was before I am breathing
without eyes, floating, rooted
bloody with outcry who
was before I am a singing
ground, wormy-dark, alight
aloud with leaves, eyes and
gardeners, the last plants I grew who
uplifted you who
was before I am?
GOD
Who is before you now!
I grasp all ground, mother.
The gardeners you grew were common men, a brood
too silly and shapeless to be any good
outside my state, which has made them new.
They cannot remember being born by you.
They are my image now. I am who
they all want to obey, or if not obey, be.
EARTH
Not Prometheus.
GOD
Yes, Prometheus! Punishment is changing him into a cracked mirror of me.
There is a sudden terrible cry of pain. Two great birds with dripping beaks fly out of the cleft between the earth’s breasts. Light enters it and shows the crucified Prometheus, a strong man of middle age with a bleeding wound in his side. Though smaller than his mother he is a giant to the God who stands high above him and declares that this is the end of the titan who made men, and made them hard to govern, by giving them hope of better life. The great mother, with a touch of passion, tells God that though he is supreme he is also very new, and his state will perish one day, like all states, and only Prometheus knows how. God does not deny this. He says he has a lot of work to do and will reconsider the case of Prometheus when he has more time. He turns and goes down behind the earth’s head. The cloud closes over her. Prometheus, twisting his face up, asks the gods on the ridge to tell him the present state of mankind. They sing a chorus describing the passage of over two thousand years. Men combine into rich empires by many submitting to a few. They discover the world is vaster than they thought, and add new realms to tyranny. Liberators are born who create new religions and states, and the rulers of the world take these over and continue to tighten their grip. At last human cunning grasps, not just the world but the moon and the adjacent planets, yet half mankind dies young from bad feeding, and young courage and talent is still warped and killed by warfare. The controllers of the world fear the people under them as much as each other, and are prepared to defend their position by destroying mankind and the earth which bore them. This is the final state to which we have been brought by cunning without foresight. Prometheus cries out, “This cannot last!” From the middle of her cloud this cry is repeated by the great mother, then by the chorus and orchestra, and then (the cloud clearing) by God himself, who stands on the height with his arms flung sideways in a gesture which resembles the crucified Prometheus. God is also now a middle-aged man. He walks down from the height, sits on the edge of the cleft and tries to engage Prometheus in friendly conversation. He is sorry he punished Prometheus so harshly and promises not to set vultures on him again. When he came to power he had to be harsh, to keep control. People needed strong government, in those days, to drag them out of the idiocy of rural life. But the whole world now belongs to the city states. He is sure Prometheus knows that neither of them is completely good or completely bad, and have a lot to give each other. If they cooperate they can save mankind. He asks Prometheus for the secret of the force which will destroy him. Prometheus asks to be released first. God is sorry, but he cannot release Prometheus. If he did Prometheus would seize power.
GOD
I am not the stark power who chained you here.
I am softened by what you endured, while my laws
have made you a hard reflection of the tyrant I once was.
It cannot be right to enthrone
a killing revenge the world should have outgrown,
or if right, then right will make greater wrong.
PROMETHEUS
It is right to give back what you stole — liberty.
You see me as I am. You cannot see
who I will become when I am free.
Why do you think I will kill?
GOD
Your every glance threatens me terrible ill.
PROMETHEUS
I am in pain! My illness, the illness you dread, is yours, is you!
GOD
Then endure my terrible nature!
I must endure it too.
(God has lost his temper. Prometheus laughs bitterly.)
PROMETHEUS
At last you unmask, old man
and show what you are again:
the ruler of a kingdom kept by pain.
All history has added nothing to you
but a mad wish to be pitied for what you do.
I paused. My woman said, “What happens then?” I said, “I cannot imagine.”
She started laughing. I said, “To end happily my play needs a new character, someone we have already seen, without much interest, in the chorus, or even audience. The action until now is between a man, a big woman, and another man. To strike a balance the fourth character must be a woman. She is a new wisdom who will unite our imprisoned intelligence with the productive earth, reducing government from a form of mastery to a form of service. She is sensuous, for both governments and rebels keep asking us to crush our senses in order to gain an ultimate victory which never arrives. But she is not disorderly, not a beatnik, not careless. She is living proof that when our senses are freed from fear our main desire is to make the world a good home for everyone. I cannot conceive such a heroine. Can you conceive her? Could we conceive her together?” My woman looked thoughtful then said slowly, “I am qualified to assist you. I have been a daughter and a mother, a victim and a tyrant. I saw my father torment his wife into her grave. I have driven a man to suicide, or very nearly. I know how love heats and warps us, but I feel there is still hope for me, and the world.”
I said, “That indicates a kind of balance.” “I have climbed mountains in Scotland and Germany. I have swum underground rivers in the Auvergne.”
I said, “That also indicates balance, but a balance of extremes. The tension you feel must be nearly unbearable. We must connect the extremes where you squander so much energy with the centre where my knowledge lies chained and stagnant.”
Her mouth and eyes opened wide, she raised her chin and gazed upward like the Pythoness on the tripod when Apollo enters her. For nearly a minute she became pure priestess. Then her gaze shrank, descended and focussed on the table where my great, droll, attentive head rested sideways on my folded arms. A look of incredulity came upon her face. I had never before seemed to her so improbably grotesque. She pretended to glance at her wristwatch, saying, “Excuse me, I must go.”
“May I write to you, madam? A literary collaboration is perhaps best prosecuted by letter.”
“Yes.”
“Your address?”
“I don’t know – I am moving elsewhere, I don’t know where yet. I have many arrangements to make. Leave your letters with the management here. I will find a way to collect them.”
I said, “Good,” and achieved a smile. She arose, came to my side and hesitated. I signalled by a small headshake that condescension would be unwelcome. She turned and hurried out. I sat perfectly still, attending to the beaks of the vultures tearing at my liver. They had never felt so sharp. The manageress came over and asked if I felt well? I grinned at her and nodded repeatedly until she went away.
After that I waited. I could do almost nothing else. Study was impossible, sleep difficult. I addressed to her a parcel of worknotes for Prometheus Unbound and it lay on the zinc beside the till, but I was always sitting nearby for I wanted not to leave the only place where I might see her again. I waited a day, a week, three weeks. I was dozing over my book and glass one afternoon when I grew conscious of her talking to the manageress. She seemed to have been doing it for some time. They frowned, nodded, glanced towards me, shrugged and smiled. I was very confused and prayed God that when she sat facing
me I would be calm and firm. She patted the manageress’s arm and walked straight out through the door. I screamed her name, scrambled down from the chair, charged into the crowded street and ran screaming to the right, banging against knees, treading on feet and sometimes trodden on. Not seeing her I turned and ran to the left. As I passed the café door I was seized and lifted, yes, lifted up by one who held her face to mine so that our noses touched, and whispered, “Mister Pollard, this conduct does you no good. I have a letter.”
I became very icy and hissed, “Put me down, madam.”
I should have asked to be taken home. I could suddenly hardly walk. I got to my table and opened the letter, noticing that my parcel lay uncollected beside the till.
My dear friend,
I no longer wish to be a poet. It requires an obsessional balancing of tiny phrases and meanings, an immersion in language which seems to me a kind of cowardice. As a man and poet I can respect you but only because you are also a dwarf For people of ordinary health and height, with a clear view of the world and a wish to do well, it is a waste of time making signboards pointing to the good and bad things in life. If we do not personally struggle towards good and fight the bad, people will merely praise or denounce our signs and go on living as usual. I must make my own life the book where people read what I believe. I decided this years ago when I became a socialist, but I still grasped, like a cuddly toy, my wish to be a poet. That wish came from the dwarfish part of me, the frightened lonely child who hoped that a DECLARATION would bring the love of mother earth, the respect of daddy god, the admiration of the million sisters and brothers who normally do not care if I live or die. Your critical letter had an effect you did not intend. It showed me that my declarations are futile. It has taken a while for the message to sink in. I am grateful to you, but also very bitter. I cannot be completely logical.
My sweet, you are the cleverest, most deluded man I ever met. Rewriting PROMETHEUS UNBOUND is like rewriting GENESIS, it can be done but who needs it? It is just another effort to put good wine in a filthy old bottle. I was touched when you poured over me your adolescent enthusiasm for ancient Athens but I also wanted to laugh or vomit. I am educated. I have been to Greece. I have stood on the Acropolis facing the Erichtheon and can tell you that Greece represents:
men against women
war „ peace
business ,, play
intellect ,, emotions
authority ,, anarchy
hierarchy ,, equality
discipline ,, sensuality
property-inheritance ,, sexuality
patriarchy ,, everything
Yet you see civilization as an unfinished story the Athenians started and which a few well-chosen words will help to a satisfactory finish! You are wrong. The best state in the world was that primitive matriarchy which the Athenians were foremost in dismantling. Men were happy and peaceful when women ruled them, but so naturally wicked that they turned our greatest strength (motherhood) into weakness by taking advantage of it and enslaving us. Men have made hell of the world ever since and are now prepared to destroy all life in it rather than admit they are wrong. Masculine foresight cannot help our civilization because it is travelling backward. Even our enemies realize this. In the last fifty years they have driven us to the brink of the dark age. The rational Greek foundation of things has been unbuilt, unlearned. And you did not notice! My poor dwarf you are the last nineteenth-century romantic liberal. That is why a corrupt government wishes to make you a national institution.
Which brings me, beloved, to what you really want from me: cunt. In your eyes it probably looks like an entrance to the human race. Believe me, you are human enough without. No good was ever done by those who thought sexual pleasure a goal in life. I speak from experience. I divorced a perfectly nice husband who could only give me that stultifying happiness, that delicious security which leads to nothing but more of itself But if you require that delight you can have it by merely relaxing. As a national institution — a blend of tribal totempole and pampered baby – you are ringed by admirers you have so far had the sense and courage to ignore. Weaken, enjoy your fame and get all the breasts you want: except mine. When I first spoke to you I accused you of impersonating a dead man. That was jealousy speaking. I admired you then and I regret I unhinged you so easily. I did not want to do that. I love you, but in a way you cannot perceive and I cannot enjoy. So I also hate you.
I am a monster. The cutting words I write cut my heart too. I am under unusual strain. I am about to do something difficult and big which, if discovered, will end my freedom forever. My friends will think me insane, an unstable element, a traitor if they learn I have told you this. But you love me and deserve to know what I am leaving you for, and I do trust you, my teacher, my liberator.
Adieu.
Is printing the above letter for the world to read a betrayal of her trust? Is a secret police computer, as a result of this story, stamping the card of every female, blonde, brown-eyed, snub-nosed poet with a number which means suspect political crime investigate? No. This story is a poem, a wordgame. I am not a highly literate French dwarf, my lost woman is not a revolutionary writer manque, my details are fictions, only my meaning is true and I must make that meaning clear by playing the wordgame to the bitter end.
Having read the letter I sat holding it, feeling paralysed, staring at the words until they seemed dark stains on a white surface like THIS one, like THIS one. I was broken. She had made me unable to bear loneliness. And though we had only met twice I had shown the world that women could approach me. I sat at the table, drinking, I suppose, and in the evening a girl sat opposite and asked what I thought of de Gaulle’s latest speech? I asked her to inform me of it. Later we were joined by another girl and a young man, students, all of them. It seemed we were on the brink of revolution. I ordered wine. Said the young man, “Tomorrow we will not protest, we will occupy!”
“You must come with us, Mister Pollard!” cried the girls, who were very excited. I agreed and laughed and bought more wine, then grew enraged and changed my position. I quoted Marx to support de Gaulle and Lenin to condemn the students. The uselessness of discourse became so evident that at last I merely howled like a dog and grew unconscious. And awoke with a bad headache, in darkness, beside a great soft cleft cliff: the bum of my manageress. I had been conveyed into her bed. I was almost glad.
In the morning she said, “Mister Pollard, you know I have been a widow for seven months.”
I said nothing. She said, “Some years ago you made to me certain detailed proposals which, as a respectable, newly-married, very young woman I could not entertain. What you suggested then is now perfectly possible. Of course, we must first marry.”
Lucie, you have made me need you, or if not you, someone. Lucie, if you do not return I must fall forever into her abyss. Lucie, she makes me completely happy, but only in the dark. Oh Lucie Lucie Lucie save me from her. The one word this poem exists to clarify is lonely. I am Prometheus.
I am lonely.
* M. Pollard clearly wishes to consign to oblivion his translation of Carlyle’s French Revolution into heroic Alexandrines, published privately at Dijon in 1927.
*An insult to the home of the Academie Francaise.
*Charles de Gaulle, with no declared political programme, was ruler of France.
THE END OF THE AXLETREE
The emperor died, and his tomb was built in the centre of the capital city, then enlarged to enclose everything he had wanted. His suggestions for the name were also adopted. The inhabiters called it the work, outsiders called it the axletree. People travelling there saw it for a fortnight before arriving and I speak of the work itself, not the pillar of cloud overhead, creamy-gold on bright days, thunder-black on dull ones, and flickering with reflected orange light in the hours of darkness. As the traveller drew near, the huge solitary bulk so filled his mind that sometimes he grew frightened and turned back before seeing the canals and merchant navies entering the artificial s
ea around the foundation. The roads bridged this by viaducts sloping up to market-gallery-level, a full mile above sea-level, yet rising so easily that blind travellers thought they were flat. It was a safe structure in those days and foreign kings bought shares in it as a way of banking their wealth. The construction company became the government of the empire – our emperors dropped their ancient title and were known as company chairmen. The first of these was a man of simple tastes who had a farm near the top of the work where he grew his own vegetables. He liked to feel he did not need the earth below, but everyone else in the axletree was fed off that. People in the nearest provinces usually looked thin and glum. It must also have been very depressing to live where half the world bent up to shut you out. Dwellers in remoter provinces saw us as a steep-sided mountain on the horizon, but to insiders we were not one thing but many: our living rooms and the rooms of friends, some connecting galleries lined with shops and parkland, the offices where we calculated or the scaffolding where we laboured. The simplest thing we knew was the world spread below like a map. Merchants, soldiers and tax-collectors had to visit that. Most of us were luckier.
Not everyone inside the great work was happy there. When the structure was repaired the masons found odd cavernous spaces full of mummified bodies. These had been slaves who died while putting the building up. They were buried this way because it did not interrupt the labour, and because the founding emperor wanted everyone who worked on his tomb to end up inside. But the re-opened crypts held signs of life: rough tables with winestains and cheap candlesticks on them, and there were gaps in the surrounding stonework just big enough to admit people on their hands and knees. The police discovered that these crypts were used by a society of slaves, labourers and women who met there once a week to exchange subversive gossip. The society was co-operative. Members paid small sums to an agent who cooked them a communal meal and guarded their articles of association. These articles set out the wildest hopes of uneducated people in the language of company law. They said:
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