakfast being prepared came to my nostrils like the smoke of a sacrifice in my honour; the shape and hue of the flowers were full of gracious mystery; the green pasture seemed a place where a middle-aged man might almost venture to dance. The sharp chirping of the birds in the shrubbery seemed a concert arranged for my ear. We were soon astir. Like Wordsworth we said that this one day we would give to idleness, though the profane might ask to what that leisurely poet consecrated the rest of his days.
We found ourselves deposited, by a brisk train—the very stoker seemed to be engaged in the joyful conspiracy—at the little town of St. Ives. I should like to expatiate upon the charms of St. Ives, its clear, broad, rush-fringed river, its quaint brick houses, with their little wharf-gardens, where the trailing nasturtium mirrors itself in the slow flood, its embayed bridge, with the ancient chapel buttressed over the stream—but I must hold my hand; I must not linger over the beauties of the City of Destruction, which I have every reason to believe was a very picturesque place, when our hearts were set on pilgrimage. Suffice it to say that we walked along a pretty riverside causeway, under enlacing limes, past the fine church, under the hanging woods of Houghton Hill—and here we found a mill, a big, timbered place, with a tiled roof, odd galleries and projecting pent-houses, all pleasantly dusted with flour, where a great wheel turned dripping in a fern-clad cavern of its own, with the scent of the weedy river-water blown back from the plunging leat. Oh, the joyful place of streams! River and leat and back-water here ran clear among willow-clad islands, all fringed deep with meadow-sweet and comfrey and butterbur and melilot. The sun shone overhead among big, white, racing clouds; the fish poised in mysterious pools among trailing water-weeds; and there was soon no room in my heart for anything but the joy of earth and the beauty of it. What did the weary days before and behind matter? What did casuistry and determinism and fate and the purpose of life concern us then, my friend and me? As little as they concerned the gnats that danced so busily in the golden light, at the corner where the alder dipped her red rootlets to drink the brimming stream.
There we chartered a boat, and all that hot forenoon rowed lazily on, the oars grunting and dripping, the rudder clicking softly through avenues of reeds and water-plants, from reach to reach, from pool to pool. Here we had a glimpse of the wide-watered valley rich in grass, here of silent woods, up-piled in the distance, over which quivered the hot summer air. Here a herd of cattle stood knee-deep in the shallow water, lazily twitching their tails and snuffing at the stream. The birds were silent now in the glowing noon; only the reeds shivered and bowed. There, beside a lock with its big, battered timbers, the water poured green and translucent through a half-shut sluice. Now and then the springs of thought brimmed over in a few quiet words, that came and passed like a breaking bubble—but for the most part we were silent, content to converse with nod or smile. And so we came at last to our goal; a house embowered in leaves, a churchyard beside the water, and a church that seemed to have almost crept to the brink to see itself mirrored in the stream. The place mortals call Hemingford Grey, but it had a new name for me that day which I cannot even spell—for the perennial difficulty that survives a hundred disenchantments, is to feel that a romantic hamlet seen thus on a day of pilgrimage, with its clustering roofs and chimneys, its waterside lawns, is a real place at all. I suppose that people there live dull and simple lives enough, buy and sell, gossip and back-bite, wed and die; but for the pilgrim it seems an enchanted place, where there can be no care or sorrow, nothing hard, or unlovely, or unclean, but a sort of fairy-land, where men seem to be living the true and beautiful life of the soul, of which we are always in search, but which seems to be so strangely hidden away. It must have been for me and my friend that the wise and kindly artist who lives there in a paradise of flowers had filled his trellises with climbing roses, and bidden the tall larkspurs raise their azure spires in the air. How else had he brought it all to such perfection for that golden hour? Perhaps he did not even guess that he had done it all for my sake, which made it so much more gracious a gift. And then we learned too from a little red-bound volume which I had thought before was a guide-book, but which turned out to-day to be a volume of the Book of Life, that the whole place was alive with the calling of old voices. At the little church there across the meadows the portly, tender-hearted, generous Charles James Fox had wedded his bride. Here, in the pool below, Cowper's dog had dragged out for him the yellow water-lily that he could not reach; and in the church itself was a little slab where two tiny maidens sleep, the sisters of the famous Miss Gunnings, who set all hearts ablaze by their beauty, who married dukes and earls, and had spent their sweet youth in a little ruined manor-house hard by. I wonder whether after all the two little girls, who died in the time of roses, had not the better part; and whether the great Duchess, who showed herself so haughty to poor Boswell, when he led his great dancing Bear through the grim North, did not think sometimes in her state of the childish sisters with whom she had played, before they came to be laid in the cool chancel beside the slow stream.
And then we sate down for a little on the churchyard wall, and watched the water-grasses trail and the fish poise. In that sweet corner of the churchyard, at a certain season of the year, grow white violets; they had dropped their blooms long ago; but they were just as much alive as when they were speaking aloud to the world with scent and colour; I can never think of flowers and trees as not in a sense conscious; I believe all life to be conscious of itself, and I am sure that the flowering time is the happy time for flowers as much as it is for artists.
Close to us here was a wall, with a big, solid Georgian house peeping over, blinking with its open windows and sun-blinds on to a smooth, shaded lawn, full of green glooms and leafy shelters. Why did it all give one such a sense of happiness and peace, even though one had no share in it, even though one knew that one would be treated as a rude and illegal intruder if one stepped across and used it as one's own?
This is a difficult thing to analyse. It all lies in the imagination; one thinks of a long perspective of sunny afternoons, of leisurely people sitting out in chairs under the big sycamore, reading perhaps, or talking quietly, or closing the book to think, the memory re-telling some old and pretty tale; and then perhaps some graceful girl comes out of the house with a world of hopes and innocent desires in her wide-open eyes; or a tall and limber boy saunters out bare-headed and flannelled, conscious of life and health, and steps down to the punt that lies swinging at its chain—one hears it rattle as it is untied and flung into the prow; and then the dripping pole is plunged and raised, and the punt goes gliding away, through zones of glimmering light and shadow, to the bathing-pool. All that comes into one's mind; one takes life, and subtracts from it all care and anxiety, all the shadow of failure and suffering, sees it as it might be, and finds it good. That is the first element of the charm. And then there comes into the picture a further and more reflective charm, that which Tennyson called the passion of the past; the thought that all this beautiful life is slipping away, even as it forms itself, that one cannot stay it for an instant, but that the shadow creeps across the dial, and the church-clock tells the hours of the waning day. It is a mistake to think that such a sense comes of age and experience; it is rather the other way, for never is the regretful sense of the fleeting quality of things realised with greater poignancy than when one is young. When one grows older one begins to expect a good deal of dissatisfaction and anxiety to be mingled with it all, one finds the old Horatian maxim becoming true:
"Vitae summa brevis nos spem vitat inchoare longam,"
and one learns to be grateful for the sunny hour; but when one is young, one feels so capable of enjoying it all, so impatient of shadow and rain, that one cannot bear that the sweet wine of life should be diluted.
That is, I believe, the analysis of the charm of such a scene; the possibility of joy, and permanence, tinged with the pathos that it has no continuance, but rises and falls and fades like a ripple in the stream.
The disillusionment of experience is a very different thing from the pathos of youth; for in youth the very sense of pathos is in itself an added luxury of joy, giving it a delicate beauty which, if it were not so evanescent, it could not possess.
But then comes the real trouble, the heavy anxiety, the illness, the loss; and those things, which looked so romantic in the pages of poets and the scenes of story-writers, turn out not to be romantic at all, but frankly and plainly disagreeable and intolerable things. The boy who swept down the shining reaches with long, deft strokes becomes a man—money runs short, his children give him anxiety, his wife becomes ailing and fretful, he has a serious illness; and when after a day of pain he limps out in the afternoon to the shadow of the old plane-tree, he must be a very wise and tranquil and patient man, if he can still feel to the full the sweet influences of the place, and be still absorbed and comforted by them.
And here lies the weakness of the epicurean and artistic attitude, that it assorts so ill with the harder and grimmer facts of life. Life has a habit of twitching away the artistic chair with all its cushions from under one, with a rude suddenness, so that one has, if one is wise, to learn a mental agility and to avoid the temptation of drowsing in the land where it is always afternoon. The real attitude is to be able to play a robust and manful part in the world, and yet to be able to banish the thought of the bank-book and the ledger from the mind, and to submit oneself to the sweet influences of summer and sun.
"He who of such delights can judge, and spareTo interpose them oft is not unwise."
So sang the old Puritan poet; and there is a large wisdom in the word OFT which I have abundantly envied, being myself an anxious-minded man!
The solution is BALANCE—not to think that the repose of art is all, and yet on the other hand not to believe that life is always jogging and hustling one. The way in which one can test one's progress is by considering whether activities and tiresome engagements are beginning to fret one unduly, for if so one is becoming a hedonist; and on the other hand by being careful to observe whether one becomes incapable of taking a holiday; if one becomes bored and restless and hipped in a cessation of activities, then one is suffering from the disease of Martha in the Gospel story; and of the two sisters we may remember that Martha was the one who incurred a public rebuke.
What one has to try to perceive is that life is designed not wholly for discomfort, or wholly for ease, but that we are here as learners, one and all. Sometimes the lesson comes whispering through the leaves of the plane-tree, with the scent of violets in the air; sometimes it comes in the words and glances of a happy circle full of eager talk, sometimes through the pages of a wise book, and sometimes in grim hours, when one tosses sleepless on one's bed under the pressure of an intolerable thought—but in each and every case we do best when we receive the lesson as willingly and large-heartedly as we can.
Perhaps, in some of my writings, those who have read them have thought that I have unduly emphasised the brighter, sweeter, more tranquil side of life. I have done so deliberately, because I believe that we should follow innocent joy as far as we can. But it is not because I am unaware of the other side. I do not think that any of the windings of the dark wood of which Dante speaks are unknown to me, and there are few tracts of dreariness that I have not trodden reluctantly. I have had physical health and much seeming prosperity; but to be acutely sensitive to the pleasures of happiness and peace is generally to be morbidly sensitive to the burden of cares. Unhappiness is a subjective thing. As Mrs. Gummidge so truly said, when she was reminded that other people had their troubles, "I feel them more." And if I have upheld the duty of seeking peace, it has been like a preacher who preaches most urgently against his own bosom-sins. But I am sure of this, that however impatiently one mourns one's fault and desires to be different, the secret of growth lies in that very sorrow, perhaps in the seeming impotence of that sorrow. What one must desire is to learn the truth, however much one may shudder at it; and the longer that one persists in one's illusions, the longer is one's learning-time. Is it not a bitter comfort to know that the truth is there, and that what we believe or do not believe about it makes no difference at all? Yes, I think it is a comfort; at all events upon that foundation alone is it possible to rest.
How far one drifts in thought away from the sweet scene which grows sweeter every hour. The heat of the day is over now; the breeze curls on the stream, the shadow of the tower falls far across the water. My companion rises and smiles, thinking me lost in indolent content; he hardly guesses how far I have been voyaging
"On strange seas of thought alone."
Does he guess that as I look back over my life, pain has so far preponderated over happiness that I would not, if I could, live it again, and that I would not in truth, if I could choose, have lived it at all? And yet, even so, I recognise that I am glad not to have the choice, for it would be made in an indolent and timid spirit, and I do indeed believe that the end is not yet, and that the hour will assuredly come when I shall rejoice to have lived, and see the meaning even of my fears.
And then we retrace our way, and like the Lady of Shalott step down into the boat, to glide along the darkling water-way in the westering light. Why cannot I speak to my friend of such dark things as these? It would be better perhaps if I could, and yet no hand can help us to bear our own burden.
But the dusk comes slowly on, merging reed and pasture and gliding stream in one indistinguishable shade; the trees stand out black against the sunset, thickening to an emerald green. A star comes out over the dark hill, the lights begin to peep out in the windows of the clustering town as we draw nearer. As we glide beneath the dark houses, with their gables and chimneys dark against the glowing sky, how everything that is dull and trivial and homely is blotted out by the twilight, leaving nothing but a sense of romantic beauty of mysterious peace! The little town becomes an enchanted city full of heroic folk; the figure that leans silently over the bridge to see us pass, to what high-hearted business is he vowed, burgher or angel? A spell is woven of shadow and falling light, and of chimes floating over meadow and stream. Yet this sense of something remotely and unutterably beautiful, this transfiguration of life, is as real and vital an experience as the daily, dreary toil, and to be welcomed as such. Nay, more! it is better, because it gives one a deepened sense of value, of significance, of eternal greatness, to which we must cling as firmly as we may, because it is there that the final secret lies; not in the poor struggles, the anxious delays, which are but the incidents of the voyage, and not the serene life of haven and home.
The present time is an era when intellectual persons are ashamed of being credulous. It is the perfectly natural and desirable result of the working of the scientific spirit. Everything is relentlessly investigated, the enormous structure of natural law is being discovered to underlie all the most surprising, delicate, and apparently fortuitous processes, and no one can venture to forecast where the systematisation will end. The result is a great inrush of bracing and invigorating candour. It is not that our liberty of reflection and action is increased. It is rather increasingly limited. But at least we are growing to discern where our boundaries are, and it is deeply refreshing to find that the boundaries erected by humanity are much closer and more cramping than the boundaries determined by God. We are no longer bound by human authority, by subjective theories, by petty tradition. We are no longer required to tremble before thaumaturgy and conjuring and occultism. It is true that science has hitherto confined itself mainly to the investigation of concrete phenomena; but the same process is sure to be applied to metaphysics, to sociology, to psychology; and the day will assuredly come when the human race will analyse the laws which govern progress, which regulate the exact development of religion and morality.
The demolition of credulity is, as I have said, a wholly desirable and beneficial thing. Most intelligent people have found some happiness in learning that the dealings of God—that is, the creative and originative power behind the universe—are at all events not whimsical, however unintelligible they may be. No one at all events is now required to reconcile with his religious faith a detailed belief in the Mosaic cosmogony, or to accept the fact that a Hebrew prophet was enabled to summon bears from a wood to tear to pieces some unhappy boys who found food for mirth in his personal appearance. That is a pure gain. But side by side with this entirely wholesome process, there are a good many people who have thrown overboard, together with their credulity, a quality of a far higher and nobler kind, which may be called faith. Men who have seen many mysteries explained, and many dark riddles solved in nature, have fallen into what is called materialism, from the mistaken idea that the explanation of material phenomena will hold good for the discernment of abstract phenomena. Yet any one who approaches the results of scientific investigation in a philosophical and a poetical spirit, sees clearly enough that nothing has been attempted but analysis, and that the mystery which surrounds us is only thrust a little further off, while the darkness is as impenetrable and profound as ever. All that we have learnt is how natural law works; we have not come near to learning why it works as it does. All we have really acquired is a knowledge that the audacious and unsatisfactory theories, such, for instance, as the old-fashioned scheme of redemption, by which men have attempted with a pathetic hopefulness to justify the ways of God to man, are, and are bound to be, despairingly incomplete. The danger of the scientific spirit is not that it is too agnostic, but that it is not agnostic enough: it professes to account for everything when it only has a very few of the data in its grasp. The materialistic philosophy tends to be a tyranny which menaces liberty of thought. Every one has a right to deduce what theory he can from his own experience. The one thing that we have no sort of right to do is to enforce that theory upon people whose experience does not confirm it. We may invite them to act upon our assumptions, but we must not blame them if they end by considering them to be baseless. I was talking the other day to an ardent Roman Catholic, who described by a parable the light in which he viewed the authority of the Church. He said that it was as if he were half-way up a hill, prevented from looking over into a hidden valley by the slope of the ground. On the hill-top, he said, might be supposed to stand people in whose good faith and accuracy of vision he had complete confidence. If they described to him what they saw in the valley beyond, he would not dream of mistrusting them. But the analogy breaks down at every point, because the essence of it is that every one who reached the hill-top would inevitably see the same scene. Yet in the case of religion, the hill-top is crowded by people, whose good faith is equally incontestable, but whose descriptions of what lies beyond are at hopeless variance. Moreover all alike confess that the impressions they derive are outside the possibility of scientific or intellectual tests, and that it is all a matter of inference depending upon a subjective consent in the mind of the discerner to accept what is incapable of proof. The strength of the scientific position is that the scientific observer is in the presence of phenomena confirmed by innumerable investigations, and that, up to a certain point, the operation of a law has been ascertained, which no reasonable man has any excuse for doubting. Whenever that law conflicts with religious assumptions, which in any case cannot be proved to be more than subjective assumptions, the unverifiable theory must go down before the verifiable. Religion may assume, for instance, that life is an educative process; but that theory cannot be considered proved in the presence of the fact that many human beings close their eyes upon the world before they are capable of exercising any moral or intellectual choice whatever.
It may prove, upon investigation, that all religious theories and all creeds are nothing more than the desperate and pathetic attempts of humanity, conscious of an instinctive horror of suffering, and of an inalienable sense of their right to happiness, to provide a solution for the appalling fact that many human beings seem created only to suffer and to be unhappy. The mystery is a very dark one; and philosophy is still not within reach of explaining how it is that a sense of justice should be implanted in man by the Power that appears so often to violate that conception of justice.
The fact is that the progress of science has created an immense demand for the quality of faith and hopefulness, by revealing so much that is pessimistic in the operation of natural law. If we are to live with any measure of contentment or tranquillity, we must acquire a confidence that God has not, as science tends to indicate, made all men for nought. We must, if we can, acquire some sort of hope that it is not in mere wantonness and indifference that He confronts us with the necessity for bearing the things that He has made us most to dread. It may be easy enough for robust, vigorous, contented persons to believe that God means us well; but the only solution that is worth anything is a solution that shall give us courage, patience, and even joy, at times when everything about us seems to speak of cruelty and terror and injustice. One of the things that has ministered comfort in large measure to souls so afflicted is the power of tracing a certain beauty and graciousness in the phenomena that surround us. Who is there who in moments of bewildered sorrow has not read a hint of some vast lovingness, moving dimly in the background of things, in the touch of familiar hands or in the glances of dear eyes? Surely, they have said to themselves, if love is the deepest, strongest, and most lasting force in the world, the same quality must be hidden deepest in the Heart of God. This is the unique strength of the Christian revelation, the thought of the Fatherhood of God, and His tender care for all that he has made. Again, who is there who in depression and anxiety has not had his load somewhat lightened by the sight of the fresh green of spring foliage against a blue sky, by the colour and scent of flowers, by the sweet melody of musical chords? The aching spirit has said, "They are there—beauty, and peace, and joy—if I could but find the way to them." Who has not had his fear of death alleviated by the happy end of some beloved life, when the dear one has made, as it were, solemn haste to be gone, falling gently into slumber? Who is there, who, speeding homewards in the sunset, has seen the dusky orange veil of flying light drawn softly westward over misty fields, where the old house stands up darkling among the glimmering pastures, and has not felt the presence of some sweet secret waiting for him beyond the gates of life and death? All these things are symbols, because the emotions they arouse are veritably there, as indisputable a phenomenon as any fact which science has analysed. The miserable mistake that many intellectual people make is to disregard what they would call vague emotions in the presence of scientific truth. Yet such emotions have a far more intimate concern for us than the dim sociology of bees, or the concentric forces of the stars. Our emotions are far more true and vivid experiences for us than indisputable laws of nature which never cut the line of our life at all. We may wish, perhaps, that the laws of such emotions were analysed and systematised too, for it is a very timid and faltering spirit that thinks that definiteness is the same as profanation. We may depend upon it that the deeper we can probe into such secrets, the richer will our conceptions of life and God become.
The mistake that is so often made by religious organisations, which depend so largely upon symbolism, is the terrible limiting of this symbolism to traditional ceremonies and venerable ritual. It has been said that religion is the only form of poetry accessible to the poor; and it is true in the sense that anything which hallows and quickens the most normal and simple experiences of lives divorced from intellectual and artistic influences is a very real and true kind of symbolism. It may be well to give people such symbolism as they can understand, and the best symbols of all are those that deal with the commonest emotions. But it is a lean wisdom that emphasises a limited range of emotions at the expense of a larger range; and the spirit which limits the sacred influences of religion to particular buildings and particular rites is very far removed from the spirit of Him who said that neither at Gerizim nor in Jerusalem was the Father to be worshipped, but in spirit and in truth. At the same time the natural impatience of one who discerns a symbolism all about him, in tree and flower, in sunshine and rain, and who hates to see the range restricted, is a feeling that a wise and tolerant man ought to resist. It is ill to break the pitcher because the well is at hand! One does not make a narrow soul broader by breaking down its boundaries, but by revealing the beauty of the further horizon. Even the false feeling of compassion must be resisted. A child is more encouraged by listening patiently to its tale of tiny exploits, than by casting ridicule upon them.
But on the other hand it is a wholly false timidity for one who has been brought up to love and reverence the narrower range of symbols, to choke and stifle the desires that stir in his heart for the wider range, out of deference to authority and custom. One must not discard a cramping garment until one has a freer one to take its place; but to continue in the confining robe with the larger lying ready to one's hand, from a sense of false pathos and unreasonable loyalty, is a piece of foolishness.
There are, I believe, hundreds of men and women now alive, who have outgrown their traditional faith, through no fault of their own; but who out of terror at the vague menaces of interested and Pharisaical persons do not dare to break away. One must of course weigh carefully whether one values comfort or liberty most. But what I would say is that it is of the essence of a faith to be elastic, to be capable of development, to be able to embrace the forward movement of thought. Now so far am I from wishing to suggest that we have outgrown Christianity, that I would assert that we have not yet mastered its simplest principles. I believe with all my soul that it is still able to embrace the most daring scientific speculations, for the simple reason that it is hardly concerned with them at all. Where religious faith conflicts with science is in the tenacity with which it holds to the literal truth of the miraculous occurrences related in the Scriptures. Some of these present no difficulty, some appear to be scientifically incredible. Yet these latter seem to me to be but the perfectly natural contemporary setting of the faith, and not to be of the essence of Christianity at all. Miracles, whether they are true or not, are at all events unverifiable, and no creed that claims to depend upon the acceptance of unverifiable events can have any vitality. But the personality, the force, the perception of Christ Himself emerges with absolute distinctness from the surrounding details. We may not be in a position to check exactly what He said and what He did not say, but just as no reasonable man can hold that He was merely an imaginative conception invented by people who obviously did not understand Him, so the general drift of His teaching is absolutely clear and convincing.
What I would have those do who can profess themselves sincerely convinced Christians, in spite of the uncertainty of many of the recorded details, is to adopt a simple compromise; to claim their part in the inheritance of Christ, and the symbols of His mysteries, but not to feel themselves bound by any ecclesiastical tradition. No one can forbid, by peevish regulations, direct access to the spirit of Christ and to the love of God. Christ's teaching was a purely individualistic teaching, based upon conduct and emotion, and half the difficulties of the position lie in His sanction and guidance having been claimed for what is only a human attempt to organise a society with a due deference for the secular spirit, its aims and ambitions. The sincere Christian should, I believe, gratefully receive the simple and sweet symbols of unity and forgiveness; but he should make his own a far higher and wider range of symbols, the symbols of natural beauty and art and literature—all the passionate dreams of peace and emotion that have thrilled the yearning hearts of men. Wherever those emotions have led men along selfish, cruel, sensual paths, they must be distrusted, just as we must distrust the religious emotions which have sanctioned such divergences from the spirit of Christ. We must believe that the essence of religion is to make us alive to the love of God, in whatever writing of light and air, of form and fragrance it is revealed; and we must further believe that religion is meant to guide and quicken the tender, compassionate, brotherly emotions, by which we lean to each other in this world where so much is dark. But to denounce the narrower forms of religion, or to abstain from them, is utterly alien to the spirit of Christ. He obeyed and reverenced the law, though He knew that the expanding spirit of His own teaching would break it in pieces. Of course, since liberty is the spirit of the Gospel, a liberty conditioned by the sense of equality, there may be occasions when a man is bound to resist what appears to him to be a moral or an intellectual tyranny. But short of that, the only thing of which one must beware is a conscious insincerity; and the limits of that a man must determine for himself. There are occasions when consideration for the feelings of others seems to conflict with one's own sense of sincerity; but I think that one is seldom wrong in preferring consideration for others to the personal indulgence of one's own apparent sincerity.
Peace and gentleness always prevail in the end over vehemence and violence, and a peaceful revolution brings about happier results for a country, as we have good reason to know, than a revolution of force. Even now the narrower religious systems prevail more in virtue of the gentleness and goodwill and persuasion of their ministers than through the spiritual terrors that they wield—the thunders are divorced from the lightning.
Thus may the victories of faith be won, not by noise and strife, but by the silent motion of a resistless tide. Even now it creeps softly over the sand and brims the stagnant pools with the freshening and invigorating brine.
But in the worship of the symbol there is one deep danger; and that is that if one rests upon it, if one makes one's home in the palace of beauty or philosophy or religion, one has failed in the quest. It is the pursuit not of the unattained but of the unattainable to which we are vowed. Nothing but the unattainable can draw us onward. It is rest that is forbidden. We are pilgrims yet; and if, intoxicated and bemused by beauty or emotion or religion, we make our dwelling there, it is as though we slept in the enchanted ground. Enough is given us, and no more, to keep us moving forwards. To be satisfied is to slumber. The melancholy that follows hard in the footsteps of art, the sadness haunting the bravest music, the aching, troubled longing that creeps into the mind at the sight of the fairest scene, is but the warning presence of the guide that travels with us and fears that we may linger. Who has not seen across a rising ground the gables of the old house, the church tower, dark among the bare boughs of the rookery in a smiling sunset, and half lost himself at the thought of the impossibly beautiful life that might be lived there? To-day, just when the western sun began to tinge the floating clouds with purple and gold, I saw by the roadside an old labourer, fork on back, plodding heavily across a ploughland all stippled with lines of growing wheat. Hard by a windmill whirled its clattering arms. How I longed for something that would render permanent the scene, sight, and sound alike. It told me somehow that the end was not yet. What did it stand for? I hardly know; for life, slow and haggard with toil, hard-won sustenance, all overhung with the crimson glories of waning light, the wet road itself catching the golden hues of heaven. A little later, passing by the great pauper asylum that stands up so naked among the bare fields, I looked over a hedge, and there, behind the engine-house with its heaps of scoriae and rubbish, lay a little trim ugly burial-ground, with a dismal mortuary, upon which some pathetic and tawdry taste had been spent. There in rows lay the mouldering bones of the failures of life and old sin; not even a headstone over each with a word of hope, nothing but a number on a tin tablet. Nothing more incredibly sordid could be devised. One thought of the sad rite, the melancholy priest, the handful of relatives glad at heart that the poor broken life was over and the wretched associations at an end. Yet even that sight too warned one not to linger, and that the end was not yet. Presently, in the gathering twilight, I was making my way through the streets of the city. The dusk had obliterated all that was mean and dreary. Nothing but the irregular housefronts stood up against the still sky, the lighted windows giving the sense of home and ease. A quiet bell rang for vespers in a church tower, and as I passed I heard an organ roll within. It all seemed a sweetly framed message to the soul, a symbol of joy and peace.
But then I reflected that the danger was of selecting, out of the symbols that crowded around one on every side, merely those that ministered to one's own satisfaction and contentment. The sad horror of that other place, the little bare place of desolate graves—that must be a symbol as well, that must stand as a witness of some part of the awful mind of God, of the strange flaw or rent that seems to run through His world. It may be more comfortable, more luxurious to detach the symbol that testifies to the satisfaction of our needs; but not thus do we draw near to truth and God. And then I thought that perhaps it was best, when we are secure and careless and joyful, to look at times steadily into the dark abyss of the world, not in the spirit of morbidity, not with the sense of the macabre—the skeleton behind the rich robe, death at the monarch's shoulder; but to remind ourselves, faithfully and wisely, that for us too the shadow waits; and then that in our moments of dreariness and heaviness we should do well to seek for symbols of our peace, not thrusting them peevishly aside as only serving to remind us of what we have lost and forfeited, but dwelling on them patiently and hopefully, with a tender onlooking to the gracious horizon with all its golden lights and purple shadows. And thus not in a mercantile mood trafficking for our delight in the mysteries of life—for not by prudence can we draw near to God—but in a childlike mood, valuing the kindly word, the smile that lights up the narrow room and enriches the austere fare, and paying no heed at all to the jealousies and the covetous ingathering that turns the temple of the Father into a house of merchandise.
For here, deepest of all, lies the worth of the symbol; that this life of ours is not a little fretful space of days, rounded with a sleep, but an integral part of an inconceivably vast design, flooding through and behind the star-strewn heavens; that there is no sequence of events as we conceive, that acts are not done or words said, once and for all, and then laid away in the darkness; but that it is all an ever-living thing, in which the things that we call old are as much present in the mind of God as the things that shall be millions of centuries hence. There is no uncertainty with Him, no doubt as to what shall be hereafter; and if we once come near to that truth, we can draw from it, in our darkest hours, a refreshment that cannot fail; for the saddest thought in the mind of man is the thought that these things could have been, could be other than they are; and if we once can bring home to ourselves the knowledge that God is unchanged and unchangeable, our faithless doubts, our melancholy regrets melt in the light of truth, as the hoar-frost fades upon the grass in the rising sun, when every globed dewdrop flashes like a jewel in the radiance of the fiery dawn.