Chapter 3
How unlike is the house of English language and the enclosure into which a traveller hither has to enter! Do we possess anything here more essentially ours (though we share it with our sister Germany) than our particle "un"? Poor are those living languages that have not our use of so rich a negative. The French equivalent in adjectives reaches no further than the adjective itself--or hardly; it does not attain the participle; so that no French or Italian poet has the words "unloved", "unforgiven." None such, therefore, has the opportunity of the gravest and the most majestic of all ironies. In our English, the words that are denied are still there--"loved," "forgiven": excluded angels, who stand erect, attesting what is not done, what is undone, what shall not be done.
No merely opposite words could have so much denial, or so much pain of loss, or so much outer darkness, or so much barred beatitude in sight. All-present, all-significant, all-remembering, all-foretelling is the word, and it has a plenitude of knowledge.
We have many more conspicuous possessions that are, like this, proper to character and thought, and by no means only an accident of untransferable speech. And it is impossible for a reader, who is a lover of languages for their spirit, to pass the words of untravelled excellence, proper to their own garden enclosed, without recognition. Never may they be disregarded or confounded with the universal stock. If I would not so neglect _piuttosto bruttini_, how much less a word dominating literature! And of such words of ascendancy and race there is no great English author but has abundant possession. No need to recall them. But even writers who are not great have, here and there, proved their full consciousness of their birthright. Thus does a man who was hardly an author, Haydon the painter, put out his hand to take his rights. He has incomparable language when he is at a certain page of his life; at that time he sate down to sketch his child, dying in its babyhood, and the head he studied was, he says, full of "power and grief."
This is a phrase of different discovery from that which reveals a local rhyme-balanced epigram, a gracious antithesis, taking an intellectual place--_Felice chi vi mira_--or the art-critic's phrase--_piuttosto bruttini_--of easy, companionable, and equal contempt.
As for French, if it had no other sacred words--and it has many--who would not treasure the language that has given us--no, not that has given us, but that has kept for its own--_ensoleille_? Nowhere else is the sun served with such a word. It is not to be said or written without a convincing sense of sunshine, and from the very word come light and radiation. The unaccustomed north could not have made it, nor the accustomed south, but only a nation part-north and part-south; therefore neither England nor Italy can rival it. But there needed also the senses of the French--those senses of which they say far too much in every second-class book of their enormous, their general second-class, but which they have matched in their time with some inimitable words. Perhaps that matching was done at the moment of the full literary consciousness of the senses, somewhere about the famous 1830. For I do not think _ensoleille_ to be a much older word--I make no assertion. Whatever its origin, may it have no end! They cannot weary us with it; for it seems as new as the sun, as remote as old Provence; village, hill-side, vineyard, and chestnut wood shine in the splendour of the word, the air is light, and white things passing blind the eyes--a woman's linen, white cattle, shining on the way from shadow to shadow. A word of the sense of sight, and a summer word, in short, compared with which the paraphrase is but a picture. For _ensoleille_ I would claim the consent of all readers--that they shall all acknowledge the spirit of that French. But perhaps it is a mere personal preference that makes _le jour s'annonce_ also sacred.
If the hymn, "Stabat Mater dolorosa," was written in Latin, this could be only that it might in time find its true language and incomparable phrase at last--that it might await the day of life in its proper German. I found it there (and knew at once the authentic verse, and knew at once for what tongue it had been really destined) in the pages of the prayer- book of an apple-woman at an Innsbruck church, and in the accents of her voice.
A POINT OF BIOGRAPHY
There is hardly a writer now--of the third class probably not one--who has not something sharp and sad to say about the cruelty of Nature; not one who is able to attempt May in the woods without a modern reference to the manifold death and destruction with which the air, the branches, the mosses are said to be full.
But no one has paused in the course of these phrases to take notice of the curious and conspicuous fact of the suppression of death and of the dead throughout this landscape of manifest life. Where are they--all the dying, all the dead, of the populous woods? Where do they hide their little last hours, where are they buried? Where is the violence concealed? Under what gay custom and decent habit? You may see, it is true, an earth-worm in a robin's beak, and may hear a thrush breaking a snail's shell; but these little things are, as it were, passed by with a kind of twinkle for apology, as by a well-bred man who does openly some little solecism which is too slight for direct mention, and which a meaner man might hide or avoid. Unless you are very modern indeed, you twinkle back at the bird.
But otherwise there is nothing visible of the havoc and the prey and plunder. It is certain that much of the visible life passes violently into other forms, flashes without pause into another flame; but not all. Amid all the killing there must be much dying. There are, for instance, few birds of prey left in our more accessible counties now, and many thousands of birds must die uncaught by a hawk and unpierced. But if their killing is done so modestly, so then is their dying also. Short lives have all these wild things, but there are innumerable flocks of them always alive; they must die, then, in innumerable flocks. And yet they keep the millions of the dead out of sight.
Now and then, indeed, they may be betrayed. It happened in a cold winter. The late frosts were so sudden, and the famine was so complete, that the birds were taken unawares. The sky and the earth conspired that February to make known all the secrets; everything was published. Death was manifest. Editors, when a great man dies, are not more resolute than was the frost of '95.
The birds were obliged to die in public. They were surprised and forced to do thus. They became like Shelley in the monument which the art and imagination of England combined to raise to his memory at Oxford.
Frost was surely at work in both cases, and in both it wrought wrong. There is a similarity of unreason in betraying the death of a bird and in exhibiting the death of Shelley. The death of a soldier--_passe encore_. But the death of Shelley was not his goal. And the death of the birds is so little characteristic of them that, as has just been said, no one in the world is aware of their dying, except only in the case of birds in cages, who, again, are compelled to die with observation. The woodland is guarded and kept by a rule. There is no display of the battlefield in the fields. There is no tale of the game- bag, no boast. The hunting goes on, but with strange decorum. You may pass a fine season under the trees, and see nothing dead except here and there where a boy has been by, or a man with a trap, or a man with a gun. There is nothing like a butcher's shop in the woods.
But the biographers have always had other ways than those of the wild world. They will not have a man to die out of sight. I have turned over scores of "Lives," not to read them, but to see whether now and again there might be a "Life" which was not more emphatically a death. But there never is a modern biography that has taken the hint of Nature. One and all, these books have the disproportionate illness, the death out of all scale.
Even more wanton than the disclosure of a death is that of a mortal illness. If the man had recovered, his illness would have been rightly his own secret. But because he did not recover, it is assumed to be news for the first comer. Which of us would suffer the details of any physical suffering, over and done in our own lives, to be displayed and described? This is not a confidence we have a mind to make; and no one is authorised to ask for attention or pity on our behalf. The story of pain ought not to be told of us, seeing that by us it would assuredly not be told.
There is only one other thing that concerns a man still more exclusively, and that is his own mental illness, or the dreams and illusions of a long delirium. When he is in common language not himself, amends should be made for so bitter a paradox; he should be allowed such solitude as is possible to the alienated spirit; he should be left to the "not himself," and spared the intrusion against which he can so ill guard that he could hardly have even resented it.
The double helplessness of delusion and death should keep the door of Rossetti's house, for example, and refuse him to the reader. His mortal illness had nothing to do with his poetry. Some rather affected objection is taken every now and then to the publication of some facts (others being already well known) in the life of Shelley. Nevertheless, these are all, properly speaking, biography. What is not biography is the detail of the accident of the manner of his death, the detail of his cremation. Or if it was to be told--told briefly--it was certainly not for marble. Shelley's death had no significance, except inasmuch as he died young. It was a detachable and disconnected incident. Ah, that was a frost of fancy and of the heart that used it so, dealing with an insignificant fact, and conferring a futile immortality. Those are ill- named biographers who seem to think that a betrayal of the ways of death is a part of their ordinary duty, and that if material enough for a last chapter does not lie to their hand they are to search it out. They, of all survivors, are called upon, in honour and reason, to look upon a death with more composure. To those who loved the dead closely, this is, for a time, impossible. To them death becomes, for a year, disproportionate. Their dreams are fixed upon it night by night. They have, in those dreams, to find the dead in some labyrinth; they have to mourn his dying and to welcome his recovery in such a mingling of distress and of always incredulous happiness as is not known even to dreams save in that first year of separation. But they are not biographers.
If death is the privacy of the woods, it is the more conspicuously secret because it is their only privacy. You may watch or may surprise everything else. The nest is retired, not hidden. The chase goes on everywhere. It is wonderful how the perpetual chase seems to cause no perpetual fear. The songs are all audible. Life is undefended, careless, nimble and noisy.
It is a happy thing that minor artists have ceased, or almost ceased, to paint dead birds. Time was when they did it continually in that British School of water-colour art, stippled, of which surrounding nations, it was agreed, were envious. They must have killed their bird to paint him, for he is not to be caught dead. A bird is more easily caught alive than dead.
A poet, on the contrary, is easily--too easily--caught dead. Minor artists now seldom stipple the bird on its back, but a good sculptor and a University together modelled their Shelley on his back, unessentially drowned; and everybody may read about the sick mind of Dante Rossetti.
THE HONOURS OF MORTALITY
The brilliant talent which has quite lately and quite suddenly arisen, to devote itself to the use of the day or of the week, in illustrated papers--the enormous production of art in black and white--is assuredly a confession that the Honours of Mortality are worth working for. Fifty years ago, men worked for the honours of immortality; these were the commonplace of their ambition; they declined to attend to the beauty of things of use that were destined to be broken and worn out, and they looked forward to surviving themselves by painting bad pictures; so that what to do with their bad pictures in addition to our own has become the problem of the nation and of the householder alike. To-day men have began to learn that their sons will be grateful to them for few bequests. Art consents at last to work upon the tissue and the china that are doomed to the natural and necessary end--destruction; and art shows a most dignified alacrity to do her best, daily, for the "process," and for oblivion.
Doubtless this abandonment of hopes so large at once and so cheap costs the artist something; nay, it implies an acceptance of the inevitable that is not less than heroic. And the reward has been in the singular and manifest increase of vitality in this work which is done for so short a life. Fittingly indeed does life reward the acceptance of death, inasmuch as to die is to have been alive. There is a real circulation of blood-quick use, brief beauty, abolition, recreation. The honour of the day is for ever the honour of that day. It goes into the treasury of things that are honestly and--completely ended and done with. And when can so happy a thing be said of a lifeless oil-painting? Who of the wise would hesitate? To be honourable for one day--one named and dated day, separate from all other days of the ages--or to be for an unlimited time tedious?
COMPOSURE
Tribulation, Immortality, the Multitude: what remedy of composure do these words bring for their own great disquiet! Without the remoteness of the Latinity the thought would come too close and shake too cruelly. In order to the sane endurance of the intimate trouble of the soul an aloofness of language is needful. Johnson feared death. Did his noble English control and postpone the terror? Did it keep the fear at some courteous, deferent distance from the centre of that human heart, in the very act of the leap and lapse of mortality? Doubtless there is in language such an educative power. Speech is a school. Every language is a persuasion, an induced habit, an instrument which receives the note indeed but gives the tone. Every language imposes a quality, teaches a temper, proposes a way, bestows a tradition: this is the tone--the voice--of the instrument. Every language, by counterchange, returns to the writer's touch or breath his own intention, articulate: this is his note. Much has always been said, many things to the purpose have been thought, of the power and the responsibility of the note. Of the legislation and influence of the tone I have been led to think by comparing the tranquillity of Johnson and the composure of Canning with the stimulated and close emotion, the interior trouble, of those writers who have entered as disciples in the school of the more Teutonic English.
For if every language be a school, more significantly and more educatively is a part of a language a school to him who chooses that part. Few languages offer the choice. The fact that a choice is made implies the results and fruits of a decision. The French author is without these. They are of all the heritages of the English writer the most important. He receives a language of dual derivation. He may submit himself to either University, whither he will take his impulse and his character, where he will leave their influence, and whence he will accept their re-education. The Frenchman has certainly a style to develop within definite limits; but he does not subject himself to suggestions tending mainly hitherwards or thitherwards, to currents of various race within one literature. Such a choice of subjection is the singular opportunity of the Englishman. I do not mean to ignore the necessary mingling. Happily that mingling has been done once for all for us all. Nay, one of the most charming things that a master of English can achieve is the repayment of the united teaching by linking their results so exquisitely in his own practice, that words of the two schools are made to meet each other with a surprise and delight that shall prove them at once gayer strangers, and sweeter companions, than the world knew they were. Nevertheless there remains the liberty of choice as to which school of words shall have the place of honour in the great and sensitive moments of an author's style: which school shall be used for conspicuousness, and which for multitudinous service. And the choice being open, the perturbation of the pulses and impulses of so many hearts quickened in thought and feeling in this day suggests to me a deliberate return to the recollectedness of the more tranquil language. "Doubtless there is a place of peace."
A place of peace, not of indifference. It is impossible not to charge some of the moralists of the eighteenth century with an indifference into which they educated their platitudes and into which their platitudes educated them. Addison thus gave and took, until he was almost incapable of coming within arm's-length of a real or spiritual emotion. There is no knowing to what distance the removal of the "appropriate sentiment" from the central soul might have attained but for the change and renewal in language, which came when it was needed. Addison had assuredly removed eternity far from the apprehension of the soul when his Cato hailed the "pleasing hope," the "fond desire"; and the touch of war was distant from him who conceived his "repulsed battalions" and his "doubtful battle." What came afterwards, when simplicity and nearness were restored once more, was doubtless journeyman's work at times. Men were too eager to go into the workshop of language. There were unreasonable raptures over the mere making of common words. "A hand-shoe! a finger-hat! a foreword! Beautiful!" they cried; and for the love of German the youngest daughter of Chrysale herself might have consented to be kissed by a grammarian. It seemed to be forgotten that a language with all its construction visible is a language little fitted for the more advanced mental processes; that its images are material; and that, on the other hand, a certain spiritualizing and subtilizing effect of alien derivations is a privilege and an advantage incalculable--that to possess that half of the language within which Latin heredities lurk and Romanesque allusions are at play is to possess the state and security of a dead tongue, without the death.
But now I spoke of words encountering as gay strangers, various in origin, divided in race, within a master's phrase. The most beautiful and the most sudden of such meetings are of course in Shakespeare. "Superfluous kings," "A lass unparalleled," "Multitudinous seas": we needed not to wait for the eighteenth century or for the nineteenth or for the twentieth to learn the splendour of such encounters, of such differences, of such nuptial unlikeness and union. But it is well that we should learn them afresh. And it is well, too, that we should not resist the rhythmic reaction bearing us now somewhat to the side of the Latin. Such a reaction is in some sort an ethical need for our day. We want to quell the exaggerated decision of monosyllables. We want the poise and the pause that imply vitality at times better than headstrong movement expresses it. And not the phrase only but the form of verse might render us timely service. The controlling couplet might stay with a touch a modern grief, as it ranged in order the sorrows of Canning for his son. But it should not be attempted without a distinct intention of submission on the part of the writer. The couplet transgressed against, trespassed upon, used loosely, is like a law outstripped, defied--to the dignity neither of the rebel nor of the rule.
To Letters do we look now for the guidance and direction which the very closeness of the emotion taking us by the heart makes necessary. Shall not the Thing more and more, as we compose ourselves to literature, assume the honour, the hesitation, the leisure, the reconciliation of the Word?
THE LITTLE LANGUAGE
Dialect is the elf rather than the genius of place, and a dwarfish master of the magic of local things.
In England we hardly know what a concentrated homeliness it nourishes; inasmuch as, with us, the castes and classes for whom Goldoni and Gallina and Signor Fogazzaro have written in the patois of the Veneto, use no dialect at all.
Neither Goldoni nor Gallina has charged the Venetian language with so much literature as to take from the people the shelter of their almost unwritten tongue. Signor Fogazzaro, bringing tragedy into the homes of dialect, does but show us how the language staggers under such a stress, how it breaks down, and resigns that office. One of the finest of the characters in the ranks of his admirable fiction is that old manageress of the narrow things of the house whose daughter is dying insane. I have called the dialect a shelter. This it is; but the poor lady does not cower within; her resigned head erect, she is shut out from that homely refuge, suffering and inarticulate. The two dramatists in their several centuries also recognized the inability of the dialect. They laid none but light loads upon it. They caused it to carry no more in their homely plays than it carries in homely life. Their work leaves it what it was--the talk of a people talking much about few things; a people like our own and any other in their lack of literature, but local and all Italian in their lack of silence.
Common speech is surely a greater part of life to such a people than to one less pleased with chatter or more pleased with books. I am writing of men, women, and children (and children are not forgotten, since we share a patois with children on terms of more than common equality) who possess, for all occasions of ceremony and opportunities of dignity, a general, national, liberal, able, and illustrious tongue, charged with all its history and all its achievements; for the speakers of dialect, of a certain rank, speak Italian, too. But to tamper with their dialect, or to take it from them, would be to leave them houseless and exposed in their daily business. So much does their patois seem to be their refuge from the heavy and multitudinous experiences of a literary tongue, that the stopping of a fox's earth might be taken as the image of any act that should spoil or stop the talk of the associated seclusion of their town, and leave them in the bleakness of a larger patriotism.
The Venetian people, the Genoese, and the other speakers of languages that might all have proved right "Italian" had not Dante, Petrarch and Boccaccio written in Tuscan, can neither write nor be taught hard things in their dialect, although they can live, whether easy lives or hard, and evidently can die, therein. The hands and feet that have served the villager and the citizen at homely tasks have all the lowliness of his patois, to his mind; and when he must perforce yield up their employment, we may believe that it is a simple thing to die in so simple and so narrow a language, one so comfortable, neighbourly, tolerant, and compassionate; so confidential; so incapable, ignorant, unappalling, inapt to wing any wearied thought upon difficult flight or to spur it upon hard travelling.