The Romance of Zion Chapel [3d ed.]

Excerpt

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CHAPTER I

OF A CURIOUS MEETING OF EXTREMES

On the dreary suburban edge of a very old, very ignorant, very sooty, hardhearted, stony-streeted, meanly grim, little provincial town there stands a gasometer. On one side of this gasometer begins a region of disappointed fields, which, however, has hardly begun before a railway embankment cuts across, at an angle convenient for its entirely obscuring the few meadows and trees that in this desolate land do duty for a countryside. The dull workmen's streets that here abruptly present unfinished ends to the universe must console themselves with the gasometer. And indeed they seem more than content. For a street boasting the best view, as it runs out its sordid line longer than the rest, is proudly called Gasometer Street. Some of the streets that are denied the gasometer cluster narrow and dark, hardly built twenty years perhaps, yet long since drearily old,--with the unattractive antiquity of old iron and old clothes,--round a mouldy little chapel, in what we can only describe as the Wesleyan Methodist style of architecture. Cased in weather-stained and decaying stucco, it bears upon its front the words "New Zion," and the streets about it are named accordingly: Zion Passage, Zion Alley, Zion Walk, Zion Street. There is a house too which had been lucky enough to call itself Zion View, the very morning before the house at the corner had contemplated doing the same. At Zion View lived and still lives Mr. Moggridge, the huge, good-natured, guffawing pillar of New Zion,--on whom, at the moment, however, we will not call.

A nice dull place, you may say, from which to issue invitations to a romance. Well, of course, it must seem so if pretty places are the reader's idea of romance. Curiously enough, the preference of the Lady Romance herself is for just such dull places. These dreary, soot-begrimed streets are the very streets she loves best to appear in, on a sudden, some astonished day, with a sound of silk skirts and a spring wind of attar of roses. Contrast, surprise,--these are her very soul. Dull places and bright people,--these she loves to bring together, and watch for laughter and tears. You are never safe from Romance, and the place to seek her is never the place where she was last found.

Well, at all events, it is to Gasometer Street and New Zion that you are respectfully invited, and before you decline the invitation with a shrug, I will tell you this about the gasometer. The romantic eyes of one of the greatest French poets once looked on that gasometer! I won't pretend that they dwelt there, but look on it they once did--the eyes of that great, sad, scandalous, religious French poet--on a night of weary rain that set someone quoting,--also in that street,--

"Il pleure dans mon coeurComme il pleut sur la ville."

Yes, and that French poet passed the gasometer on his way to New Zion. Actually.

Romance! Why, I wouldn't exchange Gasometer Street for the Isles of Greece!

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CHAPTER II

INTRODUCES MORE UNROMANTIC MATERIAL

That French poet only concerns us here as, so to say, the highest light in the contrast which it was the happy business of Theophilus Londonderry, Jenny Talbot, and two or three devoted friends to make in the vicinity of Gasometer Street and indeed in little Coalchester at large.

Theophilus Londonderry! It is rather a mouthful of a name. Yet it's so like the long, expansive, good-natured, eloquent fellow it stands for, that I must not shorten it, though we shall presently abbreviate it for purposes of affectionate reference. He himself liked "Theophil" for its reminiscence of another French poet, though "Theo" was perhaps the more suitable abbreviation for one of his profession. Really, or perhaps rather seemingly, Theophilus Londonderry had two professions,--or say one was a profession and the other was a vocation, a "call." By day he professed to be a clerk in a cotton-office,--and he was no fool at that (there is no need for a clever man to be a fool at anything), but by night, and occasionally of an afternoon,--when he got leave of absence to solemnise a marriage, or run through a funeral,--he was a spiritual pastor, the young father of his flock.

Here I must permit myself some necessary remarks on the subject of Nonconformity, its influence on individualities and its direct relationship to Romance. In the churches of England or of Rome,--though he sometimes looked wistfully towards the latter,--Theophilus Londonderry, with his disabilities of worldly condition, would have found no place to be himself in. His was an organism that could not long have breathed in any rigid organisation. It was the non-establishment, the comparative free-field, of Nonconformity that gave him his chance. Conscious, soon after his first few breaths, of a personal force that claimed operation in some human employment, some work not made with hands, but into which also entered the spirit of man, and being quite poor, and entirely hopeless of family wealth or influence, there were only two fields open to him, Art or Nonconformity. To art in the usual sense of the word he was not called, but to the art of Demosthenes he was unmistakably called; and for this Nonconformity--with a side entrance into politics--was his opportunity.

This bourne of his faculties had indeed been predestined for him by no remoter influence than his father, himself a lay-preacher, when he was not the business manager of a large hardware store,--a lay-preacher with a very gentle face, the face of a father, a woman, a saint, and a failure all in one.

I say failure by no means unkindly. Londonderry's father was made to be a good bishop, to radiate from a hallowed security sweet lights of blessing. His talent was gentleness, not in itself a fighting quality,--a quality that needs a place prepared for it, needs the hand of strength or opportunity to set it upon the hill. That he had made himself learned, that his sympathy knew much of the soul of man, that he was conscious of a very near communion with the Divine--were qualifications that alone might not avail....