Wisdom, Wit, and Pathos of Ouida Part 49

Wild bird of sea and cloud, you are a stormy petrel, but there may come a storm too many--and I am old. I have done my best, but that is little.

If you were a lad one would not be so uneasy. I suppose the good G.o.d knows best--if one could be sure of that--I am a hard working woman, and I have done no great sin that I know of, but up in heaven they never take any thought of me. When I was young, I asked them at my marriage altar to help me, and when my boys were born, I did the same, but they never noticed; my man was drowned, and my beautiful boys got the fever and sickened one by one and died: that was all I got. Priests say it is best; priests are not mothers.

"They were greater than the men that live now," she said with a solemn tenderness,

"Perhaps; Why think so?"

"Because they were not afraid of their dead; they built them beautiful houses, and gave them beautiful things. Now, men are afraid or ashamed, or they have no remembrance. Their dead are huddled away in dust or mud as though they were hateful or sinful. That is what I think so cowardly, so thankless. If they will not bear the sight of death, it were better to let great s.h.i.+ps go slowly out, far out to sea, and give the waves their lost ones."

_MOTHS._

When gardeners plant and graft, they know very well what will be the issue of their work; they do not expect the rose from a bulb of garlic, or look for the fragrant olive from a slip of briar; but the culturers of human nature are less wise, and they sow poison, yet rave in reproaches when it breeds and brings forth its like. "The rosebud garden of girls" is a favourite theme for poets, and the maiden in her likeness to a half-opened blossom, is as near purity and sweetness as a human creature can be, yet what does the world do with its opening buds?--it thrusts them in the forcing-house amidst the ordure, and then, if they perish prematurely, never blames itself. The streets absorb the girls of the poor; society absorbs the daughters of the rich; and not seldom one form of prost.i.tution, like the other, keeps its captives "bound in the dungeon of their own corruption."

The frivolous are always frightened at any strength or depth of nature, or any glimpse of sheer despair.

Not to be consoled!

What can seem more strange to the shallow? What can seem more obstinate to the weak? Not to be consoled is to offend all swiftly forgetting humanity, most of whose memories are writ on water.

It is harder to keep true to high laws and pure instincts in modern society than it was in days of martyrdom. There is nothing in the whole range of life so dispiriting and so unnerving as a monotony of indifference. Active persecution and fierce chastis.e.m.e.nt are tonics to the nerves; but the mere weary conviction that no one cares, that no one notices, that there is no humanity that honours, and no deity that pities, is more destructive of all higher effort than any conflict with tyranny or with barbarism.

Yet as he thought, so he did not realise that he would ever cease to be in the world--who does? Life was still young in him, was prodigal to him of good gifts; of enmity he only knew so much as made his triumph finer, and of love he had more than enough. His life was full--at times laborious--but always poetical and always victorious. He could not realise that the day of darkness would ever come for him, when neither woman nor man would delight him, when no roses would have fragrance for him, and no song any spell to rouse him. Genius gives immortality in another way than in the vulgar one of being praised by others after death; it gives elasticity, unwearied sympathy, and that sense of some essence stronger than death, of some spirit higher than the tomb, which nothing can destroy. It is in this sense that genius walks with the immortals.

A cruel story runs on wheels, and every hand oils the wheels as they run.

You may weep your eyes blind, you may shout your throat dry, you may deafen the ears of your world for half a lifetime, and you may never get a truth believed in, never have a simple fact accredited. But the lie flies like the swallow, multiplies itself like the caterpillar, is accepted everywhere, like the visits of a king; it is a royal guest for whom the gates fly open, the red carpet is unrolled, the trumpets sound, the crowds applaud.

She lived, like all women of her stamp and her epoch, in an atmosphere of sugared sophisms; she never reflected, she never admitted, that she did wrong; in her world nothing mattered much, unless, indeed, it were found out, and got into the public mouth.

s.h.i.+fting as the sands, shallow as the rain-pools, drifting in all danger to a lie, incapable of loyalty, insatiably curious, still as a friend and ill as a foe, kissing like Judas, denying like Peter, impure of thought, even where by physical bias or political prudence still pure in act, the woman of modern society is too often at once the feeblest and the foulest outcome of a false civilisation. Useless as a b.u.t.terfly, corrupt as a canker, untrue to even lovers and friends because mentally incapable of comprehending what truth means, caring only for physical comfort and mental inclination, tired of living, but afraid of dying; believing some in priests, and some in physiologists, but none at all in virtue; sent to sleep by chloral, kept awake by strong waters and raw meat; bored at twenty, and exhausted at thirty, yet dying in the harness of pleasure rather than drop out of the race and live naturally; p.r.i.c.king their sated senses with the spur of l.u.s.t, and fancying it love; taking their pa.s.sions as they take absinthe before dinner; false in everything, from the swell of their breast to the curls at their throat;--beside them the guilty and tragic figures of old, the Medea, the Clytemnaestra, the Phaedra, look almost pure, seem almost n.o.ble.

When one thinks that they are the only shape of womanhood which comes hourly before so many men, one comprehends why the old Christianity which made womanhood sacred dies out day by day, and why the new Positivism, which would make her divine, can find no lasting root.

The faith of men can only live by the purity of women, and there is both impurity and feebleness at the core of the dolls of Worth, as the canker of the phylloxera works at the root of the vine.

"What an actress was lost in your mother!" he added with his rough laugh; but he confused the talent of the comedian of society with that of the comedian of the stage, and they are very dissimilar. The latter almost always forgets herself in her part; the former never.

The scorn of genius is the most arrogant and the most boundless of all scorn.

"The fame of the singer can never be but a breath, a sound through a reed. When our lips are once shut, there is on us for ever eternal silence. Who can remember a summer breeze when it has pa.s.sed by, or tell in any after-time how a laugh or a sigh sounded?"

"When the soldier dies at his post, unhonoured and unpitied, and out of sheer duty, is that unreal because it is n.o.ble?" he said one night to his companions. "When the sister of charity hides her youth and her s.e.x under a grey shroud, and gives up her whole life to woe and solitude, to sickness and pain, is that unreal because it is wonderful? A man paints a spluttering candle, a greasy cloth, a mouldy cheese, a pewter can; 'How real!' they cry. If he paint the spirituality of dawn, the light of the summer sea, the flame of arctic nights, of tropic woods, they are called unreal, though they exist no less than the candle and the cloth, the cheese and the can. Ruy Blas is now condemned as unreal because the lovers kill themselves; the realists forget that there are lovers still to whom that death would be possible, would be preferable, to low intrigue and yet more lowering falsehood. They can only see the mouldy cheese, they cannot see the sunrise glory. All that is heroic, all that is sublime, impersonal, or glorious, is derided as unreal. It is a dreary creed. It will make a dreary world. Is not my Venetian gla.s.s with its iridescent hues of opal as real every whit as your pot of pewter?

Yet the time is coming when every one, morally and mentally at least, will be allowed no other than a pewter pot to drink out of, under pain of being 'writ down an a.s.s'--or worse. It is a dreary prospect."

"Good? bad? If there were only good and bad in this world it would not matter so much," said Correze a little recklessly and at random. "Life would not be such a disheartening affair as it is. Unfortunately the majority of people are neither one nor the other, and have little inclination for either crime or virtue. It would be almost as absurd to condemn them as to admire them. They are like tracts of s.h.i.+fting sand, in which nothing good or bad can take root. To me they are more despairing to contemplate than the darkest depth of evil; out of that may come such hope as comes of redemption and remorse, but in the vast, frivolous, featureless ma.s.s of society there is no hope."

"No!" he said with some warmth: "I refuse to recognise the divinity of noise; I utterly deny the majesty of monster choruses; clamour and clangour are the death-knell of music as drapery and so-called realism (which means, if it mean aught, that the dress is more real than the form underneath it!) are the destruction of sculpture. It is very strange. Every day art in every other way becomes more natural and music more artificial. Every day I wake up expecting to hear myself _denigre_ and denounced as old-fas.h.i.+oned, because I sing as my nature as well as my training teaches me to do. It is very odd; there is such a cry for naturalism in other arts--we have Millet instead of Claude; we have Zola instead of Georges Sand; we have Dumas _fils_ instead of Corneille; we have Mercie instead of Canova; but in music we have precisely the reverse, and we have the elephantine creations, the elaborate and pompous combinations of Baireuth, and the Tone school, instead of the old sweet strains of melody that went straight and clear to the ear and the heart of man. Sometimes my enemies write in their journals that I sing as if I were a Tuscan peasant strolling through his corn--how proud they make me! But they do not mean to do so. I will not twist and emphasise. I trust to melody. I was taught music in its own country, and I will not sin against the canons of the Italians. They are right.

Rhetoric is one thing, and song is another. Why confuse the two?

Simplicity is the soul of great music; as it is the mark of great pa.s.sion. Ornament is out of place in melody which represents single emotions at their height, be they joy, or fear, or hate, or love, or shame, or vengeance, or whatsoever they will. Music is not a science any more than poetry is. It is a sublime instinct, like genius of all kinds.

I sing as naturally as other men speak; let me remain natural"----

Childhood goes with us like an echo always, a refrain to the ballad of our life. One always wants one's cradle-air.

"The poor you have always with you," she said to a bevy of great ladies once. "Christ said so. You profess to follow Christ. How have you the poor with you? The back of their garret, the roof of their hovel, touches the wall of your palace, and the wall is thick. You have dissipations, spectacles, diversions that you call charities; you have a tombola for a famine, you have a dramatic performance for a flood, you have a concert for a fire, you have a fancy fair for a leprosy. Do you never think how horrible it is, that mockery of woe? Do you ever wonder at revolutions? Why do you not say honestly that you care nothing? You do care nothing. The poor might forgive the avowal of indifference; they will never forgive the insult of affected pity."

"Why do you go to such a place?" he asked her as she stood on the staircase.

"There are poor there, and great misery," she answered him reluctantly; she did not care to speak of these things at any time.

"And what good will you do? You will be cheated and robbed, and even if you are not, you should know that political science has found that private charity is the hotbed of all idleness."

"When political science has advanced enough to prevent poverty, it may have the right to prevent charity too," she answered him, with a contempt that showed thought on the theme was not new to her. "Perhaps charity--I dislike the word--may do no good; but friends.h.i.+p from the rich to the poor must do good; it must lessen cla.s.s hatreds."