But never shall I forget watching the dancers, the men with the fox-skin swaying down from their buttocks, file out at San Geronimo, and the women with seed rattles following. The long, streaming, glistening black hair of the men. Even in ancient Crete long hair was sacred in a man, as it is still in the Indians. Never shall I forget the utter absorption of the dance, so quiet, so steadily, timelessly rhythmic, and silent, with the ceaseless down-tread, always to the earth’s centre, the very reverse of the upflow of Dionysiac or Christian ecstasy. Never shall I forget the deep singing of the men at the drum, swelling and sinking, the deepest sound I have heard in all my life, deeper than thunder, deeper than the sound of the Pacific Ocean, deeper than the roar of a deep waterfall: the wonderful deep sound of men calling to the unspeakable depths.
Never shall I forget coming into the little pueblo of San Filipi one sunny morning in spring, unexpectedly, when bloom was on the trees in the perfect little pueblo more old, more utterly peaceful and idyllic than anything in Theocritus, and seeing a little casual dance. Not impressive as a spectacle, only, to me, profoundly moving because of the truly terrifying religious absorption of it.
Never shall I forget the Christmas dances at Taos, twilight, snow, the darkness coming over the great wintry mountains and the lonely pueblo, then suddenly, again, like dark calling to dark, the deep Indian cluster-singing around the drum, wild and awful, suddenly rousing on the last dusk as the procession starts. And then the bonfires leaping suddenly in pure spurts of high flame, columns of sudden flame forming an alley for the procession.
Never shall I forget the khiva of birch-trees, away in the Apaché country, in Arizona this time, the tepees and flickering fires, the neighing of horses unseen under the huge dark night, and the Apaches all abroad, in their silent moccasined feet: and in the khiva, beyond a little fire, the old man reciting, reciting in the unknown Apache speech, in the strange wild Indian voice that reechoes away back to before the Flood, reciting apparently the traditions and legends of the tribe, going on and on, while the young men, the braves of today, wandered in, listened, and wandered away again, overcome with the power and majesty of that utterly old tribal voice, yet uneasy with their half-adherence to the modern civilization, the two things in contact. And one of these braves shoved his face under my hat, in the night, and stared with his glittering eyes close to mine. He’d have killed me then and there, had he dared. He didn’t dare: and I knew it: and he knew it.
Never shall I forget the Indian races, when the young men, even the boys, run naked, smeared with white earth and stuck with bits of eagle fluff for the swiftness of the heavens, and the old men brush them with eagle feathers, to give them power. And they run in the strange hurling fashion of the primitive world, hurled forward, not making speed deliberately. And the race is not for victory. It is not a contest. There is no competition. It is a great cumulative effort. The tribe this day is adding up its male energy and exerting it to the utmost – for what? To get power, to get strength: to come, by sheer cumulative, hurling effort of the bodies of men, into contact with the great cosmic source of vitality which gives strength, power, energy to the men who can grasp it, energy for the zeal of attainment.
It was a vast old religion, greater than anything we know: more starkly and nakedly religious. There is no God, no conception of a god. All is god. But it is not the pantheism we are accustomed to, which expresses itself as ‘God is everywhere, God is in everything.’ In the oldest religion, everything was alive, not supernaturally but naturally alive. There were only deeper and deeper streams of life, vibrations of life more and more vast. So rocks were alive, but a mountain had a deeper, vaster life than a rock, and it was much harder for a man to bring his spirit, or his energy, into contact with the life of the mountain, and so draw strength from the mountain, as from a great standing well of life, than it was to come into contact with the rock. And he had to put forth a great religious effort. For the whole life-effort of man was to get his life into direct contact with the elemental life of the cosmos, mountain-life, cloud-life, thunder-life, air-life, earth-life, sun-life. To come into immediate felt contact, and so derive energy, power, and a dark sort of joy. This effort into sheer naked contact, without an intermediary or mediator, is the root meaning of religion, and at the sacred races the runners hurled themselves in a terrible cumulative effort, through the air, to come at last into naked contact with the very life of the air, which is the life of the clouds, and so of the rain.
It was a vast and pure religion, without idols or images, even mental ones. It is the oldest religion, a cosmic religion the same for all peoples, not broken up into specific gods or saviours or systems. It is the religion which precedes the god-concept, and is therefore greater and deeper than any god-religion.
And it lingers still, for a little while, in New Mexico: but long enough to have been a revelation to me. And the Indian, however objectionable he may be on occasion, has still some of the strange beauty and pathos of the religion that brought him forth and is now shedding him away into oblivion. When Trinidad, the Indian boy, and I planted corn at the ranch, my soul paused to see his brown hands softly moving the earth over the maize in pure ritual. He was back in his old religious self, and the ages stood still. Ten minutes later he was making a fool of himself with the horses. Horses were never part of the Indian’s religious life, never would be. He hasn’t a tithe of the feeling for them that he has for a bear, for example. So horses don’t like Indians.
But there it is: the newest democracy ousting the oldest religion! And once the oldest religion is ousted, one feels the democracy and all its paraphernalia will collapse, and the oldest religion, which comes down to us from man’s pre-war days, will start again. The sky-scraper will scatter on the winds like thistledown, and the genuine America, the America of New Mexico, will start on its course again. This is an interregnum.
Myself Revealed (1928)
They ask me: ‘Did you find it very hard to get on and to become a success?’ And I have to admit that if I can be said to have got on, and if I can be called a success, then I did not find it hard.
I never starved in a garret, nor waited in anguish for the post to bring me an answer from editor or publisher, nor did I struggle in sweat and blood to bring forth mighty works, nor did I ever wake up and find myself famous.
I was a poor boy. I ought to have wrestled in the fell clutch of circumstance, and undergone the bludgeonings of chance before I became a writer with a very modest income and a very questionable reputation. But I didn’t. It all happened by itself and without any groans from me.
It seems a pity. Because I was undoubtedly a poor boy of the working classes, with no apparent future in front of me. But after all, what am I now?
I was born among the working classes and brought up among them. My father was a collier, and only a collier, nothing praiseworthy about him. He wasn’t even respectable, in so far as he got drunk rather frequently, never went near a chapel, and was usually rather rude to his little immediate bosses at the pit.
He practically never had a good stall all the time he was a butty, because he was always saying tiresome and foolish things about the men just above him in control at the mine. He offended them all, almost on purpose, so how could he expect them to favour him? Yet he grumbled when they didn’t.
My mother was, I suppose, superior. She came from town, and belonged really to the lower bourgeoisie. She spoke King’s English, without an accent, and never in her life could even imitate a sentence of the dialect which my father spoke, and which we children spoke out of doors.
She wrote a fine Italian hand, and a clever and amusing letter when she felt like it. And as she grew older she read novels again, and got terribly impatient with Diana of the Crossways and terribly thrilled by East Lynne.
But she was a working man’s wife, and nothing else, in her shabby little black bonnet and her shrewd, clear, ‘different’ face. And she was very much respected, just as my father was not respected. Her nat
ure was quick and sensitive, and perhaps really superior. But she was down, right down in the working class, among the mass of poorer colliers’ wives.
I was a delicate pale brat with a snuffy nose, whom most people treated quite gently as just an ordinary delicate little lad. When I was twelve I got a county council scholarship, twelve pounds a year, and went to Nottingham High School.
After leaving school I was a clerk for three months, then had a very serious pneumonia illness, in my seventeenth year, that damaged my health for life.
A year later I became a school-teacher, and after three years’ savage teaching of collier lads I went to take the ‘normal’ course in Nottingham University.
As I was glad to leave school, I was glad to leave college. It had meant mere disillusion, instead of the living contact of men. From college I went down to Croydon, near London, to teach in a new elementary school at a hundred pounds a year.
It was while I was at Croydon, when I was twenty-three, that the girl who had been the chief friend of my youth, and who was herself a school-teacher in a mining village at home, copied out some of my poems, and without telling me, sent them to the English Review, which had just had a glorious re-birth under Ford Madox Hueffer.
Hueffer was most kind. He printed the poems, and asked me to come and see him. The girl had launched me, so easily, on my literary career, like a princess cutting a thread, launching a ship.
I had been tussling away for four years, getting out The White Peacock in inchoate bits, from the underground of my consciousness. I must have written most of it five or six times, but only in intervals, never as a task or a divine labour, or in the groans of parturition.
I would dash at it, do a bit, show it to the girl; she always admired it; then realize afterwards it wasn’t what I wanted, and have another dash. But at Croydon I had worked at it fairly steadily, in the evenings after school.
Anyhow, it was done, after four or five years’ spasmodic effort. Hueffer asked at once to see the manuscript. He read it immediately, with the greatest cheery sort of kindness and bluff. And in his queer voice, when we were in an omnibus in London, he shouted in my ear: ‘It’s got every fault that the English novel can have.’
Just then the English novel was supposed to have so many faults, in comparison with the French, that it was hardly allowed to exist at all. ‘But,’ shouted Hueffer in the ’bus, ‘you’ve got GENIUS.’
This made me want to laugh, it sounded so comical. In the early days they were always telling me I had got genius, as if to console me for not having their own incomparable advantages.
But Hueffer didn’t mean that. I always thought he had a bit of genius himself. Anyhow, he sent the MS. of The White Peacock to William Heinemann, who accepted it at once, and made me alter only four little lines whose omission would now make anybody smile. I was to have £50 when the book was published.
Meanwhile Hueffer printed more poems and some stories of mine in the English Review, and people read them and told me so, to my embarrassment and anger. I hated being an author, in people’s eyes. Especially as I was a teacher.
When I was twenty-five my mother died, and two months later The White Peacock was published, but it meant nothing to me. I went on teaching for another year, and then again a bad pneumonia illness intervened. When I got better I did not go back to school. I lived henceforward on my scanty literary earnings.
It is seventeen years since I gave up teaching and started to live an independent life of the pen. I have never starved, and never even felt poor, though my income for the first ten years was no better, and often worse, than it would have been if I had remained an elementary school-teacher.
But when one has been born poor a very little money can be enough. Now my father would think I am rich, if nobody else does. And my mother would think I have risen in the world, even if I don’t think so.
But something is wrong, either with me or with the world, or with both of us. I have gone far and met people, of all sorts and all conditions, and many whom I have genuinely liked and esteemed.
People, personally, have nearly always been friendly. Of critics we will not speak, they are different fauna from people. And I have wanted to feel truly friendly with some, at least, of my fellow-men.
Yet I have never quite succeeded. Whether I get on in the world is a question; but I certainly don’t get on very well with the world. And whether I am a worldly success or not I really don’t know. But I feel, somehow, not much of a human success.
By which I mean that I don’t feel there is any very cordial or fundamental contact between me and society, or me and other people. There is a breach. And my contact is with something that is nonhuman, non-vocal.
I used to think it had something to do with the oldness and the worn-outness of Europe. Having tried other places, I know that is not so. Europe is, perhaps, the least worn-out of the continents, because it is the most lived in. A place that is lived in lives.
It is since coming back from America that I ask myself seriously: Why is there so little contact between myself and the people whom I know? Why has the contact no vital meaning?
And if I write the question down, and try to write the answer down, it is because I feel it is a question that troubles many men.
The answer, as far as I can see, has something to do with class. Class makes a gulf, across which all the best human flow is lost. It is not exactly the triumph of the middle classes that has made the deadness, but the triumph of the middle-class thing.
As a man from the working class, I feel that the middle class cut off some of my vital vibration when I am with them. I admit them charming and educated and good people often enough. But they just stop some part of me from working. Some part has to be left out.
Then why don’t I live with my working people? Because their vibration is limited in another direction. They are narrow, but still fairly deep and passionate, whereas the middle class is broad and shallow and passionless. Quite passionless. At the best they substitute affection, which is the great middle-class positive emotion.
But the working class is narrow in outlook, in prejudice, and narrow in intelligence. This again makes a prison. One can belong absolutely to no class.
Yet I find, here in Italy, for example, that I live in a certain silent contact with the peasants who work the land of this villa. I am not intimate with them, hardly speak to them save to say good day. And they are not working for me; I am not their padrone.
Yet it is they, really, who form my ambiente, and it is from them that the human flow comes to me. I don’t want to live with them in their cottages; that would be a sort of prison. But I want them to be there, about the place, their lives going on along with mine, and in relation to mine. I don’t idealize them. Enough of that folly! It is worse than setting school-children to express themselves in self-conscious twaddle. I don’t expect them to make any millennium here on earth, neither now nor in the future. But I want to live near them, because their life still flows.
And now I know, more or less, why I cannot follow in the footsteps even of Barrie or of Wells, who both came from the common people also and are both such a success. Now I know why I cannot rise in the world and become even a little popular and rich.
I cannot make the transfer from my own class into the middle class. I cannot, not for anything in the world, forfeit my passional consciousness and my old blood-affinity with my fellow-men and the animals and the land, for that other thin, spurious mental conceit which is all that is left of the mental consciousness once it has made itself exclusive.
Introduction to These Paintings (1928–9)
The reason the English produce so few painters is not that they are, as a nation, devoid of a genuine feeling for visual art: though to look at their productions, and to look at the mess which has been made of actual English landscape, one might really conclude that they were, and leave it at that. But it is not the fault of the God that made them. They are made with æsthetic sensibilities the same as anybo
dy else. The fault lies in the English attitude to life.
The English, and the Americans following them, are paralysed by fear. That is what thwarts and distorts the Anglo-Saxon existence, this paralysis of fear. It thwarts life, it distorts vision, and it strangles impulse: this overmastering fear. And fear of what, in heaven’s name? What is the Anglo-Saxon stock today so petrified with fear about? We have to answer that before we can understand the English failure in the visual arts: for, on the whole, it is a failure.
It is an old fear, which seemed to dig in to the English soul at the time of the Renaissance. Nothing could be more lovely and fearless than Chaucer. But already Shakespeare is morbid with fear, fear of consequences. That is the strange phenomenon of the English Renaissance: this mystic terror of the consequences, the consequences of action. Italy, too, had her reaction, at the end of the sixteenth century, and showed a similar fear. But not so profound, so overmastering. Aretino was anything but timorous: he was bold as any Renaissance novelist, and went one better.
What appeared to take full grip on the northern consciousness at the end of the sixteenth century was a terror, almost a horror of sexual life. The Elizabethans, grand as we think them, started it. The real ‘mortal coil’ in Hamlet is all sexual; the young man’s horror of his mother’s incest, sex carrying with it a wild and nameless terror which, it seems to me, it had never carried before. Œdipus and Hamlet are very different in this respect. In Œdipus there is no recoil in horror from sex itself: Greek drama never shows us that. The horror, when it is present in Greek tragedy, is against destiny, man caught in the toils of destiny. But with the Renaissance itself, particularly in England, the horror is sexual. Orestes is dogged by destiny and driven mad by the Eumenides. But Hamlet is overpowered by horrible revulsion from his physical connexion with his mother, which makes him recoil in similar revulsion from Ophelia, and almost from his father, even as a ghost. He is horrified at the merest suggestion of physical connexion, as if it were an unspeakable taint.
Life with a Capital L Page 37
