Kelmscott And William Morris

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Title:     Kelmscott And William Morris
Author: Arthur C. Benson [More Titles by Benson]

I had been at Fairford that still, fresh, April morning, and had enjoyed the sunny little piazza, with its pretty characteristic varieties of pleasant stone-built houses, solid Georgian fronts interspersed with mullioned gables. But the church! That is a marvellous place; its massive lantern-tower, with solid, softly- moulded outlines--for the sandy oolite admits little fineness of detail--all weathered to a beautiful orange-grey tint, has a mild dignity of its own. Inside it is a treasure of mediaevalism. The screens, the woodwork, the monuments, all rich, dignified, and spacious. And the glass! Next to King's College Chapel, I suppose, it is the noblest series of windows in England, and the colour of it is incomparable. Azure and crimson, green and orange, yet all with a firm economy of effect, the robes of the saints set and imbedded in a fine intricacy of white tabernacle-work. As to the design, I hardly knew whether to smile or weep. The splendid, ugly faces of the saints, depicted, whether designedly or artlessly I cannot guess, as men of simple passions and homely experience, moved me greatly, so unlike the mild, polite, porcelain visages of even the best modern glass. But the windows are as thick with demons as a hive with bees; and oh! the irresponsible levity displayed in these merry, grotesque, long-nosed creatures, some flame-coloured and long-tailed, some green and scaly, some plated like the armadillo, all going about their merciless work with infinite gusto and glee! Here one picked at the white breast of a languid, tortured woman who lay bathed in flame; one with a glowing hook thrust a lamentable big-paunched wretch down into a bath of molten liquor; one with pleased intentness turned the handle of a churn, from the top of which protruded the head of a fair-haired boy, all distorted with pain and terror. What could have been in the mind of the designer of these hateful scenes? It is impossible to acquit him of a strong sense of the humorous. Did he believe that such things were actually in progress in some infernal cavern, seven times heated? I fear it may have been so. And what of the effect upon the minds of the village folk who saw them day by day? It would have depressed, one would think, an imaginative girl or boy into madness, to dream of such things as being countenanced by God for the heathen and the unbaptized, as well as for the cruel and sinful. If the vile work had been represented as being done by cloudy, sombre, relentless creatures, it would have been more tolerable. But these fantastic imps, as lively as grigs and full to the brim of wicked laughter, are certainly enjoying themselves with an extremity of delight of which no trace is to be seen in the mournful and heavily lined faces of the faithful. Autres temps, autres moeurs! Perhaps the simple, coarse mental palates of the village folk were none the worse for this realistic treatment of sin. One wonders what the saintly and refined Keble, who spent many years of his life as his father's curate here, thought of it all. Probably his submissive and deferential mind accepted it as in some ecclesiastical sense symbolical of the merciless hatred of God for the desperate corruption of humanity. It gave me little pleasure to connect the personality of Keble with the place, patient, sweet- natured, mystical, serviceable as he was. It seems hard to breathe in the austere air of a mind like Keble's, where the wind of the spirit blows chill down the narrow path, fenced in by the high, uncompromising walls of ecclesiastical tradition on the one hand, and stern Puritanism on the other. An artificial type, one is tempted to say!--and yet one ought never, I suppose, so to describe any flower that has blossomed fragrantly upon the human stock; any system that seems to extend a natural and instinctive appeal to certain definite classes of human temperament.

I sped pleasantly enough along the low, rich pastures, thick with hedgerow elms, to Lechlade, another pretty town with an infinite variety of habitations. Here again is a fine ancient church with a comely spire, "a pretty pyramis of stone," as the old Itinerary says, overlooking a charming gabled house, among walled and terraced gardens, with stone balls on the corner-posts and a quaint pavilion, the river running below; and so on to a bridge over the yet slender Thames, where the river water spouted clear and fragrant into a wide pool; and across the flat meadows, bright with kingcups, the spire of Lechlade towered over the clustered house-roofs to the west.

Then further still by a lonely ill-laid road. And thus, with a mind pleasantly attuned to beauty and a quickening pulse, I drew near to Kelmscott. The great alluvial flat, broadening on either hand, with low wooded heights, "not ill-designed," as Morris said, to the south. Then came a winding cross-track, and presently I drew near to a straggling village, every house of which had some charm and quality of style, with here and there a high gabled dovecot, and its wooden cupola, standing up among solid barns and stacks. Here was a tiny and inconspicuous church, with a small stone belfry; and then the road pushed on, to die away among the fields. But there, at the very end of the village, stood the house of which we were in search; and it was with a touch of awe, with a quickening heart, that I drew near to a place of such sweet and gracious memories, a place so dear to more than one of the heroes of art.

One comes to the goal of an artistic pilgrimage with a certain sacred terror; either the place is disappointing, or it is utterly unlike what one anticipates. I knew Kelmscott so well from Rossetti's letters, from Morris's own splendid and loving description, from pictures, from the tales of other pilgrims, that I felt I could not be disappointed; and I was not. It was not only just like what I had pictured it to be, but it had a delicate and natural grace of its own as well. The house was larger and more beautiful, the garden smaller and not less beautiful, than I had imagined. I had not thought it was so shy, so rustic a place. It is very difficult to get any clear view of the Manor. By the road are cottages, and a big building, half storehouse, half wheelwright's shop, to serve the homely needs of the farm. Through the open door one could see a bench with tools; and planks, staves, spokes, waggon-tilts, faggots, were all stacked in a pleasant confusion. Then came a walled kitchen-garden, with some big shrubs, bay and laurustinus, rising plumply within; beyond which the grey house, spread thin with plaster, held up its gables and chimneys over a stone-tiled roof. To the left, big barns and byres--a farm-man leading in a young bull with a pole at the nose-ring; beyond that, open fields, with a dyke and a flood-wall of earth, grown over with nettles, withered sedges in the watercourse, and elms in which the rooks were clamorously building. We met with the ready, simple Berkshire courtesy; we were referred to a gardener who was in charge. To speak with him, we walked round to the other side of the house, to an open space of grass, where the fowls picked merrily, and the old farm-lumber, broken coops, disused ploughs, lay comfortably about. "How I love tidiness!" wrote Morris once. Yet I did not feel that he would have done other than love all this natural and simple litter of the busy farmstead.

Here the venerable house appeared more stately still. Through an open door in a wall we caught a sight of the old standards of an orchard, and borders with the spikes of spring-flowers pushing through the mould. The gardener was digging in the gravelly soil. He received us with a grave and kindly air; but when we asked if we could look into the house, he said, with a sturdy faithfulness, that his orders were that no one should see it, and continued his digging without heeding us further.

Somewhat abashed we retraced our steps; we got one glimpse of the fine indented front, with its shapely wings and projections. I should like to have seen the great parlour, and the tapestry-room with the story of Samson that bothered Rossetti so over his work. I should like to have seen the big oak bed, with its hangings embroidered with one of Morris's sweetest lyrics:

"The wind's on the wold,
And the night is a-cold."

I should like to have seen the tapestry-chamber, and the room where Morris, who so frankly relished the healthy savour of meat and drink, ate his joyful meals, and the peacock yew-tree that he found in his days of failing strength too hard a task to clip. I should like to have seen all this, I say; and yet I am not sure that tables and chairs, upholsteries and pictures, would not have come in between me and the sacred spirit of the place.

So I turned to the church. Plain and homely as its exterior is, inside it is touched with the true mediaeval spirit, like the "old febel chapel" of the Mort d'Arthur. Its bare walls, its half- obliterated frescoes, its sturdy pillars, gave it an ancient, simple air. But I did not, to my grief, see the grave of Morris, though I saw in fancy the coffin brought from Lechlade in the bright farm-waggon, on that day of pitiless rain. For there was going on in the churchyard the only thing I saw that day that seemed to me to strike a false note; a silly posing of village girls, self-conscious and overdressed, before the camera of a photographer--a playing at aesthetics, bringing into the village life a touch of unwholesome vanity and the vulgar affectation of the world. That is the ugly shadow of fame; it makes conventional people curious about the details of a great man's life and surroundings, without initiating them into any sympathy with his ideals and motives. The price that the real worshippers pay for their inspiration is the slavering idolatry of the unintelligent; and I withdrew in a mournful wonder from the place, wishing I could set an invisible fence round the scene, a fence which none should pass but the few who had the secret and the key in their hearts.

And here, for the pleasure of copying the sweet words, let me transcribe a few sentences from Morris's own description of the house itself:

"A house that I love with a reasonable love, I think; for though my words may give you no idea of any special charm about it, yet I assure you that the charm is there; so much has the old house grown up out of the soil and the lives of those that lived on it: some thin thread of tradition, a half-anxious sense of the delight of meadow and acre and wood and river; a certain amount (not too much, let us hope) of common-sense, a liking for making materials serve one's turn, and perhaps at bottom some little grain of sentiment-- this, I think, was what went to the making of the old house."

And again:

"My feet moved along the road they knew. The raised way led us into a little field, bounded by a backwater of the river on one side; on the right hand we could see a cluster of small houses and barns, and before us a grey stone barn and a wall partly overgrown with ivy, over which a few grey gables showed. The village road ended in the shallow of the backwater. We crossed the road, and my hand raised the latch of a door in the wall, and we stood presently on a stone path which led up to the old house. The garden between the wall and the house was redolent of the June flowers, and the roses were rolling over one another with that delicious superabundance of small well-tended gardens which at first sight takes away all thought save that of beauty. The blackbirds were singing their loudest, the doves were cooing on the roof-ridge, the rooks in the high elm trees beyond were garrulous among the young leaves, and the swifts wheeled whirring about the gables. And the house itself was a fit guardian for all the beauty of this heart of summer.

"O me! O me! How I love the earth, and the seasons, and weather, and all things that deal with it, and all that grows out of it--as this has done! The earth and the growth of it and the life of it! If I could but say or show how I love it!"

The pure lyrical beauty of these passages makes one out of conceit with one's own clumsy sentences. But still, I will say how all that afternoon, among the quiet fields, with the white clouds rolling up over the lip of the wolds, I was haunted with the thought of that burly figure; the great head with its curly hair and beard; the eyes that seemed so guarded and unobservant, and that yet saw and noted every smallest detail; the big clumsy hands, apt for such delicacy of work; to see him in his rough blue suit, his easy rolling gait, wandering about, stooping to look at the flowers in the beds, or glancing up at the sky, or sauntering off to fish in the stream, or writing swiftly in the parlour, or working at his loom; so bluff, so kindly, so blunt in address, so unaffected, loving all that he saw, the tide of full-blooded and restless life running so vigorously in his veins; or, further back, Rossetti, with his wide eyes, half bright, half languorous, pale, haunted with impossible dreams, pacing, rapt in feverish thought, through the lonely fields. The ghosts of heroes! And whether it was that my own memories and affections and visions stirred my brain, or that some tide of the spirit still sets from the undiscovered shores to the scenes of life and love, I know not, but the place seemed thronged with unseen presences and viewless mysteries of hope. Doubtless, loving as we do the precise forms of earthly beauty, the wide green pastures, the tender grace of age on gable and wall, the springing of sweet flowers, the clear gush of the stream, we are really in love with some deeper and holier thing; yet even about the symbols themselves there lingers a consecrating power; and that influence was present with me to-day, as I went homewards in the westering light, with the shadows of house and tree lengthening across the grass in the still afternoon.

Heroes, I said? Well, I will not here speak of Rossetti, though his impassioned heart and wayward dreams were made holy, I think, through suffering: he has purged his fault. But I cannot deny the name of hero to Morris. Let me put into words what was happening to him at the very time at which he had made this sweet place his home. He had already done as much in those early years as many men do in a lifetime. He had written great poems, he had loved and wedded, he had made abundant friends, his wealth was growing fast; he loved every detail of his work, designing, weaving, dyeing; he had a band of devoted workers and craftsmen under him. He could defy the world; he cared nothing at all for society or honours. He had magnificent vitality, a physique which afforded him every kind of wholesome momentary enjoyment.

In the middle of all this happy activity a cloud came over his mind, blotting out the sunshine. Partly, perhaps, private sorrows had something to do with it; partly, perhaps, a weakening of physical fibre, after a life of enormous productivity and restless energy, made itself felt. But these were only incidental causes. What began to weigh upon him was the thought of all the toiling thousands of humanity, whose lives of labour precluded them from the enjoyment of all or nearly all of the beautiful things that were to him the very essence of life; and, what was worse still, he perceived that the very faculty of higher enjoyment was lacking, the instinct for beauty having been atrophied and almost eradicated by sad inheritance, He saw that not only did the workers not feel the joyful love of art and natural beauty, but that they could not have enjoyed such pleasures, even if they were to be brought near to them; and then came the further and darker thought, that modern art was, after all, a hollow and a soulless thing. He saw around him beautiful old houses like his own, old churches which spoke of a high natural instinct for fineness of form and detail. These things seemed to stand for a widespread and lively joy in simple beauty which seemed to have vanished out of the world. In ancient times it was natural to the old builders if they had, say, a barn to build, to make it strong and seemly and graceful; to buttress it with stone, to bestow care and thought upon coign and window-ledge and dripstone, to prop the roof on firm and shapely beams, and to cover it with honest stone tiles, each one of which had an individuality of its own. But now he saw that if people built naturally, they ran up flimsy walls of brick, tied them together with iron rods, and put a curved roof of galvanised iron on the top. It was bad enough that it should be built so, but what was worse still was that no one saw or heeded the difference; they thought the new style was more convenient, and the question of beauty never entered their minds at all. They remorselessly pulled down, or patched meanly and sordidly, the old work. And thus he began to feel that modern art was an essentially artificial thing, a luxury existing for a few leisurely people, and no longer based on a deep universal instinct. He thought that art was wounded to death by competition and hurry and vulgarity and materialism, and that it must die down altogether before a sweet natural product could arise from the stump.

Then, too, Morris was not an individualist; he cared, one may think, about things more than people. A friend of his once complained that, if he were to die, Morris would no doubt grieve for him and even miss him, but that it would make no gap in his life, nor interrupt his energy of work. He cared for movements, for classes, for groups of men, more than he cared for persons. And thus the idea came to him, in a mournful year of reflection, that it was not only a mistake, but of the nature of sin, to isolate himself in a little Paradise of art of his own making, and to allow the great noisy, ugly, bewildered world to go on its way. It was a noble grief. The thought of the bare, uncheered, hopeless lives of the poor came to weigh on him like an obsession, and he began to turn over in his mind what he could do to unravel the knotted skein.

"I am rather in a discouraged mood," he wrote on New Year's Day 1880, "and the whole thing seems almost too tangled to see through and too heavy to move." And again:

"I have of late been somewhat melancholy (rather too strong a word, but I don't know another); not so much so as not to enjoy life in a way, but just so much as a man of middle age who has met with rubs (though less than his share of them) may sometimes be allowed to be. When one is just so much subdued one is apt to turn more specially from thinking of one's own affairs to more worthy matters; and my mind is very full of the great change which I hope is slowly coming over the world."

And so he plunged into Socialism. He gave up his poetry and much of his congenial work. He attended meetings and committees; he wrote leaflets and pamphlets; he lavished money; he took to giving lectures and addresses; he exposed himself to misunderstandings and insults. He spoke in rain at street corners to indifferent loungers; he pushed a little cart about the squares selling Socialist literature; he had collisions with the police; he was summoned before magistrates: the "poetic upholsterer," as he was called, became an object of bewildered contempt to friends and foes alike. The work was not congenial to him, but he did it well, developing infinite tolerance and good-humour, and even tactfulness, in his relations with other men. The exposure to the weather, the strain, the neglect of his own physical needs, brought on, undoubtedly, the illness of which he eventually died; and worst of all was the growing shadow of discouragement, which made him gradually aware that the times were not ripe, and that even if the people could seize the power they desired, they could not use it. He became aware that the worker's idea of rising in the social scale was not the idea of gaining security, leisure, independence, and love of honest work, but the hope of migrating to the middle class, and becoming a capitalist on a small scale. That was the last thing that Morris desired. Most of all he felt the charge of inconsistency that was dinned into his ears. It was held ridiculous that a wealthy capitalist and a large employer of labour, living, if not in luxury, at least in considerable stateliness, should profess Socialist ideas without attempting to disencumber himself of his wealth. He wrote in answer to a loving remonstrance:

"You see, my dear, I can't help it. The ideas which have taken hold of me will not let me rest; nor can I see anything else worth thinking of. How can it be otherwise, when to me society, which to many seems an orderly arrangement for allowing decent people to get through their lives creditably and with some pleasure, seems mere cannibalism; nay, worse (for there ought to be hope in that), is grown so corrupt, so steeped in hypocrisy and lies, that one turns from one stratum of it to another with hopeless loathing. . . . Meantime, what a little ruffles me is this, that if I do a little fail in my duty some of my friends will praise me for failing instead of blaming me."

And then at last, after every sordid circumstance of intrigue and squabble and jealousy, one after another of the organisations he joined broke down. Half gratefully and half mournfully he disengaged himself, not because he did not believe in his principles, but because he saw that the difficulties were insuperable. He came back to the old life; he flung himself with renewed ardour into art and craftsmanship. He began to write the beautiful and romantic prose tales, with their enchanting titles, which are, perhaps, his most characteristic work. He learnt by slow degrees that a clean sweep of an evil system cannot be made in a period or a lifetime by an individual, however serious or strenuous he may be; he began to perceive that, if society is to put ideas in practice, the ideas must first be there, clearly defined and widely apprehended; and that it is useless to urge men to a life of which they have no conception and for which they have no desire. He had always held it to be a sacred duty for people to live, if possible, in whatever simplicity, among beautiful things; and it may be said that no one man in one generation has ever effected so much in this direction. He has, indeed, leavened and educated taste; he has destroyed a vile and hypocritical tradition of domestic art; by his writings he has opened a door for countless minds into a remote and fragrant region of unspoilt romance; and, still more than this, he remains an example of one who made a great and triumphant resignation of all that he held most dear, for the sake of doing what he thought to be right. He was not an ascetic, giving up what is half an incumbrance and half a terror; nor was he naturally a melancholy and detached person; but he gave up work which he loved passionately, and a life which he lived in a full-blooded, generous way, that he might try to share his blessings with others, out of a supreme pity for those less richly endowed than himself.

How, then, should not this corner of the world, which he loved so dearly, speak to the spirit with a voice and an accent far louder and more urgent than its own tranquil habit of sunny peace and green-shaded sweetness! "You know my faith," wrote Morris from Kelmscott in a bewildered hour, "and how I feel I have no sort of right to revenge myself for any of my private troubles on the kind earth; and here I feel her kindness very specially, and am bound not to meet it with a long face." Noble and high-hearted words! for he of all men seemed made by nature to enjoy security and beauty and the joys of living, if ever man was so made. His very lack of personal sensitiveness, his unaptness to be moved by the pathetic appeal of the individual, might have been made a shield for his own peace; but he laid that shield down, and bared his breast to the sharp arrows; and in his noble madness to redress the wrongs of the world he was, perhaps, more like one of his great generous knights than he himself ever suspected.

This, then, I think is the reason why this place--a grey grange at the end of a country lane, among water meadows--has so ample a call for the spirit. A place of which Morris wrote, "The scale of everything of the smallest, but so sweet, so unusual even; it was like the background of an innocent fairy-story." Yes, it might have been that! Many of the simplest and quietest of lives had been lived there, no doubt, before Morris came that way. But with him came a realisation of its virtues, a perception that in its smallness and sweetness it yet held imprisoned, like the gem that sits on the smallest finger of a hand, an ocean of light and colour. The two things that lend strength to life are, in the first place, an appreciation of its quality, a perception of its intense and awful significance--the thought that we here hold in our hands, if we could but piece it all together, the elements and portions of a mighty, an overwhelming problem. The fragments of that mighty mystery are sorrow, sin, suffering, joy, hope, life, death. Things of their nature sharply opposed, and yet that are, doubtless, somehow and somewhere, united and composed and reconciled. It is at this sad point that many men and most artists stop short. They see what they love and desire; they emphasise this and rest upon it; and when the surge of suffering buffets them away, they drown, bewildered, struggling for breath, complaining.

But for the true man it is otherwise. He is penetrated with the desire that all should share his joy and be emboldened by it. It casts a cold shadow over the sunshine, it mars the scent of the roses, it wails across the cooing of the doves--the sense that others suffer and toil unhelped; and still more grievous to him is the thought that, were these duller natures set free from the galling yoke, their mirth would be evil and hideous, they would have no inkling of the sweeter and the purer joy. And then, if he be wise, he tries his hardest, in slow and wearied hours, to comfort, to interpret, to explain; in much heaviness and dejection he labours, while all the time, though he knows it not, the sweet ripple of his thoughts spreads across the stagnant pool. He may be flouted, contemned, insulted, but he heeds it not; while all the strands of the great mystery, dark and bright alike, work themselves, delicately and surely, into the picture of his life, and the picture of other lives as well. Larger and richer grows the great design, till it is set in some wide hall or corridor of the House of Life; and the figure of the toil-worn knight, with armour dinted and brow dimmed with dust and sweat, kneeling at the shrine, makes the very silence of the place beautiful; while those that go to and fro rejoice, not in the suffering and weariness, not in the worn face and the thin, sun-browned hands, but in the thought that he loved all things well; that his joy was pure and high, that his clear eyes pierced the dull mist that wreathed cold field and dripping wood, and that, when he sank, outworn and languid after the day's long toil, the jocund trumpets broke out from the high- walled town in a triumphant concert, because he had done worthily, and should now see greater things than these.

[The end]
Arthur C. Benson's essay: Kelmscott And William Morris

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