Tuning From The Bass

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Title:     Tuning From The Bass
Author: Frank Boreham [More Titles by Boreham]

I am about to say a good word for Fear. Fear is a fine thing, a very fine thing; and the world would be a poor place without it. Fear was one of our firmest but gentlest nurses. Terror was one of our sternest but kindest teachers. A very wise man once said that the fear of the Lord is the beginning of wisdom. He might have left out the august and holy Name, and still have stated a tremendous fact; for fear is always the beginning of wisdom.

'No fears, no grace!' said James, in the second part of the Pilgrim's Progress, and Mr. Greatheart seemed of pretty much the same opinion. They were discussing poor Mr. Fearing.

'Mr. Fearing,' said Greatheart, 'was one that played upon the bass. Some say that the bass is the ground of music. The first string that the musician touches is the bass, when he intends to put all in tune. God also plays upon this string first, when He sets the soul in tune for Himself. Only here was the imperfection of Mr. Fearing: he could play upon no other music but this, till towards his latter end.'

Here, then, we have the principle stated as well as it is possible to state it. You must tune from the bass, for the bass is the basis of music. But you must rise from the bass, as a building must rise from its foundations, or the music will be a moan and a monotone. The fear of the Lord is the beginning of wisdom; but the wisdom that gets no farther is like music that rumbles and reverberates in one everlasting bass.

But the finest exposition of the inestimable value of fear is not by John Bunyan. It is by Jack London. White Fang is the greatest story of the inner life of an animal that has ever been contributed to our literature. And Jack London, who seems to have got into the very soul of a wolf, shows us how the wonderful character of White Fang was moulded and fashioned by fear. First there was the mere physical fear of Pain; the dread of hurting his tender little nose as the tiny grey cub explored the dark recesses of the lair; the horror of his mother's paw that smote him down whenever he approached the mouth of the cave; and, later on, the fear of the steep bank, learned by a terrible fall; the fear of the yielding water, learned by attempting to walk upon it; and the fear of the ptarmigan's beak and the weasel's teeth, learned by robbing their respective nests.

And following on the physical fear of Pain came the reverential fear of Power. 'His mother represented Power,' Jack London says, 'and as he grew older he felt this power in the sharper admonition of her paw, while the reproving nudge of her nose gave place to the slash of her fangs. For this he respected his mother.' And afterwards, when he came upon the Red Indians, and saw men for the first time, a still greater fear possessed him. Here were creatures who made the very sticks and stones obey them! They seemed to him as gods, and he felt that he must worship and serve them. And, later still, when he saw white men living, not in wigwams, but in great palaces of stone, he trembled as he had never trembled before. These were superior gods; and, as everybody knows, White Fang passed from fearing them to knowing them, and from knowing them to loving them. And at last he became their fond, devoted slave. It is true that fear was to White Fang only the beginning of wisdom; but that is precisely what Solomon says. Afterwards the brave old wolf learned fearlessness; but the early lessons taught by fear were still of priceless value, for to courage they added caution; and courage wedded to caution is irresistible.

We are living in times that are wonderfully meek and mild; and Fear, the stern old schoolmaster, is looked upon with suspicion. It is curious how we reverse the fashions of our ancestors. We flaunt in shameless abandon what they veiled in blushing modesty; but we make up for it by hiding what they had no hesitation in displaying. Our teeth, for example. It is considered the depth of impropriety to show your teeth nowadays, except in the sense in which actresses show them on post cards. But our forefathers were not afraid of showing their teeth, and they made themselves feared and honoured and loved in consequence. Yes, feared and honoured and loved; for I gravely doubt if any man ever yet taught others to honour and love him who had not first taught them on occasion to fear him.

The best illustration of what I mean occurs in the story of the Irish movement. In the politics of the last century there has been nothing so dramatic, nothing so pathetic, and nothing so tragic as the story of the rise and fall of Parnell. Lord Morley's tense and vivid chapters on that phase of modern statesmanship are far more thrilling and far more affecting than a similar number of pages of any novel in the English language. With the tragic fall of the Irish leader we need not now concern ourselves. But how are we to account for the meteoric rise of Parnell, and for the phenomenal power that he wielded? For years he was the most effective figure in British politics. There is only one explanation; and it is the explanation upon which practically all the historians of that period agree. Charles Stewart Parnell made it the first article of his creed that he must make himself feared. His predecessor in the leadership of the Irish party was Isaac Butt. Mr. Butt believed in conciliation. He was opposed to 'a policy of exasperation.' He thought that, if the Irishmen in the House exercised patience, and considered the convenience of the two great political parties, they would appeal to the good sense of the British people and ensure the success of their cause. And in return--to quote from Mr. Winston Churchill's life of his father--the two great parties treated Mr. Butt and the Irish members with 'that form of respect which, being devoid of the element of fear, is closely akin to contempt.' Then arose Parnell. He held that the Irishmen must make themselves the terror of the nation. They must embarrass and confuse the English leaders, and throw the whole political machinery of both parties hopelessly out of gear. And in a few months Mr. Parnell made the Irish question the supreme question in the mind of the nation, and became for years the most hated and the most beloved personality on the parliamentary horizon. Nobody who knows the history of that troublous time can doubt that, but for the moral shipwreck of Parnell, a shipwreck that nearly broke Mr. Gladstone's heart, the whole Irish question would have been settled, for better or for worse, twenty years ago. With the merits or demerits of his cause I am not now dealing; but everybody who has read Lord Morley's Life of Gladstone or Mr. Barry O'Brien's Life of Parnell must have been impressed by this striking and dramatic picture of a lonely and extraordinary man espousing an apparently hopeless cause, deliberately selecting fear as the weapon of his warfare, and actually leading his little band of astonished followers within sight of victory.

It is ridiculous to say that fear possesses no moral value. Whenever I hear that contention stated, my mind invariably swings back to a great story told by Sir Henry Hawkins in his Reminiscences. He is telling of his experiences under Mr. Justice Maule, and is praising the judicial perspicacity of that judge. In a certain murder case a boy of eight was called to give evidence, and counsel objected to so youthful a witness being heard. Mr. Justice Maule thought for a minute, and then beckoned the boy to the bench.

'"I should like to know," His Honour observed, "what you have been taught to believe. What will become of you, my little boy, when you die, if you are so wicked as to tell a lie?"'

'"Hell-fire!" answered the boy with great promptitude.

'"But do you mean to say," the judge went on, "that you would go to hell-fire for telling any lie?"

'"Hell-fire, sir!" the boy replied again.

'To several similar questions the boy made the same terrible response.

'"He does not seem to be competent," said the counsel.

'"I beg your pardon," returned the judge. "This boy thinks that for every wilful fault he will go to hell-fire; and he is very likely while he believes that doctrine to be most strict in his observance of truth. If you and I believed that such would be the penalty for every act of misconduct we committed, we should be better men than we are. Let the boy be sworn!"'

Sir Henry Hawkins tells the story with evident approval, so that we have here the valuable testimony of two distinguished judges to the moral value of fear from a purely judicial point of view. Of course, the value is not stable or permanent. The goodness that arises from fear is like the tameness of a terrified tiger, or the willingness of a wolf to leave the deer unharmed when both are flying from before a prairie-fire. When the fear passes, the blood-lust will return. But that is not the point. Nobody said that fear was wisdom. What the wise man said was that fear is the beginning of wisdom. And as the beginning of wisdom it has a certain initial and preparatory value. The sooner that the beginning is developed and brought to a climax, the better of course it will be. But meanwhile a beginning is something. It is a step in the right direction. It is the learning of the alphabet. It is the earnest and promise of much that is to come.

Now if the Church refuses to employ this potent weapon, she is very stupid. A beginning is only a beginning, but it is a beginning. If we ignore the element of terror, we are deliberately renouncing a force which, in the wilds and in the world, is of really first-class value and importance. I am not now saying that the ministry would be untrue to its high calling if it failed to warn men with gravity and with tears. That is a matter of such sacredness and solemnity that I hesitate to touch it here; although it is obvious that, under any conceivable method of interpretation, there is a terrible note of urgency in the New Testament that no pulpit can decline, without grave responsibility, to echo. But I am content to point out here that, from a purely tactical point of view, the Church would be very foolish to scout this valuable weapon. The element of fear is one of the great primal passions, and to all those deep basic human elements the gospel makes its peculiar appeal. And the fears of men must be excited. The music cannot be all bass; but the bass note must not be absent, or the music will be ruined.

There are still those who, far from being cowards, may, like Noah, be 'moved with fear' to the saving of their houses. Cardinal Manning tells in his Journal how, as a boy at Tetteridge, he read again and again of the lake that burneth with fire. 'These words,' he says, 'became fixed in my mind, and kept me as boy and youth and man in the midst of all evil. I owe to them more than will ever be known to the last day.' And Archbishop Benson used to tell of a working man who was seen looking at a placard announcing a series of addresses on 'The Four Last Things.' After he had read the advertisement he turned to a companion and asked, 'Where would you and I have been without hell?' And the Archbishop used to inquire whether, if we abandoned the legitimate appeal to human fear, we should not need some other motive in our preaching to fill the vacant place.

I know, of course, that all this may be misconstrued. But the wise will understand. The naturalist will not blame me, for fear is the life of the forest. The humanitarian can say no word of censure, for fear is intensely human. But the preacher who strikes this deep bass note must strike it very soulfully. No man should be able to speak on such things except with a sob in his throat and tears in his eyes. We must warn men to flee from the wrath to come; but that wrath is the wrath of a Lamb. Andrew Bonar one day told Murray McCheyne that he had just preached a sermon on hell. 'And were you able to preach it with tenderness?' McCheyne wistfully inquired. Fear is part of that wondrous instrument on all the chords of which the minister is called at times to play; but this chord must be struck with trembling fingers.

No mistake can be more fatal than to set off this aspect of things against more attractive themes. All truth is related. Some years ago in Scotland an express train stopped abruptly on a curve in the time of a great flood. Just in front of the train was a roaring chasm from which the viaduct had been swept away. Just behind the train was the mangled frame of the girl who had warned the driver. It is impossible to understand that sacrifice lying just behind the guard's van unless you have seen the yawning chasm just in front of the engine!

'No fears, no grace!' said James.

'And this I took very great notice of,' said Mr. Greatheart, 'that the Valley of the Shadow of Death was as quiet while Mr. Fearing went through it as ever I knew it before or since; and when he came to the river without a bridge, I took notice of what was very remarkable; the water of that river was lower at this time than ever I saw it in all my life. So he went over at last, not much above wet shod.'

Fear had done its work, and done it well. The bass notes had proved the foundation of a music that blended at last with the very harmonies of heaven. Fear, even with White Fang, led on to love; and perfect love casteth out fear.

[The end]
Frank Boreham's essay: Tuning From The Bass

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