And all this meant that there was no place in Ireland for a man of his talents and his temperament. His enemies called him an opportunist: but he was a opportunist gone wrong, abandoned to an obstinate idealism, one of those d.a.m.ned and solitary souls that only the north of Ireland produces in perfection. For the Protestantism of Ulster breeds rebels like no other rebels on earth, rebels as strong and obstinate and canny as itself. Before he was twenty-one Stephen had revolted against the material comfort and the spiritual tyranny of his father"s house.
He was the great-grandson of an immigrant Lancashire cotton spinner settled in Belfast. His western Irish blood was steeled with this mixture, and braced and embittered with the Scottish blood of Antrim where his people married.
Therefore, if he had chosen one career and stuck to it he would have been formidable. But one career alone did not suffice for his inexhaustible energies. As a fisher of opportunities he drew with too wide a net and in too many waters. He had tried parliamentary politics and failed because no party trusted him, least of all his own. And yet few men were more trustworthy. He turned his back on the House of Commons and took to journalism. As a journalistic politician he ran Nationalism for Ireland and Socialism for England. Neither Nationalists nor Socialists believed in him; yet few men were more worthy of belief.
In literature he had distinguished himself as a poet, a playwright, a novelist and an essayist. He did everything so well that he was supposed not to do anything quite well enough. Because of his politics other men of letters suspected his artistic sincerity; yet few artists were more sincere. His very distinction was unsatisfying. Without any of the qualities that make even a minor statesman, he was so far contaminated by politics as to be spoiled for the highest purposes of art; yet there was no sense in which he had achieved popularity.
Everywhere he went he was an alien and suspected. Do what he would, he fell between two countries and two courses. Ireland had cast him out and England would none of him. He hated Catholicism and Protestantism alike, and Protestants and Catholics alike disowned him. To every Church and every sect he was a free thinker, dest.i.tute of all religion. Yet few men were more religious. His enemies called him a turner and a twister; yet on any one of his lines no man ever steered a straighter course.
A capacity for turning and twisting might have saved him. It would at any rate have made him more intelligible. As it was, he presented to two countries the disconcerting spectacle of a many-sided object moving with violence in a dead straight line. He moved so fast that to a stationary on-looker he was gone before one angle of him had been apprehended. It was for other people to turn and twist if any one of them was to get a complete all-round view of the amazing man.
But taken all round he pa.s.sed for a man of hard wit and suspicious brilliance.
And he belonged to no generation. In nineteen-thirteen he was not yet forty, too old to count among the young men, and yet too young for men of his own age. So that in all Ireland and all England you could not have found a lonelier man.
The same queer doom pursued him in the most private and sacred relations of his life. To all intents and purposes he was married to Vera Harrison and yet he was not married. He was neither bound nor free.
All this had made him sorrowful and bitter.
And to add to his sorrowfulness and bitterness he had something of the Celt"s spiritual abhorrence of the flesh; and though he loved Vera, after his manner, there were moments when Vera"s capacity for everlasting pa.s.sion left him tired and bored and cold.
All his life _his_ pa.s.sions had been at the service of ideas. All his life he had looked for some great experience, some great satisfaction and consummation; and he had not found it.
In nineteen-thirteen, with half his life behind him, the opportunist was still waiting for his supreme opportunity.
Meanwhile his enemies said of him that he s.n.a.t.c.hed.
But he did not s.n.a.t.c.h. The eyes of his idealism were fixed too steadily on a visionary future. He merely tried, with a bored and weary gesture, to waylay the pa.s.sing moment while he waited. He had put his political failure behind him and said, "I will be judged as an artist or not at all." They judged him accordingly and their judgment was wrong.
There was not the least resemblance between Lawrence Stephen as he was in himself and Lawrence Stephen as he appeared to the generation just behind him. To conservatives he pa.s.sed for the leader of the revolution in contemporary art, and yet the revolution in contemporary art was happening without him. He was not the primal energy in the movement of the Vortex. In nineteen-thirteen his primal energies were spent, and he was trusting to the movement of the Vortex to carry him a little farther than he could have gone by his own impetus. He was attracted to the young men of the Vortex because they were not of the generation that had rejected him, and because he hoped thus to prolong indefinitely his own youth. They were attracted to him because of his solitary distinction, his comparative poverty, and his unpopularity. A prosperous, well-established Stephen would have revolted them. He gave the revolutionaries the shelter of his _Review_, the support of his name, and the benefit of his bored and wearied criticism. They brought him in return a certain homage founded on his admirable appreciation of their merits and tempered by their sense of his dealings with the past they abominated.
"Stephen is a bigot," said young Morton Ellis; "he believes in Swinburne."
Stephen smiled at him in bored and weary tolerance.
He believed in too many things for his peace of mind. He knew that the young men distrusted him because of his beliefs, and because of his dealings with the past; because he refused to destroy the old G.o.ds when he made place for the new.
Young Morton Ellis lay stretched out at his ease on the couch in Stephen"s study.
He blinked and twitched as he looked up at his host with half irritated, half affable affection.
The young men came and went at their ease in and out of that house in St. John"s Wood which Lawrence Stephen shared with Vera Harrison. They were at home there. Their books stood in his bookcase; they laid their ma.n.u.scripts on his writing table and left them there; they claimed his empty s.p.a.ces for the hanging of their pictures yet unsold.
Every Friday evening they met together in the long, low room at the top of the house, and they talked.
Every Friday evening Michael left his father"s house to meet them there, and to listen and to talk.
To-night, round and about Morton Ellis, the young poet, were Austen Mitch.e.l.l, the young painter, and Paul Monier-Owen, the young sculptor, and George Wadham, the last and youngest of Morton Ellis"s disciples.
Lawrence Stephen stood among them like an austere guest in some rendezvous of violent youth, or like the priest of some romantic religion that he has blasphemed yet not quite abjured. He was lean and dark and shaven; his black hair hung forward in two ma.s.ses, smooth and straight and square; he had sorrowful, bitter eyes, and a bitter, sorrowful mouth, the long Irish upper lip fine and hard drawn, while the lower lip quivered incongruously, pouted and protested and recanted, was sceptical and sensitive and tender. His short, high nose had wide yet fastidious nostrils.
It was at this figure that Morton Ellis continued to gaze with affability and irritation. It was this figure that Vera"s eyes followed with anxious, restless pa.s.sion, as if she felt that at any moment he might escape her, might be off, G.o.d knew where.
Lawrence Stephen was ill at ease in that house and in the presence of his mistress and his friends.
"I believe in the past," he said, "because I believe in the future. I want continuity. Therefore I believe in Swinburne; and I believe in Browning and in Tennyson and Wordsworth; I believe in Keats and Sh.e.l.ley and in Milton. But I do not believe, any more than you do, in their imitators. I believe in destroying their imitators. I do not believe in destroying them."
"You can"t destroy their imitators unless you destroy them. They breed the disgusting parasites. Their memories harbour them like a stinking suit of old clothes. They must be sc.r.a.pped and burned if we"re to get rid of the stink. Art has got to be made young and new and clean. There isn"t any disinfectant that"ll do the trick. So long as old masters are kow-towed to as masters people will go on imitating them. When a poet ceases to be a poet and becomes a centre of corruption, he must go."
Michael said, "How about _us_ when people imitate us? Have we got to go?"
Morton Ellis looked at him and blinked. "No," he said. "No. We haven"t got to go."
"I don"t see how you get out of it."
"I get out of it by doing things that can"t be imitated."
There was a silence in which everybody thought of Mr. George Wadham. It made Mr. Wadham so uncomfortable that he had to break it.
"I say, how about Shakespeare?" he said.
"n.o.body, so far, _has_ imitated Shakespeare, any more than they have _succeeded_ in imitating me."
There was another silence while everybody thought of Morton Ellis as the imitator of every poetic form under the sun except the forms adopted by his contemporaries.
"That"s all very well, Ellis," said Stephen, "but you aren"t the Holy Ghost coming down out of heaven. We can trace your sources."
"My dear Stephen, I never said I was the Holy Ghost. n.o.body ever does come down out of heaven. You _can_ trace my sources, thank G.o.d, because they"re clean. I haven"t gone into every stream that swine like--and--and--and--and--" (he named five contemporary distinctions) "have made filthy with their paddling."
He went on. "The very d.a.m.nable question that you"ve raised, Harrison, is absurd. You believe in the revolution. Well then, supposing the revolution"s coming--you needn"t suppose it, because it"s come. We _are_ the revolution--the revolution means that we"ve made a clean sweep of the past. In the future no artist will want to imitate anybody. No artist will be allowed to exist unless he"s prepared to be buried alive or burned alive rather than corrupt the younger generation with the processes and the products of his own beastly dissolution.
"That"s why violence is right.
""O Violenza, sorgi, balena in questo cielo Sanguigno, stupra le albe, irrompi come incendio nei vesperi, fa di tutto il sereno una tempesta, fa di tutta la vita una bataglia, fa con tutte le anime un odio solo!"
"There"s no special holiness in violence. Violence is right because it"s necessary."
"You mean it"s necessary because it"s right."
Austen Mitch.e.l.l spoke. He was a sallow youth with a broad, flat-featured, British face, but he had achieved an appearance of great strangeness and distinction by letting his hay-coloured hair grow long and cultivating two beards instead of one.
"Violence," he continued, "is not a means; it"s an end! Energy must be got for its own sake, if you want to generate more energy instead of standing still. The difference between Pastism and Futurism is the difference between statics and dynamics. Futurist art is simply art that has gone on, that, has left off being static and become dynamic. It expresses movement. Owen will tell you better than I can why it expresses movement."
A light darted from the corner of the room where Paul Monier-Owen had curled himself up. His eyes flashed like the eyes of a young wild animal roused in its lair.
Paul Monier-Owen was dark and soft and supple. At a little distance he had the clumsy grace and velvet innocence of a black panther, half cub, half grown. The tips of his ears, the corners of his prominent eyes, his eyebrows and his long nostrils tilted slightly upwards and backwards.
Under his slender, mournful nose his restless smile showed the white teeth of a young animal.