Chapter 13

Everyone must find out for himself what are the holiest and most permanent things in life, and worship them sincerely and steadfastly, allowing no conventionality, no sense of social duty, to come in between him and his pure apprehension. Thus, and thus only, can a man tread the path among the stars. Thus it is, I think, that religious persons, like artists, arrive at a certain detachment from human affections and human aims, which is surprising and even distressing to men whose hearts are more knit to the things of earth. Those who see in the dearest and most intimate of human relations, the purest and highest gift of God, will watch with a species of terror, and even repulsion, the aloofness, the solitariness of the mystic and the artist. It will seem to them a sort of chilly isolation, an inhuman, even a selfish thing; just as the mystic and the artist will see in the normal life of men a thing fettered and bound with sad and small chains. It is impossible to say which is the higher life--no dogmatism is possible--all depends upon the quality of the emotion; it is the intensity of the feeling rather than its nature that matters. The impassioned lover of human relations is a finer being than the unimpassioned artist, just as the impassioned artist is a finer being than the man who loves sensually and materialistically. All depends upon whether the love, whatever it be--the love of nature or of art, of things spiritual or divine, the love of humanity, the sense of brotherly companionship--leads on to something unfulfilled and high, or whether it is satisfied. If our desire is satisfied, we fail; if it is for ever unsatisfied, we are on the right path, though it leads us none can tell whither, to wildernesses or paradises, to weltering seas or to viewless wastes of air. If the artist rests upon beauty itself, if the mystic lingers among his ecstasies, they have deserted the pilgrim's path, and must begin the journey over again in weariness and in tears. But if they walk earnestly, not knowing what the end may be, never mistaking the delight of the moment for the joy that shines and glows beyond the furthest horizon, then they are of the happy number who have embraced the true quest. Such a faith will give them a patient and beautiful kindliness, a deep affection for fellow-pilgrims, and, most of all, for those in whose eyes and lips they can discern the wistful desire to see behind the shadows of mortal things. But the end will be beyond even the supreme moment of love's abandonment, beyond the fairest sights of earth, beyond the sweetest music of word or chord. And we must, above all things, forbear to judge another, to question other motives, to condemn other aims; for we shall feel that for each a different path is prepared. And we shall forbear, too, to press the motives that seem to us the fairest upon other hearts. We must give them utterance as faithfully as we can, for they may be a step in another's progress. But the thought of interfering with the design of God will be impious, insupportable. Our only method will be a perfect sincerity, which will indeed lead us to refrain from any attempt to overbalance or to divert ingenuous minds from their own chosen path. To accuse our fellow-men of stupidity or of prejudice is but to blaspheme God.

XXX

What, after all, is the essence of the artistic life, the artist's ideal? I think the reason why it is so often misconceived and misunderstood is because of the fact that it is a narrow path and is followed whole-heartedly by few. Moreover, in England at the present time, when we are all so tolerant and imagine ourselves to be permeated by intelligent sympathy with ideas, there seem to me to be hardly any people who comprehend this point of view at all. There is a good deal of interest in England in moral ideals, though even much of that is of a Puritan and commercial type. The God that we ignorantly worship is Success, and our interest in moral ideas is mainly confined to our interest in what is successful. We are not in love with beautiful, impracticable visions at all; we measure a man's moral intensity by the extent to which he makes people respectable and prosperous. We believe in an educator when he makes his boys do their work and play their games; in a priest, when he makes people join clubs, find regular employment, give up alcohol. We believe in a statesman when he makes a nation wealthy and contented. We have no intellectual ideals, no ideals of beauty. Our idea of poetry is that people should fall in love, and our idea of art is the depicting of rather obvious allegories. These things are good in their way, but they are very elementary. Our men of intellect become scientific researchers, historians, erudite persons. How few living writers there are who unite intellect with emotion! The truth is that we do not believe in emotion; we think it a thing to play with, a thing to grow out of, not a thing to live by. If a person discourses or writes of his feelings we think him a sentimentalist, and have an uneasy suspicion that he is violating the canons of good taste. The result is that we are a sensible, a good-humoured, and a vulgar nation. When we are dealing with art, we have no respect for any but successful artists. If the practice of art results in fame and money, we praise the artist in a patronising way; when the artist prophesies, we think him slightly absurd until he commands a hearing, and then we worship him, because his prophecies have a wide circulation. If the artist is unsuccessful, we consider him a mere dilettante. Then, too, art suffers grievously from having been annexed by moralists, who talk about art as the handmaid of religion, and praise the artist if he provides incentives for conduct of a commercial type. It would be better for art if it were frankly snubbed rather than thus unctuously encouraged. We look upon it all as a matter of influence, for the one thing that we desire is to be felt, to affect other people, to inspire action. The one thing that we cannot tolerate is that a man should despise and withdraw from the busy conventional world. If he ends by impressing the world we admire him, and people his solitude with ugly motives. The fact is that there was never a more unpromising soil for artists than this commonplace, active, strenuous century in which we live. The temptations we put in the artist's way are terribly strong; when we have done our work, we like to be amused by books and plays and pictures, and we are ready to pay high prices to the people who can give our heavy souls small sensations of joy and terror and sorrow. And wealth is a fierce temptation to the artist, because it gives him liberty, freedom of motion, comfort, things of beauty and consideration. The result is that too many of the artists who appear among us fall victims to the temptations of the world, and become a kind of superior parasite and prostitute, believing in their dignity because they are not openly humiliated.

But the true artist, like the true priest, cares only for the beautiful quality of the thought that he pursues. The true priest is the man who loves virtue, disinterestedness, truth, and purity with a kind of passion, and only desires to feed the same love in faithful hearts. He seeks the Kingdom of God first; and if the good things of the world are strewn, as they are apt to be strewn, in the path of the virtuous person, he is never for a moment seduced into believing that they are the object of his search. His desire is that souls should glow and thrill with high, sacred, and tender emotions, which are their own surpassing reward.

So, too, the artist is concerned solely with the beautiful thing--whether it is the beauty of the eager relationships of men and women, or the ever-changing exquisite forms and colours of nature, or the effect of all these things upon the desirous soul of man. And it is here that his danger lies, that he may grow to be preoccupied with the changing and blended texture of his own soul, into which flow so many sweet influences and gracious visions--if, like the Lady of Shalott, he grows to think of the live things that move on the river-side only as objects that may minister to the richness of the web that he weaves. He must keep his eye intent upon the power, whatever it may be, that is behind all these gracious manifestations; they must all be symbols to him of some unrevealed mystery, or he will grow to love the gem for its colour, the flower for its form, the cloud for its whiteness or empurpled gloom, the far-off hill for its azure tints, and so forget to discern the spirit that thus gleams and flashes from its shrouding vapours.

And then, too, in art as in love, the artist must lose himself that he may find himself. If he considers all things in relation to his own sensitive and perceptive temperament, he will become immured in a chilly egotism, a narrow selfishness, from which he will not dare to emerge. He must fling himself whole-heartedly into a passionate worship of what is beautiful, not desiring it only that it may thrill and satisfy him, but longing to draw near to its innermost essence. The artist may know, indeed, that he is following the wrong path when he loves the artistic presentation of a thing better than the thing presented, when he is moved more by a single picture of a perfect scene than by the ten thousand lovely things which he may see in a single country walk. He must, indeed, select emotions and beautiful objects by their quality; he must compare and distinguish; but if he once believes that his concern is with representation rather than with life, he goes downward. He must not be concerned for a single instant with the thought, "How will this that I perceive affect others as I represent it?" but he must rather be so amazed and carried out of himself by the beauty of what he sees, that the representing of it is only a necessary consequence of the vision; as a child may tell an adventure breathlessly and intently to its mother or its nurse, absorbed in the recollection.

And thus the true artist will not weigh and ponder the most effective medium for his expression; the thought must be so overpowering that the choice of a medium will be a matter of pure instinct. The most, indeed, of what he feels and perceives he will recognise to be frankly untranslatable in speech or pigment or musical notes, too high, too sacred, too sublime. His work will be no more selfish than the work of the pilot or the general is selfish. The responsibility, the crisis, the claim of the moment, will outweigh and obliterate all personal, all fruitless considerations. He must have no thought of success; if it comes, he may rejoice that he has been a faithful interpreter, and has shared his joy with others; if it does not come, his joy is not lessened.

Then, too, in ordering his life, he must be humble, sincere, and simple. He must keep his eye and his mind open to all generous admirations. He must let no lust or appetite, no ambition of pride, cloud his vision. He must take delight in the work of other artists, and strive to see the beautiful and perfect rather than the false and feeble. He must rejoice if he can see his own dream more seriously and sweetly depicted than he can himself depict it, for he must care for nothing but the triumph of beauty over ugliness, of light over darkness. And thus the true artist may be most easily told by his lavish appreciation of the work of other artists, rather than by his censure and disapproval.

And, again, he must be able to take delight in the smallest and humblest beauties of life. He must not need to travel far and wide in the search for what is romantic, but he must find it lying richly all about him in the simplest scene. He must not crave for excitement or startling events or triumphs or compliments; he must not desire to know or to be known by famous persons, because his joys must all flow from a purer and clearer fountain-head. He must find no day nor hour dreary, and his only fatigue must be the wholesome fatigue that follows on patient labour, not the jaded fatigue of the strained imagination.

Age, and even infirmity, does not dull the zest of such a nature; it merely substitutes a range of gentler and more tranquil emotions for the heroic and passionate enthusiasms of youth; for the true artist knows that the emotion of which he is in search is something far higher and purer and more vivid than his fiercest imaginations--and yet it has the calm of strength and the dignity of worth; the vehement impulses of youth "do it wrong, being so majestical." And he draws nearer to it when animal heat and the turbulence of youthful spirit has burnt clearer and hotter, throwing off its smoke and lively flame for a keener and purer glow.

And above all things, the artist must most beware of the complacency, the sense of victory, the belief that he has attained, has plumbed the depth, seen into the heart of the mystery. Rather as life draws on he must feel, in awe and hope, that it is infinitely mightier and greater than he thought in the days of potent impulse. His whole soul must be full of a sacred fear as he draws closer to the gate, the opening of which may give him a nearer glimpse of the secret. The humble sense of failure will be a bright and noble thought, because it will show him how much the mystery transcends the most daring hope and dream.

XXXI

I was present in a great church the other day at a service held at the hour of sunset The dying light fell richly through the stained windows, lending a deep and beautiful mystery to the scenes there depicted. The pale faces of pictured saints, with their rich robes, were outlined with a pathetic sweetness against backgrounds of solemn buildings or confused woods. The lighted tapers of the choir threw a faint glow up to the intricate roof, which seemed flooded with a golden mist; the gilt pipes of the organ gleamed softly; the music began to roll and stir, with a grave melodious thunder, like the voice of a dreaming spirit. A procession of white-vested figures moved with a ceremonial dignity to their places, and then the service proceeded through soft gradations of prayer and praise, in words of exquisite and restrained felicity, all haunted with the echoes of the ages. I sate alone, a silent listener, and it seemed to me that every appeal which the beauty of art could make to the spirit was here delicately displayed. Eye and ear, emotion and intellect, were alike thrilled and satisfied. They sang the 119th Psalm, that perfect expression of holy quietude: "Thy testimonies are wonderful; therefore doth my soul seek them." Wonderful, indeed, and gracious, sweet as honey. The heart, in that glad moment, drew near to the tender Father of life, who seemed, as in the old parable, to see the repentant son of his heart wandering sadly a long way off, to go forth to meet him, and to fill the house with light and music, that he might feel it to be home indeed.

That the instinct that has drawn all the treasures of art into its service, and with them welcomes and sustains the wearied soul, is a pure and beautiful one, I make no doubt. But then I thought of all that lies outside: of crowded cities, of the ugly mirth, the sordid cares of men and women; of the dark laws that wound and slay; of pain and shame; of tired labour and cruelty and harshness, of lust and greediness.

I thought of how few there were of mankind to whom the sweet pomp which I sate to see and hear makes any appeal, I thought that for one to whom such beauty was desirable and satisfying, there were thousands who would prefer the brisk interchange of life, the race-course, the athletic spectacle, the restaurant, the tap-room. Was this, indeed, religion at all? I wondered. It did, indeed, use the language of religion, surround itself with the memories of saints, the holy wisdom of the ages. But what was the end of it? Did it inspire those who heard it with the desire to win, to sustain, to ameliorate other souls? Did it inculcate the tender affection, the self-sacrifice, the meek devotion that Christ breathed into life? Did it not rather tend to isolate the soul in a paradise of art, to consecrate the pursuit of individual emotion? It is hard to imagine that a spirit who has plunged into the intoxication of sensuous delight that such a solemnity brings would depart without an increased aversion to all that was loud and rude, wife an intensified reluctance to mingle with the coarser throng. Was it not utterly alien to the spirit of Christ thus to seclude oneself in light and warmth, among sweet strains of music and holy pictures? I do not doubt that these delights have a certain ennobling effect upon the spirit; but are they a medicine for the sorrows of the world? are they not rather the anodyne for sensitive spirits fond of tranquil ease?

I could not restrain the thought that if a man of sensitive nature is penetrated with the spirit of Christ first, if the passion of his soul to seek and save the lost is irresistible, if his faith runs clear and strong, he might win a holy refreshment from these peaceful, sweet solemnities. But the danger is for those who have no such unselfish enthusiasm, and who are tempted, under the guise of religion, to yield themselves with a sense of fastidious complacency to what are, after all, mere sensuous delights. Is it right to countenance such error? If piety frankly said, "These things are no part of religion at all; they are only a pure region of spiritual beauty, a garden of refreshment into which a pilgrim may enter by the way; only a mere halting-place, a home of comfort,"--then I should feel that it would be a consistent attitude. But if it is only a concession to the desire of beauty, if it distracts men from the purpose of Christ, if it is a mere bait for artistic souls, then I cannot believe that it is justified.

While I thus pondered, the anthem rose loud and sweet upon the air; all the pathos, the desire of the world, the craving for delicious rest, stirred and spoke in those moving strains--round a quiet minor air, sung by a deep grave voice of a velvety softness, a hundred mellow pipes wove their sweet harmonies: it told assuredly of a hope and of a truth far off; it drew the soul into a secret haven, where it listened contentedly to the roar of the surge outside. But the error seemed to be that one desired to rest there, like the Lotos-eaters in the enchanted land, and not to fare forth as a soldier of God. It spoke of delight, not of hardness; of acquiescence, not of effort.

XXXII

Strange that the sight of a man being guillotined should inspire me with a burning desire to inflict the very thing which I see another suffer! What a violent metaphor for a very minute matter! It is only a review which I have been reading, in which a pompous, and I imagine clerical, critic comes down with all his might on a man whom I gather to be a graceful and mildly speculative writer. The critic asks ponderously. What right has a man who seems to be untrained in philosophy and theology to speculate on philosophical and religious matters? He then goes on to quote a passage in which the writer attacks the current view of the doctrine of the Atonement, and he adds that a man who is unacquainted with the strides which theology has made of late years in the direction of elucidating that doctrine ought not to presume to discuss it at all. No doubt, if the writer in question made any claim to be discussing the latest theological position on the subject of the Atonement, in a technical way, he would be a mere sciolist; but he is only claiming to discuss the Current conception of the Atonement; and, as far as I can judge, he states it fairly enough. The truth is that the current conceptions of old theological doctrines tend to be very much what the original framers of those doctrines intended them to be. All that later theologians can do, when the old doctrine is exploded, is to prove that the doctrine can be modified and held in some philosophical or metaphysical sense, which was certainly not in the least degree contemplated by the theologians who framed it; but they are quite unable to explain to the man in the street what the new form of the doctrine is; and their only chance of doing that is to substitute for an old and perfectly clear doctrine a new and perfectly clear doctrine. The tone adopted by this critic reminds me of the tone adopted by Newman to his disciples. Mark Pattison relates how on one occasion he advanced, in Newman's presence, some liberal opinion, in the days when he was himself numbered among the Tractarians; and that Newman deposited, as was his wont, an icy "Very likely!" upon the statement; after which, Pattison says, you were expected to go into a corner and think over your sins. Not so does thought make progress!