By her power, then, which again is Christ's, the Magdalen becomes the Penitent; the thief the first of the redeemed; and Peter, the yielding sand of humanity, the _Rock on which Herself is built_.
_Rejoice and be exceeding glad.... Blessed are they that mourn_.-- MATT. V. 12, 5.
The Catholic Church, as has been seen, is always too "extreme" for the world. She is content with nothing but a Divine Peace, and in its cause is the occasion of bloodier wars than any waged from merely human motives. She is not content with mere goodness, but urges always Sanctity upon her children; yet simultaneously tolerates sinners whom even the world casts out. Let us consider now how, in fulfilling these two apparently mutually contradictory precepts of our Lord, to rejoice and to mourn, once more she appears to the world extravagant in both directions at once.
I. It is a common charge against her that she rejoices too exceedingly; is arrogant, confident, and optimistic where she ought to be quiet, subdued, and tender.
"This world," exclaims her critic, "is on the whole a very sad and uncertain place. There is no silver lining that has not a cloud before it; there is no hope that may not, after all, be disappointed. Any religion, then, that claims to be adequate to human nature must always have something of sadness and even hesitancy about it. Religion must walk softly all her days if she is to walk hand in hand with experience. Death is certain; is life as certain? The function of religion, then, is certainly to help to lighten this darkness, yet not by too great a blaze of light. She may hope and aspire and guess and hint; in fact, that is her duty. But she must not proclaim and denounce and command. She must be suggestive rather than exhaustive; tender rather than virile; hopeful rather than positive; experimental rather than dogmatic.
"Now Catholicism is too noisy and confident altogether. See a Catholic liturgical function on some high day! Was there ever anything more arrogant? What has this blaze of colour, this shouting of voices, this blowing of trumpets to do with the soft half-lights of the world and the mystery of the darkness from which we came and to which we return? What has this clearcut dogma to do with the gentle guesses of philosophy, this optimism with the uncertainty of life and the future--above all, what sympathy has this preposterous exultation with the misery of the world?