And surely the effort is salutary. With Tom Hughes, jovial yet thoughtful patriot, for our guide, we make our way to the summit of some well-remembered hill, which has perhaps already won a name in history, and find it "a place to open a man's soul and make him prophesy, as he looks down on the great vale spread out, as the Garden of the Lord, before him": wide tracts of woodland, and fat meadows and winding streams, and snug homesteads embowered in trees, and miles on miles of what will soon be cornfields. Far away in the distance, a thin cloud of smoke floats over some laborious town, and whichever way we look, church after church is dotted over the whole surface of the country, like knots in network.
Such, or something like it, is the traditional aspect of our fair English land; but to-day she wears her beauty with a difference. The saw is at work in the woodlands; and individual trees, which were not only the landmarks, but also the friends and companions of one's childhood, have disappeared for ever. The rich meadows by the tranquil streams, and the grazing cattle, which used to remind us only of Cuyp's peaceful landscapes, now suggest the sterner thought of rations and queues. The corn-fields, not yet "white to harvest," acquire new dignity from the thought of all that is involved in "the staff of life." The smoke-cloud over the manufacturing town is no longer a mere blur on the horizon, but tells of a prodigality of human effort, directed to the destruction of human life, such as the world has never known. Even from the towers of the village churches floats the Red Cross of St. George, recalling the war-song of an older patriotism—"In the name of our God we will set up our banners."[*]
[Footnote: Psalm xx. 5.]
Yes, this fair world of ours wears an altered face, and what this year is "the promise of May"? It is the promise of good and truth and fruitfulness forcing their way through "the rank vapours of this sin-worn mould." It is the promise of strong endurance, which will bear all and suffer all in a righteous cause, and never fail or murmur till the crown is won. It is the promise of a brighter day, when the skill of invention and of handicraft may be once more directed, not to the devices which destroy life, but to the sciences which prolong it, and the arts which beautify it. Above all, it is the promise of a return, through blood and fire, to the faith which made England great, and the law which yet may wrap the world in peace.
"For as the earth bringeth forth her bud, and as the garden causeth the things that are sown in it to spring forth; so the Lord God will cause righteousness and praise to spring forth before all the nations" (Isa. lxi. II).
VI
PAGEANTRY AND PATRIOTISM
Long years ago, when religious people excited themselves almost to frenzy about Ritualism, Mr. Gladstone surveyed the tumult with philosophic calm. He recommended his countrymen to look below the surface of controversy, and to regard the underlying principle. "In all the more solemn and stated public acts of man," he wrote, "we find employed that investiture of the acts themselves with an appropriate exterior, which is the essential idea of Ritual. The subject-matter is different, but the principle is the same: it is the use and adaptation of the outward for the expression of the inward." The word "ritual" is by common usage restricted to the ecclesiastical sphere, but in reality it has a far wider significance. It gives us the august rite of the Convocation, the ceremonial of Courts, the splendour of regiments, the formal usages of battleships, the silent but expressive language of heraldry and symbol; and, in its humbler developments, the paraphernalia of Masonry and Benefit Societies, and the pretty pageantry of Flag-days and Rose-days. Why should these things be? "Human nature itself, with a thousand tongues, utters the reply. The marriage of the outward and the inward pervades the universe."
The power of the outward reaches the inward chiefly through the eye and the ear. Colour, as Ruskin taught us, is not only delightful, but sacred. "Of all God's gifts to the sight of man, colour is the holiest, the most divine, the most solemn.... Consider what sort of a world it would be if all flowers were grey, all leaves black, and the sky brown." The perfection of form—the grace of outline, the harmony of flowing curves—appeals, perhaps, less generally than colour, because to appreciate it the eye requires some training, whereas to love colour one only needs feeling. Yet form has its own use and message, and so, again, has the solemnity of ordered movement; and when all these three elements of charm—colour and form and motion—are combined in a public ceremony, the effect is irresistible.
But the appeal of the inward reaches us not solely through the eye. The ear has an even higher function. Perhaps the composer of great music speaks, in the course of the ages, to a larger number of human hearts than are touched by any other form of genius. Thousands, listening enraptured to his strain, hear "the outpourings of eternal harmony in the medium of created sound." And yet again there are those, and they are not a few, to whom even music never speaks so convincingly as when it is wedded to suitable words; for then two emotions are combined in one appeal, and human speech helps to interpret the unspoken.