Look down some straight railway line for a vanishing point to the perspective: you will never find it. Or try to mark the moment when a small target becomes invisible. There is no gradation; a moment it was there, and you missed it—possibly because the Authorities were not going in for journalism that day, and had not chosen a dead calm with the light full on the canvas. A moment it was there and then, as you steamed on, it was gone. The same is true of a lark in the air. You see it and then you do not see it, you only hear its song. And the same is true of that song: you hear it and then suddenly you do not hear it. It is true of a human voice, which is familiar in your ear, living and inhabiting the rooms of your house. There comes a day when it ceases altogether—and how positive, how definite and hard is that Coming to an End.
It does not leave an echo behind it, but a sharp edge of emptiness, and very often as one sits beside the fire the memory of that voice suddenly returning gives to the silence about one a personal force, as it were, of obsession and of control. So much happens when even one of all our million voices Comes to an End.
It is necessary, it is august and it is reasonable that the great story of our lives also should be accomplished and should reach a term: and yet there is something in that hidden duality of ours which makes the prospect of so natural a conclusion terrible, and it is the better judgment of mankind and the mature conclusion of civilisations in their age that there is not only a conclusion here but something of an adventure also. It may be so.
Those who solace mankind and are the principal benefactors of it, I mean the poets and the musicians, have attempted always to ease the prospect of Coming to an End, whether it were the Coming to an End of the things we love or of that daily habit and conversation which is our life and is the atmosphere wherein we loved them. Indeed this is a clear test whereby you may distinguish the great artists from the mean hucksters and charlatans, that the first approach and reveal what is dreadful with calm and, as it were, with a purpose to use it for good while the vulgar catchpenny fellows must liven up their bad dishes as with a cheap sauce of the horrible, caring nothing, so that their shrieks sell, whether we are the better for them or no.
The great poets, I say, bring us easily or grandly to the gate: as in that Ode to a Nightingale where it is thought good (in an immortal phrase) to pass painlessly at midnight, or, in the glorious line which Ronsard uses, like a salute with the sword, hailing "la profitable mort."
The noblest or the most perfect of English elegies leaves, as a sort of savour after the reading of it, no terror at all nor even too much regret, but the landscape of England at evening, when the smoke of the cottages mixes with autumn vapours among the elms; and even that gloomy modern Ode to the West Wind, unfinished and touched with despair, though it will speak of—
… that outer place forlorn Which, like an infinite grey sea, surrounds With everlasting calm the land of human sounds;
yet also returns to the sacramental earth of one's childhood where it says:
For now the Night completed tells her tale
Of rest and dissolution: gathering round
Her mist in such persuasion that the ground
Of Home consents to falter and grow pale.
And the stars are put out and the trees fail.
Nor anything remains but that which drones
Enormous through the dark….
And again, in another place, where it prays that one may at the last be fed with beauty—-