No More Learning

II

In 'Symbolism in Painting,' I tried to describe the element of
symbolism that is in pictures and sculpture, and described a little
the symbolism in poetry, but did not describe at all the continuous
indefinable symbolism which is the substance of all style.

There are no lines with more melancholy beauty than these by Burns--

'The white moon is setting behind the white wave,
And Time is setting with me, O! '

and these lines are perfectly symbolical. Take from them the whiteness
of the moon and of the wave, whose relation to the setting of Time
is too subtle for the intellect, and you take from them their beauty.
But, when all are together, moon and wave and whiteness and setting
Time and the last melancholy cry, they evoke an emotion which cannot be
evoked by any other arrangement of colours and sounds and forms. We may
call this metaphorical writing, but it is better to call it symbolical
writing, because metaphors are not profound enough to be moving, when
they are not symbols, and when they are symbols they are the most
perfect, because the most subtle, outside of pure sound, and through
them one can the best find out what symbols are. If one begins the
reverie with any beautiful lines that one can remember, one finds they
are like those by Burns. Begin with this line by Blake--

'The gay fishes on the wave when the moon sucks up the dew';

or these lines by Nash--

'Brightness falls from the air,
Queens have died young and fair,
Dust hath closed Helen's eye';

or these lines by Shakespeare--

'Timon hath made his everlasting mansion
Upon the beached verge of the salt flood;
Who once a day with his embossed froth
The turbulent surge shall cover';

or take some line that is quite simple, that gets its beauty from its
place in a story, and see how it flickers with the light of the many
symbols that have given the story its beauty, as a sword-blade may
flicker with the light of burning towers.

All sounds, all colours, all forms, either because of their
pre-ordained energies or because of long association, evoke indefinable
and yet precise emotions, or, as I prefer to think, call down among
us certain disembodied powers, whose footsteps over our hearts we
call emotions; and when sound, and colour, and form are in a musical
relation, a beautiful relation to one another, they become as it were
one sound, one colour, one form, and evoke an emotion that is made out
of their distinct evocations and yet is one emotion. The same relation
exists between all portions of every work of art, whether it be an
epic or a song, and the more perfect it is, and the more various and
numerous the elements that have flowed into its perfection, the more
powerful will be the emotion, the power, the god it calls among us.
Because an emotion does not exist, or does not become perceptible and
active among us, till it has found its expression, in colour or in
sound or in form, or in all of these, and because no two modulations or
arrangements of these evoke the same emotion, poets and painters and
musicians, and in a less degree because their effects are momentary,
day and night and cloud and shadow, are continually making and
unmaking mankind. It is indeed only those things which seem useless
or very feeble that have any power, and all those things that seem
useful or strong, armies, moving wheels, modes of architecture, modes
of government, speculations of the reason, would have been a little
different if some mind long ago had not given itself to some emotion,
as a woman gives herself to her lover, and shaped sounds or colours or
forms, or all of these, into a musical relation, that their emotion
might live in other minds. A little lyric evokes an emotion, and this
emotion gathers others about it and melts into their being in the
making of some great epic; and at last, needing an always less delicate
body, or symbol, as it grows more powerful, it flows out, with all it
has gathered, among the blind instincts of daily life, where it moves
a power within powers, as one sees ring within ring in the stem of an
old tree. This is maybe what Arthur O'Shaughnessy meant when he made
his poets say they had built Nineveh with their sighing; and I am
certainly never certain, when I hear of some war, or of some religious
excitement, or of some new manufacture, or of anything else that
fills the ear of the world, that it has not all happened because of
something that a boy piped in Thessaly. I remember once asking a seer
to ask one among the gods who, as she believed, were standing about her
in their symbolic bodies, what would come of a charming but seeming
trivial labour of a friend, and the form answering, 'the devastation of
peoples and the overwhelming of cities.
' I doubt indeed if the crude
circumstance of the world, which seems to create all our emotions, does
more than reflect, as in multiplying mirrors, the emotions that have
come to solitary men in moments of poetical contemplation; or that
love itself would be more than an animal hunger but for the poet and
his shadow the priest, for unless we believe that outer things are the
reality, we must believe that the gross is the shadow of the subtle,
that things are wise before they become foolish, and secret before they
cry out in the market-place. Solitary men in moments of contemplation
receive, as I think, the creative impulse from the lowest of the Nine
Hierarchies, and so make and unmake mankind, and even the world itself,
for does not 'the eye altering alter all'?

'Our towns are copied fragments from our breast;
And all man's Babylons strive but to impart
The grandeurs of his Babylonian heart. '


III

The purpose of rhythm, it has always seemed to me, is to prolong the
moment of contemplation, the moment when we are both asleep and awake,
which is the one moment of creation, by hushing us with an alluring
monotony, while it holds us waking by variety, to keep us in that state
of perhaps real trance, in which the mind liberated from the pressure
of the will is unfolded in symbols. If certain sensitive persons listen
persistently to the ticking of a watch, or gaze persistently on the
monotonous flashing of a light, they fall into the hypnotic trance;
and rhythm is but the ticking of a watch made softer, that one must
needs listen, and various, that one may not be swept beyond memory or
grow weary of listening; while the patterns of the artist are but the
monotonous flash woven to take the eyes in a subtler enchantment. I
have heard in meditation voices that were forgotten the moment they had
spoken; and I have been swept, when in more profound meditation, beyond
all memory but of those things that came from beyond the threshold of
waking life. I was writing once at a very symbolical and abstract poem,
when my pen fell on the ground; and as I stooped to pick it up, I
remembered some phantastic adventure that yet did not seem phantastic,
and then another like adventure, and when I asked myself when these
things had happened, I found that I was remembering my dreams for many
nights. I tried to remember what I had done the day before, and then
what I had done that morning; but all my waking life had perished from
me, and it was only after a struggle that I came to remember it again,
and as I did so that more powerful and startling life perished in its
turn. Had my pen not fallen on the ground and so made me turn from the
images that I was weaving into verse, I would never have known that
meditation had become trance, for I would have been like one who does
not know that he is passing through a wood because his eyes are on the
pathway. So I think that in the making and in the understanding of a
work of art, and the more easily if it is full of patterns and symbols
and music, we are lured to the threshold of sleep, and it may be far
beyond it, without knowing that we have ever set our feet upon the
steps of horn or of ivory.


IV

Besides emotional symbols, symbols that evoke emotions alone,--and in
this sense all alluring or hateful things are symbols, although their
relations with one another are too subtle to delight us fully, away
from rhythm and pattern,--there are intellectual symbols, symbols that
evoke ideas alone, or ideas mingled with emotions; and outside the
very definite traditions of mysticism and the less definite criticism
of certain modern poets, these alone are called symbols. Most things
belong to one or another kind, according to the way we speak of them
and the companions we give them, for symbols, associated with ideas
that are more than fragments of the shadows thrown upon the intellect
by the emotions they evoke, are the playthings of the allegorist or
the pedant, and soon pass away. If I say 'white' or 'purple' in an
ordinary line of poetry, they evoke emotions so exclusively that I
cannot say why they move me; but if I say them in the same mood, in
the same breath with such obvious intellectual symbols as a cross or a
crown of thorns, I think of purity and sovereignty; while innumerable
other meanings, which are held to one another by the bondage of subtle
suggestion, and alike in the emotions and in the intellect, move
visibly through my mind, and move invisibly beyond the threshold of
sleep, casting lights and shadows of an indefinable wisdom on what
had seemed before, it may be, but sterility and noisy violence. It
is the intellect that decides where the reader shall ponder over the
procession of the symbols, and if the symbols are merely emotional,
he gazes from amid the accidents and destinies of the world; but if
the symbols are intellectual too, he becomes himself a part of pure
intellect, and he is himself mingled with the procession. If I watch
a rushy pool in the moonlight, my emotion at its beauty is mixed with
memories of the man that I have seen ploughing by its margin, or of the
lovers I saw there a night ago; but if I look at the moon herself and
remember any of her ancient names and meanings, I move among divine
people, and things that have shaken off our mortality, the tower of
ivory, the queen of waters, the shining stag among enchanted woods, the
white hare sitting upon the hilltop, the fool of faery with his shining
cup full of dreams, and it may be 'make a friend of one of these images
of wonder,' and 'meet the Lord in the air. ' So, too, if one is moved by
Shakespeare, who is content with emotional symbols that he may come
the nearer to our sympathy, one is mixed with the whole spectacle of
the world; while if one is moved by Dante, or by the myth of Demeter,
one is mixed into the shadow of God or of a goddess.