Life with a Capital L Page 9
The bride I mate with my body may or may not be the Bride in whom I find my consummation. It may be that, at times, the great female principle does not abide abundantly in woman: that, at certain periods, woman, in the body, is not the supreme representative of the Bride. It may be the Bride is hidden from Man, as the Light, or as the Darkness, which he can never know in the flesh.
It may be, in the same way, that the great male principle is only weakly evidenced in man during certain periods, that the Bridegroom be hidden away from woman, for a century or centuries, and that she can only find Him as the voice, or the Wind. So I think it was with her during the medieval period; that the greatest women of the period knew that the Bridegroom did not exist for them in the body, but as the Christ, the Spirit.
And, in times of the absence of the bridegroom from the body, then woman in the body must either die in the body, or mating in the body, she must mate with the Bridegroom in the Spirit, in a separate marriage. She cannot mate her body with the Spirit, nor mate her spirit with the Body. That is confusion. Let her mate the man in body, and her spirit with the Spirit, in a separate marriage. But let her not try to mate her spirit with the body of the man, that does not mate her Spirit.
The effort to mate spirit with body, body with spirit, is the crying confusion and pain of our times.
Rembrandt made the first effort. But art has developed to a clarity since then. It reached its climax in our own Turner. He did not seek to mate body with spirit. He mated his body easily, he did not deny it. But what he sought was the mating of the Spirit. Ever, he sought the consummation in the Spirit, and he reached it at last. Ever, he sought the Light, to make the light transfuse the body, till the body was carried away, a mere bloodstain, became a ruddy stain of red sunlight within white sunlight. This was perfect consummation in Turner, when, the body gone, the ruddy light meets the crystal light in a perfect fusion, the utter dawn, the utter golden sunset, the extreme of all life, where all is One, One-Being, a perfect glowing Oneness.
Like Raphael, it becomes an abstraction. But this, in Turner, is the abstraction from the spiritual marriage and consummation, the final transcending of all the Law, the achieving of what is to us almost a nullity. If Turner had ever painted his last picture, it would have been a white, incandescent surface, the same whiteness when he finished as when he began, proceeding from nullity to nullity, through all the range of colour.
Turner is perfect. Such a picture as his Norham Castle, Sunrise, where only the faintest shadow of life stains the light, is the last word that can be uttered, before the blazing and timeless silence.
He sought, and he found, perfect marriage in the spirit. It was apart from woman. His Bride was the Light. Or he was the bride himself, and the Light – the Bridegroom. Be that as it may, he became one and consummate with the Light, and gave us the consummate revelation.
Corot, also, nearer to the Latin tradition of utter consummation in the body, made a wonderful marriage in the spirit between light and darkness, just tinctured with life. But he contained more of the two consummations together, the marriage in the body, represented in geometric form, and the marriage in the spirit, represented by shimmering transfusion and infusion of light through darkness.
But Turner is the crisis in this effort: he achieves pure light, pure and singing. In him the consummation is perfect, the perfect marriage in the spirit.
In the body his marriage was other. He never attempted to mingle the two. The marriage in the body, with the woman, was apart from, completed away from the marriage in the Spirit, with the Bride, the Light.
But I cannot look at a later Turner picture without abstracting myself, without denying that I have limbs, knees and thighs and breast. If I look at the Norham Castle, and remember my own knees and my own breast, then the picture is a nothing to me. I must not know. And if I look at Raphael’s Madonna degli Ansidei, I am cut off from my future, from aspiration. The gate is shut upon me, I can go no further. The thought of Turner’s Sunrise becomes magic and fascinating, it gives the lie to this completed symbol. I know I am the other thing as well.
So that, whenever art or any expression becomes perfect, it becomes a lie. For it is only perfect by reason of abstraction from that context by which and in which it exists as truth.
So Turner is a lie, and Raphael is a lie, and the marriage in the spirit is a lie, and the marriage in the body is a lie, each is a lie without the other. Since each excludes the other in these instances, they are both lies. If they were brought together, and reconciled, then there were a jubilee. But where is the Holy Spirit that shall reconcile Raphael and Turner?
There must be marriage of body in body, and of spirit in spirit, and Two-in-One. And the marriage in the body must not deny the marriage in the spirit, for that is blasphemy against the Holy Ghost; and the marriage in the spirit shall not deny the marriage in the body, for that is blasphemy against the Holy Ghost. But the two must be for ever reconciled, even if they must exist on occasions apart one from the other.
For in Botticelli the dual marriage is perfect, or almost perfect, body and spirit reconciled, or almost reconciled, in a perfect dual consummation. And in all art there is testimony to the wonderful dual marriage, the true consummation. But in Raphael, the marriage in the spirit is left out so much that it is almost denied, so that the picture is almost a lie, almost a blasphemy. And in Turner, the marriage in the body is almost denied in the same way, so that his picture is almost a blasphemy. But neither in Raphael nor in Turner is the denial positive: it is only an over-affirmation of the one at the expense of the other.
But in some men, in some small men, like bishops, the denial of marriage in the body is positive and blasphemous, a sin against the Holy Ghost. And in some men, like Prussian army officers, the denial of marriage in the spirit is an equal blasphemy. But which of the two is a greater sinner, working better for the destruction of his fellow-man, that is for the One God to judge.
Whistling of Birds (1917)
The frost held for many weeks, until the birds were dying rapidly. Everywhere in the fields and under the hedges lay the ragged remains of lapwings, starlings, thrushes, redwings, innumerable ragged bloody cloaks of birds, whence the flesh was eaten by invisible beasts of prey.
Then, quite suddenly, one morning, the change came. The wind went to the south, came off the sea warm and soothing. In the afternoon there were little gleams of sunshine, and the doves began, without interval, slowly and awkwardly to coo. The doves were cooing, though with a laboured sound, as if they were still winter-stunned. Nevertheless, all the afternoon they continued their noise, in the mild air before the frost had thawed off the road. At evening the wind blew gently, still gathering a bruising quality of frost from the hard earth. Then, in the yellow-gleamy sunset, wild birds began to whistle faintly in the blackthorn thickets of the stream-bottom.
It was startling and almost frightening after the heavy silence of frost. How could they sing at once, when the ground was thickly strewn with the torn carcasses of birds? Yet out of the evening came the uncertain, silvery sounds that made one’s soul start alert, almost with fear. How could the little silver bugles sound the rally so swiftly, in the soft air, when the earth was yet bound? Yet the birds continued their whistling, rather dimly and brokenly, but throwing the threads of silver, germinating noise into the air.
It was almost a pain to realize, so swiftly, the new world. Le monde est mort. Vive le monde! But the birds omitted even the first part of the announcement, their cry was only a faint, blind, fecund vive!
There is another world. The winter is gone. There is a new world of spring. The voice of the turtle is heard in the land. But the flesh shrinks from so sudden a transition. Surely the call is premature while the clods are still frozen, and the ground is littered with the remains of wings! Yet we have no choice. In the bottoms of impenetrable blackthorn, each evening and morning now, out flickers a whistling of birds.
Where does it come from, the song? After so long
a cruelty, how can they make it up so quickly? But it bubbles through them, they are like little well-heads, little fountain-heads whence the spring trickles and bubbles forth. It is not of their own doing. In their throats the new life distils itself into sound. It is the rising of silvery sap of a new summer, gurgling itself forth.
All the time, whilst the earth lay choked and killed and winter-mortified, the deep undersprings were quiet. They only wait for the ponderous encumbrance of the old order to give way, yield in the thaw, and there they are, a silver realm at once. Under the surge of ruin, unmitigated winter, lies the silver potentiality of all blossom. One day the black tide must spend itself and fade back. Then all-suddenly appears the crocus, hovering triumphant in the rear, and we know the order has changed, there is a new regime, sound of a new vive! vive!
It is no use any more to look at the torn remnants of birds that lie exposed. It is no longer any use remembering the sullen thunder of frost and the intolerable pressure of cold upon us. For whether we will or not, they are gone. The choice is not ours. We may remain wintry and destructive for a little longer, if we wish it, but the winter is gone out of us, and willy-nilly our hearts sing a little at sunset.
Even whilst we stare at the ragged horror of the birds scattered broadcast, part-eaten, the soft, uneven cooing of the pigeon ripples from the outhouses, and there is a faint silver whistling in the bushes come twilight. No matter, we stand and stare at the torn and unsightly ruins of life, we watch the weary, mutilated columns of winter retreating under our eyes. Yet in our ears are the silver vivid bugles of a new creation advancing on us from behind, we hear the rolling of the soft and happy drums of the doves.
We may not choose the world. We have hardly any choice for ourselves. We follow with our eyes the bloody and horrid line of march of extreme winter, as it passes away. But we cannot hold back the spring. We cannot make the birds silent, prevent the bubbling of the wood-pigeons. We cannot stay the fine world of silver-fecund creation from gathering itself and taking place upon us. Whether we will or no, the daphne tree will soon be giving off perfume, the lambs dancing on two feet, the celandines will twinkle all over the ground, there will be a new heaven and new earth.
For it is in us, as well as without us. Those who can may follow the columns of winter in their retreat from the earth. Some of us, we have no choice, the spring is within us, the silver fountain begins to bubble under our breast, there is gladness in spite of ourselves. And on the instant we accept the gladness! The first day of change, out whistles an unusual, interrupted pæan, a fragment that will augment itself imperceptibly. And this in spite of the extreme bitterness of the suffering, in spite of the myriads of torn dead.
Such a long, long winter, and the frost only broke yesterday. Yet it seems, already, we cannot remember it. It is strangely remote, like a far-off darkness. It is as unreal as a dream in the night. This is the morning of reality, when we are ourselves. This is natural and real, the glimmering of a new creation that stirs in us and about us. We know there was winter, long, fearful. We know the earth was strangled and mortified, we know the body of life was torn and scattered broadcast. But what is this retrospective knowledge? It is something extraneous to us, extraneous to this that we are now. And what we are, and what, it seems, we always have been, is this quickening lovely silver plasm of pure creativity. All the mortification and tearing, ah yes, it was upon us, encompassing us. It was like a storm or a mist or a falling from a height. It was estrangled upon us, like bats in our hair, driving us mad. But it was never really our innermost self. Within, we were always apart, we were this, this limpid fountain of silver, then quiescent, rising and breaking now into the flowering.
It is strange, the utter incompatibility of death with life. Whilst there is death, life is not to be found. It is all death, one overwhelming flood. And then a new tide rises, and it is all life, a fountain of silvery blissfulness. It is one or the other. We are for life, or we are for death, one or the other, but never in our essence both at once.
Death takes us, and all is torn redness, passing into darkness. Life rises, and we are faint fine jets of silver running out to blossom. All is incompatible with all. There is the silver-speckled, incandescent-lovely thrush, whistling pipingly his first song in the blackthorn thicket. How is he to be connected with the bloody, feathered unsightliness of the thrush-remnants just outside the bushes? There is no connexion. They are not to be referred the one to the other. Where one is, the other is not. In the kingdom of death the silvery song is not. But where there is life, there is no death. No death whatever, only silvery gladness, perfect, the otherworld.
The blackbird cannot stop his song, neither can the pigeon. It takes place in him, even though all his race was yesterday destroyed. He cannot mourn, or be silent, or adhere to the dead. Of the dead he is not, since life has kept him. The dead must bury their dead. Life has now taken hold on him and tossed him into the new ether of a new firmament, where he bursts into song as if he were combustible. What is the past, those others, now he is tossed clean into the new, across the untranslatable difference?
In his song is heard the first brokenness and uncertainty of the transition. The transit from the grip of death into new being is a death from death, in its sheer metempsychosis a dizzy agony. But only for a second, the moment of trajectory, the passage from one state to the other, from the grip of death to the liberty of newness. In a moment he is a kingdom of wonder, singing at the centre of a new creation.
The bird did not hang back. He did not cling to his death and his dead. There is no death, and the dead have buried their dead. Tossed into the chasm between two worlds, he lifted his wings in dread, and found himself carried on the impulse.
We are lifted to be cast away into the new beginning. Under our hearts the fountain surges, to toss us forth. Who can thwart the impulse that comes upon us? It comes from the unknown upon us, and it behoves us to pass delicately and exquisitely upon the subtle new wind from heaven, conveyed like birds in unreasoning migrations from death to life.
Poetry of the Present (1919)
It seems when we hear a skylark singing as if sound were running into the future, running so fast and utterly without consideration, straight on into futurity. And when we hear a nightingale, we hear the pause and the rich, piercing rhythm of recollection, the perfected past. The lark may sound sad, but with the lovely lapsing sadness that is almost a swoon of hope. The nightingale’s triumph is a pæan, but a death-pæan.
So it is with poetry. Poetry is, as a rule, either the voice of the far future, exquisite and ethereal, or it is the voice of the past, rich, magnificent. When the Greeks heard the Iliad and the Odyssey, they heard their own past calling in their hearts, as men far inland sometimes hear the sea and fall weak with powerful, wonderful regret, nostalgia; or else their own future rippled its time-beats through their blood, as they followed the painful, glamorous progress of the Ithacan. This was Homer to the Greeks: their Past, splendid with battles won and death achieved, and their Future, the magic wandering of Ulysses through the unknown.
With us it is the same. Our birds sing on the horizons. They sing out of the blue, beyond us, or out of the quenched night. They sing at dawn and sunset. Only the poor, shrill, tame canaries whistle while we talk. The wild birds begin before we are awake, or as we drop into dimness, out of waking. Our poets sit by the gateways, some by the east, some by the west. As we arrive and as we go out our hearts surge with response. But whilst we are in the midst of life, we do not hear them.
The poetry of the beginning and the poetry of the end must have that exquisite finality, perfection which belongs to all that is far off. It is in the realm of all that is perfect. It is of the nature of all that is complete and consummate. This completeness, this consummateness, the finality and the perfection are conveyed in exquisite form: the perfect symmetry, the rhythm which returns upon itself like a dance where the hands link and loosen and link for the supreme moment of the end. Perfected bygone moments, pe
rfected moments in the glimmering futurity, these are the treasured gem-like lyrics of Shelley and Keats.
But there is another kind of poetry: the poetry of that which is at hand: the immediate present. In the immediate present there is no perfection, no consummation, nothing finished. The strands are all flying, quivering, intermingling into the web, the waters are shaking the moon. There is no round, consummate moon on the face of running water, nor on the face of the unfinished tide. There are no gems of the living plasm. The living plasm vibrates unspeakably, it inhales the future, it exhales the past, it is the quick of both, and yet it is neither. There is no plasmic finality, nothing crystal, permanent. If we try to fix the living tissue, as the biologists fix it with formation, we have only a hardened bit of the past, the bygone life under our observation.
Life, the ever-present, knows no finality, no finished crystallization. The perfect rose is only a running flame, emerging and flowing off, and never in any sense at rest, static, finished. Herein lies its transcendent loveliness. The whole tide of all life and all time suddenly heaves, and appears before us as an apparition, a revelation. We look at the very white quick of nascent creation. A waterlily heaves herself from the flood, looks around, gleams, and is gone. We have seen the incarnation, the quick of the ever-swirling flood. We have seen the invisible. We have seen, we have touched, we have partaken of the very substance of creative change, creative mutation. If you tell me about the lotus, tell me of nothing changeless or eternal. Tell me of the mystery of the inexhaustible, forever-unfolding creative spark. Tell me of the incarnate disclosure of the flux, mutation in blossom, laughter and decay perfectly open in their transit, nude in their movement before us.
Let me feel the mud and the heavens in my lotus. Let me feel the heavy, silting, sucking mud, the spinning of sky winds. Let me feel them both in purest contact, the nakedness of sucking weight, nakedly passing radiance. Give me nothing fixed, set, static. Don’t give me the infinite or the eternal: nothing of infinity, nothing of eternity. Give me the still, white seething, the incandescence and the coldness of the incarnate moment: the moment, the quick of all change and haste and opposition: the moment, the immediate present, the Now. The immediate moment is not a drop of water running downstream. It is the source and issue, the bubbling up of the stream. Here, in this very instant moment, up bubbles the stream of time, out of the wells of futurity, flowing on to the oceans of the past. The source, the issue, the creative quick.