The Project Gutenberg eBook of The Cathedral This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Cathedral Author: James Russell Lowell Release date: April 22, 2021 [eBook #65136] Language: English Credits: Charlene Taylor, Chuck Greif and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries) *** START OF THE PROJECT GUTENBERG EBOOK THE CATHEDRAL *** Lowell’s Writings. _POEMS._ Complete. _Diamond Edition._ One volume. _POEMS._ With Portrait. _Blue and Gold Edition._ Two volumes. _POEMS._ With Portrait. _Cabinet Edition._ Two volumes. _POEMS._ With Portrait. 16mo Edition. Two volumes. _FIRESIDE TRAVELS._ One volume. _A FABLE FOR CRITICS._ One volume. _THE BIGLOW PAPERS._ Two Series. Each in one volume. _THE VISION OF SIR LAUNFAL._ One volume. _THE VISION OF SIR LAUNFAL._ Illustrated. _Red-Line Edition._ One elegant small 4to volume. _UNDER THE WILLOWS, AND OTHER POEMS._ One volume. _AMONG MY BOOKS._ A new volume, in press, and nearly ready. FIELDS, OSGOOD, & CO., Publishers. The Cathedral. Οὐδὲν σοφιζώμεσθα τοῖσι δαίμοισιν. Πατρίους παραδοχὰς, ἄς θ’ ὁμήλικας χρόνῳ Κεκτήμεθ’, οὐδεις αὐτὰ καταβαλέι λόγος, Οὐδ’ ἣν δι’ ἄκρων τὸ σορόν εὔρεται φρενῶν. EURIPIDES, _Bacchæ_, 196-199. The Cathedral. BY JAMES RUSSELL LOWELL. [Illustration: colophon] BOSTON: FIELDS, OSGOOD, & CO. 1870. Entered according to Act of Congress, in the year 1869, by FIELDS, OSGOOD, & CO., in the Clerk’s Office of the District Court of the District of Massachusetts. UNIVERSITY PRESS: WELCH, BIGELOW, & CO., CAMBRIDGE. To MR. JAMES T. FIELDS. MY DEAR FIELDS,-- Dr. Johnson’s sturdy self-respect led him to invent the Bookseller as a substitute for the Patron. My relations with you have enabled me to discover how pleasantly the Friend may replace the Bookseller. Let me record my sense of many thoughtful services by associating your name with a poem which owes its appearance in this form to your partiality. Cordially yours, J. R. LOWELL. CAMBRIDGE, Nov. 29, 1869. [Illustration] THE CATHEDRAL. Far through the memory shines a happy day, Cloudless of care, down-shod to every sense, And simply perfect from its own resource, As to a bee the new campanula’s Illuminate seclusion swung in air. Such days are not the prey of setting suns, Nor ever blurred with mist of afterthought; Like words made magical by poets dead, Wherein the music of all meaning is The sense hath garnered or the soul divined, They mingle with our life’s ethereal part, Sweetening and gathering sweetness evermore, By beauty’s franchise disenthralled of time. I can recall, nay, they are present still, Parts of myself, the perfume of my mind, Days that seem farther off than Homer’s now Ere yet the child had loudened to the boy, And I, recluse from playmates, found perforce Companionship in things that not denied Nor granted wholly; as is Nature’s wont, Who, safe in uncontaminate reserve, Lets us mistake our longing for her love, And mocks with various echo of ourselves. These first sweet frauds upon our consciousness, That blend the sensual with its imaged world, These virginal cognitions, gifts of morn, Ere life grow noisy, and slower-footed thought Can overtake the rapture of the sense, To thrust between ourselves and what we feel, Have something in them secretly divine. Vainly the eye, once schooled to serve the brain, With pains deliberate studies to renew The ideal vision: second-thoughts are prose; For beauty’s acme hath a term as brief As the wave’s poise before it break in pearl. Our own breath dims the mirror of the sense, Looking too long and closely: at a flash We snatch the essential grace of meaning out, And that first passion beggars all behind, Heirs of a tamer transport prepossessed. Who, seeing once, has truly seen again The gray vague of unsympathizing sea That dragged his Fancy from her moorings back To shores inhospitable of eldest time, Till blank foreboding of earth-gendered powers, Pitiless seignories in the elements, Omnipotences blind that darkling smite, Misgave him, and repaganized the world? Yet, by some subtler touch of sympathy, These primal apprehensions, dimly stirred, Perplex the eye with pictures from within. This hath made poets dream of lives foregone In worlds fantastical, more fair than ours; So Memory cheats us, glimpsing half-revealed. Even as I write she tries her wonted spell In that continuous redbreast boding rain: The bird I hear sings not from yonder elm; But the flown ecstasy my childhood heard Is vocal in my mind, renewed by him, Haply made sweeter by the accumulate thrill That threads my undivided life and steals A pathos from the years and graves between. I know not how it is with other men, Whom I but guess, deciphering myself; For me, once felt is so felt nevermore. The fleeting relish at sensation’s brim Had in it the best ferment of the wine. One spring I knew as never any since: All night the surges of the warm southwest Boomed intermittent through the shuddering elms, And brought a morning from the Gulf adrift, Omnipotent with sunshine, whose quick charm Startled with crocuses the sullen turf And wiled the bluebird to his whiff of song: One summer hour abides, what time I perched, Dappled with noonday, under simmering leaves, And pulled the pulpy oxhearts, while aloof An oriole clattered and the robins shrilled, Denouncing me an alien and a thief: One morn of autumn lords it o’er the rest, When in the lane I watched the ash-leaves fall, Balancing softly earthward without wind, Or twirling with directer impulse down On those fallen yesterday, now barbed with frost, While I grew pensive with the pensive year: And once I learned how marvellous winter was, When past the fence-rails, downy-gray with rime, I creaked adventurous o’er the spangled crust That made familiar fields seem far and strange As those stark wastes that whiten endlessly In ghastly solitude about the pole, And gleam relentless to the unsetting sun: Instant the candid chambers of my brain Were painted with these sovran images; And later visions seem but copies pale From those unfading frescos of the past, Which I, young savage, in my age of flint, Gazed at, and dimly felt a power in me Parted from Nature by the joy in her That doubtfully revealed me to myself. Thenceforward I must stand outside the gate; And paradise was paradise the more, Known once and barred against satiety. What we call Nature, all outside ourselves, Is but our own conceit of what we see, Our own reaction upon what we feel; The world’s a woman to our shifting mood, Feeling with us, or making due pretence; And therefore we the more persuade ourselves To make all things our thought’s confederates, Conniving with us in whate’er we dream. So when our Fancy seeks analogies, Though she have hidden what she after finds, She loves to cheat herself with feigned surprise. I find my own complexion everywhere: No rose, I doubt, was ever, like the first, A marvel to the bush it dawned upon, The rapture of its life made visible, The mystery of its yearning realized, As the first babe to the first woman born; No falcon ever felt delight of wings As when, an eyas, from the stolid cliff Loosing himself, he followed his high heart To swim on sunshine, masterless as wind; And I believe the brown earth takes delight In the new snow-drop looking back at her, To think that by some vernal alchemy It could transmute her darkness into pearl; What is the buxom peony after that, With its coarse constancy of hoyden blush? What the full summer to that wonder new? But, if in nothing else, in us there is A sense fastidious hardly reconciled To the poor makeshifts of life’s scenery, Where the same slide must double all its parts, Shoved in for Tarsus and hitched back for Tyre. I blame not in the soul this daintiness, Rasher of surfeit than a humming-bird, In things indifferent by sense purveyed; It argues her an immortality And dateless incomes of experience, This unthrift housekeeping that will not brook A dish warmed-over at the feast of life, And finds Twice stale, served with whatever sauce. Nor matters much how it may go with me Who dwell in Grub Street and am proud to drudge Where men, my betters, wet their crust with tears: Use can make sweet the peach’s shady side, That only by reflection tastes of sun. But she, my Princess, who will sometimes deign My garret to illumine till the walls, Narrow and dingy, scrawled with hackneyed thought (Poor Richard slowly elbowing Plato out), Dilate and drape themselves with tapestries Nausikaa might have stooped o’er, while, between, Mirrors, effaced in their own clearness, send Her only image on through deepening deeps With endless repercussion of delight,-- Bringer of life, witching each sense to soul, That sometimes almost gives me to believe I might have been a poet, gives at least A brain desaxonized, an ear that makes Music where none is, and a keener pang Of exquisite surmise outleaping thought,-- Her will I pamper in her luxury: No crumpled rose-leaf of too careless choice Shall bring a northern nightmare to her dreams, Vexing with sense of exile; hers shall be The invitiate firstlings of experience, Vibrations felt but once and felt lifelong: O, more than half-way turn that Grecian front Upon me, while with self-rebuke I spell, On the plain fillet that confines thy hair In conscious bounds of seeming unconstraint, The _Naught in overplus_, thy race’s badge! One feast for her I secretly designed In that Old World so strangely beautiful To us the disinherited of eld,-- A day at Chartres, with no soul beside To roil with pedant prate my joy serene And make the minster shy of confidence. I went, and, with the Saxon’s pious care, First ordered dinner at the pea-green inn, The flies and I its only customers, Till by and by there came two Englishmen, Who made me feel, in their engaging way, I was a poacher on their self-preserve, Intent constructively on lese-anglicism. To them (in those old razor-ridden days) My beard translated me to hostile French; So they, desiring guidance in the town, Half condescended to my baser sphere, And, clubbing in one mess their lack of phrase, Set their best man to grapple with the Gaul. “Esker vous ate a nabitang?” he asked; “I never ate one; are they good?” asked I; Whereat they stared, then laughed, and we were friends, The seas, the wars, the centuries interposed, Abolished in the truce of common speech And mutual comfort of the mother-tongue. Like escaped convicts of Propriety, They furtively partook the joys of men, Glancing behind when buzzed some louder fly. Eluding these, I loitered through the town, With hope to take my minster unawares In its grave solitude of memory. A pretty burgh, and such as Fancy loves For bygone grandeurs, faintly rumorous now Upon the mind’s horizon, as of storm Brooding its dreamy thunders far aloof, That mingle with our mood, but not disturb. Its once grim bulwarks, tamed to lovers’ walks, Look down unwatchful on the sliding Eure, Whose listless leisure suits the quiet place, Lisping among his shallows homelike sounds At Concord and by Bankside heard before. Chance led me to a public pleasure-ground, Where I grew kindly with the merry groups, And blessed the Frenchman for his simple art Of being domestic in the light of day. His language has no word, we growl, for Home; But he can find a fireside in the sun, Play with his child, make love, and shriek his mind, By throngs of strangers undisprivacied. He makes his life a public gallery, Nor feels himself till what he feels comes back In manifold reflection from without; While we, each pore alert with consciousness, Hide our best selves as we had stolen them, And each by-stander a detective were, Keen-eyed for every chink of undisguise. So, musing o’er the problem which was best,-- A life wide-windowed, shining all abroad, Or curtains drawn to shield from sight profane The rites we pay to the mysterious I,-- With outward senses furloughed and head bowed I followed some fine instinct in my feet, Till, to unbend me from the loom of thought, Looking up suddenly, I found mine eyes Confronted with the minster’s vast repose. Silent and gray as forest-leaguered cliff Left inland by the ocean’s slow retreat, That hears afar the breeze-borne rote, and longs, Remembering shocks of surf that clomb and fell, Spume-sliding down the baffled decuman, It rose before me, patiently remote From the great tides of life it breasted once, Hearing the noise of men as in a dream. I stood before the triple northern port, Where dedicated shapes of saints and kings, Stern faces bleared with immemorial watch, Looked down benignly grave and seemed to say, _Ye come and go incessant; we remain_ _Safe in the hallowed quiets of the past;_ _Be reverent, ye who flit and are forgot,_ _Of faith so nobly realized as this._ I seem to have heard it said by learned folk Who drench you with æsthetics till you feel As if all beauty were a ghastly bore, The faucet to let loose a wash of words, That Gothic is not Grecian, therefore worse; But, being convinced by much experiment How little inventiveness there is in man, Grave copier of copies, I give thanks For a new relish, careless to inquire My pleasure’s pedigree, if so it please, Nobly, I mean, nor renegade to art. The Grecian gluts me with its perfectness, Unanswerable as Euclid, self-contained, The one thing finished in this hasty world, Forever finished, though the barbarous pit, Fanatical on hearsay, stamp and shout As if a miracle could be encored. But ah! this other, this that never ends, Still climbing, luring fancy still to climb, As full of morals half-divined as life, Graceful, grotesque, with ever new surprise Of hazardous caprices sure to please, Heavy as nightmare, airy-light as fern, Imagination’s very self in stone! With one long sigh of infinite release From pedantries past, present, or to come, I looked, and owned myself a happy Goth. Your blood is mine, ye architects of dream, Builders of aspiration incomplete, So more consummate, souls self-confident, Who felt your own thought worthy of record In monumental pomp! No Grecian drop Rebukes these veins that leap with kindred thrill, After long exile, to the mother-tongue. Ovid in Pontus, puling for his Rome Of men invirile and disnatured dames That poison sucked from the Attic bloom decayed, Shrank with a shudder from the blue-eyed race Whose force rough-handed should renew the world, And from the dregs of Romulus express Such wine as Dante poured, or he who blew Roland’s vain blast, or sang the Campeador In verse that clanks like armor in the charge,-- Homeric juice, if brimmed in Odin’s horn. And they could build, if not the columned fane That from the height gleamed seaward many-hued, Something more friendly with their ruder skies: The gray spire, molten now in driving mist, Now lulled with the incommunicable blue; The carvings touched to meanings new with snow, Or commented with fleeting grace of shade; The statues, motley as man’s memory, Partial as that, so mixed of true and false, History and legend meeting with a kiss Across this bound-mark where their realms confine; The painted windows, frecking gloom with glow, Dusking the sunshine which they seem to cheer, Meet symbol of the senses and the soul; And the whole pile, grim with the Northman’s thought Of life and death, and doom, life’s equal fee,-- These were before me: and I gazed abashed, Child of an age that lectures, not creates, Plastering our swallow-nests on the awful Past, And twittering round the work of larger men, As we had builded what we but deface. Far up the great bells wallowed in delight, Tossing their clangors o’er the heedless town, To call the worshippers who never came, Or women mostly, in loath twos and threes. I entered, reverent of whatever shrine Guards piety and solace for my kind Or gives the soul a moment’s truce of God, And shared decorous in the ancient rite My sterner fathers held idolatrous. The service over, I was tranced in thought: Solemn the deepening vaults, and most to me, Fresh from the fragile realm of deal and paint, Or brick mock-pious with a marble front; Solemn the lift of high-embowered roof, The clustered stems that spread in boughs disleaved, Through which the organ blew a dream of storm,-- Though not more potent to sublime with awe And shut the heart up in tranquillity, Than aisles to me familiar that o’erarch The conscious silences of brooding woods, Centurial shadows, cloisters of the elk: Yet here was sense of undefined regret, Irreparable loss, uncertain what: Was all this grandeur but anachronism,-- A shell divorced of its informing life, Where the priest housed him like a hermit-crab, An alien to that faith of elder days That gathered round it this fair shape of stone? Is old Religion but a spectre now, Haunting the solitude of darkened minds, Mocked out of memory by the sceptic day? Is there no corner safe from peeping Doubt, Since Gutenberg made thought cosmopolite And stretched electric threads from mind to mind? Nay, did Faith build this wonder? or did Fear, That makes a fetish and misnames it God (Blockish or metaphysic, matters not), Contrive this coop to shut its tyrant in, Appeased with playthings, that he might not harm? I turned and saw a beldame on her knees; With eyes astray, she told mechanic beads Before some shrine of saintly womanhood, Bribed intercessor with the far-off Judge: Such my first thought, by kindlier soon rebuked, Pleading for whatsoever touches life With upward impulse: be He nowhere else, God is in all that liberates and lifts, In all that humbles, sweetens, and consoles: Blessëd the natures shored on every side With landmarks of hereditary thought! Thrice happy they that wander not lifelong Beyond near succor of the household faith, The guarded fold that shelters, not confines! Their steps find patience in familiar paths, Printed with hope by loved feet gone before Of parent, child, or lover, glorified By simple magic of dividing Time. My lids were moistened as the woman knelt, And--was it will, or some vibration faint Of sacred Nature, deeper than the will?-- My heart occultly felt itself in hers, Through mutual intercession gently leagued. Or was it not mere sympathy of brain? A sweetness intellectually conceived In simpler creeds to me impossible? A juggle of that pity for ourselves In others, which puts on such pretty masks And snares self-love with bait of charity? Something of all it might be, or of none: Yet for a moment I was snatched away And had the evidence of things not seen; For one rapt moment; then it all came back, This age that blots out life with question-marks, This nineteenth century with its knife and glass That make thought physical, and thrust far off The Heaven, so neighborly with man of old, To voids sparse-sown with alienated stars. ’Tis irrecoverable, that ancient faith, Homely and wholesome, suited to the time, With rod or candy for child-minded men: No theologic tube, with lens on lens Of syllogism transparent, brings it near,-- At best resolving some new nebula, Or blurring some fixed-star of hope to mist. Science was Faith once; Faith were Science now, Would she but lay her bow and arrows by And arm her with the weapons of the time. Nothing that keeps thought out is safe from thought, For there’s no virgin-fort but self-respect, And Truth defensive hath lost hold on God. Shall we treat Him as if He were a child That knew not His own purpose? nor dare trust The Rock of Ages to their chemic tests, Lest some day the all-sustaining base divine Should fail from under us, dissolved in gas? The armëd eye that with a glance discerns In a dry blood-speck between ox and man, Stares helpless at this miracle called life, This shaping potency behind the egg, This circulation swift of deity, Where suns and systems inconspicuous float As the poor blood-disks in our mortal veins. Each age must worship its own thought of God, More or less earthy, clarifying still With subsidence continuous of the dregs; Nor saint nor sage could fix immutably The fluent image of the unstable Best, Still changing in their very hands that wrought: To-day’s eternal truth To-morrow proved Frail as frost-landscapes on a window-pane. Meanwhile Thou smiledst, inaccessible, At Thought’s own substance made a cage for Thought, And Truth locked fast with her own master-key; Nor didst Thou reck what image man might make Of his own shadow on the flowing world; The climbing instinct was enough for Thee. Or wast Thou, then, an ebbing tide that left Strewn with dead miracle those eldest shores, For men to dry, and dryly lecture on, Thyself thenceforth incapable of flood? Idle who hopes with prophets to be snatched By virtue in their mantles left below; Shall the soul live on other men’s report, Herself a pleasing fable of herself? Man cannot be God’s outlaw if he would, Nor so abscond him in the caves of sense But Nature still shall search some crevice out With messages of splendor from that Source Which, dive he, soar he, baffles still and lures. This life were brutish did we not sometimes Have intimation clear of wider scope, Hints of occasion infinite, to keep The soul alert with noble discontent And onward yearnings of unstilled desire; Fruitless, except we now and then divined A mystery of Purpose, gleaming through The secular confusions of the world, Whose will we darkly accomplish, doing ours. No man can think nor in himself perceive, Sometimes at waking, in the street sometimes, Or on the hillside, always unforewarned, A grace of being, finer than himself, That beckons and is gone,--a larger life Upon his own impinging, with swift glimpse Of spacious circles luminous with mind, To which the ethereal substance of his own Seems but gross cloud to make that visible, Touched to a sudden glory round the edge. Who that hath known these visitations fleet Would strive to make them trite and ritual? I, that still pray at morning and at eve, Loving those roots that feed us from the past, And prizing more than Plato things I learned At that best academe, a mother’s knee, Thrice in my life perhaps have truly prayed, Thrice, stirred below my conscious self, have felt That perfect disenthralment which is God; Nor know I which to hold worst enemy,-- Him who on speculation’s windy waste Would turn me loose, stript of the raiment warm By Faith contrived against our nakedness, Or him who, cruel-kind, would fain obscure, With painted saints and paraphrase of God, The soul’s east-window of divine surprise. Where others worship I but look and long; For, though not recreant to my fathers’ faith, Its forms to me are weariness, and most That drony vacuum of compulsory prayer, Still pumping phrases for the Ineffable, Though all the valves of memory gasp and wheeze. Words that have drawn transcendent meanings up From the best passion of all bygone time, Steeped through with tears of triumph and remorse, Sweet with all sainthood, cleansed in martyr-fires, Can they, so consecrate and so inspired, By repetition wane to vexing wind? Alas! we cannot draw habitual breath In the thin air of life’s supremer heights, We cannot make each meal a sacrament, Nor with our tailors be disbodied souls,-- We men, too conscious of earth’s comedy, Who see two sides, with our posed selves debate, And only for great stakes can be sublime! Let us be thankful when, as I do here, We can read Bethel on a pile of stones, And, seeing where God _has_ been, trust in Him. Brave Peter Fischer there in Nuremberg, Moulding Saint Sebald’s miracles in bronze, Put saint and stander-by in that quaint garb Familiar to him in his daily walk, Not doubting God could grant a miracle Then and in Nuremberg, if so He would; But never artist for three hundred years Hath dared the contradiction ludicrous Of supernatural in modern clothes. Perhaps the deeper faith that is to come Will see God rather in the strenuous doubt, Than in the creed held as an infant’s hand Holds purposeless whatso is placed therein. Say it is drift, not progress, none the less, With the old sextant of the fathers’ creed, We shape our courses by new-risen stars, And, still lip-loyal to what once was truth, Smuggle new meanings under ancient names, Unconscious perverts of the Jesuit, Time. Change is the mask that all Continuance wears To keep us youngsters harmlessly amused; Meanwhile some ailing or more watchful child, Sitting apart, sees the old eyes gleam out, Stern, and yet soft with humorous pity too. Whilere, men burnt men for a doubtful point, As if the mind were quenchable with fire, And Faith danced round them with her war-paint on, Devoutly savage as an Iroquois; Now Calvin and Servetus at one board Snuff in grave sympathy a milder roast, And o’er their claret settle Comte unread. Fagot and stake were desperately sincere: Our cooler martyrdoms are done in types; And flames that shine in controversial eyes Burn out no brains but his who kindles them. This is no age to get cathedrals built: Did God, then, wait for one in Bethlehem? Worst is not yet: lo, where his coming looms, Of Earth’s anarchic children latest born, Democracy, a Titan who hath learned To laugh at Jove’s old-fashioned thunderbolts,-- Could he not also forge them, if he would? He, better skilled, with solvents merciless, Loosened in air and borne on every wind, Saps unperceived: the calm Olympian height Of ancient order feels its bases yield, And pale gods glance for help to gods as pale. What will be left of good or worshipful, Of spiritual secrets, mysteries, Of fair religion’s guarded heritage, Heirlooms of soul, passed downward unprofaned From eldest Ind? This Western giant coarse, Scorning refinements which he lacks himself, Loves not nor heeds the ancestral hierarchies, Each rank dependent on the next above In orderly gradation fixed as fate. King by mere manhood, nor allowing aught Of holier unction than the sweat of toil; In his own strength sufficient; called to solve, On the rough edges of society, Problems long sacred to the choicer few, And improvise what elsewhere men receive As gifts of deity; tough foundling reared Where every man’s his own Melchisedek, How make him reverent of a King of kings? Or Judge self-made, executor of laws By him not first discussed and voted on? For him no tree of knowledge is forbid, Or sweeter if forbid. How save the ark, Or holy of holies, unprofaned a day From his unscrupulous curiosity That handles everything as if to buy, Tossing aside what fabrics delicate Suit not the rough-and-tumble of his ways? What hope for those fine-nerved humanities That made earth gracious once with gentler arts, Now the rude hands have caught the trick of thought And claim an equal suffrage with the brain? The born disciple of an elder time, (To me sufficient, friendlier than the new,) Who in my blood feel motions of the Past, I thank benignant nature most for this,-- A force of sympathy, or call it lack Of character firm-planted, loosing me From the pent chamber of habitual self To dwell enlarged in alien modes of thought, Haply distasteful, wholesomer for that, And through imagination to possess, As they were mine, the lives of other men. This growth original of virgin soil, By fascination felt in opposites, Pleases and shocks, entices and perturbs. In this brown-fisted rough, this shirt-sleeved Cid, This backwoods Charlemagne of empires new, Whose blundering heel instinctively finds out The goutier foot of speechless dignities, Who, meeting Cæsar’s self, would slap his back, Call him “Old Horse,” and challenge to a drink, My lungs draw braver air, my breast dilates With ampler manhood, and I front both worlds, Of sense and spirit, as my natural fiefs, To shape and then reshape them as I will. It was the first man’s charter; why not mine? How forfeit? when deposed in other hands? Thou shudder’st, Ovid? Dost in him forbode A new avatar of the large-limbed Goth, To break, or seem to break, tradition’s clew, And chase to dreamland back thy gods dethroned? I think man’s soul dwells nearer to the east, Nearer to morning’s fountains than the sun; Herself the source whence all tradition sprang, Herself at once both labyrinth and clew. The miracle fades out of history, But faith and wonder and the primal earth Are born into the world with every child. Shall this self-maker with the prying eyes, This creature disenchanted of respect By the New World’s new fiend, Publicity, Whose testing thumb leaves everywhere its smutch, Not one day feel within himself the need Of loyalty to better than himself, That shall ennoble him with the upward look? Shall he not catch the Voice that wanders earth, With spiritual summons, dreamed or heard, As sometimes, just ere sleep seals up the sense, We hear our Mother call from deeps of time, And, waking, find it vision,--none the less The benediction bides, old skies return, And that unreal thing, pre-eminent, Makes air and dream of all we see and feel? Shall he divine no strength unmade of votes, Inward, impregnable, found soon as sought, Not cognizable of sense, o’er sense supreme? His holy places may not be of stone, Nor made with hands, yet fairer far than aught By artist feigned or pious ardor reared, Fit altars for who guards inviolate God’s chosen seat, the sacred form of man. Doubtless his church will be no hospital For superannuate forms and mumping shams, No parlor where men issue policies Of life-assurance on the Eternal Mind, Nor his religion but an ambulance To fetch life’s wounded and malingerers in, Scorned by the strong; yet he, unconscious heir To the influence sweet of Athens and of Rome, And old Judæa’s gift of secret fire, Spite of himself shall surely learn to know And worship some ideal of himself, Some divine thing, large-hearted, brotherly, Not nice in trifles, a soft creditor, Pleased with his world, and hating only cant. And, if his Church be doubtful, it is sure That, in a world, made for whatever else, Not made for mere enjoyment,--in a world Of toil but half-requited, or, at best. Paid in some futile currency of breath,-- A world of incompleteness, sorrow swift And consolation laggard, whatsoe’er The form of building or the creed professed, The Cross, bold type of shame to homage turned, Of an unfinished life that sways the world, Shall tower as sovereign emblem over all. The kobold Thought moves with us when we shift Our dwelling to escape him; perched aloft On the first load of household-stuff he went; For, where the mind goes, goes old furniture. I, who to Chartres came to feed my eye And give to Fancy one clear holiday, Scarce saw the minster for the thoughts it stirred Buzzing o’er past and future with vain quest. Here once there stood a homely wooden church, Which slow devotion nobly changed for this That echoes vaguely to my modern steps. By suffrage universal it was built, As practised then, for all the country came From far as Rouen, to give votes for God, Each vote a block of stone securely laid Obedient to the master’s deep-mused plan. Will what our ballots rear, responsible To no grave forethought, stand so long as this,-- Delight like this the eye of after days Brightening with pride that here, at least, were men Who meant and did the noblest thing they knew? Can our religion cope with deeds like this? We, too, build Gothic contract-shams, because Our deacons have discovered that it pays, And pews sell better under vaulted roofs Of plaster painted like an Indian squaw. Shall not that Western Goth, of whom we spoke, So fiercely practical, so keen of eye, Find out, some day, that nothing pays but God, Served whether on the smoke-shut battle-field, In work obscure done honestly, or vote For truth unpopular, or faith maintained To ruinous convictions, or good deeds Wrought for good’s sake, mindless of heaven or hell? I know not; but, sustained by sure belief That man still rises level with the height Of noblest opportunities, or makes Such, if the time supply not, I can wait. I gaze round on the windows, pride of France, Each the bright gift of some mechanic guild Who loved their city and thought gold well spent To make her beautiful with piety; I pause, transfigured by some stripe of bloom, And my mind throngs with shining auguries, Circle on circle, bright as seraphim, With golden trumpets silent, that await The signal to blow news of good to men. Then the revulsion came that always comes After these dizzy elations of the mind: I walked forth saddened; for all thought is sad, And leaves a bitterish savor in the brain,-- Tonic, it may be, not delectable,-- And turned, reluctant, for a parting look At those old weather-pitted images Of bygone struggle, now so sternly calm. About their shoulders sparrows had built nests, And fluttered, chirping, from gray perch to perch, Now on a mitre poising, now a crown, Irreverently happy. While I thought How confident they were, what careless hearts Flew on those lightsome wings and shared the sun, A larger shadow crossed; and, looking up, I saw where, nesting in the hoary towers, The sparrow-hawk slid forth on noiseless air, With sidelong head that watched the joy below, Grim Norman baron o’er this clan of Kelts. Enduring Nature, force conservative, Indifferent to our noisy whims! Men prate Of all heads to an equal grade cashiered On level with the dullest, and expect (Sick of no worse distemper than themselves) A wondrous cure-all in equality; They reason that To-morrow must be wise Because To-day was not, nor Yesterday, As if good days were shapen of themselves, Not of the very lifeblood of men’s souls; Meanwhile, long-suffering, imperturbable, Thou quietly complet’st thy syllogism, And from the premise sparrow here below Draw’st sure conclusion of the hawk above, Pleased with the soft-billed songster, pleased no less With the fierce beak of natures aquiline. Thou beautiful Old Time, now hid away In the Past’s valley of Avilion, Haply, like Arthur, till thy wound be healed, Then to reclaim the sword and crown again! Thrice beautiful to us; perchance less fair To who possessed thee, as a mountain seems To dwellers round its bases but a heap Of barren obstacle that lairs the storm And the avalanche’s silent bolt holds back Leashed with a hair,--meanwhile some far-off clown, Hereditary delver of the plain, Sees it an unmoved vision of repose, Nest of the morning, and conjectures there The dance of streams to idle shepherds’ pipes, And fairer habitations softly hung On breezy slopes, or hid in valleys cool, For happier men. No mortal ever dreams That the scant isthmus he encamps upon Between two oceans, one, the Stormy, passed, And one, the Peaceful, yet to venture on, Has been that future whereto prophets yearned For the fulfilment of Earth’s cheated hope, Shall be that past which nerveless poets moan As the lost opportunity of song. O Power, more near my life than life itself (Or what seems life to us in sense immured), Even as the roots, shut in the darksome earth, Share in the tree-top’s joyance, and conceive Of sunshine and wide air and wingëd things By sympathy of nature, so do I Have evidence of Thee so far above, Yet in and of me! Rather Thou the root Invisibly sustaining, hid in light, Not darkness, or in darkness made by us. If sometimes I must hear good men debate Of other witness of Thyself than Thou, As if there needed any help of ours To nurse Thy flickering life, that else must cease, Blown out, as ’t were a candle, by men’s breath, My soul shall not be taken in their snare, To change her inward surety for their doubt Muffled from sight in formal robes of proof: While she can only feel herself through Thee, I fear not Thy withdrawal; more I fear, Seeing, to know Thee not, hoodwinked with dreams Of signs and wonders, while, unnoticed, Thou, Walking Thy garden still, commun’st with men, Missed in the commonplace of miracle. THE END. *** END OF THE PROJECT GUTENBERG EBOOK THE CATHEDRAL *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.