Tarr (Musaicum Rediscovered Classics). Wyndham Lewis

precludes the idea of success. Failure is its condition.—Art and Sex when they are deep enough make tragedies, and not advertisements for Health experts, or happy endings for the Public, or social panaceas.”

      “Alas, that is true.”

      “Well, then, well, then, Alan Hobson, you scarecrow of an advanced fool-farm, deplorable pedant of a sophistic voice-culture⸺”

      “I? My voice—? But that’s absurd!—If my speech⸺”

      Hobson was up in arms about his voice: although it was not his.

      Tarr needed a grimacing, tumultuous mask for the face he had to cover.—The clown was the only rôle that was ample enough. He had compared his clowning with Hobson’s Pierrotesque and French variety.

      But Hobson, he considered, was a crowd.—You could not say he was an individual.—He was a set. He sat there, a cultivated audience.—He had the aplomb and absence of self-consciousness of numbers, of the herd—of those who know they are not alone.—Tarr was shy and the reverse by turns. He was alone. The individual is rustic.

      For distinguishing feature Hobson possessed a distinguished absence of personality.

      Tarr gazed on this impersonality, of crowd origin, with autocratic scorn.

      Alan Hobson was a humble investor.

      “But we’re talking at cross purposes, Hobson.—You think I am contending that affection for a dolt, like my fiancée, is in some way a merit. I do not mean that. Also, I do not mean that sex is my tragedy, but art.—I will explain why I am associated sexually with this pumpkin. First, I am an artist.—With most people, not describable as artists, all the finer part of their vitality goes into sex. They become third-rate poets during their courtship. All their instincts of drama come out freshly with their wives. The artist is he in whom this emotionality normally absorbed by sex is so strong that it claims a newer and more exclusive field of deployment.—Its first creation is the Artist himself, a new sort of person; the creative man. But for the first-rate poet, nothing short of a Queen or a Chimera is adequate for the powers of his praise.—And so on all through the bunch of his gifts. One by one his powers and moyens are turned away from the usual object of a man’s poetry, and turned away from the immediate world. One solitary thing is left facing a woman.—That is his sex, a lonely phallus.—Things are not quite so simple in actual fact as this. Some artists are less complete than others. More or less remains to the man.—Then the character of the artist’s creation comes in. What tendency has my work as an artist, a ready instance? You may have noticed that it has that of an invariable severity. Apart from its being good or bad, its character is ascetic rather than sensuous, and divorced from immediate life. There is no slop of sex in that. But there is no severity left over for the work of the cruder senses either. Very often with an artist whose work is very sensuous or human, his sex instinct, if it is active, will be more discriminating than with a man more fastidious and discriminating than he in his work. To sum up this part of my disclosure.—No one could have a coarser, more foolish, slovenly taste than I have in women. It is not even sluttish and abject, of the J. W. M. Turner type, with his washerwoman at Gravesend.—It is bourgeois, banal, pretty-pretty, a cross between the Musical Comedy stage and the ideal of the Eighteenth-Century gallant. All the delicate psychology another man naturally seeks in a woman, the curiosity of form, windows on other lives, love and passion, I seek in my work and not elsewhere.—Form would perhaps be thickened by child-bearing; it would perhaps be damaged by harlotry.—Why should sex still be active? That is a matter of heredity that has nothing to do with the general energies of the mind. I see I am boring you.—The matter is too remote!—But you have trespassed here, and you must listen.—I cannot let you off before you have heard, and shown that you understand.—If you do not sit and listen, I will write it all to you. You will be made to hear it!—And after I have told you this, I will tell you why I am talking to a fool like you!”

      “You ask me to be polite⸺”

      “I don’t mind how impolite you are so long as you listen.”

      “Well, I am listening—with interest.”

      Tarr was tearing, as he saw it, at the blankets that swaddled this spirit in its inner snobberies.—A bitter feast was steaming hot, and a mouth must be found to eat it. This beggar’s had to serve. It was, above all, an ear, all the nerves complete. He must get his words into it. They must not be swallowed at a gulp. They must taste, sting, and benefit by the meaning of an appetite.—He had something to say. It must be said while it was living. Once it was said, it could look after itself.—Hobson had shocked something that was ready to burst out. He must help it out. Hobson must pay as well for the intimacy. He must pay Bertha Lunken afterwards.

      He felt like insisting that he should come round and apologize to her.

      “A man only goes and confesses his faults to the world when his self will not acknowledge or listen to them. The function of a friend is to be a substitute for this defective self, to be the World and the Real without the disastrous consequences of reality.—Yet punishment is one of his chief offices.—The friend enlarges also substantially the boundaries of our solitude.”

      This was written in Tarr’s diary. He was now chastising this self he wrote of for not listening, by telling the first stranger met.—Had a friend been there he could have interceded for his ego.

      “You have followed so far?” Tarr looked with slow disdainful suspicion at Hobson’s face staring at the ground. “You have understood the nature of my secret?—Half of myself I have to hide. I am bitterly ashamed of a slovenly, common portion of my life that has been isolated and repudiated by the energies I am so proud of. ‘I am ashamed of the number of Germans I know,’ as you put it.—I have in that rôle to cower and slink away even from an old fruit-tin like you. It is useless heroically to protect that section of my life. It’s no good sticking up for it. It is not worth protecting. It is not even up to your standards. I have, therefore, to deliver it over to your eyes, and eyes of the likes of you, in the end—if you will deign to use them!—I even have to beg you to use your eyes; to hold you by the sleeve and crave a glance for an object belonging to me!

      “In this compartment of my life I have not a vestige of passion.—That is the root reason for its meanness and absurdity.—The best friend of my Dr. Jekyll would not know my Mr. Hyde, and vice versa. This rudimentary self is more starved and stupid than any other man’s. Or to put it less or more humbly, I am of that company who are reduced to looking to Socrates for a consoling lead.

      “Think of all the collages, marriages, and liaisons that you know, in which some frowsy or foolish or doll-like or log-like bitch accompanies the form of an otherwise sensible man: a dumbfounding, disgusting, and septic ghost!

      “How foul and wrong this haunting of women is!—They are everywhere!—Confusing, blurring, libelling, with their half-baked, gushing, tawdry presences! It is like a slop of children and the bawling machinery of the inside of life, always and all over our palaces. Their silly food of cheap illusion comes in between friendships, stagnates complacently around a softened mind.

      “I might almost take some credit to myself for at least having the grace to keep this bear-garden in the background.”

      Hobson had brightened up while this was proceeding.—He now said:

      “You might almost.—Why don’t you? I admire what you tell me. But you appear to take your German foibles too much to heart.”

      “Just at present I am engaged in a gala of the heart. You may have noticed that.—I am not a strict landlord with the various personalities gathered beneath my roof.—In the present case I am really blessed. But you should see the sluts that get in sometimes! They all become steadily my fiancée too.—Fiancée! Observe how one apes the forms of conventional life. It does not mean anything, so one lets it stop. Its the same with the café fools I have for friends—there’s a Greek fool, a German fool, a Russian fool—an English fool!—There are no ‘friends’ in this life any more