Therefore, during the nine days of the kiva, when the snakes are bathed and lustrated, perhaps they strike their poison away into some inanimate object. And surely they are soothed and calmed with such things as the priests, after centuries of experience, know how to administer to them.
We dam the Nile and take the railway across America. The Hopi smooths the rattlesnake and carries him in his mouth, to send him back into the dark places of the earth, an emissary to the inner powers.
To each sort of man his own achievement, his own victory, his own conquest. To the Hopi, the origins are dark and dual, cruelty is coiled in the very beginnings of all things, and circle after circle creation emerges towards a flickering, revealed Godhead. With Man as the godhead so far achieved, waveringly and for ever incomplete, in this world.
To us and to the Orientals, the Godhead was perfect to start with, and man makes but a mechanical excursion into a created and ordained universe, an excursion of mechanical achievement, and of yearning for the return to the perfect Godhead of the beginning.
To us, God was in the beginning, Paradise and the Golden Age have been long lost, and all we can do is to win back.
To the Hopi, God is not yet, and the Golden Age lies far ahead. Out of the dragon’s den of the cosmos, we have wrested only the beginnings of our being, the rudiments of our Godhead.
Between the two visions lies the gulf of mutual negations. But ours was the quickest way, so we are conquerors for the moment.
The American aborigines are radically, innately religious. The fabric of their life is religion. But their religion is animistic, their sources are dark and impersonal, their conflict with their ‘gods’ is slow, and unceasing.
This is true of the settled pueblo Indian and the wandering Navajo, the ancient Maya, and the surviving Aztec. They are all involved at every moment, in their old, struggling religion.
Until they break in a kind of hopelessness under our cheerful, triumphant success. Which is what is rapidly happening. The young Indians who have been to school for many years are losing their religion, becoming discontented, bored, and rootless. An Indian with his own religion inside him cannot be bored. The flow of the mystery is too intense all the time, too intense, even, for him to adjust himself to circumstances from the darkest origins out to the brightest edifices of creation.
And amid all its crudity, and the sensationalism which comes chiefly out of the crowd’s desire for thrills, one cannot help pausing in reverence before the delicate, anointed bravery of the snake-priests (so called), with the snakes.
They say the Hopis have a marvellous secret cure for snakebites. They say the bitten are given an emetic drink, after the dance, by the old women, and that they must lie on the edge of the cliff and vomit, vomit, vomit. I saw none of this. The two snake-men who ran down into the shadow came soon running up again, running all the while, and steering off at a tangent, ran up the mesa once more, but beyond a deep, impassable cleft. And there, when they had come up to our level, we saw them across the cleft distance washing, brown and naked, in a pool; washing off the paint, the medicine, the ecstasy, to come back into daily life and eat food. Because for two days they had eaten nothing, it was said. And for nine days they had been immersed in the mystery of snakes, and fasting in some measure.
Men who have lived many years among the Indians say they do not believe the Hopi have any secret cure. Sometimes priests do die of bites, it is said. But a rattlesnake secretes his poison slowly. Each time he strikes he loses his venom, until if he strikes several times, he has very little wherewithal to poison a man. Not enough, not half enough to kill. His glands must be very full charged with poison, as they are when he merges from winter-sleep, before he can kill a man outright. And even then, he must strike near some artery.
Therefore, during the nine days of the kiva, when the snakes are bathed and lustrated, perhaps they strike their poison away into some inanimate object. And surely they are soothed and calmed with such things as the priests, after centuries of experience, know how to administer to them.
We dam the Nile and take the railway across America. The Hopi smooths the rattlesnake and carries him in his mouth, to send him back into the dark places of the earth, an emissary to the inner powers.
To each sort of man his own achievement, his own victory, his own conquest. To the Hopi, the origins are dark and dual, cruelty is coiled in the very beginnings of all things, and circle after circle creation emerges towards a flickering, revealed Godhead. With Man as the godhead so far achieved, waveringly and for ever incomplete, in this world.
To us and to the Orientals, the Godhead was perfect to start with, and man makes but a mechanical excursion into a created and ordained universe, an excursion of mechanical achievement, and of yearning for the return to the perfect Godhead of the beginning.
To us, God was in the beginning, Paradise and the Golden Age have been long lost, and all we can do is to win back.
To the Hopi, God is not yet, and the Golden Age lies far ahead. Out of the dragon’s den of the cosmos, we have wrested only the beginnings of our being, the rudiments of our Godhead.
Between the two visions lies the gulf of mutual negations. But ours was the quickest way, so we are conquerors for the moment.
The American aborigines are radically, innately religious. The fabric of their life is religion. But their religion is animistic, their sources are dark and impersonal, their conflict with their ‘gods’ is slow, and unceasing.
This is true of the settled pueblo Indian and the wandering Navajo, the ancient Maya, and the surviving Aztec. They are all involved at every moment, in their old, struggling religion.
Until they break in a kind of hopelessness under our cheerful, triumphant success. Which is what is rapidly happening. The young Indians who have been to school for many years are losing their religion, becoming discontented, bored, and rootless. An Indian with his own religion inside him cannot be bored. The flow of the mystery is too intense all the time, too intense, even, for him to adjust himself to circumstances which really are mechanical. Hence his failure. So he, in his great religious struggle for the Godhead of man, falls back beaten. The Personal God who ordained a mechanical cosmos gave the victory to his sons, a mechanical triumph.
Soon after the dance is over, the Navajo begin to ride down the Western trail, into the light. Their women, with velvet bodices and full, full skirts, silver and turquoise tinkling thick on their breasts, sit back on their horses and ride down the steep slope, looking wonderingly around from their pleasant, broad, nomadic, Mongolian faces. And the men, long, loose, thin, long-waisted, with tall hats on their brows and low-sunk silver belts on their hips, come down to water their horses at the spring. We say they look wild. But they have the remoteness of their religion, their animistic vision, in their eyes, they can’t see as we see. And they cannot accept us. They stare at us as the coyotes stare at us: the gulf of mutual negation between us.
So in groups, in pairs, singly, they ride silently down into the lower strata of light, the aboriginal Americans riding into their shut-in reservations. While the white Americans hurry back to their motor-cars, and soon the air buzzes with starting engines, like the biggest of rattlesnakes buzzing.
8 - A LITTLE MOONSHINE WITH LEMON
‘Ye Gods, he doth bestride the narrow world
Like a Colossus...!’
There is a bright moon, so that even the vines make a shadow, and the Mediterranean has a broad white shimmer between its dimness. By the shore, the lights of the old houses twinkle quietly, and out of the wall of the headland advances the glare of a locomotive’s lamps. It is a feast day, St Catherine’s Day, and the men are all sitting round the little tables, down below, drinking wine or vermouth.
And what about the ranch, the little ranch in New Mexico? The time is different there: but I too have drunk my glass to St Catherine, so I can’t be bothered to reckon. I consider that there, too, the moon is in the south-east, standing, as it were, over Santa Fé, b
eyond the bend of those mountains of Picoris.
Sono io! say the Italians. I am I! Which sounds simpler than it is.
Because which I am I, after all, now that I have drunk a glass also to St Catherine, and the moon shines over the sea, and my thoughts, just because they are fleetingly occupied by the moon on the Mediterranean, and ringing with the last farewell: Dunque, Signore! di nuovo! — must needs follow the moon-track south-west, to the great South-west, where the ranch is.
They say: in vino veritas. Bah! They say so much! But in the wine of St Catherine, my little ranch, and the three horses down among the timber. Or if it has snowed, the horses are gone away, and it is snow, and the moon shines on the alfalfa slope, between the pines, and the cabins are blind. There is nobody there. Everything shut up. Only the big pine tree in front of the house, standing still and unconcerned, alive.
Perhaps when I have a Weh at all, my Heimweh is for the tree in front of the house, the overshadowing tree whose green top one never looks at. But on the trunk one hangs the various odds and ends of iron things. It is so near. One goes out of the door, and the tree-trunk is there, like a guardian angel.
The tree-trunk, and the long work table, and the fence! Then beyond, since it is night, and the moon shines, for me at least, away beyond is a light, at Taos, or at Ranchos de Taos. Here, the castle of Noli is on the western skyline. But there, no doubt it has snowed, since even here the wind is cold. There it has snowed, and the nearly full moon blazes wolf-like, as here it never blazes; risen like a were-wolf over the mountains. So there is a faint hoar shagginess of pine trees, away at the foot of the alfalfa field, and a grey gleam of snow in the night, on the level desert, and a ruddy point of human light, in Ranchos de Taos.
And beyond, you see them even if you don’t see them, the circling mountains, since there is a moon.
So, one hurries indoors, and throws more logs on the fire.
One doesn’t either. One hears Giovanni calling from below, to say good-night! He is going down to the village for a spell. Vado giù Signor Lorenzo! Buona notte!
And the Mediterranean whispers in the distance, a sound like in a shell. And save that somebody is whistling, the night is very bright and still. The Mediterranean, so eternally young, the very symbol of youth! And Italy, so reputedly old, yet for ever so child-like and naïve! Never, never for a moment able to comprehend the wonderful, hoary age of America, the continent of the afterwards.
I wonder if I am here, or if I am just going to bed at the ranch. Perhaps looking in Montgomery Ward’s catalogue for something for Christmas, and drinking moonshine and hot water, since it is cold. Go out and look if the chickens are shut up warm: if the horses are in sight: if Susan, the black cow, has gone to her nest among the trees, for the night. Cows don’t eat much at night. But Susan will wander in the moon. The moon makes her uneasy. And the horses stamp around the cabins.
In a cold like this, the stars snap like distant coyotes, beyond the moon. And you’ll see the shadow of actual coyotes, going across the alfalfa field. And the pine trees make little noises, sudden and stealthy, as if they were walking about. And the place heaves with ghosts. That place, the ranch, heaves with ghosts. But when one has got used to one’s own home-ghosts, be they never so many, and so potent, they are like one’s own family, but nearer than the blood. It is the ghosts one misses most, the ghosts there, of the Rocky Mountains, that never go beyond the timber and that linger, like the animals, round the water-spring. I know them, they know me: we go well together. But they reproach me for going away. They are resentful too.
Perhaps the snow is in tufts on the greasewood bushes. Perhaps the blue jay falls in a blue metallic cloud out of the pine trees in front of the house, at dawn, in the terrific cold, when the dangerous light comes watchful over the mountains, and touches the desert far-off, far-off, beyond the Rio Grande.
And I, I give it up. There is a choice of vermouth, Marsala, red wine or white. At the ranch, tonight, because it is cold, I should have moonshine, not very good moonshine, but still warming: with hot water and lemon, and sugar, and a bit of cinnamon from one of those little red Schilling’s tins. And I should light my little stove in the bedroom, and let it roar a bit, sucking the wind. Then dark to bed, with all the ghosts of the ranch cosily round me, and sleep till the very coldness of my emerged nose wakes me. Waking, I shall look at once through the glass panels of the bedroom door, and see the trunk of the great pine tree, like a person on guard, and a low star just coming over the mountain, very brilliant, like someone swinging an electric lantern.
Si vedrà la primavera.
Fiorann’ i mandorlini —
Ah, well, let it be vermouth, since there’s no moonshine with lemon and cinnamon. Supposing I called Giovanni, and told him I wanted:
‘Un poco di chiar’ di luna, con canella e limone...’
THE END
The Poetry Collections
D .H. LAWRENCE’S POETRY: A BRIEF INTRODUCTION
Though famous for his ground-breaking novels, D. H. Lawrence was also a very accomplished poet, having written over 800 verses during his relatively short life. His first poems were written in 1904, appearing in Ford Madox Ford’s new literary venture The English Review. His early poems clearly place Lawrence in the school of Georgian poets, a group not only named after the reigning monarch but also in reference to the romantic poets of the previous Georgian period, whose work they so admired. These early poems employed well-worn poetic tropes and deliberately archaic language, many displaying what John Ruskin referred to as ‘the pathetic fallacy’ — the tendency to ascribe human emotions to animals and even inanimate objects.
Lawrence’s poetry was to take a dramatic change following the First World War. His poems now adopted a free verse style, influenced by Walt Whitman. Lawrence set forth his manifesto for much of his later verse in the introduction to New Poems, where he explains:
“We can get rid of the stereotyped movements and the old hackneyed associations of sound or sense. We can break down those artificial conduits and canals through which we do so love to force our utterance. We can break the stiff neck of habit...But we cannot positively prescribe any motion, any rhythm.”
Lawrence’s most celebrated poems are those that depict nature, such as the verses found in Birds Beasts and Flowers and Tortoises. Snake, one of his most frequently anthologised works, presents man’s modern distance from nature — a recurring theme of Lawrence’s later poetry — whilst deftly hinting at religious themes.
Although Lawrence’s later works were clearly composed in the modernist tradition, they often differed greatly to other modernist writers, which were tended to be austere in their approach, with every word being carefully worked upon in a meticulous fashion. Yet Lawrence strongly believed that all poems should be personal sentiments and that spontaneity was vital for any successful work. He titled one of his later collections of poems Pansies, partly to embody the simple and ephemeral nature of the verses.
Although the poet lived most of the last ten years of his life abroad, his thoughts were often on his homeland of England. Published in 1930, just eleven days after Lawrence’s death, his last complete collection Nettles offered a series of bitter, ‘nettling’ and wry attacks on the moral climate of England, which he had felt bound to escape earlier in his life. Following his death, two notebooks of Lawrence’s unprinted verse were posthumously published as Last Poems and More Pansies, containing two of his most famous poems about death, Bavarian Gentians and The Ship of Death, confirming the remarkable insight he had as not only a novelist, but as a poet of the highest order.
“Oh build your ship of death. Oh build it!
for you will need it.
For the voyage of oblivion awaits you.”
The Ship of Death, 1930
LOVE POEMS AND OTHERS
CONTENTS
WEDDING MORN
KISSES IN THE TRAIN
CRUELTY AND LOVE
CHERRY ROBBERS
LILIES
IN THE FIRE
COLDNESS IN LOVE
END OF ANOTHER HOME
REMINDER
BEI HENNEF
LIGHTNING
SONG-DAY IN AUTUMN
AWARE
A PANG OF REMINISCENCE
A WHITE BLOSSOM
RED MOON-RISE
RETURN
THE APPEAL
REPULSED
DREAM-CONFUSED
COROT
MORNING WORK
TRANSFORMATIONS
RENASCENCE
DOG-TIRED
MICHAEL-ANGELO
DIALECT POEMS
VIOLETS
WHETHER OR NOT
A COLLIER’S WIFE
THE DRAINED CUP
THE SCHOOLMASTER
A SNOWY DAY IN SCHOOL
THE BEST OF SCHOOL
AFTERNOON IN SCHOOL
The first edition
WEDDING MORN
The morning breaks like a pomegranate
In a shining crack of red,
Ah, when tomorrow the dawn comes late
Whitening across the bed,
It will find me watching at the marriage gate
And waiting while light is shed
On him who is sleeping satiate,
With a sunk, abandoned head.
And when the dawn comes creeping in,
Cautiously I shall raise
Myself to watch the morning win
My first of days,
As it shows him sleeping a sleep he got
Of me, as under my gaze,
He grows distinct, and I see his hot
Complete Works of D.H. Lawrence Page 817