The Trembling of the Veil

I

At the end of the ’eighties my father and mother, my brother and sisters and myself, all newly arrived from Dublin, were settled in Bedford Park in a red-brick house with several mantelpieces of wood, copied from marble mantelpieces designed by the brothers Adam, a balcony and a little garden shadowed by a great horse-chestnut tree. Years before we had lived there, when the crooked ostentatiously picturesque streets with great trees casting great shadows had been a new enthusiasm: the Pre-Raphaelite movement at last affecting life. But now exaggerated criticism had taken the place of enthusiasm, the tiled roofs, the first in modern London, were said to leak, which they did not, and the drains to be bad, though that was no longer true; and I imagine that houses were cheap. I remember feeling disappointed because the co-operative stores, with their little seventeenth century panes, had lost the romance they had when I had passed them still unfinished on my way to school; and because the public house, called The Tabard after Chaucer’s Inn, was so plainly a common public house; and because the great sign of a trumpeter designed by Rooke, the Pre-Raphaelite artist, had been freshened by some inferior hand. The big red-brick church had never pleased me, and I was accustomed, when I saw the wooden balustrade that ran along the slanting edge of the roof where nobody ever walked or could walk, to remember the opinion of some architect friend of my father’s, that it had been put there to keep the birds from falling off. Still, however, it had some village characters and helped us to feel not wholly lost in the metropolis. I no longer went to church as a regular habit, but go I sometimes did, for one Sunday morning I saw these words painted on a board in the porch: “The congregation are requested to kneel during prayers; the kneelers are afterwards to be hung upon pegs provided for the purpose.” In front of every seat hung a little cushion and these cushions were called “kneelers.” Presently the joke ran through the community, where there were many artists who considered religion at best an unimportant accessory to good architecture and who disliked that particular church.

II

I could not understand where the charm had gone that I had felt, when as a school-boy of twelve or thirteen I had played among the unfinished houses, once leaving the marks of my two hands, blacked by a fall among some paint, upon a white balustrade. Sometimes I thought it was because these were real houses, while my play had been among toy-houses some day to be inhabited by imaginary people full of the happiness that one can see in picture books.

I was in all things Pre-Raphaelite. When I was fifteen or sixteen my father had told me about Rossetti and Blake and given me their poetry to read; and once at Liverpool on my way to Sligo I had seen Dante’s Dream in the gallery there, a picture painted when Rossetti had lost his dramatic power and to-day not very pleasing to me, and its colour, its people, its romantic architecture had blotted all other pictures away. It was a perpetual bewilderment that my father, who had begun life as a Pre-Raphaelite painter, now painted portraits of the first comer, children selling newspapers, or a consumptive girl with a basket of fish upon her head, and that when, moved perhaps by some memory of his youth, he chose some theme from poetic tradition, he would soon weary and leave it unfinished. I had seen the change coming bit by bit and its defence elaborated by young men fresh from the Paris art-schools. “We must paint what is in front of us,” or “A man must be of his own time,” they would say, and if I spoke of Blake or Rossetti they would point out his bad drawing and tell me to admire Carolus Duran and Bastien-Lepage. Then, too, they were very ignorant men; they read nothing, for nothing mattered but “knowing how to paint,” being in reaction against a generation that seemed to have wasted its time upon so many things. I thought myself alone in hating these young men, now indeed getting towards middle life, their contempt for the past, their monopoly of the future, but in a few months I was to discover others of my own age, who thought as I did, for it is not true that youth looks before it with the mechanical gaze of a well-drilled soldier. Its quarrel is not with the past, but with the present, where its elders are so obviously powerful and no cause seems lost if it seem to threaten that power. Does cultivated youth ever really love the future, where the eye can discover no persecuted Royalty hidden among oak leaves, though from it certainly does come so much proletarian rhetoric?

I was unlike others of my generation in one thing only. I am very religious, and deprived by Huxley and Tyndall, whom I detested, of the simple-minded religion of my childhood, I had made a new religion, almost an infallible church out of poetic tradition: a fardel of stories, and of personages, and of emotions, inseparable from their first expression, passed on from generation to generation by poets and painters with some help from philosophers and theologians. I wished for a world, where I could discover this tradition perpetually, and not in pictures and in poems only, but in tiles round the chimney-piece and in the hangings that kept out the draught. I had even created a dogma: “Because those imaginary people are created out of the deepest instinct of man, to be his measure and his norm, whatever I can imagine those mouths speaking may be the nearest I can go to truth.” When I listened they seemed always to speak of one thing only: they, their loves, every incident of their lives, were steeped in the supernatural. Could even Titian’s “Ariosto” that I loved beyond other portraits have its grave look, as if waiting for some perfect final event, if the painters before Titian had not learned portraiture, while painting into the corner of compositions full of saints and Madonnas, their kneeling patrons? At seventeen years old I was already an old-fashioned brass cannon full of shot, and nothing had kept me from going off but a doubt as to my capacity to shoot straight.

III

I was not an industrious student and knew only what I had found by accident and I found nothing I cared for after Titian, and Titian I knew from an imitation of his Supper of Emmaus in Dublin, till Blake and the Pre-Raphaelites; and among my father’s friends were no Pre-Raphaelites. Some indeed had come to Bedford Park in the enthusiasm of the first building and others to be near those that had. There was Todhunter, a well-off man who had bought my father’s pictures while my father was still Pre-Raphaelite; once a Dublin doctor he was now a poet and a writer of poetical plays; a tall, sallow, lank, melancholy man, a good scholar and a good intellect; and with him my father carried on a warm exasperated friendship, fed I think by old memories and wasted by quarrels over matters of opinion. Of all the survivors he was the most dejected and the least estranged, and I remember encouraging him, with a sense of worship shared, to buy a very expensive carpet designed by Morris. He displayed it without strong liking and would have agreed had there been any to find fault. If he had liked anything strongly he might have been a famous man, for a few years later he was to write, under some casual patriotic impulse, certain excellent verses now in all Irish anthologies; but with him every book was a new planting, and not a new bud on an old bough. He had I think no peace in himself. But my father’s chief friend was York Powell, a famous Oxford Professor of history, a broad-built, broad-headed, brown-bearded man clothed in heavy blue cloth and looking, but for his glasses and the dim sight of a student, like some captain in the merchant service. One often passed with pleasure from Todhunter’s company to that of one who was almost ostentatiously at peace. He cared nothing for philosophy, nothing for economics, nothing for the policy of nations; for history, as he saw it, was a memory of men who were amusing or exciting to think about. He impressed all who met him, and seemed to some a man of genius, but he had not enough ambition to shape his thought, or conviction to give rhythm to his style and remained always a poor writer. I was too full of unfinished speculations and premature convictions to value rightly his conversation, informed by a vast erudition, which would give itself to every casual association of speech and company, precisely because he had neither cause nor design. My father, however, found Powell’s concrete narrative manner in talk a necessary completion of his own, and when I asked him in a letter many years later where he got his philosophy replied “from York Powell” and thereon added, no doubt remembering that Powell was without ideas, “by looking at him.” Then there was a good listener, a painter in whose hall hung a big picture painted in his student days of Ulysses sailing home from the Phaeacian court, an orange and a skin of wine at his side, blue mountains towering behind; but who lived by drawing domestic scenes and lovers’ meetings for a weekly magazine that had an immense circulation among the imperfectly educated. To escape the boredom of work, which he never turned to but under pressure of necessity and usually late at night, with the publisher’s messenger in the hall, he had half-filled his studio with mechanical toys, of his own invention, and perpetually increased their number. A model railway train at intervals puffed its way along the walls, passing several railway stations and signal boxes; and on the floor lay a camp with attacking and defending soldiers and a fortification that blew up when the attackers fired a pea through a certain window; while a large model of a Thames barge hung from the ceiling. Opposite our house lived an old artist who worked also for the illustrated papers for a living, but painted landscapes for his pleasure, and of him I remember nothing except that he had outlived ambition, was a good listener, and that my father explained his gaunt appearance by his descent from Pocahontas. If all these men were a little like becalmed ships, there was certainly one man whose sails were full. Three or four doors off on our side of the road lived a decorative artist in all the naïve confidence of popular ideals and the public approval. He was our daily comedy. “I myself and Sir Frederick Leighton are the greatest decorative artists of the age,” was among his sayings, and a great Lych-gate, bought from some country church-yard, reared its thatched roof, meant to shelter bearers and coffin, above the entrance to his front garden to show that he at any rate knew nothing of discouragement. In this fairly numerous company – there were others though no other face rises before me – my father and York Powell found listeners for a conversation that had no special loyalties, or antagonisms; while I could only talk upon set topics, being in the heat of my youth, and the topics that filled me with excitement were never spoken of.

IV

Bedford Park had a red brick clubhouse with a little theatre that began to stir my imagination. I persuaded Todhunter to write a pastoral play and have it performed there.

A couple of years before, while we were still in Dublin, he had given at Hengler’s Circus, remodelled as a Greek Theatre, a most expensive performance of his Helena of Troas, an oratorical Swinburnian play which I had thought as unactable as it was unreadable. Since I was seventeen I had constantly tested my own ambition with Keats’s praise of him who “left great verses to a little clan,” so it was but natural that I should spend an evening persuading him that we had nothing to do with the great public, that it should be a point of honour to be content with our own little public, that he should write of shepherds and shepherdesses because people would expect them to talk poetry and move without melodrama. He wrote his Sicilian Idyll, which I have not looked at for thirty years, and never rated very high as poetry, and had the one unmistakable success of his life. The little theatre was full for twice the number of performances intended, for artists, men of letters and students had come from all over London.

I made through these performances a close friend and a discovery that was to influence my life. Todhunter had engaged several professional actors with a little reputation, but had given the chief woman’s part to Florence Farr, who had qualities no contemporary professional practice could have increased, the chief man’s part to an amateur, Heron Allen, solicitor, fiddler and popular writer on palmistry. Heron Allen and Florence Farr read poetry for their pleasure. While they were upon the stage no one else could hold an eye or an ear. Their speech was music, the poetry acquired a nobility, a passionate austerity that made it seem akin for certain moments to the great poetry of the world. Heron Allen, who had never spoken in public before except to lecture upon the violin, had the wisdom to reduce his acting to a series of poses, to be the stately shepherd with not more gesture than was needed to “twitch his mantle blue” and to let his grace be foil to Florence Farr’s more impassioned delivery. When they closed their mouths, and some other player opened his, breaking up the verse to make it conversational, jerking his body or his arms that he might seem no austere poetical image but very man, I listened in raging hatred. I kept my seat with difficulty, I searched my memory for insulting phrases, I even muttered them to myself that the people about might hear. I had discovered for the first time that in the performance of all drama that depends for its effect upon beauty of language, poetical culture may be more important than professional experience.

Florence Farr lived in lodgings some twenty minutes’ walk away at Brook Green, and I was soon a constant caller, talking over plays that I would some day write her. She had three great gifts, a tranquil beauty like that of Demeter’s image near the British Museum reading room door, and an incomparable sense of rhythm and a beautiful voice, the seeming natural expression of the image. And yet there was scarce another gift that she did not value above those three. We all have our simplifying image, our genius, and such hard burden does it lay upon us that, but for the praise of others, we would deride it and hunt it away. She could only express hers through an unfashionable art, an art that has scarce existed since the seventeenth century, and so could only earn unimportant occasional praise. She would dress without care or calculation as if to hide her beauty and seem contemptuous of its power. If a man fell in love with her she would notice that she had seen just that movement upon the stage or had heard just that intonation and all seemed unreal. If she read out some poem in English or in French all was passion, all a traditional splendour, but she spoke of actual things with a cold wit or under the strain of paradox. Wit and paradox alike sought to pull down whatever had tradition or passion and she was soon to spend her days in the British Museum reading room and become erudite in many heterogeneous studies moved by an insatiable, destroying curiosity. I formed with her an enduring friendship that was an enduring exasperation – “why do you play the part with a bent back and a squeak in the voice? How can you be a character actor, you who hate all our life, you who belong to a life that is a vision?” But argument was no use, and some Nurse in Euripedes must be played with all an old woman’s infirmities and not as I would have it, with all a Sybil’s majesty, because “it is no use doing what nobody wants,” or because she would show that she “could do what the others did.”

I used in my rage to compare her thoughts, when her worst mood was upon her, to a game called Spillikens which I had seen played in my childhood with little pieces of bone that you had to draw out with a hook from a bundle of like pieces. A bundle of bones instead of Demeter’s golden sheaf! Her sitting room at the Brook Green lodging house was soon a reflection of her mind, the walls covered with musical instruments, pieces of oriental drapery, and Egyptian gods and goddesses painted by herself in the British Museum.

V

Presently a hansom drove up to our door at Bedford Park with Miss Maud Gonne, who brought an introduction to my father from old John O’Leary, the Fenian leader. She vexed my father by praise of war, war for its own sake, not as the creator of certain virtues but as if there were some virtue in excitement itself. I supported her against my father, which vexed him the more, though he might have understood that, apart from the fact that Carolus Duran and Bastien-Lepage were somehow involved, a man so young as I could not have differed from a woman so beautiful and so young. To-day, with her great height and the unchangeable lineaments of her form, she looks the Sybil I would have had played by Florence Farr, but in that day she seemed a classical impersonation of the Spring, the Virgilian commendation “She walks like a goddess” made for her alone. Her complexion was luminous, like that of apple blossom through which the light falls, and I remember her standing that first day by a great heap of such blossoms in the window. In the next few years I saw her always when she passed to and fro between Dublin and Paris, surrounded, no matter how rapid her journey and how brief her stay at either end of it, by cages full of birds, canaries, finches of all kinds, dogs, a parrot, and once a full-grown hawk from Donegal. Once when I saw her to her railway carriage I noticed how the cages obstructed wraps and cushions and wondered what her fellow travellers would say, but the carriage remained empty. It was years before I could see into the mind that lay hidden under so much beauty and so much energy.

VI

Some quarter of an hour’s walk from Bedford Park, out on the high road to Richmond, lived W. E. Henley, and I, like many others, began under him my education. His portrait, a lithograph by Rothenstein, hangs over my mantelpiece among portraits of other friends. He is drawn standing, but because doubtless of his crippled legs he leans forward, resting his elbows upon some slightly suggested object – a table or a window-sill. His heavy figure and powerful head, the disordered hair standing upright, his short irregular beard and moustache, his lined and wrinkled face, his eyes steadily fixed upon some object, in complete confidence and self-possession, and yet as in half-broken reverie, all are there exactly as I remember him. I have seen other portraits and they too show him exactly as I remember him, as though he had but one appearance and that seen fully at the first glance and by all alike. He was most human – human I used to say like one of Shakespeare’s characters – and yet pressed and pummelled, as it were, into a single attitude, almost into a gesture and a speech as by some overwhelming situation. I disagreed with him about everything, but I admired him beyond words. With the exception of some early poems founded upon old French models I disliked his poetry, mainly because he wrote in vers libre, which I associated with Tyndall and Huxley, and Bastien-Lepage’s clownish peasant staring with vacant eyes at her great boots; and filled it with unimpassioned description of an hospital ward where his leg had been amputated. I wanted the strongest passions, passions that had nothing to do with observation, sung in metrical forms that seemed old enough to be sung by men half-asleep or riding upon a journey. Furthermore, Pre-Raphaelism affected him as some people are affected by a cat in the room, and though he professed himself at our first meeting without political interests or convictions, he soon grew into a violent unionist and imperialist. I used to say when I spoke of his poems: “He is like a great actor with a bad part; yet who would look at Hamlet in the grave scene if Salvini played the grave-digger?” and I might so have explained much that he said and did. I meant that he was like a great actor of passion – character-acting meant nothing to me for many years – and an actor of passion will display some one quality of soul, personified again and again, just as a great poetical painter, Titian, Botticelli, Rossetti, may depend for his greatness upon a type of beauty which presently we call by his name. Irving, the last of the sort on the English stage, and in modern England and France it is the rarest sort, never moved me but in the expression of intellectual pride and though I saw Salvini but once I am convinced that his genius was a kind of animal nobility. Henley, half inarticulate – “I am very costive,” he would say – beset with personal quarrels, built up an image of power and magnanimity till it became, at moments, when seen as it were by lightning, his true self. Half his opinions were the contrivance of a sub-consciousness that sought always to bring life to the dramatic crisis and expression to that point of artifice where the true self could find its tongue. Without opponents there had been no drama, and in his youth Ruskinism and Pre-Raphaelitism, for he was of my father’s generation, were the only possible opponents. How could one resent his prejudice when, that he himself might play a worthy part, he must find beyond the common rout, whom he derided and flouted daily, opponents he could imagine moulded like himself? Once he said to me in the height of his imperial propaganda, “Tell those young men in Ireland that this great thing must go on. They say Ireland is not fit for self-government, but that is nonsense. It is as fit as any other European country, but we cannot grant it.” And then he spoke of his desire to found and edit a Dublin newspaper. It would have expounded the Gaelic propaganda then beginning, though Dr Hyde had, as yet, no league, our old stories, our modern literature – everything that did not demand any shred or patch of government. He dreamed of a tyranny, but it was that of Cosimo de’ Medici.

VII

We gathered on Sunday evenings in two rooms, with folding doors between, and hung, I think, with photographs from Dutch masters, and in one room there was always, I think, a table with cold meat. I can recall but one elderly man – Dunn his name was – rather silent and full of good sense, an old friend of Henley’s. We were young men, none as yet established in his own, or in the world’s opinion, and Henley was our leader and our confidant. One evening, I found him alone amused and exasperated: “Young A – ,” he cried “has just been round to ask my advice. Would I think it a wise thing if he bolted with Mrs B – ? ‘Have you quite determined to do it?’ I asked him. ‘Quite.’ ‘Well,’ I said, ‘in that case I refuse to give you any advice.’” Mrs B – was a beautiful talented woman, who, as the Welsh Triad said of Guinievere, “was much given to being carried off.” I think we listened to him, and often obeyed him, partly because he was quite plainly not upon the side of our parents. We might have a different ground of quarrel, but the result seemed more important than the ground, and his confident manner and speech made us believe, perhaps for the first time, in victory. And besides, if he did denounce, and in my case he certainly did, what we held in secret reverence, he never failed to associate it with things or persons that did not move us to reverence. Once I found him just returned from some art congress in Liverpool or in Manchester. “The salvation armyism of art,” he called it, and gave a grotesque description of some city councillor he had found admiring Turner. Henley, who hated all that Ruskin praised, thereupon derided Turner, and finding the city councillor the next day on the other side of the gallery, admiring some Pre-Raphaelite there, derided that Pre-Raphaelite. The third day Henley discovered the poor man on a chair in the middle of the room staring disconsolately upon the floor. He terrified us also and certainly I did not dare, and I think none of us dared, to speak our admiration for book or picture he condemned, but he made us feel always our importance, and no man among us could do good work, or show the promise of it, and lack his praise. I can remember meeting of a Sunday night Charles Whibley, Kenneth Grahame, author of The Golden Age, Barry Pain, now a well-known novelist, R. A. M. Stevenson, art critic and a famous talker, George Wyndham, later on a cabinet minister and Irish chief secretary, and now or later Oscar Wilde, who was some ten years older than the rest of us. But faces and names are vague to me and while faces that I met but once may rise clearly before me, a face met on many a Sunday has perhaps vanished. Kipling came sometimes, I think, but I never met him; and Stepniak, the Nihilist, whom I knew well elsewhere but not there, said – “I cannot go more than once a year, it is too exhausting.” Henley got the best out of us all, because he had made us accept him as our judge and we knew that his judgment could neither sleep, nor be softened, nor changed, nor turned aside. When I think of him, the antithesis that is the foundation of human nature being ever in my sight, I see his crippled legs as though he were some Vulcan perpetually forging swords for other men to use; and certainly I always thought of C – , a fine classical scholar, a pale and seemingly gentle man, as our chief swordsman and bravo. When Henley founded his weekly newspaper, first The Scots, afterwards The National Observer, this young man wrote articles and reviews notorious for savage wit; and years afterwards when The National Observer was dead, Henley dying, and our cavern of outlaws empty, I met him in Paris very sad and I think very poor. “Nobody will employ me now,” he said. “Your master is gone,” I answered, “and you are like the spear in an old Irish story that had to be kept dipped in poppy-juice that it might not go about killing people on its own account.” I wrote my first good lyrics and tolerable essays for The National Observer, and as I always signed my work could go my own road in some measure. Henley often revised my lyrics, crossing out a line or a stanza and writing in one of his own, and I was comforted by my belief that he also rewrote Kipling then in the first flood of popularity. At first, indeed, I was ashamed of being rewritten and thought that others were not, and only began investigation when the editorial characteristics – epigrams, archaisms, and all – appeared in the article upon Paris fashions and in that upon opium by an Egyptian Pasha. I was not compelled to full conformity for verse is plainly stubborn; and in prose, that I might avoid unacceptable opinions, I wrote nothing but ghost or fairy stories, picked up from my mother or some pilot at Rosses Point and Henley saw that I must needs mix a palette fitted to my subject matter. But if he had changed every “has” into “hath” I would have let him, for had not we sunned ourselves in his generosity? “My young men outdo me and they write better than I,” he wrote in some letter praising Charles Whibley’s work, and to another friend with a copy of my Man Who Dreamed of Fairyland: “See what a fine thing has been written by one of my lads.”