Escape, and Other Essays - Arthur Christopher Benson (free novel reading sites .txt) 📗

may some day come back to the old truth, so long mishandled, that the essence of all religion is a spirit of beauty and of joy, bent on giving rather than receiving; and so at last we may reach the perception that the fruitful strength of morality lies not in its terror, its prohibitions, its coercions, but in its good-will, its tolerance, its dislike of rebuke and censure, its rapturous acceptance of all generous and chivalrous and noble ways of living.

And thus, then, I mean by charm not a mere superficial gracefulness which can be learned, as good manners are learned, through a certain code of behaviour, but a thing which is the flower and outward sign of a beautiful attitude to life; an eagerness to welcome everything which is fine and fresh and unstained; that turns away the glance from things unlovely and violent and greedy not in a disapproving or a self-righteous spirit, because it is respectable to be shocked, but in a sense of shame and disgrace that such cruel and covetous and unclean things should be. If one takes a figure like that of St. Francis of Assisi, who for all the superstition and fanaticism with which the record is intermingled, showed a real reflection and restoration of the old Christian joy of life, we shall see that he had firm hold of the secret. St. Francis's love of nature, of animals, of flowers, of children, his way of breaking into song about the pleasant things of earth, his praise of "our sister the Water, because she is very serviceable to us and humble and clean," show the outrush of an overpowering joy. He had the courage to do what very few men and women ever dare to do, and that is to make a clean sweep of property and its complications; but even so, the old legend distorts some of this into a priggish desire to set a good example, to warn and rebuke and improve the occasion. But St. Francis's asceticism is the only kind of asceticism that has any charm, the self-denial, namely, that springs from a sense of enjoyment, and is practised from a feeling of its beauty, and not as a matter of timid and anxious calculation. It is true that St. Francis was haunted by the medieval nightmare of the essential vileness of the body, and spurred it too hard. But apart from this, one recognises in him a poet, and a man of ineffable charm, who found the company of sinners at least as attractive as the company of saints, for the simple reason that the sinner is often enough well meaning and humble, and is spared at least the ugliness of respectable self- righteousness, which is of all things most destructive of the sense of proportion, and most divorced from natural joy. St. Francis took human nature as he found it, and recognised that failure has a beauty which is denied to success, for the simple reason that conscious failure makes a man both grateful and affectionate, while success too often makes him cold and hard.

And there is thus a wonderful fragrance about all that St. Francis did and said, though he must have been sorely tried by his stupid and pompous followers, who constantly misunderstood and misrepresented him, and dragged into the light what was meant to be the inner secret of his soul. There are few figures in the roll of saints so profoundly beautiful and touching as that of St. Francis, because he had in a pre-eminent degree that childlike freshness and trustfulness which is the secret of all charm.

Charm is of course not the same thing as beauty, but only a subdivision of it. There are many things in nature and in art, from the Matterhorn to "Samson Agonistes," that have no charm, but that appeal to a different range of emotions, the sublime, the majestic, the awe-inspiring, things in the presence of which we are hardly at ease; but charm is essentially a comfortable quality, something that one gathers to one's heart, and if there is a mystery about it, as there is about all beautiful things, it is not a mystery of which one would be afraid to know the secret. Charm is the quality which makes one desire to linger upon one's pilgrimage, that cries to the soul to halt, to rest, to be content. It is intimate, reassuring, and appealing; and the shadow of it is the gentle pathos, which is in itself half a luxury of sadness, in the thought that sweet things must have an end. As Herrick wrote to the daffodils:


Stay, stay
Until the hasting day
Has run
But to the evensong:
And, having prayed together, we
Will go with you along.

We have short time to stay, as you,
We have as short a spring;
As quick a growth to meet decay
As you, or anything.


In such a mood as that there is no sense of terror or despair at the quick-coming onset of death; no more dread of what may be than there is when the hamlet, with its little roofs and tall trees, is folded in the arms of the night, as the sunset dies behind the hill. Beauty may be a terrible thing, as in the sheeted cataract, with all its boiling eddies, or in the falling of the lightning from the womb of the cloud. There is desolation behind that, gigantic movement, ruthless force; but charm comes like a signal of security and good-will, and even its inevitable end is lit with something of mercy and quietness. The danger of charm is that it is the mother of sentiment; and the danger of sentiment is not that it is untrue, but that it takes from us the sense of proportion; we begin to be unable to do without our little scenes and sunsets; and the eye gets so used to dwelling upon the flower-strewn pleasaunce, with its screening trees, that it cannot bear to face the far horizon, with its menace of darkness and storm.

Yet we are very grateful to those who can teach us to turn our eyes to the charm which surrounds us, and a life which is lived without such perception is apt to be a rough and hurrying thing, even though it may also be both high and austere. Like most of life, the true success lies in not choosing one force and neglecting another, but in an expectant kind of compromise. The great affairs and facts of life flash upon us, whether we will or no; and even the man whose mind is bent upon the greatest hopes and aims may find strength and consolation in the lesser and simpler delights. Mighty spirits like, let us say, Carlyle and Ruskin, were not hampered or distracted from their further quest by the microscopic eye, the infinite zest for detail, which characterised both. No one ever spoke so finely as Carlyle of the salient features of moorland and hill, and the silence so deep that it was possible to hear the far- off sheep cropping the grass; no one ever noted so instantaneously the vivid gesture or the picturesque turn of speech, or dwelt more intently upon the pathetic sculpture of experience seen in the old humble workaday faces of country-folk. No one ever delighted more ecstatically than Ruskin in the colour of the amber cataract, with its soft, translucent rims, its flying spray, or in the dim splendours of some half-faded fresco, or in the intricate facade of the crumbling, crag-like church front. But they did not stay there; indeed, Carlyle, in his passionate career among verities and forces, hardly took enough account of the beauty so patiently entwined with mortal things; while Ruskin's sharpest agonies were endured when he found, to his dismay, that men and women could not be induced by any appeal or invective to heed the message of beauty.

It is true that, however we linger, however passionately we love the small, sweet, encircling joys and delights of life, the tragic experience comes to us, whether we will or no. None escapes. And thus our care must be not to turn our eyes away from what in sterner moments we are apt to think mere shows and vanities, but to use them serenely and temperately. St. Augustine, in a magnificent apologue upon the glories and subtleties of light, can only end by the prayer that his heart may not thereby be seduced from heavenly things; but that is the false kind of asceticism, and it is nothing more than a fear of life, if our only concern with it is to shun and abhor the joy it would fain give us. But we may be sure that life has a meaning for us in its charm and loveliness; not the whole meaning, but still an immense significance. To make life into a continuous flight, a sad expectancy, a perpetual awe, is wilfully to select one range of experiences and to neglect its kindness and its good-will. We may grow weak in our sentiment if we make a tragedy out of life, if we cannot bear to have our comfortable arrangements disordered, our little circle of pleasures broken through. The triumph is to be ready for the change, and to know that if the perfect summer day comes to an end, the power that shaped it so, and made the heart swift to love it, has yet larger surprises and glories in store. If we do that, then the charm of life takes its place in our spirits as the evidence of something joyful, wistful, pleasant, bound up with the essence of things; if it disappears, like the gold or azure thread of the tapestry, it is only to emerge in the pattern farther on; and the victory is not to attach ourselves to the particular touches of beauty and fineness which we see in the familiar scene and the well-loved circle, but to recognise beauty as a spirit, a quality which is for ever making itself felt, for ever beckoning and whispering to us, and which will not fail us even if for a time the urgent wind drives us far into the night and the storm, among the crash of the breakers, and the scream of loud winds over the sea.


VI


SUNSET

The liquid kindling of the twilight, the western glow of clear- burning fires, bringing no weariness of heat but the exquisite coolness of darkling airs, is of all the ceremonial of the day the most solemn and sacred moment. The dawn has its own splendours, but it brightens out of secret mists and folded clouds into the common light of day, when the burden must be resumed and the common business of the world renewed again. But the sunset wanes from glory and majesty into the stillness of the star-hung night, when tired eyes may close in sleep, and rehearse the mystery of death; and so the dying down of light, with the suspension of daily activities, is of the nature of a benediction. Dawn brings the consecration of beauty to a new episode of life, bidding the soul to remember throughout the toil and eagerness of the day that the beginning was made in the innocent onrush of dewy light; but when the evening comes, the deeds and words of the daylight are irrevocable facts, and the mood is not one of forward-looking hope and adventure, but of unalterable memory, and of things dealt with so and not otherwise, which nothing can henceforward change or modify. If in the morning we feel that we have power over life, in the evening