No More Learning

But so has my portion been meted out to me; and during the
last few months I have, after terrible difficulties and struggles, been
able to comprehend some of the lessons hidden in the heart of pain.
Clergymen and people who use phrases without wisdom sometimes talk of
suffering as a mystery. It is really a revelation. One discerns things
one never discerned before. One approaches the whole of history from a
different standpoint. What one had felt dimly, through instinct, about
art, is intellectually and emotionally realised with perfect clearness of
vision and absolute intensity of apprehension.

I now see that sorrow, being the supreme emotion of which man is capable,
is at once the type and test of all great art. What the artist is always
looking for is the mode of existence in which soul and body are one and
indivisible: in which the outward is expressive of the inward: in which
form reveals. Of such modes of existence there are not a few: youth and
the arts preoccupied with youth may serve as a model for us at one
moment: at another we may like to think that, in its subtlety and
sensitiveness of impression, its suggestion of a spirit dwelling in
external things and making its raiment of earth and air, of mist and city
alike, and in its morbid sympathy of its moods, and tones, and colours,
modern landscape art is realising for us pictorially what was realised in
such plastic perfection by the Greeks. Music, in which all subject is
absorbed in expression and cannot be separated from it, is a complex
example, and a flower or a child a simple example, of what I mean; but
sorrow is the ultimate type both in life and art.

Behind joy and laughter there may be a temperament, coarse, hard and
callous. But behind sorrow there is always sorrow. Pain, unlike
pleasure, wears no mask. Truth in art is not any correspondence between
the essential idea and the accidental existence; it is not the
resemblance of shape to shadow, or of the form mirrored in the crystal to
the form itself; it is no echo coming from a hollow hill, any more than
it is a silver well of water in the valley that shows the moon to the
moon and Narcissus to Narcissus. Truth in art is the unity of a thing
with itself: the outward rendered expressive of the inward: the soul made
incarnate: the body instinct with spirit.
For this reason there is no
truth comparable to sorrow. There are times when sorrow seems to me to
be the only truth. Other things may be illusions of the eye or the
appetite, made to blind the one and cloy the other, but out of sorrow
have the worlds been built, and at the birth of a child or a star there
is pain.

More than this, there is about sorrow an intense, an extraordinary
reality. I have said of myself that I was one who stood in symbolic
relations to the art and culture of my age. There is not a single
wretched man in this wretched place along with me who does not stand in
symbolic relation to the very secret of life. For the secret of life is
suffering. It is what is hidden behind everything. When we begin to
live, what is sweet is so sweet to us, and what is bitter so bitter, that
we inevitably direct all our desires towards pleasures, and seek not
merely for a 'month or twain to feed on honeycomb,' but for all our years
to taste no other food, ignorant all the while that we may really be
starving the soul.

I remember talking once on this subject to one of the most beautiful
personalities I have ever known: a woman, whose sympathy and noble
kindness to me, both before and since the tragedy of my imprisonment,
have been beyond power and description; one who has really assisted me,
though she does not know it, to bear the burden of my troubles more than
any one else in the whole world has, and all through the mere fact of her
existence, through her being what she is--partly an ideal and partly an
influence: a suggestion of what one might become as well as a real help
towards becoming it; a soul that renders the common air sweet, and makes
what is spiritual seem as simple and natural as sunlight or the sea: one
for whom beauty and sorrow walk hand in hand, and have the same message.
On the occasion of which I am thinking I recall distinctly how I said to
her that there was enough suffering in one narrow London lane to show
that God did not love man, and that wherever there was any sorrow, though
but that of a child, in some little garden weeping over a fault that it
had or had not committed, the whole face of creation was completely
marred. I was entirely wrong. She told me so, but I could not believe
her. I was not in the sphere in which such belief was to be attained to.
Now it seems to me that love of some kind is the only possible
explanation of the extraordinary amount of suffering that there is in the
world. I cannot conceive of any other explanation.