Rosa Alchemica/Part 1

t is now more than ten years since I met, for the last time, Michael Robartes, and for the first time and the last time his friends and fellow students; and witnessed his and their tragic end, and endured those strange experiences, which have changed me so that my writings have grown less popular and less intelligible, and driven me almost to the verge of taking the habit of St. Dominic. I had just published Rosa Alchemica, a little work on the Alchemists, somewhat in the manner of Sir Thomas Browne, and had received many letters from believers in the arcane sciences, upbraiding what they called my timidity, for they could not believe so evident sympathy but the sympathy of the artist, which is half pity, for everything which has moved men's hearts in any age. I had discovered, early in my researches, that their doctrine was no merely chemical phantasy, but a philosophy they applied to the world, to the elements and to man himself; and that they sought to fashion gold out of common metals merely as part of an universal transmutation of all things into some divine and imperishable substance; and this enabled me to make my little book a fanciful reverie over the transmutation of life into art, and a cry of measureless desire for a world made wholly of essences.

I was sitting dreaming of what I had written, in my house in one of the old parts of Dublin; a house my ancestors had made almost famous through their part in the politics of the city and their friendships with the famous men of their generations; and was feeling an unwonted happiness at having at last accomplished a long-cherished design, and made my rooms an expression of this favourite doctrine. The portraits, of more historical than artistic interest, had gone; and tapestry, full of the blue and bronze of peacocks, fell over the doors, and shut out all history and activity untouched with beauty and peace; and now when I looked at my Crevelli and pondered on the rose in the hand of the Virgin, wherein the form was so delicate and precise that it seemed more like a thought than a flower, or at the grey dawn and rapturous faces of my Francesca, I knew all a Christian's ecstasy without his slavery to rule and custom; when I pondered over the antique bronze gods and goddesses, which I had mortgaged my house to buy, I had all a pagan's delight in various beauty and without his terror at sleepless destiny and his labour with many sacrifices; and I had only to go to my bookshelf, where every book was bound in leather, stamped with intricate ornament, and of a carefully chosen colour: Shakespeare in the orange of the glory of the world, Dante in the dull red of his anger, Milton in the blue grey of his formal calm; and I could experience what I would of human passions without their bitterness and without satiety. I had gathered about me all gods because I believed in none, and experienced every pleasure because I gave myself to none, but held myself apart, individual, indissoluble, a mirror of polished steel: I looked in the triumph of this imagination at the birds of Hera, glowing in the firelight as though they were wrought of jewels; and to my mind, for which symbolism was a necessity, they seemed the doorkeepers of my world, shutting out all that was not of as affluent a beauty as their own; and for a moment I thought as I had thought in so many other moments, that it was possible to rob life of every bitterness except the bitterness of death; and then a thought which had followed this thought, time after time, filled me with a passionate sorrow. All those forms: that Madonna with her brooding purity, those rapturous faces singing in the morning light, those bronze divinities with their passionless dignity, those wild shapes rushing from despair to despair, belonged to a divine world wherein I had no part; and every experience, however profound, every perception, however exquisite, would bring me the bitter dream of a limitless energy I could never know, and even in my most perfect moment I would be two selves, the one watching with heavy eyes the other's moment of content. I had heaped about me the gold born in the crucibles of others; but the supreme dream of the alchemist, the transmutation of the weary heart into a weariless spirit, was as far from me as, I doubted not, it had been from him also. I turned to my last purchase, a set of alchemical apparatus which, the dealer in the Rue le Peletier had assured me, once belonged to Raymond Lully, and as I joined the alembic to the athanor and laid the lavacrum maris at their side, I understood the alchemical doctrine, that all beings, divided from the great deep where spirits wander, one and yet a multitude, are weary; and sympathized, in the pride of my connoisseurship, with the consuming thirst for destruction which made the alchemist veil under his symbols of lions and dragons, of eagles and ravens, of dew and of nitre, a search for an essence which would dissolve all mortal things. I repeated to myself the ninth key of Basilius Valentinus, in which he compares the fire of the last day to the fire of the alchemist, and the world to the alchemist's furnace, and would have us know that all must be dissolved before the divine substance, material gold or immaterial ecstasy, awake. I had dissolved indeed the mortal world and lived amid immortal essences, but had obtained no miraculous ecstasy. As I thought of these things, I drew aside the curtains and looked out into the darkness, and it seemed to my troubled fancy that all those little points of light filling the sky were the furnaces of innumerable divine alchemists, who labour continually, turning lead into gold, weariness into ecstasy, bodies into souls, the darkness into God; and at their perfect labour my mortality grew heavy, and I cried out, as so many dreamers and men of letters in our age have cried, for the birth of that elaborate spiritual beauty which could alone uplift souls weighted with so many dreams.