Visions and Beliefs in the West of Ireland, Second Series

by Unknown

XI

Much that Lady Gregory has gathered seems but the broken bread of old philosophers, or else of the one sort with the dough they made into their loaves. Were I not ignorant, my Greek gone and my meagre Latin all but gone, I do not doubt that I could find much to the point in Greek, perhaps in old writers on medicine, much in Renaissance or Medieval Latin. As it is, I must be content with what has been translated or with the seventeenth-century Platonists who are the handier for my purpose because they found in the affidavits and confessions of the witch trials, descriptions like those in our Connaught stories. I have Henry More in his verse and in his prose and I have Henry More's two friends, Joseph Glanvil, and Cudworth in his Intellectual System of the Universe, three volumes violently annotated by an opposed theologian; and two essays by Mr. G. R. S. Meade clipped out of his magazine, The Quest. These writers quote much from Plotinus and Porphyry and Plato and from later writers, especially Synesius and John Philoponus in whom the School of Plato came to an end in the seventh century.

We should not suppose that our souls began at birth, for as Henry More has said, a man might as well think "from souls new souls" to bring as "to press the sunbeams in his fist" or "wring the rainbow till it dye his hands." We have within us an "airy body" or "spirit body" which was our only body before our birth as it will be again when we are dead and its "plastic power" has shaped our terrestrial body as some day it may shape apparition and ghost. Porphyry is quoted by Mr. Meade as saying that "Souls who love the body attach a moist spirit to them and condense it like a cloud," and so become visible, and so are all apparitions of the dead made visible; though necromancers, according to Henry More, can ease and quicken this condensation "with reek of oil, meal, milk, and such like gear, wine, water, honey." One remembers that Dr. Ochorowicz's naked imp once described how she filled out an appearance of herself by putting a piece of blotting paper where her stomach should have been and that the blotting paper became damp because, as she said, a materialization, until it is completed, is a damp vapour. This airy body which so compresses vapour, Philoponus says, "takes the shape of the physical body as water takes the shape of the vessel that it has been frozen in," but it is capable of endless transformations, for "in itself it has no especial form," but Henry More believes that it has an especial form, for "its plastic power" cannot but find the human form most "natural," though "vehemency of desire to alter the figure into another representation may make the appearance to resemble some other creature; but no forced thing can last long." "The better genii" therefore prefer to show "in a human shape yet not it may be with all the lineaments" but with such as are "fit for this separate state" (separate from the body that is) or are "requisite to perfect the visible features of a person," desire and imagination adding clothes and ornament. The materialization, as we would say, has but enough likeness for recognition. It may be that More but copies Philoponus who thought the shade's habitual form, the image that it was as it were frozen in for a time, could be again "coloured and shaped by fantasy," and that "it is probable that when the soul desires to manifest it shapes itself, setting its own imagination in movement, or even that it is probable with the help of dæmonic co-operation that it appears and again becomes invisible, becoming condensed and rarefied." Porphyry, Philoponus adds, gives Homer as his authority for the belief that souls after death live among images of their experience upon earth, phantasms impressed upon the spirit body. While Synesius, who lived at the end of the fourth century and had Hypatia among his friends, also describes the spirit body as capable of taking any form and so of enabling us after death to work out our purgation; and says that for this reason the oracles have likened the state after death to the images of a dream. The seventeenth century English translation of Cornelius Agrippa's De Occulta Philosophia was once so famous that it found its way into the hands of Irish farmers and wandering Irish tinkers, and it may be that Agrippa influenced the common thought when he wrote that the evil dead see represented "in the fantastic reason" those shapes of life that are "the more turbulent and furious ... sometimes of the heavens falling upon their heads, sometimes of their being consumed with the violence of flames, sometimes of being drowned in a gulf, sometimes of being swallowed up in the earth, sometimes of being changed into divers kinds of beasts ... and sometimes of being taken and tormented by demons ... as if they were in a dream." The ancients, he writes, have called these souls "hobgoblins," and Orpheus has called them "the people of dreams" saying "the gates of Pluto cannot be unlocked; within is a people of dreams." They are a dream indeed that has place and weight and measure, and seeing that their bodies are of an actual air, they cannot, it was held, but travel in wind and set the straws and the dust twirling; though being of the wind's weight they need not, Dr. Henry More considers, so much as feel its ruffling, or if they should do so, they can shelter in a house or behind a wall, or gather into themselves as it were, out of the gross wind and vapour. But there are good dreams among the airy people, though we cannot properly name that a dream which is but analogical of the deep unimaginable virtues and has, therefore, stability and a common measure. Henry More stays himself in the midst of the dry learned and abstract writing of his treatise The Immortality of the Soul to praise "their comely carriage ... their graceful dancing, their melodious singing and playing with an accent so sweet and soft as if we should imagine air itself to compose lessons and send forth musical sounds without the help of any terrestrial instrument" and imagines them at their revels in the thin upper air where the earth can but seem "a fleecy and milky light" as the moon to us, and he cries out that they "sing and play and dance together, reaping the lawful pleasures of the very animal life, in a far higher degree than we are capable of in this world, for everything here does, as it were, taste of the cask and has some measure of foulness in it."

There is, however, another birth or death when we pass from the airy to the shining or ethereal body, and "in the airy the soul may inhabit for many ages and in the ethereal for ever," and indeed it is the ethereal body which is the root "of all that natural warmth in all generations" though in us it can no longer shine. It lives while in its true condition an unimaginable life and is sometimes described as of "a round or oval figure" and as always circling among gods and among the stars, and sometimes as having more dimensions than our penury can comprehend.

Last winter Mr. Ezra Pound was editing the late Professor Fenollosa's translations of the Noh Drama of Japan, and read me a great deal of what he was doing. Nearly all that my fat old woman in Soho learns from her familiars is there in an unsurpassed lyric poetry and in strange and poignant fables once danced or sung in the houses of nobles. In one a priest asks his way of some girls who are gathering herbs. He asks if it is a long road to town; and the girls begin to lament over their hard lot gathering cress in a cold wet bog where they sink up to their knees and to compare themselves with ladies in the big town who only pull the cress in sport, and need not when the cold wind is flapping their sleeves. He asks what village he has come to and if a road near by leads to the village of Ono. A girl replies that nobody can know that name without knowing the road, and another says: "Who would not know that name, written on so many pictures, and know the pine trees they are always drawing." Presently the cold drives away all the girls but one and she tells the priest she is a spirit and has taken solid form that she may speak with him and ask his help. It is her tomb that has made Ono so famous. Conscience-struck at having allowed two young men to fall in love with her she refused to choose between them. Her father said he would give her to the best archer. At the match to settle it both sent their arrows through the same wing of a mallard and were declared equal. She being ashamed and miserable because she had caused so much trouble and for the death of the mallard, took her own life. That, she thought, would end the trouble, but her lovers killed themselves beside her tomb, and now she suffered all manner of horrible punishments. She had but to lay her hand upon a pillar to make it burst into flame; she was perpetually burning. The priest tells her that if she can but cease to believe in her punishments they will cease to exist. She listens in gratitude but she cannot cease to believe, and while she is speaking they come upon her and she rushes away enfolded in flames. Her imagination has created all those terrors out of a scruple, and one remembers how Lake Harris, who led Laurence Oliphant such a dance, once said to a shade, "How did you know you were damned?" and that it answered, "I saw my own thoughts going past me like blazing ships."

In a play still more rich in lyric poetry a priest is wandering in a certain ancient village. He describes the journey and the scene, and from time to time the chorus sitting at the side of the stage sings its comment. He meets with two ghosts, the one holding a red stick, the other a piece of coarse cloth and both dressed in the fashion of a past age, but as he is a stranger he supposes them villagers wearing the village fashion. They sing as if muttering, "We are entangled up—whose fault was it, dear? Tangled up as the grass patterns are tangled up in this coarse cloth, or that insect which lives and chirrups in dried seaweed. We do not know where are today our tears in the undergrowth of this eternal wilderness. We neither wake nor sleep and passing our nights in sorrow, which is in the end a vision, what are these scenes of spring to us? This thinking in sleep for some one who has no thought for you, is it more than a dream? And yet surely it is the natural way of love. In our hearts there is much, and in our bodies nothing, and we do nothing at all, and only the waters of the river of tears flow quickly." To the priest they seem two married people, but he cannot understand why they carry the red stick and the coarse cloth. They ask him to listen to a story. Two young people had lived in that village long ago and night after night for three years the young man had offered a charmed red stick, the token of love, at the young girl's window, but she pretended not to see and went on weaving. So the young man died and was buried in a cave with his charmed red sticks, and presently the girl died too, and now because they were never married in life they were unmarried in their death. The priest, who does not yet understand that it is their own tale, asks to be shown the cave, and says it will be a fine tale to tell when he goes home. The chorus describes the journey to the cave. The lovers go in front, the priest follows. They are all day pushing through long grasses that hide the narrow paths. They ask the way of a farmer who is mowing. Then night falls and it is cold and frosty. It is stormy and the leaves are falling and their feet sink into the muddy places made by the autumn showers; there is a long shadow on the slope of the mountain, and an owl in the ivy of the pine tree. They have found the cave and it is dyed with the red sticks of love to the colour of "the orchids and chrysanthemums which hide the mouth of a fox's hole"; and now the two lovers have "slipped into the shadow of the cave." Left alone and too cold to sleep the priest decides to spend the night in prayer. He prays that the lovers may at last be one. Presently he sees to his wonder that the cave is lighted up "where people are talking and setting up looms for spinning and painted red sticks." The ghosts creep out and thank him for his prayer and say that through his pity "the love promises of long past incarnations" find fulfilment in a dream. Then he sees the love story unfolded in a vision and the chorus compares the sound of weaving to the clicking of crickets. A little later he is shown the bridal room and the lovers drinking from the bridal cup. The dawn is coming. It is reflected in the bridal cup and now singers, cloth, and stick break and dissolve like a dream, and there is nothing but "a deserted grave on a hill where morning winds are blowing through the pine."

I remember that Aran story of the lovers who came after death to the priest for marriage. It is not uncommon for a ghost, "a control" as we say, to come to a medium to discover some old earthly link to fit into a new chain. It wishes to meet a ghostly enemy to win pardon or to renew an old friendship. Our service to the dead is not narrowed to our prayers, but may be as wide as our imagination. I have known a control to warn a medium to unsay her promise to an old man, to whom, that she might be rid of him, she had promised herself after death. What is promised here in our loves or in a witch's bond may be fulfilled in a life which is a dream. If our terrestrial condition is, as it seems the territory of choice and of cause, the one ground for all seed sowing, it is plain why our imagination has command over the dead and why they must keep from sight and earshot. At the British Museum at the end of the Egyptian Room and near the stairs are two statues, one an august decoration, one a most accurate looking naturalistic portrait. The august decoration was for a public site, the other, like all the naturalistic art of the epoch, for burial beside a mummy. So buried it was believed, the Egyptologists tell us, to be of service to the dead. I have no doubt it helped a dead man to build out of his spirit-body a recognizable apparition, and that all boats or horses or weapons or their models buried in ancient tombs were helps for a flagging memory or a too weak fancy to imagine and so substantiate the old surroundings. A shepherd at Doneraile told me some years ago of an aunt of his who showed herself after death stark naked and bid her relatives to make clothes and to give them to a beggar, the while remembering her.[4] Presently she appeared again wearing the clothes and thanked them.