The Pilgrim's Regress Page 15

  ‘I know. And then the whole cycle would begin over again.’

  ‘Yes. But all the while there was one people that could read. You have heard of the Shepherd People?’

  ‘I had been hoping you would not come to that, Father. I have heard the Stewards talk of them and I think it is that more than anything else that sickened me of the whole story. It is so clear that the Shepherd People are just one of these Pagan peoples—and a peculiarly unattractive one. If the whole thing is hobbled by one leg to that special People . . .’

  ‘This is merely a blunder,’ said History. ‘You, and those whom you trust, have not travelled. You have never been in Pagus, nor among the Shepherds. If you had lived on the roads as I have, you would never say that they were the same. The Shepherds could read: that is the thing to remember about them. And because they could read, they had from the Landlord, not pictures but Rules.’

  ‘But who wants Rules instead of Islands?’

  ‘That is like asking who wants cooking instead of dinner. Do you not see that the Pagans, because they were under the enemy, were beginning at the wrong end? They were like lazy schoolboys attempting eloquence before they learn grammar. They had pictures for their eyes instead of roads for their feet, and that is why most of them could do nothing but desire and then, through starved desire, become corrupt in their imaginations, and so awake and despair, and so desire again. Now the Shepherds, because they were under the Landlord, were made to begin at the right end. Their feet were set on a road: and as the Landlord’s Son once said, if the feet have been put right the hands and the head will come right sooner or later. It won’t work the other way.’

  ‘You know so much, Father,’ said John, ‘that I do not know how to answer you. But this is all unlike the accounts I have heard of those countries. Surely some of the Pagans did get somewhere.’

  ‘They did. They got to Mother Kirk. That is the definition of a Pagan—a man so travelling that if all goes well he arrives at Mother Kirk’s chair and is carried over this gorge. I saw it happen myself. But we define a thing by its perfection. The trouble about Pagus is that the perfect, and in that sense typical, Pagan, is so uncommon there. It must be so, must it not? These pictures—this ignorance of writing—this endless desire which so easily confuses itself with other desires and, at best, remains pure only by knowing what it does not want—you see that it is a starting point from which one road leads home and a thousand roads lead into the wilderness.’

  ‘But were the Shepherds not just as bad in their own way? Is it not true that they were illiberal, narrow, bigoted?’

  ‘They were narrow. The thing they had charge of was narrow: it was the Road. They found it. They sign-posted it. They kept it clear and repaired it. But you must not think I am setting them up against the Pagans. The truth is that a Shepherd is only half a man, and a Pagan is only half a man, so that neither people was well without the other, nor could either be healed until the Landlord’s Son came into the country. And even so, my son, you will not be well until you have overtaken your fellow traveller who slept in my cell last night.’

  ‘Do you mean Vertue?’ said John.

  ‘That was his name. I knew him though he did not tell me, for I know his family; and his father, whom he does not know, was called Nomos and lived among the Shepherds. You will never do anything until you have sworn blood brotherhood with him: nor can he do anything without you.’

  ‘I would gladly overtake him,’ said John, ‘but he is so angry with me that I am afraid to come near him. And even if we made it up, I don’t see how we could help falling out again. Somehow we have never been able to be quite comfortable together for very long.’

  ‘Of yourselves you never will. It is only a third that can reconcile you.’

  ‘Who is that?’

  ‘The same who reconciled the Shepherds and the Pagans. But you must go to Mother Kirk to find him.’

  ‘It is raining harder than ever,’ said John from the mouth of the cave.

  ‘It will not stop to-night,’ said Father History. ‘You must stay with me till the morning.’

  IX

  Matter of Fact

  ‘I SEE,’ SAID JOHN presently, ‘that this question is harder than the Clevers and the pale men suppose. But they were right in distrusting the Island. From all that you have told me, it is a very dangerous thing.’

  ‘There is no avoiding danger in our country,’ said History. ‘Do you know what happens to people who set about learning to skate with a determination to get no falls? They fall as often as the rest of us, and they cannot skate in the end.’

  ‘But it is more than dangerous. You said it was beginning at the wrong end, while the Shepherd people began at the right end.’

  ‘That is true. But if you are a Pagan by birth or by nature, you have no choice. It is better to begin at the wrong end than not to begin at all. And the most part of men are always Pagans. Their first step will always be the desire born of the pictures: and though that desire hides a thousand false trails it also hides the only true one for them, and those who preach down the desire under whatever pretext—Stoic, Ascetic, Rigorist, Realist, Classicist—are on the Enemy’s side whether they know it or not.’

  ‘Then there is always need for the Island?’

  ‘It does not always take the form of an Island, as I have said. The Landlord sends pictures of many different kinds. What is universal is not the particular picture, but the arrival of some message, not perfectly intelligible, which wakes this desire and sets men longing for something East or West of the world; something possessed, if at all, only in the act of desiring it, and lost so quickly that the craving itself becomes craved; something that tends inevitably to be confused with common or even with vile satisfactions lying close to hand, yet which is able, if any man faithfully live through the dialectic of its successive births and deaths, to lead him at last where true joys are to be found. As for the shapes in which it comes, I have seen many in my travels. In Pagus it was sometimes, as I said, an Island. But it was often, too, a picture of people, stronger and fairer than we are. Sometimes it was a picture telling a story. The strangest shape it ever took was in Medium Aevum—that was a master stroke of the Landlord’s diplomacy; for of course, since the Enemy has been in the country, the Landlord has had to become a politician. Medium Aevum was first inhabited by colonists from Pagus. They came there at the very worst period in the history of Pagus, when the Enemy seemed to have succeeded completely in diverting all the desires that the Landlord could arouse into nothing but lust. These poor colonists were in such a state that they could not let their fancies wander for a minute without seeing images of black, craving eyes, and breasts, and gnawing kisses. It seemed hopeless to do anything with them. Then came the Landlord’s crowning audacity. The very next picture he sent them was a picture of a Lady! Nobody had ever had the idea of a Lady before: and yet a Lady is a woman: so this was a new thing, which took the Enemy off his guard, and yet at the same time it was an old thing—in fact, the very thing which he was reckoning on as his strongest point. He got the shock of his life. The people went mad over the new picture, and made songs that are sung still, and looked away from the picture at the real women around them and saw them quite differently—so that ordinary love for women became, for a time, itself a form of the real desire, and not merely one of the spurious satisfactions offered to it. Of course the Landlord was playing a dangerous game (nearly all his games are dangerous) and the Enemy managed to mix up and corrupt the new message—as usual—but not so much as he wished, or as people afterwards said: and before he had recovered himself, one at least1 of the tenants had carried this new form of the desire right up to its natural conclusion and found what he had really been wanting. He wrote it all down in what he called a Comedy.’

  ‘And what about Mr. Halfways?’ said John. ‘Where did his kind of song begin?’

  ‘That was the last big arrival of new messages that we had,’ said History. ‘And it happened just before I retire
d from the world. It was in the land of Mr. Enlightenment, but he was very different then. I do not know any man who has deteriorated so with advancing years. In those days Claptrap had not been built. The Enemy had agents in the country but did not come there often himself: it must have been just about that time that Mammon was taking it over, and building new towns and turning the people out of the fields into the factories. One of the results was a great deal of anaemia—though there were other causes for that too—and weak hearts. This time the Landlord did a curious thing: he sent them pictures of the country they were actually living in—as if he had sent them a number of mirrors. You see, he always does the last thing the Enemy is expecting. And just as the pictures of the Lady in Medium Aevum had made the real women look different, so when men looked at these pictures of the country and then turned to the real landscape, it was all changed. And a new idea was born in their minds, and they saw something—the old something, the Island West of the world, the Lady, the heart’s desire—as it were hiding, yet not quite hidden, like something ever more about to be, in every wood and stream and under every field. And because they saw this, the land seemed to be coming to life, and all the old stories of the Pagans came back to their minds and meant more than the Pagans themselves ever knew: and because women also were in the landscape, the old idea of the Lady came back too. For this is part of the Landlord’s skill, that when one message has died he brings it to life again in the heart of the next. But out of this third revelation, which they called Romantic, so many songs were made that I cannot remember all of them: and many deeds were done, too, and many, through the usual false starts and disillusions and rebeginnings of desire, found their way home. Your Mr. Halfways is one of the later and weaker followers of that school.’

  ‘I don’t think that the history of the Romantic pictures is quite as clear as the other histories. What exactly was the Landlord doing? And what did the Enemy do?’

  ‘I thought you would have seen. This third stroke of policy was in a way one of the greatest. All the previous pictures had been of something that was not here in the world around you. This gave the Enemy the chance of making people believe that you had it in the picture, and lacked it elsewhere—in other words that the picture itself was the thing you wanted. And that, as you know, means idolatry, and then, when the idol disappoints you (as it must) there is an easy passage to all the spurious satisfactions. But this weapon was knocked out of the Enemy’s hand when once the thing in the picture was the very same thing that you saw all round you. Even the stupidest tenant could see that you had the landscape, in the only sense in which it could be had, already: and still you wanted: therefore the landscape was not what you wanted. Idolatry became impossible. Of course the Enemy when he had recovered himself, found a new method of defence. Just because the new message could not be idolized, it could be easily belittled. The desire awakened thus between the picture and the countryside could be confused with the ordinary pleasure that any healthy man feels in moving about out-of-doors: and when it had been so confused, the Enemy could pretend that the Romantics had made a great pother about nothing. And you can imagine that all the people who had not had pictures sent to them, and therefore not felt the desire, and therefore were itching with envy, would welcome this explanation.’

  ‘I see,’ said John. ‘But still—on your own showing, all these messages get blurred and corrupted in the end, and then, surely, the thing to do is to look out for the new one. These pale men might be quite right to occupy themselves in cleaning away the rubbish of the old revelation. That might be the way to get ready for the next.’

  ‘That is another notion they have which a little travel would soon blow to pieces. They think that the Landlord works like the factories in Claptrap, inventing every day a new machine which supersedes the old. As machines are among the very few things that they do know something about, they cannot help thinking that everything is like them. But this leads them into two mistakes. First of all, they have no conception how slowly the Landlord acts—the enormous intervals between these big changes in his type of picture. And secondly, they think that the new thing refutes and cancels the old, whereas, in reality it brings it to a fuller life. I have never known a case where the man who was engaged in ridiculing or rejecting the old message became the receiver of the new. For one thing it all takes so long. Why, bless my soul, I remember Homer in Pagus ridiculing some of the story pictures: but they had thousands of years to run still and thousands of souls were to get nourishment out of them. I remember Clopinel2 in Medium Aevum, jeering at the pictures of the Lady before they had reached half his countrymen. But his jeer was no spell to evoke a new message, nor was he helping any cause but the Enemy’s.’

  X

  Archtype and Ectype

  THERE WAS A LONG silence in the cave except for the sound of the rain. Then John began once more:

  ‘And yet . . .’ he said, ‘and yet, Father, I am terribly afraid. I am afraid that the things the Landlord really intends for me may be utterly unlike the things he has taught me to desire.’

  ‘They will be very unlike the things you imagine. But you already know that the objects which your desire imagines are always inadequate to that desire. Until you have it you will not know what you wanted.’

  ‘I remember that Wisdom said that too. And I understand that. Perhaps what troubles me is a fear that my desires, after all you have said, do not really come from the Landlord—that there is some older and rival Beauty in the world which the Landlord will not allow me to get. How can we prove that the Island comes from him? Angular would say it did not.’

  ‘You have proved it for yourself: you have lived the proof. Has not every object which fancy and sense suggested for the desire, proved a failure, confessed itself, after trial, not to be what you wanted? Have you not found by elimination that this desire is the perilous seige in which only One can sit?’

  ‘But then,’ said John, ‘the very quality of it is so—so unlike what we think of the Landlord. I will confess to you what I had hoped to keep secret. It has been with me almost a bodily desire. There have been times . . . I have felt the sweetness flow over from the soul into the body . . . pass through me from head to foot. It is quite true, what the Clevers say. It is a thrill—a physical sensation.’

  ‘That is an old story. You must fear thrills, but you must not fear them too much. It is only a foretaste of that which the real Desirable will be when you have found it. I remember well what an old friend of mine in Medium Aevum once said to me—“out of the soul’s bliss,” he said, “there shall be a flowing over into the flesh.’ ”

  ‘Did he say that? I did not suppose that anyone except the Clevers knew it. Do not laugh at me, Father—or laugh if you will—I am indeed very ignorant and I have listened to people more ignorant still.’

  Twilight, hastened by the rain, had fallen on the canyon, and in the cave it was quite dark. John heard the old man moving to and fro and presently there came the flame of a little lamp lighting up his pale birdlike face. He set food for supper before his guest and bade him eat and then sleep.

  ‘Gladly, Father,’ said John, ‘for I am very tired. I do not know why I have plagued you with questions about the Island. It is all a story of what happened to me long ago. It was long ago that I saw it clearly. The visions, ever since the first one, have grown rarer, the desires fainter. I have been talking as if I still craved it, but I do not think I can find any craving in my heart now at all.’

  The old man sat still, nodding a little as before.

  Suddenly John spoke again.

  ‘Why should it wear out if it is from the Landlord? It doesn’t last, you know. Isn’t it that which gives away the whole case?’

  ‘Have you not heard men say, or have you forgotten, that it is like human love?’ asked the hermit.

  ‘What has that to do with it?’

  ‘You would not ask if you had been married, or even if you had studied generation among the beasts. Do you not know how it is
with love? First comes delight: then pain: then fruit. And then there is joy of the fruit, but that is different again from the first delight. And mortal lovers must not try to remain at the first step: for lasting passion is the dream of a harlot and from it we wake in despair. You must not try to keep the raptures: they have done their work. Manna kept, is worms. But you are full of sleep and we had better talk no more.’

  Then I dreamed that John lay down on a hard bed in the cave; and as he lay between waking and sleeping, the hermit, as he thought, lit two candles at the back of the cave on an altar and went to and fro doing and saying his holy things. And on the very borders of sleep John heard him begin to sing, and this was the song:

  ‘My heart is empty. All the fountains that should run

  With longing, are in me

  Dried up. In all my countryside there is not one

  That drips to find the sea.

  I have no care for anything thy love can grant

  Except the moment’s vain

  And hardly noticed filling of the moment’s want

  And to be free from pain.

  Oh, thou that art unwearying, that dost neither sleep

  Nor slumber, who didst take

  All care for Lazarus in the careless tomb, oh keep

  Watch for me till I wake.

  If thou think for me what I cannot think, if thou

  Desire for me what I

  Cannot desire, my soul’s interior Form, though now

  Deep-buried, will not die,

  —No more than the insensible dropp’d seed which grows