And I taste at the root of the tongue the unreal of what is real.
ESTHÉTIQUE DU MAL
I
He was at Naples writing letters home
And, between his letters, reading paragraphs
On the sublime. Vesuvius had groaned
For a month. It was pleasant to be sitting there,
While the sultriest fulgurations, flickering,
Cast corners in the glass. He could describe
The terror of the sound because the sound
Was ancient. He tried to remember the phrases: pain
Audible at noon, pain torturing itself,
Pain killing pain on the very point of pain.
The volcano trembled in another ether,
As the body trembles at the end of life.
It was almost time for lunch. Pain is human.
There were roses in the cool café. His book
Made sure of the most correct catastrophe.
Except for us, Vesuvius might consume
In solid fire the utmost earth and know
No pain (ignoring the cocks that crow us up
To die). This is a part of the sublime
From which we shrink. And yet, except for us,
The total past felt nothing when destroyed.
II
At a town in which acacias grew, he lay
On his balcony at night. Warblings became
Too dark, too far, too much the accents of
Afflicted sleep, too much the syllables
That would form themselves, in time, and communicate
The intelligence of his despair, express
What meditation never quite achieved.
The moon rose up as if it had escaped
His meditation. It evaded his mind.
It was part of a supremacy always
Above him. The moon was always free from him,
As night was free from him. The shadow touched
Or merely seemed to touch him as he spoke
A kind of elegy he found in space:
It is pain that is indifferent to the sky
In spite of the yellow of the acacias, the scent
Of them in the air still hanging heavily
In the hoary-hanging night. It does not regard
This freedom, this supremacy, and in
Its own hallucination never sees
How that which rejects it saves it in the end.
III
His firm stanzas hang like hives in hell
Or what hell was, since now both heaven and hell
Are one, and here, O terra infidel.
The fault lies with an over-human god,
Who by sympathy has made himself a man
And is not to be distinguished, when we cry
Because we suffer, our oldest parent, peer
Of the populace of the heart, the reddest lord,
Who has gone before us in experience.
If only he would not pity us so much,
Weaken our fate, relieve us of woe both great
And small, a constant fellow of destiny,
A too, too human god, self-pity’s kin
And uncourageous genesis … It seems
As if the health of the world might be enough.
It seems as if the honey of common summer
Might be enough, as if the golden combs
Were part of a sustenance itself enough,
As if hell, so modified, had disappeared,
As if pain, no longer satanic mimicry,
Could be borne, as if we were sure to find our way.
IV
Livre de Toutes Sortes de Fleurs d’après Nature.
All sorts of flowers. That’s the sentimentalist.
When B. sat down at the piano and made
A transparence in which we heard music, made music,
In which we heard transparent sounds, did he play
All sorts of notes? Or did he play only one
In an ecstasy of its associates,
Variations in the tones of a single sound,
The last, or sounds so single they seemed one?
And then that Spaniard of the rose, itself
Hot-hooded and dark-blooded, rescued the rose
From nature, each time he saw it, making it,
As he saw it, exist in his own especial eye.
Can we conceive of him as rescuing less,
As muffing the mistress for her several maids,
As foregoing the nakedest passion for barefoot
Philandering? … The genius of misfortune
Is not a sentimentalist. He is
That evil, that evil in the self, from which
In desperate hallow, rugged gesture, fault
Falls out on everything: the genius of
The mind, which is our being, wrong and wrong,
The genius of the body, which is our world,
Spent in the false engagements of the mind.
V
Softly let all true sympathizers come,
Without the inventions of sorrow or the sob
Beyond invention. Within what we permit,
Within the actual, the warm, the near,
So great a unity, that it is bliss,
Ties us to those we love. For this familiar,
This brother even in the father’s eye,
This brother half-spoken in the mother’s throat
And these regalia, these things disclosed,
These nebulous brilliancies in the smallest look
Of the being’s deepest darling, we forego
Lament, willingly forfeit the ai-ai
Of parades in the obscurer selvages.
Be near me, come closer, touch my hand, phrases
Compounded of dear relation, spoken twice,
Once by the lips, once by the services
Of central sense, these minutiae mean more
Than clouds, benevolences, distant heads.
These are within what we permit, in-bar
Exquisite in poverty against the suns
Of ex-bar, in-bar retaining attributes
With which we vested, once, the golden forms
And the damasked memory of the golden forms
And ex-bar’s flower and fire of the festivals
Of the damasked memory of the golden forms,
Before we were wholly human and knew ourselves.
VI
The sun, in clownish yellow, but not a clown,
Brings the day to perfection and then fails. He dwells
In a consummate prime, yet still desires
A further consummation. For the lunar month
He makes the tenderest research, intent
On a transmutation which, when seen, appears
To be askew. And space is filled with his
Rejected years. A big bird pecks at him
For food. The big bird’s bony appetite
Is as insatiable as the sun’s. The bird
Rose from an imperfection of its own
To feed on the yellow bloom of the yellow fruit
Dropped down from turquoise leaves. In the landscape of
The sun, its grossest appetite becomes less gross,
Yet, when corrected, has its curious lapses,
Its glitters, its divinations of serene
Indulgence out of all celestial sight.
The sun is the country wherever he is. The bird
In the brightest landscape downwardly revolves
Disdaining each astringent ripening,
Evading the point of redness, not content
To repose in an hour or season or long era
Of the country colors crowding against it, since
The yellow grassman’s mind is still immense,
Still promises perfections cast away.
VII
How red the rose that is the soldier’s wound,
The wounds of many soldiers, the wounds of all
The soldiers that hav
e fallen, red in blood,
The soldier of time grown deathless in great size.
A mountain in which no ease is ever found,
Unless indifference to deeper death
Is ease, stands in the dark, a shadows’ hill,
And there the soldier of time has deathless rest.
Concentric circles of shadows, motionless
Of their own part, yet moving on the wind,
Form mystical convolutions in the sleep
Of time’s red soldier deathless on his bed.
The shadows of his fellows ring him round
In the high night, the summer breathes for them
Its fragrance, a heavy somnolence, and for him,
For the soldier of time, it breathes a summer sleep,
In which his wound is good because life was.
No part of him was ever part of death.
A woman smoothes her forehead with her hand
And the soldier of time lies calm beneath that stroke.
VIII
The death of Satan was a tragedy
For the imagination. A capital
Negation destroyed him in his tenement
And, with him, many blue phenomena.
It was not the end he had foreseen. He knew
That his revenge created filial
Revenges. And negation was eccentric.
It had nothing of the Julian thunder-cloud:
The assassin flash and rumble … He was denied.
Phantoms, what have you left? What underground?
What place in which to be is not enough
To be? You go, poor phantoms, without place
Like silver in the sheathing of the sight,
As the eye closes … How cold the vacancy
When the phantoms are gone and the shaken realist
First sees reality. The mortal no
Has its emptiness and tragic expirations.
The tragedy, however, may have begun,
Again, in the imagination’s new beginning,
In the yes of the realist spoken because he must
Say yes, spoken because under every no
Lay a passion for yes that had never been broken.
IX
Panic in the face of the moon—round effendi
Or the phosphored sleep in which he walks abroad
Or the majolica dish heaped up with phosphored fruit
That he sends ahead, out of the goodness of his heart,
To anyone that comes—panic, because
The moon is no longer these nor anything
And nothing is left but comic ugliness
Or a lustred nothingness. Effendi, he
That has lost the folly of the moon becomes
The prince of the proverbs of pure poverty.
To lose sensibility, to see what one sees,
As if sight had not its own miraculous thrift,
To hear only what one hears, one meaning alone,
As if the paradise of meaning ceased
To be paradise, it is this to be destitute.
This is the sky divested of its fountains.
Here in the west indifferent crickets chant
Through our indifferent crises. Yet we require
Another chant, an incantation, as in
Another and later genesis, music
That buffets the shapes of its possible halcyon
Against the haggardie … A loud, large water
Bubbles up in the night and drowns the crickets’ sound.
It is a declaration, a primitive ecstasy,
Truth’s favors sonorously exhibited.
X
He had studied the nostalgias. In these
He sought the most grossly maternal, the creature
Who most fecundly assuaged him, the softest
Woman with a vague moustache and not the mauve
Maman. His anima liked its animal
And liked it unsubjugated, so that home
Was a return to birth, a being born
Again in the savagest severity,
Desiring fiercely, the child of a mother fierce
In his body, fiercer in his mind, merciless
To accomplish the truth in his intelligence.
It is true there were other mothers, singular
In form, lovers of heaven and earth, she-wolves
And forest tigresses and women mixed
With the sea. These were fantastic. There were homes
Like things submerged with their englutted sounds,
That were never wholly still. The softest woman,
Because she is as she was, reality,
The gross, the fecund, proved him against the touch
Of impersonal pain. Reality explained.
It was the last nostalgia: that he
Should understand. That he might suffer or that
He might die was the innocence of living, if life
Itself was innocent. To say that it was
Disentangled him from sleek ensolacings.
XI
Life is a bitter aspic. We are not
At the centre of a diamond. At dawn,
The paratroopers fall and as they fall
They mow the lawn. A vessel sinks in waves
Of people, as big bell-billows from its bell
Bell-bellow in the village steeple. Violets,
Great tufts, spring up from buried houses
Of poor, dishonest people, for whom the steeple,
Long since, rang out farewell, farewell, farewell.
Natives of poverty, children of malheur,
The gaiety of language is our seigneur.
A man of bitter appetite despises
A well-made scene in which paratroopers
A ship that rolls on a confected ocean,
The weather pink, the wind in motion; and this:
A steeple that tip-tops the classic sun’s
Arrangements; and the violets’ exhumo.
The tongue caresses these exacerbations.
They press it as epicure, distinguishing
Themselves from its essential savor,
Like hunger that feeds on its own hungriness.
XII
He disposes the world in categories, thus:
The peopled and the unpeopled. In both, he is
Alone. But in the peopled world, there is,
Besides the people, his knowledge of them. In
The unpeopled, there is his knowledge of himself.
Which is more desperate in the moments when
The will demands that what he thinks be true?
Is it himself in them that he knows or they
In him? If it is himself in them, they have
No secret from him. If it is they in him,
He has no secret from them. This knowledge
Of them and of himself destroys both worlds,
Except when he escapes from it. To be
Alone is not to know them or himself.
This creates a third world without knowledge,
In which no one peers, in which the will makes no
Demands. It accepts whatever is as true,
Including pain, which, otherwise, is false.
In the third world, then, there is no pain. Yes, but
What lover has one in such rocks, what woman,
However known, at the centre of the heart?
XIII
It may be that one life is a punishment
For another, as the son’s life for the father’s.
But that concerns the secondary characters.
It is a fragmentary tragedy
Within the universal whole. The son
And the father alike and equally are spent,
Each one, by the necessity of being
Himself, the unalterable necessity
Of being this unalterable animal.
This force of nature in action is the major
Traged
y. This is destiny unperplexed,
The happiest enemy. And it may be
That in his Mediterranean cloister a man,
Reclining, eased of desire, establishes
The visible, a zone of blue and orange
Versicolorings, establishes a time
To watch the fire-feinting sea and calls it good,
The ultimate good, sure of a reality
Of the longest meditation, the maximum,
The assassin’s scene. Evil in evil is
Comparative. The assassin discloses himself,
The force that destroys us is disclosed, within
This maximum, an adventure to be endured
With the politest helplessness. Ay-mi!
One feels its action moving in the blood.
XIV
Victor Serge said, “I followed his argument
With the blank uneasiness which one might feel
In the presence of a logical lunatic.”
He said it of Konstantinov. Revolution
Is the affair of logical lunatics.
The politics of emotion must appear
To be an intellectual structure. The cause
Creates a logic not to be distinguished
From lunacy … One wants to be able to walk
By the lake at Geneva and consider logic:
To think of the logicians in their graves
And of the worlds of logic in their great tombs.
Lakes are more reasonable than oceans. Hence,
A promenade amid the grandeurs of the mind,
By a lake, with clouds like lights among great tombs,
Gives one a blank uneasiness, as if
One might meet Konstantinov, who would interrupt
With his lunacy. He would not be aware of the lake.
He would be the lunatic of one idea
In a world of ideas, who would have all the people
Live, work, suffer and die in that idea
In a world of ideas. He would not be aware of the clouds,
Lighting the martyrs of logic with white fire.
His extreme of logic would be illogical.
XV