On (Essays Collection). Hilaire Belloc

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      ON COMING TO AN END

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      Of all the simple actions in the world! Of all the simple actions in the world!

      One would think it could be done with less effort than the heaving of a sigh. … Well—then, one would be wrong.

      There is no case of Coming to an End but has about it something of an effort and a jerk, as though Nature abhorred it, and though it be true that some achieve a quiet and a perfect end to one thing or another (as, for instance, to Life), yet this achievement is not arrived at save through the utmost toil, and consequent upon the most persevering and exquisite art.

      Now you can say that this may be true of sentient things but not of things inanimate. It is true even of things inanimate.

      Look down some straight railway line for a vanishing point to the perspective: you will never find it. Or try to mark the moment when a small target becomes invisible. There is no gradation; a moment it was there, and you missed it—possibly because the Authorities were not going in for journalism that day, and had not chosen a dead calm with the light full on the canvas. A moment it was there and then, as you steamed on, it was gone. The same is true of a lark in the air. You see it and then you do not see it, you only hear its song. And the same is true of that song: you hear it and then suddenly you do not hear it. It is true of a human voice, which is familiar in your ear, living and inhabiting the rooms of your house. There comes a day when it ceases altogether—and how positive, how definite and hard is that Coming to an End.

      It does not leave an echo behind it, but a sharp edge of emptiness, and very often as one sits beside the fire the memory of that voice suddenly returning gives to the silence about one a personal force, as it were, of obsession and of control. So much happens when even one of all our million voices Comes to an End.

      It is necessary, it is august and it is reasonable that the great story of our lives also should be accomplished and should reach a term: and yet there is something in that hidden duality of ours which makes the prospect of so natural a conclusion terrible, and it is the better judgment of mankind and the mature conclusion of civilisations in their age that there is not only a conclusion here but something of an adventure also. It may be so.

      Those who solace mankind and are the principal benefactors of it, I mean the poets and the musicians, have attempted always to ease the prospect of Coming to an End, whether it were the Coming to an End of the things we love or of that daily habit and conversation which is our life and is the atmosphere wherein we loved them. Indeed this is a clear test whereby you may distinguish the great artists from the mean hucksters and charlatans, that the first approach and reveal what is dreadful with calm and, as it were, with a purpose to use it for good while the vulgar catchpenny fellows must liven up their bad dishes as with a cheap sauce of the horrible, caring nothing, so that their shrieks sell, whether we are the better for them or no.

      The great poets, I say, bring us easily or grandly to the gate: as in that Ode to a Nightingale where it is thought good (in an immortal phrase) to pass painlessly at midnight, or, in the glorious line which Ronsard uses, like a salute with the sword, hailing "la profitable mort."

      The noblest or the most perfect of English elegies leaves, as a sort of savour after the reading of it, no terror at all nor even too much regret, but the landscape of England at evening, when the smoke of the cottages mixes with autumn vapours among the elms; and even that gloomy modern Ode to the West Wind, unfinished and touched with despair, though it will speak of—

      … that outer place forlorn

       Which, like an infinite grey sea, surrounds

       With everlasting calm the land of human sounds;

      yet also returns to the sacramental earth of one's childhood where it says:

      For now the Night completed tells her tale

       Of rest and dissolution: gathering round

       Her mist in such persuasion that the ground

       Of Home consents to falter and grow pale.

       And the stars are put out and the trees fail.

       Nor anything remains but that which drones

       Enormous through the dark. …

      And again, in another place, where it prays that one may at the last be fed with beauty—

      … as the flowers are fed

       That fill their falling-time with generous breath:

       Let me attain a natural end of death,

       And on the mighty breast, as on a bed,

       Lay decently at last a drowsy head,

       Content to lapse in somnolence and fade

       In dreaming once again the dream of all things made.

      The most careful philosophy, the most heavenly music, the best choice of poetic or prosaic phrase prepare men properly for man's perpetual loss of this and of that, and introduce us proudly to the similar and greater business of departure from them all, from whatever of them all remains at the close.

      To be introduced, to be prepared, to be armoured, all these are excellent things, but there is a question no foresight can answer nor any comprehension resolve. It is right to gather upon that question the varied affections or perceptions of varying men.

      I knew a man once in the Tourdenoise, a gloomy man, but very rich, who cared little for the things he knew. This man took no pleasure in his fruitful orchards and his carefully ploughed fields and his harvests. He took pleasure in pine trees; he was a man of groves and of the dark. For him that things should come to an end was but part of an universal rhythm; a part pleasing to the general harmony, and making in the music of the world about him a solemn and, oh, a conclusive chord. This man would study the sky at night and take from it a larger and a larger draught of infinitude, finding in this exercise not a mere satisfaction, but an object and goal for the mind; when he had so wandered for a while under the night he seemed, for the moment, to have reached the object of his being.

      And I knew another man in the Weald who worked with his hands, and was always kind, and knew his trade well; he smiled when he talked of scythes, and he could thatch. He could fish also, and he knew about grafting, and about the seasons of plants, and birds, and the way of seed. He had a face full of weather, he fatigued his body, he watched his land. He would not talk much of mysteries, he would rather hum songs. He loved new friends and old. He had lived with one wife for fifty years, and he had five children, who were a policeman, a schoolmistress, a son at home, and two who were sailors. This man said that what a man did and the life in which he did it was like the farmwork upon a summer's day. He said one works a little and rests, and works a little again, and one drinks, and there is a perpetual talk with those about one. Then (he would say) the shadows lengthen at evening, the wind falls, the birds get back home. And as for ourselves, we are sleepy before it is dark.

      Then also I knew a third man who lived in a town and was clerical and did no work, for he had money of СКАЧАТЬ