Delphi Complete Poetical Works of Algernon Charles Swinburne (Illustrated) (Delphi Poets Series)

by Algernon Charles Swinburne

  That nature felt thro’ all her pores the enormous revelry.

  Till morning oped her eastern gate;

  Then every one fled to his station; and Enitharmon wept.”

  But with the dawn of that morning Orc descended in fire, “and in the vineyards of red France appeared the light of his fury.” The revolution begins; all space groans; and lion and tiger are gathered together after their prey: the god of time arises as one out of a trance,

  “And with a cry that shook all nature to the utmost pole

  Called all his sons to the strife of blood.”

  Our study of the Europe might bring more profit if we could have genuine notes appended to the text as well as to the designs. Such worth or beauty as the poem has burns dim and looms distant by comparison; but there is in it more of either than we have here time or means to indicate. At least the prelude so strangely selected for citation and thrown loose upon the pages of the biography in so crude and inexplicable a manner, may now be seen to have some tangible or presumable sense. The spirit of Europe rises revealed in the advent of revolution, sick of time and travail; pleading with the mother-goddess, Cybele of this mythology; wrapping about her veils of water and garments of cloud, in vain; “the red sun and moon and all the overflowing stars rain down prolific pains.” Out of her overlaboured womb arise forms and forces of change, fugitive fires of wrath, sonorous shapes of fear; and they take substance in space, but bring to their mother no help or profit, no comfort or light; to the virgin daughter of America freedom has come and fruitful violence of love, but not to the European mother. She has no hope in all the infinity of space and time; “who shall bind the infinite with an eternal band, to compass it with swaddling bands?” By comparison of the two preludes the relations of the two kindred poems may be better understood: the one is plaintive as the voice of a world in pain, and decaying kingdom by kingdom; the other fierce and hopeful as the cry of a nation in travail, whose agony is not that of death, but rather that of birth.

  The First Book of Urizen is perhaps more shapeless and chaotic at a first glimpse than any other of these prose poems. Clouds of blood, shadows of horror, worlds without form and void, rise and mingle and wane in indefinite ways, with no special purpose or appreciable result. The myth here is of an active but unprolific God, warring with shapes of the wilderness, and at variance with the eternals: beaten upon by Time, who figures always in all his various shapes and actions as the saviour and friend of man. “Earth was not, nor globes of attraction; the will of the Immortal expanded or contracted at will his all-flexible senses. Death was not; but eternal life sprang.” (1. Urizen, ii. 1.) Urizen, the God of restraint, creator of prohibition, whose laws are forbearance and abstinence, is for ages divided from Eternity and at war with Time; “long periods in burning fires labouring, till hoary, and age-broken, and aged, in despair and the shadows of death.” (1. Urizen, iii. 6.) In time the formless God takes form, creating and assuming feature by feature; bones, heart, eyes, ears, nostrils, throat with tongue, hands with feet; an age of agony being allotted to each of the seven created features; still toiling in fire and beset by snares, which the Time-Spirit kindles and weaves to avert and destroy in its birth the desolate influence of the Deity who forbids and restrains. These transformations of Urizen make up some of Blake’s grandest and strangest prophetic studies. First the spinal skeleton, with branchwork of rib and savage nudity of joint and clavicle, shaped mammoth-wise, in grovelling involution of limb. In one copy at least these bones are touched with dim green and gold colour; such a faint fierce tint as one might look for on the cast scales or flakes of dragons left astrand in the ebb of a deluge. Next a huge fettered figure with blind shut eyes overflowing into tears, with convulsed mouth and sodden stream of beard: then bones painfully gathering flesh, twisted forms round which flames break out fourfold, tortured elemental shapes that plunge and writhe and moan. Until Time, divided against himself, brings forth Space, the universal eternal female element, called Pity among the gods, who recoil in fear from the dawn of human creation and division. Of these two divinities, called in the mythology Los and Enitharmon, is born the man-child Orc. “The dead heard the voice of the child and began to awake from sleep; all things heard the voice of the child and began to awake to life.” (vii. 5.) Here again we may spare a word or two for that splendid figure (p. 20) of the new-born child falling aslant through cloven fire that curls and trembles into spiral blossoms of colour and petals of feverish light. And the children of Urizen were Thiriel, born from cloud; Utha, from water; Grodna, from earth; Fuzon, “first-begotten, last-born,” from fire— “and his daughters from green herbs and cattle, from monsters and worms of the pit. He cursed both sons and daughters; for he saw that no flesh nor spirit could keep his iron laws one moment.” (viii. 3, 4.) Then from his sorrows for these his children begotten on the material body of nature, the web of religion begins to unwind and expand, “throwing out from his sorrowing soul, the dungeon-like heaven dividing” (viii. 6) — and the knotted meshes of the web to involve all races and cities. “The Senses inward rushed shrinking beneath the dark net of infection: till the shrunken eyes, clouded over, discerned not the woven hypocrisy; but the streaky slime in their heavens, brought together by narrowing perceptions, appeared transparent air; for their eyes grew small like the eyes of a man. Six days they shrank up from existence, and the seventh day they rested, and they blessed the seventh day, in sick hope; and forgot their eternal life.” (1. Urizen, ix. 1, 2, 3.) Hence grows the animal tyranny of gravitation, and hence also the spiritual tyranny of law; “they lived a period of years, then left a noisome body to the jaws of devouring darkness; and their children wept, and built tombs in the desolate places; and formed laws of prudence and called them the eternal laws of God.” (ix. 4, 5.) Seeing these his brethren degraded into life and debased into flesh, the son of the fire, Fuzon, called together “the remaining children of Urizen; and they left the pendulous earth: they called it Egypt, and left it. And the salt ocean rolled englobed.” (ix. 8, 9.) The freer and stronger spirits left the world of men to the dominion of earth and water; air and fire were withdrawn from them, and there were left only the heaviness of imprisoning clay and the bitterness of violent sea.

  This is a hurried and blotted sketch of the main myth, which is worth following up by those who would enter on any serious study of Blake’s work; all that is here indicated in dim hints being afterwards assumed as the admitted groundwork of later and larger myths. In this present book (and in it only) the illustrative work may be said almost to overweigh and stifle the idea illustrated. Strange semi-human figures, clad in sombre or in fiery flesh, racing through fire or sinking through water, allure and confuse the fancy of the student. Every page vibrates with light and colour; on none of his books has the artist lavished more noble profusion of decorative work. It is worth observing that while some copies are carefully numbered throughout “First Book,” in others the word “First” is erased from every leaf: as in effect the Second Book never was put forth under that title. Next year however the Book of Ahania came out — if one may say as much of a quarto of six leaves which has hardly yet emerged into sight of two or three readers. This we may take — or those may who please — to be the Second Book of Urizen. It is among the choicer spoils of Blake, not as yet cast into the public treasury; for the Museum has no copy, though possessing (in its blind confused way) duplicates of America, Albion, and Los. Some day, one must hope, there will at least be a complete accessible collection of Blake’s written works arranged in rational order for reference. Till the dawn of that day people must make what shift they can in chaos.

  In Ahania, though a fine and sonorous piece of wind-music, we have not found many separate notes worth striking. Formless as these poems may seem, it is often the floating final impression of power which makes them memorable and valuable, rather than any stray gleam of purple or glitter of pearl on the skirt. Thus the myth runs — to the best of its power; but the tether of it is but short.
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  Fuzon, born of the fiery part of the God of nature, in revolt against his father, divides him in twain as with a beam of fire; the desire of Urizen is separated from him; this divided soul, “his invisible lust,” he sees now as she is apart from himself, and calls Sin; seizes her on his mountains of jealousy; kisses and weeps over her, then casts her forth and hides her in cloud, in dumb distance of mysterious space; “jealous though she was invisible.” Divided from him, she turns to mere shadow “unseen, unbodied, unknown, the mother of Pestilence.” But the beam cast by Fuzon was light upon earth — light to “Egypt,” the house of bondage and place of captivity for the outcast human children of Urizen. Thus far the book floats between mere allegory and creative myth; not difficult however to trace to the root of its purport. From this point it grows, if not wilder in words, still mistier in build of limb and shape of feature. Fuzon, smitten by the bow of Urizen, seems to typify dimly the Christian or Promethean sacrifice; the revolted God or son of God, who giving to men some help or hope to enlighten them, is slain for an atonement to the wrath of his father: though except for the mythical sonship Prometheus would be much the nearer parallel. The bow, formed in secresy of the nerves of a slain dragon “scaled and poisonous-horned,” begotten of the contemplations of Urizen and destroyed by him in combat, must be another type, half conceived and hardly at all wrought out, of the secret and jealous law of introspective faith divided against itself and the god of its worship, but strong enough to smite the over-confident champion of men even in his time of triumph, when he “thought Urizen slain by his wrath: I am God, said he, eldest of things.” (II. 8.) Suddenly the judgment of the jealous wrath of God falls upon him; the rock hurled as an arrow “enters his bosom; his beautiful visage, his tresses that gave light to the mornings of heaven, were smitten with darkness. — But the rock fell upon the earth, Mount Sinai, in Arabia:” being indeed a type of the moral law of Moses, sent to destroy and suppress the native rebellious energies and active sins of men. Here one may catch fast hold of one thing — the identity of Blake’s “Urizen,” at least for this time, with the Deity of the earlier Hebrews; the God of the Law and Decalogue rather than of Job or the Prophets. “On the accursed tree of mystery” that shoots up under his heel from “tears and sparks of vegetation” fallen on the barren rock of separation, where “shrunk away from Eternals,” alienated from the ancient freedom of the first Gods or Titans, averse to their large and liberal laws of life, the jealous God sat secret — on the topmost stem of this tree Urizen “nailed the corpse of his first-begotten.” Thenceforward there fell upon the half-formed races of men sorrow only and pestilence, barren pain of unprofitable fruit and timeless burden of desire and disease. One need not sift the myth too closely; it would be like winnowing water and weighing cloud with scale or sieve. The two illustrations, it may here be said, are very slight — mere hints of a design, and merely touched with colour. In the frontispiece Ahania, divided from Urizen, floats upon a stream of wind between hill and cloud, with haggard limbs and straightened spectral hair; on the last leaf a dim Titan, wounded and bruised, lies among rocks flaked with leprous lichen and shaggy with bloodlike growths of weed and moss. One final glimpse we may take of Ahania after her division — the love of God, as it were, parted from God, impotent therefore and a shadow, if not rather a plague and blight; mercy severed from justice, and thus made a worse thing than useless. Such may be the hinted meaning, or at least some part of it; but the work, it must be said, holds by implication dim and great suggestions of something more than our analytic ingenuities can well unravel by this slow process of suggestion. Properly too Ahania seems rather to represent the divine generative desire or love, translated on earth into sexual expression; the female side of the creative power — mother of all things made.

  “The lamenting voice of Ahania weeping upon the void and round the Tree of Fuzon. Distant in solitary night her voice was heard, but no form had she; but her tears from clouds eternal fell round the Tree. And the voice cried ‘Ah Urizen! Love! Flower of morning! I weep on the verge of non-entity: how wide the abyss between Ahania and thee! I lie on the verge of the deep, I see thy dark clouds ascend; I see thy black forests and floods, a horrible waste to my eyes. Weeping I walk over the rocks, over dens, and through valleys of death. Why dost thou despise Ahania, to cast me from thy bright presence into the world of loneness? I cannot touch his hand; nor weep on his knees; nor hear his voice and bow; nor see his eyes and joy; nor hear his footsteps, and my heart leap at the lovely sound; I cannot kiss the place where his bright feet have trod: but I wander on the rocks with hard necessity. Where is my golden palace? where my ivory bed? where the joy of my morning hour? where the sons of eternity singing to awake bright Urizen my king to arise to the mountain sport, to the bliss of eternal valleys, to awake my king in the morn, to embrace Ahania’s joy on the breath of his open bosom; from my soft cloud of dew to fall in showers of life on his harvest? When he gave my happy soul to the sons of eternal joy; when he took the daughters of life into my chambers of love; when I found babes of bliss on my beds and bosoms of milk in my chambers, filled with eternal seed. O! eternal births sung round Ahania in interchange sweet of their joys; swelled with ripeness and fat with fatness, bursting in clouds my odours, my ripe figs and rich pomegranates, in infant joy at thy feet, O Urizen, sported and sang: then thou with thy lap full of seed, with thy hand full of generous fire, walkedst forth from the clouds of morning, on the virgins of springing joy, on the human soul, to cast the seed of eternal science. The sweat poured down thy temples, to Ahania returned in evening; the moisture awoke to birth my mother’s joys sleeping in bliss. But now alone over rocks, mountains — cast out from thy lovely bosom — cruel jealousy! selfish fear! self-destroying! how can delight renew in these chains of darkness, where bones of beasts are strewn on the bleak and snowy mountains, where bones from the birth are buried before they see the light?’” — Ahania, ch. v., v. 1-14.

  With the prolonged melody of this lament the Book of Ahania winds itself up; one of the most musical among this crowd of singing shadows. In the same year the last and briefest of this first prophetic series was engraved. The Song of Los, broken into two divisions headed Africa and Asia, has more affinity to Urizen and Ahania than to Europe and America. The old themes of delusion and perversion are once again rehandled; not without vigorous harmonies of choral expression. The illustrations are of special splendour, as though designed to atone for the lean and denuded form in which Ahania had been sent forth. In the frontispiece a grey old giant, clothed from the waist only with heavy raiment of livid and lurid white, bows down upon a Druid altar before the likeness of a darkened sun low-hung in heaven, filled with sombre and fiery forms of things, and shooting out upon each quarter a broad reflected ray like the reflection struck by sunlight from a broad bare sword-blade, but touched also, as with strange infection, with flakes of deadly colour that vibrate upon the starless solid ground of an intolerable night. Less of menace with more of sadness is in the landscape and sky on the title-page: a Titan, with one weighty hand lying on a gigantic skull, rests at the edge of a green sloping moor, himself seeming a grey fragment of moorland rock; brown fire of waste grass or rusted flower stains crag and bent all round him; the sky is all night and fire, bitter red and black. On the first page a serpent, splendid with blood-red specks and scales of greenish blue, darts the cloven flame of its tongue against a brilliant swarm of flies; and again throughout the divided lines a network of fair tortuous things, of flickering leaf and sinuous tendril and strenuous root, flashes and curls from margin to margin.

  This song is the song of Time, sung to the four harps of the world, each continent a harp struck by Time as by a harper. In brief dim words it celebrates the end of the world of the patriarchs where faith and freedom were one, the advent of the iron laws and ages, when God the Accuser gave his laws to the nations by the hands of the children of time: when to the extreme east was given mere abstract philosophy for faith instead of clear pure belie
f, and man became slave to the elements, the slave and not the lord of the nature of things; but not yet was philosophy a mere matter of the five senses. Thus they fared in the east; meantime the spirits of the patriarchal world shrank beneath waters or fled in fires, Adam from Eden, Noah from Ararat; and “Moses beheld upon Mount Sinai forms of dark delusion.” Over each religion, Indian and Jewish and Grecian, some special demon or god of the mythology is bidden preside; Christianity, the expression of human sorrow, human indulgence and forgiveness, was given as gospel to “a man of sorrows” by the two afflicted spirits who typify man and woman, in whom the bitter errors and the sore needs of either several sex upon earth are reproduced in vast vague reflection; to them therefore the gentler gospel belongs as of right. Next comes Mahometanism, to give some freedom and fair play to the controlled and abused senses; but northwards other spirits set on foot a code of war to satiate their violent delight. So on all sides is the world overgrown with kingdoms and churches, codes and creeds; inspiration is crushed and erased; the sons of Time and Space reign alone; Har and Heva, the spirits of loftier and purer kind who were not as the rest of the Titan brood that “lived in war and lust,” are fled and fallen, become as mere creeping things; and the world is ripe to bring forth for its cruel and mournful God the final fruit of reason debased and faith distorted.

  “Thus the terrible race of Los and Enitharmon gave

  Laws and Religions to the sons of Har, binding them more

  And more to Earth, closing and restraining;

  Till a Philosophy of Five Senses was complete;

  Urizen wept, and gave it into the hands of Newton and Locke.”

  These “terrible sons” of time and space are the presiding demons of each creed or code; the sons of men are in their hands now, for the father and mother of men are fallen gods, oblivious and transformed: and these minor demons are all subservient to the Creator, whose soul, sorrowful but not merciful, animates the whole pained world. So, with cloud of menace and fire of wrath shed out about the deceased gods and the new philosophies, the first part ends. In the second part the clouds have broken and the fire has come forth; revolution has begun in Europe; the ancient lords of Asia are startled from their dens and cry in bitterness of soul for help of the old oppressions; for councillors and for taxes, for plagues and for priests, “to turn man from his path; to restrain the child from the womb; to cut off the bread from the city, that the remnant may learn to obey: that the pride of the heart may fail; that the lust of the eye may be quenched; that the delicate ear in its infancy may be dulled, and the nostrils closed up; to teach mortal worms the path that leads from the gates of the grave.” At their cry Urizen arose, the lord of Asia from of old, ever since he cast down the patriarchal law and set up the Mosaic code; “his shuddering waving wings went enormous above the red flames,” to contend with the rekindled revolution, “the thick-flaming thought-creating fires of Orc;”