At Large Part 2

"He His fabric of the Heavens Hath left to their disputes, perhaps to move His laughter at their quaint opinions wide."

Or, again, we may remember the harsh contortions of dry cachinnation indulged in by the rebel spirits, when they have succeeded in toppling over with their artillery the armed hosts of Seraphim. Milton certainly did not intend to subtract all humour from the celestial regions. The only pity was that he had not himself emerged beyond the childish stage, which finds its deepest amus.e.m.e.nt in the disasters and catastrophes of stately persons.

It may be asked whether we have any warrant in the Gospel for the Christian exercise of humour. I have no doubt of it myself. The image of the children in the market-place who cannot get their peevish companions to join in games, whether merry or mournful, as ill.u.s.trating the att.i.tude of the Pharisees who blamed John the Baptist for asceticism and Christ for sociability, is a touch of real humour; and the story of the importunate widow with the unjust judge, who betrayed so naively his principle of judicial action by saying "Though I fear not G.o.d, neither regard men, yet will I avenge this widow, lest by her continual coming she weary me," must--I cannot believe otherwise--have been intended to provoke the hearers' mirth. There is not, of course, any superabundance of such instances, but Christ's reporters were not likely to be on the look-out for sayings of this type. Yet I find it impossible to believe that One who touched all the stops of the human heart, and whose stories are among the most beautiful and vivid things ever said in the world, can have exercised His unequalled power over human nature without allowing His hearers to be charmed by many humorous and incisive touches, as well as by more poetical and emotional images. No one has ever swayed the human mind in so unique a fashion, without holding in his hand all the strings that move and stir the faculties of delighted apprehension; and of these faculties humour is one of the foremost.

The amazing lightness of Christ's touch upon life, the way in which His words plumbed the depths of personality, make me feel abundantly sure that there was no dreary sense of overwhelming seriousness in His relations with His friends and disciples. Believing as we do that He was Perfect Man, we surely cannot conceive of one of the sweetest and most enlivening of all human qualities as being foreign to His character.

Otherwise there is little trace of humour in the New Testament. St.

Paul, one would think, would have had little sympathy with humorists. He was too fiery, too militant, too much preoccupied with the working out of his ideas, to have the leisure or the inclination to take stock of humanity. Indeed I have sometimes thought that if he had had some touch of the quality, he might have given a different bias to the faith; his application of the method which he had inherited from the Jewish school of theology, coupled with his own fervid rhetoric, was the first step, I have often thought, in disengaging the Christian development from the simplicity and emotion of the first unclouded message, in transferring the faith from the region of pure conduct and sweet tolerance into a province of fierce definition and intellectual interpretation.

I think it was Goethe who said that Greek was the sheath into which the dagger of the human mind fitted best; and it is true that one finds among the Greeks the brightest efflorescence of the human mind. Who shall account for that extraordinary and fragrant flower, the flower of Greek culture, so perfect in curve and colour, in proportion and scent, opening so suddenly, in such a strange isolation, so long ago, upon the human stock? The Greeks had the wonderful combination of childish zest side by side with mature taste; charis, as they called it--a perfect charm, an instinctive grace--was the mark of their spirit. And we should naturally expect to find, in their literature, the same sublimation of humour that we find in their other qualities. Unfortunately the greater number of their comedies are lost. Of Menander we have but a few tiny fragments, as it were, of a delectable vase; but in Aristophanes there is a delicious levity, an incomparable prodigality of laughter-moving absurdities, which has possibly never been equalled. Side by side with that is the tender and charming irony of Plato, who is even more humorous, if less witty, than Aristophanes. But the Greeks seem to have been alone in their application of humour to literature. In the older world literature tended to be rather a serious, pensive, stately thing, concerned with human destiny and artistic beauty. One searches in vain for humour in the energetic and ardent Roman mind. Their very comedies were mostly adaptations from the Greek. I have never myself been able to discern the humour of Terence or Plautus to any great extent. The humour of the latter is of a brutal and harsh kind; and it has always been a marvel to me that Luther said that the two books he would take to be his companions on a desert island would be Plautus and the Bible. Horace and Martial have a certain deft appreciation of human weakness, but it is of the nature of smartness rather than of true humour--the wit of the satirist rather; and then the curtain falls on the older world. When humour next makes its appearance, in France and England pre-eminently, we realise that we are in the presence of a far larger and finer quality; and now we have, so to speak, whole bins full of liquors, of various brands and qualities, from the mirthful absurdities of the English, the pawky gravity of the Scotch, to the dry and sparkling beverage of the American. To give an historical sketch of the growth and development of modern Humour would be a task that might well claim the energies of some literary man; it seems to me surprising that some German philosopher has not attempted a scientific cla.s.sification of the subject. It would perhaps be best done by a man without appreciation of humour, because only then could one hope to escape being at the mercy of preferences; it would have to be studied purely as a phenomenon, a symptom of the mind; and nothing but an overwhelming love of cla.s.sification would carry a student past the sense of its unimportance.

But here I would rather attempt not to find a formula or a definition for humour, but to discover what it is, like argon, by eliminating other characteristics, until the evasive quality alone remains.

It lies deep in nature. The peevish mouth and the fallen eye of the plaice, the helpless rotundity of the sunfish, the mournful gape and rolling glance of the goldfish, the furious and ineffective mien of the barndoor fowl, the wild grotesqueness of the babyroussa and the wart-hog, the crafty solemn eye of the parrot,--if such things as these do not testify to a sense of humour in the Creative Spirit, it is hard to account for the fact that in man a perception is implanted which should find such sights pleasurably entertaining from infancy upwards.

I suppose the root of the matter is that, insensibly comparing these facial attributes with the expression of humanity, one credits the animals above described with the emotions which they do not necessarily feel; yet even so it is hard to a.n.a.lyse, because grotesque exaggerations of human features, which are perfectly normal and natural, seem calculated to move the amus.e.m.e.nt of humanity quite instinctively. A child is apt to be alarmed at first by what is grotesque, and, when once rea.s.sured, to find in it a matter of delight. Perhaps the mistake we make is to credit the Creative Spirit with human emotions; but, on the other hand, it is difficult to see how complex emotions, not connected with any material needs and impulses, can be found existing in organisms, unless the same emotions exist in the mind of their Creator.

If the thrush bursts into song on the bare bush at evening, if the child smiles to see the bulging hairy cactus, there must be, I think, something joyful and smiling at the heart, the inmost cell of nature, loving beauty and laughter; indeed, beauty and mirth must be the natural signs of health and content. And then there strike in upon the mind two thoughts. Is, perhaps, the basis of humour a kind of selfish security?

Does one primarily laugh at all that is odd, grotesque, broken, ill at ease, fantastic, because such things heighten the sense of one's own health and security? I do not mean that this is the flower of modern humour; but is it not, perhaps, the root? Is not the basis of laughter perhaps the purely childish and selfish impulse to delight, not in the sufferings of others, but in the sense which all distorted things minister to one--that one is temporarily, at least, more blest than they? A child does not laugh for pure happiness--when it is happiest, it is most grave and solemn; but when the sense of its health and soundness is brought home to it poignantly, then it laughs aloud, just as it laughs at the pleasant pain of being tickled, because the tiny uneasiness throws into relief its sense of secure well-being.

And the further thought--a deep and strange one--is this: We see how all mortal things have a certain curve or cycle of life--youth, maturity, age. May not that law of being run deeper still? we think of nature being ever strong, ever young, ever joyful; but may not the very shadow of sorrow and suffering in the world be the sign that nature too grows old and weary? May there have been a dim age, far back beyond history or fable or scientific record, when she, too, was young and light-hearted?

The sorrows of the world are at present not like the sorrows of age, but the sorrows of maturity. There is no decrepitude in the world: its heart is restless, vivid, and hopeful yet; its melancholy is as the melancholy of youth--a melancholy deeply tinged with beauty; it is full of boundless visions and eager dreams; though it is thwarted, it believes in its ultimate triumph; and the growth of humour in the world may be just the shadow of hard fact falling upon the generous vision, for that is where humour resides; youth believes glowingly that all things are possible, but maturity sees that to hope is not to execute, and acquiesces smilingly in the incongruity between the programme and the performance.

Humour resides in the perception of limitation, in discerning how often the conventional principle is belied by the actual practice. The old world was full of a youthful sense of its own importance; it held that all things were created for man--that the flower was designed to yield him colour and fragrance, that the beast of the earth was made to give him food and sport. This philosophy was summed up in the phrase that man was the measure of all things; but now we have learnt that man is but the most elaborate of created organisms, and that just as there was a time when man did not exist, so there may be a time to come when beings infinitely more elaborate may look back to man as we look back to trilobites--those strange creatures, like huge wood-lice, that were in their day the glory and crown of creation. Perhaps our dreams of supremacy and finality may be in reality the absurdest things in the world for their pomposity and pretentiousness. Who can say?

But to retrace our steps awhile. It seems that the essence of humour is a certain perception of incongruity. Let us take a single instance.

There is a story of a drunken man who was observed to feel his way several times all round the railings of a London square, with the intention apparently of finding some way of getting in. At last he sat down, covered his face with his hands, and burst into tears, saying, with deep pathos, "I am shut in!" In a sense it was true: if the rest of the world was his prison, and the garden of the square represented liberty, he was undoubtedly incarcerated. Or, again, take the story of the Scotchman returning from a convivial occasion, who had jumped carefully over the shadows of the lamp-posts, but on coming to the shadow of the church-tower, ruefully took off his boots and stockings, and turned his trousers up, saying, "I'll ha'e to wade." The reason why the stories of drunken persons are often so indescribably humorous, though, no doubt, highly deplorable in a Christian country, is that the victim loses all sense of probability and proportion, and laments unduly over an altogether imaginary difficulty. The appreciation of such situations is in reality the same as the common and barbarous form of humour, of which we have already spoken, which consists in being amused at the disasters which befall others. The stage that is but slightly removed from the lowest stage is the theory of practical jokes, the humour of which is the pleasure of observing the actions of a person in a disagreeable predicament which is not so serious as the victim supposes. And thus we get to the region ill.u.s.trated by the two stories I have told, where the humour lies in the observation of one in a predicament that appears to be of a tragic character, when the tragic element is purely imaginary. And so we pa.s.s into the region of intellectual humour, which may be roughly ill.u.s.trated by such sayings as that of George Sand that nothing is such a restorative as rhetoric, or the claim advanced by a patriot that Shakespeare was undoubtedly a Scotchman, on the ground that his talents would justify the supposition.

The humour of George Sand's epigram depends upon the perception that rhetoric, which ought to be based upon a profound conviction, an overwhelming pa.s.sion, an intense enthusiasm, is often little more than the abandonment of a personality to a mood of intoxicating ebullience; while the humour of the Shakespeare story lies in a sense of the way in which a national predilection will override all reasonable evidence.

It will be recognised how much of our humour depends upon our keen perception of the weaknesses and imperfections of other nationalities. A great statesman once said that if a Scotchman applied for a post and was unsuccessful, his one object became to secure the post for another Scotchman; while if an Irishman made an unsuccessful application, his only aim was to prevent any other Irishman from obtaining the post. That is a humorous way of contrasting the jealous patriotism of the Scot with the pa.s.sionate individualism of the Celt. The curious factor of this species of humour is that we are entirely unable to recognise the typicality of the caricatures which other nations draw of ourselves. A German fails to recognise the English idea of the German as a man who, after a meal of gigantic proportions and incredible potations, among the smoke of endless cigars, will discuss the terminology of the absolute, and burst into tears over a verse of poetry or a strain of music.

Similarly the Englishman cannot divine what is meant by the Englishman of the French stage, with his long whiskers, his stiff pepper-and-salt clothes, walking arm-in-arm with a raw-boned wife, short-skirted and long-toothed, with a bevy of short-skirted and long-toothed daughters walking behind.

But if it requires a robust humorist to perceive the absurdity of his own nation, what intensity of humour is required for a man to see the absurdity of himself! To acquiesce in appearing ridiculous is the height of philosophy. We are glad enough to amuse other people intentionally, but how many men does one know who do not resent amusing other people unintentionally? Yet if one were a true philanthropist, how delighted we ought to be to afford to others a constant feast of innocent and joyful contemplation.

But the fact which emerges from all these considerations is the fact that we do not give humour its place of due dignity in the moral and emotional scale. The truth is that we in England have fallen into a certain groove of humour of late, the humour of paradox. The formula which lies at the base of our present output of humour is the formula, "Whatever is, is wrong." The method has been over-organised, and the result is that humour can be manufactured in unlimited quant.i.ties. The type of such humour is the saying of the humorist that he went about the world with one dread constantly hanging over him--"the dread of not being misunderstood." I would not for a moment deny the quality of such humour, but it grows vapid and monotonous. It is painful to observe the clever young man of the present day, instead of aiming at the expression of things beautiful and emotional, which he is often well equipped to produce, with all the charm of freshness and indiscretion, turn aside to smart writing of a cynical type, because he cannot bear to be thought immature. He wants to see the effect of his cleverness, and the envious smile of the slower-witted is dearer to him than the secret kindling of a sympathetic mind. Real humour is a broader and a deeper thing, and it can hardly be attained until a man has had some acquaintance with the larger world; and that very experience, in natures that are emotional rather than patient, often tends to extinguish humour, because of the knowledge that life is really rather too sad and serious a business to afford amus.e.m.e.nt. The man who becomes a humorist is the man who contrives to retain a certain childlike zest and freshness of mind side by side with a large and tender tolerance. This state of mind is not one to be diligently sought after. The humorist nascitur non fit. One sees young men of irresponsible levity drawn into the interest of a cause or a profession, and we say sadly of them that they have lost their sense of humour. They are probably both happier and more useful for having lost it. The humorist is seldom an apostle or a leader. But one does occasionally find a man of real genius who adds to a deep and vital seriousness a delightful perception of the superficial absurdities of life; who is like a river, at once strong and silent beneath, with sunny ripples and bright water-breaks upon the surface. Most men must be content to flow turbid and sullen, turning the mills of life or bearing its barges; others may dash and flicker through existence, like a shallow stream. Perhaps, indeed, it may be said that to be a real humorist there must be a touch of hardness somewhere, a bony carapace, because we seldom see one of very strong and ardent emotions who is a true humorist; and this is, I suppose, the reason why women, as a rule, are so far less humorous than men. We have to pay a price for our good qualities; and though I had rather be strong, affectionate, loyal, n.o.ble-minded, than be the best humorist in the world, yet if a gift of humour be added to these graces, you have a combination that is absolutely irresistible, because you have a perfect sense of proportion that never allows emotion to degenerate into gush, or virtue into rigidity; and thus I say that humour is a kind of divine and crowning grace in a character, because it means an artistic sense of proportion, a true and vital tolerance, a power of infinite forgiveness.

V. TRAVEL

There are many motives that impel us to travel, to change our sky, as Horace calls it--good motives and bad, selfish and unselfish, n.o.ble and ign.o.ble. With some people it is pure restlessness; the tedium of ordinary life weighs on them, and travel, they think, will distract them; people travel for the sake of health, or for business reasons, or to accompany some one else, or because other people travel. And these motives are neither good nor bad, they are simply sufficient. Some people travel to enlarge their minds, or to write a book; and the worst of travelling for such reasons is that it so often implants in the traveller, when he returns, a desperate desire to enlarge other people's minds too. Unhappily, it needs an extraordinary gift of vivid description and a tactful art of selection to make the reflections of one's travels interesting to other people. It is a great misfortune for biographers that there are abundance of people who are stirred, partly by unwonted leisure and partly by awakened interest, to keep a diary only when they are abroad. These extracts from diaries of foreign travel, which generally pour their muddy stream into a biography on the threshold of the hero's manhood, are things to be resolutely skipped.

What one desires in a biography is to see the ordinary texture of a man's life, an account of his working days, his normal hours; and to most people the normal current of their lives appears so commonplace and uninteresting that they keep no record of it; while they often keep an elaborate record of their impressions of foreign travel, which are generally superficial and picturesque, and remarkably like the impressions of all other intelligent people. A friend of mine returned the other day from an American tour, and told me that he received a severe rebuke, out of the mouth of a babe, which cured him of expatiating on his experiences. He lunched with his brother soon after his return, and was holding forth with a consciousness of brilliant descriptive emphasis, when his eldest nephew, aged eight, towards the end of the meal, laid down his spoon and fork, and said piteously to his mother, "Mummy, I MUST talk; it does make me so tired to hear Uncle going on like that." A still more effective rebuke was administered by a clever lady of my acquaintance to a cousin of hers, a young lady who had just returned from India, and was very full of her experiences.

The cousin had devoted herself during breakfast to giving a lively description of social life in India, and was preparing to spend the morning in continuing her lecture, when the elder lady slipped out of the room, and returned with some sermon-paper, a blotting-book, and a pen. "Maud," she said, "this is too good to be lost: you must write it all down, every word!" The projected ma.n.u.script did not come to very much, but the lesson was not thrown away.

Perhaps, for most people, the best results of travel are that they return with a sense of grateful security to the familiar scene: the monotonous current of life has been enlivened, the old relationships have gained a new value, the old gossip is taken up with a comfortable zest; the old rooms are the best, after all; the homely language is better than the outlandish tongue; it is a comfort to have done with squeezing the sponge and cramming the trunk: it is good to be at home.

But to people of more cultivated and intellectual tastes there is an abundance of good reasons for the pursuit of impressions. It is worth a little fatigue to see the spring sun lie softly upon the unfamiliar foliage, to see the delicate tints of the purple-flowered Judas-tree, the bright colours of Southern houses, the old high-shouldered chateau blinking among its wooded parterres; it is pleasant to see mysterious rites conducted at tabernacled altars, under dark arches, and to smell the "thick, strong, stupefying incense-smoke"; to see well-known pictures in their native setting, to hear the warm waves of the ca.n.a.l lapping on palace-stairs, with the exquisite moulded cornice overhead.

It gives one a strange thrill to stand in places rich with dim a.s.sociations, to stand by the tombs of heroes and saints, to see the scenes made familiar by art or history, the homes of famous men. Such travel is full of weariness and disappointment. The place one had desired half a lifetime to behold turns out to be much like other places, devoid of inspiration. A tiresome companion casts dreariness as from an inky cloud upon the mind. Do I not remember visiting the Palatine with a friend bursting with archaeological information, who led us from room to room, and identified all by means of a folding plan, to find at the conclusion that he had begun at the wrong end, and that even the central room was not identified correctly, because the number of rooms was even, and not odd?

But, for all that, there come blessed unutterable moments, when the mood and the scene and the companion are all attuned in a soft harmony. Such moments come back to me as I write. I see the mouldering brickwork of a crumbling tomb all overgrown with gra.s.ses and snapdragons, far out in the Campagna; or feel the plunge of the boat through the reed-beds of the Anapo, as we slid into the silent pool of blue water in the heart of the marsh, where the sand danced at the bottom, and the springs bubbled up, while a great bittern flew booming away from a reedy pool hard by.

Such things are worth paying a heavy price for, because they bring a sort of aerial distance into the mind, they touch the spirit with a hope that the desire for beauty and perfection is not, after all, wholly unrealisable, but that there is a sort of treasure to be found even upon earth, if one diligently goes in search of it.

Of one thing, however, I am quite certain, and that is that travel should not be a feverish garnering of impressions, but a delicious and leisurely plunge into a different atmosphere. It is better to visit few places, and to become at home in each, than to race from place to place, guide-book in hand. A beautiful scene does not yield up its secrets to the eye of the collector. What one wants is not definite impressions but indefinite influences. It is of little use to enter a church, unless one tries to worship there, because the essence of the place is worship, and only through worship can the secret of the shrine be apprehended. It is of little use to survey a landscape, unless one has an overpowering desire to spend the remainder of one's days there; because it is the life of the place, and not the sight of it, in which one desires to have a part. Above all, one must not let one's memories sleep as in a dusty lumber-room of the mind. In a quiet firelit hour one must draw near, and scrutinise them afresh, and ask oneself what remains. As I write, I open the door of my treasury and look round. What comes up before me? I see an opalescent sky, and the great soft blue rollers of a sapphire sea. I am journeying, it seems, in no mortal boat, though it was a commonplace vessel enough at the time, twenty years ago, and singularly dest.i.tute of bodily provision. What is that over the sea's rim, where the tremulous, shifting, blue line of billows shimmers and fluctuates? A long, low promontory, and in the centre, over white cl.u.s.tered houses and masts of shipping, rises a white dome like the shrine of some celestial city.

That is Cadiz for me. I dare say the picture is all wrong, and I shall be told that Cadiz has a tower and is full of factory chimneys; but for me the dome, ghostly white, rises as though moulded out of a single pearl, upon the shifting edges of the haze. Whatever I have seen in my life, that at least is immortal.

Or again the scene shifts, and now I stumble to the deck of another little steamer, very insufficiently habited, in the sharp freshness of the dawn of a spring morning. The waves are different here--not the great steely league-long rollers of the Atlantic, but the sharp azure waves, marching in rhythmic order, of the Mediterranean; what is the land, with gra.s.sy downs and folded valleys falling to grey cliffs, upon which the brisk waves whiten and leap? That is Sicily; and the thought of Theocritus, with the shepherd-boy singing light-heartedly upon the headland a song of sweet days and little eager joys, comes into my heart like wine, and brings a sharp touch of tears into the eyes. Theocritus!

How little I thought, as I read the ugly brown volume with its yellow paper, in the dusty schoolroom at Eton ten years before, that it was going to mean that to me, sweetly as even then, in a moment torn from the noisy tide of schoolboy life, came the pretty echoes of the song into a little fanciful and restless mind! But now, as I saw those deserted limestone crags, that endless sheep-wold, with no sign of a habitation, rising and falling far into the distance, with the fresh sea-breeze upon my cheek--there came upon me that tender sorrow for all the beautiful days that are dead, the days when the shepherds walked together, exulting in youth and warmth and good-fellowship and song, to the village festival, and met the wandering minstrel, with his coat of skin and his kind, ironical smile, who gave them, after their halting lays, a touch of the old true melody from a master's hand. What do all those old and sweet dreams mean for me, the sunlight that breaks on the stream of human souls, flowing all together, alike through dark rocks where the water chafes and thunders, and spreading out into tranquil shining reaches, where the herons stand half asleep? What does that strange drift of kindred spirits, moving from the unknown to the unknown, mean for me? I only know that it brings into my mind a strange yearning, and a desire of almost unearthly sweetness for all that is delicate and beautiful and full of charm, together with a sombre pity for the falling mist of tears, the hard discipline of the world, the cries of anguish, as life lapses from the steep into the silent tide of death.

Or, again, I seem once more to sit in the balcony of a house that looks out towards Vesuvius. It is late; the sky is clouded, the air is still; a grateful coolness comes up from acre after acre of gardens climbing the steep slope; a fluttering breeze, that seems to have lost his way in the dusk, comes timidly and whimsically past, like Ariel, singing as soft as a far-off falling sea in the great pine overhead, making a little sudden flutter in the dry leaves of the thick creeper; like Ariel comes that dainty spirit of the air, laden with balmy scents and cool dew. A few lights twinkle in the plain below. Opposite, the sky has an added blackness, an impenetrability of shade; but what is the strange red eye of light that hangs between earth and heaven? And, stranger still, what is that phantasmal gleam of a lip of crags high in the air, and that mysterious, moving, shifting light, like a pale flame, above it? The gloomy spot is a rent in the side of Vesuvius where the smouldering heat has burnt through the crust, and where a day or two before I saw a viscid stream of molten liquor, with the flames playing over it, creeping, creeping through the tunnelled ashes; and in the light above is the lip of Vesuvius itself, with its restless furnace at work, casting up a billowy swell of white oily smoke, while the glare of the fiery pit lights up the underside of the rising vapours. A ghastly manifestation, that, of sleepless and stern forces, ever at work upon some eternal and bewildering task; and yet so strangely made am I, that these fierce signal-fires, seen afar, but blend with the scents of the musky alleys for me into a thrill of unutterable wonder.

There are hundreds of such pictures stored in my mind, each stamped upon some sensitive particle of the brain, that cannot be obliterated, and each of which the mind can recall at will. And that, too, is a fact of surpa.s.sing wonder: what is the delicate instrument that registers, with no seeming volition, these amazing pictures, and preserves them thus with so fantastic a care, retouching them, fashioning them anew, detaching from the picture every sordid detail, till each is as a lyric, inexpressible, exquisite, too fine for words to touch?

Now it is useless to dictate to others the aims and methods of travel: each must follow his own taste. To myself the acquisition of knowledge and information is in these matters an entirely negligible thing. To me the one and supreme object is the gathering of a gallery of pictures; and yet that is not a definite object either, for the whimsical and stubborn spirit refuses to be bound by any regulations in the matter.

It will garner up with the most poignant care a single vignette, a tiny detail. I see, as I write, the vision of a great golden-grey carp swimming lazily in the clear pool of Arethusa, the carpet of mesembryanthemum that, for some fancy of its own, chose to involve the whole of a railway viaduct with its flaunting magenta flowers and its fleshy leaves. I see the edge of the sea, near Syracuse, rimmed with a line of the intensest yellow, and I hear the voice of a guide explaining that it was caused by the breaking up of a stranded orange-boat, so that the waves for many hundred yards threw up on the beach a wrack of fruit; yet the same wilful and perverse mind will stand impenetrably dumb and blind before the n.o.blest and sweetest prospect, and decline to receive any impression at all. What is perhaps the oddest characteristic of the tricksy spirit is that it often chooses moments of intense discomfort and fatigue to master some scene, and take its indelible picture. I suppose that the reason of this is that the mind makes, at such moments, a vigorous effort to protest against the tyranny of the vile body, and to distract itself from instant cares.

But another man may travel for archaeological or even statistical reasons. He may wish, like Ulysses, to study "manners, councils, customs, governments." He may be preoccupied with questions of architectural style or periods of sculpture. I have a friend who takes up at intervals the study of the pictures of a particular master, and will take endless trouble and undergo incredible discomfort, in order to see the vilest daubs, if only he can make his list complete, and say that he has seen all the reputed works of the master. This instinct is, I believe, nothing but the survival of the childish instinct for collecting, and though I can reluctantly admire any man who spares no trouble to gain an end, the motive is dark and unintelligible to me.

There are some travellers, like Dean Stanley, who drift from the appreciation of natural scenery into the pursuit of historical a.s.sociations. The story of Stanley as a boy, when he had his first sight of the snowy Alps on the horizon, always delights me. He danced about saying, "Oh, what shall I do, what shall I do?" But, in later days, Stanley would not go a mile to see a view, while he would travel all night to see a few stones of a ruin, jutting out of a farmyard wall, if only there was some human and historical tradition connected with the place. I do not myself understand that. I should not wish to see Etna merely because Empedocles is supposed to have jumped down the crater, nor the site of Jericho because the walls fell down at the trumpets of the host. The only interest to me in an historical scene is that it should be in such a condition as that one can to a certain extent reconstruct the original drama, and be sure that one's eyes rest upon very much the same scene as the actors saw. The reason why Syracuse moved me by its acquired beauty, and not for its historical a.s.sociations, was because I felt convinced that Thucydides, who gives so picturesque a description of the sea-fight, can never have set eyes on the place, and must have embroidered his account from scanty hearsay.

But, on the other hand, there are few things in the world more profoundly moving than to see a place where great thoughts have been conceived and great books written, when one is able to feel that the scene is hardly changed. The other day, as I pa.s.sed before the sacred gate of Rydal Mount, I took my hat off my head with a sense of indescribable reverence. My companion asked me laughingly why I did so.

"Why?" I said. "From natural piety, of course! I know every detail here as well as if I had lived here, and I have walked in thought a hundred times with the poet, to and fro in the laurelled walks of the garden, up the green shoulder of Nab Scar, and sat in the little parlour, while the fire leapt on the hearth, and heard him 'booing' his verses, to be copied by some friendly hand."

I thrill to see the stately rooms of Abbotsford, with all their sham feudal decorations, the little staircase by which Scott stole away to his solitary work, the folded clothes, the shapeless hat, the ugly shoes, laid away in the gla.s.s case; the plantations where he walked with his shrewd bailiff, the place where he stopped so often on the shoulder of the slope, to look at the Eildon Hills, the rooms where he sat, a broken and bereaved man, yet with so gallant a spirit, to wrestle with sorrow and adversity. I wept, I am not ashamed to say, at Abbotsford, at the sight of the stately Tweed rolling his silvery flood past lawns and shrubberies, to think of that kindly, brave, and honourable heart, and his pa.s.sionate love of all the goodly and cheerful joys of life and earth.

Or, again, it was a solemn day for me to pa.s.s from the humble tenement where Coleridge lived, at Nether Stowey, before the cloud of sad habit had darkened his horizon, and turned him away from the wells of poetry into the deserts of metaphysical speculation, to find, if he could, some medicine for his tortured spirit. I walked with a holy awe along the leafy lanes to Alfoxden, where the beautiful house nestles in the green combe among its oaks, thinking how here, and here, Wordsworth and Coleridge had walked together in the glad days of youth, and planned, in obscurity and secluded joy, the fresh and lovely lyrics of their matin-prime.

I turn, I confess, more eagerly to scenes like these than to scenes of historical and political tradition, because there hangs for me a glory about the scene of the conception and genesis of beautiful imaginative work that is unlike any glory that the earth holds. The natural joy of the youthful spirit receiving the impact of mighty thoughts, of poignant impressions, has for me a liberty and a grace which no historical or political a.s.sociations could ever possess. I could not glow to see the room in which a statesman worked out the details of a Bill for the extension of the franchise, or a modification of the duties upon imports and exports, though I respect the growing powers of democracy and the extinction of privilege and monopoly; but these measures are dimmed and tainted with intrigue and manoeuvre and statecraft. I do not deny their importance, their worth, their n.o.bleness. But not by committees and legislation does humanity triumph. In the vanguard go the blessed adventurous spirits that quicken the moral temperature, and uplift the banner of simplicity and sincerity. The host marches heavily behind, and the commissariat rolls grumbling in the rear of all; and though my place may be with the work-a-day herd, I will send my fancy afar among the leafy valleys and the far-off hills of hope.

But I would not here quarrel with the taste of any man. If a mortal chooses to travel in search of comfortable rooms, new cookery and wines, the livelier gossip of unknown people, in heaven's name let him do so.

If another wishes to study economic conditions, standards of life, rates of wages, he has my gracious leave for his pilgrimage. If another desires to ama.s.s historical and archaeological facts, measurements of hypaethral temples, modes of burial, folk-lore, fortification, G.o.d forbid that I should throw cold water on the quest. But the only traveller whom I recognise as a kindred spirit is the man who goes in search of impressions and effects, of tone and atmosphere, of rare and curious beauty, of uplifting a.s.sociation. Nothing that has ever moved the interest, or the anxiety, or the care, or the wonder, of human beings can ever wholly lose its charm. I have felt my skin p.r.i.c.kle and creep at the sight of that amazing thing in the Dublin museum, a section dug bodily out of a claypit, and showing the rough-hewn stones of a cist, deep in the earth, the gravel over it and around it, the roots of the withered gra.s.s forming a crust many feet above, and, inside the cist, the rude urn, reversed over a heap of charred ashes; it was not the curiosity of the sight that moved me, but the thought of the old dark life revealed, the dim and savage world, that was yet shot through and pierced, even as now, with sorrow for death, and care for the beloved ashes of a friend and chieftain. Such a sight sets a viewless network of emotion, which seems to interlace far back into the ages, all pulsating and stirring. One sees in a flash that humanity lived, carelessly and brutally perhaps, as we too live, and were confronted, as we are confronted, with the horror of the gap, the intolerable mystery of life lapsing into the dark. Ah, the relentless record, the impenetrable mystery! I care very little, I fear, for the historical development of funereal rites, and hardly more for the light that such things throw on the evolution of society. I leave that gratefully enough to the philosophers. What I care for is the touch of nature that shows me my ancient brethren of the dim past--who would have mocked and ridiculed me, I doubt not, if I had fallen into their hands, and killed me as carelessly as one throws aside the rind of a squeezed fruit--yet I am one of them, and perhaps even something of their blood flows in my veins yet.

As I grow older, I tend to travel less and less, and I do not care if I never cross the Channel again. Is there a right and a wrong in the matter, an advisability or an inadvisability, an expediency or an inexpediency? I do not think so. Travelling is a pleasure, if it is anything, and a pleasure pursued from a sense of duty is a very fatuous thing. I have no good reason to give, only an acc.u.mulation of small reasons. Dr. Johnson once said that any number of insufficient reasons did not make a sufficient one, just as a number of rabbits did not make a horse. A lively but misleading ill.u.s.tration: he might as well have said that any number of sovereigns did not make a cheque for a hundred pounds. I suppose that I do not like the trouble, to start with; and then I do not like being adrift from my own beloved country. Then I cannot converse in any foreign language, and half the pleasure of travelling comes from being able to lay oneself alongside of a new point of view. Then, too, I realise, as I grow older, how little I have really seen of my own incomparably beautiful and delightful land, so that, like the hero of Newman's hymn,

"I do not ask to see The distant scene; one step enough for me."

And, lastly, I have a reason which will perhaps seem a far-fetched one.

Travel is essentially a distraction, and I do not want to be distracted any more. One of the mistakes that people make, in these Western lat.i.tudes, is to be possessed by an inordinate desire to drown thought.

The aim of many men whom I know seems to me to be occupied in some absolutely definite way, so that they may be as far as possible unaware of their own existence. Anything to avoid reflection! A normal Englishman does not care very much what the work and value of his occupation is, as long as he is occupied; and I am not at all sure that we came into the world to be occupied. Christ, in the Gospel story, rebuked the busy Martha for her bustling anxieties, her elaborate attentions to her guests, and praised the leisurely Mary for desiring to sit and hear Him talk. Socrates spent his life in conversation. I do not say that contemplation is a duty, but I cannot help thinking that we are not forbidden to scrutinise life, to wonder what it is all about, to study its problems, to apprehend its beauty and significance. We admire a man who goes on making money long after he has made far more than he needs; we think a life honourably spent in editing Greek books. Socrates in one of Plato's dialogues quotes the opinion of a philosopher to the effect that when a man has made enough to live upon, he should begin to practise virtue. "I think he should begin even earlier," says the interlocutor; and I am wholly in agreement with him. Travel is one of the expedients to which busy men resort, in order that they may forget their existence. I do not venture to think this exactly culpable, but I feel sure that it is a pity that people do not do less and think more.

If a man asks what good comes from thinking, I can only retort by asking what good comes from the multiplication of unnecessary activity. I am quite as much at a loss as any one else to say what is the object of life, but I do not feel any doubt that we are not sent into the world to be in a fuss. Like the lobster in The Water-Babies, I cry, "Let me alone; I want to think!" because I believe that that occupation is at least as profitable as many others.

And then, too, without travelling more than a few miles from my door, I can see things fully as enchanting as I can see by ranging Europe. I went to-day along a well-known road; just where the descent begins to fall into a quiet valley, there stands a windmill--not one of the ugly black circular towers that one sometimes sees, but one of the old crazy boarded sort, standing on a kind of stalk; out of the little loopholes of the mill the flour had dusted itself prettily over the weather-boarding. From a mysterious hatch half-way up leaned the miller, drawing up a sack of grain with a little pulley. There is nothing so enchanting as to see a man leaning out of a dark doorway high up in the air. He drew the sack in, he closed the panel. The sails whirled, flapping and creaking; and I loved to think of him in the dusty gloom, with the gear grumbling among the rafters, tipping the golden grain into its funnel, while the rattling hopper below poured out its soft stream of flour. Beyond the mill, the ground sank to a valley; the roofs cl.u.s.tered round a great church tower, the belfry windows blinking solemnly. Hard by the ancient Hall peeped out from its avenue of elms.

That was a picture as sweet as anything I have ever seen abroad, as perfect a piece of art as could be framed, and more perfect than anything that could be painted, because it was a piece out of the old kindly, quiet life of the world. One ought to learn, as the years flow on, to love such scenes as that, and not to need to have the blood and the brain stirred by romantic prospects, peaked hills, well-furnished galleries, magnificent buildings: mutare animum, that is the secret, to grow more hopeful, more alive to delicate beauties, more tender, less exacting. Nothing, it is true, can give us peace; but we get nearer it by loving the familiar scene, the old homestead, the tiny valley, the wayside copse, than we do by racing over Europe on the track of Giorgione, or over Asia in pursuit of local colour. After all, everything has its appointed time. It is good to range in youth, to rub elbows with humanity, and then, as the days go on, to take stock, to remember, to wonder, "To be content with little, to serve beauty well."

VI. SPECIALISM