2,765 words
“Men are free when they are in a living homeland, not when they are straying and breaking away. Men are free when they are obeying some deep, inward voice of religious belief. Obeying from within. Men are free when they belong to a living, Organic, believing community, active in fulfilling some unfulfilled, perhaps unrealized purpose. Not when they are escaping to some wild west. The most unfree souls go west, and shout of freedom. Men are freest when they are most unconscious of freedom. The shout is a rattling of chains, always was.” — D. H. Lawrence
Chapter 1 of Studies in Classic American Literature
We like to think of the old-fashioned American classics as children’s books. Just childishness, on our part. The old American art-speech contains an alien quality, which belongs to the American continent and to nowhere else. But, of course, so long as we insist on reading the books as children’s tales, we miss all that.
One wonders what the proper high-brow Romans of the third and fourth or later centuries read into the strange utterances of Lucretius or Apuleius or Tertullian, Augustine or Athanasius. The uncanny voice of Iberian Spain, the weirdness of old Carthage, the passion of Libya and North Africa; you may bet the proper old Romans never heard these at all. They read old Latin inference over the top of it, as we read old European inference over the top of Poe or Hawthorne.
It is hard to hear a new voice, as hard as it is to listen to an unknown language. We just don’t listen. There is a new voice in the old American classics. The world has declined to hear it, and has babbled about children’s stories.
Why ?–Out of fear. The world fears a new experience more than it fears anything. Because a new experience displaces so many old experiences. And it is like trying to use muscles that have perhaps never been used, or that have been going stiff for ages. It hurts horribly.
The world doesn’t fear a new idea. It can pigeon-hole any idea. But it can’t pigeon-hole a real new experience. It can only dodge. The world is a great dodger, and the Americans the greatest. Because they dodge their own very selves.
There is a new feeling in the old American books, far more than there is in the modern American books, which are pretty empty of any feeling, and proud of it. There is a ‘different’ feeling in the old American classics. It is the shifting over from the old psyche to something new, a displacement. And displacements hurt. This hurts. So we try to tie it up, like a cut finger. Put a rag round it.
It is a cut too. Cutting away the old emotions and consciousness. Don’t ask what is left.
Art-speech is the only truth. An artist is usually a damned liar, but his art, if it be art, will tell you the truth of his day. And that is all that matters. Away with eternal truth. Truth lives from day to day, and the marvellous Plato of yesterday is chiefly bosh today.
The old American artists were hopeless liars. But they were artists, in spite of themselves. Which is more than you can say of most living practitioners.
And you can please yourself, when you read The Scarlet Letter, whether you accept what that sugary, blue-eyed little darling of a Hawthorne has to say for himself, false as all darlings are, or whether you read the impeccable truth of his art-speech.
The curious thing about art-speech is that it prevaricates so terribly, I mean it tells such lies. I suppose because we always all the time tell ourselves lies. And out of a pattern of lies art weaves the truth. Like Dostoevsky posing as a sort of Jesus, but most truthfully revealing himself all the while as a little horror.
Truly art is a sort of subterfuge. But thank God for it, we can see through the subterfuge if we choose. Art has two great functions. First, it provides an emotional experience. And then, if we have the courage of our own feelings, it becomes a mine of practical truth. We have had the feelings ad nauseam. But we’ve never dared dig the actual truth out . of them, the truth that concerns us, whether it concerns our grandchildren or not.
The artist usually sets out–or used to–to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist’s and the tale’s. Never trust the artist. Trust the tale. The proper function of a critic is to save the tale from the artist who created it.
Now we know our business in these studies; saving the American tale from the American artist.
Let us look at this American artist first. How did he ever get to America, to start with? Why isn’t he a European still, like his father before him?
Now listen to me, don’t listen to him. He’ll tell you the lie you expect. Which is partly your fault for expecting it.
He didn’t come in search of freedom of worship. England had more freedom of worship in the year 1700 than America had. Won by Englishmen who wanted freedom, and so stopped at home and fought for it. And got it. Freedom of worship? Read the history of New England during the first century of its existence.
Freedom anyhow? The land of the free! This the land of the free! Why, if I say anything that displeases them, the free mob will lynch me, and that’s my freedom. Free ? Why, I have never been in any country where the individual has such an abject fear of his fellow countrymen. Because, as I say, they are free to lynch the moment he shows he is not one of them.
No, no, if you’re so fond of the truth about Queen Victoria, try a little about yourself.
Those Pilgrim Fathers and their successors never came here for freedom of worship. What did they set up when they got here? Freedom, would you call it?
They didn’t come for freedom. Or if they did, they sadly went back on themselves.
All right then, what did they come for ? For lots of reasons. Perhaps least of all in search of freedom of any sort: positive freedom, that is.
They came largely to get away–that most simple of motives. To get away. Away from what? In the long run, away from themselves. Away from everything. That’s why most people have come to America, and still do come. To get away from everything they are and have been.
‘Henceforth be masterless.’
Which is all very well, but it isn’t freedom. Rather the reverse. A hopeless sort of constraint. It is never freedom till you kind something you really positively want to be. And people in America have always been shouting about the things they are not. Unless, of course, they are millionaires, made or in the making.
And after all there is a positive side to the movement. All that vast flood of human life that has flowed over the Atlantic in ships from Europe to America has not flowed over simply on a tide of revulsion from Europe and from the confinements of the European ways of life. This revulsion was, and still is, I believe, the prime motive in emigration. But there was some cause, even for the revulsion.
It seems as if at times man had a frenzy for getting away from any control of any sort. In Europe the old Christianity was the real master. The Church and the true aristocracy bore the responsibility for the working out of the Christian ideals: a little irregularly, maybe, but responsible nevertheless.
Mastery, kingship, fatherhood had their power destroyed at the time of the Renaissance.
And it was precisely at this moment that the great drift over the Atlantic started. What were men drifting away from? The old authority of Europe? Were they breaking the bonds of authority, and escaping to a new more absolute unrestrainedness? Maybe. But there was more to it.
Liberty is all very well, but men cannot live without masters. There is always a master. And men either live in glad obedience to the master they believe in, or they live in a frictional opposition to the master they wish to undermine. In America this frictional opposition has been the vital factor. It has given the Yankee his kick. Only the continual influx of more servile Europeans has provided America with an obedient labouring class. The true obedience never outlasting the first generation.
But there sits the old master, over in Europe. Like a parent. Somewhere deep in every American heart lies a rebellion against the old parenthood of Europe. Yet no American feels he has completely escaped its mastery. Hence the slow, smouldering patience of American opposition. The slow, smouldering corrosive obedience to the old master Europe, the unwilling subject, the unremitting opposition.
Whatever else you are, be masterless.
Ca Ca Caliban
Get a new master, be a new man.
Escaped slaves, we might say, people the republics of Liberia or Haiti. Liberia enough! Are we to look at America in the same way? A vast republic of escaped slaves. When you consider the hordes from eastern Europe, you might well say it: a vast republic of escaped slaves. But one dare not say this of the Pilgrim Fathers, and the great old body of idealist Americans, the modern Americans tortured with thought. A vast republic of escaped slaves. Look out, America! And a minority of earnest, self-tortured people.
The masterless.
Ca Ca Caliban
Get a new master, be a new man.
What did the Pilgrim Fathers come for, then, when they came so gruesomely over the black sea? Oh, it was in a black spirit. A black revulsion from Europe, from the old authority of Europe, from kings and bishops and popes. And more. When you look into it, more. They were black, masterful men, they wanted something else. No kings, no bishops maybe. Even no God Almighty. But also, no more of this new ‘humanity’ which followed the Renaissance. None of this new liberty which was to be so pretty in Europe. Something grimmer, by no means free-and-easy.
America has never been easy, and is not easy today. Americans have always been at a certain tension. Their liberty is a thing of sheer will, sheer tension: a liberty of THOU SHALT NOT. And it has been so from the first. The land of THOU SHALT NOT. Only the first commandment is: THOU SHALT NOT PRESUME TO BE A MASTER. Hence democracy.
‘We are the masterless.’ That is what the American Eagle shrieks. It’s a Hen-Eagle.
The Spaniards refused the post-Renaissance liberty of Europe. And the Spaniards filled most of America. The Yankees, too, refused, refused the post-Renaissance humanism of Europe. First and foremost, they hated masters. But under that, they hated the flowing ease of humour in Europe. At the bottom of the American soul was always a dark suspense, at the bottom of the Spanish-American soul the same. And this dark suspense hated and hates the old European spontaneity, watches it collapse with satisfaction.
Every continent has its own great spirit of place. Every people is polarized in some particular locality, which is home, the homeland. Different places on the face of the earth have different vital effluence, different vibration, different chemical exhalation, different polarity with different stars: call it what you like. But the spirit of place is a great reality. The Nile valley produced not only the corn, but the terrific religions of Egypt. China produces the Chinese, and will go on doing so. The Chinese in San Francisco will in time cease to be Chinese, for America is a great melting pot.
There was a tremendous polarity in Italy, in the city of Rome. And this seems to have died. For even places die. The Island of Great Britain had a wonderful terrestrial magnetism or polarity of its own, which made the British people. For the moment, this polarity seems to be breaking. Can England die? And what if England dies ?
Men are less free than they imagine; ah, far less free. The freest are perhaps least free.
Men are free when they are in a living homeland, not when they are straying and breaking away. Men are free when they are obeying some deep, inward voice of religious belief. Obeying from within. Men are free when they belong to a living, Organic, believing community, active in fulfilling some unfulfilled, perhaps unrealized purpose. Not when they are escaping to some wild west. The most unfree souls go west, and shout of freedom. Men are freest when they are most unconscious of freedom. The shout is a rattling of chains, always was.
Men are not free when they are doing just what they like. The moment you can do just what you like, there is nothing you care about doing. Men are only free when they are doing what the deepest self likes.
And there is getting down to the deepest self! It takes some diving.
Because the deepest self is way down, and the conscious self is an obstinate monkey. But of one thing we may be sure. If one wants to be free, one has to give up the illusion of doing what one likes, and seek what IT wishes done.
But before you can do what IT likes, you must first break the spell of the old mastery, the old IT.
Perhaps at the Renaissance, when kingship and fatherhood fell, Europe drifted into a very dangerous half-truth: of liberty and equality. Perhaps the men who went to America felt this, and so repudiated the old world together. Went one better than Europe. Liberty in America has meant so far the breaking away from all dominion. The true liberty will only begin when Americans discover IT, and proceed possibly to fulfil IT. IT being the deepest whole self of man, the self in its wholeness, not idealistic halfness.
That’s why the Pilgrim Fathers came to America, then; and that’s why we come. Driven by IT. We cannot see that invisible winds carry us, as they carry swarms of locusts, that invisible magnetism brings us as it brings the migrating birds to their unforeknown goal. But it is so. We are not the marvellous choosers and deciders we think we are. IT chooses for us, and decides for us. Unless, of course, we are just escaped slaves, vulgarly cocksure of our ready-made destiny. But if we are living people, in touch with the source, IT drives us and decides us. We are free only so long as we obey. When we run counter, and think we will do as we like, we just flee around like Orestes pursued by the Eumenides.
And still, when the great day begins, when Americans have at last discovered America and their own wholeness, still there will be the vast number of escaped slaves to reckon with, those who have no cocksure, ready-made destinies.
Which will win in America, the escaped slaves, or the new whole men?
The real American day hasn’t begun yet. Or at least, not yet sunrise. So far it has been the false dawn. That is, in the progressive American consciousness there has been the one dominant desire, to do away with the old thing. Do away with masters, exalt the will of the people. The will of the people being nothing but a figment, the exalting doesn’t count for much. So, in the name of the will of the people, get rid of masters. When you have got rid of masters, you are left with this mere phrase of the will of the people. Then you pause and bethink yourself, and try to recover your own wholeness.
So much for the conscious American motive, and for democracy over here. Democracy in America is just the tool with which the old master of Europe, the European spirit, is undermined. Europe destroyed, potentially, American democracy will evaporate. America will begin.
American consciousness has so far been a false dawn. The negative ideal of democracy. But underneath, and contrary to this open ideal, the first hints and revelations of IT. IT, the American whole soul.
You have got to pull the democratic and idealistic clothes off American utterance, and see what you can of the dusky body of IT underneath.
‘Henceforth be masterless.’
Henceforth be mastered.