Poetry, to give a large name to the various interpretations of subtle beauty, could offer in some measure that hope, that serenity; could lend the dignity to life which scientific investigations tended to sweep away. Science seemed to reveal the absolute pettiness, the minute insignificance of all created things, to show how inconsiderable a space each separate individual occupied in the sum of forces; the thought weighed heavily upon Hugh that he was only as the tiniest of the drops of water in a vast cataract that had rushed for thousands of years to the sea; it was a paralysing conception. It was true that the water-drop had a definite place; yet it was the outcome and the victim of monstrous forces; it leapt from the mountain to the river, it ran from the river to the sea; it was spun into cloud-wreaths; it fell on the mountain-top again; it was perhaps congealed for centuries in some glacier-bed; then it was free again to pursue its restless progress. But to feel that one was like that, was an unutterably dreary and fatiguing thought. The weary soul perhaps was hurried thus from zone to zone of life, never satisfied, never tranquil; with a deep instinct for freedom and tranquillity, yet never tranquil or free. Then, into this hopeless and helpless prospect, came the august message of poetry, revealing the transcendent dignity, the solitariness, the majesty of the indomitable soul; bidding one remember that though one was a humble atom in a vast scheme, yet one had the sharp dividing sense of individuality; that each individual was to himself the measure of all things, a fortress of personality; that one was not merely whirled about in a mechanical order; but that each man was as God Himself, able to weigh and survey the outside scheme of things, to approve and to disapprove; and that the human will was a mysterious stronghold, impregnable, secure, into which not even God Himself could intrude unsummoned. How small a thing to the eye of the scientist were the human passions and designs, the promptings of instinct and nature; but to the eye of the poet how sublime and august! These tiny creatures could be dominated by emotions – love, honour, patriotism, liberty – which could enable them, frail and impotent as they were, to rise majestically above the darkest and saddest limitations of immortality. They could be racked with pain, crushed, tormented, silenced; but nothing could make them submit, nothing could force them to believe that their pains were just. Herein lay the exceeding dignity of the human soul, that it could arraign its Creator before its own judgment-seat, and could condemn Him there. It could not, it seemed, refuse to be called into being, but, once existent, it could obey or not as it chose. Its joys might be clouded, its hopes shattered, but it need not acquiesce; and this power of rebellion, of criticism, of questioning, seemed to Hugh one of the most astonishing and solemn things in the world. And thus to Hugh the history of the individual, the aspirations and longings of mankind, seemed to contain a significance, a sanctity that nothing could remove.
He did not believe that this rebellious questioning was justified, but this did not lessen his astonishment at the fact that the human soul could claim a right to decide, by its own intuitions, what was just and what was unjust, and could accuse the Eternal Lord of Life of not showing it enough of the problem for it to be able to acquiesce in the design, as it desired to do. Hugh believed that he was justified in holding that as Love was the strongest power in the world, the Creator and Inspirer of that love probably represented that quality in the supremest degree, though this was an inference only, and not supported by all the phenomena of things. But it seemed to him the one clue through the darkness; and this secret hope was perhaps the highest and best thought that came to him from searching the records of humanity and the conceptions of mortal minds.
And therefore Hugh felt that he was on the side of the individual; and that he touched life in that relation. Literature then must be for him, in some form or other, an attempt to quicken the individual pulse, to augment the individual sense of significance. He must abstain from what was probably a higher work; but he must not lose faith thereby. He must set himself with all his might to preach a gospel of beauty to minds which, like his own, were incapable of the larger mental sweep, and could only hope to disentangle the essence of the moment, to refine the personal sensation. That was the noble task of high literature, of art, of music, of the contemplation of nature, that it could give the mind a sense of largeness, of dim and wistful hope, of ultimate possibilities. The star that hung in the silent heaven – it was true that it was the creation of mighty forces, that it had a place, a system, a centrifugal energy, a radiation of its own. That was in a sense the message of a star; but it had a further appeal, too, to the imaginative mind, in that it hung a glowing point of ageless light, infinitely remote, intolerably mysterious, a symbol of all the lustrous energies of the aspiring soul. And in one sense indeed the pure imagination could invest such vast creatures of God with even a finer, freer charm than scientific apprehension. Science could indicate its bulk, its motions, its distance, even analyse its very bones; but it could do no more; while the spirit could glide, as in an aerial chariot, through the darkness of the impalpable abyss, draw nearer and nearer in thought to the vast luminary, see unscathed its prodigious vents spouting flame and smoke, and hear the roar of its furnaces; or softly alight upon fields of dark stones, and watch with awe the imagined progress of forms intolerably huge, swollen as with the bigness of nightmare. Here was the strange contrast, that science was all on fire to learn the truth; while the incomprehensible essence of the soul, with its limitless visions, was capable of forming conceptions which the truth should disappoint. And here again came in a strange temptation. If life and identity were to be indefinitely prolonged, then Hugh had no wish but to draw nearer to the truth, however hard and even unpalatable it might be; but if, on the other hand, this life were all, then it seemed that one might be even the happier for comfortable and generous delusions.
Hugh, then, felt that if the old division of more highly developed minds was the true one; if one was either Aristotelian or Platonist, that is to say, if one's tendencies were either scientific or idealistic, there was no doubt on which side of the fight he was arrayed; not that he thought of the two tendencies as antagonistic; and if indeed the scientific mind tended to contemn the idealistic mind, as concerning itself with fancies rather than with facts, he felt that there could not be a greater mistake than for the idealistic mind to contemn the scientific. Rather, he thought, the idealists should use the scientific toilers as patient, humble, and serviceable people, much as the Dorian conquerors of Sparta used the Helots, and encourage them to perform the necessary and faithful work of investigation for which the idealists were unfitted. The mistake which men of scientific temper made, Hugh thought, was to concern themselves only or mainly, with material phenomena. The idealistic and imaginative tendencies of man were just as much realities, and no amount of materialism could obliterate them. What was best of all was to import if possible a scientific temper into idealistic matters; not to draw hasty or insecure generalisations, nor to neglect phenomena however humble. Books then for Hugh were, in their largest aspect, indications and manifestations of the idealistic nature of man. The interest about them was the perceiving of the different angles at which a thought struck various minds, the infusion of personality into them by individuals, the various interpretations which they put upon perceptions, the insight into various kinds of beauty and hopefulness which the writers displayed.
And thus Hugh turned more and more away from the critical apprehension of imaginative literature, to the mystical apprehension of it. A critical apprehension of it was indeed necessary, for it initiated one into the secrets of expression and of structure, in which the force of personality was largely displayed, taking shape from the thought in them, as clothes take shape from their wearers. But deeper still lay the mystical interpretation. In the world of books he heard the voice of the soul, sometimes lamenting in desolate places, sometimes singing blithely to itself, as a shepherd sings upon a headland, in sight of the blue sea; sometimes there came a thrill of rapture into the voice, when the spirit was filled to the brim with the unclouded joys of the opening world, the scent of flowers, the whispering of foliage in great woods, the sweet harmonies of musical chords, the glance of beloved eyes, or the accents of some desired voice; and then again all this would fade and pale, and the soul would sit wearied out, lamenting its vanished dreams and the delicate delights of the springtime, in some wild valley overhung with dark mountains, under the dreadful and inscrutable eye of God. Life, how insupportable, how beautiful it seemed! Full of treasures and terrors alike, its joys and its woes alike unutterable. The strangest thing of all, that the mind of man was capable of seeing that there was a secret, a mystery about it all; could desire so passionately to know it and to be satisfied, and yet forbidden even dimly to discern its essence.
What, after all, Hugh reflected, was the end of reading? Not erudition nor information, though many people seemed to think that this was a meritorious object. Professed historians must indeed endeavour to accumulate facts, and to arrive if possible at a true estimate of tendencies and motives; the time had not yet come, said the most philosophical historians, for any deductions to be drawn as to the development of the mind of the world, the slow increase of knowledge and civilisation; and yet that was the only ultimate value of their work, to attempt, namely, to arrive at the complex causes and influences that determined the course of history and progress. Hugh felt instinctively that his mind, impatient, inaccurate, subtle rather than profound, was ill adapted for such work as this. He felt that it was rather his work to arrive, if he could, at a semi-poetical, semi-philosophical interpretation of life, and to express this as frankly as he could. And thus reading must be for him an attempt to refine and quicken his insight into the human mind, working in the more delicate regions of art. He must study expression and personality; he must keep his spirit sensitive to any hint of truth or beauty, any generous and ardent intuition, any grace and seemliness of thought. He was fond of books of travel, as opening to him a larger perspective of human life, and revealing to him the conclusions to which experience and life had brought men of other nationalities and other creeds. Biography was his most beloved study, because it opened out to him the vast complexity of human motive; but he thought that its chief value had been in revealing to him the extraordinary part that conventional and adopted beliefs and motives played in the majority of lives.
His reading, then, began to have for him a deep and special significance. He was no philosopher; he found that the metaphysical region, where one stumbled among the dim ultimate causes of things, only gave him a sense of insecurity and despair; but he was in a sense a psychologist; his experience of life had taught him to have an inkling of the influences that affect character, and still more of the stubborn power of character in resisting influences. Poetry was to him a region in which one became aware of strange and almost magical forces, which came floating out of unknown and mysterious depths – it was a world of half-heard echoes, momentary glimpses, mysterious appeals. In history and in biography one saw more of the interacting forces of temperament; but in poetry, as the interpreter of nature, one found oneself among cries and thrills which seemed to rise from the inner heart of the world. It was the same with religion; but here the forces at work so often lost their delicacy and subtlety by being compounded with grosser human influences, entangled with superstitions, made to serve low and pitiful ends. In poetry there was none of this – it was the most disinterested thing in the world. In the pure medium of words, coloured by beauty and desire, all the remote, holy, sweet secrets of the heart were blended into a rising strain; and it was well to submit oneself, tranquilly and with an open heart, to the calling of these sweet voices.
Hugh was aware that his view was not what would be called a practical one; that he had no fibre of his being that responded to what were called civic claims, political urgencies, social reforms, definite organisations; he felt increasingly that these things were but the cheerful efforts of well-meaning and hard-headed persons to deal with the bewildering problems, the unsatisfactory débris of life. Hugh felt that the only possible hope of regeneration and upraising lay in the individual; and that if the tone of individual feeling could be purified and strengthened, these organisations would become mere unmeaning words. The things that they represented seemed to Hugh unreal and even contemptible, the shadows cast on the mist by the evil selfishnesses, the stupid appetites, the material hopes of men. As simplicity of life and thought became more and more dear to him, he began to recognise that, though there was no doubt room in the world, as it was, for these other busy and fertile ideas, yet that his own work did not lie there. Rather it lay in defining and classifying his own life and experience; in searching for indubitable motives, and noble possibilities that had almost the force of certainties; of gathering up the secrets of existence, and speaking them as frankly, as ardently, as melodiously as his powers would admit, if by any means he might awaken other hearts to the truths which had for him so sweet and constraining an influence.
XXXIII
Music – Church Music – Musicians – The Organ – False Asceticism
An art which had for Hugh an almost divine quality was the art of music; an art dependent upon such frail natural causes, the vibration of string and metal, yet upon the wings of which the soul could fly abroad further than upon the wings of any other art. There was a little vignette of Bewick's, which he had loved as a child, where a minute figure sits in a tiny horned and winged car, in mid air, throwing out with a free gesture the reins attached to the bodies of a flight of cranes; the only symbol of his destination a crescent moon, shining in dark skies beyond him. That picture had always seemed to Hugh a parable of music, that it gave one power to fly upon the regions of the upper air, to use the wings of the morning.
And yet, if one analysed it, what a totally inexplicable pleasure it was. Part of it, the orderly and rhythmical beat of metre, such as comes from striking the fingers on the table, or tapping the foot upon the floor; how deep lay the instinct to bring into strict sequence, where it was possible, the mechanical movements of nature, the creaking of the boughs of trees, the drip of water from a fountain-lip, the beat of rolling wheels, the recurrent song of the thrush on the high tree; and then there came in the finer sense of intricate vibration. The lower notes of great organ-pipes had little indeed but a harsh roar, that throbbed in the leaded casements of the church; but climbing upwards they took shape in the delicate noises, the sounds and sweet airs of which Prospero's magic isle was full. And yet the rapture of it was inexpressible in words. Sometimes those airy flights of notes seemed to stimulate in some incomprehensible way the deepest emotions of the human spirit; not indeed the intellectual and moral emotions, but the primal and elemental desires and woes of the heart.
Hugh could hardly say in what region of the soul this all took place. It seemed indeed the purest of all emotions, for the mind lost itself in a delight which hardly even seemed to be sensuous at all, because, in the case of other arts, one was conscious of pleasure, conscious of perception, of mingling identity with the thing seen or perceived; but in music one was rapt almost out of mortality, in a kind of bodiless joy.
One of Hugh's causes of dissatisfaction with the education he had received was that, though he had a considerable musical gift, he had never been taught to play any musical instrument. Partly indolence and partly lack of opportunity had prevented him from attaining any measure of skill by his own exertions, though he had once worked a little, very fitfully, at the theory of music, and had obtained just enough knowledge of the composition of chords to give him an intelligent pleasure in disentangling the elements of simple progressions. Another trifling physical characteristic had prevented his hearing as much music as he would have wished. The presence of a crowd, the heat and glare of concert-rooms, the uncomfortable proximity of unsympathetic or possibly even loquacious persons, combined with a dislike of fixed engagements outside of the pressure of official hours of work, had kept him, very foolishly, from musical performances. Thus almost the only music with which he had a solid acquaintance was ecclesiastical music; he had been accustomed as a boy to frequent the cathedral services in the town where he was at school; and in London he constantly went on Sundays to St. Paul's or Westminster. It was no doubt the stately mise-en-scène of these splendid buildings that affected Hugh as much even as the music itself, though the music was like the soul's voice speaking gently from beautiful lips. Hugh always, if he could, approached St. Paul's by a narrow lane among tall houses, that came out opposite the north transept. At a certain place the grey dome became visible, strangely foreshortened, like a bleak mountain-head, and then there appeared, framed by the house-fronts, the sculptured figure of the ancient lawgiver, with a gesture at once vehement and dignified, that crowned the top of the pediment. Then followed the hush of the mighty church, the dumb falling of many foot-falls upon the floor, the great space of the dome, in which the mist seemed to float, the liberal curves, the firm proportions of arch and pillar; the fallen daylight seemed to swim and filter down, stained with the tincture of dim hues; the sounds of the busy city came faintly there, a rich murmur of life; then the soft hum of the solemn bell was heard, in its vaulted cupola; and then the organ awoke, climbing from the depth of the bourdon; the movement of priestly figures, the sweet order of the scene, the sense of high solemnity, made a shrine for the holy spirit of beauty to utter its silvery voice. In Westminster it was different; the richer darkness, the soaring arches, the closer span, the incredible treasure of association and memory made it a more mysterious place, but the sound lacked the smothered remoteness that gave such a strange, repressed economy to the music of St. Paul's. At Westminster it was more cheerful, more tangible, more material. But the tranquillising, the inspiring effect upon the spirit was the same. Perhaps it was not technical religion of which Hugh was in search. But it was the religion which was as high above doctrine and creed and theology as the stars were above the clouds. The high and holy spirit inhabiting eternity seemed to emerge from the metaphysic, the science of religion, from argument and strife and dogma, as the moon wades, clear and cold, out of the rack of dusky vapours. Such a voice, as that gentle, tender, melancholy, and still joyful voice, that speaks in the 119th Psalm, telling of misunderstanding and persecution, and yet dwelling in a further region of peace, came speeding into the very labyrinth of Hugh's troubled heart. "I have gone astray like a sheep that is lost; O seek thy servant, for I do not forget Thy commandments." It was not inspiration, not a high-hearted energy, that music brought with it; it was rather a reconciliation of all that hurt or jarred the soul, an earnest of intended peace.
But, after all, this was not music pure and simple; it was music set in a rich frame of both sensuous and spiritual emotions. Hugh realised that music had never played a large part in his life, but had been one of many artistic emotions that had spoken to him in divers manners. There was one fact about music which lessened its effect upon Hugh, and that was the fact that it seemed to depend more than other arts upon what one brought to it. In certain moods, particularly melancholy moods, when the spirit was fevered by dissatisfaction or sorrow, its appeal was irresistible; it came flying out of the silence, like an angel bearing a vial of fragrant blessings. It came flooding in, like the cool brine over scorched sands, smoothing, refreshing, purifying. There seemed something direct, authentic, and divine about the message of music in such moods; there seemed no interfusion of human personality to distract, because the medium was more pure.
Sometimes, for weeks together at Cambridge, Hugh would go without hearing any music at all, until an almost physical thirst would fall upon him. In such an arid mood, he would find himself tyrannously affected by any chance fragment of music wafted past him; he would go to some cheerful party, where, after the meal was over, a piano would be opened, and a simple song sung or a short piece played. This would come like a draught of water to a weary traveller, bearing Hugh away out of his surroundings, away from gossip and lively talk, into a remote and sheltered place; it was like opening a casement from a familiar and lighted room, and leaning out over a dim land, where the sunset was slowly dying across the rim of the tired world.
Hugh always found it easy to make friends with musicians. They generally seemed to him to be almost a race apart; their art seemed to withdraw them in a curious way from the world, and to absorb into itself the intellectual vigour which was as a rule, with ordinary men, distributed over a variety of interests. He knew some musicians who were men of wide cultivation, but they were very much the exception; as a rule, they seemed to Hugh to be a simple and almost childlike species, fond of laughter and elementary jests, with emotions rather superficial than deep, and not regarding life from the ordinary standpoint at all. The reason lay, Hugh believed, in the nature of the medium in which they worked; the writer and the artist were brought into direct contact with humanity; it was their business to interpret life, to investigate emotion; but the musician was engaged with an art that was almost mathematical in its purity and isolation; he worked under the strictest law, and though it required a severe and strong intellectual grip, it was not a process which had any connection with emotions or with life. But Hugh always felt himself to be inside the charmed circle, and though he knew but little of the art, musical talk always had a deep interest for him, and he seemed to divine and understand more than he could explain or express.
But still it was true that music had played no part in his intellectual development; he had never approached it on that side; it had merely ministered to him at intervals a species of emotional stimulus; it had seemed to him to speak a language, dim and unintelligible, but the purport of which he interpreted to be somehow high and solemn. There seemed indeed to be nothing in the world that spoke in such mysterious terms of an august destiny awaiting the soul. The origin, the very elements of the joy of music were so absolutely inexplicable. There seemed to be no assignable cause for the fact that the mixture of rhythmical progress and natural vibration should have such a singular and magical power over the human soul, and affect it with such indescribable emotion.
He had sometimes seen, half with amusement, half with a far deeper interest, the physical effect which the music of some itinerant piano-organ would produce upon street children; they seemed affected by some curious intoxication; their gestures, their smiles, their self-conscious glances, their dancing movements, so unnatural in a sense, and yet so instinctive, made the process appear almost magical in its effects. Though it did not affect him so personally, it seemed to have a similarly intoxicating effect on Hugh's own mind. Even if the particular piece that he was listening to had no appeal to his spirit, even if it were only a series of lively cascades of tripping notes, his thoughts, he found, took on an excited, an irrepressible tinge. But if on the other hand the time and the mood were favourable, if the piece were solemn or mournful, or of a melting sweetness, it seemed for a moment to bring a sense of true values into life, to make him feel, by a silent inspiration, the rightness and the perfection of the scheme of the world.
One evening a friend of Hugh's, who was organist of one of the important college chapels, took him and a couple of friends into the building. It had been a breathlessly hot summer day, but the air inside had a coolness and a peace which revived the languid frame. It was nearly dark, but the great windows smouldered with deep fiery stains, and showed here and there a pale face, or the outline of a mysterious form, or an intricacy of twined tabernacle-work. Only a taper or two were lit in the shadowy choir; and a light in the organ-loft sent strange shadows, a waving hand or a gigantic arm, across the roof, while the quiet movements of the player were heard from time to time, the passage of his feet across the gallery, or the rustling of the leaves of a book. Hugh and his friends seated themselves in the stalls; and then for an hour the great organ uttered its voice – now a soft and delicate strain, a lonely flute or a languid reed outlining itself upon the movement of the accompaniment; or at intervals the symphony worked up to a triumphant outburst, the trumpets crashing upon the air, and a sudden thunder outrolling; the great pedals seeming to move, like men walking in darkness, treading warily and firmly; until the whole ended with a soft slow movement of perfect simplicity and tender sweetness, like the happy dying of a very old and honourable person, who has drunk his fill of life and blessings, and closes his eyes for very weariness and gladness, upon labour and praise alike.
The only shadow of this beautiful hour was that in this rapt space of tranquil reflection one seemed to have harmonised and explained life, joy and disaster alike, to have wound up a clue, to have brought it all to a peaceful and perfect climax of silence, like a tale that is told; and then it was necessary to go out to the world again with all its bitterness, its weariness, its dissatisfaction – till one almost wondered whether it was wise or brave to have chased and captured this strange phantom of imagined peace.
Yes, it was wise sometimes, Hugh felt sure! to have refused it would have been like refusing to drink from a cool and bubbling wayside spring, as one fared on a hot noon over the shimmering mountain-side – refused, in a spirit of false austerity, for fear that one would thirst again through the dreary leagues ahead. As long as one remembered that it was but an imagined peace, that one had not attained it, it was yet well to remember that the peace was real, that it existed somewhere, even though it was still shut within the heart of God. However slow the present progress, however long the road, it was possible to look forward in hope, to know that one would move more blithely and firmly when the time should come for the desired peace to be given one more abundantly; it helped one, as one stumbled and lingered, to look a little further on, and to say, "I will run the way of Thy commandments, when Thou hast set my heart at liberty."