THE world in which we live has been variously said and sung by the most
ingenious poets and philosophers: these reducing it to formulæ and
chemical ingredients, those striking the lyre in high-sounding measures
for the handiwork of God. What experience supplies is of a mingled
tissue, and the choosing mind has much to reject before it can get
together the materials of a theory. Dew and thunder, destroying Atilla
and the Spring lambkins, belong to an order of contrasts which no
repetition can assimilate. There is an uncouth, outlandish strain
throughout the web of the world, as from a vexatious planet in the house
of life. Things are not congruous and wear strange disguises: the
consummate flower is fostered out of dung, and after nourishing itself
awhile with heaven’s delicate distillations, decays again into
indistinguishable soil; and with Cæsar’s ashes, Hamlet tells us, the
urchins make dirt pies and filthily besmear their countenance. Nay, the
kindly shine of summer, when tracked home with the scientific spyglass,
is found to issue from the most portentous nightmare of the universe—the
great, conflagrant sun: a world of hell’s squibs, tumultuary, roaring
aloud, inimical to life. The sun itself is enough to disgust a human
being of the scene which he inhabits; and you would not fancy there was a
green or habitable spot in a universe thus awfully lighted up. And yet
it is by the blaze of such a conflagration, to which the fire of Rome was
but a spark, that we do all our fiddling, and hold domestic tea-parties
at the arbour door.
The Greeks figured Pan, the god of Nature, now terribly stamping his
foot, so that armies were dispersed; now by the woodside on a summer noon
trolling on his pipe until he charmed the hearts of upland ploughmen.
And the Greeks, in so figuring, uttered the last word of human
experience. To certain smoke-dried spirits matter and motion and elastic
aethers, and the hypothesis of this or that other spectacled professor,
tell a speaking story; but for youth and all ductile and congenial minds,
Pan is not dead, but of all the classic hierarchy alone survives in
triumph; goat-footed, with a gleeful and an angry look, the type of the
shaggy world: and in every wood, if you go with a spirit properly
prepared, you shall hear the note of his pipe.
For it is a shaggy world, and yet studded with gardens; where the salt
and tumbling sea receives clear rivers running from among reeds and
lilies; fruitful and austere; a rustic world; sunshiny, lewd, and cruel.
What is it the birds sing among the trees in pairing-time? What means
the sound of the rain falling far and wide upon the leafy forest? To
what tune does the fisherman whistle, as he hauls in his net at morning,
and the bright fish are heaped inside the boat? These are all airs upon
Pan’s pipe; he it was who gave them breath in the exultation of his
heart, and gleefully modulated their outflow with his lips and fingers.
The coarse mirth of herdsmen, shaking the dells with laughter and
striking out high echoes from the rock; the tune of moving feet in the
lamplit city, or on the smooth ballroom floor; the hooves of many horses,
beating the wide pastures in alarm; the song of hurrying rivers; the
colour of clear skies; and smiles and the live touch of hands; and the
voice of things, and their significant look, and the renovating influence
they breathe forth—these are his joyful measures, to which the whole
earth treads in choral harmony. To this music the young lambs bound as
to a tabor, and the London shop-girl skips rudely in the dance. For it
puts a spirit of gladness in all hearts; and to look on the happy side of
nature is common, in their hours, to all created things. Some are vocal
under a good influence, are pleasing whenever they are pleased, and hand
on their happiness to others, as a child who, looking upon lovely things,
looks lovely. Some leap to the strains with unapt foot, and make a
halting figure in the universal dance. And some, like sour spectators at
the play, receive the music into their hearts with an unmoved
countenance, and walk like strangers through the general rejoicing. But
let him feign never so carefully, there is not a man but has his pulses
shaken when Pan trolls out a stave of ecstasy and sets the world
a-singing.
Alas if that were all! But oftentimes the air is changed; and in the
screech of the night wind, chasing navies, subverting the tall ships and
the rooted cedar of the hills; in the random deadly levin or the fury of
headlong floods, we recognise the “dread foundation” of life and the
anger in Pan’s heart. Earth wages open war against her children, and
under her softest touch hides treacherous claws. The cool waters invite
us in to drown; the domestic hearth burns up in the hour of sleep, and
makes an end of all. Everything is good or bad, helpful or deadly, not
in itself, but by its circumstances. For a few bright days in England
the hurricane must break forth and the North Sea pay a toll of populous
ships. And when the universal music has led lovers into the paths of
dalliance, confident of Nature’s sympathy, suddenly the air shifts into a
minor, and death makes a clutch from his ambuscade below the bed of
marriage. For death is given in a kiss; the dearest kindnesses are
fatal; and into this life, where one thing preys upon another, the child
too often makes its entrance from the mother’s corpse. It is no wonder,
with so traitorous a scheme of things, if the wise people who created for
us the idea of Pan thought that of all fears the fear of him was the most
terrible, since it embraces all. And still we preserve the phrase: a
panic terror. To reckon dangers too curiously, to hearken too intently
for the threat that runs through all the winning music of the world, to
hold back the hand from the rose because of the thorn, and from life
because of death: this it is to be afraid of Pan. Highly respectable
citizens who flee life’s pleasures and responsibilities and keep, with
upright hat, upon the midway of custom, avoiding the right hand and the
left, the ecstasies and the agonies, how surprised they would be if they
could hear their attitude mythologically expressed, and knew themselves
as tooth-chattering ones, who flee from Nature because they fear the hand
of Nature’s God! Shrilly sound Pan’s pipes; and behold the banker
instantly concealed in the bank parlour! For to distrust one’s impulses
is to be recreant to Pan.
There are moments when the mind refuses to be satisfied with evolution,
and demands a ruddier presentation of the sum of man’s experience.
Sometimes the mood is brought about by laughter at the humorous side of
life, as when, abstracting ourselves from earth, we imagine people
plodding on foot, or seated in ships and speedy trains, with the planet
all the while whirling in the opposite direction, so that, for all their
hurry, they travel back-foremost through the universe of space.
Sometimes it comes by the spirit of delight, and sometimes by the spirit
of terror. At least, there will always be hours when we refuse to be put
off by the feint of explanation, nicknamed science; and demand instead
some palpitating image of our estate, that shall represent the troubled
and uncertain element in which we dwell, and satisfy reason by the means
of art. Science writes of the world as if with the cold finger of a
starfish; it is all true; but what is it when compared to the reality of
which it discourses? where hearts beat high in April, and death strikes,
and hills totter in the earthquake, and there is a glamour over all the
objects of sight, and a thrill in all noises for the ear, and Romance
herself has made her dwelling among men? So we come back to the old
myth, and hear the goat-footed piper making the music which is itself the
charm and terror of things; and when a glen invites our visiting
footsteps, fancy that Pan leads us thither with a gracious tremolo; or
when our hearts quail at the thunder of the cataract, tell ourselves that
he has stamped his hoof in the nigh thicket.