The Arthur Machen Megapack: 25 Classic Works

by Arthur Machen

  “June 24. Since I wrote last in this book the summer has come. This morning I woke up very early, and even in this horrible place the air was pure and bright as the sun rose up and the long beams shone on the cedar outside the window. She came to me by the way they think is locked and fastened, and, just as the world is white and gold at the dawn, so was she. A blackbird began to sing beneath the window. I think it came from far, for it sang to me of morning on the mountain, and the woods all still, and a little bright brook rushing down the hillside between dark green alders, and air that must be blown from heaven.

  There is a bird that sings in the valley of the Soar.

  Dewi and Tegfeth and Cybi preside over that region;

  Sweet is the valley, sweet the sound of its waters.

  There is a bird that sings in the valley of the Soar;

  Its voice is golden, like the ringing of the saints’ bells;

  Sweet is the valley, echoing with melodies.

  There is a bird that sings in the valley of the Soar;

  Tegfeth in the south won red martyrdom.

  Her song is heard in the perpetual choirs of heaven.

  There is a bird that sings in the valley of the Soar;

  Dewi in the west had an altar from Paradise.

  He taught the valleys of Britain to resound with Alleluia.

  There is a bird that sings in the valley of the Soar;

  Cybi in the north was the teacher of Princes.

  Through him Edlogan sings praise to heaven.

  There is a bird that sings in the valley of the Soar

  When shall I hear again the notes of its melody?

  When shall I behold once more Gwladys in that valley?’5

  “Taliesin” was the pseudonym of an amiable clergyman, the Reverend Owen Thomas, for many years curate of Llantrisant. He died in 1820, at the great age of eighty-four. His original poetry in Welsh was reputed as far superior to his translations, and he made a very valuable and curious collection of “Cymric Antiquities,” which remains in manuscript in the keeping of his descendants.

  “When I think of what I know, of the wonders of darkness and the wonders of dawn, I cannot help believing that I have found something which all the world has lost. I have heard some of the fellows talking about women. Their words and their stories are filthy, and nonsense, too. One would think that if monkeys and pigs could talk about their she-monkeys and sows, it would be just like that. I might have thought that, being only boys, they knew nothing about it, and were only making up nasty, silly tales out of their nasty, silly minds. But I have heard the poor women in the town screaming and scolding at their men, and the men swearing back; and when they think they are making love, it is the most horrible of all.

  “And it is not only the boys and the poor people. There are the masters and their wives. Everybody knows that the Challises and the Redburns ‘fight like cats,’ as they say, and that the Head’s daughter was ‘put up for auction’ and bought by the rich manufacturer from Birmingham—a horrible, fat beast, more than twice her age, with eyes like pig’s. They called it a splendid match.

  “So I began to wonder whether perhaps there are very few people in the world who know; whether the real secret is lost like the great city that was drowned in the sea and only seen by one or two. Perhaps it is more like those shining Isles that the saints sought for, where the deep apple orchards are, and all the delights of Paradise. But you had to give up everything and get into a boat without oar or sails if you wanted to find Avalon or the Glassy Isle. And sometimes the saints could stand on the rocks and see those Islands far away in the midst of the sea, and smell the sweet odours and hear the bells ringing for the feast, when other people could see and hear nothing at all.

  “I often think now how strange it would be if it were found out that nearly everybody is like those who stood on the rocks and could only see the waves tossing and stretching far away, and the blue sky and the mist in the distance. I mean, if it turned out that we have all been in the wrong about everything; that we live in a world of the most wonderful treasures which we see all about us, but we don’t understand, and kick the jewels into the dirt, and use the chalices for slop-pails and make the holy vestments into dish-cloths, while we worship a great beast—a monster, with the head of a monkey, the body of a pig and the hind legs of a goat, with swarming lice crawling all over it. Suppose that the people that they speak of now as ‘superstitious’ and ‘half-savages’ should turn out to be in the right, and very wise, while we are all wrong and great fools! It would be something like the man who lived in the Bright Palace. The Palace had a hundred and one doors. A hundred of them opened into gardens of delight, pleasure-houses, beautiful bowers, wonderful countries, fairy seas, caves of gold and hills of diamonds, into all the most splendid places. But one door led into a cesspool, and that was the only door that the man ever opened. It may be that his sons and his grandsons have been opening that one door ever since, till they have forgotten that there are any others, so if anyone dares to speak of the ways to the garden of delight or the hills of gold he is called a madman, or a very wicked person.

  “July 15. The other day a very strange thing happened. I had gone for a short walk out of the town before dinner on the Dunham road and came as far as the four ways where the roads cross. It is rather pretty for Lupton just there; there is a plot of grass with a big old elm tree in the middle of it, and round the tree is a rough sort of seat, where tramps and such people are often resting. As I came along I heard some sort of music coming from the direction of the tree; it was like fairies dancing, and then there were strange solemn notes like the priests’ singing, and a choir answered in a deep, rolling swell of sound, and the fairies danced again; and I thought somehow of a grey church high on the cliff above a singing sea, and the Fair People outside dancing on the close turf, while the service was going on all the while. As I came nearer I heard the sea waves and the wind and the cry of the seagulls, and again the high, wonderful chanting, as if the fairies and the rocks and the waves and the wild birds were all subject to that which was being done within the church. I wondered what it could be, and then I saw there was an old ragged man sitting on the seat under the tree, playing the fiddle all to himself, and rocking from side to side. He stopped directly he saw me, and said:

  “‘Ah, now, would your young honour do yourself the pleasure of giving the poor old fiddler a penny or maybe two: for Lupton is the very hell of a town altogether, and when I play to dirty rogues the Reel of the Warriors, they ask for something about Two Obadiahs—the devil’s black curse be on them! And it’s but dry work playing to the leaf and the green sod—the blessing of the holy saints be on your honour now, this day, and for ever! ’Tis but a scarcity of beer that I have tasted for a long day, I assure your honour.’

  “I had given him a shilling because I thought his music so wonderful. He looked at me steadily as he finished talking, and his face changed. I thought he was frightened, he stared so oddly. I asked him if he was ill.

  “‘May I be forgiven,’ he said, speaking quite gravely, without that wheedling way he had when he first spoke. ‘May I be forgiven for talking so to one like yourself; for this day I have begged money from one that is to gain Red Martyrdom; and indeed that is yourself.’

  “He took off his old battered hat and crossed himself, and I stared at him, I was so amazed at what he said. He picked up his fiddle, and saying ‘May you remember me in the time of your glory,’ he walked quickly off, going away from Lupton, and I lost sight of him at the turn of the road. I suppose he was half crazy, but he played wonderfully.”

  CHAPTER 4

  I

  The materials for the history of an odd episode in Ambrose Meyrick’s life are to be found in a sort of collection he made under the title “Concerning Gaiety.” The episode in question dates from about the middle of his eighteenth year.

  “I do not know”—he says—“how it all happened. I had been leading two eager lives. On the outside I was playing
games and going up in the school with a rush, and in the inside I was being gathered more and more into the sanctuaries of immortal things. All life was transfigured for me into a radiant glory, into a quickening and catholic sacrament; and, the fooleries of the school apart, I had more and more the sense that I was a participant in a splendid and significant ritual. I think I was beginning to be a little impatient with the outward signs: I think I had a feeling that it was a pity that one had to drink wine out of a cup, a pity that kernels seemed to imply shells. I wanted, in my heart, to know nothing but the wine itself flowing gloriously from vague, invisible fountains, to know the things ‘that really are’ in their naked beauty, without their various and elaborate draperies. I doubt whether Ruskin understood the motive of the monk who walked amidst the mountains with his eyes cast down lest he might see the depths and heights about him. Ruskin calls this a narrow asceticism; perhaps it was rather the result of a very subtle aestheticism. The monk’s inner vision might be fixed with such rapture on certain invisible heights and depths, that he feared lest the sight of their visible counterparts might disturb his ecstasy. It is probable, I think, that there is a point where the ascetic principle and the aesthetic become one and the same. The Indian fakir who distorts his limbs and lies on spikes is at the one extreme, the men of the Italian Renaissance were at the other. In each case the true line is distorted and awry, for neither system attains either sanctity or beauty in the highest. The fakir dwells in surfaces, and the Renaissance artist dwelt in surfaces; in neither case is there the inexpressible radiance of the invisible world shining through the surfaces. A cup of Cellini’s work is no doubt very lovely; but it is not beautiful in the same way as the old Celtic cups are beautiful.

  “I think I was in some danger of going wrong at the time I am talking about. I was altogether too impatient of surfaces. Heaven forbid the notion that I was ever in danger of being in any sense of the word a Protestant; but perhaps I was rather inclined to the fundamental heresy on which Protestantism builds its objection to what is called Ritual. I suppose this heresy is really Manichee; it is a charge of corruption and evil made against the visible universe, which is affirmed to be not ‘very good,’ but ‘very bad’—or, at all events, too bad to be used as the vehicle of spiritual truth. It is extraordinary by the way, that the thinking Protestant does not perceive that this principle damns all creeds and all Bibles and all teaching quite as effectually as it damns candles and chasubles—unless, indeed, the Protestant thinks that the logical understanding is a competent vehicle of Eternal Truth, and that God can be properly and adequately defined and explained in human speech. If he thinks that, he is an ass. Incense, vestments, candles, all ceremonies, processions, rites—all these things are miserably inadequate; but they do not abound in the horrible pitfalls, misapprehensions, errors which are inseparable from speech of men used as an expression of the Church. In a savage dance there may be a vast deal more of the truth than in many of the hymns in our hymn-books.

  “After all, as Martinez said, we must even be content with what we have, whether it be censers or syllogisms, or both. The way of the censer is certainly the safer, as I have said; I suppose because the ruin of the external universe is not nearly so deep nor so virulent as the ruin of men. A flower, a piece of gold, no doubt approach their archetypes—what they were meant to be—much more nearly than man does; hence their appeal is purer than the speech or the reasoning of men.

  “But in those days at Lupton my head was full of certain sentences which I had lit upon somewhere or other—I believe they must have been translations from some Eastern book. I knew about a dozen of these maxims; all I can remember now are:

  “If you desire to be inebriated: abstain from wine.”

  “If you desire beauty: look not on beautiful things.”

  “If you desire to see: let your eyes be blindfolded.”

  “If you desire love: refrain from the Beloved.”

  “I expect the paradox of these sayings pleased me. One must allow that if one has the inborn appetite of the somewhat subtle, of the truth not too crudely and barely expressed, there is no such atmosphere as that of a Public School for sharpening this appetite to an edge of ravening, indiscriminate hunger. Think of our friend the Colonel, who is by way of being a fin gourmet; imagine him fixed in a boarding-house where the meals are a repeating cycle of Irish Stew, Boiled Rabbit, Cold Mutton and Salt Cod (without oyster or any other sause)! Then let him out and place him in the Café Anglais. With what a fierce relish would he set tooth into curious and sought-out dishes! It must be remembered that I listened every Sunday in every term to one of the Doctor’s sermons, and it is really not strange that I gave an eager ear to the voice of Persian Wisdom—as I think the book was called. At any rate, I kept Nelly Foran at a distance for nine or ten months, and when I saw a splendid sunset I averted my eyes. I longed for a love purely spiritual, for a sunset of vision.

  “I caught glimpses, too, I think, of a much more profound askesis than this. I suppose you have the askesis in its simplest, most rationalised form in the Case of Bill the Engine-driver—I forget in what great work of Theologia Moralis I found the instance; perhaps Bill was really Quidam in the original, and his occupation stated as that of Nauarchus. At all events, Bill is fond of four-ale; but he had perceived that two pots of this beverage consumed before a professional journey tended to make him rather sleepy, rather less alert, than he might be in the execution of his very responsible duties. Hence Bill, considering this, wisely contents himself with one pot before mounting on his cab. He has deprived himself of a sensible good in order that an equally sensible but greater good may be secured—in order that he and the passengers may run no risks on the journey. Next to this simple asceticism comes, I suppose, the ordinary discipline of the Church—the abandonment of sensible goods to secure spiritual ends, the turning away from the type to the prototype, from the sight of the eyes to the vision of the soul. For in the true asceticism, whatever its degree, there is always action to a certain end, to a perceived good. Does the self-tormenting fakir act from this motive? I don’t know; but if he does not, his discipline is not asceticism at all, but folly, and impious folly, too. If he mortifies himself merely for the sake of mortifying himself; then he defiles and blasphemes the Temple. This in parenthesis.

  “But, as I say, I had a very dim and distant glimpse of another region of the askesis. Mystics will understand me when I say that there are moments when the Dark Night of the Soul is seen to be brighter than her brightest day; there are moments when it is necessary to drive away even the angels that there may be place for the Highest. One may ascend into regions so remote from the common concerns of life that it becomes difficult to procure the help of analogy, even in the terms and processes of the Arts. But suppose a painter—I need not say that I mean an artist—who is visited by an idea so wonderful, so super-exalted in its beauty that he recognises his impotence; he knows that no pigments and no technique can do anything but grossly parody his vision. Well, he will show his greatness by not attempting to paint that vision: he will write on a bare canvass vidit anima sed non pinxit manus. And I am sure that there are many romances which have never been written. It was a highly paradoxical, even a dangerous philosophy that affirmed God to be rather Non–Ens than Ens; but there are moods in which one appreciates the thought.

  “I think I caught, as I say, a distant vision of that Night which excels the Day in its splendour. It began with the eyes turned away from the sunset, with lips that refused kisses. Then there came a command to the heart to cease from longing for the dear land of Gwent, to cease from that aching desire that had never died for so many years for the sight of the old land and those hills and woods of most sweet and anguished memory. I remember once, when I was a great lout of sixteen, I went to see the Lupton Fair. I always liked the great booths and caravans and merry-go-rounds, all a blaze of barbaric green and red and gold, flaming and glowing in the middle of the trampled, sodden field against a background of L
upton and wet, grey autumn sky. There were country folk then who wore smock-frocks and looked like men in them, too. One saw scores of these brave fellows at the Fair: dull, good Jutes with flaxen hair that was almost white, and with broad pink faces. I liked to see them in the white robe and the curious embroidery; they were a note of wholesomeness, an embassage from the old English village life to our filthy ‘industrial centre.’ It was odd to see how they stared about them; they wondered, I think, at the beastliness of the place, and yet, poor fellows, they felt bound to admire the evidence of so much money. Yes, they were of Old England; they savoured of the long, bending, broad village street, the gable ends, the grave fronts of old mellow bricks, the thatched roofs here and there, the bulging window of the ‘village shop,’ the old church in decorous, somewhat dull perpendicular among the elms, and, above all, the old tavern—that excellent abode of honest mirth and honest beer, relic of the time when there were men, and men who lived. Lupton is very far removed from Hardy’s land, and yet as I think of these country-folk in their smock-frocks all the essence of Hardy is distilled for me; I see the village street all white in snow, a light gleaming very rarely from an upper window, and presently, amid ringing bells, one hears the carol-singers begin:

  ‘Remember Adam’s fall,

  O thou man.’

  “And I love to look at the whirl of the merry-go-rounds, at the people sitting with grave enjoyment on those absurd horses as they circle round and round till one’s eyes were dazed. Drums beat and thundered, strange horns blew raucous calls from all quarters, and the mechanical music to which those horses revolved belched and blazed and rattled out its everlasting monotony, checked now and again by the shriek of the steam whistle, groaning into silence for a while: then the tune clanged out once more, and the horses whirled round and round.