Kitabı oku: «The Trembling of the Veil», sayfa 14
IX
Two men are always at my side, Lionel Johnson and John Synge whom I was to meet a little later; but Johnson is to me the more vivid in memory, possibly because of the external finish, the clearly-marked lineaments of his body, which seemed but to express the clarity of his mind. I think Dowson’s best verse immortal, bound, that is, to outlive famous novels and plays and learned histories and other discursive things, but he was too vague and gentle for my affections. I understood him too well, for I had been like him but for the appetite that made me search out strong condiments. Though I cannot explain what brought others of my generation to such misfortune, I think that (falling backward upon my parable of the moon) I can explain some part of Dowson’s and Johnson’s dissipation —
“What portion in the world can the artist have,
Who has awaked from the common dream,
But dissipation and despair?”
When Edmund Spencer described the islands of Phaedria and of Acrasia he aroused the indignation of Lord Burleigh, “that rugged forehead” and Lord Burleigh was in the right if morality were our only object.
In those islands certain qualities of beauty, certain forms of sensuous loveliness were separated from all the general purposes of life, as they had not been hitherto in European literature – and would not be again, for even the historical process has its ebb and flow, till Keats wrote his Endymion. I think that the movement of our thought has more and more so separated certain images and regions of the mind, and that these images grow in beauty as they grow in sterility. Shakespeare leaned, as it were, even as craftsman, upon the general fate of men and nations, had about him the excitement of the playhouse; and all poets, including Spencer in all but a few pages, until our age came, and when it came almost all, have had some propaganda or traditional doctrine to give companionship with their fellows. Had not Matthew Arnold his faith in what he described as the best thought of his generation? Browning his psychological curiosity, Tennyson, as before him Shelley and Wordsworth, moral values that were not aesthetic values? But Coleridge of the Ancient Mariner, and Kubla Khan, and Rossetti in all his writings made what Arnold has called that “morbid effort,” that search for “perfection of thought and feeling, and to unite this to perfection of form,” sought this new, pure beauty, and suffered in their lives because of it. The typical men of the classical age (I think of Commodus, with his half-animal beauty, his cruelty, and his caprice), lived public lives, pursuing curiosities of appetite, and so found in Christianity, with its Thebaid and its Mariotic Sea the needed curb. But what can the Christian confessor say to those who more and more must make all out of the privacy of their thought, calling up perpetual images of desire, for he cannot say “Cease to be artist, cease to be poet,” where the whole life is art and poetry, nor can he bid men leave the world, who suffer from the terrors that pass before shut-eyes. Coleridge, and Rossetti though his dull brother did once persuade him that he was an agnostic, were devout Christians, and Steinbock and Beardsley were so towards their lives’ end, and Dowson and Johnson always, and yet I think it but deepened despair and multiplied temptation.
“Dark Angel, with thine aching lust,
To rid the world of penitence:
Malicious angel, who still dost
My soul such subtil violence!
When music sounds, then changest thou
A silvery to a sultry fire:
Nor will thine envious heart allow
Delight untortured by desire.
Through thee, the gracious Muses turn
To Furies, O mine Enemy!
And all the things of beauty burn
With flames of evil ecstasy.
Because of thee, the land of dreams
Becomes a gathering place of fears:
Until tormented slumber seems
One vehemence of useless tears.”
Why are these strange souls born everywhere to-day? with hearts that Christianity, as shaped by history, cannot satisfy. Our love letters wear out our love; no school of painting outlasts its founders, every stroke of the brush exhausts the impulse, Pre-Raphaelitism had some twenty years; impressionism thirty perhaps. Why should we believe that religion can never bring round its antithesis? Is it true that our air is disturbed, as Malarmé said, by “the trembling of the veil of the temple,” or “that our whole age is seeking to bring forth a sacred book?” Some of us thought that book near towards the end of last century, but the tide sank again.
X
I do not know whether John Davidson, whose life also was tragic, made that “morbid effort,” that search for “perfection of thought and feeling,” for he is hidden behind failure, to unite it “to perfection of form.” At eleven one morning I met him in the British Museum reading room, probably in 1894, when I was in London for the production of The Land of Heart’s Desire, but certainly after some long absence from London. “Are you working here?” I said; “No,” he said, “I am loafing, for I have finished my day’s work.” “What, already?” “I work an hour a day – I cannot work longer without exhaustion, and even as it is, if I meet anybody and get into talk, I cannot write the next day; that is why I loaf when my work is finished.” No one had ever doubted his industry; he had supported his wife and family for years by “devilling” many hours a day for some popular novelist. “What work is it?” I said. “I am writing verse,” he answered. “I had been writing prose for a long time, and then one day I thought I might just as well write what I liked, as I must starve in any case. It was the luckiest thought I ever had, for my agent now gets me forty pounds for a ballad, and I made three hundred out of my last book of verse.”
He was older by ten years than his fellow Rhymers; a national schoolmaster from Scotland, he had been dismissed, he told us, for asking for a rise in his salary, and had come to London with his wife and children. He looked older than his years. “Ellis,” he had said, “how old are you?” “Fifty,” Edwin Ellis replied, or whatever his age was. “Then I will take off my wig. I never take off my wig when there is a man under thirty in the room.” He had endured and was to endure again, a life of tragic penury, which was made much harder by the conviction that the world was against him, that he was refused for some reason his rightful position. Ellis thought that he pined even for social success, and I that his Scots jealousy kept him provincial and but half articulate.
During the quarrel over Parnell’s grave a quotation from Goethe ran through the papers, describing our Irish jealousy: “The Irish seem to me like a pack of hounds, always dragging down some noble stag.” But I do not think we object to distinction for its own sake; if we kill the stag, it is that we may carry off his head and antlers. “The Irish people,” O’Leary used to say, “do not know good from bad in any art, but they do not hate the good once it is pointed out to them because it is good.” An infallible Church, with its Mass in Latin, and its mediaeval philosophy, and our Protestant social prejudice, have kept our ablest men from levelling passions; but Davidson with a jealousy, which may be Scottish, seeing that Carlyle had it, was quick to discover sour grapes. He saw in delicate, laborious, discriminating taste, an effeminate pedantry, and would, when that mood was on him, delight in all that seemed healthy, popular, and bustling. Once when I had praised Herbert Horne for his knowledge and his taste, he burst out, “If a man must be a connoisseur, let him be a connoisseur in women.” He, indeed, was accustomed, in the most characteristic phrase of his type, to describe the Rhymers as lacking in “blood and guts,” and very nearly brought us to an end by attempting to supply the deficiency by the addition of four Scotsmen. He brought all four upon the same evening, and one read out a poem upon the Life Boat, evidently intended for a recitation; another described how, when gold-digging in Australia, he had fought and knocked down another miner for doubting the rotundity of the earth; while of the remainder I can remember nothing except that they excelled in argument. He insisted upon their immediate election, and the Rhymers, through that complacency of good manners whereby educated Englishmen so often surprise me, obeyed, though secretly resolved never to meet again; and it cost me seven hours’ work to get another meeting, and vote the Scotsmen out. A few days later I chanced upon Davidson at some restaurant; he was full of amiability, and when we parted shook my hand, and proclaimed enthusiastically that I had “blood and guts.” I think he might have grown to be a successful man had he been enthusiastic instead about Dowson or Johnson, or Horne or Symons, for they had what I still lacked, conscious deliberate craft, and what I must lack always, scholarship. They had taught me that violent energy, which is like a fire of straw, consumes in a few minutes the nervous vitality, and is useless in the arts. Our fire must burn slowly, and we must constantly turn away to think, constantly analyse what we have done, be content even to have little life outside our work, to show, perhaps, to other men, as little as the watch-mender shows, his magnifying glass caught in his screwed-up eye. Only then do we learn to conserve our vitality, to keep our mind enough under control and to make our technique sufficiently flexible for expression of the emotions of life as they arise. A few months after our meeting in the Museum, Davidson had spent his inspiration. “The fires are out,” he said, “and I must hammer the cold iron.” When I heard a few years ago that he had drowned himself, I knew that I had always expected some such end. With enough passion to make a great poet, through meeting no man of culture in early life, he lacked intellectual receptivity, and, anarchic and indefinite, lacked pose and gesture, and now no verse of his clings to my memory.
XI
Gradually Arthur Symons came to replace in my intimate friendship, Lionel Johnson from whom I was slowly separated by a scruple of conscience. If he came to see me he sat tongue-tied unless I gave him the drink that seemed necessary to bring his vitality to but its normal pitch, and if I called upon him he drank so much that I became his confederate. Once, when a friend and I had sat long after our proper bed-time at his constantly repeated and most earnest entreaty, knowing what black melancholy would descend upon him at our departure, and with the unexpressed hope of getting him to his bed, he fixed upon us a laughing and whimsical look, and said: – “I want you two men to understand that you are merely two men that I am drinking with.” That was the only time that I was to hear from him an imaginary conversation that had not an air of the most scrupulous accuracy. He gave two accounts of a conversation with Wilde in prison; in one Wilde wore his hair long, and in the other it had been cropped by the prison barber. He was gradually losing, too, the faculty of experience, and in his prose and verse repeated the old ideas and emotions, but faintly, as though with fading interest. I am certain that he prayed much, and on those rare days that I came upon him dressed and active before midday or but little after, I concluded that he had been to morning Mass at Farm Street.
When with Johnson I had tuned myself to his mood, but Arthur Symons, more than any man I have ever known, could slip as it were into the mind of another, and my thoughts gained in richness and in clearness from his sympathy, nor shall I ever know how much my practice and my theory owe to the passages that he read me from Catullus and from Verlaine and Mallarmé. I had read Axel to myself or was still reading it, so slowly, and with so much difficulty, that certain passages had an exaggerated importance, while all remained so obscure that I could without much effort imagine that here at last was the Sacred Book I longed for. An Irish friend of mine lives in a house where beside a little old tower rises a great new Gothic hall and stair, and I have sometimes got him to extinguish all light but a little Roman lamp, and in that faint light and among great vague shadows, blotting away the unmeaning ornament, have imagined myself partaking in some incredible romance. Half-a-dozen times, beginning in boyhood with Shelley’s Prometheus Unbound, I have in that mood possessed for certain hours or months the book that I long for; and Symons, without ever being false to his own impressionist view of art and of life, deepened as I think my longing.
It seems to me, looking backward, that we always discussed life at its most intense moment, that moment which gives a common sacredness to the Song of Songs, and to the Sermon on the Mount, and in which one discovers something supernatural, a stirring as it were of the roots of the hair. He was making those translations from Mallarmé and from Verlaine, from Calderon, from St. John of the Cross, which are the most accomplished metrical translations of our time, and I think that those from Mallarmé may have given elaborate form to my verses of those years, to the latter poems of The Wind Among the Reeds, to The Shadowy Waters, while Villiers de L’Isle Adam had shaped whatever in my Rosa Alchemica Pater had not shaped. I can remember the day in Fountain Court when he first read me Herodiade’s address to some Sibyl who is her nurse and it may be the moon also:
“The horror of my virginity
Delights me, and I would envelope me
In the terror of my tresses, that, by night,
Inviolate reptile, I might feel the white
And glimmering radiance of thy frozen fire,
Thou that art chaste and diest of desire,
White night of ice and of the cruel snow!
Eternal sister, my lone sister, lo
My dreams uplifted before thee! now, apart,
So rare a crystal is my dreaming heart,
And all about me lives but in mine own
Image, the idolatrous mirror of my pride,
Mirroring this Herodiade diamond-eyed.”
Yet I am certain that there was something in myself compelling me to attempt creation of an art as separate from everything heterogenous and casual, from all character and circumstance, as some Herodiade of our theatre, dancing seemingly alone in her narrow moving luminous circle. Certainly I had gone a great distance from my first poems, from all that I had copied from the folk-art of Ireland, as from the statue of Mausolus and his Queen, where the luminous circle is motionless and contains the entire popular life; and yet why am I so certain? I can imagine an Aran Islander who had strayed into the Luxembourg Gallery, turning bewildered from Impressionist or Post-Impressionist, but lingering at Moreau’s “Jason,” to study in minute astonishment the elaborate background, where there are so many jewels, so much wrought stone and moulded bronze. Had not lover promised mistress in his own island song, “A ship with a gold and silver mast, gloves of the skin of a fish, and shoes of the skin of a bird, and a suit of the dearest silk in Ireland?”
XII
Hitherto when in London I had stayed with my family in Bedford Park, but now I was to live for some twelve months in chambers in the Temple that opened through a little passage into those of Arthur Symons. If anybody rang at either door, one or other would look through a window in the connecting passage, and report. We would then decide whether one or both should receive the visitor, whether his door or mine should be opened, or whether both doors were to remain closed. I have never liked London, but London seemed less disagreeable when one could walk in quiet, empty places after dark, and upon a Sunday morning sit upon the margin of a fountain almost as alone as if in the country. I was already settled there, I imagine, when a publisher called and proposed that Symons should edit a Review or Magazine, and Symons consented on the condition that Beardsley were Art Editor – and I was delighted at his condition, as I think were all his other proposed contributors. Aubrey Beardsley had been dismissed from the Art editorship of The Yellow Book under circumstances that had made us indignant. He had illustrated Wilde’s Salome, his strange satiric art had raised the popular press to fury, and at the height of the excitement aroused by Wilde’s condemnation, a popular novelist, a woman who had great influence among the most conventional part of the British public, had written demanding his dismissal. “She owed it to her position before the British people,” she had said. Beardsley was not even a friend of Wilde’s – they even disliked each other – he had no sexual abnormality, but he was certainly unpopular, and the moment had come to get rid of unpopular persons. The public at once concluded – they could hardly conclude otherwise, he was dismissed by telegram – that there was evidence against him, and Beardsley, who was some twenty-three years old, being embittered and miserable, plunged into dissipation. We knew that we must face an infuriated press and public, but being all young we delighted in enemies and in everything that had an heroic air.
XIII
We might have survived but for our association with Beardsley, perhaps, but for his Under the Hill, a Rabelaisian fragment promising a literary genius as great maybe as his artistic genius, and for the refusal of the bookseller who controlled the railway bookstalls to display our wares. The bookseller’s manager, no doubt looking for a design of Beardsley’s, pitched upon Blake’s Anteus setting Virgil and Dante upon the verge of Cocytus as the ground of refusal, and when Arthur Symons pointed out that Blake was considered “a very spiritual artist” replied, “O, Mr Symons, you must remember that we have an audience of young ladies as well as an audience of agnostics.” However, he called Arthur Symons back from the door to say, “If contrary to our expectations The Savoy should have a large sale, we should be very glad to see you again.” As Blake’s design illustrated an article of mine, I wrote a letter upon that remarkable saying to a principal daily newspaper. But I had mentioned Beardsley, and I was told that the editor had made it a rule that his paper was never to mention Beardsley’s name. I said upon meeting him later, “Would you have made the same rule in the case of Hogarth?” against whom much the same objection could be taken, and he replied with what seemed to me a dreamy look, as though suddenly reminded of a lost opportunity – “Ah, there was no popular press in Hogarth’s day.” We were not allowed to forget that in our own day there was a popular press, and its opinions began to affect our casual acquaintance, and even our comfort in public places. At some well-known house, an elderly man to whom I had just been introduced, got up from my side and walked to the other end of the room; but it was as much my reputation as an Irish rebel as the evil company that I was supposed to keep, that excited some young men in a railway carriage to comment upon my general career in voices raised that they might catch my attention. I discovered, however, one evening that we were perhaps envied as well as despised. I was in the pit at some theatre, and had just noticed Arthur Symons a little in front of me, when I heard a young man, who looked like a shop-assistant or clerk, say, “There is Arthur Symons. If he can’t get an order, why can’t he pay for a stall.” Clearly we were supposed to prosper upon iniquity, and to go to the pit added a sordid parsimony. At another theatre I caught sight of a woman that I once liked, the widow of some friend of my father’s youth, and tried to attract her attention, but she had no eyes for anything but the stage curtain; and at some house where I met no hostility to myself, a popular novelist snatched out of my hand a copy of The Savoy, and opening it at Beardsley’s drawing, called The Barber, began to expound its bad drawing and wound up with, “Now if you want to admire really great black and white art, admire the Punch Cartoons of Mr Lindley Sambourne,” and our hostess, after making peace between us, said, “O, Mr Yeats, why do you not send your poems to The Spectator instead of to The Savoy.” The answer, “My friends read the Savoy and they do not read The Spectator,” brought a look of deeper disapproval.
Yet, even apart from Beardsley, we were a sufficiently distinguished body: Max Beerbohm, Bernard Shaw, Ernest Dowson, Lionel Johnson, Arthur Symons, Charles Conder, Charles Shannon, Havelock Ellis, Selwyn Image, Joseph Conrad; but nothing counted but the one hated name. I think that had we been challenged we might have argued something after this fashion: – “Science through much ridicule and some persecution has won its right to explore whatever passes before its corporeal eye, and merely because it passes: to set as it were upon an equality the beetle and the whale though Ben Jonson could find no justification for the entomologist in The New Inn, but that he had been crossed in love. Literature now demands the same right of exploration of all that passes before the mind’s eyes, and merely because it passes.” Not a complete defence, for it substitutes a spiritual for a physical objective, but sufficient it may be for the moment, and to settle our place in the historical process.
The critic might well reply that certain of my generation delighted in writing with an unscientific partiality for subjects long forbidden. Yet is it not most important to explore especially what has been long forbidden, and to do this not only “with the highest moral purpose,” like the followers of Ibsen, but gaily, out of sheer mischief, or sheer delight in that play of the mind. Donne could be as metaphysical as he pleased, and yet never seemed unhuman and hysterical as Shelley often does, because he could be as physical as he pleased; and besides who will thirst for the metaphysical, who have a parched tongue, if we cannot recover the Vision of Evil?
I have felt in certain early works of my own which I have long abandoned, and here and there in the work of others of my generation, a slight, sentimental sensuality which is disagreeable, and doesn’t exist in the work of Donne, let us say, because he, being permitted to say what he pleased, was never tempted to linger, or rather to pretend that we can linger, between spirit and sense. How often had I heard men of my time talk of the meeting of spirit and sense, yet there is no meeting but only change upon the instant, and it is by the perception of a change like the sudden “blacking out” of the lights of the stage, that passion creates its most violent sensation.
