Reveries over Childhood and Youth Part 2

It all came upon me when I was close upon seventeen like the bursting of a sh.e.l.l. Somnambulistic country-girls, when it is upon them, throw plates about or pull them with long hairs in simulation of the polter-geist, or become mediums for some genuine spirit-mischief, surrendering to their desire of the marvellous. As I look backward, I seem to discover that my pa.s.sions, my loves and my despairs, instead of being my enemies, a disturbance and an attack, became so beautiful that I must be constantly alone to give them my whole attention. I notice that, for the first time as I run through my memory, what I saw when alone is more vivid than what I did or saw in company.

A herd had shown me a cave some hundred and fifty feet below the cliff path and a couple of hundred above the sea, and told me how an evicted tenant called Macrom, dead some fifteen years, had lived there many years, and shown me a rusty nail in the rock which had served perhaps to hold up some wooden protection from wind and weather. Here I stored a tin of cocoa and some biscuits, and instead of going to my bed, would slip out on warm nights and sleep in the cave on the excuse of catching moths. One had to pa.s.s over a rocky ledge, safe enough for anyone with a fair head, yet seeming, if looked at from above, narrow and sloping; and a remonstrance from a stranger who had seen me climbing along it doubled my delight in the adventure. When however, upon a bank holiday, I found lovers in my cave, I was not content with it again till I heard of alarm among the fis.h.i.+ng boats, because the ghost of Macrom had been seen a little before the dawn, stooping over his fire in the cave-mouth. I had been trying to cook eggs, as I had read in some book, by burying them in the earth under a fire of sticks.

At other times, I would sleep among the rhododendrons and rocks in the wilder part of the grounds of Howth Castle. After a while my father said I must stay in-doors half the night, meaning that I should get some sleep in my bed; but I, knowing that I would be too sleepy and comfortable to get up again, used to sit over the kitchen fire till half the night was gone.

Exaggerated accounts spread through the school, and sometimes when I did not know a lesson some master would banter me. My interest in science began to fade away, and presently I said to myself, "it has all been a misunderstanding." I remembered how soon I tired of my specimens, and how little I knew after all my years of collecting, and I came to believe that I had gone through so much labour because of a text, heard for the first time in St. John's Church in Sligo. I wanted to be certain of my own wisdom by copying Solomon, who had knowledge of hyssop and of tree. I still carried my green net but I began to play at being a sage, a magician or a poet. I had many idols, and now as I climbed along the narrow ledge I was Manfred on his glacier, and now I thought of Prince Athanase and his solitary lamp, but I soon chose Alastor for my chief of men and longed to share his melancholy, and maybe at last to disappear from everybody's sight as he disappeared drifting in a boat along some slow-moving river between great trees. When I thought of women they were modelled on those in my favourite poets and loved in brief tragedy, or, like the girl in "The Revolt of Islam," accompanied their lovers through all manner of wild places, lawless women without homes and without children.

XV

My father's influence upon my thoughts was at its height. We went to Dublin by train every morning, breakfasting in his studio. He had taken a large room with a beautiful 18th century mantle-piece in a York Street tenement house, and at breakfast he read pa.s.sages from the poets, and always from the play or poem at its most pa.s.sionate moment. He never read me a pa.s.sage because of its speculative interest, and indeed did not care at all for poetry where there was generalisation or abstraction however impa.s.sioned. He would read out the first speeches of the Prometheus Unbound, but never the ecstatic lyricism of that famous fourth act; and another day the scene where Coriola.n.u.s comes to the house of Aufidius and tells the impudent servants that his home is under the canopy. I have seen Coriola.n.u.s played a number of times since then, and read it more than once, but that scene is more vivid than the rest, and it is my father's voice that I hear and not Irving's or Benson's. He did not care even for a fine lyric pa.s.sage unless one felt some actual man behind its elaboration of beauty, and he was always looking for the lineaments of some desirable, familiar life. When the spirits sang their scorn of Manfred I was to judge by Manfred's answer "O sweet and melancholy voices" that they could not, even in anger, put off their spiritual sweetness. He thought Keats a greater poet than Sh.e.l.ley, because less abstract, but did not read him, caring little, I think, for any of that most beautiful poetry which has come in modern times from the influence of painting. All must be an idealisation of speech, and at some moment of pa.s.sionate action or somnambulistic reverie. I remember his saying that all contemplative men were in a conspiracy to overrate their state of life, and that all writers were of them, excepting the great poets. Looking backwards, it seems to me that I saw his mind in fragments, which had always hidden connections I only now begin to discover. He disliked the Victorian poetry of ideas, and Wordsworth but for certain pa.s.sages or whole poems. He described one morning over his breakfast how in the shape of the head of a Wordsworthian scholar, an old and greatly respected clergyman whose portrait he was painting, he had discovered all the animal instincts of a prizefighter. He despised the formal beauty of Raphael, that calm which is not an ordered pa.s.sion but an hypocrisy, and attacked Raphael's life for its love of pleasure and its self-indulgence. In literature he was always pre-Raphaelite, and carried into literature principles that, while the Academy was still unbroken, had made the first attack upon academic form.

He no longer read me anything for its story, and all our discussion was of style.

XVI

I began to make blunders when I paid calls or visits, and a woman I had known and liked as a child told me I had changed for the worse. I had wanted to be wise and eloquent, an essay on the younger Ampere had helped me to this ambition, and when I was alone I exaggerated my blunders and was miserable. I had begun to write poetry in imitation of Sh.e.l.ley and of Edmund Spenser, play after play--for my father exalted dramatic poetry above all other kinds--and I invented fantastic and incoherent plots. My lines but seldom scanned, for I could not understand the prosody in the books, although there were many lines that taken by themselves had music.

I spoke them slowly as I wrote and only discovered when I read them to somebody else that there was no common music, no prosody. There were, however, moments of observation; for, even when I caught moths no longer, I still noticed all that pa.s.sed; how the little moths came out at sunset, and how after that there were only a few big moths till dawn brought little moths again; and what birds cried out at night as if in their sleep.

XVII

At Sligo, where I still went for my holidays, I stayed with my uncle, George Pollexfen, who had come from Ballina to fill the place of my grandfather, who had retired. My grandfather had no longer his big house, his partner William Middleton was dead, and there had been legal trouble.

He was no longer the rich man he had been, and his sons and daughters were married and scattered. He had a tall, bare house overlooking the harbour, and had nothing to do but work himself into a rage if he saw a mudlighter mismanaged or judged from the smoke of a steamer that she was burning cheap coal, and to superintend the making of his tomb. There was a Middleton tomb and a long list of Middletons on the wall, and an almost empty place for Pollexfen names, but he had said, because there was a Middleton there he did not like, "I am not going to lie with those old bones;" and already one saw his name in large gilt letters on the stone fence of the new tomb. He ended his walk at St. John's churchyard almost daily, for he liked everything neat and compendious as upon s.h.i.+pboard, and if he had not looked after the tomb himself the builder might have added some useless ornament. He had, however, all his old skill and nerve. I was going to Rosses Point on the little trading steamer and saw him take the wheel from the helmsman and steer her through a gap in the channel wall, and across the sand, an unheard-of-course, and at the journey's end bring her alongside her wharf at Rosses without the accustomed zigzagging or pulling on a rope but in a single movement. He took snuff when he had a cold, but had never smoked or taken alcohol; and when in his eightieth year his doctor advised a stimulant, he replied, "no, no, I am not going to form a bad habit."

My brother had partly taken my place in my grandmother's affections. He had lived permanently in her house for some years now, and went to a Sligo school where he was always bottom of his cla.s.s. My grandmother did not mind that, for she said, "he is too kind-hearted to pa.s.s the other boys."

He spent his free hours going here and there with crowds of little boys, sons of pilots and sailors, as their well-liked leader, arranging donkey races or driving donkeys tandem, an occupation which requires all one's intellect because of their obstinacy. Besides he had begun to amuse everybody with his drawings; and in half the pictures he paints to-day I recognise faces that I have met at Rosses or the Sligo quays. It is long since he has lived there, but his memory seems as accurate as the sight of the eye.

George Pollexfen was as patient as his father was impetuous, and did all by habit. A well-to-do, elderly man, he lived with no more comfort than when he had set out as a young man. He had a little house and one old general servant and a man to look after his horse, and every year he gave up some activity and found that there was one more food that disagreed with him. A hypochondriac, he pa.s.sed from winter to summer through a series of woollens that had always to be weighed; for in April or May or whatever the date was he had to be sure he carried the exact number of ounces he had carried upon that date since boyhood. He lived in despondency, finding in the most cheerful news reasons of discouragement, and sighing every twenty-second of June over the shortening of the days.

Once in later years, when I met him in Dublin sweating in a midsummer noon, I brought him into the hall of the Kildare Street Library, a cool and shady place, without lightening his spirits; for he but said in a melancholy voice, "how very cold this place must be in winter time."

Sometimes when I had pitted my cheerfulness against his gloom over the breakfast table, maintaining that neither his talent nor his memory nor his health were running to the dregs, he would rout me with the sentence, "how very old I shall be in twenty years." Yet this inactive man, in whom the sap of life seemed to be dried away, had a mind full of pictures.

Nothing had ever happened to him except a love affair, not I think very pa.s.sionate, that had gone wrong, and a voyage when a young man. My grandfather had sent him in a schooner to a port in Spain where the s.h.i.+pping agents were two Spaniards called O'Neill, descendants of Hugh O'Neill, Earl of Tyrone, who had fled from Ireland in the reign of James I; and their Irish trade was a last remnant of the Spanish trade that had once made Galway wealthy. For some years he and they had corresponded, for they cherished the memory of their origin. In some Connaught burying ground, he had chanced upon the funeral of a child with but one mourner, a distinguished foreign-looking man. It was an Austrian count burying the last of an Irish family, long n.o.bles of Austria, who were always carried to that half-ruined burying ground.

My uncle had almost given up hunting and was soon to give it up altogether, and he had once ridden steeple-chases and been, his horse-trainer said, the best rider in Connaught. He had certainly great knowledge of horses, for I have been told, several counties away, that at Ballina he cured horses by conjuring. He had, however, merely great skill in diagnosis, for the day was still far off when he was to give his nights to astrology and ceremonial magic. His servant, Mary Battle, who had been with him since he was a young man, had the second sight and that, maybe, inclined him to strange studies. He would tell how more than once when he had brought home a guest without giving her notice he had found the dinner-table set for two, and one morning she was about to bring him a clean s.h.i.+rt, but stopped saying there was blood on the s.h.i.+rt-front and that she must bring him another. On his way to his office he fell, crossing over a little wall, and cut himself and bled on to the linen where she had seen the blood. In the evening, she told how surprised she had been to find when she looked again that the s.h.i.+rt she had thought b.l.o.o.d.y was quite clean. She could neither read nor write and her mind, which answered his gloom with its merriment, was rammed with every sort of old history and strange belief. Much of my "Celtic Twilight" is but her daily speech.

My uncle had the respect of the common people as few Sligo men have had it; he would have thought a stronger emotion an intrusion on his privacy.

He gave to all men the respect due to their station or their worth with an added measure of ceremony, and kept among his workmen a discipline that had about it something of a regiment or a s.h.i.+p, knowing nothing of any but personal authority. If a carter, let us say, was in fault, he would not dismiss him, but send for him and take his whip away and hang it upon the wall; and having reduced the offender, as it were, to the ranks for certain months, would restore him to his post and his whip. This man of diligence and of method, who had no enterprise but in contemplation, and claimed that his wealth, considerable for Ireland, came from a brother's or partner's talent, was the confidant of my boyish freaks and reveries.

When I said to him, echoing some book I had read, that one never knew a countryside till one knew it at night, (though nothing would have kept him from his bed a moment beyond the hour) he was pleased; for he loved natural things and had learnt two cries of the lapwing, one that drew them to where he stood and one that made them fly away. And he approved, and arranged my meals conveniently, when I told him I was going to walk round Lough Gill and sleep in a wood. I did not tell him all my object, for I was nursing a new ambition. My father had read to me some pa.s.sage out of "Walden," and I planned to live some day in a cottage on a little island called Innisfree, and Innisfree was opposite Slish Wood where I meant to sleep.

I thought that having conquered bodily desire and the inclination of my mind towards women and love, I should live, as Th.o.r.eau lived, seeking wisdom. There was a story in the county history of a tree that had once grown upon that island guarded by some terrible monster and borne the food of the G.o.ds. A young girl pined for the fruit and told her lover to kill the monster and carry the fruit away. He did as he had been told, but tasted the fruit; and when he reached the mainland where she had waited for him, was dying of its powerful virtue. And from sorrow and from remorse she too ate of it and died. I do not remember whether I chose the island because of its beauty or for the story's sake, but I was twenty-two or three before I gave up the dream.

I set out from Sligo about six in the evening, walking slowly, for it was an evening of great beauty; but though I was well into Slish Wood by bed-time, I could not sleep, not from the discomfort of the dry rock I had chosen for my bed, but from my fear of the wood-ranger. Somebody had told me, though I do not think it could have been true, that he went his round at some unknown hour. I kept going over what I should say if I was found and could not think of anything he would believe. However, I could watch my island in the early dawn and notice the order of the cries of the birds.

I came home next day unimaginably tired & sleepy, having walked some thirty miles partly over rough and boggy ground. For months afterwards, if I alluded to my walk, my uncle's general servant (not Mary Battle, who was slowly recovering from an illness and would not have taken the liberty) would go into fits of laughter. She believed I had spend the night in a different fas.h.i.+on and had invented the excuse to deceive my uncle, and would say to my great embarra.s.sment, for I was as prudish as an old maid, "and you had good right to be fatigued."

Once when staying with my uncle at Rosses Point where he went for certain months of the year, I called upon a cousin towards midnight and asked him to get his yacht out, for I wanted to find what sea birds began to stir before dawn. He was indignant and refused; but his elder sister had overheard me and came to the head of the stairs and forbade him to stir, and that so vexed him that he shouted to the kitchen for his sea-boots. He came with me in great gloom for he had people's respect, he declared, and n.o.body so far had said that he was mad as they said I was, and we got a very sleepy boy out of his bed in the village and set up sail. We put a trawl out, as he thought it would restore his character if he caught some fish, but the wind fell and we were becalmed. I rolled myself in the main-sail and went to sleep for I could sleep anywhere in those days. I was awakened towards dawn to see my cousin and the boy turning out their pockets for money and to rummage in my own pockets. A boat was rowing in from Roughley with fish and they wanted to buy some and would pretend they had caught it, but all our pockets were empty. It was for the poem that became fifteen years afterwards "The Shadowy Waters" that I had wanted the birds' cries, and it had been full of observation had I been able to write it when I first planned it. I had found again the windy light that moved me when a child. I persuaded myself that I had a pa.s.sion for the dawn, and this pa.s.sion, though mainly histrionic like a child's play, an ambitious game, had moments of sincerity. Years afterwards when I had finished "The Wanderings of Oisin," dissatisfied with its yellow and its dull green, with all that overcharged colour inherited from the romantic movement, I deliberately reshaped my style, deliberately sought out an impression as of cold light and tumbling clouds. I cast off traditional metaphors and loosened my rhythm, and recognizing that all the criticism of life known to me was alien and English, became as emotional as possible but with an emotion which I described to myself as cold. It is a natural conviction for a painter's son to believe that there may be a landscape symbolical of some spiritual condition that awakens a hunger such as cats feel for valerian.

XVIII

I was writing a long play on a fable suggested by one of my father's early designs. A king's daughter loves a G.o.d seen in the luminous sky above her garden in childhood, and to be worthy of him and put away mortality, becomes without pity & commits crimes, and at last, having made her way to the throne by murder, awaits the hour among her courtiers. One by one they become chilly and drop dead, for, unseen by all but her, her G.o.d is walking through the hall. At last he is at her throne's foot and she, her mind in the garden once again, dies babbling like a child.

XIX

Once when I was sailing with my cousin, the boy who was our crew talked of a music-hall at a neighbouring seaport, and how the girls there gave themselves to men, and his language was as extravagant as though he praised that courtezan after whom they named a city or the queen of Sheba herself. Another day he wanted my cousin to sail some fifty miles along the coast and put in near some cottages where he had heard there were girls "and we would have a great welcome before us." He pleaded with excitement (I imagine that his eyes shone) but hardly hoped to persuade us, and perhaps but played with fabulous images of life and of s.e.x. A young jockey and horse-trainer, who had trained some horses for my uncle, once talked to me of wicked England while we cooked a turkey for our Christmas dinner making it twist about on a string in front of his harness-room fire. He had met two lords in England where he had gone racing, who "always exchanged wives when they went to the Continent for a holiday." He himself had once been led into temptation and was going home with a woman, but having touched his scapular by chance, saw in a moment an angel waving white wings in the air. Presently I was to meet him no more and my uncle said he had done something disgraceful about a horse.

XX

I was climbing up a hill at Howth when I heard wheels behind me and a pony-carriage drew up beside me. A pretty girl was driving alone and without a hat. She told me her name and said we had friends in common and asked me to ride beside her. After that I saw a great deal of her and was soon in love. I did not tell her I was in love, however, because she was engaged. She had chosen me for her confidant and I learned all about her quarrels with her lover. Several times he broke the engagement off, and she would fall ill, and friends would make peace. Sometimes she would write to him three times a day, but she could not do without a confidant.

She was a wild creature, a fine mimic and given to bursts of religion. I have known her to weep at a sermon, call herself a sinful woman, and mimic it after. I wrote her some bad poems and had more than one sleepless night through anger with her betrothed.

XXI

At Ballisodare an event happened that brought me back to the superst.i.tions of my childhood. I do not know when it was, for the events of this period have as little sequence as those of childhood. I was staying with cousins at Avena house, a young man a few years older and a girl of my own age and perhaps her sister who was a good deal older. My girl cousin had often told me of strange sights she had seen at Ballisodare or Rosses. An old woman three or four feet in height and leaning on a stick had once come to the window and looked in at her, and sometimes she would meet people on the road who would say "how is so-and-so," naming some member of her family, and she would know, though she could not explain how, that they were not people of this world. Once she had lost her way in a familiar field, and when she found it again the silver mounting on a walking-stick belonging to her brother which she carried had vanished. An old woman in the village said afterwards "you have good friends amongst them, and the silver was taken instead of you."

Though it was all years ago, what I am going to tell now must be accurate, for no great while ago she wrote out her unprompted memory of it all and it was the same as mine. She was sitting under an old-fas.h.i.+oned mirror reading and I was reading in another part of the room. Suddenly I heard a sound as if somebody was throwing a shower of peas at the mirror. I got her to go into the next room and rap with her knuckles on the other side of the wall to see if the sound could come from there, and while I was alone a great thump came close to my head upon the wainscot and on a different wall of the room. Later in the day a servant heard a heavy footstep going through the empty house, and that night, when I and my two cousins went for a walk, she saw the ground under some trees all in a blaze of light. I saw nothing, but presently we crossed the river and went along its edge where, they say, there was a village destroyed, I think in the wars of the 17th century, and near an old grave-yard. Suddenly we all saw light moving over the river where there is a great rush of waters. It was like a very brilliant torch. A moment later the girl saw a man coming towards us who disappeared in the water. I kept asking myself if I could be deceived. Perhaps after all, though it seemed impossible, somebody was walking in the water with a torch. But we could see a small light low down on Knock-na-rea seven miles off, and it began to move upward over the mountain slope. I timed it on my watch and in five minutes it reached the summit, and I, who had often climbed the mountain, knew that no human footstep was so speedy.

From that on I wandered about raths and faery hills and questioned old women and old men and, when I was tired out or unhappy, began to long for some such end as True Thomas found. I did not believe with my intellect that you could be carried away body and soul, but I believed with my emotions and the belief of the country people made that easy. Once when I had crawled into the stone pa.s.sage in some rath of the third Rosses, the pilot who had come with me called down the pa.s.sage: "are you all right, sir?"

And one night as I came near the village of Rosses on the road from Sligo, a fire blazed up on a green bank at my right side seven or eight feet above me, and another fire suddenly answered from Knock-na-rea. I hurried on doubting, and yet hardly doubting in my heart that I saw again the fires that I had seen by the river at Ballisodare. I began occasionally telling people that one should believe whatever had been believed in all countries and periods, and only reject any part of it after much evidence, instead of starting all over afresh and only believing what one could prove. But I was always ready to deny or turn into a joke what was for all that my secret fanaticism. When I had read Darwin and Huxley and believed as they did, I had wanted, because an established authority was upon my side, to argue with everybody.

XXII

I no longer went to the Harcourt Street school and we had moved from Howth to Rathgar. I was at the Arts schools in Kildare Street, but my father, who came to the school now and then, was my teacher. The masters left me alone, for they liked a very smooth surface and a very neat outline, and indeed understood nothing but neatness and smoothness. A drawing of the Discobolus, after my father had touched it, making the shoulder stand out with swift and broken lines, had no meaning for them; and for the most part I exaggerated all that my father did. Sometimes indeed, out of rivalry to some student near, I too would try to be smooth and neat. One day I helped the student next me, who certainly had no artistic gifts, to make a drawing of some plaster fruit. In his grat.i.tude he told me his history. "I don't care for art," he said. "I am a good billiard player, one of the best in Dublin; but my guardian said I must take a profession, so I asked my friends to tell me where I would not have to pa.s.s an examination, and here I am." It may be that I myself was there for no better reason. My father had wanted me to go to Trinity College and, when I would not, had said, "my father and grandfather and great-grandfather have been there." I did not tell him my reason was that I did not believe my cla.s.sics or my mathematics good enough for any examination.

I had for fellow-student an unhappy "village genius" sent to Dublin by some charitable Connaught landlord. He painted religious pictures upon sheets nailed to the wall of his bedroom, a "Last Judgment" among the rest. Then there was a wild young man who would come to school of a morning with a daisy-chain hung round his neck; and George Russel, "ae,"

the poet, and mystic. He did not paint the model as we tried to, for some other image rose always before his eyes (a St. John in the Desert I remember,) and already he spoke to us of his visions. His conversation, so lucid and vehement to-day, was all but incomprehensible, though now and again some phrase would be understood and repeated. One day he announced that he was leaving the Art schools because his will was weak and the arts or any other emotional pursuit could but weaken it further.

Presently I went to the modelling cla.s.s to be with certain elder students who had authority among us. Among these were John Hughes and Oliver Sheppard, well-known now as Irish sculptors. The day I first went into the studio where they worked, I stood still upon the threshold in amazement. A pretty gentle-looking girl was modelling in the middle of the room, and all the men were swearing at her for getting in their light with the most violent and fantastic oaths, and calling her every sort of name, and through it all she worked in undisturbed diligence. Presently the man nearest me saw my face and called out, "she is stone deaf, so we always swear at her and call her names when she gets in our light." In reality I soon found that everyone was kind to her, carrying her drawing-boards and the like, and putting her into the tram at the day's end. We had no scholars.h.i.+p, no critical knowledge of the history of painting, and no settled standards. A student would show his fellows some French ill.u.s.trated paper that we might all admire, now some statue by Rodin or Dalou and now some declamatory Parisian monument, and if I did not happen to have discussed the matter with my father I would admire with no more discrimination than the rest. That pretentious monument to Gambetta made a great stir among us. No influence touched us but that of France, where one or two of the older students had been already and all hoped to go. Of England I alone knew anything. Our ablest student had learnt Italian to read Dante, but had never heard of Tennyson or Browning, and it was I who carried into the school some knowledge of English poetry, especially of Browning who had begun to move me by his air of wisdom. I do not believe that I worked well, for I wrote a great deal and that tired me, and the work I was set to bored me. When alone and uninfluenced, I longed for pattern, for pre-Raphaelitism, for an art allied to poetry, and returned again and again to our National Gallery to gaze at Turner's Golden Bough.

Yet I was too timid, had I known how, to break away from my father's style and the style of those about me. I was always hoping that my father would return to the style of his youth, and make pictures out of certain designs now lost, that one could still find in his portfolios. There was one of an old hunchback in vague medieval dress, going through some underground place where there are beds with people in the beds; a girl half rising from one has seized his hand and is kissing it. I have forgotten its story, but the strange old man and the intensity in the girl's figure are vivid as in my childhood. There is some pa.s.sage, I believe in the Bible, about a man who saved a city and went away and was never heard of again and here he was in another design, an old ragged beggar in the market-place laughing at his own statue. But my father would say: "I must paint what I see in front of me. Of course I shall really paint something different because my nature will come in unconsciously."

Sometimes I would try to argue with him, for I had come to think the philosophy of his fellow-artists and himself a misunderstanding created by Victorian science, and science I had grown to hate with a monkish hate; but no good came of it, and in a moment I would unsay what I had said and pretend that I did not really believe it. My father was painting many fine portraits, Dublin leaders of the bar, college notabilities, or chance comers whom he would paint for nothing if he liked their heads; but all displeased me. In my heart I thought that only beautiful things should be painted, and that only ancient things and the stuff of dreams were beautiful. And I almost quarrelled with my father when he made a large water-colour, one of his finest pictures and now lost, of a consumptive beggar girl. And a picture at the Hibernian Academy of cocottes with yellow faces sitting before a cafe by some follower of Manet's made me miserable for days, but I was happy when partly through my father's planning some Whistlers were brought over and exhibited, and did not agree when my father said: "imagine making your old mother an arrangement in gray!" I did not care for mere reality and believed that creation should be conscious, and yet I could only imitate my father. I could not compose anything but a portrait and even to-day I constantly see people as a portrait painter, posing them in the mind's eye before such and such a background. Meanwhile I was still very much of a child, sometimes drawing with an elaborate frenzy, simulating what I believed of inspiration and sometimes walking with an artificial stride in memory of Hamlet and stopping at shop windows to look at my tie gathered into a loose sailor-knot and to regret that it could not be always blown out by the wind like Byron's tie in the picture. I had as many ideas as I have now, only I did not know how to choose from among them those that belonged to my life.

XXIII

We lived in a villa where the red bricks were made pretentious and vulgar with streaks of slate colour, and there seemed to be enemies everywhere.

At one side indeed there was a friendly architect, but on the other some stupid stout woman and her family. I had a study with a window opposite some window of hers, & one night when I was writing I heard voices full of derision and saw the stout woman and her family standing in the window. I have a way of acting what I write and speaking it aloud without knowing what I am doing. Perhaps I was on my hands and knees, or looking down over the back of a chair talking into what I imagined an abyss. Another day a woman asked me to direct her on her way and while I was hesitating, being so suddenly called out of my thought, a woman from some neighbouring house came by. She said I was a poet and my questioner turned away contemptuously. Upon the other hand, the policeman and tramway conductor thought my absence of mind sufficiently explained when our servant told them I was a poet. "Oh well," said the policeman, who had been asking why I went indifferently through clean and muddy places, "if it is only the poetry that is working in his head!" I imagine I looked gaunt and emaciated, for the little boys at the neighbouring cross-road used to say when I pa.s.sed by: "Oh, here is King Death again." One morning when my father was on the way to his studio, he met his landlord who had a big grocer's shop and they had this conversation: "will you tell me, sir, if you think Tennyson should have been given that peerage?" "one's only doubt is if he should have accepted it: it was a finer thing to be Alfred Tennyson." There was a silence, and then: "well, all the people I know think he should not have got it." Then, spitefully: "what's the good of poetry?" "Oh, it gives our minds a great deal of pleasure." "But wouldn't it have given your mind more pleasure if he had written an improving book?" "Oh, in that case I should not have read it." My father returned in the evening delighted with his story, but I could not understand how he could take such opinions lightly and not have seriously argued with the man. None of these people had ever seen any poet but an old white-haired man who had written volumes of easy, too-honied verse, and run through his money and gone clean out of his mind. He was a common figure in the streets and lived in some shabby neighbourhood of tenement houses where there were hens and chickens among the cobble stones. Every morning he carried home a loaf and gave half of it to the hens and chickens, the birds, or to some dog or starving cat. He was known to live in one room with a nail in the middle of the ceiling from which innumerable cords were stretched to other nails in the walls. In this way he kept up the illusion that he was living under canvas in some Arabian desert. I could not escape like this old man from house and neighbourhood, but hated both, hearing every whisper, noticing every pa.s.sing glance. When my grandfather came for a few days to see a doctor, I was shocked to see him in our house. My father read out to him in the evening Clark Russell's "Wreck of the Grosvenor;" but the doctor forbade it, for my grandfather got up in the middle of the night and acted through the mutiny, as I acted my verse, saying the while, "yes, yes, that is the way it would all happen."

XXIV

From our first arrival in Dublin, my father had brought me from time to time to see Edward Dowden. He and my father had been college friends and were trying, perhaps, to take up again their old friends.h.i.+p. Sometimes we were asked to breakfast, and afterwards my father would tell me to read out one of my poems. Dowden was wise in his encouragement, never overpraising and never unsympathetic, and he would sometimes lend me books. The orderly, prosperous house where all was in good taste, where poetry was rightly valued, made Dublin tolerable for a while, and for perhaps a couple of years he was an image of romance. My father would not share my enthusiasm and soon, I noticed, grew impatient at these meetings.

He would sometimes say that he had wanted Dowden when they were young to give himself to creative art, and would talk of what he considered Dowden's failure in life. I know now that he was finding in his friend what he himself had been saved from by the conversation of the pre-Raphaelites. "He will not trust his nature," he would say, or "he is too much influenced by his inferiors," or he would praise "Renunciants,"

one of Dowden's poems, to prove what Dowden might have written. I was not influenced for I had imagined a past worthy of that dark, romantic face. I took literally his verses, touched here and there with Swinburnian rhetoric, and believed that he had loved, unhappily and illicitly; and when through the practice of my art I discovered that certain images about the love of woman were the properties of a school, I but changed my fancy and thought of him as very wise.

I was constantly troubled about philosophic questions. I would say to my fellow students at the Art school, "poetry and sculpture exist to keep our pa.s.sions alive;" and somebody would say, "we would be much better without our pa.s.sions." Or I would have a week's anxiety over the problem: do the arts make us happier, or more sensitive and therefore more unhappy. And I would say to Hughes or Sheppard, "if I cannot be certain they make us happier I will never write again." If I spoke of these things to Dowden he would put the question away with good-humoured irony: he seemed to condescend to everybody and everything and was now my sage. I was about to learn that if a man is to write lyric poetry he must be shaped by nature and art to some one out of half-a-dozen traditional poses, and be lover or saint, sage or sensualist, or mere mocker of all life; and that none but that stroke of luckless luck can open before him the acc.u.mulated expression of the world. And this thought before it could be knowledge was an instinct.