Selected Works of Voltairine de Cleyre

by Voltairine De Cleyre

2. To suggest to readers a more satisfactory way of considering what they read than that usually received.

3. To point to certain phases of the human appearance reflected in the mirror which are not generally noticed, but which I find interesting and suggestive.

You would think it very unreasonable, would you not, for any one to insist that because your highly polished glass backed by quicksilver, gives back so clear and excellent an image, therefore the watery vision you catch of yourself in the shifting, glancing ripples of a clear stream is not an image at all! With all the curious elongating and drifting and shortening back and breaking up into wavering circles, done by that unresting image, you know very certainly that is you; and if you look into the still waters of some summer pool, or mountain rain-cup, the image there is almost as sharp-lined as that in your polished glass, except for the vague tremor that seems to move under the water rather than on its surface, and suggest an ethereal something missing in your drawing-room shadow. Yet that vision conjured in the water-depth is you—surely you. Nay, even more,—that first image of you, you perceived when as a child you danced in the firelight and saw a misshapen darkness rising and falling along the wall in teasing mockery,—that too was surely an image of you—an image of interception, not of reflection; a blur, a vacancy, a horror, from which you fled shrieking to your mother's arms;—and yet it was the distorted outline of you.

You grew familiar with it later, amused yourself with it, twisted your hands into strange positions to see what curious shapes they would form upon the wall, and made whole stories with the shadows. Long afterward you went back to them with deliberate and careful curiosity, to see how the figures stumbled on by accident could be definitely produced, at will, according to the laws of interception.

Even so the first Man-Images, cast back from the blank wall of Language, are uncouth, ungraspable, vague, vacant, menacing—to the men who saw them, frightful. Mankind produced this paradox: the early lights of literature were darkness!

Later these darknesses grew less fearsome; the child-man began to jest with them; to multiply figures and send them chasing past each other up and down the wall, with fresh glee at each newly created shadow-sport. The wall at last became luminous, the shadows shining. And out of the old monosyllabic horror of the primitive legend, out of Man's fright at the projection of his own soul, out of his wide stare at those terrific giants on the wall who suddenly with shadow-like shifting became grotesque dwarfs, and mocking little beasts that danced and floated, ever most fearful because of their elusive emptiness; out of this, bit by bit, grew the steady contemplation, the gradual effacement of fright, the feeling of power and amusement, and the sense of Creative Mastery, which, understanding the shadows, began to command them, till there arose all the beauty of fairy tales and shining myths and singing legends.

Now any one who desires to see in Literature the most that there is in it; who desires to read not merely for the absorption of the moment but for the sake of permanent impression; who wishes to have an idea of Man not only as he is now, but through the whole articulate record of his existence; who would know the thoughts of his infancy and the connected course of his development,—and no one has any adequate conception of the glory of literature, unless he includes this much in it—any such a reader, I say, must find among its most attractive pages, the stories of early superstitions, the fictions of Fear, the struggles of the Race-Child's intelligence with overlooming problems. Think of the Ages and Ages that men saw the Demon Electricity riding the air; think that even now they do not know what he is; and yet he played mightily with their daily lives for all those ages. Think how this staring savage was put face to face with world-games which were spun and tossed around him, and compelled by the nature of his own activity to try to find an explanation to them; think that most of us, if we were not the heritors of the ages that have passed since then, should be staggered and out-breathed even now by all these lights and forms through which we move; and then turn to the record of those pathetic strivings of the frightened child with some little tenderness and sympathy, some solemn curiosity to know what men were able to think and feel when they led their lives as in a threatening Wonder-house, where everything was an Unknown, invested with crouching hostility. And never be too sure you know just how men will act, or try to act, under any conditions, if you have not read the record of what they have thought and fancied and done; and after you have read it, Oh, then you will never be sure you know! For then you will realize that every man is a burial-house, full of dead men's ghosts,—and the ghosts of very, very ancient days are there, forever whispering in an ancient, ancient tongue of ancient passions and desires, and prompting many actions which the doer thereof can give himself no accounting for.

There are two ways of reading these old stories; and as one who has gotten pleasure and profit, too, from both, I would recommend them both to be used. The first way is to read yourself backward into it as much as possible. Do not be a critic, on first reading; put the critic asleep. Let yourself seem to believe it, as did he who wrote it. Read it aloud, if you are where you will not annoy anybody; let the words sing themselves over your lips, as they sung themselves over the lips of the people who were dead so long ago,—in their strange far-away homes with their vanished surroundings; sung themselves, just as the wind sung through the echoing forests, and murmured back from the rocks; just as the songs slipped out of the birds' throats. You will find that half the beauty and the farce of old-time legend lies in the bare sound of it. Far, far more is it dependent on the voice, than any modern writings are. And surely, the reason is simple enough: for it was not writing in its creation; ancient literature addressed itself to the ear, always, while modern literature speaks to the eye.

If once you can get your ears washing with the sounds of the old language, as with the washing of the seas when you sit on the beach, or the lapping of the rivers when the bank-grass caresses you some idle summer afternoon, it will be much easier for you to forget that you are the child of another age and thought. You will begin to luxuriate in fancies and prefigure impossibilities; then you will know how it feels to be fancy free, loosed from the chain of the possible; and once having felt, you will also understand better, when you re-read with other intent.