Chapter 15

He had been living this melancholy existence for a number of years, when Laura Fountain, the daughter of a Cambridge professor, and a member of the Ethical Society there (so we are told), broke in upon his life. Her father, as much for pity as for love, had married as his second wife the sister of Alan Helbeck, and during his life had apparently succeeded in teaching her something of the gospel of reason, because Augustina practically abandoned her creed. But on the death of her husband, it revived, and she experienced a longing to return to her old home. Of course, there was joy before the angels and her brother Alan at the penitent's return. Being absolutely dependent for her creature comforts on her step-daughter, there was nothing for it but for Laura to accompany the invalid, and prepare to spend some of her time in the house of a rigid professor of a religion which her father had taught her to despise.

The utmost skill is shown in the gradual transformation of their feeling, from one of pitiful condescension on the one side and undisguised revolt on the other, to sentiments of growing esteem and respect which ripen at length into a love which is tender and deep. The love scene which ensues on that early summer morning when Helbeck discovers the "wild pagan" girl, as he thought her, in a state bordering on exhaustion, after her long walk across country through half the night, is a very beautiful and touching one, and reveals all the mastery which the authoress commands of the language and mystery of the emotions. The image of the infidel child had stolen into the strong, stern man's heart, and, next to the master passion of his life, his sombre religion, completely dominated him. They become engaged, to the almost inexpressible scandal of the household, from the sour old housekeeper up to Father Bowles, with his "purring inanities"--a wonderful creation--and the courtly Father Leadham, a Jesuit and a Cambridge "convert". But Helbeck holds out, trusts bravely to "the intercession of saints" and the attractiveness of Catholic worship, and thus some days of unclouded sunshine enter into his dark and troublous life. Like the gentleman he is, he makes no attempt at proselytism, and gives his word that by no speech or act of others shall his future wife be molested.

They spend a few weeks at the sea, where Bannisdale and all it represents is forgotten. Laura has grown to love and lean upon this strong, resolute man. She enjoys an almost unique experience in triumphing over a life which had been believed to be inaccessible to woman's influence. But the sunshine is soon overcast. They are back again in that atmosphere of depression which Bannisdale exhales, and the agony begins. The poor girl sees the life from the inside, so to speak, and the hopelessness of it all dawns upon her like a desolation. Never could she bring herself to say and do the things she sees and hears about her; a voice she cannot still seems to rise from the depths of her being, defying her to go back on her past and forget the life and example of her father. "You dare not, you dare not," it kept saying to her. No, the system would hang like a pall of death between her and her love: she could never possess his heart. Half of it, more than half, would be given to that ideal of gloom he worshipped as the Cross, which he correctly interpreted as the essence of the Catholic teaching. When, finally, Helbeck stands by the account given of the life of the Jesuit saint, Francis Borgia, who cheerfully surrenders his wife, disposes of his eight little children and then goes off to Rome "to save his soul" by becoming a Jesuit, the cup is full. Her lover tells her the story of his own life, how he had been brought to his present ideals--a story of exceeding great pathos, which utterly overcomes the sensitive, shrinking girl by his side--but it was the end. Half-hysterically she falls into his arms, and Helbeck almost believes the great renunciation is to follow. "His heart beat with a happiness he had never known before." But he was never farther from the truth. "It would be a crime--a _crime_ to marry him," the heart-broken girl sobbed, when she reached the privacy of her own room.

And so she turns her back on Bannisdale. But fate compels her to return. Her step-mother is dying, and Laura's presence is indispensable. Once again the old battle is renewed 'twixt love and creed, and in her anguish this child of the modern world resolves to force herself to submit that she may save her love. Father Leadham can, he _must_, convince her. Has he not convinced Protestant clergymen and other learned people? Why not a poor, untutored girl such as her? But it was never to be. She was afraid to lose her love, but there was something in her which conquered fear, and it reasserted itself at the last. "I told you to make me afraid," she had once said to Helbeck in one of their sweet moments of reconciliation, "but you can't! There is something in me that fears nothing, not even the breaking of both our hearts."

And so, with the awful inevitableness of a Greek tragedy, the action moves towards the closing doom. It is sad beyond words, and we are grateful for Mrs. Ward's noble reticence. "The tyrant river that she loved had received her, had taken life, and then had borne her on its swirl of waters, straight for that little creek where, once before, it had tossed a human prey upon the beach. There, beating against the gravelly bank, in a soft helplessness, her bright hair tangled among the drift of branch and leaf brought down by the storm, Helbeck found her."

He carried her home upon his breast, and at the last they laid her amongst the Westmoreland rocks and trees, in sight of the Bannisdale woods, in a sweet graveyard, high in the hills. The country folk came in great numbers, and Helbeck, more estranged than ever now, watched the mournful scene from afar.

Such is the tragedy of faith and love, which bequeathed to the already lonely and sorrowful man memories so unspeakably sad, and led this new Antigone to immolate herself in so awful a manner--"a blind witness to august things".

For us there remains but one question. Helbeck, it is plain, can never win Laura, but can Laura ever hope to win Helbeck?

One would have to answer with many distinctions. In the first place, much has been done already. The true Helbeck type is fast disappearing, buried or lost in inaccessible places like the fells of Westmoreland, or Breton castles, far from the highway of humanity's daily life. Had not Mrs. Ward reminded us of him, we should have almost forgotten his existence. The modern spirit, of which Laura is the type, has steadily eliminated the species.

Next, though Roman Catholicism occupies a far different position from that it held in the days when Yorkshire and Lancashire were plentifully studded with houses and homes such as Bannisdale, it must be remembered that the successors of the sixteenth century Helbecks are only _magni nomines umbra_. To the modern Catholic, religion is less than ever a life to be lived, a distinct type to be created; it is increasingly recognised merely as a creed to be believed. Helbeck of Bannisdale you could pick out of a crowd, but a congregation at the Oratory or Farm Street differs in nothing from one at St. Peter's, Eaton Square, or the smartest Congregational chapel. They all mingle indistinguishably in the "church parade" and are lost.

It is the victory of the "world" overcoming "faith".

The modern Catholic believes with the Church as against the world, in the importance of "orders" or the truth of transubstantiation and infallibility, but his life is with the world. Emphatically, his _conversation_ is not in heaven. He is one of us. He is like Nicodemus, a disciple in secret, for various reasons, of which he is probably utterly unconscious. His Catholicism no more alienates him from modern life than Wallace's profound belief in phrenology puts him beyond the pale of science. His differences with the modern world are purely speculative, having little or no bearing on practical life, and therefore the world is content to take Catholicism at its own valuation. How far this is from Helbeck one can easily divine, but Laura has brought them leagues from that Westmoreland home of impossible ideals and all it symbolises.

At the same time, no one need look for the disappearance of that speculative system known as modern Catholicism. The type, the life indeed has gone, and gone for ever; but there will always be a "crowd which no man can number," who prefer to sit and submit to being up and doing for themselves. Reason and authority must ever continue to be the watchwords of the two great sections into which humanity is divided on the religious question. They must ever be contrasted as habits of mind, as sources whence faith arises. But it needs no exceptional discernment to see that the religion of the strenuous and progressive, the peoples who move the world and make its history, cannot by any possibility known to us be a religion of undiluted authority. As a man is, so are the gods he worships, for the gods are the ideal. Therefore the progressive nations who find it impossible to stand still, not to speak of looking back, will more and more recede from even the remnant of the Helbeck ideal which remains to us to-day, and find their inspiration in a religion which is advancing like themselves. What! science grow, knowledge increase, freedom advance, and religion only stagnate! Perish the thought! Our religion, like our knowledge, grows from day to day, because it is only through the deepening knowledge of the universe and of himself that man is enabled to rise to a proportionate knowledge of That of which all things are but transitory symbols. Creeds and systems, prisons of the infinite spirit of man, never can they befit the age in which the ideal of progress has entered, like an intoxication, into the soul. "The snare is broken and we are delivered." Woe to the man, woe to the people, who are content to sit or stand! Woe to them whose hope is in the dead past, and not in their living selves! Woe to the faith that has no better message for the eager, palpitating generations of to-day, than a bundle of parchments from the third or fourth century, or the impossible practices of an age when the life of the world stood still! They shall never inherit the earth. The new heaven, the better land, is reserved for the strenuous and the progressive alone, for "the kingdom of heaven suffereth violence, and the violent bear it away".

[1] The Rev. Father Clarke, of the Jesuit Society, in the _Nineteenth Century_ of September, 1898, refuses to recognise Helbeck as true to the Catholic type. Certainly, he is not a modern Roman Catholic, and probably Mrs. Ward knows this as well as her critic. The question is, which conforms to type, the old or the modern English Catholic? Mr. Mivart's "liberal catholic" criticisms of Father Clarke in the October number of the same review are good, very good, reading.

XIV.

THE RELIGION OF TENNYSON.

Prophecy and poetry are the embodiment in artistic form of the abstract conceptions of the philosopher. As the philosopher thinks, so the prophet preaches, so the poet sings. Thinking, speaking, singing, are the three acts in the ascending scale of the soul's self-manifestation. Generally speaking, these high functions are not found in their perfection in one and the same soul; rarely do you meet with the spirit of the philosopher, prophet and poet incarnate in one mortal frame. Such enterprise is too great for all but the greatest, and amongst these may possibly be classed the poet-prophet of Israel, Isaiah, the writers of some of the Vedic hymns and Hebrew psalms, and Jesus of Nazara, whose soul was full of music, and whose thinking and preaching will probably fill the thoughts of man throughout all time.

The significance of philosophical and prophetic teaching in religion is a frequent subject of thought in our circles, and now the recent publication of Tennyson's life enables us to say something of the _Religio Poetae_--the idealism which inspired the soul of a nineteenth century poet.

The poet's name is not without significance and interest. It is a Greek word signifying "maker" or "creator"--_Poiêtês_. There is a philosophy in language however much we continue to ask, "What's in a name?" When those wonderful Greeks wished to express the thinker's art, they spoke of _Sophia_ or wisdom; when they heard the first preacher who told them of their innermost selves, they called him the _Prophêtês_ or prophet, the man that speaketh forth as from an illimitable deep; and when they listened to the soul of music coming from the lips of a Homer or a Sappho, they called it by the most expressive name of all, "making" or "creation". The poet was a creator. And so he is if we come to think of it. Out of the materials supplied to him by the thinking of other intelligences, he weaves his song of joy and beauty which holds our senses as in a spell, and steeps our souls in ecstasy. He is a "reed," to use an expression of Tennyson himself, "through which all things blow to music". He is the creator of the ideal world _par excellence_; the keys of the Unseen are in his keeping.

We say that he transfigures the thoughts of other intelligences, that he turns his genius to the rhythmic expression of the towering fantasies of the philosopher. And he does. Poetry without thought would be a jingle--a word which, if we may trust the reviews, is a satisfactory account of much of the "minor" poetry of the day. If a man does not see somewhat deeper into himself and things than the average human being, never among the sacred band of lyric souls can he find a lasting place. Philosophy is the propaedeutic of poetry. But surely, it may be urged, the book of nature is open to every one, and a poet's soul may sing of that without any need of the philosopher's interpretation. Has not some of the sublimest verse been Nature poetry? True, but this undoubted fact only confirms our statement. When Wordsworth interprets nature in song, he is borrowing from a philosopher; he is reading the thoughts of an intelligence other than his own. He is revealing to you the innermost thoughts of that supreme Mind, who conceived the beautiful whole, and made it to be a thought of himself. The deepest thinker is he who thinks his thoughts into deeds. There is a First Philosopher as there is a First Poet or Maker, and because we are in our innermost selves of his kindred, we have the power to think his thoughts again, and create an ideal world which shall be the counterpart of his own. Men may be philosophers and poets because the First Poet and First Thinker is their Parent.

This is not mysticism, still less imagination, but the soberest of realities. In it you read the interpretation of the indisputable fact that the world's greatest poets were men of intensely religious feeling. They come so near to the Supreme Poet that their sense of the Infinite is extraordinarily developed. It is gravely questionable whether a man can be a great poet unless the influence of his great prototype be a power in his life; unless his religious instincts be reverently cultivated. A religious sense is needful to the highest flights. Go over the greatest names of the past and present and you will see how "the Over-soul" has been the truest source of inspiration. The unknown singers of the Vedic hymns, Homer, Sophocles, Virgil, Dante, Shakespeare, Milton, Goethe, Wordsworth, and in our days, Tennyson and Browning--in them all the religious sense, the instinct of communion with the unseen world, is a distinguishing mark and characteristic. A name here and there may be quoted on the other side, but as far as my memory serves me for the moment, it would appear on closer examination that such were exceptions only in appearance. An excess, not a defect, of reverential feeling is often the explanation of such non-manifestation of religious emotion as we may notice. With Goethe, they would appear to feel the presumption of individualising, the great Soul of the worlds by even so much as naming him.

Who dare name him, and who confess I believe him!

There is a reverent as well as an irreverent impatience of forms associated with the Formless and the Infinite; and because of it one never yet heard or read of a man truly great who had not the profoundest reverence for religion. But, however that may be, it is plain that we are justified in speaking of a poet's religion, and in discussing the religious conceptions which took shape in the soul of one of the two great poets of the Victorian era.

Five years ago Tennyson passed hence, "crossing the bar" on that tideless sea, still as the silent life which left its worn-out frame to "turn again home". So much as the great poet desired that the world should know of his own aspirations, his hopes and fears of the great Hereafter, has been given to us in his own sweet singing, and a memoir written by his son. It turns out that Tennyson was no exception to his noble order. Like all the great singers he was a man of faith--a man penetrated to his heart's core with the sense of the indestructible character of the religious instinct, and of man's deep need of communion with the Great Life which is within and beyond him--the Soul of souls whom men call God.

The significance of this fact is not to be lost upon reflective minds. In an age when positive science has made a progress which borders almost on the miraculous; when discoveries of the innermost secrets of nature, coupled with astounding combinations of her elements and forces, which supply us with the chemical contrivances and implements for further research surpassing the wildest dreams of astrologers and alchemists of old, there has been an unmistakable tendency to push the Divine agency farther and farther back in the chain of phenomenal causation, until it would appear that it had been finally thrust out of the world altogether. "I have swept the heavens with my telescope," said Lalande, "and I have not found your God." "The heavens are telling no more the glory of God," said Auguste Comte, "but that of Herschel and Laplace." Is it indeed so? The past has done all in its power to make it so, and Lalande and Comte represent the inevitable and natural reaction against the incredible puerilities, the stupid, obstinate opposition to all science not in conformity with the Nicene and Athanasian Creeds, or the fables incorporated in the Hebrew Cosmogony. But that past is past indeed, and never can come back again. The world returns no more to discarded ideals; the conception of theology as "queen of the sciences" is as hopelessly impossible in the civilised world as the Divine right of kings.

The result is that prophets and poets are "men of God" still, and notwithstanding Lalande and Comte, the heavens are not so dazzling as to quench for them the glory of a Diviner revelation which they scarce conceal. I frankly say that I had rather believe all the fables of the Talmud and the Koran than that the empty shadows of a vulgar superstition are all that lie beneath the stately verse of "In Memoriam," or the "Rabbi Ben Ezra" of Browning.

The religion of Tennyson is a perfume which fills much that he writes. It is a "spirit" which broods over many a song, but is incarnate, so to speak, in the elegy which immortalises the tomb of his lost friend. For Tennyson, the spirit of poetry is the spirit of religion--a blowing to music of the deepest thoughts of the philosopher. In "Merlin and the Gleam" we may read this as in an allegory:--

Great the Master And sweet the magic, When o'er the valley In early summers, O'er the mountain, On human faces, And all around me Moving to melody Floated the gleam.

The spirit of poetry, which bade him follow on in spite of discouragement, touched all on which it hovered with a mystic light, "moving him to melody". It was the soul of religion, binding the spirit of man to nature and to "human faces" in themselves, and to the Supreme, in whom all is One.

But what is an allegory in the spirit of the gleam is a reality in the song of love, "passing the love of women," which he laid as the noblest offering ever yet made at the bier of a departed friend. The religion of Tennyson is there, but the poem must be carefully studied if its true inwardness is to be grasped. Isolating a few stanzas wherein the poet, alarmed and perplexed at the cruelties and terrors of Nature, her dark and circuitous ways, her astounding prodigality and wastefulness, lifts up in his helplessness "lame hands of faith," and falters where once he firmly trod, many writers have professed to see in Tennyson the expression of a reverent agnosticism. Such agnosticism we may all respect, for it is very different from the noisy, clamorous thing which, aping in name the humility of greater men, insists that the sense limitations imposed upon its own intelligence shall forthwith be erected into a dogma to be accepted as infallible by everybody else's intelligence. Be as reverent as Darwin in your agnosticism, as tolerant as Comte, we would say to such men, and there is much to commend in your teaching; but spare us the ridiculous spectacle of a handful of pamphleteers and minor essayists arraigning the sublimest philosophy ever known to the world, and consecrated by the homage of ninety out of every hundred thinkers who have ever approached its study, as a system erected upon a mirage--the image of a man's own personality distorted by its projection into the infinite. Tennyson himself once said that "the average Englishman's god was an immeasurable clergyman, and that not a few of them mistook their devil for their god", That may very well be, but the philosophers of the world who have built the house of wisdom are not "average Englishmen," and to describe their theism as the imagination of an immeasurable man--surpliced clergyman or otherwise--is a criticism, not of the philosophers, but of their would-be critics. _Non ragionian di lor, ma guarda e passa!_

But Tennyson was a passionately convinced theist. With that scrupulous voraciousness which, according to those who knew him most intimately, was his leading characteristic, he surveys nature not only with the reverent eye of a mystic, but with the exact vision of science, and faithfully reports what he sees--so faithfully, indeed, that he was hailed by Tyndall in, the sixties as "the poet of science". Loving truth, "by which no man yet was ever harmed," he does not hesitate to portray nature "red in tooth and claw with ravine shrieking against the creed" of a moral and beneficent power. And when no reconciliation is obvious he can but "faintly trust the larger hope" and point hence where possibly the discords of life will be resolved into a final harmony.

What hope of answer or redress? Behind the veil, behind the veil!

But these facts, however unmistakable, are powerless to alter the main inevitable conclusion that beneficent power does rule the cosmos, though they may modify it provisionally, until a better insight into the workings of nature supplies us with a clue to the mystery's solution. He is a sorry philosopher indeed who will insist that nothing whatever can be known because everything cannot be known, that an established fact must be no fact because no explanation of it is forthcoming. Tennyson is not one of these thriftless people, and the "In Memoriam," read aright, leads one upward "upon the great world's altar-stairs that slope through darkness up to God".