No More Learning

His whole conception of
Humanity sprang right out of the imagination and can only be realised by
it. What God was to the pantheist, man was to Him. He was the first to
conceive the divided races as a unity. Before his time there had been
gods and men, and, feeling through the mysticism of sympathy that in
himself each had been made incarnate, he calls himself the Son of the one
or the Son of the other, according to his mood. More than any one else
in history he wakes in us that temper of wonder to which romance always
appeals. There is still something to me almost incredible in the idea of
a young Galilean peasant imagining that he could bear on his own
shoulders the burden of the entire world; all that had already been done
and suffered, and all that was yet to be done and suffered: the sins of
Nero, of Caesar Borgia, of Alexander VI. , and of him who was Emperor of
Rome and Priest of the Sun: the sufferings of those whose names are
legion and whose dwelling is among the tombs: oppressed nationalities,
factory children, thieves, people in prison, outcasts, those who are dumb
under oppression and whose silence is heard only of God; and not merely
imagining this but actually achieving it, so that at the present moment
all who come in contact with his personality, even though they may
neither bow to his altar nor kneel before his priest, in some way find
that the ugliness of their sin is taken away and the beauty of their
sorrow revealed to them.

I had said of Christ that he ranks with the poets. That is true. Shelley
and Sophocles are of his company. But his entire life also is the most
wonderful of poems. For 'pity and terror' there is nothing in the entire
cycle of Greek tragedy to touch it. The absolute purity of the
protagonist raises the entire scheme to a height of romantic art from
which the sufferings of Thebes and Pelops' line are by their very horror
excluded, and shows how wrong Aristotle was when he said in his treatise
on the drama that it would be impossible to bear the spectacle of one
blameless in pain. Nor in AEschylus nor Dante, those stern masters of
tenderness, in Shakespeare, the most purely human of all the great
artists, in the whole of Celtic myth and legend, where the loveliness of
the world is shown through a mist of tears, and the life of a man is no
more than the life of a flower, is there anything that, for sheer
simplicity of pathos wedded and made one with sublimity of tragic effect,
can be said to equal or even approach the last act of Christ's passion.
The little supper with his companions, one of whom has already sold him
for a price; the anguish in the quiet moon-lit garden; the false friend
coming close to him so as to betray him with a kiss; the friend who still
believed in him, and on whom as on a rock he had hoped to build a house
of refuge for Man, denying him as the bird cried to the dawn; his own
utter loneliness, his submission, his acceptance of everything; and along
with it all such scenes as the high priest of orthodoxy rending his
raiment in wrath, and the magistrate of civil justice calling for water
in the vain hope of cleansing himself of that stain of innocent blood
that makes him the scarlet figure of history; the coronation ceremony of
sorrow, one of the most wonderful things in the whole of recorded time;
the crucifixion of the Innocent One before the eyes of his mother and of
the disciple whom he loved; the soldiers gambling and throwing dice for
his clothes; the terrible death by which he gave the world its most
eternal symbol; and his final burial in the tomb of the rich man, his
body swathed in Egyptian linen with costly spices and perfumes as though
he had been a king's son.
When one contemplates all this from the point
of view of art alone one cannot but be grateful that the supreme office
of the Church should be the playing of the tragedy without the shedding
of blood: the mystical presentation, by means of dialogue and costume and
gesture even, of the Passion of her Lord; and it is always a source of
pleasure and awe to me to remember that the ultimate survival of the
Greek chorus, lost elsewhere to art, is to be found in the servitor
answering the priest at Mass.

Yet the whole life of Christ--so entirely may sorrow and beauty be made
one in their meaning and manifestation--is really an idyll, though it
ends with the veil of the temple being rent, and the darkness coming over
the face of the earth, and the stone rolled to the door of the sepulchre.
One always thinks of him as a young bridegroom with his companions, as
indeed he somewhere describes himself; as a shepherd straying through a
valley with his sheep in search of green meadow or cool stream; as a
singer trying to build out of the music the walls of the City of God; or
as a lover for whose love the whole world was too small. His miracles
seem to me to be as exquisite as the coming of spring, and quite as
natural. I see no difficulty at all in believing that such was the charm
of his personality that his mere presence could bring peace to souls in
anguish, and that those who touched his garments or his hands forgot
their pain; or that as he passed by on the highway of life people who had
seen nothing of life's mystery, saw it clearly, and others who had been
deaf to every voice but that of pleasure heard for the first time the
voice of love and found it as 'musical as Apollo's lute'; or that evil
passions fled at his approach, and men whose dull unimaginative lives had
been but a mode of death rose as it were from the grave when he called
them; or that when he taught on the hillside the multitude forgot their
hunger and thirst and the cares of this world, and that to his friends
who listened to him as he sat at meat the coarse food seemed delicate,
and the water had the taste of good wine, and the whole house became full
of the odour and sweetness of nard.

Renan in his _Vie de Jesus_--that gracious fifth gospel, the gospel
according to St. Thomas, one might call it--says somewhere that Christ's
great achievement was that he made himself as much loved after his death
as he had been during his lifetime. And certainly, if his place is among
the poets, he is the leader of all the lovers. He saw that love was the
first secret of the world for which the wise men had been looking, and
that it was only through love that one could approach either the heart of
the leper or the feet of God.

And above all, Christ is the most supreme of individualists. Humility,
like the artistic, acceptance of all experiences, is merely a mode of
manifestation. It is man's soul that Christ is always looking for. He
calls it 'God's Kingdom,' and finds it in every one. He compares it to
little things, to a tiny seed, to a handful of leaven, to a pearl. That
is because one realises one's soul only by getting rid of all alien
passions, all acquired culture, and all external possessions, be they
good or evil.

I bore up against everything with some stubbornness of will and much
rebellion of nature, till I had absolutely nothing left in the world but
one thing.