Where No Fear Was Part 4

In later life he became very pessimistic, and believed that the world was sinking fast into dull materialism, petty selfishness, and moral anarchy. He had less opportunity of knowing what was going on in the world than most people, in his sheltered and secluded life, with his court of friends and wors.h.i.+ppers. And indeed it was not a rational pessimism; it was but the shadow of his fear. And the fact remains that in spite of a life of great good fortune, and an undimmed supremacy of fame, he spent much of his time in fighting shadows, involved in clouds of darkness and dissatisfaction. That was no doubt the price he paid for his exquisite perception of beauty and his power of melodious expression. But we make a great mistake if we merely think of Tennyson as a rich and ample nature moving serenely through life. He was "black-blooded," he once said, adding, "like all the Tennysons."

Doubtless he had in his mind his father, a man often deeply in the grip of melancholy. And the absurd legend, invented probably by Rossetti, contains a truth in it and may be quoted here. Rossetti said that he once went to dine with a friend in London, and was shown into a dimly lit drawing-room with no one to receive him. He went towards the fireplace, and suddenly to his surprise discovered an immensely tall man in evening dress lying prostrate on the hearthrug, his face downwards, in an att.i.tude of p.r.o.ne despair. While he gazed, the stranger rose to his feet, looked fixedly at him, and said, "I must introduce myself; I am Octavius, the most morbid of the Tennysons."

With Ruskin we have a different case. He was brought up in the most secluded fas.h.i.+on, and though he was sharply enough disciplined into decorous behaviour by his very grim and positive mother, he was guarded like a precious jewel, and as he grew up he was endlessly petted and indulged. The Ruskins lived a very comfortable life in a big villa with ample grounds at Denmark Hill. Whatever the wonderful boy did was applauded and even dangerously encouraged, both in the way of drawing and of writing. Though he seems to have been often publicly snubbed by both his parents, it was more a family custom than anything else, and was accompanied by undisguised admiration and patent pride. They were his stupefied critics, when he read aloud his works in the family circle, and his father obediently produced large sums of money to gratify his brilliant son's artistic desire for the possession of Turner's paintings. Ruskin in his morbid moments, in later life, turned fiercely and unjustly against his fond and tender father. He accused him with an in temperate bitterness of having lavished everything upon him except the intelligent sympathy of which he stood in need, and his father's gentle and mournful apologies have an extraordinary beauty of puzzled and patient dignity about them.

When Ruskin went to Oxford, his mother went to reside there too, to look after her darling. One might have supposed that this would have involved Ruskin in ridicule, but he was petted and indulged by his fellow-undergraduates, who found his charm, his swift wit, his childlike waywardness, his freakish humour irresistible. Then he had a serious illness, and his first taste of misery; he was afraid of death, he hated the constraints of invalid life and the grim interruption to his boundless energies and plans. Then came his first great book, and he strode full-fledged into fame. His amazing attractiveness, his talk, which combined incisiveness and fancy and humour and fire and gentleness, made him a marked figure from the first. Moreover, he had the command of great wealth, yet no temptation to be idle. The tale of Ruskin's industry for the next fifty years is one that would be incredible if it were not true. His brief and dim experience of married life seems hardly to have affected him. As a critic of art and ethics, as the writer of facile magnificent sentences, full of beauty and rhythm, as the composer of word-structures, apparently logical in form but deeply prejudiced and inconsequent in thought, he became one of the great influences of the day, and wielded not only power but real domination. The widespread delusion of the English educated cla.s.ses, that they are interested in art, was of Ruskin's making. Then something very serious happened to him; a baffled pa.s.sion of extraordinary intensity, a perception of the realities of life, the consciousness that his public indulged and humoured him as his parents had done, and admired his artistic advice without paying the smallest heed to his ethical principles--all these experiences broke over him, wearied as he was with excessive strain, like a bitter wave. But his pessimism took the n.o.ble form of an intense concern with the blindness and impenetrability of the world at large. He made a theory of political economy, which, peremptory and prejudiced as it is, is yet built on large lines, and has been fruitful in suggestiveness. But he tasted discouragement and failure in deep draughts. His parents frankly expressed their bewildered disappointment, his public looked upon him as a perverse man who was throwing away a beautiful message for the sake of a crabbed whim; and he fell into a fierce depression, alternating between savage energy and listless despondency, which lasted for several years, till at last the overwrought brain and mind gave way; and for the rest of his life he was liable to recurrent attacks of insanity, which cleared off and left him normal again, or as normal as he ever had been. Wide and eager as Ruskin's tenderness was, one feels that his heart was never really engaged; he was always far away, in a solitude full of fear, out of the reach of affection, always solemnly and mournfully alone. Ruskin was never really allied with any other human soul; he knew most of the great men of the day; he baited Rossetti, he petted Carlyle; he had correspondents like Norton, to whom he poured out his overburdened heart; but he was always the spoiled and indulged child of his boyhood, infinitely winning, provoking, wilful.

He could not be helped, because he could never get away from himself; he could admire almost frenziedly, but he could not wors.h.i.+p; he could not keep himself from criticism even when he adored, and he had a bitter superiority of spirit, a terrible perception of the imperfections and faults of others, a real despair of humanity.

I do not know exactly what the terrors which Ruskin suffered were--very few people will tell the tale of the valley of hobgoblins, or probably cannot! In the Pilgrim's Progress itself, the unreality of the spirits of fear, their secrecy and leniency, is very firmly and wittily told.

They scream in their dens, sitting together, I have thought, like fowls in a roost. They come padding after the pilgrim, they show themselves obscurely, swollen by the mist at the corners of the road. They give the sense of being banded together in a numerous ambush, they can deceive eye and ear, and even nose with noisome stenches; but they cannot show themselves, and they cannot hurt. If they could be seen, they would be nothing but limp ungainly things that would rouse disdain and laughter and even pity, at anything at once so weak and so malevolent. But they are not like the demons of sin that can hamper and wound; they are just little gnomes and elves that can make a noise, and their strength is a spiteful and a puny thing.

Ruskin had no sordid or material fears; he had no fear of poverty, for he flung his father's hard-earned wealth profusely away; nor did he fear illness; indeed one of the bravest and most gallant things about him was the way in which he talked and wrote about his insane fits, described his haunted visions, told, half-ruefully, half-humorously, how he fought and struggled with his nurses, and made fun of the matter. That was a very courageous thing to do, because most people are ashamed of insanity, no doubt from the old sad ignorant tradition that it was the work of demoniacal agencies, and not a mere disease like other diseases. Half the tragedy of insanity is that it shocks people, and cannot be alluded to or spoken about; but one can take the sting out of almost any calamity if one can make fun of it, and this Ruskin did.

But he was wounded by his fears, as we most of us are, not only through his vanity but through his finest emotions. He felt his impotence and his failure. He had thought of his gift of language as one might think of a magic wand which one can wave, and thus compel duller spirits to do one's bidding. Ruskin began by thinking that there was not much amiss with the world except a sort of pathetic stupidity; and he thought that if only people could be told, clearly and loudly enough, what was right, they would do it gladly; and then it dawned upon him by slow degrees that the confusion was far deeper than that, that men mostly did not live in motives but in appet.i.tes. And so he fell into a sort of n.o.ble rage with the imperfection of mortal things; and one of the clearest signs, as he himself knew, that he was drifting into one of the mind-storms which swept across him, was that in these moods everything that people said or wrote had power to arouse his irritation, to interrupt his work, to break his sleep, and to show him that he was powerless indeed. What he feared was derision, and the good-natured indifferent stolidity that is worse than any derision, and the knowledge that, with all his powers and perceptions, his common-sense, which was great, and his sense of responsibility, he was treated by the world like a spoilt child, charming even in his wrath, who had full license to be as vehement as he liked, with the understanding that no one would act on his advice.

I often go to Brantwood, which is a sacred place indeed, and see with deep emotion the little rooms, with all their beautiful treasures, and all the great acc.u.mulations of that fierce industry of mind, and remember that in that peaceful background a man of exquisite genius fought with sinister shadows, and was worsted in the fight, for a time; because the last ten years of that long life were a time of serene waiting for death, a beguiling by little childish and homely occupations the heavy hours: he could uplift his voice no more, often could hardly frame an intelligible thought. But meanwhile his great message went on rippling out to the world, touching heart after heart into light and hope, and doing, insensibly and graciously, by the spirit, the very thing he had failed to do by might and power.

And then we come to Carlyle, and here we are on somewhat different ground. Carlyle had a colossal quarrel with the age, but he thought very little of the message of beauty and peace. His idea of the world was that of a stern combative place, with the one hope a strenuous and grim righteousness; Carlyle thought of the world as a place where cheats and liars cozened and beguiled men, for their own advantage, with all sorts of shams and pretences: but he did not really know the world; he put down to individual action and deliberate policy much that was due simply to the prevalence of tradition and system, and to the complexity of civilisation. He was so fierce an individualist himself that he credited everyone else with purpose and prejudice. He did not realise the vast preponderance of helpless good-nature and muddled kindliness. The mistake of much of Carlyle's work is that it is too poignantly dramatic, and bristles with intention and significance; and he did not allow sufficiently for the crowd of vague supers who throng the background of the stage. Neither did he ever go about the world with his eyes open for general facts. Wherever he was, he was intensely observant, but he spent his days either in a fierce absorption of work, blind even to the sorrow and discomfort of his wife, or taking rapid tours to store his mind with the details of historical scenes, or in the big houses of wealthy people, where he kept much to himself, stored up irresistibly absurd caricatures of the other guests, and lamented his own inaction. I have never been able to discover exactly why Carlyle spent so much time in staying at great houses, deriding and satirising everything he set eyes upon; it was, I believe, vaguely gratifying to him to have raised himself unaided into the highest social stratum; and the old man was after all a tremendous aristocrat at heart. Or else he skulked with infinite melancholy in his mother's house, being waited upon and humoured, and indulging his deep and true family affection. But he was a solitary man for the most part, and mixed with men, involved in a cloud of his own irresistibly fantastic and whimsical talk; for his real gift was half-humorous, half-melancholy improvisation rather than deliberate writing.

But it is difficult to discern in all this what his endless and plangent melancholy was concerned with. He had a very singular physical frame, immensely tough and wiry, with an imagination which emphasized and particularised every slight touch of bodily disorder. When he was at work, he toiled like a demon day after day, entirely and vehemently absorbed. When he was not at work he suffered from dreary reaction. He fought out in early days a severe moral combat, and found his way to a belief in G.o.d which was very different from his former Calvinism.

Carlyle can by no stretch of the word be called a Christian, but he was one of the most thoroughgoing Deists that ever lived. The terror that beset him in that first great conflict was a ghastly fear of his own insignificance, and a horrible suspicion that the world was made on fortuitous and indifferent lines. His dread was that of being worsted, in spite of all his eager sensibility and immense desire to do a n.o.ble work, of being crushed, silenced, thrown ruthlessly on the dust-heap of the world. He learned a fiery sort of Determinism, and a faith in the stubborn power of the will, not to achieve anything, but to achieve something.

Yet after this tremendous conflict, described in Sartor Resartus, where he found himself at bay with his back to the wall, he never had any ultimate doubt again of his own purpose. Still, it brought him no serenity; and I suppose there is no writer in the world whose letters and diaries are so full of cries of anguish and hopelessness. He was crushed under the sense of the world's immensity; his own observation was so microscopic, his desire to perceive and know so strong, his appet.i.te for definiteness so profound, that I feel that Carlyle's terror was like that of a mite in an enormous cheese, longing to explore it all, lost in the high-flavoured dusk, and conscious of a scale of mystery so vast that it humiliated a brain that wanted to know the truth about everything. In these sad hours--and they were numerous and protracted--he felt like a knight worn out by conflict, under a listless enchantment which he could not break. I know few confessions that are so filled with gleams of high poetry and beauty as many of these solitary lamentations. But I believe that the terrors that Carlyle had to face were the terrors of a swift, clear-sighted, feverishly active, intuitive brain, prevented by mortal weakness and frailty from dealing as he desired with the dazzling immensity and intricacy of the world's life and history.

I feel no real doubt of this, because Carlyle's pa.s.sion for accurate and minute knowledge, his intense interest in temperament and character, his almost unequalled power of observation--which is really the surest sign of genius--come out so clearly all through his life, that his finite limitations must have been of the nature of a torture to him. One who desired to know the truth about everything so vehemently, was crushed and bewildered by the narrow range and limited scope of his own insatiable thought. His power of expressing all that he saw and felt, so delicately, so humorously, and at times so tenderly, must have beguiled his sadness more than he knew. It was Ruskin who said that he could never fit the two sides of the puzzle together--on the one side the awful dejection and despondency which Carlyle always claimed to feel in the presence of his work, as a dredger in lakes of mud and as a sorter of mountains of rubbish, and on the other side the endless relish for salient traits, and the delighted apprehension of quality which emerges so clearly in all he wrote.

But it is clear that Carlyle suffered ceaselessly, though never unutterably. He was a matchless artist, with an unequalled gift of putting into vivid words everything he experienced; but his sadness was a disease of the imagination, a fear, not of anything definite--for he never even saw the anxieties that were nearest to him--but a nightmare dream of chaos and whirling forces all about him, a dread of slipping off his own very fairly comfortable perch into oceans of confusion and dismay.

XIII

CHARLOTTE BRONTE

I doubt if the records of intimate biography contain a finer object-lesson against fear and all its obsessions than the life of Charlotte Bronte. She was of a temperament which in many ways was more open to the a.s.saults of fear than any which could well be devised. She was frail and delicate, liable to acute nervous depression, intensely shy and sensitive, and susceptible as well; that is to say that her shyness did not isolate her from her kind; she wanted to be loved, respected, even admired. When she did love, she loved with fire and pa.s.sion and desperate loyalty.

Her life was from beginning to end full of sharp and tragic experiences. She was born and brought up in a bleak moorland village, climbing steeply and grimly to the edge of heathery uplands. The bare parsonage, with its little dark rooms, looks out on a churchyard paved with graves. Her father was a kindly man, but essentially moody and solitary. He took all his meals alone, walked alone, sate alone. Her mother died of cancer, when she was but a child. Then she was sent to an ill-managed austere school, and here when she was nine years old her two elder sisters died. She took service two or three times as a governess, and endured agonies of misunderstanding, suspicious of her employers, afraid of her pupils, longing for home with an intense yearning. Then she went out to a school at Brussels, where under the teaching of M. Heger, a gifted professor, her mind and heart awoke, and she formed for him a strange affection, half an intellectual devotion, half an unconscious pa.s.sion, which deprived her of her peace of mind.

Her sad and wistful letters to him, lately published, were disregarded by him, partly because his wife was undoubtedly jealous of the relation, partly because he was disconcerted by the emotion he had aroused. Her brother, a brilliant, wayward, and in some ways attractive boy, got into disgrace, and drifted home, where he tried to console himself with drink and opium. After three years of this horrible life, he died, and within twelve months her two surviving sisters, Emily and Anne, developed consumption and died. As Robert Browning says, there indeed was "trouble enough for one!"

Now it must be borne in mind that her temperament was naturally hypochondriacal.

Let me quote a pa.s.sage dealing with the same experience; it is undoubtedly autobiographical, though it comes from Villette, into which Charlotte Bronte threw the picture of her own solitary experiences in Brussels. She is left alone at the pensionnat in the vacation, strained by work and anxiety, and tortured by exhaustion, restlessness, and sleeplessness:--

"One day, perceiving this growing illusion, I said, 'I really believe my nerves are getting overstretched: my mind has suffered somewhat too much; a malady is growing upon it--what shall I do? How shall I keep well?'

"Indeed there was no way to keep well under the circ.u.mstances. At last a day and night of peculiarly agonising depression were succeeded by physical illness; I took perforce to my bed. About this time the Indian summer closed, and the equinoctial storms began; and for nine dark and wet days, of which the hours rushed on all turbulent, deaf, dishevelled--bewildered with sounding hurricane--I lay in a strange fever of the nerves and blood. Sleep went quite away. I used to rise in the night, look round for her, beseech her earnestly to return. A rattle of the window, a cry of the blast only replied--Sleep never came!

"I err. She came once, but in anger. Impatient of my importunity she brought with her an avenging dream. By the clock of St. Jean Baptiste, that dream remained scarce fifteen minutes--a brief s.p.a.ce, but sufficing to wring my whole frame with unknown anguish; to confer a nameless experience that had the hue, the mien, the terror, the very tone of a visitation from eternity. Between twelve and one that night a cup was forced to my lips, black, strong, strange, drawn from no well, but filled up seething from a bottomless and boundless sea. Suffering, brewed in temporal or calculable measure, and mixed for mortal lips, tastes not as this suffering tasted. Having drank [sic] and woke, I thought all was over: the end come and pa.s.sed by. Trembling fearfully--as consciousness returned--ready to cry out on some fellow-creature to help me, only that I knew no fellow-creature was near enough to catch the wild summons--Goton in her far distant attic could not hear--I rose on my knees in bed. Some fearful hours went over me; indescribably was I torn, racked and oppressed in mind. Amidst the horrors of that dream I think the worst lay here. Methought the well-loved dead, who had loved ME well in life, met me elsewhere alienated; galled was my inmost spirit with an unutterable sense of despair about the future. Motive there was none why I should try to recover or wish to live; and yet quite unendurable was the pitiless and haughty voice in which Death challenged me to engage his unknown terrors. When I tried to pray I could only utter these words:--

"'From my youth up Thy terrors have I suffered with a troubled mind.'"

The deep interest of this experience is that it was endured by one who was not only intellectually endowed beyond most women of her time, but whose sanity, reasonableness, and moral force were conspicuously strong. Charlotte Bronte was not one of those impulsive and imaginative women who are the prey of every fancy. Throughout the whole of her career, she was for ever compelling her frail and sensitive temperament, with indomitable purpose, to perform whatever she had undertaken to do. There never was anyone who lived so sternly by principle and reason, or who so maintained her self-control in the face of sorrow, disaster, unhappiness, and bereavement. She never gave way to feeble or morbid self-accusation, and therefore the fact that she could thus have suffered is a sign that this unnamed terror can coexist with a dauntless courage and an essential self-command.

Here again is the cry of a desolate heart! She had been going through her sisters' papers not long after their death, and wrote to her great friend:

"I am both angry and surprised at myself for not being in better spirits; for not growing accustomed, or at least resigned, to the solitude and isolation of my lot. But my late occupation left a result, for some days and indeed still, very painful. The reading over of papers, the renewal of remembrances, brought back the pangs of bereavement and occasioned a depression of spirits well-nigh intolerable. For one or two nights I hardly knew how to get on till morning; and when morning came I was still haunted by a sense of sickening distress. I tell you these things because it is absolutely necessary to me to have SOME relief. You will forgive me and not trouble yourself, or imagine that I am one whit worse than I say. It is quite a mental ailment, and I believe and hope is better now. I think so, because I can speak about it, which I never can when grief is at its worst. I thought to find occupation and interest in writing when alone at home, but hitherto my efforts have been in vain: the deficiency of every stimulus is so complete. You will recommend me, I dare say, to go from home; but that does no good, even could I again leave papa with an easy mind. . . . I cannot describe what a time of it I had after my return from London and Scotland. There was a reaction that sank me to the earth, the deadly silence, solitude, depression, desolation were awful; the craving for companions.h.i.+p, the hopelessness of relief were what I should dread to feel again."

Or again, in a somewhat calmer mood, she writes:

"I feel to my deep sorrow, to my humiliation, that it is not in my power to bear the canker of constant solitude. I had calculated that when shut out from every enjoyment, from every stimulus but what could be desired from intellectual exertion, my mind would rouse itself perforce. It is not so. Even intellect, even imagination will not dispense with the ray of domestic cheerfulness, with the gentle spur of family discussions. Late in the evening and all through the nights, I fall into a condition of mind which turns entirely to the past--to memory, and memory is both sad and relentless. This will never do, and will produce no good. I tell you this that you may check false antic.i.p.ations. You cannot help me, and must not trouble yourself in any shape to sympathise with me. It is my cup, and I must drink it as others do theirs."

It would be difficult to create a picture of more poignant suffering; yet she was at this time a famous writer. She had published Jane Eyre and s.h.i.+rley, and on her visits to London, to her hospitable publisher, had found herself welcomed, honoured, feted. The great lions of the literary world had flocked eagerly to meet her. Even these simple festivities were accompanied by a deadly sense of strain, anxiety, and exhaustion. Mrs. Gaskell describes how a little later she met Charlotte Bronte at a quiet country-house, and how Charlotte was reduced from tolerable health to a bad nervous headache by the announcement that they were going to drive over in the afternoon to have tea at a neighbour's house--the prospect of meeting strangers was so alarming to her.

But in spite of this agonising susceptibility and vulnerability, there is never the least touch either of sentimentality or self-pity about Charlotte Bronte. She stuck to her duty and faced life with an infinity of patient courage. One of her friends said of her that no one she had ever known had sacrificed more to others, or done it with a fuller consciousness of what she was sacrificing. If duty and affection bade her act, no sense of weakness or of inclination had any power over her.

She was afraid of life, but she stood up to it; she was never crushed or broken. Consider the circ.u.mstances under which she began to write Jane Eyre. She had written her novel The Professor, and it was returned to her nine several times, by publisher after publisher. Her father was threatened with blindness. She had taken him to Manchester for an operation, installed him in lodgings, and settled down alone to nurse him. The ill-fated Professor came back to her once more with a polite refusal. That very day she wrote the first lines of Jane Eyre. Later on too, with her brother dying of opium and drink, she had begun s.h.i.+rley, and she finished it after the deaths of her sisters. She was perfectly merciless to herself, saw no reason why she should be spared any sorrow or suffering or ill-health, but looked upon it all as a stern but not unjust discipline. She had one of the most pa.s.sionately affectionate natures both in friends.h.i.+p and home relations--"my hot tenacious heart," she once says! But there was no touch of softness or sentimentality about her; she never feebly condoned weaknesses; her observation of people was minute, her judgment of them severe and even satirical. Her letters abound in pungent humour and acute perception; and her idea of charity was not that of mild and muddled tolerance. She had a vein of frank and rather bitter irony when she was indignant, and she could return stroke for stroke.

She knew well that, whatever life was meant to be, it was not intended to be an easy business; but she did not face it stoically or indifferently; she had a fierce desire for knowledge, culture, ideas; she was ambitious; and above everything she desired to be loved; yet she did not think of love in the way in which all English romancers had treated it for over a century, as a condescending hand held out by a superior being, for the glory of which a woman submitted to a more or less contented servitude; but as a glowing equality of pa.s.sion and wors.h.i.+p, in which two hearts clasped each other close, with a sacred concurrence of soul. And thus it was that she and Robert Browning, above all other writers of the century, put the love of man and woman in the true light, as the supreme worth of life; not as a half-sensuous excitement, with lapses and reactions, but as a great and holy mystery of devotion and service and mutual help. She too had her little taste of love. Mr. Nicholls, her father's curate, a man of deep tenderness behind his quiet homely ways, had proposed to her; she had refused him; but his suffering and bewilderment had touched her deeply, and at last she consented, though she went to her wedding in fear and dread; but she was rewarded, and for a few short months tasted a calm and sweet happiness, the joy of being needed and desired, and at the same time guarded and tended well. Her pathetic words, when she knew from his lips that she must die, "G.o.d will not part us--we have been so happy,"

are full of the deepest tragedy.

I say again that I know of no instance among the most intimate records of the human heart, in which life was faced with such splendid courage as it was by Charlotte Bronte. It contained so many things which she desired--art, beauty, thought, peace, deep and tender relations, and the supreme crown of love. But she never dreamed of trying to escape or s.h.i.+rk her lot. After her first great success with Jane Eyre, she might have lived life on her own lines; her writing meant wealth to one of her simple tastes; and as her closest friend said, if she had chosen to set up a house of her own, she would have been gratefully thanked for any kindness she might have shown to her household, instead of being, as she was, ruthlessly employed and even tyrannised over. Consider how a young auth.o.r.ess, with that splendid success to her credit, would nowadays be made much of and tended, begged to consult her own wishes and make, her own arrangements. But Charlotte Bronte hated notoriety, and took her fame with a shrinking and modest amazement. She never gave herself airs, or displayed any affectation, or caught at any flattery.

She just went back to her tragic home, and carried the burden of housekeeping on her frail shoulders. The simplicity, the delicacy, the humility of it all is above praise. If ever there was a human being who might have pleaded to be excused from any gallant battling with life because of her bleak, comfortless, unhappy surroundings, and her own sensitive temperament, it was Charlotte Bronte. But instead of that she fought silently with disaster and unhappiness, neither pitying herself for her destiny, nor taking the smallest credit for her tough resistance. It does not necessarily prove that all can wage so equal a fight with fears and sorrows; but it shows at least that an indomitable resolution can make a n.o.ble thing out of a life from which every circ.u.mstance of romance and dignity seems to be purposely withdrawn.

I do not think that there is in literature a more inspiring and heartening book than Mrs. Gaskell's Life of Charlotte Bronte. The book was written with a fine frankness and a daring indiscretion which cost Mrs. Gaskell very dear. It remains as one of the most matchless and splendid presentments of duty and pa.s.sion and genius, waging a perfectly undaunted fight with life and temperament, and carrying off the spoils not only of undying fame, but the far more supreme crown of moral force. Charlotte Bronte never doubted that she had been set in the forefront of the battle, and that her first concern was with the issues of life and sorrow and death. She died at thirty-eight, at a time when many men and women have hardly got a firm hold of life at all, or have parted with weak illusions. Yet years before she had said sternly to a friend who was meditating a flight from hard conditions of life: "The right course is that which necessitates the greatest sacrifice of self-interest." Many people could have said that, but I know no figure who more relentlessly and loyally carried out the principle than Charlotte Bronte, or who waged a more vigorous and tenacious battle with every onset of fear. "My conscience tells me,"

she once wrote about an anxious decision, "that it would be the act of a moral poltroon to let the fear of suffering stand in the way of improvement. But suffer I shall. No matter!"

XIV

JOHN STERLING

I believe that the most affecting, beautiful, and grave message ever written from a death-bed is John Sterling's last letter to Carlyle. It reflects, perhaps, something of Carlyle's own fine manner, but then Sterling had long been Carlyle's friend and confidant.

Before I give it, let me add a brief account of Sterling. He was some ten years Carlyle's junior, the son of the redoubtable Edward Sterling, the leader-writer of the Times, a man who in his day wielded a mighty influence. Carlyle describes the father's way of life, how he spent the day in going about London, rolling into clubs, volubly questioning and talking; then returned home in the evening, and condensed it all into a leader, "and is found," said Carlyle, "to have hit the essential purport of the world's immeasurable babblement that day with an accuracy above all other men."

The younger Sterling, Carlyle's friend, was at Cambridge for a time, but never took his degree; he became a journalist, wrote a novel, tales, plays, endless poems--all of thin and vapid quality. His brief life, for he died at thirty-eight, was a much disquieted one; he travelled about in search of health, for he was early threatened with consumption; for a short time he was a curate in the English Church, but drifted away from that. He lived for a time at Falmouth, and afterwards at Ventnor. He must have been a man of extraordinary charm, and with quite unequalled powers of conversation. Even Carlyle seems to have heard him gladly, and that is no ordinary compliment, considering Carlyle's own volubility, and the agonies, occasionally suppressed but generally trenchantly expressed, with which Carlyle listened to other well-known talkers like Coleridge and Macaulay.

Carlyle certainly had a very deep affection and admiration for Sterling; he rains down praises upon him, in that wonderful little biography, which is probably the finest piece of work that Carlyle ever did.

He speaks of Sterling as "brilliant, beautiful, cheerful with an ever-flowing wealth of ideas, fancies, imaginations . . . with frank affections, inexhaustible hopes, audacities, activities, and general radiant vivacity of heart and intelligence, which made the presence of him an illumination and inspiration wherever he went."