Is Life Worth Living?, William Hurrell Mallock [if you give a mouse a cookie read aloud txt] 📗
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Let us imagine a bride and bridegroom of the type that would now be most highly reverenced, and try to understand something of what their affection is. It is, of course, impossible here to treat such a subject adequately; for, as Mr. Carlyle says, 'except musically, and in the language of poetry, it can hardly be so much as spoken about.' But enough for the present purpose can perhaps be said. In the first place, then, the affection in question will be seen to rest mainly upon two things—firstly, on the consciousness of their own respective characters on the part of each; and, secondly, on the idea formed by each of the character of the other. Each must have a faith, for instance, in his or her own purity, and each must have a like faith, also in the purity of the other. Thus, to begin with the first requisites, a man can only love a woman in the highest sense when he does so with a perfectly clear conscience. There must be no obstacle between them which shocks his sense of right, or which, if known by the woman, would shock hers. Were the affection indulged in, in spite of such an obstacle, its fine quality would be injured, no matter how great its intensity; and, instead of a moral blessing, it would become a moral curse. An exquisite expression of the necessity of this personal sense of rightness may be read into the well-known lines,
Loved I not honour more.
Nor shall we look on honour here as having reference only to external acts and conditions. It has reference equally, if not more, to the inward state of the heart. The man must be conscious not only that he is loving the right woman, but that he is loving her in the right way. 'If I loved not purity more than you,' he would say to her, 'I were not worthy of you.'
And further, just as he requires to possess this taintless conscience himself, so does he require to be assured that the like is possessed by her. Unless he knows that she loves purity more than him, there is no meaning in his aspiration that he may be found worthy of her. The gift of her affection that is of such value to him, is not of value because it is affection simply, but because it is affection of a high kind; and its elevation is of more consequence to him than its intensity, or even than its continuance. He would sooner that at the expense of its intensity it remained pure, than that at the expense of its purity it remained intense. Othello was certainly not a husband of the highest type, and yet we see something of this even in his case. His sufferings at his wife's supposed inconstancy have doubtless in them a large selfish element. Much of them is caused by the mere passion of jealousy. But the deepest sting of all does not lie here. It lies rather in the thought of what his wife has done to herself, than of what she has done to him. This is what overcomes him.
Is hushed within the hollow mine of earth,
And will not hear it.
He could have borne anything but a soul's tragedy like this:
A fixed figure for the time of scorn
To point his slow unmoving finger at!
Yet I could bear that too, well—very well:
But there, where I have garnered up my heart,
Where I must either live, or bear no life;
The fountain from the which my current runs
Or else dries up; to be discarded thence!
Or keep it as a cistern for foul toads
To knot and gender in!
Whenever he was with her, Desdemona might still be devoted to him. She might only give to Cassio what she could not give to her husband. But to Othello this would be no comfort. The fountain would be polluted 'from which his current runs'; and though its waters might still flow for him, he would not care to touch them. If this feeling is manifest in such a love as Othello's, much more is it manifest in love of a higher type. It is expressed thus, for instance, by the heroine of Mrs. Craven's 'Récit d'une Sœur.' 'I can indeed say,' she says, 'that we never loved each other so much as when we saw how we both loved God:' and again, 'My husband would not have loved me as he did, if he had not loved God a great deal more.' This language is of course distinctly religious; but it embodies a meaning that is appreciated by the positive school as well. In positivist language it might be expressed thus: 'My husband would not have loved me as he did, if he would not, sooner than love me in any other way, have ceased to love me altogether.' It is clear that this sentiment is proper, nay essential, to positivist affection, just as well as to Christian. Any pure and exalted love would at once change its character, if, without any further change, it merely believed it were free to change it. Its strongest element is the consciousness, not that it is of such a character only, but that this character is the right one. The ideal bride and bridegroom, the ideal man and wife, would not value purity as they are supposed to do, did they not believe that it was not only different from impurity, but essentially and incalculably better than it. For the positivist, just as much as the Christian, this sense of rightness in love is interfused with the affection proper, and does as it were give wings to it. It far more than makes good for the lovers any loss of intensity that may be created by the chastening down of passion: and figuratively at least, it may be said to make them conscious that 'underneath them are the everlasting arms.'
Here then in love, as the positive school at present offer it to us, are all these three characteristics to which that school, as we have seen, must renounce all right. It is characterised as conforming to some special and absolute standard, of which no positive account can be given; the conformity is inward, and so cannot be enforced; and for all that positive knowledge can show us, its importance may be a dream.
We shall realise this better if we consider a love from which these three characteristics have, as far as possible, been abstracted—a love which professes frankly to rest upon its own attractions, and which repudiates all such epithets as worse or better. This will at once show us not only of what various developments the passion of love is capable, but also how false it is to imagine that the highest kind need naturally be the most attractive.
I have quoted Othello, and Mrs. Craven's heroine as types of love when religionized. We will go to the modern Parisian school for the type of love when de-religionized—a school which, starting from the same premisses as do the positive moralists, yet come to a practical teaching that is singularly different. And let us remember that just as the ideal we have been considering already, is the ideal most ardently looked to by one part of the world, so is the ideal we are going to consider now, looked to with an equal ardour by another part of the world. The writer in particular from whom I am about to quote has been one of the most popular of all modern romancers; and has been hailed by men of the most fastidious culture as a preacher to these latter generations of a bolder and more worthy gospel. 'This,'15 says one of the best known of our living poets, of the work that I select to quote from—
The holy writ of beauty.
Of this 'holy writ' the chief theme is love. Let us go on to see how love is there presented to us.
'You know,' says Théophile Gautier's best-known hero, in a letter to a friend, 'you know the eagerness with which I have sought for physical beauty, the importance I attach to outward form, and how the world I am in love with is the world that the eyes can see: or to put the matter in more conventional language, I am so corrupt and blasé that my faith in moral beauty is gone, and my power of striving after it also. I have lost the faculty to discern between good and evil, and this loss has well nigh brought me back to the ignorance of the child or savage. To tell the plain truth, nothing seems to me to be worthy either of praise or blame, and I am but little perturbed by even the most abnormal actions. My conscience is deaf and dumb. Adultery seems to me the most commonplace thing possible. I see nothing shocking in a young girl selling herself.'... 'I find that the earth is all as fair as heaven, and virtue for me is nothing but the perfection of form.' 'Many a time and long', he continues farther on, 'have I paused in some cathedral, under the shadow of the marble foliage, when the lights were quivering in through the stained windows, when the organ unbidden made a low murmuring of itself, and the wind was breathing amongst the pipes; and I have plunged my gaze far into the pale blue depths of the almond-shaped eyes of the Madonna. I have followed with a tender reverence the curves of that wasted figure of hers, and the arch of her eyebrows, just visible and no more than that. I have admired her smooth and lustrous brow, her temples with their transparent chastity, and her cheeks shaded with a sober virginal colour,
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