Descent into Hell, Charles Williams [top 100 books to read TXT] 📗
- Author: Charles Williams
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I can do no more than acknowledge it. But I’m grateful that I
can do that. Do you know Mrs. Sammile?”
Stanhope bowed again; Myrtle let out a new gush of greeting and
they all sat down.
“I really came”, Stanhope said after a little interchange, “to
ask Miss Anstruther if she had any preference in names.”
“Me?” said Pauline. “What sort of names?”
“As the leader of the Chorus,” Stanhope explained. “I promised
Mrs. Parry I’d try and individualize so far—for the sake of the
audience—as to give her a name. Myself, I don’t think it’ll
much help the audience, but as I promised, I wondered about
something French, as it’s to be eighteenth century, La Lointaine
or something like that. But Mrs. Parry was afraid that’d make it
more difficult. No one would understand (she thought) why
leaves—if they are leaves—should be lointaine….”
He was interrupted by Myrtle, who, leaning eagerly forward, said:
“O, Mr. Stanhope, that reminds me. I was thinking about it
myself the other day, and I thought how beautiful and friendly it
would be to give all the Chorus tree-names. It would look so
attractive on the programmes, Elm, Ash, Oak—the three sweet
trees—Hawthorn, Weeping Willow, Beech, Birch, Chestnut. D’you
see? That would make it all quite clear. And then Pauline could
be the Oak. I mean, the Oak would have to be the leader of the
English trees, wouldn’t he or she?”
“Do let Mr. Stanhope tell us, Myrtle,” Mrs. Anstruther said; and
“You’d turn them into a cosy corner of trees, Myrtle,” Pauline
interjected.
“But that’s what we want,” Myrtle pursued her dream, “we want to
realize that Nature can be consoling, like life. And Art—even
Mr. Stanhope’s play. I think all art is so consoling, don’t you,
Mrs. Sammile?”
Mrs. Anstruther had opened her mouth to interrupt Myrtle, but now
she shut it again, and waited for her guest to reply, who said in
a moment, with a slight touch of tartness, “I’m sure Mr. Stanhope
won’t agree. He’ll tell you nightmares are significant.”
“O, but we agreed that wasn’t the right word,” Myrtle exclaimed.
“Or was it! Pauline, was it significant or symbolical that we
agreed everything was?”
“I want to know my name,” Pauline said, and Stanhope, smiling,
answered, “I was thinking of something like Periel. Quite
insignificant.”
“It sounds rather odd,” said Myrtle. “What about the others?”
“The others,” Stanhope answered firmly, “will not be
named.”
“O!” Myrtle looked disappointed. “I thought we might have had a
song or speech or something with all the names in it. It would
sound beautiful. And Art ought to be beautiful, don’t you think?
Beautiful words in beautiful voices. I do think elocution is so
important.”
Pauline said, “Grandmother doesn’t care for elocution.”
“O, Mrs. Anstru—” Myrtle was beginning, when Mrs.
Anstruther cut her short.
“What does one need to say poetry, Mr. Stanhope?” she asked.
Stanhope laughed. “What but the four virtues, clarity, speed,
humility, courage? Don’t you agree?”
The old lady looked at Mrs. Sammile. “Do you?” she asked.
Lily Sammile shrugged. “O, if you’re turning poems into
labours,” she said. “But we don’t all want to speak poetry, and
enjoyment’s a simple thing for the rest of us.”
“We do all want to speak it,” Stanhope protested. “Or else verse
and plays and all art are more of dreams than they need be. They
must always be a little so, perhaps.”
Mrs. Sammile shrugged again. “You make such a business of
enjoying yourself,” she said with almost a sneer. “Now if I’ve a
nightmare I change it as soon as I can.” She looked at Pauline.
“I’ve never had nightmares since I willed them away,” Myrtle Fox
broke in. “I say every night: ‘Sleep is good, and sleep is here.
Sleep is good.’ And I never dream. I say the same thing every
morning, only I say Life then instead of Sleep. ‘Life is good
and Life is here. Life is good.”’
Stanhope flashed a glance at Pauline. “Terribly good, perhaps,”
he suggested.
“Terribly good, certainly,” Myrtle assented happily.
Mrs. Sammile stood up. “I must go,” she said. “But I don’t see
why you don’t enjoy yourselves.”
“Because, sooner or later, there isn’t anything to enjoy in
oneself,” Stanhope murmured, as she departed.
Pauline took her to the gate, and said goodbye.
“Do let’s meet,” Mrs. Sammile said. “I’m always about, and I
think I could be useful. You’ve got to get back now, but
sometime you needn’t get back……” She trotted off, and as she
went the hard patter of her heels was the only sound that
broke, to Pauline’s ears, the heavy silence of the Hill.
The girl lingered a little before returning. A sense of what
Miss Fox called “significance” hung in her mind; she felt,
indeterminately, that something had happened, or, perhaps, was
beginning to happen. The afternoon had been one of a hundred-the
garden, a little talk, visitors, tea—yet all that usualness had
been tinged with difference. She wondered if it were merely the
play, and her concern with it, that had heightened her senses
into what was, no doubt, illusion. Her hands lay on the top bar
of the gate, and idly she moved her fingers, separating and
closing them one by one for each recollected point. Her promise
to her grandmother—death was not to interrupt verse; the memory
of her ancestor—death swallowed up in victory—Struther’s
Salvation, Anstruther’s salvation; elocution, rhetoric, poetry,
Peter Stanhope, Lily Sammile, the slight jar of their
half-philosophical dispute; her own silly phrase—“to make your
own weather”; tales of the brain, tales to be told, tales that
gave you yourself in quiet, tales or the speaking of verse, tales
or rhetoric or poetry; “clarity, speed, courage, humility”. Or
did they only prevent desirable enjoyment, as Lily Sammile had
hinted? One would have to be terribly good to achieve them. And
terribly careful about the tales. She looked down the street,
and for an instant felt that if she saw It coming—clarity, speed,
courage, humility—she might wait. She belonged to the Chorus of a
great experiment; a thing not herself.
The Magus Zoroaster, my dead child,
Met his own image walking in the garden.
If those four great virtues were needed, as Peter Stanhope had
proposed, even to say the verse, might Shelley have possessed
them before he discovered the verse? If she were wrong in hating
them? if they had been offered her as a classification, a
hastening, a strengthening? if she had to discover them as
Shelley had done, and beyond them….
She must go back. She pulled herself from the gate. Mrs.
Sammile had just reached the corner. She looked back; she waved.
The gesture beckoned. Pauline waved back, reluctantly. Before
she told herself tales, it was needful to know what there was in
verse. She must hear more.
She was not offered more. The visitors were on the point of
departure, and Mrs. Anstruther was certainly tired. She roused
herself to beg Stanhope to come again, if he would, but no more
passed, except indeed that as Pauline herself said goodbye,
Stanhope delayed a moment behind Miss Fox to add: “The
substantive, of course, governs the adjective; not the other way
round.”
“The substantive?” Pauline asked blankly.
“Good. It contains terror, not terror good. I’m keeping you.
Goodbye, Periel,” and he was gone.
Later in the day, lying unsleeping but contented in her bed, Mrs.
Anstruther also reviewed the afternoon. She was glad to have
seen Peter Stanhope; she was not particularly glad to have seen
Lily Sammile, but she freely acknowledged, in the words of a too
often despised poet, that since God suffered her to be she too
was God’s minister, and laboured for some good by Margaret
Anstruther not understood. She did not under-, stand clearly
what Mrs. Sammile conceived herself to be offering. it sounded so
much like Myrtle Fox: “tell yourself tales”.
She looked out of the window. There would be few more evenings
during which she could watch the departure of day, and the
promise of rarity gave a greater happiness to the experience. So
did the knowledge of familiarity. Rarity was one form of delight
and frequency another. A thing could even be beautiful because
it did not happen, or rather the not-! happening could be
beautiful. So long always as joy was not rashly pinned to the
happening; so long as you accepted what joys the universe offered
and did not seek to compel the universe to offer you joys of your
own definition. She would die soon; she expected, with hope and
happiness, the discovery of the joy of death.
It was partly because Stanhope’s later plays had in them
something of this purification and simplicity that she loved
them. She knew that, since they were poetry, they must mean more
than her individual being knew, but at least they meant that. He
discovered it in his style, in words and the manner of the, words
he used. Whether his personal life could move to the sound of
his own lucid exaltation of verse she did not know. It was not
her business; perhaps even it was not primarily his. His affair
had been the powerful exploration of power after his own manner;
all minds that recognized power saluted him. Power was in that
strange chorus over which the experts of Battle Hill culture
disputed, and it lay beyond them. There was little human
approach in it, though it possessed human experience; like the
Dirge in Cymbeline or the songs of Ariel in the Tempest it
possessed only the pure perfection of fact, rising in rhythms of
sound that seemed inhuman because they were free from desire or
fear or distress. She herself did not yet dare to repeat the
Chorus; it was beyond her courage. Those who had less knowledge
or more courage might do so. She dared only to recollect it; to
say it would need more courage than was required for death. When
she was dead, she might be able to say Stanhope’s poetry
properly. Even if there were no other joy, that would be a
reason for dying well.
Here, more than in most places, it should be easy. Here there
had, through the centuries, been a compression and
culmination of death as if the currents of mortality had been
drawn hither from long distances to some whirlpool of invisible
depth. The distances might be very long indeed; from all places
of predestined sepulchre, scattered through the earth. In those
places the movement of human life had closed-of human life or
human death, of the death in life which was an element in life,
and of those places the Hill on which she lived was one. An
energy reposed in it, strong to affect all its people; an energy
of separation and an energy of knowledge. If, as she believed,
the spirit of a man at death saw truly what he was and had been,
so that whether he desired it or not a lucid power of
intelligence manifested all himself to him—then that energy of
knowledge was especially urgent upon men and women here, though
through all the world it must press upon the world. She felt, as
if by a communication of a woe not hers, how the neighbourhood of
the dead troubled the living; how the living were narrowed by the
return of the dead. Therefore in savage regions the houses of
sepulchre were forbidden, were taboo, for the wisdom of the
barbarians set division between the dead and the living, and the
living were preserved. The wisdom of other religions in
civilized lands had set sacramental ceremonies
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