Page:The Criterion - Volume 4.djvu/42



ONSIDERING how common illness is, how tremendous the spiritual change that it brings, how astonishing, when the lights of health go down, the undiscovered countries that are then disclosed, what wastes and deserts of the soul a slight attack of influenza brings to light, what precipices and lawns sprinkled with bright flowers a little rise of temperature reveals, what ancient and obdurate oaks are uprooted in us in the act of sickness, how we go down into the pit of death and feel the waters of annihilation close above our heads and wake thinking to find ourselves in the presence of the angels and the harpers when we have a tooth out and come to the surface in the dentist's arm chair and confuse his 'Rinse the mouth—rinse the mouth' with the greeting of the Deity stooping from the floor of Heaven to welcome us—when we think of this and infinitely more, as we are so frequently forced to think of it, it becomes strange indeed that illness has not taken its place with love, battle, and jealousy among the prime themes of literature. Novels, one would have thought, would have been devoted to influenza; epic poems to typhoid; odes to pneumonia, lyrics to toothache. But no; with a few exceptions—De Quincey attempted something of the sort in The Opium Eater; there must be a volume or two about disease scattered through the pages of Proust—literature does its best to maintain that its concern is with the mind; that the body is a sheet of plain glass through which the soul looks straight and clear, and, save for one or two passions such as desire and greed, is null, negligible and non-existent. On the contrary, the very opposite is true. All day, all night the body intervenes; blunts or sharpens,