Visions and Revisions Part 1

Visions and Revisions.

by John Cowper Powys.

PREFACE

What I aim at in this book is little more than to give complete reflection to those great figures in Literature which have so long obsessed me. This poor reflection of them pa.s.ses, as they pa.s.s, image by image, eidolon by eidolon, in the flowing stream of my own consciousness.

Most books of critical essays take upon themselves, in unpardonable effrontery, to weigh and judge, from their own petty suburban pedestal, the great Shadows they review. It is an insolence! How should Professor This, or Doctor That, whose furthest experiences of "dangerous living" have been squalid philanderings with their neighbours' wives, bring an Ethical Synthesis to bear that shall put Shakespeare and Hardy, Milton and Rabelais, into appropriate niches?

Every critic has a right to his own Aesthetic Principles, to his own Ethical Convictions; but when it comes to applying these, in tiresome, pedantic agitation, to Edgar Allen Poe and Charles Lamb, we must beg leave to cry off! What we want is not the formulating of new Critical Standards, and the dragging in of the great masters before our last miserable Theory of Art. What we want is an honest, downright and quite _personal_ articulation, as to how these great things in literature really hit us when they find us for the moment natural and off our guard--when they find us as men and women, and not as ethical gramaphones.

My own object in these sketches is not to convert the reader to whatever "opinions" I may have formulated in the course of my spiritual adventures; it is to divest myself of such "opinions," and in pure, pa.s.sionate humility to give myself up, absolutely and completely, to the various visions and temperaments of these great dead artists.

There is an absurd notion going about, among those half-educated people who frequent Ethical Platforms, that Literary Criticism must be "constructive." O that word "constructive"! How, in the name of the mystery of genius, can criticism be anything else than an idolatry, a wors.h.i.+p, a metamorphosis, a love affair! The pathetic mistake these people make is to fancy that the great artists only lived and wrote in order to b.u.t.tress up such poor wretches as these are upon the particular little, thin, cardboard platform which is at present their moral security and refuge.

No one has a right to be a critic whose mind cannot, with Protean receptivity, take first one form and then another, as the great Spells, one by one, are thrown and withdrawn.

Who wants to know what Professor So-and-so's view of Life may be?

We want to use Professor So-and-so as a Mirror, as a Medium, as a Go-Between, as a Sensitive Plate, so that we may once more get the thrill of contact with this or that dead Spirit. He must keep his temperament, our Critic; his peculiar angle of receptivity, his capacity for personal reaction. But it is the reaction of his own natural nerves that we require, not the pallid, second-hand reaction of his tedious, formulated opinions. Why cannot he see that, as a natural man, physiologically, nervously, temperamentally, pathologically _different_ from other men, he is an interesting spectacle, as he comes under the influence first of one great artist and then another, while as a silly, little, preaching school-master, he is only a blot upon the world-mirror!

It is thus that I, moi qui vous parle, claim my humble and modest role. If, in my reaction from Rabelais, for instance, I find myself responding to his huge laughter at "love" and other things, and a moment later, in my reaction from Thomas Hardy, feeling as if "love" and the rest were the only important matters in the Universe; this psychological variability, itself of interest as a curious human phenomenon, has made it possible to get the "reflections," each absolute in its way, of the two great artists as they advance and recede.

If I had tried to dilute and prune and "correct" the one, so as to make it "fit in" with the other, in some stiff, ethical theory of my own, where would be the interest for the reader? Besides, who am I to "improve" upon Rabelais?

It is because so many of us are so limited in our capacity for "variable reaction" that there are so few good critics. But we are all, I think, more multiple-souled than we care to admit. It is our foolish pride of consistency, our absurd desire to be "constructive," that makes us so dull. A critic need not necessarily approach the world from the "pluralistic" angle; but there must be something of such "pluralism" in his natural temper, or the writers he can respond to will be very few!

Let it be quite plainly understood. It is impossible to respond to a great genius halfway. It is a case of all or nothing. If you lack the courage, or the variability, to _go all the way_ with very different masters, and to let your constructive consistency take care of itself, you may become, perhaps, an admirable moralist; you will never be a clairvoyant critic. All this having been admitted, it still remains that one has a right to draw out from the great writers one loves certain universal aesthetic tests, with which to discriminate between modern productions.

But even such tests are personal and relative. They are not to be foisted on one's readers as anything "ex cathedra." One such test is the test of what has been called "the grand style"--that grand style against which, as Arnold says, the peculiar vulgarity of our race beats in vain! I do not suppose I shall be accused of perverting my devotion to the "grand style" into an academic "narrow way,"

through which I would force every writer I approach. Some most winning and irresistible artists never come near it.

And yet--what a thing it is! And with what relief do we return to it, after the "wallowings" and "rhapsodies," the agitations and prost.i.tutions, of those who have it not!

It is--one must recognize that--the thing, and the only thing, that, in the long run, _appeals._ It is because of the absence of it that one can read so few modern writers _twice!_ They have flexibility, originality, cleverness, insight--but they lack _distinction_--they fatally lack distinction.

And what are the elements, the qualities, that go to make up this "grand style"?

Let me first approach the matter negatively. There are certain things that _cannot_--because of something essentially ephemeral in them--be dealt with in the grand style.

Such are, for instance, our modern controversies about the problem of s.e.x. We may be Feminists or Anti-Feminists--what you will--and we may be able to throw interesting light on these complicated relations, but we cannot write of them, either in prose or poetry, in the grand style, because the whole discussion is ephemeral; because, with all its gravity, it is irrelevant to the things that ultimately matter!

Such, to take another example, are our elaborate arguments about the interpretation, ethical or otherwise, of Christian Doctrine. We can be very entertaining, very moral, very eloquent, very subtle, in this particular sphere; but we cannot deal with it in the "great style,"

because the permanent issues that really count lie out of reach of such discussion and remain unaffected by it.

Let me make myself quite clear. Hector and Andromache can talk to one another of their love, of their eternal parting, of their child, and they can do this in the great style; but if they fell into dispute over the particular s.e.x conventions that existed in their age, they might be attractive still, but they would not be uttering words in the "great style."

Matthew Arnold may argue eloquently about the true modernistic interpretation of the word "Elohim," and very cleverly and wittily give his reasons for translating it "the Eternal" or "the s.h.i.+ning One"; but into what a different atmosphere we are immediately transported when, in the midst of such discussion, the actual words of the Psalmist return to our mind: "My soul is athirst for G.o.d--yea! even for the living G.o.d! When shall I come to appear before the presence of G.o.d?"

The test is always that of Permanence, and of immemorial human a.s.sociation. It is, at bottom, nothing but human a.s.sociation that makes the great style what it is. Things that have, for centuries upon centuries, been a.s.sociated with human pleasures, human sorrows, and the great recurrent dramatic moments of our lives, can be expressed in this style; and only such things. The great style is a sort of organic, self-evolving work of art, to which the innumerable units of the great human family have all put their hands. That is why so large a portion of what is written in the great style is anonymous--like Homer and much of the Bible and certain old ballads and songs.

It is for this reason that Walter Pater is right when he says that the important thing in Religion is the Ceremony, the Litany, the Ritual, the Liturgical Chants, and not the Creeds or the Commandments, or discussion upon Creed or Commandment. Creeds change, Morality changes, Mysticism changes, Philosophy changes--but the Word of our G.o.d--the Word of Humanity--in gesture, in ritual, in the heart's natural crying--abideth forever!

Why do the eloquent arguments of an ethical orator, explaining to us our social duties, go a certain way and never go further, whereas we have only to hear that long-drawn _Vox Humana,_ old as the world--older certainly than any creed--"Santa Maria, Mater Dei, ora pro n.o.bis peccatoribus, nunc et in hora mortis nostrae"--and we are struck, disarmed, pierced to the marrow, smitten to the bone, shot through, "Tutto tremente?" Because arguments and reasoning; because morality and logic, are not of the nature of the "great style,"

while the cry--"save us from eternal death!"--addressed by the pa.s.sion and remorse and despair of our human heart to the unhearing Universe, takes that great form as naturally as a man breathes.

Why, of all the religious books in the world, have "the Psalms of David," whether in Hebrew or Latin or English, touched men's souls and melted and consoled them? They are not philosophical. They are not logical. They are not argumentative. They are not moral. And yet they break our hearts with their beauty and their appeal!

It is the same with certain well-known _words._ Is it understood, for instance, why the word "Sword" is always poetical and in "the grand style," while the word "Zeppelin" or "Submarine" or "Gatling gun"

or "Howitzer" can only be introduced by Free Versifiers, who let the "grand style" go to the Devil? The word "Sword" like the word "Plough," has gathered about it the human a.s.sociations of innumerable centuries, and it is impossible to utter it without feeling something of their pressure and their strain. The very existence of the "grand style" is a protest against any false views of "progress"

and "evolution." Man may alleviate his lot in a thousand directions; he may build up one Utopia after another; but the grand style will still remain; will remain as the ultimate expression of those aspects of his life that _cannot change_--while he remains Man.

If there is any unity in these essays, it will be found in a blurred and stammered attempt to indicate how far it may be possible, in spite of the limitations of our ordinary nature, to live in the light of the "grand style." I do not mean that we--the far-off wors.h.i.+ppers of these great ones--can live _as they thought and felt._ But I mean that we can live in the atmosphere, the temper, the mood, the att.i.tude towards things, which "the grand style" they use evokes and sustains.

I want to make this clear. There are a certain number of solitary spirits moving among us who have a way of troubling us by their aloofness from our controversies, our disputes, our arguments, our "great problems." We call them Epicures, Pagans, Heathen, Egoists, Hedonists, and Virtuosos. And yet not one of these words exactly fits them. What they are really doing is living in the atmosphere and the temper of "the grand style"--and that is why they are so irritating and provocative! To them the most important thing in the world is to realize to the fullest limit of their consciousness what it means to be born a Man. The actual drama of our mortal existence, reduced to the simplest terms, is enough to occupy their consciousness and their pa.s.sion. In this sphere--in the sphere of the "inevitable things" of human life--everything becomes to them a sacrament. Not a symbol--be it noted--but a Sacrament! The food they eat; the wine they drink; their waking and sleeping; the hesitancies and reluctances of their devotions; the swift anger of their recoils and retreats; their long loyalties; their savage reversions; their sudden "las.h.i.+ngs out"; their hate and their love and their affection; the simplicities of these everlasting moods are in all of us--become, every one of them, matters of sacramental efficiency. To regard each day, as it dawns, as a "last day," and to make of its sunrise, of its noon, of its sun-setting, a rhythmic antiphony to the eternal G.o.ds--this is to live in the spirit of the "grand style." It has nothing to do with "right" or "wrong." Saints may practise it, and sometimes do. Sinners often practise it. The whole thing consists in growing vividly conscious of those moods and events which are permanent and human, as compared with those other moods and events which are transitory and unimportant.

When a man or woman experiences desire, l.u.s.t, hate, jealousy, devotion, admiration, pa.s.sion, they are victims of the eternal forces, that can speak, if they will, in "the great style." When a man or woman "argues" or "explains" or "moralizes" or "preaches," they are the victims of accidental dust-storms, which rise from futility and return to vanity. That is why Rhetoric, as Rhetoric, can never be in the great style. That is why certain great revolutionary Anarchists, those who have the genius to express in words their heroic defiance of "the something rotten in Denmark," move us more, and a.s.sume a grander outline, than the equally admirable, and possibly more practical, arguments of the Scientific Socialists. It is the eternal appeal we want, to what is basic and primitive and undying in our tempestuous human nature!

The grand style announces and commands. It weeps and it pleads. It utters oracles and it wrestles with angels. It never apologizes; it never rationalizes; and it never explains. That is why the great ineffable pa.s.sages in the supreme masters take us by the throat and strike us dumb. Deep calls unto deep in them, and our heart listens and is silent. To do good scientific thinking in the cause of humanity has its well-earned reward; but the G.o.ds throw incense on a different temper. The "fine issues" that reach them, in their remoteness and their disdain, are the "fine issues" of an antagonist worthy of their own swift wrath, their own swift vengeance, and their own swift love.

The ultimate drama of the world, a drama never-ending, lies between the children of Zeus and the children of Prometheus; between the hosts of Jehovah and the Sons of the Morning. G.o.d and Lucifer still divide the stage, and in Homer, Shakespeare, Dante, Milton, and Goethe the great style is never more the great style than when it brings these eternal Antagonists face to face, and compels them to cross swords. What matter if, in reality, they have their kingdoms in the heart of man rather than the Empyrean or Tartarus?

The heart of man, in its unchangeable character, must ever remain the true Coliseum of the world, where the only interesting, the only dramatic, the only beautiful, the only cla.s.sical things are born and turned into music.

Beauty! That is what we all, even the grossest of us, in our heart of hearts are seeking. l.u.s.t seeks it; Love creates it; the miracle of Faith finds it--but nothing less, neither truth nor wisdom nor morality nor knowledge, neither progress nor reaction, can quench the thirst we feel.

Yes, it is Beauty we crave, and yet, how often, in the strain and stress of life, it seems as though this strange impossible Presence, rising thus, like that figure in the Picture, "beside the waters" of the fate that carries us, were too remote, too high and translunar, to afford us the aid we need. Heine tells us somewhere, how, driven by the roar of street-fighting, into the calm cool galleries of the Louvre, sick and exhausted in mind and body, he fell down at the feet of the G.o.ddess of Beauty there, standing, as she still stands, at the end of that corridor of mute witnesses, and as he looked to her for help, he knew that she could never bend down to him, or lift him up out of his weariness, for they had broken her long ago, and _she had no arms!_

Alas! It is true enough that there are moments, when, under the pressure of the engines of fate, we can only salute her--the immortal one--afar off. But if we have the courage, the obstinacy, the endurance, to wait--even a short while longer--she will be near us again; and the old magical spell, transforming the world, will thrill through us like the breath of spring!

Why should we attempt to deceive ourselves? We cannot always live with those liberating airs blowing upon our foreheads. We have to bear the burden of the unillumined hours, even as our fathers before us, and our children after us. Enough if we keep our souls so prepared that when the touch, the glimpse, the word, the gesture, that carries with it the thrilling revelation of the "grand manner", returns to us in its appointed hour, it shall find us not unworthy of our inheritance.

RABELAIS

There are certain great writers who make their critics feel even as children, who picking up stray wreckage and broken sh.e.l.ls from the edge of the sea waves, return home to show their companions "what the sea is like."

The huge suggestiveness of this tremendous spirit is not easy to communicate in the s.p.a.ce of a little essay.

But something can be done, if it only take the form of modest "advice to the reader."

Is it a pity, one asks oneself, or is it a profound advantage, that enjoyment of Rabelais should be so limited? At least there are no false versions to demolish here--no idealizations to unmask.

The reading of Rabelais is not easy to everyone, and perhaps to those for whom it is least easy, he would be most medicinal. What in this mad world, do we lack, my dear friends? Is it possibly _courage?_ Well, Rabelais is, of all writers, the one best able to give us that courage. If only we had courage, how the great tides of existence might sweep us along--and we not whine or wince at all!

To read Rabelais is to gather, as if from the earth-G.o.ds, spirit to endure anything. Naturally he uses wine, and every kind of wanton liquor, to serve as symbols of the intoxication he would produce. For we must be "rendered drunk" to swallow Life at this rate--to swallow it as the G.o.ds swallow it. We must be drunk but not mad.

For in the spiritual drunkenness that Rabelais produces there is not the remotest touch of insanity. He is the sanest of all the great writers; perhaps the only sane one. What he has the power of communicating to us is a renewal of that _physiological energy,_ which alone makes it possible to enjoy this monstrous world. Other writers interpret things, or warn us against things. Rabelais takes us by the hand, shows us the cup of life, deep as eternity, and bids us drink and be satisfied. What else could he use, if not _wine,_ as a symbol for such quenching of such thirst. And after wine, s.e.x. There is no other who treats s.e.x as Rabelais does; who treats it so completely as it _ought_ to be treated!

Walt Whitman is too obsessed by it; too grave over it--Rabelais enjoys it, fools with it, plunges into it, wallows in it; and then, with mult.i.tudinous laughter, shakes himself free, and bids it go to the Devil!