But there’s a tree, of many, one,
A single field which I have looked upon,
Both of them speak of something gone;
The Pansy at my feet
Doth the same tale repeat:
Whither is fled the visionary gleam?
Where is it now, the glory and the dream?
(from “Intimations of Immortality…,” W. Wordsworth)
To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of your hand
And eternity in an hour.
(from “Auguries of Innocence,” W. Blake)
One of our favorite holiday jokes in the house is from Gary Larson’s cartoon, “The Far Side,” in which he draws three old-fashioned style kings seated at a Joe Poluka bar. Behind the bar is the bartender drying a glass with this reply: “More like three wise GUYS, I’d say!” That would be me and my rebellious friends back in high school as we pondered the literary greats, especially the Romantic Poets. Just reading it made us feel wise, even though we were teens with superiority complexes as long as a king’s robe with no, as in zero, experience in the greater universe. We would seek it out, of course, and I for one have become sadder for it, and in pale compensation, somewhat wiser. We had the drive, though, sparked by the Romantics because they spoke to us of what we had so recently lost: a fundamental innocence that made us closer to paradise – or God, if you wish. As children we did not know of our greater kinship with God, because we had nothing to compare it to. It was as teens coming into the world that we began to understand the price of adult reasoning. We could then regret the loss of what we had formerly taken for granted. As said, pale compensation – so pale that we wanted that lost glimpse of heaven back. That is why we used the hippie drugs and took paths in directions that would lead us away from standard success. I will not know if it was worth it until I am dead and have received an even greater depth of comparison. I am not always hopeful of what I will find.
The Romantics, though: they were at the forefront of the Age of Reason, writing only a few years or decades after the world-shattering revolutions in America and France. The Industrial Revolution was beginning as well, and the last shreds of innocence – not kindness, but innocence – from ancient times were disappearing. The world was becoming hard with pragmatism and science and the complexities of capitalism, and the Romantics were perhaps the first to recognize what Europe – and someday the world – was losing. Just as my friends and I in adolescence, those before the poets had not realized what they once had – a simple, non-judgmental relationship with God and nature. They killed, lusted, enslaved and plundered, but they did not doubt the existence of a God-driven universe, one filled with spirits and magic at all turns. Now it was slipping from not only the poets’ but society’s grasp, and they longed for it as only those who are hopelessly bereaved can.
I should not say “hopeless,” for just as us wise guy kids sought a direction, so did the Romantics. They thought that they could get back to heaven through nature, but not as a farmer might. Rather, they thought it could be done through art. Just as the religious tried – and still try - to dispel all things from their minds other than God, so the artists of the new Age of Reason sought to clear all impurities from their minds that did not relate to his art.
Those who call themselves artists still do. Last weekend I attended a classical guitar workshop where we not only played our amateur pieces, but received advice from the impossibly talented professionals. One, a guy I already knew from Madison, virtually bared his soul before us as he told of his journeys with the guitar. He had begun as a teenage shredder, a fan of hard rock, before he heard a classical guitarist play. “I can do that,” he told himself, and for the next thirty years that is exactly what he has done. Trying to find the right sound obviously controls every aspect of his life. He is still embittered, for instance, by his experience on stage when a student of the world-famed Segovia harangued him for forty five minutes for not using the right fingering to play the same notes. He also told us of a recent experience with a dying friend and student, Jimmy, who had come to him for last words of advice on his playing. Our expert told him that he would have to learn to sight-read those things that were memorized, and memorize those things that were sight-read. This does not seem like much to us, but it meant everything to the two of them, as I found out later at the wine and cheese table.
It must have been the wine, but I had already intuited it. As he passed by our group, I said, “Please don’t take this in an offensive way, but…” there was a pause of expectation – “you seem to hold for music and guitar what others hold for God. What I heard you say was that you had to clear your head of all other things to truly grasp the music as it should be, in its purist form. You are looking for perfection in form and beauty. You are looking for heaven in your art.” Too which I received a genuinely grateful response: “Yes,” he sighed, happy that I understood, “I have replaced religion with music.”
He had. I have changed my practice method because of this understanding which he conveyed almost magically, something hidden cryptically in his words. I understand better now that somewhere in music, and in anything we call true art, are the footsteps of God.
I have thought about this concept since then, wishing to find truth that is beyond dogma or self-righteousness. The Greeks understood that truth was beauty and vice-versa, but might not have fully grasped the situation, just as our expert guitarist seems to be a little off. The truth is, oddly enough, that truth itself and beauty are artifacts of creation, not the urge or power of creation itself. Music and art in perfect form imitate foundational creation, but are not this, are not the impulse that could only come from the prime source. There is no art or appreciation of art in a vacuum. Rather, perfect art is sought after and appreciated for its imitation of God’s will. This can bring us to the foot of the source, but still not bring us to grasp the source itself. Art is not an idol, but is rather more like a liturgy, there to bring us before God, while not being God himself.
Thus the Romantics, other serious artists, and ignorant adolescents sensing a fundamental loss, are on the same path as the great mystics of the great religions. They are all seeking a purity that will bring them to the source, to paradise – to God himself, however envisioned. Artists have only to understand that art itself is the path rather than the endgame.
Which brings me to one more thing I think our Madison guitarist has found out: just as with the great mystics, I think he has realized that to find perfect art, one must die to everything else, to experience what the mystics have called, ever since St John of the Cross, the “dark night of the soul.” It is a lonely and terrifying place, the necessary transitional space that must be lived before coming before God. In this we become absolutely pure, carrying no baggage. It was the reason that I think our guitarist mentioned Jimmy, his dying friend. In the no-bull transitional space of death, they were both finding the language of eternity through the practice of the guitar. I think this had brought the two of them to take the first frightening step beyond the altar of art to touch the true Holy Grail that is the chalice, the being, of God.