Lake country sketchesRawnsley, H. D. (Hardwicke Drummond)
General
Lake country sketches
Rawnsley, H. D. (Hardwicke Drummond)
Lake District (England); Wordsworth, William, 1770-1850 -- Homes and haunts -- England -- Lake District
There was not a day that this public benefactor did not do something
to help his time. And if one asked oneself why it was he had the
power to be a pillar of good in his generation, a kind of beacon and
standard for higher and happier life in all classes of society round
about him, the answer seemed to be that he had a heart which was for
ever young, in a body that seemed as if age could not touch it--that
his sympathies were not with the past, but with the present and the
future; that his enthusiasm for the better time coming never failed
him; that he believed that all things work together for good to them
that fear God and keep His commandments.
The grace of this abundant hopefulness flowed out in all he did and
said. 'Age could not stale his infinite variety,' because he never
grew old. To see him with young men or little children was to see
him at his best. To {90} know him in his home life was a privilege
for which to be thankful.
But deeper than all his spring of hope and sympathy with the young
and the new lay the fountain of poetry at his heart. He did not, I
think, write poetry, but the love of it was a continual presence. He
had the poet's heart, and entered into the poet's mind. For him, the
practical public county magistrate and councillor, the spirit of the
innermost was the joy of the imagination. This was the secret of his
swift sympathy with nature and with man.
We met by appointment in the Tapestry Room of the Spanish Palace at
the Paris Exhibition on October 12th, 1900. He was as cheery as ever.
'I have had a delightful week,' he said, 'I wish all my friends could
have seen this wonderful exhibition. Yesterday I was at Chartres
Cathedral. I never knew what stained glass was before; pray visit
Chartres. It is a revelation to one.' Then he turned to the Spanish
tapestries and went with deepest pleasure through the historic scenes
that the needles of the fourteenth and fifteenth centuries have left
on deathless record. He seemed as young-hearted as a boy, and as
fresh in his enthusiasm as if this Paris {91} Exhibition was the
first he had ever seen, but he was seventy-seven and had seen more
than falls to most of us to see, of all this world can show. I did
not know as I shook hands and parted that Death already had shaken
him by the hand.
Public-domain text, read in full here on John Shaqi.
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