The Saints Tragedy | Page 5

of Elizabeth, and of all who with similar characters shall have found themselves under similar influences, is a necessity that must be evident to all who know anything of the deeper affections of men. In the idea of a married Romish saint, these miseries should follow logically from the Romish view of human relations. In Elizabeth's case their existence is proved equally logically from the acknowledged facts of her conduct.
I may here observe, that if I have in no case made her allude to the Virgin Mary, and exhibited the sense of infinite duty and loyalty to Christ alone, as the mainspring of all her noblest deeds, it is merely in accordance with Dietrich's biography. The omission of all Mariolatry is remarkable. My business is to copy that omission, as I should in the opposite case have copied the introduction of Virgin-worship into the original tale. The business of those who make Mary, to women especially, the complete substitute for the Saviour--I had almost said, for all Three Persons of the Trinity--is to explain, if they can, her non-appearance in this case.
Lewis, again, I have drawn as I found him, possessed of all virtues but those of action; in knowledge, in moral courage, in spiritual attainment, infinitely inferior to his wife, and depending on her to be taught to pray; giving her higher faculties nothing to rest on in himself, and leaving the noblest offices of a husband to be supplied by a spiritual director. He thus becomes a type of the husbands of the Middle Age, and of the woman-worship of chivalry. Woman- worship, 'the honour due to the weaker vessel,' is indeed of God, and woe to the nation and to the man in whom it dies. But in the Middle Age, this feeling had no religious root, by which it could connect itself rationally, either with actual wedlock or with the noble yearnings of men's spirits, and it therefore could not but die down into a semi-sensual dream of female-saint-worship, or fantastic idolatry of mere physical beauty, leaving the women themselves an easy prey to the intellectual allurements of the more educated and subtle priesthood.
In Conrad's case, again, I have fancied that I discover in the various notices of his life a noble nature warped and blinded by its unnatural exclusions from those family ties through which we first discern or describe God and our relations to Him, and forced to concentrate his whole faculties in the service, not so much of a God of Truth as of a Catholic system. In his character will be found, I hope, some implicit apology for the failings of such truly great men as Dunstan, Becket, and Dominic, and of many more whom, if we hate, we shall never understand, while we shall be but too likely, in our own way, to copy them.
Walter of Varila, a more fictitious character, represents the 'healthy animalism' of the Teutonic mind, with its mixture of deep earnestness and hearty merriment. His dislike of priestly sentimentalities is no anachronism. Even in his day, a noble lay- religion, founded on faith in the divine and universal symbolism of humanity and nature, was gradually arising, and venting itself, from time to time, as I conceive, through many most unsuspected channels, through chivalry, through the minne-singers, through the lay inventors, or rather importers, of pointed architecture, through the German school of painting, through the politics of the free towns, till it attained complete freedom in Luther and his associate reformers.
For my fantastic quotations of Scripture, if they shall be deemed irreverent, I can only say, that they were the fashion of the time, from prince to peasant--that there is scarcely one of them with which I have not actually met in the writings of the period--that those writings abound with misuse of Scripture, far more coarse, arbitrary, and ridiculous, than any which I have dared to insert-- that I had no right to omit so radical a characteristic of the Middle Age.
For the more coarse and homely passages with which the drama is interspersed, I must make the same apology. I put them there because they were there--because the Middle Age was, in the gross, a coarse, barbarous, and profligate age--because it was necessary, in order to bring out fairly the beauty of the central character, to show 'the crooked and perverse generation' in which she was 'a child of God without rebuke.' It was, in fact, the very ferocity and foulness of the time which, by a natural revulsion, called forth at the same time the Apostolic holiness and the Manichean asceticism of the Mediaeval Saints. The world was so bad that, to be Saints at all, they were compelled to go out of the world. It was necessary, moreover, in depicting the poor man's patroness,