The Romance of Zion Chapel Part 15

A time will come in the profoundest griefs when those rituals to which young grief is so eager to vow itself will grow lifeless and conventional, the daily tasks of remembrance become as the told beads of pattered prayers. Let the worshipper of relics beware lest his treasures some day turn on his hands to so much irksome lumber, and true sorrow be thus humiliated.

No! the service for the dead which is most likely to remain a vital offering of the heart is not the ceremonial sorrow of specially consecrated times and seasons, but rather the simple longing in hours of joy that _they_ could have been with us. To think of our dead friends as always in their shrouds is a way of remembrance which we shall not long have heart or even interest to follow. It is only by taking them to our feasts, keeping up with them the same old human companionship, that we may hope to keep the dead as friends. A modern poet has written eight lines which were of great comfort to Theophil,--

"You go not to the headstone As aforetime every day, And I who died, I do not chide, Because, dear friend, you play;

"But in your playing think of him Who once was kind and dear, And if you see a beauteous thing, Just say: 'He is not here.'"

Here it seemed to Theophil was the whole duty of faithfulness. The dead know that if we remember them in our hours of joy, they are indeed remembered; and if they know anything at all, they will understand the waywardness of sad hearts better than sad hearts understand themselves.

Yet, indeed, save in the exercise of his faculties, Theophil had no joy to reproach himself with. Surely returning spring, with its terrible exuberance of warm life, was no joy. Perhaps he had looked on Jenny lying dead with less anguish than he one day beheld an apple-tree thick with blossom in the hot sun. Yes! the world had the heart to go on, to bud and build, and sing,--though Jenny was gone. And in that bright spring, see horrible and useless age still hobbling out into the beam!

What was life but one huge Mephistopheles laugh beneath the windows of our dreams!

That spring James Whalley persuaded Theophil to walk with him for a week of country lanes far beyond Coalchester, letting him talk of Jenny all the time. Jenny had never been here! If only Jenny could have seen that view! Jenny had never known that flower! Did he remember those verses from James Thomson:--

"The chambers of the mansions of my heart, In every one whereof thine image dwells, Are black with grief eternal for thy sake.

"The inmost oratory of my soul, Wherein thou ever dwellest quick or dead, Is black with grief eternal for thy sake.

"I kneel beside thee and I clasp the cross, With eyes for ever fixed upon that face, So beautiful and dreadful in its calm.

"I kneel here patient as thou liest there; As patient as a statue carved in stone, Of adoration and eternal grief.

"While thou dost not awake I cannot move; And something tells me thou wilt never wake, And I alive feel turning into stone."

Strange joy of sad poetry for sad hearts!

Experience indeed was now divided for Theophil into what Jenny had not seen or known and into what she had seen and known; and it was one of the tricks of his grief, as time went on, to confuse the two. Sometimes he would think that Jenny had been with him at a certain place, or perhaps had read a certain book which, on taking thought, he knew she could never have seen.

Allied perhaps to this confusion was the fancy that possessed him on certain days that he caught glimpses of Jenny in little flitting figures of women about the streets. A sudden poise of the head, the way of doing the hair, a trick of walk,--just a flash and gone again; though sometimes he was haunted with more persistent resemblances, which brought him a curious mixture of joy and pain. And this perhaps is the place to record what only those acquainted with grief will understand, and not all of those,--for grief has many contradictory fashions.

Till he had loved Jenny, women had played little or no part in Theophil's life; but with Jenny's death he found, to his surprise, that the idea of woman was strangely sweet to him. His eyes were drawn after women in the street, and he found himself longing sometimes for some woman on whose shoulder he might lean his head and weep out his grief for Jenny! He loved death because Jenny had died; was he to love women because Jenny had been a woman? Perhaps his feet had wandered in dangerous paths at this time, had it not been for the restrictions which his calling laid upon him.

These, however, did not deny him the theatre, which it had been part of his programme at New Zion to advocate, though there was seldom anything worth seeing at Coalchester Theatre Royal. Yet sometimes a good London company would call there on its provincial progress, and it chanced one day, looking into a shop window, that Theophil caught sight of a photograph of a woman that startled him with its remarkable resemblance to Jenny. It was the prima donna of a Gaiety burlesque. Such was the strange shape Jenny had for the moment taken!

For the first time after her death Theophil was at the theatre that evening. The bright lights and the music pierced him as with swords.

Once more he saw that apple-tree thick with blossom in the hot sun. Yet his fancy found grim spells to lay the insolent ghost of life, and death ever at his side whispered that all this light and music and dancing was for but a little while; that those gay rouged faces, so confident in laughing beauty, and all those nimble shapes, were to the eye that had looked beyond life already stark in their coffins, with chin-cloths about their nerveless jaws. Surely the lover would trip in the shroud that was plainly to be seen from his feet to his lips!

Like sudden snow on a summer meadow, a white silence fell from his imagination across that fiddling, jigging, gleaming atmosphere, and everywhere the dead sat around him, watching in a trance strange antics of the grimacing dead. Curiously, in these moods, he never thought of himself as dead. Alas! life was too cruel to release him so soon to death and Jenny.

Suddenly the theatre sprang back to life again with the entrance of the prima donna. Yes, the resemblance was even greater than in the photograph. She was a little taller and more heavily built than Jenny, and it was not Jenny's voice; but for the rest, she _was_ Jenny. The fascination of watching her was terrible. It seemed impossible that one form could so mockingly resemble another, and yet be so hopelessly someone else. Theophil could hardly bring himself to believe that the woman yonder with Jenny's eyes and mouth and hair had never even heard of Jenny's name. Surely, if he were to come and look into her face, she would recognise him at once, and the old common interests would rise to her lips as of old.

Theophil went again to the theatre the next night, and again the next, which was the last of the company's stay in the town; and the spell of the false Florimel grew so strong upon him that at the close of the final performance he sent up his card to the actress, and presently, as in a dream, found himself stumbling among scenery and dipping under beams on his way to the actress's room. If she were only as like Jenny close to, he felt he must follow her to the end of the world; and indeed the illusion still held as he entered the little mirrored room, smelling of powder and littered with laces and silks,--fancy little Jenny here among the grease-paints and the bouquets! It was only with the lack of recognition in the polite welcome the actress gave him that the illusion began to waver, or was it only that Jenny had forgotten him?

So possessed had he been with the hallucination, that he had not thought what excuse he would have to make to the actress for his visit, and it was with an embarra.s.sing shock that the necessity of speech came to him, when he had stumbled through some mechanical words of salutation. She looked at him with a little air of bewilderment, and motioned to her attendant to leave them alone. As the door closed, Theophil had determined to tell her the simple truth.

"I have to ask your pardon," he began, "for a very strange intrusion.

The reason of it is simply this. You are so like someone I love who is dead that I felt I could not rest till I had spoken to you. I trust you will excuse me, and try to understand. Yes! you are terribly like her!"

The story appealed to the actress's instinct for romance, and she entered into its spirit. Besides, the young clergyman was very interesting to look at, and the charm of sorrow was on his face.

"An actress can hardly complain," she answered, "of being taken for someone else, and though I don't know you, I feel that you have done me an honour. Am I indeed so like her? How strange it must seem to you!"

"It is very strange," said Theophil, still fascinated. Then he told this image of Jenny the story of how Jenny had died. The tears came into the actress's eyes as he talked, and it was as though Jenny shed tears for Jenny's death.

"Poor little girl!" she said; "I am so sorry for you both."

"But," she continued presently, "you should both be very happy too--for it would be worth while to suffer for so beautiful a love.... I feel happy," she added half gaily, "even to resemble a woman who is so wonderfully loved."

Theophil lingered on, still fascinated, till the actress suggested that he should walk with her to her hotel. Arrived there, Theophil, to the possible scandalising of Coalchester, accepted her invitation to a further chat over supper; and when at last he was back at Zion Place, his heart was aware of a new comfort and a new pain. He had leaned his head on a woman's kind shoulder, and she had let him talk and talk about Jenny; but her shoulder had been warm, and it had been sweet to be near her ...

"A creature might forget to weep who bore; Thy comfort long" ...

and Theophil went to sleep that night with the taste of honey upon his lips.

But with the morning there came to him remorseful misgivings, and he told himself that it had been one of the sophistries of the flesh, a call of the senses taking in vain the sacred name of Jenny; and then for his comfort he remembered how the greatest of all lovers, Dante, had craved in like manner for the solace of "a very pitiful lady, very young," and had been similarly remorseful on account of his momentary preoccupation with her.

Taking down his "Vita Nuova," he read: "_At length, by the constant sight of this lady, mine eyes began to be gladdened overmuch with her company; through which thing many times I had much unrest, and rebuked myself as a base person: also, many times I cursed the unsteadfastness of mine eyes, and said to them inwardly: 'Was not your grievous condition of weeping wont one while to make others weep? And will ye now forget this thing because a lady looketh upon you? who so looketh merely in compa.s.sion of the grief ye then showed for your own blessed lady. But what so ye can, that do ye, accursed eyes! many a time will I make you remember it! for never, till death dry you up, should ye make an end of your weeping_.'"

Moreover, Dante had married Gemma within a year of the death of Beatrice, and had even lived so scandalously meanwhile as to bring down upon him the stern reproof of his friend Guido Calvancanti; yet the world still regards him as the type of all faithful lovers.

Faithfulness is an att.i.tude of the mind, and all it touches turns to Beatrice. Yet--

"Except by death, we must not any way Forget our lady who is gone from us."

CHAPTER XXVII

ISABEL CALLING

If women were thus henceforth to influence Theophil, why might not Isabel, the woman whom Jenny had loved, be counted amongst them?

Isabel was the one woman in the whole world whom Theophil's faithfulness could not transform into Jenny. That it had been his fatal love for her that had brought Jenny to her death, his reason, except in moments of self-injustice, was robust enough to put aside.

There are excuses that we owe to ourselves, and we have a right to expect justice even from our own consciences. A sentimental conscience is the most tiresome of all altruists, and wilfully to indulge in remorse that we have not justly incurred is to blunt our consciences for real offences. The best repentance for our sins is a clear-eyed recognition of their nature, and the temptation in some flurry of feeling to take on our shoulders the mistakes of destiny with which we chance to have been involuntarily a.s.sociated, is one to be resisted in the interests of that self-knowledge which is the beginning of self-development. Before we take the scourge in hand for our own shoulders let us be quite sure that we have sinned.

There were hours, particularly those hours of sudden wakefulness in the middle of the night when our minds lose their sense of proportion, in which Theophil agonised beyond endurance, and, as on that afternoon when he had found Jenny's diary, said to himself with merciless reiteration, "She seems to have had a shock"--"It was you who killed Jenny."

These hours had to be supported as we support hours of purely physical pain. The morning brought a saner, larger view. The tragedy of Jenny's death was not to be so easily explained. In it were implicated more august responsible causes, it was part of a more general tragedy; as the original instinct to blame himself and Isabel was part of man's ancient theological habit of making man the scapegoat of the universe.

But as the thought of Isabel thus became bearable once more, it became for that very reason a thought the more faithfully to be resisted.

It might become sweet.

It was sweet!

One day the casuistry of grief brought Theophil the reflection that, as Isabel was the only woman he knew whom Jenny had known too, and that as Jenny had loved her also, she was thus destined for him even by Jenny herself. Besides, as he had realised no unfaithfulness to Jenny in his love for Isabel during Jenny's life, there could equally be no unfaithfulness now that she was dead. Moreover, if Jenny still in some mysterious way kept watch over his life, she would understand his heart as she could never have understood it when she was alive...