Various - The Continental Monthly, Vol. 4, No. 1, July, 1863

The despair which this feeling sometimes occasions in the perverted soul of one intent upon feeding it with the gross aliments of the debased senses, is, without doubt, a very frequent cause of suicide. It may lead, in the soul of the infidel or sensualist, to the idolatry of art. It is a feeling, and requires direction. When enlightened by revelation and purified by faith, it manifests itself in the sublime abnegation and ardent love of the faithful follower of Jesus Christ.

This instinctive longing for the infinite, existing in the soul itself, cannot be satisfied by any earthly longing, sensual gratification, or external possession. Made 'to glorify God and enjoy Him forever,' man is ruined and eternally miserable if he refuse to fulfil the destiny for which he was created. His misery springs from the root of his greatness; it is because there is an infinite in him, which, with all his cunning, he cannot succeed in burying under the finite. This is a pregnant subject; under this strange caption might be written the psychological history of most human despair.

Thus is faith a necessity of the soul, 'the evidence of things not seen.'

The idea of eternity is necessarily evolved from the negation contained in the limited meaning of the word time. Eternity is the all embracing, completely complete time; eternity, which is infinite not only a parte externa , that is everpassing yet everlasting, without beginning and without end; but also infinite a parte interna —so that in the endlessly living, thoroughly luminous present, the whole past, also the whole future, are equally actual, equally clear, and equally present to us, as the very present itself. Can we indeed form any other conception of a state of perfect bliss? Is the idea of a state of entire happiness at all compatible with the regret that must be felt for a blissful past; the consciousness of a flying present; and the fear of an uncertain future? Yet the idea of time does not seem necessarily excluded from a conception of the essence and operations of God. Does there in very reality exist such an absolute opposition between time and eternity, that it is quite impossible for them to subsist in any mutual contact or relation? Is there no transition from the one to the other conceivable? Is eternity anything more than time vitally full, blissfully complete? If eternity is nothing more than the living, full, essential time, and if our earthly, fettered, and fragmentary time is, as the great poet says, 'out of joint,' fallen with man's disobedience to his God into a state of strange disorder—it is easily conceivable that the two do not stand apart so as to have no mutual contact. Those who have seen a holy death leave a calm and beautiful smile upon the face of a dying Christian, can scarcely help believing that the beginning of a blissful eternity has impressed itself upon the rapt features, actually breaking through the shackles of time before the prisoner was emancipated from its fetters. And those brief intervals of rapture which are sometimes experienced in the midst of earnest and ardent devotion—what are they but eternity thus manifesting itself through time in the soul? Those who have been rescued from the very jaws of death, frequently tell us that the moment preceding insensibility was crowded and filled with vivid recollections of the whole apparently forgotten past—thus bringing into the soul in the midst of time, a foretaste and interval of eternity! and those prophetic intimations of things yet to be, which frequently break in with startling power upon the human spirit, what indeed are they but sudden contacts between our fettered time, 'so out of joint,' and the fulness of eternity? Men rave against the justice of eternal punishment, as if its duration were not essentially part of their own immortality! Ah! if the memories of the deeds done in the body are essentially undying, were it not well for us that the writing traced against us by our own hands should be nailed to the cross, obliterated in the blood of the Immaculate Victim? that mystic blood which has bathed the universe!

The innate longing for the infinite, with its accompanying intuitions of the eternal love, and the yearnings for that fulness of time when the past and future shall live with us as really as the present itself, are ever vivid within us, and are two of the great vital arteries of all true art. This burning human thirst for the fulness of eternity in opposition to our fragmentary time manifests itself in our agonizing efforts to bring back the past, to which sad efforts we have given the melancholy name of memory; shows itself in our restless longing for the future, which we call hope; and frequently reveals itself in an insane seizing upon something in the imperfect and fleeting present, which it insists upon worshipping, in regarding as divine. Upon this last phase is dependent all that excited, exaggerated, but frequently beautiful passion of language which marks our poems of love. Ah! it is the merciful will of the Creator that we should worship only the divine, and so the human passion ends in sobs and wails of anguish, for the finite idol can never fill the shrine of the Absolute, the infinite God!

As the intuition of eternal love in the past, we find this longing for the infinite breathing through poetry in the form of elegy; in sad recollections of a faded world of demigods and heroes; and in the plaints for the loss of man's native home in Paradise, in the faint and dying echoes of the happy innocence of creation before the first outbreak of evil, and the consequent misery of nature. Poetry is indeed so full of haunting, melancholy memories, that it might almost be called the 'mind's supersensuous recollection of the eternal.' And what else can be said of music? Is it not an art eminently addressed to this intuition of eternal love, this constant longing for the infinite? Do not its giddy flights and dying falls at once arouse this mystic yearning, seeking, feeling, which may appropriately be termed the passion of the soul? That music holds some deep relation to the soul not yet clearly developed, may be inferred, not only from the magic power it sways over our spirits, but from the fact that the inspired writers picture it among the joys of heaven. It is now the language of our 'divine despair;' it is yet to be the speech of our eternal beatitude!

'God is love:' through all the hidden veins of ever-germing life beats this divine pulse of universal being. Hope, faith, and charity spring from the revelation and answering intuitions of this blissful love: from the hope, faith, and love of men sprang all the really noble works of art. All this is full of consolation, 'though inward far we be'—even the mournful memory of a past of celestial innocence becomes the harbinger of a divine hope. Let the poet then still sing of the past; like the glories of the setting sun flushing down the golden west, it but whispers of a more glorious rise in the mythic east. The root of art springs from the intuitions of eternal love; its leaves, flowers, and fruit, are faith, hope, and charity. May the rapt artist ever remember that the beauty of this earth was not intended to satisfy the requisitions of his longing soul, but to awaken and nourish in it the love of eternal beauty!

A golden thread of glories yet to be, twines through the woof of this our mortal life, and by tracing its wavy lines of glittering brilliancy, shining even through the dim symbolism of matter, many secrets of the life to come may be divined. The arts may be regarded as significant hieroglyphics of delights yet to be fulfilled in other spheres of being. The living pulse of omnipotence, the heart of God, beats sensibly in the beauty of the boundless universe; it is the fountain at which the young immortal is to imbibe his first draught for eternity. Not that, as erroneously held by the Pantheists, nature is God, no more than Raphael is the pictures he paints; but assuming the existence of a God as the creator of the worlds, what else can nature be but a revelation of God and divine love, a visible and symbolic representation thereof in matter; living, because His breath is life?