by W. B. Yeats
XLVII
I have been talking of the literary element in painting with Miss E- -- G--- and turning over the leaves of Binyon’s book on Eastern Painting, in which he shows how traditional, how literary that is. The revolt against the literary element in painting was accompanied by a similar revolt in poetry. The doctrine of what the younger Hallam called the Aesthetic School was expounded in his essay on Tennyson, and when I was a boy the unimportance of subject was a canon. A French poet had written of girls taking lice out of a child’s hair. Henley was supposed to have founded a new modern art in the ‘hospital poems’, though he would not have claimed this. Hallam argued that poetry was the impression on the senses of certain very sensitive men. It was such with the pure artists, Keats and Shelley, but not so with the impure artists who, like Wordsworth, mixed up popular morality with their work. I now see that the literary element in painting, the moral element in poetry, are the means whereby the two arts are accepted into the social order and become a part of life and not things of the study and the exhibition. Supreme art is a traditional statement of certain heroic and religious truths, passed on from age to age, modified by individual genius, but never abandoned. The revolt of individualism came because the tradition had become degraded, or rather because a spurious copy had been accepted in its stead. Classical morality---not quite natural in Christianized Europe--- dominated this tradition at the Renaissance, and passed from Milton to Wordsworth and to Arnold, always growing more formal and empty until it became a vulgarity in our time---just as classical forms passed on from Raphael to the Academicians. But Anarchic revolt is coming to an end, and the arts are about to restate the traditional morality. A great work of art, the Ode to a Nightingale not less than the Ode to Duty, is as rooted in the early ages as the Mass which goes back to savage folk-lore. In what temple garden did the nightingale first sing?
XLVIII
No art can conquer the people alone---the people are conquered by an ideal of life upheld by authority. As this ideal is rediscovered, the arts, music and poetry, painting and literature, will draw closer together.
XLIX
The Abbey Theatre will fail to do its full work because there is no accepted authority to explain why the more difficult pleasure is the nobler pleasure. The fascination of the National Movement for me in my youth was, I think, that it seemed to promise such authority.
One cannot love a nation struggling to realize itself without an idea of that nation as a whole being present in our mind. One could always appeal to that idea in the mind of others. National spirit is, for the present, dying, because the influence of the Nation newspaper, which first gave popular expression to that idea in English, has passed away. Kincora, which should have certain poems and traditions to help it, and at its first production caused so much excitement, rouses now but slight interest, while H---’s plays grow more and more popular. H--- alone requires nothing but his own thought.
L
I cry continually against my life. I have sleepless nights, thinking of the time that I must take from poetry---last night I could not sleep---and yet, perhaps, I must do all these things that I may set myself into a life of action and express not the traditional poet but that forgotten thing, the normal active man.
LI
We require a new statement of moral doctrine, which shall be accepted by the average man, but be at the same time beyond his power in practice. Classical morality in its decay became an instrument in the hands of commonplace energy to overthrow distinguished men. A true system of morals is from the first a weapon in the hands of the most distinguished. The Catholic Church created a system only possible for saints, hence its prolonged power. Its definition of the good was narrow, but it did not set out to make shopkeepers. A lofty morality should be tolerant, for none declare its laws but those worn out with its warfare, and they must pity sinners. Besides, it must needs take a personal form in their minds and give to those minds the timidity of discoverers, not less than the courtesy of soldiers.
LII
A few days ago my sister Lolly dreamed that she saw three dead bodies on a bed. One had its face to the wall, one had a pink mask like a child’s toy mask, and before she could look at the third, somebody put a mask on that too. While she was looking at them the body with its face to the wall suddenly moved. The same night J--- dreamed that she saw three very long funerals and that she saw what she thought a body on a bed. She thought it the body of a brother of hers who had died lately. She lay down on the bed by it, and it suddenly moved. The same night my sister Lily dreamed that she had received three telegrams.
LIII
There is a dying-out of national feeling very simple in its origin. You cannot keep the idea of a nation alive where there are no national institutions to reverence, no national success to admire, without a model of it in the mind of the people. You can call it ‘Cathleen ni Houlihan’ or the ‘Shan van Voght’ in a mood of simple feeling, and love that image, but for the general purposes of life you must have a complex mass of images, something like an architect’s model. The Young Ireland poets created a mass of obvious images that filled the minds of the young---Wolfe Tone, King Brian, Emmet, Owen Roe, Sarsfield, the Fisherman of Kinsale---answered the traditional slanders on Irish character and entered so into the affections that it followed men on to the scaffold. The ethical ideas implied were of necessity very simple, needing neither study nor unusual gifts for their understanding. Our own movement thought to do the same thing in a more profound and therefore more enduring way. When I was twenty- five or twenty-six I planned a Legende des Siecles of Ireland that was to set out with my Wanderings of Oisin, and show something of every century. Lionel Johnson’s work and, later, Lady Gregory’s, carried on the dream in a different form; and I did not see, until Synge began to write, that we must renounce the deliberate creation of a kind of Holy City in the imagination, and express the individual. The Irish people were not educated enough to accept images more profound, more true to human nature, than the schoolboy thoughts of Young Ireland. You can only create a model of a race to inspire the action of that race as a whole, apart from exceptional individuals, when you and it share the same simple moral understanding of life. Milton and Shakespeare inspire the active life of England, but they do it through exceptional individuals. Having no understanding of life that we can teach to others, we must not seek to create a school. Could we create a vision of the race as noble as that of Sophocles and of Aeschylus, it would be attacked upon some trivial ground by minds that prefer Young Ireland rhetoric, or the obvious sentiment of popular English literature, a few Irish thoughts and feelings added for conscience’ sake.
Meanwhile, the need of a model of the nation, of some moral diagram, is as great as in the early nineteenth century, when national feeling was losing itself in a religious feud over tithes and emancipation. Neither the grammars of the Gaelic League nor the industrialism of the Leader, nor the Sinn Fein attacks upon the Irish Party, give sensible images to the affections. Yet in the work of Lady Gregory, of Synge, of O’Grady, of Lionel Johnson, in my own work, a school of journalists with simple moral ideas could find right building material to create a historical and literary nationalism as powerful as the old and nobler. That done, they could bid the people love and not hate.
LIV
Nobody running at full speed has either a head or a heart.
LV
I told my sister that I was to spend the night in the K--- Street haunted house. She said, ‘O, I know about that house. I saw a furniture-van there one day and furniture going in, and ten days after, the house was empty again; and somebody I know was passing by in the early morning and saw an old woman on a window-sill, clinging to the sash. She was the caretaker. The ghost had driven her out and there was a policeman trying to get her down. But the pious Protestants say that there is no ghost or anything but the young novices in the Convent opposite “screaming in the night-time”.’
THE END
THE DEATH OF SYNGE EXTRACTS F
ROM A DIARY KEPT IN 1909
I
Why does the struggle to come at truth take away our pity, and the struggle to overcome our passions restore it again?
II
National feeling could be roused again if some man of good education-if a Catholic, he should have been educated outside Ireland-gathered about him a few men like himself, and founded a new Nation newspaper, forbidding it all personal attacks, all arguments that assume a base motive in an opponent, and choosing for its national policy, not what seems most desirable in the abstract, but such policy as may stir the imagination and yet gather to its support the greatest possible number of educated men. Ireland is ruined by abstractions, and should prefer what may seem a worse policy if it gathers better men. So long as all is ordered for attack, and that alone, leaders will instinctively increase the number of enemies that they may give their followers something to do, and Irish enemies rather than English because they are the more easily injured. The greater the enemy, the greater the hatred, and therefore the greater seems the power. They would give a nation the frenzy of a sect. A sign that this method, powerful in the time of Parnell, no longer satisfies the nation is that parties are drifting into the hands of feebler and more ignorant men.
III
The education of our Irish secondary schools, especially the Catholic schools, substitutes pedantry for taste. Men learn the dates of writers, the external facts of masterpieces, and not sense of style or feeling for life. I have met no young man out of these schools who has not been injured by the literature and the literary history learned there. The arts have nothing to give but that joy of theirs which is the other side of sorrow, that exhausting contemplation: and in youth before habits have been formed---unless our teachers be wise men---we turn from it to pedantry, which opens to the mind a kind of sensual ease. The young Catholic men and women who have not been through the secondary schools are upon the other hand more imaginative than Protestant boys and girls of the same age. Catholic secondary education destroys, I think, much that the Catholic religion gives. Provincialism destroys the nobility of the Middle Ages.
IV
March 17.
As I go to and from my bedroom, here at Coole, I pass a wall covered with Augustus John’s etchings and drawings. I notice a woman with strongly marked shoulder-blades and a big nose, and a pencil drawing called Epithalamium. In the Epithalamium an ungainly, ill-grown boy holds out his arms to a tall woman with thin shoulders and a large stomach. Near them is a vivid etching of a woman with the same large stomach and thin shoulders. There is not one of these fifty or sixty clerks and seamstresses and students that has not been broken by labour or wasted by sedentary life. A gymnast would find in all something to amend; and the better he mended the more would those bodies, as with the voice of Durer, declare that ancient canon discovered in the Greek gymnasium, which, whenever present in painting or sculpture, shows a compact between the artist and society. John is not interested in the social need, in the perpetual thirst for greater health, but in character, in the revolt from all that makes one man like another. The old art, if carried to its logical conclusion, would have led to the creation of one single type of man, one single type of woman; gathering up by a kind of deification a capacity for all energy and all passion, into a Krishna, a Christ, a Dionysus; and at all times a poetical painter, a Botticelli, a Rossetti, creates as his supreme achievement one type of face, known afterwards by his name. The new art can create innumerable personalities, but in each of these the capacity for passion has been sacrificed to some habit of body or of mind. That woman with the big shoulder-blades has, for instance, a nature too keen, too clever for any passion, with the cleverness of people who cannot rest, and that young lad with his arms spread out will sink back into disillusionment and exhaustion after the brief pleasure of a passion which is in part curiosity. Some limiting environment or idiosyncrasy is displayed; man is studied as an individual fact, and not as that energy which seems measureless and hates all that is not itself. It is a powerful but prosaic art, celebrating the ‘fall into division’ not the ‘resurrection into unity’. Did not even Balzac, who looked at the world so often with similar eyes, find it necessary to deny character to his great ladies and young lovers that he might give them passion? What beautiful woman delights us by her look of character? That shows itself when beauty is gone, being the creation of habit, the bare stalk when the flower of spring has withered. Beauty consumes character with what Patmore calls ‘the integrity of fire’.
It is this lack of the capacity for passion which makes women dislike the schools of characterization, and makes the modern artist despise woman’s judgment. Women, for the same reason, dislike pure comedy. How few women like Moliere!
Here at Coole my room is hung with Arundel prints from Botticelli, Benozzo Gozzoli, Giorgione, Mantegna and the Van Eycks. Here everywhere is the expression of desire, though in the Van Eycks the new interest has begun. All display bodies to please an amorous woman’s eyes or the eyes of a great King. The martyrs and saints even must show the capacity for all they have renounced.
V
These notes are morbid, but I heard a man of science say that all progress is at the outset pathological, and I write for my own good.
The pain others give passes away in their later kindness, but that of our own blunders, especially when they hurt our vanity, never passes away. Our own acts are isolated and one act does not buy absolution for another. They are always present before a strangely abstract judgment. We are never a unity, a personality to ourselves. Small acts of years ago are so painful in the memory that often we start at the presence a little below ‘the threshold of consciousness’ of a thought that remains unknown. It sheds a vague light like that of the moon before it rises, or after its setting. Vanity is so intimately associated with our spiritual identity that whatever hurts it, above all if it came from it, is more painful in the memory than serious sin, and yet I do not think it follows that we are very vain. The harm we do to others is lost in changing events and passes away and so is healed by time, unless it was very great. Looking back, I find only one offence which is as painful to me as a hurt to vanity. It was done to a man who died shortly after. Because of his death, it has not been touched by the transforming hand---tolerant Nature has not rescued it from Justice.
VI
I think that all happiness depends on the energy to assume the mask of some other self; that all joyous or creative life is a rebirth as something not oneself, something which has no memory and is created in a moment and perpetually renewed. We put on a grotesque or solemn painted face to hide us from the terrors of judgment, invent an imaginative Saturnalia where one forgets reality, a game like that of a child, where one loses the infinite pain of self-realization. Perhaps all the sins and energies of the world are but its flight from an infinite blinding beam.
VII
F--- is learning Gaelic. I would sooner see her in the Gaelic movement than in any Irish movement I can think of. I fear some new absorption in political opinion. Women, because the main event of their lives has been a giving themselves and giving birth, give all to an opinion as if it were some terrible stone doll. Men take up an opinion lightly and are easily false to it, and when faithful keep the habit of many interests. We still see the world, if we are of strong mind and body, with considerate eyes, but to women opinions become as their children or their sweethearts, and the greater their emotional capacity the more do they forget all other things. They grow cruel, as if in defence of lover or child, and all this is done for ‘something other than human life’. At last the opinion is so much identified with their nature that it seems a part of their flesh becomes stone and passes out of life. It was a part of F---’s power in the past that though she made this surrender with her mind, she kept the sweetness of her voice and much humour, and yet I am afraid. Women should have their play with dolls finished in childish happiness, for if they play with them again it is amid hatred and malice.
VIII
Women should find in the mask enough joy to forget the doll without regret. There is always a living face behind the mask.
IX
Last night at ‘The Theatre of Ireland’ I talked to the man next to me. ‘I have been to your theatre also’, he said. ‘I like your popular plays, The Suburban Groove and those plays by the Frenchman, I do not remember his name’ (evidently Moliere), ‘but I don’t like your mysteries.’ I thought he meant something of mine, as the word ‘mystery’ is a popular reproach since The Shadowy Waters, but I found he meant Kincora. I said, ‘Why do you find that mysterious?’ He said, ‘O, I know nothing about all that history’. I replied, ‘When I was young every Irish Nationalist young man knew as much about King Brian as about Saint Patrick’. He thought I was talking of the peasants and said he was afraid that sort of knowledge was dying out amongst them. He evidently thought it their business alone, like the rath and the blessed well.