Delphi Complete Works of Walter Pater

by Walter Pater

  In such condition of mind, how deeply, delightfully, must the poetry of Ronsard and his fellows have moved him, when he became aware, as from age to age inquisitive youth by good luck does become aware, of the literature of his own day, confirming — more than confirming — anticipation! Here was a poetry which boldly assumed the dress, the words, the habits, the very trick, of contemporary life, and turned them into gold. It took possession of the lily in one’s hand, and projecting it into a visionary distance, shed upon the body of the flower the soul of its beauty. Things were become at once more deeply sensuous and more deeply ideal. As at the touch of a wizard, something more came into the rose than its own natural blush. Occupied so closely with the visible, this new poetry had so profound an intuition of what can only be felt, and maintained that mood in speaking of such objects as wine, fruit, the plume in the cap, the ring on the finger. And still that was no dubious or generalised form it gave to flower or bird, but the exact pressure of the Jay at the window; you could count the petals, — of the exact natural number; no expression could be too faithful to the precise texture of things; words, too, must embroider, be twisted and spun, like silk or golden hair. Here were real people, in their real, delightful attire, and you understood how they moved; the visible was more visible than ever before, just because soul had come to its surface. The juice in the flowers, when Ronsard named them, was like wine or blood. It was such a coloured thing; though the grey things also, the cool things, all the fresher for the contrast — with a freshness, again, that seemed to touch and cool the soul — found their account there; the clangorous passage of the birds at night foretokening rain, the moan of the wind at the door, the wind’s self made visible over the yielding corn.

  It was thus Gaston understood the poetry of Ronsard, generously expanding it to the full measure of its intention. That poetry, too, lost its thaumaturgic power in turn, and became mere literature in exchange for life, partly in the natural revolution of poetic taste, partly for its faults. Faults and all, however, Gaston loyally accepted it; those faults — the lapse of grace into affectation, of learning into pedantry, of exotic fineness into a trick — counting with him as but the proof of faith to its own dominant positions. They were but characteristics, needing no apology with the initiated, or welcome even, as savouring of the master’s peculiarities of perfection. He listened, he looked round freely, but always now with the ear, the eye, of his favourite poet. It had been a lesson, a doctrine, the communication of an art, — the art of placing the pleasantly aesthetic, the welcome, elements of life at an advantage, in one’s view of it, till they seemed to occupy the entire surface; and he was sincerely grateful for an undeniable good service.

  And yet the gifted poet seemed but to have spoken what was already in Gaston’s own mind, what he had longed to say, had been just going to say; so near it came, that it had the charm of a discovery of one’s own. That was an illusion, perhaps; it was because the poet told one so much about himself, making so free a display of what though personal was very contagious; of his love-secrets especially, how love and nothing else filled his mind. He was in truth but “love’s secretary,” noting from hour to hour its minutely changing fortunes. Yes! that was the reason why visible, audible, sensible things glowed so brightly, why there was such luxury in sounds, words, rhythms, of the new light come on the world, of that wonderful freshness. With a masterly appliance of what was near and familiar, or again in the way of bold innovation, he found new words for perennially new things, and the novel accent awakened long-slumbering associations. Never before had words, single words, meant so much. What expansion, what liberty of heart, in speech: how associable to music, to singing, the written lines! He sang of the lark, and it was the lark’s voluble self. The physical beauty of humanity lent itself to every object, animate or inanimate, to the very hours and lapses and changes of time itself. An almost burdensome fulness of expression haunted the gestures, the very dress, the personal ornaments, of the people on the highway. Even Jacques Bonhomme at his labour, or idling for an hour, borrowed from his love, homely as it was, a touch of dignity or grace, and some secret of utterance, which made one think of Italy or Greece. The voice of the shepherd calling, the chatter of the shepherdess turning her spindle, seemed to answer, or wait for answer, — to be fragments of love’s ideal and eternal communing.

  It was the power of “modernity,” as renewed in every successive age for genial youth, protesting, defiant of all sanction in these matters, that the true “classic” must be of the present, the force and patience of present time. He had felt after the thing, and here it was, — the one irresistible poetry there had ever been, with the magic word spoken in due time, transforming his own age and the world about him, presenting its everyday touch, the very trick one knew it by, as an additional grace, asserting the latent poetic rights of the transitory, the fugitive, the contingent. Poetry need no longer mask itself in the habit of a bygone day: Gaston could but pity the people of bygone days for not being above-ground to read. Here, was a discovery, a new faculty, a privileged apprehension, to be conveyed in turn to one and to another, to be propagated for the imaginative regeneration of the world. It was a manner, a habit of thought, which would invade ordinary life, and mould that to its intention. In truth, all the world was already aware, and delighted. The “school” was soon to pay the penalty of that immediate acceptance, that intimate fitness to the mind of its own time, by sudden and profound neglect, as a thing preternaturally tarnished and tame, like magic youth, or magic beauty, turned in a moment by magic’s own last word into withered age. But then, to the liveliest spirits of that time it had seemed nothing less than “impeccable,” after the manner of the great sacred products of the past, though in a living tongue. Nay! to Gaston for one, the power of the old classic poetry itself was explained by the reflex action of the new, and might seem to justify its pretensions at last.

  From the poem fancy wandered to the poet, and curious youth would fain see the writer in person, — what a poet was like, with anxious surmises, this way and that, as to the degree in which the precious mental particles might be expected to have wrought up the outward presence to their own high quality. A creature of the eye, in this case at least, the intellectual hold on him being what it was, Gaston had no fear of disillusion. His poetic readings had borrowed an additional relish from the genial, companionable, manner of his life at this time, taking him into the remotest corners of the vast level land, and its outer ring of blue up-lands; amid which, as he rode one day with “the three,” towards perfectly new prospects, he had chanced on some tangible rumour of the great poet’s present abode. The hill they had mounted at leisure, in talk with a village priest, dropped suddenly upon a vague tract of wood and pasture, with a dark ridge beyond towards the south-west; and the black notch, which broke its outline against the mellow space of evening light, was the steeple of the priory of Croix-val, of which reverend body Pierre de Ronsard, although a layman, was, by special favour of King Charles, Superior.

  Though a formal peace was come, though the primary movers of war had taken hands or kissed each other, and were exchanging suspicious courtesies, yet the unquiet temper of war was still abroad everywhere, with an after-crop of miserable incidents. The captainless national and mercenary soldiers were become in large number thieves or beggars, and the peasant’s hand sank back to the tame labour of the plough reluctantly. Relieved a little by the sentimental humour of the hour, lending, as Ronsard prompted, a poetic and always amorous interest to everything around him, poor Gaston’s very human soul was vexed nevertheless at the spectacle of the increased hardness of human life, with certain misgivings from time to time at the contrast of his own luxurious tranquillity. The homeless woman suckling her babe at the roadside, the grey-beard hasting before the storm, the tattered fortune-teller who, when he shook his head at her proposal to “read his hand,” assured him (perhaps with some insight into his character) “You do that” — you shake your head, negatively— “too
much!” these, and the like, might count as fitting human accidents in an impassioned landscape picture. And his new imaginative culture had taught him to value “surprises” in nature itself; the quaint, exciting charm of the mistletoe in the wood, of the blossom before the leaf, the cry of passing birds at night. Nay! the most familiar details of nature, its daily routine of light and darkness, beset him now with a kind of troubled and troubling eloquence. The rain, the first streak of dawn, the very sullenness of the sky, had a power, only to be described by saying that they seemed to be moral facts.

  On his way at last to gaze on the abode of the new hero or demi-god of poetry, Gaston perceives increasingly, as another excellence of his verse, how truthful, how close it is to the minute fact of the scene around; as there are pleasant wines which, expressing the peculiar quality of their native soil, lose their special pleasantness away from home. The physiognomy of the scene was changed; the plain of La Beauce had ruffled itself into low green hills and gently winding valleys, with clear, quick water, and fanciful patches of heath and wood-land. Here and there a secular oak tree maintained a solitude around it. It was the district of the “little river Loir” — the Vendomois; and here, in its own country, the new poetry, notwithstanding its classic elegance, might seem a native wild flower, modest enough.

  He came riding with his companions towards evening along the road which had suddenly abandoned its day-long straightness for wanton curves and ascents; and there, as an owl on the wing cried softly, beyond the tops of the spreading poplars was the west front, silver-grey, and quiet, inexpressibly quiet, with its worn, late- gothic “flamings” from top to bottom, as full of reverie to Gaston’s thinking as the enchanted castle in a story-book. The village lay thinly scattered around the wide, grass-grown space; below was the high espaliered garden-wall, and within it, visible through the open doors, a gaunt figure, hook-nosed, like a wizard, at work with the spade, too busily to turn and look. Or was it that he did not hear at all the question repeated thrice: — Could one see His Reverence the Prior, at least in his convent church? “You see him” was the answer, as a face, all nerve, distressed nerve, turned upon them not unkindly, the vanity of the great man aware and pleasantly tickled. The unexpected incident had quickened a prematurely aged pulse, and in reward for their good service the young travellers were bidden carry their equipment, not to the village inn, but to the guest- chamber of the half-empty priory. The eminent man of letters, who had been always an enthusiastic gardener, though busy just now not with choice flowers but with salutary kitchen-stuff, working indeed with much effort, to counteract the gout, was ready enough in his solitude to make the most of chance visitors, especially youthful ones. A bell clanged; he laid aside the spade, and casting an eye at the whirling weather-vanes announced that it would snow. There had been no “sunset.” They had travelled away imperceptibly from genial afternoon into a world of ashen evening.

  The enemies of the lay Prior, satirists literary and religious, falsely made a priest of him, a priest who should have sacrificed a goat to pagan Bacchus. And in truth the poet, for a time a soldier, and all his life a zealous courtier, had always been capable, as a poet should be, of long-sustained meditation, adapting himself easily enough to the habits of the “religious,” following attentively the choir-services in their church, of which he was a generous benefactor, and to which he presently proceeded for vespers. Gaston and “the three” sat among the Brethren, tempting curious eyes, in the stalls of the half-lighted choir, while in purple cope and jaunty biretta the lay Prior “assisted,” his confidentiaire, or priestly substitute, officiating at the altar. The long, sad, Lenten office over, an invitation to supper followed, for Ronsard still loved, in his fitful retirements at one or another of his numerous benefices, to give way to the chance recreation of flattering company, and these gay lads’ enthusiasm for his person was obvious. And as for himself, the great poet, with his bodily graces and airs of court, had always possessed the gift of pleasing those who encountered him.

  The snow was falling now in big, slow flakes, a great fire blazing under the chimney with its cipher and enigmatic motto, as they sat down to the leek-soup, the hard eggs, and the salad grown and gathered by their host’s own hands. The long stone passages through which they passed from church, with the narrow brown doors of the monks’ dormitories one after another along the white-washed wall, made the coquetries of the Prior’s own distant apartment all the more reassuring. You remembered that from his ninth year he had been the pet of princesses, the favourite of kings. Upon the cabinets, chests, book-cases, around, were ranged the souvenirs received from various royal persons, including three kings of France, the fair Queen of Scots, Elizabeth of England; and the conversation fell to, and was kept going by, the precious contents of the place where they were sitting, the books printed and bound as they had never been before — books which meant assiduous study, the theory of poetry with Ronsard always accompanying its practice — delicate things of art, which beauty had handled or might handle, the pictured faces on the walls, in their frames of reeded ebony or jewelled filigree. There was the Minerva, decreed him at a conference of the elegant, pedantic “Jeux Floraux,” which had proclaimed Pierre de Ronsard “Prince of Poets.” The massive silver image Ronsard had promptly offered to his patron King Charles; but in vain, for, though so greatly in want of ready-money that he melted down church ornaments and exacted “black” contributions from the clergy, one of the things in which Charles had ever been sincere was a reverence for literature.

  So there it stood, doing duty for Our Lady, with gothic crown and a fresh sprig of consecrated box, bringing the odd, enigmatic physiognomy, preferred by the art of that day, within the sphere of religious devotion. The King’s manuscript, declining, in verse really as good as Ronsard’s, the honour not meant for him, might be read, attached to the pedestal. The ladies of his own verse, Marie, Cassandre, and the rest, idols one after another of a somewhat artificial and for the most part unrequited love, from the Angevine maiden — La petite pucelle Angevine — who had vexed his young soul by her inability to yield him more than a faint Platonic affection, down to Helen, to whom he had been content to propose no other, gazed, more impassibly than ever, from the walls.

  They might have been sisters, those many successive loves, or one and the same lady over and over again, in slightly varied humour and attire perhaps, at the different intervals of some rather lengthy, mimetic masque of love, to which the theatrical dress of that day was appropriate; for the mannered Italian, or Italianised, artists, including the much-prized, native Janet, with his favourite water- green backgrounds, aware of the poet’s predilection, had given to all alike the same brown eyes and tender eyelids and golden hair and somewhat ambered paleness, varying only the curious artifices of the dress — knots, and nets, and golden spider-work, and clear, flat stones. Dangerous guests in that simple, cloistral place, Sibyls of the Renaissance on a mission from Italy to France, to Gaston one and all seemed under the burden of some weighty message concerning a world unknown to him; the stealthy lines of cheek and brow contriving to express it, while the lips and eyes only smiled, not quite honestly. It had been a learned love, with undissembled “hatred of the vulgar.” Three royal Margarets, much-praised pearls of three succeeding generations (for to the curious in these objects purity is far from being the only measure of value) asserted charms a thought more frank, or French, though still gracefully pedantic, with their quaintly kerchiefed books — books of what? — in their pale hands. Among the ladies, on the pictured wall as in life, were the poet’s male companions, stirring memories of a more material sort, though their common interest had been poetry — memories of that “Bohemia,” which even a prince of court poets had frequented when he was young, of his cruder youthful vanities. In some cases the date of death was inscribed below.