Tuesday, October 14, 2014
falling of waters
There are senses in all three of them, the touching in Lawrence, the seeing for Wordsworth and the listening for the character in Jahn, Geoffrey Hill being closest to Lawrence, early Hill most directly: “There is no bloodless myth will hold,” from Genesis, and those lines about things being struck, faced, and walked on; then going on through more forces until the revealment of forces becomes one of the oeuvre's purposes. “The mountain stamped its foot | Shaking, as from a trance. And I was shut | With wads of sound into a sudden quiet” (God's Little Mountain (1959)). The biggest force has always been the one that is trying to shut him up. It appears in different disguises. “Recap on words like compassion that I | never chanced in your living presence” (In Memorium: Gillian Rose (2007)).
John Donne in his tenth sermon believes that prophets should always speak with strength, which means against some opposition. “[T]hunder, and wind, and tempests, and chariots, and roaring of Lyons, and falling of waters are the ordinary emblems of his [ie, God's] messages, and his messengers, in the Scriptures.”
Dorothy Wordsworth, though, just states everything that is most immediate: that's how she seems to proceed, and very gentle, but I never forget her glittering sheep, which I mention often.
“Do I need to touch the world if I want to experience it at the swooning level, or do I look at it instead, or hear it?” you ask, and there you go; you have various replies. The purpose or goal is that greater privacy which comes through the flesh: other people might make up thoughts for you but no one else can look for you, and no one else is swooning in the garden except Mrs Morel. Lawrence is all about a collaboration between flesh and non-flesh. Still, it looks as if it is the frustration with people outside himself that helps him to write, especially later. The Plumed Serpent is a frustrated book. Not even the violence at the end seems cathartic for him. In Sons and Lovers it is enough to have Mrs Morel putting her hand in a flower. In Serpent he wants cults, drums, and costumes, and I laughed. An artist needs to find their scale, said Richard Tuttle as he was being interviewed by Ross Simonini recently. “One can distinguish between scale and size. Usually, we are happy with the issue of size—if it's small, it's small; if it's big, it's big. But scale is a question of the individual. Each person, everyone ever born, has a unique scale. They have it like a unique fingerprint. You can decide to find your scale. The day you find it is a day you remember. It changes your life. Your parents may determine your size, but you determine your scale.” In the Serpent I think I see Lawrence mislaying whatever it is that Tuttle means by the word scale. Lawrence is scaled to a lily.