Morality as a Religion / An exposition of some first principles

by W. R. Washington Sullivan

Biblical inspiration being attenuated to almost vanishing point, there is nothing left but to appeal to the Church—not, indeed, to the Church of to-day, lost amid the mazes and intricacies of sects and schisms, but to that venerable fiction, "the undivided Church" of the first few centuries of our era, and thus brand religion with the stigma of retrogression by proclaiming it the only thing which is incapable of progress.

Not infrequently is a progressive movement attended at first by a partial reaction, and it is not at all unlikely that Ritualistic clergymen have been terrified into an increased reliance upon forms and rites by the disastrous effects produced upon many of their followers or fellow-churchmen by the new controversial methods of Mrs. Humphry Ward.

Now, what is this new controversy? It consists in the adoption of the handiest implement available to literary genius, namely, the novel, or fictional history, and by consummate critical and constructive skill, showing the disintegration of the old faiths and the building up of the new in the life of some representative man or woman. There is much more in such a novel than appears. First, there is the work of the scholar, of the man of research. He is like the miner who works underground and digs out of the hard earth that "gem of purest ray serene," the truth. Then comes the artist, just as cultured as the scholar, and only less learned, who polishes the gem and gives it its setting in pages of brilliant writing, and what is more important still, weaves it subtly into the daily life of some human being to whom it has been slowly and always painfully introduced. Or, to vary the metaphor, this new controversy is an inoculation performed by one who possesses a masterly acquaintance with the circulatory system of the spiritual anatomy, and is enabled thereby to describe with unerring accuracy the precise effects of the new ideal at every stage of its progress through the soul. You see before you the experiment of a new ideal, at first only suggested, then partially welcomed and even loved. Then the awful struggle in which no quarter can be given on either side, and the final victory of the truth. Such is the new controversy, the world of truth brought down to the world of life, the fertilising streams of knowledge turned by some strong, wise hand, into the narrow channel of an individual existence for the purification and recreation of life.

Naturally, the distinguished authoress turned her attention first to the Anglican Church, the most cultured and liberal of the Christian communities. Evangelical dissent cannot at present be said to be interesting, at any rate from the point of view we are considering to-day. It is destitute of the historic associations of Anglicanism, and has been, until very recently, identified with ideals little suggestive of the intellectual or the beautiful. It can scarcely be said to lend itself to effective dramatic or artistic treatment. I am by no means forgetful of George Eliot, but every one will see at a glance that the handling of the religious question by that incomparable genius is entirely different from that of Mrs. Ward in the books we are noticing. Robert Elsmere stands for a system of theology and faith. Dinah Morris speaks for herself; out of the abundance of a pure and beautiful heart her mouth speaks words of wondrous grace and truth.

Hence, having held up the mirror to the face of Anglicanism, our authoress has turned her attention to that older Church, so rich in memories of the past, with so unequalled a record in the service of humanity, and able even to-day to command the allegiance, the nominal allegiance at all events, of more than two hundred million beings. In Helbeck of Bannisdale we have the world and life of Roman Catholicism displayed with a minuteness and a precision which I should have thought scarcely possible to one not "of the household of the faith". It is, indeed, an ideal world, a world that belongs to the past, for the Helbecks have all but passed away. The Time-Spirit has been too much for them, and that beautiful old-world courtesy, that silent, shrinking piety which was nurtured on memories of martyr-ancestors who were broken on the rack for the ancient faith, and long years of isolation and the proud contempt of the world, is now, as some Catholics regretfully deplore, a thing of the past.

No one knows this better than Mrs. Ward, and she has, I conceive it, purposely chosen a type such as Helbeck, almost an impossible survival in our time, because she could not otherwise have made Catholicism interesting.[1] Nor could she have succeeded in pressing home her own rooted conviction of the hopelessness of any attempt at compromise between the new spirit of reason and life and that of the faith of saints and martyrs. The modern Catholic, who stultifies himself and vilifies his faith by apologetic articles in this or that secular review, in which he attempts to show that the Church which taught the inspiration of Genesis and condemned Galileo was all the time not untrue to the scientific conceptions of Copernicus and Darwin, is a very poor person in the eyes of many of us; and one thing is abundantly certain, that by no possibility could even Mrs. Ward have made him the hero of a novel. For a Helbeck, who has reckoned up the chances of life, and deliberately made his choice, casting in his lot wholly with an idealism for which the modern world has absolutely no sympathy, we can and do feel a deep respect. But for your ambidextrous apologist or theologian, the fellow who can make words bear double meanings, and even infallible oracles tell contradictory stories, we have nothing but contempt, because he is a trifler with truth.

And, now, we may turn to the book.

Mrs. Humphry Ward has long taught us to expect excellence, and in Helbeck of Bannisdale we are not disappointed. She does not work, indeed, on so large a canvas as in Robert Elsmere, nor do her materials allow her to be quite so interesting as in that masterpiece. At all events, that is my individual opinion. The atmosphere is very close throughout the book, and one has a feeling that the windows of that old, old house of Bannisdale have not been opened for centuries. One breathes a stifling air. Light and freedom come alone through that delightful creation, Laura Fountain, a creature you do not easily forget, with an instinct, rather than a reasoned conviction, of rational truth and liberty, a being of almost wild impulse, clever, though partially educated, but good to the heart's core. Altogether, a winsome, lovable girl, and tragic as was her end, one scarcely knows whether she was not happier in her fate, hurried hence on the swift waters of the river she had grown to love, than she ever could have been in her projected marriage with one to whom religion meant almost unmixed gloom. Doubtless Helbeck found consolation in it, but it was such as he was unable to allow others to share. Noble as we instinctively feel the man to be, tender as is the passion wherewith he envelops the object of his love, the shadow of the Cross is ever there. Forgotten in the first sweet hours of their mutual avowal, it soon reveals its sorrowful presence, and gradually deepens into such unutterable gloom that the broken-hearted girl is forced to surrender first love and then life to the inexorable exigencies of his old-world creed.

This, then, is the issue of the dramatic interest of the story, that the attempt to unite the living with the dead ends in the destruction of the living, in the breaking of hearts, in one case, even unto death. For the lives and loves of Helbeck and Laura must be regarded as allegories of the eternal truths which encompass us. It may seem a harsh, a needless thing to cloud the closing page with such sudden and unutterable woe. Why should not these two pass out of each other's lives, as do numberless others who realise the mistake of their projected union? There is no reason whatsoever save this, that all things whatsoever are written in Helbeck of Bannisdale are, like the history of Isaac and Ishmael, told as in an allegory. They are symbols of the gulf which separates the new life from the old, and they serve to convey the reasoned conviction of the distinguished authoress that the inspiration of the "Ages of Faith" is inadequate to the complex needs of the larger life of to-day.

These two unhappy beings illustrate that law of growth and progress which forbids the youth to indulge in the pleasures of the child, or the man to find his recreation in the pastimes of youth. And as with man, so with the race. There was a time when the world was full of Helbecks, an age when the religion of the Cross was the highest, holiest, known. But man, in his maturer years, has outgrown that, just as the Cross supplanted an idealism more imperfect than itself: and the proof of its inadequacy is seen to-day in the blaze of evidence supplied by the slow and inevitable decay of those peoples who were once its steadiest champions. Spain and Portugal are being numbered among the dead. Italy and France are making violent endeavours to escape their doom, by restricting the liberties of the official representatives of their legally established Church, because they instinctively feel that their dogmatics mean death to the peoples who live by them. Hence, the cry, le cléricalisme, voila l'enemi! in France, and the libera chiesa in libero stato! in Italy. The modern state, the modern man cannot live by the old ideals: the dead would strangle the living. And, therefore, Laura Fountain, the modern maiden, must die.