Works of Grant Allen

by Grant Allen

  Of late it has been the fashion to talk about Byron’s theatrical sorrow. One much-advertised critic went so far as to speak of “Byron’s vulgar selfishness.” It might have been supposed that incontestable evidence had come before him; but a careful perusal of the documents will prove that, though Byron was as selfish as most other men during his mad misguided youth, yet, after sorrow had blanched his noble head, he cast off all that was vile in him and emerged from the fire-discipline as the most helpful and utterly unselfish of men. His last calm gentle letter to the woman who drove him out of England is simply perfect in its dignified humility; and the poorest creature that ever snarled may see from that letter that grief had turned the wayward fierce poet into a gentle and forbearing man who had suffered so much that he could not find it in his heart to inflict suffering on his worst enemy. I call the Byron of the Abbey a bad man; the Byron whose home became the home of pure charity — charity done in secret — was a good man.

  Sorrow may appear repulsive and men bid her “Avaunt!” Yet out of sorrow all that is noblest and highest in poesy and art has arisen; and all that is noblest in life has been achieved by the sorrow-stricken. Joy has given us much; and those who have once known what real earthly joy means should be content to pass unrepining to the Shades; but Sorrow’s gifts are priceless, and no man can appraise their worth. Even poor Carlyle’s sorrow, which was oftentimes aught but noble, if all tales be true, was sufficient to endow us with the most splendid of modern books. It is strange to see how that crabbed man with the passionately-loving heart keeps harping on the beneficence of sorrow. Once he spoke of “Sorrow’s fire-whips”; but usually his strain is far, far different. He cleaves to the noble and sorrowful figures that crowd his sombre galleries; and I do not know that he ever gives more than a light and careless word of praise to any but his melancholy heroes. Cromwell, Abbot Sampson, the bold Ziethen, Danton, Mirabeau, Mahomet, Burns, “the great, melancholy Johnson,” and even Napoleon and Luther — all are sorrowful, all are beautiful. Peace to them, and peace to the strong soul that made them all live again for the world!

  XXIV. DEATH.

  The air of mystery which most of us assume when we speak about the great change that marks the bound of our mortal progress has engendered a kind of paralysing terror which makes ordinary people shudder at the notion of bodily extinction. We are glad enough to enjoy the beautiful things of life, we welcome the rapture of love, the delight of the sun, the promise of spring, the glory of strength; and yet forsooth we must needs tremble at the grand beneficent close which rounds off our earthly strivings and completes one stage in our everlasting progress. Why should we not speak as frankly of Death as we do of love and life? If men would only be content to let their minds play freely around all the facts that concern our entrance, our progress, our exit, then existence would be relieved from the presence of terror. The Greeks were more rational than we are; they took the joys of life with serenity and gladness, and they accepted the mighty transformation with the same serenity. On their memorial-stones there is no note of mourning. A young man calmly bids adieu to his friends and prepares to pass with dignity from their presence; a gallant horseman exults in the knowledge that he once rejoiced in life— “Great joy had I on earth, and now I that came from the earth return to the earth.” Such are the carvings and inscriptions that show the wise, brave spirit of the ancients. But we, with our civilisation, behave somewhat like those Indian tribes who keep one mysterious word in their minds, and try to avoid mentioning it throughout their lives. Even in familiar conversation it is amusing to hear the desperate attempts made to paraphrase the word which should come naturally to the lips of all steadfast mortals. “If anything should happen to me,” says the timid citizen, when he means, “If I should die”; and it would be possible to collect a score more of roundabout phrases with which men try to cheat themselves. It is right that we should be in love with life, for that is the supreme gift; but it is wrong to think with abhorrence of the close of life, for the same Being who gave us the thrilling rapture of consciousness bestows the boon of rest upon the temple of the soul. “He giveth His beloved sleep,” and therein He proves His mighty tenderness.

  Strange it is to see how inevitably men and women are drawn to think and speak of the great Terror when they are forced to muse in solitude. We flirt with melancholy; we try all kinds of dismal coquetries to avoid dwelling on our inexorable and beneficent doom; yet, if we look over the written thoughts of men, we find that more has been said about Death than even about love. The stone-cold comforter attracts the poets, and most of them, like Keats, are half in love with easeful death. The word that causes a shudder when it is spoken in a drawing-room gives a sombre and satisfying pleasure when we dwell upon it in our hours of solitude. Sometimes the poets are palpably guilty of hypocrisy, for they pretend to crave for the passage into the shades. That is unreal and unhealthy; the wise man neither longs for death nor dreads it, and the fool who begs for extinction before the Omnipotent has willed that it should come is a mere silly blasphemer. But, though the men who put the thoughts of humanity into musical words are sometimes insincere, they are more often grave and consoling. I know of two supreme expressions of dread, and one of these was written by the wisest and calmest man that ever dwelt beneath the sun. Marvellous it is to think that our most sane and contented poet should have condensed all the terror of our race into one long and awful sentence. Perhaps Shakspere was stricken with momentary pity for the cowardice of his fellows, and, out of pure compassion, gave their agony a voice. That may be; at any rate, the fragment of “Measure for Measure” in which the cry of loathing and fear is uttered stands as the most striking and unforgettable saying that ever was conceived in the brain of man. Everybody knows the lines, yet we may once more touch our souls with solemnity by quoting them:

  “Ay, but to die, and go we know not where;

  To lie in cold obstruction, and to rot;

  This sensible warm motion to become

  A kneaded clod, and the delighted spirit

  To bathe in fiery floods, or to reside

  In thrilling region of thick-ribbed ice;

  To be imprisoned in the viewless winds

  And blown with restless violence round about

  The pendent world; or to be worse than worst

  Of those that lawless and incertain thoughts

  Imagine howling!— ’tis too horrible!

  The weariest and most loathed worldly life

  That age, ache, penury, and imprisonment

  Can lay on nature is a paradise

  To what we fear of death.”

  There is no more to be said in that particular line of reflection; the speech is flawless in its gruesome power, and every piercing word seems to leap from a shuddering soul. The other utterance which is fit to be matched with Shakspere’s was written by Charles Lamb. “Whatsoever thwarts or puts me out of my way brings death into my mind. All partial evils, like humours, run into that capital plague-sore. I have heard some profess an indifference to life. Such hail the end of their existence as a port of refuge, and speak of the grave as of some soft arms in which they may slumber as on a pillow. Some have wooed death — but ‘Out upon thee,’ I say, ‘thou foul, ugly phantom! I detest, abhor, execrate thee, as in no instance to be excused or tolerated, but shunned as a universal viper, to be branded, proscribed, and spoken evil of! In no way can I be brought to digest thee, thou thin, melancholy Privation. Those antidotes prescribed against the fear of thee are altogether frigid and insulting, like thyself.’”

  Poor Charles’s wild humour flickers over this page like lambent flame; yet he was serious at heart without a doubt, and his whirling words rouse an echo in many a breast to this day. But both Shakspere and Lamb had their higher moments. Turn to “Cymbeline,” and observe the glorious triumph of the dirge which rings like the magnificent exultation of Beethoven’s Funeral March —

  “Fear no more the heat o’ the sun,

  Nor the furious winter�
�s rages;

  Thou thy worldly task hast done,

  Home art gone, and ta’en thy wages;

  Golden lads and girls all must,

  As chimney-sweepers, come to dust.

  Fear no more the frown o’ the great —

  Thou art past the tyrant’s stroke;

  Care no more to clothe and eat —

  To thee the reed is as the oak;

  The sceptre, learning, physic, must

  All follow this, and come to dust.”

  Here in rhythmic form we have the thought of the mighty apostle— “O Death, where is thy sting? O Grave, where is thy victory?” Shakspere was too intensely human to be absolved from mortal weakness; but, in the main, he took the one view which I should be glad to see cherished by all. His words sometimes make us pause, as we pause when the violet flashes of summer lightning fleet across the lowering dome of the sky; but, in the end, he always has his words of cheer, and we gather heart from reading the strongest and most perfect writer the earth has known. Turn where we will, we find that all of our race — emperor, warrior, poet, clown, fair lady, innocent child — are given to dwelling on the same thought. It is our business to seek out those who have spoken with resignation and dauntlessness, and to leave aside all those who have only affectations of bravery or affectations of horror to give us. Here is a beautiful word: —

  “The ways of Death are soothing and serene,

  And all the words of Death are grave and sweet;

  Approaching ever, soft of hands and feet,

  She beckons us, and strife and song have been.

  A summer night, descending cool and green

  And dark on daytime’s dust and stress and heat,

  The ways of Death are soothing and serene,

  And all the words of Death are grave and sweet.

  O glad and sorrowful, with triumphant mien

  And hopeful fancies look upon and greet

  This last of all your lovers, and to meet

  Her kiss mysterious all your spirit lean!

  The ways of Death are soothing and serene!”

  Even Shakspere hardly bettered that!

  I should not like to see men begin to encourage the recklessness of the desperado, nor should I like to see women affect the brazen abandonment of the Amazon. I only care to see our fellow-creatures rise above pettiness, so that they may accept all God’s ordinances with unvarying gratitude. Is it not pitiful to see a grown man trembling and waving his hand with angry disgust when the holy course of Nature is spoken of with gravity and composed resolution? I have seen a stout, strong man who had amassed enormous wealth fly into pettish rage like a spoiled child when a friend spoke to him about the final disposal of his riches. Like a silly girl, this powerful millionaire went into tremors when the inevitable was named in his ear, for he had imbibed all the cowardly conventions that tend to poison our existence. He died a hundred deaths in his time, and much of his life was passed in such misery as only cultivated poltroonery can breed. Wicked wags knew that they could frighten him at any moment; they would greet him cordially, and then suddenly assume an air of deep concern. The poor plutocrat’s face changed instantly, and he would ask, “What is the matter?” The joker then made answer, “You are a little flushed. You should rest.” This was enough. The truant imagination of the unhappy butt went far afield in search of terrors; neither food, nor wine, nor the pleasures of the theatre could tempt him, and he remained in a state of limpness until the natural buoyancy of his spirits asserted itself. What a life! How much better would it have been for this rich man had he trained himself to preserve General Gordon’s composure, even if he had bought that composure at the price of his whole colossal fortune! Riches were useless to him, the sun failed to cheer him, and his end was in truth a release from one incessant torture.

  Turn from this hare-hearted citizen, and think of our hero, the pride of England, the flower of the human race — Charles Gordon. With his exquisite simplicity, Gordon confesses in one of his letters that he used to feel frightened when he went under fire, for the superstitious dread of death had been grafted on his mind when he was young. But he learned the fear of God and lost all other fear; he accustomed himself to the idea of parting with the world and its hopes and labours, and in all the long series of letters which he sent home from the Soudan during his period of rule we find him constantly speaking quietly, joyously about the event which carries horror to the hearts of weak men— “My Master will lay me aside and use some other instrument when I have fulfilled His purpose. I have no fear of death, for I know I shall exchange much weariness for perfect peace.” So spoke the hero, the just and faithful Knight of God. He was simple, with the simplicity of a flawless diamond; he was reverent, he was faithful even to the end, and he was incredibly dauntless. Why? Because he had faced the last great problem with all the force of his noble manhood, and the thought of his translation to another world woke in his gallant soul images of beauty and holiness. Why should the meanest and most unlearned of us all not strive to follow in the footsteps of the hero? Millions on millions have passed away, and they now know all things; the cessation of human life is as common and natural as the drawing of our breath; why then should we invest a natural, blessed, beautiful event with murky lines of wrath and dread? The pitiful wretch who flaunts his braggart defiance before the eyes of men and shrieks his feeble contempt of the inevitable is worthy only of our quiet scorn; but the grateful soul that bows humbly to the stroke of fate and accepts death as thankfully as life is in all ways worthy of admiration and vivid respect. We are prone to talk of our “rights,” and some of us have a very exalted idea of the range which those precious “rights” should cover. One of our poets goes so far as to inquire in an amiable way, “What have we done to thee, O Death?” He insinuates that Death is very unkind to ply the abhorred shears over such nice, harmless creatures as we are. Let us, for manhood’s sake, have done with puerility; let us recognise that our “rights” have no existence, and that we must perforce accept the burdens of life, labour, and death that are laid upon us. We can do no good by nourishing fears, by encouraging silly conventionalities, by shirking the bald facts of life; and we should gently, joyfully, trustfully look our fate in the face and fear nothing. Life will never be the joyous pilgrimage that it ought to be until men have learned to crush their pride, their doubts, their terrors, and have also learned to regard the beautiful sleep as a holy and fitting reward only to be rightly enjoyed by those who live purely, righteously, hopefully in the sight of God and man.

  XXV. JOURNALISM.

  When the mystic midnight passes, the bustle of Fleet Street slackens; but on each side of the thoroughfare hundreds of workers with hand and brain are toiling with eager intensity. In tall buildings here and there the lights glitter on every floor, and throw their long shafts through the gloom; not much activity is plainly visible, and yet somehow the merest novice feels that there is a throb in the air, and that some mysterious forces are working around him. Hurrying messengers dash by, stray cabs rush along with a low rumble and sharp clash of hoofs. But it is not in the street that the minds and bodies of men are obviously in action; go inside one of the mighty palatial offices, and you find yourself in the midst of such a hive of marvellous industry as the world has never seen before. On one journal as many as four hundred and fifty or five hundred men are all labouring for dear life; every one is at high pressure, from the silent leader-writer to the fussy swift-footed messenger. In that one building is concentrated a great estate, which yields a revenue that exceeds that of some principalities; it is a large nerve-centre, and myriads of fibres connect it with every part of the globe; or, say, it is like some miraculous eye, which sees in all directions and is indifferent to distance. Go into one quiet, soft-carpeted room, and certain small glittering machines flash in the bright light. “Click, click — click, click!” — long strips of tape are softly unwound and fall in slack twisted piles. One of those machines is printing off a long letter from Berlin
, another is registering news from Vienna, and by a third news from Paris comes as easily and rapidly as from Shoreditch; subdued men take the tapes, expand and make fluent the curt, halting phrases of the foreign correspondents, and pass the messages swiftly away to the printers. From America, Australia, India, China, the items of news pour in, and are scrutinised by severe sub-editors; and those experts calculate to a fraction of an inch what space can be judiciously spared for each item. If Parliament is sitting, the relays of messengers arrive with batches of manuscript; and, when an important debate is proceeding, the steady influx of hundreds of scribbled sheets is enormous. A four hours’ speech from such an orator as Mr. Gladstone or Mr. Chamberlain contains, say, thirty thousand words. Imagine the area of paper covered by the reporters! But such a speech would rarely come in late at night, and the men can usually handle an important oration by an eminent speaker in a way that is leisurely by comparison. The slips are distributed with lightning rapidity; each man puts his little batch into type, the fragments are placed in their queer frame, and presently the readers are poring over the long, damp, and odorous proof-sheets. There is no very great hurry in the early part of the evening; but, as the small hours wear away, the strain is feverish in its poignancy. There is no noise, no confusion; each man knows his office, and fulfils it deftly. But such great issues are involved, that the nervousness of managers, printers, sub-editors — every one — may easily be understood. Suppose that a very important division is to be taken in Parliament; the minutes roll by, and the news is still delayed. Some kind of comment must be made on the result of the debate, and an able, swift writer scrawls off his column of phrases with furious speed. Then that article must be put into type; a model of the type must be taken on a sheet of papier-mâché, the melted metal must be poured into the paper mould, the resulting curved block must be clamped on to a cylinder of the waiting machine, and all this must be done with strict regard to the value of seconds. A delay of half a minute might prevent the manager from sending his piles of journals away by the early train, and that would be a calamity too fearful to be dreamed of. In one great newspaper-office ten machines are all set going together, and an eleventh is kept ready in case of accident. The ten whizzing cylinders print off the papers, and an impression of a quarter of a million is soon thrown out, folded, and piled ready for distribution. But imagine what a loss of one minute means! Truly the agitation of the officials at an awkward pinch is singularly excusable, and many a hard word is levelled at pertinacious talkers who insist on thrusting themselves upon the House at a time when the country is waiting with wild eagerness for momentous tidings. The long line of carts waits in the street, the speedy ponies rattle off, and soon the immense building is all but still. Comfortable people who have their journal punctually handed in at a convenient hour in the morning are apt to think lightly of the raging effort, the inconceivably complicated organisation, the colossal expense needed to produce that sheet which is flung away at the close of each day. A blunder of the most trivial kind might throw everything out of gear; but stern discipline and ubiquitous precaution render the blunder almost an impossibility. Sometimes you may observe in a paper like the Times one column which bristles with typographical errors. All the slips are clustered in one place, and the reason is that the few minutes necessary for proper revision could not be spared. Good workmen are set on at the last moment, and an attempt is made to set up the final scraps of matter with as few errors as possible; but little mistakes will creep in, and people who do not know the startling exigencies of the printer’s trade are apt to express scornful wonder. Very comic have been the errors made during the recent furious and prolonged debates, for the frantic conflicts in the House were extended far into the small hours. One excited orator, in closing a debate, dropped into poetry, and remarked that a certain catastrophe came “like a bolt from the blue”; a daily journal of vast circulation described the event as coming “like a bolt from the flue” — which was a very sad instance of bathos. The amazing thing is that such blunders should be so rare as to be memorable.