De Profundis Part 2

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 G.o.ds 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 a.s.sisi. But then G.o.d 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 a.s.ses, he did not know that a man of G.o.d 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 pa.s.sed 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 a.s.sisi 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, G.o.d 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 ent.i.tled 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 G.o.d'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 pa.s.sion, 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 v.a.g.i.n.a 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 n.o.ble 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 amus.e.m.e.nt. 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 s.p.a.ce 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, abas.e.m.e.nt, 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 ign.o.bly, and by such ign.o.ble 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, c.u.mbrous, 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 friends.h.i.+p 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 's.h.i.+rt of flame' may be looking on the face of G.o.d, but to him who is piling the f.a.ggots 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 gra.s.s with a scythe. Great pa.s.sions 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 friends.h.i.+p. 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 att.i.tude. They never chattered about sunsets, or discussed whether the shadows on the gra.s.s 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 sh.e.l.l, 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 pa.s.s into a prison for two years. Society, as we have const.i.tuted 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.