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Derek Walcott, Essay

PODELI:






The Muse of History



History is a nightmare from which I am trying to awake
James Joyce

THE COMMON EXPERIENCE of the new world, even for its patrician writers whose veneration of the old is read as idolatory of the mestizo, is colonialism. They too are victims of tradition, but they remind us of our debt to the great dead, that those who break a tradition first hold it in awe. They perversely discourage disfavor, but because their sense of the past is of a timeless, yet habitable moment, the New World owes them more than it does those who wrestle with the past, for their veneration subtilizes an arrogance which is tougher than violent rejection. They know that by openly fighting tradition we perpetuate it, that revolutionary literature is a filial impulse, and that maturity is the assimilation of the features of every ancestor.
When these writers cunningly describe themselves as classicists and pretend an indifference to change, it is with an irony as true of the colonial anguish as the fury of the radical. If they appear to be phony aristocrats, it is because they have gone past the confrontation of history, that Medusa of the New World.
These writers reject the idea of history as time for its original concept as myth, the partial recall of the race. For them history is fiction, subject to a fitful muse, memory. Their philosophy, based on a contempt for historic time, is revolutionary, for what they repeat to the New World is its simultaneity with the Old. Their vision of man is elemental, a being inhabited by presences, not a creature chained to his past. Yet the method by which we are taught the past, the progress from motive to event, is the same by which we read narrative fiction. In time every event becomes an exertion of memory and is thus subject to invention. The farther the facts, the more history petrifies into myth. Thus, as we grow older as a race, we grow aware that history is written, that it is a kind of literature without morality, that in its actuaries the ego of the race is indissoluble and that everything depends on whether we write this fiction through the memory of hero or of victim.
In the New World servitude to the muse of history has produced a literature of recrimination and despair, a literature of revenge written by the descendants of slaves or a literature of remorse written by the descendants of masters. Because this literature serves historical truth, it yellows into polemic or evaporates in pathos. The truly tough aesthetic of the New World neither explains nor forgives history. It refuses to recognize it as a creative or culpable force. This shame and awe of history possess poets of the Third World who think of language as enslavement and who, in a rage for identity, respect only incoherence or nostalgia.
The great poets of the New World, from Whitman to Neruda, reject this sense of history. Their vision of man in the New World is Adamic. In their exuberance he is still capable of enormous wonder. Yet he has paid his accounts to Greece and Rome and walks in a world without monuments and ruins. They exhort him against the fearful magnet of older civilizations. Even in Borges, where the genius seems secretive, immured from change, it celebrates an elation which is vulgar and abrupt, the life of the plains given an instant archaism by the hieratic style. Violence is felt with the simultaneity of history. So the death of a gaucho does not merely repeat, but is, the death of Caesar. Fact evaporates into myth. This is not the jaded cynicism which sees nothing new under the sun, it is an elation which sees everything as renewed….
New World poets who see the ‘classic style’ as stasis must see it also as historical degradation, rejecting it as the language of the master. This selftorture arises when the poet also sees history as language, when he limits his memory to the suffering of the victim. Their admirable wish to honor the degraded ancestor limits their language to phonetic pain, the groan of suffering, the curse of revenge. The tone of the past becomes an unbearable burden, for they must abuse the master or hero in his own language, and this implies self-deceit. Their view of Caliban is of the enraged pupil. They cannot separate the rage of Caliban from the beauty of his speech when the speeches of Caliban are equal in their elemental power to those of his tutor. The language of the torturer mastered by the victim. This is viewed as servitude, not as victory.
But who in the New World does not have a horror of the past, whether his ancestor was torturer or victim? Who, in the depth of conscience, is not silently screaming for pardon or for revenge? The pulse of New World history is the racing pulse beat of fear, the tiring cycles of stupidity and greed….
In time the slave surrendered to amnesia. That amnesia is the true history of the New World. That is our inheritance, but to try and understand why this happened, to condemn or justify is also the method of history, and these explanations are always the same: This happened because of that, this was understandable because, and in days men were such. These recriminations exchanged, the contrition of the master replaces the vengeance of the slave, and here colonial literature is most pietistic, for it can accuse great art of feudalism and excuse poor art as suffering. To radical poets poetry seems the homage of resignation, an essential fatalism. But it is not the pressure of the past which torments great poets but the weight of the present:

there are so many dead,
and so many dikes the red sun breached,
and so many heads battering hulls
and so many hands that have closed over kisses
and so many things that I want to forget.
 (Neruda)

The sense of history in poets lives rawly along their nerves:
My land without name, without America,
equinoctial stamen, lance-like purple,
your aroma rose through my roots
into the cup I drained, into the most tenuous
 word not yet born in my mouth.
(Neruda)

It is this awe of the numinous, this elemental privilege of naming the new world which annihilates history in our great poets, an elation common to all of them, whether they are aligned by heritage to Crusoe and Prospero or to Friday and Caliban. They reject ethnic ancestry for faith in elemental man. The vision, the ‘democratic vista,’ is not metaphorical, it is a social necessity. A political philosophy rooted in elation would have to accept belief in a second Adam, the recreation of the entire order, from religion to the simplest domestic rituals. The myth of the noble savage would not be revived, for that myth never emanated from the savage but has always been the nostalgia of the Old World, its longing for innocence. The great poetry of the New World does not pretend to such innocence, its vision is not naive. Rather, like its fruits, its savor is a mixture of the acid and the sweet, the apples of its second Eden have the tartness of experience. In such poetry there is a bitter memory and it is the bitterness that dries last on the tongue. It is the acidulous that supplies its energy…. For us in the archipelago the tribal memory is salted with the bitter memory of migration.
To such survivors, to all the decimated tribes of the New World who did not suffer extinction, their degraded arrival must be seen as the beginning, not the end of our history. The shipwrecks of Crusoe and of the crew in The Tempest are the end of an Old World. It should matter nothing to the New World if the Old is again determined to blow itself up, for an obsession with progress is not within the psyche of the recently enslaved. That is the bitter secret of the apple. The vision of progress is the rational madness of history seen as sequential time, of a dominated future. Its imagery is absurd. In the history books the discoverer sets a shod foot on virgin sand, kneels, and the savage also kneels from his bushes in awe. Such images are stamped on the colonial memory, such heresy as the world’s becoming holy from Crusoe’s footprint or the imprint of Columbus’ knee. These blasphemous images fade, because these hieroglyphs of progress are basically comic. And if the idea of the New and the Old becomes increasingly absurd, what must happen to our sense of time, what else can happen to history itself, but that it too is becoming absurd? This is not existentialism. Adamic, elemental man cannot be existential. His first impulse is not self-indulgence but awe, and existentialism is simply the myth of the noble savage gone baroque….
But to most writers of the archipelago who contemplate only the shipwreck, the New World offers not elation but cynicism, a despair at the vices of the Old which they feel must be repeated. Their malaise is an oceanic nostalgia for the older culture and a melancholy at the new, and this can go as deep as a rejection of the untamed landscape, a yearning for ruins. To such writers the death of civilizations is architectural, not spiritual, seeded in their memories is an imagery of vines ascending broken columns, of dead terraces, of Europe as a nourishing museum. They believe in the responsibility of tradition, but what they are in awe of is not tradition, which is alert, alive, simultaneous, but of history, and the same is true of the new magnifiers of Africa. For these their deepest loss is of the old gods, the fear that it is worship which has enslaved progress. Thus the humanism of politics replaces religion. They see such gods as part of the process of history, subjected like the tribe to cycles of achievement and despair. Because the Old World concept of God is anthropomorphic, the New World slave was forced to remake himself in His image, despite such phrases as ‘God is light, and in Him is no darkness,’ and at this point of intersecting faiths the enslaved poet and enslaved priest surrendered their power. But the tribe in bondage learned to fortify itself by cunning assimilation of the religion of the Old World. What seemed to be surrender was redemption. What seemed the loss of tradition was its renewal. What seemed the death of faith, was its rebirth….
I accept this archipelago of the Americas. I say to the ancestor who sold me, and to the ancestor who bought me, I have no father, I want no such father, although I can understand you, black ghost, white ghost, when you both whisper ‘history,’ for if I attempt to forgive you both I am falling into your idea of history which justifies and explains and expiates, and it is not mine to forgive, my memory cannot summon any filial love, since your features are anonymous and erased and I have no wish and no power to pardon. You were when you acted your roles, your given, historical roles of slave seller and slave buyer, men acting as men, and also you, father in the filth-ridden gut of the slave ship, to you they were also men, acting as men, with the cruelty of men, your fellowman and tribesman not moved or hovering with hesitation about your common race any longer than my other bastard ancestor hovered with his whip, but to you inwardly forgiven grandfathers, I, like the more honest of my race, give a strange thanks. I give the strange and bitter and yet ennobling thanks for the monumental groaning and soldering of two great worlds, like the halves of a fruit seamed by its own bitter juice, that exiled from your own Edens you have placed me in the wonder of another, and that was my inheritance and your gift.


* From ‘The Muse of History’ in Orde Coombes (ed.) Is Massa Day Dead? Black Moods in the Caribbean New York: Doubleday, 1974. THE MUSE OF HISTORY 371

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Arkadija : Derek Walcott, Essay
Derek Walcott, Essay
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