Collected Essays

would then have painted! Beautiful, thrilling, profoundly appalling. For appalling are even the pictures he painted in middle age, dreadful in spite of their extraordinary power and beauty. This swallowed universe into which he introduces us is one of the most disquieting creations of the human mind. One of the most puzzling too. For what were El Greco’s reasons for driving mankind down the red lane? What induced him to take God out of His boundless Heaven and shut Him up in a fish’s gut? One can only obscurely speculate. All that I am quite certain of is that there were profounder and more important reasons for the whale than the memory of the mosaics—the wholly unvisceral mosaics—which he may have seen in the course of a Cretan childhood, a Venetian and Roman youth. Nor will a disease of the eye account, as some have claimed, for his strange artistic development. Diseases must be very grave indeed before they become completely coextensive with their victims. That men are affected by their illnesses is obvious; but it is no less obvious that, except when they are almost in extremis, they are something more than the sum of their morbid symptoms. Dostoevsky was not merely personified epilepsy, Keats was other things besides a simple lump of pulmonary tuberculosis. Men make use of their illnesses at least as much as they are made use of by them. It is likely enough that El Greco had something wrong with his eyes. But other people have had the same disease without for that reason painting pictures like the Laocoon and The Opening of the Seventh Seal. To say that El Greco was just a defective eyesight is absurd; he was a man who used a defective eyesight.

Used it for what purpose? to express what strange feeling about the world, what mysterious philosophy? It is hard indeed to answer. For El Greco belongs as a metaphysician (every significant artist is a metaphysician, a propounder of beauty-truths and form-theories) to no known school. The most one can say, by way of classification, is that, like most of the great artists of the Baroque, he believed in the validity of ecstasy, of the non-rational, “numinous” experiences out of which, as a raw material, the reason fashions the gods or the various attributes of God. But the kind of ecstatic experience artistically rendered and meditated on by El Greco was quite different from the kind of experience which is described and symbolically “rationalized” in the painting, sculpture and architecture of the great Baroque artists of the seicento. Those mass-producers of spirituality, the Jesuits, had perfected a simple technique for the fabrication of orthodox ecstasies. They had cheapened an experience, hitherto accessible only to the spiritually wealthy, and so placed it within the reach of all. What the Italian seicento artists so brilliantly and copiously rendered was this cheapened experience and the metaphysic in terms of which it could be rationalized. “St. Teresa for All.” “A John of the Cross in every Home.” Such were, or might have been, their slogans. Was it to be wondered at if their sublimities were a trifle theatrical, their tenderness treacly, their spiritual intuitions rather commonplace and vulgar? Even the greatest of the Baroque artists were not remarkable for subtlety and spiritual refinement.

With these rather facile ecstasies and the orthodox Counter-Reformation theology in terms of which they could be interpreted, El Greco has nothing to do. The bright reassuring Heaven, the smiling or lachrymose, but always all too human divinities, the stage immensities and stage mysteries, all the stock-in-trade of the seicentisti, are absent from his pictures. There is ecstasy and flamy aspiration; but always ecstasy and aspiration, as we have seen, within the belly of a whale. El Greco seems to be talking all the time about the physiological root of ecstasy, not the spiritual flower; about the primary corporeal facts of numinous experience, not the mental derivatives from them. However vulgarly, the artists of the Baroque were concerned with the flower, not the root, with the derivatives and theological interpretations, not the brute facts of immediate physical experience. Not that they were ignorant of the physiological nature of these primary facts. Bernini’s astonishing St. Teresa proclaims it in the most unequivocal fashion; and it is interesting to note that in this statue (as well as in the very similar and equally astonishing Ludovica Albertoni in San Franceso a Ripa) he gives to the draperies a kind of organic and, I might say, intestinal lusciousness of form. A little softened, smoothed and simplified, the robe of the great mystic would be indistinguishable from the rest of the swallowed landscape inside El Greco’s whale. Bernini saves the situation (from the Counter-Reformer’s point of view) by introducing into his composition the figure of the dart-brandishing angel. This aerial young creature is the inhabitant of an unswallowed Heaven. He carries with him the implication of infinite spaces. Charmingly and a little preposterously (the hand which holds the fiery dart has a delicately crook’d little finger, like the hand of some too refined young person in the act of raising her tea-cup), the angel symbolizes the spiritual flower of ecstasy, whose physiological root is the swooning Teresa in her peritoneal robe. Bernini is, spiritually speaking, a plein-airiste.

Not so El Greco. So far as he is concerned, there is nothing outside the whale. The primary physiological fact of religious experience is also, for him, the final fact. He remains consistently on the plane of that visceral consciousness which we so largely ignore, but with which our ancestors (as their language proves) did so much of their feeling and thinking. “Where is thy zeal and thy strength, the sounding of the bowels and of thy mercies toward me?” “My heart is turned within me, my repentings are kindled together.” “I will bless the Lord who hath given me counsel; my reins also instruct me in the night season.” “For God is my record, how greatly I long after you all in the bowels of Jesus Christ.” “For Thou hast possessed my reins.” “Is Ephraim my dear son?… Therefore my bowels are troubled for him.” The Bible abounds in such phrases—phrases which strike the modern reader as queer, a bit indelicate, even repellent. We are accustomed to thinking of ourselves as thinking entirely with our heads. Wrongly, as the physiologists have shown. For what we think and feel and are is to a great extent determined by the state of our ductless glands and our viscera. The Psalmist drawing instruction from his reins, the Apostle with his yearning bowels, are thoroughly in the modern physiological movement.

El Greco lived at a time when the reality of the primary visceral consciousness was still recognized— when the heart and the liver, the spleen and reins did all a man’s feeling for him, and the four humors of blood, phlegm, choler and melancholy determined his character and imposed his passing moods. Even the loftiest experiences were admitted to be primarily physiological. Teresa knew God in terms of an exquisite pain in her heart, her side, her bowels. But while Teresa, and along with her the generality of human beings, found it natural to pass from the realm of physiology into that of the spirit—from the belly of the whale out into the wide open sky—El Greco obstinately insisted on remaining swallowed. His meditations were all of religious experience and ecstasy—but always of religious experience in its raw physiological state, always of primary, immediate, visceral ecstasy. He expressed these meditations in terms of Christian symbols—of symbols, that is to say, habitually employed to describe experiences quite different from the primary physiological states on which he was accustomed to dwell. It is the contrast between these symbols, with their currently accepted significance, and the special private use to which El Greco puts them—it is this strange contrast which gives to El Greco’s pictures their peculiarly disquieting quality. For the Christian symbols remind us of all the spiritual open spaces—the open spaces of altruistic feeling, the open spaces of abstract thought, the open spaces of free-floating spiritual ecstasy. El Greco imprisons them, claps them up in a fish’s gut. The symbols of the spiritual open spaces are compelled by him to serve as a language in terms of which he talks about the close immediacies of visceral awareness, about the ecstasy that annihilates the personal soul, not by dissolving it out into universal infinity, but by drawing it down and drowning it in the warm, pulsating, tremulous darkness of the body.

Well, I have wandered far and fancifully from the undertaker king and his enigmatic nightmare of whales and Jonahs. But imaginative wandering is the privilege of the ignorant. When one doesn’t know one is free to invent. I have seized the opportunity while it presented itself. One of these days I may discover what the picture is about, and when that has happened I shall no longer be at liberty to impose my own interpretations. Imaginative criticism is essentially an art of ignorance. It is only because we don’t know what a writer or artist meant to say that we are free to concoct meanings of our own. If El Greco had somewhere specifically told us what he meant to convey by painting in terms of Black Holes and mucus, I should not now be in a position to speculate. But luckily he never told us; I am justified in letting my fancy loose to wander.

(From Music at Night)

Form and Spirit in Art

A painter or a sculptor can be simultaneously representational and nonrepresentational. In their architectural backgrounds and, above all, in their draperies, many works even of the Renaissance and the Baroque incorporate passages of almost unadulterated abstraction. These are often expressive in the highest degree. Indeed, the whole tone of a representational work may be established, and its inner meaning expressed, by those