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? The Project Gutenberg EBook of The Collected Works in Verse and Prose of
William Butler Yeats, Vol. 6 (of 8), by William Butler Yeats

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Title: The Collected Works in Verse and Prose of William Butler Yeats, Vol. 6 (of 8)
Ideas of Good and Evil

Author: William Butler Yeats

Release Date: August 5, 2015 [EBook #49613]

Language: English

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THE COLLECTED WORKS OF WILLIAM BUTLER YEATS




IDEAS OF GOOD AND EVIL
BEING THE SIXTH VOLUME OF
THE COLLECTED WORKS IN
VERSE & PROSE OF WILLIAM
BUTLER YEATS :: IMPRINTED
AT THE SHAKESPEARE HEAD
PRESS STRATFORD-ON-AVON
MCMVIII


LONDON:
CHAPMAN & HALL
LIMITED




CONTENTS


PAGE

WHAT IS 'POPULAR POETRY'? 1

SPEAKING TO THE PSALTERY 13

MAGIC 23

THE HAPPIEST OF THE POETS 55

THE PHILOSOPHY OF SHELLEY'S POETRY 71

AT STRATFORD-ON-AVON 111

WILLIAM BLAKE AND THE IMAGINATION 131

WILLIAM BLAKE AND HIS ILLUSTRATIONS TO THE
'DIVINE COMEDY' 138

SYMBOLISM IN PAINTING 176

THE SYMBOLISM OF POETRY 185

THE THEATRE 200

THE CELTIC ELEMENT IN LITERATURE 210

THE AUTUMN OF THE BODY 230

THE MOODS 238

THE BODY OF THE FATHER CHRISTIAN ROSENCRUX 240

THE RETURN OF ULYSSES 243

IRELAND AND THE ARTS 249

THE GALWAY PLAINS 259

EMOTION OF MULTITUDE 264




WHAT IS 'POPULAR POETRY'?


I THINK it was a Young Ireland Society that set my mind running on
'popular poetry. ' We used to discuss everything that was known to us
about Ireland, and especially Irish literature and Irish history. We
had no Gaelic, but paid great honour to the Irish poets who wrote in
English, and quoted them in our speeches. I could have told you at that
time the dates of the birth and death, and quoted the chief poems, of
men whose names you have not heard, and perhaps of some whose names I
have forgotten. I knew in my heart that the most of them wrote badly,
and yet such romance clung about them, such a desire for Irish poetry
was in all our minds, that I kept on saying, not only to others but
to myself, that most of them wrote well, or all but well. I had read
Shelley and Spenser and had tried to mix their styles together in a
pastoral play which I have not come to dislike much, and yet I do not
think Shelley or Spenser ever moved me as did these poets. I thought
one day--I can remember the very day when I thought it--'If somebody
could make a style which would not be an English style and yet would
be musical and full of colour, many others would catch fire from him,
and we would have a really great school of ballad poetry in Ireland.
If these poets, who have never ceased to fill the newspapers and the
ballad-books with their verses, had a good tradition they would write
beautifully and move everybody as they move me. ' Then a little later on
I thought, 'If they had something else to write about besides political
opinions, if more of them would write about the beliefs of the people
like Allingham, or about old legends like Ferguson, they would find
it easier to get a style. ' Then, with a deliberateness that still
surprises me, for in my heart of hearts I have never been quite certain
that one should be more than an artist, that even patriotism is more
than an impure desire in an artist, I set to work to find a style and
things to write about that the ballad writers might be the better.

They are no better, I think, and my desire to make them so was, it may
be, one of the illusions Nature holds before one, because she knows
that the gifts she has to give are not worth troubling about. It is for
her sake that we must stir ourselves, but we would not trouble to get
out of bed in the morning, or to leave our chairs once we are in them,
if she had not her conjuring bag. She wanted a few verses from me, and
because it would not have seemed worth while taking so much trouble
to see my books lie on a few drawing-room tables, she filled my head
with thoughts of making a whole literature, and plucked me out of the
Dublin art schools where I should have stayed drawing from the round,
and sent me into a library to read bad translations from the Irish,
and at last down into Connaught to sit by turf fires. I wanted to
write 'popular poetry' like those Irish poets, for I believed that all
good literatures were popular, and even cherished the fancy that the
Adelphi melodrama, which I had never seen, might be good literature,
and I hated what I called the coteries. I thought that one must write
without care, for that was of the coteries, but with a gusty energy
that would put all straight if it came out of the right heart. I had
a conviction, which indeed I have still, that one's verses should
hold, as in a mirror, the colours of one's own climate and scenery in
their right proportion; and, when I found my verses too full of the
reds and yellows Shelley gathered in Italy, I thought for two days of
setting things right, not as I should now by making rhythms faint
and nervous and filling my images with a certain coldness, a certain
wintry wildness, but by eating little and sleeping upon a board. I felt
indignant with Matthew Arnold because he complained that somebody,
who had translated Homer into a ballad measure, had tried to write
epic to the tune of Yankee Doodle. It seemed to me that it did not
matter what tune one wrote to, so long as that gusty energy came often
enough and strongly enough. And I delighted in Victor Hugo's book
upon Shakespeare, because he abused critics and coteries and thought
that Shakespeare wrote without care or premeditation and to please
everybody. I would indeed have had every illusion had I believed in
that straightforward logic, as of newspaper articles, which so tickles
the ears of the shopkeepers; but I always knew that the line of Nature
is crooked, that, though we dig the canal beds as straight as we can,
the rivers run hither and thither in their wildness.

From that day to this I have been busy among the verses and stories
that the people make for themselves, but I had been busy a very little
while before I knew that what we call popular poetry never came from
the people at all. Longfellow, and Campbell, and Mrs. Hemans, and
Macaulay in his _Lays_, and Scott in his longer poems are the poets
of the middle class, of people who have unlearned the unwritten
tradition which binds the unlettered, so long as they are masters of
themselves, to the beginning of time and to the foundation of the
world, and who have not learned the written tradition which has been
established upon the unwritten. I became certain that Burns, whose
greatness has been used to justify the littleness of others, was in
part a poet of the middle class, because though the farmers he sprang
from and lived among had been able to create a little tradition of
their own, less a tradition of ideas than of speech, they had been
divided by religious and political changes from the images and emotions
which had once carried their memories backward thousands of years.
Despite his expressive speech which sets him above all other popular
poets, he has the triviality of emotion, the poverty of ideas, the
imperfect sense of beauty of a poetry whose most typical expression is
in Longfellow. Longfellow has his popularity, in the main, because he
tells his story or his idea so that one needs nothing but his verses
to understand it. No words of his borrow their beauty from those that
used them before, and one can get all that there is in story and
idea without seeing them as if moving before a half-faded curtain
embroidered with kings and queens, their loves and battles and their
days out hunting, or else with holy letters and images of so great
antiquity that nobody can tell the god or goddess they would commend
to an unfading memory. Poetry that is not popular poetry presupposes,
indeed, more than it says, though we, who cannot know what it is to be
disinherited, only understand how much more, when we read it in its
most typical expressions, in the _Epipsychidion_ of Shelley, or in
Spenser's description of the gardens of Adonis, or when we meet the
misunderstandings of others. Go down into the street and read to your
baker or your candlestick-maker any poem which is not popular poetry.
I have heard a baker, who was clever enough with his oven, deny that
Tennyson could have known what he was writing when he wrote 'Warming
his five wits, the white owl in the belfry sits,' and once when I read
out Omar Khayyam to one of the best of candlestick-makers, he said,
'What is the meaning of "we come like water and like wind we go"? ' Or
go down into the street with some thought whose bare meaning must be
plain to everybody; take with you Ben Jonson's 'Beauty like sorrow
dwelleth everywhere,' and find out how utterly its enchantment depends
on an association of beauty with sorrow which written tradition has
from the unwritten, which had it in its turn from ancient religion; or
take with you these lines in whose bare meaning also there is nothing
to stumble over, and find out what men lose who are not in love with
Helen.

'Brightness falls from the air,
Queens have died young and fair,
Dust hath closed Helen's eye. '

I pick my examples at random, for I am writing where I have no books to
turn the pages of, but one need not go east of the sun or west of the
moon in so simple a matter.

On the other hand, when Walt Whitman writes in seeming defiance of
tradition, he needs tradition for his protection, for the butcher and
the baker and the candlestick-maker grow merry over him when they meet
his work by chance.
Nature, which cannot endure emptiness, has made
them gather conventions which cannot disguise their low birth though
they copy, as from far off, the dress and manners of the well-bred and
the well-born. The gatherers mock all expression that is wholly unlike
their own, just as little boys in the street mock at strangely-dressed
people and at old men who talk to themselves.

There is only one kind of good poetry, for the poetry of the coteries,
which presupposes the written tradition, does not differ in kind
from the true poetry of the people, which presupposes the unwritten
tradition. Both are alike strange and obscure, and unreal to all who
have not understanding, and both, instead of that manifest logic,
that clear rhetoric of the 'popular poetry,' glimmer with thoughts
and images whose 'ancestors were stout and wise,' 'anigh to Paradise'
'ere yet men knew the gift of corn. ' It may be that we know as little
of their descent as men knew of 'the man born to be a king' when they
found him in that cradle marked with the red lion crest, and yet we
know somewhere in the heart that they have been sung in temples, in
ladies' chambers, and our nerves quiver with a recognition they were
shaped to by a thousand emotions. If men did not remember or half
remember impossible things, and, it may be, if the worship of sun and
moon had not left a faint reverence behind it, what Aran fisher-girl
would sing--

'It is late last night the dog was speaking of you; the snipe was
speaking of you in her deep marsh. It is you are the lonely bird
throughout the woods; and that you may be without a mate until you find
me.

'You promised me and you said a lie to me, that you would be before me
where the sheep are flocked. I gave a whistle and three hundred cries
to you; and I found nothing there but a bleating lamb.

'You promised me a thing that was hard for you, a ship of gold under a
silver mast; twelve towns and a market in all of them, and a fine white
court by the side of the sea.

'You promised me a thing that is not possible; that you would give me
gloves of the skin of a fish; that you would give me shoes of the skin
of a bird, and a suit of the dearest silk in Ireland.

'My mother said to me not to be talking with you, to-day or to-morrow
or on Sunday. It was a bad time she took for telling me that, it was
shutting the door after the house was robbed. . . .

'You have taken the east from me, you have taken the west from me, you
have taken what is before me and what is behind me; you have taken the
moon, you have taken the sun from me, and my fear is great you have
taken God from me. '

The Gael of the Scottish islands could not sing his beautiful song
over a bride, had he not a memory of the belief that Christ was the
only man who measured six feet and not a little more or less, and was
perfectly shaped in all other ways, and if he did not remember old
symbolical observances--

I bathe thy palms
In showers of wine,
In the cleansing fire,
In the juice of raspberries,
In the milk of honey.

* * * * *

Thou art the joy of all joyous things,
Thou art the light of the beam of the sun,
Thou art the door of the chief of hospitality,
Thou art the surpassing pilot star,
Thou art the step of the deer of the hill,
Thou art the step of the horse of the plain,
Thou art the grace of the sun rising,
Thou art the loveliness of all lovely desires.

The lovely likeness of the Lord
Is in thy pure face,
The loveliest likeness that was upon earth.

I soon learned to cast away one other illusion of 'popular poetry. ' I
learned from the people themselves, before I learned it from any book,
that they cannot separate the idea of an art or a craft from the idea
of a cult with ancient technicalities and mysteries. They can hardly
separate mere learning from witchcraft, and are fond of the words and
verses that keep half their secret to themselves. Indeed, it is certain
that before the counting-house had created a new class and a new art
without breeding and without ancestry, and set this art and this class
between the hut and the castle, and between the hut and the cloister,
the art of the people was as closely mingled with the art of the
coteries as was the speech of the people that delighted in rhythmical
animation, in idiom, in images, in words full of far-off suggestion,
with the unchanging speech of the poets.

Now I see a new generation in Ireland which discusses Irish literature
and history in Young Ireland societies, and societies with newer names,
and there are far more than when I was a boy who would make verses for
the people. They have the help, too, of a vigorous journalism, and this
journalism sometimes urges them to desire the direct logic, the clear
rhetoric, of 'popular poetry. ' It sees that Ireland has no cultivated
minority, and it does not see, though it would cast out all English
things, that its literary ideal belongs more to England than to other
countries. I have hope that the new writers will not fall into its
illusion, for they write in Irish, and for a people the counting-house
has not made forgetful. Among the seven or eight hundred thousand who
have had Irish from the cradle, there is, perhaps, nobody who has not
enough of the unwritten tradition to know good verses from bad ones, if
he have enough mother-wit. Among all that speak English in Australia,
in America, in Great Britain, are there many more than the ten thousand
the prophet saw, who have enough of the written tradition education has
set in room of the unwritten to know good verses from bad ones, even
though their mother-wit has made them Ministers of the Crown or what
you will? Nor can things be better till that ten thousand have gone
hither and thither to preach their faith that 'the imagination is the
man himself,' and that the world as imagination sees it is the durable
world, and have won men as did the disciples of Him who

His seventy disciples sent
Against religion and government.

1901.




SPEAKING TO THE PSALTERY.


I

I HAVE always known that there was something I disliked about singing,
and I naturally dislike print and paper, but now at last I understand
why, for I have found something better. I have just heard a poem spoken
with so delicate a sense of its rhythm, with so perfect a respect for
its meaning, that if I were a wise man and could persuade a few people
to learn the art I would never open a book of verses again. A friend,
who was here a few minutes ago, has sat with a beautiful stringed
instrument upon her knee, her fingers passing over the strings, and
has spoken to me some verses from Shelley's _Skylark_ and Sir Ector's
lamentation over the dead Launcelot out of the _Morte d' Arthur_ and
some of my own poems. Wherever the rhythm was most delicate, wherever
the emotion was most ecstatic, her art was the most beautiful, and yet,
although she sometimes spoke to a little tune, it was never singing,
as we sing to-day, never anything but speech. A singing note, a word
chanted as they chant in churches, would have spoiled everything; nor
was it reciting, for she spoke to a notation as definite as that of
song, using the instrument which murmured sweetly and faintly, under
the spoken sounds, to give her the changing notes. Another speaker
could have repeated all her effects, except those which came from her
own beautiful voice that would have given her fame if the only art that
gives the speaking voice its perfect opportunity were as well known
among us as it was known in the ancient world.


II

Since I was a boy I have always longed to hear poems spoken to a harp,
as I imagined Homer to have spoken his, for it is not natural to enjoy
an art only when one is by oneself. Whenever one finds a fine verse
one wants to read it to somebody, and it would be much less trouble
and much pleasanter if we could all listen, friend by friend, lover
by beloved. Images used to rise up before me, as I am sure they have
arisen before nearly everybody else who cares for poetry, of wild-eyed
men speaking harmoniously to murmuring wires while audiences in
many-coloured robes listened, hushed and excited. Whenever I spoke of
my desire to anybody they said I should write for music, but when
I heard anything sung I did not hear the words, or if I did their
natural pronunciation was altered and their natural music was altered,
or it was drowned in another music which I did not understand. What
was the good of writing a love-song if the singer pronounced love,
'lo-o-o-o-o-ve,' or even if he said 'love,' but did not give it its
exact place and weight in the rhythm? Like every other poet, I spoke
verses in a kind of chant when I was making them, and sometimes, when
I was alone on a country road, I would speak them in a loud chanting
voice, and feel that if I dared I would speak them in that way to
other people. One day I was walking through a Dublin street with the
Visionary I have written about in _The Celtic Twilight_, and he began
speaking his verses out aloud with the confidence of those who have
the inner light. He did not mind that people stopped and looked after
him even on the far side of the road, but went on through poem after
poem. Like myself, he knew nothing of music, but was certain that he
had written them to a manner of music, and he had once asked somebody
who played on a wind instrument of some kind, and then a violinist,
to write out the music and play it. The violinist had played it,
or something like it, but had not written it down; but the man with
the wind instrument said it could not be played because it contained
quarter-tones and would be out of tune. We were not at all convinced
by this, and one day, when we were staying with a Galway friend who is
a learned musician, I asked him to listen to our verses, and to the
way we spoke them. The Visionary found to his surprise that he did
not make every poem to a different tune, and to the surprise of the
musician that he did make them all to two quite definite tunes, which
are, it seems, like very simple Arabic music. It was, perhaps, to some
such music, I thought, that Blake sang his _Songs of Innocence_ in Mrs.
Williams' drawing-room, and perhaps he, too, spoke rather than sang. I,
on the other hand, did not often compose to a tune, though I sometimes
did, yet always to notes that could be written down and played on my
friend's organ, or turned into something like a Gregorian hymn if one
sang them in the ordinary way. I varied more than the Visionary, who
never forgot his two tunes, one for long and one for short lines,
and could not always speak a poem in the same way, but always felt
that certain ways were right, and that I would know one of them if I
remembered the way I first spoke the poem. When I got to London I gave
the notation, as it had been played on the organ, to the friend who has
just gone out, and she spoke it to me, giving my words a new quality by
the beauty of her voice.


III

Then we began to wander through the wood of error; we tried speaking
through music in the ordinary way under I know not whose evil
influence, until we got to hate the two competing tunes and rhythms
that were so often at discord with one another, the tune and rhythm
of the verse and the tune and rhythm of the music. Then we tried,
persuaded by somebody who thought quarter-tones and less intervals
the especial mark of speech as distinct from singing, to write out
what we did in wavy lines. On finding something like these lines in
Tibetan music, we became so confident that we covered a large piece
of pasteboard, which now blows up my fire in the morning, with a
notation in wavy lines as a demonstration for a lecture; but at last
Mr. Dolmetsch put us back to our first thought. He made us a beautiful
instrument half psaltery half lyre which contains, I understand, all
the chromatic intervals within the range of the speaking voice; and he
taught us to regulate our speech by the ordinary musical notes.

Some of the notations he taught us--those in which there is no lilt, no
recurring pattern of sounds--are like this notation for a song out of
the first Act of _The Countess Cathleen_.

It is written in the old C clef, which is, I am told, the most
reasonable way to write it, for it would be below the stave on the
treble clef or above it on the bass clef. The central line of the stave
corresponds to the middle C of the piano; the first note of the poem
is therefore D. The marks of long and short over the syllables are not
marks of scansion, but show the syllables one makes the voice hurry or
linger over.

[Illustration: Music]

Impetuous heart, be still, be still;
Your sorrowful love may never be told;
Cover it with a lonely tune
He who could bend all things to his will
Has covered the door of the infinite fold
With the pale stars and the wandering moon

One needs, of course, a far less complicated notation than a singer,
and one is even permitted slight modifications of the fixed note when
dramatic expression demands it and the instrument is not sounding. The
notation which regulates the general form of the sound leaves it free
to add a complexity of dramatic expression from its own incommunicable
genius which compensates the lover of speech for the lack of complex
musical expression. Ordinary speech is formless, and its variety is
like the variety which separates bad prose from the regulated speech
of Milton, or anything that is formless and void from anything that has
form and beauty. The orator, the speaker who has some little of the
great tradition of his craft, differs from the debater very largely
because he understands how to assume that subtle monotony of voice
which runs through the nerves like fire.

Even when one is speaking to a single note sounded faintly on the
Psaltery, if one is sufficiently practised to speak on it without
thinking about it one can get an endless variety of expression. All
art is, indeed, a monotony in external things for the sake of an
interior variety, a sacrifice of gross effects to subtle effects, an
asceticism of the imagination. But this new art, new in modern life
I mean, will have to train its hearers as well as its speakers, for
it takes time to surrender gladly the gross effects one is accustomed
to, and one may well find mere monotony at first where one soon learns
to find a variety as incalculable as in the outline of faces or in
the expression of eyes. Modern acting and recitation have taught us
to fix our attention on the gross effects till we have come to think
gesture and the intonation that copies the accidental surface of life
more important than the rhythm; and yet we understand theoretically
that it is precisely this rhythm that separates good writing from
bad, that it is the glimmer, the fragrance, the spirit of all intense
literature. I do not say that we should speak our plays to musical
notes, for dramatic verse will need its own method, and I have hitherto
experimented with short lyric poems alone; but I am certain that, if
people would listen for a while to lyrical verse spoken to notes, they
would soon find it impossible to listen without indignation to verse
as it is spoken in our leading theatres. They would get a subtlety of
hearing that would demand new effects from actors and even from public
speakers, and they might, it may be, begin even to notice one another's
voices till poetry and rhythm had come nearer to common life.

I cannot tell what changes this new art is to go through, or to what
greatness or littleness of fortune; but I can imagine little stories in
prose with their dialogues in metre going pleasantly to the strings.
I am not certain that I shall not see some Order naming itself from
the Golden Violet of the Troubadours or the like, and having among its
members none but well-taught and well-mannered speakers who will keep
the new art from disrepute. They will know how to keep from singing
notes and from prosaic lifeless intonations, and they will always
understand, however far they push their experiments, that poetry and
not music is their object; and they will have by heart, like the Irish
_File_, so many poems and notations that they will never have to bend
their heads over the book to the ruin of dramatic expression and of
that wild air the bard had always about him in my boyish imagination.
They will go here and there speaking their verses and their little
stories wherever they can find a score or two of poetical-minded people
in a big room, or a couple of poetical-minded friends sitting by the
hearth, and poets will write them poems and little stories to the
confounding of print and paper. I, at any rate, from this out mean to
write all my longer poems for the stage, and all my shorter ones for
the Psaltery, if only some strong angel keep me to my good resolutions.

1902.




MAGIC.


I

I BELIEVE in the practice and philosophy of what we have agreed to call
magic, in what I must call the evocation of spirits, though I do not
know what they are, in the power of creating magical illusions, in the
visions of truth in the depths of the mind when the eyes are closed;
and I believe in three doctrines, which have, as I think, been handed
down from early times, and been the foundations of nearly all magical
practices. These doctrines are--

(1) That the borders of our minds are ever shifting, and that many
minds can flow into one another, as it were, and create or reveal a
single mind, a single energy.

(2) That the borders of our memories are as shifting, and that our
memories are a part of one great memory, the memory of Nature herself.

(3) That this great mind and great memory can be evoked by symbols.

I often think I would put this belief in magic from me if I could,
for I have come to see or to imagine, in men and women, in houses, in
handicrafts, in nearly all sights and sounds, a certain evil, a certain
ugliness, that comes from the slow perishing through the centuries of a
quality of mind that made this belief and its evidences common over the
world.


II

Some ten or twelve years ago, a man with whom I have since quarrelled
for sound reasons, a very singular man who had given his life to
studies other men despised, asked me and an acquaintance, who is now
dead, to witness a magical work. He lived a little way from London,
and on the way my acquaintance told me that he did not believe in
magic, but that a novel of Bulwer Lytton's had taken such a hold upon
his imagination that he was going to give much of his time and all his
thought to magic. He longed to believe in it, and had studied though
not learnedly, geomancy, astrology, chiromancy, and much cabalistic
symbolism, and yet doubted if the soul outlived the body. He awaited
the magical work full of scepticism. He expected nothing more than an
air of romance, an illusion as of the stage, that might capture the
consenting imagination for an hour. The evoker of spirits and his
beautiful wife received us in a little house, on the edge of some kind
of garden or park belonging to an eccentric rich man, whose curiosities
he arranged and dusted, and he made his evocation in a long room that
had a raised place on the floor at one end, a kind of dais, but was
furnished meagrely and cheaply. I sat with my acquaintance in the
middle of the room, and the evoker of spirits on the dais, and his wife
between us and him. He held a wooden mace in his hand, and turning to a
tablet of many-coloured squares, with a number on each of the squares,
that stood near him on a chair, he repeated a form of words. Almost
at once my imagination began to move of itself and to bring before me
vivid images that, though never too vivid to be imagination, as I had
always understood it, had yet a motion of their own, a life I could
not change or shape. I remember seeing a number of white figures, and
wondering whether their mitred heads had been suggested by the mitred
head of the mace, and then, of a sudden, the image of my acquaintance
in the midst of them. I told what I had seen, and the evoker of spirits
cried in a deep voice, 'Let him be blotted out,' and as he said it the
image of my acquaintance vanished, and the evoker of spirits or his
wife saw a man dressed in black with a curious square cap standing
among the white figures. It was my acquaintance, the seeress said, as
he had been in a past life, the life that had moulded his present,
and that life would now unfold before us. I too seemed to see the man
with a strange vividness. The story unfolded itself chiefly before
the mind's eye of the seeress, but sometimes I saw what she described
before I heard her description. She thought the man in black was
perhaps a Fleming of the sixteenth century, and I could see him pass
along narrow streets till he came to a narrow door with some rusty
ironwork above it. He went in, and wishing to find out how far we had
one vision among us, I kept silent when I saw a dead body lying upon
the table within the door. The seeress described him going down a long
hall and up into what she called a pulpit, and beginning to speak. She
said, 'He is a clergyman, I can hear his words. They sound like Low
Dutch. ' Then after a little silence, 'No, I am wrong. I can see the
listeners; he is a doctor lecturing among his pupils. ' I said, 'Do you
see anything near the door? ' and she said, 'Yes, I see a subject for
dissection. ' Then we saw him go out again into the narrow streets, I
following the story of the seeress, sometimes merely following her
words, but sometimes seeing for myself. My acquaintance saw nothing; I
think he was forbidden to see, it being his own life, and I think could
not in any case. His imagination had no will of its own. Presently the
man in black went into a house with two gables facing the road, and up
some stairs into a room where a hump-backed woman gave him a key; and
then along a corridor, and down some stairs into a large cellar full of
retorts and strange vessels of all kinds. Here he seemed to stay a long
while, and one saw him eating bread that he took down from a shelf. The
evoker of spirits and the seeress began to speculate about the man's
character and habits, and decided, from a visionary impression, that
his mind was absorbed in naturalism, but that his imagination had been
excited by stories of the marvels wrought by magic in past times, and
that he was trying to copy them by naturalistic means. Presently one of
them saw him go to a vessel that stood over a slow fire, and take out
of the vessel a thing wrapped up in numberless cloths, which he partly
unwrapped, showing at length what looked like the image of a man made
by somebody who could not model. The evoker of spirits said that the
man in black was trying to make flesh by chemical means, and though he
had not succeeded, his brooding had drawn so many evil spirits about
him, that the image was partly alive. He could see it moving a little
where it lay upon a table. At that moment I heard something like little
squeals, but kept silent, as when I saw the dead body. In a moment more
the seeress said, 'I hear little squeals. ' Then the evoker of spirits
heard them, but said, 'They are not squeals; he is pouring a red liquid
out of a retort through a slit in the cloth; the slit is over the mouth
of the image and the liquid is gurgling in rather a curious way. ' Weeks
seemed to pass by hurriedly, and somebody saw the man still busy in
his cellar. Then more weeks seemed to pass, and now we saw him lying
sick in a room up-stairs, and a man in a conical cap standing beside
him. We could see the image too. It was in the cellar, but now it could
move feebly about the floor. I saw fainter images of the image passing
continually from where it crawled to the man in his bed, and I asked
the evoker of spirits what they were. He said, 'They are the images
of his terror. ' Presently the man in the conical cap began to speak,
but who heard him I cannot remember. He made the sick man get out of
bed and walk, leaning upon him, and in much terror till they came to
the cellar. There the man in the conical cap made some symbol over
the image, which fell back as if asleep, and putting a knife into the
other's hand he said, 'I have taken from it the magical life, but you
must take from it the life you gave. ' Somebody saw the sick man stoop
and sever the head of the image from its body, and then fall as if he
had given himself a mortal wound, for he had filled it with his own
life. And then the vision changed and fluttered, and he was lying sick
again in the room up-stairs. He seemed to lie there a long time with
the man in the conical cap watching beside him, and then, I cannot
remember how, the evoker of spirits discovered that though he would in
part recover, he would never be well, and that the story had got abroad
in the town and shattered his good name. His pupils had left him and
men avoided him. He was accursed. He was a magician.

The story was finished, and I looked at my acquaintance. He was white
and awestruck. He said, as nearly as I can remember, 'All my life I
have seen myself in dreams making a man by some means like that. When
I was a child I was always thinking out contrivances for galvanizing
a corpse into life. ' Presently he said, 'Perhaps my bad health in
this life comes from that experiment. ' I asked if he had read
_Frankenstein_, and he answered that he had. He was the only one of us
who had, and he had taken no part in the vision.


III

Then I asked to have some past life of mine revealed, and a new
evocation was made before the tablet full of little squares. I cannot
remember so well who saw this or that detail, for now I was interested
in little but the vision itself. I had come to a conclusion about the
method. I knew that the vision may be in part common to several people.

A man in chain armour passed through a castle door, and the seeress
noticed with surprise the bareness and rudeness of castle rooms. There
was nothing of the magnificence or the pageantry she had expected.
The man came to a large hall and to a little chapel opening out of
it, where a ceremony was taking place. There were six girls dressed
in white, who took from the altar some yellow object--I thought it was
gold, for though, like my acquaintance, I was told not to see, I could
not help seeing. Somebody else thought that it was yellow flowers, and
I think the girls, though I cannot remember clearly, laid it between
the man's hands. He went out after a time, and as he passed through
the great hall one of us, I forget whom, noticed that he passed over
two gravestones. Then the vision became broken, but presently he stood
in a monk's habit among men-at-arms in the middle of a village reading
from a parchment. He was calling villagers about him, and presently
he and they and the men-at-arms took ship for some long voyage. The
vision became broken again, and when we could see clearly they had
come to what seemed the Holy Land. They had begun some kind of sacred
labour among palm-trees. The common men among them stood idle, but the
gentlemen carried large stones, bringing them from certain directions,
from the cardinal points I think, with a ceremonious formality. The
evoker of spirits said they must be making some kind of masonic house.
His mind, like the minds of so many students of these hidden things,
was always running on masonry and discovering it in strange places.

We broke the vision that we might have supper, breaking it with some
form of words which I forget. When supper had ended the seeress cried
out that while we had been eating they had been building, and they
had built not a masonic house but a great stone cross. And now they
had all gone away but the man who had been in chain armour and two
monks we had not noticed before. He was standing against the cross,
his feet upon two stone rests a little above the ground, and his arms
spread out. He seemed to stand there all day, but when night came he
went to a little cell, that was beside two other cells. I think they
were like the cells I have seen in the Aran Islands, but I cannot be
certain. Many days seemed to pass, and all day every day he stood upon
the cross, and we never saw anybody there but him and the two monks.
Many years seemed to pass, making the vision flutter like a drift of
leaves before our eyes, and he grew old and white-haired, and we saw
the two monks, old and white-haired, holding him upon the cross. I
asked the evoker of spirits why the man stood there, and before he had
time to answer I saw two people, a man and a woman, rising like a dream
within a dream, before the eyes of the man upon the cross. The evoker
of spirits saw them too, and said that one of them held up his arms and
they were without hands. I thought of the two grave-stones the man in
chain mail had passed over in the great hall when he came out of the
chapel, and asked the evoker of spirits if the knight was undergoing a
penance for violence, and while I was asking him, and he was saying
that it might be so but he did not know, the vision, having completed
its circle, vanished.

It had not, so far as I could see, the personal significance of the
other vision, but it was certainly strange and beautiful, though I
alone seemed to see its beauty. Who was it that made the story, if it
were but a story? I did not, and the seeress did not, and the evoker
of spirits did not and could not. It arose in three minds, for I
cannot remember my acquaintance taking any part, and it rose without
confusion, and without labour, except the labour of keeping the mind's
eye awake, and more swiftly than any pen could have written it out.
It may be, as Blake said of one of his poems, that the author was in
eternity. In coming years I was to see and hear of many such visions,
and though I was not to be convinced, though half convinced once or
twice, that they were old lives, in an ordinary sense of the word
life, I was to learn that they have almost always some quite definite
relation to dominant moods and moulding events in this life. They are,
perhaps, in most cases, though the vision I have but just described was
not, it seems, among the cases, symbolical histories of these moods and
events, or rather symbolical shadows of the impulses that have made
them, messages as it were out of the ancestral being of the questioner.

At the time these two visions meant little more to me, if I can
remember my feeling at the time, than a proof of the supremacy of
imagination, of the power of many minds to become one, overpowering one
another by spoken words and by unspoken thought till they have become a
single intense, unhesitating energy. One mind was doubtless the master,
I thought, but all the minds gave a little, creating or revealing for a
moment what I must call a supernatural artist.


IV

Some years afterwards I was staying with some friends in Paris. I had
got up before breakfast and gone out to buy a newspaper. I had noticed
the servant, a girl who had come from the country some years before,
laying the table for breakfast. As I had passed her I had been telling
myself one of those long foolish tales which one tells only to oneself.
If something had happened that had not happened, I would have hurt my
arm, I thought. I saw myself with my arm in a sling in the middle of
some childish adventures. I returned with the newspaper and met my host
and hostess in the door. The moment they saw me they cried out, 'Why,
the _bonne_ has just told us you had your arm in a sling. We thought
something must have happened to you last night, that you had been run
over maybe'--or some such words. I had been dining out at the other end
of Paris, and had come in after everybody had gone to bed. I had cast
my imagination so strongly upon the servant that she had seen it, and
with what had appeared to be more than the mind's eye.

One afternoon, about the same time, I was thinking very intently of
a certain fellow-student for whom I had a message, which I hesitated
about writing. In a couple of days I got a letter from a place some
hundreds of miles away where that student was. On the afternoon when
I had been thinking so intently I had suddenly appeared there amid a
crowd of people in a hotel and as seeming solid as if in the flesh. My
fellow-student had seen me, but no one else, and had asked me to come
again when the people had gone. I had vanished, but had come again
in the middle of the night and given the message. I myself had no
knowledge of casting an imagination upon one so far away.

I could tell of stranger images, of stranger enchantments, of
stranger imaginations, cast consciously or unconsciously over as
great distances by friends or by myself, were it not that the greater
energies of the mind seldom break forth but when the deeps are
loosened. They break forth amid events too private or too sacred for
public speech, or seem themselves, I know not why, to belong to hidden
things. I have written of these breakings forth, these loosenings of
the deep, with some care and some detail, but I shall keep my record
shut.