Kitabı oku: «The Roadmender», sayfa 4

II

February is here, February fill-dyke; the month of purification, of cleansing rains and pulsing bounding streams, and white mist clinging insistent to field and hedgerow so that when her veil is withdrawn greenness may make us glad.

The river has been uniformly grey of late, with no wind to ruffle its surface or to speed the barges dropping slowly and sullenly down with the tide through a blurring haze. I watched one yesterday, its useless sails half-furled and no sign of life save the man at the helm. It drifted stealthily past, and a little behind, flying low, came a solitary seagull, grey as the river's haze – a following bird.

Once again I lay on my back in the bottom of the tarry old fishing smack, blue sky above and no sound but the knock, knock of the waves, and the thud and curl of falling foam as the old boat's blunt nose breasted the coming sea. Then Daddy Whiddon spoke.

"A follerin' bürrd," he said.

I got up, and looked across the blue field we were ploughing into white furrows. Far away a tiny sail scarred the great solitude, and astern came a gull flying slowly close to the water's breast.

Daddy Whiddon waved his pipe towards it.

"A follerin' bürrd," he said, again; and again I waited; questions were not grateful to him.

"There be a carpse there, sure enough, a carpse driftin' and shiftin' on the floor of the sea. There be those as can't rest, poor sawls, and her'll be mun, her'll be mun, and the sperrit of her is with the bürrd."

The clumsy boom swung across as we changed our course, and the water ran from us in smooth reaches on either side: the bird flew steadily on.

"What will the spirit do?" I said.

The old man looked at me gravely.

"Her'll rest in the Lard's time, in the Lard's gude time – but now her'll just be follerin' on with the bürrd."

The gull was flying close to us now, and a cold wind swept the sunny sea. I shivered: Daddy looked at me curiously.

"There be reason enough to be cawld if us did but knaw it, but I be mos' used to 'em, poor sawls." He shaded his keen old blue eyes, and looked away across the water. His face kindled. "There be a skule comin', and by my sawl 'tis mackerel they be drivin'."

I watched eagerly, and saw the dark line rise and fall in the trough of the sea, and, away behind, the stir and rush of tumbling porpoises as they chased their prey.

Again we changed our tack, and each taking an oar, pulled lustily for the beach.

"Please God her'll break inshore," said Daddy Whiddon; and he shouted the news at the idle men waiting who hailed us.

In a moment all was stir, for the fishing had been slack. Two boats put out with the lithe brown seine. The dark line had turned, but the school was still behind, churning the water in clumsy haste; they were coming in.

Then the brit broke in silvery leaping waves on the shelving beach. The three-fold hunt was over; the porpoises turned out to sea in search of fresh quarry; and the seine, dragged by ready hands, came slowly, stubbornly in with its quivering treasure of fish. They had sought a haven and found none; the brit lay dying in the flickering iridescent heaps as the bare-legged babies of the village gathered them up; and far away over the water I saw a single grey speck; it was the following bird.

The curtain of river haze falls back; barge and bird are alike gone, and the lamplighter has lit the first gas-lamp on the far side of the bridge. Every night I watch him come, his progress marked by the great yellow eyes that wake the dark. Sometimes he walks quickly; sometimes he loiters on the bridge to chat, or stare at the dark water; but he always comes, leaving his watchful deterrent train behind him to police the night.

Once Demeter in the black anguish of her desolation searched for lost Persephone by the light of Hecate's torch; and searching all in vain, spurned beneath her empty feet an earth barren of her smile; froze with set brows the merry brooks and streams; and smote forest, and plain, and fruitful field, with the breath of her last despair, until even Iambe's laughing jest was still. And then when the desolation was complete, across the wasted valley where the starveling cattle scarcely longed to browse, came the dreadful chariot – and Persephone. The day of the prisoner of Hades had dawned; and as the sun flamed slowly up to light her thwarted eyes the world sprang into blossom at her feet.

We can never be too Pagan when we are truly Christian, and the old myths are eternal truths held fast in the Church's net. Prometheus fetched fire from Heaven, to be slain forever in the fetching; and lo, a Greater than Prometheus came to fire the cresset of the Cross. Demeter waits now patiently enough. Persephone waits, too, in the faith of the sun she cannot see: and every lamp lit carries on the crusade which has for its goal a sunless, moonless, city whose light is the Light of the world.

 
"Lume è lassù, che visibile face
lo creatore a quella creatura,
che solo in lui vedere ha la sua pace."
 

Immediately outside my window is a lime tree – a little black skeleton of abundant branches – in which sparrows congregate to chirp and bicker. Farther away I have a glimpse of graceful planes, children of moonlight and mist; their dainty robes, still more or less unsullied, gleam ghostly in the gaslight athwart the dark. They make a brave show even in winter with their feathery branches and swinging tassels, whereas my little tree stands stark and uncompromising, with its horde of sooty sparrows cockney to the last tail feather, and a pathetic inability to look anything but black. Rain comes with strong caressing fingers, and the branches seem no whit the cleaner for her care; but then their glistening blackness mirrors back the succeeding sunlight, as a muddy pavement will sometimes lap our feet in a sea of gold. The little wet sparrows are for the moment equally transformed, for the sun turns their dun-coloured coats to a ruddy bronze, and cries Chrysostom as it kisses each shiny beak. They are dumb Chrysostoms; but they preach a golden gospel, for the sparrows are to London what the rainbow was to eight saved souls out of a waste of waters – a perpetual sign of the remembering mercies of God.

Last night there was a sudden clatter of hoofs, a shout, and then silence. A runaway cab-horse, a dark night, a wide crossing, and a heavy burden: so death came to a poor woman. People from the house went out to help; and I heard of her, the centre of an unknowing curious crowd, as she lay bonnetless in the mud of the road, her head on the kerb. A rude but painless death: the misery lay in her life; for this woman – worn, white-haired, and wrinkled – had but fifty years to set against such a condition. The policeman reported her respectable, hard-working, living apart from her husband with a sister; but although they shared rooms, they "did not speak," and the sister refused all responsibility; so the parish buried the dead woman, and thus ended an uneventful tragedy.

Was it her own fault? If so, the greater pathos. The lonely souls that hold out timid hands to an unheeding world have their meed of interior comfort even here, while the sons of consolation wait on the threshold for their footfall: but God help the soul that bars its own door! It is kicking against the pricks of Divine ordinance, the ordinance of a triune God; whether it be the dweller in crowded street or tenement who is proud to say, "I keep myself to myself," or Seneca writing in pitiful complacency, "Whenever I have gone among men, I have returned home less of a man." Whatever the next world holds in store, we are bidden in this to seek and serve God in our fellow-men, and in the creatures of His making whom He calls by name.

It was once my privilege to know an old organ-grinder named Gawdine. He was a hard swearer, a hard drinker, a hard liver, and he fortified himself body and soul against the world: he even drank alone, which is an evil sign.

One day to Gawdine sober came a little dirty child, who clung to his empty trouser leg – he had lost a limb years before – with a persistent unintelligible request. He shook the little chap off with a blow and a curse; and the child was trotting dismally away, when it suddenly turned, ran back, and held up a dirty face for a kiss.

Two days later Gawdine fell under a passing dray which inflicted terrible internal injuries on him. They patched him up in hospital, and he went back to his organ-grinding, taking with him two friends – a pain which fell suddenly upon him to rack and rend with an anguish of crucifixion, and the memory of a child's upturned face. Outwardly he was the same save that he changed the tunes of his organ, out of long-hoarded savings, for the jigs and reels which children hold dear, and stood patiently playing them in child-crowded alleys, where pennies are not as plentiful as elsewhere.

He continued to drink; it did not come within his new code to stop, since he could "carry his liquor well"; but he rarely, if ever, swore. He told me this tale through the throes of his anguish as he lay crouched on a mattress on the floor; and as the grip of the pain took him he tore and bit at his hands until they were maimed and bleeding, to keep the ready curses off his lips.

He told the story, but he gave no reason, offered no explanation: he has been dead now many a year, and thus would I write his epitaph: —

He saw the face of a little child and looked on God.

III

"Two began, in a low voice, 'Why, the fact is, you see, Miss, this here ought to have been a red rose-tree, and we put a white one in by mistake.'"

As I look round this room I feel sure Two, and Five, and Seven, have all been at work on it, and made no mistakes, for round the walls runs a frieze of squat standard rose-trees, red as red can be, and just like those that Alice saw in the Queen's garden. In between them are Chaucer's name-children, prim little daisies, peering wideawake from green grass. This same grass has a history which I have heard. In the original stencil for the frieze it was purely conventional like the rest, and met in spikey curves round each tree; the painter, however, who was doing the work, was a lover of the fields; and feeling that such grass was a travesty, he added on his own account dainty little tussocks, and softened the hard line into a tufted carpet, the grass growing irregularly, bent at will by the wind.

The result from the standpoint of conventional art is indeed disastrous; but my sympathy and gratitude are with the painter. I see, as he saw, the far-reaching robe of living ineffable green, of whose brilliance the eye never has too much, and in whose weft no two threads are alike; and shrink as he did from the conventionalising of that wind-swept glory.

The sea has its crested waves of recognisable form; the river its eddy and swirl and separate vortices; but the grass! The wind bloweth where it listeth and the grass bows as the wind blows – "thou canst not tell whither it goeth." It takes no pattern, it obeys no recognised law; it is like a beautiful creature of a thousand wayward moods, and its voice is like nothing else in the wide world. It bids you rest and bury your tired face in the green coolness, and breathe of its breath and of the breath of the good earth from which man was taken and to which he will one day return. Then, if you lend your ear and are silent minded, you may hear wondrous things of the deep places of the earth; of life in mineral and stone as well as in pulsing sap; of a green world as the stars saw it before man trod it under foot – of the emerald which has its place with the rest in the City of God.

 
"What if earth
Be but the shadow of heaven, and things therein,
Each to each other like, more than on earth is thought?"
 

It is a natural part of civilisation's lust of re-arrangement that we should be so ready to conventionalise the beauty of this world into decorative patterns for our pilgrim tents. It is a phase, and will melt into other phases; but it tends to the increase of artificiality, and exists not only in art but in everything. It is no new thing for jaded sentiment to crave the spur of the unnatural, to prefer the clever imitation, to live in a Devachan where the surroundings appear that which we would have them to be; but it is an interesting record of the pulse of the present day that 'An Englishwoman's Love Letters' should have taken society by storm in the way it certainly has.

It is a delightful book to leave about, with its vellum binding, dainty ribbons, and the hallmark of a great publisher's name. But when we seek within we find love with its thousand voices and wayward moods, its shy graces and seemly reticences, love which has its throne and robe of state as well as the garment of the beggar maid, love which is before time was, which knew the world when the stars took up their courses, presented to us in gushing outpourings, the appropriate language of a woman's heart to the boor she delights to honour.

"It is woman who is the glory of man," says the author of 'The House of Wisdom and Love,' "Regina mundi, greater, because so far the less; and man is her head, but only as he serves his queen." Set this sober aphorism against the school girl love-making which kisses a man's feet and gaily refuses him the barren honour of having loved her first.

There is scant need for the apologia which precedes the letters; a few pages dispels the fear that we are prying into another's soul. As for the authorship, there is a woman's influence, an artist's poorly concealed bias in the foreign letters; and for the rest a man's blunders – so much easier to see in another than to avoid oneself – writ large from cover to cover. King Cophetua, who sends his "profoundly grateful remembrances," has most surely written the letters he would wish to receive.

"Mrs Meynell!" cries one reviewer, triumphantly. Nay, the saints be good to us, what has Mrs Meynell in common with the "Englishwoman's" language, style, or most unconvincing passion? Men can write as from a woman's heart when they are minded to do so in desperate earnestness – there is Clarissa Harlowe and Stevenson's Kirstie, and many more to prove it; but when a man writes as the author of the "Love Letters" writes, I feel, as did the painter of the frieze, that pattern-making has gone too far and included that which, like the grass, should be spared such a convention.

"I quite agree with you," said the Duchess, "and the moral of that is – 'Be what you would seem to be' – or, if you'd like to put it more simply – 'never imagine yourself not to be otherwise than what it might appear to others that what you were or might have been was not otherwise than what you had been would have appeared to them to be otherwise.'" And so by way of the Queen's garden I come back to my room again.

My heart's affections are still centred on my old attic, with boarded floor and whitewashed walls, where the sun blazoned a frieze of red and gold until he travelled too far towards the north, the moon streamed in to paint the trees in inky wavering shadows, and the stars flashed their glory to me across the years. But now sun and moon greet me only indirectly: and under the red roses hang pictures, some of them the dear companions of my days. Opposite me is the Arundel print of the Presentation, painted by the gentle "Brother of the Angels." Priest Simeon, a stately figure in green and gold, great with prophecy, gazes adoringly at the Bambino he holds with fatherly care. Our Lady, in robe of red and veil of shadowed purple, is instinct with light despite the sombre colouring, as she stretches out hungering, awe-struck hands for her soul's delight. St Joseph, dignified guardian and servitor, stands behind, holding the Sacrifice of the Poor to redeem the First-begotten.

St Peter Martyr and the Dominican nun, gazing in rapt contemplation at the scene, are not one whit surprised to find themselves in the presence of eternal mysteries. In the Entombment, which hangs on the opposite wall, St Dominic comes round the corner full of grievous amaze and tenderest sympathy, but with no sense of shock or intrusion, for was he not "famigliar di Cristo"? And so he takes it all in; the stone bed empty and waiting; the Beloved cradled for the last time on His mother's knees to be washed, lapped round, and laid to rest as if He were again the Babe of Bethlehem. He sees the Magdalen anointing the Sacred Feet; Blessed John caring for the living and the Dead; and he, Dominic – hound of the Lord – having his real, living share in the anguish and hope, the bedding of the dearest Dead, who did but leave this earth that He might manifest Himself more completely.

Underneath, with a leap across the centuries, is Rossetti's picture; Dante this time the onlooker, Beatrice, in her pale beauty, the death-kissed one. The same idea under different representations; the one conceived in childlike simplicity, the other recalling, even in the photograph, its wealth of colour and imagining; the one a world-wide ideal, the other an individual expression of it.

Beatrice was to Dante the inclusion of belief. She was more to him than he himself knew, far more to him after her death than before. And, therefore, the analogy between the pictures has at core a common reality. "It is expedient for you that I go away," is constantly being said to us as we cling earthlike to the outward expression, rather than to the inward manifestation – and blessed are those who hear and understand, for it is spoken only to such as have been with Him from the beginning. The eternal mysteries come into time for us individually under widely differing forms. The tiny child mothers its doll, croons to it, spends herself upon it, why she cannot tell you; and we who are here in our extreme youth, never to be men and women grown in this world, nurse our ideal, exchange it, refashion it, call it by many names; and at last in here or hereafter we find in its naked truth the Child in the manger, even as the Wise Men found Him when they came from the East to seek a great King. There is but one necessary condition of this finding; we must follow the particular manifestation of light given us, never resting until it rests – over the place of the Child. And there is but one insurmountable hindrance, the extinction of or drawing back from the light truly apprehended by us. We forget this, and judge other men by the light of our own soul.

I think the old bishop must have understood it. He is my friend of friends as he lies opposite my window in his alabaster sleep, clad in pontifical robes, with unshod feet, a little island of white peace in a many-coloured marble sea. The faithful sculptor has given every line and wrinkle, the heavy eyelids and sunken face of tired old age, but withal the smile of a contented child.

I do not even know my bishop's name, only that the work is of the thirteenth century; but he is good to company with through the day, for he has known darkness and light and the minds of many men; most surely, too, he has known that God fulfils Himself in strange ways, so with the shadow of his feet upon the polished floor he rests in peace.