The Cambridge, Ely, and King's Lynn Road: The Great Fenland HighwayHarper, Charles G. (Charles George)
History
The Cambridge, Ely, and King's Lynn Road: The Great Fenland Highway
Harper, Charles G. (Charles George)
England -- Description and travel; Fens, The (England) -- Description and travel
"Ely," wrote Cobbett eighty years ago, "is what one may call a
miserable little town; very prettily situated, but poor and mean.
Everything seems to be on the decline, as, indeed, is the case
everywhere where the clergy are masters." True enough, enterprise
and industry are deadened in all such places; but this bull-headed
old prevaricator, in proceeding to account for the decay, furiously
assaults the Protestant religion, and pretends to find it responsible.
It is true that the cleric is everywhere a brake on the wheels of
progress, but what religion plunges its adherents in so abject a
condition of superstitious dependence as the Roman Catholic creed?
Cobbett on Ely is, in short, a monument of blundering clap-trap.
"Arrived at Ely," he says, "I first walked round the beautiful
cathedral, that honour to our Catholic forefathers and that standing
disgrace to our Protestant selves. It is impossible to look at that
magnificent pile without feeling that we are a fallen race of men. You
have only to open your eyes to be convinced that England must have been
a far greater and more wealthy country in those days than it is in
these days. The hundreds of thousands of loads of stone of which this
cathedral and the monasteries in the neighbourhood were built must all
have been brought by sea from distant parts of the kingdom.[3] These
foundations were laid more than a thousand years ago; and yet there
are vagabonds who have the impudence to say that it is the Protestant
religion that has made England a great country."
[3] The stone really came from Barnack, in Northamptonshire,
thirty-five miles distant.
Here we have Cobbett, who ought to have known better, and _did_
actually know, repeating the shambling fallacy that the architectural
art of the Middle Ages was so artistic because it was inspired
by religion, and that its artistry decayed by consequence of the
Reformation. Such an argument loses sight of the circumstance that
edifices dedicated to religious use were not the only large or
beautiful buildings erected in those ages, and that those who wrought
upon secular castle or manor-house wrought as well and as truly as
those who reared the soaring minster or noble abbey. And whence came
the means wherewith to build cathedrals like this of Ely? Did they not
derive from the lands settled upon monasteries by those anxious only
to save their own souls, and by others who sought thus to compound for
their deeds of blood or infamy? And is it possible to think without
aversion of a Church that, accepting such gifts, absolved the givers in
consideration of them?
Public-domain text, read in full here on John Shaqi.
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