Probably through long association with Mary Battle, the second-sighted servant, he had come to believe much in the supernatural world, and would tell how several times, arriving home with an unexpected guest, he had found the table set for three, and that he himself had dreamed of his brother’s illness in Liverpool before he had other news of it. He saw me using images learned from Mathers to start reverie, and, though I held out for a long time, thinking him too old and habit-bound, he persuaded me to tell him their use, and from that on we experimented continually, and after a time I began to keep careful record. In summer he always had the same little house at Rosses Point, and it was there that he first became sensitive to the cabalistic symbols. There are some high sandhills and low cliffs, and I adopted the practice of walking by the seashore while he walked on cliff or sandhill; I, without speaking, would imagine the symbol, and he would notice what passed before his mind’s eye, and in a short time he would practically never fail of the appropriate vision. In the symbols which are used certain colours are classified as “actives,” while certain other colours are “passives,” and I had soon discovered that if I used “actives” George Pollexfen would see nothing. I therefore gave him exercises to make him sensitive to those colours, and gradually we found ourselves well fitted for this work, and he began to take as lively an interest, as was possible to a nature given over to habit, in my plans for the Castle on the Rock.
I worked with others, sworn to the scheme for the most part, and I made many curious observations. It was the symbol itself, or, at any rate, not my conscious intention that produced the effect, for if I made an error and told someone, let us say, to gaze at the wrong symbol—they were painted upon cards—the vision would be suggested by the symbol, not by my thought, or two visions would appear side by side, one from the symbol and one from my thought. When two people, between whose minds there was even a casual sympathy, worked together under the same symbolic influence, the dream or reverie would divide itself between them, each half being the complement of the other; and now and again these complementary dreams, or reveries, would arise spontaneously. I find, for instance, in an old notebook, “I saw quite suddenly a tent with a wooden badly-carved idol, painted dull red; a man looking like a Red Indian was prostrate before it. The idol was seated to the left. I asked G. what he saw. He saw a most august immense being, glowing with a ruddy opalescent colour, sitting on a throne to the left”, or, to summarise from a later notebook,... I am meditating in one room and my fellow-student in another, when I see a boat full of tumult and movement on a still sea, and my friend sees a boat with motionless sails upon a tumultuous sea. There was nothing in the originating symbol to suggest a boat.
We never began our work until George’s old servant was in her bed; and yet, when we went upstairs to our beds, we constantly heard her crying out with nightmare, and in the morning we would find that her dream echoed our vision. One night, started by what symbol I forget, we had seen an allegorical marriage of Heaven and Earth. When Mary Battle brought in the breakfast next morning, I said, “Well, Mary, did you dream anything last night?” and she replied (I am quoting from an old notebook) “indeed she had,” and that it was “a dream she would not have liked to have had twice in one night.” She had dreamed that her bishop, the Catholic bishop of Sligo, had gone away “without telling anybody,” and had married “a very high-up lady,” “and she not too young, either.” She had thought in her dream, “Now all the clergy will get married, and it will be no use going to confession.” There were “layers upon layers of flowers, many roses, all round the church.”
Another time, when George Pollexfen had seen in answer to some evocation of mine a man with his head cut in two, she woke to find that she “must have cut her face with a pin, as it was all over blood.” When three or four saw together, the dream or vision would divide itself into three or four parts, each seeming complete in itself, and all fitting together, so that each part was an adaptation of a single meaning to a particular personality. A visionary being would give, let us say, a lighted torch to one, an unlighted candle to another, an unripe fruit to a third, and to the fourth a ripe fruit. At times coherent stories were built up, as if a company of actors were to improvise, and play, not only without previous consultation, but without foreseeing at any moment what would be said or done the moment after. Who made the story? Was it the mind of one of the visionaries? Perhaps, for I have endless proof that, where two worked together, the symbolic influence commonly took upon itself, though no word was spoken, the quality of the mind that had first fixed a symbol in the mind’s eye. But, if so, what part of the mind? One friend, in whom the symbolic impulse produced actual trance, described an elaborate and very strange story while the trance was upon him, but upon waking told a story that after a certain point was quite different. “They gave me a cup of wine, and after that I remembered nothing.” While speaking out of trance he had said nothing of the cup of wine, which must have been offered to a portion of his mind quite early in the dream. Then, too, from whence come the images of the dream? Not always, I was soon persuaded, from the memory, perhaps never in trance or sleep. One man, who certainly thought that Eve’s apple was the sort that you got from the greengrocer, and as certainly never doubted its story’s literal truth, said, when I used some symbol to send him to Eden, that he saw a walled garden on the top of a high mountain, and in the middle of it a tree with great birds in the branches, and fruit out of which, if you held a fruit to your ear, came the sound of fighting. I had not at the time read Dante’s Purgatorio, and it caused me some trouble to verify the mountain garden, and, from some passage in the Zohar, the great birds among the boughs; while a young girl, on being sent to the same garden, heard “the music of heaven” from a tree, and on listening with her ear against the trunk, found that it was made by the “continual clashing of swords.” Whence came that fine thought of music-making swords, that image of the garden, and many like images and thoughts? I had as yet no clear answer, but knew myself face to face with the Anima Mundi described by Platonic philosophers, and more especially in modern times by Henry More, which has a memory independent of individual memories, though they constantly enrich it with their images and their thoughts.
III
At Sligo we walked twice every day, once after lunch and once after dinner, to the same gate on the road to Knocknarea; and at Rosses Point, to the same rock upon the shore; and as we walked we exchanged those thoughts that never rise before me now without bringing some sight of mountain or of shore. Considering that Mary Battle received our thoughts in sleep, though coarsened or turned to caricature, do not the thoughts of the scholar or the hermit, though they speak no word, or something of their shape and impulse, pass into the general mind? Does not the emotion of some woman of fashion, caught in the subtle torture of self-analysing passion, pass down, although she speak no word, to Joan with her Pot, Jill with her Pail and, it may be, with one knows not what nightmare melancholy to Tom the Fool?
Seeing that a vision could divide itself in divers complementary portions, might not the thought of philosopher or poet or mathematician depend at every moment of its progress upon some complementary thought in minds perhaps at a great distance? Is there nation-wide multiform reverie, every mind passing through a stream of suggestion, and all streams acting and reacting upon one another, no matter how distant the minds, how dumb the lips? A man walked, as it were, casting a shadow, and yet one could never say which was man and which was shadow, or how many the shadows that he cast. Was not a nation, as distinguished from a crowd of chance comers, bound together by these parallel streams or shadows; that Unity of Image, which I sought in national literature, being but an originating symbol?
From the moment when these speculations grew vivid, I had created for myself an intellectual solitude, most arguments that could influence action had lost something of their meaning. How could I judge any scheme of education, or of social reform, when I could not measure what the different classes and occupations contributed to that invisible commerce of reverie and of sleep; and what is luxury and what necessity when a fragment of gold braid, or a flower in the wallpaper may be an originating impulse to revolution or to philosophy? I began to feel myself not only solitary but helpless.