Paul Faber, Surgeon. George MacDonald
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there should be no God, what then?"
"Then, I grant you, there could be no poetry. Somebody says poetry is the speech of hope; and certainly if there were no God, there could be no hope."
Faber was struck with what she said, not from any feeling that there was truth in it, but from its indication of a not illogical mind. He was on the point of replying that certain kinds of poetry, and In Memoriam in particular, seemed to him more like the speech of a despair that had not the courage to confess itself and die; but he saw she had not a suspicion he spoke as he did for any thing but argument, and feared to fray his bird by scattering his crumbs too roughly. He honestly believed deliverance from the superstition into which he granted a fine nature was readier to fall than a common one, the greatest gift one human being could offer to another; but at the same time he could not bear to think of her recoil from such utterance of his unfaith as he had now almost got into the habit of making. He bethought himself, too, that he had already misrepresented himself, in giving her the impression that he was incapable of enjoying poetry of the more imaginative sort. He had indeed in his youth been passionately fond of such verse. Then came a time in which he turned from it with a sick dismay. Feelings and memories of agony, which a word, a line, would rouse in him afresh, had brought him to avoid it with an aversion seemingly deep-rooted as an instinct, and mounting even to loathing; and when at length he cast from him the semi-beliefs of his education, he persuaded himself that he disliked it for its falsehood. He read his philosophy by the troubled light of wrong and suffering, and that is not the light of the morning, but of a burning house. Of all poems, naturally enough, he then disliked In Memoriam the most; and now it made him almost angry that Juliet Meredith should like so much what he so much disliked. Not that he would have a lady indifferent to poetry. That would argue a lack of poetry in herself, and such a lady would be like a scentless rose. You could not expect, who indeed could wish a lady to be scientific in her ways of regarding things? Was she not the live concentration, the perfect outcome, of the vast poetic show of Nature? In shape, in motion of body and brain, in tone and look, in color and hair, in faithfulness to old dolls and carelessness of hearts, was she not the sublimation, the essence of sunsets, and fading roses, and butterflies, and snows, and running waters, and changing clouds, and cold, shadowy moonlight? He argued thus more now in sorrow than in anger; for what was the woman but a bubble on the sand of the infinite soulless sea—a bubble of a hundred lovely hues, that must shine because it could not help it, and for the same reason break? She was not to blame. Let her shine and glow, and sparkle, and vanish. For him, he cared for nothing but science—nothing that did not promise one day to yield up its kernel to the seeker. To him science stood for truth, and for truth in the inward parts stood obedience to the laws of Nature. If he was one of a poor race, he would rise above his fellows by being good to them in their misery; while for himself he would confess to no misery. Let the laws of Nature work—eyeless and heartless as the whirlwind; he would live his life, be himself, be Nature, and depart without a murmur. No scratch on the face of time, insignificant even as the pressure of a fern-leaf upon coal, should tell that he had ever thought his fate hard. He would do his endeavor and die and return to nothing—not then more dumb of complaint than now. Such had been for years his stern philosophy, and why should it now trouble him that a woman thought differently? Did the sound of faith from such lips, the look of hope in such eyes, stir any thing out of sight in his heart? Was it for a moment as if the corner of a veil were lifted, the lower edge of a mist, and he saw something fair beyond? Came there a little glow and flutter out of the old time? "All forget," he said to himself. "I too have forgotten. Why should not Nature forget? Why should I be fooled any more? Is it not enough?"
Yet as he sat gazing, in the broad light of day, through the cottage window, across whose panes waved the little red bells of the common fuchsia, something that had nothing to do with science and yet was, seemed to linger and hover over the little garden—something from the very depths of loveliest folly. Was it the refrain of an old song? or the smell of withered rose leaves? or was there indeed a kind of light such as never was on sea or shore?
Whatever it was, it was out of the midst of it the voice of the lady seemed to come—a clear musical voice in common speech, but now veiled and trembling, as if it brooded hearkening over the words it uttered:
"I wrong the grave with fears untrue:
Shall love be blamed for want of faith?
There must be wisdom with great Death:
The dead shall look me through and through.
"Be near us when we climb or fall:
Ye watch, like God, the rolling hours
With larger other eyes than ours,
To make allowance for us all."
She ceased, and the silence was like that which follows sweet music.
"Ah! you think of your father!" he hazarded, and hoped indeed it was her father of whom she was thinking.
She made no answer. He turned toward her in anxiety. She was struggling with emotion. The next instant the tears gushed into her eyes, while a smile seemed to struggle from her lips, and spread a little way over her face. It was inexpressibly touching.
"He was my friend," she said. "I shall never have such love again."
"All is not lost when much is lost," said the doctor, with sad comfort.
"There are spring days in winter."
"And you don't like poetry!" she said, a sweet playful scorn shining through her tears.
"I spoke but a sober truth," he returned; "—so sober that it seems but the sadder for its truth. The struggle of life is to make the best of things that might be worse."
She looked at him pitifully. For a moment her lips parted, then a strange look as of sudden bodily pain crossed her face, her lips closed, and her mouth looked as if it were locked. She shut the book which lay upon her knee, and resumed her needlework. A shadow settled upon her face.
"What a pity such a woman should be wasted in believing lies!" thought the doctor. "How much better it would be if she would look things in the face, and resolve to live as she can, doing her best and enduring her worst, and waiting for the end! And yet, seeing color is not the thing itself, and only in the brain whose eye looks upon it, why should I think it better? why should she not shine in the color of her fancy? why should she grow gray because the color is only in herself? We are but bubbles flying from the round of Nature's mill-wheel. Our joys and griefs are the colors that play upon the bubbles. Their throbs and ripples and changes are our music and poetry, and their bursting is our endless repose. Let us waver and float and shine in the sun; let us bear pitifully and be kind; for the night cometh, and there an end."
But in the sad silence, he and the lady were perhaps drifting further and further apart!
"I did not mean," he said, plunging into what came first, "that I could not enjoy verse of the kind you prefer—as verse. I took the matter by the more serious handle, because, evidently, you accepted the tone and the scope of it. I have a weakness for honesty."
"There is something not right about you, though, Mr. Faber—if I could find it out," said Miss Meredith. "You can not mean you enjoy any thing you do not believe in?"
"Surely there are many things one can enjoy without believing in them?"
"On the contrary, it seems to me that enjoying a thing is only another word for believing in it. If I thought the sweetest air on the violin had no truth in it, I could not listen to it a moment longer."
"Of course the air has all the truth it pretends to—the truth, that is, of the relations of sounds and of intervals—also, of course, the truth of its relation as a whole to that creative something in the human mind which gave birth to it."
"That is not all it pretends. It pretends that the something it gives birth to in the human mind is also a true thing."
"Is there not then another way also, in which the violin may be said to be true? Its tone throughout is of suffering: does it not mourn that neither what gives rise to it, nor what it gives rise to, is any thing but a lovely vapor—the phantom of an existence not to be lived, only to be dreamed? Does it not mourn