The prison style is
absolutely
and entirely wrong.
Oscar Wilde - Poetry
In his own entreaty to the
young man, 'Sell all that thou hast and give to the poor,' it is not of
the state of the poor that he is thinking but of the soul of the young
man, the soul that wealth was marring. In his view of life he is one
with the artist who knows that by the inevitable law of self-perfection,
the poet must sing, and the sculptor think in bronze, and the painter
make the world a mirror for his moods, as surely and as certainly as the
hawthorn must blossom in spring, and the corn turn to gold at harvest-
time, and the moon in her ordered wanderings change from shield to
sickle, and from sickle to shield.
But while Christ did not say to men, 'Live for others,' he pointed out
that there was no difference at all between the lives of others and one's
own life. By this means he gave to man an extended, a Titan personality.
Since his coming the history of each separate individual is, or can be
made, the history of the world. Of course, culture has intensified the
personality of man. Art has made us myriad-minded. Those who have the
artistic temperament go into exile with Dante and learn how salt is the
bread of others, and how steep their stairs; they catch for a moment the
serenity and calm of Goethe, and yet know but too well that Baudelaire
cried to God--
'O Seigneur, donnez moi la force et le courage
De contempler mon corps et mon coeur sans degout. '
Out of Shakespeare's sonnets they draw, to their own hurt it may be, the
secret of his love and make it their own; they look with new eyes on
modern life, because they have listened to one of Chopin's nocturnes, or
handled Greek things, or read the story of the passion of some dead man
for some dead woman whose hair was like threads of fine gold, and whose
mouth was as a pomegranate. But the sympathy of the artistic temperament
is necessarily with what has found expression. In words or in colours,
in music or in marble, behind the painted masks of an AEschylean play, or
through some Sicilian shepherds' pierced and jointed reeds, the man and
his message must have been revealed.
To the artist, expression is the only mode under which he can conceive
life at all. To him what is dumb is dead. But to Christ it was not so.
With a width and wonder of imagination that fills one almost with awe, he
took the entire world of the inarticulate, the voiceless world of pain,
as his kingdom, and made of himself its eternal mouthpiece. Those of
whom I have spoken, who are dumb under oppression, and 'whose silence is
heard only of God,' he chose as his brothers. He sought to become eyes
to the blind, ears to the deaf, and a cry in the lips of those whose
tongues had been tied. His desire was to be to the myriads who had found
no utterance a very trumpet through which they might call to heaven. And
feeling, with the artistic nature of one to whom suffering and sorrow
were modes through which he could realise his conception of the
beautiful, that an idea is of no value till it becomes incarnate and is
made an image, he made of himself the image of the Man of Sorrows, and as
such has fascinated and dominated art as no Greek god ever succeeded in
doing.
For the Greek gods, in spite of the white and red of their fair fleet
limbs, were not really what they appeared to be. The curved brow of
Apollo was like the sun's disc crescent over a hill at dawn, and his feet
were as the wings of the morning, but he himself had been cruel to
Marsyas and had made Niobe childless. In the steel shields of Athena's
eyes there had been no pity for Arachne; the pomp and peacocks of Hera
were all that was really noble about her; and the Father of the Gods
himself had been too fond of the daughters of men. The two most deeply
suggestive figures of Greek Mythology were, for religion, Demeter, an
Earth Goddess, not one of the Olympians, and for art, Dionysus, the son
of a mortal woman to whom the moment of his birth had proved also the
moment of her death.
But Life itself from its lowliest and most humble sphere produced one far
more marvellous than the mother of Proserpina or the son of Semele. Out
of the Carpenter's shop at Nazareth had come a personality infinitely
greater than any made by myth and legend, and one, strangely enough,
destined to reveal to the world the mystical meaning of wine and the real
beauties of the lilies of the field as none, either on Cithaeron or at
Enna, had ever done.
The song of Isaiah, 'He is despised and rejected of men, a man of sorrows
and acquainted with grief: and we hid as it were our faces from him,' had
seemed to him to prefigure himself, and in him the prophecy was
fulfilled. We must not be afraid of such a phrase. Every single work of
art is the fulfilment of a prophecy: for every work of art is the
conversion of an idea into an image. Every single human being should be
the fulfilment of a prophecy: for every human being should be the
realisation of some ideal, either in the mind of God or in the mind of
man. Christ found the type and fixed it, and the dream of a Virgilian
poet, either at Jerusalem or at Babylon, became in the long progress of
the centuries incarnate in him for whom the world was waiting.
To me one of the things in history the most to be regretted is that the
Christ's own renaissance, which has produced the Cathedral at Chartres,
the Arthurian cycle of legends, the life of St. Francis of Assisi, the
art of Giotto, and Dante's _Divine Comedy_, was not allowed to develop on
its own lines, but was interrupted and spoiled by the dreary classical
Renaissance that gave us Petrarch, and Raphael's frescoes, and Palladian
architecture, and formal French tragedy, and St. Paul's Cathedral, and
Pope's poetry, and everything that is made from without and by dead
rules, and does not spring from within through some spirit informing it.
But wherever there is a romantic movement in art there somehow, and under
some form, is Christ, or the soul of Christ. He is in _Romeo and
Juliet_, in the _Winter's Tale_, in Provencal poetry, in the _Ancient
Mariner_, in _La Belle Dame sans merci_, and in Chatterton's _Ballad of
Charity_.
We owe to him the most diverse things and people. Hugo's _Les
Miserables_, Baudelaire's _Fleurs du Mal_, the note of pity in Russian
novels, Verlaine and Verlaine's poems, the stained glass and tapestries
and the quattro-cento work of Burne-Jones and Morris, belong to him no
less than the tower of Giotto, Lancelot and Guinevere, Tannhauser, the
troubled romantic marbles of Michael Angelo, pointed architecture, and
the love of children and flowers--for both of which, indeed, in classical
art there was but little place, hardly enough for them to grow or play
in, but which, from the twelfth century down to our own day, have been
continually making their appearances in art, under various modes and at
various times, coming fitfully and wilfully, as children, as flowers, are
apt to do: spring always seeming to one as if the flowers had been in
hiding, and only came out into the sun because they were afraid that
grown up people would grow tired of looking for them and give up the
search; and the life of a child being no more than an April day on which
there is both rain and sun for the narcissus.
It is the imaginative quality of Christ's own nature that makes him this
palpitating centre of romance. The strange figures of poetic drama and
ballad are made by the imagination of others, but out of his own
imagination entirely did Jesus of Nazareth create himself. The cry of
Isaiah had really no more to do with his coming than the song of the
nightingale has to do with the rising of the moon--no more, though
perhaps no less. He was the denial as well as the affirmation of
prophecy. For every expectation that he fulfilled there was another that
he destroyed. 'In all beauty,' says Bacon, 'there is some strangeness of
proportion,' and of those who are born of the spirit--of those, that is
to say, who like himself are dynamic forces--Christ says that they are
like the wind that 'bloweth where it listeth, and no man can tell whence
it cometh and whither it goeth. ' That is why he is so fascinating to
artists. He has all the colour elements of life: mystery, strangeness,
pathos, suggestion, ecstasy, love. He appeals to the temper of wonder,
and creates that mood in which alone he can be understood.
And to me it is a joy to remember that if he is 'of imagination all
compact,' the world itself is of the same substance. I said in _Dorian
Gray_ that the great sins of the world take place in the brain: but it is
in the brain that everything takes place. We know now that we do not see
with the eyes or hear with the ears. They are really channels for the
transmission, adequate or inadequate, of sense impressions. It is in the
brain that the poppy is red, that the apple is odorous, that the skylark
sings.
Of late I have been studying with diligence the four prose poems about
Christ. At Christmas I managed to get hold of a Greek Testament, and
every morning, after I had cleaned my cell and polished my tins, I read a
little of the Gospels, a dozen verses taken by chance anywhere. It is a
delightful way of opening the day. Every one, even in a turbulent, ill-
disciplined life, should do the same. Endless repetition, in and out of
season, has spoiled for us the freshness, the naivete, the simple
romantic charm of the Gospels. We hear them read far too often and far
too badly, and all repetition is anti-spiritual. When one returns to the
Greek; it is like going into a garden of lilies out of some, narrow and
dark house.
And to me, the pleasure is doubled by the reflection that it is extremely
probable that we have the actual terms, the _ipsissima verba_, used by
Christ. It was always supposed that Christ talked in Aramaic. Even
Renan thought so. But now we know that the Galilean peasants, like the
Irish peasants of our own day, were bilingual, and that Greek was the
ordinary language of intercourse all over Palestine, as indeed all over
the Eastern world. I never liked the idea that we knew of Christ's own
words only through a translation of a translation. It is a delight to me
to think that as far as his conversation was concerned, Charmides might
have listened to him, and Socrates reasoned with him, and Plato
understood him: that he really said [Greek text], that when he thought of
the lilies of the field and how they neither toil nor spin, his absolute
expression was [Greek text], and that his last word when he cried out 'my
life has been completed, has reached its fulfilment, has been perfected,'
was exactly as St. John tells us it was: [Greek text]--no more.
While in reading the Gospels--particularly that of St. John himself, or
whatever early Gnostic took his name and mantle--I see the continual
assertion of the imagination as the basis of all spiritual and material
life, I see also that to Christ imagination was simply a form of love,
and that to him love was lord in the fullest meaning of the phrase. Some
six weeks ago I was allowed by the doctor to have white bread to eat
instead of the coarse black or brown bread of ordinary prison fare. It
is a great delicacy. It will sound strange that dry bread could possibly
be a delicacy to any one. To me it is so much so that at the close of
each meal I carefully eat whatever crumbs may be left on my tin plate, or
have fallen on the rough towel that one uses as a cloth so as not to soil
one's table; and I do so not from hunger--I get now quite sufficient
food--but simply in order that nothing should be wasted of what is given
to me. So one should look on love.
Christ, like all fascinating personalities, had the power of not merely
saying beautiful things himself, but of making other people say beautiful
things to him; and I love the story St. Mark tells us about the Greek
woman, who, when as a trial of her faith he said to her that he could not
give her the bread of the children of Israel, answered him that the
little dogs--([Greek text], 'little dogs' it should be rendered)--who are
under the table eat of the crumbs that the children let fall. Most
people live for love and admiration. But it is by love and admiration
that we should live. If any love is shown us we should recognise that we
are quite unworthy of it. Nobody is worthy to be loved. The fact that
God loves man shows us that in the divine order of ideal things it is
written that eternal love is to be given to what is eternally unworthy.
Or if that phrase seems to be a bitter one to bear, let us say that every
one is worthy of love, except him who thinks that he is. Love is a
sacrament that should be taken kneeling, and _Domine, non sum dignus_
should be on the lips and in the hearts of those who receive it.
If ever I write again, in the sense of producing artistic work, there are
just two subjects on which and through which I desire to express myself:
one is 'Christ as the precursor of the romantic movement in life': the
other is 'The artistic life considered in its relation to conduct. ' The
first is, of course, intensely fascinating, for I see in Christ not
merely the essentials of the supreme romantic type, but all the
accidents, the wilfulnesses even, of the romantic temperament also. He
was the first person who ever said to people that they should live
'flower-like lives. ' He fixed the phrase. He took children as the type
of what people should try to become. He held them up as examples to
their elders, which I myself have always thought the chief use of
children, if what is perfect should have a use. Dante describes the soul
of a man as coming from the hand of God 'weeping and laughing like a
little child,' and Christ also saw that the soul of each one should be _a
guisa di fanciulla che piangendo e ridendo pargoleggia_. He felt that
life was changeful, fluid, active, and that to allow it to be stereotyped
into any form was death. He saw that people should not be too serious
over material, common interests: that to be unpractical was to be a great
thing: that one should not bother too much over affairs. The birds
didn't, why should man? He is charming when he says, 'Take no thought
for the morrow; is not the soul more than meat? is not the body more than
raiment? ' A Greek might have used the latter phrase. It is full of
Greek feeling. But only Christ could have said both, and so summed up
life perfectly for us.
His morality is all sympathy, just what morality should be. If the only
thing that he ever said had been, 'Her sins are forgiven her because she
loved much,' it would have been worth while dying to have said it. His
justice is all poetical justice, exactly what justice should be. The
beggar goes to heaven because he has been unhappy. I cannot conceive a
better reason for his being sent there. The people who work for an hour
in the vineyard in the cool of the evening receive just as much reward as
those who have toiled there all day long in the hot sun. Why shouldn't
they? Probably no one deserved anything. Or perhaps they were a
different kind of people. Christ had no patience with the dull lifeless
mechanical systems that treat people as if they were things, and so treat
everybody alike: for him there were no laws: there were exceptions
merely, as if anybody, or anything, for that matter, was like aught else
in the world!
That which is the very keynote of romantic art was to him the proper
basis of natural life. He saw no other basis. And when they brought him
one, taken in the very act of sin and showed him her sentence written in
the law, and asked him what was to be done, he wrote with his finger on
the ground as though he did not hear them, and finally, when they pressed
him again, looked up and said, 'Let him of you who has never sinned be
the first to throw the stone at her. ' It was worth while living to have
said that.
Like all poetical natures he loved ignorant people. He knew that in the
soul of one who is ignorant there is always room for a great idea. But
he could not stand stupid people, especially those who are made stupid by
education: people who are full of opinions not one of which they even
understand, a peculiarly modern type, summed up by Christ when he
describes it as the type of one who has the key of knowledge, cannot use
it himself, and does not allow other people to use it, though it may be
made to open the gate of God's Kingdom. His chief war was against the
Philistines. That is the war every child of light has to wage.
Philistinism was the note of the age and community in which he lived. In
their heavy inaccessibility to ideas, their dull respectability, their
tedious orthodoxy, their worship of vulgar success, their entire
preoccupation with the gross materialistic side of life, and their
ridiculous estimate of themselves and their importance, the Jews of
Jerusalem in Christ's day were the exact counterpart of the British
Philistine of our own. Christ mocked at the 'whited sepulchre' of
respectability, and fixed that phrase for ever. He treated worldly
success as a thing absolutely to be despised. He saw nothing in it at
all. He looked on wealth as an encumbrance to a man. He would not hear
of life being sacrificed to any system of thought or morals. He pointed
out that forms and ceremonies were made for man, not man for forms and
ceremonies. He took sabbatarianism as a type of the things that should
be set at nought. The cold philanthropies, the ostentatious public
charities, the tedious formalisms so dear to the middle-class mind, he
exposed with utter and relentless scorn. To us, what is termed orthodoxy
is merely a facile unintelligent acquiescence; but to them, and in their
hands, it was a terrible and paralysing tyranny. Christ swept it aside.
He showed that the spirit alone was of value. He took a keen pleasure in
pointing out to them that though they were always reading the law and the
prophets, they had not really the smallest idea of what either of them
meant. In opposition to their tithing of each separate day into the
fixed routine of prescribed duties, as they tithe mint and rue, he
preached the enormous importance of living completely for the moment.
Those whom he saved from their sins are saved simply for beautiful
moments in their lives. Mary Magdalen, when she sees Christ, breaks the
rich vase of alabaster that one of her seven lovers had given her, and
spills the odorous spices over his tired dusty feet, and for that one
moment's sake sits for ever with Ruth and Beatrice in the tresses of the
snow-white rose of Paradise. All that Christ says to us by the way of a
little warning is that every moment should be beautiful, that the soul
should always be ready for the coming of the bridegroom, always waiting
for the voice of the lover, Philistinism being simply that side of man's
nature that is not illumined by the imagination. He sees all the lovely
influences of life as modes of light: the imagination itself is the world
of light. The world is made by it, and yet the world cannot understand
it: that is because the imagination is simply a manifestation of love,
and it is love and the capacity for it that distinguishes one human being
from another.
But it is when he deals with a sinner that Christ is most romantic, in
the sense of most real. The world had always loved the saint as being
the nearest possible approach to the perfection of God. Christ, through
some divine instinct in him, seems to have always loved the sinner as
being the nearest possible approach to the perfection of man. His
primary desire was not to reform people, any more than his primary desire
was to a relieve suffering. To turn an interesting thief into a tedious
honest man was not his aim. He would have thought little of the
Prisoners' Aid Society and other modern movements of the kind. The
conversion of a publican into a Pharisee would not have seemed to him a
great achievement. But in a manner not yet understood of the world he
regarded sin and suffering as being in themselves beautiful holy things
and modes of perfection.
It seems a very dangerous idea. It is--all great ideas are dangerous.
That it was Christ's creed admits of no doubt. That it is the true creed
I don't doubt myself.
Of course the sinner must repent. But why? Simply because otherwise he
would be unable to realise what he had done. The moment of repentance is
the moment of initiation. More than that: it is the means by which one
alters one's past. The Greeks thought that impossible. They often say
in their Gnomic aphorisms, 'Even the Gods cannot alter the past. ' Christ
showed that the commonest sinner could do it, that it was the one thing
he could do. Christ, had he been asked, would have said--I feel quite
certain about it--that the moment the prodigal son fell on his knees and
wept, he made his having wasted his substance with harlots, his swine-
herding and hungering for the husks they ate, beautiful and holy moments
in his life. It is difficult for most people to grasp the idea. I dare
say one has to go to prison to understand it. If so, it may be worth
while going to prison.
There is something so unique about Christ. Of course just as there are
false dawns before the dawn itself, and winter days so full of sudden
sunlight that they will cheat the wise crocus into squandering its gold
before its time, and make some foolish bird call to its mate to build on
barren boughs, so there were Christians before Christ. For that we
should be grateful. The unfortunate thing is that there have been none
since. I make one exception, St. Francis of Assisi. But then God had
given him at his birth the soul of a poet, as he himself when quite young
had in mystical marriage taken poverty as his bride: and with the soul of
a poet and the body of a beggar he found the way to perfection not
difficult. He understood Christ, and so he became like him. We do not
require the Liber Conformitatum to teach us that the life of St. Francis
was the true _Imitatio Christi_, a poem compared to which the book of
that name is merely prose.
Indeed, that is the charm about Christ, when all is said: he is just like
a work of art. He does not really teach one anything, but by being
brought into his presence one becomes something. And everybody is
predestined to his presence. Once at least in his life each man walks
with Christ to Emmaus.
As regards the other subject, the Relation of the Artistic Life to
Conduct, it will no doubt seem strange to you that I should select it.
People point to Reading Gaol and say, 'That is where the artistic life
leads a man. ' Well, it might lead to worse places. The more mechanical
people to whom life is a shrewd speculation depending on a careful
calculation of ways and means, always know where they are going, and go
there. They start with the ideal desire of being the parish beadle, and
in whatever sphere they are placed they succeed in being the parish
beadle and no more. A man whose desire is to be something separate from
himself, to be a member of Parliament, or a successful grocer, or a
prominent solicitor, or a judge, or something equally tedious, invariably
succeeds in being what he wants to be. That is his punishment. Those
who want a mask have to wear it.
But with the dynamic forces of life, and those in whom those dynamic
forces become incarnate, it is different. People whose desire is solely
for self-realisation never know where they are going. They can't know.
In one sense of the word it is of course necessary, as the Greek oracle
said, to know oneself: that is the first achievement of knowledge. But
to recognise that the soul of a man is unknowable, is the ultimate
achievement of wisdom. The final mystery is oneself. When one has
weighed the sun in the balance, and measured the steps of the moon, and
mapped out the seven heavens star by star, there still remains oneself.
Who can calculate the orbit of his own soul? When the son went out to
look for his father's asses, he did not know that a man of God was
waiting for him with the very chrism of coronation, and that his own soul
was already the soul of a king.
I hope to live long enough and to produce work of such a character that I
shall be able at the end of my days to say, 'Yes! this is just where the
artistic life leads a man! ' Two of the most perfect lives I have come
across in my own experience are the lives of Verlaine and of Prince
Kropotkin: both of them men who have passed years in prison: the first,
the one Christian poet since Dante; the other, a man with a soul of that
beautiful white Christ which seems coming out of Russia. And for the
last seven or eight months, in spite of a succession of great troubles
reaching me from the outside world almost without intermission, I have
been placed in direct contact with a new spirit working in this prison
through man and things, that has helped me beyond any possibility of
expression in words: so that while for the first year of my imprisonment
I did nothing else, and can remember doing nothing else, but wring my
hands in impotent despair, and say, 'What an ending, what an appalling
ending! ' now I try to say to myself, and sometimes when I am not
torturing myself do really and sincerely say, 'What a beginning, what a
wonderful beginning! ' It may really be so. It may become so. If it
does I shall owe much to this new personality that has altered every
man's life in this place.
You may realise it when I say that had I been released last May, as I
tried to be, I would have left this place loathing it and every official
in it with a bitterness of hatred that would have poisoned my life. I
have had a year longer of imprisonment, but humanity has been in the
prison along with us all, and now when I go out I shall always remember
great kindnesses that I have received here from almost everybody, and on
the day of my release I shall give many thanks to many people, and ask to
be remembered by them in turn.
The prison style is absolutely and entirely wrong. I would give anything
to be able to alter it when I go out. I intend to try. But there is
nothing in the world so wrong but that the spirit of humanity, which is
the spirit of love, the spirit of the Christ who is not in churches, may
make it, if not right, at least possible to be borne without too much
bitterness of heart.
I know also that much is waiting for me outside that is very delightful,
from what St. Francis of Assisi calls 'my brother the wind, and my sister
the rain,' lovely things both of them, down to the shop-windows and
sunsets of great cities. If I made a list of all that still remains to
me, I don't know where I should stop: for, indeed, God made the world
just as much for me as for any one else. Perhaps I may go out with
something that I had not got before. I need not tell you that to me
reformations in morals are as meaningless and vulgar as Reformations in
theology. But while to propose to be a better man is a piece of
unscientific cant, to have become a deeper man is the privilege of those
who have suffered. And such I think I have become.
If after I am free a friend of mine gave a feast, and did not invite me
to it, I should not mind a bit. I can be perfectly happy by myself. With
freedom, flowers, books, and the moon, who could not be perfectly happy?
Besides, feasts are not for me any more. I have given too many to care
about them. That side of life is over for me, very fortunately, I dare
say. But if after I am free a friend of mine had a sorrow and refused to
allow me to share it, I should feel it most bitterly. If he shut the
doors of the house of mourning against me, I would come back again and
again and beg to be admitted, so that I might share in what I was
entitled to share in. If he thought me unworthy, unfit to weep with him,
I should feel it as the most poignant humiliation, as the most terrible
mode in which disgrace could be inflicted on me. But that could not be.
I have a right to share in sorrow, and he who can look at the loveliness
of the world and share its sorrow, and realise something of the wonder of
both, is in immediate contact with divine things, and has got as near to
God's secret as any one can get.
Perhaps there may come into my art also, no less than into my life, a
still deeper note, one of greater unity of passion, and directness of
impulse. Not width but intensity is the true aim of modern art. We are
no longer in art concerned with the type. It is with the exception that
we have to do. I cannot put my sufferings into any form they took, I
need hardly say. Art only begins where Imitation ends, but something
must come into my work, of fuller memory of words perhaps, of richer
cadences, of more curious effects, of simpler architectural order, of
some aesthetic quality at any rate.
When Marsyas was 'torn from the scabbard of his limbs'--_della vagina
della membre sue_, to use one of Dante's most terrible Tacitean
phrases--he had no more song, the Greek said. Apollo had been victor.
The lyre had vanquished the reed. But perhaps the Greeks were mistaken.
I hear in much modern Art the cry of Marsyas. It is bitter in
Baudelaire, sweet and plaintive in Lamartine, mystic in Verlaine. It is
in the deferred resolutions of Chopin's music. It is in the discontent
that haunts Burne-Jones's women. Even Matthew Arnold, whose song of
Callicles tells of 'the triumph of the sweet persuasive lyre,' and the
'famous final victory,' in such a clear note of lyrical beauty, has not a
little of it; in the troubled undertone of doubt and distress that haunts
his verses, neither Goethe nor Wordsworth could help him, though he
followed each in turn, and when he seeks to mourn for _Thyrsis_ or to
sing of the _Scholar Gipsy_, it is the reed that he has to take for the
rendering of his strain. But whether or not the Phrygian Faun was
silent, I cannot be. Expression is as necessary to me as leaf and
blossoms are to the black branches of the trees that show themselves
above the prison walls and are so restless in the wind. Between my art
and the world there is now a wide gulf, but between art and myself there
is none. I hope at least that there is none.
To each of us different fates are meted out. My lot has been one of
public infamy, of long imprisonment, of misery, of ruin, of disgrace, but
I am not worthy of it--not yet, at any rate. I remember that I used to
say that I thought I could bear a real tragedy if it came to me with
purple pall and a mask of noble sorrow, but that the dreadful thing about
modernity was that it put tragedy into the raiment of comedy, so that the
great realities seemed commonplace or grotesque or lacking in style. It
is quite true about modernity. It has probably always been true about
actual life. It is said that all martyrdoms seemed mean to the looker
on. The nineteenth century is no exception to the rule.
Everything about my tragedy has been hideous, mean, repellent, lacking in
style; our very dress makes us grotesque. We are the zanies of sorrow.
We are clowns whose hearts are broken. We are specially designed to
appeal to the sense of humour. On November 13th, 1895, I was brought
down here from London. From two o'clock till half-past two on that day I
had to stand on the centre platform of Clapham Junction in convict dress,
and handcuffed, for the world to look at. I had been taken out of the
hospital ward without a moment's notice being given to me. Of all
possible objects I was the most grotesque. When people saw me they
laughed. Each train as it came up swelled the audience. Nothing could
exceed their amusement. That was, of course, before they knew who I was.
As soon as they had been informed they laughed still more. For half an
hour I stood there in the grey November rain surrounded by a jeering mob.
For a year after that was done to me I wept every day at the same hour
and for the same space of time. That is not such a tragic thing as
possibly it sounds to you. To those who are in prison tears are a part
of every day's experience. A day in prison on which one does not weep is
a day on which one's heart is hard, not a day on which one's heart is
happy.
Well, now I am really beginning to feel more regret for the people who
laughed than for myself. Of course when they saw me I was not on my
pedestal, I was in the pillory. But it is a very unimaginative nature
that only cares for people on their pedestals. A pedestal may be a very
unreal thing. A pillory is a terrific reality. They should have known
also how to interpret sorrow better. I have said that behind sorrow
there is always sorrow. It were wiser still to say that behind sorrow
there is always a soul. And to mock at a soul in pain is a dreadful
thing. In the strangely simple economy of the world people only get what
they give, and to those who have not enough imagination to penetrate the
mere outward of things, and feel pity, what pity can be given save that
of scorn?
I write this account of the mode of my being transferred here simply that
it should be realised how hard it has been for me to get anything out of
my punishment but bitterness and despair. I have, however, to do it, and
now and then I have moments of submission and acceptance. All the spring
may be hidden in the single bud, and the low ground nest of the lark may
hold the joy that is to herald the feet of many rose-red dawns. So
perhaps whatever beauty of life still remains to me is contained in some
moment of surrender, abasement, and humiliation. I can, at any rate,
merely proceed on the lines of my own development, and, accepting all
that has happened to me, make myself worthy of it.
People used to say of me that I was too individualistic. I must be far
more of an individualist than ever I was. I must get far more out of
myself than ever I got, and ask far less of the world than ever I asked.
Indeed, my ruin came not from too great individualism of life, but from
too little. The one disgraceful, unpardonable, and to all time
contemptible action of my life was to allow myself to appeal to society
for help and protection. To have made such an appeal would have been
from the individualist point of view bad enough, but what excuse can
there ever be put forward for having made it? Of course once I had put
into motion the forces of society, society turned on me and said, 'Have
you been living all this time in defiance of my laws, and do you now
appeal to those laws for protection? You shall have those laws exercised
to the full. You shall abide by what you have appealed to. ' The result
is I am in gaol. Certainly no man ever fell so ignobly, and by such
ignoble instruments, as I did.
The Philistine element in life is not the failure to understand art.
Charming people, such as fishermen, shepherds, ploughboys, peasants and
the like, know nothing about art, and are the very salt of the earth. He
is the Philistine who upholds and aids the heavy, cumbrous, blind,
mechanical forces of society, and who does not recognise dynamic force
when he meets it either in a man or a movement.
People thought it dreadful of me to have entertained at dinner the evil
things of life, and to have found pleasure in their company. But then,
from the point of view through which I, as an artist in life, approach
them they were delightfully suggestive and stimulating. The danger was
half the excitement. . . . My business as an artist was with Ariel. I
set myself to wrestle with Caliban. . . .
A great friend of mine--a friend of ten years' standing--came to see me
some time ago, and told me that he did not believe a single word of what
was said against me, and wished me to know that he considered me quite
innocent, and the victim of a hideous plot. I burst into tears at what
he said, and told him that while there was much amongst the definite
charges that was quite untrue and transferred to me by revolting malice,
still that my life had been full of perverse pleasures, and that unless
he accepted that as a fact about me and realised it to the full I could
not possibly be friends with him any more, or ever be in his company. It
was a terrible shock to him, but we are friends, and I have not got his
friendship on false pretences.
Emotional forces, as I say somewhere in _Intentions_, are as limited in
extent and duration as the forces of physical energy. The little cup
that is made to hold so much can hold so much and no more, though all the
purple vats of Burgundy be filled with wine to the brim, and the treaders
stand knee-deep in the gathered grapes of the stony vineyards of Spain.
There is no error more common than that of thinking that those who are
the causes or occasions of great tragedies share in the feelings suitable
to the tragic mood: no error more fatal than expecting it of them. The
martyr in his 'shirt of flame' may be looking on the face of God, but to
him who is piling the faggots or loosening the logs for the blast the
whole scene is no more than the slaying of an ox is to the butcher, or
the felling of a tree to the charcoal burner in the forest, or the fall
of a flower to one who is mowing down the grass with a scythe. Great
passions are for the great of soul, and great events can be seen only by
those who are on a level with them.
* * * * *
I know of nothing in all drama more incomparable from the point of view
of art, nothing more suggestive in its subtlety of observation, than
Shakespeare's drawing of Rosencrantz and Guildenstern. They are Hamlet's
college friends. They have been his companions. They bring with them
memories of pleasant days together. At the moment when they come across
him in the play he is staggering under the weight of a burden intolerable
to one of his temperament. The dead have come armed out of the grave to
impose on him a mission at once too great and too mean for him. He is a
dreamer, and he is called upon to act. He has the nature of the poet,
and he is asked to grapple with the common complexity of cause and
effect, with life in its practical realisation, of which he knows
nothing, not with life in its ideal essence, of which he knows so much.
He has no conception of what to do, and his folly is to feign folly.
Brutus used madness as a cloak to conceal the sword of his purpose, the
dagger of his will, but the Hamlet madness is a mere mask for the hiding
of weakness. In the making of fancies and jests he sees a chance of
delay. He keeps playing with action as an artist plays with a theory. He
makes himself the spy of his proper actions, and listening to his own
words knows them to be but 'words, words, words. ' Instead of trying to
be the hero of his own history, he seeks to be the spectator of his own
tragedy. He disbelieves in everything, including himself, and yet his
doubt helps him not, as it comes not from scepticism but from a divided
will.
Of all this Guildenstern and Rosencrantz realise nothing. They bow and
smirk and smile, and what the one says the other echoes with sickliest
intonation. When, at last, by means of the play within the play, and the
puppets in their dalliance, Hamlet 'catches the conscience' of the King,
and drives the wretched man in terror from his throne, Guildenstern and
Rosencrantz see no more in his conduct than a rather painful breach of
Court etiquette. That is as far as they can attain to in 'the
contemplation of the spectacle of life with appropriate emotions. ' They
are close to his very secret and know nothing of it. Nor would there be
any use in telling them. They are the little cups that can hold so much
and no more. Towards the close it is suggested that, caught in a cunning
spring set for another, they have met, or may meet, with a violent and
sudden death. But a tragic ending of this kind, though touched by
Hamlet's humour with something of the surprise and justice of comedy, is
really not for such as they. They never die. Horatio, who in order to
'report Hamlet and his cause aright to the unsatisfied,'
'Absents him from felicity a while,
And in this harsh world draws his breath in pain,'
dies, but Guildenstern and Rosencrantz are as immortal as Angelo and
Tartuffe, and should rank with them. They are what modern life has
contributed to the antique ideal of friendship. He who writes a new _De
Amicitia_ must find a niche for them, and praise them in Tusculan prose.
They are types fixed for all time. To censure them would show 'a lack of
appreciation. ' They are merely out of their sphere: that is all. In
sublimity of soul there is no contagion. High thoughts and high emotions
are by their very existence isolated.
* * * * *
I am to be released, if all goes well with me, towards the end of May,
and hope to go at once to some little sea-side village abroad with R---
and M---.
The sea, as Euripides says in one of his plays about Iphigeneia, washes
away the stains and wounds of the world.
I hope to be at least a month with my friends, and to gain peace and
balance, and a less troubled heart, and a sweeter mood. I have a strange
longing for the great simple primeval things, such as the sea, to me no
less of a mother than the Earth. It seems to me that we all look at
Nature too much, and live with her too little. I discern great sanity in
the Greek attitude. They never chattered about sunsets, or discussed
whether the shadows on the grass were really mauve or not. But they saw
that the sea was for the swimmer, and the sand for the feet of the
runner. They loved the trees for the shadow that they cast, and the
forest for its silence at noon. The vineyard-dresser wreathed his hair
with ivy that he might keep off the rays of the sun as he stooped over
the young shoots, and for the artist and the athlete, the two types that
Greece gave us, they plaited with garlands the leaves of the bitter
laurel and of the wild parsley, which else had been of no service to men.
We call ours a utilitarian age, and we do not know the uses of any single
thing. We have forgotten that water can cleanse, and fire purify, and
that the Earth is mother to us all. As a consequence our art is of the
moon and plays with shadows, while Greek art is of the sun and deals
directly with things. I feel sure that in elemental forces there is
purification, and I want to go back to them and live in their presence.
Of course to one so modern as I am, 'Enfant de mon siecle,' merely to
look at the world will be always lovely. I tremble with pleasure when I
think that on the very day of my leaving prison both the laburnum and the
lilac will be blooming in the gardens, and that I shall see the wind stir
into restless beauty the swaying gold of the one, and make the other toss
the pale purple of its plumes, so that all the air shall be Arabia for
me. Linnaeus fell on his knees and wept for joy when he saw for the
first time the long heath of some English upland made yellow with the
tawny aromatic brooms of the common furze; and I know that for me, to
whom flowers are part of desire, there are tears waiting in the petals of
some rose. It has always been so with me from my boyhood. There is not
a single colour hidden away in the chalice of a flower, or the curve of a
shell, to which, by some subtle sympathy with the very soul of things, my
nature does not answer. Like Gautier, I have always been one of those
'pour qui le monde visible existe. '
Still, I am conscious now that behind all this beauty, satisfying though
it may be, there is some spirit hidden of which the painted forms and
shapes are but modes of manifestation, and it is with this spirit that I
desire to become in harmony. I have grown tired of the articulate
utterances of men and things. The Mystical in Art, the Mystical in Life,
the Mystical in Nature this is what I am looking for. It is absolutely
necessary for me to find it somewhere.
All trials are trials for one's life, just as all sentences are sentences
of death; and three times have I been tried. The first time I left the
box to be arrested, the second time to be led back to the house of
detention, the third time to pass into a prison for two years. Society,
as we have constituted it, will have no place for me, has none to offer;
but Nature, whose sweet rains fall on unjust and just alike, will have
clefts in the rocks where I may hide, and secret valleys in whose silence
I may weep undisturbed. She will hang the night with stars so that I may
walk abroad in the darkness without stumbling, and send the wind over my
footprints so that none may track me to my hurt: she will cleanse me in
great waters, and with bitter herbs make me whole.
POEMS
BY
OSCAR WILDE
WITH THE BALLAD OF
READING GAOL
* * * * *
METHUEN & CO. LTD.
36 ESSEX STREET W. C.
LONDON
_Twelfth Edition_
_First Published_--
_Ravenna_ _1878_
_Poems_ _1881_
,, _Fifth Edition_ _1882_
_The Sphinx_ _1894_
_The Ballad of Reading Gaol_ _1898_
_First Issued by Methuen and Co. _ (_Limited _March 1908_
Editions on Handmade Paper and Japanese Vellum_)
_Seventh Edition_ (_F'cap. 8vo_). _September 1909_
_Eighth Edition_ ( ,, ,, ) _November 1909_
_Ninth Edition_ ( ,, ,, ) _December 1909_
_Tenth Edition_ ( ,, ,, ) _November 1910_
_Eleventh Edition_ ( ,, ,, ) _December 1911_
_Twelfth Edition_ ( ,, ,, ) _April 1913_
NOTE
_This collection of Wilde's Poems contains the volume of_ 1881 _in its
entirety_, '_The Sphinx_', '_The Ballad of Reading Gaol_,' _and_
'_Ravenna_. ' _Of the Uncollected Poems published in the Uniform Edition
of_ 1908, _a few_, _including the Translations from the Greek and the
Polish_, _are omitted_. _Two new poems_, '_Desespoir_' _and_ '_Pan_,'_
which I have recently discovered in manuscript_, _are now printed for the
first time_. _Particulars as to the original publication of each poem
will be found in_ '_A Bibliography of the Poems of Oscar Wilde_,' _by
Stuart Mason_, _London_ 1907.
_ROBERT ROSS_.
CONTENTS
POEMS (1881): PAGE
Helas! 3
ELEUTHERIA:
Sonnet To Liberty 7
Ave Imperatrix 8
To Milton 14
Louis Napoleon 15
Sonnet on the Massacre of the Christians in 16
Bulgaria
Quantum Mutata 17
Libertatis Sacra Fames 18
Theoretikos 19
THE GARDEN OF EROS 21
ROSA MYSTICA:
Requiescat 39
Sonnet on approaching Italy 40
San Miniato 41
Ave Maria Gratia Plena 42
Italia 43
Sonnet written in Holy Week at Genoa 44
Rome Unvisited 45
Urbs Sacra AEterna 49
Sonnet on hearing the Dies Irae sung in the Sistine 50
Chapel
Easter Day 51
E Tenebris 52
Vita Nuova 53
Madonna Mia 54
The New Helen 55
THE BURDEN OF ITYS 61
WIND FLOWERS:
Impression du Matin 83
Magdalen Walks 84
Athanasia 86
Serenade 89
Endymion 91
La Bella Donna della mia Mente 93
Chanson 95
CHARMIDES 97
FLOWERS OF GOLD:
Impressions: I. Les Silhouettes 135
II. La Fuite de la Lune 136
The Grave of Keats 137
Theocritus: A Villanelle 138
In the Gold Room: A Harmony 139
Ballade de Marguerite 140
The Dole of the King's Daughter 143
Amor Intellectualis 145
Santa Decca 146
A Vision 147
Impression de Voyage 148
The Grave of Shelley 149
By the Arno 150
IMPRESSIONS DE THEATRE:
Fabien dei Franchi 155
Phedre 156
Sonnets written at the Lyceum Theatre
I. Portia 157
II. Queen Henrietta Maria 158
III. Camma 159
PANTHEA 161
THE FOURTH MOVEMENT:
Impression: Le Reveillon 175
At Verona 176
Apologia 177
Quia Multum Amavi 179
Silentium Amoris 180
Her Voice 181
My Voice 183
Taedium Vitae 184
HUMANITAD 185
FLOWER OF LOVE:
? ? ? ? ? ? ? ?
young man, 'Sell all that thou hast and give to the poor,' it is not of
the state of the poor that he is thinking but of the soul of the young
man, the soul that wealth was marring. In his view of life he is one
with the artist who knows that by the inevitable law of self-perfection,
the poet must sing, and the sculptor think in bronze, and the painter
make the world a mirror for his moods, as surely and as certainly as the
hawthorn must blossom in spring, and the corn turn to gold at harvest-
time, and the moon in her ordered wanderings change from shield to
sickle, and from sickle to shield.
But while Christ did not say to men, 'Live for others,' he pointed out
that there was no difference at all between the lives of others and one's
own life. By this means he gave to man an extended, a Titan personality.
Since his coming the history of each separate individual is, or can be
made, the history of the world. Of course, culture has intensified the
personality of man. Art has made us myriad-minded. Those who have the
artistic temperament go into exile with Dante and learn how salt is the
bread of others, and how steep their stairs; they catch for a moment the
serenity and calm of Goethe, and yet know but too well that Baudelaire
cried to God--
'O Seigneur, donnez moi la force et le courage
De contempler mon corps et mon coeur sans degout. '
Out of Shakespeare's sonnets they draw, to their own hurt it may be, the
secret of his love and make it their own; they look with new eyes on
modern life, because they have listened to one of Chopin's nocturnes, or
handled Greek things, or read the story of the passion of some dead man
for some dead woman whose hair was like threads of fine gold, and whose
mouth was as a pomegranate. But the sympathy of the artistic temperament
is necessarily with what has found expression. In words or in colours,
in music or in marble, behind the painted masks of an AEschylean play, or
through some Sicilian shepherds' pierced and jointed reeds, the man and
his message must have been revealed.
To the artist, expression is the only mode under which he can conceive
life at all. To him what is dumb is dead. But to Christ it was not so.
With a width and wonder of imagination that fills one almost with awe, he
took the entire world of the inarticulate, the voiceless world of pain,
as his kingdom, and made of himself its eternal mouthpiece. Those of
whom I have spoken, who are dumb under oppression, and 'whose silence is
heard only of God,' he chose as his brothers. He sought to become eyes
to the blind, ears to the deaf, and a cry in the lips of those whose
tongues had been tied. His desire was to be to the myriads who had found
no utterance a very trumpet through which they might call to heaven. And
feeling, with the artistic nature of one to whom suffering and sorrow
were modes through which he could realise his conception of the
beautiful, that an idea is of no value till it becomes incarnate and is
made an image, he made of himself the image of the Man of Sorrows, and as
such has fascinated and dominated art as no Greek god ever succeeded in
doing.
For the Greek gods, in spite of the white and red of their fair fleet
limbs, were not really what they appeared to be. The curved brow of
Apollo was like the sun's disc crescent over a hill at dawn, and his feet
were as the wings of the morning, but he himself had been cruel to
Marsyas and had made Niobe childless. In the steel shields of Athena's
eyes there had been no pity for Arachne; the pomp and peacocks of Hera
were all that was really noble about her; and the Father of the Gods
himself had been too fond of the daughters of men. The two most deeply
suggestive figures of Greek Mythology were, for religion, Demeter, an
Earth Goddess, not one of the Olympians, and for art, Dionysus, the son
of a mortal woman to whom the moment of his birth had proved also the
moment of her death.
But Life itself from its lowliest and most humble sphere produced one far
more marvellous than the mother of Proserpina or the son of Semele. Out
of the Carpenter's shop at Nazareth had come a personality infinitely
greater than any made by myth and legend, and one, strangely enough,
destined to reveal to the world the mystical meaning of wine and the real
beauties of the lilies of the field as none, either on Cithaeron or at
Enna, had ever done.
The song of Isaiah, 'He is despised and rejected of men, a man of sorrows
and acquainted with grief: and we hid as it were our faces from him,' had
seemed to him to prefigure himself, and in him the prophecy was
fulfilled. We must not be afraid of such a phrase. Every single work of
art is the fulfilment of a prophecy: for every work of art is the
conversion of an idea into an image. Every single human being should be
the fulfilment of a prophecy: for every human being should be the
realisation of some ideal, either in the mind of God or in the mind of
man. Christ found the type and fixed it, and the dream of a Virgilian
poet, either at Jerusalem or at Babylon, became in the long progress of
the centuries incarnate in him for whom the world was waiting.
To me one of the things in history the most to be regretted is that the
Christ's own renaissance, which has produced the Cathedral at Chartres,
the Arthurian cycle of legends, the life of St. Francis of Assisi, the
art of Giotto, and Dante's _Divine Comedy_, was not allowed to develop on
its own lines, but was interrupted and spoiled by the dreary classical
Renaissance that gave us Petrarch, and Raphael's frescoes, and Palladian
architecture, and formal French tragedy, and St. Paul's Cathedral, and
Pope's poetry, and everything that is made from without and by dead
rules, and does not spring from within through some spirit informing it.
But wherever there is a romantic movement in art there somehow, and under
some form, is Christ, or the soul of Christ. He is in _Romeo and
Juliet_, in the _Winter's Tale_, in Provencal poetry, in the _Ancient
Mariner_, in _La Belle Dame sans merci_, and in Chatterton's _Ballad of
Charity_.
We owe to him the most diverse things and people. Hugo's _Les
Miserables_, Baudelaire's _Fleurs du Mal_, the note of pity in Russian
novels, Verlaine and Verlaine's poems, the stained glass and tapestries
and the quattro-cento work of Burne-Jones and Morris, belong to him no
less than the tower of Giotto, Lancelot and Guinevere, Tannhauser, the
troubled romantic marbles of Michael Angelo, pointed architecture, and
the love of children and flowers--for both of which, indeed, in classical
art there was but little place, hardly enough for them to grow or play
in, but which, from the twelfth century down to our own day, have been
continually making their appearances in art, under various modes and at
various times, coming fitfully and wilfully, as children, as flowers, are
apt to do: spring always seeming to one as if the flowers had been in
hiding, and only came out into the sun because they were afraid that
grown up people would grow tired of looking for them and give up the
search; and the life of a child being no more than an April day on which
there is both rain and sun for the narcissus.
It is the imaginative quality of Christ's own nature that makes him this
palpitating centre of romance. The strange figures of poetic drama and
ballad are made by the imagination of others, but out of his own
imagination entirely did Jesus of Nazareth create himself. The cry of
Isaiah had really no more to do with his coming than the song of the
nightingale has to do with the rising of the moon--no more, though
perhaps no less. He was the denial as well as the affirmation of
prophecy. For every expectation that he fulfilled there was another that
he destroyed. 'In all beauty,' says Bacon, 'there is some strangeness of
proportion,' and of those who are born of the spirit--of those, that is
to say, who like himself are dynamic forces--Christ says that they are
like the wind that 'bloweth where it listeth, and no man can tell whence
it cometh and whither it goeth. ' That is why he is so fascinating to
artists. He has all the colour elements of life: mystery, strangeness,
pathos, suggestion, ecstasy, love. He appeals to the temper of wonder,
and creates that mood in which alone he can be understood.
And to me it is a joy to remember that if he is 'of imagination all
compact,' the world itself is of the same substance. I said in _Dorian
Gray_ that the great sins of the world take place in the brain: but it is
in the brain that everything takes place. We know now that we do not see
with the eyes or hear with the ears. They are really channels for the
transmission, adequate or inadequate, of sense impressions. It is in the
brain that the poppy is red, that the apple is odorous, that the skylark
sings.
Of late I have been studying with diligence the four prose poems about
Christ. At Christmas I managed to get hold of a Greek Testament, and
every morning, after I had cleaned my cell and polished my tins, I read a
little of the Gospels, a dozen verses taken by chance anywhere. It is a
delightful way of opening the day. Every one, even in a turbulent, ill-
disciplined life, should do the same. Endless repetition, in and out of
season, has spoiled for us the freshness, the naivete, the simple
romantic charm of the Gospels. We hear them read far too often and far
too badly, and all repetition is anti-spiritual. When one returns to the
Greek; it is like going into a garden of lilies out of some, narrow and
dark house.
And to me, the pleasure is doubled by the reflection that it is extremely
probable that we have the actual terms, the _ipsissima verba_, used by
Christ. It was always supposed that Christ talked in Aramaic. Even
Renan thought so. But now we know that the Galilean peasants, like the
Irish peasants of our own day, were bilingual, and that Greek was the
ordinary language of intercourse all over Palestine, as indeed all over
the Eastern world. I never liked the idea that we knew of Christ's own
words only through a translation of a translation. It is a delight to me
to think that as far as his conversation was concerned, Charmides might
have listened to him, and Socrates reasoned with him, and Plato
understood him: that he really said [Greek text], that when he thought of
the lilies of the field and how they neither toil nor spin, his absolute
expression was [Greek text], and that his last word when he cried out 'my
life has been completed, has reached its fulfilment, has been perfected,'
was exactly as St. John tells us it was: [Greek text]--no more.
While in reading the Gospels--particularly that of St. John himself, or
whatever early Gnostic took his name and mantle--I see the continual
assertion of the imagination as the basis of all spiritual and material
life, I see also that to Christ imagination was simply a form of love,
and that to him love was lord in the fullest meaning of the phrase. Some
six weeks ago I was allowed by the doctor to have white bread to eat
instead of the coarse black or brown bread of ordinary prison fare. It
is a great delicacy. It will sound strange that dry bread could possibly
be a delicacy to any one. To me it is so much so that at the close of
each meal I carefully eat whatever crumbs may be left on my tin plate, or
have fallen on the rough towel that one uses as a cloth so as not to soil
one's table; and I do so not from hunger--I get now quite sufficient
food--but simply in order that nothing should be wasted of what is given
to me. So one should look on love.
Christ, like all fascinating personalities, had the power of not merely
saying beautiful things himself, but of making other people say beautiful
things to him; and I love the story St. Mark tells us about the Greek
woman, who, when as a trial of her faith he said to her that he could not
give her the bread of the children of Israel, answered him that the
little dogs--([Greek text], 'little dogs' it should be rendered)--who are
under the table eat of the crumbs that the children let fall. Most
people live for love and admiration. But it is by love and admiration
that we should live. If any love is shown us we should recognise that we
are quite unworthy of it. Nobody is worthy to be loved. The fact that
God loves man shows us that in the divine order of ideal things it is
written that eternal love is to be given to what is eternally unworthy.
Or if that phrase seems to be a bitter one to bear, let us say that every
one is worthy of love, except him who thinks that he is. Love is a
sacrament that should be taken kneeling, and _Domine, non sum dignus_
should be on the lips and in the hearts of those who receive it.
If ever I write again, in the sense of producing artistic work, there are
just two subjects on which and through which I desire to express myself:
one is 'Christ as the precursor of the romantic movement in life': the
other is 'The artistic life considered in its relation to conduct. ' The
first is, of course, intensely fascinating, for I see in Christ not
merely the essentials of the supreme romantic type, but all the
accidents, the wilfulnesses even, of the romantic temperament also. He
was the first person who ever said to people that they should live
'flower-like lives. ' He fixed the phrase. He took children as the type
of what people should try to become. He held them up as examples to
their elders, which I myself have always thought the chief use of
children, if what is perfect should have a use. Dante describes the soul
of a man as coming from the hand of God 'weeping and laughing like a
little child,' and Christ also saw that the soul of each one should be _a
guisa di fanciulla che piangendo e ridendo pargoleggia_. He felt that
life was changeful, fluid, active, and that to allow it to be stereotyped
into any form was death. He saw that people should not be too serious
over material, common interests: that to be unpractical was to be a great
thing: that one should not bother too much over affairs. The birds
didn't, why should man? He is charming when he says, 'Take no thought
for the morrow; is not the soul more than meat? is not the body more than
raiment? ' A Greek might have used the latter phrase. It is full of
Greek feeling. But only Christ could have said both, and so summed up
life perfectly for us.
His morality is all sympathy, just what morality should be. If the only
thing that he ever said had been, 'Her sins are forgiven her because she
loved much,' it would have been worth while dying to have said it. His
justice is all poetical justice, exactly what justice should be. The
beggar goes to heaven because he has been unhappy. I cannot conceive a
better reason for his being sent there. The people who work for an hour
in the vineyard in the cool of the evening receive just as much reward as
those who have toiled there all day long in the hot sun. Why shouldn't
they? Probably no one deserved anything. Or perhaps they were a
different kind of people. Christ had no patience with the dull lifeless
mechanical systems that treat people as if they were things, and so treat
everybody alike: for him there were no laws: there were exceptions
merely, as if anybody, or anything, for that matter, was like aught else
in the world!
That which is the very keynote of romantic art was to him the proper
basis of natural life. He saw no other basis. And when they brought him
one, taken in the very act of sin and showed him her sentence written in
the law, and asked him what was to be done, he wrote with his finger on
the ground as though he did not hear them, and finally, when they pressed
him again, looked up and said, 'Let him of you who has never sinned be
the first to throw the stone at her. ' It was worth while living to have
said that.
Like all poetical natures he loved ignorant people. He knew that in the
soul of one who is ignorant there is always room for a great idea. But
he could not stand stupid people, especially those who are made stupid by
education: people who are full of opinions not one of which they even
understand, a peculiarly modern type, summed up by Christ when he
describes it as the type of one who has the key of knowledge, cannot use
it himself, and does not allow other people to use it, though it may be
made to open the gate of God's Kingdom. His chief war was against the
Philistines. That is the war every child of light has to wage.
Philistinism was the note of the age and community in which he lived. In
their heavy inaccessibility to ideas, their dull respectability, their
tedious orthodoxy, their worship of vulgar success, their entire
preoccupation with the gross materialistic side of life, and their
ridiculous estimate of themselves and their importance, the Jews of
Jerusalem in Christ's day were the exact counterpart of the British
Philistine of our own. Christ mocked at the 'whited sepulchre' of
respectability, and fixed that phrase for ever. He treated worldly
success as a thing absolutely to be despised. He saw nothing in it at
all. He looked on wealth as an encumbrance to a man. He would not hear
of life being sacrificed to any system of thought or morals. He pointed
out that forms and ceremonies were made for man, not man for forms and
ceremonies. He took sabbatarianism as a type of the things that should
be set at nought. The cold philanthropies, the ostentatious public
charities, the tedious formalisms so dear to the middle-class mind, he
exposed with utter and relentless scorn. To us, what is termed orthodoxy
is merely a facile unintelligent acquiescence; but to them, and in their
hands, it was a terrible and paralysing tyranny. Christ swept it aside.
He showed that the spirit alone was of value. He took a keen pleasure in
pointing out to them that though they were always reading the law and the
prophets, they had not really the smallest idea of what either of them
meant. In opposition to their tithing of each separate day into the
fixed routine of prescribed duties, as they tithe mint and rue, he
preached the enormous importance of living completely for the moment.
Those whom he saved from their sins are saved simply for beautiful
moments in their lives. Mary Magdalen, when she sees Christ, breaks the
rich vase of alabaster that one of her seven lovers had given her, and
spills the odorous spices over his tired dusty feet, and for that one
moment's sake sits for ever with Ruth and Beatrice in the tresses of the
snow-white rose of Paradise. All that Christ says to us by the way of a
little warning is that every moment should be beautiful, that the soul
should always be ready for the coming of the bridegroom, always waiting
for the voice of the lover, Philistinism being simply that side of man's
nature that is not illumined by the imagination. He sees all the lovely
influences of life as modes of light: the imagination itself is the world
of light. The world is made by it, and yet the world cannot understand
it: that is because the imagination is simply a manifestation of love,
and it is love and the capacity for it that distinguishes one human being
from another.
But it is when he deals with a sinner that Christ is most romantic, in
the sense of most real. The world had always loved the saint as being
the nearest possible approach to the perfection of God. Christ, through
some divine instinct in him, seems to have always loved the sinner as
being the nearest possible approach to the perfection of man. His
primary desire was not to reform people, any more than his primary desire
was to a relieve suffering. To turn an interesting thief into a tedious
honest man was not his aim. He would have thought little of the
Prisoners' Aid Society and other modern movements of the kind. The
conversion of a publican into a Pharisee would not have seemed to him a
great achievement. But in a manner not yet understood of the world he
regarded sin and suffering as being in themselves beautiful holy things
and modes of perfection.
It seems a very dangerous idea. It is--all great ideas are dangerous.
That it was Christ's creed admits of no doubt. That it is the true creed
I don't doubt myself.
Of course the sinner must repent. But why? Simply because otherwise he
would be unable to realise what he had done. The moment of repentance is
the moment of initiation. More than that: it is the means by which one
alters one's past. The Greeks thought that impossible. They often say
in their Gnomic aphorisms, 'Even the Gods cannot alter the past. ' Christ
showed that the commonest sinner could do it, that it was the one thing
he could do. Christ, had he been asked, would have said--I feel quite
certain about it--that the moment the prodigal son fell on his knees and
wept, he made his having wasted his substance with harlots, his swine-
herding and hungering for the husks they ate, beautiful and holy moments
in his life. It is difficult for most people to grasp the idea. I dare
say one has to go to prison to understand it. If so, it may be worth
while going to prison.
There is something so unique about Christ. Of course just as there are
false dawns before the dawn itself, and winter days so full of sudden
sunlight that they will cheat the wise crocus into squandering its gold
before its time, and make some foolish bird call to its mate to build on
barren boughs, so there were Christians before Christ. For that we
should be grateful. The unfortunate thing is that there have been none
since. I make one exception, St. Francis of Assisi. But then God had
given him at his birth the soul of a poet, as he himself when quite young
had in mystical marriage taken poverty as his bride: and with the soul of
a poet and the body of a beggar he found the way to perfection not
difficult. He understood Christ, and so he became like him. We do not
require the Liber Conformitatum to teach us that the life of St. Francis
was the true _Imitatio Christi_, a poem compared to which the book of
that name is merely prose.
Indeed, that is the charm about Christ, when all is said: he is just like
a work of art. He does not really teach one anything, but by being
brought into his presence one becomes something. And everybody is
predestined to his presence. Once at least in his life each man walks
with Christ to Emmaus.
As regards the other subject, the Relation of the Artistic Life to
Conduct, it will no doubt seem strange to you that I should select it.
People point to Reading Gaol and say, 'That is where the artistic life
leads a man. ' Well, it might lead to worse places. The more mechanical
people to whom life is a shrewd speculation depending on a careful
calculation of ways and means, always know where they are going, and go
there. They start with the ideal desire of being the parish beadle, and
in whatever sphere they are placed they succeed in being the parish
beadle and no more. A man whose desire is to be something separate from
himself, to be a member of Parliament, or a successful grocer, or a
prominent solicitor, or a judge, or something equally tedious, invariably
succeeds in being what he wants to be. That is his punishment. Those
who want a mask have to wear it.
But with the dynamic forces of life, and those in whom those dynamic
forces become incarnate, it is different. People whose desire is solely
for self-realisation never know where they are going. They can't know.
In one sense of the word it is of course necessary, as the Greek oracle
said, to know oneself: that is the first achievement of knowledge. But
to recognise that the soul of a man is unknowable, is the ultimate
achievement of wisdom. The final mystery is oneself. When one has
weighed the sun in the balance, and measured the steps of the moon, and
mapped out the seven heavens star by star, there still remains oneself.
Who can calculate the orbit of his own soul? When the son went out to
look for his father's asses, he did not know that a man of God was
waiting for him with the very chrism of coronation, and that his own soul
was already the soul of a king.
I hope to live long enough and to produce work of such a character that I
shall be able at the end of my days to say, 'Yes! this is just where the
artistic life leads a man! ' Two of the most perfect lives I have come
across in my own experience are the lives of Verlaine and of Prince
Kropotkin: both of them men who have passed years in prison: the first,
the one Christian poet since Dante; the other, a man with a soul of that
beautiful white Christ which seems coming out of Russia. And for the
last seven or eight months, in spite of a succession of great troubles
reaching me from the outside world almost without intermission, I have
been placed in direct contact with a new spirit working in this prison
through man and things, that has helped me beyond any possibility of
expression in words: so that while for the first year of my imprisonment
I did nothing else, and can remember doing nothing else, but wring my
hands in impotent despair, and say, 'What an ending, what an appalling
ending! ' now I try to say to myself, and sometimes when I am not
torturing myself do really and sincerely say, 'What a beginning, what a
wonderful beginning! ' It may really be so. It may become so. If it
does I shall owe much to this new personality that has altered every
man's life in this place.
You may realise it when I say that had I been released last May, as I
tried to be, I would have left this place loathing it and every official
in it with a bitterness of hatred that would have poisoned my life. I
have had a year longer of imprisonment, but humanity has been in the
prison along with us all, and now when I go out I shall always remember
great kindnesses that I have received here from almost everybody, and on
the day of my release I shall give many thanks to many people, and ask to
be remembered by them in turn.
The prison style is absolutely and entirely wrong. I would give anything
to be able to alter it when I go out. I intend to try. But there is
nothing in the world so wrong but that the spirit of humanity, which is
the spirit of love, the spirit of the Christ who is not in churches, may
make it, if not right, at least possible to be borne without too much
bitterness of heart.
I know also that much is waiting for me outside that is very delightful,
from what St. Francis of Assisi calls 'my brother the wind, and my sister
the rain,' lovely things both of them, down to the shop-windows and
sunsets of great cities. If I made a list of all that still remains to
me, I don't know where I should stop: for, indeed, God made the world
just as much for me as for any one else. Perhaps I may go out with
something that I had not got before. I need not tell you that to me
reformations in morals are as meaningless and vulgar as Reformations in
theology. But while to propose to be a better man is a piece of
unscientific cant, to have become a deeper man is the privilege of those
who have suffered. And such I think I have become.
If after I am free a friend of mine gave a feast, and did not invite me
to it, I should not mind a bit. I can be perfectly happy by myself. With
freedom, flowers, books, and the moon, who could not be perfectly happy?
Besides, feasts are not for me any more. I have given too many to care
about them. That side of life is over for me, very fortunately, I dare
say. But if after I am free a friend of mine had a sorrow and refused to
allow me to share it, I should feel it most bitterly. If he shut the
doors of the house of mourning against me, I would come back again and
again and beg to be admitted, so that I might share in what I was
entitled to share in. If he thought me unworthy, unfit to weep with him,
I should feel it as the most poignant humiliation, as the most terrible
mode in which disgrace could be inflicted on me. But that could not be.
I have a right to share in sorrow, and he who can look at the loveliness
of the world and share its sorrow, and realise something of the wonder of
both, is in immediate contact with divine things, and has got as near to
God's secret as any one can get.
Perhaps there may come into my art also, no less than into my life, a
still deeper note, one of greater unity of passion, and directness of
impulse. Not width but intensity is the true aim of modern art. We are
no longer in art concerned with the type. It is with the exception that
we have to do. I cannot put my sufferings into any form they took, I
need hardly say. Art only begins where Imitation ends, but something
must come into my work, of fuller memory of words perhaps, of richer
cadences, of more curious effects, of simpler architectural order, of
some aesthetic quality at any rate.
When Marsyas was 'torn from the scabbard of his limbs'--_della vagina
della membre sue_, to use one of Dante's most terrible Tacitean
phrases--he had no more song, the Greek said. Apollo had been victor.
The lyre had vanquished the reed. But perhaps the Greeks were mistaken.
I hear in much modern Art the cry of Marsyas. It is bitter in
Baudelaire, sweet and plaintive in Lamartine, mystic in Verlaine. It is
in the deferred resolutions of Chopin's music. It is in the discontent
that haunts Burne-Jones's women. Even Matthew Arnold, whose song of
Callicles tells of 'the triumph of the sweet persuasive lyre,' and the
'famous final victory,' in such a clear note of lyrical beauty, has not a
little of it; in the troubled undertone of doubt and distress that haunts
his verses, neither Goethe nor Wordsworth could help him, though he
followed each in turn, and when he seeks to mourn for _Thyrsis_ or to
sing of the _Scholar Gipsy_, it is the reed that he has to take for the
rendering of his strain. But whether or not the Phrygian Faun was
silent, I cannot be. Expression is as necessary to me as leaf and
blossoms are to the black branches of the trees that show themselves
above the prison walls and are so restless in the wind. Between my art
and the world there is now a wide gulf, but between art and myself there
is none. I hope at least that there is none.
To each of us different fates are meted out. My lot has been one of
public infamy, of long imprisonment, of misery, of ruin, of disgrace, but
I am not worthy of it--not yet, at any rate. I remember that I used to
say that I thought I could bear a real tragedy if it came to me with
purple pall and a mask of noble sorrow, but that the dreadful thing about
modernity was that it put tragedy into the raiment of comedy, so that the
great realities seemed commonplace or grotesque or lacking in style. It
is quite true about modernity. It has probably always been true about
actual life. It is said that all martyrdoms seemed mean to the looker
on. The nineteenth century is no exception to the rule.
Everything about my tragedy has been hideous, mean, repellent, lacking in
style; our very dress makes us grotesque. We are the zanies of sorrow.
We are clowns whose hearts are broken. We are specially designed to
appeal to the sense of humour. On November 13th, 1895, I was brought
down here from London. From two o'clock till half-past two on that day I
had to stand on the centre platform of Clapham Junction in convict dress,
and handcuffed, for the world to look at. I had been taken out of the
hospital ward without a moment's notice being given to me. Of all
possible objects I was the most grotesque. When people saw me they
laughed. Each train as it came up swelled the audience. Nothing could
exceed their amusement. That was, of course, before they knew who I was.
As soon as they had been informed they laughed still more. For half an
hour I stood there in the grey November rain surrounded by a jeering mob.
For a year after that was done to me I wept every day at the same hour
and for the same space of time. That is not such a tragic thing as
possibly it sounds to you. To those who are in prison tears are a part
of every day's experience. A day in prison on which one does not weep is
a day on which one's heart is hard, not a day on which one's heart is
happy.
Well, now I am really beginning to feel more regret for the people who
laughed than for myself. Of course when they saw me I was not on my
pedestal, I was in the pillory. But it is a very unimaginative nature
that only cares for people on their pedestals. A pedestal may be a very
unreal thing. A pillory is a terrific reality. They should have known
also how to interpret sorrow better. I have said that behind sorrow
there is always sorrow. It were wiser still to say that behind sorrow
there is always a soul. And to mock at a soul in pain is a dreadful
thing. In the strangely simple economy of the world people only get what
they give, and to those who have not enough imagination to penetrate the
mere outward of things, and feel pity, what pity can be given save that
of scorn?
I write this account of the mode of my being transferred here simply that
it should be realised how hard it has been for me to get anything out of
my punishment but bitterness and despair. I have, however, to do it, and
now and then I have moments of submission and acceptance. All the spring
may be hidden in the single bud, and the low ground nest of the lark may
hold the joy that is to herald the feet of many rose-red dawns. So
perhaps whatever beauty of life still remains to me is contained in some
moment of surrender, abasement, and humiliation. I can, at any rate,
merely proceed on the lines of my own development, and, accepting all
that has happened to me, make myself worthy of it.
People used to say of me that I was too individualistic. I must be far
more of an individualist than ever I was. I must get far more out of
myself than ever I got, and ask far less of the world than ever I asked.
Indeed, my ruin came not from too great individualism of life, but from
too little. The one disgraceful, unpardonable, and to all time
contemptible action of my life was to allow myself to appeal to society
for help and protection. To have made such an appeal would have been
from the individualist point of view bad enough, but what excuse can
there ever be put forward for having made it? Of course once I had put
into motion the forces of society, society turned on me and said, 'Have
you been living all this time in defiance of my laws, and do you now
appeal to those laws for protection? You shall have those laws exercised
to the full. You shall abide by what you have appealed to. ' The result
is I am in gaol. Certainly no man ever fell so ignobly, and by such
ignoble instruments, as I did.
The Philistine element in life is not the failure to understand art.
Charming people, such as fishermen, shepherds, ploughboys, peasants and
the like, know nothing about art, and are the very salt of the earth. He
is the Philistine who upholds and aids the heavy, cumbrous, blind,
mechanical forces of society, and who does not recognise dynamic force
when he meets it either in a man or a movement.
People thought it dreadful of me to have entertained at dinner the evil
things of life, and to have found pleasure in their company. But then,
from the point of view through which I, as an artist in life, approach
them they were delightfully suggestive and stimulating. The danger was
half the excitement. . . . My business as an artist was with Ariel. I
set myself to wrestle with Caliban. . . .
A great friend of mine--a friend of ten years' standing--came to see me
some time ago, and told me that he did not believe a single word of what
was said against me, and wished me to know that he considered me quite
innocent, and the victim of a hideous plot. I burst into tears at what
he said, and told him that while there was much amongst the definite
charges that was quite untrue and transferred to me by revolting malice,
still that my life had been full of perverse pleasures, and that unless
he accepted that as a fact about me and realised it to the full I could
not possibly be friends with him any more, or ever be in his company. It
was a terrible shock to him, but we are friends, and I have not got his
friendship on false pretences.
Emotional forces, as I say somewhere in _Intentions_, are as limited in
extent and duration as the forces of physical energy. The little cup
that is made to hold so much can hold so much and no more, though all the
purple vats of Burgundy be filled with wine to the brim, and the treaders
stand knee-deep in the gathered grapes of the stony vineyards of Spain.
There is no error more common than that of thinking that those who are
the causes or occasions of great tragedies share in the feelings suitable
to the tragic mood: no error more fatal than expecting it of them. The
martyr in his 'shirt of flame' may be looking on the face of God, but to
him who is piling the faggots or loosening the logs for the blast the
whole scene is no more than the slaying of an ox is to the butcher, or
the felling of a tree to the charcoal burner in the forest, or the fall
of a flower to one who is mowing down the grass with a scythe. Great
passions are for the great of soul, and great events can be seen only by
those who are on a level with them.
* * * * *
I know of nothing in all drama more incomparable from the point of view
of art, nothing more suggestive in its subtlety of observation, than
Shakespeare's drawing of Rosencrantz and Guildenstern. They are Hamlet's
college friends. They have been his companions. They bring with them
memories of pleasant days together. At the moment when they come across
him in the play he is staggering under the weight of a burden intolerable
to one of his temperament. The dead have come armed out of the grave to
impose on him a mission at once too great and too mean for him. He is a
dreamer, and he is called upon to act. He has the nature of the poet,
and he is asked to grapple with the common complexity of cause and
effect, with life in its practical realisation, of which he knows
nothing, not with life in its ideal essence, of which he knows so much.
He has no conception of what to do, and his folly is to feign folly.
Brutus used madness as a cloak to conceal the sword of his purpose, the
dagger of his will, but the Hamlet madness is a mere mask for the hiding
of weakness. In the making of fancies and jests he sees a chance of
delay. He keeps playing with action as an artist plays with a theory. He
makes himself the spy of his proper actions, and listening to his own
words knows them to be but 'words, words, words. ' Instead of trying to
be the hero of his own history, he seeks to be the spectator of his own
tragedy. He disbelieves in everything, including himself, and yet his
doubt helps him not, as it comes not from scepticism but from a divided
will.
Of all this Guildenstern and Rosencrantz realise nothing. They bow and
smirk and smile, and what the one says the other echoes with sickliest
intonation. When, at last, by means of the play within the play, and the
puppets in their dalliance, Hamlet 'catches the conscience' of the King,
and drives the wretched man in terror from his throne, Guildenstern and
Rosencrantz see no more in his conduct than a rather painful breach of
Court etiquette. That is as far as they can attain to in 'the
contemplation of the spectacle of life with appropriate emotions. ' They
are close to his very secret and know nothing of it. Nor would there be
any use in telling them. They are the little cups that can hold so much
and no more. Towards the close it is suggested that, caught in a cunning
spring set for another, they have met, or may meet, with a violent and
sudden death. But a tragic ending of this kind, though touched by
Hamlet's humour with something of the surprise and justice of comedy, is
really not for such as they. They never die. Horatio, who in order to
'report Hamlet and his cause aright to the unsatisfied,'
'Absents him from felicity a while,
And in this harsh world draws his breath in pain,'
dies, but Guildenstern and Rosencrantz are as immortal as Angelo and
Tartuffe, and should rank with them. They are what modern life has
contributed to the antique ideal of friendship. He who writes a new _De
Amicitia_ must find a niche for them, and praise them in Tusculan prose.
They are types fixed for all time. To censure them would show 'a lack of
appreciation. ' They are merely out of their sphere: that is all. In
sublimity of soul there is no contagion. High thoughts and high emotions
are by their very existence isolated.
* * * * *
I am to be released, if all goes well with me, towards the end of May,
and hope to go at once to some little sea-side village abroad with R---
and M---.
The sea, as Euripides says in one of his plays about Iphigeneia, washes
away the stains and wounds of the world.
I hope to be at least a month with my friends, and to gain peace and
balance, and a less troubled heart, and a sweeter mood. I have a strange
longing for the great simple primeval things, such as the sea, to me no
less of a mother than the Earth. It seems to me that we all look at
Nature too much, and live with her too little. I discern great sanity in
the Greek attitude. They never chattered about sunsets, or discussed
whether the shadows on the grass were really mauve or not. But they saw
that the sea was for the swimmer, and the sand for the feet of the
runner. They loved the trees for the shadow that they cast, and the
forest for its silence at noon. The vineyard-dresser wreathed his hair
with ivy that he might keep off the rays of the sun as he stooped over
the young shoots, and for the artist and the athlete, the two types that
Greece gave us, they plaited with garlands the leaves of the bitter
laurel and of the wild parsley, which else had been of no service to men.
We call ours a utilitarian age, and we do not know the uses of any single
thing. We have forgotten that water can cleanse, and fire purify, and
that the Earth is mother to us all. As a consequence our art is of the
moon and plays with shadows, while Greek art is of the sun and deals
directly with things. I feel sure that in elemental forces there is
purification, and I want to go back to them and live in their presence.
Of course to one so modern as I am, 'Enfant de mon siecle,' merely to
look at the world will be always lovely. I tremble with pleasure when I
think that on the very day of my leaving prison both the laburnum and the
lilac will be blooming in the gardens, and that I shall see the wind stir
into restless beauty the swaying gold of the one, and make the other toss
the pale purple of its plumes, so that all the air shall be Arabia for
me. Linnaeus fell on his knees and wept for joy when he saw for the
first time the long heath of some English upland made yellow with the
tawny aromatic brooms of the common furze; and I know that for me, to
whom flowers are part of desire, there are tears waiting in the petals of
some rose. It has always been so with me from my boyhood. There is not
a single colour hidden away in the chalice of a flower, or the curve of a
shell, to which, by some subtle sympathy with the very soul of things, my
nature does not answer. Like Gautier, I have always been one of those
'pour qui le monde visible existe. '
Still, I am conscious now that behind all this beauty, satisfying though
it may be, there is some spirit hidden of which the painted forms and
shapes are but modes of manifestation, and it is with this spirit that I
desire to become in harmony. I have grown tired of the articulate
utterances of men and things. The Mystical in Art, the Mystical in Life,
the Mystical in Nature this is what I am looking for. It is absolutely
necessary for me to find it somewhere.
All trials are trials for one's life, just as all sentences are sentences
of death; and three times have I been tried. The first time I left the
box to be arrested, the second time to be led back to the house of
detention, the third time to pass into a prison for two years. Society,
as we have constituted it, will have no place for me, has none to offer;
but Nature, whose sweet rains fall on unjust and just alike, will have
clefts in the rocks where I may hide, and secret valleys in whose silence
I may weep undisturbed. She will hang the night with stars so that I may
walk abroad in the darkness without stumbling, and send the wind over my
footprints so that none may track me to my hurt: she will cleanse me in
great waters, and with bitter herbs make me whole.
POEMS
BY
OSCAR WILDE
WITH THE BALLAD OF
READING GAOL
* * * * *
METHUEN & CO. LTD.
36 ESSEX STREET W. C.
LONDON
_Twelfth Edition_
_First Published_--
_Ravenna_ _1878_
_Poems_ _1881_
,, _Fifth Edition_ _1882_
_The Sphinx_ _1894_
_The Ballad of Reading Gaol_ _1898_
_First Issued by Methuen and Co. _ (_Limited _March 1908_
Editions on Handmade Paper and Japanese Vellum_)
_Seventh Edition_ (_F'cap. 8vo_). _September 1909_
_Eighth Edition_ ( ,, ,, ) _November 1909_
_Ninth Edition_ ( ,, ,, ) _December 1909_
_Tenth Edition_ ( ,, ,, ) _November 1910_
_Eleventh Edition_ ( ,, ,, ) _December 1911_
_Twelfth Edition_ ( ,, ,, ) _April 1913_
NOTE
_This collection of Wilde's Poems contains the volume of_ 1881 _in its
entirety_, '_The Sphinx_', '_The Ballad of Reading Gaol_,' _and_
'_Ravenna_. ' _Of the Uncollected Poems published in the Uniform Edition
of_ 1908, _a few_, _including the Translations from the Greek and the
Polish_, _are omitted_. _Two new poems_, '_Desespoir_' _and_ '_Pan_,'_
which I have recently discovered in manuscript_, _are now printed for the
first time_. _Particulars as to the original publication of each poem
will be found in_ '_A Bibliography of the Poems of Oscar Wilde_,' _by
Stuart Mason_, _London_ 1907.
_ROBERT ROSS_.
CONTENTS
POEMS (1881): PAGE
Helas! 3
ELEUTHERIA:
Sonnet To Liberty 7
Ave Imperatrix 8
To Milton 14
Louis Napoleon 15
Sonnet on the Massacre of the Christians in 16
Bulgaria
Quantum Mutata 17
Libertatis Sacra Fames 18
Theoretikos 19
THE GARDEN OF EROS 21
ROSA MYSTICA:
Requiescat 39
Sonnet on approaching Italy 40
San Miniato 41
Ave Maria Gratia Plena 42
Italia 43
Sonnet written in Holy Week at Genoa 44
Rome Unvisited 45
Urbs Sacra AEterna 49
Sonnet on hearing the Dies Irae sung in the Sistine 50
Chapel
Easter Day 51
E Tenebris 52
Vita Nuova 53
Madonna Mia 54
The New Helen 55
THE BURDEN OF ITYS 61
WIND FLOWERS:
Impression du Matin 83
Magdalen Walks 84
Athanasia 86
Serenade 89
Endymion 91
La Bella Donna della mia Mente 93
Chanson 95
CHARMIDES 97
FLOWERS OF GOLD:
Impressions: I. Les Silhouettes 135
II. La Fuite de la Lune 136
The Grave of Keats 137
Theocritus: A Villanelle 138
In the Gold Room: A Harmony 139
Ballade de Marguerite 140
The Dole of the King's Daughter 143
Amor Intellectualis 145
Santa Decca 146
A Vision 147
Impression de Voyage 148
The Grave of Shelley 149
By the Arno 150
IMPRESSIONS DE THEATRE:
Fabien dei Franchi 155
Phedre 156
Sonnets written at the Lyceum Theatre
I. Portia 157
II. Queen Henrietta Maria 158
III. Camma 159
PANTHEA 161
THE FOURTH MOVEMENT:
Impression: Le Reveillon 175
At Verona 176
Apologia 177
Quia Multum Amavi 179
Silentium Amoris 180
Her Voice 181
My Voice 183
Taedium Vitae 184
HUMANITAD 185
FLOWER OF LOVE:
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