They marvelled together at the realism of the sculptor who had pitted Admiral Warren with the smallpox, and at the absurdity of that other one who had clad Robert Peel in a Roman toga.
Then turning to the right at the end of the Statesmen's Transept, they wandered aimlessly down the huge nave. It was overwhelming, the grandeur of the roof above and of the contents below. Any one of hundreds of these tombs was worth a devout pilgrimage, but how could one raise his soul to the appreciation of them all. Here was Darwin who revolutionised zoology, and here was Isaac Newton who gave a new direction to astronomy. Here were old Ben Jonson, and Stephenson the father of railways, and Livingstone of Africa, and Wordsworth, and Kingsley, and Arnold. Here were the soldiers of the mutiny--Clyde and Outram and Lawrence,--and painters, and authors, and surgeons, and all the good sons who in their several degrees had done loyal service to the old mother. And when their service was done the old mother had stretched out that long arm of hers and had brought them home, and always for every good son brought home she had sent another forth, and her loins were ever fruitful, and her children loving and true. Go into the Abbey and think, and as the nation's past is borne in upon you, you will have no fear for its future.
Frank was delighted with some of the monuments and horrified by others, and he communicated both his joy and his anger to Maude. They noticed together how the moderns and the Elizabethans had much in common in their types of face, their way of wearing the hair, and their taste in monuments, while between them lie the intolerable affectations--which culminated towards the end of last century.
'It all rings false--statue, inscription, everything,' said Frank. 'These insufferable allegorical groups sprawling round a dead hero are of the same class as the pompous and turgid prose of Doctor Johnson. The greatest effects are the simplest effects, and so it always was and so it always will be. But that little bit of Latin is effective, I confess.'
It was a very much defaced inscription underneath a battered Elizabethan effigy, whose feet had been knocked off, and whose features were blurred into nothing. Two words of the inscription had caught Frank's eye.
'Moestissima uxor! It was his "most sad wife" who erected it! Look at it now! The poor battered monument of a woman's love. Now, Maude, come with me, and we shall visit the famous Poets' Corner.'
What an assembly it would be if at some supreme day each man might stand forth from the portals of his tomb. Tennyson, the last and almost the greatest of that illustrious line, lay under the white slab upon the floor. Maude and Frank stood reverently beside it.
'"Sunset and evening Star And one clear call for me."'
Frank quoted. 'What lines for a very old man to write! I should put him second only to Shakespeare had I the marshalling of them.'
'I have read so little,' said Maude.
'We will read it all together after next week. But it makes your reading so much more real and intimate when you have stood at the grave of the man who wrote. That's Chaucer, the big tomb there. He is the father of British poetry. Here is Browning beside Tennyson-- united in life and in death. He was the more profound thinker, but music and form are essential also.'
'What a splendid face!' cried Maude.
'It is a bust to Longfellow, the American.' They read the inscription. 'This bust was placed among the memorials of the poets of England by English admirers of an American poet.'
'I am so glad to have seen that. I know his poems so well,' said Maude.
'I believe he is more read than any poet in England.'
'Who is that standing figure?'
'It is Dryden. What a clever face, and what a modern type. Here is Walter Scott beside the door. How kindly and humorous his expression was! And see how high his head was from the ear to the crown. It was a great brain. There is Burns, the other famous Scot.