
This is the passage from The Wind in the Willows where Mole and Ratty, looking on the riverside for the missing baby otter, come across the Great God Pan himself. It moves me so much, more than I can say.
Then suddenly the Mole felt a great Awe fall upon him, an awe that turned his muscles to water, bowed his head, and rooted his feet to the ground. It was no panic terror--indeed he felt wonderfully at peace and happy--but it was an awe that smote and held him and, without seeing, he knew it could only mean that some august Presence was very, very near. With difficulty he turned to look for his friend. and saw him at his side cowed, stricken, and trembling violently. And still there was utter silence in the populous bird-haunted branches around them; and still the light grew and grew.
Perhaps he would never have dared to raise his eyes, but that, though the piping was now hushed, the call and the summons seemed still dominant and imperious. He might not refuse, were Death himself waiting to strike him instantly, once he had looked with mortal eye on things rightly kept hidden. Trembling he obeyed, and raised his humble head; and then, in that utter clearness of the imminent dawn, while Nature, flushed with fulness of incredible colour, seemed to hold her breath for the event, he looked in the very eyes of the Friend and Helper; saw the backward sweep of the curved horns, gleaming in the growing daylight; saw the stern, hooked nose between the kindly eyes that were looking down on them humourously, while the bearded mouth broke into a half-smile at the corners; saw the rippling muscles on the arm that lay across the broad chest, the long supple hand still holding the pan-pipes only just fallen away from the parted lips; saw the splendid curves of the shaggy limbs disposed in majestic ease on the sward; saw, last of all, nestling between his very hooves, sleeping soundly in entire peace and contentment, the little, round, podgy, childish form of the baby otter. All this he saw, for one moment breathless and intense, vivid on the morning sky; and still, as he looked, he lived; and still, as he lived, he wondered.
`Rat!' he found breath to whisper, shaking. `Are you afraid?'
`Afraid?' murmured the Rat, his eyes shining with unutterable love. `Afraid! Of him? O, never, never! And yet--and yet-- O, Mole, I am afraid!'
Then the two animals, crouching to the earth, bowed their heads and did worship.
Sudden and magnificent, the sun's broad golden disc showed itself over the horizon facing them; and the first rays, shooting across the level water-meadows, took the animals full in the eyes and dazzled them. When they were able to look once more, the Vision had vanished, and the air was full of the carol of birds that hailed the dawn.












Ana,
ReplyDeleteThe title reminds me of a song by the old rock band Pink Floyd.
Hello, Ana, I first read this passage when it was quoted by CS Lewis (I think). A beautiful description of a first encounter with the Numinous.
ReplyDeleteHarry, they took that title from a chapter heading in this book. The Piper at the Gates of Dawn is Pan.
ReplyDeleteHi, Jamie. Yes, it is.
A few years ago I wrote an article about the god Pan. But I think I abandoned it and it never got beyond the first draft. If I can find it I will share it with you. I do think we channel our ideas and thoughts based on impressions we receive via books, media and the un/Regal company we keep. Prime Example: was reading up about the natural phenomena of Fata Morgana (not King Arthur) in Marina Warner's new book PHANTASMAGORIA - Spirit Visions, Metaphors, & Media into the Twenty-first Century. Her fascinating chapter on these 'castles in the clouds' and I thought of the verse from The Holy Quran
ReplyDeleteThe deeds of those who disbelieve are like a mirage in a desert. One who is thirsty imagines it to be water, when he comes up to it he finds it to be nothing and finds Allah near him Who fully pays him his account and Allah is swift in reckoning.
(The Holy Quran. Al Noor [The Light]. 40. Translated with Brief Explanatory notes by Hazrat Mirza Tahir Ahmad - Khalifatul Masih IV. The Bath Press, 1997).
There is a whole new school of thought against contextualizing the revelations (Word of God) but I can think of at least one instance when Prophet Mohammad is definitely known to have done so. And I think one has to contextualize these things to some extent. The Jews would burn incense before the Ark of the Covenant/The Holy of Holies ever since the time of Noah (Genesis 8:21) so as to create a smoke depicting the veil that covers the throne of God which also appears the Quran in the description of the Night Journey of the Prophet
The green cushions and Divans in Paradise of Baroque Christian art are also Green in the Quran although both these religious traditions are poles apart but the Perpetuum Mobile persists
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
I wonder what inspired Grahame to write this astonishing passage - All true visions of God are moving to read when expressed in words. Being actually inexpressible. For revelation begins where (the potentialities/possibilities of) human language ends. Poetry is either in a no-man's-land between the 2 states or (the purest poetry is) a form of revelation itself
One of my own favourites of such descriptions is from Auden's The Sea & the Mirror. He thought this section the finest thing he had written
At Him and at Him only does she draw the line, not because there are any limits to her sympathy but precisely because there are none.
All along and only too well she has known what would happen if, by any careless mischance - of conscious malice she never dreamed till now - He should ever manage to get in. She foresaw what He would do to the conversation, lying in wait for its vision of private love or public justice to warm to an Egyptian brilliance and then with some fishlike odour or bruit insolite snatching the visionaries back tongue-tied and blushing to the here and now; she foresaw what He would do to the arrangements, breaking, by a refusal to keep in step, the excellent order of the dancing ring, and ruining supper by knocking over the loaded appetising tray; worstv of all, she foresaw, she dreaded, what He would end up doing to her, that, not content with upsetting her guests, with spoiling their fun, His progress from outrage to outrage would not relent before the gross climax of His making, horror unspeakable, a pass at her virgin self.
(W. H. Auden. The Sea & the Mirror. 1944).
Thank you for this super contribution, Rehan. I would love to see your thoughts on Pan. I've always found him the most fascinating of the Greek pantheon. Do you know Knut Hamsun's novel Pan, where he appears obliquely as a dark and dangereous force of nature?
ReplyDeleteI've read about it.
ReplyDelete