Unaddressed Letters :: XXXVII "TO MARY, IN HEAVEN"

XXXVII "TO MARY, IN HEAVEN"

THIS is my last letter to you, Carina, and I am writing in the belief that you are in heaven. But are you really there, and, if you are, is all well with you? Have you everything you desire and no regrets? It seems such a very long way off, you have such small control over the means of transport, and so much depends on hearsay, that one may, I trust, be pardoned for entertaining doubt where all is so indefinite. Then the accounts of that blessed place that have come to different parts of the world, though always inspired, differ so materially. To mortals, immortality is a difficult conception. To finite minds, conscious of the grasp of a limited intelligence, but still very much alive to the evidence of the senses we possess, the idea of a heaven, somewhere beyond the reach of earthly imagination, is perhaps more difficult still. So many millions come into the world, and we realise fairly well how and why they come; they all, without exception, go, and none ever return, and some, we are told, are in heaven, and some elsewhere. The time here is so absurdly short, and the eternity there is so impossibly long, that, if our chances of spending the latter in joy, or sorrow, depend on what we do in the former, it is only natural that this one idea should occupy our thoughts to the exclusion of all others. Yet there, again, we are such frail things, that in this way lies what we call madness.

If you have solved the great problem, can you not enlighten my darkness, my craving for exact knowledge? Write to me, Carina, write and tell me what it is all like. If I have wearied you with my feeble, little tales, my stupid questions, my pictures that must seem to you so flat and colourless in the glory of that better world, my vain imaginings and poor human longings, will you not take pity on me and gladden my weary eyes with a word-painted vision of the Heavenly City, the fields of Elysium, or at least the houris who are to be the portion of the Faithful? I do not know which paradise you are in. See, I wait with the pencil on the paper: will you not make it write?

You do not heed. Perhaps, after all, you are not there; or is it possible that you have forgotten this small planet and those you left here, and that you find more congenial friends in the company of the angels? I dare say it is natural, and I do not upbraid you; but some day I may reach that desired haven, and I want you to remember that I have earned your consideration by my discretion, if you can spare me no more tender feeling. If, for instance, I had sent you these letters while you were still on earth, and you had incautiously left them about (as you would have been certain to do), quite a number of them would have compromised you in the opinion of the servant girl, and she is the origin of a vast deal of earthly gossip. I suppose you have no servant girls and no gossip where you are: the absence of effect depending on the want of cause. Happy heaven! and yet I believe that there are people on this earth who really enjoy being the subject of gossip. To them the suggestions of scandal are as the savour of salt, as danger is to the sportsman; the wilder the suggestion, the more amusing the game; and there are even those who, when tattle wanes and desire fails, say or insinuate, to their own detriment, the thing that is not, rather than disappear into obscurity. It is the same desire for notoriety and attention which prompted Martin to set fire to York Minster, and led the woman to complain to the vicar that her husband had ceased to beat her.

Up in the serene atmosphere of those heavenly heights you have no cathedrals, no husbands, no wives, no work, no play, no food, no frocks—pardon me, that is a slip of the pen; of course you have frocks, but what else have you? Is it not sometimes just a little monotonous? If life is so short that it amounts to little more than the constant fear of coming death, are you not sometimes overawed by the contemplation of eternity? But, after all, the dwellers in heaven may never think. Never to remember, and so never to regret; never to think, and so never to desire—that is a possible scheme of existence where a thousand years might be as one day, and to the weary it would mean rest. But so would oblivion, and we are not altogether satisfied with the thought of oblivion.

“Oh, Threats of Hell and Hopes of Paradise!

One thing is certain—This Life flies;

One thing is certain, and the rest is Lies;

The Flower that once has blown for ever dies.”

That is well enough, but it is not an inspired writing; it is a cry rather of despair than conviction, and oft repeated to make up for want of certainty. Of things mundane we have acquired a tolerable knowledge, however much there is yet to be learnt; but that in us which we call the Soul will never be satisfied till it learns something of the hereafter. Who will teach it? Do we know more now than they did when men fought with bows and arrows, or flint weapons, instead of hundred-ton guns fired by electricity?

Standing alone in some vast solitude where man and his doings have no part, have made no mark and left no trace—where face to face with Nature, with mountain and plain, forest and sea and a limitless firmament, man’s somewhat puny efforts are forgotten, there comes an intense longing for something higher and nobler than the life we live. The soul of man cries out for light, for some goal towards which he may by effort and sacrifice attain; for he is not lacking in the qualities that have made heroes and martyrs throughout all the ages. If he cannot rend the veil and scale the heights of heaven, he can grasp the things within his reach; and, realising that there are problems beyond his intelligence, he can yet give his life to make easier the lot of his fellow-creatures, seeking humbly, but courageously, to follow, no matter how far behind, in the footsteps of his Great Exemplar. Nor need his efforts be less strenuous, his object less worthy, because this passionate cry of a voice, stilled centuries ago, strikes a sympathetic chord in his heart.

“Yet ah! that Spring should vanish with the Rose!

That Youth’s sweet-scented manuscript should close!

The Nightingale, that in the branches sang,

Ah whence, and whither flown again, who knows!

Would but the Desert of the Fountain yield

One glimpse—if dimly, yet indeed reveal’d,

To which the fainting Traveller might spring,

As springs the trampled herbage of the field!

Would but some wingÈd Angel, ere too late,

Arrest the yet-unfolded Roll of Fate,

And make the stern Recorder otherwise

Enregister, or quite obliterate!

Ah Love, could you and I with Him conspire

To grasp this sorry Scheme of things entire,

Would not we shatter it to bits—and then

Re-mould it nearer to the Heart’s Desire!”

THE END

Printed by Ballantyne, Hanson & Co.

Edinburgh & London

SECOND EDITION

Malay Sketches

FRANK ATHELSTANE SWETTENHAM

WITH TITLE-PAGE AND COVER DESIGNED BY

PATTEN WILSON

Crown 8vo, 6s.

“Mr. Swettenham’s style is simple and direct and vigorous. Particularly good is his eye for colour, and he has a fine sense of the brilliant melancholy of the East. To few falls the good fortune of introducing us to a new people, and seldom have we the advantage of so admirable a guide.”—Pall Mall Gazette.

“Nothing approaching Mr. Swettenham’s intimate knowledge and illuminative analysis has yet seen the light about that fascinating country which he so well describes.”—Daily Chronicle.

“Its unconventional character is one of the most attractive points about this very attractive volume. Mr. Swettenham succeeds in making the life and character of the Malays real to us in a way that so far as we are aware no other writer has done.”—Publishers’ Circular.

“A pleasant simplicity of style, a total lack of affectation, and a comparatively unknown land and people for subject-matter, make ‘Malay Sketches’ entirely delightful. They are always vivid, always convincing.”—St. James’s Budget.

“This is one of those books which exercise such a fascination upon the mind of the stay-at-home traveller. Stay-at-home though he may be, he has no difficulty in distinguishing the work of a genuine authority from the hasty and inexact impressions of the idle globe-trotter. ‘Malay Sketches’ will be speedily recognised by him as belonging to the more reliable kind of his favourite literature.”—Spectator.

London: JOHN LANE, The Bodley Head

Book Catalogue

1898

List of Books

BELLES LETTRES

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Adams (Francis).

Essays in Modernity. Crown 8vo. 5s. net.

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English Elegies. Crown 8vo. 5s. net.

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Maris Stella. Crown 8vo. 3s. 6d. net.

Songs from a Corner of France.

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The Happy Hypocrite. Sq. 16mo. 1s. net.

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The Dancing Faun. Crown 8vo. 3s. 6d. net.

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The Love Affairs of a Bibliomaniac. Post 8vo. 3s. 6d. net.

Lullaby Land: Songs of Childhood. Edited, with Introduction, by Kenneth Grahame. With 200 Illustrations by Chas. Robinson. Uncut or gilt edges. Crown 8vo. 6s.

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The Adventures of a Martyr’s Bible. Crown 8vo. 6s.

Fleming (George).

For Plain Women Only. Fcap. 8vo. 3s. 6d. net.

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A Celibate’s Wife. Crown 8vo. 6s.

Fletcher (J. S.).

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Life in Arcadia. With 20 Illustrations by Patten Wilson. Crown 8vo. 5s. net.

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The Literary Shop, and Other Tales. Fcap. 8vo. 3s. 6d. net.

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March Hares. Crown 8vo. 3s. 6d. net.

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Mrs. Albert Grundy: Observations in Philistia. Fcap. 8vo. 3s. 6d. net.

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Orchard Songs. Fcap. 8vo. 5s. net.

Garnett (Richard).

Poems. Crown 8vo. 5s. net.

Dante, Petrarch, Camoens, cxxiv Sonnets, rendered in English. Crown 8vo. 5s. net.

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A Lawyer’s Wife. Crown 8vo. 6s.

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London: As Seen by C. D. Gibson. Text and Illustrations. Large folio, 12 × 18 inches. 20s.

The People of Dickens. Six Large Photogravures. Proof Impressions from Plates, in a Portfolio. 20s.

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Of Necessity. Crown 8vo. 3s. 6d.

Gilliat-Smith (E.).

Songs from Prudentius. Pott 4to. 5s. net.

Gleig (Charles).

When all Men Starve. Crown 8vo. 3s. 6d.

The Edge of Honesty. Crown 8vo. 6s.

Gosse (Edmund).

The Letters of Thomas Lovell Beddoes. Now first edited. Pott 8vo. 5s. net.

Grahame (Kenneth).

Pagan Papers. Crown 8vo. 3s. 6d. net.

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The Golden Age. Crown 8vo. 3s. 6d. net.

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A New Volume of Essays.

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Italian Lyrists of To-day. Translations in the original metres from about thirty-five living Italian poets, with bibliographical and biographical notes. Crown 8vo. 5s. net.

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Greenwood (Frederick).

Imagination in Dreams. Crown 8vo. 5s. net.

Grimshaw (Beatrice Ethel).

Broken Away. Crown 8vo. 3s. 6d. net.

Hake (T. Gordon).

A Selection from his Poems. Edited by Mrs. Meynell. With a Portrait after D. G. Rossetti. Crown 8vo. 5s. net.

Hansson (Laura M.).

Modern Women. An English rendering of “Das Buch der Frauen” by Hermione Ramsden. Subjects: Sonia Kovalevsky, George Egerton, Eleanora Duse, Amalie Skram, Marie Bashkirtseff, A. Ch. Edgren Leffler. Crown 8vo. 3s. 6d. net.

Hansson (Ola).

Young Ofeg’s Ditties. A Translation from the Swedish. By George Egerton. Crown 8vo. 3s. 6d. net.

Harland (Henry).

Grey Roses. Crown 8vo. 3s. 6d. net.

Comedies and Errors. Crown 8vo. 6s.

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Castilian Days. Crown 8vo. 4s. 6d. net.

Speech at the Unveiling of the Bust of Sir Walter Scott in Westminster Abbey. With a Drawing of the Bust. Sq. 16mo. 1s. net.

Hayes (Alfred).

The Vale of Arden and Other Poems. Fcap. 8vo. 3s. 6d. net.

Hazlitt (William).

Liber Amoris; or, The New Pygmalion. Edited, with an Introduction, by Richard Le Gallienne. To which is added an exact transcript of the original MS., Mrs. Hazlitt’s Diary in Scotland, and letters never before published. Portrait after Bewick, and facsimile letters. 400 Copies only. 4to, 364 pp., buckram. 21s. net.

Heinemann (William).

The First Step; A Dramatic Moment. Small 4to. 3s. 6d. net.

Summer Moths: A Play. Sm. 4to. 3s. 6d. net.

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In Scarlet and Grey. (With The Spectre of the Real by Florence Henniker and Thomas Hardy.) Crown 8vo. 3s. 6d. net.

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Shadows of Life. Crown 8vo. 3s. 6d.

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Housman (Laurence).

Green Arras: Poems. With 6 Illustrations, Title-page, Cover Design, and End Papers by the Author. Crown 8vo. 5s. net.

Gods and their Makers. Crown 8vo. 3s. 6d. net.

Irving (Laurence).

Godefroi and Yolande: A Play. Sm. 4to. 3s. 6d. net.

Jalland (G. H.).

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James (W. P.).

Romantic Professions: A Volume of Essays. Crown 8vo. 5s. net.

Johnson (Lionel).

The Art of Thomas Hardy: Six Essays. With Etched Portrait by Wm. Strang, and Bibliography by John Lane. Crown 8vo. 5s. 6d. net.

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Johnson (Pauline).

White Wampum: Poems. Crown 8vo. 5s. net.

Johnstone (C. E.).

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Kemble (E. W.)

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King (K. Douglas).

The Child who will Never Grow Old. Crown 8vo. 5s.

King (Maud Egerton).

Round about a Brighton Coach Office. With over 30 Illustrations by Lucy Kemp-Welch. Crown 8vo. 5s. net.

Lander (Harry).

Weighed in the Balance. Crown 8vo. 6s.

The Lark.

Book the First. Containing Nos. 1 to 12.

Book the Second. Containing Nos. 13 to 24. With numerous Illustrations by Gelett Burgess and Others. Small 4to. 25s. net, the set.

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Leather (R. K.).

Verses. 250 copies. Fcap. 8vo. 3s. net.

Lefroy (Edward Cracroft).

Poems. With a Memoir by W. A. Gill, and a reprint of Mr. J. A. Symonds’ Critical Essay on “Echoes from Theocritus.” Cr. 8vo. Photogravure Portrait. 5s. net.

Le Gallienne (Richard).

Prose Fancies. With Portrait of the Author by Wilson Steer. Crown 8vo. 5s. net.

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The Book Bills of Narcissus. An Account rendered by Richard le Gallienne. With a Frontispiece. Crown 8vo. 3s. 6d. net.

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Robert Louis Stevenson, an Elegy, and Other Poems, mainly Personal. Crown 8vo. 4s. 6d. net.

English Poems. Crown 8vo. 4s. 6d. net.

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George Meredith: Some Characteristics. With a Bibliography (much enlarged) by John Lane, portrait, &c. Crown 8vo. 5s. 6d. net.

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The Religion of a Literary Man. Crown 8vo. 3s. 6d. net.

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Retrospective Reviews, A Literary Log, 1891-1895. 2 vols. Crown 8vo. 9s. net.

Prose Fancies. (Second Series). Crown 8vo. 5s. net.

The Quest of the Golden Girl. Crown 8vo. 6s.

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The Romance of Zion Chapel. Crown 8vo. 6s.

Love in London: Poems. Crown 8vo. 4s. 6d. net.

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Legge (A. E. J.).

Mutineers. Crown 8vo. 6s.

Linden (Annie).

Gold. A Dutch Indian story. Crown 8vo. 3s. 6d. net.

Lipsett (Caldwell).

Where the Atlantic Meets the Land. Crown 8vo. 3s. 6d. net.

Locke (W. J.).

Derelicts. Crown 8vo. 6s.

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Lowry (H. D.).

Make Believe. Illustrated by Charles Robinson. Crown 8vo, gilt edges or uncut. 6s.

Women’s Tragedies. Crown 8vo. 3s. 6d. net.

The Happy Exile. With 6 Etchings by E. Philip Pimlott. Crown 8vo. 6s.

Lucas (Winifred).

Units: Poems. Fcap. 8vo. 3s. 6d. net.

Lynch (Hannah).

The Great Galeoto and Folly or Saintliness. Two Plays, from the Spanish of JosÉ Echegaray, with an Introduction. Small 4to. 5s. 6d. net.

McChesney (Dora Greenwell).

Beatrix Infelix. A Summer Tragedy in Rome. Crown 8vo. 3s. 6d.

Macgregor (Barrington).

King Longbeard. With over 100 Illustrations by Charles Robinson. Small 4to. 6s.

Machen (Arthur).

The Great God Pan and the Inmost Light. Crown 8vo. 3s. 6d. net.

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The Three Impostors. Crown 8vo. 3s. 6d. net.

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The Mountain Lovers. Crown 8vo. 3s. 6d. net.

Makower (Stanley V.).

The Mirror of Music. Crown 8vo. 3s. 6d. net.

Cecilia. Crown 8vo. 5s.

Mangan (James Clarence).

Selected Poems. With a Biographical and Critical Preface by Louise Imogen Guiney. Crown 8vo. 5s. net.

Mathew (Frank).

The Wood of the Brambles. Crown 8vo. 6s.

A Child in the Temple. Crown 8vo. 3s. 6d.

The Spanish Wine. Crown 8vo. 3s. 6d.

At the Rising of the Moon. Crown 8vo. 3s. 6d.

Marzials (Theo.).

The Gallery of Pigeons and Other Poems. Post 8vo. 4s. 6d. net.

Meredith (George).

The First Published Portrait of this Author, engraved on the wood by W. Biscombe Gardner, after the painting by G. F. Watts. Proof copies on Japanese vellum, signed by painter and engraver. £1 1s. net.

Meynell (Mrs.).

Poems. Fcap. 8vo. 3s. 6d. net.

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The Rhythm of Life and Other Essays. Fcap. 8vo. 3s. 6d. net.

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The Colour of Life and Other Essays. Fcap. 8vo. 3s. 6d. net.

[Fifth Edition.

The Children. Fcap. 8vo. 3s. 6d. net.

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Miller (Joaquin).

The Building of the City Beautiful. Fcap. 8vo. With a Decorated Cover. 5s. net.

Milman (Helen).

In the Garden of Peace. With 24 Illustrations by Edmund H. New. Crown 8vo. 5s. net.

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Money-Coutts (F. B.).

Poems. Crown 8vo. 3s. 6d. net.

The Revelation of St. Love the Divine. Sq. 16mo. 3s. 6d. net.

Monkhouse (Allan).

Books and Plays: A Volume of Essays on Meredith, Borrow, Ibsen, and others. Crown 8vo. 5s. net.

A Deliverance. Crown 8vo. 5s.

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THE YELLOW BOOK

An Illustrated Quarterly.

Pott 4to. 5s. net.

I.	April 1894, 272 pp., 15 Illustrations. [Out of print.
II.	July 1894, 364 pp., 23 Illustrations.
III.	October 1894, 280 pp., 15 Illustrations.
IV.	January 1895, 285 pp., 16 Illustrations.
V.	April 1895, 317 pp., 14 Illustrations.
VI.	July 1895, 335 pp., 16 Illustrations.
VII.	October 1895, 320 pp., 20 Illustrations.
VIII.	January 1896, 406 pp., 26 Illustrations.
IX.	April 1896, 256 pp., 17 Illustrations.
X.	July 1896, 340 pp., 13 Illustrations.
XI.	October 1896, 342 pp., 12 Illustrations.
XII.	January 1897, 350 pp., 14 Illustrations.
XIII.	April 1897, 316 pp., 18 Illustrations.

Transcriber’s Note:

Quotations from other sources, and transliterated materials, have been transcribed as they appear in this book.

The ordering of entries in the book catalogue has been retained.

Spelling, grammar, and variation in hyphenation and word usage have been retained.

Punctuation has been changed occasionally where a clear predominance of usage could be ascertained.

Typographical changes have been made as as follows:

p. 7:

si coetera noscit

changed to

si cÆtera noscit

p. 124:

between the deep blue bills

changed to

between the deep blue hills

p. 157:

to regard the unknown quanity with philosophy

changed to

to regard the unknown quantity with philosophy

p. 165:

Persumably if the man thinks

changed to

Presumably if the man thinks

p. 254:

The wasp has still a sting left, she says; “You sent

changed to

The wasp has still a sting left; she says, “You sent

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