PREFACE

I have found in an old diary a quotation from Stephane Mallarmé, saying that his epoch was troubled by the trembling of the veil of the Temple. As those words were still true, during the years of my life described in this book, I have chosen The Trembling of the Veil for its title.

Except in one or two trivial details, where I have the warrant of old friendship, I have not, without permission, quoted conversation or described occurrence from the private life of named or recognisable persons. I have not felt my freedom abated, for most of the friends of my youth are dead and over the dead I have an historian’s rights. They were artists and writers and certain among them men of genius, and the life of a man of genius, because of his greater sincerity, is often an experiment that needs analysis and record. At least my generation so valued personality that it thought so. I have said all the good I know and all the evil: I have kept nothing back necessary to understanding.

W. B. YEATS.

May, 1922.

Thoor Ballylee.

BOOK I
FOUR YEARS – 1887-1891

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.