Vanishing Roads and Other Essays Part 4

which even the Puritan Milton could thus celebrate. Doubtless, that English Puritan persecution was the severest that Beauty has been called upon to endure. She still suffers from it, need one say, to this day, particularly in New England, where if the sculptured images of G.o.ddess and nymph are not exactly broken to pieces by the populace, it is from no goodwill towards them, but rather from an ingrained reverence for any form of property, even though it be nude, and where, at all events, they are under the strict surveillance of a highly proper and respectable police, those distinguished guardians of American morals.

It is worth while to try and get at the reason for this wide-spread, deep-rooted, fear of beauty: for some reason there must surely be. Such instinctive feelings, on so broad a scale, are not accidental. And so soon as one begins to a.n.a.lyse the att.i.tude of religion towards beauty, the reason is not far to seek.

All religions are made up of a spiritual element and a moral element, the moral element being the temporary, practical, so to say, working side of religion, concerned with this present world, and the limitations and necessities of the various societies that compose it. The spiritual element, the really important part of religion, has no concern with Time and s.p.a.ce, temporary mundane laws, or conduct. It concerns itself only with the eternal properties of things. Its business is the contemplation and wors.h.i.+p of the mystery of life, "the mystery we make darker with a name."

Now, great popular religions, designed as they are for the discipline and control of the great brute ma.s.ses of humanity, are almost entirely occupied with morality, and what pa.s.ses in them for spirituality is merely mythology, an element of picturesque supernaturalism calculated to enforce the morality with the mult.i.tude. Christianity is such a religion. It is mostly a matter of conduct here and now upon the earth.

Its mystic side does not properly belong to it, and is foreign to, not to speak of its being practically ignored by, the average "Christian."

It is a religion designed to work hand in hand with a given state of society, making for the preservation of such laws and manners and customs as are best fitted to make that society a success here and now, a worldly success in the best sense of the term. Mohammedanism is a similar religion calculated for the needs of a different society.

Whatever the words or intentions of the founders of such religions, their kingdoms are essentially of this world. They are not mystic, or spiritual, or in anyway concerned with infinite and eternal things.

Their business is the moral policing of humanity. Morality, as of course its name implies, is a mere matter of custom, and therefore varies with the variations of races and climates. It has nothing to do with spirituality, and, in fact, the best morals are often the least spiritual, and _vice versa_. It will be understood then that any force which is apt to disturb this moral, or more exactly speaking social, order will meet at once with the opposition of organized "religions" so called, and the more spiritual it is, the greater will be the opposition, for it will thus be the more dangerous.

Now one begins to see why Beauty is necessarily the bugbear, more or less, of all religions, or, as I prefer to regard them, "organized moralities"; for Beauty is neither moral nor immoral, being as she is a purely spiritual force, with no relations to man's little schemes of being good and making money and being knighted and so forth. For those who have eyes to see, she is the supreme spiritual vision vouchsafed to us upon the earth--and, as that, she is necessarily the supreme danger to that materialistic use and wont by which alone a materialistic society remains possible. For this reason our young men and maidens--particularly our young men--must be guarded against her, for her beauty sets us adream, prevents our doing our day's work, makes us forget the soulless occupations in which we wither away our lives. The man who loves beauty will never be mayor of his city, or even sit on the Board of Aldermen. Nor is he likely to own a railroad, or be a captain of industry. Nor will he marry, for her money, a woman he does not love.

The face of beauty makes all such achievements seem small and absurd.

Such so-called successes seem to him the dreariest forms of failure. In short, Beauty has made him divinely discontented with the limited human world about him, divinely incapable of taking it seriously, or heeding its standards or conditions. No wonder society should look upon Beauty as dangerous, for she is constantly upsetting its equilibrium and playing havoc with its smooth schemes and smug conventions. She outrages the "proprieties" with "the innocence of nature," and disintegrates "select" and "exclusive" circles with the wand of Romance. For earthly possessions or rewards she has no heed. For her they are meaningless things, mere idle dust and withered leaves. Her only real estate is in the moon, and the one article of her simple creed--"Love is enough."

Love is enough: though the world be a-waning And the woods have no voice but the voice of complaining, Though the sky be too dark for dim eyes to discover The gold-cups and daisies fair blooming thereunder, Though the hills beheld shadows, and the sea a dark wonder And this day draw a veil over all deeds pa.s.sed over, Yet their hands shall not tremble, their feet shall not falter; The void shall not weary, the fear shall not alter These lips and these eyes of the loved and the lover.

Those who have looked into her eyes see limitless horizons undreamed of by those who know her not, horizons summoning the soul to radiant adventures beyond the bounds of s.p.a.ce and Time. The world is so far right in regarding beauty with a sort of superst.i.tious dread, as a presence almost uncanny among our mere mortal concerns, a daemonic thing,--which is what the world has meant when it has, not unnaturally, confused it with the spirits of evil; for surely it is a supernatural stranger in our midst, a fairy element, and, like the lorelei and the lamia, it does beckon its votaries to enchanted realms away and afar from "all the uses of the world." Therefore, to them also it brings the thrill of a different and n.o.bler fear--the thrill of the mortal in presence of the immortal. A strange feeling of destiny seems to come over us as we first look into the beautiful face we were born to love.

It seems veritably an apparition from another and lovelier world, to which it summons us to go with it. That is what we mean when we say that Love and Death are one; for Death, to the thought of Love, is but one of the gates to that other world, a gate to which we instinctively feel Love has the key. That surely is the meaning of the old fairy-stories of men who have come upon the white woman in the woodland, and followed her, never to be seen again of their fellows, or of those who, like Hylas, have met the water-nymph by the lilied spring, and sunk with her down into the crystal deeps. The strange earth on which we live is just such a place of enchantment, neither more nor less, and some of us have met that fair face, with a strange suddenness of joy and fear, and followed and followed it on till it vanished beyond the limits of the world. But our failure was that we did not follow that last white beckoning of the hand--

And I awoke and found me here On the cold hill's side.

VIII

THE MANY FACES--THE ONE DREAM

Among the many advantages of being very young is one's absolute certainty that there is only one type of beautiful girl in the world.

That type we make a religion. We are its pugnacious champions, and the idea of our falling in love with any other is too preposterous even for discussion. If our tastes happen to be for blondness, brunettes simply do not exist for us; and if we affect the slim and willowy in figure, our contempt for the plump and rounded is too sincere for expression.

Usually the type we choose is one whose beauty is somewhat esoteric to other eyes. We are well aware that photographs do it no justice, and that the man in the street--who, strangely enough, we conceive as having no eye for beauty--can see nothing in it. Thank Heaven, she is not the type that any common eye can see. Heads are not turned in her wake as she pa.s.ses along. Her beauty is not "obvious." On the contrary, it is of that rare and exquisite quality which only a few favoured ones can apprehend--like the beauty of a Whistler or a Corot, and we have been chosen to be its high-priest and evangelist. It is our secret, this beautiful face that we love, and we wonder how any one can be found to love the other faces. We even pity them, those rosy, rounded faces, with their bright unmysterious eyes and straight noses and dimpled chins. How fortunate for them that the secret of the beauty we love has been hidden from their lovers. Sheer Bouguereau! Neither more nor less.

In fact, the beauty we affect is aggressively spiritual, and in so far as beauty is demonstrably physical we dismiss it with disdain. Our ideal, indeed, might be said to consist in a beauty which is beautiful in spite of the body rather than by means of it; a beauty defiantly clothed, so to say, in the dowdiest of fleshly garments--radiantly independent of such carnal conditions as features or complexion. Our ideal of figure might be said to be negative rather than positive, and that "little sister" mentioned in Solomon's Song would bring us no disappointment.

We are often heard to say that beauty consists chiefly, if not entirely, in expression, that it is a transfiguration from within rather than a gracious condition of the surface, that the shape of a nose is no matter, and that a beautifully rounded chin or a fine throat has nothing to do with it--indeed, is rather in the way than otherwise. We point to the fact--which is true enough--that the most famous beauties of antiquity were plain women--plain, that is, according to the conventional standards.

We also maintain--again with perfect truth--that mystery is more than half of beauty, the element of strangeness that stirs the senses through the imagination. These and other perfectly true truths about beauty we discover through our devotion to the one face that we love--and we should hardly have discovered them had we begun with the merely cherry-ripe. It is with faces much as it is with books. There is no way of attaining a vital catholic taste in literature so good as to begin by mastering some difficult beautiful cla.s.sic, by devoting ourselves in the ardent receptive period of youth to one or two masterpieces which will serve as touchstones for us in all our subsequent reading. Some books engage all our faculties for their appreciation, and through the keen attentiveness we are compelled to give them we make personal discovery of those principles and qualities of all fine literature which otherwise we might never have apprehended, or in which, at all events, we should have been less securely grounded.

So with faces: it is through the absorbed wors.h.i.+p, the jealous study, of one face that we best learn to see the beauty in all the other faces--though the mere thought that our apprehension of its beauty could ever lead us to so infidel a conclusion would seem heresy indeed during the period of our dedication. The subtler the type, the more caviare it is to the general, the more we learn from it. We become in a sense discoverers, original thinkers, of beauty, taking nothing on authority, but making trial and investigation always for ourselves. Such beauty brings us nearer than the more explicit types to that mysterious threshold over which beauty steps down to earth and dwells among us; that well-spring of its wonder; the point where first its s.h.i.+ning essence pours its radiance into the earthly vessel.

The perfect physical type hides no little of its own miracle through its sheer perfection, as in the case of those masterpieces which, as we say, conceal their art. It is often through the face externally less perfect, faces, so to say, in process of becoming beautiful, that we get glimpses of the interior light in its divine operation. We seem to look into the very alembic of beauty, and see all the precious elements in the act of combination. No wonder we should deem these faces the most beautiful of all, for through them we see, not beauty made flesh, but beauty while it is still spirit. In our eager fanaticism, indeed, we cannot conceive that there can be beauty in any other types as well. Yet, because we chance to have fallen under the spell of Botticelli, shall there be no more t.i.tian? Our taste is for a beauty of dim silver and faded stars, a wistful twilight beauty made of sorrow and dreams, a beauty always half in the shadow, a white flower in the moonlight. We cannot conceive how beauty, for others, can be a thing of the hot sun, a thing of purple and orange and the hot sun, a thing of firm outlines, superbly concrete, marmoreal, sumptuous, magnificently animal.

The beauty we love is very silent. It smiles softly to itself, but never speaks. How should we understand a beauty that is vociferously gay, a beauty of dash and dance, a beauty of swift and brilliant ways, victoriously alive?

Perhaps it were well for us that we should never understand, well for us that we should preserve our singleness of taste through life. Some contrive to do this, and never as long as they live are unfaithful to the angel-blue eyes of their boyish love. Moralists have perhaps not realized how much continence is due to a narrowness of aesthetic taste.

Obviously the man who sees beauty only in blue eyes is securer from temptation than the man who can see beauty in brown or green eyes as well; and how perilous is his state for whom danger lurks in all beautiful eyes, irrespective of shape, size, or colour! And, alas! it is to this state of eclecticism that most of us are led step by step by the Mephistopheles of experience.

As great politicians in their maturity are usually found in the exact opposite party to that which they espoused in their youth, so men who loved blondness in boyhood are almost certain to be found at the feet of the raven-haired in their middle age, and _vice versa_. The change is but a part of that general change which overtakes us with the years, subst.i.tuting in us a catholic appreciation of the world as it is for idealist notions of the world as we see it, or desire it to be. It is a part of that gradual abdication of the ego which comes of the slow realization that other people are quite as interesting as ourselves--in fact, a little more so,--and their tastes and ways of looking at things may be worth pondering, after all. But, O when we have arrived at this stage, what a bewildering world of seductive new impressions spreads for us its mult.i.tudinous snares! No longer mere individuals, we have not merely an individual's temptations to guard against, but the temptations of all the world. Instead of being able to see only that one type of beauty which first appealed to us, our eyes have become so instructed that we now see the beauty of all the other types as well; and we no longer scorn as Philistine the taste of the man in the street for the beauty that is robustly vital and flamboyantly contoured. Once we called it obvious. Now we say it is "barbaric," and call attention to its perfection of type.

The remembrance of our former injustice to it may even awaken a certain tenderness towards it in our hearts, and soon we find ourselves making love to it, partly from a vague desire to make reparation to a slighted type, and partly from the experimental pleasure of loving a beauty the attraction of which it was once impossible for us to imagine. So we feel when the charm of some old master, hitherto unsympathetic, is suddenly revealed to us. Ah! it was this they saw. How blind they must have thought us!

Brown eyes that I love, will you forgive me that I once looked into blue eyes as I am looking now into yours? Hair black as Erebus, will you forgive these hands that once loved to bathe in a brook of rippled gold?

Ah! they did not know. It was in ignorance they sinned. They did not know.

O my beautiful cypress, stately queen of the garden of the world, forgive me that once I gave to the little shrub-like women the wors.h.i.+p that is rightly yours!

Lady, whose loveliness is like white velvet, a vineyard heavy with golden grapes, abundant as an orchard of apple blossoms, forgive that once I loved the shadow women, the sad wreathing mists of beauty, the silvery uncorseted phantoms of womanhood. It was in ignorance I sinned.

I did not know.

Ah! That Mephistopheles of experience! How he has led us from one fair face to another, teaching us, one by one, the beauty of all. No longer lonely sectarians of beauty, pale prophets of one lovely face, there is now no type whose secret is hidden from us. The world has become a garden of beautiful faces. The flowers are different, but they are all beautiful. How is it possible for us, now that we know the charm of each one, to be indifferent to any, or to set the beauty of one above the other? We have learned the beauty of the orchid, but surely we have not unlearned the rose; and would you say that orchid or rose is more beautiful than the lily? Surely not. They are differently beautiful, that is all.

Are blue eyes more beautiful than brown? I thought so once, but now I see that they are differently beautiful, that is all. Nor is gold hair more beautiful than black any more, or black than gold. They are differently beautiful, that is all. Nor is thy white skin, O Saxon lady, more beautiful than hers of tropic bronze.

Come sad, or come with laughter, beautiful faces; come like stars in dreams, or come vivid as fruit upon the bough; come softly like a timid fawn, or terrible as an army with banners; come silent, come singing ...

you are all beautiful, and none is fairer than another--only differently fair.

And yet ... and yet ... Experience is indeed Mephistopheles in this: We must pay him for all this wisdom. Is it the old price? Is it our souls?

I wonder.

This at least is true: that, while indeed he has opened our eyes to all this beauty that was hidden to us, shown us beauty, indeed, where we could see but evil before, we miss something from our delight in these faces. We can appreciate more beauty, but do we appreciate any quite as much as in those old days when we were such pa.s.sionate monotheists of the beautiful? Alas! We are priests no more, are we even lovers? But we are wonderful connoisseurs.

It is our souls.

IX

THE SNOWS OF YESTER-YEAR

_Mais ou sont les neiges d'antan?_ As I transcribe once more that ancient sigh, perhaps the most real sigh in all literature, it is high mid-summer, and the woodland surrounding the little cabin in which I am writing lies in a trance of green and gold, hot and fragrant and dizzy with the whirring of cicadas, under the might of the July sun. Bees buzz in and out through my door, and sometimes a b.u.t.terfly flits in, flutters a while about my bookshelves, and presently is gone again, in search of sweets more to his taste than those of the muses, though Catullus is there, with

Songs sweeter than wild honey dripping down, Which once in Rome to Lesbia he sang.

As I am caught by the dream-drowsy spell of the hot murmuring afternoon, and my eyes rest on the thick vines cl.u.s.tering over the rocks, and the lush gra.s.ses and innumerable underbrush, so spendthrift in their crowding luxuriance, I try to imagine the ground as it was but four months ago still in the grasp of winter, when the tiniest blade of gra.s.s, or smallest speck of creeping green leaf, seemed like a miracle, and it was impossible to realize that under the broad snowdrifts a million seeds, like hidden treasure, were waiting to reveal their painted jewels to the April winds. Snow was plentiful then, to be had by the ton--but now, the thought suddenly strikes me, and brings home with new illuminating force Villon's old refrain, that though I sought the woodland from end to end, ransacked its most secret places, not one vestige of that snow, so lately here in such plenty, would it be possible to find. Though you were to offer me a million dollars for as much as would fill the cup of a wild rose, say even a hundred million, I should have to see all that money pa.s.s me by. I can think of hardly anything that it couldn't buy--but such a simple thing as last year's snow!

Could there be a more poignant symbol of irreclaimable vanished things than that so happily hit on by the old ballade-maker:

Nay, never ask this week, fair lord, Where they are gone, nor yet this year, Save with thus much for an overword-- But where are the snows of yester-year?

Villon, as we know, has a melancholy fondness for asking these sad, hopeless questions of snow and wind. He muses not only of the drift of fair faces, but of the pa.s.sing of mighty princes and all the arrogant pride and pomp of the earth--"pursuivants, trumpeters, heralds, hey!"

"Ah! where is the doughty Charlemagne?" They, even as the humblest, "the wind has carried them all away." They have vanished utterly as the snow, gone--who knows where?--on the wind. "'Dead and gone'--a sorry burden of the Ballad of Life," as Thomas Lowell Beddoes has it in his _Death's Jest Book_. "Dead and gone!" as Andrew Lang re-echoes in a sweetly mournful ballade:

Through the mad world's scene We are drifting on, To this tune, I ween, "They are dead and gone!"

"Nought so sweet as melancholy," sings an old poet, and, while the melancholy of the exercise is undoubted, there is at the same time an undeniable charm attaching to those moods of imaginative retrospect in which we summon up shapes and happenings of the vanished past, a tragic charm indeed similar to that we experience in mournful music or elegiac poetry.