If the mild assuasive tones of the Reverend offended anywhere, it was the proprietary sense of his congregation; and with true Puritan fortitude they resisted any suggestion that their bloody sacraments might have known other voices and other rooms. They could hardly know that the Reverend’s powers of resistance were being taxed more heavily than their own, where he withstood the temptation to tell them details of the Last Supper at the Eleusinian Mysteries, the snake in the Garden of Eden, what early translators of the Bible chose to let the word ‘thigh’ stand for (where ancient Hebrews placed their hands when under oath), the symbolism of the Triune triangle and, in generative counterpart so distressing to early fathers of the Church, the origin of the Cross.
Janet did not go to church. There was no disaffection, but she seemed to have attained some unity of her own. And she was no longer found benumbed on the kitchen floor; but might interrupt any household drudgery to hurry to her room where rapturous gasps could have been heard from behind the closed door, if anyone had listened. For the most part she went about her work happily, detached, padding through the dim passages in soft slippers, and ordering the kitchen with dark-gloved hands. Occasionally she kept to her bed.
Gwyon’s interest in his son’s painting was perfunctory when it did occur, slightly distracted and puzzled as he became now for anything intruding upon him from worlds that were not his own. He only broke through this withdrawal once, when he sustained a shock at seeing an unfinished approximation to the picture of Camilla on the living-room mantel. It was done in black on a smooth gesso ground, on strong linen, a stark likeness which left its lines of completion to the eye of the beholder. It was this quality which appeared to upset Gwyon: once he’d seen it he was constantly curious, and would stand looking away from it, and back, completing it in his own mind and then looking again as though, in the momentary absence of his stare and the force of his own plastic imagination, it might have completed itself. Still each time he returned to it, it was slightly different than he remembered, intractably thwarting the completion he had managed himself. —Why won’t you finish it? he burst out finally.
—There’s something about a . . . an unfinished piece of work, a . . . a thing like this where . . . do you see? Where perfection is still possible? Because it’s there, it’s there all the time, all the time you work trying to uncover it. Wyatt caught a hand before him and gripped it as his father’s were gripped behind the back turned to him. —Because it’s there . . . , he repeated.
Gwyon turned back to the unfinished panel muttering, —Yes, yes . . . Praxiteles . . . and his voice tailed off as he returned and stood following the line of the nose, bringing it back round the broken circle of a Byzantine hoop of gold, while behind him his hands opened and closed on nothing.
The table of the Seven Deadly Sins was unfinished. It remained unfinished for some years, when Wyatt went away to study. It was still hidden and untouched when he came home from Divinity School, where he had completed a year’s work.
Something was wrong then. His father knew it, but Reverend Gwyon by this time lived immersed in himself. He shied from talking with Wyatt about his studies. From his flushed face and his agitated manner, it seemed that one word could summon in him histories and arguments of such complexity that they might now take hours, where they had in truth taken centuries, to unravel: but he seemed at pains to dismiss them as quickly as he could, commenting directly, then obliquely, and then changing the subject entirely. —Mithras? Of course, he answered to some question of Wyatt’s. —It didn’t fail because it was bad. Mithraism almost triumphed over Christianity. It failed because it was so near good. He mumbled something, and then added, —That’s the trouble today. No mystery. Everything secularized. No mystery, no weight to anything at all . . . , and he got up and left the room, as he did often in the middle of conversation. Especially these questionings grown from Wyatt’s studies. —Pelagianism? he repeated over a plate of disintegrated white lima beans (for Wyatt seldom saw him but at meals). —If it hadn’t been Pelagius it would have been someone else. But by now we . . . too many of us may embrace original sin ourselves to explain our own guilt, and behave . . . treat everyone else as though they were full-fledged . . . umm . . . Pelagians doing just as they please . . . He did not elaborate, but sat drumming his fingers on the mahogany dining-room table top.
—Free will . . . Wyatt commenced, but his father was not listening. In all these discussions there seemed to be decisions he had made privately, and in the effort of suppressing them could at last say nothing at all. But as the weeks passed, Wyatt pressed him more and more for encouragement in his own study for the church. Sometimes Gwyon rose to this as though it were his duty to do so. He might manage, for instance, to discourse on the intricacies of transubstantiation without dissent, or even departure from orthodoxy; but as his references mounted, and his enthusiasm grew, reaching the doctrine, which he called Aristotelian, of God retaining the ‘accidents’ of the bread and wine (in order not to shock His worshipers, he added), and embarked upon a discussion of the ‘accidents’ of reality, and the redemption of matter, he left the table abruptly to get a reference, a paper or a book from his study, and did not come back. It was all as though he had no wish to push Wyatt into the ministry, like a man whose forebears have served all their lives on wooden ships, and he the last of them to do so, who will not force his son to serve on one knowing that the last of them will go down with him. Full proof of his ministry had begun. It was beyond his hand to stop it now.
Something was wrong. The summer fell away to fall, and Wyatt packed to leave. In the increasing amount of time he had spent painting, a plan formed of its own accord, so spontaneous of generation that he went on unaware of it, and it might seem only by chance that he did not stray from the confines of its design. He had called less and less frequently upon his father for encouragement toward the ministry, and Gwyon appeared to appreciate that, to become more relaxed, leading their conversations off in the direction of the past, the monastery in Estremadura, and Fr. Manomuerta to whom he still wrote, and sent packages of food; or the town of San Zwingli, the barrel organs in the streets, and the still uncanonized patron saint; the only bullfight he had ever seen: —And you don’t kill with the sword, but with the cape, the art of the cape . . . , he said following his son up the stairs, to the sewing room where Wyatt was packing.
The room was littered with sketches, studies, diagrams and unfinished canvases. A large panel stood face to the wall, and Wyatt, who’d entered first, suddenly backed up against it and stood there staring at the floor as though overcome by an idea, something he had known all along, but only now dared bring to consciousness.
—What is it, what did you bring me up to show me? Gwyon asked, looking over the litter. —Some painting, is it, you’ve done? Finished? At that he took a step toward the large panel, and Wyatt threw out his arms as though to protect it. —Eh? Gwyon stopped. —What is it? What’s the matter? Didn’t you have something to show me?
—Yes, yes, but I . . . I did, but . . . here. Wyatt’s eyes had been darting about the floor, then he stooped abruptly and snatched up a paper. —Yes, here, he said holding it out, —you see, this . . . this is what I’ve been . . . doing. He held the paper out, his face in a blank expression which fused into desperate appeal as he looked up at his father.
—This? All these lines? Gwyon said, taking it.
—Yes, it’s studies in perspective.
—I see, all these lines, coming together here at one point.
—Yes, Wyatt mumbled, backing away toward the panel again. —The vanishing point. That’s called the vanishing point. He was staring wide-eyed at his father, but he withdrew his eyes quickly when Gwyon looked up, and waited there, shaking throughout his frame, until his father left the room. Even then he did not move, but waited until the heavy footfalls sounded to the bottom of the stairs. Then he swung round to the panel, pulled it out from the wall, and looked at this finished copy of the Bosch painting with a new
expression on his face.
At supper that evening, each of them tended his plate with more than the usual shy pretense to interest, nervously alert to one another, but silent until Gwyon called Janet in to open a bottle of wine. He seemed prepared to sit over that dark oloroso sherry all evening, starting sentences and leaving them unfinished, looking up at his son with the evasiveness of a conspirator, one, that is, involved in a conspiracy to which no one has confessed. For an instant their unblinking eyes locked with one another, then Gwyon turned away, and started to recount the brave deceit of the old Italian grandee, the Conte di Brescia, looking, as he spoke, at the table top of the Seven Deadly Sins under the far window, without a shadow on his features to suggest that he knew he was looking at an imposture, or hint at the memory of the meticulous and molding pictures he had found buried wrapped in newspapers behind the carriage barn, that evening of Midsummer Day years before.
When the bells struck noon next day, at about quarter past the hour, Janet followed Wyatt’s departure as far as the front door, where her blessings engulfed him in a farewell bath of blood, the Precious Blood which seemed forever now upon her lips, —O Blood ineffable, burning burning blood which I have shed and bathed in with my Beloved . . . and that door closed.
The luggage had gone to the station, where Wyatt and his father arrived and stood in the dust without speaking. The sky was a deep gray-blue, banded with the colors of rust seen under water. Gwyon looked nervously about to speak several times, towering over his son, fingers twitching in the pocket of his black waistcoat. Finally he blurted out, —Do you have that painting? Wyatt looked overcome, guilt reddened his face until his father interrupted his choking attempt to speak. —The . . . her picture, the picture of your mother that you . . . that you won’t finish.
—That, yes, yes I have it, in that crate, that flat crate there, Wyatt brought out breathless, trying to indicate the crate with casual innocence. —It’s there, with . . . you know, a lot of other pictures.
—You must finish it, you must try to finish it, Gwyon told him, —finish it, or she will be with you, he paused, looking at his son’s face where so few traces betrayed his own, come under self-dominance so long before. —Or she will be with you always, Gwyon said suddenly withdrawing his fingers from the waistcoat pocket, drawing out those two large studded Byzantine hoops of gold. —Here, he held them out. —These were hers, these . . . were hers.
Wyatt accepted them, hidden, large as they were, in his hand. He started to speak, but his father, looking away from him toward the east, made a sound, and they were both caught, as a swimmer on the surface is caught by that cold current whose suddenness snares him in cramps and sends him in dumb surprise to the bottom.
The sun showed their motionless shadows on the rough wood platform. Then the sun was obscured by a cloud, and the shadows disappeared. When the sun came out again the shadows were gone.
Days passed, then weeks, and Gwyon, restlessly leaving his study to pace those dim passages, the mirrors in the cruz-con-espejos clenching at him as he emerged, to pause beyond and confront Olalla silently, or listen for the creaking from the sharp angles of woodwork around him, muttering, —And he took my razor! He took my razor! . . . And then, when he’d received the letter, —The final perseverance of . . . yes, perspective, the vanishing point . . . , before he’d even opened it. He gazed at the unfamiliar postage stamps, made out the postmark, München, and finally took it out with him, to read on a walk in the clear air of that season. He walked out, toward the abandoned bridge works, seen by no one, this man born on the yellow day in Boston when the volcano Krakatao had erupted on the other side of the earth and night came everywhere with a red sunset, only now in age approaching maturity, waiting, like Manto, while time circled him, to make full proof of his ministry.
The New England evening had taken on the chill of finished day, the chill of reality which follows sunset. All Saints’ approached, and All Souls’, when in France there would be picnics in the cemeteries, and in Spain they would be out to place chrysanthemums on the graves, against beaded wreaths and the ornate names of the dead, where Camilla’s name stood out in cold vigilance, waiting.
—Guilt? he murmured, walking with the letter unfolded in his hand. —Because of guilt, my son cannot study for the ministry. Guilt . . . good God! are You hiding somewhere under this welter of fear, this chaos of blood and mutilation, these terrors of weak minds . . . A feeling of guilt, dear Heaven what other kind of Christian ministers do you send us? or have there ever been? The fool! . . . and I thought I could spare him. Perhaps, if he knew the truth . . . An abrupt shudder broke through his whole frame, and he stood as though he had been pierced, the shock of the past in that woman’s voice perhaps, —Pagan indeed! . . . and his faltering withdrawal, —Set foot inside myself . . . ? He sniffed, as though to clear his head of vaporous memories risen from some chill sanctuary deep in the basilica of the past; and squared his shoulders as he had coming forth from that subterranean Mithraeum under the church of Saint Clement of Rome. And suddenly he sought the empty sky for the sun.
But the sudden cooling of the air, and this letter, had startled the old man into the present, from which he turned and trudged back in a lucidity of memory against which he was defenseless. The memories became facts, including him unsparingly in their traffic but shut him unmercifully out from intrusion, left him walking slowly and impotent among their hard thrusts. The shrill cry of Heracles, echoed down from the house on two voices; and the dark-stained faces of the mirrors mounted in the cross. His discovery upon her corpse’s head that Aunt May had worn a transformation, hidden from him those last years of her life with the care of Blessed Clara. That plain casket gone deep in earth, while the other stood a man’s height above the earth, anticipating dehiscence, ready to shell in falling: Camilla, and her death of which he never spoke, the white carriage mounting the rock-studded road, its course marked by the stations of the Cross and droppings of animals still too fresh to be picked up for fuel, toward the cypress trees. That desolate Eucharist on Christmas Day at Nuestra Señora de la Otra Vez: the accidents of reality, Christ made of buffalo hide, or was it human skin? in the cathedral at Burgos. The bewilderment of the bulls, the port, and Columbus surrounded by lions. Then the trees of Tuscany in spired erection, the apologetic decay of the Conte di Brescia, the marble porch at Lucca so beautiful that no one ever stopped to look at it; and the image; and the words of William Rufus, to Bishop Gundulf of Rochester, —By the Holy Face of Lucca, God shall never have me good for all the evil that He hath wrought upon me!
Tearing his eyes from the empty place in the sky where the sun had set, he stopped stumbling back by years and ran, vaulted through centuries. The letter he had torn in pieces lay on the moving air for an instant, was caught, spread up over the ground and blew away from him like a handful of white birds startled into the sky.
II
Très curieux, vos maîtres anciens. Seulement les plus beaux, ce sont les faux.
—Paul Eudel, Trucs et truqueurs
On the terrace of the Dôme sat a person who looked like the young George Washington without his wig (at about the time he dared the Ohio country). She read, with silently moving lips, from a book before her. She was drinking a bilious-colored liquid from a globular goblet; and every twenty or so pages would call to the waiter, in perfect French, —Un Ricard . . . , and add one to the pile of one-franc saucers before her. —Voilà ma propre Sainte Chapelle, she would have said of that rising tower (the sentence prepared in her mind) if anyone had encouraged conversation by sitting down at her table. No one did. She read on. Anyone could have seen it was transition she was reading, if any had looked. None did. Finally an unshaven youth bowed slightly, as with pain, murmured something in American, and paused with a dirty hand on the back of a chair at her table. —J’vous en prie, she said, lucid, lowering transition, waiting for him to sit down before she went on. —Mursi, he muttered, and dragged the chair to another table.
Pari
s lay by like a promise accomplished: age had not withered her, nor custom staled her infinite vulgarity.
Nearby, a man exhibited two fingers, one dressed as a man, one as a woman, performing on a table top. Three drunken young Englishmen were singing The Teddy Bears’ Picnic. Three dirty children from Morocco were selling peanuts from the top of the basket and hashish from the bottom. Someone said that there was going to be a balloon ascension that very afternoon, in the Bois. Someone else said that Karl Marx’s bones were buried at Highgate. Someone said, —I’m actually going to be analyzed. Psychoanalyzed. A boy with a beard, in a state of black corduroy (corde du roi) unkemptness which had taken as long as the beard to evolve, said, —I’ve got to show these pictures, I’ve got to sell some of them, but how can I have people coming up there with him there? He’s dying. I can’t put him out on the street, dying like that . . . even in Paris. A girl said that she had just taken a villa right outside Paris, a place called Saint Forget. —Of course it’s a hideous place, and Ah had to pay a feaful sum to get the tiasome French family that was there out of it, but it’s such a sweet little old address to get mail at. Another girl said, —My conçerage has been returning all my mail marked ankonoo just because I oney gave her ten francs poorbwar. People who would soon be seen in New York reading French books were seen here reading Italian. Someone said, in slurred (blasé) French, —Un café au lait.
The Recognitions Page 10
