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

is following the wrong path when he loves the artistic presentation of a thing better than the thing presented, when he is moved more by a single picture of a perfect scene than by the ten thousand lovely things which he may see in a single country walk. He must, indeed, select emotions and beautiful objects by their quality; he must compare and distinguish; but if he once believes that his concern is with representation rather than with life, he goes downward. He must not be concerned for a single instant with the thought, "How will this that I perceive affect others as I represent it?" but he must rather be so amazed and carried out of himself by the beauty of what he sees, that the representing of it is only a necessary consequence of the vision; as a child may tell an adventure breathlessly and intently to its mother or its nurse, absorbed in the recollection.

And thus the true artist will not weigh and ponder the most effective medium for his expression; the thought must be so overpowering that the choice of a medium will be a matter of pure instinct. The most, indeed, of what he feels and perceives he will recognise to be frankly untranslatable in speech or pigment or musical notes, too high, too sacred, too sublime. His work will be no more selfish than the work of the pilot or the general is selfish. The responsibility, the crisis, the claim of the moment, will outweigh and obliterate all personal, all fruitless considerations. He must have no thought of success; if it comes, he may rejoice that he has been a faithful interpreter, and has shared his joy with others; if it does not come, his joy is not lessened.

Then, too, in ordering his life, he must be humble, sincere, and simple. He must keep his eye and his mind open to all generous admirations. He must let no lust or appetite, no ambition of pride, cloud his vision. He must take delight in the work of other artists, and strive to see the beautiful and perfect rather than the false and feeble. He must rejoice if he can see his own dream more seriously and sweetly depicted than he can himself depict it, for he must care for nothing but the triumph of beauty over ugliness, of light over darkness. And thus the true artist may be most easily told by his lavish appreciation of the work of other artists, rather than by his censure and disapproval.

And, again, he must be able to take delight in the smallest and humblest beauties of life. He must not need to travel far and wide in the search for what is romantic, but he must find it lying richly all about him in the simplest scene. He must not crave for excitement or startling events or triumphs or compliments; he must not desire to know or to be known by famous persons, because his joys must all flow from a purer and clearer fountain-head. He must find no day nor hour dreary, and his only fatigue must be the wholesome fatigue that follows on patient labour, not the jaded fatigue of the strained imagination.

Age, and even infirmity, does not dull the zest of such a nature; it merely substitutes a range of gentler and more tranquil emotions for the heroic and passionate enthusiasms of youth; for the true artist knows that the emotion of which he is in search is something far higher and purer and more vivid than his fiercest imaginations--and yet it has the calm of strength and the dignity of worth; the vehement impulses of youth "do it wrong, being so majestical." And he draws nearer to it when animal heat and the turbulence of youthful spirit has burnt clearer and hotter, throwing off its smoke and lively flame for a keener and purer glow.

And above all things, the artist must most beware of the complacency, the sense of victory, the belief that he has attained, has plumbed the depth, seen into the heart of the mystery. Rather as life draws on he must feel, in awe and hope, that it is infinitely mightier and greater than he thought in the days of potent impulse. His whole soul must be full of a sacred fear as he draws closer to the gate, the opening of which may give him a nearer glimpse of the secret. The humble sense of failure will be a bright and noble thought, because it will show him how much the mystery transcends the most daring hope and dream.


XXXI


I was present in a great church the other day at a service held at the hour of sunset The dying light fell richly through the stained windows, lending a deep and beautiful mystery to the scenes there depicted. The pale faces of pictured saints, with their rich robes, were outlined with a pathetic sweetness against backgrounds of solemn buildings or confused woods. The lighted tapers of the choir threw a faint glow up to the intricate roof, which seemed flooded with a golden mist; the gilt pipes of the organ gleamed softly; the music began to roll and stir, with a grave melodious thunder, like the voice of a dreaming spirit. A procession of white-vested figures moved with a ceremonial dignity to their places, and then the service proceeded through soft gradations of prayer and praise, in words of exquisite and restrained felicity, all haunted with the echoes of the ages. I sate alone, a silent listener, and it seemed to me that every appeal which the beauty of art could make to the spirit was here delicately displayed. Eye and ear, emotion and intellect, were alike thrilled and satisfied. They sang the 119th Psalm, that perfect expression of holy quietude: "Thy testimonies are wonderful; therefore doth my soul seek them." Wonderful, indeed, and gracious, sweet as honey. The heart, in that glad moment, drew near to the tender Father of life, who seemed, as in the old parable, to see the repentant son of his heart wandering sadly a long way off, to go forth to meet him, and to fill the house with light and music, that he might feel it to be home indeed.

That the instinct that has drawn all the treasures of art into its service, and with them welcomes and sustains the wearied soul, is a pure and beautiful one, I make no doubt. But then I thought of all that lies outside: of crowded cities, of the ugly mirth, the sordid cares of men and women; of the dark laws that wound and slay; of pain and shame; of tired labour and cruelty and harshness, of lust and greediness.

I thought of how few there were of mankind to whom the sweet pomp which I sate to see and hear makes any appeal, I thought that for one to whom such beauty was desirable and satisfying, there were thousands who would prefer the brisk interchange of life, the race-course, the athletic spectacle, the restaurant, the tap-room. Was this, indeed, religion at all? I wondered. It did, indeed, use the language of religion, surround itself with the memories of saints, the holy wisdom of the ages. But what was the end of it? Did it inspire those who heard it with the desire to win, to sustain, to ameliorate other souls? Did it inculcate the tender affection, the self-sacrifice, the meek devotion that Christ breathed into life? Did it not rather tend to isolate the soul in a paradise of art, to consecrate the pursuit of individual emotion? It is hard to imagine that a spirit who has plunged into the intoxication of sensuous delight that such a solemnity brings would depart without an increased aversion to all that was loud and rude, wife an intensified reluctance to mingle with the coarser throng. Was it not utterly alien to the spirit of Christ thus to seclude oneself in light and warmth, among sweet strains of music and holy pictures? I do not doubt that these delights have a certain ennobling effect upon the spirit; but are they a medicine for the sorrows of the world? are they not rather the anodyne for sensitive spirits fond of tranquil ease?

I could not restrain the thought that if a man of sensitive nature is penetrated with the spirit of Christ first, if the passion of his soul to seek and save the lost is irresistible, if his faith runs clear and strong, he might win a holy refreshment from these peaceful, sweet solemnities. But the danger is for those who have no such unselfish enthusiasm, and who are tempted, under the guise of religion, to yield themselves with a sense of fastidious complacency to what are, after all, mere sensuous delights. Is it right to countenance such error? If piety frankly said, "These things are no part of religion at all; they are only a pure region of spiritual beauty, a garden of refreshment into which a pilgrim may enter by the way; only a mere halting-place, a home of comfort,"--then I should feel that it would be a consistent attitude. But if it is only a concession to the desire of beauty, if it distracts men from the purpose of Christ, if it is a mere bait for artistic souls, then I cannot believe that it is justified.

While I thus pondered, the anthem rose loud and sweet upon the air; all the pathos, the desire of the world, the craving for delicious rest, stirred and spoke in those moving strains--round a quiet minor air, sung by a deep grave voice of a velvety softness, a hundred mellow pipes wove their sweet harmonies: it told assuredly of a hope and of a truth far off; it drew the soul into a secret haven, where it listened contentedly to the roar of the surge outside. But the error seemed to be that one desired to rest there, like the Lotos-eaters in the enchanted land, and not to fare forth as a soldier of God. It spoke of delight, not of hardness; of acquiescence, not of effort.


XXXII


Strange that the sight of a man being guillotined should inspire me with a burning desire to inflict the very thing which I see another suffer! What a violent metaphor for a very minute matter! It is only a review which I have been reading, in which a pompous, and I imagine clerical, critic comes down with all his might on a man whom I gather to be a graceful and mildly speculative writer. The critic asks ponderously. What right has a man who seems to be untrained in philosophy and theology to speculate on philosophical and religious matters? He then goes on to quote a passage in which the writer attacks the current view of the doctrine of the Atonement, and he adds that a man who is unacquainted with the strides which theology has made of late years in the direction of elucidating that doctrine ought not to presume to discuss it at all. No doubt, if the writer in question made any claim to be discussing the latest theological position on the subject of the Atonement, in a technical way, he would be a mere sciolist; but he is only claiming to discuss the Current conception of the Atonement; and, as far as I can judge, he states it fairly enough. The truth is that the current conceptions of old theological doctrines tend to be very much what the original framers of those doctrines intended them to be. All that later theologians can do, when the old doctrine is exploded, is to prove that the doctrine can be modified and held in some philosophical or metaphysical sense, which was certainly not in the