At Large, Arthur Christopher Benson [buy e reader TXT] 📗

me put into words what was happening to him at the very time at which he had made this sweet place his home. He had already done as much in those early years as many men do in a lifetime. He had written great poems, he had loved and wedded, he had made abundant friends, his wealth was growing fast; he loved every detail of his work, designing, weaving, dyeing; he had a band of devoted workers and craftsmen under him. He could defy the world; he cared nothing at all for society or honours. He had magnificent vitality, a physique which afforded him every kind of wholesome momentary enjoyment.

In the middle of all this happy activity a cloud came over his mind, blotting out the sunshine. Partly, perhaps, private sorrows had something to do with it; partly, perhaps, a weakening of physical fibre, after a life of enormous productivity and restless energy, made itself felt. But these were only incidental causes. What began to weigh upon him was the thought of all the toiling thousands of humanity, whose lives of labour precluded them from the enjoyment of all or nearly all of the beautiful things that were to him the very essence of life; and, what was worse still, he perceived that the very faculty of higher enjoyment was lacking, the instinct for beauty having been atrophied and almost eradicated by sad inheritance, He saw that not only did the workers not feel the joyful love of art and natural beauty, but that they could not have enjoyed such pleasures, even if they were to be brought near to them; and then came the further and darker thought, that modern art was, after all, a hollow and a soulless thing. He saw around him beautiful old houses like his own, old churches which spoke of a high natural instinct for fineness of form and detail. These things seemed to stand for a widespread and lively joy in simple beauty which seemed to have vanished out of the world. In ancient times it was natural to the old builders if they had, say, a barn to build, to make it strong and seemly and graceful; to buttress it with stone, to bestow care and thought upon coign and window-ledge and dripstone, to prop the roof on firm and shapely beams, and to cover it with honest stone tiles, each one of which had an individuality of its own. But now he saw that if people built naturally, they ran up flimsy walls of brick, tied them together with iron rods, and put a curved roof of galvanised iron on the top. It was bad enough that it should be built so, but what was worse still was that no one saw or heeded the difference; they thought the new style was more convenient, and the question of beauty never entered their minds at all. They remorselessly pulled down, or patched meanly and sordidly, the old work. And thus he began to feel that modern art was an essentially artificial thing, a luxury existing for a few leisurely people, and no longer based on a deep universal instinct. He thought that art was wounded to death by competition and hurry and vulgarity and materialism, and that it must die down altogether before a sweet natural product could arise from the stump.

Then, too, Morris was not an individualist; he cared, one may think, about things more than people. A friend of his once complained that, if he were to die, Morris would no doubt grieve for him and even miss him, but that it would make no gap in his life, nor interrupt his energy of work. He cared for movements, for classes, for groups of men, more than he cared for persons. And thus the idea came to him, in a mournful year of reflection, that it was not only a mistake, but of the nature of sin, to isolate himself in a little Paradise of art of his own making, and to allow the great noisy, ugly, bewildered world to go on its way. It was a noble grief. The thought of the bare, uncheered, hopeless lives of the poor came to weigh on him like an obsession, and he began to turn over in his mind what he could do to unravel the knotted skein.

"I am rather in a discouraged mood," he wrote on New Year's Day 1880, "and the whole thing seems almost too tangled to see through and too heavy to move." And again:

"I have of late been somewhat melancholy (rather too strong a word, but I don't know another); not so much so as not to enjoy life in a way, but just so much as a man of middle age who has met with rubs (though less than his share of them) may sometimes be allowed to be. When one is just so much subdued one is apt to turn more specially from thinking of one's own affairs to more worthy matters; and my mind is very full of the great change which I hope is slowly coming over the world."

And so he plunged into Socialism. He gave up his poetry and much of his congenial work. He attended meetings and committees; he wrote leaflets and pamphlets; he lavished money; he took to giving lectures and addresses; he exposed himself to misunderstandings and insults. He spoke in rain at street corners to indifferent loungers; he pushed a little cart about the squares selling Socialist literature; he had collisions with the police; he was summoned before magistrates: the "poetic upholsterer," as he was called, became an object of bewildered contempt to friends and foes alike. The work was not congenial to him, but he did it well, developing infinite tolerance and good-humour, and even tactfulness, in his relations with other men. The exposure to the weather, the strain, the neglect of his own physical needs, brought on, undoubtedly, the illness of which he eventually died; and worst of all was the growing shadow of discouragement, which made him gradually aware that the times were not ripe, and that even if the people could seize the power they desired, they could not use it. He became aware that the worker's idea of rising in the social scale was not the idea of gaining security, leisure, independence, and love of honest work, but the hope of migrating to the middle class, and becoming a capitalist on a small scale. That was the last thing that Morris desired. Most of all he felt the charge of inconsistency that was dinned into his ears. It was held ridiculous that a wealthy capitalist and a large employer of labour, living, if not in luxury, at least in considerable stateliness, should profess Socialist ideas without attempting to disencumber himself of his wealth. He wrote in answer to a loving remonstrance:

"You see, my dear, I can't help it. The ideas which have taken hold of me will not let me rest; nor can I see anything else worth thinking of. How can it be otherwise, when to me society, which to many seems an orderly arrangement for allowing decent people to get through their lives creditably and with some pleasure, seems mere cannibalism; nay, worse (for there ought to be hope in that), is grown so corrupt, so steeped in hypocrisy and lies, that one turns from one stratum of it to another with hopeless loathing.... Meantime, what a little ruffles me is this, that if I do a little fail in my duty some of my friends will praise me for failing instead of blaming me."

And then at last, after every sordid circumstance of intrigue and squabble and jealousy, one after another of the organisations he joined broke down. Half gratefully and half mournfully he disengaged himself, not because he did not believe in his principles, but because he saw that the difficulties were insuperable. He came back to the old life; he flung himself with renewed ardour into art and craftsmanship. He began to write the beautiful and romantic prose tales, with their enchanting titles, which are, perhaps, his most characteristic work. He learnt by slow degrees that a clean sweep of an evil system cannot be made in a period or a lifetime by an individual, however serious or strenuous he may be; he began to perceive that, if society is to put ideas in practice, the ideas must first be there, clearly defined and widely apprehended; and that it is useless to urge men to a life of which they have no conception and for which they have no desire. He had always held it to be a sacred duty for people to live, if possible, in whatever simplicity, among beautiful things; and it may be said that no one man in one generation has ever effected so much in this direction. He has, indeed, leavened and educated taste; he has destroyed a vile and hypocritical tradition of domestic art; by his writings he has opened a door for countless minds into a remote and fragrant region of unspoilt romance; and, still more than this, he remains an example of one who made a great and triumphant resignation of all that he held most dear, for the sake of doing what he thought to be right. He was not an ascetic, giving up what is half an incumbrance and half a terror; nor was he naturally a melancholy and detached person; but he gave up work which he loved passionately, and a life which he lived in a full-blooded, generous way, that he might try to share his blessings with others, out of a supreme pity for those less richly endowed than himself.

How, then, should not this corner of the world, which he loved so dearly, speak to the spirit with a voice and an accent far louder and more urgent than its own tranquil habit of sunny peace and green-shaded sweetness! "You know my faith," wrote Morris from Kelmscott in a bewildered hour, "and how I feel I have no sort of right to revenge myself for any of my private troubles on the kind earth; and here I feel her kindness very specially, and am bound not to meet it with a long face." Noble and high-hearted words! for he of all men seemed made by nature to enjoy security and beauty and the joys of living, if ever man was so made. His very lack of personal sensitiveness, his unaptness to be moved by the pathetic appeal of the individual, might have been made a shield for his own peace; but he laid that shield down, and bared his breast to the sharp arrows; and in his noble madness to redress the wrongs of the world he was, perhaps, more like one of his great generous knights than he himself ever suspected.

This, then, I think is the reason why this place--a grey grange at the end of a country lane, among water meadows--has so ample a call for the spirit. A place of which Morris wrote, "The scale of everything of the smallest, but so sweet, so unusual even; it was like the background of an innocent fairy-story." Yes, it might have been that! Many of the simplest and quietest of lives had been lived there, no doubt, before Morris came that way. But with him came a realisation of its virtues, a perception that in its smallness and sweetness it yet held imprisoned, like the gem that sits on the smallest finger of a hand, an ocean of light and colour. The two things that lend strength to life are, in the first place, an appreciation of its quality, a perception of its intense and awful significance--the thought that we here hold in our hands, if we could but piece it all together, the elements and