VII
THE MESSAGE FROM THE HERMIT
The question remains, "Who is the tramp?" Who is the walking person seen from the vantage ground of these pages? He is necessarily a masked figure; he wears the disguise of one who has escaped, and also of one who is a conspirator. He is not the dilettante literary person gone tramping, nor the pauper vagabond who writes sonnets, though either of these rôles may be part of his disguise. He is not merely something negligible or accidental or ornamental, he is something real and true, the product of his time, at once a phenomenon and a portent.
He is the walking hermit, the world-forsaker, but he is above all things a rebel and a prophet, and he stands in very distinct relation to the life of his time.
The great fact of the human world to-day is the tremendous commercial machine which is grinding out at a marvellous acceleration the smaller and meaner sort of man, the middle class, the average man, "the damned, compact, liberal majority," to use the words of Ibsen, and the world daily becomes "more Chinese". The rocks are fraying one another down to desert sand, and mankind becomes a new Sahara.
But over and against the commercial machine stand the rebels, the defiers of it, those who wish to limit its power, to redeem some of the slaves, and to rebuild the temples which it has broken down.
Commercialism is at present the great enemy of the individual man. One already reads in leading articles such phrases as "our commercial, national, and imperial welfare"—commercial first, national second, imperial third, and spiritual nowhere.
Commercialism has already subdued the Church of Christ in Western Europe, it has disorganised the forces of art, and it tends to deny the living sources of religion, art, and life.
It remains for the rebel to assert that even though the name and idea of Christianity be sold—as was its Founder—for silver, though it be rendered an impotent and useless word, yet there is in mankind a religion which is independent of all names and all words, a spring of living water that may be subterraneanised for a while, but can never be altogether dammed and stopped; that there is an art which shall blossom through all ages, either in the secret places of the world or in the open, in the place of honour, as long as man lives upon the world.
And he does more than assert, than merely wind upon his horn outside the gates of the enchanted city, he is a builder, collector, saver. He wishes to find the few who, in this fearful commercial submersion, ought to be living the spiritual life, and showing forth in blossom the highest significance of the Adam tree. He himself lives the life which more must of necessity live, if only as a matter of salt to save the body politic.
It has been urged, "You are unpracticable; you want a world of tramps—how are you going to live?" But we no more want a world of tramps than the promiser of new life wants a world of promisers: we want a world that will take the life promised.
As I have said, we want first of all the few, the hermits, saints, the altogether lovely men and women, the blossoming of the race. It is necessary that these be found or that they find themselves, and that they take their true orbits and live their true lives; for all the rest of ordinary humanity is waiting to live its life in relation to these. The few must live their lives out to the full in order that all others may live their lives completely; for the temple of humanity has not only the broad floor, but the Cross glittering above the pinnacle.
The night is dark, but there is plenty of hope for the future; the very extremity of our calamity is something that bids us hope. Fifty years ago nobody would listen to a gospel of rebellion, and such a great man as Carlyle was actually preaching that to labour is to pray. To-day men are ready to lay down their working tools and listen to any insurrectionist, so aware has mankind become of an impending spiritual bankruptcy. Never in any preceding generation has the young man standing on the threshold of life felt more unsettled. His unsettlement has frequently turned to frenzy and anarchy in individual cases. Never has he cast his eyes about more desperately for a way of redemption or a spiritual leader. For him, as for all of us, the one requirement is to find out what is the first thing to do; not the nearest, but the first, the most essential; the one after which all other things naturally take their places.
It is not to wreck the great machine, for that would be to rush to the other extreme of ruin and disorder. It is not even, as I think, to build a new machine, for that would be to enter into a wasteful competition wherein we should spend without profit and with much loss of brotherly love, all our patience and our new desires.
The one way and the first way is to use and subordinate the present machine, to limit it to its true domain, and let it be our true and vital servant.
But how?
By finding the few who can live the life of communion, the few who can show forth the true significance of the race. By saving our most precious thoughts and ideals, and adding them to the similar thoughts and ideals of others, by putting the instruments of education in their proper places, by separating and saving in the world of literature and art the expressions of beauty which are valuable to the coming race, as distinguished from those that are merely sold for a price. By the making solitary, which is making sacred.
For instance, I would have the famous and wonderful pictures now foiling and dwarfing one another in our vulgar galleries, distributed over the Western world. I wish their enfranchisement. Each great picture should be given a room to itself, like the Sistine Madonna, not only a room but a temple like that of the Iverskaya at Moscow, not only a temple but a fair populous province. The great pictures should be objects of pilgrimages, and their temples places of prayer. In the galleries, as is obvious, the pictures are at their smallest, their glory pressed back into themselves or overlapped or smudged by the confusing glory of others. Out in the wide world, enshrined in temples, these pictures would become living hearts, they would have arms dealing out blessings, they would outgrow again till their influence was as wide as the little kingdoms in which they were enshrined. Pictures would again work miracles. What is more, great pictures would again be painted.
This illustration is valuable allegorically. Great pictures are very like great souls, very like great and beautiful ideas. What is true for pictures is true for men.
The men who feel in themselves the instinct for the new life must take steps to make space for themselves and to make temples. Where they find the beautiful, the real, they must take it to themselves and protect it from enemies, they must at once begin to build walls of defence. So great is their responsibility and so delicate their charge that they must challenge no one, and invite no discussion and no hostility. They must have and hold their own beautiful life as they would a fair young bride.
Where they have visions they must build temples, as the Russian mouzhiks build churches and put up crosses. Of course I do not mean material temples, but temples not made by hands, temples of spirit, temples of remembrance. Where they read in books sacred pages they must make these pages sacred, sacred for them. Where they find men noble they must have reference to the noble part of them and deny the other. They have to win back the beautiful churches and cathedrals. Often it is said nowadays, "Such and such a church is wonderful and its service lifts one to heaven, but the clergyman and his sermon are impossible." But though a clergyman can condition his congregation it is much more true that the congregation can condition the clergyman. It is written, "Where two or three are gathered together in My Name, there am I in the midst of them." When they in the pews are those in white robes, then He in the pulpit is the Christ Himself.
In literature we have to differentiate what is purely a commercial product like the yellowback novel, what is educational like the classic, and what is of the new. With the commercial we have of course no traffic; the classic is a place for those still learning what has already been said, a place for orientisation, for finding out where one stands. In this category are the Shakespearean performances at the theatre. In any case the classic is necessarily subordinate to the new literature, the literature of pioneering and discovery, the literature of ourselves. It is the school which prepares for the stepping forth on the untrodden ways.
This fencing off, differentiation and allocation, these defences of the beautiful and new, and of the temples enshrining them, shall be like the walls round a new sanctuary. We shall thereby protect ourselves from the encroaching commercial machine, its dwarfing ethics, mean postulates, and accurst conventions, and we shall rear within the walls all the beautiful that the outside world says does not exist. We shall find a whole new world of those who despise the honours and prizes of the commercial machine, and who care not for the shows, diversions, pleasures, and gambles provided for commercial slaves. But it will not cause those of that world to falter if the great multitude of their fellow-men scoff at them or think that they miss life.
Our work is then to separate off and consecrate the beautiful, to bring the beautiful together and organise it, not renouncing the machine, but only taking from it the service necessary for our physical needs, in no case being ruled or guided by it or its exigencies. When we have accomplished that, a miracle is promised. The outside world will take shape against our walls and receive its life through our gates—it will come into relation to us even to the ends of the earth. The new heart means the salvation of all.
With that we necessarily return to ourselves, the out-flung units of modern life, tramps so called, rebels, hermits, the portents of the new era, the first signs of spring after dark winter; some of us, the purely lyrical, spring flowers; others the prophetic and dynamic, spring winds—who blowing, shall blow upon winter, as Nietzsche says, "with a thawing wind."
We are many: I speak for thousands who are voiceless. But we are feeble, for we know not one another: we shall know.
A new summer is coming and a new adventure; and summer, as all know, is the year itself, the other seasons being purely subordinate. We are as yet but February heralds. Nevertheless we ask, standing without the gates of the sleeping city of winter, "Who of ye within the city are stepping forth unto the new adventure?" Strange powers are to them; the mysterious spells of the earth, the renewal of inspiration at the life source, the essence of new summer colours, the idea of new summer shapes. To the young men and women of to-day there is a chance to be as beautiful as it is possible to be upon this little earth, a chance to find all the significance of life and beauty that is possible for man to know, a chance to be of the same substance as the fire of stars, a chance of perfection. It is the voice of the hermit crying from the wilderness: "I have come back from God with a message and a blessing—come out ye young men and maidens, for a new season is at hand."