I know nothing about medicine and very little about diseases, and my facts are such as I have picked up in casual reading. Nevertheless I am convinced that the secret awareness of syphilis, and the utter secret terror and horror of it, has had an enormous and incalculable effect on the English consciousness and on the American. Even when the fear has never been formulated, there it has lain, potent and overmastering. I am convinced that some of Shakespeare’s horror and despair, in his tragedies, arose from the shock of his consciousness of syphilis. I don’t suggest for one moment Shakespeare ever contracted syphilis. I have never had syphilis myself. Yet I know and confess how profound is my fear of the disease, and more than fear, my horror. In fact, I don’t think I am so very much afraid of it. I am more horrified, inwardly and deeply, at the idea of its existence.
All this sounds very far from the art of painting. But it is not so far as it sounds. The appearance of syphilis in our midst gave a fearful blow to our sexual life. The real natural innocence of Chaucer was impossible after that. The very sexual act of procreation might bring as one of its consequences a foul disease, and the unborn might be tainted from the moment of conception. Fearful thought! It is truly a fearful thought, and all the centuries of getting used to it won’t help us. It remains a fearful thought, and to free ourselves from this fearful dread we should use all our wits and all our efforts, not stick our heads in the sand of some idiotic joke, or still more idiotic don’t-mention-it. The fearful thought of the consequences of syphilis, or of any sexual disease, upon the unborn gives a shock to the impetus of fatherhood in any man, even the cleanest. Our consciousness is a strange thing, and the knowledge of a certain fact may wound it mortally, even if the fact does not touch us directly. And so I am certain that some of Shakespeare’s father- murder complex, some of Hamlet’s horror of his mother, of his uncle, of all old men came from the feeling that fathers may transmit syphilis, or syphilis-consequences, to children. I don’t know even whether Shakespeare was actually aware of the consequences to a child born of a syphilitic father or mother. He may not have been, though most probably he was. But he certainly was aware of the effects of syphilis itself, especially on men. And this awareness struck at his deep sex imagination, at his instinct for fatherhood, and brought in an element of terror and abhorrence there where men should feel anything but terror and abhorrence, into the procreative act.
The terror-horror element which had entered the imagination with regard to the sexual and procreative act was at least partly responsible for the rise of Puritanism, the beheading of the king- father Charles, and the establishment of the New England colonies. If America really sent us syphilis, she got back the full recoil of the horror of it, in her puritanism.
But deeper even than this, the terror-horror element led to the crippling of the consciousness of man. Very elementary in man is his sexual and procreative being, and on his sexual and procreative being depend many of his deepest instincts and the flow of his intuition. A deep instinct of kinship joins men together, and the kinship of flesh-and-blood keeps the warm flow of intuitional awareness streaming between human beings. Our true awareness of one another is intuitional, not mental. Attraction between people is really instinctive and intuitional, not an affair of judgment. And in mutual attraction lies perhaps the deepest pleasure in life, mutual attraction which may make us “like” our travelling companion for the two or three hours we are together, then no more; or mutual attraction that may deepen to powerful love, and last a life-time.
The terror-horror element struck a blow at our feeling of physical communion. In fact, it almost killed it. We have become ideal beings, creatures that exist in idea, to one another, rather than flesh- and-blood kin. And with the collapse of the feeling of physical, flesh- and-blood kinship, and the substitution of our ideal, social or political oneness, came the failing of our intuitive awareness, and the great unease, the nervousness of mankind. We are afraid of the in- tincts. We are afraid of the intuition within us. We suppress the instincts, and we cut off our intuitional awareness from one another and from the world. The reason being some great shock to the pro- creative self. Now we know one another only as ideal or social or political entities, fleshless, bloodless, and cold, like Bernard Shaw’s creatures. Intuitively we are dead to one another, we have all gone cold.
But by intuition alone can man really be aware of man, or of the living, substantial world. By intuition alone can man live and know either woman or world, and by intuition alone can he bring forth again images of magic awareness which we call art. In the past men brought forth images of magic awareness, and now it is the convention to admire these images. The convention says, for example, we must admire Botticelli or Giorgione, so Baedeker stars the pictures, and we admire them. But it is all a fake. Even those that get a thrill, even when they call it ecstasy, from these old pictures are only undergoing cerebral excitation. Their deeper responses, down in the intuitive and instinctive body, are not touched. They cannot be, because they are dead. A dead intuitive body stands there and gazes at the corpse of beauty: and usually it is completely and honestly bored. Sometimes it feels a mental coruscation which it calls an ecstasy or an aesthetic response.
Modern people, but particularly English and Americans, cannot feel anything with the whole imagination. They can see the living body of imagery as little as a blind man can see colour. The imaginative vision, which includes physical, intuitional perception, they have not got. Poor things, it is dead in them. And they stand in front of a Botticelli Venus, which they know as conventionally “beautiful,” much as a blind man might stand in front of a bunch of roses and pinks and monkey-musk, saying: “Oh, do tell me which is red; let me feel red! Now let me feel white! Oh, let me feel it! What is this I am feeling? Monkey-musk? Is it white? Oh, do you say it is yellow blotched with orange-brown? Oh, but I can’t feel it! What can it be? Is white velvety, or just silky?”
So the poor blind man! Yet he may have an acute perception of alive beauty. Merely by touch and scent, his intuitions being alive, the blind man may have a genuine and soul-satisfying experience of imagery. But not pictorial images. These are for ever beyond him.
So those poor English and Americans in front of the Botticelli Venus. They stare so hard; they do so want to see. And their eyesight is perfect. But all they can see is a sort of nude woman on a sort of shell on a sort of pretty greenish water. As a rule they rather dislike the “unnaturalness” or “affectation” of it. If they are high-brows they may get a little self-conscious thrill of aesthetic excitement. But real imaginative awareness, which is so largely physical, is denied them. lis n’ont pas de quoi, as the Frenchman said of the angels, when asked if they made love in heaven.
Ah, the dear high-brows who gaze in a sort of ecstasy and get a correct mental thrill! Their poor high-brow bodies stand there as dead as dust-bins, and can no more feel the sway of complete imagery upon them than they can feel any other real sway. lis n’ont pas de quoi. The instincts and the intuitions are so nearly dead in them, and they fear even the feeble remains. Their fear of the instincts and intuitions is even greater than that of the English Tommy who calls: “Eh, Jack! Come an’ look at this girl standin’ wi’ no clothes on, an’ two blokes spittin’ at ‘er.” That is his vision of Botticelli’s Venus. It is, for him, complete, for he is void of the image-seeing imagination. But at least he doesn’t have to work up a cerebral excitation, as the high-brow does, who is really just as void.
All alike, cultured and uncultured, they are still dominated by that unnamed, yet overmastering dread and hate of the instincts deep in the body, dread of the strange intuitional awareness of the body, dread of anything but ideas, which can’t contain bacteria. And the dread all works back to a dread of the procreative body, and is partly traceable to the shock of the awareness of syphilis.
The dread of the instincts included the dread of intuitional awareness. “Beauty is a snare” — ”Beauty is but skin-deep” — ”Handsome is as handsome does” — ”Looks
don’t count” — ”Don’t judge by appearances” — if we only realized it, there are thousands of these vile proverbs which have been dinned into us for over two hundred years. They are all of them false. Beauty is not a snare, nor is it skin- deep, since it always involves a certain loveliness of modelling, and handsome doers are often ugly and objectionable people, and if you ignore the look of the thing you plaster England with slums and produce at last a state of spiritual depression that is suicidal, and if you don’t judge by appearances, that is, if you can’t trust the impression which things make on you, you are a fool. But all these base-born proverbs, born in the cash-box, hit direct against the intuitional consciousness. Naturally, man gets a great deal of his life’s satisfaction from beauty, from a certain sensuous pleasure in the look of the thing. The old Englishman built his hut of a cottage with a childish joy in its appearance, purely intuitional and direct. The modern Englishman has a few borrowed ideas, simply doesn’t know what to feel, and makes a silly mess of it: though perhaps he is improving, hopefully, in this field of architecture and housebuilding. The intuitional faculty, which alone relates us in direct awareness to physical things and substantial presences, is atrophied and dead, and we don’t know what to feel. We know we ought to feel something, but what? — Oh, tell us what! And this is true of all nations, the French and Italians as much as the English. Look at new French suburbs! Go through the crockery and furniture departments in the Dames de France or any big shop. The blood in the body stands still, before such cretin ugliness. One has to decide that the modern bourgeois is a cretin.
This movement against the instincts and the intuition took on a moral tone in all countries. It started in hatred. Let us never forget that modern morality has its roots in hatred, a deep, evil hate of the instinctive, intuitional, procreative body. This hatred is made more virulent by fear, and an extra poison is added to the fear by unconscious horror of syphilis. And so we come to modern bourgeois consciousness, which turns upon the secret poles of fear and hate. That is the real pivot of all bourgeois consciousness in all countries: fear and hate of the instinctive, intuitional, procreative body in man or woman. But of course this fear and hate had to take on a righteous appearance, so it became moral, said that the instincts, intuitions and all the activities of the procreative body were evil, and promised a reward for their suppression. That is the great clue to bourgeois psychology: the reward business. It is screamingly obvious in Maria Edgeworth’s tales, which must have done unspeakable damage to ordinary people. Be good, and you’ll have money. Be wicked, and you’ll be utterly penniless at last, and the good ones will have to offer you a little charity. This is sound working morality in the world. And it makes one realize that, even to Milton, the true hero of Paradise Lost must be Satan. But by this baited morality the masses were caught and enslaved to industrialism before ever they knew it; the good got hold of the goods, and our modern “civilization” of money, machines, and wage-slaves was inaugurated. The very pivot of it, let us never forget, being fear and hate, the most intimate fear and hate, fear and hate of one’s own instinctive, intuitive body, and fear and hate of every other man’s and every other woman’s warm, procreative body and imagination.
Now it is obvious what result this will have on the plastic arts, which depend entirely on the representation of substantial bodies, and on the intuitional perception of the reality of substantial bodies. The reality of substantial bodies can only be perceived by the imagination, and the imagination is a kindled state of consciousness in which intuitive awareness predominates. The plastic arts arc all imagery, and imagery is the body of our imaginative life, and our imaginative life is a great joy and fulfilment to us, for the imagination is a more powerful and more comprehensive flow of consciousness than our ordinary flow. In the flow of true imagination we know in full, mentally and physically at once, in a greater, enkindled awareness. At the maximum of our imagination we are religious. And if we deny our imagination, and have no imaginative life, we are poor worms who have never lived.
In the seventeenth and eighteenth centuries we have the deliberate denial of intuitive awareness, and we see the results on the arts. Vision became more optical, less intuitive and painting began to flourish. But what painting! Watteau, Ingres, Poussin, Chardin have some real imaginative glow still. They are still somewhat free. The puritan and the intellectual has not yet struck them down with his fear and hate obsession. But look at England! Hogarth, Reynolds, Gainsborough, they all are already bourgeois. The coat is really more important than the man. It is amazing how important clothes suddenly become, how they cover the subject. An old Reynolds colonel in a red uniform is much more a uniform than an individual, and as for Gainsborough, all one can say is: What a lovely dress and hat! What really expensive Italian silk! This painting of garments continued in vogue, till pictures like Sargent’s seem to be nothing but yards and yards of satin from the most expensive shops, having some pretty head popped on the top. The imagination is quite dead. The optical vision, a sort of flashy coloured photography of the eye, is rampant.
In Titian, in Velasquez, in Rembrandt the people are there inside their clothes all right, and the clothes are imbued with the life of the individual, the gleam of the warm procreative body comes through all the time, even if it be an old, half-blind woman or a weird, ironic little Spanish princess. But modern people are nothing- ing inside their garments, and a head sticks out at the top and hands stick out of the sleeves, and it is a bore. Or, as in Lawrence or Raeburn, you have something very pretty but almost a mere cliche, with very little instinctive or intuitional perception to it.
After this, and apart from landscape and water-colour, there is strictly no English painting that exists. As far as I am concerned, the pre-Raphaelites don’t exist; Watts doesn’t, Sargent doesn’t, and none of the moderns.
There is the exception of Blake. Blake is the only painter of imaginative pictures, apart from landscape, that England has produced. And unfortunately there is so little Blake, and even in that little the symbolism is often artificially imposed. Nevertheless, Blake paints with real intuitional awareness and solid instinctive feeling. He dares handle the human body, even if he sometimes makes it a mere ideograph. And no other Englishman has even dared handle it with alive imagination. Painters of composition-pictures in England, of whom perhaps the best is Watts, never quite get beyond the level of cliche, sentimentalism, and funk. Even Watts is a failure, though he made some sort of try: even Etty’s nudes in York fail imaginatively, though they have some feeling for flesh. And the rest, the Leightons, even the moderns don’t really do anything. They never get beyond studio models and cliches of the nude. The image never gets across to us, to seize us intuitively. It remains merely optical.
Landscape, however, is different. Here the English exist and hold their own. But, for me, personally, landscape is always waiting for something to occupy it. Landscape seems to be meant as a hack- ground to an intenser vision of life, so to my feeling painted landscape is background with the real subject left out.
Nevertheless, it can be very lovely, especially in water-colour, which is a more bodiless medium, and doesn’t aspire to very substantial existence, and is so small that it doesn’t try to make a very deep seizure on the consciousness. Water-colour will always be more of a statement than an experience.
And landscape, on the whole, is the same. It doesn’t call up the more powerful responses of the human imagination, the sensual, passional responses. Hence it is the favourite modern form of expression in painting. There is no deep conflict. The instinctive and intuitional consciousness is called into play, but lightly, superficially. It is not confronted with any living, procreative body.
Hence the English have delighted in landscape, and have succeeded in it well. It is a form of escape for them, from the actual human body they so hate and fear, and it is an outlet for their perishing aesthetic desires. For more than a century we have produced delicious water-colours, and Wilson, Crome, Constable, Turner are
all great landscape-painters. Some of Turner’s landscape compositions are, to my feelings, among the finest that exist. They still satisfy me more even than van Gogh’s or Cezanne’s landscapes, which make a more violent assault on the emotions, and repel a little for that reason. Somehow I don’t want landscape to make a violent assault on my feelings. Landscape is background with the figures left out or reduced to minimum, so let it stay back. Van Gogh’s surging earth and Cezanne’s explosive or rattling planes worry me. Not being profoundly interested in landscape, I prefer it to be rather quiet and unexplosive.
But, of course, the English delight in landscape is a delight in escape. It is always the same. The northern races are so innerly afraid of their own bodily existence, which they believe fantastically to be an evil thing — you could never find them feel anything but uneasy shame, or an equally shameful gloating, over the fact that a man was having intercourse with his wife, in his house next door — that all they cry for is an escape. And, especially, art must provide that escape.
It is easy in literature. Shelley is pure escape: the body is sublimated into sublime gas. Keats is more difficult — the body can still be felt dissolving in waves of successive death — but the death-business is very satisfactory. The novelists have even a better time. You can get some of the lasciviousness of Hetty Sorrell’s “sin,” and you can enjoy condemning her to penal servitude for life. You can thrill to Mr. Rochester’s passion, and you can enjoy having his eyes burnt out. So it is, all the way: the novel of “passion”!
But in paint it is more difficult. You cannot paint Hetty Sorrell’s sin or Mr. Rochester’s passion without being really shocking. And you daren’t be shocking. It was this fact that unsaddled Watts and Millais. Both might have been painters if they hadn’t been Victorians. As it is, each of them is a wash-out.
Complete Works of D.H. Lawrence Page 1044