Two on a Tower. Thomas Hardy
to that at other times invisible multitude in the back rows of the celestial theatre: remote layers of constellations whose shapes were new and singular; pretty twinklers which for infinite ages had spent their beams without calling forth from a single earthly poet a single line, or being able to bestow a ray of comfort on a single benighted traveller.
'And to think,' said Lady Constantine, 'that the whole race of shepherds, since the beginning of the world,—even those immortal shepherds who watched near Bethlehem,—should have gone into their graves without knowing that for one star that lighted them in their labours, there were a hundred as good behind trying to do so! . . . I have a feeling for this instrument not unlike the awe I should feel in the presence of a great magician in whom I really believed. Its powers are so enormous, and weird, and fantastical, that I should have a personal fear in being with it alone. Music drew an angel down, said the poet: but what is that to drawing down worlds!'
'I often experience a kind of fear of the sky after sitting in the observing-chair a long time,' he answered. 'And when I walk home afterwards I also fear it, for what I know is there, but cannot see, as one naturally fears the presence of a vast formless something that only reveals a very little of itself. That's partly what I meant by saying that magnitude, which up to a certain point has grandeur, has beyond it ghastliness.'
Thus the interest of their sidereal observations led them on, till the knowledge that scarce any other human vision was travelling within a hundred million miles of their own gave them such a sense of the isolation of that faculty as almost to be a sense of isolation in respect of their whole personality, causing a shudder at its absoluteness. At night, when human discords and harmonies are hushed, in a general sense, for the greater part of twelve hours, there is nothing to moderate the blow with which the infinitely great, the stellar universe, strikes down upon the infinitely little, the mind of the beholder; and this was the case now. Having got closer to immensity than their fellow-creatures, they saw at once its beauty and its frightfulness. They more and more felt the contrast between their own tiny magnitudes and those among which they had recklessly plunged, till they were oppressed with the presence of a vastness they could not cope with even as an idea, and which hung about them like a nightmare.
He stood by her while she observed; she by him when they changed places. Once that Swithin's emancipation from a trammelling body had been effected by the telescope, and he was well away in space, she felt her influence over him diminishing to nothing. He was quite unconscious of his terrestrial neighbourings, and of herself as one of them. It still further reduced her towards unvarnished simplicity in her manner to him.
The silence was broken only by the ticking of the clock-work which gave diurnal motion to the instrument. The stars moved on, the end of the telescope followed, but their tongues stood still. To expect that he was ever voluntarily going to end the pause by speech was apparently futile. She laid her hand upon his arm.
He started, withdrew his eye from the telescope, and brought himself back to the earth by a visible—almost painful—effort.
'Do come out of it,' she coaxed, with a softness in her voice which any man but unpractised Swithin would have felt to be exquisite. 'I feel that I have been so foolish as to put in your hands an instrument to effect my own annihilation. Not a word have you spoken for the last ten minutes.'
'I have been mentally getting on with my great theory. I hope soon to be able to publish it to the world. What, are you going? I will walk with you, Lady Constantine. When will you come again?'
'When your great theory is published to the world.'
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