PATHOS

A fugitive writer wrote not long ago on the fugitive page of a magazine: "For our part, the drunken tinker [Christopher Sly] is the most real personage of the piece, and not without some hints of the pathos that is worked out more fully, though by different ways, in Bottom and Malvolio."

Has it indeed come to this? Have the Zeitgeist and the Weltschmerz or their yet later equivalents, compared with which "le spleen" of the French Byronic age was gay, done so much for us? Is there to be no laughter left in literature free from the preoccupation of a sham real- life? So it would seem. Even what the great master has not shown us in his work, that your critic convinced of pathos is resolved to see in it.

By the penetration of his intrusive sympathy he will come at it. It is of little use now to explain Snug the joiner to the audience: why, it is precisely Snug who stirs their emotions so painfully. Not the lion; they can make shift to see through that: but the Snug within, the human Snug.

And Master Shallow has the Weltschmerz in that latent form which is the more appealing; and discouraging questions arise as to the end of old Double; and Harpagon is the tragic figure of Monomania; and as to Argan, ah, what havoc in "les entrailles de Monsieur" must have been wrought by those prescriptions! _Et patati, et patata_.

It may be only too true that the actual world is "with pathos delicately edged." For Malvolio living we should have had living sympathies; so much aspiration, so ill-educated a love of refinement; so unarmed a credulity, n.o.blest of weaknesses, betrayed for the laughter of a chambermaid. By an actual Bottom the weaver our pity might be reached for the sake of his single self-reliance, his fancy and resource condemned to burlesque and ignominy by the n.i.g.g.ard doom of circ.u.mstance.

But is not life one thing and is not art another? Is it not the privilege of literature to treat things singly, without the after-thoughts of life, without the troublous completeness of the many- sided world? Is not Shakespeare, for this reason, our refuge?

Fortunately unreal is his world when he will have it so; and there we may laugh with open heart at a grotesque man: without misgiving, without remorse, without reluctance. If great creating Nature has not a.s.sumed for herself she has a.s.suredly secured to the great creating poet the right of partiality, of limitation, of setting aside and leaving out, of taking one impression and one emotion as sufficient for the day. Art and Nature are complementary; in relation, not in confusion, with one another. And all this officious cleverness in seeing round the corner, as it were, of a thing presented by literary art in the flat--(the borrowing of similes from other arts is of evil tendency; but let this pa.s.s, as it is apt)--is but another sign of the general lack of a sense of the separation between Nature and her sentient mirror in the mind. In some of his persons, indeed, Shakespeare is as Nature herself, all-inclusive; but in others--and chiefly in comedy--he is partial, he is impressionary, he refuses to know what is not to his purpose, he is light- heartedly capricious. And in that gay, wilful world it is that he gives us--or used to give us, for even the word is obsolete--the pleasure of _oubliance_.

Now this fugitive writer has not been so swift but that I have caught him a clout as he went. Yet he will do it again; and those like-minded will a.s.suredly also continue to show how much more completely human, how much more sensitive, how much more responsible, is the art of the critic than the world has ever dreamt till now. And, superior in so much, they will still count their importunate sensibility as the choicest of their gifts.

And Lepidus, who loves to wonder, can have no better subject for his admiration than the pathos of the time. It is bred now of your mud by the operation of your sun. 'Tis a strange serpent; and the tears of it are wet.

ANIMA PELLEGRINA!

Every language in the world has its own phrase, fresh for the stranger's fresh and alien sense of its signal significance; a phrase that is its own essential possession, and yet is dearer to the speaker of other tongues. Easily--shall I say cheaply?--spiritual, for example, was the nation that devised the name _anima pellegrina_, wherewith to crown a creature admired. "Pilgrim soul" is a phrase for any language, but "pilgrim soul!" addressed, singly and sweetly to one who cannot be over- praised, "pilgrim-soul!" is a phrase of fondness, the high homage of a lover, of one watching, of one who has no more need of common flatteries, but has admired and gazed while the object of his praises visibly surpa.s.sed them--this is the facile Italian ecstasy, and it rises into an Italian heaven.

It was by chance, and in an old play, that I came upon this impetuous, sudden, and single sentence of admiration, as it were a sentence of life pa.s.sed upon one charged with inestimable deeds; and the modern editor had thought it necessary to explain the exclamation by a note. It was, he said, poetical.

_Anima pellegrina_ seems to be Italian of no later date than Pergolese's airs, and suits the time as the familiar phrase of the more modern love-song suited the day of Bellini. But it is only Italian, bygone Italian, and not a part of the sweet past of any other European nation, but only of this.

To the same local boundaries and enclosed skies belongs the charm of those buoyant words:-

Felice chi vi mira, Ma piu felice chi per voi sospira!

And it is not only a charm of elastic sound or of grace; that would be but a property of the turn of speech. It is rather the profounder advantage whereby the rhymes are freighted with such feeling as the very language keeps in store. In another tongue you may sing, "happy who looks, happier who sighs"; but in what other tongue shall the little meaning be so sufficient, and in what other shall you get from so weak an ant.i.thesis the illusion of a lovely intellectual epigram? Yet it is not worthy of an English reader to call it an illusion; he should rather be glad to travel into the place of a language where the phrase _is_ intellectual, impa.s.sioned, and an epigram; and should thankfully for the occasion translate himself, and not the poetry.

I have been delighted to use a present current phrase whereof the charm may still be unknown to Englishmen--"_piuttos...o...b..uttini_." See what an all-Italian spirit is here, and what contempt, not reluctant, but tolerant and familiar. You may hear it said of pictures, or works of art of several kinds, and you confess at once that not otherwise should they be condemned. _Brutto_--ugly--is the word of justice, the word for any language, everywhere translatable, a circular note, to be exchanged internationally with a general meaning, wholesale, in the course of the European concert. But _bruttino_ is a soothing diminutive, a diminutive that forbears to express contempt, a diminutive that implies innocence, and is, moreover, guarded by a hesitating adverb, shrugging in the rear--"rather than not." "Rather ugly than not, and ugly in a little way that we need say few words about--the fewer the better;" nay, this paraphrase cannot achieve the homely Italian quality whereby the printed and condemnatory criticism is made a family affair that shall go no further. After the sound of it, the European concert seems to be composed of bra.s.s instruments.

How unlike is the house of English language and the enclosure into which a traveller hither has to enter! Do we possess anything here more essentially ours (though we share it with our sister Germany) than our particle "un"? Poor are those living languages that have not our use of so rich a negative. The French equivalent in adjectives reaches no further than the adjective itself--or hardly; it does not attain the participle; so that no French or Italian poet has the words "unloved", "unforgiven." None such, therefore, has the opportunity of the gravest and the most majestic of all ironies. In our English, the words that are denied are still there--"loved," "forgiven": excluded angels, who stand erect, attesting what is not done, what is undone, what shall not be done.

No merely opposite words could have so much denial, or so much pain of loss, or so much outer darkness, or so much barred beat.i.tude in sight.

All-present, all-significant, all-remembering, all-foretelling is the word, and it has a plenitude of knowledge.

We have many more conspicuous possessions that are, like this, proper to character and thought, and by no means only an accident of untransferable speech. And it is impossible for a reader, who is a lover of languages for their spirit, to pa.s.s the words of untravelled excellence, proper to their own garden enclosed, without recognition. Never may they be disregarded or confounded with the universal stock. If I would not so neglect _piuttos...o...b..uttini_, how much less a word dominating literature! And of such words of ascendancy and race there is no great English author but has abundant possession. No need to recall them. But even writers who are not great have, here and there, proved their full consciousness of their birthright. Thus does a man who was hardly an author, Haydon the painter, put out his hand to take his rights. He has incomparable language when he is at a certain page of his life; at that time he sate down to sketch his child, dying in its babyhood, and the head he studied was, he says, full of "power and grief."

This is a phrase of different discovery from that which reveals a local rhyme-balanced epigram, a gracious ant.i.thesis, taking an intellectual place--_Felice chi vi mira_--or the art-critic's phrase--_piuttos...o...b..uttini_--of easy, companionable, and equal contempt.

As for French, if it had no other sacred words--and it has many--who would not treasure the language that has given us--no, not that has given us, but that has kept for its own--_ensoleille_? Nowhere else is the sun served with such a word. It is not to be said or written without a convincing sense of sunshine, and from the very word come light and radiation. The unaccustomed north could not have made it, nor the accustomed south, but only a nation part-north and part-south; therefore neither England nor Italy can rival it. But there needed also the senses of the French--those senses of which they say far too much in every second-cla.s.s book of their enormous, their general second-cla.s.s, but which they have matched in their time with some inimitable words. Perhaps that matching was done at the moment of the full literary consciousness of the senses, somewhere about the famous 1830. For I do not think _ensoleille_ to be a much older word--I make no a.s.sertion. Whatever its origin, may it have no end! They cannot weary us with it; for it seems as new as the sun, as remote as old Provence; village, hill-side, vineyard, and chestnut wood shine in the splendour of the word, the air is light, and white things pa.s.sing blind the eyes--a woman's linen, white cattle, shining on the way from shadow to shadow. A word of the sense of sight, and a summer word, in short, compared with which the paraphrase is but a picture. For _ensoleille_ I would claim the consent of all readers--that they shall all acknowledge the spirit of that French. But perhaps it is a mere personal preference that makes _le jour s'annonce_ also sacred.

If the hymn, "Stabat Mater dolorosa," was written in Latin, this could be only that it might in time find its true language and incomparable phrase at last--that it might await the day of life in its proper German. I found it there (and knew at once the authentic verse, and knew at once for what tongue it had been really destined) in the pages of the prayer- book of an apple-woman at an Innsbruck church, and in the accents of her voice.

A POINT OF BIOGRAPHY

There is hardly a writer now--of the third cla.s.s probably not one--who has not something sharp and sad to say about the cruelty of Nature; not one who is able to attempt May in the woods without a modern reference to the manifold death and destruction with which the air, the branches, the mosses are said to be full.

But no one has paused in the course of these phrases to take notice of the curious and conspicuous fact of the suppression of death and of the dead throughout this landscape of manifest life. Where are they--all the dying, all the dead, of the populous woods? Where do they hide their little last hours, where are they buried? Where is the violence concealed? Under what gay custom and decent habit? You may see, it is true, an earth-worm in a robin's beak, and may hear a thrush breaking a snail's sh.e.l.l; but these little things are, as it were, pa.s.sed by with a kind of twinkle for apology, as by a well-bred man who does openly some little solecism which is too slight for direct mention, and which a meaner man might hide or avoid. Unless you are very modern indeed, you twinkle back at the bird.

But otherwise there is nothing visible of the havoc and the prey and plunder. It is certain that much of the visible life pa.s.ses violently into other forms, flashes without pause into another flame; but not all.

Amid all the killing there must be much dying. There are, for instance, few birds of prey left in our more accessible counties now, and many thousands of birds must die uncaught by a hawk and unpierced. But if their killing is done so modestly, so then is their dying also. Short lives have all these wild things, but there are innumerable flocks of them always alive; they must die, then, in innumerable flocks. And yet they keep the millions of the dead out of sight.

Now and then, indeed, they may be betrayed. It happened in a cold winter. The late frosts were so sudden, and the famine was so complete, that the birds were taken unawares. The sky and the earth conspired that February to make known all the secrets; everything was published. Death was manifest. Editors, when a great man dies, are not more resolute than was the frost of '95.

The birds were obliged to die in public. They were surprised and forced to do thus. They became like Sh.e.l.ley in the monument which the art and imagination of England combined to raise to his memory at Oxford.

Frost was surely at work in both cases, and in both it wrought wrong.

There is a similarity of unreason in betraying the death of a bird and in exhibiting the death of Sh.e.l.ley. The death of a soldier--_pa.s.se encore_. But the death of Sh.e.l.ley was not his goal. And the death of the birds is so little characteristic of them that, as has just been said, no one in the world is aware of their dying, except only in the case of birds in cages, who, again, are compelled to die with observation. The woodland is guarded and kept by a rule. There is no display of the battlefield in the fields. There is no tale of the game- bag, no boast. The hunting goes on, but with strange decorum. You may pa.s.s a fine season under the trees, and see nothing dead except here and there where a boy has been by, or a man with a trap, or a man with a gun.

There is nothing like a butcher's shop in the woods.

But the biographers have always had other ways than those of the wild world. They will not have a man to die out of sight. I have turned over scores of "Lives," not to read them, but to see whether now and again there might be a "Life" which was not more emphatically a death. But there never is a modern biography that has taken the hint of Nature. One and all, these books have the disproportionate illness, the death out of all scale.

Even more wanton than the disclosure of a death is that of a mortal illness. If the man had recovered, his illness would have been rightly his own secret. But because he did not recover, it is a.s.sumed to be news for the first comer. Which of us would suffer the details of any physical suffering, over and done in our own lives, to be displayed and described? This is not a confidence we have a mind to make; and no one is authorised to ask for attention or pity on our behalf. The story of pain ought not to be told of us, seeing that by us it would a.s.suredly not be told.

There is only one other thing that concerns a man still more exclusively, and that is his own mental illness, or the dreams and illusions of a long delirium. When he is in common language not himself, amends should be made for so bitter a paradox; he should be allowed such solitude as is possible to the alienated spirit; he should be left to the "not himself,"

and spared the intrusion against which he can so ill guard that he could hardly have even resented it.

The double helplessness of delusion and death should keep the door of Rossetti's house, for example, and refuse him to the reader. His mortal illness had nothing to do with his poetry. Some rather affected objection is taken every now and then to the publication of some facts (others being already well known) in the life of Sh.e.l.ley. Nevertheless, these are all, properly speaking, biography. What is not biography is the detail of the accident of the manner of his death, the detail of his cremation. Or if it was to be told--told briefly--it was certainly not for marble. Sh.e.l.ley's death had no significance, except inasmuch as he died young. It was a detachable and disconnected incident. Ah, that was a frost of fancy and of the heart that used it so, dealing with an insignificant fact, and conferring a futile immortality. Those are ill- named biographers who seem to think that a betrayal of the ways of death is a part of their ordinary duty, and that if material enough for a last chapter does not lie to their hand they are to search it out. They, of all survivors, are called upon, in honour and reason, to look upon a death with more composure. To those who loved the dead closely, this is, for a time, impossible. To them death becomes, for a year, disproportionate. Their dreams are fixed upon it night by night. They have, in those dreams, to find the dead in some labyrinth; they have to mourn his dying and to welcome his recovery in such a mingling of distress and of always incredulous happiness as is not known even to dreams save in that first year of separation. But they are not biographers.

If death is the privacy of the woods, it is the more conspicuously secret because it is their only privacy. You may watch or may surprise everything else. The nest is retired, not hidden. The chase goes on everywhere. It is wonderful how the perpetual chase seems to cause no perpetual fear. The songs are all audible. Life is undefended, careless, nimble and noisy.

It is a happy thing that minor artists have ceased, or almost ceased, to paint dead birds. Time was when they did it continually in that British School of water-colour art, stippled, of which surrounding nations, it was agreed, were envious. They must have killed their bird to paint him, for he is not to be caught dead. A bird is more easily caught alive than dead.

A poet, on the contrary, is easily--too easily--caught dead. Minor artists now seldom stipple the bird on its back, but a good sculptor and a University together modelled their Sh.e.l.ley on his back, unessentially drowned; and everybody may read about the sick mind of Dante Rossetti.

THE HONOURS OF MORTALITY

The brilliant talent which has quite lately and quite suddenly arisen, to devote itself to the use of the day or of the week, in ill.u.s.trated papers--the enormous production of art in black and white--is a.s.suredly a confession that the Honours of Mortality are worth working for. Fifty years ago, men worked for the honours of immortality; these were the commonplace of their ambition; they declined to attend to the beauty of things of use that were destined to be broken and worn out, and they looked forward to surviving themselves by painting bad pictures; so that what to do with their bad pictures in addition to our own has become the problem of the nation and of the householder alike. To-day men have began to learn that their sons will be grateful to them for few bequests.

Art consents at last to work upon the tissue and the china that are doomed to the natural and necessary end--destruction; and art shows a most dignified alacrity to do her best, daily, for the "process," and for oblivion.

Doubtless this abandonment of hopes so large at once and so cheap costs the artist something; nay, it implies an acceptance of the inevitable that is not less than heroic. And the reward has been in the singular and manifest increase of vitality in this work which is done for so short a life. Fittingly indeed does life reward the acceptance of death, inasmuch as to die is to have been alive. There is a real circulation of blood-quick use, brief beauty, abolition, recreation. The honour of the day is for ever the honour of that day. It goes into the treasury of things that are honestly and--completely ended and done with. And when can so happy a thing be said of a lifeless oil-painting? Who of the wise would hesitate? To be honourable for one day--one named and dated day, separate from all other days of the ages--or to be for an unlimited time tedious?

COMPOSURE