WALTER PETHERICK'S TEXT
I
He was born at Islington on the day on which Sir Walter Raleigh was executed; and his father named him after the gallant knight whom he himself was so proud of having served. That was forty-seven years ago. He is now a prosperous London merchant, living, at ordinary times, over his warehouse, and delighting in the society of his four motherless children. At ordinary times! But these are not ordinary times. The plague is in the city! It appeared for the first time about two months ago and has gradually increased in virulence ever since. Mr. Petherick has therefore withdrawn with his two boys and his two girls to Twickenham. This morning--the morning of July 16, 1665--they all go together to the Parish Church. The riverside is in all its summer glory. The brilliant sunshine seems to mock both the wretchedness so near at hand and the heavy anxiety that weighs upon their hearts. During the week a solemn fast-day has been observed, and to-day, services of humiliation and intercession are to be held in all the churches. Several times, during the past week or two, Mr. Petherick has visited the city. It was a melancholy experience. Most of the shops were shut; poor creatures who claimed that they themselves or their relatives were infected by the pestilence cried for alms at every corner; and he had passed many houses on whose doors a red cross had been marked, and, underneath, the words, 'Lord, have mercy upon us!' To-day that pathetic entreaty is to be offered in every sanctuary. All through the country, men and women are pleading that the awful visitation may be stayed. At Twickenham the church soon fills, and the fervently murmured responses give evidence of the depth and intensity of the universal emotion. Mr. Petherick never forgot the sermon that was preached in the old church that July morning. At least, he never forgot the text. 'Although the fig tree shall not blossom, neither shall fruit be in the vines; the labor of the olive shall fail, and the fields shall yield no meat; the flocks shall be cut off from the fold, and there shall be no herd in the stalls; yet I will rejoice in the Lord and I will joy in the God of my salvation!'
The fields barren! The stalls empty! The vineyards bare!
I will rejoice! I will joy! I will joy! I will rejoice!
The text reminded the Pethericks of the dazzling sunshine that, as they came along, had seemed so unsympathetic. For here was a radiance equally incongruous! Here was faith shining like a solitary star on a dark night! Here was joy, singing her song, like the nightingale, amidst the deepest gloom! It was as though a merry peal of bells was being rung on a day of public lamentation.
II
'The words took hold upon me mightily!' wrote Walter Petherick to a friend in 1682. I do not wonder. Quite apart from their singular application to his own case, they are full of nobility and grandeur. When, in 1782--exactly a century later--Benjamin Franklin was appointed American Plenipotentiary at Paris, some of the brilliant French wits of that period twitted him on his admiration for the Bible. He determined to test their knowledge of the Volume they professed to scorn. Entering their company one evening, he told them that he had been reading an ancient poem, and that its stately beauty had greatly impressed him. At their request he took from his pocket a manuscript and proceeded to read it. It was received with exclamations of extravagant admiration. 'Superb!' they cried. 'Who was the author? Where did Franklin discover it? How could copies be obtained?' He informed them, to their astonishment, that it was the third chapter of the prophecy of Habakkuk--the passage to which Mr. Petherick and his children listened that sad but sunny morning at Twickenham.
The Petherick incident belongs to the seventeenth century; the Franklin incident belongs to the eighteenth; and they remind me of one that belongs to the nineteenth. Daniel Webster was one morning discussing with a number of eminent artists the subjects commonly chosen for portrayal upon canvas. 'I have often wondered,' he said, 'that no painter has yet thought it worth his while to draw his inspiration from one of the most sublime passages in any literature.' 'And what is that?' they asked. 'Well,' he replied, 'what finer conception for a masterpiece could any artist desire than the picture of the prophet Habakkuk sitting in the midst of utter ruin and desolation, singing, in spite of everything, faith's joyous and triumphant song?'