Revelations of Divine Love. Julian of Norwich

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СКАЧАТЬ higher and higher far above sight, in skies that as yet she is not called to enter: “abysses” there are, below and above, like Angela di Foligno’s “double abyss”; but here is no desert region like that where Angela seems as “an eagle descending”{15} from heights of unbreathable air, baffled and blinded in its assault on the Sun, proclaiming the Light Unspeakable in anguished, hoarse, inarticulate cries; here is a mountain-path between the abysses and the sound as of a chorus from pilgrims singing:

      “Praise to the Holiest in the height

      And in the depth be praise”;—

      ‘All Is Well: All Is Well: All Shall Be Well.’

      Moreover, Julian while guided by Reason is led by the “Mind” of her soul—pioneer of the path through the wood of darkness though Reason is ready to disentangle the lower hindrances of the way; and where her instructed soul “finds rest,” those things that are hid from the wisdom and prudence of Reason only are to its simplicity of obedience revealed. Even as her Way is Christ-Jesus, and her walk by “longing and desire” is of faith and effort, so the End and the Rest that she seeks is the fulness of God, in measure as the soul can enter upon His fulness here and in that heavenly “oneing” with Him which shall be by grace the “fulfilling” and “overpassing” of “Mankind.” “The Mid-Person willed to be Ground and Head of this fair Kind,” “out of Whom we ben al cum, in Whom we be all inclosid, into Whom we shall all wyndyn, in Him fynding our full Hevyn in everlestand joye” (liii.).{16} The soul that participates in God cannot be lost in God, the soul that wends into oneness with God finds there at last its Self. Words of the Spirit-nature fail to describe to man, as he is, this fulness of personal life, and Julian falls back in one effort, daring in its infantine concreteness of language, on acts of all the five senses to symbolise the perfection of spiritual life that is in oneness with God (xliii.).

      It may be noted that in these “Revelations” there is absolutely no regarding of Christ as the “Bridegroom” of the individual soul: once or twice Julian in passing uses the symbol of “the Spouse,” “the Fair Maiden,” “His loved Wife,” but this she applies only to the Church. In her usual speech Christ when unnamed is our “Good” or our “Courteous” Lord, or sometimes simply “God,” and when she seeks to express pictorially His union with men and His work for men, then the soul is the Child and Christ is the Mother. In this symbolic language the love of the Christian soul is the love of the Child to its Mother and to each of the other children.

      Julian’s Mystical views seem in parts to be cognate with those of earlier and later systems based on Plato’s philosophy, and especially perhaps on his doctrine of Love as reaching through the beauties of created things higher and higher to union with the Absolute Beauty above, Which is God—schemes of thought developed before her and in her time by Plotinus, Clement, Augustine, Dionysius “the Areopagite,” John the Scot, Eckhart, the Victorines,{17} Ruysbroeck, and others. One does not know what her reading may have been, or with what people she may have conversed. Possibly the learned Austin Friars that were settled close to St Julian’s in Conisford may have lent her books by some of these writers, or she may have been influenced through talks with a Confessor, or with some of the Flemish weavers of Norwich, with whom Mystical views were not uncommon. Yet the Mysticism of the “Revelations” is peculiarly of the English type. Less exuberant in language than Richard Rolle, the Hermit of Hampole, Julian resembles him a little in her blending of practical sense with devotional fervour; but the writer to whom she seems, at any rate in some of her phrases, most akin is Walter Hilton, her contemporary.{18} Hilton, however, is very rich in quotations from the Bible, while Julian’s only direct quotations from any book—beyond her reference to the legend of St Dionysius—are one that belongs to Christ: “I thirst” (xvii.), and two that belong to the soul: “Lord, save me: I perish!” “Nothing shal depart me from the charite of Criste” (xv.). (And indeed these three are a fit embodiment of the Christian Faith as seen in her “Revelations.”) But Julian, while perhaps more speculative than either of these typical English Mystics, is thoroughly a woman. Lacking their literary method of procedure, she has a high and tender beauty of thought and a delicate bloom of expression that are her own rare gifts—the beauty of the hills against skies in summer evenings, of an orchard in mornings of April. Again and again she stirs in the reader a kind of surprised gladness of the simple perfection wherewith she utters, by few and adequate words, a thought that in its quietness convinces of truth, or an emotion deep in life. Of a little child it has been said: “He thought great thoughts simply,” and Julian’s deepness of insight and simplicity of speech are like the Child’s.{19} “For ere that He made us He loved us, and when we were made we loved Him” (liii.). “I love thee, and thou lovest me, and our love shall not be disparted in two” (xxxii.). “Thou art my Heaven.” “I had liefer have been in that pain till Doomsday than have come to Heaven otherwise than by Him.” “Human is the vehemence,” says a writer on Julian’s “Revelations,” of that reiterated exclusion of all other paths to joy. ‘Me liked,’ she says, ‘none other heaven.’ Once again she touches the same octave, condensing in a single phrase which has seldom been transcended in its brief expression of the possession that leaves the infinity of love’s desire still unsatiated: ‘I saw Him and sought Him, I had Him, and I wanted Him.’ Fletcher’s tenderness, Ford’s passion lose colour placed side by side with the utterances of this worn recluse whose hands are empty of every treasure.”{20} Sometimes with her subject her language assumes a majestic solemnity: “The pillars of Heaven shall tremble and quake” (lxxv.); sometimes it seems to march to its goal in an ascent of triumphal measure as with beating of drums: “The body was in the grave till Easter-morrow and from that time He lay nevermore. For then was rightfully ended”… (close of Chap. li.). Generally, perhaps, the style in its movement recalls the rippling yet even flow of a brook, cheerfully, sweetly monotonous: “If any such lover be in earth which is continually kept from falling, I know it not: for it was not shewed me. But this was shewed: that in falling and in rising we are ever preciously kept in one love” (lxxxii.). But now and again the listener seems to be caught up to Heaven with song, as in that time when her “marvelling” joy in beholding love “breaks out with voice”:—“Behold and see! the precious plenty of His dearworthy blood descended down into Hell, and braste her bands, and delivered all that were there that belonged to the Court of Heaven. The precious plenty of His dearworthy blood overfloweth all Earth and is ready to wash all creatures of sin which be of goodwill, have been and shall be. The precious plenty of His dearworthy blood ascended up into Heaven to the blessed body of our Lord Jesus Christ, and there is in Him, bleeding and praying for us to the Father, and is and shall be as long as it needeth; and ever shall be as long as it needeth; and evermore it floweth in all Heavens, enjoying the salvation of all mankind that are there, and shall be—fulfilling the Number that faileth” (xii.).

      The Early English Mystics make good reading,—even as to the mere manner of their writings we might say, if it were possible to separate the style from the freshness of feeling and the pointedness of thought that inform it; and though we do not, of course, have from Julian,—a woman writing of the Revelations of Love,—the delightfully trenchant, easy address of Hilton in his counsels as to how to scale the Ladder of Perfection—counsels both wise and witty—yet Julian, too, with all her sweetness, is full of this every day vigour and common sense. And sometimes she puts things in a naïve, engaging way of her own, grave and yet light—as if with a little understanding smile to those to whom she is speaking:—“Then ween we, who be not all wise”; “That the outward part should draw the inward to assent was not shewed to me, but that the inward draweth the outward by grace and both shall be oned in bliss without end by the virtue of Christ, this was shewed” (lxi., xix.).

      Rolle, Hilton, and more especially the Ancren Riwle, give examples of that custom of allegorical interpretation of Sacred Scriptures that has fascinated many mystical authors, but one can scarcely suppose that this method would ever have been a favourite one with Julian even if she had been in the way of dealing with literary parallels and references. For though she uses “examples,” or illustrations (sometimes calling them “shewings,” or “bodily examples”) СКАЧАТЬ