Village Churches

________________________________________________
Title:     Village Churches
Author: Richard Jefferies [More Titles by Jefferies]

The black rooks are busy in the old oak-trees, carrying away the brown acorns one by one in their strong beaks to some open place where, undisturbed, they can feast upon the fruit. The nuts have fallen from the boughs, and the mice garner them out of the ditches; but the blue-black sloes cling tight to the thorn-branch still. The first frost has withered up the weak sap left in the leaves, and they whirl away in yellow clouds before the gusts of wind. It is the season, the hour of half-sorrowful, half-mystic thought, when the past becomes a reality and the present a dream, and unbidden memories of sunny days and sunny faces, seen when life was all spring, float around:

Dim dream-like forms! your shadowy train
Around me gathers once again;
The same as in life's morning hour,
Before my troubled gaze you passed.
* * * * *
Forms known in happy days you bring,
And much-loved shades amid you spring,
Like a tradition, half expired,
Worn out with many a passing year.

In so busy a land as ours there is no place where the mind can, as it were, turn in upon itself so fully as in the silence and solitude of a village church.

There is no ponderous vastness, no oppressive weight of gloomy roof, no weird cavernous crypts, as in the cathedral; only a visible silence, which at once isolates the soul, separates it from external present influences, and compels it, in falling back upon itself, to recognize its own depth and powers. In daily life we sit as in a vast library filled with tomes, hurriedly writing frivolous letters upon 'vexatious nothings,' snatching our food and slumber, for ever rushing forward with beating pulse, never able to turn our gaze away from the goal to examine the great storehouse, the library around us. Upon the infinitely delicate organization of the brain innumerable pictures are hourly painted; these, too, we hurry by, ignoring them, pushing them back into oblivion. But here, in silence, they pass again before the gaze. Let no man know for what real purpose we come here; tell the aged clerk our business is with brasses and inscriptions, press half a crown into his hand, and let him pass to his potato-digging. There is one advantage at least in the closing of the church on week-days, so much complained of--to those who do visit it there is a certainty that their thoughts will not be disturbed. And the sense of man's presence has departed from the walls and oaken seats; the dust here is not the dust of the highway, of the quick footstep; it is the dust of the past. The ancient heavy key creaks in the cumbrous lock, and the iron latch-ring has worn a deep groove in the solid stone. The narrow nail-studded door of black oak yields slowly to the push--it is not easy to enter, not easy to quit the present--but once close it, and the living world is gone. The very style of ornament upon the door, the broad-headed nails, has come down from the remotest antiquity. After the battle, says the rude bard in the Saxon chronicle,

The Northmen departed
In their nailed barks,

and, earlier still, the treacherous troop that seized the sleeping magician in iron, Wayland the Smith, were clad in 'nailed armour,' in both instances meaning ornamented with nails. Incidentally, it may be noted that, until very recently, at least one village church in England had part of the skin of a Dane nailed to the door--a stern reminder of the days when 'the Pagans' harried the land. This narrow window, deep in the thick wall, has no painted magnificence to boast of; but as you sit beside it in the square, high-sided pew, it possesses a human interest which even art cannot supply.

The tall grass growing rank on the graves without rustles as it waves to and fro in the wind against the small diamond panes, yellow and green with age--rustles with a melancholy sound; for we know that this window was once far above the ground, but the earth has risen till nearly on a level--risen from the accumulation of human remains. Yet, but a day or two before, on the Sunday morning, in this pew, bright, restless children smiled at each other, exchanged guilty pushes, while the sunbeams from the arrow-slit above shone upon their golden hair.

Let us not think of this further, but dimly through the window, 'as through a glass darkly,' see the green yew with its red berries, and afar the elms and beeches, brown and yellow. The steep down rises over them, and the moving grey patch upon it is a flock of sheep. The white wall is cold and damp, and the beams of the roof overhead, though the varnish is gone from them, are dark with slow decay.

In the recess lies the figure of a knight in armour, rudely carved, beside his lady, still more rudely rendered in her stiff robes, and of him an ill-spelt inscription proudly records that he 'builded ye greate howse at'--no matter where; but history records that cruel war wrapped it in flames before half a generation was gone, so that the boast of his building great houses reads as a bitter mockery. There stands opposite a grander monument to a mighty earl, and over it hangs a breastplate and gauntlets of steel.

The villagers will tell that in yonder deep shady 'combe' or valley, in the thick hazel-bushes, when the 'beetle with his drowsy hum' rises through the night air, there comes the wicked old earl, wearing this very breastplate, these iron gloves, to expiate one evil deed of yore. And if we sit in this pew long enough, till the mind is magnetized with the spirit of the past, till the early evening sends its shadowy troops to fill the distant corners of the silent church, then, perhaps, there may come to us forms gliding noiselessly over the stone pavement of the aisles--forms not repelling or ghastly, but filling us with an eager curiosity. Then through the slit made for that very purpose centuries since, when the pew was in a family chapel--through the slit in the pillar, we may see cowled monks assemble at the altar, muttering as magicians might over vessels of gold. The clank of scabbards upon the stones is stilled, the rustle of gowns is silent; if there is a sound, it is of subdued sobs, as the aged monk blesses the troop on the eve of their march. Not even yet has the stern idol of war ceased to demand its victims; even yet brave hearts and noble minds must perish, and leave sterile the hopes of the elders and the love of woman. There is still light enough left to read the few simple lines on the plain marble slab, telling how 'Lieutenant ----,' at Inkerman, at Lucknow, or, later still, at Coomassie, fell doing his duty. And these plain slabs are dearer to us far than all the sculptured grandeur, and the titles and pomp of belted earl and knight; their simple words go straighter to our hearts than all the quaint curt Latin of the olden time.

The belfry door is ajar--those winding stairs are not easy of access. The edges are worn away, and the steps strewn with small sticks of wood; sticks once used by the jackdaws in building their nests in the tower. It is needful to take much care, lest the foot should stumble in the semi-darkness. Listen! there is now a slight sound: it is the dull ticking of the old, old clock above. It is the only thing with motion here; all else is still, and even its motion is not life. A strange old clock, a study in itself; all the works open and visible, simple, but ingenious. For a hundred years it has carried round the one hour-hand upon the square-faced dial without, marking every second of time for a century with its pendulum. Here, too, are the bells, and one, the chief bell, is a noble tenor, a mighty maker of sound. Its curves are full and beautiful, its colour clear; its tone, if you do but tap it, sonorous, yet not harsh. It is an artistic bell. Round the rim runs a rhyme in the monkish tongue, which has a chime in the words, recording the donor, and breathing a prayer for his soul. In the day when this bell was made men put their souls into their works. Their one great object was not to turn out 100,000 all alike, it was rarely they made two alike. Their one great object was to construct a work which should carry their very spirit in it, which should excel all similar works, and cause men in after-times to inquire with wonder for the maker's name, whether it was such a common thing as a knife-handle, or a bell, or a ship. Longfellow has caught the spirit well in the saga of the 'Long Serpent,' where the builder of the vessel listens to axe and hammer:

All this tumult heard the master,
It was music to his ear;
Fancy whispered all the faster,
'Men shall hear of Thorberg Skafting
For a hundred year!'

Would that there were more of this spirit in the workshops of our day! They did not, when such a work was finished, hasten to blaze it abroad with trumpet and shouting; it was not carried to the topmost pinnacle of the mountain in sight of all the kingdoms of the earth. They were contented with the result of their labour, and cared little where it was placed or who saw it; and so it is that some of the finest-toned bells in the world are at this moment to be found in village churches; and for so local a fame the maker worked as truly, and in as careful a manner, as if he had known his bell was to be hung in St. Peter's, at Rome. This was the true spirit of art. Yet it is not altogether pleasant to contemplate this bell; the mind cannot but reflect upon the length of time it has survived those to whose joys or sorrows it has lent a passing utterance, and who are dust in the yard beneath.

For full five hundred years I've swung
In my old grey turret high,
And many a changing theme I've sung
As the time went stealing by.

Even the 'old grey turret' shows more signs of age and of decay than the bell, for it is strengthened with iron clamps and rods to bind its feeble walls together. Of the pavements, whose flagstones are monuments, the dates and names worn by footsteps; of the vaults beneath, with their grim and ghastly traditions of coffins moved out of place, as was supposed, by supernatural agency, but, as explained, by water; of the thick walls, in which, in at least one village church, the trembling victim of priestly cruelty was immured alive--of these and a thousand other matters that suggest themselves there is no time to speak.

But just a word must be spared to notice one lovely spot where two village churches stand not a hundred yards apart, separated by a stream, both in the hands of one Vicar, whose 'cure' is, nevertheless, so scant of souls that service in the morning in one and in the evening in the other church is amply sufficient. And where is there a place where springtime possesses such a tender yet melancholy interest to the heart as in a village churchyard, where the budding leaves and flowers in the grass may naturally be taken as symbolical of a still more beautiful springtime yet in store for the soul?

[The end]
Richard Jefferies's essay: Village Churches

________________________________________________



GO TO TOP OF SCREEN