The Babylonian Codex - C.S. Graham [17]
‘It was too perfect to last,’ so I am tempted to say of our marriage. But it can be meant in two ways. It may be grimly pessimistic—as if God no sooner saw two of His creatures happy than He stopped it (‘None of that here!’). As if He were like the Hostess at the sherry-party who separates two guests the moment they show signs of having got into a real conversation. But it could also mean ‘This had reached its proper perfection. This had become what it had in it to be. Therefore of course it would not be prolonged.’ As if God said, ‘Good; you have mastered that exercise. I am very pleased with it. And now you are ready to go on to the next.’ When you have learned to do quadratics and enjoy doing them you will not be set them much longer. The teacher moves you on.
For we did learn and achieve something. There is, hidden or flaunted, a sword between the sexes till an entire marriage reconciles them. It is arrogance in us to call frankness, fairness, and chivalry ‘masculine’ when we see them in a woman; it is arrogance in them to describe a man’s sensitiveness or tact or tenderness as ‘feminine.’ But also what poor, warped fragments of humanity most mere men and mere women must be to make the implications of that arrogance plausible. Marriage heals this. Jointly the two become fully human. ‘In the image of God created He them.’ Thus, by a paradox, this carnival of sexuality leads us out beyond our sexes.
And then one or other dies. And we think of this as love cut short; like a dance stopped in mid-career or a flower with its head unluckily snapped off—something truncated and therefore, lacking its due shape. I wonder. If, as I can’t help suspecting, the dead also feel the pains of separation (and this may be one of their purgatorial sufferings), then for both lovers, and for all pairs of lovers without exception, bereavement is a universal and integral part of our experience of love. It follows marriage as normally as marriage follows courtship or as autumn follows summer. It is not a truncation of the process but one of its phases; not the interruption of the dance, but the next figure. We are ‘taken out of ourselves’ by the loved one while she is here. Then comes the tragic figure of the dance in which we must learn to be still taken out of ourselves though the bodily presence is withdrawn, to love the very Her, and not fall back to loving our past, or our memory, or our sorrow, or our relief from sorrow, or our own love.
Looking back, I see that only a very little time ago I was greatly concerned about my memory of H. and how false it might become. For some reason—the merciful good sense of God is the only one I can think of—I have stopped bothering about that. And the remarkable thing is that since I stopped bothering about it, she seems to meet me everywhere. Meet is far too strong a word. I don’t mean anything remotely like an apparition or a voice. I don’t mean even any strikingly emotional experience at any particular moment. Rather, a sort of unobtrusive but massive sense that she is, just as much as ever, a fact to be taken into account.
‘To be taken into account’ is perhaps an unfortunate way of putting it. It sounds as if she were rather a battle-axe. How can I put it better? Would ‘momentously real’ or ‘obstinately real’ do? It is as if the experience said to me, ‘You are, as it happens, extremely glad that H. is still a fact. But remember she would be equally a fact whether you liked it or not. Your preferences have not been considered.’
How far have I got? Just as far, I think, as a widower of another sort who would stop, leaning on his spade, and say in answer to our inquiry, ‘Thank’ee. Mustn’t grumble. I do miss her something dreadful. But they say these things are sent to try us.’ We have come to the same point; he with his spade, and I, who am not now much good at digging, with my own instrument. But of course one must take ‘sent to try us’ the right way. God has not been trying an experiment on my faith or love in order to find out their quality. He knew it