The Altar Fire by Arthur Christopher Benson (classic books for 13 year olds .txt) 📖

fetch, to beat another dog that he dislikes. Of course he says fine and suggestive things by the way, and he did a great work in inspiring people to look for beauty, though he misled many feeble spirits into substituting one convention for another. I cannot read a page of his formal writings without anger and disgust. Yet what a beautiful, pathetic, noble spirit he had! The moment he writes, simply and tenderly, from his own harrowed heart, he becomes a dear and honoured friend. In Praeterita, in his diaries and letters, in his familiar and unconsidered utterances, he is perfectly delightful, conscious of his own waywardness and whimsicality; but when he lectures and dictates, he is like a man blowing wild blasts upon a shrill trumpet. Then Carlyle--his big books, his great tawdry, smoky pictures of scenes, his loud and clumsy moralisations, his perpetual thrusting of himself into the foreground, like some obstreperous showman; he wearies and dizzies my brain with his raucous clamour, his uncouth convolutions. I saw the other day a little Japanese picture of a boat in a stormy sea, the waves beating over it; three warriors in the boat lie prostrate and rigid with terror and misery. Above, through a rent in the clouds, is visible an ugly grotesque figure, with a demoniacal leer on his face, beating upon a number of drums. The picture is entitled "The Thunder-God beats his drums." Well, Carlyle seems to me like that; he has no pity for humanity, he only likes to add to its terrors and its bewilderment. He preached silence and seclusion to men of activity, energy to men of contemplation. He was furious, whatever humanity did, whether it slept or waked. His message is the message of the booming gale, and the swollen cataract. Yet in his diaries and letters, what splendid perception, what inimitable humour, what rugged emotion! I declare that Carlyle's thumbnail portraits of people and scenes are some of the most admirable things ever set down on paper. I love and admire the old furious, disconsolate, selfish fellow with all my heart; though he was a bad husband, he was a true friend, for all his discordant cries and groans. Then there is Rossetti--a man who wrote a few incredibly beautiful poems, and in whom one seems to feel the inner fire and glow of art. Yet many of his pictures are to me little but voluptuous and wicked dreams; and his later sonnets are full of poisonous fragrance--poetry embroidered and scented, not poetry felt. What a generous, royal prodigal nature he had, till he sank into his drugged and indulgent seclusion! Here then are three great souls. Ruskin, the pure lover of things noble and beautiful, but shadowed by a prim perversity, an old-maidish delicacy, a petulant despair. Carlyle, a great, rugged, and tumultuous heart, brutalised by ill-health, morbidity, selfishness. Rossetti, a sort of day-star in art, stepping forth like an angel, to fall lower than Lucifer. What is the meaning of these strange catastrophes, these noble natures so infamously hampered? In the three cases, it seems to be that melancholy, brooding over a world, so exquisitely designed and yet so unaccountably marred, drove one to madness, one to gloom, one to sensuality. We believe or try to believe that God is pure and loving and true, and that His Heart is with all that is noble and hopeful and high. Yet the more generous the character, the deeper is the fall! Can such things be meant to show us that we have no concern with art at all; and that our only hope is to cling to bare, austere, simple, uncomforted virtue? Ought we to try to think of art only as an innocent amusement and diversion for our leisure hours? As a quest to which no man may vow himself, save at the cost of walking in a vain shadow all his days? Ought we to steel our hearts against the temptation, which seems to be implanted as deep as anything in my own nature--nay, deeper--to hold that what one calls ugliness and bad taste is of the nature of sin? But what then is the meaning of the tyrannous instinct to select and to represent, to capture beauty? Ought it to be enough to see beauty in the things around us, in flowers and light, to hear it in the bird's song and the falling stream--to perceive it thus gratefully and thankfully, and to go back to our simple lives? I do not know; it is all a great mystery; it is so hard to believe that God should put these ardent, delicious, sweet, and solemn instincts into our spirits, simply that we may learn our error in following them. And yet I feel with a sad certainty to-day that I have somehow missed the way, and that God cannot or will not help me to find it. Are we then bidden and driven to wander? Or is there indeed some deep and perfect secret of peace and tranquillity, which we are meant to find? Does it perhaps lie open to our eyes--as when one searches a table over and over for some familiar object, which all the while is there before us, plain to touch or sight?


January 3, 1889.


There is a tiny vignette of Blake's, a woodcut, I think, in which one sees a ladder set up to the crescent moon from a bald and bare corner of the globe. There are two figures that seem to be conversing together; on the ladder itself, just setting his foot to the lowest rung, is the figure of a man who is beginning to climb in a furious hurry. "I want, I want," says the little legend beneath. The execution is trivial enough; it is all done, and not very well done, in a space not much bigger than a postage-stamp--but it is one of the many cases in which Blake, by a minute symbol, expressed a large idea. One wonders if he knew how large an idea it was. It is a symbol for me of all the vague, eager, intense longing of the world, the desire of satisfaction, of peace, of fulfilment, of perfection; the power that makes people passionately religious, that makes souls so much greater and stronger than they appear to themselves to be. It is the thought that makes us at moments believe intensely and urgently in the justice, the mercy, the perfect love of God, even at moments when everything round us appears to contradict the idea. It is the outcome of that strange right to happiness which we all feel, the instinct that makes us believe of pain and grief that they are abnormal, and will be, must be, set right and explained somewhere. The thought comes to me most poignantly at sunset, when trees and chimneys stand up dark against the fiery glow, and when the further landscape lies smiling, lapt in mist, on the verge of dreams; that moment always seems to speak to me with a personal voice. "Yes," it seems to say, "I am here and everywhere--larger, sweeter, truer, more gracious than anything you have ever dreamed of or hoped for--but the time to know all is not yet." I cannot explain the feeling or interpret it; but it has sometimes seemed to me, in such moments, that I am, in very truth, not a child of God, but a part of Himself--separated from Him for a season, imprisoned, for some strange and beautiful purpose, in the chains of matter, remembering faintly and obscurely something that I have lost, as a man strives to recall a beautiful dream that has visited him. It is then that one most desires to be strong and free, to be infinitely patient and tender and loving, to be different. And then one comes back to the world with a sense of jar and shock, to broken purposes, and dull resentments, to unkindly thoughts, and people who do not even pretend to wish one well. I have been trying with all my might in these desolate weeks to be brave and affectionate and tender, and I have not succeeded. It is easy enough, when one is happily occupied for a part of the day, but when one is restless, dissatisfied, impatient, ineffective, it is a constant and a weary effort. And what is more, I dislike sympathy. I would rather bear a thing in solitude and silence. I have no self-pity, and it is humiliating and weakening to be pitied. Yet of course Maud knows that I am unhappy; and the wretchedness of it is that it has introduced a strain into our relations which I have never felt before. I sit reading, trying to pass the hours, trying to stifle thought. I look up and see her eyes fixed on me full of compassion and love--and I do not want compassion. Maud knows it, divines it all; but she can no more keep her compassion hidden than I can keep my unrest hidden. I have grown irritable, suspicious, hard to live with. Yet with all my heart and soul I desire to be patient, tolerant, kindly, sweet-tempered. FitzGerald said somewhere that ill-health makes all of us villains. This is the worst of it, that for all my efforts I get weaker, more easily vexed, more discontented. I do not and cannot trace the smallest benefit which results to me or any one else from my unhappiness. The shadow of it has even fallen over my relations with the children, who are angelically good. Maggie, with that divine instinct which women possess--what a perfectly beautiful thing it is!--has somehow contrived to discern that things are amiss with me, and I can perceive that she tries all that her little heart and mind can devise to please, soothe, interest me. But I do not want to be ministered to, exquisite as the instinct is in the child; and all the time I am as far off my object as ever. I cannot work, I cannot think. I have said fine things in my books about the discipline of reluctant suffering; and now my feeling is that I could bear any other kind of trial better. It seems to be given to me with an almost demoniacal prescience of what should most dishearten me.


"It would not school the shuddering will
To patience, were it sweet to bear,"


says an old poet; and it is true, I have no doubt; but, good God, to think that a man, so richly dowered as I am with every conceivable blessing, should yet have so small a reserve of faith and patience! Even now I can frame epigrams about it. "To learn to be content not to be content"--that is the secret--but meanwhile I stumble in dark paths, through the grove nullo penetrabilis astro, where men have wandered before now. It seems fine and romantic enough, when one thinks of another soul in torment. One remembers the old sage, reading quietly at a sunset hour, who had a sudden vision of the fate that should befall him. His book falls from his hands, he sits there, a beautiful and venerable figure enough, staring heavily into the void. It makes me feel that I shall never dare to draw the picture of a man in the grip of suffering again; I have had so little of it in my life, and I have drawn it with a luxurious artistic emotion. I remember once saying of a friend that his work was light and trivial, because he had never descended into hell. Now that I have myself set foot there, I feel art and love, and life itself, shrivel in the relentless chill--for it is icy cold and drearily bright in hell, not dark and fiery, as poets have sung! I feel that I could wrestle better