Chapter 22

I have been reading the Memoir of J.H. Shorthouse, and it has been a great mystery to me. It is an essentially commonplace kind of life that is there revealed. He was a well-to-do manufacturer--of vitriol, too, of all the incongruous things. He belonged to a cultivated suburban circle, that soil where the dullest literary flowers grow and flourish. He lived in a villa with small grounds; he went off to his business in the morning, and returned in the afternoon to a high tea. In the evening he wrote and read aloud. The only thing that made him different from other men was that he had the fear of epileptic attacks for ever hanging over him; and further, he was unfitted for society owing to a very painful and violent stammer. I saw him twice in my life; remote impressions of people seen for a single evening are often highly inaccurate, but I will give them for what they are worth. On the first occasion I saw a small, sturdily built man, with a big, clerical sort of face with marked features, and, as far as I can recollect, rather coppery in hue. There was a certain grotesqueness communicated to the face by large, thin, fly-away whiskers of the kind that used to be known as "weepers" or "Dundrearies." He had then just dawned upon the world as a celebrity. I had myself as an under-graduate read and re-read and revelled in _John Inglesant_, and I was intensely curious to see him and worship him. But he was not a very worshipful man. He gave the impression of great courtesy and simplicity; but his stammer was an obstacle to any sense of ease in his presence. I seem to recollect that instead of being brought up, as most stammerers are, by a consonant, it took the form with Shorthouse of repeating the word "Too--too" over and over again until the barrier was surmounted; and in order to help himself out, he pulled at his whiskers alternately, with a motion as though he were milking a cow. Some years after I saw him again; he was then paler and more worn of aspect. He had discarded his whiskers, and had grown a pointed beard. He was a distinguished-looking man now, whereas formerly he had only been an impressive-looking one. I do not remember that his stammer was nearly so apparent, and he had far more assurance and dignity, which had come, I suppose, from his having been welcomed and sought after by all kinds of eminent people, and from having found that eminent people were very much like any other people, except that they were more simple and more interesting. I was still conscious of his great kindness and courtesy, a courtesy distributed with perfect impartiality.

But the mystery about him is this. The _Life_ reveals, or seems to reveal, a very commonplace man, cultivated, religious, "decent not to fail in offices of tenderness" like Telemachus, but for all that essentially parochial. His letters are heavy, uninteresting, banal, and reveal little except a very shaky taste in literature. The _Essays_ which are reproduced, which he wrote for Birmingham literary societies, are of the same quality, serious, ordinary, prosaic, mildly ethical.

Yet behind all this, this pious, conscientious man of business contrived to develop a style of quite extraordinary fineness, lucid, beauty-haunted, delicate and profound. _John Inglesant_ is not a wholly artistic hook, because it is ill-proportioned and the structure is weak--the middle is not in the centre, and it leaves off, not because the writer appears to have come to the end, but because it could not well be longer. There is no balance of episodes. It has just the sort of faults that a book might be expected to have which was written at long intervals and not on any very carefully conceived plan. It looks as if Shorthouse had just taken a pen and a piece of paper and had begun to write. Yet the phrasing, the cadence, the melody of the book are exquisite. I do not think he ever reached the same level again, though his other books are full of beautiful passages, except perhaps in the little introduction to an edition of George Herbert, which is a wonderfully attractive piece of writing.

Shorthouse had an extraordinary gift for evoking a certain sort of ecclesiastical scene, a chapel buried in spring-woods, seen in the clear and fresh light of the early morning, the fragrant air, with perhaps a hint of dewy chilliness about it, stealing in and swaying the flames of the lighted tapers, made ghostlike and dusky by the touch of dawn; the priest, solemnly vested, moves about with a quiet deliberateness, and the words of the Eucharist seem to fall on the ear with a soft and delicate precision, as from the lips of one who is discharging a task of almost overwhelming sweetness, to which he consecrates the early purity of the awakening day.

Such was Shorthouse's best and most romantic hour. He had a deep-seated love of ritual; in spite of his inherited quietism--but for all that he was a very liberal Churchman, of the school of Kingsley rather than of the school of Pusey. Ritual was to him a beautiful adjunct; not a symbolical preoccupation.

The mystery is why this very delicate and unique flower of art should have sprung up on this particular soil. The most that one hopes for, in the way of literary interest, from such surroundings, is a muddled optimism, rather timidly expressed, based on the writings of Robert Browning and Carlyle. Instead of this, one gets this _précieux_ antique style, based upon the Bible and John Bunyan, and enriched by a transparent power of tinging modern English with an ancient and secluded flavour.

It shows how very little surroundings and influences have to do with the growth of an artistic instinct, because in the case of Shorthouse it seems to have been a purely spontaneous product. He followed no one; he had the advantage of no trained criticism; because it seems that his only critic was his wife, and though Mrs. Shorthouse appears in these pages as a very courageous, loyal, and devoted woman, it is clear from the record that she had no special literary gift.

The rarity of the thing is part of its wonder. It is possible to tell upon the fingers of one hand, or at all events on the fingers of two hands, the names of all the nineteenth-century writers who have handled prose with any marked delicacy. There are several effective prose-writers, but very few artists. Prose has been employed in England till of late merely as a straightforward method of enforcing and expressing ideas, in a purely scientific manner. Literary craftsmen have turned rather to verse, and here the wonder grows, because one or two specimens of Shorthouse's verse are given, which reveal an absolute incapacity for the process, without apparently the smallest instinct for rhyme, metre, or melody,--the very lowest sort of slipshod amateur poetry.

After Shorthouse had once tasted the delights of publication and the pleasures of fame he wrote too much, and fiddled rather tediously upon a single string. Moreover, he attempted humorous effects, not very successfully; because one of the interesting points about, _John Inglesant_ is that there is hardly the slightest touch of humour from beginning to end, except perhaps in the fantastic mixture of tragedy and comedy in the carnival scene, presided over by the man who masquerades as a corpse; and even here the humour is almost entirely of a _macabre_ type.

Of course one would not assign to Shorthouse a very high place in English literature, beautiful as his best work is. But a writer may have an interest which is out of proportion to the value of his writings. The interest of Shorthouse is the interest which attaches to the blooming of a curious and exotic flower in a place where its presence is absolutely unaccountable; he probably will not maintain his hold upon the minds of a later generation, because there is no coherent system of thought in his book. Inglesant is a mere courtly mirror, the prey of his moods and his surroundings, in which beautiful tones of religious feeling are engagingly reflected. But to all who study the development of English prose, Shorthouse will have a definite value, as a spontaneous and lonely outcrop of poetical prose-writing in an alien soil; an isolated worker foreshowing in his secluded and graceful talent the rise of a new school in English literature, the appearance of a plant which may be expected in the future, if not in the immediate future, to break into leaf and bloom, into colour and fragrance.

LII

I found myself the other day in the neighbourhood of Wells. I had hitherto rather deliberately avoided going there, because so many people whose taste and judgment are wholly unreliable have told me that I ought to see it. The instinct to disagree with the majority is a noble one, and has perhaps effected more for humanity than any other instinct; but it must be cautiously indulged in.

In this case I resisted the instinct to abstain from visiting Wells; and I was glad that I did so, because, in spite of the fact that most people consider Wells to be a very beautiful place, it is undoubtedly true that it is most beautiful. Wells and Oxford on a large scale, Burford and Chipping Campden on a small scale, are in my experience the four most beautiful places in England, as far as buildings go. There are other places which are full of beautiful buildings; but there is a harmony about these four places which is a very rare and delightful quality.

Wells, as a matter of fact, is almost impossibly beautiful, and incredibly romantic. It is an almost perfectly mediaeval place, with the enormous advantage that it is also old, a quality which we are apt to forget that mediaeval places, when first built, did not possess. I do not think that Wells, when first built, was probably more than just a beautiful place. But it has now all grown old together, undisturbed, unvisited. It has crumbled and weathered and mellowed into one of the most enchanting places in the world.

God forbid that I should attempt to describe it; and indeed I am not sure that the things that are most admired about it are the most admirable. The west front of the Cathedral, for instance, has been temporarily ruined by the restoration of the little marble shafts, which now merely look like a quantity of india-rubber tubing, let in in pieces. The choir of the Cathedral, again, is an outrage. The low stone stalls, like a row of arbours designed by a child, the mean organ, the comfortable seats, have a shockingly Erastian air; there is not a touch of charm or mystery about it; I cannot imagine going there to pray. The Vicars' Close, which is foolishly extolled, has been made by restoration to look like a street in a small watering-place.

But, on the other hand, the Bishop's Palace, with its moat full of swans, its fantastic oriels and turrets, its bastions and towers, wreathed with ivy and creepers, is a thing which fills the mind with a sort of hopeless longing to possess the secret of its beauty; one desires in a dumb and bewildered way to surrender oneself, with a yearning confidence, to whatever the power may be which can design and produce a thing of such unutterable loveliness.

By the favour of an ecclesiastical friend I was allowed to wander alone in a totally unaccountable paradise of gardens that lies to the east of the Cathedral. It was impossible to conceive whom it belonged to, or what connection it had with the houses round about. It was all intersected with pools and rivulets of clear water. Here was a space of cultivated ground with homely vegetables. Here stood a mysterious ancient building, which proved on examination to contain nothing but a gushing well of water. Here was a lawn with a trim gravel walk bordered with roses; while a few paces away was a deserted thicket of sprawling shrubs, elders, and laurels, with a bit of wild rough meadow in the heart of the copse; and here was a sight that nearly brought me to my knees. Beside an ancient wall, with the towers and gables of the Cathedral looking solemnly over, a great spring broke up out of the ground from some secret channel into a little pool surrounded by rich water plants, and flowed away in a full channel; not one, but three of these astonishing fountains were to be seen in this little space of grass and copse.

These are the Wells themselves, the _Aquae Solis_, as the Romans called them, fed by some hidden channel from the hills, sent gushing up day and night for the delight and refreshment of men. I wish that the mediaeval builders had built the great church over instead of near these wells, and had let them burst up in a special chapel, so that the church might have been musical with the sound of streams; and so that the waters might have flowed from the door of the house, as Ezekiel saw them flow eastward from the threshold of the holy habitation to Engedi and Eneglaim to gladden the earth.

Then as I wandered in a place of dark leaves, beside the moat under the frowning towers, I saw a kingfisher sit on a bough, his back powdered with sapphires, his red breast, his wise head on one side, watching the stream. In a moment he plunged and disappeared; in an instant he was back again on his perch, flashing, like Excalibur, over the stream, his prey in his bill.

For a long morning I wandered about, dizzied with beauty, gazing, wondering, desiring I knew not what.

Then came the strange thought that this place of dreamful beauty should be in the hands of a few simple ecclesiastical persons; the town is little more than a village; century by century it has lived a little, quiet provincial life. It has produced, so far as I know, no great man. This soft air, this humid climate, sheltered from the wind, full of warm sunlight, fed with dew, seems favourable to a long, comfortable, indolent life. The beauty of the place seems to have had no particular effect upon the people who live there. It has never been a centre of thought or activity. It ought, one would have thought, to have produced a certain kind of poetical temper, even though it were a temper of indolent enjoyment rather than of creative force. But not even a beauty born of murmuring sound--and the air is full of murmurs--seemed to have passed into the faces of the simple townsfolk who make it their home. I could not gather thatthe exquisite loveliness of the place had any particular effect upon the dwellers there, except a mild pleasure in the fact that so many strangers should come to see the place. I do not exactly grudge strangers the sight of it, though I should like better to think of it all as standing in an enchanted valley hard to penetrate. But it is difficult to see exactly for whom it all exists. It seems to be a place that ought to have a dreamful, appreciative, emotional life of its own, a place where a few worthy natures might live in a serene, joyful, impassioned mood; a place where there is nothing that need remind the dweller of ugliness or vulgarity, of progress or statistics; a place for elect souls and fine natures.

One does not want to be fantastic or absurd in such reveries as these; but it is sad to think that scattered about England in mean towns, perhaps in sordid houses, are natures that could live in a place like Wells with a perpetual delight, a constant drinking at the sources of beauty, while most of the actual inhabitants have come there almost by chance, and do not appear to be particularly conscious of their blessings or particularly affected by their surroundings. It seems indeed a curious wastefulness, that the Power who rules the world should have heaped in this tiny place among the hills such a treasure of delicate beauty, with such an indifference as to whether it should he perceived or discerned by congenial spirits.

The type of ecclesiastic whom I would like to see in a place like this would be a man deeply sensitive to art and music, with a strong mystical sense of wonder and desire; visionary perhaps, and what is called unpractical, believing that religion was not so much a matter of conduct as a matter of mood; in whom conduct would follow mood, as a rush bends in the stream. I do not say that this is the most vital form of religion. It is not the spirit of Luther or of John Wesley; it lives more among hopes than certainties; it desires to see God rather than to proclaim His wrath. Such a man, tenderly courteous to all, patient, wise, sad with a hopeful sadness, living in an atmosphere of uplifted prayer, hearing the ripple of the spring or the bird's song among the thickets, his heart rising in ecstasy upon the holy music, upborne by the grave organ-thunders, speaking sometimes out of a full heart of the secrets of God, would lead a life that would be shepherded by his Lord in a green pasture; led by waters of comfort and in paths of righteousness, with a table indeed prepared. Such a life is apt nowadays to be viewed contemptuously by the virile man, by the practical philanthropist; but it is such a spirit as this that produced the Psalms, the Book of Job, the Apocalypse. It is a type of religion that even those who base their faith upon the open Bible are apt to despise and condemn; if so, their Bible is not an open one, but sealed with many seals of ignorance and dulness. Such a life should be full of energy, of faith, of purity. It should speak to those that had ears to hear in secret chambers, even though it did not cry from the house-tops. In this stupid and hypocritical age, that mistakes money for wealth, excitement for pleasure, interference for influence, fame for wisdom, speed for progress, volubility for eloquence, such a life is despised, if not actually condemned.

Yet such lives might break from underground, in a place of greensward and bushes, among the voices of birds and the mellow murmur of bells, even as the fountains themselves spring forth. In these bustling days we are apt to think that streams have no work but to turn mills and make light for cities, to bear merchandise, to sweep foulness to the sea; we forget that they pass through woodland places, feeding the grasses and the trees, quenching the thirst of bird and beast, that they sparkle in the sun, gleam wan in the sunset, reflecting the pale sky. Oh, perverse and forgetful generation, that knows better than God what the aim and goal of our pilgrimage is; that will not hear His murmured language, or see His patient writing on the wall! That in teaching, forget to learn, and in prophesying, have no leisure to look backwards! It is we that have despised life and beauty and God; it is we that make graven images, and worship the fire till we cannot see the sun, who pray daily for peace, and cast the jewel in the mire when it is put in our foolish hands.

And after all, though we shelter our lives and seclude them as we may, we have all of us a heavy burden to bear. These mouldering walls, these soaring towers, the voice of many waters, teach me this, if they teach me nothing else, that peace and beauty are dear to the heart of God; that he sets them where he can; that we can perceive them and love them; and that if our life is a learning of some great and dim lesson, these sweet influences may sustain and comfort us at least as well as the phantoms which so many of us pursue.

LIII

I am sure that it is an inspiring as well as a pleasant thing to go on pilgrimage sometimes to the houses where interesting people and great people have lived and thought and written. It helps one to realise, that "they were mortal, too, like us," but it makes one realise it gratefully and joyfully; it is good to feel, as one comes to do by such visits, that such thoughts, such words, are not unattainable by humanity, that they can be thought in rooms and fields and gardens like our own, and written down in chairs and on tables much the same as others. Tennyson went once to see Goethe's house at Weimar, and was more transported by seeing a room full of his old boots and medicine-bottles than by anything else that he saw; and it is a wise care that keeps dear Sir Walter's old hat and coat and clumsy laced shoes in a glass case at Abbotsford. Of course one must not go in search of old boots and bottles, as many tourists do, without caring much about the hero to whom they belonged. One must have grown familiar first with every detail of the great man's life, have read his letters and his biography, and the letters written about him, and his Diary if possible, and all his books; one must have grown to admire him and desire his presence, and hate the thought of the grave that separates him from oneself; until one has come to feel that the place where he slept and ate and walked and talked and wrote is like the field full of stones at Luz, where the ladder was set up from heaven to earth, and where Jacob, shivering in his chilly slumbers, saw, in a moment of dreamful enlightenment, that the heavenly staircase may be let down in a moment at any place or hour, and that the angels may descend, carrying bright thoughts and secret consolations from its cloudy head.

And thus there can be for any one man but a few places to which he owes such a pilgrimage, because, in the first place, the thing must not be too ancient and remote; it is of little use to see the ruined shell of a great house in a forest, because such a scene does not in the least recall what the eyes of one's hero saw and rested upon. There must be some personal aroma about it; one must be able to see the garden-paths where he walked, the furniture which he used, and to realise the place in some degree as it appeared to him.

And then, too, there must be some sense of a personal link, an instinctive sympathy, between the soul of the writer and one's own spirit. It is not enough that he should have just written famous books; they must be books that have fed one's own heart and mind, have whispered some delicious hope, have thrilled one with a responsive tenderness--the writer must be one whom, unseen, we love. It is not enough that one should recognise his genius, know him to be great; he must be near and dear as well; one must visit the scene as one would draw near to the grave of a father or a brother, with a sense of love and loss and spiritual contact It should be like visiting some familiar scene. One must be able to say: "Yes, this is the tree he loved and wrote about; there is the writing-table by the window that gave him the glimpse he speaks of, of lake and hill; these are the walls on which he liked to see the firelight darting on dark winter evenings."

It is strange, if one considers carefully what houses they are that one would thus wish to visit, to reflect how many of them are homes of poets, and after them of novelists. It is the personal, the imaginative, the creative touch that weaves the spell, I do not think that one would travel far to see the house of a historian or a philosopher, however eminent; I do not personally even desire to see the houses of generals or statesmen or philanthropists. I would rather visit Rydal Mount than Hughenden; I should experience a greater exaltation of soul at Haworth than at Strathfieldsaye. I would rather see the lane where Tennyson wrote "Break, break, break," than Mr. Gladstone's library at Hawarden. Not that the houses of statesmen and generals are not interesting; I would take some trouble to visit them if I were in the neighbourhood of them; but it would be a mental rather than a spiritual pleasure, and when one was there one would tend to ask questions rather than contemplate the scene in silent awe. It may be a sentimental thing to say, but I should hope to visit Brantwood and Somerby Rectory with my heart full of prayer and my eyes full of tears, just as I should visit some old and well-loved house that had been the scene for me of happy days and loving memories.