The Quest of the Golden Girl [13]
resented the choral celebrations of his Scotch landlord and friends by appearing at his bedroom door with a brace of pistols.
How like Shelley! The Scotch landlord meant well, we may be sure, and a very small pinch of humour, or even mere ordinary humanity, as distinct from humanitarianism, would have taken in the situation. Of course Shelley's mind was full of the sanctity of the moment, and indignant that "the hour for which the years did sigh" should thus be broken in upon by vulgar revelry; but while we may sympathise with his view, and admit to the full the sacredness, not to say the solemnity, of the marriage ceremony, yet it is to be hoped that it still retains a naturally mirthful side, of which such public merriment is but the crude expression.
With all its sweet and mystical significance, surely the prevailing feeling in the hearts of bride and bridegroom is, or should be, that of happiness,--happiness bubbling and dancing, all sunny ripples from heart to heart.
Surely they can spare a little of it, just one day's sight of it, to a less happy world,--a world long since married and done for, and with little happiness in it save the spectacle of other people's happiness. It is good for us to see happy people, good for the symbols of happiness to be carried high amidst us on occasion; for if they serve no other purpose, they inspire in us the hope that we too may some day be happy, or remind our discontented hearts that we have been.
If it were only for the sake of those quaint old women for whom life would be entirely robbed of interest were it not for other people's weddings and funerals, one feels the public ceremony of marriage a sort of public duty, the happiness tax, so to say, due to the somewhat impoverished revenues of public happiness. Other forms of happiness are taxed; why not marriage?
In a village, particularly, two people who robbed the community of its perquisites in this respect would be looked upon as "enemies of the people," and their joint life would begin under a social ban which it would cost much subsequent hospitality to remove. The dramatic instinct to which the life of towns is necessarily unfavourable, is kept alive in the country by the smallness of the stage and the fewness of the actors. A village is an organism, conscious of its several parts, as a town is not.
In a village everybody is a public man. The great events of his life are of public as well as private significance, appropriately, therefore, invested with public ceremonial. Thus used to living in the public eye, the actors carry off their parts at weddings and other dramatic ceremonials, with more spirit than is easy to a townsman, who is naturally made self-conscious by being suddenly called upon to fill for a day a public position for which he has had no training. That no doubt is the real reason for the growth of quiet marriages; and the desire for them, I suspect, comes first from the man, for there are few women who at heart do not prefer the old histrionic display.
However, the village wedding at which I suddenly found myself a spectator was, for a village, a singularly quiet one. There was no bell-ringing, and there were no bridesmaids. The bride drove up quietly with her father, and there was a subdued note even in the murmur of recognition which ran along the villagers as they stood in groups near the church porch. There was an absence of the usual hilarity which struck me. One might almost have said that there was a quite ominous silence.
Seating myself in a corner of the transept where I could see all and be little seen, I with the rest awaited the coming of the overdue bridegroom. Meanwhile the usual buzzing and bobbing of heads went on amongst the usual little group near the foot of the altar. Now and then one caught a glisten of tears through a widow's veil, and the little bride, dressed quietly in grey, talked with the usual nervous gaiety to her girl friends, and made the usual whispered confidences about her trousseau. The father, in occasional conversation with one and
How like Shelley! The Scotch landlord meant well, we may be sure, and a very small pinch of humour, or even mere ordinary humanity, as distinct from humanitarianism, would have taken in the situation. Of course Shelley's mind was full of the sanctity of the moment, and indignant that "the hour for which the years did sigh" should thus be broken in upon by vulgar revelry; but while we may sympathise with his view, and admit to the full the sacredness, not to say the solemnity, of the marriage ceremony, yet it is to be hoped that it still retains a naturally mirthful side, of which such public merriment is but the crude expression.
With all its sweet and mystical significance, surely the prevailing feeling in the hearts of bride and bridegroom is, or should be, that of happiness,--happiness bubbling and dancing, all sunny ripples from heart to heart.
Surely they can spare a little of it, just one day's sight of it, to a less happy world,--a world long since married and done for, and with little happiness in it save the spectacle of other people's happiness. It is good for us to see happy people, good for the symbols of happiness to be carried high amidst us on occasion; for if they serve no other purpose, they inspire in us the hope that we too may some day be happy, or remind our discontented hearts that we have been.
If it were only for the sake of those quaint old women for whom life would be entirely robbed of interest were it not for other people's weddings and funerals, one feels the public ceremony of marriage a sort of public duty, the happiness tax, so to say, due to the somewhat impoverished revenues of public happiness. Other forms of happiness are taxed; why not marriage?
In a village, particularly, two people who robbed the community of its perquisites in this respect would be looked upon as "enemies of the people," and their joint life would begin under a social ban which it would cost much subsequent hospitality to remove. The dramatic instinct to which the life of towns is necessarily unfavourable, is kept alive in the country by the smallness of the stage and the fewness of the actors. A village is an organism, conscious of its several parts, as a town is not.
In a village everybody is a public man. The great events of his life are of public as well as private significance, appropriately, therefore, invested with public ceremonial. Thus used to living in the public eye, the actors carry off their parts at weddings and other dramatic ceremonials, with more spirit than is easy to a townsman, who is naturally made self-conscious by being suddenly called upon to fill for a day a public position for which he has had no training. That no doubt is the real reason for the growth of quiet marriages; and the desire for them, I suspect, comes first from the man, for there are few women who at heart do not prefer the old histrionic display.
However, the village wedding at which I suddenly found myself a spectator was, for a village, a singularly quiet one. There was no bell-ringing, and there were no bridesmaids. The bride drove up quietly with her father, and there was a subdued note even in the murmur of recognition which ran along the villagers as they stood in groups near the church porch. There was an absence of the usual hilarity which struck me. One might almost have said that there was a quite ominous silence.
Seating myself in a corner of the transept where I could see all and be little seen, I with the rest awaited the coming of the overdue bridegroom. Meanwhile the usual buzzing and bobbing of heads went on amongst the usual little group near the foot of the altar. Now and then one caught a glisten of tears through a widow's veil, and the little bride, dressed quietly in grey, talked with the usual nervous gaiety to her girl friends, and made the usual whispered confidences about her trousseau. The father, in occasional conversation with one and