Brit Lit Final

Goblin Market Rossetti

Morning and evening Maids heard the goblins cry: "Come buy our orchard fruits, Come buy, come buy: Apples and quinces, Lemons and oranges, Plump unpeck'd cherries, Melons and raspberries, Bloom-down-cheek'd peaches, Swart-headed mulberries, Wild free-born cranberries, Crab-apples, dewberries, Pine-apples, blackberries, Apricots, strawberries;— All ripe together In summer weather,— Morns that pass by, Fair eves that fly; Come buy, come buy: Our grapes fresh from the vine, Pomegranates full and fine, Dates and sharp bullaces, Rare pears and greengages, Damsons and bilberries, Taste them and try: Currants and gooseberries, Bright-fire-like barberries, Figs to fill your mouth, Citrons from the South, Sweet to tongue and sound to eye; Come buy, come buy." Evening by evening Among the brookside rushes, Laura bow'd her head to hear, Lizzie veil'd her blushes: Crouching close together In the cooling weather, With clasping arms and cautioning lips, With tingling cheeks and finger tips. "Lie close," Laura said, Pricking up her golden head: "We must not look at goblin men, We must not buy their fruits: Who knows upon what soil they fed Their hungry thirsty roots?" "Come buy," call the goblins Hobbling down the glen. "Oh," cried Lizzie, "Laura, Laura, You should not peep at goblin men." Lizzie cover'd up her eyes, Cover'd close lest they should look; Laura rear'd her glossy head, And whisper'd like the restless brook: "Look, Lizzie, look, Lizzie, Down the glen tramp little men. One hauls a basket, One bears a plate, One lugs a golden dish Of many pounds weight. How fair the vine must grow Whose grapes are so luscious; How warm the wind must blow Through those fruit bushes." "No," said Lizzie, "No, no, no; Their offers should not charm us, Their evil gifts would harm us." She thrust a dimpled finger In each ear, shut eyes and ran: Curious Laura chose to linger Wondering at each merchant man. One had a cat's face, One whisk'd a tail, One tramp'd at a rat's pace, One crawl'd like a snail, One like a wombat prowl'd obtuse and furry, One like a ratel tumbled hurry skurry. She heard a voice like voice of doves Cooing all together: They sounded kind and full of loves In the pleasant weather. Laura stretch'd her gleaming neck Like a rush-imbedded swan, Like a lily from the beck, Like a moonlit poplar branch, Like a vessel at the launch When its last restraint is gone. Backwards up the mossy glen Turn'd and troop'd the goblin men, With their shrill repeated cry, "Come buy, come buy." When they reach'd where Laura was They stood stock still upon the moss, Leering at each other, Brother with queer brother; Signalling each other, Brother with sly brother. One set his basket down, One rear'd his plate; One began to weave a crown Of tendrils, leaves, and rough nuts brown (Men sell not such in any town); One heav'd the golden weight Of dish and fruit to offer her: "Come buy, come buy," was still their cry. Laura stared but did not stir, Long'd but had no money: The whisk-tail'd merchant bade her taste In tones as smooth as honey, The cat-faced purr'd, The rat-faced spoke a word Of welcome, and the snail-paced even was heard; One parrot-voiced and jolly Cried "Pretty Goblin" still for "Pretty Polly;"— One whistled like a bird. But sweet-tooth Laura spoke in haste: "Good folk, I have no coin; To take were to purloin: I have no copper in my purse, I have no silver either, And all my gold is on the furze That shakes in windy weather Above the rusty heather." "You have much gold upon your head," They answer'd all together: "Buy from us with a golden curl." She clipp'd a precious golden lock, She dropp'd a tear more rare than pearl, Then suck'd their fruit globes fair or red: Sweeter than honey from the rock, Stronger than man-rejoicing wine, Clearer than water flow'd that juice; She never tasted such before, How should it cloy with length of use? She suck'd and suck'd and suck'd the more Fruits which that unknown orchard bore; She suck'd until her lips were sore; Then flung the emptied rinds away But gather'd up one kernel stone, And knew not was it night or day As she turn'd home alone. Lizzie met her at the gate Full of wise upbraidings: "Dear, you should not stay so late, Twilight is not good for maidens; Should not loiter in the glen In the haunts of goblin men. Do you not remember Jeanie, How she met them in the moonlight, Took their gifts both choice and many, Ate their fruits and wore their flowers Pluck'd from bowers Where summer ripens at all hours? But ever in the noonlight She pined and pined away; Sought them by night and day, Found them no more, but dwindled and grew grey; Then fell with the first snow, While to this day no grass will grow Where she lies low: I planted daisies there a year ago That never blow. You should not loiter so." "Nay, hush," said Laura: "Nay, hush, my sister: I ate and ate my fill, Yet my mouth waters still; To-morrow night I will Buy more;" and kiss'd her: "Have done with sorrow; I'll bring you plums to-morrow Fresh on their mother twigs, Cherries worth getting; You cannot think what figs My teeth have met in, What melons icy-cold Piled on a dish of gold Too huge for me to hold, What peaches with a velvet nap, Pellucid grapes without one seed: Odorous indeed must be the mead Whereon they grow, and pure the wave they drink With lilies at the brink, And sugar-sweet their sap." Golden head by golden head, Like two pigeons in one nest Folded in each other's wings, They lay down in their curtain'd bed: Like two blossoms on one stem, Like two flakes of new-fall'n snow, Like two wands of ivory Tipp'd with gold for awful kings. Moon and stars gaz'd in at them, Wind sang to them lullaby, Lumbering owls forbore to fly, Not a bat flapp'd to and fro Round their rest: Cheek to cheek and breast to breast Lock'd together in one nest. Early in the morning When the first cock crow'd his warning, Neat like bees, as sweet and busy, Laura rose with Lizzie: Fetch'd in honey, milk'd the cows, Air'd and set to rights the house, Kneaded cakes of whitest wheat, Cakes for dainty mouths to eat, Next churn'd butter, whipp'd up cream, Fed their poultry, sat and sew'd; Talk'd as modest maidens should: Lizzie with an open heart, Laura in an absent dream, One content, one sick in part; One warbling for the mere bright day's delight, One longing for the night. At length slow evening came: They went with pitchers to the reedy brook; Lizzie most placid in her look, Laura most like a leaping flame. They drew the gurgling water from its deep; Lizzie pluck'd purple and rich golden flags, Then turning homeward said: "The sunset flushes Those furthest loftiest crags; Come, Laura, not another maiden lags. No wilful squirrel wags, The beasts and birds are fast asleep." But Laura loiter'd still among the rushes And said the bank was steep. And said the hour was early still The dew not fall'n, the wind not chill; Listening ever, but not catching The customary cry, "Come buy, come buy," With its iterated jingle Of sugar-baited words: Not for all her watching Once discerning even one goblin Racing, whisking, tumbling, hobbling; Let alone the herds That used to tramp along the glen, In groups or single, Of brisk fruit-merchant men. Till Lizzie urged, "O Laura, come; I hear the fruit-call but I dare not look: You should not loiter longer at this brook: Come with me home. The stars rise, the moon bends her arc, Each glowworm winks her spark, Let us get home before the night grows dark: For clouds may gather Though this is summer weather, Put out the lights and drench us through; Then if we lost our way what should we do?" Laura turn'd cold as stone To find her sister heard that cry alone, That goblin cry, "Come buy our fruits, come buy." Must she then buy no more such dainty fruit? Must she no more such succous pasture find, Gone deaf and blind? Her tree of life droop'd from the root: She said not one word in her heart's sore ache; But peering thro' the dimness, nought discerning, Trudg'd home, her pitcher dripping all the way; So crept to bed, and lay Silent till Lizzie slept; Then sat up in a passionate yearning, And gnash'd her teeth for baulk'd desire, and wept As if her heart would break. Day after day, night after night, Laura kept watch in vain In sullen silence of exceeding pain. She never caught again the goblin cry: "Come buy, come buy;"— She never spied the goblin men Hawking their fruits along the glen: But when the noon wax'd bright Her hair grew thin and grey; She dwindled, as the fair full moon doth turn To swift decay and burn Her fire away. One day remembering her kernel-stone She set it by a wall that faced the south; Dew'd it with tears, hoped for a root, Watch'd for a waxing shoot, But there came none; It never saw the sun, It never felt the trickling moisture run: While with sunk eyes and faded mouth She dream'd of melons, as a traveller sees False waves in desert drouth With shade of leaf-crown'd trees, And burns the thirstier in the sandful breeze. She no more swept the house, Tended the fowls or cows, Fetch'd honey, kneaded cakes of wheat, Brought water from the brook: But sat down listless in the chimney-nook And would not eat. Tender Lizzie could not bear To watch her sister's cankerous care Yet not to share. She night and morning Caught the goblins' cry: "Come buy our orchard fruits, Come buy, come buy;"— Beside the brook, along the glen, She heard the tramp of goblin men, The yoke and stir Poor Laura could not hear; Long'd to buy fruit to comfort her, But fear'd to pay too dear. She thought of Jeanie in her grave, Who should have been a bride; But who for joys brides hope to have Fell sick and died In her gay prime, In earliest winter time With the first glazing rime, With the first snow-fall of crisp winter time. Till Laura dwindling Seem'd knocking at Death's door: Then Lizzie weigh'd no more Better and worse; But put a silver penny in her purse, Kiss'd Laura, cross'd the heath with clumps of furze At twilight, halted by the brook: And for the first time in her life Began to listen and look. Laugh'd every goblin When they spied her peeping: Came towards her hobbling, Flying, running, leaping, Puffing and blowing, Chuckling, clapping, crowing, Clucking and gobbling, Mopping and mowing, Full of airs and graces, Pulling wry faces, Demure grimaces, Cat-like and rat-like, Ratel- and wombat-like, Snail-paced in a hurry, Parrot-voiced and whistler, Helter skelter, hurry skurry, Chattering like magpies, Fluttering like pigeons, Gliding like fishes,— Hugg'd her and kiss'd her: Squeez'd and caress'd her: Stretch'd up their dishes, Panniers, and plates: "Look at our apples Russet and dun, Bob at our cherries, Bite at our peaches, Citrons and dates, Grapes for the asking, Pears red with basking Out in the sun, Plums on their twigs; Pluck them and suck them, Pomegranates, figs."— "Good folk," said Lizzie, Mindful of Jeanie: "Give me much and many: — Held out her apron, Toss'd them her penny. "Nay, take a seat with us, Honour and eat with us," They answer'd grinning: "Our feast is but beginning. Night yet is early, Warm and dew-pearly, Wakeful and starry: Such fruits as these No man can carry: Half their bloom would fly, Half their dew would dry, Half their flavour would pass by. Sit down and feast with us, Be welcome guest with us, Cheer you and rest with us."— "Thank you," said Lizzie: "But one waits At home alone for me: So without further parleying, If you will not sell me any Of your fruits though much and many, Give me back my silver penny I toss'd you for a fee."— They began to scratch their pates, No longer wagging, purring, But visibly demurring, Grunting and snarling. One call'd her proud, Cross-grain'd, uncivil; Their tones wax'd loud, Their looks were evil. Lashing their tails They trod and hustled her, Elbow'd and jostled her, Claw'd with their nails, Barking, mewing, hissing, mocking, Tore her gown and soil'd her stocking, Twitch'd her hair out by the roots, Stamp'd upon her tender feet, Held her hands and squeez'd their fruits Against her mouth to make her eat. White and golden Lizzie stood, Like a lily in a flood,— Like a rock of blue-vein'd stone Lash'd by tides obstreperously,— Like a beacon left alone In a hoary roaring sea, Sending up a golden fire,— Like a fruit-crown'd orange-tree White with blossoms honey-sweet Sore beset by wasp and bee,— Like a royal virgin town Topp'd with gilded dome and spire Close beleaguer'd by a fleet Mad to tug her standard down. One may lead a horse to water, Twenty cannot make him drink. Though the goblins cuff'd and caught her, Coax'd and fought her, Bullied and besought her, Scratch'd her, pinch'd her black as ink, Kick'd and knock'd her, Maul'd and mock'd her, Lizzie utter'd not a word; Would not open lip from lip Lest they should cram a mouthful in: But laugh'd in heart to feel the drip Of juice that syrupp'd all her face, And lodg'd in dimples of her chin, And streak'd her neck which quaked like curd. At last the evil people, Worn out by her resistance, Flung back her penny, kick'd their fruit Along whichever road they took, Not leaving root or stone or shoot; Some writh'd into the ground, Some div'd into the brook With ring and ripple, Some scudded on the gale without a sound, Some vanish'd in the distance. In a smart, ache, tingle, Lizzie went her way; Knew not was it night or day; Sprang up the bank, tore thro' the furze, Threaded copse and dingle, And heard her penny jingle Bouncing in her purse,— Its bounce was music to her ear. She ran and ran As if she fear'd some goblin man Dogg'd her with gibe or curse Or something worse: But not one goblin scurried after, Nor was she prick'd by fear; The kind heart made her windy-paced That urged her home quite out of breath with haste And inward laughter. She cried, "Laura," up the garden, "Did you miss me? Come and kiss me. Never mind my bruises, Hug me, kiss me, suck my juices Squeez'd from goblin fruits for you, Goblin pulp and goblin dew. Eat me, drink me, love me; Laura, make much of me; For your sake I have braved the glen And had to do with goblin merchant men." Laura started from her chair, Flung her arms up in the air, Clutch'd her hair: "Lizzie, Lizzie, have you tasted For my sake the fruit forbidden? Must your light like mine be hidden, Your young life like mine be wasted, Undone in mine undoing, And ruin'd in my ruin, Thirsty, canker'd, goblin-ridden?"— She clung about her sister, Kiss'd and kiss'd and kiss'd her: Tears once again Refresh'd her shrunken eyes, Dropping like rain After long sultry drouth; Shaking with aguish fear, and pain, She kiss'd and kiss'd her with a hungry mouth. Her lips began to scorch, That juice was wormwood to her tongue, She loath'd the feast: Writhing as one possess'd she leap'd and sung, Rent all her robe, and wrung Her hands in lamentable haste, And beat her breast. Her locks stream'd like the torch Borne by a racer at full speed, Or like the mane of horses in their flight, Or like an eagle when she stems the light Straight toward the sun, Or like a caged thing freed, Or like a flying flag when armies run. Swift fire spread through her veins, knock'd at her heart, Met the fire smouldering there And overbore its lesser flame; She gorged on bitterness without a name: Ah! fool, to choose such part Of soul-consuming care! Sense fail'd in the mortal strife: Like the watch-tower of a town Which an earthquake shatters down, Like a lightning-stricken mast, Like a wind-uprooted tree Spun about, Like a foam-topp'd waterspout Cast down headlong in the sea, She fell at last; Pleasure past and anguish past, Is it death or is it life? Life out of death. That night long Lizzie watch'd by her, Counted her pulse's flagging stir, Felt for her breath, Held water to her lips, and cool'd her face With tears and fanning leaves: But when the first birds chirp'd about their eaves, And early reapers plodded to the place Of golden sheaves, And dew-wet grass Bow'd in the morning winds so brisk to pass, And new buds with new day Open'd of cup-like lilies on the stream, Laura awoke as from a dream, Laugh'd in the innocent old way, Hugg'd Lizzie but not twice or thrice; Her gleaming locks show'd not one thread of grey, Her breath was sweet as May And light danced in her eyes. Days, weeks, months, years Afterwards, when both were wives With children of their own; Their mother-hearts beset with fears, Their lives bound up in tender lives; Laura would call the little ones And tell them of her early prime, Those pleasant days long gone Of not-returning time: Would talk about the haunted glen, The wicked, quaint fruit-merchant men, Their fruits like honey to the throat But poison in the blood; (Men sell not such in any town): Would tell them how her sister stood In deadly peril to do her good, And win the fiery antidote: Then joining hands to little hands Would bid them cling together, "For there is no friend like a sister In calm or stormy weather; To cheer one on the tedious way, To fetch one if one goes astray, To lift one if one totters down, To strengthen whilst one stands."

Mark on the Wall Woolf

Perhaps it was the middle of January in the present year that I first looked up and saw the mark on the wall. In order to fix a date it is necessary to remember what one saw. So now I think of the fire; the steady film of yellow light upon the page of my book; the three chrysanthemums in the round glass bowl on the mantelpiece. Yes, it must have been the winter time, and we had just finished our tea, for I remember that I was smoking a cigarette when I looked up and saw the mark on the wall for the first time. I looked up through the smoke of my cigarette and my eye lodged for a moment upon the burning coals, and that old fancy of the crimson flag flapping from the castle tower came into my mind, and I thought of the cavalcade of red knights riding up the side of the black rock. Rather to my relief the sight of the mark interrupted the fancy, for it is an old fancy, an automatic fancy, made as a child perhaps. The mark was a small round mark, black upon the white wall, about six or seven inches above the mantelpiece. How readily our thoughts swarm upon a new object, lifting it a little way, as ants carry a blade of straw so feverishly, and then leave it.... If that mark was made by a nail, it can't have been for a picture, it must have been for a miniature-the miniature of a lady with white powdered curls, powder-dusted cheeks, and lips like red carnations. A fraud of course, for the people who had this house before us would have chosen pictures in that way-an old picture for an old room. That is the sort of people they were-very interesting people, and I think of them so often, in such queer places, because one will never see them again, never know what happened next. They wanted to leave this house because they wanted to change their style of furniture, so he said, and he was in process of saying that in his opinion art should have ideas behind it when we were torn asunder, as one is torn from the old lady about to pour out tea and the young man about to hit the tennis ball in the back garden of the suburban villa as one rushes past in the train. But as for that mark, I'm not sure about it; I don't believe it was made by a nail after all; it's too big, too round, for that. I might get up, but if I got up and looked at it, ten to one I shouldn't be able to say for certain; because once a thing's done, no one ever knows how it happened. Oh! dear me, the mystery of life; The inaccuracy of thought! The ignorance of humanity! To show how very little control of our possessions we have-what an accidental affair this living is after all our civilization-let me just count over a few of the things lost in one lifetime, beginning, for that seems always the most mysterious of losses-what cat would gnaw, what rat would nibble-three pale blue canisters of book-binding tools? Then there were the bird cages, the iron hoops, the steel skates, the Queen Anne coal-scuttle, the bagatelle board, the hand organ-all gone, and jewels, too. Opals and emeralds, they lie about the roots of turnips. What a scraping paring affair it is to be sure! The wonder is that I've any clothes on my back, that I sit surrounded by solid furniture at this moment. Why, if one wants to compare life to anything, one must liken it to being blown through the Tube at fifty miles an hour-landing at the other end without a single hairpin in one's hair! Shot out at the feet of God entirely naked! Tumbling head over heels in the asphodel meadows like brown paper parcels pitched down a shoot in the post office! With one's hair flying back like the tail of a race-horse. Yes, that seems to express the rapidity of life, the perpetual waste and repair; all so casual, all so haphazard.... But after life. The slow pulling down of thick green stalks so that the cup of the flower, as it turns over, deluges one with purple and red light. Why, after all, should one not be born there as one is born here, helpless, speechless, unable to focus one's eyesight, groping at the roots of the grass, at the toes of the Giants? As for saying which are trees, and which are men and women, or whether there are such things, that one won't be in a condition to do for fifty years or so. There will be nothing but spaces of light and dark, intersected by thick stalks, and rather higher up perhaps, rose-shaped blots of an indistinct colour-dim pinks and blues-which will, as time goes on, become more definite, become-I don't know what.... And yet that mark on the wall is not a hole at all. It may even be caused by some round black substance, such as a small rose leaf, left over from the summer, and I, not being a very vigilant housekeeper-look at the dust on the mantelpiece, for example, the dust which, so they say, buried Troy three times over, only fragments of pots utterly refusing annihilation, as one can believe. The tree outside the window taps very gently on the pane.... I want to think quietly, calmly, spaciously, never to be interrupted, never to have to rise from my chair, to slip easily from one thing to another, without any sense of hostility, or obstacle. I want to sink deeper and deeper, away from the surface, with its hard separate facts. To steady myself, let me catch hold of the first idea that passes.... Shakespeare.... Well, he will do as well as another. A man who sat himself solidly in an arm-chair, and looked into the fire, so-A shower of ideas fell perpetually from some very high Heaven down through his mind. He leant his forehead on his hand, and people, looking in through the open door,-for this scene is supposed to take place on a summer's evening-But how dull this is, this historical fiction! It doesn't interest me at all. I wish I could hit upon a pleasant track of thought, a track indirectly reflecting credit upon myself, for those are the pleasantest thoughts, and very frequent even in the minds of modest mouse-coloured people, who believe genuinely that they dislike to hear their own praises. They are not thoughts directly praising oneself; that is the beauty of them; they are thoughts like this: "And then I came into the room. They were discussing botany. I said how I'd seen a flower growing on a dust heap on the site of an old house in Kingsway. The seed, I said, must have been sown in the reign of Charles the First. What flowers grew in the reign of Charles the First?" I asked-(but I don't remember the answer). Tall flowers with purple tassels to them perhaps. And so it goes on. All the time I'm dressing up the figure of myself in my own mind, lovingly, stealthily, not openly adoring it, for if I did that, I should catch myself out, and stretch my hand at once for a book in self-protection. Indeed, it is curious how instinctively one protects the image of oneself from idolatry or any other handling that could make it ridiculous, or too unlike the original to be believed in any longer. Or is it not so very curious after all? It is a matter of great importance. Suppose the looking glass smashes, the image disappears, and the romantic figure with the green of forest depths all about it is there no longer, but only that shell of a person which is seen by other people-what an airless, shallow, bald, prominent world it becomes! A world not to be lived in. As we face each other in omnibuses and underground railways we are looking into the mirror; that accounts for the vagueness, the gleam of glassiness, in our eyes. And the novelists in future will realize more and more the importance of these reflections, for of course there is not one reflection but an almost infinite number; those are the depths they will explore, those the phantoms they will pursue, leaving the description of reality more and more out of their stories, taking a knowledge of it for granted, as the Greeks did and Shakespeare perhaps-but these generalizations are very worthless. The military sound of the word is enough. It recalls leading articles, cabinet ministers-a whole class of things indeed which as a child one thought the thing itself, the standard thing, the real thing, from which one could not depart save at the risk of nameless damnation. Generalizations bring back somehow Sunday in London, Sunday afternoon walks, Sunday luncheons, and also ways of speaking of the dead, clothes, and habits-like the habit of sitting all together in one room until a certain hour, although nobody liked it. There was a rule for everything. The rule for tablecloths at that particular period was that they should be made of tapestry with little yellow compartments marked upon them, such as you may see in photographs of the carpets in the corridors of the royal palaces. Tablecloths of a different kind were not real tablecloths. How shocking, and yet how wonderful it was to discover that these real things, Sunday luncheons, Sunday walks, country houses, and tablecloths were not entirely real, were indeed half phantoms, and the damnation which visited the disbeliever in them was only a sense of illegitimate freedom. What now takes the place of those things I wonder, those real standard things? Men perhaps, should you be a woman; the masculine point of view which governs our lives, which sets the standard, which establishes Whitaker's Table of Precedency, which has become, I suppose, since the war half a phantom to many men and women, which soon, one may hope, will be laughed into the dustbin where the phantoms go, the mahogany sideboards and the Landseer prints, Gods and Devils, Hell and so forth, leaving us all with an intoxicating sense of illegitimate freedom-if freedom exists.... In certain lights that mark on the wall seems actually to project from the wall. Nor is it entirely circular. I cannot be sure, but it seems to cast a perceptible shadow, suggesting that if I ran my finger down that strip of the wall it would, at a certain point, mount and descend a small tumulus, a smooth tumulus like those barrows on the South Downs which are, they say, either tombs or camps. Of the two I should prefer them to be tombs, desiring melancholy like most English people, and finding it natural at the end of a walk to think of the bones stretched beneath the turf.... There must be some book about it. Some antiquary must have dug up those bones and given them a name.... What sort of a man is an antiquary, I wonder? Retired Colonels for the most part, I daresay, leading parties of aged labourers to the top here, examining clods of earth and stone, and getting into correspondence with the neighbouring clergy, which, being opened at breakfast time, gives them a feeling of importance, and the comparison of arrow-heads necessitates cross-country journeys to the county towns, an agreeable necessity both to them and to their elderly wives, who wish to make plum jam or to clean out the study, and have every reason for keeping that great question of the camp or the tomb in perpetual suspension, while the Colonel himself feels agreeably philosophic in accumulating evidence on both sides of the question. It is true that he does finally incline to believe in the camp; and, being opposed, indites a pamphlet which he is about to read at the quarterly meeting of the local society when a stroke lays him low, and his last conscious thoughts are not of wife or child, but of the camp and that arrowhead there, which is now in the case at the local museum, together with the foot of a Chinese murderess, a handful of Elizabethan nails, a great many Tudor clay pipes, a piece of Roman pottery, and the wine-glass that Nelson drank out of-proving I really don't know what. No, no, nothing is proved, nothing is known. And if I were to get up at this very moment and ascertain that the mark on the wall is really-what shall we say?-the head of a gigantic old nail, driven in two hundred years ago, which has now, owing to the patient attrition of many generations of housemaids, revealed its head above the coat of paint, and is taking its first view of modern life in the sight of a white-walled fire-lit room, what should I gain?-Knowledge? Matter for further speculation? I can think sitting still as well as standing up. And what is knowledge? What are our learned men save the descendants of witches and hermits who crouched in caves and in woods brewing herbs, interrogating shrew-mice and writing down the language of the stars? And the less we honour them as our superstitions dwindle and our respect for beauty and health of mind increases.... Yes, one could imagine a very pleasant world. A quiet, spacious world, with the flowers so red and blue in the open fields. A world without professors or specialists or house-keepers with the profiles of policemen, a world which one could slice with one's thought as a fish slices the water with his fin, grazing the stems of the water-lilies, hanging suspended over nests of white sea eggs.... How peaceful it is down here, rooted in the centre of the world and gazing up through the grey waters, with their sudden gleams of light, and their reflections-if it were not for Whitaker's Almanack-if it were not for the Table of Precedency! I must jump up and see for myself what that mark on the wall really is-a nail, a rose-leaf, a crack in the wood? Here is nature once more at her old game of self-preservation. This train of thought, she perceives, is threatening mere waste of energy, even some collision with reality, for who will ever be able to lift a finger against Whitaker's Table of Precedency? The Archbishop of Canterbury is followed by the Lord High Chancellor; the Lord High Chancellor is followed by the Archbishop of York. Everybody follows somebody, such is the philosophy of Whitaker; and the great thing is to know who follows whom. Whitaker knows, and let that, so Nature counsels, comfort you, instead of enraging you; and if you can't be comforted, if you must shatter this hour of peace, think of the mark on the wall. I understand Nature's game-her prompting to take action as a way of ending any thought that threatens to excite or to pain. Hence, I suppose, comes our slight contempt for men of action-men, we assume, who don't think. Still, there's no harm in putting a full stop to one's disagreeable thoughts by looking at a mark on the wall. Indeed, now that I have fixed my eyes upon it, I feel that I have grasped a plank in the sea; I feel a satisfying sense of reality which at once turns the two Archbishops and the Lord High Chancellor to the shadows of shades. Here is something definite, something real. Thus, waking from a midnight dream of horror, one hastily turns on the light and lies quiescent, worshipping the chest of drawers, worshipping solidity, worshipping reality, worshipping the impersonal world which is a proof of some existence other than ours. That is what one wants to be sure of.... Wood is a pleasant thing to think about. It comes from a tree; and trees grow, and we don't know how they grow. For years and years they grow, without paying any attention to us, in meadows, in forests, and by the side of rivers-all things one likes to think about. The cows swish their tails beneath them on hot afternoons; they paint rivers so green that when a moorhen dives one expects to see its feathers all green when it comes up again. I like to think of the fish balanced against the stream like flags blown out; and of water-beetles slowly raising domes of mud upon the bed of the river. I like to think of the tree itself: first the close dry sensation of being wood; then the grinding of the storm; then the slow, delicious ooze of sap. I like to think of it, too, on winter's nights standing in the empty field with all leaves close-furled, nothing tender exposed to the iron bullets of the moon, a naked mast upon an earth that goes tumbling, tumbling, all night long. The song of birds must sound very loud and strange in June; and how cold the feet of insects must feel upon it, as they make laborious progresses up the creases of the bark, or sun themselves upon the thin green awning of the leaves, and look straight in front of them with diamond-cut red eyes.... One by one the fibres snap beneath the immense cold pressure of the earth, then the last storm comes and, falling, the highest branches drive deep into the ground again. Even so, life isn't done with; there are a million patient, watchful lives still for a tree, all over the world, in bedrooms, in ships, on the pavement, lining rooms, where men and women sit after tea, smoking cigarettes. It is full of peaceful thoughts, happy thoughts, this tree. I should like to take each one separately-but something is getting in the way.... Where was I? What has it all been about? A tree? A river? The Downs? Whitaker's Almanack? The fields of asphodel? I can't remember a thing. Everything's moving, falling, slipping, vanishing.... There is a vast upheaval of matter. Someone is standing over me and saying- "I'm going out to buy a newspaper." "Yes?" "Though it's no good buying newspapers.... Nothing ever happens. Curse this war; ******** this war!... All the same, I don't see why we should have a snail on our wall." Ah, the mark on the wall! It was a snail.

On Liberty JS Mill

Few persons, out of Germany, even comprehend the meaning of the doctrine which Wilhelm von Humboldt, so eminent both as a savant and as a politician, made the text of a treatise- that "the end of man, or that which is prescribed by the eternal or immutable dictates of reason, and not suggested by vague and transient desires, is the highest and most harmonious development of his powers to a complete and consistent whole"; that, therefore, the object "towards which every human being must ceaselessly direct his efforts, and on which especially those who design to influence their fellow-men must ever keep their eyes, is the individuality of power and development"; that for this there are two requisites, "freedom, and variety of situations"; and that from the union of these arise "individual vigour and manifold diversity," which com- bine themselves in "originality."6 Little, however, as people are accustomed to a doctrine like that of Von Humboldt, and surprising as it may be to them to find so high a value attached to individuality, the question, one must nevertheless think, can only be one of degree. No one's idea of excellence in conduct is that people should do absolutely nothing but copy one another. No one would assert that people ought not to put into their mode of life, and into the conduct of their concerns, any impress whatever of their own judgment, or of their own individual character. On the other hand, it would be absurd to pretend that people ought to live as if nothing whatever had been known in the world before they came into it; as if experience had as yet done nothing towards showing that one mode of existence or of con- duct, is preferable to another. Nobody denies that people should be so taught and trained in youth as to know and benefit by the ascertained results of human experience. But it is the privilege and proper condition of a human being, arrived at the maturity of his faculties, to use and interpret experience in his own way. It is for him to find out what part of recorded experience is properly applicable to his own circumstances and character. The traditions and customs of other people are, to a cer- tain extent, evidence of what their experience has taught them; presump- tive evidence, and as such, have a claim to his deference: but, in the first place, their experience may be too narrow; or they may not have inter- preted it rightly. Secondly, their interpretation of experience may be correct, but unsuitable to him. Customs are made for customary cir- cumstances and customary characters; and his circumstances or his char- acter may be uncustomary. Thirdly, though the customs be both good as customs, and suitable to him, yet to conform to custom, merely as cus- tom, does not educate or develop in him any of the qualities which are the distinctive endowment of a human being. The human faculties of perception, judgment, discriminative feeling, mental activity, and even moral preference, are exercised only in making a choice. He who does anything because it is the custom makes no choice. He gains no practice either in discerning or in desiring what is best. The mental and moral, like the muscular powers, are improved only by being used. The facul- ties are called into no exercise by doing a thing merely because others do it, no more than by believing a thing only because others believe it. If the grounds of an opinion are not conclusive to the person's own reason, his reason cannot be strengthened, but is likely to be weakened, by his adopting it: and if the inducements to an act are not such as are consentaneous to his own feelings and character (where affection, or the rights of others, are not concerned) it is so much done towards rendering his feelings and character inert and torpid, instead of active and ener- getic. He who lets the world, or his own portion of it, choose his plan of life for him, has no need of any other faculty than the ape-like one of imitation. He who chooses his plan for himself, employs all his facul- ties. He must use observation to see, reasoning and judgment to foresee, activity to gather materials for decision, discrimination to decide, and when he has decided, firmness and self-control to hold to his deliberate decision. And these qualities he requires and exercises exactly in pro- portion as the part of his conduct which he determines according to his own judgment and feelings is a large one. It is possible that he might be guided in some good path, and kept out of harm's way, without any of these things. But what will be his comparative worth as a human being? It really is of importance, not only what men do, but also what manner of men they are that do it. Among the works of man, which human life is rightly employed in perfecting and beautifying, the first in importance surely is man himself. Supposing it were possible to get houses built, corn grown, battles fought, causes tried, and even churches erected and prayers said, by machinery—by automatons in human form—it would be a considerable loss to exchange for these automatons even the men and women who at present inhabit the more civilised parts of the world, and who assuredly are but starved specimens of what nature can and will produce. Human nature is not a machine to be built after a model, and set to do exactly the work prescribed for it, but a tree, which re- quires to grow and develop itself on all sides, according to the tendency of the inward forces which make it a living thing. It will probably be conceded that it is desirable people should exer- cise their understandings, and that an intelligent following of custom, or even occasionally an intelligent deviation from custom, is better than a blind and simply mechanical adhesion to it. To a certain extent it is admitted that our understanding should be our own: but there is not the same willingness to admit that our desires and impulses should be our own likewise; or that to possess impulses of our own, and of any strength, is anything but a peril and a snare. Yet desires and impulses are as much a part of a perfect human being as beliefs and restraints: and strong impulses are only perilous when not properly balanced; when one set of aims and inclinations is developed into strength, while others, which ought to co-exist with them, remain weak and inactive. It is not because men's desires are strong that they act ill; it is because their consciences are weak. There is no natural connection between strong impulses and a weak conscience. The natural connection is the other way. To say that one person's desires and feelings are stronger and more various than those of another, is merely to say that he has more of the raw material of human nature, and is therefore capable, perhaps of more evil, but cer- tainly of more good. Strong impulses are but another name for energy. Energy may be turned to bad uses; but more good may always be made of an energetic nature, than of an indolent and impassive one. Those who have most natural feeling are always those whose cultivated feel- ings may be made the strongest. The same strong susceptibilities which make the personal impulses vivid and powerful, are also the source from whence are generated the most passionate love of virtue, and the sternest self-control. It is through the cultivation of these that society both does its duty and protects its interests: not by rejecting the stuff of which heroes are made, because it knows not how to make them. A person whose desires and impulses are his own—are the expression of his own nature, as it has been developed and modified by his own culture—is said to have a character. One whose desires and impulses are not his own, has no character, no more than a steam-engine has a character. If, in addition to being his own, his impulses are strong, and are under the government of a strong will, he has an energetic character. Whoever thinks that individuality of desires and impulses should not be encour- aged to unfold itself, must maintain that society has no need of strong natures-is not the better for containing many persons who have much character-and that a high general average of energy is not desirable. In some early states of society, these forces might be, and were, too much ahead of the power which society then possessed of disciplining and controlling them. There has been a time when the element of spon- taneity and individuality was in excess, and the social principle had a hard struggle with it. The difficulty then was to induce men of strong bodies or minds to pay obedience to any rules which required them to control their impulses. To overcome this difficulty, law and discipline, like the Popes struggling against the Emperors, asserted a power over the whole man, claiming to control all his life in order to control his character-which society had not found any other sufficient means of binding. But society has now fairly got the better of individuality; and the danger which threatens human nature is not the excess, but the defi- ciency, of personal impulses and preferences. Things are vastly changed since the passions of those who were strong by station or by personal endowment were in a state of habitual rebellion against laws and ordi- nances, and required to be rigorously chained up to enable the persons within their reach to enjoy any particle of security. In our times, from the highest class of society down to the lowest, every one lives as under the eye of a hostile and dreaded censorship. Not only in what concerns others, but in what concerns only themselves, the individual or the fam- ily do not ask themselves—what do I prefer? or, what would suit my character and disposition? or, what would allow the best and highest in me to have fair play, and enable it to grow and thrive? They ask them- selves, what is suitable to my position? what is usually done by persons of my station and pecuniary circumstances? or (worse still) what is usually done by persons of a station and circumstances superior to mine? I do not mean that they choose what is customary in preference to what suits their own inclination. It does not occur to them to have any inclina- tion, except for what is customary. Thus the mind itself is bowed to the yoke: even in what people do for pleasure, conformity is the first thing thought of; they like in crowds; they exercise choice only among things commonly done: peculiarity of taste, eccentricity of conduct, are shunned equally with crimes: until by dint of not following their own nature they have no nature to follow: their human capacities are withered and starved: they become incapable of any strong wishes or native pleasures, and are generally without either opinions or feelings of home growth, or prop- erly their own. Now is this, or is it not, the desirable condition of human nature? It is so, on the Calvinistic theory. According to that, the one great offence of man is self-will. All the good of which humanity is capable is comprised in obedience. You have no choice; thus you must do, and no otherwise: "whatever is not a duty, is a sin." Human nature being radi- cally corrupt, there is no redemption for any one until human nature is killed within him. To one holding this theory of life, crushing out any of the human faculties, capacities, and susceptibilities, is no evil: man needs no capacity, but that of surrendering himself to the will of God: and if he uses any of his faculties for any other purpose but to do that supposed will more effectually, he is better without them. This is the theory of Calvinism; and it is held, in a mitigated form, by many who do not consider themselves Calvinists; the mitigation consisting in giving a less ascetic interpretation to the alleged will of God; asserting it to be his will that mankind should gratify some of their inclinations; of course not in the manner they themselves prefer, but in the way of obedience, that is, in a way prescribed to them by authority; and, therefore, by the necessary condition of the case, the same for all. In some such insidious form there is at present a strong tendency to this narrow theory of life, and to the pinched and hidebound type of human character which it patronises. Many persons, no doubt, sincerely think that human beings thus cramped and dwarfed are as their Maker designed them to be; just as many have thought that trees are a much finer thing when clipped into pollards, or cut out into figures of animals, than as nature made them. But if it be any part of religion to believe that man was made by a good Being, it is more consistent with that faith to believe that this Being gave all human faculties that they might be culti- vated and unfolded, not rooted out and consumed, and that he takes delight in every nearer approach made by his creatures to the ideal con- ception embodied in them, every increase in any of their capabilities of comprehension, of action, or of enjoyment. There is a different type of human excellence from the Calvinistic: a conception of humanity as having its nature bestowed on it for other purposes than merely to be abnegated. "Pagan self-assertion" is one of the elements of human worth, as well as "Christian self-denial."7 There is a Greek ideal of self-devel- opment, which the Platonic and Christian ideal of self-government blends with, but does not supersede. It may be better to be a John Knox than an Alcibiades, but it is better to be a Pericles than either; nor would a Pericles, if we had one in these days, be without anything good which belonged to John Knox. It is not by wearing down into uniformity all that is individual in themselves, but by cultivating it, and calling it forth, within the limits imposed by the rights and interests of others, that human beings become a noble and beautiful object of contemplation; and as the works partake the character of those who do them, by the same process human life also becomes rich, diversified, and animating, furnishing more abundant ali- ment to high thoughts and elevating feelings, and strengthening the tie which binds every individual to the race, by making the race infinitely better worth belonging to. In proportion to the development of his indi- viduality, each person becomes more valuable to himself, and is there- fore capable of being more valuable to others. There is a greater fulness of life about his own existence, and when there is more life in the units there is more in the mass which is composed of them. As much com- pression as is necessary to prevent the stronger specimens of human nature from encroaching on the rights of others cannot be dispensed with; but for this there is ample compensation even in the point of view of human development. The means of development which the individual loses by being prevented from gratifying his inclinations to the injury of others, are chiefly obtained at the expense of the development of other people. And even to himself there is a full equivalent in the better devel- opment of the social part of his nature, rendered possible by the re- straint put upon the selfish part. To be held to rigid rules of justice for the sake of others, develops the feelings and capacities which have the good of others for their object. But to be restrained in things not affect- ing their good, by their mere displeasure, develops nothing valuable, except such force of character as may unfold itself in resisting the re- straint. If acquiesced in, it dulls and blunts the whole nature. To give any fair play to the nature of each, it is essential that different persons should be allowed to lead different lives. In proportion as this latitude has been exercised in any age, has that age been noteworthy to posterity. Even despotism does not produce its worst effects, so long as individu- ality exists under it; and whatever crushes individuality is despotism, by whatever name it may be called, and whether it professes to be enforc- ing the will of God or the injunctions of men. Having said that the individuality is the same thing with develop- ment, and that it is only the cultivation of individuality which produces, or can produce, well-developed human beings, I might here close the argument: for what more or better can be said of any condition of hu- man affairs than that it brings human beings themselves nearer to the best thing they can be? or what worse can be said of any obstruction to good than that it prevents this? Doubtless, however, these considerations will not suffice to convince those who most need convincing; and it is necessary further to show, that these developed human beings are of some use to the undeveloped—to point out to those who do not desire liberty, and would not avail themselves of it, that they may be in some intelligible manner rewarded for allowing other people to make use of it without hindrance. In the first place, then, I would suggest that they might possibly learn something from them. It will not be denied by anybody, that origi- nality is a valuable element in human affairs. There is always need of persons not only to discover new truths, and point out when what were once truths are true no longer, but also to commence new practices, and set the example of more enlightened conduct, and better taste and sense in human life. This cannot well be gainsaid by anybody who does not believe that the world has already attained perfection in all its ways and practices. It is true that this benefit is not capable of being rendered by everybody alike: there are but few persons, in comparison with the whole of mankind, whose experiments, if adopted by others, would be likely to be any improvement on established practice. But these few are the salt of the earth; without them, human life would become a stagnant pool. Not only is it they who introduce good things which did not before exist; it is they who keep the life in those which already exist. If there were nothing new to be done, would human intellect cease to be necessary? Would it be a reason why those who do the old things should forget why they are done, and do them like cattle, not like human beings? There is only too great a tendency in the best beliefs and practices to degenerate into the mechanical; and unless there were a succession of persons whose everrecurring originality prevents the grounds of those beliefs and prac- tices from becoming merely traditional, such dead matter would not resist the smallest shock from anything really alive, and there would be no reason why civilisation should not die out, as in the Byzantine Em- pire. Persons of genius, it is true, are, and are always likely to be, a small minority; but in order to have them, it is necessary to preserve the soil in which they grow. Genius can only breathe freely in an atmo- sphere of freedom. Persons of genius are, ex vi termini, more individual than any other people—less capable, consequently, of fitting themselves, without hurtful compression, into any of the small number of moulds which society provides in order to save its members the trouble of form- ing their own character. If from timidity they consent to be forced into one of these moulds, and to let all that part of themselves which cannot expand under the pressure remain unexpanded, society will be little the better for their genius. If they are of a strong character, and break their fetters, they become a mark for the society which has not succeeded in reducing them to commonplace, to point out with solemn warning as "wild," "erratic," and the like; much as if one should complain of the Niagara river for not flowing smoothly between its banks like a Dutch canal. I insist thus emphatically on the importance of genius, and the ne- cessity of allowing it to unfold itself freely both in thought and in prac- tice, being well aware that no one will deny the position in theory, but knowing also that almost every one, in reality, is totally indifferent to it. People think genius a fine thing if it enables a man to write an exciting poem, or paint a picture. But in its true sense, that of originality in thought and action, though no one says that it is not a thing to be ad- mired, nearly all, at heart, think that they can do very well without it. Unhappily this is too natural to be wondered at. Originality is the one thing which unoriginal minds cannot feel the use of. They cannot see what it is to do for them: how should they? If they could see what it would do for them, it would not be originality. The first service which originality has to render them, is that of opening their eyes: which being once fully done, they would have a chance of being themselves original. Meanwhile, recollecting that nothing was ever yet done which some one was not the first to do, and that all good things which exist are the fruits of originality, let them modest enough to believe that there is something still left for it to accomplish, and assure themselves that they are more in need of originality, the less they are conscious of the want. In sober truth, whatever homage may be professed, or even paid, to real or supposed mental superiority, the general tendency of things throughout the world is to render mediocrity the ascendant power among mankind. In ancient history, in the Middle Ages, and in a diminishing degree through the long transition from feudality to the present time, the individual was a power in himself; and if he had either great talents or a high social position, he was a considerable power. At present individu- als are lost in the crowd. In politics it is almost a triviality to say that public opinion now rules the world. The only power deserving the name is that of masses, and of governments while they make themselves the organ of the tendencies and instincts of masses. This is as true in the moral and social of private life as in public transactions. Those whose opinions go by the name of public opinion are not always the same sort of public: in America they are the whole white population; in England, chiefly the middle class. But they are always a mass, that is to say, collective mediocrity. And what is a still greater novelty, the mass do not now take their opinions from dignitaries in Church or State, from ostensible leaders, or from books. Their thinking is done for them by men much like themselves, addressing them or speaking in their name, on the spur of the moment, through the newspapers. ... There is one characteristic of the present direction of public opinion peculiarly calculated to make it intolerant of any marked demonstration of individuality. The general average of mankind are not only moderate in intellect, but also moderate in inclinations: they have no tastes or wishes strong enough to incline them to do anything unusual, and they consequently do not understand those who have, and class all such with the wild and intemperate whom they are accustomed to look down upon. Now, in addition to this fact which is general, we have only to suppose that a strong movement has set in towards the improvement of morals, and it is evident what we have to expect. In these days such a movement has set in; much has actually been effected in the way of increased regu- larity of conduct and discouragement of excesses; and there is a philan- thropic spirit abroad, for the exercise of which there is no more inviting field than the moral and prudential improvement of our fellow crea- tures. These tendencies of the times cause the public to be more dis- posed than at most former periods to prescribe general rules of conduct, and endeavour to make every one conform to the approved standard. And that standard, express or tacit, is to desire nothing strongly. Its ideal of character is to be without any marked character; to maim by compression, like a Chinese lady's foot, every part of human nature which stands out prominently, and tends to make the person markedly dissimilar in outline to commonplace humanity. As is usually the case with ideals which exclude one-half of what is desirable, the present standard of approbation produces only an inferior imitation of the other half. Instead of great energies guided by vigorous reason, and strong feelings strongly controlled by a conscientious will, its result is weak feelings and weak energies, which therefore can be kept in outward conformity to rule without any strength either of will or of reason. Already energetic characters on any large scale are becoming merely traditional. There is now scarcely any outlet for energy in this country except business. The energy expended in this may still be re- garded as considerable. What little is left from that employment is ex- pended on some hobby; which may be a useful, even a philanthropic hobby, but is always some one thing, and generally a thing of small dimensions. The greatness of England is now all collective; individually small, we only appear capable of anything great by our habit of combin- ing; and with this our moral and religious philanthropists are perfectly contented. But it was men of another stamp than this that made England what it has been; and men of another stamp will be needed to prevent its decline. The despotism of custom is everywhere the standing hindrance to human advancement, being in unceasing antagonism to that disposition to aim at something better than customary, which is called, according to circumstances, the spirit of liberty, or that of progress or improvement. The spirit of improvement is not always a spirit of liberty, for it may aim at forcing improvements on an unwilling people; and the spirit of liberty, in so far as it resists such attempts, may ally itself locally and temporarily with the opponents of improvement; but the only unfailing and permanent source of improvement is liberty, since by it there are as many possible independent centres of improvement as there are indi- viduals. The progressive principle, however, in either shape, whether as the love of liberty or of improvement, is antagonistic to the sway of Custom, involving at least emancipation from that yoke; and the contest between the two constitutes the chief interest of the history of mankind. The greater part of the world has, properly speaking, no history, be- cause the despotism of Custom is complete. This is the case over the whole East. Custom is there, in all things, the final appeal; justice and right mean conformity to custom; the argument of custom no one, un- less tyrant intoxicated with power, thinks of resisting. And we see the result. Those nations must once have had originality; they did not start out of the ground populous, lettered, and versed in many of the arts of life; they made themselves all this, and were then the greatest and most powerful nations of the world. What are they now? The subjects or dependents of tribes whose forefathers wandered in the forests when theirs had magnificent palaces and gorgeous temples, but over whom custom exercised only a divided rule with liberty and progress.

The Metaphysical Poets Eliot

By collecting these poems from the work of a generation more often named than read, and more often read than profitably studied, Professor Grierson has rendered a service of some importance. Certainly the reader will meet with many poems already preserved in other anthologies, at the same time that he discovers poems such as those of Aurelian Townshend or Lord Herbert of Cherbury here included. But the function of such an anthology as this is neither that of Professor Saintsbury's admirable edition of Caroline poets nor that of the Oxford Book of Englisb Verse. Mr. Grierson's book is in itself a piece of criticism and a provocation of criticism; and we think that he was right in including so many poems of Donne, elsewhere (though not in many editions) accessible, as documents in the case of "metaphysical poetry." The phrase has long done duty as a term of abuse or as the label of a quaint and pleasant taste. The question is to what extent the so-called metaphysicals formed a school (in our own time we should say a "movement"), and how far this so-called school or movement is a digression from the main current. Not only is it extremely difficult to define metaphysical poetry, but difficult to decide what poets practise it and in which of their verses. The poetry of Donne (to whom Marvell and Bishop King are sometimes nearer than any of the other authors) is late Elizabethan, its feeling often very close to that of Chapman. The "courtly" poetry is derivative from Jonson, who borrowed liberally from the Latin; it expires in the next century with the sentiment and witticism of Prior. There is finally the devotional verse of Herbert, Vaughan, and Crashaw (echoed long after by Christina Rossetti and Francis Thompson); Crashaw, sometimes more profound and less sectarian than the others, has a quality which returns through the Elizabethan period to the early Italians. It is difficult to find any precise use of metaphor, simile, or other conceit, which is common to all the poets and at the same time important enough as an element of style to isolate these poets as a group. Donne, and often Cowley, employ a device which is sometimes considered characteristically "metaphysical"; the elaboration (contrasted with the condensation) of a figure of speech to the farthest stage to which ingenuity can carry it. Thus Cowley develops the commonplace comparison of the world to a chess-board through long stanzas (To Destiny), and Donne, with more grace, in A Valediction, the comparison of two lovers to a pair of compasses. But elsewhere we find, instead of the mere explication of the content of a comparison, a development by rapid association of thought which requires considerable agility on the part of the reader. On a round ball A workman that hath copies by, can lay An Europe, Afrique, and an Asia, And quickly make that, which was nothing, All, So doth each teare, Which thee doth weare, A globe, yea, world by that impression grow, Till thy tears mixt with mine doe overflow This world, by waters sent from thee, my heaven dissolved so. Here we find at least two connexions which are not implicit in the first figure, but are forced upon it by the poet: from the geographer's globe to the tear, and the tear to the deluge. On the other hand, some of Donne's most successful and characteristic effects are secured by brief words and sudden contrasts: A bracelet of bright hair about the bone, where the most powerful effect is produced by the sudden contrast of associations of "bright hair" and of "bone." This telescoping of images and multiplied associations is characteristic of the phrase of some of the dramatists of the period which Donne knew; not to mention Shakespeare, it is frequent in Middleton, Webster, and Tourneur, and is one of the sources of the vitality of their language. Johnson, who employed the term "metaphysical poets," apparently having Donne, Cleveland, and Cowley chiefly in mind, remarks of them that "the most heterogeneous ideas are yoked by violence together." The force of this impeachment lies in the failure of the conjunction, the fact that often the ideas are yoked but not united; and if we are to judge of styles of poetry by their abuse, enough examples may be found in Cleveland to justify Johnson's condemnation. But a degree of heterogeneity of material compelled into unity by the operation of the poet's mind is omnipresent in poetry. We need not select for illustration such a line as: Notre âme est un trois-mâts cherchant son Icarie; we may find it in some of the best lines of Johnson himself (The Vanity of Human Wishes): His fate was destined to a barren strand, A petty fortress, and a dubious hand; He left a name at which the world grew pale, To point a moral, or adorn a tale. where the effect is due to a contrast of ideas, different in degree but the same in principle, as that which Johnson mildly reprehended. And in one of the finest poems of the age (a poem which could not have been written in any other age), the Exequy of Bishop King, the extended comparison is used with perfect success: the idea and the simile become one, in the passage in which the Bishop illustrates his impatience to see his dead wife, under the figure of a journey: Stay for me there; I will not faile To meet thee in that hollow Vale And think not much of my delay; I am already on the way, And follow thee with all the speed Desire can make, or sorrows breed. Each minute is a short degree, And evry houre a step towards thee. At night when I betake to rest, Next morn I rise nearer my West Of life, almost by eight houres sail, Than when sleep breath'd his drowsy gale. . . . But heark! My Pulse, like a soft Drum Beats my approach, tells Thee I come; And slow howere my marches be, I shall at last sit down by Thee. (In the last few lines there is that effect of terror which is several times attained by one of Bishop King's admirers, Edgar Poe.) Again, we may justly take these quatrains from Lord Herbert's Ode, stanzas which would, we think, be immediately pronounced to be of the metaphysical school: So when from hence we shall be gone, And be no more, nor you, nor I, As one another's mystery, Each shall be both, yet both but one. This said, in her uplifted face, Her eyes, which did that beauty crown, Were like two starrs, that having faln down, Look up again to find their place: While such a moveless silent peace Did seize on their becalmed sense, One would have thought some influence Their ravished spirits did possess. There is nothing in these lines (with the possible exception of the stars, a simile not at once grasped, but lovely and justified) which fits Johnson's general observations on the metaphysical poets in his essay on Cowley. A good deal resides in the richness of association which is at the same time borrowed from and given to the word "becalmed"; but the meaning is clear, the language simple and elegant. It is to be observed that the language of these poets is as a rule simple and pure; in the verse of George Herbert this simplicity is carried as far as it can go--a simplicity emulated without success by numerous modern poets. The structure of the sentences, on the other hand, is sometimes far from simple, but this is not a vice; it is a fidelity to thought and feeling. The effect, at its best, is far less artificial than that of an ode by Gray., And as this fidelity induces variety of thought and feeling, so it induces variety of music. We doubt whether, in the eighteenth century, could be found two poems in nominally the same metre, so dissimilar as Marvell's Coy Mistress and Crashaw's Saint Teresa; the one producing an effect of great speed by the use of short syllables, and the other an ecclesiastical solemnity by the use of long ones: Love, thou art absolute sole lord Of life and death. If so shrewd and sensitive (though so limited) a critic as Johnson failed to define metaphysical poetry by its faults, it is worth while to inquire whether we may not have more success by adopting the opposite method: by assuming that the poets of the seventeenth century (up to the Revolution) were the direct and normal development of the precedent age; and, without prejudicing their case by the adjective "metaphysical," consider whether their virtue was not something permanently valuable, which subsequently disappeared, but ought not to have disappeared. Johnson has hit, perhaps by accident, on one of their peculiarities, when he observes that "their attempts were always analytic"; he would not agree that, after the dissociation, they put the material together again in a new unity. It is certain that the dramatic verse of the later Elizabethan and early Jacobean poets expresses a degree of development of sensibility which is not found in any of the prose, good as it often is. If we except Marlowe, a man of prodigious intelligence, these dramatists were directly or indirectly (it is at least a tenable theory) affected by Montaigne. Even if we except also Jonson and Chapman, these two were notably erudite, and were notably men who incorporated their erudition into their sensibility: their mode of feeling was directly and freshly altered by their reading and thought. In Chapman especially there is a direct sensuous apprehension of thought, or a recreation of thought into feeling, which is exactly what we find in Donne: in this one thing, all the discipline Of manners and of manhood is contained; A man to join himself with th' Universe In his main sway, and make in all things fit One with that All, and go on, round as it; Not plucking from the whole his wretched part, And into straits, or into nought revert, Wishing the complete Universe might be Subject to such a rag of it as he; But to consider great Necessity. We compare this with some modern passage: No, when the fight begins within himself, A man's worth something. God stoops o'er his head, Satan looks up between his feet--both tug-- He's left, himself, i' the middle; the soul wakes And grows. Prolong that battle through his life! It is perhaps somewhat less fair, though very tempting (as both poets are concerned with the perpetuation of love by offspring), to compare with the stanzas already quoted from Lord Herbert's Ode the following from Tennyson: One walked between his wife and child, With measured footfall firm and mild, And now and then he gravely smiled. The prudent partner of his blood Leaned on him, faithful, gentle, good, Wearing the rose of womanhood. And in their double love secure, The little maiden walked demure, Pacing with downward eyelids pure. These three made unity so sweet, My frozen heart began to beat, Remembering its ancient beat. The difference is not a simple difference of degree between poets. It is something which had happened to the mind of England between the time of Donne or Lord Herbert of Cherbury and the time of Tennyson and Browning; it is the difference between the intellectual poet and the reflective poet. Tennyson and Browning are poets, and they think; but they do not feel their thought as immediately as the odour of a rose. A thought to Donne was an experience; it modified his sensibility. When a poet's mind is perfectly equipped for its work, it is constantly amalgamating disparate experience; the ordinary man's experience is chaotic, irregular, fragmentary. The latter falls in love, or reads Spinoza, and these two experiences have nothing to do with each other, or with the noise of the typewriter or the smell of cooking; in the mind of the poet these experiences are always forming new wholes. We may express the difference by the following theory: The poets of the seventeenth century, the successors of the dramatists of the sixteenth, possessed a mechanism of sensibility which could devour any kind of experience. They are simple, artificial, difficult, or fantastic, as their predecessors were; no less nor more than Dante, Guido Cavalcanti, Guinizelli, or Cino. In the seventeenth century a dissociation of sensibility set in, from which we have never recovered; and this dissociation, as is natural, was aggravated by the influence of the two most powerful poets of the century, Milton and Dryden. Each of these men performed certain poetic functions so magnificently well that the magnitude of the effect concealed the absence of others. The language went on and in some respects improved; the best verse of Collins, Gray, Johnson, and even Goldsmith satisfies some of our fastidious demands better than that of Donne or Marvell or King. But while the language became more refined, the feeling became more crude. The feeling, the sensibility, expressed in the Country Churchyard (to say nothing of Tennyson and Browning) is cruder than that in the Coy Mistress. The second effect of the influence of Milton and Dryden followed from the first, and was therefore slow in manifestation. The sentimental age began early in the eighteenth century, and continued. The poets revolted against the ratiocinative, the descriptive; they thought and felt by fits, unbalanced; they reflected. In one or two passages of Shelley's Triumph of Life, in the second Hyperion, there are traces of a struggle toward unification of sensibility. But Keats and Shelley died, and Tennyson and Browning ruminated. After this brief exposition of a theory--too brief, perhaps, to carry conviction--we may ask, what would have been the fate of the "metaphysical" had the current of poetry descended in a direct line from them, as it descended in a direct line to them? They would not, certainly, be classified as metaphysical. The possible interests of a poet are unlimited; the more intelligent he is the better; the more intelligent he is the more likely that he will have interests: our only condition is that he turn them into poetry, and not merely meditate on them poetically. A philosophical theory which has entered into poetry is established, for its truth or falsity in one sense ceases to matter, and its truth in another sense is proved. The poets in question have, like other poets, various faults. But they were, at best, engaged in the task of trying to find the verbal equivalent for states of mind and feeling. And this means both that they are more mature, and that they wear better, than later poets of certainly not less literary ability. It is not a permanent necessity that poets should be interested in philosophy, or in any other subject. We can only say that it appears likely that poets in our civilization, as it exists at present, must be difficult. Our civilization comprehends great variety and complexity, and this variety and complexity, playing upon a refined sensibility, must produce various and complex results. The poet must become more and more comprehensive, more allusive, more indirect, in order to force, to dislocate if necessary, language into his meaning. (A brilliant and extreme statement of this view, with which it is not requisite to associate oneself, is that of M. Jean Epstein, La Poésie d' aujourd-hui.) Hence we get something which looks very much like the conceit--we get, in fact, a method curiously similar to that of the "metaphysical poets," similar also in its use of obscure words and of simple phrasing. O géraniums diaphanes, guerroyeurs sortilèges, Sacrilèges monomanes! Emballages, devergondages, douches! O pressoirs Des vendanges des grands soirs! Layettes aux abois, Thyrses am fond des bois! Transfusions, représailles! Relevailles, compresses et l'éternal potion, Angélus! n'en pouvoir plus De débâcles nuptiales! de débâcles nuptiales! The same poet could write also simply: Elle est bien loin, elle pleure, Le grand vent se lamente aussi . . . Jules Laforgue, and Tristan Corbiére in many of his poems, are nearer to the "school of Donne" than any modern English poet. But poets more classical than they have the same essential quality of transmuting ideas into sensations, of transforming an observation into a state of mind. Pour 1'enfant, amoureux de cartes et d'estampes, L'univers est égal à son vaste appétit. Ah, que le monde est grand à la clarté des lampes! Aux yeux du souvenir que le monde est petit! [Baudelaire] In French literature the great master of the seventeenth century--Racine--and the great master of the nineteenth--Baudelaire--are in some ways more like each other than they are like any one else. The greatest two masters of diction are also the greatest two psychologists, the most curious explorers of the soul. It is interesting to speculate whether it is not a misfortune that two of the greatest masters of diction in our language, Milton and Dryden, triumph with a dazzling disregard of the soul. If we continued to produce Miltons and Drydens it might not so much matter, but as things are it is a pity that English poetry has remained so incomplete. Those who object to the "artificiality" of Milton or Dryden sometimes tell us to "look into our hearts and write." But that is not looking deep enough; Racine or Donne looked into a good deal more than the heart. One must look into the cerebral cortex, the nervous system, and the digestive tracts. May we not conclude, then, that Donne, Crashaw, Vaughan, Herbert and Lord Herbert, Marvell, King, Cowley at his best, are in the direct current of English poetry, and that their faults should be reprimanded by this standard rather than coddled by antiquarian affection? They have been enough praised in terms which are implicit limitations because they are "metaphysical" or "witty," "quaint" or "obscure," though at their best they have not these attributes more than other serious poets. On the other hand, we must not reject the criticism of Johnson (a dangerous person to disagree with) without having mastered it, without having assimilated the Johnsonian canons of taste. In reading the celebrated passage in his essay on Cowley we must remember that by wit he clearly means something more serious than we usually mean today; in his criticism of their versification we must remember in what a narrow discipline he was trained, but also how well trained; we must remember that Johnson tortures chiefly the chief offenders, Cowley and Cleveland. It would be a fruitful work, and one requiring a substantial book, to break up the classification of Johnson (for there has been none since) and exhibit these poets in all their difference of kind and of degree, from the massive music of Donne to the faint, pleasing tinkle of Aurelian Townshend--whose Dialogue between a Pilgrim and Time is one of the few regrettable omissions from the excellent anthology of Professor Grierson.

Sonnets from the Portuguese #43 E Browning

How do I love thee? Let me count the ways. I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of Being and ideal Grace. I love thee to the level of everyday's Most quiet need, by sun and candlelight. I thee freely, as men strive for Right; I love thee purely, as they turn from Praise. I love thee with the passion put to use In my old griefs, and with my childhood's faith. I love thee with a love I seemed to lose With my lost saints-- I love thee with the breath, Smiles, tears, of all my life!-- and, if God choose, I shall but love thee better after death.

Epilogue Nichols

I have crossed an ocean I have lost my tongue from the root of the old one a new one has sprung

Wherever I Hang Nichols

I leave me people, me land, me home For reasons, I not too sure I forsake de sun An de humming-bird splendour Had big rats in de floorboard So I pick up me new-world-self And come, to this place call England At first I feeling like I in a dream - De misty greyness I touching de walls to see if they real They solid to de seam And de people pouring from de underground system Like beans And when I look up to de sky I see Lord Nelson high - too high to lie And is so I sending home photos of myself Among de pigeons and de snow And is so I warding off de cold And is so, little by little I begin to change my calypso ways Never visiting nobody Before giving them clear warning And waiting me turn in queue Now, after all this time I get accustom to de English life But I still miss back-home side T o tell you de truth I don' t know really where I belaang Y es, divided to de ocean Divided to do bone Wherever I hang me knickers - that' s my home.

No, Thank you, John Rossetti

I never said I loved you, John: Why will you tease me, day by day, And wax a weariness to think upon With always "do" and "pray"? You know I never loved you, John; No fault of mine made me your toast: Why will you haunt me with a face as wan As shows an hour-old ghost? I dare say Meg or Moll would take Pity upon you, if you'd ask: And pray don't remain single for my sake Who can't perform that task. I have no heart?—Perhaps I have not; But then you're mad to take offence That I don't give you what I have not got: Use your common sense. Let bygones be bygones: Don't call me false, who owed not to be true: I'd rather answer "No" to fifty Johns Than answer "Yes" to you. Let's mar our pleasant days no more, Song-birds of passage, days of youth: Catch at to-day, forget the days before: I'll wink at your untruth. Let us strike hands as hearty friends; No more, no less: and friendship's good: Only don't keep in view ulterior ends, And points not understood In open treaty. Rise above Quibbles and shuffling off and on: Here's friendship for you if you like; but love,— No, thank you, John.

The Runaway Slave at Pilgrim's Point E Browning

I. I stand on the mark beside the shore Of the first white pilgrim's bended knee, Where exile turned to ancestor, And God was thanked for liberty. I have run through the night, my skin is as dark, I bend my knee down on this mark . . . I look on the sky and the sea. II. O pilgrim-souls, I speak to you! I see you come out proud and slow From the land of the spirits pale as dew. . . And round me and round me ye go! O pilgrims, I have gasped and run All night long from the whips of one Who in your names works sin and woe. III. And thus I thought that I would come And kneel here where I knelt before, And feel your souls around me hum In undertone to the ocean's roar; And lift my black face, my black hand, Here, in your names, to curse this land Ye blessed in freedom's evermore. IV. I am black, I am black; And yet God made me, they say. But if He did so, smiling back He must have cast His work away Under the feet of His white creatures, With a look of scorn,--that the dusky features Might be trodden again to clay. V. And yet He has made dark things To be glad and merry as light. There's a little dark bird sits and sings; There's a dark stream ripples out of sight; And the dark frogs chant in the safe morass, And the sweetest stars are made to pass O'er the face of the darkest night. VI. But we who are dark, we are dark! Ah, God, we have no stars! About our souls in care and cark Our blackness shuts like prison bars: The poor souls crouch so far behind, That never a comfort can they find By reaching through the prison-bars. VII. Indeed, we live beneath the sky, . . . That great smooth Hand of God, stretched out On all His children fatherly, To bless them from the fear and doubt, Which would be, if, from this low place, All opened straight up to His face Into the grand eternity. VIII. And still God's sunshine and His frost, They make us hot, they make us cold, As if we were not black and lost: And the beasts and birds, in wood and fold, Do fear and take us for very men! Could the weep-poor-will or the cat of the glen Look into my eyes and be bold? IX. I am black, I am black!-- But, once, I laughed in girlish glee; For one of my colour stood in the track Where the drivers drove, and looked at me-- And tender and full was the look he gave: Could a slave look so at another slave?-- I look at the sky and the sea. X. And from that hour our spirits grew As free as if unsold, unbought: Oh, strong enough, since we were two To conquer the world, we thought! The drivers drove us day by day; We did not mind, we went one way, And no better a liberty sought. XI. In the sunny ground between the canes, He said 'I love you' as he passed: When the shingle-roof rang sharp with the rains, I heard how he vowed it fast: While others shook, he smiled in the hut As he carved me a bowl of the cocoa-nut, Through the roar of the hurricanes. XII. I sang his name instead of a song; Over and over I sang his name-- Upward and downward I drew it along My various notes; the same, the same! I sang it low, that the slave-girls near Might never guess from aught they could hear, It was only a name. XIII. I look on the sky and the sea-- We were two to love, and two to pray,-- Yes, two, O God, who cried to Thee, Though nothing didst Thou say. Coldly Thou sat'st behind the sun! And now I cry who am but one, How wilt Thou speak to-day?-- XIV. We were black, we were black! We had no claim to love and bliss: What marvel, if each turned to lack? They wrung my cold hands out of his,-- They dragged him . . . where ? . . . I crawled to touch His blood's mark in the dust! . . . not much, Ye pilgrim-souls, . . . though plain as this! XV. Wrong, followed by a deeper wrong! Mere grief's too good for such as I. So the white men brought the shame ere long To strangle the sob of my agony. They would not leave me for my dull Wet eyes!--it was too merciful To let me weep pure tears and die. XVI. I am black, I am black!-- I wore a child upon my breast An amulet that hung too slack, And, in my unrest, could not rest: Thus we went moaning, child and mother, One to another, one to another, Until all ended for the best: XVII. For hark ! I will tell you low . . . Iow . . . I am black, you see,-- And the babe who lay on my bosom so, Was far too white . . . too white for me; As white as the ladies who scorned to pray Beside me at church but yesterday; Though my tears had washed a place for my knee. XVIII. My own, own child! I could not bear To look in his face, it was so white. I covered him up with a kerchief there; I covered his face in close and tight: And he moaned and struggled, as well might be, For the white child wanted his liberty-- Ha, ha! he wanted his master right. XIX. He moaned and beat with his head and feet, His little feet that never grew-- He struck them out, as it was meet, Against my heart to break it through. I might have sung and made him mild-- But I dared not sing to the white-faced child The only song I knew. XX. I pulled the kerchief very close: He could not see the sun, I swear, More, then, alive, than now he does From between the roots of the mango . . . where . . . I know where. Close! a child and mother Do wrong to look at one another, When one is black and one is fair. XXI. Why, in that single glance I had Of my child's face, . . . I tell you all, I saw a look that made me mad . . . The master's look, that used to fall On my soul like his lash . . . or worse! And so, to save it from my curse, I twisted it round in my shawl. XXII. And he moaned and trembled from foot to head, He shivered from head to foot; Till, after a time, he lay instead Too suddenly still and mute. I felt, beside, a stiffening cold, . . . I dared to lift up just a fold . . . As in lifting a leaf of the mango-fruit. XXIII. But my fruit . . . ha, ha!--there, had been (I laugh to think on't at this hour! . . .) Your fine white angels, who have seen Nearest the secret of God's power, . . . And plucked my fruit to make them wine, And sucked the soul of that child of mine, As the humming-bird sucks the soul of the flower. XXIV. Ha, ha, for the trick of the angels white! They freed the white child's spirit so. I said not a word, but, day and night, I carried the body to and fro; And it lay on my heart like a stone . . . as chill. --The sun may shine out as much as he will: I am cold, though it happened a month ago. XXV. From the white man's house, and the black man's hut, I carried the little body on, The forest's arms did round us shut, And silence through the trees did run: They asked no question as I went,-- They stood too high for astonishment,-- They could see God sit on His throne. XXVI. My little body, kerchiefed fast, I bore it on through the forest . . . on: And when I felt it was tired at last, I scooped a hole beneath the moon. Through the forest-tops the angels far, With a white sharp finger from every star, Did point and mock at what was done. XXVII. Yet when it was all done aright, . . . Earth, 'twixt me and my baby, strewed, All, changed to black earth, . . . nothing white, . . . A dark child in the dark,--ensued Some comfort, and my heart grew young: I sate down smiling there and sung The song I learnt in my maidenhood. XXVIII. And thus we two were reconciled, The white child and black mother, thus: For, as I sang it, soft and wild The same song, more melodious, Rose from the grave whereon I sate! It was the dead child singing that, To join the souls of both of us. XXIX. I look on the sea and the sky! Where the pilgrims' ships first anchored lay, The free sun rideth gloriously; But the pilgrim-ghosts have slid away Through the earliest streaks of the morn. My face is black, but it glares with a scorn Which they dare not meet by day. XXX. Ah!--in their 'stead, their hunter sons! Ah, ah! they are on me--they hunt in a ring-- Keep off! I brave you all at once-- I throw off your eyes like snakes that sting! You have killed the black eagle at nest, I think: Did you never stand still in your triumph, and shrink From the stroke of her wounded wing? XXXI. (Man, drop that stone you dared to lift!--) I wish you, who stand there five a-breast, Each, for his own wife's joy and gift, A little corpse as safely at rest As mine in the mangos!--Yes, but she May keep live babies on her knee, And sing the song she liketh best. XXXll. I am not mad: I am black. I see you staring in my face-- I know you, staring, shrinking back-- Ye are born of the Washington-race: And this land is the free America: And this mark on my wrist . . . (I prove what I say) Ropes tied me up here to the flogging-place. XXXIII. You think I shrieked then? Not a sound! I hung, as a gourd hangs in the sun. I only cursed them all around, As softly as I might have done My very own child!--From these sands Up to the mountains, lift your hands, O slaves, and end what I begun! XXXIV. Whips, curses; these must answer those! For in this UNION, you have set Two kinds of men in adverse rows, Each loathing each: and all forget The seven wounds in Christ's body fair; While HE sees gaping everywhere Our countless wounds that pay no debt. XXXV. Our wounds are different. Your white men Are, after all, not gods indeed, Nor able to make Christs again Do good with bleeding. We who bleed . . . (Stand off!) we help not in our loss! We are too heavy for our cross, And fall and crush you and your seed. XXXVI. I fall, I swoon! I look at the sky: The clouds are breaking on my brain; I am floated along, as if I should die Of liberty's exquisite pain-- In the name of the white child, waiting for me In the death-dark where we may kiss and agree, White men, I leave you all curse-free In my broken heart's disdain!

Shoot an Elephant Orwell

IN MOULMEIN, IN LOWER BURMA, I was hated by large numbers of people--the only time in my life that I have been important enough for this to happen to me. I was sub-divisional police officer of the town, and in an aimless, petty kind of way anti-European feeling was very bitter. No one had the guts to raise a riot, but if a European woman went through the bazaars alone somebody would probably spit betel juice over her dress. As a police officer I was an obvious target and was baited whenever it seemed safe to do so. When a nimble Burman tripped me up on the football field and the referee (another Burman) looked the other way, the crowd yelled with hideous laughter. This happened more than once. In the end the sneering yellow faces of young men that met me everywhere, the insults hooted after me when I was at a safe distance, got badly on my nerves. The young Buddhist priests were the worst of all. There were several thousands of them in the town and none of them seemed to have anything to do except stand on street corners and jeer at Europeans. All this was perplexing and upsetting. For at that time I had already made up my mind that imperialism was an evil thing and the sooner I chucked up my job and got out of it the better. Theoretically--and secretly, of course--I was all for the Burmese and all against their oppressors, the British. As for the job I was doing, I hated it more bitterly than I can perhaps make clear. In a job like that you see the dirty work of Empire at close quarters. The wretched prisoners huddling in the stinking cages of the lock-ups, the grey, cowed faces of the long-term convicts, the scarred buttocks of the men who had been Bogged with bamboos--all these oppressed me with an intolerable sense of guilt. But I could get nothing into perspective. I was young and ill- educated and I had had to think out my problems in the utter silence that is imposed on every Englishman in the East. I did not even know that the British Empire is dying, still less did I know that it is a great deal better than the younger empires that are going to supplant it. All I knew was that I was stuck between my hatred of the empire I served and my rage against the evil- spirited little beasts who tried to make my job impossible. With one part of my mind I thought of the British Raj as an unbreakable tyranny, as something clamped down, in saecula saeculorum, upon the will of prostrate peoples; with another part I thought that the greatest joy in the world would be to drive a bayonet into a Buddhist priest's guts. Feelings like these are the normal by- products of imperialism; ask any Anglo-Indian official, if you can catch him off duty. One day something happened which in a roundabout way was enlightening. It was a tiny incident in itself, but it gave me a better glimpse than I had had before of the real nature of imperialism--the real motives for which despotic governments act. Early one morning the sub- inspector at a police station the other end of the town rang me up on the phone and said that an elephant was ravaging the bazaar. Would I please come and do something about it? I did not know what I could do, but I wanted to see what was happening and I got on to a pony and started out. I took my rifle, an old .44 Winchester and much too small to kill an elephant, but I thought the noise might be useful in terrorem. Various Burmans stopped me on the way and told me about the elephant's doings. It was not, of course, a wild elephant, but a tame one which had gone "must." It had been chained up, as tame elephants always are when their attack of "must" is due, but on the previous night it had broken its chain and escaped. Its mahout, the only person who could manage it when it was in that state, had set out in pursuit, but had taken the wrong direction and was now twelve hours' journey away, and in the morning the elephant had suddenly reappeared in the town. The Burmese population had no weapons and were quite helpless against it. It had already destroyed somebody's bamboo hut, killed a cow and raided some fruit-stalls and devoured the stock; also it had met the municipal rubbish van and, when the driver jumped out and took to his heels, had turned the van over and inflicted violences upon it. The Burmese sub-inspector and some Indian constables were waiting for me in the quarter where the elephant had been seen. It was a very poor quarter, a labyrinth of squalid bamboo huts, thatched with palmleaf, winding all over a steep hillside. I remember that it was a cloudy, stuffy morning at the beginning of the rains. We began questioning the people as to where the elephant had gone and, as usual, failed to get any definite information. That is invariably the case in the East; a story always sounds clear enough at a distance, but the nearer you get to the scene of events the vaguer it becomes. Some of the people said that the elephant had gone in one direction, some said that he had gone in another, some professed not even to have heard of any elephant. I had almost made up my mind that the whole story was a pack of lies, when we heard yells a little distance away. There was a loud, scandalized cry of "Go away, child! Go away this instant!" and an old woman with a switch in her hand came round the corner of a hut, violently shooing away a crowd of naked children. Some more women followed, clicking their tongues and exclaiming; evidently there was something that the children ought not to have seen. I rounded the hut and saw a man's dead body sprawling in the mud. He was an Indian, a black Dravidian coolie, almost naked, and he could not have been dead many minutes. The people said that the elephant had come suddenly upon him round the corner of the hut, caught him with its trunk, put its foot on his back and ground him into the earth. This was the rainy season and the ground was soft, and his face had scored a trench a foot deep and a couple of yards long. He was lying on his belly with arms crucified and head sharply twisted to one side. His face was coated with mud, the eyes wide open, the teeth bared and grinning with an expression of unendurable agony. (Never tell me, by the way, that the dead look peaceful. Most of the corpses I have seen looked devilish.) The friction of the great beast's foot had stripped the skin from his back as neatly as one skins a rabbit. As soon as I saw the dead man I sent an orderly to a friend's house nearby to borrow an elephant rifle. I had already sent back the pony, not wanting it to go mad with fright and throw me if it smelt the elephant. The orderly came back in a few minutes with a rifle and five cartridges, and meanwhile some Burmans had arrived and told us that the elephant was in the paddy fields below, only a few hundred yards away. As I started forward practically the whole population of the quarter flocked out of the houses and followed me. They had seen the rifle and were all shouting excitedly that I was going to shoot the elephant. They had not shown much interest in the elephant when he was merely ravaging their homes, but it was different now that he was going to be shot. It was a bit of fun to them, as it would be to an English crowd; besides they wanted the meat. It made me vaguely uneasy. I had no intention of shooting the elephant--I had merely sent for the rifle to defend myself if necessary--and it is always unnerving to have a crowd following you. I marched down the hill, looking and feeling a fool, with the rifle over my shoulder and an ever-growing army of people jostling at my heels. At the bottom, when you got away from the huts, there was a metalled road and beyond that a miry waste of paddy fields a thousand yards across, not yet ploughed but soggy from the first rains and dotted with coarse grass. The elephant was standing eight yards from the road, his left side towards us. He took not the slightest notice of the crowd's approach. He was tearing up bunches of grass, beating them against his knees to clean them and stuffing them into his mouth. I had halted on the road. As soon as I saw the elephant I knew with perfect certainty that I ought not to shoot him. It is a serious matter to shoot a working elephant--it is comparable to destroying a huge and costly piece of machinery--and obviously one ought not to do it if it can possibly be avoided. And at that distance, peacefully eating, the elephant looked no more dangerous than a cow. I thought then and I think now that his attack of "must" was already passing off; in which case he would merely wander harmlessly about until the mahout came back and caught him. Moreover, I did not in the least want to shoot him. I decided that I would watch him for a little while to make sure that he did not turn savage again, and then go home. But at that moment I glanced round at the crowd that had followed me. It was an immense crowd, two thousand at the least and growing every minute. It blocked the road for a long distance on either side. I looked at the sea of yellow faces above the garish clothes-faces all happy and excited over this bit of fun, all certain that the elephant was going to be shot. They were watching me as they would watch a conjurer about to perform a trick. They did not like me, but with the magical rifle in my hands I was momentarily worth watching. And suddenly I realized that I should have to shoot the elephant after all. The people expected it of me and I had got to do it; I could feel their two thousand wills pressing me forward, irresistibly. And it was at this moment, as I stood there with the rifle in my hands, that I first grasped the hollowness, the futility of the white man's dominion in the East. Here was I, the white man with his gun, standing in front of the unarmed native crowd--seemingly the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind. I perceived in this moment that when the white man turns tyrant it is his own freedom that he destroys. He becomes a sort of hollow, posing dummy, the conventionalized figure of a sahib. For it is the condition of his rule that he shall spend his life in trying to impress the "natives," and so in every crisis he has got to do what the "natives" expect of him. He wears a mask, and his face grows to fit it. I had got to shoot the elephant. I had committed myself to doing it when I sent for the rifle. A sahib has got to act like a sahib; he has got to appear resolute, to know his own mind and do definite things. To come all that way, rifle in hand, with two thousand people marching at my heels, and then to trail feebly away, having done nothing--no, that was impossible. The crowd would laugh at me. And my whole life, every white man's life in the East, was one long struggle not to be laughed at. But I did not want to shoot the elephant. I watched him beating his bunch of grass against his knees, with that preoccupied grandmotherly air that elephants have. It seemed to me that it would be murder to shoot him. At that age I was not squeamish about killing animals, but I had never shot an elephant and never wanted to. (Somehow it always seems worse to kill a large animal.) Besides, there was the beast's owner to be considered. Alive, the elephant was worth at least a hundred pounds; dead, he would only be worth the value of his tusks, five pounds, possibly. But I had got to act quickly. I turned to some experienced-looking Burmans who had been there when we arrived, and asked them how the elephant had been behaving. They all said the same thing: he took no notice of you if you left him alone, but he might charge if you went too close to him. It was perfectly clear to me what I ought to do. I ought to walk up to within, say, twenty-five yards of the elephant and test his behavior. If he charged, I could shoot; if he took no notice of me, it would be safe to leave him until the mahout came back. But also I knew that I was going to do no such thing. I was a poor shot with a rifle and the ground was soft mud into which one would sink at every step. If the elephant charged and I missed him, I should have about as much chance as a toad under a steam-roller. But even then I was not thinking particularly of my own skin, only of the watchful yellow faces behind. For at that moment, with the crowd watching me, I was not afraid in the ordinary sense, as I would have been if I had been alone. A white man mustn't be frightened in front of "natives"; and so, in general, he isn't frightened. The sole thought in my mind was that if anything went wrong those two thousand Burmans would see me pursued, caught, trampled on and reduced to a grinning corpse like that Indian up the hill. And if that happened it was quite probable that some of them would laugh. That would never do. There was only one alternative. I shoved the cartridges into the magazine and lay down on the road to get a better aim. The crowd grew very still, and a deep, low, happy sigh, as of people who see the theatre curtain go up at last, breathed from innumerable throats. They were going to have their bit of fun after all. The rifle was a beautiful German thing with cross-hair sights. I did not then know that in shooting an elephant one would shoot to cut an imaginary bar running from ear-hole to ear-hole. I ought, therefore, as the elephant was sideways on, to have aimed straight at his ear-hole, actually I aimed several inches in front of this, thinking the brain would be further forward. When I pulled the trigger I did not hear the bang or feel the kick--one never does when a shot goes home--but I heard the devilish roar of glee that went up from the crowd. In that instant, in too short a time, one would have thought, even for the bullet to get there, a mysterious, terrible change had come over the elephant. He neither stirred nor fell, but every line of his body had altered. He looked suddenly stricken, shrunken, immensely old, as though the frighfful impact of the bullet had paralysed him without knocking him down. At last, after what seemed a long time- -it might have been five seconds, I dare say--he sagged flabbily to his knees. His mouth slobbered. An enormous senility seemed to have settled upon him. One could have imagined him thousands of years old. I fired again into the same spot. At the second shot he did not collapse but climbed with desperate slowness to his feet and stood weakly upright, with legs sagging and head drooping. I fired a third time. That was the shot that did for him. You could see the agony of it jolt his whole body and knock the last remnant of strength from his legs. But in falling he seemed for a moment to rise, for as his hind legs collapsed beneath him he seemed to tower upward like a huge rock toppling, his trunk reaching skyward like a tree. He trumpeted, for the first and only time. And then down he came, his belly towards me, with a crash that seemed to shake the ground even where I lay. I got up. The Burmans were already racing past me across the mud. It was obvious that the elephant would never rise again, but he was not dead. He was breathing very rhythmically with long rattling gasps, his great mound of a side painfully rising and falling. His mouth was wide open--I could see far down into caverns of pale pink throat. I waited a long time for him to die, but his breathing did not weaken. Finally I fired my two remaining shots into the spot where I thought his heart must be. The thick blood welled out of him like red velvet, but still he did not die. His body did not even jerk when the shots hit him, the tortured breathing continued without a pause. He was dying, very slowly and in great agony, but in some world remote from me where not even a bullet could damage him further. I felt that I had got to put an end to that dreadful noise. It seemed dreadful to see the great beast Lying there, powerless to move and yet powerless to die, and not even to be able to finish him. I sent back for my small rifle and poured shot after shot into his heart and down his throat. They seemed to make no impression. The tortured gasps continued as steadily as the ticking of a clock. In the end I could not stand it any longer and went away. I heard later that it took him half an hour to die. Burmans were bringing dahs and baskets even before I left, and I was told they had stripped his body almost to the bones by the afternoon. Afterwards, of course, there were endless discussions about the shooting of the elephant. The owner was furious, but he was only an Indian and could do nothing. Besides, legally I had done the right thing, for a mad elephant has to be killed, like a mad dog, if its owner fails to control it. Among the Europeans opinion was divided. The older men said I was right, the younger men said it was a damn shame to shoot an elephant for killing a coolie, because an elephant was worth more than any damn Coringhee coolie. And afterwards I was very glad that the coolie had been killed; it put me legally in the right and it gave me a sufficient pretext for shooting the elephant. I often wondered whether any of the others grasped that I had done it solely to avoid looking a fool.

A Room of One's Own Woolf

It was disappointing not to have brought back in the evening some important statement, some authentic fact. Women are poorer than men because—this or that. Perhaps now it would be better to give up seeking for the truth, and receiving on one's head an avalanche of opinion hot as lava, discoloured as dish-water. It would be better to draw the curtains; to shut out distractions; to light the lamp; to narrow the enquiry and to ask the historian, who records not opinions but facts, to describe under what conditions women lived, not throughout the ages, but in England, say, in the time of Elizabeth. For it is a perennial puzzle why no woman wrote a word of that extraordinary literature when every other man, it seemed, was capable of song or sonnet. What were the conditions in which women lived? I asked myself; for fiction, imaginative work that is, is not dropped like a pebble upon the ground, as science may be; fiction is like a spider's web, attached ever so lightly perhaps, but still attached to life at all four corners. Often the attachment is scarcely perceptible; Shakespeare's plays, for instance, seem to hang there complete by themselves. But when the web is pulled askew, hooked up at the edge, torn in the middle, one remembers that these webs are not spun in mid-air by incorporeal creatures, but are the work of suffering human beings, and are attached to grossly material things, like health and money and the houses we live in. I went, therefore, to the shelf where the histories stand and took down one of the latest, Professor Trevelyan's History of England. Once more I looked up Women, found 'position of' and turned to the pages indicated. 'Wife-beating', I read, 'was a recognized right of man, and was practised without shame by high as well as low. . . . Similarly,' the historian goes on, 'the daughter who refused to marry the gentleman of her parents' choice was liable to be locked up, beaten and flung about the room, without any shock being inflicted on public opinion. Marriage was not an affair of personal affection, but of family avarice, particularly in the "chivalrous" upper classes. . . . Betrothal often took place while one or both of the parties was in the cradle, and marriage when they were scarcely out of the nurses' charge.' That was about 1470, soon after Chaucer's time. The next reference to the position of women is some two hundred years later, in the time of the Stuarts. 'It was still the exception for women of the upper and middle class to choose their own husbands, and when the husband had been assigned, he was lord and master, so far at least as law and custom could make him. Yet even so,' Professor Trevelyan concludes, 'neither Shakespeare's women nor those of authentic seventeenth-century memoirs, like the Verneys and the Hutchinsons, seem wanting in personality and character.' Certainly, if we consider it, Cleopatra must have had a way with her; Lady Macbeth, one would suppose, had a will of her own; Rosalind, one might conclude, was an attractive girl. Professor Trevelyan is speaking no more than the truth when he remarks that Shakespeare's women do not seem wanting in personality and character. Not being a historian, one might go even further and say that women have burnt like beacons in all the works of all the poets from the beginning of time—Clytemnestra, Antigone, Cleopatra, Lady Macbeth, Phedre, Cressida, Rosalind, Desdemona, the Duchess of Malfi, among the dramatists; then among the prose writers: Millamant, Clarissa, Becky Sharp, Anna Karenina, Emma Bovary, Madame de Guermantes—the names flock to mind, nor do they recall women 'lacking in personality and character.' Indeed, if woman had no existence save in the fiction written by men, one would imagine her a person of the utmost importance; very various; heroic and mean; splendid and sordid; infinitely beautiful and hideous in the extreme; as great as a man, some think even greater.5 But this is woman in fiction. In fact, as Professor Trevelyan points out, she was locked up, beaten and flung about the room. 5 'It remains a strange and almost inexplicable fact that in Athena's city, where women were kept in almost Oriental suppression as odalisques or drudges, the stage should yet have produced figures like Clytemnestra and Cassandra Atossa and Antigone, Phedre and Medea, and all the other heroines who dominate play after play of the "misogynist" Euripides. But the paradox of this world where in real life a respectable woman could hardly show her face alone in the street, and yet on the stage woman equals or surpasses man, has never been satisfactorily explained. In modern tragedy the same predominance exists. At all events, a very cursory survey of Shakespeare's work (similarly with Webster, though not with Marlowe or Jonson) suffices to reveal how this dominance, this initiative of women, persists from Rosalind to Lady Macbeth. So too in Racine; six of his tragedies bear their heroines' names; and what male characters of his shall we set against Hermione and Andromaque, Berenice and Roxane, Phedre and Athalie? So again with Ibsen; what men shall we match with Solveig and Nora, Heda and Hilda Wangel and Rebecca West?'— F. L. Lucas, Tragedy, pp. 114-15. A very queer, composite being thus emerges. Imaginatively she is of the highest importance; practically she is completely insignificant. She pervades poetry from cover to cover; she is all but absent from history. She dominates the lives of kings and conquerors in fiction; in fact she was the slave of any boy whose parents forced a ring upon her finger. Some of the most inspired words, some of the most profound thoughts in literature fall from her lips; in real life she could hardly read, could scarcely spell, and was the property of her husband. It was certainly an odd monster that one made up by reading the historians first and the poets afterwards a worm winged like an eagle; the spirit of life and beauty in a kitchen chopping up suet. But these monsters, however amusing to the imagination, have no existence in fact. What one must do to bring her to life was to think poetically and prosaically at one and the same moment, thus keeping in touch with fact—that she is Mrs Martin, aged thirty-six, dressed in blue, wearing a black hat and brown shoes; but not losing sight of fiction either—that she is a vessel in which all sorts of spirits and forces are coursing and flashing perpetually. The moment, however, that one tries this method with the Elizabethan woman, one branch of illumination fails; one is held up by the scarcity of facts. One knows nothing detailed, nothing perfectly true and substantial about her. History scarcely mentions her. And I turned to Professor Trevelyan again to see what history meant to him. I found by looking at his chapter headings that it meant —— 'The Manor Court and the Methods of Open-field Agriculture . . . The Cistercians and Sheep-farming . . . The Crusades.. . The University . . . The House of Commons . . . The Hundred Years' War . . . The Wars of the Roses . . . The Renaissance Scholars . . . The Dissolution of the Monasteries . . . Agrarian and Religious Strife . . . The Origin of English Sea-power. .. The Armada . . . ' and so on. Occasionally an individual woman is mentioned, an Elizabeth, or a Mary; a queen or a great lady. But by no possible means could middle-class women with nothing but brains and character at their command have taken part in any one of the great movements which, brought together, constitute the historian's view of the past. Nor shall we find her in collection of anecdotes. Aubrey hardly mentions her. She never writes her own life and scarcely keeps a diary; there are only a handful of her letters in existence. She left no plays or poems by which we can judge her. What one wants, I thought—and why does not some brilliant student at Newnham or Girton supply it?—is a mass of information; at what age did she marry; how many children had she as a rule; what was her house like, had she a room to herself; did she do the cooking; would she be likely to have a servant? All these facts lie somewhere, presumably, in parish registers and account books; the life of the average Elizabethan woman must be scattered about somewhere, could one collect it and make a book of it. It would be ambitious beyond my daring, I thought, looking about the shelves for books that were not there, to suggest to the students of those famous colleges that they should rewrite history, though I own that it often seems a little queer as it is, unreal, lop-sided; but why should they not add a supplement to history, calling it, of course, by some in conspicuous name so that women might figure there with out impropriety? For one often catches a glimpse of them in the lives of the great, whisking away into the back ground, concealing, I sometimes think, a wink, a laugh, perhaps a tear. And, after all, we have lives enough of Jane Austen; it scarcely seems necessary to consider again the influence of the tragedies of Joanna Baillie upon the poetry of Edgar Allan Poe; as for myself, I should not mind if the homes and haunts of Mary Russell Mitford were closed to the public for a century at least. But what I find deplorable, I continued, looking about the bookshelves again, is that nothing is known about women before the eighteenth century. I have no model in my mind to turn about this way and that. Here am I asking why women did not write poetry in the Elizabethan age, and I am not sure how they were educated; whether they were taught to write; whether they had sitting-rooms to themselves; how many women had children before they were twenty-one; what, in short, they did from eight in the morning till eight at night. They had no money evidently; according to Professor Trevelyan they were married whether they liked it or not before they were out of the nursery, at fifteen or sixteen very likely. It would have been extremely odd, even upon this showing, had one of them suddenly written the plays of Shakespeare, I concluded, and I thought of that old gentleman, who is dead now, but was a bishop, I think, who declared that it was impossible for any woman, past, present, or to come, to have the genius of Shakespeare. He wrote to the papers about it. He also told a lady who applied to him for information that cats do not as a matter of fact go to heaven, though they have, he added, souls of a sort. How much thinking those old gentlemen used to save one! How the borders of ignorance shrank back at their approach! Cats do not go to heaven. Women cannot write the plays of Shakespeare. Be that as it may, I could not help thinking, as I looked at the works of Shakespeare on the shelf, that the bishop was right at least in this; it would have been impossible, completely and entirely, for any woman to have written the plays of Shakespeare in the age of Shakespeare. Let me imagine, since facts are so hard to come by, what would have happened had Shakespeare had a wonderfully gifted sister, called Judith, let us say. Shakespeare himself went, very probably—his mother was an heiress—to the grammar school, where he may have learnt Latin—Ovid, Virgil and Horace—and the elements of grammar and logic. He was, it is well known, a wild boy who poached rabbits, perhaps shot a deer, and had, rather sooner than he should have done, to marry a woman in the neighbourhood, who bore him a child rather quicker than was right. That escapade sent him to seek his fortune in London. He had, it seemed, a taste for the theatre; he began by holding horses at the stage door. Very soon he got work in the theatre, became a successful actor, and lived at the hub of the universe, meeting everybody, knowing everybody, practising his art on the boards, exercising his wits in the streets, and even getting access to the palace of the queen. Meanwhile his extraordinarily gifted sister, let us suppose, remained at home. She was as adventurous, as imaginative, as agog to see the world as he was. But she was not sent to school. She had no chance of learning grammar and logic, let alone of reading Horace and Virgil. She picked up a book now and then, one of her brother's perhaps, and read a few pages. But then her parents came in and told her to mend the stockings or mind the stew and not moon about with books and papers. They would have spoken sharply but kindly, for they were substantial people who knew the conditions of life for a woman and loved their daughter—indeed, more likely than not she was the apple of her father's eye. Perhaps she scribbled some pages up in an apple loft on the sly but was careful to hide them or set fire to them. Soon, however, before she was out of her teens, she was to be betrothed to the son of a neighbouring woolstapler. She cried out that marriage was hateful to her, and for that she was severely beaten by her father. Then he ceased to scold her. He begged her instead not to hurt him, not to shame him in this matter of her marriage. He would give her a chain of beads or a fine petticoat, he said; and there were tears in his eyes. How could she disobey him? How could she break his heart? The force of her own gift alone drove her to it. She made up a small parcel of her belongings, let herself down by a rope one summer's night and took the road to London. She was not seventeen. The birds that sang in the hedge were not more musical than she was. She had the quickest fancy, a gift like her brother's, for the tune of words. Like him, she had a taste for the theatre. She stood at the stage door; she wanted to act, she said. Men laughed in her face. The manager—a fat, loose-lipped man—guffawed. He bellowed something about poodles dancing and women acting—no woman, he said, could possibly be an actress. He hinted—you can imagine what. She could get no training in her craft. Could she even seek her dinner in a tavern or roam the streets at midnight? Yet her genius was for fiction and lusted to feed abundantly upon the lives of men and women and the study of their ways. At last—for she was very young, oddly like Shakespeare the poet in her face, with the same grey eyes and rounded brows—at last Nick Greene the actor-manager took pity on her; she found herself with child by that gentleman and so—who shall measure the heat and violence of the poet's heart when caught and tangled in a woman's body?—killed herself one winter's night and lies buried at some cross-roads where the omnibuses now stop outside the Elephant and Castle. That, more or less, is how the story would run, I think, if a woman in Shakespeare's day had had Shakespeare's genius. But for my part, I agree with the deceased bishop, if such he was—it is unthinkable that any woman in Shakespeare's day should have had Shakespeare's genius. For genius like Shakespeare's is not born among labouring, uneducated, servile people. It was not born in England among the Saxons and the Britons. It is not born to-day among the working classes. How, then, could it have been born among women whose work began, according to Professor Trevelyan, almost before they were out of the nursery, who were forced to it by their parents and held to it by all the power of law and custom? Yet genius of a sort must have existed among women as it must have existed among the working classes. Now and again an Emily Brontë or a Robert Burns blazes out and proves its presence. But certainly it never got itself on to paper. When, however, one reads of a witch being ducked, of a woman possessed by devils, of a wise woman selling herbs, or even of a very remarkable man who had a mother, then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen, some Emily Brontë who dashed her brains out on the moor or mopped and mowed about the highways crazed with the torture that her gift had put her to. Indeed, I would venture to guess that Anon, who wrote so many poems without singing them, was often a woman. It was a woman Edward Fitzgerald, I think, suggested who made the ballads and the folk-songs, crooning them to her children, beguiling her spinning with them, or the length of the winter's night. This may be true or it may be false—who can say?—but what is true in it, so it seemed to me, reviewing the story of Shakespeare's sister as I had made it, is that any woman born with a great gift in the sixteenth century would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at. For it needs little skill in psychology to be sure that a highly gifted girl who had tried to use her gift for poetry would have been so thwarted and hindered by other people, so tortured and pulled asunder by her own contrary instincts, that she must have lost her health and sanity to a certainty. No girl could have walked to London and stood at a stage door and forced her way into the presence of actor-managers without doing herself a violence and suffering an anguish which may have been irrational—for chastity may be a fetish invented by certain societies for unknown reasons—but were none the less inevitable. Chastity had then, it has even now, a religious importance in a woman's life, and has so wrapped itself round with nerves and instincts that to cut it free and bring it to the light of day demands courage of the rarest. To have lived a free life in London in the sixteenth century would have meant for a woman who was poet and playwright a nervous stress and dilemma which might well have killed her. Had she survived, whatever she had written would have been twisted and deformed, issuing from a strained and morbid imagination. And undoubtedly, I thought, looking at the shelf where there are no plays by women, her work would have gone unsigned. That refuge she would have sought certainly. It was the relic of the sense of chastity that dictated anonymity to women even so late as the nineteenth century. Currer Bell, George Eliot, George Sand, all the victims of inner strife as their writings prove, sought ineffectively to veil themselves by using the name of a man. Thus they did homage to the convention, which if not implanted by the other sex was liberally encouraged by them (the chief glory of a woman is not to be talked of, said Pericles, himself a much-talked-of man) that publicity in women is detestable. Anonymity runs in their blood. The desire to be veiled still possesses them. They are not even now as concerned about the health of their fame as men are, and, speaking generally, will pass a tombstone or a signpost without feeling an irresistible desire to cut their names on it, as Alf, Bert or Chas. must do in obedience to their instinct, which murmurs if it sees a fine woman go by, or even a dog, Ce chien est a moi. And, of course, it may not be a dog, I thought, remembering Parliament Square, the Sieges Allee and other avenues; it may be a piece of land or a man with curly black hair. It is one of the great advantages of being a woman that one can pass even a very fine negress without wishing to make an Englishwoman of her. That woman, then, who was born with a gift of poetry in the sixteenth century, was an unhappy woman, a woman at strife against herself. All the conditions of her life, all her own instincts, were hostile to the state of mind which is needed to set free whatever is in the brain. But what is the state of mind that is most propitious to the act of creation? I asked. Can one come by any notion of the state that furthers and makes possible that strange activity? Here I opened the volume containing the Tragedies of Shakespeare. What was Shakespeare's state of mind, for instance, when he wrote Lear and Antony and Cleopatra? It was certainly the state of mind most favourable to poetry that there has ever existed. But Shakespeare himself said nothing about it. We only know casually and by chance that he 'never blotted a line'. Nothing indeed was ever said by the artist himself about his state of mind until the eighteenth century perhaps. Rousseau perhaps began it. At any rate, by the nineteenth century self-consciousness had developed so far that it was the habit for men of letters to describe their minds in confessions and autobiographies. Their lives also were Written, and their letters were printed after their deaths. Thus, though we do not know what Shakespeare went through when he wrote Lear, we do know what Carlyle went through when he wrote the French Revolution; what Flaubert went through when he wrote Madame Bovary; what Keats was going through when he tried to write poetry against the coming death and the indifference of the world. And one gathers from this enormous modern literature of confession and self-analysis that to write a work of genius is almost always a feat of prodigious difficulty. Everything is against the likelihood that it will come from the writer's mind whole and entire. Generally material circumstances are against it. Dogs will bark; people will interrupt; money must be made; health will break down. Further, accentuating all these difficulties and making them harder to bear is the world's notorious indifference. It does not ask people to write poems and novels and histories; it does not need them. It does not care whether Flaubert finds the right word or whether Carlyle scrupulously verifies this or that fact. Naturally, it will not pay for what it does not want. And so the writer, Keats, Flaubert, Carlyle, suffers, especially in the creative years of youth, every form of distraction and discouragement. A curse, a cry of agony, rises from those books of analysis and confession. 'Mighty poets in their misery dead'— that is the burden of their song. If anything comes through in spite of all this, it is a miracle, and probably no book is born entire and uncrippled as it was conceived. But for women, I thought, looking at the empty shelves, these difficulties were infinitely more formidable. In the first place, to have a room of her own, let alone a quiet room or a sound-proof room, was out of the question, unless her parents were exceptionally rich or very noble, even up to the beginning of the nineteenth century. Since her pin money, which depended on the goodwill of her father, was only enough to keep her clothed, she was debarred from such alleviations as came even to Keats or Tennyson or Carlyle, all poor men, from a walking tour, a little journey to France, from the separate lodging which, even if it were miserable enough, sheltered them from the claims and tyrannies of their families. Such material difficulties were formidable; but much worse were the immaterial. The indifference of the world which Keats and Flaubert and other men of genius have found so hard to bear was in her case not indifference but hostility. The world did not say to her as it said to them, Write if you choose; it makes no difference to me. The world said with a guffaw, Write? What's the good of your writing?

The moment before the gun went off Gordimer

Marais Van der Vyver shot one of his farm labourers, dead. An accident. There are accidents with guns every day of the week: children playing a fatal game with a father's revolver in the cities where guns are domestic objects, and hunting mishaps like this one, in the country. But these won't be reported all over the world. Van der Vyver knows his will be. He knows that the story of the Afrikaner farmer - a regional Party leader and Commandant of the local security commando - he, shooting a black man who worked for him will fit exactly their version of South Africa. It's made for them. They'll be able to use it in their boycott and divestment campaigns. It'll be another piece of evidence in their truth about the country. The papers at home will quote the story as it has appeared in the overseas press, and in the back-and-forth he and the black man will become those crudely-drawn figures on anti-apartheid banners, units in statistics of white brutality against the blacks quoted at United Nations - he, whom they will gleefully call 'a leading member' of the ruling Party. People in the farming community understand how he must feel. Bad enough to have killed a man, without helping the Party's, the government's, the country's enemies, as well. They see the truth of that. They know, reading the Sunday papers, that when Van der Vyver is quoted saying he is 'terribly shocked', he will 'look after the wife and children', none of those Americans and English, and none of those people at home who want to destroy the white man's power will believe him. And how they will sneer when he even says of the farm boy (according to one paper, if you can trust any of those reporters), 'He was my friend. I always took him hunting with me: Those city and overseas people don't know it's true: farmers usually have one particular black boy they like to take along with them in the lands: you could call it a kind of friend, yes, friends are not only your own white people, like yourself, you take into your house, pray with in church and work with on the Party committee. But how can those others know that? They don't want to know it. They think all blacks are like the big-mouth agitators in town. And Van der Vyver's face, in the photographs, strangely opened by distress - everyone in the district remembers Marais Van der Vyver as a little boy who would go away and hide himself if he caught you smiling at him. And everyone knows him now as a man who hides any change of expression round his mouth behind a thick, soft moustache, and in his eyes, by always looking at some object in hand, while concentrating on what he is saying, or while listening to you. It just goes to show what shock can do. When you look at the newspaper photographs you feel like apologising; as if you had started in on some room where you should not be. There will be an inquiry. There had better be - to stop the assumption of yet another case of brutality against farm workers, although there's nothing in doubt - an accident, and all the facts fully admitted by Van der Vyver. He made a statement when he arrived at the police station with the dead man in his bakkie. Captain Beetge knows him well, of course; he gave him brandy. He was shaking, this big, calm, clever son of Willem Van der Vyver, who inherited the old man's best farm. The black was stone dead. Nothing to be done for him. Beetge will not tell anyone that after the brandy, Van der Vyver wept. He sobbed, snot running onto his hands, like a dirty kid. The Captain was ashamed for him, and walked out to give him a chance to recover himself. Marais Van der Vyver had left his house at three in the afternoon to cull a buck from the family of Kudu he protects in the bush areas of his farm. He is interested in wild life and sees it as the farmer's sacred duty to raise game as well as cattle. As usual, he called at his shed workshop to pick up Lucas, a twenty-year-old farmhand who had shown mechanical aptitude and whom Van der Vyver himself had taught to maintain tractors and other farm machinery. He hooted. And Lucas followed the familiar routine, jumping onto the back of the truck. He liked to travel standing up there, spotting game before his employer did. He would lean forward, braced against the cab below him. Van der Vyver had a rifle and .300 ammunition beside him in the cab. The rifle was one of his father's, because his own was at the gunsmith's in town. Since his father died (Beetge's sergeant wrote 'passed on') no-one had used the rifle and so when he took it from a cupboard he was sure it was not loaded. His father had never allowed a loaded gun in the house. He himself had been taught since childhood never to ride with a loaded weapon in a vehicle. But this gun was loaded. On a dirt track, Lucas thumped his fist on the cab roof three times to signal: look left. Having seen the whiteripple-marked flank of a Kudu, and its fine horns raking through disguising bush, Van der Vyver drove rather fast over a pot- hole. The jolt fired the rifle. Upright, it was pointing straight through the cab roof at the head of Lucas... That is the statement of what happened. Although a man of such standing in the district, Van der Vyver had to go through the ritual of swearing that it was the truth. It has gone on record, and will be there in the archive of the local police station as long as Van der Vyver lives, and beyond that, through the lives of his children, Magnus, Helena and Karel - unless things in the country get worse, the example of black mobs in the towns spreads to the rural areas and the place is burned down as many urban police stations have been. Because nothing the government can do will appease the agitators and the whites who encourage them. Nothing satisfies them, in the cities: blacks can sit and drink in white hotels now, the Immorality Act has gone, blacks can sleep with whites... It's not even a crime any more. Van der Vyver has a high barbed security fence round his farmhouse and garden which his wife, Alida, thinks spoils completely the effect of her artificial stream with its tree-ferns beneath the Jacarandas. There is an aerial soaring like a flag- pole in the back yard. All his vehicles, including the truck in which the black man died, have aerials that swing like whips when the driver hits a pot-hole. They are part of the security system the farmers in the district maintain, each farm in touch with every other by radio, twenty-four hours out of twenty-four. It has already happened that infiltrators from over the border have mined remote farm roads, killing white farmers and their families out on their own property for a Sunday picnic. The pot-hole could have set off a landmine, and Van der Vyver might have died with his farm boy. When neighbours use the communications system to call up and say they are sorry about 'that business' with one of Van der Vyver's boys, there goes unsaid: it could have been worse. It is obvious from the quality and fittings of the coffin that the farmer has provided money for the funeral. And an elaborate funeral means a great deal to blacks; look how they will deprive themselves of the little they have, in their life-time, keeping up payments to a burial society so they won't go in boxwood to an unmarked grave. The young wife is pregnant (of course) and another little one, wearing red shoes several sizes too large, leans under her jutting belly. He is too young to understand what has happened, what he is witnessing that day. But neither whines nor plays about. He is solemn without knowing why. Blacks expose small children to everything. They don't protect them from the sight of fear and pain the way whites do theirs. It is the young wife who rolls her head and cries like a child, sobbing on the breast of this relative and that. All present work for Van der Vyver or are the families of those who work. And in the weeding and harvest seasons, the women and children work for him, too, carried - wrapped in their blankets, on a truck, singing - at sunrise to the fields. The dead man's mother is a woman who can't be more than in her late thirties (they start bearing children at puberty) but she is heavily mature in a black dress between her own parents, who were already working for old Van der Vyver when Marais, like their daughter, was a child. The parents hold her as if she were a prisoner or a crazy woman to be restrained. But she says nothing, does nothing. She does not look up, she does not look at Van der Vyver, whose gun went off in the truck. She stares at the grave. Nothing will make her look up, there need be no fear that she will look up, at him. His wife, Alida, is beside him. To show the proper respect, as for any white funeral, she is wearing the navy-blue-and-cream hat she wears to church this summer. She is always supportive, although he doesn't seem to notice it. This coldness and reserve - his mother says he didn't mix well as a child - she accepts for herself but regrets that it has prevented him from being nominated, as he should be, to stand as the Party's parliamentary candidate for the district. He does not let her clothing, or that of anyone else gathered closely, make contact with him. He, too, stares at the grave. The dead man's mother and he stare at the grave in communication like that between the black man outside and the white man inside the cab before the gun went off. The moment before the gun went off was a moment of high excitement shared through the roof of the cab, as the bullet was to pass, between the young black man outside and the white farmer inside the vehicle. There were such moments, without explanation, between them, although often around the farm the farmer would pass the young man without returning a greeting, as if he did not recognize him. When the bullet went off, what Van der Vyver saw was the Kudu stumble in fright at the report and gallop away. Then he heard the thud behind him, and past the window saw the young man fall out of the vehicle. He was sure he had leapt up and toppled - in fright, like the buck. The farmer was almost laughing with relief, ready to tease, as he opened his door, it did not seem possible that a bullet passing through the roof could have done harm. The young man did not laugh with him at his own fright. The farmer carried him in his arms, to the truck. He was sure, sure he could not be dead. But the young black man's blood was all over the farmer's clothes, soaking against his flesh as he drove. How will they ever know, when they file newspaper clippings, evidence, proof, when they look at the photographs and see his face! Guilty! They are right! How will they know, when the police stations burn with all the evidence of what has happened now, and what the law made a crime in the past. How could they know that they do not know - anything. The young black callously shot through the negligence of the white man was not the farmer's boy; he was his son.

The Lady of Shalott Tennyson

Part I On either side the river lie Long fields of barley and of rye, That clothe the wold and meet the sky; And thro' the field the road runs by To many-tower'd Camelot; The yellow-leaved waterlily The green-sheathed daffodilly Tremble in the water chilly Round about Shalott. Willows whiten, aspens shiver. The sunbeam showers break and quiver In the stream that runneth ever By the island in the river Flowing down to Camelot. Four gray walls, and four gray towers Overlook a space of flowers, And the silent isle imbowers The Lady of Shalott. Underneath the bearded barley, The reaper, reaping late and early, Hears her ever chanting cheerly, Like an angel, singing clearly, O'er the stream of Camelot. Piling the sheaves in furrows airy, Beneath the moon, the reaper weary Listening whispers, ' 'Tis the fairy, Lady of Shalott.' The little isle is all inrail'd With a rose-fence, and overtrail'd With roses: by the marge unhail'd The shallop flitteth silken sail'd, Skimming down to Camelot. A pearl garland winds her head: She leaneth on a velvet bed, Full royally apparelled, The Lady of Shalott. Part II No time hath she to sport and play: A charmed web she weaves alway. A curse is on her, if she stay Her weaving, either night or day, To look down to Camelot. She knows not what the curse may be; Therefore she weaveth steadily, Therefore no other care hath she, The Lady of Shalott. She lives with little joy or fear. Over the water, running near, The sheepbell tinkles in her ear. Before her hangs a mirror clear, Reflecting tower'd Camelot. And as the mazy web she whirls, She sees the surly village churls, And the red cloaks of market girls Pass onward from Shalott. Sometimes a troop of damsels glad, An abbot on an ambling pad, Sometimes a curly shepherd lad, Or long-hair'd page in crimson clad, Goes by to tower'd Camelot: And sometimes thro' the mirror blue The knights come riding two and two: She hath no loyal knight and true, The Lady of Shalott. But in her web she still delights To weave the mirror's magic sights, For often thro' the silent nights A funeral, with plumes and lights And music, came from Camelot: Or when the moon was overhead Came two young lovers lately wed; 'I am half sick of shadows,' said The Lady of Shalott. Part III A bow-shot from her bower-eaves, He rode between the barley-sheaves, The sun came dazzling thro' the leaves, And flam'd upon the brazen greaves Of bold Sir Lancelot. A red-cross knight for ever kneel'd To a lady in his shield, That sparkled on the yellow field, Beside remote Shalott. The gemmy bridle glitter'd free, Like to some branch of stars we see Hung in the golden Galaxy. The bridle bells rang merrily As he rode down from Camelot: And from his blazon'd baldric slung A mighty silver bugle hung, And as he rode his armour rung, Beside remote Shalott. All in the blue unclouded weather Thick-jewell'd shone the saddle-leather, The helmet and the helmet-feather Burn'd like one burning flame together, As he rode down from Camelot. As often thro' the purple night, Below the starry clusters bright, Some bearded meteor, trailing light, Moves over green Shalott. His broad clear brow in sunlight glow'd; On burnish'd hooves his war-horse trode; From underneath his helmet flow'd His coal-black curls as on he rode, As he rode down from Camelot. From the bank and from the river He flash'd into the crystal mirror, 'Tirra lirra, tirra lirra:' Sang Sir Lancelot. She left the web, she left the loom She made three paces thro' the room She saw the water-flower bloom, She saw the helmet and the plume, She look'd down to Camelot. Out flew the web and floated wide; The mirror crack'd from side to side; 'The curse is come upon me,' cried The Lady of Shalott. Part IV In the stormy east-wind straining, The pale yellow woods were waning, The broad stream in his banks complaining, Heavily the low sky raining Over tower'd Camelot; Outside the isle a shallow boat Beneath a willow lay afloat, Below the carven stern she wrote, The Lady of Shalott. A cloudwhite crown of pearl she dight, All raimented in snowy white That loosely flew (her zone in sight Clasp'd with one blinding diamond bright) Her wide eyes fix'd on Camelot, Though the squally east-wind keenly Blew, with folded arms serenely By the water stood the queenly Lady of Shalott. With a steady stony glance— Like some bold seer in a trance, Beholding all his own mischance, Mute, with a glassy countenance— She look'd down to Camelot. It was the closing of the day: She loos'd the chain, and down she lay; The broad stream bore her far away, The Lady of Shalott. As when to sailors while they roam, By creeks and outfalls far from home, Rising and dropping with the foam, From dying swans wild warblings come, Blown shoreward; so to Camelot Still as the boathead wound along The willowy hills and fields among, They heard her chanting her deathsong, The Lady of Shalott. A longdrawn carol, mournful, holy, She chanted loudly, chanted lowly, Till her eyes were darken'd wholly, And her smooth face sharpen'd slowly, Turn'd to tower'd Camelot: For ere she reach'd upon the tide The first house by the water-side, Singing in her song she died, The Lady of Shalott. Under tower and balcony, By garden wall and gallery, A pale, pale corpse she floated by, Deadcold, between the houses high, Dead into tower'd Camelot. Knight and burgher, lord and dame, To the planked wharfage came: Below the stern they read her name, The Lady of Shalott. They cross'd themselves, their stars they blest, Knight, minstrel, abbot, squire, and guest. There lay a parchment on her breast, That puzzled more than all the rest, The wellfed wits at Camelot. 'The web was woven curiously, The charm is broken utterly, Draw near and fear not,—this is I, The Lady of Shalott.'

The Fat Black Woman Goes Shopping Nichols

Shopping in London winter is a real drag for the fat black woman going from store to store in search of accommodating clothes and de weather so cold Look at the frozen thin mannequins fixing her with grin and de pretty face salesgals exchanging slimming glances thinking she don't notice Lord is aggravating Nothing soft and bright and billowing to flow like breezy sunlight when she walking The fat black woman curses in Swahili/Yoruba and nation language under her breathing all this journeying and journeying The fat black woman could only conclude that when it come to fashion the choice is lean Nothing much beyond size 14

Preface to The Picture of Dorian Gray Wilde

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest, as the lowest, form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only Beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

Three Guineas Woolf

To begin with an elementary distinction: a society is a con- glomeration of people joined together for certain aims; while you, who write in your own person with your own hand, are single. You the individual are a man whom we have reason to respect; a man of the brotherhood, to which, as biography proves, many brothers have belonged. Thus Anne Clough, describing her brother, says: "Arthur is my best friend and adviser. . . . Arthur is the comfort and joy of my life; it is for him, and from him, that I am incited to seek after all that is lovely and of good report." To which William Wordsworth, speaking of his sister but answer- ing the other as if one nightingale called to another in the forests of the past, replies: The Blessing of my later years Was with me when a Boy: She gave me eyes, she gave me ears; And humble cares, and delicate fears; A heart, the fountain of sweet tears; And love, and thought, and joy.12 Such was, such perhaps still is, the relationship of many broth- ers and sisters in private, as individuals. They respect each other and help each other and have aims in common. Why then, if such can be their private relationship, as biography and poetry prove, should their public relationship, as law and history prove, be so very different? And here, since you are a lawyer, with a lawyer's memory, it is not necessary to remind you of certain decrees of English law from its first records to the year 1919 by way of proving that the public, the society relationship of brother and sister has been very different from the private. The very word "society" sets tolling in memory the dismal bells of a harsh music: shall not, shall not, shall not. You shall not learn; you shall not earn; you shall not own; you shall not—such was the society rela- tionship of brother to sister for many centuries. And though it is possible, and to the optimistic credible, that in time a new society may ring a carillon of splendid harmony, and your letter heralds it, that day is far distant. Inevitably we ask ourselves, is there not something in the conglomeration of people into societies that releases what is most selfish and violent, least rational and humane in the individuals themselves? Inevitably we look upon society, so kind to you, so harsh to us, as an ill-fitting form that distorts the truth; deforms the mind; fetters the will. Inevitably we look upon societies as conspiracies that sink the private brother, whom many of us have reason to respect, and inflate in his stead a monstrous male, loud of voice, hard of fist, childishly intent upon scoring the floor of the earth with chalk marks, within whose mystic bound- aries human beings are penned, rigidly, separately, artificially; where, daubed red and gold, decorated like a savage with feath- ers he goes through mystic rites and enjoys the dubious pleasures of power and dominion while we, "his" women, are locked in the private house without share in the many societies of which his society is composed. For such reasons compact as they are of many memories and emotions—for who shall analyse the complexity of a mind that holds so deep a reservoir of time past within it?—it seems both wrong for us rationally and impossible for us emo- tionally to fill up your form and join your society. For by so doing we should merge our identity in yours; follow and repeat and score still deeper the old worn ruts in which society, like a gramophone whose needle has stuck, is grinding out with intolerable unanim- ity "Three hundred millions spent upon arms." We should not give effect to a view which our own experience of "society" should have helped us to envisage. Thus, Sir, while we respect you as a private person and prove it by giving you a guinea to spend as you choose, we believe that we can help you most effectively by refusing to join your society; by working for our common ends— justice and equality and liberty for all men and women—outside your society, not within. But this, you will say, if it means anything, can only mean that you, the daughters of educated men, who have promised us your positive help, refuse to join our society in order that you may make another of your own. And what sort of society do you propose to found outside ours, but in co-operation with it, so that we may both work together for our common ends? That is a question which you have every right to ask, and which we must try to answer in order to justify our refusal to sign the form you send. Let us then draw rapidly in outline the kind of society which the daughters of educated men might found and join outside your society but in co-operation with its ends. In the first place, this new society, you will be relieved to learn, would have no honorary treasurer, for it would need no funds. It would have no office, no committee, no secretary; it would call no meetings; it would hold no conferences. If name it must have, it could be called the Out- siders' Society. That is not a resonant name, but it has the advan- tage that it squares with facts—the facts of history, of law, of biography; even, it may be, with the still hidden facts of our still unknown psychology. It would consist of educated men's daugh- ters working in their own class—how indeed can they work in any other?13—and by their own methods for liberty, equality and peace. Their first duty, to which they would bind themselves not by oath, for oaths and ceremonies have no part in a society which must be anonymous and elastic before everything, would be not to fight with arms. This is easy for them to observe, for in fact, as the papers inform us, "the Army Council have no intention of opening recruiting for any women's corps."14 The country ensures it. Next they would refuse in the event of war to make munitions or nurse the wounded. Since in the last war both these activities were mainly discharged by the daughters of working men, the pressure upon them here too would be slight, though probably disagreeable. On the other hand the next duty to which they would pledge themselves is one of considerable difficulty, and calls not only for courage and initiative, but for the special knowledge of the educated man's daughter. It is, briefly, not to incite their brothers to fight, or to dissuade them, but to maintain an attitude of complete indifference. But the attitude expressed by the word "indifference" is so complex and of such importance that it needs even here further definition. Indifference in the first place must be given a firm footing upon fact. As it is a fact that she cannot under- stand what instinct compels him, what glory, what interest, what manly satisfaction fighting provides for him—"without war there would be no outlet for the manly qualities which fighting devel- ops"—as fighting thus is a sex characteristic which she cannot share, the counterpart some claim of the maternal instinct which he cannot share, so is it an instinct which she cannot judge. The outsider therefore must leave him free to deal with this instinct by himself, because liberty of opinion must be respected, especially when it is based upon an instinct which is as foreign to her as cen- turies of tradition and education can make it.15 This is a funda- mental and instinctive distinction upon which indifference may be based. But the outsider will make it her duty not merely to base her indifference upon instinct, but upon reason. When he says, as history proves that he has said, and may say again, "I am fight- ing to protect our country" and thus seeks to rouse her patriotic emotion, she will ask herself, "What does 'our country' mean to me an outsider?" To decide this she will analyse the meaning of patriotism in her own case. She will inform herself of the position of her sex and her class in the past. She will inform herself of the amount of land, wealth and property in the possession of her own sex and class in the present—how much of "England" in fact belongs to her. From the same sources she will inform herself of the legal protection which the law has given her in the past and now gives her. And if he adds that he is fighting to protect her body, she will reflect upon the degree of physical protection that she now enjoys when the words "Air Raid Precaution" are written on blank walls. And if he says that he is fighting to protect England from foreign rule, she will reflect that for her there are no "for- eigners", since by law she becomes a foreigner if she marries a for- eigner. And she will do her best to make this a fact, not by forced fraternity, but by human sympathy. All these facts will convince her reason (to put it in a nutshell) that her sex and class has very little to thank England for in the past; not much to thank England for in the present; while the security of her person in the future is highly dubious. But probably she will have imbibed, even from the governess, some romantic notion that Englishmen, those fathers and grandfathers whom she sees marching in the picture of history, are "superior" to the men of other countries. This she will consider it her duty to check by comparing French historians with English; German with French; the testimony of the ruled— the Indians or the Irish, say—with the claims made by their rulers. Still some "patriotic" emotion, some ingrained belief in the intel- lectual superiority of her own country over other countries may remain. Then she will compare English painting with French painting; English music with German music; English literature with Greek literature, for translations abound. When all these comparisons have been faithfully made by the use of reason, the outsider will find herself in possession of very good reasons for her indifference. She will find that she has no good reason to ask her brother to fight on her behalf to protect "our" country. " 'Our country,'" she will say, "throughout the greater part of its history has treated me as a slave; it has denied me education or any share in its possessions. 'Our' country still ceases to be mine if I marry a foreigner. 'Our' country denies me the means of protecting myself, forces me to pay others a very large sum annually to protect me, and is so little able, even so, to protect me that Air Raid precautions are written on the wall. Therefore if you insist upon fighting to protect me, or 'our' country, let it be understood, soberly and rationally between us, that you are fighting to gratify a sex instinct which I cannot share; to procure benefits which I have not shared and probably will not share; but not to gratify my instincts, or to protect either myself or my country. For," the outsider will say, "in fact, as a woman, I have no country. As a woman I want no country. As a woman my country is the whole world." And if, when reason has said its say, still some obstinate emotion remains, some love of England dropped into a child's ears by the cawing of rooks in an elm tree, by the splash of waves on a beach, or by English voices murmuring nursery rhymes, this drop of pure, if irrational, emotion she will make serve her to give to England first what she desires of peace and freedom for the whole world. Such then will be the nature of her "indifference" and from this indifference certain actions must follow. She will bind herself to take no share in patriotic demonstrations; to assent to no form of national self-praise; to make no part of any claque or audience that encourages war; to absent herself from military displays, tour- naments, tattoos, prize-givings and all such ceremonies as encour- age the desire to impose "our" civilization or "our" dominion upon other people. The psychology of private life, moreover, war- rants the belief that this use of indifference by the daughters of educated men would help materially to prevent war. For psychol- ogy would seem to show that it is far harder for human beings to take action when other people are indifferent and allow them com- plete freedom of action, than when their actions are made the centre of excited emotion. The small boy struts and trumpets outside the window: implore him to stop; he goes on; say nothing; he stops. That the daughters of educated men then should give their brothers neither the white feather of cowardice nor the red feather of courage, but no feather at all; that they should shut the bright eyes that rain influence, or let those eyes look elsewhere when war is discussed—that is the duty to which outsiders will train themselves in peace before the threat of death inevitably makes reason powerless. Such then are some of the methods by which the society, the anonymous and secret Society of Outsiders would help you, Sir, to prevent war and to ensure freedom.

Anthem for Doomed Youth Owen

What passing-bells for these who die as cattle? — Only the monstrous anger of the guns. Only the stuttering rifles' rapid rattle Can patter out their hasty orisons. No mockeries now for them; no prayers nor bells; Nor any voice of mourning save the choirs,— The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of goodbyes. The pallor of girls' brows shall be their pall; Their flowers the tenderness of patient minds, And each slow dusk a drawing-down of blinds.

Mariana Tennyson

With blackest moss the flower-plots Were thickly crusted, one and all: The rusted nails fell from the knots That held the pear to the gable-wall. The broken sheds look'd sad and strange: Unlifted was the clinking latch; Weeded and worn the ancient thatch Upon the lonely moated grange. She only said, "My life is dreary, He cometh not," she said; She said, "I am aweary, aweary, I would that I were dead!" Her tears fell with the dews at even; Her tears fell ere the dews were dried; She could not look on the sweet heaven, Either at morn or eventide. After the flitting of the bats, When thickest dark did trance the sky, She drew her casement-curtain by, And glanced athwart the glooming flats. She only said, "The night is dreary, He cometh not," she said; She said, "I am aweary, aweary, I would that I were dead!" Upon the middle of the night, Waking she heard the night-fowl crow: The cock sung out an hour ere light: From the dark fen the oxen's low Came to her: without hope of change, In sleep she seem'd to walk forlorn, Till cold winds woke the gray-eyed morn About the lonely moated grange. She only said, "The day is dreary, He cometh not," she said; She said, "I am aweary, aweary, I would that I were dead!" About a stone-cast from the wall A sluice with blacken'd waters slept, And o'er it many, round and small, The cluster'd marish-mosses crept. Hard by a poplar shook alway, All silver-green with gnarled bark: For leagues no other tree did mark The level waste, the rounding gray. She only said, "My life is dreary, He cometh not," she said; She said "I am aweary, aweary I would that I were dead!" And ever when the moon was low, And the shrill winds were up and away, In the white curtain, to and fro, She saw the gusty shadow sway. But when the moon was very low And wild winds bound within their cell, The shadow of the poplar fell Upon her bed, across her brow. She only said, "The night is dreary, He cometh not," she said; She said "I am aweary, aweary, I would that I were dead!" All day within the dreamy house, The doors upon their hinges creak'd; The blue fly sung in the pane; the mouse Behind the mouldering wainscot shriek'd, Or from the crevice peer'd about. Old faces glimmer'd thro' the doors Old footsteps trod the upper floors, Old voices called her from without. She only said, "My life is dreary, He cometh not," she said; She said, "I am aweary, aweary, I would that I were dead!" The sparrow's chirrup on the roof, The slow clock ticking, and the sound Which to the wooing wind aloof The poplar made, did all confound Her sense; but most she loathed the hour When the thick-moted sunbeam lay Athwart the chambers, and the day Was sloping toward his western bower. Then said she, "I am very dreary, He will not come," she said; She wept, "I am aweary, aweary, Oh God, that I were dead!"

The Old Nurse's Story Gaskel

You know, my dears, that your mother was an orphan, and an only child; and I dare say you have heard that your grandfather was a clergyman up in Westmorland, where I come from. I was just a girl in the village school, when, one day, your grandmother came in to ask the mistress if there was any scholar there who would do for a nurse-maid; and mighty proud I was, I can tell ye, when the mistress called me up, and spoke to my being a good girl at my needle, and a steady honest girl, and one whose parents were very respectable, though they might be poor. I thought I should like nothing better than to serve the pretty young lady, who was blushing as deep as I was, as she spoke of the coming baby, and what I should have to do with it. However, I see you don't care so much for this part of my story, as for what you think is to come, so I'll tell you at once. I was engaged and settled at the parsonage before Miss Rosamond (that was the baby, who is now your mother) was born. To be sure, I had little enough to do with her when she came, for she was never out of her mother's arms, and slept by her all night long; and proud enough was I sometimes when missis trusted her to me. There never was such a baby before or since, though you've all of you been fine enough in your turns; but for sweet, winning ways, you've none of you come up to your mother. She took after her mother, who was a real lady born; a Miss Furnivall, a granddaughter of Lord Furnivall's, in Northumberland. I believe she had neither brother nor sister, and had been brought up in my lord's family till she had married your grandfather, who was just a curate, son to a shopkeeper in Carlislebut a clever, fine gentleman as ever wasand one who was a right-down hard worker in his parish, which was very wide, and scattered all abroad over the Westmorland Fells. When your mother, little Miss Rosamond, was about four or five years old, both her parents died in a fortnightone after the other. Ah! that was a sad time. My pretty young mistress and me was looking for another baby, when my master came home from one of his long rides, wet, and tired, and took the fever he died of; and then she never held up her head again, but just lived to see her dead baby, and have it laid on her breast before she sighed away her life. My mistress had asked me, on her death-bed, never to leave Miss Rosamond; but if she had never spoken a word, I would have gone with the little child to the end of the world. The next thing, and before we had well stilled our sobs, the executors and guardians came to settle the affairs. They were my poor young mistress's own cousin, Lord Furnivall, and Mr Esthwaite, my master's brother, a shopkeeper in Manchester; not so well-to-do then as he was afterwards, and with a large family rising about him. Well! I don't know if it were their settling, or because of a letter my mistress wrote on her death-bed to her cousin, my lord; but somehow it was settled that Miss Rosamond and me were to go to Furnivall Manor House, in Northumberland, and my lord spoke as if it had been her mother's wish that she should live with his family, and as if he had no objections, for that one or two more or less could make no difference in so grand a household. So though that was not the way in which I [ should have wished the coming of my bright and pretty pet to have been looked atwho was like a sunbeam in any family, be it never so grandI was well pleased that all the folks in the Dale should stare and admire, when they heard I was going to be young lady's maid at my Lord Furnivall's at Furnivall Manor. But I made a mistake in thinking we were to go and live where my lord did. It turned out that the family had left Furnivall Manor House fifty years or more. I could not hear that my poor young mistress had ever been there, though she had been brought up in the family; and I was sorry for that, for I should have liked Miss Rosamond's youth to have passed where her mother's had been. My lord's gentleman, from whom I asked so many questions as I durst, said that the Manor House was at the foot of the Cumberland Fells, and a very grand place; that an old Miss Furnivall, a great-aunt of my lord's, lived there, with only a few servants; but that it was a very healthy place, and my lord had thought that it would suit Miss Rosamond very well for a few years, and that her being there might perhaps amuse his old aunt. I was bidden by my lord to have Miss Rosamond's things ready by a certain day. He was a stern proud man, as they say all the Lords Furnivall were; and he never spoke a word more than was necessary. Folk did say he had loved my young mistress; but that, because she knew that his father would object, she would never listen to him, and married Mr Esthwaite; but I don't know. He never married, at any rate. But he never took much notice of Miss Rosamond; which I thought he might have done if he had cared for her dead mother. He sent his gentleman with us to the Manor House, telling him to join him at Newcastle that same evening; so there was no great length of time for him to make us known to all the strangers before he, too, shook us off; and we were left, two lonely young things (I was not eighteen), in the great old Manor House. It seems like yesterday that we drove there. We had left our own dear parsonage very early, and we had both cried as if our hearts would break, though we were travelling in my lord's carriage, which I thought so much of once. And now it was long past noon on a September day, and we stopped to change horses for the last time at a little smoky town, all full of colliers and miners. Miss Rosamond had fallen asleep, but Mr Henry told me to waken her, that she might see the park and the Manor House as we drove up. I thought it rather a pity; but I did what he bade me, for fear he should complain of me to my lord. We had left all signs of a town, or even a village, and were then inside the gates of a large wild park not like the parks here in the north, but with rocks, and the noise of running water, and gnarled thorn-trees, and old oaks, all white and peeled with age. The road went up about two miles, and then we saw a great and stately house, with many trees close around it, so close that in some places their branches dragged against the walls when the wind blew; and some hung broken down; for no one seemed to take much charge of the place to lop the wood, or to keep the moss-covered carriage- way in order. Only in front of the house all was clear. The great oval drive was without a weed; and neither tree nor creeper was allowed to grow over the long, many-windowed front; at both sides of which a : wing projected, which were each the ends of other side fronts; for the house, although it was so desolate, was even grander than I expected. Behind it rose the Fells, which seemed unenclosed and bare enough; and on the left hand of the house, as you stood facing it, was a little, old-fashioned flower-garden, as I found out afterwards. A door opened out upon it from the west front; it had been scooped out of the thick dark wood for some old Lady Furnivall; but the branches of the great forest trees had grown and overshadowed it again, and there were very few flowers that would live there at that time. When we drove up to the great front entrance, and went into the hall, I thought we should be lost- it was so large, and vast, and grand. There was a chandelier all of bronze, hung down from the middle of the ceiling; and I had never seen one before, and looked at it all in amaze. Then, at one end of the hall, was a great fire-place, as large as the sides of the houses in my country, with massy andirons and dogs to hold the wood; and by it were heavv old-fashioned sofas. At the opposite end of the hall, to the left as you went inon the western side was an organ built into the wall, and so large that it filled up the best part of that end. Beyond it, on the same side, was a door; and opposite, on each side of the fire-place, were also doors leading to the east front; but those I never went through as long as I stayed in the house, so I can't tell you what lay beyond. The afternoon was closing in, and the hall, which had no fire lighted in it, looked dark and gloomy, but we did not stay there a moment. The old secant, who had opened the door for us, bowed to Mr Henry, and took us in through the door at the further side of the great organ, and led us through several smaller halls and passages into the west drawing-room, where he said that Miss Furnivall was sitting. Poor little Miss Rosamond held very tight to me, as if she were scared and lost in that great place, and as for myself, I was not much better. The west drawing-room was very cheerful-looking, with a warm fire in it, and plenty of good, comfortable furniture about. Miss Furnivall was an old lady not far from eighty, I should think, but I do not know. She was thin and tall, and had a face as full of fine wrinkles as if they had been drawn all over it with a needle's point. Her eyes were very watchful, to make up, I suppose, for her being so deaf as to be obliged to use a trumpet. Sitting with her, working at the same great piece of tapestry, was Mrs Stark, her maid and companion, and almost as old as she was. She had lived with Miss Furnivall ever since they were both young, and now she seemed more like a friend than a secant; she looked so cold and grey, and stony as if she had never loved or cared for any one; and I don't suppose she did care for any one, except her mistress; and, owing to the great deafness of the latter, Mrs Stark treated her very much as if she were a child. Mr Henry gave some message from my lord, and then he bowed goodbye to us alltaking no notice of my sweet little Miss Rosamond's outstretched handand left us standing there, being looked at by the two old ladies through their spectacles. I was right glad when they rung for the old footman who had shown us in at first, and told him to take us to our rooms. So we went out of that great drawing-room, and into another sitting-room, and out of that, and then up a great flight of stairs, and along a broad gallery which was something like a library, having books all down one side, and windows and writing-tables all down the othertill we came to our rooms, which I was not sorry to hear were just over the kitchens; for I began to think I should be lost in that wilderness of a house. There was an old nursery that had been used for all the little lords and ladies long ago, with a pleasant fire burning in the grate, and the kettle boiling on the hob, and tea-things spread out on the table; and out of that room was the night-nursery, with a little crib for Miss Rosamond close to my bed. And old James called up Dorothy, his wife, to bid us welcome; and both he and she were so hospitable and kind, that by and by Miss Rosamond and me felt quite at home; and by the time tea was over, she was sitting on Dorothy's knee, and chattering away as fast as her little tongue could go. I soon found out that Dorothy was from Westmorland, and that bound her and me together, as it were; and I would never wish to meet with kinder people than were old James and his wife. James had lived pretty nearly all his life in my lord's family, and thought there was no one so grand as they. He even looked down a little on his wife; because, till he had married her, she had never lived in any but a farmer's household. But he was very fond of her, as well he might be. Thev had one servant under them, to do all the rough work. Agnes they called her; and she and me, and James and Dorothy, with Miss Furnivall and Mrs Stark, made up the family; always remembering my sweet little Miss Rosamond! I used to wonder what they had done before she came, they thought so much of her now. Kitchen and drawing-room, it was all the same. The hard, sad Miss Furnivall, and the cold Mrs Stark, looked pleased when she came fluttering in like a bird, playing and pranking hither and thither, with a continual murmur, and pretty prattle of gladness. I am sure, they were sorry many a time when she flitted away into the kitchen, though they were too proud to ask her to stay with them, and were a little surprised at her taste; I though to be sure, as Mrs Stark said, it was not to be wondered at, I remembering what stock her father had come of. The great, old rambling house was a famous place for little Miss Rosamond. She made expeditions all over it, with me at her heels; all, except the east wing, which was never opened, and whither we never thought of going. But in the western and northern part was many a pleasant room; full of things that were curiosities to us, though they might not have been to people who had seen more. The windows were darkened by the sweeping boughs of the trees, and the ivy which had overgrown them: but, in the green gloom, we could manage to see old China jars and caned ivory boxes, and great heavy books, and, above all, the old pictures! Once, I remember, my darling would have Dorothy go with us to tell us who they all were; for they were all portraits of some of my lord's family, though Dorothy could not tell us the names of every one. We had gone through most of the rooms, when we came to the old state drawing-room over the hall, and there was a picture of Miss Furnivall; or, as she was called in those days, Miss Grace, for she was the younger sister. Such a beauty she must have been! but with such a set, proud look, and such scorn looking out of her handsome eyes, with her eyebrows just a little raised, as if she were wondering how any one could have the impertinence to look at her; and her lip curled at us, as we stood there gazing. She had a dress on, the like of which I had never seen before, but it was all the fashion when she was young: a hat of some soft white stufflike beaver, pulled a little over her brows, and a beautiful plume of feathers sweeping round it on one side; and her gown of blue satin was open in front to a quilted white stomacher. 'Well, to be sure!' said I, when I had gazed my fill. 'Flesh is grass, they do say; but who would have thought that Miss Furnivall had been such an out-and-out beauty, to see her now?' 'Yes,' said Dorothy. 'Folks change sadly. But if what my master's father used to say was true, Miss Furnivall, the elder sister, was handsomer than Miss Grace. Her picture is here somewhere; but, if I show it you, you must never let on, even to James, that you have seen it. Can the little lady hold her tongue, think you?' asked she. I was not so sure, for she was such a little sweet, bold, open-spoken child, so I set her to hide herself; and then I helped Dorothy to turn a great picture, that leaned with its face towards the wall, and was not hung up as the others were. To be sure, it beat Miss Grace for beauty; and, I think, for scornful pride, too, though in that matter it might be hard to choose. I could have looked at it an hour, but Dorothy seemed half frightened at having shown it to me, and hurried it back again, and bade me run and find Miss Rosamond, for that there were some ugly places about the house, where she should like ill for the child to go. I was a brave, high-spirited girl, and thought little of what the old woman said, for I liked hide-and-seek as well as any child in the parish; so off I ran to find my little one. As winter drew on, and the days grew shorter, I was sometimes almost certain that I heard a noise as if some one was playing on the great organ in the hall. I did not hear it every evening; but, certainly, I did very often; usually when I was sitting with Miss Rosamond, after I had put her to bed, and keeping quite still and silent in the bedroom. Then I used to hear it booming and swelling away in the distance. The first night, when I went down to my supper, I asked Dorothy who had been playing music, and James said very shortly that I was a gowk to take the wind soughing among the trees for music: but I saw Dorothy look at him very fearfully, and Bossy, the kitchen-maid, said something beneath her breath, and went quite white. I saw they did not like my question, so I held my peace till I was with Dorothy alone, when I knew I could get a good deal out of her. So, the next day, I watched my time, and I coaxed and asked her who it was that played the organ: for I knew that it was the organ and not the wind well enough, for all I had kept silence before James. But Dorothy had had her lesson, I'll warrant, and never a word could I get from her. So then I tried Bessy, though I had always held my head rather above her, as I was evened to James and Dorothy, and she was little better than their servant. So she said I must never, never tell; and if I ever told, I was never to say she had told me; but it was a very strange noise, and she had heard it many a time, but most of all on winter nights, and before storms; and folks did say, it was the old lord playing on the great organ in the hall, just as he used to do when he was alive; but who the old lord was, or why he played, and why he played on stormy winter evenings in particular, she either could not or would not tell me. Well! I told vou I had a brave heart; and I thought it was rather pleasant to have that grand music rolling about the house, let who would be the player; for now it rosc above the great gusts of wind, and wailed and triumphed just like a living creature, and then it fell to a softness most complete; only it was always music and tunes, so it was nonsense to call it the wind. I thought at first that it might be Miss Furnivall who played, unknown to Bossy; but one day when I was in the hall by myself, I opened the organ and peeped all about it and around it, as I had done to the organ in Crosthwaite Church once before, and I saw it was all broken and destroyed inside, though it looked so brave and fine; and then, though it was noonday, my flesh began to creep a little, and I shut it up, and run away pretty quickly to my own bright nursery; and I did not like hearing the music for some time after that, any more than James and Dorothy did. All this time Miss Rosamond was making herself more and more beloved. The old ladies liked her to dine with them at their early dinner; James stood behind Miss Furnivall's chair, and I behind Miss Rosamond's all in state; and, after dinner, she would play about in a corner of the great drawing-room, as still as any mouse, while Miss Furnivall slept, and I had my dinner in the kitchen. But she was glad enough to come to me in the nursery afterwards; for, as she said, Miss Furnivall was so sad, and Mrs Stark so dull; but she and I were merry enough; and, by-and-by, I got not to care for that weird rolling music, which did one no harm, if we did not know where it came from. That winter was very cold. In the middle of October the frosts began, and lasted many, many weeks. I remember, one day at dinner, Miss Furnivall lifted up her sad, heavy eyes, and said to Mrs Stark, 'I am afraid we shall have a terrible winter,' in a strange kind of meaning way. But Mrs Stark pretended not to hear, and talked very loud of something else. My little lady and I did not care for the frost; not we! As long as it was dry we climbed up the steep brows, behind the house, and went up on the Fells, which were bleak, and bare enough, and there we ran races in the fresh, sharp air; and once we came down by a new path that took us past the two old gnarled holly-trees, which grew about halfway down by the east side of the house. But the days grew shorter and shorter; and the old lord, if it was he, played more and more stormily and sadlv on the great organ. One Sunday afternoonit must have been towards the end of NovemberI asked Dorothy to take charge of little Missey when she came out of the drawing-room, after Miss Furnivall had had her nap; for it was too cold to take her with me to church, and yet I wanted to go. And Dorothv was glad enough to promise, and was so fond of the child that all seemed well; and Bessy and I set off very briskly, though the sky hung heavy and black over the white earth, as if the night had never fully gonc away; and the air, though still, was very biting and keen. 'We shall have a fall of snow,' said Bessy to me. And sure enough, even while we were in church, it came down thick, in great large flakes, so thick it almost darkened the windows. It had stopped snowing before wc came out, but it lay soft, thick and deep beneath our feet, as we tramped home. Before we got to the hall the moon rose, and I think it was lighter thenwhat with the moon, and what with the white dazzling snowthan it had been when we went to church, between two and three o'clock. I have not told you that Miss Furnivall and Mrs Stark never went to church: they used to read the prayers together, in their quiet gloomy way; they seemed to tcel the Sunday very long without their tapestrv-work to be busv at. So when I went to Dorothy in the kitchen, to fetch Miss Rosamond and take her upstairs with me, I did not much wonder when the old woman told me that the ladies had kept the child with them, and that she had never come to the kitchen, as I had bidden her, when she was tired of behaving pretty in the drawing-room. So I took off my things and went to find her, and bring her to her supper in the nursery. But when I went into the best drawing-room there sat the two old ladies, very still and quiet, dropping out a word now and then but looking as if nothing so bright and merry as Miss Rosamond had ever been near them. Still I thought she might be hiding from me; it was one of her pretty ways; and that she had persuaded them to look as if they knew nothing about her; so I went softly peeping under this sofa, and behind that chair, making believe I was sadly frightened at not finding her. 'What's the matter, Hester?' said Mrs Stark, sharply. I don't know if Miss Furnivall had seen me, for, as I told you, she was very deaf, and she sat quite still, idly staring into the fire, with her hopeless face. 'I'm only looking for my little Rosy-Posy,' replied I, still thinking that the child was there, and near me, though I could not see her. 'Miss Rosamond is not here,' said Mrs Stark. 'She went away more than an hour ago to find Dorothy.' And she too turned and went on looking into the fire. My heart sank at this, and I began to wish I had never left my darling. I went back to Dorothy and told her. James was gone out for the day, but she and me and Bessy took lights and went up into the nursery first, and then we roamed over the great large house, calling and entreating Miss Rosamond to come out of her hiding-place, and not frighten us to death in that way. But there was no answer; no sound. 'Oh!' said I at last, 'Can she have got into the east wing and hidden there?' But Dorothy said it was not possible, for that she herself had never been there; that the doors were always locked, and my lord's steward had the keys, she believed; at any rate, neither she nor James had ever seen them: so I said I would go back, and see if, after all, she was not hidden in the drawing-room, unknown to the old ladies; and if I found her there, I said, I would whip her well for the fright she had given me; but I never meant to do it. Well, I went back to the west drawing-room, and I told Mrs Stark we could not find her anywhere, and asked for leave to look all about the furniture there, for I thought now, that she might have fallen asleep in some warm hidden corner; but no! we looked, Miss Furnivall got up and looked, trembling all over, and she was nowhere there; then we set off again, every one in the house, and looked in all the places we had searched before, but we could not find her. Miss Furnivall shivered and shook so much that Mrs Stark took her back into the warm drawing-room; but not before they had made me promise to bring her to them when she was found. Well-a-day! I began to think she never would be found, when I bethought me to look out into the great front court, all covered with snow. I was upstairs when I looked out; but it was such clear moonlight, I could see, quite plain, two little footprints, which might be traced from the hall door, and round the corner of the east wing. I don't know how I got down, but I tugged open the great, stiff hall door; and, throwing the skirt of my gown over my head for a cloak, I ran out. I turned the east corner, and there a black shadow fell on the snow; but when I came again into the moonlight, there were the little footmarks going up up to the Fells. It was bitter cold; so cold that the air almost took the skin off my face as I ran, but I ran on, crying to think how my poor little darling must be perished, and frightened. I was within sight of the holly-trees when I saw a shepherd coming down the hill, bearing something in his arms wrapped in his maud. He shouted to me, and asked me if I had lost a bairn; and, when I could not speak for crying, he bore towards me, and I saw my wee bairnie lying still, and white, and stiff, in his arms, as if she had been dead. He told me he had been up the Fells to gather in his sheep, before the deep cold of night came on, and that under the holly-trees (black marks on the hill-side, where no other bush was for miles around) he had found my little lady my lamb- my queen- my darling stiff and cold, in the terrible sleep which is frost-begotten. Oh! the joy, and the tears of having her in my arms once again! for I would not let him carry her; but took her, maud and all, into my own arms, and held her near my own warm neck and heart, and felt the life stealing slowly back again into her little gentle limbs. But she was still insensible when we reached the hall, and I had no breath for speech. We went in by the kitchen door. 'Bring the warming-pan,' said I; and I carried her upstairs and began undressing her by the nursery fire, which Bessy had kept up. I called my little lammie all the sweet and playful names I could think ofeven while my eyes were blinded by my tears; and at last, oh! at length she opened her large blue eyes. Then I put her into her warm bed, and sent Dorothy down to tell Miss Furnivall that all was well; and I made up my mind to sit by my darling's bedside the live-long night. She fell away into a soft sleep as soon as her pretty head had touched the pillow, and I watched by her until morning light; when she wakened up bright and clearor so I thought at firstand, my dears, so I think now. She said that she had fancied that she should like to go to Dorothy, for that both the old ladies were asleep, and it was very dull in the drawing-room; and that, as she was going through the west lobby, she saw the snow through the high window fallingfallingsoft and steady; but she wanted to see it lying pretty and white on the ground; so she made her way into the great hall; and then, going to the window, she saw it bright and soft upon the drive; but while she stood there, she saw a little girl, not so old as she was, 'but so pretty,' said my darling, 'and this little girl beckoned to me to come out; and oh, she was so pretty and so sweet, I could not choose but go.' And then this other little girl had taken her by the hand, and side by side the two had gone round the east corner. 'Now you are a naughty little girl, and telling stories,' said I. 'What would your good mamma, that is in heaven, and never told a story in her life, say to her little Rosamond, if she heard herand I dare say she does- telling stories!' 'Indeed, Hester,' sobbed out my child, 'I'm telling you true. Indeed I am.' 'Don't tell me!' said I, very stern. 'I tracked you by your footmarks through the snow; there were only yours to be seen: and if you had had a little girl to go hand-in-hand with you up the hill, don't you think the footprints would have gone along with yours?' 'I can't help it, dear, dear Hester,' said she, crying, 'if they did not; I never looked at her feet, but she held my hand fast and tight in her little one, and it was very, very cold. She took me up the Fell-path, up to the holly-trees; and there I saw a lady weeping and crying; but when she saw me, she hushed her weeping, and smiled very proud and grand, and took me on her knee, and began to lull me to sleep; and I that's all, Hesterbut that is true; and my dear mamma knows it is,' said she, crying. So I thought the child was in a fever, and pretended to believe her, as she went over her storyover and over again, and always the same. At last Dorothy knocked at the door with Miss Rosamond's breakfast; and she told me the old ladies were down in the eating parlour, and that they wanted to speak to me. They had both been into the night-nursery the evening before, but it was after Miss Rosamond was asleep; so they had only looked at hernot asked me any questions. 'I shall catch it,' thought I to myself, as I went along the north gallery. 'And yet,' I thought, taking courage, 'it was in their charge I left her; and it's they that's to blame for letting her steal away unknown and unwatched.' So I went in boldly, and told my story. I told it all to Miss Furnivall, shouting it close to her ear; but when I came to the mention of the other little girl out in the snow, coaxing and tempting s her out, and willing her up to the grand and beautiful lady by the holly- tree, she threw her arms up her old and withered armsand cried aloud, 'Oh! Heaven, forgive! Have mercy!' Mrs Stark took hold of her; roughly enough, I thought; but she was past Mrs Stark's management, and spoke to me, in a kind of wild warning and authority. 'Hester! keep her from that child! It will lure her to her death! That evil child! Tell her it is a wicked, naughty child.' Then Mrs Stark hurried me out of the room; where, indeed, I was glad enough to go; but Miss Furnivall kept shrieking out, 'Oh! have mercy! Wilt Thou never forgive! It is many a long year ago'-- I was very uneasy in my mind after that. I durst never leave Miss Rosamond, night or day, for fear lest she might slip off again, after some fancy or other; and all the more because I thought I could make out that Miss Furnivall was crazy, from their odd ways about her; and I was afraid lest something of the same kind (which might be in the family, you know) hung over my darling. And the great frost never ceased all this time; nd whenever it was a more stormy night than usual, between the gusts, and through the wind, we heard the old lord playing on the great organ. But, old lord, or not, wherever Miss Rosamond went, there I followed; for my love for her, pretty helpless orphan, was stronger than my fear for the grand and terrible sound. Besides, it rested with me to keep her cheerful and merry, as beseemed her age. So we played together, and wandered together, here and there, and everywhere; for I never dared to lose sight of her again in that large and rambling house. And so it happened, that one afternoon, not long before Christmas Day, we were playing together on the billiard-table in the great hall (not that we knew the way of playing, but she liked to roll the smooth ivory balls with her pretty hands, and I liked to do whatever she did); and, by-and-by, without our noticing it, it grew dusk indoors, though it was still light in the open air, and I was thinking of taking her back into the nursery, when, all of a sudden, she cried out: 'Look, Hester! look! there is my poor little girl out in the snow!' I turned towards the long narrow windows, and there, sure enough, I saw a little girl, less than my Miss Rosamond dressed all unfit to be out-of-doors such a bitter nightcrying, and beating against the window-panes, as if she wanted to be let in. She seemed to sob and wail, till Miss Rosamond could bear it no longer, and was flying to the door to open it, when, all of a sudden, and close up upon us, the great organ pealed out so loud and thundering, it fairly made me tremble; and all the more, when I remembered me that, even in the stillness of that dead-cold weather, I had heard no sound of little battering hands upon the window-glass, although the Phantom Child had seemed to put forth all its force; and, although I had seen it wail and cry, no faintest touch of sound had fallen upon my ears. Whether I remembered all this at the very moment, I do not know; the great organ sound had so stunned me into terror; but this I know, I caught up Miss Rosamond before she got the hall-door opened, and clutched her, and carried her away, kicking and screaming, into the large bright kitchen, where Dorothy and Agnes were busy with their mince-pies. 'What is the matter with my sweet one?' cried Dorothy, as I bore in Miss Rosamond, who was sobbing as if her heart would break. 'She won't let me open the door for my little girl to come in; and she'll die if she is out on the Fells all night. Cruel, naughty Hester,' she said, slapping me; but she might have struck harder, for I had seen a look of ghastly terror on Dorothy's face, which made my very blood run cold. 'Shut the back-kitchen door fast, and bolt it well,' said she to Agnes. She said no more; she gave me raisins and almonds to quiet Miss Rosamond: but she sobbed about the little girl in the snow, and would not touch any of the good things. I was thankful when she cried herself to sleep in bed. Then I stole down to the kitchen, and told Dorothy I had made up my mind. I would carry my darling back to my father's house in Applethwaite: where, if we lived humbly, we lived at peace. I said I had been frightened enough with the old lord's organ-playing; but now that I had seen for myself this little moaning child, all decked out as no child in the neighbourhood could be, beating and battering to get in, yet always without any sound or noisewith the dark wound on its right shoulder; and that Miss Rosamond had known it again for the phantom that had nearly lured her to her death (which Dorothy knew was true); I would stand it no longer. I saw Dorothy change colour once or twice. When I had done, she told me she did not think I could take Miss Rosamond with me, for that she was my lord's ward, and I had no right over her; and she asked me, would I leave the child that I was so fond of, just for sounds and sights that could do me no harm; and that they had all had to get used to in their turns? I was all in a hot, trembling passion; and I said it was very well for her to talk, that knew what these sights and noises betokened, and that had, perhaps, had something to do with the Spectre-Child while it was alive. And I taunted her so, that she told me all she knew, at last; and then I wished I had never been told, for it only made me afraid more than ever. She said she had heard the tale from old neighbours, that were alive when she was first married; when folks used to come to the hall sometimes, before it had got such a bad name on the country side: it might not be true, or it might, what she had been told. The old lord was Miss Furnivall's father-- Miss Grace as Dorothy called her, for Miss Maude was the elder, and Miss Furnivall by rights. The old lord was eaten up with pride. Such a proud man was never seen or heard of; and his daughters were like him. No one was good enough to wed them, although they had choice enough; for they were the great beauties of their day, as I had seen by their portraits, where they hung in the state drawing-room. But, as the old saying is, 'Pride will have a fall'; and these two haughty beauties fell in love with the same man, and he no better than a foreign musician, whom their father had down from London to play music with him at the Manor House. For, above all things, next to his pride, the old lord loved music. He could play on nearly every instrument that ever was heard of: and it was a strange thing it did not soften him; but he was a fierce dour old man, and had broken his poor wife's heart with his cruelty, they said. He was mad after music, and would pay any money for it. So he got this foreigner to come; who made such beautiful music, that they said the very birds on the trees stopped their singing to listen. And, by degrees, this foreign gentleman got such a hold over the old lord, that nothing would serve him but that he must come every year; and it was he that had the great organ brought from Holland, and built up in the hall, where it stood now. He taught the old lord to play on it; but many and many a time, when Lord Furnivall was thinking of nothing but his fine organ, and his finer music, the dark foreigner was walking abroad in the woods with one of the young ladies; now Miss Maude, and then Miss Grace. Miss Maude won the day and carried off the prize, such as it was; and he and she were married, all unknown to any one; and before he made his next yearly visit, she had been confined of a little girl at a farm-house on the Moors, while her father and Miss Grace thought she was away at Doncaster Races. But though she was a wife and a mother, she was not a bit softened, but as haughty and as passionate as ever; and perhaps more so, for she was jealous of Miss Grace, to whom her foreign husband paid a deal of courtby way of blinding heras he told his wife. But Miss Grace triumphed over Miss Maude, and Miss Maude grew fiercer and fiercer, both with her husband and with her sister; and the formerwho could easily shake off what was disagreeable, and hide himself in foreign countrieswent away a month before his usual time that summer, and half-threatened that he would never come back again. Meanwhile, the little girl was left at the farm-house, and her mother used to have her horse saddled and gallop wildly over the hills to see her once every week, at the very leastfor where she loved, she loved; and where she hated, she hated. And the old lord went on playing playing on his organ; and the servants thought the sweet music he made had soothed down his awful temper, of which (Dorothy said) some terrible tales could be told. He grew infirm too, and had to walk with a crutch; and his son that was the present Lord Furnivall's father was with the army in America, and the other son at sea; so Miss Maude had it pretty much her own way, and she and Miss Grace grew colder and bitterer to each other every day; till at last they hardly ever spoke, except when the old lord was by. The foreign musician came again the next summer, but it was for the last time; for they led him such a life with their jealousy and their passions, that he grew weary, and went away, and never was heard of again. And Miss Maude, who had always meant to have her marriage acknowledged when her father should be dead, was left now a deserted wife whom nobody knew to have been marriedwith a child that she dared not own, although she loved it to distraction; living with a father whom she feared, and a sister whom she hated. When the next summer passed over and the dark foreigner never came, both Miss Maude and Miss Grace grew gloomy and sad; they had a haggard look about them, though they looked handsome as ever. But by-and-by Miss Maude brightened; for her father grew more and more infirm, and more than ever carried away by his music; and she and Miss Grace lived almost entirely apart, having separate rooms, the one on the west side, Miss Maude on the east those very rooms which were now shut up. So she thought she might have her little girl with her, and no one need ever know except those who dared not speak about it, and were bound to believe that it was, as she said, a cottager's child she had taken a fancy too. All this, Dorothy said, was pretty well known; but what came afterwards no one knew, except Miss Grace, and Mrs Stark, who was even then her maid, and much more of a friend to her than ever her sister had been. But the servants supposed, from words that were dropped, that Miss Maude had triumphed over Miss Grace, and told her that all the time the dark foreigner had been mocking her with pretended lovehe was her own husband; the colour left Miss Grace's cheek and lips that very day for ever, and she was heard to say many a time that sooner or later she would have her revenge; and Mrs Stark was for ever spying about the east rooms. One fearful night, just after the New Year had come in, when the snow was lying thick and deep, and the flakes were still falling--fast enough to blind any one who might be out and abroad--there was a great and violent noise heard, and the old lord's voice above all, cursing and swearing awfully--and the cries of a little child--and the proud defiance of a fierce woman--and the sound of a blow--and a dead stillness--and moans and wailings dying away on the hill-side! Then the old lord summoned all his servants, and told them, with terrible oaths, and words more terrible, that his daughter had disgraced herself, and that he had turned her out of doors--her, and her child--and that if ever they gave her help--or food--or shelter--he prayed that they might never enter Heaven. And, all the while, Miss Grace stood by him, white and still as any stone; and when he had ended she heaved a great sigh, as much as to say her work was done, and her end was accomplished. But the old lord never touched his i organ again, and died within the year; and no wonder! for, on the morrow of that wild and fearful night, the shepherds, coming down the Fell side, found Miss Maude sitting, all crazy and smiling, under the holly-trees, nursing a dead child--with a terrible mark on its right 0 shoulder. 'But that was not what killed it,' said Dorothy; 'it was the frost and the cold; every wild creature was in its hole, and every beast in its foldwhile the child and its mother were turned out to wander on the Fells! And now you know all! and I wonder if you are less frightened now?' I was more frightened than ever; but I said I was not. I wished Miss Rosamond and myself well out of that dreadful house for ever; but I would not leave her, and I dared not take her away. But oh! how I watched her, and guarded her! We bolted the doors and shut the window-shutters fast, an hour or more before dark, rather than leave them open five minutes too late. But my little lady still heard the weird child crying and mourning; and not all we could do or say could keep her from wanting to go to her, and let her in from the cruel wind and the snow. All this time, I kept away from Miss Furnivall and Mrs Stark, as much as ever I could; for I feared themI knew no good could be about them, with their grey hard faces, and their dreamy eyes, looking back into the ghastly years that were gone. But, even in my fear, I had a kind of pityfor Miss Furnivall, at least. Those gone down to the pit can hardly have a more hopeless look than that which was ever on her face. At last I even got so sorry for herwho never said a word but what was quite forced from herthat I prayed for her; and I taught Miss Rosamond to pray for one who had done a deadly sin; but often when she came to those words, she would listen, and start up from her knees, and say, 'I hear my little girl plaining and crying very sad Oh! let her in, or she will die!' One night--just after New Year's Day had come at last, and the long winter had taken a turn, as I hoped--I heard the west drawingroom bell ring three times, which was a signal for me. I would not leave Miss Rosamond alone, for all she was asleepfor the old lord had been playing wilder than everand I feared lest my darling should waken to hear the spectre child; see her I knew she could not. I had fastened the windows too well for that. So I took her out of her bed and wrapped her up in such outer clothes as were most handy, and carried her down to the drawing-room, where the old ladies sat at their tapestry work as usual. They looked up when I came in, and Mrs Stark asked, quite astounded, 'Why did I bring Miss Rosamond there, out of her warm bed?' I had begun to whisper, 'Because I was afraid of her being tempted out while I was away, by the wild child in the snow,' when she stopped me short (with a glance at Miss Furnivall), and said Miss Furnivall wanted me to undo some work she had done wrong, and which neither of them could see to unpick. So I laid my pretty dear on the sofa, and sat down on a stool by them, and hardened my heart against them, as I heard the wind rising and howling. Miss Rosamond slept on sound, for all the wind blew so; and Miss Furnivall said never a word, nor looked round when the gusts shook the windows. All at once she started up to her full height, and put up one hand, as if to bid us listen. 'I hear voices!' said she, 'I hear terrible screamsI hear my father's voice!' Just at that moment my darling wakened with a sudden start: 'My little girl is crying, oh, how she is crying!' and she tried to get up and go to her, but she got her feet entangled in the blanket, and I caught her up; for my flesh had begun to creep at these noises, which they heard while we could catch no sound. In a minute or two the noises came, and gathered fast, and filled our ears; we, too, heard voices and screams, and no longer heard the winter's wind that raged abroad. Mrs Stark looked at me, and I at her, but we dared not speak. Suddenly Miss Furnivall went towards the door, out into the ante-room, through the west lobby, and opened the door into the great hall. Mrs Stark followed, and I durst not be left, though my heart almost stopped beating for fear. I wrapped my darling tight in my arms, and went out with them. In the hall the screams were louder than ever; they sounded to come from the east wing nearer and nearer close on the other side of the locked-up doorsclose behind them. Then I noticed that the great bronze chandelier seemed all alight, though the hall was dim, and that a fire was blazing in the vast hearth-place, though it gave no heat; and I shuddered up with terror, and folded my darling closer to me. But as I did so, the east door shook, and she, suddenly struggling to get free from me, cried, 'Hester! I must go! My little girl is there; I hear her; she is coming! Hester, I must go!' I held her tight with all my strength; with a set will, I held her. If I had died, my hands would have grasped her still, I was so resolved in my mind. Miss Furnivall stood listening, and paid no regard to my darling, who had got down to the ground, and whom I, upon my knees now, was holding with both my arms clasped round her neck; she still striving and crying to get free. All at once the east door gave way with a thundering crash, as if torn open in a violent passsion, and there came into that broad and mysterious light, the figure of a tall old man, with grey hair and gleaming eyes. He drove before him, with many a relentless gesture of abhorrence, a stern and beautiful woman, with a little child clinging to her dress. 'O Hester! Hester!' cried Miss Rosamond. 'It's the lady! the lady below the holly-trees; and my little girl is with her. Hester! Hester! let me go to her; they are drawing me to them. I feel them I feel them. I must go!' Again she was almost convulsed by her efforts to get away; but I held her tighter and tighter, till I feared I should do her a hurt; but rather that than let her go towards those terrible phantoms. They passed along towards the great hall-door, where the winds howled and ravened for their prey; but before they reached that, the lady turned; and I could see that she defied the old man with a fierce and proud defiance; but then she quailed-- and then she threw up her arms wildly and piteously to save her child-- her little child-- from a blow from his uplifted crutch. And Miss Rosamond was torn as by a power stronger than mine, and writhed in my arms, and sobbed (for by this time the poor darling was growing faint). 'They want me to go with them on to the Fellsthey are drawing me to them. Oh, my little girl! I would come, but cruel, wicked Hester holds me very tight.' But when she saw the uplifted crutch she swooned away, and I thanked God for it. Just at this moment-- when . the tall old man, his hair streaming as in the blast of a furnace, was going to strike the little shrinking child Miss Furnivall, the old woman by my side, cried out, 'Oh, father! father! spare the little innocent child!' But just then I saw-- we all saw-- another phantom shape itself, and grow clear out of the blue and misty light that filled the hall; we had not seen her till now, for it was another lady who stood by the old man, with a look of relentless hate and triumphant scorn. That figure was very beautiful to look upon, with a soft white hat drawn down over the proud brows and a red and curling lip. It was dressed in an open robe of blue satin. I had seen that figure before. It was the likeness of Miss Furnivall in her youth; and the terrible phantoms moved on, regardless of old Miss Furnivall's wild entreaty-- and the uplifted crutch fell on the right shoulder of the little child, and the younger sister looked on, stony and deadly serene. But at that moment the dim lights, and the fire that gave no heat, went out of themselves, and Miss Furnivall lay at our feet stricken down by the palsy death- stricken. Yes! she was carried to her bed that night never to rise again. She lay with her face to the wall muttering low but muttering alway: 'Alas! alas! what is done in youth can never be undone in age! What is done in youth can never be undone in age!'

Culture and Anarchy Arnold

from ch1 The impulse of the English race towards moral development and self- conquest has nowhere so powerfully manifested itself as in Puritanism; nowhere has not in print version Puritanism found so adequate an expression as in the religious organisation of the Independents. The modern Independents have a newspaper, the Nonconformist, written with great sincerity and ability. The motto, the standard, the profession of faith which this organ of theirs carries aloft, is: "The Dissidence of not in print version Dissent and the Protestantism of the Protestant religion." There is sweetness and light, and an ideal of complete harmonious human perfection! One need not go to culture and poetry to find language to judge it. Religion, with its instinct for perfection, supplies language to judge it: "Finally, be of one mind, united in feeling," says St. Peter. There is an ideal which judges the Puritan ideal, — "The Dissidence of Dissent and the Protestantism of the Protestant religion!" And religious organisations like this are what people believe in, rest in, would give their lives for! Such, I say, is the wonderful virtue of even the beginnings of perfection, of having conquered even the plain faults of our animality, that the religious organisation which has helped us to do it can seem to us something precious, salutary, and to be propagated, even when it wears such a brand of imperfection on its forehead as this. And men have got such a habit of giving to the language of religion a special application, of making it a mere jargon, that for the condemnation which religion itself passes on the shortcomings of their religious organisations they have no ear; they are sure to cheat themselves and to explain this condemnation away. They can only be reached by the criticism which culture, like poetry, speaking a language not to be sophisticated, and resolutely testing these organisations by the ideal of a human perfection complete on all sides, applies to them. But men of culture and poetry, it will be said, are again and again failing, and failing conspicuously, in the necessary first stage to perfection, in the subduing of the great obvious faults of our animality, which it is the glory of these religious organisations to have helped us to subdue. True, they do often so fail: they have often been without the virtues as well as the faults of the Puritan; it has been one of their dangers that they so felt the Puritan's faults that they too much neglected the practice of his virtues. I will not, however, exculpate them at the Puritan's expense; they have often failed in morality, and morality is indispensable; they have been punished for their failure, as the Puritan has been rewarded for his performance. They have been punished wherein they erred; but their ideal of beauty and sweetness and light, and a human nature complete on all its sides, remains the true ideal of perfection still; just as the Puritan's ideal of perfection remains narrow and inadequate, although for what he did well he has been richly rewarded. Notwithstanding the mighty results of the Pilgrim Fathers' voyage, they and their standard of perfection are rightly judged when we figure to ourselves Shakspeare or Virgil, — souls in whom sweetness and light, and all that in human nature is most humane, were eminent, — accompanying them on their voyage, and think what intolerable company Shakspeare and Virgil would have found them! In the same way let us judge the religious organisations which we see all around us. Do not let us deny the good and the happiness which they have accomplished; but do not let us fail to see clearly that their idea of human perfection is narrow and inadequate, and that the Dissidence of Dissent and the Protestantism of the Protestant religion will never bring humanity to its true goal. As I said with regard to wealth, — let us look at the life of those who live in and for it; — so I say with regard to the religious organisations. Look at the life imaged in such a newspaper as the Nonconformist; — a life of jealousy of the Establishment, disputes, tea-meetings, openings of chapels, sermons; and then think of it as an ideal of a human life completing itself on all sides, and aspiring with all its organs after sweetness, light, and perfection! from ch 2 When I began to speak of culture, I insisted on our bondage to machinery, on our proneness to value machinery as an end in itself, without looking beyond it to the end for which alone, in truth, it is valuable. Freedom, I said, was one of those things which we thus worshipped in itself, without enough regarding the ends for which freedom is to be desired. In our common notions and talk about freedom, we eminently show our idolatry of machinery. Our prevalent notion is,-and I quoted a number of instances to prove it,- that it is a most happy and important thing for a man merely to be able to do as he likes. On what he is to do when he is thus free to do as he likes, we do not lay so much stress. Our familiar praise of the British Constitution under which we live, is that it is a system of checks,-a system which stops and paralyses any power in interfering with the free action of individuals. To this effect Mr. Bright, who loves to walk in the old ways of the Constitution, said forcibly in one of his great speeches, what many other people are every day saying less forcibly, that the central idea of English life and politics is the assertion of personal liberty. Evidently this is so; but evidently, also, as feudalism, which with its ideas and habits of subordination was for many centuries silently behind the British Constitution, dies out, and we are left with nothing but our system of checks, and our notion of its being the great right and happiness of an Englishman to do as far as possible what he likes, we are in danger of drifting towards anarchy. We have not the notion, so familiar on the Continent and to antiquity, of the State-the nation, in its collective and corporate character, entrusted with stringent powers for the general advantage, and controlling individual wills in the name of an interest wider than that of individuals. We say, what is very true, that this notion is often made instrumental to tyranny; we say that a State is in reality made up of the individuals who compose it, and that every individual is the best judge of his own interests. Our leading class is an aristocracy, and no aristocracy likes the notion of a State-authority greater than itself, with a stringent administrative machinery superseding the decorative inutilities of lord-lieutenancy, deputy- lieutenancy, and the posse comitatûs,+ which are all in its own hands. Our middle-class, the great representative of trade and Dissent, with its maxims of every man for himself in business, every man for himself in religion, dreads a powerful administration which might somehow interfere with it; and besides, it has its own decorative inutilities of vestrymanship and guardianship, which are to this class what lord-lieutenancy and the county magistracy are to the aristocratic class, and a stringent administration might either take these functions out of its hands, or prevent its exercising them in its own comfortable, independent manner, as at present. Then as to our working-class. This class, pressed constantly by the hard daily compulsion of material wants, is naturally the very centre and stronghold of our national idea, that it is man's ideal right and felicity to do as he likes. I think I have somewhere related how Monsieur Michelet said to me of the people of France, that it was "a nation of barbarians civilised by the conscription." He meant that through their military service the idea of public duty and of discipline was brought to the mind of these masses, in other respects so raw and uncultivated. Our masses are quite as raw and uncultivated as the French; and, so far from their having the idea of public duty and of discipline, superior to the individual's self- will, brought to their mind by a universal obligation of military service, such as that of the conscription,-so far from their having this, the very idea of a conscription is so at variance with our English notion of the prime right and blessedness of doing as one likes, that I remember the manager of the Clay Cross works in Derbyshire told me during the Crimean war, when our want of soldiers was much felt and some people were talking of a conscription, that sooner than submit to a conscription the population of that district would flee to the mines, and lead a sort of Robin Hood life under ground. For a long time, as I have said, the strong feudal habits of subordination and deference continued to tell upon the working-class. The modern spirit has now almost entirely dissolved those habits, and the anarchical tendency of our worship of freedom in and for itself, of our superstitious faith, as I say, in machinery, is becoming very manifest. More and more, because of this our blind faith in machinery, because of our want of light to enable us to look beyond machinery to the end for which machinery is valuable, this and that man, and this and that body of men, all over the country, are beginning to assert and put in practice an Englishman's right to do what he likes; his right to march where he likes, meet where he likes, enter where he likes, hoot as he likes, threaten as he likes, smash as he likes. All this, I say, tends to anarchy; and though a number of excellent people, and particularly my friends of the liberal or progressive party, as they call themselves, are kind enough to reassure us by saying that these are trifles, that a few transient outbreaks of rowdyism signify nothing, that our system of liberty is one which itself cures all the evils which it works, that the educated and intelligent classes stand in overwhelming strength and majestic repose, ready, like our military force in riots, to act at a moment's notice,-yet one finds that one's liberal friends generally say this because they have such faith in themselves and their nostrums, when they shall return, as the public welfare requires, to place and power. But this faith of theirs one cannot exactly share, when one has so long had them and their nostrums at work, and sees that they have not prevented our coming to our present embarrassed condition; and one finds, also, that the outbreaks of rowdyism tend to become less and less of trifles, to become more frequent rather than less frequent; and that meanwhile our educated and intelligent classes remain in their majestic repose, and somehow or other, whatever happens, their overwhelming strength, like our military force in riots, never does act. How, indeed, should their overwhelming strength act, when the man who gives an inflammatory lecture, or breaks down the Park railings, or invades a Secretary of State's office, is only following an Englishman's impulse to do as he likes; and our own conscience tells us that we ourselves have always regarded this impulse as something primary and sacred? Mr. Murphy lectures at Birmingham, and showers on the Catholic population of that town "words," says Mr. Hardy, "only fit to be addressed to thieves or murderers." What then? Mr. Murphy has his own reasons of several kinds. He suspects the Roman Catholic Church of designs upon Mrs. Murphy; and he says, if mayors and magistrates do not care for their wives and daughters, he does. But, above all, he is doing as he likes, or, in worthier language, asserting his personal liberty. "I will carry out my lectures if they walk over my body as a dead corpse; and I say to the Mayor of Birmingham that he is my servant while I am in Birmingham, and as my servant he must do his duty and protect me." Touching and beautiful words, which find a sympathetic chord in every British bosom! The moment it is plainly put before us that a man is asserting his personal liberty, we are half disarmed; because we are believers in freedom, and not in some dream of a right reason to which the assertion of our freedom is to be subordinated. Accordingly, the Secretary of State had to say that although the lecturer's language was "only fit to be addressed to thieves or murderers," yet, "I do not think he is to be deprived, I do not think that anything I have said could justify the inference that he is to be deprived, of the right of protection in a place built by him for the purpose of these lectures; because the language was not language which afforded grounds for a criminal prosecution." No, nor to be silenced by Mayor, or Home Secretary, or any administrative authority on earth, simply on their notion of what is discreet and reasonable! This is in perfect consonance with our public opinion, and with our national love for the assertion of personal liberty. from ch5 Sweetness and light evidently have to do with the bent or side in humanity which we call Hellenic. Greek intelligence has obviously for its essence the instinct for what Plato calls the true, firm, intelligible law of things; the love of light, of seeing things as they are. Even in the natural sciences, where the Greeks had not time and means adequately to apply this instinct, and where we have gone a great deal further than they did, it is this instinct which is the root of the whole matter and the ground of all our success; and this instinct the world has mainly learnt of the Greeks, inasmuch as they are humanity's most signal manifestation of it. Greek art, again, Greek beauty, have their root in the same impulse to see things as they really are, inasmuch as Greek art and beauty rest on fidelity to nature,-the best nature,-and on a delicate discrimination of what this best nature is. To say we work for sweetness and light, then, is only another way of saying that we work for Hellenism. But, oh! cry many people, sweetness and light are not enough; you must put strength or energy along with them, and make a kind of trinity of strength, sweetness and light, and then, perhaps, you may do some good. That is to say, we are to join Hebraism, strictness of the moral conscience, and manful walking by the best light we have, together with Hellenism, inculcate both, and rehearse the praises of both. Or, rather, we may praise both in conjunction, but we must be careful to praise Hebraism most. "Culture," says an acute, though somewhat rigid critic, Mr. Sidgwick, "diffuses sweetness and light. I do not undervalue these blessings, but religion gives fire and strength, and the world wants fire and strength even more than sweetness and light." By religion, let me explain, Mr. Sidgwick here means particularly that Puritanism on the insufficiency of which I have been commenting and to which he says I am unfair. Now, no doubt, it is possible to be a fanatical partisan of light and the instincts which push us to it, a fanatical enemy of strictness of moral conscience and the instincts which push us to it. A fanaticism of this sort deforms and vulgarises the well-known work, in some respects so remarkable, of the late Mr. Buckle. Such a fanaticism carries its own mark with it, in lacking sweetness; and its own penalty, in that, lacking sweetness, it comes in the end to lack light too. And the Greeks,-the great exponents of humanity's bent for sweetness and light united, of its perception that the truth of things must be at the same time beauty,-singularly escaped the fanaticism which we moderns, whether we Hellenise or whether we Hebraise, are so apt to show, and arrived,-though failing, as has been said, to give adequate practical satisfaction to the claims of man's moral side,-at the idea of a comprehensive adjustment of the claims of both the sides in man, the moral as well as the intellectual, of a full estimate of both, and of a reconciliation of both; an idea which is philosophically of the greatest value, and the best of lessons for us moderns. So we ought to have no difficulty in conceding to Mr. Sidgwick that manful walking by the best light one has,-fire and strength as he calls it,-has its high value as well as culture, the endeavour to see things in their truth and beauty, the pursuit of sweetness and light. But whether at this or that time, and to this or that set of persons, one ought to insist most on the praises of fire and strength, or on the praises of sweetness and light, must depend, one would think, on the circumstances and needs of that particular time and those particular persons. And all that we have been saying, and indeed any glance at the world around us, shows that with us, with the most respectable and strongest part of us, the ruling force is now, and long has been, a Puritan force, the care for fire and strength, strictness of conscience, Hebraism, rather than the care for sweetness and light, spontaneity of consciousness, Hellenism. Well, then, what is the good of our now rehearsing the praises of fire and strength to ourselves, who dwell too exclusively on them already? When Mr. Sidgwick says so broadly, that the world wants fire and strength even more than sweetness and light, is he not carried away by a turn for powerful generalisation? does he not forget that the world is not all of one piece, and every piece with the same needs at the same time? It may be true that the Roman world at the beginning of our era, or Leo the Tenth's Court at the time of the Reformation, or French society in the eighteenth century, needed fire and strength even more than sweetness and light. But can it be said that the Barbarians who overran the empire, needed fire and strength even more than sweetness and light; or that the Puritans needed them more; or that Mr. Murphy, the Birmingham lecturer, and the Rev. W. Cattle and his friends, need them more? The Puritan's great danger is that he imagines himself in possession of a rule telling him the unum necessarium, or one thing needful,+ and that he then remains satisfied with a very crude conception of what this rule really is and what it tells him, thinks he has now knowledge and henceforth needs only to act, and, in this dangerous state of assurance and self-satisfaction, proceeds to give full swing to a number of the instincts of his ordinary self. Some of the instincts of his ordinary self he has, by the help of his rule of life, conquered; but others which he has not conquered by this help he is so far from perceiving to need subjugation, and to be instincts of an inferior self, that he even fancies it to be his right and duty, in virtue of having conquered a limited part of himself, to give unchecked swing to the remainder. He is, I say, a victim of Hebraism, of the tendency to cultivate strictness of conscience rather than spontaneity of consciousness. And what he wants is a larger conception of human nature, showing him the number of other points at which his nature must come to its best, besides the points which he himself knows and thinks of. There is no unum necessarium, or one thing needful, which can free human nature from the obligation of trying to come to its best at all these points. The real unum necessarium for us is to come to our best at all points. Instead of our "one thing needful," justifying in us vulgarity, hideousness, ignorance, violence,-our vulgarity, hideousness, ignorance, violence, are really so many touchstones which try our one thing needful, and which prove that in the state, at any rate, in which we ourselves have it, it is not all we want. And as the force which encourages us to stand staunch and fast by the rule and ground we have is Hebraism, so the force which encourages us to go back upon this rule, and to try the very ground on which we appear to stand, is Hellenism,-a turn for giving our consciousness free play and enlarging its range. And what I say is, not that Hellenism is always for everybody more wanted than Hebraism, but that for the Rev. W. Cattle at this particular moment, and for the great majority of us his fellow-countrymen, it is more wanted.