Delphi Complete Works of Walter Pater

by Walter Pater

  Again as in one of those mystical, quaint visions of the Shepherd of Hermas, “the aged woman was become by degrees more and more youthful. And in the third vision she was quite young, and radiant with beauty: only her hair was that of an aged woman. And at the last she was joyous, and seated upon a throne — seated upon a throne, because her position is a strong one.” The subterranean worship of the church belonged properly to those years of her early history in which it was illegal for her to worship at all. But, hiding herself for awhile as conflict grew violent, she resumed, when there was felt to be no more than ordinary risk, her natural freedom. And the kind of outward prosperity she was enjoying in those moments of her first “Peace,” her modes of worship now blossoming freely above-ground, was re-inforced by the decision at this point of a crisis in her internal history.

  In the history of the church, as throughout the moral history of mankind, there are two distinct ideals, either of which it is possible to maintain — two conceptions, under one or the other of which we may represent to ourselves men’s efforts towards a better life — corresponding to those two contrasted aspects, noted above, as discernible in the picture afforded by the New Testament itself of the character of Christ. The ideal of asceticism represents moral effort as essentially a sacrifice, the sacrifice of one part of human nature to another, that it may live the more completely in what survives of it; while the ideal of culture represents it as a harmonious development of all the parts of human nature, in just proportion to each other. It was to the latter order of ideas that the church, and especially the church of Rome in the age of the Antonines, freely lent herself. In that earlier “Peace” she had set up for herself the ideal of spiritual development, under the guidance of an instinct by which, in those serene moments, she was absolutely true to the peaceful soul of her Founder. “Goodwill to men,” she said, “in whom God Himself is well-pleased!” For a little while, at least, there was no forced opposition between the soul and the body, the world and the spirit, and the grace of graciousness itself was pre-eminently with the people of Christ. Tact, good sense, ever the note of a true orthodoxy, the merciful compromises of the church, indicative of her imperial vocation in regard to all the varieties of human kind, with a universality of which the old Roman pastorship she was superseding is but a prototype, was already become conspicuous, in spite of a discredited, irritating, vindictive society, all around her.

  Against that divine urbanity and moderation the old error of Montanus we read of dimly, was a fanatical revolt — sour, falsely anti-mundane, ever with an air of ascetic affectation, and a bigoted distaste in particular for all the peculiar graces of womanhood. By it the desire to please was understood to come of the author of evil. In this interval of quietness, it was perhaps inevitable, by the law of reaction, that some such extravagances of the religious temper should arise. But again the church of Rome, now becoming every day more and more completely the capital of the Christian world, checked the nascent Montanism, or puritanism of the moment, vindicating for all Christian people a cheerful liberty of heart, against many a narrow group of sectaries, all alike, in their different ways, accusers of the genial creation of God. With her full, fresh faith in the Evangele — in a veritable regeneration of the earth and the body, in the dignity of man’s entire personal being — for a season, at least, at that critical period in the development of Christianity, she was for reason, for common sense, for fairness to human nature, and generally for what may be called the naturalness of Christianity. — As also for its comely order: she would be “brought to her king in raiment of needlework.” It was by the bishops of Rome, diligently transforming themselves, in the true catholic sense, into universal pastors, that the path of what we must call humanism was thus defined.

  And then, in this hour of expansion, as if now at last the catholic church might venture to show her outward lineaments as they really were, worship— “the beauty of holiness,” nay! the elegance of sanctity — was developed, with a bold and confident gladness, the like of which has hardly been the ideal of worship in any later age. The tables in fact were turned: the prize of a cheerful temper on a candid survey of life was no longer with the pagan world. The aesthetic charm of the catholic church, her evocative power over all that is eloquent and expressive in the better mind of man, her outward comeliness, her dignifying convictions about human nature: — all this, as abundantly realised centuries later by Dante and Giotto, by the great medieval church-builders, by the great ritualists like Saint Gregory, and the masters of sacred music in the middle age — we may see already, in dim anticipation, in those charmed moments towards the end of the second century. Dissipated or turned aside, partly through the fatal mistake of Marcus Aurelius himself, for a brief space of time we may discern that influence clearly predominant there. What might seem harsh as dogma was already justifying itself as worship; according to the sound rule: Lex orandi, lex credendi — Our Creeds are but the brief abstract of our prayer and song.

  The wonderful liturgical spirit of the church, her wholly unparalleled genius for worship, being thus awake, she was rapidly re-organising both pagan and Jewish elements of ritual, for the expanding therein of her own new heart of devotion. Like the institutions of monasticism, like the Gothic style of architecture, the ritual system of the church, as we see it in historic retrospect, ranks as one of the great, conjoint, and (so to term them) necessary, products of human mind. Destined for ages to come, to direct with so deep a fascination men’s religious instincts, it was then already recognisable as a new and precious fact in the sum of things. What has been on the whole the method of the church, as “a power of sweetness and patience,” in dealing with matters like pagan art, pagan literature was even then manifest; and has the character of the moderation, the divine moderation of Christ himself. It was only among the ignorant, indeed, only in the “villages,” that Christianity, even in conscious triumph over paganism, was really betrayed into iconoclasm. In the final “Peace” of the Church under Constantine, while there was plenty of destructive fanaticism in the country, the revolution was accomplished in the larger towns, in a manner more orderly and discreet — in the Roman manner. The faithful were bent less on the destruction of the old pagan temples than on their conversion to a new and higher use; and, with much beautiful furniture ready to hand, they became Christian sanctuaries.

  Already, in accordance with such maturer wisdom, the church of the “Minor Peace” had adopted many of the graces of pagan feeling and pagan custom; as being indeed a living creature, taking up, transforming, accommodating still more closely to the human heart what of right belonged to it. In this way an obscure synagogue was expanded into the catholic church. Gathering, from a richer and more varied field of sound than had remained for him, those old Roman harmonies, some notes of which Gregory the Great, centuries later, and after generations of interrupted development, formed into the Gregorian music, she was already, as we have heard, the house of song — of a wonderful new music and poesy. As if in anticipation of the sixteenth century, the church was becoming “humanistic,” in an earlier, and unimpeachable Renaissance. Singing there had been in abundance from the first; though often it dared only be “of the heart.” And it burst forth, when it might, into the beginnings of a true ecclesiastical music; the Jewish psalter, inherited from the synagogue, turning now, gradually, from Greek into Latin — broken Latin, into Italian, as the ritual use of the rich, fresh, expressive vernacular superseded the earlier authorised language of the Church. Through certain surviving remnants of Greek in the later Latin liturgies, we may still discern a highly interesting intermediate phase of ritual development, when the Greek and the Latin were in combination; the poor, surely! — the poor and the children of that liberal Roman church — responding already in their own “vulgar tongue,” to an office said in the original, liturgical Greek. That hymn sung in the early morning, of which Pliny had heard, was kindling into the service of the Mass.

  The Mass, indeed, would appear to have been
said continuously from the Apostolic age. Its details, as one by one they become visible in later history, have already the character of what is ancient and venerable. “We are very old, and ye are young!” they seem to protest, to those who fail to understand them. Ritual, in fact, like all other elements of religion, must grow and cannot be made — grow by the same law of development which prevails everywhere else, in the moral as in the physical world. As regards this special phase of the religious life, however, such development seems to have been unusually rapid in the subterranean age which preceded Constantine; and in the very first days of the final triumph of the church the Mass emerges to general view already substantially complete. “Wisdom” was dealing, as with the dust of creeds and philosophies, so also with the dust of outworn religious usage, like the very spirit of life itself, organising soul and body out of the lime and clay of the earth. In a generous eclecticism, within the bounds of her liberty, and as by some providential power within her, she gathers and serviceably adopts, as in other matters so in ritual, one thing here, another there, from various sources — Gnostic, Jewish, Pagan — to adorn and beautify the greatest act of worship the world has seen. It was thus the liturgy of the church came to be — full of consolations for the human soul, and destined, surely! one day, under the sanction of so many ages of human experience, to take exclusive possession of the religious consciousness.

  TANTUM ERGO SACRAMENTUM VENEREMUR CERNUI:

  ET ANTIQUUM DOCUMENTUM

  NOVO CEDAT RITUI.

  CHAPTER XXIII: DIVINE SERVICE.

  “Wisdom hath builded herself a house: she hath mingled her wine: she hath also prepared for herself a table.”

  THE more highly favoured ages of imaginative art present instances of the summing up of an entire world of complex associations under some single form, like the Zeus of Olympia, or the series of frescoes which commemorate The Acts of Saint Francis, at Assisi, or like the play of Hamlet or Faust. It was not in an image, or series of images, yet still in a sort of dramatic action, and with the unity of a single appeal to eye and ear, that Marius about this time found all his new impressions set forth, regarding what he had already recognised, intellectually, as for him at least the most beautiful thing in the world.

  To understand the influence upon him of what follows the reader must remember that it was an experience which came amid a deep sense of vacuity in life. The fairest products of the earth seemed to be dropping to pieces, as if in men’s very hands, around him. How real was their sorrow, and his! “His observation of life” had come to be like the constant telling of a sorrowful rosary, day after day; till, as if taking infection from the cloudy sorrow of the mind, the eye also, the very senses, were grown faint and sick. And now it happened as with the actual morning on which he found himself a spectator of this new thing. The long winter had been a season of unvarying sullenness. At last, on this day he awoke with a sharp flash of lightning in the earliest twilight: in a little while the heavy rain had filtered the air: the clear light was abroad; and, as though the spring had set in with a sudden leap in the heart of things, the whole scene around him lay like some untarnished picture beneath a sky of delicate blue. Under the spell of his late depression, Marius had suddenly determined to leave Rome for a while. But desiring first to advertise Cornelius of his movements, and failing to find him in his lodgings, he had ventured, still early in the day, to seek him in the Cecilian villa. Passing through its silent and empty court-yard he loitered for a moment, to admire. Under the clear but immature light of winter morning after a storm, all the details of form and colour in the old marbles were distinctly visible, and with a kind of severity or sadness — so it struck him — amid their beauty: in them, and in all other details of the scene — the cypresses, the bunches of pale daffodils in the grass, the curves of the purple hills of Tusculum, with the drifts of virgin snow still lying in their hollows.

  The little open door, through which he passed from the court-yard, admitted him into what was plainly the vast Lararium, or domestic sanctuary, of the Cecilian family, transformed in many particulars, but still richly decorated, and retaining much of its ancient furniture in metal-work and costly stone. The peculiar half-light of dawn seemed to be lingering beyond its hour upon the solemn marble walls; and here, though at that moment in absolute silence, a great company of people was assembled. In that brief period of peace, during which the church emerged for awhile from her jealously-guarded subterranean life, the rigour of an earlier rule of exclusion had been relaxed. And so it came to pass that, on this morning Marius saw for the first time the wonderful spectacle — wonderful, especially, in its evidential power over himself, over his own thoughts — of those who believe.

  There were noticeable, among those present, great varieties of rank, of age, of personal type. The Roman ingenuus, with the white toga and gold ring, stood side by side with his slave; and the air of the whole company was, above all, a grave one, an air of recollection. Coming thus unexpectedly upon this large assembly, so entirely united, in a silence so profound, for purposes unknown to him, Marius felt for a moment as if he had stumbled by chance upon some great conspiracy. Yet that could scarcely be, for the people here collected might have figured as the earliest handsel, or pattern, of a new world, from the very face of which discontent had passed away. Corresponding to the variety of human type there present, was the various expression of every form of human sorrow assuaged. What desire, what fulfilment of desire, had wrought so pathetically on the features of these ranks of aged men and women of humble condition? Those young men, bent down so discreetly on the details of their sacred service, had faced life and were glad, by some science, or light of knowledge they had, to which there had certainly been no parallel in the older world. Was some credible message from beyond “the flaming rampart of the world” — a message of hope, regarding the place of men’s souls and their interest in the sum of things — already moulding anew their very bodies, and looks, and voices, now and here? At least, there was a cleansing and kindling flame at work in them, which seemed to make everything else Marius had ever known look comparatively vulgar and mean. There were the children, above all — troops of children — reminding him of those pathetic children’s graves, like cradles or garden- beds, he had noticed in his first visit to these places; and they more than satisfied the odd curiosity he had then conceived about them, wondering in what quaintly expressive forms they might come forth into the daylight, if awakened from sleep. Children of the Catacombs, some but “a span long,” with features not so much beautiful as heroic (that world of new, refining sentiment having set its seal even on childhood), they retained certainly no stain or trace of anything subterranean this morning, in the alacrity of their worship — as ready as if they had been at play — stretching forth their hands, crying, chanting in a resonant voice, and with boldly upturned faces, Christe Eleison!

  For the silence — silence, amid those lights of early morning to which Marius had always been constitutionally impressible, as having in them a certain reproachful austerity — was broken suddenly by resounding cries of Kyrie Eleison! Christe Eleison! repeated alternately, again and again, until the bishop, rising from his chair, made sign that this prayer should cease. But the voices burst out once more presently, in richer and more varied melody, though still of an antiphonal character; the men, the women and children, the deacons, the people, answering one another, somewhat after the manner of a Greek chorus. But again with what a novelty of poetic accent; what a genuine expansion of heart; what profound intimations for the intellect, as the meaning of the words grew upon him! Cum grandi affectu et compunctione dicatur — says an ancient eucharistic order; and certainly, the mystic tone of this praying and singing was one with the expression of deliverance, of grateful assurance and sincerity, upon the faces of those assembled. As if some searching correction, a regeneration of the body by the spirit, had begun, and was already gone a great way, the countenances of men, women, and children alike had a brightness on them whic
h he could fancy reflected upon himself — an amenity, a mystic amiability and unction, which found its way most readily of all to the hearts of children themselves. The religious poetry of those Hebrew psalms — Benedixisti Domine terram tuam: Dixit Dominus Domino meo, sede a dextris meis — was certainly in marvellous accord with the lyrical instinct of his own character. Those august hymns, he thought, must thereafter ever remain by him as among the well-tested powers in things to soothe and fortify the soul. One could never grow tired of them!

  In the old pagan worship there had been little to call the understanding into play. Here, on the other hand, the utterance, the eloquence, the music of worship conveyed, as Marius readily understood, a fact or series of facts, for intellectual reception. That became evident, more especially, in those lessons, or sacred readings, which, like the singing, in broken vernacular Latin, occurred at certain intervals, amid the silence of the assembly. There were readings, again with bursts of chanted invocation between for fuller light on a difficult path, in which many a vagrant voice of human philosophy, haunting men’s minds from of old, recurred with clearer accent than had ever belonged to it before, as if lifted, above its first intention, into the harmonies of some supreme system of knowledge or doctrine, at length complete. And last of all came a narrative which, with a thousand tender memories, every one appeared to know by heart, displaying, in all the vividness of a picture for the eye, the mournful figure of him towards whom this whole act of worship still consistently turned — a figure which seemed to have absorbed, like some rich tincture in his garment, all that was deep-felt and impassioned in the experiences of the past.