Idle Thoughts of an Idle Fellow [9]
We linger to weep over a picture, but from the original we should quickly turn our eyes away. There is no pathos in real misery: no luxury in real grief. We do not toy with sharp swords nor hug a gnawing fox to our breast for choice. When a man or woman loves to brood over a sorrow and takes care to keep it green in their memory, you may be sure it is no longer a pain to them. However they may have suffered from it at first, the recollection has become by then a pleasure. Many dear old ladies who daily look at tiny shoes lying in lavender-scented drawers, and weep as they think of the tiny feet whose toddling march is done, and sweet-faced young ones who place each night beneath their pillow some lock that once curled on a boyish head that the salt waves have kissed to death, will call me a nasty cynical brute and say I'm talking nonsense; but I believe, nevertheless, that if they will ask themselves truthfully whether they find it unpleasant to dwell thus on their sorrow, they will be compelled to answer "No." Tears are as sweet as laughter to some natures. The proverbial Englishman, we know from old chronicler Froissart, takes his pleasures sadly, and the Englishwoman goes a step further and takes her pleasures in sadness itself.
I am not sneering. I would not for a moment sneer at anything that helps to keep hearts tender in this hard old world. We men are cold and common-sensed enough for all; we would not have women the same. No, no, ladies dear, be always sentimental and soft-hearted, as you are--be the soothing butter to our coarse dry bread. Besides, sentiment is to women what fun is to us. They do not care for our humor, surely it would be unfair to deny them their grief. And who shall say that their mode of enjoyment is not as sensible as ours? Why assume that a doubled-up body, a contorted, purple face, and a gaping mouth emitting a series of ear-splitting shrieks point to a state of more intelligent happiness than a pensive face reposing upon a little white hand, and a pair of gentle tear-dimmed eyes looking back through Time's dark avenue upon a fading past?
I am glad when I see Regret walked with as a friend--glad because I know the saltness has been washed from out the tears, and that the sting must have been plucked from the beautiful face of Sorrow ere we dare press her pale lips to ours. Time has laid his healing hand upon the wound when we can look back upon the pain we once fainted under and no bitterness or despair rises in our hearts. The burden is no longer heavy when we have for our past troubles only the same sweet mingling of pleasure and pity that we feel when old knight-hearted Colonel Newcome answers "_adsum_" to the great roll-call, or when Tom and Maggie Tulliver, clasping hands through the mists that have divided them, go down, locked in each other's arms, beneath the swollen waters of the Floss.
Talking of poor Tom and Maggie Tulliver brings to my mind a saying of George Eliot's in connection with this subject of melancholy. She speaks somewhere of the "sadness of a summer's evening." How wonderfully true--like everything that came from that wonderful pen--the observation is! Who has not felt the sorrowful enchantment of those lingering sunsets? The world belongs to Melancholy then, a thoughtful deep-eyed maiden who loves not the glare of day. It is not till "light thickens and the crow wings to the rocky wood" that she steals forth from her groves. Her palace is in twilight land. It is there she meets us. At her shadowy gate she takes our hand in hers and walks beside us through her mystic realm. We see no form, but seem to hear the rustling of her wings.
Even in the toiling hum-drum city her spirit comes to us. There is a somber presence in each long, dull street; and the dark river creeps ghostlike under the black arches, as if bearing some hidden secret beneath its muddy waves.
In the silent country, when the trees and hedges loom dim and blurred against the rising night, and the bat's wing flutters in our face, and the land-rail's cry sounds drearily
I am not sneering. I would not for a moment sneer at anything that helps to keep hearts tender in this hard old world. We men are cold and common-sensed enough for all; we would not have women the same. No, no, ladies dear, be always sentimental and soft-hearted, as you are--be the soothing butter to our coarse dry bread. Besides, sentiment is to women what fun is to us. They do not care for our humor, surely it would be unfair to deny them their grief. And who shall say that their mode of enjoyment is not as sensible as ours? Why assume that a doubled-up body, a contorted, purple face, and a gaping mouth emitting a series of ear-splitting shrieks point to a state of more intelligent happiness than a pensive face reposing upon a little white hand, and a pair of gentle tear-dimmed eyes looking back through Time's dark avenue upon a fading past?
I am glad when I see Regret walked with as a friend--glad because I know the saltness has been washed from out the tears, and that the sting must have been plucked from the beautiful face of Sorrow ere we dare press her pale lips to ours. Time has laid his healing hand upon the wound when we can look back upon the pain we once fainted under and no bitterness or despair rises in our hearts. The burden is no longer heavy when we have for our past troubles only the same sweet mingling of pleasure and pity that we feel when old knight-hearted Colonel Newcome answers "_adsum_" to the great roll-call, or when Tom and Maggie Tulliver, clasping hands through the mists that have divided them, go down, locked in each other's arms, beneath the swollen waters of the Floss.
Talking of poor Tom and Maggie Tulliver brings to my mind a saying of George Eliot's in connection with this subject of melancholy. She speaks somewhere of the "sadness of a summer's evening." How wonderfully true--like everything that came from that wonderful pen--the observation is! Who has not felt the sorrowful enchantment of those lingering sunsets? The world belongs to Melancholy then, a thoughtful deep-eyed maiden who loves not the glare of day. It is not till "light thickens and the crow wings to the rocky wood" that she steals forth from her groves. Her palace is in twilight land. It is there she meets us. At her shadowy gate she takes our hand in hers and walks beside us through her mystic realm. We see no form, but seem to hear the rustling of her wings.
Even in the toiling hum-drum city her spirit comes to us. There is a somber presence in each long, dull street; and the dark river creeps ghostlike under the black arches, as if bearing some hidden secret beneath its muddy waves.
In the silent country, when the trees and hedges loom dim and blurred against the rising night, and the bat's wing flutters in our face, and the land-rail's cry sounds drearily