The Cutting of an Agate Part 3

Sometimes, it may be, he is permitted the license of cap and bell, or even the madman's bunch of straws, but he never forgets or leaves at home the seal and the signature. He has at all times the freedom of the well-bred, and being bred to the tact of words can take what theme he pleases, unlike the linen drapers, who are rightly compelled to be very strict in their conversation. Who should be free if he were not? for none other has a continual deliberate self-delighting happiness--style, 'the only thing that is immortal in literature,' as Sainte-Beuve has said, a still unexpended energy, after all that the argument or the story need, a still unbroken pleasure after the immediate end has been accomplished--and builds this up into a most personal and wilful fire, transfiguring words and sounds and events. It is the playing of strength when the day's work is done, a secret between a craftsman and his craft, and is so inseparate in his nature, that he has it most of all amid overwhelming emotion, and in the face of death. Shakespeare's persons, when the last darkness has gathered about them, speak out of an ecstasy that is one half the self-surrender of sorrow, and one half the last playing and mockery of the victorious sword, before the defeated world.

It is in the arrangement of events as in the words, and in that touch of extravagance, of irony, of surprise, which is set there after the desire of logic has been satisfied and all that is merely necessary established, and that leaves one, not in the circling necessity, but caught up into the freedom of self-delight: it is, as it were, the foam upon the cup, the long pheasant's feather on the horse's head, the spread peac.o.c.k over the pasty. If it be very conscious, very deliberate, as it may be in comedy, for comedy is more personal than tragedy, we call it phantasy, perhaps even mischievous phantasy, recognising how disturbing it is to all that drag a ball at the ankle. This joy, because it must be always making and mastering, remains in the hands and in the tongue of the artist, but with his eyes he enters upon a submissive, sorrowful contemplation of the great irremediable things, and he is known from other men by making all he handles like himself, and yet by the unlikeness to himself of all that comes before him in a pure contemplation. It may have been his enemy or his love or his cause that set him dreaming, and certainly the phoenix can but open her young wings in a flaming nest; but all hate and hope vanishes in the dream, and if his mistress brag of the song or his enemy fear it, it is not that either has its praise or blame, but that the twigs of the holy nest are not easily set afire. The verses may make his mistress famous as Helen or give a victory to his cause, not because he has been either's servant, but because men delight to honour and to remember all that have served contemplation. It had been easier to fight, to die even, for Charles's house with Marvel's poem in the memory, but there is no zeal of service that had not been an impurity in the pure soil where the marvel grew. Timon of Athens contemplates his own end, and orders his tomb by the beachy margent of the flood, and Cleopatra sets the asp to her bosom, and their words move us because their sorrow is not their own at tomb or asp, but for all men's fate. That shaping joy has kept the sorrow pure, as it had kept it were the emotion love or hate, for the n.o.bleness of the Arts is in the mingling of contraries, the extremity of sorrow, the extremity of joy, perfection of personality, the perfection of its surrender, overflowing turbulent energy, and marmorean stillness; and its red rose opens at the meeting of the two beams of the cross, and at the trysting-place of mortal and immortal, time and eternity. No new man has ever plucked that rose, or found that trysting-place, for he could but come to the understanding of himself, to the mastery of unlocking words after long frequenting of the great Masters, hardly without ancestral memory of the like. Even knowledge is not enough, for the 'recklessness' Castiglione thought necessary in good manners is necessary in this likewise, and if a man has it not he will be gloomy, and had better to his marketing again.

IV

When I saw John O'Leary first, every young catholic man who had intellectual ambition fed his imagination with the poetry of Young Ireland; and the verses of even the least known of its poets were expounded with a devout ardour at Young Ireland Societies and the like, and their birthdays celebrated. The School of writers I belonged to tried to found itself on much of the subject-matter of this poetry, and, what was almost more in our thoughts, to begin a more imaginative tradition in Irish literature, by a criticism at once remorseless and enthusiastic. It was our criticism, I think, that set Clarence Mangan at the head of the Young Ireland poets in the place of Davis, and put Sir Samuel Ferguson, who had died with but little fame as a poet, next in the succession. Our attacks, mine especially, on verse which owed its position to its moral or political worth, roused a resentment which even I find it hard to imagine to-day, and our verse was attacked in return, and not for anything peculiar to ourselves, but for all that it had in common with the accepted poetry of the world, and most of all for its lack of rhetoric, its refusal to preach a doctrine or to consider the seeming necessities of a cause. Now, after so many years, I can see how natural, how poetical, even, an opposition was, that shows what large numbers could not call up certain high feelings without accustomed verses, or believe we had not wronged the feeling when we did but attack the verses. I have just read in a newspaper that Sir Charles Gavan Duffy recited upon his death bed his favourite poem, one of the worst of the patriotic poems of Young Ireland, and it has brought all this to mind, for the opposition to our School claimed him as its leader. When I was at Siena, I noticed that the Byzantine style persisted in faces of Madonnas for several generations after it had given way to a more natural style, in the less loved faces of saints and martyrs. Pa.s.sion had grown accustomed to those sloping and narrow eyes, which are almost j.a.panese, and to those gaunt cheeks, and would have thought it sacrilege to change. We would not, it is likely, have found listeners if John O'Leary, the irreproachable patriot, had not supported us. It was as clear to him that a writer must not write badly, or ignore the examples of the great masters in the fancied or real service of a cause, as it was that he must not lie for it or grow hysterical. I believed in those days that a new intellectual life would begin, like that of Young Ireland, but more profound and personal, and that could we but get a few plain principles accepted, new poets and writers of prose would make an immortal music. I think I was more blind than Johnson, though I judge this from his poems rather than anything I remember of his talk, for he never talked ideas, but, as was common with his generation in Oxford, facts and immediate impressions from life. With others this renunciation was but a pose, a superficial reaction from the disordered abundance of the middle century, but with him it was the radical life. He was in all a traditionalist, gathering out of the past phrases, moods, att.i.tudes, and disliking ideas less for their uncertainty than because they made the mind itself changing and restless. He measured the Irish tradition by another greater than itself, and was quick to feel any falling asunder of the two, yet at many moments they seemed but one in his imagination. Ireland, all through his poem of that name, speaks to him with the voice of the great poets, and in _Ireland Dead_ she is still mother of perfect heroism, but there doubt comes too.

Can it be they do repent That they went, thy chivalry, Those sad ways magnificent?

And in _Ways of War_, dedicated to John O'Leary, he dismissed the belief in an heroic Ireland as but a dream.

A dream! a dream! an ancient dream!

Yet ere peace come to Innisfail, Some weapons on some field must gleam, Some burning glory fire the Gael.

That field may lie beneath the sun, Fair for the treading of an host: That field in realms of thought be won, And armed hands do their uttermost:

Some way, to faithful Innisfail, Shall come the majesty and awe Of martial truth, that must prevail To lay on all the eternal law.

I do not think either of us saw that, as belief in the possibility of armed insurrection withered, the old romantic nationalism would wither too, and that the young would become less ready to find pleasure in whatever they believed to be literature. Poetical tragedy, and indeed all the more intense forms of literature, had lost their hold on the general ma.s.s of men in other countries as life grew safe, and the sense of comedy which is the social bond in times of peace as tragic feeling is in times of war, had become the inspiration of popular art. I always knew this, but I believed that the memory of danger, and the reality of it seemed near enough sometimes, would last long enough to give Ireland her imaginative opportunity. I could not foresee that a new cla.s.s, which had begun to rise into power under the shadow of Parnell, would change the nature of the Irish movement, which, needing no longer great sacrifices, nor bringing any great risk to individuals, could do without exceptional men, and those activities of the mind that are founded on the exceptional moment.[4] John O'Leary had spent much of his thought in an unavailing war with the agrarian party, believing it the root of change, but the fox that crept into the badger's hole did not come from there. Power pa.s.sed to small shop-keepers, to clerks, to that very cla.s.s who had seemed to John O'Leary so ready to bend to the power of others, to men who had risen above the traditions of the countryman, without learning those of cultivated life or even educating themselves, and who because of their poverty, their ignorance, their superst.i.tious piety, are much subject to all kinds of fear. Immediate victory, immediate utility, became everything, and the conviction, which is in all who have run great risks for a cause's sake, in the O'Learys and Mazzinis as in all rich natures, that life is greater than the cause, withered, and we artists, who are the servants not of any cause but of mere naked life, and above all of that life in its n.o.bler forms, where joy and sorrow are one, Artificers of the Great Moment, became as elsewhere in Europe protesting individual voices. Ireland's great moment had pa.s.sed, and she had filled no roomy vessels with strong sweet wine, where we have filled our porcelain jars against the coming winter.

August, 1907.

PREFACE TO THE FIRST EDITION OF JOHN M. SYNGE'S POEMS AND TRANSLATIONS

'The Lonely returns to the Lonely, the Divine to the Divinity.'

--_Proclus_

I

While this work was pa.s.sing through the press Mr. J. M. Synge died. Upon the morning of his death one friend of his and mine, though away in the country, felt the burden of some heavy event, without understanding where or for whom it was to happen; but upon the same morning one of my sisters said, 'I think Mr. Synge will recover, for last night I dreamed of an ancient galley labouring in a storm and he was in the galley, and suddenly I saw it run into bright sunlight and smooth sea, and I heard the keel grate upon the sand.' The misfortune was for the living certainly, that must work on, perhaps in vain, to magnify the minds and hearts of our young men, and not for the dead that, having cast off the ailing body, is now, as I believe, all pa.s.sionate and fiery, an heroical thing. Our Daimon is as dumb as was that of Socrates, when they brought in the hemlock; and if we speak among ourselves, it is of the thoughts that have no savour because we cannot hear his laughter, of the work more difficult because of the strength he has taken with him, of the astringent joy and hardness that was in all he did, and of his fame in the world.

II

In his Preface he speaks of these poems as having been written during the last sixteen or seventeen years, though the greater number were written very recently, and many during his last illness. _An Epitaph_ and _On an Anniversary_ show how early the expectation of death came to him, for they were made long ago. But the book as a whole is a farewell, written when life began to slip from him. He was a reserved man, and wished no doubt by a vague date to hide when still living what he felt and thought, from those about him. I asked one of the nurses in the hospital where he died if he knew he was dying, and she said, 'He may have known it for months, but he would not have spoken of it to anyone.'

Even the translations of poems that he has made his own by putting them into that melancholy dialect of his, seem to express his emotion at the memory of poverty and the approach of death. The whole book is of a kind almost unknown in a time when lyricism has become abstract and impersonal.

III

Now and then in history some man will speak a few simple sentences which never die, because his life gives them energy and meaning. They affect us as do the last words of Shakespeare's people that gather up into themselves the energy of elaborate events, and they in their turn put strange meaning into half-forgotten things and accidents, like cries that reveal the combatants in some dim battle. Often a score of words will be enough, as when we repeat to ourselves, 'I am a servant of the Lord G.o.d of War and I understand the lovely art of the Muses,' all that remains of a once famous Greek poet and sea rover. And is not that epitaph Swift made in Latin for his own tomb more immortal than his pamphlets, perhaps than his great allegory? 'He has gone where fierce indignation will lacerate his heart no more.' I think this book too has certain sentences, fierce or beautiful or melancholy that will be remembered in our history, having behind their pa.s.sion his quarrel with ignorance, and those pa.s.sionate events, his books.

But for the violent nature that strikes brief fire in _A Question_, hidden though it was under much courtesy and silence, his genius had never borne those lion cubs of his. He could not have loved had he not hated, nor honoured had he not scorned; though his hatred and his scorn moved him but seldom, as I think, for his whole nature was lifted up into a vision of the world, where hatred played with the grotesque and love became an ecstatic contemplation of n.o.ble life.

He once said to me, 'We must unite asceticism, stoicism, ecstasy; two of these have often come together, but not all three:' and the strength that made him delight in setting the hard virtues by the soft, the bitter by the sweet, salt by mercury, the stone by the elixir, gave him a hunger for harsh facts, for ugly surprising things, for all that defies our hope. In _The Pa.s.sing of the Shee_ he is repelled by the contemplation of a beauty too far from life to appease his mood; and in his own work, benign images ever present to his soul must have beside them malignant reality, and the greater the brightness, the greater must the darkness be. Though like 'Usheen after the Fenians' he remembers his master and his friends, he cannot put from his mind coughing and old age and the sound of the bells. The old woman in _The Riders to the Sea_, in mourning for her six fine sons, mourns for the pa.s.sing of all beauty and strength, while the drunken woman of _The Tinker's Wedding_ is but the more drunken and the more thieving because she can remember great queens. And what is it but desire of ardent life, like that of Usheen for his 'golden salmon of the sea, cleen hawk of the air,' that makes the young girls of _The Playboy of the Western World_ prefer to any peaceful man their eyes have looked upon, a seeming murderer? Person after person in these laughing, sorrowful, heroic plays is, 'the like of the little children do be listening to the stories of an old woman, and do be dreaming after in the dark night it's in grand houses of gold they are, with speckled horses to ride, and do be waking again in a short while and they destroyed with the cold, and the thatch dripping, maybe, and the starved a.s.s braying in the yard.'

IV

It was only at the last in his unfinished _Deirdre of the Sorrows_ that his mood changed. He knew some twelve months ago that he was dying, though he told no one about it but his betrothed, and he gave all his thought to this play, that he might finish it. Sometimes he would despond and say that he could not; and then his betrothed would act it for him in his sick room, and give him heart to write again. And now by a strange chance, for he began the play before the last failing of his health, his persons awake to no disillusionment but to death only, and as if his soul already thirsted for the fiery fountains there is nothing grotesque, but beauty only.

V

He was a solitary, undemonstrative man, never asking pity, nor complaining, nor seeking sympathy but in this book's momentary cries: all folded up in brooding intellect, knowing nothing of new books and newspapers, reading the great masters alone; and he was but the more hated because he gave his country what it needed, an unmoved mind where there is a perpetual last day, a trumpeting, and coming up to judgment.

April 4, 1909.

J. M. SYNGE AND THE IRELAND OF HIS TIME

I

On Sat.u.r.day, January 26th, 1907, I was lecturing in Aberdeen, and when my lecture was over I was given a telegram which said, 'Play great success.' It had been sent from Dublin after the second act of _The Playboy of the Western World_, then being performed for the first time.

After one in the morning, my host brought to my bedroom this second telegram, 'Audience broke up in disorder at the word shift.' I knew no more until I got the Dublin papers on my way from Belfast to Dublin on Tuesday morning. On the Monday night no word of the play had been heard.

About forty young men had sat on the front seats of the pit, and stamped and shouted and blown trumpets from the rise to the fall of the curtain.

On the Tuesday night also the forty young men were there. They wished to silence what they considered a slander upon Ireland's womanhood. Irish women would never sleep under the same roof with a young man without a chaperon, nor admire a murderer, nor use a word like 'shift'; nor could anyone recognise the countrymen and women of Davis and Kickham in these poetical, violent, grotesque persons, who used the name of G.o.d so freely, and spoke of all things that hit their fancy.

A patriotic journalism which had seen in Synge's capricious imagination the enemy of all it would have young men believe, had for years prepared for this hour, by that which is at once the greatest and most ign.o.ble power of journalism, the art of repeating a name again and again with some ridiculous or evil a.s.sociation. The preparation had begun after the first performance of _The Shadow of the Glen_, Synge's first play, with an a.s.sertion made in ignorance but repeated in dishonesty, that he had taken his fable and his characters, not from his own mind nor that profound knowledge of cot and curragh he was admitted to possess, but 'from a writer of the Roman decadence.' Some spontaneous dislike had been but natural, for genius like his can but slowly, amid what it has of harsh and strange, set forth the n.o.bility of its beauty, and the depth of its compa.s.sion; but the frenzy that would have silenced his master-work was, like most violent things artificial, the defence of virtue by those that have but little, which is the pomp and gallantry of journalism and its right to govern the world.

As I stood there watching, knowing well that I saw the dissolution of a school of patriotism that held sway over my youth, Synge came and stood beside me, and said, 'A young doctor has just told me that he can hardly keep himself from jumping on to a seat, and pointing out in that howling mob those whom he is treating for venereal disease.'

II

Thomas Davis, whose life had the moral simplicity which can give to actions the lasting influence that style alone can give to words, had understood that a country which has no national inst.i.tutions must show its young men images for the affections, although they be but diagrams of what it should be or may be. He and his school imagined the Soldier, the Orator, the Patriot, the Poet, the Chieftain, and above all the Peasant; and these, as celebrated in essay and songs and stories, possessed so many virtues that no matter how England, who, as Mitch.e.l.l said, 'had the ear of the world,' might slander us, Ireland, even though she could not come at the world's other ear, might go her way unabashed.

But ideas and images which have to be understood and loved by large numbers of people, must appeal to no rich personal experience, no patience of study, no delicacy of sense; and if at rare moments some _Memory of the Dead_ can take its strength from one; at all other moments manner and matter will be rhetorical, conventional, sentimental; and language, because it is carried beyond life perpetually, will be as wasted as the thought, with unmeaning pedantries and silences, and a dread of all that has salt and savour. After a while, in a land that has given itself to agitation over-much, abstract thoughts are raised up between men's minds and Nature, who never does the same thing twice, or makes one man like another, till minds, whose patriotism is perhaps great enough to carry them to the scaffold, cry down natural impulse with the morbid persistence of minds unsettled by some fixed idea. They are preoccupied with the nation's future, with heroes, poets, soldiers, painters, armies, fleets, but only as these things are understood by a child in a national school, while a secret feeling that what is so unreal needs continual defence makes them bitter and restless. They are like some state which has only paper money, and seeks by punishments to make it buy whatever gold can buy. They no longer love, for only life is loved, and at last, a generation is like an hysterical woman who will make unmeasured accusations and believe impossible things, because of some logical deduction from a solitary thought which has turned a portion of her mind to stone.

III

Even if what one defends be true, an att.i.tude of defence, a continual apology, whatever the cause, makes the mind barren because it kills intellectual innocence; that delight in what is unforeseen, and in the mere spectacle of the world, the mere drifting hither and thither that must come before all true thought and emotion. A zealous Irishman, especially if he lives much out of Ireland, spends his time in a never-ending argument about Oliver Cromwell, the Danes, the penal laws, the rebellion of 1798, the famine, the Irish peasant, and ends by subst.i.tuting a traditional casuistry for a country; and if he be a Catholic, yet another casuistry that has professors, schoolmasters, letter-writing priests and the authors of manuals to make the meshes fine, comes between him and English literature, subst.i.tuting arguments and hesitations for the excitement at the first reading of the great poets which should be a sort of violent imaginative p.u.b.erty. His hesitations and arguments may have been right, the Catholic philosophy may be more profound than Milton's morality, or Sh.e.l.ley's vehement vision; but none the less do we lose life by losing that recklessness Castiglione thought necessary even in good manners, and offend our Lady Truth, who would never, had she desired an anxious courtship, have digged a well to be her parlour.

I admired, though we were always quarrelling, J. F. Taylor, the orator, who died just before the first controversy over these plays. It often seemed to me that when he spoke Ireland herself had spoken, one got that sense of surprise that comes when a man has said what is unforeseen because it is far from the common thought, and yet obvious because when it has been spoken, the gate of the mind seems suddenly to roll back and reveal forgotten sights and let loose lost pa.s.sions. I have never heard him speak except in some Irish literary or political society, but there at any rate, as in conversation, I found a man whose life was a ceaseless reverie over the religious and political history of Ireland.

He saw himself pleading for his country before an invisible jury, perhaps of the great dead, against traitors at home and enemies abroad, and a sort of frenzy in his voice and the moral elevation of his thoughts gave him for the moment style and music. One asked oneself again and again, 'Why is not this man an artist, a man of genius, a creator of some kind?' The other day under the influence of memory, I read through his one book, a life of Owen Roe O'Neill, and found there no sentence detachable from its context because of wisdom or beauty.

Everything was argued from a premise; and wisdom and style, whether in life or letters, come from the presence of what is self-evident, from that which requires but statement, from what Blake called 'naked beauty displayed.' The sense of what was unforeseen and obvious, the rolling backward of the gates, had gone with the living voice, with the n.o.bility of will that made one understand what he saw and felt in what was now but argument and logic. I found myself in the presence of a mind like some noisy and powerful machine, of thought that was no part of wisdom but the apologetic of a moment, a woven thing, no intricacy of leaf and twig, of words with no more of salt and of savour than those of a Jesuit professor of literature, or of any other who does not know that there is no lasting writing which does not define the quality, or carry the substance of some pleasure. How can one, if one's mind be full of abstractions and images created not for their own sake but for the sake of party, even if there were still the need, make pictures for the mind's eye and sounds that delight the ear, or discover thoughts that tighten the muscles, or quiver and tingle in the flesh, and so stand like St. Michael with the trumpet that calls the body to resurrection?

IV