# The Heart of England/Chapter 7

CHAPTER VII
A DECORATED CHURCH
Out of the midst of pale wheat lands and tussocky meadow, intersected by streams which butter bur and marigold announce, and soared over by pewit and lark and the first swallows with their delicate laughter, rises the grim, decorated church, of the same colour as the oak trees round about. White and grey headstones, some of great age, bow to it in the churchyard, and seem mutely to crave for the shelter from the north-east wind. There is much room within. All the headstones and those whom they commemorate might find places and not crowd out the little congregation. In one transept a knight and lady are taking their ease in stone, and looking up at the gaudy arms above them. They came early to the church. From the memorial inscriptions on pavement and walls, it would seem that the church belongs to a later great family, still living near. Soldiers, sailors, landowners, clergymen even, they take possession at their death; from 1623 they have flocked here, and the names of their virtues live after them; tyrants perhaps in their lifetime, they have the air of being idols now, and they outnumber the prophets on the window-glass. The service proceeds in the accustomed decent manner, with ​nasal lesson and humming prayer. Then comes the hymn:—
Through all the changing scenes of life"—
One woman's ambitious, shrill treble voice that seems ever about to fall and yet continues to maintain its airy height, leads the congregation to unusual adventures of song. The church is dense with emotion; ordinary gentlemen, shopkeepers, labourers and their wives, men and women of all degrees of endurance, chivalry, good intention, uncertain aims, sentimental virtuousness, hypocrisy not dissevered from hardship, vanity not ignorant of tenderness, hard ambition, the desire to be respected,—men and women throw all kinds of strange meaning, heartfelt and present, imaginative, retrospective, expectant, into the vague words of the hymn. I can see one strong man shouting it with an expression as if he were pole-axing a bull. His neighbour, a frail, tearful woman, sings as if it absolves her from the tears with which she marred not only her own life. One aged woman made it clearly an expression of the nothingness of mankind, a ridicule and blasphemy of life, as if she had repeated the words of the old play:—
Other faces express complacency, hope, the newness of a solution of this thing life, grim, satisfied despair, even a kind of vanity. All these men and women might agree at a political meeting; here they differ each from the rest, and every one of the gods in all the mythologies must be gladdened or angered at some part of the hymn by the meaning of this or that worshipper; Odin, Apollo, Diana, Astarte, the Cat, the Beetle, and the rest revive, in whatever Tartarus they are thrust, at these strange sounds.
The last of the congregation left, but I could still hear the hymn wandering feebly among the tall arches and up and about, apparently restless, as if it sought to get out and away, but in vain. The high grey stone and those delicate windows made a cage; and the human voices were as those of Seifelmolouk and his memlooks, when the giant king kept them in cages because the sound of their lamentation seemed to him the most melodious music, and he thought them birds. Inexorably, the fancy held me that some gaunt giant, fifty cubits high, kept men and women in this cage because he loved to hear their voices expressing moods he knew nothing of. Not more caged are the five brown bells in the tower, with mute, patient heads like cows, their names being Solitude, Tranquillity, Duty, Harmony, Joy.