In order to live the life of night, a watcher must not wake too much.

That is, he should not alter so greatly the character of night as to lose the solitude, the visible darkness, or the quietude. The hours of sleep are too much altered when they are filled by lights and crowds; and Nature is cheated so, and evaded, and her rhythm broken, as when the larks caged in populous streets make ineffectual springs and sing daybreak songs when the London gas is lighted. Nature is easily deceived; and the muse, like the lark, may be set all astray as to the hour. You may spend the peculiar hours of sleep amid so much noise and among so many people that you shall not be aware of them; you may thus merely force and prolong the day. But to do so is not to live well both lives; it is not to yield to the daily and nightly rise and fall and to be cradled in the swing of change.

There surely never was a poet but was now and then rocked in such a cradle of alternate hours. "It cannot be," says Herbert, "that I am he on whom Thy tempests fell all night."

It is in the hours of sleep that the mind, by some divine paradox, has the extremest sense of light. Almost the most shining lines in English poetry--lines that cast sunrise shadows--are those of Blake, written confessedly from the side of night, the side of sorrow and dreams, and those dreams the dreams of little chimney-sweepers; all is as dark as he can make it with the "bags of soot"; but the boy's dream of the green plain and the river is too bright for day. So, indeed, is another brightness of Blake's, which is also, in his poem, a child's dream, and was certainly conceived by him in the hours of sleep, in which he woke to write the Songs of Innocence:-

O what land is the land of dreams?

What are its mountains, and what are its streams?

O father, I saw my mother there, Among the lilies by waters fair.

Among the lambs clothed in white, She walk'd with her Thomas in sweet delight.

To none but the hours claimed and inspired by sleep, held awake by sufferance of sleep, belongs such a vision.

Corot also took the brilliant opportunity of the hours of sleep. In some landscapes of his early manner he has the very light of dreams, and it was surely because he went abroad at the time when sleep and dreams claimed his eyes that he was able to see so spiritual an illumination.

Summer is precious for a painter, chiefly because in summer so many of the hours of sleep are also hours of light. He carries the mood of man's night out into the sunshine--Corot did so--and lives the life of night, in all its genius, in the presence of a risen sun. In the only time when the heart can dream of light, in the night of visions, with the rhythmic power of night at its dark noon in his mind, his eyes see the soaring of the actual sun.

He himself has not yet pa.s.sed at that hour into the life of day. To that life belongs many another kind of work, and a sense of other kinds of beauty; but the summer daybreak was seen by Corot with the extreme perception of the life of night. Here, at last, is the explanation of all the memories of dreams recalled by these visionary paintings, done in earlier years than were those, better known, that are the Corots of all the world. Every man who knows what it is to dream of landscape meets with one of these works of Corot's first manner with a cry, not of welcome only, but of recognition. Here is morning perceived by the spirit of the hours of sleep.

SOLITUDE

The wild man is alone at will, and so is the man for whom civilization has been kind. But there are the mult.i.tudes to whom civilization has given little but its reaction, its rebound, its chips, its refuse, its shavings, sawdust and waste, its failures; to them solitude is a right foregone or a luxury unattained; a right foregone, we may name it, in the case of the nearly savage, and a luxury unattained in the case of the nearly refined. These has the movement of the world thronged together into some blind by-way.

Their share in the enormous solitude which is the common, unbounded, and virtually illimitable possession of all mankind has lapsed, unclaimed.

They do not know it is theirs. Of many of their kingdoms they are ignorant, but of this most ignorant. They have not guessed that they own for every man a s.p.a.ce inviolate, a place of unhidden liberty and of no obscure enfranchis.e.m.e.nt. They do not claim even the solitude of closed corners, the narrow privacy of the lock and key; nor could they command so much. For the solitude that has a sky and a horizon they know not how to wish.

It lies in a perpetual distance. England has leagues thereof, landscapes, verge beyond verge, a thousand thousand places in the woods, and on uplifted hills. Or rather, solitudes are not to be measured by miles; they are to be numbered by days. They are freshly and freely the dominion of every man for the day of his possession. There is loneliness for innumerable solitaries. As many days as there are in all the ages, so many solitudes are there for men. This is the open house of the earth; no one is refused. Nor is the s.p.a.ce shortened or the silence marred because, one by one, men in mult.i.tudes have been alone there before. Solitude is separate experience. Nay, solitudes are not to be numbered by days, but by men themselves. Every man of the living and every man of the dead might have had his "privacy of light."

It needs no park. It is to be found in the merest working country; and a thicket may be as secret as a forest. It is not so difficult to get for a time out of sight and earshot. Even if your solitude be enclosed, it is still an open solitude, so there be "no cloister for the eyes," and a s.p.a.ce of far country or a cloud in the sky be privy to your hiding-place.

But the best solitude does not hide at all.

This the people who have drifted together into the streets live whole lives and never know. Do they suffer from their deprivation of even the solitude of the hiding-place? There are many who never have a whole hour alone. They live in reluctant or indifferent companionship, as people may in a boarding-house, by paradoxical choice, familiar with one another and not intimate. They live under careless observation and subject to a vagabond curiosity. Theirs is the involuntary and perhaps the unconscious loss which is futile and barren.

One knows the men, and the many women, who have sacrificed all their solitude to the perpetual society of the school, the cloister, or the hospital ward. They walk without secrecy, candid, simple, visible, without moods, unchangeable, in a constant communication and practice of action and speech. Theirs a.s.suredly is no barren or futile loss, and they have a conviction, and they bestow the conviction, of solitude deferred.

Who has painted solitude so that the solitary seemed to stand alone and inaccessible? There is the loneliness of the shepherdess in many a drawing of J.F. Millet. The little figure is away, aloof. The girl stands so when the painter is gone. She waits so on the sun for the closing of the hours of pasture. Millet has her as she looks, out of sight.

Now, although solitude is a prepared, secured, defended, elaborate possession of the rich, they too deny themselves the natural solitude of a woman with a child. A newly-born child is so nursed and talked about, handled and jolted and carried about by aliens, and there is so much importunate service going forward, that a woman is hardly alone long enough to become aware, in recollection, how her own blood moves separately, beside her, with another rhythm and different pulses. All is commonplace until the doors are closed upon the two. This unique intimacy is a profound retreat, an absolute seclusion. It is more than single solitude; it is a redoubled isolation more remote than mountains, safer than valleys, deeper than forests, and further than mid-sea.

That solitude partaken--the only partaken solitude in the world--is the Point of Honour of ethics. Treachery to that obligation and a betrayal of that confidence might well be held to be the least pardonable of all crimes. There is no innocent sleep so innocent as sleep shared between a woman and a child, the little breath hurrying beside the longer, as a child's foot runs. But the favourite crime of the sentimentalist is that of a woman against her child. Her power, her intimacy, her opportunity, that should be her accusers, are held to excuse her. She gains the most slovenly of indulgences and the grossest compa.s.sion, on the vulgar grounds that her crime was easy.

Lawless and vain art of a certain kind is apt to claim to-day, by the way, some such fondling as a heroine of the dock receives from common opinion. The vain artist had all the opportunities of the situation. He was master of his own purpose, such as it was; it was his secret, and the public was not privy to his artistic conscience. He does violence to the obligations of which he is aware, and which the world does not know very explicitly. Nothing is easier. Or he is lawless in a more literal sense, but only hopes the world will believe that he has a whole code of his own making. It would, nevertheless, be less unworthy to break obvious rules obviously in the obvious face of the public, and to abide the common rebuke.

It has just been said that a park is by no means necessary for the preparation of a country solitude. Indeed, to make those far and wide and long approaches and avenues to peace seems to be a denial of the accessibility of what should be so simple. A step, a pace or so aside, is enough to lead thither.

A park insists too much, and, besides, does not insist very sincerely. In order to fulfil the apparent professions and to keep the published promise of a park, the owner thereof should be a lover of long seclusion or of a very life of loneliness. He should have gained the state of solitariness which is a condition of life quite unlike any other. The traveller who may have gone astray in countries where an almost life-long solitude is possible knows how invincibly apart are the lonely figures he has seen in desert places there. Their loneliness is broken by his pa.s.sage, it is true, but hardly so to them. They look at him, but they are not aware that he looks at them. Nay, they look at him as though they were invisible. Their un-self-consciousness is absolute; it is in the wild degree. They are solitaries, body and soul; even when they are curious, and turn to watch the pa.s.ser-by, they are essentially alone.

Now, no one ever found that att.i.tude in a squire's figure, or that look in any country gentleman's eyes. The squire is not a life-long solitary.

He never bore himself as though he were invisible. He never had the impersonal ways of a herdsman in the remoter Apennines, with a blind, blank hut in the rocks for his dwelling. Millet would not even have taken him as a model for a solitary in the briefer and milder sylvan solitudes of France. And yet nothing but a life-long, habitual, and wild solitariness would be quite proportionate to a park of any magnitude.

If there is a look of human eyes that tells of perpetual loneliness, so there is also the familiar look that is the sign of perpetual crowds. It is the London expression, and, in its way, the Paris expression. It is the quickly caught, though not interested, look, the dull but ready glance of those who do not know of their forfeited place apart; who have neither the open secret nor the close; no reserve, no need of refuge, no flight nor impulse of flight; no moods but what they may brave out in the street, no hope of news from solitary counsels.

DECIVILIZED

The difficulty of dealing--in the course of any critical duty--with decivilized man lies in this: when you accuse him of vulgarity--sparing him no doubt the word--he defends himself against the charge of barbarism. Especially from new soil--remote, colonial--he faces you, bronzed, with a half conviction of savagery, partly persuaded of his own youthfulness of race. He writes, and recites, poems about ranches and canyons; they are designed to betray the recklessness of his nature and to reveal the good that lurks in the lawless ways of a young society. He is there to explain himself, voluble, with a glossary for his own artless slang. But his colonialism is only provincialism very articulate. The new air does but make old decadences seem more stale; the young soil does but set into fresh conditions the ready-made, the uncostly, the refuse feeling of a race decivilizing. He who played long this pattering part of youth, hastened to a.s.sure you with so self-denying a face he did not wear war-paint and feathers, that it became doubly difficult to communicate to him that you had suspected him of nothing wilder than a second-hand (figurative) dress coat. And when it was a question not of rebuke, but of praise, even the American was ill-content with the word of the judicious who lauded him for some delicate successes in continuing something of the literature of England, something of the art of France; he was more eager for the applause that stimulated him to write poems in prose form and to paint panoramic landscape, after brief training in academies of native inspiration. Even now English voices are constantly calling upon America to begin--to begin, for the world is expectant.

Whereas there is no beginning for her, but instead a fine and admirable continuity which only a constant care can guide into sustained advance.

But decivilized man is not peculiar to new soil. The English town, too, knows him in all his dailiness. In England, too, he has a literature, an art, a music, all his own--derived from many and various things of price.

Trash, in the fullness of its insimplicity and cheapness, is impossible without a beautiful past. Its chief characteristic--which is futility, not failure--could not be achieved but by the long abuse, the rotatory reproduction, the quotidian disgrace, of the utterances of Art, especially the utterance by words. Gaiety, vigour, vitality, the organic quality, purity, simplicity, precision--all these are among the antecedents of trash. It is after them; it is also, alas, because of them. And nothing can be much sadder that such a proof of what may possibly be the failure of derivation.

Evidently we cannot choose our posterity. Reversing the steps of time, we may, indeed choose backwards. We may give our thoughts n.o.ble forefathers. Well begotten, well born our fancies must be; they shall be also well derived. We have a voice in decreeing our inheritance, and not our inheritance only, but our heredity. Our minds may trace upwards and follow their ways to the best well-heads of the arts. The very habit of our thoughts may be persuaded one way unawares by their antenatal history. Their companions must be lovely, but need be no lovelier than their ancestors; and being so fathered and so husbanded, our thoughts may be intrusted to keep the counsels of literature.

Such is our confidence in a descent we know. But, of a sequel which of us is sure? Which of us is secured against the dangers of subsequent depreciation? And, moreover, which of us shall trace the contemporary tendencies, the one towards honour, the other towards dishonour? Or who shall discover why derivation becomes degeneration, and where and when and how the b.a.s.t.a.r.dy befalls? The decivilized have every grace as the antecedent of their vulgarities, every distinction as the precedent of their mediocrities. No ballad-concert song, feign it sigh, frolic, or laugh, but has the excuse that the feint was suggested, was made easy, by some living sweetness once. Nor are the decivilized to blame as having in their own persons possessed civilization and marred it. They did not possess it; they were born into some tendency to derogation, into an inclination for things mentally inexpensive. And the tendency can hardly do other than continue.

Nothing can look duller than the future of this second-hand and multiplying world. Men need not be common merely because they are many; but the infection of commonness once begun in the many, what dullness in their future! To the eye that has reluctantly discovered this truth--that the vulgarized are not _un_-civilized, and that there is no growth for them--it does not look like a future at all. More ballad-concerts, more quaint English, more robustious barytone songs, more piecemeal pictures, more colonial poetry, more young nations with withered traditions. Yet it is before this prospect that the provincial overseas lifts up his voice in a boast or a promise common enough among the incapable young, but pardonable only in senility. He promises the world a literature, an art, that shall be new because his forest is untracked and his town just built. But what the newness is to be he cannot tell. Certain words were dreadful once in the mouth of desperate old age. Dreadful and pitiable as the threat of an impotent king, what shall we name them when they are the promise of an impotent people? "I will do such things: what they are yet I know not."

THE SPIRIT OF PLACE

With mimicry, with praises, with echoes, or with answers, the poets have all but outsung the bells. The inarticulate bell has found too much interpretation, too many rhymes professing to close with her inaccessible utterance, and to agree with her remote tongue. The bell, like the bird, is a musician pestered with literature.

To the bell, moreover, men do actual violence. You cannot shake together a nightingale's notes, or strike or drive them into haste, nor can you make a lark toll for you with intervals to suit your turn, whereas wedding-bells are compelled to seem gay by mere movement and hustling. I have known some grim bells, with not a single joyous note in the whole peal, so forced to hurry for a human festival, with their harshness made light of, as though the Bishop of Hereford had again been forced to dance in his boots by a merry highwayman.

The clock is an inexorable but less arbitrary player than the bellringer, and the chimes await their appointed time to fly--wild prisoners--by twos or threes, or in greater companies. Fugitives--one or twelve taking wing--they are sudden, they are brief, they are gone; they are delivered from the close hands of this actual present. Not in vain is the sudden upper door opened against the sky; they are away, hours of the past.

Of all unfamiliar bells, those which seem to hold the memory most surely after but one hearing are bells of an unseen cathedral of France when one has arrived by night; they are no more to be forgotten than the bells in "Parsifal." They mingle with the sound of feet in unknown streets, they are the voices of an unknown tower; they are loud in their own language.

The spirit of place, which is to be seen in the shapes of the fields and the manner of the crops, to be felt in a prevalent wind, breathed in the breath of the earth, overheard in a far street-cry or in the tinkle of some black-smith, calls out and peals in the cathedral bells. It speaks its local tongue remotely, steadfastly, largely, clamorously, loudly, and greatly by these voices; you hear the sound in its dignity, and you know how familiar, how childlike, how life-long it is in the ears of the people. The bells are strange, and you know how homely they must be.

Their utterances are, as it were, the cla.s.sics of a dialect.

Spirit of place! It is for this we travel, to surprise its subtlety; and where it is a strong and dominant angel, that place, seen once, abides entire in the memory with all its own accidents, its habits, its breath, its name. It is recalled all a lifetime, having been perceived a week, and is not scattered but abides, one living body of remembrance. The untravelled spirit of place--not to be pursued, for it never flies, but always to be discovered, never absent, without variation--lurks in the by- ways and rules over the towers, indestructible, an indescribable unity.

It awaits us always in its ancient and eager freshness. It is sweet and nimble within its immemorial boundaries, but it never crosses them. Long white roads outside have mere suggestions of it and prophecies; they give promise not of its coming, for it abides, but of a new and singular and unforeseen goal for our present pilgrimage, and of an intimacy to be made. Was ever journey too hard or too long that had to pay such a visit? And if by good fortune it is a child who is the pilgrim, the spirit of place gives him a peculiar welcome, for antiquity and the conceiver of antiquity (who is only a child) know one another; nor is there a more delicate perceiver of locality than a child. He is well used to words and voices that he does not understand, and this is a condition of his simplicity; and when those unknown words are bells, loud in the night, they are to him as homely and as old as lullabies.

If, especially in England, we make rough and reluctant bells go in gay measures, when we whip them to run down the scale to ring in a wedding--bells that would step to quite another and a less agile march with a better grace--there are belfries that hold far sweeter companies.

If there is no music within Italian churches, there is a most curious local immemorial music in many a campanile on the heights. Their way is for the ringers to play a tune on the festivals, and the tunes are not hymn tunes or popular melodies, but proper bell-tunes, made for bells.

Doubtless they were made in times better versed than ours in the sub-divisions of the arts, and better able to understand the strength that lies ready in the mere little submission to the means of a little art, and to the limits--nay, the very embarra.s.sments--of those means. If it were but possible to give here a real bell-tune--which cannot be, for those melodies are rather long--the reader would understand how some village musician of the past used his narrow means as a composer for the bells, with what freshness, completeness, significance, fancy, and what effect of liberty.

These hamlet-bells are the sweetest, as to their own voices, in the world. Then I speak of their antiquity I use the word relatively. The belfries are no older than the sixteenth or seventeenth century, the time when Italy seems to have been generally rebuilt. But, needless to say, this is antiquity for music, especially in Italy. At that time they must have had foundries for bells of tender voices, and pure, warm, light, and golden throats, precisely tuned. The hounds of Theseus had not a more just scale, tuned in a peal, than a North Italian belfry holds in leash.

But it does not send them out in a mere scale, it touches them in the order of the game of a charming melody. Of all cheerful sounds made by man this is by far the most light-hearted. You do not hear it from the great churches. Giotto's coloured tower in Florence, that carries the bells for Santa Maria del Fiore and Brunelleschi's silent dome, does not ring more than four contralto notes, tuned with sweetness, depth, and dignity, and swinging one musical phrase which softly fills the country.