The Crown of Wild Olive by John Ruskin (audio ebook reader txt) đź“–
- Author: John Ruskin
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I take one at mere chance:
Well, I don't know; Mr. Wordsworth certainly did, and observed, with truth, that its clouds took a sober colouring in consequence of his experiences. It is much if, indeed, this sadness be unselfish, and our eyes have kept loving watch o'er Man's Mortality. I have found it difficult to make any one now-a-days believe that such sobriety can be; and that Turner saw deeper crimson than others in the clouds of Goldau. But that any should yet think the clouds brightened by Man's Immortality instead of dulled by his death,—and, gazing on the sky, look for the day when every eye must gaze also—for behold, He cometh with the clouds—this it is no more possible for Christian England to apprehend, however exhorted by her gifted and guid.
'But Byron was not thinking of such things!'—He, the reprobate! how should such as he think of Christ?
Perhaps not wholly as you or I think of Him. Take, at chance, another line or two, to try:
If he speak truth, she is Christ's sister, and
Just now, behaved as in the Holy Land.'
Blasphemy, cry you, good reader? Are you sure you understand it? The first line I gave you was easy Byron—almost shallow Byron—these are of the man in his depth, and you will not fathom them, like a tarn,—nor in a hurry.
'Just now behaved as in the Holy Land.' How did Carnage behave in the Holy Land then? You have all been greatly questioning, of late, whether the sun, which you find to be now going out, ever stood still. Did you in any lagging minute, on those scientific occasions, chance to reflect what he was bid stand still for? or if not—will you please look—and what, also, going forth again as a strong man to run his course, he saw, rejoicing?
'Then Joshua passed from Makkedah unto Libnah—and fought against Libnah. And the Lord delivered it and the king thereof into the hand of Israel, and he smote it with the edge of the sword, and all the souls that were therein.' And from Lachish to Eglon, and from Eglon to Kirjath-Arba, and Sarah's grave in the Amorites' land, 'and Joshua smote all the country of the hills and of the south—and of the vale and of the springs, and all their kings; he left none remaining, but utterly destroyed all that breathed—as the Lord God of Israel commanded.'
Thus 'it is written:' though you perhaps do not so often hear these texts preached from, as certain others about taking away the sins of the world. I wonder how the world would like to part with them! hitherto it has always preferred parting first with its Life—and God has taken it at its word. But Death is not His Begotten Son, for all that; nor is the death of the innocent in battle carnage His 'instrument for working out a pure intent' as Mr. Wordsworth puts it; but Man's instrument for working out an impure one, as Byron would have you to know. Theology perhaps less orthodox, but certainly more reverent;—neither is the Woolwich Infant a Child of God; neither does the iron-clad 'Thunderer' utter thunders of God—which facts, if you had had the grace or sense to learn from Byron, instead of accusing him of blasphemy, it had been better at this day for you, and for many a savage soul also, by Euxine shore, and in Zulu and Afghan lands.
It was neither, however, for the theology, nor the use, of these lines that I quoted them; but to note this main point of Byron's own character. He was the first great Englishman who felt the cruelty of war, and, in its cruelty, the shame. Its guilt had been known to George Fox—its folly shown practically by Penn. But the compassion of the pious world had still for the most part been shown only in keeping its stock of Barabbases unhanged if possible: and, till Byron came, neither Kunersdorf, Eylau, nor Waterloo, had taught the pity and the pride of men that
Of honest fame than shedding seas of gore.'[188]
Such pacific verse would not indeed have been acceptable to the Edinburgh volunteers on Portobello sands. But Byron can write a battle song too, when it is his cue to fight. If you look at the introduction to the Isles of Greece, namely the 85th and 86th stanzas of the 3rd canto of Don Juan,—you will find—what will you not find, if only you understand them! 'He' in the first line, remember, means the typical modern poet.
He gave the different nations something national.
'Twas all the same to him—"God save the King"
Or "Ça ira" according to the fashion all;
His muse made increment of anything
From the high lyric down to the low rational:
If Pindar sang horse races, what should hinder
Himself from being as pliable as Pindar?
In England a six-canto quarto tale;
In Spain, he'd make a ballad or romance on
The last war—much the same in Portugal;
In Germany, the Pegasus he'd prance on
Would be old Goethe's—(see what says de Staël)
In Italy he'd ape the 'Trecentisti;'
In Greece, he'd sing some sort of hymn like this t' ye.
Note first here, as we did in Scott, the concentrating and foretelling power. The 'God Save the Queen' in England, fallen hollow now, as the 'Ça ira' in France—not a man in France knowing where either France or 'that' (whatever 'that' may be) is going to; nor the Queen of England daring, for her life, to ask the tiniest Englishman to do a single thing he doesn't like;—nor any salvation, either of Queen or Realm, being any more possible to God, unless under the direction of the Royal Society: then, note the estimate of height and depth in poetry, swept in an instant, 'high lyric to low rational.' Pindar to Pope (knowing Pope's height, too, all the while, no man better); then, the poetic power of France—resumed in a word—Béranger; then the cut at Marmion, entirely deserved, as we shall see, yet kindly given, for everything he names in these two stanzas is the best of its kind; then Romance in Spain on—the last war, (present war not being to Spanish poetical taste), then, Goethe the real heart of all Germany, and last, the aping of the Trecentisti which has since consummated itself in Pre-Raphaelitism! that also being the best thing Italy has done through England, whether in Rossetti's 'blessed damozels' or Burne Jones's 'days of creation.' Lastly comes the mock at himself—the modern English Greek—(followed up by the 'degenerate into hands like mine' in the song itself); and then—to amazement, forth he thunders in his Achilles voice. We have had one line of him in his clearness—five of him in his depth—sixteen of him in his play. Hear now but these, out of his whole heart:—
Ah no, the voices of the dead
Sound like a distant torrent's fall,
And answer, "Let one living head,
But one, arise—we come—we come:"
—'Tis but the living who are dumb.'
Resurrection, this, you see like BĂĽrger's; but not of death unto death.
'Sound like a distant torrent's fall.' I said the whole heart of Byron was in this passage. First its compassion, then its indignation, and the third element, not yet examined, that love of the beauty of this world in which the three—unholy—children, of its Fiery Furnace were like to each other; but Byron the widest-hearted. Scott and Burns love Scotland more than Nature itself: for Burns the moon must rise over Cumnock Hills,—for Scott, the Rymer's glen divide the Eildons; but, for Byron, Loch-na-Gar with Ida, looks o'er Troy, and the soft murmurs of the Dee and the Bruar change into voices of the dead on distant Marathon.
Yet take the parallel from Scott, by a field of homelier rest:—
Send to the lake a thousand rills;
In summer tide, so soft they weep,
The sound but lulls the ear asleep;
Your horse's hoof-tread sounds too rude,
So stilly is the solitude.
But well I ween the dead are near;
For though, in feudal strife, a foe
Hath laid our Lady's Chapel low,
Yet still beneath the hallowed soil,
The peasant rests him from his toil,
And, dying, bids his bones be laid
Where erst his simple fathers prayed.'
And last take the same note of sorrow—with Burns's finger on the fall of it:
Ye hazly shaws and briery dens,
Ye burnies, wimplin' down your glens
Wi' toddlin' din,
Or foamin' strang wi' hasty stens
Frae lin to lin.'
As you read, one after another, these fragments of chant by the great masters, does not a sense come upon you of some element in their passion, no less than in their sound, different, specifically, from that of 'Parching summer hath no warrant'? Is it more profane, think you—or more tender—nay, perhaps, in the core of it, more true?
For instance, when we are told that
To matins joined a mournful voice,'
is this disposition of the river's mind to pensive psalmody quite logically accounted for by the previous statement (itself by no means rhythmically dulcet,) that
And strangled by a merciless force'?
Or, when we are led into the improving reflection,
Then 'mid this wave-washed churchyard to recline,
From pastoral graves extracting thoughts divine!'
—is the divinity of the extract assured to us by its being made at leisure, and in a reclining attitude—as compared with the meditations of otherwise active men, in an erect one? Or are we perchance, many of us, still erring somewhat in our notions alike of Divinity and Humanity,—poetical extraction, and moral position?
On the chance of its being so, might I ask hearing for just a few words more of the school of Belial?
Their occasion, it must be confessed, is a quite unjustifiable one. Some very wicked people—mutineers, in fact—have retired, misanthropically, into an unfrequented part of the country, and there find themselves safe, indeed, but extremely thirsty. Whereupon Byron thus gives them to drink:
And straggling into ocean as it might.
Its bounding crystal frolicked in the ray
And gushed from cliff to crag with saltless spray,
Close on the wild wide ocean,—yet
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