The Upton Letters - Arthur Christopher Benson (learn to read books TXT) 📗

I really am, and to allow a certain claim of loyalty to be established which I could not sincerely sustain.--Ever yours,

T. B.


KNAPSTEAD VICARAGE, BALDOCK, Aug. 14, 1904.


MY DEAR HERBERT,--A curious little incident occurred to me yesterday--so curious, so inexplicable, that I cannot refrain from telling it to you, though it has no solution and no moral so far as I can see. I am staying with an old family friend, Duncan by name--you don't know him--who is a parson near Hitchin. We were to have gone for a bicycle ride together, but he was called away on sudden business, and as the only other member of the party is my friend's wife, who is much of an invalid, I went out alone.

I went off through Baldock and Ashwell. And I must interrupt my story for a moment to tell you about the latter. Above a large hamlet of irregularly built and scattered white houses, many of them thatched, most of them picturesque, rises one of the most beautiful, mouldering church towers I have ever seen. It is more like a weather-worn crag-pinnacle than a tower; it is of great height, and the dim and blurred outlines of its arched windows and buttresses communicate a singular grace of underlying form to the broken and fretted stone. I fear that it must before long be restored, if it is to hold together much longer; all I can say is that I am thankful to have seen it in its hour of decay. It is infinitely patient and pathetic. Its solemn, ruinous dignity, its tender grace, make it like some aged and sanctified spirit that has borne calamity and misfortune with a sweet and gentle trust. A little farther on in the village is another extraordinarily beautiful thing. The road, while still almost in the street, passes across a little embankment; and on the left hand you look down into a pit, like a quarry, full of ash-trees, and with a thick undergrowth of bushes and tall plants. From a dozen little excavations leap and bicker crystal rivulets of water, hurrying down stony channels, uniting in a pool, and then moving off, a full-fed stream, among quiet water-meadows. It is one of the sources of the Cam. The water is deliciously cool and clear, running as it does straight off the chalk. No words of mine can do justice to the wonderful purity and peace of the place. I found myself murmuring over those perfect lines of Marvell--you know them?--


"Might a soul bathe there and be clean,
And slake its drought?"


These two sights, the tower and the well-head, put my mind into tune; and I went on my way rejoicing, with that delicate elation of spirit that rarely visits one. Everything I saw had an airy quality, a flavour, an aroma, I know not how to describe it. Now I caught the sunlight on the towering greenness of an ancient elm; now a wide view over flat pastures, with a pool fringed deep in rushes, came in sight; now an old manorial farm held up its lichened chimneys above a row of pollarded elms. I came at last, by lanes and byways, to a silent village that seemed entirely deserted. The men, I suppose, were all working in the fields; the cottage doors stood open; near the little common rose an old high-shouldered church, much overgrown with ivy. The sun lay pleasantly upon its leaded roof, and among the grass-grown graves. I left my bicycle by the porch, and at first could not find an entrance; but at last I discovered that a low, priest's door that led into the chancel, was open. The church had an ancient and holy smell. It was very cool in there out of the sun. I turned into the nave, and wandered about for a few moments, noting the timbered roof, the remains of old frescoes on the walls; the tomb of a knight who lay still and stiff, his head resting on his hand. I read an epitaph or two, with the faint cry of love and grief echoing through the stilted phraseology of the tomb, and then I went back to the altar.

On a broad slab of slate, immediately below the altar steps, lay something dark; I bent down to look at it, and then realised, with a curious sense of horror, that it was a little pool of blood; beside it lay two large jagged stones, also stained with blood, which had dried into a viscous paste upon them. It seemed as if the stoning of some martyr had taken place, and that, the first horrible violence done, the deed had been transferred to the open air. What made it still stranger to me was that in the east window was a rude representation of the stoning of Stephen; and I have since discovered that the church is dedicated to him.

I cannot give you the smallest hint of explanation. Indeed, pondering over it, I cannot conceive of any circumstances which can in any way account for what I saw. I wandered out into the churchyard--for the sight gave me a curious chill of horror--and I could see nothing that could further enlighten me. A few yards beyond stood the rectory, embowered in thickets. It seemed to be deserted; the windows were dark and undraped; no smoke went up from the chimneys. It suddenly appeared to me that I must be the victim of some strange hallucination, So I stepped again within the church to see if my senses had played me false. But no! there were the stones, and the blood beside them.

The sun began to decline to his setting; the shadows lengthened and darkened, as I rode slowly away, with a shadow on my spirit. I felt I had somehow seen a type, a mystery. These incidents do not befall one by chance, and I was sure, in some remote way, that I had looked, as it were, for a moment into a dark avenue of the soul; that I was bidden to think, to ponder. These tokens of violence and death, the blood outpoured, in witness of pain, in the heart of the quiet sanctuary, before the very altar of the God of peace and love. What is it that we do that is like that? What is it that _I_ do? I will not tell you how the message shaped itself for me; perhaps you can guess; but it came, it formed itself out of the dark, and in that silent hour a voice called sharply in my spirit.

But I must not end thus. I came home; I told my tale; I found my friend returned. He nodded gravely and wonderingly, and I think he half understood. But his wife was full of curiosity. She made me tell and retell the incident. "Was there no one you could ask?" she said; "I would not have rested till I had solved it." She even bade me tell her the name of the place, but I refused. "Do you mean to say you don't WANT to know?" she said. "No," I said; "I had rather not know." To which, rather petulantly, she said, "Oh, you MEN!" That evening a neighbouring parson, his wife, and daughter, came to dine. I was bidden to tell my story again, and the same scene was re-enacted. "Was there no one you could find to ask?" said the girl. I laughed and said, "I daresay I could have found some one, but I did not want to know. I had rather have my little mystery," I added; and then we men interchanged a nod, while the women looked sharply at each other. "Is it not quite incredible?" my friend's wife said. And the daughter added, "I, for one, will not rest till I have discovered."

That, I suppose, is the difference between the masculine and the feminine mind. You will understand me; but read the story to your wife and daughters, and they will say, "Was there no one he could have asked?" and "I would not rest till I had discovered." Meanwhile I only hope that my maiden's efforts will prove unavailing.--Ever yours,

T. B.


GREENHOWE, SEDBERGH, Aug. 21, 1904.


MY DEAR HERBERT,--I suppose I am very early Victorian in my tastes; but I have just been reading Jane Eyre again with intense satisfaction. (I will tell you presently WHY I have been reading it.) I read it first as a boy at Eton, and I must have read it twenty times since. I know that much of it is grotesque, but it seems to me that its grotesqueness is not absurd, any more than the stiff animals and trees or hills in the early Italian pictures are absurd; one smiles, not contemptuously, but tenderly at it all.

Again, there are two ways of treating a work of art. If a portrait, for instance, is intensely realistic and true to its original, one says, "How lifelike!" If it is widely unlike the original, one can always say, "How symbolical!" Of the first kind of portrait one may say that it brings the man before you; of the latter you may say that the artist has striven to paint the soul rather than the body. Well, I think it is fair to call Jane Eyre symbolical. Some of the people depicted are very true to life. The old, comfortable, good-humoured housekeeper, Mrs. Fairfax; Bessie the nursemaid; Adele, the little French girl, Mr. Rochester's ward; the two Rivers sisters--they are admirable portraits. But Mr. Rochester, the haughty Baroness Ingram of Ingram Park, Miss Ingram, who says to the footman, "Leave that chatter, blockhead, and do my bidding," St. John Rivers, the blue-eyed fanatic--these are caricatures or types, according as you like to view them. To me they are types: characters finely conceived, and only exaggerated because Charlotte Bronte had never mixed with people of that species in ordinary life. But I think that one can see into the souls of these people in spite of the exaggerations of speech and gesture and behaviour which disfigure them. Yet it is not primarily for the character-drawing that I value the book. What attracts me is the romance, the beauty, the poetry of the whole, and a special union of intellectual force, with passion at white heat, which breathes through them. The love scenes have the same strange glow that I always feel in Tennyson's "Come into the garden, Maud," where the pulse of the lover thrills under one's hand with the love that beats from the heart of the world. And then, too, Charlotte Bronte seems to me to have had an incomparable gift of animating a natural scene with vivid human emotions. The frost-bound day, when the still earth holds its breath, when the springs are congealed, and the causeway is black with slippery ice, in that hour when Jane Eyre first sees Mr. Rochester; and again the scene in the summer garden, just before the thunderstorm, when Mr. Rochester calls her to look at the great hawk-moth drinking from the flower chalice. Such scenes have a vitality that makes them as real to me as scenes upon which my own eyes have rested.

Again, I know no writer who has caught the poetry of the hearth like Charlotte Bronte. The evening hours, when the fire leaps in the chimney, and the lamp is lit, and the homeless wind moans outside, and the contented mind possesses its dreams--I know nothing like that in any book.

Indeed, I do not know any books which give me quite the sense of genius that Charlotte Bronte's bring me. I find it difficult to define