Night; and dark night, under these trees. The Fön is over, a chill dew has fallen. We rise at last, rather stiff, and proceed cautiously downwards till we reach the path; then across the bridge and into the open meadow, the so-called fox-meadow, when—our match-box, our only match-box: where is it gone? Forgotten inside the castle, on the moss. Back again, to crawl about on hands and knees till the precious object has been found; then once more to the fox-meadow. So we wander homeward, in full content. The dew-drenched field sends a pleasant shiver up through our boots, and a chorus of crickets is chirping lustily in its damp earth. Stars are out; the Tschallenga hill, confronting us, has become pitch-black; those Rhætian peaks are like steel, and their snow-patches have a dead look at this hour. Tawny exhalations, as of lingering day, flit about the Swiss mountains on our west. Some grass has been mown up here, during the hot afternoon; the air is full of its fragrance.
Blumenegg and such places—these are the surroundings in which children ought to grow up. At home, domestic beasts of every kind, and gardens and orchards; further afield, flowery meadows and forests; the glittering snow of winter and cloudless summer skies; rock and rivulet; a smiling patriarchal peasantry all about; these are the surroundings. Keep them off the street-pavement.
Impermanent things, like pavements and what they stand for, stimulate the adult; they overstimulate children, who should be in contact with eternities. In a town you may watch the progress of their warping; how they grow up precocious and partially atrophied; defrauded of their full heritage as human beings. Indeed all town-bred persons, with the rarest exceptions, are incomplete, in a certain small sense of that word. They show a gap which, unlike other gaps (deficient learning or manners) can never be filled up in later years. The intelligent countryman does not take long to appreciate the most complex wonders of civilization, because his life began at the right end of things; your citizen will only stare at those other wonders with more or less impatience: he began at the wrong end. One can tell after five minutes’ conversation whether a man has been brought up in city or country, for no townsman, be he of what class he pleases, can hide his native imperfection.
Or go to literature, the surest test, since scripta manent. It happened to be my fate for some years to peruse daily a considerable mass of the latest so-called lyric poetry, and a melancholy task it was following these youngsters as they floundered about in a vain search after new gods, unaware of the fact that the lyrical temper demands a peculiar environment for its nurture, that gods are shy, and not to be encountered in music-halls and restaurants, or even during a week-end at the seaside. There were no eternities for these people, and consequently no true joy, no true grief; no heights, no depths; they fell into two categories: the hectic and the drab. The lyrical temper.... One uses such expressions, without perhaps being clear as to their meaning. What is the lyrical temper? A capacity to warble about buttercups? I should describe it as a sympathetic feeling for the myriad processes of nature, and the application of this gift towards interpreting human phenomena with concision and poignancy; the sense, in short, of being borne along, together with all else on earth, in a soft pantheistic commotion.
That is a view of life which generates both tears and smiles, and one which you will vainly seek in any town-bred writer. Compare Milton, not with Theocritus or Shakespeare, but with a poet of the caliber of Ovid, and you will realize how much more individual and authoritative his utterance would be, had he enjoyed Ovid’s advantages in childhood. He saw nature through books, say Mr. Tuckwell and Mr. Cotterill and all the rest of them;[12] his scenery is charmingly manufactured according to the renaissance prescription, and if you know your Italian poets you can tell beforehand what Milton will have to say; a master of landscape arrangement, without a doubt, but—he lacked what Ovid possessed, an æsthetic personality; he was a moralist, as every one grows to be, who takes his fellow-creatures at their own estimate. And how avoid doing this, if you are always among them? For there they live clustered together, and involuntarily disposed to attach undue significance to themselves and their works, to lose their sense of proportion, until some little interference from that despised exterior makes itself felt, an earthquake or such-like, which gives these posturing ephemerals an opportunity to straighten out their values again.
Charles Lamb is another street-walker, and one whose relish of man and his ways, to my taste, never cloys, inasmuch as it remains firm-fixed on the hither side of lachrymosity. Yet is there not a certain shallowness in his preoccupation with fellow-creatures? Shallowness suggests want of depth; want of breadth is what I wish to imply. Zest, temperamental zest, should be a fountain, scattering playfully in all directions; Lamb’s comfortable variety is unilateral—a fountain gushing from a wall. How many avenues of delight are closed to the mere moralist or immoralist who knows nothing of things extra-human; who remains absorbed in mankind and its half-dozen motives of conduct, so unstable and yet forever the same, which we all fathomed before we were twenty! Well, their permutations and combinations afford a little material for playwrights and others, and there is no harm in going to the theater now and then, or reading a novel, provided you have nothing better to do.
FATHER BRUHIN
Father Bruhin