Oh may I join the choir invisible
Of those immortal dead who live again
In lives made better by their presence. So
To live is heaven....
To make undying music in the world,
Breathing us beauteous order that controls
With growing sway the growing life of man.
So we inherit that sweet purity
For which we struggled, groaned, and agonised
With widening retrospect, that bred despair....
That better self shall live till human time
Shall fold its eyelids, and the human sky
Be gathered like a scroll within the tomb
Unread for ever. This is life to come,
Which martyred men have made more glorious
For us who strive to follow. May I reach
That purest heaven, and be to other souls
That cup of strength in some great agony,
Enkindle generous ardour, feed pure love,
Beget the smiles that have no cruelty,
Be the sweet presence of a good diffused,
And in diffusion ever more intense;
So shall I join that choir invisible
Whose music is the gladness of the world.
Here is the positive religion of benevolence and progress, as preached to the modern world in the name of exact thought, presented to us in an impassioned epitome. Here is hope, ardour, sympathy, and resolution, enough and to spare. The first question is,—How are these kindled, and what are they all about? They must, as we have seen, be about something that the science of sociology will not discover for us. Nor can they last, if, like an empty stomach, they prey only upon themselves. They must have some solid content, and the great thing needful is to discern this. It is quite true that to suffer, or even to die, will often seem dulce et decorum to a man; but it will only seem so when the end he dies or suffers for is, in his estimation, a worthy one. A Christian might be gladly crucified if by so doing he could turn men from vice to virtue; but a connoisseur in wine would not be crucified that his best friend might prefer dry champagne to sweet. All the agony and the struggles, then, that the positivist saint suffers with such enthusiasm, depend alike for their value and their possibility on the object that is supposed to cause them. And in the verses just quoted this object is indeed named several times; but it is named only incidentally and in vague terms, as if its nature and its value were self-evident, and could be left to take care of themselves; and the great thing to be dwelt upon were the means and not the end: whereas the former are really only the creatures of the latter, and can have no more honour than the latter is able to bestow upon them.
Now the only positive ends named in these verses are 'the better self,' 'sweet purity,' and 'smiles that have no cruelty.' The conditions of these are beauteous order,' and the result of them is the 'gladness of the world.' The rest of the language used adds nothing to our positive knowledge, but merely makes us feel the want of it. The purest heaven, we are told, that the men of any generation can look forward to, will be the increased gladness that their right conduct will secure for a coming generation: and that gladness, when it comes, will be, as it were, the seraphic song of the blessed and holy dead. Thus every present, for the positivist, is the future life of the past; earth is heaven perpetually realising itself; it is, as it were, an eternal choir-practice, in which the performers, though a little out of tune at present, are becoming momently more and more perfect. If this be so, there is a heaven of some sort about us at this moment. There is a musical gladness every day in our ears, our actual delight in which it might have been a heaven to our great-grandfathers to have anticipated in the last century.
Now it is plain that this alleged music is not everywhere. Where, then, is it? And will it, when we have found it, be found to merit all the praise that is bestowed upon it? Sociology, as we have seen, may show us how to secure to each performer his voice or his instrument; but it will not show us how to make either the voice or the instrument a good one; nor will it decide whether the orchestra shall perform Beethoven or Offenbach, or whether the chorus shall sing a penitential psalm or a drinking song. When we have discovered what the world's highest gladness can consist of, we will again come to the question of how far such gladness can be a general end of action.
[9] Vide Nineteenth Century, October, 1877.
[10] 'As Mr. Spencer points out, society does not resemble those organisms which are so highly centralised that the unity of the whole is the important thing, and every part must die if separated from the rest; but rather those that will bear separation and reunion; because, although there is a certain union and organisation of the parts in regard to one another, yet the far more important fact is the life of the parts separately. The true health of society depends upon the communes, the villages and townships, infinitely more than on the form and pageantry of an imperial government. If in them there is band-work, union for a common effort, converse in the working out of a common thought, there the Republic is.'—Professor Clifford, Nineteenth Century, October, 1877.