EVENING PARTY
“SANS Espoir, sans Espoir . . .” sang the lady while the piano laboriously opened its box of old sardines in treacle. One detected ptomaine in the syrup.
Sans Espoir . . . I thought of the rhymes—soir, nonchaloir, reposoir—the dying falls of a symbolism grown sadly suicidal before the broad Flemish back of the singer, the dewlaps of her audience. Sans Espoir. The listeners wore the frozen rapture of those who gaze upon the uplifted Host.
Catching one another’s eye, we had a simultaneous vision of pews, of hyenas and hysteria.
Three candles were burning. They behaved like English aristocrats in a French novel—perfectly, impassively. I tried to imitate their milordliness.
One of the candles flickered, snickered. Was it a draught or was it laughter?
Flickering, snickering—candles, you betrayed me. I had to laugh too.
BEAUTY
I
THERE is a sea somewhere—whether in the lampless crypts of the earth, or among sunlit islands, or that which is an unfathomable and terrifying question between the archipelagos of stars—there is a sea (and perhaps its tides have filled those green transparent pools that glint like eyes in a spring storm-cloud) which is for ever troubled and in travail—a bubbling and a heaving up of waters as though for the birth of a fountain.
The sick and the crippled lie along the brims in expectation of the miracle. And at last, at last . . .
A funnel of white water is twisted up and so stands, straight and still by the very speed of its motion.
It drinks the light; slowly it is infused with colour, rose and mother-of-pearl. Slowly it takes shape, a heavenly body.
O dazzling Anadyomene!
The flakes of foam break into white birds about her head, fall again in a soft avalanche of flowers. Perpetual miracle, beauty endlessly born.
II
STEAMERS, in all your travelling have you trailed the meshes of your long expiring white nets across this sea, or dipped in it your sliding rail, or balanced your shadow far far down upon its glass-green sand? Or, forgetting the preoccupations of commerce and the well-oiled predestination of your machinery, did you ever put in at the real Paphos?
III
IN the city of Troy, whither our Argonautical voyages had carried us, we found Helen and that lamentable Cressid who was to Chaucer the feminine paradox, untenably fantastic but so devastatingly actual, the crystal ideal—flawed; and to Shakespeare the inevitable trull, flayed to show her physiological machinery and the logical conclusion of every the most heartrendingly ingenuous gesture of maidenhood. (But, bless you! our gorge doesn’t rise. We are cynically well up in the damning Theory of woman, which makes it all the more amusing to watch ourselves in the ecstatic practice of her. Unforeseen perversity.)
Fabulous Helen! At her firm breasts they used to mould delicate drinking cups which made the sourest vinegar richly poisonous.
The geometry of her body had utterly outwitted Euclid, and the Philosophers were baffled by curves of a subtlety infinitely more elusive and Eleusinian than the most oracular speculations of Parmenides. They did their best to make a coherent system out of the incompatible, but empirically established, facts of her. Time, for instance, was abolished within the circle of her arms. “It is eternity when her lips touch me,” Paris had remarked. And yet this same Paris was manifestly and notoriously falling into a decline, had lost whatever sense or beauty he once possessed, together with his memory and all skill in the nine arts which are memory’s daughters. How was it then, these perplexed philosophers wondered, that she could at one and the same moment give eternity like a goddess, while she was vampiring away with that divine thirsty mouth of hers the last dregs of a poor mortal life? They sought an insufficient refuge in Heraclitus’ theory of opposites.
Meanwhile Troilus was always to be found at sunset, pacing up and down the walls by the western gate—quite mad. At dusk the Greek camp-fires would blossom along Xanthus banks—one after another, a myriad lights dancing in the dark.
As when the moon, refulgent lamp of night,
O’er heaven’s pure azure spreads her something light.
He would repeat the simile to himself, but could never remember the correct epithets. Not that they mattered—any more than anything else.
IV
THERE are fine cities in the world—Manhattan, Ecbatana and Hecatompylus—but this city of Troy is the most fabulous of them all. Rome was seven hills of butcher’s meat, Athens an abstraction of marble, in Alexandria the steam of kidney-puddings revolted the cœnobites, darkness and size render London inappreciable, Paris is full of sparrows, the snow lies gritty on Berlin, Moscow has no verisimilitude, all the East is peopled by masks and apes and larvæ. But this city of Troy is most of all real and fabulous with its charnel beauty.
“Is not Helen the end of our search—paradisal little World, symbol and epitome of the Great? Dawn sleeps in the transparent shadow of roses within her ear. The stainless candour of infinity—far-off peaks in summer and the Milky Way—has taken marvellous form in her. The Little World has its meteors, too, comets and shadowy clouds of hair, stars at whose glance men go planet-struck. Meteors—yes, and history it has. The past is still alive in the fragrance of her hair, and her young body breathes forth memories as old as the beginning of life—Eros first of gods. In her is the goal. I rest here with Helen.”
“Fool,” I said, “quote your Faustus. I go further.”
V
FURTHER—but a hundred Liliputian tethers prevent me, the white nerves which tie soul to skin. And the whole air is aching with epidermical magnetism.
Further, further. But Troy is the birthplace of my homesickness. Troy is more than a patriotism, for it is built of my very flesh; the remembrance of it is a fire that sticks and tears when I would pull it off.
But further. One last look at Troilus where he stands by the western gate, staring over the plain. Further. When I have learnt the truth, I will return and build a new palace with domes less ominously like breasts, and there I will invent a safer Helen and a less paradoxical Cressid, and my harem will be a library for enlightenment.
VI
HERE are pagodas of diminishing bells. The leopard sleeps in the depth of his rosy cavern, and when he breathes it is a smell of irresistible sweetness; in the bestiaries he is the symbol of Christ in His sepulchre.
This listening conch has collected all the rumours of pantheism; the dew in this veined cup is the sacrament of nature, while these pale thuribles worship in the dark with yellow lamps and incense.
Everywhere alchemical profusion—the golden mintage of glades and ripples, vigils of passion enriched with silver under the fingers of the moon; everywhere lavishness, colour, music; the smoothness of machinery, incredible and fantastic ingenuities. God has lost his half-hunter in the desert.
But we have not come to worship among these Gothic beeches, for all their pillars and the lace-work of their green windows. We are looking for other things than churches.
VII
TREES, the half-fossilised exuberances of a passionate life, petrified fountains of intemperance—with their abolition begins the realm of reason.
Geometry, lines and planes, smooth edges, the ordered horror of perspectives. In this country there are pavements bright and sleek as water. The walls are precipices to which giants have nailed a perpetual cataract of marble. The fringes of the sky are scalloped with a pattern of domes and minarets. At night, too, the down-struck lamps are pyramids of phantom green and the perfect circle they make upon the pavement is magical.
Look over the parapet of the Acropolis. The bridges go dizzily down on their swaying catenaries, the gull’s flight chained fast. The walls drop clear into the valley, all the millions of basalt blocks calcined into a single red monolith, fluted with thirstily shining organ pipes, which seem for ever wet. There are no crevices for moss and toadflax, and even the claws of the yellow lichen slip on its polished flanks.
The valley is all paved and inlaid with rivers of steel. No trees, for they have been abolished.
“Glorious unnature,” cries the watcher at the parapet. His voice launches into the abyss, following the curve of the bridges. “Glorious unnature. We have triumphed.”
But his laughter as it descends is like a flight of broken steps.
VIII
LET us abandon ourselves to Time, which is beauty’s essence. We live among the perpetual degenerations of apotheoses. Sunset dissolves into soft grey snow and the deep ocean of midnight, boundless as forgetfulness or some yet undiscovered Pacific, contracts into the green puddle of the dawn. The flowers burn to dust with their own brightness. On the banks of ancient rivers stand the pitiful stumps of huge towers and the ghosts of dead men straining to return into life. The woods are full of the smell of transience. Beauty, then, is that moment of descent when apotheosis tilts its wings downwards into the gulf. The ends of the curve lose themselves parabolically somewhere in infinity. Our
