A Mere Accident Part 3

"Cla.s.sical Latin, with the exception of Tacitus, is cold-blooded and self-satisfied. There is no agitation, no fever; to me it is utterly without interest."

To the books and ma.n.u.scripts the pictures on the walls afforded an abrupt contrast. No. 1. "A j.a.panese Girl," by Monet. A poppy in the pale green walls; a wonderful macaw! Why does it not speak in strange dialect? It trails lengths of red silk. Such red! The pigment is twirled and heaped with quaint device, until it seems to be beautiful embroidery rather than painting; and the straw-coloured hair, and the blond light on the face, and the unimaginable coquetting of that fan....

No. 2. "The Drop Curtain," by Degas. The drop curtain is fast descending; only a yard of s.p.a.ce remains. What a yardful of curious comment, what satirical note on the preposterousness of human existence! what life there is in every line; and the painter has made meaning with every blot of colour! Look at the two princ.i.p.al dancers!

They are down on their knees, arms raised, bosoms advanced, skirts extended, a hundred coryphees are cl.u.s.tered about them. Leaning hands, uplifted necks, painted eyes, scarlet mouths, a piece of thigh, arched insteps, and all is blurred; vanity, animalism, indecency, absurdity, and all to be whelmed into oblivion in a moment. Wonderful life; wonderful Degas!

No. 3. "A Suburb," by Monet. Snow! the world is white. The furry fluff has ceased to fall, and the sky is darkling and the night advances, dragging the horizon up with it like a heavy, deadly curtain. But the roof of the villa is white, and the green of the laurels shaken free of the snow s.h.i.+nes through the railings, and the shadows that lie across the road leading to town are blue--yes, as blue as the slates under the immaculate snow.

No. 4. "The Cliff's Edge," by Monet. Blue? purple the sea is; no, it is violet; 'tis striped with violet and flooded with purple; there are living greens, it is full of fading blues. The dazzling sky deepens as it rises to breathless azure, and the soul pines for and is fain of G.o.d.

White sails show aloft; a line of dissolving horizon; a fragment of overhanging cliff wild with coa.r.s.e gra.s.s and bright with poppies, and musical with the lapsing of the summer waves.

There were in all six pictures--a tall gla.s.s filled with pale roses, by Renoir; a girl tying up her garter, by Monet.

Through the bedroom door Mr Hare saw a narrow iron bed, an iron washhand-stand, and a prie-dieu. A curious three-cornered wardrobe stood in one corner, and facing it, in front of the prie-dieu, a life-size Christ hung with outstretched arms. The parson looked round for a seat, but the chairs were like cottage stools on high legs, and the angular backs looked terribly knife-like.

"Sit in the arm-chair. Shall I get you a pillow from the next room?

Personally I cannot bear upholstery; I cannot conceive anything more hideous than a padded arm-chair. All design is lost in that infamous stuffing. Stuffing is a vicious excuse for the absence of design. If upholstery was forbidden by law to-morrow, in ten years we should have a school of design. Then the necessity of composition would be imperative."

"I daresay there is a good deal in what you say; but tell me, don't you find these chairs very uncomfortable. Don't you think that you would find a good comfortable arm-chair very useful for reading purposes?"

"No, I should feel far more uncomfortable on a cus.h.i.+on than I do on this bit of hard oak. Our ancestors had an innate sense of form that we have not. Look at these chairs, nothing can be plainer; a cottage stool is hardly more simple, and yet they are not offensive to the eye. I had them made from a picture by Albert Durer. But tell me, what will you take to drink? Will you have a gla.s.s of champagne, or a brandy and soda, or what do you say to an absinthe?"

"'Pon my word, you seem to look after yourself. You don't forget the inner man."

"I always keep a good supply of liquor; have a cigar?" And John pa.s.sed to him a box of fragrant and richly coloured Havanas.... Mr Hare took a cigar, and glanced at the table on which John was mixing the drinks. It was a slip of marble, rested, cafe fas.h.i.+on, on iron supports.

"But that table is modern, surely?--quite modern!"

"Quite; it is a cafe table, but it does not offend my eye. You surely would not have me collect a lot of old-fas.h.i.+oned furniture and pile it up in my rooms, Turkey carpets and j.a.paneseries of all sorts; a room such as Sir Fred. Leighton would declare was intended to be merely beautiful."

Striving vainly to understand, Mr Hare drank his brandy and soda in silence. Presently he walked over to the bookcases. There were two: one was filled with learned-looking volumes bearing the names of Latin authors; and the parson, who prided himself on his Latinity, was surprised, and a little nettled, to find so much ignorance proved upon him. With Tertullian, St Jerome, and St Augustine he was of course acquainted, but of Lactantius, Prudentius, Sedulius, St Fortunatus, Duns Scotus, Hibernicus exul, Angilbert, Milo, &c., he was obliged to admit he knew nothing--even the names were unknown to him.

In the bookcase on the opposite side of the room there were complete editions of Landor and Swift, then came two large volumes on Leonardo da Vinci. Raising his eyes, the parson read through the t.i.tles of Mr Browning's work. Tennyson was in a cheap seven-and-six edition; then came Swinburne, Pater, Rossetti, Morris, two novels by Rhoda Broughton, d.i.c.kens, Thackeray, Fielding, and Smollett; the complete works of Balzac, Gautier's Emaux et Camees, Salammbo, L'a.s.sommoir; add to this Carlyle, Byron, Sh.e.l.ley, Keats, &c.

At the end of a long silence, Mr Hare said, glancing once again at the Latin authors, and walking towards the fire:

"Tell me, John, are those the books you are writing about? Supposing you explain to me in a few words the line you are taking. Your mother tells me that you intend to call your book the History of Christian Latin."

"Yes, I had thought of using that t.i.tle, but I am afraid it is a little too ambitious. To write the history of a literature extending over at least eight centuries would entail an appalling amount of reading; and besides only a few, say a couple of dozen writers out of some hundreds, are of the slightest literary interest, and very few indeed of any real aesthetic value. I have been hard at work lately, and I think I know enough of the literature of the Middle Ages to enable me to make a selection that will comprise everything of interest to ordinary scholars.h.i.+p, and enough to form a sound basis to rest my own literary theories upon. I begin by stating that there existed in the Middle Ages a universal language such as Goethe predicted the future would again bring to us....

"Before the formation of the limbs, that is to say before the German and Roman languages were developed up to the point of literary usage, the Latin language was the language of all nations of the western world.

But the day came, in some countries a little earlier, in some a little later, when it was replaced by the national idioms. The different literatures of the West had therefore been preceded by a Latin literature that had for a long time held out a supporting hand to each.

The language of this literature was not a dead language, It was the language of government, of science, of religion; and a little dislocated, a little barbarised, it had penetrated to the minds of the people, and found expression in drinking songs and street ditties.

"Such is the theme of my book; and it seems to me that a language that has played so important a part in the world's history is well worthy of serious study.

"I show how Christianity, coming as it did with a new philosophy, and a new motive for life, invigorated and saved the Latin language in a time of decline and decrepitude. For centuries it had given expression, even to satiety, to a naive joy in the present; on this theme, all that could be said had been said, all that could be sung had been sung, and the Rhetoricians were at work with alliteration and refrain when Christianity came, and impetuously forced the language to speak the desire of the soul. In a word, I want to trace the effect that such a radical alteration in the music, if I may so speak, had upon the instrument--the Latin language."

"And with whom do you begin?"

"With Tertullian, of course."

"And what do you think of him?"

"Tertullian, one of the most fascinating characters of ancient or modern times. In my study of his writings I have worked out a psychological study of the man himself as revealed through them. His realism, I might say materialism, is entirely foreign to my own nature, but I cannot help being attracted by that wild African spirit, so full of savage contradictions, so full of energy that it never knew repose: in him you find all the imperialism of ancient times. When you consider that he lived in a time when the church was struggling for utterance amid the horrors of persecution, his mad Christianity becomes singularly attractive; a pa.s.sionate fear of beauty for reason of its temptations, a fear that turned to hatred, and forced him at last into the belief that Christ was an ugly man."

"I know nothing of the monks of the eighth century and their poetry, but I do know something of Tertullian, and you mean to tell me that you admire his style--those harsh chopped-up phrases and strained ant.i.theses."

"I should think I did. Phrases set boldly one against the other; quaint, curious, and full of colour, the reader supplies with delight the connecting link, though the pa.s.sion and the force of the description lives and reels along. Listen:

"'Quae tunc spectaculi lat.i.tudo! quid admirer? quid rideam? ubi gaudeam?

ubi exultem, spectans tot ac tantos reges, qui in coelum recepti nuntiabantur, c.u.m ipso Jove et ipsis suis testibus in imis tenebris congemiscentes!--Tunc magis tragoedi audiendi, magis scilicet vocales in sua propria calamitate; tunc histriones cognoscendi, solutiores multo per ignem; tunc spectandus auriga, in flammea rota totus rubens, &c.'

"Show me a pa.s.sage in Livy equal to that for sheer force and glittering colour. The phrases are not all dove-tailed one into the other and smoothed away; they stand out."

"Indeed they do. And whom do you speak of next?"

"I pa.s.s on to St Cyprian and Lactantius; to the latter I attribute the beautiful poem of the Phoenix."

"What! Claudian's poem?"

"No, but one infinitely superior. After Lactantius comes St Ambrose, St Jerome, and St Augustine. The second does not interest me, and my notice of him is brief; but I make special studies of the first and last. It was St Ambrose who introduced singing into the Catholic service. He took the idea from the Arians. He saw the effect it had upon the vulgar mind, and he resolved to combat the heresy with its own weapons. He composed a vast number of hymns. Only four have come down to us, and they are as perfect in form as in matter. You will scarcely find anywhere a false quant.i.ty or a hiatus. The Ambrosian hymns remained the type of all the hymnic poetry of succeeding centuries. Even Prudentius, great poet as he was, was manifestly influenced in the choice of metre and the composition of the strophe by the Deus Creator omnium....

"St Ambrose did more than any other writer of his time to establish certain latent tendencies as characteristics of the Catholic spirit.

His pleading in favour of ascetic life and of virginity, that entirely Christian virtue, was very influential. He lauds the virgin above the wife, and, indeed, he goes so far as to tell parents that they can obtain pardon of their sins by offering their daughters to G.o.d. His teaching in this respect was productive of very serious rebellion against what some are pleased to term the laws of Nature. But St Ambrose did not hesitate to uphold the repugnance of girls to marriage as not only lawful but praiseworthy."

"I am afraid you let your thoughts dwell very much on such subjects."

"Really, do you think I do?" John's eyes brightened for a moment, and he lapsed into what seemed an examination of conscience. Then he said, somewhat abruptly, "St Jerome I speak of, or rather I allude to him, and pa.s.s on at once to the study of St Augustine--the great prose writer, as Prudentius was the great poet, of the Middle Ages.

"Now, talking of style, I will admit that the eternal apostrophising of G.o.d and the incessant quoting from the New Testament is tiresome to the last degree, and seriously prejudices the value of the 'Confessions' as considered from the artistic standpoint. But when he bemoans the loss of the friend of his youth, when he tells of his resolution to embrace an ascetic life, he is nervously animated, and is as psychologically dramatic as Balzac."

"I have taken great pains with my study of St Augustine, because in him the special genius of Christianity for the first time found a voice. All that had gone before was a scanty flowerage--he was the perfect fruit. I am speaking from a purely artistic standpoint: all that could be done for the life of the senses had been done, but heretofore the life of the soul had been lived in silence--none had come to speak of its suffering, its uses, its tribulation. In the time of Horace it was enough to sit in Lalage's bower and weave roses; of the communion of souls none had ever thought. Let us speak of the soul! This is the great dividing line between the pagan and Christian world, and St Augustine is the great landmark. In literature he discovered that man had a soul, and that man had grown interested in its story, had grown tired of the exquisite externality of the nymph-haunted forest and the waves where the Triton blows his plaintive blast.

"The whole theory and practice of modern literature is found in the 'Confessions of St Augustine;' and from hence flows the great current of psychological a.n.a.lysis which, with the development of the modern novel, grows daily greater in volume and more penetrating in essence.... Is not the fretful desire of the Balzac novel to tell of the soul's anguish an obvious development of the 'Confessions'?"

"In like manner I trace the origin of the ballad, most particularly the English ballad, to Prudentius, a contemporary of Claudian."

"You don't mean to say that you trace back our north-country ballads to, what do you call him?"

"Prudentius. I show that there is much in his hymns that recalls the English ballads."

"In his hymns?"

"Yes; in the poems that come under such denomination. I confess it is not a little puzzling to find a narrative poem of some five hundred lines or more included under the heading of hymns; it would seem that nearly all lyric poetry of an essentially Christian character was so designated, to separate it from secular or pagan poetry. In Prudentius'

first published work, 'Liber Cathemerinon,' we find hymns composed absolutely after the manner of St Ambrose, in the same or in similar metres, but with this difference, the hymns of Prudentius are three, four, and sometimes seven times longer than those of St Ambrose. The Spanish poet did not consider, or he lost sight of, the practical usages of poetry. He sang more from an artistic than a religious impulse. That he delighted in the song for the song's own sake is manifest; and this is shown in the variety of his treatment, and the delicate sense of music which determined his choice of metre. His descriptive writing is full of picturesque expression. The fifth hymn, 'Ad Incensum Lucernae,'

is glorious with pa.s.sionate colour and felicitous cadence, be he describing with precious solicitude for Christian archaeology the different means of artistic lighting, flambeaux, candles, lamps, or dreaming with all the rapture of a southern dream of the balmy garden of Paradise.

"But his best book to my thinking is by far, 'Peristephanon,' that is to say, the hymns celebrating the glory of the martyrs.