No More Learning

That is to say, one must not be among those that
would have prayed in old times in some chapel of the Star, but among
those who would have prayed under the shadow of the Green Tree, and on
the wet stones of the Well, among the worshippers of natural abundance.


II

I do not think it was accident, so subtle are the threads that lead the
soul, that made William Morris, who seems to me to be the one perfectly
happy and fortunate poet of modern times, celebrate the Green Tree and
the goddess Habundia, and wells and enchanted waters in so many books.
In _The Well at the World's End_ green trees and enchanted waters are
shown to us, as they were understood by old writers, who thought that
the generation of all things was through water; for when the water that
gives a long and fortunate life and that can be found by none but such
a one as all women love is found at last, the Dry Tree, the image of
the ruined land, becomes green. To him indeed as to older writers Well
and Tree are all but images of the one thing, of an 'energy' that is
not the less 'eternal delight' because it is half of the body. He never
wrote, and could not have written, of a man or woman who was not of the
kin of Well or Tree. Long before he had named either he had made his
'Wanderers' follow a dream indeed, but a dream of natural happiness,
and all the people of all his poems and stories from the confused
beginning of his art in _The Hollow Land_ to its end in _The Sundering
Flood_, are full of the heavy sweetness of this dream. He wrote indeed
of nothing but of the quest of the Grail, but it was the Heathen Grail
that gave every man his chosen food, and not the Grail of Malory or
Wagner; and he came at last to praise, as other men have praised the
martyrs of religion or of passion, men with lucky eyes and men whom all
women love.

We know so little of man and of the world that we cannot be certain
that the same invisible hands, that gave him an imagination preoccupied
with good fortune, gave him also health and wealth, and the power to
create beautiful things without labour, that he might honour the Green
Tree. It pleases me to imagine the copper mine which brought, as Mr.
Mackail has told, so much unforeseen wealth and in so astonishing a
way, as no less miraculous than the three arrows in _The Sundering
Flood_. No mighty poet in his misery dead could have delighted enough
to make us delight in men 'who knew no vain desire of foolish fame,'
but who thought the dance upon 'the stubble field' and 'the battle
with the earth' better than 'the bitter war' 'where right and wrong
are mixed together. ' 'Oh the trees, the trees! ' he wrote in one of his
early letters, and it was his work to make us, who had been taught to
sympathize with the unhappy till we had grown morbid, to sympathize
with men and women who turned everything into happiness because they
had in them something of the abundance of the beechen boughs or of the
bursting wheat-ear. He alone, I think, has told the story of Alcestis
with perfect sympathy for Admetus, with so perfect a sympathy that he
cannot persuade himself that one so happy died at all; and he, unlike
all other poets, has delighted to tell us that the men after his own
heart, the men of his _News from Nowhere_, sorrowed but a little while
over unhappy love. He cannot even think of nobility and happiness
apart, for all his people are like his men of Burg Dale who lived 'in
much plenty and ease of life, though not delicately or desiring things
out of measure.
They wrought with their hands and wearied themselves;
and they rested from their toil and feasted and were merry; to-morrow
was not a burden to them, nor yesterday a thing which they would fain
forget; life shamed them not nor did death make them afraid. As for the
Dale wherein they dwelt, it was indeed most fair and lovely and they
deemed it the Blessing of the earth, and they trod the flowery grass
beside its rippled stream amidst the green tree-boughs proudly and
joyfully with goodly bodies and merry hearts. '


III

I think of his men as with broad brows and golden beards and mild eyes
and tranquil speech, and of his good women as like 'The Bride' in
whose face Rossetti saw and painted for once the abundance of earth
and not the half-hidden light of his star. They are not in love with
love for its own sake, with a love that is apart from the world or at
enmity with it, as Swinburne imagines Mary Stuart and as all men have
imagined Helen. They do not seek in love that ecstasy, which Shelley's
nightingale called death, that extremity of life in which life seems
to pass away like the Phoenix in flame of its own lighting, but rather
a gentle self-surrender that would lose more than half its sweetness
if it lost the savour of coming days. They are good house-wives; they
sit often at the embroidery frame, and they have wisdom in flocks and
herds and they are before all fruitful mothers. It seems at times as
if their love was less a passion for one man out of the world than
submission to the hazard of destiny, and the hope of motherhood and the
innocent desire of the body. They accept changes and chances of life
as gladly as they accept spring and summer and autumn and winter, and
because they have sat under the shadow of the Green Tree and drunk the
Waters of Abundance out of their hollow hands, the barren blossoms do
not seem to them the most beautiful. When Habundia takes the shape of
Birdalone she comes first as a young naked girl standing among great
trees, and then as an old carline, Birdalone in stately old age. And
when she praises Birdalone's naked body, and speaks of the desire it
shall awaken, praise and desire are innocent because they would not
break the links that chain the days to one another. The desire seems
not other than the desire of the bird for its mate in the heart of the
wood, and we listen to that joyous praise as though a bird watching its
plumage in still water had begun to sing in its joy, or as if we heard
hawk praising hawk in the middle air, and because it is the praise of
one made for all noble life and not for pleasure only, it seems, though
it is the praise of the body, that it is the noblest praise.

Birdalone has never seen her image but in 'a broad latten dish,' so the
wood woman must tell her of her body and praise it.

'Thus it is with thee; thou standest before me a tall and slim maiden,
somewhat thin as befitteth thy seventeen summers; where thy flesh
is bare of wont, as thy throat and thine arms and thy legs from the
middle down, it is tanned a beauteous colour, but otherwhere it is
even as fair a white, wholesome and clean as if the golden sunlight
which fulfilleth the promise of the earth were playing therein. . . .