To beings of the rougher sex--let us honestly confess it--one of the most charming of those ever-recurrent surprises which the commonest incidents of the holidays never fail to afford is the surprise of finding themselves at church. Whatever the cause may be, whether we owe our new access of devotion to the early breakfast and the boredom of a bachelor morning, or to the moral compulsion of the cunning display of prayer-books and hymnals in the hall, or to the temptation of that chattiest and gayest of all walks--the walk to church--or to an uneasy conscience that spurs us to set a good example to the coachman, or to a sheer impulse of courtesy to the rector, certain it is that a week after we have been lounging at the club-window, and wondering how all the good people get through their Sunday morning, we find ourselves safely boxed in the family pew, and chorusing the family "Amen!"
No doubt much of our new temper springs simply from the change of scene, and if the first week in the country were a time for self-analysis we might amuse ourselves with observing what a sudden simplicity of taste may be gained simply by a rush from town. There is a pleasant irony in being denounced from pulpit and platform as jaded voluptuaries, and then finding ourselves able to trample through coppices and plunge into cowsheds as if we had never seen a cowshed or a coppice before. But there is more than the pleasure of surprise in the peculiar rural development of attendance at church. Piety brings its own reward. We find ourselves invested with a new domestic interest, and brought into far closer and warmer domestic relations. Mamma looks a great deal more benignant than usual, and the girls lean on one's arm with a more trustful confidence and a deeper sympathy.
A new bond of family union has been found in that victory of the pew over the club-window. But earthly pleasure is always dashed with a little disappointment, and one drop of bitterness lingers in the cup of joy. If only Charlie and papa would remain awake during the sermon! They are so good in the Psalms, so attentive through the Lessons, so sternly responsive to each Commandment, that it is sad to see them edging towards the comfortable corners with the text, and fast asleep under the application. Then, too, there is so little hope of reform, not merely because on this point men are utterly obdurate, but because it is impossible for their reformers even to understand their obduracy. For with both the whole question is a pure question of sympathy. Men sleep under sermons because the whole temper of their minds, as they grow into a larger culture, drifts further and further from the very notion of preaching. Inquiry, quiet play of thought, a somewhat indolent appreciation of the various sides of every subject, an appetite for novelty, a certain shrinking from the definite, a certain pleasure in the vague--these characteristics of modern minds are hardly characteristics of the pulpit. There are, of course, your drawing-room spouters, who can reel off an artistic or poetic or critical discourse of any length on the rug. But, as a rule, men neither like to pump upon their kind nor to be pumped upon. They like a quiet, genial talk which turns over everything and settles nothing. They like to put their case, to put their objection, but they like both to be brief and tentative. As a rule they talk with their guard up, and say nothing about their deeper thoughts or feelings. They vote a man who airs his emotions to be as great a bore as the man with a dogma, or the man with a hobby. A sermon, therefore, from the very necessities of its structure, is the very type of the sort of talk that revolts men most.
On the other hand, women really enjoy preaching. Mamma's reply to the natural inquiry as to the goodness of the sermon--"My dear, all sermons are good"--is something more than a matronly snub, it is the inner conviction of woman. She likes, not merely a talk, but a good long talk. She likes being abused. She likes being dogmatized over and intellectually trampled on. In fact, she has very little belief in the intellect. But then she has an immense faith in the heart. She lives in a world of affections and sympathies. She has her little tale of passion in the past that she tells over to herself in the dusk of the autumn evening. She believes that the world at large is moved by those impulses of love and dislike that play so great a part in her own. And then, too, she has her practical house-keeping side, and likes her religion done up in neat little parcels of "heads" and "considerations" and "applications," and handed over the counter for immediate use. And so while papa quarrels with the rector's forty minutes, his indiscriminate censure of a world utterly unknown to him, his declamation against Pusey or Colenso, or while Charlie laughs over his rhetoric and his sentiment, woman listens a little sadly and wearily, and longs for a golden age when husbands will love sermons and men understand clergymen.
It is just from this theological deadlock that we are freed by the Pretty Preacher. If the world laughs at the Reverend Olympia Brown, it is not because she preaches, but because she prisons herself in a pulpit. The sure evidence that woman is to become the preacher of the future is that woman is the only preacher men listen to. It is hard to imagine any bribe short of the National Debt that would have induced us to listen through the dog-days of the last few weeks to the panting rhetoric of Mr. Spurgeon. But it is harder to imagine the bribe that would have roused us to flight as we lay beneath the plane-tree, and listened to the cool ripple of the Pretty Preacher. Of course it is a mere phase in the life of woman, a short interval between the dawn and the night. There is an exquisite piquancy in the raw, shy epigrams of the abrupt little dogmatist who is just out of her teens. Her very want of training and science gives a novelty to her hits that makes her formidable in the ring. No doubt, too, as we have owned before, there is a faint and delicate attraction about the Fading Flower of later years that at certain times and places makes it not impossible to sit under her.
But the sphere of the Pretty Preacher lies really between these extremes. She is not at war with mankind, like the nymph of bread and butter; nor does mankind suspect her of subtle designs in her discourse as it suspects the elder homilist. Her talk is just as easy and graceful and natural as herself, and, moreover, it is always in season. She never suffers a serious reflection to interfere with the whirl of town. She quite sees the absurdity of a sermon at a five o'clock tea. No one is freer from the boredom of a long talk when there is a chance of a boat or a ride. But there are moments when one is too hot, or too tired, or too lazy for chat or exertion, and such moments are the moments of the Pretty Preacher. The first week of the holidays is especially her own. There is a physical pleasure in doing, thinking, saying nothing. The highest reach of human effort consists in disentangling a skein of silk for her, or turning over Doré's hideous sketches for the Idyls. At such a moment there is a freshness as of cool waters in the accents of the Pretty Preacher. She does not plunge into the deepest themes at once. She leads her listener gently on, up the slopes of art or letters or politics, to the higher peaks where her purely dogmatic mission begins. She is artistic, and she labors to wake the idler at her feet to higher views of beauty and art. She points out the tinting of the distant hills, she quotes Ruskin, she criticizes Millais. She crushes her auditor with a sense of his ignorance, of the base unpoetic view of things with which he lounged through the last Academy. What she longs for in English art is nobleness of purpose, and we smile bitter scorn in the sunshine at the ignoble artist who suffers a thought of his butcher's bills to penetrate into the studio. If we could only stretch the Royal Academicians beside us on the grass, what a thrill and an emotion would run through those elderly gentlemen as they listened to the indignation of the Pretty Preacher.
But art shades off into literature, and literature into poetry. We are driven into a confession that we enjoy the frivolous articles that those horrid papers have devoted to her sex. Is there nothing, the Pretty Preacher asks us solemnly, to be said against our own? And the sun is hot, and we are speechless. It was shameful of us to put down the
Spanish Gipsy, and let it return unfinished to Mudie's! Never did rebuke so fill us with shame at our want of imagination and of poesy. But already the Preacher has passed to politics, and is deep in Mr. Mill's prophecies of coming events. She is severe on the triviality of the House, or the quarrelsome debates of the past Session. She passes by our murmured excuse of the weather, and dwells with a temperate enthusiasm on the fact that the next will be a social Parliament. Do we know anything about the Poor-laws or Education or Trades'-societies? Have we subscribed to Mr. Mill's election? We plead poverty, but the miserable plea dies away on the contemptuous air.
What our Pretty Preacher would like above all things would be to meet that dear Mr. Shaw Lefevre, and thank him for his efforts to protect woman. But she knows we are utterly heretical on the subject; she doubts very much whether we take in the
Victoria Magazine. We listen as the Tory Mayor of Birmingham listened to Mr. Bright at his banquet. The politics are not ours, and the literature is not ours, and the art is not ours; but it is pleasant to lie in the sunshine and hear it all so charmingly put by the Pretty Preacher. We own that sermons have a little to say for themselves; above all, that the impossibility of replying to them has its advantages in a case like this. It would be absurd to discuss these matters with the Pretty Preacher, but it is delightful to look up and see the kindling little face and listen to the sermon.
It is, however, as the theologian proper, as the moralist and divine, that we love her most. She arrives at this peak at last. As a rule, she chooses the tritest topics, but she gives them a novelty and grace of her own. Even Thackeray's old "Vanity of Vanities" wakes into new life as she dexterously couples it with the dances of the last season. We nod our applause from the grass as she denounces the worthlessness and frivolity of the life we lead. If the weather were cool enough we should at once vow, as she exhorts us, to be earnest and great and good. Above all, let us be noble. The Pretty Preacher is great on self-sacrifice. She sent two of her spoilt dresses to those poor people in the East-end, after listening to a whole sermon on their sufferings. The congregation at her feet feels a twinge of remorse at the thought of his inhumanity, and swears he will put down his segars and devote the proceeds to the emigration fund. Does he ever read Keble? There is a slight struggle in the unconverted mind, and a faint whisper that he now and then reads Tupper; but it is too hot to be flippant, or to do more than swear eternal allegiance to the
Christian Year.
The evening deepens, and the sermon deepens with it. It is one of the most disgusting points about the divine in the pulpit that he is always boasting of himself as a man like as we are, and of the sins he denounces as sins of his own. It is the special charm of the fair divine above us that she is eminently a being not as we are, but one serene, angelic, pure. It is the very vagueness of her condemnation that tells on us--the utter ignorance of what is so familiar to us that the vagueness betrays, the utter unskillfulness of the hits, and the purity that makes them so unskillful. It is only when she descends to particulars that we can turn round on the Pretty Preacher--only when a burning and impassioned invective against Cider Cellars suddenly softens into the plaintive inquiry, "But, oh, Charlie, dear, what
are the Cider Cellars?" So long as the preacher keeps in the sphere of the indefinite, we lie at her mercy, and hear the soft thunders roll resistlessly overhead.
But then they are soft thunders. We feel almost encouraged, like Luther, to "sin boldly" when the absolving fingers brush lightly over our cousinly hair. Our censor, too, has faith in us, in our capacity and will for better things, and it is amazingly pleasant to have the assurance confirmed by a squeeze from the gentle theologian's hand. And so night comes down, and preacher and penitent stroll pleasantly home together, and mamma wonders where both can have been; and the Pretty Preacher lays her head on her pillow with the sweet satisfaction that her mission is accomplished, and that a reprobate soul--the soul, too, of such a gentlemanly and agreeable reprobate--is won.
[The end]
E. Lynn Linton's essay: Pretty Preachers