Connections, Connections

The past couple of weeks have been filled with connections in literature and discussion. It’s driving me a bit crazy because there’s no time to sort them out, write them down, make more than vaguely intuitive sense of them.

So I’m recording impressions today, just for fun (or, more likely and more seriously, for sanity).

Elocution: I’m teaching Charles Williams’ Descent into Hell in freshman comp this semester. The action (if it can be called that) takes place within the scope of a play production, a pastoral comedy written by the eminent poet-dramatist Peter Stanhope. The leader of the chorus, Pauline, is working on her lines one day and enters a discussion with her grandmother, Margaret, who notes in passing that the play’s producer, Mrs. Parry, has always thought a little too much of elocution and not enough of the poetry itself. She goes on, with infinite kindness, to also note that Pauline has been rather like this in her relation to Margaret: more concerned with the outward care of duty, of appearance, than the give-and-take of Love. Pauline, duly rebuked, finds this a help along her way to understanding and living in Love.

Then we read the “Night” section in Goethe's Faust for World Lit 2. And lo and behold, here is Wagner, Faust’s student, prating on about the importance of elocution to public speaking – if one speaks with the right tones and gestures, one will be effective. Faust decries this: what is needed for effective persuasion, he says, is to speak from the heart, not to study form. I am not sure, however, that his understanding and advice is really the same as Margaret’s – I want to bring them together and explore the similarity and what may be some key difference in the ideas.

Negation: This has been cropping up everywhere, it seems. We read Katherine Anne Porter’s short story “Flowering Judas” in Intro to Lit recently; the main character, Laura, lives by negation – saying “no” to every possibility for life and love. This negation leads her, she seems to know, to be as cruel as the socialist/Marxist revolutionaries she works alongside, yet she cannot bring herself to say “yes” to any hopeful possibility.

We also read Ernest Hemingway’s “Hills Like White Elephants” in that class, another tale of negation. The man wants only to have his footloose, fancy-free life without responsibility; the girl, it appears, finally gives in to him, choosing the death of her unborn child, still intangible to her, to keep the tangible security of his presence – yet knowing, even as she chooses, that this too will be another death.

And Descent is a story of negation. Wentworth is given the opportunity to choose love, again and again, and each time he refuses, despising everyone and everything that keeps him from being the one in the limelight. I would, again, like to look at these and other pieces I’ve been reading to find the connecting threads.

The serpent in Eden: This one’s been cropping up all of a sudden, too – the Cupid and Psyche myth, Lily Sammile in Descent, somewhere else recently that refuses to come to my exhausted mind on this Friday evening at the end of another lovely but tiring week.

Connections. I’ve always looked for them; they are everywhere in literature. But somehow these are haunting me just now, and I hope to find out why soon.

Under the Mercy

Classes started last week on Wednesday; we had Monday this week off. But I feel like I've already run a marathon. I should be grading homework, but instead I'm watching television and avoiding thinking about the conference presentation I'm giving tomorrow (only vaguely planned, of course), or the prep I should be doing for my four Monday classes . . . or the article I had hoped to ready for submission by now, which languishes in its ragged folder under stacks of the urgent.

Yet, while I feel tired, and a bit harried, and can't help wondering if I'll get anything but grading done for the next fourteen weeks -- I seem to be less distressed than usual for two weeks in. I wish I had the energy to do more, but the most needed things seem to be getting accomplished helpfully and hopefully. And I love my classes -- all of them; I am delighted to expend the energy to teach them well.

I don't understand it; I'm just living along trying to keep my head above water, no more "spiritual" than usual in habit or mind . . . yet here's a gift of grace -- an unusual sense of well-being -- from my loving Father.

Stanhope says to Pauline as she sets off to London for the beginning of her new life, "You'll find your job and do it and keep it -- in the City of our God, even in the City of our Great King, and . . . and how do I, any more than you, know what the details of Salem will be like?"*

Under the Mercy, indeed. Under the Mercy.


* Charles Williams, Descent into Hell

"Terribly Good"

Standing outside the car this morning at home, I looked up at black clouds churning against a charcoal grey background. "Beautiful!" I exclaimed. "Threatening," another voice murmured in my ear, as I thought of lightning strikes and tornado warnings. A few minutes later, as I stepped out of the car on campus, the chill wind whipped tree branches and my fresh-washed hair. "Invigorating!" I cried. "Destructive," that other voice whispered, as I trod on pear blossoms and broken twigs littering the ground.

A "terrible beauty," Yeats called the martrydom of the Irish rebels. A "terrible gift," Byron called melancholia. The world is "terribly good," says Stanhope in Charles Williams' novel Descent into Hell.

Life is made of paradox and mystery. I want to accept it -- no, more than accept -- embrace it, run toward it, or at least not run from it and let it embrace me, as Pauline finally allows her most terrible fear to overtake her, only to find it is precisely what makes her most fully herself, most wonderfully able to serve others, most joyfully confident in a Power greater than any she could conjure or imagine, and which she now understands is indeed "terribly good."

Under the Mercy

So I got two novels by Charles Williams last week -- War In Heaven and Descent into Hell -- and inhaled them both over the weekend. (Really, they are pretty short, I swear.) I've been finding in the past couple of years that I much prefer to just take in a novel wholesale and then, if it has spoken to me, go back and re-read it, perhaps many times, at a slower pace to figure out why I fell in love with it. I shall revisit both these novels, and the other two Williams novels I have , over the summer, not to mention adding to my collection till I have them all . . .

War in Heaven is a grail story, superbly done in Williams' inimitable style, bringing together the most unlikely group to save the holy object. Williams suggests through the story also the most unlikely -- from our human perspective -- possibilities for individual salvation, reminding me of Graham Greene and Evelyn Waugh, who also make much of our human frailties and God's mercy.

But Descent into Hell is the one that had me barely breathing Sunday evening. Williams takes the understanding that self-absorption is hell and shows the temptations to it, the ways out of it, and the consequences of choosing both rightly and wrongly. It is horrifying in its picture of Lawrence Wentworth's fall, and there is nothing simplistic about Pauline Anstruther's salvation from the same fate. It is a true book . . .

Rambling notes:
There are doppelgangers, suicide, ghosts walking, visions of heaven and of hell, the temptress Lilith (whose story I really must become more familiar with; so many of my favorite writers make use of it), the doctrine of substitution applied in our lives in a more compelling way than I've ever seen it, and again the constant suggestion that the slightest choice that is not evil could serve to put us on the way of salvation . . .

Early on, one of the characters says to poet Peter Stanhope, whose latest play they are going to produce, that "nature is so terribly good."

He agrees, but taking her literally: "it comes from doing so much writing, but when I say 'terribly' I think I mean 'full of terror'. A dreadful goodness."

She replies resentfully, "If things are good they're not terrifying, are they?"

Pauline, who confronts daily her own personal terror, interjects at this point the question, "And if things are terrifying, can they be good?'

Stanhope: "Yes, surely. Are our tremors to measure the Omnipotence?"

At the end, "Under the Mercy," Stanhope tells Pauline. "Go in peace, under the Mercy."