The Alexandria Quartet - Lawrence Durrell [418]
I: ‘He seems to change shape so quickly at every turn of the road that one is forced to revise each idea about him almost as
soon as it is formulated. I’m beginning to wonder about one’s right to pronounce in this fashion on unknown people.’
She: ‘I think, my dear, you have a mania for exactitude and an impatience with partial knowledge which is … well, unfair to knowledge itself. How can it be anything but imperfect? I don’t suppose reality ever bears a close resemblance to human truth as, say, El Scob to Yacoub. Myself I would like to be content with the poetic symbolism it presents, the shape of nature itself as it were. Perhaps this was what Pursewarden was trying to convey in those outrageous attacks upon you — have you come to the passages called “My silent conversations with Brother Ass”?’
I: ‘Not yet.’
She: ‘Don’t be too wounded by them. You must exonerate the brute with a good-natured laugh, for after all he was one of us, one of the tribe. Relative size of accomplishment doesn’t matter. As he himself says: “There is not enough faith, charity or tender-ness to furnish this world with a single ray of hope — yet so long as that strange sad cry rings out over the world, the birth-pangs of an artist — all cannot be lost! This sad little squeak of rebirth tells us that all still hangs in the balance. Heed me, reader, for the artist is you, all of us — the statue which must disengage itself from the dull block of marble which houses it, and start to live. But when? But when?” And then in another place he says:
“Religion is simply art bastardized out of all recognition” — a characteristic remark. It was the central point of his difference with Balthazar and the Cabal. Pursewarden had turned the whole central proposition upside down.’
I: ‘To suit his private ends.’
She: ‘No. To suit his own immortal needs. There was nothing dishonest about it all. If you are born of the artist tribe it is a waste of time to try and function as a priest. You have to be faithful to your angle of vision, and at the same time fully recognize its partiality. There is a kind of perfection to be achieved in matching oneself to one’s capacities — at every level. This must, I imagine, do away with striving, and with illusions too. I myself always admired old Scobie as a thoroughly successful example of this achievement in his own way. He was quite successfully himself I thought.’
I: ‘Yes, I suppose so. I was thinking of him today. His name cropped up at the office in some connection. Clea, imitate him again. You do it so perfectly that I am quite dumb with admiration.’
She: ‘But you know all his stories.’
I: ‘Nonsense. They were inexhaustible.’
She: ‘And I wish I could imitate his expression! That look of portentous owlishness, the movement of the glass eye! Very well; but close your eyes and hear the story of Toby’s downfall, one of his many downfalls. Are you ready?
I: ‘Yes.’
She: ‘He told it to me in the course of a dinner-party just before I went to Syria. He said he had come into some money and ins isted on taking me to the Lutetia in ceremonial fashion where we dined on scampi and Chianti. It began like this in a