The Trembling of the Veil. William Butler Yeats

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СКАЧАТЬ himself in his own heart by as simple an argument, and was, as the socialist D – said to me one night, walking home after some lecture, “an anarchist without knowing it.” Certainly I and all about me, including D – himself, were for chopping up the old king for Medea’s pot. Morris had told us to have nothing to do with the parliamentary socialists, represented for men in general by the Fabian Society and Hyndman’s Social Democratic Federation and for us in particular by D – . During the period of transition mistakes must be made, and the discredit of these mistakes must be left to “the Bourgeoisie”; and besides, when you begin to talk of this measure, or that other, you lose sight of the goal, and see, to reverse Swinburne’s description of Tiresias, “Light on the way but darkness on the goal.” By mistakes Morris meant vexatious restrictions and compromises – “If any man puts me into a labour squad, I will lie on my back and kick.” That phrase very much expresses our idea of revolutionary tactics: we all intended to lie upon our back and kick. D – , pale and sedentary, did not dislike labour squads and we all hated him with the left side of our heads, while admiring him immensely with the right side. He alone was invited to entertain Mrs Morris, having many tales of his Irish uncles, more especially of one particular uncle who had tried to commit suicide by shutting his head into a carpet-bag. At that time he was an obscure man, known only for a witty speaker at street corners and in Park demonstrations. He had, with an assumed truculence and fury, cold logic, an invariable gentleness, an unruffled courtesy, and yet could never close a speech without being denounced by a journeyman hatter, with an Italian name. Converted to socialism by D – , and to anarchism by himself, with swinging arm and uplifted voice, this man put, and perhaps, exaggerated our scruple about Parliament. “I lack,” said D – , “the bump of reverence”; whereon the wild man shouted: “You ’ave a ’ole.” There are moments when looking back I somewhat confuse my own figure with that of the hatter, image of our hysteria, for I too became violent with the violent solemnity of a religious devotee. I can even remember sitting behind D – and saying some rude thing or other over his shoulder.

      I don’t remember why I gave it up but I did quite suddenly and the push may have come from a young workman who was educating himself between Morris and Karl Marx. He had planned a history of the Navy, and when I had spoken of the battleships of Nelson’s day had said, “O, that was the decadence of the battleship,” but if his naval interests were mediæval, his ideas about religion were pure Karl Marx, and we were soon in perpetual argument. Then gradually the attitude towards religion of almost everybody but Morris, who avoided the subject altogether, got upon my nerves, for I broke out after some lecture or other with all the arrogance of raging youth. They attacked religion, I said, or some such words, and yet there must be a change of heart and only religion could make it. What was the use of talking about some new revolution putting all things right, when the change must come, if come it did, with astronomical slowness, like the cooling of the sun, or it may have been like the drying of the moon? Morris rang his chairman’s bell, but I was too angry to listen, and he had to ring it a second time before I sat down. He said that night at supper, “Of course I know there must be a change of heart, but it will not come as slowly as all that. I rang my bell because you were not being understood.” He did not show any vexation, but I never returned after that night; and yet I did not always believe what I had said, and only gradually gave up thinking of and planning for some near sudden change for the better.

      XIV

      I spent my days at the British Museum and must, I think, have been delicate, for I remember often putting off hour after hour consulting some necessary book because I shrank from lifting the heavy volumes of the catalogue; and yet to save money for my afternoon coffee and roll I often walked the whole way home to Bedford Park. I was compiling, for a series of shilling books, an anthology of Irish fairy-stories and, for an American publisher, a two-volume selection from the Irish novelists that would be somewhat dearer. I was not well paid, for each book cost me more than three months’ reading; and I was paid for the first some twelve pounds (“O, Mr. E.,” said publisher to editor, “you must never again pay so much!”) and for the second twenty, but I did not think myself badly paid, for I had chosen the work for my own purposes.

      Though I went to Sligo every summer, I was compelled to live out of Ireland the greater part of every year, and was but keeping my mind upon what I knew must be the subject-matter of my poetry. I believed that if Morris had set his stories amid the scenery of his own Wales, for I knew him to be of Welsh extraction and supposed wrongly that he had spent his childhood there, that if Shelley had nailed his Prometheus, or some equal symbol, upon some Welsh or Scottish rock, their art had entered more intimately, more microscopically, as it were, into our thought and had given perhaps to modern poetry a breadth and stability like that of ancient poetry. The statues of Mausolus and Artemisia at the British Museum, private, half-animal, half-divine figures, all unlike the Grecian athletes and Egyptian kings in their near neighbourhood, that stand in the middle of the crowd’s applause, or sit above measuring it out unpersuadable justice, became to me, now or later, images of an unpremeditated joyous energy, that neither I nor any other man, racked by doubt and inquiry, can achieve; and that yet, if once achieved, might seem to men and women of Connemara or of Galway their very soul. In our study of that ruined tomb raised by a queen to her dead lover, and finished by the unpaid labour of great sculptors, after her death from grief, or so runs the tale, we cannot distinguish the handiworks of Scopas and Praxiteles; and I wanted to create once more an art where the artist’s handiwork would hide as under those half anonymous chisels, or as we find it in some old Scots ballads, or in some twelfth or thirteenth century Arthurian Romance. That handiwork assured, I had martyred no man for modelling his own image upon Pallas Athena’s buckler; for I took great pleasure in certain allusions to the singer’s life, one finds in old romances and ballads, and thought his presence there all the more poignant because we discover it half lost, like portly Chaucer, behind his own maunciple and pardoner upon the Canterbury roads. Wolfram von Eschenbach, singing his German Parsifal, broke off some description of a famished city to remember that in his own house at home the very mice lacked food, and what old ballad singer was it who claimed to have fought by day in the very battle he sang by night? So masterful indeed was that instinct that when the minstrel knew not who his poet was, he must needs make up a man: “When any stranger asks who is the sweetest of singers, answer with one voice: ‘a blind man; he dwells upon rocky Chios; his songs shall be the most beautiful for ever.’” Elaborate modern psychology sounds egotistical, I thought, when it speaks in the first person, but not those simple emotions which resemble the more, the more powerful they are, everybody’s emotion, and I was soon to write many poems where an always personal emotion was woven into a general pattern of myth and symbol. When the Fenian poet says that his heart has grown cold and callous – “For thy hapless fate, dear Ireland, and sorrows of my own” – he but follows tradition and if he does not move us deeply, it is because he has no sensuous musical vocabulary that comes at need, without compelling him to sedentary toil and so driving him out from his fellows. I thought to create that sensuous, musical vocabulary, and not for myself only, but that I might leave it to later Irish poets, much as a mediæval Japanese painter left his style as an inheritance to his family, and was careful to use a traditional manner and matter, yet did something altogether different, changed by that toil, impelled by my share in Cain’s curse, by all that sterile modern complication, by my “originality,” as the newspapers call it. Morris set out to make a revolution that the persons of his Well at the World’s End or his Waters of the Wondrous Isles, always, to my mind, in the likeness of Artemisia and her man, might walk his native scenery; and I, that my native scenery might find imaginary inhabitants, half-planned a new method and a new culture. My mind began drifting vaguely towards that doctrine of “the mask” which has convinced me that every passionate man (I have nothing to do with mechanist, or philanthropist, or man whose eyes have no preference) is, as it were, linked with another age, historical or imaginary, where alone he finds images that rouse his energy. Napoleon was never of his own time, as the naturalistic writers and painters bid all men be, but had some Roman emperor’s image in his head and some condottiere blood in his heart; and when he crowned that head at Rome with his own hands he had covered, as may be seen from David’s painting, his hesitation with that emperor’s old suit.

      XV

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