Part 23

But now, as to this service, this obedience. Our Lord came to give his life a ransom for the many, and to minister unto all in obedience to his Father’s will. We call him equal with God--at least, most of us here, I suppose, do; of course we do not pretend to explain; we know that God is greater than he, because he said so; but somehow, we can worship him with our God, and we need not try to distinguish more than is necessary about it. But do you think that he was less divine than the Father when he was obedient? Observe his obedience to the will of his Father. He was not the ruler there. He did not give the commands; he obeyed them. And yet we say He is God! Ah, that is no difficulty to me. Obedience is as divine in its essence as command; nay, it may be more divine in the human being far; it cannot be more divine in God, but obedience is far more divine in its essence with regard to humanity than command is. It is not the ruling being who is most like God; it is the man who ministers to his fellow, who is like God; and the man who will just sternly and rigidly do what his master tells him--be that master what he may--who is likest Christ in that one particular matter. Obedience is the grandest thing in the world to begin with. Yes, and we shall end with it too. I do not think the time will ever come when we shall not have something to do, because we are told to do it without knowing why. Those parents act most foolishly who wish to explain everything to their children--most foolishly. No; teach your child to obey, and you give him the most precious lesson that can be given to a child. Let him come to that before you have had him long, to do what he is told, and you have given him the plainest, first, and best lesson that you can give him. If he never goes to school at all he had better have that lesson than all the schooling in the world. Hence, when some people are accustomed to glorify this age of ours as being so much better in everything than those which went before, I look back to the times of chivalry, which we regard now, almost, as a thing to laugh at, or a merry thing to make jokes about; but I find that the one essential of chivalry was obedience. It is recognized in our army still, but in those times it was carried much farther. When a boy was seven years old he was sent into another family, and put with another boy there to do what? To wait with him upon the master and the mistress of the house, and to be taught, as well, what few things they knew in those times in the way of intellectual cultivation. But he also learned stern, strict obedience, such as it was impossible for him to forget. Then, when he had been there seven years, hard at work, standing behind the chair, and ministering, he was advanced a step; and what was that step? He was made an esquire. He had his armour given him; he had to watch his armour in the chapel all night, laying it on the altar in silent devotion to God. I do not say that all these things were carried out afterwards, but this was the idea of them. He was an esquire, and what was the duty of an esquire? More service; more important service. He still had to attend to his master, the knight. He had to watch him; he had to groom his horse for him; he had to see that his horse was sound; he had to clean his armour for him; to see that every bolt, every rivet, every strap, every buckle was sound, for the life of his master was in his hands. The master, having to fight, must not be troubled with these things, and therefore the squire had to attend to them. Then seven years after that a more solemn ceremony is gone through, and the squire is made a knight; but is he free of service then? No; he makes a solemn oath to help everybody who needs help, especially women and children, and so he rides out into the world to do the work of a true man. There was a grand and essential idea of Christianity in that--no doubt wonderfully broken and shattered, but not more so than the Christian church has been; wonderfully broken and shattered, but still the essence of obedience; and I say it is recognized in our army still, and in every army; and where it is lost it is a terrible loss, and an army is worth nothing without it. You remember that terrible story from the East, that fearful death-charge, one of the grandest things in our history, although one of the most blundering:--

“Theirs not to make reply, Theirs not to reason why, Theirs but to do and die; Into the valley of death Rode the Six Hundred.”

So with the Christian man; whatever meets him, obedience is the thing. If he is told by his conscience, which is the candle of God within him, that he must do a thing, why he must do it. He may tremble from head to foot at having to do it, but he will tremble more if he turns his back. You recollect how our old poet Spenser shows us the Knight of the Red Cross, who is the knight of holiness, ill in body, diseased in mind, without any of his armour on, attacked by a fearful giant. What does he do? Run away? No, he has but time to catch up his sword, and, trembling in every limb, he goes on to meet the giant; and that is the thing that every Christian man must do. I cannot put it too strongly; it is impossible. There is no escape from it. If death itself lies before us, and we know it, there is nothing to be said; it is all to be done, and then there is no loss; everything else is all lost unto God. Look at our Lord. He gave his life to do the will of his Father, and on he went and did it. Do you think it was easy for him--easier for him than it would have been for us? Ah! the greater the man the more delicate and tender his nature, and the more he shrinks from the opposition even of his fellowmen, because he loves them. It was a terrible thing for Christ. Even now and then, even in the little touches that come to us in the scanty story (though enough) this breaks out. “We are told by John that at the Last Supper He was troubled in spirit, and testified.” And then how he tries to comfort himself as soon as Judas has gone out to do the thing which was to finish his great work: “Now is the Son of Man glorified, and God is glorified in him. If God be glorified in him, God shall also glorify him in himself.” Then he adds,--just gathering up his strength,--“I shall straightway glorify him.” This was said to his disciples, but I seem to see in it that some of it was said for himself. This is the grand obedience! Oh, friends, this is a hard lesson to learn. We find every day that it is a hard thing to teach. We are continually grumbling because we cannot get the people about us, our servants, our tradespeople, or whoever they may be, to do just what we tell them. It makes half the misery in the world because they will have something of their own in it against what they are told. But are we not always doing the same thing? and ought we not to learn something of forgiveness for them, and very much from the fact that we are just in the same position? We only recognize in part that we are put here in this world precisely to learn to be obedient. He who is our Lord and our God went on being obedient all the time, and was obedient always; and I say it is as divine for us to obey as it is for God to rule. As I have said already, God is ministering the whole time. Now, do you want to know how to minister? Begin by obeying. Obey every one who has a right to command you; but above all, look to what our Lord has said, and find out what he wants you to do out of what he left behind, and try whether obedience to that will not give a consciousness of use, of ministering, of being a part of the grand scheme and way of God in this world. In fact, take your place in it as a vital portion of the divine kingdom, or--to use a better figure than that--a vital portion of the Godhead. Try it, and see whether obedience is not salvation; whether service is not dignity; whether you will not feel in yourselves that you have begun to be cleansed from your plague when you begin to say, “I will seek no more to be above my fellows, but I will seek to minister to them, doing my work in God’s name for them.”

“Who sweeps a room as for Thy law, Makes that and the action fine.”

Both the room and the action are good when done for God’s sake. That is dear old George Herbert’s way of saying the same truth, for every man has his own way of saying it. The gift of the Spirit of God to make you think as God thinks, feel as God feels, judge as God judges, is just the one thing that is promised. I do not know anything else that is promised positively but that, and who dares pray for anything else with perfect confidence? God will not give us what we pray for except it be good for us, but that is one thing that we must have or perish. Therefore, let us pray for that, and with the name of God dwelling in us--if this is not true, the whole world is a heap of ruins--let us go forth and do this service of God in ministering to our fellows, and so helping him in his work of upholding, and glorifying and saving all.

THE FANTASTIC IMAGINATION

That we have in English no word corresponding to the German _Mährchen_, drives us to use the word _Fairytale_, regardless of the fact that the tale may have nothing to do with any sort of fairy. The old use of the word _Fairy_, by Spenser at least, might, however, well be adduced, were justification or excuse necessary where _need must_.

Were I asked, what is a fairytale? I should reply, _Read Undine: that is a fairytale; then read this and that as well, and you will see what is a fairytale_. Were I further begged to describe the _fairytale_, or define what it is, I would make answer, that I should as soon think of describing the abstract human face, or stating what must go to constitute a human being. A fairytale is just a fairytale, as a face is just a face; and of all fairytales I know, I think _Undine_ the most beautiful.

Many a man, however, who would not attempt to define _a man_, might venture to say something as to what a man ought to be: even so much I will not in this place venture with regard to the fairytale, for my long past work in that kind might but poorly instance or illustrate my now more matured judgment. I will but say some things helpful to the reading, in right-minded fashion, of such fairytales as I would wish to write, or care to read.

Some thinkers would feel sorely hampered if at liberty to use no forms but such as existed in nature, or to invent nothing save in accordance with the laws of the world of the senses; but it must not therefore be imagined that they desire escape from the region of law. Nothing lawless can show the least reason why it should exist, or could at best have more than an appearance of life.

The natural world has its laws, and no man must interfere with them in the way of presentment any more than in the way of use; but they themselves may suggest laws of other kinds, and man may, if he pleases, invent a little world of his own, with its own laws; for there is that in him which delights in calling up new forms--which is the nearest, perhaps, he can come to creation. When such forms are new embodiments of old truths, we call them products of the Imagination; when they are mere inventions, however lovely, I should call them the work of the Fancy: in either case, Law has been diligently at work.

His world once invented, the highest law that comes next into play is, that there shall be harmony between the laws by which the new world has begun to exist; and in the process of his creation, the inventor must hold by those laws. The moment he forgets one of them, he makes the story, by its own postulates, incredible. To be able to live a moment in an imagined world, we must see the laws of its existence obeyed. Those broken, we fall out of it. The imagination in us, whose exercise is essential to the most temporary submission to the imagination of another, immediately, with the disappearance, of Law, ceases to act. Suppose the gracious creatures of some childlike region of Fairyland talking either cockney or Gascon! Would not the tale, however lovelily begun, sink at once to the level of the Burlesque--of all forms of literature the least worthy? A man’s inventions may be stupid or clever, but if he do not hold by the laws of them, or if he make one law jar with another, he contradicts himself as an inventor, he is no artist. He does not rightly consort his instruments, or he tunes them in different keys. The mind of man is the product of live Law; it thinks by law, it dwells in the midst of law, it gathers from law its growth; with law, therefore, can it alone work to any result. Inharmonious, unconsorting ideas will come to a man, but if he try to use one of such, his work will grow dull, and he will drop it from mere lack of interest. Law is the soil in which alone beauty will grow; beauty is the only stuff in which Truth can be clothed; and you may, if you will, call Imagination the tailor that cuts her garments to fit her, and Fancy his journeyman that puts the pieces of them together, or perhaps at most embroiders their button-holes. Obeying law, the maker works like his creator; not obeying law, he is such a fool as heaps a pile of stones and calls it a church.

In the moral world it is different: there a man may clothe in new forms, and for this employ his imagination freely, but he must invent nothing. He may not, for any purpose, turn its laws upside down. He must not meddle with the relations of live souls. The laws of the spirit of man must hold, alike in this world and in any world he may invent. It were no offence to suppose a world in which everything repelled instead of attracted the things around it; it would be wicked to write a tale representing a man it called good as always doing bad things, or a man it called bad as always doing good things: the notion itself is absolutely lawless. In physical things a man may invent; in moral things he must obey--and take their laws with him into his invented world as well.

“You write as if a fairytale were a thing of importance: must it have a meaning?”

It cannot help having some meaning; if it have proportion and harmony it has vitality, and vitality is truth. The beauty may be plainer in it than the truth, but without the truth the beauty could not be, and the fairytale would give no delight. Everyone, however, who feels the story, will read its meaning after his own nature and development: one man will read one meaning in it, another will read another.

“If so, how am I to assure myself that I am not reading my own meaning into it, but yours out of it?”

Why should you be so assured? It may be better that you should read your meaning into it. That may be a higher operation of your intellect than the mere reading of mine out of it: your meaning may be superior to mine.

“Suppose my child ask me what the fairytale means, what am I to say?”

If you do not know what it means, what is easier than to say so? If you do see a meaning in it, there it is for you to give him. A genuine work of art must mean many things; the truer its art, the more things it will mean. If my drawing, on the other hand, is so far from being a work of art that it needs THIS IS A HORSE written under it, what can it matter that neither you nor your child should know what it means? It is there not so much to convey a meaning as to wake a meaning. If it do not even wake an interest, throw it aside. A meaning may be there, but it is not for you. If, again, you do not know a horse when you see it, the name written under it will not serve you much. At all events, the business of the painter is not to teach zoology.

But indeed your children are not likely to trouble you about the meaning. They find what they are capable of finding, and more would be too much. For my part, I do not write for children, but for the childlike, whether of five, or fifty, or seventy-five.

A fairytale is not an allegory. There may be allegory in it, but it is not an allegory. He must be an artist indeed who can, in any mode, produce a strict allegory that is not a weariness to the spirit. An allegory must be Mastery or Moorditch.

A fairytale, like a butterfly or a bee, helps itself on all sides, sips at every wholesome flower, and spoils not one. The true fairytale is, to my mind, very like the sonata. We all know that a sonata means something; and where there is the faculty of talking with suitable vagueness, and choosing metaphor sufficiently loose, mind may approach mind, in the interpretation of a sonata, with the result of a more or less contenting consciousness of sympathy. But if two or three men sat down to write each what the sonata meant to him, what approximation to definite idea would be the result? Little enough--and that little more than needful. We should find it had roused related, if not identical, feelings, but probably not one common thought. Has the sonata therefore failed? Had it undertaken to convey, or ought it to be expected to impart anything defined, anything notionally recognizable?

“But words are not music; words at least are meant and fitted to carry a precise meaning!”

It is very seldom indeed that they carry the exact meaning of any user of them! And if they can be so used as to convey definite meaning, it does not follow that they ought never to carry anything else. Words are live things that may be variously employed to various ends. They can convey a scientific fact, or throw a shadow of her child’s dream on the heart of a mother. They are things to put together like the pieces of a dissected map, or to arrange like the notes on a stave. Is the music in them to go for nothing? It can hardly help the definiteness of a meaning: is it therefore to be disregarded? They have length, and breadth, and outline: have they nothing to do with depth? Have they only to describe, never to impress? Has nothing any claim to their use but the definite? The cause of a child’s tears may be altogether undefinable: has the mother therefore no antidote for his vague misery? That may be strong in colour which has no evident outline. A fairytale, a sonata, a gathering storm, a limitless night, seizes you and sweeps you away: do you begin at once to wrestle with it and ask whence its power over you, whither it is carrying you? The law of each is in the mind of its composer; that law makes one man feel this way, another man feel that way. To one the sonata is a world of odour and beauty, to another of soothing only and sweetness. To one, the cloudy rendezvous is a wild dance, with a terror at its heart; to another, a majestic march of heavenly hosts, with Truth in their centre pointing their course, but as yet restraining her voice. The greatest forces lie in the region of the uncomprehended.

I will go farther.--The best thing you can do for your fellow, next to rousing his conscience, is--not to give him things to think about, but to wake things up that are in him; or say, to make him think things for himself. The best Nature does for us is to work in us such moods in which thoughts of high import arise. Does any aspect of Nature wake but one thought? Does she ever suggest only one definite thing? Does she make any two men in the same place at the same moment think the same thing? Is she therefore a failure, because she is not definite? Is it nothing that she rouses the something deeper than the understanding--the power that underlies thoughts? Does she not set feeling, and so thinking at work? Would it be better that she did this after one fashion and not after many fashions? Nature is mood-engendering, thought-provoking: such ought the sonata, such ought the fairytale to be.

“But a man may then imagine in your work what he pleases, what you never meant!”