The Thread of Gold - Arthur Christopher Benson (great novels of all time txt) 📗

work praised and appreciated, that is altogether a secondary pleasure which in no way competes with the luxury of expression.

I am not ungrateful for this delight; it may, I know, be withdrawn from me; but meanwhile the world seems to be full to the brim of expressive and significant things. There is a beautiful old story of a saint who saw in a vision a shining figure approaching him, holding in his hand a dark and cloudy globe. He held it out, and the saint looking attentively upon it, saw that it appeared to represent the earth in miniature; there were the continents and seas, with clouds sweeping over them; and, for all that it was so minute, he could see cities and plains, and little figures moving to and fro. The angel laid his finger on a part of the globe, and detached from it a small cluster of islands, drawing them out of the sea; and the saint saw that they were peopled by a folk, whom he knew, in some way that he could not wholly understand, to be dreary and uncomforted. He heard a voice saying, "He taketh up the isles as a very small thing"; and it darted into his mind that his work lay with the people of those sad islands; that he was to go thither, and speak to them a message of hope.

It is a beautiful story; and it has always seemed to me that the work of the artist is like that. He is to detach from the great peopled globe what little portion seems to appeal to him most; and he must then say what he can to encourage and sustain men, whatever thoughts of joy and hope come most home to him in his long and eager pilgrimage.


XIX


Hamlet

We were talking yesterday about the stage, a subject in which I am ashamed to confess I take but a feeble interest, though I fully recognise the appeal of the drama to certain minds, and its possibilities. One of the party, who had all his life been a great frequenter of theatres, turned to me and said: "After all, there is one play which seems to be always popular, and to affect all audiences, the poor, the middle-class, the cultivated, alike--Hamlet." "Yes," I said, "and I wonder why that is?" "Well," he said, "it is this, I think: that beneath all its subtleties, all its intellectual force, it has an emotional appeal to every one who has lived in the world; every one sees himself more or less in Hamlet; every one has been in a situation in which he felt that circumstances were too strong for him; and then, too," he added, "there is always a deep and romantic interest about the case of a man who has every possible external advantage, youth, health, wealth, rank, love, ardour, and zest, who is yet utterly miserable, and moves to a dark end under a shadow of doom."

I thought, and think this a profound and delicate criticism. There is, of course, a great deal more in Hamlet; there is its high poetry, its mournful dwelling upon deep mysteries, its supernatural terrors, its worldly wisdom, its penetrating insight; but these are all accessories to the central thought; the conception is absolutely firm throughout. The hunted soul of Hamlet, after a pleasant and easy drifting upon the stream of happy events, finds a sombre curtain suddenly twitched aside, and is confronted with a tragedy so dark, a choice so desperate, that the reeling brain staggers, and can hardly keep its hold upon the events and habits of life. Day by day the shadow flits beside him; morning after morning he uncloses his sad eyes upon a world, which he had found so sweet, and which he now sees to be so terrible; the insistent horror breeds a whole troop of spectres, so that all the quiet experiences of life, friendship, love, nature, art, become big with uneasy speculations and surmises; from the rampart-platform by the sea until the peal of ordnance is shot off, as the poor bodies are carried out, every moment brings with it some shocking or brooding experience. Hamlet is not strong enough to close his eyes to these things; if for a moment he attempts this, some tragic thought plucks at his shoulder, and bids the awakened sleeper look out into the struggling light. Neither is he strong enough to face the situation with resolution and courage. He turns and doubles before the pursuing Fury; he hopes against hope that a door of escape may be opened. He poisons the air with gloom and suspicion; he feeds with wilful sadness upon the most melancholy images of death and despair. And though the great creator of this mournful labyrinth, this atrocious dilemma, can involve the sad spirit with an art that thrills all the most delicate fibres of the human spirit, he cannot stammer out even the most faltering solution, the smallest word of comfort or hope. He leaves the problem, where he took it up, in the mighty hands of God.

And thus the play stands as the supreme memorial of the tortured spirit. The sad soul of the prince seems like an orange-banded bee, buzzing against the glass of some closed chamber-window, wondering heavily what is the clear yet palpable medium that keeps it, in spite of all its efforts, from re-entering the sunny paradise of tree and flower, that lies so close at hand, and that is yet unattainable; until one wonders why the supreme Lord of the place cannot put forth a finger, and release the ineffectual spirit from its fruitless pain. As the play gathers and thickens to its crisis, one experiences--and this is surely a test of the highest art--the poignant desire to explain, to reason, to comfort, to relieve; even if one cannot help, one longs at least to utter the yearning of the heart, the intense sympathy that one feels for the multitude of sorrows that oppress this laden spirit; to assuage if only for a moment, by an answering glance of love, the fire that burns in those stricken eyes. And one must bear away from the story not only the intellectual satisfaction, the emotional excitement, but a deep desire to help, as far as a man can, the woes of spirits who, all the world over, are in the grip of these dreary agonies.

And that, after all, is the secret of the art that deals with the presentment of sorrow; with the art that deals with pure beauty the end is plain enough; we may stay our hearts upon it, plunge with gratitude into the pure stream, and recognise it for a sweet and wholesome gift of God; but the art that makes sorrow beautiful, what are we to do with that? We may learn to bear, we may learn to hope that there is, in the mind of God, if we could but read it, a region where both beauty and sadness are one; and meanwhile it may teach us to let our heart go out, in love and pity, to all who are bound upon their pilgrimage in heaviness, and passing uncomforted through the dark valley.


XX


A Sealed Spirit

A few weeks ago I was staying with a friend of mine, a clergyman in the country. He told me one evening a very sad story about one of his parishioners. This was a man who had been a clerk in a London Bank, whose eyesight had failed, and who had at last become totally blind. He was, at the time when this calamity fell upon him, about forty years of age. The Directors of the Bank gave him a small pension, and he had a very small income of his own; he was married, with one son, who was shortly after taken into the Bank as a clerk. The man and his wife came into the parish, and took a tiny cottage, where they lived very simply and frugally. But within a year or two his hearing had also failed, and he had since become totally deaf. It is almost appalling to reflect upon the condition of helplessness to which this double calamity can reduce a man. To be cut off from the sights and sounds of the world, with these two avenues of perception closed, so as to be able to take cognisance of external things only through scent and touch! It would seem to be well-nigh unendurable! He had learnt to read raised type with his fingers, and had been presented by some friends with two or three books of this kind. His speech was, as is always the case, affected, but still intelligible. Only the simplest facts could be communicated to him, by means of a set of cards, with words in raised type, out of which a few sentences could be arranged. But he and his wife had invented a code of touch, by means of which she was able to a certain extent, though of course very inadequately, to communicate with him. I asked how he employed himself, and I was told that he wrote a good deal,--curious, rhapsodical compositions, dwelling much on his own thoughts and fancies. "He sits," said the Vicar, "for hours together on a bench in his garden, and walks about, guided by his wife. His sense of both smell and touch have become extraordinarily acute; and, afflicted as he is, I am sure he is not at all an unhappy man." He produced some of the writings of which he had spoken. They were written in a big, clear hand. I read them with intense interest. Some of them were recollections of his childish days, set in a somewhat antique and biblical phraseology. Some of them were curious reveries, dwelling much upon the perception of natural things through scent. He complained, I remember, that life was so much less interesting in winter because scents were so much less sweet and less complex than in summer. But the whole of the writings showed a serene exaltation of mind. There was not a touch of repining or resignation about them. He spoke much of the aesthetic pleasure that he received from an increased power of disentangling the component elements of a scent, such as came from his garden on a warm summer day. Some of the writings that were shown me were religious in character, in which the man spoke of a constant sense of the nearness of God's presence, and of a strange joy that filled his heart.

On the following day the Vicar suggested that we should go to see him; we turned out of a lane, and found a little cottage with a thatched roof, standing in a small orchard, bright with flowers. On a bench we saw the man sitting, entirely unconscious of our presence. He was a tall, strongly-built fellow with a beard, bronzed and healthy in appearance. His eyes were wide open, and, but for a curious fixity of gaze, I should not have suspected that he was blind. His hands were folded on his knee, and he was smiling; once or twice I saw his lips move as if he was talking to himself. "We won't go up to him," said the Vicar, "as it might startle him; we will find his wife." So we went up to the cottage door, and knocked. It was opened to us by a small elderly woman, with a grave, simple look, and