Books and Habits, from the Lectures of Lafcadio Hearn Part 17

There was the maid whom the Spirit-king wished for. The king easily obtained her from her parents; but he did not tell her what he intended to do with her. Now it was his duty to give her to the Spirits; but there was a condition he found very hard to fulfil. By the terms of his promise he was not allowed to kiss her, to caress her, or even to see her, except veiled after the manner of the country. Only by the mirror had he been able to know how fair she was. And the voyage was long; and on the way, the girl, who thought she was going to be this king's bride, became sincerely attached to him, after the manner of a child with a brother; and he also in his heart became much attached to her. But it was his duty to give her up. At last they reached the palace of the Spirit-king; and the figure of the old man came forth and said, "My son, you have done well and kept your promise. This maiden is all that I could have wished for; and I accept her. Now when you go back to your palace, you will find on the seventh pedestal the statue of the diamond which your father desired you to obtain." And, with these words, the Spirit-king vanished, taking with him the girl, who uttered a great and piercing cry to heaven at having been thus deceived. Very sorrowfully the young king then began his journey home. All along the way he kept regretting that girl, and regretting the cruelty which he had practised in deceiving her and her parents. And he began to say to himself, "Accursed be the gift of the king of the Spirits!

Of what worth to me is a woman of diamond any more than a woman of stone?

What is there in all the world half so beautiful or half so precious as a living girl such as I discovered? Fool that I was to give her up for the sake of a statue!" But he tried to console himself by remembering that he had obeyed his dead father's wish.

Still, he could not console himself. Reaching his palace, he went to his secret chamber to weep alone, and he wept night and day, in spite of the efforts of his ministers to comfort him. But at last one of them said, "O my king, in the hall beneath your garden there has appeared a wonderful statue upon the seventh pedestal; perchance if you go to see it, your heart will become more joyful."

Then with great reluctance the king properly dressed himself, and went to the subterranean hall.

There indeed was the statue, the gift of the Spirit-king; and very beautiful it was. But it was not made of diamond, and it looked so strangely like the girl whom he had lost, that the king's heart leapt in his breast for astonishment. He put out his hand and touched the statue, and found it warm with life and youth. And a sweet voice said to him, "Yes, it is really I--have you forgotten?"

Thus she was given back to him; and the Spirit-king came to their wedding, and thus addressed the bridegroom, "O my son, for your dead father's sake I did this thing. For it was meant to teach you that the worth of a really pure and perfect woman is more than the price of any diamond or any treasure that the earth can yield."

Now you can see at once the beauty of this story; and the moral of it is exactly the same as that of the famous verse, in the Book of Proverbs, "Who can find a virtuous woman? for her price is far above rubies." But it is simply a story from the "Arabian Nights"--one of those stories which you will not find in the ordinary European translations, because it is written in such a way that no English translator except Burton would have dared to translate it quite literally. The obscenity of parts of the original does not really detract in the least from the beauty and tenderness of the motive of the story; and we must remember that what we call moral or immoral in style depends very much upon the fashion of an age and time.

Now it is exactly the same kind of moral charm that distinguishes the best of the old English romances--a charm which has nothing to do with the style, but everything to do with the feeling and suggestion of the composition. But in some of the old romances, the style too has a very great charm of quaintness and simplicity and sincerity not to be imitated to-day. In this respect the older French romances, from which the English made their renderings, are much the best. And the best of all is said to be "Amis and Amile," which the English rendered as "Amicus and Amelius."

Something of the story ought to interest you.

The whole subject of this romance is the virtue of friendship, though this of course involves a number of other virtues quite as distinguished. Amis and Amile, that is to say Amicus and Amelius, are two young knights who at the beginning of their career become profoundly attached to each other.

Not content with the duties of this natural affection, they imposed upon themselves all the duties which chivalry also attached to the office of friend. The romance tells of how they triumphed over every conceivable test to which their friendship was subjected. Often and often the witchcraft of woman worked to separate them, but could not. Both married, yet after marriage their friendship was just as strong as before. Each has to fight many times on account of the other, and suffer all things which it is most hard for a proud and brave man to bear. But everything is suffered cheerfully, and the friends are such true knights that, in all their trials, neither does anything wrong, or commits the slightest fault against truth--until a certain sad day. On that day it is the duty of Amis to fight in a trial by battle. But he is sick, and can not fight; then to save his honour his friend Amile puts on the armour and helmet of Amis, and so pretending to be Amis, goes to the meeting place, and wins the fight gloriously. But this was an act of untruthfulness; he had gone into battle under a false name, and to do anything false even for a good motive is bad. So heaven punishes him by afflicting him with the horrible disease of leprosy.

The conditions of leprosy in the Middle Ages were of a peculiar kind. The disease seems to have been introduced into Europe from Asia--perhaps by the Crusaders. Michelet suggests that it may have resulted from the European want of cleanliness, brought about by ascetic teachings--for the old Greek and Roman public bath-houses were held in horror by the mediaeval Church. But this is not at all certain. What is certain is that in the thirteenth, fourteenth and fifteenth centuries leprosy became very prevalent. The disease was not then at all understood; it was supposed to be extremely contagious, and the man afflicted by it was immediately separated from society, and not allowed to live in any community under such conditions as could bring him into contact with other inhabitants.

His wife or children could accompany him only on the terrible condition of being considered lepers. Every leper wore a kind of monk's dress, with a hood covering the face; and he had to carry a bell and ring it constantly to give notice of his approach. Special leper-houses were built near every town, where such unfortunates might obtain accommodation. They were allowed to beg, but it was considered dangerous to go very near them, so that in most cases alms or food would be thrown to them only, instead of being put into their hands.

Now when the victim of leprosy in this romance is first afflicted by the disease, he happens to be far away from his good friend. And none of his own family is willing to help him; he is regarded with superst.i.tious as well as with physical horror. There is nothing left for him to do but to yield up his knighthood and his welfare and his family, to put on the leper's robe, and to go begging along the roads, carrying a leper's bell.

And this he does. For long, long months he goes begging from town to town, till at last, by mere chance, he finds his way to the gate of the great castle where his good friend is living--now a great prince, and married to the daughter of the king. And he asks at the castle gate for charity and for food.

Now the porter at the gate observes that the leper has a very beautiful cup, exactly resembling a drinking cup belonging to his master, and he thinks it his duty to tell these things to the lord of the castle. And the lord of the castle remembers that very long ago he and his friend each had a cup of this kind, given to them by the bishop of Rome. So, hearing the porter's story, he knew that the leper at the gate was the friend who "had delivered him from death, and won for him the daughter of the King of France to be his wife." Here I had better quote from the French version of the story, in which the names of the friends are changed, but without changing the beauty of the tale itself:

"And straightway he fell upon him, and began to weep greatly, and kissed him. And when his wife heard that, she ran out with her hair in disarray, weeping and distressed exceedingly--for she remembered that it was he who had slain the false Ardres. And thereupon they placed him in a fair bed, and said to him, 'Abide with us until G.o.d's will be accomplished in thee, for all that we have is at thy service.' So he abode with them."

You must understand, by the allusion to "G.o.d's will," that leprosy was in the Middle Ages really considered to be a punishment from heaven--so that in taking a leper into his castle, the good friend was not only offending against the law of the land, but risking celestial punishment as well, according to the notions of that age. His charity, therefore, was true charity indeed, and his friendship without fear. But it was going to be put to a test more terrible than any ever endured before. To comprehend what followed, you must know that there was one horrible superst.i.tion of the Middle Ages--the belief that by bathing in human blood the disease of leprosy might be cured. Murders were often committed under the influence of that superst.i.tion. I believe you will remember that the "Golden Legend"

of Longfellow is founded upon a mediaeval story in which a young girl voluntarily offers up her life in order that her blood may cure the leprosy of her king. In the present romance there is much more tragedy.

One night while sleeping in his friend's castle, the leper was awakened by an angel from G.o.d--Raphael--who said to him:

"I am Raphael, the angel of the Lord, and I am come to tell thee how thou mayst be healed. Thou shalt bid Amile thy comrade that he slay his two children and wash thee in their blood, and so thy body shall be made whole." And Amis said to him, "Let not this thing be, that my comrade should become a murderer for my sake." But the angel said, "It is convenient that he do this." And thereupon the angel departed.

The phrase, "it is convenient," must be understood as meaning, "it is ordered." For the mediaeval lord used such gentle expressions when issuing his commands; and the angel talked like a feudal messenger. But in spite of the command, the sick man does not tell his friend about the angel's visit, until Amile, who has overheard the voice, forces him to acknowledge whom he had been talking with during the night. And the emotion of the lord may be imagined, though he utters it only in the following gentle words--"I would have given to thee my man servants and my maid servants and all my goods--and thou feignest that an angel hath spoken to thee that I should slay my two children. But I conjure thee by the faith which there is between me and thee and by our comradeship, and by the baptism we received together, that thou tell me whether it was man or angel said that to thee."

Amis declares that it was really an angel, and Amile never thinks of doubting his friend's word. It would be a pity to tell you the sequel in my own words; let me quote again from the text, translated by Walter Pater. I think you will find it beautiful and touching:

"Then Amile began to weep in secret, and thought within himself, 'If this man was ready to die before the King for me, shall I not for him slay my children? Shall I not keep faith with him who was faithful to me even unto death?' And Amile tarried no longer, but departed to the chamber of his wife, and bade her go to hear the Sacred Office. And he took a sword, and went to the bed where the children were lying, and found them asleep. And he lay down over them and began to weep bitterly and said, 'Has any man yet heard of a father who of his own will slew his children? Alas, my children! I am no longer your father, but your cruel murderer.'

"And the children awoke at the tears of their father, which fell upon them; and they looked up into his face and began to laugh. And as they were of age about three years, he said, 'Your laughing will be turned into tears, for your innocent blood must now be shed'; and therewith he cut off their heads. Then he laid them back in the bed, and put the heads upon the bodies, and covered them as though they slept; and with the blood which he had taken he washed his comrade, and said, 'Lord Jesus Christ! who hast commanded men to keep faith on earth, and didst heal the leper by Thy word! cleanse now my comrade, for whose love I have shed the blood of my children.'" And of course the leper is immediately and completely cured.

But the mother did not know anything about the killing of the children; we have to hear something about her share in the tragedy. Let me again quote, this time giving the real and very beautiful conclusion--

"Now neither the father nor the mother had yet entered where the children were, but the father sighed heavily because they were dead, and the mother asked for them, that they might rejoice together; but Amile said, 'Dame!

let the children sleep.' And it was already the hour of Tierce. And going in alone to the children to weep over them, he found them at play in the bed; only, in the place of the sword-cuts about their throats was, as it were, a thread of crimson. And he took them in his arms and carried them to his wife and said, 'Rejoice greatly! For thy children whom I had slain by the commandment of the angel, are alive, and by their blood is Amis healed.'"

I think you will all see how fine a story this is, and feel the emotional force of the grand moral idea behind it. There is nothing more to tell you, except the curious fact that during the Middle Ages, when it was believed that the story was really true, Amis and Amile--or Amicus and Amelius--were actually considered by the Church as saints, and people used to pray to them. When anybody was anxious for his friend, or feared that he might lose the love of his friend, or was afraid that he might not have strength to perform his duty as friend--then he would go to church to implore help from the good saints Amicus and Amelius. But of course it was all a mistake--a mistake which lasted until the end of the seventeenth century! Then somebody called the attention of the Church to the unmistakable fact that Amicus and Amelius were merely inventions of some mediaeval romancer. Then the Church made investigation, and greatly shocked, withdrew from the list of its saints those long-loved names of Amicus and Amelius--a reform in which I cannot help thinking the Church made a very serious mistake. What matter whether those shadowy figures represented original human lives or only human dreams? They were beautiful, and belief in them made men think beautiful thoughts, and the imagined help from them had comforted many thousands of hearts. It would have been better to have left them alone; for that matter, how many of the existent lives of saints are really true? Nevertheless the friends are not dead, though expelled from the heaven of the Church. They still live in romance; and everybody who reads about them feels a little better for their acquaintance.

What I read to you was from the French version--that is much the more beautiful of the two. You will find some extracts from the English version in the pages of Ten Brink. But as that great German scholar pointed out, the English story is much rougher than the French. For example, in the English story, the knight rushes out of his castle to beat the leper at the gate, and to accuse him of having stolen the cup. And he does beat him ferociously, and abuses him with very violent terms. In fact, the English writer reflected too much of mediaeval English character, in trying to cover, or to improve upon, the French story, which was the first. In the French story all is knightly smooth, refined as well as simple and strong.

And where did the mediaeval imagination get its material for the story?

Partly, perhaps, from the story of Joseph in the Bible, partly from the story of Abraham; but the scriptural material is so admirably worked over that the whole thing appears deliciously original. That was the great art of the Middle Ages--to make old, old things quite new by the magic of spiritual imagination. Men then lived in a world of dreams. And that world still attracts us, for the simple reason that happiness chiefly consists in dreams. Exact science may help us a great deal no doubt, but mathematics do not make us any happier. Dreams do, if we can believe them.

The Middle Ages could believe them; we, at the best, can only try.

CHAPTER XIV

"IONICA"

I am going now to talk about a very rare kind of poetry in a very rare little book, like fine wine in a small and precious flask. The author never put his name to the book--indeed for many years it was not known who wrote the volume. We now know that the author was a school teacher called William Johnson who, later in life, coming into a small fortune, changed his name to William Cory. He was born sometime about 1823, and died in 1892. He was, I believe, an Oxford man and was a.s.sistant master of Eton College for a number of years. Judging from his poems, he must have found pleasure in his profession as well as pain. There is a strange sadness nearly always, but this sadness is mixed with expressions of love for the educational establishment which he directed, and for the students whose minds he helped to form. He must have been otherwise a very shy man.

Scarcely anything seems to be known about him after his departure from educational circles, although everybody of taste now knows his poems. I wish to speak of them because I think that literary graduates of this university ought to be at least familiar with the name "Ionica." At all events you should know something about the man and about the best of his poems. If you should ask why so little has yet been said about him in books on English literature, I would answer that in the first place he was a very small poet writing in the time of giants, having for compet.i.tors Tennyson, Browning and others. He could scarcely make his small pipe heard in the thunder of those great organ tones. In the second place his verses were never written to please the public at all. They were written only for fine scholars, and even the t.i.tles of many of them cannot be explained by a person devoid of some Greek culture. So the little book, which appeared quite early in the Victorian Age, was soon forgotten. Being forgotten it ran out of print and disappeared. Then somebody remembered that it had existed. I have told you that it was like the tone of a little pipe or flute as compared with the organ music of the larger poets. But the little pipe happened to be a Greek pipe--the melody was very sweet and very strange and old, and people who had heard it once soon wanted to hear it again. But they could not get it. Copies of the first edition fetched extraordinary sums. Some few years ago a new edition appeared, but this too is now out of print and is fetching fancy prices. However, you must not expect anything too wonderful from this way of introducing the subject. The facts only show that the poems are liked by persons of refinement and wealth. I hope to make you like some of them, but the difficulties of so doing are considerable, because of the extremely English character of some pieces and the extremely Greek tone of others.

There is also some uneven work. The poet is not in all cases successful.

Sometimes he tried to write society verse, and his society verse must be considered a failure. The best pieces are his Greek pieces and some compositions on love subjects of a most delicate and bewitching kind.

Of course the very name "Ionica" suggests Greek work, a collection of pieces in Ionic style. But you must not think that this means only repet.i.tions of ancient subjects. This author brings the Greek feeling back again into the very heart of English life sometimes, or makes an English fact ill.u.s.trate a Greek fable. Some delightful translations from the Greek there are, but less than half a dozen in all.

I scarcely know how to begin--what piece to quote first. But perhaps the little fancy called "Mimnermus in Church" is the best known, and the one which will best serve to introduce us to the character of Cory. Before quoting it, however, I must explain the t.i.tle briefly. Mimnermus was an old Greek philosopher and poet who thought that all things in the world are temporary, that all hope of a future life is vain, that there is nothing worth existing for except love, and that without affection one were better dead. There are, no doubt, various modern thinkers who tell you much the same thing, and this little poem exhibits such modern feeling in a Greek dress. I mean that we have here a picture of a young man, a young English scholar, listening in church to Christian teaching, but answering that teaching with the thought of the old Greeks. There is of course one slight difference; the modern conception of love is perhaps a little wider in range than that of the old Greeks. There is more of the ideal in it.

MIMNERMUS IN CHURCH

You promise heavens free from strife, Pure truth, and perfect change of will; But sweet, sweet is this human life, So sweet, I fain would breathe it still; Your chilly stars I can forego, This warm kind world is all I know.

You say there is no substance here, One great reality above: Back from that void I shrink in fear And child-like hide myself in love; Show me what angels feel. Till then I cling, a mere weak man, to men.

You bid me lift my mean desires From faltering lips and fitful veins To s.e.xless souls, ideal choirs, Unwearied voices, wordless strains; My mind with fonder welcome owns One dear dead friend's remembered tones.

Forsooth the present we must give To that which cannot pa.s.s away; All beauteous things for which we live By laws of time and s.p.a.ce decay.

But oh, the very reason why I clasp them, is because they die.

The preacher has been talking to his congregation about the joys of Heaven. There, he says, there will be no quarrelling, no contest, no falsehood, and all evil dispositions will be entirely changed to good. The poet answers, "This world and this life are full of beauty and of joy for me. I do not want to die, I want to live. I do not wish to go to that cold region of stars about which you teach. I only know this world and I find in it warm hearts and precious affection. You say that this world is a phantom, unsubstantial, unreal, and that the only reality is above, in Heaven. To me that Heaven appears but as an awful emptiness. I shrink from it in terror, and like a child seek for consolation in human love. It is no use to talk to me about angels until you can prove to me that angels can feel happier than men. I prefer to remain with human beings. You say that I ought to wish for higher things than this world can give, that here minds are unsteady and weak, hearts fickle and selfish, and you talk of souls without s.e.x, imaginary concerts of perfect music, tireless singing in Heaven, and the pleasure of conversation without speech. But all the happiness that we know is received from our fellow beings. I remember the voice of one dead friend with deeper love and pleasure than any images of Heaven could ever excite in my mind."

The last stanza needs no paraphrasing, but it deserves some comment, for it is the expression of one great difference between the old Greek feeling in regard to life and death, and all modern religious feeling on the same subject. You can read through hundreds of beautiful inscriptions which were placed over the Greek tombs. They are contained in the Greek Anthology. You will find there almost nothing about hope of a future life, or about Heaven. They are not for the most part sad; they are actually joyous in many cases. You would say that the Greek mind thought thus about death--"I have had my share of the beauty and the love of this world, and I am grateful for this enjoyment, and now it is time to go to sleep."

There is actually an inscription to the effect, "I have supped well of the banquet of life." The Eastern religions, including Christianity, taught that because everything in the world is uncertain, impermanent, perishable, therefore we ought not to allow our minds to love worldly things. But the Greek mind, as expressed by the old epigraphy in the cemeteries, not less than by the teaching of Mimnermus, took exactly the opposite view. "O children of men, it is because beauty and pleasure and love and light can last only for a little while, it is exactly because of this that you should love them. Why refuse to enjoy the present because it can not last for ever?" And at a much later day the Persian poet Omar took, you will remember, precisely the same view. You need not think that it would be wise to accept such teaching for a rule of life, but it has a certain value as a balance to the other extreme view, that we should make ourselves miserable in this world with the idea of being rewarded in another, concerning which we have no positive knowledge. The lines with which the poem concludes at least deserve to be thought about--

But oh, the very reason why I clasp them, is because they die.

We shall later on take some of the purely Greek work of Cory for study, but I want now to interest you in the more modern part of it. The charm of the following pa.s.sage you will better feel by remembering that the writer was then a schoolmaster at Eton, and that the verses particularly express the love which he felt for his students--a love the more profound, perhaps, because the circ.u.mstances of the teacher's position obliged him to appear cold and severe, obliged him to suppress natural impulses of affection and generosity. The discipline of the masters in English public schools is much more severe than the discipline to which the students are subjected. The boys enjoy a great deal of liberty. The masters may be said to have none. Yet there are men so const.i.tuted that they learn to greatly love the profession. The t.i.tle of this poem is "Reparabo," which means "I will atone."

The world will rob me of my friends, For time with her conspires; But they shall both, to make amends, Relight my slumbering fires.

For while my comrades pa.s.s away To bow and smirk and gloze, Come others, for as short a stay; And dear are these as those.

And who was this? they ask; and then The loved and lost I praise: "Like you they frolicked; they are men; Bless ye my later days."

Why fret? The hawks I trained are flown; 'Twas nature bade them range; I could not keep their wings half-grown, I could not bar the change.