Joyous Gard, Arthur Christopher Benson [howl and other poems .txt] 📗

desirous of fame, liking to play an active part in life, fond of work, wishing to sway opinion, eager that others should care for the things for which he cares. Well, he must make a certain choice, no doubt; he cannot gratify all these things; his ambition may get in the way of his pleasure, his affections may interrupt his ambitions. What is his renunciation to be? It obviously will not be an abnegation of everything. He will not feel himself bound to crush all enjoyment, to refuse to love and be loved, to enter tamely and passively into life. He will inevitably choose what is dearest to his heart, whatever that may be, and he will no doubt instinctively eliminate from his life the joys which are most clouded by dissatisfaction. If he sets affection aside for the sake of ambition, and then finds that the thought of the love he has slighted or disregarded wounds and pains him, he will retrace his steps; if he sees that his ambitions leave him no time for his enjoyment of art or nature, and finds his success embittered by the loss of those other enjoyments, he will curb his ambition; but in all this he will not act anxiously and wretchedly. He will be rather like a man who has two simultaneous pleasures offered him, one of which must exclude the other. He will not spoil both, but take what he desires most, and think no more of what he rejects.

The more that such a man loves life, the less is he likely to be deceived by the shows of life; the more wisely will he judge what part of it is worth keeping, and the less will he be tempted by anything which distracts him from life itself. It is fulness of life, after all, that he is aiming at, and not vacuity; and thus renunciation becomes not a feeble withdrawal from life, but a vigorous affirmation of the worth of it.

But of course we cannot all expect to deal with life on this high-handed scale. The question is what most of us, who feel ourselves sadly limited, incomplete, fractious, discontented, fitful, unequal to the claims upon us, should do. If we have no sense of eager adventure, but are afraid of life, overshadowed by doubts and anxieties, with no great spring of pleasure, no passionate emotions, no very definite ambitions, what are we then to do?

Or perhaps our case is even worse than that; we are meanly desirous of comfort, of untroubled ease, we have a secret love of low pleasures, a desire to gain rather than to deserve admiration and respect, a temptation to fortify ourselves against life by accumulating all sorts of resources, with no particular wish to share anything, but aiming to be left alone in a circle which we can bend to our will and make useful to us; that is the hard case of many men and women; and even if by glimpses we see that there is a finer and a freer life outside, we may not be conscious of any real desire to issue from our stuffy parlour.

In either case our duty and our one hope is clear; that we have got somehow, at all costs and hazards, to find our way into the light of day. It is such as these, the anxious and the fearful on the one hand, the gross and sensual on the other, who need most of all a Joyous Gard of their own. Because we are coming to the light, as Walt Whitman so splendidly says:--"The Lord advances and yet advances ... always the shadow in front, always the reach'd hand bringing up the laggards."

Our business, if we know that we are laggards, if we only dimly suspect it, is not to fear the shadow, but to seize the outstretched hands. We must grasp the smallest clue that leads out of the dark, the resolute fight with some slovenly and ugly habit, the telling of our mean troubles to some one whose energy we admire and whose disapproval we dread; we must try the experiment, make the plunge; all at once we realise that the foundations are laid, that the wall is beginning to rise above the rubbish and the debris; we must build a home for the new-found joy, even if as yet it only sings drowsily and faintly within our hearts, like the awaking bird in the dewy thicket, when the fingers of the dawn begin to raise the curtain of the night.


XXV


THE SENSE OF BEAUTY

There is one difficulty which stands at the threshold of dealing with the sense of beauty so as to give it due importance and preponderance, and that is that it seems with many people to be so frail a thing, and to visit the mind only as the last grace of a mood of perfect serenity and well-being. Many people, and those not the least thoughtful and intelligent, find by experience that it is almost the first thing to disappear in moments of stress and pressure. Physical pain, grief, pre-occupation, business, anxiety, all seem to have the power of quenching it instantaneously, until one is apt to feel that it is a thing of infinite delicacy and tenderness, and can only co-exist with a tranquillity which it is hard in life to secure. The result of this no doubt is that many active-minded and forcible people are ready to think little of it, and just regard it as a mood that may accompany a well-earned holiday, and even so to be sparingly indulged.

It is also undoubtedly true that in many robust and energetic people the sense of what is beautiful is so far atrophied that it can only be aroused by scenes and places of almost melodramatic picturesqueness, by ancient buildings clustered on craggy eminences, great valleys with the frozen horns of mountains, wind-ravaged and snow-streaked, peering over forest edges, the thunder and splendour of great sea-breakers plunging landward under rugged headlands and cliff-fronts. But all this pursuit of sensational beauty is to mistake its quality; the moment it is thus pursued it ceases to be the milk and honey of life, and it becomes a kind of stimulant which excites rather than tranquillises. I do not mean that one should of set purpose avoid the sight of wonderful prospects and treasure-houses of art, or act as the poet Gray did when he was travelling with Horace Walpole in the Alps, when they drew up the blinds of their carriage to exclude the sight of such prodigious and unmanning horrors!

Still I think that if one is on the right track, and if beauty has its due place and value in life, there will be less and less impulse to go far afield for it, in search of something to thrill the dull perception and quicken it into life. I believe that people ought to be content to live most of their lives in the same place, and to grow to love familiar scenes. Familiarity with a scene ought not to result in the obliteration of all consciousness of it: one ought rather to find in use and affection an increased power of subtle interpretation, a closer and finer understanding of the qualities which underlie the very simplest of English landscapes. I live, myself, for most of the year in a countryside that is often spoken of by its inhabitants as dull, tame, and featureless; yet I cannot say with what daily renewal of delight I wander in the pastoral Cambridge landscape, with its long low lines of wold, its whitewalled, straw-thatched villages embowered in orchards and elms, its slow willow-bound streams, its level fenland, with the far-seen cloud-banks looming overhead: or again in the high-ridged, well-wooded land of Sussex, where I often live, the pure lines of the distant downs seen over the richly coloured intervening weald grow daily more dear and intimate, and appeal more and more closely to the deepest secrets of sweetness and delight. For as we train ourselves to the perception of beauty, we become more and more alive to a fine simplicity of effect; we find the lavish accumulation of rich and magnificent glories bewildering and distracting.

And this is the same with other arts; we no longer crave to be dazzled and flooded by passionate and exciting sensation, we care less and less for studied mosaics of word and thought, and more and more for clearness and form and economy and austerity. Restless exuberance becomes unwelcome, complexity and intricacy weary us; we begin to perceive the beauty of what Fitzgerald called the 'great still books.' We do not desire a kaleidoscopic pageant of blending and colliding emotions, but crave for something distinctly seen, entirely grasped, perfectly developed. Because we are no longer in search of something stimulating and exciting, something to make us glide and dart among the surge and spray of life, but what we crave for is rather a calm and reposeful absorption in a thought which can yield us all its beauty, and assure us of the existence of a principle in which we can rest and abide. As life goes on, we ought not to find relief from tedium only in a swift interchange and multiplication of sensations; we ought rather to attain a simple and sustained joyfulness which can find nurture in homely and familiar things.

If again the sense of beauty is so frail a thing that it is at the mercy of all intruding and jarring elements, it is also one of the most patient and persistent of quiet forces. Like the darting fly which we scare from us, it returns again and again to settle on the spot which it has chosen. There are, it is true, troubled and anxious hours when the beauty round us seems a cruel and intrusive thing, mocking us with a peace which we cannot realise, and torturing us with the reminder of the joy we have lost. There are days when the only way to forget our misery is to absorb ourselves in some practical energy; but that is because we have not learned to love beauty in the right way. If we have only thought of it as a pleasant ingredient in our cup of joy, as a thing which we can just use as we can use wine, to give us an added flush of unreasonable content, then it will fail us when we need it most. When a man is under the shadow of a bereavement, he can test for himself how he has used love. If he finds that the loving looks and words and caresses of those that are left to him are a mere torture to him, then he has used love wrongly, just as a selfish and agreeable delight; but if he finds strength and comfort in the yearning sympathy of friend and beloved, reassurance in the strength of the love that is left him, and confidence in the indestructibility of affection, then he has used love wisely and purely, loving it for itself, for its beauty and holiness, and not only for the warmth and comfort it has brought him.

So, if we have loved beauty well, have seen in it a promise of ultimate joy, a sign of a deliberate intention, a message from a power that does not send sorrow and anxiety wantonly, cruelly and indifferently, an assurance of something that waits to welcome and bless us, then beauty is not a mere torturing menace, a heartless and unkind parading of joy which we cannot feel, but a faithful pledge of something secure and everlasting, which will return to us again and again in ever fuller measure, even if the flow of it be sometimes suspended.

We ought then to train and