MEMENTO MORI.
"Come and see how a Christian can die."—Addison to his step-son.
We read that the celebrated Montaigne wished to make a compilation of remarkable death-bed scenes; for, as he said, "he who should teach men how to die would teach them how to live." It may not be unprofitable for us to recall the last moments of some who have died in the Catholic Church. It may give us some new idea of the power of faith to sustain the soul in that supreme moment, and show us in what a super-eminent degree the spirit of the church fits one for the last great change, and fortifies him to meet it hopefully if not triumphantly. Let us, then, in this month, consecrated by so many pious Catholic hearts to the memory of the dead, draw around the death-beds of some who are remarkable in various ways, and see if we would not have our last end like theirs. There is a horrid curiosity, if no higher feeling, which attracts us to the side of the dying, "to observe their words, their actions, and what sort of countenance they put upon it." It is as if we would read the final conflict of the soul, obtain some new insight into the great mystery of death, and perhaps catch some glimpse of what awaits us beyond its shadows. Even the unbeliever at such a moment, forced to reflect on the destiny of the soul, exclaims, "Soul, what art thou? Flame that devourest me, wilt thou live after me? Must thou suffer still? Mysterious guest, what wilt thou become? Seekest thou to reunite thyself to the great flame of day? Perhaps from this fire thou art only a spark, only a wandering ray which that star recalls. Perhaps, ceasing to exist when man dies, thou art only a moisture more pure than the animated dust the earth has produced." The mind thus excited to doubt and question is already on the road to conviction. To see how a good man meets his fate, is a lesson of heavenly love which fastens itself in the memory; the words that consoled him and that he uttered sink into the heart, perhaps to diffuse light when our own time comes.
If Addison found nothing more imposing, nothing more affecting, than accounts of the last moments of the dying; if the great Montaigne loved the most minute details respecting them, we need not turn with repugnance from what we have a vital interest in, and what may give us some new idea of the blessing of dying in the arms of our Holy Mother the Church, fortified by her sacraments and sustained by her spirit. The French historian Anquetil, in giving an account of the death of Montmorenci, says, "It is instructive for persons of all conditions in life to witness the death of a great man who unites noble sentiments with Christian humility." It is true Dr. Johnson says, "It matters not how a man dies, but how he lives;" but a holy death is generally the crown of a good life, though "there are dark, dark deaths which even the saints have died, the aspect of whose brightness was all turned heavenward, so we could not see it."[38]
I do not believe that "there is more or less of affectation in every death-bed scene." Young, rather, is right:
"A death-bed's a detector of the heart.
Here tired dissimulation drops her mask
Through life's grimace, that mistress of the scene!"
Father Faber says:
"Every Christian death-bed is a world—a complete world—of graces, interferences, compensations, lights, struggles, victories, supernatural gestures, and the action of grand spiritual laws. Each death-bed, explained to us as God could explain it, would be in itself an entire science of God—a summa of the most delicate theology. The varieties of grace in the individual soul are so many infinities of the one infinite life of God. No two deaths are quite alike. The most delicate shades of difference between one death and another would probably disclose to us more of the ways of God, and more of the capabilities of the soul than philosophy has ever taught. Some deaths are so beautiful that they can hardly be recognizable for punishments. Such was the death of St. Joseph, with his head pillowed on the lap of Jesus. The twilight bosom of Abraham was but a dull place compared with the house of Nazareth which the eyes of Jesus lighted. Such was Mary's death, the penalty of which was rather in its delay. It was a soft extinction, through the noiseless flooding of her heart with divine love. As nightingales are said to have sung themselves to death, so Simeon died, not of the sweet weariness of his long watching, but of the fulness of his contentment, of the satisfaction of his desires, of the very new youth of soul which the touch of the Eternal Child had infused into his age, and, breaking forth into music which heaven itself might envy and could not surpass, he died with his world-soothing song upon his lips—a song so sunset-like that one might believe all the beauty of all earth's beautiful evenings since creation had gone into it to fill it full of peaceful spells. Age after age shall take up the strain. All the poetry of Christian weariness is in it. It gives a voice to the heavenly detachment and unworldliness of countless saints. It is the heart's evening light after the working hours of the day to millions and millions of believers. The very last compline that the church shall sing, before the midnight when the doom begins and the Lord breaks out upon the darkness from the refulgent east, shall overflow with the melodious sweetness of Simeon's pathetic song."
Thus do our words—even dying words—go on vibrating for ever.