There are many motives that impel us to travel, to change our sky, as
Horace calls it--good motives and bad, selfish and unselfish, noble
and ignoble. With some people it is pure restlessness; the tedium of
ordinary life weighs on them, and travel, they think, will distract
them; people travel for the sake of health, or for business reasons, or
to accompany some one else, or because other people travel. And these
motives are neither good nor bad, they are simply sufficient. Some
people travel to enlarge their minds, or to write a book; and the worst
of travelling for such reasons is that it so often implants in the
traveller, when he returns, a desperate desire to enlarge other
people's minds too. Unhappily, it needs an extraordinary gift of vivid
description and a tactful art of selection to make the reflections of
one's travels interesting to other people. It is a great misfortune for
biographers that there are abundance of people who are stirred, partly
by unwonted leisure and partly by awakened interest, to keep a diary
only when they are abroad. These extracts from diaries of foreign
travel, which generally pour their muddy stream into a biography on the
threshold of the hero's manhood, are things to be resolutely skipped.
What one desires in a biography is to see the ordinary texture of a
man's life, an account of his working days, his normal hours; and to
most people the normal current of their lives appears so commonplace and
uninteresting that they keep no record of it; while they often keep
an elaborate record of their impressions of foreign travel, which
are generally superficial and picturesque, and remarkably like the
impressions of all other intelligent people. A friend of mine returned
the other day from an American tour, and told me that he received
a severe rebuke, out of the mouth of a babe, which cured him of
expatiating on his experiences. He lunched with his brother soon after
his return, and was holding forth with a consciousness of brilliant
descriptive emphasis, when his eldest nephew, aged eight, towards the
end of the meal, laid down his spoon and fork, and said piteously to
his mother, "Mummy, I MUST talk; it does make me so tired to hear Uncle
going on like that." A still more effective rebuke was administered by a
clever lady of my acquaintance to a cousin of hers, a young lady who
had just returned from India, and was very full of her experiences.
The cousin had devoted herself during breakfast to giving a lively
description of social life in India, and was preparing to spend the
morning in continuing her lecture, when the elder lady slipped out of
the room, and returned with some sermon-paper, a blotting-book, and a
pen. "Maud," she said, "this is too good to be lost: you must write it
all down, every word!" The projected manuscript did not come to very
much, but the lesson was not thrown away.
Perhaps, for most people, the best results of travel are that they
return with a sense of grateful security to the familiar scene: the
monotonous current of life has been enlivened, the old relationships
have gained a new value, the old gossip is taken up with a comfortable
zest; the old rooms are the best, after all; the homely language is
better than the outlandish tongue; it is a comfort to have done with
squeezing the sponge and cramming the trunk: it is good to be at home.
But to people of more cultivated and intellectual tastes there is an
abundance of good reasons for the pursuit of impressions. It is worth
a little fatigue to see the spring sun lie softly upon the unfamiliar
foliage, to see the delicate tints of the purple-flowered Judas-tree,
the bright colours of Southern houses, the old high-shouldered chateau
blinking among its wooded parterres; it is pleasant to see mysterious
rites conducted at tabernacled altars, under dark arches, and to
smell the "thick, strong, stupefying incense-smoke"; to see well-known
pictures in their native setting, to hear the warm waves of the canal
lapping on palace-stairs, with the exquisite moulded cornice overhead.
It gives one a strange thrill to stand in places rich with dim
associations, to stand by the tombs of heroes and saints, to see the
scenes made familiar by art or history, the homes of famous men. Such
travel is full of weariness and disappointment. The place one had
desired half a lifetime to behold turns out to be much like other
places, devoid of inspiration. A tiresome companion casts dreariness
as from an inky cloud upon the mind. Do I not remember visiting the
Palatine with a friend bursting with archaeological information, who led
us from room to room, and identified all by means of a folding plan, to
find at the conclusion that he had begun at the wrong end, and that even
the central room was not identified correctly, because the number of
rooms was even, and not odd?
But, for all that, there come blessed unutterable moments, when the mood
and the scene and the companion are all attuned in a soft harmony. Such
moments come back to me as I write. I see the mouldering brickwork of
a crumbling tomb all overgrown with grasses and snapdragons, far out in
the Campagna; or feel the plunge of the boat through the reed-beds of
the Anapo, as we slid into the silent pool of blue water in the heart of
the marsh, where the sand danced at the bottom, and the springs bubbled
up, while a great bittern flew booming away from a reedy pool hard by.
Such things are worth paying a heavy price for, because they bring a
sort of aerial distance into the mind, they touch the spirit with a
hope that the desire for beauty and perfection is not, after all, wholly
unrealisable, but that there is a sort of treasure to be found even upon
earth, if one diligently goes in search of it.
Of one thing, however, I am quite certain, and that is that travel
should not be a feverish garnering of impressions, but a delicious and
leisurely plunge into a different atmosphere. It is better to visit few
places, and to become at home in each, than to race from place to place,
guide-book in hand. A beautiful scene does not yield up its secrets to
the eye of the collector. What one wants is not definite impressions but
indefinite influences. It is of little use to enter a church, unless one
tries to worship there, because the essence of the place is worship, and
only through worship can the secret of the shrine be apprehended. It
is of little use to survey a landscape, unless one has an overpowering
desire to spend the remainder of one's days there; because it is the
life of the place, and not the sight of it, in which one desires to have
a part. Above all, one must not let one's memories sleep as in a dusty
lumber-room of the mind. In a quiet firelit hour one must draw near, and
scrutinise them afresh, and ask oneself what remains. As I write, I open
the door of my treasury and look round. What comes up before me? I see
an opalescent sky, and the great soft blue rollers of a sapphire sea. I
am journeying, it seems, in no mortal boat, though it was a commonplace
vessel enough at the time, twenty years ago, and singularly destitute of
bodily provision. What is that over the sea's rim, where the tremulous,
shifting, blue line of billows shimmers and fluctuates? A long, low
promontory, and in the centre, over white clustered houses and masts
of shipping, rises a white dome like the shrine of some celestial city.
That is Cadiz for me. I dare say the picture is all wrong, and I shall
be told that Cadiz has a tower and is full of factory chimneys; but
for me the dome, ghostly white, rises as though moulded out of a single
pearl, upon the shifting edges of the haze. Whatever I have seen in my
life, that at least is immortal.
Or again the scene shifts, and now I stumble to the deck of another
little steamer, very insufficiently habited, in the sharp freshness
of the dawn of a spring morning. The waves are different here--not the
great steely league-long rollers of the Atlantic, but the sharp azure
waves, marching in rhythmic order, of the Mediterranean; what is the
land, with grassy downs and folded valleys falling to grey cliffs, upon
which the brisk waves whiten and leap? That is Sicily; and the thought
of Theocritus, with the shepherd-boy singing light-heartedly upon the
headland a song of sweet days and little eager joys, comes into my heart
like wine, and brings a sharp touch of tears into the eyes. Theocritus!
How little I thought, as I read the ugly brown volume with its yellow
paper, in the dusty schoolroom at Eton ten years before, that it was
going to mean that to me, sweetly as even then, in a moment torn from
the noisy tide of schoolboy life, came the pretty echoes of the song
into a little fanciful and restless mind! But now, as I saw those
deserted limestone crags, that endless sheep-wold, with no sign of a
habitation, rising and falling far into the distance, with the fresh
sea-breeze upon my cheek--there came upon me that tender sorrow for all
the beautiful days that are dead, the days when the shepherds walked
together, exulting in youth and warmth and good-fellowship and song, to
the village festival, and met the wandering minstrel, with his coat of
skin and his kind, ironical smile, who gave them, after their halting
lays, a touch of the old true melody from a master's hand. What do all
those old and sweet dreams mean for me, the sunlight that breaks on the
stream of human souls, flowing all together, alike through dark rocks
where the water chafes and thunders, and spreading out into tranquil
shining reaches, where the herons stand half asleep? What does that
strange drift of kindred spirits, moving from the unknown to the
unknown, mean for me? I only know that it brings into my mind a strange
yearning, and a desire of almost unearthly sweetness for all that is
delicate and beautiful and full of charm, together with a sombre pity
for the falling mist of tears, the hard discipline of the world, the
cries of anguish, as life lapses from the steep into the silent tide of
death.
Or, again, I seem once more to sit in the balcony of a house that looks
out towards Vesuvius. It is late; the sky is clouded, the air is still;
a grateful coolness comes up from acre after acre of gardens climbing
the steep slope; a fluttering breeze, that seems to have lost his way
in the dusk, comes timidly and whimsically past, like Ariel, singing
as soft as a far-off falling sea in the great pine overhead, making a
little sudden flutter in the dry leaves of the thick creeper; like Ariel
comes that dainty spirit of the air, laden with balmy scents and cool
dew. A few lights twinkle in the plain below. Opposite, the sky has an
added blackness, an impenetrability of shade; but what is the strange
red eye of light that hangs between earth and heaven? And, stranger
still, what is that phantasmal gleam of a lip of crags high in the air,
and that mysterious, moving, shifting light, like a pale flame,
above it? The gloomy spot is a rent in the side of Vesuvius where the
smouldering heat has burnt through the crust, and where a day or two
before I saw a viscid stream of molten liquor, with the flames playing
over it, creeping, creeping through the tunnelled ashes; and in the
light above is the lip of Vesuvius itself, with its restless furnace at
work, casting up a billowy swell of white oily smoke, while the glare of
the fiery pit lights up the underside of the rising vapours. A ghastly
manifestation, that, of sleepless and stern forces, ever at work upon
some eternal and bewildering task; and yet so strangely made am I, that
these fierce signal-fires, seen afar, but blend with the scents of the
musky alleys for me into a thrill of unutterable wonder.
There are hundreds of such pictures stored in my mind, each stamped upon
some sensitive particle of the brain, that cannot be obliterated, and
each of which the mind can recall at will. And that, too, is a fact of
surpassing wonder: what is the delicate instrument that registers, with
no seeming volition, these amazing pictures, and preserves them thus
with so fantastic a care, retouching them, fashioning them anew,
detaching from the picture every sordid detail, till each is as a lyric,
inexpressible, exquisite, too fine for words to touch?
Now it is useless to dictate to others the aims and methods of travel:
each must follow his own taste. To myself the acquisition of knowledge
and information is in these matters an entirely negligible thing. To me
the one and supreme object is the gathering of a gallery of pictures;
and yet that is not a definite object either, for the whimsical and
stubborn spirit refuses to be bound by any regulations in the matter.
It will garner up with the most poignant care a single vignette, a
tiny detail. I see, as I write, the vision of a great golden-grey
carp swimming lazily in the clear pool of Arethusa, the carpet of
mesembryanthemum that, for some fancy of its own, chose to involve the
whole of a railway viaduct with its flaunting magenta flowers and its
fleshy leaves. I see the edge of the sea, near Syracuse, rimmed with a
line of the intensest yellow, and I hear the voice of a guide explaining
that it was caused by the breaking up of a stranded orange-boat, so that
the waves for many hundred yards threw up on the beach a wrack of fruit;
yet the same wilful and perverse mind will stand impenetrably dumb and
blind before the noblest and sweetest prospect, and decline to receive
any impression at all. What is perhaps the oddest characteristic of the
tricksy spirit is that it often chooses moments of intense discomfort
and fatigue to master some scene, and take its indelible picture. I
suppose that the reason of this is that the mind makes, at such moments,
a vigorous effort to protest against the tyranny of the vile body, and
to distract itself from instant cares.
But another man may travel for archaeological or even statistical
reasons. He may wish, like Ulysses, to study "manners, councils,
customs, governments." He may be preoccupied with questions of
architectural style or periods of sculpture. I have a friend who takes
up at intervals the study of the pictures of a particular master, and
will take endless trouble and undergo incredible discomfort, in order
to see the vilest daubs, if only he can make his list complete, and say
that he has seen all the reputed works of the master. This instinct
is, I believe, nothing but the survival of the childish instinct for
collecting, and though I can reluctantly admire any man who spares no
trouble to gain an end, the motive is dark and unintelligible to me.
There are some travellers, like Dean Stanley, who drift from the
appreciation of natural scenery into the pursuit of historical
associations. The story of Stanley as a boy, when he had his first sight
of the snowy Alps on the horizon, always delights me. He danced about
saying, "Oh, what shall I do, what shall I do?" But, in later days,
Stanley would not go a mile to see a view, while he would travel all
night to see a few stones of a ruin, jutting out of a farmyard wall, if
only there was some human and historical tradition connected with the
place. I do not myself understand that. I should not wish to see Etna
merely because Empedocles is supposed to have jumped down the crater,
nor the site of Jericho because the walls fell down at the trumpets
of the host. The only interest to me in an historical scene is that
it should be in such a condition as that one can to a certain extent
reconstruct the original drama, and be sure that one's eyes rest upon
very much the same scene as the actors saw. The reason why Syracuse
moved me by its acquired beauty, and not for its historical
associations, was because I felt convinced that Thucydides, who gives so
picturesque a description of the sea-fight, can never have set eyes on
the place, and must have embroidered his account from scanty hearsay.
But, on the other hand, there are few things in the world more
profoundly moving than to see a place where great thoughts have been
conceived and great books written, when one is able to feel that the
scene is hardly changed. The other day, as I passed before the
sacred gate of Rydal Mount, I took my hat off my head with a sense of
indescribable reverence. My companion asked me laughingly why I did so.
"Why?" I said. "From natural piety, of course! I know every detail here
as well as if I had lived here, and I have walked in thought a hundred
times with the poet, to and fro in the laurelled walks of the garden, up
the green shoulder of Nab Scar, and sat in the little parlour, while
the fire leapt on the hearth, and heard him 'booing' his verses, to be
copied by some friendly hand."
I thrill to see the stately rooms of Abbotsford, with all their sham
feudal decorations, the little staircase by which Scott stole away
to his solitary work, the folded clothes, the shapeless hat, the ugly
shoes, laid away in the glass case; the plantations where he walked with
his shrewd bailiff, the place where he stopped so often on the shoulder
of the slope, to look at the Eildon Hills, the rooms where he sat, a
broken and bereaved man, yet with so gallant a spirit, to wrestle with
sorrow and adversity. I wept, I am not ashamed to say, at Abbotsford, at
the sight of the stately Tweed rolling his silvery flood past lawns and
shrubberies, to think of that kindly, brave, and honourable heart, and
his passionate love of all the goodly and cheerful joys of life and
earth.
Or, again, it was a solemn day for me to pass from the humble tenement
where Coleridge lived, at Nether Stowey, before the cloud of sad habit
had darkened his horizon, and turned him away from the wells of poetry
into the deserts of metaphysical speculation, to find, if he could, some
medicine for his tortured spirit. I walked with a holy awe along the
leafy lanes to Alfoxden, where the beautiful house nestles in the
green combe among its oaks, thinking how here, and here, Wordsworth and
Coleridge had walked together in the glad days of youth, and planned,
in obscurity and secluded joy, the fresh and lovely lyrics of their
matin-prime.
I turn, I confess, more eagerly to scenes like these than to scenes of
historical and political tradition, because there hangs for me a glory
about the scene of the conception and genesis of beautiful imaginative
work that is unlike any glory that the earth holds. The natural joy of
the youthful spirit receiving the impact of mighty thoughts, of poignant
impressions, has for me a liberty and a grace which no historical or
political associations could ever possess. I could not glow to see
the room in which a statesman worked out the details of a Bill for the
extension of the franchise, or a modification of the duties upon imports
and exports, though I respect the growing powers of democracy and the
extinction of privilege and monopoly; but these measures are dimmed and
tainted with intrigue and manoeuvre and statecraft. I do not deny their
importance, their worth, their nobleness. But not by committees and
legislation does humanity triumph. In the vanguard go the blessed
adventurous spirits that quicken the moral temperature, and uplift the
banner of simplicity and sincerity. The host marches heavily behind, and
the commissariat rolls grumbling in the rear of all; and though my place
may be with the work-a-day herd, I will send my fancy afar among the
leafy valleys and the far-off hills of hope.
But I would not here quarrel with the taste of any man. If a mortal
chooses to travel in search of comfortable rooms, new cookery and wines,
the livelier gossip of unknown people, in heaven's name let him do so.
If another wishes to study economic conditions, standards of life,
rates of wages, he has my gracious leave for his pilgrimage. If another
desires to amass historical and archaeological facts, measurements
of hypaethral temples, modes of burial, folk-lore, fortification,
God forbid that I should throw cold water on the quest. But the only
traveller whom I recognise as a kindred spirit is the man who goes in
search of impressions and effects, of tone and atmosphere, of rare and
curious beauty, of uplifting association. Nothing that has ever moved
the interest, or the anxiety, or the care, or the wonder, of human
beings can ever wholly lose its charm. I have felt my skin prickle and
creep at the sight of that amazing thing in the Dublin museum, a section
dug bodily out of a claypit, and showing the rough-hewn stones of a
cist, deep in the earth, the gravel over it and around it, the roots
of the withered grass forming a crust many feet above, and, inside the
cist, the rude urn, reversed over a heap of charred ashes; it was not
the curiosity of the sight that moved me, but the thought of the old
dark life revealed, the dim and savage world, that was yet shot through
and pierced, even as now, with sorrow for death, and care for the
beloved ashes of a friend and chieftain. Such a sight sets a viewless
network of emotion, which seems to interlace far back into the ages,
all pulsating and stirring. One sees in a flash that humanity lived,
carelessly and brutally perhaps, as we too live, and were confronted, as
we are confronted, with the horror of the gap, the intolerable
mystery of life lapsing into the dark. Ah, the relentless record, the
impenetrable mystery! I care very little, I fear, for the historical
development of funereal rites, and hardly more for the light that such
things throw on the evolution of society. I leave that gratefully enough
to the philosophers. What I care for is the touch of nature that shows
me my ancient brethren of the dim past--who would have mocked and
ridiculed me, I doubt not, if I had fallen into their hands, and killed
me as carelessly as one throws aside the rind of a squeezed fruit--yet
I am one of them, and perhaps even something of their blood flows in my
veins yet.
As I grow older, I tend to travel less and less, and I do not care if
I never cross the Channel again. Is there a right and a wrong in the
matter, an advisability or an inadvisability, an expediency or an
inexpediency? I do not think so. Travelling is a pleasure, if it is
anything, and a pleasure pursued from a sense of duty is a very fatuous
thing. I have no good reason to give, only an accumulation of small
reasons. Dr. Johnson once said that any number of insufficient reasons
did not make a sufficient one, just as a number of rabbits did not make
a horse. A lively but misleading illustration: he might as well have
said that any number of sovereigns did not make a cheque for a hundred
pounds. I suppose that I do not like the trouble, to start with; and
then I do not like being adrift from my own beloved country. Then
I cannot converse in any foreign language, and half the pleasure of
travelling comes from being able to lay oneself alongside of a new point
of view. Then, too, I realise, as I grow older, how little I have really
seen of my own incomparably beautiful and delightful land, so that, like
the hero of Newman's hymn,
"I do not ask to see
The distant scene; one step enough for me."
And, lastly, I have a reason which will perhaps seem a far-fetched one.
Travel is essentially a distraction, and I do not want to be distracted
any more. One of the mistakes that people make, in these Western
latitudes, is to be possessed by an inordinate desire to drown thought.
The aim of many men whom I know seems to me to be occupied in some
absolutely definite way, so that they may be as far as possible
unaware of their own existence. Anything to avoid reflection! A normal
Englishman does not care very much what the work and value of his
occupation is, as long as he is occupied; and I am not at all sure that
we came into the world to be occupied. Christ, in the Gospel story,
rebuked the busy Martha for her bustling anxieties, her elaborate
attentions to her guests, and praised the leisurely Mary for desiring to
sit and hear Him talk. Socrates spent his life in conversation. I do not
say that contemplation is a duty, but I cannot help thinking that we
are not forbidden to scrutinise life, to wonder what it is all about, to
study its problems, to apprehend its beauty and significance. We admire
a man who goes on making money long after he has made far more than he
needs; we think a life honourably spent in editing Greek books. Socrates
in one of Plato's dialogues quotes the opinion of a philosopher to the
effect that when a man has made enough to live upon, he should begin
to practise virtue. "I think he should begin even earlier," says the
interlocutor; and I am wholly in agreement with him. Travel is one of
the expedients to which busy men resort, in order that they may forget
their existence. I do not venture to think this exactly culpable, but I
feel sure that it is a pity that people do not do less and think more.
If a man asks what good comes from thinking, I can only retort by asking
what good comes from the multiplication of unnecessary activity. I am
quite as much at a loss as any one else to say what is the object of
life, but I do not feel any doubt that we are not sent into the world
to be in a fuss. Like the lobster in The Water-Babies, I cry, "Let me
alone; I want to think!" because I believe that that occupation is at
least as profitable as many others.
And then, too, without travelling more than a few miles from my door,
I can see things fully as enchanting as I can see by ranging Europe. I
went to-day along a well-known road; just where the descent begins to
fall into a quiet valley, there stands a windmill--not one of the ugly
black circular towers that one sometimes sees, but one of the old crazy
boarded sort, standing on a kind of stalk; out of the little
loopholes of the mill the flour had dusted itself prettily over the
weather-boarding. From a mysterious hatch half-way up leaned the miller,
drawing up a sack of grain with a little pulley. There is nothing so
enchanting as to see a man leaning out of a dark doorway high up in
the air. He drew the sack in, he closed the panel. The sails whirled,
flapping and creaking; and I loved to think of him in the dusty gloom,
with the gear grumbling among the rafters, tipping the golden grain into
its funnel, while the rattling hopper below poured out its soft stream
of flour. Beyond the mill, the ground sank to a valley; the roofs
clustered round a great church tower, the belfry windows blinking
solemnly. Hard by the ancient Hall peeped out from its avenue of elms.
That was a picture as sweet as anything I have ever seen abroad,
as perfect a piece of art as could be framed, and more perfect than
anything that could be painted, because it was a piece out of the old
kindly, quiet life of the world. One ought to learn, as the years flow
on, to love such scenes as that, and not to need to have the blood and
the brain stirred by romantic prospects, peaked hills, well-furnished
galleries, magnificent buildings: mutare animum, that is the secret, to
grow more hopeful, more alive to delicate beauties, more tender, less
exacting. Nothing, it is true, can give us peace; but we get nearer it
by loving the familiar scene, the old homestead, the tiny valley,
the wayside copse, than we do by racing over Europe on the track
of Giorgione, or over Asia in pursuit of local colour. After all,
everything has its appointed time. It is good to range in youth, to rub
elbows with humanity, and then, as the days go on, to take stock, to
remember, to wonder, "To be content with little, to serve beauty well."