In the West the theory and practice of Tantra were never orthodox, except perhaps during the first centuries of Christianity. At this time it was common for ecclesiastics and pious laymen to have “spiritual wives,” who were called Agapetae, Syneisaktoi or Virgines Subintroductae. Of the precise relationships between these spiritual wives and husbands we know very little; but it seems that, in some cases at least, a kind of Karezza, or bodily union without orgasm, was practiced as a religious exercise, leading to valuable spiritual experiences.
For the most part, Noyes’s predecessors and the Christian equivalents of Tantra must be sought among the heretics—the Gnostics in the first centuries of our era, the Cathars in the early Middle Ages and the Adamites or Brethren and Sisters of the Free Spirit from the later thirteenth century onwards. In his monograph on The Millennium of Hieronymus Bosch Wilhelm Franger has brought together much interesting material on the Adamites. They practiced, we learn, a modum specialem coeundi, a special form of intercourse, which was identical with Noyes’s Male Continence or the coitus reservatus permitted by Roman Catholic casuists. This kind of sexual intercourse, they declared, was known to Adam before the Fall and was one of the constituents of Paradise. It was a sacramental act of charity and, at the same time, of mystical cognition, and, as such, was called by the Brethren acclivitas—the upward path. According to Aegidius Cantor, the leader of the Flemish Adamites in the first years of the fifteenth century, “the natural sexual act can take place in such a manner that it is equal in value to a prayer in the sight of God.” A Spanish follower of the Adamite heresy declared, at his trial that “after I had first had intercourse with her [the prophetess, Francisca Hernandez] for some twenty days, I could say that I had learned more wisdom in Valladolid than if I had studied for twenty years in Paris. For not Paris, but only Paradise could teach such wisdom.” Like Noyes and his followers, the Adamites practiced a form of sexual communism, and practiced it not, as their enemies declared, out of a low taste for orgiastic promiscuity, but because Complex Marriage was a method by which every member of the group could love all the rest with an impartial and almost impersonal charity; could see and nuptially know in each beloved partner the embodiment of the original, unfallen Adam—a godlike son or daughter of God.
Among literary testimonials to Male Continence, perhaps the most elegant is a little poem by Petronius. Long and inevitably disgusting experience had taught this arbiter of the elegancies that there must be something better than debauchery. He found it in physical tenderness and the peace of soul which such tenderness begets.
Foeda est in coitu et brevis voluptas,
et taedet Veneris statim peractae.
Non ergo ut pecudes libidinosae
caeci protinus irruamus illuc;
nam languescit amor peritque flamma;
sed sic sic sine fine feriati
et tecum jaceamus osculantes.
Hic nullus labor est ruborque nullus;
hoc juvit, juvat et diu juvabit;
hoc non deficit, incipitque semper.
Which was Englished by Ben Jonson, as follows:
Doing, a filthy pleasure is, and short;
And done, we straight repent us of the sport;
Let us not then rush blindly on unto it,
Like lustful beasts that only know to do it;
For lust will languish, and that heat decay.
But thus, thus, keeping endless holiday,
Let us together closely lie and kiss;
There is no labor, nor no shame in this;
This hath pleased, doth please and long will please; never
Can this decay, but is beginning ever.
And here, from a novelist and poet of a very different kind is a passage that hints at what is revealed by physical tenderness, when it is prolonged by Male Continence into a quasi-mystical experience. “She had sunk to a final rest,” Lawrence writes, near the end of The Plumed Serpent, [4]“within a great opened-out cosmos. The universe had opened out to her, new and vast, and she had sunk to the deep bed of pure rest… She realized, almost with wonder, the death in her of the Aphrodite of the foam: the seething, frictional, ecstatic Aphrodite. By a swift dark instinct, Cipriano drew away from this in her. When, in their love, it came back on her, the seething electric female ecstasy, which knows such spasms of delirium, he recoiled from her. It was what she used to call her ‘satisfaction.’ She had loved Joachim for this, that again, and again, and again he could give her this orgiastic ‘satisfaction,’ in spasms that made her cry aloud.
“But Cipriano would not. By a dark and powerful instinct he drew away from her as soon as this desire rose again in her, for the white ecstasy of frictional satisfaction, the throes of Aphrodite of the foam. She could see that, to him, it was repulsive. He just removed himself, dark and unchangeable, away from her.
“And she, as she lay, would realize the worthlessness of this foam-effervescence, its strange externality to her. It seemed to come from without, not from within. And succeeding the first moment of disappointment, when this sort of ‘satisfaction’ was denied her, came the knowledge that she did not really want it, that it was really nauseous to her.
“And he in his dark, hot silence would bring her back to the new, soft, heavy, hot flow, when she was like a fountain gushing noiseless and with urgent softness from the deeps. There she was open to him soft and hot, yet gushing with a noiseless soft power. And there was no such thing as conscious ‘satisfaction.’ What happened was dark and untellable. So different from the beak-like friction of Aphrodite of the foam, the friction which flares out in circles of phosphorescent ecstasy, to the last wild spasm which utters the involuntary cry, like a death-cry, the final love-cry.”
Male Continence is not merely a device for domesticating sexuality and heightening its psychological significance; it is also, as the history of the Oneida Community abundantly proves, a remarkably effective method of birth control. Indeed, under the name of coitus reservatus, it is one of the two methods of birth control approved by the authorities of the Roman Church—the other and more widely publicized method being the restriction of intercourse to the so-called safe periods. Unfortunately large-scale field experiments in India have shown that, in the kind of society which has the most urgent need of birth control, the safe period method is almost useless. And whereas Noyes, the practical Yankee, devoted much time and thought to the problem of training his followers in Male Continence, the Roman Church has done little or nothing to instruct its youth in the art of coitus reservatus. (How odd it is that while primitive peoples, like the Trobrianders, are careful to teach their children the best ways of domesticating sex, we, the Civilized, stupidly leave ours at the mercy of their wild and dangerous passions!)
Meanwhile, over most of the earth, population is rising faster than available resources. There are more people with less to eat. But when the standard of living goes down, social unrest goes up, and the revolutionary agitator, who has no scruples about making promises which he knows very well he cannot keep, finds golden opportunities. Confronted by the appalling dangers inherent in population increase at present rates, most governments have permitted and one or two have actually encouraged their subjects to make use of contraceptives. But they have done so in the teeth of protests from the Roman Church. By outlawing contraceptives and by advocating instead two methods of birth control, one of which doesn’t work, while the other, effective method is never systematically taught, the prelates of that Church seem to be doing their best to ensure, first, a massive increase in the sum of human misery and, second, the triumph, within a generation or two, of World Communism.
(From Tomorrow and Tomorrow and Tomorrow)
Section II
Literature
Subject-Matter of Poetry
It should theoretically be possible to make poetry out of anything whatsoever of which the spirit of man can take cognizance. We find, however, as a matter of historical fact, that most of the world’s best poetry has been content with
a curiously narrow range of subject-matter. The poets have claimed as their domain only a small province of our universe. One of them now and then, more daring or better equipped than the rest, sets out to extend the boundaries of the kingdom. But for the most part the poets do not concern themselves with fresh conquests; they prefer to consolidate their power at home, enjoying quietly their hereditary possessions. All the world is potentially theirs, but they do not take it. What is the reason for this, and why is it that poetical practice does not conform to critical theory? The problem has a peculiar relevance and importance in these days, when young poetry claims absolute liberty to speak how it likes of whatsoever it pleases.
Wordsworth, whose literary criticism, dry and forbidding though its aspects may be, is always illumined by a penetrating intelligence, Wordsworth touched upon this problem in his preface to Lyrical Ballads—touched on it and, as usual, had something of value to say about it. He is speaking here of the most important and the most interesting of the subjects which may, theoretically, be made into poetry, but which have, as a matter of fact, rarely or never undergone the transmutation: he is speaking of the relations between poetry and that vast world of abstractions and ideas—science and philosophy—into which so few poets have ever penetrated. “The remotest discoveries of the chemist, the botanist, or mineralogist, will be as proper objects of the poet’s art as any upon which he is now employed, if the time should ever come when these things shall be familiar to us, and the relations under which they are contemplated shall be manifestly and palpably material to us as enjoying and suffering beings.” It is a formidable sentence; but read it well, read the rest of the passage from which it is taken, and you will find it to be full of critical truth.
The gist of Wordsworth’s argument is this. All subjects—“the remotest discoveries of the chemist” are but one example of an unlikely poetic theme—can serve the poet with material for his art, on one condition: that he, and to a lesser degree his audience, shall be able to apprehend the subject with a certain emotion. The subject must somehow be involved in the poet’s intimate being before he can turn it into poetry. It is not enough, for example, that he should apprehend it merely through his senses. (The poetry of pure sensation, of sounds and bright colors, is common enough nowadays; but amusing as we may find it for the moment, it cannot hold the interest for long.) It is not enough, at the other end of the scale, if he apprehends his subject in a purely intellectual manner. An abstract idea must be felt with a kind of passion, it must mean something emotionally significant, it must be as immediate and important to the poet as a personal relationship before he can make poetry of it. Poetry, in a word, must be written by “enjoying and suffering beings,” not by beings exclusively dowered with sensations or, as exclusively, with intellect.
Wordsworth’s criticism helps us to understand why so few subjects have ever been made into poetry when everything under the sun, and beyond it, is theoretically suitable for transmutation into a work of art. Death, love, religion, nature; the primary emotions and the ultimate personal mysteries—these form the subject-matter of most of the greatest poetry. And for obvious reasons. These things are “manifestly and palpably material to us as enjoying and suffering beings.” But to most men, including the generality of poets, abstractions and ideas are not immediately and passionately moving. They are not enjoying or suffering when they apprehend these things—only thinking.
The men who do feel passionately about abstractions, the men to whom ideas are as persons—moving and disquietingly alive—are very seldom poets. They are men of science and philosophers, preoccupied with the search for truth and not, like the poet, with the expression and creation of beauty. It is very rarely that we find a poet who combines the power and the desire to express himself with that passionate apprehension of ideas and that passionate curiosity about strange remote facts which characterize the man of science and the philosopher. If he possessed the requisite sense of language and the impelling desire to express himself in terms of beauty, Einstein could write the most intoxicating lyrics about relativity and the pleasures of pure mathematics. And if, say, Mr. Yeats understood the Einstein theory—which, in company with most other living poets, he presumably does not, any more than the rest of us—if he apprehended it exultingly as something bold and profound, something vitally important and marvelously true, he too could give us, out of the Celtic twilight, his lyrics of relativity. It is those distressing little “ifs” that stand in the way of this happy consummation. The conditions upon which any but the most immediately and obviously moving subjects can be made into poetry are so rarely fulfilled, the combination of poet and man of science, poet and philosopher, is so uncommon, that the theoretical universality of the art has only very occasionally been realized in practice.
Contemporary poetry in the whole of the western world is insisting, loudly and emphatically through the mouths of its propagandists, on an absolute liberty to speak of what it likes how it likes. Nothing could be better; all that we can now ask is that the poets should put the theory into practice, and that they should make use of the liberty which they claim by enlarging the bounds of poetry.
The propagandists would have us believe that the subject-matter of contemporary poetry is new and startling, that modern poets are doing something which has not been done before. “Most of the poets represented in these pages,” writes Mr. Louis Untermeyer in his Anthology of Modern American Poetry, “have found a fresh and vigorous material in a world of honest and often harsh reality. They respond to the spirit of their times; not only have their views changed, their vision has been widened to include things unknown to the poets of yesterday. They have learned to distinguish real beauty from mere prettiness, to wring loveliness out of squalor, to find wonder in neglected places, to search for hidden truths even in the dark caves of the unconscious.” Translated into practice this means that contemporary poets can now write, in the words of Mr. Sandburg, of the “harr and boom of the blast fires,” of “wops and bohunks.” It means, in fact, that they are at liberty to do what Homer did—to write freely about the immediately moving facts of everyday life. Where Homer wrote of horses and the tamers of horses, our contemporaries write of trains, automobiles, and the various species of wops and bohunks who control the horsepower. That is all. Much too much stress has been laid on the newness of the new poetry; its newness is simply a return from the jeweled exquisiteness of the eighteen-nineties to the facts and feelings of ordinary life. There is nothing intrinsically novel or surprising in the introduction into poetry of machinery and industrialism, of labor unrest and modern psychology: these things belong to us, they affect us daily as enjoying and suffering beings; they are a part of our lives, just as the kings, the warriors, the horses and chariots, the picturesque mythology were part of Homer’s life. The subject-matter of the new poetry remains the same as that of the old. The old boundaries have not been extended. There would be real novelty in the new poetry if it had, for example, taken to itself any of the new ideas and astonishing facts with which the new science has endowed the modern world. There would be real novelty in it if it had worked out a satisfactory artistic method for dealing with abstractions. It has not. Which simply means that that rare phenomenon, the poet in whose mind ideas are a passion and a personal moving force, does not happen to have appeared.
And how rarely in all the long past he has appeared! There was Lucretius, the greatest of all the philosophic and scientific poets. In him the passionate apprehension of ideas, and the desire and ability to give them expression, combined to produce that strange and beautiful epic of thought which is without parallel in the whole history of literature. There was Dante, in whose soul the medieval Christian philosophy was a force that shaped and directed every feeling, thought and action. There was Goethe, who focused into beautiful expression an enormous diffusion of knowledge and ideas. And there the list of the great poets of thought comes to an end. In their task of extending the boundaries of poetry into the remote and abstra
ct world of ideas, they have had a few lesser assistants—Donne, for example, a poet only just less than the greatest; Fulke Greville, that strange, dark-spirited Elizabethan; John Davidson, who made a kind of poetry out of Darwinism; and, most interesting poetical interpreter of nineteenth-century science, Jules Laforgue.
Which of our contemporaries can claim to have extended the bounds of poetry to any material extent? It is not enough to have written about locomotives and telephones, “wops and bohunks,” and all the rest of it. That is not extending the range of poetry; it is merely asserting its right to deal with the immediate facts of contemporary life, as Homer and as Chaucer did. The critics who would have us believe that there is something essentially unpoetical about a bohunk (whatever a bohunk may be), and something essentially poetical about Sir Lancelot of the Lake, are, of course, simply negligible; they may be dismissed as contemptuously as we have dismissed the pseudo-classical critics who opposed the freedoms of the Romantic Revival. And the critics who think it very new and splendid to bring bohunks into poetry are equally old-fashioned in their ideas.
It will not be unprofitable to compare the literary situation in this early twentieth century of ours with the literary situation of the early seventeenth century. In both epochs we see a reaction against a rich and somewhat formalized poetical tradition expressing itself in a determination to extend the range of subject-matter, to get back to real life, and to use more natural forms of expression. The difference between the two epochs lies in the fact that the twentieth-century revolution has been the product of a number of minor poets, none of them quite powerful enough to achieve what he theoretically meant to do, while the seventeenth-century revolution was the work of a single poet of genius, John Donne. Donne substituted for the rich formalism of non-dramatic Elizabethan poetry a completely realized new style, the style of the so-called metaphysical poetry of the seventeenth century. He was a poet-philosopher-man-of-action whose passionate curiosity about facts enabled him to make poetry out of the most unlikely aspects of material life, and whose passionate apprehension of ideas enabled him to extend the bounds of poetry beyond the frontiers of common life and its emotions into the void of intellectual abstraction. He put the whole life and the whole mind of his age into poetry.
Collected Essays Page 13
