Wisdom, Wit, and Pathos of Ouida | Page 5

that has been burned with fire, and left standing, pitiful and terrible, in mockery of a lost religion, and of a forsaken god.
* * *
Men and women, losing the thing they love, lose much, but the artist loses far more; for him are slaughtered all the children of his dreams, and from him are driven all the fair companions of his solitude.
* * *
Love art alone, forsaking all other loves, and she will make you happy, with a happiness that shall defy the seasons and the sorrows of time, the pains of the vulgar and the changes of fortune, and be with you day and night, a light that is never dim. But mingle with it any human love--and art will look for ever at you with the eyes of Christ when he looked at the faithless follower as the cock crew.
* * *
And, indeed, there are always the poor: the vast throngs born century after century, only to know the pangs of life and of death, and nothing more. Methinks that human life is, after all, but like a human body, with a fair and smiling face, but all the limbs ulcered and cramped and racked with pain. No surgery of statecraft has ever known how to keep the fair head erect, yet give the trunk and the limbs health.
* * *
For in a great love there is a self-sustaining strength by which it lives, deprived of everything, as there are plants that live upon our barren ruins burned by the sun, and parched and shelterless, yet ever lifting green leaves to the light.
* * *
And indeed after all there is nothing more cruel than the impotence of genius to hold and keep those commonest joys and mere natural affections which dullards and worse than dullards rejoice in at their pleasure; the common human things, whose loss makes the great possessions of its imperial powers all valueless and vain as harps unstrung, or as lutes that are broken.
* * *
"This world of our own immediate day is weak and weary, because it is no longer young; yet it possesses one noble attribute--it has an acute and almost universal sympathy, which does indeed often degenerate into a false and illogical sentiment, yet serves to redeem an age of egotism. We have escaped both the gem-like hardness of the Pagan, and the narrowing selfishness of the Christian and the Israelite. We are sick for the woe of creation, and we wonder why such woe is ours, and why it is entailed on the innocent dumb beasts, that perish in millions for us, unpitied, day and night. Rome had no altar to Pity: it is the one God that we own. When that pity in us for all things is perfected, perhaps we shall have reached a religion of sympathy that will be purer than any religion the world has yet seen, and more productive. 'Save my country!' cried the Pagan to his deities. 'Save my soul!' cries the Christian at his altars. We, who are without a god, murmur to the great unknown forces of Nature: 'Let me save others some little portion of this pain entailed on all simple and guileless things, that are forced to live, without any fault of their own at their birth, or any will of their own in their begetting.'"
* * *
How should we have great Art in our day? We have no faith. Belief of some sort is the lifeblood of Art. When Athene and Zeus ceased to excite any veneration in the minds of men, sculpture and architecture both lost their greatness. When the Madonna and her son lost that mystery and divinity, which for the simple minds of the early painters they possessed, the soul went out of canvas and of wood. When we carve a Venus now, she is but a light woman; when we paint a Jesus now, it is but a little suckling, or a sorrowful prisoner. We want a great inspiration. We ought to find it in the things that are really beautiful, but we are not sure enough, perhaps, what is so. What does dominate us is a passion for nature; for the sea, for the sky, for the mountain, for the forest, for the evening storm, for the break of day. Perhaps when we are thoroughly steeped in this we shall reach greatness once more. But the artificiality of all modern life is against it; so is its cynicism. Sadness and sarcasm make a great Lucretius as a great Juvenal, and scorn makes a strong Aristophanes; but they do not make a Praxiteles and an Apelles; they do not even make a Raffaelle, or a Flaxman.
Art, if it be anything, is the perpetual uplifting of what is beautiful in the sight of the multitudes--the perpetual adoration