

















_THE TREMBLING OF THE VEIL_




  PRIVATELY PRINTED BOOKS

  (_Uniform with this Volume_)

  THE STORY-TELLER'S HOLIDAY (_George Moore_)         _July 1918_

  AVOWALS (_George Moore_)                            _September 1919_

  ESTHER WATERS (_George Moore_)                      _October 1920_

  THE COMING OF GABRIELLE (_George Moore_)            _December 1920_

  HÉLOISE AND ABÉLARD (_George Moore_)                _February 1921_

  NINE TALES FROM "LES CONTES DROLATIQUES" OF BALZAC
    (_Translated by Robert Crawford_)                 _November 1921_

  A PORTRAIT OF GEORGE MOORE IN A STUDY OF HIS WORK
    (_John Freeman_)                                  _May 1922_

  THE CAULDRON OF ANNWN (_Thomas Evelyn Ellis_)       _June 1922_




[Illustration: _Emery Walker Ph.oc. From a picture by Charles Shannon_]




  THE TREMBLING OF THE VEIL


  By W. B. YEATS


  LONDON
  PRIVATELY PRINTED FOR SUBSCRIBERS ONLY BY
  T. WERNER LAURIE, LTD.
  1922




  _To_
  JOHN QUINN
  _my friend and helper,
  and friend and helper of certain people
  mentioned in this book_.


  GIFT

  PRINTED IN GREAT BRITAIN




  THE TREMBLING OF THE VEIL

  _This edition consists of one thousand copies numbered and signed._

  _This is No._ 24




PREFACE


_I have found in an old diary a quotation from Stephane Mallarmé, saying
that his epoch was troubled by the trembling of the veil of the Temple. As
those words were still true, during the years of my life described in this
book, I have chosen The Trembling of the Veil for its title._

_Except in one or two trivial details, where I have the warrant of old
friendship, I have not, without permission, quoted conversation or
described occurrence from the private life of named or recognisable
persons. I have not felt my freedom abated, for most of the friends of my
youth are dead and over the dead I have an historian's rights. They were
artists and writers and certain among them men of genius, and the life of
a man of genius, because of his greater sincerity, is often an experiment
that needs analysis and record. At least my generation so valued
personality that it thought so. I have said all the good I know and all
the evil: I have kept nothing back necessary to understanding._

_W. B. YEATS._


  _May, 1922.
    Thoor Ballylee._




CONTENTS


                                              PAGE

  BOOK I FOUR YEARS 1887-1891                    3

  BOOK II IRELAND AFTER THE FALL OF PARNELL     83

  BOOK III HODOS CAMELIONIS                    135

  BOOK IV THE TRAGIC GENERATION                157

  BOOK V THE STIRRING OF THE BONES             225




BOOK I FOUR YEARS--1887-1891




THE TREMBLING OF THE VEIL




_FOUR YEARS_ 1887-1891


I

At the end of the 'eighties my father and mother, my brother and sisters
and myself, all newly arrived from Dublin, were settled in Bedford Park in
a red-brick house with several mantelpieces of wood, copied from marble
mantelpieces designed by the brothers Adam, a balcony and a little garden
shadowed by a great horse-chestnut tree. Years before we had lived there,
when the crooked ostentatiously picturesque streets with great trees
casting great shadows had been a new enthusiasm: the Pre-Raphaelite
movement at last affecting life. But now exaggerated criticism had taken
the place of enthusiasm, the tiled roofs, the first in modern London, were
said to leak, which they did not, and the drains to be bad, though that
was no longer true; and I imagine that houses were cheap. I remember
feeling disappointed because the co-operative stores, with their little
seventeenth century panes, had lost the romance they had when I had passed
them still unfinished on my way to school; and because the public house,
called The Tabard after Chaucer's Inn, was so plainly a common public
house; and because the great sign of a trumpeter designed by Rooke, the
Pre-Raphaelite artist, had been freshened by some inferior hand. The big
red-brick church had never pleased me, and I was accustomed, when I saw
the wooden balustrade that ran along the slanting edge of the roof where
nobody ever walked or could walk, to remember the opinion of some
architect friend of my father's, that it had been put there to keep the
birds from falling off. Still, however, it had some village characters and
helped us to feel not wholly lost in the metropolis. I no longer went to
church as a regular habit, but go I sometimes did, for one Sunday morning
I saw these words painted on a board in the porch: "The congregation are
requested to kneel during prayers; the kneelers are afterwards to be hung
upon pegs provided for the purpose." In front of every seat hung a little
cushion and these cushions were called "kneelers." Presently the joke ran
through the community, where there were many artists who considered
religion at best an unimportant accessory to good architecture and who
disliked that particular church.


II

I could not understand where the charm had gone that I had felt, when as a
school-boy of twelve or thirteen I had played among the unfinished houses,
once leaving the marks of my two hands, blacked by a fall among some
paint, upon a white balustrade. Sometimes I thought it was because these
were real houses, while my play had been among toy-houses some day to be
inhabited by imaginary people full of the happiness that one can see in
picture books.

I was in all things Pre-Raphaelite. When I was fifteen or sixteen my
father had told me about Rossetti and Blake and given me their poetry to
read; and once at Liverpool on my way to Sligo I had seen Dante's Dream in
the gallery there, a picture painted when Rossetti had lost his dramatic
power and to-day not very pleasing to me, and its colour, its people, its
romantic architecture had blotted all other pictures away. It was a
perpetual bewilderment that my father, who had begun life as a
Pre-Raphaelite painter, now painted portraits of the first comer, children
selling newspapers, or a consumptive girl with a basket of fish upon her
head, and that when, moved perhaps by some memory of his youth, he chose
some theme from poetic tradition, he would soon weary and leave it
unfinished. I had seen the change coming bit by bit and its defence
elaborated by young men fresh from the Paris art-schools. "We must paint
what is in front of us," or "A man must be of his own time," they would
say, and if I spoke of Blake or Rossetti they would point out his bad
drawing and tell me to admire Carolus Duran and Bastien-Lepage. Then, too,
they were very ignorant men; they read nothing, for nothing mattered but
"knowing how to paint," being in reaction against a generation that seemed
to have wasted its time upon so many things. I thought myself alone in
hating these young men, now indeed getting towards middle life, their
contempt for the past, their monopoly of the future, but in a few months I
was to discover others of my own age, who thought as I did, for it is not
true that youth looks before it with the mechanical gaze of a well-drilled
soldier. Its quarrel is not with the past, but with the present, where its
elders are so obviously powerful and no cause seems lost if it seem to
threaten that power. Does cultivated youth ever really love the future,
where the eye can discover no persecuted Royalty hidden among oak leaves,
though from it certainly does come so much proletarian rhetoric?

I was unlike others of my generation in one thing only. I am very
religious, and deprived by Huxley and Tyndall, whom I detested, of the
simple-minded religion of my childhood, I had made a new religion, almost
an infallible church out of poetic tradition: a fardel of stories, and of
personages, and of emotions, inseparable from their first expression,
passed on from generation to generation by poets and painters with some
help from philosophers and theologians. I wished for a world, where I
could discover this tradition perpetually, and not in pictures and in
poems only, but in tiles round the chimney-piece and in the hangings that
kept out the draught. I had even created a dogma: "Because those imaginary
people are created out of the deepest instinct of man, to be his measure
and his norm, whatever I can imagine those mouths speaking may be the
nearest I can go to truth." When I listened they seemed always to speak of
one thing only: they, their loves, every incident of their lives, were
steeped in the supernatural. Could even Titian's "Ariosto" that I loved
beyond other portraits have its grave look, as if waiting for some perfect
final event, if the painters before Titian had not learned portraiture,
while painting into the corner of compositions full of saints and
Madonnas, their kneeling patrons? At seventeen years old I was already an
old-fashioned brass cannon full of shot, and nothing had kept me from
going off but a doubt as to my capacity to shoot straight.


III

I was not an industrious student and knew only what I had found by
accident and I found nothing I cared for after Titian, and Titian I knew
from an imitation of his _Supper of Emmaus_ in Dublin, till Blake and the
Pre-Raphaelites; and among my father's friends were no Pre-Raphaelites.
Some indeed had come to Bedford Park in the enthusiasm of the first
building and others to be near those that had. There was Todhunter, a
well-off man who had bought my father's pictures while my father was still
Pre-Raphaelite; once a Dublin doctor he was now a poet and a writer of
poetical plays; a tall, sallow, lank, melancholy man, a good scholar and a
good intellect; and with him my father carried on a warm exasperated
friendship, fed I think by old memories and wasted by quarrels over
matters of opinion. Of all the survivors he was the most dejected and the
least estranged, and I remember encouraging him, with a sense of worship
shared, to buy a very expensive carpet designed by Morris. He displayed it
without strong liking and would have agreed had there been any to find
fault. If he had liked anything strongly he might have been a famous man,
for a few years later he was to write, under some casual patriotic
impulse, certain excellent verses now in all Irish anthologies; but with
him every book was a new planting, and not a new bud on an old bough. He
had I think no peace in himself. But my father's chief friend was York
Powell, a famous Oxford Professor of history, a broad-built, broad-headed,
brown-bearded man clothed in heavy blue cloth and looking, but for his
glasses and the dim sight of a student, like some captain in the merchant
service. One often passed with pleasure from Todhunter's company to that
of one who was almost ostentatiously at peace. He cared nothing for
philosophy, nothing for economics, nothing for the policy of nations; for
history, as he saw it, was a memory of men who were amusing or exciting to
think about. He impressed all who met him, and seemed to some a man of
genius, but he had not enough ambition to shape his thought, or conviction
to give rhythm to his style and remained always a poor writer. I was too
full of unfinished speculations and premature convictions to value rightly
his conversation, informed by a vast erudition, which would give itself to
every casual association of speech and company, precisely because he had
neither cause nor design. My father, however, found Powell's concrete
narrative manner in talk a necessary completion of his own, and when I
asked him in a letter many years later where he got his philosophy replied
"from York Powell" and thereon added, no doubt remembering that Powell was
without ideas, "by looking at him." Then there was a good listener, a
painter in whose hall hung a big picture painted in his student days of
Ulysses sailing home from the Phaeacian court, an orange and a skin of
wine at his side, blue mountains towering behind; but who lived by drawing
domestic scenes and lovers' meetings for a weekly magazine that had an
immense circulation among the imperfectly educated. To escape the boredom
of work, which he never turned to but under pressure of necessity and
usually late at night, with the publisher's messenger in the hall, he had
half-filled his studio with mechanical toys, of his own invention, and
perpetually increased their number. A model railway train at intervals
puffed its way along the walls, passing several railway stations and
signal boxes; and on the floor lay a camp with attacking and defending
soldiers and a fortification that blew up when the attackers fired a pea
through a certain window; while a large model of a Thames barge hung from
the ceiling. Opposite our house lived an old artist who worked also for
the illustrated papers for a living, but painted landscapes for his
pleasure, and of him I remember nothing except that he had outlived
ambition, was a good listener, and that my father explained his gaunt
appearance by his descent from Pocahontas. If all these men were a little
like becalmed ships, there was certainly one man whose sails were full.
Three or four doors off on our side of the road lived a decorative artist
in all the naïve confidence of popular ideals and the public approval. He
was our daily comedy. "I myself and Sir Frederick Leighton are the
greatest decorative artists of the age," was among his sayings, and a
great Lych-gate, bought from some country church-yard, reared its thatched
roof, meant to shelter bearers and coffin, above the entrance to his front
garden to show that he at any rate knew nothing of discouragement. In this
fairly numerous company--there were others though no other face rises
before me--my father and York Powell found listeners for a conversation
that had no special loyalties, or antagonisms; while I could only talk
upon set topics, being in the heat of my youth, and the topics that filled
me with excitement were never spoken of.


IV

Bedford Park had a red brick clubhouse with a little theatre that began to
stir my imagination. I persuaded Todhunter to write a pastoral play and
have it performed there.

A couple of years before, while we were still in Dublin, he had given at
Hengler's Circus, remodelled as a Greek Theatre, a most expensive
performance of his _Helena of Troas_, an oratorical Swinburnian play which
I had thought as unactable as it was unreadable. Since I was seventeen I
had constantly tested my own ambition with Keats's praise of him who "left
great verses to a little clan," so it was but natural that I should spend
an evening persuading him that we had nothing to do with the great public,
that it should be a point of honour to be content with our own little
public, that he should write of shepherds and shepherdesses because people
would expect them to talk poetry and move without melodrama. He wrote his
_Sicilian Idyll_, which I have not looked at for thirty years, and never
rated very high as poetry, and had the one unmistakable success of his
life. The little theatre was full for twice the number of performances
intended, for artists, men of letters and students had come from all over
London.

I made through these performances a close friend and a discovery that was
to influence my life. Todhunter had engaged several professional actors
with a little reputation, but had given the chief woman's part to Florence
Farr, who had qualities no contemporary professional practice could have
increased, the chief man's part to an amateur, Heron Allen, solicitor,
fiddler and popular writer on palmistry. Heron Allen and Florence Farr
read poetry for their pleasure. While they were upon the stage no one else
could hold an eye or an ear. Their speech was music, the poetry acquired a
nobility, a passionate austerity that made it seem akin for certain
moments to the great poetry of the world. Heron Allen, who had never
spoken in public before except to lecture upon the violin, had the wisdom
to reduce his acting to a series of poses, to be the stately shepherd with
not more gesture than was needed to "twitch his mantle blue" and to let
his grace be foil to Florence Farr's more impassioned delivery. When they
closed their mouths, and some other player opened his, breaking up the
verse to make it conversational, jerking his body or his arms that he
might seem no austere poetical image but very man, I listened in raging
hatred. I kept my seat with difficulty, I searched my memory for insulting
phrases, I even muttered them to myself that the people about might hear.
I had discovered for the first time that in the performance of all drama
that depends for its effect upon beauty of language, poetical culture may
be more important than professional experience.

Florence Farr lived in lodgings some twenty minutes' walk away at Brook
Green, and I was soon a constant caller, talking over plays that I would
some day write her. She had three great gifts, a tranquil beauty like that
of Demeter's image near the British Museum reading room door, and an
incomparable sense of rhythm and a beautiful voice, the seeming natural
expression of the image. And yet there was scarce another gift that she
did not value above those three. We all have our simplifying image, our
genius, and such hard burden does it lay upon us that, but for the praise
of others, we would deride it and hunt it away. She could only express
hers through an unfashionable art, an art that has scarce existed since
the seventeenth century, and so could only earn unimportant occasional
praise. She would dress without care or calculation as if to hide her
beauty and seem contemptuous of its power. If a man fell in love with her
she would notice that she had seen just that movement upon the stage or
had heard just that intonation and all seemed unreal. If she read out some
poem in English or in French all was passion, all a traditional splendour,
but she spoke of actual things with a cold wit or under the strain of
paradox. Wit and paradox alike sought to pull down whatever had tradition
or passion and she was soon to spend her days in the British Museum
reading room and become erudite in many heterogeneous studies moved by an
insatiable, destroying curiosity. I formed with her an enduring friendship
that was an enduring exasperation--"why do you play the part with a bent
back and a squeak in the voice? How can you be a character actor, you who
hate all our life, you who belong to a life that is a vision?" But
argument was no use, and some Nurse in Euripedes must be played with all
an old woman's infirmities and not as I would have it, with all a Sybil's
majesty, because "it is no use doing what nobody wants," or because she
would show that she "could do what the others did."

I used in my rage to compare her thoughts, when her worst mood was upon
her, to a game called Spillikens which I had seen played in my childhood
with little pieces of bone that you had to draw out with a hook from a
bundle of like pieces. A bundle of bones instead of Demeter's golden
sheaf! Her sitting room at the Brook Green lodging house was soon a
reflection of her mind, the walls covered with musical instruments, pieces
of oriental drapery, and Egyptian gods and goddesses painted by herself in
the British Museum.


V

Presently a hansom drove up to our door at Bedford Park with Miss Maud
Gonne, who brought an introduction to my father from old John O'Leary, the
Fenian leader. She vexed my father by praise of war, war for its own sake,
not as the creator of certain virtues but as if there were some virtue in
excitement itself. I supported her against my father, which vexed him the
more, though he might have understood that, apart from the fact that
Carolus Duran and Bastien-Lepage were somehow involved, a man so young as
I could not have differed from a woman so beautiful and so young. To-day,
with her great height and the unchangeable lineaments of her form, she
looks the Sybil I would have had played by Florence Farr, but in that day
she seemed a classical impersonation of the Spring, the Virgilian
commendation "She walks like a goddess" made for her alone. Her complexion
was luminous, like that of apple blossom through which the light falls,
and I remember her standing that first day by a great heap of such
blossoms in the window. In the next few years I saw her always when she
passed to and fro between Dublin and Paris, surrounded, no matter how
rapid her journey and how brief her stay at either end of it, by cages
full of birds, canaries, finches of all kinds, dogs, a parrot, and once a
full-grown hawk from Donegal. Once when I saw her to her railway carriage
I noticed how the cages obstructed wraps and cushions and wondered what
her fellow travellers would say, but the carriage remained empty. It was
years before I could see into the mind that lay hidden under so much
beauty and so much energy.


VI

Some quarter of an hour's walk from Bedford Park, out on the high road to
Richmond, lived W. E. Henley, and I, like many others, began under him my
education. His portrait, a lithograph by Rothenstein, hangs over my
mantelpiece among portraits of other friends. He is drawn standing, but
because doubtless of his crippled legs he leans forward, resting his
elbows upon some slightly suggested object--a table or a window-sill. His
heavy figure and powerful head, the disordered hair standing upright, his
short irregular beard and moustache, his lined and wrinkled face, his eyes
steadily fixed upon some object, in complete confidence and
self-possession, and yet as in half-broken reverie, all are there exactly
as I remember him. I have seen other portraits and they too show him
exactly as I remember him, as though he had but one appearance and that
seen fully at the first glance and by all alike. He was most human--human
I used to say like one of Shakespeare's characters--and yet pressed and
pummelled, as it were, into a single attitude, almost into a gesture and a
speech as by some overwhelming situation. I disagreed with him about
everything, but I admired him beyond words. With the exception of some
early poems founded upon old French models I disliked his poetry, mainly
because he wrote in _vers libre_, which I associated with Tyndall and
Huxley, and Bastien-Lepage's clownish peasant staring with vacant eyes at
her great boots; and filled it with unimpassioned description of an
hospital ward where his leg had been amputated. I wanted the strongest
passions, passions that had nothing to do with observation, sung in
metrical forms that seemed old enough to be sung by men half-asleep or
riding upon a journey. Furthermore, Pre-Raphaelism affected him as some
people are affected by a cat in the room, and though he professed himself
at our first meeting without political interests or convictions, he soon
grew into a violent unionist and imperialist. I used to say when I spoke
of his poems: "He is like a great actor with a bad part; yet who would
look at Hamlet in the grave scene if Salvini played the grave-digger?" and
I might so have explained much that he said and did. I meant that he was
like a great actor of passion--character-acting meant nothing to me for
many years--and an actor of passion will display some one quality of soul,
personified again and again, just as a great poetical painter, Titian,
Botticelli, Rossetti, may depend for his greatness upon a type of beauty
which presently we call by his name. Irving, the last of the sort on the
English stage, and in modern England and France it is the rarest sort,
never moved me but in the expression of intellectual pride and though I
saw Salvini but once I am convinced that his genius was a kind of animal
nobility. Henley, half inarticulate--"I am very costive," he would
say--beset with personal quarrels, built up an image of power and
magnanimity till it became, at moments, when seen as it were by lightning,
his true self. Half his opinions were the contrivance of a
sub-consciousness that sought always to bring life to the dramatic crisis
and expression to that point of artifice where the true self could find
its tongue. Without opponents there had been no drama, and in his youth
Ruskinism and Pre-Raphaelitism, for he was of my father's generation, were
the only possible opponents. How could one resent his prejudice when, that
he himself might play a worthy part, he must find beyond the common rout,
whom he derided and flouted daily, opponents he could imagine moulded like
himself? Once he said to me in the height of his imperial propaganda,
"Tell those young men in Ireland that this great thing must go on. They
say Ireland is not fit for self-government, but that is nonsense. It is as
fit as any other European country, but we cannot grant it." And then he
spoke of his desire to found and edit a Dublin newspaper. It would have
expounded the Gaelic propaganda then beginning, though Dr Hyde had, as
yet, no league, our old stories, our modern literature--everything that
did not demand any shred or patch of government. He dreamed of a tyranny,
but it was that of Cosimo de' Medici.


VII

We gathered on Sunday evenings in two rooms, with folding doors between,
and hung, I think, with photographs from Dutch masters, and in one room
there was always, I think, a table with cold meat. I can recall but one
elderly man--Dunn his name was--rather silent and full of good sense, an
old friend of Henley's. We were young men, none as yet established in his
own, or in the world's opinion, and Henley was our leader and our
confidant. One evening, I found him alone amused and exasperated: "Young
A----," he cried "has just been round to ask my advice. Would I think it a
wise thing if he bolted with Mrs B----? 'Have you quite determined to do
it?' I asked him. 'Quite.' 'Well,' I said, 'in that case I refuse to give
you any advice.'" Mrs B---- was a beautiful talented woman, who, as the
Welsh Triad said of Guinievere, "was much given to being carried off." I
think we listened to him, and often obeyed him, partly because he was
quite plainly not upon the side of our parents. We might have a different
ground of quarrel, but the result seemed more important than the ground,
and his confident manner and speech made us believe, perhaps for the first
time, in victory. And besides, if he did denounce, and in my case he
certainly did, what we held in secret reverence, he never failed to
associate it with things or persons that did not move us to reverence.
Once I found him just returned from some art congress in Liverpool or in
Manchester. "The salvation armyism of art," he called it, and gave a
grotesque description of some city councillor he had found admiring
Turner. Henley, who hated all that Ruskin praised, thereupon derided
Turner, and finding the city councillor the next day on the other side of
the gallery, admiring some Pre-Raphaelite there, derided that
Pre-Raphaelite. The third day Henley discovered the poor man on a chair in
the middle of the room staring disconsolately upon the floor. He terrified
us also and certainly I did not dare, and I think none of us dared, to
speak our admiration for book or picture he condemned, but he made us feel
always our importance, and no man among us could do good work, or show the
promise of it, and lack his praise. I can remember meeting of a Sunday
night Charles Whibley, Kenneth Grahame, author of _The Golden Age_, Barry
Pain, now a well-known novelist, R. A. M. Stevenson, art critic and a
famous talker, George Wyndham, later on a cabinet minister and Irish chief
secretary, and now or later Oscar Wilde, who was some ten years older than
the rest of us. But faces and names are vague to me and while faces that
I met but once may rise clearly before me, a face met on many a Sunday has
perhaps vanished. Kipling came sometimes, I think, but I never met him;
and Stepniak, the Nihilist, whom I knew well elsewhere but not there,
said--"I cannot go more than once a year, it is too exhausting." Henley
got the best out of us all, because he had made us accept him as our judge
and we knew that his judgment could neither sleep, nor be softened, nor
changed, nor turned aside. When I think of him, the antithesis that is the
foundation of human nature being ever in my sight, I see his crippled legs
as though he were some Vulcan perpetually forging swords for other men to
use; and certainly I always thought of C----, a fine classical scholar, a
pale and seemingly gentle man, as our chief swordsman and bravo. When
Henley founded his weekly newspaper, first _The Scots_, afterwards _The
National Observer_, this young man wrote articles and reviews notorious
for savage wit; and years afterwards when _The National Observer_ was
dead, Henley dying, and our cavern of outlaws empty, I met him in Paris
very sad and I think very poor. "Nobody will employ me now," he said.
"Your master is gone," I answered, "and you are like the spear in an old
Irish story that had to be kept dipped in poppy-juice that it might not go
about killing people on its own account." I wrote my first good lyrics and
tolerable essays for _The National Observer_, and as I always signed my
work could go my own road in some measure. Henley often revised my lyrics,
crossing out a line or a stanza and writing in one of his own, and I was
comforted by my belief that he also rewrote Kipling then in the first
flood of popularity. At first, indeed, I was ashamed of being rewritten
and thought that others were not, and only began investigation when the
editorial characteristics--epigrams, archaisms, and all--appeared in the
article upon Paris fashions and in that upon opium by an Egyptian Pasha. I
was not compelled to full conformity for verse is plainly stubborn; and in
prose, that I might avoid unacceptable opinions, I wrote nothing but ghost
or fairy stories, picked up from my mother or some pilot at Rosses Point
and Henley saw that I must needs mix a palette fitted to my subject
matter. But if he had changed every "has" into "hath" I would have let
him, for had not we sunned ourselves in his generosity? "My young men
outdo me and they write better than I," he wrote in some letter praising
Charles Whibley's work, and to another friend with a copy of my _Man Who
Dreamed of Fairyland_: "See what a fine thing has been written by one of
my lads."


VIII

My first meeting with Oscar Wilde was an astonishment. I never before
heard a man talking with perfect sentences, as if he had written them all
over night with labour and yet all spontaneous. There was present that
night at Henley's, by right of propinquity or of accident, a man full of
the secret spite of dulness, who interrupted from time to time, and always
to check or disorder thought; and I noticed with what mastery he was
foiled and thrown. I noticed, too, that the impression of artificiality
that I think all Wilde's listeners have recorded came from the perfect
rounding of the sentences and from the deliberation that made it possible.
That very impression helped him, as the effect of metre, or of the
antithetical prose of the seventeenth century, which is itself a true
metre, helped its writers, for he could pass without incongruity from some
unforeseen, swift stroke of wit to elaborate reverie. I heard him say a
few nights later: "Give me _The Winter's Tale_, 'Daffodils that come
before the swallow dare' but not _King Lear_. What is _King Lear_ but poor
life staggering in the fog?" and the slow, carefully modulated cadence
sounded natural to my ears. That first night he praised Walter Pater's
_Studies in the History of the Renaissance_: "It is my golden book; I
never travel anywhere without it; but it is the very flower of decadence:
the last trumpet should have sounded the moment it was written." "But,"
said the dull man, "would you not have given us time to read it?" "Oh no,"
was the retort, "there would have been plenty of time afterwards--in
either world." I think he seemed to us, baffled as we were by youth, or by
infirmity, a triumphant figure, and to some of us a figure from another
age, an audacious Italian fifteenth century figure. A few weeks before I
had heard one of my father's friends, an official in a publishing firm
that had employed both Wilde and Henley as editors, blaming Henley who was
"no use except under control" and praising Wilde, "so indolent but such a
genius"; and now the firm became the topic of our talk. "How often do you
go to the office?" said Henley. "I used to go three times a week," said
Wilde, "for an hour a day but I have since struck off one of the days."
"My God," said Henley, "I went five times a week for five hours a day and
when I wanted to strike off a day they had a special committee meeting."
"Furthermore," was Wilde's answer, "I never answered their letters. I have
known men come to London full of bright prospects and seen them complete
wrecks in a few months through a habit of answering letters." He too knew
how to keep our elders in their place, and his method was plainly the more
successful, for Henley had been dismissed. "No he is not an aesthete,"
Henley commented later, being somewhat embarrassed by Wilde's
Pre-Raphaelite entanglement; "one soon finds that he is a scholar and a
gentleman." And when I dined with Wilde a few days afterwards he began at
once, "I had to strain every nerve to equal that man at all"; and I was
too loyal to speak my thought: "You and not he said all the brilliant
things." He like the rest of us had felt the strain of an intensity that
seemed to hold life at the point of drama. He had said on that first
meeting "The basis of literary friendship is mixing the poisoned bowl";
and for a few weeks Henley and he became close friends till, the
astonishment of their meeting over, diversity of character and ambition
pushed them apart, and, with half the cavern helping, Henley began mixing
the poisoned bowl for Wilde. Yet Henley never wholly lost that first
admiration, for after Wilde's downfall he said to me: "Why did he do it? I
told my lads to attack him and yet we might have fought under his banner."


IX

It became the custom, both at Henley's and at Bedford Park, to say that R.
A. M. Stevenson, who frequented both circles, was the better talker. Wilde
had been trussed up like a turkey by undergraduates, dragged up and down a
hill, his champagne emptied into the ice tub, hooted in the streets of
various towns, and I think stoned, and no newspaper named him but in
scorn; his manner had hardened to meet opposition and at times he allowed
one to see an unpardonable insolence. His charm was acquired and
systematized, a mask which he wore only when it pleased him, while the
charm of Stevenson belonged to him like the colour of his hair. If
Stevenson's talk became monologue we did not know it, because our one
object was to show by our attention that he need never leave off. If
thought failed him we would not combat what he had said, or start some new
theme, but would encourage him with a question; and one felt that it had
been always so from childhood up. His mind was full of phantasy for
phantasy's sake and he gave as good entertainment in monologue as his
cousin Robert Louis in poem or story. He was always "supposing"; "Suppose
you had two millions what would you do with it?" and "Suppose you were in
Spain and in love how would you propose?" I recall him one afternoon at
our house at Bedford Park, surrounded by my brother and sisters and a
little group of my father's friends, describing proposals in half a dozen
countries. There your father did it, dressed in such and such a way with
such and such words, and there a friend must wait for the lady outside the
chapel door, sprinkle her with holy water and say, "My friend Jones is
dying for love of you." But when it was over those quaint descriptions, so
full of laughter and sympathy, faded or remained in the memory as
something alien from one's own life, like a dance I once saw in a great
house, where beautifully dressed children wound a long ribbon in and out
as they danced. I was not of Stevenson's party and mainly I think because
he had written a book in praise of Velasquez, praise at that time
universal wherever Pre-Raphaelism was accurst, and to my mind, that had
to pick its symbols where its ignorance permitted, Velasquez seemed the
first bored celebrant of boredom. I was convinced from some obscure
meditation that Stevenson's conversational method had joined him to my
elders and to the indifferent world, as though it were right for old men,
and unambitious men and all women, to be content with charm and humour. It
was the prerogative of youth to take sides and when Wilde said: "Mr
Bernard Shaw has no enemies but is intensely disliked by all his friends,"
I knew it to be a phrase I should never forget, and felt revenged upon a
notorious hater of romance, whose generosity and courage I could not
fathom.


X

I saw a good deal of Wilde at that time--was it 1887 or 1888?--I have no
way of fixing the date except that I had published my first book _The
Wanderings of Usheen_ and that Wilde had not yet published his _Decay of
Lying_. He had, before our first meeting, reviewed my book and despite its
vagueness of intention, and the inexactness of its speech, praised without
qualification; and what was worth more than any review he had talked about
it and now he asked me to eat my Christmas dinner with him believing, I
imagine, that I was alone in London. He had just renounced his velveteen,
and even those cuffs turned backward over the sleeves, and had begun to
dress very carefully in the fashion of the moment. He lived in a little
house at Chelsea that the architect Godwin had decorated with an elegance
that owed something to Whistler. There was nothing mediaeval, nor
Pre-Raphaelite, no cupboard door with figures upon flat gold, no peacock
blue, no dark background. I remember vaguely a white drawing room with
Whistler etchings, "let in" to white panels, and a dining room all white,
chairs, walls, mantelpiece, carpet, except for a diamond-shaped piece of
red cloth in the middle of the table under a terra-cotta statuette, and I
think a red shaded lamp hanging from the ceiling to a little above the
statuette. It was perhaps too perfect in its unity, his past of a few
years before had gone too completely, and I remember thinking that the
perfect harmony of his life there, with his beautiful wife and his two
young children, suggested some deliberate artistic composition.

He commended and dispraised himself during dinner by attributing
characteristics like his own to his country: "We Irish are too poetical to
be poets; we are a nation of brilliant failures, but we are the greatest
talkers since the Greeks." When dinner was over he read me from the proofs
of _The Decay of Lying_ and when he came to the sentence: "Schopenhauer
has analysed the pessimism that characterises modern thought, but Hamlet
invented it. The world has become sad because a puppet was once
melancholy," I said, "Why do you change 'sad' to 'melancholy'?" He replied
that he wanted a full sound at the close of his sentence, and I thought it
no excuse and an example of the vague impressiveness that spoilt his
writing for me. Only when he spoke, or when his writing was the mirror of
his speech, or in some simple fairy tale, had he words exact enough to
hold a subtle ear. He alarmed me, though not as Henley did, for I never
left his house thinking myself fool or dunce. He flattered the intellect
of every man he liked; he made me tell him long Irish stories and
compared my art of storytelling to Homer's; and once when he had described
himself as writing in the census paper "age 19, profession genius,
infirmity talent" the other guest, a young journalist fresh from Oxford or
Cambridge, said, "What should I have written?" and was told that it should
have been "profession talent, infirmity genius." When, however, I called,
wearing shoes a little too yellow--unblackened leather had just become
fashionable--I realized their extravagance when I saw his eyes fixed upon
them; and another day Wilde asked me to tell his little boy a fairy story,
and I had but got as far as "Once upon a time there was a giant" when the
little boy screamed and ran out of the room. Wilde looked grave and I was
plunged into the shame of clumsiness that afflicts the young. When I asked
for some literary gossip for some provincial newspaper, that paid me a few
shillings a month, he explained very explicitly that writing literary
gossip was no job for a gentleman.

Though to be compared to Homer passed the time pleasantly, I had not been
greatly perturbed had he stopped me with: "Is it a long story?" as Henley
would certainly have done. I was abashed before him as wit and man of the
world alone. I remember that he deprecated the very general belief in his
success or his efficiency, and I think with sincerity. One form of success
had gone: he was no more the lion of the season and he had not discovered
his gift for writing comedy, yet I think I knew him at the happiest moment
of his life. No scandal had touched his name, his fame as a talker was
growing among his equals, and he seemed to live in the enjoyment of his
own spontaneity. One day he began: "I have been inventing a Christian
heresy," and he told a detailed story, in the style of some early father,
of how Christ recovered after the Crucifixion, and escaping from the tomb,
lived on for many years, the one man upon earth who knew the falsehood of
Christianity. Once St Paul visited his town and he alone in the
carpenters' quarter did not go to hear him preach. The other carpenters
noticed that henceforth, for some unknown reason, he kept his hands
covered. A few days afterwards I found Wilde with smock frocks in various
colours spread out upon the floor in front of him, while a missionary
explained that he did not object to the heathen going naked upon week
days, but insisted upon clothes in church. He had brought the smock frocks
in a cab that the only art-critic whose fame had reached Central Africa
might select a colour; so Wilde sat there weighing all with a conscious
ecclesiastic solemnity.


XI

Of late years I have often explained Wilde to myself by his family
history. His father was a friend or acquaintance of my father's father and
among my family traditions there is an old Dublin riddle: "Why are Sir
William Wilde's nails so black?" Answer, "Because he has scratched
himself." And there is an old story still current in Dublin of Lady Wilde
saying to a servant, "Why do you put the plates on the coal-scuttle? What
are the chairs meant for?" They were famous people and there are many like
stories; and even a horrible folk story, the invention of some Connaught
peasant, that tells how Sir William Wilde took out the eyes of some men,
who had come to consult him as an oculist, and laid them upon a plate,
intending to replace them in a moment, and how the eyes were eaten by a
cat. As a certain friend of mine, who has made a prolonged study of the
nature of cats, said when he first heard the tale, "Cats love eyes." The
Wilde family was clearly of the sort that fed the imagination of Charles
Lever, dirty, untidy, daring, and what Charles Lever, who loved more
normal activities, might not have valued so highly, very imaginative and
learned. Lady Wilde, who when I knew her received her friends with blinds
drawn and shutters closed that none might see her withered face, longed
always perhaps, though certainly amid much self-mockery, for some
impossible splendour of character and circumstance. She lived near her son
in level Chelsea, but I have heard her say, "I want to live on some high
place, Primrose Hill or Highgate, because I was an eagle in my youth." I
think her son lived with no self-mockery at all an imaginary life;
perpetually performed a play which was in all things the opposite of all
that he had known in childhood and early youth; never put off completely
his wonder at opening his eyes every morning on his own beautiful house,
and in remembering that he had dined yesterday with a duchess, and that he
delighted in Flaubert and Pater, read Homer in the original and not as a
schoolmaster reads him for the grammar. I think, too, that because of all
that half-civilized blood in his veins he could not endure the sedentary
toil of creative art and so remained a man of action, exaggerating, for
the sake of immediate effect, every trick learned from his masters,
turning their easel painting into painted scenes. He was a parvenu, but a
parvenu whose whole bearing proved that if he did dedicate every story in
_The House of Pomegranates_ to a lady of title, it was but to show that he
was Jack and the social ladder his pantomime beanstalk. "Did you ever
hear him say 'Marquess of Dimmesdale'?" a friend of his once asked me. "He
does not say 'the Duke of York' with any pleasure."

He told me once that he had been offered a safe seat in Parliament and,
had he accepted, he might have had a career like that of Beaconsfield,
whose early style resembles his, being meant for crowds, for excitement,
for hurried decisions, for immediate triumphs. Such men get their
sincerity, if at all, from the contact of events; the dinner table was
Wilde's event and made him the greatest talker of his time, and his plays
and dialogues have what merit they possess from being now an imitation,
now a record, of his talk. Even in those days I would often defend him by
saying that his very admiration for his predecessors in poetry, for
Browning, for Swinburne and Rossetti, in their first vogue while he was a
very young man, made any success seem impossible that could satisfy his
immense ambition: never but once before had the artist seemed so great,
never had the work of art seemed so difficult. I would then compare him
with Benvenuto Cellini who, coming after Michael Angelo, found nothing
left to do so satisfactory as to turn bravo and quarrel with the man who
broke Michael Angelo's nose.


XII

I cannot remember who first brought me to the old stable beside Kelmscott
House, William Morris's house at Hammersmith, and to the debates held
there upon Sunday evenings by the Socialist League. I was soon of the
little group who had supper with Morris afterwards. I met at these
suppers very constantly Walter Crane, Emery Walker, in association with
Cobden Sanderson, the printer of many fine books, and less constantly
Bernard Shaw and Cockerell, now of the Museum of Cambridge, and perhaps
but once or twice Hyndman the Socialist and the Anarchist Prince
Kropotkin. There, too, one always met certain more or less educated
workmen, rough of speech and manner, with a conviction to meet every turn.
I was told by one of them, on a night when I had done perhaps more than my
share of the talking, that I had talked more nonsense in one evening than
he had heard in the whole course of his past life. I had merely preferred
Parnell, then at the height of his career, to Michael Davitt, who had
wrecked his Irish influence by international politics. We sat round a long
unpolished and unpainted trestle table of new wood in a room where hung
Rossetti's _Pomegranate_, a portrait of Mrs. Morris, and where one wall
and part of the ceiling were covered by a great Persian carpet. Morris had
said somewhere or other that carpets were meant for people who took their
shoes off when they entered a house and were most in place upon a tent
floor. I was a little disappointed in the house, for Morris was an old man
content at last to gather beautiful things rather than to arrange a
beautiful house. I saw the drawing-room once or twice, and there alone all
my sense of decoration, founded upon the background of Rossetti's
pictures, was satisfied by a big cupboard painted with a scene from
Chaucer by Burne-Jones; but even there were objects, perhaps a chair or a
little table, that seemed accidental, bought hurriedly perhaps and with
little thought, to make wife or daughter comfortable. I had read as a boy,
in books belonging to my father, the third volume of _The Earthly
Paradise_, and _The Defence of Guenevere_, which pleased me less, but had
not opened either for a long time. _The Man Who Never Laughed Again_ had
seemed the most wonderful of tales till my father had accused me of
preferring Morris to Keats, got angry about it, and put me altogether out
of countenance. He had spoiled my pleasure, for now I questioned while I
read and at last ceased to read; nor had Morris written as yet those prose
romances that became after his death so great a joy that they were the
only books I was ever to read slowly that I might not come too quickly to
the end. It was now Morris himself that stirred my interest, and I took to
him first because of some little tricks of speech and body that reminded
me of my old grandfather in Sligo, but soon discovered his spontaneity and
joy and made him my chief of men. To-day I do not set his poetry very
high, but for an odd altogether wonderful line, or thought; and yet, if
some angel offered me the choice, I would choose to live his life, poetry
and all, rather than my own or any other man's. A reproduction of his
portrait by Watts hangs over my mantelpiece with Henley's, and those of
other friends. Its grave wide-open eyes, like the eyes of some dreaming
beast, remind me of the open eyes of Titian's "Ariosto," while the broad
vigorous body suggests a mind that has no need of the intellect to remain
sane, though it give itself to every phantasy: the dreamer of the middle
ages. It is "the fool of fairy ... wide and wild as a hill," the resolute
European image that yet half remembers Buddha's motionless meditation, and
has no trait in common with the wavering, lean image of hungry
speculation, that cannot but fill the mind's eye because of certain famous
Hamlets of our stage. Shakespeare himself foreshadowed a symbolic change,
that shows a change in the whole temperament of the world, for though he
called his Hamlet "fat" and even "scant of breath," he thrust between his
fingers agile rapier and dagger.

The dream world of Morris was as much the antithesis of daily life as with
other men of genius, but he was never conscious of the antithesis and so
knew nothing of intellectual suffering. His intellect, unexhausted by
speculation or casuistry, was wholly at the service of hand and eye, and
whatever he pleased he did with an unheard of ease and simplicity, and if
style and vocabulary were at times monotonous, he could not have made them
otherwise without ceasing to be himself. Instead of the language of
Chaucer and Shakespeare, its warp fresh from field and market, if the woof
were learned, his age offered him a speech, exhausted from abstraction,
that only returned to its full vitality when written learnedly and slowly.

The roots of his antithetical dream were visible enough: a never idle man
of great physical strength and extremely irascible--did he not fling a
badly baked plum pudding through the window upon Christmas Day?--a man
more joyous than any intellectual man of our world, called himself "the
idle singer of an empty day," created new forms of melancholy, and faint
persons, like the knights and ladies of Burne-Jones, who are never, no not
once in forty volumes, put out of temper. A blunderer who had said to the
only unconverted man at a Socialist picnic in Dublin, to prove that
equality came easy, "I was brought up a gentleman and now as you can see
associate with all sorts" and left wounds thereby that rankled after
twenty years, a man of whom I have heard it said "He is always afraid that
he is doing something wrong and generally is," wrote long stories with
apparently no other object than that his persons might show to one
another, through situations of poignant difficulty the most exquisite
tact.

He did not project like Henley or like Wilde, an image of himself, because
having all his imagination set upon making and doing he had little self
knowledge. He imagined instead new conditions of making and doing; and in
the teeth of those scientific generalizations that cowed my boyhood, I can
see some like imagining in every great change, believing that the first
flying fish first leaped, not because it sought "adaptation" to the air,
but out of horror of the sea.


XIII

Soon after I began to attend the lectures a French class was started in
the old coach-house for certain young Socialists who planned a tour in
France, and I joined it, and was for a time a model student constantly
encouraged by the compliments of the old French mistress. I told my father
of the class, and he asked me to get my sisters admitted. I made
difficulties and put off speaking of the matter, for I knew that the new
and admirable self I was making would turn, under family eyes, into plain
rag-doll. How could I pretend to be industrious, and even carry
dramatisation to the point of learning my lessons, when my sisters were
there and knew that I was nothing of the kind? But I had no argument I
could use, and my sisters were admitted. They said nothing unkind, so far
as I can remember, but in a week or two I was my old procrastinating idle
self and had soon left the class altogether. My elder sister stayed on
and became an embroideress under Miss May Morris, and the hangings round
Morris's big bed at Kelmscott House, Oxfordshire, with their verses about
lying happily in bed when "all birds sing in the town of the tree," were
from her needle, though not from her design. She worked for the first few
months at Kelmscott House, Hammersmith, and in my imagination I cannot
always separate what I saw and heard from her report, or indeed from the
report of that tribe or guild who looked up to Morris as to some
worshipped mediaeval king. He had no need for other people. I doubt if
their marriage or death made him sad or glad, and yet no man I have known
was so well loved; you saw him producing everywhere organisation and
beauty, seeming, almost in the same instant, helpless and triumphant; and
people loved him as children are loved. People much in his neighbourhood
became gradually occupied with him or about his affairs, and, without any
wish on his part, as simple people become occupied with children. I
remember a man who was proud and pleased because he had distracted
Morris's thoughts from an attack of gout by leading the conversation
delicately to the hated name of Milton. He began at Swinburne: "O,
Swinburne," said Morris, "is a rhetorician; my masters have been Keats and
Chaucer, for they make pictures." "Does not Milton make pictures?" asked
my informant. "No," was the answer, "Dante makes pictures, but Milton,
though he had a great earnest mind, expressed himself as a rhetorician."
"Great earnest mind" sounded strange to me, and I doubt not that were his
questioner not a simple man Morris had been more violent. Another day the
same man started by praising Chaucer, but the gout was worse, and Morris
cursed Chaucer for destroying the English language with foreign words.

He had few detachable phrases, and I can remember little of his speech,
which many thought the best of all good talk, except that it matched his
burly body and seemed within definite boundaries inexhaustible in fact and
expression. He alone of all the men I have known seemed guided by some
beast-like instinct and never ate strange meat. "Balzac! Balzac!" he said
to me once, "oh, that was the man the French Bourgeoisie read so much a
few years ago." I can remember him at supper praising wine: "Why do people
say it is prosaic to be inspired by wine? Has it not been made by the
sunlight and the sap?" and his dispraising houses decorated by himself:
"Do you suppose I like that kind of house? I would like a house like a big
barn, where one ate in one corner, cooked in another corner, slept in the
third corner, and in the fourth received one's friends"; and his
complaining of Ruskin's objection to the underground railway: "If you must
have a railway the best thing you can do with it is to put it in a tube
with a cork at each end." I remember, too, that when I asked what led up
to his movement, he replied: "Oh, Ruskin and Carlyle, but somebody should
have been beside Carlyle and punched his head every five minutes." Though
I remember little, I do not doubt that, had I continued going there on
Sunday evenings, I should have caught fire from his words and turned my
hand to some mediaeval work or other.

Just before I had ceased to go there I had sent my _Wanderings of Usheen_
to his daughter, hoping of course that it might meet his eyes, and soon
after sending it I came upon him by chance in Holborn--"You write my sort
of poetry," he said and began to praise me and to promise to send his
praise to _The Commonwealth_, the League organ, and he would have said
more had he not caught sight of a new ornamental cast-iron lamp post and
got very heated upon that subject.

I did not read economics, having turned socialist because of Morris's
lectures and pamphlets, and I think it unlikely that Morris himself could
read economics. That old dogma of mine seemed germane to the matter. If
the men and women imagined by the poets were the norm, and if Morris had,
in let us say "News from Nowhere," then running through _The
Commonwealth_, described such men and women, living under their natural
conditions, or as they would desire to live, then those conditions
themselves must be the norm and could we but get rid of certain
institutions the world would turn from eccentricity. Perhaps Morris
himself justified 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

I had various women friends on whom I would call towards five o'clock
mainly to discuss my thoughts that I could not bring to a man without
meeting some competing thought, but partly because their tea and toast
saved my pennies for the 'bus ride home; but with women, apart from their
intimate exchanges of thought, I was timid and abashed. I was sitting on a
seat in front of the British Museum feeding pigeons when a couple of girls
sat near and began enticing my pigeons away, laughing and whispering to
one another, and I looked straight in front of me, very indignant, and
presently went into the Museum without turning my head towards them. Since
then I have often wondered if they were pretty or merely very young.
Sometimes I told myself very adventurous love-stories with myself for
hero, and at other times I planned out a life of lonely austerity, and at
other times mixed the ideals and planned a life of lonely austerity
mitigated by periodical lapses. I had still the ambition, formed in Sligo
in my teens, of living in imitation of Thoreau on Innisfree, a little
island in Lough Gill, and when walking through Fleet Street very homesick
I heard a little tinkle of water and saw a fountain in a shop-window which
balanced a little ball upon its jet, and began to remember lake water.
From the sudden remembrance came my poem _Innisfree_, my first lyric with
anything in its rhythm of my own music. I had begun to loosen rhythm as an
escape from rhetoric and from that emotion of the crowd that rhetoric
brings, but I only understood vaguely and occasionally that I must for my
special purpose use nothing but the common syntax. A couple of years
later I would not have written that first line with its conventional
archaism--"Arise and go"--nor the inversion in the last stanza. Passing
another day by the new Law Courts, a building that I admired because it
was Gothic--"It is not very good," Morris had said, "but it is better than
anything else they have got and so they hate it"--I grew suddenly
oppressed by the great weight of stone, and thought, "There are miles and
miles of stone and brick all round me," and presently added, "If John the
Baptist or his like were to come again and had his mind set upon it, he
could make all these people go out into some wilderness leaving their
buildings empty," and that thought, which does not seem very valuable now,
so enlightened the day that it is still vivid in the memory. I spent a few
days at Oxford copying out a seventeenth century translation of Poggio's
_Liber Facetiarum_ or the _Hypneroto-machia_ of Poliphili for a publisher;
I forget which, for I copied both; and returned very pale to my troubled
family. I had lived upon bread and tea because I thought that if antiquity
found locust and wild honey nutritive, my soul was strong enough to need
no better. I was always planning some great gesture, putting the whole
world into one scale of the balance and my soul into the other and
imagining that the whole world somehow kicked the beam. More than thirty
years have passed and I have seen no forcible young man of letters brave
the metropolis, without some like stimulant; and all after two or three,
or twelve or fifteen years, according to obstinacy, have understood that
we achieve, if we do achieve, in little sedentary stitches as though we
were making lace. I had one unmeasured advantage from my stimulant: I
could ink my socks, that they might not show through my shoes, with a most
haughty mind, imagining myself, and my torn tackle, somewhere else, in
some far place "under the canopy ... i' the city of kites and crows."

In London I saw nothing good and constantly remembered that Ruskin had
said to some friend of my father's--"As I go to my work at the British
Museum I see the faces of the people become daily more corrupt." I
convinced myself for a time, that on the same journey I saw but what he
saw. Certain old women's faces filled me with horror, faces that are no
longer there, or if they are pass before me unnoticed: the fat blotched
faces, rising above double chins, of women who have drunk too much beer
and eaten much meat. In Dublin I had often seen old women walking with
erect heads and gaunt bodies, talking to themselves with loud voices, mad
with drink and poverty, but they were different, they belonged to romance.
Da Vinci had drawn women who looked so and so carried their bodies.


XVI

I attempted to restore one old friend of my father's to the practice of
his youth, but failed, though he, unlike my father, had not changed his
belief. My father brought me to dine with Jack Nettleship at Wigmore
Street, once inventor of imaginative designs and now a painter of
melodramatic lions. At dinner I had talked a great deal--too much, I
imagine, for so young a man, or maybe for any man--and on the way home my
father, who had been plainly anxious that I should make a good impression,
was very angry. He said I had talked for effect and that talking for
effect was precisely what one must never do; he had always hated rhetoric
and emphasis and had made me hate it; and his anger plunged me into great
dejection. I called at Nettleship's studio the next day to apologise, and
Nettleship opened the door himself and received me with enthusiasm. He had
explained to some woman guest that I would probably talk well, being an
Irishman, but the reality had surpassed, etc., etc. I was not flattered,
though relieved at not having to apologise, for I soon discovered that
what he really admired was my volubility, for he himself was very silent.
He seemed about sixty, had a bald head, a grey beard, and a nose, as one
of my father's friends used to say, like an opera-glass, and sipped cocoa
all the afternoon and evening from an enormous tea-cup that must have been
designed for him alone, not caring how cold the cocoa grew. Years before
he had been thrown from his horse, while hunting, and broke his arm, and
because it had been badly set suffered great pain for a long time. A
little whisky would always stop the pain, and soon a little became a great
deal and he found himself a drunkard, but having signed his liberty away
for certain months he was completely cured. He had acquired, however, the
need of some liquid which he could sip constantly. I brought him an
admiration settled in early boyhood, for my father had always said,
"George Wilson was our born painter, but Nettleship our genius," and even
had he shown me nothing I could care for, I had admired him still because
my admiration was in my bones. He showed me his early designs, and they,
though often badly drawn, fulfilled my hopes. Something of Blake they
certainly did show, but had in place of Blake's joyous, intellectual
energy a Saturnian passion and melancholy. "God Creating Evil," the
death-like head with a woman and a tiger coming from the forehead, which
Rossetti--or was it Browning?--had described "as the most sublime design
of ancient or modern art," had been lost, but there was another version of
the same thought, and other designs never published or exhibited. They
rise before me even now in meditation, especially a blind Titan-like ghost
floating with groping hands above the tree-tops. I wrote a criticism, and
arranged for reproductions with the editor of an art magazine, but after
it was written and accepted the proprietor, lifting what I considered an
obsequious caw in the Huxley, Tyndall, Carolus Duran, Bastien-Lepage
rookery, insisted upon its rejection. Nettleship did not mind its
rejection, saying, "Who cares for such things now? Not ten people," but he
did mind my refusal to show him what I had written. Though what I had
written was all eulogy, I dreaded his judgment for it was my first art
criticism. I hated his big lion pictures, where he attempted an art too
much concerned with the sense of touch, with the softness or roughness,
the minutely observed irregularity of surfaces, for his genius; and I
think he knew it. "Rossetti used to call my pictures pot-boilers," he
said, "but they are all--all"--and he waved his arm to the
canvasses--"symbols." When I wanted him to design gods, and angels, and
lost spirits once more, he always came back to the point "Nobody would be
pleased." "Everybody should have a _raison d'être_" was one of his
phrases. "Mrs ----'s articles are not good but they are her _raison
d'être_." I had but little knowledge of art for there was little
scholarship in the Dublin art school, so I overrated the quality of
anything that could be connected with my general beliefs about the world.
If I had been able to give angelical or diabolical names to his lions I
might have liked them also and I think that Nettleship himself would have
liked them better and liking them better have become a better painter. We
had the same kind of religious feeling, but I could give a crude
philosophical expression to mine while he could only express his in action
or with brush and pencil. He often told me of certain ascetic ambitions,
very much like my own, for he had kept all the moral ambition of youth, as
for instance--"Yeats, the other night I was arrested by a policeman--was
walking round Regent's Park barefooted to keep the flesh under--good sort
of thing to do. I was carrying my boots in my hand and he thought I was a
burglar and even when I explained and gave him half a crown, he would not
let me go till I had promised to put on my boots before I met the next
policeman."

He was very proud and shy and I could not imagine anybody asking him
questions and so I was content to take these stories as they came:
confirmations of what I had heard of him in boyhood. One story in
particular had stirred my imagination for, ashamed all my boyhood of my
lack of physical courage, I admired what was beyond my imitation. He
thought that any weakness, even a weakness of body, had the character of
sin and while at breakfast with his brother, with whom he shared a room on
the third floor of a corner house, he said that his nerves were out of
order. Presently he left the table, and got out through the window and on
to a stone ledge that ran along the wall under the windowsills. He sidled
along the ledge, and turning the corner with it, got in at a different
window and returned to the table. "My nerves," he said, "are better than I
thought."

Nettleship said to me: "Has Edwin Ellis ever said anything about the
effect of drink upon my genius?" "No," I answered. "I ask," he said,
"because I have always thought that Ellis has some strange medical
insight." Though I had answered no, Ellis had only a few days before used
these words: "Nettleship drank his genius away." Ellis, but lately
returned from Perugia where he had lived many years, was another old
friend of my father's but some years younger than Nettleship or my father.
Nettleship had found his simplifying image, but in his painting had turned
away from it, while Ellis, the son of Alexander Ellis, a once famous man
of science, who was perhaps the last man in England to run the circle of
the sciences without superficiality, had never found that image at all. He
was a painter and poet, but his painting, which did not interest me,
showed no influence but that of Leighton. He had started perhaps a couple
of years too late for Pre-Raphaelite influence, for no great
Pre-Raphaelite picture was painted after 1870, and left England too soon
for that of the French painters. He was, however, sometimes moving as a
poet and still more often an astonishment. I have known him cast something
just said into a dozen lines of musical verse, without apparently ceasing
to talk; but the work once done he could not or would not amend it, and my
father thought he lacked all ambition. Yet he had at times nobility of
rhythm--an instinct for grandeur, and after thirty years I still repeat to
myself his address to Mother Earth--

  "O mother of the hills, forgive our towers,
  O mother of the clouds forgive our dreams."

And there are certain whole poems that I read from time to time or try to
make others read. There is that poem where the manner is unworthy of the
matter, being loose and facile, describing Adam and Eve fleeing from
Paradise. Adam asks Eve what she carries so carefully, and Eve replies
that it is a little of the apple-core kept for their children. There is
that vision concerning _Christ the Less_, a too hurriedly written ballad,
where the half of Christ sacrificed to the divine half "that fled to seek
felicity" wanders wailing through Golgotha, and there is _The Saint and
the Youth_, in which I can discover no fault at all. He loved
complexities--"Seven silences like candles round her face" is a line of
his--and whether he wrote well or ill had always a manner which I would
have known from that of any other poet. He would say to me, "I am a
mathematician with the mathematics left out"--his father was a great
mathematician--or "A woman once said to me, 'Mr Ellis, why are your poems
like sums?'" And certainly he loved symbols and abstractions. He said
once, when I had asked him not to mention something or other, "Surely you
have discovered by this time that I know of no means whereby I can mention
a fact in conversation."

He had a passion for Blake, picked up in Pre-Raphaelite studios, and early
in our acquaintance put into my hands a scrap of notepaper on which he had
written some years before an interpretation of the poem that begins

  "The fields from Islington to Marylebone,
    To Primrose Hill and St. John's Wood,
  Were builded over with pillars of gold,
    And there Jerusalem's pillars stood."

The four quarters of London represented Blake's four great mythological
personages, the Zoas, and also the four elements. These few sentences were
the foundation of all study of the philosophy of William Blake that
requires an exact knowledge for its pursuit and that traces the
connection between his system and that of Swedenborg or of Boehme. I
recognised certain attributions, from what is sometimes called the
Christian Cabbala, of which Ellis had never heard, and with this proof
that his interpretation was more than fantasy he and I began our four
years' work upon the Prophetic Books of William Blake. We took it as
almost a sign of Blake's personal help when we discovered that the spring
of 1889, when we first joined our knowledge, was one hundred years from
the publication of _The Book of Thel_, the first published of the
Prophetic Books, as though it were firmly established that the dead
delight in anniversaries. After months of discussion and reading we made a
concordance of all Blake's mystical terms, and there was much copying to
be done in the Museum and at Red Hill, where the descendants of Blake's
friend and patron, the landscape painter John Linnell, had many
manuscripts. The Linnells were narrow in their religious ideas and
doubtful of Blake's orthodoxy, whom they held, however, in great honour,
and I remember a timid old lady who had known Blake when a child saying,
"He had very wrong ideas, he did not believe in the historical Jesus." One
old man sat always beside us, ostensibly to sharpen our pencils but
perhaps really to see that we did not steal the manuscripts, and they gave
us very old port at lunch, and I have upon my dining-room walls their
present of Blake's Dante engravings. Going thither and returning Ellis
would entertain me by philosophical discussion varied with improvised
stories, at first folk-tales which he professed to have picked up in
Scotland, and, though I had read and collected many folk tales, I did not
see through the deceit. I have a partial memory of two more elaborate
tales, one of an Italian conspirator flying barefoot, from I forget what
adventure through I forget what Italian city, in the early morning.
Fearing to be recognised by his bare feet, he slipped past the sleepy
porter at an hotel, calling out "number so and so" as if he were some
belated guest. Then passing from bedroom door to door he tried on the
boots, and just as he got a pair to fit, a voice cried from the room: "Who
is that?" "Merely me, sir," he called back, "taking your boots." The other
was of a martyr's Bible, round which the cardinal virtues had taken
personal form--this a fragment of Blake's philosophy. It was in the
possession of an old clergyman when a certain jockey called upon him, and
the cardinal virtues, confused between jockey and clergyman, devoted
themselves to the jockey. As whenever he sinned a cardinal virtue
interfered and turned him back to virtue, he lived in great credit, and
made, but for one sentence, a very holy death. As his wife and family
knelt round in admiration and grief he suddenly said "damn." "O my dear,"
said his wife, "what a dreadful expression." He answered, "I am going to
heaven," and straightway died. It was a long tale, for there were all the
jockey's vain attempts to sin, as well as all the adventures of the
clergyman, who became very sinful indeed, but it ended happily for when
the jockey died the cardinal virtues returned to the clergyman. I think he
would talk to any audience that offered, one audience being the same as
another in his eyes, and it may have been for this reason that my father
called him unambitious. When he was a young man he had befriended a
reformed thief and had asked the grateful thief to take him round the
thieves' quarters of London. The thief, however, hurried him away from the
worst saying, "Another minute and they would have found you out. If they
were not the stupidest of men in London, they had done so already." Ellis
had gone through a detailed, romantic and witty account of all the houses
he had robbed and all the throats he had cut in one short life.

His conversation would often pass out of my comprehension, or indeed I
think of any man's, into a labyrinth of abstraction and subtlety and then
suddenly return with some verbal conceit or turn of wit. The mind is known
to attain in certain conditions of trance a quickness so extraordinary
that we are compelled at times to imagine a condition of unendurable
intellectual intensity from which we are saved by the merciful stupidity
of the body, and I think that the mind of Edwin Ellis was constantly upon
the edge of trance. Once we were discussing the symbolism of sex in the
philosophy of Blake and had been in disagreement all the afternoon. I
began talking with a new sense of conviction and after a moment Ellis, who
was at his easel, threw down his brush and said that he had just seen the
same explanation in a series of symbolic visions. "In another moment," he
said, "I should have been off." We went into the open air and walked up
and down to get rid of that feeling, but presently we came in again and I
began again my explanation, Ellis lying upon the sofa. I had been talking
some time when Mrs Ellis came into the room and said, "Why are you sitting
in the dark?" Ellis answered, "But we are not," and then added in a voice
of wonder, "I thought the lamp was lit, and that I was sitting up, and
now I find that I am lying down and that we are in darkness." I had seen a
flicker of light over the ceiling but thought it a reflection from some
light outside the house, which may have been the case.


XVII

I had already met most of the poets of my generation. I had said, soon
after the publication of _The Wanderings of Usheen_, to the editor of a
series of shilling reprints, who had set me to compile tales of the Irish
fairies, "I am growing jealous of other poets and we will all grow jealous
of each other unless we know each other and so feel a share in each
other's triumph." He was a Welshman, lately a mining engineer, Ernest
Rhys, a writer of Welsh translations and original poems, that have often
moved me greatly though I can think of no one else who has read them. He
was perhaps a dozen years older than myself and through his work as editor
knew everybody who would compile a book for seven or eight pounds. Between
us we founded The Rhymers' Club, which for some years was to meet every
night in an upper room with a sanded floor in an ancient eating house in
the Strand called The Cheshire Cheese. Lionel Johnson, Ernest Dowson,
Victor Plarr, Ernest Radford, John Davidson, Richard le Gallienne, T. W.
Rolleston, Selwyn Image, Edwin Ellis, and John Todhunter came constantly
for a time, Arthur Symons and Herbert Home, less constantly, while William
Watson joined but never came and Francis Thompson came once but never
joined; and sometimes if we met in a private house, which we did
occasionally, Oscar Wilde came. It had been useless to invite him to The
Cheshire Cheese for he hated Bohemia. "Olive Schreiner," he said once to
me, "is staying in the East End because that is the only place where
people do not wear masks upon their faces, but I have told her that I live
in the West End because nothing in life interests me but the mask."

We read our poems to one another and talked criticism and drank a little
wine. I sometimes say when I speak of the club, "We had such and such
ideas, such and such a quarrel with the great Victorians, we set before us
such and such aims," as though we had many philosophical ideas. I say this
because I am ashamed to admit that I had these ideas and that whenever I
began to talk of them a gloomy silence fell upon the room. A young Irish
poet, who wrote excellently but had the worst manners, was to say a few
years later, "You do not talk like a poet, you talk like a man of
letters," and if all the Rhymers had not been polite, if most of them had
not been to Oxford or Cambridge, the greater number would have said the
same thing. I was full of thought, often very abstract thought, longing
all the while to be full of images, because I had gone to the art school
instead of a university. Yet even if I had gone to a university, and
learned all the classical foundations of English literature and English
culture, all that great erudition which once accepted frees the mind from
restlessness, I should have had to give up my Irish subject matter, or
attempt to found a new tradition. Lacking sufficient recognized precedent
I must needs find out some reason for all I did. I knew almost from the
start that to overflow with reasons was to be not quite well-born, and
when I could I hid them, as men hide a disagreeable ancestry; and that
there was no help for it seeing that my country was not born at all. I was
of those doomed to imperfect achievement, and under a curse, as it were,
like some race of birds compelled to spend the time, needed for the making
of the nest, in argument as to the convenience of moss and twig and
lichen. Le Gallienne and Davidson, and even Symons, were provincial at
their setting out, but their provincialism was curable, mine incurable;
while the one conviction shared by all the younger men, but principally by
Johnson and Home, who imposed their personalities upon us, was an
opposition to all ideas, all generalizations that can be explained and
debated. E---- fresh from Paris would sometimes say--"We are concerned
with nothing but impressions," but that itself was a generalization and
met but stony silence. Conversation constantly dwindled into "Do you like
so and so's last book?" "No, I prefer the book before it," and I think
that but for its Irish members, who said whatever came into their heads,
the club would not have survived its first difficult months. I saw--now
ashamed that I saw "like a man of letters," now exasperated at their
indifference to the fashion of their own river-bed--that Swinburne in one
way, Browning in another, and Tennyson in a third, had filled their work
with what I called "impurities," curiosities about politics, about
science, about history, about religion; and that we must create once more
the pure work.

Our clothes were, for the most part unadventurous like our conversation,
though I indeed wore a brown velveteen coat, a loose tie, and a very old
inverness cape, discarded by my father twenty years before and preserved
by my Sligo-born mother whose actions were unreasoning and habitual like
the seasons. But no other member of the club, except Le Gallienne, who
wore a loose tie, and Symons, who had an inverness cape that was quite new
and almost fashionable, would have shown himself for the world in any
costume but "that of an English gentleman." "One should be quite
unnoticeable," Johnson explained to me. Those who conformed most carefully
to the fashion in their clothes, generally departed furthest from it in
their handwriting, which was small, neat, and studied, one poet--which, I
forget--having founded his upon the handwriting of George Herbert. Dowson
and Symons I was to know better in later years when Symons became a very
dear friend, and I never got behind John Davidson's Scottish roughness and
exasperation, though I saw much of him, but from the first I devoted
myself to Lionel Johnson. He and Horne and Image and one or two others,
shared a man-servant and an old house in Charlotte Street, Fitzroy Square,
typical figures of transition, doing as an achievement of learning and of
exquisite taste what their predecessors did in careless abundance. All
were Pre-Raphaelite, and sometimes one might meet in the rooms of one or
other a ragged figure, as of some fallen dynasty, Simeon Solomon the
Pre-Raphaelite painter, once the friend of Rossetti and of Swinburne, but
fresh now from some low public house. Condemned to a long term of
imprisonment for a criminal offence, he had sunk into drunkenness and
misery. Introduced one night, however, to some man who mistook him, in the
dim candle light, for another Solomon, a successful academic painter and
R.A., he started to his feet in a rage with, "Sir, do you dare to mistake
me for that mountebank?" Though not one had hearkened to the feeblest
caw, or been spattered by the smallest dropping from any Huxley, Tyndall,
Carolus Duran, Bastien-Lepage bundle of old twigs I began by suspecting
them of lukewarmness, and even backsliding, and I owe it to that suspicion
that I never became intimate with Horne, who lived to become the greatest
English authority upon Italian life in the fourteenth century and to write
the one standard work on Botticelli. Connoisseur in several arts, he had
designed a little church in the manner of Inigo Jones for a burial ground
near the Marble Arch. Though I now think his little church a masterpiece,
its style was more than a century too late to hit my fancy, at two or
three and twenty; and I accused him of leaning towards that eighteenth
century

          "That taught a school
  Of dolts to smooth, inlay, and clip, and fit
  Till, like the certain wands of Jacob's wit,
  Their verses tallied."

Another fanaticism delayed my friendship with two men, who are now my
friends and in certain matters my chief instructors. Somebody, probably
Lionel Johnson, brought me to the studio of Charles Ricketts and Charles
Shannon, certainly heirs of the great generation, and the first thing I
saw was a Shannon picture of a lady and child, arrayed in lace silk and
satin, suggesting that hated century. My eyes were full of some more
mythological mother and child and I would have none of it and I told
Shannon that he had not painted a mother and child, but elegant people
expecting visitors and I thought that a great reproach. Somebody writing
in _The Germ_ had said that a picture of a pheasant and an apple was
merely a picture of something to eat and I was so angry with the
indifference to subject, which was the commonplace of all art criticism
since Bastien-Lepage, that I could at times see nothing else but subject.
I thought that, though it might not matter to the man himself whether he
loved a white woman or a black, a female pickpocket or a regular
communicant of the Church of England, if only he loved strongly, it
certainly did matter to his relations and even under some circumstances to
his whole neighbourhood. Sometimes indeed, like some father in Molière, I
ignored the lover's feelings altogether and even refused to admit that a
trace of the devil, perhaps a trace of colour, may lend piquancy,
especially if the connection be not permanent.

Among these men, of whom so many of the greatest talents were to live such
passionate lives and die such tragic deaths, one serene man, T. W.
Rolleston, seemed always out of place; it was I brought him there,
intending to set him to some work in Ireland later on. I have known young
Dublin working men slip out of their workshop to see the second Thomas
Davis passing by, and even remember a conspiracy, by some three or four,
to make him "the leader of the Irish race at home and abroad," and all
because he had regular features; and when all is said Alexander the Great
and Alcibiades were personable men, and the Founder of the Christian
religion was the only man who was neither a little too tall nor a little
too short, but exactly six feet high. We in Ireland thought as do the
plays and ballads, not understanding that, from the first moment wherein
nature foresaw the birth of Bastien-Lepage, she has only granted great
creative power to men whose faces are contorted with extravagance or
curiosity, or dulled with some protecting stupidity.

I had now met all those who were to make the 'nineties of the last century
tragic in the history of literature, but as yet we were all seemingly
equal, whether in talent or in luck, and scarce even personalties to one
another. I remember saying one night at the Cheshire Cheese, when more
poets than usual had come, "None of us can say who will succeed, or even
who has or has not talent. The only thing certain about us is that we are
too many."


XVIII

I have described what image--always opposite to the natural self or the
natural world--Wilde, Henley, Morris, copied or tried to copy, but I have
not said if I found an image for myself. I know very little about myself
and much less of that anti-self: probably the woman who cooks my dinner or
the woman who sweeps out my study knows more than I. It is perhaps because
nature made me a gregarious man, going hither and thither looking for
conversation, and ready to deny from fear or favour his dearest
conviction, that I love proud and lonely things. When I was a child and
went daily to the sexton's daughter for writing lessons, I found one poem
in her School Reader that delighted me beyond all others: a fragment of
some metrical translation from Aristophanes wherein the birds sing scorn
upon mankind. In later years my mind gave itself to gregarious Shelley's
dream of a young man, his hair blanched with sorrow, studying philosophy
in some lonely tower, or of his old man, master of all human knowledge,
hidden from human sight in some shell-strewn cavern on the Mediterranean
shore. One passage above all ran perpetually in my ears--

  "Some feign that he is Enoch: others dream
  He was pre-Adamite, and has survived
  Cycles of generation and of ruin.
  The sage, in truth, by dreadful abstinence,
  And conquering penance of the mutinous flesh,
  Deep contemplation and unwearied study,
  In years outstretched beyond the date of man,
  May have attained to sovereignty and science
  Over those strong and secret things and thoughts
  Which others fear and know not.
  _Mahmud._                     I would talk
  With this old Jew.
  _Hassan._        Thy will is even now
  Made known to him where he dwells in a sea-cavern
  'Mid the Demonesi, less accessible
  Than thou or God! He who would question him
  Must sail alone at sunset where the stream
  Of ocean sleeps around those foamless isles,
  When the young moon is westering as now,
  And evening airs wander upon the wave;
  And, when the pines of that bee-pasturing isle,
  Green Erebinthus, quench the fiery shadow
  Of his gilt prow within the sapphire water,
  Then must the lonely helmsman cry aloud
  'Ahasuerus!' and the caverns round
  Will answer 'Ahasuerus!' If his prayer
  Be granted, a faint meteor will arise,
  Lighting him over Marmora; and a wind
  Will rush out of the sighing pine-forest,
  And with the wind a storm of harmony
  Unutterably sweet, and pilot him
  Through the soft twilight to the Bosphorus:
  Thence, at the hour and place and circumstance
  Fit for the matter of their conference,
  The Jew appears. Few dare, and few who dare
  Win the desired communion."

Already in Dublin, I had been attracted to the Theosophists because they
had affirmed the real existence of the Jew, or of his like, and, apart
from whatever might have been imagined by Huxley, Tyndall, Carolus Duran,
and Bastien-Lepage, I saw nothing against his reality. Presently having
heard that Madame Blavatsky had arrived from France, or from India, I
thought it time to look the matter up. Certainly if wisdom existed
anywhere in the world it must be in some such lonely mind admitting no
duty to us, communing with God only, conceding nothing from fear or
favour. Have not all peoples, while bound together in a single mind and
taste, believed that such men existed and paid them that honour, or paid
it to their mere shadow, which they have refused to philanthropists and to
men of learning.


XIX

I found Madame Blavatsky in a little house at Norwood, with but, as she
said, three followers left--the Society of Psychical Research had just
reported on her Indian phenomena--and as one of the three followers sat in
an outer room to keep out undesirable visitors, I was kept a long time
kicking my heels. Presently I was admitted and found an old woman in a
plain loose dark dress: a sort of old Irish peasant woman with an air of
humour and audacious power. I was still kept waiting, for she was deep in
conversation with a woman visitor. I strayed through folding doors into
the next room and stood, in sheer idleness of mind, looking at a cuckoo
clock. It was certainly stopped, for the weights were off and lying upon
the ground, and yet, as I stood there the cuckoo came out and cuckooed at
me. I interrupted Madame Blavatsky to say, "Your clock has hooted me."
"It oftens hoots at a stranger," she replied. "Is there a spirit in it?" I
said. "I do not know," she said, "I should have to be alone to know what
is in it." I went back to the clock and began examining it and heard her
say: "Do not break my clock." I wondered if there was some hidden
mechanism and I should have been put out, I suppose, had I found any,
though Henley had said to me, "Of course she gets up fraudulent miracles,
but a person of genius has to do something; Sarah Bernhardt sleeps in her
coffin." Presently the visitor went away and Madame Blavatsky explained
that she was a propagandist for women's rights who had called to find out
"why men were so bad." "What explanation did you give her?" I said. "That
men were born bad, but women made themselves so," and then she explained
that I had been kept waiting because she had mistaken me for some man,
whose name resembled mine and who wanted to persuade her of the flatness
of the earth.

When I next saw her she had moved into a house at Holland Park, and some
time must have passed--probably I had been in Sligo where I returned
constantly for long visits--for she was surrounded by followers. She sat
nightly before a little table covered with green baize and on this green
baize she scribbled constantly with a piece of white chalk. She would
scribble symbols, sometimes humorously explained, and sometimes
unintelligible figures, but the chalk was intended to mark down her score
when she played patience. One saw in the next room a large table where
every night her followers and guests, often a great number, sat down to
their vegetable meal, while she encouraged or mocked through the folding
doors. A great passionate nature, a sort of female Dr Johnson, impressive
I think to every man or woman who had themselves any richness, she seemed
impatient of the formalism of the shrill abstract idealism of those about
her, and this impatience broke out in railing and many nicknames: "O you
are a flap-doodle, but then you are a theosophist and a brother." The most
devout and learned of all her followers said to me, "H. P. B. has just
told me that there is another globe stuck on to this at the north pole, so
that the earth has really a shape something like a dumb-bell." I said, for
I knew that her imagination contained all the folklore of the world, "That
must be some piece of Eastern mythology." "O no it is not," he said, "of
that I am certain, and there must be something in it or she would not have
said it." Her mockery was not kept for her followers alone, and her voice
would become harsh, and her mockery lose fantasy and humour, when she
spoke of what seemed to her scientific materialism. Once I saw this
antagonism, guided by some kind of telepathic divination, take a form of
brutal fantasy. I brought a very able Dublin woman to see her and this
woman had a brother, a physiologist whose reputation, though known to
specialists alone, was European, and because of this brother a family
pride in everything scientific and modern. The Dublin woman scarcely
opened her mouth the whole evening and her name was certainly unknown to
Madame Blavatsky, yet I saw at once in that wrinkled old face bent over
the cards, and the only time I ever saw it there, a personal hostility,
the dislike of one woman for another. Madame Blavatsky seemed to bundle
herself up, becoming all primeval peasant, and began complaining of her
ailments, more especially of her bad leg. But of late her master--her
"old Jew," her "Ahasuerus"--cured it, or set it on the way to be cured. "I
was sitting here in my chair," said she, "when the master came in and
brought something with him which he put over my knee, something warm which
enclosed my knee--it was a live dog which he had cut open." I recognized a
cure used sometimes in mediaeval medicine. She had two masters and their
portraits, ideal Indian heads, painted by some most incompetent artist,
stood upon either side of the folding doors. One night when talk was
impersonal and general, I sat gazing through the folding doors into the
dimly lighted dining room beyond. I noticed a curious red light shining
upon a picture and got up to see where the red light came from. It was the
picture of an Indian and as I came near it slowly vanished. When I
returned to my seat, Madame Blavatsky said, "What did you see?" "A
picture," I said. "Tell it to go away." "It is already gone." "So much the
better," she said, "I was afraid it was mediumship. But it is only
clairvoyance." "What is the difference?" "If it had been mediumship, it
would have stayed in spite of you. Beware of mediumship; it is a kind of
madness; I know for I have been through it."

I found her almost always full of gaiety that, unlike the occasional
joking of those about her, was illogical and incalculable and yet always
kindly and tolerant. I had called one evening to find her absent but
expected every moment. She had been somewhere at the seaside for her
health and arrived with a little suite of followers. She sat down at once
in her big chair, and began unfolding a brown paper parcel while all
looked on full of curiosity. It contained a large family Bible. "This is a
present for my maid," she said. "What a Bible and not even annotated!"
said some shocked voice. "Well, my children," was the answer, "what is the
good of giving lemons to those who want oranges?" When I first began to
frequent her house, as I soon did very constantly, I noticed a handsome
clever woman of the world there, who seemed certainly very much out of
place, penitent though she thought herself. Presently there was much
scandal and gossip for the penitent was plainly entangled with two young
men, who were expected to grow into ascetic sages. The scandal was so
great that Madame Blavatsky had to call the penitent before her and to
speak after this fashion, "We think that it is necessary to crush the
animal nature; you should live in chastity in act and thought. Initiation
is granted only to those who are entirely chaste," and so it ran on for
some time. However, after some minutes in that vehement style, the
penitent standing crushed and shamed before her, she had wound up, "I
cannot permit you more than one." She was quite sincere but thought that
nothing mattered but what happened in the mind, and that if we could not
master the mind our actions were of little importance. One young man
filled her with exasperation for she thought that his settled gloom came
from his chastity. I had known him in Dublin where he had been accustomed
to interrupt long periods of asceticism, in which he would eat vegetables
and drink water, with brief outbreaks of what he considered the devil.
After an outbreak he would for a few hours dazzle the imagination of the
members of the local theosophical society with poetical rhapsodies about
harlots and street lamps, and then sink into weeks of melancholy. A
fellow-theosophist once found him hanging from the windowpole, but cut him
down in the nick of time. I said to the man who cut him down, "What did
you say to each other?" He said, "We spent the night telling comic stories
and laughing a great deal." This man, torn between sensuality and
visionary ambition, was now the most devout of all, and told me that in
the middle of the night he could often hear the ringing of the little
"astral bell" whereby Madame Blavatsky's master called her attention, and
that, although it was a silvery low tone, it made the whole house shake.
Another night I found him waiting in the hall to show in those who had
right of entrance, on some night when the discussion was private, and as I
passed he whispered into my ear, "Madame Blavatsky is perhaps not a real
woman at all. They say that her dead body was found many years ago upon
some Russian battlefield." She had two dominant moods, both of extreme
activity, one calm and philosophic, and this was the mood always on that
night in the week when she answered questions upon her system, and as I
look back after thirty years I often ask myself, "Was her speech
automatic? Was she a trance medium, or in some similar state, one night in
every week?" In the other mood she was full of fantasy and inconsequent
raillery. "That is the Greek Church, a triangle like all true religion," I
recall her saying, as she chalked out a triangle on the green baize, and
then as she made it disappear in meaningless scribbles, "it spread out and
became a bramble bush like the Church of Rome." Then rubbing it all out
except one straight line, "Now they have lopped off the branches and
turned it into a broomstick and that is protestantism." And so it was
night after night always varied and unforeseen. I have observed a like
sudden extreme change in others, half whose thought was supernatural and
Lawrence Oliphant records somewhere or other like observations. I can
remember only once finding her in a mood of reverie, something had
happened to damp her spirits, some attack upon her movement, or upon
herself. She spoke of Balzac, whom she had seen but once, of Alfred de
Musset, whom she had known well enough to dislike for his morbidity, and
George Sand, whom she had known so well that they had dabbled in magic
together of which "neither knew anything at all" in those days; and she
ran on, as if there was nobody there to overhear her, "I used to wonder at
and pity the people who sell their souls to the devil, but now I only pity
them. They do it to have somebody on their side," and added to that, after
some words I have forgotten, "I write, write, write as the Wandering Jew
walks, walks, walks."

Besides the devotees, who came to listen and to turn every doctrine into a
new sanction for the puritanical convictions of their Victorian childhood,
cranks came from half Europe and from all America, and they came that they
might talk. One American said to me, "She has become the most famous woman
in the world by sitting in a big chair and permitting us to talk." They
talked and she played patience, and totted up her score on the green
baize, and generally seemed to listen, but sometimes she would listen no
more. There was a woman who talked perpetually of "the divine spark"
within her, until Madame Blavatsky stopped her with--"Yes, my dear, you
have a divine spark within you and if you are not very careful you will
hear it snore." A certain Salvation Army captain probably pleased her, for
if vociferous and loud of voice, he had much animation. He had known
hardship and spoke of his visions while starving in the streets and he
was still perhaps a little light in the head. I wondered what he could
preach to ignorant men, his head ablaze with wild mysticism, till I met a
man who had heard him talking near Covent Garden to some crowd in the
street. "My friends," he was saying, "you have the kingdom of heaven
within you and it would take a pretty big pill to get that out."

Meanwhile I had got no nearer to proving that the sage Ahasuerus "dwells
in a sea cavern 'mid the Demonesi," nor did I learn any more of those
"Masters" whose representative Madame Blavatsky claimed to be. All there
seemed to feel their presence, and all spoke of them as if they were more
important than any visible inhabitant of the house. When Madame Blavatsky
was more silent, less vivid than usual, it was "because her Masters were
angry;" they had rebuked her because of some error, and she professed
constant error. Once I seemed in their presence, or that of some messenger
of theirs. It was about nine at night, and half a dozen of us sat round
her big table cloth, when the room seemed to fill with the odour of
incense. Somebody came from upstairs, but could smell nothing--had been
outside the influence it seems--but to myself and the others, it was very
strong. Madame Blavatsky said it was a common Indian incense, and that
some pupil of her master's was present; she seemed anxious to make light
of the matter and turned the conversation to something else. Certainly it
was a romantic house, and I did not separate myself from it by my own
will. I had learned from Blake to hate all abstraction, and, affected by
the abstraction of what were called "esoteric teachings," I began a series
of experiments. Some book or magazine published by the society had quoted
from that essay of magic, which Sibley, the eighteenth century astrologer,
had bound up with his big book upon astrology. If you burnt a flower to
ashes and put the ashes under, I think, the receiver of an air pump, and
stood the receiver in the moonlight for so many nights, the ghost of the
flower would appear hovering over its ashes. I got together a committee
which performed this experiment without results. The "esoteric teachings"
had declared that a certain very pure kind of indigo was the symbol of one
of the seven principles into which they divided human nature. I got with
some difficulty a little of this pure indigo, and gave portions of it to
members of the committee, and asked them to put it under their pillows at
night and record their dreams. I argued that all natural scenery must be
divided into seven types according to these principles, and by their study
we could rid the mind of abstraction. Presently a secretary, a friendly,
intelligent man, asked me to come and see him, and, when I did, complained
that I was causing discussion and disturbance. A certain fanatical hungry
face had been noticed red and tearful, and it was quite plain that I was
not in agreement with their methods or their philosophy. "We have certain
definite ideas," he said, "and we have but one duty, to spread them
through the world. I know that all these people become dogmatic, that they
believe what they can never prove, that their withdrawal from family life
is for them a great misfortune, but what are we to do? We have been told
that all spiritual influx into the society will come to an end in 1897 for
exactly one hundred years; before that date our fundamental ideas must be
spread in all countries." I knew the doctrine, and it made me wonder why
that old woman, or the "masters" from whom, whatever they were or were
not, her genius had come, insisted upon it; for influx of some kind there
must always be. Did they dread heresy, or had they no purpose but the
greatest possible immediate effect?


XX

At the British Museum reading room I often saw a man of thirty-six, or
thirty-seven, in a brown velveteen coat, with a gaunt resolute face, and
an athletic body, who seemed before I heard his name, or knew the nature
of his studies, a figure of romance. Presently I was introduced, where or
by what man or woman I do not remember. He was called Liddle Mathers, but
would soon, under the touch of "The Celtic Movement," become Macgregor
Mathers, and then plain Macgregor. He was the author of _The Kabbala
Unveiled_, and his studies were two only--magic and the theory of war, for
he believed himself a born commander and all but equal in wisdom and in
power to that old Jew. He had copied many manuscripts on magic ceremonial
and doctrine in the British Museum, and was to copy many more in
Continental libraries, and it was through him mainly that I began certain
studies and experiences, that were to convince me that images well up
before the mind's eye from a deeper source than conscious or subconscious
memory. I believe that his mind in those early days did not belie his face
and body, though in later years it became unhinged, for he kept a proud
head amid great poverty. One that boxed with him nightly has told me that
for many weeks he could knock him down, though Mathers was the stronger
man, and only knew long after that during those weeks Mathers starved.
With him I met an old white-haired Oxfordshire clergyman, the most
panic-stricken person I have ever known, though Mathers' introduction had
been "he unites us to the great adepts of antiquity." This old man took me
aside that he might say--"I hope you never invoke spirits--that is a very
dangerous thing to do. I am told that even the planetary spirits turn upon
us in the end." I said, "Have you ever seen an apparition?" "O yes, once,"
he said. "I have my alchemical laboratory in a cellar under my house where
the Bishop cannot see it. One day I was walking up and down there when I
heard another footstep walking up and down beside me. I turned and saw a
girl I had been in love with when I was a young man, but she died long
ago. She wanted me to kiss her. O no, I would not do that." "Why not?" I
said. "O she might have got power over me." "Has your alchemical research
had any success?" I said. "Yes, I once made the elixir of life. A French
alchemist said it had the right smell and the right colour" (the alchemist
may have been Eliphas Levi, who visited England in the 'sixties, and would
have said anything) "but the first effect of the elixir is that your nails
fall out and your hair falls off. I was afraid that I might have made a
mistake and that nothing else might happen, so I put it away on a shelf. I
meant to drink it when I was an old man, but when I got it down the other
day it had all dried up."

Soon after my first meeting with Mathers he emerged into brief prosperity,
becoming for two or three years Curator of a private museum at Forest
Hill, and marrying a young and beautiful wife, the sister of the
philosopher, Henri Bergson. His house at Forest Hill was soon a romantic
place to a little group, Florence Farr, myself, and some dozen fellow
students. I think that it was she, her curiosity being insatiable, who
first brought news of that house and that she brought it in mockery and in
wonder. Mathers had taken her for a walk through a field of sheep and had
said, "Look at the sheep. I am going to imagine myself a ram," and at once
all the sheep ran after him; another day he had tried to quell a thunder
storm by making symbols in the air with a masonic sword, but the storm had
not been quelled; and then came the crowning wonder. He had given her a
piece of cardboard on which was a coloured geometrical symbol and had told
her to hold it to her forehead and she had found herself walking upon a
cliff above the sea, seagulls shrieking overhead. I did not think the ram
story impossible, and even tried half a dozen times to excite a cat by
imagining a mouse in front of its nose, but still some chance movement of
the flock might have deceived her. But what could have deceived her in
that final marvel? Then another brought a like report, and presently my
own turn came. He gave me a cardboard symbol and I closed my eyes. Sight
came slowly, there was not that sudden miracle as if the darkness had been
cut with a knife, for that miracle is mostly a woman's privilege, but
there rose before me mental images that I could not control: a desert and
black Titan raising himself up by his two hands from the middle of a heap
of ancient ruins. Mathers explained that I had seen a being of the order
of Salamanders because he had shown me their symbol, but it was not
necessary even to show the symbol, it would have been sufficient that he
imagined it. I had already written in my diary, under some date in 1887,
that Madame Blavatsky's Masters were "trance personalities," and I must
have meant such beings as my black Titan, only more lasting and more
powerful. I had found when a boy in Dublin on a table in the Royal Irish
Academy a pamphlet on Japanese art and read there of an animal painter so
remarkable that horses he had painted upon a Temple wall, had slipped down
after dark and trampled the neighbours' fields of rice. Somebody had come
into the temple in the early morning, had been startled by a shower of
water drops, had looked up and seen painted horses still wet from the
dew-covered fields, but now "trembling into stillness."

I had soon mastered Mathers' symbolic system, and discovered that for a
considerable minority--whom I could select by certain unanalysable
characteristics--the visible world would completely vanish, and that
world, summoned by the symbol, take its place. One day when alone in a
third-class carriage, in the very middle of the railway bridge that
crosses the Thames near Victoria, I smelt incense. I was on my way to
Forest Hill; might it not come from some spirit Mathers had called up? I
had wondered when I smelt it at Madame Blavatsky's--if there might be some
contrivance, some secret censer, but that explanation was no longer
possible. I believed that Salamander of his but an image, and presently I
found analogies between smell and image. It must be from thought but what
certainty had I, that what had taken me by surprise, could be from my own
thought, and if a thought could affect the sense of smell, why not the
sense of touch? Then I discovered among that group of students that
surrounded Macgregor, a man who had fought a cat in his dreams and awaked
to find his breast covered with scratches. Was there an impassable
barrier between those scratches and the trampled fields of rice? It would
seem so, and yet all was uncertainty. What fixed law would our experiments
leave to our imagination?

Mathers had learning but no scholarship, much imagination and imperfect
taste, but if he made some absurd statement, some incredible claim, some
hackneyed joke, we would half consciously change claim, statement or joke,
as though he were a figure in a play of our composition. He was a
necessary extravagance, and he had carried further than anyone else, a
claim implicit in the romantic movement from the time of Shelley and of
Goethe; and in body and in voice at least he was perfect; so might Faust
have looked at the end of his hundred years. In the credulity of our youth
we secretly wondered if he had not met with, perhaps even been taught by
some old man who had found the elixir. Nor did he undeceive us. "If you
find the elixir," he was accustomed to say, "you always look a few years
younger than the age at which you found it. If you find it at sixty you
will look fifty for a hundred years." None of us would have admitted that
we believed in stone or elixir, the old Oxfordshire clergyman excited no
belief, yet one among us certainly laboured with crucible or athanor. Ten
years ago I called upon an elderly solicitor, on some business, but at his
private house, and I remembered whose pupil he had been when I found among
the ashes of the hearth a little earthen pot. He pretended that he studied
alchemy that he might some day write its history, and I found when I
questioned others, that for twenty years there had been just such a little
pot among the ashes.


XXI

I generalized a great deal and was ashamed of it. I thought it was my
business in life to be an artist and a poet, and that there could be no
business comparable to that. I refused to read books and even to meet
people who excited me to generalization, all to no purpose. I said my
prayers much as in childhood, though without the old regularity of hour
and place, and I began to pray that my imagination might somehow be
rescued from abstraction and became as preoccupied with life as had been
the imagination of Chaucer. For ten or twelve years more I suffered
continual remorse, and only became content when my abstractions had
composed themselves into picture and dramatization. My very remorse helped
to spoil my early poetry, giving it an element of sentimentality through
my refusal to permit it any share of an intellect which I considered
impure. Even in practical life I only very gradually began to use
generalizations, that have since become the foundation of all I have done,
or shall do, in Ireland. For all I know all men may have been so timid,
for I am persuaded that our intellects at twenty contain all the truths we
shall ever find, but as yet we do not know truths that belong to us from
opinions, caught up in casual irritation or momentary fantasy. As life
goes on we discover that certain thoughts sustain us in defeat, or give us
victory, whether over ourselves or others, and it is these thoughts,
tested by passion, that we call convictions. Among subjective men (in all
those, that is, who must spin a web out of their own bowels) the victory
is an intellectual daily recreation of all that exterior fate snatches
away, and so that fate's antithesis; while what I have called "the Mask"
is an emotional antithesis to all that comes out of their internal nature.
We begin to live when we have conceived life as tragedy.


XXII

A conviction that the world was now but a bundle of fragments possessed me
without ceasing. I had tried this conviction on the Rhymers, thereby
plunging into greater silence an already too silent evening. "Johnson," I
was accustomed to say, "you are the only man I know whose silence has beak
and claw." I had lectured on it to some London Irish society, and I was to
lecture upon it later on in Dublin, but I never found but one interested
man, an official of the Primrose League, who was also an active member of
the Fenian Brotherhood. "I am an extreme conservative apart from Ireland,"
I have heard him explain; and I have no doubt that personal experience
made him share the sight of any eye that saw the world in fragments. I had
been put into a rage by the followers of Huxley, Tyndall, Carolus Duran,
and Bastien-Lepage, who not only asserted the unimportance of subject
whether in art or literature, but the independence of the arts from one
another. Upon the other hand, I delighted in every age where poet and
artist confined themselves gladly to some inherited subject matter known
to the whole people, for I thought that in man and race alike there is
something called "Unity of Being," using that term as Dante used it when
he compared beauty in the _Convito_ to a perfectly proportioned human
body. My father, from whom I had learned the term, preferred a comparison
to a musical instrument so strung that if we touch a string all the
strings murmur faintly. There is not more desire, he had said, in lust
than in true love, but in true love desire awakens pity, hope, affection,
admiration, and, given appropriate circumstance, every emotion possible to
man. When I began, however, to apply this thought to the state and to
argue for a law-made balance among trades and occupations my father
displayed at once the violent free trader and propagandist of liberty. I
thought that the enemy of this unity was abstraction, meaning by
abstraction not the distinction but the isolation of occupation, or class
or faculty--

  "Call down the hawk from the air
  Let him be hooded, or caged,
  Till the yellow eye has grown mild,
  For larder and spit are bare,
  The old cook enraged,
  The scullion gone wild."

I knew no mediaeval cathedral, and Westminster, being a part of abhorred
London, did not interest me, but I thought constantly of Homer and Dante,
and the tombs of Mausolus and Artemisia, the great figures of King and
Queen and the lesser figures of Greek and Amazon, Centaur and Greek. I
thought that all art should be a Centaur finding in the popular lore its
back and its strong legs. I got great pleasure too from remembering that
Homer was sung, and from that tale of Dante hearing a common man sing some
stanza from _The Divine Comedy_, and from Don Quixote's meeting with some
common man that sang Ariosto. Morris had never seemed to care greatly for
any poet later than Chaucer and though I preferred Shakespeare to Chaucer
I begrudged my own preference. Had not Europe shared one mind and heart,
until both mind and heart began to break into fragments a little before
Shakespeare's birth? Music and verse began to fall apart when Chaucer
robbed verse of its speed that he might give it greater meditation, though
for another generation or so minstrels were to sing his lengthy elaborated
_Troilus and Criseyde_; painting parted from religion in the later
Renaissance that it might study effects of tangibility undisturbed; while,
that it might characterize, where it had once personified, it renounced,
in our own age, all that inherited subject matter which we have named
poetry. Presently I was indeed to number character itself among the
abstractions, encouraged by Congreve's saying that "passions are too
powerful in the fair sex to let humour," or as we say character, "have its
course." Nor have we fared better under the common daylight, for pure
reason has notoriously made but light of practical reason, and has been
made light of in its turn from that morning when Descartes discovered that
he could think better in his bed than out of it; nor needed I original
thought to discover, being so late of the school of Morris, that machinery
had not separated from handicraft wholly for the world's good, nor to
notice that the distinction of classes had become their isolation. If the
London merchants of our day competed together in writing lyrics they would
not, like the Tudor merchants, dance in the open street before the house
of the victor; nor do the great ladies of London finish their balls on the
pavement before their doors as did the great Venetian ladies, even in the
eighteenth century, conscious of an all enfolding sympathy. Doubtless
because fragments broke into ever smaller fragments we saw one another in
a light of bitter comedy, and in the arts, where now one technical element
reigned and now another, generation hated generation, and accomplished
beauty was snatched away when it had most engaged our affections. One
thing I did not foresee, not having the courage of my own thought: the
growing murderousness of the world.

  "Turning and turning in the widening gyre
  The falcon cannot hear the falconer;
  Things fall apart; the centre cannot hold;
  Mere anarchy is loosed upon the world,
  The blood-dimmed tide is loosed and everywhere
  The ceremony of innocence is drowned;
  The best lack all conviction while the worst
  Are full of passionate intensity."


XXIII

If abstraction had reached, or all but reached its climax, escape might be
possible for many, and if it had not, individual men might still escape.
If Chaucer's personages had disengaged themselves from Chaucer's crowd,
forgot their common goal and shrine, and after sundry magnifications
became each in turn the centre of some Elizabethan play, and had after
split into their elements and so given birth to romantic poetry, must I
reverse the cinematograph? I thought that the general movement of
literature must be such a reversal, men being there displayed in casual,
temporary, contact as at the Tabard door. I had lately read Tolstoy's
_Anna Karenina_ and thought that where his theoretical capacity had not
awakened there was such a turning back: but a nation or an individual with
great emotional intensity might follow the pilgrims as it were to some
unknown shrine, and give to all those separated elements and to all that
abstract love and melancholy, a symbolical, a mythological coherence. Not
Chaucer's rough tongued riders, but rather an ended pilgrimage, a
procession of the Gods! Arthur Symons brought back from Paris stories of
Verhaeren and Maeterlinck, and so brought me confirmation, as I thought,
and I began to announce a poetry like that of the Sufi's. I could not
endure, however, an international art, picking stories and symbols where
it pleased. Might I not, with health and good luck to aid me, create some
new _Prometheus Unbound_; Patrick or Columbkil, Oisin or Fion, in
Prometheus' stead; and, instead of Caucasus, Cro-Patric or Ben Bulben?
Have not all races had their first unity from a polytheism, that marries
them to rock and hill? We had in Ireland imaginative stories, which the
uneducated classes knew and even sang, and might we not make those stories
current among the educated classes, rediscovering for the work's sake what
I have called "the applied arts of literature," the association of
literature, that is, with music, speech, and dance; and at last, it might
be, so deepen the political passion of the nation that all, artist and
poet, craftsman and day-labourer would accept a common design? Perhaps
even these images, once created and associated with river and mountain,
might move of themselves and with some powerful, even turbulent life, like
those painted horses that trampled the rice fields of Japan.


XXIV

I used to tell the few friends to whom I could speak these secret thoughts
that I would make the attempt in Ireland but fail, for our civilization,
its elements multiplying by division like certain low forms of life, was
all-powerful; but in reality I had the wildest hopes. To-day I add to that
first conviction, to that first desire for unity, this other conviction,
long a mere opinion vaguely or intermittently apprehended: Nations, races,
and individual men are unified by an image, or bundle of related images,
symbolical or evocative of the state of mind, which is of all states of
mind not impossible, the most difficult to that man, race, or nation;
because only the greatest obstacle that can be contemplated without
despair, rouses the will to full intensity.

A powerful class by terror, rhetoric, and organized sentimentality, may
drive their people to war but the day draws near when they cannot keep
them there; and how shall they face the pure nations of the East when the
day comes to do it with but equal arms? I had seen Ireland in my own time
turn from the bragging rhetoric and gregarious humour of O'Connell's
generation and school, and offer herself to the solitary and proud Parnell
as to her anti-self, buskin following hard on sock, and I had begun to
hope, or to half hope, that we might be the first in Europe to seek unity
as deliberately as it had been sought by theologian, poet, sculptor,
architect, from the eleventh to the thirteenth century. Doubtless we must
seek it differently, no longer considering it convenient to epitomize all
human knowledge, but find it we well might could we first find philosophy
and a little passion.




BOOK II

IRELAND AFTER THE FALL OF PARNELL





_IRELAND AFTER THE FALL OF PARNELL_


I

A couple of years before the death of Parnell, I had wound up my
introduction to those selections from the Irish novelists with the
prophecy of an intellectual movement at the first lull in politics, and
now I wished to fulfil my prophecy. I did not put it in that way, for I
preferred to think that the sudden emotion that now came to me, the sudden
certainty that Ireland was to be like soft wax for years to come, was a
moment of supernatural insight. How could I tell, how can I tell even now?

There was a little Irish Society of young people, clerks, shop boys, and
shop girls, called "The Southwark Irish Literary Society," and it had
ceased to meet because the girls got the giggles when any member of the
Committee got up to speak. Every member of it had said all he had to say
many times over. I had given them a lecture about the falling asunder of
the human mind, as an opening flower falls asunder, and all had professed
admiration because I had made such a long speech without quotation or
narrative; and now I invited the Committee to my father's house at Bedford
Park, and there proposed a new organization, "The Irish Literary Society."
T. W. Rolleston came to that first meeting, and it was because he had much
tact, and a knowledge of the technical business of committees, that a
society was founded which was joined by every London-Irish author and
journalist. In a few months somebody had written its history, and
published that history, illustrated by our portraits, at a shilling. When
it was published I was in Dublin, founding a society there called "The
National Literary Society," and affiliating it with certain Young Ireland
Societies in country towns which seemed anxious to accept its leadership.
I had definite plans; I wanted to create an Irish Theatre; I was finishing
my _Countess Cathleen_ in its first meagre version, and thought of a
travelling company to visit our country branches; but before that there
must be a popular imaginative literature. I arranged with Mr. Fisher Unwin
and his reader, Mr Edward Garnett--a personal friend of mine--that when
our organization was complete Mr Fisher Unwin was to publish for it a
series of books at a shilling each. I told only one man of this
arrangement, for after I had made my plans I heard an alarming rumour. Old
Sir Charles Gavan Duffy was coming from Australia to start an Irish
publishing house, and publish a series of books, and I did not expect to
agree with him, but knew that I must not seek a quarrel. The two societies
were necessary because their lectures must take the place of an educated
popular press, which we had not, and have not now, and create a standard
of criticism. Irish literature had fallen into contempt; no educated man
ever bought an Irish book; in Dublin Professor Dowden, the one man of
letters with an international influence, was accustomed to say that he
knew an Irish book by its smell, because he had once seen some books whose
binding had been fastened together by rotten glue; and Standish O'Grady's
last book upon ancient Irish history--a book rather wild, rather too
speculative, but forestalling later research--had not been reviewed by any
periodical or newspaper in England or in Ireland.

At first I had great success, for I brought with me a list of names
written down by some member of the Southwark Irish Literary Society, and
for six weeks went hither and thither appealing and persuading. My first
conversation was over a butter-tub in some Dublin back street, and the man
agreed with me at once; everybody agreed with me; all felt that something
must be done, but nobody knew what. Perhaps they did not understand me,
perhaps I kept back my full thoughts, perhaps they only seemed to listen;
it was enough that I had a plan, and was determined about it. When I went
to lecture in a provincial town, a workman's wife, who wrote patriotic
stories in some weekly newspaper, invited me to her house, and I found all
her children in their Sunday best. She made a little speech, very formal
and very simple, in which she said that what she wrote had no merit, but
that it paid for her children's schooling; and she finished her speech by
telling her children never to forget that they had seen me. One man
compared me to Thomas Davis, another said I could organise like Davitt,
and I thought to succeed as they did, and as rapidly. I did not examine
this applause, nor the true thoughts of those I met, nor the general
condition of the country, but I examined myself a great deal, and was
puzzled at myself. I knew that I was shy and timid, that I would often
leave some business undone, or purchase unmade, because I shrank from
facing a strange office or a shop a little grander than usual, and yet,
here was I delightedly talking to strange people every day. It was many
years before I understood that I had surrendered myself to the chief
temptation of the artist, creation without toil. Metrical composition is
always very difficult to me, nothing is done upon the first day, not one
rhyme is in its place; and when at last the rhymes begin to come, the
first rough draft of a six-line stanza takes the whole day. At that time I
had not formed a style, and sometimes a six-line stanza would take several
days, and not seem finished even then; and I had not learnt, as I have
now, to put it all out of my head before night, and so the last night was
generally sleepless, and the last day a day of nervous strain. But now I
had found the happiness that Shelley found when he tied a pamphlet to a
fire balloon.


II

At first I asked no help from prominent persons, and when some clerk or
shop-assistant would say "Dr So-and-so or Professor So-and-so will have
nothing to do with us" I would answer, "When we prove we can gather sheep
shepherds will come." Presently, come they did, old, middle-aged, or but
little older than myself, but all with some authority in their town: John
O'Leary, John F. Taylor, and Douglas Hyde, and Standish O'Grady, and of
these much presently; Dr. Sigerson who has picked a quarrel with me and of
whom I shall say nothing that he may not pick another; Count Plunkett,
Sinn Feiner of late and Minister of Dail Eireann; Dr. Coffey, now head of
the National University; George Coffey, later on Curator of the Irish
Antiquities at the Museum of the Royal Dublin Society; Patrick J. McCall,
poet and publican of Patrick Street, and later member of corporation;
Richard Ashe King, novelist and correspondent of _Truth_, a gentle,
intelligent person, typical of nothing; and others, known or unknown. We
were now important, had our Committee room in the Mansion House, and I
remember that the old Mansion House butler recognised our importance so
fully, that he took us into his confidence once in every week, while we
sat waiting for a quorum. He had seen many Lord Mayors, and remembered
those very superior Lord Mayors who lived before the extension of the
municipal franchise, and spoke of his present masters with contempt. Among
our persons of authority, and among the friends and followers they had
brought, there were many who at that time found it hard to refuse if
anybody offered for sale a pepper-pot shaped to suggest a round tower with
a wolf-dog at its foot, and who would have felt it inappropriate to
publish an Irish book, that had not harp and shamrock and green cover, so
completely did their minds move amid Young Ireland images and metaphors,
and I thought with alarm of the coming of Sir Charles Gavan Duffy; while
here and there I noticed that smooth, smiling face that we discover for
the first time in certain pictures by Velasquez; all that hungry,
mediaeval speculation vanished, that had worn the faces of El Greco and in
its place a self-complacent certainty that all had been arranged, provided
for, set out in clear type, in manual of devotion or of doctrine. These,
however, were no true disciples of Young Ireland, for Young Ireland had
sought a nation unified by political doctrine, a subservient art and
letters aiding and abetting. The movement of thought, which had in the
'fifties and 'fourties at Paris and London and Boston, filled literature,
and especially poetical literature with curiosities about science, about
history about politics, with moral purpose and educational
fervour--abstractions all--had created a new instrument for Irish
politics, a method of writing that took its poetical style from Campbell,
Scott, Macauley, and Beranger, with certain elements from Gaelic, and its
prose style--in John Mitchell, the only Young Ireland prose writer who had
a style at all--from Carlyle. To recommend this method of writing as
literature without much reservation and discrimination I contended was to
be deceived or to practice deception. If one examined some country
love-song, one discovered that it was not written by a man in love, but by
a patriot who wanted to prove that we did indeed possess, in the words of
Daniel O'Connell, "the finest peasantry upon earth." Yet one well-known
anthology was introduced by the assertion that such love-poetry was
superior to "affected and artificial" English love-songs like "Drink to me
only with thine eyes"--"affected and artificial," the very words used by
English Victorians who wrote for the newspapers to discourage capricious,
personal writing. However, the greater number even of those who thought
our famous anthology, _The Spirit of the Nation_, except for three or four
songs, but good election rhyme, looked upon it much as certain enlightened
believers look upon the story of Adam and Eve and the apple, or that of
Jonah and the whale, which they do not question publicly, because such
stories are an integral part of religion to simple men and women. I, upon
the other hand, being in the intemperance of my youth, denied, as publicly
as possible, merit to all but a few ballads translated from Gaelic
writers, or written out of a personal and generally tragic experience.


III

The greater number of those who joined my society had come under the seal
of Young Ireland at that age when we are all mere wax; the more ambitious
had gone daily to some public library to read the bound volumes of Thomas
Davis's old newspaper, and tried to see the world as Davis saw it. No
philosophic speculation, no economic question of the day, disturbed an
orthodoxy which, unlike that of religion had no philosophic history, and
the religious bigot was glad that it should be so. Some few of the younger
men were impatient, and it was these younger men, more numerous in the
London than in the Dublin Society, who gave me support; and we had been
joined by a few older men--some personal friends of my own or my
father--who had only historical interest in Thomas Davis and his school.
Young Ireland's prose had been as much occupied with Irish virtue, and
more with the invader's vices, than its poetry, and we were soon mired and
sunk into such problems as to whether Cromwell was altogether black, the
heads of the old Irish clans altogether white, the Danes mere robbers and
church burners (they tell me at Rosses Point that the Danes keep to this
day the maps of the Rosses fields they were driven out of in the 9th
century, and plot their return) and as to whether we were or were not once
the greatest orators in the world. All the past had been turned into a
melodrama with Ireland for blameless hero and poet, novelist and historian
had but one object, that we should hiss the villain, and only a minority
doubted that the greater the talent the greater the hiss. It was all the
harder to substitute for that melodrama a nobler form of art, because
there really had been, however different in their form, villain and
victim; yet fight that rancour I must, and if I had not made some head
against it in 1892 and 1893 it might have silenced in 1907 John Synge, the
greatest dramatic genius of Ireland. I am writing of disputes that
happened many years ago, that led in later years to much bitterness, and I
may exaggerate their immediate importance and violence, but I think I am
right in saying that disputes about the merits of Young Ireland so often
interrupted our discussion of rules, or of the merit of this or that
lecturer, and were so aggravated and crossed by the current wrangle
between Parnellite and anti-Parnellite that they delayed our public
appearance for a year. Other excited persons, doubtless, seeing that we
are of a race intemperate of speech, had looked up from their rancours to
the dead Lord Mayors upon the wall, superior men whose like we shall not
see again, but never, I think, from rancours so seemingly academic. I was
preparing the way without knowing it for a great satirist and master of
irony, for master works stir vaguely in many before they grow definite in
one man's mind, and to help me I had already flitting through my head,
jostling other ideas and so not yet established there, a conviction that
we should satirize rather than praise, that original virtue arises from
the discovery of evil. If we were, as I had dreaded, declamatory, loose,
and bragging, we were but the better fitted, that once declared and
measured, to create unyielding personality, manner at once cold and
passionate, daring long premeditated act; and if bitter beyond all the
people of the world, we might yet lie, that too declared and measured,
nearest the honeyed comb:--

  "Like the clangour of a bell
  Sweet and harsh, harsh and sweet,
  That is how he learnt so well
  To take the roses for his meat."


IV

There were others with followers of their own, and too old or indifferent
to join our society. Old men who had never accepted Young Ireland, or
middle-aged men kept by some family tradition to the school of thought
before it arose, to the Ireland of Daniel O'Connell and of Lever and of
Thomas Moore, convivial Ireland with the traditional tear and smile. They
sang Moore's _Melodies_, admitted no poetry but his, and resented Young
Ireland's political objections to it as much as my generation's objection
to its artificial and easy rhythm; one, an old commercial traveller, a
Gaelic scholar who kept an erect head and the animal vigour of youth,
frequented the houses of our leading men, and would say in a loud voice,
"Thomas Moore, sir, is the greatest heroic poet of ancient or modern
times." I think it was the Fire Worshippers in _Lalla Rookh_ that he
preferred to Homer; or, jealous for the music of the _Melodies_, denounce
Wagner, then at the top of his vogue; "I would run ten miles through a bog
to escape him," he would cry. Then there was a maker of tombstones of whom
we had heard much but had seen little, an elderly fighting man, lately
imprisoned for beating a wine-merchant. A young member of the London
society, afterwards librarian to the National University, D. J. O'Donohue,
who had published a dictionary of the Irish poets, containing, I think,
two thousand names, had come to Dublin and settled there in a fit of
patriotism. He had been born in London, and spoke the most Cockney dialect
imaginable, and had picked up--probably from London critics--a dislike for
the poetry of Thomas Moore. The tombstone maker invited him to tea, and he
arrived with a bundle of books, which he laid beside him upon the table.
During tea he began expounding that dislike of his; his host was silent,
but he went on, for he was an obstinate little man. Presently the
tombstone-maker rose, and having said solemnly, "I have never permitted
that great poet to be slandered in my presence," seized his guest by the
back of the collar, and flung him out into the street, and after that
flung out the books one after another. Meanwhile the guest--as he himself
told the tale--stood in the middle of the street repeating, "Nice way to
treat a man in your own 'ouse."


V

I shared a lodging full of old books and magazines, covered with dirt and
dust, with the head of the Fenian Brotherhood, John O'Leary. "In this
country," he had said to me, "a man must have upon his side the Church or
the Fenians, and you will never have the Church." He had been converted to
nationality by the poems of Davis, and he wished for some analogous
movement to that of Davis, but he had known men of letters, had been the
friend of Whistler, and knew the faults of the old literature. We had made
him the President of our Society, and without him I could do nothing, for
his long imprisonment and longer exile, his magnificent appearance, and,
above all, the fact that he alone had personality, a point of view not
made for the crowd's sake, but for self-expression, made him magnetic to
my generation. He and I had long been friends, he had stayed with us at
Bedford Park, and my father had painted his portrait, but if I had not
shared his lodging he would have opposed me. He was an old man, and my
point of view was not that of his youth, and it often took me half the day
to make him understand--so suspicious he was of all innovation--some
simple thing that he would presently support with ardour. He had grown up
in a European movement when the revolutionist thought that he, above all
men, must appeal to the highest motive, be guided by some ideal principle,
be a little like Cato or like Brutus, and he had lived to see the change
Dostoievsky examined in _The Possessed_. Men who had been of his
party--and oftener their sons--preached assassination and the bomb; and,
worst of all, the majority of his countrymen followed after constitutional
politicians who practised opportunism, and had, as he believed, such low
morals that they would lie, or publish private correspondence, if it might
advance their cause. He would split every practical project into its
constituent elements, like a clerical casuist, to find if it might not
lead into some moral error; but, were the project revolutionary, he would
sometimes temper condemnation with pity. Though he would cast off his
oldest acquaintance did he suspect him of rubbing shoulders with some
carrier of bombs, I have heard him say of a man who blew himself up in an
attempt to blow up Westminster Bridge, "He was not a bad man, but he had
too great a moral nature for his intellect, not that he lacked intellect."
He did not explain, but he meant, I suppose, that the spectacle of
injustice might madden a good man more quickly than some common man. Such
men were of his own sort, though gone astray, but the constitutional
politicians he had been fighting all his life, and all they did displeased
him. It was not that he thought their aim wrong, or that they could not
achieve it; he had accepted Gladstone's Home Rule Bill; but that in his
eyes they degraded manhood. "If England has been brought to do us justice
by such men," he would say, "that is not because of our strength, but
because of her weakness." He had a particular hatred for the rush of
emotion that followed the announcement of Gladstone's conversion, for what
was called "The Union of Hearts," and derided its sentimentality; "Nations
may respect one another," he would say, "they cannot love." His ancestors
had probably kept little shops, or managed little farms in County
Tipperary, yet he hated democracy, though he never used the word either
for praise or blame, with more than feudal hatred. "No gentleman can be a
socialist," he said, and then, with a thoughtful look, "He might be an
anarchist." He had no philosophy, but things distressed his palate, and
two of those things were International propaganda and the Organised State,
and Socialism aimed at both, nor could he speak such words as
"philanthropy," "humanitarianism," without showing by his tone of voice
that they offended him. The Church pleased him little better; there was an
old Fenian quarrel there, and he would say, "My religion is the old
Persian, to pull the bow and tell the truth." He had no
self-consciousness, no visible pride, and would have hated anything that
could have been called a gesture, was indeed scarce artist enough to
invent a gesture; yet he would never speak of the hardship of his prison
life--though abundantly enough of its humours--and once, when I pressed
him, replied, "I was in the hands of my enemy, why should I complain?" A
few years ago I heard that the Governor of the prison had asked why he did
not report some unnecessary discomfort, and O'Leary had said, "I did not
come here to complain." Now that he is dead, I wish that I could question
him, and perhaps discover whether in early youth he had come across some
teacher who had expounded Roman virtue, but I doubt if I would have learnt
anything, for I think the wax had long forgotten the seal--if seal there
were. The seal was doubtless made before the eloquent humanitarian
'forties and 'fifties, and was one kind with that that had moulded the
youthful mind of Savage Landor. Stephens, the founder of Fenianism, had
discovered him searching the second-hand bookstalls for rare editions, and
enrolled him in his organization. "You have no chance of success," O'Leary
had said "but it will be good for the _morale_ of the country" (_morale_
was his great word), "and I will join on the condition that I am never
asked to enrol anybody." He still searched the second-hand bookstalls, and
had great numbers of books, especially of Irish history and literature,
and when I, exhausted over our morning's casuistry, would sit down to my
day's work (I was writing _The Secret Rose_) he would make his tranquil
way to the Dublin Quays. In the evening, over his coffee, he would write
passages for his memoirs upon postcards and odd scraps of paper, taking
immense trouble with every word and comma, for the great work must be a
masterpiece of style. When it was finished, it was unreadable, being dry,
abstract, and confused; no picture had ever passed before his mind's eye.
He was a victim, I think, of a movement where opinions stick men together,
or keep them apart, like a kind of bird lime, and without any relation to
their natural likes and tastes, and where men of rich nature must give
themselves up to an irritation which they no longer recognise because it
is always present. I often wonder why he gave me his friendship, why it
was he who found almost all the subscribers for my _Wanderings of Usheen_,
and why he now supported me in all I did, for how could he like verses
that were all picture, all emotion, all association, all mythology? He
could not have approved my criticism either, for I exalted Mask and Image
above the 18th century logic which he loved, and set experience before
observation, emotion before fact. Yet he would say, "I have only three
followers, Taylor, Yeats, and Rolleston," and presently he cast out
Rolleston--"Davitt wants to convert thousands, but I want two or three." I
think that perhaps it was because he no more wished to strengthen Irish
Nationalism by second-rate literature than by second-rate morality, and
was content that we agreed in that. "There are things a man must not do to
save a Nation," he had once told me, and when I asked what things, had
said, "To cry in public," and I think it probable that he would have
added, if pressed, "To write oratorical or insincere verse."

O'Leary's movements and intonations were full of impulse, but John F.
Taylor's voice in private discussion had no emotional quality except in
the expression of scorn; if he moved an arm it moved from the shoulder or
elbow alone, and when he walked he moved from the waist only, and seemed
an automaton, a wooden soldier, as if he had no life that was not dry and
abstract. Except at moments of public oratory, he lacked all personality,
though when one saw him respectful and gentle with O'Leary, as with some
charming woman, one saw that he felt its fascination. In letters, or in
painting, it repelled him unless it were harsh and obvious, and,
therefore, though his vast erudition included much art and letters, he
lacked artistic feeling, and judged everything by the moral sense. He had
great ambition, and had he joined some established party, or found some
practicable policy, he might have been followed, might have produced even
some great effect, but he must have known that in defeat no man would
follow him, as they followed O'Leary, as they followed Parnell. His
oratory was noble, strange, even beautiful, at moments the greatest I have
ever listened to; but, the speech over, where there had been, as it
seemed, so little of himself, all coming from beyond himself, we saw
precisely as before an ungainly body in unsuitable, badly-fitting clothes,
and heard an excited voice speaking ill of this man or that other. We knew
that he could never give us that one price we would accept, that he would
never find a practicable policy; that no party would admit, no government
negotiate with, a man notorious for a temper, that, if it gave him genius,
could at times carry him to the edge of insanity.

Born in some country town, the son of some little watchmaker, he had been
a shop assistant, put himself to college and the bar, learned to speak at
temperance meetings and Young Ireland societies, and was now a Queen's
Counsel famous for his defence of country criminals, whose cases had
seemed hopeless--Taylor's boys, their neighbours called them or they
called themselves. He had shaped his style and his imagination from
Carlyle, the chief inspirer of self-educated men in the 'eighties and
early 'nineties. "I prefer Emerson's _Oversoul_," the Condalkin cobbler
said to me, "but I always read Carlyle when I am wild with the
neighbours"; but he used his master's style, as Mitchell had done before,
to abase what his master loved, to exalt what his master scorned. His
historical erudition seemed as vast as that of York Powell, but his
interests were not Powell's, for he had no picture before the mind's eye,
and had but one object--a plea of not guilty--entered in his country's
name before a jury which he believed to be packed. O'Leary cared nothing
for his country's glory, its individuality alone seemed important in his
eyes; he was like some man, who serves a woman all his life without asking
whether she be good or bad, wise or foolish; but Taylor cared for nothing
else; he was so much O'Leary's disciple that he would say in conversation,
"We are demoralised, what case for change if we are not?" for O'Leary
admitted no ground for reform outside the moral life, but when he spoke to
the great plea he would make no admission. He spoke to it in the most
obscure places, in little halls in back streets where the white-washed
walls are foul with grease from many heads, before some audience of
medical students or of shop assistants, for he was like a man under a
curse, compelled to hide his genius, and compelled to show in conspicuous
places his ill judgment and his temper.

His distaste for myself, broken by occasional tolerance, in so far as it
was not distaste for an imagination that seemed to him aesthetic rather
than ethical, was because I had published Irish folk-lore in English
reviews to the discredit, as he thought, of the Irish peasantry, and
because, England within earshot, I found fault with the Young Ireland
prose and poetry. He would have hated _The Playboy of the Western World_,
and his death a little before its performance was fortunate for Synge and
myself. His articles are nothing, and his one historical work, a life of
Hugh O'Neill, is almost nothing, lacking the living voice; and now, though
a most formidable man, he is forgotten, but for the fading memory of a few
friends, and for what an enemy has written here and elsewhere. Did not
Leonardo da Vinci warn the imaginative man against pre-occupation with
arts that cannot survive his death?


VI

When Carleton was dying in 1870, he said there would be nothing more about
Irish Literature for twenty years, and his words were fulfilled, for the
land war had filled Ireland with its bitterness; but imagination had begun
to stir again. I had the same confidence in the future that Lady Gregory
and I had eight or nine years later, when we founded an Irish Theatre,
though there were neither, as it seemed, plays or players. There were
already a few known men to start my popular series, and to keep it popular
until the men, whose names I did not know, had learnt to express
themselves. I had met Dr. Douglas Hyde when I lived in Dublin, and he was
still an undergraduate. I have a memory of meeting in college rooms for
the first time a very dark young man, who filled me with surprise, partly
because he had pushed a snuffbox towards me, and partly because there was
something about his vague serious eyes, as in his high cheek bones, that
suggested a different civilization, a different race. I had set him down
as a peasant, and wondered what brought him to college, and to a
Protestant college, but somebody explained that he belonged to some branch
of the Hydes of Castle Hyde, and that he had a Protestant Rector for
father. He had much frequented the company of old countrymen, and had so
acquired the Irish language, and his taste for snuff, and for moderate
quantities of a detestable species of illegal whiskey distilled from the
potato by certain of his neighbours. He had already--though intellectual
Dublin knew nothing of it--considerable popularity as a Gaelic poet,
mowers and reapers singing his songs from Donegal to Kerry. Years
afterwards I was to stand at his side and listen to Galway mowers singing
his Gaelic words without knowing whose words they sang. It is so in India,
where peasants sing the words of the great poet of Bengal without knowing
whose words they sing, and it must often be so where the old imaginative
folk life is undisturbed, and it is so amongst schoolboys who hand their
story books to one another without looking at the title page to read the
author's name. Here and there, however, the peasants had not lost the
habit of Gaelic criticism, picked up, perhaps, from the poets who took
refuge among them after the ruin of the great Catholic families, from men
like that O'Rahilly, who cries in a translation from the Gaelic that is
itself a masterpiece of concentrated passion--

  "The periwinkle and the tough dog-fish
  Towards evening time have got into my dish."

An old rascal was kept in food and whiskey for a fortnight by some
Connaught village under the belief that he was Craoibhin Aoibhin, "the
pleasant little branch," as Doctor Hyde signed himself in the newspapers
where the villagers had found his songs. The impostor's thirst only
strengthened belief in his genius, for the Gaelic song-writers have had
the infirmities of Robert Burns, "It is not the drink but the company,"
one of the last has sung. Since that first meeting Doctor Hyde and I had
corresponded, and he had sent me in manuscript the best tale in my _Faery
and Folk Tales_, and I think I had something to do with the London
publication of his _Beside the Fire_, a book written in the beautiful
English of Connaught, which is Gaelic in idiom and Tudor in vocabulary,
and indeed, the first book to use it in the expression of emotion and
romance, for Carleton and his school had turned it into farce. Henley had
praised him, and York Powell had said, "If he goes on as he has begun, he
will be the greatest folk-loreist who has ever lived"; and I know no first
book of verse of our time that is at once so romantic and so concrete as
his Gaelic _Abhla de'n Craoibh_; but in a few years Dublin was to laugh
him, or rail him, out of his genius. He had no critical capacity, having
indeed for certain years the uncritical folk-genius, as no educated Irish
or Englishman has ever had it, writing out of an imitative sympathy like
that of a child catching a tune and leaving it to chance to call the tune;
and the failure of our first attempt to create a modern Irish literature
permitted the ruin of that genius. He was to create a great popular
movement, far more important in its practical results than any movement I
could have made, no matter what my luck, but, being neither quarrelsome
nor vain, he will not be angry if I say--for the sake of those who come
after us--that I mourn for the "greatest folk-loreist who ever lived,"
and for the great poet who died in his youth. The Harps and Pepperpots got
him and the Harps and Pepperpots kept him till he wrote in our common
English--"It must be either English or Irish," said some patriotic editor,
Young Ireland practice in his head--that needs such sifting that he who
would write it vigorously must write it like a learned language, and took
for his model the newspaper upon his breakfast table, and became for no
base reason beloved by multitudes who should never have heard his name
till their schoolmasters showed it upon his tomb. That very incapacity for
criticism made him the cajoler of crowds, and of individual men and women;
"He should not be in the world at all," said one admiring elderly woman,
"or doing the world's work"; and for certain years young Irish women were
to display his pseudonym, "Craoibhin Aoibhin," in gilt letters upon their
hat bands.

  "Dear Craoibhin Aoibhin,......impart to us,
  We'll keep the secret, a new trick to please;
  Is there a bridle for this Proteus
  That turns and changes like his draughty seas,
  Or is there none, most popular of men,
  But, when they mock us, that we mock again?"


VII

Standish O'Grady, upon the other hand, was at once all passion and all
judgment. And yet those who knew him better than I assured me he could
find quarrel in a straw; and I did know that he had quarrelled a few years
back with Jack Nettleship. Nettleship's account had been, "My mother
cannot endure the God of the Old Testament, but likes Jesus Christ;
whereas I like the God of the Old Testament, and cannot endure Jesus
Christ; and we have got into the way of quarrelling about it at lunch; and
once, when O'Grady lunched with us, he said it was the most disgraceful
spectacle he had ever seen, and walked out." Indeed, I wanted him among my
writers, because of his quarrels, for, having much passion and little
rancour, the more he quarrelled, the nobler, the more patched with
metaphor, the more musical his style became, and if he were in his turn
attacked, he knew a trick of speech that made us murmur, "We do it wrong,
being so majestical, to offer it the show of violence." Sometimes he
quarrelled most where he loved most. A Unionist in politics, a
leader-writer on _The Daily Express_, the most Conservative paper in
Ireland, hater of every form of democracy, he had given all his heart to
the smaller Irish landowners, to whom he belonged, and with whom his
childhood had been spent, and for them he wrote his books, and would soon
rage over their failings in certain famous passages that many men would
repeat to themselves like poets' rhymes. All round us people talked or
wrote for victory's sake, and were hated for their victories--but here was
a man whose rage was a swan-song over all that he had held most dear, and
to whom for that very reason every Irish imaginative writer owed a portion
of his soul. In his unfinished _History of Ireland_ he had made the old
Irish heroes, Fion, and Oisin, and Cuchullan, alive again, taking them,
for I think he knew no Gaelic, from the dry pages of O'Curry and his
school, and condensing and arranging, as he thought Homer would have
arranged and condensed. Lady Gregory has told the same tales, but keeping
closer to the Gaelic text, and with greater powers of arrangement and a
more original style, but O'Grady was the first, and we had read him in our
'teens. I think that, had I succeeded, a popular audience could have
changed him little, and that his genius would have stayed, as it had been
shaped by his youth in some provincial society, and that to the end he
would have shown his best in occasional thrusts and parries. But I do
think that if, instead of that one admirable little book _The Bog of
Stars_, we had got all his histories and imaginative works into the hands
of our young men, he might have brought the imagination of Ireland nearer
the Image and the honeycomb.

Lionel Johnson was to be our critic, and above all our theologian, for he
had been converted to Catholicism, and his orthdoxy, too learned to
question, had accepted all that we did, and most of our plans. Historic
Catholicism, with all its counsels and its dogmas, stirred his passion
like the beauty of a mistress, and the unlearned parish priests who
thought good literature or good criticism dangerous were in his eyes "all
heretics." He belonged to a family that had called itself Irish some
generations back, and its recent English generations but enabled him to
see as one single sacred tradition Irish nationality and Catholic
religion. How should he fail to know the Holy Land? Had he not been in
Egypt? He had joined our London Irish Literary Society, attended its
committee meetings, and given lectures in London, in Dublin, and in
Belfast, on Irish novelists and Irish poetry, reading his lectures always,
and yet affecting his audience as I, with my spoken lectures, could not,
perhaps because Ireland had still the shape it had received from the
eighteenth century, and so felt the dignity, not the artifice, of his
elaborate periods. He was very little, and at a first glance he seemed
but a schoolboy of fifteen. I remember saying one night at the Rhymers',
when he spoke of passing safely, almost nightly, through Seven Dials, then
a dangerous neighbourhood, "Who would expect to find anything in your
pockets but a pegtop and a piece of string?" But one never thought of his
small stature when he spoke or read. He had the delicate strong features
of a certain filleted head of a Greek athlete in the British Museum, an
archaistic Graeco-Roman copy of a masterpiece of the fourth century, and
that resemblance seemed symbolic of the austere nobility of his verse. He
was now in his best years, writing with great ease and power; neither I,
nor, I think, any other, foresaw his tragedy.

He suffered from insomnia, and some doctor, while he was still at the
University, had recommended alcohol, and he had, in a vain hope of sleep,
increased the amount, as Rossetti had increased his doses of chloral, and
now he drank for drinking's sake. He drank a great deal too much, and,
though nothing could, it seemed, disturb his calm or unsteady his hand or
foot, his doctrine, after a certain number of glasses, would become more
ascetic, more contemptuous of all that we call human life. I have heard
him, after four or five glasses of wine, praise some church father who
freed himself from sexual passion by a surgical operation, and deny with
scorn, and much historical evidence, that a gelded man lost anything of
intellectual power. Even without stimulant his theology conceded nothing
to human weakness, and I can remember his saying with energy, "I wish
those people who deny the eternity of punishment could realise their
unspeakable vulgarity."

Now that I know his end, I see him creating, to use a favourite adjective
of his, "marmorean" verse, and believing the most terrible doctrines to
keep down his own turbulence. One image of that stay in Dublin is so clear
before me that it has blotted out most other images of that time. He is
sitting at a lodging-house table, which I have just left at three in the
morning, and round him lie or sit in huddled attitudes half-a-dozen men in
various states of intoxication: and he is looking straight before him with
head erect, and one hand resting upon the table. As I reach the stairs I
hear him say, in a clear, unshaken voice, "I believe in nothing but the
Holy Roman Catholic Church." He sometimes spoke of drink as something
which he could put aside at any moment, and his friends believed, and I
think he liked us to believe, that he would shortly enter a monastery. Did
he deceive us deliberately? Did he himself already foresee the moment when
he would write _The Dark Angel_? I am almost certain that he did, for he
had already written _Mystic and Cavalier_, where the historical setting
is, I believe, but masquerade.

  "Go from me: I am one of those, who fall.
  What! hath no cold wind swept your heart at all,
  In my sad company? Before the end,
        Go from me, dear my friend!

  Yours are the victories of light: your feet
  Rest from good toil, where rest is brave and sweet.
  But after warfare in a mourning gloom
        I rest in clouds of doom.

       *       *       *       *       *

  Seek with thine eyes to pierce this crystal sphere:
  Canst read a fate there, prosperous and clear?
  Only the mists, only the weeping clouds:
        Dimness, and airy shrouds.

       *       *       *       *       *

  O rich and sounding voices of the air!
  Interpreters and prophets of despair:
  Priests of a fearful sacrament! I come
        To make with you my home."


VIII

Sir Charles Gavan Duffy arrived. He brought with him much manuscript, the
private letters of a Young Ireland poetess, a dry but informing
unpublished historical essay by Davis, and an unpublished novel by William
Carleton, into the middle of which he had dropped a hot coal, so that
nothing remained but the borders of every page. He hired a young man to
read him, after dinner, Carlyle's _Heroes and Hero-Worship_, and before
dinner was gracious to all our men of authority and especially to our
Harps and Pepperpots. Taylor compared him to Odysseus returning to Ithaca,
and every newspaper published his biography. He was a white-haired old
man, who had written the standard history of Young Ireland, had emigrated
to Australia, had been the first Australian Federalist, and later Prime
Minister, but, in all his writings, in which there is so much honesty, so
little rancour, there is not one sentence that has any meaning when
separated from its place in argument or narrative, not one distinguished
because of its thought or music. One imagined his youth in some little
gaunt Irish town, where no building or custom is revered for its
antiquity; and there speaking a language where no word, even in solitude,
is ever spoken slowly and carefully because of emotional implication; and
of his manhood of practical politics, of the dirty piece of orange-peel in
the corner of the stairs as one climbs up to some newspaper office; of
public meetings where it would be treacherous amid so much geniality to
speak, or even to think of anything that might cause a moment's
misunderstanding in one's own party. No argument of mine was intelligible
to him, and I would have been powerless, but that fifty years ago he had
made an enemy, and though that enemy was long dead, his school remained.
He had attacked, why or with what result I do not remember, the only Young
Ireland politician who had music and personality, though rancorous and
devil-possessed. At some public meeting of ours, where he spoke amid great
applause, in smooth, Gladstonian periods, of his proposed Irish publishing
firm, one heard faint hostile murmurs, and at last a voice cried,
"Remember Newry," and a voice answered, "There is a grave there!" and a
part of the audience sang, "Here's to John Mitchell that is gone, boys,
gone; Here's to the friends that are gone." The meeting over, a group of
us, indignant that the meeting we had called for his welcome should have
contained those malcontents, gathered about him to apologize. He had
written a pamphlet, he explained: he would give us copies. We would see
that he was in the right, how badly Mitchell had behaved. But in Ireland
personality, if it be but harsh and hard, has lovers, and some of us, I
think, may have gone home muttering, "How dare he be in the right if
Mitchell is in the wrong?"


IX

He wanted "to complete the Young Ireland movement"--to do all that had
been left undone because of the Famine, or the death of Davis, or his own
emigration; and all the younger men were upon my side in resisting that.
They might not want the books I wanted, but they did want books written by
their own generation, and we began to struggle with him over the control
of the company. Taylor became very angry, and I can understand what I
looked like in his eyes, when I remember Edwin Ellis's seriously-intended
warning, "It is bad manners for a man under thirty to permit himself to be
in the right." But John O'Leary supported me throughout.

When Gavin Duffy had gone to London to draw up articles of association for
his company, for which he had found many shareholders in Dublin, the
dispute became very fierce. One night members of the general public
climbed the six flights of stairs to our committee room, now no longer in
the Mansion House, and found seats for themselves just behind our chairs.
We were all too angry to send them away, or even to notice their presence,
for I was accused of saying at a public meeting in Cork, "Our books," when
I should have said, "Sir Charles Gavan Duffy's books." I was not Taylor's
match with the spoken word, and barely matched him with the written word.
At twenty-seven or twenty-eight I was immature and clumsy, and O'Leary's
support was capricious, for, being but a spectator of life, he would
desert me if I used a bad argument, and would not return till I found a
good one; and our chairman, Dr. Hyde, "most popular of men," sat dreaming
of his old white cockatoo in far-away Roscommon. Our very success had been
a misfortune, for an opposition which had been literary and political, now
that it had spread to the general public, brought religious prejudice to
its aid. Suddenly, when the company seemed all but established, and a
scheme had been thought out which gave some representation on its
governing board to contemporary Irish writers, Gavan Duffy produced a
letter from Archbishop Walsh, and threw the project up. The letter had
warned him that after his death the company would fall under a dangerous
influence. At this moment the always benevolent friend, to whom I had
explained in confidence, when asking his support, my arrangements with my
publisher, went to Gavan Duffy and suggested that they should together
offer Mr Fisher Unwin a series of Irish books, and Mr Fisher Unwin and his
reader accepted the series under the belief that it was my project that
they accepted. I went to London to find the contract signed, and that all
I could do was to get two sub-editors appointed, responsible to the two
societies. Two or three good books were published, especially Dr. Hyde's
_Short History of Gaelic Literature_, and Standish O'Grady's _Bog of
Stars_; but the series was killed by its first volume, Thomas Davis's dry
but informing historical essay. So important had our movement seemed that
ten thousand copies had been sold before anybody had time to read it, and
then came a dead stop.

Gavan Duffy knew nothing of my plans, and so was guiltless, and my friend
had heard me discuss many things that evening. I had perhaps dispraised
the humanitarian Stephen Phillips, already in his first vogue, and praised
Francis Thompson, but half-rescued from his gutter; or flouted his belief
in the perpetual marriage of genius and virtue by numbering the vices of
famous men; this man's venery, that man's drink. He could not be expected
to remember that where I had said so much of no account, I said one
thing, and he had made no reply, that I thought of great account. He died
a few months ago, and it would have surprised and shocked him if any man
had told him that he was unforgiven; had he not forgotten all about it
long ago? A German doctor has said that if we leave an umbrella at a
friend's house it is because we have a sub-conscious desire to re-visit
that house; and he had perhaps a sub-conscious desire that my too
tumultuous generation should not have its say.


X

I was at Sligo when I received a letter from John O'Leary, saying that I
could do no more in Dublin, for even the younger men had turned against
me, were "jealous," his letter said, though what they had to be jealous of
God knows. He said further that it was all my own fault, that he had
warned me what would happen if I lived on terms of intimacy with those I
tried to influence. I should have kept myself apart and alone. It was all
true; through some influence from an earlier generation, from Walt
Whitman, perhaps, I had sat talking in public bars, had talked late into
the night at many men's houses, showing all my convictions to men that
were but ready for one, and used conversation to explore and discover
among men who looked for authority. I did not yet know that intellectual
freedom and social equality are incompatible; and yet, if I had, could
hardly have lived otherwise, being too young for silence. The trouble came
from half a dozen obscure young men, who having nothing to do attended
every meeting and were able to overturn a project, that seemed my only
bridge to other projects, including a travelling theatre. We had planned
small libraries of Irish literature in connection with our country
branches; we collected books and money, sending a lecturer to every branch
and taking half the proceeds of that lecture to buy books. Maud Gonne,
whose beauty could draw a great audience in any country town, had been the
lecturer. The scheme was very nearly self-supporting, and six or seven
bundles of books, chosen after much disputation by John O'Leary, J. F.
Taylor, and myself, had been despatched to some six or seven branches.
"The country will support this work" Taylor had said somewhere on some
public platform, "because we are the most inflammable people on God's
earth," his harsh voice giving almost a quality of style to Carlylian
commonplace; but we are also a very jealous people. The half-a-dozen young
men, if a little jealous of me, were still more jealous of those country
branches which were getting so much notice, and where there was so much of
that peasant mind their schoolmasters had taught them to despise. One must
be English or Irish, they would have said. I returned to find a great box
of books appropriated for some Dublin purpose and the whole scheme
abandoned. I know that it was a bitter moment because I remember with
gratitude words spoken not to my ear, but for my ear, by a young man who
had lately joined our Society, Mr. Stephen McKenna, now well-known amongst
scholars for his distinguished translations of Plotinus, and I seem to
remember that I lost through anger what gift of persuasion I may possess,
and that I was all the more helpless because I felt that even the best of
us disagreed about everything at heart. I began to feel that I needed a
hostess more than a society, but that I was not to find for years to
come. I tried to persuade Maud Gonne to be that hostess, but her social
life was in Paris, and she had already formed a new ambition, the turning
of French public opinion against England. Without intellectual freedom
there can be no agreement, and in Nationalist Dublin there was not--indeed
there still is not--any society where a man is heard by the right ears,
but never overheard by the wrong, and where he speaks his whole mind
gaily, and is not the cautious husband of a part; where phantasy can play
before matured into conviction; where life can shine and ring, and lack
utility. Mere life lacking the protection of wealth or rank, or some
beauty's privilege of caprice cannot choose its company, taking up and
dropping men merely because it likes, or dislikes, their manners and their
looks, and in its stead opinion crushes and rends, and all is hatred and
bitterness: wheel biting upon wheel, a roar of steel or iron tackle, a
mill of argument grinding all things down to mediocrity. If, as I think,
minds and metals correspond the goldsmiths of Paris foretold the French
Revolution when they substituted steel for that unserviceable gold in the
manufacture of the more expensive jewel work, and made those large, flat
steel buttons for men of fashion whereby the card players were able to
cheat by studying the reflections of the cards.


XI

No country could have more natural distaste for equality, for in every
circle there was some man ridiculous for posing as the type of some
romantic or distinguished quality. One of our friends, a man of talent
and of learning, whose ancestors had come, he believed, from Denmark in
the ninth century, looked and talked the distinguished foreigner so
perfectly that a patriotic newspaper gave particulars of his supposed
relations in contemporary Denmark! A half-mad old man who had served for a
few months in the Pope's army, many years before, still rode an old white
warhorse in all national processions, and, if their enemies were not
lying, one Town Councillor had challenged another to a duel by flinging
his glove upon the floor; while a popular Lord Mayor had boasted in a
public speech that he never went to bed at night without reading at least
twelve pages of _Sappho_. Then, too, in those conversations of the small
hours, to which O'Leary had so much objected, whenever we did not speak of
art and letters, we spoke of Parnell. We told each other that he had
admitted no man to his counsel; that when some member of his party found
himself in the same hotel by chance, that member would think to stay there
a presumption, and move to some other lodging; and, above all, we spoke of
his pride, that made him hide all emotion while before his enemy. Once he
had seemed callous and indifferent to the House of Commons, Foster had
accused him of abetting assassination, but when he came among his
followers his hands were full of blood, because he had torn them with his
nails. What excitement there would have been, what sense of mystery would
have stirred all our hearts, and stirred hearts all through the country,
where there was still, and for many years to come, but one overmastering
topic, had we known the story Mrs. Parnell tells of that scene on Brighton
Pier. He and the woman that he loved stood there upon a night of storm,
when his power was at its greatest height, and still unthreatened. He
caught her from the ground and held her at arm's length out over the water
and she lay there motionless, knowing that, had she moved, he would have
drowned himself and her. Perhaps unmotived self-immolation, were that
possible, or else at mere suggestion of storm and night, were as great
evidence as such a man could give of power over self, and so of the
expression of the self.


XII

When I look back upon my Irish propaganda of those years I can see little
but its bitterness. I never met with, or but met to quarrel with, my
father's old family acquaintance; or with acquaintance I myself might have
found, and kept, among the prosperous educated class, who had all the
great appointments at University or Castle; and this I did by deliberate
calculation. If I must attack so much that seemed sacred to Irish
nationalist opinion, I must, I knew, see to it that no man suspect me of
doing it to flatter Unionist opinion. Whenever I got the support of some
man who belonged by birth and education to University or Castle, I would
say, "Now you must be baptized of the gutter." I chose Royal visits
especially for demonstrations of disloyalty, rolling up with my own hands
the red carpet spread by some elderly Nationalist, softened or weakened by
time, to welcome Viceroyalty; and threatening, if the London Society drank
to the King's health, that my friends and I would demonstrate against it
by turning our glasses upside down; and was presently to discover that one
can grow impassioned and fanatical about opinions, which one has chosen
as one might choose a side upon the football field; and I thought many a
time of the pleasant Dublin houses that would never ask me to dine; and
the still pleasanter houses with trout-streams near at hand, that would
never ask me upon a visit. I became absurdly sensitive, glancing about me
in certain public places, the private view of our Academy, or the like, to
discover imagined enemies; and even now, after twenty or thirty years, I
feel at times that I have not recovered my natural manner. Yet it was in
those pleasant houses, among the young men and the young girls, that we
were to make our converts. When we loathe ourselves or our world, if that
loathing but turn to intellect, we see self or world and its anti-self as
in one vision; when loathing remains but loathing, world or self consumes
itself away, and we turn to its mechanical opposite. Popular Nationalism
and Unionism so changed into one another, being each but the other's
headache. The Nationalist abstractions were like the fixed ideas of some
hysterical woman, a part of the mind turned into stone, and all the rest a
seething and burning; and Unionist Ireland had re-acted from that seething
and burning to a cynical indifference, and from those fixed ideas to
whatever might bring the most easy and obvious success.

I remember Taylor at some public debate, stiff of body and tense of voice;
and the contrasting figure of Fitzgibbon, the Lord Justice of Appeal of
the moment and his calm, flowing sentences, satisfactory to hear and
impossible to remember. Taylor speaks of a little nation of antiquity,
which he does not name, "set between the great Empire of Persia and the
great Empire of Rome." Into the mouths of those great Empires he puts the
arguments of Fitzgibbon, and such as he, "Join with our greatness! What
in comparison to that is your little, beggarly nationality?" And then I
recall the excitement, the shiver of the nerves, as his voice rose to an
ecstatic cry, "Out of that nation came the salvation of the world." I
remember, too, and grow angry, as it were yesterday, a letter from that
Lord Justice of Appeal, who had changed his politics for advancement's
sake, recommending a correspondent to avoid us, because we dissuaded
people from the study of "Shakespeare and Kingsley."

Edward Dowden, my father's old friend, with his dark romantic face, the
one man of letters Dublin Unionism possessed, was withering in that barren
soil. Towards the end of his life he confessed to a near friend that he
would have wished before all things to have been the lover of many women;
and some careless lecture, upon the youthful Goethe, had in early life
drawn down upon him the displeasure of the Protestant Archbishop. And yet
he turned Shakespeare into a British Benthamite, flattered Shelley but to
hide his own growing lack of sympathy, abandoned for like reason that
study of Goethe that should have been his life-work, and at last cared but
for Wordsworth, the one great poet who, after brief blossom, was cut and
sawn into planks of obvious utility. I called upon him from time to time
out of gratitude for old encouragements, and because, among the Dublin
houses open to me, his alone was pleasant to the eye, with its many books
and its air of scholarship. But when O'Grady had declared, rancorous for
once but under substantial provocation, that he had "a bad head and a
worse heart," I found my welcome troubled and called no more.


XIII

The one house where nobody thought or talked politics was a house in Ely
Place, where a number of young men lived together, and, for want of a
better name, were called Theosophists. Beside the resident members, other
members dropped in and out during the day, and the reading-room was a
place of much discussion about philosophy and about the arts. The house
had been taken in the name of the engineer to the Board of Works, a
black-bearded young man, with a passion for Manichean philosophy, and all
accepted him as host; and sometimes the conversation, especially when I
was there, became too ghostly for the nerves of his young and delicate
wife, and he would be made angry. I remember young men struggling, with
inexact terminology and insufficient learning, for some new religious
conception, on which they could base their lives; and some few strange or
able men.

At the top of the house lived a medical student who read Plato and took
haschisch, and a young Scotchman who owned a vegetarian restaurant, and
had just returned from America, where he had gone as the disciple of the
Prophet Harris, and where he would soon return in the train of some new
prophet. When one asked what set him on his wanderings, he told of a young
Highlander, his friend in boyhood, whose cap was always plucked off at a
certain twist in the road, till the fathers of the village fastened it
upon his head by recommending drink and women. When he had gone, his room
was inherited by an American hypnotist, who had lived among the Zuni
Indians with the explorer Cushant, and told of a Zuni Indian who,
irritated by some white man's praise of telephone and telegraph, cried
out, "Can they do that?" and cast above his head two handfuls of sand that
burst into flame, and flamed till his head seemed wrapped in fire. He
professed to talk the philosophy of the Zuni Indians, but it seemed to me
the vague Platonism that all there talked, except that he spoke much of
men passing in sleep into the heart of mountains; a doctrine that was
presently incorporated in the mythology of the house, to send young men
and women hither and thither inquiring for sacred places. On a lower floor
lived a strange red-haired girl, all whose thoughts were set upon painting
and poetry, conceived as abstract images like Love and Penury in the
_Symposium_; and to these images she sacrificed herself with Asiatic
fanaticism. The engineer had discovered her starving somewhere in an
unfurnished or half-furnished room, and that she had lived for many weeks
upon bread and shell-cocoa, so that her food never cost her more than a
penny a day. Born into a county family, who were so haughty that their
neighbours called them the Royal Family, she had quarrelled with a mad
father, who had never, his tenants declared, "unscrewed the top of his
flask with any man," because she wished to study art, had ran away from
home, had lived for a time by selling her watch, and then by occasional
stories in an Irish paper. For some weeks she had paid half-a-crown a week
to some poor woman to see her to the art schools and back, for she
considered it wrong for a woman to show herself in public places
unattended; but of late she had been unable to afford the school fees. The
engineer engaged her as a companion for his wife, and gave her money
enough to begin her studies once more. She had talent and imagination, a
gift for style; but, though ready to face death for painting and poetry,
conceived as allegorical figures, she hated her own genius, and had not
met praise and sympathy early enough to overcome the hatred. Face to face
with paint and canvas, pen and paper, she saw nothing of her genius but
its cruelty, and would have scarce arrived before she would find some
excuse to leave the schools for the day, if indeed she had not invented
over her breakfast some occupation so laborious that she could call it a
duty, and so not go at all. Most watched her in mockery, but I watched in
sympathy; composition strained my nerves and spoiled my sleep; and yet, as
far back as I could trace--and in Ireland we have long memories--my
paternal ancestors had worked at some intellectual pursuit, while hers had
shot and hunted. She could at any time, had she given up her profession,
which her father had raged against, not because it was art, but because it
was a profession, have returned to the common comfortable life of women.
When, a little later, she had quarrelled with the engineer or his wife,
and gone back to bread and shell-cocoa I brought her an offer from some
Dublin merchant of fairly well paid advertisement work, which would have
been less laborious than artistic creation; but she said that to draw
advertisements was to degrade art, thanked me elaborately, and did not
disguise her indignation. She had, I believe, returned to starvation with
joy, for constant anaemia would shortly give her an argument strong enough
to silence her conscience when the allegorical images glared upon her,
and, apart from that, starvation and misery had a large share in her
ritual of worship.


XIV

At the top of the house and at the time I remember best, in the same room
with the young Scotchman, lived Mr. George Russell (A.E.), and the house
and the society were divided into his adherents and those of the engineer;
and I heard of some quarrelling between the factions. The rivalry was
sub-conscious. Neither had willingly opposed the other in any matter of
importance. The engineer had all the financial responsibility, and George
Russell was, in the eyes of the community, saint and genius. Had either
seen that the question at issue was the leadership of mystical thought in
Dublin, he would, I think, have given way, but the dispute seemed trivial.
At the weekly meetings, anything might be discussed; no chairman called a
speaker to order; an atheistic workman could denounce religion, or a pious
Catholic confound theosophy with atheism; and the engineer, precise and
practical, disapproved. He had an object. He wished to make converts for a
definite form of belief, and here an enemy, if a better speaker, might
make all the converts. He wished to confine discussion to members of the
society, and had proposed in committee, I was told, a resolution on the
subject; while Russell, who had refused to join my National Literary
Society, because the party of Harp and Pepperpot had set limits to
discussion, resisted, and at last defeated him. In a couple of years some
new dispute arose; he resigned, and founded a society which drew doctrine
and method from America or London; and Russell became, as he is to-day,
the one masterful influence among young Dublin men and women who love
religious speculation, but have no historical faith.

When Russell and I had been at the Art School six or seven years before,
he had been almost unintelligible. He had seemed incapable of coherent
thought, and perhaps was so at certain moments. The idea came upon him, he
has told me, that, if he spoke he would reveal that he had lost coherence;
and for the three days that the idea lasted spent the hours of daylight
wandering upon the Dublin mountains, that he might escape the necessity
for speech. I used to listen to him at that time, mostly walking through
the streets at night, for the sake of some stray sentence, beautiful and
profound, amid many words that seemed without meaning; and there were
others, too, who walked and listened, for he had become, I think, to all
his fellow students, sacred, as the fool is sacred in the East. We copied
the model laboriously, but he would draw without research into the natural
form, and call his study "St. John in the Wilderness"; but I can remember
the almost scared look and the half-whisper of a student, now a successful
sculptor, who said, pointing to the modelling of a shoulder, "That is too
easy, a great deal too easy!" For with brush and pencil he was too
coherent.

We derided each other, told absurd tales to one another's discredit, but
we never derided him, or told tales to his discredit. He stood outside the
sense of comedy his friend John Eglinton has called "the social cement" of
our civilization; and we would "gush" when we spoke of him, as men do when
they praise something incomprehensible. But when he painted there was no
difficulty in comprehending. How could that ease and rapidity of
composition, so far beyond anything that we could attain to, belong to a
man whose words seemed often without meaning?

A few months before I had come to Ireland he had sent me some verses,
which I had liked till Edwin Ellis had laughed me from my liking by
proving that no line had a rhythm that agreed with any other, and that,
the moment one thought he had settled upon some scheme of rhyme, he would
break from it without reason. But now his verse was clear in thought and
delicate in form. He wrote without premeditation or labour. It had, as it
were, organized itself, and grown as nervous and living as if it had, as
Dante said of his own work, paled his cheek. The Society he belonged to
published a little magazine, and he had asked the readers to decide
whether they preferred his prose or his verse, and it was because they so
willed it that he wrote the little transcendental verses afterwards
published in _Homeward Songs by the Way_.

Life was not expensive in that house, where, I think, no meat was eaten; I
know that out of the sixty or seventy pounds a year which he earned as
accountant in a Dublin shop, he saved a considerable portion for his
private charity; and it was, I think, his benevolence that gave him his
lucidity of speech, and, perhaps, of writing. If he convinced himself that
any particular activity was desirable in the public interest or in that of
his friends, he had at once the ardour that came to another from personal
ambition. He was always surrounded with a little group of infirm or
unlucky persons, whom he explained to themselves and to others, turning
cat to griffin, goose to swan. In later years he was to accept the
position of organizer of a co-operative banking system, before he had even
read a book upon economics or finance, and within a few months to give
evidence before a Royal Commission upon the system, as an acknowledged
expert, though he had brought to it nothing but his impassioned
versatility.

At the time I write of him, he was the religious teacher, and that
alone--his painting, his poetry, and his conversation all subservient to
that one end. Men watched him with awe or with bewilderment; it was known
that he saw visions continually, perhaps more continually than any modern
man since Swedenborg; and when he painted and drew in pastel what he had
seen, some accepted the record without hesitation, others, like myself,
noticing the academic Graeco-Roman forms, and remembering his early
admiration for the works of Gustave Moreau, divined a subjective element,
but no one doubted his word. One might not think him a good observer, but
no one could doubt that he reported with the most scrupulous care what he
believed himself to have seen; nor did he lack occasional objective
corroboration. Walking with some man in his park--his demesne, as we say
in Ireland--he had seen a visionary church at a particular spot, and the
man had dug and uncovered its foundations; then some woman had met him
with, "Oh, Mr Russell, I am so unhappy," and he had replied, "You will be
perfectly happy this evening at seven o'clock," and left her to her
blushes. She had an appointment with a young man for seven o'clock. I had
heard of this a day or so after the event, and I asked him about it, and
was told it had suddenly come into his head to use those words; but why he
did not know. He and I often quarrelled, because I wanted him to examine
and question his visions, and write them out as they occurred; and still
more because I thought symbolic what he thought real like the men and
women that had passed him on the road. Were they so much a part of his
sub-conscious life that they would have vanished had he submitted them to
question; were they like those voices that only speak, those strange
sights that only show themselves for an instant, when the attention has
been withdrawn; that phantasmagoria of which I had learnt something in
London: and had his verse and his painting a like origin? And was that why
the same hand that painted a certain dreamy, lovely sandy shore, now in
the Dublin Municipal Gallery, could with great rapidity fill many canvases
with poetical commonplace; and why, after writing _Homeward Songs by the
Way_, where all is skilful and much exquisite, he would never again write
a perfect book? Was it precisely because in Swedenborg alone the conscious
and the sub-conscious became one, as in that marriage of the angels, which
he has described as a contact of the whole being, that Coleridge thought
Swedenborg both man and woman?

Russell's influence, which was already great, had more to support it than
his versatility, or the mystery that surrounded him, for his sense of
justice, and the daring that came from his own confidence in it, had made
him the general counsellor. He would give endless time to a case of
conscience, and no situation was too difficult for his clarity; and
certainly some of the situations were difficult. I remember his being
summoned to decide between two ladies who had quarrelled about a
vacillating admirer, and called each other, to each other's faces, the
worst names in our somewhat anaemic modern vocabulary; and I have heard of
his success on an occasion when I think no other but Dostoievsky's idiot
could have avoided offence. The Society was very young, and, as its
members faced the world's moral complexities as though they were the first
that ever faced them, they drew up very vigorous rules. One rule was that
if any member saw a fault growing upon any other member, it was his duty
to point it out to that member. A certain young man become convinced that
a certain young woman had fallen in love with him; and, as an unwritten
rule pronounced love and the spiritual life incompatible, that was a heavy
fault. As the young man felt the delicacy of the situation, he asked for
Russell's help, and side by side they braved the offender, who, I was
told, received their admonishment with surprised humility, and promised
amendment. His voice would often become high, and lose its self-possession
during intimate conversation, and I especially could put him in a rage;
but the moment the audience became too large for intimacy, or some
exciting event had given formality to speech, he would be at the same
moment impassioned and impersonal. He had, and has, the capacity, beyond
that of any man I have known, to put with entire justice not only the
thoughts, but the emotions, of the most opposite parties and
personalities, as it were dissolving some public or private uproar into
drama by Corneille or by Racine; and men who have hated each other must
sometimes have been reconciled, because each heard his enemy's argument
put into better words than he himself had found for his own; and this gift
was in later years to give him political influence, and win him respect
from Irish Nationalist and Unionist alike. It was, perhaps, because of it,
joined to a too literal acceptance of those noble images of moral
tradition which are so like late Graeco-Roman statues, that he had seen
all human life as a mythological system, where, though all cats are
griffins, the more dangerous griffins are only found among politicians he
has not spoken to, or among authors he has but glanced at; while those men
and women who bring him their confessions and listen to his advice, carry
but the snowiest of swan's plumage. Nor has it failed to make him, as I
think, a bad literary critic; demanding plays and poems where the
characters must attain a stature of seven feet, and resenting as something
perverse and morbid all abatement from that measure. I sometimes wonder
what he would have been had he not met in early life the poetry of Emerson
and Walt Whitman, writers who have begun to seem superficial precisely
because they lack the Vision of evil; and those translations of the
Upanishads, which it is so much harder to study by the sinking flame of
Indian tradition than by the serviceable lamp of Emerson and Walt Whitman.

We are never satisfied with the maturity of those whom we have admired in
boyhood; and, because we have seen their whole circle--even the most
successful life is but a segment--we remain to the end their harshest
critics. One old schoolfellow of mine will never believe that I have
fulfilled the promise of some rough unscannable verses that I wrote before
I was eighteen. Does any imaginative man find in maturity the admiration
that his first half-articulate years aroused in some little circle; and is
not the first success the greatest? Certainly, I demanded of Russell some
impossible things, and if I had any influence upon him--and I have little
doubt that I had, for we were very intimate--it may not have been a good
influence for I thought there could be no aim for poet or artist except
expression of a "Unity of Being" like that of a "perfectly proportioned
human body"--though I would not at the time have used that phrase. I
remember that I was ironic and indignant when he left the Art Schools
because his "will was weak, and must grow weaker if he followed any
emotional pursuit;" as, later, when he let the readers of a magazine
decide between his prose and his verse. I now know that there are men who
cannot possess "Unity of Being," who must not seek it or express it--and
who, so far from seeking an anti-self, a Mask that delineates a being in
all things the opposite to their natural state, can but seek the
suppression of the anti-self, till the natural state alone remains. These
are those who must seek no image of desire, but await that which lies
beyond their mind, unities not of the mind, but unities of nature, unities
of God: the man of science, the moralist, the humanitarian, the
politician, St. Simon Stylites upon his pillar, St. Antony in his cavern;
all whose pre-occupation is to know themselves for fragments, and at last
for nothing; to hollow their hearts out till they are void and without
form, to summon a creator by revealing chaos, to become the lamp for
another's wick and oil; and indeed it may be that it has been for their
guidance in a very special sense that the "perfectly proportioned human
body" suffered crucifixion. For them Mask and Image are of necessity
morbid, turning their eyes upon themselves, as though they were of those
who can be law unto themselves, of whom Chapman has written, "Neither is
it lawful that they should stoop to any other law," whereas they are
indeed of those who can but ask, "Have I behaved as well as So-and-so?"
"Am I a good man according to the commandments?" or, "Do I realise my own
nothingness before God?" "Have my experiments and observations excluded
the personal factor with sufficient rigour?" Such men do not assume wisdom
or beauty as Shelley did, when he masked himself as Ahasuerus, or as
Prince Athanais, nor do they pursue an Image through a world that had else
seemed an uninhabitable wilderness till, amid the privations of that
pursuit, the Image is no more named Pandemos, but Urania; for such men
must cast all Masks away and fly the Image, till that Image, transfigured
because of their cruelties of self-abasement, becomes itself some Image or
epitome of the whole natural or supernatural world, and itself pursues.
The wholeness of the supernatural world can only express itself in
personal form, because it has no epitome but man, nor can _The Hound of
Heaven_ fling itself into any but an empty heart. We may know the
fugitives from others poets because, like George Herbert, like Francis
Thompson, like George Russell, their imaginations grow more vivid in the
expression of something which they have not themselves created, some
historical religion or cause. But if the fugitive should live, as I think
Russell does at times, as it is natural for a Morris or a Henley or a
Shelley to live, hunters and pursuers all, his art surrenders itself to
moral or poetical commonplace, to a repetition of thoughts and images that
have no relation to experience.

I think that Russell would not have disappointed even my hopes had he,
instead of meeting as an impressionable youth with our modern subjective
romanticism, met with some form of traditional belief, which condemned all
that romanticism admires and praises, indeed, all images of desire; for
such condemnation would have turned his intellect towards the images of
his vision. It might, doubtless, have embittered his life, for his strong
intellect would have been driven out into the impersonal deeps where the
man shudders; but it would have kept him a religious teacher, and set him,
it may be, among the greatest of that species; politics, for a
vision-seeking man, can be but half achievement, a choice of an almost
easy kind of skill instead of that kind which is, of all those not
impossible, the most difficult. Is it not certain that the Creator yawns
in earthquake and thunder and other popular displays, but toils in
rounding the delicate spiral of a shell?


XV

I heard the other day of a Dublin man recognizing in London an elderly man
who had lived in that house in Ely Place in his youth, and of that elderly
man, at the sudden memory, bursting into tears. Though I have no such
poignant memories, for I was never of it, never anything but a
dissatisfied critic, yet certain vivid moments come back to me as I write.

...Russell has just come in from a long walk on the Two Rock mountain,
very full of his conversation with an old religious beggar, who kept
repeating, "God possesses the heavens, but He covets the earth--He covets
the earth."

       *       *       *       *       *

I get in talk with a young man who has taken the orthodox side in some
debate. He is a stranger, but explains that he has inherited magical art
from his father, and asks me to his rooms to see it in operation. He and a
friend of his kill a black cock, and burn herbs in a big bowl, but nothing
happens except that the friend repeats again and again, "Oh, my God," and
when I ask him why he has said that, does not know that he has spoken; and
I feel that there is something very evil in the room.

       *       *       *       *       *

We are sitting round the fire one night, and a member, a woman, tells a
dream that she has just had. She dreamed that she saw monks digging in a
garden. They dug down till they found a coffin, and when they took off the
lid she saw that in the coffin lay a beautiful young man in a dress of
gold brocade. The young man railed against the glory of the world, and
when he had finished, the monks closed the coffin reverently, and buried
it once more. They smoothed the ground, and then went on with their
gardening.

       *       *       *       *       *

I have a young man with me, an official of the National Literary Society,
and I leave him in the reading-room with Russell, while I go upstairs to
see the young Scotchman. I return after some minutes to find that the
young man has become a Theosophist, but a month later, after an interview
with a friar, to whom he gives an incredible account of his new beliefs,
he goes to Mass again.




BOOK III

HODOS CAMELIONIS




_HODOS CAMELIONIS_


I

When staying with Hyde in Roscommon, I had driven over to Lough Kay,
hoping to find some local memory of the old story of Tumaus Costello,
which I was turning into a story now called _Proud Costello, Macdermot's
Daughter, and the Bitter Tongue_. I was rowed up the lake that I might
find the island where he died; I had to find it from Hyde's account in
_The Love-Songs of Connaught_, for when I asked the boatman, he told the
story of Hero and Leander, putting Hero's house on one island, and
Leander's on another. Presently we stopped to eat our sandwiches at the
"Castle Rock," an island all castle. It was not an old castle, being but
the invention of some romantic man, seventy or eighty years ago. The last
man who had lived there had been Dr. Hyde's father, and he had but stayed
a fortnight. The Gaelic-speaking men in the district were accustomed,
instead of calling some specially useless thing a "white elephant," to
call it "The Castle on the Rock." The roof was, however, still sound, and
the windows unbroken. The situation in the centre of the lake, that has
little wood-grown islands, and is surrounded by wood-grown hills, is
romantic, and at one end, and perhaps at the other too, there is a stone
platform where meditative persons might pace to and fro. I planned a
mystical Order which should buy or hire the castle, and keep it as a place
where its members could retire for a while for contemplation, and where
we might establish mysteries like those of Eleusis and Samothrace; and for
ten years to come my most impassioned thought was a vain attempt to find
philosophy and to create ritual for that Order. I had an unshakeable
conviction, arising how or whence I cannot tell, that invisible gates
would open as they opened for Blake, as they opened for Swedenborg, as
they opened for Boehme, and that this philosophy would find its manuals of
devotion in all imaginative literature, and set before Irishmen for
special manual an Irish literature which, though made by many minds, would
seem the work of a single mind, and turn our places of beauty or legendary
association into holy symbols. I did not think this philosophy would be
altogether pagan, for it was plain that its symbols must be selected from
all those things that had moved men most during many, mainly Christian,
centuries.

I thought that for a time I could rhyme of love, calling it _The Rose_,
because of the Rose's double meaning; of a fisherman who had "never a
crack" in his heart; of an old woman complaining of the idleness of the
young, or of some cheerful fiddler, all those things that "popular poets"
write of, but that I must some day, on that day when the gates began to
open, become difficult or obscure. With a rhythm that still echoed Morris
I prayed to the Red Rose, to Intellectual Beauty:

  "Come near, come near, come near--ah, leave me still
  A little space for the Rose-breath to fill,
  Lest I no more hear common things....
  But seek alone to hear the strange things said
  By God to the bright hearts of those long dead,
  And learn to chant a tongue men do not know."

I do not remember what I meant by "the bright hearts," but a little later
I wrote of Spirits "with mirrors in their hearts."

My rituals were not to be made deliberately, like a poem, but all got by
that method Mathers had explained to me, and with this hope I plunged
without a clue into a labyrinth of images, into that labyrinth that we are
warned against in those _Oracles_ which antiquity has attributed to
Zoroaster, but modern scholarship to some Alexandrian poet. "Stoop not
down to the darkly splendid world wherein lieth continually a faithless
depth and Hades wrapped in cloud, delighting in unintelligible images."


II

I found a supporter at Sligo in my elderly uncle, a man of fifty-three or
fifty-four, with the habits of a much older man. He had never left the
West of Ireland, except for a few days to London every year, and a single
fortnight's voyage to Spain on board a trading schooner, in his boyhood.
He was in politics a Unionist and Tory of the most obstinate kind, and
knew nothing of Irish literature or history. He was, however, strangely
beset by the romance of Ireland, as he discovered it among the people who
served him, sailing upon his ships or attending to his horses, and, though
narrow and obstinate of opinion, and puritanical in his judgment of life,
was perhaps the most tolerant man I have ever known. He never expected
anybody to agree with him, and if you did not upset his habits by cheating
him over a horse, or by offending his taste, he would think as well of you
as he did of other men, and that was not very well; and help you out of
any scrape whatever. I was accustomed to people much better read than he,
much more liberal-minded, but they had no life but the intellectual life,
and if they and I differed, they could not take it lightly, and were often
angry, and so for years now I had gone to Sligo, sometimes because I could
not afford my Dublin lodging, but most often for freedom and peace. He
would receive me with "I have learned that your friend So and So has been
seen at the Gresham Hotel talking to Mr William Redmond. What will not
people do for notoriety?" He considered all Irish Nationalist Members of
Parliament as outside the social pale, but after dinner, when conversation
grew intimate, would talk sympathetically of the Fenians in Ballina, where
he spent his early manhood, or of the Fenian privateer that landed the
wounded man at Sligo in the 'sixties. When Parnell was contesting an
election at Sligo a little before his death, other Unionist magistrates
refused or made difficulties when asked for some assistance, what I do not
remember, made necessary under election law; and so my uncle gave that
assistance. He walked up and down some Town Hall assembly-room or some
courtroom with Parnell, but would tell me nothing of that conversation,
except that Parnell spoke of Gladstone with extravagant hatred. He would
not repeat words spoken by a great man in his bitterness, yet Parnell at
the moment was too angry to care who listened. I knew one other man who
kept as firm a silence; he had attended Parnell's last public meeting, and
after it sat alone beside him, and heard him speak of the followers that
had fallen away, or were showing their faint hearts; but Parnell was the
chief devotion of his life.

When I first began my visits, he had lived in the town itself, and close
to a disreputable neighbourhood called the Burrough, till one evening,
while he sat over his dinner, he heard a man and woman quarrelling under
his window. "I mind the time," shouted the man, "when I slept with you and
your daughter in the one bed." My uncle was horrified, and moved to a
little house about a quarter of a mile into the country, where he lived
with an old second-sighted servant, and a man-servant to look after the
racehorse that was browsing in the neighbouring field, with a donkey to
keep it company. His furniture had not been changed since he set up house
for himself as a very young man, and in a room opposite his dining-room
were the saddles of his youth, and though he would soon give up riding,
they would be oiled and the stirrups kept clean and bright till the day of
his death. Some love-affair had gone wrong when he was a very young man;
he had now no interest in women; certainly never sought favour of a woman,
and yet he took great care of his appearance. He did not let his beard
grow, though he had, or believed that he had, for he was hypochondriacal,
a sensitiveness of the skin that forced him to spend an hour in shaving,
and he would take to club and dumb-bell if his waist thickened by a hair's
breadth, and twenty years after, when a very old man, he had the erect
shapely figure of his youth. I often wondered why he went through so much
labour, for it was not pride, which had seemed histrionic in his eyes--and
certainly he had no vanity; and now, looking back, I am convinced that it
was from habit, mere habit, a habit formed when he was a young man, and
the best rider of his district.

Probably through long association with Mary Battle, the second-sighted
servant, he had come to believe much in the supernatural world, and would
tell how several times, arriving home with an unexpected guest, he had
found the table set for three, and that he himself had dreamed of his
brother's illness in Liverpool before he had other news of it. He saw me
using images learned from Mathers to start reverie, and, though I held out
for a long time, thinking him too old and habit-bound, he persuaded me to
tell him their use, and from that on we experimented continually, and
after a time I began to keep careful record. In summer he always had the
same little house at Rosses Point, and it was there that he first became
sensitive to the cabalistic symbols. There are some high sandhills and low
cliffs, and I adopted the practice of walking by the seashore while he
walked on cliff or sandhill; I, without speaking, would imagine the
symbol, and he would notice what passed before his mind's eye, and in a
short time he would practically never fail of the appropriate vision. In
the symbols which are used certain colours are classified as "actives,"
while certain other colours are "passives," and I had soon discovered that
if I used "actives" George Pollexfen would see nothing. I therefore gave
him exercises to make him sensitive to those colours, and gradually we
found ourselves well fitted for this work, and he began to take as lively
an interest, as was possible to a nature given over to habit, in my plans
for the Castle on the Rock.

I worked with others, sworn to the scheme for the most part, and I made
many curious observations. It was the symbol itself, or, at any rate, not
my conscious intention that produced the effect, for if I made an error
and told someone, let us say, to gaze at the wrong symbol--they were
painted upon cards--the vision would be suggested by the symbol, not by
my thought, or two visions would appear side by side, one from the symbol
and one from my thought. When two people, between whose minds there was
even a casual sympathy, worked together under the same symbolic influence,
the dream or reverie would divide itself between them, each half being the
complement of the other; and now and again these complementary dreams, or
reveries, would arise spontaneously. I find, for instance, in an old
notebook, "I saw quite suddenly a tent with a wooden badly-carved idol,
painted dull red; a man looking like a Red Indian was prostrate before it.
The idol was seated to the left. I asked G. what he saw. He saw a most
august immense being, glowing with a ruddy opalescent colour, sitting on a
throne to the left", or, to summarise from a later notebook,... I am
meditating in one room and my fellow-student in another, when I see a boat
full of tumult and movement on a still sea, and my friend sees a boat with
motionless sails upon a tumultuous sea. There was nothing in the
originating symbol to suggest a boat.

We never began our work until George's old servant was in her bed; and
yet, when we went upstairs to our beds, we constantly heard her crying out
with nightmare, and in the morning we would find that her dream echoed our
vision. One night, started by what symbol I forget, we had seen an
allegorical marriage of Heaven and Earth. When Mary Battle brought in the
breakfast next morning, I said, "Well, Mary, did you dream anything last
night?" and she replied (I am quoting from an old notebook) "indeed she
had," and that it was "a dream she would not have liked to have had twice
in one night." She had dreamed that her bishop, the Catholic bishop of
Sligo, had gone away "without telling anybody," and had married "a very
high-up lady," "and she not too young, either." She had thought in her
dream, "Now all the clergy will get married, and it will be no use going
to confession." There were "layers upon layers of flowers, many roses, all
round the church."

Another time, when George Pollexfen had seen in answer to some evocation
of mine a man with his head cut in two, she woke to find that she "must
have cut her face with a pin, as it was all over blood." When three or
four saw together, the dream or vision would divide itself into three or
four parts, each seeming complete in itself, and all fitting together, so
that each part was an adaptation of a single meaning to a particular
personality. A visionary being would give, let us say, a lighted torch to
one, an unlighted candle to another, an unripe fruit to a third, and to
the fourth a ripe fruit. At times coherent stories were built up, as if a
company of actors were to improvise, and play, not only without previous
consultation, but without foreseeing at any moment what would be said or
done the moment after. Who made the story? Was it the mind of one of the
visionaries? Perhaps, for I have endless proof that, where two worked
together, the symbolic influence commonly took upon itself, though no word
was spoken, the quality of the mind that had first fixed a symbol in the
mind's eye. But, if so, what part of the mind? One friend, in whom the
symbolic impulse produced actual trance, described an elaborate and very
strange story while the trance was upon him, but upon waking told a story
that after a certain point was quite different. "They gave me a cup of
wine, and after that I remembered nothing." While speaking out of trance
he had said nothing of the cup of wine, which must have been offered to a
portion of his mind quite early in the dream. Then, too, from whence come
the images of the dream? Not always, I was soon persuaded, from the
memory, perhaps never in trance or sleep. One man, who certainly thought
that Eve's apple was the sort that you got from the greengrocer, and as
certainly never doubted its story's literal truth, said, when I used some
symbol to send him to Eden, that he saw a walled garden on the top of a
high mountain, and in the middle of it a tree with great birds in the
branches, and fruit out of which, if you held a fruit to your ear, came
the sound of fighting. I had not at the time read Dante's _Purgatorio_,
and it caused me some trouble to verify the mountain garden, and, from
some passage in the Zohar, the great birds among the boughs; while a young
girl, on being sent to the same garden, heard "the music of heaven" from a
tree, and on listening with her ear against the trunk, found that it was
made by the "continual clashing of swords." Whence came that fine thought
of music-making swords, that image of the garden, and many like images and
thoughts? I had as yet no clear answer, but knew myself face to face with
the Anima Mundi described by Platonic philosophers, and more especially in
modern times by Henry More, which has a memory independent of individual
memories, though they constantly enrich it with their images and their
thoughts.


III

At Sligo we walked twice every day, once after lunch and once after
dinner, to the same gate on the road to Knocknarea; and at Rosses Point,
to the same rock upon the shore; and as we walked we exchanged those
thoughts that never rise before me now without bringing some sight of
mountain or of shore. Considering that Mary Battle received our thoughts
in sleep, though coarsened or turned to caricature, do not the thoughts of
the scholar or the hermit, though they speak no word, or something of
their shape and impulse, pass into the general mind? Does not the emotion
of some woman of fashion, caught in the subtle torture of self-analysing
passion, pass down, although she speak no word, to Joan with her Pot, Jill
with her Pail and, it may be, with one knows not what nightmare melancholy
to Tom the Fool?

Seeing that a vision could divide itself in divers complementary portions,
might not the thought of philosopher or poet or mathematician depend at
every moment of its progress upon some complementary thought in minds
perhaps at a great distance? Is there nation-wide multiform reverie, every
mind passing through a stream of suggestion, and all streams acting and
reacting upon one another, no matter how distant the minds, how dumb the
lips? A man walked, as it were, casting a shadow, and yet one could never
say which was man and which was shadow, or how many the shadows that he
cast. Was not a nation, as distinguished from a crowd of chance comers,
bound together by these parallel streams or shadows; that Unity of Image,
which I sought in national literature, being but an originating symbol?

From the moment when these speculations grew vivid, I had created for
myself an intellectual solitude, most arguments that could influence
action had lost something of their meaning. How could I judge any scheme
of education, or of social reform, when I could not measure what the
different classes and occupations contributed to that invisible commerce
of reverie and of sleep; and what is luxury and what necessity when a
fragment of gold braid, or a flower in the wallpaper may be an originating
impulse to revolution or to philosophy? I began to feel myself not only
solitary but helpless.


IV

I had not taken up these subjects wilfully, nor through love of
strangeness, nor love of excitement, nor because I found myself in some
experimental circle, but because unaccountable things had happened even in
my childhood, and because of an ungovernable craving. When supernatural
events begin, a man first doubts his own testimony, but when they repeat
themselves again and again, he doubts all human testimony. At least he
knows his own bias, and may perhaps allow for it, but how trust historian
and psychologist that have for two hundred years ignored in writing of the
history of the world, or of the human mind, so momentous a part of human
experience? What else had they ignored and distorted? When Mesmerists
first travelled about as public entertainers, a favourite trick was to
tell a mesmerised man that some letter of the alphabet had ceased to
exist, and after that to make him write his name upon the blackboard.
Brown, or Jones, or Robinson would become upon the instant, and without
any surprise or hesitation, Rown, or Ones, or Obinson.

Was modern civilisation a conspiracy of the sub-conscious? Did we turn
away from certain thoughts and things because the Middle Ages lived in
terror of the dark, or had some seminal illusion been imposed upon us by
beings greater than ourselves for an unknown purpose? Even when no facts
of experience were denied, might not what had seemed logical proof be but
a mechanism of change, an automatic impulse? Once in London, at a dinner
party, where all the guests were intimate friends, I had written upon a
piece of paper, "In five minutes York Powell will talk of a burning
house," thrust the paper under my neighbour's plate, and imagined my fire
symbol, and waited in silence. Powell shifted conversation from topic to
topic and within the five minutes was describing a fire he had seen as a
young man. When Locke's French translator Coste asked him how, if there
were no "innate ideas," he could explain the skill shown by a bird in
making its nest, Locke replied, "I did not write to explain the actions of
dumb creatures," and his translator thought the answer "very good, seeing
that he had named his book _A Philosophical Essay upon Human
Understanding_." Henry More, upon the other hand, considered that the
bird's instinct proved the existence of the Anima Mundi, with its ideas
and memories. Did modern enlightenment think with Coste that Locke had the
better logic, because it was not free to think otherwise?


V

I ceased to read modern books that were not books of belief older than any
European Church, and founded that interested me, I tried to trace it back
to its earliest use, believing that there must be a tradition of belief
older than any European Church, and founded upon the experience of the
world before the modern bias. It was this search for a tradition that
urged George Pollexfen and myself to study the visions and thoughts of the
country people, and some country conversation repeated by one or the other
often gave us a day's discussion. These visions, we soon discovered, were
very like those we called up by symbol. Mary Battle, looking out of the
window at Rosses Point, saw coming from Knocknarea, where Queen Maeve,
according to local folklore, is buried under a great heap of stones, "the
finest woman you ever saw travelling right across from the mountains and
straight to here."--I quote a record written at the time. "She looked very
strong, but not wicked" (that is to say, not cruel). "I have seen the
Irish Giant" (some big man shown at a fair). "And though he was a fine man
he was nothing to her, for he was round and could not have stepped out so
soldierly ... she had no stomach on her but was slight and broad in the
shoulders, and was handsomer than any one you ever saw; she looked about
thirty." And when I asked if she had seen others like her, she said, "Some
of them have their hair down, but they look quite different, more like the
sleepy-looking ladies one sees in the papers. Those with their hair up are
like this one. The others have long white dresses, but those with their
hair up have short dresses, so that you can see their legs right up to
the calf." And when I questioned her, I found that they wore what might
well be some kind of buskin. "They are fine and dashing-looking, like the
men one sees riding their horses in twos and threes on the slopes of the
mountains with their swords swinging. There is no such race living now,
none so finely proportioned ... When I think of her and the ladies now
they are like little children running about not knowing how to put their
clothes on right ... why, I would not call them women at all."

Not at this time, but some three or four years later, when the visions
came without any conscious use of symbol for a short time, and with much
greater vividness, I saw two or three forms of this incredible beauty, one
especially that must always haunt my memory. Then, too, the Master Pilot
told us of meeting at night close to the Pilot House a procession of women
in what seemed the costume of another age. Were they really people of the
past, revisiting, perhaps, the places where they lived, or must I explain
them, as I explained that vision of Eden as a mountain garden, by some
memory of the race, as distinct from individual memory? Certainly these
Spirits, as the country people called them, seemed full of personality;
were they not capricious, generous, spiteful, anxious, angry, and yet did
that prove them more than images and symbols? When I used a combined earth
and fire and lunar symbol, my seer, a girl of twenty-five, saw an obvious
Diana and her dogs, about a fire in a cavern. Presently, judging from her
closed eyes, and from the tone of her voice, that she was in trance, not
in reverie, I wished to lighten the trance a little, and made through
carelessness or hasty thinking a symbol of dismissal; and at once she
started and cried out, "She says you are driving her away too quickly. You
have made her angry." Then, too, if my visions had a subjective element,
so had Mary Battle's, for her fairies had but one tune, _The Distant
Waterfall_, and she never heard anything described in a sermon at the
Cathedral that she did not "see it after," and spoke of seeing in this way
the gates of Purgatory.

Furthermore, if my images could affect her dreams, the folk-images could
affect mine in turn, for one night I saw between sleeping and waking a
strange long bodied pair of dogs, one black and one white, that I found
presently in some country tale. How, too, could one separate the dogs of
the country tale from those my uncle heard bay in his pillow? In order to
keep myself from nightmare, I had formed the habit of imagining four
watch-dogs, one at each corner of my room, and, though I had not told him
or anybody, he said, "Here is a very curious thing; most nights now, when
I lay my head upon the pillow, I hear a sound of dogs baying--the sound
seems to come up out of the pillow." A friend of Strindberg's, in
_delirium tremens_, was haunted by mice, and a friend in the next room
heard the squealing of the mice.


VI

To that multiplicity of interest and opinion, of arts and sciences, which
had driven me to conceive a Unity of Culture defined and evoked by Unity
of Image, I had but added a multiplicity of images, and I was the more
troubled because, the first excitement over, I had done nothing to rouse
George Pollexfen from the gloom and hypochondria always thickening about
him. I asked no help of books, for I believed that the truth I sought
would come to me like the subject of a poem, from some moment of
passionate experience, and that if I filled my exposition with other men's
thought, other men's investigation, I would sink into all that
multiplicity of interest and opinion. That passionate experience could
never come--of that I was certain--until I had found the right image or
right images. From what but the image of Apollo, fixed always in memory
and passion, did his priesthood get that occasional power, a classical
historian has described, of lifting great stones and snapping great
branches; and did not Gemma Galgani, like many others that had gone
before, in 1889 cause deep wounds to appear in her body by contemplating
her crucifix? In the essay that Wilde read to me one Christmas Day,
occurred these words--"What does not the world owe to the imitation of
Christ, what to the imitation of Caesar?" and I had seen Macgregor Mathers
paint little pictures combining the forms of men, animals, and birds,
according to a rule which provided a form for every possible mental
condition, and I had heard him describing, upon what authority I do not
remember, how citizens of ancient Egypt assumed, when in contemplation,
the images of their gods.

But now image called up image in an endless procession, and I could not
always choose among them with any confidence; and when I did choose, the
image lost its intensity, or changed into some other image. I had but
exchanged the Temptation of Flaubert's _Bouvard et Pecuchet_ for that of
his _St. Anthony_, and I was lost in that region a cabalistic manuscript,
shown me by Macgregor Mathers, had warned me of; astray upon the Path of
the Cameleon, upon _Hodos Camelionis_.


VII

Now that I am a settled man and have many birds--the canaries have just
hatched out four nestlings--I have before me the problem that Locke waved
aside. As I gave them an artificial nest, a hollow vessel like a saucer,
they had no need of that skill the wild bird shows, each species having
its own preference among the lichen, or moss; but they could sort out wool
and hair and a certain soft white down that I found under a big tree. They
would twist a stem of grass till it was limber, and would wind it all
about the centre of the nest, and when the four grey eggs were laid, the
mother bird knew how to turn them over from time to time, that they might
be warmed evenly; and how long she must leave them uncovered, that the
white might not be dried up, and when to return that the growing bird
might not take cold. Then the young birds, even when they had all their
feathers, were very still as compared with the older birds, as though any
habit of movement would disturb the nest or make them tumble out. One of
them would now and again pass on the food that he had received from his
mother's beak to some other nestling. The father had often pecked the
mother bird before the eggs were laid, but now, until the last nestling
was decently feathered, he took his share in the feeding, and was very
peaceable, and it was only when the young could be left to feed themselves
that he grew jealous and had to be put into another cage.

When I watch my child, who is not yet three years old, I can see so many
signs of knowledge from beyond her own mind; why else should she be so
excited when a little boy passes outside the window, and take so little
interest in a girl; why should she put a cloak about her, and look over
her shoulder to see it trailing upon the stairs, as she will some day
trail a dress; and why, above all, as she lay against her mother's side,
and felt the unborn child moving within, did she murmur, "Baby, baby?"

When a man writes any work of genius, or invents some creative action, is
it not because some knowledge or power has come into his mind from beyond
his mind? It is called up by an image, as I think; all my birds'
adventures started when I hung a little saucer at one side of the cage,
and at the other a bundle of hair and grass; but our images must be given
to us, we cannot choose them deliberately.


VIII

I know now that revelation is from the self, but from that age-long
memoried self, that shapes the elaborate shell of the mollusc and the
child in the womb, that teaches the birds to make their nest; and that
genius is a crisis that joins that buried self for certain moments to our
trivial daily mind. There are, indeed, personifying spirits that we had
best call but Gates and Gate-keepers, because through their dramatic power
they bring our souls to crisis, to Mask and Image, caring not a straw
whether we be Juliet going to her wedding, or Cleopatra to her death; for
in their eyes nothing has weight but passion. We have dreamed a foolish
dream these many centuries in thinking that they value a life of
contemplation, for they scorn that more than any possible life, unless it
be but a name for the worst crisis of all. They have but one purpose, to
bring their chosen man to the greatest obstacle he may confront without
despair. They contrived Dante's banishment, and snatched away his
Beatrice, and thrust Villon into the arms of harlots, and sent him to
gather cronies at the foot of the gallows, that Dante and Villon might
through passion become conjoint to their buried selves, turn all to Mask
and Image, and so be phantoms in their own eyes. In great lesser writers
like Landor and like Keats we are shown that Image and that Mask as
something set apart; Andromeda and her Perseus--though not the
sea-dragon--but in a few in whom we recognise supreme masters of tragedy,
the whole contest is brought into the circle of their beauty. Such
masters, Villon and Dante, let us say, would not, when they speak through
their art, change their luck; yet they are mirrored in all the suffering
of desire. The two halves of their nature are so completely joined that
they seem to labour for their objects, and yet to desire whatever happens,
being at the same instant predestinate and free, creation's very self. We
gaze at such men in awe, because we gaze not at a work of art, but at the
re-creation of the man through that art, the birth of a new species of
man, and, it may even seem that the hairs of our heads stand up, because
that birth, that re-creation, is from terror. Had not Dante and Villon
understood that their fate wrecked what life could not rebuild, had they
lacked their Vision of Evil, had they cherished any species of optimism,
they could but have found a false beauty, or some momentary instinctive
beauty, and suffered no change at all, or but changed as do the wild
creatures, or from devil well to devil sick, and so round the clock.

They and their sort alone earn contemplation, for it is only when the
intellect has wrought the whole of life to drama, to crisis, that we may
live for contemplation, and yet keep our intensity.

And these things are true also of nations, but the Gate-keepers who drive
the nation to war or anarchy that it may find its Image are different from
those who drive individual men, though I think at times they work
together. And as I look backward upon my own writing, I take pleasure
alone in those verses where it seems to me I have found something hard,
cold, some articulation of the Image, which is the opposite of all that I
am in my daily life, and all that my country is; yet man or nation can no
more make Mask or Image than the seed can be made by the soil into which
it is cast.

  Ille.

    "What portion in the world can the artist have,
    Who has awakened from the common dream,
    But dissipation and despair?

  Hic.

                                And yet
    No one denies to Keats, love of the world.
    Remember his deliberate happiness.

  Ille.

    His art is happy, but who knows his mind?
    I see a schoolboy, when I think of him,
    With face and nose pressed to a sweet-shop window.
    For certainly he sank into his grave
    His senses and his heart unsatisfied,
    And made, being poor, ailing, and ignorant....
    Shut out from all the luxury of the world,
    Luxuriant song."




BOOK IV

THE TRAGIC GENERATION




_THE TRAGIC GENERATION_


I

Two or three years after our return to Bedford Park _The Doll's House_ had
been played at the Royalty Theatre in Dean Street, the first Ibsen play to
be played in England, and somebody had given me a seat for the gallery. In
the middle of the first act, while the heroine was asking for macaroons, a
middle-aged washerwoman who sat in front of me, stood up and said to the
little boy at her side, "Tommy, if you promise to go home straight, we
will go now;" and at the end of the play, as I wandered through the
entrance hall, I heard an elderly critic murmur, "A series of
conversations terminated by an accident." I was divided in mind, I hated
the play; what was it but Carolus Durand, Bastien-Lepage, Huxley and
Tyndall, all over again; I resented being invited to admire dialogue so
close to modern educated speech that music and style were impossible.

"Art is art because it is not nature," I kept repeating to myself, but how
could I take the same side with critic and washerwoman? As time passed
Ibsen became in my eyes the chosen author of very clever young
journalists, who, condemned to their treadmill of abstraction, hated music
and style; and yet neither I nor my generation could escape him because,
though we and he had not the same friends, we had the same enemies. I
bought his collected works in Mr. Archer's translation out of my thirty
shillings a week and carried them to and fro upon my journeys to Ireland
and Sligo, and Florence Farr, who had but one great gift, the most perfect
poetical elocution, became prominent as an Ibsen actress and had almost a
success in _Rosmersholm_, where there is symbolism and a stale odour of
spoilt poetry. She and I and half our friends found ourselves involved in
a quarrel with the supporters of old fashioned melodrama, and conventional
romance, and in the support of the new dramatists who wrote in what the
Daily Press chose to consider the manner of Ibsen. In 1894 she became
manageress of the Avenue Theatre with a play of Dr. Todhunter's, called
_The Comedy of Sighs_, and Mr Bernard Shaw's _Arms and the Man_. She asked
me to write a one act play for her niece, Miss Dorothy Paget, a girl of
eight or nine, to make her first stage appearance in; and I, with my Irish
Theatre in mind, wrote _The Land of Heart's Desire_, in some discomfort
when the child was theme, as I knew nothing of children, but with an
abundant mind when Mary Bruin was for I knew an Irish woman whose unrest
troubled me and lay beyond my comprehension. When she opened her theatre
she had to meet a hostile audience, almost as violent as that Synge met in
January, 1907, and certainly more brutal, for the Abbey audience had no
hatred for the players, and I think but little for Synge himself. Nor had
she the certainty of final victory to give her courage, for _The Comedy of
Sighs_ was a rambling story told with a little paradoxical wit. She had
brought the trouble upon herself perhaps, for always in revolt against her
own poetical gift, which now seemed obsolete, and against her own
Demeter-like face in the mirror, she had tried when interviewed by the
Press to shock and startle--to seem to desire enemies; and yet, unsure of
her own judgment being out of her own trade, had feared to begin with
Shaw's athletic wit, and now outraged convention saw its chance. For two
hours and a half, pit and gallery drowned the voices of the players with
boos and jeers that were meant to be bitter to the author who sat visible
to all in his box surrounded by his family, and to the actress struggling
bravely through her weary part; and then pit and gallery went home to
spread their lying story that the actress had a fit of hysterics in her
dressing-room.

Todhunter had sat on to the end, and there were, I think, four acts of it,
listening to the howling of his enemies, while his friends slipped out one
by one, till one saw everywhere their empty seats, but nothing could
arouse the fighting instincts of that melancholy man. Next day I tried to
get him to publish his book of words with satirical designs and
illustrations, by Beardsley, who was just rising into fame, and an
introduction attacking the public, but though petulant and irascible he
was incapable of any emotion that could give life to a cause. He shared
the superstition still current in the theatre, that the public wants
sincere drama, but is kept from it by some conspiracy of managers or
newspapers, and could not get out of his head that the actors were to
blame. Shaw, whose turn came next, had foreseen all months before, and had
planned an opening that would confound his enemies. For the first few
minutes _Arms and the Man_ is crude melodrama and then just when the
audience are thinking how crude it is, it turns into excellent farce. At
the dress rehearsal, a dramatist who had his own quarrel with the public,
was taken in the noose; for at the first laugh he stood up, turned his
back on the stage, scowled at the audience, and even when everybody else
knew what turn the play had taken, continued to scowl, and order those
nearest to be silent.

On the first night the whole pit and gallery, except certain members of
the Fabian Society, started to laugh at the author and then, discovering
that they themselves were being laughed at, sat there not converted--their
hatred was too bitter for that--but dumbfounded, while the rest of the
house cheered and laughed. In the silence that greeted the author after
the cry for a speech one man did indeed get his courage and boo loudly. "I
assure the gentleman in the gallery," was Shaw's answer, "that he and I
are of exactly the same opinion, but what can we do against a whole house
who are of the contrary opinion?" And from that moment Bernard Shaw became
the most formidable man in modern letters, and even the most drunken of
medical students knew it. My own play, which had been played with _The
Comedy of Sighs_, had roused no passions, but had pleased a sufficient
minority for Florence Farr to keep it upon the stage with _Arms and the
Man_, and I was in the theatre almost every night for some weeks. "Oh,
yes, the people seem to like _Arms and the Man_," said one of Mr Shaw's
players to me, "but we have just found out that we are all wrong. Mr Shaw
did really mean it quite seriously, for he has written a letter to say so,
and we must not play for laughs any more." Another night I found the
manager, triumphant and excited, the Prince of Wales and the Duke of
Edinburgh had been there, and the Duke of Edinburgh had spoken his dislike
out loud so that the whole stalls could hear, but the Prince of Wales had
been "very pleasant" and "got the Duke of Edinburgh away as soon as
possible." "They asked for me," he went on, "and the Duke of Edinburgh
kept on repeating, 'The man is mad,' meaning Mr Shaw, and the Prince of
Wales asked who Mr Shaw was, and what he meant by it." I myself was almost
as bewildered for though I came mainly to see how my own play went, and
for the first fortnight to vex my most patient actors with new lines, I
listened with excitement to see how the audience would like certain
passages of _Arms and the Man_. I hated it; it seemed to me inorganic,
logical straightness and not the crooked road of life and I stood aghast
before its energy as to-day before that of the Stone Drill by Mr. Epstein
or of some design by Mr Wyndham Lewis. He was right to claim Samuel Butler
for his master, for Butler was the first Englishman to make the discovery,
that it is possible to write with great effect without music, without
style, either good or bad, to eliminate from the mind all emotional
implication and to prefer plain water to every vintage, so much
metropolitan lead and solder to any tendril of the vine. Presently I had a
nightmare that I was haunted by a sewing machine, that clicked and shone,
but the incredible thing was that the machine smiled, smiled perpetually.
Yet I delighted in Shaw the formidable man. He could hit my enemies and
the enemies of all I loved, as I could never hit, as no living author that
was dear to me could ever hit.

Florence Farr's way home was mine also for a part of the way, and it was
often of this that we talked, and sometimes, though not always, she would
share my hesitations, and for years to come I was to wonder whenever Shaw
became my topic, whether the cock crowed for my blame or for my praise.


II

Shaw and Wilde, had no catastrophe come, would have long divided the stage
between them, though they were most unlike--for Wilde believed himself to
value nothing but words in their emotional associations, and he had turned
his style to a parade as though it were his show, and he Lord Mayor.

I was at Sligo again and I saw the announcement of his action against Lord
Queensberry, when starting from my uncle's house to walk to Knocknarea to
dine with Cochrane of the Glen, as he was called, to distinguish him from
others of that name, an able old man. He had a relation, a poor mad girl,
who shared our meals, and at whom I shuddered. She would take a flower
from the vase in front of her and push it along the tablecloth towards any
male guest who sat near. The old man himself had strange opinions, born
not from any mental eccentricity, but from the solitude of his life; and a
freedom from all prejudice that was not of his own discovery. "The world
is getting more manly," he would say, "it has begun to drink port again,"
or "Ireland is going to become prosperous. Divorced couples now choose
Ireland for a retreat, just as before Scotland became prosperous they
began to go there. There are a divorced wife and her lover living at the
other side of the mountain." I remember that I spoke that night of Wilde's
kindness to myself, said I did not believe him guilty, quoted the
psychologist Bain, who has attributed to every sensualist "a voluminous
tenderness," and described Wilde's hard brilliance, his dominating
self-possession. I considered him essentially a man of action, that he was
a writer by perversity and accident, and would have been more important as
soldier or politician; and I was certain that, guilty or not guilty, he
would prove himself a man. I was probably excited, and did most of the
talking, for if Cochrane had talked, I would have remembered an amusing
sentence or two; but he was certainly sympathetic. A couple of days later
I received a letter from Lionel Johnson, denouncing Wilde with great
bitterness. He had "a cold scientific intellect;" he got a "sense of
triumph and power; at every dinner-table he dominated, from the knowledge
that he was guilty of that sin which, more than any other possible to man,
would turn all those people against him if they but knew." He wrote in the
mood of his poem, _To the Destroyer of a Soul_, addressed to Wilde, as I
have always believed, though I know nothing of the circumstance that made
him write it.

I might have known that Wilde's phantasy had taken some tragic turn, and
that he was meditating upon possible disaster, but one took all his words
for play--had he not called insincerity "a mere multiplication of the
personality" or some such words? I had met a man who had found him in a
barber's shop in Venice, and heard him explain, "I am having my hair
curled that I may resemble Nero;" and when, as editor of an Irish
anthology, I had asked leave to quote "Tread gently, she is near under the
snow," he had written that I might do so if I pleased, but his most
characteristic poem was that sonnet with the lines

                       "Lo! with a little rod
  I did but touch the honey's romance--
  And must I lose a soul's inheritance."

When in London for my play I had asked news from an actor who had seen him
constantly. "He is in deep melancholy," was the answer. "He says that he
tries to sleep away as much of life as possible, only leaving his bed at
two or three in the afternoon, and spending the rest of the day at the
Café Royal. He has written what he calls the best short story in the
world, and will have it that he repeats to himself on getting out of bed
and before every meal. 'Christ came from a white plain to a purple city,
and as he passed through the first street, he heard voices overhead, and
saw a young man lying drunk upon a window sill, "Why do you waste your
soul in drunkenness?" He said. "Lord, I was a leper and You healed me,
what else can I do?" A little further through the town he saw a young man
following a harlot, and said, "Why do you dissolve your soul in
debauchery?" and the young man answered, "Lord, I was blind, and You
healed me, what else can I do?" At last in the middle of the city He saw
an old man crouching, weeping upon the ground, and when He asked why he
wept, the old man answered, "Lord, I was dead and You raised me into life,
what else can I do but weep?"'"

Wilde published that story a little later, but spoiled it with the verbal
decoration of his epoch, and I have to repeat it to myself as I first
heard it, before I can see its terrible beauty. I no more doubt its
sincerity than I doubt that his parade of gloom, all that late rising, and
sleeping away his life, that elaborate playing with tragedy, was an
attempt to escape from an emotion by its exaggeration. He had three
successful plays running at once; he had been almost poor, and now, his
head full of Flaubert, found himself with ten thousand a year:--"Lord, I
was dead, and You raised me into life, what else can I do but weep." A
comedian, he was in the hands of those dramatists who understand nothing
but tragedy.

A few days after the first production of my _Land of Heart's Desire_, I
had my last conversation with him. He had come into the theatre as the
curtain fell upon my play, and I knew that it was to ask my pardon that he
overwhelmed me with compliments; and yet I wonder if he would have chosen
those precise compliments, or spoken so extravagantly, but for the turn
his thoughts had taken: "Your story in _The National Observer_, _The
Crucifixion of the Outcast_, is sublime, wonderful, wonderful."

Some business or other brought me to London once more and I asked various
Irish writers for letters of sympathy, and I was refused by none but
Edward Dowden, who gave me what I considered an irrelevant excuse--his
dislike for everything that Wilde had written. I heard that Wilde was at
his mother's house in Oakley Street, and I called there, but the Irish
servant told me, her face drawn and tragic as in the presence of death,
that he was not there, but that I could see his brother. Willie Wilde
received me with, "Who are you; what do you want?" but became all
friendship when I told him that I had brought letters of sympathy. He took
the bundle of letters in his hand, but said, "Do these letters urge him to
run away? Every friend he has is urging him to, but we have made up our
minds that he must stay and take his chance." "No," I said, "I certainly
do not think that he should run away, nor do those letters advise it."
"Letters from Ireland," he said. "Thank you, thank you. He will be glad to
get those letters, but I would keep them from him if they advised him to
run away." Then he threw himself back in his chair and began to talk with
incoherent emotion, and in phrases that echoed now and again his brother's
style at its worst; there were tear in his eyes, and he was, I think,
slightly intoxicated. "He could escape, oh, yes, he could escape--there is
a yacht in the Thames, and five thousand pounds to pay his bail--well, not
exactly in the Thames, but there is a yacht--oh, yes, he could escape,
even if I had to inflate a balloon in the back yard with my own hand, but
he has resolved to stay, to face it out, to stand the music like Christ.
You must have heard--it is not necessary to go into detail--but he and I,
we have not been friends; but he came to me like a wounded stag, and I
took him in." "After his release"--after the failure of his action against
Lord Queensberry, I think--"Stewart Headlam engaged a room at an hotel and
brought him there under another name, but the manager came up and said,
'Are you Mr. Wilde?' You know what my brother is, you know how he would
answer that. He said, 'Yes, I am Oscar Wilde,' and the manager said he
must not stay. The same thing happened in hotel after hotel, and at last
he made up his mind to come here. It is his vanity that has brought all
this disgrace upon him; they swung incense before him." He dwelt upon the
rhythm of the words as his brother would have done--"They swung it before
his heart." His first emotion at the thought of the letters over, he
became more simple, and explained that his brother considered that his
crime was not the vice itself, but that he should have brought such misery
upon his wife and children, and that he was bound to accept any chance,
however slight, that might reestablish his position. "If he is acquitted,"
he said, "he will stay out of England for a few years, and can then gather
his friends about him once more--even if he is condemned he will purge his
offence--but if he runs away he will lose every friend that he has." I
heard later, from whom I forget now, that Lady Wilde had said, "If you
stay, even if you go to prison, you will always be my son, it will make no
difference to my affection, but if you go, I will never speak to you
again." While I was there, some woman who had just seen him--Willie
Wilde's wife, I think--came in, and threw herself in a chair, and said in
an exhausted voice, "It is all right now, he has made up his mind to go to
prison if necessary." Before his release, two years later, his brother and
mother were dead, and a little later his wife, struck by paralysis during
his imprisonment, I think, was dead, too; and he himself, his constitution
ruined by prison life, followed quickly; but I have never doubted, even
for an instant, that he made the right decision, and that he owes to that
decision half of his renown.

Cultivated London, that before the action against Lord Queensberry had
mocked his pose and affected style, and refused to acknowledge his wit,
was now full of his advocates, though I did not meet a single man who
considered him innocent. One old enemy of his overtook me in the street
and began to praise his audacity, his self-possession. "He has made," he
said, "of infamy a new Thermopylae." I had written in reply to Lionel
Johnson's letter that I regretted Wilde's downfall but not that of his
imitators, but Johnson had changed with the rest. "Why do you not regret
the fall of Wilde's imitators"--I had but tried to share what I thought
his opinion--"They were worthless, but should have been left to
criticism." Wilde himself was a martyr in his eyes, and when I said that
tragedy might give his art a greater depth, he would not even grant a
martyr's enemies that poor merit, and thought Wilde would produce, when
it was all over, some comedy exactly like the others, writing from an art
where events could leave no trace. Everywhere one met writers and artists
who praised his wit and eloquence in the witness box, or repeated some
private saying. Willie Redmond told of finding him, to his astonishment,
at the conversazione of some theatrical society, standing amid an
infuriated crowd, mocking with more than all his old satirical wit the
actors and their country. He had said to a well-known painter during one
or other of the trials, "My poor brother writes to me that he is defending
me all over London; my poor, dear brother, he could compromise a steam
engine." His brother, too, had suffered a change, for, if rumour did not
wrong him, "the wounded stag" had not been at all graciously received.
"Thank God my vices were decent," had been his comment, and refusing to
sit at the same table, he had dined at some neighbouring hotel at his
brother's expense. His successful brother who had scorned him for a
drunken ne'er-do-well was now at his mercy, and besides, he probably
shared, until tragedy awoke another self, the rage and contempt that
filled the crowds in the street, and all men and women who had an
over-abundant normal sexual instinct. "Wilde will never lift his head
again," said the art critic, Gleeson White, "for he has against him all
men of infamous life." When the verdict was announced the harlots in the
street outside danced upon the pavement.


III

Somewhere about 1450, though later in some parts of Europe by a hundred
years or so, and in some earlier, men attained to personality in great
numbers, "Unity of Being," and became like a "perfectly proportioned human
body," and as men so fashioned held places of power, their nations had it
too, prince and ploughman sharing that thought and feeling. What
afterwards showed for rifts and cracks were there already, but imperious
impulse held all together. Then the scattering came, the seeding of the
poppy, bursting of pea-pod, and for a time personality seemed but the
stronger for it. Shakespeare's people make all things serve their passion,
and that passion is for the moment the whole energy of their being--birds,
beasts, men, women, landscape, society, are but symbols and metaphors,
nothing is studied in itself, the mind is a dark well, no surface, depth
only. The men that Titian painted, the men that Jongsen painted, even the
men of Van Dyck, seemed at moments like great hawks at rest. In the Dublin
National Gallery there hung, perhaps there still hangs, upon the same
wall, a portrait of some Venetian gentleman by Strozzi, and Mr. Sargent's
painting of President Wilson. Whatever thought broods in the dark eyes of
that Venetian gentleman, has drawn its life from his whole body; it feeds
upon it as the flame feeds upon the candle--and should that thought be
changed, his pose would change, his very cloak would rustle for his whole
body thinks. President Wilson lives only in the eyes, which are steady and
intent; the flesh about the mouth is dead, and the hands are dead, and the
clothes suggest no movement of his body, nor any movement but that of the
valet, who has brushed and folded in mechanical routine. There, all was an
energy flowing outward from the nature itself; here, all is the anxious
study and slight deflection of external force; there man's mind and body
were predominantly subjective; here all is objective, using those words
not as philosophy uses them, but as we use them in conversation.

The bright part of the moon's disk, to adopt the symbolism of a certain
poem, is subjective mind, and the dark, objective mind, and we have eight
and twenty Phases for our classification of mankind, and of the movement
of his thought. At the first Phase--the night where there is no
moonlight--all is objective, while when, upon the fifteenth night, the
moon comes to the full, there is only subjective mind. The mid-renaissance
could but approximate to the full moon "For there is no human life at the
full or the dark," but we may attribute to the next three nights of the
moon the men of Shakespeare, of Titian, of Strozzi, and of Van Dyck, and
watch them grow more reasonable, more orderly, less turbulent, as the
nights pass; and it is well to find before the fourth--the nineteenth moon
counting from the start--a sudden change, as when a cloud becomes rain, or
water freezes, for the great transitions are sudden; popular, typical men
have grown more ugly and more argumentative; the face that Van Dyck called
a fatal face has faded before Cromwell's warty opinionated head.
Henceforth no mind made like "a perfectly proportioned human body" shall
sway the public, for great men must live in a portion of themselves,
become professional and abstract; but seeing that the moon's third quarter
is scarce passed, that abstraction has attained but not passed its climax,
that a half, as I affirm it, of the twenty-second night still lingers,
they may subdue and conquer; cherish, even, some Utopian dream; spread
abstraction ever further till thought is but a film, and there is no dark
depth any more, surface only. But men who belong by nature to the nights
near to the full are still born, a tragic minority, and how shall they do
their work when too ambitious for a private station, except as Wilde of
the nineteenth Phase, as my symbolism has it, did his work. He understood
his weakness, true personality was impossible, for that is born in
solitude, and at his moon one is not solitary; he must project himself
before the eyes of others, and, having great ambition, before some great
crowd of eyes; but there is no longer any great crowd that cares for his
true thought. He must humour and cajole and pose, take worn-out stage
situations, for he knows that he may be as romantic as he please, so long
as he does not believe in his romance, and all that he may get their ears
for a few strokes of contemptuous wit in which he does believe.

We Rhymers did not humour and cajole; but it was not wholly from demerit,
it was in part because of different merit, that he refused our exile.
Shaw, as I understand him, has no true quarrel with his time, its moon and
his almost exactly coincide. He is quite content to exchange Narcissus and
his Pool for the signal box at a railway junction, where goods and
travellers pass perpetually upon their logical glittering road. Wilde was
a monarchist, though content that monarchy should turn demagogue for its
own safety, and he held a theatre by the means whereby he held a London
dinner table. "He who can dominate a London dinner table," he had boasted,
"can dominate the world." While Shaw has but carried his street-corner
socialist eloquence on to the stage, and in him one discovers, in his
writing and his public speech, as once--before their outline had been
softened by prosperity or the passage of the years--in his clothes and in
his stiff joints, the civilization that Sargent's picture has explored.
Neither his crowd nor he have yet made that discovery that brought
President Wilson so near his death, that the moon draws to its fourth
quarter. But what happens to the individual man whose moon has come to
that fourth quarter, and what to the civilization...?

I can but remember pipe music to-night, though I can half hear beyond it
in the memory a weightier music, but this much at any rate is certain--the
dream of my early manhood, that a modern nation can return to Unity of
Culture, is false; though it may be we can achieve it for some small
circle of men and women, and there leave it till the moon bring round its
century.

  "The cat went here and there
  And the moon spun round like a top,
  And the nearest kin of the moon
  The creeping cat looked up.

       *       *       *       *

  Minnaloushe creeps through the grass
  From moonlit place to place;
  The sacred moon overhead
  Has taken a new phase.
  Does Minnaloushe know that her pupils
  Will pass from change to change,
  And that from round to crescent
  From crescent to round they range?
  Minnaloushe creeps through the grass
  Alone, important and wise,
  And lifts to the changing moon
  Her changing eyes."


IV

Henley's troubles and infirmities were growing upon him. He, too, an
ambitious, formidable man, who showed alike in his practice and in his
theory, in his lack of sympathy for Rossetti and Landor, for instance,
that he never understood how small a fragment of our own nature can be
brought to perfect expression, nor that even but with great toil, in a
much divided civilization; though, doubtless, if our own Phase be right, a
fragment may be an image of the whole, the moon's still scarce crumbled
image, as it were, in a glass of wine. He would be, and have all poets be,
a true epitome of the whole mass, a Herrick and Dr. Johnson in the same
body and because this--not so difficult before the Mermaid closed its
door--is no longer possible, his work lacks music, is abstract, as even an
actor's movement can be when the thought of doing is plainer to his mind
than the doing itself: the straight line from cup to lip, let us say, more
plain than the hand's own sensation weighed down by that heavy spillable
cup. I think he was content, when he had called before our eyes--before
the too understanding eyes of his chosen crowd--the violent burly man that
he had dreamed, content with the mere suggestion, and so did not work long
enough at his verses. He disliked Victor Hugo as much as he did Rossetti,
and yet Rossetti's translation from _Les Burgraves_, because of its mere
technical mastery, out-sings Henley in his own song--

  "My mother is dead; God's patience wears;
  It seems my Chaplain will not have done.
          Love on: who cares?
          Who cares? Love on."

I can read his poetry with emotion, but I read it for some glimpse of what
he might have been as Border balladist, or Cavalier, or of what he
actually was, not as poet but as man. He had what Wilde lacked, even in
his ruin, passion, was maybe as passionate as some great man of action, as
Parnell, let us say. When he and Stevenson quarrelled, he cried over it
with some woman or other, and his notorious article was but for vengeance
upon Mrs. Stevenson, who had arranged for the public eye, what he
considered an imaginary figure, with no resemblance to the gay companion
who had founded his life, to that life's injury, upon "The august, the
immortal musketeers." She had caused the quarrel, as he believed, and now
she had robbed him over again, by blotting from the world's memory the
friend of his youth; and because he believed it I read those angry
paragraphs with but deeper sympathy for the writer; and I think that the
man who has left them out of Henley's collected writings has wronged his
memory, as Mrs. Stevenson wronged the memory of Stevenson.

He was no contemplative man, no pleased possessor of wooden models and
paper patterns, but a great passionate man, and no friend of his would
have him pictured otherwise. I saw little of him in later years, but I
doubt if he was ever the same after the death of his six-year old
daughter. Few passages of his verse touch me as do those few mentions of
her though they lack precision of word and sound. When she is but a hope,
he prays that she may have his 'gift of life' and his wife's 'gift of
love,' and when she is but a few months old he murmurs over her sleep--

  When you wake in your crib,
  You an inch of experience--
  Vaulted about
  With the wonder of darkness;
  Wailing and striving
  To reach from your feebleness
  Something you feel
  Will be good to and cherish you.

And now he commends some friend "boyish and kind, and shy," who greeted
him, and greeted his wife, "that day we brought our beautiful one to lie
in the green peace" and who is now dead himself, and after that he speaks
of love "turned by death to longing" and so, to an enemy.

When I spoke to him of his child's death he said, "she was a person of
genius; she had the genius of the mind, and the genius of the body." And
later I heard him talk of her as a man talks of something he cannot keep
silence over because it is in all his thoughts. I can remember, too, his
talking of some book of natural history he had read, that he might be able
to answer her questions.

He had a house now at Mortlake on the Thames with a great ivy tod
shadowing door and window, and one night there he shocked and startled a
roomful of men by showing how far he could be swept beyond our reach in
reveries of affection. The dull man, who had tried to put Wilde out of
countenance, suddenly said to the whole room, roused by I cannot remember
what incautious remark of mine made to some man at my side: "Yeats
believes in magic; what nonsense." Henley said, "No, it may not be
nonsense; black magic is all the go in Paris now." And then turning
towards me with a changed sound in his voice, "It is just a game, isn't
it." I replied, not noticing till too late his serious tone, and wishing
to avoid discussion in the dull man's company, "One has had a vision; one
wants to have another, that is all." Then Henley said, speaking in a very
low voice, "I want to know how I am to get to my daughter. I was sitting
here the other night when she came into the room and played round the
table and went out again. Then I saw that the door was shut and I knew
that I had seen a vision." There was an embarrassed silence, and then
somebody spoke of something else and we began to discuss it hurriedly and
eagerly.


V

I came now to be more in London, never missing the meetings of the
Rhymers' Club, nor those of the council of the Irish Literary Society,
where I constantly fought out our Irish quarrels and pressed upon the
unwilling Gavan Duffy the books of our new movement. The Irish members of
Parliament looked upon us with some hostility because we had made it a
matter of principle never to put a politician in the chair, and upon other
grounds. One day, some old Irish member of Parliament made perhaps his
only appearance at a gathering of members. He recited with great emotion a
ballad of his own composition in the manner of Young Ireland, repeating
over his sacred names, Wolfe Tone, Emmet, and Owen Roe, and mourning that
new poets and new movements should have taken something of their
sacredness away. The ballad had no literary merit, but I went home with a
troubled conscience; and for a dozen years perhaps, till I began to see
the result of our work in a deepened perception of all those things that
strengthen race, that trouble remained. I had in mind that old politician
as I wrote but the other day--

                        "Our part
  To murmur name upon name
  As a mother names her child."

The Rhymers had begun to break up in tragedy, though we did not know that
till the play had finished. I have never found a full explanation of that
tragedy; sometimes I have remembered that, unlike the Victorian poets,
almost all were poor men, and had made it a matter of conscience to turn
from every kind of money-making that prevented good writing, and that
poverty meant strain, and for the most part, a refusal of domestic life.
Then I have remembered that Johnson had private means, and that others who
came to tragic ends, had wives and families. Another day I think that
perhaps our form of lyric, our insistence upon emotion which has no
relation to any public interest, gathered together, overwrought, unstable
men; and remember the moment after that the first to go out of his mind
had no lyrical gift, and that we valued him mainly because he seemed a
witty man of the world; and that a little later another who seemed, alike
as man and writer, dull and formless, went out of his mind, first burning
poems which I cannot believe would have proved him as the one man who saw
them claims, a man of genius. The meetings were always decorous and often
dull; some one would read out a poem and we would comment, too politely
for the criticism to have great value; and yet that we read out our poems,
and thought that they could be so tested, was a definition of our aims.
_Love's Nocturne_ is one of the most beautiful poems in the world, but no
one can find out its beauty, so intricate its thought and metaphor, till
he has read it over several times, or often stopped his reading to think
out the meaning of some passage, and the _Faustine_ of Swinburne, where
many separate verses are powerful and musical, could not, were it read
out, be understood with pleasure, however clearly it were read, because it
has no more logical structure than a bag of shot. I shall, however,
remember all my life that evening when Lionel Johnson read or spoke aloud
in his musical monotone, where meaning and cadence found the most precise
elocution, his poem suggested "by the Statue of King Charles at Charing
Cross." It was as though I listened to a great speech. Nor will that poem
be to me again what it was that first night. For long I only knew Dowson's
_O Mors_, to quote but the first words of its long title, and his
_Villanelle of Sunset_ from his reading, and it was because of the desire
to hold them in my hand that I suggested the first _Book of The Rhymers'
Club_. They were not speech but perfect song, though song for the speaking
voice. It was perhaps our delight in poetry that was, before all else,
speech or song, and could hold the attention of a fitting audience like a
good play or good conversation, that made Francis Thompson, whom we
admired so much--before the publication of his first poem I had brought to
the Cheshire Cheese the proof sheets of his _Ode to the Setting Sun_, his
first published poem--come but once and refuse to contribute to our book.
Preoccupied with his elaborate verse, he may have seen only that which we
renounced, and thought what seemed to us simplicity, mere emptiness. To
some members this simplicity was perhaps created by their tumultuous
lives, they praised a desired woman and hoped that she would find amid
their praise her very self, or at worst, their very passion; and knew that
she, ignoramus that she was, would have slept in the middle of _Love's
Nocturne_, lofty and tender though it be. Woman herself was still in our
eyes, for all that, romantic and mysterious, still the priestess of her
shrine, our emotions remembering the _Lilith_ and the _Sybilla Palmifera_
of Rossetti; for as yet that sense of comedy, which was soon to mould the
very fashion plates, and, in the eyes of men of my generation, to destroy
at last the sense of beauty itself, had scarce begun to show here and
there, in slight subordinate touches among the designs of great painters
and craftsmen. It could not be otherwise, for Johnson's favourite phrase,
that life is ritual, expressed something that was in some degree in all
our thoughts, and how could life be ritual if woman had not her symbolical
place?

If Rossetti was a sub-conscious influence, and perhaps the most powerful
of all, we looked consciously to Pater for our philosophy. Three or four
years ago I re-read _Marius the Epicurean_, expecting to find I cared for
it no longer, but it still seemed to me, as I think it seemed to us all,
the only great prose in modern English, and yet I began to wonder if it,
or the attitude of mind of which it was the noblest expression, had not
caused the disaster of my friends. It taught us to walk upon a rope,
tightly stretched through serene air, and we were left to keep our feet
upon a swaying rope in a storm. Pater had made us learned; and, whatever
we might be elsewhere, ceremonious and polite, and distant in our
relations to one another, and I think none knew as yet that Dowson, who
seemed to drink so little and had so much dignity and reserve, was
breaking his heart for the daughter of the keeper of an Italian eating
house, in dissipation and drink; and that he might that very night sleep
upon a sixpenny bed in a doss house. It seems to me that even yet, and I
am speaking of 1894 and 1895, we knew nothing of one another, but the
poems that we read and criticised; perhaps I have forgotten or was too
much in Ireland for knowledge, but of this I am certain, we shared nothing
but the artistic life. Sometimes Johnson and Symons would visit our sage
at Oxford, and I remember Johnson, whose reports however were not always
to be trusted, returning with a sentence that long ran in my head. He had
noticed books on political economy among Pater's books, and Pater had
said, "Everything that has occupied man, for any length of time, is worthy
of our study." Perhaps it was because of Pater's influence that we, with
an affectation of learning, claimed the whole past of literature for our
authority, instead of finding it like the young men in the age of comedy
that followed us, in some new, and so still unrefuted authority; that we
preferred what seemed still uncrumbled rock, to the still unspotted foam;
that we were traditional alike in our dress, in our manner, in our
opinions, and in our style.

Why should men, who spoke their opinions in low voices, as though they
feared to disturb the readers in some ancient library, and timidly as
though they knew that all subjects had long since been explored, all
questions long since decided in books whereon the dust settled--live lives
of such disorder and seek to rediscover in verse the syntax of impulsive
common life? Was it that we lived in what is called "an age of transition"
and so lacked coherence, or did we but pursue antithesis?


VI

All things, apart from love and melancholy, were a study to us; Horne
already learned in Botticelli had begun to boast that when he wrote of him
there would be no literature, all would be but learning; Symons, as I
wrote when I first met him, studied the music halls, as he might have
studied the age of Chaucer; while I gave much time to what is called the
Christian Cabala; nor was there any branch of knowledge Johnson did not
claim for his own. When I had first gone to see him in 1888 or 1889, at
the Charlotte Street house, I had called about five in the afternoon, but
the man servant that he shared with Horne and Image, told me that he was
not yet up, adding with effusion "he is always up for dinner at seven."
This habit of breakfasting when others dined had been started by insomnia,
but he came to defend it for its own sake. When I asked if it did not
separate him from men and women he replied, "In my library I have all the
knowledge of the world that I need." He had certainly a considerable
library, far larger than that of any young man of my acquaintance, so
large that he wondered if it might not be possible to find some way of
hanging new shelves from the ceiling like chandeliers. That room was
always a pleasure to me, with its curtains of grey corduroy over door and
window and book case, and its walls covered with brown paper, a fashion
invented, I think, by Horne, that was soon to spread. There was a portrait
of Cardinal Newman, looking a little like Johnson himself, some religious
picture by Simeon Solomon, and works upon theology in Greek and Latin and
a general air of neatness and severity; and talking there by candle light
it never seemed very difficult to murmur Villiers de L'isle Adam's proud
words, "As for living--our servants will do that for us." Yet I can now
see that Johnson himself in some hidden, half-conscious part of him
desired the world he had renounced, desired it as an object of study. I
was often puzzled as to when and where he could have met the famous men or
beautiful women, whose conversation, often wise, and always appropriate,
he quoted so often, and it was not till a little before his death that I
discovered that these conversations were imaginary. He never altered a
detail of speech, and would quote what he had invented for Gladstone or
Newman for years without amplification or amendment, with what seemed a
scholar's accuracy. His favourite quotations were from Newman, whom, I
believe, he had never met, though I can remember nothing now but Newman's
greeting to Johnson, "I have always considered the profession of a man of
letters a third order of the priesthood!" and these quotations became so
well known that at Newman's death, the editor of _The Nineteenth Century_
asked them for publication. Because of his delight in all that was formal
and arranged he objected to the public quotation of private conversation
even after death, and this scruple helped his refusal. Perhaps this
dreaming was made a necessity by his artificial life, yet before that life
began he wrote from Oxford to his Tory but flattered family, that as he
stood mounted upon a library ladder in his rooms taking a book from a
shelf, Gladstone, about to pass the open door on his way upstairs to some
college authority, had stopped, hesitated, come into the room and there
spent an hour of talk. Presently it was discovered that Gladstone had not
been near Oxford on the date given; yet he quoted that conversation
without variation of a word until the end of his life, and I think
believed in it as firmly as did his friends. These conversations were
always admirable in their drama, but never too dramatic or even too
polished to lose their casual accidental character; they were the
phantasmagoria through which his philosophy of life found its expression.
If he made his knowledge of the world out of his phantasy, his knowledge
of tongues and books was certainly very great; and yet was that knowledge
as great as he would have us believe? Did he really know Welsh, for
instance, had he really as he told me, made his only love song, his
incomparable _Morfydd_ out of three lines in Welsh, heard sung by a woman
at her door on a walking tour in Wales, or did he but wish to hide that he
shared in their emotion?

  "O, what are the winds?
  And what are the waters?
     Mine are your eyes."

He wanted us to believe that all things, his poetry with its Latin weight,
his religion with its constant reference to the Fathers of the Church, or
to the philosophers of the Church, almost his very courtesy were a study
and achievement of the intellect. Arthur Symons' poetry made him angry,
because it would substitute for that achievement, Parisian impressionism,
"a London fog, the blurred tawny lamplight, the red omnibus, the dreary
rain, the depressing mud, the glaring gin shop, the slatternly shivering
women, three dexterous stanzas telling you that and nothing more." I, on
the other hand, angered him by talking as if art existed for emotion only,
and for refutation he would quote the close of the Aeschylean Trilogy,
the trial of Orestes on the Acropolis. Yet at moments the thought came to
him that intellect, as he conceived it, was too much a thing of many
books, that it lacked lively experience. "Yeats," he has said to me, "You
need ten years in a library, but I have need of ten years in the
wilderness." When he said "Wilderness" I am certain, however, that he
thought of some historical, some bookish desert, the Thebaid, or the lands
about the Mareotic sea. His best poetry is natural and impassioned, but he
spoke little of it, but much about his prose, and would contend that I had
no right to consider words made to read, less natural than words made to
be spoken; and he delighted in a sentence in his book on Thomas Hardy,
that kept its vitality, as he contended, though two pages long. He
punctuated after the manner of the seventeenth century and was always
ready to spend an hour discussing the exact use of the colon. "One should
use a colon where other people use a semi-colon, a semi-colon where other
people use a comma," was, I think, but a condescension to my ignorance for
the matter was plainly beset with many subtleties.


VII

Not till some time in 1895 did I think he could ever drink too much for
his sobriety--though what he drank would certainly be too much for that of
most of the men whom I knew--I no more doubted his self-control, though we
were very intimate friends, than I doubted his memories of Cardinal
Newman. The discovery that he did was a great shock to me, and, I think,
altered my general view of the world. I had, by my friendship with
O'Leary, by my fight against Gavan Duffy, drawn the attention of a group
of men, who at that time controlled what remained of the old Fenian
movement in England and Scotland; and at a moment when an attempt, that
came to nothing, was being made to combine once more our constitutional
and unconstitutional politics, I had been asked to represent them at some
convention in the United States. I went to consult Johnson, whom I found
sitting at a table with books about him. I was greatly tempted, because I
was promised complete freedom of speech; and I was at the time enraged by
some wild articles published by some Irish American newspaper, suggesting
the burning down of the houses of Irish landlords. Nine years later I was
lecturing in America, and a charming old Irishman came to see me with an
interview to write, and we spent, and as I think in entire neglect of his
interview, one of the happiest hours I have ever spent, comparing our
tales of the Irish fairies, in which he very firmly believed. When he had
gone I looked at his card, to discover that he was the writer of that
criminal incitement. I told Johnson that if I had a week to decide in I
would probably decide to go, but as they had only given me three days, I
had refused. He would not hear of my refusal with so much awaiting my
condemnation; and that condemnation would be effective with Catholics, for
he would find me passages in the Fathers, condemning every kind of
political crime, that of the dynamiter and the incendiary especially. I
asked how could the Fathers have condemned weapons they had never heard
of, but those weapons, he contended, were merely developments of old
methods and weapons; they had decided all in principle; but I need not
trouble myself about the matter, for he would put into my hands before I
sailed the typewritten statement of their doctrine, dealing with the
present situation in the utmost detail. He seemed perfectly logical, but a
little more confident and impassioned than usual, and I had, I think,
promised to accept--when he rose from his chair, took a step towards me in
his eagerness, and fell on to the floor; and I saw that he was drunk. From
that on, he began to lose control of his life; he shifted from Charlotte
Street, where, I think, there was fear that he would overset lamp or
candle and burn the house, to Gray's Inn, and from Gray's Inn to old
rambling rooms in Lincoln's Inn Fields, and at last one called to find his
outer door shut, the milk on the doorstep sour. Sometimes I would urge him
to put himself, as Jack Nettleship had done, into an Institute. One day
when I had been very urgent, he spoke of "a craving that made every atom
of his body cry out" and said the moment after, "I do not want to be
cured," and a moment after that, "In ten years I shall be penniless and
shabby, and borrow half-crowns from friends." He seemed to contemplate a
vision that gave him pleasure, and now that I look back, I remember that
he once said to me that Wilde got, perhaps, an increase of pleasure and
excitement from the degradation of that group of beggars and blackmailers
where he sought his pathics, and I remember, too, his smile at my
surprise, as though he spoke of psychological depths I could never enter.
Did the austerity, the melancholy of his thoughts, that spiritual ecstasy
which he touched at times, heighten, as complementary colours heighten one
another, not only the Vision of Evil, but its fascination? Was it only
Villon, or did Dante also feel the fascination of evil, when shown in its
horror, and, as it were, judged and lost; and what proud man does not
feel temptation strengthened from the certainty that his intellect is not
deceived?


VIII

I began now to hear stories of Dowson, whom I knew only at the Rhymers, or
through some chance meeting at Johnson's. I was indolent and
procrastinating, and when I thought of asking him to dine, or taking some
other step towards better knowledge, he seemed to be in Paris, or at
Dieppe. He was drinking, but, unlike Johnson, who, at the autopsy after
his death, was discovered never to have grown, except in the brain, after
his fifteenth year, he was full of sexual desire. Johnson and he were
close friends, and Johnson lectured him out of the Fathers upon chastity,
and boasted of the great good done him thereby. But the rest of us counted
the glasses emptied in their talk. I began to hear now in some detail of
the restaurant-keeper's daughter, and of her marriage to the waiter, and
of that weekly game of cards with her that filled so great a share of
Dowson's emotional life. Sober, he would look at no other woman, it was
said, but, drunk, would desire whatever woman chance brought, clean or
dirty.

Johnson was stern by nature, strong by intellect, and always, I think,
deliberately picked his company, but Dowson seemed gentle, affectionate,
drifting. His poetry shows how sincerely he felt the fascination of
religion, but his religion had certainly no dogmatic outline, being but a
desire for a condition of virginal ecstasy. If it is true, as Arthur
Symons, his very close friend, has written, that he loved the
restaurant-keeper's daughter for her youth, one may be almost certain
that he sought from religion some similar quality, something of that which
the angels find who move perpetually, as Swedenborg has said, towards "the
dayspring of their youth." Johnson's poetry, like Johnson himself before
his last decay, conveys an emotion of joy, of intellectual clearness, of
hard energy; he gave us of his triumph; while Dowson's poetry is sad, as
he himself seemed, and pictures his life of temptation and defeat,

  "Unto us they belong
  Us the bitter and gay,
  Wine and women and song."

Their way of looking at their intoxication showed their characters.
Johnson, who could not have written _Dark Angel_ if he did not suffer from
remorse, showed to his friends an impenitent face, and defeated me when I
tried to prevent the foundation of an Irish convivial club--it was brought
to an end after one meeting by the indignation of the members'
wives--whereas the last time I saw Dowson he was pouring out a glass of
whiskey for himself in an empty corner of my room and murmuring over and
over in what seemed automatic apology "The first to-day."


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.


XIV

Dowson was now at Dieppe, now at a Normandy village. Wilde, too, was at
Dieppe; and Symons, Beardsley, and others would cross and recross,
returning with many tales, and there were letters and telegrams. Dowson
wrote a protest against some friend's too vivid essay upon the disorder of
his life, and explained that in reality he was living a life of industry
in a little country village; but before the letter arrived that friend
received a wire, "arrested, sell watch and send proceeds." Dowson's watch
had been left in London--and then another wire, "Am free." Dowson, ran the
tale as I heard it ten years after, had got drunk and fought the baker,
and a deputation of villagers had gone to the magistrate and pointed out
that Monsieur Dowson was one of the most illustrious of English poets.
"Quite right to remind me," said the magistrate, "I will imprison the
baker."

A Rhymer had seen Dowson at some cafe in Dieppe with a particularly common
harlot, and as he passed, Dowson, who was half drunk, caught him by the
sleeve and whispered, "She writes poetry--it is like Browning and Mrs
Browning." Then there came a wonderful tale, repeated by Dowson himself,
whether by word of mouth or by letter I do not remember. Wilde has arrived
in Dieppe, and Dowson presses upon him the necessity of acquiring "a more
wholesome taste." They empty their pockets on to the café table, and
though there is not much, there is enough if both heaps are put into one.
Meanwhile the news has spread, and they set out accompanied by a cheering
crowd. Arrived at their destination, Dowson and the crowd remain outside,
and presently Wilde returns. He says in a low voice to Dowson, "The first
these ten years, and it will be the last. It was like cold
mutton"--always, as Henley had said, "a scholar and a gentleman," he no
doubt remembered the sense in which the Elizabethan dramatists used the
words "Cold mutton"--and then aloud so that the crowd may hear him, "But
tell it in England, for it will entirely restore my character."


XV

When the first few numbers of _The Savoy_ had been published, the
contributors and the publisher gave themselves a supper, and Symons
explained that certain among us were invited afterwards to the
publisher's house, and if I went there that once I need never go again. I
considered the publisher a scandalous person, and had refused to meet him;
we were all agreed as to his character, and only differed as to the
distance that should lie between him and us. I had just received two
letters, one from T. W. Rolleston protesting with all the conventional
moral earnestness of an article in _The Spectator_ newspaper, against my
writing for such a magazine; and one from A. E. denouncing that magazine,
which he called the "Organ of the Incubi and the Succubi," with the
intensity of a personal conviction. I had forgotten that Arthur Symons had
borrowed the letters until as we stood about the supper table waiting for
the signal to be seated, I heard the infuriated voice of the publisher
shouting, "Give me the letter, give me the letter, I will prosecute that
man," and I saw Symons waving Rolleston's letter just out of reach. Then
Symons folded it up and put it in his pocket, and began to read out A. E.
and the publisher was silent, and I saw Beardsley listening. Presently
Beardsley came to me and said, "Yeats, I am going to surprise you very
much. I think your friend is right. All my life I have been fascinated by
the spiritual life--when a child I saw a vision of a Bleeding Christ over
the mantelpiece--but after all to do one's work when there are other
things one wants to do so much more, is a kind of religion."

Something, I forget what, delayed me a few minutes after the supper was
over, and when I arrived at our publisher's I found Beardsley propped up
on a chair in the middle of the room, grey and exhausted, and as I came in
he left the chair and went into another room to spit blood, but returned
immediately. Our publisher, perspiration pouring from his face, was
turning the handle of a hurdy gurdy piano--it worked by electricity, I was
told, when the company did not cut off the supply--and very plainly had
had enough of it, but Beardsley pressed him to labour on, "The tone is so
beautiful," "It gives me such deep pleasure," etc., etc. It was his method
of keeping our publisher at a distance.

Another image competes with that image in my memory. Beardsley has arrived
at Fountain Court a little after breakfast with a young woman who belongs
to our publisher's circle and certainly not to ours, and is called
"twopence coloured," or is it "penny plain." He is a little drunk and his
mind has been running upon his dismissal from _The Yellow Book_, for he
puts his hand upon the wall and stares into a mirror. He mutters, "Yes,
yes. I look like a Sodomite," which he certainly did not. "But no, I am
not that," and then begins railing, against his ancestors, accusing them
of that and this, back to and including the great Pitt, from whom he
declares himself descended.


XVI

I can no more justify my convictions in these brief chapters, where I
touch on fundamental things, than Shakespeare could justify within the
limits of a sonnet, his conviction that the soul of the wide world dreams
of things to come; and yet as I have set out to describe nature as I see
it, I must not only describe events but those patterns into which they
fall, when I am the looker-on. A French miracle-working priest once said
to Maud Gonne and myself and to an English Catholic who had come with us,
that a certain holy woman had been the "victim" for his village, and that
another holy woman who had been "victim" for all France, had given him her
Crucifix, because he, too, was doomed to become a "victim."

French psychical research has offered evidence to support the historical
proofs that such saints as Lydwine of Schiedam, whose life suggested to
Paul Claudel his _L'Annonce faite à Marie_, did really cure disease by
taking it upon themselves. As disease was considered the consequence of
sin, to take it upon themselves was to copy Christ. All my proof that mind
flows into mind, and that we cannot separate mind and body, drives me to
accept the thought of victimage in many complex forms, and I ask myself if
I cannot so explain the strange, precocious genius of Beardsley. He was in
my Lunar metaphor a man of the thirteenth Phase, his nature on the edge of
Unity of Being, the understanding of that Unity by the intellect his one
overmastering purpose; whereas Lydwine de Schiedam and her like, being of
the saints, are at the seven and twentieth Phase, and seek a unity with a
life beyond individual being; and so being all subjective he would take
upon himself not the consequences, but the knowledge of sin. I surrender
myself to the wild thought that by so doing he enabled persons who had
never heard his name, to recover innocence. I have so often, too,
practised meditations, or experienced dreams, where the meditations or
dreams of two or three persons contrast and complement one another, in so
far as those persons are in themselves complementary or contrasting, that
I am convinced that it is precisely from the saint or potential saint that
he would gather this knowledge. I see in his fat women and shadowy,
pathetic girls, his horrible children, half child, half embryo, in all
the lascivious monstrous imagery of the privately published designs, the
phantasms that from the beginning have defied the scourge and the hair
shirt. I once said to him half seriously, "Beardsley, I was defending you
last night in the only way in which it is possible to defend you, by
saying that all you draw is inspired by rage against iniquity," and he
answered, "If it were so inspired the work would be in no way different,"
meaning, as I think, that he drew with such sincerity that no change of
motive could change the image.

I know that some turn of disease had begun to parade erotic images before
his eyes, and I do not doubt that he drew these images. "I make a blot
upon the paper," he said to me; "And I begin to shove the ink about and
something comes." But I was wrong to say that he drew these things in rage
against iniquity, for to know that rage he must needs be objective,
concerned with other people, with the Church or the Divinity, with
something outside his own head, and responsible not for the knowledge but
for the consequence of sin. His preparation had been the exhaustion of sin
in act, while the preparation of the Saint is the exhaustion of his pride,
and instead of the Saint's humility, he had come to see the images of the
mind in a kind of frozen passion, the virginity of the intellect.

Does not all art come when a nature, that never ceases to judge itself,
exhausts personal emotion in action or desire so completely that something
impersonal, something that has nothing to do with action or desire,
suddenly starts into its place, something which is as unforeseen, as
completely organized, even as unique, as the images that pass before the
mind between sleeping and waking.

But all art is not victimage; and much of the hatred of the art of
Beardsley came from the fact that victimage, though familiar under another
name to French criticism since the time of Baudelaire, was not known in
England. He pictures almost always disillusion, and apart from those
privately published drawings which he tried upon his deathbed to have
destroyed, there is no representation of desire. Even the beautiful women
are exaggerated into doll-like prettiness by a spirit of irony, or are
poignant with a thwarted or corrupted innocence. I see his art with more
understanding now, than when he lived, for in 1895 or 1896, I was in
despair at the new breath of comedy that had begun to wither the beauty
that I loved, just when that beauty seemed about to unite itself to
mystery. I said to him once, "You have never done anything to equal your
Salome with the head of John the Baptist." I think, that for the moment he
was sincere when he replied, "Yes, yes; but beauty is so difficult." It
was for the moment only, for as the popular rage increased and his own
disease increased, he became more and more violent in his satire, or
created out of a spirit of mockery a form of beauty where his powerful
logical intellect eliminated every outline that suggested meditation or
even satisfied passion.

The distinction between the Image, between the apparition as it were, and
the personal action and desire, took a new form at the approach of death.
He made two or three charming and blasphemous designs; I think especially
of a Madonna and Child, where the Child has a foolish, doll-like face, and
an elaborate modern baby's dress; and of a St. Rose of Lima in an
expensive gown decorated with roses, ascending to Heaven upon the bosom of
the Madonna, her face enraptured with love, but with that form of it
which is least associated with sanctity. I think that his conversion to
Catholicism was sincere, but that so much of impulse as could exhaust
itself in prayer and ceremony, in formal action and desire, found itself
mocked by the antithetical image; and yet I am perhaps mistaken, perhaps
it was merely his recognition that historical Christianity had dwindled to
a box of toys, and that it might be amusing to empty the whole box on to
the counterpane.


XVII

I had been a good deal in Paris, though never very long at any time, my
later visits with a member of the Rhymer's Club whose curiosity or emotion
was roused by every pretty girl. He treated me with a now admiring, now
mocking wonder, because being in love, and in no way lucky in that love, I
had grown exceedingly puritanical so far as my immediate neighbourhood was
concerned. One night, close to the Luxembourg, a strange young woman in
bicycling costume, came out of a side street, threw one arm about his
neck, walked beside us in perfect silence for a hundred yards or so, and
then darted up another side street. He had a red and white complexion and
fair hair, but how she discovered that in the dark I could not understand.
I became angry and reproachful, but he defended himself by saying, "You
never meet a stray cat without caressing it: I have similar instincts."
Presently we found ourselves at some Café--the Café D'Harcourt, I
think--and when I looked up from my English newspaper, I found myself
surrounded with painted ladies and saw that he was taking vengeance. I
could not have carried on a conversation in French, but I was able to say,
"That gentleman over there has never refused wine or coffee to any lady,"
and in a little they had all settled about him like greedy pigeons.

I had put my ideal of those years, an ideal that passed away with youth,
into my description of _Proud Costello_. "He was of those ascetics of
passion, who keep their hearts pure for love or for hatred, as other men
for God, for Mary and for the Saints." My friend was not interested in
passion. A woman drew him to her by some romantic singularity in her
beauty or her circumstance, and drew him the more if the curiosity she
aroused were half intellectual. A little after the time I write of,
throwing himself into my chair after some visit to a music-hall or
hippodrome, he began, "O, Yeats, I was never in love with a
serpent-charmer before." He was objective. For him "the visible world
existed" as he was fond of quoting, and I suspect him of a Moon that had
entered its fourth quarter.


XVIII

At first I used to stay with Macgregor Mathers and his gracious young wife
near the Champ de Mars, or in the Rue Mozart, but later by myself in a
student's hotel in the Latin quarter, and I cannot remember always where I
stayed when this or that event took place. Macgregor Mathers, or
Macgregor, for he had now shed the "Mathers," would come down to breakfast
one day with his Horace, the next day with his Macpherson's Ossian, and
read out fragments during breakfast, considering both books of equal
authenticity. Once when I questioned that of Ossian, he got into a
rage--what right had I to take sides with the English enemy--and I found
that for him the eighteenth century controversy still raged. At night he
would dress himself in Highland dress, and dance the sword dance, and his
mind brooded upon the ramifications of clans and tartans. Yet I have at
moments doubted whether he had seen the Highlands, or even, until invited
there by some White Rose Society, Scotland itself. Every Sunday he gave to
the evocation of Spirits, and I noted that upon that day he would spit
blood. That did not matter, he said, because it came from his head, not
his lungs; what ailed him I do not know, but I think that he lived under
some great strain, and presently I noted that he was drinking neat brandy,
not to drunkenness, but to detriment of mind and body.

He began to foresee changes in the world, announcing in 1893 or 1894, the
imminence of immense wars, and was it in 1895 or 1896 that he learned
ambulance work, and made others learn it? He had a sabre wound on his
wrist--or perhaps his forehead, for my memory is not clear--got in some
student riot that he had mistaken for the beginning of war. It may have
been some talk of his that made me write the poem that begins:

  "The dews drop slowly and dreams gather;
         unknown spears
  Suddenly hurtle before my dream awakened eyes,
  And then the clash of fallen horsemen and the cries
  Of unknown perishing armies beat about my ears."

War was to bring, or be brought by, anarchy, but that would be a passing
stage, he declared, for his dreams were all Napoleonic. He certainly
foresaw some great role that he could play, had made himself an
acknowledged master of the war-game, and for a time taught it to French
officers for his living. He was to die of melancholia, and was perhaps
already mad at certain moments or upon certain topics, though he did not
make upon me that impression in those early days, being generous, gay, and
affable. I have seen none that lacked philosophy and trod _Hodos
Camelionis_ come to good there; and he lacked it but for a vague
affirmation, that he would have his friends affirm also, each for himself,
"There is no part of me that is not of the Gods." Once, when he had told
me that he met his Teachers in some great crowd, and only knew that they
were phantoms by a shock that was like an electric shock to his heart, I
asked him how he knew that he was not deceived or hallucinated. He said,
"I had been visited by one of them the other night, and I followed him
out, and followed him down that little lane to the right. Presently I fell
over the milk boy, and the milk boy got in a rage because he said that not
only I but the man in front had fallen over him." He like all that I have
known, who have given themselves up to images, and to the murmuring of
images, thought that when he had proved that an image could act
independently of his mind, he had proved also that neither it, nor what it
had murmured, had originated there. Yet had I need of proof to the
contrary, I had it while under his roof. I was eager for news of the
Spanish-American war, and went to the Rue Mozart before breakfast to buy a
_New York Herald_. As I went out past the young Normandy servant who was
laying breakfast, I was telling myself some schoolboy romance, and had
just reached a place where I carried my arm in a sling after some
remarkable escape. I bought my paper and returned, to find Macgregor on
the doorstep. "Why, you are all right," he said, "What did the Bonne mean
by telling me that you had hurt your arm and carried it in a sling."

Once when I met him in the street in his Highland clothes, with several
knives in his stocking, he said, "When I am dressed like this I feel like
a walking flame," and I think that everything he did was but an attempt to
feel like a walking flame. Yet at heart he was, I think, gentle, and
perhaps even a little timid. He had some impediment in his nose that gave
him a great deal of trouble, and it could have been removed had he not
shrunk from the slight operation; and once when he was left in a
mouse-infested flat with some live traps, he collected his captives into a
large birdcage, and to avoid the necessity of their drowning, fed them
there for weeks. Being a self-educated, un-scholarly, though learned man,
he was bound to express the fundamental antithesis in the most crude form,
and being arrogant, to prevent as far as possible that alternation between
the two natures which is, it may be, necessary to sanity. When the nature
turns to its spiritual opposite alone there can be no alternation, but
what nature is pure enough for that.

I see Paris in the Eighteen-nineties as a number of events separated from
one another, and without cause or consequence, without lot or part in the
logical structure of my life; I can often as little find their dates as I
can those of events in my early childhood. William Sharp, who came to see
me there, may have come in 1895, or on some visit four or five years
later, but certainly I was in an hotel in the Boulevard Raspail. When he
stood up to go he said, "What is that?" pointing to a geometrical form
painted upon a little piece of cardboard that lay upon my window sill. And
then before I could answer, looked out of the window saying, "There is a
funeral passing." I said, "That is curious, as the Death symbol is painted
upon the card." I did not look, but I am sure there was no funeral. A few
days later he came back and said, "I have been very ill; you must never
allow me to see that symbol again." He did not seem anxious to be
questioned, but years later he said, "I will now tell you what happened in
Paris. I had two rooms at my hotel, a front sitting-room and a bedroom
leading out of it. As I passed the threshold of the sitting-room, I saw a
woman standing at the bureau writing, and presently she went into my
bedroom. I thought somebody had got into the wrong room by mistake, but
when I went to the bureau I saw the sheet of paper she had seemed to write
upon, and there was no writing upon it. I went into my bed-room and I
found nobody, but as there was a door from the bedroom on to the stairs I
went down the stairs to see if she had gone that way. When I got out into
the street I saw her just turning a corner, but when I turned the corner
there was nobody there, and then I saw her at another corner. Constantly
seeing her and losing her like that I followed till I came to the Seine,
and there I saw her standing at an opening in the wall, looking down into
the river. Then she vanished, and I cannot tell why, but I went to the
opening in the wall and stood there, just as she had stood, taking just
the same attitude. Then I thought I was in Scotland, and that I heard a
sheep bell. After that I must have lost consciousness, for I knew nothing
till I found myself lying on my back, dripping wet, and people standing
all round. I had thrown myself into the Seine."

I did not believe him, and not because I thought the story impossible, for
I knew he had a susceptibility beyond that of any one I had ever known, to
symbolic or telepathic influence, but because he never told one anything
that was true; the facts of life disturbed him and were forgotten. The
story had been created by the influence but it had remained a reverie,
though he may in the course of years have come to believe that it happened
as an event. The affectionate husband of his admiring and devoted wife, he
had created an imaginary beloved, had attributed to her the authorship of
all his books that had any talent, and though habitually a sober man, I
have known him to get drunk, and at the height of his intoxication when
most men speak the truth, to attribute his state to remorse for having
been unfaithful to Fiona Macleod.

Paul Verlaine alternated between the two halves of his nature with so
little apparent resistance that he seemed like a bad child, though to read
his sacred poems is to remember perhaps that the Holy Infant shared His
first home with the beasts. In what month was it that I received a note
inviting me to "coffee and cigarettes plentifully," and signed "Yours
quite cheerfully, Paul Verlaine?" I found him at the top of a tenement
house in the Rue St. Jacques, sitting in an easy chair, his bad leg
swaddled in many bandages. He asked me, speaking in English, if I knew
Paris well, and added, pointing to his leg, that it had scorched his leg
for he know it "well, too well" and "lived in it like a fly in a pot of
marmalade." He took up an English dictionary, one of the few books in the
room, and began searching for the name of his disease, selecting after a
long search and with, as I understood, only comparative accuracy
"Erysipelas." Meanwhile his homely, middle-aged mistress made the coffee
and found the cigarettes; it was obviously she who had given the room its
character; her canaries in several cages hanging in the window, and her
sentimental lithographs nailed here and there among the nude drawings and
newspaper caricatures of her lover as various kinds of monkey, which he
had pinned upon the wall. A slovenly, ragged man came in, his trousers
belted with a piece of rope and an opera hat upon his head. She drew a box
over to the fire, and he sat down, now holding the opera hat upon his
knees, and I think he must have acquired it very lately for he kept
constantly closing and opening it. Verlaine introduced him by saying, "He
is a poor man, but a good fellow, and is so like Louis XI to look at that
we call him Louis the XIth." I remember that Verlaine talked of Victor
Hugo who was "a supreme poet, but a volcano of mud as well as of flame,"
and of Villiers de L'Isle Adam who was "exalté" and wrote excellent
French; and of _In Memoriam_, which he had tried to translate and could
not. "Tennyson is too noble, too Anglais; when he should have been
brokenhearted, he had many reminiscences."

At Verlaine's burial, but a few months after, his mistress quarrelled with
a publisher at the graveside as to who owned the sheet by which the body
had been covered, and Louis XI stole fourteen umbrellas that he found
leaning against a tree in the Cemetery.


XIX

I am certain of one date, for I have gone to much trouble to get it right.
I met John Synge for the first time in the Autumn of 1896, when I was one
and thirty, and he four and twenty. I was at the Hotel Corneille instead
of my usual lodging, and why I cannot remember for I thought it expensive.
Synge's biographer says that you boarded there for a pound a week, but I
was accustomed to cook my own breakfast, and dine at an anarchist
restaurant in the Boulevard S. Jacques for little over a shilling. Some
one, whose name I forget, told me there was a poor Irishman at the top of
the house, and presently introduced us. Synge had come lately from Italy,
and had played his fiddle to peasants in the Black Forest; six months of
travel upon fifty pounds; and was now reading French literature and
writing morbid and melancholy verse. He told me that he had learned Irish
at Trinity College, so I urged him to go to the Aran Islands and find a
life that had never been expressed in literature, instead of a life where
all had been expressed. I did not divine his genius, but I felt he needed
something to take him out of his morbidity and melancholy. Perhaps I would
have given the same advice to any young Irish writer who knew Irish, for I
had been that summer upon Inishmaan and Inishmore, and was full of the
subject. My friends and I had landed from a fishing boat to find ourselves
among a group of islanders, one of whom said he would bring us to the
oldest man upon Inishmaan. This old man, speaking very slowly, but with
laughing eyes, had said, "If any gentleman has done a crime, we'll hide
him. There was a gentleman that killed his father, and I had him in my
own house six months till he got away to America."

From that on I saw much of Synge, and brought him to Maude Gonne's, under
whose persuasion perhaps, he joined the "Young Ireland Society of Paris,"
the name we gave to half a dozen Parisian Irish, signed, but resigned
after a few months because "it wanted to stir up Continental nations
against England, and England will never give us freedom until she feels
she is safe," the one political sentence I ever heard him speak. Over a
year was to pass before he took my advice and settled for a while in an
Aran cottage, and became happy, having escaped at last, as he wrote, "from
the squalor of the poor and the nullity of the rich." I almost forget the
prose and verse he showed me in Paris, though I read it all through again
when after his death I decided, at his written request, what was to be
published and what not. Indeed, I have but a vague impression, as of a man
trying to look out of a window and blurring all that he sees by breathing
upon the window. According to my Lunar parable, he was a man of the
twenty-third Phase, a man whose subjective lives--for a constant return to
our life is a part of my dream--were over, who must not pursue an image,
but fly from it, all that subjective dreaming, that had once been power
and joy, now corrupting within him. He had to take the first plunge into
the world beyond himself, the first plunge away from himself that is
always pure technique, the delight in doing, not because one would or
should, but merely because one can do.

He once said to me, "a man has to bring up his family and be as virtuous
as is compatible with so doing, and if he does more than that he is a
puritan; a dramatist has to express his subject and to find as much
beauty as is compatible with that, and if he does more he is an aesthete,"
that is to say, he was consciously objective. Whenever he tried to write
drama without dialect he wrote badly, and he made several attempts,
because only through dialect could he escape self-expression, see all that
he did from without, allow his intellect to judge the images of his mind
as if they had been created by some other mind. His objectivity was,
however, technical only, for in those images paraded all the desires of
his heart. He was timid, too shy for general conversation, an invalid and
full of moral scruple, and he was to create now some ranting braggadocio,
now some tipsy hag full of poetical speech, and now some young man or girl
full of the most abounding health. He never spoke an unkind word, had
admirable manners, and yet his art was to fill the streets with rioters,
and to bring upon his dearest friends enemies that may last their
lifetime.

No mind can engender till divided into two, but that of a Keats or a
Shelley falls into an intellectual part that follows, and a hidden
emotional flying image, whereas in a mind like that of Synge the emotional
part is dreaded and stagnant, while the intellectual part is a clear
mirror-like technical achievement.

But in writing of Synge I have run far ahead, for in 1896 he was but one
picture among many. I am often astonished when I think that we can meet
unmoved some person, or pass some house, that in later years is to bear a
chief part in our life. Should there not be some flutter of the nerve or
stopping of the heart like that Macgregor experienced at the first meeting
with a phantom?


XX

Many pictures come before me without date or order. I am walking somewhere
near the Luxembourg Gardens when Synge, who seldom generalises and only
after much thought, says, "There are three things any two of which have
often come together but never all three; ecstasy, asceticism, austerity; I
wish to bring all three together."

       *       *       *       *       *

I notice that Macgregor considers William Sharp vague and sentimental,
while Sharp is repelled by Macgregor's hardness and arrogance. William
Sharp met Macgregor in the Louvre, and said, "No doubt considering your
studies you live upon milk and fruit." And Macgregor replied, "No, not
exactly milk and fruit, but very nearly so;" and now Sharp has lunched
with Macgregor and been given nothing but brandy and radishes.

       *       *       *       *       *

Macgregor is much troubled by ladies who seek spiritual advice, and one
has called to ask his help against phantoms who have the appearance of
decayed corpses, and try to get into bed with her at night. He has driven
her away with one furious sentence, "Very bad taste on both sides."

       *       *       *       *       *

I am sitting in a Café with two French Americans, one in the morning,
while we are talking wildly, and some are dancing, there is a tap at the
shuttered window; we open it and three ladies enter, the wife of a man of
letters, who thought to find no one but a confederate, and her husband's
two young sisters whom she has brought secretly to some disreputable
dance. She is very confused at seeing us, but as she looks from one to
another understands that we have taken some drug and laughs; caught in our
dream we know vaguely that she is scandalous according to our code and to
all codes, but smile at her benevolently and laugh.

       *       *       *       *       *

I am at Stuart Merrill's, and I meet there a young Jewish Persian scholar.
He has a large gold ring, seemingly very rough, made by some amateur, and
he shows me that it has shaped itself to his finger, and says, "That is
because it contains no alloy--it is alchemical gold." I ask who made the
gold, and he says a certain Rabbi, and begins to talk of the Rabbi's
miracles. We do not question him--perhaps it is true--perhaps he has
imagined at all--we are inclined to accept every historical belief once
more.

       *       *       *       *       *

I am sitting in a Cafe with two French Americans, a German poet
Douchenday, and a silent man whom I discover to be Strindberg, and who is
looking for the Philosopher's Stone. The French American reads out a
manifesto he is about to issue to the Latin Quarter; it proposes to
establish a communistic colony of artists in Virginia, and there is a
footnote to explain why he selects Virginia, "Art has never flourished
twice in the same place. Art has never flourished in Virginia."

Douchenday, who has some reputation as a poet, explains that his poems are
without verbs, as the verb is the root of all evil in the world. He wishes
for an art where all things are immoveable, as though the clouds should be
made of marble. I turn over the page of one of his books which he shows
me, and find there a poem in dramatic form, but when I ask if he hopes to
have it played he says:--"It could only be played by actors before a black
marble wall, with masks in their hands. They must not wear the masks for
that would not express my scorn for reality."

       *       *       *       *       *

I go to the first performance of Alfred Jarry's _Ubu Roi_, at the Théatre
de L'Oeuvre, with the Rhymer who had been so attractive to the girl in the
bicycling costume. The audience shake their fists at one another, and the
Rhymer whispers to me, "There are often duels after these performances,"
and he explains to me what is happening on the stage. The players are
supposed to be dolls, toys, marionettes, and now they are all hopping like
wooden frogs, and I can see for myself that the chief personage, who is
some kind of King, carries for Sceptre a brush of the kind that we use to
clean a closet. Feeling bound to support the most spirited party, we have
shouted for the play, but that night at the Hotel Corneille I am very sad,
for comedy, objectivity, has displayed its growing power once more. I say,
"After Stephane Mallarmé, after Paul Verlaine, after Gustave Moreau, after
Puvis de Chavannes, after our own verse, after all our subtle colour and
nervous rhythm, after the faint mixed tints of Conder, what more is
possible? After us the Savage God."




BOOK V

THE STIRRING OF THE BONES




_THE STIRRING OF THE BONES_


I

It may have been the Spring of 1897 that Maud Gonne, who was passing
through London, told me that for some reason unknown to her, she had
failed to get a Dublin authorization for an American lecturing tour. The
young Dublin Nationalists planned a monument to Wolfe Tone which, it was
hoped, might exceed in bulk and in height that of the too compromised and
compromising Daniel O'Connell, and she proposed to raise money for it by
these lectures. I had left the Temple and taken two rooms in Bloomsbury,
and in Bloomsbury lived important London Nationalists, elderly doctors,
who had been medical students during the Fenian movement. So I was able to
gather a sufficient committee to pass the necessary resolution. She had no
sooner sailed than I found out why the Dublin committee had refused it, or
rather put it off by delay and vague promises. A prominent Irish American
had been murdered for political reasons, and another Irish American had
been tried and acquitted, but was still accused by his political
opponents, and the dispute had spread to London and to Ireland, and had
there intermixed itself with current politics and gathered new bitterness.
My committee, and the majority of the Nationalist Irish Societies
throughout England were upon one side, and the Dublin committee and the
majority of the Nationalist Societies in Ireland upon the other, and
feeling ran high. Maud Gonne had the same friends that I had, and the
Dublin committee could not be made to understand that whatever money she
collected would go to the movement, and not to her friends and their
opponents. It seemed to me that if I accepted the Presidency of the '98
Commemoration Association of Great Britain, I might be able to prevent a
public quarrel, and so make a great central council possible; and a public
quarrel I did prevent, though with little gain perhaps to anybody, for at
least one active man assured me that I had taken the heart out of his
work, and no gain at all perhaps to the movement, for our central council
had commonly to send two organizers or to print two pamphlets, that both
parties might be represented when one pamphlet or one organizer had
served.


II

It was no business of mine, and that was precisely why I could not keep
out of it. Every enterprise that offered, allured just in so far as it was
not my business. I still think that in a species of man, wherein I count
myself, nothing so much matters as Unity of Being, but if I seek it as
Goethe sought, who was not of that species, I but combine in myself, and
perhaps as it now seems, looking backward, in others also, incompatibles.
Goethe, in whom objectivity and subjectivity were intermixed I hold, as
the dark is mixed with the light at the eighteenth Lunar Phase, could but
seek it as Wilhelm Meister seeks it intellectually, critically, and
through a multitude of deliberately chosen experiences; events and forms
of skill gathered as if for a collector's cabinet; whereas true Unity of
Being, where all the nature murmurs in response if but a single note be
touched, is found emotionally, instinctively, by the rejection of all
experience not of the right quality, and by the limitation of its
quantity. Of all this I knew nothing, for I saw the world by the light of
what my father had said, speaking about some Frenchman who frequented the
dissecting rooms to overcome his dread in the interest of that Unity. My
father had mocked, but had not explained why he had mocked, and I, for my
unhappiness had felt a shuddering fascination. Nor did I understand as yet
how little that Unity, however wisely sought, is possible without a Unity
of Culture in class or people that is no longer possible at all.

  "The fascination of what's difficult
  Has dried the sap out of my veins, and rent
  Spontaneous joy and natural content
  Out of my heart."


III

I went hither and thither speaking at meetings in England and Scotland and
occasionally at tumultuous Dublin conventions, and endured some of the
worst months of my life. I had felt years before that I had made a great
achievement when the man who trained my uncle's horses invited me to share
his Xmas dinner, which we roasted in front of his harness room fire; and
now I took an almost equal pride in an evening spent with some small
organizer into whose spitoon I secretly poured my third glass of whiskey.
I constantly hoped for some gain in self-possession, in rapidity of
decision, in capacity for disguise, and am at this moment, I dare say, no
different for it all, having but burgeoned and withered like a tree.

When Maud Gonne returned she became our directing mind both in England and
in Ireland, and it was mainly at her bidding that our movement become a
protest against the dissensions, the lack of dignity, of the Parnellite
and Anti-Parnellite parties, who had fought one another for seven or eight
years, till busy men passed them by, as they did those performing cats
that in my childhood I used to see, pretending to spit at one another on a
table, outside Charing Cross station. Both parliamentary parties seeing
that all young Ireland, and a good part of old, were in the movement,
tried to join us, the Anti-Parnellite without abandoning its separate
identity. They were admitted I think, but upon what terms I do not
remember. I and two or three others had to meet Michael Davitt, and a
member of parliament called F. X. O'Brien to talk out the question of
separate identity, and I remember nothing of what passed but the manner
and image of Michael Davitt. He seemed hardly more unfitted for such
negotiation, perhaps even for any possible present politics, than I
myself, and I watched him with sympathy. One knows by the way a man sits
in his chair if he have emotional intensity, and Davitt's suggested to me
a writer, a painter, an artist of some kind, rather than a man of action.
Then, too, F. X. O'Brien did not care whether he used a good or a bad
argument, whether he seemed a fool or a clever man, so that he carried his
point, but if he used a bad argument Davitt would bring our thought back
to it though he had to wait several minutes and re-state it. One felt
that he had lived always with small unimaginative, effective men whom he
despised; and that perhaps through some lack of early education, perhaps
because nine years' imprisonment at the most plastic period of his life
had jarred or broken his contact with reality, he had failed, except
during the first months of the Land League, to dominate those men. He told
me that if the split in the Irish Party had not come he would have carried
the Land League into the Highlands, and recovered for Ireland as much of
Scotland as was still Gaelic in blood or in language. Our negotiations,
which interested so much F. X. O'Brien and my two negotiators, a barrister
and a doctor, bored him I thought, even more than they did me, to whom
they were a novelty; but the Highland plan with its historical foundation
and its vague possibilities excited him, and it seemed to me that what we
said or did stirred him, at other moments also, to some similar remote
thought and emotion. I think he returned my sympathy, for a little before
his death he replied to some words of congratulation I sent him after the
speech in which he resigned his seat in the House of Commons, with an
account of some project of his for improving the quality of the Irish
representation there.


IV

I think that he shared with poet and philosopher the necessity of speaking
the whole mind or remaining silent or ineffective, and he had been for
years in a movement, where, to adapt certain words of a friend of mine, it
was as essential to carry the heart upon the sleeve as the tongue in the
cheek. The founders of the Irish Agrarian movement had acted upon the
doctrine, contradicted by religious history, that ignorant men will not
work for an idea, or feel a political passion for its own sake, and that
you must find "a lever" as it was called, some practical grievance; and I
do not think that I am fantastic in believing that this faith in "levers,"
universal among revolutionaries, is but a result of that mechanical
philosophy of the Eighteenth Century, which has, as Coleridge said, turned
the human mind into the quicksilver at the back of a mirror, though it
still permits a work of art to seem "a mirror dawdling along a road."

O'Leary had told me the story, not I think hitherto published. A prominent
Irish American, not long released from the prison where Fenianism had sent
him, cabled to Parnell:--"Take up Land Reform side by side with the
National Question and we will support you. See Kickham." What had Parnell,
a landowner and a haughty man, to do with the peasant or the peasant's
grievance? And he was indeed so ignorant of both that he asked Kickham,
novelist and Fenian leader, if he thought the people would take up a land
agitation, and Kickham answered:--"I am only afraid they would go to the
Gates of Hell for it;" and O'Leary's comment was, "and so they have."

And so was founded an agitation where some men pretended to national
passion for the land's sake; some men to agrarian passion for the nation's
sake; some men to both for their own advancement, and this agitation at
the time I write of had but old men to serve it, who found themselves
after years of labour, some after years of imprisonment, derided for
unscrupulous rascals. Unscrupulous they certainly were, for they had
grown up amid make-believe, and now because their practical grievance was
too near settlement to blind and to excite, their make-believe was visible
to all. They were as eloquent as ever, they had never indeed shared
anything in common but the sentimental imagery, the poetical allusions
inherited from a still earlier generation, but were faced by a generation
that had turned against all oratory. I recall to my memory a member of
Parliament who had fought for Parnell's policy after Parnell's death, and
much against his own interest, who refused to attend a meeting my friends
had summoned at the declaration of the Boer War, because he thought
"England was in the right," and yet a week later when the Dublin mob had
taken the matter up, advised Irish soldiers to shoot their officers and
join President Kruger. I recall another and more distinguished politician
who supported the Anti-Parnellite Party in his declining years, and in his
vigorous years had raked up some scandal about some Colonial Governor. A
friend of mine, after advising that Governor's son to write his father's
life, had remembered the scandal and called in her alarm upon the
politician; "I do beseech you," he had said and with the greatest
earnestness, "to pay no attention whatever to anything I may have said
during an election."

Certain of these men, all public prepossessions laid aside, were excellent
talkers, genial and friendly men, with memories enriched by country
humour, and much half sentimental, half practical philosophy, and at
moments by poetical feeling that was not all an affectation, found very
moving by English sympathisers, of the tear and the smile in Erin's eye.
They may even have had more sincerity than their sort elsewhere, but they
had inherited a cause that men had died for, and they themselves had gone
to jail for it, and had so worn their hereditary martyrdom that they had
seemed for a time no common men, and now must pay the penalty. "I have
just told Mahaffy," Wilde had said to me, "that it is a party of men of
genius," and now John O'Leary, Taylor, and many obscure sincere men had
pulled them down; and yet, should what followed, judged by an eye that
thinks most of the individual soul, be counted as more clearly out of the
common? A movement first of poetry, then of sentimentality, and land
hunger, had struggled with, and as the nation passed into the second
period of all revolutions, had given way before a movement of abstraction
and hatred; and after some twenty years of the second period, though
abstraction and hatred have won their victory, there is no clear sign, of
a third, a _tertium quid_, and a reasonable frame of mind.

Seeing that only the individual soul can attain to its spiritual opposite,
a nation in tumult must needs pass to and fro between mechanical
opposites, but one hopes always that those opposites may acquire sex and
engender. At moments when I have thought of the results of political
subjection upon Ireland I have remembered a story told me by Oscar Wilde
who professed to have found it in a book of magic, "if you carve a
Cerberus upon an emerald," he said, "and put it in the oil of a lamp and
carry it into a room where your enemy is, two heads will come upon his
shoulders and devour one another."

Instead of sharing our traditional sentimental rhetoric with every man who
had found a practical grievance, whether one care a button for the
grievance or not, most of us were prosecuting heretics. Nationality was
like religion, few could be saved, and meditation had but one theme--the
perfect nation and its perfect service. "Public opinion," said an
anonymous postcard sent to a friend of mine, "will compel you to learn
Irish," and it certainly did compel many persons of settled habits to
change tailor and cloth. I believed myself dressed according to public
opinion, until a letter of apology from my tailor informed me that "It
takes such a long time getting Connemara cloth as it has to come all the
way from Scotland."

The Ireland of men's affections must be, as it were, self-moving,
self-creating, though as yet (avoiding a conclusion that seemed hopeless)
but few added altogether separate from England politically. Men for the
moment were less concerned with the final achievement than with
independence from English parties and influence during the struggle for
it. We had no longer any leaders, abstractions were in their place; and
our Conventions, where O'Leary presided interrupting discussion without
the least consideration for rules of procedure when the moment came for
his cup of coffee, were dominated by little groups, the Gaelic
propagandists, though still very few, being the most impassioned, which
had the intensity and narrowness of theological sects.

I had in my head a project to reconcile old and new that gave Maud Gonne
and myself many stirring conversations upon journeys by rail to meetings
in Scotland, in Dublin, or in the Midlands. Should we not persuade the
organizations in Dublin and in London, when the time drew near for the
unveiling of our statue, or even perhaps for the laying of its foundation
stone, to invite the leaders of Parnellite or Anti-Parnellite, of the new
group of Unionists who had almost changed sides in their indignation at
the over-taxation of Ireland, to lay their policy before our
Convention--could we not then propose and carry that the Convention sit
permanently, or appoint some Executive Committee to direct Irish policy
and report from time to time. The total withdrawal from Westminster had
been proposed in the 'Seventies, before the two devouring heads were of
equal strength, and now that the abstract head seemed the strongest, would
be proposed again, but the Convention could send them thither, not as an
independent power, but as its delegation, and only when, and for what
purpose the Convention might decide. I dreaded some wild Fenian movement,
and with literature perhaps more in my mind than politics, dreamed of that
Unity of Culture which might begin with some few men controlling some form
of administration. I began to talk my project over with various
organizers, who often interrupted their attention which was perhaps only
politeness, with some new jibe at Mr. Dillon or Mr. Redmond. I thought I
had Maud Gonne's support, but when I overheard her conversation, she
commonly urged the entire withdrawal of the Irish Members, or if she did
refer to my scheme, it was to suggest the sending to England of eighty
ragged and drunken Dublin beggars or eighty pugilists "to be paid by
results."

She was the first who spoke publicly or semi-publicly of the withdrawal of
the Irish Members as a practical policy for our time, so far as I know,
but others may have been considering it. A nation in crisis becomes almost
like a single mind, or rather like those minds I have described that
become channels for parallel streams of thought, each stream taking the
colour of the mind it flows through. These streams are not set moving, as
I think, through conversation or publication, but through "telepathic
contact" at some depth below that of normal consciousness, and it is only
years afterwards, when future events have shown the themes' importance,
that we discover that they are different expressions of a common theme.
That self-moving, self-creating nation necessitated an Irish centre of
policy, and I planned a premature impossible peace between those two
devouring heads because I was sedentary and thoughtful; but Maud Gonne was
not sedentary, and I noticed that before some great event she did not
think but became exceedingly superstitous. Are not such as she aware, at
moments of great crisis, of some power beyond their own minds; or are they
like some good portrait painter of my father's generation and only think
when the model is under their eye? Once upon the eve of some
demonstration, I found her with many caged larks and finches which she was
about to set free for the luck's sake.

I abandoned my plans on discovering that our young men, not yet educated
by Mr. Birrell's university, would certainly shout down everyone they
disagreed with, and that their finance was so extravagant that we must
content ourselves with a foundation stone and an iron rail to protect it,
for there could never be a statue; while she carried out every plan she
made.

Her power over crowds was at its height, and some portion of the power
came because she could still, even when pushing an abstract principle to
what seemed to me an absurdity, keep her own mind free, and so when men
and women did her bidding they did it not only because she was beautiful,
but because that beauty suggested joy and freedom. Besides there was an
element in her beauty that moved minds full of old Gaelic stories and
poems, for she looked as though she lived in an ancient civilization where
all superiorities whether of the mind or the body were a part of public
ceremonial, were in some way the crowd's creation, as the Pope entering
the Vatican is the crowd's creation. Her beauty, backed by her great
stature, could instantly affect an assembly, and not as often with our
stage beauties because obvious and florid, for it was incredibly
distinguished, and if--as must be that it might seem that assembly's very
self, fused, unified, and solitary--her face, like the face of some Greek
statue, showed little thought, her whole body seemed a master work of long
labouring thought, as though a Scopas had measured and calculated,
consorted with Egyptian sages, and mathematicians out of Babylon, that he
might outface even Artemisia's sepulchral image with a living norm.

But in that ancient civilization abstract thought scarce existed, while
she but rose partially and for a moment out of raging abstraction; and for
that reason, as I have known another woman do, she hated her own beauty,
not its effect upon others, but its image in the mirror. Beauty is from
the antithetical self, and a woman can scarce but hate it, for not only
does it demand a painful daily service, but it calls for the denial or the
dissolution of the self.

  "How many centuries spent
  The sedentary soul,
  In toil of measurement
  Beyond eagle or mole
  Beyond hearing and seeing
  Or Archimedes' guess,
  To raise into being
  That loveliness?"


V

On the morning of the great procession, the greatest in living memory, the
Parnellite and Anti-Parnellite members of Parliament, huddled together
like cows in a storm, gather behind our carriage, and I hear John Redmond
say to certain of his late enemies, "I went up nearer the head of the
Procession, but one of the Marshals said, 'This is not your place, Mr
Redmond; your place is further back.' 'No,' I said, 'I will stay here.'
'In that case,' he said, 'I will lead you back.'" Later on I can see by
the pushing and shouldering of a delegate from South Africa how important
place and procedure is; and noticing that Maud Gonne is cheered
everywhere, and that the Irish Members march through street after street
without welcome, I wonder if their enemies have not intended their
humiliation.

       *       *       *       *       *

We are at the Mansion House Banquet, and John Dillon is making the first
speech he has made before a popular Dublin audience since the death of
Parnell; and I have several times to keep my London delegates from
interrupting. Dillon is very nervous, and as I watch him the abstract
passion begins to rise within me, and I am almost overpowered by an
instinct of cruelty; I long to cry out, "Had Zimri peace who slew his
master?"

       *       *       *       *       *

Is our Foundation Stone still unlaid when the more important streets are
decorated for Queen Victoria's Jubilee?

I find Maud Gonne at her hotel talking to a young working-man who looks
very melancholy. She had offered to speak at one of the regular meetings
of his socialist society about Queen Victoria, and he has summoned what
will be a great meeting in the open air. She has refused to speak, and he
says that her refusal means his ruin, as nobody will ever believe that he
had any promise at all. When he has left without complaint or anger, she
gives me very cogent reasons against the open air meeting, but I can think
of nothing but the young man and his look of melancholy. He has left his
address, and presently at my persuasion, she drives to his tenement, where
she finds him and his wife and children crowded into a very small
space--perhaps there was only one room--and, moved by the sight, promises
to speak. The young man is James Connolly who, with Padraic Pearce, is to
make the Insurrection of 1916 and to be executed.

       *       *       *       *       *

The meeting is held in College Green and is very crowded, and Maud Gonne
speaks, I think, standing upon a chair. In front of her is an old woman
with a miniature of Lord Edward Fitzgerald, which she waves in her
excitement, crying out, "I was in it before she was born." Maud Gonne
tells how that morning she had gone to lay a wreath upon a martyr's tomb
at St. Michael's Church, for it is the one day in the year when such
wreaths are laid, but has been refused admission because it is the
Jubilee. Then she pauses, and after that her voice rises to a cry, "Must
the graves of our dead go undecorated because Victoria has her Jubilee?"

       *       *       *       *       *

It is eight or nine at night, and she and I have come from the City Hall,
where the Convention has been sitting, that we may walk to the National
Club in Rutland Square, and we find a great crowd in the street, who
surround us and accompany us. Presently I hear a sound of breaking glass,
the crowd has begun to stone the windows of decorated houses, and when I
try to speak that I may restore order, I discover that I have lost my
voice through much speaking at the Convention. I can only whisper and
gesticulate, and as I am thus freed from responsibility, I share the
emotion of the crowd, and perhaps even feel as they feel when the glass
crashes. Maud Gonne has a look of exultation as she walks with her
laughing head thrown back.

Later that night Connolly carries in procession a coffin with the words
"British Empire" upon it, and police and mob fight for its ownership, and
at last that the police may not capture, it is thrown into the Liffey. And
there are fights between police and window-breakers, and I read in the
morning papers that many have been wounded; some two hundred heads have
been dressed at the hospitals; an old woman killed by baton blows, or
perhaps trampled under the feet of the crowd; and that two thousand pounds
worth of decorated plate glass windows have been broken. I count the links
in the chain of responsibility, run them across my fingers, and wonder if
any link there is from my workshop.

       *       *       *       *       *

Queen Victoria visits the city, and Dublin Unionists have gathered
together from all Ireland some twelve thousand children and built for them
a grandstand, and bought them sweets and buns that they may cheer. A week
later Maud Gonne marches forty thousand children through the streets of
Dublin, and in a field beyond Drumcondra, and in the presence of a Priest
of their Church, they swear to cherish towards England until the freedom
of Ireland has been won, an undying enmity.

How many of these children will carry bomb or rifle when a little under or
a little over thirty?

       *       *       *       *       *

Feeling is still running high between the Dublin and London organizations,
for a London doctor, my fellow-delegate, has called a little after
breakfast to say he was condemned to death by a certain secret society the
night before. He is very angry, though it does not seem that his life is
in danger, for the insult is beyond endurance.

       *       *       *       *       *

We arrive at Chancery Lane for our Committee meeting, but it is Derby Day,
and certain men who have arranged a boxing match are in possession of our
rooms. We adjourn to a neighbouring public-house where there are little
pannelled cubicles as in an old-fashioned eating house, that we may direct
the secretary how to answer that week's letters. We are much interrupted
by a committee man who has been to the Derby, and now, half lying on the
table, keeps repeating, "I know what you all think. Let us hand on the
torch, you think, let us hand it on to our children, but I say no! I say,
let us order an immediate rising."

Presently one of the boxers arrives, sent up to apologise it seems, and to
explain that we had not been recognized. He begins his apology but stops,
and for a moment fixes upon us a meditative critical eye. "No, I will
not," he cries. "What do I care for anyone now but Venus and Adonis and
the other Planets of Heaven."

       *       *       *       *       *

French sympathisers have been brought to see the old buildings in Galway,
and with the towns of Southern France in their mind's eye, are not in the
least moved. The greater number are in a small crowded hotel. Presently an
acquaintance of mine, peeping, while it is still broad day, from his
bedroom window, sees the proprietress of the hotel near the hall door, and
in the road a serious-minded, quixotic Dublin barrister, with a little boy
who carries from a stick over his shoulder twelve chamber pots. He hears
one angry, and one soft pleading explanatory voice, "But, Madam, I feel
certain that at the unexpected arrival of so many guests, so many guests
of the Nation, I may say, you must have found yourself unprepared." "Never
have I been so insulted." "Madam, I am thinking of the honour of my
country."

       *       *       *       *       *

I am at Maud Gonne's hotel, and an Italian sympathiser Cipriani, the
friend of Garibaldi, is there, and though an old man now, he is the
handsomest man I have ever seen. I am telling a ghost story in English at
one end of the room, and he is talking politics in French at the other.
Somebody says, "Yeats believes in ghosts," and Cipriani interrupts for a
moment his impassioned declamation to say in English, and with a
magnificent movement and intonation, "As for me, I believe in nothing but
cannon."

       *       *       *       *       *

I call at the office of the Dublin organization in Westmoreland Street,
and find the front door open, and the office door open, and though the
office is empty the cupboard door open and eighteen pounds in gold upon
the shelf.

       *       *       *       *       *

At a London Committee meeting I notice a middle-aged man who slips into
the room for a moment, whispers something to the secretary, lays three or
four shillings on a table, and slips out. I am told that he is an Irish
board-school teacher who, in early life, took an oath neither to drink nor
smoke, but to contribute the amount so saved weekly to the Irish Cause.

       *       *       *       *       *


VI

A few months before I was drawn into politics, I made a friendship that
was to make possible that old project of an Irish Theatre. Arthur Symons
and I were staying at Tillyra Castle in County Galway with Mr. Edward
Martyn, when Lady Gregory, whom I had met once in London for a few minutes
drove over, and after Symon's return to London I stayed at her house,
which is some four miles from Tillyra. I was in poor health, the strain
of youth had been greater than it commonly is, even with imaginative men,
who must always, I think, find youth bitter, and I had lost myself besides
as I had done periodically for years, upon _Hodos Camelionis_. The first
time was in my eighteenth or nineteenth years, when I tried to create a
more multitudinous dramatic form, and now I had got there through a novel
that I could neither write nor cease to write which had _Hodos Camelionis_
for its theme. My chief person was to see all the modern visionary sects
pass before his bewildered eyes, as Flaubert's St. Anthony saw the
Christian sects, and I was as helpless to create artistic, as my chief
person to create philosophic order. It was not that I do not love order,
or that I lack capacity for it, but that--and not in the arts and in
thought only--I outrun my strength. It is not so much that I choose too
many elements, as that the possible unities themselves seem without
number, like those angels, that in Henry More's paraphrase of the
Schoolman's problem, dance spurred and booted upon the point of a needle.
Perhaps fifty years ago I had been in less trouble, but what can one do
when the age itself has come to _Hodos Camelionis_?

Lady Gregory seeing that I was ill brought me from cottage to cottage to
gather folk-belief, tales of the fairies, and the like, and wrote down
herself what we had gathered, considering that this work, in which one let
others talk, and walked about the fields so much, would lie, to use a
country phrase, "Very light upon the mind." She asked me to return there
the next year, and for years to come I was to spend my summers at her
house. When I was in good health again, I found myself indolent, partly
perhaps because I was affrighted by that impossible novel, and asked her
to send me to my work every day at eleven, and at some other hour to my
letters, rating me with idleness if need be, and I doubt if I should have
done much with my life but for her firmness and her care. After a time,
though not very quickly, I recovered tolerable industry, though it has
only been of late years that I have found it possible to face an hour's
verse without a preliminary struggle and much putting off.

Certain woods at Sligo, the woods above Dooney Rock and those above the
waterfall at Ben Bulben, though I shall never perhaps walk there again,
are so deep in my affections that I dream about them at night; and yet the
woods at Coole, though they do not come into my dream are so much more
knitted to my thought, that when I am dead they will have, I am persuaded,
my longest visit. When we are dead, according to my belief, we live our
lives backward for a certain number of years, treading the paths that we
have trodden, growing young again, even childish again, till some attain
an innocence that is no longer a mere accident of nature, but the human
intellect's crowning achievement. It was at Coole that the first few
simple thoughts that now, grown complex, through their contact with other
thoughts, explain the world, came to me from beyond my own mind. I
practised meditations, and these, as I think, so affected my sleep that I
began to have dreams that differed from ordinary dreams in seeming to take
place amid brilliant light, and by their invariable coherence, and certain
half-dreams, if I can call them so, between sleep and waking. I have
noticed that such experiences come to me most often amid distraction, at
some time that seems of all times the least fitting, as though it were
necessary for the exterior mind to be engaged elsewhere, and it was
during 1897 and 1898, when I was always just arriving from or just setting
out to some political meeting, that the first dreams came. I was crossing
a little stream near Inchy Wood and actually in the middle of a stride
from bank to bank, when an emotion never experienced before swept down
upon me. I said, "That is what the devout Christian feels, that is how he
surrenders his will to the will of God." I felt an extreme surprise for my
whole imagination was preoccupied with the pagan mythology of ancient
Ireland, I was marking in red ink upon a large map, every sacred mountain.
The next morning I awoke near dawn, to hear a voice saying, "The love of
God is infinite for every human soul because every human soul is unique,
no other can satisfy the same need in God."

Lady Gregory and I had heard many tales of changelings, grown men and
women as well as children, who as the people believe are taken by the
fairies, some spirit or inanimate object bewitched into their likeness
remaining in their stead, and I constantly asked myself what reality there
could be in these tales, often supported by so much testimony. I woke one
night to find myself lying upon my back with all my limbs rigid, and to
hear a ceremonial measured voice which did not seem to be mine speaking
through my lips, "We make an image of him who sleeps," it said, "and it is
not him who sleeps, and we call it Emmanuel." After many years that
thought, others often found as strangely being added to it, became the
thought of the Mask, which I have used in these memoirs to explain men's
characters. A few months ago at Oxford I was asking myself why it should
be "An image of him who sleeps," and took down from the shelf not knowing
why I was doing so, a book which I had never read, Burkitt's _Early
Eastern Christianity_, and opened it at random. My eyes lit upon a passage
from a Gnostic Hymn telling how a certain King's son being exiled, slept
in Egypt, a symbol of the natural state, and while he slept an Angel
brought him a royal mantle; and at the bottom of the page I found a
footnote saying that the word mantle did not represent the meaning
properly for that which the Angel gave had the exile's own form and
likeness. I did not, however, find in the Gnostic Hymn my other thought
that Egypt and that which the Mask represents are antithetical. That, I
think, became clear, though I had had some premonitions when a countryman
told Lady Gregory and myself that he had heard the crying of new-dropped
lambs in November--Spring in the world of Fairy, being November with us.

       *       *       *       *       *

On the sea coast at Duras, a few miles from Coole, an old French Count,
Florimond de Bastero, lived for certain months in every year. Lady Gregory
and I talked over my project of an Irish Theatre looking out upon the lawn
of his house, watching a large flock of ducks that was always gathered for
his arrival from Paris, and that would be a very small flock, if indeed it
were a flock at all, when he set out for Rome in the autumn. I told her
that I had given up my project because it was impossible to get the few
pounds necessary for a start in little halls, and she promised to collect
or give the money necessary. That was her first great service to the Irish
intellectual movement. She reminded me the other day that when she first
asked me what she could do to help our movement I suggested nothing; and,
certainly, no more foresaw her genius that I foresaw that of John Synge,
nor had she herself foreseen it. Our theatre had been established before
she wrote or had any ambition to write, and yet her little comedies have
merriment and beauty, an unusual combination, and those two volumes where
the Irish heroic tales are arranged and translated in an English so simple
and so noble, may do more than other books to deepen Irish imagination.
They contain our ancient literature, are something better than our
_Mabinogion_, are almost our _Morte D'Arthur_. It is more fitting,
however, that in a book of memoirs I should speak of her personal
influence, and especially as no witness is likely to arise better
qualified to speak. If that influence were lacking, Ireland would be
greatly impoverished, so much has been planned out in the library, or
among the woods at Coole; for it was there that John Shawe Taylor found
the independence from class and family that made him summon the conference
between landlord and tenant, that brought land purchase, and it was there
that Hugh Lane formed those Irish ambitions that led to his scattering
many thousands, and gathering much ingratitude; and where, but for that
conversation at Florimond de Bastero's, had been the genius of Synge?

I have written these words instead of leaving all to posterity, and though
my friend's ear seems indifferent to praise or blame, that young men to
whom recent events are often more obscure than those long past, may learn
what debts they owe and to what creditor.


END.


PRINTED IN GREAT BRITAIN BY THE DUNEDIN PRESS LIMITED, EDINBURGH




Transcriber's Notes:

Passages in italics are indicated by _italics_.

Periods after "Mr" and "Mrs" are used inconsistently in the original.

The following misprints have been corrected:
  "philospohy" corrected to "philosophy" (page 51)
  "unkown" corrected to "unknown" (page 87)
  "have have" corrected to "have" (page 92)
  "comparson" corrected to "comparison" (page 117)
  "politicion" corrected to "politician" (page 128)
  "spendid" corrected to "splendid" (page 137)
  "mother'" corrected to "mother's" (page 151)
  "discoverey" corrected to "discovery" (page 161)
  "Shakesspeare's" corrected to "Shakespeare's" (page 169)
  "knowlege" corrected to "knowledge" (page 183)
  "mechnical" corrected to "mechanical" (page 230)
  "delgation" corrected to "delegation" (page 234)
  "precedure" corrected to "procedure" (page 237)

Other than the corrections listed above, inconsistencies in spelling and
hyphenation have been retained from the original.







