The Silent Isle - Arthur Christopher Benson (phonics books .TXT) 📗

symbols of vaster, larger, more beautiful truths.

The difficulty is to know at what point to draw the line. These limited enthusiasms may have an educative effect upon the persons who indulge them, but they may also have a stunting effect if they are pursued too long. A boy passes my window whistling shrill a stave of a popular song. He is obviously delighted with and intent upon his performance, and he is experiencing, no doubt, the artistic joy of creation; but if that boy goes on in life, as many artists do, limiting his musical aspirations to the best whistle that he can himself emit, his ideal will be a low one, however faithfully pursued. The ugly part of thus limiting our aspirations is that such petty enthusiasm is generally accompanied by an intense craving for the admiration of other people, and it is this which vitiates and poisons our own admirations. We do not merely think how fine a performance it is; we think how much we should like to impress and astonish other people, to arouse their envy and jealousy by a similar performance. The point is rather that we should enjoy effort, and that our aim should be rather to improve our own performances than to surpass the performances of others. The right spirit is that which Matthew Arnold displays in one of his letters. He was writing at a time when his own literary fame was securely established, yet he said that the longer he lived the more grateful he was for his own success. He added that the more people he came to know, the more strongly he felt the comparative equality of human endowments, and the more clearly he perceived that the successful writer found rather than invented the telling phrase, the stimulating thought. That is a very rare attitude of mind, and it is as noble as it is rare. The successful writer, as a rule, instead of being grateful for his good fortune in perceiving what others have not perceived, takes the credit to himself for having originated it, whereas he ought rather to conceive of himself as one of a company of miners, and be thankful for having lighted upon a richer pocket of auriferous soil than the rest.

Of course it sounds what is commonly called priggish when a man, in the style of Mr. Barlow, is always imploring the boy who wins a race or gets a prize to turn his thoughts higher and to take no credit to himself for what is only a piece of good fortune, and is not so great a performance after all. It is easy to say that this is but a pietistic quenching of natural and youthful delight; but much depends upon the way in which it is done, and it is probably the right line to take, though it is supposed to be merely the old-fashioned parental attitude of little goody books. The really modest and ingenuous boy does it for himself, and the boy who "puts on side" because of his triumphs is universally disapproved of. Moreover, as a rule, in the larger world, the greatest men are really apt to be among the most modest; and it is generally only the second-rate people who try to extort deference and admiration.

False enthusiasm is probably only one degree better than cynicism. Cynicism is generally the refuge of the disappointed and indolent, but there is, after all, a nobler kind of cynicism, which even religion must strive to develop, the cynicism which realises the essential worthlessness and pettiness of human endeavour. The cynicism that stops short at this point is the evil kind of cynicism, and becomes purely contemptuous and derisive. But there is a fruitful kind of cynicism, which faithfully contrasts the aspirations and possibilities of humanity with its actual performances and its failures, which makes the poet and the philosopher humble in the presence of infinite beauty and infinite knowledge.

It is the quality, the spirit, of a performance that matters. If a performance is the best of which a man is capable, and better than what he has hitherto done, he has achieved all that is possible. If he begins to reflect that it is better than what others have done, then his satisfaction is purely poisonous. But to estimate human possibilities high and human performances low, and to class one's own performances with the latter rather than the former, this is temperate and manly and strong.


XX


There is a picture of Rossetti's, very badly painted, I think, from the technical point of view, of Lucrezia Borgia. There are apologists who say that the wickedness of the Borgia family is grossly exaggerated, and that they were in reality very harmless and respectable people. But Rossetti thought of them, in painting this picture, as people stained with infamous and unspeakable crime, and he has contrived to invest the scene with a horror of darkness. Lucrezia sits in what is meant to be an attitude of stately beauty, and the figure contrives somehow to symbolise that; though she appears to be both stout and even blowsy in appearance. Her evil father, the Pope Alexander, sits leering beside her, while her brother Caesar leans over her and blows rose-leaves from her hair. There certainly hangs a hideous suggestiveness of evil over the group. In the foreground, a page of ten or twelve is dancing, together with a little girl of perhaps nine or ten. The page is slim and delicate, and watches his small companion with a tender and brotherly sort of air; both children are entirely absorbed in their performance, which they seem to have been bidden to enact for the pleasure of the three watchers. The children look innocent enough, though they too are rather dimly and clumsily painted; but one feels that they are somehow in the net, that they are growing up in a pestilential and corrupting atmosphere, and that the flowers of evil will soon burst into premature bloom in their tender souls. The whole scene is overhung with a close and enervating gloom; one apprehends somehow that the air swims with a heavy fragrance; and though one feels that the artist's hand failed to represent his thought, he was painting with a desperate intentness, and the dark quality of the conception contrives to struggle out. The art of it is great rather than good; it is the art of a man who realises the scene with a terrible insight, and in spite of a clumsy and smudgy handling, manages to bring it home perhaps even more impressively than if he had been fully master of his medium. There is a mingling of horror and pathos over it all, and the pretty, innocent gaiety of the children seems obscured as by a gathering thunder-cloud; as when the air grows close and still over some scene of rustic merriment, and the blitheness of the revellers sinks into torpor and faintness, not knowing what ails them. One feels that the performers of the dance will be rewarded with kisses and sweetmeats, and that they will draw the poison into their souls.

It is surely very difficult to analyse what this shadow of sin upon the world may be, because there is so large an element of subjectivity mingled with it. So much of it seems to depend upon the temper and beliefs of the time, so much of the shadow of conscience to be the fear of social and even legal penalty. Not to travel far for instances, one finds Plato speaking in a guileless and romantic fashion of a whole range of passions and emotions that we have grown to consider as inherently degrading and repulsive. Yet no shadow of the sense of sin seems to have brooded over that bright and clear Greek life, the elements of which, except in the regions which our morality condemns, seem so intensely desirable and ennobling. In ages, too, when life was more precarious, and men were so much less sensitive to the idea of human suffering, one finds a light-hearted cruelty practised which is insupportable to modern ideals. Those wars of extermination among the Israelites, when man and woman, boy and girl, were ruthlessly and sternly slain, because they were held to belong to some tribe abhorred by the God of Sabaoth; or when, in their own polity, some notorious sinner was put to death with all his unhappy family, however innocent--no shadow of conscience seems to have brooded over those destroyers: they rather had the inspiriting and ennobling sense of having performed a sacred duty, and carried out the commands of a jealous God. Viewing the matter, indeed, as dispassionately and philosophically as possible, it is hard to justify the ways of a Creator who slowly developed and matured a race, keeping them deliberately ignorant of light and truth, in order that they might at last be exterminated, in blood and pain, by a dominant and righteous race of invaders.

It would seem, indeed, as though the sense of sin did not reside in the act at all, but only in the sense that the act is committed in defiance of light and higher instinct. Even our own morality, on which we pride ourselves, how confused and topsy-turvy it is in many respects! How monstrous it is that a hungry man should be punished legally for theft, while an ill-tempered and unjust parent or schoolmaster should be allowed, year after year, to make the lives of the children about them into misery and heaviness. Life is full of such examples, where no agency whatever is, or can be, brought to bear by society upon a notorious wrecker of human happiness, so long as he is prudent and wary.

It is the slowness of it all that is so disheartening; the impossibility that dogs the efforts of the high-minded, the kind, the just, of prevailing against tradition and prejudice and stupidity; the grim acquiescence in sanctioned oppression that characterises a certain type of respectable virtue; the melancholy ineffectiveness of kindly persons, the lamentable lack of proportion that mars the work of the enthusiastic faddist--these things tempt one at times, in moments of despair and dreariness, to believe that the one lesson of life is meant to be a hopeless patience, a dull acquiescence in deeply-rooted evil. It is bewildering to see a world so out of joint, and to feel that the one force that has worked wonders is the discontent with things as they are. And even so the lesson is a hard one, because it has been the lot of so few of the great conquerors of humanity ever to see the hour of their triumph, which comes long after and late, when they have breathed out their ardent spirit in agony and despair.

But, after all, however much we may philosophise about sin or attempt to analyse its essence, there is some dark secret there, of which from time to time we are grievously conscious. Who does not know the sense of failure to overcome, of lapsing from a hope or a purpose, the burden of the thought of some cowardice or unkindness which we cannot undo and which we need not have committed? No resolute determinism can ever avail us against the stern verdict of that inner tribunal of the soul, which decides, too, by some instinct that we cannot divine, to sting and torture us with the memory of deeds, the momentousness and importance of which we should utterly fail to explain to others. There are things in my own past, which would be met with laughter and ridicule if I attempted to describe them, that still make me blush to recollect with a sense of guilt and shame, and seem indelibly branded upon the mind. There are things, too, of which I do not feel ashamed, which, if I